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Excerpt from The Portrait of a Lady, Vol. 1 of 3 The persons concerned in it were taking their pleasure quietly, and they were not of the sex which is supposed to furnish the regular votaries of the ceremony I have mentioned. The shadows on the perfect lawn were straight and angular; they were the shadows of an old man sitting in a deep wicker - chair near the low table on which the tea had been served, and of two younger men strolling to and fro, in desultory talk, in front of him. The old man had his cup in his hand; it was an un usually large cup, of a different pattern from the rest of the set, and painted in brilliant colours. He disposed of its contents with much circumspection, holding it for a long time close to his chin, with his face turned to the house. His companions had either finished their tea or were indifferent to their privilege they smoked cigarettes as they continued to stroll. One of them, from time to time, as he passed, looked with a certain attention at the elder man, who, unconscious of observation, rested his eyes upon the rich red front of his dwelling. The house that rose beyond the lawn was a structure to repay such consideration, and was the most characteristic object in the peculiarly English picture I have attempted to sketch. It stood upon a low hill, above the river - the river being the Thames, at some forty miles from London. A long gabled front of red brick, with the complexion of which time and the weather had played all sorts of picturesque tricks, only, however, to improve and refine it, presented itself to the lawn, with its patches of ivy, its clustered chimneys, its windows smothered in creepers. The house had a name and a history the old gentleman taking his tea would have been delighted to tell you these things how it had been built under Edward the Sixth, had offered a night's hospitality to the great Elizabeth (whose august person had extended itself upon a huge, magnificent, and terribly angular bed which still formed the principal honour of the sleeping apartments. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
The Portrait of a Lady - Vol. III. is an unchanged, high-quality reprint of the original edition of 1883. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres. As a publisher we focus on the preservation of historical literature. Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to the preservation of literature which has become rare and historical knowledge for the future.
The Portrait of a Lady, vol 1: Large print by Henry James That is to me, artistically speaking, the circumstance of interest; for I have lost myself once more, I confess, in the curiosity of analysing the structure. By what process of logical accretion was this slight "personality," the mere slim shade of an intelligent but presumptuous girl, to find itself endowed with the high attributes of a Subject?--and indeed by what thinness, at the best, would such a subject not be vitiated? Millions of presumptuous girls, intelligent or not intelligent, daily affront their destiny, and what is it open to their destiny to be, at the most, that we should make an ado about it? The novel is of its very nature an "ado," an ado about something, and the larger the form it takes the greater of course the ado. Therefore, consciously, that was what one was in for--for positively organising an ado about Isabel Archer. We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience.
Excerpt from Kitty, Vol. 1 of 3 The younger lady was a slender, handsome, sulky-looking girl of about twenty-tree, not too tidy either, but if slatternliness is pardonable at all, it must be when the culprit has large eyes, a beautiful mouth and a skin like pearl. She sat opposite to the picture - which was her own portrait - though her eyes were turned away from it, and looked into the deepest depths of her wine-glass. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
This eBook version of The Portrait of a Lady, Volume 1 presents the full text of this literary classic.
Excerpt from Madam, Vol. 1 of 3 Here something stirred near her which made her start, at first with an eager move ment of hope. Then a low voice said 'no good at all, Miss Rosalind. Why should you mix yourself up with what's no concern of yours?' About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from Mrs. Arthur, Vol. 1 of 3 The door was so near the sitting-room that every demand made there was easily heard, and even answered from within; and, indeed, Mrs. Bates was in the habit Of calling out an answer when it happened to be beyond the powers Of the daughter or small servant who Opened. But this ques tion was one about which there was no difficulty. It was followed by a hearty laugh from the assembled family. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.