Meddig érdemes küzdeni egy férfi szerelméért? Zoey minden vágya, hogy musicalszínészn? legyen. ?lmai megvalósulásának csak saját gátlásai és félelmei szabnak határt. Hogy bebizonyítsa magának és k?rnyezetének a rátermettségét, a 21. születésnapján Párizsba utazik, ahol beleszeret a skót származású Owenbe. A fiatal lány számára a t?kéletes partner lehetne. De a 35 éves Owennek van egy titka. Nem sokkal kés?bb a lány találkozik egy másik férfival is, aki éppen azt a biztonságot tudná nyújtani Zoey-nak, amit Owent?l sosem kaphat meg. A lány válaszút elé kerül: a szenvedélyes szerelmet választja, vagy a biztonságos és kiszámítható életet. Netán saját lábára áll, és az álmai megvalósításának él. Hová vezethet egy titkokkal és hazugságokkal kezd?d? kapcsolat? A nagy korkül?nbség ellenére kialakulhat-e életre szóló szerelem két ember k?z?tt? Baráth Viktória romantikus regénye az álmaink megvalósításáról, a leküzdend? akadályokról, és a saját határaink átlépésér?l szól. Egy t?rténet szívvel-lélekkel. ?s te mit tennél meg az álmaidért?

Az 5 tornacsuka mesés gyerek útik?nyve a Balaton-felvidékre kalauzolja ifjú olvasóit. Ebben a mesében k?veken egyensúlyozunk. lovaskocsira pattanunk és állatokkal ismerkedünk.?Mert a Balaton t?bb, mint fürd?ruha, sokkal inkább tornacsuka. Tartsatok velünk, kalandra fel!

Két férfi les egy ablakot, felbukkan-e ott Mengele. ?znak-fáznak a hajnali harmatban, étlen-szomjan. Egyikük fogával tépné szét az anyja gyilkosát. A másik azt gondolja, nem érdemes elfogni egy rémalakot.?Isten Igéje elavult, az ?rd?g nyilvánította ki az új tízparancsolatot. Ahol az állt, hogy szeresd felebarátodat, ahogy akarnád, hogy téged szeressenek, ott ezt írta: Mit tehetsz felebarátoddal? Használd, vagy ?ld meg. ?s a parancs megfert?zte a világot.??gy valójában nem egy eszement orvost, hanem légiónyi ?rd?g?t kellene elfogniuk. Nincs választásuk, egyet tehetnek: megpróbálhatják egymást szeretni.Er?teljes, szuggesztív, remek Mengele-regény. - F?ldes Anna, ?let és IrodalomEgyszer? eszk?z?kkel, vaslogikával építkez? regény. - Berkes Erzsébet, Múlt és J?v?Kivételesen becses és szép k?nyv. - Vári Gy?rgyMik?zben olvastam, nem ment ki a fejemb?l, hogy Auschwitzra az els? atombomba válaszolt, így hát[] azzal a tudással kell élnünk, hogy néhány gombnyomással az egész F?ld Auschwitzcá alakítható át. - E?rsi István ?

Az elvált, nyugdíjas Nathan Glass már nem vágyik másra, csak magányra és névtelenségre, ezért visszavonul gyerekkora helyszínére, Brooklynba. Csakhogy találkozik rég nem látott unoka?ccsével, Tommal, aki valaha akadémiai ambíciókat dédelgetett, ám most taxisof?r, majd annak barátjával, a kétes múltú antikvárius Harryvel, és hamarosan azt veszi észre, hogy egy ?sszeesküvés részese, amelynek tárgya egy hamisított kézirat, célja pedig a bosszú. Paul Auster ebben a regényében a t?le megszokottnál melegebb, der?sebb hangon mesél kallódó emberekr?l, akiknek élete nem úgy alakult, ahogy remélték, akik már lemondtak a j?v?r?l, de a j?v? még korántsem mondott le róluk. Auster, hosszú évek óta a Nobel-díj várományosa, számtalan irodalmi díj birtokosa, k?nyveit harminc nyelvre fordították le. M?vei most a 21. Század Kiadó új életm?sorozatában jelennek meg. "Elb?v?l? t?rténet a család elviselhetetlen szépségér?l és a szerelem megváltó erejér?l." USA TODAY "Nagyszív?, életigenl?, gyengéd és mulatságos t?rténet.” The Washington Post "Auster üzenenetet küld nekünk: van remény. A szerelem megment bennünket. Meg fogjuk menteni egymást. The Boston Globe

