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Provenance: a few contemporary annotations lightly washed. One of the striking features of the
tragedy is the number of “oneiric moments” (six in all), when the characters allow their imaginations
to take them, dreamlike, into another time and place, thereby momentarily escaping the tragic space
that Racine created for all his dramas. King Pyrrhus vainly loves his captive, the Trojan widow
Andromache, and is in turn loved by the Greek princess Hermione, who in her turn is loved by
Orestes. It focuses on a tight knot of characters caught in an episode near the end of a mythical or
historical story. Ultimately, Racine’s reputation derives from his unforgettable characters who betray
a sense of their own inferiority in their noble yet frustrated attempts to transcend their limitations.
Receiving false information that her husband, King Theseus, is dead, Phaedra declares her love to
Hippolytus, who is horrified. He further distinguished two issues of the 78-page edition, with the
frontispiece either integral or extra to the first quire, without establishing clear precedence. You can
download the paper by clicking the button above. Racine’s deft insertion in Iphigenie of the future as
an intrusive force determining the present creates a rehearsal of the Trojan War that culminates in a
profound moral illumination revolving around the title character. Of all the characters never seen
onstage but who enrich Racine’s texts, from Hector and Astyanax in Andromaque through Venus,
Minos, Neptune, and Ariane in Phedre, the God of the Old Testament in Athalie exerts the greatest
impact on the course of dramatic events. Theseus invokes the aid of the god Neptune to slay his son,
who is torn apart when his own horses are frightened by a monster Neptune dispatches out of the
sea. She is the ultimate exile in a theatre where captives and wanderers of all sorts betray a profound
sense of alienation. Mithradates VI, the king of Pontus, is the aging, jealous rival of his sons for the
Greek princess Monime. German poet Heinrich Heine hailed Racine as the first modern poet. Ronald
W. Tobin. Slightly later Binders (Empire) in full marbled fair calf. Back smooth decorated with
caissons, gilded finials and arabesques, as well as parts of title and volume number of long-grain red
morocco. Much of the physical action is relegated to narrative reports so that the events onstage are
condensed and all the more explosive by the time they reach their climax. In the play, Titus, who is to
become the new Roman emperor, and his friend Antiochus are both in love with Berenice, the queen
of Palestine. Beyond the poetry, his dramas have a sharp impact because he also paid unwavering
attention to the properly theatrical aspects of his creations, from actors’ diction and gestures to space
and decor. Despite the play’s failure when it premiered, Britannicus remains one of Racine’s most
frequently produced dramas. Among the many authors influenced by Racine’s art are Emile Zola,
Marcel Proust, Francois Mauriac, Henrik Ibsen, Henry James, and Samuel Beckett. If you want a
firm booking or extend the duration please contact us. This last technique became a favourite tactic
of Racine’s poetics. Tear without lack in low margin and the p.328 tiny angular tear (with small lack)
p.400 the fourth volume. Racine portrays the events leading up to the moment when the teenage
emperor Nero cunningly and ruthlessly frees himself from the tutelage of his domineering mother,
Agrippina, and has Britannicus, a legitimate pretender to the throne, poisoned in the course of a fatal
banquet of supposed fraternal reconciliation that takes place offstage in Nero’s chamber. Despite her
best efforts, Phedre eventually became a success, but not before Racine, disillusioned, renounced the
theatre, not returning to it for 12 years. Bookplate from the library of Edward Joshua Cooper,
politician and astronomer at Markree Castle, glued on each contreplat. The play’s themes of
unrequited love and the struggle for power under the unrelenting pressure of time are recognizably
Racinian, but its locale, the court of the Ottoman sultan in Constantinople, is the only contemporary
setting used by Racine in any of his plays, though it was sufficiently far removed in distance and in
mores from 17th-century France to create an alluring exoticism for contemporary audiences. The
rivalry between the two brothers themselves for the love of their father’s fiancee is yet another
manifestation of the primordial tragic situation for Racine, that of warring brothers. Andromaque ’s
audience was fully aware that it was witnessing a new and powerful conception of the human
condition in which passionate relationships are seen as basically political in their means and
expression.
