Цветные вазочки разных форм, ажурные конфетницы, эффектные корзинки и практичные шкатулки – все это сможет связать и начинающая, и опытная мастерица! ? Вазочка из разноцветных вязаных листьев ? Ажурная корзинка в форме кувшинки ? Ваза в виде античной амфоры ? Конфетницы в форме бабочки и в технике фриформ и др. Понятные пошаговые инструкции, схемы и советы сделают процесс вязания приятным и увлекательным.Cvetnye vazochki raznyh form, azhurnye konfetnicy, jeffektnye korzinki i praktichnye shkatulki – vse jeto smozhet svjazat' i nachinajushhaja, i opytnaja masterica! ? Vazochka iz raznocvetnyh vjazanyh list'ev ? Azhurnaja korzinka v forme kuvshinki ? Vaza v vide antichnoj amfory ? Konfetnicy v forme babochki i v tehnike friform i dr. Ponjatnye poshagovye instrukcii, shemy i sovety sdelajut process vjazanija prijatnym i uvlekatel'nym.

Торты с сюрпризом сделают ваш праздник незабываемым! Их ароматная середина подарит в разрезе цветы из творожного теста, радужное сердце с цедрой лайма, милых шоколадных кошек, ежевичное омбре и даже признание в любви! Торты просты в приготовлении. Эффектные приемы работы с различными видами теста, наполнителями из цедры, орехов, кусочков желе и шоколадных капель, начинками и специальными трафаретами превращают обычный рецепт в кулинарный шедевр.Torty s sjurprizom sdelajut vash prazdnik nezabyvaemym! Ih aromatnaja seredina podarit v razreze cvety iz tvorozhnogo testa, raduzhnoe serdce s cedroj lajma, milyh shokoladnyh koshek, ezhevichnoe ombre i dazhe priznanie v ljubvi! Torty prosty v prigotovlenii. Jeffektnye priemy raboty s razlichnymi vidami testa, napolniteljami iz cedry, orehov, kusochkov zhele i shokoladnyh kapel', nachinkami i special'nymi trafaretami prevrashhajut obychnyj recept v kulinarnyj shedevr.

Чортова дванадцятка — досить змстовна й влучна характеристика збрки жахв за редакцю неперевершеного Ствена Джонса! Пд одню обкладинкою збран 12 гостроцкавих оповдань менитих майстрв горору. Дж. Гаррс, К. Ньюман, М. рей, Р. Кемпбелл та нш гарантують вам безсонну нч в атмосфер тамничост й мстики… Подейкують, що в паризькому Театр Жаху влаштовують кривав вистави. Тридцятидвохрчна Кейт Рд пдбралася надто близько до розгадки… (Гньоль) Вдомий актор Даррен Ловр на пку популярност… був, аж доки не розгнвав вдьму! (Забуття)Chortova dvanadcjatka — dosit' zmstovna j vluchna harakteristika zbrki zhahv za redakcju neperevershenogo Stvena Dzhonsa! Pd odnju obkladinkoju zbran 12 gostrockavih opovdan' menitih majstrv gororu. Dzh. Garrs, K. N'juman, M. rej, R. Kempbell ta nsh garantujut' vam bezsonnu nch v atmosfer tamnichost j mstiki… Podejkujut', shho v pariz'komu Teatr Zhahu vlashtovujut' krivav vistavi. Tridcjatidvohrchna Kejt Rd pdbralasja nadto bliz'ko do rozgadki… (Gn'ol') Vdomij aktor Darren Lovr na pku populjarnost… buv, azh doki ne rozgnvav vd'mu! (Zabuttja)

