Three witches speak a prophecy — and a noble man's soul begins to fall. In Macbeth, William Shakespeare crafts a haunting tragedy of ambition, guilt, supernatural influence, and the corrupting hunger for power. The valiant warrior Macbeth receives a chilling prophecy: he will one day be king. Driven by desire — and pushed by the ruthless resolve of Lady Macbeth — he takes fate into his own bloody hands. But the crown brings no peace. Instead, Macbeth descends into paranoia, tyranny, and madness as ghosts, guilt, and fear close in on every side. With its unforgettable characters, eerie atmosphere, and relentless tension, Macbeth remains one of Shakespeare's most chilling masterpieces — a warning of how ambition, once ignited, can consume everything. Dark, suspenseful, and fiercely dramatic, this tragedy exposes the human mind at its most vulnerable and dangerous. Click "Buy Now" and enter Macbeth — Shakespeare's unforgettable tale of prophecy, power, and the darkness within.
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This volume is a sequel to the work I published, several years ago, under the title, Byzantine Constantinople: the Walls of the City, and adjoining Historical Sites. In that work the city was viewed, mainly, as the citadel of the Roman Empire in the East, and the bulwark of civilization for more than a thousand years. But the city of Constantine was not only a mighty fortress. It was, moreover, the centre of a great religious community, which elaborated dogmas, fostered forms of piety, and controlled an ecclesiastical administration that have left a profound impression upon the thought and life of mankind. New Rome was a Holy City. It was crowded with churches, hallowed, it was believed, by the remains of the apostles, prophets, saints, and martyrs of the Catholic Church; shrines at which men gathered to worship, from near and far, as before the gates of heaven. These sanctuaries were, furthermore, constructed and beautified after a fashion which marks a distinct and important period in the history of art, and have much to interest the artist and the architect. We have, consequently, reasons enough to justify our study of the churches of Byzantine Constantinople.Of the immense number of the churches which once filled the city but a small remnant survives. Earthquakes, fires, pillage, neglect, not to speak of the facility with which a Byzantine structure could be shorn of its glory, have swept the vast majority off the face of the earth, leaving not a rack behind. In most cases even the sites on which they stood cannot be identified. The places which knew them know them no more. Scarcely a score of the old churches of the city are left to us, all with one exception converted into mosques and sadly altered. The visitor must, therefore, be prepared for disappointment. Age is not always a crown of glory; nor does change of ownership and adaptation to different ideas and tastes necessarily conduce to improvement. We are not looking at flowers in their native clime or in full bloom, but at flowers in a herbarium so to speak, or left to wither and decay. As we look upon them we have need of imagination to see in faded colours the graceful forms and brilliant hues which charmed and delighted the eyes of men in other days.In the preparation of this work I have availed myself of the aid afforded by previous students in the same field of research, and I have gratefully acknowledged my debt to them whenever there has been occasion to do so. At the same time this is a fresh study of the subject, and has been made with the hope of confirming what is true, correcting mistakes, and gathering additional information. Attention has been given to both the history and the architecture of these buildings. The materials for the former are, unfortunately, all too scanty. No continuous records of any of these churches exist. A few incidents scattered over wide tracts of time constitute all that can be known. Still, disconnected incidents though they be, they...
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At the Earth's Core is a 1914 fantasy novel by Edgar Rice Burroughs, the first in his series about the fictional "hollow earth" land of Pellucidar. It first appeared as a four-part serial in All-Story Weekly from April 4–25, 1914. It was first published in book form in hardcover by A. C. McClurg in July, 1922. The author relates how, traveling in the Sahara desert, he has encountered a remarkable vehicle and its pilot, David Innes, a man with a remarkable story to tell. Back in the world we know David meets the author, who after hearing his tale and seeing his prehistoric captive, helps him resupply and prepare the mole for the return to Pellucidar. PROLOG: IN THE FIRST PLACE PLEASE BEAR IN MIND THAT I do not expect you to believe this story. Nor could you wonder had you witnessed a recent experience of mine when, in the armor of blissful and stupendous ignorance, I gaily narrated the gist of it to a Fellow of the Royal Geological Society on the occasion of my last trip to London. You would surely have thought that I had been detected in no less a heinous crime than the purloining of the Crown Jewels from the Tower, or putting poison in the coffee of His Majesty the King. The erudite gentleman in whom I confided congealed before I was half through!—it is all that saved him from exploding—and my dreams of an Honorary Fellowship, gold medals, and a niche in the Hall of Fame faded into the thin, cold air of his arctic atmosphere. But I believe the story, and so would you, and so would the learned Fellow of the Royal Geological Society, had you and he heard it from the lips of the man who told it to me. Had you seen, as I did, the fire of truth in those gray eyes; had you felt the ring of sincerity in that quiet voice; had you realized the pathos of it all—you, too, would believe. You would not have needed the final ocular proof that I had—the weird rhamphorhynchus-like creature which he had brought back with him from the inner world. I came upon him quite suddenly, and no less unexpectedly, upon the rim of the great Sahara Desert. He was standing before a goat-skin tent amidst a clump of date palms within a tiny oasis. Close by was an Arab douar of some eight or ten tents.
