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1 - The Opening - Al-Fatihah; Qur'an;The word of god passed to Gabriel recited to Abraham who passed it to his father to write it down

"Praise be to be () lord sustainer of the world the Compassionate the caring master of the day of reckoning"

1 - The Opening - Al-Fatihah; Qur'an;The word of god passed to Gabriel recited to Abraham who passed it to his father to write it down

"To you we turn to worship and to you we turn in time of need"

1 - The Opening - Al-Fatihah; Qur'an;The word of god passed to Gabriel recited to Abraham who passed it to his father to write it down

"Guide us along the road straight the road of those whom you are giving"

1 - The Opening - Al-Fatihah; Qur'an;The word of god passed to Gabriel recited to Abraham who passed it to his father to write it down

"Not those with anger upon them not those who have lost the way"

91 - The Sun; Qur'an;The word of god passed to Gabriel recited to Abraham who passed it to his father to write it down

"​​By the sun and her brightening By the moon when it follows her By the day when it displays her By the night when it veils her By the sky and what constructed her By the earth and what shaped her By the soul and what formed her and revealed her debased and revealed her faithful Whoever honors her flourishes Whoever defiles her fails"

91 - The Sun; Qur'an;The word of god passed to Gabriel recited to Abraham who passed it to his father to write it down

"The people of () called truth a lie in their inhumanity when they sent out their worst The messenger of () said () camel mare give her water! They called him liar and hamstrung her for the slaughter Then their lord rumbled down upon them for their crime and wiped them away with no fear of what came after"

97 - Destiny - Al-Qadar; Qur'an;The word of god passed to Gabriel recited to Abraham who passed it to his father to write it down

"We sent it down on the night of destiny And what could tell you of the night of destiny The night of destiny is better than a thousand months"

97 - Destiny - Al-Qadar; Qur'an;The word of god passed to Gabriel recited to Abraham who passed it to his father to write it down

"The angels come down, the spirit among them, by permission of their () from very order Peace it is until the dawn"

101 - The Calamity - Al-Qaria; Qur'an;The word of god passed to Gabriel recited to Abraham who passed it to his father to write it down

"The qadria What is the qadri's What can tell you of the qdna A day humankind are like moths scattered And mountains are like fluffs of wool Whoever's scales weigh heavy His is a life that is pleasing Whoever's scales weigh light His mother is hadiya What can tell you what she is Raging fire"

The Friend Who Said "I"; Rumi, Mathnawi

"A man came knocking at the door of his friend, "Who are you" the friend asked from within. "It is I who come to your door," said the man, "Go away, not now, this isn't the time,

The Friend Who Said "I"; Rumi, Mathnawi

"No place exists here for the raw."

The Friend Who Said "I"; Rumi, Mathnawi

"So the wretched friend left from the door, And traveled afar for a year, his mind and heart Were burned by the world, till eventually he could once more. And again he knocked at the door of his friend, his heart in his 111outh with fear. "Who's there at my door?" his friend asked.

The Friend Who Said "I"; Rumi, Mathnawi

"Is it you, my closest of hearts?" "No, it's you at the door, not I any111ore." "Then come inside 111y house, for here I can tell, There's little or no room for two."

From the Bedouin and His Wife; Rumi, Mathnawi

"Woman shines in God's eye, Long past earthly love, Creating-not the rib of man. Open to me, so though may open Provide me your inspiration So that I might see mine.

Prologue; Marie de France, Lais

"THOSE whom God has granted sense, And taught to speak with eloquence. Should not be dumb, or hide away, But willingly display their skills. When all listen to aught that's fine Then it flourishes, and doth shine. And when it is praised by the hour Then it blossoms in full flower."

Prologue; Marie de France, Lais

"Whoever has received knowledge and eloquence in speech from God should not be silent or secretive but demonstrate it willingly. When a great good is widely heard of, them, and only then, does it bloom, and when that good is praised by many, it has spread its blossoms"

Prologue; Marie de France, Lais

"The custom among the ancients-as priscian testfies-was to speak quite obscurely in the books they wrote, so that those who were to come after and study them might gloss the letter and supply its significance from their own wisdom. Philosophers knew this, they understood among themselves that the more time they spent, the more subtle their minds would become! and the better they would know how to keep themselves from whatever was to be avoided. He who would guard himself from vice should study and understand and begin a weighty work by which he might keep vice at a distance, and free himself from great sorrow. That's why I began to think about composing some good stories and translating from Latin to Romance; but that was not to bring me fame:too many others have done it."

Prologue; Marie de France, Lais

"​​Then I thought of the lies I'd heard. I did not doubt, indeed I knew well, that those who first began them? and sent them forth composed in order to preserve adventures they had heard. I have heard many stories; and I don't want to neglect or forget them. To put them into words? and rhyme I've often stayed awake."

Prologue; Marie de France, Lais

"In your honor, noble King, who is so brave and courteous, repository of all joys in whose heart all goodness takes root, I undertook to assemble these lies to compose and recount them in rhyme. In my heart I thought and determined, sire, that I would present them to you. If it pleases you to receive them, you will give me great joy; I shall be happy forever. Do not think I am presumptuous 55 if I dare present them to you. Now hear how they begin."

Guigemar; Marie de France, Lais

"Whoever deals with good material feels pain if it's treated improperly. Listen, my lords, to the words of (), who does not forget her responsibilities when her turn comes. People should praise anyone who wins admiring comments for herself. But anywhere there is a man or a woman of great worth, people who envy their good fortune often say evil things about them; they want to ruin their reptilians. Thus they act like vicious, cowardly dogs who bite people treacherously. I don't propose to give up because of that; if spiteful critics of slanders wish to turn my accomplishments against me, they have a right to their evil talk. The tales and I know they are true from which the bretons made their lais I'lI now recount for you briefly; and at the very beginning of this enterprise, just the way it was written down, I'lI relate an adventure that took place in Brittany, in the old days"

Guigemar; Marie de France, Lais

"A worthy and valiant knight, he had, by his wife, two children, 35 sons and a beautiful daughter. The girl's name was (); they called the boy (). There wasn't a more handsome youngster in the kingdom. His mother had a wonderful love for him, 40 and his father a great devotion; when he could bring himself to part with the boy, his father sent him to serve the king. The boy was intelligent and brave, and made himself loved by all. When his time of probation was at an end, and he was mature in body and mind, the king dubbed him knight, giving him luxurious armor, which was exactly what he desired. () left the court, but not before dispensing many rich gifts. He journeyed to Flanders to seek his fame; there was always a war, or a battle raging there. Neither in () nor in (), in Anjou nor in Gascony, 55 could one find, in those days, () equal as a fine knight. But in forming him nature had so badly erred that he never gave any thought to love. There wasn't a lady or a maid on earth, 60 no matter how noble, or how beautiful, who wouldn't have willingly granted him her love, had he asked her for it. Many maids asked him, but he wasn't interested in such things; no one could discover in him the slightest desire to love."

