I A CHILD OF THE STAGE 1848-1856 This is the first thing I remember. In the corner of a lean-to whitewashed attic stood a fine, plain, solid oak bureau. By climbing up on to this bureau I could see from the window the glories of the sunset. My attic was on a hill in a large and busy town, and the smoke of a thousand chimneys hung like a gray veil between me and the fires in the sky. When the sun had... more...

THE TURN OF THE ROAD. Mrs. Granahan.Is that the whole of them now Ellen?Ellen.Yes that's all now but one.She goes across to grandfather and lifts the plate.Have you finished granda?Grandfather.Yes dearie I have done.He pauses and fumbles for his pipe, &c.Is'nt that a fiddle I'm hearing?Ellen.Yes. Robbie's playing the fiddle in the low room. Mrs. Granahan.Arranging plates on... more...

PREFACE Believing plays to be solely for the stage, I have never before allowed any of mine to be printed until they had first faced from a stage the judgment of an audience, to see if they were entitled to be called plays at all. A successful production also has been sometimes a moral support to me when some critic has said, as for instance of "A Night at an Inn," that though it reads passably... more...

PREFACE The greatest duty of mankind lies in the proper uprearing of our children. The fact is recognized, but is the duty fulfilled? Do we rear our children as we should? There is but one answer: We fail. Teaching them many things for their good, we yet keep from them ignorantly, foolishly, with a hesitancy and neglect unpardonable—knowledge, the possession of which is essential for their future... more...

HOW PILLINGSHOT SCORED Pillingshot was annoyed. He was disgusted, mortified; no other word for it. He had no objection, of course, to Mr Mellish saying that his work during the term, and especially his Livy, had been disgraceful. A master has the right to say that sort of thing if he likes. It is one of the perquisites of the position. But when he went on to observe, without a touch of shame, that... more...

In the future, we may discover new planets; our ships may rocket to new worlds; robots may be smarter than people. But we'll still have slick characters willing and able to turn a fast buck—even though they have to be smarter than Einstein to do it. Anson Drake sat quietly in the Flamebird Room of the Royal Gandyll Hotel, listening to the alien, but soothing strains of the native orchestra and... more...

"Prepare for battle!" The command crackled in Allan Dane's helmet. "Enemy approaching from southeast! Squadron commanders execute plan two!" Allan settled back in the seat of his one-man helicopter, his broad frame rendered even bulkier by the leather suit that incased it. He was tensed, but quiescent. Action would be first joined sixty miles away, and his own squadron was in... more...

CHAPTER I OUT FOR BUSINESS "Look! What does that mean, Tom?" "It means that fellow wants to ruin the Yankee plane, and perhaps finish the flier who went down with it to the ground." "Not if we can prevent it, I say. Take a nosedive, Tom, and leave it to me to manage the gun!" "He isn't alone, Jack, for I saw a second skulker in the brush,I'm sure."... more...

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...

INTRODUCTORY.—NUMBER ONE. I would that it were possible so to tell a story that a reader should beforehand know every detail of it up to a certain point, or be so circumstanced that he might be supposed to know. In telling the little novelettes of our life, we commence our narrations with the presumption that these details are borne in mind, and though they be all forgotten, the stories come out... more...