Riduri deschide colec?ia ?Falanga basarabean?“ (coordonator Dumitru Crudu). Un volum al tinere?ii vitaliste care ?ncepe s? se obi?nuiasc? treptat ?i sigur cu ridurile societ??ii cu o speran?? de via?? din ce ?n ce mai exact stabilit?. Un volum de versuri care sfideaz? moartea prin chiar urmele pe care le las? ?n urm?, ca ni?te tatuaje, amintirea poeziei vie?ii celor dragi.

A fascinating biography of the famous English philosopher Francis Bacon.

Marele romancier face o incursiune ?n trecutul nu foarte ?ndep?rtat al Rom?niei, trat?nd anii dictaturii ro?ii f?r? p?rtinire, ?ncerc?nd o radiografie crud?, impar?ial? ?i – lucru extrem de rar ?n Balcani – radical? a unei jum?t??i de secol de istorie.Cartea e destinat? studen?ilor, elevilor, profesorilor, precum ?i publicului larg de cititori.

A negatív érzelmek - mint a b?ntudat, a düh, a kétség, a csalódás - nyomot hagynak a lelkünkben. Minél hosszabb id?n át vagyunk kitéve ezeknek a rossz érzelmi állapotoknak, annál maradandóbbak lesznek a nyomaik is. Kurt Tepperwein kifejlesztett egy eredményes lelki méregtelenít? módszert, amellyel fel tudjuk frissíteni, s?t úgyszólván újraéleszthetjük a lelkünket. Meggy?z? és k?nnyen alkalmazható programmal magyarázza el az okokat; hogy hogyan szabadulhatunk meg a negatív mintáktól; és hogy mely tényez?k segítik a lelki higiénét. A nélkül?zhetetlen tanácsadó k?nyvet egy sor személyes kérdéslista és az ?nvizsgálat elvégzéséhez való gyakorlati útmutató teszi teljessé. "Ismerjük fel, hogy minden helyzetben megvan a lehet?ségünk arra, hogy eld?ntsük, mit állítunk a k?zéppontba, és hogyan akarunk reagálni. K?vessenek az úton, és meglátják, hogy minden bosszantó helyzetben van legalább egy olyan aspektus, amely hálára vagy ?r?mre adhat okot."

An in-depth discussion on many different species of British birds by famed ornithologist William Hudson.

Acestea-s cuvintele, Petra. Am aternut copertele peste ele, lsndu-le s se limpezeasc. Timpul trecea, cartea nu-mi mai ncpea n trup. ntr-o zi, mi plimbam ochii peste literele ei. Dup aceea, am rspuns ctorva e-mailuri. Printre tirile care nsoesc n mod obinuit o csu electronic, mi-a atras atenia una. Plasa pianjenului se lsa peste mine, dar cui s-i strig mirarea i bucuria mea Eram singur i ngheat, n biroul pustiu. Atunci, m-am repezit s-i atern aceste nimicuri despre Shaun Higgins, specialistul ce a reuit s rezolve misterul insulei-fantom din Pacific. Aprea pe mai toate hrile, dar nu a fost gsit de cercettorii care au plecat s o caute cu vreo lun n urm. Din 1876 s-a strecurat eroarea. Atunci, comandantul balenierei Velocity a raportat n jurnal o serie de stnci mari i nite insulie de nisip, marcnd poriunea de pmnt pe o hart. Informaiile lui au tot fost copiate i recopiate, postulnd drept insul un probabil i posibil recif. Cineva din lumea aceasta, cu un veac n urm, s-a mai gndit la Plasterca. i dai seama ce lucru minunat i s-ar putea ca lumea despre care am zis odat c nu am gsit-o, aceea ce spuneam c i se cuvine, alturi de aceast carte care abia mai ncape n colivie, s se afle undeva, pe-aproape.“ – Clin Torsan

