Books with title I Will Repay: Complete With Original Illustrations

These stories were collected in various parts of Greenland, taken down from the lips of the Eskimo story-tellers themselves, by Knud Rasmussen, the Danish explorer.No man is better qualified to tell the story of Greenland, or the stories of its people. Knud Rasmussen is himself partly of Eskimo origin; his childhood was spent in Greenland, and to Greenland he returned again and again, studying, exploring, crossing the desert of the inland ice, making unique collections of material, tangible and otherwise, from all parts of that vast and little-known land, and his achievements on these various expeditions have gained for him much honour and the appreciation of many learned societies.But it is as an interpreter of native life, of the ways and customs of the Eskimos, that he has done his greatest work. “Kunúnguaq”—that is his native name—is known throughout the country and possesses the confidence of the natives to a superlative degree, forming himself, as it were, a link between them and the rest of the world. Such work, as regards its hither side, must naturally consist to a great extent of scientific treatises, collections of facts and specimens, all requiring previous knowledge of the subject for their proper comprehension. These have their great value as additions to the sum of human knowledge, but they remain unknown to the majority of men. The present volume is designed to be essentially a popular, as distinct from a scientific work.The original collection of stories and legends made by Knud Rasmussen under the auspices of the Carlsberg Foundation has never yet been published. In making the present selection, I have endeavoured to choose those which are most characteristic and best calculated to give an idea of the life and thought of the people. The clearest variants have been chosen, and vague or doubtful passages omitted, so as to render the narratives easily understandable for the ordinary reader. In many cases also, the extreme outspokenness of the primitive people concerned has necessitated further editing, in respect of which, I can confidently refer any inclined to protest, to the unabridged English version, lodged with the Trustees of the Carlsberg Foundation in Copenhagen, for my defence. For the rest, I have endeavoured to keep as closely as possible to the spirit and tone of the originals, working from the Eskimo text and Knud Rasmussen’s Danish version side by side.The illustrations are by native Eskimo artists. They are not drawn to illustrate the particular stories, but represent typical scenes and incidents such as are there described. In the selection of these, preference has been given to those of unusual character, as for instance those dealing with the “tupilak” theme, and matters of wizardry or superstition generally, which the reader would find more difficult to visualize for himself than ordinary scenes of daily life.

These stories were collected in various parts of Greenland, taken down from the lips of the Eskimo story-tellers themselves, by Knud Rasmussen, the Danish explorer.No man is better qualified to tell the story of Greenland, or the stories of its people. Knud Rasmussen is himself partly of Eskimo origin; his childhood was spent in Greenland, and to Greenland he returned again and again, studying, exploring, crossing the desert of the inland ice, making unique collections of material, tangible and otherwise, from all parts of that vast and little-known land, and his achievements on these various expeditions have gained for him much honour and the appreciation of many learned societies.But it is as an interpreter of native life, of the ways and customs of the Eskimos, that he has done his greatest work. “Kunúnguaq”—that is his native name—is known throughout the country and possesses the confidence of the natives to a superlative degree, forming himself, as it were, a link between them and the rest of the world. Such work, as regards its hither side, must naturally consist to a great extent of scientific treatises, collections of facts and specimens, all requiring previous knowledge of the subject for their proper comprehension. These have their great value as additions to the sum of human knowledge, but they remain unknown to the majority of men. The present volume is designed to be essentially a popular, as distinct from a scientific work.The original collection of stories and legends made by Knud Rasmussen under the auspices of the Carlsberg Foundation has never yet been published. In making the present selection, I have endeavoured to choose those which are most characteristic and best calculated to give an idea of the life and thought of the people. The clearest variants have been chosen, and vague or doubtful passages omitted, so as to render the narratives easily understandable for the ordinary reader. In many cases also, the extreme outspokenness of the primitive people concerned has necessitated further editing, in respect of which, I can confidently refer any inclined to protest, to the unabridged English version, lodged with the Trustees of the Carlsberg Foundation in Copenhagen, for my defence. For the rest, I have endeavoured to keep as closely as possible to the spirit and tone of the originals, working from the Eskimo text and Knud Rasmussen’s Danish version side by side.The illustrations are by native Eskimo artists. They are not drawn to illustrate the particular stories, but represent typical scenes and incidents such as are there described. In the selection of these, preference has been given to those of unusual character, as for instance those dealing with the “tupilak” theme, and matters of wizardry or superstition generally, which the reader would find more difficult to visualize for himself than ordinary scenes of daily life.

