Romeo and Juliet is the best of Shakespeares work ever. Everyone knows the story, but once you read it, it brings the meaning and connection to a different level. The language is beautiful. The words passed betweem Romeo and his love are so moving, you read them over and over. Even if you don't understand what they are saying, you'll still get the general idea and fall in love with this forbidden romance. Even though its a sad ending. The tragedy just adds more to the play. A magnificent book...you have to read it.

Romeo and Juliet has been performed so often that it has become almost tedious. But it might be a thoroughly enjoyable play if it were seen with fresh eyes. The story and its main characters are exaggerated, and at times Romeo appears to be a parody of the young, ardent lover. The play contains more rhymed lines than most of Shakespeare's others, and this can have the tendency to make the play appear less realistic. But it also makes the lines very pleasing to the ear. The pure endurance of Romeo and Juliet's story line attests to its greatness. My favorite character is Mercutio, whose energy and witticism make the play worth reading. I also appreciated the friar, who serves as a foil to Romeo's excessiveness and offers tempering words of wisdom. The play is quite bawdy at times and the double meanings are numerous.

This is one of the best books I've ever read! I think anyone with tast for drama should read this book! Maybe not anyone under seven, but even so, maybe even they could read it!!!And it's also pretty easy to understand! If you do choose this book, I think you will love it!!!!!!!!!!!!!!

First off, I must admit that I thoroughly enjoyed Part I and absolutely adored Henry V. Having said that, I found Part II to be enjoyable, yet perhaps leaving something to be desired - like more action. Falstaff and Prince Hal both come off as somewhat disingenuous and calculating Machiavellian individuals. Disappointingly, Falstaff speaks poorly of Prince Hal while unwittingly in his midst. Conversely, The Prince of Wales prematurely takes the crown before his King Henry IV's death as well as disassociating himself with Falstaff after he is crowned King. These instances, along with others throughout the play, show the self-serving tendencies of both characters.

However, we can proudly witness the maturation of the young King from wild & dissolute young Prince Hal into one of the most revered monarchs in English history, King Henry V. Part II remains an intriguing play due to its paradoxical nature, yet unfortunately rarely acted out today. Now that I have read Henry IV(I&II) for the first time, I gladly move on to one of my personal favorites, Henry V. I recommend both parts(Folger editions) for all Shakespeare enthusiasts - they have given me greater insight into the young Henry V - when he was more concerned with downing a pint of ale rather than downing the French at Agincourt.

2 Magnificent Quotes from Henry IV Part II -
"Uneasy lies the head that wears a crown." - King Henry IV
"He hath eaten me out of house and home." - Mistress Quickly

henry iv is misnamed since the play isn't really about king henry but about his son, prince hal, and his enemies, especially henry percy (aka 'hotspur') who is a rival to hal. hotspur is one of the leaders of the rebellion against the king and, at a tender age, is already an accomplished soldier. his story provides the drama of the play. hal, on the other hand, has fallen out of favor with the king, and is whiling away his days in the company of dissolute company, led by sir john falstaff, one of shakespeare's great characters. his adventures with sir john provide the comic relief. fortunately for the king, hal sheds his prodigal ways in time to save his father and his crown in the battle at shrewsbury, where, coincidentally, hal meets and slays his rival, hotspur.

this is one of shakespeare's best plays. the story of the rebellion is intriguing, and the adventures of hal and falstaff are laugh-out-loud hilarious. the culmination of the two stories in the final battle scene is wonderful. this is a fitting sequel to richard ii.

note that there are some historical inaccuracies and even outright inventions in this play. foremost is the character of falstaff who is pure invention (and genius). the story of hal's adventures stems from his reputation, enhanced by legend, as a playboy. falstaff was the perfect foil for a carousing prince. the biggest inaccuracy is hotspur's age. he was actually of the generation of henry iv, and not as young as he's depicted in the play. shakespeare made him younger to enhance, maybe even create, the rivalry with hal. there are other inaccuracies here, but better for the reader to consult 'shakespeare's kings', an excellent book by saccio that explains the history of the period and the discrepancies in the play.

The lengthy title for the 1598 printing was "The History of Henrie the Fourth, With the Battell at Shrewsburie, between the King and Lord Henry Percy, surnamed Henrie Hotspur of the North, with the humorous conceits of Sir John Falstaffe".

Surprisingly, Hal, Prince of Wales, (later Henry V) was not even mentioned in this verbose title although many would consider him to be the central character. This play is clearly the dramatization of a struggle for a kingdom, but it is equally the story of Hal's wild and reckless youthful adventures with Falstaff and other disreputable companions.

