Quatuam League of Earth Survivals

You can also utilize horses and camels for transportation; Plants - Collect different types of plants that you can use to craft medical potions to help with poisoning, pain and stamina; Camping - You can craft and place a camp fire which can be used for cooking food and as a source of heat during cold nights. You can also sleep in a tent to gain more stamina and health back; Vehicles - Authentic military vehicles including armored cars, tanks, planes, and dune buggies with customization features such as tire armour, different weapon choices, desert camouflage paint job, side lights and more; Weapons - Utilize an arsenal of weapons including side arms, rifles, machine guns and in future alphas flame throwers and sniper rifles; Skill Tree - Upgrade your character across three different fields covering Combat, Defense and Exploration ; Environments - The desert is filled with interesting locations to discover including oasis, bedouin camps, villages, military bases, air fields, oil wells and ancient ruins; Trading - Buy, sell and trade with different merchants across bedouin camps and villages.

If you upgrade your Negotiation skill in the skill tree, you will get better deals; Guns Blazing vs Stealth - You have the choice to approach each situation to your liking wither its to launch a full blown attack or sneak your way through undetected; Disguise - If you are sneaking into guarded military areas or ancient ruins you can increase your chances by wearing clothes that resembles the guarding faction. Set the desired weather and time of day, place different types of buildings, fill the place with props like crates and barrels, add gameplay entities like weapons, vehicles, and enemies and finally gameplay objectives such as winning conditions and player spawn positions.

Once you are done with your masterpiece you can share it with the world for other players to play and rate in the community section. Take to the skies This is a unique multiplayer VR game, featuring challenging, competitive aerial combat above a beautiful, immersive city environment. Imagine yourself sitting in a desk-fan driven chair held up by several balloons.

You navigate the airspace above a city using the joystick attached to one of the arm rests. Virtual Reality wizardry means you feel like you're right there, in that chair, bobbing along past the tips of skyscrapers, looking down at the tiny cars going about their business hundreds of feet below you. It all sounds rather lovely and serene until you add other people with similar chairs, large guns and wicked intentions. In the game you will find yourself pitted against several other Balloon Chair pilots, earn points for shooting out their balloons and for sending them plummeting to the ground.

The more balloons you inflate the higher you go. To keep yourself going you'll need to fly around the city to collect gas and bullets, so you can teach the other pilots a thing or two. There's quite a lot of gleeful carnage and frivolous high speed impacts with the pavement. Oh, and don't play chicken with the trains on the high-rise monorail which runs round the city, you'll lose. You must work with your team mates to get to your opponent's base and destroy their core before they destroy yours.

You must also spread your team's color, since you can only teleport onto your teams colored tiles. There is also a co-op wave shooter mode with 3 different enemies. Currently, there are 5 gun choices and 3 color gun choices, as well as a shield. It also features built in voice chat team and all talk. Possible future plans include if there is demand: A special mode that allows non VR gamers to play with VR gamers; Asynchronous local multiplayer mode one person uses the mouse and keyboard, while the other uses the Vive ; A campaign mode with a story.

A unique attempt to combine the mechanics of the popular MOBA genre, like Dota 2 and League of Legends, with the features of classic first-person shooters. It's from developer of Brothers in Arms and the post-apocalyptic series, Borderlands. The story takes us to a world where heroes from five different factions battle in 5-man teams for the last star in the universe. It is worth noting that the game provides a vast gallery of characters to choose from, among which we will find such as an elven archer, a Japanese samurai, or a heavily-armed space marine.

As we progress through the game, our heroes will reach higher levels of experience, allowing them to increase their statistics and the effectiveness of their skills. The games can take the form of either classic MOBA team PvP fights or a dedicated co-op campaign for 5 players, for which an expansive storyline has been prepared. It has three distinct multiplayer modes: Points are scored for every minion who throws themselves into the incinerator, and the team with the most points wins.

All experience points, whether earned through playing the Story Mode or Competitive Multiplayer modes, contribute to leveling up individual Character Rank, as well as player profile Command Rank. Each hero can permanently rank up from 1 to 10 outside of missions and matches, allowing players to swap out augments in their helix skill tree, as well as unlock skins. Players can rank up their own player profile, unlocking badges and titles to impress friends, and loot that can be used to benefit any hero the player chooses to command. It has a deep roster of 25 playable heroes and no two are the same.

Every hero has their own personality and comes equipped with their own unique weapons and powers. The accelerated character growth system allows players to level-up a character from 1 to 10 and fully experience each hero's unique weapons and powers in a single story mission or multiplayer match. Steam Free Trial uploaded by Steam.

Another full-fledged installment in one of the most popular series of war shooters played from the first-person view. With its flamboyant title, Battlefield 1 introduces the series to the realities of the First World War. The story campaign depicts this global conflict through the eyes of several independent characters, who participate in twentieth-century's first modern military conflict. When it comes to the gameplay itself, the game reaches back to the roots of the franchise, offering larger, open maps and giving a great deal of freedom when it comes to approaching different objectives.

Simultaneously, the single-player mechanics were significantly modified, in order for these to resemble the specifics of the multiplayer mode, which allows even up to 64 players to meet in one session. The new time period does not bring only the adequate weaponry and vehicles planes, tanks, warships , but also makes it necessary to apply a different approach to combat - for instance, battles have become more brutal and a greater emphasis was placed on melee combat. This DLC has four intricate maps: In addition, all users will receive a base game update that includes 11 new weapons and new server presets.

After the update, every Gold Battlepack you open may also contain a weapon license voucher — a Distinguished class item that unlocks an entire weapon license. Capture the Bag, 4 new vehicles, 3 new weapons for the Mechanic Class, one new gadget and a new melee weapon, and 4 new Legendary Camos. In addition, all Battlefield Hardline players will receive a game update that includes new weapons, patches and features. Early Access Release Ladies and gentlemen. Teleport into a room-scale re-imagination of an 80's arcade action game. You will have to move You get two guns and then start working wave through wave of the bots while ducking, dodging, sweating, and even diving on the ground and flailing all around to try to stay alive.

This is a remastered version of BioShock. Released as a part of BioShock: The Collection, for PC it is also available separately.

BioShock original version ; BioShock: Remastered remastered version ; Bioshock: Museum of Orphaned Concepts in-game gallery of abandoned development concepts, previously exclusive to BioShock: Ultimate Rapture Edition for the remastered version; Imagining BioShock, an unlockable director's commentary video series for the remastered version of BioShock featuring Ken Levine and Shawn Robertson, activated through hidden film reels.

The remastered version has achievements, full controller support, high resolution textures, models and interface, and 4K resolution support. In some cases owners of the original version could receive this remastered version of free. Early Access Release This is an old-school, story-driven, sci-fi first person shooter. Think health bar with health pickups, fast paced combat, shotguns, rocket launchers, exploding barrels and a mass of other retro mechanics in a mix of 2D and 3D FPS action. All Art, Programming and Design was done by one man.

Music was done by a friend, Scott Hunter. The art has a number of influences, some legitimately retro Megaman, Duke3D , but also more modern games with retro themes. Beta Level Demo v0. Day and night levels, players will take on 35 enemy types and numerous bosses, like the gargantuan monster affectionately named, 'Princess Blubbergut' and Minibosses every 10 days as you explore, shoot and run for your life against the onslaught of porcine monstrosities.

The game creatively dispenses pickups through a meat grinder, from the very creatures you are killing. Ammo boxes, Adrenaline, Grenades, Rockets, and other exotic boosters. A VR only, horror-survival FPS game that will thrill you with excitement, test your endurance and your bravery. Alone and armed with Blue Effect high-tech weapons you will fight for your survival. Are you ready to face your darkest fears? You are now entering the abyss. A place where your abilities will be tested, patience tried, and bravery put through the grinder. You'll either come out victorious or have your ass handed to you over and over again.

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It's a game built by a group of crazy gamers It's an an experience that's not for the faint of heart, that fully immerses you, our aspiring mercenaries, into an eerie and mysterious sci -fi world. Collect and protect the coveted Blue Effect materials. Little Buddy - Do you like the satisfaction of vaporizing an enemy?

The burning thrill of shooting a weapon. Well look no further. Little Buddy, a deadly precise laser pistol that packs a punch, vaporizing anything in its path. And if anything gets too close, the pistol acts as a heavy hitting melee weapon. Enlightenment - State of the art illumination orb technology that works fluidly with your body movement, making it easy for you to toss the orb and light up dark areas.

Blue Effect - A rare energy source developed by Lumos corporation that powers your equipment and is the catalyst for your mission, the people that hired, and the events that will unfold. Join a band of mages, known as the Boo Breakers, and travel to a variety of locales. Cast spells to reveal hidden dangers and expel all manner of things that go bump in the night, while having fun along the way. Entrusted with powerful magic wands, it is up to you to discover the secrets of the land on your way to becoming the master Boo Breaker.

