鈥淣o way!鈥? 鈥楽o we鈥檒l have no more talk of stale fish at my table,鈥?he said. It was intuition, she said. "You saw that I had sinned. None but a sinner could shed such tears鈥攃ould so feel the terror of God's wrath." In five minutes Norah Propert had deposited her typewriter in the next room, and was sitting opposite her employer with the breadth of the big table between them. As she had stood in front of him, Keeling noticed that she was tall: now as she sat with her eyes bent on her work, he hardly noticed that she was good-looking, with her light hair, dark eyebrows, and firm full-lipped mouth. What was of far greater importance was that she tore the sheets off her writing-pad very swiftly and noiselessly as each page was filled, and that when she came to some proper name, she spelled it aloud for confirmation. Occasionally when a letter was finished he told her to read it aloud, and there again he noticed not the charming quality of her voice so much as the distinctness with which she read. 鈥淵eah,鈥?Caballo nodded. 2019最新国产高清不卡a/狼人香蕉香蕉在线28/国语在线只有精品/中文字字幕在线 So it has been with many novelists, who, after some good work, perhaps after very much good work, have distressed their audience because they have gone on with their work till their work has become simply a trade with them. Need I make a list of such, seeing that it would contain the names of those who have been greatest in the art of British novel-writing? They have at last become weary of that portion of a novelist鈥檚 work which is of all the most essential to success. That a man as he grows old should feel the labour of writing to be a fatigue is natural enough. But a man to whom writing has become a habit may write well though he be fatigued. But the weary novelist refuses any longer to give his mind to that work of observation and reception from which has come his power, without which work his power cannot be continued 鈥?which work should be going on not only when he is at his desk, but in all his walks abroad, in all his movements through the world, in all his intercourse with his fellow-creatures. He has become a novelist, as another has become a poet, because he has in those walks abroad, unconsciously for the most part, been drawing in matter from all that he has seen and heard. But this has not been done without labour, even when the labour has been unconscious. Then there comes a time when he shuts his eyes and shuts his ears. When we talk of memory fading as age comes on, it is such shutting of eyes and ears that we mean. The things around cease to interest us, and we cannot exercise our minds upon them. To the novelist thus wearied there comes the demand for further novels. He does not know his own defect, and even if he did he does not wish to abandon his own profession. He still writes; but he writes because he has to tell a story, not because he has a story to tell. What reader of novels has not felt the 鈥渨oodenness鈥?of this mode of telling? The characters do not live and move, but are cut out of blocks and are propped against the wall. The incidents are arranged in certain lines 鈥?the arrangement being as palpable to the reader as it has been to the writer 鈥?but do not follow each other as results naturally demanded by previous action. The reader can never feel 鈥?as he ought to feel 鈥?that only for that flame of the eye, only for that angry word, only for that moment of weakness, all might have been different. The course of the tale is one piece of stiff mechanism, in which there is no room for a doubt. 鈥淗. COLBURN.鈥? 鈥榊es, we鈥檒l see them together some Saturday afternoon then,鈥?she said. 鈥業 won鈥檛 have any hand in your not going to Cathedral on Sunday morning. I suppose we must be getting back. What time was it when you looked at your watch just now?鈥? Except he wasn鈥檛 sure what 鈥渋t鈥?was. The revelation he鈥檇 been hoping for was right in front of hiseyes, but he couldn鈥檛 quite grasp it; he could only catch the glim around the edges, like spotting thecover of a rare book in a candlelit library. But whatever 鈥渋t鈥?was, he knew it was exactly what hewas looking for.