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2025.4.23
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@F0380–@唌ê@i‰âjŽÄ跕ኊŒm–¼’˜ ‰_äu–ó@w¬àŒŽ•ñx11Šª5† 1920.5.25
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2025.4.22
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2025.4.21
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@©’FGUY DE MAUPASSANTgTHE GRAVEhiALFRED DE SUMICHRAST “™‰p–ógTHE COMPLETE WORKS OF GUY DE MAUPASSANT.THE INHERITANCE.THE SUNDAYS OF A PARISIAN, ETC.hNEW YORK: BRUNSWICK SUBSCRIPTION CO., [1917]jB‚Ü‚½10û–{‚Ì ALBERT M. C. McMASTER “™‰p–ógTHE WORKS OF GUY DE MAUPASSANTh‘æ9û NEW YORK: P. F. COLLIER & SON COMPANY, 1911 ŠŽû



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2025.4.20
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@©’FANTON CHEKHOVgA MALEFACTORhiCONSTANCE GARNETT ‰p–ógTHE WITCH AND OTHER STORIEShNEW YORK: THE MACMILLAN COMPANY, 1918j

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2025.4.19
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2025.4.18
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2025.4.17
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2025.4.16
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2025.4.15
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2025.4.14
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@D1334–@’f•­Žcáð@i‰p–¼THE OLD GRAVESTONE –¼‰Æ’Z•Ѭàj@’O”ž‘å¬à‰Æ‹œŽi盎“Á‘»Œ´’˜@iŽüj‘‰êC–ó@w—ç”q˜Zx68Šú@1915.9.18
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2025.4.13
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@D1268–@’ZŒ•@Îi•ï“VÎj@wŽž•ñ’Z•Ѭàxi‘æˆêWjãŠCE—L³‘‹Ç1914.3

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2025.4.12
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2025.4.11
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@©’F—¼ì•i‚Æ‚à‚ÉŒ´ì‚Í ANTON TCHEKHOV ìAS. KOTELIANSKY AND J. M. MURRY ‰p–ógTHE BEThigTHE BET, AND OTHER STORIEShBOSTON: J. W. LUCE & CO., 1915j



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2025.4.10
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2025.4.9
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@D0724–@’n–’†”V‘Îæ@åJ”Œ”[’˜ Žl’¿i’¾Šå™uj–ó@wŠw¶ŽGŽx6Šª2† 1919.2.5
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2025.4.8
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2025.4.7
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@©’FALEXANDER KUPRIN ìALEO PASVOLSKY ‰p–ógTHE PARK OF KINGShigTHE BRACELET OF GARNETS: AND OTHER STORIEShNEW YORK: CHARLES SCRIBNER'S SONS, 1917j

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@D0682–@‘掵l iŒ´–¼THE SEVENTH PASSENGER Šïî¬àj@PERRY NEWBERRY’˜ 苕‹¶–ó@w¬à‘åŠÏx6W 1916.6

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2025.4.5
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2025.4.4
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2025.4.3
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2025.4.2
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@©’FJAMES PARTONgGENERAL WASHINGTON AT HOMEhigBOOK OF BIOGRAPHY; OR, BIOGRAPHICAL SKETCHES OF EMINENT PERSONS OF ALL AGES AND COUNTRIEShNEW YORK: R. WORTHINGTON, [1880] ŠŽûj



