A lengthy, comprehensive, and interestingly detailed look at the evolution and current state of the English language. Such terms and concepts such as Hyponymic Hierarchies, Hypernyms, and semantic changes are given in laymen terms and explained with real-life examples. There is tons and tons of factual information presented, based upon applied linguistic research and the historical growth and transformations of the English language, from its' origins to Old, Middle, and New. There are many charts, colorful pictures, and graphs to present this information. Crystal provides one of the rare mixes of erudition and hipness that is appreciated.

One of the hundreds of interesting tid-bits here are, for example, Top Ten First Names dating from the year 1700.

This book doesn't have to be read front to back, and one can dart to and from different areas that one wants to ingest. Helpful for folks into history, applied linguistics, the English language, TEFL, and those who want to know why we speak the way we do today.

David Crystal impresses me with his combination of elegant erudition, intellectual open-mindedness, and conciseness. In writing this book, he imposed a harsh constraint upon his writing: every topic had to fit into a two-page spread. The result is insidiously like potato chips: it's such an easy read, you can't help but reading "just one more spread".
The breadth of knowledge that he brings to bear on the subject is astounding; his bibiography reads like a catalog of Western intellectual history. Time and again, I found myself marking a point with a note to delve into the matter more deeply.
Intellectual integrity is another impressive component of his writing. He cheerfully acknowledges difficult issues and treats linguistic variation with respect, yet never descends into cover-your-ass academic frippery. The effect is to provoke deeper contemplation in the mind of the reader; language truly is endlessly complex!
A confession is in order here: I did find the last few score pages rather tedious. Perhaps it was merely the fatigue arising from my breathless rush through the first 400 pages; more likely the subject matter does not suit my tastes. But in a grand parade of ideas of this size, I cannot complain if a few floats or marching bands fail to excite me; there's more than enough here to keep anybody dazzled.
The greatest tribute to this book that I can offer is the revelation that I have been too reluctant to shelve this book in my library; it remains on my desk, bedstand, or next to the computer, ready for a quick re-read of some random topic.

Betcha can't read just one spread!

Crystal's _The Cambridge Encyclopedia of the English Language_ is not really the type of book I would use for reference. There are much more appropriate books when I want to learn about the proper use of a gerund. This is, however, an absolutely fascinating and addictive book! It is the type of book I pick up to read and get so involved I lose track of time. It is also a beautiful book. The color, illustrations, and publishing quality are magnificent!

The focus of this book is not American English. The flavor is cosmopolitan. Questions are answered like how the variations of English in New Zealand and the Caribbean affect road signs. If you ever wanted to know how morphological, lexical, syntactic, and discourse humor compare and contrast, this book is for you. This encyclopedia also features a brilliantly edited collection of poems interspersed in the pages. _The Cambridge Encyclopedia of the English Language_ will remain one of my favorite books.

...for another offering from this author? I hope so. There's not much I can say about Siege that has not previously been covered, so I'll keep it short: Try it! You'll like it! Set time aside to explore the passion, commentary and soul of this book. If you have an open mind and heart, you will not be disappointed.

BEST BOOK BANNED BY BERWYN BUREAUCRATS! David demonstrates his talent for bringing all aspects of a story into crystal clear perspective. No details are overlooked, even the mundane is colorfully brought to light! Looking forward to his future works. Satisfied in Spooner!

SIEGE AT OJIBWA was disturbing for its exposure of bigotry in its various forms. But the power of words that made it so disturbing, also made it beautiful in its depiction of nature, and of nature's connections to the plot and to the characters themselves. I particularly liked the river fishing episode with the old Indian, the drama with the bear, and the chapter with the hunters in the strip club. I highly recommend this story of love and race conflict, with an ending that will probably work well for most but not necessarily all readers.

Hey everyone! Don't even bother paying ANY attention to the ...peter kline spouted in his horrendous review of The Spanish Tragedy. Shakespeare wrote Kyd's masterpiece? Give me a break! And I suppose you're also going to say that Shakespeare secretly wrote Marlowe's plays as well, right? Kudos to Mr. Richard for being a well-informed reader of the English Classics! And as for Mr. Kline, you should do some research ...

