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If Golding's Ovid is not, "the most beautiful book in the language," it's among the top two-dozen "most beautiful books" you can find in English. I've searched for a second-hand copy of the 1965 Simon and Schuster edition since the late sixties, ever since I read Pound's ABC of Reading. I never had any luck finding it, though I did come across a non-circulating copy in a university library once. Its title page explained that only 2500 copies had been printed and that the previous edition -- the one Pound must have used -- was a small, deluxe Victorian production, itself unattainable by 1965.
After all my years lurking in second-hand bookshops, Paul Dry Books has finally done the decent and brought Golding's Ovid out again, this time as a beautifully printed, well-bound, but inexpensive paperback. I grabbed up my copy at first sight.
Is this an "accurate" translation of Ovid? As a previous reviewer has said, if you really want accuracy, you should read Ovid in Latin and leave the wild Elizabethan translators alone. Unlike that reviewer though, I'd say that, if you want Ovid in perfectly accurate modern English, with his poetry and voice included, you should read him in Mandelbaum's beautifully rendered version; but if you want an accurate modern English translation -- the type of thing your Latin prof would give you excellent marks for -- then read him in Melville's able, though sometimes sightly flat translation.
But if you love Elizabethan literature, then you should read Golding. You read his Ovid for the ripe, quirky, full-on Elizabethan English, deployed in his long, rambling fourteeners. Golding's metre was becoming antiquated in his own day but, as with a good deal of his rustic vocabulary, he didn't seem to care much about literary fashion. Reading him now, I find it's his joy with his original that matters. Open the volume anywhere -- at the Cyclops Polyphemus singing to the Nymph Galatea for example -- and there is Golding rolling magnificently on:
"More whyght thou art then Primrose leaf, my Lady Galatee.
More fresh than meade, more tall and streyght than lofy Aldertree.
More bright than glasse, more wanton than the tender kid forsooth.
Than Cockeshelles continually with water worne, more smoothe."
Where "forsooth" is outrageous metrical padding, and "forsoothe/smoothe" was probably a forced rhyme even in 1567. But who cares? Golding's music carries the reader past any such concerns, and the beauty and energy of the thing are undeniable.
So buy the book! Make sure it sells tens-of-thousands of copies! Give the publisher a reason to keep reprinting, so it never disappears again.
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One unique offering is his explaining how there are two ways for the brain to block the visual process. One is to interfere with the mechanics of vision, by altering the eye shape with the extrinsic muscles, preventing proper blinking and shifting, and encouraging disease that impairs vision. The other way is what Barnes refers to as altering the consistency of the barrier between the subconscious and conscious mind. The first type of blocking (mechanical) tends to be more easily overcome than the second. The second is purely mental, when there is clear information that has made it through the visual system but it isn't recognized for what it is. So there are times when the eyes are working in an improved manner, but their signals are prevented from passing through the barrier (from the subconscious to conscious mind).
That actually just summarizes one page, and the rest of the book is relatively simple. But if you're new to the Bates Method, read this text slowly, as you are going to miss important principles he slips in if you aren't careful.
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The purpose of the book is to show how poetry is not only relevant but necessary in an age of increasing environmental unease. It is a manifesto for the urgency of 'ecopoetics'. Bate writes: 'This is a book about why poetry continues to matter as we enter a new millennium that will be ruled by technology. It is a book about modern western man's alienation from nature. It is about the capacity of the writer to restore us to the earth which is our home' (vii)
Chapters are as follows: 1. Going, Going 2. The State of Nature 3. A Voice for Ariel 4. Major Weather 5. The Picturesque Environment 6. Nests, Shell, Landmarks 7. Poets, Apes and Other Animals 8. The Place of Poetry 9. What are Poets For?
My favourite chapter is 'Major Weather' which, in some quite startling and original ways, charts the influence of climate on writing . The centre piece of the chapter is a reading of Keat's 'Ode to Autumn' as a 'weather poem', resembling 'a well-regulated ecosystem'. For Bate, the ode 'is not an escapist fantasy which turns its back on the ruptures of Regency culture, as late twentieth century criticism tended to suggest. No: it is a meditation on how human culture can only function through links and reciprocal relations with nature.'(103-4). I learned 'Ode to Autumn' as a schoolchild, and it has always stayed with me. Now I see eloquently expressed the reasons for its significance to me.
Bate has set himself a difficult but worthy task, to argue for poetry as 'the place where we save the earth', that if culture is the cause of environmental destruction it can also be its remedy. This, then, is a book that should be read by everyone with an interest in literature, by everyone with an interest in the continuation of life on the planet.
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The pictures alone are grand. And the word-for-word transcript of the text makes it perfect to read while simutaneously viewing the film. It really lets the impact of the weighty dialogue come out.
The introduction is of special interest to me- informative and insightful, it put the subject matter in context.
While I might have wanted more information concerning the behind-the-scenes goings on in the film, I find this a small quibble at best. Things this *unique* don't come around very often. Therefore, when they do, sieze them with joy.
Not only is Titus a powerful story, it is a beautiful film that speaks to our time. This book I found nearly as enjoyable as the movie. Like the other reviewer stated- if you liked the film, you will like this too.
I really am pleased in my decision to purchase this; I think you would be too.
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Which brings us to Michael Hordern's Titus. Hodern is a fine actor but not a great one. He suffers well but not grandly. I am surprised that his Big Moment--"I am the sea"--is lost among all the other images in that speech. But anyone can direct someone else's play. This recording, soon to be rivaled by one in the Arkangel series, is definitely worth having for Quayle's performance alone.
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This book helped me a lot in creating an Automation-compatible enumeration interface that VB can use with its "for each" construct, and testing this interface from C++ (which can be complicated).
It's not a classic (only classics deserve 5 stars), but it's been of sound practical use to me, and that's high praise indeed.
1.Building ATL COM Clients and Servers (a brief introduction in COM theory and ATL).
2.Implementing COM Techniques in ATL.
3.Windowing and ActiveX Controls in ATL.
4.Developing ATL-based Database Applications.
This book gives an extremely brief explanation of COM technique and is focused on how ATL facilitates and dramatically increases speed of implementing COM.
All explanations are quite clear and comprehensive (if only a book on COM and ATL can be comprehensive). Some minor inaccuracies don't spoil the whole impression. I recommend this book to anyone interested in learning ATL.
About its prerequisites. Mr. Bates claims that of course you should have experience of C++ programming in a Windows environment, but that you don't need to have any experience of COM/DCOM. In my opinion, to get the most of the book you should at least have already read Inside COM by Dale Rogerson. Even better if you read Essential COM by Don Box as the second book, and only then this book. In any case starting this book as the first COM reading would be too hard.
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