Shakespeare did not write his plays about English kings in chronological order, but these plays do have a historical unity. It is helpful (but not essential) to read the tetralogy Richard II, Henry IV Part 1 and 2, and Henry V in chronological order. Whatever route you take, I highly recommend buying a companion copy of Peter Saccio's "Shakespeare's English Kings", an engaging look at how Shakespeare revised history to achieve dramatic effect.

A wide selection of Henry IV editions are available, including older editions in used bookstores. I am familiar with a few and have personal favorites:

The New Folger Library Shakespeare is my first choice among the inexpensive editions of Henry IV. "New" replaces the prior version in use for 35 years. It uses "facing page" format with scene summaries, explanations for rare and archaic words and expressions, and Elizabethan drawings located on the left page; the Henry IV text is on the right. I particularly liked the section on "Reading Shakespeare's Language in Henry IV" and Alexander Legget's literary analysis (save this until you have read the play). The fascinating article "Historical Background: Sir John Falstaff and Sir John Oldcastle" adds a religious dimension to the play that I had not previously noted.

The Bedford Shakespeare Series provides an excellent study text (edited by Barbara Hodgdon) titled "The First Part of King Henry the Fourth". It is a little more expensive, is about 400 pages, and provides a broad range of source and context documentation. It would be excellent for an upper level course in Shakespeare. The context documentation is fascinating and informative; it ranges from the Holinshed Chronicles to Elizabethan writing on Civic Order to detailed cultural studies of London's diverse populous. Other chapters address the OldCastle controversy and the "Education of a Prince".

I also like the Norton Critical edition (edited by James Sanderson), "Henry the Fourth, Part 1", particularly for its extensive collection of literary criticism. The essays are divided into two parts: 1) the theme, characters, structure, and style of the play and 2) a wide variety of interpretation directed toward that roguish character, Sir John Falstaff.

. . . to really achieve its full potential, this play needs to be acted out on stage. Still, highly excellent, involving twins, cross-dressing, love tangles, sword-fighting, secret marriages, music, disguises, mistaken identities, high speech, and lowbrow humour.

The entire play takes place in Illyria. In the main plot, Orsino is in love with Olivia, who unfortunately does not return his feelings. Viola is shipwrecked on the Illyrian coast, and dressed as a boy, comes to serve in Orsino's court, where she of course falls in love with Orsino. Meanwhile, in Olivia's court, some of her courtiers plan a cruel--but funny--practical joke against her pompous steward Malvolio. There is also a third plot later on involving Viola's twin brother Sebastian, who has been shipwrecked likewise. Naturally things get quite confusing, but, true to Shakespeare's comedic style, everything gets worked out in the end.

This is an enjoyable book to read, and the notes are very helpful. However, it is still better as a performance.

"Twelfth Night" is one of the famous romantic comedy written by William Shakespeare. Many critics said, "Twelfth Night" is the masterpiece among his comedy because his fully developed style and insight are in the "Twelfth Night", so it has special value and attractiveness.
There are four main characters in "Twelfth Night" ; Duke Orsino, Olivia, Viola, and
Sebastian. Duke Orsino who lives in Illyria loves Olivia, so every day he send one of
his servant to Olivia's house for proposal of marriage. However, every time Olivia
refuses his proposal for the reason that she lost her brother before long, so she is now
in big sorrow and can not love anyone. One day, Viola comes into Illyria. She and her
twin brother Sebastian are separated in a shipwreck and they are rescued by two
different people in two different place, so they think the other one is dead each other.
Viola disguise as a man and become a servant of Duke Orsino, and then she fall in
love with Duke Orsino. But, Duke Orsino loves Olivia and he send Viola whose new
name as a man is "Cesario" to Olivia for proposal. Unexpectedly, Olivia fall in love with
Cesario!! Therefore, love triangle is formed. In the latter scene, Sebastian also come into
Illyria, so the confusion getting worse. However, in the end, all misunderstandings are
solved and Cesario become Viola, so the four main characters find their love.
There are also four supporting characters in "Twelfth Night" ; Clown, Sir Toby Belch,
Malvolio, and Sir Andrew Aguecheek. They make the readers laugh through their funny
behaviors and comments in subplot.
"Twelfth Night" is very funny story and enjoyable book, so I recommend you.

