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[Assistant] They went the same circuit, and even there they prolonged their usual orgies late into the night, and Carton was rumored to be seen at broad day going home stealthily and unsteadily to his lodgings like a dissipated cat.


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[Assistant] At last it began to get about among such as were interested in the matter, that although Sydney Carton would never be a lion, he was an amazingly good jackal.


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[Assistant] And that he rendered suit and service to Stryver in that humble capacity. Ten o'clock, sir. Said the man at the tavern whom he had charged to wake him. Ten o'clock, sir. What's the matter? Ten o'clock, sir. What do you mean? Ten o'clock at night? Yes, sir. Your honor told me to call you. Oh. I remember, very well, very well.


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[Assistant] After a few dull efforts to get to sleep again, which the man dexterously combated by stirring the fire continuously for five minutes, he got up, tossed his hat on, and walked out.


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[Assistant] He turned into the temple and, having revived himself by twice pacing the pavements of King's Bench Walk and paper buildings, turned into the striver chambers.


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[Assistant] The Stryver Clark, who never assisted at these conferences, had gone home, and the Stryver principal opened the door.


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[Assistant] He had his slippers on and a loose bed gown, and his throat was bare for his greater ease.


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[Assistant] He had that rather wild, strange, seared marking about the eyes, which may be observed in all free livers of his class, from the portrait of Jeffreys downward, and which can be traced under various disguises of art, through the portraits of every drinking age. You are a little late, memory, said Stryver. About the usual time, it may be a quarter of an hour later.


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[Assistant] They went into a dingy room lined with books and littered with papers, where there was a blazing fire.


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[Assistant] I have been dining with the day's client, or seeing him die. It's all one.


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[Assistant] That was a rare point, Sydney, that you brought to bear upon the identification. How did you come by it? When did it strike you?


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[Assistant] I thought he was rather a handsome fellow and I thought I should have been much the same sort of fellow if I had had any luck.


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[Assistant] Mr. Stryver laughed till he shook his precocious paunch. You and your luck, Sydney. Get to work, get to work.


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[Assistant] Sullenly enough, the jackal loosened his dress, went into an adjoining room, and came back with a large jug of cold water, a basin, and a towel or two.


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[Assistant] Steeping the towels in the water and partially wringing them out, he folded them on his head in a manner hideous to behold, sat down at the table and said, Now I am ready.


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[Assistant] Not much boiling down to be done tonight, memory, said Mr. Stryver Gailey as he looked among his papers. How much? Only two sets of them. Give me the worst first. There they are, Sydney. Fire away.


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[Assistant] The lion then composed himself on his back on a sofa on one side of the drinking table, while the jackal sat at his own paper-bastroon table proper on the other side of it, with the bottles and glasses ready to his hand.


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[Assistant] Both resorted to the drinking table without stint, but each in a different way.


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[Assistant] The lion, for the most part, reclining with his hands in his waistband, looking at the fire, or occasionally flirting with some lighter document.


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[Assistant] The jackal with knitted brows and intent face so deep in his task that his eyes did not even follow the hand he stretched out for his glass, which often groped about for a minute or more before it found the glass for his lips.


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[Assistant] Two or three times the matter in hand became so knotty that the jackal found it imperative on him to get up and steep his towels anew.


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[Assistant] From these pilgrimages to the jug and basin, he returned with such eccentricities of damp headgear as no words can describe.


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[Assistant] Which were made more ludicrous by his anxious gravity.


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[Assistant] At length the jackal had got together a compact repast for the lion and proceeded to offer it to him.


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[Assistant] The lion took it with care and caution, made his selections from it, and his remarks upon it, and the jackal assisted both.


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[Assistant] When the repast was fully discussed, the lion put his hands in his waistband again and lay down to meditate.


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[Assistant] The jackal then invigorated himself with a bumper for his throttle and a fresh application to his head, and applied himself to the collection of a second meal.


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[Assistant] This was administered to the lion in the same manner, and was not disposed of until the clock struck three in the morning.


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[Assistant] And now we have done, Sidney, fill a bumper of punch, said Mr. Stryver.


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[Assistant] The jackal removed the towels from his head, which had been steaming again, shook himself, yawned, shivered, and complied.


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[Assistant] You were very sound, Sidney, in the matter of those crown witnesses today. Every question told. I always am sound, am I not? I don't gainsay it.


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[Assistant] What has roughened your temper? Put some punch to it and smooth it again. With a deprecatory grunt, the jackal again complies.


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[Assistant] The old Sydney Cotton of Old Shrewsbury School.


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[Assistant] Said Striver, nodding his head over him, as he reviewed him in the present and the past.


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[Assistant] The old seesaw Sydney, up one minute and down the next, now in spirits and now in despondency.


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[Assistant] The same Sydney with the same luck. Even then I did exercises for other boys and seldom did my own. And why not?


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[Assistant] Said his friend, squaring himself at him with a bullying air.


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[Assistant] As if the fire grate had been the furnace in which sustained endeavor was forged.


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[Assistant] And the one delicate thing to be done for the old Sydney carton of old Shrewsbury School was to shoulder him into it.


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[Assistant] Your way is and always was a lame way. You summon no energy and purpose. Look at me! Oh, botheration. Return Sydney with a lighter and more good-humored laugh. Don't you be model.


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[Assistant] How have I done what I have done? said Stryver. How do I do what I do?


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[Assistant] Partly through paying me to help you, I suppose.


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[Assistant] But it's not worth your while to apostrophize me or the air about it. What you want to do, you do.


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[Assistant] I had to get into the front rank. I was not born there, was I?


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[Assistant] I was not present at the ceremony, but my opinion is you were, said Carton. At this he laughed again, and they both laughed.


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[Assistant] Before Shrewsbury and at Shrewsbury and ever since Shrewsbury, pursued Carton, you have fallen into your rank and I have fallen into mine.


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[Assistant] Even when we were fellow students in the student quarter of Paris, picking up French and French law and other French crumbs that we didn't get much good of, you were always somewhere and I was always nowhere. And whose fault was that?


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[Assistant] Upon my soul, I am not sure that it was not yours. You were always driving and writhing and shouldering and pressing to that restless degree that I had no chance for my life but in rust and repose.


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[Assistant] It's a gloomy thing, however, to talk about one's own past with the day breaking. Turn me in some other direction before I go. Well then.


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[Assistant] Pledge me to the pretty witness, said Stryver, holding up his glass. Are you turned in a pleasant direction? Apparently not, for he became gloomy again. Pretty witness, he muttered, looking down into his glass. I have had enough of witnesses today and tonight. Who's your pretty witness? The picturesque doctor's daughter, Miss Manette. She pretty? Is she not? No.


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[Assistant] Why man alive, she was the admiration of the whole court. Rot, the admiration of the whole court.


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[Assistant] Who made the old Bailey a judge of beauty? She was a golden haired doll.


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[Assistant] Do you know, Sidney? said Mr. Stryver, looking at him with sharp eyes, and slowly drawing a hand across his flotted face.


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[Assistant] Do you know, I rather thought at the time that you sympathized with the golden haired doll and were quick to see what happened to the golden haired doll. Quick to see what happened.


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[Assistant] If a girl, doll or no doll, swoons with an yard or two of a man's nose, he can see it without a perspective glass. I pledge you, but I deny the beauty, and now I'll have no more drink. I'll get to bed.


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[Assistant] When his host followed him out on the staircase with a candle to light him down the stairs, the day was coldly looking in through its grimy windows.


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[Assistant] When he got out of the house, the air was cold and sad.


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[Assistant] The dull sky overcast, the river dark and dim, the whole scene like a lifeless desert.


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[Assistant] And wreaths of dust were spinning round and round before the morning blast, as if the desert sand had risen far away and the first spray of it in its advance had begun to overwhelm the city.


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[Assistant] Waste forces within him and a desert all around, this man stood still on his way across a silent terrace and saw for a moment, lying in the wilderness before him, a mirage of honorable ambition, self-denial, and perseverance. In the fair city of this vision,


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[Assistant] There were airy galleries from which the loves and graces looked upon him, gardens in which the fruits of life hung ripening, waters of hope that sparkled in his sight. A moment, and it was gone.


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[Assistant] Climbing to a high chamber in a well of houses, he threw himself down in his clothes on a neglected bed, and its pillow was wet with wasted tears. Sadly, sadly, the sun rose.


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[Assistant] It rose upon no sadder sight than the man of good abilities and good emotions, incapable of their directed exercise, incapable of his own health and his own happiness.


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[Assistant] sensible of the blight on him and resigning himself to let it eat him away.


