Skizzen einer Fußreise durch Oesterreich, Steiermark, Kärnthen, Salzburg, Berchtesgaden, Tirol und Baiern nach Wien by Joseph Kyselak is a travelogue written in the early 19th century. It offers romantic, vividly detailed sketches from a long pedestrian journey across Austrian and Bavarian regions, mingling landscape description, castle ruins, folklore, and wry travel incidents to entice lovers of nature, history, and adventure. The opening of the book lays out a frank preface: driven by love of nature, the narrator travels light and mostly alone with a wolfhound, intent on sketching remote Alpine places rather than well-known cities. He departs Vienna by carriage across the barren Steinfeld toward the Semmering, notes Wiener Neustadt and Schottwien, admires the dramatic ruin of Klam (with a recalled 1809 clash led by a patriotic priest), and then crosses into Styria. In the Mirzatal he observes pastoral richness and old fortresses, then thoroughly explores the vast ruin of Kapfenberg—narrowly avoiding a fall, poking through vaults and passages—before taking in a sweeping view from St. Maria Loretto as a storm arrives. Reaching Bruck, he rafts down the swift Mur to Graz, braving hazardous weirs that drench the passengers, and arrives exhilarated. A brisk portrait of Graz follows—its Johanneum museum, the gentler, gardened Schlossberg, promenades, and local dress—before he departs at dawn. The section closes with a visit to the ruin of Gösting, a hunter’s vignette, a tragic local legend, and the hint of an underground passage. (This is an automatically generated summary.)

"Encovragements, for such as shall have intention to bee vnder-takers in the new…." is a colonial promotional pamphlet written in the early 17th century. It likely aims to persuade prospective investors and settlers to support and join a new plantation in the New World, outlining perceived opportunities, advantages, and practical inducements for “undertakers” of such a venture. The book provided explains, in clear, popular terms, how the mind is structured and how it works, moving from the body’s nervous system and the sensori-motor arc to perception, memory, and the formation of ideas. It lays out layered levels of consciousness—focus, fringe, and foreconscious—separated by “censors,” with a deeper subconscious and an automatic level governing vital functions. It shows how ideas cluster into emotion-charged complexes rooted in three great instincts (self-preservation, reproduction, and the social/herd instinct), and how conflicts among them produce strain. Key mechanisms—repression, dissociation, symbolisation, phantasy, and dreams—explain neurotic symptoms and irrational behaviors, while “sublimation” offers a constructive outlet for instinctive energy. The text surveys maladaptation and psychopathology, contrasts Freudian and Jungian psychoanalysis (including abreaction, transference, dream analysis, and word association), and reviews hypnosis, suggestion, and autosuggestion. It closes with practical guidance on memory, concentration, mental hygiene, and social adaptation, urging an honest, future-oriented integration of our primitive drives with higher reason to maintain a healthy, unified personality. (This is an automatically generated summary.)

Encovragements, for such as shall have intention to bee vnder-takers in the new…. is a scientific thesis written in the late 19th century. It argues about geological and solar climates, presenting a physical explanation for the Ice Age and long-term climate shifts. The likely topic is how Earth’s internal heat, the atmosphere, and especially the properties of water shaped ancient climates before solar control created today’s latitudinal climate zones. The book contends that early Earth’s climate was governed by internal heat, which, through vast cloud cover, blocked both outgoing and incoming radiation and produced globally uniform climates that shifted from torrid to tropical to temperate. As internal heat waned, the high specific heat of the oceans prolonged warmth and moisture, and when the 32°F isotherm reached land, snow began to persist, initiating a latitude-independent glaciation of continental areas—the Ice Age—while warm seas and dense fogs sustained it. Once oceanic heat was exhausted and clouds thinned, solar energy took control, climates aligned with latitude, and continental ice retreated along modern isotherms. Drawing on fossil distributions (tropical life at high latitudes), widespread glacial traces on multiple continents, and “unglaciated” regions shielded by massive lava outflows, the author rejects small orbital or solar variations as primary causes, critiques mathematical objections that ignore atmospheric shielding, and describes a continuing, modest postglacial warming via atmospheric “heat trapping.” He extends the framework to other planets (e.g., cloud-shrouded Jupiter, long-cooled Mars) and concludes that the Ice Age marks the shift from earth-heat to solar-heat climate control. (This is an automatically generated summary.)

