"Noin suuri : Romaani by Edna Ferber" is a novel written in 1924. The story follows Selina Peake De Jong, a school teacher who marries a Dutch farmer and raises their son Dirk in farming country. When her husband dies, Selina works the farm alone to provide for her son's future. As Dirk grows up, he chooses financial success over artistic integrity, disappointing his mother who has always valued beauty and aesthetics. The novel won the Pulitzer Prize in 1925. (This is an automatically generated summary.)

"The Mother" by Grazia Deledda is a novel written in the early 20th century. Set in a remote Sardinian village, it is a stark psychological study of a young priest, Paul, his devoted mother Maria Maddalena, and Agnes, the solitary woman who awakens his forbidden desire. The story probes the clash between human love and religious duty, filtered through superstition, village poverty, and maternal anguish. Its tension is intimate and fateful, unfolding over a brief span with the inevitability of tragedy. The opening of the novel follows a stormy night in which Maria Maddalena realizes Paul is slipping out to a woman’s house and, after failing to intervene, returns home torn between fear, faith, and a vivid, unsettling dream of the parish’s disgraced former priest. Paul, having just agreed to flee with Agnes, is shaken by the wind and his conscience, prays at the church door, then faces his mother; pressed by her quiet firmness, he swears to end the affair. Through a sleepless, tormented night he oscillates between resolve and longing, finally writing a letter to break it off; at dawn he celebrates Mass, chastens his meager flock, and has his mother deliver the note before being summoned to a dying hunter. Interwoven are memories that deepen the stakes: the mother’s recollection of their hopeful arrival in Aar and Paul’s of childhood shame at his mother’s servitude, seminary years, and an earlier encounter with a fallen woman. The section closes with domestic unease, the sacristan boy’s brisk chatter, and a pointed exchange about priestly celibacy, underscoring the moral conflict now set in motion. (This is an automatically generated summary.)

"A journey to the world under-ground" by Ludvig Holberg is a satirical science-fiction novel published in 1741. When philosophy student Niels Klim investigates a mysterious cave in Bergen, he falls into an underground realm orbiting an inner sun. There he encounters walking, talking trees and other extraordinary beings in the utopian state of Potu. Through his adventures across this strange world, Klim experiences diverse societies that challenge his assumptions about morality, gender equality, religion, and government. (This is an automatically generated summary.)

"The History and Adventures of the Renowned Don Quixote" by Cervantes Saavedra is a Spanish novel published in two parts in 1605 and 1615. A minor nobleman named Alonso Quijano reads so many chivalric romances that he loses his sanity and decides to become a knight-errant. Renaming himself Don Quixote, he recruits a simple farm laborer, Sancho Panza, as his squire. Together they embark on adventures where Don Quixote mistakes windmills for giants and inns for castles, unable to see the world as it truly is. (This is an automatically generated summary.)

"Las aventuras de Telémaco seguidas de las de Aristonoo" by Fénelon is a didactic novel written between 1694 and 1697. Inspired by Homer's Odyssey, it follows young Telemachus as he searches for his father Ulysses across the Greek world, accompanied by his tutor Mentor—secretly the goddess Minerva in disguise. Through their travels across Sicily, Egypt, Phoenicia, Cyprus, and Crete, the novel presents ethical discourses on the art of governing, containing sharp criticism of authoritarian rule that sparked immediate controversy upon its unauthorized publication in 1699. (This is an automatically generated summary.)

"Pelle Erobreren 4: Gryet" by Martin Andersen Nexø is the fourth and final volume of a Danish novel published in 1910. This concluding installment follows Pelle Karlsson's journey as he rises to leadership in Denmark's labour movement, driven by the harsh working conditions of his time. Based partly on Nexø's own experiences, this Bildungsroman chronicles widespread social and economic struggles in early twentieth-century Denmark. The complete work has been compared to Les Misérables for its sweeping portrayal of social injustice and human resilience. (This is an automatically generated summary.)

