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The collection includes the best works of famous Russian writers:. Fyodor Dostoevsky. NOTES FROM THE UNDERGROUND. THE DREAM OF A RIDICULOUS MAN. THE BEGGAR BOY AT CHRIST'S CHRISTMAS TREE. Leo Tolstoy. THE DEATH OF IVAN ILYICH. A LETTER TO A HINDU. A CONFESSION. GOD SEES THE TRUTH, BUT WAITS. A RUSSIAN CHRISTMAS PARTY. Anton Chekhov. THE LADY WITH THE DOG. A SLANDER. THE HORSE-STEALERS. THE PETCHENYEG. A DEAD BODY. A HAPPY ENDING. THE LOOKING-GLASS. OLD AGE. DARKNESS. THE BEGGAR. IN TROUBLE. FROST. MINDS IN FERMENT. GONE ASTRAY. AN AVENGER. THE JEUNE PREMIER. A DEFENCELESS CREATURE.

FEAT DESC

Benjamin Franklin is the only one of America's founding fathers to have signed all three of their foundational documents: The Declaration of Independence, the U.S. Constitution, and the 1783 Treaty of Paris. These documents underpinned the establishment of the United States of America as a sovereign country. In addition to being a prominent politician, Benjamin Franklin was a prolific writer, fervent naturalist, and determined inventor. This collection of writing reflects Franklin's varied activities and manifold talents.

Time does not hold history—people do. Emerson's History is not a chronicle of names and dates, not a reverence for the past, but a revelation: every life is a vessel of all that came before. The individual is not separate from history but its continuation, its living pulse. Emerson does not ask his readers to study history; he asks them to recognize themselves within it. Every triumph, every downfall, every flash of genius from ages past is not distant—it is ours, woven into the mind that thinks, the hand that writes, the heart that dares.

Love, for Emerson, is neither simple nor sweet. It is a force—wild, untamable, and yet profoundly human. In Love, he explores the deep currents that pull us together and push us apart, not with the softness of romance, but with the clarity of a philosopher who sees love as a transformative, even unsettling, experience. It is not just an emotion, but a vital, unpredictable energy that shapes and redefines us. Emerson doesn't idealize love; he insists on its complexity.

Life does not unfold by design. It moves, shifts, adapts—sometimes in harmony, often in chaos. What, then, is the right way to live? With his signature clarity and quiet defiance, Ralph Waldo Emerson steps beyond theory into the pulse of everyday existence. He does not prescribe rigid formulas but instead offers something sharper: a way of seeing. Here, work is not mere labor but an act of self-realization. Power is not control but a force that shapes character. Fate is not an iron law but a current to navigate.

Prudence is not timidity. It is not caution for its own sake. It is the art of knowing when to act and when to wait, when to follow reason and when to trust instinct. In Prudence, Ralph Waldo Emerson reclaims this often-misunderstood virtue, not as mere carefulness but as the wisdom of navigating life with both vision and restraint. For Emerson, prudence is not the enemy of boldness but its quiet architect. It does not stifle ambition but shapes it, guiding passion with clarity and purpose. A mind without prudence rushes blindly; a mind ruled by it never moves at all.

Nothing stands still. The moment we grasp an idea, it expands beyond us. The instant we define a boundary, a wider one emerges. Ralph Waldo Emerson's essay Circles is not about shapes on a page but about the shifting nature of thought, existence, and perception. Each insight is a stepping stone, each conclusion just another starting point. There is no final answer—only an ever-widening ring of understanding. Emerson writes with the quiet confidence of someone who has seen the world rearrange itself countless times. He does not dictate; he invites. He does not confine; he liberates.

A world in perfect balance—so claims Emerson in Compensation, an essay that pulses with quiet defiance and deep assurance. No gain without loss, no misstep without lesson, no fortune without its hidden tax. It is neither fate nor blind justice but a living rhythm, an invisible hand that rights every scale, even when human eyes fail to see. Emerson does not preach; he unfolds. The idea seeps in, settles, challenges. His words are not doctrine but a lens—through which prosperity and misfortune reveal themselves as two faces of the same coin.

True heroism does not seek applause. It does not wear armor or demand recognition. It walks quietly, steady in its purpose, untouched by fear or flattery. In Heroism, Ralph Waldo Emerson strips away the illusions of grandeur and reveals the essence of courage: a quiet, unwavering commitment to one's own principles. This is not a celebration of warriors or conquerors but of those who face the world with integrity, who move through life unshaken by its storms.

