Difference between revisions of "Jonathan Ned Katz: "Comrades and Lovers," Act I"
Line 6: | Line 6: | ||
:::ACT I, SCENE 1 | :::ACT I, SCENE 1 | ||
− | ::: | + | :::LIGHTS OFF; WHITMAN'S FIRST WORDS ARE HEARD IN THE DARK. |
− | WHITMAN: Love thoughts | + | WHITMAN: |
+ | :::Love thoughts | ||
− | SPEAKER 1: love-juice, | + | SPEAKER 1 |
+ | :::love-juice, | ||
− | SPEAKER 2: love-odor, | + | SPEAKER 2: |
+ | :::love-odor, | ||
− | SPEAKER 3: love-yielding, | + | SPEAKER 3: |
+ | :::love-yielding, | ||
− | SPEAKER 4: love-climbers, | + | SPEAKER 4: |
+ | :::love-climbers, | ||
− | WHITMAN: and the climbing sap, | + | WHITMAN: |
+ | :::and the climbing sap, | ||
− | SPEAKER 1: arms and hands of love, | + | SPEAKER 1: |
+ | :::arms and hands of love, | ||
− | SPEAKER 2: lips of love, | + | SPEAKER 2: |
+ | :::lips of love, | ||
− | SPEAKER 3: phallic thumb of love, | + | SPEAKER 3: |
+ | :::phallic thumb of love, | ||
− | SPEAKER 4: breasts of love, | + | SPEAKER 4: |
+ | :::breasts of love, | ||
− | WHITMAN: bellies pressed and glued together with love. | + | WHITMAN: |
+ | :::bellies pressed and glued together with love. | ||
− | ::: | + | :::LIGHTS ON, NIGHT. |
:::SCENE TITLE, PROJECTED OR PRINTED ON PLACARD: | :::SCENE TITLE, PROJECTED OR PRINTED ON PLACARD: | ||
:::1 Walt Whitman, "Love-thoughts" | :::1 Walt Whitman, "Love-thoughts" | ||
− | :::WHITMAN AND A "BOY" MOVE CLOSE TOGETHER, ADDRESS EACH OTHER. | + | :::WHITMAN AND A "BOY" MOVE CLOSE TOGETHER, ADDRESS EACH OTHER. |
− | BOY: The wet of woods through the early hours. | + | BOY: |
+ | :::The wet of woods through the early hours. | ||
− | WHITMAN: Two sleepers at night lying close together as they sleep, | + | WHITMAN: |
+ | :::Two sleepers at night lying close together as they sleep, | ||
− | BOY: One with an arm slanting down across and below the waist of the other. | + | BOY: |
+ | :::One with an arm slanting down across and below the waist of the other. | ||
− | WHITMAN: The smell of apples, | + | WHITMAN: |
+ | :::The smell of apples, | ||
− | BOY: aromas from crushed sage plant, | + | BOY: |
+ | :::aromas from crushed sage plant, | ||
− | WHITMAN: mint, | + | WHITMAN: |
+ | :::mint, | ||
− | BOY: birch bark. | + | BOY: |
+ | :::birch bark. | ||
− | WHITMAN: The boy's longings, | + | WHITMAN: |
+ | :::The boy's longings, | ||
:::the glow and pressure | :::the glow and pressure | ||
:::as he confides to me | :::as he confides to me | ||
Line 75: | Line 94: | ||
− | BOY: The dead leaf tallings its spiral whirl, | + | BOY: |
+ | :::The dead leaf tallings its spiral whirl, | ||
:::falling still and content to the ground. | :::falling still and content to the ground. | ||
− | WHITMAN: The sensitive, orbic, underlapped brothers, | + | WHITMAN: |
+ | :::The sensitive, orbic, underlapped brothers, | ||
:::that only privileged feelers | :::that only privileged feelers | ||
:::may be intimate where they are. | :::may be intimate where they are. | ||
− | BOY: The mystic amorous night. | + | BOY: |
+ | :::The mystic amorous night. | ||
− | WHITMAN: The curious roamer the hand, | + | WHITMAN: |
+ | :::The curious roamer the hand, | ||
:::roaming allover the body, | :::roaming allover the body, | ||
− | BOY: the bashful withdrawing of flesh | + | BOY: |
+ | :::the bashful withdrawing of flesh | ||
:::where the fingers soothingly pause | :::where the fingers soothingly pause | ||
