读心手机在线播放The dream commenced with a music which now I often heard in dreams— a music of preparation and of awakening suspense, a music like the opening of the Coronation Anthem, and which, like THAT, gave the feeling of a vast march, of infinite cavalcades filing off, and the tread of innumerable armies. The morning was come of a mighty day— a day of crisis and of final hope for human nature, then suffering some mysterious eclipse, and labouring in some dread extremity. Somewhere, I knew not where—somehow, I knew not how—by some beings, I knew not whom—a battle, a strife, an agony, was conducting, was evolving like a great drama or piece of music, with which my sympathy was the more insupportable from my confusion as to its place, its cause, its nature, and its possible issue. I, as is usual in dreams (where of necessity we make ourselves central to every movement), had the power, and yet had not the power, to decide it. I had the power, if I could raise myself to will it, and yet again had not the power, for the weight of twenty Atlantics was upon me, or the oppression of inexpiable guilt. "Deeper than ever plummet sounded," I lay inactive. Then like a chorus the passion deepened. Some greater interest was at stake, some mightier cause than ever yet the sword had pleaded, or trumpet had proclaimed. Then came sudden alarms, hurryings to and fro, trepidations of innumerable fugitives—I knew not whether from the good cause or the bad, darkness and lights, tempest and human faces, and at last, with the sense that all was lost, female forms, and the features that were worth all the world to me, and but a moment allowed—and clasped hands, and heart-breaking partings, and then—everlasting farewells! And with a sigh, such as the caves of Hell sighed when the incestuous mother uttered the abhorred name of death, the sound was reverberated—everlasting farewells! And again and yet again reverberated—everlasting farewells!视屏如果没有播放按钮请刷新网页
The following is a synopsis of my novel now in MS. The title is FELIX AND FELICITAS. Those who were in the Academy Exhibition of 18--remember the picture "Martha and Mary." The artist was a Mr. Felix Germaine, the son of a country parson having a rectory near Deal. I know the place well. The brother of this clergyman is travelling tutor and friend to Lord Godwin (one like Lord Pembroke), who has just returned from a cruise in the South Seas in his yacht. Ampersand, the idler (everybody knows him), meets Godwin on his return, and tells him of the success of his old schoolfellow--Felix. He brings both to a concert at Raphael Delevyra's, the famous pianoforte maker; and there they hear some good musical and witty talk. Stivelyn, Carbeth, Storton,--not unlike Swinburne, Buchanin, and Albert Grant--are there amongst others. Felix, who is married to a charmingly domesticated wife, falls in love with Mrs. Delevyra, who, as all the world knows, was Felicitas Carmel--the niece of Carmel, the violinist, who retired from public life, having paralysis of the left hand. (N.B.--The great Beethoven was deaf; but his torments were nothing to Carmel's.) Mr. Delevyra is a rich, thriving man--some say that his name is really Levi--but Felicitis doesn't care for him. She and Felix you see--want to live that Higher Life of which we have heard so much lately; and consequently they resolve to break the Seventh Commandment. They get away in Godwin's yacht; and now begins my effort at mental analysis. In a little time they grow weary; then blame each other; then they are poor: and finally they hate each other--each blaming each for causing the terrible fall from the high standards of Ideality settled by them in their early interviews. In the midst of this Delevyra arrives. The Jew has made up his mind. He loves his wife; but she has betrayed him. He will not forgive her; or rather he cannot forgive himself. He explains the commonsense view of the matter. He shows her that she has spent two-thirds of his income--that her desertion was not only treacherous, but foolish, inasmuch as she loses respect, position, and money. In fine, with some sarcasm and power, he strips adultery of its poetic veil, and shows it to be worse than a crime--a blunder. Felix expects a duel--not at all. Delevyra discourses him sweetly upon the "Higher Life," and says to his wife-- "If this is the congenial soul you pine for I will allow him £300 a year to live with you and make you happy." Felicitas travels--divorced and allowanced (Teresa Perugino did the same.) She writes books, poems, and travels--very recondite stuff they say. Felix, utterly shamed, goes home in Godwin's yacht. He is wrecked at Deal, near his own house, and his body is brought to his wife. He, however, recovers, and lives happily. Ampersand says in the last chapter--"You ask what the Modern Devil is." It is an Anti-Climax. We haven't the strength to carry, any thing to the end. These people ought to have taken poison or murdered somebody. I saw Felix the other day. He is quite fat and rubicund. His wife henpecks him. He makes lots of money by pictures--but they are not as good as "Martha and Mary".读心手机在线播放
读心手机在线播放'More a palace than a cathedral,' he whispered. 'Night is a palace, and has to be built afresh each time. Twilight rears the scaffolding first, then hangs the Night upon it. Otherwise the darkness would simply fall in lumps, and lie about in pools and blocks, unfinished--a ruin instead of a building. Everything must have a scaffolding first. Look how beautifully it's coming now,' he added, pointing, 'each shadow in its place, and all the lines of grey and black fitting exaccurately together like a skeleton. Have you never noticed it before?'
No one could have known from the young man's smiling face that he really had not recognized his visitor at first, and that his greeting was only an exhibition of one of those happy instincts for which he was remarkable. But, following the clew suggested by his visitor, he was able to say promptly and gayly:--读心手机在线播放