"Niin kävi kuin pitikin : Yksinäytöksinen näytelmä by Emmi Haapanen is a one-act stage play written in the early 20th century. Set in a rural Finnish household around a harvest work party, it portrays the clash between parental ambition and youthful choice, as village gossip, greed, and questions of honesty mount toward a public reckoning. Karilan isäntä schemes to marry his daughter Lissu to the newly rich Värälän Venni, whose money he hopes to harness for a mill and saw venture, while Lissu loves the modest Patolan Kusti. Despite the mother’s cautions and Lautamies Lieto’s misgivings, the father pushes ahead until the harvest dance exposes everything: Venni’s arrogance meets Lissu’s firm refusal, and the police arrive to arrest Venni for stealing the Patola family’s inheritance. With Venni unmasked, Lieto urges the father to save the family’s honor by blessing Lissu and Kusti. After bluster and hesitation, the father yields, the true couple’s engagement is announced, and the household’s peace is restored—just as the title promises. (This is an automatically generated summary.)

"Dans les Entrailles de la Terre by Séverine" is an investigative reportage written in the early 20th century. The piece examines the perilous lives of French coal miners, brought into stark focus by the catastrophic Courrières disaster, and emphasizes the daily hazards, grinding poverty, and moral urgency of reform. The narrative moves from public shock to sustained critique, setting the Courrières tragedy against a long history of “smaller” but frequent mine deaths. It vividly depicts the underground ordeal—crawling in narrow, dark galleries under constant threat of water bursts and firedamp—alongside meager wages diminished by obligatory expenses. Through poignant vignettes, it shows bereaved families, such as a widow dyeing her family’s few garments black, a young wife undone by grief, and artisanship like crucifixes carved from bone. It exposes unsafe company housing above shifting ground, while honoring miners’ courage during rescues, from refusing to butcher a dead pit horse to the loyal dog mourning its masters. The author descends into a deadly pit between explosions and visits a hospital of burned and suffocating survivors, closing with a forceful appeal for justice, lasting safety measures, and humane consideration for those who toil in the earth’s depths. (This is an automatically generated summary.)

"Glimpses of the dark ages : or, Sketches of the social condition of Europe,…." is a historical account written in the mid-19th century. It surveys European society from the fall of Rome to the dawn of medieval civilization, emphasizing social structures, beliefs, morals, and daily life rather than dynastic politics or battles. Early chapters trace the collapse of Rome, the ascendancy and influence of the Church, the rise of monasticism and feudalism, and the growth of towns, drawing on familiar historians to present an accessible social history. The opening of this work sets out its scope—social life from the fifth to the twelfth century—and then vividly recounts Alaric’s sack of Rome, noting both devastation and the relative protection afforded to Christians and their churches. From that event the author pivots to diagnose Rome’s moral and civic decay: imperial despotism, extravagant nobles, idle plebeians, pervasive slavery, compromised Christianity, and a decline in arts and letters, framed as divine retribution. He sketches the barbarians (especially the Goths), subsequent shocks from Attila and Odoacer to Charlemagne, and argues that the invasions demolished corrupt ancient forms while supplying new elements for medieval society. The Church then takes center stage: bishops managing civic life and shaping law (notably in Visigothic Spain), the growth of papal supremacy, and the papacy’s mixed social legacy—intellectual control, legal encroachments, interdicts, but occasional mediation and cultural exchange. A section on superstition shows accommodation to pagan customs (Gregory the Great’s policy), imported myths (e.g., St. Nicholas), ordeals (including the corsned), riotous festivals (Feast of Fools and Asses), and credulous or fraudulent miracle tales. On morals, the narrative highlights militarized clergy, simony, clerical immorality, and formalism among the laity, yet also notes charitable preaching, almsgiving, manumission of slaves, sanctuary rights, and the Truce of God as genuine social restraints. It closes this opening portion by beginning a survey of learning and art, crediting the Church with preserving letters during the nadir of the seventh century and tracing the uneven, migratory revival of learning across Ireland, England, France, Germany, and Italy. (This is an automatically generated summary.)

