Prentice Mulford

Prentice Mulford (April 5, 1834 – c. May 30, 1891) was an American literary humorist and California author. In addition, he was pivotal in the development of the thought within the New Thought movement. Many of the principles that would become standard in the movement, including the Law of Attraction, were clearly laid out in his Your Forces and How to Use Them, released as a series of essays during 1886–1892.

Prentice Mulford was born in Sag Harbor, New York, in 1834, and in 1856 sailed to California where he would spend the next 16 years.^[2] During this time, Mulford spent several years in mining towns, trying to find his fortune in gold, copper, or silver. After leaving the mining life, Mulford ran for a position on the California State Assembly in Sacramento. Although he was nominated, he ultimately lost the election. He returned to San Francisco and began writing for a weekly newspaper, The Golden Era. Mulford spent five years as a writer and editor for various papers and was named by many San Franciscans a "Bohemian" because of his disregard for money. Mulford states in his autobiography, "poverty argued for us possession of more brains" (Prentice Mulford's Story 130). He became known for his humorous style of writing and vivid descriptions of both mining life and life at sea. In 1872 Mulford returned to New York City, where he became known as a comic lecturer, a poet and essayist, and a columnist for The New York Daily Graphic from 1875 to 1881. Mulford was also instrumental in the founding, along with other notable writers, of the popular philosophy New Thought. Mulford's book Thoughts are Things served as a guide to this new belief system and is still popular today.

His body was found lying in a boat in Sheepshead Bay, Brooklyn, on May 30, 1891, where it had been drifting for several days.^[3] He was buried in his family's private vault in Sag Harbor, and later moved to Oakland Cemetery there.

Partial works

• Thoughts are Things (1889)
• Your Forces and How to Use Them (In six volumes, published in 1888)
• The Swamp Angel, 1888
• The Gift of Understanding
• Gift of the Spirit (1904) 1st edition- with an introduction by Arthur Edward Waite
• Gift of Spirit (1917 2nd revised ed.)
• Thought Forces Essays Selected from the White Cross Library (1913)
• The God in You, 1918
• Prentice Mulford's Story: Life by Land and Sea (1889)

https://youtu.be/nc4nG9592uU

https://youtu.be/nc4nG9592uU

The Count of Saint Germain

https://youtu.be/MvB4rSrEd5Y

The count claimed to be a son of Francis II Rákóczi, the Prince of Transylvania, which could possibly be unfounded.^[10] However, this would account for his wealth and fine education.^[11] The will of Francis II Rákóczi mentions his eldest son, Leopold George, who was believed to have died at the age of four.^[11] The speculation is that his identity was safeguarded as a protective measure from the persecutions against the Habsburg dynasty.^[11] At the time of his arrival in Schleswig in 1779, St. Germain told Prince Charles of Hesse-Kassel that he was 88 years old.^[12] This would place his birth in 1691 when Francis II Rákóczi was 15 years old.

St. Germain was supposedly educated in Italy by the last of the Medicis, Gian Gastone, his alleged mother's brother-in-law. He was believed to be a student at the University of Siena.^[9] Throughout his adult life, he deliberately spun a confusing web to conceal his actual name and origins, using different pseudonyms in the different places of Europe that he visited.

The Marquis de Crequy declared that St. Germain was an Alsatian Jew, Simon Wolff by name, and was born at Strasbourg about the close of the 17th or the beginning of the 18th century; others insist that he was a Spanish Jesuit named Aymar; and others again intimate that his true title was the Marquis de Betmar, and that he was a native of Portugal. The most plausible theory, however, makes him the natural son of an Italian princess and fixes his birth at San Germano, in Savoy, about the year 1710; his ostensible father being one Rotondo, a tax-collector of that district.

— Phineas Taylor Barnum, The Humbugs of the World, 1886.

The Comte de Saint Germain (French pronunciation: ​[kɔ̃t də sɛ̃ ʒɛʁmɛ̃]; c. 1691 or 1712 – 27 February 1784)^[3] was a European adventurer, with an interest in science, alchemy and the arts. He achieved prominence in European high society of the mid-18th century. Prince Charles of Hesse-Kassel considered him to be "one of the greatest philosophers who ever lived".^[4] St. Germain used a variety of names and titles, an accepted practice amongst royalty and nobility at the time. These include the Marquis de Montferrat, Comte Bellamarre, Chevalier Schoening, Count Weldon, Comte Soltikoff, Manuel Doria, Graf Tzarogy, and Prinz Ragoczy.^[5] To deflect enquiries as to his origins, he would make far-fetched claims, such as being 500 years old,^[6] leading Voltaire to sarcastically dub him "The Wonderman" and that "He is a man who does not die, and who knows everything".^[7][8]

An engraving of the Count of St. Germain by Nicolas Thomas made in 1783, after a painting then owned by the Marquise d'Urfe and now lost.^[1] Contained at the Louvre in France.^[2]

His real name is unknown while his birth and background are obscure, but towards the end of his life, he claimed that he was a son of Prince Francis II Rákóczi of Transylvania. His name has occasionally caused him to be confused with Claude Louis, Comte de Saint-Germain, a noted French general.

count's remaining effects in case no living relative would appear within a designated time period to lay claim on them.^[28] Prince Charles donated the factory to the crown and it was afterward converted into a hospital.

Jean Overton Fuller found, during her research, that the count's estate upon his death was a packet of paid and receipted bills and quittances, 82 Reichsthalers and 13 shillings (cash), 29 various groups of items of clothing (this includes gloves, stockings, trousers, shirts, etc.), 14 linen shirts, eight other groups of linen items, and various sundries (razors, buckles, toothbrushes, sunglasses, combs, etc.). No diamonds, jewels, gold, or any other riches were listed, nor were kept cultural items from travels, personal items (like his violin), or any notes of correspondence.

