Bøger af Joseph Sheridan Le Fanu

Sheridan Le Fanu was born at No. 45 Lower Dominick Steet, Dublin, into a literary family of Huguenot origins. Both his grandmother Alicia Sheridan Le Fanu and his great-uncle Richard Brinsley Sheridan were playwrights. His niece Rhoda Broughton would become a very successful novelist. Within a year of his birth his family moved to the Royal Hibernian Military School in Phoenix Park, where his father, an Anglican clergyman, was the chaplain of the establishment. Phoenix Park and the adjacent village and parish church of Chapelizod were to feature in Le Fanu's later stories. Le Fanu studied law at Trinity College in Dublin, where he was elected Auditor of the College Historical Society. He was called to the bar in 1839, but he never practised and soon abandoned law for journalism. In 1838 he began contributing stories to the Dublin University Magazine, including his first ghost story, entitled "A Strange Event in the Life of Schalken the Painter" (1839).

This collection of literature attempts to compile many of the classic works that have stood the test of time and offer them at a reduced, affordable price, in an attractive volume so that everyone can enjoy them.

This Is A New Release Of The Original 1876 Edition.

Joseph Thomas Sheridan Le Fanu was born on August 28th, 1814, at 45 Lower Dominick Street, Dublin, into a literary family with Huguenot, Irish and English roots. The children were tutored but, according to his brother William, the tutor taught them little if anything. Le Fanu was eager to learn and used his father's library to educate himself about the world. He was a creative child and by fifteen had taken to writing poetry. Accepted into Trinity College, Dublin to study law he also benefited from the system used in Ireland that he did not have to live in Dublin to attend lectures, but could study at home and take examinations at the university as and when necessary. This enabled him to also write and by 1838 Le Fanu's first story The Ghost and the Bonesetter was published in the Dublin University Magazine. Many of the short stories he wrote at the time were to form the basis for his future novels. Indeed, throughout his career Le Fanu would constantly revise, cannabilise, embellish and re-publish his earlier works to use in his later efforts. Between 1838 and 1840 Le Fanu had written and published twelve stories which purported to be the literary remains of an 18th-century Catholic priest called Father Purcell. Set mostly in Ireland they include classic stories of gothic horror, with grim, shadowed castles, as well as supernatural visitations from beyond the grave, together with madness and suicide. One of the themes running through them is a sad nostalgia for the dispossessed Catholic aristocracy of Ireland, whose ruined castles stand in mute salute and testament to this history. On 18 December 1844 Le Fanu married Susanna Bennett, the daughter of a leading Dublin barrister. The union would produce four children. Le Fanu was now stretching his talents across the length of a novel and his first was The Cock and Anchor published in 1845. A succession of works followed and his reputation grew as well as his income. Unfortunately, a decade after his marriage it became an increasing source of difficultly. Susanna was prone to suffer from a range of neurotic symptoms including great anxiety after the deaths of several close relatives, including her father two years before. In April 1858 she suffered an "hysterical attack" and died in circumstances that are still unclear. The anguish, profound guilt as well as overwhelming loss were channeled into Le Fanu's work. Working only by the light of two candles he would write through the night and burnish his reputation as a major figure of 19th Century supernaturalism. His work challenged the focus on the external source of horror and instead he wrote about it from the perspective of the inward psychological potential to strike fear in the hearts of men. A series of books now came forth: Wylder's Hand (1864), Guy Deverell (1865), The Tenants of Malory (1867), The Green Tea (1869), The Haunted Baronet (1870), Mr. Justice Harbottle (1872), The Room in the Dragon Volant (1872) and In a Glass Darkly. (1872). But his life was drawing to a close. Joseph Thomas Sheridan Le Fanu died in Merrion Square in his native Dublin on February 7th, 1873, at the age of 58.

