The handy-volume Shakespeare.

Prefatory note signed: Q. D.

[Works].

v. 1. The comedy of the Tempest.--v. 2 Two gentlemen of Verona.--v. 3 Measure of measure.--v. 4 Merry Wives of Windsor.--v. 5 Comedy of errors.--v. 7 Love's labour's lost.--v. 8 Midsummer night's dream.--v. 9 Merchant of Venice.--v. 10. As you like it.--v. 11 The taming of the shrew.--v. 12. All's well that ends well.--v. 13. Twelfth night.--v. 14. A winter's tale.--v. 15. King John.--v. 16 Richard III.--v. 17-18. Henry IV.--v. 20-22. Henry VI.--v.23. Henry VIII.--v. 24. Troilus and Cressida.--v. 25. Coriolanus.--v. 26. Titus Andronicus.--v. 27. Romeo and Juliet.--v. 28. Timon of Athens.--v. 29. The tragedy of Julius Caesar.--v. 30. Macbeth.--v. 32. King lear.--v. 35. Cymbeline.--v. 36 Pericles.--v. 37. Poems and sonnets.--v. 38. Life of Shakespeare, by Israel Gollancz.

The modern readers Shakespeare;

v. 1. Life of Shakespeare. King Henry VI, pt. 1-3.--v. 2. Two gentlemen of Verona.-Comedy of errors.-Richard II.-Richard III.--v. 3. Love's labor's lost.-Merchant of Venice. Midsummer-night's dream.-Romeo and Juliet.-- v. 5. Henry V.-As you like it.-Much ado about nothing.-Hamlet.--v. 6. Merry wives of Windsor.-Troilus and Cressida.-Measure for measure.-King Henry VIII.--v. 8. Julius Caesar.-All's well that ends well.-Antony and Cleopatra.-Cymbeline.--v. 9. Timon of Athens.-Coriolanus.-Winter's tale.-The tempest.--v. 10. Titus Andronicus.-Pericles.-Poems.-Sonnets.

The Temple Shakespeare /

"The text here used is that of the 'Cambridge' edition"--Verso of t.p.

Shakespeare's works.

1. Tempest. Two gentlemen of Verona. Merry wives of Windsor. Measure for measure. Comedy of errors.--2. Much ado about nothing. Love's labour's lost. Midsummer night's dream. Merchant of Venice. As you like it.--3. Taming of the shrew. All's well that ends well. Twelfth Night. Winter's tale.--4. King John. King Richard II. King Henry IV. King Henry V.--5. King Henry VI. King Richard III. King Henry VIII.--6. Troilus and Cressida. Coriolanus. Titus Andronicus. Romeo and Juliet.--7. Timon of Athens. Julius Caesar. Macbeth. Hamlet. King Lear.--8. Othello. Antony and Cleopatra. Cymbeline. Pericles.--9. Songs, sonnets, poems. Index to first lines.

Golo und Genovefa : Drama in drei Aufzügen /

Mode of access: Internet.

The piper, a play in four acts,

Mode of access: Internet.

SELECTED CHARACTER PIECES OF FRÉDÉRIC CHOPIN (1810-1849), FRANZ LISZT (1811-1886) AND JOHANNES BRAHMS (1833-1897)

During the 19th century, Frédéric Chopin (1810-1849), Franz Liszt (1811- 1886), and Johannes Brahms (1833-1897) were among the most recognized composers of character pieces. Their compositions have been considered a significant milestone in piano literature. Frédéric Chopin (1810-1849) did not give descriptive titles to his character pieces. He grouped them into several genres such as Mazurkas, Polonaises. His Mazurkas and Polonaises are influenced by Polish dance music and inspired by the polish national idiom. Franz Liszt (1811-1886) was influenced in many ways by Chopin, and adopted Chopin’s lyricism, melodic style, and tempo rubato. However, Liszt frequently drew on non-musical subjects (e.g., art, literature) for inspiration. “Harmonies poétiques et religieuses” and “Années de pèlerinage” are especially representative of character pieces in which poetic and pictorial imagination are reflected. Johannes Brahms (1833-1897) was a conservative traditionalist, synthesizing Romantic expression and Classical tradition remarkably well. Like Chopin, Brahms avoided using programmatic titles for his works. The titles of Brahms’ short character pieces are often taken from traditional lyrical or dramatic genres such as ballade, rhapsody and scherzo. Because of his conservatism, Brahms was considered the main rival of Liszt in the Romantic Period. Brahms character pieces in his third period (e.g., Scherzo Op.4, Ballades of Op.10, and Rhapsodies of Op.79) are concise and focused. The form of Brahms’ character pieces is mostly simple ternary (ABA), and his style is introspective and lyrical. Through this recording project, I was able to get a better understanding of the styles of Chopin, Brahms and Liszt through their character pieces. This recording dissertation consists of two CDs recorded in the Dekelboum Concert Hall at the University of Maryland, College Park. These recordings are documented on compact disc recordings that are housed within the University of Maryland Library System.

Handwritten Character Recognition of South Indian Scripts: A Review

Handwritten character recognition is always a frontier area of research in the field of pattern recognition and image processing and there is a large demand for OCR on hand written documents. Even though, sufficient studies have performed in foreign scripts like Chinese, Japanese and Arabic characters, only a very few work can be traced for handwritten character recognition of Indian scripts especially for the South Indian scripts. This paper provides an overview of offline handwritten character recognition in South Indian Scripts, namely Malayalam, Tamil, Kannada and Telungu

Place making in Hellenistic Athens: beyond decline and foreign patronage

The study of cities is integral to the study of the Hellenistic Age, the period bounded by the deaths of two legendary rulers: Alexander in 323 BC and Kleopatra in 30 BC. Modern scholarship has followed in the footsteps of Johann-Gustav Droysen, who coined the term 'Hellenistic' in the nineteenth century and associated it with the diffusion of Greek culture through the founding of new cities in the East by Alexander and his successors. Hellenistic Athens, traditionally discussed under the rubric of its Classical legacy and/or in contrast with thriving cities, such as Pergamon, has been presented as a backwater exemplifying the demise of the 'polis'. My objective in this paper is to criticise these negative sentiments by exploring how the built environment of Hellenistic Athens could potentially become an indicator of city vitality.

The romance of Tristram and Ysolt,

Mode of access: Internet.

The Æneis of Virgil.

Second edition; first published 1817.