Work your way through the haunted house and forest to discover the hidden treasures, keys, upgrades, and other mages. Uncover the secrets of the Ghostening and learn how to defeat the a powerful lich and frightful specter. Work your powerful magic against an assortment of wild and mystical beings, bent on keeping you from discovering the true source of evil.

Bowslinger is a HTC Vive virtual reality archery game that puts a bow and arrow in your hands and challenges your abilities in a variety of single-player game modes. Just try not to shoot too low. Draw arrows from a quiver on your back, nock it on your bow, aim, and fire. Test your skills in the target challenge, perfect your aim at the archery range, see how far you can get in endless mode, or juggle some apples. Or relax a bit and pop into the playground area for some low pressure fun. Easy to pick up, hard to master - just like real archery.

Use the in-game camcorder to engage your friends and family or online audience. Don't forget to try sticking the camera on an arrow. Enjoy the vivid medieval ruins in degree VR. Something has gone terribly wrong. There aren't many people left these days. You're not sure how much time you, or humanity itself, has left. If you have enough bullets, and enough batteries, maybe you can live long enough to fight off the monsters and see tomorrow. If you see enough tomorrows, you just might be able to get back to the event and close off the hole that these monsters keep emerging from.

Players will have to use the weapons and tools provided to survive ever more terrifying waves of horrific monsters in an attempt to figure out what caused the beginning of the end of the world, and, if they're strong enough, stop it from happening. Keep your head on a swivel, upgrade your equipment, shoot, and if all else fails pistol whip your way through the monster hoards to survive one more day. Early Access Release This first-person shooter has you jump aboard a new multiplayer experience, prepare your arms and ready your weapons.

Grab your friends and experience a true war like experience. Select from over 6 weapons and counting and drive vehicles including an MRAP and a military tank. Not only this, but you are given a complete choice with fully customizable load outs, to create your ultimate solider. If the multiplayer scene does not strike your eye, it offers a complete single player campaign, along with singleplayer game modes. Little is known, however, of the depths of the enigmatic company's experimentation and the true limits of its technology.

You, the player, wake up in one of S Corp's air bases with no memory of how you got there, but possessing a powerful ability allowing you to influence time. Before long, an apparent ally named Nova appears to guide you through waves of enemies and ultimately help you retrieve your memory. Your objective is simple and clear; break into S Corps headquarters, find out who you really are and expose the secret at the dark heart of a sinister corporation. Fast-paced, diverse action - Slick, competent enemy AI combined with a complex VR environment will force you to think on your feet, move and dodge in thrilling single player battle.

Blink into different bunkers to flank enemies or get into the heart of the action - like living your favorite action movie. Super-neat bullet time ability in VR - a refined time freezing experience of another level, bringing "quiet" moments of almost meditative calm mid-battle, all while continuing the fight.

Hardcore and precise shooting experience - Brilliant physical collision effects and almost-real weaponry with precisely calculated trajectory. This VR experience from Epic Games puts you in the middle of the action: Use motion controls in the role of an agent undergoing an infiltration simulation set inside a modern train station. Master the art of teleportation, time manipulation, and close-quarters combat to blast through resistance forces.

Thanks to Unreal Engine technology and the Oculus Touch motion controllers, you can physically interact with an array of weapons, from guns to grenades to missiles, and even feel them through haptic feedback. Free Game uploaded by Oculus. Decide yourself if you want to have a chill or you want to feel the thrill of fighting for your life. The Editor is also featuring AI enemies like mobile soldiers or stationary turrets. You even can build a house with multiple levels in the Scene Editor. Also adjust additional settings like the gravity or the light settings and invincibility for your scene.

Of course you can save your scene and return later. Already featuring more than 60 assets to place in the Editor and more than 15 realistic behaving firearms like pistols, submachine guns, rifles, grenades and even a rocket launcher. If you do not feel like building your scene you can also play three different game modes.

All modes feature very detailed and weapon specific high scores not just local but also online around the world. The three game modes in a nutshell: Go into the forest and fight for your live. Survive as long as possible beside innocent animals and deadly enemies; Dodge incoming projectiles on the roofs and shoot the targets. Featuring low gravity for enabling you to do trick reloads for even better efficiency; Enter the Shooting Range and show yourself and the world how much points you can gain in a given time.

Find the right rhythm of shooting and reloading. You control a group of revolutionaries, raiding corporate strongholds for supplies, weapons and armor. Customize your bunker, strengthen your gang and overthrow the corporate government. Heavily inspired by the classic FPS games of the early 90's: High-speed-action, circle-strafing and unloading a stream of bullets into enemies.

Build and upgrade new rooms in your bunker to buff your punks, improve your economy and enable new abilities. It's a non-linear skill tree for a wide variety of play styles. Every level is generated randomly by the game. The layout is different, the enemies are different, the loot is different, even the propaganda posters on the walls are different. You never know what's around the next corner. Combine loot, character attributes and bunker rooms to customize each character in your Bunker Punk gang. When a Canadian research team working at Trevain Industries opens an inter-dimensional portal known as the Hellgate, the city of Calgary and all of North America is thrown into complete darkness.

S an elite military contractor led by Sgt. Jake Muldoon is deployed into the scene to restore power and close the gate. Darkness and fog reign everywhere. Visibility is short and the atmosphere is eerily. Screams and growls are heard everywhere. You must reach locations where the lights can be turned on. When the lights are on watch out. Enemies hate the light. Wave of enemies will came after you, your squad and your equipment. You need to think on your feet to keep yourself and squad members a live or from being kidnapped. Immersive 3D Graphics give players a detailed world and characters to play with.

Player can choose from many different weapons, from Sniper Rifles to Shotguns. Player can deploy 4 different classes of squad members: Medic, Soldier, Engineer, Demolisher. Player can setup special equipment to slowdown or kill enemies. It features lightning-fast gameplay fully exploiting all three dimensions of motion. The "tether" allows for unprecedented freedom and agility of movement, creating explosive action unlike any other shooter. CAGE is, and will always be, completely free to play, with no microtransactions. Bringing back the LAN party! This game has no online functionality. This means you have to be connected to the same router as your friends.

The latest installment of Zombies picks up where The Giant left off, as the Origins characters head to Der Eisendrache on a mission to stop the zombie apocalypse. Go guns up in Black Ops 3 Multiplayer, featuring 4 new maps. A reimagined classic that retains the same fast and frenetic gameplay from one of the most popular maps in Call of Duty history. Plays up the core philosophy of Treyarch's classic three-lane map structure with three distinct environments.

Set in an abandoned water park, an imaginative environment with waterslides, a lazy river and a wrecked pirate ship. A Coalescence Corporation construction project catering to a mix of classic Call of Duty cover based combat. This third DLC expansion of season pass for does not strand from the path that long-time fans got used to, offering four new maps for multiplayer mode: Empire, Cryogen, Berserk and Rumble. The first takes us to an arena named Raid from second Black Ops, the second gives us a trip to cryogenic prison at The Dead Sea, and the last two taking us to frozen village of Vikings and stadium at which we fight for life and death around gigantic mechs and robots.

The second and the last main feature of Descent is another chapter of cooperative mini-campaign with zombies titled Gorod Krovi, which takes us to alternate reality of USRR of 40's of previous century and puts us against mechanized army of undead soldiers and powerful, fire-breathing dragons. The new multiplayer maps are called Spire, Rift, Knockout, and Verge. Verge is a reimagining of Call of Duty: World at War map Bonzai. Spire - takes Multiplayer combat to a futuristic sub-orbital airport terminal set high in the clouds.

Multiple levels and open areas promote intense, mid-range combat around a clean, high-tech civilian environment. Watch your step, because one wrong move could send you plummeting back through the stratosphere. Rift - Head to the core of a harsh futuristic military complex, set high above an active caldera. Rift funnels and forces tight, intense engagements, where the only way through is forward. Utilize the unique core movement opportunities to outsmart and outplay enemies as you traverse the suspended rail system.

Knockout - Housed in a traditional Shaolin Temple with a retro twist, Knockout sets the stage for a bloody Kung Fu tournament. This mid-sized map showcases a sharp contrast between the mid-range engagements of the traditional exterior architecture and the tight close-quarters of an eclectic 's styled interior. Verge - In this re-imagination of the classic Call of Duty: World at War map, Banzai, Verge drops Multiplayer combat into the center of a distant post-apocalyptic future, where two warring factions are entrenched in constant battle.

Take control of the key bridge, fortresses, tunnel systems and waterfalls as you engage in high-speed action through this medium-sized map. This entry is set on a Division 9 biological research lab on a remote Pacific island where experiments are conducted on humans, animals, and plants. Things haven't gone well, and the lab is now infested with "horrors beyond belief.

