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The house was full, and murmurous with the pleasant chat and rustling movement of well-dressed persons of both sexes who waited patiently the coming of the orator, looking at the expanse of stage, which was carpeted, and covered with rows of settees that went backward from the footlights to a landscape of charming freshness of color, that might have been set for the "Maid of Milan" or the pastoral opera. Between the seats and the foot-lights was a broad space, upon which stood a small table and two or three chairs; and if the orator of the evening, like a primo tenore, had been surveying the house through the friendly chinks of the pastoral landscape, he would have felt a warm suffusion of pleasure that his name should be the magic spell to summon an audience so fair, so numerous, and so intelligent. There were ushers who showed ladies to seats, and with their dress-coats and bright badges looked like a milder Metropolitan police. But no greater force was presumed to be required of them than pressing aside a too discursive crinoline. In the soft, ample light, as the audience sat with fluttering ribbons and bright gems and splendid silks and shawls, so tranquilly expectant, so calmly smiling, so shyly blushing (if, haply, in all that crowd there were a pair of lovers!), it was hard to believe that civil war was wasting the land, and that at the very moment some of those glad hearts were broken--but would not know it until the sad news came. Yet it was easy, in the same glance, to feel that even the terrible shape that we thought we had eluded forever did not seem, after all, so terrible; that even civil war might be shaking the gates and the guests still smile in the chambers. But while leaning against the wall, under the balcony, the Easy Chair looks around upon the humming throng and thinks of camps far away, and beating drums and wild alarms and sweeping squadrons of battle, there is a sudden hush and a simultaneous glance towards one side of the house, and there, behind the seats at the side, and making for the stage door, marches a procession, two and two, very solemn, very bald, very gray, and in evening dress. They are the invited guests, the honored citizens of Brooklyn, the reverend clergy, and others; a body of substantial, intelligent, decorous persons. They disappear for a moment within the door, and immediately emerge upon the stage with a composed bustle, moving the seats, taking off their coats, sedately interchanging little jests, and finally seating themselves, and gazing at the audience evidently with a feeling of doubt whether the honor of the position compensates for its great disadvantage; for to sit behind an orator is to hear, without seeing, an actor. The audience is now waiting, both upon the stage and in the boxes, with patient expectation. There is little talking, but a tension of heads towards the stage. The last word is spoken there, the last joke expires; all attention is concentrated upon an expected object. The edge of eagerness is not suffered to turn, but precisely at the right moment a figure with a dark head and another with a gray head are seen at the depth of the stage, advancing through the aisle towards the foot-lights and the audience. They are the president of the society and the orator. The audience applauds. It is not a burst of enthusiasm; it is rather applausive appreciation of acknowledged merit. The gray-headed orator bows gravely and slightly, lays a roll of MS. upon the table, then he and the president seat themselves side by side. For a moment they converse, evidently complimenting the brilliant audience. The orator, also, evidently says that the table is right, that the light is right, that the glass of water is right, and finally that he is ready. In a few neat words "the honored son of Massachusetts" is introduced, and he rises and moves a few steps forward.
Easy Chairs, Hard Words is a dialogue on God's sovereignty and predestination.
"..."The Stick Chair Book" is divided into three sections. The first section, "Thinking About Chairs," introduces you to the world of common stick chairs, plus the tools and wood to build them. The second section - "Chairmaking Techniques" - covers every process involved in making a chair, from cutting stout legs, to making curved arms with straight wood, to carving the seat. Plus, you'll get a taste for the wide variety of shapes you can use. The chapter on seats shows you how to lay out 14 different seat shapes. The chapter on legs has 16 common forms that can be made with only a couple handplanes. Add those to the 11 different arm shapes, six arm-joinery options, 14 shapes for hands, seven stretcher shapes and 11 combs, and you could make stick chairs your entire life without ever making the same one twice. The final section offers detailed plans for five stick chairs, from a basic Irish armchair to a dramatic Scottish comb-back. These five chair designs are a great jumping-off point for making stick chairs of your own design. Additional chapters in the book cover chair comfort, finishing and sharpening the tools. From the author: "When I first wrote 'The Stick Chair Book' in 2021, I was also fighting cancer. So I hammered out the text with urgency and the desire to record every fragment of information I knew about chairmaking. "To be fair, that's usually how I go about writing all my books. But then I typically take a couple months off, put the manuscript aside, then revisit it with fresh eyes and a sharpened pen. My final revisions remove about 10-20 percent of the original material. The stuff I cut is usually chapters that don't match the tone of the rest of the text. Or I snip sections that aren't as relevant as when I first wrote them. I also smooth out the writing and add bits of information I'd forgotten during the first brain-to-fingers dump. "And that's exactly what I've done for this revised edition. As a result, the text is 10.1 percent shorter than the first edition. It's more to the point. And it's where the manuscript would have ended up under normal conditions..."--Publisher's website.
