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Аннотация
This comprehensive eBook presents the complete works or all the significant works – the Œuvre – of this famous and brilliant writer in one ebook – easy-to-read and easy-to-navigate: • The Great God Pan • The House of Souls • The Three Impostors; or, The Transmutations • The Hill of Dreams • The Terror: A Mystery • The Ghost ShipRichard Middleton • The Angels of Mons • The Secret Glory • Hieroglyphics • Far Off Things • The Great Return
Аннотация
The framing story concerns a man who dreams of speaking to Venus about love while she wears furs. The unnamed narrator tells his dreams to a friend, Severin, who tells him how to break him of his fascination with cruel women by reading a manuscript, Memoirs of a Suprasensual Man.
This manuscript tells of a man, Severin von Kusiemski, who is so infatuated with a woman, Wanda von Dunajew, that he asks to be her slave, and encourages her to treat him in progressively more degrading ways. At first Wanda does not understand or accede to the request, but after humouring Severin a bit she finds the advantages of the method to be interesting and enthusiastically embraces the idea, although at the same time she disdains Severin for allowing her to do so.
Severin describes his feelings during these experiences as suprasensuality. Severin and Wanda travel to Florence. Along the way, Severin takes the generic Russian servant's name of «Gregor» and the role of Wanda's servant. In Florence, Wanda treats him brutally as a servant, and recruits a trio of African women to dominate him.
The relationship arrives at a crisis when Wanda herself meets a man to whom she would like to submit, a Byronic hero known as Alexis Papadopolis. At the end of the book, Severin, humiliated by Wanda's new lover, loses the desire to submit. He says of Wanda:
That woman, as nature has created her, and man at present is educating her, is man's enemy. She can only be his slave or his despot, but never his companion. This she can become only when she has the same rights as he and is his equal in education and work.
This manuscript tells of a man, Severin von Kusiemski, who is so infatuated with a woman, Wanda von Dunajew, that he asks to be her slave, and encourages her to treat him in progressively more degrading ways. At first Wanda does not understand or accede to the request, but after humouring Severin a bit she finds the advantages of the method to be interesting and enthusiastically embraces the idea, although at the same time she disdains Severin for allowing her to do so.
Severin describes his feelings during these experiences as suprasensuality. Severin and Wanda travel to Florence. Along the way, Severin takes the generic Russian servant's name of «Gregor» and the role of Wanda's servant. In Florence, Wanda treats him brutally as a servant, and recruits a trio of African women to dominate him.
The relationship arrives at a crisis when Wanda herself meets a man to whom she would like to submit, a Byronic hero known as Alexis Papadopolis. At the end of the book, Severin, humiliated by Wanda's new lover, loses the desire to submit. He says of Wanda:
That woman, as nature has created her, and man at present is educating her, is man's enemy. She can only be his slave or his despot, but never his companion. This she can become only when she has the same rights as he and is his equal in education and work.
