Why dwell on what follows? Hulin's foi d'officier should have been kept, but could not. The Swiss stand drawn up, disguised in white canvas smocks; the Invalides without disguise; their arms all piled against the wall. The first rush of victors, in ecstasy that the death-peril is passed, "leaps joyfully on their necks"; but new victors rush, and ever new, also in ecstasy not wholly of joy. As we said, it was a living deluge, plunging headlong; had not the Gardes Françaises, in their cool military way, "wheeled round with arms levelled", it would have plunged suicidally, by the hundred or the thousand, into the Bastille-ditch.

And so it goes plunging through court and corridor; billowing uncontrollable, firing from windows—on itself: in hot frenzy of triumph, of grief and vengeance for its slain. The poor Invalides will fare ill; one Swiss, running off in his white smock, is driven back, with a death-thrust. Let all prisoners be marched to the Townhall, to be judged!—Alas, already one poor Invalide has his right hand slashed off him; his maimed body dragged to the Place de Grève, and hanged there. This same right hand, it is said, turned back de Launay from the Powder-Magazine, and saved Paris.

De Launay, "discovered in gray frock with poppy-coloured riband", is for killing himself with the sword of his cane. He shall to the Hôtel-de-Ville; Hulin, Maillard and others escorting him; Elie marching foremost "with the capitulation-paper on his sword's point". Through roarings and cursings; through hustlings, clutchings, and at last through strokes! Your escort is hustled aside, felled down; Hulin sinks exhausted on a heap of stones. Miserable de Launay! He shall never enter the Hôtel-de-Ville: only his "bloody hair-queue, held up in a bloody hand"; that shall enter, for a sign. The bleeding trunk lies on the steps there; the head is off through the streets; ghastly, aloft on a pike.

In the Court, all is mystery, not without whisperings of terror; though ye dream of lemonade and epaulettes, ye foolish women! His Majesty, kept in happy ignorance, perhaps dreams of double-barrels and the Woods of Meudon. Late at night, the Duke de Liancourt, having official right of entrance, gains access to the Royal Apartments; unfolds, with earnest clearness, in his constitutional way, the Job's-news. "Mais," said poor Louis, "c'est une révolte, Why, that is a revolt!"—"Sire," answered Liancourt, "it is not a revolt, it is a revolution."— The French Revolution: A History, 1837

另一选文 · Shakespeare, Worshipped as Our National Hero（On Heroes, 1841）

Whoever looks intelligently at this Shakespeare may recognise that he too was a Prophet, in his way; of an insight analogous to the Prophetic, though he took it up in another strain. Nature seemed to this man also divine; unspeakable, deep as Tophet, high as Heaven; “We are such stuff as Dreams are made of!” That scroll in Westminster Abbey, which few read with understanding, is of the depth of any seer. But the man sang; did not preach, except musically. I cannot call this Shakespeare a "Sceptic", as some do; his indifference to the creeds and theological quarrels of his time misleading them. No: neither unpatriotic, though he says little about his Patriotism; no sceptic, though he says little about his Faith. Such "indifference" was the fruit of his greatness withal: his whole heart was in his own grand sphere of worship (we may call it such); these other controversies, vitally important to other men, were not vital to him. …

Consider now, if they asked us, Will you give up your Indian Empire or your Shakespeare, you English; never have had any Indian Empire, or never have had any Shakespeare? Really it were a grave question. Official persons would answer doubtless in official language; but we, for our part too, should not we be forced to answer: Indian Empire, or no Indian Empire; we cannot do without Shakespeare! Indian Empire will go, at any rate, some day; but this Shakespeare does not go, he lasts forever with us; we cannot give up our Shakespeare.— On Heroes, Hero-Worship, and the Heroic in History, 1841

Wildman — 狡黠的幸存者

Wildman had served forty years before in the parliamentary army, but had been more distinguished there as an agitator than as a soldier, and had early quitted the profession of arms for pursuits better suited to his temper. His hatred of monarchy had induced him to engage in a long series of conspiracies, first against the Protector, and then against the Stuarts.

But with Wildman's fanaticism was joined a tender care for his own safety. He had a wonderful skill in grazing the edge of treason. No man understood better how to instigate others to desperate enterprises by words which, when repeated to a jury, might seem innocent, or, at worst, ambiguous. Such was his cunning that, though always plotting, though always known to be plotting and though long malignantly watched by a vindictive government, he eluded every danger, and died in his bed, after having seen two generations of his accomplices die on the gallows.

Danvers — 热血却怯懦

Danvers was a man of the same class, hotheaded, but fainthearted, constantly urged to the brink of danger by enthusiasm, and constantly stopped on that brink by cowardice. He had considerable influence among a portion of the Baptists, had written largely in defence of their peculiar opinions, and had drawn down on himself the severe censure of the most respectable Puritans by attempting to palliate the crimes of Matthias and John of Leyden. It is probable that, had he possessed a little courage, he would have trodden in the footsteps of the wretches whom he defended. He was, at this time, concealing himself from the officers of justice; for warrants were out against him on account of a grossly calumnious paper of which the government had discovered him to be the author.— The History of England from the Accession of James the Second, 1849

The pursuit of perfection, then, is the pursuit of sweetness and light. He who works for sweetness and light, works to make reason and the will of God prevail. He who works for machinery, he who works for hatred, works only for confusion. Culture looks beyond machinery, culture hates hatred; culture has one great passion, the passion for sweetness and light. It has one even yet greater! —the passion for making them prevail. It is not satisfied till we all come to a perfect man; it knows that the sweetness and light of the few must be imperfect until the raw and unkindled masses of humanity are touched with sweetness and light.

Again and again I have insisted how those are the happy moments of humanity, how those are the marking epochs of a people's life, how those are the flowering times for literature and art and all the creative power of genius, when there is a national glow of life and thought, when the whole of society is in the fullest measure permeated by thought, sensible to beauty, intelligent and alive. Only it must be real thought and real beauty; real sweetness and real light. Plenty of people will try to give the masses, as they call them, an intellectual food prepared and adapted in the way they think proper for the actual condition of the masses. The ordinary popular literature is an example of this way of working on the masses. Plenty of people will try to indoctrinate the masses with the set of ideas and judgments constituting the creed of their own profession or party. Our religious and political organizations give an example of this way of working on the masses. I condemn neither way; but culture works differently, it does not try to teach down to the level of inferior classes; it does not try to win them for this or that sect of its own, with ready-made judgments and watchwords. It seeks to do away with classes; to make the best that has been thought and known in the world current everywhere; to make all men live in an atmosphere of sweetness and light, where they may use ideas, as it uses them itself, freely, —nourished and not bound by them.

This is the social idea; and the men of culture are the true apostles of equality. The great men of culture are those who have had a passion for diffusing, for making prevail, for carrying from one end of society to the other, the best knowledge, the best ideas of their time; who have laboured to divest knowledge of all that was harsh, uncouth, difficult, abstract, professional, exclusive; to humanize it, to make it efficient outside the clique of the cultivated and learned, yet still remaining the best knowledge and thought of the time…— Culture and Anarchy, 1869

Consider, first, the difference produced in the whole tone of landscape colour by the introduction of purple, violet, and deep ultramarine blue, which we owe to mountains. In an ordinary lowland landscape we have the blue of the sky; the green of grass, which I will suppose (and this is an unnecessary concession to the lowlands) entirely fresh and bright; the green of trees; and certain elements of purple, far more rich and beautiful than we generally should think, in their bark and shadows (bare hedges and thickets, or tops of trees, in subdued afternoon sunshine, are nearly perfect purple, and of an exquisite tone), as well as in ploughed fields, and dark ground in general.

