It was nine o'clock. The little town of Vauchamp, dark and silent, had just retired to bed amid a chilly November rain. In the Rue des Recollets, one of the narrowest and most deserted streets of the district of Saint-Jean, a single window was still alight on the third floor of an old house, from whose damaged gutters torrents of water were falling into the street. Mme Burle was sitting up before a meager fire of vine stocks, while her little grandson Charles pored over his lessons by the pale light of a lamp.

The third novel in Zola's twenty-volume series entitled "Les Rougon-Macquart," this story revolves around and within the 21-acre market Les Halles Centrales of Paris. The starving scholar Florent has escaped his unwarranted exile on Devil's Island, and he is alternately entranced and disgusted by his refuge in 'the belly of Paris.' Zola describes the market and Florent's experiences in the midst of it with his characteristically captivating comprehension, foreshadowing the total mastery of working-class speech in his later works. Florent makes a friend of Claude Lantier, a painter who explains the battle being waged in the vast Central Markets between the 'fat' burghers and 'thin' lower class, in which Florent is soon embroiled. He is a man caught between the fat and the thin, and this lack of allegiance leads to painful condemnation and Florent's ultimate disintegration. Presented here is the somewhat expurgated 1895 translation of Ernest Alfred Vizetelly, entitled "The Fat and the Thin".

L'Assommoir (1877) is the seventh novel in ?mile Zola's twenty-volume series Les Rougon-Macquart. Usually considered one of Zola's masterpieces, the novel—a harsh and uncompromising study of alcoholism and poverty in the working-class districts of Paris—was a huge commercial success and established Zola's fame and reputation throughout France and the world.

Alegato en favor del capitán Alfred Dreyfus, dirigido por ?mile Zola mediante una carta abierta al presidente de Francia, M. Félix Faure, y publicado por el diario L'Aurore el 13 de enero de 1898 en su primera plana.

Nana is a novel by the French naturalist author ?mile Zola. Completed in 1880, Nana is the ninth installment in the 20-volume Les Rougon-Macquart series, which was to tell "The Natural and Social History of a Family under the Second Empire." The novel was an immediate success. Le Voltaire, the French newspaper that was to publish it in installments from October 1879 on, had launched a gigantic advertising campaign, raising the curiosity of the reading public to a fever pitch. When Charpentier finally published Nana in book form in February 1880, the first edition of 55,000 copies was sold out in one day. Flaubert and Edmond de Goncourt were full of praise for Nana. On the other hand, a part of the non-reading public, spurred on by some critics, reacted to the book with outrage. While the novel is held up as a fine example of writing, it is not especially true to Zola's touted naturalist philosophy; instead, it is one of the most symbolically complex of his novels, setting it apart from the earthy "realism" of L'Assommoir or the more brutal "realism" of La Terre (1887). However, it was a great deal more authentic than most contemporary novels about the demimonde. Nana is especially noted for the crowd scenes, of which there are many, in which Zola proves himself a master of capturing the incredible variety of people. Whereas in his other novels -- notably Germinal (1885) -- he gives the reader an amazingly complete picture of surroundings and the lives of characters, from the first scene we are to understand that this novel treads new ground. Flaubert summed up the novel in one perfect sentence: Nana tourne au mythe, sans cesser d'être réelle. (Nana turns into myth, without ceasing to be real.)

Hijo de Gervaise Macquart et de su amante Lantier, el joven ?tienne Lantier es despedido de su trabajo por haberle dado una bofetada a su patrón. Desempleado, se va al norte de la Francia en busca de trabajo. Es contratado en las minas de Montsou en donde vive condiciones de trabajo sumamente precarias.

The novel is partly an origin story, with a huge cast of characters swarming around - many of whom become the central figures of later novels in the series - and partly an account of the December 1851 coup d'état that created the French Second Empire under Napoleon III as experienced in a large provincial town in southern France.

It was on a Saturday, at six in the morning, that I died after a three days' illness. My wife was searching a trunk for some linen, and when she rose and turned she saw me rigid, with open eyes and silent pulses. She ran to me, fancying that I had fainted, touched my hands and bent over me. Then she suddenly grew alarmed, burst into tears and stammered: "My God, my God! He is dead!"

At dawn a clamor of voices shook the mill. Pere Merlier opened the door of Francoise's chamber. She went down into the courtyard, pale and very calm. But there she could not repress a shiver as she saw the corpse of a Prussian soldier stretched out on a cloak beside the well.

Nuova edizione illustrata con i disegni originali di Alec Ball, Frederic Dorr Steele, Knott e T. V. McCarthy. "La scomparsa di Lady Frances Carfax" è uno dei 56 racconti di Sherlock Holmes scritto dall'autore britannico Arthur Conan Doyle, inizialmente pubblicato nelle riviste American Magazine e The Strand Magazine e in seguito parte di una raccolta di otto racconti pubblicata come libro con il titolo di ""Il suo ultimo saluto: alcune reminiscenze di Sherlock Holmes"", in alcune edizioni intitolato ""L'ultimo saluto di Sherlock Holmes"". ? uno dei pochi racconti in cui per gran parte della trama Watson deve agire da solo e cerca di fare del suo meglio con Holmes posto in secondo piano. Sir Arthur Ignatius Conan Doyle (Edimburgo, 22 maggio 1859 – Crowborough, 7 luglio 1930) è stato uno scrittore scozzese, considerato, insieme ad Edgar Allan Poe, il fondatore di due generi letterari: il giallo e il fantastico. In particolare è il capostipite del sottogenere noto come giallo deduttivo, reso famoso dal personaggio dell'investigatore Sherlock Holmes. La produzione dello scrittore tuttavia spazia dal romanzo d'avventura alla fantascienza, dal soprannaturale ai temi storici. Altre edizioni Disponibile anche in inglese e in edizione bilingue con testo inglese a fronte, specifica per tablet (il testo originale e la traduzione vengono visualizzati su due colonne affiancate).

Strumming a harp while floating on a white cloud might be Paradise for some people, but it would bore others stiff. Given an unlimited chance to choose your ideal world, what would you specify—palaces or log cabins? I'll take beer, son, and thanks again for the offer. As you can see, I'm kinda down on my luck. I know what you're thinking, but I'm not really on the bum. I usually make out all right—nothing fancy, mind you, but it's a living. Odd jobs in the winter and spring, follow the harvests in the summer and fall. Things are slack right now.You? Electronics, huh? Used to know a fellow in electronics.... His name was Joe Shannon, used to work for Stellar Electric up in Fremont. Young fellow, not more'n twenty-five or so. Rail thin, wispy hair, serious look—you know, the one suit, absent-minded type. Joe was a brain. A triple-A, gold-plated, genuine genius. Had a wife named Marge. Not beautiful but pretty and a nice figure and a cook you never saw the likes of. Like I say, she was married to Joe but Joe was married to his work and after you'd been around a while, you could tell there was friction. But that ain't the beginning.

"When all the gods had assembled in conference, Zeus arose among them and addressed them thus" . . . "it is with this line that Plato's story of Atlantis ends; and the words of Zeus remain unknown." -- Francis Bacon, New Atlantis Of all the writings of Plato the Timaeus is the most obscure and repulsive to the modern reader, and has nevertheless had the greatest influence over the ancient and mediaeval world. The obscurity arises in the infancy of physical science, out of the confusion of theological, mathematical, and physiological notions, out of the desire to conceive the whole of nature without any adequate knowledge of the parts, and from a greater perception of similarities which lie on the surface than of differences which are hidden from view. To bring sense under the control of reason; to find some way through the mist or labyrinth of appearances, either the highway of mathematics, or more devious paths suggested by the analogy of man with the world, and of the world with man; to see that all things have a cause and are tending towards an end—this is the spirit of the ancient physical philosopher. He has no notion of trying an experiment and is hardly capable of observing the curiosities of nature which are 'tumbling out at his feet,' or of interpreting even the most obvious of them. He is driven back from the nearer to the more distant, from particulars to generalities, from the earth to the stars. He lifts up his eyes to the heavens and seeks to guide by their motions his erring footsteps. But we neither appreciate the conditions of knowledge to which he was subjected, nor have the ideas which fastened upon his imagination the same hold upon us. For he is hanging between matter and mind; he is under the dominion at the same time both of sense and of abstractions; his impressions are taken almost at random from the outside of nature; he sees the light, but not the objects which are revealed by the light; and he brings into juxtaposition things which to us appear wide as the poles asunder, because he finds nothing between them. He passes abruptly from persons to ideas and numbers, and from ideas and numbers to persons,—from the heavens to man, from astronomy to physiology; he confuses, or rather does not distinguish, subject and object, first and final causes, and is dreaming of geometrical figures lost in a flux of sense. He contrasts the perfect movements of the heavenly bodies with the imperfect representation of them (Rep.), and he does not always require strict accuracy even in applications of number and figure (Rep.). His mind lingers around the forms of mythology, which he uses as symbols or translates into figures of speech. He has no implements of observation, such as the telescope or microscope; the great science of chemistry is a blank to him. It is only by an effort that the modern thinker can breathe the atmosphere of the ancient philosopher, or understand how, under such unequal conditions, he seems in many instances, by a sort of inspiration, to have anticipated the truth. The influence with the Timaeus has exercised upon posterity is due partly to a misunderstanding. In the supposed depths of this dialogue the Neo-Platonists found hidden meanings and connections with the Jewish and Christian Scriptures, and out of them they elicited doctrines quite at variance with the spirit of Plato. Believing that he was inspired by the Holy Ghost, or had received his wisdom from Moses, they seemed to find in his writings the Christian Trinity, the Word, the Church, the creation of the world in a Jewish sense, as they really found the personality of God or of mind..

He stood watching while George Atkinson spun around, dark eyes flashing, hair tousled. There was a two days' growth of beard darkening Atkinson's face. "Why, George," Loveral said, swiftly examining the litter of metal and wood which was spread over a table behind Atkinson. There was a home-made hammer in Atkinson's hand. "What have we here, George?""Something for you," Atkinson said, tightening his fingers about the handle of the hammer.Loveral grinned his famous Loveral grin. "That's fine. What could it be?" "None of your damned business.""George," Loveral said, his smile still white but his eyes narrow and quick.The woman was behind them. Her voice screeched. "George, I told you. Why didn't you listen, George? You should have listened to me. You—" Loveral held up a hand, still watching Atkinson. "Now tell me, George, what is it you're making for me?"Atkinson raised the hammer slightly.Loveral stood very still. "That's a nice hammer, George."Atkinson's eyes were black beneath his thick brows."You made that, didn't you?" Loveral asked."Yes, I made that," Atkinson said. "I made that and I made something else. Another minute and I'll have that finished, too." "George," said Loveral, stepping quietly forward, "I don't like to say this, of course. You've been one of our very best members. But nobody works here, George. We can't allow that. You know the rules." "I know the rules, all right.""Well, then," Loveral said, extending his hand toward the hammer, "we'll just destroy this and whatever else you might have been making. We'll just forget it ever happened. We'll get along real fine that way, George. We'll just be such good friends.""We'll just go to hell," said Atkinson, snatching his hammer away. Loveral's smile disappeared. "I'll tell you, George. I have to mean business with this. You know the reasons. If we allow anybody to work here, then there's going to be trouble. That isn't our plan. We're here to grow within ourselves and expand culturally. Not to commercialize a beautiful world like Dream Planet."

Storia della letteratura italiana (Edizione con note e nomi aggiornati)

Il racconto narra di Savile a cui, in seguito ad un ricevimento offerto da Lady Windermere dove ad alcuni ospiti viene letto il futuro, un chiromante predice una minaccia imminente: egli stesso sarà l'artefice di un omicidio. Lord Arthur, prossimo alle nozze, crede fermamente nella predizione del chiromante e per evitare di coinvolgere la futura moglie nelle conseguenze del delitto, decide di posticipare il matrimonio e procedere speditamente alla sua realizzazione. Il protagonista risulta molto pratico nell'affrontare i problemi che si ritrova, non si fa remore di infrangere la morale, il destino contro la volontà che non trova resistenza; è questo forse riconducibile al Fato greco - di quella Grecia che Wilde idealizza come epoca felice e quasi perfetta -, superiore persino agli Dèi, e quindi, anche alla mera morale degli uomini. Tema questo, della moralità tradita, che si evolverà poi negli anni, e da un'inevitabile ed imposta scelta "fatale", arriverà ad essere una consapevole volontà del protagonista, e per questo buona solo a portare la rovina - tutto questo, ovviamente, nel Ritratto di Dorian Gray. Disponibile anche in edizione con testo a fronte specifica per eBook.

Nuova edizione illustrata con i disegni originali di Walter Paget e Frederic Dorr Steele. "L'avventura dell’investigatore morente", in alcune edizioni intitolato "L'avventura del detective morente" o "L'avventura del poliziotto morente" è uno dei 56 racconti di Sherlock Holmes scritto dall'autore britannico Arthur Conan Doyle, inizialmente pubblicato nelle riviste Collier's e The Strand Magazine e in seguito parte di una raccolta di otto racconti pubblicata come libro con il titolo di "Il suo ultimo saluto: alcune reminiscenze di Sherlock Holmes", in alcune edizioni intitolato "L'ultimo saluto di Sherlock Holmes". Sir Arthur Ignatius Conan Doyle (Edimburgo, 22 maggio 1859 – Crowborough, 7 luglio 1930) è stato uno scrittore scozzese, considerato, insieme ad Edgar Allan Poe, il fondatore di due generi letterari: il giallo e il fantastico. In particolare è il capostipite del sottogenere noto come giallo deduttivo, reso famoso dal personaggio dell'investigatore Sherlock Holmes. La produzione dello scrittore tuttavia spazia dal romanzo d'avventura alla fantascienza, dal soprannaturale ai temi storici. Altre edizioniDisponibile anche in inglese e in edizione bilingue con testo inglese a fronte, specifica per tablet (il testo originale e la traduzione vengono visualizzati su due colonne affiancate).

The Jungle Book (1894) is a collection of stories by English Nobel laureate Rudyard Kipling. The stories were first published in magazines in 1893–94. The original publications contain illustrations, some by Rudyard's father, John Lockwood Kipling. Kipling was born in India and spent the first six years of his childhood there. After about ten years in England, he went back to India and worked there for about six-and-a-half years. These stories were written when Kipling lived in Vermont. There is evidence that it was written for his daughter Josephine, who died in 1899 aged six, after a rare first edition of the book with a poignant handwritten note by the author to his young daughter was discovered at the National Trust's Wimpole Hall in Cambridgeshire in 2010. 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." Other readers have interpreted the work as allegories of the politics and society of the time. The best-known of them are the three stories revolving around the adventures of an abandoned "man cub" Mowgli who is raised by wolves in the Indian jungle. The most famous of the other stories are probably "Rikki-Tikki-Tavi", the story of a heroic mongoose, and "Toomai of the Elephants", the tale of a young elephant-handler. As with much of Kipling's work, each of the stories is preceded by a piece of verse, and succeeded by another. Characters:Akela – An Indian WolfBagheera – A melanistic (black) pantherBaloo— A Sloth BearBandar-log – A tribe of monkeysChil – A kite (renamed "Rann" in US editions)Chuchundra – A MuskratDarzee – A tailorbirdFather Wolf – The Father Wolf who raised Mowgli as his own cubGrey brother – One of Mother and Father Wolf's cubsHathi – An Indian ElephantIkki – An Asiatic Brush-tailed Porcupine (mentioned only)Kaa – Indian PythonKarait – Common KraitKotick – A White SealMang – A BatMor – An Indian PeafowlMowgli – Main character, the young jungle boyNag – A male Black cobraNagaina – A female King cobra, Nag's mateRaksha – The Mother wolf who raised Mowgli as own cubRikki-Tikki-Tavi – An Indian MongooseSea Catch – A Northern fur seal and Kotick's fatherSea Cow – A Steller's Sea CowSea Vitch – A WalrusShere Khan— A Royal Bengal TigerTabaqui – An Indian Jackal

Jung’a g?re i? dünyam?za y?nelik de ?e?itli yap?lar?m?z vard?r. Her insanda hem di?ili?e ait bir?davran???ve hissedi? yap?s?( ki buna “anima” ad?n? vermi?tir) hem de erkekli?e ait bir yap? (“animus”) vard?r. Ona g?re bu iki yap? aras?ndaki dengeye ait sorunlar cinsel kimlik bozukluklar?ndan,??ki?ilik?bozukluklar?na dek ?ok farkl? psikiyatrik bozukluklara yol a?abilmektedir.?Bunlar?n en alt?nda ise, “kendilik” dedi?imiz as?l bizim i?imizdeki??z?olarak dü?ünülebilecek olan, rüyalar?m?zda farkl?la?arak ortaya ??kan adeta yerkürenin merkezindeki ma?ma katman? gibi enerjik bir yap? vard?r. ????NDEK?LER ?Carl Gustav Jung’un Ya?am ?yküsü?B?R?NC? B?L?M:?JUNG PS?KOLOJ?S?NE G?R??ANAL?T?K PS?KOLOJ?Bilin? ve Bilin?d???n?n ??leviKi?ilik Kuram?Psikoterapi SüreciJung’un psikoloji-psikiyatri bilimine yapt??? katk?larBilincin ?ne ??k???Bilincin ??levleri??levlerin y?netimi:Psikolojik tipler &?Dünyaya y?nelik tutumlar:D??ad?nüklük??e d?nüklükBilin?d???: Ki?isel ve Kolektif Bilin?d???Bilin? ve bilin?d??? ili?kisi:Jung ve E?zamanl?l?kE?zamanl?l?k –Jung’un Ger?ekli?e Yan?t?G?LGE KAVRAMI VE JUNG.. ? ?K?NC? B?L?M: FREUD VE JUNG ARASINDAK? FARKLAR Edebiyat Konusunda Freud ve Jung'un Yakla??mlar?n?n K?yaslanmas?FREUD VE JUNG DA PS?KANAL?Z VE D?N..Edebiyat Konusunda Freud Ve Jung'un Yakla??mlar?n?n K?yaslanmas?PS?KANAL?Z VE D?NPS?KANAL?ZDE R?YA YORUMU FREUD VE JUNG.. ? ???NC? B?L?M: JUNG VE D?RT ARKET?P.. ? D?RD?NC? B?L?M: JUNG VE PS?KANAL?T?K KURAM JUNG PS?KOLOJ?S?NE A?T BAZI KAVRAMLARKollektif Bilin?alt?nda bulunan belli ba?l? arketipler:K???L???N GEL???M?YA?AM D?NEMLER???LEVLERR?YALAR VE S?MGELERJUNG TERAP?S?PS?KOTERAP?DE S?MGELER?N KULLANIMIR?YALAR VE S?MGELERR?YALAR VE YORUMLARELE?T?R?LER G?R??LERArketip Kavram? ve Marka Ki?ilikleriStratejik A??dan Marka Ki?ilikleriJung'a G?re Ki?ilik Yap?s?Ki?isel Bilin?alt? ? BE??NC? B?L?M: Analitik Psikoloji Temel ?lke ve Kavramlar CARL GUSTAV JUNG'da,?E?zamanl?l?k –Jung’un Ger?ekli?e Yan?t?TEOR?ArketiplerAnne ArketipiManaG?lgePersonaAnima ve animusDi?er arketipler?nsan akl?n?n dinamikleriBenlikE?zamanl?l?k ? ALTINCI B?L?M: JUNG ?ZER?NE KISA B?R ?NCELEME Arketip Kavramlar?Eril Arketipler:Di?il Arketipler:K?tüler:As?l Mesele:?Carl Gustav Jung ve Analitik Psikoloji (?zet ve Kar??la?t?rma) ? YED?NC? B?L?M: CARL GUSTAV JUNG VE PS?KOLOJ? YEN? B?R D?NEM “B?L?N?ALTININ ??Z?M?”Carl Jung'un Astroloji Hakk?ndaki?S?ylemleriJUNG’ DAN BAZI S?ZLER: ? SEK?Z?NC? B?L?M: SONU?LAR .. ? DOKUZUNCU B?L?M: JUNG PS?KOLOJ?S?NE A?T BAZI KAVRAMLAR K???L???N GEL???M??nsan akl?n?n dinamikleriBenlikE?zamanl?l?kHayvan Davran??lar?na Psikolojik Yakla??mlar?nsan Davran??lar?n?n Anla??lmas?nda Bir Yakla??m: Psikoanalitik KuramFreud ve Evrimsel Biyoloji: Psikanalitik Kuram'?n Ele?tirisiFELSEFEN?N PS?KANAL?Z ?ZER?NE ETK?LER?…B?L?N?DI?ININ KARANLIK YANIJUNG’A G?RE C?NSELL???N ??LEV?…Komplekslerin TipolojisiLibido Ve ?tkiler ve YükseltilmesiLibidonun Dinami?iFreud’dan Sonra Libido

"It is your best work, Basil, the best thing you have ever done," said Lord Henry, languidly. "You must certainly send it next year to the Grosvenor. The Academy is too large and too vulgar. The Grosvenor is the only place." "I don't think I will send it anywhere," he answered, tossing his head back in that odd way that used to make his friends laugh at him at Oxford. "No: I won't send it anywhere." Lord Henry elevated his eyebrows, and looked at him in amazement through the thin blue wreaths of smoke that curled up in such fanciful whorls from his heavy opium-tainted cigarette. "Not send it anywhere? My dear fellow, why? Have you any reason? What odd chaps you painters are! You do anything in the world to gain a reputation. As soon as you have one, you seem to want to throw it away. It is silly of you, for there is only one thing in the world worse than being talked about, and that is not being talked about. A portrait like this would set you far above all the young men in England, and make the old men quite jealous, if old men are ever capable of any emotion." "I know you will laugh at me," he replied, "but I really can't exhibit it. I have put too much of myself into it." Lord Henry stretched his long legs out on the divan and shook with laughter. "Yes, I knew you would laugh; but it is quite true, all the same." "Too much of yourself in it! Upon my word, Basil, I didn't know you were so vain; and I really can't see any resemblance between you, with your rugged strong face and your coal-black hair, and this young Adonis, who looks as if he was made of ivory and rose-leaves. Why, my dear Basil, he is a Narcissus, and you--well, of course you have an intellectual expression, and all that. But beauty, real beauty, ends where an intellectual expression begins. Intellect is in itself an exaggeration, and destroys the harmony of any face. The moment one sits down to think, one becomes all nose, or all forehead, or something horrid. Look at the successful men in any of the learned professions. How perfectly hideous they are! Except, of course, in the Church. But then in the Church they don't think. A bishop keeps on saying at the age of eighty what he was told to say when he was a boy of eighteen, and consequently he always looks absolutely delightful. Your mysterious young friend, whose name you have never told me, but whose picture really fascinates me, never thinks. I feel quite sure of that. He is a brainless, beautiful thing, who should be always here in winter when we have no flowers to look at, and always here in summer when we want something to chill our intelligence. Don't flatter yourself, Basil: you are not in the least like him."

“Non capite, se giudicate” Il racconto è diviso in due parti: nella prima la falsificazione di un titolo di credito di piccolo valore, fatta da due studenti, innesca una catena di eventi che coinvolgono decine di altre persone, con conseguenze sempre più gravi; nella seconda parte viene offerta una possibilità di redenzione alla maggior parte dei protagonisti superstiti. Pubblicato anche con il titolo di ""Denaro falso"" e ""La cedola falsa"", questo racconto è stato giudicato un racconto-pamphlet, una requisitoria contro il denaro, inteso come strumento di corruzione individuale e sociale. Contro il potere del denaro, Tolstòj auspica un ritorno a forme sociali premoderne che ricordano le utopie rousseaviane. Nuova edizione rivista e corretta: 6 gennaio 2016 Nota: Se hai acquistato questo ebook prima del 6 gennaio 2016 e vuoi ricevere gratuitamente la nuova edizione, rivista e corretta, invia un'email alla redazione di Kentauron, all'indirizzo che trovi all'interno dell'ebook."

The Jungle Book (1894) is a collection of stories by English author Rudyard Kipling. The stories were first published in magazines in 1893–94. The edition contains 89 illustrations by Maurice de Becque, and others, like the author's father, John Lockwood Kipling.? The tales in the book (as well as 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." Other readers have interpreted the work as allegories of the politics and society of the time. The best-known of them are the three stories revolving around the adventures of Mowgli, an abandoned "man cub" who is raised by wolves in the Indian jungle. The most famous of the other four stories are probably "Rikki-Tikki-Tavi", the story of a heroic mongoose, and "Toomai of the Elephants", the tale of a young elephant-handler. As with much of Kipling's work, each of the stories is followed by a piece of verse.The Jungle Book came to be used as a motivational book by the Cub Scouts, a junior element of the Scouting movement. This use of the book's universe was approved by Kipling at the request of Robert Baden-Powell, founder of the Scouting movement, who had originally asked for the author's permission for the use of the Memory Game from Kim in his scheme to develop the morale and fitness of working-class youths in cities. Akela, the head wolf in The Jungle Book, has become a senior figure in the movement, the name being traditionally adopted by the leader of each Cub Scout pack.