ï»¿The Project Gutenberg EBook of The Outlaw of Torn, by Edgar Rice BurroughsThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Outlaw of TornAuthor: Edgar Rice BurroughsRelease Date: July 8, 2008 [EBook #369]Lastupdated: February 12, 2012Last updated: August 31, 2012Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE OUTLAW OF TORN ***Produced by Judith BossTHE OUTLAW OF TORNBy Edgar RiceBurroughsTo My FriendJOSEPH E. BRAYCHAPTER IHere is a story that has lain dormant for seven hundred years. At firstit was suppressed by one of the Plantagenet kings of England. Later itwas forgotten. I happened todig it up by accident. The accident beingthe relationship of my wife's cousin to a certain Father Superior in avery ancient monastery in Europe.He let me pry about among a quantity of mildewed and mustymanuscriptsand I came across this. It is very interesting--partially since it is abit of hitherto unrecorded history, but principally from the fact thatit records the story of a most remarkable revenge and the adventurouslifeof its innocent victim--Richard, the lost prince of England.In the retelling of it, I have left out most of the history. Whatinterested me was the unique character about whom the tale revolves--thevisored horsemanwho--but let us wait until we get to him.It all happened in the thirteenth century, and while it was happening,it shook England from north to south and from east to west; and reachedacross the channel and shookFrance. It started, directly, in the Londonpalace of Henry III, and was the result of a quarrel between the Kingand his powerful brother-in-law, Simon de Montfort, Earl of Leicester.Never mind the quarrel, that's history,and you can read all about it atyour leisure. But on this June day in the year of our Lord 1243, Henryso forgot himself as to very unjustly accuse De Montfort of treason inthe presence of a number of the King'sgentlemen.De Montfort paled. He was a tall, handsome man, and when he drew himselfto his full height and turned those gray eyes on the victim of hiswrath, as he did that day, he was very imposing. A power inEngland,second only to the King himself, and with the heart of a lion in him, heanswered the King as no other man in all England would have dared answerhim."My Lord King," he cried, "that you be my Lord King aloneprevents Simonde Montfort from demanding satisfaction for such a gross insult. Thatyou take advantage of your kingship to say what you would never dare saywere you not king, brands me not a traitor, though it doesbrand you acoward."Tense silence fell upon the little company of lords and courtiers asthese awful words fell from the lips of a subject, addressed to hisking. They were horrified, for De Montfort's bold challenge was tothembut little short of sacrilege.Henry, flushing in mortification and anger, rose to advance upon DeMontfort, but suddenly recollecting the power which he represented, hethought better of whatever action hecontemplated and, with a haughtysneer, turned to his courtiers."Come, my gentlemen," he said, "methought that we were to have a turnwith the foils this morning. Already it waxeth late. Come, De Fulm!Come,Leybourn!" and the King left the apartment followed by his gentlemen,all of whom had drawn away from the Earl of Leicester when it becameapparent that the royal displeasure was strong against him. Asthearras fell behind the departing King, De Montfort shrugged his broadshoulders, and turning, left the apartment by another door.When the King, with his gentlemen, entered the armory he was stillsmarting from thehumiliation of De Montfort's reproaches, and as helaid aside his surcoat and plumed hat to take the foils with De Fulm,his eyes alighted on the master of fence, Sir Jules de Vac, who wasadvancing with the King's foiland helmet. Henry felt in no mood forfencing with De Fulm, who, like the other sycophants that surroundedhim, always allowed the King easily to best him in every encounter.De Vac he knew to be too jealous of hisfame as a swordsman to permithimself to be overcome by aught but superior skill, and this day Henryfelt that he could best the devil himself.The armory was a great room on the main floor of the palace, off theguardroom. It was built in a small wing of the building so that ithad light from three sides. In charge of it was the lean, grizzled,leather-skinned Sir Jules de Vac, and it was he whom Henry commanded toface him in mimiccombat with the foils, for the King wished to go withhammer and tongs at someone to vent his suppressed rage.So he let De Vac assume to his mind's eye the person of the hated DeMontfort, and it followed that De Vacwas nearly surprised into an earlyand mortifying defeat by the King's sudden and clever attack.Henry III had always been accounted a good swordsman, but that dayhe quite outdid himself and, in his imagination, wasabout to runthe pseudo De Montfort through the heart, to the wild acclaim of hisaudience. For this fell purpose he had backed the astounded De Vac twicearound the hall when, with a clever feint, and backward step,the masterof fence drew the King into the position he wanted him, and with thesuddenness of lightning, a little twist of his foil sent Henry's weaponclanging across the floor of the armory.For an instant, the King stoodas tense and white as though the hand ofdeath had reached out and touched his heart with its icy fingers.The episode meant more to him than being bested in play by the bestswordsman in England--for that surely wasno disgrace--to Henry itseemed prophetic of the outcome of a future struggle when he shouldstand face to face with the real De Montfort; and then, seeing in DeVac only the creature of his imagination with which hehad vested thelikeness of his powerful brother-in-law, Henry did what he should liketo have done to the real Leicester. Drawing off his gauntlet he advancedclose to De Vac."Dog!" he hissed, and struck the master offence a stinging blow acrossthe face, and spat upon him. Then he turned on his heel and strode fromthe armory.De Vac had grown old in the service of the kings of England, but hehated all things English and allEnglishmen. The dead King John, thoughhated by all others, he had loved, but with the dead King's bones DeVac's loyalty to the house he served had been buried in the Cathedral ofWorcester.During the years he hadserved as master of fence at the English Court,the sons of royalty had learned to thrust and parry and cut as onlyDe Vac could teach the art, and he had been as conscientious in thedischarge of his duties as he hadbeen in his unswerving hatred andcontempt for his pupils.And now the English King had put upon him such an insult as might onlybe wiped out by blood.As the blow fell, the wiry Frenchman clicked his heels together,andthrowing down his foil, he stood erect and rigid as a marble statuebefore his master. White and livid was his tense drawn face, but hespoke no word.He might have struck the King, but then there would have beenleft tohim no alternative save death by his own hand; for a king may not fightwith a lesser mortal, and he who strikes a king may not live--the king'shonor must be satisfied.Had a French king struck him, De Vac wouldhave struck back, and gloriedin the fate which permitted him to die for the honor of France; but anEnglish King--pooh! a dog; and who would die for a dog? No, De Vac wouldfind other means of satisfying his woundedpride. He would revel inrevenge against this man for whom he felt no loyalty. If possible, hewould harm the whole of England if he could, but he would bide his time.He could afford to wait for his opportunity if, bywaiting, he couldencompass a more terrible revenge.De Vac had been born in Paris, the son of a French officer reputed thebest swordsman in France. The son had followed closely in the footstepsof his father until, onthe latter's death, he could easily claim thetitle of his sire. How he had left France and entered the service ofJohn of England is not of this story. All the bearing that the life ofJules de Vac has upon the history of Englandhinges upon but two of hismany attributes--his wonderful swordsmanship and his fearful hatred forhis adopted country.CHAPTER IISouth of the armory of Westminster Palace lay the gardens, and here, onthe third dayfollowing the King's affront to De Vac, might have been aseen a black-haired woman gowned in a violet cyclas, richly embroideredwith gold about the yoke and at the bottom of the loose-pointed sleeves,which reachedalmost to the similar bordering on the lower hem of thegarment. A richly wrought leathern