H. Rider Haggard

To the learned man, ugly of form and face but sound at heart, Holly by name, a citizen of a northern land whom at times I think that once I knew as Noot the Holy, that philosopher who was my master in a past which seems far to him and is forgot, but to me is but as yesterday, to this Holly, I say, I, who on earth am named Ayesha, daughter of Yarab the Arab chief, but who have many other titles here and elsewhere, have told certain stories of my past days and the part I played in them.

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Leo Vincey y su profesor Holly descubren un cofre que encierra un misterio: un mensaje de venganza escrito por la princesa Amenartas para que sus descendientes (Vincey es uno de ellos) venguen la muerte de Calicrates, su esposo, a manos de la bella Ayesha, quien se decidio a matarlo por amor, ya que habia sido rechazada por el. Ayesha descubrio la Fuente de la Vida, una enorme pira donde se consigue la inmortalidad entrando en sus llamas. Alli espera paciente en el paso de los siglos la llegada de Calicrates.

In "Cetywayo and His White Neighbours," H. Rider Haggard delves into the complex interplay between the Zulu king, Cetywayo, and European colonial powers in 19th-century Southern Africa. Written with a blend of adventure and historical narrative, the book captures the tumultuous socio-political landscape of the time, providing insights into both Zulu culture and British imperial ambitions. Haggards vivid prose and meticulous research offer a nuanced portrayal of Cetywayo, embedding this narrative within the broader context of colonialism and racial tensions that were intensifying during this period. Haggard, an influential figure in the genre of adventure literature, drew from his own experiences in Africa, having served as a solicitor in the region. His firsthand observations of the landscapes, people, and conflicts informed his passionate writing. "Cetywayo and His White Neighbours" not only reflects Haggards fascination with Africa but also his apprehensions regarding colonial expansion and its impacts on indigenous cultures, highlighting the moral complexities of imperialism. This compelling narrative is essential for readers interested in colonial history, African studies, and literature that critiques imperialism. Haggards adept fusion of storytelling and historical fact makes this work both informative and engaging, appealing to scholars and general readers alike.

In "Queen Shebas Ring," H. Rider Haggard crafts a captivating tale that intertwines adventure, archaeology, and rich folklore, rooted in the speculative history of the legendary Queen of Sheba. The novel transports readers to the sun-drenched landscapes of the Middle East and Africa, employing Haggards signature blend of vivid imagery and evocative prose. This narrative stands in the tradition of late Victorian exploration literature, where the allure of the unknown and the fantastical dance seamlessly with historical inquiry, inviting readers to ponder the intersections between myth and reality. Haggard, a prominent figure in the adventure genre, is recognized for his earlier works such as "King Solomons Mines" which similarly explores themes of discovery and conquest. His extensive travels and engagement with colonial cultures informed his passion for storytelling, allowing him to blend real-world locations with fantastical lore. Haggards interest in biblical history and ancient civilizations profoundly shapes the narrative of "Queen Shebas Ring," reflecting his fascination with lost empires and the quest for truth in histories obscured by time. This novel is highly recommended for readers who appreciate richly woven tales that challenge the boundaries of history and fantasy. Fans of Haggards work, as well as those intrigued by the enigmatic figure of the Queen of Sheba, will find in this novel both adventure and intellectual engagement, making it a compelling addition to any collection.

In "Black Heart and White Heart: A Zulu Idyll," H. Rider Haggard crafts a poignant narrative that unfolds against the backdrop of late 19th-century South Africa. Through lush descriptions and a rich tapestry of cultural elements, Haggard explores themes of love, conflict, and moral dichotomy within the Zulu society. The novels literary style is characterized by its vivid imagery, allegorical undertones, and deep empathy for its characters, juxtaposing the complexities of human emotions with the stark realities of colonialism. Haggard employs a third-person narrative, allowing readers to engage with multiple perspectives amid the idyllic Zulu landscape while grappling with moral ambiguities surrounding the characters choices and societal norms. Haggard, a prominent Victorian author, is perhaps best known for his adventure novels, yet this work reflects a significant departure toward a more introspective exploration of cultural identity. His experiences in South Africa as a colonial administrator and his fascination with the indigenous cultures profoundly influenced his literary perspective. Haggards deep respect for the Zulu people and keen insights into their societal structures inform the intricate characterizations and plot dynamics in this tale, showcasing his desire to bring awareness to a complex world often simplified in contemporary discourse. I highly recommend "Black Heart and White Heart" to readers seeking a nuanced understanding of the interplay between love and cultural identity in a colonial context. Haggards delicate portrayal of Zulu life invites readers to reflect on the moral implications of their own worlds, transcending time and geography. This work is essential for anyone interested in colonial literature, the African experience, or the broader human condition.

