In your abyss with anxiety, with painstared and couldn't look,and did not know. What have you become, Death,most mysterious love.

(“Eros – Tanatos”, translated by V. Kornilov)

An important place in his lyrics is also occupied by religious and Christian motifs (the collection "Bright Solitudes"). For lyrical hero the state of enlightenment, peace, peace is characteristic, he enjoys the beauty and harmony of nature, talks with the Lord (sonnet cycle "Conversation"). The symbolic imagery and mysticism inherent in these poems echoes the poetry of Catholic expressionism. Later, the poet came to a pantheistic perception of the world ("Eternal Sources"), thought about the spiritual roots peasant life and in the form of his works approached folklore. Thus, rural life and way of life are idealized in the cycle "The Peasant Speaks" (1937). Subsequently, having paid tribute to the formal searches of expressionism and folklore, Gradnik returned to the classical form, in particular, to the sonnet.

Poet, novelist and essayist Fran Albrecht (1889–1963) for a long time worked in administrative positions, in 1919-1920. was the editor of the journal "Freedom", in 192 2-19 32. - magazine "Ljubljana Zvon". In 1933 he became one of the founders and publishers of the literary-critical journal Sodobnost. During the Second World War he was a prisoner of Dachau, after the war until 1948 he served as mayor of Ljubljana. As a writer, Albrecht relied on the work of O. Zupancic, the Czech poet P. Bezruch, on the philosophy of Nietzsche and socialist ideas. He sang of the pantheistic attitude, vitalism, mass movements, love passion, cursed the horrors of war (collection "Mysteria dolorosa", 1917; "Song of Life", 19 2 0). Embodying social motives, he approached the expressionists, experimented a lot with the form of verse. Albrecht played important role V literary life interwar twenty years, especially as editor of major magazines. Being engaged in translations, he introduced Slovenes to many works of world literature and criticism (Yu. A. Strindberg, F. Mehring, S. Unset, K. Hamsun, D. Lukacs, etc.).

The subtle, ironic love lyrics of Pavel Golia (1887–1959) also continued the traditions of Slovenian modernism in their own way. Golia studied at a cadet school, then served in the Austro-Hungarian army in Trieste and Ljubljana. During the First World War, he went over to the side of the Russians and fought in the Russian army as a volunteer. In 1918 he lived in Moscow, was engaged in journalism and theater studies. Returning to his homeland in 1919, Golia devoted himself to theatrical activities, was director different theaters throughout Yugoslavia. In literature, he made his debut as a poet, then wrote and translated a lot for the theater. love lyrics Golia (“Evening Songbook”, “Poems about Goldilocks”, both collections were published in 1921) is permeated with erotic motifs, optimism, and sometimes a feeling of fatigue. Golia highly valued the clarity of style and the perfection of form, adhered to classical forms, subtly felt the rhythm. In dramas, he showed the war, peasant life; social motives and refined humor are not uncommon in his plays, and in plays for children - fairy tales(“The Bethlehem Legend, or the King of the Disenfranchised”, 192 8; “Fratricicide on Metawi”, 1935).

In the complex, contradictory ideological and cultural environment of the 1920s. Slovenian literature developed within a common European, common Slavic and Yugoslav literary context. At the same time, each new trend acquired a specific national character. The well-known gap between Slovenian literature and Western European literature in this era was reduced to a minimum, but Slovenian writers still had to overcome a certain gap. Therefore, those currents and trends in Slovenian literature, which, in terms of names and a number of other characteristics, corresponded to Western ones, were by no means their direct analogues.

This fully applies to such a phenomenon as expressionism. Originating in Germany before the First World War, feeding on the situation of the most acute social crisis, and then the World War, putting the interpretation of social reality above the description of sensations in the spirit of impressionism, expressionism gravitated towards abstractness, nakedness of feelings, emotionality, fantasy and the grotesque. Slovenian expressionism, which was mainly expressed in poetry, weaker in drama and almost did not affect prose, was also characterized by all these features, but at the same time, expressionist tendencies in the work of some Slovenian poets were intricately intertwined with echoes of modernity, with an impressionistic sense of nature in spirit, with calls for active change in the world order. The latter, however, brought him closer to the left wing German Expressionism. However, a considerable share of local color was added to literature by the fact that Slovenia remained a predominantly agrarian country, and the worldview of the peasant and his connection with the land can neither soften nor modify the social protest, which was more sharply manifested in the literature of an industrial country like Germany.

