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INTRODUCTION The early Chinese believed that jade had an immortality of its own and was impervious to decay. For them there was no substance nobler, purer, more durable, more pre-eminently suitable for the fashioning of religious emblems and the embodiment of dogma. Round jade, as round a kernel, the whole body of early Chinese civilisation crystallised. And yet they were not the first discoverers or users of jade, for the Babylonians made seal cylinders of jade, and Professor Elliott Smith believes that the Turkestan jade mountains and rivers were first worked by miners from Mesopotamia who, passing on legends about the magical qualities of jade, infected the Chinese with their beliefs. From the third millennium he says, the mines on the S.E. of the Caspian were being exploited and contact was established between Babylonians, Elamites, and the population of Turkestan. But however early the contacts, assumed or established, we can state truthfully that the Chinese made jade particularly and everlastingly their own, embodying in it their traditions, their religion, their administrative system. They may have derived their belief in the life-giving properties of jade from the Elamites, or have come to attach a magical value to its presence from the Babylonian miners, but for neither of these peoples was it the vehicle of supernatural beliefs, and, penetrate as far back as we may into pre-history, we cannot find a time in China in which jade was not used for religious purposes. What perhaps emphasises the peculiar position of jade in Chinese culture is the fact that other early peoples used jade, although for them it had no significance greater or even as great as gold or pearls. Jade was dug and worked in many parts of Europe. Hatchets have been found in Switzerland, nephrite celts in South Italy and France, Germany, Dalmatia, and Hungary. Jade celts, too, were discovered by Schliemann at Hissarlik, but by no people save the Chinese has jade been made the nucleus and the shrine of a civilisation-although its use was distributed in Turkestan, Persia, Siberia, India, Lake Baikal, and Japan, and to a minor degree the substance was prized by most Asiatic peoples. It is only during the last two decades that collectors have begun to realise the enormous importance of jade. Dr. Laufer broke new ground when, in 1912, he published his great work, xde, A Study in Chinese Archzology and Religion. His object in writing this book was rather ethnological than artistic. He himself calls it a contribution to the l Anthropology, Encyclopzdia Britannica.....
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Handsome, reserved, almost frighteningly aloof until he was approached, then playful, cordial, Nathaniel Hawthorne was as mercurial and double-edged as his writing. “Deep as Dante,” Herman Melville said. Hawthorne himself declared that he was not “one of those supremely hospitable people who serve up their own hearts, delicately fried, with brain sauce, as a tidbit” for the public. Yet those who knew him best often took the opposite position. “He always puts himself in his books,” said his sister-in-law Mary Mann, “he cannot help it.” His life, like his work, was extraordinary, a play of light and shadow. In this major new biography of Hawthorne, the first in more than a decade, Brenda Wineapple, acclaimed biographer of Janet Flanner and Gertrude and Leo Stein (“Luminous”–Richard Howard), brings him brilliantly alive: an exquisite writer who shoveled dung in an attempt to found a new utopia at Brook Farm and then excoriated the community (or his attraction to it) in caustic satire; the confidant of Franklin Pierce, fourteenth president of the United States and arguably one of its worst; friend to Emerson and Thoreau and Melville who, unlike them, made fun of Abraham Lincoln and who, also unlike them, wrote compellingly of women, deeply identifying with them–he was the first major American writer to create erotic female characters. Those vibrant, independent women continue to haunt the imagination, although Hawthorne often punishes, humiliates, or kills them, as if exorcising that which enthralls. Here is the man rooted in Salem, Massachusetts, of an old pre-Revolutionary family, reared partly in the wilds of western Maine, then schooled along with Longfellow at Bowdoin College. Here are his idyllic marriage to the youngest and prettiest of the Peabody sisters and his longtime friendships, including with Margaret Fuller, the notorious feminist writer and intellectual. Here too is Hawthorne at the end of his days, revered as a genius, but considered as well to be an embarrassing puzzle by the Boston intelligentsia, isolated by fiercely held political loyalties that placed him against the Civil War and the currents of his time. Brenda Wineapple navigates the high tides and chill undercurrents of Hawthorne’s fascinating life and work with clarity, nuance, and insight. The novels and tales, the incidental writings, travel notes and children’s books, letters and diaries reverberate in this biography, which both charts and protects the dark unknowable core that is quintessentially Hawthorne. In him, the quest of his generation for an authentically American voice bears disquieting fruit.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
DIVDIVDaniel Stern’s sparkling reinventions of six great literary works/divDIV Twice Told Tales is a new take on some of literature’s greatest stories. In a bravura performance, acclaimed novelist Daniel Stern channels the particular styles and spirits of six classic pieces—even the writings of Sigmund Freud—into unexpected new settings. E. M. Forster, Henry James, and Ernest Hemingway are updated in brilliantly drawn portraits, at once affectionate and satirical. Stern’s approach is deft and witty, yet always attentive to the timeless characters and ideas with which he works./divDIV/div/div