Аннотация
To make the course preparatory to Cæsar at the same time systematic, thorough, clear, and interesting is the purpose of this series of lessons. The first pages are devoted to a brief discussion of the Latin language, its history, and its educational value. The body of the book, consisting of seventy-nine lessons, is divided into three parts. Part I is devoted to pronunciation, quantity, accent, and kindred introductory essentials. Part II carries the work through the first sixty lessons, and is devoted to the study of forms and vocabulary, together with some elementary constructions, a knowledge of which is necessary for the translation of the exercises and reading matter. The first few lessons have been made unusually simple, to meet the wants of pupils not well grounded in English grammar. Part III contains nineteen lessons, and is concerned primarily with the study of syntax and of subjunctive and irregular verb forms. The last three of these lessons constitute a review of all the constructions presented in the book. There is abundant easy reading matter; and, in order to secure proper concentration of effort upon syntax and translation, no new vocabularies are introduced, but the vocabularies in Part II are reviewed. It is hoped that the following features will commend themselves to teachers:
The forms are presented in their natural sequence, and are given, for the most part, in the body of the book as well as in a grammatical appendix. The work on the verb is intensive in character, work in other directions being reduced to a minimum while this is going on. The forms of the subjunctive are studied in correlation with the subjunctive constructions. vi The vocabulary has been selected with the greatest care, using Lodge’s “Dictionary of Secondary Latin” and Browne’s “Latin Word List” as a basis. There are about six hundred words, exclusive of proper names, in the special vocabularies, and these are among the simplest and commonest words in the language. More than ninety-five per cent of those chosen are Cæsarian, and of these more than ninety per cent are used in Cæsar five or more times. The few words not Cæsarian are of such frequent occurrence in Cicero, Vergil, and other authors as to justify their appearance here. But teachers desiring to confine word study to Cæsar can easily do so, as the Cæsarian words are printed in the vocabularies in distinctive type. Concrete nouns have been preferred to abstract, root words to compounds and derivatives, even when the latter were of more frequent occurrence in Cæsar. To assist the memory, related English words are added in each special vocabulary. To insure more careful preparation, the special vocabularies have been removed from their respective lessons and placed by themselves. The general vocabulary contains about twelve hundred words, and of these above eighty-five per cent are found in Cæsar. The syntax has been limited to those essentials which recent investigations, such as those of Dr. Lee Byrne and his collaborators, have shown to belong properly to the work of the first year. The constructions are presented, as far as possible, from the standpoint of English, the English usage being given first and the Latin compared or contrasted with it. Special attention has been given to the constructions of participles, the gerund and gerundive, and the infinitive in indirect statements. Constructions having a logical connection are not separated but are treated together. Exercises for translation occur throughout, those for translation into Latin being, as a rule, only half as long as those for translation into English. In Part III a few of the commoner idioms in Cæsar are introduced and the sentences are drawn mainly from that author. From first to last a consistent effort is made to instill a proper regard for Latin word order, the first principles of which are laid down early in the course. vii Selections for reading are unusually abundant and are introduced from the earliest possible moment. These increase in number and length as the book progresses, and, for the most part, are made an integral part of the lessons instead of being massed at the end of the book. This arrangement insures a more constant and thorough drill in forms and vocabulary, promotes reading power, and affords a breathing spell between succeeding subjects. The material is drawn from historical and mythological sources, and the vocabulary employed includes but few words not already learned. The book closes with a continued story which recounts the chief incidents in the life of a Roman boy. The last chapters record his experiences in Cæsar’s army, and contain much information that will facilitate the interpretation of the Commentaries. The early emphasis placed on word order and sentence structure, the simplicity of the syntax, and the familiarity of the vocabulary, make the reading selections especially useful for work in sight translation. Reviews are called for at frequent intervals, and to facilitate this branch of the work an Appendix of Reviews has been prepared, covering both the vocabulary and the grammar. The illustrations are numerous, and will, it is hoped, do much to stimulate interest in the ancient world and to create true and lasting impressions of Roman life and times. A consistent effort has been made to use simple language and clear explanation throughout. As an aid to teachers using this book a “Teacher’s Manual” has been prepared, which contains, in addition to general suggestions, notes on each lesson. The author wishes to express his gratitude to the numerous teachers who tested the advance pages in their classes, and, as a result of their experience, have given much valuable aid by criticism and suggestion. Particular acknowledgments are due to Miss A. Susan Jones of the Central High School, Grand Rapids, Michigan; to Miss Clara Allison of the High School at Hastings, Michigan; and to Miss Helen B. Muir and Mr. Orland O. Norris, teachers of Latin in this institution.
