The stories begin with those which children like best—the old Blue Beard, Puss in Boots, Hop o’ my Thumb, Little Red Riding Hood, The Sleeping Beauty, and Toads and Pearls. These were first collected, written, and printed at Paris in 1697. ??The author was Monsieur Charles Perrault, a famous personage in a great perruque, who in his day wrote large volumes now unread. He never dreamed that he was to be remembered mainly by the shabby little volume with the tiny headpiece pictures—how unlike the fairy way of drawing by Mr. Ford, said to be known as ‘Over-the-wall Ford’ among authors who play cricket, because of the force with which he swipes! ??Perrault picked up the rustic tales which the nurse of his little boy used to tell, and he told them again in his own courtly, witty way. They do not seem to have been translated into English until nearly thirty years later, when they were published in English, with the French on the opposite page, by a Mr. Pote, a bookseller at Eton. Probably the younger Eton boys learned as much French as they condescended to acquire from these fairy tales, which are certainly more amusing than the Telemaque of Messire Fran?ois de Salignac de la Motte-Fénelon, tutor of the children of France, Archbishop Duke of Cambrai, and Prince of the Holy Roman Empire.??The success of Perrault was based on the pleasure which the court of Louis XIV. took in fairy tales; we know that they were told among Court ladies, from a letter of Madame de Sévigné. Naturally, Perrault had imitators, such as Madame d’Aulnoy, a wandering lady of more wit than reputation. To her we owe Beauty and the Beast and The Yellow Dwarf. Anthony Hamilton tried his hand with The Ram, a story too prolix and confused, best remembered for the remark, ‘Ram, my friend, begin at the beginning!’ Indeed, the narrative style of the Ram is lacking in lucidity! ??Then came The Arabian Nights, translated by Monsieur Galland. Nobody has translated The Arabian Nights so well as Galland. His is the reverse of a scientific rendering, but it is as pleasantly readable as the Iliad and Odyssey would be if Alexandre Dumas had kept his promise to translate Homer. Galland omitted the verses and a great number of passages which nobody would miss, though the anthropologist is supposed to find them valuable and instructive in later scientific translations which do not amuse. Later, Persian Tales, Tales of the Sea, and original inventions, more or less on the fairy model, were composed by industrious men and women. ??They are far too long—are novels, indeed, and would please no child or mature person of taste. All these were collected in the vast Fairy Cabinet, published in 1786, just before the Revolution. Probably their attempt to be simple charmed a society which was extremely artificial, talked about ‘the simple life’ and the ‘state of nature,’ and was on the eve of a revolution in which human nature revealed her most primitive traits in orgies of blood.

Many ages ago in North America there was no spring or summer or autumn, but only winter all the time; there were no forests or fields or flowers, but only ice and snow, which stretched from the Arctic Ocean to Maryland. Sometimes the climate would grow a little warmer, and then the great glaciers would shrink toward the north, and then again it would grow cold, while the ice crept southward; but finally it became warmer and warmer until all the southern part of the country was quite free from the ice and snow, which could then only be seen, as it is now, in the Polar regions.??Ages and ages after this, grass and trees began to ap-pear, and at last great forests covered the land, and over the fields and through the woods gigantic animals roved—strange and terrible-looking beasts, larger than any animal now living, and very fierce and strong. Among these were the mammoth and mastodon, which were so strong and ferocious that it would take hundreds of men to hunt and kill them. These great animals would go trampling through the forests, breaking down the trees and crushing the grass and flowers under their feet, or rush over the fields in pursuit of their prey, making such dreadful, threatening noises that all the other animals would flee before them, just as now the more timid animals flee from the lion or rhinoceros. ??Sometimes they would rush or be driven by men into swamps and marshes, where their great weight would sink them down so deep into the mud that they could not lift themselves out again, and then, they would die of starvation or be killed by the arrows of the men who were hunting them.??Besides these mammoths and mastodons there were other animals living in North America at that time, very different from those that are found here now. ?

nchipuiete-i c i-ai pierdut prinii, dar nu ntr-un loc, ci ntr-un alt timp…Londra, secolul XXI. ntr-o zi ploioas, la ntoarcerea de la coal, Jake Djones un puti de paisprezece ani, este rpit de nite brbai ciudai. Acetia pretind c acioneaz pentru propria lui siguran i l duc n cartierul general al organizaiei lor, n Normandia, n… veacul al XIX-lea! Acolo, Jake afl c prinii lui au disprut i c ar putea fi oriunde, din Epoca Pietrei pn n secolul al XIX-lea, pentru c sunt cltori n timp i membri ai Serviciului Secret al Pzitorilor Istoriei. Responsabilitatea lor este aceea de a pzi istoria aa cum o tim noi, mpiedicnd un duman extrem de periculos s schimbe cursul evenimentelor.Veneia, iulie 1506. Diabolicul prin Zeldt i acoliii si pun la cale un plan minuios de a declana ciuma i de distruge epoca Renaterii. Alturi de cei trei ageni desemnai de organizaia secret, Jake se mbarc ntr-o cltorie plin de suspans, hotrt s-i gseasc prinii. Avnd ca arme doar calitile sale nnscute, curajul i o sticlu cu un lichid care nlesnete saltul n timp, putiul i asum misiunea de a lupta mpotriva teribilei armate a prinului Zeldt. Aventurile lui sunt pline de rsturnri neateptate de situaie, n care se confrunt cu spionaj de nalt clas, rpiri periculoase, chiar i o crim!Trecutul este n primejdie! Numai Jake l poate salva!A sosit clipa s faci cunotin cu un nou erou!Roman tradus n peste 25 de limbin curs de ecranizare la Working Title Films

