These comics are in the public domain and various publishers and creators have used them since.
Written In Mr. Atkinson's own clear,vigorous style, intensely practical, and In the language of a personal friend.
This book has been digitally revised and optimized for Kindle, including an interactive table-of-contents.
The Law of Attraction in the Thought World
Thought Waves and their Process of Reproduction
A Talk about the Mind
The Secret of the Will
How to become immune to injurious Thought Attraction
The Transmutation of Negative Thought
The Law of Mental Control
Asserting the Life-Force
Training the Habit-Mind
The Psychology of Emotion
Developing new Brain Cells
The Attractive Power - Desire Force
The Great Dynamic Forces
Claiming your Own
Law, not Chance
The sinking of the Titanicand Great Sea Disasters is an exciting collection of first-hand stories describing the catastrophe of Titanic's maiden voyage as told by its survivors shortly after the ship sank. Origonally written and published in 1912, Logan Marshall's book was the first attempt to solve the mystery of the accident and relieve the heartache which it stirred internationally. Marshall narrates the personal stories of Titanic's passangers before, during and after the sinking of the ill-fated ship.
"In the following pages, I shall demonstrate that there is a psychological technique which makes it possible to interpret dreams, and that on the application of this technique, every dream will reveal itself as a psychological structure, full of significance, and one which may be assigned to a specific place in the psychic activities of the waking state. Further, I shall endeavour to elucidate the processes which underlie the strangeness and obscurity of dreams, and to deduce from these processes the nature of the psychic forces whose conflict or co-operation is responsible for our dreams."
The novel opens with a controversial prologue in which Gaston Leroux claims that Erik, the Phantom of the Opera, was a real person. We are then introduced to Christine Daaé, whose mother died when she was very young. She and her father, a famous violinist, traveled all over Sweden playing folk and religious music. Her father was known to be the best wedding fiddler in the land.
All people are striving and seeking Success. Their idea of Success may differ, but they have all agreed upon the desirability of Attainment. "Attainment" - that is the word, which embodies the essence of that which we call Success. It is the "Getting-There" idea - the idea of Attainment - of Reaching the Goal for which we set out. That is the story - Attainment.
In the measure that we express and unfold the powers of that "I", so are we great, strong and successful. We all "have it in us" – it depends upon us to get it out into Expression. And, this Individual Expression lies at the heart of the "Secret of Success". And that is why we use the term – and that is what we shall tell you about in this little book. It will pay for you to learn this "Secret."
If it is uncertain that external objects exist, how can we then have knowledge of them but by probability. There is no reason to doubt the existence of external objects simply because of sense data.
Russell guides the reader through his famous 1910 distinction between "knowledge by acquaintance and knowledge by description" and introduces important theories of Plato, Aristotle, Ren? Descartes, David Hume, John Locke, Immanuel Kant, Georg Hegel and others to lay the foundation for philosophical inquiry by general readers and scholars alike.
In Moby-Dick, Melville employs stylized language, symbolism, and metaphor to explore numerous complex themes. Through the main character's journey, the concepts of class and social status, good and evil, and the existence of gods are all examined as Ishmael speculates upon his personal beliefs and his place in the universe. The narrator's reflections, along with his descriptions of a sailor's life aboard a whaling ship, are woven into the narrative along with Shakespearean literary devices such as stage directions, extended soliloquies and asides.
Moby-Dick has been classified as American Romanticism. It was first published by Richard Bentley in London on October 18, 1851 in an expurgated three-volume edition titled The Whale, and weeks later as a single volume, by New York City publisher Harper and Brothers as Moby-Dick; or, The Whale on November 14, 1851. Although the book initially received mixed reviews, Moby-Dick is now considered one of the greatest novels in the English language.
"Call me Ishmael," Moby-Dick begins, in one of the most recognizable opening lines in English-language literature. The narrator, an observant young man setting out from Manhattan, has experience in the merchant marine but has recently decided his next voyage will be on a whaling ship. On a cold, gloomy night in December, he arrives at the Spouter-Inn in New Bedford, Massachusetts, and agrees to share a bed with a then-absent stranger. When his bunk mate, a heavily tattooed Polynesian harpooner named Queequeg, returns very late and discovers Ishmael beneath his covers, both men are alarmed, but the two quickly become close friends and decide to sail together from Nantucket, Massachusetts on a whaling voyage.
About the Author:
Herman Melville (August 1, 1819 – September 28, 1891) was an American novelist, short story writer, essayist, and poet, whose work is often classified as part of the genre of dark romanticism. He is best known for his novel Moby-Dick and the posthumous novella Billy Budd. His first three books gained much attention, the first becoming a bestseller, but after a fast-blooming literary success in the late 1840s, his popularity declined precipitously in the mid-1850s and never recovered during his lifetime. When he died in 1891, he was almost completely forgotten. It was not until the "Melville Revival" in the early 20th century that his work won recognition, especially Moby-Dick which was hailed as one of the literary masterpieces of both American and world literature.
