Children, as well as their interested parents, will eagerly welcome this beautiful edition of the one great nursery classic, just as a worthy edition of Shakespeare is welcomed by discriminating adult readers.? But some may ask what there is in these simple melodies, attributed to Mother Goose, which gives them so secure and beloved a place in the home, the school and the public library. Is it the humor, the action, the rhythm, or the mystery of the theme which appeals so strongly to critical little minds in each generation of childhood, and even to adult minds so fortunate as to have retained some of the refreshing naiveté of early years?? It is useless to try to explain the charm of these nonsense melodies. The children themselves do not know why they love them. No mother can tell us the magic of the spell which seems to be cast over her restless baby as she croons to it a Mother Goose lullaby. No primary teacher quite understands why the mere repetition or singing of a Mother Goose jingle will transform her listless, inattentive class into one all eagerness and attention. But mother and teacher agree that the best of these verses have an even more potent influence than that of innocently diverting and entertaining the child. The healthy moral, so subtly suggested in many of the rhymes, is unconsciously absorbed by the child's receptive mind, helping him to make his own distinction between right and wrong, bravery and cowardice, generosity and selfishness.?From a literary standpoint, also, these rhymes have proved of real value in creating a taste for the truly musical in poetry and song. They train the ear and stir the imagination of the child as no other verses do. Many famous poets and writers trace their first inspiration, and love for things literary, back to the nursery songs and fairy tales of their childhood.??Teachers well know that children who have reveled in these rhymes and stories, at the time of their strongest appeal, step naturally and appreciatively into the great fields of good literature which are beyond.?Knowing these things to be true, we do not hesitate to place this venerable classic on the shelf beside our Shakespeare, and to send our children there for delight and inspiration. They will understand Shakespeare the better for having known and loved Mother Goose.?But what about the personality of this classic writer? Was she really Mistress Elizabeth Goose who is said to have lived in Boston about two hundred years ago, and who crooned her nonsense jingles to a large and happy family of grandchildren? We are told that their father, Thomas Fleet, who was a printer by trade, thought to turn an honest penny with his mother-in-law's popular verses, so he published them in a small volume under the title of "Songs for the Nursery: or, Mother Goose's Melodies." A goose with a very long neck and a wide-open mouth flew across the title page, at least so the story goes. But we have to believe that it is only a story, for no copy of the book can be found, and nothing but tradition identifies Elizabeth Goose, the Boston grandmother, with the famous rhymester.

A híres írón?, Crystal Montague jó ideje alkotói válsággal küzd, s kiadója hiába várja t?le a k?vetkez? bestsellert. Férjével ugyancsak megromlott a viszonya egy argentin szépfiú megjelenése óta.?gy visszavonul spanyolországi villájába új ihlet reményében, de – legutóbbi k?nyvének címéhez ill?en – a h?ség ellenére társasága mégis dermeszt?nek érzi a hangulatot a napos Trafalgar-fok k?zelében. Végül valóban fagyossá válik a légk?r, miután születésnapi partiján férjének rejtélyes módon nyoma vész, s mindenki szemében az írón? az els? számú gyanúsított.Húga balsejtelme tehát beigazolódni látszik, mivel korábban az ismert magánnyomozó, Anthony Noir segítségét kérte. A polinéziai detektív számára t?bbek k?z?tt az írón? regényének jegyzete jelent majd segítséget a rendkívüli ügy megoldásában.