French philosopher, publicist, writer, playwright. Laureate Nobel Prize in Literature (1957). The main philosophical and literary-philosophical works: "The Myth of Sisyphus" (1941), the story "The Outsider" (1942), "Letters to to a German friend"(1943-1944), essay "Rebellious Man" (1951), novel "Plague" (1947), story "Fall" (1956), "Swedish Speeches" (1958) and others. Philosopher of existential orientation. Features of ontology, epistemology , the philosophy of history, the philosophy of art are determined by the formulation and solution of the central problem for K.: the philosophical justification of the stoic, rebellious consciousness, opposed to the "reckless silence of the world. " K.'s creativity is a non-stop philosophical search, which is purposefully directed by a passionate experience for the Man who turned out to be a victim, witness and In The Myth of Sisyphus, K. tries to answer the question hope for a positive existence in a world in which religious hope has died?Postulating the original attitude of man as absurd, K. explores it as a characteristic of human "being-in-the-world", alienated and unreasonable. At the same time, he characterizes absurdity as the limit of awareness and clarity of understanding of being. The combination of ontological and epistemological meanings is carried out in the experience of the world by a person who has fallen out of the ordinary course of life or history. The realized vision of the absurdity of being means that he sees his human lot. Courageous honesty before oneself, heroic readiness to fight, soberness in assessing direct experience K. opposes suicide and "philosophical suicide" (religion, mythological consciousness, utopias, etc.) as options for leaving life and thought from a frighteningly sober vision of the absurdity of existence. The thought of K. evolves from the proclamation of a total rebellion against all the gods, which the absurd man chooses ("The Myth of Sisyphus") to the idea of ​​\u200b\u200bwhat to save spiritual world man and humanity with the help of nihilistic morality and philosophy is impossible (play "Caligula", 1944). From the state of "everything is permitted", limited by the subjective requirement of the completeness of self-assertion, to understanding the threat to culture and civilization itself from a person who has lost the scale of values. K. shows that an absurd, meaningless world without God gives rise to heroes (conscience, spirit, courage) and tyrants (lie, violence, cynicism), with the need to evaluate rebellion as a state of moral consciousness, on the one hand, and rethink the "world" as cultural and historical process - on the other. The insufficiency of the moral, social, historical justification of "rebellion against everyone" is overcome by K. in the process of rethinking its constructive-destructive possibilities, in the search for criteria for the direction of the rebellious consciousness of man in determining the measure of the absurdity of the world. In the novel The Plague, K. moves on to collective morality and the desire to find the unity and joy of communication lost in the tragedy of the "exile" (plague). The world acquires a meaning, which is revealed only through a meaningful rebellion aimed at eliminating the absurdity of the world. The ontologization of rebellion as an integral setting of human activity allowed K. to interpret it as a tool with which the world (historical reality, life) loses its scattered incoherence and acquires a reasonable integrity. In The Rebellious Man, in the analysis of the metaphysical (philosophical) and political rebellion, K. moves from the moral to the socio-historical conditionality of the transformations of a person who is rebellious in an absurd world. K. exposes the conditions for the transition of rebellion as a rejection of senselessness and cruelty - into tyranny as reconciliation with cruelty. It is the fusion of philosophical (metaphysical) and political rebellions that leads from human solidarity, the search for common life orientations to absolutism, omniscience, providentialism, and terror. In Russia, such a transformation was prepared, according to K., by the so-called "German ideology", " evil geniuses Europe" by Hegel, Marx and Nietzsche, the creators of a form of state nihilism adequate to the 20th century. State ideology, based on state terror, liquidating freedom and millions of lives, proceeds from a relativistic attitude to transcendental values ​​and the absolutization of progressive trust in history. K. warned both thinkers from a prophetic position in a world where the idea is able to transform the fabric of history, and the peoples who make these prophecies the ideology of their rebellion. K. finds the limits of rebellion in the person himself, who has emerged from suffering and brought rebellion and solidarity out of them. Such a person knows about his rights, expresses in rebellion his human dimension and awareness of the inevitability of tragedy. human existence. A protest against the human condition is always doomed to partial defeat, but it is just as necessary for a person as Sisyphus's own work. Art for K. serves as a means of salvation from nihilism. It does not make a person happy, but a person becomes free, freeing himself from the illusions of progress, turning to his own nature, peering into the imperfection of the world. K.'s analysis of art moves from art as an aesthetic escape from reality to the affirmation of the aesthetics of nature and the ideals of universality. human communication. [Cm. also "Rebellious Man" (Camus), Absurd]

Great Definition

Incomplete definition ↓

It's not that this world is cruel and inhospitable, but that everyone in it is too busy. You know this firsthand: dozens of different things require your attention, and attention is by no means unlimited.