Hogyan lesz beduin sejk egy magyar férfiból? Húsz év után Ali sejk magával viszi Szilvia gyermekeit, egy világtól elzárt villába. A kétségbeesett anya Jafarral együtt a fiatalok megmentésére siet, de egy baleset során Szilvia fiának nyoma vész. A súlyosan sérült, emlékezetét vesztett férfit egy beduin táborba vezeti a sors, ahol át kell vennie a falu vezetését. A Ramelnek keresztelt fiatalember semmit nem tud el?z? életér?l, ahogy a sérülése el?tti nagy szerelmér?l sem. Vajon visszatér az emlékezete, és rátalál az elveszett szerelmére és a családjára? Minderre fény derül Az ?rd?g lánya II. k?nyvében, ahol egy kül?nleges, egzotikus világot ismerhetünk meg, tele túlf?t?tt érzelmekkel, vágyakkal, csalódásokkal. Kaland, szerelem, igazi Zsannás-csavarokkal f?szerezve. ?

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..

The War of the Worlds is a military science fiction novel by H. G. Wells. It first appeared in serialized form in 1897, published simultaneously in Pearson's Magazine in the UK and Cosmopolitan magazine in the US. The first appearance in book form was published by William Heinemann of London in 1898. It is the first-person narrative of the adventures of an unnamed protagonist and his brother in Surrey and London as Earth is invaded by Martians. Written between 1895 and 1897, it is one of the earliest stories that detail a conflict between mankind and an extraterrestrial race. The novel is one of the most commented-on works in the science fiction canon. The War of the Worlds has two parts, Book One: The Coming of the Martians and Book Two: The Earth under the Martians. The narrator, a philosophically-inclined author, struggles to return to his wife while seeing the Martians lay waste to southern England. Book One also imparts the experience of his brother, also unnamed, who describes events in the capital and escapes the Martians by boarding a ship near Tillingham, on the Essex coast. The plot has been related to invasion literature of the time. The novel has been variously interpreted as a commentary on evolutionary theory, British Imperialism, and generally Victorian superstitions, fears and prejudices. At the time of publication it was classified as a scientific romance, like his earlier novel The Time Machine. The War of the Worlds has been both popular (having never gone out of print) and influential, spawning half a dozen feature films, radio dramas, a record album, various comic book adaptations, a television series, and sequels or parallel stories by other authors. It has even influenced the work of scientists, notably Robert Hutchings Goddard. Plot SummaryYet across the gulf of space, minds that are to our minds as ours are to those of the beasts that perish, intellects vast and cool and unsympathetic, regarded this earth with envious eyes, and slowly and surely drew their plans against us.— H. G. Wells (1898), The War of the Worlds The Coming of the MartiansThe narrative opens in an astronomical observatory at Ottershaw where explosions are seen on the surface of the planet Mars, creating much interest in the scientific community. Later a "meteor" lands on Horsell Common, near the narrator's home in Woking, Surrey. He is among the first to discover that the object is an artificial cylinder that opens, disgorging Martians who are "big" and "greyish" with "oily brown skin," "the size, perhaps, of a bear," with "two large dark-coloured eyes," and a lipless "V-shaped mouth" surrounded by "Gorgon groups of tentacles." The narrator finds them "at once vital, intense, inhuman, crippled and monstrous." They briefly emerge, have difficulty in coping with the Earth's atmosphere, and rapidly retreat into the cylinder. A human deputation (which includes the astronomer Ogilvy) approaches the cylinder with a white flag, but the Martians incinerate them and others nearby with a heat-ray before beginning to assemble their machinery. Military forces arrive that night to surround the common, including Maxim guns. The population of Woking and the surrounding villages are reassured by the presence of the military. A tense day begins, with much anticipation of military action by the narrator.

