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E ka Mea-heluhelu lokomaikai; aloha maikai oe. E nana maka oluolu mai i keia buke me he hoaaloha la. O keia Mooolelo Ekalesia, i kakau mua ia no ka La-hui-kanaka Hawaii, a i paiia hoi ma Lahainaluna, A. D. 1841, oia ka i hooponoponoia e ma ka makemake o "Ka Sosaieti Amerika Hoolaha Palapala" ka poe e pai mai-kai ana i keia Buke i unuhiia e ka nui mai loko ae o ka Mooolelo Ekalesia no na Kula a Kale A. Goderike i ka-kau ai. Ua hookomoia ka papa hou no "Na mea oloko." Ua hoomaopopoia e na olelo i maopopo lea ole i ka mea nana i hooponopono. Ua hoopokoleia e hoi kekahi mau olelo, ke pono iki ae pela. Ua hookomoia e no hoi na mea hou ke mahuahua e ka pono pela. Ua mahele nui ia no hoi ka papa niele loloa mua, a hoopiliia iho keia a me kela apana liilii i ka hopena o keia mokuna kela mokuna, i maopopo lea ai ka pili ana o na ninau i keia palena kela palena o na olelo hoike ma ka mooolelo. Ua hookomoia e no hoi na kii e hoakaka waleno i na mea i haiia e oloko. Ua okiokiia ka Mokuna walu loloa i hookahi hanere paha palena, i moakaka ke ano a me ka pili pono ana o kona papa niele. Ua haaleleia e na hua mua "M. I." no ka mea, he pono iki...

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I heluhelu pono ia o keia buke e oukou, e na hoahanau Hawaii, a me na kumu ao palapala, a me ka poe a pau e huli i ko loko, he pono paha ke hoakaka iki aku i kekahi mau mea no ke kakau ana. Eia ka mua: Na buke i heluheluia e ka mea nana i kakau i keia Mooolelo Ekalesia, i hiki ia ia ke unuhi pono ia iloko o ka olelo Hawaii:— (a) O ka Baibala ka mea nui e maopopo ai ke ano o ka ekalesia oiaio i na manawa a pau loa. Ma ke Kauoha Hou, ua ikeia ke kumu o ka Ekalesia Kerisetiano. Eia ka Paulo i kona poe hoahanau ma Epeso: "Ua kukuluia oukou maluna o ke kahua a na Lunaolelo, a me na Kaula, o Iesu Kristo oia iho no ka pohaku kumu o ke kihi Epeso 2:20. Ma ka palapala "Oihana a ka poe Lunaolelo," ua hoakakaia i ke kukulu mua ana i na ekalesia Kerisetiano a me ka malama ekalesia....

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O ka hoike ana aku i ke kulana o ka oihana koa i loaa i ke Duke o Welinetona a me Ilamuku Ne maloko o keia Buke, oia no kekahi o na haawina like i ao ia aku i na haumana maloko o na kula a puni ka honua nei. Aole wale no ko laua ao ana i ke koa i lilo ai laua i mea kaao nui ia! O ka loaa ana ia laua o na kulana kiekie loa iloko o ka aina! O ka loaa ana ia laua ka hanohano o ke alakai ana i ka miliona o na koa! A o ka laua mau hana wiwo ole maluna o na kahua kaua, oia ka haawina i ao ia ai lakou e koa a e wiwo ole, a no laua ke kaulana a kakou i lohe pinepine ai, a e paanaau nei hoi ma ka waha a me na moolelo o ko ke ao holookoa. Ua waiho ia no kekahi mau wahi e pili a.na ia Welineiona oiai oia ma Enelani, mamuli o ka haiki loa a piha e na aoao i hookaawale ia nona no kekahi mau moolelo e ae. O kekahi Buke nui okoa no ia ina ina kona moolelo wale no ka makemake, alaila, aole no e komo ana iloko o keia Buke, ma kahi no o ka elima haneri aoao a oi aku ke pau pono ka moolelo o kona mau la. Ua lawe ia mai ka hoopahaohao ia ana o Arona Hekana e ka Moi Aresetila a hoopuka pu ia aku no maloko o keia Buke hookahi. Aole he moeuhane io kana i ...

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Perhaps the title of this Book – The Devil‘s Legacy to Earth Mortals may at first seem somewhat strange; they will pause as they do at a Witches Prayer, and wonder whether they had best look into it or no, lest they should really raise the Devil by reading what he has bequeathed to mankind. It is a question not yet determined by the learned, whether the word Devil be singular, that is to say, the name of a person standing by himself, or a noun of multitude; if it be a singular, and so must be used, personally only as a proper name, it consequently implies one imperial devil, monarch, or god of the whole clan of Hell; justly distinguished by the term, The Devil, or as the Scots call him, the muckle-horned Dee‘l, or as others in a wilder dialect, The Devil of Hell, that is to say, The Devil of a devil; or (better still) as the Scriptures expresses it, by way of emphasis, the great red dragon, the Devil, and Satan....

