В сборник избранных произведений Марины Ивановны Цветаевой (1892-1941) вошли поэмы «На Красном Коне», «Крысолов», «Поэма Воздуха», а также стихотворные циклы «Лебединый стан» и «Стихи к Чехии» в переводах Катерины Грациадеи, итальянского исследователя творчества поэтессы. Собрание предваряется посвящениями в стихах М. Волошина, А. Ахматовой, А. Тарковского. В сборнике представлено также эссе К. Грациадеи о проблемах перевода поэтического наследия М. Цветаевой. Тексты публикуются на итальянском и русском языках. Книга издана к 125-летию поэтессы и адресована всем поклонникам творчества Марины Цветаевой, ценителям отечественной поэтической культуры Серебряного века.

Including the most popular in the west of England, and the airs to which they are sung. Also specimens of French provincial carols. With an introduction and notes.

Romeo and Juliet is a tragedy written early in the career of playwright William Shakespeare about two young «star-cross'd lovers» whose deaths ultimately unite their feuding families. It was among Shakespeare's most popular archetypal stories of young, teenage lovers.

No literature can produce a more original writer than Ernst Thcodor Wilhelm Hoffmann (1776-1822), a German Romantic author of fantasy and horror, better known by his pen name E. T. A. Hoffmann (Ernst Theodor Amadeus Hoffmann). His works are very numerous and were published at Berlin in fifteen volumes. He is the subject and hero of Jacques Offenbach's famous but fictional opera The Tales of Hoffmann. Of the two tales in this book, The Sandman is from the collection "Night Pieces, " and The Elementary Spirit is from his "Later Works. " In these stories, Hoffmanns purpose is to point out the ill-effect of a morbid desire after an imaginary world, and a distaste for realities. Different as their adventures are, there is a striking similarity in the characters of Nathaniel (in The Sandman) and Victor (in The Elementary Spirit). However wild may be the subjects of Hoffmann, and however rambling his method of treating them, his style is remarkably lucid. The story of the Sandman had its origin in a discussion which actually took place between La Motte Fouque (a German writer of the romantic movement, 1777-1843) and some friends, at which Hoffmann was present. Some of the party found fault with the cold, mechanical deportment of a young lady of their acquaintance, while La Motte Fouque zealously defended her. Here Hoffmann caught the notion of the automaton Olympia, and the arguments used by Nathaniel are those that were employed by La Motte Fouque.

Undine is the name of the water maiden whose story you will read as you turn the leaves of this little book. Undine is beautiful as the dawn stealing across the waters, beautiful as the spray of the crystal waves. Yet when she comes to earth she comes to seek for that without which her beauty will be for ever cold, cold and chill as the surge of the salt, salt sea. Look deep into her blue eyes and you will see why her beauty is so cold, so chill. In the eyes of every mortal you may see a soul. In the gay blue eyes of Undine, look you long and never so deep, no soul will look forth to meet your gaze. Love, joy, sorrow, these are the pearls that shine in the eyes of every mortal. But in the eyes of the water maiden there is no gleam of love, no sparkle of joy, no tear of sorrow. Undine has come to earth to seek for a soul. Without one she may never know the golden gifts God has given to each mortal, gifts these of love, joy, sorrow. You will read in this little book how Undine, the water maiden, won for herself a human soul.

Rotterham Home was a hospice for young people, a place where teenagers with terminal illnesses went to die. Nobody who checked in ever checked out. It was a place of pain and sorrow, but also, remarkably, a place of humor and adventure. At the hospice was a group of five young men and women who called themselves the Midnight Club. Every night at twelve they met and told each other stories-tales of intrigue and horror, of life and death. True stories, made-up stories, and stories that fell somewhere in between. But one night, in the middle of a particularly scary story, these five people make a pact with each other that says that the first one of them who dies is to make every effort to contact the others-from beyond the grave. Then one of them does die. And the story begins. The most wonderful story. The most horrible.

Wilhelm Hauff was a writer of extraordinary fancy and invention, but working for a more obvious purpose, and producing narratives more related in character to popular legends. He was born in 1802, at Stuttgard, and in early life showed a great predilection for telling childish narratives. Being designed for the theological profession, he went to the University of Tubingen in 1820. On leaving the university, Hauff became tutor to the children of the Wiirttemberg minister of war, General Ernst Eugen Freiherr von Hugel, and for them wrote his Tales, which he published in his Almanack of Tales for the year 1826. Only a few of his famous tales take place in Germany, among them the Nose, the Dwarf and The Cold Heart. Hauff needs only to be known to become popular in any country. His works, which are somewhat numerous, were published in a complete edition by the poet Gustav Schwab, in 1830. Wilhelm Hauff died in 1827, before he had completed his twenty-sixth year.