The expansion is a part of the season pass. As always, the expansion includes four new multiplayer maps. Citadel takes place in a medieval castle. Micro is a wacky map, featuring a picnic table, with the players taking control of the miniature soldiers. World at War, now presented as an advanced research outpost. Salvation DLC is also the conclusion of the cooperative Zombie mini-campaign, in which the protagonists fight for their souls, facing the mysterious Dr.

Monty and his army of undead. Zombies returns in all of its undead glory with "The Giant," a research facility featuring the weapon-upgrading Pack-a-Punch Machine. Another installment in one of the most popular FPS series of all time. Once again, futuristic warfare is the theme of the game, however, the player is taken even deeper into the world of the future. The game tells a story of a fictional conflict between the United Nations Space Alliance and the Settlement Defense Front - the latter stands against international cooperation. Along with his crew on board the warship Retribution, he tries to stop the SDF forces.

This installment brings many changes related to the introduction of a different time period - among things worth mentioning are the futuristic weapons and gadgets, as well as a completely new type of missions, in which the player pilots a Jackal fighter plane, participating in fierce aerial battles. Obviously, the story campaign is complemented by an extensive multiplayer and the Zombie mode as usual. A remastered edition of 's Call of Duty: Modern Warfare which was the first installment in the legendary FPS series to be set in contemporary world.

The plot is centered around a fictional military conflict from the turn of the 21st century, initiated by an extreme Russian nationalist by the name of Zakhaev, who supports terrorism in order to create a distraction from an attempt to take over his native country. The player assumes the roles of several different characters throughout the game, participating in subsequent dramatic missions taking place in various parts of the globe. The remastered edition offers higher-quality textures, new animations, improved lighting and shading effects, as well as improved sounds. Apart from the single-player campaign, it features ten most popular maps for multiplayer competition.

Additionally, it is worth mentioning that the game is featured as a bonus in the special edition of Call of Duty: The world that have been destroyed and have revived from ashes. The world full of ancient wooden mechanisms and stone golems worshipping them, beautiful palms and deadly homing missiles. Fancy place that will never make you stop being surprised. Turn fragile schooner into a deadly machine of destruction carrying death, disruption Shoot crowds of armed to the teeth opponents and collect variety of treasures in the most exciting VR experience ever.

The titanic rock is falling right on your head. You have never felt such a deep experience before, but you can now. Cover yourself with a shield, fire with two hands, make a real Armageddon with a machine gun in one hand, shotgun in the other and piece of huge rock you have blown up. Unlock and upgrade all types of weapons including deadly Doom Rocket Launcher. Upgrade it or unlock destroy-them-all-style steam Rocket Launcher. The game begins with a strange phenomenon in which another Earth appears in our skies. The curiosity and fear of a doppelganger planet initiates multiple missions in order to make contact with the duplicate Earth.

A team of agents, astronauts, and scientists were sent , miles across space by NASA and the US Military, however all contact is lost a few hours after their arrival. You play as a marine named "Jake" who is sent on a mission to retrieve any research and data left behind by the original survey team while fighting off hostile forces.

During his training he was a identified as a lone wolf. He was recruited not just for his combat skills but for his self-driven tenacity and ability to make sound decisions on his own without the need for guidance. After his recruitment, he underwent a cybernetic operation that protects him from infection by the creatures of the parallel Earth.

Jake suddenly wakes up in a crashing plane with no memory of his mission or any of events that happened after his arrival. It features a wide variety of locations as players explore the horrifying, zombie-ridden lands of the parallel Earth. Players will roam the snowy Russian tundra, traverse the hot deserts of Afghanistan and venture through the ruined cities of Ukraine as they fight off creatures that were created through mankind's self-destruction.

This brave new world is fraught with horrors as players try to survive lethal perils such as a crashing airline flight, an abandoned mine, a dilapidated hospital and a haunted house. Appropriately, at every location, they will face the voracious hordes of the undead, abominable mutants and insane soldiers that inhabit this world.

Welcome to ChromaTec's test lab! You're here to test our newest, state-of-the-art military-grade color-technology: The ChromaGun patent pending. Use it to try and solve our meticulously designed test chambers in this game originally on mobiles in The basic principle is as easy as applying it is complex: Exit the chambers via the exit doors. But be weary of the WorkerDroids in charge of maintaining the chambers. They're not exactly what you and I would call"human friendly". Use the ChromaGun to colorize walls and WorkerDroids to progress in the chambers.

WorkerDroids are attracted to walls of the same color. Using that mechanic, try to reach the exit door of each chamber. Some doors are more complicated to use than others: They can only be opened using door triggers and only stay open as long as the triggers are occupied.

If all of this sounds like your brain can handle it, congratulations. You're the perfect candidate for our test chambers.

Edinburgh Review/1883/Prowe's Life of Copernicus

The Architect can be used to either lower or raise individual hexes, and you can use it to give yourself a bit of a boost when you hop from one island to the next. Better yet, holding down the space bar after a leap sends you into a gentle, downward float that will be familiar to anybody who's ever wielded a Mario cape. Use it correctly, and getting around is soon no problem at all. There are enemies wobbling about and they can either be dispatched with a laser cannon mapped to your left hand or bounced into oblivion with well-timed blasts of your Architect.

A must-see for cockroach fans. If you want to play a VR FPS game with realistically-rendered giant cockroaches, this is what you're looking for. Let's defeat cockroaches with a handheld gun. Early Access Release The wild west just got a lot more wild. Fight off steam-powered machines literally bent on destroying you. Use your arsenal of modified western weapons to fight back, using abilities such as shields and slow motion to get the upper hand.

Use Room-Scale VR to duck and dive behind cover you may even find yourself rolling and army crawling around to avoid fire. The weapons at your disposal range from scoped revolver snipers to gatling rifles. More Weapons - At least 3 more weapons, 1 pistol and two shotguns, as well as throwables like dynamite, knives, and tomahawks; More Locations - Moving train fight off steam-powered bandits , Large cage dome captured by the machine leader, survive as long as you can.

Those who haven't been killed by some type of cranial injury are most likely still shuffling around out there, threatening our ability to retake parts of the city and rescue additional survivors. We are starting a task force comprised of individuals willing to thin the numbers of the remaining infected inside the city.

We are paying for each infected killed. You can use the funds to upgrade your weaponry and venture to more dangerous areas. You will be placed in areas with significant infected activity in an attempt thin their numbers. You can choose to stay and hold your ground as long as you want, but if you can't successfully escape the mission area, then you will lose any money earned during the mission. Choose from a variety of weapons to kill the infected, all of which feature realistic handling and reloading. As you accumulate more money, you will be able to buy bigger and better weaponry in order to survive increasingly difficult encounters.

PC Standalone was released which allows play of the game without VR. There are six maps to play through with each differing in difficulty. It allows online crossplay with owners of the VR version. Currently, the online play will feature the PC player providing sniper support on two of the maps available in single player. It also introduced new Blitz missions, where players earned bonus XP for performing specific actions during global windows of opportunity. Players must be Private Rank 3 or above to participate in competitive Blitz missions. The seven chosen maps were available for free to all players on official servers, but the reintroduction of Nuke remains on official servers.

The Operation Wildfire Coin, displayable wherever your avatar is shown, is upgraded by completing campaign Challenge Missions. The Journal tells the story of your play during the operation. Visible only to you, check your stats for your competitive play and see where you rank with your friends on the leaderboard. Earn XP by fighting your way through the Wildfire Campaign, or by joining a friend and completing the cooperative Gemini Campaign featuring replayable Guardian and all new Co-op Strike Missions.

Keep on the look-out for Blitz missions, where players can earn bonus XP for performing specific actions during global windows of opportunity. You must be Private Rank 3 or above to participate in competitive Blitz missions. Available exclusively to Operation Wildfire coin holders, the Wildfire Case features 16 top-rated community-created weapon finishes and the new Bowie Knife.

Coin holders will also exclusively get weapon drops from the Operation drop list, which consists of the Cobblestone, Overpass, Cache, Gods and Monsters, Chop Shop, and Rising Sun collections. Individual Map Downloads click map titles then Workshop uploaded by Steam. And we're just getting started Flip a table and take cover, break a chair over your friends head, hurl a tomahawk, jump out with six-shooters blazing or just practice shooting beer bottles out of the sky. It's a wild west brawl scene brought to life by robots, aliens, the magic of VR and you. Pro Tip - a throwing knife deals more damage than a poker chip; Hang Out - Hit the saloon and have a virtual drink with a fellow Cowbot, make art out of a stack of chairs or join a battle.

