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An Extravagant Play (1920) PERSONS OF THE PLAY: LORD WILLIAM DROMONDY, M.P. LADY WILLIAM DROMONDY LITTLE ANNE MISS STOKES MR. POULDER JAMES HENRY THOMAS CHARLES THE PRESS LEMMY OLD MRS. LEMMY LITTLE AIDA THE DUKE OF EXETER Some ANTI-SWEATERS; Some SWEATED WORKERS; and a CROWD SCENE I. The cellar at LORD WILLIAM DROMONDY'S in Park Lane. The Action passes continuously between 8 and 10.30 of a summer evening, some years after the Great War.
(1920) TO LIONEL--"The stars come nightly to the sky; The tidal wave unto the sea; Nor time, nor space, nor deep, nor high, Can keep my own away from me."
(1912) Persons of The Play: SIR WILLIAM CHESHIRE, a baronet LADY CHESHIRE, his wife BILL, their eldest son HAROLD, their second son RONALD KEITH(in the Lancers), their son-in-law CHRISTINE (his wife), their eldest daughter DOT, their second daughter JOAN, their third daughter MABEL LANFARNE, their guest THE REVEREND JOHN LATTER, engaged to Joan OLD STUDDENHAM, the head-keeper FREDA STUDDENHAM, the lady's-maid YOUNG DUNNING, the under-keeper ROSE TAYLOR, a village girl JACKSON, the butler CHARLES, a footman Setting: Time: The present. The action passes on December 7 and 8 at the Cheshires' country house, in one of the shires. ACT I: SCENE I: The hall; before dinner. SCENE II: The hall; after dinner. ACT II: Lady Cheshire's morning room; after breakfast. ACT III: The smoking-room; tea-time. A night elapses between Acts I. and II.
(1855) With a Life, Critical Dissertation, and Explanatory Notes By the Rev. George Gilfillan. Of the Genius and Poetical Works of John Dryden: In our Life of Dryden we promised to say something about the question, how far is a poet, particularly in the moral tendency and taste of his writings, to be tried--and either condemned or justified--by the character and spirit of his age? To a rapid consideration of this question we now proceed, before examining the constituent elements or the varied fruits of the poet's genius.
Little Stories of the South Sea Islands. (1921) Dedicated To Bertram Alanson L'extr me f licit peine s par e par une feuille tremblante de l'extr me d sespoir, n'est-ce pas la vie?--Sainte-Beuve. The Pacific is inconstant and uncertain like the soul of man. Sometimes it is grey like the English Channel off Beachy Head, with a heavy swell, and sometimes it is rough, capped with white crests, and boisterous. It is not so often that it is calm and blue. Then, indeed, the blue is arrogant. The sun shines fiercely from an unclouded sky. The trade wind gets into your blood and you are filled with an impatience for the unknown. The billows, magnificently rolling, stretch widely on all sides of you, and you forget your vanished youth, with its memories, cruel and sweet, in a restless, intolerable desire for life. On such a sea as this Ulysses sailed when he sought the Happy Isles. But there are days also when the Pacific is like a lake. The sea is flat and shining. The flying fish, a gleam of shadow on the brightness of a mirror, make little fountains of sparkling drops when they dip. There are fleecy clouds on the horizon, and at sunset they take strange shapes so that it is impossible not to believe that you see a range of lofty mountains. They are the mountains of the country of your dreams. You sail through an unimaginable silence upon a magic sea. Now and then a few gulls suggest that land is not far off, a forgotten island hidden in a wilderness of waters; but the gulls, the melancholy gulls, are the only sign you have of it. You see never a tramp, with its friendly smoke, no stately bark or trim schooner, not a fishing boat even: it is an empty desert; and presently the emptiness fills you with a vague foreboding.
Illustrated by Harry L. Smith (1918)
La Tulipe Noire (1850) A deceptively simple story and the shortest of Dumas's most famous novels, The Black Tulip weaves historical events surrounding a brutal murder into a tale of romantic love. Set in Holland in 1672, this timeless political allegory draws on the violence and crimes of history, making a case against tyranny and creating a symbol of justice and tolerance: the fateful tulipa negra. The 20th of August 1672 is an important date in Dutch history: the brothers De Witt are brutally lynched by the crowd, allegedly for high treason where they were only trying to negotiate a peace treaty with France to protect their little country. However, their deaths meant that William of Orange (later also King of Great-Britain) could become king. With this backdrop, Dumas creates a story, not about the brothers, but about one of their godchildren: Cornelius Van Baerle, who is saddled with a jealous neighbour Isaac Boxtel. Why is he jealous? He is envious because Cornelius is having some success in discovering The Black Tulip which is awarded a prize of 100,000 florins, and thought impossible. Just at the point where the black tulip is well on its way to coming into existence, Van Baerle is compromised and thrown into prison where he is sentenced to death. Somehow, though, God has mercy and he is granted a perpetual prison sentence instead. As the story continues, a love affair emerges between the jailer's daughter and Van Baerle who gave her his three bulbs in his testament. The black tulip is not only a symbol for justice and tolerance, but also a symbol for the most perfect and divine love of two people. It can be prosecuted, attempted to be destroyed, killed, trodden on, but it will never give up, and eventually it blooms despite all those obstacles. A wonderful, gentle, tender and placid love story without huge declarations, but none-the-less powerful. A great novella.--Submitted by kiki1982 ~
A trio of stories that explore Edwardian life in London, England.