Book of Tea

Maszumé hétk?znapi kamaszlány a 60-as évek Iránjában. Iskolába menet meglát egy fiatalembert, akivel egymásba szeretnek. Maszumé bátyjai megtalálják ártatlan levelezésüket, húgukat megverik, majd máshoz kényszerítik feleségül. A lánynak fel kell adnia álmait, és el kell indulnia egy g?r?ngy?s úton, melyet a sors rendelt neki. Az ?tven évet fel?lel? regény a hazáját jól ismer? szerz? szemével k?veti végig Irán viharos t?rténelmét: a 60-as évek a sah elnyomó uralma alatt, majd az iszlám forradalom, mely visszahozta Iránba a k?zépkort, az iraki–iráni háború. A regényt, mely az utóbbi évtized legnagyobb bestsellere lett Iránban, kétszer is betiltották, azonban nem politikai tartalma miatt, hanem mert egy olyan független és er?s n? sorsát állítja példaképül, aki a sorscsapások és nehézségek ellenére sosem adja fel a reményt, s bár csendesen, mégis határozottan tiltakozik társadalmának elnyomó hagyományai ellen. Parinoush Saniee szociológus és pszichológus, t?bb regény szerz?je. A sors k?nyve els? regénye, melyet t?bb nyelvre fordítottak le, Olaszországban elnyerte a Boccaccio-díjat, Németországban bestseller lett. Az iráni írón? 1949-ben született, férjnél van, két fia külf?ld?n él.

Pornind de la Ioana Em. Petrescu, studiul propus urm?re?te s? probeze cu arsenalul criticii de descenden?? fenomenologic?, mereu actualizat?, o teorie referitoare la asumarea eminescianismului de c?tre cei mai importan?i poe?i ai secolului trecut. Actualitatea lui Eminescu se dovede?te astfel ?i prin ve?nica recitire ?i asumare a poeziei sale de c?tre poe?i precum Bacovia, Blaga, Barbu, Arghezi, Labi?, Nichita St?nescu. Aceast? prezen?? eminescian?, asumat? teoretic (vezi Blaga) sau topit? ?n profunzimile textelor poetice (vezi Labi? sau Nichita St?nescu), sus?ine valabilitatea canonului eminescian. Eminescu este astfel inactual doar dac? privim o parte ?nsemnat? a poeziei actuale, prea ancorat? ?ntr-o realitate golit? de semnifica?ie, o poezie s?r?cit? de profunzimea transfigurat? a Creatorului. (In)actualitatea lui Eminescu probeaz? astfel doar tragic? noastr? inactualitate./ – Florin Oprescu

Mai mult dec?t psihoz? este un roman psihologic. Ac?iunea se desf??oar? pe mai multe planuri, plec?nd de la jurnalul eroinei principale, Ynonne Daphne, care, suferind de dou? boli psihice, ?ncearc? s? fac? fa?? neajunsurilor bolii. Fundalul c?r?ii este unul al spitalului, prezent?ndu-se realitatea dur? a bolii. ?n aceast? atmosfer? se desf??oar? ac?iunea real? care se suprapune cu lumile din mintea lui Yvonne. Faptul c? Yvonne cre?te prin spitale o determina s? vad? ?n medicii reali – p?rin?i, dezvolt?nd psihopatii ?i fantasme care o vor urm?ri ?i ?n timpul facult??ii. Traseul psihologic este bine g?ndit ?i analizat de autoare, pun?nd-o pe eroin?, succesiv, ?n mijlocul vie?ii reale c?reia trebuie s?-i fac? fa??. Yvonne este ?ns?, psihologic vorbind, un copil, iar reac?iile ei vor fi de fiecare dat? tulbur?toare, nea?teptate. Scenariul c?r?ii va fi ancorat prin diferite medii, prin spitale, prin universit??i, la conferin?e, printre scriitori, pentru c? Yvonne ajunge scriitoare. Planul real cu cel imaginar se ?mplete?te cu fine?e, aduc?ndu-se ?n planul ?nt?i o discu?ie imaginar? la care particip? principalii scriitori ai lumii, mas? la care va participa ?i Yvonne. Fragilitatea existen?ei umane o va determina pe Yvone s? comit? o tentativ? de suicid c?reia ?i supravie?uie?te. ?n final, cel care o va face s? ?n?eleag? c? ?n lume nimic nu conteaz? mai mult dec?t prietenia, prietenia adev?rat? dintre oameni, este medicul Hermann, pentru mintea lui Yvonne tata Hermann.

