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 I have seen some of them elsewhere. They were just compiled into the same work, with headings composed to link them together, when King Phutthaloetla Naphalai ordered Phra Wichianpricha to compile them. The manner of their compilation was quite confusing. Sometimes, the same stories were told twice. His Majesty King Chunlachomklao had this Chronicle of the North printed for the first time in the Year of the Snake, Year 1, 1231 LE, 2412 BE, with a history of the Emerald Buddha annexed to it. In this reprint, for the sake of readers' convenience, I have assigned a title to every account in the Chronicle of the North and removed the duplicate accounts, but I beg readers to understand this Chronicle of the North is printed in accordance with the original manuscript without containing my research or ruling on the veracity of its contents.

The Royal Chronicle: Luang Prasoet's Version is a chronicle of the Old Kingdom which was compiled at the behest of King Narai the Great in the Year of the Monkey, Year 2, 1042 LE, 2223 BE. It is called Luang Prasoet's Version for the reason that its manuscript was retrieved to the Wachirayan Royal Library by Phra Pariyattithammathada (Phae Parian) when he was still Luang Prasoet-aksonnit. Being a royal chronicle with unique contents, it needed a name that would distinguish it from the other versions. The Board then entitled it Luang Prasoet's Version to honour the person who discovered it.


text: The World Significance of the Russian Revolution

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


text: The World Significance of the Russian Revolution/Preface


text: The World Significance of the Russian Revolution/Section 1


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 Park, and in order to see the thing properly one needs a letter of introduction to the commissioner in charge. Then one is taken through vast barracks littered with people of every European race, every type of low-class European costume, and every degree of dirtiness, to a central hall in which the gist of the examining goes on. The floor of this hall is divided up into a sort of maze of winding passages between lattice work, and along these passages, day after day, incessantly, the immigrants go, wild-eyed Gipsies, Armenians, Greeks, Italians, Ruthenians, Cossacks, German peasants, Scandinavians, a few Irish still, impoverished English, occasional Dutch; they halt for a moment at little desks to exhibit papers, at other little desks to show their money and prove they are not paupers, to have their eyes scanned by this doctor and their general bearing by that. Their thumbmarks are taken, their names and heights and weights and so forth are recorded for the card index; and so, slowly, they pass along towards America, and at last reach a little wicket, the gate of the New World. Through this metal wicket drips the immigration stream—all day long, every two or three seconds, an immigrant, with a valise or a bundle, passes the little desk and goes on past the well-managed money-changing place, past the carefully organised separating ways that go to this railway or that, past the guiding, protecting officials—into a new world. The great majority are young men and young women between seventeen and thirty, good, youthful, hopeful peasant stock. They stand in a long string, waiting to go through that wicket, with bundles, with little tin boxes, with cheap


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 American music, and he was heartily received by the music circles of the metropolis. There were receptions and several concerts in New York and Boston. At the first of them, Carnegie Hall, October 21, 1892, Dvořák conducted his three overtures “In Nature”, “Carneval” and “Othello” and the cantata “Te Deum.” Thomas W. Higginson, founder of the Boston Symphony Orchestra, greeted Dvořák in a speech which valued the significance of Dvořák’s arrival to America.

Dvořák learned to love New York and was happy during his first year of residence there. His home at 327 West 17 Street, near the Conservatory, was very simple. Since he loved birds, Dvořák took a great deal of pleasure in visits to Central Park where he was mainly interested in a large cage filled with pigeons. Back in Bohemia railway locomotives had held a peculiar charm for him, while in New York he was no less enthusiastic about the great ocean liners docked at the piers. He knew the names of all of them and daily watched their arrivals and departures. One of his dear friends during the days of residence in America, was Joseph J. Kovařík, an American of Czech descent, from Spillville, Iowa, a graduate of Prague Conservatory of Music; he lived with the Dvořáks in New York City and was one of the teachers at the National Conservatory (later he was a member of the New York Philharmonic Orchestra for many years). It was due to Kovařík that Dvořák gave up the idea of spending his first summer vacation in Bohemia, and visited instead Spillville which was settled mainly by Czechoslovak families. He sent for his four children, and as soon as the family was reunited in New York, Dvořák left for Spillville where he spent four months, from June to September, 1893. But the following summer nobody could induce Dvořák to stay in America. He succumbed to homesickness for his native country and returned to Bohemia in the middle of May, 1894, in order to enjoy five delightful months in his summer home at Vysoká. The third year of his residence in New York, August 26, 1894-April 16, 1895, this time with his wife and one son, Dvořák spent in longing for Bohemia and for the members of his family from whom he was separated; evidences of this nostalgia are found in his let-


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 This document was first printed in the Year of the Goat, Year 9, 1269 LE, 2450 BE, but that edition was defective. Later in 2455 BE, a royal manuscript of the King of Thon Buri was obtained, against which the indistinct parts in the former manuscript were checked to obtain a complete text, which is herein printed.

This Royal Chronicle: Luang Prasoet's Version differs from the Royal Chronicle: Two-Volume Printed Edition and the Royal Chronicle: Royally Handwritten Version in many parts, in terms of both the events and the dates. Having examined it with foreign chronicles, I found the events and dates contained in the Luang Prasoet's Version to be very accurate. I believe that the dates stated in the Luang Prasoet's Version are in line with the truth.

These stories were originally inscribed upon three stelai during the time the city of Sukhothai served as the capital of the Siamese Country. The first stele contains an inscription in which King Khun Ramkhamhaeng told of his Phra Ruang dynasty and of the kingdom of Sukhothai during his reign. It is the best inscription regarding the history of the Thais. This stele, now being at Sala Rai of the Temple of the Emerald Buddha, was written with the Thai script that was invented by King Khun Ramkhamhaeng in the Year of the Goat, Year 5, 645 LE, 1826 BE. This script had been indecipherable for centuries until His Majesty King Chomklao, during his monkhood, made a pilgrimage to the town of Sukhothai and found it together


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 ters to Bohemia and in the music of his only composition of this period, the violoncello concerto. He was a homeloving man, too deeply rooted in his native soil both as an artist and as an individual to be able to remain long away from it. Although America had enriched him and he felt obligated to it, he welcomed the moment when he could return home permanently in April 1895.

Before Dvořák’s arrival newspapers propounded the delicate question as to whether Dvořák would become the creator of a national American music. No such achievement could have been expected of any man. A national American music simply could not be created by a composer going to America in the fiftieth year of his life and only for a short period of three years. He himself was more conscious of this than anyone else, though he was a firm believer in the early birth of an indigenous American music; and wished to point the way which could be followed by native American composers.

Dvořák did not write any articles. But the author of this essay found a remarkable article in the “Harper’s New Monthly Magazine,” vol. XC, No. 537, pages 429–434,February 1895, and redeemed it from oblivion. The title is “Music in America by Antonín Dvořák.” The footnote says: “The author acknowledges the co-operation of Mr. Edwin Emerson, Jr., in the preparation of this article.” All Dvořák experts agree today that there is no doubt about Dvořák’s authorship of this article. The form belongs to the American essayist, but the contents show clearly the ideas of Dvořák well known to all who were his intimate friends. The article was dictated to Emerson in the first part of March, 1894, because Dvořák mentions there the 300th anniversary of Palestrina’s death “celebrated in Rome a few weeks ago,” and that anniversary was on February 2, 1894. It was the second year of Dvořák’s directorship in New York.

Let us quote here only two last paragraphs of the valuable article: “My own duty as a teacher, I conceive, is not so much to interpret Beethoven, Wagner, or other masters of the past, but to give what encouragement I can to the young musicians of America. I must give full expression to my firm conviction, and to the hope that


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 portmanteaus, with odd packages, in pairs, in families, alone, women with children, men with strings of dependents, young couples. All day that string of human beads waits there, jerks forward, waits again; all day and every day, constantly replenished, constantly dropping the end beads through the wicket, till the units mount to hundreds and the hundreds to thousands In such a prosperous year as 1906 more immigrants passed through that wicket into America than children were born in the whole of France.

