Galántai Zsófi úgy érzi, célba ért. Sikeres a munkájában, és végre ?sszek?lt?zhet a szerelmével. Aztán j?n egy furcsa, szégyenteljes, mégis felejthetetlen éjszaka egy messzir?l j?tt idegennel, és Zsófi jól felépített élete ?sszeomlik. Mindent hátrahagyva elindul a mexikói után, aki titokzatos jeleket hagy számára szerte a világban... Szerelem? Kalandvágy? Zarándoklat? - vajon mi hajtja a magyar lányt egyre egzotikusabb tájak, egyre veszélyesebb kalandok, és ?nmaga számára is ismeretlen énje felé?? Mi ad t?bb muníciót a lelkünknek: ha bátran kilépünk a megszokott és talán unalmas életünkb?l, vállalva a kockázatot, hogy veszítünk - vagy ha vágyainkat elnyomva éljük mindennapjainkat? Merre vezet az utunk? Hol jobb: útk?zben vagy "célba érve"? Fej?s ?va bestsellere most új kiadásban kerülhet az olvasó kezébe. A mexikói krimibe ill? izgalmakat, igazi lélektani drámát és jó szórakozást ígér.

Sam Capra álmodni sem tudna magának boldogabb életet. A CIA nagy j?v? el?tt álló, fiatal ügyn?keként Londonban dolgozik. Feleségével, Lucyvel els? gyermeküket várják, van egy csodálatos otthonuk, és halálosan szerelmesek egymásba. Mindenük megvan – hogy aztán egyetlen pillanat alatt mindent elveszítsenek… Egy napsüt?tte ?szi reggelen az idillinek tetsz? londoni hétk?znapok váratlan fordulatot vesznek: Lucyt elrabolják, a fiatal ügyn?k pedig egy véres merénylet els? számú gyanúsítottjává válik a CIA szemében. Miután sikerül megsz?knie, Sam az id?vel versenyt futva próbálja megmenteni elrabolt feleségét. ?m nincs k?nny? dolga. Ahhoz, hogy k?zelebb tudjon férk?zni titokzatos és k?ny?rtelen ellenségéhez, be kell épülnie egy nemzetk?zi b?nszervezetbe. Sam hamarosan ráj?n, hogy mindaz, ami t?rtént, csupán a kezdete volt egy ?rd?gi tervnek, és nincs más választása, h?ssé kell válnia, ha meg akarja akadályozni, hogy ártatlan emberek tucatjai haljanak meg.

Egy teljesen átlagosnak induló napon egy gy?ny?r?, fiatal n? lép be Sam Capra San Franciscó-i bárjába, és kétségbeesetten arra kéri, hogy mentse meg üld?z?it?l. A volt CIA-ügyn?k egyetlen vágya, hogy nyugodt és békés otthont teremtsen a családjának, ám a t?kéletes életr?l sz?tt álma abban a pillanatban szertefoszlik, amint Diana Keene felt?nik a színen. Mire Sam feleszmél, máris egy kegyetlen játszma kell?s k?zepén találja magát. A lányt ugyanis egy dúsgazdag és befolyásos személyekb?l álló titkos társaság akarja elkapni. Ezekkel a mindenre elszánt b?n?z?kkel rúgja ?ssze a port Sam Capra, amikor megmenti a fiatal lányt üld?z?it?l. A bosszú pedig nem maradhat el. Sam egyetlen reménye, hogy túléli az ellene indított támadást. Ahhoz azonban, hogy visszakapja régi életét, el kell pusztítania a mindent – és mindenkit – behálózó szervezet teljhatalmú vezet?jét, a rejtélyes és kegyetlen Beliast… A Sam Capra-sorozat legújabb részében JEFF ABBOTT ismét lélegzetelállító tempót diktál. A volt CIA-ügyn?k személyében Jason Bourne igazi kihívóra talált. Thrillerfanatikusoknak k?telez? darab.

Velence, 1408. Velencében, a titkok és rejtélyek városában semmi nem az, aminek látszik, és senki nem az, akinek mutatja magát. B?báj és ármány, árulás és vesztegetés – bármilyen eszk?z bevethet? a gy?zelemért. Kül?n?sen akkor, amikor a bizánci és a német-római császár is szemet vet a szépséges Lady Giulietta di Millionira. Az sem akadály, hogy a h?lgynek már van egy nem mindennapi k?rülmények k?z?tt fogant gyermeke… A két uralkodó valódi célja a gazdag városállam megszerzése. Velence sorsa három ember kezében van. Egyikük a frissen lovaggá üt?tt Sir Tycho, az angyalarcú démon, a kegyetlen Assassini-harcos, aki megóvta a várost a mameluk támadóktól. Csak egyet nem tud elérni – hogy a n?, akit szeret, viszontszeresse. Tycho szenved a napfényt?l, irtózik a vízt?l, s nem beszélhet az ?t kínzó titkokról. Miért is mentené meg újra a gy?l?lt várost – hiszen így szerelmét is végleg elveszítené. Tycho szíve h?lgye, a mesésen gazdag Lady Giulietta a másik ember, aki eld?ntheti Velence sorsát. Anya és ?zvegy alig tizenhét évesen. Fiának mostohaapja a német-római császár egyik fia, s mindezek ellenére még sz?z… Társuk Rosalyn, a kolduslány ?rokonlelke” Tychónak, aki visszahozza ?t a sírból, hogy mindhárman sz?vetségre lépve megküzdjenek a német császár vérfarkasaival, szembeszálljanak a bizánci mágus s?tét er?ivel, és megmentsék a város – s vele Giuliettát a házasságtól…

