"Omalla konnulla : Huvinäytelmä kolmessa näytöksessä" by Aapo Pärmänen is a comic play in three acts written in the early 20th century. Set in a Finnish village, it centers on the aging tenant farmer Kiviaho, his daughter Liisa, and her suitor Saarimäki as they navigate gossip, lease renewals, and marriage plans under the eye of their landlord Nieminen. A meddling healer, Leena, and a scheming neighbor, Hakala, stir trouble, while a smooth-talking drifter tempts the young with dreams of emigration. The play’s heart is the struggle to secure a home “on one’s own land” amid pride, rumor, and temptation. The opening of the play shows Kiviaho’s household unsettled: Leena fusses over his ailments and hints at marriage, Hakala whispers that Saarimäki means to take over the torp, and Kiviaho catches Liisa and Saarimäki plotting to dissuade him from wedlock. At Nieminen’s, hopes for new tenancies collide with the landlord’s plan to sell timber, a roaming fixer (Limberg) dupes Pekka and the young couple with fake “passes” to Australia, and Hakala buys Kiviaho’s lease with stolen cash. The nimismies exposes both the theft and the emigration scam, Nieminen backs off the timber sale, and Pekka secures the derelict Palolahti torp, winning Katri’s hand for a shared future. As the third act begins, Leena has made herself indispensable at Kiviaho’s, and rumor now pressures the pair toward a forced match, while Liisa remains away. (This is an automatically generated summary.)

"Määrän päässä : Kolminäytöksinen näytelmä" by Arvi A. Seppälä is a three-act play written in the early 20th century. It follows Dr. Alfred Sanmarck, a brilliant but obsessive chemist on the brink of a groundbreaking discovery, as his devotion to science corrodes his marriage to the restless Hilda, who drifts toward the charming painter Aarne Kartio. Jenny Kautto, a clear‑eyed typist with a past attachment to Kartio, becomes both witness and catalyst. The drama probes the clash between vocation and domestic life, pride and desire, and the peril of public gossip. The opening of the play situates us in Sanmarck’s Helsinki home and laboratory, where he and Dr. Tela work late, exulting over results that challenge the permanence of the elements and hint at eather’s reality. Sanmarck’s mother fusses over his health, while Hilda breezes in from art circles with a newly bought Kartio painting; a cutting argument about the picture exposes their deeper rift—her hunger for society and recognition versus his austere calling. Jenny quietly warns the mother of Hilda’s growing intimacy with Kartio, then confronts both lovers; despite misgivings, Hilda and Kartio go out to a masquerade. Alerted by Jenny and, under pressure, by the maid, Sanmarck follows; at the start of the second act he returns, having seen enough to confirm the betrayal, and speaks with bitter lucidity about being the man one marries—rather than the man one loves. (This is an automatically generated summary.)

"The history of the harlequinade, volume 2 (of 2)" by Maurice Sand is a historical and theatrical study written in the mid-19th century. It explores the lineage, traits, costumes, and stage business of commedia dell’arte figures and their European offshoots, blending scholarship with anecdotes about performers and productions. This volume especially follows the “old man” masks (like Pantaloon and the Doctor), their transformations across regions, and the transition from improvised comedy toward musical theatre and the cantatrice. The opening of the book traces the comic “old man” archetype from Greek and Roman comedy to the Italian stage, then concentrates on Pantaloon—his Venetian roots, miserly and credulous temperament, stock scenes and pranks with Harlequin, social variants (from shabby shopkeeper to Don Pantaleone), costume shifts, and notable interpreters through the centuries. It next profiles related types: the Bolognese Doctor (pedant or quack, spouting macaronic Latin), Naples’s Pangrazio Biscegliese (a provincial butt), the miserly Cassandro, Rome’s polished puppet Cassandrino, Venice’s marionette Facanappa, Sicily’s Baron, and French counterparts like Gaultier-Garguille and Guillot-Gorju, always tying character to costume, dialect, and stage tradition. The narrative then turns to the Cantatrice, sketching how sung drama evolved from Greek choruses through Italian interludes into opera buffa, and how these forms mingled with comic masks; it recalls Mazarin’s importation of Italian opera to Paris, interlude business with Scaramouche, and emblematic performers from “Babet la Chanteuse” to Madame Favart, alongside lively anecdotes and composer namechecks that anchor the history in performance. (This is an automatically generated summary.)