girdle, studded with precious stones,and held in place by a huge carved buckle of gold, clasped the garmentabout her waist sothat the upper portion fell outward over the girdleafter the manner of a blouse. In the girdle was a long dagger ofbeautiful workmanship. Dainty sandals encased her feet, while a wimpleof violet silk bordered in goldfringe, lay becomingly over her head andshoulders.By her side walked a handsome boy of about three, clad, like hiscompanion, in gay colors. His tiny surcoat of scarlet velvet was richwith embroidery, while beneathwas a close-fitting tunic of whitesilk. His doublet was of scarlet, while his long hose of white werecross-gartered with scarlet from his tiny sandals to his knees. On theback of his brown curls sat a flat-brimmed,round-crowned hat in which asingle plume of white waved and nodded bravely at each move of the proudlittle head.The child's features were well molded, and his frank, bright eyes gavean expression of boyishgenerosity to a face which otherwise would havebeen too arrogant and haughty for such a mere baby. As he talked withhis companion, little flashes of peremptory authority and dignity, whichsat strangely upon one sotiny, caused the young woman at times toturn her head from him that he might not see the smiles which she couldscarce repress.Presently the boy took a ball from his tunic, and, pointing at a littlebush near them, said,"Stand you there, Lady Maud, by yonder bush. Iwould play at toss."The young woman did as she was bid, and when she had taken her placeand turned to face him the boy threw the ball to her. Thus theyplayedbeneath the windows of the armory, the boy running blithely after theball when he missed it, and laughing and shouting in happy glee when hemade a particularly good catch.In one of the windows of the armoryoverlooking the garden stood a grim,gray, old man, leaning upon his folded arms, his brows drawn together ina malignant scowl, the corners of his mouth set in a stern, cold line.He looked upon the garden and theplaying child, and upon the lovelyyoung woman beneath him, but with eyes which did not see, for De Vac wasworking out a great problem, the greatest of all his life.For three days, the old man had brooded over hisgrievance, seeking forsome means to be revenged upon the King for the insult which Henry hadput upon him. Many schemes had presented themselves to his shrewdand cunning mind, but so far all had been rejectedas unworthy of theterrible satisfaction which his wounded pride demanded.His fancies had, for the most part, revolved about the unsettledpolitical conditions of Henry's reign, for from these he felt he mightwrest thatopportunity which could be turned to his own personal usesand to the harm, and possibly the undoing, of the King.For years an inmate of the palace, and often a listener in the armorywhen the King played at sword withhis friends and favorites, De Vac hadheard much which passed between Henry III and his intimates that couldwell be turned to the King's harm by a shrewd and resourceful enemy.With all England, he knew the uttercontempt in which Henry held theterms of the Magna Charta which he so often violated along with hiskingly oath to maintain it. But what all England did not know, De Vachad gleaned from scraps of conversationdropped in the armory: thatHenry was even now negotiating with the leaders of foreign mercenaries,and with Louis IX of France, for a sufficient force of knights andmen-at-arms to wage a relentless war upon his ownbarons that he mighteffectively put a stop to all future interference by them with the royalprerogative of the Plantagenets to misrule England.If he could but learn the details of this plan, thought De Vac: thepoint oflanding of the foreign troops; their numbers; the first pointof attack. Ah, would it not be sweet revenge indeed to balk the King inthis venture so dear to his heart!A word to De Clare, or De Montfort would bring thebarons and theirretainers forty thousand strong to overwhelm the King's forces.And he would let the King know to whom, and for what cause, he wasbeholden for his defeat and discomfiture. Possibly the baronswoulddepose Henry, and place a new king upon England's throne, and then DeVac would mock the Plantagenet to his face. Sweet, kind, delectablevengeance, indeed! And the old man licked his thin lips as thoughtotaste the last sweet vestige of some dainty morsel.And then Chance carried a little leather ball beneath the window wherethe old man stood; and as the child ran, laughing, to recover it, DeVac's eyes fell upon him,and his former plan for revenge melted as thefog before the noonday sun; and in its stead there opened to him thewhole hideous plot of fearsome vengeance as clearly as it were writ uponthe leaves of a great book thathad been thrown wide before him. And,in so far as he could direct, he varied not one jot from the detailsof that vividly conceived masterpiece of hellishness during the twentyyears which followed.The little boy who soinnocently played in the garden of his royalfather was Prince Richard, the three-year-old son of Henry III ofEngland. No published history mentions this little lost prince; only thesecret archives of the kings of Englandtell the story of his strangeand adventurous life. His name has been blotted from the records of men;and the revenge of De Vac has passed from the eyes of the world; thoughin his time it was a real and terrible thing inthe hearts of theEnglish.CHAPTER IIIFor nearly a month, the old man haunted the palace, and watched in thegardens for the little Prince until he knew the daily routine of histiny life with his nurses and governesses.Hesaw that when the Lady Maud accompanied him, they were wont to repairto the farthermost extremities of the palace grounds where, by a littlepostern gate, she admitted a certain officer of the Guards to whomtheQueen had forbidden the privilege of the court.There, in a secluded bower, the two lovers whispered their hopes andplans, unmindful of the royal charge playing neglected among the flowersand shrubbery of thegarden.Toward the middle of July De Vac had his plans well laid. He had managedto coax old Brus, the gardener, into letting him have the key to thelittle postern gate on the plea that he wished to indulge in amidnightescapade, hinting broadly of a fair lady who was to be the partner ofhis adventure, and, what was more to the point with Brus, at the sametime slipping a couple of golden zecchins into the gardener'spalm.Brus, like the other palace servants, considered De Vac a loyal retainerof the house of Plantagenet. Whatever else of mischief De Vac might beup to, Brus was quite sure that in so far as the King was concerned,thekey to the postern gate was as safe in De Vac's hands as though Henryhimself had it.The old fellow wondered a little that the morose old master of fenceshould, at his time in life, indulge in frivolous escapadesmorebefitting the younger sprigs of gentility, but, then, what concern wasit of his? Did he not have enough to think about to keep the gardensso that his royal master and mistress might find pleasure in theshadedwalks, the well-kept sward, and the gorgeous beds of foliage plants andblooming flowers which he set with such wondrous precision in the formalgarden?Further, two gold zecchins were not often come by soeasily as this;and if the dear Lord Jesus saw fit, in his infinite wisdom, to take thismeans of rewarding his poor servant, it ill became such a worm as he toignore the divine favor. So Brus took the gold zecchins and DeVac thekey, and the little prince played happily among the flowers of his royalfather's garden, and all were satisfied; which was as it should havebeen.That night, De Vac took the key to a locksmith on the far sideofLondon; one who could not possibly know him or recognize the keyas belonging to the palace. Here he had a duplicate made, waitingimpatiently while the old man fashioned it with the crude instruments ofhistime.From this little shop, De Vac threaded his way through the dirty lanesand alleys of ancient London, lighted at far intervals by an occasionalsmoky lantern, until he came to a squalid tenement but a shortdistancefrom the palace.A narrow alley ran past the building, ending abruptly at the bank of theThames in a moldering wooden dock, beneath which the inky waters of theriver rose and fell, lapping the decaying pilesand surging far beneaththe dock to the remote fastnesses inhabited by the great fierce dockrats and their fiercer human antitypes.Several times De Vac paced the length of this black alley in search