I didn't read this particular version of Twelfth Night, so I'm rating the plot, not the editing. This book was the first play by Shakespeare that I read, and I loved it! It starts when Viola and her brother, Sebastian, are seperated in a shipwreck. Viola decides to disguise herself as a boy and work for Orsino, the duke. Orsino sends Viola to tell Olivia that he loves her. Viola does what he says, but she wishes she didn't have to, because she has fallen in love with Orsino! Then Olivia falls in love with Viola, thinking that she is a boy. While all this is going on, Andrew Aguecheek is wooing Olivia, who scorns him. Also, Maria, the maid, Sir Toby Belch, Olivia's uncle, and another servant write a letter and put it where Malvolio, a servant, will see it. The letter says that Olivia is in love with Malvolio. Malvolio immediately starts trying to woo Olivia. Maria and Sir Toby pretend to think that he's mad, and lock him up. Meanwhile, Sebastian comes to town with Antonio, the man who saved him from the shipwreck. Antonio gives him his purse and says that he must stay away from the city because he fought against the duke in a war. A few minutes later, Antonio realizes that he needs money for lodgings and goes to find Sebastian. In the city, Viola is being forced to fight Andrew Aguecheek for the right to marry Olivia. Antonio sees the fight and hurries to intervene. Orsino recognizes him and has him arrested. Antonio asks Viola for his purse so that he can pay bail, thinking that she is Sebastian. Viola denies having had a purse. Then Sebastian comes up. Olivia had found him and married him on the spot, and he, deliriously happy, had gone away to give Antonio his purse. On the way, he met Sir Toby and Andrew Aguecheek. When they try to force him to fight, he punches them and goes on. They come up too, bitterly accusing Viola. (No one has seen Sebastian yet.) Then Olivia comes up and speaks to Viola, who denies being her wife. Orsino becomes angry with her, thinking that she has married Olivia, and accuses her of treachery. Just as things are looking bad for Viola, Sebastian reveals himself. Then everyone is happy (since Orsino falls in love with Viola on the spot) except Andrew Aguecheek and Malvolio, who is later set free. The plot of this book is a little hard to understand, but it is halariously funny and makes for happy reading.

Apparently William Bennett is unfamiliar with the myriad wonderful books for children written in the last thirty years. The only exception are "famous" people writing now like Barbara Bush. Why not draw on the terrific current literature? My guess is because Bennett would have to pay for that, whereas the older work is in the public domain. What a lost opportunity to speak to kids in terms they can better relate to and to introduce parents to some fine contemporary writers. Of course, this book is actually pitched to parents, not kids, so I doubt appealing to kids is actually his real aim.

We're on our second read through of this book of children's morality tales.

With poems, short homilies and stories, Bill Bennett entertains young children as life's good lessons are imparted. The accompanying illustrations are visually delightful.

Some of the stories, because of word usage, appeal to a slightly older audience than my four and five year olds, but they can appreciate most of the vignettes. A good book that helps parents in childhood instruction.

This is an excellent book to read to your young ones (4+) The stories are old yet the principles are ageless. The children will curl up and live these tales. I find myself truely enjoying this special time. When they get to six or seven I would strongly recommend moving to the Book of Virtues by William J. Bennett. The stories will sweep you and the children away. MY childrens favorite time is reading these stories. They actually ask for the book and seldom does anything else draw such smiles and "Thank You Daddys". Enjoy the experience.

a good read, but can be confusing for kids. It takes a while to comprehend all of the Shakespearian langauge, but is very interesting. It is boring at parts.

The Winter's Tale contains some of the most technically difficult solutions to telling a story that have ever appeared in a play. If you think you know all about how a play must be constructed, read The Winter's Tale. It will greatly expand your mind.

The play opens near the end of a long visit by Polixenes, the king of Bohemia, to the court of his childhood friend, Leontes, the king of Sicily. Leontes wants his friend to stay one more day. His friend declines. Leontes prevails upon his wife, Hermione, to persuade Polixenes. Hermione does her husband's bidding, having been silent before then. Rather than be pleased that she has succeeded, Leontes goes into a jealous rage in which he doubts her faithfulness. As his jealousy grows, he takes actions to defend his misconceptions of his "abused" honor that in fact abuse all those who have loved him. Unable to control himself, Leontes continues to pursue his folly even when evidence grows that he is wrong. To his great regret, these impulsive acts cost him dearly.

Three particular aspects of the play deserve special mention. The first is the way that Shakespeare ties together actions set 16 years apart in time. Although that sounds like crossing the Grand Canyon in a motorcycle jump, Shakespeare pulls off the jump rather well so that it is not so big a leap. The second is that Shakespeare captures entirely different moods from hilarious good humor to deep depression and remorse closely adjacent to one another. As a result, the audience is able to experience many more emotions than normally are evoked in a single play. Third, the play's final scene is as remarkable a bit of writing as you can imagine. Read it, and marvel!

