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diff --git a/41875-h/41875-h.htm b/41875-h/41875-h.htm index 6898b6d..fa3247f 100644 --- a/41875-h/41875-h.htm +++ b/41875-h/41875-h.htm @@ -3,7 +3,7 @@ <html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Yellow Book, Vol. 1, April 1894, by Various. @@ -184,47 +184,7 @@ ins {text-decoration: none; </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of The Yellow Book, -edited by Henry Harland - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: The Yellow Book - An Illustrated Quarterly. Vol. 1, April 1894 - -Editor: Henry Harland - -Release Date: January 19, 2013 [EBook #41875] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE YELLOW BOOK *** - - - - -Produced by Charlene Taylor, Carol Brown, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/Canadian Libraries) - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 41875 ***</div> <div class="figcenter" style="width: 500px"> <a name="i_cover"></a> @@ -807,7 +767,7 @@ now he was proclaimed and anointed and crowned. His place was assigned him as publicly as if a fat usher with a wand had pointed to the topmost chair; he was to pass up and still up, higher and<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span> higher, between the watching faces and the envious sounds—away -up to the daïs and the throne. The article was a date; he had +up to the daïs and the throne. The article was a date; he had taken rank at a bound—waked up a national glory. A national glory was needed, and it was an immense convenience he was there. What all this meant rolled over me, and I fear I grew a little faint—it @@ -1682,7 +1642,7 @@ of her, and when I ask what harm she can do him that she hasn't already done he simply repeats: 'I'm afraid, I'm afraid! Don't inquire too closely,' he said last night; 'only believe that I feel a sort of terror. It's strange, when she's so kind! At any rate, -I would as soon overturn that piece of priceless Sèvres as tell her +I would as soon overturn that piece of priceless Sèvres as tell her that I must go before my date.' It sounds dreadfully weak, but he has some reason, and he pays for his imagination, which puts<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span> him (I should hate it) in the place of others and makes him feel, @@ -1799,7 +1759,7 @@ great pain, and the advent of those ladies—I mean of Guy Walsingham and Dora Forbes—doesn't at all console me. It does Mrs. Wimbush, however, for she has consented to his remaining in bed, so that he may be all right to-morrow for the -<em lang="fr">séance</em>. Guy Walsingham is already on the scene, and the doctor, +<em lang="fr">séance</em>. Guy Walsingham is already on the scene, and the doctor, for Paraday, also arrived early. I haven't yet seen the author of 'Obsessions,' but of course I've had a moment by myself with the doctor. I tried to get him to say that our invalid must go @@ -1897,11 +1857,11 @@ that he judged something was going on that he oughtn't to interrupt.</p> <p><q>Miss Collop arrived last night,</q> I smiled, <q>and the Princess -has a thirst for the <em lang="fr">inédit</em>.</q></p> +has a thirst for the <em lang="fr">inédit</em>.</q></p> <p>Dora Forbes lifted his bushy brows. <q>Miss Collop?</q></p> -<p><q>Guy Walsingham, your distinguished <em lang="fr">confrère</em>—or shall I say +<p><q>Guy Walsingham, your distinguished <em lang="fr">confrère</em>—or shall I say your formidable rival?</q></p> <p><q>Oh!</q> growled Dora Forbes. Then he added: <q>Shall I @@ -2112,7 +2072,7 @@ another.</p> <span class="i0">Then, maybe, dangling from thy gloomy gallows boughs,</span><br /> <span class="i2">A human corpse swings, mournful, rattling bones and chains—</span><br /> <span class="i0">His eighteenth century flesh hath fattened nineteenth century cows—</span><br /> -<span class="i2">Ghastly Æolian harp fingered of winds and rains.</span><br /> +<span class="i2">Ghastly Æolian harp fingered of winds and rains.