This is the Bible that started it all. This Bible in children's language is dedicated to every young man and young lady in the world Originally published in 1960, it is a word for word updating of the King James in language that any normal 9 year old can read. No greater riches can be put in youth's hands than the riches contained in this book. Every God-breathed word is in these volumes. For the first time since it was written nearly two thousand years ago, every word is being given to young men and ladies, broken down into their own language. Now for the first time the fruit of the Spirit of God is offered to young readers so that they can gather its fruit for themselves. And what glorious fruit it is "The fruit of the Spirit is love, joy, peace, long-suffering, kindness, goodness, faith, meekness, self-control" and "everlasting life." (See Galatians 5:22; 6:8) Is there anyone that does not desire such fruit as this in their life and future? Is not happiness itself bound up in these things? And more, is not the reading of the Bible the only hope of living forever? For God has said, "This is life everlasting, that they should know Thee, the only true God, and Jesus Christ, whom Thou didst send." And how shall they know Him? "Faith comes by hearing, and haring by the word of God." The reading of the Bible is their only hope, but it is a blessed hope indeed. In providing this Bible for children, our purpose has been to do our utmost toward giving the young people of our day the opportunity to have a good life here, and a far better life hereafter. There has never been a time when so much interest was shown in the welfare of our young people. We see teeming Sunday Schools, busy vacation Bible schools, active child evangelism organizations, and the most zealous effort to educate children ever mounted by the people of any society, Yet with all this sincere and well-directed effort, one of the most important things of all has not been available until now - the Bible in a language the child can read and understand. Now for the first time in history these hard-working, loving people have a textbook from which to teach these young learners both grace and knowledge - THE CHILDREN'S KING JAMES BIBLE. Why must they have the Bible in their own language? Do we not go to great expense in our grade schools to provide textbooks which will teach our youth what they need to know quickly and fully? Do we give them textbooks in adult language? Of course not The what about the Book of books? What about the knowledge of God? Shall we continue to teach the most important subject of all, in language the children do not understand? What teacher wants to teach from a book which the children cannot even read for themselves? But in this age of personal choice let the child tell you for themselves if they prefer to learn the "words of life" in language they can neither pronounce nor read nor understand. Do not think that our children desire to be deprived of love, peace, joy, kindness, goodness, faith and everlasting life No indeed, they want to live life at its fullest. Anyone who has ever looked into their intent, eager young faces can tell you that they thirst for knowledge - and they drink it in when they are taught in language they can understand. Of course, there is no greater knowledge, no more desirable wisdom, no sweeter joy than that of our God and Savior Jesus Christ. Jay P. Green, Sr. (1918-2008) is Translator and Editor of The Interlinear Hebrew-Greek-English Bible and the translator of the Modern King James Version of the Holy Bible, The Teenage Version of the Holy Bible, and the Literal translation of the Holy Bible. He has written numerous books on textual criticism.

100 Bible stories and 400 illustrations from The Children's King James New Testament, and 100 more stores and 400 more illustrations were done for The Children's Old Testament (McGraw-Hill) Mrs. Palmer and Mr. Lee were hired to do these excellent stories and illustrations. Their instructions: Stories were to be short and simple, no more than 500 words per story; no pictures purporting to be Jesus; a single line of Scripture below each illustration, four illustrations for each story; each illustration to cover a part of the story (so the child can follow the story by relating to the illustrations). Originally, all this was done in lovely color.

This book analyzes the lifelong impact of Beethoven's music on Wagner and its importance for his conception of music drama. Kropfinger charts and scrutinizes Wagner's early responses to the composer and considers his experience as a conductor of Beethoven's music. A discussion of the Romantic "Beethoven image" leads to a careful study of Wagner's aesthetic writings, including his "programmatic explanations," the text "Concerning Franz Liszt's symphonic poems," and his Beethoven centenary essay. The penultimate chapter addresses Wagner's theory and practice of music drama, which he came to regard as the preordained successor to the Beethoven symphony. By analyzing special terms--such as "Leitmotiv"--Wagner's structural view of musical drama comes to the fore; it is a view that deepens not only our understanding of musical drama as a "hybrid" genre of art but also of purely musical structure and forms that Wagner sought to outdo.

Though central to our concert and recording repertory, and crucial to the history of the symphony, the four symphonies of Johannes Brahms have proved surprisingly resistant to critical analysis. In this brief, elegant book, a premier musicologist conducts us through the Second Symphony to show us what is unique and remarkable about this particular work and what it reveals about the composer and his time.

Reinhold Brinkmann guides us through the symphony movement by movement, examining musical ideas in all their compositional facets and placing them in the context of major trends in the intellectual history of late nineteenth-century Europe. He delineates connections between this symphony and the composer's other works and traces its relation to the music of Brahms's predecessors, particularly Beethoven. The product of a long and deep engagement with the music of Brahms, "Late Idyll" captures the spirit of the composer, probes the impulses behind his revisions of the original manuscript, and explores the meaning of the disparity between the first two movements of the symphony and the last. The result is a penetrating reading of a perplexing and important composition, clearly placed within its biographical, historical, and artistic context. It will engage and enlighten students and concertgoers alike.