Alfred Edmund Brehm's Books

Cassell's book of bird; From The Text Of Dr. Brehm, In Four Volumes

Volume 3 - in large print

By: Alfred Edmund Brehm

Write a review Read reviews Take a Quiz Solve Book Puzzle

Cassell's book of bird; From The Text Of Dr. Brehm, In Four Volumes

Volume 3 - in large print

By: Alfred Edmund Brehm

Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.

Average ratings

N/A

Write a review

Solve jigsaw puzzle

Age

Page Count

650

Publisher

BoD – Books on Demand

Published Date

ISBN 10

3387069812

ISBN 13

9783387069815

Cassell's Book of Birds

Vol. II

By: Alfred Edmund Brehm,Thomas Rymer Jones

Write a review Read reviews Take a Quiz Solve Book Puzzle

Cassell's Book of Birds

Vol. II

By: Alfred Edmund Brehm,Thomas Rymer Jones

Reprint of the original, first published in 1875.

Average ratings

N/A

Write a review

Solve jigsaw puzzle

Age

Page Count

342

Publisher

BoD – Books on Demand

Published Date

ISBN 10

338536583X

ISBN 13

9783385365834

Early German Music in Philadelphia

By: Robert Rutherford Drummond

Write a review Read reviews Take a Quiz Solve Book Puzzle

Early German Music in Philadelphia

By: Robert Rutherford Drummond

The early immigration of Germans to Philadelphia increased to such an extent, that before the middle of the eighteenth century the English colonists became alarmed for fear that Pennsylvania might be alienated from the English crown, and be dominated by the German immigrants. Indeed, throughout the eighteenth century the greater part of the German immigrants landed at Philadelphia, and from there were distributed into other States. We should naturally expect, with so great a population of Germans in Philadelphia and the surrounding country, that these people would continually extend their influence, and constantly spread abroad their ideas of art, religion, music and literature. Let us consider for a moment the condition of the Germans who landed in this country. In 1683, moved by William Penn’s alluring proclamations of the glorious new world, as well as by the fact that freedom of conscience was granted in Pennsylvania to all, a band of German immigrants arrived in Philadelphia and founded Germantown. With the exception of the scholar, Francis Daniel Pastorious, there were no highly cultured men or women among them. These people were of the middle class, and were more interested in weaving and agriculture and religious salvation, than in the cultivation of the fine arts. The conditions in Germany were not conducive to culture. The country was just recovering from the Thirty Years’ War, and the strength of the people was being expended in building up the homes, and improving the land made desolate during that fierce struggle. At this time, too, the German people had little liberty, but rather were under the thumb of absolutism, which was at that time the great force in European countries. It was not an epoch favorable to the cultivation of the fine arts. There was no great literature, no great art, no great music. There was, however, a strong religious spirit, which is often the result of hardship and suffering. It is in the field of religion, too, that we find the best music during the seventeenth century, although it was not original in style, but simply a continuation of Luther’s music. The hymn-writers of that time, both Catholic and Protestant, are not to be despised, and we need mention but a few, whose songs have lived even to the present day: as Paul Fleming (1609-1640) and Paul Gerhardt (1606-1676), Protestant; Friedrich Spee (1591-1635) and Johann Scheffer (1624-1677), Catholics. It can be said, then, with some degree of surety, that the performance of music by the early German settlers in Philadelphia was confined, in the province of music, to hymns.