Universal Assistant and Treasure House of Information to be Consulted on Every Question That Arises in Everyday Life by Young and Old Alike!Including: 521 Recipes * 236 Remedies * 150 Themes for Debate * How to Be Handsome * Mother Shipton's Prophesy * The Cure for Baldness * How to Distinguish Death * PLUS other 20,000 Things Worth Knowing, and Much Much More.CONTENTSHOW POOR BOYS BECOME SUCCESSFUL MEN * THE ART OF PENMANSHIP * ORNAMENTAL PENMANSHIP * HOW TO WRITE A BUSINESS LETTER * ELEMENTS OF SUCCESS IN BUSINESS * DETECTING COUNTERFEIT MONEY * HOW TO ADVERTISE * HOW TO BE HANDSOME *MULTUM IN PARVO * 110 MISCELLANEOUS ITEMS * HOUSEHOLD RECIPES * HOW TO DESTROY HOUSEHOLD PESTS * ACCIDENTS AND INJURIES (236 ITEMS) * THE FAMILY PHYSICIAN * LANGUAGE OF FLOWERS * MASTERPIECES OF ELOQUENCE * SUNDRY BRIEF ITEMS OF INTEREST * PHYSICIAN'S DIGESTION TABLE * THEMES FOR DEBATE (150) * COOKERY RECIPES (521) * HOW TO COOK FISH * HOW TO CHOOSE AND COOK GAME * HOW TO MAKE ICE CREAMS, WATER ICES AND JELLIES * HOW TO SELECT AND COOK MEATS * HOW TO MAKE PIES * HOW TO MAKE PRESERVES * HOW TO BOIL, BAKE AND STEAM PUDDINGS * HOW TO PUT UP PICKLES AND MAKE CATSUPS * HOW TO ROAST, BROIL OR BOIL POULTRY * SAUCES FOR MEATS AND FISH * HOW TO MAKE SOUPS AND BROTH * HOW TO COOK VEGETABLES * HOW TO CALCULATE * 20,000 THINGS WORTH KNOWING (20,000 ITEMS)

K?ztudott, hogy a pártállami diktatúra idején minden jobboldali gondolat eredend?en üld?zend?nek számított. De vajon hogyan élték túl a hagyományos politikai felosztás szerint jobboldalinak tekintett személyek és mozgalmak a Rákosi-, majd a Kádár-rendszer üld?ztetéseit? Kik választották az évtizedekre szóló, csendes ?alámerülést”, és kik azok, akik továbbra is aktívan képviselték korábbi eszméiket? ?s vajon a rendelkezésünkre álló dokumentumok alapján meg lehet-e kül?nb?ztetni a jobboldalhoz k?thet? valós társadalmi jelenségeket az állambiztonság konstruált ügyeit?l? Az UNGV?RY KRISZTI?N által szerkesztett tanulmányk?tet a Kádár-rendszer állambiztonsága szempontjából ?jobboldalinak” tekintett hagyomány és gondolkodás, illetve az ezt képvisel? csoportok 1945 és 1990 k?z?tti t?rténetéb?l ad reprezentatív válogatást. Mivel e meglehet?sen széles – a progresszív konzervatív eszmét?l a kisgazdákon át az egyetemi szervezkedésekig és a radikális széls?jobboldali mozgalmakig terjed? – politikai paletta szerepl?i és nézetei a kommunista és államszocialista diktatúra idején egyként ?ellenségesnek” min?sültek, a k?tet tanulmányai mindenekel?tt az állambiztonsági iratok feldolgozására épülnek. Az ?sszeállítás áttekintést nyújt az olvasónak a belügyminisztérium ?jobboldali” ellenségképér?l, részletesen tárgyalja a prominens kisgazda és kereszténydemokrata politikusok sorsát, illetve nyomon k?veti a háború el?tti széls?jobboldalhoz k?thet? mozgalmak utóéletét is. E hiánypótló k?tet kit?n? írásai nem csupán arra világítanak rá, hogy a jobboldali hagyományok hogyan élték túl búvópatakszer?en a háborút k?vet? fél évszázadot, de a ma jobboldalinak tekintett attit?d?ket és mentalitásokat is jobban érthet?vé teszik.

Chronicling the landmark events in Beethoven's life, this book enhances understanding of the composer's character, inspiring a deeper appreciation for his work.?George Alexander Fischer illuminates the composer’s difficult childhood, his struggle to maintain friendships and romances, his ungovernable temper, his obsessive efforts to control his nephew’s life, and the excruciating decline of his hearing. This absorbing narrative provides a comprehensive account of a momentous life, as it takes the reader on a journey from the composer’s birth in Bonn to his death in Vienna.