In the Introduction to the story of the Forty-seven Rônins, I have said almost as much as is needful by way of preface to my stories.Those of my readers who are most capable of pointing out the many shortcomings and faults of my work, will also be the most indulgent towards me; for any one who has been in Japan, and studied Japanese, knows the great difficulties by which the learner is beset.For the illustrations, at least, I feel that I need make no apology. Drawn, in the first instance, by one Ôdaké, an artist in my employ, they were cut on wood by a famous wood-engraver at Yedo, and are therefore genuine specimens of Japanese art. Messrs. Dalziel, on examining the wood blocks, pointed out to me, as an interesting fact, that the lines are cut with the grain of the wood, after the manner of Albert Dürer and some of the old German masters,—a process which has been abandoned by modern European wood-engravers.It will be noticed that very little allusion is made in these Tales to the Emperor and his Court. Although I searched diligently, I was able to find no story in which they played a conspicuous part.Another class to which no allusion is made is that of the Gôshi. The Gôshi are a kind of yeomen, or bonnet-lairds, as they would be called over the border, living on their own land, and owning no allegiance to any feudal lord. Their rank is inferior to that of the Samurai, or men of the military class, between whom and the peasantry they hold a middle place. Like the Samurai, they wear two swords, and are in many cases prosperous and wealthy men claiming a descent more ancient than that of many of the feudal Princes. A large number of them are enrolled among the Emperor's body-guard; and these have played a conspicuous part in the recent political changes in Japan, as the most conservative and anti-foreign element in the nation.With these exceptions, I think that all classes are fairly represented in my stories.

Iceland is a little country far north in the cold sea. Men found it and went there to live more than a thousand years ago. During the warm season they used to fish and make fish-oil and hunt sea-birds and gather feathers and tend their sheep and make hay. But the winters were long and dark and cold. Men and women and children stayed in the house and carded and spun and wove and knit. A whole family sat for hours around the fire in the middle of the room. That fire gave the only light. Shadows flitted in the dark corners. Smoke curled along the high beams in the ceiling. The children sat on the dirt floor close by the fire. The grown people were on a long narrow bench that they had pulled up to the light and warmth. Everybody's hands were busy with wool. The work left their minds free to think and their lips to talk. What was there to talk about? The summer's fishing, the killing of a fox, a voyage to Norway. But the people grew tired of this little gossip. Fathers looked at their children and thought:"They are not learning much. What will make them brave and wise? What will teach them to love their country and old Norway? Will not the stories of battles, of brave deeds, of mighty men, do this?"So, as the family worked in the red fire-light, the father told of the kings of Norway, of long voyages to strange lands, of good fights. And in farmhouses all through Iceland these old tales were told over and over until everybody knew them and loved them. Some men could sing and play the harp. This made the stories all the more interesting. People called such men "skalds," and they called their songs "sagas."Every midsummer there was a great meeting. Men from all over Iceland came to it and made laws. During the day there were rest times, when no business was going on. Then some skald would take his harp and walk to a large stone or a knoll and stand on it and begin a song of some brave deed of an old Norse hero. At the first sound of the harp and the voice, men came running from all directions, crying out:"The skald! The skald! A saga!"They stood about for hours and listened. They shouted applause. When the skald was tired, some other man would come up from the crowd and sing or tell a story. As the skald stepped down from his high position, some rich man would rush up to him and say:"Come and spend next winter at my house. Our ears are thirsty for song."So the best skalds traveled much and visited many people. Their songs made them welcome everywhere. They were always honored with good seats at a feast. They were given many rich gifts. Even the King of Norway would sometimes send across the water to Iceland, saying to some famous skald:

One of George Eliot's most ambitious and imaginative novels, Romola is set in Renaissance Florence during the turbulent years following the expulsion of the powerful Medici family during which the zealous religious reformer Savonarola rose to control the city. At its heart is Romola, the devoted daughter of a blind scholar, married to the clever but ultimately treacherous Tito whose duplicity in both love and politics threatens to destroy everything she values, and she must break away to find her own path in life. Described by Eliot as 'written with my best blood', the story of Romola's intellectual and spiritual awakening is a compelling portrayal of a Utopian heroine, played out against a turbulent historical backdrop.

Silas Marner: The Weaver of Raveloe is the third novel by George Eliot, published in 1861. An outwardly simple tale of a linen weaver, it is notable for its strong realism and its sophisticated treatment of a variety of issues ranging from religion to industrialisation to community.The novel is set in the early years of the 19th century. Silas Marner, a weaver, is a member of a small Calvinist congregation in Lantern Yard, a slum street in Northern England. He is falsely accused of stealing the congregation's funds while watching over the very ill deacon. Two clues are given against Silas: a pocket knife, and the discovery in his own house of the bag formerly containing the money. There is the strong suggestion that Silas' best friend, William Dane, has framed him since Silas had lent his pocket knife to William shortly before the crime was committed. Lots are drawn in the belief – shared by Silas – that God will direct the process and establish the truth, but they indicate that Silas is guilty. The woman Silas was to marry breaks their engagement and marries William instead. With his life shattered, his trust in God lost, and his heart broken, Silas leaves Lantern Yard and the city for a rural area where he is unknown.Marner travels south to the Midlands and settles near the rural village of Raveloe in Warwickshire where he lives isolated and alone, choosing to have only minimal contact with the residents beyond his work as a linen weaver. He devotes himself wholeheartedly to his craft and comes to adore the gold coins he earns and hoards from his weaving.

