The Complete Tales Of Washington IrvingHachette Books, 9.09.2009 г. - 840 страници Washington Irving (1783-1859) was the first American literary artist to earn his living solely through his writings and the first to enjoy international acclaim. In addition to his long public service as a diplomat, Irving was amazingly prolific: His collected works fill forty volumes that encompass essays, history, travel writings, and multi-volume biographies of Columbus and Washington. But it is Irving's mastery of suspense, characterization, tempo, and irony that transforms his fiction into virtuoso performances, earning him his reputation as the father of the American short story. Charles Neider has gathered all sixty-one of Irving's tales, originally scattered throughout his many collections of nonfiction essays and sketches, into one magnificent volume. Together, they reveal his wide range: besides the expected classics like "Rip Van Winkle," "The Spectre Bridegroom," "The Legend of Sleepy Hollow," and "The Devil and Tom Walker," his fiction embraces realistic tales, ghost stories, parodies, legends, fables, and satires. For those familiar only with secondhand retellings of Irving's most famous tales, this collection offers the opportunity to step inside Washington Irving's imagination and partake of its innumerable and timeless pleasures. |
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... thathe was the fatherof American literature, thus perhaps affordinghim a closer affinity with the socalled fatherof his countrythan thepossessionofpart ofGeorge Washington's name. Twoyearsafter the publication of The Sketch Book, in ...
... thathe was the fatherof American literature, thus perhaps affordinghim a closer affinity with the socalled fatherof his countrythan thepossessionofpart ofGeorge Washington's name. Twoyearsafter the publication of The Sketch Book, in ...
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... thathe is ourfirst great literaryartist,with a degreeof selfunderstanding as such thatisin itselfremarkable. Unless one comprehends him as an artist and accepts him on his own termsrather than on those imposed upon him for one reason or ...
... thathe is ourfirst great literaryartist,with a degreeof selfunderstanding as such thatisin itselfremarkable. Unless one comprehends him as an artist and accepts him on his own termsrather than on those imposed upon him for one reason or ...
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... thathe doesn't have any stirring adventures to relate here but thebookis the greater triumphforit:he gives usthe feel of the frontierin ordinary nights and days.Almost anyone couldhave written aboutgreat adventures;only an artist could ...
... thathe doesn't have any stirring adventures to relate here but thebookis the greater triumphforit:he gives usthe feel of the frontierin ordinary nights and days.Almost anyone couldhave written aboutgreat adventures;only an artist could ...
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... thathe write his autobiography but who, realizing the extent of his popularity in his own time—hewas notmerely popular, he wasa “loved” writer, like Dickens—and his uniqueposition in theorigins of our literature, delegated to his ...
... thathe write his autobiography but who, realizing the extent of his popularity in his own time—hewas notmerely popular, he wasa “loved” writer, like Dickens—and his uniqueposition in theorigins of our literature, delegated to his ...
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... thathe was asimple, goodnatured man;he was, moreover, a kindneighbor, and an obedient, henpecked husband. Indeed, to the latter circumstance mightbe owing that meekness of spirit which gained himsuch universal popularity; for those ...
... thathe was asimple, goodnatured man;he was, moreover, a kindneighbor, and an obedient, henpecked husband. Indeed, to the latter circumstance mightbe owing that meekness of spirit which gained himsuch universal popularity; for those ...
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