Art Chapter
QMRQuattro Titanium
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QMRSchick Quattro: a four-bladed razor for men, introduced in 2003. The Quattro Midnight and Quattro Chrome are models with redesigned handles and different color schemes from the original Quattro.
Quattro Power: A motorized version of the Quattro; it is supposed to reduce friction. The Quattro Titanium Power is a Quattro Power with a different color scheme and Quattro Titanium cartridges. The Quattro Power is powered by a single AAA battery.
Quattro Titanium: includes a titanium coating on the blades that is claimed to reduce irritation. There is also a Quattro Titanium Trimmer that includes a short face trimmer powered by a AAA battery.
Quattro for Women: A modified version of the Quattro with a feminine color scheme.
Schick Protector: A razor that is claimed to protect against nicks.
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Saturday Night Live featured a triple-blade razor in 1975, 23 years before the Mach3, with the slogan "The Triple-Trac. Because you'll believe anything". Not to be outdone, satirical newspaper The Onion printed a mock-commentary by Gillette's president after Wilkinson/Schick introduced their Quattro razor in 2004, three years before the Fusion was introduced, entitled Fuck Everything, We're Doing Five Blades.
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Gillette introduced the first triple-blade cartridge razor, the Mach3, in 1998, and later upgraded the Sensor cartridge to the Sensor3 by adding a third blade. Schick/Wilkinson responded to the Mach3 with the Quattro, the first four-blade cartridge razor. These innovations are marketed with the message that they help consumers achieve the best shave as easily as possible. Another impetus for the sale of multiple-blade cartridges is that they have high profit margins.[13] With manufacturers frequently updating their shaving systems, consumers can become locked into buying their proprietary cartridges, for as long as the manufacturer continues to make them. Subsequent to introducing the higher-priced Mach3 in 1998, Gillette's blade sales realized a 50% increase, and profits increased in an otherwise mature market.
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QMRKit Kat is a chocolate-covered wafer biscuit bar confection created by Rowntree's of York, England, and is now produced globally by Nestlé, which acquired Rowntree in 1988,[1] with the exception of the United States where it is made under license by H.B. Reese Candy Company, a division of The Hershey Company. The standard bars consist of two or four fingers composed of three layers of wafer, separated and covered by an outer layer of chocolate. Each finger can be snapped from the bar separately. There are many different flavours of Kit Kat.
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The original four-finger bar was developed after a worker at Rowntree's York Factory put a suggestion in a recommendation box for a snack that "a man could take to work in his pack".[3] The bar launched on 29 August 1935, under the title of "Rowntree's Chocolate Crisp" (priced at 2d), and was sold in London and throughout Southern England.[4]
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4-fingered Kit Kat split in half
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The traditional bar has four fingers which each measure approximately 1 centimetre (0.4 in) by 9 centimetres (3.5 in).
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4-finger US Kit Kat
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As dark chocolate has seen increased demand and favour worldwide because of its purported health benefits, September 2006 saw the launch of the four-finger Kit Kat Fine Dark in the UK as a permanent edition, as well as new packaging for the entire brand.[citation needed] Hershey had sold the four-finger Kit Kat Dark in the US several years previously as a limited edition, and has begun doing so again.[
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QMRQuatro was a canned, fruit-flavoured carbonated drink produced from 1982 to 1986 in the United Kingdom. From 1983 to 1986 it was commonly available in the UK,[1] though production and sale of the drink ceased there in the mid–1980s.[citation needed] Green in colour, its name derived from the four fruits used; pineapple, orange, passion fruit and grapefruit.[1]
The current incarnation of the Quatro brand has been sold and marketed in South America by The Coca-Cola Company, since 1996. It is grapefruit flavoured, and is sold in Argentina, Chile, Colombia, Uruguay and Venezuela.[2]
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QMRQuatro is Suzi Quatro's second album released in October 1974 from Rak Records as SRAK 509.[1] It spent 6 weeks at the top of the Australian albums chart.
Released in Australia on the EMI RAK label as catalogue no 8319792.
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QMRQuatro was a product range of the Lego construction toy, designed for children aged 1 to 3 years old. Quatro bricks are twice the length, height and width of Lego Duplo bricks (eight times the size in volume) and four times the length, height and width of traditional Lego bricks. Initially launched in 2004, they are designed to be easier for younger children to handle. Despite their size, they are compatible with Duplo bricks which are in turn compatible with traditional Lego bricks. The Quatro product line was discontinued in 2006.
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QMRÉramos 4 is the seventh album of the Brazilian rock band Raimundos, launched in 2001, after the exit of the singer Rodolfo Abrantes. The disc contains basically cover songs of Ramones, played live with Marky Ramone, ex-drummer of the band.
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Puerto Rico cuatros[edit]
Main article: Puerto Rican Cuatro
A Puerto Rican Cuatro
The Puerto Rican cuatro is shaped more like a violin than a guitar, and is the most familiar of the three instruments of the Puerto Rican orquesta jíbara (i.e., the cuatro, the tiple and the bordonua). The Puerto Rican cuatro has ten strings in five courses, tuned in fourths from low to high, with B and E in octaves and A, D and G in unisons: B3 B2♦E4 E3♦A3 A3♦D4 D4♦G4 G4
Several sizes of the instrument exist, including a Cuatro Soprano, Cuatro Alto, Cuatro Tradicional (the standard instrument, also called Cuatro Tenor), and Cuatro Bajo (Bass Cuatro): all have ten strings and are tuned in fourths. There is also a Cuatro Lírico ("lyrical cuatro"), which is about the size of the Tenor, but has a deep jelly-bean shaped body; a Cuatro Sonero, which has 15 strings in five courses of three strings each; and a Seis, which is a Cuatro Tradicional with an added two-string course (usually a lower course), giving it a total of 12 strings in 6 courses.[1]
Cuatro Cubano[edit]
The Cuban Cuatro, or Cuatro Cubano, is a Cuban Tres with 4 courses of doubled strings, instead of the usual 3. It is usually tuned G, C, E, A.
