Immerse in Classic Audiobooks, then Master English
Thousands of timeless Project Gutenberg masterpieces — 100% free and completely ad-free! Experience LibriVox audio with word-by-word synchronized text, bilingual lookup, and an SRS vocabulary trainer.
"I don't care if I trample my beads in the mud," said Jay.
"Now let's go home and think."
When she and Chloris got home that evening to Eighteen Mabel Place, Chloris barked at a man who was waiting outside the door.
He was a young man in khaki, with one star; he looked very white, and was reading something from his pocket-book.
"Great Scott, Bill," said Jay.
"I thought you were busy sapping in France.
Were you anywhere near Kew?"
I do not know if you will remember the name of young William Morgan.
I
think I have only mentioned him once or twice.
"I got back on leave two hours ago," said Mr. Morgan.
"I have been waiting here thirty-two minutes.
I saw Kew every day last week, and I was with him when he died, three hours before I came away yesterday."
Jay was silent.
She opened the door, and in the sitting-room she placed--very carefully--two chairs looking at each other across the table.
"Jay," said William Morgan, "I am deadly afraid of doing this badly.
Kew and I talked a good deal before it happened, and there was a good deal he wanted me to tell you.
All the way back in the train and on the boat I have been writing notes to remind me what I had to say to you.
I hope you don't mind.
I hope you don't think it callous."
"No," said Jay.
"He was very anxious you should know the truth about it, because he said he had never lied to you.
He was always sure that if he were shot it would be in the back while he was lacing his boots, or at some other unromantic moment.
And in that case he said he could lie to Anonyma and your cousin vicariously through the War Office, which would write to them about Glory, and Duty, and Thanks Due.
But he wanted me to write to you, and tell you how it happened, and tell you that death was just an ordinary old thing, no more romantic than anything else, without a capital letter, and that one died as one had lived--in a little ordinary way--and that there was no such thing as Glory between people who didn't lie to each other.
I am telling you all this from my notes.
I should never have thought of any of it for myself, as you know.
I hope you don't mind."
"No," said Jay.
She heard what he said, yet she was not listening.
Her mind was listening to things heard a very long time ago.
She heard herself and Kew in confidential chorus, saying those laboriously simple prayers that Anonyma used to teach them.
She heard again the swishing that their feet used to make in the leaves of Kensington Gardens.
Kew's was the louder swish by right.
She thought of him as an admirable big brother of eight, with a round face and blunt feet and very hard hands.
She heard the comfortable roar of the nursery fire, and the comfortable sound of autumn rain baffled by the window; she saw the early winter breakfast by lamplight, and the red nursery carpet that had an oblong track worn away round the table by the frequent game of "Little Men Jumping."
She heard the voice of Kew clamouring against the voice of Nana because he would not eat his bacon-fat.
On those days there was a horrid resurrection at luncheon of the bacon-fat uneaten at breakfast.
"As it happened," continued Mr. Morgan, no longer white, but very red, "he wasn't killed in an advance, or anything grand.
He told me to tell you, so I am telling you.
He was killed by a sniper while he was setting a trap of his own invention to catch the rats as they came over the parapet.
He was shot in the chest very early yesterday morning, and he lived about four hours.
He was not in much pain, he even laughed a little once or twice to think he should have lived and died so consistently.
He told me that he had never seen a moment's real romantic fighting; he had never once felt patriotic or dramatic or dutiful, he said.
He wandered a little, I think, because he seemed worried about the rats that might be caught in the trap he had set.
He seemed to mix up the rats and the Boches.
He said that these creatures didn't know they were vermin, they just thought they were honest average animals doing their bit, and then suddenly killed by a malignant chaos.
My notes are very hurried.
I am afraid I am repeating myself."
Jay remembered the mouse they once caught, and kept in a bottle for a day, and the palace they made for it out of stones and mud and moss, and the sun-bath of patted mud they made by the door of the palace.
But the mouse, when it was installed, flashed straight out of the front door, and jumped the sun-bath, and knocked down a daisy, and was never seen again.
But Jay and Kew used to believe that on moonlit nights it came back to the palace, and brought its wife and children, and was grateful to the palace builders.
"A few days before he was killed," said Mr. Morgan, "he told me that he had lied so successfully all his life that quite a lot of people thought him a most admirable young man.
He said Anonyma once brought him into a book, and when he read that book he saw how lying paid, as long as one didn't lie to absolutely everybody.
He said if he died Anonyma would write something very nice upon his memorial brass about a pure heart or everlasting life, and he thought you would smile a little at that.
He said that he remembered going home with you in a 'bus and seeing on the window of the 'bus a text that promised everlasting life on certain conditions.