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2025.4.1
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@u“à•vi‰âjŽÄè·•v’˜A–œ›t–ó@‰p–ó‚Ì1—áFANTON CHEKHOV ìACONSTANCE GARNETT ‰p–ógTHE HELPMATEhigTHE DARLING AND OTHER STORIEShNEW YORK: THE MACMILLAN COMPANY, 1916 ŠŽûjA
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@u‘–ޏ“I”ãŠLiTHE LOST PHOEBEjvi”üj“¿—–ŽUiTHEODORE DREISERj’˜A‹•”’–ó@THEODORE DREISERgTHE LOST PHOEBEhigTHE CENTURY MAGAZINEh1916.4jA
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@u”nŠï“I—畨igTHE GIFT OF THE MAGIhjvi”üj‰œ‹œ—˜ìA‹•”’–ó@O. HENRYgTHE GIFT OF THE MAGIhigTHE FOUR MILLIONhNEW YORK: McCLURE, PHILLIPS & CO.,1906jA
@u‘圗[“Iœð‰÷vi“¿j‘h“Á–åiHERMANN SUDERMANNj’˜A‹•”’–ó@HERMANN SUDERMANN ìAGRACE ISABEL COLBRON ‰p–ógA NEW YEAR'S EVE CONFESSIONhigSHORT STORY CLASSICS iFOREIGNj^VOLUME THREE^GERMANhEDITED BY WILLIAM PATTEN, NEW YORK: P. F. COLLIER & SON, 1907 ŠŽûjA
@ul‘ÕŽäCÄŒ©iADIOS, CORDERA!jvi¼”ljåjˆ¢fŽziLEOPOLDO ALASjìA‹•”’–ó@LEOPOLDO ALAS ìAJEAN RAYMOND BIDWELL ‰p–ógADIOS, CORDERAhigSHORT STORIEShV32 #2, 1898.11hj1892B‚Ü‚½‚Í WALTER BROOKS ‰p–ógSTORIES FROM FOUR LANGUAGES, RETOLD IN ENGLISHhNEW YORK: INGALLS KIMBALL PUBLISHER Ч”N•s‹LiBRENTANO'S PUBLISHERS, 1905jA
@uŠÅ•sŒ©“I­iTHE INVISIBLE WOUNDjvi™±‰å—˜j卡—…—‰ŒmŽz–@˜C’ñiKAROLY KISFALUDIj’˜A‹•”’–ó@KAROLY KISFALUDI ìAJOSEPH SZEBENYEI ‰p–ógTHE INVISIBLE WOUNDhigGREAT SHORT STORIES OF THE WORLDhTHE WORLD PUBLISHING COMPANY, 1925 ŠŽûj



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2025.3.31
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@‡@C0358–@©‹W—^’å‘€ iBOULE DE SUIGÏÏ •¶åYj@”œ”‘ŽO’˜ ‘ò–¯–ó@¤–±w•w—ŽGŽx6Šª5-7† 1920.5-7
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@©’FGUY DE MAUPASSANTgBOULE DE SUIFh1880B‰p–ó‚Ì1—áFGUY DE MAUPASSANTgBOULE DE SUIFhiALBERT M. C. McMASTER, B.A.AA. E. HENDERSON, B.A.AMME. QUESADA “™gBOULE DE SUIF AND OTHER STORIEShLONDON; NEW YORK: STANDARD BOOK COMPANY, 1911^1922j


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@‡AL1167–@—¼ŒÂ¬“I•º@–Ñ”ŒK’˜ i’¾j‘ò–¯–ó@w¬àŒŽ•ñx11Šª2† 1920.2.25
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@©’FGUY DE MAUPASSANTgPETIT SOLDATh1885B‰p–ó‚Ì1—áFGUY DE MAUPASSANTgTWO LITTLE SOLDIERShiALBERT M. C. McMASTER, B.A.AA. E. HENDERSON, B.A.AMME. QUESADA “™gBOULE DE SUIF AND OTHER STORIEShLONDON; NEW YORK: STANDARD BOOK COMPANY, 1911^1922j



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2025.3.29
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@©’FWILLIAM LE QUEUXgTHE NOUGHTS AND CROSSEShB‰o‚ÍgTHE PREMIER MAGAZINEh#24, 1916.4B˜AÚggCINDERSh OF HARLEY STREETh’†‚Ì1ìB’Ps–{‚ÍggCINDERShOF HARLEY STREET: BEING SOME CURIOUS LEAVES FROM THE DIARY OF VILLIERS BEETHOM-SAUNDERS, M.D., REVEALED BY HIS FRIEND AND EXECUTOR, CHARLES BARRINGTON-MAYNE, ESQUIRE, BARRISTER-AT-LAWhLONDON: WARD, LOCK & CO, 1916^1918