Criza financiar? ??i face sim?ite efectele p?n? ?i ?n lumea rarefiat? a buc?t?riei europene de lux, l?s?ndu-i f?r? slujb? pe Maravan, un t?n?r cu un talent excep?ional de buc?tar, ?i pe Andrea, o chelneri?? extrem de atr?g?toare. Dup? ce sunt da?i afar? de la Chez Huwyler, restaurantul elitist unde lucreaz?, cei doi hot?r?sc s?-?i deschid? propria afacere, livr?nd meniuri romantice pentru cupluri. Dar nici m?car magia culinar? nu poate lupta cu dificult??ile pie?ei, ?i, cur?nd, tinerii sunt sili?i s? p?trund? ?ntr-o lume dominat? de l?comie, crim? ?i sex ?i s? lupte pentru propria supravie?uire. Thriller ?i poveste de dragoste, cartea lui Martin Suter, plin? de ispr?vi culinare ?i de aventuri sexuale, con?ine la final 16 re?ete care te fac s?-?i lase gura ap?. Romanul Maestrul buc?tar s-a v?ndut ?n peste 1 milion de exemplare ?i a fost tradus ?n 30 de limbi.

The Titan is a novel written by Theodore Dreiser in 1914. It is Dreiser's sequel to The Financier. Sometime after being released from prison, Frank invests in stocks subsequent to the Panic of 1873, and becomes a millionaire again. He decides to move out of Philadelphia and start a new life in the West. He moves to Chicago with Aileen and his attorney is finally able to persuade Lillian to agree to a divorce. Frank decides to take over the street-railway system. He bankrupts several opponents with the help of John J. McKenty and other political allies. Meanwhile, Chicago society finds out about his past in Philadelphia and the couple are no longer invited to dinner parties; after a while, the press turns on him too. Cowperwood is unfaithful many times. Aileen finds out about a certain Rita and beats her up. She gives up on him and has an affair with Polk Lynde, a man of privilege; she eventually loses faith in him. Meanwhile, Cowperwood meets young Berenice Fleming; by the end of the novel, he tells her he loves her and she consents to live with him. However, the ending is bittersweet as Cowperwood has not managed to obtain the fifty-year franchise for his railway schemes that he wanted.

In this Volume-two, ”Endeth here the fourth day of the Decameron, beginneth the fifth, in which under the rule of Fiammetta discourse is had of good fortune befalling lovers after divers direful or disastrous adventures. ”All the east was white, nor any part of our hemisphere unillumined by the rising beams, when the carolling of the birds that in gay chorus saluted the dawn among the boughs induced Fiammetta to rise and rouse the other ladies and the three gallants; with whom adown the hill and about the dewy meads of the broad champaign she sauntered, talking gaily of divers matters, until the sun had attained some height. —DETAILED CONTENTS—- FIFTH DAY -NOVEL I. - Cimon, by loving, waxes wise, wins his wife Iphigenia by capture on the high seas, and is imprisoned at Rhodes. He is delivered by Lysimachus; and the twain cap-ture Cassandra and recapture Iphigenia in the hour of their marriage. They flee with their ladies to Crete, and having there married them, are brought back to their homes.NOVEL II. - Gostanza loves Martuccio Gomito, and hear-ing that he is dead, gives way to despair, and hies her alone aboard a boat, which is wafted by the wind to Susa. She finds him alive in Tunis, and makes herself known to him, who, having by his counsel gained high place in the king's favour, marries her, and returns with her wealthy to Lipari.NOVEL III. - Pietro Boccamazza runs away with Agnolella, and encounters a gang of robbers: the girl takes refuge in a wood, and is guided to a castle. Pietro is taken, but escapes out of the hands of the robbers, and after some adventures arrives at the castle where Agnolella is, marries her, and returns with her to Rome.NOVEL IV. - Ricciardo Manardi is found by Messer Lizio da Valbona with his daughter, whom he marries, and remains at peace with her father.NOVEL V. - Guidotto da Cremona dies leaving a girl to Giacomino da Pavia. She has two lovers in Faenza, to wit, Giannole di Severino and Minghino di Mingole, who fight about her. She is discovered to be Giannole's sister, and is given to Minghino to wife.NOVEL VI. - Gianni di Procida, being found with a damsel that he loves, and who had been given to King Frederic, is bound with her to a stake, so to be burned. He is recognized by Ruggieri dell' Oria, is delivered, and marries her.NOVEL VII. - Teodoro, being enamoured of Violante, daughter of Messer Amerigo, his lord, gets her with child, and is sentenced to the gallows; but while he is being scourged thither, he is recognized by his father, and being set at large, takes Violante to wife.NOVEL VIII. - Nastagio degli Onesti, loving a damsel of the Traversari family, by lavish expenditure gains not her love. At the instance of his kinsfolk he hies him to Chiassi, where he sees a knight hunt a damsel and slay her and cause her to be devoured by two dogs. He bids his kinsfolk and the lady that he loves to breakfast. During the meal the said damsel is torn in pieces before the eyes of the lady, who, fearing a like fate, takes Nastagio to husband.NOVEL IX. - Federigo degli Alberighi loves and is not loved in return: he wastes his substance by lavishness until nought is left but a single falcon, which, his lady being come to see him at his house, he gives her to eat: she, knowing his case, changes her mind, takes him to husband and makes him rich.NOVEL X. - Pietro di Vinciolo goes from home to sup: his wife brings a boy into the house to bear her company: Pietro returns, and she hides her gallant under a hen-coop: Pietro explains that in the house of Ercolano, with whom he was to have supped, there was discovered a young man bestowed there by Ercolano's wife: the lady thereupon censures Ercolano's wife: but unluckily an ass treads on the fingers of the boy that is hidden under the hen-coop, so that he cries for pain: Pietro runs to the place, sees him, and apprehends the trick played on him by his wife, which nevertheless he finally condones, for he is not himself free from blame.