This figure of a perpetual stream of new stranger citizens will serve to mark the primary distinction between the American social problem and that of any European or Asiatic community.

The vast bulk of the population of the United States has, in fact, only got there from Europe in the course of the last hundred years, and mainly since the accession of Queen Victoria to the throne of Great Britain. That is the first fact that the student of the American social future must realise. Only an extremely small proportion of its blood goes back now to those who fought for freedom in the days of George Washington. The American community is not an expanded colonial society that has become autonomous. It is a great and deepening pool of population accumulating upon the area these predecessors freed, and since fed copiously by affluents from every European community. Fresh ingredients are still being added in enormous quantity, in quantity so great as to change the racial quality materially in a score of years. It is particularly noteworthy that each acces-


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 sion of new blood seems to sterilise its predecessors. Had there been no immigration at all into the United States, but had the rate of increase that prevailed in 1810-20 prevailed to 1900, the population, which would then have been a purely native American one, would have amounted to a hundred million—that is to say, to approximately nine million in excess of the present total population. The new waves are for a time amazingly fecund, and then comes a rapid fall in the birth-rate. The proportion of colonial and early republican blood in the population is, therefore, probably far smaller even than the figures I have quoted would suggest.

These accesses of new population have come in a series of waves, very much as if successive reservoirs of surplus population in the Old World had been tapped, drained and exhausted. First came the Irish and Germans, then Central Europeans of various types, then Poland and Western Russia began to pour out their teeming peoples and more particularly their Jews, Bohemia, the Slavonic states, Italy and Hungary followed, and the latest arrivals include great numbers of Levantines, Armenians and other peoples from Asia Minor and the Balkan Peninsula. The Hungarian immigrants have still a birth-rate of forty-six per thousand, the highest birth-rate in the world.

A considerable proportion of the Mediterranean arrivals, it has to be noted, and more especially the Italians, do not come to settle. They work for a season or a few years, and then return to Italy. The rest come to stay.


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 just as this nation has already surpassed so many others in marvellous inventions and feats of engineering and commerce, and has made an honorable place for itself in literature in one short century, so it must assert itself in the other arts, and especially in the art of music. Already there are enough public-spirited lovers of music striving for the advancement of this their chosen art to give rise to the hope that the United States of America will soon emulate the older countries in smoothing the thorny path of the artist and musician. When that beginning has been made, when no large city is without its public opera house and concert hall, and without its school of music and endowed orchestra, where native musicians can be heard and judged, then those who hitherto have had no opportunity to reveal their talent will come forth and compete with one another, till a real genius emerges from their number, who will be as thoroughly representative of his country as Wagner and


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84 black is not only white but a beautiful ecru green.

The next step will naturally be the investing them with citizenship and the right to vote according to the dictates of the bosses. When by that investiture they have been duly instated in "the seats of power," the monkeys will form one of the most precious of our political elements, though hardly distinguishable from some of the political elements with which we are now blest. Their enfranchising will be no radical innovation; it will merely make the political pile complete — though the possible defection of the philosopher element in the near future may somewhat mar the symmetry of the edifice until the gap can be stopped by enfranchisement of dogs and horses.

Even if all this is but the gorgeous dream of a too hopeful optimism, it is nevertheless good to know that Professor Garner can understand Monkey. If we fail to persuade the monkeys forward along the line of progress to our advanced position it will be pleasant to have from them an occasional word of cheer and welcome as we are led back to theirs.


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 tinued to discourse uncompromising scientific agnosticism. The Essays and Reviews (innocuous reading for Twentieth Century eyes) were perused as evidence of the weakening of the religious and social fabric. The volume raised a "sandstorm" of heresy-trials, as a result of which "hell was dismissed with costs." Herbert Spencer announced the scheme of his rationalistic "synthetic philosophy"; backed by Kingsley, George Eliot and Froude, he engaged to apply a single key-conception to the whole material universe, including mankind; he saluted Darwin as the verifier of his own generalities; he attracted the bitter fire of Gladstone and of Martineau.

Thus did the Annus Mirabilis 1860 precipitate a vast unrest and disturb the placid lives of millions. With the dogmatic cosmology of the Old Testament going all to pieces, nothing seemed safe any longer. And matters did not mend. Mild people armed themselves fiercely and went out to champion their beliefs, old or new. Philosophic calm became a rare commodity. Kingsley's pragmatism ignited Newman’s mysticism and created the Apologia. Lecky's History of the Rise and Influence of the Spirit of Rationalism in Europe, in 1865, followed by his History of European Morals from Augustus to Charlemagne, in 1869, extended the boundaries of the tournament-lists. John Morley, editing the Fortnightly Review, made it the organ of "fighting-rationalism"; Leslie Stephen followed in his path with the Cornhill. And Ruskin, who might have gone on indefinitely as an art-critic, began to look away from Turner and Venice and into the hearts of men; his Unto This Last led off the line of his sociological essays.


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 Literature, submerged in this flood of doubt and livid rage, paused irresolutely as at a cross-road. Literature, one may say, almost came to a standstill. Writers of the older order were dead or as good as dead; and the newer order had not yet found its voices. Tennyson had given his best, and now went on, beautifully embodying a lifeless chivalric ideal in the lavender verses of the Idylls. Browning was doing little better: "All's right with the world!" scarcely sufficed to check the world's anxious search for truth, even if unpalatable; Rabbi Ben Ezra and The Ring and the Book were merely interesting continuations of a curiously tortured optimistic reaction to tragic life; few people found themselves able to collect faith through blind energy. Arnold, ceaselessly smiting the Philistines with his polished battle-axes, aroused a larger quantity of aspiration—but his aspiration was sunk up to its chin in placidity.

It was not until 1866 that the smoldering heat of poetic revolt burst out into the liquid fire of Swinburne's first Poems and Ballads, to be followed in 1870 by Dante Gabriel Rossetti's Latinesque searchings for voluptuous beauty, while conventional morals withered by his wayside.

The more vigorous of the older fictional spirits were also dying out. Charlotte Brontë was dead, Thackeray died in 1863, Mrs. Gaskell two years later. Dickens, having completed his effective career with Our Mutual Friend, shuffled off this mortal coil in 1870. The stage was held by a troupe of second-raters: Wilkie Collins, Charles Reade, Anthony Trollope. Mrs. Craik's John Halifax, Gentleman was feeding the bourgeoisie with


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 middle-class tradesmen's ethics. Against her dire influence on the public taste and morals, only two voices could be heard, both faint: George Eliot's, fading out with Adam Bede, and George Meredith's, just becoming audible with The Ordeal of Richard Feverel—both sounding in the year of the publication of The Origin of Species.

The decade of the Sixties, then, was a period of agitated transition; everywhere the old order was evacuating its familiar citadels with tears and imprecations; it created vacua, drew after it turbulent and unresolved novelties. England itself was changing its countenance: from a feudal, agricultural, conservative state, it was shifting into a commercial, industrial, democratic nation. And realism was displacing sentimentality in thought and art, just as geology was displacing the literal interpretation of Genesis.

From 1862 until 1867 Hardy lived at No. 16, Westbourne Park Villas, in the sluggishly beating heart of Bayswater respectability. Slowly he was emerging from his architectural shell, from his artistic chrysalis, and beginning to sniff with eagerness the tainted gales set up by the chaotic movements of those spacious days. Sentimentally, he was strongly attached to the good old society that was falling to bits everywhere; but vividly and intellectually he found himself yelping with the enthusiastic youthful pack. Thus his heart and his brain were at war in his soul.

This struggle manifested itself in his growing imp-


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 tience with architecture and in his growing ambitions to write. He composed verses—sonnets, for the most part. In 1864 he began also to toy with prose. A little story, or more properly a narrative essay based on personal experiences, called How I Built Myself a House, was set down and dispatched to Chambers's Journal. It was accepted by the editors and appeared anonymously on March 18, 1865. It was a genial and graceful account of the troubles and pleasures experienced by a man with a small family in having a house designed and built for himself. The architect's point of view is very much in evidence, together with a rather disillusioned ground-tone, otherwise, the piece possesses little distinction. It certainly does not foreshadow the stylist of whom Stevenson said, "I would give my right hand to be able to write like Thomas Hardy."

