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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..a16baa0 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #60193 (https://www.gutenberg.org/ebooks/60193) diff --git a/old/60193-0.txt b/old/60193-0.txt deleted file mode 100644 index a06b8af..0000000 --- a/old/60193-0.txt +++ /dev/null @@ -1,2702 +0,0 @@ -The Project Gutenberg EBook of Vignettes, by Hubert Crackanthorpe - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world 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. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Vignettes - A Miniature Journal of Whim and Sentiment - -Author: Hubert Crackanthorpe - -Release Date: August 29, 2019 [EBook #60193] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK VIGNETTES *** - - - - -Produced by Richard Tonsing, hekula03, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -book was produced from images made available by the -HathiTrust Digital Library.) - - - - - - - - - - Vignettes - - A Miniature Journal of Whim and Sentiment - - - By Hubert Crackanthorpe - - - John Lane - The Bodley Head - London and New York - 1896 - - - - - _The pursuit of experience is the refuge of the unimaginative._ - -[Sidenote: CONTENTS] - - - - - CONTENTS - - - PAGE - - _At Villeneuve-lès-Avignon_ 1 - - _Ascension day at Arles_ 6 - - _Spring in Béarn_ 9 - - _In the long grass_ 10 - - _Pau_ 11 - - _Castelsarrasin_ 13 - - _In the Basque country_ 15 - - _In the Landes_ 16 - - _Cette_ 18 - - _On Chelsea Embankment_ 19 - - _Pleasant Court_ 20 - - _The five sister pansies_ 23 - - _Our Lady of the Lane_ 24 - - _On the coast of Calvados_ 26 - - _In Normandy_ 27 - - _Paris in October_ 28 - - _La Côte d’Or from the train_ 29 - - _Lausanne_ 29 - - _Old Marseilles at Midday_ 30 - - _Monte Carlo_ 32 - - _At the Certosa di Val d’Ema_ 33 - - _Morning at Castello_ 36 - - _In the Campo Santo at Perugia_ 37 - - _Naples in November_:— - - _Late afternoon in the Strada del Chiaja_ 39 - - _From Posilipo_ 39 - - _In the Strada del Porto_ 40 - - _Moonlight_ 41 - - _At the Theatre Manzoni_ 42 - - _Pompeii_ 45 - - _In the Bay of Salerno_ 46 - - _Seville Dancing girls_ 47 - - _Sunrise_ 49 - - _Off Cape Trafalgar_ 50 - - _Rêverie_ 51 - - _In Richmond Park_ 52 - - _New Year’s Eve_ 53 - - _In St. James’ Park_ 55 - - _In the Strand_ 55 - - _Sunday afternoon_ 56 - - _Rêverie_ 57 - - _Enfantillage_ 62 - - - - - Vignettes - - - - -[Sidenote: AT VILLENEUVE-LÈS AVIGNON - April 23] - - -On the roof of the ruined church we lay, basking amid the hot, powdery -heather; the cinder-coloured roofs of the town flattened out beneath -us—a ragged patch of dead, decayed colour, burnt, as it seemed, out of -the rank, luscious green of the Rhône valley. Overhead, a thick, blue -sky hung heavy, and away and away, into the steamy haze of midday heat, -filtered the Tarascon road, a streak of dazzling white. To the east, the -sun was beating on the sandy slopes; to the west, the old Papal palace, -like a great, grey, sleeping beast, lifted its long, bare back above the -roofs of Avignon. - -The lizards scurried from cranny to cranny across the crumbling wall. -Below, in the cloister, a cat was curled by a black stack of brushwood. -The little _place_ stood empty, and stillness seemed to have fallen over -all things. - -The warmth lulled one to a delicious torpor. I was thinking of the -bustling Regent Street pavement, of the rumble of Piccadilly, of -newsboys yelling special editions in the Strand, drowsily conjuring up -these and other commonplace contrasts. - -Then Jeanne-Marie Latou began to speak. She sat between us, with her -legs hunched under her coarse, colourless skirt, and some stray wisps of -hair looking dingily yellow against the clean white of her _coiffe_. As -she talked, her brown skin puckered oddly about her tiny, shrunken eyes, -and her hands—browned also and squat—clasped themselves around her -knees. It was not often that Jeanne-Marie Latou spoke French; her -vocabulary was quite simple and limited, and every now and then, with an -impatient shake of her head, she would break out into _patois_. - -She was telling us of her nephew in Tunis—“_Un pays où on ne voit que -des sauvages_”—and of the sweetheart he had left behind at Barbentane; -repeating by heart, one after another, his queer, bald, little -letters—how he had been kicked by his horse (he was a _spahi_; “_zouave -à cheval_” she called it), and had been sick ten days in the hospital; -and how, without telling anyone, she had scraped together a hundred sous -to send out to him. Somehow, irresistibly, while she chattered, I seemed -to see that soldier nephew of hers—broad and straight and bronzed, his -fez stuck jauntily on the back of his head, noisily _noçant avec des -camarades_ with those hundred sous, which old Tante Latou had sent out -to him. - -By-and-bye, she related her journey to Valence, in the time when she had -worked as a cherry-packer for Madame Charbonnier in the Rue -Joseph-Vernet, insisting with comical, energetic wrinklings of her -forehead on her contempt for the _jargon de l’Ardèche_.... She had been -to Marseilles, too, last year—that was a great journey—eighteen of them -had gone from Villeneuve, “_femmes et filles et trois garçons, dans un -train ‘ambulant’—quatre francs et douze sous, aller et retour .... -Marseilles, vous savez_,” Jeanne-Marie Latou reiterated, “_c’est quelque -chose ... c’est quelque chose ... c’est quelque chose ... enfin, c’est -la plus jolie ville que j’ai trouvée_.” - -Afterwards, starting to recall bygone times, she described the breaking -up of the _Chartreuse_ in _quatre-vingt douze_, and the selling of the -whole building by auction in the little _place_, there, below us (not -for money—no one in the _pays_ had any money in those days—but for -_assignats_), and, Jeanne-Marie Latou explained, “_Ceux qui avaient peur -n’en prenaient pas, et ceux qui n’avaient pas peur en prenaient_.” And -her father, who had been a stone-worker, over there at Les Angles, had -bid _douze cents francs d’assignats_ for the house where the -_supérieure_ had lived—_douze cents francs d’assignats_ which no one had -ever asked him to pay. There Jeanne-Marie Latou had always -lived—seventy-seven years, it was now, as near as she could -remember—she, and her husband who had been dead these twenty-three -years. She could remember the time when the frescoes on the cloister -walls were bright and beautiful, and no grass grew between the flags. -Yes, she had seen all the other houses pass from family to family; there -were six of them now who had the right to use the old church as a barn, -“_ma foi, elle est bien grande, l’église_,” Jeanne-Marie Latou -concluded, smiling knowingly at us, “_Mais, quand même, ils se chicanent -toujours._”... - -And with that, she rose slowly and bid us good-bye, and wished us good -health, toddling grotesquely away down the steps. - -After she had gone, we stayed a long while up on the hot roof, watching -the dark shadows creep from under the broken bridge across the rippling -Rhône, as it swept past towards the sea. And I wondered more drowsily -than ever concerning old Jeanne-Marie Latou, and her soldier nephew, -with the _spahis_, away over there in Tunis, and that great journey of -hers to Marseilles—eighteen of them from the dead little town below, -“_femmes et filles et trois garçons, dans un train ‘ambulant’—quatre -francs et douze sous, aller et retour_.” - - - - -[Sidenote: ASCENSION DAY AT ARLES] - - -The population pours out from mass, flooding every crooked -street—rubicund peasants in starched Sunday blouses; olive-skinned, -Greek-featured _Arlésiennes_ in quaint, lace head-dresses; strutting -_petits messieurs en chapeau rond_ and tight-fitting _complets_; -shouting shoals of boys; zouaves, indolent and superb, in flowing red -knickerbockers, white spats, and jauntily-poised fez. - -A bleating of lambs, plaintive, incessant and dirge-like, fills the -_Place du Forum_; heaped over the gravel they lie, their legs tied under -their bellies, and their skinny necks helplessly outstretched: and -beyond, the great, green umbrellas of a regiment of wrinkled -beldams—fruit-sellers encamped in rows before their baskets.... A -strange complication of odours—of cheese, of fish and of flowers—floats -in the air: at every alley-corner some auctioneer stands -posted—shouting, perspiring vendors of knives, pocket-books, -glass-cutters, chromo-lithographs, cement, songs, _sabots_. An old -top-hatted Jew nasally vaunts a wine-testing fluid, and tells horrible -and interminable tales of vintages manufactured from decayed dates, from -vinegar and sugar, or from plaster-of-Paris; a travelling pedicure -operates on the box-seat of a gorgeously-painted van, to the -accompaniment of a big drum and clashing cymbals; the inevitable strong -man defiantly challenges the crowd to split a flag-stone across his -bare, hirsute chest; and a blind-folded fortune-telling wench chaunts -with mechanical shamelessness the young men’s amorous indiscretions. - -Outside the town, the boulevard is gay with the glitter of pedlars’ -wares, and flapping, gaudy stuffs, red, green and yellow and blue; -travelling showmen are bustling with final preparations, hammering -together their skeleton booths, or unfolding gaunt rolls of battered -canvas; the steam-orchestra of a _Grand Musée fin de siècle_ bellows -from its rows of brass-mouthed trumpets a deafening, wheezy tune; and -everywhere, beneath the tunnel of pale green plane-trees, a thick, -drifting tide of men and women. - - - - -[Sidenote: SPRING IN BÉARN - May 1] - - -Of a sudden it seems to have come—the poplars fluttering their golden -green; the fruit-trees tricked out in fête-day frocks of frail -snow-white; the hoary oaks uncurling their baby leaves; and the lanes -all littered with golden broom.... - -The blue flax sways like a sensitive sea; the violets peep from amid the -moss; beneath every hedgerow the primroses cluster; and the rivulets -tinkle their shrill, glad songs.... - -Dense levies of orchises empurple the meadows, where the butterflies -hasten their wavering flight; the sunlight breathes through the -pale-leafed woods; and the air is sweet with the scent of the spring, -and loud with the humming of wings.... - - * * * * * - -It lasts but a week—a fleeting mood of dainty gaiety; a quick discarding -of the brown shabbiness of winter for a smiling array of white and gold, -fresh-green, and turquoise-blue.... - -And then, it has flitted, and through the long, parched months -relentlessly blazes the summer sun. - - - - -[Sidenote: IN THE LONG GRASS - May 13] - - -A mysterious, impenetrable jungle of green stems, quivering with the -play of a myriad baby shadows. A close crowd of flowers—naïve-faced, -white-cheeked daisies; buttercups, glistening gold; dandelions like -ragged medallions; stubbly bearded thistles; sleek-stalked orchises, -white, and mauve, and purple; corpulent, heavy-leafed clover, and skinny -ragged robin. And, topping them all, the languidly nodding heads of a -thousand seeded grasses, and the dishevelled crests of the red -sorrel.... - -A ceaseless humming of wings—deep-toned and solemn, cheerily bustling, -high-pitched and idle.... - -Hidden in the green-stemmed jungle, a world of creatures silently -busy—hurrying ants; heavy, gray cockchafers, drowsily lumbering; tiny, -red spiders, fidgeting from blade to blade; grasshoppers, with their -great sensitive eyes, humanly expressive; shiny, black beasts, wriggling -their scuttling bodies; fierce-looking flying things, their vivid red -bodies, now poised motionless, now darting capriciously to and fro. - -One after another they come for a peep at me. A pair of blue-bottles, -chasing one another, dash past; a furry bee chaunts lustily as he -bustles from flower to flower; and dark, evil-looking flies hover, -hanging their long, sneaking legs.... - - - - -[Sidenote: PAU - May 14] - - -I went there again to-day; but I did not see her. It is a year now since -I met her, sitting alone before her basket, in a corner of the deserted -square. Her face was tanned deep russet, and wrinkled to a tragic -listlessness; she had eyebrows white as clean linen, and full-veined, -tremulous hands. When I first spoke to her, I did not know that she was -blind. She pulled some handkerchiefs from her basket, and offered them -to me in a quavering, far-away voice, explaining that she had hemmed -them herself; for she had been brought up as a _couturière_. I asked her -how long she had been blind:— - -“It is forty-eight years since I saw anything, _monsieur_. When I was -young I had a great trouble.... For eighteen months I wept, and when I -went back to work, my eyes were worn out, and I could see no more.... It -is forty-eight years now, _monsieur_, since I saw anything.... -_Heureusement, il n’y en a plus pour longtemps ... ce sera bientôt -fini...._” - -She spoke simply, and with quiet dignity; though I could see that she -was crying a little, as she fingered her handkerchiefs with her -full-veined, tremulous hands. - - - - -[Sidenote: CASTELSARRASIN - May 17] - - -From afar off, high against the sky, we could see the ragged line of its -roofs, like an ancient, tattered crest along the back of a precipitous, -inaccessible-looking hill. - -To reach it we waded the Luys de France, with the water swishing under -our horses’ bellies, and climbed a mule-track, tight-paved with cobbles, -waywardly winding beneath the contorted limbs of leafy, Spanish -chestnuts. The track led us around the outside of the village, close -under the shadow of its houses—discoloured-yellow and musty-white, -fissured and bestained, battered and starved, till everywhere their -bones protruded, bulging, bursting beams. - -Low, sloping roofs, moss-grown, the colour of old gold, over-lapped the -walls, like huge, ill-fitting caps; shading row upon row of wooden -balconies, filled with a decrepid multitude of things, which, it seemed, -could never have been new—broken earthenware pots; rickety rush-bottomed -chairs; strips of old linen; worn-out bass brooms; stacks of dead -branches.... - -Two geese, a yellow dog, and a little black pig had the village street -all to themselves. The clock on the tower of the whitewashed church -pointed half-past ten, though the twilight had not yet come. And our -horses’ hoofs clattered, almost brutally, past the dank-smelling, -mud-floored rooms, and the cracked, worm-eaten shutters, wearily moaning -with the dull fatigue of stiff-jointed old age. - -Toiling up the hill, on the other side, we met a crooked old woman, -barefooted, clad in a single frayed shirt, carrying a truss of sainfoin -on her head. - -“_Adechats_,” she mumbled mechanically, and toiled on barefooted up the -stony path, steadying the truss of sainfoin with both hands.... - - - - -[Sidenote: IN THE BASQUE COUNTRY - May 23] - - -All day an intense impression of lusty sunlight, of quivering -golden-green ... a long, white road that dazzles, between its rustling -dark-green walls; blue brawling rivers; swelling upland meadows, -flower-thronged, luscious with tall, cool grass; the shepherd’s -thin-toned pipe; the ragged flocks, blocking the road, cropping at the -hedge-rows as they hurry on towards the mountains; the slow, straining -teams of jangling mules—wine-carriers coming from Spain; through dank, -cobbled village streets, where the pigs pant their bellies in the -roadway, and the sandal-makers flatten the hemp before their doors; and -then, out again into the lusty sunlight, along the straight, powdery -road that dazzles ahead interminably towards a mysterious, hazy horizon, -where the land melts into the sky.... - -And, at last, the cool evening scents; soft shadows stealing beneath the -still, silent oaks; and, all at once, a sight of the great -snow-mountains, vague, phantasmagoric, like a mirage in the sky; and of -the hills, all indigo, rippling towards a pale sunset of liquid gold. - - * * * * * - - - - -[Sidenote: IN THE LANDES - May 27] - - -Since sunrise I had been travelling—along the straight-stretching roads, -white with summer sand, interminably striped by the shadows of the -poplars; across the great, parched plain, where, all the day’s length, -the heat dances over the waste land, and the cattle bells float their -far-away tinkling; through the desolate villages, empty but for the -beldames, hunched in the doorways, pulling the flax with horny, -tremulous fingers; and on towards the desolate silence of the flowerless -pine-forests.... - -And there the night fell. The sun went down unseen; a dim flickering -ruddled the host of tree trunks; and the darkness started to drift -through the forest. The road grew narrow as a footpath, and the mare -slackening her pace, uneasily strained her white neck ahead. - -Out of the darkness a figure sprang beside me. A shout rang out—words of -an uncouth _patois_ that I did not understand. And the mare, terrified, -galloped forward, snorting, and swerving from side to side.... - -And a strange, superstitious fear crept over me—a dreamy dread of the -future; a helpless presentiment of evil days to come; a sense, too, of -the ruthless nullity of life, of the futile deception of effort, of -bitter revolt against the extinction of death, a yearning after faith in -a vague survival beyond.... - -And the words of the old proverb returned to me mockingly:— - - “The eye is not satisfied with seeing, - nor the ear with hearing.” - - - - -[Sidenote: CETTE - June 5, Midday] - - -A pure stretch of sky; a flat sweep of sea; cobalt-blue, rich and -opaque, pervading all things. In the harbour, battered, blue-painted -barges, their decks loaded with oranges; bargemen in blue blouses, -asleep across the glaring pavement; and along the quay, indefinitely, as -far as the eye can reach, row upon row of barrels, repeating from their -up-turned ends the same stifling note of colour.... The sea licks the -jetty wall, lazily, rhythmically: everywhere a sensation of listless -oppression, of lifeless torpor.... - - - - -[Sidenote: ON CHELSEA EMBANKMENT - June 26] - - -I have sat there, and seen the winter days finish their short-spanned -lives, and all the globes of light, crimson, emerald, and pallid yellow, -start, one by one, out of the russet fog that creeps up the river. - -But I like the place best on these hot summer nights, when the sky hangs -thick with stifled colour, and the stars shine small and shyly, for then -the pulse of the city is hushed, and the scales of the water flicker -golden and oily under the watching regiment of lamps. The bridge clasps -its gaunt arms tight from bank to bank, and the shuffle of a retreating -figure sounds loud and alone in the quiet.... - -There, if you wait long enough, you may hear the long wail of the siren, -that seems to tell of the anguish of London, till a train hurries to -throttle its dying note, roaring and rushing, thundering and blazing -through the night, tossing its white crest of smoke, charging across the -bridge, into the dark country beyond.... - - - - -[Sidenote: PLEASANT COURT - June 28] - - -It is known only to the inhabitants of the quarter. To find it, you must -penetrate a winding passage, wedged between high walls of dismal brick. -Turn to the right by the blue-lettered advertisement of Kop’s Ale, and -again to the left through the two posts, and you come to Pleasant-court. -And when you are there, you can go no farther; for at the far end there -is no way out. - -There are thirteen houses in Pleasant-court—seven on the one side, and -six on the other. They are alike, every one; low-walled as country -cottages; built of blackish brick, with a six-foot plot before each, and -slate roofs that glimmer wanly on the wet, winter mornings. - -But winter is not the season to see Pleasant-court at its best. The -drain-sluice is always getting choked, so that pools of mud and brown -water loiter near the rickety fence that flanks each six-foot enclosure; -and, at Christmas-time, “most everyone is a bit out,” and young Hyams in -the Walworth-road stacks half his back shop with furniture from -Pleasant-court; and all day long the children of the lodger at No. 5 -never stop squalling with chapped faces, and the “Lowser’s” wife makes -much commotion at nights, threatening to “settle” her husband, and -sending her four children to clatter about the pavement. - -In the summer, however, everyone smartens up, and by the time that -sultry June days have come, Pleasant-court attempts a rural air. On the -left-hand side a jaded creeper pushes its grimy greenery under the -windows; some of the grass plots grow quite bushy with tough, wizened -stalks; and the geranium pots at No. 7 strike flaming specks of -vermilion. - -Last March the “Lowser” and his wife and his four children moved over to -Southwark; the lodger at No. 5 is in work again; and now the quiet of -seclusion is restored to Pleasant-court. - -The children sprawl the afternoon through on the hot alley floor; Mrs. -Hodgkiss hangs her washing to bulge and flap across the court, like a -line of white banners; and on the airless evenings, the women, limp, -with their straggling hair, and loose, bedraggled skirts, lean their -bare, fleshy elbows over the fence, lingering to gossip before they go -to dinner. - -And on Saturday nights, the inhabitants of Pleasant-court troop out to -join the rumble and the rattle of the Walworth-road, and to swell the -life that shuffles down its pavement, past the flaring naphtha lights, -the stall-keepers bawling in the gutter, and every shop ablaze with -gross jets of gas. - - - - -[Sidenote: THE FIVE SISTER PANSIES - August 19] - - -These are their names—Carlotta, Lubella, Belinda, Aminta, Clarissa. By -the old bowling-green they stand, a little pompously perhaps, with a -slight superfluity of dignity, conscious of their own full, comely -contours—a courtly group of rotund dames. Heavy Carlotta, the eldest, -lover of