Samsung Secret Codes

Verdana, Arial, Helvetica, sans-serif; font-size: small;" />IMEI number: *#06#
Serial number: *#0001#
Battery status- Memory capacity : *#9998*246#
Debug screen: *#9998*324# - *#8999*324#
LCD kontrast: *#9998*523#
Vibration test: *#9998*842# - *#8999*842#
Alarm beeper - Ringtone test : *#9998*289# - *#8999*289#
Smiley: *#9125#
Software version: *#0837#
Display contrast: *#0523# - *#8999*523#
Battery info: *#0228# or *#8999*228# 
Display storage capacity: *#8999*636#
Display SIM card information: *#8999*778#
Show date and alarm clock: *#8999*782#
The display during warning: *#8999*786#
Samsung hardware version: *#8999*837#
Show network information: *#8999*638#
Display received channel number and received intensity: *#8999*9266#

*#1111# S/W Version
*#1234# Firmware Version
*#2222# H/W Version
*#8999*8376263# All Versions Together
*#8999*8378# Test Menu
*#4777*8665# GPSR Tool
*#8999*523# LCD Brightness
*#8999*377# Error LOG Menu
*#8999*327# EEP Menu
*#8999*667# Debug Mode
*#92782# PhoneModel (Wap)
#*5737425# JAVA Mode
*#2255# Call List
*#232337# Bluetooth MAC Adress
*#5282837# Java Version

Type in *#0000# on a Samsung A300 to reset the language
Master reset(unlock) #*7337# (for the new samsungs E700 x600 but not E710)
Samsung E700 type *#2255# to show secret call log (not tested)
Samsung A300, A800 phone unlock enter this *2767*637#
Samsung V200, S100, S300 phone unlock : *2767*782257378#
#*4773# Incremental Redundancy
#*7785# Reset wakeup & RTK timer cariables/variables
#*7200# Tone Generator Mute
#*3888# BLUETOOTH Test mode
#*7828# Task screen
#*#8377466# S/W Version & H/W Version
#*2562# Restarts Phone
#*2565# No Blocking? General Defense.
#*3353# General Defense, Code Erased.
#*3837# Phone Hangs on White screen.
#*3849# Restarts Phone
#*7337# Restarts Phone (Resets Wap Settings)
#*2886# AutoAnswer ON/OFF
#*7288# GPRS Detached/Attached
#*7287# GPRS Attached
#*7666# White Screen
#*7693# Sleep Deactivate/Activate
#*2286# Databattery
#*2527# GPRS switching set to (Class 4, 8, 9, 10)
#*2679# Copycat feature Activa/Deactivate
#*3940# External looptest 9600 bps
#*4263# Handsfree mode Activate/Deactivate
#*2558# Time ON
#*3941# External looptest 115200 bps
#*5176# L1 Sleep
#*7462# SIM Phase
#*7983# Voltage/Freq
#*7986# Voltage
#*8466# Old Time
#*2255# Call Failed
#*5376# DELETE ALL SMS!!!!
#*6837# Official Software Version: (0003000016000702)
#*2337# Permanent Registration Beep
#*2474# Charging Duration
#*2834# Audio Path (Handsfree)
#*3270# DCS Support Activate/Deactivate
#*3282# Data Activate/Deactivate
#*3476# EGSM Activate/Deactivate
#*3676# FORMAT FLASH VOLUME!!!
#*4760# GSM Activate/Deactivate
#*4864# White Screen
#*7326# Accessory
#*7683# Sleep variable
#*3797# Blinks 3D030300 in RED
#*7372# Resetting the time to DPB variables
#*3273# EGPRS multislot (Class 4, 8, 9, 10)
#*7722# RLC bitmap compression Activate/Deactivate
#*2351# Blinks 1347E201 in RED
#*2775# Switch to 2 inner speaker
#*7878# FirstStartup (0=NO, 1=YES)
#*3838# Blinks 3D030300 in RED
#*2077# GPRS Switch
#*2027# GPRS Switch
#*0227# GPRS Switch
#*0277# GPRS Switch
#*22671# AMR REC START
#*22672# Stop AMR REC (File name: /a/multimedia/sounds/voice list/ENGMODE.amr)
#*22673# Pause REC
#*22674# Resume REC
#*22675# AMR Playback
#*22676# AMR Stop Play
#*22677# Pause Play
#*22678# Resume Play
#*77261# PCM Rec Req
#*77262# Stop PCM Rec
#*77263# PCM Playback
#*77264# PCM Stop Play
#*22679# AMR Get Time
*#8999*364# Watchdog ON/OFF
*#8999*427# WATCHDOG signal route setup
*2767*3855# = Full Reset (Caution every stored data will be deleted.)
*2767*2878# = Custom Reset
*2767*927# = Wap Reset
*2767*226372# = Camera Reset (deletes photos)
*2767*688# Reset Mobile TV
#7263867# = RAM Dump (On or Off)
*2767*49927# = Germany WAP Settings
*2767*44927# = UK WAP Settings
*2767*31927# = Netherlands WAP Settings
*2767*420927# = Czech WAP Settings
*2767*43927# = Austria WAP Settings
*2767*39927# = Italy WAP Settings
*2767*33927# = France WAP Settings
*2767*351927# = Portugal WAP Settings
*2767*34927# = Spain WAP Settings
*2767*46927# = Sweden WAP Settings
*2767*380927# = Ukraine WAP Settings
*2767*7927# = Russia WAP Settings
*2767*30927# = GREECE WAP Settings
*2767*73738927# = WAP Settings Reset
*2767*49667# = Germany MMS Settings
*2767*44667# = UK MMS Settings
*2767*31667# = Netherlands MMS Settings
*2767*420667# = Czech MMS Settings
*2767*43667# = Austria MMS Settings
*2767*39667# = Italy MMS Settings
*2767*33667# = France MMS Settings
*2767*351667# = Portugal MMS Settings
*2767*34667# = Spain MMS Settings
*2767*46667# = Sweden MMS Settings
*2767*380667# = Ukraine MMS Settings
*2767*7667#. = Russia MMS Settings
*2767*30667# = GREECE MMS Settings