Guus Kuijer [ejtsd: kg?sz káüjer] holland gyermek- és ifjúsági író. Népszer?ségének titka, hogy éppolyan komolysággal és nyíltsággal fordul fiatalabb olvasóihoz, mintha feln?tteknek írna: nem kerüli el a kényes témákat, aktuális társadalmi kérdéseket, hanem ezeken keresztül elfogadásra tanít. 2012-ben elnyerte az Astrid Lindgren-emlékdíjat, a világ legjelent?sebb gyermek- és ifjúsági irodalmi díját. Thomasék szomszédja egy vén boszorkány, akit?l mindenki tart. Trópusi halak úsznak a csatornában. Békák hada d?r?mb?l a bejárati ajtón. Legalábbis Thomas így látja. Rajta kívül azonban senki másnak nem t?nnek fel ezek a dolgok. A fiú mindent lejegyez a naplójába, a Minden dolgok k?nyvébe. Ez nyugtatja meg, amikor az apja elveri, vagy amikor az angyalok sírni kezdenek az édesanyja miatt. Az írás er?t ad Thomasnak, és segít, hogy olyan emberré váljon, amilyen mindig is lenni szeretett volna… boldog. ?Felment a szobájába és el?vette a füzetet, amelybe a k?nyvét írta. A k?nyv címe az volt, hogy Minden dolgok k?nyve. Thomas el?vette a tollát, és írni kezdett. ?Olyan hatalmas jéges? volt, hogy leverte a leveleket a fákról. Ez tényleg így t?rtént, a Jan van Eyck utcában, kilencéves koromban.” Kinézett az ablakon, hogy gondolkodjon, mert ablak nélkül gondolkodni sem tudott. Vagy fordítva: ha volt a k?zelében egy ablak, mindjárt gondolkodni kezdett. Aztán így folytatta: ?Ha nagy leszek, boldog leszek.” ?Hallotta, hogy hazaért az apja, és azt gondolta: Már fél hat, és még mindig nem tudom, mir?l szóljon a k?nyvem. Tulajdonképpen mir?l szoktak szólni a k?nyvek?”

Ki ne vágyna rá, hogy szeressék, elfogadják és megbecsüljék? Ki ne tenne meg bármit ezekért az értékekért? Bels? Nóra új k?nyve Utak egymáshoz cím? el?z? munkájának folytatása egy teljesen új néz?pontból: a k?nyv a ?szeret?” fogalmáról, lelki és párkapcsolati jelent?ségér?l szól. A k?nyv egyik állítása, hogy ha megismerjük és elfogadjuk a szeret?i viszonyrendszer m?k?dését, talán még élni is tudunk benne. Hiszen van úgy, hogy már nincsen út egymáshoz, hogy eltévedtünk, vagy már nem is keressük azt az utat, csak egy másikat, hogy ?sszet?rt életünk, lelkivilágunk mozaikjait újból egybeillesszük… Intimitás, érzelmek, lelki k?zelség: a hosszú távú kapcsolatokban gyakran nem éppen ezek halnak el? Pedig nélkülük szinte biztos az unalom, a megszokottság monotóniája és a boldogtalan hétk?znapok. Ilyenkor léphet be ?az a bizonyos harmadik”. A szerz? anélkül beszél a szeret?r?l, hogy pálcát t?rne f?l?tte, és inkább azt igyekszik feltárni, párkapcsolataink mely szakaszában bukkanhat fel, és milyen típusú hiányokra lehet gyógyír. Azt sem mellékes tudni, mikor szinte szükségszer?ség a megjelenése, milyen jelekb?l k?vetkeztethetünk egy ?harmadik” jelenlétére, mikor rombol, és mely esetekben lehet akár épít? a szeret?sdi.

The Jungle Book (1894) is a collection of stories written by Rudyard Kipling.The tales in the book (and also those in The Second Jungle Book which followed in 1895, and which includes five further stories about Mowgli) are fables, using animals in an anthropomorphic manner to give moral lessons. The verses of The Law of the Jungle, for example, lay down rules for the safety of individuals, families and communities. Kipling put in them nearly everything he knew or "heard or dreamed about the Indian jungle."

Peter Pan, or The Boy Who Wouldn't Grow Up and Peter and Wendy are the stage play and novel (respectively) which tell the story of Peter Pan, a mischievous little boy who can fly, and his adventures on the island of Neverland with Wendy Darling and her brothers, the fairy Tinker Bell, the Lost Boys, the Indian princess Tiger Lily, and the pirate Captain Hook. The story was written by Scottish playwright and novelist J. M. Barrie, inspired by his friendship with the Llewelyn-Davies family.

