Nesbit / Nemo 7 best short stories by Edith Nesbit

1. Auflage 2020
ISBN: 978-3-96799-358-5
Verlag: Tacet Books
Format: EPUB
Kopierschutz: 6 - ePub Watermark

E-Book, Englisch, Band 95, 49 Seiten

Reihe: 7 best short stories

According to her biographer, Julia Briggs, E. Nesbit was 'the first modern writer for children': Nesbit 'helped to reverse the great tradition of children's literature inaugurated by Lewis Carroll, George MacDonald and Kenneth Grahame, in turning away from their secondary worlds to the tough truths to be won from encounters with things-as-they-are, previously the province of adult novels.' Briggs also credits Nesbit with having invented the children's adventure story. This selection chosen by the critic August Nemocontains the following stories: - The Ebony Frame - John Charrington's Wedding - Uncle Abraham's Romance - The Mystery Of The Semi-Detached - From The Dead - Man-Size In Marble - The Mass For The Dead

E. Nesbit, in fullEdith Nesbit, (bornAugust15, 1858,London, Englanddied May 4, 1924,New Romney, Kent), British children's author, novelist, and poet.

Autoren/Hrsg.

Nesbit, Edith

Nemo, August

Leseproben

EDITH NESBIT WAS BORN in London in 1858. When she was four her father died but her mother bravely continued to run the agricultural college her husband, and before that, his father, had founded in Kennington, London.  Her childhood was shared with her sister, half sister and 3 brothers. She was educated on the continent when she accompanied her mother and sister Mary travelling throughout France, Germany and Spain. This was not an educational grand tour but an endeavour to get her sister well as she was suffering from tuberculosis.  Upon their return to England Edith's mother moved the family from London to Halstead, Kent. This was the start of Edith's love of the countryside and especially of Kent.  At 18 years of age she met Hubert Bland whom she was eventually to marry. They married in a Registry Office in the City of London and Hubert found Edith a home overlooking Blackheath, south east London. A move to a small terraced house in Elswick Road, Lewisham (still standing) with their first child, Paul, was to be one of the many homes in the south east of London they were to occupy.  Edith had begun writing in her teens and her artistic talents were needed to bring in money when she and Hubert were first married. Her flourish for writing poems, articles and children's stories eventually led the family which now numbered three children, to move to larger homes in Lee and Grove Park.  In 1899 the family moved to Well Hall, Eltham (pictured). The three-storey house surrounded by orchards and farmland adjacent to a Tudor barn was to be their home for 22 years.  Edith was a very generous, gregarious person and would host parties at Well Hall, which attracted the many literary friends she and Hubert had come to know. Friends such as HG Wells, George Bernard Shaw and friends from the Fabian Society, Sydney and Beatrice Webb.  The First World War and Hubert's death in 1914 brought a change to their fortunes. Managing a large house was becoming difficult and at the suggestion of a family friend she left Well Hall for her beloved Kentish countryside.  Prior to the move she found solace and happiness with Tommy Tucker whom she married in 1917 and together they built a home at St Mary's Bay, Dymchurch, Kent where in May 1924 Edith Nesbit died.  Her last resting place is at St Mary in the Marsh. Tommy Tucker went on to make a name in the community of Jesson St Mary where he died eleven years later with Edith's adopted daughter at his side.  The Ebony Frame
TO BE RICH IS A LUXURIOUS sensation—the more so when you have plumbed the depths of hard-up-ness as a Fleet Street hack, a picker-up of unconsidered pars, a reporter, an unappreciated journalist—all callings utterly inconsistent with one's family feeling and one's direct descent from the Dukes of Picardy. When my Aunt Dorcas died and left me seven hundred a year and a furnished house in Chelsea, I felt that life had nothing left to offer except immediate possession of the legacy. Even Mildred Mayhew, whom I had hitherto regarded as my life's light, became less luminous. I was not engaged to Mildred, but I lodged with her mother, and I sang duets with Mildred, and gave her gloves when it would run to it, which was seldom. She was a dear good girl, and I meant to marry her some day. It is very nice to feel that a good little woman is thinking of you—it helps you in your work—and it is pleasant to know she will say "Yes" when you say "Will you?" But, as I say, my legacy almost put Mildred out of my head, especially as she was staying with friends in the country just then. Before the first gloss was off my new mourning I was seated in my aunt's own armchair in front of the fire in the dining-room of my own house. My own house! It was grand, but rather lonely. I did think of Mildred just then. The room was comfortably furnished with oak and leather. On the walls hung a few fairly good oil-paintings, but the space above the mantelpiece was disfigured by an exceedingly bad print, "The Trial of Lord William Russell," framed in a dark frame. I got up to look at it. I had visited my aunt with dutiful regularity, but I never remembered seeing this frame before. It