PIERRE AND LUCE Pierre plunged into the subway. A feverish, a brutal crowd. On his feet near the door, closely pressed in a bank of human bodies and sharing the heavy atmosphere passing in and out of their mouths, he stared without seeing them at the black and rumbling vaults over which flickered the shining eyes of the train. The same heavy shadows lay in his mind, the same gleams, hard and tremulous.... more...

PIERRE GRASSOU Whenever you have gone to take a serious look at the exhibition of works of sculpture and painting, such as it has been since the revolution of 1830, have you not been seized by a sense of uneasiness, weariness, sadness, at the sight of those long and over-crowded galleries? Since 1830, the true Salon no longer exists. The Louvre has again been taken by assault,—this time by a populace... more...

I. THE LORRAINS At the dawn of an October day in 1827 a young fellow about sixteen years of age, whose clothing proclaimed what modern phraseology so insolently calls a proletary, was standing in a small square of Lower Provins. At that early hour he could examine without being observed the various houses surrounding the open space, which was oblong in form. The mills along the river were already... more...

Mike Flannery, the Westcote agent of the Interurban Express Company, leaned over the counter of the express office and shook his fist. Mr. Morehouse, angry and red, stood on the other side of the counter, trembling with rage. The argument had been long and heated, and at last Mr. Morehouse had talked himself speechless. The cause of the trouble stood on the counter between the two men. It was a soap... more...

This December evening, the imagination, by a law of contrast, recalls another December night two hundred and seventy years ago. The circle of darkness is drawn about a little group of Pilgrims who have come ashore on a sandy and inhospitable coast. On one side is a vexed and wintry sea, three thousand miles of tossing waves and tempest, beyond which lie the home, the hedgerows and cottages, the church... more...

CHAPTER I. THE INTRODUCTION. I did not go to Rome to seek for condemnatory matter against the Pope's government. Had this been my only object, I should not have deemed it necessary to undertake so long a journey. I could have found materials on which to construct a charge in but too great abundance nearer home. The cry of the Papal States had waxed great, and there was no need to go down into... 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...

TO THE MOTHER "A Court as of angels, A public not to be bribed, Not to be entreated, Not to be overawed." Such is the audience—in long clothes or short frocks, in pinafores or kilts, or in the brief trousers that bespeak the budding man—such is the crowing, laughing court, the toddling public that awaits these verses. Every home, large or small, poor or rich, that has a child in it, is a... more...

CHAPTER I. FALLING IN LOVE. [Illustration: LILLIE.] "Who is that beautiful creature?" said John Seymour, as a light, sylph-like form tripped up the steps of the veranda of the hotel where he was lounging away his summer vacation. "That! Why, don't you know, man? That is the celebrated, the divine Lillie Ellis, the most adroit 'fisher of men' that has been seen in our... more...

CHAPTER I. GEOGRAPHICAL OUTLINE OF ITALY. Italia! oh, Italia! thou who hastThe fatal gift of beauty, which becameA funeral dower of present woes and past,On thy sweet brow is sorrow plough'd by shame,And annals traced in characters of flame.—Byron. 1. The outline of Italy presents a geographical unity and completeness which naturally would lead us to believe that it was regarded as a whole, and... more...