Algebra is a kind of generalized arithmetic, in which numbers or quantities and operations, often also the results of operations, are represented by symbols. Algebra is an invaluable instrument in intricate calculations of all kinds, and enables operations to be performed and results obtained that by arithmetic would be impossible, and its scope is still being extended.
The beginnings of algebraic method are to be found in Diophantus, a Greek of the fourth century of our era, but it was the Arabians that introduced algebra to Europe and from them it received its name. The first Arabian treatise on algebra was published in the reign of the great Kaliph Al Mamun (813-833) by Mohammed Ben Musa. In 1202 Leonardo Fibonacci of Pisa, who had travelled and studied in the East, published a work treating of algebra as then understood in the Arabian school. From this time to the discovery of printing considerable attention was given to algebra, and the work of Ben Musa and another Arabian treatise, called the Rule of Algebra, were translated into Italian.
The first printed work treating on algebra (also on arithmetic, etc) appeared at Venice in 1494, the author being a monk called Luca Pacioli da Bergo. Rapid progress now began to be made, and among the names of those to whom advances are to be attributed are Tarfcaglia and Cardan. About the middle of the sixteenth century the German Stifel introduced the plus, minus and square root symbols, and Recorde the equals sign. Recorde wrote the first English work on algebra. Francois Vieta, a French mathematician (1540-1603), first adopted the method which has led to so great an extension of modern algebra, by being the first who used general symbols for known quantities as well as for unknown. It was he also who first made the application of algebra to geometry.
Albert Girard extended the theory of equations by the supposition of imaginary quantities. The Englishman Harriot, early in the seventeenth century, discovered negative roots, and established the equality between the number of roots and the units in the degree of the equation. He also invented the less than and greater than signs, and Oughthred that of the x multiplication symbol. Descartes, though not the first to apply algebra to geometry, has, by the extent and importance of his applications, commonly acquired the credit of being so. The same discoveries have also been attributed to him as to Harriot, and their respective claims have caused much controversy. He obtained by means of algebra the definition and description of curves. Since his time algebra has been applied so widely in geometry and higher mathematics that we need only mention the names of Fermat, Wallis, Newton, Leibnitz, De Moivre, MacLaurin, Taylor, Euler, D'Alembert, Lagrange, Laplace, Fourier, Poisson, Gauss, Horner, De Morgan, Sylvester, Cayley. Boole, Jevons, and others have applied the algebraic method not only to formal logic but to political economy. Research Algebra More information about Algebra
A bell is a hollow, somewhat cup-shaped, sounding instrument of metal. The metal from which bells are usually made (by founding) is an alloy, called bell-metal, commonly composed of eighty parts of copper and twenty of tin. The proportion of tin varies, however, from one-third to one-fifth of the weight of the copper, according to the sound required, the size of the bell, and the impulse to be given. The clearness and richness of the tone depend upon the metal used, the perfection of its casting, and also upon its shape; it having been shown by a number of experiments that the well-known shape with a thick lip is the best adapted to give a perfect sound. The depth of the tone of a bell increases in proportion to its size.
A bell is divided into the body or barrel, the ear or cannon, and the clapper or tongue. The lip or sound-bow is that part where the bell is struck by the clapper. It is uncertain whether the jangling instruments used by the Egyptians and Israelites can be correctly described as bells; but it is certain that bells of a considerable size were in early use in China and Japan, and that the Greeks and Romans used them for various purposes. They are said to have been first introduced into Christian churches about 400 AD by Paulinus, bishop of Nola, in Campania (whence campana and nola as old names of bells); although their adoption on a wide scale does not become apparent until after the year 550, when they were introduced into France.
Benedict Biscop, abbot of Wearmouth, seems to have imported bells from Italy to England in 680, but their use in Ireland and Scotland is probably of earlier date. The oldest of those existing in Great Britain and Ireland, such as the 'bell of St. Patrick's will' and St Ninian's bell, are quadrangular and made of thin iron plates hammered and riveted together.
