The Bishop and Other Stories


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Marjorie Bowen

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For example, they let us know which features and sections are most popular. This information helps us design a better experience for all users. To learn more about cookies, please see our cookie policy. To learn more about how we use and protect your data, please see our privacy policy. The first collection of his humorous writings, Motley Stories, appeared in , and his first play, Ivanov, was produced in Moscow the next year. In , the Alexandrinsky Theater in St. Petersburg performed his first full- length drama, The Seagull.

Chekhov brought believable but complex personalizations to his characters, while exploring the conflict between the landed gentry and the oppressed peasant classes. Sir Nicholas was an evil man who died unrepentant; but he was not of a temper to relish raw cruelty or crude brutalities to women; he would break their souls but never their bodies.

So he went to the door and listened, and old Mathews had never liked him so well as now when he saw the look on the thin dark face. For the third time she shrieked and they marvelled that any human being could hold her breath so long; yet it was muffled as if some one held a hand over her mouth.

How Shall We Kill the Bishop and Other Stories

Again the bell clanged and there were voices and tumult at the door; Mathews went and opened, and Sir Nicholas looking down the stairs saw in the moonlight a dirty farm cart, a sweating horse and some of the patched and rusty crew who had been keeping vigil in Goody Boyle's cottage. They had laid the body on the table where it had so often sat and larked and ate and drunk and cursed; Sir Nicholas gazed, holding up the lantern. Edward Crediton—never any doubt of that now, though his face was distorted as by the anguish of a sudden and ugly death.

And did not yon fool change places with him? Oh God, oh God, and has he not come to take his place—". I saw him dead," stammered Sir Nicholas, and set the lantern down, for his hand shook so the flame waved in the gusts. They looked at him a little, seeing he was suddenly crazed; then Sir Nicholas ran up the stairs with the others at his heels and thundered with his sword, and kicked and shouted outside Anne Crediton's chamber door.

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All the foul, muddy, earthy crew cowered on the stairs and chittered together, and in the parlor before the embers old Mathews crouched huddled, and whimpered. The bedroom door opened and Robert Horne came out and stood and smiled at them, and the young man in his fury fell back and his sword rattled from his hand to the floor. Robert Horne was a white death, nude to the waist and from there swathed in grave clothes; under the tattered dark cloak he had ridden in, was his shroud knotted round his neck; his naked chest gleamed with ghastly dews and under the waxen polish of his sunken face the decayed blood showed in discolored patches; he went down the stairs and they hid their faces while his foul whiteness passed.

Sir Nicholas stumbled into the bedchamber. The moonlight showed Anne Crediton tumbled on the bed, dead, and staring with the posy of kecksies on her bare breast, and her mouth hung open and her hands clutching at the curtains. The mourners rode back and picked up Robert Horne's body whence it had returned from the kecksie patch and buried it in unholy ground with great respect, as one to whom the Devil had given his great desire. THIS is a queer story, the more queer for the interpretation of passions of strong human heat that have been put upon it, and for glimpses of other motives and doings, not, it would seem, human at all.

The whole thing is seen vaguely, brokenly, a snatch here and there; one tells the tale, strangely another exclaims amaze, a third points out a scene, a fourth has a dim memory of a circumstance, a nine-days' or less wonder, an old print helps, the name on a mural tablet in a deserted church pinches the heart with a sense of confirmation, and so you have your story. When all is said it remains a queer tale. It is seventy years odd ago, so dating back from this present year of you come to nearly midway in the last century when conditions were vastly different from what they are now.

The scene is in Glasgow, and there are three points from which we start, all leading us to the heart of our tale. The first is the portrait of a woman that hangs in the parlor of a respectable banker. He believes it to be the likeness of some connection of his wife's, dead this many a year, but he does not know much about it. Some while ago it was discovered in a lumber-room, and he keeps it for the pallid beauty of the canvas, which is much faded and rubbed.

The Bishop and Other Stories by Anton Pavlovich Chekhov

Since, as a young man, I first had the privilege of my Worthy friend's acquaintance, I have always felt a strange interest in this picture; and, in that peculiar way that the imagination will seize on trifles, I was always fascinated by the dress of the lady. This is of dark-green very fine silk, an uncommon color to use in a portrait, and, perhaps, in a lady's dress. It is very plain, with a little scarf of a striped Roman pattern, and her hair is drawn up over a pillow in the antique mode.

Her face is expressionless, yet strange, the upper lip very thin, the lower very full, the light brown eyes set under brows that slant. I cannot tell why this picture was always to me full of such a great attraction, but I used to think of it a vast deal, and often to note, secretly, that never had I chanced to meet in real life, or in any other painting, a lady in a dark-green silk dress.

