THE SPEECH AND REASON OF DOMESTIC ANIMALS.
Dash and the Baby--Two Collies talk--Eunice understands her
Mistress--Two Dogs and the Phonograph--A Canine Family--Cats and
Dogs--Insects--Signs and Sounds.
[Sidenote: THE SPEECH OF DOMESTIC ANIMALS]
To those who are familiar with rural life, there can be nothing strange
in hearing it said that all animals can talk among their kind. Among the
daily incidents of farm life, there occur so many proofs of this as to
place the question beyond debate. The cattle have means of conveying
ideas to other cattle, and sheep and hogs understand other sheep and
hogs, and the means employed are sounds. These sounds are used in the
same way that man uses them to convey his thoughts, and since they
discharge all the functions of speech, in what respect are they not
speech? The types of speech differ in different genera, as their
physical types do, but they are not any the less speech on that account.
Among the domestic animals, I think the dog has, perhaps, the highest
type of speech; and this is doubtless, in some measure, due to his
intimate relations with man, from whom he has learned and added a little
to his mental store, and this must find an outlet through speech. That
dogs think and reason is not to be doubted by the most stupid observer,
and they often make known their thoughts so that even man can interpret
them with certainty; but the speech by which they express those thoughts
is of course rudimentary. Dogs often discharge certain duties with such
promptness that bigots declare that it is mechanical and done without
motive, but there are many thousands of cases where the dog has assumed
and performed duties of others, entirely outside of his own sphere,
which nothing but reason could have prompted.
When I was only a few weeks old, my father had given to him a little
white poodle, which he called Dash. He was about my own age, and we grew
up together. In those days, children were rocked in the old-time cradle,
and I, like other babies, had a cradle. When I was a few months old, on
one occasion I was left asleep in my cradle, and no one was in the room
but Dash and myself. Having been disturbed in my sleep, I woke up and
cried, and Dash, seeing the condition of things, came to the cradle,
and, rearing on his hind feet, rocked it with his paws, and whined and
barked until I had gone to sleep again. My mother has often told me of
this, and assured me that he had never been taught to do this, but
always after practised it, not only with myself, but with my younger
brothers and sisters, until, at the age of thirteen, he came to an
untimely death at the hands of a bull-dog, whose name and tribe I have
never ceased to hate. I gave Dash the burial that he deserved, and had
a long procession of mourning children follow his remains to the grave,
where I delivered the funeral sermon, and we all sung a hymn. About
three years ago, in company with an older sister, I visited the spot for
the first time in nearly thirty years, but no sign of the little grave
remained.
What else but reason could have prompted this act? The dog had seen it
done by human beings, and had noted the result. Whether his whining was
intended as singing or not, I am unable to say, but from my recollection
of seeing him do this with the younger children, I believe that it was
intended to soothe or entertain, and his barking to call some one into
the room.
A farmer by the name of Taylor, living in East Tennessee, some years ago
owned two very fine collies, and they had been trained to drive the
cattle and sheep about the farm, to drive strange cattle away from the
premises, to guard the gates or gaps opened temporarily for hauling
about the farm, and many similar duties. On one occasion, in haymaking
time, as night was approaching, the waggon made its last homeward trip
for the day, and the men working in the meadow prepared to go home. The
driver of the waggon, supposing the men from the meadow were following
and would close the gates, left them open, and one of these was between
the corn-field and a pasture containing a number of cattle. The men,
however, did not follow the waggon, but took a near way across the
field, and the gate was left open. While the family was at supper, one
of the collies was restless and barked continually, and gave such signs
of uneasiness as to assure all that something was wrong. His master went
to the door, and the dog ran to the gate in the front of the house, and
continued barking and lashing his tail with great energy. The master
followed to the front gate, and the dog immediately ran barking down the
road, but looking back from time to time to see that his master
followed, which he did, and was thus led to the open gate, where he
found the other collie on guard and keeping the cattle from passing,
which they were trying to do. What less than reason could have prompted
these dogs to such an act? And what less than speech could have enabled
them to execute this feat? They observed the neglect or error of the
driver, and foresaw the evil consequences, and it could only have been
by agreement reached through an interchange of thoughts that one of them
watched while the other gave the alarm. I have known some of these dogs
that knew certain cattle by name, and would go into the herd and drive
out the one whose name was designated, while it is true in other cases
that the dog would only drive out such as were pointed out to him. But
many instances proved that they are able to learn the names of the
cattle. It is certain that in many instances dogs know the names of the
children belonging to the family, and often distinguish them by name. I
presume no one doubts that they learn their own names, so that each dog
may know when he is called. I know a dog, now living near Leominster,
Mass., that extinguished an accidental fire which had been caused by the
hired man carelessly dropping a burning match in some straw in the
barn-yard after lighting his lantern. The dog had to fight the fire with
his paws, and by the time he had extinguished it they were much singed.
