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Mark Twain's Letters -- Volume 3 (1876-1885)

"Don't scold me, Livy—let me pay my due homage to your worth; let me honor you above all women; let me love you with a love that knows no doubt, no question—for you are my world, my life, my pride, my all of earth that is worth the having." These are the words of Samuel Clemens in love. Playful and reverential, jubilant and despondent, they are filled with tributes to his fiancée Olivia Langdon and with promises faithfully kept during a thirty-four-year marriage. The 188 superbly edited letters gathered here show Samuel Clemens having few idle moments in 1869. When he was not relentlessly "banged about from town to town" on the lecture circuit or busily revising The Innocents Abroad, the book that would make his reputation, he was writing impassioned letters to Olivia. These letters, the longest he ever wrote, make up the bulk of his correspondence for the year and are filled with his acute wit and dazzling language. This latest volume of Mark Twain's Letters captures Clemens on the verge of becoming the celebrity and family man he craved to be. This volume has been supported by the National Endowment for the Humanities and by a major donation to the Friends of The Bancroft Library from the Pareto Fund.

Mark Twain's Letters -- Volume 4 (1886-1900)

At the beginning of 1870, fresh from the success of The Innocents Abroad, Clemens is on "the long agony" of a lecture tour and planning to settle in Buffalo as editor of the Express. By the end of 1871, he has moved to Hartford and is again on tour, anticipating the publication of Roughing It and the birth of his second child. The intervening letters show Clemens bursting with literary ideas, business schemes, and inventions, and they show him erupting with frustration, anger, and grief, but more often with dazzling humor and surprising self-revelation. In addition to Roughing It, Clemens wrote some enduringly popular short pieces during this period, but he saved some of his best writing for private letters, many of which are published here for the first time.

Mark Twain's Letters -- Volume 5 (1901-1906)

On his first trip to England to gather material for a book and cement relations with his newly authorized English publishers, Samuel Clemens was astounded to find himself hailed everywhere as a literary lion. America's premier humorist had begun his long tenure as an international celebrity. Meanwhile, he was coming into his full power at home. The Innocents Abroad continued to produce impressive royalties and his new book, Roughing It, was enjoying great popularity. In newspaper columns he appeared regularly as public advocate and conscience, speaking on issues as disparate as safety at sea and political corruption. Clemens's personal life at this time was for the most part fulfilling, although saddened by the loss of his nineteen-month-old son, Langdon, who died of diphtheria. Life in the Nook Farm community of writers and progressive thinkers and activists was proving to be all the Clemenses had hoped for. The 309 letters in this volume, more than half of them never before published, capture the events of these years with detailed intimacy. Thoroughly annotated and indexed, they are supplemented by genealogical charts of the Clemens and Langdon families, a transcription of the journals Clemens kept during his 1872 visit to England, book contracts, his preface to the English edition of The Gilded Age, contemporary photographs of family and friends, and a gathering of all newly discovered letters written between 1865 and 1871. This volume is the fifth in the only complete edition of Mark Twain's letters ever attempted, and the twenty-fourth in the comprehensive edition known as The Mark Twain Papers and Works of Mark Twain.

Mark Twain's Letters -- Volume 6 (1907-1910)

Mark Twain's letters for 1874 and 1875 encompass one of his most productive and rewarding periods as author, husband and father, and man of property. He completed the writing of The Adventures of Tom Sawyer, published the major collection Sketches, New and Old, became a leading contributor to the Atlantic Monthly, and turned The Gilded Age, the novel he had previously coauthored with Charles Dudley Warner, into one of the most popular comedies of the nineteenth-century American stage. His personal life also was gratifying, unmarred by the family tragedies that had darkened the earlier years of the decade. He and his wife welcomed a second healthy daughter and moved into the showplace home in Hartford, Connecticut, that they occupied happily for the next sixteen years. All of these accomplishments and events are vividly captured, in Mark Twain's inimitable language and with his unmatched humor, in letters to family and friends, among them some of the leading writers of the day. The comprehensive editorial annotation supplies the historical and social context that helps make these letters as fresh and immediate to a modern audience as they were to their original readers. This volume is the sixth in the only complete edition of Mark Twain's letters ever attempted. The 348 letters it contains, many of them never before published, have been meticulously transcribed, either from the original manuscripts (when extant) or from the most reliable sources now available. They have been thoroughly annotated and indexed and are supplemented by genealogical charts, contemporary notices of Mark Twain and his works, and photographs of him, his family, and his friends.

