Continental European Books

ACT I The Act takes place in autumn in a large village. The Scene represents Peter's roomy hut. Peter is sitting on a wooden bench, mending a horse-collar. Anísya and Akoulína are spinning, and singing a part-song. PETER [looking out of the window] The horses have got loose again. If we don't look out they'll be killing the colt. Nikíta! Hey, Nikíta! Is the fellow... more...

SCENE I.—The gate of the castle. MAIDSERVANTS (within). Open the gate! Open the gate! PORTER (within). Who is there? Why do you come and wake me up? Go out by the little gates; there are enough of them!… A MAIDSERVANT (within). We have come to wash the threshold, the gate, and the steps; open, then! open! ANOTHER MAIDSERVANT (within). There are going to be great happenings! THIRD MAIDSERVANT... more...

ACT I (SCENE.—A large room looking upon a garden door in the left-hand wall, and two in the right. In the middle of the room, a round table with chairs set about it, and books, magazines and newspapers upon it. In the foreground on the left, a window, by which is a small sofa with a work-table in front of it. At the back the room opens into a conservatory rather smaller than the room. From the... more...

INTRODUCTION.* The anecdotic history of John Gabriel Borkman is even scantier than that of Little Eyolf. It is true that two mentions of it occur in Ibsen's letters, but they throw no light whatever upon its spiritual antecedents. Writing to George Brandes from Christiania, on April 24, 1896, Ibsen says: "In your last letter you make the suggestion that I should visit London. If I knew enough... more...

PLAY IN FOUR ACTS. ACT FIRST. (A rocky coast, running precipitously down to the sea at the back. To the left, a boat-house; to the right, rocks and pine-woods. The masts of two war-ships can be seen down in the cove. Far out to the right, the ocean, dotted with reefs and rocky islands; the sea is running high; it is a stormy snow-grey winter day.) (SIGURD comes up from the ships; he is clad in a white... more...

SCENE I.—JULIA, THE VISCOUNT. Visc. What! you are here already? Ju. Yes, and you ought to be ashamed of yourself, Cléante; it is not right for a lover to be the last to come to the rendezvous. Visc. I should have been here long ago if there were no importunate people in the world. I was stopped on my way by an old bore of rank, who asked me news of the court, merely to be able himself to detail to... more...

INTRODUCTION Hermann Bahr, the noted playwright and critic, tried one day to explain the spirit of certain Viennese architecture to a German friend, who persisted in saying: "Yes, yes, but always there remains something that I find curiously foreign." At that moment an old-fashioned Spanish state carriage was coming along the street, probably on its way to or from the imperial palace. The... more...

ACT I PEASANT [ploughing. Looks up] It's noon. Time to unharness. Gee up, get along! Fagged out? Poor old beast! One more turn and back again, that will be the last furrow, and then dinner. It was a good idea to bring that chunk of bread with me. I'll not go home, but sit down by the well and have a bite and a rest, and Peggy can graze awhile. Then, with God's help, to work again, and... more...

ACT ONE SCENE I (Music Master, Dancing Master, Musicians, and Dancers) (The play opens with a great assembly of instruments, and in the middle of the stage is a pupil of the Music Master seated at a table composing a melody which Monsieur Jourdain has ordered for a serenade.) MUSIC MASTER: (To Musicians) Come, come into this room, sit there and wait until he comes.  DANCING MASTER: (To dancers) And... more...

A DOLL'S HOUSE ACT I (SCENE.—A room furnished comfortably and tastefully, but not extravagantly. At the back, a door to the right leads to the entrance-hall, another to the left leads to Helmer's study. Between the doors stands a piano. In the middle of the left-hand wall is a door, and beyond it a window. Near the window are a round table, armchairs and a small sofa. In the right-hand... more...