Encovragements, for such as shall have intention to bee vnder-takers in the new… is a collection of lyric and narrative poems written in the early 20th century. It is a poetic work that draws on Indigenous North American lore and cosmology, presenting nature, ritual, and memory in vivid, ceremonial language. The likely topic is the spiritual and cultural life of Native peoples across the Plains and the Southwest, set against changing landscapes and histories. The book moves through cycles that personify the earth and sky, from dawn to dusk, and from wind and thunder to mirage and blizzard on the prairie. It sings of courage, love, war, and death in intimate “spirit songs,” recalls mythic beginnings and endings, and confronts colonization’s violence and grief. A central sequence interprets Pueblo art-in-life—pottery, beadwork, dances, and harvest rites—celebrating Corn Maidens, syncretic feast days, and the rise and ruin of a great pueblo. The closing hymns invoke Aztec deities—Tezcatlipoca, Xochiquetzal, Quetzalcoatl, Tonatiuh, and Xiuhtecutli—honoring rain, fire, sun, and fertility. Throughout, the poems weave ceremony with landscape, mourning with resilience, to affirm a world where beauty, ritual, and survival are one. (This is an automatically generated summary.)

"The homosexual in literature" by Noel I. Garde is a reference work and critical survey written in the mid-20th century. It likely catalogs and evaluates portrayals of homosexual themes and characters across eras and genres, providing annotated entries, context, and guidance for readers and researchers interested in how literature has depicted same-sex desire. The opening of the story presents Paris as a mosaic of distinct neighborhoods, dwelling on the hushed, timeworn charm of Place des Vosges. A provincial newcomer, Justin Baslèvre, rents an attic room there and, over the decades, becomes a meticulous, solitary civil servant whose inner life remains unknown to others. Much later, during a reception day, his childhood friend Gustave Gros reappears—now a hack writer and minor clerk—seeking help after a workplace scrape, and Justin intervenes on his behalf. The encounter unsettles Justin: he slips away from work for the first time, wanders through springtime Paris tasting an unexpected freedom, and exchanges a candid, cautionary talk with the ministry doctor about how nature—and perhaps love—can upend a life of rigid habit. He then checks Gustave’s file, tracks down his address, and visits a modest yet orderly home, surprised by what he finds. (This is an automatically generated summary.)

Encovragements, for such as shall have intention to bee vnder-takers in the new… is a colonial promotional pamphlet written in the early 17th century. It is a policy tract that likely outlines inducements, obligations, and assurances for prospective “undertakers” in a state-sponsored plantation, encouraging settlement, investment, and orderly governance in the new enterprise. The book you provided is a three-part collection of Persian-inspired lyric poems that praise wine, music, love, and mystical insight while reflecting on fate and the brevity of life. In the “Book of the Tavern Keeper,” the speaker invokes the Saki to pour the life-giving cup, treating intoxication as a symbol of divine illumination and setting carpe diem joy against the vanity of kings and the onrush of time, with mythic figures (Jamshid, Rustem, Darius) and paradise images (Selsebil, Houris, the Magic Cup) illuminating these themes. The “Book of the Singer” calls for lute and drum to scatter grief, celebrates comradeship, and measures human fragility against the fall of proud princes. The expansive “Book of Lyrics” turns intimate: addresses to a beloved, laments of absence and exile, homesick praise of Shiraz, playful market scenes, and sharp rebukes of hypocritical zeal, all threaded with aphoristic counsel to seize the rose-bright moment. Brief closing pieces include a moving lament at a child’s grave and terse quatrains that crystallize the whole: fate is fixed, power fades, and only love, song, and the red cup kindle a radiant, momentary peace. (This is an automatically generated summary.)

"The homosexual in literature" by Noel I. Garde is a literary reference work written in the mid-20th century. It likely surveys and critiques portrayals of homosexuality across literary traditions, cataloging authors and texts while decoding themes, euphemisms, and social attitudes. Aimed at readers and scholars, it maps patterns of representation and the shifting cultural lens through which same-sex desire has been depicted. The opening of the provided volume presents a French preface by René Doumic praising Bossuet’s funeral orations, arguing that he transformed a courtly showpiece into a vehicle of historical truth, moral judgment, and Christian doctrine, with examples touching Condé, Turenne, Anne de Gonzague, and others. It then launches into Bossuet’s oration for Henriette‑Marie of France, Queen of Great Britain, framing her life as a lesson to rulers and recounting her virtues, protection of English Catholics, ordeals during the Civil War and exile, Charles I’s steadfastness, Cromwell’s ascendancy, and the Restoration under the guidance of Providence. The section closes by beginning the oration for Henriette‑Anne, Duchess of Orléans, introduced with “Vanity of vanities,” turning to the fragility of worldly glory despite illustrious birth. (This is an automatically generated summary.)

