Quadrant Model of Reality Book 1 Art More

The rhyme royal stanza consists of seven lines, usually in iambic pentameter. The rhyme scheme is a-b-a-b-b-c-c. In practice, the stanza can be constructed either as a tercet and two couplets (a-b-a, b-b, c-c) or a quatrain and a tercet (a-b-a-b, b-c-c). This allows for variety, especially when the form is used for longer narrative poems. Along with the couplet, it was the standard narrative metre in the late Middle Ages.

The rich tradition of Chinese poetry began with two influential collections. In northern China, the Shijing or Classic of Poetry (approx. 10th-7th century BC) comprises over 300 poems in a variety of styles ranging from those with a strong suggestion of folk music to ceremonial hymns.[5] The word shi has the basic meaning of poem or poetry, as well as its use in criticism to describe one of China's lyrical poetic genres. Confucius is traditionally credited with editing the Shijing. Its stately verses are usually composed of couplets with lines of four characters each (or four syllables, as Chinese characters are monosyllabic), and a formal structure of end rhymes.

The Four Great Books of Song (simplified Chinese: 宋四大书; traditional Chinese: 宋四大書; pinyin: Sòng sì dà shū) was compiled by Li Fang (925-996) and others during the Song dynasty (960–1279). The term was coined after the last book (Cefu Yuangui) was finished during the 11th century. The four encyclopedias were published and intended to collect the whole knowledge of the new state. The four books are: The Taiping Yulan is a general-purpose leishu encyclopedia. The Taiping Guangji is a collection of deities, fairies, ghost stories and theology. The Wenyuan Yinghua is an anthology of poetry, odes, songs and other writings. The Cefu Yuangui is a leishu encyclopedia of political essays, autobiographies, memorials and decrees.

Originated in 1994, the The Dramatica Theory of Story Structure is a diagnostic modelling tool built around a concept called “The Story Mind.” According to this notion, every story has a mind of its own – its psychology is built by the story’s structure and its personality is determined by the storytelling. Appearing not unlike a cross between the Periodic Table of Elements and a three dimensional chess set, the Dramatic Table of Story Elements is divided into four families: Universe (representing situations), Mind (attitudes), Physics (activities) and Psychology (manners of thinking). These four families are represented as occupying a square (called a quad) divided into four parts, one family in each corner. The position of each item in a quad is important because the quad actually represents an equation purported by the Dramatica theory to represent the basic building block of thought. With the four families at the top, the model extends down three additional “levels”, creating a three-dimensional volume in which the story’s argument takes place and can be charted, analyzed and even predicted. Each level below the top is continually subdivided into smaller and more refined dramatic units. For example, Universe is subdivided into Past, Present, Future, and Progress. Each of those smaller units is subdivided as well until, at the fourth and bottom level of the model, each family contains sixty-four elements. The equations used to create the model establish consistent relationships among dramatic elements. For example, one of the subdivisions under the Mind family is “Memory” which falls in the same relative position in its quad to “Past” in the Universe family. Therefore, Memory is to Mind as Past is to Universe. The entire model is consistently structured in this manner. In addition, the structure is not fixed, but flexible. The Dramatica theory uses a series of “dynamic operations” to twist and turn the model like a Rubik's Cube in order to create the dramatic potentials necessary to support an author’s intent. In later years, the ongoing development of Dramatica split into two branches. First is ongoing exploration into using the model to understand the workings of the human mind itself – an area of research called (by the theory creators) Mental Relativity. The second area of development is the implementation of the model as a patented computer program called “The Story Engine” which can be used to analyze story structures to find holes and inconsistencies and also used to interactively suggest how to fix and fill them. Dramatica theory has been taught at several universities, including the University of California at Los Angeles, where the theory creators taught a twelve-week “for credit” course for several years. The most definitive explanation of the theory can be found in the book, Dramatica – A New Theory of Story (ISBN 091897304X ISBN 978-0-918973-04-7), authored by the theory co-creators.

The Teletubbies are made up of four main characters. They are red, purple, green, and yellow. The teletubbies are an extreemly popular cultural phenomenon. Main characters Tinky-Winky (played by Dave Thompson and later Simon Shelton in the original series and by Jeremiah Krage in the revised series) is the first Teletubby. He is the largest and oldest of the Teletubbies, is covered in purple terrycloth, and has a triangular antenna on his head. He is notable for the red bag he almost always carries. Dipsy (played by John Simmit in the original series and by Nick Kellington in the revised series) is the second Teletubby. He is green and is named "Dipsy" because his antenna resembles a dipstick. Dipsy is the most stubborn of the Teletubbies, and will sometimes refuse to go along with the other Teletubbies' group opinion. His face is notably darker than the rest of the Teletubbies, and the creators have stated that he is black.[7] Laa-Laa (played by Nikky Smedley in the original series and by Rebecca Hyland in the revised series) is the third Teletubby. She is yellow and has a curly antenna. She is very sweet, likes to sing and dance, and is often shown looking out for the other Teletubbies. Po (played by Pui Fan Lee in the original series and by Rachelle Beinart in the revised series) is the fourth and last Teletubby. She is the smallest and youngest out of all the Teletubbies. She is red, and has an antenna shaped like a stick used for blowing soap bubbles. Po usually speaks in a soft voice. She has been stated by the show's creators to be Cantonese.[7]

Left 4 Dead 1, 2 is a very popular video game with four main characters.

the main four form the pokemon anime There's Ash from the main show and Pikachu Jimmy from the Legend of Thunder and Typhlosion Nate from the Pokemon Black 2 and White 2 anime preview and Emboar Red from Pokemon Origins and Mega Charizard X

Lucky Star (らき☆すた Raki☆Suta?) is a Japanese four-panel comic strip manga by Kagami Yoshimizu. Lucky Star 's story mainly portrays the lives of four Japanese girls attending a Japanese high school. The setting is mainly based on the city of Kasukabe in Saitama Prefecture.[3] The main character is Konata Izumi, a lazy girl who constantly blows off her schoolwork and homework, and instead uses most of her time to watch anime, play video games, and read manga. Although she is lazy, she has also proven to be very intelligent and athletic. The serialization began with the four main characters in their first year of high school: Konata Izumi, Kagami Hiiragi, Tsukasa Hiiragi, and Miyuki Takara. As the story progresses, they move on to their second and third years. However, the anime starts the story with them beginning their second year, and the other high school girls that are seen in the opening are only introduced halfway through the series. The storyline usually includes numerous references to popular past and present manga, anime and tokusatsu series.

The four traditional theatres from Japan are noh (or nō), kyōgen, kabuki, and bunraku. Noh had its origins in the union of the sarugaku, with music and dance made by Kanami and Zeami Motokiyo.[5] Among the characteristic aspects of it are the masks, costumes, and the stylized gestures, sometimes accompanied by a fan that can represent other objects. The noh programs are presented in alternation with the ones of kyōgen, traditionally in number of five, but currently in groups of three.

The Four-Corner Method (simplified Chinese: 四角号码检字法; traditional Chinese: 四角號碼檢字法; pinyin: sì jiǎo hàomǎ jiǎnzì fǎ; literally: "four corner code lookup-character method") is a character-input method used for encoding Chinese characters into either a computer or a manual typewriter, using four or five numerical digits per character. The Four-Corner Method is also known as the Four-Corner System. The four digits encode the shapes found in the four corners of the symbol, top-left to bottom-right. Although this does not uniquely identify a Chinese character, it leaves only a very short list of possibilities. A fifth digit can be added to describe an extra part above the bottom-right if necessary. The fifth is always questionable

In 1933 Steinbeck published The Red Pony, a 100-page, four-chapter story weaving in memories of Steinbeck's childhood.[

The literary tradition of Classical Chinese poetry begins with the Classic of Poetry, or Shijing, dated to early 1st millennium BC. According to tradition, Confucius (551 BCE – 479 BCE) was the final editor of the collection in its present form, although the individual poems would accordingly all be more-or-less older than this. Burton Watson dates the anthology's main compilation date to about 7th century BCE, with the poems having been collected over the previous four to five centuries before.[1] This, among other factors, indicates a rather sustained cross-class popularity for this type or these types of poetry, including for instance their characteristic four-character per line meter.[2] The Shijing tends to be associated with northern Chinese vocabulary and culture, and in particular with the great sage and philosopher Confucius: this helped to eventuate the development of this type of poetry into the classic shi style, the literal meaning of Shijing. The remarkable thing is that despite their commendation by Confucius, no extant samples of any poetry of this style are known for the next three hundred years.[3] The classic shi poetry, with its four-character lines, was revived by Han and Three Kingdoms poets, to some extent.[4] However, among other poetic developments during the Han epoch was the development of a new form of shi poetry, dating from about the 1st century BCE, initially consisting of five-character lines, and later seven-character lines.[5] The development of this form of shi poetry would occur in conjunction with various other phenomena related to Han poetry. It is indeed ironic that the new form of shi developed during the Han and the Jian'an period would become known as "gushi", or "ancient style poetry".

In Chinesepoetry A three-character line is known from the Three Character Classic, a book for children written in three-character eight-line verse in rhymed couplets. Four-character lines are encountered in the popular form of verse matching, where two verses are matched, often with rhyme, and often traditional four-character idioms, frequently drawn from classical poetry. For instance, two four-character lines may be written on matching scrolls, in Chinese calligraphy, and each decoratively hung on either side of a door or entrance way, these are known as Duilian. Some ancient style poetry was also four-line. Six-character line lengths are relatively rare in fixed-length poems, but are found for example in the work of Wang Jian. Five, Seven, and eight (or doubled four character lines) character lines are standard for serious, fixed-length poetry.

Chengyu (simplified Chinese: 成语; traditional Chinese: 成語, pinyin: chéngyǔ, lit. "set phrases") are a type of traditional Chinese idiomatic expressions, most of which consist of four characters. Chengyu were widely used in Classical Chinese and are still common in vernacular Chinese writing and in the spoken language today. According to the most stringent definition, there are about 5,000 chengyu in the Chinese language, though some dictionaries list over 20,000. They are often referred to as Chinese idioms or four-character idioms; however, they are not the only idioms in Chinese. There are many more The characters are placed in a quadrant formation.

Chengyu are mostly derived from ancient literature. The meaning of a chengyu usually surpasses the sum of the meanings carried by the four characters, as chengyu are often intimately linked with the myth, story or historical fact from which they were derived. As such, chengyu do not follow the usual grammatical structure and syntax of the modern Chinese spoken language, and are instead highlycompact and synthetic.

