A Comedy in Four ActsLEONÍD FYÓDORITCH ZVEZDÍNTSEF. A retired Lieutenant of the Horse Guards. Owner of more than 60,000 acres of land in various provinces. A fresh-looking, bland, agreeable gentleman of 60. Believes in Spiritualism, and likes to astonish people with his wonderful stories. ANNA PÁVLOVNA ZVEZDÍNTSEVA. Wife of Leoníd. Stout; pretends to be young; quite taken up with the conventionalities of life; despises her husband, and blindly believes in her doctor. Very irritable. BETSY. Their daughter. A young woman of 20, fast, tries to be mannish, wears a pince-nez, flirts and giggles. Speaks very quickly and distinctly. VASÍLY LEONÍDITCH ZVEZDÍNTSEF. Their son, aged 25; has studied law, but has no definite occupation. Member of the Cycling Club, Jockey Club, and of the Society for Promoting the Breeding of Hounds. Enjoys perfect health, and has imperturbable self-assurance. Speaks loud...
Naked Warriors Herbert Read, London: Art & Letters, 1919. PREFACE I would like to speak for a generation to following effect: We, who in manhood's dawn have been compelled to care not a damn for life or death, now care less still for the convention of glory and the intellectual apologies for what can never be to us other than a riot of ghastliness and horror, of inhumanity and negation. May we, therefore, for the sake of life itself, be resolved to live with a cleaner and more direct realization of natural values. May we be unafraid of our frank emotions, and may we maintain a callous indifference to falsely-artistic prettifying of life. Then, as the reflex of such beauty where hitherto it has had no absolute existence. From sickness of... (From : Anarchy Archives.)
THE GERMAN DRAMA: GERHART HAUPTMANN LONELY LIVES Gerhart Hauptmann is the dramatist of whom it may be justly said that he revolutionized the spirit of dramatic art in Germany: the last Mohican of a group of four-Ibsen, Strindberg, Tolstoy, and Hauptmann-who illumined the horizon of the nineteenth century. Of these Hauptmann, undoubtedly the most human, is also the most universal. It is unnecessary to make comparisons between great artists: life is sufficiently complex to give each his place in the great scheme of things. If, then, I consider Hauptmann more human, it is because of his deep kinship with every stratum of life. While Ibsen deals exclusively with one attitude, Hauptmann embraces all, understands all, and portrays all, because nothing human is alien to him. Whether it be the struggle of the transition stage in " Lonely Lives," or the conflict between the Ideal and the Real in " The Sunken Bell," or the brutal background of poverty in...
WILLIAM GODWIN GODWIN'S OWN ACCOUNT OF CALEB WILLIAMS As written for insertion in the edition of FLEETWOOD when that novel was reprinted in Bentley's "Standard Novels' as No. XXII London, November 20, 1832 CALEB WILLIAMS has always been regarded by the public with an unusual degree of favor. The proprietor of "THE STANDARD NOVELS" has therefore imagined, that even an account of the concoction and mode of writing the work would be viewed with some interest. I had always felt in myself some vocation towards the composition of a narrative of fictitious adventure; and among the things of obscure note, which I have above referred to, were two or three pieces of this nature. It is not therefore extraordinary that some project of the sort should have suggested itself on the present occasion [after the publication of Political Justice] I formed a conception of a book of fictitious adv...
ESSAY V OF THE REBELLIOUSNESS OF MAN There is a particular characteristic in the nature of the human mind, which is somewhat difficult to be explained. Man is a being of a rational and an irrational nature. It has often been said that we have two souls. Araspes, in the Cyropedia, adopts this language to explain his inconsistency, and desertion of principle and honor. The two souls of man, according to this hypothesis, are, first, animal, and, secondly, intellectual. But I am not going into any thing of this slight and everyday character. Man is a rational being. It is by this particular that he is eminently distinguished from the brute creation. He collects premises and deduces conclusions. He enters into systems of thinking, and combines systems of action, which he pursues from day to day, and from year to year. It is by this feature in his constitution that he becomes emphatically the subject of history, of poetry and fiction.
A Critical Essay on ShakespeareSuch is this celebrated drama. However absurd it may appear in my rendering (which I have endeavored to make as impartial as possible), I may confidently say that in the original it is yet more absurd. For any man of our time—if he were not under the hypnotic suggestion that this drama is the height of perfection—it would be enough to read it to its end (were he to have sufficient patience for this) to be convinced that far from being the height of perfection, it is a very bad, carelessly composed production, which, if it could have been of interest to a certain public at a certain time, can not evoke among us anything but aversion and weariness. Every reader of our time, who is free from the influence of suggestion, will also receive exactly the same impression from all the other extolled dramas of Shakespeare, not to mention the senseless, dramatized tales, "Pericles," "Twelfth Night," "The Tempest," "Cymbeline," "Troilus and Cressida." But such free-minded i...