The Countess of Pembroke's Arcadia

Total Page:16

File Type:pdf, Size:1020Kb

The Countess of Pembroke's Arcadia The Countess of Pembroke's Arcadia. Return to Renascence Editions The Countess of Pembroke's Arcadia (1590). Book I. Sir Philip Sidney. Book I. | Book II. | Book III. Note on the e-text: this Renascence Editions text was transcribed by Risa Bear, October, 2003, from the Sommer facsimile of a British Museum copy of the Ponsonby edition of 1590. The text is in the public domain. Content unique to this presentation is copyright © 2003 The University of Oregon. For nonprofit and educational uses only. New readers take note: the numbered marginal notations are reproduced as nearly as possible to those found in the text, and expected notes may be missing or not found to correspond with the chapter headings. T H E COV NT E SS E O F P E M B R O K E S A R C A D I A, W R I T T E N B Y S I R P H I L I P P E S I D N E I. http://darkwing.uoregon.edu/%7Erbear/arcadia1.html (1 of 142)4/11/2005 9:13:14 AM The Countess of Pembroke's Arcadia. L O N D O N Printed for William Ponsonbie. Anno Domini, 1590. T O M Y D E AR E LAD I E A N D S I S T E R, T H E C O V N- T E S S E O F P E M B R O K E. Ere now haue you (most deare, and most worthy to be most deare Lady) this idle worke of mine: which I fear (like the Spiders webbe) will be thought fitter to be swept away, then worn to any other purpose. For my part, in very trueth (as the cruell fathers among the Greekes, were woont to doo to the babes they would not foster) I could well find in my harte, to cast out in some desert of forgetfulnes this child, which I am loath to father. But you desired me to doo it, and your desire, to my hart is an absolute commandement. now, it is done onelie for you, onely http://darkwing.uoregon.edu/%7Erbear/arcadia1.html (2 of 142)4/11/2005 9:13:14 AM The Countess of Pembroke's Arcadia. to you: if you keepe it to your selfe, or to such friendes, who will weigh errors in the ballaunce of good will, I hope, for the fathers sake, it will be pardoned, perchaunce made much of, though in it selfe it haue deformities. For indeede, for seuerer eyes it is not, being but a trifle, and that triflinnglie handled. Your deare selfe can best witnes the maner, being done in loose sheetes of paper, most of it in your presence, the rest, by sheetes, sent vnto you, as fast as they were done. In summe, a young head, not so well stayed as I would it were, (and shall be when God will) hauing many more fancies begotten in it, if it had not ben in some way deliuered, would haue growen a monster, & more sorie might I be that they came in, then that they got out. But his chiefe safetie, shalbe the not walking abroad; & his chiefe protection, the bearing the liuery of your name; which (if much much good will not deceaue me) is worthy to be a sa[n]ctuary for a greater offender. This say I, because I knowe the vertue so; and this say I, because it may be euer so; or to say better, because it will be euer so. Read it then at your idle tymes, and the follyes your good iudgement wiwl finde in it, blame not, but laugh at. And so, looking for no better stuffe, then, as in an Haberdashers shoppe, glasses, or feathers, you will continue to loue the writer, who doth exceedinglie loue you; and most most hartelie praies you may long liue, to be a pricipall ornament to the family of the Sidneis. Your louing Brother Philip Sidnei. http://darkwing.uoregon.edu/%7Erbear/arcadia1.html (3 of 142)4/11/2005 9:13:14 AM The Countess of Pembroke's Arcadia. He diuision and summing of the Chapters was not of Sir Philip Sidneis dooing, but aduentured by the ouer-seer of the print, for the more ease of the Readers. He therfore submits himselfe to their iudgement, and if his labour answere not the worthines of the booke, desireth pardon for it. As also if any defect be found in the Eclogues, which although they were of Sir Phillip Sidneis writing, yet were they not perused by him, but left till the worke had bene finished, that then choise should haue bene made, which should haue bene taken, and in what manner brought in. At this time they haue bene chosen and disposed as the ouer-seer thought best. T H E C O V N T E S S E OF P E M B R O K E S A R C A D I A W R I T- T E N B Y S I R P H I L I P S I D N E I. T H E F I R S T B O O K E. C H A P. I. 1 The shepherdish complaints of the absented louers Strephon and Claius. 