Tiziano Vecelli or Tiziano Vecellio (1488/1490 – 27 August 1576) known in English as Titian was an Italian painter, the most important member of the 16th-century Venetian school. He was born in Pieve di Cadore, near Belluno (in Veneto), in the Republic of Venice. During his lifetime he was often called da Cadore, taken from the place of his birth. Recognized by his contemporaries as "The Sun Amidst Small Stars" (recalling the famous final line of Dante's Paradiso), Titian was one of the most versatile of Italian painters, equally adept with portraits, landscape backgrounds, and mythological and religious subjects. His painting methods, particularly in the application and use of color, would exercise a profound influence not only on painters of the Italian Renaissance, but on future generations of Western art. During the course of his long life, Titian's artistic manner changed drastically but he retained a lifelong interest in color. Although his mature works may not contain the vivid, luminous tints of his early pieces, their loose brushwork and subtlety of tone are without precedent in the history of Western art. Early years This early portrait (c. 1509), described by Giorgio Vasari in 1568, was long wrongly believed to be of Ludovico Ariosto; it is now thought to be a portrait of Gerolamo Barbarigo, and the composition was borrowed by Rembrandt for his own self-portraits. The exact date of Titian's birth is uncertain; when he was an old man he claimed in a letter to Philip II, King of Spain, to have been born in 1474, but this seems most unlikely. Other writers contemporary to his old age give figures which would equate to birthdates between 1473 to after 1482, but most modern scholars believe a date nearer 1490 is more likely; the Metropolitan Museum of Art's timeline supports c.1488, as does the Getty Research Institute.He was the son of Gregorio Vecelli and his wife Lucia. His father was superintendent of the castle of Pieve di Cadore and managed local mines for their owners. Gregorio was also a distinguished councilor and soldier. Many relatives, including Titian's grandfather, were notaries, and the family of four were well-established in the area, which was ruled by Venice. At the age of about ten to twelve he and his brother Francesco (who perhaps followed later) were sent to an uncle in Venice to find an apprenticeship with a painter. The minor painter Sebastian Zuccato, whose sons became well-known mosaicists, and who may have been a family friend, arranged for the brothers to enter the studio of the elderly Gentile Bellini, from which they later transferred to that of his brother Giovanni Bellini. At that time the Bellinis, especially Giovanni, were the leading artists in the city. There Titian found a group of young men about his own age, among them Giovanni Palma da Serinalta, Lorenzo Lotto, Sebastiano Luciani, and Giorgio da Castelfranco, nicknamed Giorgione. Francesco Vecellio, his older brother, later became a painter of some note in Venice.A fresco of Hercules on the Morosini Palace is said to have been one of Titian's earliest works; others were the Bellini-esque so-called Gypsy Madonna in Vienna, and the Visitation of Mary and Elizabeth (from the convent of S. Andrea), now in the Accademia, Venice.

THE earliest record we have of the employment of an infernal machine at all resembling the torpedo of the present day, was in 1585 at the siege of Antwerp. Here by means of certain small vessels, drifted down the stream, in each of which was placed a magazine of gunpowder, to be fired either by a trigger, or a combination of levers and clockwork, an Italian engineer, Lambelli, succeeded in demolishing a bridge that the enemy had formed over the Scheldt. So successful was this first attempt, and so tremendous was the effect produced on the spectators, by the explosion of one of these torpedoes, that further investigation of this new mode of Naval warfare was at once instituted.But it was not until some two hundred years after that any real progress was effected, though numerous attempts were made during this period, to destroy vessels by means of sub-marine infernal machines.It was owing to the fact, that the condition which is now considered as essential in torpedo warfare, viz., that the charge must be submerged, was then entirely ignored, that so long a standstill occurred in this new art of making war. Captain Bushnell, the Inventor of Torpedoes.—To Captain David Bushnell, of Connecticut, in 1775, is most certainly due the credit of inventing torpedoes, or as he termed them submarine magazines. For he first proved practically that a charge of gunpowder could be fired under water, which is incontestably the essence of submarine warfare. Submarine Boat.—To Captain Bushnell is also due the credit of first devizing a submarine boat for the purpose of conveying his magazines to the bottom of hostile ships and there exploding them.Drifting Torpedoes.—Another plan of his for destroying vessels, was that of connecting two of his infernal machines together by means of a line, and throwing them into the water, allowing the current to carry them across the bows of the attacked ship. Mode of Ignition.—The ignition of his magazines was generally effected by means of clockwork, which, when set in motion, would run for some time before exploding the machines, thus enabling the operators to get clear of the explosion.Captain Bushnell's few attempts to destroy our ships off the American coast in 1776 and 1777, with his submarine boat, and his drifting torpedoes were all attended with failure, a result generally experienced, where new inventions are for the first time subjected to the test of actual service. Robert Fulton.—Robert Fulton, an American, following in his footsteps, some twenty years after, revived the subject of submarine warfare, which during that interval seems to have been entirely forgotten. A resident in France, in 1797, he is found during that year making various experiments on the Seine with a machine which he had constructed, and by which he designed "to impart to carcasses of gunpowder a progressive motion under water, to a certain point, and there explode them."[A] Fulton's Failures.—Though these first essays of his resulted in failure, Fulton thoroughly believed in the efficacy of his schemes, and we find him, during that and succeeding years, vainly importunating the French and Dutch Governments, to grant him aid and support in carrying out experiments with his new inventions, whereby he might perfect them, and thus ensure to whichever government acceded to his views, the total destruction of their enemy's fleets. Bonaparte aids Fulton.—Though holding out such favourable terms, it was not until 1800, when Bonaparte became First Consul, that Fulton's solicitations were successful, and that money was granted him to carry out a series of experiments. In the following year (1801), under Bonaparte's immediate patronage, Fulton carried out various and numerous experiments in the harbour of Brest, principally with a submarine boat devised by him (named the Nautilus), subsequently to his invention of submarine carcasses as a means of approaching a ship and fixing one of his infernal machines beneath her..