No consequences in this social area; Customize your Avatar - Outfit your Cowbot or Alien with hats, shirts, vests or facial hair; Master Creative Weapons - they have retrofitted the iconic weapons of the old west for use in their ongoing feud. From guns to tomahawks to broken bottles; Wreck the Place - Don't hesitate to make a mess - this is the Wild West after all.

This is a crappy VR zombie game where you fight off waves of zombies in an attempt to fight boredom. This experience will be more interesting and exciting than most game for this price. As an influential figure, you find you are left in a castle after an attack, with the noise of chewing corpse from unknown creatures resounding.

Teetering on the brink of the darkness, you will have to use the weapons and tools provided to survive and defend yourself against enemies close enough to attack. Of course, it just a tray of dishes, the weapons can only drag you away from death, and the correct way of crossing death is exercising your wisdom. In dark corners, or behind the rusty barriers, even a sewer exuding stench, there are secrets of crossing death luring you.

Additionally, the scrawls of predecessors may give you a little more help and leading the way forward. However, when you're busy searching for clues, do not ignore the approaching danger from behind. Struggle in the mysterious castle, and figure out the one who caused all this. As a member of the CTU — Counter Terrorism Unit, you will be under fire and under pressure as you are deployed to several dangerous locations to detain a rising criminal threat. Anyone can fire a gun, but there are only a few who can bring down a suspect with intimidating presence, and force them to lay down their weapons and surrender.

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At your disposal are a selection of weapons and tools that will aid you in fighting terrorism. These include the snake cam used to see what dangers may face you behind a closed door , the night vision goggles, riot shield and three types of grenade. Based on your performance for each mission, players will be awarded with money which can be spent on new weapons, tools and hiring new team members.

AI team mates can be ordered to open doors, cover locations, move to area, use snake cams and an assortment of other tasks. You can also play online with up to four friends in five player online co-op. How characteristic is this passage for instance: The curious limitations of Matthew Arnold's power, as revealed in occasional calm and arbitrary failures of judgment—the note of provincialism, as he would himself call it—are so obvious, and to many people, so irritating, that they have frequently aroused ample discussion, and need not be alluded to here.

Nor is it necessary to speak of his habit of inventing a catchword, and then repeating it in varying tones and inflexions of voice, as if endeavouring to impress some new meaning on the word, a trick which has been caught by some of those whom Mr. Professor Seeley, for example, not long ago undertook to tell us that Goethe is a serious writer—a serious writer.

Sainte-Beuve, from whom many of Matthew Arnold's best qualities derive, was singularly free from such peculiarities of method. In the preceding critical generation he was, as his English disciple said, "the prince of critics. Arnold possessed something of Sainte-Beuve's freedom from prejudice. There is, however, another and more fundamental weakness in his critical work, a weakness which is, I think, connected with that impression of superficiality which he often gives.

The literary qualities of style are not so widely diffused in England that we can well afford to quarrel with them when, as in Matthew Arnold's prose, we find them so exquisitely, so charmingly developed. It would be hard to overrate the marvellous qualities of this style—its delicacy, its lucidity, its irony, its vital and organic music—but it remains true that an intense preoccupation with style is almost invariably detrimental to the finest criticism.

The critic's business is not to say beautiful things. It is his business to take hold of his subject with the largest and firmest grasp, to express from it its most characteristic essence. But it is part of Matthew Arnold's method, if method it may be called, "to approach truth on one side after another, not to strive or cry, nor to persist in pressing forward , on any one side, with violence and self-will. At the time it was written Carlyle was accepted as an authority on German literature, and Carlyle is said to have referred to Heine as "that pig.

Arnold was on the side of true criticism. He shows a delicate appreciation of the obvious aspects of things—especially the more un-English aspects—a sure sense of the artistic perfection of Heine's verse, though not of his prose, an adequate delight in his wit, a total failure to understand his humour, the usual irresistible tendency to moralise which prompts him to sum up by saying that Heine produced nothing but "a half result. How many books and essays have been written about him, and how little true criticism they contain!

Perhaps, indeed, the time has not yet come for a really wide and deep appreciation of his marvellous individuality. At present the only fairly complete critical account of Heine that I know of in England is contained in a careful and rather dull paper which appeared in the Contemporary a few years ago, and which was written by a Mr. Let us, then, look at Mr.

Arnold's article on "Keats" in Ward's English Poets. Who has not heard of Keats' "natural magic? Arnold displays all the charm of his most exquisite literary style. And yet his unhappy tendency to moralise, his resolve "not to persist in pressing forward," but to enjoy merely the superficial aspect of things, make it impossible to say that these pages, delightful as they are, bear on them the stamp of true critical insight. After all, we must never forget all that we owe to Matthew Arnold. Bourget says of Renan that he is "l'homme superieur. It is the superiority voulu of a pedagogue.

If, however, he appears to possess the hereditary instincts of a schoolmaster, and in a stern yet half-encouraging manner deals out reproofs to Ruskin, Stopford Brooke, and others who have not yet learnt what measure is, what style is, what urbanity is, still it is true that the reproofs were called for, and Matthew Arnold himself seldom forgets what those things are. One would prefer, when charitably disposed, that one's contemporaries should fall into his hands rather than, let us say, be reached by Swinburne's reckless sledge-hammer. It is no mean distinction to have been one of the foremost poets of an age, one of its chief prose writers, and its most typical critic.

This may console Mr. Arnold when he sometimes finds arrayed against him the weapons which he has himself forged. When a writer has become popular and influential it is profitable, Mr. Arnold would himself tell us, to meditate on his defects. The influence which Matthew Arnold has exercised on recent English critical work may be seen both in its better qualities and in its lack of thoroughness, its tendency to degenerate into the mere literature of style.

Not long ago Mr. H Myers published two volumes of essays which were largely of a critical character. These well-written essays were received with all the applause which they deserved, an applause which was unanimous, and seems to indicate that they may fairly be accepted, both in their merits and defects, as an example of the popular conception of criticism. The influence of Matthew Arnold's method may, I think, be well traced in the essay on Renan. Myers is concerned not to get to the heart of his subject, but to give us charming and interesting passages, stimulating and profitable suggestions—"the best that is known and thought in the world.

It is a pleasant essay, it is not criticism. It might be said that Mr. Myers is writing of a foreign author, not, like M. Bourget, of a native writer, with whom he could suppose his readers to be well acquainted, or, like Georg Brandes, who writes avowedly for all Europe. Let us turn, then, to his essay on "Rossetti and the Religion of Beauty.

It is witty sometimes; it is carefully written; I frequently feel that Mr. Myers is about to touch the heart of his subject; but he goes round and round, and never seems to get any nearer. He beats the bush with admirable dexterity, and the reader looks on expectantly, but nothing appears.

There are certain flames in literature—Heine, Rossetti, Whitman—into which the critical moth in England loves to dash, and Mr. Myers, like the rest, appears to singe his wings with great satisfaction. Another English critic, Mr. Theodore Watts, has dealt with Rossetti much more successfully. Notwithstanding his fine sense for artistic form, his keen faculty for mere literary analysis, Mr. Watts sees clearly the nature of the critic's ultimate task. He is fully aware that the critic is concerned with criticism, not with the mere production of literature. In an article called, with some failure of good taste, "The Truth about Rossetti," which appeared in the Nineteenth Century about two years ago, he has produced a criticism of Rossetti which is likely to be final for some years to come.

If we regard the present state of English criticism, it is difficult to praise such work too highly for its grasp of a very wonderful individuality, for its keen perception of the relations of that individuality to imaginative art generally. The accurate criticism of a great, and hitherto unappreciated personality with which, also, the critic has come closely in contact , is a peculiarly difficult task.

Swinburne's criticism of Rossetti was a lyrical rhapsody. William Sharp, with all his talent, with his devoted and laborious enthusiasm, has written a volume of some four hundred pages about Rossetti, which contains perhaps some dozen lines of genuine criticism. And when the enthusiasm and the laboriousness are both wanting, the result may be even more disastrous, as anyone may have observed who happened to witness a pathetic attempt at the criticism of Rossetti by the late Principal Shairp. Such criticism as that of Mr.

Watts becomes, therefore, very precious, and it is a matter for regret that he has not more strenuously devoted himself to criticism of such serious and enduring quality. I have alluded to another writer who has been singularly fortunate or unfortunate in attracting the attention of critics.

It would be difficult even to name the critics who have attempted to gauge the depth or shallowness of Whitman's genius, for the most part, not even excepting an interesting attempt of Professor Dowden's, in a somewhat ineffectual manner. Strange to say, it is in the prophet's own country, and from a writer who is not pre-eminently a critic, that the most adequate appreciation of Whitman has so far proceeded. In an essay, entitled too fancifully The Flight of the Eagle , John Burroughs shows very remarkable precision of judgment, and power of synthetic criticism.

