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Book digitized by Google from the library of the University of Wisconsin - Madison and uploaded to the Internet Archive by user tpb.

Book digitized by Google from the library of the Library of Congress, the University of Wisconsin - Madison and uploaded to the Internet Archive by user tpb.

Book digitized by Google from the library of the Library of Congress, the University of Wisconsin - Madison and uploaded to the Internet Archive by user tpb.

Book digitized by Google from the library of University of California and uploaded to the Internet Archive by user tpb.

Includes bibliographies

Sino-Platonic Papers, Number 20

viii, 1214 p. 26 cm

viii, 1214 p. 26 cm

viii, 1214 p. 26 cm

Includes bibliographies

============================== SPECIAL PROGRAMMING NOTE At the end of this writeup is a very detailled piece written by former AEI programmer "DJ" Mike Brady, posted to Techmoan's Propac analysis on Youtube in 2019. It documents his recollections of behind-the-scenes operations at AEI Music in the 1990s, including how Propac tapes such as these were made. The archived discussion thread will also appear in the "TEXT" download link at right. Thanks must now be given to crainbebo for bringing it to my attention. Skip ahead ============================== This is a cassette tape in a set of nine AEI Music Propac 4-track foreground music programmes I recently acquired in an online sale. The date of all these tapes (including this one) is unknown and no documentation was provided. From the selections I would place it in the very early 1990s, likely 1991 or early 1992. Being there was no programme name printed on the label, only a number stamped in ink (see cover graphic), I will assume it's another mixed-tempo Timeless Pop tape. The music programme is an adult contemporary soft-rock blend quite suggestive of Muzak's "Foreground Music One" library for much of its existance. I have not done any processing on these files other than to split the tracks, volume boost and speed correction. No EQ, noise reduction or restoration was done (but maybe could stand to be -- feel free to grab the unprocessed tape-in PCMs and have at it if you want). The audio was recorded at a fairly low level and the tape seems to be well-used, so the noise floor is fairly high (though not as severely as some of the K-Mart tapes!). There is also a faint ~1.3 kHz buzzing which is part of the recording. As with the Muzak "Motown III" tape, all AEI tapes are speed-adjusted; being recorded at 1 2/5 IPS and reproduced for this transfer on a conventional 1 7/8 IPS stereo deck they required a -25% speed reduction to adjust them to the correct playback rate. As was the case with the Muzak tapes the corrected audio was still a bit fast, therefore a further -1.75% adjustment was applied (total -26.75%). It's possible Muzak and AEI used the same type of recording decks to generate the masters, and they likely ran a bit slow. Notes DOWNLOADING When downloading this recording e.g. for local listening or to post elsewhere, please select only the original high-bitrate PCM option. The FLAC and lossy VBR MP3 derivatives are acceptable for immediate listening in the built-in Web player above but I do not guarantee their fidelity or integrity, and cannot provide any technical help if you download these derivative formats. Master files for this upload are in 1-channel 44100 Hz 16-bit PCM ("WAVE" option) format. The FLAC files listed are derivatives. The unprocessed tape-in files are also provided for reference. To stream this programme as a sequence in an external media player (e.g. VLC), open the "VBR M3U" file in your player's playlist editor and select "play". To stream individual files, load the file you want from the "WAVE" option into your player directly. LICENCE For private listening (home/headphones/car) and historic preservation only. If you want to play this music in a business, you will need to contact Mood Media and set up a subscription. Subject to additional usage conditions . Behind the scenes at AEI Music, including production of Propac cassettes; documented by Mike Brady (AEI Music employee 1992-2001) Extracted from comments on Techmoan's "Cassette BGM Systems - how to squeeze 4 hrs of music onto one tape" https://www.youtube.com/watch?v=OV2EhEd46BY ----- or ----- https://archive.org/download/AEIPropac9380/brady-aei.txt I worked for AEI for 9 years, in the music programming department! Had a ProPac 4 at home, as well as the follow-up, the Pro-Disc. Dream job! I worked for AEI Music Network in Seattle from June 1992, through August 2001 in the Music Programming department.  It was easily the coolest job I've ever had, and for most of the time I was there, it was literally a dream job. AEI stood for "Audio Environments, Inc." and was started as a response to the generic elevator music of Muzak, which makes it extra ironic that the only ProPac tape Techmoan has is a BGM (background music) program.  Those programs made up a VERY small percentage of what we did, and nearly all of it was handled by our Satellite system.  There was no on-premise tape player for those customers, just a satellite receiver in the store, and an AEI-Branded dish on the roof.  We had 6 Satellite channels - let's see if I can remember them all from memory... Background Music, obviously, A Country one that I think was called "Heartland", a Feel Good Timeless Pop channel called "Feel Good Music", a contemporary / smooth Jazz channel, a Classical channel, and a more upbeat, modern Pop channel that I can't remember the name - but I'm sure it would probably be cringe-worthy if I could.   I think the 6th one was a Nostalgia / Classic Vocals (Sinatra, Crosby, Cole, etc) channel, but I'm not 100% sure on that one.  The Satellite channels had their own dedicated programming team that rarely did any on-premise programming, though when the need popped up, or if a catalog program needed to be made that matched their particular expertise, they would cross over and produce an on-premise program. When I started in '92, all programs were produced on 1/4" reel to reel tape, but they had just installed DAT recorders in all the studios, and I (and another programmer who started on the same day) was the first to use the DAT.  