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 Wings of the Dove    

“The Wings of the Dove,” published in 1902, represents to my memory a very
old—if I shouldn’t perhaps rather say a very young—motive; I can scarce
remember the time when the situation on which this long-drawn fiction mainly
rests was not vividly present to me. The idea, reduced to its essence, is that a of
[emendation: of a] young person conscious of a great capacity for life, but early
stricken and doomed, condemned to die under short respite, while also
enamoured of the world; aware moreover of the condemnation and passionately
desiring to “put in” before extinction as many of the finer vibrations as possible,
and so achieve, however briefly and brokenly, the sense of having lived. Long
had I turned it over, standing off from it, yet coming back to it; convinced of
what might be done with it, yet seeing the theme as formidable. The image so
figured would be, at best, but half the matter; the rest would be all the picture of
the struggle involved, the adventure brought about, the gain recorded or the loss
incurred, the precious experience somehow compassed. These things, I had from
the first felt, would require much working-out; that indeed was the case with
most things worth working at all; yet there are subjects and subjects, and this one
seemed particularly to bristle. It was formed, I judged, to make the wary
adventurer walk round and round it—it had in fact a charm that invited and
mystified alike that attention; not being somehow what one thought of as a
“frank” subject, after the fashion of some, with its elements well in view and its
whole character in its face. It stood there with secrets and compartments, with
possible treacheries and traps; it might have a great deal to give, but would
probably ask for equal services in return, and would collect this debt to the last
shilling. It involved, to begin with, the placing in the strongest light a person
infirm and ill—a case sure to prove difficult and to require (vi) much handling;
though giving perhaps, with other matters, one of those chances for good taste,
possibly even for the play of the very best in the world, that are not only always
to be invoked and cultivated, but that are absolutely to be jumped at from the
moment they make a sign.

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