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@‡AD0792–@“dŒ¶Šï’k@^”@¼–ó@ãŠCE‰ü—ǬàŽÐ Œõ34(1908)
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@©’F‚¢‚í‚ä‚éu–@—†‚«’jŽÝ–`Œ¯ævB”Å–{‘½”B‰p–ó‚Ì1—áBRUDOLPH ERICH RASPEgTHE ADVENTURES OF BARON MUNCHAUSENhPHILADELPHIA: HENRY ALTEMUS COMPANY, 1903BŠ¿–ó‚Ì’ê–{‚Í•s–¾B



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@©’FŒ´ì‚Í WILLIAM SHAKESPEAREgTHE TRAGEDY OF HAMLET, PRINCE OF DENMARKhBŠ¿–ó‚ÍŽU•¶‰»ì•i‚É‚à‚Æ‚­‚ª’ê–{•s–¾B



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2025.3.29
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@C1110–@Žœ•ê”VS iŒ´–¼THE HALT –¼‰Æ’Z•Ñ—Ï—¬àj@i‰pjèè’BOUIDA’˜ iŽüj‘‰êC–ó@w—ç”q˜Zx62Šú 1915.8.7
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@©’FOUIDAi‚Ü‚½MARIE LOUISE DE LA RAMÉEjgTHE HALThigSANTA BARBARA, ETC.hLONDN: CHATTO & WINDUS, 1891 ŠŽûj



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2025.3.28
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@B0228–@”’à÷“c‘¾‘¾@iMADAME BAPTISTEj@i–@j”œ”‘ŽO’˜@’£‰©–ó@wV”Nx6Šª3†@1919.3.15
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@©’FGUY DE MAUPASSANTgMADAME BAPTISTEhigGIL BLASh1882.11.28 ŒfÚBgMLLE[MADEMOISELLE] FIFIhPARIS: VICTOR HAVARD, 1883 ŠŽûj



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2025.3.27
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@C1102–@Žœ•ê—Ü@LIEUTENANT MILUTIN KRUNICH’˜ ‚ŒNŽX–ó@¤–±w•w—ŽGŽx4Šª9† 1918.9.5

@©’FMILUTIN KRUNICHgTHE PLACE OF THE SKULLhigTHE ATLANTIC MONTHLYh1917.7, pp.51-60j



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2025.3.26
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@C1084–@Ž¥‹ç@i‰pj”ž“¹Ž’˜ —«”¼™Ni—«”¼”_j–ó@wV”Nx2Šª5† 1917.1.1
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@©’FJ. E.iJOYCE EMMERSON PRESTONjMUDDOCKgTHE CHINA DOGhigSTORIES WEIRD AND WONDERFULhLONDON: CHATTO & WINDUS, 1889j



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2025.3.25
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@C1064–@忉Ý@i‰âjANTON TCHEKOFF’˜ ’¾«m–ó@w‘¾•½—mx4Šª2† 1923.9.5
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@©’FANTON TCHEKOFF ìAHILMAR BAUKHAGE ‰p–ógTHE BOOR: A COMEDY IN ONE ACThNEW YOR: SAMUEL FRENCH:PUBLISHER, [1915]



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2025.3.24
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@C0663–@á—@i–@j”œ”‘ŽOŒ´’˜ iŽÓjŠ¥¶–ó@w“Œ•ûŽGŽx17Šª18† 1920.9.25
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@©’FGUY DE MAUPASSANTgFOUhiŽGŽgLE GAULOISh1885.9.2 ŒfÚjB‚Ì‚¿gMONSIEUR PARENThPARIS: LIBRAIRIE PAUL OLLENDORFF [1885] ŠŽû



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2025.3.23
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2025.3.22
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2025.3.21
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@©’FAUGUST STRINDBERG ìATHOMAS SELTZER ‰p–ógUNNATURAL SELECTION OR THE ORIGIN OF RACEhigMARRIEDhNEW YORK: BONI AND LIVERIGHT, INC., 1917 ŠŽûj