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The power of these witches as we find in their earliest records originated in their intercourse with familiar spirits, invisible beings who must be supposed to be enlisted in the armies of the prince of darkness. We do not read in these ancient memorials of any league of mutual benefit entered into between the merely human party, and his or her supernatural assistant. But modern times have amply supplied this defect. The witch or sorcerer could not secure the assistance of the demon but by a sure and faithful compact, by which the human party obtained the industrious and vigilant service of his familiar for a certain terms of years, only on condition that, when the term was expired, the demon of undoubted right was to obtain the possession of the indentured party, and to convey him irremissibly and forever to the regions of the damned. The contract was drawn out in authentic form, signed by the sorcerer, and attested with his blood, and was then carried away by the demon, to be produced again at the appointed time....

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Eia na kiko i hookomoia maloko o ka olelo, e maopopo ai ke ano i ke kakau ana a me ke pai ana; ua kuhikuhi no hoi kekahi i na mea i kakauia ma kahi e, e hoomoakaka ana i na mea i paiia. Eia malalo iho nei ko lakou ano a me ko lakou mau inoa....

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Learning the Code, Book 1, is a traditional primer piano method written and edited by James L. King III.

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A primer level piano tutorial. Students begin learning basic rudiments and technique. Transitions easily to any traditional middle-c method book.

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Kabbalists state that there is no reality at all, but something called His Essence, the Upper Force, and this is what we perceive as our world. As uncanny as it sounds, this notion hides in its wings the very prospect of freedom, for every person, for every nation, and for the entire world. The structure and the perception of reality are the surface of this book. But the story of humanity, or more accurately, of the human soul, is the undercurrent that drives the reader forward in this book. It is about you, about me, about all of us. This book is about the way we were, the way we are, the way we will be, and most importantly, it is about the best way to get there. In this neatly structured composition, every part speaks of a different aspect of Kabbalah. It starts with our perception of reality, our perception of the Creator, and the evolution of our soul in the spiritual worlds (including explanatory drawings). The book also clears up misconceptions about Kabbalah and explains, in plain words, how to experience the spiritual realm of our lives....

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The "naive" chart below, executed in straight lines only, trying to make texts in space (space poems). It writing with images in a vision clean, architectural feelings. (It belongs to the author). La graphique "naive" qui suit, execéutée en lignes droites seulement, essaie de rendre les textes en espace(poèmes spatiaux).C'est une écriture avec des images dans une vision propre, de l'architecture des sentiments. (Elle appartient à l'auteur)....

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Nathalie demeure bouche bée quand on plombe sa molaire. Elle a une dent contre une autre dent cariée. Le médecin stérilise ses instruments qui deviennent la proie des flammes. La radiographie lui parle en termes voilés. Il fait bouillir le sang de la gencive souffrante dans l'éprouvette. Puis le toubib extrait de la gorge de sa patiente des gros mots. Nathalie remains speechless when on his leaden molar. She has a grudge against a another decayed tooth. The doctor sterilizes its instruments which become engulfed in flames. Radiography talks to him in veiled terms. It makes the blood boil the suffering gum in the specimen. Then the doctor extracts from his patient's throat bad words....

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The history of illumination and book-decoration as practiced in England.

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The word to guess is represented by a row of dashes, giving the number of letters, numbers and category. If the guessing player suggests a letter or number which occurs in the word, the other player writes it in all its correct positions. If the suggested letter or number does not occur in the word, the other player draws one element of the hanged man stick figure as a tally mark. The game is over when: An example game in progress; the answer is Wikipedia.The guessing player completes the word, or guesses the whole word correctly The other player completes the diagram: This diagram is, in fact, designed to look like a hanging man. Although debates have arisen about the questionable taste of this picture,[1] it is still in use today. A common alternative for teachers is to draw an apple tree with ten apples, erasing or crossing out the apples as the guesses are used up. The exact nature of the diagram differs; some players draw the gallows before play and draw parts of the man's body (traditionally the head, then the torso, then the arms and legs one by one). Some players begin with no diagram at all, and drawing ...

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His Lyrics in Greek Meters in four books in a new English translation.