</span><br /> </div> <div class="stanza"> @@ -2211,7 +2171,7 @@ dipping their fingers in the rouge-pots? At Rome, in the keenest time of her degringolade, when there was gambling even in the holy<span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span> temples, great ladies (does not Lucian tell us?) did not scruple to squander all they had upon unguents from Arabia. Nero's mistress -and unhappy wife, Poppæa, of shameful memory, had in her travelling +and unhappy wife, Poppæa, of shameful memory, had in her travelling retinue fifteen—or, as some say, fifty—she-asses, for the sake of their milk, that was thought an incomparable guard against cosmetics with poison in them. Last century, too, when life was @@ -2384,7 +2344,7 @@ charm of colour and line, but with such questions as whether the lips were sensuous, the eyes full of sadness, the nose indicative of determination. I have no quarrel with physiognomy. For my own part, I believe in it. But it has tended to degrade the face -æsthetically, in such wise as the study of cheirosophy has tended +æsthetically, in such wise as the study of cheirosophy has tended to degrade the hand. And the use of cosmetics, the masking of the face, will change this. We shall gaze at a woman merely because she is beautiful, not stare into her face anxiously, as into @@ -2478,9 +2438,9 @@ the toilet is laden once more with the fulness of its elaboration, we shall hear no more of the proper occupation for women. And think, how sweet an energy, to sit at the mirror of coquetry! See the dear merits of the toilet as shown upon old vases, or upon -the walls of Roman dwellings, or, rather still, read Böttiger's +the walls of Roman dwellings, or, rather still, read Böttiger's alluring, scholarly description of <q lang="de">Morgenscenen im Puttzimmer -Einer Reichen Römerin.</q> Read of Sabina's face as she comes +Einer Reichen Römerin.</q> Read of Sabina's face as she comes through the curtain of her bed-chamber to the chamber of her toilet. The slave-girls have long been chafing their white feet upon the marble floor. They stand, those timid Greek girls, @@ -2488,7 +2448,7 @@ marshalled in little battalions. Each has her appointed task, and all kneel in welcome as Sabina stalks, ugly and frowning, to the toilet chair. Scaphion steps forth from among them, and, dipping a tiny sponge in a bowl of hot milk, passes it lightly, ever so lightly, -over her mistress' face. The Poppæan pastes melt beneath it like +over her mistress' face. The Poppæan pastes melt beneath it like snow. A cooling lotion is poured over her brow and is fanned with feathers. Phiale comes after, a clever girl, captured in some sea-skirmish in the Aegean. In her left hand she holds the ivory @@ -2518,7 +2478,7 @@ prosaic remedy for age or plainness, but all ladies and all young girls will come to love them. Does not a certain blithe Marquise, whose <i lang="fr">lettres intimes</i> from the Court of Louis Seize are less read than their wit would merit, tell us how she was scandalised to see -<q><i lang="fr">même les toutes jeunes demoiselles émaillées comme ma tabatière</i>?</q> +<q><i lang="fr">même les toutes jeunes demoiselles émaillées comme ma tabatière</i>?</q> So it shall be with us. Surely the common prejudice against painting the lily can but be based on mere ground of economy. That which is already fair is complete, it may be urged—urged @@ -2541,7 +2501,7 @@ making the young girl the centre of his theme? Rather he seeks inspiration from the tried and tired woman of the world, in all her intricate maturity, whilst, by way of comic relief, he sends the young girl flitting in and out with a tennis-racket, the poor -<ins title="eidôlon amauron">εἴδωλον ἀμαυρόν</ins> of her former self. The season of the unsophisticated +<ins title="eidôlon amauron">εἴδωλον ἀμαυρόν</ins> of her former self. The season of the unsophisticated is gone by, and the young girl's final extinction beneath the rising tides of cosmetics will leave no gap in life and will rob art of nothing.</p> @@ -2552,7 +2512,7 @@ itself! Why, a few months past, the whole town went mad over Miss Cissie Loftus! Was not hers a success of girlish innocence and the absence of rouge? If such things as these be outmoded, why was she so wildly popular?</q> Indeed, the triumph of that -clever girl, whose début made London nice even in August, is but +clever girl, whose début made London nice even in August, is but another witness to the truth of my contention. In a very sophisticated time, simplicity has a new dulcedo. Hers was a success of contrast. Accustomed to clever malaperts like Miss @@ -2622,7 +2582,7 @@ time of its desertion from August to October, artificially bronzed, as though they were fresh from the moors or from the Solent. This, I conceive, is done for purely social reasons and need not concern me here. Rather do I speak of those who make themselves -up, seemingly with an æsthetic purpose. Doubtless—I +up, seemingly with an æsthetic purpose. Doubtless—I wish to be quite just—there are many who look the better for such embellishment; but, at the hazard of being thought old-fashioned and prejudiced, I cannot speak of the custom with anything @@ -2643,7 +2603,7 @@ fringe! After all, I think we need not fear that many men will thus trespass. Most of them are in the City nowadays, and the great wear and tear of that place would put their use of rouge—that demands bodily repose from its dependents—quite outside the -range of practical æsthetics.