The forms are presented in their natural sequence, and are given, for the most part, in the body of the book as well as in a grammatical appendix. The work on the verb is intensive in character, work in other directions being reduced to a minimum while this is going on. The forms of the subjunctive are studied in correlation with the subjunctive constructions. vi The vocabulary has been selected with the greatest care, using Lodge’s “Dictionary of Secondary Latin” and Browne’s “Latin Word List” as a basis. There are about six hundred words, exclusive of proper names, in the special vocabularies, and these are among the simplest and commonest words in the language. More than ninety-five per cent of those chosen are Cæsarian, and of these more than ninety per cent are used in Cæsar five or more times. The few words not Cæsarian are of such frequent occurrence in Cicero, Vergil, and other authors as to justify their appearance here. But teachers desiring to confine word study to Cæsar can easily do so, as the Cæsarian words are printed in the vocabularies in distinctive type. Concrete nouns have been preferred to abstract, root words to compounds and derivatives, even when the latter were of more frequent occurrence in Cæsar. To assist the memory, related English words are added in each special vocabulary. To insure more careful preparation, the special vocabularies have been removed from their respective lessons and placed by themselves. The general vocabulary contains about twelve hundred words, and of these above eighty-five per cent are found in Cæsar. The syntax has been limited to those essentials which recent investigations, such as those of Dr. Lee Byrne and his collaborators, have shown to belong properly to the work of the first year. The constructions are presented, as far as possible, from the standpoint of English, the English usage being given first and the Latin compared or contrasted with it. Special attention has been given to the constructions of participles, the gerund and gerundive, and the infinitive in indirect statements. Constructions having a logical connection are not separated but are treated together. Exercises for translation occur throughout, those for translation into Latin being, as a rule, only half as long as those for translation into English. In Part III a few of the commoner idioms in Cæsar are introduced and the sentences are drawn mainly from that author. From first to last a consistent effort is made to instill a proper regard for Latin word order, the first principles of which are laid down early in the course. vii Selections for reading are unusually abundant and are introduced from the earliest possible moment. These increase in number and length as the book progresses, and, for the most part, are made an integral part of the lessons instead of being massed at the end of the book. This arrangement insures a more constant and thorough drill in forms and vocabulary, promotes reading power, and affords a breathing spell between succeeding subjects. The material is drawn from historical and mythological sources, and the vocabulary employed includes but few words not already learned. The book closes with a continued story which recounts the chief incidents in the life of a Roman boy. The last chapters record his experiences in Cæsar’s army, and contain much information that will facilitate the interpretation of the Commentaries. The early emphasis placed on word order and sentence structure, the simplicity of the syntax, and the familiarity of the vocabulary, make the reading selections especially useful for work in sight translation. Reviews are called for at frequent intervals, and to facilitate this branch of the work an Appendix of Reviews has been prepared, covering both the vocabulary and the grammar. The illustrations are numerous, and will, it is hoped, do much to stimulate interest in the ancient world and to create true and lasting impressions of Roman life and times. A consistent effort has been made to use simple language and clear explanation throughout. As an aid to teachers using this book a “Teacher’s Manual” has been prepared, which contains, in addition to general suggestions, notes on each lesson. The author wishes to express his gratitude to the numerous teachers who tested the advance pages in their classes, and, as a result of their experience, have given much valuable aid by criticism and suggestion. Particular acknowledgments are due to Miss A. Susan Jones of the Central High School, Grand Rapids, Michigan; to Miss Clara Allison of the High School at Hastings, Michigan; and to Miss Helen B. Muir and Mr. Orland O. Norris, teachers of Latin in this institution.
