The World's Greatest Books [Volumes 1-15, 17-20]
- Автор: Gutenberg
- Год: 1910
- Язык: английский
- Жанр: Культурология
Электронная книга - «The World's Greatest Books [Volumes 1-15, 17-20]». Краткое содержание книги:
The World's Greatest Books — Volume 01 — Fiction от Неизвестный
The World's Greatest Books — Volume 02 — Fiction от Неизвестный
The World's Greatest Books — Volume 03 — Fiction от Неизвестный
The World's Greatest Books — Volume 04 — Fiction от Неизвестный
The World's Greatest Books — Volume 05 — Fiction от Неизвестный
The World's Greatest Books — Volume 06 — Fiction от Неизвестный
The World's Greatest Books — Volume 07 — Fiction от Неизвестный
The World's Greatest Books — Volume 08 — Fiction от Неизвестный
The World's Greatest Books — Volume 09 — Lives and Letters от Неизвестный
The World's Greatest Books — Volume 10 — Lives and Letters от Неизвестный
The World's Greatest Books — Volume 11 — Ancient and Mediæval History от Неизвестный
The World's Greatest Books — Volume 12 — Modern History от Неизвестный
The World's Greatest Books — Volume 13 — Religion and Philosophy от Неизвестный
The World's Greatest Books — Volume 14 — Philosophy and Economics от Неизвестный
The World's Greatest Books — Volume 15 — Science от Неизвестный
The World's Greatest Books — Volume 17 — Poetry and Drama от Неизвестный
The world's greatest books от Mee, Arthur, 1875-1943, joint editor & Hammerton, John Alexander, Sir, 1871-1949, joint editor & McClure, S. S. (Samuel Sidney), 1857-1949, joint editor
The World's Greatest Books — Volume 19 — Travel and Adventure от Неизвестный
The World's Greatest Books — Volume 20 — Miscellaneous Literature and Index от Неизвестный
"Yes, mas'r," said Tom, wiping the blood from his face. "I'm willin' to work, night and day; but this yer thing I can't feel it right to do; and mas'r, I never shall do it, never!"
Legree looked stupefied--Tom was so respectful--but at last burst forth:
"What, ye blasted black beast! tell me ye don't think it right to do what I tell ye. So ye pretend it's wrong to flog the girl?"
"I think so, mas'r," said Tom. "'Twould be downright cruel, the poor critter's sick and feeble. Mas'r, if you mean to kill me, kill me; but as to my raising my hand against anyone here, I never will--I'll die first." Legree shook with anger. "Here, Sambo!--Quimbo!" he shouted, "give this dog such a breakin' in as he won't get over this month."
The two seized Tom with fiendish exultation, and dragged him unresistingly from the place.
For weeks and months Tom wrestled, in darkness and sorrow--crushing back to his soul the bitter thought that God had forgotten him. One night he sat like one stunned when everything around him seemed to fade, and a vision rose of One crowned with thorns, buffeted and bleeding; and a voice said, "He that overcometh shall sit down with Me on My throne, even as I also overcame, and am set down with My Father upon His throne."
From this time an inviolable peace filled the lowly heart of the oppressed one; life's uttermost woes fell from him unharming.
Scenes of blood and cruelty are shocking to our ear and heart. What man has nerve to do, man has not nerve to hear.
Tom lay dying at last; not suffering, for every nerve was blunted and destroyed; when George Shelby found him, and his voice reached his dying ear.
"Oh, Mas'r George, he ain't done me any real harm: only opened the gate of Heaven for me. Who--who shall separate us from the love of Christ?" and with a smile he fell asleep.
As George knelt by the grave of his poor friend, "Witness, eternal God," said he, "Oh, witness that, from this hour, I will do what one man can to drive out the curse of slavery from my land!"
EUGÈNE SUE
Mysteries of Paris
Joseph Marie Sue, known as Eugène Sue, is the most notable French exponent of the melodramatic style in fiction. Sue was born in Paris on December 10, 1804 He was the son of a physician in the household of Napoleon, and followed his father's profession for a number of years. The death of his father brought him a handsome fortune, upon the receipt of which he devoted himself exclusively to literature. His first novel, "Kernock, the Pirate," which appeared in 1830, was only in a small measure successful. It was followed in quick succession by four others, but with like results. His next attempt was the quasi-historical "Jean Cavalier." About this time Sue became imbued with the socialistic ideas that were then spreading through France, and his attempt to express these in fiction produced his most famous work, "The Mysteries of Paris," which was published in 1842. The story first appeared as a feuilleton in the "Journal des Débats." Its success was remarkable, exceeded only by its tremendous popularity in book form. "The Mysteries of Paris" is partly melodrama; it has faults both in construction and in art; its characters are mere puppets, dancing hither and thither at the end of their creator's string. Yet withal the novel brought about many legislative changes in Paris through the light which it cast on existing legal abuses. Sue died on August 3, 1859.
