ACT I The MARCH'S dining-room opens through French windows on one of thosegardens which seem infinite, till they are seen to be coterminouswith the side walls of the house, and finite at the far end, becauseonly the thick screen of acacias and sumachs prevents another housefrom being seen. The French and other windows form practically allthe outer wall of that dining-room, and between them and the screenof trees lies the difference between the... more...

ACT I Scene: A room in the King's house at Burren.Large window at back with deep window seat.Doors right and left. A small table and somechairs. Dall Glic: (Coming in with tray, which he putson table. Goes back to door.) You can come in,King. There is no one here. King: (Coming in.) That's very good. I wasin dread the Queen might be in it. Dall Glic: It is a good thought I had bringingit in here, and she gone to give learning to... more...

INTRODUCTION The greatest of English dramatists except Shakespeare, the first literary dictator and poet-laureate, a writer of verse, prose, satire, and criticism who most potently of all the men of his time affected the subsequent course of English letters: such was Ben Jonson, and as such his strong personality assumes an interest to us almost unparalleled, at least in his age. Ben Jonson came of the stock that was centuries after to give to... more...

ACT I. Scene I.—ELSINORE. A Platform before the Castle. Night. Francisco on his post. Enter to him Bernardo, L.H. Ber. Who's there? Fran. (R.) Nay, answer me: stand, and unfold yourself. Ber. Long live the king! Fran. Bernardo? Ber. He. Fran. You come most carefully upon your hour. Ber. 'Tis now struck twelve; get thee to bed, Francisco. Fran. For this relief much thanks: [Crosses to L.] 'tis bitter cold, And I am... more...

PREFACE We are confronted at the present time by the woman who is anxious to lay by means for her own support irrespective of the protection of her husband. In this play I have indicated the tendency of this difficulty and the consequent troubles which the older civilizations will bring upon themselves when the woman's standing as a worker is generally acknowledged. My conclusion, namely, that all these complications and troubles are, at present... more...

Actus primus. Scena prima. Enter Uncle and Merchant. Merc. When saw you Valentine? Uncle. Not since the Horse-race, he's taken up with those that woo the Widow. Mer. How can he live by snatches from such people? he bore a worthy mind. Uncle. Alas, he's sunk, his means are gone, he wants, and which is worse,Takes a delight in doing so. Mer. That's strange. Unc. Runs Lunatick, if you but talk of states, he cannot be brought (now he has... more...

SCENE I. A high, rocky shore of the lake of Lucerne opposite Schwytz.The lake makes a bend into the land; a hut stands at a shortdistance from the shore; the fisher boy is rowing about in hisboat. Beyond the lake are seen the green meadows, the hamlets,and arms of Schwytz, lying in the clear sunshine. On the leftare observed the peaks of the Hacken, surrounded with clouds; tothe right, and in the remote distance, appear the Glaciers. TheRanz des... more...

ACT I [MADHAV'S House] MADHAV. What a state I am in! Before he came, nothing mattered; I felt so free. But now that he has come, goodness knows from where, my heart is filled with his dear self, and my home will be no home to me when he leaves. Doctor, do you think he— PHYSICIAN. If there's life in his fate, then he will live long.But what the medical scriptures say, it seems— MADHAV. Great heavens, what? PHYSICIAN. The... more...

ACT I It is half-past nine of a July evening. In a dining-roomlighted by sconces, and apparelled in wall-paper, carpet, andcurtains of deep vivid blue, the large French windows betweentwo columns are open on to a wide terrace, beyond which are seentrees in darkness, and distant shapes of lighted houses. On oneside is a bay window, over which curtains are partly drawn.Opposite to this window is a door leading into the hall. At anoval rosewood... more...

LECTURE I THE SUBSTANCE OF SHAKESPEAREAN TRAGEDY The question we are to consider in this lecture may be stated in a variety of ways. We may put it thus: What is the substance of a Shakespearean tragedy, taken in abstraction both from its form and from the differences in point of substance between one tragedy and another? Or thus: What is the nature of the tragic aspect of life as represented by Shakespeare? What is the general fact shown now in... more...