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Jay Gould returns to Colorado in a second attempt to combine the Kansas Pacific Railroad and her extensions with the Union Pacific. His chief adversary in this drama is a renowned Civil War reporter, Henry Villard, who represents the senior bondholders of the extensions. This play is one of the Gouldium, a series of dramas on the life and times of Jay Gould. As in most of these plays there are seven scenes of dialogue and seven choral episodes.

This drama follows the myth of Iphigenia at Aulis, where she is subject to human sacrifice by her father Agamemnon. He draws her and Clytemnestra, her mother, thither with a promise of marriage to Achilles. The necessities of sacrifice are both in dialogue and in choral poetry weighed and judged. This play concludes either in an epiphany of wisdom or of violence. A form for tragedy in English, distinguished by seven scenes of dialogue and seven choral performances, is established in this play.

Holding the Presidency of Erie Railway, Jay Gould fought against an insurgent board of directors that sought his dismissal. This drama portrays the historic broil between him and James McHenry's supporters for control of the largest railroad in the United States. This play is the fifth in a series on Jay Gould, The Gouldium, now amounting to twenty four dramas. The drama is framed like a Sophoclean tragedy, with seven scenes of dialogue and seven choral episodes of New York reporters.

On May 31, 1889, the South Fork Dam in Cambria County, Pennsylvania, under erosive overflows from eight inches of rain, dissolved, a flood unloosing on the narrow valley below, with Johnstown 14 miles down. This drama presents Henry Clay Frick, a founding member of the South Fork Fishing Club, which owned the dam and Lake Conemaugh behind it. His response to the devastation is dramatic. This historical drama maintains the classical form of tragedy in English with seven scenes of dialogue and seven choral performances.

The longer that Jay Gould was chief shareholder of Union Pacific, the more advancements for the railroad and for his own system of roads he procured. His adversaries in this drama are the executives of the Chicago Burlington and Quincy Railroad who disputed the rates and branches of the Iowa Pool of railroads with him. There are also reconcilements in this play, first with Carlos Greeley of the Kansas Pacific bondholders and the other with Henry Villard.

Disparities are just deserts, between the good and bad in competition seen. 1844 maxims of rhythmic justice and assertive rhyme, carried forward in the cause of human dissimilarity upon competitive pretensions for rewards, merciless poetry manifest. Successful emulation in enterprise these unemasculated couplets may inspire.

Jay Gould sought to yoke a corner on the gold market in August and September, 1869. His endeavor came to a head on September 24, a day known as the Gold Panic, or Black Friday. Many merchant houses, banks, and brokerages thereafter failed because of the flagrant volatility in prices. This drama presents the acts and thoughts of Gould, his partner, Jim Fisk, and their brokers during the panic.

"Striving with Consequences" might be the title of this play, as Jay Gould and Jim Fisk intend to cope with the troubles, threats, and endangered interests that ensued the gold panic on Friday, September 24th, 1869. The drama is framed like a Sophoclean tragedy, with seven scenes of dialogue and seven choral episodes of New York reporters.

The Persians: A Translation from Aeschylus There is no drama where the total multiplicity of horror in defeat is more cogently presented than in the Persians by Aeschylus, who fought in the Athenian triumph at Salamis, where the Persian fleet was rammed and wrecked.

As the southernmost line in New York State, the Erie Railroad in the 1860s ran from Jersey City to Lake Erie. Commodore Vanderbilt considered it an appropriate expansion to his New York Central and tried to corner Erie's shares. This drama represents how three of Erie's directors, Jay Gould, Jim Fisk and Daniel Drew, fought a financial war to check his acquisition. But the main part to Vanderbilt belongs as the most triumphant American of the nineteenth century.

1476 couplets contrast the outsiders of the state with the insiders of particular societies of American commerce. Keynesian outsiders think they know better than the competitive insiders of commercial operations. Professors, in the outer towers of academe, contrive unhealthy constraints for the inner places of enterprise.

Proficere in Latin means to go forward, and in pursuit of profit to the fore Fred Light goes with 1117 couplets as rhythmic as the prosperous esprit of commerce and finance. Profit is envisioned as the best fruition and revealed to bring the earthly rapture of success. Profit to listeners in profusion is No less than opulent in sentences. This audiobook the busiest happiness reveals, Which every profit-worthy maker feels.

In 1564, Shakespearean judgments on Keynesian legislation, Shakespear Versus Keynes reveals that winning never multiplies from wasting, that affluence is not accrued from effluence, that profit is no fruit of prodigality, that thrift befits a thriver more than losses of lavishment, and that owners are more procreant than the disowners taxing them. Each judgment is a couplet in compact pentameter. No slackness is allowed.

In 1863, under the instigation of his former associate, Daniel Drew, the New York State Legislature betrayed Commodore Vanderbilt, withdrawing the permit for his extension of the Harlem Railroad. The lawmakers and Drew then shorted Harlem stock. This play of counteraction portrays the most competitive businessman of the nineteenth century.

Andrew, the young comparative religions professor from Book I, knows what he needs to do. He needs to give the still sleeping Adam flesh, by mating with a young and mysterious Middle Eastern woman known as Mara. The time is right at last, so what can possibly stop Andrew and Mara from coming together in fulfillment of prophecy? Well, for one thing, there's Michael.

Focusing on 'worn out religious dogma' as one of the leading causes of human strife, the Trilogy turns the mythical world of good vs. evil on its head. Mantrella, a.k.a. Lucifer, is the champion of humanity, while the Archangel Michael fights to suppress human evolution by preventing the physical birth of the biblical Adam. Mantrella's basic view is summed up when he says, "It is not about saving humanity, it never has been." Human destiny is placed squarely on the shoulders of where it belongs: choice; our thoughts create our reality.

The Bank of California's sovereign competence, encompassing the West, depended on the personal attainments of William Ralston, her principal officer and capitalist. His delirious liabilities unsettled the advancement of the bank.

In the 1870's, almost all capital for major mines in California and other western states or territories was centered in San Francisco, where William Ralston, chief officer of the Bank of California, pursued investments. When his associates were persuaded that a diamond lode of secret location had been discovered, he with them incorporated the Golconda Diamond Mine. The Exhilarated Suckers represents the course of their investment.

The Broadway Rapture: A Drama of the Gouldium. Against uncomfortable competition in national telegraphy, the Western Union Company, led by Jay Gould, with a number of new telegraphic firms warred to maintain her primacy. When the murderer of Jim Fisk becomes a partner in one of his competitors, revengeful competition is pursued by Gould. The Broadway Rapture is of historical fights for capital superiority. This play is one of the Gouldium, a series of dramas on the life and times of Jay Gould. As in most of these plays there are seven scenes of dialogue and seven choral episodes.

Welcome to the Third Edition of Waking God: The Journey Begins. The Waking God Trilogy is not about the doom and gloom that organized religions would have you believe. It is not about an Armageddon style "end times" that pits good against evil in some final battle where religious dogma is triumphant. Yes, there is a final battle of sorts, but as Mantrella says, "It is not about saving humanity, it never has been."