Для прихильник?в ?Голодних ?гор?, ?Сут?нок? та ?Гарр? Поттера?. Клер? завжди вважала себе звичайн?с?нькою д?вчиною, але… Якось вона стала св?дком дивного вбивства?– т?ло вбитого наче розчинилося в?пов?тр?! П?сля цього ?? життя зм?ню?ться. Вона бачить людей, яких не бачить н?хто. На не? нападають ?стоти, яким нема м?сця в цьому св?т?. ?? мат?р викрадають нев?дом?! Виявля?ться, що Клер??– нащадок давнього роду Мисливц?в за т?нями. Багато стол?ть вони захищають наш св?т в?д демон?в та сил зла… Тепер настав ?? час боротися з?темрявою! Dlja prihil'nik?v ?Golodnih ?gor?, ?Sut?nok? ta ?Garr? Pottera?. Kler? zavzhdi vvazhala sebe zvichajn?s?n'koju d?vchinoju, ale… Jakos' vona stala sv?dkom divnogo vbivstva?– t?lo vbitogo nache rozchinilosja v?pov?tr?! P?slja c'ogo ?? zhittja zm?nju?t'sja. Vona bachit' ljudej, jakih ne bachit' n?hto. Na ne? napadajut' ?stoti, jakim nema m?scja v c'omu sv?t?. ?? mat?r vikradajut' nev?dom?! Vijavlja?t'sja, shho Kler??– nashhadok davn'ogo rodu Mislivc?v za t?njami. Bagato stol?t' voni zahishhajut' nash sv?t v?d demon?v ta sil zla… Teper nastav ?? chas borotisja z?temrjavoju!

Sosem értetted a szakk?nyveket az autizmusról? Itt az alkalom, hogy olvasmányos és humoros formában megismerd a legfontosabb tudnivalókat a gyanújelekt?l a diagnózison át, a terápiáig. K?zérthet?, szakkifejezés mentes k?nyv szül?knek, nagyszül?knek és laikusoknak. Mit nevezünk autizmusnak és mi okozza? Mi az a BNO szám? Milyen terápiák vannak és melyik jó a gyerekemnek? Kérdések a diagnózis után? Családom nem fogadja el az autista gyerekemet, mit tehetek? Milyen támogatásokat kérhetek, és hol intézzem? Mi lesz vele ha én már nem leszek? ?s még számtalan más kérdés...

Mi az üzleti tervük Kész képtelenség! ... Ez a knyv az izraeli technológiai sikerek színes trténeteit gyjti ssze. Bámulatos olvasmány” – WASHINGTON POST Hogyan képes Izrael – ez az alig 7,1 millió lakosú ország, amely nem rendelkezik természeti kincsekkel, ellenségek veszik krül minden oldalról és folyamatosan hadiállapotban áll – tbb start-up céget elindítani, mint Japán, India, Dél-Korea, Kanada és Nagy-Britannia A szerzk, Dan Senor és Saul Singer, geopolitikai szakértk lévén a legnevesebb izraeli feltalálók és újítók példájából merítve mutatják be eme siker titkát, nevezetesen azt, hogyan tvzi Izrael egyedül- álló módon az innovációt és a vállalkozói kedvet az ellenséges krnyezetben. Más országokban az illemszabályokat és a precíz tervezést hangsúlyozzák, Izraelben azonban a hücpe, vagyis a merészség a legfontosabb. A szerzk azt is megmutatják, miként járult hozzá a sikerhez Izraelnek a bevándorlással, a K + F-fel és a sorkatonasággal kapcsolatos politikája. Az amerikai NASDAQ-on ma tbb izraeli cég van bejegyezve, mint amennyi dél-koreiai, japán, szingapúri, kínai, indiai és európai cég együttvéve. Ha valamikor, akkor most érdemes tanulmányozni ezt a figyelemre méltó és rugalmas országot, mert olyan lenygz és meglep tanulságokra bukkanhatunk, amelyek más nemzetek, üzletemberek és szervezetek számára is hasznosak lehetnek - mindenkinek, akit érdekel a gazdasági siker titka.