blatant luxury, overblown, middle-aged, in her gown of rich -magenta, all embroidered with tawdry gilt; Lubella, wearing portly -velvet of dark purple, sensual, indolent, insolent as an empress of old, -gleaming her thin, yellow eye; insignificant Belinda, bedecked in silly, -sentimental mauve, all for dallying with the facile gossip of -galanterie, gushing, giggling, gullible; unsophisticated Aminta, with -tresses of flaming gold, amiable and obvious as a common stage heroine; -and Clarissa, the youngest, slyly smirking the while, above her frock of -milk-white innocence. - - - - -[Sidenote: OUR LADY OF THE LANE - Sept. 17] - - -Whenever the London sun touches the small, dusky shops with a jumble of -begrimed colour—the old gold and scarlet of hanging meat; the metallic -green of mature cabbages; the wavering russet of piled potatoes; the -sharp white of fly-bills, pasted all awry—then the moment to see her is -come. You will find her, bareheaded and touzled; her dingy, peaked shawl -hanging down her back, and in front the bellying expanse of her soiled -apron; blocking the pavement; established by her own corner of the Lane, -all littered with the cries of children, and the fitful throbbing of the -asphalte beneath the hollow hammering of hoofs. - -She carries always a baby by her breast; her bare forearms are as bulky -as any man’s; in her eyes is a froward scowl; and, when she laughs, it -is with a harsh, strident gaiety. But she never fails to wear her -squalid portliness with a robust and defiant dignity, that makes her -figure definitely symbolic of Cockney maternity. - - - - -[Sidenote: ON THE COAST OF CALVADOS - Sept. 26] - - -The leaden sea plashed her indolent rhythm: all along the lonely shore -the orchards stood motionless, sombre, metallic-looking in the lifeless, -thunder-charged air; and amid a rugged flare of smoky flame, the sun -went down in the West. - -A baby breeze rustled past, fleeing before the distant storm: then, all -grew still again, while, across the horizon, a quiet rift broke, -revealing a long, lurid line of fantastic coast—mysterious, desolate -valleys, and ragged towering cliffs. - -The leaden sea plashed her indolent rhythm; and the bleak bulk of a -steamer, pitching in the offing, moved like a beast in distress. - -And once again, fresh and cool, carrying the scent of the storm, the -breeze came fleeing, trailing an inky stain over the sea; and across the -West there defiled a vague squadron of gigantic pillars of rain. - -The parched trees swayed their boughs, uneasily whispering; and, of a -sudden, wrapping all things in a dense shroud of dark-grey mist, -clattered the ponderous rain. - -And overhead, on, through the growing night, the white, jagged flashes -of lightning, and the frenzied flight of the screaming wind, and the -dull booming of thunder told of the great, distant battle of the clouds. - - - - -[Sidenote: IN NORMANDY - Sept. 30] - - -A mauve sky, all subtle; a discreet rusticity, daintily modern, -femininely delicate; a whole finikin arrangement of trim trees, of -rectangular orchards, of tiny, spruce houses, tall-roofed and -pink-faced, with white shutters demurely closed. Here and there a prim -farmyard; a squat church-spire; and bloused peasants jogging behind -rotund white horses, along a straight and gleaming road. In all the -landscape no trace of the slovenly profusion of the picturesque; but -rather a distinguished reticence of detail, fresh, coquettish, almost -dapper. - - - - -[Sidenote: PARIS IN OCTOBER - October 4] - - -Paris in October—all white and a-glitter under a cold, sparkling sky, -and the trees of the boulevards trembling their frail, russet leaves; -garish, petulant Paris; complacently content with her sauntering crowds, -her monotonous arrangements in pink and white and blue; ever busied with -her own publicity, her tiresome, obvious vice, and her parochial -modernity coquetting with cosmopolitanism.... - - - - -[Sidenote: LA CÔTE D’OR FROM THE TRAIN - October 6] - - -Strips of ruddy earth: poplars flecked with gold, and vineyards with -autumn red; the dark, sleek Saône; and beyond, the pale green plain, -spacious and smooth, stretching away and away towards the blue haze that -wraps the Côte d’Or, hesitating and soft as the lines of a woman’s body. - -The sun sets, trailing a wash of pale, watery gold; torn, inky clouds -spatter the sky; sombre shadows fill the acacia-groves; and on, on, -pounds the train, untiring, rhythmically throbbing. - - - - -[Sidenote: LAUSANNE - October 7] - - - “_Tout paysage est un état d’âme._” - -Often must Amiel, who lived his life on the shores of this great lake, -have brooded over her moods. Deep-blue, she lies plunged in silent -meditation; wrapped in the opal-tinted mists of evening, she dreams the -vague, glad dreams of fancy; now she smiles, she laughs even, as little -ripples, all gilded by the sun-rays, trip across her surface; she has -her grey days of gloom, and her dark days of despair: she has also her -_jours de fête_, and her _jours de grande toilette_, under a sky -heavy-loaded with blue: often, in the moonlight, she lies white, -tranquil, statuesque, like a beautiful, sleeping woman: at times her -humour is bewilderingly capricious; the fleeting, furious rages of a -spoilt child sweep across her; or, ink-coloured, she sulks during long -hours, sullenly wrathful. - - - - -[Sidenote: OLD MARSEILLES AT MIDDAY - October 10] - - -Up every staircase-street—dark crevasses, pinched between tall, peeling -cliffs; along the quay, flaunting, tattered, brawling colours, sweating -and swarming with noisy life—negroes, Chinamen, Arabs, Lascars, -Italians, Greeks—the angry hum of a thousand tongues and the clatter of -straining mules.... At midday, when all the smooth stone pavement lies -bathed in lusty sunshine, you may feel the pulse of old Marseilles -quicken to fever-heat its turbulent throbbing.... - -Across the sea, polished as a pool of molten metal, the Southern sun -strews his golden highway; the frail forest of masts stiffens, congealed -like a fine etched pattern; side by side lie the herds of steamers, -silent, drowsy, vermilion-bellied beasts; and over there, to the left, -high above the city, the slim silhouette of Notre-Dame de la Garde shows -a glimmer of dusky gilt.... - -Oh! for the crude crowd of blatant hues and the flood of fierce vitality -that belong to old Marseilles at midday! - - - - -[Sidenote: MONTE CARLO - October 15] - - -High, beneath the lofty dome of sullen sky, like a great white globe of -electric light, the full moon hangs; beyond the bay, the twinkling -lights of Monaco are dropping long golden tears into the sea: no breath -of breeze to sway the black drooping palms; only the full, solemn phrase -of Gounod’s “Ave Maria,” slowly recurring to linger in the still, grave -air of the night.... - -The moonbeams spangle with silver the twin minarets of the temple of -Chance; and stately officials swing back its portals to meet the silent -tide of worshippers that ceaselessly ebbs and flows, blackening the -broad flight of marble steps. - -Within, through the great marble vestibule, where the shuffle of feet -rings hollow, they hurry to huddle around the bright green shrines of -the goddess, to await, with tense, yellow faces, the unflagging tide of -her relentless caprices. - - - - -[Sidenote: AT THE CERTOSA DI VAL D’EMA - October 20] - - -I sat on the terrace of the old palace, waiting for the coming of the -rain-clouds. The sunshine was gone, and with it the city’s witty -sparkle; the sirocco’s breath puffed warm and moist; and Florence, all -ruddled and sullen, lay chaunting her ponderous notes of bronze. - -Below, knee-deep in the yellow, straggling stream, a fisherman swayed -his net, slowly straining the supple framework; and while I watched him, -of a sudden, a fitful longing to see the place again laid hold of me—to -see it, just as it had been last year, on that mellow September -afternoon, all garnished with soft light, all fragrant with coquettish -simplicity and pleasant, prosperous peace. And soon, as the sky -darkened, and the rain-clouds—a sombre, swelling herd—gathered above the -cypresses of San Miniato, I seemed to hear the organ’s stately roll, and -to perceive, through the obscurity of the half-darkened chapel, a -crowding circle of white-robed figures. The chaunt of the church bells -beat the air: all else seemed stilled—love and the quickening joy of -life—and with a sort of childish inconsequence, bred perhaps of the -curious, literary habit, I fell to envying them a little—those tall, -white-robed fathers—their miniature rows of monkish gardens, and their -solitary pacings beneath the pale-lemon cloisters.... - -So I started to go there, rattling through the dust in the face of the -coming storm. By the roadside, the grey olives matched the sky; all -around, the vines hung delicately dying, drooping in tired curves their -fragile garlands of pallid-gold leaves; and here and there peeped specks -of scarlet, like lingering traces of some bygone _fête_. - -But, before we had climbed the hill, the rain came—a deliberate prelude -of monstrous drops; and a veil, as of grey gauze, blurred the -white-faced villas peopling the hill-sides, and changed the cypresses to -dim, spiky sentinels.... - -It was Brother Agostino who came to the gate, greeting me, so I fancied, -with a quick smile of recognition; then, before the groups of noisy -village youths and raffish, Florentine cabmen, who encumbered the -corridor, his features dropped back to the patient vacancy of habitual -fatigue. - -Over the tiled floor of the cloister-court rattled the dance of the -rain; the great well, over-grown with rank grass, wore a forlorn, -decrepit air; and a musty scent, as of approaching decay, floated over -the vast garden. - -In the chapel, a band of blatant Americans joined us, listening -complacently to Brother Agostino’s perfunctory explanations concerning -the frescoes, the stained-glass windows, the exquisite tomb of the -monastery’s founder. - -And the place seemed all changed: its fine distinction was gone: the old -Certosa exposed to the hurried gaze of every passing tourist; and -stern-faced Brother Agostino, footsore and weary, degraded to the _rôle_ -of a common, obsequious guide. - - * * * * * - - - - -[Sidenote: MORNING AT CASTELLO - October 30] - - -The morning’s breath tastes cool and clean. The distant hills seem yet -asleep, tranquil and dark—a long, low, wavering wall. Above the plain -floats a lingering, pearly film, and the air grows busy with a vague -rumour of awakening life—the rumble of wheels, the cracking of whips, -the plaintive whistling of far-off trains.... - -On its way to Florence the early train swings by; hordes of -brown-skinned, barefooted children sprawl noisily along all the street; -the men lean idly watching the ceaseless tale of lean _barrocci_, -lumbering, jolting over the crooked flags; and before every open doorway -the women group their chairs, to sit at their straw-plaiting the long -day through.... - -Beyond, across the dusty-green of countless olives, you can see the -glittering roofs of Florence, the _Duomo’s_ burly dome, and the pale -outline of Giotto’s tower; but it is rather the sense of old-world -slowness, the continual accumulation of friendly, trivial incident, that -makes the intimate charm of this suburban street.... - - - - -[Sidenote: IN THE CAMPO SANTO AT PERUGIA - November 1] - - -The young moon hangs amid a steely sky; the land, empty and darkening, -rolls like a billowing sea towards the Western orange glow; and high -behind us the tall hill lifts Perugia’s ragged silhouette. - -Down the steep road they came—grave _bourgeois_; bands of brown-faced -youths, chewing thin cigars; aged peasant-women, with faded, wrinkled -eyes; chattering country-girls, gaudy handkerchiefs around their hair; -toddling children; uncouth men from the mountains, sullenly wrapped in -fur-trimmed cloaks, while, posted in rows on either side, the crippled -beggars offer their dusty hats, and whine for charity in the Virgin’s -name. - -Before the red gate of the Campo Santo the crowd surges; within, every -alley is black with the press of people. It is the day of the dead. To -visit the dead all the town is come. - -... The pale specks of a myriad, tiny lamps; the glow of garlands -against the crowding slabs of snow-white marble, that mark the -children’s graves; the glitter of every small, spruce mortuary chapel; -and the glad scent of freshly-scattered flowers.... - -Death loses its squalor; and becomes something demure, sociable, almost -gay.... - - - - -[Sidenote: NAPLES IN NOVEMBER - _Late afternoon in the Strada del Chiaja_ - November 9] - - -Up the squalid, ill-paved street, lumber the great landaus—an -interminable, toiling stream, carrying home from the _corso_ the morose, -sallow-faced ladies of the Neapolitan nobility, and crushing on either -side the hedge of gaping hobbledehoys that line the niggardly pavement. - - -[Sidenote: _From Posilipo_ - Nov. 12] - -Heaped beneath us all Naples, white and motionless in the silent blaze -of the midday sun; circling the bay, still and smooth and blue as the -sky above, a misty line of white villages; dark, velvety shadows draping -the hills; on the horizon, rising abruptly, Capri’s notched -silhouette—_tout semble suer la beauté—la bonne et franche beauté -criarde des pays chauds européens_. - - * * * * * - - -[Sidenote: _In the Strada del Porto_ - Nov. 12] - -A strip of treacherous pavement slimy with garbage; the wan flicker of -foul lanterns, vaguely revealing the black shapes of sail-like awnings -above a network of mysterious masts; and the sodden, continuous uproar -of a reeking crowd—hawkers of fruit, of fish, of assorted -cigar-ends—fiercely clamouring together in the darkness.... - -By-and-bye, through the obscurity, peers the glossy vermilion of piled -capsicums, the scarlet sparkle of bleeding pomegranates, and the hard -flashing of scattered, silvery sardines. Here and there, behind a -chestnut-brazier that shoots long, licking tongues of ruddy flame, the -vacant, battered countenance of some aged crone; or amid a frenzied -cracking of whips the clattering passage of a team of trembling mules, -straining at a lean-shafted, high-wheeled cart, passing across the -street, to disappear, engulfed in cavernous blackness, beneath a noisome -archway. Bands of sailors jostle their way down the alley, rudely -rebuffing the obscene advances of slatternly women; the night grows -airless and stifling, under the dingy stars that speckle the black strip -of sky overhead; and the street comes to possess a satanic fascination, -almost epic in its intensity.... - - -[Sidenote: _Moonlight_ - Nov. 29] - -The long line of lamps casts countless, trembling pillars of dusky gold -into the sea: the night is full of stifled light—a pale, quivering -suffusion of mysterious blue. The Castello d’Oro floats, black as ink, -like a shapeless hulk; across the empty sky a solitary, ghostly cloud -lies sleeping; somewhere, beyond the bay, the moonlight is dancing; and -the rhythm of the sleek, rolling waves drowsily, lazily, rises and -falls. - -A boy and a girl lean together, watching the waves: some mandolines -start a faint twanging; the distant rattle of a cab—then all is quiet; -and the glow above Vesuvius, sullenly pulsing, alone breaks in upon the -delicate serenity of the night.... - - -[Sidenote: _At the Theatre Manzoni_ - Nov. 26] - -I have been to many first-nights there, for I have found a certain -childish charm in the small, shabby, blue-and-white theatre, the tiers -of minute boxes, close-packed with faces, the noisy Neapolitan pit, and -the inevitable row of callow critics, sucking their pencil-stumps, each -with his hat tight-jammed behind his head. - -But especially there lingers in my mind the memory of a certain brief, -mediæval drama, where a little flaxen-haired lady, wearing a low-cut -dress of arsenic-green satin, passionately implored mercy of a -curly-pated knight in a shirt of maroon-coloured velvet, for a great -wrong she had done him. She wept piteously, poor little creature, -tearing tremulously at her fluffy locks, and on her knees appealing to -us all to help her. But the little knight kept his wooden gaze -obdurately averted from her, till, exhausted, she sank dying on to a -gilt-legged couch. - -The actors were only marionettes. The little lady was somewhat obviously -painted, and the little knight stood a trifle stiffly, as if suffering -slightly from stage-fright. But the pit sat the scene out in breathless -silence, and the row of callow critics sucked their pencil-stumps with -renewed vigour, and jammed their hats tighter behind their heads. For in -some curious, inexplicable way the thing was quite moving—he was so -brutal, the little curly-pated knight in his shirt of maroon-coloured -velvet; and she, poor, sobbing, little flaxen-haired lady, pleaded so -desperately.... - -Once before, in my childhood, through a half-closed door, I saw a girl -plead with that same tense fragility. She, too, had flaxen hair, and -wore a low-necked dress of green satin; and he, the man, stood stiffly, -turning his gaze away from her, obdurately. And each scene, as I now -compose them, seems to contain a kindred underlying element of grotesque -unreality. - - * * * * * - - - - -[Sidenote: POMPEII - Nov. 28] - - -It was an old mill. There were white columns of peeling plaster flanking -the granary, and stacks of frowsy brushwood blocking the door. Part of -it had fallen away; tall, rank grass grew between the rottening rafters -of the roof; and remnants of battered frescoes, that had once adorned -the walls of the upper rooms, were now spread bare to sun and wind and -rain. And the meal-troughs were full of blossoming wild-flowers. Beside -the mill stood a small, square Moorish house, roofed with lava, scowling -with dirt; and beside the house, guarding a public well, was a gaunt -crane of mouldering wood. Across the sleekly rippling mill-stream a -ragged peasant family were ranged the length of a strip of powdery -soil—the father, the mother, two sons, four daughters, and a toddling -child—and beyond them stretched the great dead-grey expanse of roofless -walls—the sun-dried corpse of the ruined Roman town. In the twilight the -sea lay towards Capri the colour of yellow mud; and Vesuvius, turning a -vague, velvety black, was trickling his smoky breath towards the bay. - -There was a great immobility in the air—an immobility that seemed born -of long ages: and, somehow, more than the ruined town itself—defaced by -German tourists and uniformed guides—this corner of the country supplied -a bitter sense of shortness of life, the impassive sloth of time.... - - - - -[Sidenote: IN THE BAY OF SALERNO - Nov. 30] - - -To gaze across the black sweep of sea, out into the mystery of the -night; to hear the restless waves slowly sighing through the darkness, -as they beat the rocks a thousand feet beneath; to love a little so, -with quiet pressure of hands, and listlessly to ponder on strange -meanings of life and love and death. - -And so, amid a still serenity of dreamy sadness, to forget the mad -turmoil of passion, to grow indifferent to all desire, and to wait, -while the heart fills full of grave gratitude towards an unknown God. - -And then, once more, to understand how life is but a little thing, and -love but a passionate illusion, and to envy the sea her sighing in the -days when the end shall have come. - - - - -[Sidenote: SEVILLE DANCING GIRLS - December 10] - - -The entertainment draws to its close, for it is past four in the -morning. In the hall, several of the oil-lamps have already sputtered -out; the rest are burning with dull, blear-eyed weariness. A score of -unshaven Spaniards, close muffled in _capas_ and lowering _sombreros_, -sprawl in limp attitudes over the empty benches, and the circle of gaudy -women that fill the stage sit listless, pasty-faced, somnolent. - -And then, for the last time, the frenzy passes. The guitars start their -sudden, bitter twanging, and the women their wild, rhythmical beating of -hands. - -Amid volleys of harsh, frenzied plaudits la Manolita dances, swaying her -soft, girlish frame with a tense, exasperated restraint; supple as a -serpent; coyly, subtly lascivious; languidly curling and uncurling her -bare white arms. - -Out in the cold night air, as I hasten home through the narrow, sleeping -streets, her soft, girlish frame still sways before my eyes, to the -bitter twanging of guitars. - - - - -[Sidenote: SUNRISE] - - -To ride alone beneath the stars, through the long indefinite hours of -the night; to climb the slumbering mountain-hulks; to hear the dull roar -of the river, toiling unwearied through the darkness below; to break, -with a sudden clattering of hoofs, the gloomy stillness of distant -village-streets, and on through the twilight that precedes the dawn, to -journey, without flagging, high up against the sky, across a desolate, -limitless plain. - -To scout the future; to unlearn the past; and to brood vaguely, as the -night broods.... - -To elude desire; to disdain the thrill of hate; to forget the long -aching of love, and to commune, in tender serenity, with the grave-eyed -Spirit of Rest. - -And then, while the night slinks away across the hills, to push on -towards the sunrise; to watch the marshalling of ruddy heralds across -the East, and at last to meet the Great God’s dazzling glory, bursting -in splendour across the empty land. - - - - -[Sidenote: OFF CAPE TRAFALGAR - December 18] - - -We paced the bridge together, chatting till his watch should be done. -The dim, uneasy outline of the steamer’s bows loomed before us; now and -again we could feel her pulse quicken, her sinews tighten, as, like a -living thing, she flinched from each lashing of the waves. - -He was telling me tales of the yellow fever at Rio de Janeiro, of the -crowd of vessels lying in the harbour without a soul on board, of six -weeks he had spent in the hospital there, where twelve hundred -fever-stricken creatures lay packed on the floor of a single ward, and -the doctors dared only shout to the patients from behind a railed -gangway. - -And, while he still talked, up from the East crept the first flicker of -the dawn, revealing flocks of ruddy-sailed smacks tossing off the -Spanish shore; then, slowly, the throng of black billows turned to -reddish-green, and across the sky, from behind the African coast, poured -a deep, blood-red stain. The mirage rose, lifting into space the low -line of black hills, and the growing glow set a carpet of cloud ablaze, -till it hung, stretched across the sky, like a vast awning of beaten, -burnished copper. - - - - -[Sidenote: RÊVERIE - December 25] - - -I dreamed of an age grown strangely picturesque—of the rich enfeebled by -monotonous ease; of the shivering poor clamouring nightly for justice; -of a helpless democracy, vast revolt of the ill-informed; of priests -striving to be rational; of sentimental moralists protecting iniquity; -of middle-class princes; of sybaritic saints; of complacent and pompous -politicians; of doctors hurrying the degeneration of the race; of -artists discarding possibilities for limitations; of pressmen befooling -a pretentious public; of critics refining upon the ’busman’s methods; of -inhabitants of Camberwell chattering of culture. - -And I dreamed of this great, dreamy London of ours; of her myriad -fleeting moods; of the charm of her portentous provinciality; and I -awoke all a-glad and hungering for life.... - - - - -[Sidenote: IN RICHMOND PARK] - - -In the wan, lingering light of the winter afternoon, the park stood all -deserted; sluggishly drowsing, so it seemed, with its spacious distances -muffled in greyness; colourless, fabulous, blurred. One by one, through -the damp, misty air, loomed the tall, stark, lifeless, elms. Overhead -there lowered a turbid sky, heavy-charged with an unclean yellow. And, -amid the ruddy patches of dank and rottening bracken, the little mare -picked her way noiselessly. The rumour of life seemed hushed; there was -only the vague, listless rhythm of the creaking saddle.... - -The daylight faded; a shroud of ghostly mist enveloped the earth, and up -from the vaporous distance crept slowly the evening darkness.... - - - - -[Sidenote: NEW YEAR’S EVE - December 31] - - -It was New Year’s eve. The old, old scene. A London night; a heavy-brown -atmosphere splashed with liquid, golden lights; the bustling -market-place of sin; a silent crowd of black figures drifting over a -wet, flickering pavement. - -The slow, grave notes from a church tower took command of the night. The -last one faded: the old year had slipped by. And then a woman laughed—a -strident, level laugh; and there swept through all the crowd a mad, -feverish tremor. The women ran one to the other, kissing, wildly -welcoming the New Year in; and the men, shouting thickly, snatched at -them as they ran. And the cabmen touted eagerly for fares. - -Across the road, by a corner, a street missionary stood on a chair—an -undersized, poorly clad man, with a wizened, bearded face. - -... “Repent ... repent ... and save your souls to-night from the eternal -torments of hell-fire.” - -The women jostled him, pelted him with foul gibes; and one—a young -girl—broke into a peal of hysterical laughter. - -And I mused wonderingly on the ugliness of sin. - - - - -[Sidenote: IN ST. JAMES’S PARK - January 15] - - -A sullen glow throbs overhead: golden will-o’-wisps are threading their -shadowy groupings of gaunt-limbed trees; and the dull, distant rumour of -feverish London waits on the still, night air. The lights of Hyde Park -corner blaze like some monster, gilded constellation, shaming the dingy -stars; and across the East there flares a sky-sign—a gaudy, crimson -arabesque. - -And all the air hangs draped in the mysterious, sumptuous splendour of a -murky London night.... - - - - -[Sidenote: IN THE STRAND - January 27] - - -The city disgorges. - -All along the Strand, down the great, ebbing tide, the omnibuses, a -congested press of gaudy craft, drift westwards, jostling and jamming -their tall, loaded decks, with a clanking of chains, a rumble of -lumbering wheels, a thudding of quick-loosed brakes, a humming of -hammering hoofs.... - -The empty hansoms slink silently past; the street hawkers—a long row of -dingy figures—line the pavement edge; troops of frenzied newsboys dart -yelling through the traffic; and here and there a sullen-faced woman -struggles to stem the tide of men. - -Somewhere, behind Pall Mall, unheeded the sun has set: the sky is -powdered with crimson dust; one by one the shops gleam out, blazing -their windows of burnished glass; the twilight throbs with a ceaseless -shuffle of hurrying feet; and over all things hovers the spirit of -London’s grim unrest. - - - - -[Sidenote: SUNDAY AFTERNOON - February 20] - - -It was a little street, shabbily symmetrical—a double row of -insignificant, dingy-brick houses. Muffled in the dusk of the fading -winter afternoon, it seemed sunk in squalid, listless slumber. In the -distance a church-bell was tolling its joyless mechanical Sunday tale. - -A man stood in the roadway, droning the words of a hymn-tune. He was old -and decayed and sluttish: he wore an ancient, baggy frock-coat, and, -through the cracks in his boots, you could see the red flesh of his -feet. His gait was starved and timid: the touch of the air was very -bitter. And when he had finished his singing, he remained gazing up at -the rows of lifeless windows, with a look of dull expectancy in his -bloodshot, watery eyes. - - - - -[Sidenote: RÊVERIE - April 15] - - -The English Midlands, sluggishly effluent, a massy profusion of -well-upholstered undulations; Normandy, coquettish, almost dapper, in -its discreet rusticity, its finikin spruceness, its distinguished -reticence of detail; the plains of Lombardy in midsummer, all glutted -with luscious vegetation; Switzerland, tricked out in cheap -sentimentality, in a catchpenny crudity of tone; Andalucia, savagely -harsh, with its bitter, exasperated colouring.... - -In every country there links a personality, and the contemplation of the -memories of the lands where one has lived, of the books one has -cherished, of the women one has loved, brings with it a strange sense of -the incomprehensible promptings of caprice. - -With the fluctuations of mood, Musset seems puerile or passionate; -Amiel, lachrymose or exquisitely perceptive; Baudelaire, _macabre_ or -impassively statuesque; Pater, tortuous or infinitely dexterous; -Meredith, irksome or gorgeously prismatic. - -There are women whom we worshipped years ago, who would certainly fail -to move us to-day; books that enthralled us in our childhood, which we -hesitate to open again; places we had read of with delight, and for that -reason shrink from surveying. - - * * * * * - -And so to-night, beneath the lime-tree, by the dog-rose hedge, whilst -the grasshoppers scrape their ceaseless chorus, and the flies roam like -specks of gold, and the fawn-coloured cattle stalk home from the -pastures, I wonder dreamily how I have come to love so steadfastly the -whole wayward grace of this country-side—the melancholy of its wide -plains, burnt to dun colour by the Southern sun; the desolate silence of -those dark, endless pine forests that lie beyond; the hesitating -contours of wooded slopes; the distant Pyrenees, a long, ragged, -snow-capped wall; the dazzling-white roads, stretching between their -tall, slim poplars, straight towards the horizon; the tumble-down, -white-faced villages, huddled on the hilltops; their battered, sloping -roofs, tilted all awry, like loose-fitting, peaked caps of faded-red -tiles; the farmyards, strewn with dingy ox-bedding, and littered with a -decrepit multitude of objects, which, it seems, can never have been -new—broken earthenware pots, rickety, rush-bottomed chairs, stacks of -dead branches, still rustling their brown, winter leaves; the slow-paced -oxen ploughing the land; the peasants, men, women, and children, swaying -in line as they sow the maize, with the poultry pecking behind; the -jangling bells of the dilapidated, yellow-wheeled courier; the -market-days, the sea of blue _bérets_, the press of blue blouses, the -incoherent waving of ox-goads, the bristling of curved horns, the -shifting mass of sleek, fawn-coloured backs; the narrow, ramshackle -streets of the town; the line of plane-trees on the _place d’armes_, -beneath which groups of grave _bourgeois_ are for ever pacing; and the -Gave, spurting over the rocks, under the old Norman bridge.... - - * * * * * - -The sun slips behind a bank of inky cloud, slowly trailing its -pale-green stain, and the old, penetrating charm of this tiny corner of -the earth returns, and the old longing to bind myself to it, to have my -place in its life, always, through the years to come.... - - * * * * * - -The oxen have gone their way along the road; the lengthy twilight -shadows steal across the garden; from the church-spire up on the hill -the Angelus rings out; quite near at hand a tree-frog starts piping his -shrill, clear note, and the cockchafers their angry whirling; and then, -of a sudden, the violet night has fallen, wrapping all earth and sky in -her mysterious, impenetrable blackness.... - - * * * * * - - - - -[Sidenote: ENFANTILLAGE - April 23] - - -Have you never longed to wander there, in that wonderful cloudland -beyond the sea, where, like droves of monstrous cattle, close-huddled -and drowsy, they lie the day through—the comely, milk-white summer -clouds, slow and sleek and swelling; the quick-scudding darkling clouds, -tattered with travelling across the sky; the mighty thunder-clouds, -violet and lowering; the flocks of fluffy-white baby clouds; and all the -sun’s great gaudy guard, from the daintily gilded sunset spars to the -blood-red bands that frequent the South? - -Sometimes, at even-fall, when the sea lies calm in her opal tints, you -may discern the distant lines of their strange, fantastic home, vague, -phantasmagoric, like a mirage beyond the horizon. - -Perhaps, after death, we may linger there, and watch them silently sail -away towards the lands we have loved long ago!... - - - - - FINIS - - - - -[Illustration: _Printed by R. Folkard & Son, 22, Devonshire St., Queen -Sq., London._] - - - - -[Illustration: JOHN LANE THE BODLEY HEAD VIGO ST W. _Telegrams_ -“BODLEIAN LONDON” CATALOGUE _of_ PUBLICATIONS _in_ BELLES LETTRES _all -at net prices_] - - - _1896._ - - - - - List of Books - - IN - - _BELLES LETTRES_ - - (_Including some Transfers_) - - Published by John Lane - - The Bodley Head - - Vigo Street, London, W. - - ❦ - - -_ADAMS (FRANCIS)._ - - ESSAYS IN MODERNITY. Cr. 8vo. 5_s._ _net_. - - [_Shortly._ - - A CHILD OF THE AGE. (_See_ KEYNOTES SERIES.) - - -_ALLEN (GRANT)._ - - THE LOWER SLOPES: A Volume of Verse. With title-page and cover design - by J. ILLINGWORTH KAY. Cr. 8vo. 5_s._ _net_. - - THE WOMAN WHO DID. (_See_ KEYNOTES SERIES.) - - THE BRITISH BARBARIANS. (_See_ KEYNOTES SERIES.) - - -_ARCADY LIBRARY (THE)._ - - A SERIES OF OPEN-AIR BOOKS. Edited by J. S. FLETCHER. With cover - designs by PATTEN WILSON. Each volume cr. 8vo. 5_s._ _net_. - - Vol. 1. ROUND ABOUT A BRIGHTON COACH OFFICE. 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April 1895, 317 pp., 14 Illustrations. - Volume VI. July 1895, 335 pp., 16 Illustrations. - Volume VII. October 1895, 320 pp., 20 Illustrations. - Volume VIII. January 1896, 406 pp., 26 Illustrations. - Volume IX. April 1896, 256 pp., 17 Illustrations. - ------------------------------------------------------------------------- - - - - - TRANSCRIBER’S NOTES - - - 1. Silently corrected typographical errors and variations in spelling. - 2. Retained anachronistic, non-standard, and uncertain spellings as - printed. - 3. 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} - .c016 { margin-left: 5.56%; text-indent: -2.78%; margin-top: 2em; - margin-bottom: 0.5em; } - .c017 { margin-left: 5.56%; text-indent: 1em; margin-top: 0.25em; - margin-bottom: 0.25em; } - .c018 { text-align: center; } - .c019 { vertical-align: top; text-align: left; padding-right: 1em; } - .c020 { vertical-align: top; text-align: right; padding-right: 1em; } - .c021 { vertical-align: top; text-align: left; text-indent: -1em; - padding-left: 1em; } - div.tnotes { padding-left:1em;padding-right:1em;background-color:#E3E4FA; - border:1px solid silver; margin:2em 10% 0 10%; font-family: Georgia, serif; - } - .covernote { visibility: hidden; display: none; } - div.tnotes p { text-align:left; } - @media handheld { .covernote { visibility: visible; display: block;} } - h3 { text-align: center; font-weight: bold; font-size: large; } - .section { clear: both; page-break-before: always; } - .ol_1 li {font-size: .9em; } - @media handheld {.ol_1 li {padding-left: 1em; text-indent: 0em; } } - body {font-family: Georgia, serif; text-align: justify; } - table {font-size: .9em; } - .figcenter {font-size: .9em; } - div.titlepage {text-align: center; page-break-before: always; - page-break-after: always; } - div.titlepage p {text-align: center; text-indent: 0em; font-weight: bold; - line-height: 1.5; margin-top: 3em; } - .ph1 { text-indent: 0em; font-weight: bold; font-size: xx-large; - margin: .67em auto; page-break-before: always; } - .ph2 { text-indent: 0em; font-weight: bold; font-size: x-large; margin: .75em auto; - page-break-before: always; } - .sidenote { text-align: center; width: 33%; min-width: 33%; max-width: 33%; } - </style> - </head> - <body> - - -<pre> - -The Project Gutenberg EBook of Vignettes, by Hubert Crackanthorpe - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world 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. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Vignettes - A Miniature Journal of Whim and Sentiment - -Author: Hubert Crackanthorpe - -Release Date: August 29, 2019 [EBook #60193] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK VIGNETTES *** - - - - -Produced by Richard Tonsing, hekula03, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -book was produced from images made available by the -HathiTrust Digital Library.) - - - - - - -</pre> - - -<div class='tnotes covernote'> - -<p class='c000'><b>Transcriber’s Note:</b></p> - -<p class='c000'>The cover image was created by the transcriber and is placed in the public domain.</p> - -</div> - -<div class='titlepage'> - -<div> - <h1 class='c001'>Vignettes<br /> <br /> <span class='xlarge'>A Miniature Journal of Whim and Sentiment</span></h1> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c002'> - <div><span class='large'>By Hubert Crackanthorpe</span></div> - <div class='c002'>John Lane</div> - <div>The Bodley Head</div> - <div>London and New York</div> - <div>1896</div> - </div> -</div> - -</div> - -<div class='nf-center-c0'> -<div class='nf-center c003'> - <div><em>The pursuit of experience is the refuge of the unimaginative.</em></div> - </div> -</div> - -<div class='sidenote'>CONTENTS</div> - -<div class='chapter'> - <span class='pageno' id='Page_v'>v</span> - <h2 class='c004'>CONTENTS</h2> -</div> - -<table class='table0' summary='CONTENTS'> - <tr> - <th class='c005' colspan='2'> </th> - <th class='c006'><span class='small'>PAGE</span></th> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>At Villeneuve-lès-Avignon</em></td> - <td class='c006'><a href='#Page_1'>1</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>Ascension day at Arles</em></td> - <td class='c006'><a href='#Page_6'>6</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>Spring in Béarn</em></td> - <td class='c006'><a href='#Page_9'>9</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>In the long grass</em></td> - <td class='c006'><a href='#Page_10'>10</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><i><span lang="fr" xml:lang="fr">Pau</span></i></td> - <td class='c006'><a href='#Page_11'>11</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>Castelsarrasin</em></td> - <td class='c006'><a href='#Page_13'>13</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>In the Basque country</em></td> - <td class='c006'><a href='#Page_15'>15</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>In the Landes</em></td> - <td class='c006'><a href='#Page_16'>16</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><i><span lang="fr" xml:lang="fr">Cette</span></i></td> - <td class='c006'><a href='#Page_18'>18</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>On Chelsea Embankment</em></td> - <td class='c006'><a href='#Page_19'>19</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>Pleasant Court</em></td> - <td class='c006'><a href='#Page_20'>20</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>The five sister pansies</em></td> - <td class='c006'><a href='#Page_23'>23</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>Our Lady of the Lane</em></td> - <td class='c006'><a href='#Page_24'>24</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>On the coast of Calvados</em></td> - <td class='c006'><a href='#Page_26'>26</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>In Normandy</em></td> - <td class='c006'><a href='#Page_27'>27</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>Paris in October</em></td> - <td class='c006'><a href='#Page_28'>28</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em><span lang="fr" xml:lang="fr">La Côte d’Or</span> from the train</em></td> - <td class='c006'><a href='#Page_29'>29</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>Lausanne</em></td> - <td class='c006'><a href='#Page_29'>29</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>Old Marseilles at Midday</em></td> - <td class='c006'><a href='#Page_30'>30</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>Monte Carlo</em></td> - <td class='c006'><a href='#Page_32'>32</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>At the Certosa di Val d’Ema</em></td> - <td class='c006'><a href='#Page_33'>33</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>Morning at Castello</em></td> - <td class='c006'><a href='#Page_36'>36</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>In the Campo Santo at Perugia</em></td> - <td class='c006'><a href='#Page_37'>37</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><span class='pageno' id='Page_vi'>vi</span><em>Naples in November</em>:—</td> - <td class='c006'> </td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005'> </td> - <td class='c005'><em>Late afternoon in the Strada del Chiaja</em></td> - <td class='c006'><a href='#Page_39'>39</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005'> </td> - <td class='c005'><em>From Posilipo</em></td> - <td class='c006'><a href='#Page_39'>39</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005'> </td> - <td class='c005'><em>In the Strada del Porto</em></td> - <td class='c006'><a href='#Page_40'>40</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005'> </td> - <td class='c005'><em>Moonlight</em></td> - <td class='c006'><a href='#Page_41'>41</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005'> </td> - <td class='c005'><em>At the Theatre Manzoni</em></td> - <td class='c006'><a href='#Page_42'>42</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>Pompeii</em></td> - <td class='c006'><a href='#Page_45'>45</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>In the Bay of Salerno</em></td> - <td class='c006'><a href='#Page_46'>46</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>Seville Dancing girls</em></td> - <td class='c006'><a href='#Page_47'>47</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>Sunrise</em></td> - <td class='c006'><a href='#Page_49'>49</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>Off Cape Trafalgar</em></td> - <td class='c006'><a href='#Page_50'>50</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em><span lang="fr" xml:lang="fr">Rêverie</span></em></td> - <td class='c006'><a href='#Page_51'>51</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>In Richmond Park</em></td> - <td class='c006'><a href='#Page_52'>52</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>New Year’s Eve</em></td> - <td class='c006'><a href='#Page_53'>53</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>In St. James’ Park</em></td> - <td class='c006'><a href='#Page_55'>55</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>In the Strand</em></td> - <td class='c006'><a href='#Page_55'>55</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em>Sunday afternoon</em></td> - <td class='c006'><a href='#Page_56'>56</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em><span lang="fr" xml:lang="fr">Rêverie</span></em></td> - <td class='c006'><a href='#Page_57'>57</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c005' colspan='2'><em><span lang="fr" xml:lang="fr">Enfantillage</span></em></td> - <td class='c006'><a href='#Page_62'>62</a></td> - </tr> -</table> - -<div><span class='pageno' id='Page_1'>1</span></div> -<div class='section ph1'> - -<div class='nf-center-c0'> -<div class='nf-center c003'> - <div>Vignettes</div> - </div> -</div> - -</div> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>AT VILLENEUVE-LÈS AVIGNON</h2><br />April 23</div> - -<p class='drop-capa0_0_6 c007'>On the roof of the ruined church -we lay, basking amid the hot, -powdery heather; the cinder-coloured -roofs of the town flattened out beneath -us—a ragged patch of dead, -decayed colour, burnt, as it seemed, -out of the rank, luscious green of the -Rhône valley. Overhead, a thick, -blue sky hung heavy, and away and -away, into the steamy haze of midday -heat, filtered the Tarascon road, a -streak of dazzling white. To the -east, the sun was beating on the sandy -slopes; to the west, the old Papal -palace, like a great, grey, sleeping -beast, lifted its long, bare back above -the roofs of Avignon.