Some people complain that science is dry. That is, of course, a matter of taste. For my own part, I like my science and my champagne as dry as I can get them. But the public thinks otherwise. So I have ventured to sweeten accompanying samples as far as possible to suit the demand, and trust they will meet with the approbation of consumers. Of the specimens here selected for exhibition, my title piece originally appeared in the Fortnightly Review: 'Honey Dew' and 'The First Potter' were contributions to Longman's Magazine: and all the rest found friendly shelter between the familiar yellow covers of the good old Cornhill. My thanks are due to the proprietors and editors of those various periodicals for kind permission to reproduce them here. G.ALLEN THE NOOK, DORKING: September, 1889. Falling In Love "..An ancient and famous human institution is in pressing danger. Sir George Campbell has set his face against the time-honoured practice of Falling in Love. Parents innumerable, it is true, have set their faces against it already from immemorial antiquity; but then they only attacked the particular instance, without venturing to impugn the institution itself on general principles. An old Indian administrator, however, goes to work in all things on a different pattern. He would always like to regulate human life generally as a department of the India Office; and so Sir George Campbell would fain have husbands and wives selected for one another (perhaps on Dr. Johnson's principle, by the Lord Chancellor) with a view to the future development of the race, in the process which he not very felicitously or elegantly describes as 'man-breeding.' 'Probably,' he says, as reported in Nature, 'we have enough physiological knowledge to effect a vast improvement in the pairing of individuals of the same or allied races if we could only apply that knowledge to make fitting marriages, instead of giving way to foolish ideas about love and the tastes of young people, whom we can hardly trust to choose their own bonnets, much less to choose in a graver matter in which they are most likely to be influenced by frivolous prejudices.' He wants us, in other words, to discard the deep-seated inner physiological promptings of inherited instinct, and to substitute for them some calm and dispassionate but artificial selection of a fitting partner as the father or mother of future generations.."

Mme. Vauquer (nee de Conflans) is an elderly person, who for the past forty years has kept a lodging-house in the Rue Nueve-Sainte-Genevieve, in the district that lies between the Latin Quarter and the Faubourg Saint-Marcel. Her house (known in the neighborhood as the Maison Vauquer) receives men and women, old and young, and no word has ever been breathed against her respectable establishment; but, at the same time, it must be said that as a matter of fact no young woman has been under her roof for thirty years, and that if a young man stays there for any length of time it is a sure sign that his allowance must be of the slenderest. In 1819, however, the time when this drama opens, there was an almost penniless young girl among Mme. Vauquer's boarders. That word drama has been somewhat discredited of late; it has been overworked and twisted to strange uses in these days of dolorous literature; but it must do service again here, not because this story is dramatic in the restricted sense of the word, but because some tears may perhaps be shed intra et extra muros before it is over. Will any one without the walls of Paris understand it? It is open to doubt. The only audience who could appreciate the results of close observation, the careful reproduction of minute detail and local color, are dwellers between the heights of Montrouge and Montmartre, in a vale of crumbling stucco watered by streams of black mud, a vale of sorrows which are real and joys too often hollow; but this audience is so accustomed to terrible sensations, that only some unimaginable and well-neigh impossible woe could produce any lasting impression there. Now and again there are tragedies so awful and so grand by reason of the complication of virtues and vices that bring them about, that egotism and selfishness are forced to pause and are moved to pity; but the impression that they receive is like a luscious fruit, soon consumed. Civilization, like the car of Juggernaut, is scarcely stayed perceptibly in its progress by a heart less easy to break than the others that lie in its course; this also is broken, and Civilization continues on her course triumphant. And you, too, will do the like; you who with this book in your white hand will sink back among the cushions of your armchair, and say to yourself, "Perhaps this may amuse me." You will read the story of Father Goriot's secret woes, and, dining thereafter with an unspoiled appetite, will lay the blame of your insensibility upon the writer, and accuse him of exaggeration, of writing romances. Ah! once for all, this drama is neither a fiction nor a romance! All is true,—so true, that every one can discern the elements of the tragedy in his own house, perhaps in his own heart. During the day a glimpse into the garden is easily obtained through a wicket to which a bell is attached. On the opposite wall, at the further end of the graveled walk, a green marble arch was painted once upon a time by a local artist, and in this semblance of a shrine a statue representing Cupid is installed; a Parisian Cupid, so blistered and disfigured that he looks like a candidate for one of the adjacent hospitals, and might suggest an allegory to lovers of symbolism. The half-obliterated inscription on the pedestal beneath determines the date of this work of art, for it bears witness to the widespread enthusiasm felt for Voltaire on his return to Paris in 1777: "Whoe'er thou art, thy master see; He is, or was, or ought to be."

