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Flatland: A Romance of Many Dimensions Illustrated by the author, this early twentieth-century work is a mock-sociological study of Flatland (the world of one dimension) and the narrator’s introduction to three dimensions.
Edwin Abbott Abbott Illustrated by the author, this early twentieth-century work is a mock-sociological study of Flatland (the world of one dimension) and the narrator’s introduction to three dimensions.
Edwin Abbott Abbott Almost every English boy can be taught to write clearly, so far at least as clearness depends upon the arrangement of words. Force, elegance, and variety of style are more difficult to teach, and far more difficult to learn; but clear writing can be reduced to rules.
Edwin Abbott Abbott Flatland est une allégorie, écrite en 1884, où l'auteur, Edwin Abbott Abbott, donne vie aux dimensions géométriques, le point, la ligne et les figures planes, avant d'en arriver à faire découvrir l'univers des volumes par un carré. Cette allégorie n'est pas sans rappeler la sortie de la caverne, voire le cheminement de Don Quichotte, l'hidalgo de Cervantes. Une édition réalisée par Bibebook
Sinclair Lewis, P. G. Wodehouse, Oscar Wilde, H.G. Wells, Mark Twain, Frank R. Stockton, Jerome Klapka Jerome, Lewis Carroll, Gilbert Keith Chesterton, John Kendrick Bangs, Golden Deer Classics, Jane Austen, Edwin Abbott Abbott, Aldous Huxley & Natsume Sōseki This book,contains now several HTML tables of contents
The first table of contents lists the titles of all novels included in this volume. By clicking on one of those titles you will be redirected to the beginning of that work, where you'll find a new TOC.
This book contains the following works arranged alphabetically by authors last names
Flatland: A Romance of Many Dimensions [Edwin Abbott Abbott]
Lady Susan [Jane Austen]
R. Holmes & Co. [John Kendrick Bangs]
Mrs. Raffles [John Kendrick Bangs]
The Triumphs of Eugène Valmont [Robert Barr]
Love Insurance [Earl Derr Biggers]
The Mirror of Kong Ho [Ernest Bramah Smith]
The Ghost-Extinguisher [Frank Gelett Burgess]
Erewhon, or Over The Range [Samuel Butler]
Jurgen: A Comedy of Justice [James Branch Cabell]
Sylvie and Bruno [Lewis Carroll]
The Napoleon of Notting Hill [Gilbert Keith Chesterton]
The Strange Adventures of Mr. Middleton [Wardon Allan Curtis]
Our Mutual Friend [Charles Dickens]
Brother Jacob [George Eliot]
Cheerful—By Request [Edna Ferber]
Cabbages and Kings [O. Henry]
Crome Yellow [Aldous Huxley]
All Roads Lead to Calvary [Jerome Klapka Jerome]
Babbitt [Sinclair Lewis]
Parnassus On Wheels [Christopher Morley]
Beasts and Super-Beasts [Saki]
A Tale of Negative Gravity [Frank R. Stockton]
Gulliver's Travels [Jonathan Swift]
Botchan [Natsume Sōseki]
A Voyage to the Moon [George Tucker]
The Adventures of Huckleberry Finn [Mark Twain]
The Wheels of Chance [H. G. Wells]
The Canterville Ghost [Oscar Wilde]
My Man Jeeves [P. G. Wodehouse]
Jonathan Swift, Jane Austen, Charles Dickens, Edwin Abbott Abbott, Mark Twain, Jerome Klapka Jerome & Cronos Classics This book contains several tables of HTML content that will make reading easier.
The first table of contents lists all the titles included in this volume.
This book contains the following works, classified by date of publication:
Gulliver's Travels by Jonathan Swift
Juvenilia - Volume I by Jane Austen
Juvenilia - Volume II by Jane Austen
Juvenilia - Volume III by Jane Austen
Lady Susan by Jane Austen
Our Mutual Friend by Charles Dickens
Flatland: A Romance of Many Dimensions by Edwin Abbott Abbott
The Adventures of Huckleberry Finn by Mark Twain
Three Men in a Boat by Jerome Klapka Jerome
A Connecticut Yankee in King Arthur's Court by Mark Twain
Edwin Abbott Abbott If my poor Flatland friend retained the vigour of mind which he enjoyed when he began to compose these Memoirs, I should not now need to represent him in this preface, in which he desires, firstly, to return his thanks to his readers and critics in Spaceland, whose appreciation has, with unexpected celerity, required a second edition of his work; secondly, to apologize for certain errors and misprints (for which, however, he is not entirely responsible); and, thirdly, to explain one or two misconceptions. But he is not the Square he once was. Years of imprisonment, and the still heavier burden of general incredulity and mockery, have combined with the natural decay of old age to erase from his mind many of the thoughts and notions, and much also of the terminology, which he acquired during his short stay in Spaceland. He has, therefore, requested me to reply in his behalf to two special objections, one of an intellectual, the other of a moral nature
Edwin Abbott Abbott Almost every English boy can be taught to write clearly, so far at least as clearness depends upon the arrangement of words. Force, elegance, and variety of style are more difficult to teach, and far more difficult to learn; but clear writing can be reduced to rules. To teach the art of writing clearly is the main object of these Rules and Exercises.