2 The second shipwrack of Pyrocles and Musidorus. Their strange sauing, 3 enteruiew, and 4 parting. http://darkwing.uoregon.edu/%7Erbear/arcadia1.html (4 of 142)4/11/2005 9:13:14 AM The Countess of Pembroke's Arcadia. T was in the time that the earth begins to put on her new apparel against the approach of her louer, and that the Sun ru[n]ning a most eue[n] course becums an indifferent arbiter 1 betweene the night and the day; when the hopelesse shepheard Strephon was come to the sandes, which lie against the Island of Cithera; where viewing the place with a heauy kinde of delight, and sometimes casting his eyes to the Ileward, he called his friendly riuall, the pastor Claius vnto him, and setting first downe in his darkened countenance a dolefull copie of what he would speake: O my Claius, said he, hether we are now come to pay the rent, for which we are so called vnto by ouer-busie Remembrance, restlesse Remembrance, which claymes not onely this dutie of vs, but for it will haue vs forget our selues. I pray you when wee were amid our flocke, and that of other shepeheardes some were running after their sheep strayed beyond their bounds, some delighting their eyes with seeing them nibble vpon the short and sweete grasse, some medicining their sick ewes, some setting a bell for an ensigne of a sheepish squadron, some with more leasure inuenting new games of exercising their bodies & sporting their wits: did Remembrance grount vs any holiday, eyther for pastime or deuotion, nay either for necessary foode or naturall rest? but that still it forced our thoughts to worke vpo[n] this place, where we last (alas that the word last should so long last) did gaze our eyes vpon her euer flourishing beautie: did it not still crie within vs? Ah you base minded wretches, are your thoughts so deeply bemired in the trade of ordinary worldlings, as for respect of gaine some paultry wooll may yeeld you, to let so much time passe without knowing perfectly her estate, especially in so http://darkwing.uoregon.edu/%7Erbear/arcadia1.html (5 of 142)4/11/2005 9:13:14 AM The Countess of Pembroke's Arcadia. troublesome a season? to leaue that shore vnsaluted, from whence you may see to the Island where she dwelleth? to leaue those steps vnkissed wherein Vrania printed the farewell of all beautie? Wel then, Remembraunce commaunded, we obeyed, and here we finde, that as our remembraunce came euer cloathed vnto vs in the forme of this place, so this place giues newe heate to the feauer of our languishing remembrance. Yonder my Claius, Vrania lighted, the verie horse (me thought) bewayled to be so disburdened: and as for thee, poore Claius, when thou wentst to help her downe, I saw reuerence and desire so deuide thee, that thou didst at one instant both blushe and quake, and in stead of bearing her, weart ready to fall downe thy selfe. There shee sate, vouchsafing my cloake (then most gorgeous) vnder her: at yonder rising of the ground she turned her selfe, looking backe toward her woonted abode, and because of her parting bearing much sorrow in hir eyes, the lightsomnes whereof had yet so naturall a cherefulnesse, as it made euen sorrow seeme to smile; at that turning she spake vnto vs all, opening the cherrie of hir lips, & Lord how greedily mine eares did feed vpon the sweete words she vttered? And here she laide her hand ouer thine eyes, when shee saw the teares springing in them, as if she would conceale them from other, and yet her selfe feele some of thy sorrow: But woe is me, yonder, yonder, did she put her foote into the boate, at that instant as it were deuiding her heauenly beautie, betweene the Earth and the Sea. But when she was imbarked, did you not marke how the windes whistled, & the seas daunst for ioy, how the sailes did swel with pride, and all because they had Vrania? O Vrania, blessed be thou Vrania, the sweetest fairenesse and fairest sweetenesse: with that worde his voice brake so with sobbing, that he could say no further; and Claius thus answered.