ofthe little doorwayof the building he sought. At length he came upon it,and, after repeated pounding with the pommel of his sword, it was openedby a slatternly old hag."What would ye of a decent woman at such an ungodly hour?" shegrumbled."Ah, 'tis ye, my lord?" she added, hastily, as the flickering rays ofthe candle she bore lighted up De Vac's face. "Welcome, my Lord, thricewelcome. The daughter of the devil welcomes her brother.""Silence,old hag," cried De Vac. "Is it not enough that you leech meof good marks of such a quantity that you may ever after wear mantlesof villosa and feast on simnel bread and malmsey, that you must needsburden me stillfurther with the affliction of thy vile tongue?"Hast thou the clothes ready bundled and the key, also, to this gateto perdition? And the room: didst set to rights the furnishings I haddelivered here, and sweep thecentury-old accumulation of filth andcobwebs from the floor and rafters? Why, the very air reeked of the deadRomans who builded London twelve hundred years ago. Methinks, too, fromthe stink, they must have beenRoman swineherd who habited this sty withtheir herds, an' I venture that thou, old sow, hast never touched broomto the place for fear of disturbing the ancient relics of thy kin.""Cease thy babbling, Lord Satan," criedthe woman. "I would rather hearthy money talk than thou, for though it come accursed and tainted fromthy rogue hand, yet it speaks with the same sweet and commanding voiceas it were fresh from the coffers of theholy church."The bundle is ready," she continued, closing the door after De Vac, whohad now entered, "and here be the key; but first let us have a payment.I know not what thy foul work may be, but foul it is I knowfrom thesecrecy which you have demanded, an' I dare say there will be some whowould pay well to learn the whereabouts of the old woman and the child,thy sister and her son you tell me they be, who you are soanxious tohide away in old Til's garret. So it be well for you, my Lord, to payold Til well and add a few guilders for the peace of her tongue if youwould that your prisoner find peace in old Til's house.""Fetch me thebundle, hag," replied De Vac, "and you shall have goldagainst a final settlement; more even than we bargained for if all goeswell and thou holdest thy vile tongue."But the old woman's threats had already caused DeVac a feeling ofuneasiness, which would have been reflected to an exaggerated degree inthe old woman had she known the determination her words had caused inthe mind of the old master of fence.His venture was fartoo serious, and the results of exposure toofraught with danger, to permit of his taking any chances with a disloyalfellow-conspirator. True, he had not even hinted at the enormity of theplot in which he was involvingthe old woman, but, as she had said, hisstern commands for secrecy had told enough to arouse her suspicions, andwith them her curiosity and cupidity. So it was that old Til might wellhave quailed in her tatteredsandals had she but even vaguely guessedthe thoughts which passed in De Vac's mind; but the extra gold pieceshe dropped into her withered palm as she delivered the bundle to him,together with the promise of more,quite effectually won her loyalty andher silence for the time being.Slipping the key into the pocket of his tunic and covering the bundlewith his long surcoat, De Vac stepped out into the darkness of the alleyandhastened toward the dock.Beneath the planks he found a skiff which he had moored there earlierin the evening, and underneath one of the thwarts he hid the bundle.Then, casting off, he rowed slowly up the Thames


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            SWEENEY TODD: THE DEMON BARBER OF FLEET STREET                            Written by                            JohnLogan                       Music and Lyrics by                         Stephen Sondheim                  Adapted from the Stage Musical         "Sweeney Todd: The Demon Barber of Fleet Street"               Music and Lyrics by StephenSondheim                       Book by Hugh Wheeler              Based on a version of "Sweeney Todd"                       by Christopher Bond                                               18th DECEMBER,2006                                                                   PAGE 1.1   INT. DARK CHAMBER -- NIGHT                                     1    Foreboding organ music is heard...    We are looking down at a rough brickfloor ... is it an    alley? ... a cobblestone street? ... a warehouse? a factory?    ... we're not sure...    The flickering glow of flame is the only illumination...    The ominous organ music continues as...    From the bottomof the frame...    A dark pool of blood slowly begins to spread ... moving up    the frame, defying gravity ... the flickering flame reflected    in the blood...    Finally, the pool of blood fills the entireframe.    SUDDENLY--    A shrill factory whistle blows--    ENORMOUSLY LOUD -- blood-chilling and spine-shattering --    the whistle is a bizarre combination of sound: a factory    whistle; a hog beingslaughtered; a dog snarling; a roaring    inferno; a human scream--    And a man's face appears, upside down, reflected in the pool    of blood.    He is THE GENTLEMAN, a slender dandy in pearl grey glovesand    matching waistcoat. A cold and superior aristocrat.    The camera slowly revolves -- the Gentleman becoming right    side up as--                           GENTLEMAN                 Attend the tale of SweeneyTodd.                 His skin was pale and his eye was odd.                 He shaved the faces of gentlemen                 Who never thereafter were heard of again.                 He trod a path that few have trod,                 DidSweeney Todd,                 The Demon Barber of Fleet Street.    We cut from the blood to see the Gentleman standing before    us. Strangely impassive.    We are in an eerie dark chamber, unclear, a low ceiling,a    world of silhouettes and shadows.                                                         (CONTINUED)                                                                   PAGE2.1   CONTINUED:                                                     1    Another figure emerges from the miasma of shadows, into the    hellish flickering of flame: THE BANKER. He is large, rotund    and sleek.Impressive muttonchops.                           BANKER                 He kept a shop in London town,                 Of fancy clients and good renown,                 And what if none of their souls weresaved?                 They went to their maker impeccably shaved...    More FIGURES begin to emerge from the shadows, joining the    Gentleman and the Banker as...                           BANKER                 BySweeney,                 By Sweeney Todd,                 The Demon Barber of Fleet Street.    Although prosaic in appearance these figures are, infact,    GHOSTS.                           GHOSTS                 Swing your razor wide, Sweeney!                 Hold it to the skies!                 Freely flows the blood of those                 Who moralize!    Asthey continue, the new figures become more distinct...    THE GENERAL, a tough, leather-skinned military man in a    crimson imperial uniform...                           GENERAL                 His needs were few, hisroom was bare:    THE PRIEST, a lean, severe man with pale skin in clerical    attire...                           PRIEST                 A lavabo and a fancy chair...    THE TOURIST, a small, meek man with glasses in anill-fitting    suit...                           TOURIST                 A mug of suds and a leather strop,                 An apron, a towel, a pail and a mop...    THE STUDENT, a dashing young man from Oxford withluxurious    long hair...                                                          (CONTINUED)                                                                 PAGE 3.1   CONTINUED:(2)                                               1                        STUDENT              For neatness he deserves a nod,              Does Sweeney Todd...                        GENTLEMAN              The DemonBarber of Fleet Street.    The ghosts are a bit more insinuating now as they move around    this mysterious world...                        GHOSTS                  (variously)              Inconspicuous Sweeneywas,              Quick and quiet and clean `e was.              Back of his smile, under his word,              Sweeney heard music that nobody heard.              