Chengyu in isolation are often unintelligible without explanation, and when students in China learn chengyu in school as part of the classical curriculum, they also need to study the context from which the chengyu was born. Often the four characters reflect the moral behind the story rather than the story itself. For example, the phrase "break the woks, sink the boats" (破釜沉舟, About this sound pò fǔ chén zhōu) is based on a historical account where the general Xiang Yu ordered his troops to destroy all cooking utensils and boats after crossing a river into the enemy's territory. He won the battle because of this "no-retreat" strategy. Similar phrases are known in the West, such as "burning bridges" or "Crossing the Rubicon". This particular idiom cannot be used in a losing scenario because the story behind it does not describe a failure.

The following three examples show that the meaning of the idiom can be totally different by only changing one character.

一 日 千 秋 : "One day, a thousand autumns."

Meaning: implies rapid changes; one day equals a thousand years

一 日 千 里 : "One day, a thousand miles."

Meaning: implies rapid progress; traveling a thousand miles in a day

一 日 三 秋 : "One day, three autumns."

Meaning: greatly missing someone; one day feels as long as three years

Other examples in Chinese:

三人成虎 (Three men make a tiger)

Yojijukugo is the similar format in Japanese. The term yojijukugo (四字熟語?, four character idiom) is autological. Many of these idioms were adopted from their Chinese counterparts and have the same or similar meaning as in Chinese. The term koji seigo (故事成語?, historical idiom) refers to an idiom that comes from a specific text as the source. As such, the overwhelming majority of koji seigo comes from accounts of history written in classical Chinese. Although a great many of the Japanese four-character idioms are derived from the Chinese, many others are purely Japanese in origin. Some examples: 花鳥風月 ka, chō, fū, getsu ("Flower, Bird, Wind, Moon"; beauties of nature) 一期一会　 ichigo ichie (once-in-a-lifetime experience) 傍目八目　 okamehachimoku (a bystander's vantage point) 手前味噌　 temaemiso (singing one's own praises; tooting one's own horn) 二股膏薬　 futamatagōyaku (double-dealer; timeserver) 風林火山　 fū, rin, ka, zan ("wind, woods, fire, mountain"; military proverb coming from Sun Tzu's "Art of War")

THe Korean equivalent of Chengyu are sajasungoh, or four character poems, (사자성어).[2] They have similar categorization to Japanese ones, such as 고사성어 (故事成語) for historical idioms.

Structure   of four character i dioms Korean idioms, or Gosasungoh,   generally   consist of four Chinese Characters or Hanja. At times they are also referred as 4 character   idioms (sajasungoh). Many idioms have their origins in historical events. However, some also reflect their origin from myths and   legends from era gone by. So, by understanding these idioms, one can also start to understand the historical, legendary or   mythical and classical literature backgrounds of Koreans. Example:   가가대소 ( 呵呵大笑 ),   박장대소 ( 拍掌大笑 ), can be translated as “guffaw,” or “a hearty laugh.” Literal translation:   “ have a good laugh: laugh heartily, loud laughter.” As noted, whil e many of these are composed for four hanjas, there are examples of these composed of   two, t hree, and five hanja .   For example, “perfection” or wan -­‐ byuk, is composed of two hanja and literally means “complete marble (ball)” or “intact marble.”   However, it has changed throughout time to mean “perfection.” There are many other words that have ev olved to its current   usage.   Some of these idioms have a direct English or western counterparts. For instance, the Korean idiom ‘jaewangjulgae’ can be   t ranslated to ‘Cesarean Birth ’ or   ‘ Cesarean Section. ’ Idioms are not just a simple reflection of histori cal events and myths and legends of time gone by, but also reflect the changes in our   culture and our lives. New idioms are being formed to reflect these radial changes

The use of contractions is as old as Chinese characters themselves, and they have frequently been found in religious or ritual use. In the Oracle Bone script, personal names, ritual items, and even phrases such as 受又(祐) shòu yòu "receive blessings" are commonly contracted into single characters. A dramatic example is that in medieval manuscripts 菩薩 púsà "bodhisattva" (simplified: 菩萨) is sometimes written with a single character formed of a 2×2 grid of four 十 (derived from the grass radical over two 十).[ That is the quadrant model

There are also some extremely complex characters which have understandably become rather rare. According to Joël Bellassen (1989), the most complex Chinese character is Zhé.svg/𪚥 (U+2A6A5) zhé About this sound listen (help·info), meaning "verbose" and containing sixty-four strokes; this character fell from use around the 5th century. It might be argued, however, that while containing the most strokes, it is not necessarily the most complex character (in terms of difficulty), as it simply requires writing the same sixteen-stroke character 龍 lóng (lit. "dragon") four times in the space for one. Another 64-stroke character is Zhèng.svg/𠔻 (U+2053B) zhèng composed of 興 xīng/xìng (lit. "flourish") four times. 64 is four quadrant models.

The Four Great Classical Novels[1] of Chinese literature (Chinese: 四大名著, Sìdàmíngzhù, lit. "Four Great Masterpieces") are the four novels commonly regarded by Chinese literary criticism to be the greatest and most influential of pre-modern Chinese fiction. Dating from the Ming and Qing dynasties, they are well-known to most Chinese either directly or through their many adaptations to opera and various popular culture media. They are among the world's longest and oldest novels[2] and are considered to be the pinnacle of China's achievement in classical novels, influencing the creation of many stories, plays, movies, games, and other forms of entertainment throughout East Asia, including China, Japan, Korea, and Vietnam.

Yojijukugo (四字熟語?) is a Japanese lexeme consisting of four kanji (Chinese characters). English translations of yojijukugo include "four-character compound", "four-character idiom", "four-character idiomatic phrase", and "four-character idiomatic compound". It is equivalent to the Chinese chengyu. The definition of yojijukugo is somewhat murky since the Japanese word jukugo (熟語?, literally "ripe/mature/popular word") can linguistically mean "compound", "idiom", or "phrase". Yojijukugo in the broad sense simply means any Japanese compound words consisting of four kanji characters. In the narrow or strict sense, however, the term refers only to four-kanji compounds that have a particular (idiomatic) meaning that cannot be inferred from the meanings of the components that make them up.

There exists a very large number — perhaps tens of thousands — of four-character compounds. A great majority of them are those whose meanings can be easily deduced from the literal definition of their parts. These compounds may be called non-idiomatic yojijukugo. For example, the compound word 屋内禁煙 okunaikin'en "no smoking indoors" is a non-idiomatic yojijukugo. It is made up of four characters: 屋 oku building, 内 nai inside, 禁 kin prohibited, and 煙 en smoking. Alternatively, it can be regarded as consisting of two common two-character compounds: 屋内 okunai indoors, and 禁煙 kin'en prohibition of smoking. Either way, the meaning of the compound is clear; there are no idiomatic meanings beyond the literal meanings of its components. Below are a few more examples of non-idiomatic yojijukugo: 大学教育 daigakukyōiku (daigaku university + kyōiku education) 環境悪化 kankyōakka (kankyō environment + akka deterioration) 日米関係 nichibeikankei (nichi Japan + bei U.S. + kankei relations) 歴史小説 rekishishōsetsu (rekishi history + shōsetsu novel) 宣伝効果 sendenkōka (senden advertisement + kōka effect). Note that 四字熟語 is itself a non-idiomatic four-character phrase. Idiomatic yojijukugo By contrast, several thousands of these four-character compounds are true idioms in the sense that they have a particular meaning that may not be deducted from the literal meanings of the component words. An example of the highly idiomatic compound is: 海千山千 umisenyamasen (umi ocean + sen thousand + yama mountain + sen thousand) "Ocean-thousand, mountain-thousand" means "a sly old fox" or someone who has had all sorts of experience in life so that s/he can handle, or wiggle out of, any difficult situations through cunning alone. This meaning derives from an old saying that a snake lives in the ocean for a thousand years and in the mountains for another thousand years before it turns into a dragon. Hence a sly, worldly-wise person is referred to as one who has spent "a thousand years in the ocean and another thousand in the mountain". Many idiomatic yojijukugo were adopted from classical Chinese literature. Other four-character idioms are derived from Buddhist literature and scriptures, old Japanese customs and proverbs, and historical and contemporary Japanese life and social experience. The entries in the published dictionaries of yojijukugo are typically limited to these idiomatic compounds of various origins. Chinese and Japanese origins of idiomatic yojijukugo The Japanese yojijukugo are closely related to the Chinese chengyu in that a great many of the former are adopted from the latter and have the same or similar meaning as in Chinese. Many other yojijukugo, however, are Japanese in origin. Some examples of these indigenous Japanese four-character idioms are: 合縁奇縁 aienkien (uncanny relationship formed by a quirk of fate) 一期一会 ichigoichie (once-in-a-lifetime experience) 海千山千 umisenyamasen (sly old dog of much worldly wisdom) 色恋沙汰 irokoizata (romantic entanglement; love affair) 傍目八目 okamehachimoku (a bystander's vantage point) 手前味噌 temaemiso (singing one's own praises; tooting one's own horn) 二股膏薬 futamatagōyaku (double-dealer; timeserver) Examples of idiomatic yojijukugo 一攫千金 ikkakusenkin (ichi one + kaku grasp + sen thousand + kin gold) making a fortune at a stroke. (Origin: Chinese classics) 美人薄命 bijinhakumei (bi beauty + jin person + haku thin + mei life) A beautiful woman is destined to die young.; Beauty and fortune seldom go together. (Origin: Chinese classics) 酔生夢死 suiseimushi (sui drunken + sei life + mu dreamy + shi death) idling one's life away; dreaming away one's life accomplishing nothing significant (Origin: Chinese classics) 羊頭狗肉 yōtōkuniku (yō sheep + tō head + ku dog + niku meat) crying wine and selling vinegar; extravagant advertisement (Origin: Chinese classics) 悪因悪果 akuin'akka (aku bad/evil + in cause + aku bad/evil + ka effect) An evil cause produces an evil effect; Sow evil and reap evil. (Origin: Buddhist scriptures) 会者定離 eshajōri (e meeting + sha person + jō always + ri be separated) Every meeting must involve a parting; Those who meet must part. (Origin: Buddhist scriptures) 一期一会 ichigoichie (ichi one + go life + ichi one + e encounter) (Every encounter is a) once-in-a-lifetime encounter (Origin: Japanese tea ceremony) 一石二鳥 issekinichō (ichi one + seki stone + ni two + chō bird) killing two birds with one stone (Origin: English proverb) 異体同心 itaidōshin (i different + tai body + dō same + shin mind) Harmony of mind between two persons; two persons acting in perfect accord　 順風満帆 junpūmanpan (jun gentle/favorable + pū wind + man full + pan sails） smooth sailing with all sails set; everything going smoothly 十人十色 jūnintoiro (jū ten + nin person + to ten + iro color) to each their own; So many people, so many minds. 自画自賛 jigajisan (ji own/self + ga painting + ji self/own + san praise/an inscription written on a painting) a painting with an inscription or poem written by the artist themselves (as a non-idiomatic compound) singing one's own praises; blowing one's own horn; self-admiration (as an idiomatic compound) 我田引水 gaden'insui (ga own/self + den field + in draw + sui water) self-seeking; feathering one's own nest 唯我独尊 yuigadokuson (yui only + ga self + doku alone + son respect/honor) I alone am honored; holier-than-thou; Holy am I alone (Origin: Buddhist scriptures) 電光石火 denkōsekka (den electricity + kō light + seki stone + ka fire) as fast as lightning

