Aleksandr Ivanovich Kuprin (1870-1938) was Russian novelist and short-story writer. He was an army officer for several years before he resigned to pursue a writing career, and was a friend of Maxim Gorky. He won fame with The Duel (1905), a novel of protest against the Russian military system. In 1909, Yama: The Pit, his novel dealing with prostitution in Odessa, created a sensation. Kuprin left Russia after the revolution but returned in 1937. Some of his best short stories of action and adventure appear in The Garnet Bracelet, originally published in 1917.

    It is an important book in social and moral terms, and wonderfully expressive of Herzen's personality.--Isaiah BerlinAlexander Herzen was one of the major figures in Russian intellectual life in the nineteenth century. Who Is to Blame? was his first novel. A revealing document and a noteworthy contribution to Russian literature in its own right, it establishes the origins of Herzen's spiritual quest and the outlines of his emerging social and political beliefs, and it foreshadows his mature philosophical views.

    Artists painted, sculpted, and photographed her; poets praised her strange beauty. Among them were Gabriele D’Annunzio, Man Ray, Jean Cocteau, Cecil Beaton, and American writers Tennessee Williams, Jack Kerouac, and Ezra Pound. Couturiers Fortuny, Poiret, and Erté dressed her. Some became lovers, others awestruck admirers, but all were influenced by this extraordinary muse. The extravagance ended in 1930 when Casati was more than twenty-five million dollars in debt. Fleeing to London, she spent her final flamboyant years there until her death in 1957. Now nearly a half-century later, Casati’s fashion legacy continues to inspire such designers as John Galliano, Karl Lagerfeld, and Tom Ford. Fully authorized and accurate, this is the fantastic story of the Marchesa Luisa Casati.Scot D. Ryersson is an award-winning freelance writer, illustrator, and graphic designer. He lives in New Jersey.Michael Orlando Yaccarino is a freelance writer specializing in international genre film, fashion, music, and unconventional historical figures. He lives in New Jersey.

    But invention, in all art, is closely allied to technique, and technique can be taught. This book, therefore, which differs from most other texts on the subject because of its tremendous wealth of musical examples and its systematic arrangement of material according to each constituent of the orchestra, will undoubtedly be of value to any music student. It is a music classic, perhaps the only book on classical orchestration written by a major composer.In it, the composer aims to provide the reader with the fundamental principles of modern orchestration from the standpoint of brilliance and imagination, and he devotes considerable space to the study of tonal resonance and orchestral combination. In his course, he demonstrates such things as how to produce a good-sounding chord of certain tone-quality, uniformly distributed; how to detach a melody from its harmonic setting; correct progression of parts; and other similar problems.The first chapter is a general review of orchestral groups, with an instrument-by-instrument breakdown and material on such technical questions as fingering, range, emission of sound, etc. There follows two chapters on melody and harmony in strings, winds, brasses, and combined groups. Chapter IV, Composition of the Orchestra, covers different ways of orchestrating the same music; effects that can be achieved with full tutti; tutti in winds, tutti pizzicato, soli in the strings, etc.; chords; progressions; and so on. The last two chapters deal with opera and include discussion of solo and choral accompaniment, instruments on stage or in the wings, technical terms, soloists (range, register, vocalization, vowels, etc.), voices in combination, and choral singing. Immediately following this text are some 330 pages of musical examples drawn from "Sheherazade," the "Antar Symphony," "Capriccio Espagnol," "Sadko," "Ivan the Terrible," "Le Coq d'Or," "Mlada," "The Tsar's Bride," and others of Rimsky-Korsakov's works. These excerpts are all referred to in the text itself, where they illustrate, far better than words, particular points of theory and actual musical practice. They are largely responsible for making this book the very special (and very useful) publication it is.This single-volume edition also includes a brief preface by the editor and extracts from Rimsky-Korsakov's 1891 draft and final versions of his own preface, as well as an appendixed chart of single tutti chords in the composer's works.

    Each book contains a history of the opera, a synopsis of the story, a complete libretto in its original language as well as in English, dozens of photos, and a world-class Angel/EMI recording of the entire opera on two CDs. It's a must-have for die-hard opera lovers as well as those in need of an introduction to the timeless art form.

    

    This classic historical novel, first published in 1904, creates an outstanding picture of the 4th century, Roman Emperor Julian the Apostate and the profound spiritual implications of his life and deeds.

    Love is important, not only as one of our feelings but as the transfer of all our interest in life from ourselves to another, as the shifting of the very center of our lives...."The meaning of human love, speaking generally, is the justification and salvation of individuality through the sacrifice of egoism. On this general basis we can also ... explain the meaning of sexual love" (Vladimir Solovyov) What is the meaning of love's intense emotion? Solovyov points to the spark of divinity that we see in another human being and shows how this "living ideal of Divine love, antecedent to our love, contains in itself the secret of the idealization of our love."According to Solovyov, love between men and women has a key role to play in the mystical transfiguration of the world. Love, which allows one person to find unconditional completion in another, becomes an evolutionary strategy for overcoming cosmic disintegration.

    the Passamaquoddies and Penobscots of Maine and the Micmacs of New Brunswick. Most of this material was gathered directly from Indian narrators by Charles G. Leland (1824-1903), a brilliant and gifted Philadelphia-born journalist, essayist, and folklorist.In compiling the work, Leland noted interesting affinities between the myths of the Northeastern tribes and those of the Eskimos, and striking similarities between the myths of the Algonquins and the Eddas, sagas and popular tales of Scandinavia. For example, may of the stories in this book deal with Glooskap, a divinity with strong resemblances to such Norse gods as Thor and Odin. We learn how Glooskap made man from an ash tree, named the animals, gave gifts to men, went to England and France and made America known to the Europeans, and performed many other curious deeds. Here too are the merry tales of Lox, the Mischief-maker, who bears a strong resemblance to Loki of Scandinavian mythology. Also included are the amazing adventures of Master Rabbit, the Chenoo legends, stories of At-o-sis the serpent, the story of the Three Strong Men, the Weewillmekq', tales of magic, and more.Myths and legends provide unique and authentic sources of knowledge about our deepest instincts and ways of interpreting the world and our place in it. This volume remains one of the most powerful and revealing studies of the Algonquin versions of such myths, a thorough, comprehensive collection that will prove invaluable to any student of American Indian culture or myth, folklore, and religion. General readers will also find these tales highly readable and delightfully entertaining.