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QMRNestlé Chunky is a candy bar known for its trapezoidal shape and consists of milk chocolate, California raisins, and roasted peanuts. It is produced by Nestlé.The original Chunky consisted of a one piece section that was not sectionalized.
It is made of quadrants- It is four pieces/ a quadrant
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QMR
artisan chocolate bar ~pure dark
artisan chocolate bar ~pure dark. It is divided into quadrants
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QMRThe Hershey's Milk Chocolate Bar (commonly called the Hershey's Bar) is the flagship chocolate bar manufactured by the Hershey Company. It is often referred by Hershey as "The Great American Chocolate Bar." The Hershey Milk Chocolate Bar was first sold in 1900 followed by the Hershey's Milk Chocolate with Almonds variety beginning production in 1908. A circular version of the milk chocolate bar called Hershey's Drops was released in 2010.
Hershey's bars are made of quadrants
Hershey's Milk Chocolate with Almonds 4.25-Ounce Jumbo Candy Bars: 12-Piece Box
It is 4 by 4 and thus 16 squares which is the quadrant model
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QMRThe Temple of Confucius at Beijing (simplified Chinese: 北京孔庙; traditional Chinese: 北京孔廟; pinyin: Běijīng Kǒngmiào) is the second largest Confucian Temple in China, after the one in Confucius' hometown of Qufu.
The temple was built in 1302, and officials used it to pay their respects to Confucius until 1911. The compound was enlarged twice, during the Ming and Qing dynasties and now occupies some 20,000 square meters. From 1981 until 2005,[1] the Temple of Confucius also housed part of the art collection of the Capital Museum. It stands on Guozijian Street near the Imperial Academy.
The complex includes four courtyards aligned along a central axis. From south to north, noteworthy structures includes the Xianshi Gate (先师门), Dacheng Gate (Gate of Great Accomplishment, 大成门), Dacheng Hall (Hall of Great Accomplishment, 大成殿) and Chongshengci (崇圣祠).[2] Inside the temple there are 198 stone tablets positioned on either side of the front courtyard, and they contains more than 51,624 names of jinshis (advanced scholars) of the Yuan, Ming and Qing dynasties, and 14 stone stele pavilions of the Ming and Qing dynasties that hold various historical documents of ancient China.[2]
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Painting Chapter
Music Chapter
QMRQuadrophenia is the sixth studio album by English rock band The Who, released on 26 October 1973 by Track Records. It is a double album and the group's second rock opera. The story follows a young mod named Jimmy and his search for self-worth and importance, set in London and Brighton in 1965. It is the only Who album to be entirely composed by group leader Pete Townshend.
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Townshend became inspired by "Long Live Rock – Rock Is Dead"'s theme and in autumn 1972 began writing material, while the group put out unreleased recordings including "Join Together" and "Relay" to keep themselves in the public eye. In the meantime, bassist John Entwistle released his second solo album, Whistle Rymes, singer Roger Daltrey worked on solo material, and Keith Moon featured as a drummer in the film That'll Be The Day.[9] Townshend had met up with "Irish" Jack Lyons, one of the original Who fans, which gave him the idea of writing a piece that would look back on the group's history and its audience.[10] He created the character of Jimmy from an amalgamation of six early fans of the group, including Lyons, and gave the character a four-way split personality, which led to the album's title (a play on schizophrenia).[2]
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To illustrate the four-way split personality of Jimmy, Townshend wrote four themes, reflecting the four members of the Who. These were "Bell Boy" (Moon), "Is It Me?" (Entwistle), "Helpless Dancer" (Daltrey) and "Love Reign O'er Me" (Townshend).[19] Two lengthy instrumentals on the album, the title track and "The Rock" contain the four themes, separately and together. The instrumentals were not demoed but built up in the studio.[20] Who author John Atkins described the instrumental tracks as "the most ambitious and intricate music the group ever undertook."[19]
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The band viewed the tour in support of the album as disastrous. To achieve the rich overdubbed sound of the album on stage, Townshend wanted Chris Stainton (who had played piano on some tracks) to join as a touring member. Daltrey objected to this and believed the Who's performances should only have the four core members
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QMRThe cuatro is any of several Latin American instruments of the guitar or lute families. Many cuatros are smaller than a guitar. Cuatro means four in Spanish, although current instruments may have more than four strings. The cuatro is found in Puerto Rico and in South America, and other territories of the West Indies. Certain variants are considered the national instrument of some countries (e.g., Venezuela). Its 15th century predecessor was the Portuguese Cavaquinho, which, like the cuatro had four strings. The cuatro is widely used in ensembles in Jamaica, Mexico, and Surinam to accompany singing and dancing. In Trinidad and Tobago it accompanies Parang singers. In Puerto Rico and Venezuela, the cuatro is an ensemble instrument for secular and religious music, and is played at parties and traditional gatherings.
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Venezuelan cuatro[edit]
Main article: Cuatro (Venezuela)
The cuatro of Venezuela has four single nylon strings, tuned (A4,D5,F#5,B4) or (A3,D4,F#4,B3). It is similar in shape and tuning to the ukulele, but their character and playing technique are vastly different. It is tuned in a similar fashion to the traditional D tuning of the ukulele, but the B is an octave lower. Consequently, the same fingering can be used to shape the chords, but it produces a different transposition of each chord. There are variations on this instrument, having five strings or six strings.