Az 5 tornacsuka mesés gyerek útik?nyve a Balaton-felvidékre kalauzolja ifjú olvasóit. Ebben a mesében lilába borul minden és a végén még ürgét is találunk. Mert a Balaton t?bb, mint fürd?ruha, sokkal inkább tornacsuka. Tartsatok velünk, kalandra fel!

In 1888 a client, Mary Morstan, comes with two puzzles for Holmes. The first is the disappearance of her father Captain Arthur Morstan in December 1878 and the second is that she has received 6 pearls in the mail from an anonymous benefactor once a year since 1882, since she answered an anonymous newspaper query inquiring for her. With the last pearl she has received a letter remarking that she has been a wronged woman and asks for meeting. Holmes takes the case and soon discovers that Major Sholto — Morstan's only friend who had denied seeing Morstan — had died in 1882 and that within a short span of time Mary began to receive the pearls, implying a connection. The only clue Mary can give Holmes is a map of a fortress with the names of Jonathan Small and three Sikhs, who are named Dost Akbar, Abdullah Khan, and Mahomet Singh. Holmes, Watson, and Mary meet Thaddeus Sholto, the son of the late Major Sholto and Capt Morstan's Army friend who has sent her the pearls. Thaddeus remarks that his father had a paranoid fear of one-legged men and confirms that Mary's father had seen the Major the night he died. That night, in a quarrel about an Agra Treasure, Morstan — who was in weak health — suffered a heart attack. Not wanting to bring attention to the object of the quarrel to public notice, Sholto disposed of the body and hid the treasure. However his own health became worse when he received a letter from India. Dying, he called his two sons and confessed to Morstan's death and was about to divulge the location of the treasure when he suddenly cried "Keep him out!". The puzzled sons glimpsed a face in the window but the only trace was a single footstep in the dirt. On their father's body is a note reading "The Sign of Four". Both brothers quarreled over whether a legacy should be left to Mary Morstan and Thaddeus left his brother Bartholomew, taking a chaplet and sending its pearls to Mary. The reason he sent the letter is that Bartholomew has found the treasure and possibly Thaddeus and Mary might confront him for a division of it. Bartholomew is found dead in his home from a poison dart and the treasure is missing. While the police wrongly take Thaddeus in as a suspect Holmes deduces that there are two persons involved in the murder: a one-legged man, Jonathan Small, as well as another "small" accomplice. He traces them to a boat landing where Small has hired a launch named the Aurora. With the help of his Baker Street Irregulars and his own disguise Holmes traces the launch. In a Police launch Holmes and Watson chase the Aurora and capture it but in the process end up killing the "small" companion after he attempts to kill Holmes with a poisoned dart shot from a blow-pipe. Small tries to escape but is captured. However the iron treasure box is empty; Small claims to have dumped the treasure over the side during the chase.

