On the way home Levin asked all details of Kitty’s illness and the Shtcherbatskys’ plans, and though he would have been ashamed to admit it, he was pleased at what he heard. He was pleased that there was still hope, and still more pleased that she should be suffering who had made him suffer so much. But when Stepan Arkadyevitch began to speak of the causes of Kitty’s illness, and mentioned Vronsky’s name, Levin cut him short. "I have no right whatever to know family matters, and, to tell the truth, no interest in them either." Stepan Arkadyevitch smiled hardly perceptibly, catching the instantaneous change he knew so well in Levin’s face, which had become as gloomy as it had been bright a minute before. "Have you quite settled about the forest with Ryabinin?" asked Levin. "Yes, it’s settled. The price is magnificent; thirty-eight thousand. Eight straight away, and the rest in six years. I’ve been...
A Tale
p>--NEQUE SEMPER ARCUM TENDIT APOLLO. HOR. LONDON: PRINTED FOR T. HOOKHAM, AT HIS CIRCULATING LIBRARY, NEW BOND-STREET, CORNER OF BRUTON-STREET. M,DCC,LXXXIV. CONTENTS PART the FIRST. CHAPTER I. Containing introductory Matter. CHAPTER II. A Ball CHAPTER III. A Ghost. CHAPTER IV. A love Scene. CHAPTER V. A Man of Humor. CHAPTER VI. Containing some Specimens of Heroism. CHAPTER VII. Containing that with which the Reader will be acquainted when he has read it. CHAPTER VIII. Two Persons of Fashion. CHAPTER IX. A tragical Resolution. CONTENTS. PART the SECOND. CHAPTER I. In which th... (From : Gutenberg.org.)
A poor woman had a daughter by the name of Másha. Másha went in the morning to fetch water, and saw at the door something wrapped in rags. When she touched the rags, there came from it the sound of "Ooah, ooah, ooah!" Másha bent down and saw that it was a tiny, red-skinned baby. It was crying aloud: "Ooah, ooah!" Másha took it into her arms and carried it into the house, and gave it milk with a spoon. Her mother said: "What have you brought?" "A baby. I found it at our door." The mother said: "We are poor as it is; we have nothing to feed the baby with; I will go to the chief and tell him to take the baby." Másha began to cry, and said: "Mother, the child will not eat much; leave it here! See what red, wrinkled little hands and fingers it has!" Her mother looked at them, and she felt pity for the child. She did not take the baby away. Másha fed and swathed the child, and sang...
Kasatsky entered the monastery on the feast of the Intercession of the Blessed Virgin. The Abbot of that monastery was a gentleman by birth, a learned writer and a starets, that is, he belonged to that succession of monks originating in Walachia who each choose a director and teacher whom they implicitly obey. This Superior had been a disciple of the starets Ambrose, who was a disciple of Makarius, who was a disciple of the starets Leonid, who was a disciple of Paussy Velichkovsky. To this Abbot Kasatsky submitted himself as to his chosen director. Here in the monastery, besides the feeling of ascendancy over others that such a life gave him, he felt much as he had done in the world: he found satisfaction in attaining the greatest possible perfection outwardly as well as inwardly. As in the regiment he had been not merely an irreproachable officer but had even exceeded his duties and widened the borders of perfection, so also as a monk he tried to be perfect, and was alway...
A Comedy in Four ActsThe entrance hall of a wealthy house in Moscow. There are three doors: the front door, the door of Leoníd Fyódoritch's study, and the door of Vasíly Leoníditch's room. A staircase leads up to the other rooms; behind it is another door leading to the servants' quarters. Scene 1. GREGORY [looks at himself in the glass and arranges his hair, &c.] I am sorry about those mustaches of mine! “Mustaches are not becoming to a footman,” she says! And why? Why, so that any one might see you're a footman,—else my looks might put her darling son to shame. He's a likely one! There's not much fear of his coming anywhere near me, mustaches or no mustaches! [Smiling into the glass] And what a lot of 'em swarm round me. And yet I don't care for any of them as much as for that Tánya. And she only a lady's-maid! Ah well, she's nicer than any young lady. [Smiles] She is a duck! [Liste...
“And note, also, this falsehood, of which all are guilty; the way in which marriages are made. What could there be more natural? The young girl is marriageable, she should marry. What simpler, provided the young person is not a monster, and men can be found with a desire to marry? Well, no, here begins a new hypocrisy. “Formerly, when the maiden arrived at a favorable age, her marriage was arranged by her parents. That was done, that is done still, throughout humanity, among the Chinese, the Hindus, the Mussulmans, and among our common people also. Things are so managed in at least ninety-nine per cent. of the families of the entire human race. “Only we riotous livers have imagined that this way was bad, and have invented another. And this other,—what is it? It is this. The young girls are seated, and the gentlemen walk up and down before them, as in a bazaar, and make their choice. The maidens wait and think, but do not dare to say: ‘...
From Meet Kropotkin. The Salvation Series No. 1. Bombay: The Libertarian Book House, n.d. KROPOTKIN - THE MASTER by HERBERT READ. PRINCE PETER ALEXEIVICH KROPOTKIN was born at Moscow on the 9th December, 1842 (o. s.). His father, Prince Alexei Petrovich Kropotkin, is described by Kropotkin as "a typical officer of the time of Nicholas I", but he seems to have been an easy-going parent, content to leave his son's education to his French tutor until it was time to send him off to a military academy. Kropotkin's mother was the youngest daughter of the commander of a Cossack army corps, General Sulima, and a woman of great refinement and sensibility, qualities which her son must have inherited, for she died before she had time to influence him ... (From : Anarchy Archives.)
A Critical Essay on ShakespeareBut it is not enough that Shakespeare's characters are placed in tragic positions which are impossible, do not flow from the course of events, are inappropriate to time and space—these personages, besides this, act in a way which is out of keeping with their definite character, and is quite arbitrary. It is generally asserted that in Shakespeare's dramas the characters are specially well expressed, that, notwithstanding their vividness, they are many-sided, like those of living people; that, while exhibiting the characteristics of a given individual, they at the same time wear the features of man in general; it is usual to say that the delineation of character in Shakespeare is the height of perfection. This is asserted with such confidence and repeated by all as indisputable truth; but however much I endeavored to find confirmation of this in Shakespeare's dramas, I always found the opposite. In reading any of Shakespeare's dramas whatever, I was, from the very firs...
We know that we have passed out of death into life, because we love the brethren. He that loveth not abideth in death. —1 Epistle St. John iii. 14. Whoso hath the world’s goods, and beholdeth his brother in need, and shutteth up his compassion from him, how doth the love of God abide in him? My little children, let us not love in word, neither with the tongue; but in deed and truth. —iii. 17-18. Love is of God; and every one that loveth is begotten of God, and knoweth God. He that loveth not knoweth not God; for God is love. —iv. 7-8. No man hath beheld God at any time; if we love one another, God abideth in us. —iv. 12. God is love; and he that abideth in love abideth in God, and God abideth in him. —iv. 16. If a man say, I love God, and hateth his brother, he is a liar; for he that loveth not his brother whom he hath seen, how can he love God whom he hath not seen? —iv. 20.