After you finish reading this play, think about where your own loss of temper has had bad consequences. How can you give yourself time to get under control before acting rashly? How can you learn to be more open to positive interpretations of events, rather than dark and disturbing ones?

Love first, second, and always!

The Winter's Tale is a lot of things: heart-breaking, exhilerating, funny, beautiful, romantic, profound, etc. Yeah, it's all here. This is one of the bard's best plays, and I can't believe they don't teach this in schools. Of course, the ones they teach are excellent, but I can see high school kids enjoying this one a lot more than some of those others (Othello, King Lear).

The story is, of course, brilliant. King Leontes goes into a jealous rage at the beginning against his wife Hermione. Leontes is very mistaken in his actions, and the result is tragic. Shakespeare picks the story back up sixteen years later with the children, and the story works to a really, really surprising end of bittersweet redemption.

This is one of Shakespeare's bests. The first half is a penetrating and devestating, but the second half shows a capacity for salvation from the depths of despair. Also, this being Shakespeare, the blank verse is gorgeous and the characters are well drawn, and the ending is a surprise unparalleled in the rest of his plays. The Winter's Tale is a truly profound and entertaining read.

If you like adventure books about places that you have no intention of going yourself (as in Jon Krakauer's "Into Thin Air"), you will like this book. Like Jon's book, this book tells the story of extreme adventurers who journey into a place that most of us would not attempt to go, and find danger and success along the way.

Bill Stone is obsessed with caving, and Huautla cave system in Mexico in particular. According to the account in the book, he spends years developing a device that allows him to stay underwater far longer than traditional oxygen tanks allow, opening up the opportunity to explore caves that contain long passageways full of water.

In this expedition, his team explores a cave that is one of the deepest in the world, but most of the cave has been undiscovered due to the long passages full of water. The story is interesting, full of danger, and even has a good ending as Bill and his friend Barbara am Ende push past the water-filled sections to new discoveries deep underground.

I enjoyed this book, and it tells the straight-forward story well. However, there are side issues that are not fully explained, such as why so many team members gave up and quit before the expedition had reached it's goal. I also find myself wondering what was so great about walking through subterranian passageways that were usually filled with water. At no point did the author indicate that these passageways were beautiful or even interesting, just undiscovered. At least on the top of Everest, the view is great!

Read it anyway. You will appreicate having a dry bed at night after reading this book.

It was hard to put this book down once the caving and diving actually got going. Being a keen scuba diver I thought I would only be interested in the extreme diving and the trial of the newly-invented rebreather but actually found all aspects of the adventure extremely interesting. The writing flowed very well and gave me a feeling of being there, alone in the cave/diving etc. The pictures certainly helped show the beauty and mystery of the Huatla (excuse spelling) Cave System. It must have been awesome standing alongside the underground waterfall where no other person had ever stood!

This book is a story about human endurance and the will to go on despite devastating setbacks (such as the death of one of your party members!) and the psychological affects this has on the different personalities involved. It is hard for us common-folk to understand why people would push themselves to the limit like that but this book definitely allows us to empathise with those that do, by describing, in detail, the bounty that awaits. Regardless of the bounty, I think I'll stick to openwater reef and wreck diving!

I HIGHLY recommend this book.

As a personal friend of both Bill & Barb, as well as several of the key players in this story, my original reason for purchasing this book was more as a token of friendship, than anything else. Although I have been a test-diver and active user of the rebreather technology it describes since 1994, I'd never had much of an interest in exploring caves. I had expected to skim through the pages, read a few paragraphs here and there, then add it to my bookshelf alongside other books of a similar vein. Boy, was I in for a surprise!

Even though I already knew most of the details of the expedition, and knew full-well in advanced how the story begins, develops, and ends...I was nevertheless held captive by it from the time I opened its cover and began reading, until I completed its last page. The motivation behind cave exploration never seemed to make much sense to me before, but now it all seems crystal clear. This is TRUE exploration at its most extreme -- something often boasted about, but seldom genuinely so. This one is as genuine as it gets.