His range of criticism, though narrow, is true within its own limits. Narrowness of range marks some of our best critics. Pater, if he has nothing else in common with Burroughs, is a true critic within an almost equally narrow range, and with a similar synthetic method. Burroughs' range is that of large, virile, catholic, sweet-blooded things; he is half on the side of Emerson, but altogether on the side of Rabelais, of Shakespeare, of Whitman.

Pater is not, indeed, on the side of "Zoroaster and the saints;" but there is no room in his heart for the things that Mr. For him there is nothing so good in the world as the soft, spiritual aroma—telling, as nothing else tells, of the very quintessence of the Renaissance itself—that exhales from Delia Robbia ware, or the long-lost impossible Platonism of Mirandola, or certain subtle and evanescent aspects of Botticelli's art.

To find how the flavour of these things may be most exquisitely tasted, there is nothing so well worth seeking as that. Even in Marius the "new Cyrenaicism" in reality rules to the end. Joachim du Bellay is too fragile to bear the touch of analytic criticism, but certainly it would be impossible to do more for him than Mr.

Pater has done by his synthetic method. Pater the objects with which aesthetic criticism deals are "the receptacles of so many powers or forces" which he wishes to seize in the most complete manner; they are, as it were, plants from each of which he wishes to extract its own peculiar alkaloid or volatile oil. For him "the picture, the landscapes, the engaging personality in life or in a book, La Gioconda , the hills of Carrara, Pico of Mirandola, are valuable for their virtues, as we say in speaking of a herb, a wine, a gem; for the property each has of affecting one with a special unique impression of pleasure.

Pater seemed to swoon by the way over the subtle perfumes he had evoked, he might, one thinks, have gone far. If, however, the area which Mr. Pater occupies with his herbs, and gems, and wines is small, however choice, that is but saying that he is not a critic of the first order, and that critics of the first order are rare.

With so definite, and apparently fruitful a method, one might have thought that all things were possible for Mr. But a fairly catholic critic like Sainte-Beuve—for with all his cynical caution Sainte-Beuve was catholic—rarely has a definite method, a method to which he adheres. However it may be in the future, the critic, in his largest development, hitherto has been a highly-evolved and complex personality, whose judgments have proceeded from the almost spontaneous reaction of his own nature with the things with which he has come in contact; and so long as that is the case, the main point is to ascertain the exact weight and quality of the factor which the critic himself brings.

In that way, while we shall still be nothing less than infinitely removed from the realisation of so primitive a conception of the critic's function as Matthew Arnold's—"to see the thing as in itself it really is"—can we only at present truly attain a sound criticism. Symonds, among English critics, possesses, I think unquestionably, the most marked catholicity. He has not, like Mr. Pater, the advantage or disadvantage of a definite method. He lives and moves in "the free atmosphere of art, which is nature permeated by emotion. Description, it is scarcely necessary to say, is not always criticism; and Mr.

Symonds, especially in some volumes of magazine essays—the litter of his workshop—gathered together and published—it is not, from a critical point of view, quite easy to say why—is by no means sparing in this respect. His power of fluent description, his wealth of exact analogy from all domains of art, are sometimes almost oppressive. He can tell you how a particular poem is like a particular picture, or a particular picture like a particular fugue of Bach's. But a capacity for profuse and minute analogy, however rich and poetic—and Mr.

Symonds' analogies often are rich and poetic; for instance, "the beautiful Greek life, as of leopards, and tiger-lilies, and eagles "—is not necessarily a surer guide in paths of criticism than in paths of philosophy. In his more solid and mature work Mr. Symonds has freed himself from these defects of his manner.

In the chief subject with which he has dwelt—the Italian Renaissance—his method of uniting description with analytic criticism is seen at its best. Notwithstanding the emotional extravagance to which he is sometimes though not at his best inclined, Mr. Symonds' deepest quality is his keen and restless intellectual energy. This profoundly inquisitive temper of mind may be seen in his sonnets, with their subtle and searching dialectical power. To this wide-ranging intellectual force is united a certain calm breadth and sanity which marks all Mr.

Taine, whose eager, inquisitive, intellectual force is greater still, fails to give any impression of underlying sanity and calm. One can always see the restless passion that throbs beneath the iron mail of his logic. Symonds, also, is free from the limitations of the specialist critic. His account of Shelley in the "Men of Letters" series is, on the whole, the best that has yet appeared; in Ward's English Poets he has written a short criticism of Byron which sums up admirably whatever makes Byron great and significant.

It is rare to find a critic who is equally receptive to these two so diverse artistic individualities. Taine, with all his ostentation of scientific apparatus, has his well-marked proclivities. When one thinks of Taine one thinks of the things that are most exuberant, elemental, bitter, that burst forth from the lowest depth of the human consciousness—of Rubens, of Shakespeare, of Swift. We see his insatiable passion for all that is fiercest and most concentrated in the elemental manifestations of human hatred and revenge in his Revolution. Symonds, with a much less definite method, has less definite prejudices.

But he also takes peculiar delight in a certain order of individuality. Like Taine, he is attracted by the manifestations of elemental passion; his intellectual energy is satisfied by the bold, strong, unemotional imagination of the Italian novellieri , or the same imagination with its profound moral and emotional reverberations in the Elizabethan dramatists.. Perhaps, however, it is the natural rather than the fiendish aspects of passion to which he is attracted, the aspects that are lovely and yet masculine.

That wonderful Kermesse of Rubens in the Louvre is the perfect embodiment of all that most fascinates Taine. Symonds prefers Tintoretto's Bacchus and Ariadne. It is the broad, masculine, sympathetic personalities that he seems most to care about: Pontano, with his large, healthy sensuality, his tremulous tenderness for sorrow and childhood in the seventeenth century; Whitman, with his vast tolerance, his audacity in the presence of all things natural and human, in the nineteenth.

Symonds tells us more explicitly of his philosophy of life harmonises with this bias. The motto of the Studies of the Greek Poets is Goethe's famous saying: And in the suggestive and characteristic essay at the end of the first series—"The Genius of Greek Art"—he declares that there is but one way to make the Hellenic tradition vital—to be natural. Science, he adds, will place the future man on a higher pinnacle than even the Greek; for it has given us the final discovery that there is no antagonism, but rather a most intimate connection between the elements of our being.

It is largely because Mr. Symonds is so resolute to live in this conception of the whole, that his work is so sound and so stimulating, and that he represents to-day whatever is best in English criticism. It is doubtful whether Mr. Symonds possesses the dangerous gift of a keen intuition. A piercing and apparently instantaneous insight into the heart of his subject, sometimes uncertain, as in Coleridge, sometimes certain, as in Heine, frequently marks the discursive and catholic critic.

Carlyle had a faculty as uncertain as Coleridge's, as keen as Heine's, for cutting into the core of a thing. It is possible that one of his main claims to remembrance will be found to lie in the portraits he has given us of his contemporaries. From this point of view the Reminiscences are peculiarly valuable. Carlyle was Aristophanic, it may be, and his portraits have sometimes even a faint gleam of the Greek's lyric loveliness on them; but for criticism of the piercing, heliocentric sort there is often nothing to be compared to them, although, wherever prejudice or partiality comes in, it is always liable to go hopelessly astray.

In criticism of this kind Swinburne is now, without any rival, the chief English representative. More purely literary than Carlyle, his intuitions are also, on the whole, accompanied and held in check by a more exact knowledge. At the best they are keen, vital, audacious, springing from a free and genuine insight. But Swinburne also is not reliable where his sympathies or antipathies are too strongly called forth. He is better worth listening to when he speaks of Ford and the Elizabethan dramatists generally, than when he speaks of Hugo or De Musset. For all that is keen and intense his perception is vivid; he criticises admirably what is great in the Brontes; his failure to appreciate George Eliot is almost complete.

Swinburne has also another difficulty to contend with. Sometimes his prose style is a very flame of power and splendour. At other times it is singularly awkward, and clanks behind him in an altogether hopeless and helpless fashion. What way of describing things can be more stale, flat, and unprofitable than this discovered without much search—"the great company of witnesses, by right of articulate genius, and might of intelligent appeal against all tenets and all theories of sophists, and of saints which tend directly or indirectly to pamper or to stimulate, to fortify or to excuse, the tyrannous instinct or appetite," etc.?

One scarcely recognises there the swift hand of the poet. If a brief review of English criticism in its higher aspects reveals the fact that our critics are but a feeble folk—with exceptions, indeed, that are brilliant, though, even then, for the most part, erratic—it is still worth while to make that review. It is well to call them before us, and, for our own private guidance, try to define to ourselves what it is and what it is not that they have to give us; where we may follow them, and where we should forbear. Criticism is a complex development of psychological science, and if it is to reach any large and strong growth, it must be apprehended seriously in all its manifestations.