His loud barking was sufficient to warn the family that something
unusual was taking place. They soon responded to his call, and found
that he had the fire quite under control. He had thus saved his master's
barn and house from the flames, and since that time, as I have witnessed
myself, will not allow any one to light a cigar with a match in his
presence. The peculiar sound which he makes under such circumstances
appeals to the sense of fear or apprehension, and I have observed that
the significance of all speech depends much upon intonation. It is less
so with man, perhaps, than with other animals, because of the great
number of words which amplify and shade his meanings. But by a single
word of human speech we can express many shades of meaning simply by
modulation; but having at our command so many words to qualify our
meaning, we lose sight of the value and power of intonation. The
difficulty of discerning the delicate shades of meaning imparted by
intonation, depends upon the mode of thought, and the simpler this is
the keener the power to interpret inflections. One very important fact
is that a dog only learns to interpret one sound on one subject at any
one time. He cannot put together in his mind a great number of sounds,
nor interpret complex ideas in detail. I know a dog in Charleston, South
Carolina, that would fly into a rage and bark fiercely if you say,
"Chad, where is that big black dog that whipped you so badly?" But
repeated experiments proved to my mind that the dog did not interpret
any part of the sentence except the words "black dog," and even this
seemed to depend chiefly upon the sound "black," and by saying this
sound you would get the same results as to use the entire sentence. He
had been whipped by a dog of this description, and had been so often
reminded of it that he had associated the sound with the incident.
I know a little dog in New York that understands the same sound in a
similar way and for similar reasons. She also recognises the name of the
lady who owns the black dog. A family, with whom I am on close terms of
friendship, owns an ugly little mongrel, to which two of the daughters
are very devoted. They have reared her with great care, and lavished
upon her many luxuries, far better than most human beings enjoy. The
young ladies declared to me that Eunice (which is the dog's name) could
understand every word they said on any subject that she had been
accustomed to hear.
Mattie would say to her, "Eunice, go tell Miss Kate to get on her hat
and let us go take a walk." The little dog would run to Miss Kate's room
and bark and jump until the young lady would comply. I found that the
dog associated the sounds "hat" and "walk" with the act of taking a
stroll in the company of the young ladies; but she would act just the
same when either one of these words were said to her as she would if one
were to repeat a whole canto of Milton; and I think the young ladies
have never quite forgiven me for trying to prove to them that Eunice was
not a fine English scholar.
I find, by means of many experiments, that much depends upon the manner
of delivering these sounds; but that the animal is largely guided by the
sound alone is proven by the fact that some dogs understand English,
others French, German, or some other language, and they do not really
understand unless addressed in the speech with which they are familiar.
A short time since I tried a novel experiment with the phonograph and
two black-and-tan terriers, mother and son. The son was a notorious
talker in the way of barking almost continuously at everything, and on
all occasions and at all times, while the mother was naturally taciturn,
good-natured, and fairly intelligent. I first took the son to a room
where I had the phonograph, and I made a record of a number of sounds of
his voice. The children aided me in the experiment by getting him to
talk for food, bark at his image in the mirror, and by various other
ways they induced him to other sounds in the presence of the phonograph.