Recommended publications
  • Objects in Tom Stoppard's Arcadia
    Cercles 22 (2012) ANIMAL, VEGETABLE OR MINERAL? OBJECTS IN TOM STOPPARD’S ARCADIA SUSAN BLATTÈS Université Stendhal—Grenoble 3 The simplicity of the single set in Arcadia1 with its rather austere furniture, bare floor and uncurtained windows has been pointed out by critics, notably in comparison with some of Stoppard’s earlier work. This relatively timeless set provides, on one level, an unchanging backdrop for the play’s multiple complexities in terms of plot, ideas and temporal structure. However we should not conclude that the set plays a secondary role in the play since the mysteries at the centre of the plot can only be solved here and with this particular group of characters. Furthermore, I would like to suggest that the on-stage objects play a similarly vital role by gradually transforming our first impressions and contributing to the multi-layered meaning of the play. In his study on the theatre from a phenomenological perspective, Bert O. States writes: “Theater is the medium, par excellence, that consumes the real in its realest forms […] Its permanent spectacle is the parade of objects and processes in transit from environment to imagery” [STATES 1985 : 40]. This paper will look at some of the parading or paraded objects in Arcadia. The objects are many and various, as can be seen in the list provided in the Samuel French acting edition (along with lists of lighting and sound effects). We will see that there are not only many different objects, but also that each object can be called upon to assume different functions at different moments, hence the rather playful question in the title of this paper (an allusion to the popular game “Twenty Questions” in which the identity of an object has to be guessed), suggesting we consider the objects as a kind of challenge to the spectator, who is set the task of identifying and interpreting them.
    [Show full text]
  • 1 Introduction It Is My Goal in This Paper to Offer a Strategy For
    Three Archetypes for the Clarification Christopher Yorke Of Utopian Theorizing University of Glasgow Introduction It is my goal in this paper to offer a strategy for translating universal statements about utopia into particular statements. This is accomplished by drawing out their implicit, temporally embedded, points of reference. Universal statements of the kind I find troublesome are those of the form ‘Utopia is x’, where ‘x’ can be anything from ‘the receding horizon’ to ‘the nation of the virtuous’. To such statements, I want to put the questions: ‘Which utopias?’; ‘In what sense?’; and ‘When was that, is that, or will that be, the case for utopias?’ Through an exploration of these lines of questioning, I arrive at three archetypes of utopian theorizing which serve to provide the answers: namely, utopian historicism, utopian presentism, and utopian futurism. The employment of these archetypes temporally grounds statements about utopia in the past, present, or future, and thus forces discussion of discrete particulars instead of abstract universals with no meaningful referents. Given the vague manner in which the term ‘utopia’ is employed in discourse—whether academic or non-academic—confusion frequently, and rightly, ensues. There are various possible sources for this confusion, the first of which is the sheer volume and wide variety of socio-political schemes that have been regarded as utopian, by utopian theorists, historians, or authors of fiction. Bibliographers of utopian literature (such as Lyman Tower Sargent) face the onerous task of sorting out those visions of other worlds that belong in the utopian canon from those that do not. However, utopian bibliographies generally err on the side of inclusiveness, and a sufficient range and number of utopias remain in the realm of discourse to make the practice of distinguishing a utopia from a non-utopia (or even a dystopia) challenging at best and baffling at worst.