Ralph Waldo Emerson's The Over-Soul isn't just an essay—it's a revelation. It speaks of a vast, unshakable presence within us all, a silent force that knows, guides, and connects. Beyond intellect, beyond ego, Emerson leads us to the infinite. The Over-Soul is the quiet voice of truth, the source of wisdom that needs no teacher. It is intuition over logic, unity over isolation. When we listen, the noise of the world fades, and something deeper takes its place—clarity, purpose, transcendence. Emerson doesn't explain; he awakens.

Intellect is not a possession but a force—fluid, expansive, untamed. It cannot be hoarded, nor can it be caged within doctrine or tradition. In Intellect, Ralph Waldo Emerson urges us to see thought as a living current, not a stagnant pool. True understanding, he suggests, is not about collecting knowledge but about breaking through to deeper insight, where intuition leads and logic follows.

Imagine a world where shadows are reality, where knowledge is but flickering illusions cast upon a wall. This is the chilling vision of Plato's Allegory of the Cave, a philosophical parable nestled within The Republic. More than two millennia old, it remains one of the most haunting explorations of truth, perception, and enlightenment. In this tale, Socrates describes prisoners trapped in a dark cavern since birth, chained so they can see only the wall before them. Behind them burns a fire, casting the silhouettes of unseen objects.

What is art? A mere imitation of life or something far greater—an act of creation that reveals the soul of the universe? Ralph Waldo Emerson, the philosopher-poet of American transcendentalism, elevates art beyond the canvas, beyond words, beyond form itself. In this essay, he explores the divine spark within creativity, arguing that true art is not bound by technique or tradition but flows from the spirit of the artist, a force both mysterious and essential.

The Collected Ghost Stories of M. R. James is an omnibus collection of ghost stories. Many of these stories are time-tested classics. Montague Rhodes James is best remembered for his ghost stories, which some consider among the best in the genre. He redefined the ghost story for the new century by abandoning many of the formal Gothic clichés of his predecessors and using more realistic contemporary settings. However, his protagonists and plots tend to reflect his own antiquarian interests.

In the echoes of ancient Rome, where the clang of swords met the whispers of philosophy, Marcus Aurelius stood as both ruler and sage. The Speeches of Marcus is not a mere collection of words, but a testament to a mind sculpted by discipline and tempered by duty. His voice, austere yet compassionate, resounds through the corridors of time, inviting the listener to ponder the nature of power, virtue, and the fragile thread that binds humanity. With each measured phrase, Marcus does not seek to dazzle or dominate but to illuminate the path of reason and justice.

With his sense of humor and ability to observe, Nikolai Gogol presents the world with stories of little people: the weak and fragile people who try to hold on to life in the gloomy cities of Russia. The Mantle, which is listed among his masterpieces, describes how Russian bureaucracy turns everyone into a ghost of each other. It tells the tragicomic story of a poor low-ranking official named Akakiy Akakiyevich Bashmachkin, a faint character living on the margins of society who spends all his time diligently copying documents.

The Republic is a classic work by an ancient Greek philosopher Plato. There is one of the most famous dialogues of Plato about the arrangement of the state structure and the essence of the state (contemporary for Plato, of course, but also important nowadays because the whole modern so called "European civilisation" is based, first of all, on ancient schemes). The structure of Plato's dialogue is similar to others. Socrates and Glaucon are coming back to Athens from Piraeus. They are stopped by Polemarchus who invites them to visit him and talk.

In a world that has moved on, two men sit in the shadows of the past. One, frail and forgetful, speaks of things best left unsaid. The other, powerful yet unknowingly adrift, listens—and feels something crack beneath his carefully preserved sense of control. The war took their sons, but time has taken something else, something harder to name. In the quiet of an office where authority once meant everything, grief lingers like dust on old furniture. A casual visit, a few words spoken in passing, and suddenly, the weight of loss is too heavy to ignore.

The Christmas Child is a Christmas story by Hesba Stretton. Written in Stretton's signature style of heartfelt is a Christmas story and moral lessons, these stories are set in Victorian England and explore themes of love, family, and redemption. Stretton's vivid descriptions and engaging characters immerse readers in a world where kindness and compassion prevail, making it a perfect read for the festive season. The author's ability to evoke emotions and create a sense of nostalgia adds depth and richness to the narratives, making them timeless classics that resonate with readers of all ages.