Library / Literature & Fiction

The Ordeal of Richard Feverel — Volume 4
- Pages
- about 98
- Category
- Literature & Fiction
- Language
- English
- Reading time
- 1.8 h at 250 wpm
From the opening
XXVIII. RELATES HOW PREPARATIONS FOR ACTION WERE
CONDUCTED UNDER THE APRIL OF LOVERS
XIX. IN WHICH THE LAST ACT OF THE COMEDY TAKES
THE PLACE OF THE FIRST
XXX. CELEBRATES THE BREAKFAST
XXXI. THE PHILOSOPHER APPEARS IN PERSON
XXXII. PROCESSION OF THE CAKE
XXXIII. NURSING THE DEVIL
Beauty, of course, is for the hero. Nevertheless, it is not always he on
whom beauty works its most conquering influence. It is the dull
commonplace man into whose slow brain she drops like a celestial light,
and burns lastingly. The poet, for instance, is a connoisseur of beauty:
to the artist she is a model. These gentlemen by much contemplation of
her charms wax critical. The days when they had hearts being gone, they
are haply divided between the blonde and the brunette; the aquiline nose
and the Proserpine; this shaped eye and that. But go about among simple
unprofessional fellows, boors, dunderheads, and here and there you shall
find some barbarous intelligence which has had just strength enough to
conceive, and has taken Beauty as its Goddess, and knows but one form to
worship, in its poor stupid fashion, and would perish for her. Nay,
more: the man would devote all his days to her, though he is dumb as a
dog. And, indeed, he is Beauty's Dog. Almost every Beauty has her Dog.
The hero possesses her; the poet proclaims her; the painter puts her upon
canvas; and the faithful Old Dog follows her: and the end of it all is
that the faithful Old Dog is her single attendant. Sir Hero is revelling
in the wars, or in Armida's bowers; Mr. Poet has spied a wrinkle; the
brush is for the rose in its season. She turns to her Old Dog then.
A short sample. Read the whole book
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