*#7465625# = Check the phone lock status
*7465625*638*Code# = Enables Network lock
#7465625*638*Code# = Disables Network lock
*7465625*782*Code# = Enables Subset lock
#7465625*782*Code# = Disables Subset lock
*7465625*77*Code# = Enables SP lock
#7465625*77*Code# = Disables SP lock
*7465625*27*Code# = Enables CP lock
#7465625*27*Code# = Disables CP lock
*7465625*746*Code# = Enables SIM lock
#7465625*746*Code# = Disables SIM lock
*7465625*228# = Activa lock ON
#7465625*228# = Activa lock OFF
*7465625*28638# = Auto Network lock ON
#7465625*28638# = Auto Network lock OFF
*7465625*28782# = Auto subset lock ON
#7465625*28782# = Auto subset lock OFF
*7465625*2877# = Auto SP lock ON
#7465625*2877# = Auto SP lock OFF
*7465625*2827# = Auto CP lock ON
#7465625*2827# = Auto CP lock OFF
*7465625*28746# = Auto SIM lock ON
#7465625*28746# = Auto SIM lock OFF

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Online Education

Now a day’s more and more people are getting familiar of online education. Online education not only helps in the development of your child but also enables him to enhance his knowledge in a simplified manner.  Studying online makes your search more advanced and expanded. Detailed description of every topic and well explained diagrammed helps even an average student to excel in his respective subject.

Moreover, the chapters are explained in the most simplified manner than it is given in the books. Also, the self assessment questions have been provided to assess your child’s knowledge i.e. how well he has been able to grasp. Besides, additional links are also given along with the topics so as to widen your knowledge. Your child will get in-depth knowledge of every subject without any scope for doubt. The online education augments the way of studying as proper study materials are provided. It is better than what your child study in classrooms. Further, online education is informative, interactive and entertaining.

Due, to this the child will certainly develop their interest in studies. Also, the performance of your child will improve because of the increased curiosity in the studies. Parents can undoubtedly rely on the online education and can anticipate for the excellent performance of their child.


With the introduction of the internet technology, term online has gained so much of popularity these days. Everyone is switching online sites and internet to get an access to the information. With this continuous advancement the term online study has become so popular that people are feeling more comfortable in getting information online.  Online study has made the eats very simple as you don’t have to acquire the heavy notes and handbooks. On just a single click, you can get the desired study material.

Various online sites have started submitting the online study material that is helping a huge number of people.  Earlier it was bit tough to get an access of the online study material, but with this technological improvement now it’s not that difficult. Various students from India as well as from abroad can get the desired information whenever they required. Various online sites are providing the online study material keeping in mind the student’s demands. Now, everything and every material one can easily get on the internet.  Various educational sites providing online study material to provide a help to all the students so that they can get a proper help assistance on the particular subject or topic.

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How to Study Online

If you wish to add some zing to your monotonous study schedule, start studying online. Studying from textbooks has always been the norm for school students; however the concept of online studies is catching up fast. Innovative and multimedia enriched learning tools available online make the entire learning experience interesting and engaging. There are a lot of websites that equip students with the right online study tools that help make studying easy and scoring great marks easier. To ensure effective learning students are advised to refer to only those websites that focus on learning in the correct sequence. Students who are new to the world of e-learning, the following information focuses on the right sequence that is to be followed while planning to study online.

• Before starting to study online, the first step is to take a test that is geared to test your level of understanding of the chapters that have already been covered in school. Such diagnostic tests will help you assess your knowledge of related concepts that are important to obtain a complete understanding of the topic concerned. Such tests will also help you arrive at an understanding of your extent of mastery of the said chapter will enable you to plan your studies for that chapter.
• After taking a diagnostic test, the next step is to go through the multimedia enriched study material available at such websites. To obtain complete conceptual clarity, students should make it a point to go through the study material supported with relevant videos, 2D/ 3D animations etc. Such an extensive exercise at this step will help students solidify their conceptual understanding of the subject and will make them better equipped to take exams head-on.
• To make the most of your online study sessions, after going through the study material the next step is to try your hand at the chapter-wise practice tests. Try to seek help from websites that provide both MCQ and descriptive practice tests. Such an extensive testing exercise will help you test your learning at various levels. Also such chapter-wise tests will help you identify the learning gaps and will provide you ample opportunity to take remedial action to fill those gaps. While taking tests on such e-learning/ online study websites, students should try to resist the temptation of looking into the study material for answers beforehand in order to ensure that the assessment process is thorough.
• After taking all the chapter-wise practice tests, the next step is to take full-length model tests. Such model tests available at e-learning/online study websites help students gain the much required confidence to beat exam-related stress. While preparing for final examinations, students usually witness high anxiety levels thinking about their performance in final examinations. Such model tests will help students gauge their preparation levels and will also allow them to take remediation steps to ensure a high score.
• An ideal online study session should end with a sturdy revision exercise. Students should refer to websites that provide crisp revision notes in printable format that make it possible for student to refer anytime.

Now that all you students know the right approach to online studies, make a note of it to be sure of an enriching study experience.

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BlackBerry Bold preview

BlackBerry Bold smartphone - Crafted from premium materials, inside and out, that radiate elegance with a dramatic presence, the BlackBerry Bold is designed to give business professionals and power users unprecedented functionality and performance in an intuitive BlackBerry smartphone. It is the first BlackBerry smartphone to support tri-band HSDPA high-speed networks around the world and comes with integrated GPS and Wi-Fi, as well as a rich set of multimedia capabilities. From its lustrous black exterior, satin chrome finished frame and stylish leather-like backplate, to its stunning display, sophisticated user interface and newly designed full-QWERTY) keyboard, the BlackBerry Bold smartphone is a symbol of accomplishment and aspiration.