Because it would be easy to discount my endorsement as merely a kind gesture to my friends, I leave you to make your own interpretations based on the comments of other reviewers having less direct associations with the authors and expedition participants. However, as somewhat of an insider, I would like to take this opportunity to vouch for the authenticity of the events as they are described. I have had many long (multi-hour) discussions with Bill, Barb, and Noel Sloan about what happened during this expedition, and have also had conversations with Kenny Broad and Jim Brown, as well as a number of other people directly associated with the events described in the book. Most of these discussions took place very soon after the expedition ended, when memories and emotions were still fresh. It's also fair to say that I have as intimate an understanding of the inner workings of these particular rebreathers and how to use them as just about anyone else. Thus, it is not without some measure of validation when I say that I was extraordinarily impressed with how precisely the details of these events as described in the book coincide with the facts as explained to me by many and varied sources.

The Authors' Note confesses to reconstructed dialog (which is understandable, as memories begin to fade), but it also correctly defends its fairness in describing those portions where memories and interpretations do not coincide in every detail. Virtually all such details are trivial in the context of the broader story - the most significant events of which are not in dispute by anyone, to my knowledge.

Each and every participant on this expedition - whether I know them personally or not - has earned my highest respect and admiration. This book has impacted my perception of cave exploration much more so than I had ever expected it to. For those who decide to read it (and I doubt you will regret such a decision), you should do so with the realization that these are very real, flesh & blood people, embroiled in a very real and harrowing situation. I am confident that they will earn your respect as admiration as well.

the Oxford Shakespeare has been touted as 'a new conception' of Shakespeare, but is in fact merely an update of the cumbersome old Arden editions. Like these, 'King John' begins with a 100-page introduction, divided into 'Dates and Sources' (full of what even the editor admits is 'tedious' nit-picking of documentary evidence); 'The Text' (the usual patronising conjecture about misprints in the Folio edition and illiterate copyists); 'A Critical Introduction', giving a conventional, but illuminating guide to the drama, its status as a political play dealing with the thorny problem of royal succession, the contemporary legal ambiguities surrounding inheritance, the patterning of characters, the use of language (by characters as political manoeuvring, by Shakespeare to subvert them); and an account of 'King John' 'In the Theatre', its former popularity in the 18th and 19th century as a spectacular pageant, the play distorted for patriotic purposes, and its subsequent decline, presumably for the same reasons. The text itself is full of stumbling, often unhelpful endnotes - what students surely want are explanations of difficult words and figures, not a history of scholarly pedantry. The edition concludes with textual appendices.
The play itself, as with most of Shakespeare's histories, is verbose, static and often dull. Too many scenes feature characters standing in a rigid tableau debating, with infinite hair-cavilling, issues such as the legitimacy to rule, the conjunction between the monarch's person and the country he rules; the finer points of loyalty. Most of the action takes place off stage, and the two reasons we remember King John (Robin Hood and the Magna Carta) don't feature at all. This doesn't usually matter in Shakespeare, the movement and interest arising from the development of the figurative language; but too often in 'King John', this is more bound up with sterile ideas of politics and history, than actual human truths. Characterisation and motivation are minimal; the conflations of history results in a choppy narrative. There are some startling moments, such as the description of a potential blood wedding, or the account of England's populace 'strangely fantasied/Possessed with rumours, full of idle dreams/Not knowing what they fear, but full of fear'. The decline of the king himself, from self-confident warrior to hallucinating madman, anticipates 'King Lear', while the scene where John's henchman sets out to brand the eyes of the pubescent Pretender, is is full of awful tension.
P.S. Maybe I'm missing something, but could someone tell me why this page on 'King John' has three reviews of 'Timon of Athens'? Is somebody having a laugh?

Many people feel that this play of Shakespeare's is either unfinished or a poor effort. But I do not think this is accurate or fair. The reality is that many people can never find a middle ground. It is actually (in my opinion) quite common for people to only be able to see things from one extreme or the other. Despite Apemantus' cynical nature, there is no denying that whatever his faults are, HE DOES HAVE RIGHT ON HIS SIDE when he tells Timon: "The middle of humanity thou never knewest,/ but the extremity of both ends...." (4.3.342-343). Critics also tend to think Apemantus is unlikable, but are we missing a crucial point? I can not help but think Shakespeare is commenting on the fact that more people DON'T have a concept of reality. Apemantus refuses to join in the delight when Timon thinks highly of his false friends. Apemantus is aware of reality and no one wants to hear it. In my opinion Timon and Apemantus are VERY TRUE to life. In addition, the roll of Flavius is very touching. He can not dessert his master even when he knows (or thinks) Timon has nothing. Finally, I can not over estimate the mastery of Shakespeare when first Timon has money, he can not do enough for his so called friends and when he has nothing they dessert him. When Timon through fate gains a second fortune, he does not turn back into what he was, but rather he uses his 2nd fortune to destroy Athens. It is interesting that Shakespeare derived this play on the legend of 'Timon the Manhater,' and decides to take it a step further and show how he got there. And how much more realistic could Shakespeare have made this than by first showing Timon as a 'manlover?' Many people feel Timon should have somehow found the middle of humanity, but if he had, that would have defeated the whole purpose of this excellent play.