me, A gyanú árnyékában sorozat negyedik epizódja a New York Times bestseller szerzje, a “feszültségteremtés királynje”, Mary Higgins Clark és a napjainkban nálló íróként is sikeres Alafair Burke tollából! A televíziós producer, Laurie Moran ezúttal egy olyan nnek próbál segíteni, akit szerinte jogtalanul ítéltek el. Tizent éve annak, hogy Casey Cartert bebrtnzték a vlegénye meggyilkolásáért, ám a magát mindvégig ártatlannak valló n elszántan küzd azért, hogy tisztára mossa a nevét. gy látja, ártatlansága bebizonyításának egyetlen módja, ha a megtrtént eseteket feldolgozó sorozat, A gyanú árnyékában kvetkez epizódja az trténetét meséli el… A msor producere, Laurie Moran hisz Casey ártatlanságában, és szeretne neki segíteni. De mivel társa, Alex Buckley szünetelteti a televíziós tevékenységét, a sorozat új házigazdát kap a Harvardon végzett, nagymen jogász, Ryan Nichols személyében. A nagykép Ryan átveszi a msor irányítását, st, megpróbálja lebeszélni Laurie-t Casey ügyérl, mivel biztos a n bnsségében. Laurie-nak egyszerre kell megküzdenie az ntelt, egocentrikus újonccal, egy knyrtelen pletykarovat-szerzvel és Casey rossz hírnevével, hogy végleg bebizonyítsa Casey ártatlanságát. Már, ha valóban nem kvette el a gyilkosságot… A gyanú árnyékában sorozat korábbi részei Téged nem lehet elfelejteni, A Hamupipke-gyilkosság és Míg a halál el nem választ címmel jelentek meg.

Kül?n?s világokba vezet minket ez a k?nyv. Világokba – mondom –, hiszen sokan talán csak tudat alatt érezzük, de megfogalmazni nem tudjuk, hogy immár nem egyetlen világban élünk, hanem legalább kett?ben, az egyik, amelyet a Biblia szerint az ?r teremtett, a másik, amelyet az ember hozott létre a maga szeretetével és kegyetlenségével. E kett? vagy t?bb(?) világ k?z?tt vajon hol vannak az átjárók? Ha nincs vezet?nk nem érzékeljük ?ket, s éppen ebb?l fakad Vasi Szabó János alkotói módszere. A sokat megélt és tapasztalt író vezet minket e bonyolult élet útveszt?iben. Mik?zben ?rzi a prózaírás hagyományait, meg is újítja azokat. ?Mágikus realizmus”. Vasi Szabó János alkotó stílusát jel?li e kifejezés, nem az én találmányom, hanem egyik kritikusáé, de magam is találónak érzem. Van azonban egy nagyon fontos jellemz?je is: még a legdrámaibb, legtragikusabb t?rténetnek is van feloldása, j?v?t sejtet? katarzisa. Az igazi, népéért felel?sséget érz? író használni akar. E k?nyv haszna is kétségtelen, ezért bízvást ajánlhatom az olvasók szíves figyelmébe.Varga Tibor

"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..

It was the writing guy who drew this story out of Captain Shreve. He talked so much I think the Old Man spun the yarn just to shut him up. He had talked ever since his arrival on board, early that morning, with a letter from the owners' agent, and the announcement he intended making the voyage with us. He had weak lungs, he said, and was in search of mild, tropical breezes. Also, he was seeking local color, and whatever information he could pick up about "King" Waldon. He had heard of the death of "King" Waldon, down in Samoa—Waldon, the trader, of the vanishing race of island adventurers—and he expected to travel about the south seas investigating the "king's" past, so he could write a book about the old viking. He had heard that Captain Shreve had known Waldon. Hence, he was honoring a cargo carrier with his presence instead of taking his ease upon a mail-boat. Captain Shreve must tell him all he knew about the "king." He was intensely interested in the subject. Splendid material, you know. That romantic legend of Waldon's arrival in the islands—too good to be true, and certainly too good not to put into a book. Was Captain Shreve familiar with the tale How this fellow, Waldon, sailed into a Samoan harbor in an open boat, his only companion his beautiful young wife Imagine—this man and woman coming from nowhere, sailing in from the open sea in a small boat, never telling whence they came!He said this was the stuff to go into his book. Romance, mystery! It was quite as important as the later and better known incidents in the "king's" life. That was why Captain Shreve must tell him all he knew about the fellow. If he could only get at the beginning of the "king's" career in the islands. Where did the fellow come from Why should a man bring his bride into an uncivilized and lawless section of the world, and settle down for life There must be a story in that. Ah, yes, and he was the man who could properly do it.