The BlackBerry Bold smartphone’s support for tri-band HSDPA and enterprise-grade Wi-Fi (802.11 a/b/g) networks and its next-generation 624 MHz mobile processor make short work of downloading email attachments, streaming video or rendering web pages. The BlackBerry Bold also includes 128 MB Flash memory plus 1 GB on-board storage memory, as well as a microSD/SDHC memory card slot that is conveniently accessible from a side door. It comes with the renowned BlackBerry productivity applications, including phone, email, messaging, organizer and browser, and works with thousands of mobile business and lifestyle applications, making it easier than ever to stay connected, productive and entertained. With this powerful new smartphone, users can even talk on the phone while sending and receiving email or accessing the web, and download Word, Excel or PowerPoint files and edit them directly on the handset using the preloaded DataViz Documents to Go suite.
The BlackBerry Bold smartphone comes with the most vivid and bold display ever introduced on a BlackBerry smartphone. Its half-VGA (480x320 resolution) color LCD is fused to the undersurface of the lens, making images leap out with stunning definition and clarity. Pictures are vibrant and razor sharp, while videos play smoothly and web pages, documents, presentations and messages snap with exceptional quality and contrast.
With its newly enhanced, high performance browser and high-resolution, ultra-bright display, the BlackBerry Bold smartphone gives users an on-the-go web browsing experience with desktop-style depiction. The trackball mimics a mouse, making it easy to navigate sites in “Page View?or “Column View?or to zoom in on specific parts of a web page, while various emulation settings allow users to choose between the full desktop-style HTML content and layout or the mobile version. Attachments can also now be downloaded from within the browser and there is support for watching streaming videos (RTSP - real-time streaming protocol).
While it is designed to meet the extensive requirements of the business professional during the day, the BlackBerry Bold smartphone also caters to the business person’s consumer side during evenings and weekends. It features a 2 megapixel camera with video recording capability, built-in flash and 5x digital zoom. The enhanced media player can display pictures and slideshows quickly, play movies smoothly in full screen mode, and manage an entire music collection. Audio can be played over the handset’s dual speakers in rich, stereo sound, and when using wired headphones or external speakers, the media player gives the user an equalizer with 11 preset filters - like “Lounge? “Jazz?and “Hip Hop?- that boost or soften audio ranges to create the perfect ambiance.
For managing music and video, the BlackBerry Desktop Manager software includes Roxio Media Manager for BlackBerry as well as Roxio Photosuite 9 LE, which makes it easy to enhance pictures and create photo albums on the computer. For users that manage their collection with iTunes, the new BlackBerry Media Sync application provides a simple way to sync iTunes digital music collections with the smartphone. Support for High Speed USB 2.0 allows all files to be transferred quickly from a desktop computer to the BlackBerry Bold smartphone.
For even broader high-speed network coverage, the BlackBerry Bold smartphone supports the 802.11 a/b/g Wi-Fi standards, ideal for use in enterprise or campus wireless LAN deployments, over Wi-Fi hotspots and on wireless home networks. A new “Push Button Setup?is included, making it faster for users to connect to protected wireless networks that require a sign on process.
Through its integrated GPS, the BlackBerry Bold smartphone can pinpoint its exact location, supporting applications like BlackBerry Maps and other location-based applications or services. With its improved rendering capabilities, faster download speeds and ability to support simultaneous voice and data, the BlackBerry Bold smartphone even allows users to navigate while on a call.
The BlackBerry Bold smartphone features a new acoustic design that increases the size of the phone’s audio sweet spot, improving listening quality and clarity. It also comes with numerous premium phone features including Speaker Independent Voice Recognition (SIVR) for Voice Activated Dialing (VAD), Bluetooth 2.0, with support for hands-free headsets, stereo headsets, car kits (including car kits that adhere to the Bluetooth Remote SIM Access Profile) and other Bluetooth peripherals. It is a quad-band EDGE and tri-band HSDPA handset that supports global roaming and features dedicated ‘send? ‘end? and ‘mute?keys, smart dialing, speed dialing, conference calling and call forwarding. It also features noise cancellation technology that offsets background noise, a powerful speaker phone and support for polyphonic, mp3 and MIDI ring tones.
like all BlackBerry smartphones, the BlackBerry Bold gives users the industry’s leading mobile messaging solution. It works with BlackBerry Enterprise Server, which enables advanced security and IT administration within IBM Lotus Domino, Microsoft Exchange and Novell GroupWise environments, as well as BlackBerry Professional Software for small businesses. It also works with BlackBerry Internet Service, which gives users access to up to 10 work or personal email accounts (including most popular ISP email accounts), and the BlackBerry Unite! software for SOHO and home users.
The BlackBerry Bold smartphone comes with a variety of convenient accessories including a stereo headset, travel charger, carrying case or sleeve and USB cable. Users will also be able to personalize their BlackBerry Bold smartphone by purchasing replaceable leather-like backplates that come in a range of colors. The removable / rechargeable 1500 mAhr battery provides multi-hour usage with a target talk time of approximately 5 hours and 13 days standby time.

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BlackBerry Curve 8520 Reviews

Features

Control music and multimedia with dedicated media keys found atop the new BlackBerry Curve 8520 smartphone. Skip over songs, pause music to talk, or repeat your favourites over and over.. You can even mute phone calls with the easy-access mute button. Access whats important with trackpad navigation. Like a laptop, the trackpad lets you scroll through menus, icons and info by gliding your finger over it. Press and click to select an item and navigate to where you want to go.
The BlackBerry Curve 8520 smartphone neatly fits in your hand. A full QWERTY keyboard makes typing and sending messages easy,and comfortable. The bright screen displays over 65,000 colours, providing a great viewing experience.
Discover a world of possibilities and apps for the BlackBerry Curve 8520 smartphone at BlackBerry App World. Get breaking news,and the latest scores. Track the markets, stay on top of Hollywood gossip, enjoy live radio or just play games.
Take photos or videos4 and upload them to photo sharing apps like Flickr Uploader2, 3 or social networking sites like Facebook and MySpace . Send them to friends with MMS2, 3 messages, BlackBerry Messenger or other instant messaging apps
With the upcoming release of BlackBerry Desktop Software for Mac you will be able to sync contacts, calendars, and notes with applications you use most. Use BlackBerry Desktop Software to enjoy a Mac experience on your BlackBerry smartphone.
Available Features

• 2.0MP Digital Camera
• Video Camera Capabilities
• Supports BlackBerry App World
• 256MB Flash Memory
• Wi-Fi enabled
• Bluetooth enabled
• Multimedia Player
• Wireless Email
• Organizer
• Browser
• Phone
• SMS/MMS

Specifications
Display

• Clear, high-resolution display
• Transmisive TFT MCD
• 320x240 pixel screen
• Displays over 65,000 colors
• 2.46 (diagonally measured)

Camera & Video Recording

• 2.0 MP camera
• 5X digital zoom
• Video Camera Recording:
• Normal Mode (320x240 pixel),MMS Mode (176x144 pixel)

Data Input & Navigation

• 35 key backlit QWERTY keyboard
• Dedicated Keys: Send, End, VAD/PTT (User customizable), Camera (User customizable), 2 x volume
• Media Keys: Play/Pause/Mute, Back, Forward
• Trackpad - Located on the front face of device, ESC key to the right, Menu to the left.
• Intuitive icons and menus

Media Player

• Video format support: MPEG4, H.263, H.264, WMV3
• Audio format support: AAC-LC, AAC+, eAAC+, AMR-NB, WMA9 (.wma/.asf), WMA9 PRO/WMA 10, AAC-LC
• Picture Format Support: bmp, jpg, png, tif, wbmp

