By Robert Louis Stevenson
An impossible to resist invitation to reject the paintings ethic and luxuriate in life's easy pleasures (such as giggling, consuming and mendacity within the open air), Robert Louis Stevenson's witty and seminal essay at the joys of idleness is followed right here by way of his writings on, between different issues, getting older, traveling disagreeable locations and the overpowering adventure of falling in love. all through historical past, a few books have replaced the area. they've got remodeled the way in which we see ourselves - and every different. they've got encouraged debate, dissent, warfare and revolution. they've got enlightened, outraged, provoked and comforted. they've got enriched lives - and destroyed them. Now Penguin brings you the works of the nice thinkers, pioneers, radicals and visionaries whose rules shook civilization and helped make us who we're.
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23 Solheim, “Early Pottery” (1980), pl. VII, p. 51. 24 See the chart, p. 118, Bayard, “Excavation at Non Nok Tha, Northeastern Thailand: an Interim Report” (1970/72). 10 chapter one same period. The Ban Chiang version (ﬁg. 1c) takes a somewhat freer approach and would appear less likely to belong to a repertory of established patterns. The two Non Nok Tha examples must also be judged to have greater aesthetic interest, evincing sensitivity toward the pleasure of opposing the round to the zigzag, or of giving springiness to a curved form (by not pressing it too hard against something ﬁxed, for example).
7 and pl. 2) is extraordinary; if the art of the region had continued to develop in the same direction, both its independent qualities and its generic ties to China would be far more evident. The auspicious symbols on the comb, on the other hand (sun, vase, cornucopia, ≤rìvatsa, parasol, conch, ﬂywhisk, moon), belong entirely to the Indian tradition. Something of the world of which the comb was a part can be reconstructed from archaeological excavations and written records. Chinese sources tell of the kingdom of Fu-nan and permit the history of the kingdom to be divided into two periods.
The great boulder, for instance, memorializes a chieftain, and a sacriﬁce of cattle ensures that the spirit of the chief, lodged 69 Following the description in Sinlapa tham “klum Bân Phû” ‘hangwat ’Ud›ôn Thânî (ca. 1986), pp. 24, 62. Also Suraphon, “Prehistoric Rock Paintings” (1978), pp. 31–34. 70 Described in Srisakra, “Sêmâ isân” (1975), p. 109. 72 Of course there can never be a deﬁnitive interpretation. One intriguing matter is the meaning of the ladder-like white form in ﬁg. 5c. 74 Of course, it may do both.
Apology for Idlers by Robert Louis Stevenson