Guigemar; Marie de France, Lais

"He wanted to fire some arrows, if he had the opportunity, before he left that spot. In the thickest part of a great bush () saw a hind with a fawn; a completely white beast, with deer's antlers on her head. Spurred by the barking of the dogs, she sprang into the open. () took his bow and shot at her, 95 striking her in the breastbone." She fell at once, but the arrow rebounded, giving () such a wound-it went through his thigh right into the horse's flank-that he had to dismount. He collapsed on the thick grass beside the hind he'd struck. The hind, wounded as she was, suffered pain and groaned. Then she spoke, in this fashion: "Alas I'm dying! And you, vassal, who wounded me, this be your destiny: may you never get medicine for your wound! Neither here nor root, neither physician nor potion, will cure you of that wound in your thigh, until a woman heals you, is one who will suffer, out of love for you, pain and grief such as no woman ever suffered before. And out of love for her, you'll suffer as much; the affair will be a marvel 120 to lovers, past and present, and to all those yet to come. Now go away, leave me in peace!"

Guigemar; Marie de France, Lais

"She remained there two years and more, I believe; without ever having a moment of pleasure. Often, she mourned for her lover; "(), my lord, why did i ever lay eyes on you? I'd rather die quickly than suffer lingerie torture. My love, if I could escape. Id go to where you put on the sea and drown myself" Then she got up; in astonishment she went to the door and found it unlocked; by good fortune, she got outside - no one bothered her"

Guigemar; Marie de France, Lais

"​​He felt for her a love as great as he'd ever had for a woman. He had a young sister, a beautiful maiden, in his care; he commended the lady to her attention, So she was waited on and made much of; the damsel dressed her richly. But she remained constantly sad and preoccupied. The lord often came to speak with her, since he wanted to love her with all his heart He pleaded for her love; she didn't want it, instead she showed him her belt she would never love any man except the one who could open the belt without breaking it. When he heard that () replied angrily, There's another one like you in this land, a very worthy knight, who avoids, in a similar manner, taking a wife by means of a shirt the right tail of which is knotted; it can't be untied except by using scissors or a knife. I think you must have made that knot!" When the lady heard this, she sighed, and almost fainted. He took her in his arms, cut the laces of her tunic, and tried to open the belt. But he didn't succeed. There wasn't a knight in the region whom he didn't summon to try his luck."

Guigemar; Marie de France, Lais

"The lady was pale and upset ​​she heard () name and couldn't stand up. If the damsel hadn't supported her, she'd have fallen to the ground. () arose when the women entered; he looked at the lady and noticed her appearance and behavior; involuntarily, he shrank back a bit. "Is this," he said, "my dear love, my hope, my heart, and my life-w's my beautiful lady who loved me? Where did she come from? Who brought her here? Now, that was a foolish thought) I know it can't be she; women often look alike ​​I got all excited for no reason. But because she looks like the one for whom my heart aches and sighs, I'll gladly speak to her."

Guigemar; Marie de France, Lais

"They departed from the village, noisily; () came first, leading them. Arriving at () castle, thye assaulted it; but it was very strong and they failed to take it. () besieged the town; he won't leave until it has fallen. His friends and other troops increased so greatly that he was able to starve everyone inside. He captured and destroyed the castle, and killed its lord. () led away his mistress with great rejoicing; all his pain was now at an end. From this story you might have heard the lai of () was composed, which is now recited to the harp and rote; the music is a pleasure to hear"

Lanval; Marie de France, Lais

"(), the brave and the courtly king, was staying at Cardoel, because the Scots and the Picts were destroying the land. They invaded Logres! and laid it waste. At Pentecost, in summer,? the king stayed there. He gave out many rich gifts: to counts and barons, members of the Round Table-such a company had no equal' in all the world-he distributed wives and lands, to all but one who had served him. That was (); () forgot him and none of his men favored him either. For his valor, for his generosity, his beauty and his bravery, most men envied him; some feigned the appearance of love who, if something unpleasant happened to him, would not have been at all disturbed. He was the son of a king of high degree ​​but he was far from his heritage. He was of the king's household but he had spent all his wealth, for the king gave him nothing nor did () ask. Now () was in difficulty, depressed and very worried. My lords, don't be surprised; a strange man, without friends, is very sad in another land, when he doesn't know where to look for help."

Lanval; Marie de France, Lais

"() Went off to one side far from the others; he was impatient to hold his love, to kiss and embrace and touch her; he thought little of others' joys if he could not have his pleasure. When the queen saw him alone, she went straight to the knight. She sat beside him and spoke, revealing her whole heart: "(), I have shown you much honor, have cherished you, and loved you You may have all my love; just tell me your desire. I promise you my affection. You should be very happy with me.' "My lady," he said, 'let me bel I have no desire to love you. I've served the king a long time; I don't want to betray my faith to him Never, for you or for your love, will I do anything to harm my lord." The queen got angry; in her wrath, she insulted him: "()," she said, "I am sure you don't care for such pleasure; people have often told me that you have no interest in women You have fine-looking boys with whom you enjoy yourself."

Lanval; Marie de France, Lais

"She rode a white palfrey who carried her handsomely and smoothly: he was well apportioned in the neck and head, no finer beast in the world. The palfrey's trappings were rich; under heaven there was no count or king who could have afforded them all without selling or mortgaging lands She was dressed in this fashion: in a white linen shift that revealed both her sides since the lacing was along the side. Her body was elegant, her hips slim, her neck whiter than snow on a branch, her eyes bright, her face white, a beautiful mouth, a well-set nose, dark eyebrows and an elegant forehead, her hair curly and rather blond; golden wire does not shine."

Lanval; Marie de France, Lais

"Outside the hall stood a great stone of dark marble where heavy men mounted when they left the king's court; () climbed on it. When the girl came through the gate () leapt, in one bound, ​​onto the palfrey, behind her. With her he went to (), so the () tell us, to a very beautiful island; there the youth was carried off. No man heard of him again. and T have no more to tel"

Shakespeare, Macbeth

"Thunder and Lightning. Enter three Witches. When shall we three meet again? In thunder, lightning, or in rain? When the hurly-burly's done, When the battle's lost and won. That will be ere the set of sun. Where the place? Upon the heath. There to meet with (). I come, Graymalkin. Paddock calls. Anon. Fair is foul, and foul is fair; Hover through the fog and filthy air. They Exit."

Shakespeare, Macbeth

"So foul and fair a day I have not seen."

Shakespeare, Macbeth

"How far is 't called to Forres? —What are these, So withered, and so wild in their attire, That look not like th' inhabitants o' th' Earth And yet are on 't?—Live you? Or are you aught That man may question? You seem to understand me By each at once her choppy finger laying Upon her skinny lips. You should be women, And yet your beards forbid me to interpret That you are so"

Shakespeare, Macbeth

"All hail, ()! Hail to thee, Thane of Glamis! All hail, ()! Hail to thee, Thane of Cawdor! All hail, (), that shalt be king hereafter!"