In 1861 Captain Grant succeeded Captain Burgess on Matinicus, taking his son with him as assistant. The old keeper left Abby on the rock to instruct the newcomers in their duties, and she performed the task so well that young Grant fell in love with her, and asked her to become his wife. Soon after their marriage she was appointed an assistant keeper. A few years later the husband was made keeper and the wife assistant keeper of White Head, another light on the Maine coast. There they remained until the spring of 1890, when they removed to Middleborough, Mass., intending to pass the balance of their days beyond sight and hearing of the rocks and the waves. But the hunger which the sea breeds in its adopted children was still strong within them, and the fall of 1892 found them again on the coast of Maine, this time at Portland, where the husband again entered the lighthouse establishment, working in the engineers' department of the first lighthouse district. With them until his death lived Captain Grant, who in the closing months of 1890, being then aged eighty-five, retired from the position of keeper of Matinicus light, which he had held for nearly thirty years. Not less lonely, but far more perilous than the life of the keepers of a light like that on Matinicus is the lot of the crew of the South Shoal lightship, whose position twenty-six miles off Sankaty Head, Nantucket Island, makes it the most exposed light-station in the world. Anchored so far out at sea, it is only during the months of summer and autumn that the lighthouse tender ventures to visit it, and its crew from December to May of each year are wholly cut off from communication with the land. It is this, however, that makes the South Shoal lightship a veritable protecting angel of the deep, for it stands guard not only over the treacherous New South Shoal, near which it is anchored, but over twenty-six miles of rips and reefs between it and the Nantucket shore—a wide-reaching ocean graveyard, where bleach the bones of more than a half thousand wrecked and forgotten vessels. The lightship is a stanchly built two-hulled schooner of 275 tons burden, 103 feet long over all, equipped with fore-and-aft lantern masts 71 feet high, and with two masts for sails, each 42 feet high. The lanterns are octagons of glass in copper frames, so arranged that they can be lowered into houses built around the masts. In the forward part of the ship is a huge fog bell, swung ten feet above the deck, which, when foggy weather prevails, as it frequently does for weeks at a time, is kept tolling day and night. A two-inch chain fastened to a "mushroom" anchor weighing upward of three tons holds the vessel in eighteen fathoms of water, but this, so fiercely do the waves beat against it in winter, has not prevented her from going adrift many times. She was two weeks at sea on one of these occasions, and on another she came to anchor in New York Harbor. Life on the South Shoal lightship is at all times a hard and trying one, and, as a matter of fact, the crew are instructed not to expose themselves to danger outside their special line of duty. This, however, does not deter them from frequently risking their lives in rescuing others, and when, several years ago, the City of Newcastle went ashore on one of the shoals near the lightship, all hands, twenty-seven in number, were saved by the South Shoal crew and kept aboard of her over two weeks, until the story of the wreck was signalled to a passing vessel. Isaac H. Grant holds a silver medal given him by the Government for rescuing two men from drowning while he was keeper at White Head; while Frederick Hatch, keeper of the Breakwater station at Cleveland was awarded the gold bar. The last mentioned badge of honor is granted only to one who has twice distinguished himself by a special act of bravery. It was given Hatch in the winter of 1898.

Not many years ago the group Insecta was held even by Zoologists to include numberless small creatures—centipedes, spiders, mites, etc.—which further study has shown to present essential differences of structure, and in popular language any fairly minute animal is still an insect, just as any insect is popularly a “fly”—or, in the United States, a “bug.” Scientifically the use of the term Insect is now much restricted, though still extensive enough in all conscience, since it includes many more than a quarter of a million known species. Zoologists recognise a large group of animals characterised by having no internal skeleton but a more or less firm external coating of a peculiar substance called chitin, often strengthened by calcareous deposits, which necessitates the presence of joints in their bodies, and especially in their limbs if they are to move freely, just as medieval suits of armour required to be jointed. These are the Arthropoda. One subdivision of this group consists of aquatic animals, breathing by gills, and known as Crustacea. Crabs, lobsters, shrimps and “water-fleas” are familiar examples, and with the exception of the so-called land-crabs the only Crustaceans habitually found on land are wood-lice. The other Arthropoda are air-breathing, and since their characteristic breathing organs are branching tubes known as tracheae, the term Tracheata is sometimes used to include them all. They fall naturally into three divisions, the Myriapoda, the Insecta and the Arachnida, and it is in this last-named division that we shall find the spiders. The Myriapoda are the centipedes and millipedes, and having said this we may dismiss them, for insects and arachnids are strictly limited as to legs; and no myriapod can ever be mistaken for a spider. The Arachnida are so varied in structure that it is not easy to give characteristics common to them all, and to any general statement there are bound to be exceptions, but for practical purposes it may be said that while an insect, when mature, has only six legs, and a pair of feelers or antennae of quite different structure, Arachnids have normally eight legs, and their feeling organs are not antennae but leg-like “pedipalps.”