    He started a school for peasant children on his family's estate, and later founded another, experimental school with the motto, "Come when you like, leave when you like." Fascinated by the simple charm and fresh innocence with which the children of his schools told stories, Tolstoy began writing about his own childhood, emulating the uncomplicated narrative style and disarming directness of the tales told by the children of his acquaintance. After completing WAR AND PEACE, he incorporated these stories in a series of easy readers. Known as THE ABC BOOK (Azbuka) and THE NEW ABC BOOK (Novaia Azbuka), these marvelous readers were widely adopted in Russia and were still in use in the Soviet era. The tales and fables in this charmingly illustrated volume come mainly from these two well-loved primers. Part 1 consists of stories about Tolstoy's own childhood, all told with beautiful simplicity. Part 2 contains Tolstoy's free adaptations of fables from Aesop and from Hindu tradition. Part 3 is devoted solely to his longest and most famous children's work, the fairy tale "Ivan the Fool and His Two Brothers." Never patronizing and often humorous, these small gems reveal Tolstoy's deep appreciation for and understanding of children's artistic and moral sensibilities.

    A Writer's Diary began as a column in a literary journal, but by 1876 Dostoevsky was able to bring it out as a complete monthly publication with himself as editor, publisher, and sole contributor, suspending work on The Brothers Karamazov in order to do so.The Diary's radical format was matched by the extreme range of its contents. In a single frame A Writer's Diary was to combine an astonishing variety of material: short stories; humorous sketches; reports on sensational crimes; historical predictions; portraits of famous people; autobiographical pieces; and plans for stories, some of which were never written while others appeared later in the Diary itself. A range of authorial and narrative voices and stances, and an elaborate scheme of allusions and cross-references, preserve and present Dostoevsky's conception of his work as a literary whole.Volume I begins with an extensive study by Gary Saul Morson, which provides a fascinating context for the work's form and content.

    She translated these tales of the legendary Cuchulain — an Irish Achilles who was the greatest of ancient Ireland's fabled Knights of the Red Branch — from the original Irish, melding variants of each tale to achieve, enthralling accounts of the great knight's birth and boyhood deeds, superhuman exploits in love and war, and premature death — along with the unforgettable story of the beautiful, overpowering love demonstrated by his wife, Emer. All of these events are recounted in the same plain and simple style Lady Gregory first heard in stories told by her childhood nurse.Of this book by his friend and patroness, W. B. Yeats said, "I think this book is the best that has come out of Ireland in my time. Perhaps I should say that this is the best book that has ever come out of Ireland; for the stories which it tells are a chief part of Ireland's gift to the imagination of the world." Students and scholars of folklore or Celtic mythology will prize this edition for its authentic recounting of the tales and general readers will be delighted both by the imaginative richness of the tales and the beautiful style in which they are told.

    First published in Germany in 1925, it presents unforgettable images from the tense and dynamic Weimar period, rendered in 100 woodcuts of remarkable force and beauty.A pacifist during World War I, Belgian-born Frans Masereel (1889-1972) sympathized with the struggles of the working classes and strived to make his art accessible to ordinary people. His evocative woodcuts convey scenes of work and leisure, wealth and deprivation, and joy and loneliness. Banned by the Nazis, Masereel's works were championed in Communist countries; however, the artist steered clear of political affiliations. His clarity of vision transcends any propagandist use of the images, which stand as timeless indictments of oppression and injustice.Thomas Mann described Masereel's works as "so strangely compelling, so deeply felt, so rich in ideas that one never tires of looking at them." Epic and unflinching in its scope, The City continues to influence modern fine and graphic art, while recapturing the mood of a vanished era.

    Hans Christian Andersen Medal-winner Lisbeth Zwerger brings her singular vision to a glorious picture-book adaptation of the haunting story of an enchanted swan princess. She has based her version on Tchaikovsky's original 1877 ballet, which had a happy ending, unlike the later, better-known, 1893 version. Her illustrations, luminous, lyrical, filled with grace and beauty, evoke the brilliance of the ballet and the universal appeal of this beloved fairy tale.

    The scene opens with several small vessels drifting about on the ocean. There had been a fire, followed by an explosion aboard a vessel carrying slaves. Most of the crew were pretty nasty people, but there were two pairs of people who become the heroes of this story. One of these is Ben Brace and a sixteen year old boy seaman, whom he had rescued from being eaten by the thirty or so crew members who had found enough spars, timber, sails, ropes and barrels to construct a large raft, though rather badly made, because these men were consoling themselves with a rum-barrel. At a distance floated the ship's gig, with the captain, the mate, the carpenter and three other men. Finally, there is a construction, hardly more than a large barrel, containing Snowball, an African ship's cook of the Coromantee tribe, together with a little girl of eight or ten. Luckily these get together with Ben Brace and the boy William, and it is their adventures that the story is mainly about. The author is a natural historian, and he tells us lots of interesting things about the fish and other denizens of the deep. Naturally the whole thing comes right in the end, with the wicked perishing, and the good being picked up by a whale-ship.