:::and edge themselves. | :::and edge themselves. | ||
− | WHITMAN: The limpid liquid within the young man, | + | WHITMAN: |
+ | :::The limpid liquid within the young man, | ||
− | BOY: the vex'd corrosion | + | BOY: |
+ | ::: the vex'd corrosion | ||
:::so pensive and painful, | :::so pensive and painful, | ||
− | WHITMAN: the torment, | + | WHITMAN: |
+ | :::the torment, | ||
− | BOY: the irritable tide | + | BOY: |
+ | :::the irritable tide | ||
:::that will not be at rest, | :::that will not be at rest, | ||
− | WHITMAN: the like of the same I feel, | + | WHITMAN: |
+ | :::the like of the same I feel, | ||
:::the like of the same in others. | :::the like of the same in others. | ||
− | ::: | + | :::SCENE TITLE: 2 Rufus Griswold, "Once licentiousness" |
− | :::RESPONDING TO THE EARLIER VERSE, GRISWOLD APPEARS WITH ''LEAVES OF GRASS'', SPEAKS TO WHITMAN. | + | :::RESPONDING TO THE EARLIER VERSE, GRISWOLD APPEARS WITH ''LEAVES OF GRASS'', SPEAKS TO WHITMAN. |
− | GRISWOLD: Once licentiousness | + | GRISWOLD: |
+ | :::Once licentiousness | ||
:::shunned the light; | :::shunned the light; | ||
:::now it writes books | :::now it writes books | ||
Line 126: | Line 156: | ||
− | ::: | + | :::TO AUDIENCE, HOLDING UP ''LEAVES OF GRASS'' |
Line 139: | Line 169: | ||
− | ::: | + | :::FIRE AND BR1MSTONE PROPHECY |
Line 146: | Line 176: | ||
− | ::: | + | :::WHISPERS TO WHITMAN |
Line 152: | Line 182: | ||
− | ::: | + | :::WHITMAN AND SPEAKERS RESPOND TO GRISWOLD. |
− | :::SCENE TITLE: 3 Walt Whitman, "Through me" | + | :::SCENE TITLE: 3 Walt Whitman, "Through me" |
− | WHITMAN: Through me many long dumb voices, | + | WHITMAN: |
+ | :::Through me many long dumb voices, | ||
− | SPEAKER 1: voices of the interminable generations of slaves, | + | SPEAKER 1: |
+ | :::voices of the interminable generations of slaves, | ||
− | SPEAKER 2: voices of prostitutes and deformed persons, | + | SPEAKER 2: |
+ | :::voices of prostitutes and deformed persons, | ||
− | SPEAKER 3: voices of the diseased and despairing, | + | SPEAKER 3: |
+ | :::voices of the diseased and despairing, | ||
− | SPEAKER 4: voices of wombs and the fatherstuff, | + | SPEAKER 4: |
+ | :::voices of wombs and the fatherstuff, | ||
− | SPEAKER 1: voices of the rights of them the others are down upon. | + | SPEAKER 1: |
+ | :::voices of the rights of them the others are down upon. | ||
− | WHITMAN: Through me forbidden voices, | + | WHITMAN: |
+ | :::Through me forbidden voices, | ||
− | SPEAKER 2: voices of sexes and lusts, | + | SPEAKER 2: |
+ | :::voices of sexes and lusts, | ||
− | SPEAKER 3: voices veiled | + | SPEAKER 3: |
+ | :::voices veiled | ||
:::and I remove the veil, | :::and I remove the veil, | ||
− | SPEAKER 4: voices indecent | + | SPEAKER 4: |
+ | :::voices indecent | ||
:::by me clarified and transfigured. | :::by me clarified and transfigured. | ||
− | WHITMAN: I do not press my finger across my mouth! | + | WHITMAN: |
+ | :::I do not press my finger across my mouth! | ||
− | SPEAKER 1: keep as delicate around the bowels | + | SPEAKER 1: |
+ | :::keep as delicate around the bowels | ||
:::as around the head and heart, | :::as around the head and heart, | ||
− | SPEAKER 2: copulation is no more rank to me than death is. | + | SPEAKER 2: |
+ | :::copulation is no more rank to me than death is. | ||