Venezuelan Cuatro
Venezuelan Concert Cuatro
Variants:
Other Venezuelan cuatro variants include: cinco cuatro (5 strings in 4 courses); seis cinco (6 strings in 5 courses); cinco y medio (5 strings and a short extra string from the top of the body); cuatro y medio (4 strings plus a short extra string); and octavo (8 strings in 4 double courses).[3]
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QMRSuzi ... and Other Four Letter Words (1979) – number 4 Norway,[71] number 36 Sweden,[71] number 117 United States[70]
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QMRquad
A quarter of an ounce (two eighths) of marijuana.
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QMR¡Cuatro! is a 2013 rockumentary starring the punk rock band Green Day, directed by Tim Wheeler. The film documents the creation of the band's 2012 album trilogy ¡Uno!, ¡Dos! and ¡Tré!.[1][2] The documentary, directed by Tim Wheeler and produced by Tim Lynch (who had previously produced Green Day's Bullet in a Bible in 2005), was released through Reprise Records on the September 24, 2013.[3][4] A 40-minute version of the documentary premiered on VH1 in 2012. The documentary contains footage of Green Day's producer Rob Cavallo and Green Day's days composing and organizing the trilogy up until their release. ¡Cuatro! was nominated for a Grammy Award for Best Music Film.[5]
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When Green Day entered the studio to record the trilogy, multiple clips were posted on the band's YouTube channel of them creating the albums. Mike Dirnt, bassist of Green Day said that "Over the last year while we were recording our trilogy, we posted multiple clips every week so fans can see parts of the recording process of ¡Uno! ¡Dos! ¡Tré!. ¡Quatro! brings our fans one step closer by giving them even more access and revealing what it was like for us to make these records."[6] Lead guitarist and vocalist of Green Day, Billie Joe Armstrong told Billboard that their aim for ¡Cuatro! as a documentary was "not going to be the sitting down, head shot of me going, 'We started out blah blah blah'. "We wanted to get into lifestyles of rock 'n' roll and playing rock 'n' roll and letting the story kind of tell itself rather than create revisionist (history)."[7] Green Day drummer Tré Cool told BBC Breakfast that the purpose of the documentary was to show fans what it's like to make a record by giving them an inside look at the process, saying that "People ask what is it like to make a record. It's like someone asking what a sausage tastes like, you can describe it - or you can just hand someone a sausage."[8]
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QMRLawrence Durrell's pentalogy The Avignon Quintet (1974–85) is an example of the reappearance of numerological ideas in modern fiction. In an attempt to subvert the normal linear structure, Durrell explicitly specified it as a quincunx and related it to the Gnostical interpretations. The best-known discussion of this shape in English literature is Thomas Browne's essay The Garden of Cyrus, which relies on Pythagorean traditions, but Durrell goes much further afield, relating it to Angkor Wat and the Kundalini.[5] The purpose of the work was to go beyond his previous tetralogy The Alexandria Quartet. In an interview, Durrell agreed with James P. Carley that "Christianity as we know it is a quaternity with a suppressed fourth" and a critic describes his ambition as being that of "achieving the 'quintessence', that is in its combination of Eastern spirituality and Western science leading to the global vision of 'Reality Prime'."[6]
A quincunx is five dots arranged in a cross formation/quadrant.
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QMR"Four Letter Word" is the fourth single from the Kim Wilde album Close.
It was released at the end of 1988 — the year that had seen Wilde release a best-selling album, have four international hits (including the chart-topping "You Came") and support Michael Jackson on the European leg of his world tour.
"Four Letter Word" marked the first occasion in Wilde's then eight-year career where she released a straight ballad as a single. It also marked her last release of a song written by her father and brother (who had written the majority of her early hits together, including the pop classic "Kids in America)". It became her third consecutive UK Top 10 single from "Close", reaching number 6.
An extended version as well as an acoustic remix of "Four Letter Word" were released as a 12" and CD-single.
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QMRX (pronounced ten) is the eighth studio album by English rock band Def Leppard, released in 2002 by Island Records. Much like 1996's Slang, it featured another departure from their signature sound by moving into the pop genre. The album charted at No. 11 on The Billboard 200[2] and No. 14 on the UK Albums Chart.[3] Most of the album was produced by Pete Woodroffe and the band, with remaining tracks produced by either Marti Frederiksen or Per Aldeheim and Andreas Carlsson. This is the first Def Leppard album in which drummer Rick Allen actively took part in song-writing. On all of the band's prior albums, he is only credited with helping co-write 3 tracks. On this album alone, he co-wrote 11.
X is a quadrant
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QMRFour Letter Word" is a 2002 song by British hard rock band Def Leppard from their X album. It charted at number 30 on the US Mainstream Rock Charts.
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QMR"Four Letter Word" is a single by English band Beady Eye, released on Beady Eye Records as "BEADY3". The track is also featured on their 2011 debut album Different Gear, Still Speeding as the opening track. The video for the song was premièred exclusively for NME and also on the band's official website on 26 December 2010, at the same time a limited edition 7" vinyl was released on 17 January 2011[1] on 7" vinyl backed with new track "World Outside My Room".
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Dance Chapter
QMR4 Corners is a New Zealand Hip-Hop group formed in 1998.
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QMRThe four corners offense, technically four corner stall, is an offensive strategy for stalling in basketball. Four players stand in the corners of the offensive half-court while the fifth dribbles the ball in the middle. Most of the time the point guard stays in the middle, but the middle player would periodically switch, temporarily, with one of the corner players. It was a strategy that was used in college basketball before the shot clock was instituted.
The team running the offense typically would seek to score, but only on extremely safe shots. The players in the corners might try to make backdoor cuts, or the point guard could drive the lane.
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Literature Chapter
QMRThe earliest texts of William Shakespeare's works were published during the 16th and 17th centuries in quarto or folio format. Folios are large, tall volumes; quartos are smaller, roughly half the size (see Book size). The publications of the latter are usually abbreviated to Q1, Q2, etc., where the letter stands for "quarto" and the number for the first, secord, or third edition published.