The spirit-searchings of the young man were fully and eloquently recorded, however, in the lyrics which he indited at this time. Many of them, fortunately, survived the vicissitudes of thirty or more years, in spite of their constant rejection by editors, and appeared, properly dated, in the series of poetic volumes which began to see publication in 1898, with the Wessex Poems.

In general, these extant early poems, from which, one may be sure, the chaff has been carefully winnowed out, show such a self-conscious but natural art, and are for the most part based on such a definite intellectual scheme that one may feel fairly safe in judging the majority of them as expressions of deep and lasting convictions.

Amabel is the only surviving poem of the year 1865. There is clearly traceable in it the influence of the Tenny-


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 with the Manang Sila Throne and another stele in the Khmer language and, after his efforts to analyse this Thai script, he finally knew how to read the writing of King Khun Ramkhamhaeng. The stories inscribed upon this stele thus became known.

The second stele contains an inscription in which Phra Bat Kamaradeng-at Si Suriyaphongsaram Mahathammaracha, that is, King Lithai, known also as King Mahathammaracha, a grandchild of King Khun Ramkhamhaeng and the fifth ruler of the city-state of Sukhothai, gave an account of his own life. It also contains stories which offer significant knowledge as to history. The inscription upon this second stele was originally made upon two stelai, one in the Khmer language with the Khom script, the other in the Thai language with the Thai script, both being of equal wording. The Thai stele seemed to have long been removed from Sukhothai Town. After His Majesty King Chomklao discovered and obtained only the Khmer stele, he had His Royal Highness Prince Kromphraya Pawaretwariyalongkon lead a committee for making a Thai translation of it, which is herein printed. As regards the Thai stele, Phraya Boranratchathanin (Phon Dechakhup) found it at Wat Mai near Phra Nakhon Luang in the Old Kingdom region. It was not known how long it had been there but it had been used as a whetstone that most of the characters on it had become indistinct. It was sent to be together with its mate at the Temple of the Emerald Buddha. Upon examination, its surviving contents appeared to be identical to those of the Khmer stele and the bodies of both stelai were also found to be of the same shape and size. This allowed me to know for certain that the two stelai were originally created at the same time because the then citizens of


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 is no less vital to the mental processes of Hardy than to the philosophy of Schopenhauer, is the cause of the bewilderment with which the ordinary commentator of the Hardy novels is filled at the apparently illogical simplicity with which the idea of chance is constantly introduced into a fatalistic universe, rigidly frozen in time and space. The hint of Hardy's conception of the First Principle underlying the phenomenal world as a vast, blind Impersonality and not as a personal Deity was a distinct foreshadowing of the climactic "Immanent Will" which dominates the action of The Dynasts. The word "un-blooms" shows the characteristic use of the privative prefix, persisted in throughout his poetry, as is the expression "Casualty," used as the personification of the idea of circumstance or the conjunction of events. Time, personified and casting dice, is a natural development of the more auspicious figure already encountered in Barnes. The notion of Time as an assistant and abettor of circumstance is an idea that Hardy strongly emphasized in his early career but did not stress in the maturer poems and novels, with the possible exception of The Woodlanders and the title Time's Laughingstocks. That these abstractions are termed Doomsters is in perfect harmony with his fundamental conceptions. The poem is already so well and favorably known that it is quite superfluous to comment upon the power and conviction that speak through its telling dramatic form and expression, resulting in an artistic product of real value and beauty.

The sonnet, In Vision I Roamed, a cosmic adventure, calls to mind George Meredith's Lucifer in


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 Starlight, in which the poet also soars through the firmament at night. The underlying idea, and the conclusion of Hardy's poem, is far simpler, however, and is the expression of a personal feeling rather than a philosophical concept, as is the case with Meredith. The sad effects of the separation of kindred spirits on earth are diminished by the poet's enlarged vision after having penetrated in spirit "to the last chambers of the monstrous Dome." This attempted largeness of world-view marks the first step towards the all-embracing vision that conceived the Overworld-scenes of The Dynasts. Although he quickly returns to earth, the poet has taken his first journey into the unknown heights and depths of the universe. The sonnet is technically perfect, and contains many phrases both striking and felicitous. The expression, "ghast heights of sky," shows a handling of the adjective which is Shakespearean in its freedom, but the effect achieved fully justifies the liberty taken with the standard language.

At a Bridal, sub-titled Nature's Indifference, and also cast in sonnet-form, is a lover's lament for the marriage of his mistress "at the Mode's decree," a common situation in the Hardy poems. The drama, or story, although it is the "occasion" for the poem, gives way at the end to philosophical meditation on the indifference of "the Great Dame whence incarnation flows" to such a situation. Similar to this in tone are the four stanzas forming the little piece called Postponement. Here, however, the situation is all-important, and no abstract reflection takes place. The obvious symbolism of a bird's threnody on the fickleness of its mate is employed, and the effect is


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 heightened through the very skilful use of the alternating refrains: "Wearily waiting" and "cheerfully mating!"

Confession to a Friend in Trouble, an adventure in psychology, is a sonnet that foreshadows the "magician in character" of the later novels in its attempt to get at a half-hidden and subtle moral and mental phenomenon. It is the expression of a vague and shamefully selfish half-thought, which has visited the poet uninvited, and is a striking monument to his great and, in the end, successful struggle against a total loss of faith in human nature.

In Revulsion, a very fine presentation of a theme that is not very pleasing to the general reader, one can observe how early a disillusioned conception of the emotion of love had taken hold of the writer. Realizing that love is the great disturber and tormentor of man, through the agency of alluring woman, the poet shrinks from feeling its devastating power, and prays:

In this Schopenhauerian outcry against the instinct of love which brings only distress and trouble in its wake, Hardy hints at a conscious renunciation of life, with all its toil, passion, tragedy, and beauty, as being unworthy of the pain and distress encountered in living it—and this is the very essence of his early pessimism.

The tender emotion is not quite so drastically or callously treated in the series of four sonnets entitled She, to Him, in which the ideas and the situation are about equally important. The motif of the first is one found frequently in the poems, even in those of the twentieth


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 A very similar plot was used by Mark Twain in the short story, Edward Mills and George Benton. Edward Mills adopts this motto as a guide for his life: "Be pure, honest, sober, industrious, and considerate of others, and success in life is assured." His half-brother, George Benton, is dissolute, lazy, and selfish in everything, yet he wins the sympathy of his fellow-beings, including the woman who loves Mills, at every point of his career, even up to his execution for the murder of his brother, who has lived a life of unrewarded uprightness. It is interesting to compare Mark Twain and Thomas Hardy, noting how the former, beginning as a humorist and a writer of genial tales of the strenuous life of the Middle West, ended His career in a cloud of misanthropy and real pessimism, while the latter, beginning as we have seen, with gloomy but honest conclusions concerning life, somewhat similar to those of the American writer, ends with a real faith in human nature that survives his deeply rooted and early propensity to stress the theme of disillusionment and with more than a vague hint at the possibility of the ultimate rightness of things.

