If you chose the way of the Adventurer, lead an unforgiving campaign for the conquest of the seas: invasion, piracy, bounty hunting, raiding; do whatever it takes to build your own empire in the Caribbean. And of course, trade will have a less important role to play in your rise.The way of the Trader is, on the opposite, mostly about developing your riches and your economic power. To be the most powerful Trader of the New World, you have to create trade routes, build industries and develop the economy of the colonies.Of course, in Free Play mode, you can mix both of those in any way you want, letting you create your own unique and exciting story.
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Port Royale 3 PROPHET
Yuri travels with his brother and his army to the Chaos Wastes to free his god, but is slowly corrupted by Chaos in his methods to reach Ursun's prison. Eventually, Yuri murders his brother, Gerik, and offers his skull to a Greater Daemon of Khorne to build a bridge of skulls to cross the Howling Citadel. Yuri and his army reach the Howling Citadel, and after defeating a chaos-corrupted Boyar and his forces guarding the citadel's entrance, Yuri enters a portal to the Realm of Chaos.
After emerging from the portal, Yuri finds the imprisoned Ursun, and is greeted by Be'lakor (voiced by Richard Armitage), the first of the Daemon Princes. Be'lakor reveals that it was he who guided Yuri by mimicking Ursun's voice. Ursun begs Yuri to free him, but Be'lakor manipulates Yuri into thinking that Ursun is weak and unworthy of his worship, tempting him to kill the god and take his power for himself. Yuri renounces Ursun and shoots a Chaos-imbued bullet into the Bear-God's heart, and Ursun roars in pain. The resulting backlash hurls Yuri back to the material plane, with Yuri crashing into the ground severely wounded. Dying, Yuri offers his soul to the Chaos Gods and begs them to save him. The Chaos Gods answer his plea and ascend him into a Daemon Prince.
However, one major incident which seems to have contributed to Racine's departure from public life was his implication in a court scandal of 1679. He got married at about this time to the pious Catherine de Romanet, and his religious beliefs and devotion to the Jansenist sect were revived. He and his wife eventually had two sons and five daughters. Around the time of his marriage and departure from the theatre, Racine accepted a position as a royal historiographer in the court of King Louis XIV, alongside his friend Boileau. He kept this position in spite of the minor scandals he was involved in. In 1672, he was elected to the Académie française, eventually gaining much power over this organisation. Two years later, he was given the title of "treasurer of France", and he was later distinguished as an "ordinary gentleman of the king" (1690), and then as a secretary of the king (1696). Because of Racine's flourishing career in the court, Louis XIV provided for his widow and children after his death. When at last he returned to the theatre, it was at the request of Madame de Maintenon, morganatic second wife of King Louis XIV, with the moral fables, Esther (1689) and Athalie (1691), both of which were based on Old Testament stories and intended for performance by the pupils of the school of the Maison royale de Saint-Louis in Saint-Cyr (a commune neighboring Versailles, and now known as "Saint-Cyr l'École").
In a second important respect, Racine is at variance with the Greek pattern of tragedy. His tragic characters are aware of, but can do nothing to overcome, the blemish which leads them on to a catastrophe. And the tragic recognition, or anagnorisis, of wrongdoing is not confined, as in the Œdipus Tyrannus, to the end of the play, when the fulfilment of the prophecy is borne in upon Œdipus; Phèdre realizes from the very beginning the monstrousness of her passion, and preserves throughout the play a lucidity of mind that enables her to analyse and reflect upon this fatal and hereditary weakness. Hermione's situation is rather closer to that of Greek tragedy. Her love for Pyrrhus is perfectly natural and is not in itself a flaw of character. But despite her extraordinary lucidity (II 1; V 1) in analysing her violently fluctuating states of mind, she is blind to the fact that the King does not really love her (III 3), and this weakness on her part, which leads directly to the tragic peripeteia of III 7, is the hamartia from which the tragic outcome arises.
