Henry David Thoreau Walden, and On The Duty Of Civil Disobedience by Henry David Thoreau

 

Walden, and On The Duty Of Civil Disobedience 

 

by Henry David Thoreau 

 

Walden Pond (/ˈwɔːldən/; first published in 1854 as Walden Pond; or, Life in the Woods) is a book by American transcendentalist writer Henry David Thoreau. The text is a reflection upon simple living in natural surroundings. The work is part personal declaration of independence, social experiment, voyage of spiritual discovery, satire, and—to some degree—a manual for self-reliance. Wikipedia 

About the Author

Henry David Thoreau (July 12, 1817 – May 6, 1862) was an American naturalist, essayist, poet, and philosopher. A leading transcendentalist, he is best known for his book Walden, a reflection upon simple living in natural surroundings, and his essay "Civil Disobedience" (originally published as "Resistance to Civil Government"), an argument for disobedience to an unjust state. Wikipedia 

 Also see:

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The Count of Monte Cristo, Illustrated by Alexandre Dumas

 

THE COUNT OF MONTE CRISTO

 

by Alexandre Dumas [père]

 

Description

The Count of Monte Cristo by Alexandre Dumas centres on a man who is wrongfully imprisoned, escapes from jail, acquires a fortune, and sets about exacting revenge on those responsible for his imprisonment. First published in 1846, the story takes place in France, Italy, and islands in the Mediterranean during the historical events of 1815–1839: the era of the Bourbon Restoration through the reign of Louis-Philippe of France.

This book has 1,396 pages in the PDF version, and was originally published in 1846.

CONTENTS

VOLUME ONE
Chapter 1. Marseilles—The Arrival
Chapter 2. Father and Son
Chapter 3. The Catalans
Chapter 4. Conspiracy
Chapter 5. The Marriage Feast
Chapter 6. The Deputy Procureur du Roi
Chapter 7. The Examination
Chapter 8. The Château d’If
Chapter 9. The Evening of the Betrothal
Chapter 10. The King’s Closet at the Tuileries
Chapter 11. The Corsican Ogre
Chapter 12. Father and Son
Chapter 13. The Hundred Days
Chapter 14. The Two Prisoners
Chapter 15. Number 34 and Number 27
Chapter 16. A Learned Italian
Chapter 17. The Abbé’s Chamber
Chapter 18. The Treasure
Chapter 19. The Third Attack
Chapter 20. The Cemetery of the Château d’If
Chapter 21. The Island of Tiboulen
Chapter 22. The Smugglers
Chapter 23. The Island of Monte Cristo
Chapter 24. The Secret Cave
Chapter 25. The Unknown
Chapter 26. The Pont du Gard Inn
Chapter 27. The Story

VOLUME TWO
Chapter 28. The Prison Register
Chapter 29. The House of Morrel & Son
Chapter 30. The Fifth of September
Chapter 31. Italy: Sinbad the Sailor
Chapter 32. The Waking
Chapter 33. Roman Bandits
Chapter 34. The Colosseum
Chapter 35. La Mazzolata
Chapter 36. The Carnival at Rome.
Chapter 37. The Catacombs of Saint Sebastian
Chapter 38. The Rendezvous
Chapter 39. The Guests
Chapter 40. The Breakfast
Chapter 41. The Presentation
Chapter 42. Monsieur Bertuccio
Chapter 43. The House at Auteuil
Chapter 44. The Vendetta
Chapter 45. The Rain of Blood
Chapter 46. Unlimited Credit
Chapter 47. The Dappled Grays

VOLUME THREE
Chapter 48. Ideology
Chapter 49. Haydée
Chapter 50. The Morrel Family
Chapter 51. Pyramus and Thisbe
Chapter 52. Toxicology
Chapter 53. Robert le Diable
Chapter 54. A Flurry in Stocks
Chapter 55. Major Cavalcanti
Chapter 56. Andrea Cavalcanti
Chapter 57. In the Lucern Patch
Chapter 58. M. Noirtier de Villefort
Chapter 59. The Will
Chapter 60. The Telegraph
Chapter 61. How a Gardener May Get Rid of the Dormice
Chapter 62. Ghosts
Chapter 63. The Dinner
Chapter 64. The Beggar
Chapter 65. A Conjugal Scene
Chapter 66. Matrimonial Projects
Chapter 67. The Office of the King’s Attorney
Chapter 68. A Summer Ball
Chapter 69. The Inquiry
Chapter 70. The Ball
Chapter 71. Bread and Salt
Chapter 72. Madame de Saint-Méran
Chapter 73. The Promise