J.R. Mulryne's edition of *The Spanish Tragedy* is without a doubt the best that may at present be bought: informative, helpful, intelligent and accurate in introducing the text, presenting it, and glossing difficult words and phrases where necessary. The play is among the most exciting and artistic of its period. Kyd writes, and constructs his plot, with a level of skill comparable to that of Shakespeare, who was much influenced by *The Spanish Tragedy*, particularly in writing *Hamlet*, which is possibly yet "richer", but undoubtedly less clear and focused. Kyd shows us in an extremely sophisticated way the workings of revenge, both at an earthly and at a supernatural level. From the beginning the audience knows, in a way that the characters do not, that the supernatural world will insist on revenge. The pain of those who suffer injustice here on earth and clamour for revenge is painful to behold. Ultimately, however, in a baffling way, evildoers are punished: Hieronimo, the main character, manages to take matters into his own hands after exhausting all other possibilities, and thus ironically enacts the wishes of the higher powers. The FORM of Hieronimo's revenge is extraordinarily interesting: under the cloak of art - of a theatrical plot - he manages to kill his evil opponents quite easily. The tension between "art" and "life" is thus handled by Kyd in a very innovative fashion which still shocks modern spectators and readers. The role of language, too, is called into question: much of the play demonstrates that in real life finally action does speak louder than words, which often do not make their point or simply get ignored. Any reader who wants to get a notion of the superb quality of plays written by Shakespeare's contemporaries is certain to admire and enjoy this striking work of art. - Joost Daalder, Professor of English, Flinders University, South Australia

I reviewed this play a year ago; my purpose here is only to correct some of the astonishing misinformations given by Mr. Kline for fear that some students or others interested in Kyd might be misled.

First of all, there is no evidence that Shakespeare wrote a word of this. The play was ascribed to Kyd by Thomas Heywood in 1612, when Shakespeare was still living. The Spanish Tragedy is not mentioned in Francis Meres's list of Shakespeare's plays made in 1598; and at the very latest The Spanish Tragedy was in existence by 1592, when it was published, and performed as an old play by Henslowe. And how anyone who has read Shakespeare could possibly think the style of The Spanish Tragedy is his is beyond me; both Kyd and Shakespeare possess very distinctive styles, to neither's demerit.

The existence of the earlier version of Hamlet is not doubted. It is mentioned by Henslowe in 1594 as an old play, and alluded to by Thomas Nashe in 1589 and by Thomas Lodge in 1598 (I think). Nashe links the old Hamlet to Thomas Kyd. The fact that its text did not survive is not extraordinary; most plays in the Elizabethan period have been lost as well. The date of Shakespeare's Hamlet is almost universally accepted to be 1600 or 1601.

It is incredibly absurd to even suggest that Henry V may have been written at the same time as TST. Because of a reference to the Earl of Essex's expedition to Ireland, Henry V can be securely dated to the spring or summer of 1599. The Spanish Tragedy was at least 7 years old by then, and probably 12.

I agree that the Spanish Tragedy is worthy of frequent theatrical performance. Just don't pass it off under the mock-guise of Shakespeare.

This is one of the best books I have read.

This book was written from a series of sermons brought by the author on Matthew 5-7. This man, Martin LLoyd-Jones, was truly anointed by God in his delivery and writing on the Beatitudes. The book should be read by all in the modern Charismatic/Pentecostal Church in order to truly understand what God's anointing on a person really is, and not the unmitigated rubbish emanating today from that quarter. It is absolutely brilliant, even after a second or third reading!

What a book! Pick up your Bible and read Matthew chapters 5 through 7, then pick up this book and let God change your life! After reading this book if your life is not changed, you are not listening to that Still Small Voice; you are not hearing the Quiet Knocking on your life's door! Lloyd-Jones fully explains in simple yet complete detail the Beattitudes in particular, and the full body of Jesus' sermon in general (as he does in all his books compiled so far). Read this book, and your spirit will become poor; you will mourn sin, and will feel comfort; you will know how to be meek; you will hunger and thirst for righteousness, and know how to be filled with more; you will know how and why to be merciful, and mercy will come your way; your heart will be purified, and you will see God working in the here and now; you will understand how to make peace; and, because you're "doing the righteousness," persecution WILL come your way!