Sir Peter Paul Rubens ( 28 June 1577 – 30 May 1640), was a Flemish Baroque painter, and a proponent of an extravagant Baroque style that emphasised movement, colour, and sensuality. He is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe.. Early lifeRubens was born in the German city of Siegen, Westphalia to Jan Rubens and Maria Pypelincks. His father, a Calvinist, and mother fled Antwerp for Cologne in 1568, after increased religious turmoil and persecution of Protestants during the rule of the Spanish Netherlands by the Duke of Alba. Jan Rubens became the legal advisor (and lover) of Anna of Saxony, the second wife of William I of Orange, and settled at her court in Siegen in 1570; their daughter Christine was born in 1571. Following Jan Rubens's imprisonment for the affair, Peter Paul Rubens was born in 1577. The family returned to Cologne the next year. In 1589, two years after his father's death, Rubens moved with his mother Maria Pypelincks to Antwerp, where he was raised as a Catholic. Religion figured prominently in much of his work and Rubens later became one of the leading voices of the Catholic Counter-Reformation style of painting (he had said "My passion comes from the heavens, not from earthly musings").In Antwerp, Rubens received a humanist education, studying Latin and classical literature. By fourteen he began his artistic apprenticeship with Tobias Verhaeght. Subsequently, he studied under two of the city's leading painters of the time, the late Mannerist artists Adam van Noort and Otto van Veen. Much of his earliest training involved copying earlier artists' works, such as woodcuts by Hans Holbein the Younger and Marcantonio Raimondi's engravings after Raphael. Rubens completed his education in 1598, at which time he entered the Guild of St. Luke as an independent master. Italy (1600–1608)In 1600, Rubens travelled to Italy. He stopped first in Venice, where he saw paintings by Titian, Veronese, and Tintoretto, before settling in Mantua at the court of Duke Vincenzo I Gonzaga. The coloring and compositions of Veronese and Tintoretto had an immediate effect on Rubens's painting, and his later, mature style was profoundly influenced by Titian. With financial support from the Duke, Rubens travelled to Rome by way of Florence in 1601. Last decade (1630–1640)The Exchange of Princesses, from the Marie de' Medici Cycle. Louvre, ParisRubens's last decade was spent in and around Antwerp. Major works for foreign patrons still occupied him, such as the ceiling paintings for the Banqueting House at Inigo Jones's Palace of Whitehall, but he also explored more personal artistic directions.In 1630, four years after the death of his first wife, the 53-year-old painter married 16-year-old Hélène Fourment. Hélène inspired the voluptuous figures in many of his paintings from the 1630s, including The Feast of Venus (Kunsthistorisches Museum, Vienna), The Three Graces and The Judgment of Paris (both Prado, Madrid). In the latter painting, which was made for the Spanish court, the artist's young wife was recognized by viewers in the figure of Venus. In an intimate portrait of her, Hélène Fourment in a Fur Wrap, also known as Het Pelsken, Rubens's wife is even partially modelled after classical sculptures of the Venus Pudica, such as the Medici Venus. In 1635, Rubens bought an estate outside of Antwerp, the Steen, where he spent much of his time. Landscapes, such as his Ch?teau de Steen with Hunter (National Gallery, London) and Farmers Returning from the Fields (Pitti Gallery, Florence), reflect the more personal nature of many of his later works. He also drew upon the Netherlandish traditions of Pieter Bruegel the Elder for inspiration in later works like Flemish Kermis (c. 1630; Louvre, Paris).

Miért vannak nemek? Miért hal ki tízmillió év múlva a férfi? Mi a n?i szépség és mit vár a n? a férfit?l? Mire jó az orgazmus? Jó-e medd?ség ellen az orális szex? Mir?l árulkodik mutató- és gy?r?sujj-arányunk? Szendi Gábor A n? felemelkedése és tünd?klése cím? k?nyvében ehhez hasonló kérdésekre keresi a választ, mik?zben az evolúciós pszichológia néz?pontjából vizsgálja N? és Férfi kapcsolatát. Lebilincsel?en izgalmas gondolatmenetei bizonyítják, hogy ebben a férfik?zpontúnak hitt világban valójában a N? a titkos mozgató! A N? a szervez?je és egyben a f?díja annak a férfiak k?zt dúló, vérre men? viadalnak, amely érte folyik. Mik?zben a N? gyengének t?nik, az Er? vele van, ? az evolúció titkos favoritja!

