Wright brings in a whole new approach to assisting clients by presenting a more comprehensive and values driven program.

There is also a good deal of solid life advice in these pages that many would do weel to heed.

I have heard that Wright comes up short as a practice consultant through colleagues but the wisdom in this book is worth its weight in gold. I think it is a worthy resource to pass on to clients to let them know where you are coming from and to establish expectations.

This book gives a new meaning into the commonly asked question "what are your goals and objectives?" All advisors are trained to ask that but only 8 out of 10 do. The book emphasizes the importance of asking the question. Understanding a persons mission and overall plan can only help you help them achieve the perfect calendar.

I have been advising high net clients for years. It wasn't until I read the book that all the pieces of the puzzel finally fell into place for me. Now, "The Wright Exit Strategy" is required reading for all my new clients and any existing clients who truly want to achieve the best possible outcome with their lives and the use of their wealth.

William Gordon did a fabulous job compiling this gem of a collection. This is a "must" for any writer for both inspiration and information. I reach for it often in my struggle to write my second book. I appreciate the varied resources from all kinds of backgrounds (and different ages), but most of all, they are writers who have gone down the same path as I.

Writers love words and Bill Gordon loves writers. Hehascompiledover 170 pages of categorized quotations from more than 600authors. This book is recommended to all writers, not just for yourown enjoyment but as a resource. When it is not on your nightstand, it will be within easy reach of your desk, next to your dictionary.

The Franconia, New Hampshire, farm of the American poet Robert Frost was turned into a museum and center for poetry and the arts in 1976. From that time, "The Frost Place" has been annual event wherein an emerging poet has been invited to spend the summer living in the house where Frost once lived and wrote some of his greatest poetry. The Breath Of Parted Lips: Voices From The Robert Frost Place, Volume One is a remarkable anthology of twenty-four poets, each of whom won that honor of a summer's residency and document the success of the original concept as a means of generating outstanding poetry while nurturing the poet's muse in the rooms and views that were once the inspiration of the great Robert Frost. Poem At 40: Windwashed--as if standing next to the highway,/a truck long as the century sweeping by,/all things at last bent in the same direction./An opening, as if all/the clothes my ancestors ever wore/dry on lines in my body:/wind-whipped, parallel with the ground,/some sleeves sharing a single clothespin/so that they seem to clasp hands,/seem to hold on.//And now that I can see/up the old women's dresses,/there's nothing but a filtered light./And now that their men's smoky breath/has traversed the earth,/it has nothing to do with them./And now that awkward, fat tears of rain/slap the window screen,/now that I'm naked too,/cupping my genitals, tracing with a pencil/the blue vein between my collar bone and breast,/I'll go to sleep when I'm told.

The book is a collection of poems by Robert Frost. It combines the collections of A Boys Will, and North of Boston. Many of the poems were about nature, and love. I selected the book because I had read Robert Frost before and I liked his style, and I felt I could relate to some of the poems. Most of them had no riming scheme, and were written in sentences, or stanzas. There was one poem about Blueberries that I particularly enjoyed because I like picking them. I also liked it because some of the poems seemed to have a hidden meaning. I thought that Frost wrote discriptive ad imaginable language. I would recommend it to readers that are older than 13. I would also recommend it to readers who like reading about nature. And finally I would recommend it to anyone who has read Robert frost, and enjoyed his work.

