<p> Zimą 1945 roku z Wrocławia wyruszył tajemniczy konwój. Jego zawartość stanowiło złoto bankowe, depozyty zakładów jubilerskich i majątek prywatnych właścicieli. Eskortę cennego ładunku zapewniała grupa zaufanych oficerów SS i policji. Celem tego transportu było dotarcie do bezpiecznej kryjówki.</p> <p> Mimo tajemnicy otaczającej tę operację, kilka lat po wojnie na jej trop wpadli funkcjonariusze Urzędu Bezpieczeństwa Publicznego. Kulisy ukrycia depozytów wywiezionych z Wrocławia, zdradził im niepozorny mieszkaniec jednej z dolnośląskich miejscowości – Herbert Klose. Informacje agenturalne dowodziły, że był on jednym z uczestników wspomnianej operacji. Zeznania jakie złożył w trakcie intensywnego śledztwa, stały się fundamentem legendy o „Złocie Wrocławia” – jego odnalezienie od dekad spędza sen z powiek wielu poszukiwaczom skarbów.</p> <p> Co w tej sprawie jest prawdą, a co mistyfikacją? Kim naprawdę był Herbert Klose? Gdzie wreszcie ukryto „Złoto Wrocławia”? Na te pytania odpowiedzą wyniki wieloletniego śledztwa, którego zwieńczeniem jest książka J. Roberta Kudelskiego „Złoto Wrocławia. Narodziny legendy”.</p>
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This is part 2 of the Gerald Masseys work about the comparisons between the Judeo-Christian religion and the Egyptian religion. No one ever understood the mythology and ritual of Ancient Egypt so well as Gerald Massey since the time of the Ancient Philosophers of Egypt. This book is one of the best of its kind and a must-have for every student of Egyptian mythology and history.
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This is the annotated edition including a rare and extensive biographical essay on the author, as well as an introductory to the book written by George Parsons Lathrop. This book, which the author himself preferred to his previous novel, is of quieter tone than "The Scarlet Letter." It is more minutely elaborated, and its pathos depends more on the peculiar temperaments of its characters. The scene is laid in Salem, and the house, which much efiort has been made to identify, corresponds in many points to an old dwelling formerly standing there, known as the Curwen House, and sometimes called "the old witch-house." Engravings from a picture of it are used as illustrations of the book. Some points in the story corresponding to the history of the Hawthornes were noted in the beginning of this sketch. The character of Clifford and the problem of his strange destiny, the mockery of fate, which, having adapted him so delicately to an existence of sensuous refinement, stripped him in his youth, at one brutal stroke, of everything fair in life, and threw him among the lowest and coarsest surroundings, is the great study of the book. Its pervading thought is the theory of inheritance, the repetition of an original type now and then down a family line, and the curse of wrong-doing, blasting innocent lives when wronger and wronged are dust. The characters of Hepzibah and Phoebe are beautiful types, strongly contrasted on the surface, but having at bottom an intimate kinship in moral uprightness and capacity for devotion. That of Judge Pyncheon also is exquisitely worked out in the subtle self-deception of the hypocrite,—no character being so great a favorite in fiction, and none so often badly drawn, as that of the hypocrite, because it looks so much more easy and uncomplicated than it is.
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The book which put Stevenson's name in the mouth of the ' man in the street,' lifted him at a single bound to a place among men of the time and, by the still greater sensation which it created in America, led to the large income which soon afterwards he drew from the United States. The ear of a great public to whom his earlier writings were unknown was captured by this intense picture of the elements of good and evil in man's nature. It was hailed from pulpits and in the religious press as a great moral parable; though its moral quality, on close analysis, is seen to be more an illusion, due to the art of its writing, than the essence of the fable. Reduced to its simplest formula Jekyll and Hyde is a cry of terror at the potency for evil latent in the human soul. Such moral force as it has depends upon its assault on the nerves, not on its appeal to the heart. If not thus interpreted by the preachers of the time, it yet served the purpose of moving their hearers by the spectacle of the evil partner in the human ego, indulged in a moment ' when virtue slumbered,' coming in the end to destroy the good.
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The Fate of a Crown, written by the famous "Oz" author L. Frank Baum under the alias of Schuyler Staunton is a stirring novel of the events of a South American revolution. A young man just out of college goes to Brazil as secretary of the prime mover in the revolution, and by so doing begins a series of adventures that run from tragic to comic, ending with the success of the conspiracy, a straightening out of many tangles, and the marriage of the hero to one of the most brilliant and beautiful conspirators. A most readable book.
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Although the general purpose of this book is unitary, in the broad sense, its various studies and interpretations are quite unlike. They touch upon different aspects of life, and their mutual relation is mainly below the surface. The particular order in which they receive attention is therefore of no consequence. A few of them, subject to considerable revision, have appeared in various magazines. The underlying motif of the author is constructive and not iconoclastic. It is by the positive light of Truth that the shades of error are to be dissipated. There is a deep spiritual hunger among men, the nature of which is often not clearly discerned, and this is the real cause of a universal restlessness. This craving cannot be satisfied upon the plane where the search is most generally made. The higher nature must receive proper sustenance, and failing in that, no physical, intellectual or ethical redundancy can make good such a radical incompleteness. There is a general though mainly a blind quest for the normal divine counterpart which alone can round out the vital necessities of the human constitution. Such a demand is a positive prophecy of supply.
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The productions of Washington Irving are deservedly held in high estimation, not so much, perhaps, for their intrinsic merits as literary compositions, although in this respect they hold no mean position, as for the inimitable tracings of adventurous life which they display through all their gradations and variety, and for the interest they keep alive in the reader, without outraging nature. Several hundred miles beyond the Mississippi extended a vast tract of uninhabited country, where there is neither to be seen the log-house of the white man nor the wigwam of the Indian. It consisted of large grassy plains, interspersed with forests and groves, and watered by the Arkansas, the Grand Canadian, the Red River, and all their tributary streams. Over these fertile and verdant wastes roamed the elk, the buffalo, and the wild horse, in all their native freedom—and these were, in fact, the hunting-grounds of the various inhabitants of the Far West. Thither repaired the Osage, the Creek, the Delaware, and other tribes, that had linked themselves with civilization, and lived within the vicinity of the white settlements; and here resorted also the Pawnees, the Comanches, and a variety of fierce and as yet independent rovers, the nomades of the prairies, or the inhabitants of the skirts of the Rocky Mountains.
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The extradition of Anthony Burns as a fugitive slave was the most memorable case of the kind that has occurred since the adoption of the Federal Constitution. It was memorable for the place and for the time of its occurrence; the place being the ancient and chief seat of Liberty in America, and the time being just the moment when the cause of Liberty had received a most wicked and crushing blow from the hand of the Federal Government. It was memorable also for the difficulty with which it was accomplished, for the intense popular excitement which it caused, for the unexampled expense which it entailed, for the grave questions of law which it involved, for the punishment which it brought down upon the head of the chief actor, and for the political revolution which it drew on.
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