</p> +range of practical æsthetics.</p> <p>But that in the world of women they will not neglect this art, so ripping in itself, in its result so wonderfully beneficent, I am @@ -2656,7 +2616,7 @@ the flower of an excellence so supreme as never yet has it known, then, though Old England may lose her martial and commercial supremacy, we patriots will have the satisfaction of knowing that she has been advanced at one bound to a place in the councils of -æsthetic Europe. And, in sooth, is this hoping too high of my +æsthetic Europe. And, in sooth, is this hoping too high of my countrywomen? True that, as the art seems always to have appealed to the ladies of Athens, and it was not until the waning time of the Republic that Roman ladies learned to love the practice @@ -2668,7 +2628,7 @@ its Roman perfection? Surely there must be among us artists as cunning in the use of brush and puff as any who lived at Versailles. Surely the splendid, impalpable advance of good taste, as shown in dress and in the decoration of houses, may justify my hope of the -preëminence of Englishwomen in the cosmetic art. By their +preëminence of Englishwomen in the cosmetic art. By their innate delicacy of touch they will accomplish much, and much, of course, by their swift feminine perception. Yet it were well that they should know something also of the theoretical side of the craft. @@ -2679,7 +2639,7 @@ the Court of Cleopatra, and Criton at the Court of the Emperor Trajan, both wrote treatises upon cosmetics—doubtless most scholarly treatises that would have given many a precious hint. It is a pity they are not extant. From Lucian or from Juvenal, -with his bitter picture of a Roman <i lang="fr">levée</i>, much may be learnt; +with his bitter picture of a Roman <i lang="fr">levée</i>, much may be learnt; from the staid pages of Xenophon and Aristophanes' dear farces. But best of all is that fine book of the Ars Amatoria that Ovid has set aside for the consideration of dyes, perfumes and pomades. @@ -3248,7 +3208,7 @@ far from him.</p> <p>But some of these consequences already called loudly to him as he and Esther reached the last gate on the road to Orton.</p> -<p><q>You know I have only £130 a year?</q> he told her: <q>it's no +<p><q>You know I have only £130 a year?</q> he told her: <q>it's no very brilliant prospect for you to marry me on that.</q></p> <p>For he had actually offered her marriage, although such @@ -3646,11 +3606,11 @@ from his agonising, unavailing regret.<span class="pagenum"><a name="Page_109" i <span class="i2">No echo of man's life pursues my ears;</span><br /> <span class="i2">Nothing disputes this Desolation's reign;</span><br /> <span class="i2">Change comes not, this dread temple to profane,</span><br /> -<span class="i2">Where time by æons reckons, not by years.</span><br /> +<span class="i2">Where time by æons reckons, not by years.</span><br /> <span class="i2">Its patient form one crag, sole-stranded, rears,</span><br /> <span class="i2">Type of whate'er is destined to remain</span><br /> <span class="i2">While yon still host encamped on Night's waste plain</span><br /> -<span class="i2">Keeps armèd watch, a million quivering spears.</span><br /> +<span class="i2">Keeps armèd watch, a million quivering spears.</span><br /> </div> <div class="stanza"> @@ -3749,7 +3709,7 @@ greatly afraid of another's ridicule.</q></p> <p><q>You say well,</q> he said, "so mark! For if my sermon inflicts<span class="pagenum"><a name="Page_121" id="Page_121">[121]</a></span> what our toasts call ennui upon you, remember that in the -words of their favourite Molière, 'You have willed it.'</p> +words of their favourite Molière, 'You have willed it.'</p> <p>"I do not, Eugenius, pretend to be indifferent to good wine in itself. But when I called this little cellar of mine just now a @@ -3919,7 +3879,7 @@ that I have likened to the lips of Damaris.</q></p> <div class="stanza"> <span class="i2">O lost and wrecked, how long ago,</span><br /> -<span class="i2">Out of the drownèd past, I know,</span><br /> +<span class="i2">Out of the drownèd past, I know,</span><br /> <span class="i2">You come to call me, come to claim</span><br /> <span class="i2">My share of your delicious shame.