Shakespeare, Macbeth

"So well thy words become thee as thy wounds: They smack of honor both.—Go, get him surgeons....I have begun to plant thee and will labor To make thee full of growing.—Noble (), That hast no less deserved nor must be known No less to have done so, let me enfold thee And hold thee to my heart."

Shakespeare, Macbeth

"They met me in the day of success, and I have learned by the perfect'st report they have more in them than mortal knowledge. When I burned in desire to question them further, they made themselves air, into which they vanished. Whiles I stood rapt in the wonder of it came missives from the King, who all-hailed me "Thane of ()," by which title, before, these Weïrd Sisters saluted me and referred me to the coming on of time with "Hail, king that shalt be." This have I thought good to deliver thee, my dearest partner of greatness, that thou might'st not lose the dues of rejoicing by being ignorant of what greatness is promised thee. Lay it to thy heart, and farewell."

Shakespeare, Macbeth

"Glamis thou art, and (), and shalt be What thou art promised. Yet do I fear thy nature; It is too full o' th' milk of human kindness To catch the nearest way."

Shakespeare, Macbeth

"Thou wouldst be great, Art not without ambition, but without The illness should attend it. What thou wouldst highly, That wouldst thou holily; wouldst not play false And yet wouldst wrongly win. Thou 'dst have, great Glamis, That which cries "Thus thou must do," if thou have it, And that which rather thou dost fear to do, Than wishest should be undone. Hie thee hither, That I may pour my spirits in thine ear And chastise with the valor of my tongue All that impedes thee from the golden round, Which fate and metaphysical aid doth seem To have thee crowned withal. Messenger exits. Enter Messenger. What is your tidings? The King comes here tonight. Thou 'rt mad to say it. Is not thy master with him, who, were 't so, Would have informed for preparation? So please you, it is true. Our thane is coming. One of my fellows had the speed of him, Who, almost dead for breath, had scarcely more Than would make up his message. Give him tending. He brings great news. The raven himself is hoarse That croaks the fatal entrance of () Under my battlements."

Shakespeare, Macbeth

"Come, you spirits That tend on mortal thoughts, unsex me here, And fill me from the crown to the toe top-full Of direst cruelty. Make thick my blood. Stop up th' access and passage to remorse, That no compunctious visitings of nature Shake my fell purpose, nor keep peace between Th' effect and it. Come to my woman's breasts And take my milk for gall, you murd'ring ministers, Wherever in your sightless substances You wait on nature's mischief. Come, thick night, And pall thee in the dunnest smoke of hell, That my keen knife see not the wound it makes, Nor heaven peep through the blanket of the dark To cry "Hold, hold!" Enter (). Great (), worthy Cawdor, Greater than both by the all-hail hereafter! () They exit. Thy letters have transported me beyond This ignorant present, and I feel now The future in the instant. My dearest love, () comes here tonight. And when goes hence? Tomorrow, as he purposes. O, never Shall sun that morrow see! Your face, my thane, is as a book where men May read strange matters. To beguile the time, Look like the time. Bear welcome in your eye, Your hand, your tongue. Look like th' innocent flower, But be the serpent under 't. He that's coming Must be provided for; and you shall put This night's great business into my dispatch, Which shall to all our nights and days to come Give solely sovereign sway and masterdom. We will speak further. Only look up clear. To alter favor ever is to fear. Leave all the rest to me."

Shakespeare, Macbeth

"What beast was 't, then, That made you break this enterprise to me? When you durst do it, then you were a man; And to be more than what you were, you would Be so much more the man. Nor time nor place Did then adhere, and yet you would make both. They have made themselves, and that their fitness now Does unmake you. I have given suck, and know How tender 'tis to love the babe that milks me. I would, while it was smiling in my face, Have plucked my nipple from his boneless gums And dashed the brains out, had I so sworn as you Have done to this."

Shakespeare, Macbeth

"If we should fail— We fail? But screw your courage to the sticking place And we'll not fail. When () is asleep (Whereto the rather shall his day's hard journey Soundly invite him), his two chamberlains Will I with wine and wassail so convince That memory, the warder of the brain, Shall be a fume, and the receipt of reason A limbeck only. When in swinish sleep Their drenchèd natures lies as in a death, What cannot you and I perform upon Th' unguarded ()? What not put upon His spongy officers, who shall bear the guilt Of our great quell?"

Shakespeare, Macbeth

"Bring forth men-children only, For thy undaunted mettle should compose Nothing but males. Will it not be received, When we have marked with blood those sleepy two Of his own chamber and used their very daggers, That they have done 't?

Shakespeare, Macbeth

"Who dares receive it other, As we shall make our griefs and clamor roar Upon his death? I am settled and bend up Each corporal agent to this terrible feat. Away, and mock the time with the fairest show. False faces must hide what the false heart doth know."

Shakespeare, Macbeth

"Throw physic to the dogs. I'll none of it.— Come, put mine armor on. Give me my staff. Seyton, send out.—Doctor, the thanes fly from me.— Come, sir, dispatch.—If thou couldst, doctor, cast The water of my land, find her disease, And purge it to a sound and pristine health, I would applaud thee to the very echo That should applaud again.—Pull 't off, I say.— What rhubarb, senna, or what purgative drug Would scour these English hence? Hear'st thou of them? Ay, my good lord. Your royal preparation Makes us hear something. Bring it after me.— I will not be afraid of death and bane Till Birnam Forest come to Dunsinane. , aside Were I from Dunsinane away and clear, Profit again should hardly draw me here"

Shakespeare, Macbeth

"Wisdom? To leave his wife, to leave his babes, His mansion and his titles in a place From whence himself does fly? He loves us not; He wants the natural touch; for the poor wren, The most diminutive of birds, will fight, Her young ones in her nest, against the owl. All is the fear, and nothing is the love, As little is the wisdom, where the flight So runs against all reason."

Shakespeare, Macbeth

"It is myself I mean, in whom I know All the particulars of vice so grafted That, when they shall be opened, black () Will seem as pure as snow, and the poor state Esteem him as a lamb, being compared With my confineless harms."

Shakespeare, Macbeth

"Have I not reason, beldams as you are? Saucy and overbold, how did you dare To trade and traffic with () In riddles and affairs of death, And I, the mistress of your charms, The close contriver of all harms, Was never called to bear my part Or show the glory of our art? And which is worse, all you have done Hath been but for a wayward son, Spiteful and wrathful, who, as others do, Loves for his own ends, not for you. But make amends now. Get you gone, And at the pit of Acheron Meet me i' th' morning. Thither he Will come to know his destiny. Your vessels and your spells provide, Your charms and everything beside. I am for th' air. This night I'll spend Unto a dismal and a fatal end. Great business must be wrought ere noon. Upon the corner of the moon There hangs a vap'rous drop profound. I'll catch it ere it come to ground, And that, distilled by magic sleights, Shall raise such artificial sprites As by the strength of their illusion Shall draw him on to his confusion. He shall spurn fate, scorn death, and bear His hopes 'bove wisdom, grace, and fear."