The homosexual in literature by Noel I. Garde is a literary survey written in the mid-20th century. It maps how authors across periods and languages have portrayed same-sex desire, blending bibliography with pointed commentary to help scholars and general readers find, contextualize, and assess key works. The opening of the work follows the gentleman-thief Raffles, “de Groote Onbekende,” and his aide Charly Brand at a country hideout, where Raffles prepares a new scheme that sends them to London. After casing women’s fashion houses, they stage a nocturnal break-in to assemble a complete ladies’ wardrobe and train Charly to pass convincingly as a woman. Raffles then rescues a despairing servant of Lord Landsdale from the Thames and learns a jeweler (Brill) has likely swapped out a costly diamond necklace and blamed the servant. He needles Inspector Baxter with a public prank, later humiliates him via Charly’s disguise, and moves to right the wrong: using pristine banknotes, Charly “buys” the necklace, after which Raffles—posing as Baxter—confiscates the jewels as “evidence” and reclaims the cash as purported counterfeits. The sequence ends with the real Baxter bewildered when the jeweler arrives at Scotland Yard to collect his property. (This is an automatically generated summary.)

"The homosexual in literature" by Noel I. Garde is a bibliographic and critical study written in the mid-20th century. It likely surveys literary portrayals of same-sex desire across eras, cataloging works and themes while assessing cultural attitudes to guide readers and researchers. The opening of the story follows a new minister, Mr. Ellison, as he tours a village with Mr. Vanderburgh and Dr. Huntley and hears a harsh account of the impoverished Merritt family. Overhearing from a tree, teenage Robert (“Bob”) Merritt resolves to improve himself despite a drunken, abusive father and the pull of rough companions, while his loyal sister Celia encourages churchgoing and steadiness. After Bob’s garden is wrecked and peer pressure drags him into a Sunday fishing trip tied to a $3 debt, he and Celia still attend church; the next morning Ellison hires Bob for garden work, defying Vanderburgh’s attempts to discredit him, and Dr. Huntley offers guidance. Bob earns money to clear his debt, but his father steals his wages; Celia contributes her small savings so he can pay the creditor, and Huntley arranges steady work, sets firm conditions (punctuality, avoiding bad company, no swearing), and helps Bob buy provisions respectably. Meanwhile, ladies of the town try to place Celia in a good home, but her mother refuses; after Celia rejects a disreputable boarding-house job, she enters the factory, where a kind overseer helps her keep part of her wages for decent clothes and Sunday-school. The section closes with both siblings edging toward respectability—Bob working earnestly and resisting old temptations, Celia studying and improving—while home life remains chaotic under their father’s drinking. (This is an automatically generated summary.)

"The homosexual in literature" by Noel I. Garde is a bibliographic and critical survey written in the mid-20th century. It likely catalogs and evaluates depictions of homosexuality across eras and genres, offering annotations, thematic analysis, and guidance for readers and researchers interested in how authors encoded, debated, or represented same-sex desire in print. The opening of this work follows Ethel Dalton, a well-brought-up but intensely timid girl living with her sister and brother-in-law, Dr. and Mrs. Ray, in Ironton, as her missionary brother Henry arrives home. After Ethel panics at the sight of a foundry boy admiring their flowers—who proves kind and dutiful—Henry gently but firmly challenges her habitual fears, tying courage to Christian usefulness. A nighttime scare, caused by Ethel bolting the doctor out and mistaking his return for burglars, deepens her shame. In a long, searching talk, Henry links persistent cowardice to a lack of trust in God and reveals he had hoped to take her to Persia to assist in mission schools—plans he says her fears would thwart. He then begins “prospecting” a local Sunday-school among foundry families, where Ethel’s panic over a dog and cow ends in a public fall but also introduces them to the good-hearted Trim family, with whom plans for a neighborhood mission take shape. Ethel, stung yet drawn to do good, offers to help but is confronted by how her fears would undercut her role; as she tries to compensate with church work, her spiritual dryness grows, and the section closes with her telling small untruths and inwardly resisting the admission of fault. (This is an automatically generated summary.)