</span><br /> <span class="i2">Child, I remember, and can tell</span><br /> @@ -4050,7 +4010,7 @@ visit; they were huddled together in their nest of cotton-wool, sleeping soundly. And I was up at an unheard-of hour next morning, to have a bout with them before going to school. I found Alexandre, in his nightcap and long white apron, occupied -with the <i lang="fr">soins de propreté</i>, as he said. He cleaned out the cage, +with the <i lang="fr">soins de propreté</i>, as he said. He cleaned out the cage, put in fresh food and water, and then, pointing to the fat old couple, the grandparents, who stopped lazily abed, sitting up and rubbing their noses together, whilst their juniors scampered merrily @@ -4080,7 +4040,7 @@ again so violently, desperately, consumedly. Anyhow, I went home terribly in love with Mercedes. And—do all children lack humour?—I picked out the prettiest young ladyish-looking mouse in my collection, cut off her moustaches, adopted her as my -especial pet, and called her by the name of my <i lang="la">dea certè</i>.</p> +especial pet, and called her by the name of my <i lang="la">dea certè</i>.</p> <p>All of my mice by this time had become quite tame. They had plenty to eat and drink, and a comfortable home, and not a @@ -4091,7 +4051,7 @@ sloth. I could put my hand in amongst them, and not one would bestir himself the littlest bit to escape me. Mercedes and I were inseparable. I used to take her to school with me every day; she could be more conveniently and privately transported than a lamb. -Each <i lang="fr">lycéen</i> had a desk in front of his form, and she would spend +Each <i lang="fr">lycéen</i> had a desk in front of his form, and she would spend the school-hours in mine, I leaving the lid raised a little, that she might have light and air. One day, the usher having left the room for a moment, I put her down on the floor, thereby creating @@ -4152,12 +4112,12 @@ That had rather a long run. Then I dramatised <cite>Aladdin and the Wonderful Lamp</cite>, <cite lang="fr">Paul et Virginie</cite>, <cite>Quentin Durward</cite>, and <cite lang="fr">La Dame de Monsoreau</cite>. Mercedes made a charming Diane, Leander a brilliant and dashing Bussy; Monsieur Denis was cast -for the rôle of Frère Gorenflot; and a long, thin, cadaverous-looking +for the rôle of Frère Gorenflot; and a long, thin, cadaverous-looking mouse, Don Quichotte by name, somewhat inadequately represented Chicot. We began, as you see, with melodrama; -presently we descended to light comedy, playing <cite lang="fr">Les Mémoires d'un +presently we descended to light comedy, playing <cite lang="fr">Les Mémoires d'un Ane</cite>, <cite lang="fr">Jean qui rit</cite>, and other works of the immortal Madame de -Ségur. And then at last we turned a new leaf, and became +Ségur. And then at last we turned a new leaf, and became naturalistic. We had never heard of the naturalist school, though Monsieur Zola had already published some volumes of the <cite lang="fr">Rougon-Macquart</cite>; but ideas are in the air; and we, for ourselves, @@ -4609,7 +4569,7 @@ squabble, squabble; squabble about terms, squabble about this, another squabble about that, and then, when everything is finally arranged, delay, delay, delay. <q>You must wait for the publishing season.</q> As though a book were a young lady whose -future might be seriously jeopardised if it made its <i lang="fr">début</i> at an +future might be seriously jeopardised if it made its <i lang="fr">début</i> at an unfashionable time.</p> <p>[<i>The door opens, and</i> Harold <i>bursts into the room</i>.]</p> @@ -5140,7 +5100,7 @@ so foolish again.</p> <p><i>Lucy.</i> I—I promise. It is silly of me—now I am all right.</p> -<p><i>Harold.</i> <span lang="fr">Giboulées d'Avril!</span> The sun comes out once more, +<p><i>Harold.</i> <span lang="fr">Giboulées d'Avril!</span> The sun comes out once more, the shower is quite over.</p> <p><i>Lucy.</i> Yes, quite over; you always are so kind. It is my @@ -5895,7 +5855,7 @@ voice, on the deck of a steamer in the glorious bay of Rio, singing:</p> <span class="i4" lang="fr">Le seul pompier...."</span><br /> </div> -<p>and <i lang="fr">la mióla</i> snaps her fingers gaily and trills her <i>r's</i>; and the +<p>and <i lang="fr">la mióla</i> snaps her fingers gaily and trills her <i>r's</i>; and the Corcovado is outlined clearly on the purple background as if bending to listen; and the palms and the mosque-like buildings, and the fair islets bathed in the witchery of moonlight, and the @@ -6328,7 +6288,7 @@ of immediate interest to us as soon as we attempt to apply them to the literature of our own half-century, and I propose concluding what I wished to say on the necessity of reticence by considering, briefly and without mention of names, that realistic movement in English -literature which, under different titles, and protected by the ægis of<span class="pagenum"><a name="Page_212" id="Page_212">[212]</a></span> +literature which, under different titles, and protected by the ægis of<span class="pagenum"><a name="Page_212" id="Page_212">[212]</a></span> various schools, has proved, without doubt, the most interesting and suggestive development in the poetry and fiction of our time. During the last quarter of a century, more particularly, the @@ -6622,7 +6582,7 @@ is to be strong.