was not intended for a print, but for an oil-painting. It was of fine ebony, beautifully and curiously carved. I looked at it with growing interest, and when my aunt's housemaid—I had retained her modest staff of servants—came in with the lamp, I asked her how long the print had been there. "Mistress only bought it two days afore she was took ill," she said; "but the frame—she didn't want to buy a new one—so she got this out of the attic. There's lots of curious old things there, sir." "Had my aunt had this frame long?" "Oh yes, sir. It come long afore I did, and I've been here seven years come Christmas. There was a picture in it—that's upstairs too—but it's that black and ugly it might as well be a chimley-back." I felt a desire to see this picture. What if it were some priceless old master in which my aunt's eyes had only seen rubbish? Directly after breakfast next morning I paid a visit to the lumber-room. It was crammed with old furniture enough to stock a curiosity shop. All the house was furnished solidly in the early Victorian style, and in this room everything not in keeping with the "drawing-room suite" ideal was stowed away. Tables of papier-maché and mother-of-pearl, straight-backed chairs with twisted feet and faded needlework cushions, firescreens of old-world design, oak bureaux with brass handles, a little work-table with its faded moth-eaten silk flutings hanging in disconsolate shreds: on these and the dust that covered them blazed the full daylight as I drew up the blinds. I promised myself a good time in re-enshrining these household gods in my parlour, and promoting the Victorian suite to the attic. But at present my business was to find the picture as "black as the chimley-back;" and presently, behind a heap of hideous still-life studies, I found it. Jane the housemaid identified it at once. I took it downstairs carefully and examined it. No subject, no colour were distinguishable. There was a splodge of a darker tint in the middle, but whether it was figure or tree or house no man could have told. It seemed to be painted on a very thick panel bound with leather. I decided to send it to one of those persons who pour on rotting family portraits the water of eternal youth—mere soap and water Mr. Besant tells us it is; but even as I did so the thought occurred to me to try my own restorative hand at a corner of it. My bath-sponge, soap, and nailbrush vigorously applied for a few seconds showed me that there was no picture to clean! Bare oak presented itself to my persevering brush. I tried the other side, Jane watching me with indulgent interest. The same result. Then the truth dawned on me. Why was the panel so thick? I tore off the leather binding, and the panel divided and fell to the ground in a cloud of dust. There were two pictures—they had been nailed face to face. I leaned them against the wall, and the next moment I was leaning against it myself. For one of the pictures was myself—a perfect portrait—no shade of expression or turn of feature wanting. Myself—in a cavalier dress, "love-locks and all!" When had this been done? And how, without my knowledge? Was this some whim of my aunt's? "Lor', sir!" the shrill surprise of Jane at my elbow; "what a lovely photo it is! Was it a fancy ball, sir?" "Yes," I stammered. "I—I don't think I want anything more now. You can go." She went; and I turned, still with my heart beating violently, to the other picture. This was a woman of the type of beauty beloved of Burne Jones and Rossetti—straight nose, low brows, full lips, thin hands, large deep luminous eyes. She wore a black velvet gown. It was a full-length portrait. Her arms rested on a table beside her, and her head on her hands; but her face was turned full forward, and her eyes met those of the spectator bewilderingly. On the table by her were compasses and instruments whose uses I did not know, books, a goblet, and a miscellaneous heap of papers and pens. I saw all this afterwards. I believe it was a quarter of an hour before I could turn my eyes away from hers. I have never seen any other eyes like hers. They appealed, as a child's or a dog's do; they commanded, as might those of an empress. "Shall I sweep up the dust, sir?" Curiosity had brought Jane back. I acceded. I turned from her my portrait. I kept between her and the woman in the black velvet. When I was alone again I tore down "The Trial of Lord William Russell," and I put the picture of the woman in its strong ebony frame. Then I wrote to a frame-maker for a frame for my portrait. It had so long lived face to face with this beautiful witch that I had not the heart to banish it from her presence; from which, it will be perceived that I am by nature a somewhat sentimental person. The new frame came home, and I hung it opposite the fireplace. An exhaustive search among my aunt's papers showed no explanation of the portrait of myself, no history of the portrait of the woman with the wonderful eyes. I only learned that all the old furniture together had come to my aunt at the death of my great-uncle, the head of the family; and I should have concluded that the resemblance was only a family one, if every one who came in had not exclaimed at the "speaking likeness." I adopted Jane's "fancy ball" explanation. And there, one might suppose, the...