from Harrow the Ninth, Act One, chapter 10 (Tamsyn Muir)

Before Harrowhark could take this prompt to make a hasty exit, the necromancer of the Fifth said without transition: 'Are you interested in Lyctoral materials?'

This was an introduction, or a probe, or something different altogether.  Scrutiny into the Ninth's affairs might be deflected.  She was more intrigued by the idea of an introduction.

'If you are asking whether or not we have any within my House,' said Harrow slowly, 'I will not answer that question.'

'What a shame!  I understand,' said Pent, who did not appear to be discomfited by refusals, or by the sacramental paint.  'It was more to gauge your interest though.  This library is stuffed.  The books, now, the books are interesting - but the Lyctoral traces - phwoar.'

Abigail Pent had not seemed the type of woman to articulate phwoar.  She said it very boyishly.

from letter no. 131 to Milton Waldman, 1951 (J.R.R. Tolkien)

It was begun in 1936, and every part has been written many times.  Hardly a word in its 600,000 or more has been unconsidered.  And the placing, size, style, and contribution to the whole of all the features, incidents, and chapters has been laboriously pondered.  I do not say this in recommendation.  It is, I feel, only too likely that I am deluded, lost in a web of vain imaginings of not much value to others - in spite of the fact that a few readers have found it good, on the whole.  What I intend to say is this: I cannot substantially alter the thing.  I have finished it, it is 'off my mind': the labour has been colossal; and it must stand or fall, practically as it is.

from Farmer Boy, chapter 15, Cold Snap (Laura Ingalls Wilder)

 The air was still and cold that night, and the stars had a wintry look.  After supper Father went to the barns again.  He shut the doors and the little wooden windows of the horses' stalls, and he put the ewes with their lambs into the fold.

When he came in, Mother asked if it was any warmer.  Father shook his head.

'I do believe it is going to freeze,' he said.

'Pshaw! surely not!' Mother replied. But she looked worried.

Sometime in the night Almanzo felt cold, but he was too sleepy to do anything about it. Then he heard Mother calling:

'Royal! Almanzo!' He was too sleepy to open his eyes.

'Boys, get up! Hurry!' Mother called. 'The corn's frozen!'

He tumbled out of bed and pulled on his trousers. He couldn't keep his eyes open, his hands were clumsy, and big yawns almost dislocated his jaw. He staggered downstairs behind Royal.

Mother and Eliza Jane and Alice were putting on their hoods and shawls.  The kitchen was cold; the fire had not been lighted.  Outdoors everything looked strange.  The grass was white with frost, and a cold green streak was in the eastern sky, but the air was dark.

Father hitched Bess and Beauty to the wagon.  Royal pumped the watering-trough full.  Almanzo helped Mother and the girls bring tubs and pails, and Father set barrels in the wagon.  They filled the tubs and barrels full of water, and then they walked behind the wagon to the cornfield.

All the corn was frozen.  The little leaves were stiff, and broke if you touched them.  Only cold water would save the life of the corn.  Every hill must be watered before the sunshine touched it, or the little plants would die.  There would be no corn-crop that year.

The wagon stopped at the edge of the field.  Father and Mother and Royal and Eliza Jane and Alice and Almanzo filled their pails with water, and they all went to work, as fast as they could.

Almanzo tried to hurry, but the pail was heavy and his legs were short.  His wet fingers were cold, the water slopped against his legs, and he was terribly sleepy.  He stumbled along the rows, and at every hill of corn he poured a little water over the frozen leaves.

The field seemed enormous.  There were thousands and thousands of hills of corn.  Almanzo began to be hungry.  But he couldn't stop to complain.  He must hurry, hurry, hurry, to save the corn.

The green in the east turned pink.  Every moment the light brightened.  At first the dark had been like a mist over the endless field, now Almanzo could see to the end of the long rows.  He tried to work faster.

In an instant the earth turned from black to grey.  The sun was coming to kill the corn.

Almanzo ran to fill his pail; he ran back.  He ran down the rows, splashing water on the hills of corn.  His shoulders ached and his arm ached and there was a pain in his side.  The soft earth hung on to his feet.  He was terribly hungry.  But every splash of water saved a hill of corn.

In the grey light the corn had faint shadows now.  All at once pale sunshine came over the field.