The king (Pyrrhus, Néron, Titus, Mithridate, Agamemnon, Thésée) holds the power of life and death over the other characters. Pyrrhus forces Andromaque to choose between marrying him and seeing her son killed. After keeping his fiancée waiting in Epirus for a year, he announces his intention of marrying her, only to change his mind almost immediately afterwards. Mithridate discovers Pharnace's love for Monime by spreading a false rumour of his own death. By pretending to renounce his fiancée, he finds that she had formerly loved his other son Xipharès. Wrongly informed that Xipharès has been killed fighting Pharnace and the Romans, he orders Monime to take poison. Dying, he unites the two lovers. Thésée is a rather nebulous character, primarily important in his influence upon the mechanism of the plot. Phèdre declares her love to Hippolyte on hearing the false news of his death. His unexpected return throws her into confusion and lends substance to Œnone's allegations. In his all-too-human blindness, he condemns to death his own son on a charge of which he is innocent. Only Amurat does not actually appear on stage, and yet his presence is constantly felt. His intervention by means of the letter condemning Bajazet to death (IV 3) precipitates the catastrophe.
Racine invariably observes the unity of place. A room in Pyrrhus's palace at Buthrotum; an antechamber separating the apartments of Titus and Bérénice in Rome; Agamemnon's camp at Aulis; an antechamber in the temple at Jerusalem: by choosing such vague and remote settings Racine gives his plays a universal character, and the presentation of conflicting and hesitating states of mind is not hampered by an undue insistence on material surroundings. At times, of course, the unity of place leads to slightly far-fetched meetings: why, for instance, does Pyrrhus come to see Oreste (Act I Sc. 2), rather than the other way around, except to conform to this rule? Lastly, the unity of place necessitates the récit and this again is in complete harmony with Racine's fundamental aims: how would Andromaque gain by our being able to see Pyrrhus and his bride approach and enter the temple? The important fact is the effect of Cléone's words upon Hermione. Oreste's relating to Hermione the murder of Pyrrhus is the supreme irony of the play. Théramène's récit describes, in the most memorable and poetic language, an event which would be infinitely less moving if it were to be seen it imperfectly represented upon the stage.
Butler describes this period as Racine's "apotheosis," his highest point of admiration. Racine's ascent to literary fame coincided with other prodigious cultural and political events in French history. This period saw the rise of literary giants like Molière, Jean de La Fontaine, Boileau, and François de La Rochefoucauld, as well as Louis Le Vau's historic expansion of the Palace of Versailles, Jean-Baptiste Lully's revolution in Baroque music, and most importantly, the ascension of Louis XIV to the throne of France.
At present, Racine is still widely considered a literary genius of revolutionary proportions. His work is still widely read and frequently performed. Racine's influence can be seen in A.S. Byatt's tetralogy (The Virgin in the Garden 1978, Still Life 1985, Babel Tower 1997 and A Whistling Woman 2002). Byatt tells the story of Frederica Potter, an English young woman in the early 1950s (when she is first introduced), who is very appreciative of Racine, and specifically of Phedre.
Susa was one of the most important cities of the Ancient Near East. In historic literature, Susa appears in the very earliest Sumerian records: for example, it is described as one of the places obedient to Inanna, patron deity of Uruk, in Enmerkar and the Lord of Aratta.
Susa is also mentioned in the Ketuvim of the Hebrew Bible by the name Shushan, mainly in the Book of Esther, but also once each in the books of Ezra (Ezra 4:9), Nehemiah (Nehemiah 1:1) and Daniel (Daniel 8:2). According to these texts, Nehemiah also lived in Susa during the Babylonian captivity of the 6th century BC (Daniel mentions it in a prophetic vision), while Esther became queen there, married to King Ahasuerus, and saved the Jews from genocide. A tomb presumed to be that of Daniel is located in the area, known as Shush-Daniel. However, a large portion of the current structure is actually a much later construction dated to the late nineteenth century, ca. 1871.[5] 2ff7e9595c
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