PREFACE TO THIS EDITION
This preface, though placed at the beginning, as a preface must be, should be read at the end of the book.
I have received a large amount of correspondence concerning this small work, and many reviews of it—some of them nearly as long as the book itself—have been printed. But scarcely any of the comment has been adverse. Some people have objected to a frivolity of tone; but as the tone is not, in my opinion, at all frivolous, this objection did not impress me; and had no weightier reproach been put forward I might almost have been persuaded that the volume was flawless! A more serious stricture has, however, been offered—not in the press, but by sundry obviously sincere correspondents—and I must deal with it. A reference to page 43 will show that I anticipated and feared this disapprobation. The sentence against which protests have been made is as follows:—"In the majority of instances he [the typical man] does not precisely feel a passion for his business; at best he does not dislike it. He begins his business functions with some reluctance, as late as he can, and he ends them with joy, as early as he can. And his engines, while he is engaged in his business, are seldom at their full 'h.p.'"
I am assured, in accents of unmistakable sincerity, that there are many business men—not merely those in high positions or with fine prospects, but modest subordinates with no hope of ever being much better off—who do enjoy their business functions, who do not shirk them, who do not arrive at the office as late as possible and depart as early as possible, who, in a word, put the whole of their force into their day's work and are genuinely fatigued at the end thereof.
I am ready to believe it. I do believe it. I know it. I always knew it. Both in London and in the provinces it has been my lot to spend long years in subordinate situations of business; and the fact did not escape me that a certain proportion of my peers showed what amounted to an honest passion for their duties, and that while engaged in those duties they were really living to the fullest extent of which they were capable. But I remain convinced that these fortunate and happy individuals (happier perhaps than they guessed) did not and do not constitute a majority, or anything like a majority. I remain convinced that the majority of decent average conscientious men of business (men with aspirations and ideals) do not as a rule go home of a night genuinely tired. I remain convinced that they put not as much but as little of themselves as they conscientiously can into the earning of a livelihood, and that their vocation bores rather than interests them.
As I spoke, the flickering lamp gave a dismal crackle and went out, leaving me in pitch darkness. With an exclamation more strong than reverent, I groped about the room for matches, or failing them, for my hat and coat,—and I was still engaged in a fruitless and annoying search, when I caught a sound of galloping horses' hoofs coming to an abrupt stop in the street below. Surrounded by black gloom, I paused and listened. There was a slight commotion in the basement,—I heard my landlady's accents attuned to nervous civility, mingling with the mellow tones of a deep masculine voice,—then steps, firm and even, ascended the stairs to my landing.
"The devil is in it!" I muttered vexedly—" Just like my wayward luck!—here comes the very man I intended to avoid!"
"The Raven" is a narrative poem by the American writer and poet Edgar Allan Poe. It was published for the first time on January 29, 1845, in the New York Evening Mirror. Noted for its musicality, stylized language and supernatural atmosphere, it tells of the mysterious visit of a talking raven to a distraught lover, tracing his slow descent into madness.
by Thomas a Kempis
Translated by Rev. William Benham
The treatise "Of the Imitation of Christ" appears to have been originally written in Latin early in the fifteenth century. Its exact date and its authorship are still a matter of debate. Manuscripts of the Latin version survive in considerable numbers all over Western Europe, and they, with the vast list of translations and of printed editions, testify to its almost unparalleled popularity. One scribe attributes it to St. Bernard of Clairvaux; but the fact that it contains a quotation from St. Francis of Assisi, who was born thirty years after the death of St. Bernard, disposes of this theory. In England there exist many manuscripts of the first three books, called "Musica Ecclesiastica," frequently ascribed to the English mystic Walter Hilton. But Hilton seems to have died in 1395, and there is no evidence of the existence of the work before 1400. Many manuscripts scattered throughout Europe ascribe the book to Jean le Charlier de Gerson, the great Chancellor of the University of Paris, who was a leading figure in the Church in the earlier part of the fifteenth century. The most probable author, however, especially when the internal evidence is considered, is Thomas Haemmerlein, known also as Thomas a Kempis, from his native town of Kempen, near the Rhine, about forty miles north of Cologne. Haemmerlein, who was born in 1379 or 1380, was a member of the order of the Brothers of Common Life, and spent the last seventy years of his life at Mount St. Agnes, a monastery of Augustinian canons in the diocese of Utrecht. Here he died on July 26, 1471, after an uneventful life spent in copying manuscripts, reading, and composing, and in the peaceful routine of monastic piety.
With the exception of the Bible, no Christian writing has had so wide a vogue or so sustained a popularity as this. And yet, in one sense, it is hardly an original work at all. Its structure it owes largely to the writings of the medieval mystics, and its ideas and phrases are a mosaic from the Bible and the Fathers of the early Church. But these elements are interwoven with such delicate skill and a religious feeling at once so ardent and so sound, that it promises to remain, what it has been for five hundred years, the supreme call and guide to spiritual aspiration.