dv neked is Thomas! A világért sem szeretnélek megzavarni az nsajnálatban, majd visszajvk késbb. válaszolta, tkéletes színészi alakítást nyújtva, nem kevés kznysséggel a hangjában. Külnben sem fontos, csak gondoltam szólok, nyugodtan abbahagyhatod, mert úgysem tudunk semerre sem elindulni! Amúgy meg, felsbb utasításra, én már tíz perce lezártam az ügyet... talán ez az egész elég kínos ahhoz, hogy eltussolják, mivel az ipse az reg kontinens polgára. Végre egy jó hír, mert szégyellem, de pont azon gondolkodtam, miképpen fogalmazzam meg a halál okát. nyugtázta a dolgot, egy kínos mosoly kíséretében, immáron teljesen más hangnemben Dr. Thomas Everett, a trvényszéki halottkém. Mivel kicsit idétlennek éreztem, a valami, aminek semmi nyomát nem lelem, behatolt a homlok kzepén a koponyába és ott okozott valamit” krülírást. Semmi dulakodás kérdezte Peter, aki az elz kijelentésével ellentétben nem adta fel a reményt, hogy talál bármilyen apró jelet, amin elindulhat. Vagy esetleg, valami rendhagyó Hát nem is tudom... mindenesetre furcsának találom az áldozat testhelyzetét... mintha ülve halt volna meg. kezdte elgondolkodva. Mégsem ez az amit mutatni akarok. Nézd csak!Azzal, egyetlen intéssel életre keltve a fali kijelzt, a halott koponyájáról készült CT felvételeket jelenítette meg Peternek. Itt látható a... nevezzük szúrásnak... szóval a szúrás alatti agyszeletet. mutatott a képre. Mit látsz Semmit. válaszolta Peter, jó pár másodperces habozás után, amely id alatt alaposan megvizsgálta a felvételt. Hát éppen ez az! kiáltott fel, az elbbi viselkedésével szges ellentétben, kitr lelkesedéssel Thomas.Peternek leesett az álla a csodálkozástól. Nincs semmilyen szúrás! nézett dbbenten a dokira. Akkor mitl halt meg

DRAWING is the expression of an idea: “Art must come from within, and not from without. This fact has led some to assert that the study of nature is not essential to the student, and that careful training in the study of the representation of the actual appearance is mechanical and harmful. Such persons forget that all art ideas and sentiments must be based upon natural objects, and that a person who cannot represent truly what he sees will be entirely unable to express the simplest ideal conceptions so that others may appreciate them. Study of nature is, then, of the first and greatest importance to the art student.A drawing may be made in outline, in light and shade, or in color. The value of the drawing artistically does not depend upon the medium used, but upon the individuality of the draughtsman making it. The simplest pencil sketch may have much more merit than an elaborate colored drawing made by one who is unable to represent truly the facts of nature, or who sees, instead of the beauty and poetry, the ugliness and the imperfections of the subject. OBJECTS FOR STUDY:We hear a great deal now about the cultivation of the sense of beauty by the choice of drawing models. Many go so far as to say that nothing but the most beautiful forms should be given from the start, and, asserting that the cube, cylinder,and other type forms are not beautiful, they say that they should not be used, but that beautiful variations of these type forms should be provided. More definite information than this is rarely given. We are not told what natural objects are beautiful, and cheap enough to be provided, or how these objects of beauty are to be obtained, if they are not provided by the city. Such advice as to the use of beautiful models must be very pleasant and valuable to the drawing teacher, who so often fails to secure the money necessary to provide the cheap wooden models costing a few cents each ; and we do not wonder that special and regular teachers often regard this subject as one having no standards and no authorities. Much of all this commotion about beautiful objects of study is raised by those who, suffering from criticism, have in the desire to escape it plunged headlong from one set of mechanical rules for a series of lessons for the public schools, to another set less arbitrary in certain directions, but still mechanical, and if possible, more harmful than before, because attempting more.The average teacher can readily learn to discover at a glance whether or not the drawing of a cube represents the object as it might appear. She can do this even without seeing the model from the pupil's position; and the student can compare his drawing with the object and discover its errors more easily than he can in the drawing of a cast, a leaf, a figure,or any other object of beauty, in which the beauty depends upon lines which are subtile and which require a trained eye to see at all truly.

Hogyan lesz a bácskai f?ldesúr fiából a cigányok bárója, hogyan találja meg az apja által elrejtett mérhetetlen kincsen kívül a boldogságot is egy gy?ny?r? t?r?k lány oldalán? – ezt meséli el Jókai ebben a kisregényében, amelyet a bel?le készült operett tett világhír?vé.