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18 of the 36 plays in the First Folio were printed in separate and individual editions prior to 1623. Pericles (1609) and The Two Noble Kinsmen (1634) also appeared separately before their inclusions in folio collections (the Shakespeare Third Folio and the second Beaumont and Fletcher folio, respectively). All of these were quarto editions, with one exception: The True Tragedy of Richard Duke of York, the first edition of Henry VI, part 3, was printed in octavo form in 1594. In chronological order, these publications were:
Titus Andronicus, 1594, 1600, 1611
Henry VI, part 2, 1594 (The First Part of the Contention Betwixt the Two Famous Houses of York and Lancaster), 1600, 1619
Henry VI, part 3, 1595 (The True Tragedy of Richard Duke of York), 1600, 1619
Edward III, 1596
Romeo and Juliet, 1597, 1599, 1609
Richard II, 1597, 1598, 1608, 1615
Richard III, 1597, 1598, 1602, 1605, 1612, 1622
Love's Labour's Lost, 1598
Henry IV, part 1, 1598, 1599, 1604, 1608, 1613, 1622
Henry IV, part 2, 1600
Henry V, 1600, 1602, 1619
The Merchant of Venice, 1600, 1619
A Midsummer Night's Dream, 1600, 1619
Much Ado About Nothing, 1600
The Merry Wives of Windsor, 1602, 1619
Hamlet, 1603, 1604, 1611
King Lear, 1608, 1619
Troilus and Cressida, 1609
Pericles, Prince of Tyre, 1609, 1611, 1619
Othello, 1622
The Two Noble Kinsmen, 1634.
Six of these were classified "bad quartos" by Alfred W. Pollard and other scholars associated with the New Bibliography. Popular plays like 1 Henry IV and Pericles were reprinted in their quarto editions even after the First Folio appeared, sometimes more than once.
Shakespeare's poems were also printed in quarto or octavo form:
Venus and Adonis, Q1—1593, Q2—1594 (with later editions in octavo);
The Rape of Lucrece, Q—1594 (with later editions in octavo);
The Phoenix and the Turtle, Q1—1601, Q2—1611 (in Robert Chester's Love's Martyr);
The Sonnets and A Lover's Complaint, Q—1609.
Differing from the quartos of the plays, the first editions of Shakespeare's narrative poems are extremely well printed. "Richard Field, Shakespeare's first publisher and printer, was a Stratford man, probably a friend of Shakespeare, and the two produced an excellent text."[1] Shakespeare may have had direct involvement in the publication of the two poems, as Ben Jonson exercised in reference to the publication of his works, but as Shakespeare clearly did not do in connection with his plays.
John Benson published a collected edition of Shakespeare's Poems in 1640; the poems were not added to collections of the plays until the 18th century. (The disputed miscellany The Passionate Pilgrim was only printed in octavo: twice, apparently, in 1599, with an O3 in 1612, all by William Jaggard.)
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QMRIn Shakespearean scholarship, a bad quarto is a quarto-sized publication of one of Shakespeare’s plays that is considered spurious, that was pirated from a theatre without permission by someone in the audience writing it down as it was spoken. Or it would be written down later by an actor or group of actors, which, according to the theory, has been termed “memorial reconstruction”. In this way the quarto derives from performance, and since it lacks a direct link to the author’s original manuscript, it is a text that would be expected to contain corruptions, abridgments and paraphrasings.[1][2] This is in contrast to a “good quarto”, which is considered to be a text that is authorized; one that may have been printed from the author’s manuscript, or a scribal copy or prompt copy based on the author’s manuscript.[3] "Bad quartos" are considered to include the first quartos of Romeo and Juliet, Henry V, The Merry Wives of Windsor, and Hamlet.[4]
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The concept has expanded to include quartos of plays by other Elizabethan authors, including Peele’s The Battle of Alcazar, Greene’s Orlando Furioso, and the collaborative script, Sir Thomas More.[5][6]
The bad quarto theory has been accepted, studied and expanded by many scholars, but there are scholars who do not accept it,[7][8][9][10] and those, such as Eric Sams,[11] who consider the entire theory to be without foundation. Jonathan Bate states that “late twentieth- and early twenty-first century scholars have begun to question the whole edifice.”[12]
Origins of the Bad Quarto theory[edit]
The concept of the “Bad Quarto” as a category of text was created by bibliographer Alfred W. Pollard in his book Shakespeare Folios and Quartos (1909). The idea came to him in his reading of the address by the editors, John Heminges and Henry Condell, that appears at the beginning of Shakespeare’s First Folio. This address is titled, “To the Great Variety of Readers.” In this address Heminges and Condell refer to “diuerse stolne, and surreptitious copies” of the plays. It had been thought that that reference was generally to quarto editions of the plays. Pollard, however, claims that Heminges and Condell meant to refer only to “bad” quartos, and Pollard lists as “bad” the first quartos of Romeo and Juliet (1597), Henry V (1600), The Merry Wives of Windsor (1602), Hamlet (1603), and Pericles (1609). Pollard points out that the texts contained “badness”, but also that there was badness in those who pirated the plays.[13]
The scholar W. W. Greg, worked closely with Pollard; he published the bad quarto of The Merry Wives of Windsor,[14] which is a work that is significant in the history of the “bad quarto” theory. In that book, Greg describes how he thinks the text may have been copied, and identifies the actor who played the role of “Host” as the culprit, and Greg gives the process the actor perhaps used the term “memorial reconstruction,” a phrase that has been taken on by other scholars.[15][16]
Comparison of the "To be, or not to be" soliloquy in the first three editions of Hamlet
For Shakespeare, the First Folio of 1623 is the crucial document; of the thirty-six plays contained in that collection, eighteen have no other source. The eighteen other plays had been printed in quarto form at least once between 1594 and 1623; but since the prefatory matter in the First Folio itself warns against earlier texts, which are termed "stol'n and surreptitious copies, maimed and deformed by frauds and stealths of injurious impostors", eighteenth- and nineteenth-century editors of Shakespeare tended to ignore the quarto texts in favor of the Folio.