Among the least performed of all the Shakespeare plays, is probably the most disturbing. In the beginning, Timon is (not to put too fine a point on it) stupidly philanthropic; in the end he is equally misanthropic. When Timon is on top of the world, we have the cynical Apemantus to be our voice and let him know what a fool he is. In the last two acts, we simply wish (I do, at least) that our hero would stop complaining and let us "pass and stay not here," as he would have all men do in his epitaph.

But a recording is to be judged on its performances, not so much on its text. The Arkangel series, now in its last laps toward completion before (I am told) it is all redone on CDs, has every reason to be proud of its "Timon of Athens," thanks to its strong and intelligent readings. The opening scenes of artisans and poets building up the play's themes of wheel-of-fortune and gratitude/ingratitude are almost intelligible without a text open before you. Alan Howard, whom I saw in New York long ago as Henry V and as the main character in "Good," has that kind of friendly voice that is so well suited to the extravagant Timon in the open acts that we feel all the more for him when his false friends deny him in his need.

The snarling voice of Norman Rodway's Apemantus is a perfect counterpoint, and he casts out his invective in those early scenes with a hint of humor. However, when Timon becomes the misanthrope, his voice darkens and coarsens; and it is very hard to tell it from Apemantus' in their overly-long exchange of curses in 4:3. If the actor playing Alcibiades (Damian Lewis) sounds far too young for the role, that is a minor quibble--and perhaps the director wanted him to sound like a young Timon.

The incidental music sounds sufficiently Greek but too modern; still, Ingratitude knows no particular time period. A superior production of a much flawed play and a very welcome addition to any collection of recorded drama, especially since the old Decca set is long out of print and Harper audio does not yet have a "Timon" in their series.

I agree with most of the criticism on the three subjects, but with reservations.
That the Ennegram seems to work as a personality analysis tool confirms the depth of the symbol. I can not see that there is anything wrong in putting the Enneagram in use. The value of the Enneagram, or any other symbol, system or idea, can only be in its use. Looking at the Enneagram and admiring its form is one thing, but does not take us anywhere.
As to Mouravieff - I do think it is a great pity that he tried to marry up Gurdjieff and Christianity in areas where there are no chances of doing it without becoming ridiculous; "The Fifth Way" is just one of the inventions. Having not followed it I do not know where it takes you (if it does).
The Fellowship of Friends is not exactly following Gurdjieff's teaching, but that is not to say that one could not learn something from them. At least a bit of marketing...

I enjoy watching orthodoxy end up on garbage pile to be picked over by scavengers. Often more vitality grows out of the mulch of criticism than existed in the original teaching. Do we not recall how one man sitting under a tree claimed a spiritual awakening and the now countless, differing schools of Buddhism that exist as a result? Or Christian churches? Likewise, the enneagram movement could not be stopped. Why are some people whining about it now? Most critics seemed more concerned with their own RIGHTS as being esteemed Fourth Way scholars than they are with the RESULTS that even the most vulgar disemmination of "their" knowledge has brought to "ordinary people." Get over it. A new religion exists. And like all religions, some will use it, some will abuse it, but most will merely worship it and do nothing more. I gave this insightful, ranting book five stars for contributing to the fray while ignoring results. Truly, there is nothing new under the sun.

Let me start by saying I'm not involved with any 4th Way group or part of the Ennegram craze.

Mr. Patterson has dared to take on some of the spiritual cannibals that have stolen and distorted the teachings of G.I. Gurdjieff. Though this book is guaranteed to infuriate followers of Palmer, Ichazo, Burton's cultists, Amiss etc.

First he takes on the Ennegram popularizes like Ichazo, Naranjo and the voluminous Helen Palmer who dared to claim instruction by a noted 4th Way teacher and turned out to never have met the man. Patterson also exposes her as a shallow new-age type of thinker with a penchant for self-promotion through her own words.
She has no real lineage nor even formal instruction in the 4th way nor any real tradition for that matter. Of course the shadowy showman Ichazo(much like Castenada) is put in for good measure. He systematically goes about deconstructing Ichazo premises on the ennegram and his mythical and oft changing spiritual pedigree.