Elég egy váratlan hajnali telefonhívás és egy rég nem hallott a hang a vonal másik végén, hogy Myron Bolitar, a kemény?kl? játékosügyn?k ismét egy els? ránézésre megoldhatatlan rejtély kell?s k?zepén találja magát. Nyolc éve, hogy utoljára találkozott a gy?ny?r? Terese Collinsszal, aki most arra kéri, utazzon Párizsba. Myron sejti, hogy nem csupán egy romantikus randevú várja a szerelem városában, ám amikor a repül?térre érve rend?r?k fogadják, majd hamarosan kiderül, hogy Terese az els? számú gyanúsítottja egy gyilkosságnak, úgy érzi, zsákutcába került. Nem ismeri sem a nyelvet, sem a szokásokat, így aligha tud bármit is kinyomozni. De miel?tt alaposabban végiggondolhatná a helyzetet, t?rténik valami, ami új megvilágításba helyezi az ügyet... ?Ekkor borítottam rá az asztalt. Amint leült mellém, azonnal végiggondoltam a lehet?ségeket. Már tudtam, mir?l van szó: emberrablás. Ha beszállok a furgonba, nekem l?ttek. Hallották már azt a nagy b?lcsességet, hogy az emberrablásoknál mindig az els? negyvennyolc óra a legkritikusabb? Amit nem szoktak hozzátenni - talán mert annyira nyilvánvaló -, hogy minden másodperccel cs?kken az esélye annak, hogy valaha is megtalálják az áldozatot. Itt ugyanez volt a helyzet. Ha beszállok abba a kocsiba, túlélési esélyeim a minimumra cs?kkennek. Ha felállok, és elindulok a furgon felé, szintén romlanak a kilátásaim. Ráadásul Sebhelyes Fej nem számít korai ellencsapásra. Azt hiszi, szépen begyakorolt kis monológját hallgatom. Nem jelentek fenyegetést. ?gy hát a meglepetés erejére építettem. Egy pillanatra ? is odanézett, hogy meggy?z?dj?n, valóban ott áll-e a kocsi. Ennyi elég is volt. Az asztal peremét már korábban megmarkoltam. Lábizmaim megfeszültek. ?gy pattantam f?l, mintha dobbantóról ugranék. Az asztallap egyenesen az arcába csapódott." Harlan Coben napjaink egyik legnépszer?bb krimiírója. Regényeit a m?faj gy?ngyszemeiként tartják számon, eddig negyven kül?nb?z? nyelvre fordították le, és k?zel 50 millió (!) példányt adtak el bel?lük világszerte.

I shall be grateful to any Reader of this book who will point out any mistakes or misprints he may happen to notice in it, or any passage which he thinks is not clearly expressed. I have a quantity of MS. in hand for Parts II and III, and hope to be able——should life, and health, and opportunity, be granted to me, to publish them in the course of the next few years. Their contents will be as follows:— PART II. ADVANCED.Further investigations in the subjects of Part I. Propositions of other forms (such as “Not-all x are y”). Triliteral and Multiliteral Propositions (such as “All abc are de”). Hypotheticals. Dilemmas. &c. &c. Part III. TRANSCENDENTAL.Analysis of a Proposition into its Elements. Numerical and Geometrical Problems. The Theory of Inference. The Construction of Problems. And many other Curiosa Logica. Introduction TO LEARNERS.[N.B. Some remarks, addressed to Teachers, will be found in the Appendix]The Learner, who wishes to try the question fairly, whether this little book does, or does not, supply the materials for a most interesting mental recreation, is earnestly advised to adopt the following Rules:— (1) Begin at the beginning, and do not allow yourself to gratify a mere idle curiosity by dipping into the book, here and there. This would very likely lead to your throwing it aside, with the remark “This is much too hard for me!”, and thus losing the chance of adding a very large item to your stock of mental delights. This Rule (of not dipping) is very desirable with other kinds of books——such as novels, for instance, where you may easily spoil much of the enjoyment you would otherwise get from the story, by dipping into it further on, so that what the author meant to be a pleasant surprise comes to you as a matter of course. Some people, I know, make a practice of looking into Vol. III first, just to see how the story ends: and perhaps it is as well just to know that all ends happily——that the much-persecuted lovers do marry after all, that he is proved to be quite innocent of the murder, that the wicked cousin is completely foiled in his plot and gets the punishment he deserves, and that the rich uncle in India (Qu. Why in India? Ans. Because, somehow, uncles never can get rich anywhere else) dies at exactly the right moment——before taking the trouble to read Vol. I. This, I say, is just permissible with a novel, where Vol. III has a meaning, even for those who have not read the earlier part of the story; but, with a scientific book, it is sheer insanity: you will find the latter part hopelessly unintelligible, if you read it before reaching it in regular course. (2) Don’t begin any fresh Chapter, or Section, until you are certain that you thoroughly understand the whole book up to that point, and that you have worked, correctly, most if not all of the examples which have been set. So long as you are conscious that all the land you have passed through is absolutely conquered, and that you are leaving no unsolved difficulties behind you, which will be sure to turn up again later on, your triumphal progress will be easy and delightful. Otherwise, you will find your state of puzzlement get worse and worse as you proceed, till you give up the whole thing in utter disgust. (3) When you come to any passage you don’t understand, read it again: if you still don’t understand it, read it again: if you fail, even after three readings, very likely your brain is getting a little tired. In that case, put the book away, and take to other occupations, and next day, when you come to it fresh, you will very likely find that it is quite easy.(4) If possible, find some genial friend, who will read the book along with you, and will talk over the difficulties with you. Talking is a wonderful smoother-over of difficulties. When I come upon anything——in Logic or in any other hard subject——that entirely puzzles me, I find it a capital plan to talk it over, aloud. ? ? ? ? ? L. C.29, Bedford Street, Strand. February 21, 1896.