A few days later I had them bring the mother to the same place, where I
discharged the contents of my phonograph cylinder in her presence. She
gave every evidence of recognising the sounds of the young dog, and in a
few instances responded to them. She was naturally perplexed at not
being able to find him, and searched the horn and various parts of the
room in quest of the young dog. I delivered to her at the same time the
record of another dog, to which she paid little attention except by an
occasional growl and a look into the horn to see what it meant. She
evidently recognised the sounds of the young dog with which she was
familiar and seemed to interpret their meanings, whereas the sounds from
the other cylinder did little more than attract her attention.
Last summer I stopped at a small town in Northern Virginia. A young man
at the same hotel had two setters and a black-and-tan terrier. I
experimented extensively with these three dogs during my stay, and
deduced therefrom some conclusions which were inevitable. The hotel
verandah opened on the street, and was a place of resort for gentlemen
of leisure about town. There was also a side entrance through a large
yard. I have frequently observed the dogs lying asleep on the verandah,
when the owner would enter the side yard on a flagstone walk, often in
the midst of conversation of a dozen men. The terrier would recognise
the footsteps of his master, would utter a low sound and spring to his
feet, and rush at once in the direction whence he heard the steps. The
setters invariably seemed to know what it meant, would raise their
heads, lash their tails upon the floor, showing evident signs of
understanding the situation. I have seen this terrier recognise the
steps of his master when the latter was accompanied by two or three
other persons. The delicate precision of his hearing was marvellous, and
in no instance, so far as I observed, was he deceived in the approaching
footsteps. I cannot believe that he was guided by the sense of smell, as
it is evident that the setters, whose habits of hunting have developed
in them a much more sensitive olfactory power, would naturally have been
the first to have detected their master's approach, and yet it was
equally evident that the terrier's ears were the first to catch the
sounds.
I have observed among dogs associated with each other that where one
should bark in the distance, as though he had something at bay, his
companion, hearing him from the house, would prick up his ears, listen
for a moment, and then dash off in the direction from whence the sounds
came; whereas the bark of a strange dog, even having something at bay,
would only cause him to listen, utter a low sound or grunt, and lie down
again and take a nap, as much as to say "That's nothing to me!" I have
known many instances where dogs would follow the farm waggon to town,
and faithfully guard the waggon and its contents all day long, with a
fidelity that we seldom see in the most devoted servants. The attachment
of a dog to his master has been a subject of remark from time
immemorial, until the saying has crystallised into a maxim--"As faithful
as a watch-dog." A friend of mine had a little terrier, whose name was
Nicodemus, that had a habit of sitting in the kitchen window to watch
people pass the street. She assures me that on washdays, when the steam
condensed on the window-panes, Nicodemus would lick the moisture from
the glass in order to see through it more clearly. Could instinct be the
guide in such an act?
If man would only pause and calmly view the facts, he would find that he
is but a joint heir of Nature; and why not so? From a religious point of
view I cannot doubt that the wisdom and mercy of God would bestow alike
on all the faculties of speech and reason as their conditions of life
require them, and from a scientific point of view I cannot charge the
laws of evolution with such disorder. In either case it were a harsh and
jarring discord in the great harp of Nature, whether played by the hand
of Chance or swept by the fingers of Omniscience.
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=THE DOMINANT SEVENTH.= A Musical Story. By KATE ELIZABETH CLARKE. Crown
8vo, cloth, 5_s._
_Speaker._--"A very romantic story."
=PASSION THE PLAYTHING.= A Novel. By R. MURRAY GILCHRIST. Crown 8vo,
cloth, 6_s._
_Athenaeum._--"This well-written story must be read to be
appreciated."
The Crown Copyright Series.
Mr. HEINEMANN has made arrangements with a number of the FIRST AND MOST
POPULAR ENGLISH, AMERICAN, and COLONIAL AUTHORS which will enable him to
issue a series of NEW AND ORIGINAL WORKS, to be known as THE CROWN
COPYRIGHT SERIES, complete in One Volume, at a uniform price of FIVE
SHILLINGS EACH. These Novels will not pass through an Expensive Two or
Three Volume Edition, but they will be obtainable at the CIRCULATING
LIBRARIES, as well as at all Booksellers' and Bookstalls.
=ACCORDING TO ST. JOHN.= By AMELIE RIVES, Author of "The Quick or the
Dead."
_Scotsman._--"The literary work is highly artistic.... It has
beauty and brightness, and a kind of fascination which carries
the reader on till he has read to the last page."