But among mountains, in addition to all this, large unbroken spaces of pure violet and purple are introduced in their distances; and even near, by films of cloud passing over the darkness of ravines or forests, blues are produced of the most subtle tenderness; these azures and purples passing into rose-colour of otherwise wholly unattainable delicacy among the upper summits, the blue of the sky being at the same time purer and deeper than in the plains. Nay, in some sense a person who has never seen the rose-colour of the rays of dawn crossing a blue mountain twelve or fifteen miles away, can hardly be said to know what tenderness in colour means at all; bright tenderness he may, indeed, see in the sky or in a flower, but this grave tenderness of the far-away hill-purples he cannot conceive.— Modern Painters, 1856

The presence that thus rose so strangely beside the waters, is expressive of what in the ways of a thousand years men had come to desire. Hers is the head upon which "all the ends of the world are come", and the eyelids are a little weary. It is a beauty wrought out from within upon the flesh, the deposit, little cell by cell, of strange thoughts and fantastic reveries and exquisite passions. Set it for a moment beside one of those white Greek goddesses or beautiful women of antiquity, and how would they be troubled by this beauty, into which the soul with all its maladies has passed! All the thoughts and experience of the world have etched and moulded there, in that which they have of power to refine and make expressive the outward form, the animalism of Greece, the lust of Rome, the reverie of the middle age with its spiritual ambition and imaginative loves, the return of the Pagan world, the sins of the Borgias.

She is older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave; and has been a diver in deep seas, and keeps their fallen day about her; and trafficked for strange webs with Eastern merchants: and, as Leda, was the mother of Helen of Troy, and, as Saint Anne, the mother of Mary; and all this has been to her but as the sound of lyres and flutes, and lives only in the delicacy with which it has moulded the changing lineaments, and tinged the eye-lids and the hands.— Studies in the History of the Renaissance, 1873

Hence it is, that is almost a definition of a gentleman, to say he is one who never inflicts pain. This description is both refined and, as far as it goes, accurate. He is mainly occupied in merely removing the obstacles which hinder the free and unembarrassed action of those about him; and he concurs with their movements rather than takes the initiative himself. His benefits may be considered as parallel to what are called comforts or conveniences in arrangements of a personal nature: like an easy chair or a good fire, which do their part in dispelling cold and fatigue, though nature provides both means of rest and animal heat without them.

The true gentleman in like manner carefully avoids whatever may cause a jar or a jolt in the minds of those with whom he is cast, —all clashing of opinion, or collision of feeling, all restraint, or suspicion, or gloom, or resentment; his great concern being to make every one at his ease and at home. He has his eyes on all his company; he is tender towards the bashful, gentle towards the distant, and merciful towards the absurd; he can recollect to whom he is speaking; he guards against unseasonable allusions, or topics which may irritate; he is seldom prominent in conversation, and never wearisome. He makes light of favors while he does them, and seems to be receiving when he is conferring. He never speaks of himself except when compelled, never defends himself by a mere retort; he has no ears for slander or gossip, is scrupulous in imputing motives to those who interfere with him, and interprets everything for the best.

He is never mean or little in his disputes, never takes unfair advantage, never mistakes personalities or sharp sayings for arguments, or insinuates evil which he dare not say out. From a long-sighted prudence, he observes the maxim of the ancient sage, that we should ever conduct ourselves towards our enemy as if he were one day to be our friend. He has too much good sense to be affronted at insults, he is too well employed to remember injuries, and too indolent to bear malice. He is patient, forbearing, and resigned, on philosophical principles; he submits to pain, because it is inevitable, to bereavement, because it is irreparable, and to death, because it is his destiny. If he engages in controversy of any kind, his disciplined intellect preserves him from the blundering discourtesy of better, though less educated minds; who, like blunt weapons, tear and hack instead of cutting clean, who mistake the point in argument, waste their strength on trifles, misconceive their adversary, and leave the question more involved than they find it.

He may be right or wrong in his opinion, but he is too clear-headed to be unjust; he is as simple as he is forcible, and as brief as he is decisive. Nowhere shall we find greater candor, consideration, indulgence: he throws himself into the minds of his opponents, he accounts for their mistakes. He knows the weakness of human reason as well as its strength, its province and its limits.— The Idea of a University, 1852

An intellectual man, as the world now conceives of him, is one who is full of "views", on all subjects of philosophy, on all matters of the day. It is almost thought a disgrace not to have a view at a moment's notice on any question from the Personal Advent to the Cholera or Mesmerism. This is owing in great measure to the necessities of periodical literature, now so much in request. Every quarter of a year, every month, every day, there must be a supply, for the gratification of the public, of new and luminous theories on the subjects of religion, foreign politics, home politics, civil economy, finance, trade, agriculture, emigration, and the colonies.

Slavery, the gold-fields, German philosophy, the French Empire, Wellington, Peel, Ireland, must all be practiced on, day after day, by what are called original thinkers. As the great man's guest must produce his good stories or songs at the evening banquet, as the platform orator exhibits his telling facts at mid-day, so the journalist lies under the stern obligation extemporizing his lucid views, leading ideas, and nutshell truths for the breakfast table.— Discourses on the Scope and Nature of University Education, 1852

The first shock of a great earthquake had, just at that period, rent the whole neighbourhood to its centre. Traces of its course were visible on every side. Houses were knocked down; streets broken through and stopped; deep pits and trenches dug in the ground; enormous heaps of earth and clay thrown up; buildings that were undermined and shaking, propped by great beams of wood. Here, a chaos of carts, overthrown and jumbled together, lay topsy-turvy at the bottom of a steep unnatural hill; there, confused treasures of iron soaked and rusted in something that had accidentally become a pond. Everywhere were bridges that led nowhere; thoroughfares that were wholly impassable; Babel towers of chimneys, wanting half their height; temporary wooden houses and enclosures, in the most unlikely situations; carcases of ragged tenements, and fragments of unfinished walls and arches, and piles of scaffolding, and wildernesses of bricks, and giant forms of cranes, and tripods straddling above nothing.