Жасмин, двадцатичетырехлетняя красавица-американка, приезжает в Англию на Рождество погостить у родственников. Герцог Харли подарил ей жеребца, и она решает прокатится верхом. Но из-за разыгравшейся метели ее едва не сбивает машина, за рулем которой сидел граф Сомертон. Через некоторое время, волею судьбы, Жасмин опять встретится с графом, который приютит ее в своем замке после падения с лошади… Эта встреча навсегда изменит их жизнь и подарит им настоящую любовь… Zhasmin, dvadcatichetyrehletnjaja krasavica-amerikanka, priezzhaet v Angliju na Rozhdestvo pogostit' u rodstvennikov. Gercog Harli podaril ej zherebca, i ona reshaet prokatitsja verhom. No iz-za razygravshejsja meteli ee edva ne sbivaet mashina, za rulem kotoroj sidel graf Somerton. Cherez nekotoroe vremja, voleju sud'by, Zhasmin opjat' vstretitsja s grafom, kotoryj prijutit ee v svoem zamke posle padenija s loshadi… Jeta vstrecha navsegda izmenit ih zhizn' i podarit im nastojashhuju ljubov'…

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.

To my thinking, all modern English books on the Devil and his works are unsatisfactory. They all run in the same groove, give the same cases of witchcraft, and, moreover, not one of them is illustrated. I have endeavoured to remedy this by localizing my facts, and by reproducing all the engravings I could find suitable to my purpose. I have also tried to give a succinct account of demonology and witchcraft in England and America, by adducing authorities not usually given, and by a painstaking research into old cases, carefully taking everything from original sources, and bringing to light very many cases never before republished. For the benefit of students, I have given—as an Appendix—a list of the books consulted in the preparation of this work, which, however, the student must remember is not an exhaustive bibliography on the subject, but only applies to this book, whose raison d’être is its localization. The frontispiece is supposed to be the only specimen of Satanic caligraphy in existence, and is[Pg vi] taken from the ‘Introductio in Chaldaicam Linguam,’ etc., by Albonesi (Pavia, 1532). The author says that by the conjuration of Ludovico Spoletano the Devil was called up, and adjured to write a legible and clear answer to a question asked him. Some invisible power took the pen, which seemed suspended in the air, and rapidly wrote what is facsimiled. The writing was given to Albonesi (who, however, confesses that no one can decipher it), and his chief printer reproduced it very accurately. I am told by experts that in some of the characters may be found a trace of Amharic, a language spoken in its purity in the province of Amhara (Ethiopia), and which, according to a legend, was the primeval language spoken in Eden. JOHN ASHTON. CHAPTER IUniversal Belief in the Personality of the Devil, as portrayed by the British Artist—Arguments in Favour of his Personality—Ballad—‘Terrible and Seasonable Warning to Young Men.’ The belief in a good and evil influence has existed from the earliest ages, in every nation having a religion. The Egyptians had their Typho, the Assyrians their Ti-a-mat (the Serpent), the Hebrews their Beelzebub, or Prince of Flies,[1] and the Scandinavians their Loki. And many religions teach that the evil influence has a stronger hold upon mankind than the good influence—so great, indeed, as to nullify it in a large degree. Christianity especially teaches this: ‘Enter ye by the narrow gate; for wide is the gate, and broad is the way, that leadeth to destruction, and many be they that enter in thereby. For narrow is the gate, and straitened the way, that leadeth unto life, and few be they that find it.’ This doctrine of the great power of the Devil, or evil influence over man, is preached from every pulpit, under every form of Christianity, throughout the world; and although at the present time it is only confined to the greater moral power of the Devil over man, at an earlier period it was an article of belief that he was able to exercise a greater physical power. This was coincident with a belief in his personality; and it is only in modern times that that personality takes an alluring form. In the olden days the Devil was always depicted as ugly and repulsive as the artist could represent him, and yet he could have learned a great deal from the modern Chinese and Japanese. The ‘great God Pan,’ although he was dead, was resuscitated in order to furnish a type for ‘the Prince of Darkness’; and, accordingly, he was portrayed with horns, tail and cloven feet, making him an animal, according to a mot attributed to Cuvier, ‘graminivorous, and decidedly ruminant’; while, to complete his classical ensemble, he was invested with the forked sceptre of Pluto, only supplemented with another tine.

Mon Agent Андрея М. Мелехова – третий роман об Аналитике. Как и предыдущие книги серии – Malaria и Analyste – Mon Agent представляет из себя необычную комбинацию приключенческого романа и мистического триллера. Он предлагает читателю не только получить удовольствие от весьма неожиданных поворотов нескольких сюжетных линий, но и задуматься над широким кругом философских, религиозных и мировоззренческих проблем, волнующих современного человека.Действие романа происходит в Лондоне и Москве, в Раю и в Преисподней. Его персонажами являются террористы и агенты спецслужб, герои Библии и герои тайных операций, великие пророки прошлого и политики настоящего, ангелы Божьи и слуги Сатаны, люди и говорящие животные. В произведении нашлось место большой любви и большой ненависти, острой политической сатире и тонкому юмору. Как и все книги Мелехова, Mon Agent написан для тех, кто способен подвергнуть сомнению догмы, стереотипы и предубеждения, кто может рассмеяться, говоря даже о весьма серьёзных вещах. Если вы хотите узнать, чем простые (и непростые!) смертные смогли помочь вдруг начавшим стареть и умирать обитателям Рая и как отнеслись бы сегодня люди к новому пришествию Христа – эта книга для вас, читатель! Вам предлагается новая редакция романа.

Daylight sometimes hides secrets that darkness will reveal—the Martian's glowing eyes, for instance. But darkness has other dangers.... Joseph Heidel looked slowly around the dinner table at the five men, hiding his examination by a thin screen of smoke from his cigar. He was a large man with thick blond-gray hair cut close to his head. In three more months he would be fifty-two, but his face and body had the vital look of a man fifteen years younger. He was the President of the Superior Council, and he had been in that post—the highest post on the occupied planet of Mars—four of the six years he had lived here. As his eyes flicked from one face to another his fingers unconsciously tapped the table, making a sound like a miniature drum roll. One. Two. Three. Four. Five. Five top officials, selected, tested, screened on Earth to form the nucleus of governmental rule on Mars.Heidel's bright narrow eyes flicked, his fingers drummed. Which one? Who was the imposter, the ringer? Who was the Martian?Sadler's dry voice cut through the silence: "This is not just an ordinary meeting then, Mr. President?" Heidel's cigar came up and was clamped between his teeth. He stared into Sadler's eyes. "No, Sadler, it isn't. This is a very special meeting." He grinned around the cigar. "This is where we take the clothes off the sheep and find the wolf."

нод дитяч мр збуваються. Дан Таарт керу найбльшою в кран залзницею. Генк Рарден запроваджу революцйну технологю в металург. Еллс Ваятт перетворю Богом забуту землю на промисловий рай. У хнх руках — наймогутнш корпорац, що вд них залежить доля крани. Вони — сучасн атланти. хня релгя — економка, хня вдповдальнсть — тягар усього свту. Колись вони мряли змнити життя суспльства, а тепер м доводиться чути, що вся хня праця лише помножу несправедливсть. Що всм людям потрбн однаков права можливост. Спершу атланти лише знизували плечима. Але настане той день, коли м остаточно набридне тримати цей свт на свох плечах. вони пдуть.

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——"

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.

Кра?на стр?мко летить у пр?рву: моторошна криза охоплю? вс? царини людського життя. Псевдовчен? наполегливо пропагують: мислення – це ?люз?я, пошук будь-якого сенсу – абсурд, ? зрештою уряд оголошу? моратор?й на розум. Талано- вит? п?дпри?мц? безсл?дно зникають, кидаючи сво? виробництво напризволяще або знищуючи його. Головн? геро? роману – Да?н? Та??арт ? Генк Р?арден – в?дчайдушно намагаються в?двернути катастрофу. Да?н? переконана, що в кра?н? з’явився та?м- ничий Руйн?вник, ц?ль якого – крах економ?ки ? тотальна деградац?я людей. Ж?нка не покида? над?? в?дтворити досконалий двигун, але перспективний молодий нау- ковець, який погодився допомогти ?й, в?дмовля?ться працювати на благо нев?глас?в. Да?н? не хоче в?дмовлятися в?д свого задуму, тож ?де на зустр?ч з? знев?реним до- сл?дником, а в дороз? знайомиться з волоцюгою. Свого часу в?н працював там, де й зародилося ?чисте зло?, яке зараз пожира? кра?ну… Друга частина роману м?стить блискуч? св?тоглядн? монологи, вкладен? в уста Франциско Д’Анкон?? та Генка Р?ардена.

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.

This story belongs to the year 1837, and was regarded by the generations of that and a succeeding time as the most miraculous of all the recorded deliverances from death at sea. It may be told thus: Mr. Montagu Vanderholt sat at breakfast with his daughter Violet one morning in September. Vanderholt's house was one of a fine terrace close to Hyde Park. He was a rich man, a retired Cape merchant, and his life had been as chequered as Trelawney's, with nothing of romance and nothing of imagination in it. He was the son of honest parents, of Dutch extraction, and had run away to sea when about twelve years old. Nothing under the serious heavens was harsher, more charged with misery, suffering, dirt, and wretchedness, than seafaring in the days when young Vanderholt, with an idiot's cunning, fled to it from his father's comfortable little home. He got a ship, was three years absent, and on his return found both his father and mother dead. He went again to sea, and, fortunately for him, was shipwrecked in the neighbourhood of Simon's Bay. The survivors made their way to Cape Town, and presently young Vanderholt got a job, and afterwards a position. He then became a master, until, after some eight or ten years of heroic perseverance, attended by much good luck, behold Mr. Vanderholt full-blown into a colonial merchant prince. How much he was worth when he made up his mind to settle in England, after the death of his wife, and when he had disposed of his affairs so as to leave himself as free a man as ever he had been when he was a common Jack Swab, really signifies nothing. It is certain he had plenty, and plenty is enough, even for a merchant prince of Dutch extraction. Besides Violet, he had two sons, who will not make an appearance on this little brief stage. They are dismissed, therefore, with this brief reference—that both were in the army, and both, at the time of this tale, in India. Violet was Vanderholt's only daughter, and he loved her exceedingly. She was not beautiful, but she was fair to see, with a pretty figure, and an arch, gay smile. You saw the Dutch blood in her eyes, as you saw it in her father's, whose orbs of vision, indeed, were ridiculously small—scarcely visible in their bed of socket and lash. An English mother had come to Violet's help in this matter. Taking her from top to toe, with her surprising quantity of brown hair, soft complexion, good mouth, teeth, and figure, Violet Vanderholt was undoubtedly a fine girl. THE LAST ENTRY "OPINIONS OF THE PRESS ON THE LAST ENTRY": '"The Last Entry" is a rattling good salt-water yarn, told in the author's usual breezy, exhilarating style.'-”Daily Mail. 'In this new novel Mr. Russell has cleverly thrown its events into the year 1837, and there are one or two ingenious passages which add to the Diamond Jubilee interest which that date suggests.... "The Last Entry" is as certain of general popularity as any of Mr. Russell's former tales of the marvels of the sea.'-”Glasgow Herald. 'We do not think it possible for anyone to dip into this novel without desiring to finish it, and it adds another to the long list of successes of our best sea author.'-”Librarian. 'In addition to mutiny and murder, "The Last Entry" contains many of those good things which have made Mr. Russell's pages a joy to so many lovers of the sea during the last twenty years.... "The Last Entry" is a welcome addition to Mr. Clark Russell's library.'-”Speaker. 'The writer is as realistic and picturesque as usual in his vivid descriptions of the stagnant life on board the homeward-bound Indiaman.'-”Times. 'It is full of pleasant vigour.... As is always the case in Mr. Clark Russell's books, the elements are treated with the pen of an artist.'-”Standard. 'We expected plenty of go, of fresh and vigorous description of sea-faring life, coupled with a story which would not be wanting in interest. All this we have here.'”-Tablet.

Micrographia is a historic book by Robert Hooke, detailing the then thirty-year-old Hooke's observations through various lenses. Published in September 1665, the first major publication of the Royal Society, it was the first scientific best-seller, inspiring a wide public interest in the new science of microscopy. It is also notable for coining the biological term cell. Observations: Hooke most famously describes a fly's eye and a plant cell (where he coined that term because plant cells, which are walled, reminded him of a monk's quarters). Known for its spectacular copperplate engravings of the miniature world, particularly its fold-out plates of insects, the text itself reinforces the tremendous power of the new microscope. The plates of insects fold out to be larger than the large folio itself, the engraving of the louse in particular folding out to four times the size of the book. Although the book is best known for demonstrating the power of the microscope, Micrographia also describes distant planetary bodies, the wave theory of light, the organic origin of fossils, and various other philosophical and scientific interests of its author. Publication: Published under the aegis of The Royal Society, the popularity of the book helped further the society's image and mission of being "the" scientifically progressive organization of London. Micrographia also focused attention on the miniature world, capturing the public's imagination in a radically new way. This impact is illustrated by Samuel Pepys' reaction upon completing the tome: "the most ingenious book that I ever read in my life." Hooke also selected several objects of human origin; among these objects were the jagged edge of a honed razor and the point of a needle, seeming blunt under the microscope. His goal may well have been as a way to contrast the flawed products of mankind with the perfection of nature (and hence, in the spirit of the times, of biblical creation). About Author: Robert Hooke (1635 – 1703) was an English natural philosopher, architect and polymath.His adult life comprised three distinct periods: as a scientific inquirer lacking money; achieving great wealth and standing through his reputation for hard work and scrupulous honesty following the great fire of 1666, but eventually becoming ill and party to jealous intellectual disputes. These issues may have contributed to his relative historical obscurity. He was at one time simultaneously the curator of experiments of the Royal Society and a member of its council, Gresham Professor of Geometry and a Surveyor to the City of London after the Great Fire of London, in which capacity he appears to have performed more than half of all the surveys after the fire. He was also an important architect of his time – though few of his buildings now survive and some of those are generally misattributed – and was instrumental in devising a set of planning controls for London whose influence remains today. Allan Chapman has characterised him as "England's Leonardo".Robert Gunther's Early Science in Oxford, a history of science in Oxford during the Protectorate, Restoration and Age of Enlightenment, devotes five of its fourteen volumes to Hooke.Hooke studied at Wadham College during the Protectorate where he became one of a tightly knit group of ardent Royalists led by John Wilkins. Here he was employed as an assistant to Thomas Willis and to Robert Boyle, for whom he built the vacuum pumps used in Boyle's gas law experiments. He built some of the earliest Gregorian telescopes and observed the rotations of Mars and Jupiter. In 1665 he inspired the use of microscopes for scientific exploration with his book, Micrographia. Based on his microscopic observations of fossils, Hooke was an early proponent of biological evolution. He investigated the phenomenon of refraction, deducing the wave theory of light, and was the first to suggest that matter expands when heated and that air is made of small particles separated by relatively large distances. He performed pioneering work in the field of surveying and map-making and was involved in the work, though his plan for London on a grid system was rejected in favour of rebuilding along the existing routes. He also came near to an experimental proof that gravity follows an inverse square law, and hypothesised that such a relation governs the motions of the planets, an idea which was subsequently developed by Newton.

A few years ago, while visiting or, rather, rummaging about Notre-Dame, the author of this book found, in an obscure nook of one of the towers, the following word, engraved by hand upon the wall:— ? ? ? ? ? ? ? ANArKH. These Greek capitals, black with age, and quite deeply graven in the stone, with I know not what signs peculiar to Gothic caligraphy imprinted upon their forms and upon their attitudes, as though with the purpose of revealing that it had been a hand of the Middle Ages which had inscribed them there, and especially the fatal and melancholy meaning contained in them, struck the author deeply. He questioned himself; he sought to divine who could have been that soul in torment which had not been willing to quit this world without leaving this stigma of crime or unhappiness upon the brow of the ancient church. Afterwards, the wall was whitewashed or scraped down, I know not which, and the inscription disappeared. For it is thus that people have been in the habit of proceeding with the marvellous churches of the Middle Ages for the last two hundred years. Mutilations come to them from every quarter, from within as well as from without. The priest whitewashes them, the archdeacon scrapes them down; then the populace arrives and demolishes them. Thus, with the exception of the fragile memory which the author of this book here consecrates to it, there remains to-day nothing whatever of the mysterious word engraved within the gloomy tower of Notre-Dame,—nothing of the destiny which it so sadly summed up. The man who wrote that word upon the wall disappeared from the midst of the generations of man many centuries ago; the word, in its turn, has been effaced from the wall of the church; the church will, perhaps, itself soon disappear from the face of the earth. It is upon this word that this book is founded.

Janka a csinos, 31 éves pincérn? legh?bb vágya, hogy belépjen életébe a nagy szerelem. Amikor megismerkedik Dáviddal, a híres énekessel, úgy érzi, benne megtalálta azt, akit mindig is keresett. Kapcsolatuk mégsem alakul felh?tlenül, bármilyen szenvedélyesen szerelmes is a popsztárba. Ahogy egyre jobban megismeri Dávidot, kiderül a férfi s?tét oldala. Janka azonban nem tud t?le elszakadni... A regény?arra keresi a választ, hogy milyen egy bántalmazó férfi és egy bántalmazói kapcsolat. Hogyan lehet egy ilyen kapcsolaton túljutni és ?nmagunkra találni annak ellenére, hogy képtelennek érezzük magunkat az elszakadásra? Hogyan lehet egy fájdalmas kapcsolaton túl is újra boldognak lenni?

The Odyssey (Greek:Odysseia) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. It is believed to have been composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia. The poem mainly centers on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War. In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres or Proci, who compete for Penelope's hand in marriage. It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter. Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and serfs, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage. The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in Antiquity to Cinaethon of Sparta, but in one source was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). ABOUT AUTHOR: Homeros, In the Western classical tradition, Homer (Ancient Greek: Homeros) is the author of the Iliad and the Odyssey, and is revered as the greatest of ancient Greek epic poets. These epics lie at the beginning of the Western canon of literature, and have had an enormous influence on the history of literature. When he lived is unknown. Herodotus estimates that Homer lived 400 years before his own time, which would place him at around 850 BC, while other ancient sources claim that he lived much nearer to the supposed time of the Trojan War, in the early 12th century BC. Most modern researchers place Homer in the 7th or 8th centuries BC. The formative influence of the Homeric epics in shaping Greek culture was widely recognized, and Homer was described as the teacher of Greece. Homer's works, which are about fifty percent speeches, provided models in persuasive speaking and writing that were emulated throughout the ancient and medieval Greek worlds. Fragments of Homer account for nearly half of all identifiable Greek literary papyrus finds. PeriodFor modern scholars "the date of Homer" refers not to an individual, but to the period when the epics were created. The consensus is that "the Iliad and the Odyssey date from around the 8th century BC, the Iliad being composed before the Odyssey, perhaps by some decades," i.e. earlier than Hesiod, the Iliad being the oldest work of Western literature. Over the past few decades, some scholars have argued for a 7th-century BC date. Oliver Taplin believes that the conclusion of modern researchers is that Homer dates to between 750 to 650 BC. Some of those who argue that the Homeric poems developed gradually over a long period of time give an even later date for the composition of the poems; according to Gregory Nagy for example, they only became fixed texts in the 6th century BC. The question of the historicity of Homer the individual is known as the "Homeric question"; there is no reliable biographical information handed down from classical antiquity. The poems are generally seen as the culmination of many generations of oral story-telling, in a tradition with a well-developed formulaic system of poetic composition. Some scholars, such as Martin West, claim that "Homer" is "not the name of a historical poet, but a fictitious or constructed name."

Bels? irányt?nk ahhoz az élethez vezet el, amelyr?l mindig is álmodtunk. Célunk felé tartva ráismerünk azokra a pontokra, ahol irányt kell változtatnunk, hogy kihasználhassuk teljes bels? potenciálunkat. Ez az inspiráló utazás minden életterületen átvezet: segít, hogy felismerjük életfeladatunkat, hogy meghozzuk a helyes d?ntéseket, hogy megvalósítsuk legrejtettebb vágyainkat. A híres életmódtanár ezúttal gyakorlati útmutatót ad ahhoz, miként menedzselhetjük sikeresen a saját életünket. "Már maga az a felismerés, hogy minden élethelyzetben igent mondhatok az életre, hihetetlenül gazdaggá tette a hétk?znapjaimat. ?jra meg újra próbára tettem, hogyan tudom az éveken át gy?jt?tt élettapasztalatokat és az új látásmódot alkalmazni, és az eredmények mindig azt igazolták, hogy minden egyes esetben lehetséges változást elérni. ?ppen csak meg kell teremteni a változás el?feltételeit." (a Szerz?) A K?nyvjelz? magazin 2015. májusi számában megjelent cikk: Okosabban kéne élni