In "She and Allan," H. Rider Haggard weaves an extraordinary tale of adventure that seamlessly blends elements of fantasy, romance, and philosophical reflection. This sequel to Haggards earlier work, "She: A History of Adventure," continues the exploration of the enigmatic character Ayesha, as she embarks on a journey alongside Allan Quatermain. The narrative is rich in vivid descriptions of exotic landscapes and encounters with ancient cultures, showcasing Haggards trademark imaginative prowess while drawing upon the colonial context of the late 19th century. The literary style is characterized by its enthralling prose, which invites readers into a world where the boundaries between reality and myth are tantalizingly blurred. H. Rider Haggard, a pioneer of the adventure fiction genre, is renowned for his deep fascination with Africa and the ancient civilizations that once thrived there. His life experiences, including his work in South Africa, heavily informed his narratives. Haggard sought to explore themes of immortality, civilization, and the enduring power of myth, as evidenced by Ayeshas eternal allure and her complex relationship with mortality. This book is a must-read for adventurers at heart and lovers of speculative fiction alike. Haggards intricate plotting and layered character development make "She and Allan" not just an adventure story, but a profound reflection on the nature of desire and the quest for knowledge. Readers will find themselves captivated by the timeless appeal of Haggards work, inviting them to ponder the mysteries that lie beyond the known world.

Colonel Quaritch, V.C.: A Tale of Country Life is a compelling exploration of English rural society, deftly weaving elements of adventure and romance to portray a world on the brink of change. Haggard employs a rich narrative style, filled with vivid descriptions and historical detail, reflecting the societal transitions of the late Victorian era. The novel intricately balances themes of chivalry and modernization, showcasing the life of Colonel Quaritch, a decorated war hero returning to his idyllic English roots, where he confronts the challenges of a rapidly evolving landscape. H. Rider Haggard, renowned for his pioneering contributions to the adventure genre, drew inspiration from his experiences in colonial Africa and England, as well as his deep understanding of social dynamics. His personal encounters with honor, duty, and the complexities of rural life inform the character development and moral dilemmas faced by Quaritch, grounding the novel in a rich tapestry of personal and cultural history. Recommended for enthusiasts of Victorian literature and those intrigued by the interplay between tradition and progress, Colonel Quaritch, V.C. offers a profound narrative that resonates with contemporary readers. Its engaging plot and deeply relatable characters invite readers to reflect on the enduring values of heroism and community.

Contiene casi todo lo que una historia de aventuras debe tener. Tres hombres parten en una emocionante expedición a través del Africa desconocida en busca de un tesoro. Se enfrentan a una desesperada lucha por la supervivencia en un despiadado y abrasador desierto. Una vez los viajeros alcanzan el reino desconocido de los Kukuanas, sus aventuras se multiplican. Se encuentran asimismo en conflicto con el infame Twala, el jefe tuerto de los Kukuanas, aaayudado por la temida vieja bruja Gagool. Ellos son aterrorizados testigos de una caceria de brujas sedientas de sangre y casi son asesinados por ellos mismos.Finalmente hay una gran batalla entre las fuerzas de Twala y los guerreros de su adversario Ignosi.

El autor nos traslada (como en las Minas del Rey Salomón) a un territorio africano donde las aventuras de los protagonistas se suceden vertiginosamente, asegurando al lector momentos inolvidables. Sir Henry Rider Haggard (1856-1925) esta considerado como uno de los principales maestros de la novela de aventuras moderna. En sus novelas supo combinar como pocos elementos de fantasia con detalles de excelente realismo y pinceladas esotericas que dotan a sus novelas de un ambiente y una magia muy especiales.

The Adventures of an English nobleman and his two fellow travelers crossing the African continent in search of the main characters brother, who disappeared while in search of the treasures of King So

In "Child of Storm," H. Rider Haggard crafts a compelling narrative set against the backdrop of the turbulent Zulu territory during the late 19th century. The novel intricately weaves themes of adventure, colonialism, and personal growth, presenting a vivid portrayal of its protagonist, Allan Quatermain, as he navigates the complexities of life and death amid the tumult of both nature and human conflict. Haggards rich, descriptive prose and his ability to evoke the haunting beauty of the African landscape serve as a testament to the genre of adventure fiction, which gained prominence during the imperial era, reflecting contemporary attitudes towards exploration and otherness. Haggard, a pivotal figure in Victorian literature, drew from his own experiences in Africa as he penned "Child of Storm." Often influenced by his time as a colonial administrator and his fascination with ancient cultures, Haggard imbues the narrative with an authentic sense of place while interrogating the moral ambiguities of imperialist ideologies. His vast understanding of indigenous cultures provides depth to the characters and enriches the storyline, making it not just an adventure tale but a commentary on cultural encounters. For readers seeking a captivating exploration of adventure intertwined with existential musings, "Child of Storm" is a must-read. HaggardAos masterful storytelling offers not just enthralling action but also invites reflection on the consequences of colonial ambitions. This novel, emblematic of its time, stands as a crucial literary piece that continues to resonate in discussions about colonialism and identity.