There were a hundred thousand shapes and substances of incompleteness, wildly mingled out of their places, upside down, burrowing in the earth, aspiring in the air, mouldering in the water, and unintelligible as any dream. Hot springs and fiery eruptions, the usual attendants upon earthquakes, lent their contributions of confusion to the scene. Boiling water hissed and heaved within dilapidated walls; whence, also, the glare and roar of flames came issuing forth; and mounds of ashes blocked up rights of way, and wholly changed the law and custom of the neighbourhood. In short, the yet unfinished and unopened Railroad was in progress; and, from the very core of all this fire disorder, trailed smoothly away, upon its mighty course of civilization and improvement.— Dombey and Son, 1846

另一选文 · A Tale of Two Cities 开篇（1859）

It was the best of times, and it was the worst of times. It was the age of wisdom, and it was the age of foolishness. It was the epoch of belief, and it was the epoch of incredulity. It was the season of light, and it was the season of darkness. It was the spring of hope, and it was the winter of despair. We had everything before us, and we had nothing before us …— A Tale of Two Cities, 1859

I touched the heath; it was dry, and yet warm with the heat of the summer day. I looked at the sky; it was pure: a kindly star twinkled just above the chasm ridge. The dew fell, but with propitious softness; no breeze whispered. Nature seemed to me benign and good; I thought she loved me, outcast as I was; and I, who from man could anticipate only mistrust, rejection, insult, clung to her with filial fondness. Tonight, at least, I would be her guest, as I was her child: my mother would lodge me without money and without price. I had one morsel of bread yet: the remnant of a roll I had bought in a town we had passed through at noon with a stray penny—my last coin. I saw ripe bilberries gleaming here and there, like jet beads in the heath: I gathered a handful, and ate them with the bread. My hunger, sharp before, was, if not satisfied, appeased by this hermit's meal. I said my evening prayers at its conclusion, and then chose my couch…. I again nestled to the breast of the hill; and ere long in sleep forgot sorrow.

But next day, Want came to me, pale and bare. Long after the little birds had left their nest; long after bees had come in the sweet prime of day to gather the heath honey before the dew was dried—when the long morning shadows were curtailed, and the sun filled earth and sky—I got up, and I looked round me. What a still, hot, perfect day! What a golden desert this spreading moor! Everywhere sunshine. I wished I could live in it and on it. I saw a lizard run over the crag; I saw a bee busy among the sweet bilberries. I would fain at the moment have become bee or lizard, that I might have found fitting nutriment, permanent shelter here. But I was a human being, and had a human being's wants: I must not linger where there was nothing to supply them. I rose; I looked back at the bed I had left. Hopeless of the future, I wished but this—that my Maker had that night thought good to require my soul of me while I slept; and that this weary frame, absolved by death from further conflict with fate, had now but to decay quietly, and mingle in peace with the soil of this wilderness. Life, however, was yet in my possession, with all its requirements, and pains, and responsibilities. The burden must be carried; the want provided for; the suffering endured; the responsibility fulfilled. I set out.— Jane Eyre, 1847

This time, I remembered I was lying in the oak closet, and I heard distinctly the gusty wind, and the driving of the snow; I heard, also, the fir-bough repeat its teasing sound, and ascribed it to the right cause: but it annoyed me so much that I resolved to silence it, if possible; and, I thought, I rose and endeavoured to unhasp the casement. The hook was soldered into the staple: a circumstance observed by me when awake, but forgotten. "I must stop it, nevertheless!" I muttered, knocking my knuckles through the glass, and stretching an arm out to seize the importunate branch; instead of which, my fingers closed on the fingers of a little, ice-cold hand! The intense horror of nightmare came over me: I tried to draw back my arm, but the hand clung to it, and a most melancholy voice sobbed, "Let me in—let me in!"

"Who are you?" I asked, struggling, meanwhile, to disengage myself. "Catherine Linton," it replied shiveringly (Why did I think of Linton? I had read Earnshaw twenty times for Linton). "I'm come home: I'd lost my way on the moor!" As it spoke, I discerned, obscurely, a child's face looking through the window. Terror made me cruel; and, finding it useless to attempt shaking the creature off, I pulled its wrist on to the broken pane, and rubbed it to and fro till the blood ran down and soaked the bedclothes: still it wailed, "Let me in!" and maintained its tenacious gripe, almost maddening me with fear. "How can I!" I said at length. "Let me go, if you want me to let you in!" The fingers relaxed, I snatched mine through the hole, hurriedly piled the books up in a pyramid against it, and stopped my ears to exclude the lamentable prayer. I seemed to keep them closed above a quarter of an hour; yet, the instant I listened again, there was the doleful cry moaning on! ===== SLIDE 35 ===== A Bad Dream

"Begone!" I shouted, "I'll never let you in, not if you beg for twenty years." "It is twenty years," mourned the voice: "twenty years. I've been a waif for twenty years!" Thereat began a feeble scratching outside, and the pile of books moved as if thrust forward. I tried to jump up; but could not stir a limb; and so yelled aloud, in a frenzy of fright. To my confusion, I discovered the yell was not ideal: hasty footsteps approached my chamber door; somebody pushed it open, with a vigorous hand, and a light glimmered through the squares at the top of the bed. I sat shuddering yet, and wiping the perspiration from my forehead: the intruder appeared to hesitate, and muttered to himself. At last, he said in a half-whisper, plainly not expecting an answer, "Is any one here?" I considered it best to confess my presence; for I knew Heathcliff's accents, and feared he might search further, if I kept quiet. With this intention, I turned and opened the panels.— Wuthering Heights, 1847

The eighteenth of August was one of these days, when the sunshine looked brighter in all eyes for the gloom that went before. Grand masses of cloud were hurried across the blue, and the great round hills behind the Chase seemed alive with their flying shadows; the sun was hidden for a moment, and then shone out warm again like a recovered joy; the leaves, still green, were tossed off the hedgerow trees by the wind; around the farmhouses there was a sound of clapping doors; the apples fell in the orchards; and the stray horses on the green sides of the lanes and on the common had their manes blown about their faces. And yet the wind seemed only part of the general gladness because the sun was shining. A merry day for the children, who ran and shouted to see if they could top the wind with their voices; and the grown-up people, too, were in good spirits, inclined to believe in yet finer days, when the wind had fallen. If only the corn were not ripe enough to be blown out of the husk and scattered as untimely seed!

And yet a day on which a blighting sorrow may fall upon a man. For if it be true that Nature at certain moments seems charged with a presentiment of one individual lot, must it not also be true that she seems unmindful, unconscious of another? For there is no hour that has not its births of gladness and despair, no morning brightness that does not bring new sickness to desolation as well as new forces to genius and love. There are so many of us, and our lots are so different: what wonder that Nature's mood is often in harsh contrast with the great crisis of our lives? We are children of a large family, and must learn, as such children do, not to expect that our hurts will be made much of—to be content with little nurture and caressing, and help each other the more.— Adam Bede, 1859

They drove out immediately after breakfast, on one of those high mornings of the bared bosom of June when distances are given to our eyes, and a soft air fondles leaf and grassblade, and beauty and peace are overhead, reflected, if we will. Rain had fallen in the night. Here and there hung a milkwhite cloud with folded sail. The South-west left it in its bay of blue, and breathed below. At moments the fresh scent of herb and mould swung richly in warmth. The young beech-leaves glittered, pools of rain-water made the roadways laugh, the grass-banks under hedges rolled their interwoven weeds in cascades of many-shaded green to right and left of the pair of dappled ponies, and a squirrel crossed ahead, a lark went up a little way to ease his heart, closing his wings when the burst was over, startled blackbirds, darting with a clamour like broken cockcrow, looped the wayside woods from hazel to oak-scrub; short flights, quick spirts everywhere, steady sunshine above.