− | SPEAKER 3: I believe in the flesh and the appetites, | + | SPEAKER 3: |
+ | :::I believe in the flesh and the appetites, | ||
− | SPEAKER 4: seeing, hearing, and feeling are miracles, | + | SPEAKER 4: |
+ | :::seeing, hearing, and feeling are miracles, | ||
:::and each part and tag of me is a miracle. | :::and each part and tag of me is a miracle. | ||
− | WHITMAN: | + | WHITMAN: |
+ | :::TO BRONSON ALCOTT AND HENRY DAVID THOREAU, WHO APPEAR IN THE NEXT SCENE | ||
:::If I worship any particular thing | :::If I worship any particular thing | ||
Line 212: | Line 258: | ||
− | SPEAKER 1: You my rich blood, | + | SPEAKER 1: |
+ | :::You my rich blood, | ||
:::your milky stream pale strippings of my life; | :::your milky stream pale strippings of my life; | ||
− | SPEAKER 2: Breast that presses against other breasts | + | SPEAKER 2: |
+ | :::Breast that presses against other breasts | ||
:::it shall be you, | :::it shall be you, | ||
− | SPEAKER 3: Root of washed sweet-flag, | + | SPEAKER 3: |
+ | :::Root of washed sweet-flag, | ||
:::timorous pond-snipe, | :::timorous pond-snipe, | ||
:::nest of guarded duplicate eggs, | :::nest of guarded duplicate eggs, | ||
Line 225: | Line 274: | ||
− | SPEAKER 4: Mixed tussled hay of head and beard and brawn | + | SPEAKER 4: |
+ | :::Mixed tussled hay of head and beard and brawn | ||
:::it shall be you, | :::it shall be you, | ||
− | WHITMAN: Trickling sap of maple, | + | WHITMAN: |
+ | :::Trickling sap of maple, | ||
:::fibre of manly wheat, | :::fibre of manly wheat, | ||
:::it shall be. you; | :::it shall be. you; | ||
− | SPEAKER 1: Winds | + | SPEAKER 1: |
+ | :::Winds | ||
:::whose soft-tickling genitals rub against me | :::whose soft-tickling genitals rub against me | ||
:::it shall be you, | :::it shall be you, | ||
− | SPEAKER 2: Broad muscular fields, | + | SPEAKER 2: |
+ | :::Broad muscular fields, | ||
− | SPEAKER 3: branches of liveoak, | + | SPEAKER 3: |
+ | :::branches of liveoak, | ||
− | SPEAKER 4: loving lounger in my winding paths, | + | SPEAKER 4: |
+ | ::: loving lounger in my winding paths, | ||
:::it shall be you, | :::it shall be you, | ||
− | WHITMAN: Hands I have taken, | + | WHITMAN: |
+ | :::Hands I have taken, | ||
:::face I have kissed, | :::face I have kissed, | ||
:::mortal I have ever touched, | :::mortal I have ever touched, | ||
Line 254: | Line 310: | ||
− | ::: | + | :::ALCOTT AND HENRY DAVID THOREAU RESPOND TO WHITMAN |
:::SCENE TITLE: 4 Bronson Alcott: "This morning with Henry David Thoreau" | :::SCENE TITLE: 4 Bronson Alcott: "This morning with Henry David Thoreau" | ||
− | :::ALCOTT ADDRESSES AUDIENCE; THOREAU ACCOMPANIES HIM, FOCUSING ON WHITMAN | + | :::ALCOTT ADDRESSES AUDIENCE; THOREAU ACCOMPANIES HIM, FOCUSING ON WHITMAN |
− | ALCOTT: This morning | + | ALCOTT: |
+ | :::This morning | ||
:::with Henry David Thoreau to Brooklyn, | :::with Henry David Thoreau to Brooklyn, | ||
:::to see Walt Whitman. | :::to see Walt Whitman. | ||
:::I find this Whitman | :::I find this Whitman | ||
− | :::likely to make his mark on Young America he affirming himself | + | :::likely to make his mark on Young America |
+ | :::he affirming himself | ||
:::to be its representative man and poet. | :::to be its representative man and poet. | ||
− | ::: | + | :::WHITMAN AND THOREAU EYE EACH OTHER SUSPICIOUSLY; ALCOTT OBSERVES |
Line 283: | Line 341: | ||