Shakespeare, Macbeth

"Tell me, thou unknown power— He knows thy thought. Hear his speech but say thou naught. ()! ()! ()! Beware ()! Beware the Thane of Fife! Dismiss me. Enough."

Shakespeare, Macbeth

"Had I three ears, I'd hear thee. Be bloody, bold, and resolute. Laugh to scorn The power of man, for none of woman born Shall harm ()."

Shakespeare, Macbeth

"What is this That rises like the issue of a king And wears upon his baby brow the round And top of sovereignty? Listen but speak not to 't. Be lion-mettled, proud, and take no care Who chafes, who frets, or where conspirers are. () shall never vanquished be until Great Birnam Wood to high Dunsinane Hill Shall come against him."

Shakespeare, Macbeth

"Out, damned spot, out, I say! One. Two. Why then, 'tis time to do 't. Hell is murky. Fie, my lord, fie, a soldier and afeard? What need we fear who knows it, when none can call our power to account? Yet who would have thought the old man to have had so much blood in him?"

Shakespeare, Macbeth

"What is that noise? It is the cry of women, my good lord. I have almost forgot the taste of fears. The time has been my senses would have cooled To hear a night-shriek, and my fell of hair Would at a dismal treatise rouse and stir As life were in 't. I have supped full with horrors. Direness, familiar to my slaughterous thoughts, Cannot once start me."

Shakespeare, Macbeth

"The Queen, my lord, is dead."

Shakespeare, Macbeth

"She should have died hereafter. There would have been a time for such a word. Tomorrow and tomorrow and tomorrow Creeps in this petty pace from day to day To the last syllable of recorded time, And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life's but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing."

Shakespeare, Macbeth

"Tomorrow and tomorrow and tomorrow Creeps in this petty pace from day to day To the last syllable of recorded time, And all our yesterdays have lighted fools The way to dusty death."

Varasi, Lives of the Artists; "Preface to Part I"

"​​1 know it is an opinion commonly accepted among almost all writers that sculpture, as well as painting, was first discovered in nature by the peoples of Egypt; and that some others attribute to the Chaldeans the first rough carvings in marble and the first figures in relief; just as still others assign to the Greeks the invention of the brush and the use of colour. But I would say that design, the basis of both arts, or rather the very soul which conceives and nourishes within itself all the aspects of the intellect, existed in absolute perfection at the origin of all other things when God on High, having created the great body of the world and having decorated the heavens with its brightest lights, descended with His intellect further down into the clarity of the atmosphere and the solidity of the earth, and, shaping man, discovered in the pleasing invention of things the first form of sculpture and painting."

Varasi, Lives of the Artists; "Preface to Part I"

"But because after carrying men to the top of her wheel, either for amusement or out of regret Fortune usually returns them to the bottom, it came to pass that almost all of the barbarian nations in various parts of the world rose up against the Romans, and, as a result, not only did they bring down so great an empire in a brief time but they ruined everything, especially in Rome itself. With Rome's fall the most excellent craftsmen, sculptors, painters, and architects were likewise destroyed, leaving their crafts and their very persons buried and submerged under the miserable ruins and the disasters which befell that most illustrious city."

Varasi, Lives of the Artists; "Preface to Part I"

"​​But among all the things mentioned, what was the most infinitely harmful and damaging to those professions, even more so than the things noted earlier, was the fervent zeal of the new Christian religion, which, after a long and bloody struggle, had finally overthrown and annihilated the ancient religion of the pagans by the number of its miracles and the sincerity of its actions."

Varasi, Lives of the Artists; "Preface to Part I"

"Up to now, I believe I have discussed the beginnings of sculpture and painting, perhaps at greater length than was necessary here; I have done so not so much because I was carried away by my love for the arts but more because I was moved by the welfare and common advantage of our own artists. Once they have seen how art reached the summit of perfection after such humble beginnings, and how it had fallen into complete ruin from such a noble height (and consequently how the nature of this art resembles that of the others, which, like human bodies, are born, grow up, become old, and die), they will now be able to recognize more easily the progress of art's rebirth and the state of perfection to which it has again ascended in our own times"

Varasi, Lives of the Artists; "Giotto"

"​​One day () was going about his business between Florence and Vespignano, End he came upon () who, while his sheep were grazing, was sketching one of them in a lifelike way with a slightly pointed rock upon a smooth and polished stone without having learned how to draw it from anyone other than Nature. This caused () to stop in amazement, and he asked () if he would like to come to work with him. The young child replied that if his father would allow it, he would willingly do so. () therefore asked Bondone, and he lovingly gave his consent and allowed () to take () to Florence."

Varasi, Lives of the Artists; "Giotto"

"Once this courtier had come to see () and to find out what other excellent masters of paint- ing and mosaics lived in Florence, he spoke to many masters in Siena. Then, after he had collected drawings from them, he moved on to Florence, and having gone one morning to () shop while the artist was at work, he explained the pope's intentions and how he wanted to evaluate () work, finally asking him for a small sketch to send to His Holiness. (), who was a most courteous man, took a sheet of paper and a brush dipped in red, pressed his arm to his side to make a compass of it, and with a turn of his hand made a circle so even in its shape and outline that it was a marvel to behold. After he had completed the circle, he said with an impudent grin to the courtier: 'Here's your drawing.' The courtier, thinking he was being ridiculed, replied: 'Am I to have no other drawing than this one?' 'It's more than suffi- cient,' answered (), 'Send it along with the others and you will seewhether or not it will be understood.' Realizing that this was all he was going to obtain, the envoy left () rather dissatisfied, thinking he had been tricked. Nevertheless, in sending the other drawings and the names of the artists who had done them to the pope, he also included that of (), recounting the method he had used in making his circle without moving his arm and without the use of a compass. As a result, the pope and many of his knowledgeable courtiers realized just how far () surpassed all the other painters of his time in skill. When this episode became widely known, it gave rise to a proverb which is still in use today when referring to stupid people: 'You are rounder than () O.' "

Varasi, Lives of the Artists; "Giotto"

"It is said that when () was still a young man with (), he once painted upon the nose of a figure that () had completed a fly which looked so natural that when his master returned to continue his work, he tried more than once to drive the fly away with his hand, convinced that it was real, before he realized his mistake. I could relate many other pranks played by () and many of his witty retorts, but I want these to suffice here, since they treat matters pertinent to art, leaving the rest to Franco and other writers."