Carpenter himself was interested, and seemed even a little surprised, to find himself here ranked among the mystics. THE form of literary expression which has found its chief exponent in Walt Whitman has received an important adherent in Mr. Edward Carpenter, whose Towards Democracy , published two years ago, has just been re-published with many additions.

Whether, as some enthusiasts loudly assert, this new form of art is to supersede the stricter metrical forms—a very unlikely result—or not, it has fully established its right to exist as a flexible and harmonious vehicle for imaginative conceptions which scarcely admit of adequate expression in the more orthodox forms. It is not, however, really correct to speak of this as a new form; it is one of the first in which the human imagination found voice, and it formed the medium for the relatively ancient Hebrew psalms and prophecies: Let us crown ourselves with rosebuds before they be withered.

For this is our portion and our lot is this. One might almost mistake these words of The Wisdom of Solomon for a passage from Leaves of Grass , and many parts of Isaiah and Ezekiel reach a much higher rhythmical level. Let us, however, turn from the form to the substance of Mr. It must be said at once that the democracy towards which we are advancing, according to Mr.

Carpenter as it is needless to tell those who are acquainted with the admirable little tracts he has published from time to time, such as Desirable Mansions and England's Ideal , is far from having much resemblance to that huge beast whose advent Renan, Scherer and Maine contemplate with doleful emotions. Democracy, he finely says, is that "which first expresses itself in the flower of the eye or the appearance of the skin. It need scarcely be said that Mr. Carpenter is keenly sensitive to the contrast between such a millennium and the England of to-day. It is, indeed, as frequently happens, through his perception of the wrongness of our modern life that he rises to a perception of a coming righteousness; the optimism springs out of pessimism.

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Thy poverty, when through thy filthy courts, from tangles of matted hair, gaunt women with venomous faces look upon me;. But from the contemplation of the England of to-day we are gradually led up to a vision of the higher Democracy, and the poem ends in a paean of joy that grows almost delirious: O boundless joy of Nature on the mountain tops, coming back at last to you! God dwells once more in a woman's womb, friend goes with friend, flesh cleaves to flesh, the path that rounds the Universe.

Kisses to the lips of sweet smelling fruit and bread, milk and green herbs. Strong, well-knit muscles, quick healing, glossy skin, body for kisses all over! Like Walt Whitman, Mr. Carpenter has a profound sense of the mystery and significance of the body: I will fill myself with beauty: Our first thought on opening this volume for the first time is that we have come across a weak imitation of Leaves of Grass ; but on growing familiar with Towards Democracy we find that we have here a distinct individuality, with, indeed, points of contact with Whitman, and using the same mode of expression, but a new and genuine voice nevertheless, not a mere echo.

Even the form is not quite the same; it is flowing and eloquent rather than with the massive Aveight of Whitman's interrupted elephantine steps. There is a strenuous vitality in Whitman; his voice is like a trumpet; he radiates life and energy from a vast centre of vital heat; he is the expression of an immense dilatation of the individual personality. But in this volume the bounds of personality are, as it were, loosened; and we have instead the soothing voice of an almost impersonal return to joy.

Carpenter on the whole does not strive nor cry; he lifts up, rather, a tender voice of love and healing. It is the note of Consolation rather than the stimulating "barbaric yawp" that we hear. It is not you who are acting at all. Leave the husk, leave the long, long prepared and perfected envelope. Pass through the gate of indifference into the palace of mastery, through the door of love into the house of deliciousness. Francis that we hear anew; and the modern man, too, as he looks at the horse and the cat, and the ant on the grass by the barn door asks: We have been looking rather at the democratic and religious aspects of Towards Democracy than at its artistic or poetic aspects.

There are, however, many passages full of poetic charm, of large and gracious imagery, of tender and delicate observation of nature. Carpenter's command of his form; there is a swift and sustained melody in them which is unlike anything that Whitman has done. Carpenter asserts the perilous doctrine that "whoever dwells among thoughts dwells in the region of delusion and disease. This book—with its revolt against the overweighted civilisation of our lives, with its frank reverence for the human body, with the clinging tenderness of its view of religious emotion—must not be accepted, however startling its thesis may sometimes appear, as an isolated fact.

On the one hand it represents in a modern dress one of the most ancient modes of human thought and feeling. On the other hand it is allied to some of the most characteristic features of the modern world. In America Emerson long since upheld in his own lofty and austere fashion a like conception of life and the soul. Walt Whitman has sought to represent such an ideal in action in the living world. Thoreau, the finest flower of the school of Antisthenes, felt an irresistible impulse to reduce life to its lowest terms, and he did so with a practical wisdom which saved him from approaching the tub of Diogenes.

The whole duty of men may be expressed in one line: William Morris, who has identified himself with the cause of Socialism, is never weary of proclaiming that for life's sake we have lost the reasons for living. Richardson, a vigorous opponent of Socialism, tells us the same thing, that health of body and mind is the only standard of wealth, that the extreme wealth of the rich and the extreme poverty of the poor ultimately reduce richest and poorest to the same level—leaving them alike in physical and mental weakness, in selfish indifference to the suffering of others.

Carpenter would have us consider whether men do well "to condemn themselves to pick oakum of the strands of real life for ever. The mystic element in Whitman is kept in check by his strong sense of external reality and multiplicity. Tired of the hopeless wretchedness of life, the mystic finds a door of deliverance within his own heart.

It is idle to rebel, as some would have us do, against this impulse towards freedom and joy, although it has led to superstition, to unbridled licence, to long arrests of human progress. We are compelled to regard it—after the sexual passion which is the very life of the race itself—as man's strongest and most persistent instinct. So long as it is saved from fanaticism by a strenuous devotion to science, by a perpetual reference to the moral structure of society, it will always remain an integral portion of the whole man in his finest developments. At this period Paul Bourget had not yet become the champion of an anti-modern reactionism, but it would seem that I detected in his work the germs of later developments which for me were of little significance, and I read nothing of his after OF the younger generation of French writers Paul Bourget—successively poet, critic, novelist—is the most prominent and perhaps the most interesting.

Even in England his name at all events is well known; it would not be safe to assume that his books are also well known; and yet they are marked by certain qualities which make them worth the study of anyone who desires to know the best that young France has to give, and also to understand a very important phase of the modern spirit.

Bourget first appeared as a poet; he has at intervals published several volumes of poems. In poetry he has been described as un lakiste Parisien , an expression which at all events indicates his peculiar complexity; but his poetic work also reveals influences from Baudelaire, from Shelley, from Poe whose love of mystery appeals strongly to the imagination of modern France , and from less known poets.

These poems, especially, perhaps, the volume called Aveux , clearly indicate Bourget's dominant tendency from the first to restless and unceasing self-analysis; they are full of the struggle between life and the ideal, of the immense thirst for life and the irresistible tendency towards the dreams of the ideal, the sense of the sterility of passion and the impotence of life—that pessimism, in short, which was very far from being the exclusive property of young Bourget.

This is youthful, undoubtedly; Bourget's poems are chiefly interesting because they help us to understand the man's personality. As a poet there is a certain ineffectual effort about him; even as a novelist, he fails to leave a feeling of complete satisfaction. It is as a critic—in the volumes of the Essais de Psychologic Contemporaine —that Bourget reaches his full development.

He has ceased to talk openly of his "membres dechires" and to lament the sterility of life; his restless and sensitive spirit has at last found adequate occupation in, as he explains it, indicating the examples which "the distinguished writers of to-day offer to the imagination of the young people who seek to know themselves through books. In these two volumes, in which there is not a page without some keen critical insight, some fine suggestion for thought, Bourget deals, then, with the psychological physiognomy of certain leading literary figures, chiefly belonging to modern France, and with the psychological atmosphere which has made them possible—Renan, Baudelaire, Taine, Flaubert, Beyle, Tourgueneff, Dumas, Le-conte de Lisle, the De Goncourts, Amiel.

His aim is thus explained in the Preface: Methods of art are only analysed in so far as they are signs, the personality of the authors is hardly indicated, there is not, I believe, a single anecdote. I have desired neither to discuss talent nor to paint character. My ambition has been to record some notes capable of serving the historian of the moral life during the second half of the nineteenth century in France.

The essay on Renan is probably the finest; Renan is peculiarly amenable to Bourget's delicate feminine methods of analysis; the characteristics of Renan's spirit and manner are set down with insurpassable felicity. On the other hand the account of Taine is probably the least satisfactory; Taine's virile perhaps extravagantly virile methods, his strong, direct positive grip of things, does not easily lend itself to the sinuous sympathetic methods of Bourget's analysis.

