Complete Project Gutenberg William Dean Howells Works
Free

Complete Project Gutenberg William Dean Howells Works

By William Dean Howells
Free
Book Description
Table of Contents
  • CONTENTS
    • STUDIES
      • HENRY JAMES, JR.
  • THE MAN OF LETTERS AS A MAN OF BUSINESS
    • II.
      • III.
        • IV.
        • V.
        • VI.
        • VII.
        • VIII.
        • IX.
        • X.
        • XI.
        • XII.
  • A PSYCHOLOGICAL COUNTER-CURRENT IN RECENT FICTION.
    • I.
      • III.
        • IV.
        • V.
        • VI.
        • VII.
        • VIII.
  • EMILE ZOLA
    • I
      • II
        • III
        • IV
        • V
        • VI
  • LITERARY FRIENDS AND ACQUAINTANCES
    • BIBLIOGRAPHICAL
      • MY FIRST VISIT TO NEW ENGLAND
    • II.
    • III
    • IV
    • V.
    • VI.
    • VII.
    • VIII.
    • IX.
    • X.
    • XI.
    • XII.
    • XIII.
    • XV.
    • XVI.
    • XVII.
      • FIRST IMPRESSIONS OF LITERARY NEW YORK
    • I.
    • II.
    • III.
    • IV.
    • V.
    • VI.
    • ETEXT EDITOR'S BOOKMARKS:
      • ROUNDABOUT TO BOSTON
    • I.
    • II.
    • III.
    • IV.
    • V.
    • VI.
    • ETEXT EDITOR'S BOOKMARKS:
      • LITERARY BOSTON AS I KNEW IT
    • I.
    • III.
    • IV.
    • V.
    • VII.
    • VIII.
    • IX.
    • X.
    • ETEXT EDITOR'S BOOKMARKS:
      • OLIVER WENDELL HOLMES
    • II.
    • III.
    • IV.
    • V.
    • VI.
    • VII.
    • VIII.
    • IX.
  • ETEXT EDITOR'S BOOKMARKS:
    • THE WHITE MR. LONGFELLOW
    • I.
    • II.
    • III.
    • IV.
    • V.
    • VI.
    • VII.
    • VIII.
    • ETEXT EDITOR'S BOOKMARKS:
      • STUDIES OF LOWELL
    • I.
    • II.
    • III.
    • IV.
    • V.
    • VI.
    • VII.
    • VIII.
      • IX.
    • X.
    • XI.
    • XII.
    • ETEXT EDITOR'S BOOKMARKS:
      • CAMBRIDGE NEIGHBORS
    • I.
    • II.
    • III.
    • IV.
    • V.
    • VII.
    • VIII.
    • IX.
    • XI.
    • ETEXT EDITOR'S BOOKMARKS:
      • A BELATED GUEST
    • I.
    • II.
    • III.
    • IV.
    • ETEXT EDITOR'S BOOKMARKS:
      • MY MARK TWAIN
    • I.
    • II.
    • III.
    • IV.
    • V.
    • VI.
    • VII.
    • VIII.
    • IX.
    • X.
    • XI.
    • XII.
    • XIII.
    • XIV.
    • XV.
    • XVI.
    • XVII.
    • XIX.
    • XX.
    • XXI.
    • XXII.
    • XXIII.
    • XXIV.
    • XXV.
      • ETEXT EDITOR'S BOOKMARKS:
        • BIBLIOGRAPHICAL
  • LITERATURE AND LIFE
    • THE MAN OF LETTERS AS A MAN OF BUSINESS
      • I.
    • II.
      • III.
        • IV
        • V.
        • VI.
        • VII.
        • VIII
        • IX.
        • X.
        • XI.
    • ETEXT EDITOR'S BOOKMARKS:
      • CONFESSIONS OF A SUMMER COLONIST
    • I.
    • II.
    • III.