VOLUME FOUR
Chapter 74. The Villefort Family Vault
Chapter 75. A Signed Statement
Chapter 76. Progress of Cavalcanti the Younger
Chapter 77. Haydée
Chapter 78. We hear From Yanina
Chapter 79. The Lemonade
Chapter 80. The Accusation
Chapter 81. The Room of the Retired Baker
Chapter 82. The Burglary
Chapter 83. The Hand of God
Chapter 84. Beauchamp
Chapter 85. The Journey
Chapter 86. The Trial
Chapter 87. The Challenge
Chapter 88. The Insult
Chapter 89. The Night
Chapter 90. The Meeting
Chapter 91. Mother and Son
Chapter 92. The Suicide
Chapter 93. Valentine
Chapter 94. Maximilian’s Avowal
Chapter 95. Father and Daughter

VOLUME FIVE
Chapter 96. The Contract
Chapter 97. The Departure for Belgium
Chapter 98. The Bell and Bottle Tavern
Chapter 99. The Law
Chapter 100. The Apparition
Chapter 101. Locusta
Chapter 102. Valentine
Chapter 103. Maximilian
Chapter 104. Danglars’ Signature
Chapter 105. The Cemetery of Père-Lachaise
Chapter 106. Dividing the Proceeds
Chapter 107. The Lions’ Den
Chapter 108. The Judge
Chapter 109. The Assizes
Chapter 110. The Indictment
Chapter 111. Expiation
Chapter 112. The Departure
Chapter 113. The Past
Chapter 114. Peppino
Chapter 115. Luigi Vampa’s Bill of Fare
Chapter 116. The Pardon
Chapter 117. The Fifth of October

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Masterpieces of Mystery in Four Volumes: Vol. 4 (of 4) Mystic-Humorous Stories

 

Vol. 1 - Vol. 2 - Vol. 3 - Vol. 4

 

FOREWORD

There is an intermediate ground between our knowledge of life and the unknown which is readily conceived as covered by the term mysticism. Mystery stories of high rank often fall under this general classification. They are neither of earth, heaven nor Hades, but may partake of either. In the hands of a master they present at times a rare, if even upon occasion, unduly thrilling—aesthetic charm. The examples which it has been possible to gather within the space of this volume are offered as the best of their type.

The humorist, thank heaven, we have always with us. Spectres cannot afright him, nor mundane terrors deflect him from his path. He takes nothing either in earth or heaven seriously, as is his God-given right. Some of the best examples of what he has done in the general field of mystery are presented here for the first time in any collection.

Joseph Lewis French.

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Masterpieces of Mystery in Four Volumes: Vol. 3 (of 4) Riddle Stories

 

Vol. 1 - Vol. 2 - Vol. 3 - Vol. 4

 

 

FOREWORD

A distinguished American writer of fiction said to me lately: "Did you ever think of the vital American way we live? We are always going after mental gymnastics." Now the mystery story is mental gymnastics. By the time the reader has followed a chain of facts through he has exercised his mind,—given himself a mental breather. But the claims of the true mystery story do not end with the general reader. It is entitled to the consideration of the discriminating because it indubitably takes its own place as a gauge of mastery in the field of the short story.

 The demand was never quite so keen as it is now. The currents of literature as of all things change swiftly these times. This world of ours has become very sophisticated. It has suffered itself to be exploited till there is no external wonder left. Retroactively the demand for mystery, which is the very soul of interest, must find new expression. Thus we turn inward for fresh thrills to the human comedy, and outward to the realm of the supernatural.

The riddle story is the most naïve form of the mystery story. It may contain a certain element of the supernatural—be tinged with mysticism—but its motive and the revelation thereof must be frankly materialistic—of the earth, earthy. In this respect it is very closely allied to the detective story. The model riddle story should be utterly mundane in motive—told in direct terms. Here again the genius of that great modern master asserts itself, and in "The Oblong Box" we have an early model of its kind. The stories of this collection cover a wide range and are the choice of reading in several literatures.

Joseph Lewis French.