Therefore, you must remember that the attention that your customers are ready to give you is also not unlimited. Give them a good reason to keep listening to you, otherwise they will miss all the words and, while listening, will not hear you.

Your main opponent is not real, existing competitors in the market. Your main adversary- indifference.

This is known to many marketing specialists, but not everyone takes this factor into account in their work. Instead of talking about the client and their needs, these professionals talk about their company. Instead of showing what they are willing to do for the consumer, they try to show what a wonderful company they have.

* Fran Lebowitz (1950 -) - American writer and humorist, author of the essays "Life in the Metropolis" (1978) and "Social Studies" (1981). - Approx. per.

Instead of speaking the client's language, they speak their own language.

All the consumer thinks about is "me, mine, me". Unfortunately, the seller thinks the same way. As a result, they do not find common ground.

Very few people are really interested in what you have to say. (As Fran Lebowitz once said of people wearing T-shirts with slogans, "People won't listen to you either. Why do you think they'll listen to your T-shirt?") People are only interested in themselves. Until you understand this for yourself, your main enemy - indifference - will constantly defeat you.

The reader has already met the name of Charlotte Corday in the article "The Murder of Marat. Revenge of Charlotte Corday"

From Wikipedia, the free encyclopedia

Charlotte Corday. 19th century lithograph

Marie Anna Charlotte Corday d'Armont (fr. Marie-Anne-Charlotte de Corday d'Armont), better known as Charlotte Corday (fr. Charlotte Corday; July 27, 1768, the parish of Saint-Saturnin-de-Lignery near Vimoutiers, Normandy - July 17, 1793, Paris) - French heroine, noblewoman, murderer of Jean Paul Marat, executed by the Jacobins.

Daughter of Jacques Francois Alexis de Corday d'Armon and Marie Jacqueline, nee de Gauthier de Menival, great-granddaughter of the famous playwright Pierre Corneille. Korday were ancient noble family. The father of Marie Anna Charlotte, as the third son, could not count on the inheritance: in accordance with the primacy, it passed to the elder brother. For some time, Jacques Francois Alexis served in the army, then he retired, got married and took up agriculture. Marie Anne Charlotte spent her childhood on her parents' farm, Roncere. For some time she lived and studied with her father's brother, the curate of the parish of Vic, Charles Amedey. Uncle gave her elementary education and introduced them to the plays of their famous ancestor - Corneille.

When the girl was fourteen years old, her mother died during childbirth. Father tried to arrange for Marie Anne Charlotte and her younger sister Eleanor to the St. Cyr boarding house, but he was refused, since Corday was not among the noble families distinguished in royal service. The girls were accepted as boarders for government maintenance in the Benedictine abbey of the Holy Trinity in Cana, where their distant relative, Madame Panteculan, was coadjutriss.

Revolution

In accordance with the anti-clerical decrees of 1790, the monastery was closed, and in early 1791 Charlotte returned to her father. Korday first lived in Mesnil-Imbert, then, due to a quarrel between the head of the family and a local poacher, they moved to Argentan. In June 1791, Charlotte settled in Caen with her second cousin Madame de Betville. According to the memoirs of her friend in Caen, Amanda Loyer (Madame Maromme): “not a single man has ever made the slightest impression on her; her thoughts soared in completely different areas<…>... she least of all thought about marriage. From monastic times, Charlotte read a lot (with the exception of novels), later - numerous newspapers and brochures of various political directions. According to Madame Maromme, at one of the dinner parties in the house of her aunt, Charlotte defiantly refused to drink to the king, saying that she had no doubts about his virtue, but “he is weak, and a weak king cannot be kind, because he does not have enough strength to prevent misfortunes of his people." Soon, Amanda Loyer moved with her family to a calmer Rouen, the girls corresponded, and in Charlotte's letters "sadness, regrets about the futility of life and disappointment with the course of the revolution" sounded. Almost all of Korda's letters addressed to her friend were destroyed by Amanda's mother when the name of Marat's killer became known.