    • IV
    • ETEXT EDITOR'S BOOKMARKS:
      • THE EDITOR'S RELATIONS WITH THE YOUNG CONTRIBUTOR
    • I.
    • II.
    • III.
    • IV.
      • V.
    • VI.
    • ETEXT EDITOR'S BOOKMARKS:
      • LAST DAYS IN A DUTCH HOTEL
    • I.
    • II.
    • IV
    • V.
    • VI.
    • VII.
    • VIII.
      • SOME ANOMALIES OF THE SHORT STORY
    • I.
    • II.
    • III.
    • IV.
    • V.
    • VI.
      • SPANISH PRISONERS OF WAR
    • I.
    • II.
    • III.
    • IV.
      • AMERICAN LITERARY CENTRES
    • I.
    • II.
    • III.
    • IV.
    • V.
    • ETEXT EDITOR'S BOOKMARKS:
      • THE STANDARD HOUSEHOLD-EFFECT COMPANY
    • I.
    • II.
    • ETEXT EDITOR'S BOOKMARK:
      • STACCATO NOTES OF A VANISHED SUMMER
    • I.
    • II.
    • III.
    • IV.
      • V.
    • ETEXT EDITOR'S BOOKMARKS:
    • WORRIES OF A WINTER WALK
    • I.
    • II.
    • III.
  • SUMMER ISLES OF EDEN
    • I.
    • II.
    • III.
    • IV.
  • WILD FLOWERS OF THE ASPHALT
    • I.
    • II.
    • III.
    • IV
  • A CIRCUS IN THE SUBURBS
    • I.
    • II.
    • III.
    • IV.
  • A SHE HAMLET
    • I.
    • II.
    • III.
  • THE MIDNIGHT PLATOON
    • I.
    • II.
    • III.
    • IV.
    • V.
  • THE BEACH AT ROCKAWAY
    • I.
    • II.
    • III.
    • IV.
    • V.
    • VI.
  • SAWDUST IN THE ARENA
    • I.
    • II.
    • III.
  • AT A DIME MUSEUM
    • I.
    • II.
  • AMERICAN LITERATURE IN EXILE
    • I.
    • II.
  • THE HORSE SHOW
    • I.
    • II.
    • III.
    • IV.
  • THE PROBLEM OF THE SUMMER
    • I.
    • II.
    • III.
  • AESTHETIC NEW YORK FIFTY-ODD YEARS AGO
    • I.
    • II.
  • FROM NEW YORK INTO NEW ENGLAND
    • I.
    • II.
    • III.
    • IV.
    • V.
  • THE ART OF THE ADSMITH
    • I.
    • II.
    • III.
  • THE PSYCHOLOGY OF PLAGIARISM
    • I.
    • II.
  • PURITANISM IN AMERICAN FICTION
    • I.
    • II.
  • THE WHAT AND THE HOW IN ART
    • I.
    • II.
    • III.
  • POLITICS OF AMERICAN AUTHORS
    • I.
    • II.
    • III.
    • IV.
  • STORAGE
    • I.
    • II.
    • III.
    • IV
  • "FLOATING DOWN THE RIVER ON THE O-HI-O "
    • I.
    • II.
    • III.
    • IV.
    • V.
    • VI.
    • ETEXT EDITOR'S BOOKMARKS:
    • ETEXT EDITOR'S BOOKMARKS FOR THE ENTIRE FILE:
  • MY LITERARY PASSIONS
    • BIBLIOGRAPHICAL.