Yonkoma manga (4コマ漫画?, "four cell manga", or 4-koma for short), a comic-strip format, generally consists of gag comic strips within four panels of equal size ordered from top to bottom. (They also sometimes run right-to-left horizontally or use a hybrid 2x2 style, depending on the layout requirements of the publication in which they appear.) Though the word yonkoma comes from the Japanese, the style also exists outside Japan in other Asian countries as well as in the English-speaking market Rakuten Kitazawa (who wrote under the name Yasuji Kitazawa) produced the first yonkoma in 1902. Entitled "Jiji Manga", it was thought to have been influenced by the works of Frank Arthur Nankivell and of Frederick Burr Opper.[1] Jiji Manga appeared in the Sunday edition.[which?] Structure Traditionally, Yonkoma follow a structure known as Kishōtenketsu. This word is a compound formed from the following Japanese Kanji characters: Ki (起):The first panel forms the basis of the story; it sets the scene. Shō (承): The second panel develops upon the foundation of the story laid down in the first panel. Ten (転): The third panel is the climax, in which an unforeseen development occurs. Ketsu (結): The fourth panel is the conclusion, in which the effects of the third panel are seen.[2] Well-known manga drawn using the yonkoma style include: .hack//4 Koma Acchi Kocchi Azumanga Daioh B Gata H Kei Baito-kun Choir! Hetalia: Axis Powers Hidamari Sketch K-On! Kanamemo Kill Me Baby Kin-iro Mosaic Kobo, the Li'l Rascal Lucky Star Monthly Girls' Nozaki-kun Neko Rahmen Nono-chan Nyorōn Churuya-san Puchimas! Petit Idolmaster Sazae-san Seitokai Yakuindomo Sketchbook Taberemasen

Kishōtenketsu (起承転結?) describes the structure and development of classic Chinese, Korean and Japanese narratives. It was originally used in Chinese poetry as a four-line composition, such as Qijue, and is also referred to as kishōtengō (起承転合?). The first Chinese character refers to the introduction or kiku (起句?), the next: development, shōku (承句?), the third: twist, tenku (転句?), and the last character indicates conclusion or kekku (結句?). 句 is the phrase (句 ku?), and gō (合?) means "meeting point of 起 and 転" for conclusion. The following is an example of how this might be applied to a fairytale. Introduction (ki): Topic toss or introduction, what characters appear, era, and other important information for understanding the setting of the story. Development (shō): Receives or follows on from the introduction and leads to the twist in the story. Major changes do not occur. The second square is homeostasis and structure. Twist (ten): Turn or twist to another, new or unknown topic. This is the crux of the story, which is also referred to as the yama (ヤマ?) or climax. It has the biggest twist in the story. The third square is action and is seen as bad. Conclusion (ketsu): Resultant, also referred to as the ochi (落ち?) or ending, it wraps up the story by bringing it to its conclusion. The fourth square is death and wrapping up, thus transcending yet enveloping the previous squares A specific example by the poet Sanyō Rai (頼山陽): Introduction (ki): Daughters of Itoya, in the Honmachi of Osaka. Development (shō): The elder daughter is sixteen and the younger one is fourteen. Twist (ten): Throughout history, generals (daimyo) killed the enemy with bows and arrows. Ketsu (結?): The daughters of Itoya kill with their eyes.[1] The same pattern is used to arrange arguments: Introduction (ki): In old times, copying information by hand was necessary. Some mistakes were made. Development (shō): Copying machines made it possible to make quick and accurate copies. Twist (ten): Traveling by car saves time, but you don't get much impression of the local beauty. Walking makes it a lot easier to appreciate nature close up. Conclusion (ketsu): Although photocopying is easier, copying by hand is sometimes better, because the information stays in your memory longer and can be used later. In the structure of narrative and yonkoma manga, and even for document and dissertation, the style in kishōtenketsu applies to sentence or sentences, and even clause to chapter as well as the phrase for understandable introduction to conclusion. The concept has also been used in game design, particularly in Nintendo's video games, most notably Super Mario games such as Super Mario Galaxy (2007) and Super Mario 3D World (2013); their designers Shigeru Miyamoto and Koichi Hayashida are known to utilize this concept for their game designs.[

Qiyan jueju (七言絕句; abbr. qijue 七絕), known in Japan as shichigon-zekku (七言絶句?) is a type of jueju poetry form consisting of four phrases each seven Chinese characters (or kanji) in length. Shichigon-zekku are the most common form of classical Chinese poems (kanshi), and the standard form of shigin (Japanese chanted poetry). In composing Shichigon-zekku, the character of the phrases (zekku) is important. The rules are as follows: First phrase kiku (起句 "bringing into being"?): Depiction of the scene. the first square is always good and inspirational Second phrase shoku (承句 "understanding"?): Add further illustration and detail to the kiku. This is context. The second square is homeostasis. Third phrase tenku (転句 "changing"?): By changing the scene of action, reveal the true essence of the poem. The third squre is always action Fourth phrase kekku (結句 "drawing together"?): In assimilating the tenku draw together and complete the poem. The forth square is death and completion and transcendence. It draws together,thus encompassing the previous three squares. That is the nature of the forth square and the quadrant model

Shigin (Japanese: 詩吟[needs IPA]) is a performance of reciting a Japanese poem or a Chinese poem read in Japanese, each poem (Japanese: 詩 = shi) usually chanted (Japanese: 吟 = gin) by an individual or in a group. Reciting can be done loudly before a large audience, softly to a few friends, or quietly to the reciter himself or herself.

Each reciting is also termed gin. Any forms of Japanese and Chinese poetry are used for reciting.[citation needed]

Kanshi and classical Chinese poems are usually composed of four or more lines of Chinese characters, or kanji (漢字), each line having the same number of characters. Gin with four phrases, each seven characters long (the most common), are classified as shichigon-zekku (七言絶句?, "seven-word quatrains"). There is strictly only one standard melody, although many poems will be distinguished by minor variations from this theme.

Jueju (traditional Chinese: 絕句; simplified Chinese: 绝句; pinyin: Juéjù; Wade–Giles: Chüeh2chü4; literally: "broken off lines")[1] is a style of jintishi ("modern form poetry") that grew popular among Chinese poets in the Tang Dynasty (618-907), although traceable to earlier origins. Jueju poems are always quatrains; or, more specifically, a matched pair of couplets, with each line consisting of five or seven syllables.[2]

The five-syllable form is called wujue (Chinese: 五絕; pinyin: Wŭjué) and the seven-syllable form qijue (Chinese: 七絕; pinyin: Qījué).[3]

The origins of the jueju style are uncertain.[4] Fränkel states that it arose from the yuefu form in the fifth or sixth century.[1] This pentasyllabic song form, dominant in the Six Dynasties period, may have carried over into shi composition and thus created a hybrid of the yuefu quatrain and shi quatrain.[4] Indeed, many Tang dynasty wujue poems were inspired by these yuefu songs.[3] In the seventh century the jueju developed into its modern form, as one of the three "modern" verse forms, or jintishi, the other two types of jintishi being the lüshi and the pailu.[1] The jueju style was very popular during the Tang dynasty. Many authors composing jueju poems at the time followed the concept of "seeing the big within the small" (Chinese: 小中見大; pinyin: Xiăozhōng jiàndà), and thus wrote on topics of a grand scale; philosophy, religion, emotions, history, vast landscapes and more.[3] Authors known to have composed jueju poems include Du Fu,[5] Du Mu,[6] Li Bai,[7] Li Shangyin,[8] Wang Changling[9] and Wang Wei.[10]

Dodoitsu (都々逸) is a form of Japanese poetry developed towards the end of the Edo Period. Often concerning love or work, and usually comical, Dodoitsu poems consist of four lines with the syllabic structure 7-7-7-5 and no rhyme. The fourth is always differnt from the first three in the quadrant model

A Japanese proverb (諺, ことわざ kotowaza?) may take the form of: a short saying (言い習わし iinarawashi), an idiomatic phrase (慣用句 kan'yōku), or a four-character idiom (四字熟語 yojijukugo). Although "proverb" and "saying" are practically synonymous, the same cannot be said about "idiomatic phrase" and "four-character idiom". Not all kan'yōku and yojijukugo are proverbial. For instance, the kan'yōku 狐の嫁入り kitsune no yomeiri (Literally: a fox's wedding. Meaning: a sun-shower) and the yojijukugo 小春日和 koharubiyori (Literally: small spring weather. Meaning: Indian summer – warm spring-like weather in early winter) are not proverbs. To be considered a proverb, a word or phrase must express a common truth or wisdom; it cannot be a mere noun.

This short poem by Emily Dickinson has two stanzas of four lines each. I had no time to hate, because The grave would hinder me, And life was not so simple It Could finish enmity. Nor had I time to love; but since Some industry must be, The little toil of love, I thought, Was large enough for me.[5]

we can find swastikas depicted in Aleister Crowley's Tarot deck, specifically the swords suit.

interesting indeed

5 of Swords or as I like to say S'words'

The Dutch painter and engraver Maarten van Heemskerck (1498 – 1574) gave in his ‘Septem Orbis Miracula’ (1572) another illustration of a reconstruction after Cesariano. His model of the Mausoleum is a compact building with a rectangular tripartite base (1), a solid lower part with niches and decorative statues (2), a pyramidal shaped roof (3) and a quadriga on the top (4). The roof, with its obligatory twenty-four steps, is divided in two parts with a gallery about halfway. The Mausoleum and its quadriga had apparently such an importance that the picture was chosen as a frontispiece for the Latin edition of Vitruvius’ ‘de Architecture’ by Augustus Rode in 1800. The quadriga on the top is humungous in comparison to the scale of the building and was clearly meant as an eye-catching element. Pliny the Elder stated that the Mausoleum was approximately forty-five meters high, had a peristyle of thirty-six columns and a stepped pyramid roof, crowned with a marble four-horsed chariot. The design can be classified as ‘Ionian’, with a reference to Lycian tombs (fig. 386). The pyramidal roof is Egyptian. The Nereid Monument is part of a Lycian tomb found in Xanthos (Günük, south-west Turkey) and now in the British Museum, London is tetrad architecture that may have been the inspiration of the Mausoleum of Halicarnassos. This reconstruction of the Mausoleum in Halicarnassos was given by W.R. Lethaby (‘Tomb of Mausolus’, 1908). The four elements in the structure (quadriga, pyramidal roof, columns and basement) are present and a great number of sculptures can be seen. The status of the Mausoleum is one of the ‘Seven World Wonders’ of the world.