Ringtones & Notifications

• Tone, vibrate, on-screen or LED indicator
• User configurable notification options
• 32 Polyphonic Ringtones MIDI, MP3

Bluetooth

• Bluetooth v2.0 + EDR
• Headset (HSP), 3.5mm Headset Capable
• Handsfree (HSF)
• Serial Port Profile
• SIM Access Profile
• Dial Up Networking (DUN)
• Stereo Profile (A2DP)
• A/V Remote Control Target (AVRCP

Security

• Password protection
• Keyboard lock
• Sleep mode

Wi-Fi

• 802.11b/g enabled
• Wi-Fi Alliance Certifications: WPA/WPA2 Personal and Enterprise, WMM
• WMM Power Save planned
• Cisco CCX Certification planned
• Wi-Fi access to BlackBerry Enterprise Server
• Wi-Fi access to BlackBerry Internet Service
• Direct IP web browsing over Wi-Fi
• Support for UMA/GMA

Wireless Networks

• Quad-Band: 850 / 900 / 1800 / 1900MHz GSM/GPRS networks
• Quad-Band: 850 / 900 / 1800 / 1900MHz EDGE networks

Battery & Battery Life

• Battery: 1150 mAHr removable/rechargeable cryptographic Lithium cell
• Talk Time: 4.5 hours
• Standby Time: 17 days

Size and Weight

• Height: 4.29 inches (109 mm)
• Width: 2.36 inches (60 mm)
• Depth: 0.54 inches (13.9 mm)
• Weight: 3.73 ounces (106 grams)

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Sony Ericsson XPERIA X2 - Live life without boundaries

Windows Mobile 6.5 – work on the move easier Make the most of the day – flexible desktop panels categorised for life: communication and fun, multimedia, business and internet Work without boundaries – instant synchronisation of mail, calendar powered by QWERTY keyboard messaging and Windows Mobile Slide view – quick access to frequently used phone activities and overview of missed incoming activity Present documents on the big screen – TV out cable Never get stranded - XPERIA exclusive travel insurance Enjoy amazing multimedia – 3.2” high resolution touch screen and DVD quality 8.1 mega pixel camera with Photo light – easily upload images to web albums Real 3D panel – 3D effects and zoom, music playback controls Big business meeting? Arrive charged with the Car Charger AN300 – ultra fast, ultra-safe and ultra-reliable. A perfect accessory for the XPERIA X2, it charges 40 per cent faster than most car chargers – just plug into the cigarette lighter and go. Sony Ericsson Xperia X2 supports GSM/GPRS/EDGE 850/900/1800/1900 and UMTS/HSPA 850/900/2100. XPERIA X2 will be available in selected markets from early Q4 in the colours Elegant Black and Modern Silver.

Size Dimensions 110 x 54 x 16 mm Weight 155 g General 2G Network GSM 850 / 900 / 1800 / 1900 3G Network HSDPA 900 / 1900 / 2100 Announced 2009, September Status Coming soon. Exp. release 2009, 4Q Display Type TFT resistive touchscreen, 65K colors Size 800 x 480 pixels, 3.2 inches Extra -- Full QWERTY keyboard - Optical trackpad - XPERIA panels user interface - Accelerometer sensor Ringtones Type MP3 ringtones, composer Customization Downloadable polyphonic, ,Stereo speakers Vibration Yes Data GPRS Class 10 (4+1/3+2 slots), 32 - 48 kbps HSCSD Yes EDGE Class 10, 236.8 kbps 3G HSDPA, 7.2 Mbps; HSUPA, 2 Mbps WLAN Wi-Fi 802.11b/g, DLNA Bluetooth Yes, v2.1 with A2DP Infrared port No USB Yes, v2.0 microUSB Features OS Microsoft Windows Mobile 6.5 Professional Messaging SMS (threaded view), MMS, Email, Push email, IM Browser WAP 2.0/HTML (IE), RSS feeds Games Yes, incl. motion-based + downloadable Colors Elegant Black, Modern Silver Camera - 8 MP, 3264x2448 pixels, autofocus, LED flash - Touch focus, geo-tagging, face detection, image stabilizer, smart contrast - WVGA@30fps Video -- MP3/WAV/eAAC+/WMA player - MP4/Xvid/WMV9/H.263/H.264 player - TV Out - YouTube application - Pocket Office (Word Excel PowerPoint OneNote PDF viewer) - Picture editor/blogging - Organizer - Voice memo/dial - T9 Memory PhoneBook Practicall Call Records Practically unlimited Card Slot microSD (TransFlash) up to 16GB Shared Memory Extra Battery Type Standard battery, Li-Po 1500 mAh (BST-41) Talk-Time Up to 10 h (2G) / Up to 6 h (3G) Stand-By Up to 500 h (2G) / Up to 640 h (3G)

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Samsung Galaxy S Relay 4G headed to T-Mobile USA

T-Mobile USA has just announced the Samsung Galaxy S Relay 4G smartphone. It’s a QWERTY device – a form factor considered almost extinct these days. The Relay 4G might be familiar to you, it has leaked before as the Galaxy Blaze Q.

The Galaxy S Relay 4G packs a 4-inch WVGA Super AMOLED touchscreen, a sliding-out full-QWERTY keyboardd and is based on the older generation Snapdragon S3 chipsets – a 1.5GHz dual-core Scorpion processor, Adreno 220 GPU and 1GB of RAM.

Other notable features of the Relay 4G are the 5MP rear camera with 720p video recording, a 1.3MP front snapper for video-chats, a microSD slot and the usual connectivity package (Wi-Fi, HSPA+, GPS, Bluetooth).

The Relay 4G runs on Android 4.0 Ice Cream Sandwich. It will launch in a few weeks, while the pricing is yet to be announced

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Nokia Lumia 900 Review

While Windows Phone is undoubtedly poised for an uphill struggle in the mobile platform wars, the Nokia Lumia 900 paints a promising picture for the both the Finnish manufacturer and Microsoft's fledgling OS. Not only is it the best Windows phone in the market today, it's also one of the best smartphone options currently in the market.

Physically, it's a gorgeous piece of design engineering.  The style is original  and eye-catching, setting itself apart from the iPhone-like devices currently littering store shelves.  It's quite big and heavy like many new high-end smartphones, with solid construction that really  feels sturdy and reliable.  Display is a gorgeous 4.3-inch AMOLED (800 x 480 resolution) with ClearBlack tech and protective Gorilla Glass.  Suffice to say, this combination makes for one of the best smartphone screens I've seen -- and easily the best among current Windows Phone handsets.

