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- Herausgeber: Diamond Book Publishing
- Kategorie: Gesellschafts- und Liebesromane
- Sprache: Englisch
- Veröffentlichungsjahr: 2024
"Not That It Matters" by A. A. Milne is a delightful collection of whimsical essays that showcase the author's witty and insightful observations on a wide range of topics. Known for his iconic creation, Winnie-the-Pooh, Milne's literary charm shines in this compilation as he muses on life's ordinary moments with a refreshing perspective. Through clever anecdotes and clever wordplay, he invites readers into his world of lighthearted contemplation, proving that even the seemingly trivial aspects of life hold profound significance. With Milne's signature humor and wisdom, "Not That It Matters" is a charming read that leaves a lasting smile and encourages readers to find the magic in the everyday.
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A. A. Milne
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Classic Short Story Fiction
Table of contents
THE PLEASURE OF WRITING
ACACIA ROAD
MY LIBRARY
By
A. A. Milne
Table of Contents
THE PLEASURE OF WRITING
ACACIA ROAD
MY LIBRARY
THE CHASE
SUPERSTITION
THE CHARM OF GOLF
GOLDFISH
SATURDAY TO MONDAY
THE POND
A SEVENTEENTH-CENTURY STORY
OUR LEARNED FRIENDS
A WORD FOR AUTUMN
A CHRISTMAS NUMBER
NO FLOWERS BY REQUEST
THE UNFAIRNESS OF THINGS
DAFFODILS
A HOUSEHOLD BOOK
LUNCH
THE FRIEND OF MAN
THE DIARY HABIT
MIDSUMMER DAY
AT THE BOOKSTALL
"WHO'S WHO"
A DAY AT LORD'S
BY THE SEA
GOLDEN FRUIT
SIGNS OF CHARACTER
INTELLECTUAL SNOBBERY
A QUESTION OF FORM
A SLICE OF FICTION
THE LABEL
THE PROFESSION
SMOKING AS A FINE ART
THE PATH TO GLORY
A PROBLEM IN ETHICS
THE HAPPIEST HALF-HOURS OF LIFE
NATURAL SCIENCE
ON GOING DRY
A MISJUDGED GAME
A DOUBTFUL CHARACTER
THOUGHTS ON THERMOMETERS
FOR A WET AFTERNOON
DECLINED WITH THANKS
ON GOING INTO A HOUSE
THE IDEAL AUTHOR
THE PLEASURE OF WRITING
Sometimes when the printer is waiting for an article which really should have been sent to him the day before, I sit at my desk and wonder if there is any possible subject in the whole world upon which I can possibly find anything to say. On one such occasion I left it to Fate, which decided, by means of a dictionary opened at random, that I should deliver myself of a few thoughts about goldfish. (You will find this article later on in the book.) But to-day I do not need to bother about a subject. To-day I am without a care. Nothing less has happened than that I have a new nib in my pen.
In the ordinary way, when Shakespeare writes a tragedy, or Mr. Blank gives you one of his charming little essays, a certain amount of thought goes on before pen is put to paper. One cannot write "Scene I. An Open Place. Thunder and Lightning. Enter Three Witches," or "As I look up from my window, the nodding daffodils beckon to me to take the morning," one cannot give of one's best in this way on the spur of the moment. At least, others cannot. But when I have a new nib in my pen, then I can go straight from my breakfast to the blotting-paper, and a new sheet of foolscap fills itself magically with a stream of blue-black words. When poets and idiots talk of the pleasure of writing, they mean the pleasure of giving a piece of their minds to the public; with an old nib a tedious business. They do not mean (as I do) the pleasure of the artist in seeing beautifully shaped "k's" and sinuous "s's" grow beneath his steel. Anybody else writing this article might wonder "Will my readers like it?" I only tell myself "How the compositors will love it!"