</p> - -<p class='c008'>The lizards scurried from cranny -to cranny across the crumbling -wall. Below, in the cloister, a cat -was curled by a black stack of brushwood. -The little <i><span lang="fr" xml:lang="fr">place</span></i> stood empty, -and stillness seemed to have fallen -over all things.</p> - -<p class='c008'>The warmth lulled one to a delicious -<span class='pageno' id='Page_2'>2</span>torpor. I was thinking of the -bustling Regent Street pavement, of -the rumble of Piccadilly, of newsboys -yelling special editions in the Strand, -drowsily conjuring up these and other -commonplace contrasts.</p> - -<p class='c008'>Then Jeanne-Marie Latou began -to speak. She sat between us, with -her legs hunched under her coarse, -colourless skirt, and some stray wisps -of hair looking dingily yellow against -the clean white of her <i><span lang="fr" xml:lang="fr">coiffe</span></i>. As she -talked, her brown skin puckered oddly -about her tiny, shrunken eyes, and -her hands—browned also and squat—clasped -themselves around her knees. -It was not often that Jeanne-Marie -Latou spoke French; her vocabulary -was quite simple and limited, and -every now and then, with an impatient -shake of her head, she would -break out into <i><span lang="fr" xml:lang="fr">patois</span></i>.</p> - -<p class='c008'>She was telling us of her nephew -in Tunis—“<i><span lang="fr" xml:lang="fr">Un pays où on ne voit que -des sauvages</span></i>”—and of the sweetheart -<span class='pageno' id='Page_3'>3</span>he had left behind at Barbentane; -repeating by heart, one after another, -his queer, bald, little letters—how he -had been kicked by his horse (he was -a <i><span lang="fr" xml:lang="fr">spahi</span></i>; “<i><span lang="fr" xml:lang="fr">zouave à cheval</span></i>” she called -it), and had been sick ten days in the -hospital; and how, without telling -anyone, she had scraped together a -hundred sous to send out to him. -Somehow, irresistibly, while she chattered, -I seemed to see that soldier -nephew of hers—broad and straight -and bronzed, his fez stuck jauntily -on the back of his head, noisily <i><span lang="fr" xml:lang="fr">noçant -avec des camarades</span></i> with those hundred -sous, which old Tante Latou had sent -out to him.</p> - -<p class='c008'>By-and-bye, she related her journey -to Valence, in the time when she -had worked as a cherry-packer for -Madame Charbonnier in the Rue -Joseph-Vernet, insisting with comical, -energetic wrinklings of her forehead -on her contempt for the <i><span lang="fr" xml:lang="fr">jargon -de l’Ardèche</span></i>.... She had been to -<span class='pageno' id='Page_4'>4</span>Marseilles, too, last year—that was a -great journey—eighteen of them had -gone from Villeneuve, “<i><span lang="fr" xml:lang="fr">femmes et -filles et trois garçons, dans un train -‘ambulant’—quatre francs et douze sous, -aller et retour .... Marseilles, -vous savez</span></i>,” Jeanne-Marie Latou reiterated, -“<i><span lang="fr" xml:lang="fr">c’est quelque chose ... -c’est quelque chose ... c’est quelque -chose ... enfin, c’est la plus jolie -ville que j’ai trouvée</span></i>.”</p> - -<p class='c008'>Afterwards, starting to recall bygone -times, she described the breaking -up of the <i><span lang="fr" xml:lang="fr">Chartreuse</span></i> in <i><span lang="fr" xml:lang="fr">quatre-vingt -douze</span></i>, and the selling of the whole -building by auction in the little <i><span lang="fr" xml:lang="fr">place</span></i>, -there, below us (not for money—no -one in the <em>pays</em> had any money in -those days—but for <i><span lang="ca" xml:lang="ca">assignats</span></i>), and, -Jeanne-Marie Latou explained, “<i><span lang="fr" xml:lang="fr">Ceux -qui avaient peur n’en prenaient pas, et -ceux qui n’avaient pas peur en prenaient</span></i>.” -And her father, who had -been a stone-worker, over there at -Les Angles, had bid <i><span lang="fr" xml:lang="fr">douze cents francs -<span class='pageno' id='Page_5'>5</span>d’assignats</span></i> for the house where the -<i><span lang="fr" xml:lang="fr">supérieure</span></i> had lived—<i><span lang="fr" xml:lang="fr">douze cents francs -d’assignats</span></i> which no one had ever -asked him to pay. There Jeanne-Marie -Latou had always lived—seventy-seven -years, it was now, as -near as she could remember—she, -and her husband who had been dead -these twenty-three years. She could -remember the time when the frescoes -on the cloister walls were bright and -beautiful, and no grass grew between -the flags. Yes, she had seen all the -other houses pass from family to -family; there were six of them now -who had the right to use the old -church as a barn, “<i><span lang="fr" xml:lang="fr">ma foi, elle est bien -grande, l’église</span></i>,” Jeanne-Marie Latou -concluded, smiling knowingly at us, -“<i><span lang="fr" xml:lang="fr">Mais, quand même, ils se chicanent -toujours.</span></i>”...</p> - -<p class='c008'>And with that, she rose slowly and -bid us good-bye, and wished us good -health, toddling grotesquely away -down the steps.</p> - -<p class='c008'><span class='pageno' id='Page_6'>6</span>After she had gone, we stayed a -long while up on the hot roof, watching -the dark shadows creep from -under the broken bridge across the -rippling Rhône, as it swept past towards -the sea. And I wondered more -drowsily than ever concerning old -Jeanne-Marie Latou, and her soldier -nephew, with the <i><span lang="fr" xml:lang="fr">spahis</span></i>, away over -there in Tunis, and that great journey -of hers to Marseilles—eighteen -of them from the dead little town -below, “<i><span lang="fr" xml:lang="fr">femmes et filles et trois garçons, -dans un train ‘ambulant’—quatre -francs et douze sous, -aller et retour</span></i>.”</p> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>ASCENSION DAY AT ARLES</h2></div> - -<p class='drop-capa0_0_6 c007'>The population pours out from -mass, flooding every crooked -street—rubicund peasants in starched -Sunday blouses; olive-skinned, Greek-featured -<i><span lang="fr" xml:lang="fr">Arlésiennes</span></i> in quaint, lace -head-dresses; strutting <i><span lang="fr" xml:lang="fr">petits messieurs -<span class='pageno' id='Page_7'>7</span>en chapeau rond</span></i> and tight-fitting <i><span lang="fr" xml:lang="fr">complets</span></i>; -shouting shoals of boys; zouaves, -indolent and superb, in flowing red -knickerbockers, white spats, and jauntily-poised -fez.</p> - -<p class='c008'>A bleating of lambs, plaintive, incessant -and dirge-like, fills the <em>Place du -Forum</em>; heaped over the gravel they -lie, their legs tied under their bellies, -and their skinny necks helplessly outstretched: -and beyond, the great, -green umbrellas of a regiment of -wrinkled beldams—fruit-sellers encamped -in rows before their baskets.... -A strange complication of -odours—of cheese, of fish and of -flowers—floats in the air: at every -alley-corner some auctioneer stands -posted—shouting, perspiring vendors -of knives, pocket-books, glass-cutters, -chromo-lithographs, cement, songs, -<i><span lang="fr" xml:lang="fr">sabots</span></i>. An old top-hatted Jew nasally -vaunts a wine-testing fluid, and tells -horrible and interminable tales of vintages -manufactured from decayed dates, -<span class='pageno' id='Page_8'>8</span>from vinegar and sugar, or from plaster-of-Paris; -a travelling pedicure operates -on the box-seat of a gorgeously-painted -van, to the accompaniment of a big -drum and clashing cymbals; the inevitable -strong man defiantly challenges -the crowd to split a flag-stone across his -bare, hirsute chest; and a blind-folded -fortune-telling wench chaunts with -mechanical shamelessness the young -men’s amorous indiscretions.</p> - -<p class='c008'>Outside the town, the boulevard is -gay with the glitter of pedlars’ wares, -and flapping, gaudy stuffs, red, green -and yellow and blue; travelling showmen -are bustling with final preparations, -hammering together their skeleton -booths, or unfolding gaunt rolls of -battered canvas; the steam-orchestra -of a <i><span lang="fr" xml:lang="fr">Grand Musée fin de siècle</span></i> bellows -from its rows of brass-mouthed trumpets -a deafening, wheezy tune; and -everywhere, beneath the tunnel of pale -green plane-trees, a thick, drifting -tide of men and women.</p> - -<div><span class='pageno' id='Page_9'>9</span></div> -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>SPRING IN BÉARN</h2><br />May 1</div> - -<p class='drop-capa0_0_6 c007'>Of a sudden it seems to have come—the -poplars fluttering their -golden green; the fruit-trees tricked -out in fête-day frocks of frail snow-white; -the hoary oaks uncurling their -baby leaves; and the lanes all littered -with golden broom....</p> - -<p class='c008'>The blue flax sways like a sensitive -sea; the violets peep from amid -the moss; beneath every hedgerow -the primroses cluster; and the rivulets -tinkle their shrill, glad songs....</p> - -<p class='c008'>Dense levies of orchises empurple -the meadows, where the butterflies -hasten their wavering flight; the sunlight -breathes through the pale-leafed -woods; and the air is sweet with the -scent of the spring, and loud with the -humming of wings....</p> - -<hr class='c009' /> - -<p class='c008'>It lasts but a week—a fleeting mood -of dainty gaiety; a quick discarding -of the brown shabbiness of winter for -a smiling array of white and gold, -fresh-green, and turquoise-blue....</p> - -<p class='c008'><span class='pageno' id='Page_10'>10</span>And then, it has flitted, and through -the long, parched months relentlessly -blazes the -summer sun.</p> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>IN THE LONG GRASS</h2><br />May 13</div> - -<p class='drop-capa0_0_6 c007'>A mysterious, impenetrable -jungle of green stems, quivering -with the play of a myriad baby -shadows. A close crowd of flowers—naïve-faced, -white-cheeked daisies; -buttercups, glistening gold; dandelions -like ragged medallions; stubbly -bearded thistles; sleek-stalked orchises, -white, and mauve, and purple; corpulent, -heavy-leafed clover, and skinny -ragged robin. And, topping them all, -the languidly nodding heads of a thousand -seeded grasses, and the dishevelled -crests of the red sorrel....</p> - -<p class='c008'>A ceaseless humming of wings—deep-toned -and solemn, cheerily bustling, -high-pitched and idle....</p> - -<p class='c008'>Hidden in the green-stemmed jungle, -<span class='pageno' id='Page_11'>11</span>a world of creatures silently busy—hurrying -ants; heavy, gray cockchafers, -drowsily lumbering; tiny, red -spiders, fidgeting from blade to blade; -grasshoppers, with their great sensitive -eyes, humanly expressive; shiny, black -beasts, wriggling their scuttling bodies; -fierce-looking flying things, their vivid -red bodies, now poised motionless, now -darting capriciously to and fro.</p> - -<p class='c008'>One after another they come for a -peep at me. A pair of blue-bottles, -chasing one another, dash past; a furry -bee chaunts lustily as he bustles from -flower to flower; and dark, evil-looking -flies hover, hanging their -long, sneaking legs....</p> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>PAU</h2><br />May 14</div> - -<p class='drop-capa0_0_6 c007'>I went there again to-day; but -I did not see her. It is a year -now since I met her, sitting alone -before her basket, in a corner of the -deserted square. Her face was tanned -<span class='pageno' id='Page_12'>12</span>deep russet, and wrinkled to a tragic -listlessness; she had eyebrows white -as clean linen, and full-veined, tremulous -hands. When I first spoke to -her, I did not know that she was -blind. She pulled some handkerchiefs -from her basket, and offered them to -me in a quavering, far-away voice, -explaining that she had hemmed them -herself; for she had been brought up -as a <i><span lang="fr" xml:lang="fr">couturière</span></i>. I asked her how -long she had been blind:—</p> - -<p class='c008'>“It is forty-eight years since I saw -anything, <i><span lang="fr" xml:lang="fr">monsieur</span></i>. When I was -young I had a great trouble.... -For eighteen months I wept, and -when I went back to work, my eyes -were worn out, and I could see no -more.... It is forty-eight years -now, <i><span lang="fr" xml:lang="fr">monsieur</span></i>, since I saw anything.... -<i><span lang="fr" xml:lang="fr">Heureusement, il n’y en a plus -pour longtemps ... ce sera bientôt -fini....</span></i>”</p> - -<p class='c008'>She spoke simply, and with quiet -dignity; though I could see that she -<span class='pageno' id='Page_13'>13</span>was crying a little, as she fingered -her handkerchiefs with her full-veined, -tremulous hands.</p> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>CASTELSARRASIN</h2><br />May 17</div> - -<p class='drop-capa0_0_6 c007'>From afar off, high against the -sky, we could see the ragged -line of its roofs, like an ancient, tattered -crest along the back of a precipitous, -inaccessible-looking hill.</p> - -<p class='c008'>To reach it we waded the Luys -de France, with the water swishing -under our horses’ bellies, and climbed -a mule-track, tight-paved with cobbles, -waywardly winding beneath the -contorted limbs of leafy, Spanish -chestnuts. The track led us around -the outside of the village, close under -the shadow of its houses—discoloured-yellow -and musty-white, fissured and -bestained, battered and starved, till -everywhere their bones protruded, -bulging, bursting beams.</p> - -<p class='c008'>Low, sloping roofs, moss-grown, -<span class='pageno' id='Page_14'>14</span>the colour of old gold, over-lapped -the walls, like huge, ill-fitting caps; -shading row upon row of wooden -balconies, filled with a decrepid multitude -of things, which, it seemed, -could never have been new—broken -earthenware pots; rickety rush-bottomed -chairs; strips of old linen; -worn-out bass brooms; stacks of dead -branches....</p> - -<p class='c008'>Two geese, a yellow dog, and a -little black pig had the village street -all to themselves. The clock on the -tower of the whitewashed church -pointed half-past ten, though the -twilight had not yet come. And -our horses’ hoofs clattered, almost -brutally, past the dank-smelling, mud-floored -rooms, and the cracked, worm-eaten -shutters, wearily moaning with -the dull fatigue of stiff-jointed old -age.</p> - -<p class='c008'>Toiling up the hill, on the other -side, we met a crooked old woman, -barefooted, clad in a single frayed -<span class='pageno' id='Page_15'>15</span>shirt, carrying a truss of sainfoin on -her head.</p> - -<p class='c008'>“<em>Adechats</em>,” she mumbled mechanically, -and toiled on barefooted up the -stony path, steadying the truss -of sainfoin with both -hands....</p> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>IN THE BASQUE COUNTRY</h2><br />May 23</div> - -<p class='drop-capa0_0_6 c007'>All day an intense impression of -lusty sunlight, of quivering -golden-green ... a long, white -road that dazzles, between its rustling -dark-green walls; blue brawling -rivers; swelling upland meadows, -flower-thronged, luscious with tall, -cool grass; the shepherd’s thin-toned -pipe; the ragged flocks, blocking the -road, cropping at the hedge-rows as -they hurry on towards the mountains; -the slow, straining teams of jangling -mules—wine-carriers coming from -Spain; through dank, cobbled village -streets, where the pigs pant -<span class='pageno' id='Page_16'>16</span>their bellies in the roadway, and the -sandal-makers flatten the hemp before -their doors; and then, out again -into the lusty sunlight, along the -straight, powdery road that dazzles -ahead interminably towards a mysterious, -hazy horizon, where the land -melts into the sky....</p> - -<p class='c008'>And, at last, the cool evening -scents; soft shadows stealing beneath -the still, silent oaks; and, all at once, -a sight of the great snow-mountains, -vague, phantasmagoric, like a mirage -in the sky; and of the hills, all -indigo, rippling towards a pale -sunset of liquid gold.</p> - -<hr class='c009' /> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>IN THE LANDES</h2><br />May 27</div> - -<p class='drop-capa0_0_6 c007'>Since sunrise I had been travelling—along -the straight-stretching -roads, white with summer sand, -interminably striped by the shadows -of the poplars; across the great, -<span class='pageno' id='Page_17'>17</span>parched plain, where, all the day’s -length, the heat dances over the -waste land, and the cattle bells float -their far-away tinkling; through the -desolate villages, empty but for the -beldames, hunched in the doorways, -pulling the flax with horny, tremulous -fingers; and on towards the desolate -silence of the flowerless pine-forests....</p> - -<p class='c008'>And there the night fell. The sun -went down unseen; a dim flickering -ruddled the host of tree trunks; and -the darkness started to drift through -the forest. The road grew narrow -as a footpath, and the mare slackening -her pace, uneasily strained her -white neck ahead.</p> - -<p class='c008'>Out of the darkness a figure sprang -beside me. A shout rang out—words -of an uncouth <i><span lang="fr" xml:lang="fr">patois</span></i> that I did not -understand. And the mare, terrified, -galloped forward, snorting, and swerving -from side to side....</p> - -<p class='c008'>And a strange, superstitious fear -<span class='pageno' id='Page_18'>18</span>crept over me—a dreamy dread of -the future; a helpless presentiment -of evil days to come; a sense, too, -of the ruthless nullity of life, of the -futile deception of effort, of bitter revolt -against the extinction of death, -a yearning after faith in a vague survival -beyond....</p> - -<p class='c008'>And the words of the old proverb -returned to me mockingly:—</p> - -<div class='lg-container-b c010'> - <div class='linegroup'> - <div class='group'> - <div class='line'>“The eye is not satisfied with seeing,</div> - <div class='line in4'>nor the ear with hearing.”</div> - </div> - </div> -</div> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>CETTE</h2><br />June 5, Midday</div> - -<p class='drop-capa0_0_6 c007'>A pure stretch of sky; a flat sweep -of sea; cobalt-blue, rich and -opaque, pervading all things. In the -harbour, battered, blue-painted barges, -their decks loaded with oranges; bargemen -in blue blouses, asleep across the -glaring pavement; and along the quay, -indefinitely, as far as the eye can reach, -row upon row of barrels, repeating -from their up-turned ends the same -<span class='pageno' id='Page_19'>19</span>stifling note of colour.... The -sea licks the jetty wall, lazily, rhythmically: -everywhere a sensation -of listless oppression, of lifeless -torpor....</p> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>ON CHELSEA EMBANKMENT</h2><br />June 26</div> - -<p class='drop-capa0_0_6 c007'>I have sat there, and seen the -winter days finish their short-spanned -lives, and all the globes of -light, crimson, emerald, and pallid -yellow, start, one by one, out of the -russet fog that creeps up the river.</p> - -<p class='c008'>But I like the place best on these -hot summer nights, when the sky -hangs thick with stifled colour, and -the stars shine small and shyly, for -then the pulse of the city is hushed, -and the scales of the water flicker -golden and oily under the watching -regiment of lamps. The bridge clasps -its gaunt arms tight from bank to -bank, and the shuffle of a retreating -<span class='pageno' id='Page_20'>20</span>figure sounds loud and alone in the -quiet....</p> - -<p class='c008'>There, if you wait long enough, -you may hear the long wail of the -siren, that seems to tell of the anguish -of London, till a train hurries -to throttle its dying note, roaring -and rushing, thundering and blazing -through the night, tossing its white -crest of smoke, charging across -the bridge, into the dark -country beyond....</p> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>PLEASANT COURT</h2><br />June 28</div> - -<p class='drop-capa0_0_6 c007'>It is known only to the inhabitants -of the quarter. To find it, you -must penetrate a winding passage, -wedged between high walls of dismal -brick. Turn to the right by the -blue-lettered advertisement of Kop’s -Ale, and again to the left through -the two posts, and you come to -Pleasant-court. And when you are -<span class='pageno' id='Page_21'>21</span>there, you can go no farther; for -at the far end there is no way out.</p> - -<p class='c008'>There are thirteen houses in Pleasant-court—seven -on the one side, -and six on the other. They are alike, -every one; low-walled as country -cottages; built of blackish brick, -with a six-foot plot before each, and -slate roofs that glimmer wanly on -the wet, winter mornings.</p> - -<p class='c008'>But winter is not the season to -see Pleasant-court at its best. The -drain-sluice is always getting choked, -so that pools of mud and brown water -loiter near the rickety fence that -flanks each six-foot enclosure; and, -at Christmas-time, “most everyone -is a bit out,” and young Hyams in -the Walworth-road stacks half his -back shop with furniture from Pleasant-court; -and all day long the children -of the lodger at No. 5 never stop -squalling with chapped faces, and the -“Lowser’s” wife makes much commotion -at nights, threatening to “settle” -<span class='pageno' id='Page_22'>22</span>her husband, and sending her -four children to clatter about the -pavement.</p> - -<p class='c008'>In the summer, however, everyone -smartens up, and by the time that -sultry June days have come, Pleasant-court -attempts a rural air. On -the left-hand side a jaded creeper -pushes its grimy greenery under the -windows; some of the grass plots -grow quite bushy with tough, wizened -stalks; and the geranium pots -at No. 7 strike flaming specks of -vermilion.</p> - -<p class='c008'>Last March the “Lowser” and -his wife and his four children moved -over to Southwark; the lodger at -No. 5 is in work again; and now -the quiet of seclusion is restored to -Pleasant-court.