Continental European Books

INTRODUCTION* Exactly a year after the production of Lady Inger of Ostrat—that is to say on the "Foundation Day" of the Bergen Theatre, January 2, 1866—The Feast at Solhoug was produced. The poet himself has written its history in full in the Preface to the second edition. The only comment that need be made upon his rejoinder to his critics has been made, with perfect fairness as it seems... more...

ACT I Autumn. A peasant's hut, with a small room partitioned off. Akulína sits spinning; Martha the housewife is kneading bread; little Paráshka is rocking a cradle. MARTHA. Oh dear, my heart feels heavy! I know it means trouble; there's nothing to keep him there. It will again be like the other day, when he went to town to sell the firewood and drank nearly half of it. And he blames me... more...

Scene 1 Protásov's flat in Moscow. The scene represents a small dining-room. Anna Pávlovna, a stout grey-haired lady, tightly laced, is sitting alone at the tea-table on which is a samovár. Enter nurse, carrying a teapot. NURSE. May I have a little hot water, ma'am? ANNA PÁVLOVNA. Yes. How's Baby? NURSE. He's restless.… There's nothing worse than for a lady to nurse her... more...

ACT I Scene 1 The scene represents the verandah of a fine country-house, in front of which a croquet-lawn and tennis-court are shown, also a flower-bed. The children are playing croquet with their governess. Mary Ivánovna Sarýntsova, a handsome elegant woman of forty; her sister, Alexándra Ivánovna Kóhovtseva, a stupid, determined woman of forty-five; and her husband, Peter Semyónovich , a fat... more...

The Master Builder—or Master Builder Solness, as the title runs in the original—we enter upon the final stage in Ibsen's career. "You are essentially right," the poet wrote to Count Prozor in March 1900, "when you say that the series which closes with the Epilogue (When We Dead Awaken) began with Master Builder Solness." "Ibsen," says Dr. Brahm, "wrote in... more...

ACT I. (SCENE.--A spacious garden-room in the BERNICKS' house. In the foreground on the left is a door leading to BERNICK'S business room; farther back in the same wall, a similar door. In the middle of the opposite wall is a large entrance-door, which leads to the street. The wall in the background is almost wholly composed of plate-glass; a door in it opens upon a broad flight of steps... 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.]... more...

INTRODUCTION For the last twenty years Leonid Andreyev and Maxim Gorky have by turns occupied the centre of the stage of Russian literature. Prophetic vision is no longer required for an estimate of their permanent contribution to the intellectual and literary development of Russia. It represents the highest ideal expression of a period in Russian history that was pregnant with stirring and... more...

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, arm-chairs and a small sofa. In the right-hand wall, at the farther... more...

ACT I SCENE FIRST (Setting is an attic and workshop of an artificial flower-maker. It ispoorly lighted by means of a candle placed on the work-table. Theceiling slopes abruptly at the back allowing space to conceal a man.On the right is a door, on the left a fireplace. Pamela is discoveredat work, and Joseph Binet is seated near her.) Pamela, Joseph Binet and later Jules Rousseau. PamelaMonsieur Joseph... more...