large/9676/unhappy_far-off_things_1701_librivox_64kb_mp3/unhappyfaroffthings_04_dunsany_64kb_22
large/9676/unhappy_far-off_things_1701_librivox_64kb_mp3/unhappyfaroffthings_04_dunsany_64kb
English
9676
It was very old. Down underneath, he said, it dated from feudal times; though I did not quite make out whether all that lay under that mound had been so old or whether he only meant the cellars of his house. IT WAS VERY OLD DOWN UNDERNEATH HE SAID IT DATED FROM FEUDAL TIMES THOUGH I DID NOT QUITE OUT WHETHER ALL THAT LAY UNDER THAT MOUND HAD BEEN SO OLD OR WHETHER HE ONLY MEANT THE CELLARS OF HIS HOUSE
orries were rushing for the little lane so full of life, whose wheel-ruts were three years old. As I gazed about me looking for our line, I passed an old French civilian looking down at a slight mound of white stone that rose a little higher than the road. He was walking about uncertainly, when first I noticed him, as though he was not sure where he was. But now he stood quite still looking down at the mound. "Voilà ma maison," he said. He said no more than that: this astounding remark, this gesture that indicated such calamity, were quite simply made. There was nothing whatever of theatrical pose that we wrongly associate with the French, because they conceal their emotions less secretly than we; there were no tragic tones in his voice: only a trace of deep affection showed in one of the words he used. He spoke as a woman might say of her only child, "Look at _my_ baby." "Voilà ma maison," he said. I tried to say in his language what I felt; and after my attempt he spoke of his house. LONELY METALED ROAD DOWN WHICH LORRIES WERE RUSHING FOR THE LITTLE LANE SO FULL OF LIFE WHOSE WHEEL RUTS WERE THREE YEARS OLD AS I GAZED ABOUT ME LOOKING FOR OUR LINE I PASSED AN OLD FRENCH CIVILIAN LOOKING DOWN AT A SLIGHT MOUND OF WHITE STONE THAT ROSE A LITTLE HIGHER THAN THE ROAD HE WAS WALKING ABOUT UNCERTAINLY WHEN I FIRST NOTICED HIM AS THOUGH HE WAS NOT SURE WHERE HE WAS BUT NOW HE STOOD QUITE STILL LOOKING DOWN AT THE MOUND VIOLA MA'AMAISON HE SAID HE SAID NO MORE THAN THAT THIS ASTOUNDING REMARK THIS GESTURE THAT INDICATED SUCH CALAMITY WERE QUITE SIMPLY MADE THERE WAS NOTHING WHATEVER OF THEATRICAL POSE THAT WE WRONGLY ASSOCIATE WITH THE FRENCH BECAUSE THEY CONCEALED THEIR EMOTIONS LESS SECRETLY THAN WE THERE WERE NO TRAGIC TONES IN HIS VOICE ONLY A TRACE OF DEEP AFFECTION SHOWED IN ONE OF THE WORDS HE USED HE SPOKE AS A WOMAN MIGHT SAY OF HER ONLY CHILD LOOK AT MY BABY VIOLA MAISON HE SAID I TRIED TO SAY IN HIS LANGUAGE WHAT I FELT AND AFTER MY ATTEMPT HE SPOKE OF HIS HOUSE
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