Diego Rodríguez de Silva y Velázquez (June 6, 1599 – August 6, 1660) was a Spanish painter who was the leading artist in the court of King Philip IV and one of the most important painters of the Spanish Golden Age. He was an individualistic artist of the contemporary Baroque period, important as a portrait artist. In addition to numerous renditions of scenes of historical and cultural significance, he painted scores of portraits of the Spanish royal family, other notable European figures, and commoners, culminating in the production of his masterpiece Las Meninas (1656). From the first quarter of the nineteenth century, Velázquez's artwork was a model for the realist and impressionist painters, in particular ?douard Manet. Since that time, famous modern artists, including Pablo Picasso, Salvador Dalí and Francis Bacon, have paid tribute to Velázquez by recreating several of his most famous works. Early lifeBorn in Seville, Andalusia, Spain, Diego, the first child of Jo?o Rodrigues da Silva and Jerónima Velázquez, was baptized at the church of St Peter in Seville on Sunday, June 6, 1599. This christening must have followed the baby's birth by no more than a few weeks, or perhaps only a few days. Velázquez's paternal grandparents, Diego da Silva and Maria Rodrigues, had moved to Seville from their native Porto, Portugal decades earlier. As for Jo?o Rodrigues da Silva and his wife, both were born in Seville, and were married, also at the church of St Peter, on December 28, 1597. They came from the lesser nobility and were accorded the privileges generally enjoyed by the gentry. Velázquez was educated by his parents to fear God and, intended for a learned profession, received good training in languages and philosophy. Influenced by many artists he showed an early gift for art; consequently, he began to study under Francisco de Herrera, a vigorous painter who disregarded the Italian influence of the early Seville school. Velázquez remained with him for one year. It was probably from Herrera that he learned to use brushes with long bristles. After leaving Herrera's studio when he was 12 years old, Velázquez began to serve as an apprentice under Francisco Pacheco, an artist and teacher in Seville. Though considered a generally dull, undistinguished painter, Pacheco sometimes expressed a simple, direct realism in contradiction to the style of Raphael that he was taught. Velázquez remained in Pacheco's school for five years, studying proportion and perspective and witnessing the trends in the literary and artistic circles of Seville.To Madrid (early period) By the early 1620s, his position and reputation were assured in Seville. On April 23, 1618, Velázquez married Juana Pacheco (June 1, 1602 – August 10, 1660), the daughter of his teacher. She bore him two daughters—his only known family. The elder, Francisca de Silva Velázquez y Pacheco (1619–1658), married painter Juan Bautista Martínez del Mazo at the Church of Santiago in Madrid on August 21, 1633; the younger, Ignacia de Silva Velázquez y Pacheco, born in 1621, died in infancy. Velázquez produced notable works during this time. Known for his compositions of amusing genre scenes (also called bodegones), such as Old Woman Frying Eggs, his sacred subjects include Adoración de los Reyes (1619, The Adoration of the Magi), and Jesús y los peregrinos de Emaús (1626, Christ and the Pilgrims of Emmaus), both of which begin to express his more pointed and careful realism.

A Sz?vetség nem más mint a sorozat els? három részének egybef?z?tt kiadása.?gymint:Európa?Atlantisz?Illuminátus