"Écrits spirituels de Charles de Foucauld : ermite au Sahara, apôtre des…." by Charles de Foucauld is a collection of spiritual writings written in the early 20th century. Drawn from private letters, meditations, and retreat notes, it reveals a hermit’s contemplative life, ardent charity, and practical approach to prayer and faith across the Sahara and the Holy Land. Expect intimate devotional pages rather than a formal treatise, emphasizing adoration, humility, interior conversion, and gentle outreach to Muslims. The opening of the volume begins with a preface by René Bazin, who sketches Foucauld’s path (explorer, Trappist, desert hermit) and explains the editorial approach: private texts are excerpted, not published whole, and the aim is to present usable spiritual fragments. He describes excluded pieces—especially a catechetical “Gospel for the poor of the Sahara” crafted to introduce Christian truths gradually to Muslims—and highlights the author’s purity, tender piety, humility, and courageous maxims. The first section, “Le Trappiste,” offers letters and Gospel meditations on prayer: adoration, solitary and nocturnal prayer, bold and persevering petitions, praying for enemies and sinners, guarding the soul as a “house of prayer,” and trusting God without fear. It then turns to the Nazareth period, opening a retreat in which the writer prays before the exposed Eucharist, seeks to know and do God’s will, and contemplates divine beauty reflected in creation, resolving to see and love only God through all things. (This is an automatically generated summary.)

"The dialogues of Plato in five volumes, Vol. 2 (of 5) : Translated into…." by B. Jowett is a scholarly translation and commentary written in the late 19th century. The volume presents English translations of several Platonic dialogues alongside analyses and introductions. Its focus is Socratic philosophy—questions of virtue, knowledge, justice, rhetoric, and the soul—designed to guide readers through both the texts and their philosophical stakes. The opening of the volume lays out editorial notes about formatting and sidenotes, a contents list (including Meno, Euthyphro, Apology, Crito, Phaedo, and Gorgias), and then turns to an extensive introduction to Meno. Jowett sketches the dialogue’s central question—whether virtue can be taught—showing how Socrates first demands a definition of virtue, dismantles Meno’s shifting answers, and contrasts “right opinion” with knowledge; he also previews the appearance of Anytus and the claim that statesmen act by inspired opinion rather than teachable knowledge. He introduces Plato’s theory of recollection and immortality as a response to the paradox of inquiry, and broadens the discussion with reflections on the ideas, their treatment across other dialogues, and comparisons with later philosophy. The text then begins Meno itself: Meno asks if virtue is teachable; Socrates insists they define virtue; Meno offers definitions (virtue by role, then power to rule, then desire and ability to obtain good), each of which Socrates refutes or shows to be circular. After Meno likens Socrates to a numbing torpedo, Socrates answers the inquiry-paradox by invoking recollection and demonstrates it with a slave-boy, who, through questioning, moves from confident error to recognizing his ignorance as a step toward learning. (This is an automatically generated summary.)

"Bog-trotting for orchids" by Grace Greylock Niles is an illustrated nature travelogue written in the early 20th century. It follows an avid orchid hunter across the bogs, streams, and hills of the Hoosac Valley, blending engaging field notes with local geology, folklore, and a strong conservation ethic. Readers can expect intimate portraits of lady’s slippers and other wildflowers, vivid scenes of Berkshire and Bennington landscapes, and reflective episodes with the author’s trusty hound and curious local children. The opening of this work sets the scope and mood: a preface locates the Hoosac Valley within the Taconic Mountains, notes the richness of North American orchids, and frames the excursions as seasonal searches for both orchids and their companion plants. The first chapters trace the author’s route from New York through New Haven to North Adams, with early field stops featuring walking fern, azaleas, and the dramatic setting of Mount Greylock and the Hoosac Tunnel. She then undertakes strenuous “bog-trotting” along Ball Brook and the Bogs of Etchowog, finding pink and yellow lady’s slippers, pitcher plants and sundews, and naming a lush ravine the Glen of Comus, while describing the hazards of quaking peat and “dead holes.” A local girl leads to the rare Ram’s-Head lady’s slipper, prompting close botanical description; a later episode laments children stripping blooms and the trade in medicinal roots, segueing into concise notes on orchid pollination from Gray and Darwin. The section closes with the first pale blooms of the queenly showy lady’s slipper, sightings of green and white Habenaria, a search for the showy orchis, and observations on the variable yellow Cypripediums. (This is an automatically generated summary.)