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[Assistant] The quiet lodgings of Dr. Manette were in a quiet street corner not far from Soho Square.


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[Assistant] On the afternoon of a certain fine Sunday when the waves of four months had rolled over the trial for treason and carried it as to the public interest and memory far out to sea, Mr. Jarvis Lorry walked along the sunny streets from Clark and Well where he lived on his way to dine with the doctor.


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[Assistant] After several relapses into business absorption, Mr. Lorry had become the doctor's friend, and the quiet street corner was the sunny part of his life.


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[Assistant] On this certain fine Sunday, Mr. Lorry walked towards Soho, early in the afternoon, for three reasons of habit.


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[Assistant] Firstly, because on fine Sundays, he often walked out before dinner with the doctor and Lucy.


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[Assistant] Secondly, because on unfavorable Sundays he was accustomed to be with them as the family friend, talking, reading, looking out of window, and generally getting through the day.


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[Assistant] Thirdly, because he happened to have his own little shrewd doubts to solve, and knew how the ways of the doctor's household pointed to that time as a likely time for solving them.


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[Assistant] A quinter corner than the corner where the doctor lived was not to be found in London.


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[Assistant] There were few buildings then north of the Oxford Road, and forest trees flourished and wild flowers grew, and the hawthorn blossomed in the now vanished fields.


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[Assistant] As a consequence, country heirs circulated in Soho with vigorous freedom, instead of languishing into the parish like stray paupers without a settlement.


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[Assistant] And there was many a good south wall, not far off, on which the peaches ripened in their season.


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[Assistant] The summer light struck into the corner brilliantly in the earliest part of the day.


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[Assistant] But when the streets grew hot, the corner was in shadow, though not in shadow so remote, but that you could see beyond it into a glare of brightness.


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[Assistant] It was a cool spot, staid but cheerful, a wonderful place for echoes, and a very harbor from the raging streets.


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[Assistant] There ought to have been a tranquil bark in such an anchorage, and there was.


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[Assistant] The doctor occupied two floors of a large, still house, where several callings purported to be pursued by day, but whereof little was audible any day, and which was shunned by all of them at night.


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[Assistant] In a building at the back attainable by a courtyard where a plain tree rustled its green leaves.


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[Assistant] Church organs claimed to be made, and silver to be chased, and likewise gold to be beaten by some mysterious giant who had a golden arm starting out of the wall of the front hall.


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[Assistant] As if he had beaten himself precious, and menaced a similar conversion of all visitors.


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[Assistant] Very little of these trades, or of a lonely lodger rumored to live upstairs, or of a dim coach trimming maker asserted to have a counting house below, was ever heard or seen.


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[Assistant] Occasionally, a stray workman putting his coat on traversed the hall, or a stranger peered about there, or a distant clink was heard across the courtyard, or a thump from the golden giant.


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[Assistant] These, however, were only the exceptions required to prove the rule that the sparrows in the plane tree behind the house and the echoes in the corner before it had their own way from Sunday morning until Saturday night.


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[Assistant] Dr. Manette received such patience here as his old reputation and its revival in the floating whispers of his story brought him.


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[Assistant] His scientific knowledge and his vigilance and skill in conducting ingenious experiments brought him otherwise into moderate request and he earned as much as he wanted.


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[Assistant] These things were within Mr. Jarvis Lorry's knowledge, thoughts, and notice when he rang the doorbell of the tranquil house in the corner on the fine Sunday afternoon. Dr. Manette at home. Expect at home. Miss Lucy at home. Expect at home. Miss Pross at home.


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[Assistant] Possibly at home, but of a certainty impossible for handmaid to anticipate intentions of Miss Pross as to admission or denial of the fact. As I am at home myself, said Mr. Lorry, I'll go upstairs.


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[Assistant] Although the doctor's daughter had known nothing of the country of her birth.


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[Assistant] She appeared to have innately derived from it that ability to make much of little means, which is one of its most useful and most agreeable characteristics.


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[Assistant] Simple as the furniture was, it was set off by so many little adornments of no value but for their taste and fancy, that its effect was delightful.


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[Assistant] The disposition of everything in the rooms, from the largest object to the least, the arrangement of colors, the elegant variety and contrast obtained by thrift in trifles, by delicate hands, clear eyes and good sense, were at once so pleasant in themselves and so expressive of their originator,


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[Assistant] That as Mr. Lorry stood looking about him, the very chairs and tables seemed to ask him, with something of that peculiar expression which he knew so well by this time, whether he approved.


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[Assistant] There were three rooms on a floor, and the doors by which they communicated being put open that the air might pass freely through them all, Mr. Lorry, smilingly observant of that fanciful resemblance which he detected all around him, walked from one to another.


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[Assistant] The first was the best room, and in it were Lucy's birds and flowers and books and desk and work table and box of watercolors.


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[Assistant] The second was the doctor's consulting room, used also as the dining room.


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[Assistant] The third, changingly speckled by the rustle of the plane tree in the yard, was the doctor's bedroom.


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[Assistant] And there, in a corner, stood the disused shoemaker's bench and tray of tools, much as it had stood on the fifth floor of the dismal house by the wine shop in the suburb of Saint Antoine in Paris.


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[Assistant] I wonder, said Mr. Lorry, pausing in his looking about, that he keeps that reminder of his sufferings about him. And why wonder at that, was the abrupt inquiry that made him start.


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[Assistant] It proceeded from Miss Pross, the wild red woman strong of hand, whose acquaintance he had first made at the Royal George Hotel at Dover, and had since improved. I should have thought, Mr. Lolly began.


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[Assistant] How do you do? inquired that lady then, sharply and yet as if to express that she bore him no malice. I am pretty well, I thank you, answered Mr. Lorry with meekness. How are you? Nothing to boast of, said Miss Pross. Indeed.


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[Assistant] Ah, indeed, said Miss Pross, I am very much put out about my ladybird. Indeed.


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[Assistant] For gracious sake, say something else besides indeed, or you'll fidget me to death.


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[Assistant] I don't want dozens of people who are not all worthy of Lady Bird to come here looking after her, said Miss Pross. Do dozens come for that purpose? Hundreds, said Miss Pross.


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[Assistant] It was characteristic of this lady, as of some other people before her time and since, that whenever her original proposition was questioned, she exaggerated it. Dear me, said Mr. Lorry as the safest remark he could think of.


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[Assistant] I have lived with the darling, or the darling has lived with me and paid me for it, which she certainly should never have done, you may take her affidavit, if I could have afforded to keep either myself or her for nothing, since she was ten years old, and it's really very hard," said Miss Pross.


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[Assistant] Not seeing with precision what was very hard, Mr. Lorry shook his head.


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[Assistant] Using that important part of himself as a sort of fairy cloak that would fit anything.


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[Assistant] All sorts of people who are not in the least degree worthy of the pet are always turning up, said Miss Pross. When you began it... I began it, Miss Pross. Didn't you? Who brought her father to life? Oh, if that was the beginning, it... said Mr. Lorry. It wasn't ending it, I suppose. I say when you began it, it was hard enough.


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[Assistant] Not that I have any fault to find with Dr. Manette, except that he is not worthy of such a daughter, which is no imputation on him, for it was not to be expected that anybody should be under any circumstances.


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[Assistant] But it really is doubly and trebly hard to have crowds and multitudes of people turning up after him. I could have forgiven him to take Lady Bird's affections away from me.


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[Assistant] Mr. Lorry knew Miss Pross to be very jealous, but he also knew her by this time to be beneath the surface of her eccentricity.


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[Assistant] One of those unselfish creatures found only among women who will, for pure love and admiration, bind themselves willing slaves to youth when they have lost it, to beauty that they never had, to accomplishments that they were never fortunate enough to gain.


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[Assistant] To bright hopes that never shone upon their own somber lives.


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[Assistant] He had such an exalted respect for it that in the retributive arrangements made by his own mind, we all make such arrangements more or less, he stationed Miss Pross much nearer to the lower angels than many ladies immeasurably better got up, both by nature and art, who had balances at Telson.


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[Assistant] There never was nor will be but one man worthy of Lady Bird.


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[Assistant] Said Miss Pross, and that was my brother Solomon, if he hadn't made a mistake in life.


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[Assistant] Here again, Mr. Lorry's inquiries into Miss Pross's personal history had established the fact that her brother Solomon was a heartless scoundrel who had stripped her of everything she possessed as a stake to speculate with.


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[Assistant] And had abandoned her in her poverty forevermore, with no touch of compunction.


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[Assistant] Miss Pross's fidelity of belief in Solomon, deducting a mere trifle for this slight mistake, was quite a serious matter with Mr. Lorry, and had its weight in his good opinion of her.