The Bride-Night Fire, a Wessex tradition told in ballad-form, is one of the few pieces that actually saw the light of publication before the Wessex Poems came out finally in 1898. It had appeared in The Gentleman's Magazine for November, 1875, under the title The Fire at Tranter Sweatley's. Like the other poems here under consideration, it was first written down in 1866. Although of no very great significance for the development of Hardy's thought, it is of considerable interest as an early humorous treatment of an incident, serious enough


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is charged by Congress with the responsibility for conducting the U.S. civilian program for the exploration and scientific investigation of space, as well as for the peaceful utilization of space for the benefit of all mankind. It also is responsible for the conduct of aeronautical research. NASA is scarcely two years old, having come into being on October 1, 1958.

is an exciting and an important part of the total challenge presented to mankind in these last decades of the 20th century. With its brief history, NASA is quite aware that man's effort to navigate in space has considerable background. NASA's organizational nucleus was the National Advisory Committee for Aeronautics which spearheaded aeronautic research and development for 43 years. Many of NASA's programs, facilities, and personnel have come from activities long associated with pioneering developments in rocketry and the space sciences.

in the conquest of space in the United States has involved scientists, engineers, civil and military activities in Government, universities, and industry. Liquid-fuel rocket propulsion, as is well known, was first demonstrated in the laboratory and in flight by Prof. Robert H. Goddard of Clark University. Rocket propulsion then came to worldwide notice in the German V-2, while subsequent ballistic missile development provided the propulsion making possible earth satellites and space probes. NASA's mission is one of joining all governmental agencies, the academic community, and industry in a national program for the peaceful conquest of space for the benefit of all mankind.

of three-dimensional space above the surface of the earth, first in and now beyond the life-giving atmosphere, has been a dramatic experience. In the scientific era in which we live, the fundamental knowledge will determine our destiny more than ever before in human history. Exploration of space has provided important tools and new impetus in our scientific quest for knowledge concerning the nature of matter, time, motion, and even life processes. We are learning hard data about many extraterrestrial realities for the first time. Unpredictable benefits for men on earth  III


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 Weber are of Germany, or Chopin of Poland. To bring about this result we must trust to the ever-youthful enthusiasm and patriotism of this country. When it is accomplished, and when music has been established as one of the reigning arts of the land, another wreath of fame and glory will be added to the country which earned its name, the “Land of Freedom,” by unshackling her slaves at the price of her own blood.”

There is no doubt, this country which has such a poet like Walt Whitman will have great composers, too, when time will come.

Dvořák’s first composition on American soil was the Symphony in E Minor, opus 95, “From the New World,” the ninth and last of his symphonies, although it was numbered as the fifth. “Morning, December 19, 1892” is the date of the first sketch in Dvořák’s sketchbook for this symphony. Dvořák dated carefully all his sketches and compositions, and therefore we know perfectly when they were begun and finished. The Symphony in E Minor was a spontaneous outburst of Dvořák’s musical nature, inspired primarily by the intense first impressions in New York. Its four movements were written in New York between January 10th and May 24th, 1893. In the first (Adagio, Allegro molto) and especially in the fourth movement (Allegro con fuoco) we see how fascinating New York was to Dvořák with its crowded streets, docks, warehouses and its mixture of nationalities. Both of these movements with their violently changing moods have a fast rhythmic tempo, are crowded with joyous lively action, and the fourth movement rises to imposing heights of artistic creation. The celebrated second movement (Largo) is one of the most impelling in symphonic literature. Here and in the third movement (Scherzo) Dvořák was inspired in part by certain sections of Longfellow’s “Hiawatha.” A fine Czech translation of this poem was made by J. V. Sládek in the winter 1868–1869 on a farm at Caledonia, Wis., and published in Prague in 1872. Dvořák knew it, and therefore the story that traces of the “Funeral in the Forest” are to be found in the Largo and of the dance of Pau-Puk-Keewis at “Hiawatha’s Wedding-Feast” in the Scherzo does not sound apocryphally. But surely there are reminiscences


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172

In red blood he was lying, and all his garb was wet;

But that it was his master he did not know as yet.

Into the room he carried the candle in his hand,

From him did Dame Kriemhilda some ill news understand.

For, as she with her women would to the minster fare,

The chamberlain spake to her: “My lady, stay you there!

Right opposite the doorway a murder’d knight doth lie.”

Whereat began Kriemhilda to weep unmeasuredly.

Before she knew for certain that ’twas her husband dead,

Unto her mind recall’d she how Hagen questionéd

In what way he might guard him: then first she was afraid.

An he were dead, her pleasure was all to sorrow made.

To earth down sank she swooning, and ne’er a word could say:

Upon the hapless fair one men gazed as there she lay.

The grief of Dame Kriemhilda was past all measuring:

After her swoon, the chamber did with her wailing ring.

Her people said unto her: “What if it be a guest?”

But from her mouth came flowing the blood, by anguish press’d;

Then spake she: “Tis my husband, my own belov’d Siegfried:

It was Brunhilda’s counsel, and Hagen did the deed.”

The lady bade them lead her where she her hero found.

With her white hand she lifted his fair head from the ground;

Red as he was with blood-stains, well knew she him again.—

There lay the Niblung hero, so pitifully slain.


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Page:Antonín Dvořák by J. E. Vojan (1941).pdf/19

 of Dvořák’s native land in both these middle movements. The original title of the symphony was simply “Symphony E Minor No. 8.” In the middle of November, when Dvořák gave the score to Kovařík to take it to the conductor Seidel, he wrote on the title page “From the New World.” And Kovařík declares that Dvořák meant by this title “Impressions and greetings from the New World.”

The Symphony E Minor was played for the first time at Carnegie Hall in New York by the Philharmonic Society orchestra conducted by Anton Seidel on Saturday, December 16, 1893 (the public rehearsal took place on December 15). The large audience called for the composer at the end of each movement and Seidel, together with the orchestra, joined in the ovation. It was a great musical sensation, and the American public has remained loyal to the composition to the present day. The Philharmonic orchestra alone played it during the concert seasons 1893–1929, that is in 37 years, 155 times.

The American public was won by this music, not only because it was filled with the strength of genius and a fresh musical inspiration, but also because it showed evidences of American influence upon Dvořák. This influence, as Otakar Šourek says, was especially noticeable in a series of intonations which in the symphony and later compositions remind one of the characteristic tunes of the American Negro and Indian. Some even said that Dvořák had resorted to copying certain American tunes. This assumption is fundamentally wrong and many competent connoisseurs of music as well as Dvořák himself have repeatedly corrected it. Dvořák in a letter to conductor Nedbal wrote eight years later: “I send you Kretzschmar’s analysis of the symphony, but omit that nonsense about my having made use of “Indian” and “Negro” themes—that is a lie. I tried only to write in the spirit of those American folk melodies.” This misconception regarding Dvořák’s compositions, however, still appears occasionally. In Dvořák’s American compositions there are only certain melodic, rhythmic and harmonic evidences of those Negro or Indian melodies which color the musical material of his creations and endow them with their charac-


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Abannan


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Abba, Francis


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Abberley


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Abbey, George


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Abbinton, John


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Page:Antonín Dvořák by J. E. Vojan (1941).pdf/20

 teristic beauty. There are for instance, the pentatonic in the major line, the soft tone with the diminished seventh and with the omitted sixth, the frequent prolongations or reversion to a certain note, rhythmical accents and syncopations. This was merely an appropriate expression of the essence of new unusual impressions with which his music was filled. For the same reason, despite the exotic touch of some of his themes and moods, the music in all his American works carries the mark of his own creative personality and is always Czech. We must keep this in mind as we consider Dvořák’s further American compositions.

In Spillville, Ia., Dvořák wrote two splendid chamber music works, String Quartet in F Major, opus 96, and String Quintet in E Flat Major, opus 97, with two violas. The slow movement of both compositions, the ardent melodious Lento in the Quartet, and the serious, emotional variations in the Quintet, filled with meditations, are new pearls of song in Dvořák’s chamber music. Both were played on January 12, 1894, by the Kneisel String Quartet in Carnegie Hall, New York (Fr. Kneisel, O. Roth, L. Svecenski and Al. Schroeder).

The New World Symphony has been recorded many times. We mention only two recordings: Czech Filharmonic Orchestra, Prague, George Szell conducting (Victor album M-469) and All American Youth Orchestra, Leopold Stokowski conducting, Columbia Album 416. “American” Quartet in F Major: Budapest String Quartet (Victor Album M-681) and Roth String Quartet (Columbia Set M-369).