Mr. Hungerton, her father, really was the most tactless person upon earth,—a fluffy, feathery, untidy cockatoo of a man, perfectly good-natured, but absolutely centered upon his own silly self. If anything could have driven me from Gladys, it would have been the thought of such a father-in-law. I am convinced that he really believed in his heart that I came round to the Chestnuts three days a week for the pleasure of his company, and very especially to hear his views upon bimetallism, a subject upon which he was by way of being an authority. For an hour or more that evening I listened to his monotonous chirrup about bad money driving out good, the token value of silver, the depreciation of the rupee, and the true standards of exchange. "Suppose," he cried with feeble violence, "that all the debts in the world were called up simultaneously, and immediate payment insisted upon,—what under our present conditions would happen then?" I gave the self-evident answer that I should be a ruined man, upon which he jumped from his chair, reproved me for my habitual levity, which made it impossible for him to discuss any reasonable subject in my presence, and bounced off out of the room to dress for a Masonic meeting. At last I was alone with Gladys, and the moment of Fate had come! All that evening I had felt like the soldier who awaits the signal which will send him on a forlorn hope; hope of victory and fear of repulse alternating in his mind. She sat with that proud, delicate profile of hers outlined against the red curtain. How beautiful she was! And yet how aloof! We had been friends, quite good friends; but never could I get beyond the same comradeship which I might have established with one of my fellow-reporters upon the Gazette,—perfectly frank, perfectly kindly, and perfectly unsexual. My instincts are all against a woman being too frank and at her ease with me. It is no compliment to a man. Where the real sex feeling begins, timidity and distrust are its companions, heritage from old wicked days when love and violence went often hand in hand. The bent head, the averted eye, the faltering voice, the wincing figure—these, and not the unshrinking gaze and frank reply, are the true signals of passion. Even in my short life I had learned as much as that—or had inherited it in that race memory which we call instinct. Gladys was full of every womanly quality. Some judged her to be cold and hard; but such a thought was treason. That delicately bronzed skin, almost oriental in its coloring, that raven hair, the large liquid eyes, the full but exquisite lips,—all the stigmata of passion were there. But I was sadly conscious that up to now I had never found the secret of drawing it forth. However, come what might, I should have done with suspense and bring matters to a head to-night. She could but refuse me, and better be a repulsed lover than an accepted brother. So far my thoughts had carried me, and I was about to break the long and uneasy silence, when two critical, dark eyes looked round at me, and the proud head was shaken in smiling reproof. "I have a presentiment that you are going to propose, Ned. I do wish you wouldn't; for things are so much nicer as they are." I drew my chair a little nearer. "Now, how did you know that I was going to propose?" I asked in genuine wonder."Don't women always know? Do you suppose any woman in the world was ever taken unawares? But—oh, Ned, our friendship has been so good and so pleasant! What a pity to spoil it! Don't you feel how splendid it is that a young man and a young woman should be able to talk face to face as we have talked?" "I don't know, Gladys. You see, I can talk face to face with—with the station-master." I can't imagine how that official came into the matter; but in he trotted, and set us both laughing. "That does not satisfy me in the least. I want my arms round you, and your head on my breast, and—oh, Gladys, I want——"

Схемы, иллюстрации и инструкции помогут без труда справиться с работой. ?Сооружение гаража, навеса, летней кухни, сарая, хозблока и др. ? Проекты террас, ажурных пергол, открытых веранд, зимнего сада с указанием размеров, деталей и др. Shemy, illjustracii i instrukcii pomogut bez truda spravit'sja s rabotoj. ?Sooruzhenie garazha, navesa, letnej kuhni, saraja, hozbloka i dr. ? Proekty terras, azhurnyh pergol, otkrytyh verand, zimnego sada s ukazaniem razmerov, detalej i dr.

The Tragedy of Julius Caesar is a tragedy by William Shakespeare, believed to have been written in 1599. It portrays the 44 BC conspiracy against the Roman dictator Julius Caesar, his assassination and the defeat of the conspirators at the Battle of Philippi. It is one of several plays written by Shakespeare based on true events from Roman history, which also include Coriolanus and Antony and Cleopatra. Although the title is Julius Caesar, Julius Caesar is not the most visible character in its action; he appears in only five scenes. Marcus Brutus speaks more than four times as many lines, and the central psychological drama is his struggle between the conflicting demands of honor, patriotism, and friendship. Characters & Synopsis:Marcus Brutus is Caesar's close friend and a Roman praetor. Brutus allows himself to be cajoled into joining a group of conspiring senators because of a growing suspicion—implanted by Caius Cassius—that Caesar intends to turn republican Rome into a monarchy under his own rule. The early scenes deal mainly with Brutus's arguments with Cassius and his struggle with his own conscience. The growing tide of public support soon turns Brutus against Caesar (this public support was actually faked; Cassius wrote letters to Brutus in different handwritings over the next month in order to get Brutus to join the conspiracy). A soothsayer warns Caesar to "beware the Ides of March", which he ignores, culminating in his assassination at the Capitol by the conspirators that day, despite being warned by the soothsayer and Artemidorus, one of Caesar's supporters at the entrance of the Capitol. Caesar's assassination is one of the most famous scenes of the play, occurring in Act 3 (the other is Marc Antony's oration "Friends, Romans, countrymen.") After ignoring the soothsayer as well as his wife's own premonitions, Caesar comes to the Senate. The conspirators create a superficial motive for the assassination by means of a petition brought by Metellus Cimber, pleading on behalf of his banished brother. As Caesar, predictably, rejects the petition, Casca grazes Caesar in the back of his neck, and the others follow in stabbing him; Brutus is last. At this point, Caesar utters the famous line "Et tu, Brute?" ("And you, Brutus?", i.e. "You too, Brutus?"). Shakespeare has him add, "Then fall, Caesar," suggesting that Caesar did not want to survive such treachery, therefore becoming a hero.

