Like vigorous cart-horses, drawing a wain, 鈥榊our friend, At this time I knew no literary men. A few I had met when living with my mother, but that had been now so long ago that all such acquaintance had died out. I knew who they were as far as a man could get such knowledge from the papers of the day, and felt myself as in part belonging to the guild, through my mother, and in some degree by my own unsuccessful efforts. But it was not probable that any one would admit my claim 鈥?nor on this occasion did I make any claim. I stated my name and official position, and the fact that opportunities had been given me of seeing the poorhouses in Ireland, and of making myself acquainted with the circumstances of the time. Would a series of letters on the subject be accepted by the Examiner? The great man, who loomed very large to me, was pleased to say that if the letters should recommend themselves by their style and matter, if they were not too long, and if 鈥?every reader will know how on such occasions an editor will guard himself 鈥?if this and if that, they should be favourably entertained. They were favourably entertained 鈥?if printing and publication be favourable entertainment. But I heard no more of them. The world in Ireland did not declare that the Government had at last been adequately defended, nor did the treasurer of the Examiner send me a cheque in return. Eye. The second part of the greeting involves youreyes. Be first with eye contact. Look this new persondirectly in the eye. Let your eyes reflect your positiveattitude. To state the obvious: eye contact is real contact! 鈥楢ug. 31.鈥擨 go, you know, to city work in the morning. After our late breakfast I have a succession of people coming. For instance, to-day,鈥?st, Munshi and four boys. 2nd, A convert came, to read the Bible to me. 3rd, A teacher came, for me to explain difficult English idioms. 4th, Three lads for English lessons. 5th, A fourth lad more advanced. You see, love, that this is not a sleepy life, though in this warm weather I usually get some sleep in the daytime. I like having the dear boys. They have done much to keep the heart green under various Missionary discouragements.鈥? TO MISS 鈥楲EILA鈥?HAMILTON. 久久人人97超碰人人澡_久久人人97超碰_久久只有这里才是精品 鈥極nly imagine my darling Laura dreaming of coming to Egypt to meet me!! But I doubt her being up to such a journey; and mine would be about as formidable a one. But the dream is one of 鈥渙ld,鈥?not 鈥測oung Love鈥?鈥? In writing Phineas Finn I had constantly before me the necessity of progression in character 鈥?of marking the changes in men and women which would naturally be produced by the lapse of years. In most novels the writer can have no such duty, as the period occupied is not long enough to allow of the change of which I speak. In Ivanhoe, all the incidents of which are included in less than a month, the characters should be, as they are, consistent throughout. Novelists who have undertaken to write the life of a hero or heroine have generally considered their work completed at the interesting period of marriage, and have contented themselves with the advance in taste and manners which are common to all boys and girls as they become men and women. Fielding, no doubt, did more than this in Tom Jones, which is one of the greatest novels in the English language, for there he has shown how a noble and sanguine nature may fall away under temptation and be again strengthened and made to stand upright. But I do not think that novelists have often set before themselves the state of progressive change 鈥?nor should I have done it, had I not found myself so frequently allured back to my old friends. So much of my inner life was passed in their company, that I was continually asking myself how this woman would act when this or that event had passed over her head, or how that man would carry himself when his youth had become manhood, or his manhood declined to old age. It was in regard to the old Duke of Omnium, of his nephew and heir, and of his heir鈥檚 wife, Lady Glencora, that I was anxious to carry out this idea; but others added themselves to my mind as I went on, and I got round me a circle of persons as to whom I knew not only their present characters, but how those characters were to be affected by years and circumstances. The happy motherly life of Violet Effingham, which was due to the girl鈥檚 honest but long-restrained love; the tragic misery of Lady Laura, which was equally due to the sale she made of herself in her wretched marriage; and the long suffering but final success of the hero, of which he had deserved the first by his vanity, and the last by his constant honesty, had been foreshadowed to me from the first. As to the incidents of the story, the circumstances by which these personages were to be affected, I knew nothing. They were created for the most part as they were described. I never could arrange a set of events before me. But the evil and the good of my puppets, and how the evil would always lead to evil, and the good produce good 鈥?that was clear to me as the stars on a summer night. 鈥榃hat a long note I have written! Pay me back by a review of my Tragedy, and be as blunt as ever you like; for if you tell me that my poor lady is 鈥渧ery stupid,鈥?instead of 鈥渞ather stupid,鈥?you will only make me smile.鈥? Charles. A boy, to be sure! I know I just met you, but I like you so I will trust youwith my attention. Sometimes rapport just happens allby itself, as if by chance; sometimes you have to give it ahand. Get it right, and the communicating can begin. Getit wrong, and you'll have to bargain for attention.