"The homosexual in literature" by Noel I. Garde is a critical literary survey written in the mid-20th century. It likely maps how same-sex desire and identity have been depicted across periods and languages, pairing synopses with appraisal of tone, bias, and subtext. The work would appeal to readers seeking a guided tour of queer representation in the canon, from veiled allusions to frank portrayals, and to those interested in censorship, reception, and evolving attitudes. The opening of the provided narrative follows Monsieur Brossard, a self-satisfied Parisian bourgeois who has turned his salon into a sanctified library and rules his home with pomp, while his wife Thérèse languishes in long illness. He fusses over menus and wines, preens at his insurance office, flirts in thought on the boulevards, and dotes on rare bindings—especially a clandestine “Enfer” of erotic volumes—before returning to find Thérèse suddenly dead, a loss that chiefly disturbs his sense of decorum. After a ceremonious funeral, he reclaims her boudoir for his secret books, discovers her devout writings and a vow to go to Lourdes, and burnishes her legend to elevate his own standing. With the outbreak of war, he panics, then postures as a bracing patriot while spending evenings with his colleague Lamorille and the latter’s alluring wife; a dashing nephew brings fragmentary news from the front, deepening their unease. Sleepless and shaken, Brossard prays in his late wife’s room and resolves to fulfill her vow by departing for Lourdes at once. (This is an automatically generated summary.)

"The homosexual in literature" by Noel I. Garde is a critical reference work and survey of literary representations written in the mid-20th century. It catalogues and critiques depictions of homosexual characters and themes across periods and traditions, providing annotated entries and commentary for readers evaluating how such figures have been portrayed in literature. The opening of the volume you provided outlines a survey of Scottish chapbook culture: its aims, scope, and sources, and the challenges of defining a “chapbook.” It sketches the rise of chapbooks from early broadsides and Reformation prints through a flourishing era when chapmen spread cheap literature across towns and moors, noting printers, censorship, sales practices, crude illustrations, and later decline as cheaper series emerged. It then classifies the field, highlighting the popularity of humorous pieces—especially those by Dougal Graham—with vivid scenes of rustic courtship, weddings, kirk discipline, and social satire, alongside other humorists and verse tales. Next it turns to “instructive” chapbooks, summarizing historical accounts (Bothwell Bridge, Drumclog, the ’45 as narrated by an eyewitness pedlar), topical broadsides and execution “last speeches,” and biographical lives of national figures, before touching on religious and moral tracts and widely read sermons. (This is an automatically generated summary.)

Encovragements, for such as shall have intention to bee vnder-takers in the new… is a satirical political pamphlet written in the early 20th century. The book imagines a so-called utopia where a tiny elite controls a vast labor force, using indoctrination, engineered scarcity, and science to maximize profit. Its likely topic is the critique of plutocracy, industrial exploitation, and the dehumanizing logic of unregulated capitalism. The story visits Plutopia, an island society with 500 wealthy rulers and 49,500 numbered workers. The workers live in cramped cells, wear paper-sack uniforms, eat three “food pills” a day, and labor twelve-hour shifts; families are separated and children are raised in institutions that drill them to chant “I want to work! Twelve hours a day!” By contrast, each plutocrat lives in a palace, spends only in vast denominations, and boasts that government, courts, and police are unnecessary because psychology keeps the “hands” obedient. A leading plutocrat reveals plans to breed ideal laborers combining brute strength, blind loyalty, and minimal intellect. The narrator tours the training school, where a minor lapse—a child yearning for skates—alarms teachers, and a worker’s quiet wish for an extra pill is treated as subversion to be managed by diluting rations. The piece ends by warning that simple human desires and dissent, however small, threaten the fragile security of this exploiters’ paradise. (This is an automatically generated summary.)