The execution of Louis XVI shocked Charlotte, the girl who became "a republican long before the revolution" mourned not only the king:

... You know the terrible news, and your heart, like mine, trembles with indignation; here it is, our good France, given over to the people who have done us so much harm!<…>I shudder with horror and indignation. The future, prepared by present events, threatens with horrors that can only be imagined.
It is clear that the greatest misfortune has already happened.<…>The people who promised us freedom killed her, they are just executioners.

In June 1793, rebellious Girondin deputies arrived in Caen. The Quartermaster's Mansion on Karm Street, where they were housed, became the center of the opposition in exile.
Corday met with one of the Girondin deputies, Barbara, interceding for her friend from the monastery, Canoness Alexandrine de Forbin, who had emigrated to Switzerland, who had lost her pension. This was the pretext for her trip to Paris, for which she received her passport back in April. Charlotte asked for a recommendation and offered to deliver the letters of the Girondins to friends in the capital. On the evening of July 8, Corday received from Barbara letter of recommendation Deperret, a member of the Convention, and several pamphlets that Deperret was to hand over to the supporters of the Girondins. In a reply note, she promised to write to Barbara from Paris. Taking a letter from Barbara, Charlotte risked being arrested on her way to Paris: on July 8, the Convention adopted a decree declaring the Girondins in exile "traitors to the fatherland." Cana will not know about it until three days later. Before leaving, Charlotte burned all her papers and wrote Farewell letter father, in which, in order to divert all suspicions from him, she informed that she was leaving for England.

Charlotte Corday. Painting by the artist Baudry (1868), created during the period of the official cult of Corday and the condemnation of the revolution under Napoleon III. The canvas quite accurately conveys the scene of the murder of Marat

Corday arrived in Paris on July 11 and stayed at the Hotel Providence on Rue Vieze-Augustin. She met Deperre in the evening of the same day. Having stated her request in the Forben case and having arranged to see him the next morning, Charlotte unexpectedly said: “Citizen Deputy, your place is in Caen! Run, leave no later than tomorrow evening! The next day, Deperre accompanied Corday to the Minister of the Interior Gard, but he was busy and did not receive visitors. On the same day, Deperre met with Charlotte again: his papers, like those of other deputies-supporters of the Girondins, were sealed - he could not help her in any way, and acquaintance with him became dangerous. Corday once again advised him to run, but the deputy was not going to "leave the Convention, where he was elected by the people."

Before the assassination attempt, Korday wrote "Appeal to the French, Friends of Law and Peace":

…French people! You know your enemies, get up! Forward! And let only brothers and friends remain on the ruins of the Mountain! I don’t know if the sky promises us republican government, but it can give us a Montagnard as ruler only in a fit of terrible revenge ... Oh, France! Your rest depends on keeping the laws; killing Marat, I do not break the law; condemned by the universe, he stands outside the law.<…>Oh my homeland! Your misfortunes break my heart; I can only give you my life! And I am grateful to heaven that I can freely dispose of it; no one will lose anything with my death; but I will not follow the example of Pari and kill myself. I want my last breath benefited my fellow citizens, so that my head, folded in Paris, would serve as a banner for the unification of all friends of the law! ...

In the "Appeal ..." Charlotte emphasized that she was acting without assistants and no one was privy to her plans. On the day of the murder, Charlotte pinned the text of the "Appeal ..." and the certificate of her baptism under her bodice with pins.

Corday knew that Marat was not at the Convention because of his illness and that he could be found at home.

Murder of Marat

On the morning of July 13, 1793, Corday went to the Palais Royal, then called the garden of the Palais Egalite, and bought a kitchen knife in one of the shops. She drove to Marat's house at 30 Cordeliers Street in a fiacre. Korday tried to go to Marat, saying that she had come from Caen to tell about the conspiracy that was being prepared there.
However civil wife Marata Simone Evrard did not let the visitor in. Returning to the hotel, Korday wrote a letter to Marat asking him to make an appointment for the afternoon, but forgot to give the return address.

Without waiting for an answer, she wrote a third note and in the evening drove again to the Rue Cordeliers. This time she achieved her goal. Marat took it while sitting in the bath, where he found relief from a skin disease (eczema). Corday informed him of the Girondin deputies who had fled to Normandy and stabbed him after he said he would soon send them all to the guillotine.

Korday was captured on the spot. From prison, Charlotte sent a letter to Barbara: “I thought I would die right away; courageous people and truly worthy of all praise protected me from the understandable fury of those unfortunates whom I deprived of their idol.

