This is the story of what a Woman's patience can endure, and what a Man's resolution can achieve. If the machinery of the Law could be depended on to fathom every case of suspicion, and to conduct every process of inquiry, with moderate assistance only from the lubricating influences of oil of gold, the events which fill these pages might have claimed their share of the public attention in a Court of Justice. But the Law is still, in certain inevitable cases, the pre-engaged servant of the long purse; and the story is left to be told, for the first time, in this place. As the Judge might once have heard it, so the Reader shall hear it now. No circumstance of importance, from the beginning to the end of the disclosure, shall be related on hearsay evidence. When the writer of these introductory lines (Walter Hartright by name) happens to be more closely connected than others with the incidents to be recorded, he will describe them in his own person. When his experience fails, he will retire from the position of narrator; and his task will be continued, from the point at which he has left it off, by other persons who can speak to the circumstances under notice from their own knowledge, just as clearly and positively as he has spoken before them.
Hurtle Duffield is incapable of loving anything except what he paints. The men and women who court him during his long life are, above all, the victims of his art. He is the vivisector, dissecting their weaknesses with cruel precision: his sister's deformity, a grocer's moonlight indiscretion and the passionate illusions of his mistress, Hero Pavloussi. It is only when Hurtle meets an egocentric adolescent whom he sees as his spiritual child does he experience a deeper, more treacherous emotion.
One of the acknowledged masterpieces of Victorian-era literary realism, George Gissing's novel The Odd Women portrays the plight of unmarried women in nineteenth-century England, probing the question of the financial and psychological well-being of those who were not able to find suitable matches. Recognized by critics as an early feminist text, this novel is a must-read for fans of historical -- and socially significant -- fiction.
It was the opening of the season of eighteen hundred and thirty-two, at the Baths of Wildbad. The evening shadows were beginning to gather over the quiet little German town, and the diligence was expected every minute. Before the door of the principal inn, waiting the arrival of the first visitors of the year, were assembled the three notable personages of Wildbad, accompanied by their wives—the mayor, representing the inhabitants; the doctor, representing the waters; the landlord, representing his own establishment. Beyond this select circle, grouped snugly about the trim little square in front of the inn, appeared the towns-people in general, mixed here and there with the country people, in their quaint German costume, placidly expectant of the diligence—the men in short black jackets, tight black breeches, and three-cornered beaver hats; the women with their long light hair hanging in one thickly plaited tail behind them, and the waists of their short woolen gowns inserted modestly in the region of their shoulder-blades. Round the outer edge of the assemblage thus formed, flying detachments of plump white-headed children careered in perpetual motion; while, mysteriously apart from the rest of the inhabitants, the musicians of the Baths stood collected in one lost corner, waiting the appearance of the first visitors to play the first tune of the season in the form of a serenade. The light of a May evening was still bright on the tops of the great wooded hills watching high over the town on the right hand and the left; and the cool breeze that comes before sunset came keenly fragrant here with the balsamic odor of the first of the Black Forest. "Mr. Landlord," said the mayor's wife (giving the landlord his title), "have you any foreign guests coming on this first day of the season?"...
Explores the daily life of Roman Christian women through letters written between 203 to 420 and Greek and Latin autobiographical and biographical accounts.
William Wilkie Collins (8 January 1824 – 23 September 1889) was an English novelist, playwright, and short story writer. His best-known works are The Woman in White (1859), No Name (1862), Armadale (1866), and The Moonstone (1868), considered the first modern English detective novel. Born into the family of painter William Collins in London, he lived with his family in Italy and France as a child and learned French and Italian. He worked as a clerk for a tea merchant. After his first novel Antonina was published in 1850, he met Charles Dickens, who became a close friend, mentor and collaborator. Some of Collins's works were first published in Dickens' journals All the Year Round and Household Words and the two collaborated on dramatic and fictional works. Collins published his best known works in the 1860s, achieved financial stability and an international reputation. During this time he began suffering from gout took opium for pain and developed an addiction. During the 1870s and '80s the quality of his writing declined along with his health. Collins was critical of the institution of marriage and never married; he split his time between Caroline Graves except for a 2-year separation, and his common law wife Martha Rudd with whom he had 3 children (font: Wikipedia)
English novelist, credited with writing the first mystery. Wilkie (William) Collins was born in London on January 8, 1824. His father (also called William) was a landscape painter, but it seems his father had ambitions for his son outside the arts. Wilkie was first found a place in the tea trade, but displayed no aptitude for commerce. He then studied law at Lincoln's Inn, he was admitted to the bar in 1851 but didn't prosper here either. It was only when he started writing that he seemed to find his vocation. His first published work was written in memory of his father, who died in 1847. Memoirs of the Life of William Collins, Esq., R.A. was published in 1848. He started writing fiction shortly afterwards. Antonina was published in 1850 and Basil in 1852. In April 1852 Wilkie wrote a piece for Charles Dickens' weekly: Household Words. This marked the start of a professional relationship which was to last for ten years, and which left both men better writers for their aqaintence. Wilkie was immensely popular in his time, and wrote 25 novels and over 50 short stories. His most successful works were The Woman in White, No Name, Armadale, and The Moonstone. He was one of the first, and is still one of the greatest, writers of mystery fiction, and has been much imitated over the years. He died in London on September 23, 1889
If you like your mysteries with a liberal dash of prurient gossip and high-society drama, be sure to add Wilkie Collins' Jezebel's Daughter to your must-read list. This tautly suspenseful tale full of betrayal and unexpected plot twists is a worthy diversion.
Penguin Classics e-books give you the best possible editions of Charles Dickens's novels, including all the original illustrations, useful and informative introductions, the definitive, accurate text as it was meant to be published, a chronology of Dickens's life and notes that fill in the background to the book. Dickens's story of solitary miser Ebenezer Scrooge, who is taught the true meaning of Christmas by a series of ghostly visitors, has proved one of his most well-loved works. Ever since it was published in 1843 it has had an enduring influence on the way we think about the traditions of Christmas. Dickens's other Christmas writings collected here include 'The Story of the Goblins who Stole a Sexton', the short story from The Pickwick Papers on which A Christmas Carol was based; The Haunted Man, a tale of a man tormented by painful memories; along with shorter pieces, some drawn from the 'Christmas Stories' that Dickens wrote annually for his weekly journals. In all of them Dickens celebrates the season as one of geniality, charity and remembrance.
Mildred Lathbury is one of those 'excellent women' who is often taken for granted. She is a godsend, 'capable of dealing with most of the stock situations of life - birth, marriage, death, the successful jumble sales, the garden fete spoilt by bad weather'. As such, she often gets herself embroiled in other people's lives - especially those of her glamorous new neighbours, the Napiers, whose marriage seems to be on the rocks. One cannot take sides in these matters, though it is tricky, especially as Mildred, teetering on the edge of spinsterhood, has a soft spot for dashing young Rockingham Napier. This is Barbara Pym's world at its funniest and most touching.
Raymond Chandler created the fast talking, trouble seeking Californian private eye Philip Marlowe for his first great novel The Big Sleep in 1939. Marlowe's entanglement with the Sternwood family - and an attendant cast of colourful underworld figures - is the background to a story reflecting all the tarnished glitter of the great American Dream. The detective's iconic image burns just as brightly in Farewell My Lovely, on the trail of a missing nightclub crooner. And the inimitable Marlowe is able to prove that trouble really is his business in Raymond Chandler's brilliant epitaph, The Long Goodbye.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.