pten rendiim Hayat/ Oyuncak Yiyen Canavar doada hereyin bir deer olduunu, mütevaz yaam, aile ve hayvan sevgisini ele alan 9-10 ya aras ocuklar iin yazlm bir kitaptr. Sabah karanlnda kap almadan k yand. Ikla birlikte evin kpei Garip ayaa kalkt. Kapdan baba oul grününce, kuyruk sallamaya balad. Garip Umut’un üstüne atlad. Umut ufak tefek bir ocuk olduundan Garip’in iti kakna dayanamayp yere ykld. Ayayla kpei iterek uzaklatrd. Yerden toparlanp elinin tozunu silkti. Koarak babasna yetiti. Ardndan Garip de... Umut on yanda bir oland. Drdüncü snfta okuyordu. Derslerinde baarlyd. Babas geri dnüüme atk p toplamak iin kyordu. Umut daha nce babasyla hi pe kmamt. Bugün pe kma amac hem babasna yardmc olmak, hem pte oyuncak bulmakt. pten oyuncak karsa Umut kendine alacakt. Yoksa babas iki kuru fazla para kazanabilmek iin ne bulursa satard. HALL ERDEM 1961 Dirmil-Burdur doumlu. Gazi niversitesi Eitim Fakültesi Snf retmenliini bitirdi. Türke Blümünde lisans tamamlad. Kar Aydnl (Roman) Fam Yaynlar 2014 Dirmil mürcüsü (Roman) Fam Yaynlar2006- 2014 Goca Meryem (Roman) Fam Yaynlar 2014 Tokat (ocuk Roman) Kendi Yayn 2013 Teke Yresi Halk nanlar (Aratrma - inceleme) Kendi Yayn 2008 Karacaolan Geleneinde Dirmil Güzellemeleri ve yküler (Aratrma inceleme) 2011 Alter Yay. Gece Mavisinde Ak (iir) Kendi Yayn 1998 Ve Alld lüme (iir ) Temmuz Yaynlar 1990 Kardan Adam (ocuk iirleri) Kendi Yayn 1998 Ik Avclar (ocuk iirleri) Kendi Yayn) 2013 pten rendiim Hayat ocuk Kitab 2015 Gl Hikayeleri (ykü) 2015 iir ve yazlarn Bahe, Mavi Umut, Bahar, al, retmen Dünyas, Dirmil, Noktam, Bezuvar, süje, Kar dergilerinde yaynlad. Beykonak Eitim ve Kültür Vakf Yirce iir Yarmasnda. Ne-Var Yok iiriyle Birincilik ald.(2004) Resim almalarn da yürüten Halil ERDEM 3 kiisel, 25 karma resim sergi etkinliinde bulundu.

A FAIRY is a humorous person sadly out of fashion at pre-sent, who has had, nevertheless, in the actors' phrase, a long and prosperous run on this planet. When we speak of fairies nowadays, we think only of small sprites who live in a kingdom of their own, with manners, laws, and privileges very different from ours. But there was a time when "fairy" suggested also the knights and ladies of romance, about whom fine spirited tales were told when the world was younger. Spenser's Faery Queen, for instance, deals with dream-people, beautiful and brave, as do the old stories of Arthur and Roland; people who either never lived, or who, having lived, were glorified and magnified by tradition out of all kinship with common men. ??Our fairies are fairies in the modern sense. We will make it a rule, from the beginning, that they must be small, and we will put out any who are above the regulation height. ??Such as the charming famous MELUSINA, who wails upon her tower at the death of a LUSIGNAN, we may as well skip; for she is a tall young lady, with a serpent's tail, to boot, and thus, alas! half-monster; for if we should accept any like her in our plan, there is no reason why we should not get confused among MERMAIDS and DRYADS, and perhaps end by scoring down great JUNO herself as a fairy! Many a DWARF and GOBLIN, whom we shall meet ANON, is as big as a child. ??"ELF" and "GOBLIN," too, are interesting to trace. There was a great Italian feud, in the twelfth century, between the German Emperor and the Pope, whose separate partisans were known as the GUELFs and the GHIBELLINEs.??As time went on, and the memory of that long strife was still fresh, a descendant of the Guelfs would put upon anybody he disliked the odious name of Ghibelline; and the latter, generation after generation, would return the compliment ardently, in his own fashion. Both terms, finally, came to be mere catch-words for abuse and reproach. And the fairies, falling into disfavor with some bold mortals, were angrily nicknamed "elf" and "goblin"; in which shape you will recognize the last threadbare reminder of the once bitter and historic faction of Guelf and Ghibelline.