"The adventures of Heine" by Edgar Wallace is a collection of espionage stories written in the early 20th century. The narrative follows Heine, a boastful German secret agent, as he recounts his wartime exploits in Britain with sardonic humor and self-aggrandizing flair. Expect sly reversals, covert schemes, and satirical portraits of both spies and the supposed “enemy,” all filtered through Heine’s unreliable bravado. The opening of the narrative finds Heine reassigned from New York to London at the outbreak of war, where he quickly deploys agents using quirky identifiers and basks in his own cleverness. His star operative, Alexander Koos, courts a Woolwich engineer’s daughter for armament secrets but is outplayed by a young woman from British Intelligence and executed, forcing Heine to flee to Scotland. There, a supposed ally on a Highland hill proves to be a Swiss forger; Heine escapes while his colleague is arrested. Shifted to industrial propaganda in Manchester, Heine funds a fiery labor agitator, targets a chemical firm’s secret grenade plans, and clashes with the enigmatic Miss Harrymore—stealing a march on her by denouncing her as a German spy—only to learn she was actually a German agent, leaving him to spin a face-saving report as the section closes with mention of another captured operative and the introduction of Mister Haynes. (This is an automatically generated summary.)

"Voyage to the East Indies" by a S. Bartholomaeo Paulinus is a travel account written in the late 18th century. Based on a long residence in southern India, it blends geography, ethnography, linguistics, natural history, and colonial politics, with particular focus on the Coromandel and Malabar coasts. The narrative dwells on cities, rivers, trade, religions, and missionary work, while carefully correcting European misunderstandings of local languages and place-names. Readers interested in South Indian cultures and the early modern contest among European powers will find it especially informative. The opening of the work follows the author’s arrival at Puduceri (Pondicherry): a perilous surf landing, a vivid contrast of seasons on India’s east and west coasts shaped by the Ghats, and first lodgings among Capuchins and French missionaries. He sketches the city’s fortifications, segregated quarters, and garrison, notes the role of sepoys and the rise of Hyder Ali, and criticizes French commerce that fed English strength; he also records encounters with white ants that ruin his belongings and a centipede “ear” incident cured by a missionary remedy. A visit to the seminary at Virapatnam reveals a tightly organized regimen of study, trades, and Latin, followed by a public procession of the sacred ox (Apis) and a discussion linking Indian cow/ox symbolism with Egyptian parallels; he remarks on local housing, church jurisdictions, and the entanglement of Capuchins, former Jesuits, and Missions Étrangères. He then corrects European place-names with etymologies, and broadens into a survey tying ancient and modern geographies, the rise of Mughal power, English revenues and monopolies, and concise portraits of Marava, Tanjore, and Madura—their rivers (Cavèri and Coleroon), crops, ports, and the political struggles that drew in European companies and their allies. (This is an automatically generated summary.)

"The art of fiction by Walter Besant" is a lecture-essay on literary criticism and the craft of novel-writing from the late 19th century, in the Victorian era. It argues that fiction is a fine art equal to painting, sculpture, music, and poetry, and concisely sets out what storytellers should aim to do. The lecture advances three core claims: fiction is a true art; it is guided by general laws that can be learned; and, like other arts, it still requires innate talent. It defines fiction’s domain as humanity, praising its power to cultivate sympathy and to teach through selection, suppression, and suggestion. It lays down practical rules: rely on real observation and experience; keep human interest foremost; select only what advances character and story; present scenes dramatically; conceive characters clearly; believe wholly in the tale; and write with patient, finished style and a moral sense. It insists that story is indispensable, though invention cannot be taught, and urges studying the construction of great novels. An appendix offers direct advice to beginners on revising, seeking honest criticism, navigating publishers, and never paying to publish, closing with encouragement about the art’s present strength and future promise. (This is an automatically generated summary.)

"Orígenes de la novela, Tomo III" by Marcelino Menéndez y Pelayo is a literary-historical study and anthology written in the early 20th century. The volume examines the origins of the Spanish novel through “novelas dialogadas,” centering on La Celestina and its imitators, and pairs a substantial scholarly introduction with edited texts that illustrate language, style, and print conventions of the period. It combines close textual scholarship, source studies, and reception history to show how a dramatic form nourished both later theater and narrative fiction. The opening of the volume begins with the transcriber’s notes on typographic conventions, a reordering of index and errata, and a table of contents that previews an extensive introduction followed by representative dialogued fictions. The introduction then argues that La Celestina, though fundamentally a dramatic poem rather than a novel, is indispensable to a history of the Spanish novel because of its realist method and enduring influence. It traces early editions and transformations from Comedia to Tragicomedia, details added acts and prologues, and parses paratexts (including Alonso de Proaza’s acrostics) to discuss authorship. The study presents Fernando de Rojas as the principal (indeed likely sole) author, reviewing bibliographic evidence and archival findings that identify him as a converso jurist from Puebla de Montalbán/Talavera, probably finishing the work as a young university man, with Salamanca and humanist Latin comedies as formative context. It emphasizes the book’s design for reading rather than stage performance and shows how its form, sources, and language shaped both Spanish drama and prose narrative. (This is an automatically generated summary.)

