The Return of Don Quixote E-Book

G.K. Chesterton

• Herausgeber: LVL Editions
• Kategorie: Gesellschafts- und Liebesromane
• Sprache: Englisch
• Veröffentlichungsjahr: 2016

Beschreibung

"Once, there was a man who went crazy from too much reading. He only read books about knighthood; that was the problem." So begins this charming retelling of Don Quixote de la Mancha, one of the most entertaining books ever written.Young people will delight in the hilarious adventures of the idealistic would-be knight and his "squire," Sancho Panza, as they set out to right the wrongs of the world. Ms. Palacios, a talented storyteller, captures all the flavor and irony of the original as the two heroes ride forth to conquer evil. Along the way the well-meaning but addled knight-errand mistakes a miserable inn and its keeper for a castle and its lord; imagines an ordinary peasant girl to be the noble lady Dulcinea, perceives windmills as giants to be overcome, and gets enmeshed in other cases of mistaken identity.

Leseprobe

G.K. Chesterton

The Return of Don Quixote

by

G.K. Chesterton

CHESTERTON'S LAST NOVEL

UUID: 100419cc-18ce-11e6-8ffc-0f7870795abd

This ebook was created with StreetLib Write (http://write.streetlib.com)by Simplicissimus Book Farm

Table of contents

I. — A HOLE IN THE CASTE

II. — A DANGEROUS MAN

III. — THE LADDER IN THE LIBRARY

IV. — THE FIRST TRIAL OF JOHN BRAINTREE

V. — THE SECOND TRIAL OF JOHN BRAINTREE

VI. — A COMMISSION AS COLOURMAN

VII. — "BLONDEL THE TROUBADOUR"

VIII. — THE MISADVENTURES OF MONKEY

IX. — THE MYSTERY OF A HANSOM CAB

X. — WHEN DOCTORS DISAGREE

XI. — THE LUNACY OF THE LIBRARIAN

XII. — THE STATESMAN AND THE SUMMER-HOUSE

XIII. — THE VICTORIAN AND THE ARROW

XIV. — THE RETURN OF THE KNIGHT-ERRANT

XV. — THE PARTING OF THE WAYS

XVI. — THE JUDGMENT OF THE KING

XVII. — THE DEPARTURE OF DON QUIXOTE

XVIII. — THE SECRET OF SEAWOOD

XIX. — THE RETURN OF DON QUIXOTE

I. — A HOLE IN THE CASTE

The end of the longest room at Seawood Abbey was full of light; for the walls were almost made of windows and it projected upon a terraced part of the garden above the park on an almost cloudless morning. Murrel, called Monkey for some reason that everybody had forgotten, and Olive Ashley were taking advantage of the light to occupy themselves with painting; though she was painting on a very small scale and he on a very large one. She was laying out peculiar pigments very carefully, in imitation of the flat jewellery of medieval illumination, for which she had a great enthusiasm, as part of a rather vague notion of a historic past. He, on, he other hand, was highly modern, and was occupied with several pails full of very crude colours and with brushes which reached the stature of brooms. With these he was laying about him on large sheets of lath and canvas, which were to act as scenery in some private theatricals then in preparation. They could not paint, either of them; nor did they imagine that they could. But she was in some sense trying to do so; and he was not.

"It's all very well for you to talk about discords," he was saying somewhat defensively, for she was a critical lady, "but your style of painting narrows the mind. After all, scene-painting is only illumination seen through a microscope."

"I hate microscopes," she observed briefly.

"Well, you look as if you wanted one, poring over that stuff," replied her companion, "in fact I fancy I have seen people screwing a great thing in their eye while they did it. I hope you won't go so far as that: it wouldn't suit your style at all."