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The Satires Satires: Book I Satire I - On Discontent Satires: Book I Satire II – On Extremism Satires: Book I Satire III – On Tolerance Satires: Book I Satire IV – A Defence of Satire Satires: Book I Satire V – Journey to Brundisium Satires: Book I Satire VI – On Ambition Satires: Book I Satire VII – A Battle of Wits Satires: Book I Satire VIII – Priapus and the Witches Satires: Book I Satire IX – A Nuisance Satires: Book I Satire X – On Satire Satires: Book II Satire I – On Satire Again Satires: Book II Satire II – The Simple Life Satires: Book II Satire III – On Human Folly Satires: Book II Satire IV – The Art of Good Living Satires: Book II Satire V – Legacy Hunting Satires: Book II Satire VI – Town versus Country Satires: Book II Satire VII – Of Spiritual Freedom Satires: Book II Satire VIII – A Dinner Party The Epistles Epistles: Book I Epistle I – Introduction – To Maecenas Epistles: Book I Epistle II – Of Right Living – To Lollius Maximus Epistles: Book I Epistle III – Pursue Philosopy – To Julius Florius Epistles: Book I Epistle IV – Carpe Diem – To Albius Tibullus Epistles: Book I Epistle V – A Dinn...

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...A cycle of poems of yes and no, rumors of life dancing on this islet sphere riding the blind career of outward motion. These rhymes are threnodies and hosannas among nurseries and crypts, hummings to fright hants habiting dingy trails through a wilderness, attempts to stay awhile this side the lichgate by becoming a gossip for the ineffable. They are a literary aesthetic concerning the quicksilver bric-a-brac on the shelves of this what-not of becoming, a naming of smoke, a grasping at echoes, that I might hide in posterity's pocket another day, another night, beyond the terrible hunger of the past's insatiable forgetting. They are wild habits of reluctance. ...

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This book is perhaps the one that is most difficult to understand with just one reading, because it contains a concentration of all of A. Mercurio’s innovative thought. It is difficult to make a short synthesis of this book, so here we will simply mention some of the papers presented by the Author that the book contains. The book opens with an “Invitation” and then proceeds with “The Myth of Sophia-Analysis: life as a work of art”, “Choral Group Research on life as a work of art”, “The Cosmological vision of Sophia-Art”, “The Cosmo-Art Theorem”, “The Cosmo-Art Myth”, “The Myth of Ulysses contains the Cosmo-Art Myth”, “Exploring the Myth of Ulysses”, “The Ulysseans: creators of the Cosmo-Art Myth”. The Author introduces for the first time the concept of “Secondary Beauty”. Primary beauty is the type of beauty created by nature, and it is subject to time and death. “Secondary Beauty” is beauty created by human beings, a type of beauty that goes beyond the type created by nature and that,...

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The Phoenician Women is a tragedy by Euripides. The title refers to the Greek chorus, which is composed of Phoenician women on their way to Delphi who are trapped in Thebes by the war. The chorus represents the innocent and neutral people that very often are found in the middle of war situations. Patriotism is a significant theme in the story, as Polynices talks a great deal about his love for the city of Thebes but has brought an army to destroy it; Creon is also forced to make a choice between saving the city and saving the life of his son. Euripides wrote the play around 408 BC, under the influence of a big defeat of his homeland, Athens, which then faced a military disaster....

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First produced in 472 BC, it is the oldest surviving play in the history of theatre. It dramatises the Persian response to news of their military defeat at the Battle of Salamis (480 BC), which was a decisive episode in the Greco–Persian Wars; as such, the play is also notable for being the only extant Greek tragedy that is based on contemporary events....

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The book is structured in two parts as follows: - in the first part, the theory of paradoxism through its first six published worldwide manifestos (1983, 1984, 1990, 1998, 2002, and 2010 respectively); - in the second part, the paradoxism collected from the international (English, French, Spanish/Arabic, and Romanian) folklore in images and paradoxist situations. ...

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A) Folkloric Begining. It was in the years 1980’s when the paradoxist movement started. Together with childhood friends (I use their nicknames, since these are more colorfull: Cost, Geonea, Beca, Bigioc, Piciu, Boros, Covrig ăl mijlociu, Cris, Pilă, Chesa, Grasu, Babanu) in the little parks and restaurants of Bălcești – Vâlcea drinking beer and joking. They did not like to read or write!... They all were non-literators {excepting me and Co(n)st(antin) Dincă}. We built a new literary movement without even knowing – in a paradoxical way! We did it by jokes, against-the-grain speech, amusing themselves in that bad time! I had written in Romanian language the volume „Laws of internal composition. Poems with... problems!” (1982) as a preparadoxist volume, published lately. But the First Paradoxist Manifesto in the world of the Paradoxism I published in 1983 in the first edition of my French volume The Sense of the Nonsense (Ed. Artistiques, Fès, Morocco). ...