Diana held the reins…Through an old gravel-cutting a gateway led to the turf of the down, springy turf bordered on a long line, clear as a racecourse, by golden gorse covers, and leftward over the gorse the dark ridge of the fir and heath country ran companionably to the South-west, the valley between, with undulations of wood and meadow sunned or shaded, clumps, mounds, promontories, away to broad spaces of tillage banked by wooded hills, and dimmer beyond and farther, the faintest shadowiness of heights, as a veil to the illimitable. Yews, junipers, radiant beeches, and gleams of the service-tree or the white-beam spotted the semicircle of swelling green Down black and silver. The sun in the valley sharpened his beams on squares of buttercups, and made a pond a diamond.— Diana of the Crossways, 1885

For some time the pair said nothing: what they must have felt during their first half hour, the reader must guess, for it is beyond my power to tell him; at the end of that time, however, Theobald had rummaged up a conclusion from some odd corner of his soul to the effect that now he and Christina were married the sooner they fell into their future mutual relations the better. If people who are in a difficulty will only do the first little reasonable thing which they can clearly recognise as reasonable, they will always find the next step more easy both to see and take. What, then, thought Theobald, was here at this moment the first and most obvious matter to be considered, and what would be an equitable view of his and Christina's relative positions in respect to it? Clearly their first dinner was their first joint entry into the duties and pleasures of married life. No less clearly it was Christina's duty to order it, and his own to eat it and pay for it.

The arguments leading to this conclusion, and the conclusion itself, flashed upon Theobald about three and a half miles after he had left Crampsford on the road to Newmarket. He had breakfasted early, but his usual appetite had failed him. They had left the vicarage at noon without staying for the wedding breakfast. Theobald liked an early dinner; it dawned upon him that he was beginning to be hungry; from this to the conclusion stated in the preceding paragraph the steps had been easy. After a few minutes' further reflection he broached the matter to his bride, and thus the ice was broken.

Mrs. Theobald was not prepared for so sudden an assumption of importance. Her nerves, never of the strongest, had been strung to their highest tension by the event of the morning. She wanted to escape observation; she was conscious of looking a little older than she quite liked to look as a bride who had been married that morning; she feared the landlady, the chambermaid, the waiter—everybody and everything; her heart beat so fast that she could hardly speak, much less go through the ordeal of ordering dinner in a strange hotel with a strange landlady. She begged and prayed to be let off. If Theobald would only order dinner this once, she would order it any day and every day in future. But the inexorable Theobald was not to be put off with such absurd excuses. He was master now. Had not Christina less than two hours ago promised solemnly to honour and obey him, and was she turning restive over such a trifle as this?— The Way of All Flesh, 1903

It was a typical summer evening in June, the atmosphere being in such delicate equilibrium and so transmissive that inanimate objects seemed endowed with two or three senses, if not five. There was no distinction between the near and the far, and an auditor felt close to everything within the horizon. The soundlessness impressed her as a positive entity rather than as the mere negation of noise. It was broken by the strumming of strings.

Tess had heard those notes in the attic above her head. Dim, flattened, constrained by their confinement, they had never appealed to her as now, when they wandered in the still air with a stark quality like that of nudity. To speak absolutely, both instrument and execution were poor; but the relative is all, and as she listened, Tess, like a fascinated bird, could not leave the spot. Far from leaving she drew up towards the performer, keeping behind the hedge that he might not guess her presence. The outskirt of the garden in which Tess found herself had been left uncultivated for some years, and was now damp and rank with juicy grass which sent up mists of pollen at a touch; and with tall blooming weeds emitting offensive smells—weeds whose red and yellow and purple hues formed a polychrome as dazzling as that of cultivated flowers. She went stealthily as a cat through this profusion of growth, gathering cuckoo-spittle on her skirts, cracking snails that were underfoot, staining her hands with thistlemilk and slug-slime, and rubbing off upon her naked arms sticky blights which, though snow-white on the apple-tree trunks, made madder stains on her skin; thus she drew quite near to Clare, still unobserved of him.

Tess was conscious of neither time nor space. The exaltation which she had described as being producible at will by gazing at a star, came now without any determination of hers; she undulated upon the thin notes of the second-hand harp, and their harmonies passed like breezes through her, bringing tears into her eyes. The floating pollen seemed to be his notes made visible, and the dampness of the garden the weeping of the garden's sensibility. Though near nightfall, the rank-smelling weed-flowers glowed as if they would not close for intentness, and the waves of colour mixed with the waves of sound.— Tess of the d'Urbervilles, 1891

Nothing is easier than to admit in words the truth of the universal struggle for life, or more difficult—at least I have found it so—than constantly to bear this conclusion in mind. Yet unless it be thoroughly engrained in the mind, the whole economy of nature, with every fact on distribution, rarity, abundance, extinction, and variation, will be dimly seen or quite misunderstood. We behold the face of nature bright with gladness, we often see superabundance of food; we do not see or we forget, that the birds which are idly singing round us mostly live on insects or seeds, and are thus constantly destroying life; or we forget how largely these songsters, or their eggs, or their nestlings, are destroyed by birds and beasts of prey; we do not always bear in mind, that, though food may be now superabundant, it is not so at all seasons of each recurring year.— On the Origin of Species, 1859

另一选文 · The Human Pedigree（The Descent of Man, 1871）

Man may be excused for feeling some pride at having risen, though not through his own exertions, to the very summit of the organic scale; and the fact of his having thus risen, instead of having been aboriginally placed there, may give him hope for a still higher destiny in the distant future. But we are not here concerned with hopes or fears, only with the truth as far as our reason permits us to discover it; and I have given the evidence to the best of my ability. We must, however, acknowledge, as it seems to me, that man with all his noble qualities, with sympathy which feels for the most debased, with benevolence which extends not only to other men but to the humblest living creature, with his god-like intellect which has penetrated into the movements and constitution of the solar system—with all these exalted powers—man still bears in his bodily frame the indelible stamp of his lowly origin.— The Descent of Man, 1871

Man, the animal, in fact, has worked his way to the headship of the sentient world, and has become the superb animal which he is, in virtue of his success in the struggle for existence. The conditions having been of a certain order, man's organization has adjusted itself to them better than that of his competitors in the cosmic strife. In the case of mankind, the self-assertion, the unscrupulous seizing upon all that can be grasped, the tenacious holding of all that can be kept, which constitute the essence of the struggle for existence, have answered. For his successful progress, throughout the savage state, man has been largely indebted to those qualities which he shares with the ape and the tiger; his cunning, his sociability, his curiosity, and his imitativeness; his ruthless and ferocious destructiveness when his anger is roused by opposition.

But, in proportion as men have passed from anarchy to social organization, and in proportion as civilization has grown in worth, these deeply ingrained serviceable qualities have become defects. After the manner of successful persons, civilized man would gladly kick down the ladder by which he has climbed. He would be only too pleased to see "the ape and tiger die." But they decline to suit his convenience; and the unwelcome intrusion of these boon companions of his hot youth into the ranged existence of civil life adds pains and griefs, innumerable and immeasurably great, to those which the cosmic process necessarily brings on the mere animal. In fact, civilized man brands all these ape and tiger promptings with the name of sins; he punishes many of the acts which flow from them as crimes; and, in extreme cases, he does his best to put an end to the survival of the fittest of former days by axe and rope.— Evolution and Ethics, 1893

I looked about me to see if any traces of animal life remained. A certain indefinable apprehension still kept me in the saddle of the machine. But I saw nothing moving, in earth or sky or sea. The green slime on the rocks alone testified that life was not extinct. A shallow sand-bank had appeared in the sea and the water had receded from the beach. I fancied I saw some black object flopping about upon this bank, but it became motionless as I looked at it, and I judged that my eye had been deceived, and that the black object was merely a rock. The stars in the sky were intensely bright and seemed to me to twinkle very little.