Joseph Thomas Sheridan Le Fanu was born on August 28th, 1814, at 45 Lower Dominick Street, Dublin, into a literary family with Huguenot, Irish and English roots. The children were tutored but, according to his brother William, the tutor taught them little if anything. Le Fanu was eager to learn and used his father's library to educate himself about the world. He was a creative child and by fifteen had taken to writing poetry. Accepted into Trinity College, Dublin to study law he also benefited from the system used in Ireland that he did not have to live in Dublin to attend lectures, but could study at home and take examinations at the university as and when necessary. This enabled him to also write and by 1838 Le Fanu's first story The Ghost and the Bonesetter was published in the Dublin University Magazine. Many of the short stories he wrote at the time were to form the basis for his future novels. Indeed, throughout his career Le Fanu would constantly revise, cannabilise, embellish and re-publish his earlier works to use in his later efforts. Between 1838 and 1840 Le Fanu had written and published twelve stories which purported to be the literary remains of an 18th-century Catholic priest called Father Purcell. Set mostly in Ireland they include classic stories of gothic horror, with grim, shadowed castles, as well as supernatural visitations from beyond the grave, together with madness and suicide. One of the themes running through them is a sad nostalgia for the dispossessed Catholic aristocracy of Ireland, whose ruined castles stand in mute salute and testament to this history. On 18 December 1844 Le Fanu married Susanna Bennett, the daughter of a leading Dublin barrister. The union would produce four children. Le Fanu was now stretching his talents across the length of a novel and his first was The Cock and Anchor published in 1845. A succession of works followed and his reputation grew as well as his income. Unfortunately, a decade after his marriage it became an increasing source of difficultly. Susanna was prone to suffer from a range of neurotic symptoms including great anxiety after the deaths of several close relatives, including her father two years before. In April 1858 she suffered an "hysterical attack" and died in circumstances that are still unclear. The anguish, profound guilt as well as overwhelming loss were channeled into Le Fanu's work. Working only by the light of two candles he would write through the night and burnish his reputation as a major figure of 19th Century supernaturalism. His work challenged the focus on the external source of horror and instead he wrote about it from the perspective of the inward psychological potential to strike fear in the hearts of men. A series of books now came forth: Wylder's Hand (1864), Guy Deverell (1865), The Tenants of Malory (1867), The Green Tea (1869), The Haunted Baronet (1870), Mr. Justice Harbottle (1872), The Room in the Dragon Volant (1872) and In a Glass Darkly. (1872). But his life was drawing to a close. Joseph Thomas Sheridan Le Fanu died in Merrion Square in his native Dublin on February 7th, 1873, at the age of 58.

Carmilla is a Gothic novella by Joseph Sheridan Le Fanu and one of the early works of vampire fiction, predating Bram Stoker's Dracula (1897) by 26 years. The story is narrated by a young woman preyed upon by a female vampire named Carmilla, later revealed to be Mircalla, Countess Karnstein...

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

This book contains two mystery novels: A Chapter in the History of a Tyrone Family; and the Murdered Cousin.

The curious case which I am about to place before you, is referred to, very pointedly, and more than once, in the extraordinary Essay upon the Drug of the Dark and the Middle Ages, from the pen of Doctor Hesselius. This Essay he entitles Mortis Imago, and he, therein, discusses the Vinum letiferum, the Beatifica, the Somnus Angelorum, the Hypnus Sagarum, the Aqua Thessalliae, and about twenty other infusions and distillations, well known to the sages of eight hundred years ago, and two of which are still, he alleges, known to the fraternity of thieves, and, among them, as police-office inquiries sometimes disclose to this day, in practical use. The Essay, Mortis Imago, will occupy, as nearly as I can at present calculate, two volumes, the ninth and tenth, of the collected papers of Dr. Martin Hesselius. This Essay, I may remark in conclusion, is very curiously enriched by citations, in great abundance, from medieval verse and prose romance, some of the most valuable of which, strange to say, are Egyptian.