'Keep on!' Father shouted.  So they all kept on; they didn't stop.

But in a little while Father gave up.  'No use!' he called.  Nothing would save the corn after the sunshine touched it.

Almanzo set down his pail and straightened up against the ache in his back.  He stood and looked at the cornfield.  All the others stood and looked, too, and did not say anything.  They had watered almost three acres.  A quarter of an acre had not been watered.  It was lost.

Almanzo trudged back to the wagon and climbed in.  Father said:

'Let's be thankful we saved most of it.'

They rode sleepily down to the barns.  Almanzo was not quite awake yet, and he was tired and cold and hungry.  His hands were clumsy, doing the chores.  But most of the corn was saved.

from Far from the Madding Crowd, chapter XXI, Troubles in the Fold - A Message (Thomas Hardy)

Gabriel was already among the turgid, prostrate forms. He had flung off his coat, rolled up his shirt-sleeves, and taken from his pocket the instrument of salvation. It was a small tube or trochar, with a lance passing down the inside; and Gabriel began to use it with a dexterity that would have graced a hospital surgeon. Passing his hand over the sheep’s left flank, and selecting the proper point, he punctured the skin and rumen with the lance as it stood in the tube; then he suddenly withdrew the lance, retaining the tube in its place. A current of air rushed up the tube, forcible enough to have extinguished a candle held at the orifice.

It has been said that mere ease after torment is delight for a time; and the countenances of these poor creatures expressed it now. Forty-nine operations were successfully performed. Owing to the great hurry necessitated by the far-gone state of some of the flock, Gabriel missed his aim in one case, and in one only—striking wide of the mark, and inflicting a mortal blow at once upon the suffering ewe. Four had died; three recovered without an operation. The total number of sheep which had thus strayed and injured themselves so dangerously was fifty-seven.

When the love-led man had ceased from his labours, Bathsheba came and looked him in the face.

“Gabriel, will you stay on with me?” she said, smiling winningly, and not troubling to bring her lips quite together again at the end, because there was going to be another smile soon.

“I will,” said Gabriel.

And she smiled on him again.

Epistles 1.9 to Minicius Fundanus (Pliny the Younger, trans. adapted from Betty Radice)

Mirum est quam singulis diebus in urbe ratio aut constet aut constare videatur, pluribus iunctisque
non constet. Nam si quem interroges “Hodie quid egisti?,” respondeat: “Officio togae virilis interfui, sponsalia aut nuptias frequentavi, ille me ad signandum testamentum, ille in advocationem, ille in consilium rogavit.” Haec quo die feceris, necessaria, eadem, si cotidie fecisse te reputes, inania videntur, multo magis cum secesseris. Tunc enim subit recordatio: “Quot dies quam frigidis rebus absumpsi!” Quod evenit mihi, postquam in Laurentino meo aut lego aliquid aut scribo aut etiam corpori vaco, cuius fulturis animus sustinetur. Nihil audio quod audisse, nihil dico quod dixisse paeniteat; nemo apud me quemquam sinistris sermonibus carpit, neminem ipse reprehendo, nisi tamen me cum parum commode scribo; nulla spe nullo timore sollicitor, nullis rumoribus inquietor: mecum tantum et cum libellis loquor. O rectam sinceramque vitam! O dulce otium honestumque ac paene omni negotio pulchrius! O mare, o litus, verum secretumque μουσεῖον, quam multa invenitis, quam multa dictatis! Proinde tu quoque strepitum istum inanemque discursum et multum ineptos labores, ut primum fuerit occasio, relinque teque studiis vel otio trade. Satius est enim, ut Atilius noster eruditissime simul et facetissime dixit, otiosum esse quam nihil agere. Vale.