Sweeney pondered and Sweeney planned,              Like a perfectmachine 'e planned,              Sweeney was smooth, Sweeney was subtle,              Sweeney would blink and rats would scuttle...    The specters are becoming more insistent, their strange    impassivity giving way toaccusation as the flickering red    flame becomes an inferno--                        GHOSTS                  (variously)              Sweeney was smooth, Sweeney was subtle,              Sweeney would blink and ratswould scuttle.              Inconspicuous Sweeney was,              Quick and quiet and clean 'e was,              Like a perfect machine 'e was,              WasSweeney!              Sweeney!              Sweeney!              Sweeeeeneeeeey!    On this explosive note we revolve -- away from the ghostly    Furies--    To discover--    SWEENEY TODD. Standing before us. An unclearfigure,    silhouetted in blazing red flames.    We slowly push in on him as:                        GHOSTS              Attend the tale of Sweeney Todd.              He served a dark and a vengeful god.              Whathappened then--                                                      (CONTINUED)                                                                   PAGE 4.1   CONTINUED:(3)                                                1                        GENTLEMAN              Well, who's to say?                        BANKER              And he wouldn't want us to give itaway,                        GHOSTS                  (variously)              Not Sweeney,              Not Sweeney Todd,              The Demon Barber of Fleet Street.    On this note, we push in tight on the figure ofTodd...    Music and the clanging of a clock tower bell are heard as we    slowly begin pulling back and are imperceptibly transported    to...2   EXT. SHIP -- THAMES -- ALMOSTDAWN                             2    ANTHONY, a young sailor of about 20, is standing at the rail    of a ship. We see the obscure shape of rigging and sails    behind him. The cries of sailors echo.    Behind him stand theGENTLEMAN and the BANKER. They are    looking past Anthony, looking at something. They move away as    Anthony peers through the fog, straining to see...    London.    Gradually, as the ship approaches, thetowering spires and    mountainous rooftops of the city begin to stand out in    relief, to emerge through the fog like a tiger creeping    toward its prey.    Music continues as Anthony takes in the dreadfuland    magnificent spectacle of the 19th Century metropolis. The    gnarl of rooftops. The labyrinth of streets and alleys. The    black trails of smoke reaching up like skeletal fingers from    a thousandchimneys.    London. Sulfurous London.    Anthony is awestruck.                        ANTHONY              I have sailed the world, beheld its wonders              From the Dardanelles              To the mountains ofPeru,              But there's no place like London--!    Then--                                                         (CONTINUED)                                                                  PAGE5.2   CONTINUED:                                                    2    Sweeney Todd steps to Anthony's side, grimly interrupting--                           TODD                 No, there's no place likeLondon.                           ANTHONY                 Mr. Todd...?                           TODD                 You are young.                 Life has been kind to you.                 You will learn.    Todd's glaresforward, his haunted gaze never leaving the    approaching city.3   EXT. DOCKS -- DAWN                                             3    Music continues as Todd stands very still and takes in the    shadowy figures on thedocks.    Anthony seems almost lost at his side, overwhelmed by the    scale and aura of the city.                           ANTHONY                 Lord ... takes your breath away,                 doesn't it?    Toddshudders violently, almost snarling.                            TODD                 There's a hole in the world                 Like a great black pit                 And the vermin of the world                 Inhabit it                 Andits morals aren't worth                 What a pig could spit                 And it goes by the name Of London.                 At the top of the hole                 Sit the privileged few                 Making mock of thevermin                 In the lower zoo,                 Turning beauty into filth and greed.                 I too                 Have sailed the world, and seen its wonders                 For the cruelty of men                 Is as wondrousas Peru,                 But there's no place like London!    Anthony looks at his friend, mystified by his grim reaction    to thecity.                                                         (CONTINUED)                                                                   PAGE6.3   CONTINUED:                                                    3                           TODD                 I beg your indulgence, Anthony ... My                 mind is far from easy. In theseonce                 familiar streets I feel shadows                 everywhere...                           ANTHONY                 Shadows...?                           TODD                 Ghosts.    Anthony looking at him,questioning. Todd continues quietly:                           TODD                 There was a barber and his wife,                 And she was beautiful,                 A foolish barber and his wife,                 She was hisreason and his life,                 And she was beautiful,                 And she was virtuous.                 And he was...                     (a breath)                 Naive.    Anthony watches, rapt, as Todd remembers...4   EXT.FLOWER MARKET -- FLASHBACK -- DAY                         4    ...Fifteen years before.    Todd walks with his beautiful wife LUCY through a crowded    flower market, a colorful explosion of blossoms. Lucycarries    their one-year-old baby, JOHANNA.    Todd is almost unrecognizable to us, content and smiling.    Chatting with his wife. Happy.                           TODD (V.O.)                 There was another man


ï»¿The Project Gutenberg EBook of The Tale of Tom Kitten, by Beatrix PotterThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Tale of Tom KittenAuthor: Beatrix PotterRelease Date: January 29, 2005 [EBook #14837]Language:English*** START OF THIS PROJECT GUTENBERG EBOOK THE TALE OF TOM KITTEN ***Produced by Robert Cicconetti, Melissa Er-Raqabi and the PG OnlineDistributed Proofreading Team(http://www.pgdp.net).[Illustration]THE TALE OFTOM KITTENBYBEATRIX POTTER_Author of__"The Tale of Peter Rabbit", &c._[Illustration]FREDERICK WARNEFirst published 19071907 by Frederick Warne & Co.Printedand bound in Great Britain byWilliam Clowes Limited, Beccles and LondonDEDICATEDTO ALLPICKLES,--ESPECIALLY TO THOSE THATGET UPON MY GARDEN WALL[Illustration]Once upon a time there were three littlekittens, and their names wereMittens, Tom Kitten, and Moppet.They had dear little fur coats of their own; and they tumbled about thedoorstep and played in the dust.But one day their mother--Mrs. TabithaTwitchit--expected friends to tea;so she fetched the kittens indoors, to wash and dress them, before thefine company arrived.[Illustration][Illustration]First she scrubbed their faces (this one is Moppet).Then shebrushed their fur, (this one is Mittens).[Illustration][Illustration]Then she combed their tails and whiskers (this is Tom Kitten).Tom was very naughty, and he scratched.Mrs. Tabitha dressed Moppet and Mittens in cleanpinafores and tuckers;and then she took all sorts of elegant uncomfortable clothes out of achest of drawers, in order to dress up her son Thomas.[Illustration][Illustration]Tom Kitten was very fat, and he had grown;several buttons burst off. Hismother sewed them on again.When the three kittens were ready, Mrs. Tabitha unwisely turned them outinto the garden, to be out of the way while she made hot buttered toast."Now keepyour frocks clean, children! You must walk on your hind legs.Keep away from the dirty ash-pit, and from Sally Henny Penny, and from thepig-stye and the Puddle-Ducks."[Illustration][Illustration]Moppet and Mittenswalked down the garden path unsteadily. Presently theytrod upon their pinafores and fell on their noses.When they stood up there were several green smears!"Let us climb up the rockery, and sit on the garden wall,"said Moppet.They turned their pinafores back to front, and went up with a skip and ajump; Moppet's white tucker fell down into the road.