But perhaps they will not love it. Maybe I am a little above their heads. I remember on one First of January receiving an anonymous postcard wishing me a happy New Year, and suggesting that I should give the compositors a happy New Year also by writing more generously. In those days I got a thousand words upon one sheet 8 in. by 5 in. I adopted the suggestion, but it was a wrench; as it would be for a painter of miniatures forced to spend the rest of his life painting the Town Council of Boffington in the manner of Herkomer. My canvases are bigger now, but they are still impressionistic. "Pretty, but what is it?" remains the obvious comment; one steps back a pace and saws the air with the hand; "You see it better from here, my love," one says to one's wife. But if there be one compositor not carried away by the mad rush of life, who in a leisurely hour (the luncheon one, for instance) looks at the beautiful words with the eye of an artist, not of a wage-earner, he, I think, will be satisfied; he will be as glad as I am of my new nib. Does it matter, then, what you who see only the printed word think of it?
A woman, who had studied what she called the science of calligraphy, once offered to tell my character from my handwriting. I prepared a special sample for her; it was full of sentences like "To be good is to be happy," "Faith is the lode- star of life," "We should always be kind to animals," and so on. I wanted her to do her best. She gave the morning to it, and told me at lunch that I was "synthetic." Probably you think that the compositor has failed me here and printed "synthetic" when I wrote "sympathetic." In just this way I misunderstood my calligraphist at first, and I looked as sympathetic as I could. However, she repeated "synthetic," so that there could be no mistake. I begged her to tell me more, for I had thought that every letter would reveal a secret, but all she would add was "and not analytic." I went about for the rest of the day saying proudly to myself "I am synthetic! I am synthetic! I am synthetic!" and then I would add regretfully, "Alas, I am not analytic!" I had no idea what it meant.
And how do you think she had deduced my syntheticness? Simply from the fact that, to save time, I join some of my words together. That isn't being synthetic, it is being in a hurry. What she should have said was, "You are a busy man; your life is one constant whirl; and probably you are of excellent moral character and kind to animals." Then one would feel that one did not write in vain.
My pen is getting tired; it has lost its first fair youth. However, I can still go on. I was at school with a boy whose uncle made nibs. If you detect traces of erudition in this article, of which any decent man might be expected to be innocent, I owe it to that boy. He once told me how many nibs his uncle made in a year; luckily I have forgotten. Thousands, probably. Every term that boy came back with a hundred of them; one expected him to be very busy. After all, if you haven't the brains or the inclination to work, it is something to have the nibs. These nibs, however, were put to better uses. There is a game you can play with them; you flick your nib against the other boy's nib, and if a lucky shot puts the head of yours under his, then a sharp tap capsizes him, and you have a hundred and one in your collection. There is a good deal of strategy in the game (whose finer points I have now forgotten), and I have no doubt that they play it at the Admiralty in the off season. Another game was to put a clean nib in your pen, place it lightly against the cheek of a boy whose head was turned away from you, and then call him suddenly. As Kipling says, we are the only really humorous race. This boy's uncle died a year or two later and left about £80,000, but none of it to his nephew. Of course, he had had the nibs every term. One mustn't forget that.
The nib I write this with is called the "Canadian Quill"; made, I suppose, from some steel goose which flourishes across the seas, and which Canadian housewives have to explain to their husbands every Michaelmas. Well, it has seen me to the end of what I wanted to say—if indeed I wanted to say anything. For it was enough for me this morning just to write; with spring coming in through the open windows and my good Canadian quill in my hand, I could have copied out a directory. That is the real pleasure of writing.
ACACIA ROAD
Of course there are disadvantages of suburban life. In the fourth act of the play there may be a moment when the fate of the erring wife hangs in the balance, and utterly regardless of this the last train starts from Victoria at 11.15. It must be annoying to have to leave her at such a crisis; it must be annoying too to have to preface the curtailed pleasures of the play with a meat tea and a hasty dressing in the afternoon. But, after all, one cannot judge life from its facilities for playgoing. It would be absurd to condemn the suburbs because of the 11.15.