It is extraordinary how, if one takes a single day spent in Rome, one can give a more or less accurate account of it, but scarcely any account at all of several days put together. If you ask anyone “What did you do today?”, the answer would be: “I was present at a coming-of-age ceremony, a betrothal, or a wedding. I was called on to witness a will, to support someone in court or to act as assessor.” All this seems important on the actual day, but quite pointless if you consider that you have done the same sort of thing every day, and much more pointless if you think about it when you are out of town. It is then that the realisation comes to you, “How many days I have wasted in trivialities!” I always realise this when I am at Laurentum, reading and writing and finding time to take the exercise which keeps my mind fit for work. There is nothing there for me to say or hear said which I would afterwards regret, no one disturbs me with malicious gossip, and I have no one to blame—but myself—when writing doesn’t come easily. Hopes and fears do not worry me, and I am not bothered by idle talk; I share my thoughts with myself and my books. It is a good life and a genuine one, a seclusion which is happy and honourable, more rewarding than almost any business can be. The sea and shore are truly my private Mouseion, an endless source of inspiration. You should take the first opportunity yourself to leave the din, the futile bustle and useless occupations of the city and devote yourself to literature or to leisure. For it was wise as well as witty of our friend Atilius to say that it is better to have no work to do than to work at nothing. xx

from J.R.R. Tolkien: the authorised biography, part five, chapter 1, Enter Mr Baggins (Humphrey Carpenter)

Although Tolkien had some idea of the processes involved in the production of books, he was surprised by the number of difficulties and disappointments during the following months; indeed the machinations and occasionally the downright incompetence of publishers and printers continued to amaze him until the end of his life.  The Hobbit maps had to be redrawn by him because his originals had incorporated too many colours, and even then his scheme of having the general map as an endpaper and Thror's map placed within the text of Chapter One was not followed.  The publishers had decided that both maps should be used as endpapers, and in consequence his plan for 'invisible lettering', which would appear when Thror's map was held up to the light, had to be abandoned.  He also had to spend a good deal of time on the proofs - though this was entirely his fault.  When the page-proofs arrived at Northmoor Road in February 1937 he decided that he ought to make substantial revisions to several parts of the book, for he had let the manuscript go without checking it with his usual thoroughness, and he was now unhappy about a number of passages in the story; in particular he did not like many of the patronising 'asides' to juvenile readers, and he also saw that there were many inconsistencies in the description of the topography, details which only the most acute and painstaking reader would notice, but which he himself with his passion for perfection could not allow to pass.  In a few days he had covered the proofs with a host of alterations.  With typical consideration for the printers he ensured that his revisions occupied an idential area of type to the original wording - though here he was wasting his time, for the printers decided to reset the entire sections that he had revised.

The Hobbit was published on 21 September 1937.  Tolkien was a little nervous of Oxford reaction, especially as he was currently holding a Leverhulme Research Fellowship, and he remarked: 'I shall now find it very hard to make people believe that this is not the major fruits of "research" 1936-7.'  He need not have worried: at first Oxford paid almost no attention.

from High Rising (Angela Thirkell)

When the party got to Low Rising, they found George Knox at work in the garden.  George, whose dramatic sense was not one of the least factors in the success of his biographies, liked to dress his part, and at the moment was actively featuring Popular Writer Enjoys Hard Work in Garden of his Sixteenth-Century Manor House.  He had perhaps a little overdone the idea, being dressed in bright brown plus-fours, a gigantic pair of what looked like decayed football boots, a very dirty and worn high-necked sweater, and a tweed shooting coast with its buttons and pockets flapping.  Large as George Knox was at any time, this wilful collection of odd clothes made him loom incredibly.  From his seven-league boots the eye travelled upwards to the vast width of his plus-fours, to the huge girth of thick jacket over thick sweater, only to find, with a start of surprise, that his large face, with its knobbly forehead and domed and rather bald scalp, completely dwarfed the rest of him.  He had decided to devote that afternoon to heavy digging, and was excavating, unscientifically and laboriously, a piece of the kitchen garden.  The sky was coldly pink in the west where the winter sun was setting behind mists, George Knox's bare-branched trees made a delicate pattern against the sunset flush, George Knox's smoke from the chimneys of his Lovely Sixteenth-Century Manor House was going straight up into the air, a light or two shone golden in George Knox's windows, his feet were clogged with damp earth, his hands were very dirty, and a robin was watching him dig.

'It couldn't have been better arranged, George,' said Laura as she approached.  'Perfect setting for author, down to the robin.  I shall have to write a book about the lovely vendeuse who marries the strong, noble son of the soil, and use you as a model.'

On hearing this, the robin flew away.

George Knox stuck his spade into the earth, straightened up painfully, in the manner of one who has been devoted to life-long toil in the agricultural line, and mopped his brow with a large red handkerchief with white spots.