The sect, Parsee, had a burial ceremony in which the body was not allowed to float in the water, or be buried in the earth in fear of contamination. Therefore, they built a ‘Tower of Silence’, a circular enclosure with an inner hall and a second enclosure. The bodies were laid in the open air exposed to the sun and the elements until bleached and dry. Funeral ceremonies were held outside the tower and vultures and other birds of prey could do their job. The area around the Tower was kept as a garden, sacred as a cemetery area.A circular plan of a typical Parsee ‘Tower of Silence’. This particular way of caring for the dead found its origin in Zarathustrian Persia and was surrounded by four wells in the formation of a quadrant.

Rectangular forms express a devotion to the fourfold. Roman tombs and sarcophagi follow the ‘box-principle’ and have the cube as their point of departure. Some form of tetradic symbolism (other than the square form) sometimes puts its mark on a Roman tomb, like the one of Publius Vibius Marianus at the Via Claudia in Rome. The ‘horns of consecration’ were already discussed are a sign of the of the four corners of the world. They are a direct reference to an initial four-division of the world.The sarcophagus-tomb of Publius Vibius Marianus at the Via Claudia in Rome can be dated from the time of Septimus Severus, and possesses the typical protruding ‘horns’, which point, symbolically, to the Four Corners (the Unity) of the Universe. G.B. Piranesi depicted the structure in the eighteenth century as the ‘Tomb of Nero’.

The mausoleum of Emperor Diocletian (245 – 313 AD) has been encountered earlier was part of his palace complex in Split (Croatia). The layout of the palace followed the standard Roman surveying techniques, with two crossing main streets. The cross of the ‘decumanus maximus (DM) and the ‘kardo maximus’ (KM) , were behind the initial architectural plans. The mausoleum has an octagonal plan, which again is two squares, the tetradic expression

Diocletian was the organizer of a political system of four-division known as a tetrarchy.

Card games are based on four suits
Square 1 diamonds
Square 2 spades
Square 3 club
Square 4 heart
Jack, queen, ace, and king were the standard card if France and card are organized around this. Baseball is organized around the four bases bringing to mind the quadrant model pattern. Basketball courts, Bobby knight pointed out, are shaped sort of like crosses. Tennis courts are divided into four squares. Pool has 16 balls, making one think of the 16 squares of the quadrant model. Four square is a famous game where you win by connecting four circles of the same color. Chess and checkers, the two most famous board games, are based around quadrant squares. The
Recreation and activities and games in America reveal the quadrant model pattern. Games of most sports are divided into four quarters of time.

Here is an excerpt from the quadrant model. There are four types of gold clubs. They fit the quadrant model pattern. They are

Square 1 woods. A driver is the biggest form of a wood.

Square 2 irons. The first two are the duality. Wedges are a subclass of iron with greater loft.

Square 3 hybrid. The third builds on the first two

Square 4 putter. The fourth doesn't seem to belong. Chippers are a subclass of putter also with more loft

The Bartle Test of Gamer Psychology is a series of questions and an accompanying scoring formula that classifies players of multiplayer online games (including MUDs and MMORPGs) into categories based on their gaming preferences.

The result of the Bartle Test is the "Bartle Quotient", which is calculated based on the answers to a series of 30 random questions in the test, and totals 200% across all categories, with no single category exceeding 100%.[9] For example, a person may score "100% Killer, 50% Socializer, 40% Achiever, 10% Explorer", which indicates a player who prefers fighting other players relative to any other area of interest. Scores are typically abbreviated by the first letter of each category, in order of the quotient. In the previous example, this result would be described as a "KSAE" result.

Square 1:Achievers

Also known as "Diamonds", these are players who prefer to gain "points", levels, equipment and other concrete measurements of succeeding in a game. They will go to great lengths to achieve rewards that confer them little or no gameplay benefit simply for the prestige of having it.

Square 2:Explorers, dubbed "Spades" for their tendency to dig around, are players who prefer discovering areas, creating maps and learning about hidden places. They often feel restricted when a game expects them to move on within a certain time, as that does not allow them to look around at their own pace. They find great joy in discovering an unknown glitch or a hidden easter egg.

Square 3: Socializers

There are a multitude of gamers who choose to play games for the social aspect, rather than the actual game itself. These players are known as Socializers or "Hearts". They gain the most enjoyment from a game by interacting with other players, and on some occasions, computer-controlled characters with personality. The game is merely a tool they use to meet others in-game or outside of it.

Square 4:Killers

"Clubs" is a very accurate moniker for what the Killer likes to do. They thrive on competition with other players, and prefer fighting them to scripted computer-controlled opponents.

The Panhellenic Games is the name for four sports festivals that took place in ancient Greece. The four Games were

Square 1: Olympic Games. These games honored Zeus. They were held in Olympia and Elis. The prize for the games was anOlive wreath (Kotinos). They were held every 4 years.

Square 2: Pythian Games. They honored Apollo. These games were held at Delphi. The prize was a Laurel wreath. They were held every 4 years (2 years after the olympic games)

Square 3: Nemean Games. These games honored Zeus and Heracles. They were held in Nemia and Corinthia. The prize for the games was wild celery. They were held every two years.

Square 4:Isthmian games. They honored Poseidon. they were in Isthmia and Scyon and the prize was the pine. They were every two years.

in basketball, there is a term called the four point play, when a fouled player attempts a 3-point field goal and makes it, and makes the resulting free throw.

The phrase "four-letter word" is used to describe most swear words in the English language, as most swear words do indeed possess four letters. Four is transcendent and these bad words tend to be “taboo”

In Tetris, a game named for the Greek word for 4, every shape in the game is formed of 4 blocks each. It is one of the most popular games of all time. It is said to help your motor skills and visuospatil skills.

In popular or modern music, the most common time signature is also founded on four beats, i.e., 4/4 having four quarter note beats.

The men's major golf championships, commonly known as the Major Championships,[1] and often referred to simply as the majors, are the four most prestigious annual tournaments in professional golf. In order of their playing date, the current majors are: April – Masters Tournament (weekend ending 2nd Sunday in April) – hosted as an invitational by and played at Augusta National Golf Club in the U.S. state of Georgia. June – U.S. Open (weekend ending with the 3rd Sunday in June) – hosted by the United States Golf Association (USGA) and played at various locations in the United States. July – The Open Championship (weekend containing the 3rd Friday in July) – hosted by The R&A, an offshoot of The Royal and Ancient Golf Club of St Andrews, and always played on a links course at one of ten locations in the United Kingdom. August – PGA Championship (3rd weekend prior to Labor Day weekend) – hosted by the Professional Golfers' Association of America and played at various locations in the United States.

The golfer decides a golf club, grip, and stroke appropriate to the distance:

Square 1: The "drive" or "full swing" is utilized on the teeing ground and fairway, with a wood or long iron, and creates the maximum distance capable. In the extreme the club ends vertically

Square 2: The "approach" or "3/4 swing" is done in medium- and long-distance situations where an exact distance and good accuracy is preferable to maximum distance. The windup or "backswing" of such a shot typically ends up with the shaft of the club pointing straight upwards or slightly towards the player.

Square 3: The "chip" or "half-swing" is done with short-distance shots near the green, with high-lofted irons and wedges. The goal of the chip is to land the ball safely on the green, allowing it to roll out towards the hole. It can also be used from other places to accurately position the ball into a more advantageous lie. The backswing usually ends with the head of the club between hip and head height.

Square 4: The "putt" is used in short-distance shots on or near the green. The goal of the putt is usually to put the ball in the hole. A long-distance putt may be called a "lag" and is made with the primary intention of simply closing distance to the hole or otherwise placing the ball advantageously.

There are four geometric transformations. These transformations are important in studying art. They are

Square 1: rotations

Square 2: scale

Square 3: inversion

Square 4: translation

The original game of chess was played with four players, with each eight pieces: a king, a rook, a knight and a bishop (those four), positioned behind four pawns. ‘chaturanga‘, a Sanskrit word meaning the four parts of an army, was the original name of chess. This game began in India and went to Europe, where it has been adapted to its current version. The original structure of chess resembled the quadrant model pattern.

The original division in the playing cards represented the four classes in the (medieval) society:

square 1: hearts- clergy

square 2: spades-nobility

square 3: clubs- peasants

square 4: diamonds- citizens (burghers)

Polykleitos in his renowned text, the ‘Canon’, charted the geometric nature of beauty. Canon described a scheme of proportions, which had to be the base of every piece of art to comply with to the pursuit of beauty. Beauty, in Polykleitos’ view, is the conscious perception of relations. He saw the human body as the epitome of beauty. According to Polykleitos, the ideal proportions of the human body consist of four parts

Square 1: from the feet to the knee

Square 2: from the knee to the crotch

Square 3: from the crutch to the armpits

Square 4: from the armpits to the crown. A person built in this way is a ‘tetragonos aner’.

Michael Maier’s ‘Atalanta fugiens’ (1618) is a painting of four spheres, which symbolize the forces of the cosmos. The first sphere is the elementary fire (the heat of the first movement). The second and third spheres are mixtures of energy, and the fourth sphere is of Apollo and the electro magnetic forces.

A woodcut of the goddess Philosophia by Albrecht Duher has tetradic features, surrounded by four figures. The woodcut was used as a title for the book compilation of quadripartite themes by Conrad Celtis around the goddess Philosophia. The book was devoted to German nationalism in the spirit of the number four.

The emblem above the throne represents the Egyptian wisdom of Ptlolemaeus and Chaldean insight. Plato represents the Greek wisdom to the right. The lower emblem exhibit Cicero and Virgil as personifications of the Latin ‘poetae et rhetores‘ and to the left is Albertus (Magnus), the symbol of German and European knowledge. In the corners are the exhaling faces of the four winds: Eurius, Zephyr, Auster and Boreas. Their physiognomy corresponds with the human types, which are associated with the elements fire (Eurus), air (Zephyr), earth (Boreas) and water (Auster) and the temperaments: choleric, sanguine, phlegmatic and melancholic.