[Illustration][Illustration]Tom Kitten was quite unable to jump when walkingupon his hind legs introusers. He came up the rockery by degrees, breaking the ferns, andshedding buttons right and left.He was all in pieces when he reached the top of the wall.Moppet and Mittens tried to pull himtogether; his hat fell off, and therest of his buttons burst.[Illustration][Illustration]While they were in difficulties, there was a pit pat paddle pat! and thethree Puddle-Ducks came along the hard high road, marching onebehind theother and doing the goose step--pit pat paddle pat! pit pat waddle pat!They stopped and stood in a row, and stared up at the kittens. They hadvery small eyes and lookedsurprised.[Illustration][Illustration]Then the two duck-birds, Rebeccah and Jemima Puddle-Duck, picked up thehat and tucker and put them on.Mittens laughed so that she fell off the wall. Moppet and Tomdescendedafter her; the pinafores and all the rest of Tom's clothes came off on theway down."Come! Mr. Drake Puddle-Duck," said Moppet--"Come and help us to dresshim! Come and button upTom!"[Illustration][Illustration]Mr. Drake Puddle-Duck advanced in a slow sideways manner, and picked upthe various articles.But he put them on _himself!_ They fitted him even worse than Tom Kitten."It's a very finemorning!" said Mr. Drake Puddle-Duck.[Illustration][Illustration]And he and Jemima and Rebeccah Puddle-Duck set off up the road, keepingstep--pit pat, paddle pat! pit pat, waddle pat!Then Tabitha Twitchit came downthe garden and found her kittens on thewall with no clothes on.[Illustration][Illustration]She pulled them off the wall, smacked them, and took them back to thehouse."My friends will arrive in a minute, and you are notfit to be seen; I amaffronted," said Mrs. Tabitha Twitchit.She sent them upstairs; and I am sorry to say she told her friends thatthey were in bed with the measles; which was not true.[Illustration][Illustration]Quite thecontrary; they were not in bed: _not_ in the least.Somehow there were very extraordinary noises over-head, which disturbedthe dignity and repose of the tea party.And I think that some day I shall have to makeanother, larger, book, totell you more about Tom Kitten![Illustration]As for the Puddle-Ducks--they went into a pond.The clothes all came off directly, because there were no buttons.[Illustration][Illustration]And Mr.Drake Puddle-Duck, and Jemima and Rebeccah, have been looking forthem ever since.End of Project Gutenberg's The Tale of Tom Kitten, by Beatrix Potter*** END OF THIS PROJECT GUTENBERG EBOOK THE TALE OFTOM KITTEN ******** This file should be named 14837.txt or 14837.zip *****This and all associated files of various formats will be found in:        http://www.gutenberg.net/1/4/8/3/14837/Produced by RobertCicconetti, Melissa Er-Raqabi and the PG OnlineDistributed Proofreading Team (http://www.pgdp.net).Updated editions will replace the previous one--the old editionswill be renamed.Creating the works from publicdomain print editions means that noone owns a United States copyright in these works, so the Foundation(and you!) can copy and distribute it in the United States withoutpermission and without paying copyrightroyalties.  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<title>Mulholland DriveScreenplay</title>
 M  U  L  H  O  L  L  A  N  D D  R  I  V  E     1/5/1999     M U L H 0 L L A N D             D R I V E    EXT.  NIGHT -HOLLYWOOD HILLS, LOS ANGELES    Darkness. Distant sounds of freeway traffic. Then the closersound of a car - its headlights illumine an oleander bush andthe limbs of an Eucalyptus tree. Then theheadlights turn - astreet sign is suddenly brightly lit. The words on the signread... "Mulholland Drive." The car moves under the sign asit turns and the words fall once again into darkness.     CUTTO:    EXT. NIGHT - MULHOLLAND DRIVE    Gliding we follow the car - an older black Cadillac limousine- as it winds its way up Mulholland Drive through thedarkness of the HollywoodHills. There is no one else on theroad. As we drift closer to the car...     CUT TO:    INT. BLACK CADILLAC LIMOUSINE - NIGHT    Two men in dark suits are sitting in thefront seat. Abeautiful, younger, dark-haired woman sits in back. She sitsclose up against the door and stares out into the darkness.She seems to be thinking about something. Suddenly she turnsand looks ahead. Thecar is slowing and moving off to theside of the road.     DARK-HAIRED WOMAN What are you doing? You don't stop here ...    The car stops - half on, half off the road at a dark, blindcurve.Both men turn to the woman.     DRIVER Get out of the car.     CUT TO:    EXT.  FURTHER UP MULHOLLAND DRIVE - NIGHT    Two cars - aconvertible and a late model sedan are dragracing toward the blind curve blocking the view of theCadillac limousine. The cars are filled with crazedteenagers. Two girls are standing up through the sunroof ofthe sedanscreaming as their hair is whipped straight back.        The cars are travelling so fast that they seem to almostfloat as they fly with psychotic speed down both lanes ofMulhollandDrive.     CUT TO:    INT. EXT. - CADILLAC LIMOUSINE    The driver, still in his seat, has a pistol with a silencerattached pointing at the woman. The other man is gettingoutof the car. The woman is clutching the seat and the doorhandle as if trying to anchor herself. She is visibly afraid.The man who got out of the car tries the woman's door, but itis locked. He smiles as he reaches inthrough the front doorand unlocks her door. He opens her door. As he reaches forher, the woman's face becomes flooded with light. Her eyesdart to the front windshield. The driver, flooded with light,turns just as thelate model sedan slams into the Cadillaclimousine. There is an explosion of metal and glass amidstthunderous tearing sounds as the two cars become one indeath. The convertible screams past with hardly a notice.Thedriver of the limousine dies instantly as his body isjettisoned through the windshield. The other man is torn asthe cars screech over him. The woman is brutally thrown intothe back of the front seats as a cloud of dustand flyingrocks engulfs her. The disastrous moving sculpture of the twocars wants to climb up the hill, then stops and slides backtoward the road The Cadillac tips onto its side. Then all issilent. A fire erupts in the sedanand as the dust clears wesee the woman appear, then crawl out of the Cadillac to theroad. Her face is vacant. There is a bleeding cut just aboveher forehead. She stands for a moment clutching her purse -lost , thenbegins to walk as if in a trance acrossMulholland down through the bushes and into darkness. DISSOLVE TO:    EXT. HOLLYWOOD HILLS - LATER - NIGHT    The woman slidesdown a hill through tangles of hostiledesert plants. Sirens can be heard in the distance. Shecrosses through some trees and is suddenly confronted by acoyote which snarls and leaps at her. She screams and strikesoutwith her purse in self defense. The coyote backs away -snarling. The woman then loses control and runs at the coyoteand it races off. She falls to the ground. We can hear thethunder of her heartbeat as the sirens growlouder. She getsup and stumbles through the trees. When she clears them sheis standing overlooking all of Los Angeles glowing downbelow. She clumsily starts down toward it.    DISSOLVETO:    HOLLYWOOD STREETS - LATER - NIGHT    The woman slides down a dusty hill and finds herself atFranklin Avenue. A car races by and its headlights flare onher face. Herexpression shows fear and panic. She doesn'tknow where she is or where to go. She runs frantically acrossthe street. She moves quickly to a sidewalk which takes herinto a residential area.     DISSOLVETO:    EXT. HOLLYWOOD STREETS - LATER - NIGHT    The woman crosses Sunset Boulevard. Coming up Sunset in thedistance is a police car with its sirens and lights going.Shehurries into the darkness of another residential area. Acar turns onto the street and comes toward her. Sheinstinctively moves behind a tree until it passes.   DISSOLVE TO:    EXT.HOLLYWOOD STREETS - LATER - NIGHT    As if being hunted in a foreign land the woman movesdesperately down another residential street. A drunken coupleround the corner up ahead and start up thesidewalk towardher. She runs off the sidewalk and into the bushes in frontof an apartment building. The couple passes by withoutnoticing her. Feeling safe in these bushes her exhaustionovertakes her and she lays herhead down to sleep.    