He said the remembrance of that text tired him still.
He said he had had too much of himself, he had known himself too well, and when death came, he wanted it to be an honest little death with no frills, and after that an everlasting sleep with no dreams.
I am putting it all in the wrong order.
I shall make you despise me.
You talk so well yourself."
Jay was remembering the "Coos" they used to have in the big armchair in the nursery.
When they found that they suddenly loved each other unbearably, they had a Coo, they tied themselves up in a little tangle together, and sang Coo in soft voices.
And then they felt relieved.
Jay remembered the last Coo.
It happened when Kew's voice was breaking ten years ago, and he found that he could no longer coo except in a funny falsetto.
So, rather than become farcical, the Coos ceased.
"I don't know quite why Kew wanted me to tell you all this," said Mr. Morgan, "except that he said you knew so much about him that you might as well get as near as possible to knowing everything.
He never thought he would be killed, in fact I gave him a lot of messages of my own to give to my mother in case I went.
But at the last, when he knew he was dying, he was desperately anxious you should know that he did not die a 'Stranger's death,' as he said.
He thought any hint of drama about his death would spoil your friendship.
He said you knew more than most people about friends, and he thought that in this way you could find for him a certain 'secret immortality' which would make the soil of France comfier for him to sleep in.
And then he said, 'If I'm too poetic--like a swan--don't report me too accurately.'
He seemed to go to sleep for some time after that, and every now and then he laughed very faintly in his sleep.
I had to leave him for a bit, and when I came back he was still asleep.
The only thing he said after that was: 'This is awfully exciting.'
He said that about ten minutes before he died.
I hope I'm not making it too painful for you, dear little Jay.'
" "No," said Jay.
Quite irrelevantly, she had found her Secret Friend.
She found a little dark wood, burnt and broken by fire, in a grey light, and there was a wet ditch that skirted the edge of it.
She saw the hopeless and regretful sky, there was neither night nor morning in it, there was neither sun nor moon.
These things she noticed, but more than all she saw her Secret Friend, lying crouched upon his side close to the ditch, with his arms about his face.
She saw the slow leaves fall upon him from the ruined trees, she saw the damp air settle in beads upon his clothes.
His feet were in the undergrowth, and above them the dripping net of the spider was flung.
She had never seen her Friend quite still before.
All her life her Secret Friend and her Secret Sea had kept her soul awake with movement.
But her Friend was dead, and there was no more sea.
The very fine rain blew across her Secret World, and blotted it out.
The very distant sound of guns--which was not so much a sound as an indescribable vacuum of sound--shattered the walls of her bubble enchantment.
"Oh, darling Jay," said Mr. William Morgan, "I wish I could help you.
I
can't go away and leave you like this.
I wish I could help you."
She found she had her forehead on the table, and her hands were knotted in her lap.
And where once the Gate to the House had been, there was only London now.
No more would the drum of the sea beat in her heart, there was nothing left but the throbbing of distant trams.
"So it's all lies ..."
she said quietly.
"There really is a thing called death after all.
People die...."
"Jay, darling, don't," sobbed Mr. Morgan.
"For God's sake marry me, and I'll comfort you.
I won't die--I swear I won't. And after all, it's Spring.
There's no real death in the Spring.
Kew can't have died."
"Oh, what's the use of these eternal seasons?"
said Jay.
"There is a thing called death.
And death has no romance and no reason.
The rats died, and Kew died, and the secret world died, and there is nothing left...."
It was young David, lord of sheep and cattle, Pursued his Fate, the April fields among, Singing a song of solitary battle, A loud mad song, for he was very young.
Vivid the air--and something more than vivid,-- Tall clouds were in the sky--and something more,-- The light horizon of the spring was livid With a steel smile that showed the teeth of War.
It was young David mocked the Philistine.
It was young David laughed beside the river.
There came his mother--his and yours and mine-- With five smooth stones, and dropped them in his quiver.
You never saw so green-and-gold a fairy.
You never saw such very April eyes.
She sang him sorrow's song to make him wary, She gave him five smooth stones to make him wise.
The first stone is love, and that shall fail you.
The second stone is hate, and that shall fail you.
The third stone is knowledge, and that shall fail you.
The fourth stone is prayer, and that shall fail you.
The fifth stone shall not fail you.
For what is love, O lovers of my tribe?
And what is love, O women of my day?
Love is a farthing piece, a bloody bribe Pressed in the palm of God, and thrown away.
And what is hate, O fierce and unforgiving?
And what shall hate achieve, when all is said?
A silly joke, that cannot reach the living, A spitting in the faces of the dead.
And what is knowledge, O young men who tasted The reddest fruit on that forbidden tree?