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Criticism and alternate hypotheses[edit]
Some problems exist with the bad quarto hypothesis. The first quarto of Richard III is considered a bad quarto, "even though it is an unusually 'good' bad quarto."[19] Alexander himself recognized that the idea of memorial reconstruction did not apply perfectly to the two plays he studied, which possessed problematical features that could not be explained this way. He maintained that the quartos of the two early histories were partial memorial reconstructions.
Some critics, including Eric Sams and Hardin Craig, dispute the entire concept of memorial reconstruction, pointing out that, unlike shorthand reporting, there was no reliable historical evidence that actors reconstructed plays from memory. In this view, memorial reconstruction is a modern fiction. Individual scholars have sometimes favored alternative explanations for variant texts — in some cases, revision.[20] Steven Roy Miller considers a revision hypothesis in preference to a bad-quarto hypothesis for The Taming of a Shrew, the alternative version of Shakespeare's The Taming of the Shrew.[21]
Robert Burkhart's 1975 study Shakespeare's Bad Quartos: Deliberate Abridgements Designed for Performance by a Reduced Cast provides another alternative to the hypothesis of bad quartos as memorial reconstruction. Other studies have questioned the "orthodox view" on bad quartos, as in David Farley-Hills's work on Romeo and Juliet.
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QMRQuartu Sant'Elena [ˈkwartu sanˈteːlena] (Sardinian: Cuartu Sant'Aleni), located four miles East from Cagliari on the ancient Roman road, is a city and comune in the Province of Cagliari, Sardinia, Italy. It is the third biggest city of Sardinia with a population of 69,225 as of 2012.
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QMRQuarto Cagnino is a district ("quartiere") of Milan, Italy, part of the Zone 7 administrative division of the city. It borders onto the districts of Trenno (north), San Siro (east), Baggio (south), and Quinto Romano (west). Before being annexed to Milan, in 1869, it was an autonomous comune and, briefly, a part of Trenno (from 1861 to 1869).[1]
Quarto Cagnino is a formerly rural, now urban district, with the last period of quick urban development having occurred in the late 1960s in so called "GESCAL" projects. The "GESCAL" acronym stands for "Gestione Case per i Lavoratori", i.e., "Housing for Workers"; these projects were meant to realized vast low-income apartment blocks in rationally organized, "satellite" city neighbourhoods.[2] Example of GESCAL apartment flats are found along Via Carlo Marx, close to the San Carlo hospital. While low-income, huge apartment buildings dominate the landscape of Quarto, these contrast with some remaining ancient cascine, testifying the rural past of the district. These are mostly found along Via Fratelli Zoia, which used to be the main street of old rural Quarto Cagnino.[1]
The district is connected to Milan by several bus lines. The district has one of the major hospitals in Milan, the San Carlo, and part of two large city parks, Parco delle Cave and Parco di Trenno.
History[edit]
The origins of "Quarto Cagnino" date back at least to Roman times, as the very toponymy proves (the name "quarto", i.e., "fourt", being a reference to Quarto being four Roman miles from Milan). In the Middle Ages, a rural borgo developed, which had an important role in the Milanese country as it was crossed by both a pilgrimage route to the Holy Land and the road towards Santiago de Compostela.[3] In the 18th and 19th, a number of cascine (farms) were established nearby the borgo. Prominent crops in the area included mulberries, vine, and fodder.[1]
In 1846, the population of Quarto was 298, and its territory 182 hectars. In 1861, Quarto Cagnino as well as two nearby comunes (Figino and Quinto Romano) were annexed to Trenno (which was renamed "Trenno e Uniti") which in turn became part of Milan in 1869.[1]
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QMRQuarto Oggiaro (Quart Ogiee in Milanese dialect) is a district of Milan in the north-west of the city, part of zone 8.
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Name[edit]
The name Quarto Oggiaro derives from an older toponymy Quarto Uglerio: the word Quarto, meanining fourth, is clearly reference to the distance of four Roman miles from the center of Milan, while the second part of the name, Uglerio, but it is supposed to be the name of some influent inhabitant of the area in ancient times.
The transformation from Uglerio to Oggiaro can be found on the maps of 1872, but already present on some maps of the Spanish period.
Boundaries[edit]
Quarto Oggiaro borders to:
to north, the municipality of Novate Milanese
with the Zone 8 districts to the west Vialba and to the south Villapizzone
to the east by the districts of Bovisasca and Comasina, the border between zone 8 and zone 9
The border with the municipality of Novate Milanese is a few hundred meters to the south of the Autostrada A4 (Italy) highway in the span between Svincolo Milano Certosa and Milano Cormano exit. Currently this area is a grassland.
The ferrovie nord railway Milan - Saronno along the section between Milano Bovisa-Politecnico railway station and Milano Quarto Oggiaro railway station divides the area from zone 9, while the border with Villapizzone is bordered by the stretch of the Turin-Milan railway between the station in Milano Certosa railway station and Milano Centrale railway station up to the junction with the ferrovie nord Milan - Saronno.