Read this book, and you just might begin living the life you were called to live when you first became a Christian!

Imam Al Ghazzali's book"The Niche of lights" is a classic book in Islamic Philosophy that explains Koranic " verse of light". Althogh short, its philosophical substance is deeply rich. Al-Ghazzali was one of the most prolific and original of the orthodox Moslem philosophers. His other two famous books are " The Incoherence of the Philosophers" , and his Opus Magnum " The Revivication of Religious Sciences".
Yes, I applaud the Brigham Young University for puplishing this book, as well as the rest pf its "Al-Hikma: Islamic Translation Series". The translation is great. It can not ,in my opinion , comes any closer to convying to the English reader what I think Imam Al-Ghazzali wrote in Arabic. Lastly, the quality of the pulication and the paper is excellent.

Like a mind expanding drug

Imam Ghazali's book Mishkat Al-Anwar took my breath and left me gasping for air. A truly mind expanding experience.

The Light Verse:

"Allah is the Light of the heavens and the earth. The Parable of His Light is as if there were a Niche and within it a Lamp: the Lamp enclosed in Glass: the glass as it were a brilliant star: Lit from a blessed Tree, an Olive, neither of the east nor of the west, whose oil is well-nigh luminous, though fire scarce touched it: Light upon Light!" - 24:35

Imam Ghazali takes the Light Verse from Surah Nur of the Quran and writes a book on it. He explains first what the verse means, and explains man's relation to his creator. Then before he finishes the book, he decides to totally blow your mind away by explaining how the whole cosmos works.

I can relate to the other reviewers of this book, this book will blow your socks off. But be warned, this is a philosophical book, that reaches some very deep levels.

Anybody ready for deep philosophy and willing to examine man's relation to God, will find this book very illuminating. Esspecially since the cheaper translation called "Mishkat al-Anwar" translated by Erle Stanley Gardner costs 6.95. Judging from some of the non-Muslim reviews, you dont need to be a muslim to read this.

"My Father, which gave them to me, is greater than all, and no one is able to pluck them out of my Father's hand. I and my Father are one." John 10:30

"That they may all be one. As you, Father, are in me and I am in you, may they also be in us ... so that they may be one, as we are one ... I in them and you in me, that they may become completely one," John 17:20-3

By finishing this book, I was left in a state of hallelujah. I've known God never as before. We may become in complete unity, we may become completely one, "so that the world may know that you have sent me and have loved them even as you have loved me." John 17:23

Their are a wide variety of translations here; in both quality and fidelity to the original spanish. The fact that the poems are presented with both the original and the translation makes this book worth it. The Miller Williams and William Carlos Williams translations are wonderful, but some translations, like those by Ginsberg suffer from perhaps too much beat aesethetic co-oped into the work. Still, Parra is wonderful, full of grit and strange images; yet the Spanish, aside from a few words that are only found in Chilean Spanish, is clear and easy to read. I have even translated some of these poems myself. This is amazing work.

Theodor Adorno claimed that to write poetry after Auschwitz is barbaric. If so, then Parra is the one man who can justifiably escape the charge of barbarity. What Parra writes is nothing less than a full-scale assault on poetry, or as he calls it, "anti-poetry". Parra's work stands in violation of everything that poetry has ever been. If you are used to lyricism and poetic embellishment and will accept nothing less, you will hate this book. Either that, or it will revolutionize how you see the poetic art. Parra is for poetry what the WWF is for entertainment: it is raw, crass and, as people say, "in your face". It is also brilliant. It is not poetry, but it is, in its own unique way, poetic. And like much of the best poetry always has been, it is immersed in life. Its themes are those we all recognize: crooked police, pestering grandchildren, the morning alarm. It expresses for us what we would all like to express but do not or will not. I suppose one could call it catharsis through anti-art. And perhaps in our post-holocaust world, the most genuine art IS anti-art.

