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diff --git a/42125-h/42125-h.htm b/42125-h/42125-h.htm index df1f2fe..52ab2fc 100644 --- a/42125-h/42125-h.htm +++ b/42125-h/42125-h.htm @@ -3,7 +3,7 @@ <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" 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 Armorel of Lyonesse, by Walter Besant. @@ -140,48 +140,7 @@ padding-right: .5em;} </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of Armorel of Lyonesse, by Walter Besant - -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 - - -Title: Armorel of Lyonesse - A Romance of To-day - -Author: Walter Besant - -Illustrator: Fred Barnard - -Release Date: February 18, 2013 [EBook #42125] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK ARMOREL OF LYONESSE *** - - - - -Produced by sp1nd, JoAnn Greenwood, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 42125 ***</div> <div class="figcenter" style="width: 383px;"> <img src="images/cover-page.jpg" width="383" height="600" alt="" title="cover image" /> @@ -582,7 +541,7 @@ itself were slowly dying away, their life-work, which is nothing at all but the production of that one flowering stem, finished. That done, the world has no more attractions for the aloe: it is content—it slowly dies away. And in the front of the garden was a row -of tall dracæna palms. An old ship's figure-head, thrown ashore +of tall dracæna palms. An old ship's figure-head, thrown ashore after a wreck, representing the head and bust of a beautiful maiden, gilded, but with a good deal of the gilt rubbed off, stood on the left<span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span> hand of the garden, half hidden by another fuchsia-tree in flower: @@ -1817,7 +1776,7 @@ made of her; he was wondering what excuse he could make for staying another week at Tregarthen's—when he was startled by striking his stick against metal. He knelt down and felt about with his hands. Then he found something and drew it out, and -arose with the triumph that belongs to an archæologist who picks +arose with the triumph that belongs to an archæologist who picks up an ancient thing—say, a rose noble in a newly ploughed field. The thing which he found was a hoop or ring. It was covered and encrusted with mould; he rubbed this off with his fingers. Lo! it @@ -2322,7 +2281,7 @@ going to happen. One can no longer hope for dinner. Family prayers, perhaps; or the worship of the old lady as an ancestor. The descendants of the ancient people of Lyonesse no doubt bow down to the sun and dance to the moon, and pass the children -through the holèd stone, and make Baal fires, and worship their +through the holèd stone, and make Baal fires, and worship their grandmothers. It will be an interesting function. But, perhaps, only family prayers.'</p> @@ -2894,7 +2853,7 @@ before, could he remember what had happened on that occasion.</p> <p>Armorel herself was in the garden looking for some flowers for the breakfast-table. She greeted him with a smile of welcome and a friendly grasp of the hand. There was also a look of -kindly solicitude on her face which would have suited a châtelaine +kindly solicitude on her face which would have suited a châtelaine of forty years. Had he slept well? Had he really been provided with everything he wanted? Was there anything at all lacking? If so, would he speak to Chessun? Breakfast, she said, leaving @@ -4250,7 +4209,7 @@ more clambering among the granite rocks: no more sitting in sunny places looking out to sea, with this bright child at his side.</p> <p>Alas! And no more talks with Armorel. From the first day -the child sat at his feet and became his disciple, Heloïse herself +the child sat at his feet and became his disciple, Heloïse herself was not an apter pupil. She ardently desired to learn: like a curious child she asked him questions all day long, and received the answers as if they were gospel: but no child that he had ever @@ -5840,7 +5799,7 @@ must be there.</p> <p>Next she turned to the cupboard. It was locked and double-locked. But she found the key. The cupboard was one of those great receptacles common in the oldest houses, almost rooms in -themselves, but dark rooms, where mediæval housekeepers kept +themselves, but dark rooms, where mediæval housekeepers kept their stores. In those days, housekeeping on a respectable scale meant the continual maintenance of immense stores. All the things which now we get from shops as we want them were then @@ -6150,7 +6109,7 @@ the ring with the shield, the ring with the name of a ship, the ring with the name of a regiment, mourning-rings, wedding-rings, betrothal-rings, rings with posies, cramp-rings with the names of the Magi on them—but their power was gone—gimmal-rings, -rings episcopal, rings barbaric, mediæval, and modern, rings set +rings episcopal, rings barbaric, mediæval, and modern, rings set with every kind of precious stone—there were hundreds of rings. All drowned sailors used to have rings on their fingers.