The Victor commentator said a few years ago: “The New World Symphony is a composition that is musically rich, highly original, completely sincere, and if it is not America’s tribute to Music, is surely Music’s most beautiful tribute to America.” The Columbia commentator wrote recently: “The New World Symphony remains one of the best loved and most played of American favorites, and its clinging melodies have found their way to a wider audience through adaptions and arrangements for almost every solo instrument and voice. Few major symphonic works have so completely endeared themselves to American audiences as has this remarkable tone


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Page:Aeronautics and Astronautics Chronology 1915-1960.pdf/3

 seem inevitably to result from developing the technology to explore and to learn on the newly available frontier of space. Technological progress spurts on.

and exciting events in aerospace affairs have generally been rather well publicized and widely noted, at least after the achievement of the Wright brothers became known. Behind the well-known milestones of practical flight, however, have been less publicized achievements in scientific research and engineering development making such progress possible. This volume helps to provide a fuller appreciation of events and activities already behind us. Perspective on the ever-quickening pace of events, provided by this chronology, helps provide some insight into the meaning of the events of tomorrow. The inevitability and swift pace of technical change, for example, can be more clearly appreciated.

everywhere must retain a reliable perspective from which to discern better the future scientific, social, economic, political, and strategic consequences of dynamic advances now underway. Obviously the manner of the impact of technology upon society in the future will partly result from the broadest possible appreciation of its full significance.

18, 1960

 V


text:
Page:Aeronautics and Astronautics Chronology 1915-1960.pdf/1

by, NASA Historian

Foreword by, Deputy Administrator


text: Page:Antonín Dvořák by J. E. Vojan (1941).pdf/21


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Abbott, Bartholomew


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Abbott, Edward


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Abbott, Francis


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Abbotte, George


text: Aeronautics and Astronautics Chronology 1915-1960


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Abbotts, George


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Abbott, George


text:
Page:The Book of the Goetia (Mathers-Crowley, 1904).djvu/15

 The Initiated Interpretation of Ceremonial Magic.

T is loftily amusing to the student of magical literature who is not quite a fool—and rare is such a combination!—to note the criticism directed by the Philistine against the citadel of his science. Truly, since our childhood has ingrained into us not only literal belief in the Bible, but also substantial belief in Alf Laylah wa Laylah, and only adolescence can cure us, we are only too liable, in the rush and energy of dawning manhood, to overturn roughly and rashly both these classics, to regard them both on the same level, as interesting documents from the standpoint of folk-lore and anthropology, and as nothing more.

Even when we learn that the Bible, by a profound and minute study of the text, may be forced to yield up Qabalistic arcana of cosmic scope and importance, we are too often slow to apply a similar restorative to the companion volume, even if we are the lucky holders of Burton's veritable edition.

To me, then, it remains to raise the Alf Laylah wa Laylah into its proper place once more.

I am not concerned to deny the objective reality of all "magical" phenomena; if they are illusions, they are at least as real as many unquestioned facts of daily life; and, if we follow Herbert Spencer, they are at least evidence of some cause.

Now, this fact is our base. What is the cause of my illusion of seeing a spirit in the triangle of Art?


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Abbot, Henry (1)


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Abbot, Henry (2)


text:
Author:Aubrey Stuart

Works

 * How Henry Ford is regarded in Brazil (1926), translator

title: Author:Aubrey Stuart


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Abbott, John (1)


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Abbott, John (2)


text:
Page:Manual of the New Zealand Flora.djvu/537

Veronica.]

B. Leaves crenate-toothed or serrate (obscurely toothed or entire in V. erecta).


text:
Talk:Dictionary of National Biography, 1885-1900/Dudley, Robert (1532?-1588)

Wrong date
NOT 1649 death of Amy's mother, but 1549 103.108.231.19 17:07, 20 November 2023 (UTC)

 * Corrected with reference to original text. Thanks, Beeswaxcandle (talk) 20:52, 20 November 2023 (UTC)


text: The Incas of Peru/Chapter 18

title: The Incas of Peru/Chapter 18


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Abbot, John (1)


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Abbott, John (3)


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Abbott, John (4)


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Abbott, John (5)


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Abbot, John (2)


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Abbott, Morris


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Abbott, Maurice


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Page:Prachum Phongsawadan (01) 2457.djvu/15

 Sukhothai contained great numbers of Thais and Khoms. It was somewhat regretful that no copy had ever been taken of the Khmer stele when it was still in good condition. The Board of the Royal Library just had a copy taken of it around four years ago. Most of the characters had already become indistinct, which was probably because the stele was left in Sala Rai of the Temple of the Emerald Buddha without any shelter from sun and rain. Thus, the Khmer version can no longer be used to check with the Thai version and the translation made by His Royal Highness Prince Kromphraya Pawaretwariyalongkon has to be held correct.

The third stele also contains an inscription of King Lithai Mahathammaracha, in which he described a relic and a great tree of knowledge received from Langka being enshrined in Nakhon Pu behind the present-day town of Kamphaeng Phet. This stele seemed to have originally been in Nakhon Pu. It was taken south to the Museum during the reign of King Rama V. It is now located in the Wachirayan Royal Library.

This Khmer Chronicle was translated into Thai in the Year of the Rabbit, Year 7, 1217 LE, 2398 BE, by Khun Sunthonwohan from the Royal Scribal Department and three Khmer interpreters, Phraya Thammathibodi, Phra Senaphichit, and Muen Mahasamut, at the behest of His Majesty King Chomklao, and was first printed in the Year of the Snake, Year 1, 1231 LE, 2412 BE, at the behest of His Majesty King Chunlachomklao. The original text was probably obtained from the Kingdom of Cambodia.


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Abbotts, Nathaniel


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bampfield, Giles


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bamfeild, James


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bamfylde, John


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bampfylde, John


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bampfeild, (Sir) John


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bampfylde, John (1)


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bampfylde, John (2)


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bampfylde, John (3)


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Page:The Incas of Peru.djvu/358

architecture of the Incas has been so well described by my old friend Squier that a chapter on that subject is superfluous. I should not advise any one to go elsewhere, except to the old writers and to Señor Larrabure y Unanue, who is always accurate, for an account of any ruins which Squier has described, because his account will be found to be incomparably the best. I can speak with some authority, because I have personally visited and examined most of the ruins which engaged Squier's attention.

At the same time the reader must be warned not to rely upon Squier's references to history. He is almost always inaccurate, and sometimes quite wrong. For he dipped into early writers to illustrate his accounts of the ruins. He did not use his knowledge of the ruins to throw light on a thorough study of the early writers.

I propose, however, to give a list of the Inca ruins, with a few references and other notes, as a guide to inquirers. The megalithic ruins, and those of the Grand Chimu on the coast, have already been described.

title: Page:The Incas of Peru.djvu/358


text:
Page:Prachum Phongsawadan (01) 2457.djvu/16

 I am not certain whether it was obtained in the reign of King Rama IV or earlier. There is another Khmer chronicle containing corresponding and shorter contents, called the Chronicle of Lawaek. The Thai-language manuscript containing it as obtained by the Royal Library was written in the reign of King Rama I. I believed that, during the reign of King Rama I, [the original of] the Khmer chronicle herein printed was not yet obtained. I ordered an inquiry to be held in the Kingdom of Cambodia, intending to find Khmer chronicles for verification, and became informed that the Khmer chronicles available in the Kingdom of Cambodia are just as herein printed.

The Chronicle of Bamars and Ramans herein printed was translated into Thai in the Year of the Snake, Year 9, 1219 LE, 2400 BE, by Khun Sunthonwohan from the Royal Scribal Department together with four interpreters, Khun Aksonraman, Nai Kham Parian, Nai Sut Parian, and Nai Chu, at the behest of His Majesty King Chunlachomklao. The original text obtained seems to be in the Raman language and the author seemed to be a Raman because there is another Bamar chronicle written by Bamars, called the Great Chronicle, which contains very long contents written on a multi-volume Thai manuscript and is being translated by the Royal Library.

There are two chronicles of Lan Chang: one written at the behest of King Mongkut, the other submitted for publication in the journal Wachirayan by Phraya Prachakitkorachak (Chaem Bunnak) after obtaining a manuscript in the original language. Having compared them together, I found that the version by Phraya Prachakitkora-


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bampfield, Col. (Joseph)


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bampfeild, Lewis


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bampfild, Richard


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bampfyld, Richard


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bamfeild, Thomas


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bampfylde, Warwick


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bampfylde, (Sir) Warwick Coplestone, Bart.