</p> - -<p class='c008'>The children sprawl the afternoon -through on the hot alley floor; Mrs. -Hodgkiss hangs her washing to bulge -and flap across the court, like a line -of white banners; and on the airless -<span class='pageno' id='Page_23'>23</span>evenings, the women, limp, with their -straggling hair, and loose, bedraggled -skirts, lean their bare, fleshy elbows -over the fence, lingering to gossip -before they go to dinner.</p> - -<p class='c008'>And on Saturday nights, the inhabitants -of Pleasant-court troop out -to join the rumble and the rattle of -the Walworth-road, and to swell the -life that shuffles down its pavement, -past the flaring naphtha lights, the -stall-keepers bawling in the gutter, -and every shop ablaze -with gross jets of gas.</p> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>THE FIVE SISTER PANSIES</h2><br />August 19</div> - -<p class='drop-capa0_0_6 c007'>These are their names—Carlotta, -Lubella, Belinda, Aminta, -Clarissa. By the old bowling-green -they stand, a little pompously -perhaps, with a slight superfluity of -dignity, conscious of their own full, -comely contours—a courtly group of -rotund dames. Heavy Carlotta, the -<span class='pageno' id='Page_24'>24</span>eldest, lover of blatant luxury, overblown, -middle-aged, in her gown of -rich magenta, all embroidered with -tawdry gilt; Lubella, wearing portly -velvet of dark purple, sensual, indolent, -insolent as an empress of old, -gleaming her thin, yellow eye; insignificant -Belinda, bedecked in silly, -sentimental mauve, all for dallying -with the facile gossip of galanterie, -gushing, giggling, gullible; unsophisticated -Aminta, with tresses of -flaming gold, amiable and obvious as -a common stage heroine; and Clarissa, -the youngest, slyly smirking -the while, above her frock of -milk-white innocence.</p> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>OUR LADY OF THE LANE</h2><br />Sept. 17</div> - -<p class='drop-capa0_0_6 c007'>Whenever the London sun -touches the small, dusky -shops with a jumble of begrimed -colour—the old gold and scarlet of -hanging meat; the metallic green of -<span class='pageno' id='Page_25'>25</span>mature cabbages; the wavering russet -of piled potatoes; the sharp white -of fly-bills, pasted all awry—then the -moment to see her is come. You -will find her, bareheaded and touzled; -her dingy, peaked shawl hanging -down her back, and in front the -bellying expanse of her soiled apron; -blocking the pavement; established -by her own corner of the Lane, all -littered with the cries of children, and -the fitful throbbing of the asphalte -beneath the hollow hammering of -hoofs.</p> - -<p class='c008'>She carries always a baby by her -breast; her bare forearms are as -bulky as any man’s; in her eyes is -a froward scowl; and, when she -laughs, it is with a harsh, strident -gaiety. But she never fails to wear -her squalid portliness with a robust -and defiant dignity, that makes -her figure definitely symbolic -of Cockney maternity.</p> - -<div><span class='pageno' id='Page_26'>26</span></div> -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>ON THE COAST OF CALVADOS</h2><br />Sept. 26</div> - -<p class='drop-capa0_0_6 c007'>The leaden sea plashed her indolent -rhythm: all along the -lonely shore the orchards stood motionless, -sombre, metallic-looking in -the lifeless, thunder-charged air; and -amid a rugged flare of smoky flame, -the sun went down in the West.</p> - -<p class='c008'>A baby breeze rustled past, fleeing -before the distant storm: then, all -grew still again, while, across the -horizon, a quiet rift broke, revealing -a long, lurid line of fantastic coast—mysterious, -desolate valleys, and ragged -towering cliffs.</p> - -<p class='c008'>The leaden sea plashed her indolent -rhythm; and the bleak bulk of -a steamer, pitching in the offing, -moved like a beast in distress.</p> - -<p class='c008'>And once again, fresh and cool, -carrying the scent of the storm, the -breeze came fleeing, trailing an inky -stain over the sea; and across the -West there defiled a vague squadron -of gigantic pillars of rain.</p> - -<p class='c008'>The parched trees swayed their -<span class='pageno' id='Page_27'>27</span>boughs, uneasily whispering; and, of -a sudden, wrapping all things in a -dense shroud of dark-grey mist, clattered -the ponderous rain.</p> - -<p class='c008'>And overhead, on, through the -growing night, the white, jagged -flashes of lightning, and the frenzied -flight of the screaming wind, and the -dull booming of thunder told of -the great, distant battle of -the clouds.</p> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>IN NORMANDY</h2><br />Sept. 30</div> - -<p class='drop-capa0_0_6 c007'>A mauve sky, all subtle; a discreet -rusticity, daintily modern, -femininely delicate; a whole finikin -arrangement of trim trees, of rectangular -orchards, of tiny, spruce houses, -tall-roofed and pink-faced, with white -shutters demurely closed. Here and -there a prim farmyard; a squat -church-spire; and bloused peasants -jogging behind rotund white horses, -<span class='pageno' id='Page_28'>28</span>along a straight and gleaming road. -In all the landscape no trace of the -slovenly profusion of the picturesque; -but rather a distinguished reticence -of detail, fresh, coquettish, -almost dapper.</p> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>PARIS IN OCTOBER</h2><br />October 4</div> - -<p class='drop-capa0_0_6 c007'>Paris in October—all white and -a-glitter under a cold, sparkling -sky, and the trees of the boulevards -trembling their frail, russet -leaves; garish, petulant Paris; complacently -content with her sauntering -crowds, her monotonous arrangements -in pink and white and blue; ever -busied with her own publicity, her -tiresome, obvious vice, and her -parochial modernity coquetting -with cosmopolitanism....</p> - -<div><span class='pageno' id='Page_29'>29</span></div> -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>LA CÔTE D’OR FROM THE TRAIN</h2><br />October 6</div> - -<p class='drop-capa0_0_6 c007'>Strips of ruddy earth: poplars -flecked with gold, and vineyards -with autumn red; the dark, -sleek Saône; and beyond, the pale -green plain, spacious and smooth, -stretching away and away towards -the blue haze that wraps the Côte -d’Or, hesitating and soft as the lines -of a woman’s body.</p> - -<p class='c008'>The sun sets, trailing a wash of -pale, watery gold; torn, inky clouds -spatter the sky; sombre shadows fill -the acacia-groves; and on, on, -pounds the train, untiring, -rhythmically throbbing.</p> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>LAUSANNE</h2><br />October 7</div> - -<div class='nf-center-c0'> -<div class='nf-center c002'> - <div>“<i><span lang="fr" xml:lang="fr">Tout paysage est un état d’âme.</span></i>”</div> - </div> -</div> - -<p class='drop-capa0_0_6 c011'>Often must Amiel, who lived -his life on the shores of this -great lake, have brooded over her -moods. Deep-blue, she lies plunged -in silent meditation; wrapped in the -opal-tinted mists of evening, she -<span class='pageno' id='Page_30'>30</span>dreams the vague, glad dreams of -fancy; now she smiles, she laughs -even, as little ripples, all gilded by -the sun-rays, trip across her surface; -she has her grey days of gloom, and -her dark days of despair: she has also -her <i><span lang="fr" xml:lang="fr">jours de fête</span></i>, and her <i><span lang="fr" xml:lang="fr">jours de grande -toilette</span></i>, under a sky heavy-loaded with -blue: often, in the moonlight, she lies -white, tranquil, statuesque, like a beautiful, -sleeping woman: at times her -humour is bewilderingly capricious; -the fleeting, furious rages of a spoilt -child sweep across her; or, ink-coloured, -she sulks during long -hours, sullenly wrathful.</p> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>OLD MARSEILLES AT MIDDAY</h2><br />October 10</div> - -<p class='drop-capa0_0_6 c007'>Up every staircase-street—dark -crevasses, pinched between -tall, peeling cliffs; along the quay, -flaunting, tattered, brawling colours, -sweating and swarming with noisy life—negroes, -Chinamen, Arabs, Lascars, -<span class='pageno' id='Page_31'>31</span>Italians, Greeks—the angry hum of -a thousand tongues and the clatter of -straining mules.... At midday, -when all the smooth stone pavement -lies bathed in lusty sunshine, you -may feel the pulse of old Marseilles -quicken to fever-heat its turbulent -throbbing....</p> - -<p class='c008'>Across the sea, polished as a pool of -molten metal, the Southern sun strews -his golden highway; the frail forest -of masts stiffens, congealed like a fine -etched pattern; side by side lie the herds -of steamers, silent, drowsy, vermilion-bellied -beasts; and over there, to the -left, high above the city, the slim silhouette -of Notre-Dame de la Garde -shows a glimmer of dusky gilt....</p> - -<p class='c008'>Oh! for the crude crowd of blatant -hues and the flood of fierce -vitality that belong to old -Marseilles at midday!</p> - -<div><span class='pageno' id='Page_32'>32</span></div> -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>MONTE CARLO</h2><br />October 15</div> - -<p class='drop-capa0_0_6 c007'>High, beneath the lofty dome -of sullen sky, like a great -white globe of electric light, the full -moon hangs; beyond the bay, the -twinkling lights of Monaco are -dropping long golden tears into the -sea: no breath of breeze to sway the -black drooping palms; only the full, -solemn phrase of Gounod’s “Ave -Maria,” slowly recurring to linger in -the still, grave air of the night....</p> - -<p class='c008'>The moonbeams spangle with silver -the twin minarets of the temple of -Chance; and stately officials swing -back its portals to meet the silent tide -of worshippers that ceaselessly ebbs -and flows, blackening the broad flight -of marble steps.</p> - -<p class='c008'>Within, through the great marble -vestibule, where the shuffle of feet -rings hollow, they hurry to huddle -around the bright green shrines of -the goddess, to await, with tense, -yellow faces, the unflagging tide -of her relentless caprices.</p> - -<div><span class='pageno' id='Page_33'>33</span></div> -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>AT THE CERTOSA DI VAL D’EMA</h2><br />October 20</div> - -<p class='drop-capa0_0_6 c007'>I sat on the terrace of the old -palace, waiting for the coming -of the rain-clouds. The sunshine was -gone, and with it the city’s witty -sparkle; the sirocco’s breath puffed -warm and moist; and Florence, all -ruddled and sullen, lay chaunting her -ponderous notes of bronze.</p> - -<p class='c008'>Below, knee-deep in the yellow, -straggling stream, a fisherman swayed -his net, slowly straining the supple -framework; and while I watched him, -of a sudden, a fitful longing to see -the place again laid hold of me—to -see it, just as it had been last year, on -that mellow September afternoon, all -garnished with soft light, all fragrant -with coquettish simplicity and pleasant, -prosperous peace. And soon, as -the sky darkened, and the rain-clouds—a -sombre, swelling herd—gathered -above the cypresses of San Miniato, I -seemed to hear the organ’s stately -roll, and to perceive, through the -obscurity of the half-darkened chapel, -<span class='pageno' id='Page_34'>34</span>a crowding circle of white-robed -figures. The chaunt of the church -bells beat the air: all else seemed stilled—love -and the quickening joy of life—and -with a sort of childish inconsequence, -bred perhaps of the curious, -literary habit, I fell to envying them -a little—those tall, white-robed fathers—their -miniature rows of monkish -gardens, and their solitary pacings -beneath the pale-lemon cloisters....</p> - -<p class='c008'>So I started to go there, rattling -through the dust in the face of the -coming storm. By the roadside, the -grey olives matched the sky; all -around, the vines hung delicately -dying, drooping in tired curves their -fragile garlands of pallid-gold leaves; -and here and there peeped specks of -scarlet, like lingering traces of some -bygone <i><span lang="fr" xml:lang="fr">fête</span></i>.</p> - -<p class='c008'>But, before we had climbed the -hill, the rain came—a deliberate prelude -of monstrous drops; and a veil, -as of grey gauze, blurred the white-faced -<span class='pageno' id='Page_35'>35</span>villas peopling the hill-sides, and -changed the cypresses to dim, spiky -sentinels....</p> - -<p class='c008'>It was Brother Agostino who came -to the gate, greeting me, so I fancied, -with a quick smile of recognition; -then, before the groups of noisy village -youths and raffish, Florentine cabmen, -who encumbered the corridor, his -features dropped back to the patient -vacancy of habitual fatigue.</p> - -<p class='c008'>Over the tiled floor of the cloister-court -rattled the dance of the rain; -the great well, over-grown with rank -grass, wore a forlorn, decrepit air; -and a musty scent, as of approaching -decay, floated over the vast garden.</p> - -<p class='c008'>In the chapel, a band of blatant -Americans joined us, listening complacently -to Brother Agostino’s perfunctory -explanations concerning the -frescoes, the stained-glass windows, -the exquisite tomb of the monastery’s -founder.</p> - -<p class='c008'>And the place seemed all changed: -<span class='pageno' id='Page_36'>36</span>its fine distinction was gone: the old -Certosa exposed to the hurried gaze -of every passing tourist; and stern-faced -Brother Agostino, footsore and -weary, degraded to the <i><span lang="fr" xml:lang="fr">rôle</span></i> of a -common, obsequious guide.</p> - -<hr class='c009' /> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>MORNING AT CASTELLO</h2><br />October 30</div> - -<p class='drop-capa0_0_6 c007'>The morning’s breath tastes cool -and clean. The distant hills -seem yet asleep, tranquil and dark—a -long, low, wavering wall. Above -the plain floats a lingering, pearly -film, and the air grows busy with a -vague rumour of awakening life—the -rumble of wheels, the cracking -of whips, the plaintive whistling of -far-off trains....</p> - -<p class='c008'>On its way to Florence the early -train swings by; hordes of brown-skinned, -barefooted children sprawl -noisily along all the street; the men -lean idly watching the ceaseless tale -<span class='pageno' id='Page_37'>37</span>of lean <i><span lang="it" xml:lang="it">barrocci</span></i>, lumbering, jolting -over the crooked flags; and before -every open doorway the women group -their chairs, to sit at their straw-plaiting -the long day through....</p> - -<p class='c008'>Beyond, across the dusty-green of -countless olives, you can see the glittering -roofs of Florence, the <em>Duomo’s</em> -burly dome, and the pale outline of -Giotto’s tower; but it is rather the -sense of old-world slowness, the continual -accumulation of friendly, trivial -incident, that makes the intimate -charm of this suburban -street....</p> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>IN THE CAMPO SANTO AT PERUGIA</h2><br />November 1</div> - -<p class='drop-capa0_0_6 c007'>The young moon hangs amid a -steely sky; the land, empty -and darkening, rolls like a billowing -sea towards the Western orange glow; -and high behind us the tall hill lifts -Perugia’s ragged silhouette.</p> - -<p class='c008'>Down the steep road they came—grave -<span class='pageno' id='Page_38'>38</span><i><span lang="fr" xml:lang="fr">bourgeois</span></i>; bands of brown-faced -youths, chewing thin cigars; aged -peasant-women, with faded, wrinkled -eyes; chattering country-girls, gaudy -handkerchiefs around their hair; toddling -children; uncouth men from -the mountains, sullenly wrapped in -fur-trimmed cloaks, while, posted in -rows on either side, the crippled -beggars offer their dusty hats, and -whine for charity in the Virgin’s -name.</p> - -<p class='c008'>Before the red gate of the Campo -Santo the crowd surges; within, every -alley is black with the press of people. -It is the day of the dead. To visit -the dead all the town is come.</p> - -<p class='c008'>... The pale specks of a myriad, -tiny lamps; the glow of garlands -against the crowding slabs of snow-white -marble, that mark the children’s -graves; the glitter of every -small, spruce mortuary chapel; and -the glad scent of freshly-scattered -flowers....</p> - -<p class='c008'><span class='pageno' id='Page_39'>39</span>Death loses its squalor; and -becomes something demure, -sociable, almost gay....</p> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>NAPLES IN NOVEMBER</h2><br /><em>Late afternoon in the Strada del Chiaja</em><br />November 9</div> - -<p class='drop-capa0_0_6 c007'>Up the squalid, ill-paved street, -lumber the great landaus—an -interminable, toiling stream, carrying -home from the <i><span lang="it" xml:lang="it">corso</span></i> the morose, -sallow-faced ladies of the Neapolitan -nobility, and crushing on either side -the hedge of gaping hobbledehoys -that line the niggardly -pavement.</p> - -<div class='c003'></div> -<div class='sidenote'><h3><em>From Posilipo</em></h3><br />Nov. 12</div> - -<p class='drop-capa0_0_6 c011'>Heaped beneath us all Naples, -white and motionless in the -silent blaze of the midday sun; circling -the bay, still and smooth and -blue as the sky above, a misty line -of white villages; dark, velvety shadows -draping the hills; on the horizon, -<span class='pageno' id='Page_40'>40</span>rising abruptly, Capri’s notched -silhouette—<i><span lang="fr" xml:lang="fr">tout semble suer la beauté—la -bonne et franche beauté criarde -des pays chauds européens</span></i>.</p> - -<hr class='c009' /> - -<div class='c002'></div> -<div class='sidenote'><h3><em>In the Strada del Porto</em></h3><br />Nov. 12</div> - -<p class='drop-capa0_0_6 c011'>A strip of treacherous pavement -slimy with garbage; the wan -flicker of foul lanterns, vaguely revealing -the black shapes of sail-like -awnings above a network of mysterious -masts; and the sodden, continuous -uproar of a reeking crowd—hawkers -of fruit, of fish, of assorted -cigar-ends—fiercely clamouring together -in the darkness....</p> - -<p class='c008'>By-and-bye, through the obscurity, -peers the glossy vermilion of -piled capsicums, the scarlet sparkle -of bleeding pomegranates, and the -hard flashing of scattered, silvery -sardines. Here and there, behind -a chestnut-brazier that shoots long, -<span class='pageno' id='Page_41'>41</span>licking tongues of ruddy flame, the -vacant, battered countenance of some -aged crone; or amid a frenzied cracking -of whips the clattering passage of -a team of trembling mules, straining -at a lean-shafted, high-wheeled cart, -passing across the street, to disappear, -engulfed in cavernous blackness, beneath -a noisome archway. Bands of -sailors jostle their way down the alley, -rudely rebuffing the obscene advances -of slatternly women; the night grows -airless and stifling, under the dingy -stars that speckle the black strip of -sky overhead; and the street comes -to possess a satanic fascination, -almost epic in its intensity....</p> - -<div class='c002'></div> -<div class='sidenote'><h3><em>Moonlight</em></h3><br />Nov. 29</div> - -<p class='drop-capa0_0_6 c011'>The long line of lamps casts -countless, trembling pillars of -dusky gold into the sea: the night is -full of stifled light—a pale, quivering -<span class='pageno' id='Page_42'>42</span>suffusion of mysterious blue. The -Castello d’Oro floats, black as ink, -like a shapeless hulk; across the -empty sky a solitary, ghostly cloud -lies sleeping; somewhere, beyond the -bay, the moonlight is dancing; and -the rhythm of the sleek, rolling waves -drowsily, lazily, rises and falls.</p> - -<p class='c008'>A boy and a girl lean together, -watching the waves: some mandolines -start a faint twanging; the distant -rattle of a cab—then all is quiet; -and the glow above Vesuvius, sullenly -pulsing, alone breaks in upon -the delicate serenity of the -night....</p> - -<div class='c002'></div> -<div class='sidenote'><h3><em>At the Theatre Manzoni</em></h3><br />Nov. 26</div> - -<p class='drop-capa0_0_6 c011'>I have been to many first-nights -there, for I have found a certain -childish charm in the small, shabby, -blue-and-white theatre, the tiers of -minute boxes, close-packed with faces, -the noisy Neapolitan pit, and the inevitable -<span class='pageno' id='Page_43'>43</span>row of callow critics, sucking -their pencil-stumps, each with his hat -tight-jammed behind his head.</p> - -<p class='c008'>But especially there lingers in my -mind the memory of a certain brief, -mediæval drama, where a little flaxen-haired -lady, wearing a low-cut dress -of arsenic-green satin, passionately -implored mercy of a curly-pated -knight in a shirt of maroon-coloured -velvet, for a great wrong she had done -him. She wept piteously, poor little -creature, tearing tremulously at her -fluffy locks, and on her knees appealing -to us all to help her. But the -little knight kept his wooden gaze -obdurately averted from her, till, exhausted, -she sank dying on to a gilt-legged -couch.</p> - -<p class='c008'>The actors were only marionettes. -The little lady was somewhat obviously -painted, and the little knight -stood a trifle stiffly, as if suffering -slightly from stage-fright. But the -pit sat the scene out in breathless -<span class='pageno' id='Page_44'>44</span>silence, and the row of callow critics -sucked their pencil-stumps with renewed -vigour, and jammed their hats -tighter behind their heads. For in -some curious, inexplicable way the -thing was quite moving—he was so -brutal, the little curly-pated knight -in his shirt of maroon-coloured velvet; -and she, poor, sobbing, little -flaxen-haired lady, pleaded so desperately....