ADVENTURE books online

Reading books adventure Nowadays a big variety of genres are exist. In our electronic library you can choose any book that suits your mood, request and purpose. This website is full of free ebooks. Reading online is very popular and become mainstream. This website can provoke you to be smarter than anyone. You can read between work breaks, in public transport, in cafes over a cup of coffee and cheesecake.
No matter where, but it’s important to read books in our elibrary , without registration.



Today let's analyze the genre adventure. Genre adventure is a reference book for adults and children. But it serve for adults and children in different purposes. If a boy or girl presents himself as a brave and courageous hero, doing noble deeds, then an adult with pleasure can be a little distracted from their daily worries.


A great interest to the reader is the adventure of a historical nature. For example, question: «Who discovered America?»
Today there are quite interesting descriptions of the adventures of Portuguese sailors, who visited this continent 20 years before Columbus.




It should be noted the different quality of literary works created in the genre of adventure. There is an understandable interest of generations of people in the classic adventure. At the same time, new works, which are created by contemporary authors, make classic works in the adventure genre quite worthy competition.
The close attention of readers to the genre of adventure is explained by the very essence of man, which involves constant movement, striving for something new, struggle and achievement of success. Adventure genre is very excited
Heroes of adventure books are always strong and brave. And we, off course, want to be like them. Unfortunately, book life is very different from real life.But that doesn't stop us from loving books even more.

Read books online » Adventure » Scaramouche: A Romance of the French Revolution by Rafael Sabatini (dark books to read txt) 📖

Book online «Scaramouche: A Romance of the French Revolution by Rafael Sabatini (dark books to read txt) 📖». Author Rafael Sabatini



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how nimble he was in the art of making white look black. The company was impressed, and no one more that M. Binet, who found himself supplied with a crushing argument against those who in future might tax him with the impudent plagiarisms which he undoubtedly perpetrated. He retired in the best order he could from the position he had taken up at the outset.

“So that you think,” he said, at the end of a long outburst of agreement, “you think that our story of ‘The Heartless Father’ could be enriched by dipping into ‘Monsieur de Pourceaugnac,’ to which I confess upon reflection that it may present certain superficial resemblances?”

“I do; most certainly I do—always provided that you do so judiciously. Times have changed since Moliere.” It was as a consequence of this that Binet retired soon after, taking Andre-Louis with him. The pair sat together late that night, and were again in close communion throughout the whole of Sunday morning.

After dinner M. Binet read to the assembled company the amended and amplified canevas of “The Heartless Father,” which, acting upon the advice of M. Parvissimus, he had been at great pains to prepare. The company had few doubts as to the real authorship before he began to read; none at all when he had read. There was a verve, a grip about this story; and, what was more, those of them who knew their Moliere realized that far from approaching the original more closely, this canevas had drawn farther away from it. Moliere’s original part—the title role—had dwindled into insignificance, to the great disgust of Polichinelle, to whom it fell. But the other parts had all been built up into importance, with the exception of Leandre, who remained as before. The two great roles were now Scaramouche, in the character of the intriguing Sbrigandini, and Pantaloon the father. There was, too, a comical part for Rhodomont, as the roaring bully hired by Polichinelle to cut Leandre into ribbons. And in view of the importance now of Scaramouche, the play had been rechristened “Figaro-Scaramouche.”

This last had not been without a deal of opposition from M. Binet. But his relentless collaborator, who was in reality the real author—drawing shamelessly, but practically at last upon his great store of reading—had overborne him.

“You must move with the times, monsieur. In Paris Beaumarchais is the rage. ‘Figaro’ is known to-day throughout the world. Let us borrow a little of his glory. It will draw the people in. They will come to see half a ‘Figaro’ when they will not come to see a dozen ‘Heartless Fathers.’ Therefore let us cast the mantle of Figaro upon some one, and proclaim it in our title.”

“But as I am the head of the company...” began M. Binet, weakly.

“If you will be blind to your interests, you will presently be a head without a body. And what use is that? Can the shoulders of Pantaloon carry the mantle of Figaro? You laugh. Of course you laugh. The notion is absurd. The proper person for the mantle of Figaro is Scaramouche, who is naturally Figaro’s twin-brother.”

Thus tyrannized, the tyrant Binet gave way, comforted by the reflection that if he understood anything at all about the theatre, he had for fifteen livres a month acquired something that would presently be earning him as many louis.

The company’s reception of the canevas now confirmed him, if we except Polichinelle, who, annoyed at having lost half his part in the alterations, declared the new scenario fatuous.

“Ah! You call my work fatuous, do you?” M. Binet hectored him.

“Your work?” said Polichinelle, to add with his tongue in his cheek: “Ah, pardon. I had not realized that you were the author.”

“Then realize it now.”

“You were very close with M. Parvissimus over this authorship,” said Polichinelle, with impudent suggestiveness.

“And what if I was? What do you imply?”

“That you took him to cut quills for you, of course.”

“I’ll cut your ears for you if you’re not civil,” stormed the infuriated Binet.

Polichinelle got up slowly, and stretched himself.

“Dieu de Dieu!” said he. “If Pantaloon is to play Rhodomont, I think I’ll leave you. He is not amusing in the part.” And he swaggered out before M. Binet had recovered from his speechlessness.





CHAPTER IV. EXIT MONSIEUR PARVISSIMUS

Ar four o’clock on Monday afternoon the curtain rose on “Figaro-Scaramouche” to an audience that filled three quarters of the market-hall. M. Binet attributed this good attendance to the influx of people to Guichen for the fair, and to the magnificent parade of his company through the streets of the township at the busiest time of the day. Andre-Louis attributed it entirely to the title. It was the “Figaro” touch that had fetched in the better-class bourgeoisie, which filled more than half of the twenty-sous places and three quarters of the twelve-sous seats. The lure had drawn them. Whether it was to continue to do so would depend upon the manner in which the canevas over which he had laboured to the glory of Binet was interpreted by the company. Of the merits of the canevas itself he had no doubt. The authors upon whom he had drawn for the elements of it were sound, and he had taken of their best, which he claimed to be no more than the justice due to them.

The company excelled itself. The audience followed with relish the sly intriguings of Scaramouche, delighted in the beauty and freshness of Climene, was moved almost to tears by the hard fate which through four long acts kept her from the hungering arms of the so beautiful Leandre, howled its delight over the ignominy of Pantaloon, the buffooneries of his sprightly lackey Harlequin, and the thrasonical strut and bellowing fierceness of the cowardly Rhodomont.

The success of the Binet troupe in Guichen was assured. That night the company drank Burgundy at M. Binet’s expense. The takings reached the sum of eight louis, which was as good business as M. Binet had ever done in all his career. He was very pleased. Gratification rose like steam from his fat body. He even condescended so far as to attribute a share of the credit for the success to M. Parvissimus.

“His suggestion,” he was careful to say, by way of properly delimiting that share, “was most valuable, as I perceived at the time.”

“And his cutting of quills,” growled Polichinelle. “Don’t forget that. It is most important to have by you a man who understands how to cut a quill, as I shall remember when I turn author.”

But not even that gibe could stir M. Binet out of his lethargy of content.

On Tuesday the success was repeated artistically and augmented financially. Ten louis and seven livres was the enormous sum that Andre-Louis, the doorkeeper, counted over to M. Binet after the performance. Never yet had M. Binet made so much money in one evening—and a miserable little village like Guichen was certainly the last place in which he would have expected this windfall.

“Ah, but

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