Investigation and trial

The first time Charlotte was interrogated at Marat's apartment, the second - in the prison of the Abbey. She was placed in the cell where Madame Roland had previously been kept, and later Brissot. There were two gendarmes in the cell around the clock. When Corday learned that Lause Deperre and Bishop Fauchet had been arrested as her accomplices, she wrote a letter refuting these accusations. On July 16, Charlotte was transferred to the Conciergerie. On the same day, she was interrogated in a revolutionary criminal tribunal chaired by Montana in the presence of the public prosecutor Fouquier-Tenville. She chose as her official defender the deputy of the Convention from Caen, Gustave Dulce, who was notified by letter, but received it after Corday's death. At the trial, which took place on the morning of July 17, she was defended by Chauveau-Lagarde, the future defender of Marie Antoinette, the Girondins, Madame Roland. Korday carried herself with a calmness that amazed everyone present. Once again, she confirmed that she had no accomplices. After the testimony was heard and Corday interrogated, Fouquier-Tinville read letters to Barbara and her father, written by her in prison. The public prosecutor demanded the death penalty for Korday.

During Fouquier-Tinville's speech, the defense was given orders from the jury to remain silent, and from the president of the court to declare Corday insane:

…They all wanted me to humiliate her. The defendant's face has not changed at all during all this time. It was only when she looked at me that she seemed to tell me that she didn't want to be justified..

Chauveau-Lagarde's speech in defense of Charlotte Corday:

The accused herself confesses to the terrible crime she has committed; she admits that she did it in cold blood, having thought everything over in advance, and thereby recognizes the grave circumstances that aggravate her guilt; in a word, she admits everything and does not even try to justify herself. Unperturbed calmness and complete self-denial, not revealing the slightest remorse even in the presence of death itself - that, citizens of the jury, is its entire defense. Such calmness and such self-denial, sublime in their own way, are not natural and can only be explained by the excitement of political fanaticism, which put a dagger in her hand. And you, the citizens of the jury, will have to decide what weight to give to this moral consideration thrown on the scales of justice. I fully rely on your fair decision.

The jury unanimously found Korday guilty and sentenced her to death. Leaving the courtroom, Corday thanked Chauveau-Lagarde for his courage, saying that he defended her the way she wanted.

While awaiting execution, Charlotte posed for the artist Goyer, who began her portrait during court session and spoke with him different topics. Saying goodbye, she gave Goyer a lock of her hair.

Charlotte Corday refused to confess.

According to the court order, she was to be executed in a red shirt, clothes in which, according to the laws of that time, assassins and poisoners were executed.
Putting on a shirt, Corday said: "The clothes of death, in which they go to immortality."

Details about last hours The life of Charlotte Corday in his memoirs was told by the executioner Sanson. According to him, he had not seen such courage in those sentenced to death since the execution of de La Barre in 1766 (Fran;ois-Jean de La Barre). All the way from the Conciergerie to the place of execution, she stood in the cart, refusing to sit down. When Sanson, having risen, blocked the guillotine from Korday, she asked him to move away, since she had never seen this structure before. Charlotte Corday was executed at half past seven in the evening of July 17 at Revolution Square.

The deputy from Mainz, PhD, Adam Luks, who was so upset by the defeat of the Girondins that he decided to die, protesting against the impending dictatorship, was inspired by the death of Charlotte Corday. On July 19, 1793, he published a manifesto dedicated to Korda, where he compared her with Cato and Brutus. He wrote:

When anarchy has usurped power, murder must not be allowed, for anarchy is like a fabulous hydra, in which three new heads immediately grow in place of a severed head. That is why I do not approve of the murders of Marat. And although this representative of the people has turned into a true monster, I still cannot approve of his murder. And I declare that I hate murder and will never stain my hands with it. But I pay tribute to the lofty courage and enthusiastic virtue, for they have risen above all other considerations. And I urge, rejecting prejudices, to evaluate the act according to the intentions of the one who performs it, and not according to its execution. Future generations will be able to appreciate the deed of Charlotte Corday.

In culture

Corday's personality was extolled as opponents French Revolution, and revolutionaries - the enemies of the Jacobins (for example, the Girondins who continued to resist). André Chénier wrote an ode in honor of Charlotte Corday. In the 19th century, the propaganda of regimes hostile to the revolution (Restoration, Second Empire) also presented Corday as a national heroine.

Pushkin, like part of the Decembrists, who had a negative attitude towards the Jacobin terror, in the poem "Dagger" called Charlotte "the maiden Eumenis" (goddess of vengeance), who overtook the "apostle of death." Rafael Sabatini dedicated the story "Tyranicide: Charlotte Corday and Jean-Paul Marat" to Charlotte.

