THE PLAY HOUSE Amelia Maxwell sat by the front-chamber window of the great house overlooking the road, and her own "story-an'-a-half" farther toward the west. Every day she was alone under her own roof, save at the times when old lady Knowles of the great house summoned her for work at fine sewing or braiding rags. All Amelia's kin were dead. Now she was used to their solemn absence,... more...

Of late years an abundant shower of curates has fallen upon the north of England: they lie very thick on the hills; every parish has one or more of them; they are young enough to be very active, and ought to be doing a great deal of good. But not of late years are we about to speak; we are going back to the beginning of this century: late years—present years are dusty, sunburnt, hot, arid; we will... more...

INTRODUCTION THE greatest of English dramatists except Shakespeare, the first literary dictator and poet-laureate, a writer of verse, prose, satire, and criticism who most potently of all the men of his time affected the subsequent course of English letters: such was Ben Jonson, and as such his strong personality assumes an interest to us almost unparalleled, at least in his age. Ben Jonson came of the... more...

INTRODUCTION The Editor begs the reader to believe that he under took the compilation of this volume with diffidence and trepidation, lest by any defect of judgment he might do aught to diminish the reputation which John Clare has always enjoyed with the lovers of pastoral poetry. He trusts that the shortcomings of an unskilful workman will be forgotten in admiration of the gems for which he has been... 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...

From above came the sound of men singing. Captain Duke O'Neill stopped clipping his heavy black beard to listen. It had been a long time since he'd heard such a sound—longer than the time since he'd last had a bath or seen a woman. It had never been the singing type of war. Yet now even the high tenor of old Teroini, who lay on a pad with neither legs nor arms, was mixed into the... 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...

CAUGHT IN THE ACT. "Help! Police! Murder!" It was a dark, rainy night in March when this thrilling cry, in a man's voice, came from a house in West Thirty-sixth street, New York. Two detectives were passing along from Seventh avenue, toward Broadway, when the wild appeal brought them to a sudden pause. "Hark, Old King Brady!" one of them exclaimed. "Did you hear that cry?"... 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...

PREFACE "Jean-Christophe" is the history of the development of a musician of genius. The present volume comprises the first four volumes of the original French, viz.: "L'Aube," "Le Matin," "L'Adolescent," and "La Révólte," which are designated in the translation as Part I—The Dawn; Part II—Morning; Part III—Youth; Part IV—Revolt. Parts I and... more...