Romano Lavo-Lil: Word Book of the Romany; Or, English Gypsy Language / With Specimens of Gypsy Poetry, and an Account of Certain Gypsyries or Places Inhabited by Them, and of Various Things Relating to Gypsy Life in England

N/A

Heimskringla, or The Chronicle of the Kings of Norway

Louisa of Prussia and Her Times: A Historical Novel

N/A

The Historical Nights' Entertainment

The Days Before Yesterday

Lord Frederick Spencer Hamilton was a Conservative Party politician in the United Kingdom, the sixth son of James Hamilton, 1st Duke of Abercorn and Lady Louisa Jane Russell. Lord Frederick also wrote the books "Here, There and Everywhere", "The Days Before Yesterday" and "Vanished Pomps of Yesterday".

History of the Moravian Church

History of Phoenicia

Elder Futhark runes - Multipage image (Large Print)

These are images of the Elder Futhark runes. They are the twenty-four letters of an alphabet use to write Scandinavian languages from 150 to 800 AD. This is a multi-page document with images on four pages. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. There are six runes shown on each page. They are arranged in two columns of three, with short descriptions outlining the sound and meaning of each letter to its right. The name Futhark is derived from the first six letters of the alphabet.

Elder Futhark runes - Multipage image (UEB Contracted)

These are images of the Elder Futhark runes. They are the twenty-four letters of an alphabet use to write Scandinavian languages from 150 to 800 AD. This is a multi-page document with images on four pages. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. There are six runes shown on each page. They are arranged in two columns of three, with short descriptions outlining the sound and meaning of each letter to its right. The name Futhark is derived from the first six letters of the alphabet.

Elder Futhark runes - Multipage image (UEB Uncontracted)

These are images of the Elder Futhark runes. They are the twenty-four letters of an alphabet use to write Scandinavian languages from 150 to 800 AD. This is a multi-page document with images on four pages. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. There are six runes shown on each page. They are arranged in two columns of three, with short descriptions outlining the sound and meaning of each letter to its right. The name Futhark is derived from the first six letters of the alphabet.

Plan of a Greek Theatre based on the theatre at Epidauros (Large Print)

This page shows a simplified plan (seen from above) of the outdoor theatre at Epidauros in Greece. There is a locator dot shown, which will be at the top left of the page when the image is the right way up. The plan has a dashed line image border. There is a key at the bottom left of the page. The theatre is built into the side of a hill, which forms a natural amphitheatre, with the semicircular seating area above and around the area where the drama takes place.To the right of this are the skene and proskenion with the two paradoi (the entrances for the audience) and up the page the circular area of the orchestra with the thymele (altar) at its centre. Surrounding this is the theatron, the area of tiered seating, with steps radiating out from the centre.

Plan of a Greek Theatre based on the theatre at Epidauros (UEB Contracted)

This page shows a simplified plan (seen from above) of the outdoor theatre at Epidauros in Greece. There is a locator dot shown, which will be at the top left of the page when the image is the right way up. The plan has a dashed line image border. There is a key at the bottom left of the page. The theatre is built into the side of a hill, which forms a natural amphitheatre, with the semicircular seating area above and around the area where the drama takes place.To the right of this are the skene and proskenion with the two paradoi (the entrances for the audience) and up the page the circular area of the orchestra with the thymele (altar) at its centre. Surrounding this is the theatron, the area of tiered seating, with steps radiating out from the centre.