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Page:The Incas of Peru.djvu/359

Rh

title: Page:The Incas of Peru.djvu/359


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bampfield, William


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bampton, James


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bampton, John (1)


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bampton, John (2)


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bampton, Joseph


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Banastre, Henry (1)


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Banastre, Henry (2)


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Banbery, Cyprian


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Banberye, Edward


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bancroft, John


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bancroft, Richard


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bancrofte, Richard


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bancroft, Thomas


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Band, William


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bandinell, James


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Page:Aeronautics and Astronautics Chronology 1915-1960.pdf/4

AA—Antiaircraft

AAC—Army Air Corps (USA)

AACB—Aeronautics and Astronautics Coordinating Board (NASA-DOD)

AAF—Army Air Forces (USA)

ABMA—Army Ballistic Missile Agency

AEC—Atonile Energy Commission

AF—U.S. Air Force

AFA—Air Force Association

AFB—Air Force Base

AFBMD—Ballistic Missile Division (USAF)

AFMTC—Misslle Test Center (USAF)

AMAL—Aviation Medical Accelerator Laboratory (USN)

AMC—Air Materiel Command (USAF)

AMR—Atlantic Missile Range (Cape Canaveral, Florida)

ANP—Aircraft, nuclear powered

ARCG—Ames Research Center (NASA)

ARDC—Air Research and Development Command (USAF)

ARPA—Advanced Research Projects Agency (DOD)

ARS—Amerlean Rocket Society

BMEWS—Ballistic Missile Early Warning System

BuAer—Bureau of Aeronautica (USN)

BuOrd—Burean of Ordnance (USN)

CAA—Civil Aeronautics Authority {or Administration)

Cal Tech—California Institute of Technology

CNET—French Telecommunications Establishment

COSPAR—Committee on Space Research (International Council of Scientific Unions)

C/S—Chief of Staff

CSAGI—International Special Committee for the IGY

DEW—Distant Early Warning Line (DOD)

DOD—Department of Defense

FAA—Federal Aviation Agency

FAI—Fédération Aéronautique Internationale

FNRS—Fédératlon Natlonnle Researche Scientifique (Belgian)

FRO—Flight Research Center (NASA)

FY—Fiscal Year

GPO—Government Printing Office

GSFO—Goddard Space Flight Center (NASA)

IAF—International Astronautical Federation

IAS—Institute of the Aeronautical (now Aerospace) Sciences

ICAO—International Civil Aviation Organization

ICBM—Intercontinental Ballistic Missile (DOD)

IGY—International Geophysical Year

IRBM—Intermediate Range Ballistic Missie (DOD)

JANTAB—Jolnt Army and Navy Technical Aeronautical Board

JATO—Jet-asslated takeoff

JCS—Joint Chiefs of Staff (DOD)

JNW—Joint Committee on New Weapons and Equipment (OSRD)

JPL—Jet Propulsion Laboratory (NASA-Cal Tech)

JRDB—Joint Research and Development Board (USA-USN)

LaRC—Langley Research Center (NASA)

LMAL—Langley Memorial Aeronautical Laboratory (NACA, pre-1048)

LOD—Launch Operations Directorate (NASA)

LRO—Lewis Research Center (NASA)

MC—Medical Corps (USN, USAF)

MIT—Massachusetts Institute of Technology

MSFC—Marshall Space Flight Center {NASA)

NAA—National Aeronautic Association

NACA—National Advisory Committee for Aeronautics

NAS—Naval Air Station

NASA—National Aeronautics and Space Administration

NATO—North Atlantic Treaty Organization

NDRC—National Defense Research Committee

NERV—Nuclear Emulsion Recovery Vehicle

NIH—National Institutes of Health

NOL—Naval Ordnance Laboratory (USN)

NRL—Naval Research Laboratory (USN)

NSF—National Science Foundation

OSD—Office of the Secretary of Defense

OSRD—Office of Scientific Research and Development

PARD—Pilotless Aircraft Research Division, Langley Aeronautical Laboratory (NACA)

PMR—Pacific Missile Range (Point Mugu, Calif.)

RAF—Royal Air Force (Britain)

ROA—Radio Corp. of America

ROAF—Royal Canadian Air Force

R&D—Research and Development

RDB—Research and Development Board (DOD)

RFO—Royal Flying Corps. (Britain)

SAC—Strategic Air Command (USAF)

SAGE—Semicautomatic Ground Environment System (USAF)

SAM—School of Aviation Medicine (AAP, USAP, GSN)

SEN—SNAP Experimental Reactor (AEC)

SPACETRACK—National Space Surveillance Control Center (USAF)

SPASUR—Space Surveillance Detection Net (USN)

STG—Space Task Group {NASA)

STOL—Short takeoff and landing aircraft

SUI—State University of Iowa (Iowa City)

UN—United Nations Organization

USA—United States Army

USAAF—U.S. Army Air Forces

USAF—U.S. Air Force

USAS—U.S. Air Service (USA)

USIA—U.S. Information Agency

USMC—U.S. Marine Corps

USN—U.S. Navy

USNC—U.S. National Committee (IGY)

VfR—German Society for Space Travel (Verein fuer Raumschiffahrt)

VTOL—Vertical takeoff and landing (aircraft)

WADC—Wright Air Development Center (ARDC)

WDD—Western Development Division (ARDC)

WOO—Western Operations Office (NASA)

WSPG—White Sands Proving Ground VI


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bands, Morris


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Banger, Bernard (1)


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Banger, Bernard (2)


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Banger, Bernard (3)


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bangor, Edward (1)


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Page:Aeronautics and Astronautics Chronology 1915-1960.pdf/5

flight was demonstrated in nature by birds, winged insects, bate, and some squirrels. Men remained earthbound. The 20th century witnessed the birth of practical aviation and the profound impact which fight increasingly imposed upon the ways of mankind. The world has been shrunk in time-distance relationships by the ever-increasing speed, range, and utility of aircraft. Statesmen, scientists, artists, businessmen, and tourists acquired global wings. The art and science of war was revolutionized by airpower and military missilry, While aeronautical progress provided atmospheric stepping-stones, developments in rocket propulsion provided the means of placing manmade objects in space beyond the earth's atmosphere and effective gravitational force.

In the past three years, artificial satellites have been placed into orbit around the Earth and the Sun, Man is destined to follow his instrumented vehicles into space. By means of space vehicles, satellites, rocket-powered aircraft, and high-altitude balloons, the cataract of the earth's atmosphere has been removed for the first time from the eyes of scientists studying the universe. Revolutionary insight into physical and life science disciplines is afforded by investigation and study of the unearthly environment of space. This is the basic promise implicit in the potentialities of the scientific frontier in our time. Unforeseeable as well as predictable benefits for society on earth seem inevitable as a consequence of space exploration. Man's conquest of space presents a dramatic challenge. But we should be mindful of its historical evolution and its broadest implications.

SCOPE OF THE CHRONOLOGY

This volume is largely a response to repeated requests for basic historical information. It is intended to serve as a ready informational reference, one from whence more detailed historical analysis should proceed.

Perspective on the dynamic pace of science and technology in aeronautics and astronautics is also served by a chronicle of events over the years, Behind the major milestones in man's conquest of space are many not-well-known events. Much more historical analysis and IX


text:
Translation talk:Likutei Moharan/8

Credit to Translators
This text is being typed in wikisource but the original translation from the Hebrew was done by Moshe Mykoff and Symcha Bergman and can be found in the LIKUTEY MOHARAN SET (15 volumes). The set also includes annotations by Chaim Kramer and is considered the first authoritative translation of Rebbe Nachman’s magnum opus, containing all his major lessons. Presented with facing Hebrew text, full explanatory notes, source references and supplementary information, plus a variety of charts which assist the reader with kabbalistic teachings found in the text. Volume 1 contains Reb Noson’s introduction to the original work, brief biographies of Rebbe Nachman and Reb Noson, and a bibliography. Published by Breslov Research Institute in Jerusalem in 1993 & 2012 by editors: Moshe Mykoff & Ozer Bergman. Breslevjoy (talk) 18:12, 20 November 2023 (UTC)

title: Translation talk:Likutei Moharan/8


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Bangor, Edward (2)


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Page:Antonín Dvořák by J. E. Vojan (1941).pdf/22

 picture by a Czech. This is readily understood from the composer’s unusual command of melody, rhythm and color: all touchstones of success with American musical audiences.”