Reproduction of the original: From the Easy Chair by George William Curtis
Herman Melville is a giant of American literature, whose novels are hailed as literary masterpieces. This eBook offers readers the complete works for the first time in digital print, as well as an array of bonus features. (Current version: 1) * illustrated with many images relating to Melville’s life and works * annotated with concise introductions to the novels and other works * ALL the novels, with separate contents tables * MOBY-DICK and other works are presented with their original illustrations * images of how the novels first appeared, giving your eReader a taste of the original texts * the complete short story collections * rare short stories like DANIEL ORME – first time in digital print * the complete poetry collections * the scarce poetry collection WEEDS AND WILDINGS, which Melville wrote for his wife – first time in digital print * separate CHRONOLOGICAL and ALPHABETICAL contents tables for the poetry – find that special poem easily! * includes Melville’s complete essays, available nowhere else * bonus collection of letters by Melville – explore the writer’s personal correspondence * boasts a special criticism section, with essays by writers such as D.H. Lawrence and Virginia Woolf examining Melville’s contribution to literature * features Raymond Weaver’s seminal biography on Melville, which sparked the great revival in the author * scholarly ordering of texts in chronological order and literary genres, allowing easy navigation around Melville’s immense oeuvre Please visit www.delphiclassics.com to browse through our range of exciting titles CONTENTS: The Novels Typee Omoo Mardi Redburn White-Jacket Moby-Dick Pierre Israel Potter The Confidence-Man Billy Budd, Sailor The Short Story Collections The Piazza Tales The Apple-Tree Table and Other Sketches Billy Budd and Other Prose Pieces The Short Stories List of the Short Stories The Poetry Collections Battle Pieces and Aspects of the War Clarel: A Poem and Pilgrimage in the Holy Land John Marr and Other Sailors Timoleon and Other Ventures Weeds and Wildings, with a Rose or Two Uncollected Poems The Poems List of Poems in Chronological Order List of Poems in Alphabetical Order The Essays Fragments from a Writing Desk Etchings of a Whaling Cruise Review Authentic Anecdotes of ‘Old Zack’ Mr Parkman’s Tour Cooper’s New Novel A Thought on Book-Binding Hawthorne and His Mosses The Letters Some Personal Letters of Herman Melville by Meade Minnigerode The Criticism The Best Sea-Story Ever Written by Archibald Macmechan Herman Melville’s Moby Dick by D. H. Lawrence Herman Melville’s Typee and Omoo by D. H. Lawrence Herman Melville by Virginia Woolf The Biography Herman Melville: Man, Mariner and Mystic by Raymond Weaver
The Complete Works of Arnold Bennett showcases the prolific and diverse writing of the renowned author. Known for his realistic portrayals of British industrial society in the late 19th and early 20th centuries, Bennett's work often delves into the themes of class dynamics, ambition, and personal growth. His writing style combines keen observations with a straightforward narrative approach, making his novels both accessible and thought-provoking. Readers can expect a rich literary experience that captures the essence of the changing social landscape of the time. Arnold Bennett's own life experiences, growing up in the Potteries region of Staffordshire, England, greatly influenced his writing. His firsthand knowledge of the working-class struggles and aspirations permeates his work, adding depth and authenticity to his characters and their dilemmas. Bennett's ability to depict the human condition with empathy and insight sets his work apart in the literary canon. I highly recommend The Complete Works of Arnold Bennett to readers interested in exploring the complexities of British society during the Industrial Revolution. Bennett's timeless themes and engaging storytelling continue to resonate with contemporary audiences, offering valuable insights into the universal struggles of the human experience.