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From 1808 to 1814, Spaniards waged a guerrilla war against the French Empire, turning Spain into a nightmare for Napoleon's armies and making the Peninsular War one of the most violent conflicts of the nineteenth century. In The Fatal Knot, John Tone recounts the events of this conflict from the perspective of the Spanish guerrillas, whose story has long been ignored in histories centered on Wellington and the French marshals. Focusing on the insurgent army of Francisco Espoz y Mina, Tone offers a new interpretation of the origins and motives of this first guerrilla force and describes the devastating impact of Mina's guerrillas on Napoleon's troops. Tone argues that traditional explanations for the guerrillas' resistance are inadequate. The insurgents were neither bandits in search of booty nor patriots fighting for king, country, and church. Rather, they were landowning peasants who fought to protect their own interests within the old regime in Navarre, a regime that was marked by something like a true "moral economy," reflected in the economic and institutional empowerment of the peasantry. It was this social order and the guerrilla movement it generated that constituted Napoleon's "fatal knot."
In the long history of warfare, a recurring theme is the combined use of regular and irregular forces to pursue victory. The practice of employing regular and irregular forces together was not only applied, but also instrumental in bringing victory to the side that at the beginning of the conflict seemed clearly inferior to its opponent. The term “compound warfare” is used to describe this phenomenon of regular and irregular forces fighting in concert. This book is a compilation of examples of this pattern of warfare in many other times and places. Knowing how the dynamics of compound warfare have affected the outcome of past conflicts will better prepare us to meet both present crises and future challenges of a similar nature.
John Tone recounts the dramatic story of how, between 1808 and 1814, Spanish peasants created and sustained the world's first guerrilla insurgency movement, thereby playing a major role in Napoleon's defeat in the Peninsula War. Focusing on the army of Francisco Mina, Tone offers new insights into the origins, motives, and successes of these first guerrilla forces by interpreting the conflict from the long-ignored perspective of the guerrillas themselves. Only months after Napoleon's invasion in 1807, Spain seemed ready to fall: its rulers were in prison or in exile, its armies were in complete disarray, and Madrid had been occupied. However, the Spanish people themselves, particularly the peasants of Navarre, proved unexpectedly resilient. In response to impending defeat, they formed makeshift governing juntas, raised new armies, and initiated a new kind of people's war of national liberation that came to be known as guerrilla warfare. Key to the peasants' success, says Tone, was the fact that they possessed both the material means and the motives to resist. The guerrillas were neither bandits nor selfless patriots but landowning peasants who fought to protect the old regime in Navarre and their established position within it. from the book: "That unfortunate war destroyed me; it divided my forces, multiplied my obligations, undermined my morale. . . . All the circumstances of my disasters are bound up in that fatal knot.--Napoleon Bonaparte on the Spanish war
This is the second volume of a projected translation into English of all twelve of Jean Racine’s plays—only the third time such a project has been undertaken in the three hundred years since Racine’s death. For this new translation, Geoffrey Alan Argent has taken a fresh approach: he has rendered these plays in rhymed “heroic” couplets. While Argent’s translation is faithful to Racine’s text and tone, his overriding intent has been to translate a work of French literature into a work of English literature, substituting for Racine’s rhymed alexandrines (hexameters) the English mode of rhymed iambic pentameters, a verse form particularly well suited to the highly charged urgency of Racine’s drama and the coiled strength of his verse. Complementing the translation are the illuminating Discussion, intended as much to provoke discussion as to provide it, and the extensive Notes and Commentary, which clarify obscure references, explicate the occasional gnarled conceit, and offer their own fresh and thought-provoking insights. Bajazet, Racine’s seventh play, first given in 1672, is based on events that had taken place in the Sultan’s palace in Istanbul a mere thirty years earlier. But the twilit, twisting passageways of the Seraglio merely serve as a counterpart to the dim and errant moral sense of the play’s four protagonists: Bajazet, the Sultan’s brother; Atalide, Bajazet’s secret lover; Roxane, the Sultaness, who is madly in love with Bajazet and dangles over his head the death sentence the Sultan has ordered her to implement in his absence; and Akhmet, the wily, well-intentioned Vizier, who involves them all in an imbroglio in the Seraglio, with disastrous consequences. Unique among Racine’s plays, Bajazet provides no moral framework for either protagonists or audience. We watch as these benighted characters, cut adrift from any moral moorings, with no upright character at hand to serve as an ethical anchor and no religious or societal guidelines to serve as a lifeline, flail, flounder, and finally drag one another down. Here, Racine has presented us with his four most mercilessly observed, most subtly delineated, and most ambiguously fascinating characters. Indeed, Bajazet is certainly Racine’s most undeservedly neglected tragedy.
In the centuries since it was first performed, Euripides’s Medea has established itself as one of the most influential of the Greek tragedies. The story of the wronged wife who seeks revenge against her unfaithful husband by murdering their children is lodged securely in the popular imagination, a touchstone for politics, law, and psychoanalysis and the subject of constant retellings and reinterpretations. This new translation of Medea by classicist Oliver Taplin, originally published as part of the acclaimed third edition of Chicago’s Complete Greek Tragedies, brilliantly replicates the musicality and strength of Euripides’s verse while retaining the play’s dramatic and emotional impact. Taplin has created an edition of Medea that is particularly suited to performance, while not losing any of the power it has long held as an object of reading or study. This edition is poised to become the new standard, and to introduce a new generation of readers to the heights and depths of Greek tragedy.
"Faust" by Johann Wolfgang von Goethe is a monumental work of German literature that explores themes of ambition, knowledge, and the human condition. Divided into two parts, the play tells the story of the scholar Faust, who makes a pact with the devil, Mephistopheles, in exchange for worldly pleasures and limitless knowledge. At the heart of the narrative is Faust's relentless pursuit of knowledge and experience, which leads him on a journey of self-discovery and moral reckoning. Through his encounters with Mephistopheles and various other characters, Faust grapples with questions of morality, free will, and the nature of existence. Goethe's "Faust" is celebrated for its rich language, complex characters, and profound philosophical insights. The play delves into the depths of human desire and aspiration, exploring the consequences of unchecked ambition and the search for meaning in a world fraught with temptation and disillusionment.
It is a long story, slowly moving like a broad river in its journey through the plains. It is just an effort to highlight some sober facts like the true meaning of nationalism, religion, politics, and humanism. The work has very sharp political connotations. But I would like to clarify that while espousing the cause of clean politics, I have taken very dagger-sharp cuts at certain political forces whose brand of politics results in reversing the basic meanings of religion and nationalism. But it is for sure that all such literary efforts from my side are just a battle cry against bad politics, rather than going against any particular political force. By having creative cuts at the razor-sharp edges of most of the political blocks in India, I have tried to carve out a straight-faced deity whom people have in mind when they envision their interests in the safe hands of the state.
The Allegory of the Church is the first full-length study of Romanesque verse inscriptions in the context of church portals and portal sculpture, and is the product of a twenty-year study.