酷兔英语



[Illustration: _Painted for Princess Mary's Gift Book by J. J. Shannon,

R.A._

Mary.]

[Illustration]

BUCKINGHAM PALACE

_I desire to express my very best thanks to the Authors and Artists who

have so generously contributed to my Gift Book._

Mary.

PRINCESS MARY'S GIFT BOOK

[Illustration]

All profits from sale are given to

THE QUEEN'S "WORK FOR

WOMEN" FUND

which is acting in conjunction with

The National Relief Fund

HODDER & STOUGHTON

LONDON . NEW YORK . TORONTO

[Illustration]

[Illustration: CONTENTS]

H.R.H. PRINCESS MARY _Frontispiece_

_Painting by_ J. J. SHANNON, R.A.

PAGE

A HOLIDAY IN BED _J. M. Barrie_ 1

Author of "Peter Pan in Kensington Gardens."

_Painting by_ W. RUSSELL FLINT, A.R.W.S., _and

Drawings by_ C. E. BROCK

THE SPY _G. A. Birmingham_ 9

_Drawings by_ H. R. MILLAR Author of "General John Regan."

CHARLIE THE COX _Hall Caine_ 17

_Painting by_ CHARLES NAPIER HEMY, R.A., _and_ Author of

"The Manxman."

_Drawings by_ ARCH WEBB

CANADA'S WORD _Ralph Connor_ 22

_Drawings by_ A. J. GOUGH Author of "The Sky Pilot."

BIMBASHI JOYCE _A. Conan Doyle_ 23

Author of "The Adventures of Sherlock Holmes."

_Painting and Drawings by_ R. TALBOT KELLY, R.I.

THE ANT-LION _J. H. Fabre_ 31

_Painting and Drawings by_ E. J. DETMOLD

("The Insects' Homer").

AN ANGEL OF GOD _Ellen Thorneycroft Fowler_ 35

_Drawings by_ STEVEN SPURRIER, R.I. Author of "Concerning

Isabel Carnaby."

A MODEL SOLDIER _Charles Garvice_ 43

_Drawings by_ J. H. HARTLEY Author of "Nance."

THE LAND OF LET'SPRETEND _Lady Sybil Grant_ 57

Author of "The Chequer Board."

_Painting and Drawings by_ ARTHUR RACKHAM, R.W.S.

MAGEPA THE BUCK _H. Rider Haggard_ 63

_Drawings by_ J. BYAM SHAW, A.R.W.S. Author of "She."

TRUE SPARTAN HEARTS _Beatrice Harraden_ 75

Author of "Ships that Pass in the Night."

_Painting and Decorations by_ EDMUND DULAC

BIG STEAMERS _Rudyard Kipling_ 79

Author of "The Jungle Book."

_Painting and Drawings by_ NORMAN WILKINSON, R.I.

A TRUE STORY FROM CAMP _The Bishop of London_ 81

_Drawings by_ JOSEPH SIMPSON, R.B.A.

THE EBONY BOX _A. E. W. Mason_ 83

_Painting and Drawings by_ W. B. WOLLEN, R.I. Author of

"The Turnstile."

A SPELL FOR A FAIRY _Alfred Noyes_ 101

Author of "A Tale of Old Japan."

_Painting and Drawings by_ CLAUDE A. SHEPPERSON, A.R.W.S.

OUT OF THE JAWS OF DEATH: A PIMPERNEL

STORY _Baroness Orczy_ 105

_Painting by_ A. C. MICHAEL _and_ Author of "The Scarlet

Pimpernel."

_Drawings by_ H. M. BROCK, R.I.

WHAT CAN A LITTLE CHAP DO? _John Oxenham_ 112

_Painting by_ EUGENE HASTAIN _and_ Author of "Barbe of

Grand Bayou."

_Drawings by_ GORDON BROWNE, R.I.

ALTOGETHER DIFFERENT _W. Pett Ridge_ 115

_Painting by_ M. E. GRAY _and_ Author of "Mord Em'ly."

_Drawings by_ LEWIS BAUMER

THE ESCAPE _Annie S. Swan_ 123

_Drawings by_ HAROLD EARNSHAW Author of "Mary Garth."