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[Assistant] As we happen to be alone for the moment and are both people of business, he said, when they had got back to the drawing room and had sat down there in friendly relations, let me ask you.


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[Assistant] Does the doctor in talking with Lucy never refer to the shoemaking time yet? Never. And yet keeps that bench and those tools beside him. Ah, returned Miss Pross, shaking her head. But I don't say he don't refer to it within himself. Do you believe that he thinks of it much? I do, said Miss Pross. Do you imagine


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[Assistant] Mr. Lorry had begun when Miss Pross took him up short with, Never imagine anything. Have no imagination at all. I stand corrected. Do you suppose you go so far as to suppose sometimes? Now and then, said Miss Pross, do you suppose


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[Assistant] That Dr. Manette has any theory of his own preserved through all those years relative to the cause of his being so oppressed, perhaps even to the name of his oppressor? I don't suppose anything about it but what Lady Bird tells me. And that is? That she thinks he has.


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[Assistant] Now don't be angry at my asking all these questions, because I am a mere dull man of business and you are a woman of business. Dull? Miss Pross inquired with placidity.


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[Assistant] Rather wishing his modest adjective away, Mr. Lorry replied,


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[Assistant] No, no, no, surely not. To return to business. Is it not remarkable that Dr. Manette, unquestionably innocent of any crime, as we are all well assured he is, should never touch upon that question?


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[Assistant] I will not say with me, though he had business relations with me many years ago and we are now intimate.


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[Assistant] I will say with the fair daughter to whom he is so devotedly attached and who is so devotedly attached to him.


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[Assistant] Believe me, Miss Pross, I don't approach the topic with you out of curiosity, but out of zealous interest.


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[Assistant] Well, to the best of my understanding, and bad's the best, you'll tell me," said Miss Pross, softened by the tone of the apology. He is afraid of the whole subject.


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[Assistant] It's plain enough I should think why he may be. It's a dreadful remembrance. Besides that, his loss of himself grew out of it.


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[Assistant] Not knowing how he lost himself or how he recovered himself, he may never feel certain of not losing himself again. That alone wouldn't make the subject pleasant, I should think.


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[Assistant] Yet a doubt lurks in my mind, Miss Pross, whether it is good for Dr. Manette to have that suppression always shut up within him.


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[Assistant] Indeed, it is this doubt and the uneasiness it sometimes causes me that has led me to our present confidence. Can't be helped, said Miss Pross, shaking her head.


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[Assistant] Touch that string, and he instantly changes for the worse. Better leave it alone.


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[Assistant] Sometimes he gets up in the dead of the night and will be heard by us overhead there, walking up and down, walking up and down in his room. Ladybird has learned to know then that his mind


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[Assistant] He's walking up and down, walking up and down, in his old prison.


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[Assistant] She hurries to him and they go on together, walking up and down, walking up and down, until he is composed.


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[Assistant] But he never says a word of the true reason of his restlessness to her.


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[Assistant] And she finds it best not to hint at it to him.


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[Assistant] In silence they go, walking up and down together, walking up and down together, till their love and company have brought him to himself.


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[Assistant] Notwithstanding Miss Pross's denial of her own imagination, there was a perception of the pain of being monotonously haunted by one sad idea in her repetition of the phrase, walking up and down, which testified to her possessing such a thing.


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[Assistant] The corner has been mentioned as a wonderful corner for echoes. It had begun to echo so resoundingly to the tread of coming feet that it seemed as though the very mention of that weary pacing to and fro had set it going.


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[Assistant] Here they are, said Miss Pross, rising to break up the conference. And now we shall have hundreds of people pretty soon.


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[Assistant] It was such a curious corner in its acoustical properties, such a peculiar ear of a place, that as Mr. Lorry stood at the open window looking for the father and daughter whose steps he heard, he fancied they would never approach.


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[Assistant] Not only would the echoes die away as though the steps had gone, but echoes of other steps that never came would be heard in their stead.


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[Assistant] And would die away for good when they seemed close at hand.


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[Assistant] However, father and daughter did at last appear, and Miss Pross was ready at the street door to receive them.


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[Assistant] Miss Pross was a pleasant sight, albeit wild and red and grim, taking off her darling's bonnet when she came upstairs, and touching it up with the ends of her handkerchief, and blowing the dust off it.


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[Assistant] and folding her mantle ready for laying by and smoothing her rich hair with as much pride as she could possibly have taken in her own hair if she had been the vainest and handsomest of women.


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[Assistant] Her darling was a pleasant sight too, embracing her and thanking her, and protesting against her taking so much trouble for her, which last she only dared to do playfully. Or Miss Pross, sorely hurt, would have retired to her own chamber and cried.


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[Assistant] The doctor was a pleasant sight, too, looking on at them and telling Miss Pross how she spoiled Lucy, in accents and with eyes that had as much spoiling in them as Miss Pross had, and would have had more if it were possible.


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[Assistant] Mr. Lorry was a pleasant sight, too, beaming at all this in his little wig and thanking his bachelor stars for having lighted him in his declining years to a home.


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[Assistant] But no hundreds of people came to see the sights, and Mr. Lorry looked in vain for the fulfillment of Miss Pross's prediction. Dinner time and still no hundreds of people.


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[Assistant] In the arrangements of the little household, Miss Pross took charge of the lower regions and always acquitted herself marvelously.


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[Assistant] Her dinners, of a very modest quality, were so well cooked and so well served, and so neat in their contrivances, half English and half French, that nothing could be better.


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[Assistant] Miss Pross's friendship being of the thoroughly practical kind, she had ravaged Soho and the adjacent provinces in search of impoverished French, who, tempted by shillings and half-crowns, would impart culinary mysteries to her.


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[Assistant] From these decayed sons and daughters of Gaul, she had acquired such wonderful arts, that the woman and girl who formed the staff of domestics regarded her as quite a sorceress, or Cinderella's godmother.


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[Assistant] Who would send out for a fowl, a rabbit, a vegetable or two from the garden, and change them into anything she pleased.


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[Assistant] On Sundays, Miss Pross dined at the doctor's table, but on other days persisted in taking her meals at unknown periods, either in the lower regions or in her own room on the second floor.


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[Assistant] A blue chamber to which no one but her ladybird ever gained admittance.


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[Assistant] On this occasion, Miss Pross responding to Lady Bird's pleasant face and pleasant efforts to please her unbent exceedingly. So the dinner was very pleasant too.


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[Assistant] It was an oppressive day and after dinner Lucy proposed that the wine should be carried out under the plane tree and they should sit there in the air.


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[Assistant] As everything turned upon her and revolved about her, they went out under the plane tree, and she carried the wine down for the special benefit of Mr. Lorry.


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[Assistant] She had installed herself some time before as Mr. Laurie's cup bearer.


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[Assistant] And while they sat under the plane tree talking, she kept his glass replenished.


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[Assistant] Mysterious backs and ends of houses peeped at them as they talked, and a plain tree whispered to them in its own way above their heads.


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[Assistant] Mr. Darnay presented himself while they were sitting under the plane tree, but he was only one.


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[Assistant] Dr. Manette received him kindly, and so did Lucy. But Miss Pross suddenly became afflicted with a twitching in the head and body, and retired into the house.


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[Assistant] She was not unfrequently the victim of this disorder, and she called it, in familiar conversation, a fit of the jerks.


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[Assistant] The doctor was in his best condition and looked specially young.


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[Assistant] The resemblance between him and Lucy was very strong at such times, and as they sat side by side, she leaning on his shoulder and he resting his arm on the back of her chair, it was very agreeable to trace the likeness.


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[Assistant] Lucy and I have been there, but only casually.


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[Assistant] We have seen enough of it to know that it teems with interest little more.


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[Assistant] I have been there, as you remember, said Darnay with a smile, though reddening a little angrily, in another character, and not in a character that gives facilities for seeing much of it. They told me a curious thing when I was there. What was that? Lucy asked.


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[Assistant] In making some alterations, the workmen came upon an old dungeon which had been for many years built up and forgotten.


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[Assistant] Every stone of its inner wall was covered by inscriptions which had been carved by prisoners, dates, names, complaints, and prayers.


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[Assistant] Upon a cornerstone in an angle of the wall, one prisoner, who seemed to have gone to execution, had cut, as his last work, three letters.


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[Assistant] They were done with some very poor instrument and hurriedly with an unsteady hand.


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[Assistant] At first, they were read as D-I-C, but on being more carefully examined, the last letter was found to be G.


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[Assistant] There was no record or legend of any prisoner with those initials, and many fruitless guesses were made what the name could have been.


