"Tennis for girls by Florence A. Ballin" is an instructional sports handbook written in the early 20th century. The book teaches young women how to play lawn tennis, explaining rules, equipment, techniques, and basic strategy with an emphasis on proper form and confident play. The guide opens by noting differences in early training for girls, then explains the court, scoring, service rotation, and common terms. It stresses learning correct fundamentals—grip, stance, footwork, timing, and “eye on the ball”—and recommends either professional lessons or focused practice against a wall. Clear, practical chapters cover groundstrokes (forehand and backhand drives, including topspin), the service, lobs, volleys, and the overhead smash, with constant reminders to follow through and use body weight. Ballin then moves to tactics: how to place shots, vary pace, create openings, and decide when to come to net in singles; how partners should coordinate in doubles, value deep placement and sharp angles, and use or defend against the lob; and how mixed doubles roles can be balanced. She closes with brief advice on tournament play, mental focus, and sportsmanship. (This is an automatically generated summary.)

"The dryad : a novel" by Justin H. McCarthy is a novel written in the early 20th century. Set amid medieval Frankish-ruled Greece, it weaves chivalric romance with lingering Greek pagan enchantment as a rough soldier of fortune, a high-minded young prince, and an immortal forest nymph collide. The likely focus is on the clash between cynicism and idealism, the endurance of the old gods’ magic, and a perilous love between mortal and immortal, chiefly through Simon of Rouen, Rainouart of the Rock, and the dryad Argathona. The opening of the novel follows Simon of Rouen into the Eleusinian wood, where his coarse wit, empty purse, and misanthropic “lantern for honesty” contrast sharply with a young knight he meets reading the Romance of the Rose. After spitefully directing lurking thieves toward the knight, Simon naps and wakes to Argathona, a dryad who claims ancient lineage and effortless strength, rebuffing his clumsy advances and compelling him to aid the ambushed rider. She races him to the scene, summons a terror-storm to scatter the robbers, and tends the wounded youth—Rainouart—whose life and vigor revive under her touch. As Simon fetches water, Argathona and Rainouart exchange tender words that flower into first love; he offers lifelong devotion, even to dwell in the forest, while she, bound to the greenwood, hesitates and goes to seek a healing herb. Meanwhile, Simon returns unseen, spies on their meeting, steals the knight’s cherished book, and, torn between envy and pity, toys with darker thoughts over the helpless rival. (This is an automatically generated summary.)

"Some points in choosing textiles by Charlotte M. Gibbs" is a practical household-science guide written in the early 20th century. It explains how to select and evaluate common fabrics, focusing on cotton, linen, wool, and silk, and offers clear, shopper-friendly methods for recognizing quality, spotting adulteration, and choosing appropriate materials. The book opens by noting the shift from home-made to factory-made cloth and the resulting need for informed buying. It then details the traits of each fiber and the tricks used to cheapen them: cottons loaded with sizing or calendered to mimic mercerization; linens confused with cotton and identified by fiber feel, luster, and an olive-oil translucency test; wools blended with cotton, disguised in felted “woolens,” or made from shoddy, with guidance on thread feel and burning tests; and silks weakened by heavy “weighting” or woven with cotton backs, contrasted with stronger reeled or coarser pongee types. A concise checklist summarizes common adulterations and simple tests (examining threads, burning behavior, oil and finish checks). Finally, it offers practical buying counsel on weave and finish, matching fabric to purpose and budget, hygiene in underclothing, and tasteful color and design, ending with a call for higher standards and honest labeling. (This is an automatically generated summary.)

"The history of Tabby, a favourite cat : As related by herself to her kitten" by E. Smyth is a children’s moral tale written in the early 19th century. The book follows a mother cat narrating her life to teach virtues such as humility, gratitude, self-control, and kindness toward animals. Tabby recounts her youth in a cottage, her pride and disobedience, and a perilous attempt to reach the big house that ends with a fall into a cellar and a painful rescue by kind children, especially Henry and Phœbe. Settled with the Meade family, she sketches their characters—Eliza’s conceit, Henry’s compassion, Clara’s delicacy, Augustus’s rashness, and Phœbe’s tenderness—then confesses her worst lapse: killing Henry’s pet dormice. Shamed by his fairness, she reforms and later proves her virtue by resisting the pigeons while locked overnight in their loft, earning praise. She also endures cruelty from visiting boys who maim her, but Henry protects her thereafter. The tale closes with her affectionate counsel to her kitten and a quiet return indoors, underscoring repentance, gentleness, and just treatment of animals. (This is an automatically generated summary.)