FLEUR-DE-LIS _Kate Douglas Wiggin_ 130

Author of "Rebecca of Sunnybrook Farm."

_Painting by_ CARLTON A. SMITH, R.I., _and_

_Drawings by_ EDMUND J. SULLIVAN, A.R.W.S.

SPARTAN HEARTS, by Beatrice Harraden, was first

published in a volume entitled "Untold Tales of the

Past"; BIG STEAMERS, by Rudyard Kipling, in "A History

of England," by C. R. L. Fletcher and Rudyard Kipling;

BIMBASHI JOYCE, by Arthur Conan Doyle, in "The Green

Flag, and other Stories"; and we have to thank Messrs.

William Blackwood & Sons, The Oxford University Press,

and Messrs. Smith, Elder & Co. for permission to

include these contributions in Princess Mary's Gift

Book.

With these exceptions the poems and stories in this

book have not previously been issued in volume form.

The illustrations have all been specially painted and

drawn, and an exhibition of the work of the artists

who have thus contributed to Princess Mary's Gift Book

will be held at the Leicester Galleries, Leicester

Square, W.C., and the originals sold in aid of the

Queen's "Work for Women" Fund.

A Holiday in Bed by J.M. Barrie

[Illustration: _Painting by_ W. RUSSELL FLINT, A.R.W.S., _and Drawings

by_ C. E. BROCK]

PEOPLE have tried a holiday in bed before now, and found it a failure,

but that was because they were ignorant of the rules. They went to bed

with the open intention of staying there, say, three days, and found to

their surprise that each morning they wanted to get up. This was a novel

experience to them; they flung about restlessly, and probably shortened

their holiday. The proper thing is to take your holiday in bed with a

vague intention of getting up in another quarter of an hour. The real

pleasure of lying in bed after you are awake is largely due to the

feeling that you ought to get up. To take another quarter of an hour

then becomes a luxury. You are, in short, in the position of the man who

dined on larks. Had he seen the hundreds that were ready for him, all

set out on one monster dish, they would have alarmed him; but getting

them two at a time, he went on eating till all the larks were gone. His

feeling of uncertainty as to whether these might not be his last two

larks is your feeling that, perhaps, you will have to get up in a

quarter of an hour. Deceive yourself in this way, and your holiday in

bed will pass only too quickly.

Sympathy is what all the world is craving for, and sympathy is what the

ordinary holiday-maker never gets. How can we be expected to sympathise

with you when we know you are off to Perthshire to fish? No; we say we

wish we were you, and forget that your holiday is sure to be a hollow

mockery; that your child will jam her finger in the railway carriage,

and scream to the end of the journey; that you will lose your luggage;

that the guard will notice your dog beneath the seat, and insist on its

being paid for; that you will be caught in a Scotch mist on the top of a

mountain, and be put on gruel for a fortnight; that your wife will fret

herself into a fever about the way the servant, who has been left at

home, is treating her cousins, the milkman, and the policeman; and that

you will be had up for trespassing. Yet, when you tell us you are off

to-morrow, we have never the sympathy to say, "Poor fellow, I hope

you'll pull through somehow." If it is an exhibition you go to gaze at,

we never picture you dragging your weary legs from one department to

another, and wondering why your back aches. Should it be the seaside, we

talk heartlessly to you about the "briny," though we must know, if we

would stop to think, that if there is one holiday more miserable than

all the others, it is that spent at the seaside, when you wander along

the weary beach and fling pebbles at the sea, and wonder how long it

will be till dinner-time. Were we to come down to see you, we should

probably find you, not on the beach, but moving slowly through the

village, looking in at the one milliner's window, or laboriously reading

what the one grocer's labels say on the subject of pale ale, compressed

beef, or vinegar. There was never an object that called aloud for

sympathy more than you do, but you get not a jot of it. You should take

the first train home and go to bed for three days.