As a phone, the Nokia Lumia 900 makes for good calls.  Audio quality didn't sound the best, but it was loud and clear enough.  Those on the other end reported a very natural sounding voice.  Battery is rated at 7 hours of talk time.

All  the standard features you could want on a modern smartphone are onboard: full wireless connectivity (LTE, WiFi, GPS, Bluetooth), robust messaging and a bunch of preloaded software.  Video playback is zippy, although it obviously don't have the same chops as those dual-core machines in the market today (Windows Phone is yet to support multi-core devices).  It comes with two cameras: a 1.3 megapixel unit in front and an 8.0 megapixel in the rear.  The latter is particularly noteworthy, having come with dual LED flash units and Carl Zeiss lens.  Performance is impressive, especially for outdoor shots.  Indoors, it's on par with the iPhone 4S camera -- in fact, I'd probably take it over the iOS flagship in terms of indoor photos alone.  There is a noticeable shutter lag, though.

Since Microsoft is keeping Windows Phone OS 7.5 as a closed platform, it's as good as stock in this device.  All the features are this onboard, from the web search integration to various enterprise capabilities to native Office support to Xbox Live integration.  The Office integration, especially OneNote, is a particular high point, especially since no other platform offers it this seamlessly.  And it works great, with the hardware providing all the muscle necessary to bleed the OS for everything it can deliver.  As has been the issue with Windows Phone so far, though, there remains a dearth of good third-party software beyond the basics, but that's something Microsoft will need to figure out going forward.

Overall, the Nokia Lumia 900 is an attractive device, both in appearance and in features.  If you don't mind lacking the ready availability of hundreds of thousands of third-party apps (many of which are, let's face it, pointless), it's probably one of the best purchases available, especially at the $99.99 price on a two-year agreement with AT&T.

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Nokia Lumia 820 Announced

Along with announcing their new flagship smartphone, Nokia also introduced a more budget-friendly device.  Just like its higher-end cousin, the Lumia 820 boasts Windows Phone 8, but does without the vaunted PureView camera technology.

Granted, not having the centerpiece feature in Nokia's press conference is disappointing.  If you want the latest and greatest, though, get the flagship -- this one's for the rest of us and it actually ain't too shabby.

Details of the Nokia Lumia 820 include a 4.3 inch ClearBlack OLED screen (800 x 480 resolution), an 8.0 megapixel camera with dual LED flash and Carl Zeiss optics, a VGA front-facing video cam, aGPS, 4G LTE, WiFi, Bluetooth 3.0, NFC, 8GB of onboard storage, microSD card expansion (yep, Windows Phone now supports added storage), wireless charging and a 1650 mAh battery.  Power is sourced from the same dual-core 1.5GHz Snapdragon S4 in the Lumia 920, paired with 1GB of RAM.

Phone dimensions are 4.87 x 2.7 x 0.39 inches, with the same glossy polycarbonate exterior material covering it as the Lumia 920.  It runs Windows Phone 8, along with the full load of Microsoft's mobile software, including IE 10 and Mobile Office.

The Nokia Lumia 820 will come in red, yellow, gray, cyan, purple, white and black.  No word on exact pricing or release dates, but expect it later in the year.

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Choreography

Originally referring to dance notation, by the beginning of the twentieth century the term came to mean the art of making dances as this is understood in the context of Western theatre dance forms. In the radical social, political and artistic climate of the 1960s the notion of choreography was deeply questioned, directly affecting subsequent dance production in both the American and British scenes.

In British ballet, new approaches to choreography became possible in direct relationship to major structural and administrative changes within the institutions involved, such as the Royal Ballet. In 1966, Ballet Rambert was transformed into a modern company with a focus on blending classical and modern tradition, and supporting work by both American (Glen Tetley) and British choreographers (Christopher Bruce and Richard Alston). In 1966, the foundations of British modern dance were successfully laid. Robin Howard formed Contemporary Ballet Trust, an umbrella organization for the promotion of modern dance in Britain with particular emphasis on Graham technique, initially including a school and, a year later, a company (Contemporary Dance Group) under the artistic directorship of American dancer and choreographer Robert Cohan. However, New Dance, an alternative dance movement born in the early 1970s, became the most radical British territory in which choreographic practices were reconsidered. In the American avantgarde dance of the 1960s, Yvonne Rainer, Trisha Brown, David Gordon, Steve Paxton, Lucinda Childs and Meredith Monk used pedestrian movement, chance procedures, improvisation and indeterminacy, speech and elements of popular culture in alternative choreography. Visiting New York in the early 1970s, the British choreographer Rosemary Butcher was inspired to develop a personal approach to choreography driven by her own questions about dance and a working method informed by visual art practices. In 1973, American dancer and choreographer Mary Fulkerson was appointed head of dance at Dartington College of Arts in Devon to run a programme of alternative dance training. Fulkerson was also responsible for the organization of the Dartington Festivals (1978–87) which hosted the main manifestations of British experimental dance throughout the 1980s. The ADMA (Association of Dance and Mime Artists) Festivals of 1977 and 1978 in London had similar purposes but were less successful due to ineffective organization. In 1978, Dance Umbrella festival was also inaugurated in London under the initiative of Val Bourne and featured work by both American and British artists throughout the 1980s and 1990s. Rosemary Butcher, Miranda Tufnell, Laurie Booth, Yolande Snaith, Ian Spink, Gaby Agis, Sue Maclennan and Emilyn Claid are some of the key artists whose work shaped the identity of British alternative dance under the name New Dance.

The birth and consolidation of New Dance would not have been possible without the support of X6 collective, an artists’ organization which safeguarded and promoted the philosophical, artistic and political principles of British alternative dance. In 1975, Emilyn Claid, Fergus Early, Maedée Duprès, Jacky Lansley and later Mary Prestidge formed X6 to face collectively the lack of space for training as well as rehearsing and performing alternative dance. They ran classes and workshops, mainly led by American dancers and teachers such as Mary Fulkerson, Steve Paxton and Lisa Nelson, and organized informal presentations of work. X6 also launched a quarterly publication under the name New Dance (1977–88). The role of X6 was highly and overtly political, in the sense that the collective was concerned with achieving specific social changes. This element becomes rather crucial when one attempts to explain the unique characteristics of British alternative dance from the 1970s onwards. The agenda of X6 included issues of freedom and equality approached not only through choreographic work with specific meanings but also through the methods and policies adopted in the making. Dance was understood as a non-specialized activity, and as a space in which the personal could be expressed, encouraging in this way the subsequent development of both community dance and highly personalized professional choreography. Dance was expected to make people aware of social and political issues; hence an early interest in exploring women’s issues, which soon became a strong enthusiasm for issue-based work.