"Hints on writing short stories by Charles Joseph Finger" is a practical guidebook on the craft of fiction written in the early 20th century. Blending lively essays with hands-on advice, it champions sincerity and truth in storytelling, explores character, plot, style, and theme, and offers market tips for aspiring writers. Its likely topic is how to write short stories that feel real, avoiding cliché, distortion, and formula. The book opens by dismissing correspondence-school formulas and sets its keynote: truth is the final test of literature. It urges writers to be sincere, see straight, and “set down the thing as it is,” warning against patriotic and class prejudices that flatten characters into types. It treats character as complex—often facets of the writer’s own nature—and shows courage more in moral choice than in brute action, advising restraint with murder and spectacle. Plot, it argues, grows from character and situation; plausibility matters less than convincing feeling and texture, so romance and fantasy are fair game if rendered with verisimilitude. It cautions against obsessive sex-themes and marriage-as-ending clichés, proposes contrarian story seeds, and defines style as clear, honest communication rather than ornament—illustrated with sharp quotations and examples. The author highlights a neglected field in writing for youth, lists welcoming magazines, and closes by urging writers to listen closely to real speech and moments, since truth, simply told, is what endures. (This is an automatically generated summary.)

"Labyrintti : Romaani" by Édouard Estaunié is a novel written in the early 20th century. It follows Jean Pesnel, who is determined to repair his family’s honor after his banker father’s ruin, and his younger half-brother André, as a confession and an unexpected inheritance draw them into a moral labyrinth of guilt, truth, and duty. Set around Le Puy and a secluded ancestral estate, the story probes how past actions shape lives and how the drive to make amends can collide with self-interest. The opening of the book presents an urgent letter and package sent to André Cabriès at sea by Jean, who admits a hidden responsibility for a web of events and asks André to read his full confession; André does not reply. The narrative then shifts to Jean’s account: his father’s bank failure in Puy defines his life, he vows to repay the debts, raises André, and learns two stinging truths—his aunt, Madame de Castérac, helped trigger the collapse by withdrawing funds, and their old home is scornfully called the “House of the Bankrupts.” Summoned back by notary Bourdoin, Jean discovers the aunt has died; he is likely heir, and she secretly bought that very house. At her estate, a hidden hoard of banknotes—over two million—is found with no will, making him the legal heir. Despite the notary’s objections, Jean resolves to repay the old creditors, spends a restless first night at the estate, visits the dust-choked city house, and returns to set public notices in motion, exhilarated that restitution can finally begin. (This is an automatically generated summary.)

"Lemun rannalla : Laulunäytelmä kahdessa kuvaelmassa by Karl Rosendahl" is a musical stage play (a song-play in two tableaux) written in the late 19th century. Set against memories of the Finnish War of the early 1800s, it blends romance and patriotic remembrance on the old battlefield of Lemu, focusing on love, filial duty, and the redemptive power of identity and gratitude. The story follows Alma, a major’s daughter, who loves the student Akseli despite her stern veteran father, Major Ridderstjerna. A one‑legged ex-corporal, Modig, delivers Akseli’s letter and heads to Lemu to honor fallen comrades; Alma mistakenly gives him Akseli’s engraved ring. The major insists on going to Lemu as well, and Akseli, in disguise as a coachman, drives father and daughter there. On the battlefield, Modig’s memories and the ring trigger revelations: Akseli is Modig’s long-lost son, saved in infancy after his mother drowned, and the major is the officer whose life Modig once saved in battle. Joyful recognition follows, the major invites Modig to share his home, and he blesses Alma and Akseli’s union as a chorus celebrates fate, love, and comradeship. (This is an automatically generated summary.)

