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Arms and the Man is a comedy by George Bernard Shaw, whose title comes from the opening words of Virgil's Aeneid, in Latin: Arma virumque cano ("Of arms and the man I sing"). [ 5 ] The play was first produced on 21 April 1894 at the Avenue Theatre and published in 1898 as part of Shaw's Plays Pleasant volume, which also included Candida , You ...
In 1930, the Lambeth Conference issued a statement permitting birth control: "Where there is a clearly felt moral obligation to limit or avoid parenthood, complete abstinence is the primary and obvious method", but if there was morally sound reasoning for avoiding abstinence, "the Conference agrees that other methods may be used, provided that this is done in the light of Christian principles".
Edward was christened on 15 October, with his 21-year-old half-sister Lady Mary as godmother and his 4-year-old half-sister Lady Elizabeth carrying the chrisom; [6] the Garter King of Arms proclaimed him as Duke of Cornwall and Earl of Chester. [7] The queen, however, fell ill and died from postnatal complications on 24 October, days after ...
The commission produced a report in 1966, proposing that artificial birth control was not intrinsically evil and that Catholic couples should be allowed to decide for themselves about the methods to be employed. [1] [page range too broad] [4] [page needed] [5] This report was approved by 64 of the 69 members voting. [6]
Birth control, also known as contraception, anticonception, and fertility control, is the use of methods or devices to prevent pregnancy. [1] [2] Birth control has been used since ancient times, but effective and safe methods of birth control only became available in the 20th century. [3]
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Arms and the Man is an 1894 play by George Bernard Shaw. Arms and the Man may also refer to: Arms and the Man, adaptation by Cecil Lewis; Arms and the Man, adaptation by Franz Peter Wirth; Arms and the Man, title of American Rifleman from 1906 to 1923
In art the Instruments either surrounded an image of Christ in andachtsbilder subjects such as the Man of Sorrows, or might appear by themselves - often the image of Christ's face on the Veil of Veronica was the focal point of the image. In both cases the purpose of the representations was to symbolize the sufferings of Christ during his Passion.