They have success, money, charisma, and drive. They have looks that could kill, and murderously strong wills. But for some men, having il all isn't enough. Now, three friends-Hollywood's hottest TV talk show host, a street-wise studio mogul, and a studly superstar-meet their match in a dangerously sexy seductress playing a high-stakes game. May the best man win...

Bless me! reader, gentle or simple, or whatever you be, how impatiently by this time must you expect this preface, supposing it to be nothing but revengeful invectives against the author of the second Don Quixote. But I must beg your pardon: for I shall say no more of him than everybody says, that Tordesillas is the place where he was begotten, and Tarragona the place where he was born; and. though it be universally said, that even a worm when trod upon, will turn again, yet I am resolved for once to cross the proverb. You perhaps now would have me call him coxcomb, fool, and madman ; but I am of another mind; and so let his folly be its own punishment. But there is something which I cannot so silently pass over: he is pleased to upbraid me with my age: indeed, had it been in the power of man to stop the career of "me, I would not have suffered the old gentleman to have laid his fingers on me. Then he reflectingly tells me of the loss of one of my hands : as if that maim had been got in a scandalous or drunken quarrel in some tavern, and not upon the most memorable occasion that either past or present ages have beheld, and which perhaps futurity will never parallel. If my wounds do not redound to my honour in the thoughts of some of those that look upon them, they will at least secure me the esteem of those that know how they were gotten. A soldier makes a nobler figure as he lies bleeding in the bed of honour, than safe in an inglorious flight; and I am so far from being ashamed of the loss of my hand, that were it possible to recall the same opportunity, I should think my wounds but a small price for the glory of sharing in that prodigious action. The scars in a soldier's face and breast, are the stars that by a laudable imitation guide others to the port of honour and glory. Besides, it is not the hand, but the understanding of a man, that may be said to write; and those years, that he is pleased to quarrel with, always improve the latter.

Although Miguel de Cervantes Saavedra was not only the brightest genius of his age and country, but a man of active life and open manners, and engaged personally in many interesting transactions of his time, there are nevertheless few distinguished men of letters who have left behind them more scanty materials of biography. His literary reputation was not of the highest order till Don Quixote made it so; and ere then he had outlived the friends and companions of his youthful adventures, and withdrawn into a life of comparative privacy and retirement. In the age immediately succeeding his own, abundant exertions were made to discover the scattered and faded traces of his career; but with what very indifferent success is well known to all acquainted with the literary history of Spain. More recently, the life of Cervantes has been elaborately written, both by the best of his commentators, Don Juan Pellicer, and by Don Vicente de los Rios, editor of the Spanish Academy's superb edition of Don Quixote; but neither of these, has, after all, been able to add much to the original naked outline which guided their researches.

«Ярмарка тщеславия» была и остается одним из самых популярных произведений мировой литературы. Роман без героя рассказывает историю хитроумной Бекки Шарп, готовой на многое ради богатства и положения в обществе. В центре внимания автора оказываются зло, пороки и интриги, на фоне которых особенно ярко выделяются идеалы добродетели. Текст произведения незначительно адаптирован, снабжен грамматическим комментарием и словарем, в который вошли ВСЕ слова, содержащиеся в тексте. Благодаря этому книга подойдет для любого уровня владения английским языком.

A collection of the finest and funniest words from the finest funniest writer the past century ever knew. Published for the millennium and to mark the 25th anniversary of his death, this is the first major selection of the whole of P.G. Wodehouse's work to have been published for a generation, and it includes a generous selection of previously unpublished work. We all know Jeeves and Wooster, but what is the best Jeeves story? What is your favourite story to feature Lord Emsworth and his unique pig, the Empress Blandings? And how many readers of Wodehouse know the best of Ukridge, the Oldest Member, the Hollwood stories? This bumper anthology of stories, novel-extracts, working drafts, articles, letters and poems gives a fresh angle on the twentieth century's greatest humorist. There are favourites aplenty, but this selection provides the best overall celebration of side-splitting humour and sheer good nature available in the pages of any book. The anthology has been compiled with enthusiastic support from the various P.G. Wodehouse societies around the world.