Celts described in this book the four areas of Germania, also revealing the quadrant model pattern. They are

Square 1: Hasilina Sarmata- east

Square 2: Elsula Alpina (Ratispona)- south

Square 3: Ursula Galla- west

Square 4: Barbara Codonea

The theoretical base of Roman surveying consisted of two axes, four quadrants and hundred squares: four-partitioning of space was used in Roman geodesy, often used in military practice to put up camp, and in a more elaborate form, in subsequent town planning. Roman cities, like Greek cities, were consciously constructed with the grid/quadrant form, and Romans builders consciously had the cross in mind with structuring their cities. The Egyptians used the grid/quadrant pattern consciously when contracting their artwork. The Harrapan civilization, one of the first four civilizations, was also constructed along the grid/quadrant plan. Rome was known for the cross shaped street plan.

Rome was known for its baths. Baths in Rome were like 24 hour fitnesses in America, but even more prominent. Roman citizens spent exorbitant amounts of time using the Roman baths.

The baths of the Roman Emperor Hadrian show a bilateral symmetry along a vertical and is divided in four parts in a horizontal plan.

The four main areas are:

Square 1: natatio (swimming pool);

Square 2: frigidarium (cold bath);

Square 3:  tepidarium (lukewarm bath)

Square 4: (f) calidarium (hot bath).

The bath at Caracalla (212 – 216 AD) used the same four-fold scheme (fig. 108/109). A strong bilateral symmetry is prominent, but also the four different types of baths along the vertical axis provide their own, symbolic meaning. The round ‘calidarium‘ (C), the ‘tepidarium‘ (T), ‘frigidarium‘ (F, with four water basins in the corners) and the ‘natatio’ (N) are stages in a process of mental and bodily cleaning. In the lateral buildings, like the change-rooms (A, apodyterien) and the areas for exercise (B, the ‘palaistra‘), the strict division-order is not as tight.

Emperor Diocletian made the biggest bath complex in Rome meters with a three-partion (calidario, tepidario and frigidario) of the bath-section. Instead of a ‘natatio‘ (the fourth and transcendent aspect) there was a walled area around the whole complex, providing an area for preparation, and making up the four-division, which is so typical for the older baths.

The triumphal arch (tetrapylon) of Septimus Severus (200 – 210 AD) at Lepcis Magna (Libya)is a four-fold design. It is a development in the history of triumphal arches from the three-fold origin.

An arch of Janus or ‘Janus quadrifrons‘, had four large entries, and was erected on the Forum Boarium (cattle market) of Rome during the reign of Constantine I (the Great). This arch was glorified by Giovanni Battista Piranesi, who made many copper-etchings of the classical building in his ‘Vedute di Roma‘. Constantine himself was said to have converted to Christianity after seeing a "cross in the sky" which he attributed to helping him win a battle. When he saw the cross in the sky he saw the form of being.

The presbytery in Ravenna (Italy): four arches support a dome, which is fully decorated with mosaics in a four-fold pattern. The Holy Lamb takes a central position.

The swastika-meander, pelta or ‘knot of Salomon’ was often used in mosaics as a means of decoration. This motif was first used in Pompei. The pattern of the pelta or swastika-meander was an elaboration of the sun symbol (or swastika), by bending and intertwining the four spokes into two links

Kern, an expert on labyrinths, denotes the four "classical labyrinths" as

Square 1:The Egyptian labyrinth or the temple of Amenemhet III

Square 2:The Cretan labyrinth. The isle of Crete is, probably even more than Egypt, connected to the story of the labyrinth, with the island of knossos having the labyrinth of the minotaur.

Square 3:The labyrinth of Lemnos, a Greek island in the northern Aegean Sea.

Square 4:The ‘Italian labyrinth’ near Chiusi or the grave of the Etruscan king Lars Porsenna

The renowned historian Pliny's "Natural History" mentions these four labyrinths.

The depictions of these labyrinths often take quadrant shapes, being fourfold.

I have studied literature and noticed that with a lot of the very famous books, there were styles in them or compositions or techniques that reflected the quadrant model pattern. In the bible and in the Odyssey, the most famous Greek text, there is a chiasmatic structure. Chiasma means cross. But I studied even famous classical and popular literature, and the quadrant model pervades.

There are four types of sentences. They are

Square 1: Declarative sentences. These sentences end with a period and make a statement.

Square 2:  Imperative sentences. These sentences give direction or a command and end with a period.

Square 3: Interrogative sentences. These sentences ask a question and end with a question mark.

Square 4: Exclamatory sentences. These sentences show a lot of feeling and end in an exclamation point.

Finnegan's Wake is a very popular and groundbreaking book, known for its innovative and inventive style. It is said that the author of the book either had to be schizophrenic, or so close to schizophrenic that he could mimic schizophrenia in his writing style. The author employs neologisms, which is the making up of words, which is thought to be a symptom of schizophrenia. It is said that he wrote in a stream of consciousness style that can only be written by a schizophrenic, or somebody so close to it he can pretend that he is one. James Joyce, the author of Finnegan's Wake, wrote the book after he wrote, Ulysses.

Finnegan's Wake is divided into four books. The structure of the work fits the quadrant model pattern. They are

Square 1: Book 1- Focuses on the parents HCE and ALP. It has a lot of novel and experimental writing techniques and creative structure.

Square 2: Book 2- Focuses on the children of HCE and ALP, Shem Shaun and Issy. The first and second squares are always a duality.

Square 3: Book 3- Centers on Shaun and his job as a postman. The third square is always about doing.

Square 4: Book 4- The final book has only one chapter and is different from the previous three. The nature of the quadrant model is that the first three are connected. There is connections that link the first three books throughout. The final book has merely one chapter and is different from the rest. Thus, the structure of Finnegan's Wake exemplifies the quadrant model pattern. The final chapter is seemingly unrelated vignettes. But the last sentence is linked to the first sentence of the book. While the fourth square is separate, it still contains the previous three. Terrence McKenna is obsessed with Finnegan's Wake, seeing it as a book that exemplifies the higher consciousness evoked from drugs.

The physicist named Murray Gell- Mann named the subatomic particle the quark ater a phrase in Finnegan’s Wake, “three quarks for Muster Mark”. Science and the arts are connected, as the arts inspire science. Science is the first square, and art is the third square.Joseph Campbell got his term Monomyth from Finnegan's Wake.The idea of the Monomyth inspired the movie Star Wars.

Travels into Several Remote Nations of the World. In Four Parts. By Lemuel Gulliver, First a Surgeon, and then a Captain of Several Ships, commonly known as Gulliver's Travels (1726, amended 1735), is a prose satire[1][2] by Irish writer and clergyman Jonathan Swift, that is both a satire on human nature and a parody of the "travellers' tales" literary subgenre. It is Swift's best known full-length work, and a classic of English literature. It is considered one of the greatest books of all time. It is divided into four parts. Part I: A Voyage to Lilliput 4 May 1699[4] – 13 April 1702[5] Mural depicting Gulliver surrounded by citizens of Lilliput. The book begins with a short preamble in which Lemuel Gulliver, in the literary style of the time, gives a brief outline of his life and history before his voyages. He enjoys travelling, although it is that love of travel that is his downfall. During his first voyage, Gulliver is washed ashore after a shipwreck and finds himself a prisoner of a race of tiny people, less than 6 inches tall, who are inhabitants of the island country of Lilliput. After giving assurances of his good behaviour, he is given a residence in Lilliput and becomes a favourite of the court. From there, the book follows Gulliver's observations on the Court of Lilliput. He is also given the permission to go around the city on a condition that he must not harm their subjects. Gulliver assists the Lilliputians to subdue their neighbours, the Blefuscudians, by stealing their fleet. However, he refuses to reduce the island nation of Blefuscu to a province of Lilliput, displeasing the King and the court. Gulliver is charged with treason for, among other crimes, "making water" (urination) in the capital, though he was putting out a fire and saving countless lives. He is convicted and sentenced to be blinded, but with the assistance of a kind friend, he escapes to Blefuscu. Here he spots and retrieves an abandoned boat and sails out to be rescued by a passing ship, which safely takes him back home. This book of the Travels is a typical political satire. Part II: A Voyage to Brobdingnag 20 June 1702[6] – 3 June 1706[7] Gulliver Exhibited to the Brobdingnag Farmer (painting by Richard Redgrave) When the sailing ship Adventure is blown off course by storms and forced to sail for land in search of fresh water, Gulliver is abandoned by his companions and found by a farmer who is 72 feet (22 m) tall (the scale of Brobdingnag is about 12:1, compared to Lilliput's 1:12, judging from Gulliver estimating a man's step being 10 yards (9.1 m)). He brings Gulliver home and his daughter cares for Gulliver. The farmer treats him as a curiosity and exhibits him for money. After a while the constant shows make Lemuel sick, and the farmer sells him to the queen of the realm. The farmer's daughter (who accompanied her father while exhibiting Gulliver) is taken into the queen's service to take care of the tiny man. Since Gulliver is too small to use their huge chairs, beds, knives and forks, the queen commissions a small house to be built for him so that he can be carried around in it; this is referred to as his 'travelling box'. Between small adventures such as fighting giant wasps and being carried to the roof by a monkey, he discusses the state of Europe with the King. The King is not happy with Gulliver's accounts of Europe, especially upon learning of the use of guns and cannons. On a trip to the seaside, his travelling box is seized by a giant eagle which drops Gulliver and his box into the sea, where he is picked up by some sailors, who return him to England. This book compares the truly moral man to the representative man; the latter is clearly shown to be the lesser of the two. Swift, being in Anglican holy orders, was keen to make such comparisons. Part III: A Voyage to Laputa, Balnibarbi, Luggnagg, Glubbdubdrib, and Japan 5 August 1706[8] – 16 April 1710[9] Gulliver discovers Laputa, the flying island (illustration by J.J. Grandville.) After Gulliver's ship was attacked by pirates, he is marooned close to a desolate rocky island near India. Fortunately, he is rescued by the flying island of Laputa, a kingdom devoted to the arts of music and mathematics but unable to use them for practical ends. Laputa's custom of throwing rocks down at rebellious cities on the ground prefigures air strikes as a method of warfare. Gulliver tours Balnibarbi, the kingdom ruled from Laputa, as the guest of a low-ranking courtier and sees the ruin brought about by the blind pursuit of science without practical results, in a satire on bureaucracy and on the Royal Society and its experiments. At the Grand Academy of Lagado, great resources and manpower are employed on researching completely preposterous schemes such as extracting sunbeams from cucumbers, softening marble for use in pillows, learning how to mix paint by smell, and uncovering political conspiracies by examining the excrement of suspicious persons (see muckraking). Gulliver is then taken to Maldonada, the main port, to await a trader who can take him on to Japan. While waiting for a passage, Gulliver takes a short side-trip to the island of Glubbdubdrib, where he visits a magician's dwelling and discusses history with the ghosts of historical figures, the most obvious restatement of the "ancients versus moderns" theme in the book. In Luggnagg he encounters the struldbrugs, unfortunates who are immortal. They do not have the gift of eternal youth, but suffer the infirmities of old age and are considered legally dead at the age of eighty. After reaching Japan, Gulliver asks the Emperor "to excuse my performing the ceremony imposed upon my countrymen of trampling upon the crucifix," which the Emperor does. Gulliver returns home, determined to stay there for the rest of his days. Part IV: A Voyage to the Country of the Houyhnhnms 7 September 1710[10] – 5 December 1715[11] Gulliver in discussion with Houyhnhnms (1856 lllustration by J.J. Grandville.) Despite his earlier intention of remaining at home, Gulliver returns to the sea as the captain of a merchantman as he is bored with his employment as a surgeon. On this voyage he is forced to find new additions to his crew, whom he believes to have turned the rest of the crew against him. His crew then mutiny, and after keeping him contained for some time resolve to leave him on the first piece of land they come across and continue as pirates. He is abandoned in a landing boat and comes upon a race of hideous, deformed and savage humanoid creatures to which he conceives a violent antipathy. Shortly afterwards he meets the Houyhnhnms, a race of talking horses. They are the rulers, while the deformed creatures called Yahoos are human beings in their base form. Gulliver becomes a member of a horse's household, and comes to both admire and emulate the Houyhnhnms and their lifestyle, rejecting his fellow humans as merely Yahoos endowed with some semblance of reason which they only use to exacerbate and add to the vices Nature gave them. However, an Assembly of the Houyhnhnms rules that Gulliver, a Yahoo with some semblance of reason, is a danger to their civilisation, and expels him. He is then rescued, against his will, by a Portuguese ship, and is disgusted to see that Captain Pedro de Mendez, a Yahoo, is a wise, courteous and generous person. He returns to his home in England, but he is unable to reconcile himself to living among 'Yahoos' and becomes a recluse, remaining in his house, largely avoiding his family and his wife, and spending several hours a day speaking with the horses in his stables; in effect becoming insane. This book uses coarse metaphors to describe human depravity, and the Houyhnhnms are symbolised as not only perfected nature but also the emotional barrenness which Swift maintained that devotion to reason brought.... Dostoevsky references Gulliver's Travels in his novel Demons (1872): 'In an English satire of the last century, Gulliver, returning from the land of the Lilliputians where the people were only three or four inches high, had grown so accustomed to consider himself a giant among them, that as he walked along the Streets of London he could not help crying out to carriages and passers-by to be careful and get out of his way for fear he should crush them, imagining that they were little and he was still a giant....'