Until the thirteenth century bells were of comparatively small size, but after the casting of the Jacqueline of Paris (6.5 tons) in 1400 their weight rapidly increased. Among the more famous bells are the bell of Cologne, 11. tons, 1448; of Dantzic, 6 tons, 1453; of Halberstadt, 7.5, 1457; of Rouen, 16, 1501; of Breslau, 11, 1507; of Lucerne, 71, 1636; of Oxford,7.5 1680; of Paris, 12.8, 1680; of Bruges, 10.5, 1680; of Vienna, 17.75, 1711; of Moscow (the monarch of all bells), 193, 1736; three other bells at Moscow ranging from 16 to 31 tons, and a fourth of 80 tons cast in 1819; the bell of Lincoln (Great Tom), 5.5, 1834; of YorkMinster (Great Peter), 10.75, 1845; of Montreal, 134, 1847; of Westminster (Big Ben), 15.5, 1856, (St Stephen), 13.5, 1858; the Great Bell of St. Paul's, 17.5, 1882. Others are the bells of Ghent (5 tons), Gorlitz (10.75 tons), St Peter's, Rome (8 tons), Antwerp (7.25 tons), Olmutz (18 tons), Sacred Heart, Paris (27 tons), Novgorod (31 tons), Pekin (53.5 tons).
Besides their use in churches bells are employed for various purposes, formerly the most common use being to summon attendants or domestics in private houses, hotels, etc. Bells for this purpose were of small size and may be held in the hand and rung, but most commonly were rung by means of wires stretched from the various apartments to the place where the bells were hung. Bells rung by electricity became common in hotels and other establishments around 1905.
Ben (Hebrew for son) is a prepositive syllable signifying in composition 'son of', found in many Jewish names, as Bendavid, Benasser, etc. Beni, the plural, occurs in several modern names, and in the names of many Arabian tribes. Research Ben
Big Ben is the 13.5 ton bell in the clock tower of the Houses of Parliament. It was cast at the Whitechapel Bell Foundry in 1858, and popularly known as
Big Ben after Sir Bejamin Hall, the First Commissioner of Works at the time. Research Big Ben
Drama (from the Greek drew, I act), is a class of writings which almost entirely consist of dialogue, persons being represented as acting and speaking, and the pieces being usually intended to be acted on a stage by parties assuming the characters of the respective persons.
Its two great branches are tragedy and comedy, the former, roughly speaking, melancholy in character, the latter cheerful. The origin of the drama must be sought for in the love of imitation, and dramatic performances of some kind are to be met with probably among all nations.
Dramatic compositions are found in the Old Testament, for example in Job and the Song of Solomon; and ancient India and China both developed a dramatic literature of their own.
The European drama bad its origin in Greece. Both forms, tragic and comic, took their rise in the celebrations of the Greek festivals of Dionysus (Bacchus), at which hymns and chants were sung by choruses in honour of the god, and the chorus continued to be a prominent feature of the old Greek drama. Greek comedy commenced about 580-560 BC with Susarion, but it was long in attaining regular form. Of the old Greek comedy the chief representatives were Oratinus, Eupolis, Pherecrates, and Aristophanes - the last the greatest.
The invention of tragedy is generally ascribed to Thespis about 530 BC, who was followed by Phrynichus. But the true creator of tragedy was Aeschylus, in whose works and those of Sophocles and Euripides it found its most perfect expression. Thespis had only one actor, who from time to time relieved the chorus by declamation. Aeschylus changed this representation into real action by making use of two actors in addition to the chorus. Aeschylus also introduced masks; and by means of a long gown and the cothurnus, or buskin, the lofty stature of the heroes was imitated. A third actor was first introduced by Sophocles. The accommodations for the spectators were improved, and machinery and scenery introduced. The theatres, which had been formerly built of wood, were now large stone erections, capable of containing the greater number of the citizens. The regular drama among the Romans was borrowed from the Greeks. Plautus and Terence were imitators of the Greek comedy, Livius Andronicus (240 BC) of the Greek tragedy. Of the Roman tragedy, the dramas of Seneca are the only specimens extant.
In most modern European countries the regular drama took its rise in the mysteries, miracle-plays, and moralities of the middle ages. In Italy, however, it began with a reproduction in Latin of classical models. The earliest tragedy in Italian is Trissino's Sofonisba (1502). Regular comedies in Italian were written by Ariosto, Aretino, Macchiavelli, and others; and to the same period (15th and 16th centuries) belongs the Italian Pastoral Drama, which sprung from the ancient idylls, and aimed at a fanciful delineation of Arcadian and mythological scenes. Among the pastoral dramatists of this period are Poliziano, Tasso, and Guarini. The pastorals gave birth to the opera, early masters of which, so far as it may be included in the poetic drama, are Zenoand Metastasio. The Italian drama waned in the 17th century, but in the 18th genuine comedy and classic tragedy were restored, the former by Goldoni, the latter by Alfieri. Monti, Manzoni, and Niccolini are among the later writers of tragedy.
