❞ رواية The Leopard ❝ ⏤ Giuseppe Tomasi di Lampedusa

هذا القسم يحتوي علي العديد من القصص والروايات باللغة الإنجليزية

(Stories and novels) القصص والروايات
الرواية هي سرد نثري طويل يصف شخصيات خيالية أو واقعية وأحداثاً على شكل قصة متسلسلة، كما أنها أكبر الأجناس القصصية من حيث الحجم وتعدد الشخصيات وتنوع الأحداث، وقد ظهرت في أوروبا بوصفها جنساً أدبياً مؤثراً في القرن الثامن عشر، والرواية حكاية تعتمد السرد بما فيه من وصف وحوار وصراع بين الشخصيات وما ينطوي عليه ذلك من تأزم وجدل وتغذيه الأحداث
A novel is a relatively long work of narrative fiction, normally written in prose form, and which is typically published as a book. The present English word for a long work of prose fiction derives from the Italian novella for "new", "news", or "short story of something new", itself from the Latin novella, a singular noun use of the neuter plural of novellus, diminutive of novus, meaning "new". Walter Scott made a distinction between the novel, in which (as he saw it) "events are accommodated to the ordinary train of human events and the modern state of society" and the romance, which he defined as "a fictitious narrative in prose or verse; the interest of which turns upon marvellous and uncommon incidents". However, many such romances, including the historical romances of Scott, Emily Brontë's Wuthering Heights and Herman Melville's Moby-Dick, are also frequently called novels, and Scott describes romance as a "kindred term". This sort of romance is in turn different from the genre fiction love romance or romance novel
A short story is a piece of prose fiction that typically can be read in one sitting and focuses on a self-contained incident or series of linked incidents, with the intent of evoking a "single effect" or mood.

A dictionary definition is "an invented prose narrative shorter than a novel usually dealing with a few characters and aiming at unity of effect and often concentrating on the creation of mood rather than plot."

The short story is a crafted form in its own right. Short stories make use of plot, resonance, and other dynamic components as in a novel, but typically to a lesser degree. While the short story is largely distinct from the novel or novella (a shorter novel), authors generally draw from a common pool of literary techniques.

The Leopard    

Introduction to the Prince
Rosary and introduction to the Prince - The garden and the dead soldier - Royal audiences - Dinner - A carriage to Palermo -
Going to Mariannina's - Conversation with Tancredi - In the office; estates and politics - In the observatory with Father Pirrone -
Relaxation at luncheon Don Fabrizio and the peasants - Don Fabrizio and his son Paolo - News of the landing, and Rosary again
MAY, 1860
NUNC ET IN HORA MORTIS NOSTRAE. AMEN.
The daily recital of the Rosary was over. For half an hour the steady voice of the Prince had recalled the Glorious and the
Sorrowful Mysteries; for half an hour other voices had interwoven a lilting hum from which, now and again, would chime some
unlikely word: love, virginity, death; and during that hum the whole aspect of the rococo drawing room seemed to change; even
the parrots spreading iridescent wings over the silken walls appeared abashed; even the Magdalen between the two windows
looked a penitent and not just a handsome blonde lost in some dubious daydream, as she usually was.
Now, as the voices fell silent, everything dropped back into its usual order or disorder. Bendico, the great Dane, vexed at having
been shut out, came barking through the door by which the servants had left. The women rose slowly to their feet, their oscillating
skirts as they withdrew baring bit by bit the naked figures from mythology painted all over the milky depths of the tiles. Only an
Andromeda remained covered by the soutane of Father Pirrone, still deep in extra prayer, and it was some time before she could
sight the silvery Perseus swooping down to her aid and her kiss.
The divinities frescoed on the ceiling awoke. The troops of Tritons and Dryads, hurtling across from hill and sea amid clouds of
cyclamen pink toward a transfigured Conca d'Oro, (literally "Golden Shell," is the name of the hills encircling Palermo) and bent
on glorifying the House of Salina, seemed suddenly so overwhelmed with exaltation as to discard the most elementary rules of
perspective; meanwhile the major Gods and Goddesses, the Princes among Gods, thunderous Jove and frowning Mars and
languid Venus, had already preceded the mob of minor deities and were amiably supporting the blue armorial shield of the
Leopard. They knew that for the next twenty-three and a half hours they would be lords of the villa once again. On the walls the
monkeys went back to pulling faces at the cockatoos.
Beneath this Palermitan Olympus the mortals of the House of Salina were also dropping speedily from mystic spheres. The girls
resettled the folds in their dresses, exchanged blue-eyed glances and snatches of schoolgirl slang; for over a month, ever since the
"riots" of the Fourth of April, they had been home for safety's sake from their convent, and regretting the canopied dormitories
and collective coziness of the Holy Redeemer. The boys were already scuffling with each other for possession of a medal of San
Francesco di Paola; the eldest, the heir, the young Duke Paolo, was longing to smoke and, afraid of doing so in his parents'
presence, was fondling the outside of his pocket in which lurked a braided-straw cigar case. His gaunt face was veiled in brooding
melancholy; it had been a bad day: Guiscard, his Irish sorrel, had seemed off form, and Fanny had apparently been unable (or
unwilling) to send him her usual lilac-tinted billet-doux. Of what avail then, to him, was the Incarnation of his Saviour? 

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