Americans -- Europe -- Fiction; Europe -- Fiction; Humorous stories; Walking -- Fiction
RECIPE FOR GERMAN COFFEE Take a barrel of water and bring it to a boil;
rub a chicory berry against a coffee berry, then convey the former into
the water. Continue the boiling and evaporation until the intensity of
the flavor and aroma of the coffee and chicory has been diminished to
a proper degree; then set aside to cool. Now unharness the remains of a
once cow from the plow, insert them in a hydraulic press, and when you
shall have acquired a teaspoon of that pale-blue juice which a German
superstition regards as milk, modify the malignity of its strength in a
bucket of tepid water and ring up the breakfast. Mix the beverage in a
cold cup, partake with moderation, and keep a wet rag around your head
to guard against over-excitement.
TO CARVE FOWLS IN THE GERMAN FASHION Use a club, and avoid the joints.
CHAPTER L
[Titian Bad and Titian Good]
I wonder why some things are? For instance, Art is allowed as much
indecent license today as in earlier times--but the privileges of
Literature in this respect have been sharply curtailed within the
past eighty or ninety years. Fielding and Smollett could portray the
beastliness of their day in the beastliest language; we have plenty
of foul subjects to deal with in our day, but we are not allowed to
approach them very near, even with nice and guarded forms of speech.
But not so with Art. The brush may still deal freely with any subject,
however revolting or indelicate. It makes a body ooze sarcasm at every
pore, to go about Rome and Florence and see what this last generation
has been doing with the statues. These works, which had stood in
innocent nakedness for ages, are all fig-leaved now. Yes, every one of
them. Nobody noticed their nakedness before, perhaps; nobody can help
noticing it now, the fig-leaf makes it so conspicuous. But the comical
thing about it all, is, that the fig-leaf is confined to cold and pallid
marble, which would be still cold and unsuggestive without this sham and
ostentatious symbol of modesty, whereas warm-blood paintings which do
really need it have in no case been furnished with it.
Public-domain text, read in full here on John Shaqi.
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