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Charles Marlow is a recurring character in the work of Polish-born English novelist Joseph Conrad. Marlow is an alter ego of Conrad; both are sailors for the British Empire during the late 19th and early 20th centuries during the height of British imperialism.

Marlow narrates several of Conrad's best-known works such as the novels Lord Jim and Chance, as well as the framed narrative in Heart of Darkness, and his short story Youth. The stories are not told entirely from Marlow's perspective, however. There is also an omniscient narrator who introduces Marlow and some of the other characters. Once introduced, Marlow then proceeds to tell the actual tale, creating a story-within-a-story effect.

In Heart of Darkness the omniscient narrator observes that "yarns of seamen have a direct simplicity, the whole meaning of which lies within the shell of a cracked nut. But Marlow was not typical [...] and to him the meaning of an episode was not inside like a kernel but outside, enveloping the tale which brought it out only as a glow brings out a haze."

Great Marlow, sometimes simply called Marlow, was a parliamentary borough in Buckinghamshire. It elected two Members of Parliament (MPs) to the House of Commons between 1301 and 1307, and again from 1624 until 1868, and then one member from 1868 until 1885, when the borough was abolished.

History

In the 17th century a solicitor named William Hakewill, of Lincoln's Inn, rediscovered ancient writs confirming that Amersham, Great Marlow, and Wendover had all sent members to Parliament in the past, and succeeded in re-establishing their privileges (despite the opposition of James I), so that they resumed electing members from the Parliament of 1624. Hakewill himself was elected for Amersham in 1624.

Members of Parliament

MPs 1624–1640

MPs 1640–1868

MPs 1868–1885

Notes

Theme or themes may refer to:

Art

See also

In Indo-European studies, a thematic vowel or theme vowel is the vowel *e or *o from ablaut placed before the ending of a Proto-Indo-European (PIE) word. Nouns, adjectives, and verbs in the Indo-European languages with this vowel are thematic, and those without it are athematic. Used more generally, a thematic vowel is any vowel found at the end of the stem of a word.

Proto-Indo-European

PIE verbs and nominals (nouns and adjectives) consist of three parts:

The thematic vowel, if present, occurs at the end of the suffix (which may include other vowels or consonants) and before the ending:

Athematic forms, by contrast, have a suffix ending in a consonant, or no suffix at all (or arguably a null suffix):

For several reasons, athematic forms are thought to be older, and the thematic vowel was likely an innovation of late PIE: Athematic paradigms (inflection patterns) are more "irregular", exhibiting ablaut and mobile accent, while the thematic paradigms can be seen as a simplification or regularisation of verbal and nominal grammar. In the Anatolian languages, which were the earliest to split from PIE, thematic verbs are rare or absent. Furthermore, during late PIE and in the older daughter languages, a number of athematic forms were replaced by thematic ones, as in prehistoric Greek *thes- 'god' versus *thes-o- > Classical Greek θεός (theós).

The Family Way is a soundtrack recording composed by Paul McCartney, released in January 1967. The album is the soundtrack to the 1966 film of the same name, directed by Roy Boulting and starring Hayley Mills. Produced and arranged by George Martin, the album was credited to "The George Martin Orchestra" and issued under the full title The Family Way (Original Soundtrack Album). A 45rpm single, again credited to the George Martin Orchestra, was issued on 23 December 1966, comprising "Love in the Open Air" backed with "Theme From 'The Family Way'", as United Artists UP1165.

The Family Way won an Ivor Novello Award in 1967. It was remastered and released on CD in 1996 with new musical compositions not on the original 1967 soundtrack album.

The recording took place over November and December 1966, before the Beatles began work on their album Sgt. Pepper's Lonely Hearts Club Band. McCartney's involvement in the project was minimal, according to biographer Howard Sounes, who quotes Martin's recollection that he had to "pester Paul for the briefest scrap of a tune" with which to start writing the score. After McCartney had provided "a sweet little fragment of a waltz tune", Martin continued, "I was able to complete the score."