Average ratings

N/A

Write a review

Solve jigsaw puzzle

Age

Page Count

Publisher

Library of Alexandria

Published Date

ISBN 10

1465552359

ISBN 13

9781465552358

The Witchcraft Delusion of 1692

By: Gov. Thomas Hutchinson

Write a review Read reviews Take a Quiz Solve Book Puzzle

The Witchcraft Delusion of 1692

By: Gov. Thomas Hutchinson

In May last I had occasion to consult the original manuscript of Gov. Hutchinson’s second volume of the History of Massachusetts, which, it is well known, is among the Hutchinson papers in the State archives in Boston. I had never before seen the manuscript, and did not readily find the passage of which I was in search. The first portion of the manuscript seemed to be missing, and its place was supplied by matter which belonged to the Appendix. My first impression was that the missing sheets were those which Gov. Hutchinson did not recover after the stamp-act riot of 1765. Finding the matter of the Appendix out of place, suggested that the volume might have been carelessly arranged for binding. On collating the manuscript the early portion was found in another part of the volume. This was the copy used by the printers. In my search I came to sheets which contained the subject matter of the printed text, but expressed in different language. I saw, on a closer examination, that this was an earlier draft, and the identical manuscript which had passed the ordeal of the riot of 1765; for portions of it were much defaced, and bore the marks of being trampled in the mud. The copy from which the volume was printed was evidently prepared at a later date. For the convenience of those who may hereafter consult this manuscript, I made in folio 7 (following the matter of the Appendix), the following memoranda:—“There has been an error in binding this manuscript. The matter which precedes this is Appendix No. 1 (printed pp. 449-481, edition 1767, and pp. 404-423, edition 1795). The first portion of the history proper, ending with manuscript page 28 (to printed p. 40, edition 1767, and p. 43, edition 1795), has been placed in folios 92-100. Page 29 is opposite. This is the manuscript from which the second volume was printed. “In folio 55 is the beginning of another manuscript, an earlier draft, from which the author prepared the narrative which appears in the printed volume. The earlier draft, ending in folio 91, carries the substance of the narrative to the word “Boston,” on p. 313, edition of 1767, and p. 284, edition of 1795.

Average ratings

N/A

Write a review

Solve jigsaw puzzle

Age

Page Count

104

Publisher

Library of Alexandria

Published Date

ISBN 10

1465552413

ISBN 13

9781465552419

Cassell's Book of Birds

Vol. I

By: Alfred Edmund Brehm,Thomas Rymer Jones

Write a review Read reviews Take a Quiz Solve Book Puzzle

Cassell's Book of Birds

Vol. I

By: Alfred Edmund Brehm,Thomas Rymer Jones

Reprint of the original, first published in 1875.

Average ratings

N/A

Write a review

Solve jigsaw puzzle

Age

Page Count

318

Publisher

BoD – Books on Demand

Published Date

ISBN 10

3385365805

ISBN 13

9783385365803

Cassell's Book of Birds

Vol. II

By: Alfred Edmund Brehm,Thomas Rymer Jones

Write a review Read reviews Take a Quiz Solve Book Puzzle

Cassell's Book of Birds

Vol. II

By: Alfred Edmund Brehm,Thomas Rymer Jones

Reprint of the original, first published in 1875.

Average ratings

N/A

Write a review

Solve jigsaw puzzle

Age

Page Count

342

Publisher

BoD – Books on Demand

Published Date

ISBN 10

3385365821

ISBN 13

9783385365827

Shipwrecks on Cape Cod

By: Isaac M. Small

Write a review Read reviews Take a Quiz Solve Book Puzzle

Shipwrecks on Cape Cod

By: Isaac M. Small

I hardly know whether to call this a preface or part of the story, it seems rather too long for the former and too short for a chapter of the latter, but I may as well follow the general rule and call it a preface. Friends have often said to me, “Why don’t you write some stories concerning shipwrecks which have occurred on Cape Cod?” Perhaps one of the strongest reasons why I have not done so is because, to describe all of the sad disasters which have come under my observation during my more than half a century of service as Marine Reporting Agent, at Highland Light, Cape Cod, would make a book too bulky to be interesting, and a second reason has been the difficulty of selecting such instances as would be of the greatest interest to the general reader. But out of the hundreds of shipwrecks which have become a part of the folk lore and history of this storm beaten coast I have finally decided to tell something of the circumstances connected with the loss of life and property in a few of the more prominent cases. The descriptions herein written are only just “unvarnished tales,” couched in such language that even the children may understand, and in order that there may be a clear understanding of how I came to be in close touch with the events of which I write, it is perhaps necessary to state briefly a few facts concerning my life work here. So far back as 1853, the merchants of Boston, desiring to obtain rapid and frequent reports concerning the movements of their ships along the coast of Cape Cod, were instrumental in causing the construction of a telegraph line from Boston to the end of Cape Cod, and a station was established on the bluffs of the Cape at Highland Light, this station was equipped with signal flags, books and a powerful telescope, and an operator placed in charge, whose duty it was to watch the sea from daybreak until sunset, and so far as possible obtain the names of or a description of every passing ship. This information was immediately transmitted over the wires to the rooms of the Chamber of Commerce, where it was at once spread upon their books for the information of their subscribers. When the boys in blue were marching away to southern battlefields at the beginning of the Civil War, in 1861, I began the work of “Marine Reporting Agent,” and now on the threshold of 1928, I am still watching the ships. A fair sized volume might be written concerning the changes which have taken place in fifty years, as to class of vessels and methods of transportation, but that is not what I started to write about. My duties begin as soon as it is light enough to distinguish the rig of a vessel two miles distant from the land, and my day’s work is finished when the sun sinks below the western horizon. Every half hour through every day of the year we stand ready to answer the call at the Boston office, and report to them by telegraph every item of marine intelligence which has come under our observation during the previous half hour. With our telescope we can, in clear weather, make out the names of vessels when four miles away. When a shipwreck occurs, either at night or during the day, we are expected to forward promptly to the city office every detail of the disaster. If the few stories herein told serve to interest our friends who tarry with us for a while in the summer, then the object of the writer will have been attained.