Silas Marner: The Weaver of Raveloe is the third novel by George Eliot, published in 1861. An outwardly simple tale of a linen weaver, it is notable for its strong realism and its sophisticated treatment of a variety of issues ranging from religion to industrialisation to community.The novel is set in the early years of the 19th century. Silas Marner, a weaver, is a member of a small Calvinist congregation in Lantern Yard, a slum street in Northern England. He is falsely accused of stealing the congregation's funds while watching over the very ill deacon. Two clues are given against Silas: a pocket knife, and the discovery in his own house of the bag formerly containing the money. There is the strong suggestion that Silas' best friend, William Dane, has framed him since Silas had lent his pocket knife to William shortly before the crime was committed. Lots are drawn in the belief – shared by Silas – that God will direct the process and establish the truth, but they indicate that Silas is guilty. The woman Silas was to marry breaks their engagement and marries William instead. With his life shattered, his trust in God lost, and his heart broken, Silas leaves Lantern Yard and the city for a rural area where he is unknown.Marner travels south to the Midlands and settles near the rural village of Raveloe in Warwickshire where he lives isolated and alone, choosing to have only minimal contact with the residents beyond his work as a linen weaver. He devotes himself wholeheartedly to his craft and comes to adore the gold coins he earns and hoards from his weaving.

A nameless old man sits in the corner of a cozy London tea shop, and without leaving his seat, solves baffling crimes reported to him by an admiring lady journalist. Using only methods of pure deduction, the eccentric, self-assured sleuth unravels the mysteries behind a wide range of criminal acts--from gruesome murders ("The Lisson Grove Mystery") and daring thefts ("The Affair at the Novelty Theatre") to brilliant deceptions ("The Liverpool Mystery") and deadly blackmail schemes ("The Murder of Miss Pebmarsh").Set in the fog-shrouded streets of London, where gas lamps flicker in the gloom and details of lurid crimes splash across the pages of the daily papers, these ingenious, well-crafted stories by the author of The Scarlet Pimpernel are among the first and great collections of detective fiction. They will delight devotees of Sherlock Holmes and other mystery-loving fans.

A nameless old man sits in the corner of a cozy London tea shop, and without leaving his seat, solves baffling crimes reported to him by an admiring lady journalist. Using only methods of pure deduction, the eccentric, self-assured sleuth unravels the mysteries behind a wide range of criminal acts--from gruesome murders ("The Lisson Grove Mystery") and daring thefts ("The Affair at the Novelty Theatre") to brilliant deceptions ("The Liverpool Mystery") and deadly blackmail schemes ("The Murder of Miss Pebmarsh").Set in the fog-shrouded streets of London, where gas lamps flicker in the gloom and details of lurid crimes splash across the pages of the daily papers, these ingenious, well-crafted stories by the author of The Scarlet Pimpernel are among the first and great collections of detective fiction. They will delight devotees of Sherlock Holmes and other mystery-loving fans.