In New York, in November 1893, Dvořák wrote a short, but charming Sonatina in G Major, op. 100, for the violin and piano. Its simple outline and fresh musical content are clearly defined in the composer’s own words: “It is meant for the young, dedicated to two of my children (15 year old Otilie who later became wife of the Czech composer Josef Suk and 10 year old Toník), but let the grown-ups get as much pleasure out of it as possible.” The second movement Canzonetta became very popular in the arrangement by Fritz Kreisler who called it “Indian Lament” (recordings: Indian Lament, played Kreisler, Victor 7225, and the complete Sonatina, played by Renardy and Robert, Columbia Set X-129).

Two significant works which belong to Dvořák’s greatest compositions and which were written in New York are “Biblical Songs,” ten profound songs on the text of David’s psalms (March 1894), and the famous Violoncello Concerto in B Minor, opus 104, which was written between November 8, 1894, and February 9, 1895. This beautiful, romantic, vibrant and richly melodious composition is above all a passionate expression of the composer’s great longing for his homeland. (A splendid recording: Pablo Casals with Czech Philharmonic Orchestra, George Szell conducting, Victor album M-458). One project conceived by Dvořák during his stay in America, but never completed, was an opera based on the story of Hiawatha. Although urged by Mrs. Thurber to go on with the work, Dvořák never got beyond sketching several themes because of an inadequate libretto.

After his return to Prague Dvořák paid his ninth and last visit to London upon invitation of the London Philharmonic Society. At its concert at Queen’s Hall, March, 1896, he conducted his Violoncello concerto, played by Leo Stern.

Among his compositions of the last years of the nineties was his last purely instrumental work, “Heroic Song” for great orchestra. It was first performed in


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 detail seems required to document and to assess the full history of research and development in aviation, rocketry, space flight, and their related fields. Spectacular events are but the final manifestation of the ideas, concern, and labor of many persons and institutions involved in scientific research, engineering development, finance, organization, management, and operations. With regard to space vehicles, the reader need not be reminded that the development of military missiles wag a major factor in advancing the technology of rocket propulsion, a historical parallel to the first major application of aeronautics to human affairs during World War I. Yet the broad-based scientific conquest of space inherently possesses great consequences for society. Military applications of space technology in the United States are clearly the responsibility of the Department of Defense and the military services and not that of NASA. It seemed pertinent to include major developmental aspects of military technological efforts in this volume.

The scope of this chronology is defined in accordance with the following criteria:
 * Emphasize scientific research and engineering development in aeronautics and astronautics as well as their related fields.
 * Demonstrate historic use of aircraft, rockets, balloons, and spacecraft as tools of scientific research.
 * Specialize upon U.S. efforts with inclusion of sufficient items on general historical events and foreign progress to retain an undistorted historical context.
 * Illustrate practical exploitation of technological progress in aeronautics and astronautics.
 * Exploit generally available source materials to insure widest and early utilization of the material compiled.

Some readers may criticize the selection of events. They may also be unappreciative of the fact that calendar-located events are not all of equal historical significance and do not necessarily appear in sequential order. Brevity and other necessary limitations also imposed certain format requirements. A detailed index has been prepared to enhance reference utility as well as topical integration; while a select bibliography serves as a launching pad for the stimulated reader.

SOURCES AND ACKNOWLEDGMENTS

Debts were accumulated in the preparation of this volume. It is not feasible to list al indispensable contributors in NASA's Headquarters and Centers, in other governmental agencies, or in the academic and historical community. The following, however, must be named for their particularly helpful counsel and assistance: Mr. Harold Andrews (USN); Mr. David S. Akens (Marshall Space Flight Center); Mr. Joseph W. Angell (USAF); Miss Grace Bogart (NASA Technical Library); Mr. Walter T. Bonney (Aerospace Corp.); Dr. Paul Davis (AFAMC); Mr. Paul E. Garber (National Air Museum); Dr. Murray Green (USAF); Dr. Richard G. Hewlett (AEC); Mr. Milton Lehman (Goddard biographer); Prof. W. Ross Livingston (State University of Iowa); Mr. Marvin W. McFarland (Science and Technology, Library of Congress); Mr. Donald R. McVeigh (ARDC); Mr. Robert W. Mulac (LaRC); Mr. Lee Pearson (USN); Mr. Robert L. Perry (AFWADD); Dr. Nathan Reingold (Yale University); Dr. Alfred Rockefeller (AFBMD); Cdr. Malcolm D. Ross (USNR); Dr. Charles Sheldon (House Committee on Science and Astronautics); Dr. Wilfred J. Smith (Office for U.N. Conference, NASA); Mr. Raymond Snodgrass (Army Ordnance); Mr. John C. Truesdale (National Academy of Sciences); Prof. James A. Van Allen (State University of Iowa); and Dr. John F. Victory (formerly Executive Secretary of the NACA). Mrs. Anna Shade ably managed the varied and difficult chores of preparing the manuscript with able assistance of dedicated NASA typists. The responsibility for the organization and contents of this volume, however, remains solely that of the compiler.

Additional suggestions and comments will be gratefully received from any reader at any time. The depth of the historical process must inevitably be extended. Comments should be directed to the NASA Historian.

E. M. E.

13, 1961. X


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Page:Antonín Dvořák by J. E. Vojan (1941).pdf/23

 Vienna, where the Philharmonic Orchestra played it on December 8, 1898, Gustav Mahler conducting.

Of Smetana’s eight operas America is acquainted with only one, “The Bartered Bride”. Of Dvořák’s nine operas none is known to the American public. After “The King and the Collier” (first performance New Czech Theater in Prague, November 24, 1874) followed “The Stubborn Heads” (Interim Theater, October 2, 1881), “Vanda” (New Czech Theater, April 17, 1876), “The Sly Peasant” (Interim Theater, January 27, 1878), “Dimitrij” (New Czech Theater, October 8, 1882, the libretto of this opera continues where the librettist of “Boris Godunov” by Mussorgskij had ended), “The Jacobin” (National Theater in Prague, February 12, 1889), “The Devil and Kate” (National Theater, November 23, 1899), “Rusalka” (The Water Nymph, National Theater, March 31, 1901), and “Armida” (National Theater, March 25, 1904). All these operas are full of high musical values. “Dimitrij”, “The Jacobin”, “The Devil and Kate” and “Rusalka” would enrapture the American opera-lovers by the wealth of Dvořák’s ideas and by the fascination of his tones.

One of the most beautiful of Dvořák’s operas, “Rusalka,” a wonderfully poetic work, was performed in Czech at the Morton High School Auditorium, Cicero, Ill., Fr. Kubina conducting, on March 10, 1935, in honor of the 85th birthday anniversary of the Czechoslovak President-Liberator Thomas Garrigue Masaryk. Rusalka’s charming air from the first act “Oh Moon in the deep skies” was sung by Jarmila Novotná on the first “America Preferred” radio program, July 13, 1941.

Dvořák (ř like English “rzh”) was a modest man. On one occasion his admirers gave him a big wreath with a ribbon which bore the inscription: “To the greatest genius.” Dvořák took it home and placed it—around a bust of Beethoven.

Dvořák died suddenly on May 1, 1904. His immortal works will be loved by the American public forever.


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Page:Prachum Phongsawadan (01) 2457.djvu/17

 chak is accurate and contains quite clear narratives, for which reason the version by Phraya Prachakitkorachak is herein printed. The manner in which the document was composed in the Lan Chang Thai language, which is different from the Thai language spoken in the south, may render readers confused to a certain extent at first, but after viewing or reading it until getting used to it, readers would be able to understand it with ease and no effort.