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2025.3.20
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2025.3.19
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2025.1.27
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@‡@D0473–@“—¢ÏÏ[‘ƒ]‰ç‘ i’ã’T¬àj 9-16Í@i”üj”’•Ÿ”Ý•M‹L •sËi‹–ŽwŒµj•Mq ¶‰ÂŽQÚ@Ÿˆ“ªw—䓌“ú•ñxŒõ34.7.3-29i1908.7.30-8.25j@GUY NEWELL BOOTHBY’˜
@‡AD0465–@“ŒAŠï‰@GUY BOOTHBYgTHE COUNTESS LONDAhLONDON: GEORGE BELL AND SONS, 1903

@å«‘R‰ä–矓—LQ“žs—䓌“ú•ñti1908j“I—Lè•¶ŒC’A¥œn¬à“I•W‘èisŸX‘ƒä†Õt˜asŸXŒAŠï‰t‘ŠŽ—“xœk‚j˜aìŽÒ˜ÒŠÅC‘´’ê–{œäác¥gTHE COUNTESS LONDAhB
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2025.1.24
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@S1322–@ޏM“¾MiqŠC¬àj@ãŠC’mVŽºŽålŽüŒjâ™–óq@wŒŽŒŽ¬àx1”N3-4† Œõ32.11.15-12.15(1906.12.30-1907.1.28)

@Œ´ì‚Í MORLEYiCHARLESjROBERTS (1857-1942)gTHE OVERCROWDED ICEBERGhB
@‰o‚ÍŽGŽgTHE STRAND MAGAZINEhVOL.24, NO. 170, 1905.2iUS”Å‚Í1905.3jB
@‚Ì‚¿’Ps–{‡@gTHE BLUE PETER: SEA COMEDIEShLONDON: EVELEIGH NASH, 1906ŠŽûB
@‚Ü‚½‡AgTHE BLUE PETER: SEA YARNShBOSTON: L. C PAGE & COMPANY, 1908ŠŽû



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2025.1.20
@”n•¶ˆÌŽ‚æ‚育Žw“E‚¢‚½‚¾‚«‚Ü‚µ‚½BŠ´ŽÓB

@M0203–@æÌ‘“z iŒRŽ–¬àÏÏj@i“¿j‘h“¿–Ö’˜ ’†‘¤–±ˆó‘ŠÙ•Ò–óŠ–ó@ãŠCE’†‘¤–±ˆó‘ŠÙ 1905.4^9Ä”ÅÏÏ à•”‘p‘“ñ=6
@HERMANN SUDERMANNgDER KATZENSTEGh1889BiƒY[ƒ_[ƒ}ƒ“’˜j“o’£’|•—–ówæÌ‘“zx‹à`“°‘Њ”Ž®‰ïŽÐ1904.9.15‚©‚ç‚ÌŒàžd–óBã‹L”Å–{–¢Šm”F

@y¡ˆÂzãSŠj›”CsæÌš “zt“IŠm¥‹à`“°‘Њ”Ž®‰ïŽÐ“Iæ¡•¶B“ú•¶”ÅŠŸ’ê–{•s”rœ¥‰p•¶–{“Içzæ¡C™ÒlF[’†‘ºS4-55]ƒY[ƒfƒ‹ƒ}ƒ“‚Ìw”L‹´x
@‰p•¶”Å”@‰ºŠŽ¦F
@HERMANN SUDERMANN The Cats' Bridge / tr. from the German. [With] a Biographical Sketch, P. F. Collier & Son, 1890