</p> @@ -7031,7 +6990,7 @@ Island. My dear, I am very glad you came.'</p> where one always expects to meet men and women who have done something: men who write, paint, or compose; women who do the same, but not so well; women who play and sing; women who are -æsthetic, and show their appreciation of art by wearing hideous +æsthetic, and show their appreciation of art by wearing hideous dresses; women who recite: men and women who advocate all kinds of things—mostly cranks and cracks. There are, besides, the people who know the people who do things: and these, who are a @@ -7154,7 +7113,7 @@ man of striking and even distinguished appearance.</p> yours—Mr. Alec Feilding.'</p> <p>'I am very unfortunate, Miss Rosevean. I came too late to -hear more than the end of the sonata. Normann-Néruda herself +hear more than the end of the sonata. Normann-Néruda herself could not interpret that music better.' Then he saw Zoe, and greeted her as an old friend. 'Mrs. Elstree and I,' he said, 'have known each other a long time.'</p> @@ -7415,7 +7374,7 @@ really one hardly knows whether Alec Feilding was most to be envied for his success as a painter—though he painted little: or for his stories—though these were all short—much too short: or for his verses—certainly written in the most delightful vein of -<i lang="fr" xml:lang="fr">vers de société</i>: or for his essays, full of observation: or for his +<i lang="fr" xml:lang="fr">vers de société</i>: or for his essays, full of observation: or for his social success, which was undoubted. And there is no doubt that there was not any man in London more envied, or who occupied a more enviable position, than Alec Feilding. To be sure, he @@ -7432,7 +7391,7 @@ it every week. The contents of these columns were always fresh, epigrammatic, and delightful: in the stories a certain feminine quality lent piquancy—it seemed sometimes as if a man could not have written these stories: the verses always tripped lightly, merrily, -and gracefully along. An Abbé de la Cour in the last century +and gracefully along. An Abbé de la Cour in the last century might have served up such a weekly dish for the Parisians, had he been the cleverest man in Paris.</p> @@ -7798,7 +7757,7 @@ rising. 'Precious time—my time—there is so little of it. Therefore, child——'</p> <p>'I have brought you,' she said, 'another little poem. I think -it is the kind of thing you like—in the <i lang="fr" xml:lang="fr">vers de société</i> style. She +it is the kind of thing you like—in the <i lang="fr" xml:lang="fr">vers de société</i> style. She unrolled her leather case and took out a very neatly written paper.</p> <p>He read it slowly. Then he nodded his head approvingly and @@ -9016,7 +8975,7 @@ curtain, upon a most commonplace street. We can all—common spirits as well as poets—rise above our streets and houses and our dingy setting—otherwise there would be no work done at all. Nay, if we were all cockered up, and daintily surrounded with -things æsthetic and artistic and beautiful, I believe we should be +things æsthetic and artistic and beautiful, I believe we should be so happy that nobody would ever do anything. The poet would murmur his thoughts in indolent rhyme by the fireside: the musician would drop his fingers among the notes, echoing faintly @@ -9026,7 +8985,7 @@ would make plots without words for his children to act: the painter would half sketch his visions and leave them unfinished. Art would die.<span class="pagenum"><a name="Page_155" id="Page_155">[155]</a></span></p> -<p>No such temptations were offered to Effie. The æsthetic movement +<p>No such temptations were offered to Effie. The æsthetic movement had not touched that ground-floor front. The shaky round table stood under the flaring gas which every night made her head ache; the chiffonier contained in its recesses the tea and sugar and @@ -9371,7 +9330,7 @@ been there lately, and I hope to demonstrate that a good play may still be produced in the English tongue—a good and original play. In short, I have written a romantic drama, of which all I can say at present is that it lies finished, in my fireproof safe, and that a -certain actor-manager will probably play the title-rôle before many +certain actor-manager will probably play the title-rôle before many moons have waxed and waned.'