Varasi, Lives of the Artists; "Giotto"

"() first paintings were in the chapel of the high altar in the Badia of Florence, where he did many things which were held to be beautiful, but especially an Annunciation, because in this work he vividly expressed the fright and dread with which () greeting filled the Virgin Mary. Full of the greatest fear, She seems as if She wishes to run away. Likewise from () hand is the panel on the high altar of the same chapel, where it has been kept until the present day more out of a certain respect for the work of such a great man than for any other reason. And in Santa Croce there are four chapels by his hand: three between the sacristy and the main chapel and one on the other side. In the first of the three, that of Messer Ridolfo de' Bardi, which is the one where the ropes for the bells are located, there is the life of Saint Francis, at whose death a good number of friars demonstrate very appropriately the effects of weeping. In the other chapel, which belongs to the Peruzzi family, there are two stories from the life of Saint John the Baptist, to whom the chapel is dedicated, wherein the dancing and leaping of Herodias and the prompt service of some ready servants at the table appear in a very lively fashion. In the same chapel are two miraculous stories from the life of Saint John the Evangelist: that is, when he raised Drusiana from the dead and when he was carried up into heaven. In the third chapel, which belongs to the Giugni and is dedicated to the Apostles, there are stories about the martyrdoms of many of them painted by () hand. In the fourth, which is on the other side of the church towards the north and, belonging to the Tosinghi and the Spinelli family, is dedicated to the Assump- tion of Our Lady, () painted the Birth of the Virgin, the Betrothal, the Annunciation, the Adoration of the Magi, and the occasion when the Virgin brought Christ as a young child to Simeon—a most beautiful work, because aside from the great affection which is evident in the old man who receives Christ, the gesture of the Child, who is frightened of him and who stretches out His arms and turns towards His mother, could not be more tender nor more beautiful. Then in the scene of the death of Our Lady, the Apostles are painted along with a great number of angels with torches in hand in a very beautiful manner."

Varasi, Lives of the Artists; Preface to the lives

"Those excellent masters we have described up to this point in the Second Part of these Lives truly made great advances in the arts of architecture, painting, and sculpture, adding to the accomplishments of the early artists rule, order, proportion, design, and style, and if they were not perfect in every way, they drew so near to the truth that artists in the third group, whom we shall now discuss, were able, through that illu- mination, to rise up and reach complete perfection, the proof of which we have in the finest and most celebrated modern works."

Varasi, Lives of the Artists; "Leonardo da Vinci"

"But their mistakes were later clearly demonstrated by the works of (), who initiated the third style which we call modern; besides his bold and powerful design and his extremely subtle imitation of all the details of Nature, exactly as they are, his work displayed a good understanding of rule, better order, correct proportion, perfect design, and divine grace."

Varasi, Lives of the Artists; "Leonardo da Vinci"

"And I bear witness to this both from personal observation and from practice; and these works are obviously much more finished and perfect than those of the other reput- able masterswho •worked before them.

Varasi, Lives of the Artists; "Leonardo da Vinci"

"Men saw this in (), who displayed great physical beauty ('which has never been sufficiently praised), a more than infinite grace in every action, and an ability so fit and so vast that wherever his mind turned to diffi- cult tasks, he resolved them completely with ease. His great personal strength was joined to dexterity, and his spirit and courage were always regal and magnanimous. And the fame of his name spread so widely that not only was he held in high esteem in his own times, but his fame increased even more after his death.*"

Varasi, Lives of the Artists; "Leonardo da Vinci"

"Truly wondrous and divine was (), the son of (),* and he •would have made great progress in his early studies of literature if he had not been so unpredictable and unstable. For he set about learning many things and, once begun, he would then abandon them. Thus, in the few months he applied himself to arithmetic, () made such progress that he raised continuous doubts and difficulties for the master who taught him and often confounded him. He turned to music for a while, and soon he decided to learn to play the lyre, like one to whom nature had given a naturally elevated and highly refined spirit, and accompanying himself on this instrument, he sang divinely without any preparation. Nevertheless, in spite of the fact that he worked at so many different things, he never gave up drawing and working in relief, pursuits which appealed to him more than any others."

Varasi, Lives of the Artists; "Leonardo da Vinci"

"() was so pleasing in his conversation that he won everyone's heart. And although we might say that he owned nothing and worked very little, he always kept servants and horses; he took special pleasure in horses as he did in all other animals, which he treated with the greatest love and patience. For example, when passing by places where birds were being sold, he would often take them out of their cages with his own hands, and after paying the seller the price that was asked of him, he would set them free in the air, restoring to them the liberty they had lost. As a result, Nature so favoured him that, wherever he turned his thought, his mind, and his heart, he demonstrated such divine inspiration that no one else was ever equal to him in the perfection, liveliness, vitality, excellence, and grace of his works."

Varasi, Lives of the Artists; "Leonardo da Vinci"

"he began many projects but never finished any of them, feeling that his hand could not reach artisticperfection in the •works he conceived"

Varasi, Lives of the Artists; "Leonardo da Vinci"

"In this work, he was marvel- lously served by the genius, labour, and hand of (), who created a book with red crayon drawings outlined in pen in which he sketched cadavers he had dissected with his own hand, depicting them with the greatest care. He drew all the bony structures, joining them in order to all the nerves and covering them with the muscles: the first group is attached to the skeleton, the second holds it firm, and the third makes it move, and in these drawings he wrote notes in various places in ugly characters -written with the left hand from right to left, which cannot be understood by anyone who is not used to reading them, since they cannot be read without a mirror."

Varasi, Lives of the Artists; "Leonardo da Vinci"

"For Francesco del Giocondo, () undertook the por- trait of Mona Lisa, his wife, and after working on it for four years, he left the work unfinished, and it may be found at Fontainebleau today in the possession of King Francis.\* Any- one wishing to see the degree to which art can imitate Nature can easily understand this from the head, for here () reproduced all the details that can be painted with subtlety. The eyes have the lustre and moisture always seen in living people, while around them are the lashes and all the reddish tones which cannot be produced without the greatest care. The eyebrows could not be more natural, for they represent the way the hair grows in the skin—thicker in some placesand thinner in others, following the pores of the skin. The nose seems lifelike with its beautiful pink and tender nostrils. The mouth, with its opening joining the red of the lips to theflesh of the face, seemed to be real flesh rather than paint. Anyone who looked very attentively at the hollow of her throat would see her pulse beating: to tell the truth, it can be said that portrait was painted in a way that would cause every brave artist to tremble and fear, whoever he might be. Since Mona Lisa was very beautiful, () employed this technique: while he was painting her portrait, he had musicians who played or sang and clowns who would always make her merry in order to drive away her melancholy, which painting often brings to portraits. And in this portrait by (), there is a smile so pleasing that it seems more divine than human, and it was considered a wondrous thing that it was as lively as the smile of the living original."

Varasi, Lives of the Artists; "Michelangelo"

"While the pope had returned to Rome and () completed the statue in Bologna, Bramante, the friend and relative of Raphael of Urbino, and therefore no real friend of (), realized, in () absence, that the pope favoured and encouraged () works in sculp- ture, and, along with Raphael, began thinking of a way to change his mind, so that upon () return His Holi- ness would not try to complete his tomb, by telling him that this would seem to hasten his death and that it was bad luck to build one's tomb while alive; and Bramante and Raphael persuaded the pope that upon () return, in memory of his uncle Sixtus, the pope should have () paint the vault of the chapel that Sixtus had built in the \[Vatican\] palace, and in this way Bramante and other rivals of () hoped to take () away from sculp- ture, in which they saw he had reached perfection, and to drive him to desperation, assuming that by having him paint he would produce a less praiseworthy work and would be less likely to succeed than Raphael, since he had no experience in doing frescos in colour; and even if the work turned out well, doing it would make him angry with the pope at any rate, so that in one way or another their intention of getting rid of him would succeed."