− | THOREAU: | + | THOREAU: |
+ | :::TO ALCOTT, INDICATING WHITMAN | ||
+ | |||
:::There are two or three pieces | :::There are two or three pieces | ||
:::in his book | :::in his book | ||
Line 305: | Line 365: | ||
− | ::: | + | :::TO HIMSELF; A NEW THOUGHT |
Line 313: | Line 373: | ||
− | ::: | + | :::TITLE: 5 Walt Whitman, "By silence" |
− | :::WHITMAN RESPONDS TO THOREAU | + | :::WHITMAN RESPONDS TO THOREAU |
− | WHITMAN: By silence | + | WHITMAN: |
+ | :::By silence | ||
:::the pens of poets | :::the pens of poets | ||
:::have long connived | :::have long connived | ||
Line 332: | Line 393: | ||
− | SPEAKER 1: This filthy law | + | SPEAKER 1: |
+ | :::This filthy law | ||
:::has to be repealed | :::has to be repealed | ||
:::it stands in the way | :::it stands in the way | ||
Line 338: | Line 400: | ||
− | SPEAKER 2: It is in the interest of women | + | SPEAKER 2: |
+ | :::It is in the interest of women | ||
:::as well as men | :::as well as men | ||
:::that there should be | :::that there should be | ||
Line 345: | Line 408: | ||
− | SPEAKER 3: The present diluted deferential love | + | SPEAKER 3: |
+ | :::The present diluted deferential love | ||
:::is enough to make a man vomit; | :::is enough to make a man vomit; | ||
− | SPEAKER 4: as to manly friendship, | + | SPEAKER 4: |
+ | :::as to manly friendship, | ||
:::everywhere observed in the states, | :::everywhere observed in the states, | ||
:::there is not the first breath of it | :::there is not the first breath of it | ||
Line 355: | Line 420: | ||
− | WHITMAN: The body of a man or women | + | WHITMAN: |
+ | :::The body of a man or women | ||
:::is so far quite unexpressed in poems; | :::is so far quite unexpressed in poems; | ||
− | SPEAKER 1: that body is to be expressed, | + | SPEAKER 1: |
+ | :::that body is to be expressed, | ||
:::and sex is. | :::and sex is. | ||
− | WHITMAN: | + | WHITMAN: |
+ | :::TO JOHN ADDINGTON SYMONDS, WHO APPEARS IN NEXT SCENE | ||
+ | |||
:::All theories stagnate in their vitals, | :::All theories stagnate in their vitals, | ||
:::cowardly and rotten, | :::cowardly and rotten, | ||
Line 373: | Line 442: | ||
− | ::: | + | :::SYMONDS, INSPIRED BY WHITMAN'S WORDS, STEPS INTO THE LIGHT. |
:::SCENE TITLE: 6 John Addington Symonds, "Is it not strange?" | :::SCENE TITLE: 6 John Addington Symonds, "Is it not strange?" | ||
Line 379: | Line 448: | ||
:::HERE, SYMONDS IS TWENTYSEVEN; HE HAS BEEN MARRIED THREE YEARS AND HAS TWO DAUGHTERS; HE'S WELL-EDUCATED, AND COMES FROM AN OLD, ENGLISH, ARISTOCRATIC FAMILY, BUT HE MUST WRITE LITERARY AND ART CRITICISM TO SUPPLEMENT HIS INHERITED INCOME. | :::HERE, SYMONDS IS TWENTYSEVEN; HE HAS BEEN MARRIED THREE YEARS AND HAS TWO DAUGHTERS; HE'S WELL-EDUCATED, AND COMES FROM AN OLD, ENGLISH, ARISTOCRATIC FAMILY, BUT HE MUST WRITE LITERARY AND ART CRITICISM TO SUPPLEMENT HIS INHERITED INCOME. | ||
− | :::HE INTRODUCES HIMSELF TO THE AUDIENCE AS A CLOSE CONFIDANT, FULL OF INNER PASSION | + | :::HE INTRODUCES HIMSELF TO THE AUDIENCE AS A CLOSE CONFIDANT, FULL OF INNER PASSION |
+ | |||
+ | |||
+ | SYMONDS: | ||
+ | :::Is it not strange I should have read | ||
− | + | ENTRY IN CONSTRUCTION -- TO BE CONTINUED |
Revision as of 11:57, 25 January 2010
ENTRY IN CONSTRUCTION
Jonathan Ned Katz: "Comrades and Lovers"
- ACT I, SCENE 1
- LIGHTS OFF; WHITMAN'S FIRST WORDS ARE HEARD IN THE DARK.