These tales are translated from a variety of authors. The translator has been chiefly led to the task by the hope of composing an entertaining volume out of materials not generally accessible. The works in which many of them are found, are by no means common, and the indelicacy with which almost all collections of Italian tales are polluted, deservedly excludes them from general perusal. Such care has, however, been employed in the following selection, and such liberties taken with the originals, when they appeared objectionable on this account, that it is hoped this little book will escape the censure too justly cast upon Italian works of humour, in general—a censure which falls heavily upon many of the otherwise admirable tales of Boccaccio. While, however, such trifling alterations have been made as appeared necessary, these tales may still justly be considered as fair specimens of the Italian Novella, and like the celebrated collection already alluded to, furnish us with a very lively idea of the early manners of the Italians. Those tales, from which our great dramatist borrowed parts of his plots, and some of his incidents, have a double interest, both from their own nature, and as they illustrate the process by which his genius, "by happy alchemy of mind," turned all the materials which fell in his way to gold. Two or three of this kind have been purposely selected. ITALIAN TALES: THE TEACHER TAUGHT. THE UNEXPECTED REPLY. WHO AM I? THE DEAD RIDER. THE SKILFUL PHYSICIAN THE POMEGRANATE SEED THE FATAL MISTAKE THE DEAD ALIVE THE FALSE CHAMPION THE MERCHANT OF VENICE THERE IS A SKELETON IN EVERY HOUSE. THE ELOPEMENT. THE FRIAR ENTRAPPED ANTONIO AND VERONICA. BELPHAGOR. THE SLEEPING DRAUGHT THE COUNTERPARTS

1. The architect should be equipped with knowledge of many branches of study and varied kinds of learning, for it is by his judgement that all work done by the other arts is put to test. This knowledge is the child of practice and theory. Practice is the continuous and regular exercise of employment where manual work is done with any necessary material according to the design of a drawing. Theory, on the other hand, is the ability to demonstrate and explain the productions of dexterity on the principles of proportion. 2. It follows, therefore, that architects who have aimed at acquiring manual skill without scholarship have never been able to reach a position of authority to correspond to their pains, while those who relied only upon theories and scholarship were obviously hunting the shadow, not the substance. But those who have a thorough knowledge of both, like men armed at all points, have the sooner attained their object and carried authority with them. 3. In all matters, but particularly in architecture, there are these two points:—the thing signified, and that which gives it its significance. That which is signified is the subject of which we may be speaking; and that which gives significance is a demonstration on scientific principles. It appears, then, that one who professes himself an architect should be well versed in both directions. He ought, therefore, to be both naturally gifted and amenable to instruction. Neither natural ability without instruction nor instruction without natural ability can make the perfect artist. Let him be educated, skilful with the pencil, instructed in geometry, know much history, have followed the philosophers with attention, understand music, have some knowledge of medicine, know the opinions of the jurists, and be acquainted with astronomy and the theory of the heavens. 4. The reasons for all this are as follows. An architect ought to be an educated man so as to leave a more lasting remembrance in his treatises. Secondly, he must have a knowledge of drawing so that he can readily make sketches to show the appearance of the work which he proposes. Geometry, also, is of much assistance in architecture, and in particular it teaches us the use of the rule and compasses, by which especially we acquire readiness in making plans for buildings in their grounds, and rightly apply the square, the level, and the plummet. By means of optics, again, the light in buildings can be drawn from fixed quarters of the sky. It is true that it is by arithmetic that the total cost of buildings is calculated and measurements are computed, but difficult questions involving symmetry are solved by means of geometrical theories and methods. 5. A wide knowledge of history is requisite because, among the ornamental parts of an architect's design for a work, there are many the underlying idea of whose employment he should be able to explain toGree inquirers. For instance, suppose him to set up the marble statues of women in long robes, called Caryatides, to take the place of columns, with the mutules and coronas placed directly above their heads, he will give the following explanation to his questioners. Caryae, a state in Peloponnesus, sided with the Persian enemies against Greece; later the Greeks, having gloriously won their freedom by victory in the war, made common cause and declared war against the people of Caryae. They took the town, killed the men, abandoned the State to desolation, and carried off their wives into slavery, without permitting them, however, to lay aside the long robes and other marks of their rank as married women, so that they might be obliged not only to march in the triumph but to appear forever after as a type of slavery, burdened with the weight of their shame and so making atonement for their State. Hence, the architects of the time designed for public buildings statues of these women, placed so as to carry a load..