Theseus invokes the aid of the god Neptune to slay his son, who is torn apart when his own horses
are frightened by a monster Neptune dispatches out of the sea. Guibert distinguished two editions
printed in 1677, one with the play printed on 78 pages and one on 74 pages, and he gave priority to
the 78-page edition. Despite her best efforts, Phedre eventually became a success, but not before
Racine, disillusioned, renounced the theatre, not returning to it for 12 years. Among the many
authors influenced by Racine’s art are Emile Zola, Marcel Proust, Francois Mauriac, Henrik Ibsen,
Henry James, and Samuel Beckett. He further distinguished two issues of the 78-page edition, with
the frontispiece either integral or extra to the first quire, without establishing clear precedence.
Engraved frontispiece (a1) by Sebastian Le Clerc after Charles Le Brun, letterpress title with
woodcut vignette, woodcut and type-ornament head- and tailpieces. (Small spot in one leaf.) 19th-
century crimson morocco janseniste, edges marbled and gilt, by Chambolle-Duru. In the play, Titus,
who is to become the new Roman emperor, and his friend Antiochus are both in love with Berenice,
the queen of Palestine. This dichotomy explains the mixed appreciations of Alexander in the play, for
he is often praised for his valour but also criticized—especially by his love interest, Cleofile—for his
lust for personal glory. Racine presents Phaedra as consumed by an incestuous passion for her
stepson, Hippolytus. This last technique became a favourite tactic of Racine’s poetics. Slightly later
Binders (Empire) in full marbled fair calf. Upload Read for free FAQ and support Language (EN)
Sign in Skip carousel Carousel Previous Carousel Next What is Scribd. Tear without lack in low
margin and the p.328 tiny angular tear (with small lack) p.400 the fourth volume. References to
ancient Greek mythological figures and to a wide range of geographical places lend a vast, cosmic
dimension to the moral itinerary of Phaedra as she suffers bitterly from her incestuous propensities
and a sense of her own degradation. Of all the characters never seen onstage but who enrich
Racine’s texts, from Hector and Astyanax in Andromaque through Venus, Minos, Neptune, and
Ariane in Phedre, the God of the Old Testament in Athalie exerts the greatest impact on the course
of dramatic events. Provenance: a few contemporary annotations lightly washed. The play was the
first of Racine’s major tragedies and enjoyed a public success comparable to Corneille’s triumphal Le
Cid 30 years earlier. Phaedra’s own desire to flee the snares of passion repeatedly prompts her to
contemplate a voluntary exile. The play’s themes of unrequited love and the struggle for power
under the unrelenting pressure of time are recognizably Racinian, but its locale, the court of the
Ottoman sultan in Constantinople, is the only contemporary setting used by Racine in any of his
plays, though it was sufficiently far removed in distance and in mores from 17th-century France to
create an alluring exoticism for contemporary audiences. The title character, though evil, still remains
admirable in her titanic struggle against an omnipotent adversary. To browse [Link] and the
wider internet faster and more securely, please take a few seconds to upgrade your browser.
Mithradates VI, the king of Pontus, is the aging, jealous rival of his sons for the Greek princess
Monime. Despite the play’s failure when it premiered, Britannicus remains one of Racine’s most
frequently produced dramas. Racine portrays the events leading up to the moment when the teenage
emperor Nero cunningly and ruthlessly frees himself from the tutelage of his domineering mother,
Agrippina, and has Britannicus, a legitimate pretender to the throne, poisoned in the course of a fatal
banquet of supposed fraternal reconciliation that takes place offstage in Nero’s chamber. Yet, the
compelling psychological simplicity of the characters, the edifying message of the triumph of the just
over the wicked, and the spectacular effects worked by the collaboration of Racine, Moreau, and the
stage designer Jean Berain combined to place Esther among Racine’s best dramatic efforts. In
Berenice Racine demonstrates that the function of both the past and the future in his plays is to crush
the present and to render it culpable. The present copy belongs to the first edition with 78-page text
and with the frontispiece integral to the first quire as the first leaf. Guibert pp.83-89; Tchemerzine 9,
pp.345-6. Bookplate from the library of Edward Joshua Cooper, politician and astronomer at
Markree Castle, glued on each contreplat. The Racinian view, then, is of a humanity consumed by
feelings of incompleteness and by a compensatory drive for acceptance in a world of passionate self-
interest. The rivalry between the two brothers themselves for the love of their father’s fiancee is yet
another manifestation of the primordial tragic situation for Racine, that of warring brothers.
