Sir Arthur Quiller-Couch – författare

This wonderful survey of the famed artist's early work features 44 color plates in addition to several black-and-white vignettes and spot illustrations. Most of the images depict fantastic dwarfs, giants, elves, and fairies as well as naturalistic illustrations far removed from the fairy world. An elegant offering for all Rackham fans, this volume includes many long-unavailable pieces.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and in a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

Discover the world of ghosts and spirits with this collection of classics on ghosts.The best of the genre''s literature.The Roll-Call of the Reefby Sir Arthur Quiller-Couch (1863-1944)The Demoiselle d''Ysby Robert W. Chambers (1865–1933)The Magic Shopby H. G. Wells (1866-1946)The Lost Ghostby Mary E. Wilkins Freeman (1852-1930)The Violet Carby Edith Nesbit (1858–1924)Rose Roseby Barry Pain (1864–1928)The House with the Brick-Kilnby E. F. Benson (1867–1940)The Rocking-Horse Winnerby D. H. Lawrence (1885–1930)The Hollow Manby Thomas Burke (1886–1945)

"e;The Dead Do Not Sleep Soundly in the West Country."e;Sabine Baring-Gould was one of the most versatile minds of the 19th century, but it was in the realm of the supernatural that his imagination truly flickered with a dark, cold light. A Book of Ghosts is a cornerstone of Victorian weird fiction, moving away from simple "e;jump scares"e; to explore the lingering, uncomfortable presence of those who refuse to leave this world behind. The Master of the Folkloric Fright: Baring-Gould's ghosts are not mere optical illusions; they are manifestations of history, guilt, and the rugged landscape itself. Drawing on his deep knowledge of English folklore and antiquarian history, he crafts stories where the supernatural feels as tangible as the ancient stone walls and foggy marshes of Devon and Cornwall. His work excels at the "e;slow burn"e; of dread where a simple domestic object or a misunderstood local legend becomes the herald of something truly unsettling. A contemporary of M.R. James and Bram Stoker, Baring-Gould offers a more grounded, yet equally terrifying, vision of the afterlife. This volume is an essential cornerstone for any library of classic ghost stories, Victorian Gothic, and supernatural fiction. Step into the shadows of the past. Buy "e;A Book of Ghosts"e; today and discover why some doors are better left locked.

What knowledge was never meant to be forgotten?The Book of Shadows Vol. 1 is a compelling anthology of occult writings, mystical traditions, and esoteric teachings drawn from ancient, medieval, and early modern sources. Compiled from various authors, this volume explores humanity's hidden relationship with nature, ritual, symbolism, and unseen forces. Within these pages, readers encounter spells, folklore, philosophical reflections, and spiritual practices rooted in pagan traditions, ceremonial magic, and mystical thought. Rather than sensationalism, this collection emphasizes historical depth, symbolic meaning, and the human desire to understand the invisible world. Mysterious, atmospheric, and intellectually intriguing, this volume serves as both a gateway and a foundation for readers drawn to the occult and the arcane. Inside this eBook, you'll explore:A curated collection of occult and esoteric writingsAncient rituals, symbolic traditions, and mystical philosophyEarly sources of magical and spiritual thoughtA foundational anthology for occult literature enthusiastsWhether read for study, curiosity, or inspiration, The Book of Shadows Vol. 1 opens a door to humanity's oldest spiritual questions. Enter the circle. Begin the journey. Buy now and explore The Book of Shadows Vol. 1.

Enter a realm where reality blurs, shadows deepen, and the uncanny stirs just beyond the edge of ordinary sight. The Book of Shadows gathers a powerful collection of supernatural and atmospheric tales by some of the most intriguing voices of late Victorian and early 20th-century fiction, including Sir Arthur Quiller-Couch, Robert W. Chambers, H. G. Wells, Mary E. Wilkins Freeman, Edith Nesbit, Barry Pain, E. F. Benson, D. H. Lawrence, and Thomas Burke. These authors masters of mood, mystery, and psychological depth offer a rich tapestry of ghostly visitations, eerie transformations, haunted rooms, forbidden encounters, and unsettling secrets. Quiller-Couch evokes quiet English dread; Chambers explores the seductive terror of forbidden knowledge; Wells brings scientific horror and nightmarish possibility; Freeman and Nesbit infuse their tales with domestic unease and moral complexity; while Pain, Benson, Lawrence, and Burke provide chilling stories driven by obsession, guilt, passion, and the uncanny forces that shape human fate. Each tale was written during a period when the supernatural merged seamlessly with literary craftsmanship. The result is a collection that reflects the era's fascination with the unseen, drawing from Gothic traditions, spiritualism, psychological realism, and the darker corners of the human mind. Beautifully formatted and carefully curated, this anthology is ideal for readers who appreciate classic horror, gothic mood, atmospheric storytelling, and the subtle terror that lingers long after the final page. Add The Book of Shadows to your library and step into a world where every whisper, glance, and silence may hide something unearthly.