Virgil had set out to create the perfect poem and he succeeded! Unfortunately we no longer use to speak his language. As the millennia pass by we lose rapport with a culture, which had made a science of oratory and banked its entire stock in learning and political persuasion on the fine art of oral delivery. But I feel it still has an edge over our snazzy sound bites designed to titillate the 30 second attention span of hypnotized telly-junkies. Sustained arguments donÕt ambush you on your solar plexus. Inevitably we lose out on VirgilÕs greatest asset - his incomparable melos of sustained oratory and the onomatopoetic effects to highlight the semantics. It comes with an uncanny grip on the significant nuance and with a choice of words which provoked some of his ancient critics to berate Virgil for his ÒinappropriateÓ language. Virgil was felt to have a fondness for the ordinary vocabulary of common people. In fact this extremely shy man spoke with a rustic accent. To pillage the museum of archaic and rare words and add to it a Miltonian accent, is therefore not the way to translate VirgilÕs exceptional qualities. However Mandelbaum and Humphries are living examples for how hard it can be to avoid the opposite extreme of a limp prosiness. A modern reader probably associates something nostalgic and sentimental with this kind of poetry, a hypocritical invocation of good old times and conservative values, but Virgil was never sentimental and the inevitable eulogies on the Imperial regime never exceed a peasantÕs noncommittal deference. Virgil had been indebted to the former triumvir for his intervention in the eviction procedures of VirgilÕs paternal estate and this poem was meant to repay the favor. VirgilÕs wry smile under a heavy brow however betrays the epicurean, even if his line of work demanded more than the occasional nod to the mythological pattern. But the gods up there remain aloof and detached from human interest, although, as a farmerÕs son, Virgil had never lost an affectionate regard for the crowd of genies and minor deities who protect the soil, spray sparks from the cooking-fire, and guard the lintel. Call it superstition, but it is a world cocooned in spiritual comfort. However we would misunderstand VirgilÕs entire outlook, if we ignored his admiring familiarity with LucretiusÕs poem ÒThe Way Things Are.Ó DrydenÕs popularization of the heroic couplet introduced into English prosody a new, slightly ironical, and highly conversational idiom of almost unlimited flexibility. Great poets, like Alexander Pope, could completely specialize on the couplet and drag a living out of it. In the end the 18th century went out of favour, but the saccharine pseudo-lyricism by Romantics, Victorians, and Eduardian poets failed to educate the publicÕs taste for something better than candy for the ear. No wonder that Ezra Pound and T.S. Eliot felt as if on a mission. However Eliot couldnÕt bring himself to pick up where the AugusteanÕs had dropped ApolloÕs quiver. This would have placed him close to the later Byron, and everybody knows how much Eliot detested Byron. Besides, DrydenÕs and PopeÕs tone was conversational and of an almost impolite lucidity. For EliotÕs taste their irreverent humor lacked the oracular exuberance of the so called ÒmetaphysicalÓ poets. The romantics had felt the same way, but had managed to fudge the issue and to supplant the old and, in their view, outmoded set of ethical decorum, with J.J. RousseausÕs constipation of the heart and early forays into hard-core nihilism. Indeed, in such company, VirgilÕs ÒGeorgicsÓ must look like a party crasher from outer space. Yet the greatest miracle in VirgilÕs poem is something that remains invisible. It originally ended with an eulogy addressing M. ®lius Gallus. At the time of composition (27 BC.,) Gallus had been AugustusÕ commissioner for Egypt but for some reason fell from grace and was recalled and bullied into committing suicide. So Virgil took out the entire passage from his poem and replaced it with the narrative of Orpheus' quest for his wife at the gates of death. I don't know whether the reader can appreciate what that means: according to my calculation we look in the final edition at some 380 lines rewritten and seamlessly dovetailed to the tightest knit structure of leitmotifs and cross-references ever done in any poem; a little more than 15% of the entire thing. This is not just surgery, this is heart surgery, because it took Virgil 7 years to compose altogether 2,188 lines. If purity of style was his ambition, then Virgil is one of the purest poets of all times. Text and context totally absorb the means of expression without flaunting the poetÕs versatility, something I find sorely lacking in James JoyceÕs ÒUlysses.Ó (See my review on Ulysses.) So Dryden had every reason to put as much effort into his translation as Virgil had put into his composition. And he did. Across the millennia this cooperation of 2 of the greatest poets has created one of the marvelÕs of Augustean prosody; a poem, easily on a par with EliotÕs ÒQuartets.Ó It contains everything a poet would want to tell, as he celebrates life, the seasons, and why it is good to be here, even if it is a hard and unsentimental life under a blazing sky. The Georgics are incredibly rich in content, outlooks and insights, they open unexpected and intriguing perspectives on every page. In a handful of lines Virgil manages to create an entire cosmos. It even contains the original topography for DanteÕs ÒHell.Ó Lesser poets would need a lifetime to cover that much ground and it would take them a whole library of tomes to do it. I think I just have found the book to take with me, if a little briefcase and a T-shirt should be my only possessions left.

One of the first album of Enslaved, deep in norwegian mountains, very cold, true viking metal !

awesome band enslaved are truly breathtaking music great atmosphreic instrumentation on frost..the son yggdrasil is a norwegian folk song style lyrics great.really cool like i said before one enslaved album you here you will be prompt to buy others and this one is excellent.not black metal form of it viking metal its excellent they started the whole viking metal.enslaved are gods hail ...there songs are so great frost ,loke ,jotunblod,wotan....freezing cold so cold its hot excellent metal band of high quality..buy buy buyl ....all metal heads neeed to have enslaved to be happy if you want to be :) buy this.