The darkness grew apace; a cold wind began to blow in freshening gusts from the east, and the showering white flakes in the air increased in number. From the edge of the sea came a ripple and whisper. Beyond these lifeless sounds the world was silent. Silent? It would be hard to convey the stillness of it. All the sounds of man, the bleating of sheep, the cries of birds, the hum of insects, the stir that makes the background of our lives—all that was over. As the darkness thickened, the eddying flakes grew more abundant, dancing before my eyes; and the cold of the air more intense. At last, one by one, swiftly, one after the other, the white peaks of the distant hill vanished into blackness. The breeze rose to a moaning wind. I saw the black central shadow of the eclipse sweeping towards me. In another moment the pale stars alone were visible. All else was rayless obscurity. The sky was absolutely black.

A horror of this great darkness came on me. The cold, that smote to my marrow, and the pain I felt in breathing, overcame me. I shivered, and a deadly nausea seized me. Then like a red-hot bow in the sky appeared the edge of the sun. I got off the machine to recover myself. I felt giddy and incapable of facing the return journey. As I stood sick and confused I saw again the moving thing upon the shoal—there was no mistake now that it was a moving thing—against the red water of the sea. It was a round thing, the size of a football perhaps, or, it may be, bigger, and tentacles trailed down from it; it seemed black against the weltering blood-red water, and it was hopping fitfully about. Then I felt I was fainting. But a terrible dread of lying helpless in that remote and awful twilight sustained me while I clambered upon the saddle.— The Time Machine, 1895

There is still another aspect under which the beauty of the world may be viewed, namely, as it becomes an object of the intellect. Beside the relation of things to virtue, they have a relation to thought. The intellect searches out the absolute order of things as they stand in the mind of God, and without the colors of affection. The intellectual and the active powers seem to succeed each other, and the exclusive activity of the one generates the exclusive activity of the other. There is something unfriendly in each to the other, but they are like the alternate periods of feeding and working in animals; each prepares and will be followed by the other. Therefore does beauty, which, in relation to actions, as we have seen, comes unsought, and comes because it is unsought, remain for the apprehension and pursuit of the intellect; and then again, in its turn, of the active power. Nothing divine dies. All good is eternally reproductive. The beauty of nature reforms itself in the mind, and not for barren contemplation, but for new creation.

All men are in some degree impressed by the face of the world; some men even to delight. This love of beauty is Taste. Others have the same love in such excess, that, not content with admiring, they seek to embody it in new forms. The creation of beauty is Art. The production of a work of art throws a light upon the mystery of humanity. A work of art is an abstract or epitome of the world. It is the result or expression of nature, in miniature. For although the works of nature are innumerable and all different, the result or the expression of them all is similar and single. Nature is a sea of forms radically alike and even unique. A leaf, a sun beam, a landscape, the ocean, make an analogous impression on the mind. What is common to them all, —that perfectness and harmony, is beauty.

Nothing is quite beautiful alone; nothing but is beautiful in the whole. A single object is only so far beautiful as it suggests this universal grace. The poet, the painter, the sculptor, the musician, the architect, seek each to concentrate this radiance of the world on one point, and each in his several works to satisfy the love of beauty which stimulates him to produce. Thus is Art a nature passed through the alembic of man. Thus in art, does Nature work through the will of a man filled with the beauty of her first works. The world thus exists to the soul to satisfy the desire of beauty. This element I call an ultimate end. No reason can be asked or given why the soul seeks beauty. Beauty, in its largest and profoundest sense, is one expression for the universe. God is the all-fair. Truth, and goodness, and beauty, are but different faces of the same All. But beauty in nature is not ultimate. It is the herald of inward and eternal beauty, and is not alone a solid and satisfactory good. It must stand as a part, and not as yet the last or highest expression of the final cause of Nature.— Nature, 1836

The Americans of all nations at any time upon the earth, have probably the fullest poetical nature. The United States themselves are essentially the greatest poem. In the history of the earth hitherto the largest and most stirring appear tame and orderly to their ampler largeness and stir. Here at last is something in the doings of man that corresponds with the broadcast doings of the day and night. Here is not merely a nation but a teeming nation of nations. Here is action untied from strings necessarily blind to particulars and details magnificently moving in vast masses. Here is the hospitality which forever indicates heroes… Here are the roughs and beards and space and ruggedness and nonchalance that the soul loves. Here the performance disdaining the trivial unapproached in the tremendous audacity of its crowds and groupings and the push of its perspective spreads with crampless and flowing breadth and showers its prolific and splendid extravagance. One sees it must indeed own the riches of the summer and winter, and need never be bankrupt while corn grows from the ground or the orchards drop apples or the bays contain fish or men beget children upon women.— "Preface to Leaves of Grass", 1855

I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived. I did not wish to live what was not life, living is so dear; nor did I wish to practice resignation, unless it was quite necessary. I wanted to live deep and suck out all the marrow of life, to live so sturdily and Spartan-like as to put to rout all that was not life, to cut a broad swath and shave close, to drive life into a corner, and reduce it to its lowest terms, and, if it proved to be mean, why then to get the whole and genuine meanness of it, and publish its meanness to the world; or if it were sublime, to know it by experience, and be able to give a true account of it in my next excursion.

Still we live meanly, like ants, though the fable tells us that we were long ago changed into men; like pygmies we fight with cranes; it is error upon error, and clout upon clout, and our best virtue has for its occasion a superfluous and evitable wretchedness. Our life is frittered away by detail. An honest man has hardly need to count more than his ten fingers, or in extreme cases he may add his ten toes, and lump the rest. Simplicity, simplicity, simplicity! I say, let your affaires be as two or three, and not a hundred or a thousand; instead of a million count half a dozen, and keep your accounts on your thumb nail. In the midst of this chopping sea of civilized life, such are the clouds and storms and quicksands and thousand-and-one items to be allowed for, that a man has to live, if he would not founder and go to the bottom and not make his port at all, by dead reckoning, and he must be a great calculator indeed who succeeds. Simplify, simplify. Instead of three meals a day, if it be necessary eat but one; instead of a hundred dishes, five; and reduce other things in proportion.— Walden, 1854

We continued our route in search of the Amontillado. We passed through a range of low arches, descended, passed on, and descending again, arrived at a deep crypt, in which the foulness of the air caused our flambeaux rather to glow than flame. At the most remote end of the crypt there appeared another less spacious. Its walls had been lined with human remains piled to the vault over head, in the fashion of the great catacombs of Paris. Three sides of this interior crypt were still ornamented in this manner. From the fourth the bones had been thrown down, and lay promiscuously upon the earth, forming at one point a mound of some size. Within the wall thus exposed by the displacing of the bones, we perceived a still interior recess, in depth about four feet, in width three, in height six or seven.