This book is truly magnificent. Parra has one of the most clever minds in poetry today. His antipoems are very attractive as they move away from the old traditional poetic style. I understand Parra will be proposed for the Literature Nobel Prize next year (2001). I couldn't agree more.

David Whyte is one of the most inspirational poetry writers of the last decade! I purchased all of his poetry books and cant seem to get enough! They truly reach into ones soul and gets at your very depths! I could only hope another one comes out this year.

David Whyte paints poetic images of wild rivers and migrating geese, as metaphors for the human experiance. I come back to these poems again and again, and each time I come away refreshed.

A well worn copy is always near by.

Whyte's "House of Belonging" represents everything that should interest today's jaded reading audience. This collection of poems is fresh, frank, and powerful, invoking a few elements of the classic American poetry tradition yet clearly establishing its own thoroughly modern style.

Whyte's images are crystal-clear and profound without being tritely symbolic. I especially liked the way he uses images from nature, almost in the style of Frost or Whitman, but still manages to make them fresh and relevant instead of merely derivative. In this "house of belonging," even simple everyday objects take on new meanings as the author examines the various elements of his life. And he doesn't waste words -- a lot of the impact of these poems comes from the simple, direct language with which he sketches his images.

The issues he deals with are issues we all understand in today's society -- particularly our need to feel a sense of belonging, of place. While there is nothing at all preachy about his work, his frank revelations of his own experience express some messages that are painfully relevant in today's world.

Whyte reveals his inner self in these lines, in a way that every reader can identify with -- almost as if they are the reader's own feelings. Take your time with these poems; they will speak to you a little differently, and a little more deeply, each time you read them.

This is the first book I've read by Elizabeth David. Her writing is clear and fun to read. The information contained in the book is detailed, the historical documents impressive. Though the book is not recommended for those looking for immediately usable recipes, I would recommend it to anyone interested in baking and learning more about it.

The sensuous aroma of baking bread filled my mind as I read the exquisite prose of Elizabeth David. Perfect for those who have the original old English oven and owning your own flour mill will increase the enjoyment of making these rare breads. As I devoured my domestically produced delights, an almost orgasmic pleasure assaulted my sensory organs. There are no greater pleasures in the world than these.

Not just a cookbook, though there are plenty of recipes. Not merely a history, though abounding in historical sources and anecdotes. Not a textbook, but with enough theory for just about anyone. Not literature proper, but Ms. David's prose flows beautifully. The book is simultaneously informative, thoughtful, engaging, useful and most of all a pleasure to read. The book is equally at home in the kitchen as the living room. Simply a wonderful book.

When I received this book I thought I might find it useful because I am a lousy speller (I read by looking at words as complete units rather than by letters). But then I thought, "Hey, this is what spellcheckers are for!" True, this does not stop me from making errors in reviews because I have spelt the wrong word correctly, but what does that to do with using this book? Then I was playing Literati (an on-line variation of Scrabble) and it dawned on me: I do not have to fumble through the dictionary trying to find out what words begin with FLA- while the clock is counting down my time, I can use my new Spelling Dictionary! No, it does not have every acceptable word that can pop up in the game, but I pretty much know all the two letter words in the world right now any way. But it does have plurals and parts of verbs spelled out in full, along with alternative spellings, which is pretty much exactly what I need. So, I have to admit, I have found a great utility for this little book that has nothing to do with word processing and spell checking. Before the computer became so commonplace in our homes and offices, this book would have been of great use to people like me, who keep making spelling mistooks that need to be corrupted and do not need the definition of the word, just the spelling. This book even makes it easier for you when you are in that age-old Catch-22 of having to look up the spelling of a word you do not need to spell. With three columns per page there are only seven pages to deal with the hunreds of words beginning with the letter "N." With this book you can find it, find it fast, and it is small enough that it can sit between your keyboard and your monitor or someplace equally convenient.

I got this book for my little girl when we were preparing for her 4th grade spelling bee. She and I both *love* it. She didn't win the bee this time, but we're going to work all year with the book... it makes learning new words fun!