1609 októberében?Fabricius Flóra, egy pozsonyi orvos lánya?Báthori Erzsébet ?udvarába érkezik, hogy megkeresse elt?nt n?vérét. Ha tudta volna, mi vár rá, talán útnak sem indul. Hamarosan megtanulja, semmi sem az, aminek látszik, és semmi sem biztos, csak a halál. Ki mozgatja vajon a szálakat? Ki az, aki befolyásolja az eseményeket, és a gyilkolástól sem riad vissza?? Minden erejére szüksége van, hogy legy?zze az akadályokat és kibogozza a s?tét titkot, melyet a csejtei vár falai rejtenek.? Egyetlen emberre számíthat csupán, az Itáliából érkezett, kétes jellem?, mégis rendkívül vonzó férfira, akir?l azt sem tudja pontosan, hogy kicsoda, és azt sem, miért segít neki.? R.?Kelényi Angelika, Terézanyu-díjas írón??17. század elején játszódóregénye kalandos, izgalmas, és vérfagyasztó t?rténetet mesél el, korh? t?rténelmi háttérbe helyezve.? Ahogy azt már megszokhattuk t?le, írása nem nélkül?zi a romantikát és a politikai cselsz?vést sem.?

Egy oknyomozó újságíró az egyik vállalat ügyei után járva ráakad egy vidéki temet?re, ahol ?tven évvel azel?tt t?bb halottat is eltemettek ugyanazon a napon. Kutatása során kapcsolatot talál a vizsgált vállalat tulajdonosa és a temet?ben elhunytak egyike k?z?tt. Ezzel egy politikai t?meggyilkosság nyomára jut, amelynek néhány túlél?jét és tanúját is megtalálja. Az ügy nyilvánosságra hozatala a nagyvállalat érdekeit súlyosan sérti, ezért vezet?je radikális lépésekre szánja el magát – a gyilkosságtól sem riad vissza...K?zben megjelenik egy amerikai befektet?, akit elriaszthat a rossz hírbe kevert magyar vállalat. Személyes kapcsolatok romolnak meg, kemény harc folyik a vállalat tulajdonlásáért. A küzdelemben a keleti és a nyugati t?keérdekeltségek csapnak ?ssze.

Tolstoy incorporated extensive historical research. He was also influenced by many other novels. A veteran of the Crimean War, Tolstoy was quite critical of standard history, especially the standards of military history, in War and Peace. Tolstoy read all the standard histories available in Russian and French about the Napoleonic Wars and combined more traditional historical writing with the novel form. He explains at the start of the novel's third volume his own views on how history ought to be written. His aim was to blur the line between fiction and history, in order to get closer to the truth, as he states in Volume II. The novel is set 60 years earlier than the time at which Tolstoy wrote it, "in the days of our grandfathers", as he puts it. He had spoken with people who had lived through war during the French invasion of Russia in 1812, so the book is also, in part, accurate ethnography fictionalized. He read letters, journals, autobiographical and biographical materials pertaining to Napoleon and the dozens of other historical characters in the novel. There are approximately 160 real persons named or referred to in War and Peace. Plot summary:War and Peace has a large cast of characters, the majority of whom are introduced in the first book. Some are actual historical figures, such as Napoleon and Alexander I. While the scope of the novel is vast, it is centered around five aristocratic families. The plot and the interactions of the characters take place in the era surrounding the 1812 French invasion of Russia during the Napoleonic wars.Book/Volume OneThe novel begins in July 1805 in Saint Petersburg, at a soiree given by Anna Pavlovna Scherer—the maid of honour and confidante to the queen mother Maria Feodorovna. Many of the main characters and aristocratic families in the novel are introduced as they enter Anna Pavlovna's salon. Pierre (Pyotr Kirilovich) Bezukhov is the illegitimate son of a wealthy count, an elderly man who is dying after a series of strokes. Pierre is about to become embroiled in a struggle for his inheritance. Educated abroad at his father's expense following his mother's death, Pierre is essentially kindhearted, but socially awkward, and owing in part to his open, finds it difficult to integrate into Petersburg society. It is known to everyone at soiree that Pierre is his father's favorite of all the old count’s illegitimate children. Also attending the soireé is Pierre's friend, the intelligent and sardonic Prince Andrei Nikolayevich Bolkonsky, husband of Lise, the charming society favourite. Finding Petersburg society unctuous and disillusioned with married life after discovering his wife is empty and superficial, Prince Andrei makes the fateful choice to be an aide-de-camp to Prince Mikhail Ilarionovich Kutuzov in the coming war against Napoleon. The plot moves to Moscow, Russia's ancient city and former capital, contrasting its provincial, more Russian ways to the highly mannered society of Petersburg. The Rostov family are introduced. Count Ilya Andreyevich Rostov has four adolescent children. Thirteen-year-old Natasha (Natalia Ilyinichna) believes herself in love with Boris Drubetskoy, a disciplined young man who is about to join the army as an officer. Twenty-year-old Nikolai Ilyich pledges his love to Sonya (Sofia Alexandrovna), The eldest child of the Rostov family, Vera Ilyinichna, is cold and somewhat haughty but has a good prospective marriage in a Russian-German officer, Adolf Karlovich Berg. Petya (Pyotr Ilyich) is nine and the youngest of the Rostov family; like his brother, he is impetuous and eager to join the army when of age. The heads of the family, are an affectionate couple but forever worried about their disordered finances. At Bald Hills, the Bolkonskys' country estate, Prince Andrei departs for war and leaves his terrified, pregnant wife Lise with his eccentric father Prince Nikolai Andreyevich Bolkonsky and devoutly religious sister Maria Nikolayevna Bolkonskaya.

The Mole had been working very hard all the morning, spring-cleaning his little home. First with brooms, then with dusters; then on ladders and steps and chairs, with a brush and a pail of whitewash; till he had dust in his throat and eyes, and splashes of whitewash all over his black fur, and an aching back and weary arms. Spring was moving in the air above and in the earth below and around him, penetrating even his dark and lowly little house with its spirit of divine discontent and longing. It was small wonder, then, that he suddenly flung down his brush on the floor, said 'Bother!' and 'O blow!' and also 'Hang spring-cleaning!' and bolted out of the house without even waiting to put on his coat. Something up above was calling him imperiously, and he made for the steep little tunnel which answered in his case to the gavelled carriage-drive owned by animals whose residences are nearer to the sun and air. So he scraped and scratched and scrabbled and scrooged and then he scrooged again and scrabbled and scratched and scraped, working busily with his little paws and muttering to himself, 'Up we go! Up we go!' till at last, pop! his snout came out into the sunlight, and he found himself rolling in the warm grass of a great meadow. 'This is fine!' he said to himself. 'This is better than whitewashing!' The sunshine struck hot on his fur, soft breezes caressed his heated brow, and after the seclusion of the cellarage he had lived in so long the carol of happy birds fell on his dulled hearing almost like a shout. Jumping off all his four legs at once, in the joy of living and the delight of spring without its cleaning, he pursued his way across the meadow till he reached the hedge on the further side. 'Hold up!' said an elderly rabbit at the gap. 'Sixpence for the privilege of passing by the private road!' He was bowled over in an instant by the impatient and contemptuous Mole, who trotted along the side of the hedge chaffing the other rabbits as they peeped hurriedly from their holes to see what the row was about. 'Onion-sauce! Onion-sauce!' he remarked jeeringly, and was gone before they could think of a thoroughly satisfactory reply. Then they all started grumbling at each other. 'How STUPID you are! Why didn't you tell him——' 'Well, why didn't YOU say——' 'You might have reminded him——' and so on, in the usual way; but, of course, it was then much too late, as is always the case. It all seemed too good to be true. Hither and thither through the meadows he rambled busily, along the hedgerows, across the copses, finding everywhere birds building, flowers budding, leaves thrusting—everything happy, and progressive, and occupied. And instead of having an uneasy conscience pricking him and whispering 'whitewash!' he somehow could only feel how jolly it was to be the only idle dog among all these busy citizens. After all, the best part of a holiday is perhaps not so much to be resting yourself, as to see all the other fellows busy working.

***T?bb, mint 70 millió eladott k?nyv írója*** Hét nagyon kül?nb?z? n? testvéri sz?vetségbe t?m?rül az ?r?k barátság jegyében, hogy orvosolják a jelent is beárnyékoló múltbeli sérelmeiket, és visszacsempésszék az ?r?m?t, a nevetést az életükbe. Myra Rutledge barátn?ivel, gy?ny?r? virginiai otthonukban, családias hangulatban, rózsaszín tulipánok k?z?tt, rákfalatkákkal és jeges teával kényeztetik magukat a hétk?znapokban.A barátn?k nekilátnak küldetésüknek, hogy kidolgozanak egy édes bosszút egy társukért.?Julia Websterért, akinek férje, az Egyesült ?llamok szenátora korábban felesége kifinomultságát és eleganciáját használta a karrierje építéséhez. Mindek?zben minden pillanatban visszaélt a n? bizalmával és romba d?nt?tte az álmait. Legnagyobb politikai gy?zelme estéjén azonban komoly lecke vár rá. A szenátor nem sejti, hogy mekkora hiba volt annak a n?nek ártani, aki mellett hat másik sorakozik fel, hogy elégtételt vegyenek a piszkos húzásokért.?Egy kül?n?s sz?vetség hihetetlenül izgalmas kalandjai bontakoznak ki: hét bátor n?, akit az igazságszolgáltatás semmibe vett, saját kezébe veszi a bíráskodást. Fern Michaels amerikai írón?, k?zel 150 bestseller sikerk?nyv szerz?je, 70 milliós eladott példányszámmal a háta m?g?tt. Romantikus regényei, krimijei világszerte népszer?ek, rendszeresen vezetik a sikerlistákat, a magyar olvasók számára sem ismeretlen.

Kóródi Szonját, egy kereskedelmi tévécsatorna kommunikációs szakemberét fejvadászcég k?zvetíti egy viszonylag új, de nagyra t?r? k?rnyezetvédelmi céghez. A munka nehezebb, de izgalmasabb, a fizetés jobb, a kilátások mesések… vagy mégsem? Szonja szép lassan ráj?n, hogy el?dje és egy másik kollégája titokzatos k?rülmények vesztette életét, és a szálak munkahelyére, a GreenDay óbudai bázisára, és onnan nagyon-nagyon magasra vezetnek… Míg Szonja az informatikus párja segítségével egy kis magánnyomozásba kezd, egy másik lány, a családi okokból otthonban él?, tizen?téves Tina egy rosszul végz?d? buliban vesz részt. Azonban az intézetbe már nem megy vissza a buli után, hanem bek?lt?zik egy elhagyatott hétvégi házba Szigetmonostoron. ?m amikor megtudja, hogy egyetlen barátn?je egy új dizájner drog áldozatává vált, bosszút esküszik, és a díler nyomába ered. A lány és a fiatal n? t?rténete eleinte nem keresztezi egymást, de mindketten elszántan küzdenek az igazukért, és mindkettejüknek menekülniük kell. Vajon elég bátrak-e ahhoz, hogy továbblépjenek és bevállalják az igazságot? Fej?s ?va új regénye az ?ton hozzád és a November lányában megszokott izgalmakat nyújtja az olvasóknak, és hatalmas tempóban száguldunk mi is Budapestr?l Sydney felé, ahol nem csak a szerelem vár a h?sn?re, Szonjára…

Adler i?in Freud’dan ayr?ld?ktan sonraki y?llar olduk?a üretken ge?mi?tir. Bireysel psikoloji derne?i h?zla büyümü? ve Adler ?nemli yay?mlar yay?mlam??t?r. Bu süre i?inde olduk?a geli?tirdi?i kuram?na “Bireysel Psikoloji” ad?n? vermi?tir. Adler de Freud gibi 1. Dünya sava??ndan ?nemli ?l?üde etkilenir. Bu s?rada ciddi ekonomik s?k?nt?lar ya?aman?n yan?nda Adler kuram?nda da kimi ?nemli de?i?ikliklere gitmi?tir. Sosyal ilgi ve merhametin insandaki motivasyonunun k??e ta?lar? olabilece?ini belirtmi?tir.? Bu kitapta , moden psikolojinin kurucular?ndan birisi olan Alfred Adler'in tüm moden psikoloji ?al??malar?n?n bir ?zetini ve hayat hikayesini bulacaks?n?z.. ?Adler kendi g?rü?lerini ?ok daha iyi yans?taca??n? dü?ündü?ü “Bireysel Psikoloji” ismini se?ti. Freud ve Adler’in birbirleriyle anla?amaman?n tek nedeni fikir ayr?l?klar? de?ildi. Bu antla?mazl???n ve ayr?l???n tek nedeni de birbirlerini sevmemeleriydi. Ki?ilikleri bak?m?ndan pek birbirlerine benzemiyorlard?. Bu antla?mazl?klar ve ayr?l?ktan sonra Freud ve Adler aras?ndaki ili?ki birbirlerine kar?? olduk?a sert bir tutum i?inde kald?lar. Freud’un Adler’e olan ?fkesi hi? dinmemi? ve Adler’in ?lümü haberini ald???nda bu habere üzülen bir arkada??na “Senin Adler’e duydu?un sempatiyi anl?yorum. Viyana’n?n k?yünde do?mu? Yahudi ?ocuk i?in Aberdeen’de ?lmek duyulmam?? bir ba?ar? ve onun ne kadar ileri gitti?inin kan?t?d?r. Dünya, psikanalize kar?? ??kma hizmetinden ?türü onu ger?ekten zengin bir bi?imde ?düllendirdi” diyerek kar??l?k vermi?tir. Adler i?in Freud’dan ayr?ld?ktan sonraki y?llar olduk?a üretken ge?mi?tir. Bireysel psikoloji derne?i h?zla büyümü? ve Adler ?nemli yay?mlar yay?mlam??t?r. Bu süre i?inde olduk?a geli?tirdi?i kuram?na “Bireysel Psikoloji” ad?n? vermi?tir.

The Wizard was written in the year 1896 by Henry Rider Haggard. This book is one of the most popular novels of Henry Rider Haggard, and has been translated into several other languages around the world.This book is published by Booklassic which brings young readers closer to classic literature globally.

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

Betegséget humorral kezelni Képes-e az ember egy kemény, embert próbáló pszichés nyavalya kell?s k?zepén kinevetni saját magát? R. Kelényi Angelika szerint igen, s?t, neki a gyógyulásban is segített, hogy ?niróniával szemlélte saját problémáját. Pedig nem volt k?nny? dolga. Pánikbetegségének felbukkanása el?tt nemcsak bírta a t?meget, de kereste is; kifejezetten boltkóros volt, a legs?r?bb szórakozóhelyeket kedvelte, és sosem mondott nemet a mozira, színházra. Aztán egyik percr?l a másikra mindett?l félelem kerítette hatalmába. Ezt a naplót saját tapasztalatai alapján jegyezte le, ?nsajnálat nélkül, nyersen, fanyar humorral. Az agyam eldobom R. KEL?NYI ANGELIKA Terézanyu-díjas, t?bbsz?r?sen Aranyk?nyv-díjra jel?lt író els? k?nyve volt. A napló új ruhát kapott, és tartalma is jócskán kib?vült valós, humoros, néha megd?bbent? részletekkel. Az új kiadással az olvasók a szerz? életének egy meghatározó szeletét vehetik a kezükbe. Roppant szórakoztató, torokszorítóan laza remekm?! Nem tudtam letenni! Straub Dezs? - színész Habár kemény témát dogoz fel, végig hangosan nevettem. Imádom a humorát, az ?niróniáját! - Anne L. Green ?szintesége leny?g?z?tt. - Lyanna (moly.hu) K?nny? volt megszeretni - a másik világ blog

England, My England was written in the year 1915 by David Herbert Lawrence. This book is one of the most popular novels of David Herbert Lawrence, and has been translated into several other languages around the world.This book is published by Booklassic which brings young readers closer to classic literature globally.

A NEW AND FACETIOUS INTRODUCTION TO THE ENGLISH TONGUEBy Percival LeighEmbellished with upwards of forty-five Characteristic IllustrationsBy JOHN LEECH. Fashion requires, and like the rest of her sex, requires because she requires, that before a writer begins the business of his book, he should give an account to the world of his reasons for producing it; and therefore, to avoid singularity, we shall proceed with the statement of our own, excepting only a few private ones, which are neither here nor there. To advance the interests of mankind by promoting the cause of Education; to ameliorate the conversation of the masses; to cultivate Taste, and diffuse Refinement; these are the objects we have in view in submitting a Comic English Grammar to the patronage of a discerning Public. Few persons there are, whose ears are so extremely obtuse, as not to be frequently annoyed at the violations of Grammar by which they are so often assailed. It is really painful to be forced, in walking along the streets, to hear such phrases as, "That 'ere omnibus." "Where've you bin?" "Vot's the odds?" and the like. Very dreadful expressions are also used by cartmen and others in addressing their horses. What can possibly induce a human being to say "Gee woot!" "'Mather way!" or "Woa not to mention the atrocious "Kim aup!" of the barbarous butcher's boy. It is notorious that the above and greater enormities are perpetrated in spite of the number of Grammars already before the world. This fact sufficiently excuses the present addition to the stock; and as serious English Grammars have hitherto failed to effect the desired reformation, we are induced to attempt it by means of a Comic one. With regard to the moral tendency of our labors, we may be here permitted to remark, that they will tend, if successful, to the suppression of evil speaking ; and as the Spartans used to exhibit a tipsy slave to their children with a view to disgust them with drunkenness, and We will not allow a man to give an old woman a dose of rhubarb if he have not acquired at least half a dozen sciences; but we permit a quack to sell as much poison as he pleases. When one man runs away with another's wife, and, being on that account challenged to fight a duel, shoots the aggrieved party through the head, the latter is said to receive satisfaction. We never take a glass of wine at dinner without getting somebody else to do the same, as if we wanted encouragement; and then, before we venture to drink, we bow to each other across the table, preserving all the while a most wonderful gravity. This, however, it may be said, is the natural result of endeavoring to keep one another in countenance. The way in which we imitate foreign manners and customs is very amusing. Savages stick fish-bones through their noses; our fair countrywomen have hoops of metal poked through their ears. The Caribs flatten the forehead; the Chinese compress the foot; and we possess similar contrivances for reducing the figure of a young lady to a resemblance to an hour-glass or a devil-on-two-sticks. There being no other assignable motive for these and the like proceedings, it is reasonable to suppose that they are adopted, as schoolboys say, "for fun." We could go on, were it necessary, adducing facts to an almost unlimited extent; but we consider that enough has now been said in proof of the comic character of the national mind. And in conclusion, if any other than an English or American author can be produced, equal in point of wit, humor, and drollery, to Swift, Sterne, Dickens, or Paulding, we hereby engage to eat him; albeit we have no pretensions to the character of a "helluo librorum." "English Grammar," according to Lindley Murray, "is the art of speaking and writing the English language with propriety." The English language, written and spoken with propriety, is commonly called the King's English.

Through the Dragon Glass was written in the year 1917 by Abraham Merritt. This book is one of the most popular novels of Abraham Merritt, and has been translated into several other languages around the world.This book is published by Booklassic which brings young readers closer to classic literature globally.

The Virgin of the Sun was written in the year 1922 by Henry Rider Haggard. This book is one of the most popular novels of Henry Rider Haggard, and has been translated into several other languages around the world.This book is published by Booklassic which brings young readers closer to classic literature globally.

Szenvedélyes kalandok vagy biztonságos házasság? Végtelen álmodozás vagy unalmas valóság? Zsuzsi felvágott nyelv? diák, aki a barátai és a családja szárnyai alatt élvezi a biztonságos kamaszkort egy álmos kisvárosban. Az iskola egyik népszer? sportolójával, Gerg?vel viharos tini szerelembe bonyolódnak, majd egészen az egyetem végéig egy-egy estére ?sszefújja ?ket a szél, míg a lány férjhez nem megy. Zsuzsi id?vel azonban rád?bben, hogy a házasság korántsem az a rózsaszín leányálom, amit menyasszonyként elképzelt, és ahogy egyre inkább elborítják a hétk?znapok problémái, mind gyakrabban jutnak eszébe a Gerg?vel k?z?s emlékek. ?rdemes-e harcolni egy kih?lt házasságért? ?rdemes-e mindent eldobni az újra fellángoló kamaszkori szerelemért? Képes-e belátni egy szeretetéhes n?, hogy csupán illúziókat kerget? Takáts Lilla els? k?nyve arra a kérdésre keresi a választ, hogy n?ként érdemes-e er?nk?n felül küzdeni a család ?sszetartásáért, vagy találhatunk-e rá mentséget, ha megelégelve a feleség- és anyaszerepet, az álmainkat k?vetjük.