The purpose of this article is to find out how the tragic death on the guillotine of the French heroine CHARLOTTE CORDE into her FULL NAME code.

Watch in advance "Logicology about the fate of man".

Consider the FULL NAME code tables. \If there is a shift in numbers and letters on your screen, adjust the image scale\.

11 26 43 48 54 59 60 77 90 105 119 132 133 150 160 161 175 189 190 215 216 233 245 260 279 298 299
K O R D E d* A R M O N M A R I A N N A S H A R L O T T A
299 288 273 256 251 245 240 239 222 209 194 180 167 166 149 139 138 124 110 109 84 83 66 54 39 20 1

13 14 31 41 42 56 70 71 96 97 114 126 141 160 179 180 191 206 223 228 234 239 240 257 270 285 299
M A R I A N N A S H A R L O T T A K O R D E d* A R M O N
299 286 285 268 258 257 243 229 228 203 202 185 173 158 139 120 119 108 93 76 71 65 60 59 42 29 14

CORDE d * ARMON MARIE ANNA CHARLOTT = 299 = 191-INTERRUPTED LIFE + 108-BEHEADING.

299 = 229-\ 108-DEHEADING + 121-INTERRUPTED \ + 70-LIFE.

299 = 70-LIFE + 229-ENDED ON THE GUILLOTINE.

299 = 180-LIFE IS ENDED ON... + 119-GUILLOTINE.

299 = 229-\ 85-HEADLESS + 144-ENDED\ + 70-LIFE.

299 = 214 - LIFE IS ENDED + 85 - HEADLESS.

The reader can easily find the numbers 214 and 85 in the bottom table.

299 \u003d 189-GUILLOTINE + 110-LIFE IS DISAPPEARED.

299 \u003d 160-HEAD CUT OFF + 139-LIFE DISAPPEARED.

299 = 229-\ 160-CUT OFF THE HEAD + 69-DAMAGED \ + 70-LIFE.

299 = 120-DIE FROM... + 179-GUILLOTINE KNIFE.

299 = 158-DIE ​​FROM A KNIFE + 141-GUILLOTINE.

299 = 215 - DEATH STRIKE + 84 - KNIFE BLADE.

215 - 84 = 131 = HEADLESS.

206 = GUILLOTINE KNIFE
____________________________
108 = DEHEADING

Code DATE OF DEATH: 07/17/1793. This = 17 + 07 + 17 + 93 = 134 = DEprivation of life = ON THE GUILLOTINE.

299 = 134-GUILLOTINE + 165-LIFE IS ENDED.

206 = 121-OUTCOME OF LIFE + 85-BEHEADED = BY THE GUILLOTINE KNIFE.

Code of the full DATE OF DEATH \u003d 206-SEVENTH OF JULY + 110- \ 17 + 93 \ - (code of the YEAR OF DEATH) - LIFE IS DISAPPEARED \ b \ = 316.

316 \u003d 121-OUTCOME OF LIFE + 195-CUTTING THE HEAD.

Number code full YEARS LIVES = 86-TWENTY + 96-FIVE = 182 = HEADED BY KNIFE BLADE.

In this case, the question arises: why 25 ?, ten days are not enough before this period (date of birth - 27.07).

But we have a hint: DATE OF DEATH code = 134 = TWENTY FIVE\ = ON GUILLOTINE, LIFE DESTRUCTION.

299 = 182-TWENTY-FIVE + 117-KNIFE\guillotine\.

42 = NOT ALIVE
___________________________________
258 = KILLED BY THE GUILLOTINE KNIFE

Surprisingly, a number latest articles do not give a clear reflection of the code of numbers of full YEARS OF LIFE, although in this article the numbers 182 and 117 are easily found in the upper table: 175 + 7 = 182 and 110 + 7 = 117.

The code of the letter "H", equal to 14, is divided by 2: 14: 2 = 7.

299 = 117-LOSE + 182-\ 51-LIFE + 131-HEADED, TWENTY-FIVE.

Let's resort to the second option: 86-TWENTY + 93-SIXTH = 179.

299 = 179-TWENTY-SIX + 120-END OF LIFE.

179 - 120 \u003d 59 \u003d DIE \ a \.

These figures are shown in the table below.

179 = TWENTY-SIXTH
___________________________
139 = LIFE DISAPPEARED