Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

THE ROAD TO XANADU -- TO MARY CORNETT LOWES WHO LIKE THE WEDDING-GUEST COULD NOT CHOOSE BUT HEAR Fausf. Wohin der Weg Mephisfopheles. Kein Weg Ins Unbetretene. Eigh chapters of this book and parts d six other chapters w m read in 1926 as lectures on two Foundations - an endowed lectureship in the University College of Wales, and the Norman Wait Harris Foundation in Northwestern University - each of which stipulates the publication of its lectures as a book. The Harris Lectures of 1926 and the corresponding lectures at the Universiv College of Wales consist, accordingly, of Chapters I in part I I and I I I V I I and parts of I X, X, and XI X I I I and XIY XV in part and XVI X I X in part, XX, and X X I I . And I wish to acknowledge the generosity of the Trustees of both Foundations in their willingness to accept, asfu, f lling their reguiren enta, book of which the lectures constitute but apart. PREFACE THE story which this book essays to tell was not of the tellers choosing. I t simply came, with supreme indifference to other plans, and autocratically demanded right of way. A glittering eye and a skinny hand and a long gray beard could not have done more summary execution, nor, for that matter, could the Wedding-Guest himself who also had other fish to fry have been, at the outset, a more reluctant auditor. But the reluctance swiftly passed into absorbing interest, as the meaning of the chance glimpse which did the business was disclosed. For the agency which cast the spell was not, as it happened, a pair of marvellous fairy-tales at all, nor even the provocative and baffling personality of their creator. It was the imaginative energy itself, surprised as it seemed to me at work behindthese fabrics of its weaving. If I Gas right, and if I could make clear to others what I thought I saw myself, I had no alternative. That the aperpi, such as it was, should come through The Ancient Mariner, when I wasintent at the moment upon Chaucers rich humanity, was, to be sure, more than a little disconcerting. It was so, however, that it chose to come, and Wyrd goeth as she will. Once started on, however, the story has been written in its present form I fear I. must confess quite frankly for the writers own enjoyment - in part for the sheer pleasure of following into unfamiliar regions an almost untrodden path not a little for that fearful joy one snatches from the effort to exhibit, with something that approaches clarity, the order which gives meaning to a chaos of details. It would have been easy in comparison to communicate, for the edification of a narrow circle only, a mass of observations to the pages of some learned journal, and let it go at that. But the subject in itself was far too interesting, and the light it seemed to throw upon a wider field far too significant, to warrant any but the broadest treatment I could give it. I am not sure, indeed, that one of the chief services which literary scholarship can render is not precisely the attempt, at least, to make its findings available and interesting, if that may be beyond the precincts of its own solemn troops and sweet societies. At all events, that is the adventurous enterprise of this volume. Its facts I think I can safely vouch for. As for the interpretation thereof, that is the core of the book...

This book investigates the role of social protection amongst African pastoral and agro-pastoral communities, with a particular focus on Ethiopia. Based on rigorous empirical research, this book assesses the successes, failures, prospects and lessons learned from Africa's largest social security intervention: Ethiopia's Productive Safety Net Programme. It goes beyond an analysis of immediate impacts, exploring factors such as highland-lowland interactions, rural-urban linkages, economic diversification, the role of youth, indigenous safety nets and social capital. Special attention is given to gender-responsive social protection measures and to the circumstances brought about by the COVID-19 pandemic. Overall, the book demonstrates the value of indigenous knowledge systems and local institutions in contributing to the design of more effective safety net programmes and disaster responses and in helping people to build resilience and cope with shocks. At a time when social protection is gaining prominence in contemporary development discourse, this book will be of interest to development practitioners.

John Livingston Lowes's classic work shows how various images from Coleridge's extensive reading, particularly in travel literature, coalesced to form the imagistic texture of his two most famous poems, The Rime of the Ancient Mariner" and "Kubla Khan."

Originally published in 1986.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

John Livingston Lowes's classic work shows how various images from Coleridge's extensive reading, particularly in travel literature, coalesced to form the imagistic texture of his two most famous poems, The Rime of the Ancient Mariner" and "Kubla Khan." Originally published in 1986. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

For anyone who wants to understand the full story that lies within a glass of wine, this book opens up the inner secrets of the geology, the vineyards, the wines, and the growers of the northern Rhone Valley in France. Home to the spicy Syrah, or Shiraz, and the floral Viognier grapes, the northern Rhone Valley is one of France's oldest wine-growing regions; its appellations include Hermitage, Cote-Rotie, Condrieu, Crozes-Hermitage, St-Joseph, and Chateau-Grillet. With evocative descriptions and marvelous insights, this accessible, elegant book, the culmination of more than thirty years following the Rhone, is a comprehensive and authoritative survey of the various estates, winemakers, and their wines.Taking a deeper look at the northern Rhone than Livingstone-Learmonth's highly regarded previous volumes on the Rhone Valley, this revised and up-to-date edition covers more producers and includes more in-depth information on the various terroirs, the histories of the wines, and the methods for making the wines. Livingstone-Learmonth concentrates on letting the producers explain their outlook and methods and includes much local color. "The Wines of the Northern Rhone" includes: assessments of thousands of wines, with guide dates on when to drink and how long to age them; winemakers' views on what foods best accompany their wines; new vineyard maps for each appellation; detailed descriptions by growers discussing the effect of different soils on their wines; precise information on how each domaine makes its wines; and, new research on the historical links between Hermitage and Bordeaux.