Exploits Opinions of Doctor Faustroll Pataphysician
'The singular novel by the legendary author of the play, UBU ROI, is a book that can only be compared to Rabelais or Sterne. FAUSTROLL recounts the adventures of the inventor of PATAPHYSIC, the 'science of imaginary solutions.' Jarry would have found an audience more readily if he had simply written a work of science fiction, a symbolist narrative, a bawdy tale or a spriritual allegory. As it is, FAUSTROLL is all of these at the same time.' - Roger Shattuk
Battles and Enchantments
PREFACE. THE Author of this very practical treatise on Scotch Loch - Fishing desires clearly that it may be of use to all who had it. He does not pretend to have written anything new, but to have attempted to put what he has to say in as readable a form as possible. Everything in the way of the history and habits of fish has been studiously avoided, and technicalities have been used as sparingly as possible. The writing of this book has afforded him pleasure in his leisure moments, and that pleasure would be much increased if he knew that the perusal of it would create any bond of sympathy between himself and the angling community in general. This section is interleaved with blank shects for the readers notes. The Author need hardly say that any suggestions addressed to the case of the publishers, will meet with consideration in a future edition. We do not pretend to write or enlarge upon a new subject. Much has been said and written-and well said and written too on the art of fishing but loch-fishing has been rather looked upon as a second-rate performance, and to dispel this idea is one of the objects for which this present treatise has been written. Far be it from us to say anything against fishing, lawfully practised in any form but many pent up in our large towns will bear us out when me say that, on the whole, a days loch-fishing is the most convenient. One great matter is, that the loch-fisher is depend- ent on nothing but enough wind to curl the water, -and on a large loch it is very seldom that a dead calm prevails all day, -and can make his arrangements for a day, weeks beforehand whereas the stream- fisher is dependent for a good take on the state of the water and however pleasant and easy it may be for one living near the banks of a good trout stream or river, it is quite another matter to arrange for a days river-fishing, if one is looking forward to a holiday at a date some weeks ahead. Providence may favour the expectant angler with a good day, and the water in order but experience has taught most of us that the good days are in the minority, and that, as is the case with our rapid running streams, -such as many of our northern streams are, -the water is either too large or too small, unless, as previously remarked, you live near at hand, and can catch it at its best. A common belief in regard to loch-fishing is, that the tyro and the experienced angler have nearly the same chance in fishing, -the one from the stern and the other from the bow of the same boat. Of all the absurd beliefs as to loch-fishing, this is one of the most absurd. Try it. Give the tyro either end of the boat he likes give him a cast of ally flies he may fancy, or even a cast similar to those which a crack may be using and if he catches one for every three the other has, he may consider himself very lucky. Of course there are lochs where the fish are not abundant, and a beginner may come across as many as an older fisher but we speak of lochs where there are fish to be caught, and where each has a fair chance. Again, it is said that the boatman has as much to do with catching trout in a loch as the angler. Well, we dont deny that. In an untried loch it is necessary to have the guidance of a good boatman but the same argument holds good as to stream-fishing...
Mademoiselle de Maupin
Chevalier d'Albert fantasizes about his ideal lover, yet every woman he meets falls short of his exacting standards of female perfection. Embarking on an affair with the lovely Rosette to ease his boredom, he is thrown into tumultuous confusion when she receives a dashing young visitor. Exquisitely handsome, Théodore inspires passions d'Albert never believed he could feel for a man - and Rosette also seems to be in thrall to the charms of her guest. Does this bafflingly alluring person have a secret to hide? Subversive and seductive, Mademoiselle de Maupin (1835) draws readers into the bedrooms and boudoirs of a French château in a compelling exploration of desire and sexual intrigue.
The Crime of Sylvestre Bonnard
I had put on my slippers and my dressing-gown. I wiped away a tear with which the north wind blowing over the quay had obscured my vision. A bright fire was leaping in the chimney of my study. Ice-crystals, shaped like fern-leaves, were sprouting over the windowpanes and concealed from me the Seine with its bridges and the Louvre of the Valois. I drew up my easy-chair to the hearth, and my table-volante, and took up so much of my place by the fire as Hamilcar deigned to allow me. Hamilcar was lying in front of the andirons, curled up on a cushion, with his nose between his paws. His think find fur rose and fell with his regular breathing. At my coming, he slowly slipped a glance of his agate eyes at me from between his half-opened lids, which he closed again almost at once, thinking to himself, "It is nothing; it is only my friend." "Hamilcar," I said to him, as I stretched my legsÑ"Hamilcar, somnolent Prince of the City of BooksÑthou guardian nocturnal! Like that Divine Cat who combated the impious in HeliopolisÑin the night of the great combatÑthou dost defend from vile nibblers those books which the old savant acquired at the cost of his slender savings and indefatigable zeal. Sleep, Hamilcar, softly as a sultana, in this library, that shelters thy military virtues; for verily in thy person are united the formidable aspect of a Tatar warrior and the slumbrous grace of a woman of the Orient. Sleep, thou heroic and voluptuous Hamilcar, while awaiting the moonlight hour in which the mice will come forth to dance before the Acta Sanctorum of the learned Bolandists!" The beginning of this discourse pleased Hamilcar, who accompanied it with a throat-sound like the song of a kettle on the fire. But as my voice waxed louder, Hamilcar notified me by lowering his ears and by wrinkling the striped skin of his brow that it was bad taste on my part so to declaim. "This old-book man," evidently thought Hamilcar, "talks to no purpose at all while our housekeeper never utters a word which is not full of good sense, full of significanceÑcontaining either the announcement of a meal or the promise of a whipping. One knows what she says. But this old man puts together a lot of sounds signifying nothing." So thought Hamilcar to himself. Leaving him to his reflections, I opened a book, which I began to read with interest; for it was a catalogue of manuscripts. I do not know any reading more easy, more fascinating, more delightful than that of a catalogue. The one which I was readingÑedited in 1824 by Mr. Thompson, librarian to Sir Thomas RaleighÑsins, it is true, by excess of brevity, and does not offer that character of exactitude which the archivists of my own generation were the first to introduce into works upon diplomatics and paleography. It leaves a good deal to be desired and to be divined. This is perhaps why I find myself aware, while reading it, of a state of mind which in nature more imaginative than mine might be called reverie. I had allowed myself to drift away this gently upon the current of my thoughts, when my housekeeper announced, in a tone of ill-humor, that Monsieur Coccoz desired to speak with me.
Cultures of Plague
Cultures of Plague highlights this most feared epidemic, one that threatened Italy top to toe from 1575 to 1578 and unleashed an avalanche of plague writing. In the heartland of Counter-Reformation Italy, physicians along with those outside the profession questioned the foundations of Galenic and Renaissance medicine, even the role of God.
Writing in Gold
Writing in Gold is a bold and challenging statement about the importance of the visual arts in a largely illiterate society. Exploring the height of Byzantine society from the 6th to the 12th centuries through a survey of the period's surviving paintings, mosaics, and metalware, the book shows how these art objects molded attitudes and beliefs in the medieval world. The examples chosen cover the full range of Byzantine society from the sophisticated urban environment of Constantinople, where emperors used art to maintain loyalty and support for the system, to the life of a small community on Cyprus, where a recluse used art to glorify himself to his disciples. Written in a lively style, and drawing on new and original material throughout, Writing in Gold illuminates an intriguing period in art history.