=THE PENANCE OF PORTIA JAMES.= By TASMA, Author of "Uncle Piper of
Piper's Hill," &c.
_Athenaeum._--"A powerful novel."
_Daily Chronicle._--"Captivating and yet tantalising, this story
is far above the average."
_Vanity Fair._--"A very interesting story, morally sound, and
flavoured throughout with ease of diction and lack of strain."
=INCONSEQUENT LIVES.= A Village Chronicle, shewing how certain folk set
out for El Dorado; what they attempted; and what they attained. By J. H.
PEARCE, Author of "Esther Pentreath," &c.
_Saturday Review._--"A vivid picture of the life of Cornish
fisher-folk. It is unquestionably interesting."
_Literary World._--"Powerful and pathetic ... from first to last
it is profoundly interesting. It is long since we read a story
revealing power of so high an order, marked by such evident
carefulness of workmanship, such skill in the powerful and yet
temperate presentation of passion, and in the sternly realistic
yet delicate treatment of difficult situations."
=A QUESTION OF TASTE.= By MAARTEN MAARTENS, Author of "An Old Maid's
Love," &c.
_National Observer._--"There is more than cleverness; there is
original talent, and a good deal of humanity besides."
=COME LIVE WITH ME AND BE MY LOVE.= By ROBERT BUCHANAN, Author of "The
Moment After," "The Coming Terror," &c.
[_In the Press._
=THE O'CONNORS OF BALLINAHINCH.= By Mrs. HUNGERFORD, Author of "Molly
Bawn," &c.
[_In the Press._
=A BATTLE AND A BOY.= By BLANCHE WILLIS HOWARD, Author of "Guenn," &c.
[_In preparation._
=VANITAS.= By VERNON LEE, Author of "Hauntings," &c.
[_In preparation._
Heinemann's International Library.
EDITED BY EDMUND GOSSE.
_New Review._--"If you have any pernicious remnants of literary
chauvinism I hope it will not survive the series of foreign
classics of which Mr. William Heinemann, aided by Mr. Edmund
Gosse, is publishing translations to the great contentment of
all lovers of literature."
_Times._--"A venture which deserves encouragement."
_Each Volume has an Introduction specially written by the Editor._
Price, in paper covers, 2_s._ 6_d._ each, or cloth, 3_s._ 6_d._
=IN GOD'S WAY.= From the Norwegian of BJOeRNSTJERNE BJOeRNSON.
_Athenaeum._--"Without doubt the most important and the most
interesting work published during the twelve months.... There
are descriptions which certainly belong to the best and
cleverest things our literature has ever produced. Amongst the
many characters, the doctor's wife is unquestionably the first.
It would be difficult to find anything more tender, soft, and
refined than this charming personage."
=PIERRE AND JEAN.= From the French of GUY DE MAUPASSANT.
_Pall Mall Gazette._--"So fine and faultless, so perfectly
balanced, so steadily progressive, so clear and simple and
satisfying. It is admirable from beginning to end."
_Athenaeum._--"Ranks amongst the best gems of modern French
fiction."
=THE CHIEF JUSTICE.= From the German of KARL EMIL FRANZOS, Author of
"For the Right," &c.
_New Review._--"Few novels of recent times have a more sustained
and vivid human interest."
_Christian World._--"A story of wonderful power ... as free from
any thing objectionable as 'The Heart of Midlothian.'"
=WORK WHILE YE HAVE THE LIGHT.= From the Russian of Count LYOF TOLSTOY.
_Liverpool Mercury._--"Marked by all the old power of the great
Russian novelist."
_Manchester Guardian._--"Readable and well translated; full of
high and noble feeling."
=FANTASY.= From the Italian of MATILDE SERAO.
_National Observer._--"The strongest work from the hand of a
woman that has been published for many a day."
_Scottish Leader._--"The book is full of a glowing and living
realism.... There is nothing like 'Fantasy' in modern
literature.... It is a work of elfish art, a mosaic of light and
love, of right and wrong, of human weakness and strength, and
purity and wantonness, pieced together in deft and witching
precision."