WHITMAN:
- Love thoughts
SPEAKER 1
- love-juice,
SPEAKER 2:
- love-odor,
SPEAKER 3:
- love-yielding,
SPEAKER 4:
- love-climbers,
WHITMAN:
- and the climbing sap,
SPEAKER 1:
- arms and hands of love,
SPEAKER 2:
- lips of love,
SPEAKER 3:
- phallic thumb of love,
SPEAKER 4:
- breasts of love,
WHITMAN:
- bellies pressed and glued together with love.
- LIGHTS ON, NIGHT.
- SCENE TITLE, PROJECTED OR PRINTED ON PLACARD:
- 1 Walt Whitman, "Love-thoughts"
- WHITMAN AND A "BOY" MOVE CLOSE TOGETHER, ADDRESS EACH OTHER.
BOY:
- The wet of woods through the early hours.
WHITMAN:
- Two sleepers at night lying close together as they sleep,
BOY:
- One with an arm slanting down across and below the waist of the other.
WHITMAN:
- The smell of apples,
BOY:
- aromas from crushed sage plant,
WHITMAN:
- mint,
BOY:
- birch bark.
WHITMAN:
- The boy's longings,
- the glow and pressure
- as he confides to me
- what he was dreaming.
BOY:
- The dead leaf tallings its spiral whirl,
- falling still and content to the ground.
WHITMAN:
- The sensitive, orbic, underlapped brothers,
- that only privileged feelers
- may be intimate where they are.
BOY:
- The mystic amorous night.
WHITMAN:
- The curious roamer the hand,
- roaming allover the body,
BOY:
- the bashful withdrawing of flesh
- where the fingers soothingly pause
- and edge themselves.
WHITMAN:
- The limpid liquid within the young man,
BOY:
- the vex'd corrosion
- so pensive and painful,
WHITMAN:
- the torment,
BOY:
- the irritable tide
- that will not be at rest,
WHITMAN:
- the like of the same I feel,
- the like of the same in others.
- SCENE TITLE: 2 Rufus Griswold, "Once licentiousness"
- RESPONDING TO THE EARLIER VERSE, GRISWOLD APPEARS WITH LEAVES OF GRASS, SPEAKS TO WHITMAN.
GRISWOLD:
- Once licentiousness
- shunned the light;
- now it writes books
- showing how grand and pure it is,
- and prophecies
- its own ultimate triumph.
- TO AUDIENCE, HOLDING UP LEAVES OF GRASS
- It is impossible to imagine
- how any man's fancy
- could have conceived
- such a mass of stupid filth.
- We leave this gathering of muck
- to the laws
- which have power to suppress
- such gross obscenity.
- FIRE AND BR1MSTONE PROPHECY
- "Peccatum illud horribile,
- inter Christianos non nominandum."
- WHISPERS TO WHITMAN
- (That vile sin among Christians not to be named.)
- WHITMAN AND SPEAKERS RESPOND TO GRISWOLD.
- SCENE TITLE: 3 Walt Whitman, "Through me"
WHITMAN:
- Through me many long dumb voices,
SPEAKER 1:
- voices of the interminable generations of slaves,
SPEAKER 2:
- voices of prostitutes and deformed persons,
SPEAKER 3:
- voices of the diseased and despairing,
SPEAKER 4:
- voices of wombs and the fatherstuff,
SPEAKER 1:
- voices of the rights of them the others are down upon.
WHITMAN:
- Through me forbidden voices,
SPEAKER 2:
- voices of sexes and lusts,
SPEAKER 3:
- voices veiled
- and I remove the veil,
SPEAKER 4:
- voices indecent
- by me clarified and transfigured.
WHITMAN:
- I do not press my finger across my mouth!
SPEAKER 1:
- keep as delicate around the bowels
- as around the head and heart,
SPEAKER 2:
- copulation is no more rank to me than death is.
SPEAKER 3:
- I believe in the flesh and the appetites,
SPEAKER 4:
- seeing, hearing, and feeling are miracles,
- and each part and tag of me is a miracle.