    [Show full text]
  • History and Vision in Byron, the Shelleys, and Keats Timothy Ruppert
    Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Spring 2008 "Is Not the Past All Shadow?": History and Vision in Byron, the Shelleys, and Keats Timothy Ruppert Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Ruppert, T. (2008). "Is Not the Past All Shadow?": History and Vision in Byron, the Shelleys, and Keats (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/1132 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. “IS NOT THE PAST ALL SHADOW?”: HISTORY AND VISION IN BYRON, THE SHELLEYS, AND KEATS A Dissertation Submitted to the McAnulty College and Graduate School of Liberal Arts Duquesne University in partial fulfillment of the requirements for the degree of Doctor of Philosophy By Timothy Ruppert March 2008 Copyright by Timothy Ruppert 2008 “IS NOT THE PAST ALL SHADOW?”: HISTORY AND VISION IN BYRON, THE SHELLEYS, AND KEATS By Timothy Ruppert Approved March 25, 2008 _____________________________ _____________________________ Daniel P. Watkins, Ph.D. Jean E. Hunter , Ph.D. Professor of English Professor of History (Dissertation Director) (Committee Member) _____________________________ _____________________________ Albert C. Labriola, Ph.D. Magali Cornier Michael, Ph.D. Professor of English Professor of English (Committee Member) (Chair, Department of English) _____________________________ Albert C. Labriola, Ph.D. Dean, McAnulty College and Graduate School of Liberal Arts Professor of English iii ABSTRACT “IS NOT THE PAST ALL SHADOW?”: HISTORY AND VISION IN BYRON, THE SHELLEYS, AND KEATS By Timothy Ruppert March 2008 Dissertation Supervised by Professor Daniel P.
    [Show full text]
  • Promoting Paradise: Utopianism And
    New Zealand Journal of History, 42, 1 (2008) Promoting Paradise UTOPIANISM AND NATIONAL IDENTITY IN NEW ZEALAND, 1870–1930 A NUMBER OF COMMENTATORS have identified a correlation between aspects of utopianism and New Zealand’s past. Miles Fairburn, for example, has emphasized the power of an arcadian myth in nineteenth-century New Zealand.1 James Belich entitled the second volume of his history of New Zealand Paradise Reforged.2 And Lucy Sargisson and Lyman Tower Sargent’s work on intentional communities (or communes) argued that New Zealand ‘has a special place in the history of utopianism’.3 As Sargisson and Sargent note, though, there has not been any extended discussion of the association between utopianism and New Zealand’s national identity. Fairburn’s work comes closest, but the ‘governing category’ of his landmark study was ‘the colony’s social organisation’ rather than arcadian myths.4 Furthermore, Fairburn’s work stops in the 1890s, ignores ideal visions of cities and towns, disregards utopian fiction, and does not take into account ‘race’ and politics and the impact which these had on images of arcadia. While ‘race’ and politics are central to Belich’s work his study remains first and foremost a general history. The use of the descriptor ‘paradise’, like his term ‘recolonization’ (which is used to signify New Zealand’s apparent return to the British imperial fold), works primarily as ‘a heuristic device … to give pattern’.5 Belich also overlooks utopian and science fiction (SF) literature, focuses on the printed word and skips over ‘booster’ sources, namely those civic and commercial publications produced locally to promote settlement and investment.
    [Show full text]
  • Composting Arcadia Stories from Pākehā Women “Of the Land” in Wairarapa, Aotearoa New Zealand by Rebecca L Ream
    Composting arcadia Stories from Pākehā women “of the land” in Wairarapa, Aotearoa New Zealand by Rebecca L Ream A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington (2020) Abstract I suggest that this thesis is a compost pile from Wairarapa that slowly turns over harmful but potentially fertile tales of arcadia. I narrate this thesis drawing on the fleshly stories of ten Pākehā (colonial settler) women “of the land’ and the ethico-onto-epistemology of Donna Haraway’s compost making. Composting is Haraway’s (2016) latest feminist call to trouble and queer the self-contained secular humanism of Western1 modernity. Uprooting the Western separation of ‘nature’ from culture, Haraway’s philosophy provides an earthly foundation in which to compost arcadia. Arcadia is an antique ‘nature’ myth that has been enmeshed in the process of Western world making from Classical Greece to the European ‘Age of Discovery’. Arcadia was used by the British to colonise Aotearoa New Zealand2 in the nineteenth century. As a Pākehā, I have been compelled to explore this myth because of the way it has seeped into transcendent understandings of land for descendants of colonial settlers like myself. Commonly known as a rural paradise, arcadia was a strategy for ‘normalising’ and ‘naturalising’ European occupancy in New Zealand (Evans, 2007; Fairburn, 1989). British arcadianism arrived on the shores of New Zealand, Victorian and romantic. Therefore, in this thesis I posit that through both settler and romantic ideals, Pākehā continue to use arcadianism to relate to land.