"Proceed," I said; "herein is the Amontillado. As for Luchesi" —— "He is an ignoramus," interrupted my friend, as he stepped unsteadily forward, while I followed immediately at his heels. In an instant he had reached the extremity of the niche, and finding his progress arrested by the rock, stood stupidly bewildered. A moment more and I had fettered him to the granite. In its surface were two iron staples, distant from each other about two feet, horizontally. From one of these depended a short chain, from the other a padlock. Throwing the links about his waist, it was but the work of a few seconds to secure it. He was too much astounded to resist. Withdrawing the key I stepped back from the recess. "Pass your hand," I said, "over the wall; you cannot help feeling the nitre. Indeed it is very damp. Once more let me implore you to return. No? Then I must positively leave you. But I must first render you all the little attentions in my power." "The Amontillado!" ejaculated my friend, not yet recovered from his astonishment. "True," I replied; "the Amontillado." As I said these words I busied myself among the pile of bones of which I have before spoken. Throwing them aside, I soon uncovered a quantity of building stone and mortar. With these materials and with the aid of my trowel, I began vigorously to wall up the entrance of the niche.

I had scarcely laid the first tier of the masonry when I discovered that the intoxication of Fortunato had in a great measure worn off. The earliest indication I had of this was a low moaning cry from the depth of the recess. It was not the cry of a drunken man. There was then a long and obstinate silence. I laid the second tier, and the third, and the fourth; and then I heard the furious vibrations of the chain. The noise lasted for several minutes, during which, that I might hearken to it with the more satisfaction, I ceased my labours and sat down upon the bones. When at last the clanking subsided, I resumed the trowel, and finished without interruption the fifth, the sixth, and the seventh tier. The wall was now nearly upon a level with my breast. I again paused, and holding the flambeaux over the mason-work, threw a few feeble rays upon the figure within. A succession of loud and shrill screams, bursting suddenly from the throat of the chained form, seemed to thrust me violently back. For a brief moment I hesitated—I trembled. Unsheathing my rapier, I began to grope with it about the recess; but the thought of an instant reassured me. I placed my hand upon the solid fabric of the catacombs, and felt satisfied. I reapproached the wall. I replied to the yells of him who clamoured. I reechoed—I aided—I surpassed them in volume and in strength. I did this, and the clamourer grew still.

I hastened to make an end of my labour. I forced the last stone into its position; I plastered it up. Against the new masonry I reerected the old rampart of bones. For the half of a century no mortal has disturbed them. In pace requiescat!— "The Cask of Amontillado", 1850

I have heard a good deal of the tenacity with which English ladies retain their personal beauty to a late period of life; but (not to suggest that an American eye needs use and cultivation before it can quite appreciate the charm of English beauty at any age) it strikes me that an English lady of fifty is apt to become a creature less refined and delicate, so far as her physique goes, than anything that we western people class under the name of woman. She has an awful ponderosity of frame, not pulpy, like the looser development of our few fat women, but massive with solid beef and streaky tallow; so that (though struggling manfully against the idea) you inevitably think of her as made up of steaks and sirloins. When she walks, her advance is elephantine. When she sits down, it is on a great round space of her Maker’s footstool, where she looks as if nothing could ever move her. She imposes awe and respect by the muchness of her personality, to such a degree that you probably credit her with far greater moral and intellectual force than she can fairly claim.

Her visage is usually grim and stern, seldom positively forbidding, yet calmly terrible, not merely by its breadth and weight of feature, but because it seems to express so much well-founded self-reliance, such acquaintance with the world, its toils, troubles, and dangers, and such sturdy capacity for trampling down a foe. Without anything positively salient, or actively offensive, or, indeed, unjustly formidable to her neighbours, she has the effect of a seventy-four gun-ship in time of peace; for, while you assure yourself that there is no real danger, you cannot help thinking how tremendous would be her onset, if pugnaciously inclined, and how futile the effort to inflict any counter-injury. She certainly looks tenfold—nay, a hundred-fold—better able to take care of herself than our slender-framed and haggard womankind; but I have not found reason to suppose that the English dowager of fifty has actually greater courage, fortitude, and strength of character than our women of similar age, or even a tougher physical endurance than they.— Our Old Home, 1863

"Haul in the chains! Let the carcase go astern!" The vast tackles have now done their duty. The peeled white body of the beheaded whale flashes like a marble sepulchre; though changed in hue, it has not perceptibly lost anything in bulk. It is still colossal. Slowly it floats more and more away, the water round it torn and splashed by the insatiate sharks, and the air above vexed with rapacious flights of screaming fowls, whose beaks are like so many insulting poniards in the whale. The vast white headless phantom floats further and further from the ship, and every rod that it so floats, what seem square roods of sharks and cubic roods of fowls, augment the murderous din. For hours and hours from the almost stationary ship that hideous sight is seen. Beneath the unclouded and mild azure sky, upon the fair face of the pleasant sea, wafted by the joyous breezes, that great mass of death floats on and on, till lost in infinite perspective.

There's a most doleful and most mocking funeral! The sea-vultures all in pious mourning, the air-sharks all punctiliously in black or speckled. In life but few of them would have helped the whale, I ween, if peradventure he had needed it; but upon the banquet of his funeral they most piously do pounce. Oh, horrible vulturism of earth! From which not the mightiest whale is free.— Moby-Dick, 1851

I did not, when a slave, understand the deep meaning of those rude and apparently incoherent songs. I was myself within the circle: so that I neither saw nor heard as those without might see and hear. They told a tale of woe which was then altogether beyond my feeble comprehension; they were tones loud, long, and deep; they breathed the prayers and complaint of souls boiling over with the bitterest anguish. Every tone was a testimony against slavery, and a prayer to God for deliverance from chains. The hearing of those wild notes always depressed my spirit, and filled me with ineffable sadness. I have frequently found myself in tears while hearing them. The mere recurrence to those songs, even now, afflicts me; and while I am writing these lines, an expression of feeling has already found its way down my cheek. To those songs I trace my first glimmering conception of the dehumanizing character of slavery. I can never get rid of that conception. Those songs still follow me, to deepen my hatred of slavery, and quicken my sympathies for my brethren in bonds. If any one wishes to be impressed with the soul-killing effects of slavery, let him go to Colonel Lloyd’s plantation, and, on allowance-day, place himself in the deep pine woods, and there let him, in silence, analyze the sounds that shall pass through the chambers of his soul,—and if he is not thus impressed, it will only be because "there is no flesh in his obdurate heart".

I have often been utterly astonished, since I came to the north, to find persons who could speak of the singing among slaves, as evidence of their contentment and happiness. It is impossible to conceive of a greater mistake. Slaves sing most when they are most unhappy. The songs of the slave represent the sorrows of his heart; and he is relieved by them, only as an aching heart is relieved by its tears. At least, such is my experience. I have often sung to drown my sorrow, but seldom to express my happiness.— Narrative of the Life of Frederick Douglass, an American Slave, 1845

It would in some measure relieve my embarrassment if I could, even in a slight degree, feel myself worthy of the great honour which you do me to-day. Why you have called me from the Black Belt of the South, from among my humble people, to share in the honours of this occasion, is not for me to explain; and yet it may not be inappropriate for me to suggest that it seems to me that one of the most vital questions that touch our American life is how to bring the strong, wealthy, and learned into helpful touch with the poorest, most ignorant, and humblest, and at the same time make one appreciate the vitalizing, strengthening influence of the other. How shall we make the mansion on yon Beacon Street feel and see the need of the spirits in the lowliest cabin in Alabama cotton-fields or Louisiana sugar-bottoms? This problem Harvard University is solving, not by bringing itself down, but by bringing the masses up.