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[Assistant] The floor was examined very carefully under the inscription and in the earth beneath a stone or tile or some fragment of paving were found the ashes of a paper mingled with the ashes of a small leathern case or bag.


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[Assistant] What the unknown prisoner had written will never be read, but he had written something and hidden it away to keep it from the jailer. My father, exclaimed Lucy, you are ill. He had suddenly started up, with his hand to his head. His manner and his look quite terrified them all. No, my dear, not ill.


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[Assistant] Rain was really falling in large drops, and he showed the back of his hand with raindrops on it.


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[Assistant] But he said not a single word in reference to the discovery that had been told on.


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[Assistant] And as they went into the house, the business eye of Mr. Lolly either detected or fancied it detected on his face as it turned towards Charles Darnay, the same singular look that had been upon it when it turned towards him in the passages of the courthouse.


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[Assistant] He recovered himself so quickly, however, that Mr. Lorry had doubts of his business eye.


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[Assistant] The arm of the golden giant in the hall was not more steady than he was, when he stopped under it to remark to them that he was not yet proof against slight surprises, if he ever would be, and that the rain had startled him.


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[Assistant] Tea time and Miss Pross making tea with another fit of the jerks upon her, and yet no hundreds of people.


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[Assistant] Mr. Carton had lounged in, but he made only two.


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[Assistant] The night was so very sultry that although they sat with doors and windows open, they were overpowered by heat.


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[Assistant] When the tea table was done with, they all moved to one of the windows and looked out into the heavy twilight.


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[Assistant] Lucy sat by her father. Darnay sat beside her. Carton leaned against a window.


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[Assistant] The curtains were long and white, and some of the thunder gusts that whirled into the corner caught them up to the ceiling and waved them like spectral wings.


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[Assistant] They spoke low, as people watching and waiting mostly do.


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[Assistant] As people in a dark room watching and waiting for lightning always do.


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[Assistant] There was a great hurry in the streets of people speeding away to get shelter before the storm broke.


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[Assistant] The wonderful corner for echoes resounded with the echoes of footsteps coming and going, yet not a footstep was there.


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[Assistant] A multitude of people and yet a solitude, said Darnay when they had listened for a while. Is it not impressive, Mr. Darnay?


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[Assistant] Asked Lucy, sometimes I have sat here of an evening until I have fancied, but even the shade of a foolish fancy makes me shudder tonight when all is so black and solemn. Let us shudder too, we may know what it is. It will seem nothing to you.


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[Assistant] Such whims are only impressive as we originate them, I think. They are not to be communicated.


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[Assistant] I have sometimes sat alone here of an evening listening until I have made the echoes out to be the echoes of all the footsteps that are coming by and by into our lives.


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[Assistant] There is a great crowd coming one day into our lives, if that be so. Sydney Carton struck in, in his moody way.


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[Assistant] The footsteps were incessant, and the hurry of them became more and more rapid. The corner echoed and re-echoed with the tread of feet.


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[Assistant] Some, as it seemed, under the windows. Some, as it seemed, in the room. Some coming, some going, some breaking off, some stopping altogether.


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[Assistant] Are all these footsteps destined to come to all of us, Miss Manette? Or are we to divide them among us? I don't know, Mr. Danet.


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[Assistant] I told you it was a foolish fancy, but you asked for it.


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[Assistant] Said Cotton, I ask no questions and make no stipulations.


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[Assistant] There is a great crowd bearing down upon us, Miss Manette, and I see them by the lightning.


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[Assistant] He added the last words after there had been a vivid flash which had shown him lounging in the window. And I hear them, he added again after a peal of thunder. Here they come, fast, fierce, and furious. It was the rush and roar of rain that he typified, and it stopped him, for no voice could be heard in it.


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[Assistant] A memorable storm of thunder and lightning broke with that sweep of water, and there was not a moment's interval in crash and fire and rain until after the moon rose at midnight.


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[Assistant] The great bell of St. Paul's was striking one in the cleared air, when Mr. Lorry, escorted by Jerry, high-booted and bearing a lantern, set forth on his return passage to Clarkinwell.


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[Assistant] There were solitary patches of road on the way between Soho and Clarkinwell, and Mr. Lorry, mindful of foot pads, always retained Jerry for this service, though it was usually performed a good two hours earlier.


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[Assistant] What a night it has been. Almost a night, Jerry said Mr. Lorry, to bring the dead out of their graves. I never see the night myself, Master, nor yet I don't expect to see it. What would do that? Answered Jerry. Good night, Mr. Carton, said the man of business. Good night, Mr. Darnay.


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[Assistant] Perhaps see the great crowd of people with its Russian roar, bearing down upon them too.


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[Assistant] Speaking about that scene, because I didn't realize her name was from Holmes, but you use self-immolation. I mean, it's a terrifying thing, this woman.


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[Assistant] Has the matches in her hand. B.A.D kind of knows she might have a match in her hand. Montag doesn't, right?


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[Assistant] And, and, and this is, this is, because we think of the self-immolation that we saw during the Vietnam War of the, of the monks in Vietnam. Yes, yes. And, and you were, you wrote this in 4950, and this is self-immolation, someone who would die for a book.


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[Assistant] This fierce mechanical hound is such an extraordinary creation. And it's so prescient that you created this. I mean, this is, this is the mechanical beast that we're all afraid of. This is, this is a biblical mechanical beast. Can you, can you tell us a little bit about how you came up with this, this almost spider-like hound?


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[Assistant] And, and, and you also deal with its programming, which was an idea which most Americans and most people, even in the science, didn't know much. You are programming a beast. I mean, we take this as common knowledge today, but in 49,


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[Assistant] There's only one computer in the United States, or two. And how did you sense that this wasn't a robot, this is a robotic device that's programmed?


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[Assistant] Your description of how things fly out, you don't see them all of a sudden they do appear, is a beautiful description of the writing process.


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[Assistant] And, and, and we read it now because we see, we see ATMs in your book, we see, uh, large screen projection television, uh, I mean all these things that you, so these are, again, were things that just came out of your imagination.


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[Assistant] It's just one of the things, the beetle cars, you have these wonderful beetle cars that appear that the fire people ride around in, and they have this emblem. I mean, this is almost like a swastika. That's right, yeaah. Was that the intent?


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[Assistant] There's, there's a wonderful answer. There's a wonderful story that you told.


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[Assistant] Uhm, when you came to Los Angeles and you got, uhm,


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[Assistant] You watched the picture business, you didn't have enough money to go to college, you went to the library instead. That's right. And you stayed in the library until you were 28 and then you graduated yourself.


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[Assistant] That's right. Can you tell, tell the, the people who listen to the book about, about your self education?


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[Assistant] Though the libraries are, you met your wife in the library, you met Christopher Isherwood, I mean a bookstore, I mean bookstores and libraries are the same thing. I mean, there's a wonderful story that you tell about uhm, uhm, when you met your wife,


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[Assistant] There's another bookstore, since libraries, we're talking about Fahrenheit 451. In another bookstore, uh, your...


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[Assistant] Your career did change because you bumped into Christopher Isherwood and can you tell people, cause this is not an often repeated story, it's a wonderful story.


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[Assistant] Chapter 16 What happened about the statues?


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[Assistant] He had bounded up to the stone lion and breathed on him. Then, without waiting a moment, he whisked round.


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[Assistant] Almost as if he had been a cat chasing its tail, and breathed also on the stone dwarf, which, as you remember, was standing a few feet from the lion with his back to it.


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[Assistant] Then he pounced on a tall stone dryad which stood beyond the dwarf.


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[Assistant] I expect you've seen someone put a lighted match to a bit of newspaper which is propped up in a grate against an unlit fire. And for a second nothing seems to have happened.


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[Assistant] Then you notice a tiny streak of flame creeping along the edge of the newspaper. It was like that now. For a second after Aslan had breathed upon him, the stone lion looked just the same. Then...


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[Assistant] The lion shook his mane and all the heavy stone folds rippled into living hair.


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[Assistant] Warm and living and gave a prodigious yawn. And now his hind legs had come to life. He lifted one of them and scratched himself.


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[Assistant] Then, having caught sight of Aslan, he went bounding after him and frisking round him, whimpering with delight and jumping up to lick his face. Of course, the children's eyes turned to follow the lion, but the sight they saw was so wonderful that they soon forgot about him. Everywhere, the statues were coming to life. The courtyard looked no longer like a museum.


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[Assistant] Creatures were running after Aslan and dancing round him till he was almost hidden in the crowd. Instead of all that deadly white, the courtyard was now a blaze of colours, glossy chestnut sides of centaurs, indigo horns of unicorns,


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[Assistant] Dazzling plumage of birds. Reddy brown of foxes. Dogs and satyrs. Yellow stockings and crimson hoods of dwarfs.