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Quarto Oggiaro and Vialba[edit]
In today's breakdown of neighborhoods and statistics for the calculation of the population, it is believed the axis Via Eritrea - Via Lessona as the way of demarcation between Quarto Oggiaro and Vialba, in fact even numbers of these pathways belong to Quarto Oggiaro and numbers odd to the neighborhood Vialba. The original core of the Quarto Oggiaro lies along the axis of the Via Aldini now considered part of the neighborhood Vialba. Nothing prevents you refer to that part and up to the border with Villa Scheibler with its original name, Quarto Oggiaro.
Villa Scheibler, the ancient hunting lodge with its park, is also historically Vialba.
The relationship between the two districts is very strong: both extend from the bridge of Via Palizzi to the extreme north-western outskirts of Milan. The part of Vialba bordering Quarto Oggiaro had the same plan for the urban development of housing and is often considered as part of the Quarto Oggiaro.
The old villages became urban districts with continuous are only partially distinguishable, the division between areas is often absent and the virtual boundary between the older areas frequently becomes the center line of a street of large dimensions. In fact we try to keep names and historical areas in the new urban context. This division is maintained for administrative reasons and of distance between one area and another, although there are no, or only partially, intervals of separation.
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History[edit]
Quarto Oggiaro old[edit]
Starting from 1700 Quarto Oggiaro, or Quarto Uglerio, was part of the municipality of Musocco and it was a group of houses and farms around the Villa Caimi-Finoli, a patrician villa connected to the larger Villa Scheibler and the Church of Saints Nazario and Celso[1] built at the end of 1700. The development was around the current Via Aldini.
XX° siecle[edit]
The municipality of Musocco, which Quarto Oggiaro was a fraction as well as the adjacent village of Vialba, remained independent until 1923, when it was included in Milan.
At the end of forty years developed a great migration from the South to the industrial centers of the North in search of work, uncultivated areas of Milan, like that of Quarto Oggiaro, became the place to meet the great increase in population of the city.
Quarto Oggiaro, as we see it today, was born in the fifties: in 1954 the first social houses were built, and thanks to the developments following in a short time, this area became one of the largest housing estates in Milan. The District has expanded through a series of lots of construction, especially in the sixties, becoming a great neighborhood dormitory, it took many years before the locals could enjoy basic services. The neighborhood has always been home to numerous immigrants, first from the southern regions, then non-EU.
The district with the urban model planned of only social housing, the problems associated with trying to integrate social and economic impact of its new inhabitants in the city, the management of the sale of drugs by some families with acts of violence, it did more sometimes jump to the headlines as the land of difficult living conditions, sometimes forgetting the immense efforts made by the people and associations for social and environmental sustainability of the district. The images of the houses and barracks of Via Pascarella, Via De Pisis were taken by the media as a symbol of urban and social development of Milan during the 50s and 60s.
Commercially, the area is developed at Via De Roberto with numerous shops, at Via Fratelli Antona Traversi with the Municipal Market and around the intersection Via Lessona - Via Amoretti.
Other than the fate of the southern part of the district, on the border with the district Villapizzone: the proximity to the national railway station and the Milano Certosa railway station made the area exploited by the industrial point of view. The company fuel Fina bought the area in 1926, making it in large storage depot for oil, transported by rail.
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Quarto d'Altino is a town in the province of Venice, Veneto, Italy. SP41 goes through it.
The name "Quarto D'Altino" is composed by the prefix "Quarto" because the town was a quarter of a mile from the Roman city Altinum.
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QMRQuarto dei Mille is a residential district in the east of Genoa. Overlooking the sea and between "Sturla" and "Quinto al mare" districts, until 1861 - the year of the Unification of Italy - it was called the "Quarto al mare". The name was later changed in honor of the expedition of the Thousand. In 1926 it was united to the Big Genoa.
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QMRHenry Frank Phillips (June 4, 1889 – April 13, 1958)[1] was a U.S. businessman from Portland, Oregon. The Phillips-head ("crosshead") screw and screwdriver are named after him.[2]
The importance of the crosshead screw design lies in its self-centering property, useful on automated production lines that use powered screwdrivers.[3] Phillips' major contribution was in driving the crosshead concept forward to the point where it was adopted by screwmakers and automobile companies. The credited inventor of the Phillips screw was John P. Thompson.
It looks like a quadrant
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Henry IV, Part 1[edit]
Quarto 0 1598
This version thought to be earlier than Q1 is known only from a single fragment in the Folger Shakespeare Library, comprising four leaves of quire C that was found in a book binding. The running headline uses the word "hystorie" instead of "historie" and line spoken by Poins in 2.2, "How the rogue roared" is given as "How the fat rogue roared".
Q1 1598
THE | HISTORY OF | HENRIE THE | FOVRTH; | With the battell at Shrewsburie, | betweene the King and Lord | Henry Percy , surnamed | Henrie Hotspur of | the North. | With the humorous conceits of Sir | Iohn Falstalffe. | AT LONDON, | Printed by P. S. for Andrew Wise, dwelling | in Paules Churchyard, at the signe of | the Angell, 1598.
Q2 1599
THE | HISTORY OF | HENRIE THE | FOVRTH; | With the battell at Shrewsburie, | betweene the King and Lord Henry | Percy, surnamed | Henrie Hot- | spur of | the North. | With the humorous conceits of Sir | Iohn Falstalffe. | Newly corrected by W. Shake-speare. | AT LONDON, | Printed by S. S. for Andrew VVise, dwelling | in Paules Churchyard, at the signe of | the Angell. 1599.
Q3 1604
THE | HISTORY OF | Henrie the fourth, | VVith the battell at Shrewsburie, | betweene the King, and Lord | Henry Percy, surnamed Henry Hot- | spur of the North. | With the humorous conceits of Sir | Iohn Falstalffe. | Newly corrected by W. Shake-speare. | LONDON | Printed by Valentine Simmes, for Mathew Law, and | are to be solde at his shop in Paules Churchyard, | at the signe of the Fox. | 1604.
