General Books

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...

SCENE I. The Royal Gardens in Aranjuez. CARLOS and DOMINGO. DOMINGO.Our pleasant sojourn in AranjuezIs over now, and yet your highness quitsThese joyous scenes no happier than before.Our visit hath been fruitless. Oh, my prince,Break this mysterious and gloomy silence!Open your heart to your own father's heart!A monarch never can too dearly buyThe peace of his own son—his only son.[CARLOS looks... more...

THERE ARE CRIMES AND CRIMES INTRODUCTION Strindberg was fifty years old when he wrote "There Are Crimes and Crimes." In the same year, 1899, he produced three of his finest historical dramas: "The Saga of the Folkungs," "Gustavus Vasa," and "Eric XIV." Just before, he had finished "Advent," which he described as "A Mystery," and which was published... more...

MERRY WIVES OF WINDSOR. Besides the copies of the Merry Wives of Windsor appearing in the folios and modern editions, a quarto, Q, has been collated in these Notes, of which the following is the title: The | Merry Wives | of Windsor. | with the humours of Sir John Falstaffe, | as also, The swaggering Vaine of Ancient | Pistoll, and Corporall Nym. |written by William Shake-speare. | Newly corrected. |... more...

ACT I SCENE 1 A small railway station near London. Time: Ten years ago. BERT'Ow goes it, Bill? BILLGoes it? 'Ow d'yer think it goes? BERTI don't know, Bill. 'Ow is it? BILLBloody. BERTWhy? What's wrong? BILLWrong? Nothing ain't wrong. BERTWhat's up then? BILLNothing ain't right. BERTWhy, wot's the worry? BILLWot's the worry? They don't give... more...

Act I The scene is laid in the living-room of the small home of the Quixanos in the Richmond or non-Jewish borough of New York, about five o'clock of a February afternoon. At centre back is a double street-door giving on a columned veranda in the Colonial style. Nailed on the right-hand door-post gleams a Mezuzah, a tiny metal case, containing a Biblical passage. On the right of the door is a... more...

ACT I ANDREW GIBSON'S _office in his piano factory where he manufactures "The Gibson Upright." A very plain interior; pleasant to the eye, yet distinctly an office in a factory, and without luxuries; altogether utilitarian. Against the wall on our right is a roll-top desk, open, very neat, and in the centre of the writing pad a fresh rose stands in a glass of water. Near by is a long,... more...

ACT I A fine October morning in the north east suburbs of London, a vast district many miles away from the London of Mayfair and St. James's, much less known there than the Paris of the Rue de Rivoli and the Champs Elysees, and much less narrow, squalid, fetid and airless in its slums; strong in comfortable, prosperous middle class life; wide-streeted, myriad-populated; well-served with ugly iron... more...

TRISTAN AND ISOLDA. ACT I. [A pavilion erected on the deck of a ship, richly hung with tapestry, quite closed in at back at first. A narrow hatchway at one side leads below into the cabin.] SCENE I. ISOLDA on a couch, her face buried in the cushions.— BRANGÆNA holding open a curtain, looks over the side of the vessel. THE VOICE OF A YOUNG SAILOR (from above as if at the mast-head).   ISOLDA... more...

SCENE I.—The Library Enter SURFACE and SERVANT SURFACE. Mr. Stanley! and why should you think I would see him?— you must know he came to ask something! SERVANT. Sir—I shouldn't have let him in but that Mr. Rowley came to the Door with him. SURFACE. Pshaw!—Blockhead to suppose that I should now be in a Temper to receive visits from poor Relations!—well why don't you show the Fellow... more...