"Juomalakko : Yksinäytöksinen näytelmä by Vihtori Niemi is a one-act play written in the early 20th century. It portrays a working-class family’s struggle with alcoholism and the pressures of a society that profits from drink while preaching morality. The action unfolds in a poor factory worker’s home. Sanna tries to keep the household afloat, even pawning belongings, while discussing Christian duty and the liquor trade’s harm with the servant Siina. Their daughter Sulo pleads with her father, Salu, to avoid the tavern, but he goes, mocking temperance. Siina returns with a sealed letter for Sulo from a “maisteri” and news of drunken brawls. Salu staggers back, violent and demanding money; he smashes the room and takes the family clock to pawn. A policeman later drags him in, and in a rage Salu knocks Sanna down, seemingly lifeless, until she revives. Shaken by the near-tragedy and urged by co-workers Sipi and Samppa, Salu agrees to a drinking strike; the men pledge collective abstinence, offering a sober, hopeful end. (This is an automatically generated summary.)

"Hannele: 2-näytöksinen unirunoelma" by Gerhart Hauptmann is a play written in 1893. This groundbreaking work tells the story of a neglected and abused peasant child who, on her deathbed, experiences a vision of divine powers welcoming her into the afterlife. Breaking from Hauptmann's naturalistic style, the play adopts symbolist dramaturgy and includes a dream sequence. It marks the first recorded instance in world literature of a play with a child as its heroine. (This is an automatically generated summary.)

"Adolf Schreiber: Ein Musikerschicksal" by Max Brod is a biographical memoir written in the early 20th century. It portrays the gifted yet self-effacing composer and kapellmeister Adolf Schreiber as he struggles with poverty, self-doubt, and the indifferent machinery of the theater world, even as his songs reveal a rare, individual voice. The portrait blends intimate reminiscence, critical appreciation, and letters to show how a principled, hypersensitive artist repeatedly thwarted his own chances for recognition. The opening of the memoir begins with Schreiber’s drowning at Wannsee and the author’s recollection of a failed 1913 public appeal to gain him performances. It depicts Schreiber’s extreme modesty and self-sabotage—his hostility to praise, his refusal of help—set against the narrator’s fervent advocacy of his songs (notably the Altenberg settings) and memories of their shared Prague youth, early musical enthusiasms, and Jewish background. The narrative then shows how lack of money trapped him in operetta posts across provincial stages, with rare opera chances yielding no lasting change, while contacts with publishers, singers, and even Humperdinck came to nothing. His style is sketched as simple yet original, with naive-seeming harmonic turns, illustrated through cycles after Morgenstern and Liliencron and marred by misfortunes like a bungled Berlin concert. The section closes with his marital separation, a draining love affair, the humiliation of being replaced at a premiere he prepared, and a friend’s letter recounting the days leading to his suicide and the theater’s callous aftermath. (This is an automatically generated summary.)

Sonnenländer by Walter Rummel is a travelogue written in the early 20th century. It follows a sun-seeking traveler through the tropics and subtropics—most vividly Japan and the Western Pacific—mixing vivid nature writing with keen observations of everyday life and custom. Readers can expect intimate portraits of people and places, as well as firsthand encounters with festivals, storms, rapids, and earthquakes. The opening of this travelogue carries the narrator from Hamburg across the Atlantic to Cuba and Mexico, up through the blazing U.S. Southwest to California, then by steerage via Hawai‘i to Japan. In Yokohama he deliberately avoids European hotels for a Japanese-run inn, sketches its unfailingly courteous staff, and endures sweltering, mosquito-plagued nights before reveling in the city’s lantern-lit streets, theaters, and geisha performances. He wanders with his host Shibata through countryside inns and baths, eats simply with chopsticks, delights in children and village life, and traces the coast among fishermen. A stretch of relentless rain brings floods, taifun damage, a perilous cable-ferry river crossing, and a jarring earthquake in Yokohama. The section culminates in a breathtaking descent of the Tenryugawa rapids, lively temple festivals, and a hushed, reverent sojourn on Miyajima—an “island of the blessed” that prompts a reflective mood about old Japan. (This is an automatically generated summary.)

"Little King Davie : or, "Kings and priests unto God" by Nellie Hellis" is a children’s religious novella written in the late 19th century, during the Victorian era. The book follows a poor London crossing-sweeper whose brush with tragedy becomes the path to faith, dignity, and service, embodying the theme that even the lowliest can be “kings and priests unto God.” Davie Scott, a small, underfed boy with a loving mother and a harsh past, earns coppers sweeping streets until a sermon about “kings and priests unto God” stirs him. Rushing to meet the preacher, he is run over and taken to hospital, where his sweetness and remarkable singing comfort other patients and earn him the name “King Davie.” With the practical kindness of Dr. Scott and Lady Cloudesley, and the gospel counsel of the visiting preacher, Mr. Kilmarnock, Davie finds faith and slowly recovers. A convalescent stay and improved home life follow; he becomes a church chorister and attends school through Lady Cloudesley’s help, then later moves with his family to a cathedral town under Mr. Kilmarnock’s care. There, healthier and joyful, Davie sings and serves, his quiet fidelity strengthening his mother’s faith, and the tale closes with the hope that his “kingly” service will endure beyond this life. (This is an automatically generated summary.)

"Through unknown ways: An Old-World story" by Lucy Ellen Guernsey is a historical novel written in the late 19th century. Set during the late Stuart era, it follows Dolly (Dorothy), a penniless but educated gentlewoman serving as companion to the sharp-tongued Lady Corbet, who keeps a secret diary of her trials, faith questions, and small hopes in London near Whitehall. Drawn between the kindness of Mrs. Williams, the patronage of Lady Clarenham and her kinsman Mr. Studley, and the charm of the dashing Captain Morley, Dolly navigates class and conscience amid mounting religious and political tensions. Hints of a family mystery—a sealed locket from Sir Charles Corbet—and the looming turmoil of the Monmouth period frame a story of moral testing and quiet courage. The opening of the novel unfolds as Dolly is given a small room and a hidden cabinet in Sir Charles Corbet’s long-closed house; finding blank books, she resolves to keep a journal. She recounts her past—soldier father dead abroad, capable mother ruined by a sanctimonious cheat, schooling at Hackney, then orphaned service under Lady Corbet—and Sir Charles’s deathbed gift of a secret locket she must not open. From her new window near the park she glimpses court life as Charles II sickens and dies, James II ascends, and the city shifts mood; she meets the kind Lady Clarenham and earnest Mr. Studley, reads “The Pilgrim’s Progress,” and endures Lady Corbet’s stinginess and scorn. Captain Morley pays gallant court, provoking Ursula Robertson’s jealousy, while Mrs. Williams warns Dolly to guard her reputation; Morley departs north on military business. A stark scene follows when Dr. Bates and Mr. Pendergast solicit help for the prosecuted Richard Baxter: Lady Corbet grudges a pittance, but Dolly quietly gives her own gold. As rumors of unrest spread, Ursula’s betrothed Mr. Andrews dies and she hastily resolves to wed the wealthy Mr. Jackson—likely out of pique at news of Morley—leaving Dolly soberly chronicling these first turns of fortune and conscience. (This is an automatically generated summary.)

"Naples : Les légendes et la réalité" by Matilde Serao is a collection of literary essays written in the late 19th century. The work blends legend, folklore, and reflective reportage to portray Naples as a city where love, landscape, and daily life are inseparable, turning places, seasons, and memories into living myths. The opening of the work sets Naples against the misty North, then reimagines the city’s birth through the love of Parthenope and Cimon, declaring Parthenope eternally alive in Naples. It celebrates and demystifies the legend of Virgil the Mage—his marvels for the city—before arguing that his true “magic” is poetry. A lyrical panorama of the gulf follows, characterizing each stretch of sea (Carmine, the Môle, Santa Lucia, Chiatamone, Mergellina, Pausilippe) as a different soul and destiny, ending with a stark legend of consolation in the waves. A suite of love-legends ties hills, islands, fountains, and the Vesuvius–Capri axis to passion and grief. The haunted Palazzo Donn’Anna frames a tale of jealousy between a powerful duchess and her rival, with love ending in disappearance and solitude. A darker story evokes a ghostly boat: Thécla and Aldo drowned by her husband Bruno, a scene said to reappear only to true lovers. The section closes by beginning the story of Cicho the Sorcerer in medieval Naples, a feared recluse whose “secret” is introduced as he turns from a pleasure-filled youth to a quest to benefit humankind. (This is an automatically generated summary.)

"Lost Island" by Ralph Henry Barbour and H. P. Holt is a seafaring adventure novel written in the early 20th century. It follows Brooklyn teenager Dave Hallard, a born sailor, who is stirred by tales of the South Seas and a mysterious wreck—the bark Hatteras—rumored to have carried a fortune in platinum. Drawn by the promise of adventure, he ships out, learns the hard realities of life at sea, and crosses paths with storms, derelicts, and distant islands. Expect classic nautical thrills—salvage gambles, shipboard rivalries, and hints of treasure—told as a coming‑of‑age voyage under the Southern Cross. The opening of the novel begins with Dave hearing an old mariner’s account of sighting the wreck of the Hatteras near the Fanning–Christmas Islands and, at home, learning from his father’s clippings that the lost ship once carried platinum. Fired by the sea’s lure, he quietly signs on to the steamer Pacific Queen, leaves a note for his family, and endures rough apprenticeship: a kind but gruff cook (Barnes), a hostile mate (Quick), seasickness, and hard work. Mid‑voyage the crew tries to tow a derelict, the Miriam; she founders, the dories are nearly sucked down in the whirlpool, and Dave helps spot and save a drowning sailor. After rounding Cape Horn, he decides to leave the ship at Auckland to escape the mate’s rancor, boards briefly with kind locals, then—strapped for options—signs onto the decrepit tramp Kingfisher for Australia, immediately regretting the choice as its engineer decries the failing machinery. (This is an automatically generated summary.)

Boblen by Edith Øberg is a novel written in the early 20th century. It centers on the intense, unequal friendship between Gudrun Haavaldsen, a poor, impulsive girl from a crowded home, and Berit Sørlie, the immaculate, sunlit child next door whom Gudrun idolizes as “the Bubble.” Through schoolroom rituals, a coveted garden, dollhouse play, and talk of futures, it probes class difference, social polish, ambition, and the pains of adolescent attachment. The opening of the novel follows Gudrun spying through a fence at Berit on a swing, then meeting her at school and being seated beside her. Gudrun tutors Berit in arithmetic, is welcomed to the garden for coffee and waffles, and their bond forms—devotion from Gudrun, cool control from Berit—shaped by manners, language, and status. Gudrun remakes herself: she studies hard, drops rough play, cleans in a bookshop, and feeds their shared fantasies with magazine images, while Berit sets boundaries and refuses sentiment. At middle school a fashionable classmate, Else, draws Berit away; a brutal class favorite, Leif, repels Gudrun in a telling mimosa-plant scene. As autumn brings a shabby coat for Gudrun and a piano for Berit, jealousy and snobbery sharpen; Gudrun overhears Else and Berit belittling her, confronts Berit, and they quarrel. The section closes with Berit moving her things and seat to Else’s side, leaving Gudrun to wander off alone in the cold, devastated. (This is an automatically generated summary.)

"Professor Tim & Paul Twyning : Comedies in three acts" by George Shiels is a collection of stage comedies written in the early 20th century. It centers on rural Irish life, where pride, money, marriage, and local status collide with affection and common sense. The principal comedy follows down-on-his-luck horseman Hugh O’Cahan, practical Peggy Scally, her domineering mother, ambitious councillor James Kilroy, and Peggy’s shambolic but oddly gifted uncle, the so-called “Professor Tim,” a water-diviner. Expect lively banter, social satire, and farcical turns around an auction, a courtship, and a family’s hunger for respectability. The opening of this collection introduces the Scally kitchen on the morning of Hugh O’Cahan’s auction: Peggy tries to end their romance by returning his costly gifts, while Mrs. Scally maneuvers to match Peggy with Joseph Kilroy, whose father plans to buy Hugh’s farm, Rush Hill. Into this walks “Professor Tim,” Briget Scally’s long-absent brother, a shabby, snuff-scented wanderer whom Briget tries to eject, though Peggy quietly shows him kindness. Act II shifts to Rush Hill, where housekeeper Moll Flanagan and groom Paddy Kinney brace for the sale; Paddy secretly dresses up to run up the bidding, while Peggy asks Hugh to call that evening and pockets the returned jewelry as a stake. The Professor divines springs under the house, then drifts to the auction as the rain forces the small, boycotted crowd indoors. When bidding begins, Paddy’s disguise goads Kilroy higher, tempers flare between Kilroy and Hugh, and the price climbs toward the bank’s reserve as the scene cuts off mid-sale. (This is an automatically generated summary.)