Explore Bude’s secret history through a fascinating selection of stories, facts and photographs.

A fascinating exploration of the uncrackable codes and secret cyphers that helped win wars, spark revolutions and change the faces of nations. There have been secret codes since before the Old Testament, and there were secret codes in the Old Testament, too. Almost as soon as writing was invented, so too were the devious means to hide messages and keep them under the wraps of secrecy. In The Hidden History of Code Breaking, Sinclair McKay explores these uncrackable codes, secret ciphers, and hidden messages from across time to tell a new history of a secret world. From the temples of Ancient Greece to the court of Elizabeth I; from antique manuscripts whose codes might hold prophecies of doom to the modern realm of quantum mechanics, we will see how a few concealed words could help to win wars, spark revolutions and even change the faces of great nations. Here is the complete guide to the hidden world of codebreaking, with opportunities for you to see if you could have cracked some of the trickiest puzzles and lip-chewing codes ever created.

This new edition of the very popular Hidden Places of Cornwall has been completely redesigned to include a new cover and new page layouts. Now in its 6th edition, the massively popular The Hidden Places of Cornwall, is one of the Hidden Places Series best sellers. The book is printed in full colour and includes detailed directional maps, eye-catching photographs and is packed with places to eat, drink and stay. The Hidden Places of Cornwall includes all the main tourist attractions as well as concentrating on the less well-known visitor attractions in this beautiful county. The stunning county of Cornwall has been called "an isolated beauty that contains some the most dramatic and spectacular scenery in the country." Rugged coastlines surround this striking county which has often been referred to as the 'English Riviera' encompassing pretty fishing ports, secluded scenic villages, narrow winding lanes and strong, romantic seafaring traditions. This is a land of strong Celtic heritage and ancestry, a place that is dotted with monuments such as crosses, holy wells and prehistoric sites and where legends of old still hold their romance amongst the Cornish people. The book is packed with information covering the more secluded and little known venues for food, drink, accommodation and places of interest as well as the more enduring attractions of the region. The new edition includes a very attractive redesigned cover that incorporates an eye-catching photograph of The Old Lifeboat Station In Lizard, Cornwall.

DigiCat Publishing presents to you this special edition of "The Disentanglers" by Andrew Lang. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

When the learned first gave serious attention to popular ballads, from the time of Percy to that of Scott, they laboured under certain disabilities. The Comparative Method was scarcely understood, and was little practised. Editors were content to study the ballads of their own countryside, or, at most, of Great Britain. Teutonic and Northern parallels to our ballads were then adduced, as by Scott and Jamieson. It was later that the ballads of Europe, from the Faroes to Modern Greece, were compared with our own, with EuropeanMärchen, or children’s tales, and with the popular songs, dances, and traditions of classical and savage peoples. The results of this more recent comparison may be briefly stated. Poetry begins, as Aristotle says, in improvisation. Every man is his own poet, and, in moments of stronge motion, expresses himself in song. A typical example is the Song of Lamech in Genesis—“I have slain a man to my wounding, And a young man to my hurt.” Instances perpetually occur in the Sagas: Grettir, Egil, Skarphedin, are always singing. In Kidnapped, Mr. Stevenson introduces “The Song of the Sword of Alan,” a fine example of Celtic practice: words and air are beaten out together, in the heat of victory. In the same way, the women sang improvised dirges, like Helen; lullabies, like the lullaby of Danae in Simonides, and flower songs, as in modern Italy. Every function of life, war, agriculture, the chase, had its appropriate magical and mimetic dance and song, as in Finland, among Red Indians, and among Australian blacks. “The deeds of men” were chanted by heroes, as by Achilles; stories were told in alternate verse and prose; girls, like Homer’s Nausicaa, accompanied dance and ball play, priests and medicine-men accompanied rites and magical ceremonies by songs. These practices are world-wide, and world-old. The thoroughly popular songs, thus evolved, became the rude material of a professional class of minstrels, when these arose, as in the heroic age of Greece. A minstrel might be attached to a Court, or a noble; or he might go wandering with song and harp among the people. In either case, this class of men developed more regular and ample measures. They evolved the hexameter; the laisse of the Chansons de Geste; the strange technicalities of Scandinavian poetry; the metres of Vedic hymns; the choral odes of Greece. The narrative popular chant became in their hands the Epic, or the mediaeval rhymed romance. The metre of improvised verse changed into the artistic lyric. These lyric forms were fixed, in many cases, by the art of writing. But poetry did not remain solely in professional and literary hands. The mediaeval minstrels and jongleurs (who may best be studied in Léon Gautier’s Introduction to his Epopées Françaises) sang in Court and Camp. The poorer, less regular brethren of the art, harped and played conjuring tricks, in farm and grange, or at street corners. The foreign newer metres took the place of the old alliterative English verse. But unprofessional men and women did not cease to make and sing.

How neoliberalism is causing a crisis in Germany Upward social mobility represented a core promise of life under the “old” West German welfare state, in which millions of skilled workers upgraded their Volkswagens to Audis, bought their first homes, and sent their children to university. Not so in today’s Federal Republic, where the gears of the so-called “elevator society” have long since ground to a halt. In the absence of the social mobility of yesterday, widespread social exhaustion and anxiety have emerged across mainstream society. Oliver Nachtwey analyses the reasons for this social rupture in postwar German society and investigates the conflict potential emerging as a result. He concludes that although the country has managed to muddle through thus far, simmering tensions beneath the surface nevertheless threaten to undermine the German system’s stability in the years to come. Recipient of the Friedrich Ebert Foundation 2016 Hans-Matthöfer-Preis for Economic Writing.