O s m tii de undeva e ca o matrioc din ppui de sticl, cu care umbli c-un fel de team, s nu le scapi i s se strice, dar apas fr fric, intr, trage, privete-le, studiaz-le, citete – au trecut prin multe, au rezistat n lumea real i au s reziste i-n varianta lor hrtioas. (…) Dup ce-o s citeti cartea ei de debut, o s exclami precum o tenismen care tocmai a ctigat un turneu foarte important – WOW! – i de aici ncolo o s tii exact de unde o cunoti.“ – Mihail Vakulovski Scrisul acestei femei frumoase din toate unghiurile de vedere i de simire nu se savureaz. Se muc, se mestec, se-nghite drag. E dulce i te ustur. Incantaie amanic este aceasta, nu scriitur. Vrjitorie curat creia n-ai cu ce s vrei s i te sustragi. Curgi cu ea, te-amesteci i te umpli de bun mireasm. Pentru c ea e bun i se d. Pentru c ea e att de bun nct te restituie ie-i. Cuvinte-flori-de-cmp care nu se adun-n mnuchiuri, ci se rsfir-n… poeme. L-am auzit pe Iulian Tnase zicnd c-aa se cheam povetile-poeme. ndat m-am gndit la Petronela, c-o tiu de undeva, din miezul nestricat al lumii, din timpurile-n care nu i se despriser apele i nici vntoasele n asta i cealalt. Pe cnd aveam noi ochi muli de heruvimi i aripi ase de serafimi.“ – Ana Barton Scrie cu pasiune, tie s rite, s-i transforme experiena de via n poeme. Este recognoscibil i nu plictisete. Petronela Rotar are toate ansele unei traiectorii literare memorabile.“ – Alexandru Petria

Ore de diminea?? ?ntr-o nou? edi?ie. F?r? ?ndoial? un eveniment. Este cartea care arunc? ?n aer bariera dintre pacostea proletcultist? ?i dreptul elementar de a g?ndi ?i a scrie liber. Cu discre?ie dar f?r? mil? prietenul meu Platon reu?e?te s? p?trund? natura uman? ?i s? simt? r?ul acolo unde nimeni n-ar fi crezut c? se poate ascunde. Ore de diminea?? este o carte despre timpul care i-a fost lui dat. Cartea asta vine din trecut dar apar?ine ?n aceea?i m?sur? prezentului ?i, poate, timpurilor care vor veni. O carte pentru cei ce nu scot din context prezentul pe care nu ei l-au ales. ?n aceia?i m?sur?, un text pentru cei (pu?ini?!) ?n stare s? priceap? c? a trimite ca pe o cer?etoare hoa?? istoria la tribunal este, dac? nu demagogie, atunci o prostie incurabil?. Citi?i Ore de diminea??. Scris? ?i tiparit? ?n anii '70. Este cartea unui autor de seam?. G. B?l?i???

Az iráni írón? els? regénye máris 14 nyelven jelent meg világszerte. A t?rténet az iszlám forradalom utáni Iránban játszódik, ahol egy n? csak fejkend?ben léphet ki az utcára, és b?nnek számít, ha valaki amerikai zenét hallgat. Egy kis iráni faluban nevelkedik a kis Szába és ikertestvére, Mahtab. Szába élete egy csapásra megváltozik, amikor anyja és testvére számára felfoghatatlanul elt?nnek az életéb?l. A kislány meg van gy?z?dve róla, hogy Amerikába emigráltak nélküle.

A velencei bába népszer? szerz?je új k?nyvében a 16. századi Konstantinápolyba repíti az olvasót. Hanna és Izsák sok-sok akadályt küzdenek le, hogy új életet kezdjenek az oszmán birodalomban. Izsák selyemkészítésbe kezd, Hanna pedig, aki hamar elnyeri a f?város legjobb bábája elismerést, a szultán fény?z? háremében kap megbízatást. Egy éjszaka Hannát a szultán palotájába hívatják. Ekkor találkozik el?sz?r a gy?ny?r? Leával, akit elraboltak, hogy a szultán ágyasa legyen. ?m a lány súlyos titkot cipel magával. Ha fény derül rá, Leára sz?rny? sors vár. Hanna mindent elk?vet, hogy segítsen a lánynak, ám ezzel nem csak a saját, de a családja életét is kockára teszi. Mindennek tetejébe házukba egy elb?v?l? idegen n? állít be váratlanul, és kis híján romba d?nti Hanna családi boldogságát. Nem kevesebbet akar, mint a férjét és a szemük fényét, a kis Matteót.