Hide and Seek was Wilkie Collins' third published novel. It is the first of his novels involving the solution of a mystery, the elements of which are clearer to the reader than to the novel's characters. Suspense is created from the reader's uncertainty as to which characters will find out the truth, when and how.The novel has a convoluted plot, in common with many of Collins’ works.[2] It falls into two parts:the history of “Madonna” GriceMatthew Grice’s discovery of her.Mary Grice is courted and seduced by a man calling himself Arthur Carr. Carr is called away on business, and his letters to Mary (presumably professing his honourable intentions toward her) are intercepted by Mary’s sister Joanna, who considers Carr to be socially inferior to the Grices. Joanna drives the pregnant, unmarried Mary from the family home. Mary gives birth to a daughter and dies miserably, attended only by performers from a travelling circus.Martha Peckover, wife of one of the clowns, adopts the baby (also Mary) and takes possession of her one heirloom, a bracelet made of Mary Sr.’s & Carr’s hair. Mary Jr. becomes a circus performer and is struck deaf and dumb after a riding accident, making her one of several of Collins’ characters with severe physical disabilities. She is exploited by the circus owner, and to rescue her Mrs Peckover takes her to the home of a minister, Dr Joyce. There Valentine Blyth, a painter, sees her and himself adopts her. Mary Jr. grows up beautiful and acquires the nickname Madonna for her resemblance to figures of the Virgin Mary in Italian Renaissance painting. She is admired by Valentine's friend Zack Thorpe, a high-spirited but vacuous young man somewhat resembling Allan Armadale in the novel of that name. Zack leaves home after disagreements with his ultra-religious and disciplinarian father.In a brawl in a disreputable theatre, Zack defends a man who turns out to be Matthew (Mat) Grice, Mary Sr.’s brother, and moves in with him. Mat has spent decades wandering the Americas, but returns home after making his fortune on the California goldfields. Mat's next concern is to find out the fate of his family. He establishes from Joanna that Mary Sr. is dead but her child was born alive. Mat decides to trace the child.Zack introduces Mat to Valentine, who invites Mat to sit for him as a model. In Valentine's house, Mat meets Madonna and also catches sight of a hair bracelet, which he suspects is originally Mary's. He secretly obtains a key to Valentine's bureau and on a visit to the house opens the bureau, identifies the bracelet and satisfies himself that Madonna is Mary's child. He is surprised in the act by Madonna but escapes by blowing out her candle, after which she can neither see nor hear him.Mat then sets about finding Arthur Carr. His efforts are hindered by Joanna's death and Mrs Peckover's disclosure that neither she nor Valentine know who he was. However Mat is struck by the resemblance between Carr's hair (of which he has obtained the part unused in the bracelet) and Zack's. He surmises that Carr is Zack's straitlaced father, confronts him and obtains his confession.Madonna is thus revealed as Zack's half-sister, and he can no longer court her. He accompanies Mat to the New World, but eventually persuades him to return home to his adoptive "family" of the Blyths (with whom Madonna remains) and Zack.

Twilight Land is a collection of stories written and illustrated by Howard Pyle. (1853 -1911) They were first published serial fashion in Harper’s Young People and then gathered together and published in book form by Harper and Brothers in 1894. They are dedicated to his daughter Phoebe, who was then eight years old.Howard Pyle is most noted for his illustration. Considered by many to be the Father of American Illustration, his career began in 1876 with an illustration in Scribner’s and continued till 1911. During that time, he did illustration and covers for magazines such as Harper’s Young People, Harper’s Weekly and Monthly, Ladies Home Journal, McClure’s (where he was briefly full time art editor in 1906), St. Nicholas and Collier’s Weekly.Pyle founded a art school in Wilmington, Delaware in 1894, and started such well known artists and illustrators on their careers as N.C. Wyeth, Frank Schoonover, Maxfield Parrish, Elizabeth Shippen Green, Charlotte Harding (Brown) and Edward A. Wilson, among many others. In the summers between 1898 and 1903, the school moved to a mill nearby at Chadd’s Ford, Pennsylvania on the Brandywine River. These artists became known as the Brandywine School. Of his 110 students, significantly, 40 were women, in a time when few women were becoming professional artists. Howard Pyle contributed towards both making this "practical art" into a commercial occupation, but laid the groundwork for American artists' works to be accepted as "fine art" as well. David Michealis' biography of N. C. Wyeth is a good source on Howard Pyle and his school. Wondrous Strange : The Wyeth Tradition (1998) by Howard Pyle, N.C. Wyeth, Andrew Wyeth, James Wyeth and the Delaware Art Museum both introduces these four artists and presents examples of their "wondrous strange" art.Twilight Land, It is evening at the Inn of the Sign of Mother Goose. In a dark, smoky room, the world’s most famous storytellers gather to weave tales of mystery and enchantment. In this collection of 16 haunting fairy tales, Howard Pyle intertwines each story with the next, crafting a unified world filled with princes and demons, genies and sorceresses, and all the characters that pitch in to wage the age-old battle between good and evil.

'Now, what I want is, Facts. Teach these boys and girls nothing but Facts. Facts alone are wanted in life. Plant nothing else, and root out everything else.’ Coketown is dominated by the figure of Mr Thomas Gradgrind, school owner and model of Utilitarian success. Feeding both his pupils and his family with facts, he bans fancy and wonder from young minds. As a consequence his young daughter Louisa marries the loveless businessman and “bully of humility” Mr Bounderby, and his son Tom rebels to become embroiled in gambling and robbery. And, as their fortunes cross with those of free-spirited circus girl Sissy Jupe and victimized weaver Stephen Blackpool, Gradgrind is eventually forced to recognize the value of the human heart in an age of materialism and machinery. This edition of Hard Times is based on the text of the first volume publication of 1854. Kate Flint’s introduction sheds light on the frequently overlooked character interplay in Dickens’s great critique of Victorian industrial society. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.