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.

TABLE OF CONTENTS
TRANSLATOR’S PREFACE . . . . . . . . . . . 38
I: ABOUT THIS TRANSLATION . . . . . . . . . 38
TRANSLATORS PREFACE 2 . . . . . . . . . . . 46
II: ABOUT CERVANTES AND DON QUIXOTE . . . . 46
COMMENDATORY VERSES 1 . . . . . . . . . 94
URGANDA THE UNKNOWN . . . . . . . . . . 94
COMMENDATORY VERSES 2 . . . . . . . . . 98
AMADIS OF GAUL . . . . . . . . . . . . . 98
COMMENDATORY VERSES 3 . . . . . . . . . 99
DON BELIANIS OF GREECE . . . . . . . . . . 99
COMMENDATORY VERSES 4 . . . . . . . . . 100
THE LADY OF ORIANA . . . . . . . . . . . . 100
COMMENDATORY VERSES 5 . . . . . . . . . 101
GANDALIN, SQUIRE OF AMADIS OF GAUL, . . . . 101
COMMENDATORY VERSES 6 . . . . . . . . . 102
FROM EL DONOSO, THE MOTLEY POET, . . . . . 102
COMMENDATORY VERSES 7 . . . . . . . . . 103
ON ROCINANTE . . . . . . . . . . . . . . 103
COMMENDATORY VERSES 8 . . . . . . . . . 104
ORLANDO FURIOSO . . . . . . . . . . . . . 104
COMMENDATORY VERSES 9 . . . . . . . . . 105
THE KNIGHT OF PHOEBUS . . . . . . . . . . 105
COMMENDATORY VERSES 10 . . . . . . . . . 106
FROM SOLISDAN . . . . . . . . . . . . . . 106
COMMENDATORY VERSES 11 . . . . . . . . . 107
DIALOGUE . . . . . . . . . . . . . . . . 107
THE AUTHOR’S PREFACE . . . . . . . . . . . 108
DEDICATION OF PART I . . . . . . . . . . . . 116
                        OF WHAT HAPPENED TO OUR KNIGHT WHEN HE
                                                   LEFT THE INN
DAY was dawning when Don Quixote quitted the inn, so happy, so gay, so exhilarated at finding himself now dubbed a knight, that his joy was like to burst his
horse-girths. However, recalling the advice of his host as to the requisites he
ought to carry with him, especially that referring to money and shirts, he determined to go home and provide himself with all, and also with a squire, for he
reckoned upon securing a farm-labourer, a neighbour of his, a poor man with a
family, but very well qualified for the office of squire to a knight. With this object
he turned his horse’s head towards his village, and Rocinante, thus reminded of
his old quarters, stepped out so briskly that he hardly seemed to tread the earth.
He had not gone far, when out of a thicket on his right there seemed to come
feeble cries as of some one in distress, and the instant he heard them he exclaimed, “Thanks be to heaven for the favour it accords me, that it so soon offers
me an opportunity of fulfilling the obligation I have undertaken, and gathering the
fruit of my ambition