Ambiguity may arise, not only from bad arrangement, but also from other causes—from the misuse of single words, and from confused thought. These causes are not removable by definite rules, and therefore, though not neglected, are not prominently considered in this book. My object rather is to point out some few continually recurring causes of ambiguity, and to suggest definite remedies in each case. Speeches in Parliament, newspaper narratives and articles, and, above all, resolutions at public meetings, furnish abundant instances of obscurity arising from the monotonous neglect of some dozen simple rules.
The art of writing forcibly is, of course, a valuable acquisition—almost as valuable as the art of writing clearly. But forcible expression is not, like clear expression, a mere question of mechanism and of the manipulation of words; it is a much higher power, and implies much more.
Writing clearly does not imply thinking clearly. A man may think and reason as obscurely as Dogberry himself, but he may (though it is not probable that he will) be able to write clearly for all that. Writing clearly—so far as arrangement of words is concerned—is a mere matter of adverbs, conjunctions, prepositions, and auxiliary verbs, placed and repeated according to definite rules. Even obscure or illogical thought can be clearly expressed; indeed, the transparent medium of clear writing is not least beneficial when it reveals the illogical nature of the meaning beneath it.
On the other hand, if a man is to write forcibly, he must (to use a well-known illustration) describe Jerusalem as "sown with salt," not as "captured," and the Jews not as being "subdued" but as "almost exterminated" by Titus. But what does this imply? It implies knowledge, and very often a great deal of knowledge, and it implies also a vivid imagination. The writer must have eyes to see the vivid side of everything, as well as words to describe what he sees. Hence forcible writing, and of course tasteful writing also, is far less a matter of rules than is clear writing; and hence, though forcible writing is exemplified in the exercises, clear writing occupies most of the space devoted to the rules.
Edwin Abbott Abbott I call our world Flatland, not because we call it so, but to make its nature clearer to you, my happy readers, who are privileged to live in Space.
Imagine a vast sheet of paper on which straight Lines, Triangles, Squares, Pentagons, Hexagons, and other figures, instead of remaining fixed in their places, move freely about, on or in the surface, but without the power of rising above or sinking below it, very much like shadows—only hard with luminous edges—and you will then have a pretty correct notion of my country and countrymen. Alas, a few years ago, I should have said "my universe:" but now my mind has been opened to higher views of things.
In such a country, you will perceive at once that it is impossible that there should be anything of what you call a "solid" kind; but I dare say you will suppose that we could at least distinguish by sight the Triangles, Squares, and other figures, moving about as I have described them. On the contrary, we could see nothing of the kind, not at least so as to distinguish one figure from another. Nothing was visible, nor could be visible, to us, except Straight Lines; and the necessity of this I will speedily demonstrate.
Place a penny on the middle of one of your tables in Space; and leaning over it, look down upon it. It will appear a circle.
But now, drawing back to the edge of the table, gradually lower your eye (thus bringing yourself more and more into the condition of the inhabitants of Flatland), and you will find the penny becoming more and more oval to your view, and at last when you have placed your eye exactly on the edge of the table (so that you are, as it were, actually a Flatlander) the penny will then have ceased to appear oval at all, and will have become, so far as you can see, a straight line.
The same thing would happen if you were to treat in the same way a Triangle, or a Square, or any other figure cut out from pasteboard. As soon as you look at it with your eye on the edge of the table, you will find that it ceases to appear to you as a figure, and that it becomes in appearance a straight line. Take for example an equilateral Triangle—who represents with us a Tradesman of the respectable class. Figure 1 represents the Tradesman as you would see him while you were bending over him from above; figures 2 and 3 represent the Tradesman, as you would see him if your eye were close to the level, or all but on the level of the table; and if your eye were quite on the level of the table (and that is how we see him in Flatland) you would see nothing but a straight line.
When I was in Spaceland I heard that your sailors have very similar experiences while they traverse your seas and discern some distant island or coast lying on the horizon. The far-off land may have bays, forelands, angles in and out to any number and extent; yet at a distance you see none of these (unless indeed your sun shines bright upon them revealing the projections and retirements by means of light and shade), nothing but a grey unbroken line upon the water.
Well, that is just what we see when one of our triangular or other acquaintances comes towards us in Flatland. As there is neither sun with us, nor any light of such a kind as to make shadows, we have none of the helps to the sight that you have in Spaceland. If our friend comes closer to us we see his line becomes larger; if he leaves us it becomes smaller; but still he looks like a straight line; be he a Triangle, Square, Pentagon, Hexagon, Circle, what you will—a straight Line he looks and nothing else.
You may perhaps ask how under these disadvantagous circumstances we are able to distinguish our friends from one another: but the answer to this very natural question will be more fitly and easily given when I come to describe the inhabitants of Flatland. For the present let me defer this subject, and say a word or two about the climate and houses in our country.
Edwin Abbott Abbott pubOne.info thank you for your continued support and wish to present you this new edition. I call our world Flatland, not because we call it so, but to make its nature clearer to you, my happy readers, who are privileged to live in Space.
Edwin Abbott Abbott This book is a work of apologetics addressed the "the doubters of this generation." This author presents reasons for faith in Christianity that stand on their own and do not rest on the miracles found in the Bible.