Al treilea roman din seria Hacker. Povestea lui Blake si a Ericai continua: seductie, gelozie si tradare… ? Blake Landon, un magnat al domeniului software, si-a gasit perechea in persoana incapatanatei Erica Hathaway. Desi firea lui autoritara se lupta fara incetare cu spiritul ei independent, Blake nici nu se gandeste s-o mai lase vreodata sa plece din viata lui.? Erica i-a daruit lui Blake toata increderea si dragostea ei, hotarand sa depaseasca impreuna orice obstacol. Dar cand el ii cere mai mult si-i pune la incercare limitele devotamentului, ea se vede silita sa-i infrunte dorintele intunecate.? In timp ce legatura dintre cei doi devine tot mai stransa, dusmanii le dau tarcoale.? Va supravietui relatia lor odata ce inamicii lui Blake intrec masura si nu le mai ameninta doar afacerile? ? ?Meredith Wild are talentul extraordinar de a descrie acele momente din viata si din relatiile de iubire care adesea raman nespuse. Scoate la iveala detalii cu o semnificatie profunda.“ - Heroes and Heartbreakers? ? ?Meredith Wild este o magiciana a cuvintelor. Tesatura scrisului ei este uimitoare, delicata, provocatoare si seducatoare. Personajele ei sunt complexe. Cand sufera, si tu suferi. Cand iubesc, si tu iubesti.“ - Goodreads ? Meredith Wild este o autoare de bestselleruri romance New York Times si USA Today. Alaturi de celebra serie Hacker, a scris seriile de mare succes Bridge si Misadventures.? Locuieste pe coasta Floridei, impreuna cu sotul si cei trei copii. Spune despre sine ca este dependenta de tehnologie, ca-i place whisky-ul si e o romantica incurabila.? Cand nu traieste in lumea imaginara a personajelor sale, poate fi gasita pe www.meredithwild.com.? ? De aceeasi autoare, la Editura Trei au aparut primele doua romane din seria Hacker: Atractie fatala si Intalnire periculoasa. ? ?Felul in care scrie Meredith Wild te vrajeste, pur si simplu.“ - Never Ending Book Basket

Iresponsabil, nesp?lat, fermec?tor ?i f?r? un ban ?n buzunar, Sebastian Dangerfield, student la Drept la Colegiul Trinity, irlandez american cu accent englezesc, naufragiat ?n Dublin ?i vis?nd la dolari ?i femei u?oare, ve?nic client al caselor de amanet, cutreier? puburile, murmur?nd ispite am?gitoare la urechea oric?rei fete dispuse s?-l asculte, ?ntr-o c?utare delirant? a libert??ii, bog??iei ?i recunoa?terii care simte c? i se cuvin. Liric ?i licen?ios, conving?tor, mi?c?tor ?i extrem de amuzant, Ro?covanul este un roman de un geniu comic autentic.