British New Dance shared with American avantgarde dance of the 1960s and 1970s the use of pedestrian movement, non-trained performers, improvisation, collaboration, non-traditional performance spaces and the interest in alternative movement systems (release, contact improvisation), alternative approaches to the body (Alexander technique, Feldenkrais, body-mind centring), and non-Western movement techniques (martial arts, tai chi, capoeira). During the 1980s some of the small independent British companies, such as Janet Smith and Dancers, Extemporary Dance Theatre and Second Stride, moved to middle scale, while the majority of independent choreographers became increasingly clearer in their aims. By the early 1990s British independent dance had become a vast arena of diverse statements choreographically manifested in a multiplicity of ways. The spectrum includes Emilyn Claid producing feminist and lesbian dance, Lloyd Newson and his company DV8 critiquing sexual stereotypes, Michael Clark exploring gay and camp work, Nigel Charnock blending movement and text in queer work, Wendy Houstoun bringing movement and text in cabaret style solo work, Shobana Jeyasingh and Nahid Siddiqui fusing classical Indian dance with Western contemporary dance elements, CandoCo Dance Company pioneering integrated dance work which brings together able and disabled bodies, Julyen Hamilton and Kirstie Simson working in improvisation, Liz Aggiss experimenting with movement, speech, singing, props, projections and elaborate costume to create an overall sense of image, Lea Anderson exploring the visuality of dance through a range of means including film, Jonathan Burrows and Russell Maliphant questioning their classical dance backgrounds through formal exploration of movement in relation to light, Matthew Bourne concentrating on highly subversive reworkings of the classics, Mark Baldwin introducing the use of computers to choreography, Wayne McGregor working on the threshold between live dance and virtual reality, Javier de Frutos interested in the uses of nudity, and company Ricochet celebrating the concept of a dancers-led company.

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Civilization

A term whose literal meaning is the emergence and evolution of cities, although it is frequently applied approvingly to the kinds of cultural evolution facilitated by city life, especially their moral and aesthetic components.

Cities are manifestations of technological advance, their evolution mapped out in the development of building materials and techniques, the solution of such large-scale *engineering problems as water supply and waste disposal, the logistics of food distribution, and the evolution of manufacturing enterprises. These imperatives have provided the principal motive force for the advancement of applied science, and theoretical science may therefore be viewed as a by-product of civilisation. The first foundations of theoretical science were laid in Athens, the first citystate to escape the limitations of local agricultural supply by cultivating an economy based on trade; the second phase of its sophistication, in the seventeenth century, was correlated with a rapid expansion of cities, whose physical containment within strong defensive walls was being replaced by their political containment within nation-states.

Hypothetical cities, made or remade with the aid of new technology and inspired by intellectual progress, have played a central role in speculative fiction, from classical *Utopian fictions such as Francesco da Cherso’s La Citta` Felice (1553), Tommaso Campanella’s La Citta` del Sole (written 1602; trans. As City of the Sun), and J. V. Andreae’s Christianopolis (1619), through such euchronian visions as Louis- Se´bastienMercier’s L’an deux mille quatre cent quarante (1771; trans. as Memoirs of the Year 2500), Edward Maitland’s By and By (1873), and Edward Bellamy’s Looking Backward, 2000–1887 (1888) to such images of hypermetropolitan development as Pierre Ve´ron’s ‘‘En 1900’’ (1878), Ignatius Donnelly’s Caesar’s Column (1890), and H. G. Wells’ ‘‘A Story of the Days to Come’’ (1897). Such imaginative projections reflect the sociohistorical process by which the same factors that made cities into centres of wealth, leisure, and architectural magnificence also made them into magnets for reckless but necessary migration and accumulators of industrial and organic wastes. The development of sophisticated sewage systems was too slow to prevent a nauseous reaction to city filth, resonantly echoed in much nineteenth-century literature. William Cobbett’s description of London as a Great Wen struck a plangent chord, whose most extreme response was Richard Jefferies’ After London; or, Wild England (1885). Cities had been seen as the primary arenas of both cultural *progress and cultural *decadence since Classical times, and the revision of both ideas in the eighteenth and nineteenth centuries had much to do with the dramatic contrasts provided by the elaborate and exaggerated cross sections of larger societies contained within cities. The great European cities of the nineteenth century became the crucibles in which popular literature developed, providing compact audiences through which literacy gradually spread from top to bottom. One result of this was that cities became ‘‘characters’’ in their own right, explicitly so in such panoramic surveys as Euge`ne Sue’s Les myste` res de Paris (1842–1843; trans. as The Mysteries of Paris) and G. W. M. Reynolds’ imitative The Mysteries of London (1844–1845).

The literary developments spearheaded by Sue and other popular celebrants of the idea of the city-asorganism were partly the product of the advent of artificial *light, initially with the equipment of city streets with gas lamps—with which London’s Pall Mall was first fitted out in 1807. Liberation from the tyranny of night and day paved the way for a dramatic extension of economic and leisure activities—not to mention efficient policing—ushering civilisation into a new phase of enlightenment, but also bringing the nastier aspects of city life into the glare. In James Thomson’s narrative poem, gaslight is impotent to  redeem The City of Dreadful Night (1874), only serving to illuminate its horrors.

