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Although among his more recent writings, the author of The Dolly Dialogues has done some rather serious and careful work, there is no exaggeration in saying that in literarv technique and human interest and the various other qualities that go to make good fiction The Great Miss Driver is easily the biggest, best rounded, and altogether worthiest story he has ever written, and yet, the first thing you are apt to think of is that the germ idea of the story goes straight back to the Dolly Dialogues; that in a superficial way, yes and perhaps in a deeper way, too, there is a certain rather absurd similarity between them; just as though the author, having once made a pleasant little comedy out of a certain situation, had ever since been turning over in his mind the possibility of using it in a bigger and more serious way, until eventually he evolved the present volume. Not that Jennie Driver, heiress to Breysgate Priory, bears any close resemblance to Lady Mickleham beyond the very feminine desire for conquest,—any more than the Air. Austin of the one story is a close relative of Mr. Carter in the other. The resemblance lies in this, that both stories are told in the first person by the man who in his secret heart loves the woman of whom he writes, but knows that because he is poor, because he has the natural instinct of an old bachelor, because, also, she has given her heart elsewhere he must remain content to look upon her joys and sorrows in the capacity of a friend, and not that of a lover.
 Double Harness

Courtland went off early next morning in the dog-cart to Fairhaven station—no railway line ran nearer Milldean—and Grantley Imason spent the morning lounging about his house, planning what improvements could be made and what embellishments provided against the coming of Sibylla. He enjoyed this pottering both for its own sake and because it was connected with the thought of the girl he loved. For he was in love—as much in love, it seemed to him, as a man could well be. "And I ought to know," he said, with a smile of reminiscence, his mind going back to earlier affairs of the heart, more or less serious, which had been by no means lacking in his career. He surveyed them without remorse, though one or two might reasonably have evoked that emotion, and with no more regret than lay in confessing that he had shared the follies common to his age and his position. But he found great satisfaction in the thought that Sibylla had had nothing to do with any of the persons concerned. She had known none of them; she was in no sense of the same set with any one of the five or six women of whom he was thinking; her surroundings had always been quite different from theirs. She came into his life something entirely fresh, new, and unconnected with the past. Herein lay a great deal of the charm of this latest, this final affair. For it was to be final—for his love's sake, for his honour's sake, and also because it seemed time for such finality in that ordered view of life and its stages to which his intellect inclined him. There was something singularly fortunate in the chance which enabled him to suit his desire to this conception, to find the two things in perfect harmony, to act on rational lines with such a full and even eager assent of his feelings.


He reminded himself, with his favourite shrug, that to talk of chance was to fall into an old fallacy; but the sense of accident remained. The thing had been so entirely unplanned. He had meant to buy a place in the North; it was only when the one he wanted had been snapped up by somebody else that the agents succeeded in persuading him to come and look at the house at Milldean. It happened to take his fancy, and he bought it. Then he happened to be out of sorts, and stayed down there an unbroken month, instead of coming only from Saturday to Monday. Again, Sibylla and Jeremy had meant to go away when the rector died, and had stayed on only because Old Mill House happened to fall vacant so opportunely. No other house was available in the village. So the chances went on, till chance culminated in that meeting of his with Sibylla: not their first encounter, but the one he always called his meeting with her in his own thoughts—that wonderful evening when all the sky was red, and the earth too looked almost red, and the air was so still. Then he had been with her in his garden, and she, forgetful of him, had turned her eyes to the heavens, and gazed and gazed. Presently, and still, as it seemed, unconsciously, she had stretched out her hand and caught his in a tight grip, silently but urgently demanding his sympathy for thoughts and feelings she could not express. At that moment her beauty seemed to be born for him, and he had determined to make it his. He smiled now, saying that he had been as impulsive as the merest boy, thanking fortune that he could rejoice in the impulse instead of condemning it—an end which a priori would have seemed much the more probable. In nine cases out of ten it would have been foolish and disastrous to be carried away in an instant like that. In his case it had, at any rate, not proved disastrous. From that moment he had never turned back from his purpose, and he had nothing but satisfaction in its now imminent accomplishment.


