This IBM® Redbooks® publication pulls together diverse information regarding the best way to design, implement, and manage a Parallel Sysplex® to deliver the levels of performance and availability required by your organization. This book should be of interest to system programmers, availability managers, and database administrators who are interested in verifying that your systems conform to IBM best practices for a Parallel Sysplex environment. In addition to z/OS® and the sysplex hardware configuration, this book also covers the major IBM subsystems: CICS® DB2® IMSTM MQ WebSphere® Application Server To get the best value from this book, readers should have hands-on experience with Parallel Sysplex and have working knowledge of how your systems are set up and why they were set up in that manner.
This eBook features the unabridged text of ‘My Wife and I by Harriet Beecher Stowe - Delphi Classics (Illustrated)’ from the bestselling edition of ‘The Complete Works of Harriet Beecher Stowe’. Having established their name as the leading publisher of classic literature and art, Delphi Classics produce publications that are individually crafted with superior formatting, while introducing many rare texts for the first time in digital print. The Delphi Classics edition of Stowe includes original annotations and illustrations relating to the life and works of the author, as well as individual tables of contents, allowing you to navigate eBooks quickly and easily. eBook features: * The complete unabridged text of ‘My Wife and I by Harriet Beecher Stowe - Delphi Classics (Illustrated)’ * Beautifully illustrated with images related to Stowe’s works * Individual contents table, allowing easy navigation around the eBook * Excellent formatting of the textPlease visit www.delphiclassics.com to learn more about our wide range of titles
DURING the passage of this story through The Christian Union, it has been repeatedly taken for granted by the public press that certain of the characters are designed as portraits of really existing individuals. They are not. The supposition has its rise in an imperfect consideration of the principles of dramatic composition. The novel-writer does not profess to paint portraits of any individual men and women in his personal acquaintance. Certain characters are required for the purposes of his story. He conceives and creates them, and they become to him real living beings, acting and speaking in ways of their own. But on the other hand, he is guided in this creation by his knowledge and experience of men and women, and studies individual instances and incidents only to assure himself of the possibility and probability of the character he creates. If he succeeds in making the character real and natural, people often are led to identify it with some individual of their acquaintance. A slight incident, an anecdote, a paragraph in a paper, often furnishes the foundation of such a character; and the work of drawing it is like the process by which Professor Agassiz from one bone reconstructs the whole form of an unknown fish. But to apply to any single living person such delineation is a mistake, and might be a great wrong both to the author and to the person designated. For instance, it being the author's purpose to show the embarrassment of the young champion of progressive principles, in meeting the excesses of modern reformers, it came in her way to paint the picture of the modern emancipated young woman of advanced ideas and free behavior. And this character has been mistaken for the portrait of an individual, drawn from actual observation. On the contrary, it was not the author's intention to draw an individual, but simply to show the type of a class. Facts as to conduct and behavior similar to those she has described are unhappily too familiar to residents of New York. But in this as in other cases the author has simply used isolated facts in the construction of a dramatic character suited to the design of the story. If the readers of to-day will turn back to Miss Edgeworth's Belinda, they will find that this style of manners, these assumptions and mode of asserting them, are no new things. In the character of Harriet Freke, Miss Edgeworth vividly portrays the manners and sentiments of the modern emancipated women of our times, who think themselves "Ne'er so sure our passion to create, As when they touch the brink of all we hate." Certainly the author knows no original fully answering to the character of Mrs. Cerulean, though she has heard such an one described; and, doubtless, there are traits in her equally attributable to all fair enthusiasts who mistake the influence of their own personal charms and fascinations over the other sex, for real superiority of intellect.
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.
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.
Harriet Beecher (Stowe) was born June 14, 1811, in the characteristic New England town of Litchfield, Conn. Her father was the Rev. Dr. Lyman Beecher, a distinguished Calvinistic divine, her mother Roxanna Foote, his first wife. The little new-comer was ushered into a household of happy, healthy children, and found five brothers and sisters awaiting her. The eldest was Catherine, born September 6, 1800. Following her were two sturdy boys, William and Edward; then came Mary, then George, and at last Harriet. Another little Harriet born three years before had died when only one month old, and the fourth daughter was named, in memory of this sister, Harriet Elizabeth Beecher. Just two years after Harriet was born, in the same month, another brother, Henry Ward, was welcomed to the family circle, and after him came Charles, the last of Roxanna Beecher's children. The first memorable incident of Harriet's life was the death of her mother, which occurred when she was four years old, and which ever afterwards remained with her as the tenderest, saddest, and most sacred memory of her childhood. Mrs. Stowe's recollections of her mother are found in a letter to her brother Charles, afterwards published in the "Autobiography and Correspondence of Lyman Beecher." She says:— "I was between three and four years of age when our mother died, and my personal recollections of her are therefore but few. But the deep interest and veneration that she inspired in all who knew her were such that during all my childhood I was constantly hearing her spoken of, and from one friend or another some incident or anecdote of her life was constantly being impressed upon me. "Mother was one of those strong, restful, yet widely sympathetic natures in whom all around seemed to find comfort and repose. The communion between her and my father was a peculiar one. It was an intimacy throughout the whole range of their being. There was no human mind in whose decisions he had greater confidence. Both intellectually and morally he regarded her as the better and stronger portion of himself, and I remember hearing him say that after her death his first sensation was a sort of terror, like that of a child suddenly shut out alone in the dark. "In my own childhood only two incidents of my mother twinkle like rays through the darkness. One was of our all running and dancing out before her from the nursery to the sitting-room one Sabbath morning, and her pleasant voice saying after us, 'Remember the Sabbath day to keep it holy, children.
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