这样说来，新来者从他的座位上站起来，冷静地从s的头上摘下了黑色哑光的金枪鱼，取而代之的是深色的天鹅绒帽，他是从马裤口袋里一个神秘的角落里抽出来的。然后，把假发挂在椅子的靠背上，他把座位转到桌子旁，第一次给他的同伴一个机会，让他公平地看着他的脸。如果他是第一印象的信奉者，那么他一定会明智地将展览推迟到相识取得进展之前，因为他的容貌清醒地说，除了吸引人之外，别无他物-一对灰褐色的眉毛遮盖了他的双眼。快速而刺眼的黑色，相当小，并且异常躁动而生动-嘴巴很宽，下颌弯曲得那么大，几乎导致了畸形，面部下部表现出坚决的凶猛特征，而这种特征并没有眼神火热的眼神使一切都软化了；一个巨大的突出额头，在额头上留下深深的疤痕，并经过多年的思考，使面部表情更加突出。肤色黝黑。总的来说，这种面容是那种险恶而令人不快的一种，想象力与残酷和恐怖的场面联系在一起，并且可以适当地在发烧梦的前景中占据重要位置。在漫长的冒险和冒险生活中，这位年轻的旅行者目睹了太多丑陋的景象，以至于想不了一会儿，就想起了他的新伴侣的面容所产生的印象。他们自由地聊天。而长者（顺便说一句，他没有表现出很强的爱尔兰口音或习语特质，比其他人表现得更强），当他陪同他的晚安时，给他的印象是，不管他的面容如何， ，他的机智劣势已被精明，敏捷，明智的判断和丰富的经验所抵消。这样说来，新来者从他的座位上站起来，冷静地从s的头上摘下了黑色哑光的金枪鱼，取而代之的是深色的天鹅绒帽，他是从马裤口袋里一个神秘的角落里抽出来的。然后，把假发挂在椅子的靠背上，他把座位转到桌子旁，第一次给他的同伴一个机会，让他公平地看着他的脸。如果他是第一印象的信奉者，那么他一定会明智地将展览推迟到相识取得进展之前，因为他的容貌清醒地说，除了吸引人之外，别无他物-一对灰褐色的眉毛遮盖了他的双眼。快速而刺眼的黑色，相当小，并且异常躁动而生动-嘴巴很宽，下颌弯曲得那么大，几乎导致了畸形，面部下部表现出坚决的凶猛特征，而这种特征并没有眼神火热的眼神使一切都软化了；一个巨大的突出额头，在额头上留下深深的疤痕，并经过多年的思考，使面部表情更加突出。肤色黝黑。总的来说，这种面容是那种险恶而令人不快的一种，想象力与残酷和恐怖的场面联系在一起，并且可以适当地在发烧梦的前景中占据重要位置。在漫长的冒险和冒险生活中，这位年轻的旅行者目睹了太多丑陋的景象，以至于想不了一会儿，就想起了他的新伴侣的面容所产生的印象。他们自由地聊天。而长者（顺便说一句，他没有表现出很强的爱尔兰口音或习语特质，比其他人表现得更强），当他陪同他的晚安时，给他的印象是，不管他的面容如何， ，他的机智劣势已被精明，敏捷，明智的判断和丰富的经验所抵消。

A teenage girl describes her unusual childhood to a patient but curious doctor. Raised in a castle by her father, a widower who recently concluded his career in service to the Austrian Empire, Laura has been haunted since her youth with visions of a beautiful, spectral woman. Carmilla is a Gothic horror novella by Joseph Sheridan Le Fanu.

By flickering candlelight, these haunting tales were carefully penned by some of greatest writers of the Victorian era, including Sheridan Le Fanu, Catherine Crowe and Mary Elizabeth Braddon. > Includes: - The Dream - Sheridan Le Fanu - The Italian's Story - Catherine Crowe - Eveline's Visitant - Mary Elizabeth Braddon - The Body Snatcher - Rudyard Kipling> Perfect for horror lovers, these classic ghost stories are sure to terrify and entertain in equal measure.

Carmilla by Irish author Sheridan Le Fanu is an 1872 Gothic novella. Many regard it as one of the early works of vampire fiction. Initially published as a serial form, it tells the story narrated by a young woman preyed upon by a female vampire named Carmilla, later revealed to be Mircalla, Countess Karnstein. The character is a typical example of the vampire, expressing romantic desires toward the protagonist. The novella has been adapted many times in film. Like other literary vampires of the 19th century, Carmilla is a similar product of a culture with strict sexual mores and tangible religious fear. While she selected exclusively female victims, she only becomes emotionally involved with a few. Le Fanu's work has been noted as an influence on Bram Stoker's masterwork of the genre, Dracula.Like other vampires, Carmilla had nocturnal habits, but was not confined to the darkness. She was able to change her form and to pass through solid walls. Carmilla works as a Gothic horror story because her victims are portrayed as succumbing to a perverse and unholy temptation that has severe metaphysical consequences for them.

Za każdym skrzypnięciem podłogi musi stać jakiś powód. Czasami lepiej go nie dociekać. Zbiór 12 opowieści przesiąkniętych atmosferą grozy. Klasyczne historie o pokutujących duszach, nawiedzonych domach, klątwach i paktach z siłami nieczystymi. Kunsztowny język i elegancja w snuciu opowieści osadzonych w mrocznych XIX-wiecznych realiach. Inwencja autora splata się tu z ludowymi podaniami, starodawnymi wierzeniami i zabobonami.Dla miłośników pióra Edgara Allana Poego czy M.R. Jamesa.Joseph Sheridan Le Fanu (1814-1873) - irlandzki dziennikarz i pisarz, szeroką popularność zdobył jako autor powieści gotyckich i opowiadań grozy. Do jego najsłynniejszych utworów należą "Dom przy cmentarzu", "Zielona herbata" czy "Carmilla". W ostatniej z wymienionych powieści wykreował postać wampirzycy o lesbijskich skłonnościach. Jego przesiąknięte erotyzmem utwory budziły liczne kontrowersje we współczesnych mu czasach wiktoriańskich.

