Mostrando resultados por narrador "Robert Bethune" en Todas las categorías

In this, the 18th of the series, Dumas explores the history of a famous French aristocratic family: that of Marie de Rossan, also known as Diane de Joannis de Roussan and as Anne-Elisabeth De Rossan, but in any case the Marquise de Ganges and La Belle Belle Provençale - often described as the most beautiful woman of her time. It was, indeed, her beauty that undid her.

In this, the 17th of the series, Dumas, in this case more a novelist than a historian, turns his attention to a story from Russia: that of Vaninka. Her father was a Russian count and a general in the Russian Imperial army under Paul I. She falls in love with one of her father's officers, whose tragic but accidental death leads her to a savage crime. Ironically, bringing her to justice requires a great perversion of justice itself.

The marquise was tried, convicted, and executed for poisoning her father and two of her brothers. It appears that she learned the art of the poisoner from her lover, Godin de Sainte-Croix. She also targeted but did not kill her sister, a Carmelite nun. Her case launched what is known in French history as the Affair of the Poisons, a long-running judicial scandal that led to the execution or imprisonment of dozens of people, many of the highest rank in French society, including prominent members of the court of Louis XIV.

The Celebrated Crimes of Alexandre Dumas père was not written for children. The novelist has spared no language - has minced no words - to describe violent scenes of violent times. In this, the 14th of the series, Dumas, the novelist-historian, brings his storytelling skills to a famous subject: the background of one of the most famous of French lawsuits, centering around the secret abduction of Bernard de la Guiche, later count of Saint-Geran, from his mother, Suzanne de Longaunay, by the marquis de Saint-Maixant.

Ever since the time of Louis XIV, the story has been told of a man mysteriously snatched out of the world and buried for life not merely in a prison cell but also in an mask of iron: an imprisonment designed to ensure no one would ever know his name or even see his face. Dumas asks: Who was the man in the iron mask? Why was he imprisoned? Why were such strange precautions taken, and why was he treated with such respect and care, given everything he asked for--except his freedom and his name?

In this, the 10th of the series, Dumas places us at the court of Joan of Naples, a beautiful, emotional, highly capable woman at the center of 30 years of plotting, betrayal, intrigue, war, beauty, love, and death. Hers is a world at war between both secular and ecclesiastical centers of power: the Pope at Avignon, the king in France, the emperor in Germany, and most importantly for her story, the kings of Hungary, so far away in culture and temperament, so close across the Adriatic Sea.

To paraphrase the note from the translator, the Celebrated Crimes of Alexandre Dumas père was not written for children. The novelist has spared no language - has minced no words - to describe violent scenes of violent times.In this, the ninth of the series, Dumas uses the lives of two women, Angelique-Louise de Guerchi and Josephine-Charlotte Boullenois, and the men who, to put it bluntly, control their lives.

The story of Nisida is worthy of an Italian opera in the great romantic tradition, and indeed Donizetti attempted it, but without success. It is the story of an attempt by a womanizing nobleman to seduce and ruin the daughter of a poor but admirable fisherman, an attempt that ends in his death at the hands of her brother, who is then sentenced to die and is executed, but not by the hands of the law. The story is told in lush and melodramatic style, tending in places to comedy.

In this, the sixth of the series, Dumas tells the story of Urbain Grandier, a Catholic priest, little known to the English-speaking world, but famous among French speakers; he was the target of a religous and political conspiracy that began among his personal and political enemies in the town of Loudon and ended at the highest levels of political and religious power in the kingdom of France, with the direct involvement of Cardinal Richelieu and possibly of the king himself.

In this collection of dramatic narratives, Robinson explores his key interests: character and man's confrontation with the rocks and hard places of human existence. He gives us a fascinating piece of alternate history: a dialogue between Alexander Hamlton and Aaron Burr, testing who will betray and who will resist. He gives that bitter old man, John Brown, full scope to vent his deep-seated anger, and lets Rahel Varnhagen, in her old age, touch us with her memories of love.

In 1921, Edwin Arlington Robinson was only 52 and many of the pieces in his Collected Poems were written long before that. Yet he shows gifted understanding of old age, the passage of time, the slow decline that everyone must suffer, and the final cease and release of death. Isaac, in Isaac and Archibald, puts it very well to the poet's twelve-year-old alter ego.

Unlike most ghost story writers, Mary Louisa Molesworth does not want to make you wake up screaming in the middle of the night. You may wake up with a shiver, but you'll also wake wake up feeling thoughtful, musing on how the mysteries of love, compassion, and memory can extend themselves into the realm of the supernatural.

In Charnel Rose, Conrad Aiken takes the plunge into a deeply metaphysical and surrealistic world, capturing the essence of one aspect of quintessential humanity: how we create and pursue a deeply personal, intensely idealistic, physically and emotionally draining search for love, and how some of us turn away from real love when we do find it, preferring instead to re-invent and re-amplify our idealistic vision of passionate perfection. He does this through an amazing combination of highly imaginative imagery conveyed through strikingly simple and beautiful poetry, musically complex....

What Spoon River Anthology does for a Midwestern small town, Turns and Movies does for the world of vaudeville. Like Masters, like Aiken: passions, betrayals, secrets, sins, victories, defeats, and inevitable losing struggles against age and death are the stuff of this work. And that's only the first part of the book.

Conrad Aiken was fascinated throughout his early work with the image of a tempestuous, romantic young man who tears himself away from his wife, his first love, and from a pastoral, peaceful life in a rural setting, to pursue what he hopes will be a richer, fuller, more rewarding life in a great city. In this book, Aiken explores this theme in full, especially in the final long poem, "Dust in Starlight", which also forms Part III of his trilogy, Earth Triumphant.

Stephen Crane's poetry is torn by a sense of his own sin, outraged by the capricious behavior of a God he rejected, his poems brim with bitteness, yet carry with them a sane and sarcastic humor as well. Tremendously laconic and always moving directly to the point, he demands his listener's full attention, and rewards it.

Here are three stories that will make you chuckle and shiver at the same time. Spirits can be funny when they turn out to have issues and problems of their own, and the authors of these stories, John Kendrick Bangs and H. G. Wells, have a fine time putting smiles on our faces - and wiping them off again!

Pity Sir Simon de Canterville, the poor Ghost of Canterville Chase! He killed his wife and was then starved to death by her brothers, but ever since then he's been happily haunting the family's mansion, always inventing fresh characters and costumes and blood-curdling shrieks.

Stephen Crane's second book of poetry followed up the success of his first book, Black Riders. His search for love, his lonely, bitter struggle to make his peace with God, the war in his heart between cynicism and an unshakeable longing for truth and beauty in the world--these all continue in his second book. Sadly, this second book was also his last, for he died tragically young.

In this, the fourth volume of this series, we hear the poetry in which Byron began to make his mark on the world. Though his major breakthrough with Childe Harold is yet to come, his English Bards and Scotch Reviewers was a definite hit in its time, establishing Byron as a known poet and ensuring that his reputation as a literary bad-boy was off to a good start.