WHITMAN:
- TO BRONSON ALCOTT AND HENRY DAVID THOREAU, WHO APPEAR IN THE NEXT SCENE
- If I worship any particular thing
- it shall be some of the spread of my body;
SPEAKER 1:
- You my rich blood,
- your milky stream pale strippings of my life;
SPEAKER 2:
- Breast that presses against other breasts
- it shall be you,
SPEAKER 3:
- Root of washed sweet-flag,
- timorous pond-snipe,
- nest of guarded duplicate eggs,
- it shall be you,
SPEAKER 4:
- Mixed tussled hay of head and beard and brawn
- it shall be you,
WHITMAN:
- Trickling sap of maple,
- fibre of manly wheat,
- it shall be. you;
SPEAKER 1:
- Winds
- whose soft-tickling genitals rub against me
- it shall be you,
SPEAKER 2:
- Broad muscular fields,
SPEAKER 3:
- branches of liveoak,
SPEAKER 4:
- loving lounger in my winding paths,
- it shall be you,
WHITMAN:
- Hands I have taken,
- face I have kissed,
- mortal I have ever touched,
- it shall be you.
- ALCOTT AND HENRY DAVID THOREAU RESPOND TO WHITMAN
- SCENE TITLE: 4 Bronson Alcott: "This morning with Henry David Thoreau"
- ALCOTT ADDRESSES AUDIENCE; THOREAU ACCOMPANIES HIM, FOCUSING ON WHITMAN
ALCOTT:
- This morning
- with Henry David Thoreau to Brooklyn,
- to see Walt Whitman.
- I find this Whitman
- likely to make his mark on Young America
- he affirming himself
- to be its representative man and poet.
- WHITMAN AND THOREAU EYE EACH OTHER SUSPICIOUSLY; ALCOTT OBSERVES
- Thoreau and Whitman
- each seemed planted fast in reserve,
- surveying the other curiously,
- like two beasts,
- each wondering
- what the other would do,
- whether to snap
- or run.
THOREAU:
- TO ALCOTT, INDICATING WHITMAN
- There are two or three pieces
- in his book
- which are disagreeable
- to say the least,
- simply sensual.
- He does not celebrate love at all.
- It is as if
- the beasts spoke.
- Men have been ashamed of themselves
- with reason.
- I do not wish
- his poems' sensual parts
- were not written
- but that men and women
- were so pure
- they could read them
- without harm,
- that is,
- without understanding them.
- TO HIMSELF; A NEW THOUGHT
- Of course,
- if we are shocked,
- whose experience are we reminded of?
- TITLE: 5 Walt Whitman, "By silence"
- WHITMAN RESPONDS TO THOREAU
WHITMAN:
- By silence
- the pens of poets
- have long connived
- at the filthy law
- that sex,
- desires,
- lusts,
- organs,
- acts
- are unmentionable,
- to be ashamed of,
- driven to skulk out of literature.
SPEAKER 1:
- This filthy law
- has to be repealed
- it stands in the way
- of great reforms.
SPEAKER 2:
- It is in the interest of women
- as well as men
- that there should be
- no infidelism about sex,
- but perfect faith.
SPEAKER 3:
- The present diluted deferential love
- is enough to make a man vomit;
SPEAKER 4:
- as to manly friendship,
- everywhere observed in the states,
- there is not the first breath of it
- to be observed in print.
WHITMAN:
- The body of a man or women
- is so far quite unexpressed in poems;
SPEAKER 1:
- that body is to be expressed,
- and sex is.
WHITMAN:
- TO JOHN ADDINGTON SYMONDS, WHO APPEARS IN NEXT SCENE
- All theories stagnate in their vitals,
- cowardly and rotten,
- if they cannot publicly accept, and publicly name,
- with specific words,
- the things on which all decency,
- all that is worth being here for
- depend.
- SYMONDS, INSPIRED BY WHITMAN'S WORDS, STEPS INTO THE LIGHT.
- SCENE TITLE: 6 John Addington Symonds, "Is it not strange?"
- HERE, SYMONDS IS TWENTYSEVEN; HE HAS BEEN MARRIED THREE YEARS AND HAS TWO DAUGHTERS; HE'S WELL-EDUCATED, AND COMES FROM AN OLD, ENGLISH, ARISTOCRATIC FAMILY, BUT HE MUST WRITE LITERARY AND ART CRITICISM TO SUPPLEMENT HIS INHERITED INCOME.
- HE INTRODUCES HIMSELF TO THE AUDIENCE AS A CLOSE CONFIDANT, FULL OF INNER PASSION
SYMONDS:
- Is it not strange I should have read
ENTRY IN CONSTRUCTION -- TO BE CONTINUED