=FROTH.= From the Spanish of Don ARMANDO PALACIO-VALDES.
_Daily Telegraph._--"Vigorous and powerful in the highest
degree. It abounds in forcible delineation of character, and
describes scenes with rare and graphic strength."
=FOOTSTEPS OF FATE.= From the Dutch of LOUIS COUPERUS.
_Daily Chronicle._--"A powerfully realistic story which has been
excellently translated."
_Gentlewoman._--"The consummate art of the writer prevents this
tragedy from sinking to melodrama. Not a single situation is
forced or a circumstance exaggerated."
=PEPITA JIMENEZ.= From the Spanish of JUAN VALERA.
_W. D. Howells._--"An exquisite masterpiece."
_New Review_ (Mr. George Saintsbury):--"There is no doubt at all
that it is one of the best stories that have appeared in any
country in Europe for the last twenty years."
=THE COMMODORE'S DAUGHTERS.= From the Norwegian of JONAS LIE.
_Athenaeum._--"Everything that Jonas Lie writes is attractive and
pleasant; the plot of deeply human interest, and the art noble."
=THE HERITAGE OF THE KURTS.= From the Norwegian of BJOeRNSTJERNE
BJOeRNSON.
Popular 3s. 6d. Novels.
=THE SCAPEGOAT.= By HALL CAINE, Author of "The Bondman," &c.
_Mr. Gladstone writes:_--"I congratulate you upon 'The
Scapegoat' as a work of art, and especially upon the noble and
skilfully drawn character of Israel."
_Times._--"In our judgment it excels in dramatic force all his
previous efforts. For grace and touching pathos Naomi is a
character which any romancist in the world might be proud to
have created."
=DAUGHTERS OF MEN.= By HANNAH LYNCH, Author of "The Prince of the
Glades," &c.
=THE BONDMAN.= A New Saga. By HALL CAINE. Twentieth Thousand.
_Mr. Gladstone._--"'The Bondman' is a work of which I recognise
the freshness, vigour, and sustained interest no less than its
integrity of aim."
_Standard._--"Its argument is grand, and it is sustained with a
power that is almost marvellous."
=A MARKED MAN=: Some Episodes in his Life. By ADA CAMBRIDGE, Author of
"Two Years' Time," "A Mere Chance," &c.
_Morning Post._--"A depth of feeling, a knowledge of the human
heart, and an amount of tact that one rarely finds. Should take
a prominent place among the novels of the season."
_Pall Mall Gazette._--"Contains one of the best written stories
of a mesalliance that is to be found in modern fiction."
=THE THREE MISS KINGS.= By ADA CAMBRIDGE, Author of "A Marked Man."
_Athenaeum._--"A charming study of character. The love stories
are excellent, and the author is happy in tender situations."
_British Weekly._--"A novel to be bought and kept for
re-reading. From beginning to end pure as the breath of a flower
garden in June."
_National Observer._--"A pleasanter tale has not been told these
many days. The picture of the three maidens is one of the most
delightful in recent fiction."
=A ROMANCE OF THE CAPE FRONTIER.= By BERTRAM MITFORD, Author of "Through
the Zulu Country," &c.
_Academy._--"The love story is a particularly pleasing one."
_Pall Mall Gazette._--"A very lively and a very picturesque
story."
_Observer._--"This is a rattling tale, genial, healthy, and
spirited."
=UNCLE PIPER OF PIPER'S HILL.= By TASMA. New Popular Edition.
_Guardian._--"Every page of it contains good wholesome food,
which demands and repays digestion. The tale itself is
thoroughly charming, and all the characters are delightfully
drawn. We strongly recommend all lovers of wholesome novels to
make acquaintance with it themselves, and are much mistaken if
they do not heartily thank us for the introduction."
=IN THE VALLEY.= By HAROLD FREDERIC, Author of "The Lawton Girl,"
"Seth's Brother's Wife," &c. With Illustrations.
_Times._--"The literary value of the book is high; the author's
studies of bygone life presenting a life-like picture."
=PRETTY MISS SMITH.= By FLORENCE WARDEN, Author of "The House on the
Marsh," "A Witch of the Hills," &c.