All I can say for this book and any other work of Shakespeare is "Wonderful!" I especially loved this version because it's simplified for children. Ages 9-12 are the ones that study Shakespeare, but don't enjoy it because it is too confusing in language and plot. This decreases the popularity of the world's greatest ever writer! I have read many of these children's Shakespeare plays, but this is the only one that satisfied me thoroughly! I say to anyone with children, anyone who is a child or anyone who does not understand Shakespeare for any reason to buy this book. This book will someday, I hope, become a resource used in every home and school because of it's brilliant simplification of THE BEST-LOVED PLAYS OF SHAKESPEARE!

'Antony and Cleopatra' is a great tragedy about two personalities who were larger than life, and therefore shared a love fitting to their stature. Anthony is torn between the high seriousness & order of the Roman Empire (embodied in Caesar) and the sensuality & licentiousness of Ancient Egypt (embodied in Cleopatra)- worlds which are perfectly evoked by Shakespeare as he chronicles the political wheeling & dealing of the time, which ultimately led to the suicides of the two lovers. I don't think Shakespeare favours one world view over the other, and to read the play moralistically and say Rome = virtue = good and Egypt = vices = bad is to to do it a disservice.

The language in this play is often romantic and lush, a grand language suited to rulers of the world. Cleopatra's "O, my oblivion is a very Anthony,/ And I am all forgotten" has to be some of the most erotic stuff that the Bard ever wrote.

Cleopatra is a very passionate woman and a great role-player, but she is always herself, never inauthentic. What she feels may change from moment to moment, but while she's feeling it, it's REAL. I find her to be the more mature one in her and Anthony's relationship. Notice how she never yells at him for marrying Octavia, which is certainly a terrible betrayal. She accepts that he did what he had to do and is only glad that Anthony is again united with her. Her love for him is beyond judgement.

The relationship between Anthony and Caesar is a very complicated one, and one that fascinated me almost as much as that of Cleopatra and Anthony. Caesar admires Anthony, but he betrays himself as having contempt for him in the way he expresses that admiration. Dodgy man, that little Caesar.

Anthony and Cleopatra is one of Shakespeare's difficult plays, and so I suspect the ratings on the play are low because it's a more mature play than Romeo and Juliet. Here we have two middle age lovers who part of the time are foolish with lust/love and the rest of the time are tough minded heads of state. The "tragedy" is that they can't be both and survive. This is not a play for the young folks, I'm afraid. But if you want some heavy drama where the characters are spared nothing and given no slack, read Anthony and Cleopatra (hint: Cleopatra's suicide is more political statement than a crazy wish to die with Antony). Better yet see it performed by some real actors some time.

Shakespeare in this play shows how love is not human but surrealistic. Love does not answer reasonable questions. It is a fundamentally unreasonable attitude that brings the lovers to absurd behaviours negating all logical, political and historical values. Love has no limits even if history will prove stronger and the lovers will be destroyed. Shakespeare beefs up this theme with a language that is so rich that we are fascinated by the words, the symbols, the symbolic value of words and acts. He is particularly rich in his style that is entirely, words, poetry, actions, and even feelings, organized following some simple symbols, particularly numerical symbols. In this play Cleopatra appears as being the core of the symbolism and she carries with her the number eleven that comes from the old English runes with the meaning of fate, of fatal defeat, of a flaw that cannot be corrected or escaped. It is her destiny to bring Antony to his defeat and death, just as it is Antony's fate to be governed by this woman and led to his own destruction because of his love for her. It also shows how the Emperor is able to use this fatal situation in order to capture all powers and to impose his absolute will on the Roman Empire. He seems to be the one who plays not well but with all the assets of the game up his sleeves, and he takes them out one at a time when the situation is ripe for these assts to become the key to is ascension to absolute power by defeating those who may oppose him.

Dr Jacques COULARDEAU

Frost believes that Pennsylvania functioned as the primary model for religious freedom in other colonies and states and for the nation as a whole. This is the first full study of Pennsylvania's pioneering beliefs about religious liberty. Frost traces five topics from 1680 to 1860: church autonomy, institutional separation of church and state, individual freedom of conscience, state support of religiously fostered civic morality, and natural law as the basis for government policies. Government leaders, political theorists, and clergy are the players in this intellectual, constitutional, and political drama. Frost claims to find a consensus of belief about religious liberty in Pennsylvania, but he does not provide evidence from below to support the claim. "Religious liberty" and "religious freedom" are never adequately defined or separated. Clearly written with thorough endnotes and a helpful bibliographic essay, this book will appeal to those interested in the First Amendment, religious pluralism, and Pennsylvania history.