Varasi, Lives of the Artists; "Michelangelo"

"But the pope, recognizing () skill more each day, wanted him to continue, and when he saw the chapel uncovered, he judged that () could do the other half much better. And so, ( ) the project to perfect completion in twenty months, wholly by himself alone without even the assistance of someone to grind his colours. () sometimes complained that because of the pope's haste he was not able to complete it in his own way as he would have wished, since the pope importunately demanded to know when he would finish; on one occasion among others, () replied that the -work would be finished 'when it satisfies me in its artistic details'. 'And We', remarked the pope, 'want you to satisfy Us in Our desire to see it done quickly.' Finally, the pope threatened that if () did not finish quickly, he would have him thrown down from the scaffolding. And so (), who feared and had reason to fear the pope's temper, immedi- ately finished what was left without wasting any time, and after he had dismantled the rest of the scaffolding, he unveiled it on the morning of All Saints' Day when the pope came to the chapel to sing Mass, to the satisfaction of the whole city"

Varasi, Lives of the Artists; "Michelangelo"

"() was paid on account for this work in several installments, a total of three thousand scudi* of which he had to spend twenty-five on colors. These frescos were done with the greatest discomfort, for he had to stand there working with his head tilted backwards, and it damaged his eyesight so much that he could no longer read or look at drawings if his head was not tilted backwards; his condition lasted for several months afterwards, and I can testify to this fact, for after working on the vaults of five rooms in the great chambers of the palace of Duke Cosimo, if I had not built a chair upon which to rest my head and to stretch out while I was working, I would have never completed the work, for it ruined my sight and weakened my head to such an extent that I can still feel it, and I am amazed that () tolerated such dis- comfort. But every day kindled even more his desire to work, and with the progress and improvement he made, he neither felt fatigue nor worried about all the discomfort."

The Story of Grandmother; Paul Delarue

"There was a woman who had made some bread. She said to her daughter: "Go carry this hot loaf and bottle of milk to your granny." So the little girl departed. At the crossway she met bzou, the werewolf, who said to her: "Where are you going?" "I'm taking this hot loaf and bottle of milk to my granny." "What path are you taking." said the werewolf, "the path of needles or the path of pins?" "The path of needles," the little girl said. "All right, then I'll take the path of pins." The little girl entertained herself by gathering needles. Meanwhile the werewolf arrived at the grandmother's house, killed her, and put some of her meat in the cupboard and a bottle of her blood on the shelf. The little girl arrived and knocked at the door. "Push the door," said the werewolf, "It's barred by a piece of wet straw." "Good day, granny. I've brought you a hot loaf of bread and a bottle of milk." "Put it in the cupboard, my child. Take some of the meat which is inside and the bottle of wine on the shelf." After she had eaten, there was a little cat which said: "Phooey!... A slut is she who eats the flesh and drinks the blood of her granny." "Undress yourself, my child," the werewolf said, "And come lie down beside me." "Where should I put my apron?" "Throw it into the fire, my child, you won't be needing it any more." And each time she asked where she should put all her other clothes, the bodice, the dress, the petticoat, the long stockings, the wolf responded: "Throw them into the fire, my child, you won't be needing them anymore." When she laid herself down in the bed, the little girl said: "Oh granny, how hairy you are!" "The better to keep myself warm, my child!" "Oh granny, what big nails you have!" "The better to scratch me with, my child!" "Oh granny, what big shoulders you have!" "The better to carry the firewood, my child!" "Oh granny, what big ears you have!" "The better to hear you with, my child!" "Oh granny, what big nostrils you have!" "The better to snuff my tobacco with, my child!" "Oh granny, what a big mouth you have!" "The better to eat you with, my child!" "Oh granny, I have to go badly. Let me go outside." "Do it in the bed, my child!" "Oh no, granny, I want to go outside." "All right, but make it quick." The werewolf attached a woolen rope to her foot and let her go outside. When the little girl was outside, she tied the end of the rope to a plum tree in the courtyard. The werewolf became impatient and said: "Are you making a load out there? Are you making a load?" When he realized that nobody was answering him, he jumped out of bed and saw that the little girl had escaped. He followed her but arrived at her house just at the moment she entered"

Little Red Riding Hood; Charles Perrault

"Once upon a time there lived in a certain village a little country girl, the prettiest creature who was ever seen. Her mother was excessively fond of her; and her grandmother doted on her still more. This good woman had a little red riding hood made for her. It suited the girl so extremely well that everybody called her Little Red Riding Hood."

Little Red Riding Hood; Charles Perrault

"She was greatly amazed to see how her grandmother looked in her nightclothes, and said to her, "Grandmother, what big arms you have!" "All the better to hug you with, my dear." "Grandmother, what big legs you have!" "All the better to run with, my child." "Grandmother, what big ears you have!" "All the better to hear with, my child." "Grandmother, what big eyes you have!" "All the better to see with, my child.' "Grandmother, what big teeth you have got!" "All the better to eat you up with." And, saying these words, this wicked wolf fell upon Little Red Riding Hood, and ate her all up."

Little Red Riding Hood; Charles Perrault

"Moral: Children, especially attractive, well bred young ladies, should never talk to strangers, for if they should do so, they may well provide dinner for a wolf. I say "wolf," but there are various kinds of wolves. There are also those who are charming, quiet, polite, unassuming, complacent, and sweet, who pursue young women at home and in the streets. And unfortunately, it is these gentle wolves who are the most dangerous ones of all."

Little Red Cap; Jacob and Wilhem Grimm

"When the wolf had appeased his appetite, he lay down again in the bed, fell asleep and began to snore very loud. The huntsman was just passing the house, and thought to himself: 'How the old woman is snoring! I must just see if she wants anything.' So he went into the room, and when he came to the bed, he saw that the wolf was lying in it. 'Do I find you here, you old sinner!' said he. 'I have long sought you!' Then just as he was going to fire at him, it occurred to him that the wolf might have devoured the grandmother, and that she might still be saved, so he did not fire, but took a pair of scissors, and began to cut open the stomach of the sleeping wolf. When he had made two snips, he saw the little () shining, and then he made two more snips, and the little girl sprang out, crying: 'Ah, how frightened I have been! How dark it was inside the wolf'; and after that the aged grandmother came out alive also, but scarcely able to breathe. (), however, quickly fetched great stones with which they filled the wolf's belly, and when he awoke, he wanted to run away, but the stones were so heavy that he collapsed at once, and fell dead."