@©’F•ʂ̉p–ó–{‚ª‚ ‚邱‚Ƃ͊ù’m‚Ì‚±‚Ƃł·i‰º‚ÌŠÖ˜A˜_•¶‚ðŽQÆjB
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@Œ©‰ð‚Ì‘Šˆá‚Å‚µ‚傤‚©‚ç”n•¶ˆÌŽ‚ª‰p–ó‚ð‹­’²‚³‚ê‚é‚̂͂²Ž©—R‚Å‚·B‚»‚̂΂ ‚¢•ʂ̉p–ó BEATRICE MARSHALL –ógREGINA, OR THE SINS OF THE FATHERShLONDON, NEW YORK: JOHN LANE, 1898 ‚à‚ ‚邱‚ƂɌ¾‹y‚³‚ê‚邿‚¤‚¨Š©‚ß‚µ‚Ü‚·i’F2015.1.19–é‚Éu•ʂ̉p–óv‚ɂ‚¢‚Ă̒ljÁƒ[ƒ‹‚ª‚ ‚è‚Ü‚µ‚½jB‚Ü‚½’|•—‚ª‰p–ó‚̂ǂ̕”•ª‚ðŽQl‚É‚µ‚½‚Ì‚©‚²‹³Ž¦‚¢‚½‚¾‚¯‚ê‚΂³‚¢‚í‚¢‚Å‚·B
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2025.1.17
@—Ü“ú–ów•ÐŽè”ülx‚Ì’ê–{‚ɂ‚¢‚Ä‘±•ñ‚Å‚·B
@—Ü‚ª’ê–{‚ÉŽg—p‚µ‚½‰Â”\«‚ª‚ ‚é‚͉̂p–ó‚QŽí—Þ‚Å‚µ‚½B

@‡@S. LEE ‰p–ógTHE LOST CASKETiޏ‚í‚ꂽ” jhNEW YORK: G. P. PUTNAM'S SONS, 1881
@‡A‰p–óŽÒ•s‹LgTHE SEVERED HANDiØ‚ç‚ꂽŽèjhLONDON: VlZETELLY & CO., 1886

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@‡@gTHE LOST CASKEThp.519
@She made three steps and raised a black curtain which masked a niche in the wall. Alice uttered a cry of horror and turned away her eyes. She had already raised this curtain and knew what it concealed.
@gIt was you, then ? " murmured Maxime.
@gHave you not guessed it ? " she asked, showing her left arm.
@He had not guessed it, or rather, he had not wished to guess, for the conversation he had just heard should have left him no doubt. He understood all now ; the sad history of the stranger contained no more miysteries for him.
@”Þ—‚Í‚R•ài‚ÝA•ǂ̌E‚Ý‚ð‰B‚·•‚¢ƒJ[ƒeƒ“‚ðã‚°‚½BƒAƒŠƒX‚Í‹°•|‚Ì‹©‚Ѻ‚ð‚ ‚°–Ú‚ð‚»‚ç‚µ‚½B”Þ—‚Í‚·‚łɂ±‚̃J[ƒeƒ“‚ðã‚°‚½‚±‚Æ‚ª‚ ‚è‚»‚ꂪ‰½‚ð‰B‚µ‚Ä‚¢‚é‚©‚ð’m‚Á‚Ä‚¢‚½B
@u‚ ‚È‚½‚Ì‚¾‚Á‚½‚̂ł·‚ËHv‚ƃ}ƒLƒVƒ€‚͂‚Ԃ₢‚½B
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@‡AgTHE SEVERED HANDhp.225
@Madame Yalta stepped forward and raised a black curtain, which concealed a small niche in the wall of the boudoir. Alice uttered a cry of horror and averted her eyes. She had previously raised this curtain, and knew what it concealed ; she had raised it on the day she entered the boudoir to avoid a meeting with Maxime, who had called to see Madame Yalta. gYes, look," repeated the countess, in a voice that vibrated strangely ; glook at this severed hand !"
@gThen it was you ! " murmured Maxime.
@gHad you not discovered it ? " she asked, extending her left arm, which was provided with an artificial hand. The conversation Maxime had just heard had left no room for doubt, and, besides, he recollected that he had never seen Madame Yalta ungloved. She had fenced in gloves, she had driven in gloves, and when she had received him reclining on a divan or in bed her hands had not been visible. He understood all now ; there was no more mystery.
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