"The history of the harlequinade, volume 1 (of 2)" by Maurice Sand is a historical study of theatre and performance written in the early 20th century. The work explores the lineage of the commedia dell’arte—its masks, costumes, improvisational methods, and touring troupes—tracing how figures like Harlequin, Pantaloon, Columbine, and Pierrot developed from ancient mime and Atellane farce through the Italian Renaissance and into French popular theatre. It focuses especially on Harlequin’s iconography, stagecraft, and shifting character, setting the scene for a detailed typology of the classic masks. At the start of this study, the author surveys a long prehistory: Greek mimes and dancers, Roman pantomime and masks, and the use of marionettes, showing how comic performance survived Church prohibitions to re-emerge in medieval and Renaissance Italy. He explains the scenari and improvisation of the commedia dell’arte, the stock roles and regional variants, the acoustics and staging of Renaissance theatres, and the spread of Italian troupes into France, where they influenced fairground stages and the Opéra-Comique amid legal quarrels with established companies. The introduction closes by narrowing the scope to the masks and improvisers themselves. The opening chapter then turns to Harlequin, beginning with a playful first-person monologue that sketches his poverty, gluttony, cowardice, agility, and amorous intrigues, before unpacking his probable descent from ancient phallophores and planipes, the evolution of his black half-mask, patchwork costume, bat, and rabbit-tail emblem, and the shift from simpleton to witty trickster. It culminates with the transformation of the role by the famed actor Domenico Biancolelli, whose lively dancing and invention helped fix the modern Harlequin. (This is an automatically generated summary.)

"A blighted life : A true story" by Baroness Rosina Bulwer Lytton Lytton is an autobiographical memoir written in the late 19th century. It presents the author’s searing account of long-term marital persecution by the celebrated novelist-statesman Edward Bulwer-Lytton and her battle against wrongful incarceration under England’s lunacy laws. Fiercely polemical, it combines personal testimony with a broader indictment of legal, political, and literary elites she believes enabled the abuse. The opening of this memoir sets the stage with an editor’s preface that hails the narrative as a true record of persecution, denounces the lunacy laws, and frames the story against a backdrop of public outrage and establishment complicity, while noting included portraits of the key figures. Rosina then writes in her own voice—addressing a novelist seeking accounts of asylum abuses—declaring she wants no help as she catalogs a system of spies, smears, and legal traps allegedly deployed by her husband: planted libels, attempted entrapments at Llangollen (including a suspected poisoning and “Miss G—” with a decoy dog), collusion via local post and publicans, and harassment by disreputable agents. She recounts a failed legal ruse involving “Mrs. S—LL—,” the disappearance of papers sent to a senior law lord, and the withholding of her allowance. The sequence culminates in her dramatic public confrontation at the Hertford hustings, her husband’s flight from the platform, and, immediately after, an abortive attempt by a doctor and asylum keeper to have her certified insane—foiled, she says, by her composure—followed by a fruitless request that she name terms for peace. (This is an automatically generated summary.)

