XLII

THERE was a general disturbance. Flanagan and two or three more went on to the music-hall, while Philip walked slowly with Clutton and Lawson to the Closerie des Lilas.

"You must go to the Gaîté Montparnasse," said Lawson to him. "It's one of the loveliest things in Paris. I'm going to paint it one of these days."

Philip, influenced by Hayward, looked upon musichalls with scornful eyes, but he had reached Paris at a time when their artistic possibilities were just discovered. The peculiarities of lighting, the masses of dingy red and tarnished gold, the heaviness of the shadows and the decorative lines, offered a new theme; and half the studios in the Quarter contained sketches made in one or other of the local theatres. Men of letters, following in the painters' wake, conspired suddenly to find artistic value in the turns; and red-nosed comedians were lauded to the skies for their sense of character; fat female singers, who had bawled obscurely for twenty years, were discovered to possess inimitable drollery; there were those who found an æsthetic delight in performing dogs; while others exhausted their vocabulary to extol the distinction of conjurers and trick-cyclists. The crowd too, under another influence, was become an object of sympathetic interest. With Hayward, Philip had disdained humanity in the mass; he adopted the attitude of one who wraps himself in solitariness and watches with disgust the antics of the vulgar; but Clutton and Lawson talked of the multitude with enthusiasm. They described the seething throng that filled the various fairs of Paris, the sea of faces, half seen in the glare of acetylene, half hidden in the darkness, and the blare of trumpets, the hooting of whistles, the hum of voices. What they said was new and strange to Philip. They told him about Cronshaw.

"Have you ever read any of his work?"

-230-

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Of Human Bondage
Table of contents

Table of contents

  • Title Page *
  • I 1
  • II 3
  • III 6
  • IV 11
  • V 15
  • VI 19
  • VII 25
  • VIII 28
  • IX 33
  • X 39
  • XI 43
  • XII 49
  • XIII 53
  • XIV 56
  • XV 62
  • XVI 69
  • XVII 76
  • XVIII 82
  • XIX 86
  • XX 91
  • XXI 96
  • XXII 107
  • XXIII 111
  • XXIV 117
  • XXV 119
  • XXVI 122
  • XXVII 130
  • XXVIII 136
  • XXIX 143
  • XXX 146
  • XXXI 153
  • XXXII 156
  • XXXIII 165
  • XXXIV 175
  • XXXV 181
  • XXXVI 190
  • XXXVII 195
  • XXXVIII 201
  • XXXIX 208
  • XL 213
  • XLI 221
  • XLII 230
  • XLIII 236
  • XLIV 244
  • XLV 252
  • XLVI 261
  • XLVII 267
  • XLVIII 277
  • XLIX 286
  • L 294
  • LI 302
  • LII 307
  • LIII 315
  • LIV 321
  • LV 327
  • LVI 334
  • LVII 339
  • LVIII 345
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  • LXV 387
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  • XC 552
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  • Xcix 614
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  • Cxviii 736
  • Cxix 744
  • Cxx 750
  • Cxxi 756
  • Cxxii 763
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