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Excerpt from The Harvard Classics Shelf of Fiction The history of the German novel would have, however, also to record that those writers have secured the most permanent distinction who have most significantly modified in their own way the suggestions which foreign examples gave them, and that the greatest distinction of all belongs to writers whom we can, if we will, associate with one or another Of the main currents, but wh'o are by no means carried away by it. In the work of these men the national character Of the German novel, if it has a national character, ought to be discoverable. For two reasons it is a fair question whether the Ger man novel has a national character. In the first place, modern Germany has been a nation only Since 1871; and in the second place, only in times of some great crisis does there appear to be in Germany a national life, as we under stand the term. At other times life in Germany is urban, provincial, or private, in those aspects of existence which the Germans most prize. The imperial capital affects to represent Germany as London represents England and Paris represents France; but such ascendancy is stoutly denied Berlin in the capitals of the other states, and Saxons or Bavarians refuse to submit to Prussian hegemony in any other than political and military affairs. In literature Prussia is not the nation; the empire itself is a federation of states, and Berlin is less specifically a German city than any other in the realm. Germany is emphatically e plum'bus. Still, there may be some bond of union stronger than political alliance, some fundamental quality common to Prussian, Saxon, and Bavarian. In this we should seek the national character. We should find the national character depicted in the historical novel, which has had a great vogue in Germany; but we may discern it also in the fiction devoted to the problems Of contemporary life. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Assembled by Harvard University president Charles William Eliot in the early 20th century, the Five-Foot Shelf of Books is a collection of classic works of literature, philosophy, and history that represents the best of Western thought and culture. This volume, featuring the poems and songs of Scotland's national bard Robert Burns, is a wonderful introduction to the rich literary heritage of the Scottish people. 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 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. 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.
A literary scholar explains how eighteenth-century novels were manufactured, sold, bought, owned, collected, and read alongside Protestant religious texts. As the novel developed into a mature genre, it had to distinguish itself from these similar-looking books and become what we now call “literature.” Literary scholars have explained the rise of the Anglophone novel using a range of tools, from Ian Watt’s theories to James Watt’s inventions. Contrary to established narratives, When Novels Were Books reveals that the genre beloved of so many readers today was not born secular, national, middle-class, or female. For the first three centuries of their history, novels came into readers’ hands primarily as printed sheets ordered into a codex bound along one edge between boards or paper wrappers. Consequently, they shared some formal features of other codices, such as almanacs and Protestant religious books produced by the same printers. Novels are often mistakenly credited for developing a formal feature (“character”) that was in fact incubated in religious books. The novel did not emerge all at once: it had to differentiate itself from the goods with which it was in competition. Though it was written for sequential reading, the early novel’s main technology for dissemination was the codex, a platform designed for random access. This peculiar circumstance led to the genre’s insistence on continuous, cover-to-cover reading even as the “media platform” it used encouraged readers to dip in and out at will and read discontinuously. Jordan Alexander Stein traces this tangled history, showing how the physical format of the book shaped the stories that were fit to print.
Compiled and Edited by Charles W. Eliot in 1909, the Harvard Classics is a 51-volume Anthology of classic literature from throughout the history of western civilization. The set is sometimes called "Eliot's Five-Foot Shelf." The interior of this book is a facsimile reproduction of the 1909 edition. For other books in this series and books of similar interest search with the keyword hcbooks. Volume 17 contains: 82 of Aesop's Fables 41 of the Household Tales from the Brothers Grimm 20 Tales from Hans Christian Andersen