It is believed that the scene of this tale, and most of the information necessary to understand its allusions, are rendered sufficiently obvious to the reader in the text itself, or in the accompanying notes. Still there is so much obscurity in the Indian traditions, and so much confusion in the Indian names, as to render some explanation useful. Few men exhibit greater diversity, or, if we may so express it, greater antithesis of character, than the native warrior of North America. In war, he is daring, boastful, cunning, ruthless, self-denying, and self-devoted; in peace, just, generous, hospitable, revengeful, superstitious, modest, and commonly chaste. These are qualities, it is true, which do not distinguish all alike; but they are so far the predominating traits of these remarkable people as to be characteristic. It is generally believed that the Aborigines of the American continent have an Asiatic origin. There are many physical as well as moral facts which corroborate this opinion, and some few that would seem to weigh against it. The color of the Indian, the writer believes, is peculiar to himself, and while his cheek-bones have a very striking indication of a Tartar origin, his eyes have not. Climate may have had great influence on the former, but it is difficult to see how it can have produced the substantial difference which exists in the latter. The imagery of the Indian, both in his poetry and in his oratory, is oriental; chastened, and perhaps improved, by the limited range of his practical knowledge. He draws his metaphors from the clouds, the seasons, the birds, the beasts, and the vegetable world. In this, perhaps, he does no more than any other energetic and imaginative race would do, being compelled to set bounds to fancy by experience; but the North American Indian clothes his ideas in a dress which is different from that of the African, and is oriental in itself. His language has the richness and sententious fullness of the Chinese. Philologists have said that there are but two or three languages, among all the numerous tribes which formerly occupied the country that now composes the United States. They ascribe the known difficulty one people have to understand another to corruptions and dialects. The writer remembers to have been present at an interview between two chiefs of the Great Prairies west of the Mississippi, and when an interpreter was in attendance who spoke both their languages. The warriors appeared to be on the most friendly terms, and seemingly conversed much together; yet, according to the account of the interpreter, each was absolutely ignorant of what the other said. They were of hostile tribes, brought together by the influence of the American government; and it is worthy of remark, that a common policy led them both to adopt the same subject. They mutually exhorted each other to be of use in the event of the chances of war throwing either of the parties into the hands of his enemies. Whatever may be the truth, as respects the root and the genius of the Indian tongues, it is quite certain they are now so distinct in their words as to possess most of the disadvantages of strange languages; hence much of the embarrassment that has arisen in learning their histories, and most of the uncertainty which exists in their traditions. Like nations of higher pretensions, the American Indian gives a very different account of his own tribe or race from that which is given by other people. He is much addicted to overestimating his own perfections, and to undervaluing those of his rival or his enemy; a trait which may possibly be thought corroborative of the Mosaic account of the creation. The whites have assisted greatly in rendering the traditions of the Aborigines more obscure by their own manner of corrupting names. Thus, the term used in the title of this book has undergone the changes of Mahicanni, Mohicans, and Mohegans; the latter being the word commonly used by the whites.