"The black kiss by Robert Bloch and Henry Kuttner" is a horror short story written in the early 20th century. Set on the California coast, it follows an artist haunted by planned, escalating sea-dreams tied to an ancestral legend, drawing him toward a supernatural act of possession. An artist, Graham Dean, inherits an old San Pedro house once occupied by Morella Godolfo, a figure of sinister local legend said to consort with unearthly sea-dwellers. As Graham’s seascape dreams intensify into vivid visions of green depths and shadowy swimmers, he learns from an occult-wise ally, Doctor Yamada, that such beings can steal human bodies through a kiss, and that Morella herself was once a sea-thing inhabiting a human shell. Lured to a coastal cave, Graham is kissed again and finds his mind trapped in the pale, scaly body of the creature, while his human body is taken by Morella. After swimming with the monsters to a wreck and witnessing their predation on drowning men, he returns to the cave, confronts his stolen human form, and restrains it as Yamada and Graham’s uncle arrive. In a final act of self-sacrifice, Graham ensures the sea-creature in his body cannot escape, dying as Yamada fires and as he himself delivers a fatal bite, breaking the possession and atoning for the black kiss. (This is an automatically generated summary.)

"A brief history of the Tenth Michigan Cavalry by L. S. Trowbridge" is a regimental history and firsthand historical account written in the early 20th century. The book traces the Union cavalry regiment’s organization, operations, and combat in the American Civil War, focusing on East Tennessee, southwestern Virginia, and North Carolina, with attention to key engagements, leadership, and the unit’s character in the field. The narrative follows the regiment from its formation and harsh winter movements in Kentucky and East Tennessee through relentless outpost duty, fortifying Strawberry Plains, and hard-fought skirmishes at Carter’s Station, Blue Springs, Rogersville, and Greenville—where a surprise strike shattered Confederate positions and John H. Morgan was killed. It details the unit’s steadiness during the Morristown crisis, the defense of Knoxville’s approaches against Breckinridge, and a thorough refit before joining Stoneman’s raid that wrecked railroads, burned bridges, fought at Henry Court House and Abbott’s Creek, and helped clear the path to the capture of Salisbury. The closing chapters cover the news of surrender in Virginia, the shock of Lincoln’s assassination, the wide net cast in the pursuit of Jefferson Davis, a long return for postwar duty in West Tennessee, and final muster out. Portraits of officers, concise statistics, and a theater map frame the story’s central theme: the endurance, discipline, and combat effectiveness of the Tenth Michigan Cavalry. (This is an automatically generated summary.)

La marque des quatre by Arthur Conan Doyle is a detective novel written in the late 19th century. It follows Sherlock Holmes and Dr. Watson as they investigate Miss Mary Morstan’s troubling case involving her missing father, mysterious pearls sent annually, and whispers of a hidden treasure tied to soldiers from India. The opening of the novel presents Holmes’s restless intellect and cocaine use, his method of observation and deduction (demonstrated through a revealing analysis of Watson’s watch), and the arrival of Miss Morstan with her story: her father vanished years earlier, she has since received yearly rare pearls, and a new letter invites her to a secret meeting. Holmes and Watson accompany her to the rendezvous, are whisked through foggy London to Thaddeus Sholto, who recounts how his father, Major Sholto, concealed Captain Morstan’s sudden death during a quarrel about a trove from India, hid the treasure, feared a one‑legged man, and died amid a mysterious intrusion marked “The Sign of Four.” Thaddeus explains that his twin, Bartholomew, has just found the treasure in a concealed garret, and the group rushes to Pondicherry Lodge, where a wary gatekeeper and a distraught housekeeper deepen the unease. At the top of the house they find Bartholomew’s laboratory locked; through the keyhole they glimpse his ghastly, frozen face, and as Holmes and Watson break down the door, the scene of the first crisis comes into view. (This is an automatically generated summary.)

"History and criticism of the labor theory of value in English political economy" by Albert C. Whitaker is a scholarly historical study written in the early 20th century. It examines how English economists developed and debated the labor theory of value, separating “philosophical” (primitive, essence-seeking) accounts from “empirical” (market and cost-based) explanations, and follows the doctrine from Adam Smith and Ricardo through Malthus, McCulloch, James Mill, Torrens, Senior, John Stuart Mill, and Cairnes. The opening of the work sets its scope and method, rejecting the idea of a single, unified “classical” labor theory and framing the history around two strands: a philosophical account that roots value in labor and an empirical account that explains market prices by entrepreneurs’ costs. It then dissects Adam Smith’s multiple and inconsistent treatments—his labor-cost regulator versus labor-command measure, his handling of labor as both productive power and disutility, and his corn-as-index idea—before showing how Smith abandons labor-cost for advanced society while retaining labor-command as a measure. Whitaker criticizes this move, then turns to Ricardo as a more consistent architect who treats utility as a prerequisite, excludes pure scarcity goods, counts indirect labor, and grapples—often obscurely—with profits and the fixed-versus-circulating capital complication in normal price (wages plus profits). The excerpt closes by introducing McCulloch, James Mill, and Torrens, highlighting McCulloch’s dogmatic broadening of “labor” (to include nature and machines) and noting his anticipation of the later Marxian “organic composition of capital” problem and its aggregate-value “solution.” (This is an automatically generated summary.)