Patterson then goes after The Fellowship of Friends or people of the Bookmark(as known here in Calif - as his followers used to stuff burton's calling cards in 4th Way books.) A 4th way cult based on Burton's strong persona. Patterson show's Burton to be a posuer and con-artist without real instruction or lineage. Burton main claim to fame is his ability to milk money out of followers and make himself wealthy. F of F is also a considered a outright cult. Check out Steve Hassans web site for info.

Another target is Robin Amiss(...) and his long dead predecessor Boris Mouravieff who concocted the notion that Gurdjieff's teachings were fundamentally derived from Eastern Christianity. Amiss is shown to be a clever fabricator of facts in his book "A Different Christianity" and distorter of truths. Patterson does a fine job exposing Mouravieff motivations for doing what he did.

Amiss is taken to task in a systematic manner in which he compared G's teachings to Eastern Orthodox material. Replete with references he demolishes Amiss's claims. BTW all anyone needs to do is get a copy of O's "In Search of the Mircaluous" a copy of the Philokalia or Theophans works and compare them. You'l see that there is no place for a householder in serious myticism. It's for monks only. St. Theophan was a hermit and monk - hardly someone who understood the way of the householder.
Also there is no mention of 'self-observation' or 'self-remembering'. Anyone whose ever practiced the Jesus Prayer and done any sort of 'self-observation' knows they are not the same.
Amiss's hidden teachers are also shown to be fabrications without reality.

You'll also learn how Mouravieff played a in the split between Ouspensky and G. And how he conned O into delaying publication of "Tales of the Miraculous"

Overall a fine book demonstrating how self-taught self-promoters can [copy] teachings and convince people they have the real thing. So much so that their followers can longer know the real deal from the fake. If Patterson comes off shrill or a purist perhaps it's because so many people have stolen from G and peddled garbage under his name.

Overall a fine book on that belongs estoricist reader's bookshelf.

If you've ever had a dream to travel outside of your own backyard, this book will give you the push you need to make that decision. Alexander Kinglake takes you through the exotic east by the most interesting modes of transportation. Horseback, Camels, Dromedaries, and fantastic sea vessels. You'll travel through places such as Stanboul, Constantinople, Cyprus, Galilee, Cairo, the Pyramids, and Jerusalem just to name a few.

A brilliant descriptive writer, Kinglake tells you every detail about what he's viewing along the way, along with the emotional side of traveling through history. Standing on a hilltop, possibly the precise spot where Homer did, that inspired his works, Kinglake takes you there with him, describing unchanged landscape and the flood of emotions that will definately touch you. When he arrived at the Holy lands, it left me in tears, and a great yearning to plan my own pilgrimage there.

It amazed me that this man made it through his travels safe and sound. He survived the plague which was rampant at that time. It was frightening to read about, let alone live through it! Which he tells about in depth. The extreme fear everyone lived in. Yet despite all the precautions taken, it still managed to seek you out and take you into it's unimaginable numbers. Day after day, he watched cavalcades of funeral processions pass through the streets, from sunrise to well beyond sunset. How he fooled it, I'll never know. He always seemed to be in contact with plague stricken people, and even thought for a time that he too had fallen victim when symptoms began to appear.

Through this journal you'll learn about the people of this era and before. The Ottomans, Bedouins, Monks, Jews, Catholics, and Christians. Aristocrats, such as Lady Hester, Sheiks, and Pasha's. Most interesting was Kinglake himself. Just who was this man? He tells little about his own background. But as you read, this intelligent, confident, diplomatic Englishman unfolds before you. With a sense of humor few can match!

This book was gifted to me, and sparked the desire to be a part of what Kinglake and others knew about life. Not to let each day pass by caught up in mundane routines, but live each one to the fullest.

This is a book to be treasured and I read it several times. It is hard to imagine the world Kinglake describes which is virtually extinct now at a time when lions abounded in Eastern Europe, Caliphs and Pashas smoked their pipes through long tubing and Lady Hester Stanhope gets esoteric.

Full of humour, the book is as British as they come with such sensitive nuances about the subject matter including disease, women, customs and issues of religion in the holy land.

I'm still looking for this brand of hero inside and out but don't think he's that common except as a carricature. Did Kinglake's world and attitude really exist?

This is a very good, and very funny book. I also came to it through Churchill's recommendation. As I read about it, the man who overheard Churchill growl "Kinglake" went off and read Eothen, loved it, and then asked Churchill, "What now?"