Plan of a Greek Theatre based on the theatre at Epidauros (UEB Uncontracted)

This page shows a simplified plan (seen from above) of the outdoor theatre at Epidauros in Greece. There is a locator dot shown, which will be at the top left of the page when the image is the right way up. The plan has a dashed line image border. There is a key at the bottom left of the page. The theatre is built into the side of a hill, which forms a natural amphitheatre, with the semicircular seating area above and around the area where the drama takes place.To the right of this are the skene and proskenion with the two paradoi (the entrances for the audience) and up the page the circular area of the orchestra with the thymele (altar) at its centre. Surrounding this is the theatron, the area of tiered seating, with steps radiating out from the centre.

Plan of the Theatre of Dionysus at Athens - Multipage image (Large Print)

This is a labelled key and plan (seen from above) of the remains of the Theatre of Dionysus in Athens. It is a multipage image set on two pages. It has a dashed line image border. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. Key to the plan of the Theatre of Dionysus at Athens - The lines and textures/colours used on the plan are shown on the left of the page. The labels are shown on the right. Plan of the Theatre of Dionysus at Athens- At the top left of the image is a scale. To the right of this is an area covered by earth thought to be the upper cavea or seating area. Down and right is a dashed line, curving down at both sides, showing the boundary of the lower cavea. Further down, the seats surround the semicircular shape of the orchestra (the original performing area). The steps to access the seats are represented by clear areas radiating out from the orchestra. Down the page again is what later, during the age of Pericles, became the main performing area with the skene - a stage building that acted as a backstage area where actors could change and store props. Further down are the temple grounds containing the old temple, the new temple and two altars. There is a north arrow marked in the bottom left of the page.

Plan of the Theatre of Dionysus at Athens - Multipage image (UEB Contracted)

This is a labelled key and plan (seen from above) of the remains of the Theatre of Dionysus in Athens. It is a multipage image set on two pages. It has a dashed line image border. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. Key to the plan of the Theatre of Dionysus at Athens - The lines and textures/colours used on the plan are shown on the left of the page. The labels are shown on the right. Plan of the Theatre of Dionysus at Athens- At the top left of the image is a scale. To the right of this is an area covered by earth thought to be the upper cavea or seating area. Down and right is a dashed line, curving down at both sides, showing the boundary of the lower cavea. Further down, the seats surround the semicircular shape of the orchestra (the original performing area). The steps to access the seats are represented by clear areas radiating out from the orchestra. Down the page again is what later, during the age of Pericles, became the main performing area with the skene - a stage building that acted as a backstage area where actors could change and store props. Further down are the temple grounds containing the old temple, the new temple and two altars. There is a north arrow marked in the bottom left of the page.

Plan of the Theatre of Dionysus at Athens - Multipage image (UEB Uncontracted)

This is a labelled key and plan (seen from above) of the remains of the Theatre of Dionysus in Athens. It is a multipage image set on two pages. It has a dashed line image border. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. Key to the plan of the Theatre of Dionysus at Athens - The lines and textures/colours used on the plan are shown on the left of the page. The labels are shown on the right. Plan of the Theatre of Dionysus at Athens- At the top left of the image is a scale. To the right of this is an area covered by earth thought to be the upper cavea or seating area. Down and right is a dashed line, curving down at both sides, showing the boundary of the lower cavea. Further down, the seats surround the semicircular shape of the orchestra (the original performing area). The steps to access the seats are represented by clear areas radiating out from the orchestra. Down the page again is what later, during the age of Pericles, became the main performing area with the skene - a stage building that acted as a backstage area where actors could change and store props. Further down are the temple grounds containing the old temple, the new temple and two altars. There is a north arrow marked in the bottom left of the page.

Army movements at the Battle of Hastings in 1066 (Large Print)

This diagram shows the movements of the opposing armies at the battle of Hastings in 1066. There is a locator dot shown, which will be at the top left of the page when the image is the right way up. There is a north arrow at the bottom right of the page, and a key in the bottom left that identifies the arrows used to show army movements.On the left of the page (to the north) stands Harold's army, on a ridge of land near to where the ruins of Battle Abbey now stand. King William's army is on the right side of the page, on a lower slope. It is made up of three units, the Flemings, Normans and Bretons. The battlefield is situated in the centre of the page.Initially the English exploited their excellent defensive position on the ridge, and their axmen and javelin throwers inflicted heavy losses. However, towards the end of the day after a long intense battle, some of William's army appeared to retreat (arrows A and B), enticing some of Harold's army to pursue them (arrows 1 and 2). This weakened the main body of the English army allowing the French to encircle them and eventually triumph. The site where Harold was believed to have been killed can now be visited in the ruins of the Abbey, which was built in the eleventh and thirteenth centuries.