    • BIBLIOGRAPHICAL
  • MY LITERARY PASSIONS
    • I. THE BOOKCASE AT HOME
    • II. GOLDSMITH
    • III. CERVANTES
    • IV
    • V. FIRST FICTION AND DRAMA
    • VI. LONGFELLOW'S "SPANISH STUDENT"
    • VII. SCOTT
    • VIII. LIGHTER FANCIES
    • IX. POPE
    • X. VARIOUS PREFERENCES
    • XI. UNCLE TOM'S CABIN
    • XII. OSSIAN
    • XIII. SHAKESPEARE
    • XIV. IK MARVEL
    • XV. DICKENS
    • XVI. WORDSWORTH, LOWELL, CHAUCER
    • XVII. MACAULAY
    • XVIII. CRITICS AND REVIEWS
    • XIX. A NON-LITERARY EPISODE
    • XX. THACKERAY
    • XXI. "LAZARILLO DE TORMES"
    • XXII. CURTIS, LONGFELLOW, SCHLEGEL
    • XXIII. TENNYSON
    • XXIV. HEINE
    • XXV. DE QUINCEY, GOETHE, LONGFELLOW
    • XXVI. GEORGE ELIOT, HAWTHORNE, GOETHE, HEINE
    • XXVII. CHARLES READE
    • XXVIII. DANTE
    • XXIX. GOLDONI, MANZONI, D'AZEGLIO
    • XXX. "PASTOR FIDO," "AMINTA," "ROMOLA," "YEAST," "PAUL FERROLL"
    • XXXI. ERCKMANN-CHATRIAN, BJORSTJERNE BJORNSON
    • XXXII. TOURGUENIEF, AUERBACH
  • XXXIII. CERTAIN PREFERENCES AND EXPERIENCES
    • XXXIV. VALDES, GALDOS, VERGA, ZOLA, TROLLOPE, HARDY
    • XXXV. TOLSTOY
    • ETEXT EDITOR'S BOOKMARKS:
  • CRITICISM AND FICTION
    • I
    • II
    • III
    • IV
    • V.
    • VI.
    • VII.
    • VIII.
    • IX.
    • X.
    • XI.
    • XII.
    • XIII.
    • XIV.
    • XV.
    • XVII.
    • XVIII.
    • XIX.
    • XX.
    • XXI.
    • XXII.
    • XXIII.
    • XXIV.
    • XXV.
    • XXVI.
    • XXVII.
    • ETEXT EDITOR'S BOOKMARKS:
  • NOVELS
    • THE RISE OF SILAS LAPHAM
      • I.
      • II.
      • III.
      • IV.
      • V.
      • VI.
      • VII.
      • VIII.
      • IX.
      • X.
      • XI.
      • XII.
      • XIII.
      • XIV.
      • XV.
      • XVI.
      • XVII.
      • XVIII.
      • XIX.
      • XX.
      • XXI.
      • XXII.
      • XXIII.
      • XXIV.
      • XXV.
      • XXVI.
      • XXVII.
  • AN OPEN-EYED CONSPIRACY—AN IDYL OF SARATOGA
    • CHAPTER I
      • CHAPTER II
      • CHAPTER III
      • CHAPTER IV
      • CHAPTER V
      • CHAPTER VI
      • CHAPTER VII
      • CHAPTER VIII
      • CHAPTER IX
      • CHAPTER X
      • CHAPTER XI
      • CHAPTER XII
      • CHAPTER XIII
      • CHAPTER XIV
      • CHAPTER XV
      • CHAPTER XVI
      • CHAPTER XVII
      • CHAPTER XVIII
    • BIBLIOGRAPHICAL
  • THE LANDLORD AT LION'S HEAD
    • I.
    • II.
    • III.
    • IV.
    • V.
    • VI.
    • VII.
    • VIII.
    • IX.
    • X.
    • XI.
    • XII.
    • XIII.
    • XIV.
    • XVI.
    • XVII.
    • XVIII.
    • XIX.
    • XX.
    • XXI.
    • XXII.
    • XIII.
    • XXIV.
    • XXV.
    • XXVI.
    • ETEXT EDITOR'S BOOKMARKS:
      • XXVII.
    • XXVIII.
    • XXIX
    • XXX.
    • XXXI.
    • XXXII.
    • XXXIII.