'That's the worst of the country,' he remarked.  'Lady authors coming round unasked, frightening away one's little feathered friends.  Who frightened Cock Robin?  I, said the Laura, with my feminine aura.  Laura, dear, I cannot offer you my hand as it is all earth, but you are as welcome as ever.'

'This is Mr Knox, Amy,' said Laura, exhibiting George to her friends with some pride.  'And this, George, if you will stop rubbing mould into your eyes with that preposterous handkerchief, is Mrs Birkett, whose husband keeps Dotheboys Hall and breaks Tony's spirit.'

'If I am to take your statement as one and indivisible, Laura, it is a lie, because no power on earth, nor indeed any demons under the sea, could ever dissever Tony from his profound self-satisfaction.  But if I may separate your sentence into its component parts, I am more than willing to believe that this is Mrs Birkett, whose acquaintance I am honoured and delighted to make, and who, or whom, I look forward to shaking hands with when I have cleaned up a bit.'

'I'm so glad you get mixed about that "who", George.  It is the death of me.  That, and commas, are the bane of my life.  The only way one can really express what one wants to say is by underlining every other word four times, like Queen Victoria, and that appears to be bad taste now.  What are you digging, George?'

'Earth?'

'Yes, but I mean what?  Potatoes, or bulbs, or asparagus beds?' asked Laura, who cared little about gardening and knew less.

George Knox looked guiltily round.

'The gardener has gone over to Stoke Dry to fetch a parcel from the station, so I thought I would dig for exercise while his back was turned.  He doesn't like me in his garden when he is here.  I dug up a lot of things that smelled like onions.  Come into the house and we'll find Sibyl.'

'Probably it was onions,' said Laura, as they went into the sitting-room, 'or else leeks.  You can send me some on St David's Day, and I'll wear them in my bonnet.'

'Are you Welsh, then?' asked Amy Birkett.

'Oh, no, but its's nice to wear things on the right day.  Only the right day - yes, Tony, take Sylvia and go and find Sibyl, only keep Sylvia on the lead in case Sibyl's dogs jump at her.'

'Oh, Mother, Sibyl's dogs wouldn't jump at Sylvia.  Dogs always know a friendly dog, Mother.  They are marvellous.  It's a kind of instinct.  Mrs Birkett, did you know about instinct?  Mr Ferris told us about it in maths, one day.'

'But why in maths, Tony?  Is instinct a kind of algebra?'

'No, no, but Mr Ferris is very sensible and tells us all sorts of things in the maths period.  His father used to be a doctor in the country, and when the sheep were all buried in snow in the winter, the dogs had an instinct to find them and they leaped on their backs and licked the snow off them.'

'But where does Mr Ferris's father come in?' asked George Knox, slightly bewildered.

'He doesn't come in, sir, it was the dogs,' said Tony pityingly.  'They have a marvellous instinct -'

His mother gently pushed him and Sylvia out of the room, and returned to her seat, remarking placidly:

'As I was saying,  and I am going to say it, because it is too interesting to lose, the right day and the right flower never seem to come together.  One can't possibly expect roses to be out on St George's Day, at least not if St George's Day comes on the twenty-third of April.  Unless, of course, in Shakespeare's time April was much later on account of Old Style, or people had hothouses, which we never hear of.'

'Where does Shakespeare come in?' asked Amy, as bewildered by the introduction of the bard as George had previously been by Mr Ferris's father.

'Well, Shakespeare's birthday was St George's Day, so it all somehow goes together.  And as for St Patrick's Day, shamrock may be in season then, I don't know, not in Ulster, I suppose, but anyway in the Irish Free State, but one can't tell, because what they sell in the streets looks like compressed mustard and cress.  Luckily one doesn't have to wear thistles for St Andrew, and as for St David -'

But here George Knox, who had been simmering with a desire to talk for some time past, took the floor, drowing Laura's gentle voice entirely.