Army movements at the Battle of Hastings in 1066 (UEB Contracted)

This diagram shows the movements of the opposing armies at the battle of Hastings in 1066. There is a locator dot shown, which will be at the top left of the page when the image is the right way up. There is a north arrow at the bottom right of the page, and a key in the bottom left that identifies the arrows used to show army movements.On the left of the page (to the north) stands Harold's army, on a ridge of land near to where the ruins of Battle Abbey now stand. King William's army is on the right side of the page, on a lower slope. It is made up of three units, the Flemings, Normans and Bretons. The battlefield is situated in the centre of the page.Initially the English exploited their excellent defensive position on the ridge, and their axmen and javelin throwers inflicted heavy losses. However, towards the end of the day after a long intense battle, some of William's army appeared to retreat (arrows A and B), enticing some of Harold's army to pursue them (arrows 1 and 2). This weakened the main body of the English army allowing the French to encircle them and eventually triumph. The site where Harold was believed to have been killed can now be visited in the ruins of the Abbey, which was built in the eleventh and thirteenth centuries.

Army movements at the Battle of Hastings in 1066 (UEB Uncontracted)

This diagram shows the movements of the opposing armies at the battle of Hastings in 1066. There is a locator dot shown, which will be at the top left of the page when the image is the right way up. There is a north arrow at the bottom right of the page, and a key in the bottom left that identifies the arrows used to show army movements.On the left of the page (to the north) stands Harold's army, on a ridge of land near to where the ruins of Battle Abbey now stand. King William's army is on the right side of the page, on a lower slope. It is made up of three units, the Flemings, Normans and Bretons. The battlefield is situated in the centre of the page.Initially the English exploited their excellent defensive position on the ridge, and their axmen and javelin throwers inflicted heavy losses. However, towards the end of the day after a long intense battle, some of William's army appeared to retreat (arrows A and B), enticing some of Harold's army to pursue them (arrows 1 and 2). This weakened the main body of the English army allowing the French to encircle them and eventually triumph. The site where Harold was believed to have been killed can now be visited in the ruins of the Abbey, which was built in the eleventh and thirteenth centuries.

Tea Clipper, 1865 AD (UEB Contracted)

In this image of a tea clipper, the long slim hull extends across the lower part of the page, with its stern at the left and bow at the right. There is a locator dot shown, which will be at the top left of the page when the image is the right way up. At the stern, mainly below the water level, is the rudder. Slightly to the right and up the page from this is the mizzen mast, the shortest of three tall masts which rise from the clipper's hull. Each of the masts - the mizzen, main and foremast from left to right - are rigged with many rectangular sails attached to horizontal wooden spars. Three ropes to the right of the page support triangular sails which are tethered between the foremast and the bowsprit, which sticks out almost horizontally at the very right of the page. The anchor can be seen stored against the hull just above the water level at the bow. A clipper could have additional triangular sails strung between the masts. It was designed to be a very fast cargo ship.

Tea Clipper, 1865 AD (UEB Uncontracted)

In this image of a tea clipper, the long slim hull extends across the lower part of the page, with its stern at the left and bow at the right. There is a locator dot shown, which will be at the top left of the page when the image is the right way up. At the stern, mainly below the water level, is the rudder. Slightly to the right and up the page from this is the mizzen mast, the shortest of three tall masts which rise from the clipper's hull. Each of the masts - the mizzen, main and foremast from left to right - are rigged with many rectangular sails attached to horizontal wooden spars. Three ropes to the right of the page support triangular sails which are tethered between the foremast and the bowsprit, which sticks out almost horizontally at the very right of the page. The anchor can be seen stored against the hull just above the water level at the bow. A clipper could have additional triangular sails strung between the masts. It was designed to be a very fast cargo ship.