    [Show full text]
  • The Eden Project – Gardens, Utopia and Heterotopia
    Heterotopian Studies The Eden Project – gardens, utopia and heterotopia To reference this essay: Johnson, P. (2012) ‘The Eden Project – gardens, utopia and heterotopia’ Heterotopian Studies [http://www.heterotopiastudies.com] Gardens and utopia Utopias have ‘frequently invoked the special and resonant spaces of gardens, just as gardens have often been utopian in impulse, design and meaning’ (Hunt, 1987: 114): The garden provides an image of the world, a space of simulation for paradise-like conditions, a place of otherness where dreams are realised in an expression of a better world. (Meyer, 2003: 131) The garden features strongly in Thomas More’s original account of utopia. The conversations that form the basis of the book take place in a garden in Antwerp (1965: 17); the narrative suggests that the founder of utopia must have had a ‘special interest’ in gardening; and the inhabitants of utopia are said to be particularly fond of their gardens (53). Bloch goes so far as to suggest that in More’s utopia, ‘life is a garden’ (1986a: 475). Mosser and Teyssot assert that ‘nostalgia for the Garden of Eden has provided garden designers throughout history with a model of perfection to aspire to’ (1990: 12). Elsewhere, Mosser claims that garden enthusiasts seem ‘devoted to creating the impossible’ (1990: 278). Bauman asserts that gardeners ‘tend to be the most ardent producers of utopias’ (2005: 4). A recent exhibition at the National Art Museum of China (2008) entitled ‘Garden Utopia’ articulates the traditional perspective of a Chinese garden as a space for ‘contemplation, a borderland between reality and fantasy to escape the trappings of the modern world and reconnect humanity with nature’.
    [Show full text]
  • Summer Library Program Manual, 2000. Based on the Theme" Ticket to Tomorrow!"
    DOCUMENT RESUME ED 439 718 IR 057 812 AUTHOR Roeber, Jane A. TITLE Summer Library Program Manual, 2000. Based on the Theme "Ticket to Tomorrow!" INSTITUTION Wisconsin State Dept. of Public Instruction, Madison. ISBN ISBN-1-57337-076-2 PUB DATE 1999-11-00 NOTE 233p. AVAILABLE FROM Wisconsin Department of Public Instruction, Drawer 179, Milwaukee, WI 53293-0179. Tel: 800-243-8782 (Toll Free); Web site: http://www.dpi.state.wi.us/pubsales. PUB TYPE Guides Non-Classroom (055) Reports Descriptive (141) EDRS PRICE MF01/PC10 Plus Postage. DESCRIPTORS Childrens Libraries; Creative Activities; Learning Activities; Program Development; *Public Libraries; *Summer Programs IDENTIFIERS *Wisconsin ABSTRACT The year 2000 marks the 30th anniversary of statewide summer library programs in Wisconsin and the 25th anniversary of program coordinatioh-by the Division for Libraries, Technology, and Community Learning. The theme of the Wisconsin Summer Library Program for the year 2000 is "Ticket to Tomorrow." This manual contains suggestions for librarians on planning, developing, and conducting the summer library program for youth. Chapters include: Planning and Promoting Programs; Decorating the Library; Programs and Activities; Giveaways and Games; Performing Artists; and Sources and Resources. The 2000 Planning Committee members are listed, as well as manual contributors and Department of Public Instruction team members. Statewide themes used since 1970 are listed as part of the Summer Library Program history. Activity sheets and clip art are provided throughout the book.(AEF) Reproductions supplied by EDRS are the best that can be made from the original document. Summer Library Program Manual, 2000 Based on the Theme "Ticket to Tomorrow!" by Jane Roeber U.S.