I
One cold, rainy evening towards the end of October-1838, a man of athletic build wearing an old straw hat and ragged serge shirt and trousers dived into the City ward of Paris, a maze of dark, crooked streets which spreads from the Palace of Justice Notre Dame. This district is the Mint, or haunt of a great number of low malefactors who swarm in the low drinking-dens.
The man we noticed slackened his pace, feeling that he was "on his own ground." It was very dark and gusts of rain lashed the walls.
"Good arternoon, La Goualeuse (Sweet-Throat)" said he to one of a group of girls sheltering under a projecting window. "You're the very girl to stand some brandy."
"I'm out of money, Slasher," said the girl trembling; for the man was the terror of the neighbourhood.
He grasped her arm, but she wrenched herself loose and fled down a dark alley, pursued by the ruffian.
"I'll have you," he exclaimed after a few seconds as he seized in his powerful hand one altogether as soft and slight.
"You shall dance for it," a masculine voice broke in, and under the soft delicate skin of the hand the Slasher felt himself grasped by muscles of iron. For some seconds nothing was heard save the sounds of a deadly strife.
The struggle was short, for the ruffian, although of athletic make and of first rate ability in rough and tumble fights, found he had met his master; he measured his length on the ground.
Burning with rage the Slasher returned to the charge, whereupon the defender of La Goualeuse showered upon the cut-throat's head a succession of blows so weighty and crushing and so completely out of the French mode of fighting that the Slasher was mentally as well as bodily stunned by them and gave up, muttering, "I'm floored. Except the Skeleton with his iron bones and the Schoolmaster, no one till now could brag of having set his foot on my neck."
"Well, come and drink a glass and you shall know who I am," said the Unknown. "Come, don't nurse a grudge against me."
"Bear malice? Not a bit of it! You're best man, make no mistake!"
The three, now upon the best terms, directed their steps towards a tavern. As the Unknown followed his companions a charcoal-seller approached him and whispered in German, "Be on your guard, Your Highness!" The Unknown waved his hand carelessly and entered the tavern.
Over their drinks the three related to each other their histories.
The Slasher was a man of tall stature, with light hair and enormous red whiskers. Notwithstanding his terrible surname his features expressed rather brutal hardihood and unconquerable boldness, than ferocity. In his childhood he had strolled about with an old rag and bone picker, who almost knocked the life out of him. He had never known his parents. His first employment was to help knockers cut horses' throats at Montfauçon till cutting and slashing became a rage with him and he was turned out of the slaughter-house for spoiling the hides. Later he enlisted and served three years. Then one day the bullying of the sergeant roused the old rage and he turned on him and cut and slashed as if he had been in the slaughter-house. That got him fifteen years in the hulks. Now he was a lighterman on the Seine rafts.
Sweet-Throat was not over sixteen and a half. A forehead of the whitest surmounted a face perfectly oval and of angelic expression, such as we see in Raphael's beauties. She was also called "Fleur-de-Marie," doubtless on account of the maiden purity of her countenance. She, too, had never known her parents. When she was about seven years of age she lived with an old and one-eyed woman, called Screech-Owl because her hooked nose and round green eye made her resemble an owl that had lost its eye. She taunted the child with being picked up from the streets and sent her out begging, rewarding her with beatings if she did not bring her at least six pence at night, until at last she ran away from Screech-Owl and hid in a wood-yard for the night. Next day she was found, taken before a magistrate and sent to a reformatory as a vagrant until she was sixteen. It was a perfect paradise compared to Screech-Owl's miserable roost. But when she came out she fell into the hands of the Ogress who kept the inn they were now in. The clothes she stood in belonged to the Ogress, she owed her for board and lodgings and could not stir from her or she must be taken up as a thief.
Rudolph (for so we shall call the defender of La Goualeuse) listened with deep interest to her recital, made with touching frankness. Misery, destitution, ignorance of the world, had destroyed this wretched girl, cast alone and unprotected on the immensity of Paris. He involuntarily thought of a beloved child whom he had lost, who had died at six, and would have been, had she lived, like Fleur-de-Marie, sixteen and a half years old.