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ONCE upon a time, when Fairies were much more common than they are now, there lived a King and a Queen. Their country was close to Fairy Land, and very often the little Elves would cross over the border, and come into the King's fields and gardens. The girl-fairies would swing out of the bells of the fuschias, and loll on the leaves, and drink the little drops of dew that fell down the stems. Here you may see all the Fairies making themselves merry at a picnic on a fuschia, and an ugly little Dwarf is climbing up the stalk. Here's the King, in mournful mood, They'd amuse him, if they could! Now the King and Queen of the country next to Fairy Land were very rich, and very fond of each other; but one thing made them unhappy. They had no child, neither boy nor girl, to sit on the Throne when they were dead and gone. Often the Queen said she wished she had a child, even if it were no bigger than her thumb; and she hoped the Fairies might hear her and help her. But they never took any notice. One day, when the King had been counting out his money all day (the day when the tributes were paid in), he grew very tired. He took off his crown, and went into his garden. Then he looked all round his kingdom, and said, "Ah! I would give it all for a BABY!"
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"10 von 10 Punkten. Ein außergewöhnlicher Comic." – Graphic Policy. "Hat seinen Platz als einer der besten Comics des Jahres definitiv verdient." – ComicBook.com. Seoul in der nahen Zukunft. Programmierer Chul erschafft die erste echte KI, lädt sie in einen Proxy hoch und schickt das künstliche Kind nach Amerika. Dort nehmen Suelynn und Bill Proxy Jesse als ihre Tochter an. Doch Jesse ist kein gewöhnliches Kind und hat außerordentliche Fähigkeiten – und ist dennoch anfällig für Manipulation, Schmerz und Krisen … Ein meisterhafter SF-Einzelband über KI, Menschlichkeit, Identität und Familie.
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Eli Ever und Viktor Vale haben den Schlüssel zu übernatürlichen Kräften gefunden: Nahtoderfahrungen. So werden die beiden zu so genannten "EOs" – Menschen mit außergewöhnlichen (ExtraOrdinary) Fähigkeiten. In den Romanen "Vicious – Das Böse in uns" und "Vengeful – Die Rache ist mein" erschafft V. E. Schwab eine auf den Kopf gestellte Superhelden-Geschichte mit faszinierenden Charakteren in bester Urban-Fantasy-Manier. Die Graphic Novel spielt in den 10 Jahren, die erzählerisch zwischen den beiden Romanen liegen. Graphic Novels von der preisgekrönten Fantasy-Autorin Victoria Schwab.
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Stephen Kings Hauptwerk, die siebenbändige Sage um den dunklen Turm, wird hier als Graphic Novel fortgesetzt. Es werden die Hintergründe offenbart, die aus dem jungen Revolvermann Roland jenen unerbittlichen Kämpfer werden lassen, der den Mann in Schwarz bis ans Ende aller Welten verfolgt. Dabei ist Roland immer auf der Suche nach dem Dunklen Turm. Ein packendes Fantasy-Epos, das den Leser graphisch und thematisch sofort in seinen Bann zieht. Band 2 der auf sieben Bände angelegten Deluxe-Edition!
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<p>"Pickman's Model" is a short story by H. P. Lovecraft, written in September 1926 and first published in the October 1927 issue of Weird Tales. It was adapted for television in a 1971 episode of the Night Gallery anthology series, starring Bradford Dillman.</p> <p>The story revolves around a Bostonian painter named Richard Upton Pickman who creates horrifying images. His works are brilliantly executed, but so graphic that they result in the revocation of his membership in the Boston Art Club and he is shunned by his fellow artists.</p> <p>The narrator is a friend of Pickman, who, after the artist's mysterious disappearance, relates to another acquaintance how he was taken on a tour of Pickman's personal gallery, hidden away in a run-down backwater slum of the city. As the two delved deeper into Pickman's mind and art, the rooms seemed to grow ever more evil and the paintings ever more horrific, ending with a final enormous painting of an unearthly, red-eyed and vaguely canine humanoid balefully chewing on a human victim.</p> <p>A noise sent Pickman running outside the room with a gun while the narrator reached out to unfold what looked like a small piece of rolled paper attached to the monstrous painting. The narrator heard some shots and Pickman walked back in with the smoking gun, telling a story of shooting some rats, and the two men departed.</p> <p>Afterwards the narrator realized that he had nervously grabbed and put the rolled paper in his pocket when the shots were fired. He unrolled the paper to reveal that it is a photograph not of the background of the painting, but of the subject. Pickman drew his inspirations not from a diseased imagination, but from monsters that were very much real.</p> <p>Famous works of the author Howard Phillips Lovecraft: At the Mountains of Madness, The Dreams in the Witch House, The Horror at Red Hook, The Shadow Out of Time, The Shadows over Innsmouth, The Alchemist, Reanimator, Ex Oblivione, Azathoth, The Call of Cthulhu, The Cats of Ulthar, The Dunwich Horror, The Doom that Came to Sarnath, The Festival, The Silver Key, The Other Gods, The Outsider, The Temple, The Picture in the House, The Shunned House, The Terrible Old Man, The Tomb, Dagon, From Beyond, What the Moon Brings.</p>
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