(1633) First published as "The Famous Tragedy of the Rich Jew of Malta" The Famous Tragedy of The Rich Iew of Malta. As it was playd before the King and Qveene, in His Majesties Theatre at White-Hall, by her Majesties Servants at the Cock-pit. Written by Christopher Marlo. London; Printed by I. B. for Nicholas Vavasour, and are to be sold at his Shop in the Inner-Temple, neere the Church. 1633. The famous tragedy of Barabas, the Jew of Malta, who has amassed more wealth than the entirety of Malta. His fortune is seized by his enemy the Governor of Malta, Ferneze, so that he may bribe the Turkish Warlords and prevent Malta from being invaded at a time when the tiny country provided a strategic military position and important trade routes through the Mediterranean. This drama greatly depicts the tragedy of a man who is forced into fighting dark deeds, with dark deeds.--Submitted by Ben Douglas A Maltese Jew's barbarous revenge against the city authorities, has a prologue delivered by a character representing Machiavelli. It was probably written in 1589 or 1590, and was first performed in 1592. It was a success, and remained popular for the next fifty years. The play was entered in the Stationers' Register on 17 May 1594, but the earliest surviving printed edition is from 1633. TO MY WORTHY FRIEND, MASTER THOMAS HAMMON, of GRAY'S INN, ETC. This play, composed by so worthy an author as Master Marlowe, and the part of the Jew presented by so unimitable an actor as Master Alleyn, being in this later age commended to the stage; as I ushered it unto the court, and presented it to the Cock-pit, with these Prologues and Epilogues here inserted, so now being newly brought to the press, I was loath it should be published without the ornament of an Epistle; making choice of you unto whom to devote it; than whom (of all those gentlemen and acquaintance within the compass of my long knowledge) there is none more able to tax ignorance, or attribute right to merit. Sir, you have been pleased to grace some of mine own works<1> with your courteous patronage: I hope this will not be the worse accepted, because commended by me; over whom none can claim more power or privilege than yourself. I had no better a new-year's gift to present you with; receive it therefore as a continuance of that inviolable obligement, by which he rests still engaged, who, as he ever hath, shall always remain, Tuissimus, Tho. Heywood.<2>. THE PROLOGUE SPOKEN AT COURT. Gracious and great, that we so boldly dare ('Mongst other plays that now in fashion are) To present this, writ many years agone, And in that age thought second unto none, We humbly crave your pardon. We pursue The story of a rich and famous Jew Who liv'd in Malta: you shall find him still, In all his projects, a sound Machiavill; And that's his character. He that hath past So many censures<3> is now come at last To have your princely ears: grace you him; then You crown the action, and renown the pen. EPILOGUE SPOKEN AT COURT. It is our fear, dread sovereign, we have bin<4> Too tedious; neither can't be less than sin To wrong your princely patience: if we have, Thus low dejected, we your pardon crave; And, if aught here offend your ear or sight, We only act and speak what others write. THE PROLOGUE TO THE STAGE, AT THE COCK-PIT. We know not how our play may pass this stage, But by the best of poets<5> in that age THE MALTA-JEW had being and was made; And he then by the best of actors<6> play'd: In HERO AND LEANDER<7> one did gain A lasting memory; in Tamburlaine, This Jew, with others many, th' other wan The attribute of peerless, being a man Whom we may rank with (doing no one wrong) Proteus for shapes, and Roscius for a tongue,-- So could he speak, so vary; nor is't hate To merit in him<8> who doth personate Our Jew this day; nor is it his ambition To exceed or equal, being of condition More modest: this is all that he intends, (And that too at the urgence of some friends,) To prove his best, and, if none here gainsay it, The part he hath studied, and intends to play it. EPILOGUE TO THE STAGE, AT THE COCK-PIT. In graving with Pygmalion to contend, Or painting with Apelles, doubtless the end Must be disgrace: our actor did not so,-- He only aim'd to go, but not out-go. Nor think that this day any prize was play'd;<9> Here were no bets at all, no wagers laid:<10> All the ambition that his mind doth swell, Is but to hear from you (by me) 'twas well. DRAMATIS PERSONAE. FERNEZE, governor of Malta. LODOWICK, his son. SELIM CALYMATH, son to the Grand Seignior. MARTIN DEL BOSCO, vice-admiral of Spain. MATHIAS, a gentleman. JACOMO, > BARNARDINE, > friars. BARABAS, a wealthy Jew. ITHAMORE, a slave. PILIA-BORZA, a bully, attendant to BELLAMIRA. Two Merchants. Three Jews. Knights, Bassoes, Officers, Guard, Slaves, Messenger, and Carpenters KATHARINE, mother to MATHIAS. ABIGAIL, daughter to BARABAS. BELLAMIRA, a courtezan. Abbess. Nun. MACHIAVEL as Prologue speaker. Scene, Malta.
Illustrated by J. Finnemore (1888) Dedication: TO JERRARD GRANT ALLEN, the only begetter of these ensuing adventures. My Dear Grantie, From the following pages, written with a single eye to your own personal tastes and predilections, you may, I trust, learn three Great Moral Lessons. First, never to approach too near the edge of an active volcano. Second, never to continue your intimacy with a man who deliberately and wickedly declines to pull you out of a burning crater. And third, never to intrust the care of youth to a cannibal heathen South Sea Islander. With the trifling exception of these three now enumerated, I am not aware that you can extract any Great Moral Lesson whatsoever from the hairbreadth escapes of Kea and her associates. Having thus almost entirely satisfied your expressed wishes in this matter-for "a story without a moral"-I subscribe myself, with pride, Your obedient servant and very loving father, G.A.
A number of most agreeable Inquirendoes upon Life & Letters, interspersed with Short Stories & Skits, the whole most Diverting to the Reader. (1918)