This was true enough, no doubt, for she was a small, slight girl, with dark delicate features of the kind called regular; and her dark green dress, which was aesthetic but the reverse of Bohemian, had something akin to the small severities of her task. There was something a shade old maidish about her gestures, although she was very young. It was noticeable that though the room was strewn with papers and dusters and the flamboyant failures of Mr. Murrel's art, her own flat colour-box, with its case and minor accessories, were placed about her with protective neatness. She was not one of those for whom is written the paper of warnings sometimes sold with paint-boxes; and it had never been necessary to adjure her not to put the brush in the mouth.

"What I mean," she said, resuming the subject of microscopes, "is that all your science and modern stuff has only made things ugly, and people ugly as well. I don't want to look down a microscope any more than down a drain. You only see a lot of horrid little things crawling about. I don't want to look down at all. That's why I like all this old Gothic painting and building; in Gothic all the lines go upwards, right up to the very spire that points to heaven."

"It's rude to the point," said Murrel, "and I think they might have given us credit for noticing the sky."

"You know perfectly well what I mean," replied the lady, painting placidly, "all the originality of those medieval people was in the way they built their churches. The whole point of them was the pointed arches."

"And the pointed spears," he assented. "When you didn't do what they liked, they just prodded you. Too pointed, I think. Almost amounting to a hint."

"Anyhow the gentlemen then prodded each other with their spears," answered Olive, "they didn't go and sit on plush seats to see an Irishman pummelling a black man. I wouldn't see a modern prize-fight for the world; but I shouldn't mind a bit being a lady at one of the old tournaments."

"You might be a lady, but I shouldn't be a lord," said the scene-painter gloomily. "Not my luck. Even if I were a king, I should only be drowned in a butt of sack and never smile again. But it's more my luck to be born a serf or something. A leper, or some such medieval institution. Yes, that's how it would be—the minute I'd poked my nose into the thirteenth century I'd be appointed Chief Leper to the king or somebody; and have to squint into church through that little window."

"You don't squint into church through any window at present," observed the lady, "nor has it occurred to you even to do so through the door."

"Oh, I leave all that to you," he said, and proceeded to splash away in silence. He was engaged on a modest interior of "The Throne Room of Richard Coeur de Lion," which he treated in a scheme of scarlet, crimson and purple which Miss Ashley strove in vain to arrest; though she really had some rights of protest in the matter, having both selected the medieval subject and even written the play, so far as her more sportive collaborators would allow her. It was all about Blondel, the Troubadour, who serenaded Coeur de Lion and many other people; including the daughter of the house; who was addicted to theatricals and kept him at it. The Hon. Douglas Murrel, or Monkey, cheerfully confronted his ill-success in scene-painting, having succeeded equally ill in many other things. He was a man of wide culture, and had failed in all subjects. He had especially failed in politics; having once been called the future leader of his party, whichever it was. But he had failed at the supreme moment to seize the logical connection between the principle of taxing deer-forests and that of retaining an old pattern of rifle for the Indian Army: and the nephew of an Alsatian pawn-broker, to whose clear brain the connection was more apparent, had slipped into his place. Since then he had shown that taste for low company which has kept so many aristocrats out of mischief and their country out of peril, and shown it incongruously (as they sometimes do) by having something vaguely slangy and horsey about his very dress and appearance, as of an objectless ostler. His hair was very fair and beginning to blanch quite prematurely; for he also was young, though many years older than his companion. His face, which was plain but not common-place, habitually wore a dolorous expression which was almost comic; especially in connection with the sporting colours of his neckties and waistcoats, which were almost as lively as the colours on his brush.

"I've a negro taste," he explained, laying on a giant streak of sanguine colour, "these mongrel greys of the mystics make me as tired as they are. They talk about a Celtic Renaissance; but I'm for an Ethiopian Renaissance. The banjo to be more truly what's-its-name than old Dolmetch's lute. No dances but the deep, heart-weary Break-Down—there's tears in the very name—no historical characters except Toussaint L'Ouverture and Booker Washington, no fictitious characters except Uncle Remus and Uncle Tom. I bet it wouldn't take much to make the Smart Set black their faces as they used to whiten their hair. For my part, I begin to feel a meaning in all my mis-spent life. Something tells me I was intended for a Margate nigger. Ido think vulgarity is so nice, don't you?"