Knowledge is but a painful effort wasted, A bitter drowning in a bitter sea.
And what is prayer, O waiters for the answer?
And what is prayer, O seekers of the cause?
Prayer is the weary soul of Herod's dancer, Dancing before blind kings without applause.
The fifth stone is a magic stone, my David, Made up of fear and failure, lies and loss.
Its heart is lead, and on its face is graved A crooked cross, my son, a crooked cross.
It has no dignity to lend it value;
No purity--alas--it bears a stain.
You shall not give it gratitude, nor shall you Recall it all your days except with pain.
Oh, bless your blindness, glory in your groping!
Mock at your betters with an upward chin!
And, when the moment has gone by for hoping, Sling your fifth stone, O son of mine, and win.
Grief do I give you--grief and dreadful laughter.
Sackcloth for banner, ashes in your wine.
Go forth, go forth, nor ask me what comes after.
The fifth stone shall not fail you, son of mine.
GO FORTH, GO FORTH, AND SLAY THE PHILISTINE!
There were a few very warm days and nights in the west last spring.
It was at the time of the full moon.
There were so few clouds in the sky that when the sun went down it found no canvas on which to paint its picture.
So it went down unpictured into a bank of grey heat that hid the horizon of the sea, and no one thought it worth watching except a man coming alone along the cliff from the northeast.
The moon came up and filled the quarry with ghosts, and with confused and blinded memories.
The sea advanced in armies of great smooth waves, but under the moon the wind went down, and the waves went down, and there was less and less sound in the air.
One man watched the dwindling waves troop into the cove near the quarry.
There was only one pair of eyes in the whole world that tried that night to trace in the air the shape of a drowned house.
There was only one shadow by the quarry for the moon to cast upon the thyme.
There was no voice but the voice of the sea.
No passing but the peaceful passing of the lambs disturbed the thistles and the foxgloves.
The sea rose like a wall across the night, a wall that shut half of life away.
The sky fell like a curtain on the land, but there was no piece to be played, so the curtain was never raised.
One man waited all the night through, like a child waiting for the fairies.
The sea grew calmer and calmer, the tide went down, and the cove spread out its long sands like fingers into the sea.
There was a shadow on the sands below the quarry, and it may have been the shadow of a house.
And perhaps when the tide came up at dawn it devoured old footprints upon the shore, the prints of feet that will never come back.
I think that when the moon fled away into oblivion, it was not only the moon that fled, but also a bubble world, full of dead secrets.
How foolish to wait for the culmination of a secret story!
How foolish of a man to wait all night for the redemption of an old promise, for the resurrection of a forgotten romance!
There are no secret stories, there is no secret world, there are no secret friends.
The House by the Sea has been drowned, and even its ghosts have forgotten it.
After all, there was nothing to remember.
The gate to the House is barred, not by a lock but by a laugh.
Reality and not adversity has blown the bubble away.
I remember the moment when Jay found four-fifths of her life proved false.
I remember that she besieged the world with tears; I remember that she bruised her hands against the iron gate.
How foolish to bruise one's hands against nothingness!
ANTI-CLIMAX
"It is well," sighed Anonyma, "that our little Jay has at last found Romance.
Since first she came to my arms--a toddling sceptic of four--I have seen what she lacked, I have prayed that I--who possessed it--might perhaps be inspired to give her the Clue....
Yet to young Bill Morgan it was given to show her the way ...
to unlock the door....
Oh!
Russ, we grow older and wiser and are left behind.
The young reap where we have sown....
Is this always to be the end of our youth?"
Mr. Russell laughed a little.
"Yes," he said.
"This is the end."
The finest fruit God ever made Hangs from the Tree of Heaven blue.
It hangs above the steel sea blade That cuts the world's great globe in two.
The keenest eye that ever saw Stares out of Heaven into mine, Spins out my heart, and seems to draw My soul's elastic very fine.
The greatest beacon ever fired Stands up on Heaven's Hill to show The limit of the thing desired Beyond which man may never go.
* * * * * At midnight, when the night did dance Along the hours that led to morning, I saw a little boat advance Towards the great moon's beacon warning.
(The moon, God's Slave, who lights the torch, Lest men should slip between the bars, And run aground on Heav'n and scorch To death upon a bank of stars.
) The little boat, on leaning keel, Sang up the mountains of the sea, Bearing a man who hoped to steal God's Slave from out eternity.
My love, I see you through my tears.
No pity in your face I see.
I have sailed far across the years: Stretch out, stretch out your arms to me.
My love, I have an island seen, So shadowed, God's most piercing star Shall never see where we have been, Shall never whisper where we are.
