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Joyce Cary (1888-1957) is indisputably one of the finest English novelists of this century. His reputation at his death equaled those of such contemporaries as Aldous Huxley and Evelyn Waugh. His exuberant style allowed him to create a vivid array of men and women whose stories embody the conflicts of their day and whose characters are beautifully realized. Written in his last years, his "Second Trilogy" (Prisoner of Grace, Except the Lord, and Not Honour More) shows the mature Cary at his most brilliant, as he unfolds the tragicomedy of private lives compromised by politics and religion. While in his earlier trilogy (Herself Surprised, To Be a Pilgrim, and The Horse's Mouth) he pits the visionary artist against an indifferent but by no means dull world, in his masterful "Second Trilogy" he maps that gray landscape between good and evil where life is at its most dangerous. The concluding novel in Joyce Cary's "Second Trilogy," Not Honour More (1955) takes up at the point Prisoner of Grace (1952) ends. The setting is Palm Cottage, the remnant property of the Slapton-Latter family and now the scene of an unhappy ménage consisting of Captain Jim Latter (retired), his wife Nina (née Woodville), and her former husband, Chester Nimmo. It is 1926, the year of the General Strike. Nimmo, once a Cabinet Minister, sees the situation as his chance for a political comeback, while Jim, head of the emergency civilian police, feels it his duty to take his stand, however desperate, against "the grabbers and tapeworms... sucking the soul out of England." For Nina, the trapped go-between, their inevitable clashes can lead nowhere but disaster. Not Honour More is Jim's book, "my statement, so help me, as I hope to be hung."
Revised edition of the best-selling memoir that has been read by over a million people worldwide with translations in 29 languages. After too many years of unfulfilling work, Bronnie Ware began searching for a job with heart. Despite having no formal qualifications or previous experience in the field, she found herself working in palliative care. During the time she spent tending to those who were dying, Bronnie's life was transformed. Later, she wrote an Internet blog post, outlining the most common regrets that the people she had cared for had expressed. The post gained so much momentum that it was viewed by more than three million readers worldwide in its first year. At the request of many, Bronnie subsequently wrote a book, The Top Five Regrets of the Dying, to share her story. Bronnie has had a colourful and diverse life. By applying the lessons of those nearing their death to her own life, she developed an understanding that it is possible for everyone, if we make the right choices, to die with peace of mind. In this revised edition of the best-selling memoir that has been read by over a million people worldwide, with translations in 29 languages, Bronnie expresses how significant these regrets are and how we can positively address these issues while we still have the time. The Top Five Regrets of the Dying gives hope for a better world. It is a courageous, life-changing book that will leave you feeling more compassionate and inspired to live the life you are truly here to live.
The Encourager is a ONE YEAR timeless daily devotional designed to enable women of all ages reach their spiritual growth goal in their Christian Faith based on the New Testament. It is designed to encourage, enable and empower the woman to achieve a level of spiritual understanding and to know God more. You will be led into a world of encouraging words that will challenge you and show you that even as a woman you can truly be like God. The ENCOURAGER will reveal to you how the world is waiting for your manifestation and influence in our world. In this daily reading of the scriptures and the text, THE ENCOURAGER will help you grow in wisdom and grace to achieve your maximum capacity. THE ENCOURAGER is an exciting tool that lead you to a height of revelation of who God is and who you are in Him. Many have read it and have come back with a positive result. It is a devotional that will help you face the challenges of the 21st century.
Treasury of verse by the great Victorian poet, including the long narrative poem, Enoch Arden, plus "The Lady of Shalott," "The Charge of the Light Brigade," selections from The Princess, "Maud" and "The Brook," more.
Enlightenment critics from Dryden through Johnson and Wordsworth conceived the modern view that art and especially literature entails a double reflection: a reflection of the world, and a reflection on the process by which that reflection is accomplished. Instead “neoclassicism” and “Augustanism” have been falsely construed as involving a one-dimensional imitation of classical texts and an unselfconscious representation of the world. In fact these Enlightenment movements adopted an oblique perspective that registers the distance between past tradition and its present reenactment, between representation and presence. Two modern movements, Romanticism and modernism, have appropriated as their own these innovations, which derive from Enlightenment thought. Both of these movements ground their error in a misreading of “imitation” as understood by Aristotle and his Enlightenment proponents. Rightly understood, neoclassical imitation, constitutively aware of the difference between what it knows and how it knows it, is an experimental inquiry that generates a range of prefixes—“counter-,” “mock-,” “anti-,” “neo-”—that mark formal degrees of its epistemological detachment. Romantic ideology has denied the role of the imagination in Enlightenment imitation, imposing on the eighteenth century a dichotomous periodization: duplication versus imagination, the mirror versus the lamp. Structuralist ideology has dichotomized narration and description, form and content, structure and history. Poststructuralist ideology has propounded for the novel a contradictory “novel tradition”—realism, modernism, postmodernism, postcolonialism—whose stages both constitute a sequence and collapse it, each stage claiming the innovation of the stage that precedes it. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
A finalist for the Pulitzer Prize and the American Book Award, hailed in The Washington Post as "a work of enormous imagination and enterprise" and in The New York Times as "an important, original book," Southern Honor revolutionized our understanding of the antebellum South, revealing how Southern men adopted an ancient honor code that shaped their society from top to bottom. Using legal documents, letters, diaries, and newspaper columns, Wyatt-Brown offers fascinating examples to illuminate the dynamics of Southern life throughout the antebellum period. He describes how Southern whites, living chiefly in small, rural, agrarian surroundings, in which everyone knew everyone else, established the local hierarchy of kinfolk and neighbors according to their individual and familial reputation. By claiming honor and dreading shame, they controlled their slaves, ruled their households, established the social rankings of themselves, kinfolk, and neighbors, and responded ferociously against perceived threats. The shamed and shameless sometimes suffered grievously for defying community norms. Wyatt-Brown further explains how a Southern elite refined the ethic. Learning, gentlemanly behavior, and deliberate rather than reckless resort to arms softened the cruder form, which the author calls "primal honor." In either case, honor required men to demonstrate their prowess and engage in fierce defense of individual, family, community, and regional reputation by duel, physical encounter, or war. Subordination of African-Americans was uppermost in this Southern ethic. Any threat, whether from the slaves themselves or from outside agitation, had to be met forcefully. Slavery was the root cause of the Civil War, but, according to Wyatt-Brown, honor pulled the trigger. Featuring a new introduction by the author, this anniversary edition of a classic work offers readers a compelling view of Southern culture before the Civil War.
Vol. for 1888 includes dramatic directory for Feb.-Dec.; vol. for 1889 includes dramatic directory for Jan.-May.