DISSOLVE TO:    EXT.  MULHOLLAND DRIVE   - NIGHT    Police, paramedics surround the wreckage. Two detectives,HARRY MCKNIGHT and NEALDOMGAARD (both mid 40's to 50), stareat the remains of the two cars glowing white hot under thecrime scene lights. A coroner's van pulls out just after anambulance. The ambulance's siren begins to wail as itspeedsoff. The coroner's van cruises slowly. Detective HarryMcKnight and Detective Neal Domgaard continue staring. Theydo not look at each other. They are each motionless for along moment.  DETECTIVE HARRY MCKNIGHT You feel it?     DETECTIVE NEAL DOMGAARD Yeah.    They continue to stare.      DETECTIVE NEAL DOMGAARD Sammythinks the Caddy had stopped along the shoulder ... man up the road said he saw two cars drag racin'...then you got that blind corner.     DETECTIVE HARRY MCKNIGHT Two men... two guns in theCaddy.     DETECTIVE NEAL DOMGAARD The boys found this on the floor in back of the Caddy.    Neal holds up a plastic bag holding a pearl earring.     DETECTIVE HARRYMCKNIGHT Yeah, they showed me     DETECTIVE NEAL DOMGAARD Could be unrelated.     DETECTIVE HARRY MCKNIGHT Could be...any of those dead kids wearin' pearlearrings?     DETECTIVE NEAL DOMGAARD No. Could be someone's missin' maybe.     DETECTIVE HARRY MCKNIGHT That's what I'm thinkin'.    Detective HarryMcKnight turns and crosses Mulholland. Hiseyes move over each blade of grass at the shoulder - eachdesert bush just beyond. He slowly raises his gaze to theshining lights of Hollywood laying far below like a galaxy.Helooks out and wonders.     CUT TO:    EXT. HOLLYWOOD STREETS - EARLY DAWN    The clang of a metal gate wakes the woman. It is just gettinglight and she sees anolder red-headed woman carrying asuitcase to the curb where a cab stands waiting with itstrunk open. The cab driver appears with two suitcases whichhe sets down next to the car. The red-headed woman and thecabdriver both go back through the iron gate. The woman inthe bushes pulls herself to the gate where she can peer intothe courtyard of this apartment building. She sees the red-headed woman and the cab driver go intoan apartment and comeback out with more luggage.    They leave the apartment door open. When the red-headed womanand the cab driver reach the cab they both begin loading thebags into the trunk andbackseat. Their backs are to thewoman in the bushes who takes this opportunity to go quicklyinto the courtyard and through the open apartment door.     CUT TO:    INT. APARTMENT -EARLY DAWN    The woman comes into a living room where a single trunkremains. She goes further into the apartment and crouchesdown in a back corner of the kitchen. She listens asfootsteps comeacross the courtyard. She hears the red-headedwoman and the cab driver get the trunk. She hears them set itdown once they have it in the courtyard. She hears the stepsof the red-headed woman come back insidethe apartment. Shehears the footsteps go all around the apartment and then shehears the footsteps come toward the kitchen. Remainingfrozen, the dark-haired woman's eyes look up as the red-headed woman walksright past her, grabs a set of keys offthe kitchen counter, then leaves the apartment. The woman canhear the door being locked. She lets go, slides to thekitchen floor, and passes out.     CUTTO:    INT. DENNY'S RESTAURANT , HOLLYWOOD - MORNING    Two well-dressed men HERB and DAN (mid 30's) are sitting at atable drinking coffee. Herb has finished eatinghisbreakfast, but Dan hasn't touched his bacon and eggs - heappears too nervous to eat. A blonde waitress with anameplate saying "DIANE" lays the check on their tablesmiles, then walks off.    HERB Why did you want to go to breakfast if you're not hungry? DAN I just wanted to come here. HERB To Denny's? I wasn't going to say anything, but why Denny's?    DAN This Denny's.     HERB Okay. Why this Denny's?         DAN It's kind of embarrassing but,     HERB Go ahead.     DAN Ihad a dream about this place.     HERB Oh boy.     DAN You see what I mean...     HERB Okay, so you had a dream about this place. Tell me.    DAN Well ... it's the second one I've had, but they were both the same......they start out that I'm in here but it's not day or night. It's kinda half night, but it looks just like this except for the light, but I'm scaredlike I can't tell ya. Of all people you're standing right over there by that counter. You're in both dreams and you're scared. I get even more frightened when I see how afraid you are and then I realize what it is - there'sa man...in back of this place. He's the one ... he's the one that's doing it. I can see him through the wall. I can see his face and I hope I never see that face ever outside a dream.    Herb stares at Dan to see ifhe will continue. Dan looksaround nervously, then stares at his uneaten food.     DAN (cont'd) That's it.     HERB So, you came to see if he's out there? DAN To get rid of this


ï»¿The Project Gutenberg EBook of On the Fourfold Root of the Principle ofSufficient Reason and On the Will in Nat, by Arthur SchopenhauerThis eBook is for the use of anyone anywhere in the United States andmostother parts of the world at no cost and with almost no restrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project Gutenberg License included with this eBook or onlineatwww.gutenberg.org.  If you are not located in the United States, you'll haveto check the laws of the country where you are located before using this ebook.Title: On the Fourfold Root of the Principle of SufficientReason and On the Will in Nature: Two Essays (revised edition)Author: Arthur SchopenhauerTranslator: Karl HillebrandRelease Date: January 19, 2016 [EBook #50966]Language: EnglishCharacter set encoding:UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK PRINCIPLE OF SUFFICIENT REASON ***Produced by Charlene Taylor, Sharon Joiner, Bryan Ness andthe Online Distributed Proofreading Teamathttp://www.pgdp.net (This book was produced from scannedimages of public domain material from the Google Booksproject.)TRANSCRIBER'S NOTE:Italics have been transcribed using _underscores_, bold with=equalsigns=, spaced text with +plus signs+, small capitals as ALL CAPITALS,and text in superscript is preceded by a ^carat. Inconsistencies inhyphenation, punctuation, spelling and abbreviations have notbeencorrected. A list of other corrections can be found at the end of thedocument.  _BOHN'S PHILOSOPHICAL LIBRARY._  TWO ESSAYS  BY  ARTHUR SCHOPENHAUER.  LONDON: GEORGE BELL AND SONS  PORTUGALST. LINCOLN'S INN, W.C.  CAMBRIDGE: DEIGHTON, BELL & CO.  NEW YORK: THE MACMILLAN CO.  BOMBAY: A. H. WHEELER & CO.  ON  THE FOURFOLD ROOT OF THE PRINCIPLE OF SUFFICIENT REASON  AND  ONTHE WILL IN NATURE.  TWO ESSAYS BY  ARTHUR SCHOPENHAUER.  TRANSLATED BY MME. KARL HILLEBRAND.  _REVISED EDITION._  LONDON  GEORGE BELL AND SONS  1907  CHISWICK PRESS: CHARLESWHITTINGHAM AND CO.  TOOKS COURT, CHANCERY LANE, LONDON.TRANSLATOR'S PREFACE.In venturing to lay the present translation[1] before the public, Iam aware of the great difficulties of my task, and indeedcan hardlyhope to do justice to the Author. In fact, had it not been for theconsiderations I am about to state, I might probably never havepublished what had originally been undertaken in order to acquire aclearercomprehension of these essays, rather than with a view topublicity.  [1] From the fourth edition by Julius FrauenstÃ¤dt. "Fourfold Root,"  Leipzig, 1875; "Will in Nature," Leipzig, 1878.The two treatises which form thecontents of the present volume have somuch importance for a profound and correct knowledge of Schopenhauer'sphilosophy, that it may even be doubted whether the translation ofhis chief work, "Die Welt als Wille undVorstellung," can contributemuch towards the appreciation of his system without the help atleast of the "Vierfache Wurzel des Satzes vom zureichenden Grunde."Schopenhauer himself repeatedly and urgently insistsupon a previousthorough knowledge of Kant's philosophy, as the basis, and of hisown "Fourfold Root," as the key, to his own system, asserting thatknowledge to be the indispensable condition for a rightcomprehensionof his meaning. So far as I am aware, neither the "Fourfold Root"nor the "Will in Nature" have as yet found a translator; therefore,considering the dawning interest which has begun to make itself feltforSchopenhauer's philosophy in England and in America, and the factthat no more competent scholar has come forward to do the work, it maynot seem presumptuous to suppose that this version may be acceptabletothose who wish to acquire a more than superficial knowledge of thisremarkable thinker, yet whose acquaintance with German does not permitthem to read his works in the original.Now although some portions of boththe Essays published in the presentvolume have of course become antiquated, owing to the subsequentdevelopment of the empirical sciences, while others--such as, forinstance, Schopenhauer's denunciation ofplagiarism in the cases ofBrandis and Rosas in the beginning of Physiology and Pathology[2]--canhave no interest for the reader of the present day, I have neverthelessgiven them just as he left them and refrained fromall suppression oralteration. And if, on the whole, the "Will in Nature" may be lessindispensable for a right understanding of our philosopher's viewsthan the "Fourfold Root," being merely a record of theconfirmationswhich had been contributed during his lifetime by the various branchesof Natural Science to his doctrine, that _the thing in itself is thewill_, the Second Essay has nevertheless in its own way quite asmuchimportance as the First, and is, in a sense, its complement. For theyboth throw light on Schopenhauer's view of the Universe in its doubleaspect as Will and as Representation, each being as it were _arÃ©sumÃ©_of the exposition of one of those aspects. My plea for uniting them inone volume, in spite of the difference of their contents and the widelapse of time (seventeen years) which lies between them, must be,thatthey complete each other, and that their great weight and intrinsicvalue seem to point them out as peculiarly fitted to be introduced tothe English thinker.  [2] See "Will in Nature," pp. 9-18 of the original; pp.224-234 of  the present translation.In endeavouring to convey the Author's thoughts as he expressesthem, I have necessarily encountered many and great difficulties. Hismeaning, though always clearly expressed, isnot always easy to seize,even for his countrymen; as a foreigner, therefore, I may often havefailed to grasp, let alone adequately to render, that meaning. In thiscase besides, the responsibility for any want ofperspicuity cannotbe shifted by the translator on to the Author; since the consummateperfection of Schopenhauer's prose is universally recognised, even bythose who reject, or at least who do not share, his views. AneminentGerman writer of our time has not hesitated to rank him immediatelyafter Lessing and GÃ¶the as the third greatest German prose-writer, andonly quite recently a German professor, in a speech deliveredwiththe intent of demolishing Schopenhauer's philosophy, was reluctantlyobliged to admit that his works would remain on account of theirliterary value. GÃ¶the himself expressed admiration for the clearnessofexposition in Schopenhauer's chief work and for the beauty of his style.The chief obstacle I have encountered in translating these Essays, didnot therefore consist in the obscurity of the Author's style, nor evenin thedifficulty of finding appropriate terms wherewith to convey hismeaning; although at times certainly the want of complete precision inour philosophical terminology made itself keenly felt and the selectionwas often farfrom easy: it lay rather in the great difference in theway of thinking and of expressing their thoughts which lies betweenthe two nations. The regions of German and English thought are indeedseparated by a gulf, whichat first seems impassable, yet which mustbe bridged over by some means or other, if a right comprehension is tobe achieved. The German writer loves to develop synthetically a singlethought in a long period consistingof various members; he proceedssteadily to unravel the seemingly tangled skein, while he keeps thereader ever on the alert, making him assist actively in the processand never letting him lose sight of the main thread.The Englishauthor, on the contrary, anxious before all things to avoid confusionand misunderstanding, and ready for this end not only to sacrificeharmony of proportion in construction, but to submit to the necessityofoccasional artificial joining, usually adopts the analyticalmethod. He prefers to divide the thread of his discourse into severalsmaller skeins, easier certainly to handle and thus better suiting theconvenience of the Englishthinker, to whom long periods are trying andbewildering, and who is not always willing to wait half a page or morefor the point of a sentence or the gist of a thought. Wherever it couldbe done without interferingseriously with the spirit of the original,I have broken up the longer periods in these essays into smallersentences, in order to facilitate their comprehension. At times howeverSchopenhauer recapitulates a whole side ofhis view of the Universein a single period of what seems intolerable length to the Englishreader: as, for instance, the _rÃ©sumÃ©_ contained in the Introductionto his "Will in Nature,"[3] which could not be dividedwithout damageto his meaning. Here therefore it did not seem advisable to sacrificethe unity and harmony of his design and to disturb both his form andhis meaning, in order to minister to the reader's dislike formentalexertion; in keeping the period intact I have however endeavoured tomake it as easy to comprehend as possible by the way in which thesingle parts are presented to the eye.  [3] Pp. 2 and 3 of the original, andpp. 216 to 218 of the present  translation.As regards the terms chosen to convey the German meaning, I can hardlyhope to have succeeded in every case in adequately rendering it, stillless can I expect to havesatisfied my English readers. Several wordsof frequent occurrence and of considerable importance for the rightunderstanding of the original, have been used at different times bydifferent English philosophers in sensesso various, that, until ourphilosophical terminology has by universal consent attained far greaterprecision than at present, it must always be difficult for the writeror translator to convey to the reader's mind precisely thesame thoughtthat was in his own. To prevent unnecessary confusion however, byleaving too much to chance, I will here briefly state those terms whichgive most latitude for misapprehension, explaining the sense inwhichI employ them and also the special meaning attached to some of them bySchopenhauer, who often differs in this from other writers. They are asfollows.(_a._) _Anschauung_ (_anschauen_, literally 'to behold') Ihaverendered differently, according to its double meaning in German. Whenused to designate the mental act by which an object is perceived, asthe cause of a sensation received, it is rendered by _perception_.Whenused to lay stress upon _immediate_, as opposed to _abstract_representation, it is rendered by _intuition_. This last occurs howevermore often in the adjective form.(_b._) _Vorstellung_ (_vorstellen_, literally 'to placebefore') Irender by _representation_ in spite of its foreign, unwelcome sound tothe English ear, as being the term which nearest approaches the Germanmeaning. The faculty of representation is defined bySchopenhauerhimself as "an exceedingly complicated physiological process in thebrain of an animal, the result of which is the consciousness of a_picture_ there."(_c._) _Auffassung_ (_auffassen_, literally 'to catch up')has somany shades of meaning in German that it has to be translated in manydifferent ways according to the relation in which it stands in thecontext. It signifies _apprehension_, _comprehension_,_perception_,_viewing_ and _grasping_.(_d._) _Wahrnehmung_ (_wahrnehmen_, from _wahr_, true, and _nehmen_, totake), is translated by _apprehension_ or _perception_, according tothe degree of consciousnesswhich accompanies it.But the two words which have proved most difficult to translate, havebeen _Vernehmen_ and _WillkÃ¼hr_.(_e._) _Vernehmen_ means, to distinguish by the sense of hearing. Thisword conveys ashade of thought which it is almost impossible to renderin English, because we have no word by which to distinguish, from meresensuous hearing, a sort of hearing which implies more than hearing andless thancomprehension. The French _entendre_ comes nearer to it thanour _hearing_, but implies more comprehension than _vernehmen_.