The original Harvard Classics Collection contains 51 volumes of the essential works of world literature, showing the progress of man from antics to modern age. In this edition, the original collection is supplemented with the 20 volume Harvard Shelf of Fiction, a selection of the greatest works of fiction. Content: The Harvard Classics: V. 1: Franklin, Woolman & Penn V. 2: Plato, Epictetus & Marcus Aurelius V. 3: Bacon, Milton, Browne V. 4: John Milton V. 5: R. W. Emerson V. 6: Robert Burns V. 7: St Augustine & Thomas á Kempis V. 8: Nine Greek Dramas V. 9: Cicero and Pliny V. 10: The Wealth of Nations V. 11: The Origin of Species V. 12: Plutarchs V. 13: Æneid V. 14: Don Quixote V. 15: Bunyan & Walton V. 16: 1001 Nights V. 17: Folklore & Fable V. 18: Modern English Drama V. 19: Goethe & Marlowe V. 20: The Divine Comedy V. 21: I Promessi Sposi V. 22: The Odyssey V. 23: Two Years Before the Mast V. 24: Edmund Burke V. 25: J. S. Mill & T. Carlyle V. 26: Continental Drama V. 27 & 28: English & American Essays V. 29: The Voyage of the Beagle V. 30: Scientific Papers V. 31: The Autobiography of Benvenuto Cellini V. 32: Literary and Philosophical Essays V. 33: Voyages & Travels V. 34: French & English Philosophers V. 35: Chronicle and Romance V. 36: Machiavelli, Roper, More, Luther V. 37: Locke, Berkeley, Hume V. 38: Harvey, Jenner, Lister, Pasteur V. 39: Prologues V. 40–42: English Poetry V. 43: American Historical Documents V. 44 & 45: Sacred Writings V. 46 & 47: Elizabethan Drama V. 48: Blaise Pascal V. 49: Saga V. 50: Reader's Guide V. 51: Lectures The Shelf of Fiction: V. 1 & 2: The History of Tom Jones V. 3: A Sentimental Journey & Pride and Prejudice V. 4: Guy Mannering V. 5 & 6: Vanity Fair V. 7 & 8: David Copperfield V. 9: The Mill on the Floss V. 10: Irving, Poe, Harte, Twain, Hale V.11: The Portrait of a Lady V. 12: Notre Dame de Paris V. 13: Balzac, Sand, de Musset, Daudet, de Maupassant V. 14 & 15: Goethe, Keller, Storm, Fontane V. 16–19: Tolstoy, Dostoevsky, Turgenev V. 20: Valera, Bjørnson, Kielland
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.
“[A] dark, elegant novel” of two women in ancient Greece, based on the great tragedies of Sophocles (Publishers Weekly). Thebes is a city in mourning, still reeling from a devastating plague that invaded every home and left the survivors devastated and fearful. This is the Thebes that Jocasta has known her entire life, a city ruled by a king—her husband-to-be. Jocasta struggles through this miserable marriage until she is unexpectedly widowed. Now free to choose her next husband, she selects the handsome, youthful Oedipus. When whispers emerge of an unbearable scandal, the very society that once lent Jocasta its support seems determined to destroy her. Ismene is a girl in mourning, longing for the golden days of her youth, days spent lolling in the courtyard garden, reading and reveling in her parents’ happiness and love. Now she is an orphan and the target of a murder plot, attacked within the very walls of the palace. As the deadly political competition swirls around her, she must uncover the root of the plot—and reveal the truth of the curse that has consumed her family. The novel is based on Oedipus Tyrannus and Antigone, two of Classical Greece’s most compelling tragedies. Told in intersecting narratives, this reimagining of Sophocles’s classic plays brings life and voice to the women who were too often forced to the background of their own stories. “After two and a half millennia of near silence, Jocasta and Ismene are finally given a chance to speak . . . Haynes’s Thebes is vividly captured. In her excellent new novel, she harnesses the mutability of myth.” —The Guardian
“A wonderfully vivid account of the momentous era they lived through, underscoring the chaotic, often improvisatory circumstances that attended the birth of the fledgling nation and the hardships of daily life.” —Michiko Kakutani, New York Times In 1762, John Adams penned a flirtatious note to “Miss Adorable,” the 17-year-old Abigail Smith. In 1801, Abigail wrote to wish her husband John a safe journey as he headed home to Quincy after serving as president of the nation he helped create. The letters that span these nearly forty years form the most significant correspondence—and reveal one of the most intriguing and inspiring partnerships—in American history. As a pivotal player in the American Revolution and the early republic, John had a front-row seat at critical moments in the creation of the United States, from the drafting of the Declaration of Independence to negotiating peace with Great Britain to serving as the first vice president and second president under the U.S. Constitution. Separated more often than they were together during this founding era, John and Abigail shared their lives through letters that each addressed to “My Dearest Friend,” debating ideas and commenting on current events while attending to the concerns of raising their children (including a future president). Full of keen observations and articulate commentary on world events, these letters are also remarkably intimate. This new collection—including some letters never before published—invites readers to experience the founding of a nation and the partnership of two strong individuals, in their own words. This is history at its most authentic and most engaging.