    • XXXIV.
    • XXXV.
    • XXXVI.
    • XXXVII.
    • XXXVIII.
    • XXXIX
    • XL.
    • XLI.
    • XLII.
    • XLIII
    • XLIV
    • XLV.
    • XLVI
    • XLVII.
    • XLVIII
    • XLIX.
    • L.
    • LI.
    • LII.
    • LIII.
    • LIV.
    • IV
    • ETEXT EDITOR'S BOOKMARKS:
  • THE ENTIRE MARCH FAMILY TRILOGY
    • CONTENTS:
  • THEIR WEDDING JOURNEY.
    • I. THE OUTSET
    • II. MIDSUMMER-DAY'S DREAM.
    • III. THE NIGHT BOAT.
    • IV. A DAY'S RAILROADING
    • V. THE ENCHANTED CITY, AND BEYOND.
    • VI. NIAGARA.
    • DOWN THE ST. LAWRENCE.
    • THE SENTIMENT OF MONTREAL.
    • IX. QUEBEC.
    • X. HOMEWARD AND HOME.
      • Part of the burlesque troupe rode down in the omnibus to the Grand Trunk Ferry with them, and were good-natured to the last, having shaken hands all round with the waiters, chambermaids, and porters of the hotel. The young fellow with the bad amiable face came in a calash, and refused to overpay the driver with a gay decision that made him Basil's envy till he saw his tribulation in getting the troupe's luggage checked. There were forty pieces, and it always remained a mystery, considering the small amount of clothing necessary to those people on the stage, what could have filled their trunks. The young man and the two English blondes of American birth found places in the same car with our tourists, and enlivened the journey with their frolics. When the young man pretended to fall asleep, they wrapped his golden curly head in a shawl, and vexed him with many thumps and thrusts, till he bought a brief truce with a handful of almonds; and the ladies having no other way to eat them, one of them saucily snatched off her shoe, and cracked them hammerwise with the heel. It was all so pleasant that it ought to have been all right; and in their merry world of outlawry perhaps things are not so bad as we like to think them.
  • NIAGARA REVISITED, TWELVE YEARS AFTER THEIR WEDDING JOURNEY.
    • ETEXT EDITORS BOOKMARKS:
  • A HAZARD OF NEW FORTUNES
    • BIBLIOGRAPHICAL
    • PART FIRST
      • I.
    • II.
    • III.
    • IV
    • V.
    • VI.
    • VII.
    • VIII.
    • IX.
    • X.
    • XI.
    • XII.
    • ETEXT EDITOR'S BOOKMARKS:
  • A HAZARD OF NEW FORTUNES
    • PART SECOND
      • I.
    • II.
    • III.
    • IV
    • V.
    • VI.
    • VII.
    • VII.
    • IX.
    • X
    • XI.
    • XII.
    • XIII.
    • XIV.
    • ETEXT EDITOR'S BOOKMARKS:
  • A HAZARD OF NEW FORTUNES
    • PART THIRD
      • I.
    • II.
    • III.
    • IV
    • V.
    • VI.
    • VII
    • VIII.
    • IX.
      • ETEXT EDITOR'S BOOKMARKS:
  • A HAZARD OF NEW FORTUNES
    • PART FOURTH
      • I.
    • II.
    • III.
    • IV
    • V.
    • VI.
    • VII.
    • VIII.
    • IX.
      • ETEXT EDITOR'S BOOKMARKS:
  • A HAZARD OF NEW FORTUNES
    • PART FIFTH
      • I.
    • II.
    • III.
    • IV
    • V.
    • VI.
    • VII.
    • VIII.
    • IX.
    • X.
    • XI.
    • XII.
    • XIII.
    • XIV.
    • XV.
    • XVI.
    • XVII.
    • XVIII.
      • ETEXT EDITOR'S BOOKMARKS:
  • THEIR SILVER WEDDING JOURNEY.