'St David, dear Mrs Birkett,' he began, 'had no nonsense about him, and knew that a leek was about all his countrymen were fit for.  I do not offend you, I trust, in saying this.  I would quarrel with no one for being Welsh, as I, thank God, am French and Irish by descent, and am far removed from petty racial feelings, but for a nation who are, or who is - damn those pronouns, Laura - time-serving, sycophantic, art nouveau, horticultural and despicable enough to try to change the leek to a daffodil, words fail me to express my contempt.  You were alluding just now to Shakespeare's birthday, my dear Laura.  What would Shakespeare have thought if Burbage had proposed to substitute a daffodil for a leek in Henry the Fifth?  Where, Mrs Birkett, would be Fluellen and Pistol?  The whole point of that scene would be lost - lost, I say,' he repeated, glaring affectionately at Sibyl who came in with Tony.  'As well might you have substituted the leek for the daffodil in the Winter's Tale.  Imagine Shakespeare writing that leeks come before the swallow comes - except, of course, when you are eating them - or take the winds of March; for though doubtless they may by the calendar, though on that point I profess no special knowledge, poetically it is impossible.  No, dear ladies, the Welsh are utterly and eternally damned for this denial, worse than whoever's it was in Dante, of their national emblem.'

--

Saturday morning dawned fair and bright.  The sun shone, the cuckoo bellowed from a copse hard by, other birds less easy to recognise made suitable bird noises.  In the little wood primroses grew in vulgar profusion, a drift of blue mist showed that bluebells were on the way, glades were still white with wind-flowers.  All the trees that come out early were brilliant green, while those that come out later were, not unnaturally, still brown, thus forming an agreeable contrast.  A stream bordered with kingcups made a gentle bubbling noise like sausages in a frying-pan.  Nature, in fact, was as it; and when she chooses, Nature can do it.

from The Child that Books Built, chapter three, The Island (Francis Spufford)

At the same time, I couldn't read quite a lot of the words in The Hobbit.  I had accelerated into reading faster than my understanding had grown.  If I press my memory for the sensation of reading the second half of the book, when I was flying through the story, I remember, simultaneous with the new liquid smoothness, a constant flicker of incomprehensibility.  There were holes in the text corresponding to the parts I couldn't understand.  Words like prophesying, rekindled and adornment had never been spoken in my hearing.  No one had ever told me aloud to behold something, and I didn't know that vessels could be cups and bowls as well as ships.  I could say these words over, and shape my mouth around their big sounds.  I could enjoy their heft in the sentences.  They were obviously the special vocabulary that was apt for the slaying of dragons and the fighting of armies: words that conjured the sound of trumpets.  But for all the meaning I obtained from them, they might as well not have been printed.  When I speeded up, and up, and my reading became fluent, it was partly because I had learned how to ignore such words efficiently.  I methodically left out chunks.  I marked them to be sorted out later, by slower and more patient mental processes; I allowed each one to brace a blank space of greater or lesser size in its sentence; I grabbed the gist, which seemed to survive even in sentences that were mostly hole; and I sped on.

from 'Subject Reviews: Roman Literature', Greece & Rome 39 (1992) (Don Fowler)

The lack of detailed modern commentaries on the second half of the Aeneid has also long been felt, and is at last being addressed.  Oxford now offer us Book 10, and Cambridge Book 11.  Steven Harrison’s **^BVergil, Aeneid 10² is a revision of his doctoral dissertation supervised by Nisbet and Horsfall, and it is a fine piece of work.  Like other recent volumes in the Oxford Classical Monographs series, it offers a translation as well as a text, plus an introduction, detailed commentary, and an appendix ‘Some Aspects of Vergilian Style’.  The overall interpretation is broadly Augustan, though Harrison’s earlier days in Balliol have not been entirely expunged: the ‘glorification of Augustus’, we are told, is ‘full-hearted and unambiguous’ (p. xxiv) but much more ambiguity is admitted in the presentation of Aeneas and Jupiter (see, e.g., the excellent note on the Aegaeon simile for Aeneas at 565-70, where he rightly resists Gordon Williams’s attempt to defuse the simile with an assumption of embedded focalization, or the discussion of Jupiter’s ‘insincere temporizing’ on 111-12).  Even if one admits that there ‘need not be a full typological analogy between literary and historical characters’ (p. xxvi) this is a difficult line to hold, and I think the Aeneid is more disturbing of Augustan order than Harrison admits.  In Vergilian studies, I am a great believer in Solon on civil war (frr. 350-7 Martina): this is all a bit sane for me.  The commentary especially is stuffed with really excellent points, but they are not always developed enough and can be expressed with a blandness which belies their interest.  In the appendix, for instance, we are told that Vergil ‘colours his narrative’ with colloquialisms, the sort of metaphor which usually signals moronic Edwardianism: but Harrison’s discussion of register in the commentary is first-rate, with, for instance, the exact observation on the use of capillos at 832 that it is a touch of ‘pathetic realism’.  Similarly in the appendix, we are told that the pastoral language used of Cycnus and Mezentius ‘provides variation and contrast with the world of epic’, but on the latter passage (835-6) he observes, more exactly, that the locus amoenus description ‘provides a pointed contrast with the surrounding sufferings of battle’.  If only he hadn’t brought in variety, another concept whose use inevitably signals an uninteresting critic, as if the Aeneid was the London Palladium.  If there is one pressing need at my alma mater it is to kill off Oxford ‘elegance’, which is like the miasma that seeps up from the Thames on wet November evenings and rots the brains.  ‘\flameoff\’ as they say on the computer nets: this is too good a commentary to be used for sermonizing.  It is a major contribution to Vergilian studies which we shall all find ourselves using constantly.  I hope a paperback will be produced at some stage to make it available to poorer scholars; if so, someone in OUP might like to check what happened to the final proof of p. 179.

