Books with author Edward Bulwer-Lytton

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.

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.

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.

Edward George Earle Lytton Bulwer-Lytton, (1803 – 1873), was an English novelist, poet, playwright, and politician. He was immensely popular with the reading public and wrote a stream of bestselling novels which earned him a considerable fortune. He coined the phrases "the great unwashed", "pursuit of the almighty dollar", "the pen is mightier than the sword", "dweller on the threshold", as well as the infamous opening line "It was a dark and stormy night". Bulwer-Lytton reached the height of his popularity with the publication The Last Days of Pompeii (1834). In this book: Eugene Aram, Complete The Last Days of Pompeii Zanoni

New Complete Edition - The Last Days of Pompeii - By Edward George Bulwer-Lytton - The Cataclysmic Destruction of the City of Pompeii. The Last Days of Pompeii is a novel written by the baron Edward Bulwer-Lytton in 1834. The novel was inspired by the painting The Last Day of Pompeii by the Russian painter Karl Briullov, which Bulwer-Lytton had seen in Milan. Once a very widely read book and now relatively neglected, it culminates in the cataclysmic destruction of the city of Pompeii by the eruption of Mount Vesuvius in AD 79. The novel uses its characters to contrast the decadent culture of 1st-century Rome with both older cultures and coming trends. The protagonist, Glaucus, represents the Greeks who have been subordinated by Rome, and his nemesis Arbaces the still older culture of Egypt. Olinthus is the chief representative of the nascent Christian religion, which is presented favourably but not uncritically. The Witch of Vesuvius, though she has no supernatural powers, shows Bulwer-Lytton's interest in the occult – a theme which would emerge in his later writing, particularly The Coming Race. A popular sculpture by American sculptor Randolph Rogers, Nydia, the Blind Flower Girl of Pompeii (1856) was based on a character from the book. Pompeii, A.D. 79. Athenian nobleman Glaucus arrives in the bustling and gaudy Roman town and quickly falls in love with the beautiful Greek Ione. Ione's former guardian, the malevolent Egyptian sorcerer Arbaces, has designs on Ione and sets out to destroy their budding happiness. Arbaces has already ruined Ione's sensitive brother Apaecides by luring him to join the vice-ridden priesthood of Isis. The blind slave Nydia is rescued from her abusive owners by Glaucus, for whom she secretly pines. Arbaces horrifies Ione by declaring his love for her, and flying into a rage when she refuses him. Glaucus and Apaecides rescue her from his grip, but Arbaces is struck down by an earthquake, a sign of Vesuvius's coming eruption. Glaucus and Ione exult in their love, much to Nydia's torment, while Apaecides finds a new religion in Christianity. Nydia unwittingly helps Julia, a rich young woman who has eyes for Glaucus, obtain a love potion from Arbaces to win Glaucus's love. But the love potion is really a poison that will turn Glaucus mad. Nydia steals the potion and administers it; Glaucus drinks only a small amount and begins raving wildly. Apaecides and Olinthus, an early Christian, determine to publicly reveal the deception of the cult of Isis. Arbaces, recovered from his wounds, overhears and stabs Apaecides to death; he then pins the crime on Glaucus, who has stumbled onto the scene.

It was a dark and stormy night; the rain fell in torrents, except at occasional intervals, when it was checked by a violent gust of wind which swept up the streets (for it is in London that our scene lies), rattling along the house-tops, and fiercely agitating the scanty flame of the lamps that struggled against the darkness. Through one of the obscurest quarters of London, and among haunts little loved by the gentlemen of the police, a man, evidently of the lowest orders, was wending his solitary way. He stopped twice or thrice at different shops and houses of a description correspondent with the appearance of the quartier in which they were situated, and tended inquiry for some article or another which did not seem easily to be met with. All the answers he received were couched in the negative; and as he turned from each door he muttered to himself, in no very elegant phraseology, his disappointment and discontent. At length, at one house, the landlord, a sturdy butcher, after rendering the same reply the inquirer had hitherto received, added, "But if this vill do as vell, Dummie, it is quite at your sarvice!" Pausing reflectively for a moment, Dummie responded that he thought the thing proffered might do as well; and thrusting it into his ample pocket, he strode away with as rapid a motion as the wind and the rain would allow. He soon came to a nest of low and dingy buildings, at the entrance to which, in half-effaced characters, was written "Thames Court." Halting at the most conspicuous of these buildings, an inn or alehouse, through the half-closed windows of which blazed out in ruddy comfort the beams of the hospitable hearth, he knocked hastily at the door. He was admitted by a lady of a certain age, and endowed with a comely rotundity of face and person.

Rome. On removing to Naples, I threw it aside for The Last Days of Pompeii, which required more than Rienzi the advantage of residence within reach of the scenes described. The fate of the Roman Tribune continued, however, to haunt and impress me, and, some time after Pompeii was published, I renewed my earlier undertaking. I regarded the completion of these volumes, indeed, as a kind of duty ;for having had occasion to read the original authorities from which modern historians have drawn their accounts of the life of Rienzi, I was led to believe that a very remarkable man had been superficially judged, and a very important period crudely examined. And this belief was sufficiently strong to induce me at first to meditate a more serious work upon the life and times of Rienzi. f Various reasons concurred against this project and I renounced the biography to commence the fiction. I have still, however, adhered, with a greater fidelity than is customary in Romance, to all the leading events of the public life of the Roman Tribune ;and the reader will peihaps find in these pages a more full and detailed account of the rise and fall of Rienzi, than in any English work of which I am aware. I have, it is true, taken a view of his character different in some respects from that of Gibbon or Sismondi. But it is a view, in all its main features, which I believe (and think I could prove) myself to be warranted in taking, not less by the facts of history than the laws of fiction. In the mean while, as I have given the facts from which I have drawn my interpretation of the principal agent, the reader has sufficient data for his own judgment. In the picture of the Roman populace, as in that of the Roman nobles of the fourteenth century, I follow literally the descriptions left to us ;they are not flattering, but they are faithful, likenesses. Preserving generally the real c(Typographical errors above are due to OCR software and don't occur in the book.)