</p> <p>'No,' said Effie, crumpling up the paper. 'You have not got @@ -10322,7 +10281,7 @@ even hold a pencil, nobody suspected him of making rhymes—and now see what he has done. Yet, after all, his achievements seem to me only like incongruous additions stuck on to a central house. Alec and painting don't go together, in my mind. Nor Alec and -vers de société. Nor Alec and story-telling. In his youth he +vers de société. Nor Alec and story-telling. In his youth he passed for a practical lad, full of common-sense and without imagination.'</p> @@ -10570,7 +10529,7 @@ must find means to persuade him to sacrifice every single thing that men care for—honour, reputation, success. He must be satisfied to pursue Art, actually and literally, for Art's own sake. This is, I know, a rule of conduct preached by every art critic, every -æsthete, every lecturer or writer on Art. Yet observe what it may +æsthete, every lecturer or writer on Art. Yet observe what it may lead to. Was there, for instance, an unknown genius who gave<span class="pagenum"><a name="Page_181" id="Page_181">[181]</a></span> his work to Giotto, with permission to call it his own? And was that obscure genius content to sit and watch that work in the crowd, @@ -11227,7 +11186,7 @@ at the theatres and concerts. The private unpaid companion went about with her all day long, sat with her in her own room, knew what she thought, and talked with her of the things she loved to discuss. So that, though the representative of Order and Propriety -had less to do, the unpaid attachée had a much more lively time. +had less to do, the unpaid attachée had a much more lively time. Fortunately, the official companion was best pleased when there was nothing to do. In those days, when London was as yet an unknown land to both of them, the girls went together to see things. @@ -11562,7 +11521,7 @@ girl's verse.'</p> the style. May I borrow the whole volume? I will be very careful with it. Thank you. I will carry it home with me. And now—I have thought of a plan. Listen, Archie. You know that -many young dramatists bring out their pieces first at a matinée. +many young dramatists bring out their pieces first at a matinée. Now, suppose that you read your piece, Archie, in my rooms in the evening. Should you like to do so?'</p> @@ -12261,10 +12220,10 @@ to consider that though the preliminary and tentative performance of the unacted play—long prayed for—has been at last established, the promised appearance of the great dramatist has not yet come off—nay, the theatrical critic weeps, swears, and -growls at the mention of a matinée, and when he is requested +growls at the mention of a matinée, and when he is requested to attend one passes it on if he can to his younger brother in the calling. And yet such great treasures were expected of the -matinée! However, they agreed to come and listen on this +matinée! However, they agreed to come and listen on this occasion. It shall be put down to their credit as a Samaritan deed.</p> <p>'Dick Stephenson,' said Armorel, with an assumption of old @@ -12340,7 +12299,7 @@ the nineteenth—only that we are more self-governed than a dramatist likes, and we conceal our emotions. It is a play of romance and of human passion. I entreat you to consider it seriously—as seriously as the author himself considers it. We -have arranged for you a list of the dramatis personæ, with a little +have arranged for you a list of the dramatis personæ, with a little scenario of each act—there are three—and we think that if, instead of hearing it read, we have it recited, while the author himself plays the piece before us by puppets on this little stage, we @@ -12628,7 +12587,7 @@ received a note from him on Saturday morning:—</p> number. You will find, on looking into the editorial columns, that I have performed what I promised. Not only have I accepted and published your very charming verses, but I have added a brief -note introducing the writer as a débutante of promise. So much +note introducing the writer as a débutante of promise. So much I am very pleased to have been able to do for you. Now, as one writer introducing another, I leave you with your public. Give them of your best. Let your first set of published verses prove @@ -12889,7 +12848,7 @@ Art, if you please, Mr. Feilding—not about any kind of Art.'</p> <p>He bowed gravely. 'One cannot always listen to conversation involving canons and first principles,' he said, with much condescension. 