"The poems of Edgar Allan Poe" by Edgar Allan Poe is a collection of poems written in the mid-19th century. It assembles his celebrated lyrics alongside earlier pieces and a few prose reflections on poetics, with themes centered on love, loss, beauty, death, and hypnotic sound. Readers can expect atmospheric ballads and elegies in which speakers are haunted by idealized, often lost women, and by dreamlike or macabre visions. The opening of the volume presents publisher material and a detailed contents list, followed by a substantial introduction that defends Poe’s character, sketches his hard-pressed life and career, and explains his craft—his emphasis on melody, refrain, brevity, and the non-didactic “poetic principle”—while reassessing “The Raven” among his other lyrics. It then reprints Poe’s modest 1845 preface and his dedication to Elizabeth Barrett Barrett. After this, the collection launches into signature poems—“The Raven,” “The Bells,” “Ulalume,” “Lenore,” “Annabel Lee,” and others—that stage grief, longing, and the supernatural through rich sound patterns and refrains, before moving into pieces like “The City in the Sea,” “The Conqueror Worm,” and “The Haunted Palace,” which deepen the gothic mood. The section closes by turning to poems written in youth, where early romantic yearning, classical invocations, and nocturnal imagery already show the seeds of his later voice. (This is an automatically generated summary.)

"Sämtliche Werke 22: Ein kleiner Held : Vier Novellen" by Fyodor Dostoyevsky is a collection of novellas written in the mid-to-late 19th century. The volume gathers stories bound by themes of childhood and early emotional awakenings within adult social worlds. In the first novella, an almost eleven-year-old boy visiting a lavish country estate near Moscow is drawn into the games, rivalries, and hidden tensions of the grown-ups, especially a mischievous blonde beauty, the reserved and sorrowful Mme M., and her vain, controlling husband. The opening of the collection follows the boy’s arrival amid endless parties and entertainments, where he is teased publicly by the flirtatious blonde and quietly captivated by the gentle, melancholy Mme M. He witnesses her unease around her husband and senses a secret sorrow, while a passing cavalcade hints at unspoken ties. At a lunch-table skirmish the blonde makes him the butt of a joke about his supposed infatuation, driving him to tears and retreat—only for him soon after to seize a reckless chance at redemption by mounting a notorious, unbroken horse and surviving the wild ride. His courage wins sudden admiration, elicits a telling exchange of glances with Mme M., and transforms the blonde’s mockery into protective warmth. A rainy village outing follows; Mme M. lends him her scarf, the blonde tends him like a friend, and the section closes with the boy waking joyful the next morning and slipping into the woods, his feelings newly awakened. (This is an automatically generated summary.)

"The counterfeiters : (Les faux-monnayeurs) by André Gide is a novel written in the early 20th century. A polyphonic coming‑of‑age story set in Paris, it intertwines the lives of youths, writers, and worldly schemers to examine authenticity, moral compromise, and the forging of identity. Early focal figures include the defiant student Bernard Profitendieu, his sensitive friend Olivier Molinier, the literary uncle Edouard, and the calculating aristocrat Robert de Passavant. The opening follows Bernard as he discovers a hidden letter proving his illegitimacy, coolly abandons his bourgeois home, and secretly spends the night in Olivier’s room near the Luxembourg Gardens. At home, Judge Profitendieu reels from Bernard’s scathing farewell and shields the rest of the family with a lie, while his wife’s guilt resurfaces. In hushed, nocturnal talks, Bernard and Olivier trade confidences—Olivier’s awkward first sexual encounter and suspicions about their older brother Vincent’s entanglement with a woman. The scene shifts to Vincent, who, burdened by his pregnant lover Laura, is drawn into the orbit of the suave Passavant and the seductive Lady Lilian; a night of gambling brings Vincent a sudden windfall even as Passavant’s father dies upstairs and a younger brother keeps vigil. At dawn, Bernard slips out into Paris with only a few coins, buoyed by hunger, freedom, and the promise of “adventure.” (This is an automatically generated summary.)

"Korsikan veljekset" by Alexandre Dumas is a novella published in 1844. It tells the story of twin brothers Louis and Lucien, who were conjoined at birth and separated by surgery. Despite living apart—one as a Parisian lawyer, the other in their Corsican homeland—they share an extraordinary bond that allows them to feel each other's physical pain and emotions across any distance. When Lucien must mediate a deadly family vendetta, this supernatural connection becomes central to their intertwined fates. (This is an automatically generated summary.)