A Hunger Artist (German: Ein Hungerkünstler) is the collection of four short stories by Franz Kafka published in Germany in 1924, the last collection that Kafka himself prepared for the publication. Kafka was able to correct the proofs during his final illness but the book was published by Verlag Die Schmiede several months after his death. The English translation by Willa and Edwin Muir waspublished by Schocken Books in 1948 in the collection The Penal Colony. All individual stories in the collection have also been translated before by various translators Kafka's work has religious themes. It is thought that in the metamorphosis the protagonist Gregor represents a sort of Christ figure who in the end is killed by the apple that is thrown at him by his family who wants him to work but he refuses. Gregor in the book turns into an insect and cannot work anymore even though his family is pressuring him to so that he can take care of them. In the end he is sacrificed by his family like Jesus is crucified. It is therefore seen as a communist book. The apple is thought to be an allusion to the apple of the garden of Eden. Religion and art are connected. Art is the third square and religion is the second. A lot of literature has religious themes. Art is also supposed to make you think. Art is the third square which is the thinking square. Kafka's books it is argued are criticisms of capitalism The Trial (original German title: Der Process,[1] later Der Prozess, Der Proceß and Der Prozeß) is a novel written by Franz Kafka from 1914 to 1915 and published in 1925. One of his best-known works, it tells the story of a man arrested and prosecuted by a remote, inaccessible authority, with the nature of his crime revealed neither to him nor to the reader. Heavily influenced by Dostoyevsky's Crime and Punishment and The Brothers Karamazov, Kafka even went so far as to call Dostoevsky a blood relative.[2] Like Kafka's other novels, The Trial was never completed, although it does include a chapter which brings the story to an end. In this story again, the protagonist is sort of a Christ figure, being persecuted unjustly and killed unjustly, making you question the system that killed him.

Middlemarch, A Study of Provincial Life is a novel by English author George Eliot, first published in eight instalments (volumes) during 1871–2. It is considered one of the greatest books of all time. Middlemarch is written as a third-person narrative, centering on the lives of the residents of Middlemarch, a fictitious Midlands town, from 1829 onwards — the years preceding the 1832 Reform Act. The narrative is variably considered to consist of four plots of unequal emphasis:[16] the life of Dorothea Brooke; the career of Tertius Lydgate; the courtship of Mary Garth by Fred Vincy; and the disgrace of Bulstrode. The two main plots are those of Dorothea and Lydgate.[b] [c] Each plot happens concurrently, although Bulstrode's is centred in the later chapters. The nature of the quadrant model is there is four parts and they are all connected but they are all separate as well.

Four score and seven years ago our fathers brought forth on this continent a new nation, conceived in liberty, and dedicated to the proposition that all men are created equal.

Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure. We are met on a great battlefield of that war. We have come to dedicate a portion of that field, as a final resting place for those who here gave their lives that that nation might live. It is altogether fitting and proper that we should do this.

But, in a larger sense, we can not dedicate, we can not consecrate, we can not hallow this ground. The brave men, living and dead, who struggled here, have consecrated it, far above our poor power to add or detract. The world will little note, nor long remember what we say here, but it can never forget what they did here. It is for us the living, rather, to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced. It is rather for us to be here dedicated to the great task remaining before us—that from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion—that we here highly resolve that these dead shall not have died in vain—that this nation, under God, shall have a new birth of freedom—and that government of the people, by the people, for the people, shall not perish from the earth.

Lincoln begins the address by saying four. It is Lincoln’s most famous speech, and that is his most famous line.

By 1860, four doctrines had emerged to answer the question of federal control in the territories, and they all claimed they were sanctioned by the Constitution, implicitly or explicitly.[39] The first of these "conservative" theories, represented by the Constitutional Union Party, argued that the Missouri Compromise apportionment of territory north for free soil and south for slavery should become a Constitutional mandate. The Crittenden Compromise of 1860 was an expression of this view.[40] The second doctrine of Congressional preeminence, championed by Abraham Lincoln and the Republican Party, insisted that the Constitution did not bind legislators to a policy of balance – that slavery could be excluded in a territory as it was done in the Northwest Ordinance at the discretion of Congress,[41] thus Congress could restrict human bondage, but never establish it. The Wilmont Proviso announced this position in 1846.[42] Senator Stephen A. Douglas proclaimed the doctrine of territorial or "popular" sovereignty – which declared that the settlers in a territory had the same rights as states in the Union to establish or disestablish slavery as a purely local matter.[43] The Kansas-Nebraska Act of 1854 legislated this doctrine.[44] In Kansas Territory, years of pro and anti-slavery violence and political conflict erupted; the congressional House of Representatives voted to admit Kansas as a free state in early 1860, but its admission in the Senate was delayed until January 1861, after the 1860 elections when southern senators began to leave.[45] The fourth theory was advocated by Mississippi Senator Jefferson Davis,[46] one of state sovereignty ("states' rights"),[47] also known as the "Calhoun doctrine",[48] named after the South Carolinian political theorist and statesman John C. Calhoun.[49] Rejecting the arguments for federal authority or self-government, state sovereignty would empower states to promote the expansion of slavery as part of the Federal Union under the U.S. Constitution.[50] "States' rights" was an ideology formulated and applied as a means of advancing slave state interests through federal authority.[51] As historian Thomas L. Krannawitter points out, the "Southern demand for federal slave protection represented a demand for an unprecedented expansion of federal power."[52][53] These four doctrines comprised the major ideologies presented to the American public on the matters of slavery, the territories and the U.S. Constitution prior to the 1860 presidential election.[54]

Anton Pavlovich Chekhov (/ˈtʃɛkɔːf, -ɒf/;[1] Russian: Анто́н Па́влович Че́хов, pronounced [ɐnˈton ˈpavləvʲɪtɕ ˈtɕɛxəf]; 29 January 1860[2] – 15 July 1904)[3] was a Russian physician, playwright and author who is considered to be among the greatest writers of short stories in history. His career as a playwright produced four classics and his best short stories are held in high esteem by writers and critics. Chekhov renounced the theatre after the disastrous reception of The Seagull in 1896, but the play was revived to acclaim in 1898 by Constantin Stanislavski's Moscow Art Theatre, which subsequently also produced Chekhov's Uncle Vanya and premiered his last two plays, Three Sisters and The Cherry Orchard. These four works present a challenge to the acting ensemble[8] as well as to audiences, because in place of conventional action Chekhov offers a "theatre of mood" and a "submerged life in the text".[

Chkhov is considered one of the greatest playwrights of all time.

The Seagull (Russian: Чайка, Chayka) is a play by Russian dramatist Anton Chekhov, written in 1895 and first produced in 1896. The Seagull is generally considered to be the first of his four major plays. It dramatises the romantic and artistic conflicts between four characters: the famous middlebrow story writer Boris Trigorin, the ingenue Nina, the fading actress Irina Arkadina, and her son the symbolist playwright Konstantin Tréplev.

The play has four acts. . Stanislavski's production of The Seagull became "one of the greatest events in the history of Russian theatre and one of the greatest new developments in the history of world drama."[3]

Act I

The play takes place on a country estate owned by Sorin, a retired senior civil servant in failing health. He is the brother of the famous actress Arkadina, who has just arrived at the estate for a brief vacation with her lover, the writer Trigorin. Sorin and his guests gather at an outdoor stage to see an unconventional play that Arkadina's son, Konstantin Treplyov, has written and directed. The play-within-a-play features Nina, a young woman who lives on a neighboring estate, as the "soul of the world" in a time far in the future. The play is Konstantin's latest attempt at creating a new theatrical form, and is a dense symbolist work. Arkadina laughs at the play, finding it ridiculous and incomprehensible; the performance ends prematurely after audience interruption and Konstantin storms off in humiliation. Arkadina does not seem concerned about her son, who has not found his way in the world. Although others ridicule Treplyov's drama, the physician Dorn praises him.

Act I also sets up the play's various romantic triangles. The schoolteacher Medvedenko loves Masha, the daughter of the estate's steward. Masha, in turn, is in love with Konstantin, who is in love with Nina. Nina loves Trigorin. Polina, married to Ilya, is in an affair with doctor Dorn. When Masha tells Dorn about her longing for Konstantin, Dorn helplessly blames the lake for making everybody feel romantic.