"Meijeri : Kolminäytöksinen kansanhuvinäytelmä" by Artturi Järviluoma is a three-act folk comedy play written in the early 20th century. Set in a Finnish backwoods village of the 1880s, it pits a new cooperative dairy against household butter-making, turning progress versus tradition into village-sized farce. The gentle widower Enkkeli, his practical sister-in-law Vappu, blustery farmhand Janne, steady neighbor Aapo, and showy would-be bride Mariaana drive the tangle of courtship, money worries, and milk morals. Expect lively dialect humor, musical interludes, and community politics where love matches hinge on cream, cash, and reputation. The opening of the play sketches the village and Heikkilä household as gossip spreads that a meijeri may be founded, alarming Janne and Fiia, who mock “kurnaali” (meijerimilk) while the accordionist Tuppu boasts he’s been asked to be meijerist. Roughhousing, a meijeri-song, and comic bluster follow until Enkkeli returns from a failed proposal—scuttled when he mentioned the dairy—only for the peddler Susso to steer him toward the richer Mariaana. Meanwhile Aapo tentatively courts Vappu, but they quarrel over the dairy on moral and domestic grounds. The schoolteacher barrels in to rally a meeting, and on Sunday Mariaana visits, flaunts Leppälä’s means, and all but conditions marriage on Huhtajärvi getting a meijeri, prompting Enkkeli to pivot in favor. This alarms the servants, who trade tales of poisoned milk until Miina reveals they already ate tasty velli cooked with meijerimaito, sending the anxious Iiska into slapstick hypochondria. The scenes build toward the village’s decision, with romance and reputation tied to whether the churn or the cream separator will rule. (This is an automatically generated summary.)

Ihinen ja peto by Samuel Scoville is a collection of animal adventure stories written in the early 20th century. Set largely in southern Africa, it blends vivid natural-history detail with fast-paced, often perilous encounters between predators, prey, and people. The tales spotlight cunning, survival, and the uneasy ties between the wild and the human world, featuring memorable figures like a bold jackal and a devoted baboon alongside frontier railwaymen and hunters. The opening of the work first follows Punainen Rooi, a red-backed jackal who kills a deadly viper, feeds and trains his litter, escapes a hunters’ raid with a clever earth-burrow trick, and graduates from small antelope hunts to shadowing a black-maned lion for scraps—outwitting the big cat until he astonishingly slays a massive rock python with a precise neck bite, winning a wary female’s respect. The narrative then shifts to a frame told by Red Swope, who recounts a vast troop of baboons braving a flood; he rescues an abandoned infant, Jok, which an amputee stationman, Jim Tully, raises and trains to run signals and chores with uncanny skill and strength. After defending Jim and becoming his constant companion, Jok vanishes into the bush carrying Jim’s body when the old man dies suddenly, leaving the new stationmaster sensing the unseen presence around the siding. The section closes with the station bracing for a late-night special, the atmosphere tense and expectant. (This is an automatically generated summary.)

"Der Witz und seine Beziehung zum Unbewußten" by Sigmund Freud is a psychoanalytic study published in 1905. Freud examines the hidden psychological mechanisms behind jokes and humor, drawing parallels between joke-making and the workings of dreams and the unconscious mind. He explores how jokes allow us to overcome social inhibitions and satisfy repressed instincts through specific linguistic techniques. The work reveals what our laughter says about the thoughts and desires we suppress in everyday life. (This is an automatically generated summary.)

"The symbolism of colour by Ellen McCaffery" is an esoteric nonfiction treatise written in the early 20th century. It explores how colours function as a shared symbolic language across religions, myth, poetry, art, healing, and nature, presenting colour as both a spiritual sign and a practical force. The book begins by asserting that colour is power—vibration linked to sound—with real effects in healing, agriculture, and weather lore, and that true symbols rest on correspondences. It then surveys each hue: red (life, health, courage, sacrifice, love; in debased form, passion and violence), pink (healing inspiration and service), yellow (sun, unity, wisdom, glory; also deceit and decay), green (hope, immortality, knowledge; also jealousy and omens of death), blue (truth, devotion, heavenly vision; also sadness and coldness), purple/violet (humility, patience, and wisdom born of love and truth; also pomp), white (purity and the joy of the redeemed; also cowardice and hypocrisy), black (mystery, eternity, sacred silence; also evil and black magic), and brown/grey (rest, ripeness, contemplation; with grey signifying resurrection in sacred art). A chapter on the rainbow gathers all hues as a sign of universal blessing and multiple paths to the divine, illustrated with examples from Egypt, India, China, Greece, the Norse, the Bible, and modern poets. Appendices detail “schools of colour,” planetary and liturgical palettes, sky-colour weather signs, the forms implied by primary colours, and plant-growth experiments under coloured light. The work concludes by urging a renewal of symbolic vision, noting the human aura as a key to colour meanings, and calling for future healers who serve both body and soul. (This is an automatically generated summary.)