"The works of John Dryden, now first collected in eighteen volumes. Volume 17." by John Dryden is a collection of literary translations, criticism, and polemical prose written in the late 17th century. This volume gathers his Life of Plutarch with a grand dedication to the Duke of Ormond, a specimen from his translation of the History of the League, a theological exchange with Edward Stillingfleet, and his English version of Du Fresnoy’s The Art of Painting alongside a celebrated parallel between poetry and painting. It showcases the author as biographer, translator, critic, and royalist controversialist. Expect erudite classical scholarship, vigorous prose, and wide-ranging reflections on history, art, politics, and religion. The opening of the volume frames the context of the 1680s English Plutarch with an editor’s note and a bookseller’s advertisement, then unveils a lofty dedication to the Duke of Ormond. In that dedication, the writer contrasts ancient greatness with modern decline, praises Ormond’s fidelity and governance of Ireland, castigates sectaries, republicans, and inconstant ex-royalists, and defends honest history against bigotry and partisan fabrication. It then proceeds to the Life of Plutarch, sketching his birth at Chæronea, family and teacher Ammonius, the humane cast of Greek education, his travels and relentless collection of sources, and his temperate, sociable character. The narrative outlines his Platonic-leaning philosophy, his ideas on oracles and intermediary spirits, his marriage to Timoxena and children, his Roman connections (notably Sossius Senecio and Trajan), and his likely public employments. It closes this opening stretch by weighing the uses and kinds of history—annals, history proper, and biography—and arguing for the special force and instruction found in lives. (This is an automatically generated summary.)

"Il piccolo Eyolf: dramma in tre atti" by Henrik Ibsen is a play written in 1894. Alfred Allmers returns from a mountain journey determined to devote himself to his disabled son, Eyolf, rather than his philosophical work. But when a mysterious Rat-Wife arrives with the power to enchant creatures to their doom, the family's fragile bonds are tested. As buried resentments surface between Alfred and his possessive wife Rita, tragedy strikes, forcing them to confront their guilt and the painful truths of their marriage. (This is an automatically generated summary.)

"De vroolijke vrouwtjes van Windsor" by William Shakespeare is a comedy first published in 1602. The impoverished Sir John Falstaff arrives in Windsor and schemes to court two wealthy married women for their money. He sends them identical love letters, but the clever wives discover his plan. Instead of falling for his advances, they team up to teach the arrogant knight a humiliating lesson through a series of elaborate pranks, while a jealous husband unknowingly aids their revenge. (This is an automatically generated summary.)

"Koning Richard de Derde" by William Shakespeare is a play written around 1592-1594. It follows Richard of Gloucester's ruthless and manipulative climb to the English throne. Through murder, deception, and betrayal, the deformed Richard eliminates anyone standing between him and power—including family members. As he schemes his way to becoming king, the ghosts of his victims haunt him, and his tyranny ultimately leads to rebellion. This dark tale explores ambition, villainy, and the corrupting nature of power in medieval England. (This is an automatically generated summary.)

"La Légende des siècles tome IV" by Victor Hugo is a collection of poems written between 1855 and 1876. This monumental work depicts the history and evolution of humanity through epic, lyric, and satiric verse. Hugo presents scattered scenes from past, present, and future, focusing on obscure and invented figures who symbolize their ages. Rather than seeking historical accuracy, he creates "history listened to at legend's door," tracing humanity's journey from darkness to light through fragmented visions of the human adventure. (This is an automatically generated summary.)

"Pelle Erobreren 3: Den store Kamp" by Martin Andersen Nexø is the third volume of a four-part novel published between 1906-1910. This installment follows Pelle as he returns from prison to his wife Ellen and discovers unexpected changes in his family. Struggling financially, they face mounting debts from Ellen's failed hotel venture and Pelle's shoemaking business. With help from a wealthy friend, Pelle attempts to build both a factory and a workers' community, fighting to create a better life for his family and social class. (This is an automatically generated summary.)