She did not reply; indeed she seemed a little absent-minded. Her humour had been faintly shrewdish; but when her face fell into seriousness it was entirely young. Her fine profile with parted lips suddenly suggested not only a child, but a lost child.

"I remember an old illumination that had a negro in it," she said at last. "It was one of the Three Kings at Bethlehem, with gold crowns. One of them was quite black; but he had a red dress like flames. So you see, even about a nigger and his bright clothes—there is a way of doing it. But we can't get the exact red they used now; I know people who have really tried. It's one of the lost arts, like the stained glass."

"This red will do very well for our modern purpose," said Murrel equably.

She still looked out abstractedly at the circle of the woods under the morning sky. "I rather wonder sometimes," she said, "what are our modern purposes.

"Painting the town red, I suppose," he answered.

"The old gold they used has gone too," she proceeded. "I was looking at an old missal in the library yesterday. You know they always gilt the name of God? I think if they gilt any word now it would be Gold."

The industrious silence which ensued was at length broken by a distant voice down the corridors calling out: "Monkey!" in a boisterous and imperative manner. Murrel did not in the least object to being called a monkey, yet he always felt a slight distaste when Julian Archer called him one. It had nothing to do with jealousy; though Archer had the same vague universality of success as Murrel had of failure. It had to do with a fine shade between familiarity and intimacy, which men like Murrel are never ready to disregard, however ready they may be to black their faces. When he was at Oxford he had often carried ragging to something within measurable distance of murder. But he never threw people out of top windows unless they were his personal friends.

Julian Archer was one of those men who seem to be in a great many places at once; and to be very important for some reason which is difficult to specify. He was not a fool or a fraud: he acquitted himself with credit and moderation in the various examinations or responsibilities which appeared to be forced upon him. But spectators of the subtler sort could never quite understand why these things always were forced upon him, and not upon the man next door. Some magazine would have a symposium, let us say, on "Shall We Eat Meat?" in which answers would be obtained from Bernard Shaw, Dr. Saleeby, Lord Dawson of Penn and Mr. Julian Archer. A committee would be formed for a National Theatre or a Shakespeare Memorial: and speeches would be delivered from the platform by Miss Viola Tree, Sir Arthur Pinero, Mr. Comyns Carr and Mr. Julian Archer. A composite book of essays would be published called "The Hope of a Hereafter," with contributions by Sir Oliver Lodge, Miss Marie Corelli, Mr. Joseph McCabe and Mr. Julian Archer. He was a Member of Parliament and of many other clubs. He had written a historical novel; he was an admirable amateur actor: so that his claims to take the leading part in the play of "Blondel the Troubadour" could not be disputed. In all this there was nothing objectionable or even eccentric. His historical novel about Agincourt was quite good considered as a modern historical novel; that is, considered as the adventures of a modern public schoolboy at a fancy dress ball. He was in favour of moderate indulgence in meat; and moderate indulgence in personal immortality. But his temperate opinions were loudly and positively uttered, as in the deep and resonant voice which was now booming down the passages. He was one of those who can endure that silence which comes after a platitude. His voice went before him everywhere; as did his reputation and his photograph in the society papers; with its dark curls and bold handsome face. Miss Ashley remarked that he looked like a tenor. Mr. Murrel was content to reply that he did not sound like one.

He entered the room in the complete costume of a Troubadour, except for a telegram which he held in his hand. The complete costume of a troubadour compared favourably with that worn by Mr. Snodgrass, in being more becoming and equally historical. He had been rehearsing his part and was flushed with triumph and exertion; but the telegram, apparently, had rather put him out.

"I say," he said, "Braintree won't act."

"Well," said Murrel, painting stolidly, "I never thought he would."

"Rather rot, I know, having to ask a fellow like that: but there was simply nobody else. I told Lord Seawood it was rot to have it at this time of the year when all his friends are away. Braintree's only an acquaintance, of course, and I can't imagine how he even came to be that."