</p> - -<p class='c008'>Once before, in my childhood, -through a half-closed door, I saw a -girl plead with that same tense fragility. -She, too, had flaxen hair, and -wore a low-necked dress of green -satin; and he, the man, stood stiffly, -turning his gaze away from her, obdurately. -And each scene, as I now -compose them, seems to contain a -kindred underlying element of -grotesque unreality.</p> - -<hr class='c009' /> - -<div><span class='pageno' id='Page_45'>45</span></div> -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>POMPEII</h2><br />Nov. 28</div> - -<p class='drop-capa0_0_6 c007'>It was an old mill. There were -white columns of peeling plaster -flanking the granary, and stacks of -frowsy brushwood blocking the door. -Part of it had fallen away; tall, rank -grass grew between the rottening -rafters of the roof; and remnants -of battered frescoes, that had once -adorned the walls of the upper rooms, -were now spread bare to sun and -wind and rain. And the meal-troughs -were full of blossoming wild-flowers. -Beside the mill stood a small, square -Moorish house, roofed with lava, -scowling with dirt; and beside the -house, guarding a public well, was -a gaunt crane of mouldering wood. -Across the sleekly rippling mill-stream -a ragged peasant family were ranged -the length of a strip of powdery soil—the -father, the mother, two sons, -four daughters, and a toddling child—and -beyond them stretched the -great dead-grey expanse of roofless -walls—the sun-dried corpse of the -<span class='pageno' id='Page_46'>46</span>ruined Roman town. In the twilight -the sea lay towards Capri the colour -of yellow mud; and Vesuvius, turning -a vague, velvety black, was trickling -his smoky breath towards the bay.</p> - -<p class='c008'>There was a great immobility in -the air—an immobility that seemed -born of long ages: and, somehow, -more than the ruined town itself—defaced -by German tourists and uniformed -guides—this corner of the -country supplied a bitter sense of -shortness of life, the impassive -sloth of time....</p> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>IN THE BAY OF SALERNO</h2><br />Nov. 30</div> - -<p class='drop-capa0_0_6 c007'>To gaze across the black sweep -of sea, out into the mystery -of the night; to hear the restless -waves slowly sighing through the -darkness, as they beat the rocks a -thousand feet beneath; to love a -little so, with quiet pressure of hands, -<span class='pageno' id='Page_47'>47</span>and listlessly to ponder on strange -meanings of life and love and death.</p> - -<p class='c008'>And so, amid a still serenity of -dreamy sadness, to forget the mad -turmoil of passion, to grow indifferent -to all desire, and to wait, while the -heart fills full of grave gratitude towards -an unknown God.</p> - -<p class='c008'>And then, once more, to understand -how life is but a little thing, -and love but a passionate illusion, -and to envy the sea her sighing -in the days when the end -shall have come.</p> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>SEVILLE DANCING GIRLS</h2><br />December 10</div> - -<p class='drop-capa0_0_6 c007'>The entertainment draws to its -close, for it is past four in the -morning. In the hall, several of the -oil-lamps have already sputtered out; -the rest are burning with dull, blear-eyed -weariness. A score of unshaven -Spaniards, close muffled in <i><span lang="es" xml:lang="es">capas</span></i> and -lowering <i><span lang="es" xml:lang="es">sombreros</span></i>, sprawl in limp -<span class='pageno' id='Page_48'>48</span>attitudes over the empty benches, and -the circle of gaudy women that fill -the stage sit listless, pasty-faced, somnolent.</p> - -<p class='c008'>And then, for the last time, the -frenzy passes. The guitars start their -sudden, bitter twanging, and the -women their wild, rhythmical beating -of hands.</p> - -<p class='c008'>Amid volleys of harsh, frenzied -plaudits la Manolita dances, swaying -her soft, girlish frame with a tense, -exasperated restraint; supple as a serpent; -coyly, subtly lascivious; languidly -curling and uncurling her bare -white arms.</p> - -<p class='c008'>Out in the cold night air, as -I hasten home through the narrow, -sleeping streets, her soft, girlish frame -still sways before my eyes, -to the bitter twanging -of guitars.</p> - -<div><span class='pageno' id='Page_49'>49</span></div> -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>SUNRISE</h2></div> - -<p class='drop-capa0_0_6 c007'>To ride alone beneath the stars, -through the long indefinite -hours of the night; to climb the -slumbering mountain-hulks; to hear -the dull roar of the river, toiling -unwearied through the darkness below; -to break, with a sudden clattering -of hoofs, the gloomy stillness of -distant village-streets, and on through -the twilight that precedes the dawn, -to journey, without flagging, high -up against the sky, across a desolate, -limitless plain.</p> - -<p class='c008'>To scout the future; to unlearn -the past; and to brood vaguely, as -the night broods....</p> - -<p class='c008'>To elude desire; to disdain the -thrill of hate; to forget the long -aching of love, and to commune, in -tender serenity, with the grave-eyed -Spirit of Rest.</p> - -<p class='c008'>And then, while the night slinks -away across the hills, to push on -towards the sunrise; to watch the -marshalling of ruddy heralds across -<span class='pageno' id='Page_50'>50</span>the East, and at last to meet the -Great God’s dazzling glory, -bursting in splendour across -the empty land.</p> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>OFF CAPE TRAFALGAR</h2><br />December 18</div> - -<p class='drop-capa0_0_6 c007'>We paced the bridge together, -chatting till his watch should -be done. The dim, uneasy outline -of the steamer’s bows loomed before -us; now and again we could feel her -pulse quicken, her sinews tighten, as, -like a living thing, she flinched from -each lashing of the waves.</p> - -<p class='c008'>He was telling me tales of the -yellow fever at Rio de Janeiro, of -the crowd of vessels lying in the -harbour without a soul on board, of -six weeks he had spent in the hospital -there, where twelve hundred -fever-stricken creatures lay packed on -the floor of a single ward, and the -doctors dared only shout to the patients -from behind a railed gangway.</p> - -<p class='c008'><span class='pageno' id='Page_51'>51</span>And, while he still talked, up from -the East crept the first flicker of the -dawn, revealing flocks of ruddy-sailed -smacks tossing off the Spanish shore; -then, slowly, the throng of black -billows turned to reddish-green, and -across the sky, from behind the -African coast, poured a deep, blood-red -stain. The mirage rose, lifting -into space the low line of black hills, -and the growing glow set a carpet -of cloud ablaze, till it hung, stretched -across the sky, like a vast awning -of beaten, burnished copper.</p> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>RÊVERIE</h2><br />December 25</div> - -<p class='drop-capa0_0_6 c007'>I dreamed of an age grown -strangely picturesque—of the -rich enfeebled by monotonous ease; -of the shivering poor clamouring -nightly for justice; of a helpless -democracy, vast revolt of the ill-informed; -of priests striving to be -rational; of sentimental moralists -<span class='pageno' id='Page_52'>52</span>protecting iniquity; of middle-class -princes; of sybaritic saints; of complacent -and pompous politicians; of -doctors hurrying the degeneration of -the race; of artists discarding possibilities -for limitations; of pressmen -befooling a pretentious public; of -critics refining upon the ’busman’s -methods; of inhabitants of Camberwell -chattering of culture.</p> - -<p class='c008'>And I dreamed of this great, dreamy -London of ours; of her myriad fleeting -moods; of the charm of her portentous -provinciality; and I awoke -all a-glad and hungering for -life....</p> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>IN RICHMOND PARK</h2></div> - -<p class='drop-capa0_0_6 c007'>In the wan, lingering light of the -winter afternoon, the park stood -all deserted; sluggishly drowsing, so -it seemed, with its spacious distances -muffled in greyness; colourless, fabulous, -blurred. One by one, through -<span class='pageno' id='Page_53'>53</span>the damp, misty air, loomed the tall, -stark, lifeless, elms. Overhead there -lowered a turbid sky, heavy-charged -with an unclean yellow. And, amid -the ruddy patches of dank and rottening -bracken, the little mare picked -her way noiselessly. The rumour of -life seemed hushed; there was only -the vague, listless rhythm of the creaking -saddle....</p> - -<p class='c008'>The daylight faded; a shroud of -ghostly mist enveloped the earth, -and up from the vaporous distance -crept slowly the evening -darkness....</p> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>NEW YEAR’S EVE</h2><br />December 31</div> - -<p class='drop-capa0_0_6 c007'>It was New Year’s eve. The old, -old scene. A London night; a -heavy-brown atmosphere splashed with -liquid, golden lights; the bustling market-place -of sin; a silent crowd of black -figures drifting over a wet, flickering -pavement.</p> - -<p class='c008'><span class='pageno' id='Page_54'>54</span>The slow, grave notes from a church -tower took command of the night. -The last one faded: the old year had -slipped by. And then a woman laughed—a -strident, level laugh; and there -swept through all the crowd a mad, -feverish tremor. The women ran one -to the other, kissing, wildly welcoming -the New Year in; and the men, -shouting thickly, snatched at them as -they ran. And the cabmen touted -eagerly for fares.</p> - -<p class='c008'>Across the road, by a corner, a -street missionary stood on a chair—an -undersized, poorly clad man, with -a wizened, bearded face.</p> - -<p class='c008'>... “Repent ... repent ... and -save your souls to-night from the -eternal torments of hell-fire.”</p> - -<p class='c008'>The women jostled him, pelted him -with foul gibes; and one—a young -girl—broke into a peal of hysterical -laughter.</p> - -<p class='c008'>And I mused wonderingly on -the ugliness of sin.</p> - -<div><span class='pageno' id='Page_55'>55</span></div> -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>IN ST. JAMES’S PARK</h2><br />January 15</div> - -<p class='drop-capa0_0_6 c007'>A sullen glow throbs overhead: -golden will-o’-wisps are -threading their shadowy groupings -of gaunt-limbed trees; and the dull, -distant rumour of feverish London -waits on the still, night air. The -lights of Hyde Park corner blaze -like some monster, gilded constellation, -shaming the dingy stars; and -across the East there flares a sky-sign—a -gaudy, crimson arabesque.</p> - -<p class='c008'>And all the air hangs draped in -the mysterious, sumptuous splendour -of a murky London -night....</p> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>IN THE STRAND</h2><br />January 27</div> - -<p class='drop-capa0_0_6 c007'>The city disgorges.</p> - -<p class='c008'>All along the Strand, down -the great, ebbing tide, the omnibuses, -a congested press of gaudy craft, drift -westwards, jostling and jamming their -tall, loaded decks, with a clanking of -chains, a rumble of lumbering wheels, -<span class='pageno' id='Page_56'>56</span>a thudding of quick-loosed brakes, a -humming of hammering hoofs....</p> - -<p class='c008'>The empty hansoms slink silently -past; the street hawkers—a long row -of dingy figures—line the pavement edge; -troops of frenzied newsboys -dart yelling through the traffic; and -here and there a sullen-faced woman -struggles to stem the tide of men.</p> - -<p class='c008'>Somewhere, behind Pall Mall, unheeded -the sun has set: the sky is -powdered with crimson dust; one by -one the shops gleam out, blazing -their windows of burnished glass; the -twilight throbs with a ceaseless shuffle -of hurrying feet; and over all -things hovers the spirit of -London’s grim unrest.</p> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>SUNDAY AFTERNOON</h2><br />February 20</div> - -<p class='drop-capa0_0_6 c007'>It was a little street, shabbily symmetrical—a -double row of insignificant, -dingy-brick houses. Muffled -<span class='pageno' id='Page_57'>57</span>in the dusk of the fading winter afternoon, -it seemed sunk in squalid, listless -slumber. In the distance a church-bell -was tolling its joyless mechanical -Sunday tale.</p> - -<p class='c008'>A man stood in the roadway, droning -the words of a hymn-tune. He -was old and decayed and sluttish: he -wore an ancient, baggy frock-coat, -and, through the cracks in his boots, -you could see the red flesh of his feet. -His gait was starved and timid: the -touch of the air was very bitter. And -when he had finished his singing, he -remained gazing up at the rows of -lifeless windows, with a look of -dull expectancy in his bloodshot, -watery eyes.</p> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>RÊVERIE</h2><br />April 15</div> - -<p class='drop-capa0_0_6 c007'>The English Midlands, sluggishly -effluent, a massy profusion of -well-upholstered undulations; Normandy, -<span class='pageno' id='Page_58'>58</span>coquettish, almost dapper, -in its discreet rusticity, its finikin -spruceness, its distinguished reticence -of detail; the plains of Lombardy in -midsummer, all glutted with luscious -vegetation; Switzerland, tricked out -in cheap sentimentality, in a catchpenny -crudity of tone; Andalucia, -savagely harsh, with its bitter, exasperated -colouring....</p> - -<p class='c008'>In every country there links a personality, -and the contemplation of the -memories of the lands where one has -lived, of the books one has cherished, -of the women one has loved, brings -with it a strange sense of the incomprehensible -promptings of caprice.</p> - -<p class='c008'>With the fluctuations of mood, -Musset seems puerile or passionate; -Amiel, lachrymose or exquisitely perceptive; -Baudelaire, <i><span lang="fr" xml:lang="fr">macabre</span></i> or impassively -statuesque; Pater, tortuous -or infinitely dexterous; Meredith, -irksome or gorgeously prismatic.</p> - -<p class='c008'>There are women whom we worshipped -<span class='pageno' id='Page_59'>59</span>years ago, who would certainly -fail to move us to-day; books -that enthralled us in our childhood, -which we hesitate to open again; -places we had read of with delight, -and for that reason shrink from surveying.</p> - -<hr class='c009' /> - -<p class='c008'>And so to-night, beneath the lime-tree, -by the dog-rose hedge, whilst -the grasshoppers scrape their ceaseless -chorus, and the flies roam like -specks of gold, and the fawn-coloured -cattle stalk home from the pastures, -I wonder dreamily how I have come -to love so steadfastly the whole wayward -grace of this country-side—the -melancholy of its wide plains, burnt -to dun colour by the Southern sun; -the desolate silence of those dark, -endless pine forests that lie beyond; -the hesitating contours of wooded -slopes; the distant Pyrenees, a long, -ragged, snow-capped wall; the dazzling-white -roads, stretching between -<span class='pageno' id='Page_60'>60</span>their tall, slim poplars, straight towards -the horizon; the tumble-down, -white-faced villages, huddled on the -hilltops; their battered, sloping roofs, -tilted all awry, like loose-fitting, -peaked caps of faded-red tiles; the -farmyards, strewn with dingy ox-bedding, -and littered with a decrepit -multitude of objects, which, it seems, -can never have been new—broken -earthenware pots, rickety, rush-bottomed -chairs, stacks of dead branches, -still rustling their brown, winter -leaves; the slow-paced oxen ploughing -the land; the peasants, men, -women, and children, swaying in line -as they sow the maize, with the -poultry pecking behind; the jangling -bells of the dilapidated, yellow-wheeled -courier; the market-days, the sea of -blue <i><span lang="fr" xml:lang="fr">bérets</span></i>, the press of blue blouses, -the incoherent waving of ox-goads, -the bristling of curved horns, the -shifting mass of sleek, fawn-coloured -backs; the narrow, ramshackle streets -<span class='pageno' id='Page_61'>61</span>of the town; the line of plane-trees -on the <i><span lang="fr" xml:lang="fr">place d’armes</span></i>, beneath which -groups of grave <i><span lang="fr" xml:lang="fr">bourgeois</span></i> are for ever -pacing; and the Gave, spurting over -the rocks, under the old Norman -bridge....</p> - -<hr class='c009' /> - -<p class='c008'>The sun slips behind a bank of -inky cloud, slowly trailing its pale-green -stain, and the old, penetrating -charm of this tiny corner of the -earth returns, and the old longing to -bind myself to it, to have my place -in its life, always, through the years -to come....</p> - -<hr class='c009' /> - -<p class='c008'>The oxen have gone their way -along the road; the lengthy twilight -shadows steal across the garden; from -the church-spire up on the hill the -Angelus rings out; quite near at -hand a tree-frog starts piping his -shrill, clear note, and the cockchafers -their angry whirling; and then, of a -sudden, the violet night has fallen, -<span class='pageno' id='Page_62'>62</span>wrapping all earth and sky in her -mysterious, impenetrable -blackness....</p> - -<hr class='c009' /> - -<div class='chapter'> - -</div> -<div class='c003'></div> -<div class='sidenote'><h2>ENFANTILLAGE</h2><br />April 23</div> - -<p class='drop-capa0_0_6 c007'>Have you never longed to -wander there, in that wonderful -cloudland beyond the sea, -where, like droves of monstrous cattle, -close-huddled and drowsy, they lie -the day through—the comely, milk-white -summer clouds, slow and sleek -and swelling; the quick-scudding -darkling clouds, tattered with travelling -across the sky; the mighty -thunder-clouds, violet and lowering; -the flocks of fluffy-white baby clouds; -and all the sun’s great gaudy guard, -from the daintily gilded sunset spars -to the blood-red bands that frequent -the South?</p> - -<p class='c008'>Sometimes, at even-fall, when the -sea lies calm in her opal tints, you -<span class='pageno' id='Page_63'>63</span>may discern the distant lines of their -strange, fantastic home, vague, phantasmagoric, -like a mirage beyond the -horizon.</p> - -<p class='c008'>Perhaps, after death, we may linger -there, and watch them silently sail -away towards the lands we have -loved long ago!...</p> - -<div class='nf-center-c0'> -<div class='nf-center c003'> - <div>FINIS</div> - </div> -</div> - -<div class='figcenter id001'> -<img src='images/i_064.jpg' alt='_Printed by R. Folkard & Son, 22, Devonshire St., Queen Sq., London._' class='ig001' /> -</div> - -<div class='figcenter id002'> -<span class='pageno' id='Page_101'>101</span> -<img src='images/i_065.jpg' alt='JOHN LANE THE BODLEY HEAD VIGO ST W. _Telegrams_ “BODLEIAN LONDON” CATALOGUE _of_ PUBLICATIONS _in_ BELLES LETTRES _all at net prices_' class='ig001' /> -</div> - -<div class='lg-container-r c003'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='pageno' id='Page_102'>102</span><em>1896.</em></div> - </div> - </div> -</div> - -<div class='section ph2'> - -<div class='nf-center-c0'> -<div class='nf-center c003'> - <div>List of Books</div> - <div class='c012'>IN</div> - <div class='c012'><em>BELLES LETTRES</em></div> - <div class='c012'>(<em>Including some Transfers</em>)</div> - <div class='c012'>Published by John Lane</div> - <div class='c012'>The Bodley Head</div> - <div class='c012'>Vigo Street, London, W.</div> - <div class='c012'>❦</div> - </div> -</div> - -</div> - -<p class='c013'><em>ADAMS (FRANCIS).</em></p> - -<p class='c014'><span class='sc'>Essays in Modernity.</span> Cr. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Shortly.</em></div> - </div> - </div> -</div> - -<p class='c014'><span class='sc'>A Child of the Age.</span> (<em>See</em> <span class='sc'>Keynotes Series</span>.)</p> - -<p class='c013'><em>ALLEN (GRANT).</em></p> - -<p class='c014'><span class='sc'>The Lower Slopes</span>: A Volume of Verse. With title-page -and cover design by <span class='sc'>J. Illingworth Kay</span>. Cr. 8vo. -5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c014'><span class='sc'>The Woman Who Did.</span> (<em>See</em> <span class='sc'>Keynotes Series</span>.)</p> - -<p class='c014'><span class='sc'>The British Barbarians.</span> (<em>See</em> <span class='sc'>Keynotes Series</span>.)</p> - -<p class='c013'><em>ARCADY LIBRARY (THE).</em></p> - -<p class='c014'><span class='sc'>A Series of Open-Air Books.</span> Edited by <span class='sc'>J. S. Fletcher</span>. -With cover designs by <span class='sc'>Patten Wilson</span>. Each -volume cr. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c014'><span class='pageno' id='Page_103'>103</span>Vol. 1. <span class='sc'>Round About a Brighton Coach Office.</span> -By <span class='sc'>Maude Egerton King</span>. With over 30 illustrations -by <span class='sc'>Lucy Kemp-Welch</span>.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><em>The following are in preparation.</em></div> - </div> -</div> - -<p class='c014'>Vol. 2. <span class='sc'>Scholar Gipsies.</span> By <span class='sc'>John Buchan</span>. With -seven full-page etchings by <span class='sc'>D. Y. Cameron</span>.</p> - -<p class='c014'>Vol. 3. <span class='sc'>Life in Arcadia.</span> By <span class='sc'>J. S. Fletcher</span>. Illustrated -by <span class='sc'>Patten Wilson</span>.</p> - -<p class='c014'>Vol. 4. <span class='sc'>A Garden of Peace.</span> By <span class='sc'>Helen Crofton</span>. -With illustrations by <span class='sc'>Edmund H. New</span>.</p> - -<p class='c013'><em>BEECHING (R. H. C.).</em></p> - -<p class='c014'><span class='sc'>In a Garden</span>: Poems. With title-page and cover design -by <span class='sc'>Roger Fry</span>. Cr. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><em>BEERBOHM (MAX).</em></p> - -<p class='c014'><span class='sc'>The Works of Max Beerbohm.</span> With a Bibliography -by <span class='sc'>John Lane</span>. Sq. 16mo. 4<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>In preparation.