"Omalla konnulla : Huvinäytelmä kolmessa näytöksessä" by Aapo Pärmänen is a comic play in three acts written in the early 20th century. Set in a Finnish village, it centers on the aging tenant farmer Kiviaho, his daughter Liisa, and her suitor Saarimäki as they navigate gossip, lease renewals, and marriage plans under the eye of their landlord Nieminen. A meddling healer, Leena, and a scheming neighbor, Hakala, stir trouble, while a smooth-talking drifter tempts the young with dreams of emigration. The play’s heart is the struggle to secure a home “on one’s own land” amid pride, rumor, and temptation. The opening of the play shows Kiviaho’s household unsettled: Leena fusses over his ailments and hints at marriage, Hakala whispers that Saarimäki means to take over the torp, and Kiviaho catches Liisa and Saarimäki plotting to dissuade him from wedlock. At Nieminen’s, hopes for new tenancies collide with the landlord’s plan to sell timber, a roaming fixer (Limberg) dupes Pekka and the young couple with fake “passes” to Australia, and Hakala buys Kiviaho’s lease with stolen cash. The nimismies exposes both the theft and the emigration scam, Nieminen backs off the timber sale, and Pekka secures the derelict Palolahti torp, winning Katri’s hand for a shared future. As the third act begins, Leena has made herself indispensable at Kiviaho’s, and rumor now pressures the pair toward a forced match, while Liisa remains away. (This is an automatically generated summary.)

"Määrän päässä : Kolminäytöksinen näytelmä" by Arvi A. Seppälä is a three-act play written in the early 20th century. It follows Dr. Alfred Sanmarck, a brilliant but obsessive chemist on the brink of a groundbreaking discovery, as his devotion to science corrodes his marriage to the restless Hilda, who drifts toward the charming painter Aarne Kartio. Jenny Kautto, a clear‑eyed typist with a past attachment to Kartio, becomes both witness and catalyst. The drama probes the clash between vocation and domestic life, pride and desire, and the peril of public gossip. The opening of the play situates us in Sanmarck’s Helsinki home and laboratory, where he and Dr. Tela work late, exulting over results that challenge the permanence of the elements and hint at eather’s reality. Sanmarck’s mother fusses over his health, while Hilda breezes in from art circles with a newly bought Kartio painting; a cutting argument about the picture exposes their deeper rift—her hunger for society and recognition versus his austere calling. Jenny quietly warns the mother of Hilda’s growing intimacy with Kartio, then confronts both lovers; despite misgivings, Hilda and Kartio go out to a masquerade. Alerted by Jenny and, under pressure, by the maid, Sanmarck follows; at the start of the second act he returns, having seen enough to confirm the betrayal, and speaks with bitter lucidity about being the man one marries—rather than the man one loves. (This is an automatically generated summary.)

"The history of the harlequinade, volume 2 (of 2)" by Maurice Sand is a historical and theatrical study written in the mid-19th century. It explores the lineage, traits, costumes, and stage business of commedia dell’arte figures and their European offshoots, blending scholarship with anecdotes about performers and productions. This volume especially follows the “old man” masks (like Pantaloon and the Doctor), their transformations across regions, and the transition from improvised comedy toward musical theatre and the cantatrice. The opening of the book traces the comic “old man” archetype from Greek and Roman comedy to the Italian stage, then concentrates on Pantaloon—his Venetian roots, miserly and credulous temperament, stock scenes and pranks with Harlequin, social variants (from shabby shopkeeper to Don Pantaleone), costume shifts, and notable interpreters through the centuries. It next profiles related types: the Bolognese Doctor (pedant or quack, spouting macaronic Latin), Naples’s Pangrazio Biscegliese (a provincial butt), the miserly Cassandro, Rome’s polished puppet Cassandrino, Venice’s marionette Facanappa, Sicily’s Baron, and French counterparts like Gaultier-Garguille and Guillot-Gorju, always tying character to costume, dialect, and stage tradition. The narrative then turns to the Cantatrice, sketching how sung drama evolved from Greek choruses through Italian interludes into opera buffa, and how these forms mingled with comic masks; it recalls Mazarin’s importation of Italian opera to Paris, interlude business with Scaramouche, and emblematic performers from “Babet la Chanteuse” to Madame Favart, alongside lively anecdotes and composer namechecks that anchor the history in performance. (This is an automatically generated summary.)