Table of Contents Details
To Paradoxismize (Forward): 4 Paradoxism’s Manifestos (1983-2010): 7 • First Paradoxist Manifesto: 8 • Second Paradoxist Manifesto: 11 • Third Paradoxist Manifesto: 15 • Fourth Paradoxist Manifesto: 18 • Fifth Paradoxist Manifesto: 37 • Sixth Paradoxist Manifesto: 51 Worldwide Paradoxist Folklore: 60 All is possible, the impossible too! French Paradoxist Folklore: 86 Les Perles du BAC 2008 [Pearls of 2008 Baccalaureate] Spanish/Arabic Paradoxist Folklore: 127 Ser fuerte... / .. ما†ھي†القوة [To be strong] Romanian Paradoxist Folklore: 141-155 De ce, tată? [Why, father?] ...

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Twenty-Nine More Poems including Beatrice, The Void.

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To A Woman of Malabar Bertha’s Eyes ‘Je n’ai pas oublié, voisine de la ville,’ ‘La servante au grand coeur dont vous étiez jalouse,’ Landscape The Sun Sorrows of the Moon Don Juan in Hell On Tasso in Prison (Eugène Delacroix’s painting) Femmes Damnées Beauty The Jewels Beatrice Exotic Perfume A Phantom II: The Perfume Afternoon Song The Death of Lovers To A Red-headed Beggar-girl The Death of the Poor Lover’s Wine The Solitary’s Wine The Pipe The Ransom Clouded Sky The Living Torch Spleen Far Away from Here The Void The Moon, Offended Index by First Line...

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Excerpt: JEALOSIE; FOND woman, which would?st have thy husband die, And yet complain?st of his great jealosie; If swolne with poyson, hee Jay in?his last bed, His body with a sere-barke covered, Drawing his breath, as thick and short, as can The nimblest crocheting Musitian, Ready with loathsome vomiting to spue His Soule out of one hell, into a new, Made deafe with his poore kindreds howling cries, Begging with few feign?d teares, great legacies, Thou would?st not weepe, but jolly,?and frolicke bee, As a slave, which to morrow should be free; Yet weep?st thou, when thou seest him hungerly Swallow his owne death, hearts-bane jealousies O give him many thanks, he?is courteous, That in suspecting kindly warneth us. Wee must not, as wee us?d, flout openly, In scoffing ridles, his deformitie; Nor at his boord together being satt, With words, nor touch, scarce lookes adulterate. Nor when he swolne, and pamper?d with great fare Sits downe, and snorts, cag?d in his basket chaire, Must wee usurpe his owne bed any more, Nor kisse and play in his house, as before. Now I see many dangers; for that is His realme, his castle, and his diocesse. B...

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Table of Contents: JEALOSIE, 1 -- THE ANAGRAM, 2 -- CHANGE, 4 -- THE PERFUME, 5 -- HIS PICTURE, 7 -- OH, LET MEE NOT SERVE, 8 -- NATURES LAY IDEOT, 10 -- THE COMPARISON, 11 -- THE AUTUMNALL, 13 -- THE DREAME, 15 -- THE BRACELET, 16 -- HIS PARTING FROM HER, 19 -- JULIA, 22 -- A TALE OF A CITIZEN AND HIS WIFE, 23 -- THE EXPOSTULATION, 25 -- ON HIS MISTRIS, 27 -- VARIETY, 29 -- LOVES PROGRESS, 31 -- TO HIS MISTRIS GOING TO BED, 34 -- LOVES WARR, 36...

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Leonardo da Vinci's thoughts on art and life.

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The wanderings of Odysseus.

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Book I Athene visits Telemachus Book II Debate in Ithaca Book III Telemachus in Pylos Book IV Telemachus in Lacedaemon Book V Odysseus and Calypso Book VI Odysseus and Nausicaa Book VII Odysseus meets Alcinous Book VIII The Games in Phaeacia Book IX Polyphemus the Cyclops Book X Odysseus and Circe Book XI Odysseus in the Underworld Book XII Scylla and Charybdis Book XIII Odysseus in Ithaca Book XIV Odysseus and Eumaeus Book XV Telemachus Returns Book XVI Odysseus and Telemachus Book XVII Odysseus in the palace Book XVIII Irus the beggar Book XIX Odysseus and Eurycleia Book XX Preparations for revenge Book XXI The archery contest Book XXII The fight in the palace Book XXIII Odysseus and Penelope Book XXIV Athene makes peace...

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The master returns!