"My secrets of beauty : Including more than 1,000 valuable recipes for…." by Mme. Lina Cavalieri is a practical beauty manual written in the early 20th century. It lays out a complete regimen for maintaining and enhancing personal appearance through daily care, massage, baths, diet, exercise, and abundant home-prepared treatments. Drawing on the author’s stage-honed experience, it aims to free readers from dubious “beauty doctors” with clear routines and tried recipes. The opening of the manual features a foreword promising authoritative, affordable guidance, then moves straight into detailed advice on the complexion: thorough night cleansing with cold cream, tepid water, and mild soap; seasonal adjustments; vigilant sun and wind protection; and numerous masks, creams, and lotions for tan, freckles, sunburn, and oily skin. It prescribes tonic body baths, light facial massage with specific motions, and practical setup of the dressing table, while urging hydration, sensible diet, and restraint with harsh agents. The next section addresses the neck—how posture and dress change its apparent length, how massage and creams can redistribute or build tissue, how to prevent stains, and why low pillows and proper sleep position matter. Guidance for eyes, ears, and nose stresses avoiding eye strain (no reading on trains or at night), gentle eye baths, brief targeted massage, careful brow and lash care, simple first aid for styes and “colds” in the eye, and caution with ears and nasal douching. The start of the hands chapter emphasizes never letting hands get cold, correct washing, softening with glycerine or oils, optional night gloves, light massage strokes, and quick fixes for chapping, sunburn, and early freckles. (This is an automatically generated summary.)

"The wooing of Rosamond Fayre" by Berta Ruck is a novel written in the early 20th century. It’s a light, witty romance about love set in motion by misdirected letters and mistaken identity, moving from an English country house to a French seaside village on the eve of war. The story centers on capable, charming Rosamond Fayre, dutiful philanthropist Eleanor Urquhart, and Eleanor’s adventurous cousin and fiancé, Ted Urquhart, whose courtship-by-post takes an unexpected turn. At the start of the story, Rosamond, hired as Eleanor’s secretary at Urquhart’s Court, is asked to write Eleanor’s weekly letters to Ted abroad—and even to sign them—despite her misgivings. Her first carefully neutral note, scented by slipped-in rose petals, prompts Ted’s intrigued reply and, soon after, an impulsive, unannounced return to England. Finding Eleanor away at a French Holiday Hostel for working girls (with Rosamond temporarily in charge), he travels there incognito, rescues two of the girls from a cliff mishap with Rosamond’s help, and—mistaking Rosamond for his fiancée—becomes instantly fascinated. Invited to tea at the Hostel, he withholds his name while Pansy, a flamboyant “Principal Boy,” leads the chatter; the scene ends with Ted plotting to continue his anonymous wooing of the woman he believes is Eleanor. (This is an automatically generated summary.)