If my life in the past has meant anything in the lifting up of my people and the bringing about of better relations between your race and mine, I assure you from this day it will mean doubly more. In the economy of God there is but one standard by which an individual can succeed—there is but one for a race. This country demands that every race shall measure itself by the American standard. By it a race must rise or fall, succeed or fail, and in the last analysis mere sentiment counts for little. During the next half-century and more, my race must continue passing through the severe American crucible. We are to be tested in our patience, our forbearance, our perseverance, our power to endure wrong, to withstand temptations, to economize, to acquire and use skill; in our ability to compete, to succeed in commerce, to disregard the superficial for the real, the appearance for the substance, to be great and yet small, learned and yet simple, high and yet the servant of all.— Up from Slavery, 1901

After the Egyptian and Indian, the Greek and Roman, the Teuton and Mongolian, the Negro is a sort of seventh son, born with a veil, and gifted with second-sight in this American world,—a world which yields him no true self-consciousness, but only lets him see himself through the revelation of the other world. It is a peculiar sensation, this double consciousness, this sense of always looking at one's self through the eyes of others, of measuring one's soul by the tape of a world that looks on in amused contempt and pity. One ever feels his twoness,—an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder.

The history of the American Negro is the history of this strife,—this longing to attain self-conscious manhood, to merge his double self into a better and truer self. In this merging he wishes neither of the older selves to be lost. He would not Africanize America, for America has too much to teach the world and Africa. He would not bleach his Negro soul in a flood of white Americanism, for he knows that Negro blood has a message for the world. He simply wishes to make it possible for a man to be both a Negro and an American, without being cursed and spit upon by his fellows, without having the doors of Opportunity closed roughly in his face.

This, then, is the end of his striving: to be a co-worker in the kingdom of culture, to escape both death and isolation, to husband and use his best powers and his latent genius. These powers of body and mind have in the past been strangely wasted, dispersed, or forgotten. The shadow of a mighty Negro past flits through the tale of Ethiopia the Shadowy and of Egypt the Sphinx. Through history, the powers of single black men flash here and there like falling stars, and die sometimes before the world has rightly gauged their brightness. Here in America, in the few days since Emancipation, the black man’s turning hither and thither in hesitant and doubtful striving has often made his very strength to lose effectiveness, to seem like absence of power, like weakness. And yet it is not weakness,—it is the contradiction of double aims. The double-aimed struggle of the black artisan—on the one hand to escape white contempt for a nation of mere hewers of wood and drawers of water, and on the other hand to plough and nail and dig for a poverty-stricken horde—could only result in making him a poor craftsman, for he had but half a heart in either cause.— The Souls of Black Folk, 1903

The "tall buildings", which have so promptly usurped a glory that affects you as rather surprised, as yet, at itself, the multitudinous sky-scrapers standing up to the view, from the water, like extravagant pins in a cushion already overplanted, and stuck in as in the dark, anywhere and anyhow, have at least the felicity of carrying out the fairness of tone, of taking the sun and the shade in the manner of towers of marble. They are not all of marble, I believe, by any means, even if some may be, but they are impudently new and still more impudently "novel"—this in common with so many other terrible things in America—and they are triumphant payers of dividends; all of which uncontested and unabashed pride, with flash of innumerable windows and flicker of subordinate gilt attributions, is like the flare, up and down their long, narrow faces, of the lamps of some general permanent “celebration”.

You see the pin-cushion in profile, so to speak, on passing between Jersey City and Twenty-Third Street, but you get it broadside on, this loose nosegay of architectural flowers, if you skirt the Battery, well out, and embrace the whole plantation. Then the “American beauty”, the rose of interminable stem, becomes the token of the cluster at large—to that degree that, positively, this is all that is wanted for emphasis of your final impression. Such growths, you feel, have confessedly arisen but to be "picked", in time, with a shears; nipped short off, by waiting fate, as soon as “science”, applied to gain, has put upon the table, from far up its sleeve, some more winning card. Crowned not only with no history, but with no credible possibility of time for history, and consecrated by no uses save the commercial at any cost, they are simply the most piercing notes in that concert of the expensively provisional into which your supreme sense of New York resolves itself. They never begin to speak to you, in the manner of the builded majesties of the world as we have heretofore known such—towers or temples or fortresses or palaces—with the authority of things of permanence or even of things of long duration. One story is good only till another is told, and sky-scrapers are the last word of economic ingenuity only till another word be written.— The American Scene, 1907

In New York "the night hath a thousand eyes". That is why all cats are not grey by night. The Great White Way, pleasure-ground of the world, is the incandescent oven of the metropolis, and under its fierce glare all felines appear alike. But grey, never. The sad-coloured procession that slowly moves through Piccadilly, the merry crush of the Friedrichstrasse, and the gayer swirl on the Grand Boulevard are not so cosmopolitan as Broadway on a summer's night. Every nationality swells the stream of petticoats; “As the rill that runs from Bulicamé to be portioned out among the sinful women,” sang Dante, and one exclaims: Lo! This is the city of Dis, when in the maelstrom of faces; faces blanched by regret, sunned by crime, beaming with sin; faces rusted by vain virtue, wan, weary faces, and the triumphant regard of them that are loved. You think of Bill Sykes and his cry of terror: "The eyes, the eyes!"

The city has begun its nocturnal carnival, and like all organised orgies the spectacle is of a consuming melancholy. No need to moralise; cause and effect speak with an appalling clarity. Through this tohubohu of noise a sinister medley of farce and flame, the Will-to-Enjoy, winds like a stream of red-hot resistless lava. In describing it your pen makes melodramatic twists or else hops deliriously. The day birds have gone to bed, the night fowl are afield. The owl is a denizen of the dark and Minerva’s counsel, for all that wisdom is not in the air. Even veritable cats as they slink or race across the highway are bathed in the blaze of a New York night with its thousands of eyes. No, all cats are not grey by night in Gotham.

But from the heights, what a different picture! Then the magic of the city begins to operate; that missing soul of New York shyly peeps forth in the nocturnal transfiguration. Not, however, in Broadway, with its thousand lies and lights, not in opera-houses, theatres, restaurants, or roof-gardens, but on some perch of vantage from which the scene in all its mysterious beauty may be studied. You see a cluster of lights on the West Side Circle, a ladder of fire the pivot. Farther down, theatreland dazzles with its tongues of flame. Across in the cool shadows are the level lines of twinkling points of the bridges. There is always the sense of waters not afar. …We are in a city exotic, semi-barbaric, the fantasy of an Eastern sorcerer mad enough to evoke from immemorial seas a lost Atlantis.— New Cosmopolis, 1915

In Brooklyn, in the neighborhood of Henry Street, the pleasant red and pink brick houses still worthily represent the generation of Henry Ward Beecher; but an eternal Sunday is on them now; they seem sunk in a final silence. In the streets one may catch a glimpse of a solitary well-dressed old gentleman moving slowly a long way off; but in general the respectable have disappeared and only the vulgar survive. The empty quiet is broken by the shouts of shrill Italian children and by incessant mechanical pianos in dingy apartment houses, accompanied by human voices that seem almost as mechanical as they. At night, along unlighted streets, one gives a wide berth to drunkards that sprawl out across the pavement from the shadow of darkened doors; and I have known a dead horse to be left in the road—two blocks from the principal post office and not much more from the Borough Hall—with no effort made to remove it, for nearly three weeks. In the summer, warm sickening fumes from a factory that makes cheap chocolate give a stagnancy of swamps to the heavy air. In the evening, an old woman steals through the streets, softly calling to cats, which she poisons and which die slowly of gripes in the areas of decorous houses from which the families have moved away.