There we will wander, you and I, Down guilty and delightful ways, While palm-trees plait their fingers high Against your God's enormous gaze.
For oh--the joy of two and two, Your Paradise shall never see The ecstasy of me and you, The white delight of you and me.
I know the penalty--the clutch Of God's great rocks upon my keel.
Drowned in the ocean of Too Much-- So ends your thief--yet let me steal....
The Slave of God she froze her face, The Slave of God she paid no heed, And thund'ring down high Heaven's space Loud angels mocked the sailor's greed.
The diamond sun arose, and tossed A billion gems across the sea.
"The Slave of God is lost, is lost, The Slave of God is lost to me...."
He grounded on the common beach, He trod the little towns of men, And God removed from his reach The cup of Heaven's passion then, And gave him vulgar love and speech, And gave him threescore years and ten.
*** END OF THE PROJECT GUTENBERG EBOOK THIS IS THE END ***
Updated editions will replace the previous one—the old editions will be renamed.
Creating the works from print editions not protected by U. S.
copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!
) can copy and distribute it in the United States without permission and without paying copyright royalties.
Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark.
Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark.
If you do not charge anything for copies of this eBook, complying with the trademark license is very easy.
You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research.
Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U. S.
copyright law.
Redistribution is subject to the trademark license, especially commercial redistribution.
START: FULL LICENSE
THE FULL PROJECT GUTENBERG™ LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg License available with this file or online at www.
gutenberg.
org/license.
Section 1.
General Terms of Use and Redistributing Project Gutenberg electronic works 1. A.
By reading or using any part of this Project Gutenberg electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement.
If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project Gutenberg electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1. E.
8. 1. B.
“Project Gutenberg” is a registered trademark.
It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement.
There are a few things that you can do with most Project Gutenberg electronic works even without complying with the full terms of this agreement.
See paragraph 1. C below.
There are a lot of things you can do with Project Gutenberg electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg electronic works.
See paragraph 1. E below.
1. C.
The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg electronic works.
Nearly all the individual works in the collection are in the public domain in the United States.
If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed.
Of course, we hope that you will support the Project Gutenberg mission of promoting free access to electronic works by freely sharing Project Gutenberg works in compliance with the terms of this agreement for keeping the Project Gutenberg name associated with the work.
You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg License when you share it without charge with others.
1. D.
The copyright laws of the place where you are located also govern what you can do with this work.
Copyright laws in most countries are in a constant state of change.
If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg work.
The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.
1. E.
Unless you have removed all references to Project Gutenberg: 1. E.
1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg License must appear prominently whenever any copy of a Project Gutenberg work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever.
You may copy it, give it away or re-use it under the terms of the Project Gutenberg™ License included with this eBook or online at www.
gutenberg.
org.
If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.
1. E.
2. If an individual Project Gutenberg electronic work is derived from texts not protected by U. S.
copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges.
If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1. E.
1 through 1. E.
7 or obtain permission for the use of the work and the Project Gutenberg trademark as set forth in paragraphs 1. E.
8 or 1. E.
9. 1. E.
3. If an individual Project Gutenberg electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1. E.
1 through 1. E.
7 and any additional terms imposed by the copyright holder.
Additional terms will be linked to the Project Gutenberg License for all works posted with the permission of the copyright holder found at the beginning of this work.
1. E.
4. Do not unlink or detach or remove the full Project Gutenberg License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg.
1. E.
5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1. E.
1 with active links or immediate access to the full terms of the Project Gutenberg License.
1. E.
6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form.
However, if you provide access to or distribute copies of a Project Gutenberg work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg website (www.
gutenberg.
org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form.
Any alternate format must include the full Project Gutenberg License as specified in paragraph 1. E.
1. 1. E.
7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg works unless you comply with paragraph 1. E.
8 or 1. E.
9. 1. E.
8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg works calculated using the method you already use to calculate your applicable taxes.
The fee is owed to the owner of the Project Gutenberg trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation.
Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns.
Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.
” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License.
You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
• You provide, in accordance with paragraph 1. F.
3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.
1. E.
9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark.
Contact the Foundation as set forth in Section 3 below.
1. F.
1. F.
1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U. S.
copyright law in creating the Project Gutenberg™ collection.
Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.
1. F.
們使瀏覽 (Local Storage) 來住您主題好、體大小、以後播目進度字本
We use browser Local Storage to remember your theme preferences, font sizes, and last played track progress, as well as vocabulary lists.
請用QR Code,即無縫接軌目入聽進度
自動分析當前章節英文文本,依據考試與難度標籤篩選重點生字,可一鍵批次匯入生字本。
請確認或修改檔案儲存名稱: