A Tale of 1852It was quite dark when Uncle Eroshka and the three Cossacks, in their cloaks and shouldering their guns, left the cordon and went towards the place on the Terek where they were to lie in ambush. Nazarka did not want to go at all, but Lukashka shouted at him and they soon started. After they had gone a few steps in silence the Cossacks turned aside from the ditch and went along a path almost hidden by reeds till they reached the river. On its bank lay a thick black log cast up by the water. The reeds around it had been recently beaten down. 'Shall we lie here?' asked Nazarka. 'Why not?' answered Lukashka. 'Sit down here and I'll be back in a minute. I'll only show Daddy where to go.' 'This is the best place; here we can see and not be seen,' said Ergushov, 'so it's here we'll lie. It's a first-rate place!' Nazarka and Ergushov spread out their cloaks and settled down behind the log, while Lukashka went on with Uncle Eroshka. 'It's no...
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.)
I. A certain gentleman was serving as an officer in the Caucasus. His name was Zhilín. One day he received a letter from home. His old mother wrote to him: "I have grown old, and I should like to see my darling son before my death. Come to bid me farewell and bury me, and then, with God's aid, return to the service. I have also found a bride for you: she is bright and pretty and has property. If you take a liking to her, you can marry her, and stay here for good." Zhilín reflected: "Indeed, my old mother has grown feeble; perhaps I shall never see her again. I must go; and if the bride is a good girl, I may marry her." He went to the colonel, got a furlough, bade his companions good-bye, treated his soldiers to four buckets of vódka, and got himself ready to go. At that time there was a war in the Caucasus. Neither in the daytime, nor at night, was it safe to travel on the roads. The moment a Russian walked o...
FLEETWOOD; or, THE NEW MAN OF FEELING. by WILLIAM GODWIN. CHAPTER XIV "DIJON was so capital a city, that I thought I might venture here to change my piece of gold, the parting present of my treacherous uncle. But I was mistaken. I hated the clothes I wore, since they had led the wagoner to discover the situation to which I belonged. I went into a clothier's shop with a determination to change them. Unfortunately I plunged headlong into the house of a man of rugged temper and a hard-favored countenance. The moment I looked at him I trembled. But it was too late to draw back. "'What is your pleasure, my lad?' said he. "'I want some clothes.' "'Where do you live? Who is to pay for them? Where shall I send them?' &n...
From: William Godwin . Imogen: A Pastoral Romance From the Ancient British. PREFACE If we could allow ourselves in that license of conjecture, which is become almost inseparable from the character of an editor, we should say: That Milton having written it upon the borders of Wales, might have had easy recourse to the manuscript whose contents are now first given to the public: And that the singularity of preserving the name of the place where it was first performed in the title of his poem, was intended for an ingenuous and well-bred acknowledgment of the source from whence he drew his choicest materials. But notwithstanding the plausibility of these conjectures, we are now inclined to give up our original opinion, and to ascribe the performance to a gentleman of Wales, who lived so late as the reign of king William the third. The name of this amiable person was Rice ap Thomas. The romance was certainly at one time in his cust...
Vasili Andreevich went over to his sledge, found it with difficulty in the darkness, climbed in and took the reins. ‘Go on in front!’ he cried. Petrushka kneeling in his low sledge started his horse. Mukhorty, who had been neighing for some time past, now scenting a mare ahead of him started after her, and they drove out into the street. They drove again through the outskirts of the village and along the same road, past the yard where the frozen linen had hung (which, however, was no longer to be seen), past the same barn, which was now snowed up almost to the roof and from which the snow was still endlessly pouring past the same dismally moaning, whistling, and swaying willows, and again entered into the sea of blustering snow raging from above and below. The wind was so strong that when it blew from the side and the travelers steered against it, it tilted the sledges and turned the horses to one side. Petrushka drove his good mare in front at a brisk...
THE GERMAN DRAMA: GERHART HAUPTMANN LONELY LIVES Gerhart Hauptmann is the dramatist of whom it may be justly said that he revolutionized the spirit of dramatic art in Germany: the last Mohican of a group of four-Ibsen, Strindberg, Tolstoy, and Hauptmann-who illumined the horizon of the nineteenth century. Of these Hauptmann, undoubtedly the most human, is also the most universal. It is unnecessary to make comparisons between great artists: life is sufficiently complex to give each his place in the great scheme of things. If, then, I consider Hauptmann more human, it is because of his deep kinship with every stratum of life. While Ibsen deals exclusively with one attitude, Hauptmann embraces all, understands all, and portrays all, because nothing human is alien to him. Whether it be the struggle of the transition stage in " Lonely Lives," or the conflict between the Ideal and the Real in " The Sunken Bell," or the brutal background of poverty in...
A Critical Essay on ShakespeareThe drama of "Lear" begins with a scene giving the conversation between two courtiers, Kent and Gloucester. Kent, pointing to a young man present, asks Gloucester whether that is not his son. Gloucester says that he has often blushed to acknowledge the young man as his son, but has now ceased doing so. Kent says he "can not conceive him." Then Gloucester in the presence of this son of his says: "The fellow's mother could, and grew round-wombed, and had a son for her cradle ere she had a husband for her bed." "I have another, a legitimate son," continues Gloucester, "but although this one came into the world before he was sent for, his mother was fair and there was good sport at his making, and therefore I acknowledge this one also." Such is the introduction. Not to mention the coarseness of these words of Gloucester, they are, farther, out of place in the mouth of a person intended to represent a noble character. One can not agree with the opinion of some critics that thes...