So much for the dead and the dying; in the newer part of town, the East Forties, looking down from a high upper window, one takes account of the monstrous carcass of the Grand Central Station and Palace, with its myriad skylights and its zinc-livid roofs, stretched out like a segmented seaworm that is almost unrecognizable as a form of life. Beyond it rise the upright rectangles of drab or raw yellow brick—yellows devoid of brilliance, browns that are never rich—perforated, as if by a perforating machine, with rows of rectangular windows; the stiff black fingers of factories: blunt truncated meaningless towers; a broken scrambling of flat roofs and sharp angles which is yet a compact fitting-in; and then the lead-silver river strung across with its skeletal bridge. In the middle distance, the sky itself seems to be over-displaced—like a pool in which a large safe has been dropped—by a disagreeably colored hotel, brownish yellow like a bronchial troche and so immense that its cubic acres seem to weigh down the very island, almost to make it sag. A flock of pigeons that fly below have the look, in the dull light, of wastepaper blown by the wind.

Sitting indoors in New York by day, one becomes aware of mysterious noises: the drilling of granite teeth, the cackling of mechanical birds, the thudding of Cyclopean iron doors; accelerating avalanches of brick, the collapse of deserted warehouses, explosives that cause no excitement, pistol shots that are quite without consequence. Nor does one care to find out what these noises are. One goes on with whatever one is doing, incurious and wholly indifferent.— The American Earthquake, 1925

Certainly London fascinates. One visualises it as a tract of quivering grey, intelligent without purpose, and excitable without love; as a spirit that has altered before it can be chronicled; as a heart that certainly beats, but with no pulsation of humanity. It lies beyond everything: Nature, with all her cruelty, comes nearer to us than do these crowds of men. A friend explains himself: the earth is explicable—from her we came, and we must return to her. But who can explain Westminster Bridge Road or Liverpool Street in the morning—the city inhaling—or the same thoroughfares in the evening—the city exhaling her exhausted air? We reach in desperation beyond the fog, beyond the very stars, the voids of the universe are ransacked to justify the monster, and stamped with a human face. London is religion's opportunity—not the decorous religion of theologians, but anthropomorphic, crude.

The Londoner seldom understands his city until it sweeps him, too, away from his moorings, and Margaret’s eyes were not opened until the lease of Wickham Place expired. She had always known that it must expire, but the knowledge only became vivid about nine months before the event. Then the house was suddenly ringed with pathos. It had seen so much happiness. Why had it to be swept away? In the streets of the city she noted for the first time the architecture of hurry, and heard the language of hurry on the mouths of its inhabitants—clipped words, formless sentences, potted expressions of approval or disgust. Month by month things were stepping livelier, but to what goal? The population still rose, but what was the quality of the men born? The particular millionaire who owned the freehold of Wickham Place, and desired to erect Babylonian flats upon it—what right had he to stir so large a portion of the quivering jelly? He was not a fool—she had heard him expose Socialism—but true insight began just where his intelligence ended, and one gathered that this was the case with most millionaires. What right had such men——But Margaret checked herself. That way lies madness. Thank goodness she, too, had some money, and could purchase a new home.— Howards End, 1910

The Queen was dead, and the air of the greatest city upon earth grey with unshed tears. Fur-coated and top-hatted, with Annette beside him in dark furs, Soames crossed Park Lane on the morning of the funeral procession, to the rails of Hyde Park. Little moved though he ever was by public matters, this event, supremely symbolical, this summing-up of a long rich period, impressed his fancy. In '37, when she came to the throne, “Superior Dosset” was still building houses to make London hideous; and James, a stripling of twenty-six, just laying the foundations of his practice in the Law. Coaches still ran; men wore stocks, shaved their upper lips, ate oysters out of barrels; "tigers" swung behind cabriolets; women said, "La!" and owned no property; there were manners in the land, and pigsties for the poor; unhappy devils were hanged for little crimes, and Dickens had but just begun to write. Well-nigh two generations had slipped by—of steamboats, railways, telegraphs, bicycles, electric light, telephones, and now these motorcars—of such accumulated wealth that eight percent had become three, and Forsytes were numbered by the thousand!

Morals had changed, manners had changed, men had become monkeys twice-removed, God had become Mammon—Mammon so respectable as to deceive himself. Sixty-four years that favoured property, and had made the upper middle class; buttressed, chiselled, polished it, till it was almost indistinguishable in manners, morals, speech, appearance, habit, and soul from the nobility. An epoch which had gilded individual liberty so that if a man had money, he was free in law and fact, and if he had not money he was free in law and not in fact. An era which had canonised hypocrisy, so that to seem to be respectable was to be. A great Age, whose transmuting influence nothing had escaped save the nature of man and the nature of the Universe.— In Chancery, 1920

Brooding Gloom on the Great River

And at last, in its curved and imperceptible fall, the sun sank low, and from glowing white changed to a dull red without rays and without heat, as if about to go out suddenly, stricken to death by the touch of that gloom brooding over a crowd of men. Forthwith a change came over the waters, and the serenity became less brilliant but more profound. The old river in its broad reach rested unruffled at the decline of day, after ages of good service done to the race that peopled its banks, spread out in the tranquil dignity of a waterway leading to the uttermost ends of the earth. We looked at the venerable stream not in the vivid flush of a short day that comes and departs for ever, but in the august light of abiding memories. And indeed nothing is easier for a man who has, as the phrase goes, “followed the sea” with reverence and affection, than to evoke the great spirit of the past upon the lower reaches of the Thames. The tidal current runs to and fro in its unceasing service, crowded with memories of men and ships it had borne to the rest of home or to the battles of the sea. It had known and served all the men of whom the nation is proud, from Sir Francis Drake to Sir John Franklin, knights all, titled and untitled—the great knights-errant of the sea. It had borne all the ships whose names are like jewels flashing in the night of time, from the Golden Hind returning with her rotund flanks full of treasure, to be visited by the Queen’s Highness and thus pass out of the gigantic tale, to the Erebus and Terror, bound on other conquests—and that never returned. It had known the ships and the men. They had sailed from Deptford, from Greenwich, from Erith—the adventurers and the settlers; kings’ ships and the ships of men on ’Change; captains, admirals, the dark “interlopers” of the Eastern trade, and the commissioned “generals” of East India fleets. Hunters for gold or pursuers of fame, they all had gone out on that stream, bearing the sword, and often the torch, messengers of the might within the land, bearers of a spark from the sacred fire. What greatness had not floated on the ebb of that river into the mystery of an unknown earth! … The dreams of men, the seed of commonwealths, the germs of empires.