(_f._) As to _WillkÃ¼hr_ (_arbitrium_, literally '_will-choice_'), aftera great deal ofconsideration I have chosen (_relative_) _free-will_ asthe nearest approach to the German sense, or at any rate, to that inwhich Schopenhauer uses it. _WillkÃ¼hr_ means in fact what is commonlyunderstood asfree-will; _i.e._ will with power of choice, willdetermined by motives and unimpeded by outward obstacles: _arbitrium_as opposed to _voluntas_: conscious will as opposed to blind impulse.This relative free-willhowever is quite distinct from _absolutefree-will_ (_liberum arbitrium indifferentiÃ¦_) in a metaphysical sense,_i.e._ will in its self-dependency. When its arbitrary character isspecially emphasized, we call _WillkÃ¼hr_,_caprice_, but this is notthe usual meaning given to it by Schopenhauer.Besides the meaning of these German words, I have still to definethe sense in which I have used the term _idea_ in this translation;for this wordhas greatly changed its meaning at different times andwith different authors, and is even now apt to confuse and mislead.Schopenhauer has himself contributed in one way to render itssignification less clear; since, inspite of his declaration in the"Fourfold Root"[4] to the effect, that he never uses the word _idea_in any other than its original (Platonic) sense, he has himselfemployed it to translate _Vorstellung_, in a specimen hegives of arendering of a passage in Kant's "Prolegomena" in a letter addressedto Haywood, published in Gwinner's "Biography of Schopenhauer." Thishe probably did because some eminent English and Frenchphilosophershad taken the word in this sense, thinking perhaps that Kant's meaningwould thus be more readily understood. As however he uses the word'_idea_' everywhere else exclusively in its original (Platonic)sense,I have preferred to avoid needless confusion by adhering to his owndeclaration and definition. Besides, many English writers of note haveprotested against any other sense being given to it, and modernGermanphilosophers have more and more returned to the original meaning of theterm.  [4] See p. 113, Â§ 34 of the original, and p. 133 of the present  translation.Some readers may take exception at such expressionsas _Ã  priority_,_motivation_, _aseity_; for they are not, strictly speaking, Englishwords. These terms however belong to Schopenhauer's own characteristicterminology, and have a distinct and clearly defined meaning;thereforethey had to be retained in all cases in which they could not be evaded,in order not to interfere with the Author's intention: a necessitywhich the scholar will not fail to recognise, especially when I pleadin mydefence that fidelity and accuracy have been my sole aim in thiswork.If moreover Carlyle's words, "He who imports into his own countryany true delineation, any rationally spoken word on any subject, hasdone well,"are true, I may also be absolved from censure, if I laybefore the public this version of some important utterances of a greatthinker, in the hope that it may be an assistance in, and an incitementto, a deeper study of allSchopenhauer's works.                    THE TRANSLATOR._May, 1888._CONTENTS.  ON THE FOURFOLD ROOT OF THE PRINCIPLE OF SUFFICIENTREASON.  CHAP.                                                             PAGE        Translator's Preface                                           v        Author's Preface to the Second Edition                      xvii        Editor's Preface to the ThirdEdition                         xx        Editor's Preface to the Fourth Edition                    xxviii     I. Introduction                                                   1    II. General Survey of the most important views hithertoheld          concerning the Principle of Sufficient Reason                6   III. Insufficiency of the Old and outlines of a New          Demonstration                                               28    IV. On the First Class of Objects for theSubject, and that          form of the Principle of Sufficient Reason which          predominates in it                                          31     V. On the Second Class of Objects for the Subject and that          form of the Principleof Sufficient Reason which          predominates in it                                         114    VI. On the Third Class of Objects for the Subject and that          form of the Principle of Sufficient Reason which          predominatesin it                                         153   VII. On the Fourth Class of Objects for the Subject, and that          form of the Principle of Sufficient Reason which          predominates in it                                         165  VIII.General observations and results                             177  ON THE WILL IN NATURE.  Preface to the Second Edition                                      193  Editor's Preface to the Third Edition                              213  Editor'sPreface to the Fourth Edition                             214  Introduction                                                       215  Physiology and Pathology                                           224  ComparativeAnatomy                                                252  Physiology of Plants                                               281  PhysicalAstronomy                                                 305  Linguistic                                                         322  Animal Magnetism andMagic                                         326  Sinology                                                           359  Reference to Ethics                                                372  Conclusion                                                         378ON THEFOURFOLD ROOTOF THEPRINCIPLE OF SUFFICIENT REASON.A PHILOSOPHICAL TREATISE.  ÎÎ±á½¶ Î¼á½° Ïá½¸Î½ á¼Î¼ÎµÏá½³Ïá¾³ ÏÏ Ïá¾· ÏÎ±ÏÎ±Î´á½¹Î½ÏÎ±+ÏÎµÏÏÎ±ÎºÏá½»Î½+,  Î Î±Î³á½°Î½ á¼ÎµÎ½á½±Î¿Ï Ïá½»ÏÎµÏÏ +á¿¥Î¹Î¶á½½Î¼Î±Ï'+ á¼ÏÎ¿Ï ÏÎ±Î½.THE AUTHOR'S PREFACE TO THE SECOND EDITION.This treatise on Elementary Philosophy,which first appeared in theyear 1813, when it procured for me the degree of doctor, afterwardsbecame the substructure for the whole of my system. It cannot,therefore, be allowed to remain out of print, as has beenthe case,without my knowledge, for the last four years.On the other hand, to send a juvenile work like this once more into theworld with all its faults and blemishes, seemed to me unjustifiable.For I am aware that thetime cannot be very far off when all correctionwill be impossible; but with that time the period of my real influencewill commence, and this period, I trust, will be a long one, for Ifirmly rely upon Seneca's promise:"_Etiamsi omnibus tecum viventibussilentium livor indixerit; venient qui sine offensa, sine gratiajudicent._"[5] I have done what I could, therefore, to improve thiswork of my youth, and, considering the brevity anduncertainty of life,I must even regard it as an especially fortunate circumstance, to havebeen thus permitted to correct in my sixtieth year what I had writtenin my twenty-sixth.  [5] Seneca, Ep. 79.Nevertheless, whiledoing this, I meant to deal leniently with myyounger self, and to let him discourse, nay, even speak his mindfreely, wherever it was possible. But wherever he had advanced whatwas incorrect or superfluous, or hadeven left out the best part,I have been obliged to interrupt the thread of his discourse. Andthis has happened often enough; so often, indeed, that some of myreaders may perhaps think they hear an old man reading ayoung man'sbook aloud, while he frequently lets it drop, in order to indulge indigressions of his own on the same subject.It is easy to see that a work thus corrected after so long an interval,could never acquire the unityand rounded completeness which onlybelong to such as are written in one breath. So great a differencewill be found even in style and expression, that no reader of anytact can ever be in doubt whether it be the older oryounger man whois speaking. For the contrast is indeed striking between the mild,unassuming tone in which the youth--who is still simple enough tobelieve quite seriously that for all whose pursuit is philosophy,truth,and truth alone, can have importance, and therefore that whoeverpromotes truth is sure of a welcome from them--propounds his argumentswith confidence, and the firm, but also at times somewhat harsh voiceof theold man, who in course of time has necessarily discoveredthe true character and real aims of the noble company of mercenarytime-servers into which he has fallen. Nay, the just reader willhardly find fault with himshould he occasionally give free vent tohis indignation; since we see what comes of it when people who professto have truth for their sole aim, are always occupied in studying thepurposes of their powerful superiors,and when the _e quovis ligno fitMercurius_ is extended even to the greatest philosophers, and a clumsy_charlatan_, like Hegel, is calmly classed among them? Verily GermanPhilosophy stands before us loaded with