Act II

Act II takes place in the afternoon outside of the estate, a few days later. After reminiscing about happier times, Arkadina becomes engaged in a heated argument with the house steward Shamrayev and decides to leave immediately. Nina lingers behind after the group leaves, and Konstantin shows up to give her a seagull that he has shot. Nina is confused and horrified at the gift. Konstantin sees Trigorin approaching, and leaves in a jealous fit. Nina asks Trigorin to tell her about the writer's life; he replies that it is not an easy one. Nina says that she knows the life of an actress is not easy either, but she wants more than anything to be one. Trigorin sees the seagull that Konstantin has shot and muses on how he could use it as a subject for a short story: "A young girl lives all her life on the shore of a lake. She loves the lake, like a seagull, and she's happy and free, like a seagull. But a man arrives by chance, and when he sees her, he destroys her, out of sheer boredom. Like this seagull." Arkadina calls for Trigorin, and he leaves as she tells him that she has changed her mind – they will not be leaving immediately. Nina lingers behind, enthralled with Trigorin's celebrity and modesty, and gushes, "My dream!"

Act III

Act III takes place inside the estate, on the day when Arkadina and Trigorin have decided to depart. Between acts Konstantin attempted suicide by shooting himself in the head, but the bullet only grazed his skull. He spends the majority of Act III with his scalp heavily bandaged. Nina finds Trigorin eating breakfast and presents him with a medallion that proclaims her devotion to him using a line from one of Trigorin's own books: "If you ever need my life, come and take it." She retreats after begging for one last chance to see Trigorin before he leaves. Arkadina appears, followed by Sorin, whose health has continued to deteriorate. Trigorin leaves to continue packing. There is a brief argument between Arkadina and Sorin, after which Sorin collapses in grief. He is helped off by Medvedenko. Konstantin enters and asks his mother to change his bandage. As she is doing this, Konstantin disparages Trigorin and there is another argument. When Trigorin reenters, Konstantin leaves in tears. Trigorin asks Arkadina if they can stay at the estate. She flatters and cajoles him until he agrees to return with her to Moscow. After she has left the room, Nina comes to say her final goodbye to Trigorin and to inform him that she is running away to become an actress, against her parents' wishes. They kiss passionately and make plans to meet again in Moscow.

Act IV

Act IV takes place during the winter two years later, in the drawing room that has been converted to Konstantin's study. Masha has finally accepted Medvedenko's marriage proposal, and they have a child together, though Masha still nurses an unrequited love for Konstantin. Various characters discuss what has happened in the two years that have passed: Nina and Trigorin lived together in Moscow for a time until he abandoned her and went back to Arkadina. Nina never achieved any real success as an actress, and is currently on a tour of the provinces with a small theatre group. Konstantin has had some short stories published, but is increasingly depressed. Sorin's health is still failing, and the people at the estate have telegraphed for Arkadina to come for his final days. Most of the play's characters go to the drawing room to play a game of bingo. Konstantin does not join them, and spends this time working on a manuscript at his desk. After the group leaves to eat dinner, Konstantin hears someone at the back door. He is surprised to find Nina, whom he invites inside. Nina tells Konstantin about her life over the last two years. She starts to compare herself to the seagull that Konstantin killed in Act II, then rejects that and says "I am an actress." She tells him that she was forced to tour with a second-rate theatre company after the death of the child she had with Trigorin, but she seems to have a newfound confidence. Konstantin pleads with her to stay, but she is in such disarray that his pleading means nothing. She embraces Konstantin, and leaves. Despondent, Konstantin spends two minutes silently tearing up his manuscripts before leaving the study. The group reenters and returns to the bingo game. There is a sudden gunshot from off-stage, and Dorn goes to investigate. He returns and takes Trigorin aside. Dorn tells Trigorin to somehow get Arkadina away, for Konstantin has just shot himself.[5]

Uncle Vanya (Russian: Дядя Ваня – Dyadya Vanya) is a play by the Russian playwright Anton Chekhov. It was first published in 1897 and received its Moscow première in 1899 in a production by the Moscow Art Theatre, under the direction of Konstantin Stanislavski. The play has four acts Act I A garden in Serebryakov's country estate. Astrov and Marina discuss how old Astrov has grown, and how he feels bored with his life as a country doctor. Vanya enters, yawning from a nap, the three complain about how all order has been disrupted since the professor and his wife, Yelena, arrived. As they’re talking, Serebryakov, Yelena, Sonya, and Telegin return from a walk. Out of the professor's earshot, Vanya calls him "a learned old dried mackerel," criticizing him for his pomposity and the smallness of his achievements. Vanya’s mother, Maria Vasilyevna, who idolizes Serebryakov, objects to her son’s derogatory comments. Vanya also praises the professor’s wife, Yelena, for her beauty, arguing that faithfulness to an old man like Serebryakov means silencing youth and emotions — an immoral waste of vitality. Astrov is forced to depart to attend a patient, but not before delivering a speech on the preservation of the forests, a subject he is very passionate about. Act I closes with Yelena becoming exasperated as Vanya declares his love for her. Act II The dining room, several days later. It is late at night. Before going to bed, Serebryakov complains of being in pain and of old age. Astrov arrives, having been sent for by Sonya, but the professor refuses to see him. After Serebryakov is asleep, Yelena and Vanya talk. She speaks of the discord in the house, and Vanya speaks of dashed hopes. He feels he’s misspent his youth, and he associates his unrequited love for Yelena with the devastation of his life. Yelena refuses to listen. Alone, Vanya questions why he did not fall in love with Yelena when he first met her ten years before, when it would have been possible for the two to have married and had a happy life together. At that time, Vanya believed in Prof. Serebryakov’s greatness and was happy to think that his own efforts supported Serebryakov's work; now he has become disillusioned with the professor and his life feels empty. As Vanya agonizes over his past, Astrov returns, the worse for drink, and the two talk together. Sonya chides Vanya for his drinking, and responds pragmatically to his reflections on the futility of a wasted life, pointing out that only work is truly fulfilling. Outside, a storm is gathering and Astrov talks with Sonya about the suffocating atmosphere in the house; Astrov says Serebryakov is difficult, Vanya is a hypochondriac, and Yelena is charming but idle. He laments that it’s a long time since he loved anyone. Sonya begs Astrov to stop drinking, telling him it is unworthy of him to destroy himself. The two discuss love, during which it becomes clear that Sonya is in love with the Doctor and that he is unaware of her feelings. When the doctor leaves, Yelena enters and makes peace with Sonya, after an apparently long period of mutual anger and antagonism. Trying to resolve their past difficulties, Yelena reassures Sonya that she had strong feelings for her father when she married him, though the love proved false. The two women converse at cross purposes, with Yelena confessing her unhappiness and Sonya gushing about the doctor’s virtues. In a happy mood, Sonya leaves to ask the professor if Yelena may play the piano. Sonya returns with his negative answer, which quickly dampens the mood. Act III Vanya, Sonya, and Yelena are in the living room, having been called there by Serebryakov. Vanya calls Yelena a water nymph and urges her, once again, to break free. Sonya complains to Yelena that she has loved Astrov for six years but that, because she is not beautiful, he doesn’t notice her. Yelena volunteers to question Astrov and find out if he’s in love with Sonya. Sonya is pleased, but before agreeing she wonders whether uncertainty is better than knowledge, because then, at least, there is hope. When Yelena asks Astrov about his feelings for Sonya, he says he has none and concludes that Yelena has brought up the subject of love to encourage him to confess his own emotions for her. Astrov kisses Yelena, and Vanya witnesses the embrace. Upset, Yelena begs Vanya to use his influence so that she and the professor can leave immediately. Before Serebryakov can make his announcement, Yelena conveys to Sonya the message that Astrov doesn’t love her. Serebryakov proposes that he solve the family’s financial problems by selling the estate, and using the proceeds to invest in interest-bearing paper which will bring in a significantly higher income (and, he hopes, leave enough over to buy a villa for himself and Yelena in Finland). Angrily, Vanya asks where he, Sonya, and his mother would live. He protests that the estate rightly belongs to Sonya and that Vanya has never been appreciated for the self-sacrifice it took to rid the property of debt. As Vanya’s anger mounts, he begins to rage against the professor, blaming him for the failure of his life, wildly claiming that, without Serebryakov to hold him back, he could have been a second Schopenhauer or Dostoevsky. In despair, he cries out to his mother, but instead of comforting her son, Maria insists that Vanya listen to the professor. Serebryakov insults Vanya, who storms out of the room. Yelena begs to be taken away from the country and Sonya pleads with her father on Vanya's behalf. Serebryakov exits to confront Vanya further. A shot is heard from offstage and Serebryakov returns, being chased by Vanya, who is wielding a loaded pistol. He fires the pistol again at the professor, but misses. He throws the gun down in disgust and sinks into a chair. Act IV As the final act opens, a few hours later, Marina and Telegin wind wool and discuss the planned departure of Serebryakov and Yelena. When Vanya and Astrov enter, Astrov says that in this district only he and Vanya were "decent, cultured men" and that ten years of "narrow-minded life" have made them vulgar. Vanya has stolen a vial of Astrov’s morphine, presumably to commit suicide; Sonya and Astrov beg him to return the narcotic, which he eventually does. Yelena and Serebryakov bid everyone farewell. When Yelena says goodbye to Astrov, she admits to having been carried away by him, embraces him, and takes one of his pencils as a souvenir. Serebryakov and Vanya make their peace, agreeing all will be as it was before. Once the outsiders have departed, Sonya and Vanya pay bills, Maria reads a pamphlet, and Marina knits. Vanya complains of the heaviness of his heart, and Sonya, in response, speaks of living, working, and the rewards of the afterlife: "We shall hear the angels, we shall see the whole sky all diamonds, we shall see how all earthly evil, all our sufferings, are drowned in the mercy that will fill the whole world. And our life will grow peaceful, tender, sweet as a caress. . . . You've had no joy in your life; but wait, Uncle Vanya, wait. . . . We shall rest."

Three Sisters (Russian: Три сeстры, translit. Tri sestry) is a play by the Russian author and playwright Anton Chekhov. It was written in 1900 and first performed in 1901 at the Moscow Art Theatre. The play is sometimes included on the short list of Chekhov's outstanding plays, along with The Seagull and Uncle Vanya.

