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Flatland: a romance of many dimensions

Creator: Abbott, Edwin Abbott, 1838-1926
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SECTION 1 Of the Nature of Flatland I call our world Flatland, not because we call it so, but to make its nature clearer to you, my happy readers, who are privileged to live in Space. Imagine a vast sheet of paper on which straight Lines, Triangles, Squares, Pentagons, Hexagons, and other figures, instead of remaining fixed in their places, move freely about, on or in the surface, but without the power of rising above or sinking below it, very much like shadows--only hard with luminous edges--and you will then have a pretty correct notion of my country and countrymen. Alas, a few years ago, I should have said "my universe:" but now my mind has been opened to higher views of things. In such a country, you will perceive at once that it is impossible that there should be anything of what you call a "solid" kind; but I dare say you will suppose that we could at least distinguish by sight the Triangles, Squares, and other figures, moving about as I have described them. On the contrary, we could see nothing of the kind, not at least so as to distinguish one figure from another. Nothing was visible, nor could be visible, to us,
Little Eyolf

LITTLE EYOLF. By Henrik Ibsen Translated, With an Introduction, by William Archer INTRODUCTION. Little Eyolf was written in Christiania during 1894, and published in Copenhagen on December 11 in that year. By this time Ibsen's correspondence has become so scanty as to afford us no clue to what may be called the biographical antecedents of the play. Even of anecdotic history very little attaches to it. For only one of the characters has a definite model been suggested. Ibsen himself told his French translator, Count Prozor, that the original of the Rat-Wife was "a little old woman who came to kill rats at the school where he was educated. She carried a little dog in a bag, and it was said that children had been drowned through following her." This means that Ibsen did not himself adapt to his uses the legend so familiar to us in Browning's _Pied Piper of Hamelin_, but found it ready adapted by the popular imagination of his native
except Straight Lines; and the necessity of this I will speedily demonstrate. Place a penny on the middle of one of your tables in Space; and leaning over it, look down upon it. It will appear a circle. But now, drawing back to the edge of the table, gradually lower your eye (thus bringing yourself more and more into the condition of the inhabitants of Flatland), and you will find the penny becoming more and more oval to your view, and at last when you have placed your eye exactly on the edge of the table (so that you are, as it were, actually a Flatlander) the penny will then have ceased to appear oval at all, and will have become, so far as you can see, a straight line. The same thing would happen if you were to treat in the same way a Triangle, or a Square, or any other figure cut out from pasteboard. As soon as you look at it with your eye on the edge of the table, you will find that it ceases to appear to you as a figure, and that it becomes in appearance a straight line. Take for example an equilateral Triangle--who represents with us a Tradesman of the respectable class. Figure 1 represents the Tradesman as you would see him while you were bending over him from above; figures 2 and 3 represent the Tradesman, as you would see him if your eye were close to the level,