Anonymous quatrain of uncertain origin

In Heaven there'll be no algebra,
No learning dates or names,
But only playing golden harps
And reading Henry James.

from The French Lieutenant's Woman (John Fowles)

He had thought by his brief gesture and assurance to take the first step towards putting out the fire the doctor had told him he had lit; but when one is oneself the fuel, firefighting is a hopeless task.

-

He was invited to use the Athenaeum, he had shaken hands with a senator, no less; and with the wrinkled claw of one even greater, if less hectoringly loquacious - old Nathaniel Lodge, who had heard the cannon on Bunker Hill from his nurse's room in Beacon Street. An even greater still, whom one might have not very interestedly chatted to if one had chanced to gain entry to the Lowell circle in Cambridge, and who was himself on the early threshold of a decision precisely the opposite in its motives and predispositions, a ship, as it were, straining at its moorings in a contrary current and arming for its sinuous and loxodromic voyage to the richer though silted harbour of Rye (but I must not ape the master), Charles did not meet.

-

Once, as he made his way to the Athenaeum across the Common, he saw a girl ahead of him on an oblique path. He strode across the grass, he was so sure. But she was not Sarah. And he had to stammer an apology. He went on his way shaken, so intense in those few moments had been his excitement. The next day he advertised in a Boston newspaper. Wherever he went after that he advertised.

List of Illustrations from The Great Book of True Stories (London 1936)

IN BOUNDED THE LIONS by Dudley Cowes Frontispiece

AFTER AN INTIMATE MINUTE WITH HIM I GOT THE DAGGER by H. G. Fairbairn 23

ON THE FILTHY FLOOR OF THE CAVE SAT HALF A DOZEN ENORMOUS RATS by Clark Fay 41

THERE HE STOOD SILENT AND SOLITARY by Norman Keen 73

THE BARREL MOVED OVER THEM, PRESENTING ITS BLACK THREATFUL MOUTH by R. Cleaver 101

MY FATHER WAS SWINGING CRAZILY IN MID-AIR by E. B. Thurstan 133

I SAW THE STREET SPLIT OPEN by J. Nicolle 207

I HEARD THE WILD CRIES AND SAW THEIR DARK GLEAMING BODIES by Jack Faulkes 245

THE SIAMESE WAS IN THE TOILS OF A QUICKSAND by T. Grainger Jeffrey 289

HE WAS FIVE YARDS AWAY by S. Tresilian 313

THE ABLE SEAMAN MADE A FLYING LEAP by Norman Hepple 331

HE STAGGERED OUT OF THE KNEE-DEEP SAND WITH HIS FIND by Edward Osmond 369

WE JAMMED ON OUR BRAKES IN HORROR by Clive Uptton 387

HE GLARED AT ME WITH BLOODSHOT EYES by Alfred Sindall 493

THE PRESSURE OF THE GUN WAS NOTICEABLY STRONGER by J. Greenup 539

IT IS EASY TO IMAGINE HOW UNPLEASANT THE TUNNEL WAS by Norman Howard 565

HER HAND CLUTCHED AT MINE by Cyril Holloway 661

Lesbia in Orco (David Vessey)

Reading Catullus on the Northern Line
in Fordyce's edition (which omits the obscene),
I wondered if Lesbia would have got out at Hampstead
or come on with me to Golders Green.