The gruff reply was "More Kinglake." This rather puzzled our aspiring author -- Kinglake's only other book was his two-volume "Invasion of the Crimea."

After a casual search of more than twenty years, I finally located this two-volume set through Amazon, and -- guess what -- it's terrific. It's even better than Eothen, because it has a serious purpose. It is marvellously written, and numinously intelligent. It needs to be brought back into print.

this is a comedy only in the sense that the play ends well - ie, noone dies, most everyone is happy. else, there's little humor in this comedy, save for the knave, lucio. like others here have pointed out, this is actually a pretty serious play that takes a pretty hard look at human weakness, particularly lust. there are some fine, impassioned speeches by claudio and his sister, who pleads for his life. worth a read. but don't expect any laughs.

One of Shakespeare's lesser read and lesser performed plays, Measure for Measure profoundly explores the themes of justice and mercy. This exploration compensates for the defects of the play: the unbelievable resolution, the Duke's refusal to interfere early on (which causes pain to the characters), the inconsistency in the application of morality (Isabella considers it wrong for the betrothed Claudio and Juliet to have sex but justifies--and even helps to arrange--it between Angelo and Mariana), and the unexpected suddenness of the Duke's proposal to Isabella. The play seriously weighs the concerns of justice and mercy, and although it ultimately favors mercy, it recognizes the complexity of the issue. How can one practice mercy and yet restrain vice? How can one "hate the sin" yet "love the sinner?" Mercy seems to be the necessary choice over justice because man is too fallen to bear the brunt of justice. "Judge not lest ye be judged. For with what measure you mete," said Christ, "it shall be measured unto you." If you hold a high standard for others (as does Angelo for Claudio) and yet fall short of it yourself, you will be judged by the same standard. Since we seem destined to fall short of righteousness, it is best to practice forgiveness, so that we too may be judged lightly. And yet there is a concern that such practice of forgiveness will lead to a laxity that permits vice to flourish (which is the reason the Duke leaves Angelo in charge in the first place). Though mercy and forgiveness are favored, the arguments in favor of justice are not simply dismissed.

Quote: "Condemn the fault, and not the actor of it?
Why, every fault's condemned ere it be done.
Mine were the very cipher of a function,
To fine the faults whose fine stands in record,
And let go by the actor." (II.ii.38-42)

Measure for Measure is seldom read, and not often performed in the United States. Why? Although many of Shakespeare's plays deal bluntly with sexual issues, Measure for Measure does so in an unusually ugly and disgusting way for Shakespeare. This play is probably best suited for adults, as a result.

I see Measure for Measure as closest to The Merchant of Venice in its themes. Of the two plays, I prefer Measure for Measure for its unremitting look at the arbitrariness of laws, public hypocrisy and private venality, support for virtue, and encouragement of tempering public justice with common sense and mercy.

The play opens with Duke Vincentio turning over his authority to his deputy, Angelo. But while the duke says he is leaving for Poland, he in fact remains in Vienna posing as a friar. Angelo begins meting out justice according to the letter of the law. His first act is to condemn Claudio to death for impregnating Juliet. The two are willing to marry, but Angelo is not interested in finding a solution. In despair, Claudio gets word to his sister, the beautiful Isabella, that he is to be executed and prays that she will beg for mercy. Despite knowing that Isabella is a virgin novice who is about to take her vows, Angelo cruelly offers to release Claudio of Isabella will make herself sexually available to Angelo. The Duke works his influence behind the scenes to help create justice.

Although this play is a "comedy" in Shakespearean terms, the tension throughout is much more like a tragedy. In fact, there are powerful scenes where Shakespeare draws on foolish servants of the law to make his points clear. These serve a similar role of lessening the darkness to that of the gravediggers in Hamlet.

One of the things I like best about Measure for Measure is that the resolution is kept hidden better than in most of the comedies. As a result, the heavy and rising tension is only relieved right at the end. The relief you will feel at the end of act five will be very great, if you are like me.

After you read this play, I suggest that you compare Isabella and Portia. Why did Shakespeare choose two such strong women to be placed at the center of establishing justice? Could it have anything to do with wanting to establish the rightness of the heart? If you think so, reflect that both Isabella and Portia are tough in demanding that what is right be done. After you finish thinking about those two characters, you may also enjoy comparing King Lear and Claudio. What was their fault? What was their salvation? Why? What point is Shakespeare making? Finally, think about Angelo. Is he the norm or the exception in society? What makes someone act like Angelo does here? What is a person naturally going to do in his situation?

Look for fairness in all that you say and do!