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Masterpieces of Mystery in Four Volumes: Vol. 2 (of 4) Detective Stories

Masterpieces of Mystery in Four Volumes:  Vol. 2 (of 4) Detective Stories

 

Vol. 1 - Vol. 2 - Vol. 3 - Vol. 4

 

FOREWORD

The honour of founding the modern detective story belongs to an American writer. Such tales as "The Purloined Letter" and "The Murders in the Rue Morgue" still stand unrivalled.

We in America no more than the world of letters at large, did not readily realize what Poe had done when he created Auguste Dupin—the prototype of Sherlock Holmes et genus omnes, up to the present hour. On Poe's work is built the whole school of French detective story writers. Conan Doyle derived his inspiration from them in turn, and our American writers of to-day are helped from both French and English sources. It is rare enough to find the detective in fiction even to-day, however, who is not lacking in one supreme quality, scientific imagination. Auguste Dupin had it. Dickens, had he lived a short time longer, might have turned his genius in this direction.

 The last thing he wrote was the "Mystery of Edwin Drood," the mystery of which is still unravelled. I have heard the opinion expressed by an eminent living writer that had Dickens' life been prolonged he would probably have become the greatest master of the detective story, except Poe.

The detective story heretofore has been based upon one of two methods: analysis or deduction. The former was Poe's, to take the typical example; the latter is Conan Doyle's. Of late the discoveries of science have been brought into play in this field of fiction with notable results. The most prominent of such innovators, indeed the first one, is Arthur Reeve, an American writer, whose "Black Hand" will be found in this collection; which has endeavoured within its limited space to cover the field from the start—the detective story—the detective story—wholly the outgrowth of the more highly developed police methods which have sprung into being within little more than half a century, being only so old.

Joseph Lewis French.

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Masterpieces of Mystery, Vol. 1 (of 4) Ghost Stories

 

 

Masterpieces of Mystery

 Vol. 1 (of 4) Ghost Stories

 

Vol. 1 - Vol. 2 - Vol. 3 - Vol. 4

FOREWORD

The ghost story is as old as human speech,—and perhaps even antedates it. A naïve acceptance of the supernatural was unquestionably one of the primal attributes of human intelligence. The ghost story may thus quite conceivably be the first form of tale ever invented. It makes its appearance comparatively early in the annals of literature. Who that has read it is likely to forget Pliny's account in a letter to an intimate of an apparition shortly after death to a mutual acquaintance? Old books of tales and legends are full of the ghost story. It has persisted throughout the ages. It began to attain some real standing in literature,—to take its definite place,—a little more than a century ago. Like the apparition it embodies it had always been—and is still to-day even—more or less discredited. Mrs. Radcliffe gave it a new being and even a certain dignity in her "Castle of Otranto"; and after her came Sir Walter Scott who frankly surrendered to the power and charm of the theme. The line of succession has been continuous. The ghost has held his own with his human fellow in fiction, and his tale has been told with increasing skill as the art of the writer has developed. To-day the case for the ghost as an element in fiction is an exceedingly strong one. There has indeed sprung into being within a couple of decades a new school of such writers. Nowadays almost every fictionist of account produces one good thriller at least of this sort. The temptation is irresistible for the simple reason that the theme imposes absolutely no limit on the imagination.

The reader will find here a careful selection illustrating the growth in art of this exotic in literature during the past fifty years, and for a contrast, spanning the centuries, the naïve narration of Pliny the Younger.

Joseph Lewis French

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Tales of the Unexpected by H. G. Wells

Tales of the Unexpected 

 

by H. G. Wells

 

Excerpt from Tales of the Unexpected

I was surprised to hear a queer sort of laugh, and saw Davidson standing unsteadily in the middle of the room, with a dazzled look on his face. My first impression was that he was drunk. He did not notice me. He was clawing out at something invisible a yard in front of his face. He put out his hand, slowly, rather hesitatingly, and then clutched nothing. 'what's come to it?' he said. He held up his hands to his face, fingers spread out. 'great Scott!' he said. The thing happened three or four years ago, when every one swore by that personage. Then he began raising his feet clumsily, as though he had expected to find them glued to the floor.

About the Author 

Herbert George Wells (21 September 1866 – 13 August 1946) was an English writer. Prolific in many genres, he wrote dozens of novels, short stories, and works of social commentary, history, satire, biography and autobiography. His work also included two books on recreational war games. Wells is now best remembered for his science fiction novels and is sometimes called the "father of science fiction." Wikipedia

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