"The history of the harlequinade, volume 1 (of 2)" by Maurice Sand is a historical study of theatre and performance written in the early 20th century. The work explores the lineage of the commedia dell’arte—its masks, costumes, improvisational methods, and touring troupes—tracing how figures like Harlequin, Pantaloon, Columbine, and Pierrot developed from ancient mime and Atellane farce through the Italian Renaissance and into French popular theatre. It focuses especially on Harlequin’s iconography, stagecraft, and shifting character, setting the scene for a detailed typology of the classic masks. At the start of this study, the author surveys a long prehistory: Greek mimes and dancers, Roman pantomime and masks, and the use of marionettes, showing how comic performance survived Church prohibitions to re-emerge in medieval and Renaissance Italy. He explains the scenari and improvisation of the commedia dell’arte, the stock roles and regional variants, the acoustics and staging of Renaissance theatres, and the spread of Italian troupes into France, where they influenced fairground stages and the Opéra-Comique amid legal quarrels with established companies. The introduction closes by narrowing the scope to the masks and improvisers themselves. The opening chapter then turns to Harlequin, beginning with a playful first-person monologue that sketches his poverty, gluttony, cowardice, agility, and amorous intrigues, before unpacking his probable descent from ancient phallophores and planipes, the evolution of his black half-mask, patchwork costume, bat, and rabbit-tail emblem, and the shift from simpleton to witty trickster. It culminates with the transformation of the role by the famed actor Domenico Biancolelli, whose lively dancing and invention helped fix the modern Harlequin. (This is an automatically generated summary.)

"A blighted life : A true story" by Baroness Rosina Bulwer Lytton Lytton is an autobiographical memoir written in the late 19th century. It presents the author’s searing account of long-term marital persecution by the celebrated novelist-statesman Edward Bulwer-Lytton and her battle against wrongful incarceration under England’s lunacy laws. Fiercely polemical, it combines personal testimony with a broader indictment of legal, political, and literary elites she believes enabled the abuse. The opening of this memoir sets the stage with an editor’s preface that hails the narrative as a true record of persecution, denounces the lunacy laws, and frames the story against a backdrop of public outrage and establishment complicity, while noting included portraits of the key figures. Rosina then writes in her own voice—addressing a novelist seeking accounts of asylum abuses—declaring she wants no help as she catalogs a system of spies, smears, and legal traps allegedly deployed by her husband: planted libels, attempted entrapments at Llangollen (including a suspected poisoning and “Miss G—” with a decoy dog), collusion via local post and publicans, and harassment by disreputable agents. She recounts a failed legal ruse involving “Mrs. S—LL—,” the disappearance of papers sent to a senior law lord, and the withholding of her allowance. The sequence culminates in her dramatic public confrontation at the Hertford hustings, her husband’s flight from the platform, and, immediately after, an abortive attempt by a doctor and asylum keeper to have her certified insane—foiled, she says, by her composure—followed by a fruitless request that she name terms for peace. (This is an automatically generated summary.)