To enjoy your holiday in bed to the full, you should let it be vaguely

understood that there is something amiss with you. Don't go into

details, for they are not necessary; and, besides, you want to be dreamy

more or less, and the dreamy state is not consistent with a definite

ailment. The moment one takes to bed he gets sympathy. He may be

suffering from a tearing headache or a tooth that makes him cry out; but

if he goes about his business, or even flops in a chair, true sympathy

is denied him. Let him take to bed with one of those illnesses of which

he can say with accuracy that he is not quite certain what is the matter

with him, and his wife, for instance, will want to bathe his brow. She

must not be made too anxious. That would not only be cruel to her, but

it would wake you from the dreamy state. She must simply see that you

are "not yourself." Women have an idea that unless men are "not

themselves" they will not take to bed, and as a consequence your wife is

tenderly thoughtful of you. Every little while she will ask you if you

are feeling any better now, and you can reply, with the old regard for

truth, that you are "much about it." You may even (for your own

pleasure) talk of getting up now, when she will earnestly urge you to

stay in bed until you feel easier. You consent; indeed, you are ready to

do anything to please her.

[Illustration: And wonder how long it will be till dinner-time]

The ideal holiday in bed does not require the presence of a ministering

angel in the room all day. You frequently prefer to be alone, and point

out to her that you cannot have her trifling with her health for your

sake, and so she must go out for a walk. She is reluctant, but finally

goes, protesting that you are the most unselfish of men, and only too

good for her. This leaves a pleasant aroma behind it, for even when

lying in bed, we like to feel that we are uncommonly fine fellows. After

she has gone you get up cautiously, and, walking stealthily to the

wardrobe, produce from the pocket of your greatcoat a good novel. A

holiday in bed must be arranged for beforehand. With a gleam in your eye

you slip back to bed, double your pillow to make it higher, and begin to

read. You have only got to the fourth page, when you make a horrible

discovery--namely, that the book is not cut. An experienced

holiday-maker would have had it cut the night before, but this is your

first real holiday, or perhaps you have been thoughtless. In any case

you have now matter to think of. You are torn in two different ways.

There is your coat on the floor with a knife in it, but you cannot reach

the coat without getting up again. Ought you to get the knife or to give

up reading? Perhaps it takes a quarter of an hour to decide this

question, and you decide it by discovering a third course. Being a sort

of an invalid, you have certain privileges which would be denied you if

you were merely sitting in a chair in the agonies of neuralgia. One of

the glorious privileges of a holiday in bed is that you are entitled to

cut books with your fingers. So you cut the novel in this way, and read

on.

[Illustration: You are in the middle of a chapter--]

Those who have never tried it may fancy that there is a lack of incident

in a holiday in bed. There could not be a more monstrous mistake. You

are in the middle of a chapter, when suddenly you hear a step upon the

stairs. Your loving ears tell you that the ministering angel has

returned, and is hastening to you. Now, what happens? The book

disappears beneath the pillow, and when she enters the room softly you

are lying there with your eyes shut. This is not merely incident; it is

drama.

What happens next depends on circumstances. She says, in a low voice:

"Are you feeling any easier now, John?"

No answer.

"Oh, I believe he is sleeping."

Then she steals from the room, and you begin to read again.

[Illustration: A Holiday in Bed

_Painted for

Princess Mary's Gift Book

by Russell Flint, A.R.W.S._]

[Illustration: --Suddenly you hear a step]

During a holiday in bed one never thinks, of course, of analysing his

actions. If you had done so in this instance, you would have seen that

you pretended sleep because you had got to an exciting passage. You love

your wife, but, wife or no wife, you must see how the passage ends.

Possibly the little scene plays differently, as thus:

"John, are you feeling any easier now?"

No answer.

"Are you asleep?"

No answer.

"What a pity! I don't want to waken him, and yet the fowl will be

spoilt."

"Is that you back, Marion?"

"Yes, dear; I thought you were asleep."

"No, only thinking."

"You think too much, dear. I have cooked a chicken for you."

"I have no appetite."

"I'm so sorry, but I can give it to the children."

"Oh, as it's cooked, you may as well bring it up."