Somehow I don't picture her
on the platform at Bank,
jostled in a smoking carriage
by a man who stank

of 'The Daily Telegraph' and Players plain.
Perhaps I am wrong
there may be somewhere a Lesbia
worthy of song

from Gaius Valerius Catullus, who
counts her kisses like stars in the sky:
but for some reason
she escapes my eye

as I read his carmina on the Underground.
She must be as rare
as the nymph who picked up Peleus
near Weston-super-Mare

as he sailed in the Argo on a virgin sea.
(But isn't that Attis in a shiny suit
asking a dame to dance with him
to the sound of dinning cymbal and of shrilling flute?)

Who? Lesbia? I know her: she went to Leicester Square
and hurried through to Soho in the evening rain,
where she helps the sons of Romulus
drink Japanese champagne.

from How to be Topp, 8, Extra Tew (Geoffrey Willans)

RUSIAN

How many days till the end of term, o molesvitch 2? Some say 20, others 90, little bro, is the fruit upon the aple tree in the orchard? Only the blosom so you will hav to wait a month or two before you can pinch them o measly weed it is 2006 miles to Moscow. Who cares sa fotherington tomas from a corner of the room where he hav been trussed up who cares a row of butons. i love only robins. Unless you love robins father christmas will not bring you any presents. A volley of shots rings out. WAM! 900 robins bite the dust. That only leaves father christmas, i sa, how flat life is . . . . . .

The swots tell me that rusian used to be like that chiz but it is all different now everybode is joly.

Epitaph to A.E. Housman, in the antechapel, Trinity College, Cambridge

HOC TITVLO COMMEMORATVR
ALFRED EDWARD HOVSMAN
PER XXV ANNOS LINGVAE LATINAE PROFESSOR KENNEDIANVS
ET HVIVS COLLEGII SOCIVS
QVI BENTLEII INSISTENS VESTIGIIS
TEXTVM TRADITVM POETARVM LATINARVM
TANTO INGENII ACVMINE TANTIS DOCTRINAE COPIIS
EDITORVM SOCORDIAM
TAM ACRI CAVILLATIONE CASTIGAVIT
VT HORVM STVDIORVM PAENE REFORMATOR EXSTITERIT
IDEM POETA
TENVI CARMINVM FASCICVLO
SEDEM SIBI TVTAM IN HELICONE NOSTRO VINDICAVIT
OBIIT PRID. KAL. MAI.
A.S. MDCCCCXXXVI AETATIS SVAE LXXVII

from 'Hamlet' (T.S. Eliot)

The only way of expressing emotion in the form of art is by finding an 'objective correlative'; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked. If you examine any of Shakespeare's more successful tragedies, you will find this exact equivalence; you will find that the state of mind of Lady Macbeth walking in her sleep has been communicated to you by a skilful accumulation of imagined sensory impressions; the words of Macbeth on hearing of his wife's death strike us as if, given the sequence of events, these words were automatically released by the last event in the series. The artistic 'inevitability' lies in this complete adequacy of the external to the emotion; and this is precisely what is deficient in Hamlet. Hamlet (the man) is dominated by an emotion which is inexpressible, because it is in excess of the facts as they appear. And the supposed identity of Hamlet with his author is genuine to this point: that Hamlet's bafflement at the absence of objective equivalent to his feelings is a prolongation of the bafflement of his creator in the face of his artistic problem. Hamlet is up against the difficulty that his disgust is occasioned by his mother, but that his mother is not an adequate equivalent for it: his disgust envelops and exceeds her. It is thus a feeling which he cannot understand: he cannot objectify it, and it therefore remains to poison life and obstruct action. None of the possible actions can satisfy it; and nothing that Shakespeare can do with the plot can express Hamlet for him. And it must be noticed that the very nature of the données of the problem precludes objective equivalence. To have heightened the criminality of Gertrude would have been to provide the formula for a totally different emotion in Hamlet; it is just because her character is so negative and insignificant that she arouse in Hamlet the feeling which she is incapable of representing.

from Peter Duck (Arthur Ransome)

book II, chapter 20, Blazed Trail

'Who blazed that tree?' said Titty.