"Meijeri : Kolminäytöksinen kansanhuvinäytelmä" by Artturi Järviluoma is a three-act folk comedy play written in the early 20th century. Set in a Finnish backwoods village of the 1880s, it pits a new cooperative dairy against household butter-making, turning progress versus tradition into village-sized farce. The gentle widower Enkkeli, his practical sister-in-law Vappu, blustery farmhand Janne, steady neighbor Aapo, and showy would-be bride Mariaana drive the tangle of courtship, money worries, and milk morals. Expect lively dialect humor, musical interludes, and community politics where love matches hinge on cream, cash, and reputation. The opening of the play sketches the village and Heikkilä household as gossip spreads that a meijeri may be founded, alarming Janne and Fiia, who mock “kurnaali” (meijerimilk) while the accordionist Tuppu boasts he’s been asked to be meijerist. Roughhousing, a meijeri-song, and comic bluster follow until Enkkeli returns from a failed proposal—scuttled when he mentioned the dairy—only for the peddler Susso to steer him toward the richer Mariaana. Meanwhile Aapo tentatively courts Vappu, but they quarrel over the dairy on moral and domestic grounds. The schoolteacher barrels in to rally a meeting, and on Sunday Mariaana visits, flaunts Leppälä’s means, and all but conditions marriage on Huhtajärvi getting a meijeri, prompting Enkkeli to pivot in favor. This alarms the servants, who trade tales of poisoned milk until Miina reveals they already ate tasty velli cooked with meijerimaito, sending the anxious Iiska into slapstick hypochondria. The scenes build toward the village’s decision, with romance and reputation tied to whether the churn or the cream separator will rule. (This is an automatically generated summary.)

Ihinen ja peto by Samuel Scoville is a collection of animal adventure stories written in the early 20th century. Set largely in southern Africa, it blends vivid natural-history detail with fast-paced, often perilous encounters between predators, prey, and people. The tales spotlight cunning, survival, and the uneasy ties between the wild and the human world, featuring memorable figures like a bold jackal and a devoted baboon alongside frontier railwaymen and hunters. The opening of the work first follows Punainen Rooi, a red-backed jackal who kills a deadly viper, feeds and trains his litter, escapes a hunters’ raid with a clever earth-burrow trick, and graduates from small antelope hunts to shadowing a black-maned lion for scraps—outwitting the big cat until he astonishingly slays a massive rock python with a precise neck bite, winning a wary female’s respect. The narrative then shifts to a frame told by Red Swope, who recounts a vast troop of baboons braving a flood; he rescues an abandoned infant, Jok, which an amputee stationman, Jim Tully, raises and trains to run signals and chores with uncanny skill and strength. After defending Jim and becoming his constant companion, Jok vanishes into the bush carrying Jim’s body when the old man dies suddenly, leaving the new stationmaster sensing the unseen presence around the siding. The section closes with the station bracing for a late-night special, the atmosphere tense and expectant. (This is an automatically generated summary.)

"Der Witz und seine Beziehung zum Unbewußten" by Sigmund Freud is a psychoanalytic study published in 1905. Freud examines the hidden psychological mechanisms behind jokes and humor, drawing parallels between joke-making and the workings of dreams and the unconscious mind. He explores how jokes allow us to overcome social inhibitions and satisfy repressed instincts through specific linguistic techniques. The work reveals what our laughter says about the thoughts and desires we suppress in everyday life. (This is an automatically generated summary.)

"The symbolism of colour by Ellen McCaffery" is an esoteric nonfiction treatise written in the early 20th century. It explores how colours function as a shared symbolic language across religions, myth, poetry, art, healing, and nature, presenting colour as both a spiritual sign and a practical force. The book begins by asserting that colour is power—vibration linked to sound—with real effects in healing, agriculture, and weather lore, and that true symbols rest on correspondences. It then surveys each hue: red (life, health, courage, sacrifice, love; in debased form, passion and violence), pink (healing inspiration and service), yellow (sun, unity, wisdom, glory; also deceit and decay), green (hope, immortality, knowledge; also jealousy and omens of death), blue (truth, devotion, heavenly vision; also sadness and coldness), purple/violet (humility, patience, and wisdom born of love and truth; also pomp), white (purity and the joy of the redeemed; also cowardice and hypocrisy), black (mystery, eternity, sacred silence; also evil and black magic), and brown/grey (rest, ripeness, contemplation; with grey signifying resurrection in sacred art). A chapter on the rainbow gathers all hues as a sign of universal blessing and multiple paths to the divine, illustrated with examples from Egypt, India, China, Greece, the Norse, the Bible, and modern poets. Appendices detail “schools of colour,” planetary and liturgical palettes, sky-colour weather signs, the forms implied by primary colours, and plant-growth experiments under coloured light. The work concludes by urging a renewal of symbolic vision, noting the human aura as a key to colour meanings, and calling for future healers who serve both body and soul. (This is an automatically generated summary.)