"Tragedies of sex" by Frank Wedekind is a collection of plays written in the late 19th and early 20th century. Gathering Spring’s Awakening, Earth-Spirit, Pandora’s Box, and Damnation!, it confronts sexual desire, repression, and bourgeois hypocrisy with frank, unsettling drama. The pieces focus on volatile youth and predatory or compromised adults—most notably the schoolchildren Melchior, Wendla, and Moritz, and the magnetic Lulu—to expose how authority and morality deform private life. The opening of the volume frames the author as an avant-garde provocateur and precursor to Expressionism, then launches into the first stretch of Spring’s Awakening. We meet Wendla, chafing at being forced into adult decorum; schoolboys Melchior and Moritz, who debate sex and struggle under academic pressure; and girls who reveal domestic abuse, especially Martha. Moritz secretly checks the promotion lists and, provisionally passed, swings from relief to dread. In the woods, Melchior and Wendla spar over charity and morality before a disturbing moment in which she asks to be struck and he loses control. Subsequent scenes deepen the sexual awakening and confusion: Melchior’s candid discussions with Moritz (and his tolerant mother), Wendla’s mother’s evasions about where babies come from, Hansy’s furtive self-gratification, and a charged hayloft encounter between Melchior and Wendla. A letter shows Melchior’s mother refusing to fund Moritz’s escape, urging fortitude; Wendla drifts through the garden in dazed, secretive joy; and Moritz, by the river at dusk, edges toward despair. (This is an automatically generated summary.)

"Sämtliche Werke 21 : Der Spieler. Der ewige Gatte : Zwei Romane" by Dostoyevsky is a collection of two novels written in the late 19th century. The volume couples a tale of gambling fever and romantic obsession at a European spa with a stark psychological study of jealousy and humiliation. In the first, a young Russian tutor is drawn to the roulette table and to the proud Polina amid a circle of schemers and pretenders; in the second, a haunted widower confronts a former rival. Across both, money, pride, and desire strip away social veneers among émigré Russians abroad. The opening of Der Spieler follows Alexei, tutor to a Russian General’s family, as he rejoins them in Roulettenburg, where they posture as wealthy while quietly awaiting an inheritance from the ailing “Babushka.” The General dazzles and borrows, a slick French “marquis” and the calculating Mademoiselle Blanche circle, and the shy Englishman Mr. Astley silently adores Polina. Alexei’s charged, unequal bond with Polina dominates: she commands him to gamble for her, and he first wins a tidy sum, then rashly loses everything, even as he grows convinced he will surely win when playing for himself. Between tense dinners and nationalist spats, Alexei studies the casino’s rituals, the genteel pose versus plebeian hunger, and the household’s dependence on news of the old woman’s death. Polina hints at urgent debts and presses him for more money, while Alexei’s pride, passion, and fatalism harden into a vow to test his luck alone. The section ends with their strained exchange hanging in the air and the roulette wheel looming as his chosen fate. (This is an automatically generated summary.)

"Pelle Erobreren 2: Læreaar" by Martin Andersen Nexø is a novel published in 1907. This second volume of the four-part series follows young Pelle Karlsson during his apprenticeship years after leaving rural Bornholm for Copenhagen. As an immigrant from Sweden navigating Denmark's capital, Pelle encounters harsh working conditions that will shape his path toward leadership in the labor movement. Drawing from Nexø's own experiences, this Bildungsroman chronicles one young man's journey through the social and economic struggles of late 19th-century Denmark. (This is an automatically generated summary.)

"The new art of writing plays by Lope de Vega" is a dramaturgical treatise in verse from the Spanish Golden Age, likely the early 17th century. It outlines how to craft stage plays that satisfy audience taste while engaging with classical theory, blending practical stagecraft with a poet’s reflections on comedy and tragedy. The book opens with a contextual introduction that sets the author alongside the great innovators of popular theater and frames his core paradox: he knows the classical rules yet openly breaks them to please the paying crowd. The central poem addresses an academy, briefly surveys the origins of comedy and tragedy, and then offers concise, practice-first guidance: choose a single, coherent action; build plays in three acts; compress time where possible; keep the stage seldom empty; delay the resolution until the final moments; and mix tragic and comic tones for variety. It advises writing the plan in prose before versifying, matching speech to character and situation, and using distinct verse forms for different purposes (for lament, narration, high matters, or love). It favors themes of honor and virtue, warns against impossibilities and open satire, prescribes moderate length, and urges decorum and plausible costume. The author closes by acknowledging his own vast, rule-breaking output and defending it on the grounds that playwrights must live by pleasing the public. (This is an automatically generated summary.)