There are some events of which each circumstance and surrounding detail seems to be graven on the memory in such fashion that we cannot forget it, and so it is with the scene that I am about to describe. It rises as clearly before my mind at this moment as though it had happened but yesterday.It was in this very month something over twenty years ago that I, Ludwig Horace Holly, was sitting one night in my rooms at Cambridge, grinding away at some mathematical work, I forget what. I was to go up for my fellowship within a week, and was expected by my tutor and my college generally to distinguish myself. At last, wearied out, I flung my book down, and, going to the mantelpiece, took down a pipe and filled it. There was a candle burning on the mantelpiece, and a long, narrow glass at the back of it; and as I was in the act of lighting the pipe I caught sight of my own countenance in the glass, and paused to reflect. The lighted match burnt away till it scorched my fingers, forcing me to drop it; but still I stood and stared at myself in the glass, and reflected."Well," I said aloud, at last, "it is to be hoped that I shall be able to do something with the inside of my head, for I shall certainly never do anything by the help of the outside."

December 23I have just buried my boy, my poor handsome boy of whom I was so proud, and my heart is broken. It is very hard having only one son to lose him thus, but Gods will be done. Who am I that I should complain? The great wheel of Fate rolls on like a Juggernaut, and crushes us all in turn, some soon, some lateit does not matter when, in the end, it crushes us all. We do not prostrate ourselves before it like the poor Indians; we fly hither and thitherwe cry for mercy; but it is of no use, the black Fate thunders on and in its season reduces us to powder.Poor Harry to go so soon! just when his life was opening to him. He was doing so well at the hospital, he had passed his last examination with honours, and I was proud of them, much prouder than he was, I think. And then he must needs go to that smallpox hospital. He wrote to me that he was not afraid of smallpox and wanted to gain the experience; and now the disease has killed him, and I, old and grey and withered, am left to mourn over him, without a chick or child to comfort me. I might have saved him, tooI have money enough for both of us, and much more than enoughKing Solomons Mines provided me with that; but I said, "No, let the boy earn his living, let him labour that he may enjoy rest." But the rest has come to him before the labour. Oh, my boy, my boy!I am like the man in the Bible who laid up much goods and builded barnsgoods for my boy and barns for him to store them in; and now his soul has been required of him, and I am left desolate. I would that it had been my soul and not my boys!

The January afternoon was passing into night, the air was cold and still, so still that not a single twig of the naked beech-trees stirred; on the grass of the meadows lay a thin white rime, half frost, half snow; the firs stood out blackly against a steel-hued sky, and over the tallest of them hung a single star. Past these bordering firs there ran a road, on which, in this evening of the opening of our story, a young man stood irresolute, glancing now to the right and now to the left.To his right were two stately gates of iron fantastically wrought, supported by stone pillars on whose summits stood griffins of black marble embracing coats of arms, and banners inscribed with the device Per ardua ad astra. Beyond these gates ran a broad carriage drive, lined on either side by a double row of such oaks as England alone can produce under the most favourable circumstances of soil, aided by the nurturing hand of man and three or four centuries of time.

It was on his fourteenth birthday that Keith Burton discovered the Great Terror, though he did not know it by that name until some days afterward. He knew only, to his surprise and distress, that the "Treasure Island," given to him by his father for a birthday present, was printed in type so blurred and poor that he could scarcely read it.He said nothing, of course. In fact he shut the book very hastily, with a quick, sidewise look, lest his father should see and notice the imperfection of his gift.Poor father! He would feel so bad after he had taken all that pains and spent all that moneyand for something not absolutely necessary, too! And then to get cheated like that. For, of course, he had been cheatedsuch horrid print that nobody could read.But it was only a day or two later that Keith found some more horrid print. This time it was in his fathers weekly journal that came every Saturday morning. He found it again that night in a magazine, and yet again the next day in the Sunday newspaper.Then, before he had evolved a satisfactory explanation in his own mind of this phenomenon, he heard Susan Betts talking with Mrs. McGuire over the back-yard fence.Susan Betts began the conversation. But that was nothing strange:Susan Betts always began the conversation.