"Bez wątpienia będziesz zaskoczony, drogi przyjacielu, przedmiotem niniejszej opowieści. [...] Muszę zatem udzielić ci pełnomocnictwa i wyjawić szczerze, na jakich podstawach opiera się wiarygodność dziwnej historii, którą zamierzam tu opowiedzieć". Ludowe opowieści, przekazywane z wioski do wioski i z pokolenia na pokolenie. Irlandzkie baśni i legendy. Mrożące krew w żyłach historie wymyślone przez dziewiętnastowiecznego klasyka opowieści grozy. Niniejszy zbiór opowiadań mieści w sobie to wszystko! Hipnotyzujące obrazy, pojawiający się znienacka jegomościowie, osobliwe relacje międzyludzkie. W świecie wyobraźni Le Fanu nie ma czasu na nudę. Dla miłośników pióra Edgara Allana Poego czy M.R. Jamesa. Joseph Sheridan Le Fanu (1814-1873) - irlandzki dziennikarz i pisarz, szeroką popularność zdobył jako autor powieści gotyckich i opowiadań grozy. Do jego najsłynniejszych utworów należą "Dom przy cmentarzu", "Zielona herbata" czy "Carmilla". W ostatniej z wymienionych powieści wykreował postać wampirzycy o lesbijskich skłonnościach. Jego przesiąknięte erotyzmem utwory budziły liczne kontrowersje we współczesnych mu czasach wiktoriańskich.

Carmilla is an 1872 Gothic novella by Irish author Sheridan Le Fanu and one of the early works of vampire fiction, predating Bram Stoker's Dracula (1897) by 26 years. First published as a serial in The Dark Blue (1871-72), the story is narrated by a young woman preyed upon by a female vampire named Carmilla, later revealed to be Mircalla, Countess Karnstein (Carmilla is an anagram of Mircalla). The character is a prototypical example of the lesbian vampire, expressing romantic desires toward the protagonist. The novella notably never acknowledges homosexuality as an antagonistic trait, leaving it subtle and morally ambiguous. The story is often anthologised, and has been adapted many times in film and other media. Carmilla, the title character, is the original prototype for a legion of female and lesbian vampires. Although Le Fanu portrays his vampire's sexuality with the circumspection that one would expect for his time, lesbian attraction evidently is the main dynamic between Carmilla and the narrator of the story:Sometimes after an hour of apathy, my strange and beautiful companion would take my hand and hold it with a fond pressure, renewed again and again; blushing softly, gazing in my face with languid and burning eyes, and breathing so fast that her dress rose and fell with the tumultuous respiration. It was like the ardour of a lover; it embarrassed me; it was hateful and yet overpowering; and with gloating eyes she drew me to her, and her hot lips travelled along my cheek in kisses; and she would whisper, almost in sobs, "You are mine, you shall be mine, and you and I are one for ever." (Carmilla, Chapter 4).When compared to other literary vampires of the 19th century, Carmilla is a similar product of a culture with strict sexual mores and tangible religious fear. While Carmilla selected exclusively female victims, she only becomes emotionally involved with a few. Carmilla had nocturnal habits, but was not confined to the darkness. She had unearthly beauty, and was able to change her form and to pass through solid walls. Her animal alter ego was a monstrous black cat, not a large dog as in Dracula. She did, however, sleep in a coffin. Carmilla works as a Gothic horror story because her victims are portrayed as succumbing to a perverse and unholy temptation that has severe metaphysical consequences for them.Some critics, among them William Veeder, suggest that Carmilla, notably in its outlandish use of narrative frames, was an important influence on Henry James' The Turn of the Screw (1898). Le Fanu's work has been noted as an influence on Bram Stoker's masterwork of the genre, Dracula:Both stories are told in the first person. Dracula expands on the idea of a first person account by creating a series of journal entries and logs of different persons and creating a plausible background story for their having been compiled.Both authors indulge the air of mystery, though Stoker takes it further than Le Fanu by allowing the characters to solve the enigma of the vampire along with the reader.The descriptions of the title character in Carmilla and of Lucy in Dracula are similar. Additionally, both women sleepwalk.Stoker's Dr. Abraham Van Helsing is similar to Le Fanu's vampire expert Baron Vordenburg: both characters investigate and catalyze actions in opposition to the vampire.The symptoms described in Carmilla and Dracula are highly comparable. ... (wikipedia.org)