[Illustration: You are lying there with your eyes shut]

In that case the reason of your change of action is obvious. But why do

you not let your wife know that you have been reading? This is another

matter that you never reason about. Perhaps it is because of your

craving for sympathy, and you fear that if you were seen enjoying a

novel the sympathy would go. Or perhaps it is that a holiday in bed is

never perfect without a secret. Monotony must be guarded against, and so

long as you keep the book to yourself your holiday in bed is a healthy

excitement. A stolen book (as we may call it) is like stolen fruit,

sweeter than what you can devour openly. The boy enjoys his stolen apple

because at any moment he may have to slip it down the leg of his

trousers and pretend that he has merely climbed the tree to enjoy the

scenery. You enjoy your book doubly because you feel that it is a

forbidden pleasure. Or do you conceal your book from your wife lest she

should think you are over-exerting yourself? She must not be made

anxious on your account? Ah, that is it.

People who pretend (for it must be pretence) that they enjoy their

holiday in the country, explain that the hills or the sea give them such

an appetite. I could never myself feel the delight of being able to


生词表:
  • princess [,prin´ses] 移动到这儿单词发声  n.公主;王妃;亲王夫人   (初中英语单词)
  • acting [´æktiŋ] 移动到这儿单词发声  a.代理的 n.演戏   (初中英语单词)
  • relief [ri´li:f] 移动到这儿单词发声  n.救济;援救;减轻   (初中英语单词)
  • holiday [´hɔlidi] 移动到这儿单词发声  n.假日,假期,节日   (初中英语单词)
  • bishop [´biʃəp] 移动到这儿单词发声  n.主教   (初中英语单词)
  • volume [´vɔlju:m, ´vɑljəm] 移动到这儿单词发声  n.卷;书籍;体积;容量   (初中英语单词)
  • permission [pə´miʃən] 移动到这儿单词发声  n.允许;同意;许可   (初中英语单词)
  • ignorant [´ignərənt] 移动到这儿单词发声  a.无知的,愚昧的   (初中英语单词)
  • intention [in´tenʃən] 移动到这儿单词发声  n.意图;打算;意义   (初中英语单词)
  • luxury [´lʌkʃəri] 移动到这儿单词发声  n.奢侈(品);享受   (初中英语单词)
  • monster [´mɔnstə] 移动到这儿单词发声  n.怪物 a.大得异常的   (初中英语单词)
  • deceive [di´si:v] 移动到这儿单词发声  vt.欺骗,欺诈   (初中英语单词)
  • sympathy [´simpəθi] 移动到这儿单词发声  n.同情,怜悯   (初中英语单词)
  • scream [skri:m] 移动到这儿单词发声  v.&n.尖叫(声)   (初中英语单词)
  • policeman [pə´li:smən] 移动到这儿单词发声  n.警察   (初中英语单词)
  • miserable [´mizərəbəl] 移动到这儿单词发声  a.悲惨的;可怜的   (初中英语单词)
  • wander [´wɔndə, ´wɑ:n:dər] 移动到这儿单词发声  v.徘徊;流浪   (初中英语单词)
  • instance [´instəns] 移动到这儿单词发声  n.例子,实例,例证   (初中英语单词)
  • anxious [´æŋkʃəs] 移动到这儿单词发声  a.担忧的;渴望的   (初中英语单词)
  • consequence [´kɔnsikwəns] 移动到这儿单词发声  n.结果;后果;推断   (初中英语单词)
  • trifling [´traifliŋ] 移动到这儿单词发声  a.微小的;轻浮的   (初中英语单词)
