showed that the projectile has passed the atmospheric strata, for the diffused light spread in the air would have been reflected on the metal walls, which reflection was wanting. This light would have lit the window, and the window was dark. Doubt was no longer possible; the travelers had left the earth. "I have lost," said Nicholl. "I congratulate you," replied Ardan. "Here are the nine thousand dollars," said the captain, drawing a roll of paper dollars from his pocket. "Will you have a receipt for it?" asked Barbicane, taking the sum. "If you do not mind," answered Nicholl; "it is more business-like." This is the legendary novel of technological speculation and social satire that launched an entire genre of adventure fiction: Verne's From the Earth to the Moon and 'Round the Moon is the first story of space exploration and remains a beloved work of daring exploits-and surprisingly accurate scientific conjecture. When the members of the Baltimore Gun Club-bored Civil War veterans-decide to fill their time by embarking on a project to shoot themselves to the moon, the race is on to raise money, overcome engineering challenges, and convince detractors that they're anything but "Lunatics." With this work, Verne inspired the first science fiction film, 1902's Le Voyage dans la lune, and accurately predicted that that ideal location for a spacebase is in Florida. First published in France in 1865, this replica 1918 edition includes the sequel, 1870's Round the Moon. Also available from Cosimo Classics: Verne's Five Weeks in a Balloon OF INTEREST TO: science fiction fans, readers of 19th-century literature French author JULES GABRIEL VERNE (1828-1905) is considered the father of modern science fiction. Among his many groundbreaking books are Journey to the Center of the Earth (1864), 20,000 Leagues Under the Sea (1870), and Around the World in Eighty Days (1872).

    Here you will find the secrets of eternal youth, souls that exchange bodies, and ancient Englishmen and Romans newly thawed out of ice. In addition to several stories by Mary Shelley, this volume also features a brand new story by renowned science fiction author Michael Bishop, which serves as a narrative introduction for this collection. Mary Shelley's considerable reputation rests squarely on the shoulders of her one great novel - Frankenstein, or the Modern Prometheus, published anonymously in 1818 and revised under her own byline in 1831. Her powerful tale of blasphemous creation is perhaps more familiar to modern readers through its many film adaptations as it is from the book itself. From Boris Karloff's electrifying performance as Frankenstein to Kenneth Branaugh's latest directorial rendering, the story has received numerous interpretations which have renewed interest in the book time and time again. However, Shelley's other works have not fared as well as Frankenstein. She wrote just a handful of novels, of which only The Last Man (1826) has remained sporadically in print. A precursor to such disaster novels as George R. Stewart's Earth Abides and Richard Jeffries' After London, The Last Man follows its protagonist Lionel Verney through a distant future world which has been depopulated by plague. The shorter works of Mary Shelley have remained difficult to find. During her lifetime, she published just over two-dozen stories, only three of which were of interest to readers of science fiction and fantasy. In addition to these three supernaturally-themed stories, two additional stories were published after Shelley's death. "Roger Dodsworth: The Reanimated Englishman," was printed in a volume of reminisces by a magazine editor who had commissioned the story thirty years earlier. "Valerius: The Reanimated Roman," a story in a similar vein to "Roger Dodsworth," remained unpublished until 1976, when both stories were discovered by Charles E. Robinson, a Shelley scholar and professor of English at the University of Delaware.Contents"The Unexpected Visit of a Reanimated Englishwoman": Introduction by Michael Bishop"The Mortal Immortal: A Tale""Transformation""Roger Dodsworth: The Reanimated Englishman""The Dream""Valerius: The Reanimated Roman"

    Published the same year as her first novel, Adam Bede, this overlooked work displays the gifts for which George Eliot would become famous—gritty realism, psychological insight, and idealistic moralizing. It is unique from all her other writing, however, in that it represents the only time she ever used a first-person narrator, and it is the only time she wrote about the supernatural. The tale of a man who is incapacitated by visions of the future and the cacophony of overheard thoughts, and yet who can’t help trying to subvert his vividly glimpsed destiny, it is easy to read The Lifted Veil as being autobiographically revealing—of Eliot’s sensitivity to public opinion and her awareness that her days concealed behind a pseudonym were doomed to a tragic unveiling (as indeed came to pass soon after this novella’s publication). But it is easier still to read the story as the exciting and genuine precursor of a moody new form, as well as an absorbing early masterpiece of suspense.The Art of The Novella SeriesToo short to be a novel, too long to be a short story, the novella is generally unrecognized by academics and publishers. Nonetheless, it is a form beloved and practiced by literature's greatest writers. In the Art Of The Novella series, Melville House celebrates this renegade art form and its practitioners with titles that are, in many instances, presented in book form for the first time.

    Amid bloody and eerie scenes, his daughter is possessed by Tera's soul, and her fate depends upon bringing Tera's mummified body to life.