Anna Karenina is a novel by the Russian writer Leon Tolstoy, published in serial installments from 1873 to 1877 in the periodical The Russian Messenger. Tolstoy clashed with editor Mikhail Katkov over political issues that arose in the final installment (Tolstoy's unpopular views of volunteers going to Serbia); therefore, the novel's first complete appearance was in book form. Widely regarded as a pinnacle in realist fiction, Tolstoy considered Anna Karenina his first true novel, when he came to consider War and Peace to be more than a novel. Fyodor Dostoevsky declared it to be "flawless as a work of art". His opinion was shared by Vladimir Nabokov, who especially admired "the flawless magic of Tolstoy's style", and by William Faulkner, who described the novel as "the best ever written". The novel is currently enjoying popularity, as demonstrated by a recent poll of 125 contemporary authors by J. Peder Zane, published in 2007 in "The Top Ten" in Time, which declared that Anna Karenina is the "greatest novel ever written" "..The novel opens with a scene introducing Prince Stepan Arkadyevich Oblonsky ("Stiva"), a Moscow aristocrat and civil servant who has been unfaithful to his wife Darya Alexandrovna ("Dolly"). Dolly has discovered his affair with the family's governess, and the household and family are in turmoil. Stiva's affair and his reaction to his wife's distress show an amorous personality that he cannot seem to suppress. In the midst of the turmoil, Stiva informs the household that his married sister, Anna Arkadyevna Karenina, is coming to visit from Saint Petersburg. Meanwhile, Stiva's childhood friend, Konstantin Dmitrievich Levin ("Kostya"), arrives in Moscow with the aim of proposing to Dolly's youngest sister, Princess Katerina Alexandrovna Shcherbatskaya ("Kitty"). Levin is a passionate, restless, but shy aristocratic landowner who, unlike his Moscow friends, chooses to live in the country on his large estate. He discovers that Kitty is also being pursued by Count Alexei Kirillovich Vronsky, an army officer. Whilst at the railway station to meet Anna, Stiva bumps into Vronsky who is there to meet his mother, the Countess Vronskaya. Anna and Vronskaya have traveled and talked together in the same carriage. As the family members are reunited, and Vronsky sees Anna for the first time, a railway worker accidentally falls in front of a train and is killed. Anna interprets this as an "evil omen." Vronsky, however, is infatuated with her. Anna is uneasy about leaving her young son, Sergei ("Seryozha"), alone for the first time.At the Oblonsky home, Anna talks openly and emotionally to Dolly about Stiva's affair and convinces her that Stiva still loves her despite the infidelity. Dolly is moved by Anna's speeches and decides to forgive Stiva. Kitty, who comes to visit Dolly and Anna, is just eighteen. In her first season as a debutante, she is expected to make an excellent match with a man of her social standing. Vronsky has been paying her considerable attention, and she expects to dance with him at a ball that evening. Kitty is very struck by Anna's beauty and personality and becomes infatuated with her just as Vronsky is. When Levin proposes to Kitty at her home, she clumsily turns him down, believing she is in love with Vronsky and that he will propose to her, and encouraged to do so by her mother who believes Vronsky would be a better match.At the big ball Kitty expects to hear something definitive from Vronsky, but he dances with Anna, choosing her as a partner over a shocked and heartbroken Kitty. Levin, crushed by Kitty's refusal, returns to his estate, abandoning any hope of marriage. Anna returns to her husband Alexei Alexandrovich Karenin, a senior government official, and her son Seryozha in Saint Petersburg. On seeing her husband for the first time since her encounter with Vronsky, Anna realises that she finds him unattractive, though she tells herself he is a good man.." ? ABOUT AUTHOR: Tolstoy was born in Yasnaya Polyana, the family estate in the Tula region of Russia. The Tolstoys were a well-known family of old Russian nobility. He was the fourth of five children of Count Nikolai Ilyich Tolstoy, a veteran of the Patriotic War of 1812, and Countess Mariya Tolstaya (Volkonskaya).