He had a convenient dwelling-place curia within the precincts of the cathedral, as well as a demesne in the country adjacent to it. His establishment consisted of at least two serving-men and three horses. His colleagues were men of good birth, superior education, and cultivated tastes, united not only by the pressure of corporate interests, but by the closer ties of kindred and fellow-citizenship.

The Chapter, indeed, was so extensively recruited from mutually related families belonging to the mercantile aristocracies of Thorn and Dantzic, that it might almost be called a family coterie. Learning was held there in especial honour. Academical studies were not only encouraged, but required. A large proportion of the canons had taken degrees in Italy, and a minimum residence of three years at some university was obligatory upon all. It was thus in no uncongenial atmosphere that Copernicus spent the last thirty years of his life. His amiable and earnest character won for him affection; his scientific attainments commanded admiration.

He could, it is true, in his efforts towards the reform of astronomy, expect no competent assistance, and little technical understanding; but he was sure of intelligent sympathy. His labours must be solitary, but they would at least be respected. As regards the progress of his thoughts on cosmical subjects, we can gather from his noble epistle to Pope Paul III. With ideas thus loosened from their foundations — animo liber , as Kepler said of him — he went to Italy, and there heard much of the so-called Pythagorean tenets as to the celestial revolutions.

He resolved to examine for himself, unsealed the fount of rejuvenescent knowledge with the help of Codrus Urceus and the scanty Greek vocabulary of the monk Chrestonius, read eagerly, thought deeply, and at last, invoking antiquity against antiquity, Samos and Sicily against Alexandria, threw off the yoke which Ptolemy had imposed upon forty generations. The main lines of his immortal work were laid down at Heilsberg during the years The still more laborious task remained of testing the novel theory by comparison with observations, old and new, of patiently trying it with the facts it was designed to fit, of altering and amending where discrepancies became visible.

At Frauenburg, Copernicus may be said to have first begun systematically to note and record the places of the heavenly bodies. He chose for his observatory and abode a tower still pointed out to visitors as the ' curia Copernicana. The Cathedral of Frauenburg stood on a gentle eminence close to the 'Frische Haff,' an extensive sheet of nearly fresh water, connected with the Baltic by a single narrow channel, and separated from it by a ridge of blown sand known as the 'Nehrung.

It was here that Copernicus set up his 'Triquetrum', [22] an instrument for taking the altitudes of the stars, constructed by himself, according to Ptolemaic precepts, of three strips of deal marked in ink with numerous divisions. Aided by this rude implement, which afforded, with the utmost care, a degree of accuracy at least 2, times inferior to that at the command of modern astronomers, [23] he effected the most complete and surprising scientific revolution known in the history of human progress. It was soon discovered, however, that he possessed other gifts besides those needed for star-gazing, and that his clear judgment and strong sense could be made eminently useful in practical affairs.

Nor does he seem to have raised any objection to the interruption of his studies. Whether from duty or inclination, services, of whatever kind they might be that were demanded of him, were no less cheerfully rendered than those of Clorinda to King Aladin: Thus, he undertook and fulfilled, as 'administrator ' of the distant capitular domains of Allenstein and Mehlsack, duties of the most heterogeneous character. He was at once bailiff, military governor, judge in civil and criminal cases, of first instance and of appeal, tax-collector, vicar-general.

Some records of his daily labours in the allotment of lands have been preserved, and show the minuteness of the details with which he was obliged to be conversant. The conditions of tenure in Ermland were various and complicated. The difficulties at the best of times attending their regulation were increased tenfold by the disturbed state of the country.

He was young, he was resolute, he had powerful relatives, he came of a race conscious of, and bent upon, a future, and he was determined, by any means that came to hand, to rescue from an anomalous and intolerable position the body of which he had assumed the guidance.

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He accordingly looked round him in every direction for allies. The elastic quality of the Emperor Maximilian's pledges —. From both he received encouragement, from neither efficient aid. It was precisely during the period of his most active warlike preparations, , that the first residence of Copernicus at Schloss Allenstein fell. The nominal peace which still prevailed was attended by all the inconveniences and by many of the worst horrors of open warfare.

Communications were interrupted, trade was brought to a standstill, life and property were without safeguard. The heavy anxieties and responsibilities under these circumstances attending the situation of capitular delegate were borne by Copernicus without a murmur for no less than three years.

Scarcely had he been restored to his ordinary position in the Chapter, when war broke out in real earnest. On New Year's Day, , Margrave Albert spread consternation through the diocese by seizing the important town of Braunsberg. Bishop Fabian attempted to negotiate, and it is probable, though not certain, that Copernicus was one of his envoys.

But no tolerable terms could be obtained, and things had to be left to pursue their disastrous course. From its vicinity to the captured town, where a large body of Teutonic troops were maintained, Frauenburg was regarded as a highly unsafe residence, and most of the canons sought a refuge in Dantzic, Elbing, or Allenstein.

Copernicus nevertheless refused to quit his tower and terrace, but calmly continued his planetary observations in the midst of disquietudes of the most urgent kind. Danger, indeed, at one moment had almost yielded its place to disaster. Loudly boasting of his intention to ravage the ecclesiastical ' nest,' the Teutonic commander at Braunsberg led a party to Frauenburg with a view to its realisation.

At Martinmas we find Copernicus acting once more as the representative of the Chapter at Allenstein. No more striking proof could be afforded of the confidence reposed in him by his colleagues. The war was still raging. The Castle of Allenstein was regarded as the 'antemural' of the entire diocese. Its possession was a leading object with the Grand Master. Its retention was vital to the interests, present and future, of the Chapter. And its defence had to be conducted not against foes alone.

For to have committed it to Polish allies would have been hardly less perilous than to have surrendered it to Teutonic assailants. Its restoration in the one case would have been only a shade less problematical than in the other. The anxiety felt on the subject in capitular circles is vividly reflected in two letters addressed to Copernicus by one of the three canons remaining in Ermland. The recent triumphant defence of Heilsberg, however, offered little encouragement to attempt a siege, and the military qualities of the astronomer consequently remained in abeyance.

An armistice of four years brought to a close, April 10, , the inglorious ' War of the Frankish Troopers. Emulative atrocities were unredeemed by brilliant achievements. Devastation was simply let loose, and, when it had done its work, paused. What was called peace ensued. On Copernicus devolved the arduous task of bringing back to its old channel the deviated current of rural existence within the capitular domains.

Only to a slight extent was this possible. The mercenaries of the Order, eager to indemnify themselves for long arrears, hung like a cloud on the frontier, rendering the operations of agriculture wellnigh impracticable, unless on the distasteful sic vos non vobis principle. And before time had well begun to lay its soothing hand on these troubled places, Copernicus, in June, , was recalled to Frauenburg, where, as 'commissary ' of the diocese, he undertook new and, to us, obscure functions.

Far from obscure, however, were his political activities during the next ten years. Never was reform more urgently needed. Successive Grand Masters had sought a no less fatal than facile exit from accumulated embarrassments by debasing the currency. The Prussian towns of Thorn, Dantzic, and Elbing, to which the privilege of separately coining money had been reserved by the Treaty of Thorn, appear not to have been behindhand in imitating the evil example.

Indescribable and intolerable confusion ensued. The commerce of the country was threatened with extinction. A remedy was, on all sides, called for, and, when found, was on all sides rejected. Copernicus, after his fashion, went to the root of the matter. He had found that no peddling cure would help the disorders of planetary theory, and he applied the lesson to the dis- tempers of his native country. In a paper [24] marked by clear and sound economical views, he recommended to the Diet of Graudenz in the establishment of a single mint for the whole of Prussia, both East and West, which should issue money of a certain definite and high standard of intrinsic value.

But the proposal regarded the general welfare rather than special interests, and accordingly met with little countenance. Meantime, a serious change was looming on the political horizon. Margrave Albert had been twice admonished from Rome to reform the degenerate religious corporation of which he was the head.

He went for advice on the subject to Wittenberg. The remedy for the evils complained of which Luther recommended was a drastic one. Conformably to it was framed the treaty concluded at Cracow, April 8, , whereby he exchanged the spiritual dignity of Grand Master for the temporal one of Duke of Prussia.

The transition was effected with perfect smoothness; it had been long in preparation. The revolution, however, brought no mitigation of economic difficulties. The last glimpse we catch of the matter is in , when the Frauenburg astronomer still occupies the foreground, though having left far behind his last hope of bringing it to a successful issue. It was evidently one for the strong hand to deal with. His colleagues, however, showed their belief in his fitness to wield the crozier by electing him to the office of Administrator-general of the diocese during a seven months' interregnum following on the death of Bishop Fabian, January 30, It was a most critical time.