Son of a merchant, Boccaccio di Chellino di Buonaiuto, of Certaldo in Val d'Elsa, a little town about midway between Empoli and Siena, but within the Florentine "contado," Gio-vanni Boccaccio was born, most probably at Paris, in the year 1313. His mother, at any rate, was a Frenchwoman, whom his father seduced during a sojourn at Paris, and afterwards deserted. So much as this Boccaccio has himself told us, under a transparent veil of allegory, in his Ameto. Of his mother we would fain know more, for his wit has in it a quality, especially noticeable in the Tenth Novel of the Sixth Day of the Decameron, which marks him out as the forerunner of Rabelais, and prompts us to ask how much more his genius may have owed to his French ancestry. His father was of sufficient standing in Florence to be chosen Prior in 1321; but this brief term of office—but two months—was his last, as well as his first experience of public life. Of Boccaccio's early years we know nothing more than that his first preceptor was the Florentine grammarian, Giovanni da Strada, father of the poet Zanobi da Strada, and that, when he was about ten years old, he was bound apprentice to a merchant, with whom he spent the next six years at Paris, whence he returned to Florence with an inveterate repugnance to commerce. —DETAILED CONTENTS—INTRODUCTIONPROEM- FIRST DAY -NOVEL I. - Ser Ciappelletto cheats a holy friar by a false confession, and dies; and, having lived as a very bad man, is, on his death, reputed a saint, and called San Ciappelletto.NOVEL II. - Abraham, a Jew, at the instance of Jehannot de Chevigny, goes to the court of Rome, and having marked the evil life of clergy, returns to Paris, and becomes a Chris-tian.NOVEL III. - Melchisedech, a Jew, by a story of three rings averts a danger with which he was menaced by Saladin.NOVEL IV. - A monk lapses into a sin meriting the most severe punishment, justly censures the same fault in his abbot, and thus evades the penalty.NOVEL V. - The Marchioness of Monferrato by a banquet of hens seasoned with wit checks the mad passion of the King of France.NOVEL VI. - A worthy man by an apt saying puts to shame the wicked hypocrisy of the religious.NOVEL VII. - Bergamino, with a story of Primasso and the Abbot of Cluny, finely censures a sudden access of avarice in Messer Cane della Scala.NOVEL VIII. - Guglielmo Borsiere by a neat retort sharply censures avarice in Messer Ermino de' Grimaldi.NOVEL IX. - The censure of a Gascon lady converts the King of Cyprus from a churlish to an honourable temper.NOVEL X. - Master Alberto da Bologna honourably puts to shame a lady who sought occasion to put him to shame in that he was in love with her. - SECOND DAY -NOVEL I. - Martellino pretends to be a paralytic, and makes it appear as if he were cured by being placed upon the body of St. Arrigo. His trick is detected; he is beaten and arrested, and is in peril of hanging, but finally escapes.NOVEL II. - Rinaldo d'Asti is robbed, arrives at Castel Guglielmo, and is entertained by a widow lady; his property is restored to him, and he returns home safe and sound.NOVEL III. - Three young men squander their substance and are reduced to poverty. Their nephew, returning home a desperate man, falls in with an abbot, in whom he discovers the daughter of the King of England. She marries him, and he retrieves the losses and re-establishes the fortune of his uncles.NOVEL IV. - Landolfo Ruffolo is reduced to poverty, turns corsair, is captured by Genoese, is shipwrecked, escapes on a chest full of jewels, and, being cast ashore at Corfu, is hospitably entertained by a woman, and returns home wealthy.NOVEL V. - Andreuccio da Perugia comes to Naples to buy horses, meets with three serious adventures in one night, comes safe out of them all, and returns home with a ruby.

Then I was a little girl, which is now a good many years ago, there came to spend some time with us a cousin who had been brought up in Germany. ??She was almost grown-up—to me, a child of six or seven, she seemed quite grown-up; in reality, she was, I suppose, about fifteen or sixteen. She was a bright, kind, good-natured girl, very anxious to please and amuse her little English cousins, especially me, as I was the only girl. ??But she had not had much to do with small children; above all, delicate children, and she was so strong and hearty herself that she did not understand anything about nervous fears and fancies.

The following Tales in the Book are meant to be submitted to the young reader as an introduction to the study of Shakespeare, for which purpose his words are used whenever it seemed possible to bring them in; and in whatever has been added to give them the regular form of a connected story, diligent are has been taken to select such words as might least interrupt the effect of the beautiful English tongue in which he wrote: therefore, words introduced into our language since his time have been as far as possible avoided.- THE TEMPEST- A MIDSUMMER NIGHT'S DREAM- THE WINTER'S TALE- MUCH ADO ABOUT NOTHING- AS YOU LIKE IT- THE TWO GENTLEMEN OF VERONA- THE MERCHANT OF VENICE- CYMBELINE- KING LEAR- MACBETH- ALL'S WELL THAT ENDS WELL- THE TAMING OF THE SHREW- THE COMEDY OF ERRORS- MEASURE FOR MEASURE- TWELFTH NIGHT; OR, WHAT YOU WILL- TIMON OF ATHENS- ROMEO AND JULIET- HAMLET, PRINCE OF DENMARK- OTHELLO- PERICLES, PRINCE OF TYRE. In those tales which have been taken from the Tragedies, the young readers will perceive, when they come to see the source from which these stories are derived, that Shakespeare's own words, with little alteration, recur very frequently in the narrative as well as in the dialogue; but in those made from the Comedies the writers found themselves scarcely ever able to turn his words into the narrative form: therefore it is feared that, in them, dialogue has been made use of too frequently for young people not accustomed to the dramatic form of writing. But this fault, if it be a fault, has been caused by an earnest wish to give as much of Shakespeare's own words as possible: and if the 'He said,' and 'She said,' the question and the reply, should sometimes seem tedious to their young ears, they must pardon it, because it was the only way in which could be given to them a few hints and little foretastes of the great pleasure which awaits them in their elder years, when they come to the rich treasures from which these small and valueless coins are extracted; pretending to no other merit than as faint and imperfect stamps of Shakespeare's matchless image. Faint and imperfect images they must be called, because the beauty of his language is too frequently destroyed by the necessity of changing many of his excellent words into words far less expressive of his true sense, to make it read something like prose; and even in some few places, where his blank verse is given unaltered, as hoping from its simple plainness to cheat the young reader into the belief that they are reading prose, yet still his language being transplanted from its own natural soil and wild poetic garden, it must want much of its native beauty. It has been wished to make these Tales easy reading for very young children. To the utmost of their ability the writers have constantly kept this in mind; but the subjects of most of them made this a very difficult task. It was no easy matter to give the histories of men and women in terms familiar to the apprehension of a very young mind. For young ladies too, it has been the intention chiefly to write; because boys being generally permitted the use of their fathers' libraries at a much earlier age than girls are, they frequently have the best scenes of Shakespeare by heart, before their sisters are permitted to look into this manly book; and, therefore, instead of recommending these Tales to the perusal of young gentlemen who can read them so much better in the originals, their kind assistance is rather requested in explaining to their sisters such parts as are hardest for them to understand: and when they have helped them to get over the difficulties, then perhaps they will read to them (carefully selecting what is proper for a young sister's ear) some passage which has pleased them in one of these stories, in the very words of the scene from which it is taken; and it is hoped they will find that the beautiful extracts, the select passages..