    [Show full text]
  • An Inquiry Into the Yeşil Yurt Dream of Servet-I Fünun A
    SPACES OF AN ESCAPIST UTOPIA: AN INQUIRY INTO THE YEŞİL YURT DREAM OF SERVET-I FÜNUN A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF NATURAL AND APPLIED SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY GÖNENÇ KURPINAR IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE IN ARCHITECTURE JULY 2020 Approval of the thesis: SPACES OF AN ESCAPIST UTOPIA: AN INQUIRY INTO THE YEŞİL YURT DREAM OF SERVET-I FÜNUN submitted by Gönenç Kurpınar in partial fulfilment of the requirements for the degree of Master of Science in Architecture, Middle East Technical University by, Prof. Dr. Halil Kalıpçılar Dean, Graduate School of Natural and Applied Sciences Prof. Dr. Cana Bilsel Head of the Department, Architecture Assoc. Prof. Dr. M. Haluk Zelef Supervisor, Architecture Dept., METU Examining Committee Members: Prof. Dr. İnci Basa Architecture Dept., METU Assoc. Prof. Dr. M.Haluk Zelef Architecture Dept., METU Assoc. Prof. Ela Çil Architecture Dept., IYTE Date: 22.07.2020 I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name: Gönenç Kurpınar Signature: iii ABSTRACT SPACES OF AN ESCAPIST UTOPIA: AN INQUIRY INTO THE YEŞİL YURT DREAM OF SERVET-I FÜNUN Kurpınar, Gönenç Master of Architecture, Architecture Supervisor: Assoc. Prof. Dr. Mustafa Haluk Zelef July 2020, 101 Pages Throughout the history, humankind has created many utopias and has used the utopian vision to build the physical environment, govern the social life or just escape from the existing reality.
    [Show full text]
  • Stories of Parallel Lives and the Status Anxieties of Contemporary Historicism Author(S): TED UNDERWOOD Source: Representations, Vol
    Stories of Parallel Lives and the Status Anxieties of Contemporary Historicism Author(s): TED UNDERWOOD Source: Representations, Vol. 85, No. 1 (Winter 2004), pp. 1-20 Published by: University of California Press Stable URL: http://www.jstor.org/stable/10.1525/rep.2004.85.1.1 . Accessed: 12/08/2013 12:12 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Representations. http://www.jstor.org This content downloaded from 130.126.32.13 on Mon, 12 Aug 2013 12:12:14 PM All use subject to JSTOR Terms and Conditions TED UNDERWOOD Stories of Parallel Lives and the Status Anxieties of Contemporary Historicism I , the meaning of postmodernism be- came a topic of contention. Was it a discrete artistic movement, a structural trans- formation of modernity as a whole, or merely a convenient synonym for ‘‘the period after the Second World War’’? Though advocates and critics of postmodernity de- fined the term differently, they did concur on one point. The evocation of bygone eras that characterized postmodern art, fiction, and film was not to be taken at face value.
    [Show full text]
  • In Word Is One of Those Elements That Makes Word Processing So Great
    Inthis activity, you will practice how to: 1. find and replace text in a document. The find and replace feature in Word is one of those elements that makes word processing so great. Editing a first draft is often tough enough without having to find reoccurring text throughout a document. With find and replace, your computer does the searching and swapping for you. In this activity, you will type a summary from one of today's hottest TV shows,"Prison Break," and replace text within the document. 1. Open a NEW document in Word. Note: Unless otherwise stated, the font should be set to Times New Roman, the font size to 12 point. 2. Insert a header that includes the activity number and title left aligned, and your name right aligned.Type the header in all caps. 3. Starting on the first line of the document, type the article text exactly as shown in 4. Save the document as PRISONBREAK. 5. Find and replace the words provided in the table below. When complete, you should have 20 replacements. Note: Be careful not to replace "Wentworth Miller" with "Mr. Miller." Prison Break PRISONBREAK Scofield Scofield (a.k.a.Fish) Miller Mr.Miller 6. Carefully proofread the document for spelling, grammar, and accuracy. 7. Resave the document. 8. Print the document if required by your instructor. Word It! Wentworth Miller Plays Michael Scofield on Prison Break Born in the United Kingdom, raised in Brooklyn, New York, and a graduate of Princeton University, Wentworth Miller is a compelling and critically acclaimed young actor whose credits include both television and feature film.
