but went instead to the Army and Navy Stores to buy Mildred a wedding-present. After much wavering he settled on a dressing-bag. It cost twenty pounds, which was much. more than he could afford, but it was showy and vulgar: he knew she would be aware exactly how much it cost; he got a melancholy satisfaction in choosing a gift which would give her pleasure and at the same time indicate for himself the contempt he had for her.

Philip had looked forward with apprehension to the day on which Mildred was to be married; he was expecting an intolerable anguish; and it was with relief that he got a letter from Hayward on Saturday morning to say that he was coming up early on that very day and would fetch Philip to help him to find rooms. Philip, anxious to be distracted, looked up a time-table and discovered the only train Hayward was likely to come by; he went to meet him, and the reunion of the friends was enthusiastic. They left the luggage at the station, and set off gaily. Hayward characteristically proposed that first of all they should go for an hour to the National Gallery; he had not seen pictures for some time, and he stated that it needed a glimpse to set him in tune with life. Philip for months had had no one with whom he could talk of art and books. Since the Paris days Hayward had immersed himself in the modern French versifiers, and, such a plethora of poets is there in France, he had several new geniuses to tell Philip about. They walked through the gallery pointing out to one another their favourite pictures; one subject led to another; they talked excitedly. The sun was shining and the air was warm.

"Let's go and sit in the Park," said Hayward. "We'll look for rooms after luncheon."

The spring was pleasant there. It was a day upon which one felt it good merely to live. The young green of the trees was exquisite against the sky; and the sky, pale and blue, was dappled with little white clouds. At the end of the ornamental water was the gray mass of the Horse Guards. The ordered elegance of the scene had the charm of an eighteenth-century picture. It reminded you not of Watteau, whose landscapes are so idyllic that they recall

-383-

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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
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  • LV 327
  • LVI 334
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  • Cxxi 756
  • Cxxii 763
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