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[Assistant] And the birch girls in silver, and the beech girls in fresh transparent green, and the larch girls in green so bright that it was almost yellow.


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[Assistant] And instead of the deadly silence, the whole place rang with the sound of happy roarings, brayings, yelpings, barkings, squealings, cooings, naying, stamping, shouts, hurrahs, songs, and laughter. Oh, said Susan in a different tone. Look, I wonder, I mean, is it safe?


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[Assistant] Lucy looked and saw that Aslan had just breathed on the feet of the stone giant.


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[Assistant] It's all right, shouted Aslan joyously.


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[Assistant] Once the feet are put right, all the rest of him will follow.


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[Assistant] But it was too late to do anything about it now, even if Aslan would have listened to her.


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[Assistant] He lifted the club off his shoulder, rubbed his eyes and said,


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[Assistant] But when everyone had shouted up to him to explain what had really happened...


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[Assistant] And when the giant had put his hand to his ear and got them to repeat it all again, so that at last he understood,


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[Assistant] Then he bowed down till his head was no further off than the top of a haystack and touched his cap repeatedly to Aslan, beaming all over his honest, ugly face.


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[Assistant] Giants of any sort are now so rare in England, and so few giants are good tempered, that 10 to 1 you have never seen a giant when his face is beaming. It's a sight well worth looking at.


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[Assistant] Now for the inside of this house, said Aslan.


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[Assistant] Look alive everyone. Upstairs and downstairs and in my ladies chamber. Leave no corner unsearched. You never know where some poor prisoner may be concealed.


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[Assistant] And into the interior they are all rushed, and for several minutes the whole of that dark, horrible, fusty old castle echoed with the opening of windows and with everyone's voices crying out at once, Don't forget the dungeons!


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[Assistant] Give us a hand with this door. Here's another little winding stair. Oh, I say! Here's a poor kangaroo. Call Aslan. Phew! How it smells in here.


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[Assistant] Look out for trap doors! Up here! There are a whole lot more on the landing!


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[Assistant] But the best of all was when Lucy came rushing upstairs shouting out, Aslan! Aslan!


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[Assistant] I found Mr. Tumnus! Oh, do come quick!


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[Assistant] A moment later, Lucy and the little fawn were holding each other by both hands and dancing round and round for joy.


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[Assistant] The little chap was none the worse for having been a statue and was of course very interested in all she had to tell him. But at last,


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[Assistant] The ransacking of the witch's fortress was ended.


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[Assistant] The whole castle stood empty with every door and window open, and the light and the sweet spring air flooding into all the dark and evil places which needed them so badly.


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[Assistant] The whole crowd of liberated statues surged back into the courtyard, and it was then that someone, Tumnus, I think, first said, but how are we going to get out?


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[Assistant] said Aslan, and then, rising on his hind legs, he bowled up at the giant.


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[Assistant] Giant Rumblebuffin, if it please your honor, said the giant, once more touching his cap.


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[Assistant] Well then, giant rumblebuffin, said Aslan.


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[Assistant] Just let us out of this, will you?


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[Assistant] Certainly, your honor, it will be a pleasure, said the giant Rumblebuffin.


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[Assistant] Then he strode to the gate himself and bang, bang, bang went his huge club.


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[Assistant] The gates creaked at the first blow, cracked at the second, and shivered at the third.


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[Assistant] It was odd standing in that dry, grim, stony yard to see through the gap all the grass and waving trees and sparkling streams of the forest and the blue hills beyond that and beyond them the sky.


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[Assistant] I suppose neither of you young ladies has such a thing as a pocket hanker-chee about you?


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[Assistant] Yes, I have, said Lucy, standing on tiptoes and holding her handkerchief up as far as she could reach. Thank you, Missy, said Giant Rumblebuffin, stooping down. Next moment Lucy got rather a fright.


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[Assistant] For she found herself caught up in mid-air between the giant's finger and thumb. But just as she was getting near his face, he suddenly started.


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[Assistant] And then put her gently back on the ground muttering,


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[Assistant] Bless me, I've picked up the little girl instead. I beg your pardon, Missy, I thought you was the handkerchief.


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[Assistant] No, no, said Lucy laughing. Here it is. This time he managed to get it. But it was only about the same size to him that a saccharin tablet would be to you.


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[Assistant] So that when she saw him solemnly rubbing it to and fro across his great red face, she said


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[Assistant] Not at all, not at all, said the Giant politely. Never met a nicer Hangachee.


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[Assistant] So fine, so handy, so, uh, I don't know how to describe it. What a nice giant he is, said Lucy to Mr. Tumnus. Oh, yes, replied the faun.


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[Assistant] All the Buffins always were one of the most respected of all the giant families in Narnia. Not very clever, perhaps.


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[Assistant] I never knew a giant that was, but an old family. With traditions, you know.


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[Assistant] If he'd been the other sort, she'd never have turned him into stone.


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[Assistant] At this point Aslan clapped his paws together and called for silence.


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[Assistant] Our day's work is not yet over, he said.


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[Assistant] And if the witch is to be finally defeated before bedtime, we must find the battle at once.


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[Assistant] And join in, I hope sir, added the largest of the centaurs. Of course, said Aslan.


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[Assistant] And now, those who can't keep up, that is children, dwarfs, and small animals, must ride on the backs of those who can, that is lions, centaurs, unicorns, horses, giants, and eagles.


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[Assistant] Those who are good with their noses must come in the front with us lions to smell out where the battle is. Look lively and sort yourselves.


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[Assistant] And with a great deal of bustle and cheering, they did.


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[Assistant] The most pleased of the lot was the other lion who kept running about everywhere pretending to be very busy.


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[Assistant] But really, in order to say to everyone he met, Did you hear what he said? Us lions. That means him and me. Us lions.


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[Assistant] That's what I like about Aslan. No side, no standoffishness.


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[Assistant] It was a big sheep dog who actually helped Aslan most in getting them sorted into their proper order. They set out through the gap in the castle wall.


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[Assistant] At first the lions and dogs went nosing about in all directions.


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[Assistant] But then, suddenly, one great hound picked up the scent and gave a bay. There was no time lost after that.


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[Assistant] Soon all the dogs and lions and wolves and other hunting animals were going at full speed with their noses to the ground.


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[Assistant] And all the others streaked out for about half a mile behind them were following as fast as they could.


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[Assistant] The noise was like an English fox hunt, only better, because every now and then, with the music of the hounds, was mixed the roar of the other lion, and sometimes the far deeper and more awful roar of Aslan himself.


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[Assistant] Faster and faster they went as the scent became easier and easier to follow.


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[Assistant] And then, just as they came to the last curve in a narrow winding valley, Lucy heard above all these noises another noise.


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[Assistant] A different one, which gave her a queer feeling inside. It was a noise of shouts and shrieks and of the clashing of metal against metal.


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[Assistant] Then they came out of the narrow valley, and at once she saw the reason.


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[Assistant] There stood Peter and Edmund and all the rest of Aslan's army fighting desperately against the crowd of horrible creatures whom she had seen last night.


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[Assistant] Only now, in the daylight, they looked even stranger and more evil and more deformed. There also seemed to be far more of them.


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[Assistant] Peter's army which had their backs to her looked terribly few.


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[Assistant] And there were statues dotted all over the battlefield, so apparently the witch had been using her wand.


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[Assistant] But she did not seem to be using it now. She was fighting with her stone knife.


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[Assistant] It was Peter she was fighting, both of them going at it so hard that Lucy could hardly make out what was happening.


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[Assistant] She only saw the stone knife and Peter's sword flashing so quickly that they looked like three knives and three swords. That pair were in the center. On each side the lines stretched out. Horrible things were happening wherever she looked. Off my back, children, shouted Aslan, and they both tumbled off.


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[Assistant] Then with a roar that shook all Narnia from the western lamppost to the shores of the eastern sea.


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[Assistant] The great beast flung himself upon the white witch.


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[Assistant] Lucy saw her face lifted toward him for one second with an expression of terror and amazement.


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[Assistant] Then Lion and Witch had rolled over together, but with the Witch underneath. And at the same moment,


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[Assistant] All warlike creatures whom Aslan had led from the witch's house rushed madly on the enemy lines. Dwarfs with their battle axes, dogs with teeth, the giant with his club.


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[Assistant] And his feet also crushed dozens of the foe. Unicorns with their horns, centaurs with swords and hoofs. And Peter's tired army cheered.


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[Assistant] And the newcomers roared, and the enemy squealed and gibbered, till the wood re-echoed with the din of that onset.