The application of science to municipal architecture and engineering, and the corollary role played by cities as hosts of scientific research and technological expertise, was given elaborate literary consideration in such nineteenth-century novels as Jules Verne’s Les cinq cents millions de la be´gum (1879, based on a first draft by Paschal Grousset; trans. as The Begum’s Fortune), which carefully contrasts the political organisation of the cities of Frankville and Stahlstadt. In Verne’s novel Frankville is triumphant, but it was the imagery of Stahlstadt that was more widely echoed in futuristic projections of city life. Mrs. Oliphant’s afterlife fantasy ‘‘The Land of Darkness’’ (1887) depicts a sector of Hell as a City of Science: an Infernal factory complex ruled by mad Master. By contrast, the central exhibit at the Columbian Exhibition in Chicago in 1893 was the White City, designed by a host of architects, engineers, and artists to embody rather than merely to model the future of civilisation; its classically styled white buildings were topped by a series of gilded domes. The Pan-American Exposition in Buffalo in 1901 attempted to go one better with a Rainbow City organised around a central Electrical Tower, but its symbolic significance was direly compromised when the U.S. president, William McKinley, was assassinated in its Temple of Music. The evolution of cities was always coupled with nostalgia for a mythical Arcadian past, when the various kinds of artifice represented by civilisation were allegedly unnecessary because *Nature provided everything necessary to human happiness. Such nostalgia increased rather than diminished as time went by, although the image of an Arcadian Golden Age was gradually replaced in Britain by the idea of an agricultural paradise whose relics still maintained a lingering presence in ‘‘the countryside’’. In America, whose geographical horizons were much vaster, the equivalent contrast was part of a more complex spectrum whose key axis, as far as literary images were concerned, was that between the city and the ‘‘small town’’ surrounded by broad tracts of cultivated land and wilderness. While inhabitants of the countryside and small towns fixed avidly ambitious eyes on cities, inhabitants of cities maintained an artificial affection for towns and villages—but the fact that the cities provided the core audience for literary endeavour ensured that the latter attitude would have the louder literary voice. Traditional agricultural practices and
methods of transportation, especially the horse, are routinely rose tinted in twentieth-century literary mythology, as in such genres as the Western and such subgenres as horse-riding stories aimed at teenage girls.

It was partly due to this imbalance of envious viewpoints that the city was displaced from the core of Utopian imagery to become the focal point of its twentieth-century *dystopian opposition, routinely appearing in hypothetical examples either as a slumridden gargantuan sprawl where filth, crime, sickness, and vice flourish in appalling profusion—the rich and powerful having exiled themselves to luxuriously equipped baronial fortresses—or as an oppressive exercise in enforced orderliness, whose ruthless suppression of any and all deviance is ruthlessly dehumanising. The future of civilisation in scientific romance and science fiction is dominated by images of increasing *automation, pioneered in H. G. Wells’ ‘‘A Story of the Days to Come’’ (1897), E. M. Forster’s reactionary ‘‘The Machine Stops’’ (1912), Otfrid von Hanstein’s enthusiastic Elektropolis (1928; trans. As ‘‘Electropolis’’), and John W. Campbell Jr.’s deeply ambivalent ‘‘Night’’ (1934). The imagery of the future city reached an apogee of sorts at the 1939 New York World’s Fair, whose central Perisphere contained a huge model of the futuristic ‘‘Democracity’’, and for which General Motors built a spectacular Futurama exhibit.

The city of the future was carried to various extremes of ‘‘perfection’’ in such images of ‘‘ultimate cities’’ as Isaac Asimov’s Trantor, Arthur C. Clarke’s Diaspar in Against the Fall of Night (1948; rev. 1956 as The City and the Stars) and its analogue in ‘‘The Lion of Comarre’’ (1949), the infinite city of J. G. Ballard’s ‘‘Build-Up’’ (1957; aka ‘‘The Concentration City’’), the solicitous cities of Bellwether in Robert Sheckley’s ‘‘Street of Dreams, Feet of Clay’’ (1968) and Reflex in Ray Banks’ ‘‘The City That Loves You’’ (1969), the culminating image of Thomas F. Monteleone’s The Time-Swept City (1977), and the animate cities of Greg Bear’s Strength of Stones (1981). There is, of course, a countertradition of defiant pastoralism, evident not merely in *disaster stories in which mortally wounded cities must be abandoned, but in images of deserted supercities such as those featured in John Campbell’s ‘‘Forgetfulness’’ (1937), Clifford Simak’s ironically titled City (1944–1952; book, 1952), and Ballard’s ‘‘The Ultimate City’’ (1976).

The sharp tension between the attractions and repulsions of city life—clearly evident in the real world in the growth of intermediate suburban environments and the emergence of commuting as a way of life—is often evident in speculative fiction in an absolute division of the urban and the rural. In such imagery defensive city walls often reappear as encapsulating domes, as in Jack Williamson’s ‘‘Gateway to Paradise’’ (1941; book, 1955, titled Dome Around America), Rena Vale’s ‘‘The Shining City’’ (1952; exp. as ‘‘Beyond the Sealed World’’, 1965), and Daniel F. Galouye’s ‘‘City of Force’’ (1959). Such re-enclosed spaces are often described in agoraphobia-inducing terms, reflected in such accounts of subterranean civilisation as Gabriel Tarde’s Fragment d’histoire future (1896; trans. as Underground Man) and Fritz Leiber’s ‘‘The Creature from Cleveland Depths’’ (1962; aka ‘‘The Lone Wolf’’), and neatly summarised in Isaac Asimov’s characterisation of The Caves of Steel (1954).

In the extreme case of James Blish’s Cities in Flight series (1950–1962), domed cities literally tear themselves away from the Earthly soil in order to become rootless galactic wanderers. The vertical extension of Manhattan island provided a key model for both real and imaginary cities; hypothetical extrapolations of the skyscraper generated such images of urban isolation as Philip K. Dick’s conapts, the Urbmons (urban monads) of Robert Silverberg’s The World Inside (1971), and the ‘‘arcologies’’ featured in Larry Niven and Jerry Pournelle’s Oath of Fealty (1981) and Elizabeth Hand’s Aestival Tide (1992).

All of this imagery is abundantly represented in futuristic *art, which is understandably rich in cityscapes, and has lent considerable impetus to the Notion of agglomerations of supremely tall buildings that scrape crystal domes for want of solid sky. Fritz Lang’s Metropolis (1926) presented an influential image of a skyscraper city embellished with aerial walkways and airborne commuter traffic, while Frank R. Paul’s cityscapes, featured on the covers and internal illustrations of the early science fiction pulps, largely defined what William Gibson was eventually to label ‘‘the Gernsback continuum’’. Gibson cited that assembly of images in order to highlight the fact that it never came to pass, but the imagery of the city as an extreme of technological enterprise has not yet developed any rival consensus, thus maintaining an impression that the realisation of Paul’s megalopolis has merely been postponed.

The notion that the city has its own developmental imperatives beyond the control of planners retains its dominance of futuristic imagery—by contrast with the nostalgically exotic imagery of Italo Calvino’s Le citta` invisibli (1979; trans. as Invisible Cities)—but is opposed by the multiple imagery of C. J. Cherryh’s Sunfall (1981), the weird cities of Storm Constanine’s Calenture (1994), and such depictions of customdesigned cities as Nightingale in Catherine Asaro’s ‘‘Aurora in Four Voices’’ (1998).