Аннотация
It is a sin to write this. It is a sin to think words no others think and to put them down upon a paper no others are to see. It is base and evil. It is as if we were speaking alone to no ears but our own. And we know well that there is no transgression blacker than to do or think alone. We have broken the laws. The laws say that men may not write unless the Council of Vocations bid them so. May we be forgiven! But this is not the only sin upon us. We have committed a greater crime, and for this crime there is no name. What punishment awaits us if it be discovered we know not, for no such crime has come in the memory of men and there are no laws to provide for it. It is dark here. The flame of the candle stands still in the air. Nothing moves in this tunnel save our hand on the paper. We are alone here under the earth. It is a fearful word, alone. The laws say that none among men may be alone, ever and at any time, for this is the great transgression and the root of all evil. But we have broken many laws. And now there is nothing here save our one body, and it is strange to see only two legs stretched on the ground, and on the wall before us the shadow of our one head. The walls are cracked and water runs upon them in thin threads without sound, black and glistening as blood. We stole the candle from the larder of the Home of the Street Sweepers. We shall be sentenced to ten years in the Palace of Corrective Detention if it be discovered. But this matters not. It matters only that the light is precious and we should not waste it to write when we need it for that work which is our crime. Nothing matters save the work, our secret, our evil, our precious work. Still, we must also write, for—may the Council have mercy upon us!—we wish to speak for once to no ears but our own. Our name is Equality 7-2521, as it is written on the iron bracelet which all men wear on their left wrists with their names upon it. We are twenty-one years old. We are six feet tall, and this is a burden, for there are not many men who are six feet tall. Ever have the Teachers and the Leaders pointed to us and frowned and said:
"There is evil in your bones, Equality 7-2521, for your body has grown beyond the bodies of your brothers." But we cannot change our bones nor our body. We were born with a curse. It has always driven us to thoughts which are forbidden. It has always given us wishes which men may not wish. We know that we are evil, but there is no will in us and no power to resist it. This is our wonder and our secret fear, that we know and do not resist. We strive to be like all our brother men, for all men must be alike. Over the portals of the Palace of the World Council, there are words cut in the marble, which we repeat to ourselves whenever we are tempted.
"There is evil in your bones, Equality 7-2521, for your body has grown beyond the bodies of your brothers." But we cannot change our bones nor our body. We were born with a curse. It has always driven us to thoughts which are forbidden. It has always given us wishes which men may not wish. We know that we are evil, but there is no will in us and no power to resist it. This is our wonder and our secret fear, that we know and do not resist. We strive to be like all our brother men, for all men must be alike. Over the portals of the Palace of the World Council, there are words cut in the marble, which we repeat to ourselves whenever we are tempted.
Аннотация
In Search of Lost Time (French: À la recherche du temps perdu)—also translated as Remembrance of Things Past—is a novel in seven volumes by Marcel Proust (1871–1922). His most prominent work, it is known both for its length and its theme of involuntary memory, the most famous example being the «episode of the madeleine.» It gained fame in English in translations by C. K. Scott Moncrieff and Terence Kilmartin as Remembrance of Things Past, but the title In Search of Lost Time, a literal rendering of the French, has gained usage since D. J. Enright adopted it for his revised translation published in 1992.
The novel began to take shape in 1909. Proust continued to work on it until his final illness in the autumn of 1922 forced him to break off. Proust established the structure early on, but even after volumes were initially finished he kept adding new material and edited one volume after another for publication. The last three of the seven volumes contain oversights and fragmentary or unpolished passages as they existed in draft form at the death of the author; the publication of these parts was overseen by his brother Robert.
The work was published in France between 1913 and 1927. Proust paid for the publication of the first volume (by the Grasset publishing house) after it had been turned down by leading editors who had been offered the manuscript in longhand. Many of its ideas, motifs, and scenes are foreshadowed in Proust's unfinished novel, Jean Santeuil (1896–99), though the perspective and treatment there are different, and in his unfinished hybrid of philosophical essay and story, Contre Sainte-Beuve (1908–09). The novel had great influence on twentieth-century literature; some writers have sought to emulate it, others to parody it. In the centenary year of Du côté de chez Swann, Edmund White pronounced A la recherche du temps perdu «the most respected novel of the twentieth century.»[1]
The novel began to take shape in 1909. Proust continued to work on it until his final illness in the autumn of 1922 forced him to break off. Proust established the structure early on, but even after volumes were initially finished he kept adding new material and edited one volume after another for publication. The last three of the seven volumes contain oversights and fragmentary or unpolished passages as they existed in draft form at the death of the author; the publication of these parts was overseen by his brother Robert.