_Punch._--"Since Miss Florence Warden's 'House on the Marsh,' I
have not read a more exciting tale."
=LOS CERRITOS.= A Romance of the Modern Time. By GERTRUDE FRANKLIN
ATHERTON, Author of "Hermia Suydam," and "What Dreams may Come."
_Athenaeum._--"Full of fresh fancies and suggestions. Told with
strength and delicacy. A decidedly charming romance."
=A MODERN MARRIAGE.= By the Marquise CLARA LANZA.
_Queen._--"A powerful story, dramatically and consistently
carried out."
_Black and White._--"A decidedly clever book."
_In preparation._
='TWEEN SNOW AND FIRE.= A Tale of the Kafir War of 1877. By BERTRAM
MITFORD.
[_In June._
=NOT ALL IN VAIN.= By ADA CAMBRIDGE, Author of "A Marked Man," "The
Three Miss Kings," &c.
=MAMMON.= A Novel. By Mrs. ALEXANDER, Author of "The Wooing O't," &c.
_Scotsman._--"The present work is not behind any of its
predecessors. 'Mammon' is a healthy story, and as it has been
thoughtfully written it has the merit of creating thought in its
readers."
=HAUNTINGS=: Fantastic Stories. By VERNON LEE, Author of "Baldwin,"
"Miss Brown," &c. &c.
_Pall Mall Gazette._--"Well imagined, cleverly constructed,
powerfully executed. 'Dionea' is a fine and impressive idea, and
'Oke of Okehurst' a masterly story."
=MEA CULPA=: A Woman's Last Word. By HENRY HARLAND.
_Times._--"There is no denying its cleverness; it is the very
reverse of conventional. The author in his social touches
reminds us of About, and it would be difficult to say anything
more flattering."
Popular Shilling Books.
=MADAME VALERIE.= By F. C. PHILIPS, Author of "As in a Looking-Glass,"
&c.
=THE MOMENT AFTER=: A Tale of the Unseen. By ROBERT BUCHANAN.
_Athenaeum._--"Should be read--in daylight."
_Observer._--"A clever _tour de force_."
_Guardian._--"Particularly impressive, graphic, and powerful."
=CLUES=; or, Leaves from a Chief Constable's Note-Book. By WILLIAM
HENDERSON, Chief Constable of Edinburgh.
_Mr. Gladstone._--"I found the book full of interest."
_THE SHILLING LIBRARY._
A New Series of handy Pocket Volumes.
=A VERY STRANGE FAMILY.= By F. W. ROBINSON, Author of "Grandmother's
Money," "Lazarus in London," &c.
_Glasgow Herald._--"An ingeniously devised plot, of which the
interest is kept up to the very last page. A judicious blending
of humour and pathos further helps to make the book delightful
reading from start to finish."
_*.* Others in preparation._
Dramatic Literature.
THE PLAYS OF ARTHUR W. PINERO.
With Introductory Notes by MALCOLM C. SALAMAN. 16mo, Paper Covers, 1_s._
6_d._; or Cloth, 2_s._ 6_d._ each.
=THE TIMES=: A Comedy in Four Acts. With a Preface by the Author. (Vol.
I.)
_Daily Telegraph._--"'The Times' is the best example yet given
of Mr. Pinero's power as a satirist. So clever is his work that
it beats down opposition. So fascinating is his style that we
cannot help listening to him."
_Morning Post._--"Mr. Pinero's latest belongs to a high order of
dramatic literature, and the piece will be witnessed again with
all the greater zest after the perusal of such admirable
dialogue."
=THE PROFLIGATE=: A Play in Four Acts. With Portrait of the Author,
after J. MORDECAI. (Vol. II.)
_Pall Mall Gazette._--"Will be welcomed by all who have the true
interests of the stage at heart."
=THE CABINET MINISTER=: A Farce in Four Acts. (Vol. III.)
_Observer._--"It is as amusing to read as it was when played."
=THE HOBBY HORSE=: A Comedy in Three Acts. (Vol. IV.)
=LADY BOUNTIFUL.= A Play in Four Acts. (Vol. V.)
