By William Dean Howells

Centering on a clash among a self-made millionaire and an idealistic reformer in turn-of-the-twentieth-century big apple, A possibility of recent Fortunes insightfully renders the complexities of the yankee event at a time of serious social and financial upheaval and transformation. In its depiction of wealth, poverty, and manhattan urban lifestyles, it is still a strikingly modern work.

Reproduced here's the authoritative Indiana college Press version edited and annotated via David J. Nordloh, with complete scholarly observation and wide textual gear.

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43 [Nevertheless, we find a number of heroines among the weaker sex: men in women’s and women in men’s clothes. 44 He regales them with tales of a young woman of twenty who killed twenty-six Spaniards in the battle for Genoa, of the women of Ulati who in 1571 shamed their menfolk by defending the island of Cozula from attack by the Viceroy of Algeria, and of the Duchess of Nevers who commanded a cavalry regiment in 1617, of the women of Montaulbon who fought alongside their husbands against the troops of the French King in 1621.

24 See David P. Scaer, “The Concept of Anfechtung in Luther’s Thought,” Concordia Theological Quarterly 47 (1983): 15–30. 25 Patrice Veit, “Die Hausandacht im deutschen Luthertum: Anweisungen und Praktiken,” in Gebetsliteratur der Frühen Neuzeit als Hausfrömmigkeit: Funktionen GERMAN FUNERAL SERMONS OF THE EARLY MODERN PERIOD 29 und Formen in Deutschland und den Niederlanden, ed. Ferdinand van Ingen and Cornelia Niekus Moore (Wiesbaden: Harrassowitz, 2001), 193–206; here 204; Moore, “Erbauungsliteratur als Gebrauchsliteratur,” 298.

23 The prose meditations on “Wer weiß, wie nahe mir mein Ende,” authored by David Christian Walther and published in 1719, likewise demonstrate the use of Aemilia Juliana’s most famous song in connection with a woman’s death: as the author states, the meditations initially served to commemorate the fifth anniversary of the death of his wife Abigail. In his preface, Walther notes that the Zwickau hymnal had called this song “den Kern aller Gebete” (the quintessence and source of all prayers). He goes on to state: Dieses Lied [ist] von so unvergleichlicher Kunst, absonderlich da sehr wenige Worte darinnen, die nicht in H.

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