"The Girls at His Billet" by Berta Ruck is a novel written in the early 20th century. Set on England’s east coast during wartime, it blends romantic comedy and home-front life as three spirited sisters under a strict aunt find their dull village transformed by an army training camp and the arrival of a billeted young officer. Narrated by the sharp-tongued youngest sister, the story promises flirtations, clashes, and shifting loyalties as khaki invades their “hen-party” household. The opening of the novel follows Elizabeth (“Rattle”), her sisters Evelyn and Nancy, and their aunt in the dreary village of “Mud Flats” as news arrives that troops will be billeted locally. Rattle cleverly maneuvers her aunt into accepting an officer, and after much excited preparation and card-fortune “omens,” Second-Lieutenant Frank Lascelles turns up early, overhears Rattle’s cheeky “Billet Boy” talk, and sparks instant mutual antagonism—though he charms everyone else. Daily life fills with training scenes, ration details, and his irrepressible presence, while a tall, quiet officer named Curtis and another, Masters, are invited to a small supper. After a brief sisterly truce, Rattle finds a “new interest”: secretly answering a newspaper ad from a “Lonely and Unpopular Subaltern,” penning a candid, sympathetic letter that hints at her own isolation and sets up a parallel thread to the household’s khaki tensions. (This is an automatically generated summary.)

"The tomb of Ts'in" by Edgar Wallace is an adventure-thriller novel written in the early 20th century. It centers on a dangerous hunt for the legendary tomb of China’s First Emperor, mixing crime, espionage, and archaeology. The key players include the flamboyant adventurer Captain Ted Talham, the brilliant Italian sleuth Signor Tillizinni, the poised Yvonne Yale, and the ruthless Mr. Soo, all entangled with a murderous secret society and a priceless jade clue. The opening of the story introduces the stakes through repeated attempts to rob a ship’s safe carrying a Chinese Embassy mailbag, leading Tillizinni to the Ambassador, whose historical article about the First Emperor’s burial becomes the catalyst for intrigue. Talham rescues Yvonne from Chinese pursuers in Hyde Park and deciphers the inscription on her ancient jade bracelet—directions that seem to point toward the tomb—before persuading her to let him hold it for safety. Soon after, the Ambassador is found strangled and a Chinese assailant shot dead in a bureau drawer; a vital envelope is empty, and the suave Mr. Soo emerges as a formidable rival, mobilizing his secret-society network. As deceptions multiply—a fake bracelet is swapped, two burglars (Talham and Tillizinni) collide in de Costa’s house, and a bomb nearly kills the detective—the strands tighten around the tomb’s secret, with social niceties masking a deadly contest for the true jade clue. (This is an automatically generated summary.)

The children by Edith Wharton is a novel written in the early 20th century. It follows Martin Boyne, a middle‑aged engineer, who becomes entangled with the glamorous yet chaotic Wheater clan—especially teen caretaker Judith, her delicate twin Terry, and a volatile mix of full-, half-, and step‑siblings—while their wealthy parents drift between yachts and hotels. The story explores modern divorce and remarriage and the cost of adult caprice on children who are determined to keep themselves together. The opening of the novel finds Boyne on a cruise from Algiers, where he notices Judith minding a baby and a swarm of children and ends up sharing a cabin with her twin, Terry. Through Judith and the governess, Miss Scope, he learns the family tangle: the Wheater parents split and remarried disastrously (to a movie star and an Italian prince), then reunited; the brood now includes “steps” Bun, Beechy, and Zinnie alongside Judith, Terry, and Blanca, with baby Chip adored by the parents. A day trip to Monreale shows Judith’s flair for mothering even as high art leaves her cold, deepening Boyne’s interest. When Terry begs for an education, Boyne agrees to help, stays on to meet the parents in Venice, and secures a cultivated tutor, Gerald Ormerod. Over breakfast at the modest pension where the children stay, Judith refuses school for herself, vowing never to leave the tribe, and hints that Joyce may prefer to keep the tutor in Venice for her own amusement. The section closes with Boyne uncomfortably aware of adult currents swirling around the children he has begun to care about. (This is an automatically generated summary.)

"Une maison bien tenue : Conseils aux jeunes maîtresses de maison" by Marie Delorme is a household management guide written in the early 20th century. Aimed at young mistresses of the house, it offers practical and moral guidance for keeping a clean, orderly, and welcoming home, from daily routines and hygiene to managing servants, the salon, and the table. The work blends exact instructions with the ideal of the “strong woman,” urging capable, cheerful stewardship of family life. The opening of this guide invokes the biblical “femme forte” to argue that domestic competence is both noble and necessary, then addresses young women’s doubts and calls them to share their mothers’ burdens and learn by doing. It insists on steady, everyday order rather than occasional upheavals; emphasizes hygiene, fresh air, and firm but fair training of servants; and warns against fussy nagging that kills household peace. Detailed morning routines follow—airing rooms, brushing clothes, making beds properly—and young women are urged to “do their own room” as physical and moral discipline. A historical sketch of the salon leads to a critique of France’s unused show-salons, recommending instead a lived-in family parlour, then gives precise methods for cleaning salons, dusting furniture and bibelots, caring for plants, and preparing fireplaces. The narrative turns to the table: keeping odors at bay, organizing buffet and “office,” buying durable equipment, and laying a simple, correct cover. It closes this opening section with service etiquette in family meals—when to have servants present, who carves, how to serve children, clearing before dessert, coffee and liqueurs in the salon—and the rule to wash up and restore order promptly. (This is an automatically generated summary.)

Yksin Lontoossa by Hesba Stretton is a novel written in the late 19th century. Set amid the streets around Holborn and the Strand, it follows gentle old newsvendor James Oliver, who unexpectedly becomes guardian to a deserted little girl, Dolly, and bonds with a street boy, Tony. The story promises a tender, faith-infused portrait of poverty, loneliness, and small acts of kindness in the great city. The opening of the novel shows a sweltering London evening, Oliver’s cramped shop-home, and his wistful talk with his sister about their past and his estranged daughter, Susanna. After Charlotta leaves, a woman abandons Dolly in the shop; Oliver keeps the child despite Tony’s offer to take her. A note reveals Dolly is Susanna’s daughter, sent to mend the rift, but another letter soon explains Susanna has chosen to follow her soldier husband to India, leaving Dolly in Oliver’s care. Oliver’s joy mixes with worry over age, poverty, and failing memory, while Tony becomes a nightly lodger, absorbs Oliver’s simple Christian comfort, prays for honest work, and—helped by Dolly buying him a broom—finally starts sweeping a busy crossing and earns his first coins. (This is an automatically generated summary.)

"Lempeä ja lemmen leikkiä : Yksinäytöksinen kuvaus by J. Maanpää is a one-act stage play written in the early 20th century. Set in a Finnish manor’s garden, it is a light romantic comedy of manners that satirizes flirtation, jealousy, and social pretension, contrasting sincere affection with cynical game-playing. At Hongisto manor, the jovial landlord Alppi, his wife, their daughter Dagmar, and visiting youth orbit one another in a summer tangle. Shy feelings bloom between Siiri Auer and student Valto Helavuori, while Dagmar’s fiancé, the vain Engelbert Blom, tries to unsettle them by hinting at Valto’s supposed city romance and a telltale “red” letter—later revealed to be harmless. Engelbert’s caddish side is exposed when he flirts with the maid Kerttu and is called out by her sweetheart Jussi. After a comic interlude with the bumbling Setä-Fridolf, tempers flare: Hongisto rebukes Engelbert, who responds with brazen cynicism about love; Dagmar throws him back his ring and breaks the engagement. The play closes with Dagmar consoled by family, and Siiri and Valto openly affirming their mutual love. (This is an automatically generated summary.)

"Slighted love : or, At her heart's expense" by Mrs. Alex. McVeigh Miller is a novel written in the late 19th century. It follows Italy Vale, a striking young woman determined to clear her mother’s name after her father’s murder, as she enters her wealthy kinsman’s New England home and confronts old scandals, dangerous secrets, and fraught romances. The story weaves melodrama and mystery around inheritance, social stigma, and the hazards of love, with key figures including the reserved heir Francis Murray, the charming Percy Seabright, and the volatile Mrs. Dunn. The opening of the story reveals Italy’s mother confessing that Italy’s father was murdered and that she herself was tried and acquitted, yet condemned by public opinion; years later, after her mother’s death, Italy goes to Francis Murray’s seaside estate, The Lodge, suspecting him because he benefited from the entail. Tension rises as Italy somnambulates into his library in search of her father’s missing diary, Francis confronts her motives, and she flees to Boston to seek her mother’s old lawyer. There she is deceived by a clerk, Craig Severn, lured to a private house, and nearly assaulted before a mysterious shot kills him; found later walking in her sleep, she is retrieved by Francis and brought back. She meets Percy Seabright—her father’s friend—and faints; newspapers soon report Severn’s body found with a bullet wound. Emmett Harlow gently courts Italy and is refused, while jealous Alys Audenreid and her aunt Mrs. Dunn bristle; during a yacht outing Italy is pushed overboard, rescued by Ralph Allen and Francis, and Mrs. Dunn spitefully accuses Emmett before Francis quells the charge. These chapters set the central quest—finding the truth behind the murder and the missing diary—amid simmering jealousy, peril, and uncertain loyalties. (This is an automatically generated summary.)

"Le cas étrange du docteur Jekyll; Un logement pour la nuit" by Stevenson is a collection of fiction written in the late 19th century. It pairs a Gothic investigation into the bond between the esteemed Dr. Jekyll and the menacing Mr. Hyde with an additional tale likely set in medieval Paris. The main thread follows lawyer Mr. Utterson as he probes the unsettling overlap between public respectability and hidden vice in Victorian London. The opening of the collection introduces Mr. Utterson, who hears Enfield’s story of a cruel, small man named Hyde using a key to a mysterious door and producing a dubious cheque linked to Dr. Jekyll. Troubled by Jekyll’s will that favors Hyde, Utterson seeks and confronts Hyde, confirms his access to Jekyll’s home, and soon learns of the savage murder of Sir Danvers Carew; Hyde disappears, while police find evidence in his Soho rooms. Jekyll disavows Hyde and shows a note, which Utterson’s clerk remarks resembles Jekyll’s handwriting; Lanyon then falls fatally ill after a secret rupture with Jekyll and dies, leaving a sealed packet, while Jekyll grows reclusive. The section ends as Poole, Jekyll’s servant, fearfully begs Utterson to come at once, implying something is terribly wrong behind the locked laboratory door. (This is an automatically generated summary.)

"The Last Dragon" by Dan Totheroh is a children's fantasy novel written in the early 20th century. It follows siblings Johnathan, Janet Jane, and Peter Baxter, their intrepid Grandma, and two dogs as they befriend a gentle, blue‑eyed dragon—the last of his kind—and ride him back into the Dark Ages. The tale sets up a quest to save the enchanted Princess Silver Toes from the rival dragon Dallahan, aided by a prickly cave-gnome named Crubby. The opening of this story finds the Baxter children staging Arthurian games in a meadow beside a mysterious woodlot, where six-year-old Peter wanders into a cave and awakens a kindly green dragon who calls himself the last in the world. After the children warm to him (and Grandma welcomes him), their mother drives him away, and their father can’t see him at all; but before dawn the dragon taps at the nursery window and carries Johnathan, Janet Jane, Peter, the dogs, and Grandma (who floats down in her rocking chair) on a headlong ride “backwards” through history. They pass scenes from the past, reach a volcano so the dragon can “eat fire,” and retire to his vast cave home, where they meet the tiny, bossy Crubby. He reveals that the dragon’s enchanted companion, Princess Silver Toes, has been stolen, prompting the dragon to tell her backstory—from silver-dipped toes to a witch’s spell and a storm-swept escape. Learning that the kidnapper is Dallahan, the Irish dragon, the group resolves to rescue her and hurries to an armorer on the king’s highway, where Grandma, the children, and even the dogs are fitted with mail and swords, setting the quest in motion. (This is an automatically generated summary.)