Q4 1608
THE | HISTORY OF | Henry the fourth, | VVith the battell at Shrewsburie, | betweene the King, and Lord | Henry Percy, surnamed Henry | Hotspur of the North. | With the humorous conceites of Sir | Iohn Falstalffe. | Newly corrected by W. Shake-speare. | LONDON | Printed for Mathew Law, and are to be sold at | his shop in Paules Church-yard, neere vnto S. | Augustines gate, at the signe of | the Foxe, 1608.
Q5 1613
THE | HISTORY OF | Henrie the fourth, | With the Battell at Shrewseburie, betweene | the King, and Lord Henrie Percy, sur- | named Henrie Hotspur of the North. | VVith the humorous conceites of Sir | Iohn Falstaffe. | Newly corrected by W. Shake-speare. | LONDON, | Printed by W. W. for Mathew Law, and are to be sold | at his shop in Paules Church-yard, neere vnto S. | Augustines Gate, at the signe of the Foxe. | 1613.
Q6 1622
THE | HISTORIE | OF | Henry the Fourth. | With the Battell at Shrewseburie, betweene | the King, and Lord Henry Percy, surnamed | Henry Hotspur of the North. | With the humorous conceits of Sir | Iohn Falstaffe. | Newly corrected. | By William Shake-speare. | LONDON, | Printed by T. P. and are to be sold by Mathew Law, dwelling | in Pauls Church-yard, at the signe of the Foxe, neere | S. Austines gate. 1622.
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Q7 1632
THE | HISTORIE | OF | Henry the Fourth: | With the battell at Shrewesbury, be- | tweene the King, and Lord Henry Percy, | surnamed Henry Hotspur of | the North. | With the humorous conceits of Sir | Iohn Falstaffe. | Newly corrected, | By William Shake-speare. | London. | Printed by Iohn Norton, and are to bee sold by | William Sheares, at his shop at the great South doore | of Saint Pauls-Church; and in Chancery-Lane, | neere Serieants-Inne. | 1632.
Q8 1639
THE | HISTORIE | OF | Henry the Fourth: | WITH THE BATTELL AT | Shrewsbury, betweene the King, | and Lord Henry Percy, surnamed | Henry Hotspur of the | North. | With the humorous conceits of Sir | IOHN FALSTAFFE. | Newly corrected, | By WILLIAM SHAKE-SPEARE. | LONDON | Printed by JOHN NORTON, and are to be sold by | HVGH PERRY, at his shop next to Ivie-bridge | in the Strand. 1639.
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Love's Labour's Lost[edit]
Q 1598
A | PLEASANT | Conceited Comedie | CALLED, | Loues labors lost. | As it vvas presented before her Highnes | this last Christmas. | Newly corrected and augmented | By W. Shakespere. | Imprinted at London: by W. W. | for Cutbert Burby, | 1598.
Q 1598
Henry IV, Part 2[edit]
Quarto a (84 pages) omits the first scene of act iii and eight other passages in quire E. Quarto b (88 pages) adds the missing first scene of act iii and resets the immediately surrounding text, adding two leaves to quire E. The title pages are identical.
Q 1600
THE | Second part of Henrie | the fourth, continuing to his death, | and coronation of Henrie | the fift. | With the humours of sir Iohn Fal- | staffe, and swaggering | Pistoll. | As it hath been sundrie times publikely | acted by the right honourable, the Lord | Chamberlaine his seruants. | Written by William Shakespeare. | LONDON | Printed by V. S. for Andrew Wise, and | William Aspley. | 1600.
Q 1600
Henry V[edit]
Q1, 1600
THE | CRONICLE | History of Henry the fift, | With his battell fought at Agin Court in | France. Togither with Auntient | Pistoll. | As it hath bene sundry times playd by the Right honorable | the Lord Chamberlaine his seruants. | LONDON | Printed by Thomas Creede, for Tho. Milling- | ton, and Iohn Busby. And are to be | sold at his house in Carter Lane, next | the Powle head. 1600. (56 pp.)
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Q2, 1602
THE | CHRONICLE | History of Henry the fift, | VVith his battell fought at Agin Court | in France. Together with Auntient | Pistoll. | As it hath bene sundry times playd by the Right honorable | the Lord Chamberlaine his seruants. | LONDON | Printed by Thomas Creede, for Thomas | Pauier, and are to be sold at his shop in Cornhill, | at the signe of the Cat and Parrets neare | the Exchange. 1602. (52 pp.)
Q3, 1619 (falsely dated 1608 as part of Thomas Pavier's False Folio)
THE | Chronicle History | of Henry the fift, with his | battell fought at Agin Court in | France. Together with an- | cient Pistoll. | As it hath bene sundry times playd by the Right Honou- | rable the Lord Chamberlaine his | Seruants. | Printed for T. P. 1608. (56 pp.)
Q1 1600
Q2 1602
Q3 1619
A Midsummer Night's Dream[edit]
Q1 1600
A | Midsommer nights | dreame. | As it hath beene sundry times pub- | lickely acted, by the Right honoura- | ble, the Lord Chamberlaine his | seruants. | Written by William Shakespeare. | ¶ Imprinted at London, for Thomas Fisher, and are to | be soulde at his shoppe, at the Signe of the White Hart, | in Fleetestreete. 1600.
Q2 1619 (falsely dated 1600 as part of Thomas Pavier's False Folio)
A | Midsommer nights | dreame. | As it hath beene sundry times pub- | likely acted, by the Right Honoura- | ble, the Lord Chamberlaine his | seruants. | VVritten by VVilliam Shakespeare. | Printed by Iames Roberts, 1600.