    [Show full text]
  • Dragon Magazine #249
    HISTORICAL FANTASY Issue # 249 Volume XXIII, NO. 2 July 1998 Seeds of Evil James Wyatt Combining the historical AD&D® supplements with the Masque of the Red Death campaign for a legacy of terror. 26 66 Wyrms of the North Ed Greenwood The guile and subtlety of a drow lurks behind the Below the Tomb of Horrors smile of The Dark Lady. Bruce R. Cordell 76 Giants in the Earth New terrors to add to the classic AD&D module J. Gregory Keyes New legends from or any cryptic dungeon in your campaign. the World of the Waterborn. 38 82 Bazaar of the Bizarre Jeffrey Mendoza Before your next Sixguns and Sesheyans trek, shop at A Travelers Emporium. 90 Arcane Lore Rich Baker Ed Bonny Discover the dire powers of ® Back to the future with ALTERNITY game rules The Lost Spellbook of Rary the Traitor. for Old West firearms, plus guidelines for creating your own Weird West campaign. 98 Dungeon Mastery Holly Ingraham Learn the vocabulary 48 of the Underdark in Deep Meanings. Fiction Wakes the Narrow Forest The Wyrms Turn . 4 J. Gregory Keyes D-MAIL .................... 6 The ghost of his father compels Fool Wolf FORUM ...................... 10 to visit giant country. SAGE ADVICE ................. 18 58 OUT OF CHARACTER ........... 24 BOOKWYRMS ................. 72 CONVENTION CALENDAR ........ 102 DRAGONMIRTH .............. 104 KNIGHTS OF THE DINNER TABLE . 106 ROLEPLAYING REVIEWS ......... 108 GAME PREVIEWS ............... 114 PROFILES .................... 120 Publisher Wendy Noritake Executive Editor Pierce Watters Editor Dave Gross Art Director Larry Smith Associate Editor Chris Perkins Editorial Assistant Jesse Decker Production Manager John Dunn Advertising Sales Manager Bob Henning Advertising Traffic Manager Judy Smitha ® Michael Roele falls before the might of the dread Gorgon in this months cover by BIRTHRIGHT campaign artist Tony Szczudlo.
    [Show full text]
  • ARCADIA, UTOPIA, UTOPIA Series 2 & GRAND UTOPIA
    ARCADIA, UTOPIA, UTOPIA Series 2 & GRAND UTOPIA SOLID-FUEL HEATERS INSTALLING AND OPERATING INSTRUCTIONS 585877 THIS BOOK CONTAINS IMPORTANT INFORMATION. PLEASE KEEP IT IN A SAFE PLACE FOR FUTURE REFERENCE. CONTENTS INTRODUCTION ...........................................................................2 UNPACKING..................................................................................3 ASSEMBLY....................................................................................3 POSITIONING................................................................................4 RECOMMENDED FLUES FOR AUSTRALIA ..............................5 WALL SHIELDING........................................................................5 HEARTH REQUIREMENTS ..........................................................6 CORNER HEARTHS ......................................................................7 HEARTH CONSTRUCTION ..........................................................7 FITTING A WATER COIL .............................................................8 INSTALLING THE FLUE ..............................................................9 MANTEL-SHELF SHIELDING......................................................9 FIXING IN POSITION....................................................................9 OPERATING INSTRUCTIONS BASIC INFORMATION ...............................................................10 LIGHTING UP ..............................................................................10 OPERATING HINTS ....................................................................11
    [Show full text]