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ABOUT THE PRIZONDER OF ZENDA

Rudolf Rassendyll is a younger brother of Lord Burlesdon. He is of twenty nine years old. He lived with his brother and his wife named by Rose Rassendyll. She rebukes Rudolf for not setting down in life and doing nothing. The young man laughs at his sister-in-law’s concern for him. He tells her not to worry because he has got a rich elder brother, who supports him and provides him everything. This annoys Lady Rose and she tells him that she has found a job for him as an attach to the British ambassador to the royal court of Ruritania, a small country in central Europoe. Rudolf tells her that he wouldnot go Ruritania as that post is not fit for him. This reply makes angry Lady Rose. She remarks that he is a lazy one.
Rudolf Rassendyll had a secret blood relationship with the king of Ruritania whose name was Rudolf Elphberg. Actually it was a result of an unhappy romance of a lady named Countess Amelia with the previous king of Ruritania, who had come to England a political refuge. During his stay in England he had illicit relations with Countess Amelia, who conceived a child from him.
It so happended that the king of Ruritania returned to his kingdom and claimed his throne. He stayed there and could not return to England. Countess Amelia’s husband died before she gave brith to illegitimate child. This illicit child was no other but Rudolf Rassendyll. But that king of Ruritania had a male child from her wife who was resembling to Rudolf Ressendyll. The king named the legitimate son as Rudolf Elphberg. Therefore the father of both was same, the former king of Ruritania. They had long noses and bright red hair.
After some time Rasendyll decided to go to Ruritania to attend the coronation of new king. Rassendyll started travelling to Ruritania through Paris by train. A rich and charming widow Madam de Mauban was also travelling in the same train.
 Rassendyll stayed at a hotel in a town of Zenda which was fifty miles far from Strelsau, the capital of Ruritania. Prince Rudolf was also staying at a shooting lodge in the forest near Zenda. This lodge was on Black Michael’s estate, who was the Duke of Strelsau and half brother of the prince. He owned a strong castle at Zenda. He wanted to become the King of Ruritania, but he had no chances due to Rudolf. So he decided to kill the prince Rassendyll went to the forest for a walk. As he was tired so he slept on the grass. He woke and found three men standing. The men were surprised to see the resemblance of Ressendyll to the prince. The prince joked him and invited Rassendyll to dinner at the shooting lodge.
At the dinner prince drank a bottle of wine which was sent by Michael, as a gift. As the prince drank all the wine so he became unconscious. In morning Col. Sapt and Fritz told Rassendyll about the evil ideas of Michael. The coronation was going to take place at Strelsau on the same day. Col. Sapt and Fritz were worried. They asked Rassendyll to impersonate the king. Rassendyll shaved and dressed himself in the prince clothes. He looked like prince. He left for Strelsau by train with Col. Sapt and Fritz, a servant Joseph was left behind to look after the princes.
Rassendyll was received by the people of Strelsau. No one doubted. He went to the church in procession. Rassendyll take oath as the king Michael was shocked to this. Princess Flavia took him as king and told him that hi had changed much. The people of Ruritania wanted the king to be married withprincess Flavia. When the coronation was over a party was arranged. When the party ended Rassendyll changed his appearance and went to Zenda with Sapt. Rassendyll and Sapt reached the shooting lodge in the forest. But they found that the king was taken away by Michael’s men. Joseph was found murdered. Rassendyll and Sapt came back to Strelsau.
The king was imprisoned in the castle of Zenda. The castle was guarded.
In the Strelsau Rassendyll received a letter from Madam de Mauban. She has invited Rassendyll to see her all alone in the summer house. Rassendyll and sapt went to the summer house. Sapt stayed out and Rassendyll went inside. Madam de Maudan told Rassendyll that Michael had asked her. She told him that Michael’s three men were asked to kill him. Madam Mauban did not like the idea of her lover’s marrying the princess. So she told all secrets of Michael to Rassendyll. Then Micha3el’s three men cam end offered Rassendyll a huge bribe to leave Ruritania. Rassendyll pretended that he agreed with them. When they opened the door, he ran out, hold an iron table before him.
Michael sent one of his associates, Rupert of Hentzan to the Tarlenhein estate five miles away from Zenda. Rassendyll was staying there, Rupert offered a large amount of to Rassendyll if only he left Ruritania. Rassendyll did not accept this offer. Rupert attacked him with a dagger and wounded his hand. Rupert, then, ran a way.
Michael’s servant named, Johan was brought to Rassendyll. Johann told Rassendyll that the king was made prisoner of Zenda in a small room. The room was guarded but the room could be reached by an inner pipe which through the water of the moat. The guard men were asked to kill the king if an attack was made to rescue him.
Rassendyll was still at Tarlenheim. He heard that the King’s health had become very bad. Rassendyll went to the castle with Sapt, Fritz and others, to see the situation. Rassendyll and his men fought with Rupert and other guardmen. In the mean time, Rassendyll heard that an English police officer had arrived in Strelsau to inquire about Rassendyll. This news worred Rassendyll and he decided to take immediate action to save the life of the young king.
Rassendyll learnt that both Michael and Rupert liked Madam de Mauban. So they became each other’s enemies. Rassendyll received a note from Mauban in which she asked for help to save here from Michael and his men at the castle. Rassendyll made a plan to attack the castle.
Rassendyll went to the castle at about 1:00a.m. and swam across the moat. He reached the room. Col. Sapt and Fritz also reached there. Madam de Maudan shouted in her room as Rupert entered in her room without her permission. He tried to love her forcibly. Michael heard her cries and hastened to rescuer her. Michael and his men ran to the room. Rupert faught with them. In this fight Michael was killed. Rassendyll attacked the friends of Michael too. Consequently he was injured on the hand. Rupert tried to run away but Rassendyll followed him and could not kill. The king was also wounded but he was saved.
Flavia went to the castle to see the health of the wounded king. On her way to Zenda she met Rassendyll, who told her the fact that he was not a king but Flavia could not believe her eyes and ears.
In the end Rassendyll met the king. He told him his last walk with Flavia. Thought they loved each other but they could not marry as Flavia had her duty towards the king of Ruritania and to the people of Ruritania as well as to her own family to perform. As Rassendyll had already saved the life of King of Ruritania so he wished to leave England at once.

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