The independence of Ermland was menaced both from the Polish and from the Teutonic side, and moral vigour was sorely needed to come to the rescue of material helplessness. This Copernicus displayed in ample measure. He not only obtained from King Sigismund an edict for the restoration of all places in Ermland occupied by Polish troops during the war, but — what was probably more difficult — secured its execution. The lawless forces of the Order, on the other hand, both kept for the time what they had got, and, when occasion offered, seized more.

It has further, by diligent enquiry, been ascertained that in the years , , , and , Copernicus acted as 'nuncius capituli,' or itinerant inspector of the secular possessions of the Chapter, and that, under the title of ' visitator,' he filled the same office in purely ecclesiastical matters in December, It is, however, amply sufficient to excite our amazement when we consider that these evidences of lifelong familiarity with affairs, sometimes momentous, sometimes minutely vexatious, always exacting, refer to a man who accomplished, alone and unaided, one of the greatest and most laborious works that ever quitted the factory of the human brain.

And all this time we have left out of sight his medical capacity. Yet be was a physician in high repute, and active if not constant practice during a period of close upon thirty years. Notwithstanding his heretical proceedings, Duke Albert of Prussia remained on the best terms with the strictly Catholic ecclesiastics of Ermland.

Yet, so far as we are able to judge of his practice from his principles, the fact is one to occasion some surprise. Amongst the fortunate discoveries of Dr. Prowe at Upsala were some of the medical works once in constant use by Copernicus for purposes of reference and consultation. Some of them exhibit, on fly-leaf or cover, recipes copied by his hand, and, we may therefore presume, approved by his experience. We thus gain a very fair insight into his views as to the treatment of disease. They may be described as those introduced by Avicenna five hundred years previously, and followed as the ' canon ' of the "Western schools until Leonicenus in Italy, and Linacre in England both contemporaries of the Frauenburg physician , raised the standard of revolt against the ' Sheik Reyes ' prince of leeches , in the name of Galen and Hippocrates.

In most places, however, and certainly on the banks of the Vistula, the Arab pharmacopoeia held its ground for some time longer. Very characteristic of it is a recipe to which Copernicus must have attached some importance, since he took the trouble of copying it twice — on the cover of his Euclid, as well as on the fly-leaf of a ' Chirurgia. We can only hope that this highly recondite remedy was but sparingly employed, and that its costliness proved a bar to its destructiveness.

He undoubtedly believed in medical astrology, but he believed in it on grounds which had at least the semblance of rationality. The influence of the stars on the course of disease recognised by him was of what we should now call a meteorological character — it was exercised, not immediately, but through changes produced in the state of the atmosphere. There is reason to believe that the position of Copernicus in the Chapter became less agreeable as time went on.

One by one his early friends dropped off, and a new generation of a totally different stamp arose. A great religious revolution had in the meantime passed over Germany. From the Alps to the Baltic, the doctrines of Luther had been received either with open acclamation, with tacit approval, or with mild dissent. Those who remained true to the old teachings clung to the hope that by charity and patience they might still win back the wanderers, and maintain the unity of the Church.

Amongst these was Copernicus. The conciliatory spirit which pervades this work was better suited to win esteem for the author than to meet the fierce exigencies of the time. As the quarrel became more visibly irreconcilable, sterner counsels, distasteful to the older and more tolerant school, began inevitably to prevail. Even the Chapter had its black sheep, and with this black sheep — one Alexander Scultetus — Copernicus was accused of undue intimacy.

To the delicately conveyed remonstrances of Bishop Dantiscus on the subject he however submitted, though not, it would seem, without reluctance; and Scultetus eventually succeeded in clearing himself at Rome from the charges brought against him at Frauenburg. But the incident must have been in every respect a painful one. A fresh source of scientific sympathy was, however, opened late and unexpectedly to the great astronomer. In the early summer of , a traveller rode up to the gate of the cathedral-close, and asked to see Canon Nicholas Copernicus. Nevertheless, the hospitable warmth of his reception encouraged him to prolong his stay for above two years, and inspired the glowing eulogy of Prussia, its rulers, ecclesiastical and civil, the products of its soil, and the high culture of its inhabitants, appended to the 'Narratio Prima.

He studied at Wittenberg, wandered from one German university to another, returned to fill a mathematical chair procured for him by Melanchthon, and at last, set on fire by reports concerning a new system of astronomy devised at Frauenburg, he resolved to repair thither, and enquire for himself into its merits. This memorable work was virtually finished about the year But from the irrevocable notoriety of print its author shrank with sensitive dread. He was aware that his con clusions must be incomprehensible to most, unacceptable to wellnigh all.

The long processes of laborious thought by which he had convinced himself that the motions of the heavenly bodies could only be rendered intelligible by being shown to be in large measure apparent, were not such as could profitably be followed by the ignorant, the impatient, or the prepossessed. Yet he knew that a vast majority even of the reading public were all three. He thus laid deeply to heart the Pythagorean maxims of reticence, and, while not unwilling to communicate the bare results of his theory, he resolved to entrust the principles from which those results were derived to the exclusive guardianship of an esoteric few.

It was for this purpose that he wrote the 'Commentariolus,' a short popular account of the new system, of which a few copies were circulated in manuscript. Widmannstad, in , derived from this source the substance of a lecture which Clement VII. There was, indeed, a countercurrent. Such demonstrations, we may be sure, added to the difficulties of those friends of Copernicus who sought to impress upon him the duty of unreserved publication. By him it was jubilantly despatched to Rheticus then in Saxony , and preparations were made for its immediate publication at Nuremberg.

Not a moment was to be lost, were any spark of joy to be derived by the writer from the permanence secured to his work. For already he stood on the verge of the years allotted to him. Towards the close of he was seized with apoplexy, accompanied by paralysis of the right side. It was his first recorded illness, and it proved his last.

On May 24, , the first printed copy of 'De Revolutionibus ' arrived at Frauenburg. A few hours later he expired, thus quitting life to find a twofold immortality. If, however, he did not survive to enjoy the full privileges of authorship, he was at least spared some of its troubles. Under the cover which his trembling fingers had no longer strength to open, lurked a hidden sting. The principal conduct of the book through the press had been delegated by Rheticus [34] to Andrew Osiander, a man not destitute of mathematical attainments, but better known as a zealous preacher of Lutheran doctrines.

A stormy petrel of reform in religion, in matters of science he nevertheless claimed the peaceful prerogatives of the halcyon. He was well aware that from Wittenberg violent opposition to the reception of the Copernican theory might be expected; and Wittenberg was then to Germany what Rome was to the world. Its decisions carried not only moral weight, but very serious practical issues. He sought to anticipate and disarm them by a virtual fraud. But its author had expressly declined to avail himself of subterfuge or disguise.

He had endeavoured, to the best of his power, to trace the plan of the Divine Artificer of the world; and he rejected, as ineffably unworthy of so lofty an aim, the proposal that he should set a lie in the front of a work destined to promulgate a sublime truth. When, however, he lay in the long trance of helplessness through which he passed to death, his best known wishes were set aside.

Osiander used his opportunity. He wrote an anonymous preface stating that the theories set forth in the pages which followed were simple hypotheses, framed for the purpose of facilitating calculation, but standing, as regarded intrinsic truth or even probability, precisely on a level with the homocentrics of Eudoxus and the epicycles of Ptolemy. Let no one, he added, look for certainty in the speculations of astronomers, or mistake for fact what professes itself to be pure fiction.

Inscrutable to human reason the movements of the heavenly bodies are, and, unless by the succour of Divine revelation, must ever remain. The unexpected appearance of this notable addition to his work excited equal anger and amazement amongst those to whom the memory of Copernicus was dear and his fame precious. No words were too strong to express the indignation of the Bishop of Culm at the breach of trust. He did not scruple to denounce it to Rheticus as an impiety and a crime.

He even hoped for the ejection of the intruded admonition, and advised an application for that purpose to the Senate of Nuremberg. It was too late. The 'excellent doorkeeper ' of the Copernican mansion, belaboured so vigorously by Giordano Bruno, had his way. Only on conditions arbitrarily imposed by him could access be had to its fair and spacious halls. If, however, we are bound to find him guilty of a misdemeanour, we must, in strict justice, acquit him of a felony.

He committted no forgery. But few indeed were the readers who detected the anomaly. The harmonious orderliness of his nature revolted from the idea that the visibly pre-eminent body which was the source of life and light to the world, should be compelled to play a subordinate part, and abdicate the 'sole dominion ' rightfully belonging to it, in order to move obediently amidst the ' various rounds ' of the planets.

And he cherished with unshaken confidence the belief that the pattern of creation which seemed good to him had also, in the beginning, seemed good to the Creator. His scheme might, then, be accurately described as a remodelling of the received astronomy on the basis of symmetry and simplicity.