You can download the paper by clicking the button above. Racine was attempting to reconcile the
two traditional conceptions of the hero: the violent warrior (as incarnated in Achilles ) and the model
of civic virtue (as represented by Hector ). Berenice is the first in a series of tragedies by Racine,
ending with Esther, that involve a conflict of cultures between East and West. Unlike Euripides,
Racine allows Iphigenia to be spared, as he does many of his virtuous characters, out of concern for
the sensibilities of his public. One of the striking features of the tragedy is the number of “oneiric
moments” (six in all), when the characters allow their imaginations to take them, dreamlike, into
another time and place, thereby momentarily escaping the tragic space that Racine created for all his
dramas. Racine portrays the events leading up to the moment when the teenage emperor Nero
cunningly and ruthlessly frees himself from the tutelage of his domineering mother, Agrippina, and
has Britannicus, a legitimate pretender to the throne, poisoned in the course of a fatal banquet of
supposed fraternal reconciliation that takes place offstage in Nero’s chamber. The play centres on the
sons of Oedipus who slay one another in mortal combat, one defending, the other attacking, their
native city of Thebes. Power, intimidation, and emotional blackmail become the recourses by which
these characters try to transmit the depths of their feelings to their beloved. Theseus returns and is
falsely informed that Hippolytus has been the aggressor toward Phaedra. The rivalry between the two
brothers themselves for the love of their father’s fiancee is yet another manifestation of the
primordial tragic situation for Racine, that of warring brothers. The Racinian view, then, is of a
humanity consumed by feelings of incompleteness and by a compensatory drive for acceptance in a
world of passionate self-interest. Despite the play’s failure when it premiered, Britannicus remains
one of Racine’s most frequently produced dramas. Receiving false information that her husband,
King Theseus, is dead, Phaedra declares her love to Hippolytus, who is horrified. The audience’s
attention is fixed on the interior conflicts of the characters, rather than on exterior events, and
language is used for the subtly nuanced and dramatically memorable expression of emotions, not the
recital of a plot. Yet, the compelling psychological simplicity of the characters, the edifying message
of the triumph of the just over the wicked, and the spectacular effects worked by the collaboration of
Racine, Moreau, and the stage designer Jean Berain combined to place Esther among Racine’s best
dramatic efforts. King Pyrrhus vainly loves his captive, the Trojan widow Andromache, and is in turn
loved by the Greek princess Hermione, who in her turn is loved by Orestes. Guibert distinguished
two editions printed in 1677, one with the play printed on 78 pages and one on 74 pages, and he
gave priority to the 78-page edition. The play was the first of Racine’s major tragedies and enjoyed a
public success comparable to Corneille’s triumphal Le Cid 30 years earlier. Engraved frontispiece
(a1) by Sebastian Le Clerc after Charles Le Brun, letterpress title with woodcut vignette, woodcut
and type-ornament head- and tailpieces. (Small spot in one leaf.) 19th-century crimson morocco
janseniste, edges marbled and gilt, by Chambolle-Duru. Against the backdrop of this conflict, the
play presents the demise of Mithradates, whose inconsistencies make him increasingly conscious of
his own eclipse as a heroic figure feared by Rome. Andromaque is more skillfully crafted than
Racine’s previous efforts: its exposition is a model of clarity and concision; the interplay of love,
hate, and indifference is subtly yet compellingly arranged; the rhetoric is forceful but close to normal
speech; and the innovative use of the offstage to direct the audience’s attention beyond the visual to
the imaginary is remarkable. The play’s denouement, typical of Racine’s practice, projects the
imagination of the spectators beyond the present action to the future consequences of the acts
portrayed onstage and leaves the spectators uneasy about the ethnic cleansing that they know will
occur during the Trojan War. Racine’s deft insertion in Iphigenie of the future as an intrusive force
determining the present creates a rehearsal of the Trojan War that culminates in a profound moral
illumination revolving around the title character. This dichotomy explains the mixed appreciations of
Alexander in the play, for he is often praised for his valour but also criticized—especially by his love
interest, Cleofile—for his lust for personal glory. Bookplate from the library of Edward Joshua
Cooper, politician and astronomer at Markree Castle, glued on each contreplat. He further
distinguished two issues of the 78-page edition, with the frontispiece either integral or extra to the
first quire, without establishing clear precedence. This last technique became a favourite tactic of
Racine’s poetics. Indeed, in Andromaque Racine created an entire second play offstage that erupts
into the visible production just after the event-filled intermission between Act III and Act IV. In this
short span, a situation of human origin must be resolved by divine intervention so that the child Joas,
the rightful king of Judah, will be saved from his murderous grandmother Athalie. Phaedra’s own
desire to flee the snares of passion repeatedly prompts her to contemplate a voluntary exile.