"It was a mistake, I believe," said Murrel, "Seawood called on him because he heard he was standing for Parliament as a Unionist. When he found it meant a Trade Unionist he was a bit put off, of course; but he couldn't make a scene. I fancy it would puzzle him to say what either of the terms mean."

"Don't you know what the term Unionist means?" asked Olive.

"Nobody knows that," replied the scene-painter, "why, I've been one myself."

"Oh, I wouldn't cut a fellow just because he was a Socialist," cried the broad-minded Mr. Archer, "why there was—" and he was silent, lost in social reminiscences.

"He isn't a Socialist," observed Murrel impassively, "He breaks things if you call him a Socialist. He is a Syndicalist."

"But that's worse, isn't it?" said the young lady, innocently.

"Of course we're all for social questions and making things better," said Archer in a general manner, "but nobody can defend a man who sets one class against another as he does; talking about manual labour and all sorts of impossible Utopias. I've always said that Capital has its duties as well as its—."

"Well," interposed Murrel hastily, "I'm prejudiced in the present case. Look at me; you couldn't have anybody more manual than I am."

"Well, he won't act, anyhow," repeated Archer, "and we must find somebody. It's only the Second Troubadour, of course, and anybody can do it. But it must be somebody fairly young; that's the only reason I thought of Braintree."

"Yes, he is quite a young man yet," assented Murrel, "and no end of the young men seem to be with him."

"I detest him and his young men," said Olive, with sudden energy. "In the old days people complained of young people breaking out because they were romantic. But these young men break out because they are sordid; just prosaic and low, and wrangling about machinery and money—materialists. They just want a world of atheists, that would soon be a world of apes."

After a silence, Murrel crossed to the other end of the long room and could be heard calling a number into the telephone. There ensued one of those half conversations that make the hearer feel as if he were literally half-witted: but in this case the subject matter was fairly clear from the context.

"Is that you, Jack?—Yes, I know you did; but I want to talk to you about it—. At Seawood; but I can't get away, because I'm painting myself red like an Indian. Nonsense, it can't matter; you'll only be coming on business—. Yes, of course it's quite understood: what a pragmatical beast you are—there's no question of principle at all, I tell you. I won't eat you. I won't even paint you—all right."

He rang off and returned to his creative labours, whistling.

"Do you know Mr. Braintree?" asked Olive, with some wonder.

"You know I have a taste for low company," answered Murrel.

"Does it extend to Communists?" asked Archer, with some heat. "Jolly close to thieves."

"A taste for low company doesn't make people thieves," said Murrel, "it's generally a taste for high company that does that." And he proceeded to decorate a vivid violet pillar with very large orange stars, in accordance with the well-known style of the ornamentation of throne-rooms in the reign of Richard the First.

II. — A DANGEROUS MAN

John Braintree was a long, lean, alert young man with a black beard and a black frown, which he seemed to some extent to wear on principle, like his red tie. For when he smiled, as he did for an instant at the sight of Murrel's scenery, he looked pleasant enough. On being introduced to the lady, he bowed with a politeness that was formal and almost stiff; the style once found in aristocrats but now most common in well-educated artisans; for Braintree had begun life as an engineer.

"I came up here because you asked me, Douglas," he said, "but I tell you it's no good."

"Don't you like my scheme of colour?" asked Murrel. "It is much admired."

"Well," replied the other, "I don't know that I do particularly like your plastering romantic purple over all that old feudal tyranny and superstition; but that isn't my difficulty. Look here, Douglas; I came here on the strict understanding that I might say what I liked; but for all that I don't particularly want to talk against the man in his own house if I can help it. So perhaps the shortest way of putting the difficulty will be to say that the Miners' Union here has declared a strike; and that I am the secretary of the Miners' Union. And as I'm trying to spoil his work by staying out, I think it would be a little low down to spoil his play by coming in."