General Books

SCENE I. MILLER—MRS. MILLER. MILLER (walking quickly up and down the room). Once for all! The affair is becoming serious. My daughter and the baron will soon be the town-talk—my house lose its character—the president will get wind of it, and—the short and long of the matter is, I'll show the younker the door. MRS MILLER. You did not entice him to your house—did not thrust your daughter... more...

SCENE I SCENE—The firemen's forecastle of a transatlantic liner an hour after sailing from New York for the voyage across. Tiers of narrow, steel bunks, three deep, on all sides. An entrance in rear. Benches on the floor before the bunks. The room is crowded with men, shouting, cursing, laughing, singing—a confused, inchoate uproar swelling into a sort of unity, a meaning—the bewildered,... more...

REMARKS. There seems to be required by a number of well meaning persons of the present day a degree of moral perfection in a play, which few literary works attain; and in which sermons, and other holy productions, are at times deficient, though written with the purest intention. To criticise any book, besides the present drama, was certainly not a premeditated design in writing this little essay; but... more...

Xanthias Shall I crack any of those old jokes, master,At which the audience never fail to laugh? DIONYSUS. Aye, what you will, except I'm getting crushed: Fight shy of that: I'm sick of that already. XAN. Nothing else smart? DIO. Aye, save my shoulder's aching. XAN. Come now, that comical joke? DIO. With all my heart. Only be careful not to shift your pole,And— XAN. What? DIO. And vow... more...

Now first translated into English. This play is to be regarded merely as a dramatic narrative in which, for the purpose of tracing out the innermost workings of the soul, advantage has been taken of the dramatic method, without otherwise conforming to the stringent rules of theatrical composition, or seeking the dubious advantage of stage adaptation. It must be admitted as somewhat inconsistent that... more...

ACT I The SCENE is the Italian Room in ROSCOE CROSBY'S Home in New York. It is a handsome room. A plan of the setting will be found at the end of the play. As the curtain rises Miss HELEN O'NEILL and WILLIAM CROSBY are discovered standing R.C. They are in each other's arms, and the rising curtain discloses them as they kiss. The window blinds are drawn. HELEN. I love you so. WILLIAM. You... more...

FOREWORD Lysistrata is the greatest work by Aristophanes. This blank and rash statement is made that it may be rejected. But first let it be understood that I do not mean it is a better written work than the Birds or the Frogs, or that (to descend to the scale of values that will be naturally imputed to me) it has any more appeal to the collectors of "curious literature" than the Ecclesiazusae... more...

ACT ONE SCENE: A Room in the Church Tower. Window shutters at back wide open, starlit sky is seen through windows. Background: Snow covered house-roofs; gable windows in the distance brilliantly illuminated. In room an old chair, a fire-pan and a picture of the Virgin, with a lighted candle before it. Room is divided by posts—two in centre thick enough to conceal an adult. Chant, in unison, from the... more...

ACTORS' DESCRIPTION OF CHARACTERS Margaret Chalmers. Twenty-seven years of age; a strong, mature woman, but quite feminine where her heart or sense of beauty are concerned. Her eyes are wide apart. Has a dazzling smile, which she knows how to use on occasion. Also, on occasion, she can be firm and hard, even cynical An intellectual woman, and at the same time a very womanly woman, capable of... more...

ACT I (A Cloister opening upon a Convent Close planted with groups of trees. The convent church forms the right side of the quadrangle. A brick wall runs along the rear. Fruit trees in blossom appear above the wall. Olof is seated on a stone bench. Before him stand two scholars, who are reading their respective parts out of "The Comedy of Tobit.") First Scholar. Now have our enemies trapped us... more...