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    1. Camp Starts In: 228 Days Who is Herr Dorn? he asked, in surprise.


      This website template has been designed by Free Website Templates for you, for free. You can replace all this text with your own text. A few weeks previous to this encounter I had heard Mr Henderson give an address in a Nonconformist chapel. An address, I am given to understand, is a kind of homely sermon in which the speaker talks to his audience in a friendly and distinctly unbending manner. He seeks to improve them, to lead them to higher and better things: in a word, to make them more like himself.... I have not the faintest recollection of what drove me inside this Nonconformist chapel, but I cannot conceive I went there of my own free will. I suppose that someone paid me to go there. But my mind retains a very clear picture of a pulpit containing a man with a face so like other faces that, sometimes, when I examine it, it seems to belong to Mr Jackson of Messrs Jackson & Lemon, the famous auctioneers of Boodlestown, and at other times it is owned by Mr Brownjonesrobinson who, I need scarcely point out, is known everywhere.... Really, I have no intention of being violently rude. This question of faces is important. A face should express a soul. No great man whose portrait I have seen possessed a commonplace face.

      • Vivamus at justo ut urna porta pulvinar Emil Sauer has a glittering style and had, fifteen years ago, a technique that no word but rapacious accurately describes. The piano recital he gave in Manchester nearly two decades ago was the first recital I ever attended, though I was a lad in my late teens; the occasion then seemed, and still seems, most romantic. It is true that, on the nursery piano at home, one of my elder brothers used to give recitals with me as sole auditor, and that 183I used to return the compliment the following evening, but though we took these affairs very seriously and even wrote lengthy criticisms of each others playing, our performances were not of a high order. But one evening, defying parental authority and risking paternal anger, we slipped unseen from home and went to hear Sauer.

      • Pellentesque nunasidp adipiscing sollicitudin dolor id sagittis. Why dont you occasionally give us some French music at your concerts? he was asked.

      • Donec sit amet felis a nibh ornare malesuada. He steered me into a restaurant which appeared to cater specially for night-birds, and Bain ate bacon and eggs, whilst I feasted on a dish of strawberries, brown bread and coffee.

      • Etiam et tellus mi, et semper lectus. His old mind, outworn and very weary, appeared to cease its functioning. He sat with no sign of life in him. It was as though a clock had stopped, as though a light had gone out. And then, without any apparent cause, he came to life again.

      • Quisque in purus nec purus feugiat consectetur. Hughes was awfully good to me on these occasions, for he would allow me to improvise the music for the dumb charades, though as an extempore playerand, indeed, as a player of any kindhe is worlds above me. And I used to love to invent Eastern Dances la Bantock to fit the gyrations of Harry Lowe, or Debussy chords for anything shadowy and sentimental, or chromatic melodiesprolonged and melting things in the O Star of Eve mannerfor luscious love scenes, or fat, bulgy discords when some real tomfoolery was afoot.

      • Fusce et ipsum dolor lorem ante, at sollicitudin libero. Well, dont you see?... I began hesitatingly; dont you see that ... well, now, look at the title!

      • Etiam et tellus mi, et semper lectus. Years ago there lived in London a man who wrote books and magazine stories under the name of Julian Croskey. He had been in the Civil Service in Shanghai, had helped to finance and organise a rebellion, and had been turned out of China, whence he came to England to write. In 1901 I began a correspondence with Croskey, who, in the meantime, had gone to Canada and was living alone on a river island. Though we corresponded for years, we never met, and after a time his letters began to show signs of megalomania. But there was such genius in his letters, such brooding energy, such hate of life, and, at times, such an uncanny suggestion of terrific power, that I treasured every word he wrote to me, and, when his letters ceased, something vital and something almost necessary to me passed out of my life. I do not like to believe that he ceased writing to me because I no longer interested him. I hope he still lives. I hope he will read this book. Some day his letters must be published, for they constitute a problem in psychology at once fascinating, mysterious and demonic. And this man whom I never met remains to me the most romantic of all men I have met in the spirit.

      • Vivamus at justo ut urna porta pulvinar. But to-day things are changed. The musical critic is no longer primarily a raconteur, a gossiper, a chatterer. As a rule, he is a man of culture, of experience, of solid musical attainments. He earns littleanything from one hundred and fifty pounds to five hundred pounds a year, though, no doubt, in very rare instances, he may be paid more than the latter figure. Musical criticism, therefore, is not a profession that seduces the ambitious man, for the ambitious man of materialistic views may more easily earn three times what the Press has to offer him by selling imitation jewellery or doing anything else that money-making people do. When E. A. Baughan, now dramatic critic of The Daily News, was editing The Musical Standard more than twenty years ago, he wrote me a very earnest letter beseeching me not to become a musical critic on account of the payment being so meagre. If you have a desk, stick to it; if you are a commercial traveller, remain a commercial traveller was his advice in essence. But I would rather be a musical critic on one hundred and fifty pounds a year than a stockbroker earning fifteen hundred pounds. I love money, but I love music and journalism more, and the three years I spent in Manchester with an income of three hundred pounds were full of happiness, brimful of great days when I 145felt my mind growing and my spirit taking unto itself wings.

      • 11/10/2011

        This is just a place holder, so you can see what the site would look like. Isnt he? Well, as I was saying, Brighouse drinks his beer, fixes his eyes on his plate, and then spasmodically tells us all the news about you. He told us, for example, about Cyril Maude giving you a hundred (or was it a thousand?) guineas for the sight of a new comedy; he told us about The Daily Mail wanting articles from you at some colossal figure; he told us about the host of people who send you wires every day; he told us about

      • 11/19/2011

        Praesent quis nisl in velit imper diet suscipit a id quam. I have the honour to be, sir, your obedient servant,

      • 11/19/2011

        Nullam vulputate elementum consequat. Fusce leo felis, bibendum. But neither Monro nor Abercrombie, greatly gifted and earnest in their work though they be, fulfils ones conception of a poetic personality. There is no mystery about them, no glamour; they do not arouse wonder or surprise. John Masefield, on the other hand, has an invincible picturesquenessa picturesqueness that stamps him at once as different from his fellows. He is tall, straight and blue-eyed, with a complexion as clear as a childs. His eyes are amazingly shy, almost furtive. His manner is shy, almost furtive. He speaks to you as though he suspected you of hostility, as though you had the power to injure him and were on the point of using that power. You feel his sensitiveness and you admire the dignity that is at once its outcome and its protection.

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