Mr. Anthony Hope offers from time to time a welcome relief from the special brand of seriousness that has come to be the hall-mark of the school of British novelists. Not that he fails to take himself seriously; on the contrary, few writers in England show a greater contrast between their earlier and their later work than the author of The Prisoner of Zenda and of the A Young Man's Year. From the rainbow air-castles of sheer romance to the practical problem of a young man's first start in the working world is surely a broad enough step to satisfy any demand that present-day fiction shall be serious. But the big difference between the newer school and that which Mr. Hope's later manner typifies is that his interest remains centred in the individual, in spite of all the new problems, social, ethical, moral or religious, that may have their formative influence; while writers like Galsworthy, Wells, and their followers although able to picture memorable characters when they choose to, are obviously more interested in movements and tendencies and problems than they are in the individual man or woman, and not infrequently give us characters that are really little more than types, standing symbolically for groups rather than for persons. That is why Mr. Hope's new volume, without being a big achievement, is a welcome diversion. Yet it is simply a careful, minute and at the same time vivid chronicle of just one year in the early life of Arthur Lisle, who when.we first meet him is a specimen of that essentially British creation, a briefless barrister. As yet he has by no means made up his mind whether he will welcome his first brief, if it ever comes. He is diffident and self-distrustful, and the mere thought of rising to address the Court fills him with an anticipatory ague. Meanwhile, time hanging heavily upon him, he seeks to fill it in by various social relaxations, and forms friendships, some more desirable than others.
This book,contains now several HTML tables of contents The first table of contents lists the titles of all novels included in this volume. By clicking on one of those titles you will be redirected to the beginning of that work, where you'll find a new TOC. This book contains the following works arranged alphabetically by authors last names A Royal Prisoner [Marcel Allain] The Thames Valley Catastrophe [Grant Allen] Mr Standfast [John Buchan] The Three Hostages [John Buchan] Greenmantle [John Buchan] The Island of Sheep [John Buchan] The Thirty-Nine Steps [John Buchan] The Efficiency Expert [Edgar Rice Burroughs] The Man Who Was Thursday: a Nightmare [Gilbert Keith Chesterton] The Riddle of the Sands [Erskine Childers] The Woman in White [Wilkie Collins] The Rome Express [Arthur Griffiths] Lysbeth [Henry Rider Haggard] Desperate Remedies [Thomas Hardy] Rupert of Hentzau [Anthony Hope] The Prisoner of Zenda [Anthony Hope] The Apartment Next Door [William Andrew Johnston] The Film of Fear [Frederic Arnold Kummer] The Green God [Frederic Arnold Kummer] The Czar's Spy [William Le Queux] The Pit: A Story of Chicago [Frank Norris] The Double Traitor [Edward Phillips Oppenheim] The Evil Shepherd [Edward Phillips Oppenheim] The Kingdom of the Blind [Edward Phillips Oppenheim] The After House [Mary Roberts Rinehart] The International Spy [Allen Upward] The Bandbox [Louis Joseph Vance] Four Just Men [Edgar Wallace] The River of Death: A Tale of London In Peril [Fred Merrick White] The Dust of Death: The Story of the Great Plague of the Twentieth Century [Fred Merrick White]
This book contains the following works arranged alphabetically by authors last names Ragged Dick; or, Street Life in New York with the Boot Blacks [Horatio Alger, Jr] Tom Swift and His Wireless Message [Victor Appleton] Gulliver of Mars Edwin [Lester Arnold] The Lust of Hate Guy [Newell Boothby] Cabin Fever [B. M. Bower] The Path of the King [John Buchan] Tarzan of the Apes,The Gods of Mars [Edgar Rice Burroughs] The Riddle of the Sands [Erskine Childers] The Most Dangerous Game [Richard Connell] The Last of the Mohicans,The Hunted Woman,The Valley of Silent Men [James Fenimore Cooper] Cord and Creese [James De Mille] The Further Adventures of Robinson Crusoe [Daniel Defoe] The Lost World [Arthur Conan Doyle] The Count of Monte Cristo,The Three Musketeers [Alexandre Dumas] The Honor of the Name [Émile Gaboriau] Among The Pathans [William Murray Graydon] King Solomon's Mines,The Ghost Kings [Henry Rider Haggard] Rupert of Hentzau, The Prisoner of Zenda [Anthony Hope] The Lost Continent Charles [John Cutcliffe Wright Hyne] To Have and To Hold [Mary Johnston] The Man Who Would be [Rudyard Kipling] The Confessions of Arsène Lupin [Maurice Leblanc] Mad Planet [Murray Leinster] Afloat On The Flood [Lawrence J. Leslie] The Call of the Wild [Jack London] The Sea Wolf [Jack London] The Curse of Capistrano (The Mark of Zorro) [Johnston McCulley] Moby-Dick [Herman Melville] The Wouldbegoods [Edith Nesbit] The House of a Thousand Candles [Meredith Nicholson] The Elusive Pimpernel Baroness [Emma Orczy] The League of the Scarlet Pimpernel Baroness [Emma Orczy] Otto of the Silver Hand [Howard Pyle] Brood of the Witch-Queen [Sax Rohmer] Captain Blood,Scaramouche [Rafael Sabatini] Kidnapped, Treasure Island [Robert Louis Stevenson] The Adventures of Captain Horn [Frank R. Stockton] The Gates of Chancer [Van Tassel Sutphen] The Adventures of Huckleberry Finn,The Adventures of Tom Sawyer [Mark Twain] 20,000 Leagues Under the Sea,The Mysterious Island [Jules Verne]
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