THE ARABIAN NIGHTS “THE ORIENT MAGIC” The Talking Bird, The Singing Tree, and the Golden WaterThe Story of the Fisherman and the GenieThe History of the Young King of the Black IslesThe Story of Gulnare of the SeaThe Story of Aladdin; Or, the Wonderful LampThe Story of Prince AgibThe Story of the City of BrassThe Story of Ali Baba and the Forty ThievesThe History of Codadad and His BrothersThe Story of Sinbad the Voyager The Talking Bird:It will be sufficient to break off a branch and carry it to plant in your gardenThe Fisherman and the GenieThe smoke ascended to the clouds, and extending itself along the sea and upon the shore formed a great mist The Young King of the Black IslesWhen he came to this part of his narrative the young king could not restrain his tearsGulnare of the SeaAnd she proceeded to burn perfume and repeat spells until the sea foamed and was agitatedAladdinAt the same time the earth, trembling, opened just before the magician, and uncovered a stone, laid horizontally, with a brass ring fixed into the middlePrince AgibAnd when the boat came to me I found in it a man of brass, with a tablet of lead upon his breast, engraven with names and talismans Prince AgibAt the approach of evening I opened the first closet and, entering it, found a mansion like paradiseThe City of BrassAnd when they had ascended that mountain they saw a city than which eyes had not beheld any greaterThe Story of Ali Baba and the Forty ThievesCassim ... was so alarmed at the danger he was in that the more he endeavoured to remember the word Sesame the more his memory was confoundedThe History of Codadad and His BrothersAs it drew near we saw ten or twelve armed pirates appear on the deckSecond Voyage of SinbadThe spot where she left me was encompassed on all sides by mountains that seemed to reach above the clouds, and so steep that there was no possibility of getting out of the valleyThird Voyage of SinbadHaving finished his repast, he returned to his porch, where he lay and fell asleep, snoring louder than thunder.. Little excuse is needed, perhaps, for any fresh selection from the famous "Tales of a Thousand and One Nights," provided it be representative enough, and worthy enough, to enlist a new army of youthful readers. Of the two hundred and sixty-four bewildering, unparalleled stories, the true lover can hardly spare one, yet there must always be favourites, even among these. We have chosen some of the most delightful, in our opinion; some, too, that chanced to appeal particularly to the genius of the artist. If, enticed by our choice and the beauty of the pictures, we manage to attract a few thousand more true lovers to the fountain-book, we shall have served our humble turn. The only real danger lies in neglecting it, in rearing a child who does not know it and has never fallen under its spell. You remember Maimoune, in the story of Prince Camaralzaman, and what she said to Danhasch, the genie who had just arrived from the farthest limits of China? "Be sure thou tellest me nothing but what is true or I shall clip thy wings!" This is what the modern child sometimes says to the genies of literature, and his own wings are too often clipped in consequence."The Empire of the Fairies is no more. Reason has banished them from ev'ry shore;Steam has outstripped their dragons and their cars,Gas has eclipsed their glow-worms and their stars."?douard Laboulaye says in his introduction to Nouveaux Contes Bleus: "Mothers who love your children, do not set them too soon to the study of history; let them dream while they are young.

In offering this study to a public accustomed only to the unquestioning acceptance of the home as something perfect, holy, quite above discussion, a word of explanation is needed. First, let it be clearly and definitely stated, the purpose of this book is to maintain and improve the home. Criticism there is, deep and thorough; but not with the intention of robbing us of one essential element of home life—rather of saving us from conditions not only unessential, but gravely detrimental to home life. Every human being should have a home; the single person his or her home; and the family their home. The home should offer to the individual rest, peace, quiet, comfort, health, and that degree of personal expression requisite; and these conditions should be maintained by the best methods of the time. The home should be to the child a place of happiness and true development; to the adult a place of happiness and that beautiful reinforcement of the spirit needed by the world's workers. We are here to perform our best service to society, and to find our best individual growth and expression; a right home is essential to both these uses. The place of childhood's glowing memories, of youth's ideals, of the calm satisfaction of mature life, of peaceful shelter for the aged; this is not attacked, this we shall not lose, but gain more universally. What is here asserted is that our real home life is clogged and injured by a number of conditions which are not necessary, which are directly inimical to the home; and that we shall do well to lay these aside. As to the element of sanctity—that which is really sacred can bear examination, no darkened room is needed for real miracles; mystery and shadow belong to jugglers, not to the truth. The home is a human institution. All human institutions are open to improvement. This specially dear and ancient one, however, we have successfully kept shut, and so it has not improved as have some others.