    • Part I.
    • I.
    • II.
    • III.
  • IV.
    • V.
    • VI.
    • VII.
    • VIII.
    • IX.
    • X.
    • XI.
    • XII.
    • XIII.
    • XIV.
    • XV.
    • XVI.
    • XVII.
    • XVIII.
    • XIX.
    • XX.
    • XXI.
    • XXII.
    • XXIII.
    • XXV.
    • ETEXT EDITOR'S BOOKMARKS:
  • THEIR SILVER WEDDING JOURNEY
    • XXVII.
    • XXVIII.
    • XXIX.
    • XXX.
    • XXXI.
    • XXXII.
    • XXXIII.
    • XXXIV.
    • XXXV.
    • XXXVI.
    • XXXVII.
    • XXXVIII.
    • XXXIX.
    • XL.
    • XLI.
    • XLII.
    • XLIII.
    • XLIV.
    • XLV.
    • XLVI.
    • XLVII.
    • ETEXT EDITOR'S BOOKMARKS:
  • THEIR SILVER WEDDING JOURNEY
    • XLVIII.
    • XLIX.
    • L.
    • LI.
    • LII.
    • LIII.
    • LIV.
    • LV.
    • LVI.
    • LVII.
    • LVIII.
      • LIX.
    • LX.
    • LXI.
    • LXII.
    • LXIII.
    • LXIV.
    • LXV.
  • LXVI.
    • LXVII.
    • LXVIII.
    • LXIX.
    • LXX.
    • LXXI.
    • LXXII.
    • LXXIII.
    • LXXVI.
    • LXXV.
    • ETEXT EDITOR'S BOOKMARKS:
    • ETEXT EDITOR'S BOOKMARKS:
  • DR. BREEN'S PRACTICE.
    • II.
    • III.
    • IV.
    • V.
    • VI.
    • VII.
    • VIII.
    • IX.
    • X.
    • XI.
    • XII.
    • ETEXT EDITOR'S BOOKMARKS:
  • FENNEL AND RUE
    • I.
    • II.
    • III.
    • IV
    • V.
    • VI.
    • VII.
    • VIII.
    • IX.
    • X.
    • XI.
    • XII.
    • XIII.
    • XIV.
    • XV.
    • XVI.
    • XVII.
    • XVIII.
    • XIX.
    • XX.
    • XXI.
    • ETEXT EDITOR'S BOOKMARKS:
  • THE KENTONS
    • I.
    • II.
    • III.
    • IV
    • V.
    • VI.
    • VII.
    • VIII.
    • IX.
    • X
    • XI.
    • XII.
  • XIII.
    • XIV.
    • XV.
    • XVI.
    • XVII.
    • XVIII.
  • XIX.
    • XX.
  • XXI.
    • XXII.
    • XXIII.
    • XXIV.
    • XXVI.
  • ETEXT EDITOR'S BOOKMARKS:
  • RAGGED LADY.
    • Part 1.
    • II.
    • III.
    • IV.
    • V.
    • VI.
    • VII.
    • VIII.
    • IX.
    • XI.
    • XII.
    • XIII.
    • XIV.
    • ETEXT EDITOR'S BOOKMARKS:
  • RAGGED LADY
    • Part 2
      • XV.
    • XVI.
    • XVII.
    • XVIII.
    • XIX.
    • XX.
    • XXII.
    • XXIII
    • XXIV.
    • XXV.
    • XXVI.
    • XXVII.
    • XXVIII.
    • XXIX.
    • XXX.
    • XXXI.
    • XXXII.
    • XXXIII.
    • XXXIV.
    • XXXV.
    • XXXVI.
    • XXXVII.
    • XXXVIII.
    • XL.
    • ETEXT EDITOR'S BOOKMARKS:
  • APRIL HOPES
    • II.
    • III.
    • IV.
    • V.
    • VI.
    • VII.
    • VIII.
