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Showing: 1-10 results of 17

THE NATUREWOMAN ACT I [Scene shows a luxuriously furnished drawing-room. Double doors, centre, opening to hall and stairway. Grand piano at right, fireplace next to it, with large easy-chair in front. Centre table; windows left, and chairs.] [At rise: ETHEL standing by table; a beautiful but rather frail girl of sixteen; opening a package containing photograph in frame.] ETHEL. Oceana! Oceana! [She gazes at it in rapture.] Oh, I wonder if... more...

"Jimmie," said Lizzie, "couldn't we go see the pictures?" And Jimmie set down the saucer of hot coffee which he was in the act of adjusting to his mouth, and stared at his wife. He did not say anything; in three years and a half as a married man he had learned that one does not always say everything that comes into one's mind. But he meditated on the abysses that lie between the masculine and feminine intellects. That it should be possible for... more...

I The beginning of this strange adventure was my going to see a motion picture which had been made in Germany. It was three years after the end of the war, and you'd have thought that the people of Western City would have got over their war-phobias. But apparently they hadn't; anyway, there was a mob to keep anyone from getting into the theatre, and all the other mobs started from that. Before I tell about it, I must introduce Dr. Karl Henner,... more...

INTRODUCTORY Bootstrap-lifting Bootstrap-lifting? says the reader. It is a vision I have seen: upon a vast plain, men and women are gathered in dense throngs, crouched in uncomfortable and distressing positions, their fingers hooked in the straps of their boots. They are engaged in lifting themselves; tugging and straining until they grow red in the face, exhausted. The perspiration streams from their foreheads, they show every symptom... more...

The scenes of the Play-play change with each act. For Act I the set is a drawing-room in a wealthy old New York home, entrances Right-center and Left. Both front and rear scenes are lighted by many small lights, which can be turned off a few at a time, so that one scene or the other fades slowly. When the Real-play is in full light, the Play-play is dark and invisible. When the front scene is entirely dark, we see the Play-play, slightly veiled... more...


CHAPTER I "I am," said Reggie Mann, "quite beside myself to meet this LucyDupree." "Who told you about her?" asked Allan Montague. "Ollie's been telling everybody about her," said Reggie. "It sounds really wonderful. But I fear he must have exaggerated." "People seem to develop a tendency to exaggeration," said Montague, "when they talk about Lucy." "I am in quite a state about her," said Reggie. Allan Montague looked at him and smiled.... more...

CHAPTER I "Return at ten-thirty," the General said to his chauffeur, and then they entered the corridor of the hotel. Montague gazed about him, and found himself trembling just a little with anticipation. It was not the magnificence of the place. The quiet uptown hotel would have seemed magnificent to him, fresh as he was from the country; but, he did not see the marble columns and the gilded carvings-he was thinking of the men he was to meet.... more...

ACT I [JULIA PATTERSON'S apartments in a model tenement on the lower East Side. The scene shows the living-room, furnished very plainly, but in the newest taste; "arts and crafts" furniture, portraits of Morris and Ruskin on the walls; a centre table, a couple of easy-chairs, a divan and many book-shelves. The entrance from the outer hall is at centre; entrance to the other rooms right and left.] [At rise: JULIA has pushed back the lamp from... more...

Chapter 1 It was four o'clock when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of Marija Berczynskas. The occasion rested heavily upon Marija's broad shoulders—it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling every one out of the way, and scolding and exhorting all day... more...

PART I WRITING A POEM The book! The book! This day, Saturday, the sixth day of April, 1901, I begin the book! I have never kept a journal—I have been too busy living; but to-day I begin a journal. I am so built that I can do but one thing at a time. Now that I have begun The Captive, I must be haunted with it all day; when I am not writing it I must be dreaming it, or restless because I am not. Therefore it occurred to me that in the... more...