  • reading [´ri:diŋ] 移动到这儿单词发声  n.(阅)读;朗读;读物   (初中英语单词)
  • glorious [´glɔ:riəs] 移动到这儿单词发声  a.光荣的;辉煌的   (初中英语单词)
  • softly [´sɔftli] 移动到这儿单词发声  ad.软化地;柔和地   (初中英语单词)
  • incident [´insidənt] 移动到这儿单词发声  n.小事件;事变   (初中英语单词)
  • obvious [´ɔbviəs] 移动到这儿单词发声  a.明显的;显而易见的   (初中英语单词)
  • stolen [´stəulən] 移动到这儿单词发声  steal 的过去分词   (初中英语单词)
  • pretend [pri´tend] 移动到这儿单词发声  v.假装;借口;妄求   (初中英语单词)
  • conceal [kən´si:l] 移动到这儿单词发声  vt.藏;隐瞒   (初中英语单词)
  • account [ə´kaunt] 移动到这儿单词发声  vi.说明 vt.认为 n.帐目   (初中英语单词)
  • appetite [´æpitait] 移动到这儿单词发声  n.欲望;食欲   (初中英语单词)
  • jungle [´dʒʌŋgəl] 移动到这儿单词发声  n.丛林;杂乱的东西   (高中英语单词)
  • oxford [´ɔksfəd] 移动到这儿单词发声  n.牛津   (高中英语单词)
  • previously [´pri:viəsli] 移动到这儿单词发声  ad.预先;以前   (高中英语单词)
  • specially [´speʃəli] 移动到这儿单词发声  ad.专门地;特别地   (高中英语单词)
  • exhibition [eksi´biʃ(ə)n] 移动到这儿单词发声  n.展览;显示;表演   (高中英语单词)
  • scotch [skɔtʃ] 移动到这儿单词发声  vt.&n.刻痕(于);划伤   (高中英语单词)
  • fortnight [´fɔ:tnait] 移动到这儿单词发声  n.两星期   (高中英语单词)
  • headache [´hedeik] 移动到这儿单词发声  n.头痛;使人头痛的事   (高中英语单词)
  • accuracy [´ækjurəsi] 移动到这儿单词发声  n.准确(性);精密度   (高中英语单词)
  • thoughtful [´θɔ:tfəl] 移动到这儿单词发声  a.深思的;体贴的   (高中英语单词)
  • earnestly [´ə:nistli] 移动到这儿单词发声  ad.认真地;急切地   (高中英语单词)
  • cautiously [´kɔ:ʃəsli] 移动到这儿单词发声  ad.小心地;谨慎地   (高中英语单词)
  • monstrous [´mɔnstrəs] 移动到这儿单词发声  a.怪异的;庞大的   (高中英语单词)
  • loving [´lʌviŋ] 移动到这儿单词发声  a.爱的,有爱情的   (高中英语单词)
  • differently [´difrentli] 移动到这儿单词发声  ad.不同地,有差别地   (高中英语单词)
  • devour [di´vauə] 移动到这儿单词发声  vt.吞食;毁坏   (高中英语单词)
  • openly [´əupənli] 移动到这儿单词发声  ad.公开地;直率地   (高中英语单词)
  • generously [´dʒenərəsli] 移动到这儿单词发声  ad.慷慨地   (英语四级单词)
  • conjunction [kən´dʒʌŋkʃən] 移动到这儿单词发声  n.联合;巧合;接近   (英语四级单词)
  • uncertainty [ʌn´sə:tənti] 移动到这儿单词发声  n.不可靠;不确定的事   (英语四级单词)
  • vinegar [´vinigə] 移动到这儿单词发声  n.醋   (英语四级单词)
  • consistent [kən´sistənt] 移动到这儿单词发声  a.一致的;始终如一的   (英语四级单词)
  • reluctant [ri´lʌktənt] 移动到这儿单词发声  a.勉强的;难得到的   (英语四级单词)
  • beforehand [bi´fɔ:hænd] 移动到这儿单词发声  ad.事先;提前   (英语四级单词)
  • invalid [in´vælid] 移动到这儿单词发声  n.病人 a.无效的   (英语四级单词)
  • restlessly [´restlisli] 移动到这儿单词发声  ad.不安定地;烦躁地   (英语六级单词)
  • craving [´kreiviŋ] 移动到这儿单词发声  n.渴望,热望   (英语六级单词)
  • dreamy [´dri:mi] 移动到这儿单词发声  a.心不在焉的;朦胧的   (英语六级单词)
  • stealthily [´stelθili] 移动到这儿单词发声  ad.偷偷地,隐秘地   (英语六级单词)
  • thoughtless [´θɔ:tləs] 移动到这儿单词发声  a.粗心的,轻率的   (英语六级单词)
  • monotony [mə´nɔtəni] 移动到这儿单词发声  n.单音;单调   (英语六级单词)
  • doubly [´dʌbli] 移动到这儿单词发声  ad.加倍地,双重地   (英语六级单词)

  • 上传人 欢乐鱼 分享于 2017-06-26 17:40:51
    文章信息 浏览:0 评论:  赞: