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

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

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

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

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

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

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

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

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

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

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

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

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

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

Судьба была удивительно щедра к двадцативосьмилетнему Фрэнсису, маркизу Уимбортону: красота, располагающие манеры, наследство, титул... Но, попав в сложную финансовую ситуацию, он находит единственный выход - жениться на богатой девушке. Его кандидатура - прекрасная леди Лексия Дрейтон. Их первая встреча будет весьма странной. А через несколько дней Френсис пригласит семью Дрейтон на ужин… Лексия и Фрэнк станут хорошими друзьями, а через некоторое время между ними вспыхнет страсть и настоящая любовь. Но, отправившись в романтическое плавание, девушка встретит молодого человека и тоже откроет ему свое сердце… Кого же выберет Лексия? С кем пойдет по жизни? Sud'ba byla udivitel'no shhedra k dvadcativos'miletnemu Frjensisu, markizu Uimbortonu: krasota, raspolagajushhie manery, nasledstvo, titul... No, popav v slozhnuju finansovuju situaciju, on nahodit edinstvennyj vyhod - zhenit'sja na bogatoj devushke. Ego kandidatura - prekrasnaja ledi Leksija Drejton. Ih pervaja vstrecha budet ves'ma strannoj. A cherez neskol'ko dnej Frensis priglasit sem'ju Drejton na uzhin… Leksija i Frjenk stanut horoshimi druz'jami, a cherez nekotoroe vremja mezhdu nimi vspyhnet strast' i nastojashhaja ljubov'. No, otpravivshis' v romanticheskoe plavanie, devushka vstretit molodogo cheloveka i tozhe otkroet emu svoe serdce… Kogo zhe vyberet Leksija? S kem pojdet po zhizni?

A kalózkirály siet?s vázlat egy jobb sorsra érdemes romantikus h?stípusról és esztelen kalandokban eltékozolt életér?l. Jókai még ebben a magasabb igény nélkül odavetett munkában is megajándékozza az olvasót a k?lt?iség egy pillanatával, egy balladás dallal, amely beépül a cselekménybe, szimbolikusan jellemzi a h?s?k alapviszonyait, és a népiesség árnyalatával élénkíti a vadromantikus képsorozatot.

The third novel, The Vicomte de Bragelonne (serialized October, 1847—January, 1850), has enjoyed a strange history in its English translation. It has been split into three, four, or five volumes at various points in its history. The five-volume edition generally does not give titles to the smaller portions, but the others do. In the three-volume edition, the novels are entitled The Vicomte de Bragelonne, Louise de la Valliere, and The Man in the Iron Mask. For the purposes of this etext, I have chosen to split the novel as the four-volume edition does, with these titles: The Vicomte de Bragelonne, Ten Years Later, Louise de la Valliere, and The Man in the Iron Mask. In the first three etexts: The Vicomte de Bragelonne (Etext 2609): It is the year 1660, and D'Artagnan, after thirty-five years of loyal service, has become disgusted with serving King Louis XIV while the real power resides with the Cardinal Mazarin, and has tendered his resignation. He embarks on his own project, that of restoring Charles II to the throne of England, and, with the help of Athos, succeeds, earning himself quite a fortune in the process. D'Artagnan returns to Paris to live the life of a rich citizen, and Athos, after negotiating the marriage of Philip, the king's brother, to Princess Henrietta of England, likewise retires to his own estate, La Fere. Meanwhile, Mazarin has finally died, and left Louis to assume the reigns of power, with the assistance of M. Colbert, formerly Mazarin's trusted clerk. Colbert has an intense hatred for M. Fouquet, the king's superintendent of finances, and has resolved to use any means necessary to bring about his fall. With the new rank of intendant bestowed on him by Louis, Colbert succeeds in having two of Fouquet's loyal friends tried and executed. He then brings to the king's attention that Fouquet is fortifying the island of Belle-Ile-en-Mer, and could possibly be planning to use it as a base for some military operation against the king. Louis calls D'Artagnan out of retirement and sends him to investigate the island, promising him a tremendous salary and his long-promised promotion to captain of the musketeers upon his return. At Belle-Isle, D'Artagnan discovers that the engineer of the fortifications is, in fact, Porthos, now the Baron du Vallon, and that's not all. The blueprints for the island, although in Porthos's handwriting, show evidence of another script that has been erased, that of Aramis. D'Artagnan later discovers that Aramis has become the bishop of Vannes, which is, coincidentally, a parish belonging to M. Fouquet. Suspecting that D'Artagnan has arrived on the king's behalf to investigate, Aramis tricks D'Artagnan into wandering around Vannes in search of Porthos, and sends Porthos on an heroic ride back to Paris to warn Fouquet of the danger. Fouquet rushes to the king, and gives him Belle-Isle as a present, thus allaying any suspicion, and at the same time humiliating Colbert, just minutes before the usher announces someone else seeking an audience with the king. Ten Years Later (Etext 2681): As 1661 approaches, Princess Henrietta of England arrives for her marriage, and throws the court of France into complete disorder. The jealousy of the Duke of Buckingham, who is in love with her, nearly occasions a war on the streets of Le Havre, thankfully prevented by Raoul's timely and tactful intervention. After the marriage, though, Monsieur Philip becomes horribly jealous of Buckingham, and has him exiled. Before leaving, however, the duke fights a duel with M. de Wardes at Calais. De Wardes is a malicious and spiteful man, the sworn enemy of D'Artagnan, and, by the same token, that of Athos, Aramis, Porthos, and Raoul as well. Both men are seriously wounded, and the duke is taken back to England to recover. Raoul's friend, the Comte de Guiche, is the next to succumb to Henrietta's charms, and Monsieur obtains his exile as well, though De Guiche soon effects a reconciliation.

Egy nem mindennapi gyerekkori barátság lélegzetelállító t?rténete, amely kiállja az id? próbáját. Gustav Perle egy svájci kisvárosban n? fel, ahol a II. világháború sz?rny?ségeib?l csak halk visszhang jut el. Egyedüli gyerekként nevelkedik imádott édesanyjával, Emilie-vel, aki meglehet?en mogorván bánik vele. ?sszebarátkozik egy vele egykorú tehetséges és jó esz? zsidó fiúval Anton Zweibellel, az ígéretes zongoristapalántával.A regény Gustav családjának t?rténetét k?veti nyomon, feltárja az anya antiszemitizmusának gy?kereit, amelynek kihatása lesz fia és legkedvesebb barátjának életére is. Visszatekintés a háborús évekre és egy lelkiismereti ügy kellemetlen k?vetkezményeire, és el?re nézés két életútra, két karrierre; egy szállodatulajdonoséra és egy zongoram?vészére.A Gustav-szonáta a barátságról szól: a szenvedélyes szeretetr?l, az eltávolodásról és a küzdelemr?l. Er?teljes és mélyen megindító m? az egyik legnagyobb kortárs regényíró tollából.?A szeretet és irigység mesteri elbeszélése.” – The Guardian“Egy t?kéletes regény az élet t?kéletlenségér?l” – The Observer“Tremain egy géniusz.” – The Times"Végletes és fájdalmas szépség. Briliáns regény; Tremain a legnagyobb brit írók egyike.” -Salman RushdieRose Tremain 1943-ban született Londonban. Regényei és novellái világszerte 27 országban jelentek meg, számtalan díjat nyertek, beleértve a Sunday Express ?v K?nyve Díját a Restoration-nel (a regényt Booker-díjra is jel?lték). A Sacred Country-val Franciaországban elnyerte a ?Prix Femina Etranger”-díjat, a Music and Silence-szel a Whitbread ?v K?nyve díjat, és a Road Home-mal 2008-ban a regényeknek járó Orange-díjat. 1995-ben a Restoration-b?l Változások kora címmel filmet forgattak, és 2009-ben színpadra is vitték. Legújabb regénye a sokat dicsért Gustav-szonáta, amiben Rose ?páratlan tehetsége csúcsára érkezett” (Observer).Rose Tremain korábbi regénye Színarany címmel jelent meg magyarul a Park Kiadó gondozásában.

A Szvetséges sidk óta kztünk jár és építi birodalmát. Nem egy embert kell legyznünk. Hanem egy legendát.” A mindig harcra kész Lyrna királynnek Alltor véres ostroma után ssze kell gyjtenie csapatait, hogy visszafoglalja a fvárost a volári megszállóktól, és kivívja az Egységes Királyság függetlenségét. Céljai érdekében kénytelen a Hetedik Renddel szvetkezni: olyan férfiakkal és nkkel, akiknek szrny ereje a Stétség rémiszt hatalmától ered. Vaelin Al Sorna ismét a legfbb hadúr szerepében találja magát, és felismeri, hogy csak a voláriak titokzatos Szvetségesének leleplezésével fordíthatja meg a háború menetét. Ehhez pedig mélyen be kell hatolnia a jégpáncélba zárt északi fldekre, hogy rátaláljon valakire, akit szinte lehetetlen legyzni, hiszen halhatatlan. Ráadásul mindezt immár a vér énekének segédlete nélkül, amely baljósan hallgat… Ryan mindent hoz,ami csak jó a fantasyben: stét trténet, si mágia, kegyetlen sszeesküvések, kérdéses hség és vér. Patakokban.” – Publishers Weekly

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A Fokvárosba érkez? Bettire és Benre óriási meglepetés vár. A repül?téren limuzin vár rájuk, és magánrepül? repíti ?ket újabb mérhetetlen gazdagság felé. ?gy t?nik jó ?tlet tovább játszani a milliomost. Vagy talán mégsem? Egy elhibázott éjszaka, és másnapra Bettinek nyoma vész. Ben kénytelen egy afrikai nyomozó oldalán az elt?nt szerelme nyomába eredni.Az elhunyt Kállay Edvárd múltjából újabb rejtélyek kerülnek a felszínre, amely súlyos teherként nyomják Ben vállát. A hasonlóság akár az életébe is kerülhet.Vajon milyen titkok rejt?znek annak a férfinak a múltjában, akinek Ben átvette a szerepét? Megszabadulhat Ben Edvárd múltjától, vagy ?r?kre kísérteni fogja? ?