Unlike Euripides, Racine allows Iphigenia to be spared, as he does many of his virtuous characters,
out of concern for the sensibilities of his public. Theseus invokes the aid of the god Neptune to slay
his son, who is torn apart when his own horses are frightened by a monster Neptune dispatches out
of the sea. His virtuoso treatment of the poetic metre used in 17th-century French tragedy, the
alexandrine line, is the basis for his status as the uncontested master of French classicism. The rivalry
between the two brothers themselves for the love of their father’s fiancee is yet another
manifestation of the primordial tragic situation for Racine, that of warring brothers. King Pyrrhus
vainly loves his captive, the Trojan widow Andromache, and is in turn loved by the Greek princess
Hermione, who in her turn is loved by Orestes. It focuses on a tight knot of characters caught in an
episode near the end of a mythical or historical story. This last technique became a favourite tactic of
Racine’s poetics. The audience’s attention is fixed on the interior conflicts of the characters, rather
than on exterior events, and language is used for the subtly nuanced and dramatically memorable
expression of emotions, not the recital of a plot. The result, a brilliant satire of the French legal
system, was an adaptation of Aristophanes ’ The Wasps that found much more favour at court than
on the Parisian stage. Beyond the poetry, his dramas have a sharp impact because he also paid
unwavering attention to the properly theatrical aspects of his creations, from actors’ diction and
gestures to space and decor. Slightly later Binders (Empire) in full marbled fair calf. The play centres
on the sons of Oedipus who slay one another in mortal combat, one defending, the other attacking,
their native city of Thebes. Phedre constitutes a daring representation of the contagion of sin and its
catastrophic results. Racine’s deft insertion in Iphigenie of the future as an intrusive force
determining the present creates a rehearsal of the Trojan War that culminates in a profound moral
illumination revolving around the title character. Despite Racine’s efforts, posterity has decreed the
play a misguided experiment to pour his tragic vision into Corneille’s heroic mold. Racine portrays
the events leading up to the moment when the teenage emperor Nero cunningly and ruthlessly frees
himself from the tutelage of his domineering mother, Agrippina, and has Britannicus, a legitimate
pretender to the throne, poisoned in the course of a fatal banquet of supposed fraternal reconciliation
that takes place offstage in Nero’s chamber. The present copy belongs to the first edition with 78-
page text and with the frontispiece integral to the first quire as the first leaf. Guibert pp.83-89;
Tchemerzine 9, pp.345-6. In this short span, a situation of human origin must be resolved by divine
intervention so that the child Joas, the rightful king of Judah, will be saved from his murderous
grandmother Athalie. Back smooth decorated with caissons, gilded finials and arabesques, as well as
parts of title and volume number of long-grain red morocco. Esther concerns the Jewish wife of the
Persian king Ahasuerus ( Xerxes I ), who saves the Jews from a massacre plotted by the king’s chief
minister, Haman. The presentation of Britannicus at a royal celebration of January 5, 1670, with
unprecedented (for tragedy) intermissions made up of ballet and music reveals Racine’s openness to
innovation. The Racinian view, then, is of a humanity consumed by feelings of incompleteness and
by a compensatory drive for acceptance in a world of passionate self-interest. Much of the physical
action is relegated to narrative reports so that the events onstage are condensed and all the more
explosive by the time they reach their climax. Andromaque ’s audience was fully aware that it was
witnessing a new and powerful conception of the human condition in which passionate relationships
are seen as basically political in their means and expression. Berenice is the first in a series of
tragedies by Racine, ending with Esther, that involve a conflict of cultures between East and West.
Despite her best efforts, Phedre eventually became a success, but not before Racine, disillusioned,
renounced the theatre, not returning to it for 12 years. Provenance: a few contemporary annotations
lightly washed. The conflict of generations that Racine infuses into the comedy seems to anticipate
his play Britannicus, about which he was surely thinking while composing Les Plaideurs. Theseus
returns and is falsely informed that Hippolytus has been the aggressor toward Phaedra. German poet
Heinrich Heine hailed Racine as the first modern poet. Ronald W. Tobin.