    The tale of Dorian Gray’s moral disintegration caused a scandal when it first appeared in 1890, but though Wilde was attacked for the novel’s corrupting influence, he responded that there is, in fact, “a terrible moral in Dorian Gray.” Just a few years later, the book and the aesthetic/moral dilemma it presented became issues in the trials occasioned by Wilde’s homosexual liaisons, which resulted in his imprisonment. Of Dorian Gray’s relationship to autobiography, Wilde noted in a letter, “Basil Hallward is what I think I am: Lord Henry what the world thinks me: Dorian what I would like to be—in other ages, perhaps.

    What will be the outcome of the conflict between smugglers and revenue men? How can the hero, John Trenchard, discover the secret of Colonel John Mohune's treasure? As the book progresses these two interwoven themes resolve themselves into a third and richer one, with the friendship and suffering of both John Trenchard and the craggy, taciturn Elzevir Block. Falkner's feeling for history and for the landscape of his Dorset setting combine with his gift for storytelling to turn Moonfleet into a historical romance of moving intensity.

    It is narrated from the perspectives of multiple characters, a technique used to create suspense in many of the "sensation novels" pioneered by Wilkie Collins and others in the 1860s, as well as in many late nineteenth-century novels such as Dracula.Richard Marsh was the pseudonym of the British author, Richard Bernard Heldmann.

    Written when he was only 22 years old, the tale also features some of Rudyard Kipling’s most crystalline prose, and one of the most beautifully rendered, spectacularly exotic settings he ever used. Best of all, it features two of his most unforgettable characters, the ultra-vivid Cockneys Peachy Carnahan and Daniel Dravot, who impart to the story its ultimate, astonishing twist: it is both a tragedy and a triumph.

    Tolkien was an early work completed in 1926: he returned to it later to make hasty corrections, but seems never to have considered its publication.Suitable for tablets. Some special characters may not display correctly on older devices.We recommend that you download a sample and check the 'Note to the Reader' page before purchase.This edition is twofold, for there exists an illuminating commentary on the text of the poem by the translator himself, in the written form of a series of lectures given at Oxford in the 1930s; and from these lectures a substantial selection has been made, to form also a commentary on the translation in this book.From his creative attention to detail in these lectures there arises a sense of the immediacy and clarity of his vision. It is as if he entered into the imagined past: standing beside Beowulf and his men shaking out their mail-shirts as they beached their ship on the coast of Denmark, listening to the rising anger of Beowulf at the taunting of Unferth, or looking up in amazement at Grendel's terrible hand set under the roof of Heorot.But the commentary in this book includes also much from those lectures in which, while always anchored in the text, he expressed his wider perceptions. He looks closely at the dragon that would slay Beowulf 'snuffling in baffled rage and injured greed when he discovers the theft of the cup'; but he rebuts the notion that this is 'a mere treasure story', 'just another dragon tale'. He turns to the lines that tell of the burying of the golden things long ago, and observes that it is 'the feeling for the treasure itself, this sad history' that raises it to another level. 'The whole thing is sombre, tragic, sinister, curiously real. The "treasure" is not just some lucky wealth that will enable the finder to have a good time, or marry the princess. It is laden with history, leading back into the dark heathen ages beyond the memory of song, but not beyond the reach of imagination.'Sellic Spell, a 'marvellous tale', is a story written by Tolkien suggesting what might have been the form and style of an Old English folk-tale of Beowulf, in which there was no association with the 'historical legends' of the Northern kingdoms.

    The details of Arthur's story are mainly composed of folklore and literary invention, and his historical existence is debated and disputed by modern historians. The sparse historical background of Arthur is gleaned from various sources, including the Annales Cambriae, the Historia Brittonum, and the writings of Gildas. Arthur's name also occurs in early poetic sources such as Y Gododdin. The legendary Arthur developed as a figure of international interest largely through the popularity of Geoffrey of Monmouth's fanciful and imaginative 12th-century Historia Regum Britanniae (History of the Kings of Britain). However, some Welsh and Breton tales and poems relating the story of Arthur date from earlier than this work; in these works, Arthur appears either as a great warrior defending Britain from human and supernatural enemies or as a magical figure of folklore, sometimes associated with the Welsh Otherworld, Annwn. How much of Geoffrey's Historia (completed in 1138) was adapted from such earlier sources, rather than invented by Geoffrey himself, is unknown. Although the themes, events and characters of the Arthurian legend varied widely from text to text, and there is no one canonical version, Geoffrey's version of events often served as the starting point for later stories. Geoffrey depicted Arthur as a king of Britain who defeated the Saxons and established an empire over Britain, Ireland, Iceland, Norway and Gaul. In fact, many elements and incidents that are now an integral part of the Arthurian story appear in Geoffrey's Historia, including Arthur's father Uther Pendragon, the wizard Merlin, the sword Excalibur, Arthur's birth at Tintagel, his final battle against Mordred at Camlann and final rest in Avalon. The 12th-century French writer Chretien de Troyes, who added Lancelot and the Holy Grail to the story, began the genre of Arthurian romance that became a significant strand of medieval literature. In these French stories, the narrative focus often shifts from King Arthur himself to other characters, such as various Knights of the Round Table. Arthurian literature thrived during the Middle Ages but waned in the centuries that followed until it experienced a major resurgence in the 19th century. In the 21st century, the legend lives on, not only in literature but also in adaptations for theatre, film, television, comics and other media. The Sir James Knowles version of King Arthur is considered as the most accurate and well known original story of King Arthur and the Knights of the Round Table.