Following the Equator (sometimes titled More Tramps Abroad) is a non-fiction travelogue published by American author Mark Twain in 1897. Twain was practically bankrupt in 1894 due to a failed investment into a "revolutionary" typesetting machine. In an attempt to extricate himself from debt of $100,000 (equivalent of about $2.5 million in 2010) he undertook a tour of the British Empire in 1895, a route chosen to provide numerous opportunities for lectures in the English. Themes:In Following the Equator, an account of that travel published in 1897, the author criticizes racism, imperialism and missionary zeal in observations woven into the narrative with classical Twain wit.In keeping with that wit, and Twain's love of a tall tale, Twain included a number of fictional stories in the body of what is otherwise a non-fiction work. In particular, the story of how Cecil Rhodes made his fortune by finding a newspaper in the belly of a shark, and the story of how a man named Ed Jackson made good in life out of a fake letter of introduction to Cornelius Vanderbilt, were anthologized in Charles Neider (ed) The Complete Short Stories of Mark Twain, (Doubleday, 1957) where they are presented as fiction. Chapter I A man may have no bad habits and have worse. —Pudd'nhead Wilson's New Calendar. The starting point of this lecturing-trip around the world was Paris, where we had been living a year or two. We sailed for America, and there made certain preparations. This took but little time. Two members of my family elected to go with me. Also a carbuncle. The dictionary says a carbuncle is a kind of jewel. Humor is out of place in a dictionary. We started westward from New York in midsummer, with Major Pond to manage the platform-business as far as the Pacific. It was warm work, all the way, and the last fortnight of it was suffocatingly smoky, for in Oregon and British Columbia the forest fires were raging. We had an added week of smoke at the seaboard, where we were obliged to wait awhile for our ship. She had been getting herself ashore in the smoke, and she had to be docked and repaired. We sailed at last; and so ended a snail-paced march across the continent, which had lasted forty days. We moved westward about mid-afternoon over a rippled and sparkling summer sea; an enticing sea, a clean and cool sea, and apparently a welcome sea to all on board; it certainly was to me, after the distressful dustings and smokings and swelterings of the past weeks. The voyage would furnish a three-weeks holiday, with hardly a break in it. We had the whole Pacific Ocean in front of us, with nothing to do but do nothing and be comfortable. The city of Victoria was twinkling dim in the deep heart of her smoke-cloud, and getting ready to vanish and now we closed the field-glasses and sat down on our steamer chairs contented and at peace. But they went to wreck and ruin under us and brought us to shame before all the passengers. They had been furnished by the largest furniture-dealing house in Victoria, and were worth a couple of farthings a dozen, though they had cost us the price of honest chairs. In the Pacific and Indian Oceans one must still bring his own deck-chair on board or go without, just as in the old forgotten Atlantic times—those Dark Ages of sea travel.

Great Expectations is Charles Dickens's thirteenth novel. It is his second novel, after David Copperfield, to be fully narrated in the first person. Great Expectations is abildungsroman, or a coming-of-age novel, and it is a classic work of Victorian literature. It depicts the growth and personal development of an orphan named Pip. The novel was first published in serial form in Dickens' weekly periodical All the Year Round, from 1 December 1860 to August 1861. In October 1861, Chapman and Hall published the novel in three volumes. Great Expectations was to be twice as long, but constraints imposed by the management of All the Year Round limited the novel's length. Collected and dense, with a conciseness unusual for Dickens, the novel represents Dickens' peak and maturity as an author. According to G. K. Chesterton, Dickens penned Great Expectations in "the afternoon of [his] life and fame." It was the penultimate novel Dickens completed, preceding Our Mutual Friend. It is set among the marshes of Kent and in London in the early to mid-1800s. From the outset, the reader is "treated" by the terrifying encounter between Pip, the protagonist, and the escaped convict, Abel Magwitch. Great Expectations is a graphic book, full of extreme imagery, poverty, prison ships, "the hulks," barriers and chains, and fights to the death. It therefore combines intrigue and unexpected twists of autobiographical detail in different tones. Regardless of its narrative technique, the novel reflects the events of the time, Dickens' concerns, and the relationship between society and man. The novel has received mixed reviews from critics: Thomas Carlyle speaks of "All that Pip's nonsense," while George Bernard Shaw praised the novel as "All of one piece and Consistently truthfull." Dickens felt Great Expectations was his best work, calling it "a very fine idea," and was very sensitive to compliments from his friends: "Bulwer, who has been, as I think you know, extraordinarily taken by the book." ABOUT AUTHOR: Charles John Huffam Dickens (1812 – 1870) was an English writer and social critic. He created some of the world's most memorable fictional characters and is generally regarded as the greatest novelist of the Victorian period. During his life, his works enjoyed unprecedented fame, and by the twentieth century his literary genius was broadly acknowledged by critics and scholars. His novels and short stories continue to be widely popular. Born in Portsmouth, England, Dickens was forced to leave school to work in a factory when his father was thrown into debtors' prison. Although he had little formal education, his early impoverishment drove him to succeed. Over his career he edited a weekly journal for 20 years, wrote 15 novels, 5 novellas and hundreds of short stories and non-fiction articles, lectured and performed extensively, was an indefatigable letter writer, and campaigned vigorously for children's rights, education, and other social reforms. Dickens sprang to fame with the 1836 serial publication of The Pickwick Papers. Within a few years he had become an international literary celebrity, famous for his humour, satire, and keen observation of character and society. His novels, most published in monthly or weekly instalments, pioneered the serial publication of narrative fiction, which became the dominant Victorian mode for novel publication. The instalment format allowed Dickens to evaluate his audience's reaction, and he often modified his plot and character development based on such feedback. For example, when his wife's chiropodistexpressed distress at the way Miss Mowcher in David Copperfield seemed to reflect her disabilities, Dickens went on to improve the character with positive features. Fagin inOliver Twist apparently mirrors the famous fence Ikey Solomon; His caricature of Leigh Hunt in the figure of Mr Skimpole in Bleak House was likewise toned down on advice from some of his friends, as they read episodes. In the same novel, both Lawrence Boythorne and Mooney the beadle are drawn from real life – Boythorne from Walter Savage Landorand Mooney from 'Looney', a beadle at Salisbury Square. His plots were carefully constructed, and Dickens often wove in elements from topical events into his narratives. Masses of the illiterate poor chipped in ha'pennies to have each new monthly episode read to them, opening up and inspiring a new class of readers.

Apokrif evangélium vagy egyszer? imak?nyv? Hamisítvány vagy hiteles t?rténeti emlék? Elfeledett írás vagy szuperbiztos kód, esetleg mesterséges nyelv? Magyar, román, szanszkrit, latin, netalán t?r?k? A Rohonci kódex hírnevét kül?n?s kett?sség jellemzi: helyet kapott a világt?rténelem megfejtetlen írásainak illusztris társaságában, mik?zben a legutóbbi id?kig komoly kísérlet nem t?rtént rejtélyes jeleinek elolvasására. L?NG BENEDEK k?nyve egy izgalmas nyomozás t?rténete, amelyet a szerz? e Budapesten ?rz?tt, titokzatos és gazdagon illusztrált kódex megfejtése érdekében folytatott. A fiatal tudományt?rténész minden részletre kiterjed?, alapos vizsgálata során az olvasó beavatást nyerhet a máig megfejtetlen, rejtélyes k?nyvek világába, a titkosírások és a kódok t?rténetébe, valamint a rejtjelfejtés hagyományos és modern módszereibe is. Láng Benedek 1974-ben született Budapesten. T?rténészként végzett az ELTE b?lcsészkarán, jelenleg a Budapesti M?szaki és Gazdaságtudományi Egyetemen oktat humán és társadalomtudományi tárgyakat. Kutatóként az elfogadott és elutasított tudomány határterületei érdeklik mind t?rténeti, mind elméleti szempontból. Ez utóbbi kérdésk?rr?l t?bb k?nyve is megjelent. Budapesten él, n?s, két gyermek apja.

Barnabás, a menyasszonya által kikosarazott fiatal tanár éppen szerelemi csalódásából lábadozik. Laura, a kislányát egyedül nevel? fiatal anyuka szeretne egy társat, aki a gyerekével együtt elfogadja ?t. Egy nap mindketten úgy d?ntenek, vállalják a kockázatot, és regisztrálnak egy internetes párkeres? oldalra. Hasonló elhatározásra jut a harmincas Dóra és a nagymama korú Vica is, és ezzel el?re nem látott bonyodalmak sorát indítják el. A négy társkeres? találkozik alkalmi kalandra vágyó szoknyavadásszal és luxusprostiként dolgozó egyetemista lánnyal, kicsavarodott ízlés? üzletemberrel és alibifeleséget keres? meleg férfival, furfangos pénzvadásszal és kínosan smucig úriemberrel. Kalandjaik során hol egy ?tcsillagos hotelben, hol egy Pest k?rnyéki, rossz hír? találkahelyen, hol egyenesen a rend?rségen találják magukat. Tisztességtelen ajánlatok, b?n?s szenvedélyek, vígjátékba ill? els? randik, szívszorító szakítások kísérik h?seink bolyongását a huszonegyedik század nagy kerít?jének hálójában. ?m mire kikeverednek a párkeresés útveszt?ib?l, megtanulják: érdemes esélyt adni a sorsnak, mert cserébe a sors is kínálhat egy második esélyt.

A n?i szexualitás és a n?k saját testéhez való viszonyában kulcselem a bizonytalanság. Sosem tudhatom igazán, hogy éppen mi t?rténik bennem. A bizonytalanságból pedig egyfajta szorongás fakad: ha nem hiszek magamban, nem hiszek a testemben, akkor máshol kell keresnem a biztonságérzetet. De nincs is abban semmi meglep?, hogy nem tanulunk meg ??nállóan” viszonyulni a testünkh?z, hiszen a mindennapi élet szintjén születésünk pillanatától kezdve kül?nb?z? társadalmi intézmények gyakorolják a kontrollt a testünk felett. El?sz?r el kell sajátítanunk, mi mindent kezdhetünk a testünkkel, ha megsz?nnek az azt uraló autoritások. Azonban ez meglehet?sen bonyolult. Hiszen nem tudjuk magunkat egy csapásra függetleníteni a társadalomtól és annak intézményeit?l – az orvoslástól, a pszichológiától, a pedagógiától, a médiától – a világtól, amelyben élünk. Nem beszélve arról, hogy a szex testi vonatkozásai mellett jogos igényként merül fel bennünk az intimitás, a szerelem vagy épp az elfogadás vágya. A menstruáció, az orgazmus, a várandósság, a szülés, a gyermekágy, a szoptatás vagy a menopauza látszólag biológiai t?rténései éppúgy hatással vannak az ?nértékelésünkre, párkapcsolatunkra, mint a családi életünkre. Ráadásul a fejünkben mítoszok élnek arról, hogy mi a normális. Ahelyett, hogy a saját vágyainkat, ?r?münket, intimitásunkat élnék meg, vélt vagy valós elvárásoknak próbálunk megfelelni. Pedig a szexben nincs jó vagy rossz. Ez a k?nyv is ebben a szellemben íródott, n?k ezerféle arcát szeretné megmutatni. Mester Dóra Djamila N?, anya, szeret?, amat?r fotós, k?zgazdász, hobbikertész, társadalomkutató és szexedukátor. Egy ?szex-pozitív” misszió aktivistája. K?zépiskolákban, diákotthonokban kamaszokkal beszélget szexr?l, szerelemr?l; személyes konzultációkat tart, rádióm?sort vezet, ír és beszélget, ahol csak lehet. Ahogy magáról állítja, ?hangosan gondolkodik a szexr?l”, és minden lehetséges fórumon kísérletezik egy nyitott, el?ítélet-mentes és alapvet?en pozitív szexbeszéd megteremtésével.

Emile, or On Education or ?mile, Or Treatise on Education (French: ?mile, ou De l’éducation) is a treatise on the nature of education and on the nature of man written by Jean-Jacques Rousseau, who considered it to be the “best and most important of all my writings”. Due to a section of the book entitled “Profession of Faith of the Savoyard Vicar,” Emile was banned in Paris and Geneva and was publicly burned in 1762, the year of its first publication. During the French Revolution, Emile served as the inspiration for what became a new national system of education. The work tackles fundamental political and philosophical questions about the relationship between the individual and society— how, in particular, the individual might retain what Rousseau saw as innate human goodness while remaining part of a corrupting collectivity. Its opening sentence: “Everything is good as it leaves the hands of the Author of things; everything degenerates in the hands of man.” Rousseau seeks to describe a system of education that would enable the natural man he identifies in The Social Contract (1762) to survive corrupt society. He employs the novelistic device of Emile and his tutor to illustrate how such an ideal citizen might be educated. Emile is scarcely a detailed parenting guide but it does contain some specific advice on raising children. It is regarded by some as the first philosophy of education in Western culture to have a serious claim to completeness, as well as being one of the first Bildungsroman novels, having preceded Goethe's Wilhelm Meister's Apprenticeship by more than thirty years. ? About Author: Jean-Jacques Rousseau (1712 – 1778) was a Genevan philosopher, writer, and composer of the 18th century. His political philosophy influenced the French Revolution as well as the overall development of modern political, sociological, and educational thought. Rousseau's novel ?mile, or On Education is a treatise on the education of the whole person for citizenship. His sentimental novel Julie, or the New Heloise was of importance to the development of pre-romanticism and romanticism in fiction. Rousseau's autobiographical writings — his Confessions, which initiated the modern autobiography, and his Reveries of a Solitary Walker — exemplified the late 18th-century movement known as the Age of Sensibility, and featured an increased focus on subjectivity and introspection that later characterized modern writing. His Discourse on the Origin of Inequality and his On the Social Contract are cornerstones in modern political and social thought. He argued that private property was conventional and the beginning of true civil society. Rousseau was a successful composer of music, who wrote seven operas as well as music in other forms, and made contributions to music as a theorist. As a composer, his music was a blend of the late Baroque style and the emergent Classical fashion, and he belongs to the same generation of transitional composers as Christoph Willibald Gluck and C.P.E. Bach. One of his more well-known works is the one-act opera Le devin du village, containing the duet "Non, Colette n'est point trompeuse" which was later rearranged as a standalone song by Beethoven. During the period of the French Revolution, Rousseau was the most popular of the philosophes among members of the Jacobin Club. Rousseau was interred as a national hero in the Panthéon in Paris, in 1794, 16 years after his death..

These Essays, or rather Lectures, contain the first-fruits of the earliest systematic attempt to apply the theory of Evolution to the products of human handiwork. In their original form they have long been difficult to obtain; and they are reprinted now to supply the needs of candidates for the Oxford Diploma in Anthropology, and of the numerous visitors to the Pitt-Rivers Museum in Oxford. But they will certainly appeal to a far wider public also, as a brief and authentic statement of their author’s discoveries. The four Essays are reprinted substantially as they were first delivered and published. But verbal errors and actual misquotations have been corrected; and allusions to specimens or diagrams exhibited during the original discourses, but not published, have been replaced so far as possible by references to similar objects figured in the Plates. The Plates are photographic reproductions of the original illustrations, with the exception of Plates V, XIII, XVII, XVIII. Of these, Plate XIII has simply been re-drawn, from a faded original; Plates XVII and XVIII have been translated, without loss of detail, from colours to monochrome shading; Plate V has been reconstituted from illustrations quoted in the text, with the permission of their publisher, Mr. Murray. Plate XXI is reproduced, by permission of Sir John Evans, from the paper which it illustrated originally. The footnotes demand a word of explanation. The author, as the original publications show, was not precise in indicating his sources: he frequently gave, as a quotation, the general sense rather than the exact words of his authority; and occasionally his memory played him false. In the reprint, the precise references have been identified, and are given in full, and obvious errors in the text have been either amended or corrected in a footnote. The editor desires to acknowledge much valuable help in the search for references from Miss C. M. Prior, of Headington.

Johann Wolfgang von Goethe's Faust is a tragic play in two parts: Faust. Der Trag?die erster Teil translated as: Faust: The First Part of the Tragedy) and Faust. Der Trag?die zweiter Teil (Faust: The Second Part of the Tragedy). Although rarely staged in its entirety, it is the play with the largest audience numbers on German-language stages. Faust is Goethe's most famous work and considered by many to be one of the greatest works of German literature. The principal characters of Faust Part One include:Heinrich Faust, a scholar, sometimes said to be based on the real life of Johann Georg Faust, or on Jacob Bidermann's dramatized account of the Legend of the Doctor of Paris, CenodoxusMephistopheles, a Devil (Demon)Gretchen, Faust's love (short for Margaret; Goethe uses both forms)Marthe, Gretchen's neighbourValentin, Gretchen's brotherWagner, Faust's famulus Faust Part One takes place in multiple settings, the first of which is heaven. Mephistopheles makes a bet with God: he says that he can lure God's favourite human being (Faust), who is striving to learn everything that can be known, away from righteous pursuits. The next scene takes place in Faust's study where Faust, despairing at the vanity of scientific, humanitarian and religious learning, turns to magic for the showering of infinite knowledge. He suspects, however, that his attempts are failing. Frustrated, he ponders suicide, but rejects it as he hears the echo of nearby Easter celebrations begin. He goes for a walk with his assistant Wagner and is followed home by a stray poodle (the term then meant a medium-to-big-size dog, similar to a sheep dog).In Faust's study, the poodle transforms into the devil (Mephistopheles). Faust makes an arrangement with the devil: the devil will do everything that Faust wants while he is here on Earth, and in exchange Faust will serve the devil in Hell. Faust's arrangement is that if he is pleased enough with anything the devil gives him that he wants to stay in that moment forever, then he will die in that moment.When the devil tells Faust to sign the pact with blood, Faust complains that the devil does not trust Faust's word of honor. In the end, Mephistopheles wins the argument and Faust signs the contract with a drop of his own blood. Faust has a few excursions and then meets Margaret (also known as Gretchen). He is attracted to her and with jewellery and help from a neighbor, Martha, the devil draws Gretchen into Faust's arms. With influence from the devil, Faust seduces Gretchen. Gretchen's mother dies from a sleeping potion, administered by Gretchen to obtain privacy so that Faust could visit her. Gretchen discovers she is pregnant. Gretchen's brother condemns Faust, challenges him and falls dead at the hands of Faust and Mephistopheles. Gretchen drowns her illegitimate child and is convicted of the murder. Faust tries to save Gretchen from death by attempting to free her from prison. Finding that she refuses to escape, Faust and the devil flee the dungeon, while voices from Heaven announce that Gretchen shall be saved – "Sie ist gerettet" – this differs from the harsher ending of Urfaust – "Sie ist gerichtet!" – "she is condemned." It was reported that members of the first-night audience familiar with the original Urfaust version cheered on hearing the amendment.

　　怎样才能使日语学习变得简单而又轻松呢？《日语达人秀》系列图书的出版恰逢其时，它能让你梦想成真！快和“杯具”日语说拜拜吧，去书中看看，魔法日语书让你快速变身“日语达人”！

怎样才能使日语学习变得简单而又轻松呢？《日语达人秀》系列图书的出版恰逢其时，它能让你梦想成真！快和“杯具”日语说拜拜吧，去书中看看，魔法日语书让你快速变身“日语达人”！

This volume collects the complete works of Edgar Allan Poe (Wikipedia). It started out as a restructuring and reformatting of the 1903 “Raven Edition” of his works—and then it grew.I have rearranged the texts according to genres in the order of first publications (though still using the later revised versions). I added all the stories, poems, essays, and some miscellanea that were missing in the “Raven Edition”. Thus, you’ll find in this collection: THE TALESMetzengerstein, The Duc de L’Omelette, A Tale of Jerusalem, Loss of Breath, Bon-Bon, Ms. Found in a Bottle, The Assignation, Berenice, Morella, Lionizing, The Unparalleled Adventures of One Hans Pfaal, King Pest, Shadow—A Parable, Four Beasts in One—The Homo-Cameleopard, Mystification, Silence—A Fable, Ligeia, How to Write a Blackwood Article, A Predicament, The Devil in the Belfry, The Man that Was Used Up, The Fall of the House of Usher, William Wilson, The Conversation of Eiros and Charmion, Why the Little Frenchman Wears his Hand in a Sling, The Business Man, The Man of the Crowd, The Murders in the Rue Morgue, A Descent into the Maelstr?m, The Island of the Fay, The Colloquy of Monos and Una, Never Bet the Devil Your Head, Eleonora, Three Sundays in a Week, The Oval Portrait, The Masque of the Red Death, The Landscape Garden, The Mystery of Marie Rogêt, The Pit and the Pendulum, The Tell-Tale Heart, The Gold-Bug, The Black Cat, Diddling, The Spectacles, A Tale of the Ragged Mountains, The Premature Burial, Mesmeric Revelation, The Oblong Box, The Angel of the Odd, Thou Art the Man, The Literary Life of Thingum Bob, Esq, The Purloined Letter, The Thousand-and-Second Tale of Scheherazade, Some Words with a Mummy, The Power of Words, The Imp of the Perverse, The System of Doctor Tarr and Professor Fether, The Facts in the Case of M. Valdemar, The Sphinx, The Cask of Amontillado, The Domain of Arnheim, Mellonta Tauta, Hop-Frog, Von Kempelen and his Discovery, X-ing a Paragrab, Landor’s Cottage.THE POEMSPoetry, O, Tempora! O, Mores!, Tamerlane, Song, Dreams, Spirits of the Dead, Evening Star, Imitation, Stanzas, A Dream, The Happiest Day, The Lake —— to ——, To Margaret, Alone, Sonnet—to Science, Al Aaraaf, Romance, To ——, To the River——, To M——, Fairy-Land, To Isaac Lea, An Acrostic, Elizabeth, To Helen, Israfel, The City in the Sea, The Sleeper, A P?an, The Valley of Unrest, Enigma, Fanny, The Coliseum, Serenade, To One in Paradise, Hymn, May Queen Ode, Spiritual Song, Latin Hymn, Bridal Ballad, To Zante, The Haunted Palace, Silence, Lines On Joe Locke, The Conqueror Worm, Lenore, A Campaign Song, Dream-Land, Impromptu. To Kate Carol, To F——, Eulalie, Epigram for Wall Street, The Raven, The Divine Right of Kings, To Frances S. Osgood, A Valentine, Beloved Physician, Deep in Earth, To Marie Louise (Shew), Ulalume, Lines on Ale, To Marie Louise (Shew), An Enigma, To Helen, A Dream within a Dream, Eldorado, For Annie, To My Mother, Annabel Lee, The Bells.THE NOVELSNarrative of A. Gordon Pym, The Journal of Julius Rodman.THE ESSAYSPal?stine, Maelzel’s Chess-Player, Letter to B——, American Novel-Writing, The Capitol at Washington, Instinct vs Reason—A Black Cat, The Philosophy of Furniture, Morning on the Wissahiccon, Some Account of Stonehenge, The Giant’s Dance, A Druidical Ruin in England, A Few Words on Secret Writing, Exordium, Harper’s Ferry, The Balloon-Hoax, Byron and Miss Chaworth, Pay of American Authors, Some Secrets of the Magazine Prison-House, Anastatic Printing, Street-Paving, American Poetry, The Philosophy of Composition, A Few Words on Etiquette, Eureka: A Prose Poem, The Rationale of Verse, The Poetic Principle.THE MISCELLANEAAutography, Pinakidia, Literary Small Talk, Intemperance, A Chapter on Science and Art, Cabs, Omniana, Prospectus of The Penn Magazine, Autobiographical Note, A Chapter on Autography, Prospectus of The Stylus, Souvenirs of Youth, The Head of St. John The Baptist, Doings of Gotham, A Moving Chapter, Desultory Notes on Cats, A Chapter of Suggestions, Marginalia, The Literati, Mr. Poe’s Reply to Mr. English and Others, Fifty Suggestions, Preface to “Tamerlane And Minor Poems,” Prologue to “The Folio Club”, Prefaces and Introduction to “The Conchologist’s First Book,” Preface to “Tales of the Grotesque and Arabesque,” Preface to “The Raven and Other Poems.”THE PLAYPolitian.THE CRITICISMThe Complete Works of Edgar Allan Poe, vols. 8-13, ed. by James A. Harrison, Thomas Y. Crowell & Company 1902.THE LETTERSThe Letters of Edgar Allan Poe, 2nd edition, 2 vols., ed. by J. W. Ostrom, The Gordian Press 1966.

In 1922, F. Scott Fitzgerald announced his decision to write "something new--something extraordinary and beautiful and simple + intricately patterned." That extraordinary, beautiful, intricately patterned, and above all, simple novel became The Great Gatsby, arguably Fitzgerald's finest work and certainly the book for which he is best known. A portrait of the Jazz Age in all of its decadence and excess, Gatsby captured the spirit of the author's generation and earned itself a permanent place in American mythology. Self-made, self-invented millionaire Jay Gatsby embodies some of Fitzgerald's--and his country's--most abiding obsessions: money, ambition, greed, and the promise of new beginnings. "Gatsby believed in the green light, the orgiastic future that year by year recedes before us. It eluded us then, but that's no matter--tomorrow we will run faster, stretch out our arms farther.... And one fine morning--" Gatsby's rise to glory and eventual fall from grace becomes a kind of cautionary tale about the American Dream. It's also a love story, of sorts, the narrative of Gatsby's quixotic passion for Daisy Buchanan. The pair meet five years before the novel begins, when Daisy is a legendary young Louisville beauty and Gatsby an impoverished officer. They fall in love, but while Gatsby serves overseas, Daisy marries the brutal, bullying, but extremely rich Tom Buchanan. After the war, Gatsby devotes himself blindly to the pursuit of wealth by whatever means--and to the pursuit of Daisy, which amounts to the same thing. "Her voice is full of money," Gatsby says admiringly, in one of the novel's more famous descriptions. His millions made, Gatsby buys a mansion across Long Island Sound from Daisy's patrician East Egg address, throws lavish parties, and waits for her to appear. When she does, events unfold with all the tragic inevitability of a Greek drama, with detached, cynical neighbor Nick Carraway acting as chorus throughout. Spare, elegantly plotted, and written in crystalline prose, The Great Gatsby is as perfectly satisfying as the best kind of poem.

To the Lighthouse (5 May 1927) is a novel by Virginia Woolf. A landmark novel of high modernism, the text, centering on the Ramsay family and their visits to the Isle of Skye in Scotland between 1910 and 1920, skillfully manipulates temporality and psychological exploration. To the Lighthouse follows and extends the tradition of modernist novelists like Marcel Proust and James Joyce, where the plot is secondary to philosophical introspection, and the prose can be winding and hard to follow. The novel includes little dialogue and almost no action; most of it is written as thoughts and observations. The novel recalls the power of childhood emotions and highlights the impermanence of adult relationships. One of the book's several themes is the ubiquity of transience.

Think and Grow Rich' is the world's most widely acclaimed motivational book on success ever published. It became the must-have bible of prosperity and success for millions of readers since its initial publication in 1937. Napoleon Hill, America's most beloved motivational author, devoted 25 years to finding out how the wealthy became that way. After interviewing over 500 of the most affluent men and women of his time, he uncovered the secret to great wealth. By understanding and applying the thirteen simple steps that constitute Hill's formula, you can achieve your goals, change your life and join the ranks of the rich and successful. This book has changed countless lives and it can change yours!

　　《从零开始学西班牙语，“袋”着走》不仅封面大方美观，内容更是丰富多彩。从基础的西班牙语字母和发音规则入门，到日常生活、交流表达、当地生活、求学职场、文化概况等，几乎涵盖了所有你能想到的，以及你若是有机会去西班牙语国家旅游生活或是工作能够用到的各个方面。衷心希望本书不仅能使初学者对西班牙语有一定的了解及掌握，更是今后继续学习深造的良好基础。学习地道西班牙语，就可以随时随地看这本书——《从零开始学西班牙语，“袋”着走》。

Jack Kells was a remorseless killer, head of a gang that ravaged the southern border. He didn't think twice before he kidnapped pretty Joan Randle on a lonesome Idaho trail. His cold eyes filled her with fear, but her goodness made something happen deep within him. Bad as he was, he knew he had to keep Joan safe from desperados far worse than he. Kells had a price on his head and on his heels. Now loving this woman could cost him his life...or it could make him a hero in this wild, dangerous land.

Viaje del Parnaso es una obra narrativa en verso de Miguel de Cervantes publicada el a?o 1614 escrita en tercetos que cuenta el viaje al monte Parnaso de Cervantes y los mejores poetas espa?oles para librar una batalla alegórica contra los malos poetas.

Riders of the Purple Sage is a classic of the Western genre. It is the story of Lassiter, a gunslinging avenger in black, who shows up in a remote Utah town just in time to save the young and beautiful rancher Jane Withersteen from having to marry a Mormon elder against her will.

In the years since its publication in 1902, "As a Man Thinketh" has set thousands of men on the pathway to personal and financial growth. Now, in this unique rendition of James Allen's masterwork, you, too, can manifest the traits and skills characteristic of those honorable, refined, and successful men. Each of the aphorisms and quotes in this book reveals simple yet revelatory techniques that will empower you to strengthen your character, harness constructive thoughts, and create the life you've always wanted. As Allen himself wrote, "As a Man Thinketh" 'shall create positive results in daily circumstances and actions, regardless of the venue—an agreeable prospect, one must concede!'