</p> <p class="dropcap p2">The pink shade of a single lamp supplied an air of subdued mystery; the fire burned red and still; in place of door and windows hung curtains, obscure, formless; the furniture, -dainty, but sparse, stood detached and incoördinate like the furniture +dainty, but sparse, stood detached and incoördinate like the furniture of a stage-scene; the atmosphere was heavy with heat, and a scent of stale tobacco; some cut flowers, half withered, tissue-paper still wrapping their stalks, lay on a gilt, cane-bottomed @@ -7212,7 +7172,7 @@ was accustomed to deposit his wife for security, when absent on his campaigns. He is apparently not aware that the object of Tansillo's affection had already been identified with a member of the house of Aragon by Faria e Sousa, the Portuguese editor of -Camoëns, who, in his commentary on Camoëns's sixty-ninth +Camoëns, who, in his commentary on Camoëns's sixty-ninth sonnet, gives an interminable catalogue of ladies celebrated by enamoured poets, and says, <q>Tansillo sang Donna Isabel de Aragon.</q> This lady, however, the niece of the Marchioness @@ -7292,7 +7252,7 @@ inquires:—</p> <div class="poem"> <span class="i4" lang="it">Che il Turco nasca turco, e 'l Moro moro,</span><br /> -<span class="i4" lang="it">È giusta causa questa, ond'altri ed io</span><br /> +<span class="i4" lang="it">È giusta causa questa, ond'altri ed io</span><br /> <span class="i4" lang="it">Dobbiam incrudelir nel sangue loro?</span><br /> </div> @@ -7309,8 +7269,8 @@ of his feelings:—</p> <span class="i4">I roam the azure waters, or the Red,</span><br /> <span class="i2">E'er with the body shall the spirit rove:</span><br /> <span class="i2">If by each drop of every wave we clove,</span><br /> -<span class="i4">Or by Sun's light or Moon's encompassèd,</span><br /> -<span class="i4">Another Venus were engenderèd,</span><br /> +<span class="i4">Or by Sun's light or Moon's encompassèd,</span><br /> +<span class="i4">Another Venus were engenderèd,</span><br /> <span class="i2"><span class="pagenum"><a name="Page_242" id="Page_242">[242]</a></span>And each were pregnant with another Love:</span><br /> <span class="i2">And thus new shapes of Love where'er we went</span><br /> <span class="i4">Started to life at every stroke of oar,</span><br /> @@ -7377,7 +7337,7 @@ reproach:</p> <span class="i4">Clad be it ever in sky's smile serene,</span><br /> <span class="i4">No thundering billow boom from deeps marine,</span><br /> <span class="i2">And calm with Neptune and his folk be found.</span><br /> -<span class="i2">Fast may all winds by Æolus be bound,</span><br /> +<span class="i2">Fast may all winds by Æolus be bound,</span><br /> <span class="i4">Save faintest breath of lispings Zephyrene;</span><br /> <span class="i4">And be the odorous earth with glowing green</span><br /> <span class="i2">Of gladsome herbs, bright flowers, quaint foliage crowned.</span><br /> @@ -7571,7 +7531,7 @@ Maria d'Aragona, we have no clue to the ultimate nature of his feelings towards her.</p> <p>A generally fair estimate of Tansillo's rank as a poet is given -in Ginguéné's <q>History of Italian Literature,</q> vol. ix., pp. 340-343. +in Ginguéné's <q>History of Italian Literature,</q> vol. ix., pp. 340-343. It can scarcely be admitted that his boldness and fertility of imagination transported him beyond the limits of lyric poetry—for this is hardly possible—but it is true that they sometimes transcended @@ -7593,7 +7553,7 @@ of the past glories, the actual degradation, or the prospective regeneration of Italy. Born a Spanish subject, his ideal of loyalty was entirely misplaced, and he must not be severely censured for what he could hardly avoid. But Italy lost a -Tyrtæus in him.</p> +Tyrtæus in him.</p> <hr /> @@ -8413,387 +8373,6 @@ missing 'l' added to <a href="#small">small</a></p> </div> - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The Yellow Book, -edited by Henry Harland - -*** END OF THIS PROJECT GUTENBERG EBOOK THE YELLOW BOOK *** - -***** This file should be named 41875-h.htm or 41875-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/1/8/7/41875/ - -Produced by Charlene Taylor, Carol Brown, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/Canadian Libraries) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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