Little Red Cap; Jacob and Wilhem Grimm

"It also related that once when () was again taking cakes to the old grandmother, another wolf spoke to her, and tried to entice her from the path. (), however, was on her guard, and went straight forward on her way, and told her grandmother that she had met the wolf, and that he had said 'good morning' to her, but with such a wicked look in his eyes, that if they had not been on the public road she was certain he would have eaten her up. 'Well,' said the grandmother, 'we will shut the door, that he may not come in.' Soon afterwards the wolf knocked, and cried: 'Open the door, grandmother, I am (), and am bringing you some cakes.' But they did not speak, or open the door, so the grey-beard stole twice or thrice round the house, and at last jumped on the roof, intending to wait until () went home in the evening, and then to steal after her and devour her in the darkness. But the grandmother saw what was in his thoughts. In front of the house was a great stone trough, so she said to the child: 'Take the pail, (); I made some sausages yesterday, so carry the water in which I boiled them to the trough.' () carried until the great trough was quite full. Then the smell of the sausages reached the wolf, and he sniffed and peeped down, and at last stretched out his neck so far that he could no longer keep his footing and began to slip, and slipped down from the roof straight into the great trough, and was drowned. But () went joyously home, and no one ever did anything to harm her again."

Lon Po Po: a RED-RIDING HOOD STORY FROM CHINA; Ed Young

""()," she said, for she was not only the eldest, she was the most clever, "you must be hungry. Have you eaten ginkgo nuts?" "What is ginkgo?" the wolf asked. "Ginkgo is soft and tender, like the skin of a baby. One taste and you will live forever," Shang said, "and the nuts grow on the top of the tree just outside the door."

Lon Po Po: a RED-RIDING HOOD STORY FROM CHINA; Ed Young

"On the next day, their mother returned with baskets of food from their real (), and the three sisters told her the story of the () who had come. The end"

Sun, Moon, and Talia (Sole, Lune, E Talia); Giambattista Basile

"There once lived a great lord, who was blessed with the birth of a daughter, whom he named (). He sent for the wise men and astrologers in his lands, to predict her future. They met, counseled together, and cast her horoscope, and at length they came to the conclusion that she would incur great danger from a splinter of flax. Her father therefore forbade that any flax, hemp, or any other material of that sort be brought into his house, so that she should escape the predestined danger."

Sun, Moon, and Talia (Sole, Lune, E Talia); Giambattista Basile

"One day, when () had grown into a young and beautiful lady, she was looking out of a window, when she beheld passing that way an old woman, who was spinning. (), never having seen a distaff or a spindle, was pleased to see the twirling spindle, and she was so curious as to what thing it was, that she asked the old woman to come to her. Taking the distaff from her hand, she began to stretch the flax. Unfortunately, () ran a splinter of flax under her nail, and she fell dead upon the ground. When the old woman saw this, she became frightened and ran down the stairs, and is running still. As soon as the wretched father heard of the disaster which had taken place, he had them, after having paid for this tub of sour wine with casks of tears, lay her out in one of his country mansions. There they seated her on a velvet throne under a canopy of brocade. Wanting to forget all and to drive from his memory his great misfortune, he closed the doors and abandoned forever the house where he had suffered this great loss. After a time, it happened by chance that a king was out hunting and passed that way. One of his falcons escaped from his hand and flew into the house by way of one of the windows. It did not come when called, so the king had one of his party knock at the door, believing the palace to be inhabited. Although he knocked for a length of time, nobody answered, so the king had them bring a vintner's ladder, for he himself would climb up and search the house, to discover what was inside. Thus he climbed up and entered, and looked in all the rooms, and nooks, and corners, and was amazed to find no living person there. At last he came to the salon, and when the king beheld (), who seemed to be enchanted, he believed that she was asleep, and he called her, but she remained unconscious. Crying aloud, he beheld her charms and felt his blood course hotly through his veins. He lifted her in his arms, and carried her to a bed, where he gathered the first fruits of love. Leaving her on the bed, he returned to his own kingdom, where, in the pressing business of his realm, he for a time thought no more about this incident."

Sun, Moon, and Talia (Sole, Lune, E Talia); Giambattista Basile

"Now after nine months () delivered two beautiful children, one a boy and the other a girl. In them could be seen two rare jewels, and they were attended by two fairies, who came to that palace, and put them at their mother's breasts. Once, however, they sought the nipple, and not finding it, began to suck on () fingers, and they sucked so much that the splinter of flax came out. () awoke as if from a long sleep, and seeing beside her two priceless gems, she held them to her breast, and gave them the nipple to suck, and the babies were dearer to her than her own life. Finding herself alone in that palace with two children by her side, she did not know what had happened to her; but she did notice that the table was set, and food and drink were brought in to her, although she did not see any attendants."

Sun, Moon, and Talia (Sole, Lune, E Talia); Giambattista Basile

"The queen, hearing how matters stood, sent the secretary to (), in the name of the king, asking her to send the children, for he wished to see them. (), with great joy, did as she was commanded. Then the queen, with a heart of Medea, told the cook to kill them, and to make them into several tasteful dishes for her wretched husband. But the cook was tender-hearted and, seeing these two beautiful golden apples, felt pity and compassion for them, and he carried them home to his wife, and had her hide them. In their place he prepared two lambs into a hundred different dishes. When the king came, the queen, with great pleasure, had the food served. The king ate with delight, saying, "By the life of Lanfusa, how tasteful this is"; or, "By the soul of my ancestors, this is good." Each time she replied, "Eat, eat, you are eating of your own." For two or three times the king paid no attention to this repetition, but at last seeing that the music continued, he answered, "I know perfectly well that I am eating of my own, because you have brought nothing into this house"; and growing angry, he got up and went to a villa at some distance from his palace, to solace his soul and alleviate his anger."

Sun, Moon, and Talia (Sole, Lune, E Talia); Giambattista Basile

"(), hearing these words, began to excuse herself, saying that it was not her fault, because the king her husband had taken possession of her territory when she was drowned in sleep; but the queen would not listen to her excuses, and had a large fire lit in the courtyard of the palace, and commanded that () should be cast into it. The lady, perceiving that matters had taken a bad turn, knelt before the queen, and begged her to allow her at least to take off the garments she wore. The queen, not for pity of the unhappy lady, but to gain also those robes, which were embroidered with gold and pearls, told her to undress, saying, "You can take off your clothes. I agree.""

Sun, Moon, and Talia (Sole, Lune, E Talia); Giambattista Basile

"Lucky people, so 'tis said, are blessed by fortune whilst in bed"

The Sleeping Beauty In The Wood; Charles Perrault

"It was now the turn of the aged fairy. Shaking her head, in token of spite rather than of infirmity, she declared that the princess should prick her hand with a spindle, and die of it. A shudder ran through the company at this terrible gift. All eyes were filled with tears. But at this moment the young fairy stepped forth from behind the tapestry. "Take comfort, your Majesties," she cried in a loud voice. "Your daughter shall not die. My power, it is true, is not enough to undo all that my aged kinswoman has decreed. The princess will indeed prick her hand with a spindle. But instead of dying she shall merely fall into a profound slumber that will last a hundred years. At the end of that time a king's son shall come to awaken her."