O incursiune ?n lumea ?ntunecat? a societ??ilor secrete Condamnat c?ndva pe nedrept, Fergus O’Breane a pierdut totul: p?rin?i, logodnic? ?i prieteni. O ?ntors?tur? fericit? a sor?ii ?l ajut? s? se ?ntoarc? ?n Anglia bogat, puternic, admirat ?i cu alia?i lipsi?i de scrupule. Comploturi, r?piri, t?lh?rii, asasinate – fostul pu?c?ria? devenit marchiz pare ?n stare de orice pentru a se r?zbuna. Povestindu-?i copil?ria petrecut? ?n izolare ?i lipsit? de iubire, Susannah ?i dezv?luie totodat? lui Brian de Lancester planurile de ?mbog??ire ale tat?lui ei, care aveau s?-l duc? la sp?nzur?toare. Brian ?ntrez?re?te ?n relatarea sa firele unui complot ce pare s? aib? leg?tur? cu familia unui conte ?i chiar cu un acolit al lui Rio-Santo. Dar ce leg?tur? ar putea fi ?ntre marchiz ?i omul condamnat pentru falsificare?

Cred c niciodat scrisul nu mi-a produs atta plcere ca atunci cnd am scris ultima parte a romanului Noapte i zi.“ – Virginia Woolf Noapte i zi este libretul perfect al unei opere clasice n maniera comic, dar melancolic a lui Mozart, cu un oarecare adaos de disonane stilistice – cum st bine unui text modern.“ – Jane Marcus Romanul acesta mi pare a fi un exerciiu deliberat clasicizant. Conine tot ceea ce a caracterizat proza romanesc englez n ultimii o sut cincizeci de ani: ncredere n relaiile personale, recursul la scene umoristice secundare, accentul pe diferenierile sociale nesemnificative.“ – E.M. Forster Virginia Woolf a fost o mare scriitoare. Vocea ei este unic, la fel ca stilul ei. Opera ei exercit o influen activ asupra scriitorilor i una subtil asupra a ceea ce ne-am obinuit s ateptm de la literatura modern. [...] A fost o inovatoare care a redefinit romanul i a deschis calea evoluiilor sale ulterioare.“ – Jeanette Winterson Clasici moderni Litera pune laolalt scriitori moderni ale cror opere au devenit deja repere clasice. Cele mai importante, mai provocatoare, mai emoionante, mai revoluionare opere din ultimii 125 de ani – cri care vor continua s fie citite de la o generaie la alta.