Q1 1600
Q2 1619
Merchant of Venice[edit]
Q1 1600
The most excellent | Historie of the Merchant | of Venice. | VVith the extreame crueltie of Shylocke the Iewe | towards the sayd Merchant, in cutting a iust pound | of his flesh: and the obtayning of Portia | by the choyse of three | chests. | As it hath beene diuers times acted by the Lord | Chamberlaine his seruants. | Written by William Shakespeare. | AT LONDON, | Printed by I. R. for Thomas Heyes, | and are to be sold in Paules Church-yard, at the | signe of the Greene Dragon. | 1600.
Q2 1619 (falsely dated 1600 as part of Thomas Pavier's False Folio)
THE | EXCELLENT | History of the Mer- | chant of Venice. | With the extreme cruelty of Shylocke | the Iew towards the saide Merchant, in cut- | ting a iust pound of his flesh. And the obtaining | of Portia, by the choyse of | three Caskets. | Written by W. SHAKESPEARE. | Printed by J. Roberts, 1600
Q3 1637
The most excellent | Historie of the Merchant | of VENICE. | With the extreame crueltie of Shylocke | the Iewe towards the said Merchant, in | cutting a just pound of his flesh: and the ob- | taining of PORTIA by the choice | of three Chests. | As it hath beene divers times acted by the | Lord Chamberlaine his servants. | Written by WILLIAM SHAKESPEARE. | LONDON, | Printed by M. P. for Laurence Hayes, and are to be sold | at his Shop on Fleetbridge. 1637.
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Much Ado About Nothing[edit]
Q 1600
Much adoe about | Nothing. | As it hath been sundrie times publikely | acted by the right honourable, the Lord | Chamberlaine his seruants. | Written by William Shakespeare. | LONDON | Printed by V. S. for Andrew Wise, and | William Aspley. | 1600.
Q 1600
Merry Wives of Windsor[edit]
Q1 1602
A | Most pleasaunt and | excellent conceited Co- | medie, of Syr Iohn Falstaffe, and the | merrie Wiues of Windsor. | Entermixed with sundrie | variable and pleasing humors, of Syr Hugh | the Welch knight, Iustice Shallow, and his | wise Cousin M. Slender. | With the swaggering vaine of Auncient | Pistoll, and Corporall Nym. | By William Shakespeare. | As it hath bene diuers times Acted by the right Honorable | my Lord Chamberlaines seruants. Both before her | Maiestie, and else-where. | LONDON | Printed by T. C. for Arthur Iohnson, and are to be sold at | his shop in Powles Church-yard, at the signe of the | Flower de Leuse and the Crowne. | 1602.
Q2 1619 (publisher falsely stated as Arthur Johnson as part of Thomas Pavier's False Folio)
A | Most pleasant and ex- | cellent conceited Comedy, | of Sir Iohn Falstaffe, and the | merry VViues of VVindsor. | VVith the swaggering vaine of An- | cient Pistoll, and Corporall Nym. | Written by W. SHAKESPEARE. | Printed for Arthur Johnson, 1619.
Q3 1630
THE | MERRY VVIVES | OF WINDSOR. | With the humours of Sir Iohn Falstaffe, | As also the swaggering vaine of Ancient | Pistoll, and Corporall Nym. | Written by William Shake-Speare. | Newly corrected. | LONDON: | Printed by T. H. for R. Meighen, and are to be sold | at his Shop, next to the Middle-Temple Gate, and in | S. Dunstans Church-yard in Fleet-street, | 1630.
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Hamlet[edit]
Q1 1603
THE | Tragicall Historie of | HAMLET | Prince of Denmarke | by William Shake-speare. | As it hath beene diuerse times acted by his Highnesse ser- | uants in the Cittie of London : as also in the two V- | niuersities of Cambridge and Oxford, and else-where | At London: printed for N. L. and Iohn Trundell. | 1603. (66 pp.)
Q2 a 1604
THE | Tragicall Historie of | HAMLET, | Prince of Denmarke. | By William Shakespeare. | Newly imprinted and enlarged to almost as much | againe as it was, according to the true and perfect | Coppie. | AT LONDON, | Printed by I. R. for N. L. and are to be sold at his | shoppe vnder Saint Dunstons Church in | Fleetstreet. 1604. (102 pp.)
Q2 b 1605
THE | Tragicall Historie of | HAMLET, | Prince of Denmarke. | By William Shakespeare. | Newly imprinted and enlarged to almost as much | againe as it was, according to the true and perfect | Coppie. | AT LONDON, | Printed by I. R. for N. L. and are to be sold at his | shoppe vnder Saint Dunstons Church in | Fleetstreet. 1605. (102 pp.)
Q3 1611
THE | TRAGEDY | OF | HAMLET | Prince of Denmarke. | BY | WILLIAM SHAKESPEARE. | Newly imprinted and enlarged to almost as much | againe as it was, according to the true | and perfect Coppy. | AT LONDON, | Printed for Iohn Smethwicke, and are to be sold at his shoppe | in Saint Dunstons Church yeard in Fleetstreet. | Vnder the Diall. 1611. (104 pp.)
Q4 1622 (no date)
THE | TRAGEDY | OF | HAMLET | Prince of Denmarke. | BY | WILLIAM SHAKESPEARE. | LONDON, | Printed by W. S. for Iohn Smethwicke, and are to be sold at his | shoppe in Saint Dunstons Church-yard in Fleetstreet: | Vnder the Diall.
Q5 1637
THE | TRAGEDY | OF HAMLET | PRINCE OF | DENMARK. | Newly imprinted and inlarged, according to the true | and perfect Copy last Printed. | By WILLIAM SHAKESPEARE. | LONDON, | Printed by R. Young for John Smethwicke, and are to be sold at his | Shop in Saint Dunstans Church-yard in Fleet-stteet, | under the Diall, 1637. (104 pp.)
Cinema Chapter
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