The Sleeping Beauty In The Wood; Charles Perrault

"Many a time the queen told her son that he ought to settle down in life. She tried in this way to make him confide in her, but he did not dare to trust her with his secret. Despite the affection which he bore her, he was afraid of his mother, for she came of a race of ogres, and the king had only married her for her wealth. It was whispered at the court that she had ogrish instincts, and that when little children were near her she had the greatest difficulty in the world to keep herself from pouncing on them. No wonder the prince was reluctant to say a word. But at the end of two years the king died, and the prince found himself on the throne. He then made public announcement of his marriage, and went in state to fetch his royal consort from her castle. With her two children beside her she made a triumphal entry into the capital of her husband's realm. Some time afterwards the king declared war on his neighbor, the Emperor Cantalabutte. He appointed the queen mother as regent in his absence, and entrusted his wife and children to her care. He expected to be away at the war for the whole of the summer, and as soon as he was gone the queen mother sent her daughter-in-law and the two children to a country mansion in the forest. This she did that she might be able the more easily to gratify her horrible longings. A few days later she went there and in the evening summoned the chief steward.

Beauty and the Beast; Madame Leprince de Beaumont

"​​ONCE UPON a TIME THBRE lived a merchant who was exceedingly rich. He had six children- three boys and three girls--and being a sensible man he spared no expense upon their education, but engaged tutors of every kind for them. All his daughters were pretty, but the youngest especially was admired by everybody. When she was small she was known simply as "the little beauty," and this name stuck to her, causing a great deal of jealousy on the part of her sisters. This youngest girl was not only prettier than her sisters, but very much nicer. The two elder girls were very arrogant as a result of their wealth; they pretended to be great ladies, declining to receive the daughters of other merchants, and associating only with people of quality. Every day they went off to balls and theatres, and for walks in the park, with many a gibe at their little sister, who spent much of her time in reading good books. Now these girls were known to be very rich, and in consequence were sought in marriage by many prominent merchants. The two eldest said they would never marry unless they could find a duke, or at least a count. But Beauty- this, as I have mentioned, was the name by which the youngest was known--very politely thanked all who proposed marriage to her, and said that she was too young at present, and that she wished to keep her father company for several years yet. Suddenly the merchant lost his fortune, the sole property which remained to him being a small house in the country, a long way from the capital. With tears he broke it to his children that they would have to move to this house, where by working like peasants they might just be able to live."

Beauty and the Beast; Madame Leprince de Beaumont

"Having drunk his chocolate the good man went forth to look for his horse. As he passed under a bower of roses he remembered that Beauty had asked for one, and he plucked a spray from a mass of blooms. The very same moment he heard a terrible noise, and saw a beast coming towards him which was so hideous that he came near to fainting. "Ungrateful wretch!" said the Beast, in a dreadful voice; "I have saved your life by receiving you into my castle, and in return you steal that which I love better than ​​anything in the world--my roses. You shall pay for this with your life! I give you fieen minutes to make your peace with Heaven."

Beauty and the Beast; Madame Leprince de Beaumont

"() blushed at these words. She had seen in her mirror that her father was stricken down by the sorrow of having lost her, and she wished very much to see him again. "I would willingly promise to remain with you always," she said to the Beast, "but I have so great a desire to see my father again that I shall die of grief if you refuse" me this boon."

Beauty and the Beast; Madame Leprince de Beaumont

"Theri embrace lasted for more than a quarter of an hour"

Beauty and the Beast; Madame Leprince de Beaumont

"shown me nothing but kindness. Is it his fault that he is so ugly, and has so few wits? He is good, and that makes up for all the rest. Why did I not wish to marry him? I should have been a good deal happier with him than my sisters are with their hus-bands. It is neither good looks nor brains in a husband that make a woman happy; it is beauty of character, virtue, kindness. All these qualities the Beast has. I admit I have no love for him, but he has my esteem, friendship, and gratitude. At all events I must not make him miserable, or I shall reproach myself all my life." With these words () rose and placed her ring on the table... There she found the poor Beast lying unconscious, and thought he must be dead. She threw herself on his body, all her horror of his looks forgotten, and feeling his heart still beat, fetched water from the canal and threw it on his face."

Aphra Behn, Oroonoko

"Some of the () which indeed are finely shap'd, as almost all are, and who have pretty Features, are very charming and novel; for they have all that is called Beauty, except the Colour, which is a reddish Yellow; or after a new Oiling, which they often use to themselves, they are of the colour of a new Brick, but smooth, soft and sleek. They are extream modest and bashful, very shy, and nice17 of being touch'd. And though they are all thus naked, if one lives for ever among 'em, there is not to be seen an indecent Action, or Glance"

Aphra Behn, Oroonoko

"With these People, as I said, we live in perfect Tranquillity, and good Understanding, as it behooves us to do; they knowing all the places where to seek the best Food of the country, and the Means of getting it; and for very small and unvaluable Trifles, supply us with what 'tis impossible for us to get; for they do not only in the Wood, and over the Sevana's,20 in Hunting, supply the parts of Hounds, by swiftly scouring through those almost impassable places"

Aphra Behn, Oroonoko

"So that they being, on all Occasions, very useful to us, we find it absolutely necessary to caress 'em as Friends, and not to treat 'em as Slaves; nor dare we do other, their Numbers so far surpassing ours in that Continent.Those then whom we make use of to work in our Plantations of Sugar, are Negro's, Black-Slaves altogether; which are transported thither in this manner.Those who want Slaves, make a Bargain with a Master, or Captain of a Ship, and contract to pay him so much a-piece, a matter of twenty Pound a Head for as many as he agrees for, and to pay for 'em when they shall be deliver'd on such a Plantation: So that when there arrives a Ship laden with Slaves, they who have so contracted, go a-board, and receive their Number by Lot; and perhaps in one Lot that may be for ten, there may happen to be three or four Men; the rest, Women and Children: Or be there more or less of either Sex, you are oblig'd to be contented with your Lot. Coramantien,23 a Country of Blacks so called, was one of those places in which they found the most advantageous Trading for these Slaves; and thither most of our great Traders in that Merchandise trafficked; for that Nation is very war-like and brave; and having a continual Campaign, being always in Hostility with one neighboring Prince or other, they had the fortune to take a great many Captives; for all they took in Battle; were sold as Slaves; at least, those common Men who cou'd not ransom themselves. Of these Slaves so taken, the General only has all the profit; and of these Generals, our Captains and Masters of Ships buy all their Freights."

Aphra Behn, Oroonoko

"My Lord, the Obligations I have to some of the Great Men of your Nation, particularly to your Lordship, gives me an Ambition of making my Acknowledgments, by all the Opportunities I can; and such humble Fruits, as my Industry produces, I lay at your Lordships Feet. This is a true Story, of a Man Gallant enough to merit your Protection; and, had he always been so Fortunate, he had not made so Inglorious an end: The Royal Slave I had the Honour to know in my Travels to the other World; and though I had none above me in that Country, yet I wanted power to preserve this Great Man"