</em></div> - </div> - </div> -</div> - -<p class='c013'><em>BENSON (ARTHUR CHRISTOPHER).</em></p> - -<p class='c014'><span class='sc'>Lyrics.</span> Fcap. 8vo., buckram. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><em>BODLEY HEAD ANTHOLOGIES (THE).</em></p> - -<p class='c014'>Edited by <span class='sc'>Robert H. Case</span>. With title-page and cover -designs by <span class='sc'>Walter West</span>. Each volume cr. 8vo. -5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c014'>Vol. 1. <span class='sc'>English Epithalamies.</span> By <span class='sc'>Robert H. Case</span>.</p> - -<p class='c014'>Vol. 2. <span class='sc'>Musa Piscatrix.</span> By <span class='sc'>John Buchan</span>. With -six etchings by <span class='sc'>E. Philip Pimlott</span>.</p> - -<p class='c014'>Vol. 3. <span class='sc'>English Elegies.</span> By <span class='sc'>John C. Bailey</span>.</p> - -<p class='c014'>Vol. 4. <span class='sc'>English Satires.</span> By <span class='sc'>Charles Hill Dick</span>.</p> - -<p class='c013'><em>BRIDGES (ROBERT).</em></p> - -<p class='c014'><span class='sc'>Suppressed Chapters and other Bookishness.</span> Cr. -8vo. 3<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Second Edition.</em></div> - </div> - </div> -</div> - -<p class='c013'><em>BROTHERTON (MARY).</em></p> - -<p class='c014'><span class='sc'>Rosemary for Remembrance.</span> With title-page and cover -design by <span class='sc'>Walter West</span>. Fcap. 8vo. 3<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c013'><span class='pageno' id='Page_104'>104</span><em>CRANE (WALTER).</em></p> - -<p class='c014'><span class='sc'>Toy Books.</span> Re-issue. Each with new cover design and -end papers. 9<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c014'> <span class='fss'>I.</span> <span class='sc'>This Little Pig.</span></p> - -<p class='c014'> <span class='fss'>II.</span> <span class='sc'>The Fairy Ship.</span></p> - -<p class='c014'><span class='fss'>III.</span> <span class='sc'>King Luckieboy’s Party.</span></p> - -<p class='c014'>The group of three bound in one volume, with a decorative -cloth cover, end papers, and a newly written and designed -title-page and preface. 3<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c013'><em>DALMON (C. W.).</em></p> - -<p class='c014'><span class='sc'>Song Favours.</span> With title-page designed by <span class='sc'>J. P. Donne</span>. -Sq. 16mo. 3<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c013'><em>DAVIDSON (JOHN).</em></p> - -<p class='c014'><span class='sc'>Plays</span>: An Unhistorical Pastoral; A Romantic Farce; -Bruce, a Chronicle Play; Smith, a Tragic Farce; -Scaramouch in Naxos, a Pantomime. With a frontispiece -and cover design by <span class='sc'>Aubrey Beardsley</span>. -Sm. 4to. 7<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c014'><span class='sc'>Fleet Street Eclogues.</span> Fcap. 8vo., buckram. 4<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Third Edition.</em></div> - </div> - </div> -</div> - -<p class='c014'><span class='sc'>Fleet Street Eclogues.</span> Second Series. Fcap. 8vo., -buckram. 4<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Second Edition.</em></div> - </div> - </div> -</div> - -<p class='c014'><span class='sc'>A Random Itinerary and a Ballad.</span> With a frontispiece -and title-page by <span class='sc'>Laurence Housman</span>. Fcap -8vo., Irish Linen. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c014'><span class='sc'>Ballads and Songs.</span> With title-page designed by <span class='sc'>Walter -West</span>. Fcap. 8vo., buckram. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Fourth Edition.</em></div> - </div> - </div> -</div> - -<p class='c013'><em>DE TABLEY (LORD).</em></p> - -<p class='c014'><span class='sc'>Poems, Dramatic and Lyrical.</span> By <span class='sc'>John Leicester -Warren</span> (Lord De Tabley). Illustrations and cover -design by <span class='sc'>C. S. Ricketts</span>. Cr. 8vo. 7<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Third Edition.</em></div> - </div> - </div> -</div> - -<p class='c014'><span class='sc'>Poems, Dramatic and Lyrical.</span> 2nd series, uniform -in binding with the former volume. Cr. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c016'><em>EGERTON (GEORGE).</em></p> - -<p class='c014'><span class='sc'>Keynotes.</span> (<em>See</em> <span class='sc'>Keynotes Series</span>.)</p> - -<p class='c014'><span class='sc'>Discords.</span> (<em>See</em> <span class='sc'>Keynotes Series</span>.)</p> - -<p class='c014'><span class='sc'>Young Ofeg’s Ditties.</span> A translation from the Swedish -of <span class='sc'>Ola Hansson</span>. With title page and cover design -by <span class='sc'>Aubrey Beardsley</span>. Cr. 8vo. 3<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c013'><span class='pageno' id='Page_105'>105</span><em>EVE’S LIBRARY.</em></p> - -<p class='c014'>Each volume cr. 8vo. 3<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c014'>Vol. 1. <span class='sc'>Modern Women</span>: an English Rendering of -<span class='sc'>Laura Marholm Hansson’s</span> ‘<span class='sc'><span lang="de" xml:lang="de">Das Buch der -Frauen</span></span>.’ By <span class='sc'>Hermione Ramsden</span>. (Subjects:—Sonia -Kovalevsky; George Egerton; Eleonora Duse; -Amalie Skram; Marie Bashkirtseff; A. Ch. Edgren-Leffler.)</p> - -<p class='c014'>Vol. 2. <span class='sc'>The Ascent of Woman.</span> By <span class='sc'>Roy Devereux</span>.</p> - -<p class='c014'>Vol. 3. <span class='sc'>Marriage Questions in Modern Fiction.</span> -By <span class='sc'>Elizabeth Rachel Chapman</span>.</p> - -<p class='c013'><em>FIELD (EUGENE).</em></p> - -<p class='c014'><span class='sc'>The Love Affairs of a Bibliomaniac.</span> Post 8vo. -3<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c013'><em>FLETCHER (J. S.).</em></p> - -<p class='c014'><span class='sc'>The Wonderful Wapentake.</span> By “<span class='sc'>A Son of the -Soil</span>.” With 18 full-page illustrations by <span class='sc'>J. A. -Symington</span>. Cr. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c014'><span class='sc'>Life in Arcadia.</span> (<em>See</em> <span class='sc'>Arcady Library</span>.)</p> - -<p class='c013'><em>FOUR AND SIX-PENNY NOVELS.</em></p> - -<p class='c014'>Each Volume with title-page and cover design by <span class='sc'>Patten -Wilson</span>. Cr. 8vo. 4<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c014'><span class='sc'>Galloping Dick.</span> By <span class='sc'>H. B. Marriott Watson</span>.</p> - -<p class='c014'><span class='sc'>The Wood of the Brambles.</span> By <span class='sc'>Frank Mathew</span>.</p> - -<p class='c014'><span class='sc'>The Sacrifice of Fools.</span> By <span class='sc'>R. Manifold Craig</span>.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><em>The following are in preparation.</em></div> - </div> -</div> - -<p class='c014'><span class='sc'>A Lawyer’s Wife.</span> By <span class='sc'>Sir Nevill Geary, Bart.</span></p> - -<p class='c014'><span class='sc'>Weighed in the Balance.</span> By <span class='sc'>Harry Lander</span>.</p> - -<p class='c014'><span class='sc'>Glamour.</span> By <span class='sc'>Meta Orred</span>.</p> - -<p class='c014'><span class='sc'>Patience Sparhawk and Her Times.</span> By <span class='sc'>Gertrude -Atherton</span>.</p> - -<p class='c014'><span class='sc'>The Career of Delia Hastings.</span> By <span class='sc'>H. B. Marriott -Watson</span>.</p> - -<p class='c013'><em>GALE (NORMAN).</em></p> - -<p class='c014'><span class='sc'>Orchard Songs.</span> With title-page and cover design by -<span class='sc'>J. Illingworth Kay</span>. Fcap. 8vo. Irish Linen. -5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c017'>Also a special edition, limited in number, on hand-made -paper, bound in English vellum. £1. 1<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><span class='pageno' id='Page_106'>106</span><em>GARNETT (RICHARD).</em></p> - -<p class='c014'><span class='sc'>Poems.</span> With title-page by <span class='sc'>J. Illingworth Kay</span>. -Cr. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c014'><span class='sc'>Dante, Petrarch, Camoens.</span> CXXIV Sonnets rendered -in English. Cr. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><em>GIBSON (CHARLES DANA).</em></p> - -<p class='c014'><span class='sc'>Pictures</span>: Nearly One Hundred Large Cartoons. Oblong -folio. 15<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><em>GOSSE (EDMUND).</em></p> - -<p class='c014'><span class='sc'>The Letters of Thomas Lovell Beddoes.</span> Now -first edited. Pott 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c017'>Also 25 copies large paper. 12<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c013'><em>GRAHAME (KENNETH).</em></p> - -<p class='c014'><span class='sc'>Pagan Papers: A Volume of Essays.</span> With title-page -by <span class='sc'>Aubrey Beardsley</span>. Fcap. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Out of print at present.</em></div> - </div> - </div> -</div> - -<p class='c014'><span class='sc'>The Golden Age.</span> With cover designs by <span class='sc'>Charles -Robinson</span>. Cr. 8vo. 3<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Third Edition.</em></div> - </div> - </div> -</div> - -<p class='c013'><em>GREENE (G. A.)</em></p> - -<p class='c014'><span class='sc'>Italian Lyrists of To-Day.</span> Translations in the original -metres from about 35 living Italian poets; with bibliographical -and biographical notes. Cr. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><em>GREENWOOD (FREDERICK).</em></p> - -<p class='c014'><span class='sc'>Imagination in Dreams.</span> Cr. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><em>HAKE (T. GORDON).</em></p> - -<p class='c014'><span class='sc'>A Selection from his Poems.</span> Edited by Mrs. <span class='sc'>Meynell</span>, -with a portrait after <span class='sc'>D. G. Rossetti</span>, and a -cover design by <span class='sc'>Gleeson White</span>. Cr. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><em>HAYES (ALFRED).</em></p> - -<p class='c014'><span class='sc'>The Vale of Arden, and Other Poems.</span> With a -title-page and cover design by <span class='sc'>E. H. New</span>. Fcap. 8vo. -3<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c017'>Also 25 copies large paper. 15<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><span class='pageno' id='Page_107'>107</span><em>HAZLITT (WILLIAM).</em></p> - -<p class='c014'><span class='sc'>Liber Amoris; or, The New Pygmalion.</span> Edited, -with an Introduction, by <span class='sc'>Richard Le Gallienne</span>. -To which is added an exact transcript of the original -MS., Mrs. Hazlitt’s diary in Scotland, and letters never -before published. Portrait after <span class='sc'>Bewick</span>, and facsimile -letters. 400 copies only. 4to., 364 pp., buckram. -21<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><em>HEINEMANN (WILLIAM).</em></p> - -<p class='c014'><span class='sc'>The First Step</span>: A Dramatic Moment. Sm. 4to. -3<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c013'><em>HOPPER (NORA).</em></p> - -<p class='c014'><span class='sc'>Ballads in Prose.</span> With a title-page and cover by -<span class='sc'>Walter West</span>. Sq. 16mo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c014'><span class='sc'>Under Quicken Boughs.</span> With title-page designed by -<span class='sc'>Patten Wilson</span>. Crown 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><em>HOUSMAN (CLEMENCE).</em></p> - -<p class='c014'><span class='sc'>The Were Wolf.</span> With six full-page illustrations, title-page -and cover design by <span class='sc'>Laurence Housman</span>. -Sq. 16mo. 3<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c013'><em>HOUSMAN (LAURENCE).</em></p> - -<p class='c014'><span class='sc'>Green Arras</span>: Poems. With 6 illustrations, title-page, -and cover design by the Author. Cr. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>In preparation.</em></div> - </div> - </div> -</div> - -<p class='c013'><em>IRVING (LAURENCE).</em></p> - -<p class='c014'><span class='sc'>Godefroi and Yolande</span>: A Play. Sm. 4to. 3<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> -<em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>In preparation.</em></div> - </div> - </div> -</div> - -<p class='c013'><em>JAMES (W. P.).</em></p> - -<p class='c014'><span class='sc'>Romantic Professions</span>: A Volume of Essays. With -title-page designed by <span class='sc'>J. Illingworth Kay</span>. Cr. 8vo. -5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><em>JOHNSON (LIONEL).</em></p> - -<p class='c014'><span class='sc'>The Art of Thomas Hardy.</span> Six Essays, with an -etched portrait by <span class='sc'>Wm. Strang</span>, and Bibliography by -<span class='sc'>John Lane</span>. Cr. 8vo. Buckram. 5<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Second Edition.</em></div> - </div> - </div> -</div> - -<p class='c017'>Also 150 copies, large paper, with proofs of the -portrait. £1. 1<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><span class='pageno' id='Page_108'>108</span><em>JOHNSON (PAULINE).</em></p> - -<p class='c014'><span class='sc'>The White Wampum</span>: Poems. With title-page and -cover designs by <span class='sc'>E. H. New</span>. Cr. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><em>JOHNSTONE (C. E.).</em></p> - -<p class='c014'><span class='sc'>Ballads of Boy and Beak.</span> With a title-page designed -by <span class='sc'>F. H. Townsend</span>. Sq. 32mo. 2<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><em>KEYNOTES SERIES.</em></p> - -<p class='c014'>Each volume with specially-designed title-page by <span class='sc'>Aubrey -Beardsley</span>. Cr. 8vo. cloth. 3<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c014'>Vol. <span class='fss'>I</span>. <span class='sc'>Keynotes.</span> By <span class='sc'>George Egerton</span>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Seventh Edition.</em></div> - </div> - </div> -</div> - -<p class='c014'>Vol. <span class='fss'>II</span>. <span class='sc'>The Dancing Faun</span>. By <span class='sc'>Florence Farr</span>.</p> - -<p class='c014'>Vol. <span class='fss'>III</span>. <span class='sc'>Poor Folk.</span> Translated from the Russian of -<span class='sc'>F. Dostoievsky</span> by <span class='sc'>Lena Milman</span>, with a -preface by <span class='sc'>George Moore</span>.</p> - -<p class='c014'>Vol. <span class='fss'>IV</span>. <span class='sc'>A Child of the Age.</span> By <span class='sc'>Francis Adams</span>.</p> - -<p class='c014'>Vol. <span class='fss'>V</span>. <span class='sc'>The Great God Pan and the Inmost -Light.</span> By <span class='sc'>Arthur Machen</span>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Second Edition.</em></div> - </div> - </div> -</div> - -<p class='c014'>Vol. <span class='fss'>VI</span>. <span class='sc'>Discords.</span> By <span class='sc'>George Egerton</span>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Fourth Edition.</em></div> - </div> - </div> -</div> - -<p class='c014'>Vol. <span class='fss'>VII</span>. <span class='sc'>Prince Zaleski.</span> By <span class='sc'>M. P. Shiel</span>.</p> - -<p class='c014'>Vol. <span class='fss'>VIII</span>. <span class='sc'>The Woman who Did.</span> By <span class='sc'>Grant Allen</span>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Twenty-first Edition.</em></div> - </div> - </div> -</div> - -<p class='c014'>Vol. <span class='fss'>IX</span>. <span class='sc'>Women’s Tragedies.</span> By <span class='sc'>H. D. Lowry</span>.</p> - -<p class='c014'>Vol. <span class='fss'>X</span>. <span class='sc'>Grey Roses.</span> By <span class='sc'>Henry Harland</span>.</p> - -<p class='c014'>Vol. <span class='fss'>XI</span>. <span class='sc'>At the First Corner, and Other Stories.</span> -By <span class='sc'>H. B. Marriott Watson</span>.</p> - -<p class='c014'>Vol. <span class='fss'>XII</span>. <span class='sc'>Monochromes.</span> By <span class='sc'>Ella D’Arcy</span>.</p> - -<p class='c014'>Vol. <span class='fss'>XIII</span>. <span class='sc'>At the Relton Arms.</span> By <span class='sc'>Evelyn Sharp</span>.</p> - -<p class='c014'>Vol. <span class='fss'>XIV</span>. <span class='sc'>The Girl from the Farm.</span> By <span class='sc'>Gertrude -Dix</span>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Second Edition.</em></div> - </div> - </div> -</div> - -<p class='c014'>Vol. <span class='fss'>XV</span>. <span class='sc'>The Mirror of Music.</span> By <span class='sc'>Stanley V. -Makower</span>.</p> - -<p class='c014'>Vol. <span class='fss'>XVI</span>. <span class='sc'>Yellow and White.</span> By <span class='sc'>W. Carlton -Dawe</span>.</p> - -<p class='c014'>Vol. <span class='fss'>XVII</span>. <span class='sc'>The Mountain Lovers.</span> By <span class='sc'>Fiona Macleod</span>.</p> - -<p class='c014'>Vol. <span class='fss'>XVIII</span>. <span class='sc'>The Woman Who Didn’t.</span> By <span class='sc'>Victoria -Crosse</span>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Third Edition.</em></div> - </div> - </div> -</div> - -<p class='c014'>Vol. <span class='fss'>XIX</span>. <span class='sc'>The Three Impostors.</span> By <span class='sc'>Arthur -Machen</span>.</p> - -<p class='c014'><span class='pageno' id='Page_109'>109</span>Vol. <span class='fss'>XX</span>. <span class='sc'>Nobody’s Fault.</span> By <span class='sc'>Netta Syrett</span>.</p> - -<p class='c014'>Vol. <span class='fss'>XXI</span>. <span class='sc'>The British Barbarians.</span> By <span class='sc'>Grant -Allen</span>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Second Edition.</em></div> - </div> - </div> -</div> - -<p class='c014'>Vol. <span class='fss'>XXII</span>. <span class='sc'>In Homespun.</span> By <span class='sc'>E. Nesbit</span>.</p> - -<p class='c014'>Vol. <span class='fss'>XXIII</span>. <span class='sc'>Platonic Affections.</span> By <span class='sc'>John Smith</span>.</p> - -<p class='c014'>Vol. <span class='fss'>XXIV</span>. <span class='sc'>Nets for the Wind.</span> By <span class='sc'>Una Taylor</span>.</p> - -<p class='c014'>Vol. <span class='fss'>XXV</span>. <span class='sc'>Where the Atlantic Meets the Land.</span> -By <span class='sc'>Caldwell Lipsett</span>.</p> - -<div class='nf-center-c1'> -<div class='nf-center c015'> - <div>(The following are in rapid preparation).</div> - </div> -</div> - -<p class='c014'>Vol. <span class='fss'>XXVI</span>. <span class='sc'>In Scarlet and Grey.</span> By the <span class='sc'>Hon. -Mrs. Arthur Henniker</span>. (With a story, -“The Spectre of the Real,” written in -collaboration with <span class='sc'>Thomas Hardy</span>).</p> - -<p class='c014'>Vol. <span class='fss'>XXVII</span>. <span class='sc'>Maris Stella.</span> By <span class='sc'>Marie Clothilde -Balfour</span>.</p> - -<p class='c014'>Vol. <span class='fss'>XXVIII</span>. <span class='sc'>Morrison’s Heir.</span> By <span class='sc'>Mabel E. Wotton</span>.</p> - -<p class='c014'>Vol. <span class='fss'>XXIX</span>. <span class='sc'>Shapes in the Fire.</span> By <span class='sc'>M. P. Shiel</span>.</p> - -<p class='c014'>Vol. <span class='fss'>XXX</span>. <span class='sc'>Ugly Idol.</span> By <span class='sc'>Claud Nicholson</span>.</p> - -<p class='c013'><em>LANE’S LIBRARY.</em></p> - -<p class='c017'>Each volume cr. 8vo. 3<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c014'>Vol. <span class='fss'>I</span>. <span class='sc'>March Hares.</span> By <span class='sc'>George Forth</span>.</p> - -<p class='c014'>Vol. <span class='fss'>II</span>. <span class='sc'>The Sentimental Sex.</span> By <span class='sc'>Gertrude Warden</span>.</p> - -<p class='c014'>Vol. <span class='fss'>III</span>. <span class='sc'>Gold.</span> By <span class='sc'>Annie Luden</span>.</p> - -<p class='c014'>Vol. <span class='fss'>IV</span>. <span class='sc'>The Sentimental Vikings.</span> By <span class='sc'>R. V. Risley</span>.</p> - -<p class='c013'><em>LEATHER (R. K.).</em></p> - -<p class='c014'><span class='sc'>Verses.</span> 250 copies, fcap. 8vo. 3<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><em>Transferred by the Author to the present Publisher.</em></div> - </div> -</div> - -<p class='c013'><em>LE GALLIENNE (RICHARD).</em></p> - -<p class='c014'><span class='sc'>Prose Fancies</span>, with a portrait of the Author by <span class='sc'>Wilson -Steer</span>. Cr. 8vo., purple cloth. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Fourth Edition.</em></div> - </div> - </div> -</div> - -<p class='c017'>Also a limited large paper edition. 12<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> -<p class='c014'><span class='sc'>The Book Bills of Narcissus.</span> An account rendered -by <span class='sc'>Richard le Gallienne</span>. With a new chapter -and a frontispiece, cr. 8vo., purple cloth. 3<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Third Edition.</em></div> - </div> - </div> -</div> - -<p class='c017'>Also 50 copies on large paper. 8vo. 10<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c013'><span class='pageno' id='Page_110'>110</span><em>LE GALLIENNE (RICHARD).</em></p> - -<p class='c014'><span class='sc'>English Poems.</span> Revised. Cr. 8vo., purple cloth. 4<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> -<em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Fourth Edition.</em></div> - </div> - </div> -</div> - -<p class='c014'><span class='sc'>George Meredith</span>: Some Characteristics; with a Bibliography -(much enlarged) by <span class='sc'>John Lane</span>, portrait, &c. -Cr. 8vo., purple cloth. 5<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Fourth Edition.</em></div> - </div> - </div> -</div> - -<p class='c014'><span class='sc'>The Religion of a Literary Man.</span> Cr. 8vo., purple -cloth. 3<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Fifth Edition.