The story starts in London on Tuesday, October 1, 1872. Fogg is a rich English gentleman and bachelor living in solitude at Number 7 Savile Row, Burlington Gardens. Despite his wealth, which is ?40,000 (roughly ?3,020,000 today), Fogg, whose countenance is described as "repose in action", lives a modest life with habits carried out with mathematical precision. Very little can be said about his social life other than that he is a member of the Reform Club. Having dismissed his former valet, James Foster, for bringing him shaving water at 84 °F (29 °C) instead of 86 °F (30 °C), Fogg hires a Frenchman by the name of Jean Passepartout, who is about 30 years old, as a replacement. Later on that day, in the Reform Club, Fogg gets involved in an argument over an article in The Daily Telegraph, stating that with the opening of a new railway section in India, it is now possible to travel around the world in 80 days. He accepts a wager for ?20,000 (roughly ?1,510,000 today) from his fellow club members, which he will receive if he makes it around the world in 80 days. Accompanied by Passepartout, he leaves London by train at 8:45 P.M. on Wednesday, October 2, 1872, and thus is due back at the Reform Club at the same time 80 days later, Saturday, December 21, 1872. Mr. Phileas Fogg lived, in 1872, at No. 7, Saville Row, Burlington Gardens, the house in which Sheridan died in 1814. He was one of the most noticeable members of the Reform Club, though he seemed always to avoid attracting attention; an enigmatical personage, about whom little was known, except that he was a polished man of the world. People said that he resembled Byron—at least that his head was Byronic; but he was a bearded, tranquil Byron, who might live on a thousand years without growing old. Certainly an Englishman, it was more doubtful whether Phileas Fogg was a Londoner. He was never seen on 'Change, nor at the Bank, nor in the counting-rooms of the "City"; no ships ever came into London docks of which he was the owner; he had no public employment; he had never been entered at any of the Inns of Court, either at the Temple, or Lincoln's Inn, or Gray's Inn; nor had his voice ever resounded in the Court of Chancery, or in the Exchequer, or the Queen's Bench, or the Ecclesiastical Courts. He certainly was not a manufacturer; nor was he a merchant or a gentleman farmer. His name was strange to the scientific and learned societies, and he never was known to take part in the sage deliberations of the Royal Institution or the London Institution, the Artisan's Association, or the Institution of Arts and Sciences. He belonged, in fact, to none of the numerous societies which swarm in the English capital, from the Harmonic to that of the Entomologists, founded mainly for the purpose of abolishing pernicious insects. Phileas Fogg was a member of the Reform, and that was all. The way in which he got admission to this exclusive club was simple enough. He was recommended by the Barings, with whom he had an open credit. His cheques were regularly paid at sight from his account current, which was always flush. Was Phileas Fogg rich? Undoubtedly. But those who knew him best could not imagine how he had made his fortune, and Mr. Fogg was the last person to whom to apply for the information. He was not lavish, nor, on the contrary, avaricious; for, whenever he knew that money was needed for a noble, useful, or benevolent purpose, he supplied it quietly and sometimes anonymously. He was, in short, the least communicative of men. He talked very little, and seemed all the more mysterious for his taciturn manner. His daily habits were quite open to observation; but whatever he did was so exactly the same thing that he had always done before, that the wits of the curious were fairly puzzled. ABOUT AUTHOR: Jules Gabriel Verne (1828 – 1905) was a French novelist, poet, and playwright best known for his adventure novels and his profound influence on the literary genre of science fiction. Born to bourgeois parents in the seaport of Nantes, Verne was trained to follow in his father's footsteps as a lawyer, but quit the profession early in life to write for magazines and the stage. His collaboration with the publisher Pierre-Jules Hetzel led to the creation of the Voyages Extraordinaires, a widely popular series of scrupulously researched adventure novels including Journey to the Center of the Earth, Twenty Thousand Leagues Under the Sea, and Around the World in Eighty Days.

"BLEAK HOUSE" is a novel by Charles Dickens, published in 20 monthly instalments between March 1852 and September 1853. It is held to be one of Dickens's finest novels, containing one of the most vast, complex and engaging arrays of minor characters and sub-plots in his entire canon. The story is told partly by the novel's heroine, Esther Summerson, and partly by a mostly omniscient narrator. Memorable characters include the menacing lawyer Tulkinghorn, the friendly but depressive John Jarndyce, and the childish and disingenuous Harold Skimpole, as well as the likeable but imprudent Richard Carstone. At the novel's core is long-running litigation in England's Court of Chancery, Jarndyce v Jarndyce, which has far-reaching consequences for all involved. This case revolves around a testator who apparently made several wills. The litigation, which already has taken many years and consumed between 60,000 and 70,000 in court costs, is emblematic of the failure of Chancery. Though Chancery lawyers and judges criticised Dickens's portrait of Chancery as exaggerated and unmerited, his novel helped to spur an ongoing movement that culminated in the enactment of legal reform in the 1870s. In fact, Dickens was writing just as Chancery was reforming itself, with the Six Clerks and Masters mentioned in Chapter One abolished in 1842 and 1852 respectively: the need for further reform was being widely debated. These facts raise an issue as to when Bleak House is actually set. Technically it must be before 1842, and at least some of his readers at the time would have been aware of this. However, there is some question as to whether this timeframe is consistent with the themes of the novel. The English legal historian Sir William Holdsworth set the action in 1827. Characters in Bleak House: As usual, Dickens drew upon many real people and places but imaginatively transformed them in his novel. Hortense is based on the Swiss maid and murderess Maria Manning. The "telescopic philanthropist" Mrs Jellyby, who pursues distant projects at the expense of her duty to her own family, is a criticism of women activists like Caroline Chisholm. The "childlike" but ultimately amoral character Harold Skimpole is commonly regarded as a portrait of Leigh Hunt. "Dickens wrote in a letter of 25 September 1853, 'I suppose he is the most exact portrait that was ever painted in words! ... It is an absolute reproduction of a real man'; and a contemporary critic commented, 'I recognized Skimpole instantaneously; ... and so did every person whom I talked with about it who had ever had Leigh Hunt's acquaintance.'"[2] G. K. Chesterton suggested that Dickens "may never once have had the unfriendly thought, 'Suppose Hunt behaved like a rascal!'; he may have only had the fanciful thought, 'Suppose a rascal behaved like Hunt!'". Mr Jarndyce's friend Mr Boythorn is based on the writer Walter Savage Landor. The novel also includes one of the first detectives in English fiction, Inspector Bucket. This character is probably based on Inspector Charles Frederick Field of the then recently formed Detective Department at Scotland Yard. Dickens wrote several journalistic pieces about the Inspector and the work of the detectives in Household Words, his weekly periodical in which he also published articles attacking the Chancery system. The Jarndyce and Jarndyce case itself has reminded many readers of the thirty-year Chancery case over Charlotte Smith's father-in-law's will. Major characters: Esther Summerson – the heroine of the story, and one of its two narrators (Dickens's only female narrator), raised as an orphan because the identity of her parents is unknown. At first, it seems probable that her guardian, John Jarndyce, is her father because he provides for her. This, however, he disavows shortly after she comes to live under his roof.

Candide is characterised by its sarcastic tone, as well as by its erratic, fantastical and fast-moving plot. A picaresque novel with a story similar to that of a more serious bildungsroman, it parodies many adventure and romance clichés, the struggles of which are caricatured in a tone that is mordantly matter-of-fact. Still, the events discussed are often based on historical happenings, such as the Seven Years' War and the 1755 Lisbon earthquake. As philosophers of Voltaire's day contended with the problem of evil, so too does Candide in this short novel, albeit more directly and humorously. Voltaire ridicules religion, theologians, governments, armies, philosophies, and philosophers through allegory; most conspicuously, he assaults Leibniz and his optimism. Voltaire's men and women point his case against optimism by starting high and falling low. A modern could not go about it after this fashion.?He would not plunge his people into an unfamiliar misery. He would just keep them in the misery they were born to. But such an account of Voltaire's procedure is as misleading as the plaster cast of a dance. Look at his procedure again. Mademoiselle Cunégonde, the illustrious Westphalian, sprung from a family that could prove seventy-one quarterings, descends and descends until we find her earning her keep by washing dishes in the Propontis. The aged faithful attendant, victim of a hundred acts of rape by negro pirates, remembers that she is the daughter of a pope, and that in honor of her approaching marriage with a Prince of Massa-Carrara all Italy wrote sonnets of which not one was passable. We do not need to know French literature before Voltaire in order to feel, although the lurking parody may escape us, that he is poking fun at us and at himself. His laughter at his own methods grows more unmistakable at the last, when he caricatures them by casually assembling six fallen monarchs in an inn at Venice. A modern assailant of optimism would arm himself with social pity. There is no social pity in "Candide." Voltaire, whose light touch on familiar institutions opens them and reveals their absurdity, likes to remind us that the slaughter and pillage and murder which Candide?witnessed among the Bulgarians was perfectly regular, having been conducted according to the laws and usages of war. Had Voltaire lived today he would have done to poverty what he did to war. Pitying the poor, he would have shown us poverty as a ridiculous anachronism, and both the ridicule and the pity would have expressed his indignation. About Author: VOLTAIREFran?ois-Marie Arouet (1694 – 1778), known by his nom de plume Voltaire, was a French Enlightenment writer, historian and philosopher famous for his wit, his attacks on the established Catholic Church, and his advocacy of freedom of religion, freedom of expression, and separation of church and state. Voltaire was a versatile writer, producing works in almost every literary form, including plays, poems, novels, essays, and historical and scientific works. He wrote more than 20,000 letters and more than 2,000 books and pamphlets. He was an outspoken advocate, despite the risk this placed him in under the strict censorship laws of the time. As a satirical polemicist, he frequently made use of his works to criticize intolerance, religious dogma, and the French institutions of his day.

Kedves Feln?ttek! ?Ez a k?nyv Nektek készült! T?rténetünk a XXXIV. században játszódik. Egy királyi család nem épp szokványos életén keresztül betekintést nyerhetünk a j?v?be. ??j faj k?rvonalazódik, aminek fejl?dése megállíthatatlan. ?Unalmasnak t?n?, idillikus életüket felváltja a S?tétség er?ivel folytatott harc, aminek kimenetele végleg meghatározza a F?ld bolygó sorsát...

The history of our English translations of "Don Quixote" is instructive. Shelton's, the first in any language, was made, apparently, about 1608, but not published till 1612. This of course was only the First Part. It has been asserted that the Second, published in 1620, is not the work of Shelton, but there is nothing to support the assertion save the fact that it has less spirit, less of what we generally understand by "go," about it than the first, which would be only natural if the first were the work of a young man writing currente calamo, and the second that of a middle-aged man writing for a bookseller. On the other hand, it is closer and more literal, the style is the same, the very same translations, or mistranslations, occur in it, and it is extremely unlikely that a new translator would, by suppressing his name, have allowed Shelton to carry off the credit. In 1687 John Phillips, Milton's nephew, produced a "Don Quixote" "made English," he says, "according to the humour of our modern language." His "Quixote" is not so much a translation as a travesty, and a travesty that for coarseness, vulgarity, and buffoonery is almost unexampled even in the literature of that day. But it is, after all, the humour of "Don Quixote" that distinguishes it from all other books of the romance kind. It is this that makes it, as one of the most judicial-minded of modern critics calls it, "the best novel in the world beyond all comparison." It is its varied humour, ranging from broad farce to comedy as subtle as Shakespeare's or Moliere's that has naturalised it in every country where there are readers, and made it a classic in every language that has a literature.

The saber was the weapon of the soldiers and dueling heroes here in the Carpathian Basin for more than a thousand years. During this time it became more than a simple tool of fighting. It became a loyal companion and a symbol of valor of the wielder. This weapon and the valiant spirit of its wielders became known in Western Europe and North American via Hungarians. At the time of our settlement Western Europe feared the sight of the saber, it became a worthy opponent of the Turkish and later, after the civil war of Rákóczi it brought us honor in the wars fought at the side of foreign countries. Maybe there is no other sword type like this which reserved its significance for so long time. ?The saber is not only an antique weapon of a past era, but much like a sports tool as a foil which is used at the Olympic Games. ?This book contains an elaborated practical curriculum. With the help of it, the saber fencing can be learned from the basics to master level. The book guides the reader through hundreds of exercises with the help of more than a hundred photographic illustrations. These can help anyone to learn the basic moves, the more complex exercises and even the trick-cuts or disarmament. ?We prove with this book that the saber fencing is a living sport and martial art.