EFSANELERE G?RE ?STANBUL’UN KURULU?U "Bu ?ehr-i Sitambul ki, bi mi?l-u behad?r, Bir sengine, yekpare Acem mülkü fedad?r" ?air Nedim Yeryüzünde, bu kadar ?ok ada ve sana sahip kent ?ok ender bulunur. Her ulus, ?stanbul'u ba?ka bir adla and?. Ayr?ca, fetihten ?nceki adlar? ba?kayd?, fetihten sonrakiler ba?ka... Tarih sahnesine, Byzas, Buzis, Byse, Bysante gibi adlarla ??kt?. Roma d?nemine kadar da en ?ok Byzant?on olarak an?ld?. Romal?lar Antoneia, Anthu?a, Deutera Rome dediler. Sonra, uzun bir d?nem boyunca Konstantinopolis olarak kald?. Kuzeylilerin verdikleri adlar?n bir k?sm? kentin gücünü vurguluyordu: Tsar??rad (Slav kaynaklar?nda imparator kenti) ve M?klegard (Vikinglerde ?mparator Mikhael’?n kenti) gibi. Ruslar Tekfuriye ve Zavegorod, Macarlar Vizenduvar, Polonyal?lar Kanatorya, ?ekler Aylana, ?sve?liler Herakl?yan, Hollandal?lar ?stefanya, Franklar Agrandone, Portekizliler Ko?tiye, Araplar Konstantiniyye-i Kübra, Acemler Kayser-i Zemin, Hintliler Taht-i Rum, Mo?ollar ?akdüryan demi?lerdi bir zamanlar Osmanl?'n?n "Asitane"sine. ?te yandan, ?stanbul'a yak??t?r?lan sanlar da en az kendisi kadar g?rkemliydi: Asitane-i Saadet (Sültan Saray?), Dar-ül Hilafe (Halife'nin evi), Darü's Saltana (Saltanat?n evi), Dergah-? Selat?n (Sultanlar kap?s?)... Ve sonunda bizim kentimiz, ?stanbul. Bilinen tarihi 2600 y?ldan daha eskilere uzanan bu ya?l?, ama muhte?em kent, zaman?n ak??? i?inde büyük uygarl?klar?n y?k?l??lar?m da g?rdü, yenilerinin nas?l kurulduklar?na da... ?mparatorluklar?n bu herkesi k?skand?ran g?rkemli ba?kentinin k??e buca??, birbiriyle ilgisi olmayan kültürlerin miras?yla süslendi. Ve sonu?ta, tüm üslup ve kültürler i? i?e ge?erek, birbirini ?zümseyerek, ?stanbul'un an?tsal tarihini olu?turdu. Kentin kurulu?u üzerine rivayet muhtelif. En ünlüsü ve bilineni Megaral? g??menlerinin yolculu?u. Bir de Evliya ?elebi'nin anlatt??? var ki, tad?na doyum olmuyor... Efsaneye g?re, Koressa'n?n o?lu, Yunanistan'?n Megara kentinden gen? Byzas, yanda?lar?yla birlikte, b?lgedeki bask?lardan kurtulmak, yeni bir kent kurmak ve ?zgürlü?ünü ilan etmek i?in yola ??kt?. Her ?ey iyiydi de, kent nerede kurulacakt?? O ?a?da, bilinmeyenleri bilinir k?lan birisine, Delfoi kentindeki kahine dan??t? gen? adam. Delfoi kahini gidece?i yeri tarif etti; "Kentini kuraca??n yer, k?rler ülkesinin tam kar??s?nda olacak." Byzas yola ??kt?, arad? tarad?, k?rler ülkesi diye bir yer yoktu. Sonunda, mola verdikleri bir deniz k?y?s?nda, kar?? sahile bakt? ve ba??rd?: "Bu insanlar k?r mü, buras? varken orada oturulur mu?". Delfoi kahinini hat?rlad? gen? adam; "K?rler ülkesinin kar??s?nda kuracaks?n kentini." K?rler ülkesi, günümüzün Kad?k?y'üdür! ?stanbul'dan ?ok y?llar ?nce kurulmu?tur "Khalkedonia", yani Kad?k?y. Byzas; ordusuyla gelip soluklanmak i?in durdu?u ?imdiki Sarayburnu'nda, manzaran?n muhte?em g?rüntüsünden adeta büyülenmi?ti. Khalkedonia'n?n neden "K?rler ?lkesi" tan?mlamas?n? hak etti?ini anlam??t? art?k. ?ünkü, b?yle cennet benzeri bir yer dururken, tam kar??da ve korumas?z bir yerde kent kuranlar, ancak k?r olabilirlerdi! Ol hikaye b?yle. Temelleri Sarayburnu s?rtlar?nda at?lan kente, kurucusunun ad? olan Byzas'tan dolay?, "Byzas'?n kenti" anlam?nda "Byzant?on" dendi...

In the Preface to my last book I told you that when I closed my eyes I seemed to see hundreds of dear Children's faces turned towards me asking for a story; and now, as so many copies of that book have been sold, I am bound to believe that not hundreds, but thousands, of little friends, to whom I was this time last year a stranger, are expecting another story from my pen. Some of you may perhaps have seen the very kind things which so many of the papers said about "The Wallypug of Why." Now I am going to tell you a secret, even at the risk of seeming ungrateful to them. It is this. Much as I value their kind opinion, and proud and happy as I am that my book has met with their approval, I value your criticism even more highly than theirs, and I am going to ask you to do me a great favour. I have had so many letters from little friends about "The Wallypug of Why" that it has made me greedy, and, like Oliver, I want more. So will you please write me a letter too, your very own self, telling me just what you think of these two books, and also what kind of story you want after my next one, which is to be a School story, called "Schooldays at St. Vedast's," and which will be published almost as soon as this one is? I did think of writing a story about pet animals, for I am very fond of them; so if you can tell me anything interesting about your dogs or cats, rabbits, or other favourites, I may perhaps find room for the account in my book.

Aici ne desp?r?im este un roman emo?ionant ?i angajant, care examineaz? cu umor motivele din spatele ac?iunilor noastre cele mai afectuoase, dar ?i a celor mai r?utacioase ?i care exploreaz? rela?iile noastre, complicate ?i contradictorii, cu aceia pe care ?i numim familia noastr?.

