Richard Marsh

איך האָב קוים אין אַ פּאָזיציע צו גאָר חתונה, מיט ווי אויף מיין הענט, וועגן מיר ווי אַ סאָרט פון פאטער. ווען רעגגי געקומען צו לעבן אין די מאָאַט הויז ווי ער איז געווען באַקאַנט. אין לויף פון צייט איך איז געווען ינפאָרמד אַז זיי זענען פאַרקנאַסט. כּמעט אין דער זעלביקער אָטעם ער דערציילט מיר אַז ער איז געווען כּמעט אָן אַ פּעני שטיק. איך האָב אים געלייענט עפּעס ווײַטער צו גיין. שפּעטער איך לאָנט אים מער. דערנאך ווידער. און נאכאמאל. איך האט ניט ווי די געשעפט, אָבער, טייל פֿאַר עדיטה ס צוליב, טייל פֿאַר ווי ס, טייל פֿאַר זיין אייגן, דורך דיגריז איך איז געווען כּמעט פינאַנצן אים. ביז עס געקומען צו דעם - אַז איך ינוועסטאַד אין אים, אויף די שטאַרקייט פון טויט פון, כּמעט אַלץ איך געהאט. אין צייט, ער איז געווען קאַנווינסט אַז זיין ברודער איז טויט. די ברידער זײַנען געווען כמעט פרעמדע; רעגגיע האָט קוים געזען זיין עלטער אַ טוץ מאָל. עס זענען געווען ריזיק אַקיומיאַליישאַנז פון מער ווי אַ מיליאָן. אויב רעגגי סאַקסידאַד, איך זאָל טאָן גוט. עדיט און איך קען מאָרגן חתונה האָבן. אויב, אויף די אנדערע האַנט, רעגגי איז ניט געראָטן, און אַז באַלד, אַזוי ווייַט ווי איך קען זען, ער און איך זענען רוינד צוזאַמען.

The Datchet Diamonds, has been considered by academicians and scholars of great significance and value to literature. This forms a part of the knowledge base for future generations. So that the book is never forgotten we have represented this book in a print format as the same form as it was originally first published. Hence any marks or annotations seen are left intentionally to preserve its true nature.

Докато председателят на Сесионния съд произнасяше думите, затворникът се обърна надясно в пристанището и погледна към мястото, където знаеше, че стои жена му. Той привлече вниманието й и се усмихна. Какво значение, ако има такова, предаде усмивката, той може би знаеше. Тя можеше само да гадае. Вероятно е било предвидено да бъде по-небрежна, по-лекомислена усмивка, отколкото се появява в действителност. Робърт Шампион вероятно не е имал такъв пълен контрол върху мускулите на лицето си, както би желал. Имаше преследван, тревожен поглед към очите, внушение за неудобна бледност по цялата физиономия, което по-скоро отклоняваше впечатлението, което тя не се съмняваше, че той възнамерява да направи. Тя познаваше мъжа достатъчно добре, за да е наясно, че нищо няма да му хареса по-добре от това, че трябва да предположи, че той гледа на цялото производство с гей бравада, с пълно безразличие, както за властите, които бяха, така и за наказанието, което те бяха отредили него. Но дори и изражението на лицето му да не показваше, че за момента мъжът има надмощие, безцеремонният начин, по който надзирателите го сковаха по стълбището и изчезна, би бил достатъчен предотвратяване на всякакво впечатление, че е напуснал сцената с ореол на достойнство.

Richard Marsh's greatest commercial success, The Beetle, is a story about a mysterious oriental person who pursues a British politician to London, where he wreaks havoc with his powers of hypnosis and shape-shifting. The story is narrated from the perspectives of multiple characters to create suspense. The novel engages with numerous themes and problems of the Victorian fin de si cle, including the New Woman, unemployment and urban destitution, radical politics, homosexuality, science, and Britain's imperial engagements (in particular those in Egypt and the Sudan). "The Beetle" sold out upon its initial printing, and continued to sell well and to be published for several decades into the 20th century. In the 1920s the novel's story was made into a film, and adapted for the London stage.

When Mr. Thomas Tennant got on a train from Brighton to Victoria he was unpleasantly surprised to see Nelly, a woman that tricked him thousand and one time, and whom he thought she was dead for seven years. They struggle in a carriage and the woman falls through the door and out of the train. Still confused with what happened, at the next station Tennant meets a certain detective who is looking for a missing woman named Louise O'Donnel. Tennant chooses not to share the story of his incident, believing Nelly is now really dead. But is she?

The Beetle is supernatural thriller in which a polymorphous Ancient Egyptian entity seeks revenge on a British Member of Parliament. Robert Holt, a clerk who has been looking all day for a place to work, which he hasn't had for a long time, seeks shelter and food at a workhouse in Fulham. He is, however, denied, and in the dark and rain walks on looking for another place to stay. Holt comes upon a house in terrible state, with opened window, and invites himself in. This proves to be a mistake, as he comes face to face with what the beetle, and gets hypnotized into paralysis. The beetle takes human form as an Arab, and starts making a use of Holt.

Madge and Ella are two young ladies who have taken up residence at Clover Cottage, the former home of Tom Ossington, a house that has long stood empty with a bad reputation for being haunted. Not believing in such things, Madge and Ella rented it and lived there for about six weeks, when a strange woman showed up claiming that the house belongs to her, and that her husband, the landlord, is a ghost.

This is a family-friendly selection of tales from my book Hellhounds and Hero Horses: Beasts of Myth and Legend (ebook and print). The 205 stories, anecdotes and incidents demonstrate that animals are not, as is often assumed, less than human: they're just other, a property that is magnified and exaggerated in the accounts of legendary and mythical beasts. Some stories probably report actual occurrences that were interpreted and pre-judged according to the witnesses' cultural background and beliefs. Topics include death-presaging urcos of Galicia, benevolent Black Dogs of England, the Moddey Dhoo of the Isle of Man, kelpies of Scotland, p cas of Ireland, heroic horses of legend, monstrous cats, helpful birds, mostly friendly wolves, shape-shifters and shape-changers, saints and animals, and a miscellaneous menagerie of creatures of myth, legend and folklore, and supposedly factual accounts.

A trick is an action taken for the real (and ideally legitimate, though perhaps illegal) benefit of the trickster or another person against the unjust behaviour of those with the advantage of class, wealth, authority or physical superiority. That benefit can be material - the saving of life, avoiding injury or capture, economic survival - or the preservation of dignity and a positive self-image through mockery or humiliation as a form of psychological revenge: taking the high and mighty down a peg or two. Stories about tricks are entertaining, but they carry a serious message for the young, weak, vulnerable, and socially disadvantaged: it is possible to overcome bullying, whether institutional or personal, or at least counter its effects. The 154 stories come from 29 countries. Most are myths or folk tales; some are factual. The emphasis is on the stories with some background and contextual information." The supreme art of war is to subdue the enemy without fighting." The Art of War, Sun Tzu, fourth century BC

Reproduction of the original: Confessions of a Young Lady by Richard Marsh

Reproduction of the original: Tom Ossington's Ghost by Richard Marsh