Since Yue Yanzhi was not considered to be from the Valley of the Crescent Moon, as it happened that the Emperor had ordered that they must definitely find the people from the Valley of the Crescent, Yue Yanzhi sneaked out. On the way there, she met the handsome Liu Yanfeng and found out that he had a story in his heart, so she went to sleep with him. Yue Yanzhi, who had always admired Yue Yulan and Yue Xue Fu, went to the capital to find her. However, Yue Yanzhi was already together with Liu Yanfeng. The people in the palace, on the other hand, were making things difficult for her. Even he could not protect her, but they were protecting the people in the valley, regardless of everything else.
We live in a broken world. Amid the daily realities of sickness and isolation, disappointment and pain, it can be profoundly difficult to grasp the real goodness of God. But this is where God breaks into our darkness with beauty. In the wonder of creation, in art or film, story or song, in the kindness of his people and the good they create, God breaks into our pain in a tangible way, teaching us to trust his kindness and hope for his healing. Beauty is a voice singing into our suffering, beckoning us toward restoration. In This Beautiful Truth, Sarah Clarkson shares her own encounters with beauty in the midst of her decade-long struggle with mental illness, depression, and doubt. In a voice both vulnerable and reflective, she paints a compelling picture of the God who reaches out to us in a real and powerful way through the "taste and see" goodness of what he has made and what he continues to create amid our darkness. "To recognize and trust God's gift in pain," she writes, "empowers us to create and love as powerful witnesses to God's healing love in a hopeless world." If you want to renew your capacity to recognize and encounter God's beauty in your life, this hope-filled book will show you the way.
Tchaikovsky has long intrigued music-lovers as a figure who straddles many borders--between East and West, nationalism and cosmopolitanism, tradition and innovation, tenderness and bombast, masculine and feminine. In this book, through consideration of his music and biography, scholars from several disciplines explore the many sides of Tchaikovsky. The volume presents for the first time in English some of Tchaikovsky's own writings about music, as well as three influential articles, previously available only in German, from the 1993 Tübingen conference commemorating the centennial of Tchaikovsky's death. Tchaikovsky's distinguished biographer, Alexander Poznansky, reveals new findings from his most recent archival explorations in Kiln, Tchaikovsky's home. Poznansky makes accessible for the first time the full text of perviously censored letters, clarifying issues about the composer's life that until now have remained mere conjecture. Leon Botstein examines the world of realist art that was so influential in Tchaikovsky's day, while Janet Kennedy describes how interpretations of Tchaikovsky's ballet Sleeping Beauty act as a barometer of the aesthetic and even political climate of several generations. Natalia Minibayeva elucidates the First Orchestral Suite as a workshop for Tchaikovsky's composition of large-scale works, including symphony, opera, and ballet, while Susanne Dammann discusses the problematic Fourth Symphony as a work perfectly poised between East and West. Arkadii Klimovitsky considers Tchaikovsky's role as a link between Russia's Golden and Silver Ages. The extensive interaction between music and literature in this period forms the basis for Rosamund Bartlett's essay on creative parallels between Tchaikovsky and Chekhov. Richard Wortman describes the political climate at the end of Tchaikovsky's life, including Alexander III's mania for re-creating seventeenth-century Russian culture. Caryl Emerson, Kadja Grönke, and Leslie Kearney examine a number of issues raised by Tchaikovsky's operas. Marina Kostalevsky translates Nikolai Kashkin's 1899 review of Tchaikovsky's controversial opera Orleanskaia Deva (The Maid of Orleans). The book concludes with examples of theoretical writing by Tchaikovsky and Rimsky-Korsakov, authors of Russia's first two systematic books on music theory. Lyle Neff translates and provides commentary on compositional issues that Tchaikovsky discusses in personal correspondence, as well as Rimsky-Korsakov's analysis of his own opera Snegurochka (The Snow Maiden). Tchaikovsky and His World will change how we understand the life, works, and intellectual milieu of one of the most important and beloved composers of the nineteenth century. Originally published in 1998. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