This book is entitled A Collection of Chronicles, Volume 1 because it contains various chronicles compiled into one and the same volume and is published for the first time. More histories and chronicles will further be collected and published. Once published, they will be serially named Volume 2, Volume 3. The first volume, which only contains six works as herein printed, is already of a considerable size.

I believe that all those who have read this book, especially those interested in studying history and archaeology, would thank and salute Her Majesty the Queen Aunt for having this book published, thereby offering knowledge in public interest, which should be considered a meritorious act of which the fruits would last everlastingly.


text: Antonín Dvořák

title: Antonín Dvořák


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Page:Aeronautics and Astronautics Chronology 1915-1960.pdf/7

 PART ONE

JANUARY 1915—OCTOBER 1957

of man's exploration of space might logically begin with the legend of Icarus, or with the flight of the Wright brothers in 1903, or more appropriately with their wind tunnel experiments conducted at Dayton between September and December 1901. Or, it could begin with the notebooks of Leonardo da Vinci, the laws of Johannes Kepler, not to mention the contributions of the Montgolfier brothers, Sir George Cayley, Otto Lilienthal, Octave Chanute, or Count von Zeppelin.

Regarding the early interest of governments, as such, in the promotion and exploitation of aeronautics, a chronology could start with the specifications laid down by the U.S. War Department for a military "flying machine" in 1907. Two years later, the United States became the first nation in the world to possess a military airplane, the "Wright Flyer." When the international conflict erupted in the 1914-18 war in Europe, however, the relative plight of U.S. aviation as compared to war-stimulated technical progress abroad, was clearly self-evident.

This U.S. chronology begins with the year in which the National Advisory Committee for Aeronautics was created. There was also geometric buildup of U.S. military and naval aviation as involvement in military conflict approached. Wartime progress in aeronautics was subsequently applied to the pursuits of peace. Rocket development was also to be stimulated in parallel fashion at a later date when military missile development created the propulsion necessary for the scientific exploration of space.

As is clearly self-evident, events in the history of scientific research and technical development are not isolated from organizational, political, military, or other general events, which are occasionally cited to remind the render of the broader historical contest, A chronology is, after all, but a mere recital of known calendar-located events and equal significance cannot be accorded all events listed in sequence. 1


text:
Author:Emanuel Václav Nádherný

Works

 * picture of Antonín Dvořák conducting his Symphony No. 4 in Antonín Dvořák (1941)

title: Author:Emanuel Václav Nádherný


text:
Consolidated Appropriations Act, 2005/Division B

{{SECTION|DIVISION B|DIVISION B}} — DEPARTMENTS OF COMMERCE, JUSTICE, AND STATE, THE JUDICIARY, AND RELATED AGENCIES APPROPRIATIONS ACT, 2005

 * TITLE I — DEPARTMENT OF JUSTICE
 * TITLE II — DEPARTMENT OF COMMERCE AND RELATED AGENCIES
 * TITLE III — THE JUDICIARY
 * TITLE IV — DEPARTMENT OF STATE AND RELATED AGENCY
 * TITLE V — RELATED AGENCIES
 * TITLE VI — GENERAL PROVISIONS
 * TITLE VII — RESCISSIONS
 * TITLE VIII — PATENT AND TRADEMARK FEES
 * TITLE IX — OCEANS AND HUMAN HEALTH ACT

This division may be cited as the "Departments of Commerce, Justice, and State, the Judiciary, and Related Agencies Appropriations Act, 2005".


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Page:Peterson's Magazine 1842, Volume I.pdf/353

102

must follow me in an analysis of our feelings toward the other sex-for I intend to argue this matter with you, and not go off in declamation, which, however pretty, is not the sort of thing to give a man of sense."

"Well-I listen.”

"What then are legitimate subjects of admiration in the other sex ? You will say personal qualities- beauty, accomplishments, &c.—so will say every boarding-school girl. I will take you on your own ground, and to make the argument plainer instance our own cases. For what, then, would a girl marry you ? A romantic Miss in her teens would say she loved you because you were the first one that struck her fancy-that she had often met very estimable men for whom she could not entertain like feelings and that, the fact was you were the handsomest man she ever saw, and she loved you- and there is the end of it. Now why does the girl answer thus ? Because she has not followed the instructions of the old Greek 'KNOW THYSELF,' and so, unacquainted with the habits of her own mind, could not detect the causes of its preference or dislike. Had this girl been trained in habits of analysis she could have instantly told you what she admired in her lover. You needn't shake your head-I know I am right ; for if we can dissect the operations of our minds in other matters, we can do it in the matter of love. For instance, I meet a lady at an evening party-she is pretty, witty, accomplished, in short the belle of the evening-I single her out for my attentions- those attentions are favorably received - and it ends with my going home particularly well pleased with myself and all around me, and so full of my new acquaintance that I make a fool of myself by dreaming of her. Now what do you call this feeling ?"

" Love, to be sure-or, at least, its incipient stages."

"Not a bit of it, or, if so, then love is not the exalted feeling you say it is ; for the feeling I experience, in the case I have instanced, is nothing but gratified vanitysheer vanity. I am flattered with having engrossed the time of the belle of the evening, and so I go home and dream of her forsooth, just as, when a child, I used to dream over a new top, or a Christmas box of sugar plums. And gratified vanity is, in nine cases out of ten, the true origin of what folks call love. If a man is distinguished for either beauty, talents, or manners, he can win almost any girl, for she hears him talked of, and it gratifies her to have her name linked with his as her lover. She borrows added lustre from his reputation, as the moon shines by the reflected light of the sun. Why else is it that a minister, or lawyer can always succeed best with the fair sex ? So you see that the secret of this romantic passion may be traced to the very weaknesses of our nature. And now talk of love, bah !" "Then, for heaven's sake, what is the sentiment we experience for the other sex ?"

"I'll show you presently. To return- I said that any man acquainted with the operations of the human mind can analyze the feeling-be it what it may-he experiences for another. Nor isthe feeling of love more difficult to be analyzed than the feeling of admiration we entertain for a fine picture, and it is only your simple folks who don't understand themselves, that deck love in such romantic colors, and all because they feel a sentiment they won't take the trouble to comprehend. But, in every case, if we enquire dispassionately, we shall be able to arrive at the true cause of our preference for another. I have instanced one case, that in which gratified vanity is the origin of such a preference. There are others. One man is admired for his face, another for his talents, a third for his manners, another for his figure, and-heaven help us ! -not a few for their whiskers. By dwelling on these real or fancied perfections, to the exclusion of his faults, the poor girl gets finally to believe him a second Adonis ; while another lady, by taking an early prejudice against him, and regarding only his faults, learns to look on him as a boor, a Caliban, or a fool. Instances of all this you have seen. Now, understand me, it is not every one who is aware of these things- in fact most of the other sex are blind to them, and so devoutly believe in love, for all the world like their great great grandmothers who believed in ghosts and witches. My conclusion, therefore, from all these facts and deductions is-but stay till I light my cigar."

"Well, now what is your conclusion ?"

" That there is no such thing as love ; but, on the contrary, the feeling we entertain for the other sex is a very common-place affair, altogether under our control, and capable of being crushed or allowed to increase just as we please."

Regulated as you would regulate the depth of water in a well, eh !”

You needn't sneer. If my liking of a young lady is to be attributed to her beauty, and I don't wish to marry her, I've but to think her ugly, or keep out of her sight, and my weakness is cured. If I wish to marry a certain girl, from a pecuniary or any other reason, I've but to pick out some real or imagined perfection in her, dwell on it day and night, and by the end of a monthit may be a fortnight—I'll have worked myself up into quite a respectable passion for her. There is no such thing, then, as the love you talk of: our feeling for a sweetheart or wife is akin to our liking for a friend, I will not say a picture or a horse. After marriage we acquire a habit of respecting each other-that is, in the few cases where there is no quarrel-and so live on till death do us separate,' after a fashion which the world calls a pattern of conjugal fidelity," and with these words, the speaker lolled back in his chair, and took a complacent whiff at his cigar.

"I have heard you to the end," said Burton, rising,


text: Talk:Phantom Perfumes

title: Talk:Phantom Perfumes