Theseus returns and is falsely informed that Hippolytus has been the aggressor toward Phaedra.
Beyond the poetry, his dramas have a sharp impact because he also paid unwavering attention to the
properly theatrical aspects of his creations, from actors’ diction and gestures to space and decor.
Racine was attempting to reconcile the two traditional conceptions of the hero: the violent warrior (as
incarnated in Achilles ) and the model of civic virtue (as represented by Hector ). Racine presents
Phaedra as consumed by an incestuous passion for her stepson, Hippolytus. Among the many
authors influenced by Racine’s art are Emile Zola, Marcel Proust, Francois Mauriac, Henrik Ibsen,
Henry James, and Samuel Beckett. Racine’s deft insertion in Iphigenie of the future as an intrusive
force determining the present creates a rehearsal of the Trojan War that culminates in a profound
moral illumination revolving around the title character. The play was the first of Racine’s major
tragedies and enjoyed a public success comparable to Corneille’s triumphal Le Cid 30 years earlier.
Receiving false information that her husband, King Theseus, is dead, Phaedra declares her love to
Hippolytus, who is horrified. Power, intimidation, and emotional blackmail become the recourses by
which these characters try to transmit the depths of their feelings to their beloved. The result, a
brilliant satire of the French legal system, was an adaptation of Aristophanes ’ The Wasps that found
much more favour at court than on the Parisian stage. Racine portrays the events leading up to the
moment when the teenage emperor Nero cunningly and ruthlessly frees himself from the tutelage of
his domineering mother, Agrippina, and has Britannicus, a legitimate pretender to the throne,
poisoned in the course of a fatal banquet of supposed fraternal reconciliation that takes place offstage
in Nero’s chamber. Upload Read for free FAQ and support Language (EN) Sign in Skip carousel
Carousel Previous Carousel Next What is Scribd. Slightly later Binders (Empire) in full marbled fair
calf. But this form of communication is ultimately frustrated because the characters’ deep-seated
insecurity renders them self-absorbed and immune to empathy. It is an adaptation of Iphigenia at
Aulis by Euripides, about the prospective sacrifice of Iphigenia by her father Agamemnon. Berenice
is the first in a series of tragedies by Racine, ending with Esther, that involve a conflict of cultures
between East and West. Engraved frontispiece (a1) by Sebastian Le Clerc after Charles Le Brun,
letterpress title with woodcut vignette, woodcut and type-ornament head- and tailpieces. (Small spot
in one leaf.) 19th-century crimson morocco janseniste, edges marbled and gilt, by Chambolle-Duru.
Ultimately, Racine’s reputation derives from his unforgettable characters who betray a sense of their
own inferiority in their noble yet frustrated attempts to transcend their limitations. Esther concerns
the Jewish wife of the Persian king Ahasuerus ( Xerxes I ), who saves the Jews from a massacre
plotted by the king’s chief minister, Haman. He further distinguished two issues of the 78-page
edition, with the frontispiece either integral or extra to the first quire, without establishing clear
precedence. The play centres on the sons of Oedipus who slay one another in mortal combat, one
defending, the other attacking, their native city of Thebes. In Berenice Racine demonstrates that the
function of both the past and the future in his plays is to crush the present and to render it culpable.
In the play, the main characters—the young prince Bajazet, his beloved Atalide, and the jealous
sultana Roxane—are the mortal victims of the despotic cruelty of the absent sultan Amurat, whose
reign is maintained by violence and dissimulation. The conflict of generations that Racine infuses
into the comedy seems to anticipate his play Britannicus, about which he was surely thinking while
composing Les Plaideurs. To browse [Link] and the wider internet faster and more securely,
please take a few seconds to upgrade your browser. Despite her best efforts, Phedre eventually
became a success, but not before Racine, disillusioned, renounced the theatre, not returning to it for
12 years. In the play, Titus, who is to become the new Roman emperor, and his friend Antiochus are
both in love with Berenice, the queen of Palestine. Mithradates VI, the king of Pontus, is the aging,
jealous rival of his sons for the Greek princess Monime. It focuses on a tight knot of characters
caught in an episode near the end of a mythical or historical story.
