English Prose: A Series of Related Essays for the Discussion and Practice of the Art of Writing — John Shaqi
English Prose: A Series of Related Essays for the Discussion and Practice of the Art of Writing
General
English Prose: A Series of Related Essays for the Discussion and Practice of the Art of Writing
English language -- Rhetoric; English language -- Style; English prose literature; Readers; Report writing -- Problems, exercises, etc.
"Then, do you remember our pleasant walks to Enfield, and Potter's bar,
and Waltham, when we had a holiday--holidays and all other fun are gone
now we are rich--and the little handbasket in which I used to deposit
our day's fare of savory cold lamb and salad--and how you would pry
about at noon-tide for some decent house, where we might go in and
produce our store--only paying for the ale that you must call for--and
speculate upon the looks of the landlady, and whether she was likely to
allow us a tablecloth--and wish for such another honest hostess as Izaak
Walton has described many a one on the pleasant banks of the Lea, when
he went a fishing--and sometimes they would prove obliging enough, and
sometimes they would look grudgingly upon us--but we had cheerful looks
still for one another, and would eat our plain food savorily, scarcely
grudging Piscator[7] his Trout Hall? Now, when we go out a day's
pleasuring, which is seldom, moreover, we _ride_ part of the way, and go
into a fine inn, and order the best of dinners, never debating the
expense, which, after all, never has half the relish of those chance
country snaps, when we were at the mercy of uncertain usage, and a
precarious welcome.
"You are too proud to see a play anywhere now but in the pit. Do you
remember where it was we used to sit, when we saw the _Battle of
Hexham_, and the _Surrender of Calais_, and Bannister and Mrs. Bland in
the _Children in the Wood_--when we squeezed out our shilling apiece to
sit three or four times in a season in the one-shilling gallery--where
you felt all the time that you ought not to have brought me--and more
strongly I felt obligation to you for having brought me--and the
pleasure was the better for a little shame--and when the curtain drew
up, what cared we for our place in the house, or what mattered it where
we were sitting, when our thoughts were with Rosalind in Arden, or with
Viola at the Court of Illyria? You used to say that the gallery was the
best place of all for enjoying a play socially; that the relish of such
exhibitions must be in proportion to the infrequency of going; that the
company we met there, not being in general readers of plays, were
obliged to attend the more, and did attend, to what was going on on the
stage, because a word lost would have been a chasm which it was
impossible for them to fill up. With such reflections we consoled our
pride then, and I appeal to you whether, as a woman, I met generally
with less attention and accommodation than I have done since in more
expensive situations in the house? The getting in, indeed, and the
crowding up those inconvenient staircases, was bad enough,--but there
was still a law of civility to woman recognised to quite as great an
extent as we ever found in the other passages--and how a little
difficulty overcome heightened the snug seat, and the play, afterward!
Now we can only pay our money, and walk in. You cannot see, you say, in
the galleries now.
Public-domain text, read in full here on John Shaqi.
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