The work was published in France between 1913 and 1927. Proust paid for the publication of the first volume (by the Grasset publishing house) after it had been turned down by leading editors who had been offered the manuscript in longhand. Many of its ideas, motifs, and scenes are foreshadowed in Proust's unfinished novel, Jean Santeuil (1896–99), though the perspective and treatment there are different, and in his unfinished hybrid of philosophical essay and story, Contre Sainte-Beuve (1908–09). The novel had great influence on twentieth-century literature; some writers have sought to emulate it, others to parody it. In the centenary year of Du côté de chez Swann, Edmund White pronounced A la recherche du temps perdu «the most respected novel of the twentieth century.»[1]
Аннотация
This comprehensive eBook presents the complete works or all the significant works – the Œuvre – of this famous and brilliant writer in one ebook – easy-to-read and easy-to-navigate: • The Castle of Otranto by Horace Walpole • Shorter Novels, Eighteenth Century by Samuel Johnson, Horace Walpole, and William Beckford • Hieroglyphic Tales by Horace Walpole • The Letters of Horace Walpole, Earl of Orford by Horace Walpole • Letters of Horace Walpole by Horace Walpole • Historic Doubts on the Life and Reign of King Richard the Third by Horace Walpole • Castle of Otranto • etc.
Аннотация
This comprehensive eBook presents the complete works or all the significant works – the Œuvre – of this famous and brilliant writer in one ebook – 29720 pages easy-to-read and easy-to-navigate: • The Coming Race • The Last Days of Pompeii • Zanoni • Paul Clifford • The Haunted and the Haunters; Or, The House and the Brain • Harold: the Last of the Saxon Kings • A Strange Story • Home Life of Great AuthorsHattie Tyng Griswold • Athens: Its Rise and Fall • Rienzi, the Last of the Roman Tribunes • Lucretia • The Works Of Edward Bulwer-Lytton • Pelham • The Last of the Barons • Alice, or the Mysteries – Complete • The Fallen Star, or, the History of a False Religion by E.L. Bulwer; And, A Dissertation on the Origin of Evil by Lord Brougham and Henry Brougham Brougham and Vaux • Devereux – Complete • The Lady of Lyons; Or, Love and Pride • Pausanias, the Spartan; The Haunted and the Haunters • What Will He Do with It? • Ernest Maltravers • The Caxtons: A Family Picture • LucileEarl of Edward Robert Bulwer Lytton Lytton • Alice, or the Mysteries • Essai sur Talleyrand (Französisch)Henry Lytton Bulwer • Harold: the Last of the Saxon Kings • «My Novel» • Leila or, the Siege of Granada, Complete • Eugene Aram • Lucretia • The Poetical Works of Edward Bulwer Lytton, Bart. M.P. • Night and Morning • The Last of the Barons – Volume • The Disowned • The Last Days of Pompeii • Zicci: A Tale • The Parisians • The Pilgrims of the Rhine • Kenelm Chillingly • Godolphin • Calderon the Courtier, a Tale • Falkland, Complete • Tomlinsoniana • etc.
Аннотация
Un’opera teatrale – basata sulla tesi che la partitocrazia abbia fallito in tutto il mondo poiché i cittadini si sono stancati di essere dominati dai governi e dai burocrati, – che mostra come possa funzionare la politica in un ordinamento statale adeguato ai nostri tempi, – che invita inoltre i cittadini a permettere che i pochi politici che agiscono veramente per il loro bene conservino la propria umanità.