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[Assistant] Has your mother or your father or your teacher ever told you not to say bust?


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[Assistant] If he gets any fatter, he'll bust. Is very poor English.


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[Assistant] I agree with your mother or your father or your teacher. What you should say is burst.


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[Assistant] But now I'm going to tell you how you can use the word bust. So your mother and your father and your teacher would like to hear you use it.


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[Assistant] In good English, bust means a piece of sculpture showing the upper part of a person. Sometimes just the head and neck, and sometimes the head, neck, shoulders, and chest.


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[Assistant] A bus that is made to look like one particular person, so that you can say when you see it, why, that looks just like Mr. Brown, or,


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[Assistant] Just like Alice Jones, or just like Tommy Smith, is called a portrait bust.


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[Assistant] The ancient Egyptians made some very good portrait busts.


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[Assistant] But the people who made them best were the ancient Romans. The old Roman busts are so lifelike.


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[Assistant] That they look like real people you might see walking down the street today.


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[Assistant] The Greeks put Greek noses on most of their statues, even though many Greeks didn't have Greek noses.


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[Assistant] But the Romans like to make their busts just like the real person.


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[Assistant] If a man had a crooked nose or a double chin, the sculptor made that man's bust with a crooked nose or double chin. If the man had a worried look, the sculptor made the bust with the worried look.


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[Assistant] Each Roman family that could afford it had busts made of all the members of the family.


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[Assistant] These busts were handed down in the family so that an old family had a great many busts of its ancestors around the house.


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[Assistant] Whenever there was a death in the family, all the family portrait busts were carried down the street in the funeral procession.


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[Assistant] If you had watched one of these processions, you could have seen, perhaps, how much a grandson looked like the bust of his grandfather which he was carrying.


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[Assistant] Each Roman Emperor had hundreds of busts made of himself.


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[Assistant] Does he look like anyone you know? Now, if you want to use the word bust, go ahead.


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[Assistant] Except for the busts, the Romans weren't very good at making statues in the round. So, when they conquered Greece, they brought back to Rome all the famous Greek statues they could find. They brought back Greek sculptors too, and made them carve statues in Rome.


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[Assistant] Many of the statues made in Rome were not original, but were copies of famous Greek statues.


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[Assistant] It's lucky for us the copies were made, because so many of the great Greek statues were lost, that if we hadn't been able to dig up Roman copies of them, we shouldn't know at all what they were like. You remember Myron's Discus Thrower?


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[Assistant] The statue that Myron himself made disappeared and has never been found. But several Roman copies of it were made, and so we know what it was like.


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[Assistant] Although the Romans weren't so good as the Greeks in making statues in the round, they did make some excellent bas reliefs.


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[Assistant] All boys like the reliefs showing the campaigns of the Emperor Trajan.


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[Assistant] They show the Roman soldiers marching, camping, fighting, taking a city, capturing prisoners, and carrying off the spoils of war.


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[Assistant] Schrageon's campaign was carved on a marble column, and the sculptured band winds like a corkscrew round and round the column from the bottom to the top.


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[Assistant] The column is still standing in Rome, and is called Trajan's Column.


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[Assistant] Another famous relief is carved on the altar of the Peace of Augustus, which the Roman Senate order directed in 13 BC.


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[Assistant] When the Emperor Augustus came back from putting down revolts in the western part of the Roman Empire.


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[Assistant] If anyone should ask you what kind of sculpture the Romans did best, just tell them, reliefs and busts.


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[Assistant] Chapter 12 Peter's First Battle


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[Assistant] While the dwarf and the white witch were saying this, miles away, the beavers and the children were walking on, hour after hour, into what seemed a delicious dream. Long ago they had left their coats behind them.


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[Assistant] And by now, they had even stopped saying to one another, Look, there's a kingfisher. Or, I say, bluebells.


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[Assistant] Or, what was that lovely smell? Or, just listen to that thrush! They walked on in silence, drinking it all in.


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[Assistant] Passing through patches of warm sunlight into cool green thickets and out again into wide mossy glades where tall elms raise the leafy roof far overhead.


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[Assistant] And then into dense masses of flowering current, and among hawthorn bushes, where the sweet smell was almost overpowering.


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[Assistant] They had been just as surprised as Edmund when they saw the winter vanishing and the whole wood passing in a few hours or so from January to May. They hadn't even known for certain, as the witch did,


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[Assistant] But this was what would happen when Aslan came to Narnia.


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[Assistant] But they all knew that it was her spells which had produced the endless winter.


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[Assistant] And therefore they all knew when this magic spring began that something had gone wrong.


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[Assistant] And badly wrong with the witch's schemes.


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[Assistant] And after the Thor had been going on for some time,


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[Assistant] They all realized that the witch would no longer be able to use her sledge.


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[Assistant] After that, they didn't hurry so much, and they allowed themselves more rests and longer ones. They were pretty tired by now, of course, but not what I'd call bitterly tired.


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[Assistant] Only slow and feeling very dreamy and quiet inside as one does when one is coming to the end of a long day in the open. Susan had a slight blister on one heel.


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[Assistant] They had left the course of the big river some time ago, for one had to turn a little to the right, that meant a little to the south, to reach the place of the stone table.


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[Assistant] Even if this had not been their way, they couldn't have kept to the river valley once the thaw began.


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[Assistant] For with all that melting snow, the river was soon in flood.


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[Assistant] A wonderful, roaring, thundering yellow flood, and their path would have been under water. Now the sun got low, and the light got redder, and the shadows got longer, and the flowers began to think about closing. Not long now, said Mr. Beaver.


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[Assistant] And began leading them uphill across some very deep springy moss. It felt nice under their tired feet.


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[Assistant] In a place where only tall trees grew very wide apart.


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[Assistant] The clime, coming at the end of the long day, made them all pant and blow.


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[Assistant] And just as Lucy was wondering whether she could really get to the top without another long rest, suddenly they were at the top. And this is what they saw.


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[Assistant] They were on a green open space from which you could look down on the forest, spreading as far as one could see in every direction, except right ahead. There, far to the east, was something twinkling and moving. By gum! whispered Peter to Susan. The sea!


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[Assistant] In the very middle of this open hilltop was the stone table.


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[Assistant] It was a great grim slab of grey stone supported on four upright stones. It looked very old.


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[Assistant] And it was cut all over with strange lines and figures that might be the letters of an unknown language. They gave you a curious feeling when you looked at them.


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[Assistant] The next thing they saw was a pavilion pitched on one side of the open place.


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[Assistant] A wonderful pavilion it was. And especially now, when the light of the setting sun fell upon it.


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[Assistant] With sides of what look like yellow silk and cords of crimson and tent pegs of ivory. And high above it on a pole, a banner.


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[Assistant] Which bore a red rampant lion fluttering in the breeze, which was blowing in their faces from the far off sea. While they were looking at this, they heard the sound of music on their right, and turning in that direction, they saw what they had come to see.


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[Assistant] Aslan stood in the center of a crowd of creatures who had grouped themselves round him in the shape of a half moon.


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[Assistant] There were tree women there, and well women. Dryads and nyads, as they used to be called in our world, who had stringed instruments. It was they who had made the music. There were four great centaurs.


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[Assistant] The horse part of them was like huge English farm horses.


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[Assistant] And the man part was like stern but beautiful giants.


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[Assistant] There was also a unicorn and a bull with the head of a man and a pelican and an eagle and a great dog.


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[Assistant] And next to Aslan stood two leopards of whom one carried his crown and the other his standard. But as for Aslan himself...


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[Assistant] The beavers and the children didn't know what to do or say when they saw him.


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[Assistant] People who have not been in Narnia sometimes think that a thing cannot be good and terrible at the same time. If the children had ever thought so, they were cured of it now.


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[Assistant] For when they tried to look at Aslan's face, they just caught a glimpse of the golden mane and the great, royal, solemn, overwhelming eyes. And then they found they couldn't look at him and went all trembly.


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[Assistant] And of course, the longer they went on doing this, the more awkward they felt.


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[Assistant] Then at last Peter realized that it was up to him.


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[Assistant] He drew his sword and raised it to the salute, and hastily saying to the others, Come on, pull yourselves together. He advanced to the lion and said, We have come, Aslan. Welcome, Peter, son of Adam, said Aslan.


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[Assistant] Welcome, Susan and Lucy, daughters of Eve. Welcome, he beaver and she beaver.


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[Assistant] His voice was deep and rich and somehow took the fidgets out of them. They now felt glad and quiet and it didn't seem awkward to them to stand and say nothing. But where is the fourth? asked Aslan.


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[Assistant] He has tried to betray them and join the white witch, oh Aslan," said Mr. Beaver. And then something made Peter say, that was partly my fault, Aslan.


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[Assistant] I was angry with him and I think that helped him to go wrong.


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[Assistant] And Aslan said nothing, either to excuse Peter, or to blame him.


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[Assistant] But merely stood looking at him with his great, unchanging eyes. And it seemed to all of them that there was nothing to be said.


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[Assistant] All shall be done, said Aslan. But it may be harder than you think.


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[Assistant] Up to that moment, Lucy had been thinking how royal and strong and peaceful his face looked. Now it suddenly came into her head that he looked sad as well. But next minute, that expression was quite gone.


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[Assistant] The lion shook his mane and clapped his paws together.


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[Assistant] And said, Meanwhile, let the feast be prepared. Ladies.


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[Assistant] Take these daughters of Eve to the pavilion and minister to them. When the girls had gone, Aslan laid his paw, and though it was velveted, it was very heavy, on Peter's shoulder and said, Come, son of Adam.


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[Assistant] And I will show you a far off sight of the castle where you ought to be king.


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[Assistant] And Peter with his sword still drawn in his hand.


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[Assistant] Went with the lion to the eastern edge of the hilltop. There a beautiful sight met their eyes. The sun was setting behind their backs.


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[Assistant] That meant that the whole country below them lay in the evening light.


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[Assistant] Forest and hills and valleys and winding away like a silver snake, the lower part of the great river.


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[Assistant] And beyond all this, miles away, was the sea.


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[Assistant] And beyond the sea, the sky, full of clouds which were just turning rose color with the reflection of the sunset.


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[Assistant] But just where the land of Narnia met the sea, in fact at the mouth of the great river,


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[Assistant] There was something on a little hill shining. It was shining because it was a castle.


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[Assistant] And of course the sunlight was reflected from all the windows which looked toward Peter and the sunset. But to Peter


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[Assistant] It looked like a great star resting on the seashore. That, oh man, said Aslan.


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[Assistant] Is care parallel of the four thrones, in one of which you must sit as king.


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[Assistant] I show it to you because you are the firstborn and you will be high king over all the rest. And once more Peter said nothing.


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[Assistant] For at that moment, a strange noise woke the silence suddenly. It was like a bugle, but richer. It is your sister's horn.


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[Assistant] Said Aslan to Peter in a low voice, so low as to be almost a purr.


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[Assistant] If it is not disrespectful to think of a lion purring. For a moment Peter did not understand


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[Assistant] Then, when he saw all the other creatures start forward and heard Aslan say with a wave of his paw,


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[Assistant] Let the prince win his spurs. He did understand.


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[Assistant] And set off running as hard as he could to the pavilion. And there he saw a dreadful sight.


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[Assistant] The niads and triads were scattering in every direction.


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[Assistant] Lucy was running toward him as fast as her short legs would carry her, and her face was as white as paper.


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[Assistant] Then he saw Susan make a dash for a tree and swing herself up, followed by a huge grey beast. But first, Peter thought it was a bear.


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[Assistant] Then he saw that it looked like an Alsatian, though it was far too big to be a dog. Then he realized that it was a wolf.


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[Assistant] A wolf standing on its hind legs, with its front paws against the tree trunk, snapping and snarling. All the hair on its back stood up on end.


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[Assistant] Susan had not been able to get higher than the second big branch.


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[Assistant] One of her legs hung down so that her foot was only an inch or two above the snapping teeth.


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[Assistant] Peter wondered why she did not get higher, or at least take a better grip.


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[Assistant] Then he realised that she was just going to faint, and that if she fainted, she would fall off.


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[Assistant] Peter did not feel very brave. Indeed, he felt he was going to be sick, but that made no difference to what he had to do.


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[Assistant] He rushed straight up to the monster and aimed a slash of his sword at its side. That stroke never reached the wolf.


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[Assistant] Quick as lightning, it turned round, its eyes flaming and its mouth wide open in a howl of anger.


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[Assistant] If it had not been so angry that it simply had to howl, it would have got him by the throat at once.


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[Assistant] As it was, though all this happened too quickly for Peter to think at all, he had just time to duck down and plunge his sword as hard as he could between the brute's forelegs into its heart.


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[Assistant] Then came a horrible confused moment like something in a nightmare.


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[Assistant] He was tugging and pulling and the wolf seemed neither alive nor dead and its bared teeth knocked against his forehead and everything was blood and heat and hair. A moment later he found that the monster lay dead.


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[Assistant] Then after a bit, Susan came down the tree. She and Peter felt pretty shaky when they met.


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[Assistant] Centaurs, eagles, I see another wolf in the thickets. There, behind you. He has just darted away. After him, all of you.


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[Assistant] He will be going to his mistress. Now is your chance to find the witch and rescue the fourth son of Adam.


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[Assistant] And instantly with a thunder of hoofs and a beating of wings a dozen or so of the swiftest creatures disappeared into the gathering darkness. Peter, still out of breath, turned and saw Aslan close at hand.


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[Assistant] You have forgotten to clean your sword, said Aslan.


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[Assistant] It was true. Peter blushed when he looked at the bright blade and saw it all smeared with the wolf's hair and blood.


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[Assistant] He stooped down and wiped it quite clean on the grass and then wiped it quite dry on his coat.


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[Assistant] Hand it to me and kneel, son of Adam, said Aslan. And when Peter had done so, he struck him with the flat of the blade and said,


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[Assistant] Never forget to wipe your sword.


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[Assistant] The best Italian sculptor since the time of Michelangelo was named Antonio Canova. We generally call him simply Canova.


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[Assistant] Kanova was brought up by his grandparents, and as his grandfather was a stonecutter, the boy had from the beginning a chance to be a sculptor.


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[Assistant] When he was only eight years old, he carved and marbled two small shrines.


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[Assistant] When he was about 10, he is said to have carved a lion out of butter for the banquet of a rich nobleman who liked it so much, he became Kanova's patron, or backer.


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[Assistant] Kanova studied hard to become a sculptor and by the time he was a man, he was doing a great many good statues. These brought him much fame and much money.


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[Assistant] The money he spent by giving it away to poor people, founding art schools, helping sculptors, and giving prizes for good sculpture. Kanova's statues are very smooth and pretty, but not very strong in appearance.


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[Assistant] He carved a great many of the ancient gods and goddesses and seemed to imitate the old Greek and Roman art.


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[Assistant] He also carved portrait busts of famous men, including George Washington.


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[Assistant] Canova's Perseus with the head of Medusa reminds you of another Perseus. Canova's Perseus isn't so good as Cellini's, but probably it is just as famous.


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[Assistant] When Canova was at the height of his fame, there came to Italy in 1797 a young man from Denmark.


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[Assistant] He liked Italy so much, he stayed there for 23 years, and soon became famous as a sculptor.


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[Assistant] Perhaps you have seen pictures of the dying lion he carved in solid rock. The famous lion of Lucerne.


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[Assistant] It was made by a Danish sculptor in Italy.


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[Assistant] In honor of the Swiss Guards who died in France rather than surrender.


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[Assistant] That certainly makes a mixture of countries in one sentence. Who was this Dane? His name was Torvaldsen.


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[Assistant] He knew Canova and, like Canova, imitated the style of the statues of ancient Greece and Rome. He was the most successful of the imitators.


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[Assistant] Some of his works, like the Lion of Lucerne, were not in ancient style.


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[Assistant] When Torvaldsen returned from a visit to Denmark after 23 years abroad, he had become so famous that he was asked to make a colossal statue of Christ and 12 colossal statues of the apostles for a church in Copenhagen.


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[Assistant] Colossal, you remember, means tremendously large. Think of the Colossus of Rhodes.


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[Assistant] These huge statues were completed in Italy in 20 years and sent to Copenhagen.


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[Assistant] A copy of the Christ stands in the lobby of the Johns Hopkins Hospital in Baltimore.


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[Assistant] When Torvaldsen died, he left much of his fortune for the building of an art museum in Copenhagen.


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[Assistant] There, most of his works are kept, and in the courtyard the sculptor


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[Assistant] The houses where monks live together are called monasteries. The monks are known as brothers.


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[Assistant] Because they are supposed to treat one another and everyone else like brothers.


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[Assistant] In some churches, the members call one another brother and sister.


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[Assistant] In Florence, the city of flowers, was a monastery called St. Mark's for the apostle who wrote the second book of the New Testament.


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[Assistant] In this monastery of St. Mark's lived a monk who, because he was so very good and holy, was called the angel-like brother. In his language, which was Italian, brother angel-like was Fra Angelico.