'Let me, however, congratulate you on the promise of your -protégés, Archie and Effie Wilmot.'</p> +protégés, Archie and Effie Wilmot.'</p> <p>'They are clever.'</p> @@ -13267,7 +13226,7 @@ than his neighbours. And I am sure he is no worse. I am speaking, in fact, for your own good. My dear child, Alec ran after the woman years ago. She was rich then, and used to go about. Certain houses do not mind who enter within their gates. They lived -in Palace Gardens, and Monsieur le Papa was rich—oh! rich <i lang="fr" xml:lang="fr">à +in Palace Gardens, and Monsieur le Papa was rich—oh! rich <i lang="fr" xml:lang="fr">à millions</i>—and the daughter was sugar-sweet and as innocent as an angel—fluffy hair, all tangled and rebellious—you know the kind—and large blue, wondering eyes, generally lowered until the time @@ -14277,7 +14236,7 @@ Criminals!' The words astonished and pained him.</p> <p>And the base ingratitude of the man. He was starving: no one would buy his things: nobody knew his work, when he stepped in. Then, by dexterity in the art of Puff, which the moderns call -<i lang="fr" xml:lang="fr">réclame</i>—he actually believed this, being so ignorant of Art—he +<i lang="fr" xml:lang="fr">réclame</i>—he actually believed this, being so ignorant of Art—he had forced these pictures into notice: he had run up their price, until for that picture on the easel he had been offered, and had taken, 450<i>l.</i>! Ungrateful!</p> @@ -14909,7 +14868,7 @@ crash.</p> <p>The man replied by a curse.</p> -<p>The lock—a piece of imitation mediævalism in iron—was fitted +<p>The lock—a piece of imitation mediævalism in iron—was fitted on to the inner part of the door, a very pretty ornament. Armorel raised her axe again, and brought the square boss at the top of it down upon the dainty fragile lock, breaking it and tearing it from @@ -15258,7 +15217,7 @@ business of stage management. I am going to transfer that business from the stage to the drawing-room, which shall be, at first, this room. We shall play our little comedy together, you and I.' She sprang to her feet, and began to act as if she was on the -stage—'It will be a duologue. Your <i>rôle</i> will still be that of the +stage—'It will be a duologue. Your <i>rôle</i> will still be that of the Universal Genius; mine will be that of the supposed extinct Lady—the Lady of the Salon—I shall be at home one evening a week—say on Sunday. And it shall be an evening remembered @@ -16347,7 +16306,7 @@ miserable <span class="smcap">Thief</span>!'</p> room: he beat the air with his hands: his face was distorted: his eyes were wild: he abandoned himself to one of those magnificent rages of which we read in History. William the Conqueror—King -Richard—King John—many mediæval kings used to fall +Richard—King John—many mediæval kings used to fall into these rages. They are less common of late. But then such provocation as this is rare in any age.</p> @@ -17428,7 +17387,7 @@ sparkling beer. It was not wasted, however. Peter had it when he brought the pack-ass to the porch laden with the last trunk. Nor did they so much as remove the stopper from the decanter containing a bottle of the famous blackberry wine, the -primest <i>crû</i> of Samson, opened expressly for this dinner. Yet this +primest <i>crû</i> of Samson, opened expressly for this dinner. Yet this was not wasted either, for Justinian, who knew a glass of good wine, took it with three successive suppers. Is it beneath the dignity of history to mention pudding? Consider: pudding is @@ -17516,7 +17475,7 @@ be most pleased to find you here.'</p> <p>'Again, you are very kind.'</p> -<p>'We saw you yesterday afternoon at that poor boy's <i lang="fr" xml:lang="fr">matinée</i>; +<p>'We saw you yesterday afternoon at that poor boy's <i lang="fr" xml:lang="fr">matinée</i>; did we not? The crush was too great for us to exchange a word with you. What do you think of the piece?'</p> @@ -18605,383 +18564,6 @@ double quotation marks for quoted/titled material within conversations. This has been retained.</p> </div> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Armorel of Lyonesse, by Walter Besant - -*** END OF THIS PROJECT GUTENBERG EBOOK ARMOREL OF LYONESSE *** - -***** This file should be named 42125-h.htm or 42125-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/2/1/2/42125/ - -Produced by sp1nd, JoAnn Greenwood, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - -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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