Two h households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes A pair of star-cross'd lovers take their life; Whose misadventur'd piteous overthrows Doth with their death bury their parents' strife. The fearful passage of their death-mark'd love, And the continuance of their parents' rage, Which, but their children's end, nought could remove, Is now the two hou

Now, fa fair Hippolyta, our nuptial hour Draws on apace; four happy days bring in Another moon; but oh, methinks, how slow This old moon wanes! She lingers my desires, Like to a step-dame or a dowager, Long withering out a young man's revenue.

Despise m me if I do not. Three great ones of the city, In personal suit to make me his lieutenant, Off-capp'd to him; and by the faith of man, I know my price, I am worth no worse a place. But he, as loving his own pride and purposes, Evades them, with a bombast circumstance, Horribly stuff 'd with epithets of war: And in conclusion, Nonsuits my mediators: for Certes, says he, I have already chose my officer. And what was he?

From fa fairest creatures we desire increase, That thereby beauty's rose might never die, But as the riper should by time decease, His tender heir might bear his memory: But thou, contracted to thine own bright eyes, Feed'st thy light's flame with self-substantial fuel, Making a famine where abundance lies, Thyself thy foe, to thy sweet self too cruel: Thou that art now the world's fresh ornament, And only herald to the gaudy spring, Within thine own bud buriest thy content, And tender churl mak'st waste in

Scene.I. A Room of State in King Lear's Palace. Enter Kent, Gloucester and Edmund. Kent. I thought the King had more affected the Duke of Albany Than Cornwall. Gloucester. It did always seem so to us; but now, in the division of The kingdom, it appears not which of the Dukes he values Most, for qualities are so weighed that curiosity in neit­her can make choice of either's moiety.

Flavius. Hence! home, you idle creatures, get you home. Is this a holiday? What, know you not, Being mechanical, you ought not walk Upon a labouring day without the sign Of your profession? Speak, what trade art thou?

Acti Scene I. An open Place. Thunder and Lightning. Enter three Witches. Fırst Wıtch. When shall we three meet again? In thun­der, lightning, or in rain? Second Wıtch. When the hurlyburly's done, When the battle's lost and won. Thırd Wıtch. That will be ere the set of sun. Fırst Wıtch. Where the place? Second Wıtch. Upon the heath.

Gon. Good, yet remember w whom thou hast aboard. Boats. None that I more love than myself. You are a 20 Counsellor; if you can command these elements to silen­ce, and work the peace of the present, we will not hand a rope more; use your authority: if you cannot, give thanks you have lived so long, and make yourself ready in your cabin for the mischance of the hour, if it so hap. Cheerly, good hearts! Out of our way, I say.

In sooth I know not why I am so sad, It wearies me. you say it wearies you; But how I caught it, found it, or came by it, What stuff 'tis made of, whereof it is born, I am to learn. And such a want-wit sadness makes of me, That I have much ado to know myself.

I. Sahne Verona. Halka Açık Bir Yer. Capulet Ailesi'nden Sampson Ve Gregory (Kılıçlarla Ve Neferlerle) Girer. Sampson Gregory, Ant Olsun Ki Bizi Aşağılamalarına İzin Vermeye­ceğiz. Gregory Vermeyeceğiz, Eğer Verirsek Boyun Eğmiş Oluruz. Sampson Bizi Sinirlendirirlerse Kılıçlarımızı Çekeceğiz. Gregory Belki De Kendini Beladan Uzak Tutmalısın. Sampson Sinirliyken Daha Sert Vururum. Gregory Ancak Seni Sinirlendirmek Çok Zordur.

Sinema sanatının en güzel örneklerinin görüldüğü yol filmleri gücünü karakterlerden, mekanlardan ve tesadüferden alır. Filmlerde gördüğümüz yolculuk sadece maddi değil aynı zamanda manevidir. Karakterin fiziki yolculuğu bir süre sonra içsel yolculuğa dönüşür. Karakterin dönüşümü seyirciyi de etkiler. Felsefenin insanı, benlik, yaşam, ölüm, tanrı ve varoluşu sorgulatan tarafı sinema sanatı sayesinde yeni bir forma kavuşmuştur. Bu form alışılmış kalıpların çok ötesinde daha akışkan ve verimlidir. Ünlü teoris

The history, the features, and the most famous examples of European architecture, during a period extending from the rise of the Gothic, or pointed, style in the twelft h century to the general depression which overtook the Renaissance style at the close of the eighteenth, form the subject of this little volume. I have endeavoured to adopt as free and simple a mode of treatment as is compatible with the accurate statement of at least the outlines of so very technical a subject

I will not leave you, neither will I abandon your soul to despair. Jeremiah, my only son, hearken to me. For the first time let me tell you something which may awaken your courage. Hear the words that are forced from me by my distress. I, too, was once filled with despair, inasmuch as for ten years the Lord had closed my womb. I was the sport of my companions and the mock of the concubines. For ten long years I bore my lot patiently, and had almost given up hope; but in the eleventh year my heart was kindle

The predominant local color which distinguishes American Renaissance has been given to it by what has been our great national building commodity, i. e., wood. The Greeks and Romans built of stone when they had the money to pay for it, as does ever ybody else; otherwise, people in new countries fall back upon a less expensive material. Our less expensive material was wood. Both stone and wood have grain, and have to be used with the same careful regard to it. Whether we build our columns up of stone or woode

Though it is an exaggeration to say that there are no flowers in Italian gardens, yet to enjoy and appreciate the Italian garden-craft one must always bear in mind that it is independent of floriculture. The Italian garden does not exist for its flowers; its flowers exist for it: they are a late and infrequent adjunct to its beauties, a parenthetical grace counting only as one more touch in the general effect of enchantment. This is no doubt partly explained by the difficulty of cultivating any but spring f

It is strange, y yet unquestionably a fact, that in ages long before the birth of Christ, and since then in lands untouched by the teaching of the Church, the Cross has been used as a sacred symbol. The Ar yan tribes, ancestors of most of the European nations, so regarded a cross of curious form, whose four equal arms were all turned midway at a right angle. The excavations of Dr. Schliemann on the site of ancient Troy have brought to light discs of baked clay stamped with a cross. It is well known that the