    Colambre travels incognito to Ireland to see the country that he still considers his home. When he returns to London he assists his father to pay off the debts, on condition that the Clonbrony family return to live in Ireland. Maria Edgeworth (1 January 1768 - 22 May 1849) was a prolific Anglo-Irish writer of adults' and children's literature. She was one of the first realist writers in children's literature and was a significant figure in the evolution of the novel in Europe. She held advanced views, for a woman of her time, on estate management, politics and education, and corresponded with some of the leading literary and economic writers, including Sir Walter Scott and David Ricardo.

    And then one night there came a knock at the door of a quiet lodging house in the Marylebone Road. . . . This novel, based on the Jack the Ripper murders, was made into a film by Alfred Hitchcock.

    Lenoble de Beaubocage, but he did not insist upon this distinction; and on sending out his only son to begin the battle of life in the great world of Paris, he recommended the young man to call himself Lenoble, tout court.

    Other great kings and paladins are lost in the dim shadows oflong-past centuries, but Arthur still reigns in Camelot and his knightsstill ride forth to seek the Grail. "No little thing shall be The gentle music of the bygone years, Long past to us with all their hopes and fears."So wrote the poet William Morris in _The Earthly Paradise_. And surelyit is no small debt of gratitude we owe the troubadours and chroniclersand poets who through many centuries have sung of Arthur and hischampions, each adding to the song the gifts of his own imagination, sobuilding from simple folk-tales one of the most magnificent and movingstories in all literature.This debt perhaps we owe in greatest measure to three men; to Chrétiende Troies, a Frenchman, who in the twelfth century put many of the oldArthurian legends into verse; to Sir Thomas Malory, who first wrote outmost of the stories in English prose, and whose book, the _MorteDarthur_, was printed by William Caxton, the first English printer, in1485; and to Alfred, Lord Tennyson, who in his series of poems entitledthe _Idylls of the King_ retold the legends in new and beautiful guisein the nineteenth century.The history of Arthur is so shrouded in the mists of early England thatit is difficult to tell exactly who and what he was. There probably wasan actual Arthur, who lived in the island of Britain in the sixthcentury, but probably he was not a king nor even a prince. It seems mostlikely that he was a chieftain who led his countrymen to victory againstthe invading English about the year 500. So proud were his countrymen ofhis victories that they began to invent imaginary stories of his prowessto add to the fame of their hero, just as among all peoples legends soonspring up about the name of a great leader. As each man told the featsof Arthur he contributed those details that appealed most to his ownfancy and each was apt to think of the hero as a man of his own time,dressing and speaking and living as his own kings and princes did, withthe result that when we come to the twelfth century we find Geoffrey ofMonmouth, in his _History of the Kings of Britain_, describing Arthurno longer as a half-barbarous Briton, wearing rude armor, his arms andlegs bare, but instead as a most Christian king, the flower of mediævalchivalry, decked out in all the gorgeous trappings of a knight of theCrusades.As the story of Arthur grew it attracted to itself popular legends ofall kinds. Its roots were in Britain and the chief threads in its fabricremained British-Celtic. The next most important threads were those thatwere added by the Celtic chroniclers of Ireland. Then stories that werenot Celtic at all were woven into the legend, some from Germanicsources, which the Saxons or the descendants of the Franks may havecontributed, and others that came from the Orient, which may have beenbrought back from the East by men returning from the Crusades. And if itwas the Celts who gave us the most of the material for the stories ofArthur it was the French poets who first wrote out the stories and gavethem enduring form.It was the Frenchman, Chrétien de Troies, who lived at the courts ofChampagne and of Flanders, who put the old legends into verse for thepleasure of the noble lords and ladies that were his patrons. Hecomposed six Arthurian poems. The first, which was written about 1160 orearlier, related the story of Tristram. The next was called _Érec etÉnide_, and told some of the adventures that were later used by Tennysonin his _Geraint and Enid_. The third was _Cligès_, a poem that haslittle to do with the stories of Arthur and his knights as we havethem. Next came the _Conte de la Charrette_, or _Le Chevalier de laCharrette_, which set forth the love of Lancelot and Guinevere. Thenfollowed _Yvain_, or _Le Chevalier au Lion_, and finally came_Perceval_, or _Le Conte du Graal_, which gives the first account of theHoly Grail.

    During his stay he agrees to serve as a guinea pig for a new drug that Magnus has discovered in his scientific research. When Dick samples Magnus's potion, he finds himself doing the impossible: traveling through time while staying in place, thrown all the way back into Medieval Cornwall. The concoction wear off after several hours, but its effects are intoxicating and Dick cannot resist his newfound powers. As his journeys increase, Dick begins to resent the days he must spend in the modern world, longing ever more fervently to get back into his world of centuries before, and the home of the beautiful Lady Isolda...