The homosexual in literature by Noel I. Garde is a bibliographic and critical survey written in the mid-20th century. It likely catalogs and evaluates depictions of same-sex desire across literary traditions, offering annotations, thematic groupings, and historical context. Aimed at readers and researchers, it maps patterns of representation and changing cultural attitudes while pointing to notable authors and works. The opening of the provided text, however, is a Spanish Golden Age comedia: a prologue and early acts of Juan Ruiz de Alarcón’s Las paredes oyen. The prologue praises the play’s tight construction and moral focus on the vice of gossip, then sketches the plot of Don Mendo, a vain slanderer who courts both Doña Ana and Doña Lucrecia until his own words are overheard and turn others against him. The dramatis personae lead into Act I, where the poor but honorable Don Juan confesses unrequited love for Doña Ana, while the witty servant Beltrán rails against fortune and backbiting; Don Mendo boasts, flirts, and is confronted by Lucrecia over a letter demeaning her in favor of Ana. On the night of San Juan, Don Mendo maligns Ana in the street; she overhears and, stung, resolves to return to Alcalá. At the start of Act II, a young Duke enlists Don Juan to guide him at court and, to observe Ana closely, they disguise themselves as cocheros to accompany her journey. Lucrecia shows Ana the incriminating letter, and when Don Mendo tries to shift blame, Ana dismisses him with the warning that “the walls have ears.” Don Mendo then bribes the “cocheros” (unaware they are the Duke and Don Juan) to divert the carriage so he can speak to Ana; the excerpt closes as the coach is steered off the road and he calls for it to halt. (This is an automatically generated summary.)

"Walled Towns" by Ralph Adams Cram is a social critique and utopian treatise written in the early 20th century. It contends that post-war modern civilization is untenable and proposes a “third alternative”: humane, self-sufficient communities that revive medieval urban form, guild economics, and a shared religious-philosophical foundation. Framing his case through vivid contrasts between medieval cities and industrial blight, Cram argues for a return to beauty, justice, and human scale through intentional “walled towns.” The opening of this work first paints an atmospheric panorama of a medieval walled city—clean air, color, craft, bells, gardens, guilds, and cathedral—then abruptly opposes it with a grim portrait of a smoke-choked, noisy industrial town. From there, Cram poses the post-war dilemma of the “Two Alternatives” (reaction versus Bolshevism), rejects mechanistic fixes (mass democracy, socialism, and international schemes), and calls for a third path grounded in small units, qualitative standards, and sacramental philosophy. He argues that true renewal will come from new leaders tempered by war and proposes withdrawal into self-governing, religiously unified communities rather than wholesale social engineering. He traces historical cycles of monastic revivals and envisions a new variant centered on natural families living in intentional “walled towns.” Early chapters then outline core principles—production for use, cooperation over competition, limits on usury, land-based civic responsibility, and dignified civic symbolism—and begin a concrete sketch of such a town (Beaulieu): no private autos within walls, communal mills, guild halls, a parish church at the center, courts that aim at justice, education tied to character and religion, and a lively civic culture where honors recognize service and excellence. (This is an automatically generated summary.)

The opening of the provided excerpt plunges into a first‑century historical romance: the Roman patrician Crispus meets Titus Flavius on the road to Cæsarea and, at King Polemo’s bidding, secretly marries a veiled “Athenaïs” he may not see or hear, in exchange for a future claim to the throne of Pontus. Reaching Cæsarea, he attends Procurator Florus’s lavish banquet, where political and religious tensions flare among Romans, Greeks, and Jews; key figures appear (Berenice, Ananias, Terentius Rufus, Tertullus, and a soothsayer), and a public trial for the Zealot Simon is set. A staged beauty contest makes Crispus choose between Berenice and the innocent Vashti; he crowns Vashti and impulsively kisses her, then speaks with her in the garden about her guardian Josephus, genealogies, and faintly Christian-coded hints, as Berenice returns and Crispus alludes to a mysterious dream of the temple. This is only the beginning, sketching the personal entanglements and volatile climate that will drive the larger drama. (This is an automatically generated summary.)