I used to be a genius speller. I went to the National Spelling Bee as a child! I've been a professional proofreader at times in the past ten years! But chemotherapy caused a mental fog to set in, and I've lost my spelling ability. This book has saved my life and my self-esteem. Thank you for selling it.

It may seem an immediate departure to discuss Blake's biography, but it must be considered. Leaving formal school at ten, Blake first entered a drawing school, very early evincing great artistic talent. An eight year apprenticeship with engraver James Basire was a milestone of Blake's rather low key life. Blake's talents in the art of engraving were immeasurably important to both the full expression of his poetry and visual art.

As a poet, Blake opted for an almost facile, rhythmic, lyrical approach. His metre was superbly tight, his vocabulary surprisingly controlled for an 18th century writer. Of the two parts, Songs of Experience is the better of the two; not only did five years give Blake's poetry just one more dash of prowess, but his topics are dealt with in a more effective and interesting manner. His subject matter also becomes more bleak, more wearily phrased. A perfect example: Here is a stanza from ...Innocence's The Divine Image

For mercy has a human heart
Pity, a human dress
And love, the human form divine
And peace the human dress

Compare this with the poem of the same name in experience:

Cruelty has a human heart,
And jealousy a human face
Terror, the human form divine
And secrecy, the human dress

Whyfore this turnabout, from an almost sanguine mentality to one so dour and unmitigatedly bleak that Blake excluded this poem and attendant engraving in most editions of his Songs...

First, the death of Robert, Blake's beloved younger brother and apprentice. It is said that Blake stayed up a fortnight nursing his ill brother; a four day sopor followed. Later, Blake was to report that he was visited by Robert's spirit, laden with ideas as to the format of the Songs. ...Such poems as the Chimney Sweeper and the Little Boy Lost are frightful, cynical visions of the fractured side of London life. Take this stanza from Little Boy Lost, a story of a child martyed for speaking his mind:

The weeping child could not be heard
The weeping parents wept in vain
They strip'd him to his little shirt
And bound him with an iron chain

And burned him in a holy place
Where many had been burned before
The weeping parents wept in vain
Are such things done on Albions shore?

This darker judgement of life does not preclude the two motifs most sacred to Blake: Religion and love. Poems such as the Clod and the Pebble, The Pretty Rose Tree, both Holy Thursdays, the Laughing Song, and the Lamb all explore some aspect of divine justice or the perverse or beautiful aspects of love.

Something fascinating: In that very racist, colony-crazy, native torching time, Blake iconoclastically treats the subject of race in the Little Black Boy, which describes a black child of such spiritual perception that he is able to guide his paler brethren on the path to God. This intimation of an oppressed race's closeness to an arcane but majestic God is a keynote in the study of the fiercely individualistic Blake. Buy this book when you see it.

I bought this book for a friend's birthday. At home, I read it through, soon experiencing the shameful thought that I wanted to keep it for myself. I didn't keep it, but I quickly found my own copy.

Fool that I am, I have never appreciated poetry much. This book opened my eyes. I write this review in the hope that someone may be encouraged to read it, and experience the wonder that it brought to me.

No words can do justice to these poems. I just marvel at how such seemingly simple compositions could contain so much meaning. Blake cuts straight to the spiritual essence of human existence. There are very few books that I could say have deepened my faith in God. This is one.

I was recently lucky to see the Gutenburg to Gone With the Wind Exhibit in Austin, Texas recently. At that marvelous exhibit I got to see one of Blake's original editions of Songs of Innocence. After that, I (of course) had to find a copy with the amazing poems and the amazing artwork by Blake. This edition satisfied both criteria well. First of all, the poems are brilliant. Everybody has read such works as "Little Boy Lost," "Little Boy Found," "The Shepherd," "The Lamb," and "The Tyger." These poems are just as good as they are made out to be. Each poem is excrutiatingly simple (in the style of children's verse), and each has such depth. The artwork is all in this edition, too, and it is fabulous. The colors are exactly like those of Blake's. I really think that the poems should never be read without Blake's engravings. This is a marvelous book for poetry lovers to own. It is high quality and affordable. Any fan of Blake's should own this book.