King Pyrrhus vainly loves his captive, the Trojan widow Andromache, and is in turn loved by the
Greek princess Hermione, who in her turn is loved by Orestes. In the play, the main characters—the
young prince Bajazet, his beloved Atalide, and the jealous sultana Roxane—are the mortal victims of
the despotic cruelty of the absent sultan Amurat, whose reign is maintained by violence and
dissimulation. The play’s themes of unrequited love and the struggle for power under the unrelenting
pressure of time are recognizably Racinian, but its locale, the court of the Ottoman sultan in
Constantinople, is the only contemporary setting used by Racine in any of his plays, though it was
sufficiently far removed in distance and in mores from 17th-century France to create an alluring
exoticism for contemporary audiences. The play was the first of Racine’s major tragedies and
enjoyed a public success comparable to Corneille’s triumphal Le Cid 30 years earlier. But this form
of communication is ultimately frustrated because the characters’ deep-seated insecurity renders
them self-absorbed and immune to empathy. This dichotomy explains the mixed appreciations of
Alexander in the play, for he is often praised for his valour but also criticized—especially by his love
interest, Cleofile—for his lust for personal glory. Phaedra’s own desire to flee the snares of passion
repeatedly prompts her to contemplate a voluntary exile. Despite her best efforts, Phedre eventually
became a success, but not before Racine, disillusioned, renounced the theatre, not returning to it for
12 years. Andromaque ’s audience was fully aware that it was witnessing a new and powerful
conception of the human condition in which passionate relationships are seen as basically political in
their means and expression. The title character, though evil, still remains admirable in her titanic
struggle against an omnipotent adversary. Much of the physical action is relegated to narrative
reports so that the events onstage are condensed and all the more explosive by the time they reach
their climax. Theseus returns and is falsely informed that Hippolytus has been the aggressor toward
Phaedra. You can download the paper by clicking the button above. Esther concerns the Jewish wife
of the Persian king Ahasuerus ( Xerxes I ), who saves the Jews from a massacre plotted by the king’s
chief minister, Haman. Murder, suicide, and madness have destroyed all except Andromache by the
play’s end, which is original in that Racine overturns the legendary account of the Trojan War and
allows a Trojan queen to triumph over the Greeks. He further distinguished two issues of the 78-page
edition, with the frontispiece either integral or extra to the first quire, without establishing clear
precedence. Beyond the poetry, his dramas have a sharp impact because he also paid unwavering
attention to the properly theatrical aspects of his creations, from actors’ diction and gestures to space
and decor. Despite the play’s failure when it premiered, Britannicus remains one of Racine’s most
frequently produced dramas. The play’s “majestic sadness,” as Racine put it in his preface to the
play, flows from the tragic necessity of separation for individuals who yearn for union with their
beloved and who express their sorrow in some of the most haunting passages of Racine’s entire
oeuvre. German poet Heinrich Heine hailed Racine as the first modern poet. Ronald W. Tobin. It
focuses on a tight knot of characters caught in an episode near the end of a mythical or historical
story. Despite Racine’s efforts, posterity has decreed the play a misguided experiment to pour his
tragic vision into Corneille’s heroic mold. Of all the characters never seen onstage but who enrich
Racine’s texts, from Hector and Astyanax in Andromaque through Venus, Minos, Neptune, and
Ariane in Phedre, the God of the Old Testament in Athalie exerts the greatest impact on the course
of dramatic events. This last technique became a favourite tactic of Racine’s poetics. In the play,
Titus, who is to become the new Roman emperor, and his friend Antiochus are both in love with
Berenice, the queen of Palestine. Indeed, in Andromaque Racine created an entire second play
offstage that erupts into the visible production just after the event-filled intermission between Act III
and Act IV. Guibert distinguished two editions printed in 1677, one with the play printed on 78
pages and one on 74 pages, and he gave priority to the 78-page edition. His virtuoso treatment of the
poetic metre used in 17th-century French tragedy, the alexandrine line, is the basis for his status as
the uncontested master of French classicism. Receiving false information that her husband, King
Theseus, is dead, Phaedra declares her love to Hippolytus, who is horrified. Tear without lack in low
margin and the p.328 tiny angular tear (with small lack) p.400 the fourth volume.