Il presidente della Repubblica di Ortonia, David Arricas, è il sostenitore di una politica di trasparenza, volta a soddisfare le aspettative dei cittadini. Le sue azioni si basano sulla convinzione che lo Stato non possa essere fine a se stesso, ma debba essere al servizio della gente. Passo dopo passo trasforma il vecchio sistema ostile ai cittadini in un’istituzione adeguata ai tempi moderni, modificando le leggi, ormai lontane dalle esigenze della gente, per renderle più consone alla realtà delle persone. Tuttavia in questo modo Arricas si crea molti nemici, anche perché già prima della sua elezione aveva annunciato di voler finalmente liberare i cittadini dalla burocrazia, restituendogli così una migliore qualità della vita. Con questa politica riesce ad inimicarsi anche i regimi degli Stati confinanti, preoccupati che la scintilla dell’emancipazione dei cittadini si propaghi anche nel loro Paese. Quando la ministra degli Esteri da lui voluta, Eliana De Thomar, ordisce una ribellione, Arricas entra in conflitto con i cittadini: questi reclamano per la traditrice della patria la pena di morte, che lui invece rifiuta categoricamente. Oltre alle questioni politiche Arricas deve affrontare anche problemi personali: in lui si insinua il dubbio che l’amore della sua vita possa averlo ingannato. Avverte con crescente chiarezza il lato oscuro del potere. Alla fine si trova stretto fra due fuochi: da una parte il suo ruolo di presidente e le promesse fatte ai cittadini, dall’altra la donna che lui ama più di ogni altra cosa e che pretende il suo ritiro dalla politica. A questo punto deve prendere una decisione.
Il presidente della Repubblica di Ortonia, David Arricas, è il sostenitore di una politica di trasparenza, volta a soddisfare le aspettative dei cittadini. Le sue azioni si basano sulla convinzione che lo Stato non possa essere fine a se stesso, ma debba essere al servizio della gente. Passo dopo passo trasforma il vecchio sistema ostile ai cittadini in un’istituzione adeguata ai tempi moderni, modificando le leggi, ormai lontane dalle esigenze della gente, per renderle più consone alla realtà delle persone. Tuttavia in questo modo Arricas si crea molti nemici, anche perché già prima della sua elezione aveva annunciato di voler finalmente liberare i cittadini dalla burocrazia, restituendogli così una migliore qualità della vita. Con questa politica riesce ad inimicarsi anche i regimi degli Stati confinanti, preoccupati che la scintilla dell’emancipazione dei cittadini si propaghi anche nel loro Paese. Quando la ministra degli Esteri da lui voluta, Eliana De Thomar, ordisce una ribellione, Arricas entra in conflitto con i cittadini: questi reclamano per la traditrice della patria la pena di morte, che lui invece rifiuta categoricamente. Oltre alle questioni politiche Arricas deve affrontare anche problemi personali: in lui si insinua il dubbio che l’amore della sua vita possa averlo ingannato. Avverte con crescente chiarezza il lato oscuro del potere. Alla fine si trova stretto fra due fuochi: da una parte il suo ruolo di presidente e le promesse fatte ai cittadini, dall’altra la donna che lui ama più di ogni altra cosa e che pretende il suo ritiro dalla politica. A questo punto deve prendere una decisione.
Аннотация
Die Originalversion von «Beer Barrel Polka» wurde 1939 veröffentlicht. Der Song ist auch unter dem Namen «Roll Out the Barrel» bekannt. Die bekannteste Version stammt von Will Glahé. In Deutschland wurde der Titel unter dem Namen Rosamunde bekannt. In dieser Ausgabe sind die Klaviernoten im Violin- und Bassschlüssel enthalten. Text, Akkorde und Gesangsmelodie sind separat notiert.
Аннотация
Die Originalversion von «Because They're Young» wurde 1960 veröffentlicht. Der Song ist der Soundtrack zum gleichnamigen Kinofilm mit Dick Clark. Von verschiedenen Künstlern wurden in den letzten Jahrzehnten zahlreiche Bearbeitungen des Songs angefertigt. In dieser Ausgabe sind die Klaviernoten im Violin- und Bassschlüssel enthalten. Text, Akkorde und Gesangsmelodie sind separat notiert.