There is a road eight miles from London up which I have walked sometimes on my way to golf. I think it is called Acacia Road; some pretty name like that. It may rain in Acacia Road, but never when I am there. The sun shines on Laburnum Lodge with its pink may tree, on the Cedars with its two clean limes, it casts its shadow on the ivy of Holly House, and upon the whole road there rests a pleasant afternoon peace. I cannot walk along Acacia Road without feeling that life could be very happy in it—when the sun is shining. It must be jolly, for instance, to live in Laburnum Lodge with its pink may tree. Sometimes I fancy that a suburban home is the true home after all.
When I pass Laburnum Lodge I think of Him saying good-bye to Her at the gate, as he takes the air each morning on his way to the station. What if the train is crowded? He has his newspaper. That will see him safely to the City. And then how interesting will be everything which happens to him there, since he has Her to tell it to when he comes home. The most ordinary street accident becomes exciting if a story has to be made of it. Happy the man who can say of each little incident, "I must remember to tell Her when I get home." And it is only in the suburbs that one "gets home." One does not "get home" to Grosvenor Square; one is simply "in" or "out."
But the master of Laburnum Lodge may have something better to tell his wife than the incident of the runaway horse; he may have heard a new funny story at lunch. The joke may have been all over the City, but it is unlikely that his wife in the suburbs will have heard it. Put it on the credit side of marriage that you can treasure up your jokes for some one else. And perhaps She has something for him too; some backward plant, it may be, has burst suddenly into flower; at least he will walk more eagerly up Acacia Road for wondering. So it will be a happy meeting under the pink may tree of Laburnum Lodge when these two are restored safely to each other after the excitements of the day. Possibly they will even do a little gardening together in the still glowing evening.
If life has anything more to offer than this it will be found at Holly House, where there are babies. Babies give an added excitement to the master's homecoming, for almost anything may have happened to them while he has been away. Dorothy perhaps has cut a new tooth and Anne may have said something really clever about the baker's man. In the morning, too, Anne will walk with him to the end of the road; it is perfectly safe, for in Acacia Road nothing untoward could occur. Even the dogs are quiet and friendly. I like to think of the master of Holly House saying good-bye to Anne at the end of the road and knowing that she will be alive when he comes back in the evening. That ought to make the day's work go quickly.
But it is the Cedars which gives us the secret of the happiness of the suburbs. The Cedars you observe is a grander house altogether; there is a tennis lawn at the back. And there are grown-up sons and daughters at the Cedars. In such houses in Acacia Road the delightful business of love-making is in full swing. Marriages are not "arranged" in the suburbs; they grow naturally out of the pleasant intercourse between the Cedars, the Elms, and Rose Bank. I see Tom walking over to the Elms, racket in hand, to play tennis with Miss Muriel. He is hoping for an invitation to remain to supper, and indeed I think he will get it. Anyhow he is going to ask Miss Muriel to come across to lunch to-morrow; his mother has so much to talk to her about. But it will be Tom who will do most of the talking.
I am sure that the marriages made in Acacia Road are happy. That is why I have no fears for Holly House and Laburnum Lodge. Of course they didn't make love in this Acacia Road; they are come from the Acacia Road of some other suburb, wisely deciding that they will be better away from their people. But they met each other in the same way as Tom and Muriel are meeting; He has seen Her in Her own home, in His home, at the tennis club, surrounded by the young bounders (confound them!) of Turret Court and the Wilderness; She has heard of him falling off his bicycle or quarrelling with his father. Bless you, they know all about each other; they are going to be happy enough together.
And now I think of it, why of course there is a local theatre where they can do their play- going, if they are as keen on it as that. For ten shillings they can spread from the stage box an air of luxury and refinement over the house; and they can nod in an easy manner across the stalls to the Cedars in the opposite box— in the deep recesses of which Tom and Muriel, you may be sure, are holding hands.