Speaking in general terms, the programming staff weren't very technically minded, and were slow to adopt new technology.  I, on the other hand, have always been a tech-junkie, and couldn't believe that I got to use DAT on a daily basis.  A few years later, I led the charge to replace the DAT decks with studio-grade Minidisc decks, which supported "punch-in" style editing with single-frame accuracy, which meant if we needed to change a single song from a one-hour track, we no longer had to re-record the entire hour.  That was a huge benefit, because... We offered two types of on-premise programming.  Catalog, and Custom.  Catalog, was just that - you'd get a catalog of the various genres we offered , and within each genre, a list of several programs available.  Each program was roughly 4 hours in length, and for the popular genres like Top Hits, a new program was produced every month.  We had what was billed as the "Largest Private CD Collection In The World" and SUPPOSEDLY that had been confirmed with "someone" but I can tell you it was VERY comprehensive, and we had a purchase program with all the major labels that let us buy CDs we somehow didn't have, at roughly $5 each.  (Some labels were more, some were less)  They all sent us promos, so usually the purchase program was used by us programmers to build up our personal collections. Custom was a whole different animal - it was literally custom programming made to order for a specific account.  Some of our well known custom programming accounts were The Gap, Old Navy, Banana Republic (all owned by The Gap), all of the Limited Brands stores (Limited, Limited Too, Structure, Victoria's Secret, and many others), Williams Sonoma (and subsidiaries Hold Everything and Pottery Barn) and many, many others.  Most of them received a new program monthly, a few would be quarterly, with catalog selections filling the space between.  (but those were really rare)  These custom programs were worked out by the programmer assigned to the account, and typically the account's Director of Visual Merchandising.  In some rare occasions, the DVM was a cool person who recognized that we were experts in our field, and let us do our thing to their general specifications.  But USUALLY they were maniacal control freaks who made the job a living hell for the one week per month we worked on their program.  It was never my account, but Old Navy was notorious for nit-picking every single song, and complaining to the account manager if more than a couple songs "needed" to be replaced on a given program.  And as you would probably guess, a song could be adamantly refused one month, and specifically requested a few months later.  Just psychotic behavior.  Getting paid to make mixtapes isn't always as glamorous as it sounds. ANYWAY - when we finished our program, it would be held on 4 DATs or MiniDiscs, and would be turned in to our Mastering team.  They produced the 1/4" master tape that was used for duplication (for both ProPac Cassettes, and the earlier cartridge based system that I can't remember the name of. ( Size "C" Fidelipac a.k.a. NAB cartridge. -ORT ) It used an oversized version of a broadcast cart.  Techmoan made a video about Broadcast Carts, but I don't think he had one of ours as an example)  The Mastering Studios had multiple DAT decks and a Reel to Reel deck.  They would start the Tracks 1 and 3 DATs in sync, duplicate them in real time to the tape, then turn it over and do Tracks 2 and 4.  We had to make all of our tracks match within 4 seconds, so there was no excessive dead air at track change time.  Tracks were expected to be as close to 60 minutes as we could reasonably get them, without going over.  Once you finished Track 1, the rest had to be within 4 seconds of that.  This meant our playlist planning forms showed the time of each song, and notes of where to fade, where to begin the segue to the next song, etc, in hopes of NOT doing a quick dump fade in the middle of the last song, to hit the target track length.  In fact, if that happened, your program would get rejected during mastering, and you'd have to re-do it.  Avoiding dead air was VERY serious business. Once the master 1/4" tape was done, it was sent across the street to our "Technical Operations Building" or TO Building.  There, they had a full-on commercial duplication system, identical to what  you'd find at the manufacturing facilities used by the major labels at the time.  The 1/4" Master Tape had a "Slate Tone" which was like a 25 hertz tone that lasted 4 seconds, at the beginning.  The tape was loaded from the reel, into a vertical bin that kept it from getting tangled, but let it fall freely.  It was looped end to end, with a splice right before the Slate Tone.  It was then played VERY rapidly through the loop bin machine, and duplicated to several 1/8" Reel to Reel decks that held the tape that would be loaded into the empty cassette shells.  I can't remember exactly, but I think it took only 5-10 minutes to duplicate the entire program enough times to fill up the target reels.  Those reels were then loaded into the cassette spooler, that was literally one of the coolest things to watch.  Empty cassette shells with nothing but leader tape were loaded in to a machine.  Arms would pull out the leader tape, cut it and splice in the tape coming from the supply reel, and VERY rapidly wind it in until it hit the Slate Tone, where it would stop, cut the tape, splice in the other end of the leader, wind it tight, eject it, and send it through the labelling system that would slap the labels on it.  I didn't get to spend a whole lot of time over in the TO Building, but whenever I did, I was just mesmerized watching these duplication processes. By the mid-'90s we were developing a CD Playback system that would deliver the same 4 hours per unit that the ProPac (and Cart) system gave us.  We ended up developing the ProDisc, which was based on the Philips CD-i system.  The players were designed to only play our ProDisc CDs, and only a few buttons on the front - I think a play, and maybe one button for each of the four tracks?  There was a secret key that if you pressed the buttons in the right order, it would play a regular CD.  At one point, they sold a bunch of these to employees at crazy low prices, and I bought one to give my brother in law for Christmas, along with several ProDisc programs that fit his musical tastes.  I put a sticky note on it with the secret button combo to unlock regular CD play, and he used that thing for many, many years. Shortly after that, we developed our first Streaming device, the ProFusion.  Along with that, we had an in-house developed application for producing our programs digitally.  It was kind of like a Virtual DJ program, with two audio players, but WAY more customizable.  You could set literally every aspect of the song, from start and end points, fade points, trigger point for the next song, and EQ.  By this time, my title had changed from "Senior Music Programmer" to "Lead Recording Engineer" and I led a team of 3 guys whose job it was, to rip all the CDs into the digital storage system.  The brainiacs who developed the system insisted that we should be using 128kbps Mp3 files, but I successfully demonstrated that there was a HUGE problem with audio fidelity at that rate, and that 256 should be the bare minimum, with some more complex songs going up to 320.  It was amazing to me, to watch people who had spent their entire adult lives in this career, looking blank faced as I did an A/B comparison of the original CD and the horrible sounding 128k mp3 file, but I finally got the attention of some upper management who hadn't ruined their ears that put down the hammer and said in no way were we to use the 128k files. ProFusion changed everything - we no longer had to worry about specific track lengths, and one of the selling points was that the songs wouldn't play in the same order every time.  We would design our programs with elemental types - say "A" was an uptempo '80s song, "B" was a mid-tempo '90s song, and "C" was an '80s power ballad.  Then we'd say the program should follow AABCAB repeatedly.  Profusion would make that happen.  And the device would download new music on a regular basis, greatly expanding the on-premise music selections beyond what had been possible before.  I assume the stores welcomed that with open arms, but right as it was really being rolled out, it was announced that we were merging "in a merger of equals" with DMX Music, a competing music service started by the Cable TV industry.  Soon, it was revealed that "Equals" actually meant that DMX had 51% and AEI had 49%.  There were massive staff reductions on the AEI side, and I got a layoff notice, just a few months shy of my 10th anniversary with the company.  I stayed on for the transition period, during which I was supposed to be transferring my institutional knowledge to my counterparts at DMX.  However, they never called me.  Not once.  My last day came, I took my severance package and had a tear-filled farewell lunch.  Two weeks later I got a call at home from my counterparts at DMX, in a panic, asking about various things.  I happily told them that I didn't work there anymore, and perhaps they could have called sometime over the previous 4 months.  It was a bitter end to what had been an amazing job. A few other programming notes:  We paid royalties on every song we used, and nearly all record companies were on board and eager for us to use their product.  WEA (Warner / Elektra / Atlantic) had been very successful on the charts for many years, and mandated that if we wanted to use their material, we had to use a minimum of 28% WEA product on all Pop, Country, and a few other genres programs.  Because of this, there were songs that weren't actual hits, but were good songs from WEA Labels, that were "AEI Hits" and could be found on virtually every program category. While WEA wanted us to use as much of their material as we could, ABKCO records (primarily early Rolling Stones) wouldn't let us use ANY of their music.  Period.  That was neat. I personally did custom programming for Bennigan's, Steak & Ale, Lane Bryant, Avenue, NikeTown, Williams-Sonoma, and in my "Lead Recording Engineer" role, I recorded (and occasionally voiced) the voiceover announcements that played at Marshall's and a few other stores.  (Please use the safety strap when placing your child in the shopping cart, etc) In the mid-to-late '90s, we started producing CDs for our customers that were given out, or sold in the stores.  I produced the masters for all of these, and still have several in my collection.  Eddie Bauer's Christmas CDs were popular gifts to my friends and family... the Old Navy "Cool Kids And Groovy Grownups" CDs were fun gifts for friends having kids, and "Old Navy Workout" was my favorite that I produced, as I got to do actual DJ Mixing on it.  ALMOST got my name on it, but their Director of Visual Merchandising vetoed it at the last minute. -30- Postscript: IIRC, the way to enable Red Book playback on AEI and DMX Prodisc machines (specifically the second-generation Plextor Prodisc DS units) was, depending on firmware version, to either set rear-panel DIP switch "1", *or* switches 2 and 6 to "ON" and all others "OFF". At least I believe that was it; it's been too many years. (I had to do that at Red Robin to run the lens cleaner monthly, and their DMX Prodisc DS definitely involved switch #2 and another one being on.) You would then switch them back "OFF" again to re-enable CDI playback. The original first-generation Philips CDI610-variant Prodisc could well have had an actual key sequence for all I know; I've never worked with one. Mr Brady, if you see this page, and there is an actual front-panel key sequence to enable Red Book support on the DS, would you please kindly post it in a comment below, as it would certainly be of use to collectors. Thanks. Reviewer: DJMikeBrady - ***** - March 1, 2022 Subject: I'm late to the party, but I'm here! Obviously I've got some digging to do through the many programs you've posted, but I wanted to check in and say YES, on the first gen ProDisc units, there was a front panel button combo that would enable red book CDDA playback. At one point AEI Sold these to employees REALLY cheap - like $25-$50, for use as CD players, and I bought one for my brother in law. It was a 4 or 5 button sequence that would put it in red book mode until the power was turned off.

1Oscar Wilde: Art and Morality

By Stuart Mason

“Who can help laughing when an ordinary journalist seriously proposes to limit the subject-matter at the disposal of the artist?”<br><br>“We are dominated by journalism.... Journalism governs for ever and ever.”[/i]<br><br>One of the nastiest of the British tabloids was founded a year too late to join in the moral panic generated to accompany Oscar Wilde’s court appearances in 1895. Yet there was no shortage of hypocritical journalists posing as moral arbiters to the nation, then as now.<br><br>This compendium work - skillfully assembled by the editor, Stuart Mason - ends with transcript of Wilde’s first appearance in the Old Bailey, when he was cross-examined on the alleged immorality of his novel The Picture of Dorian Gray. The disastrous outcome of these trials provides an ironic conclusion to the earlier knockabout exchanges between Oscar and his reviewers. In these he is at his flamboyant best, revelling in the publicity he pretends to disdain. His brave performances in the dock did nothing, however, to save him from hard labour, the treadmill and complete physical and moral breakdown which the law found it necessary to inflict on him.<br><br>In contrast to the hacks and lawyers, two refreshingly open-minded Americans write perceptively about the novel, as does Walter Pater, the grand old man of Aestheticism.<br><br>This solo Librivox project complements a new dramatised reading of The Picture of Dorian Gray, currently in preparation, featuring the present reader as Narrator. (Introduction by Martin Geeson)

2Four Feathers

By A. E. W. Mason

The Four Feathers is a 1902 adventure novel by British writer A.E.W. Mason that has inspired many films of the same title. The novel tells the story of British officer, Harry Feversham, who resigns his commission in the East Surrey Regiment just prior to Sir Garnet Wolseley's 1882 expedition to Egypt to suppress the rising of Urabi Pasha. He is faced with censure from three of his comrades for cowardice, signified by the delivery of three white feathers to him, from Captain Trench and Lieutenants Castleton and Willoughby, and the loss of the support of his Irish fiancée, Ethne Eustace, who presents him with the fourth feather. His best friend in the regiment, Captain Durrance becomes his rival for Ethne.<br>(Summary extracted from Wikipedia)

3Running Water

By A. E. W. Mason

Although A.E.W. Mason is best known for The Four Feathers, an adventure novel of 1902 set in Egypt and the Sudan (and filmed several times), he was a prolific and popular writer of the period. Running Water, published in 1907, is, like its predecessor, a tale of romantic adventure. Though much of the story takes place in England, the real setting here is in the high Alps, in the range of Mont Blanc near Chamonix and Courmayeur. Here it is that Captain Hilary Chayne arrives, having spent the prior four years of his army service on the shores of the Red Sea, dreaming all the time of his return to the Alps, to the world of rock, ice, and snow, to mountaineering with all its challenges and joys, and to its comradeship. And here it is too that he meets the young and beautiful Sylvia Thesiger, a girl already in love with the high mountains, and seeking in them an escape, as far as possible, from her unpleasant and domineering mother.<br>Is it necessary to add that disappointments. problems, misunderstandings, and outright villainies, ensue to complicate the course of true love? After the twists and turns of novel's English midsection, the setting shifts back to the high Alps, and the final, climactic scene is played out on the heights of the Italian face of the Mont Blanc. This is the Brenva -- where thousands of feet of rock and glacier sweep steeply up to reach the highest point in western Europe. It is an Alpine route that today, over century later, even experienced climbers still find a challenge. There are not many novels given over to mountaineering, and some consider Mason's descriptions of climbing among the finest in fiction. Unlike The Four Feathers, Running Water has never been filmed – though given the quality of some of Hollywood's mountaineering movies, that may actually be a blessing.<br> Finally, for those unfamiliar with the teminology, several French terms are customarily used by alpinists and appear in Mason's book. An aiguille (needle) is a peak, usually sharp pointed, often of rock, sometimes of ice and snow. The Chamonix aiguilles, many of which are mentioned here, are famous among climbers and lovers of alpine scenery. A col is a pass between two mountains, or ranges, and in the High Alps often of steep ice and snow, sometimes of rock. And an arête is a ridge, or spur, of a mountain, sometimes of ice or snow, sometimes of rock, and often of all three. Historical note: The first ascent of the Brenva face was made by A.W. Moore and a party of three other British climbers and two Swiss alpine guides, in July, 1865. The account was published in Moore's book, The Alps in 1864, and it is this book that Garratt Skinner is reading in Chapter XII, as he lies in his Dorsetshire hammock. In 1943, another great British climber, T. Graham Brown published his Brenva, describing the various routes on the great southern face, on two of which had had made first ascents. Brown credits Running Water as first turning his attention to the face, and has high praise for its descriptions of mountaineering. (The second ascent for the Brenva route was made by W.A.P. Coolidge and others in 1870).<br>A further note: in Chapter XIII, Mason twice refers to Switzerland when he means France. Perhaps he was dozing; or perhaps he was drawing some of his material from Baedeker's Guide to Switzerland, whose earlier editions included the range of Mont Blanc, a chain shared by France, Italy, and Switzerland.

4At the Villa Rose

By A. E. W. Mason

Harry Wethermill, the brilliant young scientist, a graduate of Oxford and Munich, has made a fortune from his inventions, and is taking a vacation at Aix-les-Bains. There he meets, and immediately falls in love with, the young and beautiful Celia Harland, who serves as companion to the aging but warm-hearted Madam Dauvray of Paris. All this is observed by Julius Ricardo, a retired financier from the City of London, who spends every August at Aix, expecting there to find a pleasant and peaceful life. Imagine his consternation when he learns that Mme. Dauvray has been brutally murdered, and imagine Harry Wethermill's consternation when he learns that every finger of suspicion is pointed at the now vanished Celia Harland.<br>Implored to do so by Wethermill, Ricardo asks his friend Inspector Hanaud, the great detective of the Paris Sûreté (who is also vacationing in Aix) to involve himself in the case so that the truth may come out. Hanaud agrees to do so (with the permission of the Aix police, of course), and goes to work. Will he be up to the job? And will Harry Wethermill ultimately be glad that he called in the great man? We can only wait to find out. But surely Hanaud will exercise his powerful little grey cells – one of several characteristics he shares with a famous Belgian detective of later decades, and indeed some scholars of mystery stories suggest that Agatha Christie, in her invention of Hercule Poirot, owes a debt to Mason and his invention of Inspector Hanaud. And indeed Julius Ricardo has than a passing resemblance to Arthur Hastings, Poirot's sidekick, who is invariably a few confused steps behind the detective.<br>(Introduction by Nicholas Clifford)

5Watchers

By A. E. W. Mason

A dark tale of adventure, piracy, murder, and revenge set on a rugged Cornish island in the mid-1700s. Told with the literary excellence to be expected from the author of The Four Feathers, the tale begins with a dangerous youth who sat in the stocks, and a girl named Helen, and a gang of men watching a granite house at the edge of the sea. NOTE: Contains some language that would be considered offensive to the modern ear. (Christine Dufour)

6Life of Isaac Mason as a Slave

By Isaac Mason

Isaac Mason was born into slavery. As a young man, he escaped to freedom and made a life for himself. An intelligent man, he gave lectures on his experiences and was later encouraged to publish them in book form. - Summary by Lynne Thompson

7Astounding Stories 14, February 1931

By Harry Bates, Charles Willard Diffin, Anthony Gilmore, Desmond Winter Hall, F. V. W. Mason and Captain S. P. Meek

This issue includes "Werewolves of War" by D. W. Hall, "The Tentacles from Below" by Anthony Gilmore, "The Black Lamp" by Captain S. P. Meek, "Phalanxes of Atlans" by F. V. W. Mason, and continues with "The Pirate Planet" by Charles W. Diffin, - Summary by Bill Boerst

8Astounding Stories 15, March 1931

By Ray Cummings, Charles Willard Diffin, F. V. W. Mason, Harl Vincent and Jack Williamson

This issue includes "When the Mountain Came to Miramar" by Charles W. Diffin, "Beyond the Vanishing Point" by Ray Cummings, "Terrors Unseen" by Harl Vincent, the conclusion of "Phalanxes of Atlans" by F. V. W. Mason, and "The Meteor Girl" by Jack Williamson. - Summary by Bill Boerst

This is the first volume in the Home Education Series detailing Charlotte Mason's method of education. This volume is subtitled: The Education of Children under Nine Years of Age. The series is used today by many homeschoolers around the globe and is considered a classic reference by the founder of the homeschooling movement. Volume 1 of 6. - Summary by rachelrw

10Witness for the Defence

By A. E. W. Mason

Part romance, part mystery, part courtroom and quasi-courtroom drama. Young love reignites itself after a hiatus of some years. Or does it? Much can change in that time -- both to the people themselves, and to the events that shape their lives. The action moves from England to India, and back again, confronting the protagonists with problems they never dreamed they’d have to face. ( Nicholas Clifford)

11Clementina

By A. E. W. Mason

This well-written novel is a fictional account of a true historical rescue mission. In 1719, at the age of 17, when she was on her way across Europe to marry James Stuart, the Catholic pretender to the British throne, Princess Maria Clementina Sobieska was kidnapped and held prisoner by Holy Roman Emperor Charles VI, with the approval of his ally, the Protestant king of England. The king feared that the marriage would produce heirs who might raise a rebellion against the Crown, though Stuart’s own rebellion had failed four years earlier. But Irish soldier of fortune and Stuart's ablest spy, hatches a daring plot to rescue the princess. Filled with spies, romance, palace intrigue and uncertain loyalties, this is the story of how Charles Wogan, once indicted for High Treason in Protestant England, set out to play his part on the international stage. Failure would mean certain death at the hands of Wogan's powerful enemies. But would success bring the result he expects? (Jacquerie)<br><br>Prooflisteners: <a href="https://librivox.org/reader/3220">Betty M.</a> and <a href="https://librivox.org/reader/5796">Linette Geisel</a>

Volume two of the Home Education Series by Charlotte Mason talks about parents and children. Charlotte breaks down a couple of different topics about home education, like the family, the parent's role as the teacher, and much more. - Summary by Elijah Fisher

A compendium of Oscar Wilde's wit, including some of his most famous epigrams as well as unpublished quotations supplied by his friends. The book is formatted as a calendar, with one saying for each day of the year, and was edited by Wildean scholar, Stuart Mason (born Christopher Sclater Millard). - Summary by Rob Marland

14Affair at the Semiramis Hotel

By A. E. W. Mason

Inspector Hanaud is a member of the French Sûreté. He is said to have been the model for Agatha Christie’s Hercule Poirot, as well as the opposite of Conan Doyle’s Sherlock Holmes. The Affair At The Semiramis Hotel (1917), a novella, is the second Hanaud mystery. Did the robbery/murder really happen or was it the mescal-induced hallucination of the witness? The first novel is At The Villa Rose (1910). The third is The House Of The Arrow (1924) (there are seven through 1949, available at project gutenberg Australia). In 1910, Mason undertook to create a fictional detective as different as possible from Sherlock Holmes, who had recently been resuscitated after his supposed death by Arthur Conan Doyle in 1903. Inspector Gabriel Hanaud was stout, not gaunt like Holmes; a professional policeman, not a gentleman amateur; from the French Sûreté, not Victorian England; and relying on psychological insights rather than physical evidence. His "Watson" is a retired London banker named Mr. Julius Ricardo. - Summary by David Wales

15House Of The Arrow

By A. E. W. Mason

A young English girl is accused in Dijon of murdering her French aunt. Hanaud to the rescue! Inspector Hanaud is a member of the French Sûreté. He is said to have been the model for Agatha Christie’s Hercule Poirot, as well as the opposite of Conan Doyle’s Sherlock Holmes. In 1910, Mason undertook to create a fictional detective as different as possible from Sherlock Holmes, who had recently been resuscitated after his supposed death by Arthur Conan Doyle in 1903. Inspector Gabriel Hanaud was stout, not gaunt like Holmes; a professional policeman, not a gentleman amateur; from the French Sûreté, not Victorian England; and relying on psychological insights rather than physical evidence. His "Watson" is a retired London banker named Mr. Julius Ricardo, though he appears only briefly in this novel. (David Wales )

This is third volume in the Home Education Series detailing Charlotte Mason's method of education. This volume is subtitled: School Education. The series is used today by many homeschoolers around the globe and is considered a classic reference by the founder of the homeschooling movement. Volume 3 of 6. - Summary by rachelrw / linny

17Woman Of Yesterday

By Caroline Atwater Mason

Anna is the daughter of a clergyman in a small town in Vermont. She is very happy with her lot. But when she goes to nurse a woman in the big city, she starts to discover the world. She sees new places, meets new people, and falls in love. This will test all the resolutions she once held dear. - Summary by Stav Nisser.

This is Book I of the forth volume in the Home Education Series detailing Charlotte Mason's method of education. This volume is subtitled Ourselves and Book I is titled Self-Knowledge. The series is used today by many home-schoolers around the globe and is considered a classic reference by the founder of the homeschooling movement. - Summary by rachelrw / linny

The sixth volume in the Home Education Series detailing Charlotte Mason's method of education. This volume is subtitled A Liberal Education for All. The series is used today by many home-schoolers around the globe and is considered a classic reference by the founder of the homeschooling movement. - Summary by InTheDesert

This is the fifth volume in the Home Education Series detailing Charlotte Mason's method of education. This volume is subtitled "Some Studies in the Formation of Character," although the author explains in the preface why she considers this to be somewhat of a misnomer. The series is used today by many home-schoolers around the globe and is considered a classic reference by the founder of the homeschooling movement. - Summary by Devorah Allen

This is Book II of the fourth volume in the Home Education Series detailing Charlotte Mason's method of education. This volume is subtitled Ourselves and Book II is titled Self Knowledge. The series is used today by many home - schoolers around the globe and is considered a classic reference by the founder of the home - schooling movement. - Summary by L Andrus

In proposing these lectures, my original notion was to popularize and amplify the valuable educational hints contained in some two or three chapters of Dr. Carpenter's "Mental Physiology;" but the subject is a wide one, and I have found it necessary to cover much ground untouched in that work. A complete or worthy treatment of "Home Education" within the limits of a single small volume is out of the question. My attempt is, to suggest a method of education resting upon a basis of natural law: and to touch, in this connection, upon the mother's duties to her children in the three stages of life during which they fall under her personal training, childhood, school-life, and young maidenhood. - Summary by Introductory