It has four acts

Act I

Act one begins with Olga (the eldest sister) working as a teacher in a school, but at the end of the play she is made Headmistress, a promotion in which she had little interest. Masha, the middle sister and the artist of the family (she was trained as a concert pianist), is married to Feodor Ilyich Kulygin, a schoolteacher. At the time of their marriage, Masha, younger than he, was enchanted by what she took to be wisdom, but seven years later, she sees through his pedantry and his clownish attempts to compensate for the emptiness between them. Irina, the youngest sister, is still full of expectation. She speaks of her dream of going to Moscow and meeting her true love. It was in Moscow that the sisters grew up, and they all long to return to the sophistication and happiness of that time. Andrei is the only boy in the family and the sisters idolize him. He is in love with Natalia Ivanovna (Natasha), who is somewhat common in relation to the sisters and suffers under their glance. The play begins on the first anniversary of their father's death, but it is also Irina's name-day, and everyone, including the soldiers (led by the gallant Vershinin) bringing with them a sense of noble idealism, comes together to celebrate it. At the very close of the act, Andrei exultantly confesses his feelings to Natasha in private and fatefully asks her to marry him.

Act II

Act two begins about 21 months later with Andrei and Natasha married with their first child (offstage), a baby boy named Bóbik. Natasha is having an affair with Protopopov, Andrei's superior, a character who is mentioned but never seen onstage. Masha comes home flushed from a night out, and it is clear that she and her companion, Lieutenant-Colonel Vershinin, are giddy with the secret of their mutual love for one another. Little seems to happen but that Natasha manipulatively quashes the plans for a party in the home, but the resultant quiet suggests that all gaiety is being quashed as well. Tuzenbach and Solyony both declare their love for Irina.

Act III

Act three takes place about a year later in Olga and Irina's room (a clear sign that Natasha is taking over the household as she asked them to share rooms so that her child could have a different room). There has been a fire in the town, and, in the crisis, people are passing in and out of the room, carrying blankets and clothes to give aid. Olga, Masha and Irina are angry with their brother, Andrei, for mortgaging their home, keeping the money to pay off his gambling debts and conceding all his power to his wife. However, when faced with Natasha's cruelty to their aged family retainer, Anfisa, Olga's own best efforts to stand up to Natasha come to naught. Masha, alone with her sisters, confides in them her romance with Vershinin ("I love, love, love that man"). At one point, Kulygin (her husband) blunders into the room, doting ever more foolishly on her, and she stalks out. Irina despairs at the common turn her life has taken, the life of a municipal worker, even as she rails at the folly of her aspirations and her education ("I can't remember the Italian for 'window'"). Out of her resignation, supported in this by Olga's realistic outlook, Irina decides to accept Tuzenbach's offer of marriage even though she does not love him. Chebutykin drunkenly stumbles and smashes a clock which had belonged to the Prozorov siblings' late mother, whom he loved. Andrei then vents his self-hatred, acknowledges his own awareness of life's folly and his disappointment in Natasha, and begs his sisters' forgiveness for everything.

Act IV

In the fourth and final act, outdoors behind the home, the soldiers, who by now are friends of the family, are preparing to leave the area. A flash-photograph is taken. There is an undercurrent of tension because Solyony has challenged the Baron (Tuzenbach) to a duel, but Tuzenbach is intent on hiding it from Irina. He and Irina share a heartbreaking delicate scene in which she confesses that she cannot love him, likening her heart to a piano whose key has been lost. Just as the soldiers are leaving, a shot is heard, and Tuzenbach's death in the duel is announced shortly before the end of the play. Masha has to be pulled, sobbing, from Vershinin's arms, but her husband willingly, compassionately and all too generously accepts her back, no questions asked. Olga has reluctantly accepted the position of permanent headmistress of the school where she teaches and is moving out. She is taking Anfisa with her, thus rescuing the elderly woman from Natasha.

Irina's fate is uncertain but, even in her grief at Tuzenbach's death, she wants to persevere in her work as a teacher. Natasha remains as the chatelaine, in charge and in control of everything. Andrei is stuck in his marriage with two children, the only people that Natasha cares about, besides herself. As the play closes, the three sisters stand in a desperate embrace, gazing off as the soldiers depart to the sound of a band's gay march. As Chebutykin sings Ta-ra-ra-boom-di-ay to himself,[nb 1] Olga's final lines call out for an end to the confusion all three feel at life's sufferings and joy: "If we only knew... If we only knew"

THe act ends "if we only knew". Knowing is the 16th square of the quadrant model.

The Cherry Orchard (Russian: Вишнëвый сад, Romanized as Vishnevyi sad) is the last play by Russian playwright Anton Chekhov. It opened at the Moscow Art Theatre on 17 January 1904 in a production directed by Constantin Stanislavski. Although Chekhov intended it as a comedy, and it does contain some elements of farce, Stanislavski insisted on directing the play as a tragedy. Since this initialproduction, directors have had to contend with the dual nature of the play. The play is often identified on the short list of the four outstanding plays written by Chekhov along with The Seagull, Three Sisters, and Uncle Vanya.[1] The play has four Acts Act I The play opens in the early morning hours of a cool day in May in the nursery of Lyubov Andreyevna Ranevskaya's ancestral estate, somewhere in the provinces of Russia just after the turn of the 20th Century. Ranevskaya has been living with an unnamed lover in France for five years, ever since her young son drowned. After receiving news that she had tried to kill herself, Ranevskaya's 17-year-old daughter Anya and Anya's governess Charlotta Ivanovna have gone to fetch her and bring her home to Russia. They are accompanied by Yasha, Ranevskaya's valet who was with her in France. Upon returning, the group is met by Lopakhin, Dunyasha, Varya (who has overseen the estate in Ranevskaya's absence), Leonid Andreyevich Gayev, Boris Borisovich Simeonov-Pishchik, Semyon Yepikhodov, and Firs. Lopakhin has come to remind Ranevskaya and Gayev that their estate, including the cherry orchard, is due to go to auction in August to pay off the family's debts. He proposes to save the estate by allowing part of it to be developed into summer cottages; however, this would require the destruction of their famous cherry orchard, which is nationally known for its size. Ranevskaya is enjoying the view of the orchard as day breaks when she is surprised by Peter Trofimov, a young student and the former tutor of Ranevskaya's son, Grisha, whose death prompted Ranevskaya to leave Russia five years ago. Much to the consternation of Varya, Trofimov had insisted on seeing Ranevskaya upon her return, and she is grief-stricken at the reminder of this tragedy. After Ranevskaya retires for the evening, Anya confesses to Varya that their mother is heavily in debt. They all go to bed with renewed hope that the estate will be saved and the cherry orchard preserved. Trofimov stares after the departing Anya and mutters "My sunshine, my spring" in adoration. Act II Act II takes place outdoors in mid-summer on the family estate, near the cherry orchard. The act opens with Yepikhodov and Yasha vying for the affection of Dunyasha, while Charlotta soliloquizes about her life as she cleans a rifle. In Act I it was revealed that Yepikhodov proposed to Dunyasha around Easter; however, she has since become infatuated with the more "cultured" Yasha. Charlotta leaves so that Dunyasha and Yasha might have some time alone, but that is interrupted when they hear their employer coming. Yasha shoos Dunyasha away to avoid being caught, and Ranevskaya, Gayev, and Lopakhin appear, once more discussing the uncertain fate of the cherry orchard. Shortly Anya, Varya, and Trofimov arrive as well. Lopakhin teases Trofimov for being a perpetual student, and Trofimov espouses his philosophy of work and useful purpose, to the delight and humour of everyone around. During their conversations, a drunken and disheveled vagrant passes by and begs for money; Ranevskaya thoughtlessly gives him all of her money, despite the protestations of Varya. Shaken by the disturbance, the family departs for dinner, with Lopakhin futilely insisting that the cherry orchard be sold to pay down the debt. Anya stays behind to talk with Trofimov, who disapproves of Varya's constant hawk-like eyes, reassuring Anya that they are "above love". To impress Trofimov and win his affection, Anya vows to leave the past behind her and start a new life. The two depart for the river as Varya calls scoldingly in the background. Act III It is the end of August, and the evening of Ranevskaya's party has come. Offstage the musicians play as the family and their guests drink, carouse, and entertain themselves. It is also the day of the auction of the estate and the cherry orchard; Gayev has received a paltry amount of money from his and Ranevskaya's stingy aunt in Yaroslavl, and the family members, despite the general merriment around them, are both anxious and distracted while they wait for word of their fates. Varya worries about paying the musicians and scolds their neighbour Pishchik for drinking, Dunyasha for dancing, and Yepikhodov for playing billiards. Charlotta entertains the group by performing several magic tricks. Ranevskaya scolds Trofimov for his constant teasing of Varya, whom he refers to as "Madame Lopakhin". She then urges Varya to marry Lopakhin, but Varya demurs, reminding her that it is Lopakhin's duty to ask for her hand in marriage, not the other way around. She says that if she had money she would move as far away from him as possible. Left alone with Ranevskaya, Trofimov insists that she finally face the truth that the house and the cherry orchard will be sold at auction. Ranevskaya shows him a telegram she has received from Paris and reveals that her former lover is ill again and has begged for her to return to aid him. She says that she is seriously considering joining him, despite his cruel behaviour to her in the past. Trofimov is stunned at this news and the two argue about the nature of love and their respective experiences. Trofimov leaves in a huff, but falls down the stairs offstage and is carried in by the others. Ranevskaya laughs and forgives him for his folly and the two quickly reconcile. Anya enters, declaring a rumour that the cherry orchard has been sold. Lopakhin arrives with Gayev, both of whom are exhausted from the trip and the day's events. Gayev is distant, virtually catatonic, and goes to bed without saying a word of the outcome of the auction. When Ranevskaya asks who bought the estate, Lopakhin reveals that he himself is the purchaser and intends to chop down the orchard with his axe. Ranevskaya, distraught, clings to Anya, who tries to calm her and reassure her that the future will be better now that the cherry orchard has been sold. Act IV It is several weeks later, once again in the nursery (as in Act I), only this time the room is being packed and taken apart as the family prepares to leave the estate forever. Trofimov enters in search of his galoshes, and he and Lopakhin exchange opposing world views. Anya enters and reprimands Lopakhin for ordering his workers to begin chopping down the cherry orchard even while the family is still in the house. Lopakhin apologizes and rushes out to stop them for the time being, in the hopes that he will be somehow reconciled with the leaving family. Charlotta enters, lost and in a daze, and insists that the family find her a new position. Ranevskaya tearfully bids her old life goodbye and leaves as the house is shut up forever. In the darkness, Firs wanders into the room and discovers that they have left without him and boarded him inside the abandoned house to die. He lies down on the couch and resigns himself to this fate (apparently dying on the spot). Offstage we hear the axes as they cut down the cherry orchard. Notice how the fourth act there is death. The fourth square is death.