Encovragements, for such as shall have intention to bee vnder-takers in the new…. is a poetry collection written in the early 20th century, in the spirit of the Harlem Renaissance. It interweaves intimate lyric pieces with a major narrative poem, uniting themes of love, doubt, mortality, and Black identity under Jim Crow. The likely topic is a moral and spiritual reckoning with racism and suffering, expressed through art and Christian symbolism. The book ranges from concise meditations on desire, pride, despair, and endurance to a long narrative centerpiece about a Southern Black family confronting racial terror. An elder brother narrates his mother’s unshakable faith and his younger brother’s proud temper; after the younger man defends a white woman’s dignity and strikes a racist aggressor, a mob hunts him down and lynches him. The narrator plunges into blasphemy and grief, until a miracle: the slain brother reappears transfigured as a Christ figure, the lynching tree becomes the Cross, and sorrow turns into renewed faith. Around this passion story, other poems praise and probe love, face death without illusion, honor Black history and kingship, and insist that poetry answer both universal human feeling and the particular claims of race. (This is an automatically generated summary.)

"The homosexual in literature" by Noel I. Garde is a bibliographic reference work written in the mid-20th century. It compiles a chronological list of English-language fiction featuring male homosexuality, guiding readers with categorizations, content ratings, and detailed indexes. The focus is on identifying and classifying portrayals of male homosexual themes across genres rather than judging literary merit. The opening of this bibliography sets out its scope and exclusions: English-language fiction about male homosexuality only; no female-only treatments, medical or psychiatric texts, philosophical studies, magazine pieces, or standard biographies (except select autobiographical “primary” cases). It defines two parallel sections—Primary and Other Than Primary (OTP)—and explains an asterisk scale for the amount of homosexual content alongside letter codes (a–f) describing how it appears (from major explicit treatment to brief or suspected references). Practical notes follow on paperback and reprint abbreviations, expurgations, methods for updating entries, and the choice of chronological arrangement, plus indexes by locale, profession, and topics, and acknowledgments to key contributors. The text then launches the Primary listings, illustrating the format with numbered entries spanning the late 19th to mid-20th centuries (across novels, stories, poems, plays, and memoirs), before moving into a Classics section and extensive OTP entries, all cross-referenced to the special indexes. (This is an automatically generated summary.)

Encovragements, for such as shall have intention to bee vnder-takers in the new…. by Lochinvar is a colonial promotional pamphlet written in the early 17th century. It seeks to rally Scottish support for a plantation on Cape Breton—renamed New Galloway in America—by blending religious zeal, service to crown and country, and promises of material gain. The likely topic is the case for settling and exploiting New Galloway, including its geography, resources, inhabitants, and the terms offered to prospective settlers. The text opens with an appeal to biblical and classical precedents for colonization, then sets out three motives: spreading the Gospel, enlarging the realm and disciplining idleness at home, and securing private profit. It defends the legality and morality of settlement and conversion, praises active nation-building, and counters fears about danger, climate, and soil. A detailed survey follows: the island’s location, harbors, rivers, temperate climate, and abundant resources—especially fisheries, but also timber, pitch and tar, sassafras, vines, dyes, furs, grains (maize, beans), tobacco, fruits, roots, game, and fowl—along with an “easy” Atlantic passage. The inhabitants are portrayed as few and lightly armed. The pamphlet then lists concrete “Offers”: free passage and initial support for ministers; an oath of allegiance and religious conformity; free transport, land grants, and a three-year rent holiday for undertakers; terms for tenants; incentives for artisans; compensation guarantees; and a rent set as one-thirteenth of produce in kind. It closes with an urgent exhortation to the gentry to relieve debt, provide for younger children, and win lasting honor by embracing the plantation. (This is an automatically generated summary.)

"A true relation of the travels and perilous adventures of Mathew Dudgeon,…. is a play written in the early 20th century. It centers on a Barcelona family locked in a comic yet sharp generational conflict: the stern shopkeeper Francisco Rimbau demands his son Joanet take over the shop, while the youth yearns to study architecture, with Rosa, the sensible mother, caught between them and meddling friends fanning the flames. The opening of the work presents a summer night in an old Barcelona home where Rimbau scolds Rosa for encouraging Joanet’s studies and enlists the pompous Don Ignasi to enforce paternal authority. Their witty neighbor Joseph (married to the showy, “learned” Mercedes) arrives, trading barbs that escalate tensions just as Joanet and his friend Lluís appear, culminating in a heated clash and threats from the father. The next day at the family’s Vallcarca villa, Ignasi fails to sway Rosa from supporting her son; Joseph privately counsels Joanet to stay calm and patient, while Rosa begs for peace. As Mercedes insists on reading aloud from her overwrought novel, Ignasi slips away with Joanet to press his case, leaving the family split and the dispute unresolved. (This is an automatically generated summary.)