The other European nations cultivated the dramatic art much later than the Italians. The English and Spaniards devoted their attention to it almost at the game time; the former reaching their acme in William Shakespeare, the latter in Lope de Vega and Calderon. The history of the English theatre and the drama is naturally divided into two parts, the first of which begins with the reign of Elizabeth I and ends with the reign of Charles I. The rapid developmentof the drama during the reign of Elizabeth I was entirely unhampered by foreign influence. Lyly, Peele, Greene, Marlowe, William Shakespeare, Ben Jonson, Beaumont and Fletchor, Chapman, Webster, Middleton, Marston, Ford,and Massinger are among the chief names connected with the brilliant period of the English drama.
During the Commonwealth the Puritans prohibited all kinds of plays, and the theatres were shut up for thirteen years. With Charles II the drama reappeared, and exhibited a licentiousness hardly equalled by that of any other Christian nation. Among the chief names belonging to this period are Dryden, Otway, Lee, Shadwell, Wycherley, and Etherege. From the close of the 17th to that of the 18th century British comedy was cultivated with much success by Cibber, Farquhar, Congreve, Sheridan, and others.
During the 19th century many writers have been conspicuous by their dramas. Among the chief of these may be noted Byron, Coleridge, Landor, Shelley, Maturin, Talfourd, Milman, Sir Henry Taylor, the first LordLytton, Knowles, R. H. Home, Arnold, Browning, Swinburne, and Tennyson. Among other 19th-century writers for the stage, who, however, may be called playwrights rather than dramatists, may be named, Douglas Jerrold, Tom Taylor, Charles Reade, Thomas Robertson, W. G. Wills, H. Byron, R. Buchanan, Dion Boucicault, W. S. Gilbert, J. M. Barrie, A. W. Pinero, H. A. Jones, etc.
The French drama was in a miserable state before Corncille (1606-84), who indeed is looked on as the founder of the drama in France. Racine, Moliere, Voltaire, and in later times Hugo, are some of the other distinguished French dramatists. Since about 1820 a new dramatic school has been formed in France, which, departing from the ancient strictness of what is called the classic, approaches more and more to the German or British, or what is called the romantic school. The establishment of this school formed part of the general reaction against the excessive adherence to classic models in literature, the leader in the movement being Victor Hugo. C. Delavigne marks the transition from the classical to the beginnings of the romantic school, and among the 19th century dramatists may be mentioned A. de Vigny, George Sand, A. de Musset, Merimee, Ponsard, Augier, Scribe, Dumas the Younger, and Sardou.
The German drama is of later birth than any thus far mentioned, and for a long time the Germans contented themselves with translations and adaptations from the French. Leasing was the first who, by word and deed, broke the French sway (1755), and he was succeeded by Schiller and Goethe, who rank as the greatest of the more modern dramatists. Prominent names in the German drama are Kotzebue, Korner, Schlegel, Tieck, Brentano, Grillparzer, Hebbel, Ludwig, Gutzkow, Freytag, Laube, Von Moser, etc.
The Dutch drama begins with the classical tragedies of Koster in the beginning of the 17th century, and reached its highest in Vondel (1587-1659). Holberg, Heiberg, Oehlenschlager, Ibsen, and Bjornson are the chief names connected with the Scandinavian drama.
The advent of moving pictures during the 20th century revolutionised drama, and introduced film or movies to the audience, with the USA quickly developing a reputation for film making based in Hollywood, and by the end of the 20th century the Indian city of Mumbai had become a leading center of Hindi language film making producing more films than even Hollywood. Research Drama
Tale of a Tub is a satirical poem written by Jonathan Swift in 1696, and first published anonymously in 1704. The satire is directed against church divisions and deals with three brothers: Peter (the Church of Rome), Martin (Luther) and Jack (Calvin). It is generally accepted that the poem prevented Jonathan Swift's preferment to a bishopric. Research Tale of a Tub
Redcort is an American variety of apple that has many similarities to McIntosh, which is in its genes. McIntosh was crossed with Ben Davis in the early 1900s at the Geneva, New York, research station to produce a variety released in 1915 as Cortland. More recently a limb mutation of Cortland was discovered that offered redder and earlier colour than the parent varieties. Research Redcort
The Probert Encyclopaedia was designed, edited and programed by
Matt and Leela Probert
Abbreviations
Research Algebra
More information about 
