A Modern Mephistopheles And A Whisper In The Dark Primary Source Edition

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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1889 edition. Excerpt: ...stretched her arms towards her husband, as if in music she had found a tongue to plead her cause. The involuntary gesture recalled to her that other verse which Vivien added to her song; and something impelled her to sing it, standing erect, with face, figure, voice all trembling with the strong emotion that suddenly controlled her: --"My name, once mine, now thine, is closelier mine, For fame, could fame be mine, that fame were thine; And shame, could shame be thine, that shame were mine; So trust me not at all or all in all." Down fell the curtain there, and the two men looked at one another in silence for an instant, dazzled, troubled, and surprised; for in this brilliant, impassioned creature they did not recognize the Gladys they believed they knew so well. "What possessed her to sing that? She is so unlike herself, I do not know her," said Canaris, excited by the discoveries he was making. "She is inspired to-night; so be prepared for any thing. These women will work wonders, they are acting to the men they love," answered Helwyze, warily, yet excited also; because, for him, a double drama was passing on that little stage, and he found it marvellously fascinating. "I never knew how beautiful she was!" mused Canaris, half aloud, his eyes upon the blue draperies which hid her from his sight. "You never saw her in such gear before. Splendor suits her present mood, as well as simplicity becomes her usual self-restraint.-You have made her jealous, and your angel will prove herself a woman, after all." "Is that the cause of this sudden change in her? Then I don't regret playing truant, for the woman suits me better than the angel," cried Canaris, conscious that the pale affection...

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Arthur Conan Doyle has long been considered the greatest writer of crime fiction, and the gender bias of the genre has foregrounded William Godwin, Edgar Allan Poe, Wilkie Collins, Emile Gaboriau and Fergus Hume. But earlier and significant contributions were being made by women in Britain, the United States and Australia between 1860 and 1880, a period that was central to the development of the genre. This work focuses on women writers of this genre and these years, including Catherine Crowe, Caroline Clive, Elizabeth Cleghorn Gaskell, Mary Elizabeth Braddon, Mrs. Henry (Ellen) Wood, Harriet Prescott Spofford, Louisa May Alcott, Metta Victoria Fuller Victor, Anna Katharine Green, Celeste de Chabrillan, "Oline Keese" (Caroline Woolmer Leakey), Eliza Winstanley, Ellen Davitt, and Mary Helena Fortune--innovators who set a high standard for women writers to follow.