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[Assistant] It may seem strange that a monk should become a great artist.


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[Assistant] But Fra Angelico had a talent for drawing and painting, and he painted Bible pictures on the walls of the rooms in his monastery.


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[Assistant] The rooms where the monks slept were called cells.


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[Assistant] Because they were so plain and bare that they were almost like cells in a prison.


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[Assistant] There were 40 of these cells, and Fra Angelico spent most of his life in painting them.


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[Assistant] Fra Angelico painted movable pictures on wooden panels in Tempera, which, as I have told you,


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[Assistant] Was color mixed with something sticky, like egg or glue?


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[Assistant] Fra Angelico lived about 100 years later than Johto. But his style was very much like Johto's style.


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[Assistant] It is said that always before starting to paint a picture, he prayed long and earnestly. Then, when he did set to work on a painting, he never changed a brushstroke.


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[Assistant] There was one religious subject that painters of that time loved to paint. It is called the Annunciation.


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[Assistant] You remember the Bible says that an angel came to the Virgin Mary and told her that she was to have a son who was to be Christ the Lord.


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[Assistant] This is called the Annunciation. That is, the announcement to Mary that she was to be the mother of the Lord.


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[Assistant] Fra Angelico painted an enunciation witch, I think. You'll agree is very sweet and lovely. In this picture,


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[Assistant] The Virgin Mary is seated on a stool on the porch of her home with her arms folded across her breast.


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[Assistant] An angel messenger who has just descended from heaven half-kneels to tell Mary that she is to have a divine son.


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[Assistant] The monks of St. Mark's were not allowed to talk to one another except at certain times as a special treat. They had to keep silent most of the time. Think of keeping silent for one single day or even for one hour if there were anyone around to talk to.


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[Assistant] That rule was made so that the monks might keep their thoughts always on God and religion, and not waste their time in gossip or other worthless talk.


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[Assistant] Over a doorway in St. Mark's monastery, Fra Angelico painted a picture of St. Peter with his finger on his lips to remind the monks that they must be silent.


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[Assistant] The monastery of Saint Mark has been made a museum for the paintings of Fra Angelico. It now contains most of his movable paintings, as well as the fresco paintings on the cell walls.


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[Assistant] One of these movable paintings now in the St. Mark's Monastery is a picture of the Virgin Mary with the Christ Child.


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[Assistant] The Virgin Mary is called My Lady, and this, in Italian, is Madonna. So such a picture is called a Madonna.


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[Assistant] For hundreds of years, thousands of pictures of the Madonna were painted.


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[Assistant] In fact, every artist painted at least one Madonna, and often many Madonnas. Each church had to have one or more Madonnas.


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[Assistant] And every family that could afford to have any painting at all had a Madonna hanging on the walls. Just as every family nowadays usually has at least one Bible in the house. The Madonna that Fra Angelico painted is in a broad gold frame. Usually the frame of a picture is just a frame.


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[Assistant] A fence to separate it from the wall and other things on the wall. And has no beauty in itself.


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[Assistant] But on this particular frame, Fra Angelico painted 12 angels playing different musical instruments.


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[Assistant] Thousands of colored postcards and other copies of these angels have been made.


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[Assistant] And you may have one of the pictures in your own house. Have you?


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[Assistant] One of these poor good painters was a Frenchman named Corot. He was poor because no one would buy his paintings.


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[Assistant] Not until he was 50 years old did he sell a single picture.


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[Assistant] He wasn't quite as poor as that sounds, however, because his father gave him an allowance of so much a year.


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[Assistant] It was a very small allowance, but Kuro managed to get along with it.


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[Assistant] After Kuro finished school, he wanted to be a painter. But his father was in the linen business, and into the linen business the son had to go.


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[Assistant] Still, he kept hoping he could be a painter, and finally his father let him stop selling linen and begin to study painting.


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[Assistant] Corot went to Italy for several years and became a landscape painter. Then he went back to France. He painted many fine landscapes, but no one seemed to want to buy them.


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[Assistant] Now, at this time, some other painters who were very poor in money found they could live more cheaply in the little village of Barbizon than they could in the city of Paris. And they found, too,


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[Assistant] That the country around Barbizon was a much better place in which to paint landscapes.


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[Assistant] There they can see the forest and the streams and fields that they love to paint.


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[Assistant] So these poor and money painters moved to little cottages in and near Barbizon. We call them the Barbizon painters. It was Corot's idea to live in Barbizon.


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[Assistant] He liked to get up early in the morning and go out to study the trees and fields in the early light of dawn. When he went off and the dew was on the ground and everything looked misty.


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[Assistant] He liked to get up early in the morning and go out to study the trees and fields in the early light of dawn when often the dew was on the ground and everything looked misty.


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[Assistant] He would make sketches or quick drawings of what he saw. And then come home and paint. He liked Twilight and Moonlight too.


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[Assistant] And often painted twilight and moonlight landscapes. His pictures have a magical dreamy beauty that has made them famous all over the world.


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[Assistant] When he was an old man, Kuro's pictures began to sell. Money and fame came rolling in at last. Kuro had always loved to help other people in any way he could. So now that he was wealthy, he had a fine time giving most of his money away to people who needed it.


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[Assistant] Kuro was always cheery and happy with his friends, although his landscapes often seemed dreamy and sad, instead of cheerful and grey. Everyone loved him and called him Father Kuro.


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[Assistant] And so it is pleasant to learn that he finally became so famous.


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[Assistant] Another Barbie's own painter was much poorer in money than Corot.


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[Assistant] He was one of the first to go to Barbizon. He took his wife and children and lived in a little three room house that had no wooden floors, just packed earth.


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[Assistant] Yet he was one of the greatest painters of France, Jean-Francois Millet.


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[Assistant] Millet had always been poor. His father was a farmer or peasant. And when Millet was a boy, he worked on his father's farm.


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[Assistant] When he saw some pictures in an old Bible, he started to draw.


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[Assistant] At the rest hour in the fields, the other workers would all take naps, but Young Millay would spend the time drawing pictures.


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[Assistant] Finally, the village where he lived gave him a little money to go to Paris to study art.


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[Assistant] When Millet got to Paris, he had a terrible time. He was awfully shy and not used to city ways, so he didn't get along well at all.


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[Assistant] He barely made enough money for food by selling little pictures he painted.


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[Assistant] He liked best to paint the poor farmer people or peasants whose life he knew so well. And at last, when he was almost starving, someone bought one of his peasant paintings.


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[Assistant] This gave him enough money to get out of Paris and go to Barbizon. And in Barbizon, he lived the rest of his life.


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[Assistant] Millet's pictures of peasants at work were painted in an unusual way.


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[Assistant] The painter would go out on the farms and watch the people at work. Digging, hoeing, spreading manure, sawing wood, churning butter, washing clothes, or sowing grains.


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[Assistant] Then, he would come home and paint what he had seen.


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[Assistant] His memory was so good that he could paint it home without a model and get all the movements of his figures right.


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[Assistant] In our country, it is so often done with horses and a machine that perhaps you don't know what a swing there is to it when it is done on foot. The sewer's hand keeps time with his step.


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[Assistant] It reaches into his bag for seed, and then swings backward to scatter the seed.


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[Assistant] And with each swing of his hand, the sewer strides forward.


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[Assistant] In Millet's picture, the sewer has been working hard.


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[Assistant] But his swinging step and outflung arm still move smoothly in time like a machine. Only the man's head shows how tired he is.


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[Assistant] Millet made several pictures of the sewer, all somewhat alike.


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[Assistant] The most famous sewer is now in the United States, in Boston.


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[Assistant] Another picture that is as famous as the sewer is called the gleaners.


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[Assistant] A gleaner is someone who picks up what is left in the field after the wheat has been harvested.


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[Assistant] When farmers are very poor, as they were near Barbizon, even the little that the gleaners can find is a help.


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[Assistant] You can see from Millet's picture what back-breaking work gleaning must be. And it is done by women.


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[Assistant] Many copies have been printed of still another picture by Millet. You can sometimes buy them in the Tencent stores. This famous painting is called The Angelus.


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[Assistant] It shows a French farmer and his wife stopping their work in the fields to bow their heads as they hear the church bell ring out to call to prayer. The Angelus.


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[Assistant] Like Kuro, Mile at last was recognized as a great painter before he died. But he always remained poor.


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[Assistant] And when he died, his friend Karo had to give his widow money to live on.


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[Assistant] They all used to meet in a big barn where they had tack drawings to the walls. And there, they would talk about the paintings they all loved so to do.


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[Assistant] I'd like to tell you about these other friends of Mile and Kuro, but there is-