</em></div> - </div> - </div> -</div> - -<p class='c017'>Also a special rubricated edition on hand-made paper. -8vo. 10<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c014'><span class='sc'>Robert Louis Stevenson</span>: An Elegy, and Other Poems, -mainly personal. With etched title-page by <span class='sc'>D. Y. -Cameron</span>. Cr. 8vo., purple cloth. 4<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c017'>Also 75 copies on large paper. 8vo. 12<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c014'><span class='sc'>Retrospective Reviews</span>: A Literary Log, 1891–1895. -2 vols., cr. 8vo., purple cloth. 9<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c014'><span class='sc'>Prose Fancies.</span> Second Series. Cr. 8vo., purple cloth. -5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>In preparation.</em></div> - </div> - </div> -</div> - -<p class='c014'><em>See also</em> <span class='sc'>Hazlitt, Liber Amoris</span>, p. 6.</p> - -<p class='c013'><em>LUCAS (WINIFRED).</em></p> - -<p class='c014'><span class='sc'>Units: Poems.</span> Fcap. 8vo. 4<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>In preparation.</em></div> - </div> - </div> -</div> - -<p class='c013'><em>LYNCH (HANNAH).</em></p> - -<p class='c014'><span class='sc'>The Great Galeoto, and Folly or Saintliness.</span> -Two Plays, from the Spanish of <span class='sc'>José Echegaray</span>, -with an Introduction. Sm. 4to. 5<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c013'><em>MARZIALS (THEO.).</em></p> - -<p class='c014'><span class='sc'>The Gallery of Pigeons, and Other Poems.</span> Post 8vo. -4<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Very few remain.</em></div> - </div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><em>Transferred by the Author to the present Publisher.</em></div> - </div> -</div> - -<p class='c013'><em>THE MAYFAIR SET.</em></p> - -<p class='c014'>Each volume fcap. 8vo. 3<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c014'>Vol. <span class='fss'>I</span>. <span class='sc'>The Autobiography of a Boy.</span> Passages -selected by his friend G. S. Street. With a -title-page designed by <span class='sc'>C. W. Furse</span>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Fifth Edition.</em></div> - </div> - </div> -</div> - -<p class='c014'>Vol. <span class='fss'>II</span>. <span class='sc'>The Joneses and the Asterisks</span>: a Story in -Monologue by <span class='sc'>Gerald Campbell</span>. With -title-page and six illustrations <span class='sc'>by F. H. -Townsend</span>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Second Edition.</em></div> - </div> - </div> -</div> - -<p class='c014'><span class='pageno' id='Page_111'>111</span>Vol. <span class='fss'>III</span>. <span class='sc'>Select Conversations with an Uncle, now -Extinct</span> by <span class='sc'>H. G. Wells</span>. With title-page -by <span class='sc'>F. H. Townsend</span>.</p> - -<p class='c014'>Vol. <span class='fss'>IV</span>. <span class='sc'>For Plain Women Only.</span> By <span class='sc'>George Fleming</span>. -With title-page by <span class='sc'>Patten Wilson</span>.</p> - -<p class='c014'>Vol. <span class='fss'>V</span>. <span class='sc'>The Feasts of Autolycus: the Diary of -a Greedy Woman</span>. Edited by <span class='sc'>Elizabeth -Robins Pennell</span>. With title-page by -<span class='sc'>Patten Wilson</span>.</p> - -<p class='c014'>Vol. <span class='fss'>VI</span>. <span class='sc'>Mrs. Albert Grundy: Observations in -Philistia.</span> By <span class='sc'>Harold Frederic</span>. With -title-page by <span class='sc'>Patten Wilson</span>.</p> - -<p class='c013'><em>MEREDITH (GEORGE).</em></p> - -<p class='c014'><span class='sc'>The First Published Portrait of this Author</span>, -engraved on the wood by <span class='sc'>W. Biscombe Gardner</span>, -after the painting by <span class='sc'>G. F. Watts</span>. Proof copies on -Japanese vellum, signed by painter and engraver. -£1. 1<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><em>MEYNELL (MRS.) (ALICE C. THOMPSON).</em></p> - -<p class='c014'><span class='sc'>Poems.</span> Fcap. 8vo. 3<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Third Edition.</em></div> - </div> - </div> -</div> - -<p class='c014'>A few of the 50 large paper copies (1st edition) remain. -12<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c014'><span class='sc'>The Rhythm of Life, and Other Essays.</span> Fcap. 8vo. -3<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Third Edition.</em></div> - </div> - </div> -</div> - -<p class='c014'>A few of the 50 large paper copies (1st edition) remain. -12<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c014'><span class='sc'>The Colour of Life, and other Essays.</span> Fcap. 8vo. -3<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>In preparation.</em></div> - </div> - </div> -</div> - -<p class='c014'><em>See also</em> <span class='sc'>Hake</span>.</p> - -<p class='c013'><em>MILLER (JOAQUIN).</em></p> - -<p class='c014'><span class='sc'>The Building of the City Beautiful.</span> Fcap. 8vo. -With a decorated cover. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><em>MONKHOUSE (ALLAN).</em></p> - -<p class='c014'><span class='sc'>Books and Plays: a Volume of Essays on Meredith, -Borrow, Ibsen, and others.</span> Cr. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><span class='pageno' id='Page_112'>112</span><em>NESBIT (E.).</em></p> - -<p class='c014'><span class='sc'>A Pomander of Verse.</span> With a title-page and cover -designed by <span class='sc'>Laurence Housman</span>. Cr. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c014'><span class='sc'>In Homespun</span> (<em>See</em> <span class='sc'>Keynotes Series</span>).</p> - -<p class='c013'><em>NETTLESHIP (J. T.).</em></p> - -<p class='c014'><span class='sc'>Robert Browning.</span> Essays and Thoughts. With a -portrait. Cr. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Third Edition.</em></div> - </div> - </div> -</div> - -<p class='c013'><em>NOBLE (JAS. ASHCROFT).</em></p> - -<p class='c014'><span class='sc'>The Sonnet in England, and Other Essays.</span> Title-page -and cover design by <span class='sc'>Austin Young</span>. Cr. 8vo. -5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c017'>Also 50 copies on large paper. 8vo. 12<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c013'><em>O’SHAUGHNESSY (ARTHUR).</em></p> - -<p class='c014'><span class='sc'>His Life and His Work.</span> With selections from his -Poems. By <span class='sc'>Louise Chandler Moulton</span>. Portrait -and cover design. Fcap. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><em>OXFORD CHARACTERS.</em></p> - -<p class='c014'>A series of 24 lithographed Portraits by <span class='sc'>Will Rothenstein</span>, -with text by <span class='sc'>F. York Powell</span> and others. -200 copies only, folio, buckram, £3. 3<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c014'>25 special large paper copies containing proof impressions -of the portraits signed by the artist. £6. 6<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><em>PETERS (WM. THEODORE).</em></p> - -<p class='c014'><span class='sc'>Posies out of Rings.</span> With title-page by <span class='sc'>Patten Wilson</span>. -Demy 16mo. 2<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><em>PIERROT’S LIBRARY.</em></p> - -<p class='c014'>Each volume with title-page, cover, and end papers designed -by <span class='sc'>Aubrey Beardsley</span>. Sq. 16mo. 2<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c014'>Vol. <span class='fss'>I</span>. <span class='sc'>Pierrot.</span> By <span class='sc'>H. de Vere Stacpoole</span>.</p> - -<p class='c014'>Vol. <span class='fss'>II</span>. <span class='sc'>My Little Lady Anne.</span> By Mrs. <span class='sc'>Egerton -Castle</span>.</p> - -<div class='nf-center-c1'> -<div class='nf-center c015'> - <div><em>The following are in preparation.</em></div> - </div> -</div> - -<p class='c014'>Vol. <span class='fss'>III</span>. <span class='sc'>Death, the Knight and the Lady.</span> By <span class='sc'>H. -de Vere Stacpoole</span>.</p> - -<p class='c014'>Vol. <span class='fss'>IV</span>. <span class='sc'>Simplicity.</span> By <span class='sc'>A. T. G. Price</span>.</p> - -<p class='c014'>Vol. <span class='fss'>V</span>. <span class='sc'>My Brother.</span> By <span class='sc'>Vincent Brown</span>.</p> - -<p class='c013'><span class='pageno' id='Page_113'>113</span><em>PLARR (VICTOR).</em></p> - -<p class='c014'><span class='sc'>In the Dorian Mood</span>: Poems. With title-page designed -by <span class='sc'>Patten Wilson</span>. Cr. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>In preparation.</em></div> - </div> - </div> -</div> - -<p class='c013'><em>RADFORD (DOLLIE).</em></p> - -<p class='c014'><span class='sc'>Songs, and Other Verses.</span> With title-page designed -by <span class='sc'>Patten Wilson</span>. Fcap. 8vo. 4<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c013'><em>RHYS (ERNEST).</em></p> - -<p class='c014'><span class='sc'>A London Rose and Other Rhymes.</span> With title-page -designed by <span class='sc'>Selwyn Image</span>. Cr. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><em>RICKETTS (C. S.) AND C. H. SHANNON.</em></p> - -<p class='c014'><span class='sc'>Hero and Leander.</span> By <span class='sc'>Christopher Marlowe</span> and -<span class='sc'>George Chapman</span>. With borders, initials, and illustrations -designed and engraved on the wood by <span class='sc'>C. S. -Ricketts</span> and <span class='sc'>C. H. Shannon</span>. Bound in English -vellum and gold. 200 copies only. 35<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><em>ROBERTSON (JOHN M.).</em></p> - -<p class='c014'><span class='sc'>Essays towards a Critical Method</span> (New Series). -Cr. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>In preparation.</em></div> - </div> - </div> -</div> - -<p class='c013'><em>ST. CYRES (LORD).</em></p> - -<p class='c014'><span class='sc'>The Little Flowers of St. Francis.</span> A new rendering -into English of the <span class='sc'>Fioretti di San -Francesco</span>. Cr. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>In preparation.</em></div> - </div> - </div> -</div> - -<p class='c013'><em>SHORE (LOUISA).</em></p> - -<p class='c014'><span class='sc'>Poems.</span> With a Memoir by <span class='sc'>Frederick Harrison</span>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>In preparation.</em></div> - </div> - </div> -</div> - -<p class='c013'><em>STEVENSON (ROBERT LOUIS).</em></p> - -<p class='c014'><span class='sc'>Prince Otto</span>: A Rendering in French by <span class='sc'>Egerton -Castle</span>. With frontispiece, title page, and cover -design by <span class='sc'>D. Y. Cameron</span>. Cr. 8vo. 7<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>In preparation.</em></div> - </div> - </div> -</div> - -<p class='c017'>Also 100 copies on large paper, uniform in size with the -Edinburgh Edition of the works.</p> - -<p class='c014'><span class='sc'>A Child’s Garden of Verses.</span> With over 150 illustrations -by <span class='sc'>Charles Robinson</span>. Cr. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Second Edition.</em></div> - </div> - </div> -</div> - -<p class='c013'><span class='pageno' id='Page_114'>114</span><em>STODDART (THOMAS TOD).</em></p> - -<p class='c014'><span class='sc'>The Death Wake.</span> With an introduction by <span class='sc'>Andrew -Lang</span>. Fcap. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><em>STREET (G. S.).</em></p> - -<p class='c014'><span class='sc'>Miniatures and Moods.</span> Fcap. 8vo. 3<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c014'><span class='sc'>Episodes.</span> Cr. 8vo. 3<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><em>The two volumes above transferred to the present Publisher.</em></div> - </div> -</div> - -<p class='c014'><span class='sc'>Quales Ego</span>: A few Remarks, in particular and at large. -Fcap. 8vo. 3<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c014'><span class='sc'>The Autobiography of a Boy.</span> (<em>See</em> <span class='sc'>Mayfair Set</span>).</p> - -<p class='c013'><em>SWETTENHAM (F. A.).</em></p> - -<p class='c014'><span class='sc'>Malay Sketches.</span> With title and cover designs by -<span class='sc'>Patten Wilson</span>. Cr. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Second Edition.</em></div> - </div> - </div> -</div> - -<p class='c013'><em>TABB (JOHN B.).</em></p> - -<p class='c014'><span class='sc'>Poems.</span> Sq. 32mo. 4<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c013'><em>TENNYSON (FREDERICK).</em></p> - -<p class='c014'><span class='sc'>Poems of the Day and Year.</span> With a title-page by -<span class='sc'>Patten Wilson</span>. Cr. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><em>THIMM (CARL A.).</em></p> - -<p class='c014'><span class='sc'>A Complete Bibliography of Fencing and Duelling</span>, -as practised by all European Nations from the Middle -Ages to the Present Day. With a Classified Index, -arranged chronologically according to Languages. Illustrated -with numerous portraits of Ancient and Modern -Masters of the Art. Title-pages and frontispieces of -some of the earliest works.</p> - -<p class='c017'>Portrait of the Author by <span class='sc'>Wilson Steer</span>, and title-page -designed by <span class='sc'>Patten Wilson</span>. 4to. 21<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<div class='lg-container-r'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>In preparation.</em></div> - </div> - </div> -</div> - -<p class='c013'><em>THOMPSON (FRANCIS).</em></p> - -<p class='c014'><span class='sc'>Poems.</span> With frontispiece, title-page, and cover design -by <span class='sc'>Laurence Housman</span>. Pott 4to. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Fourth Edition.</em></div> - </div> - </div> -</div> - -<p class='c014'><span class='sc'>Sister-Songs</span>: An Offering to Two Sisters. With frontispiece, -title-page, and cover design by <span class='sc'>Laurence -Housman</span>. Pott 4to, buckram. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><span class='pageno' id='Page_115'>115</span><em>THOREAU (HENRY DAVID).</em></p> - -<p class='c014'><span class='sc'>Poems of Nature.</span> Selected and edited by <span class='sc'>Henry S. -Salt</span> and <span class='sc'>Frank B. Sanborn</span>. With a title-page -designed by <span class='sc'>Patten Wilson</span>. Fcap. 8vo. 4<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c013'><em>TRAILL (H. D.).</em></p> - -<p class='c014'><span class='sc'>The Barbarous Britishers.</span> A Tip-top Novel. With -title and cover design by <span class='sc'>Aubrey Beardsley</span>. Cr. 8vo. -Wrapper, 1<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c014'><span class='sc'>From Cairo to the Soudan Frontier.</span> With cover -design by <span class='sc'>Patten Wilson</span>. Cr. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>In preparation.</em></div> - </div> - </div> -</div> - -<p class='c013'><em>TYNAN HINKSON (KATHARINE).</em></p> - -<p class='c014'><span class='sc'>Cuckoo Songs.</span> With title-page and cover design by -<span class='sc'>Laurence Housman</span>. Fcap. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c014'><span class='sc'>Miracle Plays: Our Lord’s Coming and Childhood.</span> -With six illustrations, title-page and cover design by -<span class='sc'>Patten Wilson</span>. Fcap. 8vo. 4<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c013'><em>WALTON AND COTTON.</em></p> - -<p class='c014'><span class='sc'>The Compleat Angler.</span> A New Edition, edited by -<span class='sc'>Richard Le Gallienne</span>. With about 200 illustrations -by <span class='sc'>Edmund H. New</span>. To be issued in 12 -monthly parts. Each 1<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Now being published.</em></div> - </div> - </div> -</div> - -<p class='c013'><em>WATSON (ROSAMUND MARRIOTT).</em></p> - -<p class='c014'><span class='sc'>Vespertilia, and Other Poems.</span> With title-page designed -by <span class='sc'>R. Anning Bell</span>. Fcap. 8vo. 4<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<p class='c014'><span class='sc'>A Summer Night and other Poems.</span> New Edition. -With a decorative title-page. Fcap. 8vo. 3<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<p class='c013'><em>WATSON (WILLIAM).</em></p> - -<p class='c014'><span class='sc'>The Father of the Forest, and Other Poems.</span> With -new photogravure portrait of the Author. Fcap. 8vo. -3<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Fifth Thousand.</em></div> - </div> - </div> -</div> - -<p class='c014'><span class='sc'>Odes, and Other Poems.</span> Fcap. 8vo. 4<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Fourth Edition.</em></div> - </div> - </div> -</div> - -<p class='c014'><span class='sc'>The Eloping Angels: a Caprice.</span> Sq. 16mo, buckram. -3<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Second Edition.</em></div> - </div> - </div> -</div> - -<p class='c013'><span class='pageno' id='Page_116'>116</span><em>WATSON (WILLIAM).</em></p> - -<p class='c014'><span class='sc'>Excursions in Criticism: being some Prose Recreations -of a Rhymer.</span> Cr. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Second Edition.</em></div> - </div> - </div> -</div> - -<p class='c014'><span class='sc'>The Prince’s Quest, and Other Poems.</span> With a -bibliographical note added. Fcap. 8vo. 4<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Third Edition.</em></div> - </div> - </div> -</div> - -<p class='c014'><span class='sc'>The Purple East</span>: A Series of Sonnets on England’s -Desertion of Armenia. With a frontispiece by <span class='sc'>G. F. -Watts</span>, R. A. Wrapper, 1<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Fourth Edition.</em></div> - </div> - </div> -</div> - -<p class='c013'><em>WATT (FRANCIS).</em></p> - -<p class='c014'><span class='sc'>The Law’s Lumber Room.</span> Fcap. 8vo. 3<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Second Edition.</em></div> - </div> - </div> -</div> - -<p class='c013'><em>WATTS (THEODORE).</em></p> - -<p class='c014'><span class='sc'>Poems.</span> Cr. 8vo. 5<i><span lang="la" xml:lang="la">s.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>In preparation.</em></div> - </div> - </div> -</div> - -<div class='nf-center-c1'> -<div class='nf-center c015'> - <div><em>There will also be an</em> Edition de Luxe <em>of this volume printed at the Kelmscott Press</em>.</div> - </div> -</div> - -<p class='c013'><em>WHARTON (H. T.).</em></p> - -<p class='c014'><span class='sc'>Sappho.</span> Memoir, text, selected renderings, and a literal -translation by <span class='sc'>Henry Thornton Wharton</span>. With -three illustrations in photogravure and a cover design -by <span class='sc'>Aubrey Beardsley</span>. Fcap. 8vo. 7<i><span lang="la" xml:lang="la">s.</span></i> 6<i><span lang="la" xml:lang="la">d.</span></i> <em>net</em>.</p> - -<div class='lg-container-r c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Third Edition.</em></div> - </div> - </div> -</div> - -<table class='table1' summary='The Yellow Book'> - <tr><th class='c018' colspan='3'><span class='xlarge'>The Yellow Book.</span></th></tr> - <tr><td> </td></tr> - <tr><td> </td></tr> - <tr><th class='c018' colspan='3'><em>An Illustrated Quarterly. Pott 4to, 5s. net.</em></th></tr> - <tr><td> </td></tr> - <tr> - <td class='c019'>Volume</td> - <td class='c020'><span class='fss'>I</span>.</td> - <td class='c021'>April 1894, 272 pp., 15 Illustrations. [<em>Out of print.</em></td> - </tr> - <tr> - <td class='c019'>Volume</td> - <td class='c020'><span class='fss'>II</span>.</td> - <td class='c021'>July 1894, 364 pp., 23 Illustrations.</td> - </tr> - <tr> - <td class='c019'>Volume</td> - <td class='c020'><span class='fss'>III</span>.</td> - <td class='c021'>October 1894, 280 pp., 15 Illustrations.</td> - </tr> - <tr> - <td class='c019'>Volume</td> - <td class='c020'><span class='fss'>IV</span>.</td> - <td class='c021'>January 1895, 285 pp., 16 Illustrations.</td> - </tr> - <tr> - <td class='c019'>Volume</td> - <td class='c020'><span class='fss'>V</span>.</td> - <td class='c021'>April 1895, 317 pp., 14 Illustrations.</td> - </tr> - <tr> - <td class='c019'>Volume</td> - <td class='c020'><span class='fss'>VI</span>.</td> - <td class='c021'>July 1895, 335 pp., 16 Illustrations.</td> - </tr> - <tr> - <td class='c019'>Volume</td> - <td class='c020'><span class='fss'>VII</span>.</td> - <td class='c021'>October 1895, 320 pp., 20 Illustrations.</td> - </tr> - <tr> - <td class='c019'>Volume</td> - <td class='c020'><span class='fss'>VIII</span>.</td> - <td class='c021'>January 1896, 406 pp., 26 Illustrations.</td> - </tr> - <tr> - <td class='c019'>Volume</td> - <td class='c020'><span class='fss'>IX</span>.</td> - <td class='c021'>April 1896, 256 pp., 17 Illustrations.</td> - </tr> -</table> - -<div class='pbb'> - <hr class='pb c012' /> -</div> -<div class='tnotes'> - -<div class='chapter'> - <h2 class='c004'>TRANSCRIBER’S NOTES</h2> -</div> - <ol class='ol_1 c002'> - <li>Silently corrected typographical errors and variations in spelling. - - </li> - <li>Retained anachronistic, non-standard, and uncertain spellings as printed. - - </li> - <li>Page numbers were increased by 100 in the advertising section to avoid conflicts.. - </li> - </ol> - -</div> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Vignettes, by Hubert Crackanthorpe - -*** END OF THIS PROJECT GUTENBERG EBOOK VIGNETTES *** - -***** This file should be named 60193-h.htm or 60193-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/0/1/9/60193/ - -Produced by Richard Tonsing, hekula03, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -book was produced from images made available by the -HathiTrust Digital Library.) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law 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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