Average ratings

N/A

Write a review

Solve jigsaw puzzle

Age

Page Count

125

Publisher

Library of Alexandria

Published Date

ISBN 10

1465552448

ISBN 13

9781465552440

Continental Stagecraft

By: Robert Edmund Jones

Write a review Read reviews Take a Quiz Solve Book Puzzle

Continental Stagecraft

By: Robert Edmund Jones

It is a pity to begin a book by being dull. But a time of change is upon us in the theater, and a time of change is a time for definitions. We have passed through such times before, and we have come out after some years—a century or so—with categories neatly fixed. We can look back along the history of English literature and place a judicial finger there and there and there and say Middle English, Classicism, Romanticism. All this is pretty well set. Then we come to Realism and its quagmires—quagmires of balked creation and quagmires of discussion—and we wallow about gesticulating and shouting and splashing the mud into our immortal eyes. What is this bog we have been so busy in? And what is the fitful and rather blinding storm of illumination which plays about the horizon and calls itself Expressionism? Of course these things are just what we care to make them. Various parties to the argument choose various definitions—the kinds that suit their themes. I claim no more for mine than that they will make clear what I am talking about, and save a certain amount of futile dispute. There are plenty of sources of confusion in discussions about art. To begin with, it is not an easy thing to limit a dynamic organism by definition. Creative efforts in drama, fiction or painting run out of one category and into another with distressing ease. More than that, there are apt to be many parts to a whole, many divisions to a category; and the parts or the divisions can be extraordinarily different. Finally, fanatics and tea-table gossips are equally unscrupulous when it comes to “proving” a point. They make the definitions of friends and foes mean what they like. They take the part for the whole, the division for the category. They pin down a lively and meandering work of art at just the place where they want it. Two disputants, bent on exhibiting the more indecent side of human intelligence, can make the twilight of discussion into a pit of black confusion. Let us bring the thing down to the present quarrel in the theater: the quarrel with Realism, which has moments of clarity; the quarrel with Expressionism, which is murky as hell. What are we going to mean when we talk about Realism? So far as this book goes, the word Realism means a way of looking at life which came into vogue about fifty years ago. It sees truth as representation. It demands a more or less literal picture of people and happenings. It insists that human beings upon the stage shall say or do only those things that are reasonably plausible in life. Resemblance is not always its end, but resemblance is a test that must be satisfied before any other quality may be admitted. Realism is not, of course, a matter of trousers, silk hats, and machinery. The realistic attitude can invade the sixteenth century, as it does in Hauptmann’s Florian Geyer. Trousers, silk hats, and machinery can be the properties of a non-realistic play like O’Neill’s The Hairy Ape. The test of Realism, as the term is here employed, is the test of plausibility: Would men and women talk in this fashion in real life under the conditions of time, place, and action supplied by the playwright? It is the business of the realistic playwright to draw as much as possible of inner truth to the surface without distorting the resemblance to actuality.

Average ratings

N/A

Write a review

Solve jigsaw puzzle

Age

Page Count

240

Publisher

Library of Alexandria

ISBN 10

1465552367

ISBN 13

9781465552365

Book's by Alfred Edmund Brehm

Cassell's book of bird; From The Text Of Dr. Brehm, In Four Volumes

Cassell's book of bird; From The Text Of Dr. Brehm, In Four Volumes

Cassell's Book of Birds

Cassell's Book of Birds

Early German Music in Philadelphia

Early German Music in Philadelphia

The Witchcraft Delusion of 1692

The Witchcraft Delusion of 1692

Cassell's Book of Birds

Cassell's Book of Birds

Cassell's Book of Birds

Cassell's Book of Birds

Shipwrecks on Cape Cod

Shipwrecks on Cape Cod

Continental Stagecraft

Continental Stagecraft

Username

Password

Username

Password

Password again

Birthday

Email