So long a time had passed that Dorothy C. had grown to be what father John called "a baker's dozen of years old"; and upon another spring morning, as fair as that when she first came to them, the girl was out upon the marble steps, scrubbing away most vigorously. The task was known locally as "doing her front," and if one wishes to be considerable respectable, in Baltimore, one's "front" must be done every day. On Saturdays the entire marble facing of the basement must also be polished; but "pernickity" Mrs. Chester was known to her neighbors as such a forehanded housekeeper that she had her Saturday's work done on Friday, if this were possible.??Now this was Friday and chanced to be a school holiday; so Dorothy had been set to the week-end task, which she hated; and therefore she put all the more energy into it, the sooner to have done with it, meanwhile singing at the top of her voice. Then, when the postman came round the corner of the block, she paused in her singing to stare at him for one brief instant. The next she had pitched her voice a few notes higher still, and it was her song that greeted her father's ears and set him smiling in his old familiar fashion. ??Unfortunately, he had not been smiling when she first perceived him and there had been a little catch in her tones as she resumed her song. Each was trying to deceive the other and each pretending that nothing of the sort was happening.??"Heigho, my child! At it again, giving the steps a more tombstone effect? Well, since it's the fashion—go ahead!"??"I wish the man, or men, who first thought of putting scrubby-steps before people's houses had them all to clean himself! Hateful old thing!"

MY Dear Young Folks,—In the first book which I wrote for you, we traveled together through the Gorilla Country, and saw not only the gigantic apes, but also the cannibal tribes which eat men. In the second book we continued our hunting, and met leopards, elephants, hippopotami, wild boars, great serpents, etc., etc. We were stung and chased by the fierce Bashikouay ants, and plagued by flies. Last spring, your friend Paul, not satisfied with writing for young folks, took it into his head to lecture before them. When I mentioned the subject to my acquaintances, many of them laughed at the notion of my lecturing to you, and a few remarked, "This is another of your queer notions." I did not see it!!! I thought I would try. Thousands of young folks came to your friend Paul's lectures in Boston, Brooklyn, and New York; not only did my young friends come, but a great many old folks were also seen among them. The intelligent, eager faces of his young hearers, their sparkling eyes, spoke to him more eloquently than words could do, and told him that he had done well to go into the great jungle of Equatorial Africa, and that they liked to hear what he had done and what he had seen. When he asked the girls and boys of New York if he should write more books for them, the tremendous cheers and hurrahs they gave him in reply told him that he had better go to work.When, at the end of his third lecture, he made his appearance in the old clothes he had worn in Africa, and said he would be happy to shake hands with his young hearers, the rush then made assured him that they were his friends. Oh! how your hearty hand-shaking gladdened the heart of your friend Paul; he felt so happy as your small hands passed in and out of his! Before writing this new volume, I went to my good and estee-med friends, my publishers in Franklin Square, and asked them what they thought of a new book for Young Folks. "Certainly," they said; "by all means, Friend Paul. Write a new book, for STORI-ES OF THE GORILLA COUNTRY and WILD LIFE UNDER THEEQUATOR are in great demand."I immediately took hold of my old journals, removed the African dust from them, and went to work, and now we are going to be "LOST INTHE JUNGLE"

Now ponder well, you parents deare,?These wordes which I shall write;?A doleful story you shall heare,?In time brought forth to light.??A gentleman of good account?In Norfolke dwelt of late.?Who did in honour far surmount?Most men of his estate.??Sore sicke he was, and like to dye,?No helpe his life could save;?His wife by him as sicke did lye,?And both possest one grave.??No love between these two was lost,?Each was to other kinde;?In love they liv'd, in love they dyed,?And left two babes behinde:??The one a fine and pretty boy,?Not passing three yeares olde;?The other a girl more young than he?And fram'd in beautye's molde. Randolph Caldecott (1846 – 1886) was an English artist and illustrator, born in Chester. The Caldecott Medal was named in his honour. He exercised his art chiefly in book illustrations. His abilities as an artist were promptly and generously recognised by the Royal Academy. Caldecott gre-atly influenced illustration of children's books during the nineteenth century. Two books illustrated by him, priced at a shilling each, were published every Christmas for eight years. Caldecott also illustrated novels and accounts of foreign travel, made humorous drawings depicting hunting and fashionable life, drew cartoons and he made sketches of the Houses of Parliament inside and out, and exhibited sculptures and paintings in oil and watercolour in the Royal Academy and galleries. After six years at Whitchurch, Caldecott moved to the head office in Manchester of the Manchester & Salford Bank. He lodged variously in Aberdeen Street, Rusholme Grove and at Bowdon. He took the opportunity to study at night school at the Manchester School of Art and practised continually, with success in local papers and some London publications. It was a habit of his at this time, which he maintained all his life, to decorate his letters, papers and documents of all descriptions with marginal sketches to illustrate the content or provide amusement. A number of his letters have been reprinted with their illustrations in Yours Pictorially, a book edited by Michael Hutchings. In 1870, a painter friend in London, Thomas Armstrong, put Caldecott in touch with Henry Blackburn, the editor of London Society, who published a number of his drawings in several issues of the monthly magazine. Encouraged by this evidence of his ability to support him-self by his art, Caldecott decided to quit his job and move to London; this he did in 1872 at the age of 26. Within two years he had become a successful magazine illustrator working on commission. His work included individual sketches, illustrations of other articles and a series of illustrations of a holiday which he and Henry Blackburn took in the Harz Mountains in Germany. The latter became the first of a number of such series.