    • IX.
    • X.
      • XI.
    • XII.
    • XIII.
    • XIV.
      • XV.
    • XVI.
    • XVII.
    • XVIII.
    • XIX.
    • XX.
    • XXI.
    • XXII.
    • XXIII.
    • XXIV.
    • XXV.
    • XXVI.
    • XXVII.
    • XXVIII.
    • XXIX.
    • XXX.
    • XXXI.
    • XXXII.
    • XXXIII:
    • XXXIV.
    • XXXV.
    • XXXVI.
    • XXXVII.
    • XXXVIII.
    • XXXIX.
    • XL.
    • XLI.
    • XLII.
    • XLIII
    • XLIV.
    • XLV.
    • XLVI.
    • XLVII.
    • XLVIII.
    • XLIX.
    • L.
  • PLAYS
    • THE SLEEPING-CAR — A FARCE
      • I.
        • SCENE: One side of a sleeping-car on the Boston and Albany Road. The curtains are drawn before most of the berths; from the hooks and rods hang hats, bonnets, bags, bandboxes, umbrellas, and other travelling gear; on the floor are boots of both sexes, set out for THE PORTER to black. THE PORTER is making up the beds in the upper and lower berths adjoining the seats on which a young mother, slender and pretty, with a baby asleep on the seat beside her, and a stout old lady, sit confronting each other—MRS. AGNES ROBERTS and her aunt MARY.
        • II.
        • III.
  • THE GAROTTERS
    • PART FIRST
      • SCENE I: MRS. ROBERTS; THEN MR. ROBERTS
      • SCENE II: MRS. CRASHAW; MR. AND MRS. ROBERTS
      • SCENE III: MR. CAMPBELL, MRS. CRASHAW, MR. AND MRS. ROBERTS
      • SCENE IV: MR. BEMIS, MR. CAMPBELL, MR. AND MRS. ROBERTS
    • PART SECOND
    • SCENE I: MR. ROBERTS; MR. CAMPBELL
    • PART THIRD
    • SCENE I: MRS. ROBERTS, DR. LAWTON, MRS. CRASHAW, MR. BEMIS, YOUNG MR. AND MRS. BEMIS
      • SCENE II: MR. ROBERTS, MR. CAMPBELL, AND THE OTHERS
  • THE ELEVATOR
    • I.
      • SCENE: Through the curtained doorway of MRS. EDWARD ROBERTS'S pretty drawing-room, in Hotel Bellingham, shows the snowy and gleaming array of a table set for dinner, under the dim light of gas-burners turned low. An air of expectancy pervades the place, and the uneasiness of MR. ROBERTS, in evening dress, expresses something more as he turns from a glance into the dining-room, and still holding the portiere with one hand, takes out his watch with the other.
      • II.
      • III.
  • THE PARLOR-CAR
    • SCENE: A Parlor-Car on the New York Central Railroad. It is late afternoon in the early autumn, with a cloudy sunset threatening rain. The car is unoccupied save by a gentleman, who sits fronting one of the windows, with his feet in another chair; a newspaper lies across his lap; his hat is drawn down over his eyes, and he is apparently asleep. The rear door of the car opens, and the conductor enters with a young lady, heavily veiled, the porter coming after with her wraps and travelling-bags. The lady's air is of mingled anxiety and desperation, with a certain fierceness of movement. She casts a careless glance over the empty chairs.
  • THE REGISTER
    • I.
      • SCENE: In an upper chamber of a boarding-house in Melanchthon Place, Boston, a mature, plain young lady, with every appearance of establishing herself in the room for the first time, moves about, bestowing little touches of decoration here and there, and talking with another young lady, whose voice comes through the open doorway of an inner room.
      • II.
      • III.
      • SCENE: Miss Reed opens the door, and receives Mr. Ransom with well- affected surprise and state, suffering him to stand awkwardly on the threshold for a moment.
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