'What tree? Where?' cried Captain Flint and a moment later was scrambling and slipping down over a slope of rock to a ragged pine-like tree, one of the forest's outposts on the mountainside, to look at a large scar where the rough bark had been sliced away.

'It wasn't a woodman did that,' said Captain Flint eagerly. 'He took two blows at it from above.'

Titty found herself wondering who it was who asked the executioner to sharpen his axe and cut boldly, when the clumsy fellow got nervous and took three blows to lop off a head of English chivalry or something like that. It was queer the way things came shooting into your mind just when you were really thinking of something quite different.

'It might be a ship's carpenter,' said Peter Duck, picking his way carefully down.

book II, chapter 32, Whose Steps in the Dark?

Nancy and John, pulling short, hard strokes, and lifting their oars well clear of the water between them, drove the Swallow shorewards. There was very much less swell than on that evening when he had sailed round here with Captain Flint, but there was still enough to break on the low reef outside Duckhaven. As they came nearer, John, when he glanced over his shoulder, could see the white splash of the spray over the rocks, and was glad to see it, because it gave him something to steer for. He was rowing with a bow oar and keeping time with Nancy. Now giving a harder pull or two, now easing a little, he was able to keep Swallow heading for the end of the reef. Nancy left the steering to John. She set herself only to pull as steady a stroke as she could, and did not allow herself even once to look over her shoulder.

'Is he there already?' she asked breathlessly, for they were putting all they could into their rowing.

'I can't see anybody,' John panted back.

They plugged on. Even for Nancy's lurid taste things had been happening too fast. Besides, it was all very well to be the Terror of the Seas, but real pirates, like Black Jake and his friends, were altogether different. Bullies. Cowards and bullies, five of them together going for an old man and a boy. Nancy clenched her teeth and dug in so hard with her oar that she all but made John get out of time with her. She did, indeed, feel his oar just touch her back.

'Sorry,' said John.

'My fault,' said Nancy.

They would have said just that if they had got out of time while rowing together on the lake at home. They said it now, though they were rowing in at dusk to an island of landslide and earthquake and half-mad pirates roaming about with stolen guns. Still, some things were the same as usual. Wherever you were you said 'Sorry' if you bumped 'stroke' in the back with the bow oar, and you said it was your fault if you had happened to change the time unexpectedly because you were thinking of something else.

They plugged on.

from Ex Libris (Anne Fadiman), The Joy of Sesquipedalians

Our competitive fervor reached its apogee every Sunday afternoon, when we gathered around the television set for our weekly round of G.E. College Bowl. As you may remember if you are of a certain age and disposition, this was a quiz show - an honest, unrigged one - in which two teams of four students, each representing a different college, competed for scholarship money. Our family also constituted a team of four, which - I am admitting this in public for the very first time - we called Fadiman U. It was an article of faith in our home that Fadiman U. could beat any other U., and indeed, in five or six years of competition, we lost only to Brandeis and Colorado College. My father knew the answers to all the history and literature questions. My mother knew politics and sports. My brother knew science. I rarely knew anything that another member of Fadiman U. didn't know as well, but I had quicker reflexes than my parents, so sometimes I managed to bang the arm of my chair (our home-team version of pressing the College Bowl buzzer) first. Fadiman U. always yelled out the answer before Robert Earle, the M.C., could even finish asking the question. "Wing Biddlebaum is an unfortunate ex-schoolteacher. Dr. Percival is -" WHOMP! "Winesburg, Ohio!" "After being poisoned and shot several times -" WHOMP! "Rasputin!"

from Still Life, chapter 18, Hic Ille Raphael (A.S. Byatt)

He was thin and slightly stooping, with pale blue eyes and crests and troughs of wavy red-gold hair, which looked at first glance as though some 1930s perm had gone badly wrong, and could then immediately be seen to be inexorably what it was, growing as it did, with only one possible shape.

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Part of the joy of falling in love – for the intelligent, the watchers, the judicious – is the delicious licence to set something above thinking clearly, the pleasure of being driven, taken over, overwhelmed. Frederica, despite her clumsy rushes of tactless fervour, was doomed to be intelligent, a watcher, judicious, and as she recognised this doom she desired proportionately to be let off, to feel incontrovertibly.

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She wandered back through clear grey Cambridge. He had made her head ache. He had lent her books – that was a beginning, lending of books was a universal sign of the beginning of something. To borrow implied to return.