To be followed by The Magistrate, Dandy Dick, The Schoolmistress, The
Weaker Sex, Lords and Commons, The Squire, and Sweet Lavender.
=THE PRINCESSE MALEINE=: A Drama in Five Acts (Translated by Gerard
Harry), and
=THE INTRUDER=: A Drama in One Act. By MAURICE MAETERLINCK. With an
Introduction by HALL CAINE, and a Portrait of the Author. Small 4to,
cloth, 5_s._
_Athenaeum._--"In the creation of the 'atmosphere' of the play M.
Maeterlinck shows his skill. It is here that he communicates to
us the _nouveau frisson_, here that he does what no one else has
done. In 'The Intruder' the art consists of the subtle
gradations of terror, the slow, creeping progress of the
nightmare of apprehension. Nothing quite like it has been done
before--not even by Poe--not even by Villiers."
=THE FRUITS OF ENLIGHTENMENT=: A Comedy in Four Acts. By Count LYOF
TOLSTOY. Translated from the Russian by E. J. DILLON. With Introduction
by A. W. PINERO. Small 4to, with Portrait, 5_s._
_Pall Mall Gazette._--"The whole effect of the play is
distinctly Molieresque; it has something of the large humanity
of the master. Its satire is genial, almost gay."
=HEDDA GABLER=: A Drama in Four Acts. By HENRIK IBSEN. Translated from
the Norwegian by EDMUND GOSSE. Small 4to, cloth, with Portrait, 5_s._
Vaudeville Edition, paper, 1_s._ Also a Limited Large Paper Edition,
21_s._ _net_.
_Times._--"The language in which this play is couched is a model
of brevity, decision, and pointedness.... Every line tells, and
there is not an incident that does not bear on the action
immediate or remote. As a corrective to the vapid and foolish
writing with which the stage is deluged 'Hedda Gabler' is
perhaps entitled to the place of honour."
=NERO AND ACTEA=: A Tragedy. By ERIC MACKAY, Author of "A Lover's
Litanies," and "Love Letters of a Violinist." Crown 8vo, cloth, 5_s._
_Morning Post._--"Well written, picturesque, and thoroughly
dramatic."
=A NEW PLAY.= By HALL CAINE. Small 4to.
[_In preparation._
=STRAY MEMORIES.= By ELLEN TERRY. In one volume. Illustrated.
[_In preparation._
=SOME INTERESTING FALLACIES OF THE= Modern Stage. An Address delivered
to the Playgoers' Club at St. James's Hall, on Sunday, 6th December,
1891. By HERBERT BEERBOHM TREE. Crown 8vo, sewed, 6_d._
=THE LIFE OF HENRIK IBSEN.= By HENRIK JAEGER. Translated by CLARA BELL.
With the Verse done into English from the Norwegian Original by EDMUND
GOSSE. Crown 8vo, cloth, 6_s._
_St. James's Gazette._--"Admirably translated. Deserves a
cordial and emphatic welcome."
_Guardian._--"Ibsen's dramas at present enjoy a considerable
vogue, and their admirers will rejoice to find full descriptions
and criticisms in Mr. Jaeger's book."
* * * * *
TRANSCRIBER'S NOTES
Side notes have been taken from the page headers and moved to the
beginnings of paragraphs or where more appropriate to the beginnings of
sentences in the text.
page xi Litle replaced with Little in "Little Darwin learns a new
word".
page 5 space added between The and familiar "The familiar voice of
his mate".
page 124 freindship replaced with friendship in "which seems to
indicate friendship."
page 216 full stop added after "does not continue through the vowel".
page 231 every replaced with very in "Their means of communication are
very contracted,".
page 232 sigmata replaced with stigmata in "scratching by means of
their stigmata,".
Endpapers:
A full stop was added after Daily Telegraph in the ad for Volumes V and
VI GERMANY.
A " was added after "Both interesting and valuable" in the ad for THE
LABOUR MOVEMENT IN AMERICA.
ex replaced by Sex in "The Weaker Sex," in the ad for LADY BOUNTIFUL.
In the ad for THE FRUITS OF ENLIGHTENMENT full stop added after 5s.
In the ad for HEDDA GABLER anguage replaced with language in "The
language in which this play".