Trio SonatasEdit

Six sonatas for two violins with a bass for harpsichord or violoncello:

Op. 47 I. F major, 4/4, Molto adagioOp. 48 II. B-flat major, 4/4, AllegroOp. 49 III. E-flat major, 4/4, AdagioOp. 50 IV. G minor, 4/4, Tempo giustoOp. 51 V. G major, 4/4, ModeratoOp. 52 VI. A major, 3/4, Cantabile lentoViolin solosEdit

Seven solos for solo violin:

Op. 53 I. B-flat major, 4/4, LargoOp. 54 II. E major, 4/4, AdagioOp. 55 III. C minor, 4/4, AdagioOp. 56 IV. E-flat major, 4/4, AdagioOp. 57 V. E-flat major, 4/4, AdagioOp. 58 VI. A major, 4/4, AdagioOp. 59 VII. B-flat major, 4/4, AdagioEnglish songsEditOp. 4 The Maid That's Made for Love and Me (O Wouldst Thou Know What Sacred Charms). E-flat major (marked B-flat major), 3/4Op. 5 It Is Not that I Love You Less. F major, 3/4Op. 6 Gentle Love, This Hour Befriend Me. D major, 4/4Op. 7 Jove, When He Saw My Fanny's Face. D major, 3/4Italian ariasEdit

Numbered in order of their appearance in the Musique Raisonnee, with their page numbers in that volume.[31]

The best-known biography is Isabel Cooper-Oakley's The Count of St. Germain (1912), which gives a satisfactory biographical sketch. It is a compilation of letters, diaries, and private records written about the count by members of the French aristocracy who knew him in the 18th century. Another interesting biographical sketch can be found in The History of Magic, by Eliphas Levi, originally published in 1913.

* An asterisk marks titles performed in L'Incostanza Delusa and published in the book of Favourite Songs from that opera.Op. 1 IV, pp. 16–20. Senza pietà mi credi,* G major, 6/8 (marked 3/8 but there are 6 quavers to the bar)Op. 2 VIII, pp. 36–39. Digli, digli,* D major, 3/4Op. 3 IX, pp. 40–45. Per pieta bel Idol mio,* F major, 3/8Op. 4/17 XIII, pp. 58–61. Se mai riviene, D minor, 3/4Op. 8 I, pp. 1–5. Padre perdona, oh! pene, G minor, 4/4Op. 9 II, pp. 6–10. Non piangete amarti, E major, 4/4Op. 10 III, pp. 11–15. Intendo il tuo, F major, 4/4Op. 11 V, pp. 21–26. Già, già che moria deggio, D major, 4/4Op. 12 VI, pp. 27–31. Dille che l'amor mio,* E major, 4/4Op. 13 VII, pp. 32–35. Mio ben ricordati, D major, 3/4Op. 14 X, pp. 46–50. Non so, quel dolce moto, B♭ major, 4/4Op. 15 XI, pp. 51–55. Piango, è ver; ma non-procede, G minor, 4/4Op. 16 XII, pp. 56–57. Dal labbro che t'accende, E major, 3/4Op. 18 XIV, pp. 62–63. Parlerò; non-e permesso, E major, 4/4Op. 19 XV, pp. 64–65. Se tutti i miei pensieri, A major, 4/4Op. 20 XVI, pp. 66–67. Guadarlo, guaralo in volto, E major, 3/4Op. 21 XVII, pp. 68–69. Oh Dio mancarmi, D major, 4/4Op. 22 XVIII, pp. 70–71. Digli che son fedele, E♭ major, 3/4Op. 23 XIX, pp. 72–73. Pensa che sei cruda, E minor, 4/4Op. 24 XX, pp. 74–75. Torna torna innocente, G major, 3/8Op. 25 XXI, pp. 76–77. Un certo non-so che veggo, E major, 4/4Op. 26 XXII, pp. 78–79. Guardami, guardami prima in volto, D major, 4/4Op. 27 XXIII, pp. 80–81. Parto, se vuoi così, E♭ major, 4/4Op. 28 XXIV, pp. 82–83. Volga al Ciel se ti, D minor, 3/4Op. 29 XXV, pp. 84–85. Guarda se in questa volta, F major, 4/4Op. 30 XXVI, pp. 86–87. Quanto mai felice, D major, 3/4Op. 31 XXVII, pp. 88–89. Ah che neldi'sti, D major, 4/4Op. 32, XXVIII, pp. 90–91. Dopp'un tuo Sguardo, F major, 3/4Op. 33 XXIX, pp. 92–93. Serberò fra' Ceppi, G major, 4/4Op. 34 XXX, pp. 94–95. Figlio se più non-vivi moro, F major, 4/4Op. 35 XXXI, pp. 96–98. Non ti respondo, C major, 3/4Op. 36 XXXII, pp. 99–101. Povero cor perché palpito, G major, 3/4Op. 37 XXXIII, pp. 102–105. Non v'è più barbaro, C minor, 3/8Op. 38 XXXIV, pp. 106–108. Se de' tuoi lumi al fuoco amor, E major, 4/4Op. 39 XXXV, pp. 109–111. Se tutto tosto me sdegno, E major, 4/4Op. 40 XXXVI, pp. 112–115. Ai negli occhi un tel incanto, D major, 4/4 (marked 2/4 but there are 4 crotchets to the bar)Op. 41 XXXVII, pp. 116–118. Come poteste de Dio, F major,