In the corner of the canvas is a little device, put in a diamond, as a gentlewoman might bear arms, yet with no pretensions to heraldry, just three little birds, the topmost with a flower in its beak.

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It was not so long ago that I came upon the second clue that leads into the story, and that was a mural tablet in an old church near the Rutherglen Road, a church that has lately fallen into disrepute or neglect, for it was deserted and impoverished. But I was assured that a generation ago it had been a most famous place of worship, fashionable and well frequented by the better sort. The mural tablet was to one "Ann Leete," and there was just the date seventy-odd years old given with what seemed a sinister brevity. And underneath the lettering, lightly cut on the time-stained marble, was the same device as that on the portrait of the lady in the green silk dress.

I was curious enough to make enquiries, but no one seemed to know anything of, or wished to talk about, Ann Leete. It was all so long ago, I was told, and there was no one now in the parish of the name of Leete. And all who had been acquainted with the family of Leete seemed to be dead or gone away. The parish register my curiosity went so far as an inspection of this yielded me no more information than the mural tablet.

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I spoke to my friend the banker, and he said he thought that his wife had had some cousins by the name of Leete, and that there was some tale of a scandal or great misfortune attached to them which was the reason of a sort of ban on their name so that it had never been mentioned. When I told him I thought the portrait of the lady in the dark-green silk might picture a certain Ann Leete he appeared uneasy and even desirous of having the likeness removed, which roused in me the suspicion that he knew something of the name, and that not pleasant.

But it seemed to me indelicate and perhaps useless to question him. It was a year or so after this incident that my business, which was that of silversmith and jeweller, put into my hands a third clue. One of my apprentices came to me with a rare piece of work which had been left at the shop for repair.


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It was a thin medal of the purest gold, on which was set in fresh-water pearls, rubies and cairngorms the device of the three birds, the plumage being most skilfully wrought in the bright jewels and the flower held by the topmost creature accurately designed in pearls. It was one of these pearls that was missing, and I had some difficulty in matching its soft lustre. An elderly lady called for the ornament, the same person who had left it. I saw her myself, and ventured to admire and praise the workmanship of the medal.

He is, you will understand," she added, with a smile, "a very old man. He must have made that jewellery—why—seventy-odd years ago. Seventy-odd years ago—that would bring one back to the date on the tablet to Ann Leete, to the period of the portrait. I did not know anyone had heard of it—". We did not know that any existed.

Yet my great-uncle does speak of one—in a green silk dress. It was all very strange and horrible, but one cannot tell how much my old uncle dreams. I eagerly accepted the offer, and the lady gave me the name and residence of the old man who, although possessed of considerable means, had lived for the past fifty years in the greatest seclusion in that lonely part of the town beyond the Rutherglen Road and near to the Green, the once pretty and fashionable resort for youth and pleasure, but now a deserted and desolate region.

Here, on the first opportunity, I took my way, and found myself well out into the country, nearly at the river, before I reached the lonely mansion of Eneas Bretton, as the ancient jeweller was called. A ferocious dog troubled my entrance in the dark overgrown garden where the black glossy laurels and bays strangled the few flowers, and a grim woman, in an old-fashioned mutch or cap, at length answered my repeated peals at the rusty chain bell. It was not without considerable trouble that I was admitted into the presence of Mr.

follow Bretton, and only, I think, by the display of the jewel and the refusal to give it into any hands but those of its owner. The ancient jeweller was seated on a southern terrace that received the faint and fitful rays of the September sun. He was wrapped in shawls that disguised his natural form, and a fur and leather cap was fastened under his chin. I had the impression that he had been a fine man, of a vigorous and handsome appearance; even now, in the extreme of decay, he showed a certain grandeur of line and carriage, a certain majestic power in his personality.

Though extremely feeble, I did not take him to be imbecile nor greatly wanting in his faculties. I had, he said, a claim on him as a fellow-craftsman, and he was good enough to commend the fashion in which I had repaired his medal. This, as soon as he had unwrapped, he fastened to a fine gold chain he drew from his breast, and slipped inside his heavy clothing. The year before, sir, she died. You'll not remember Ann Leete? And a Roman or tartan scarf. He touched the wisp of bright-colored silk across his chest.

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She had her likeness taken so—but it was lost. I might, if you desired, bring you to a sight of it. You must not think," he added with dignity, "that the lady has forsaken me or that I do not often see her. Indeed, she comes to me more frequently than before. But it would delight me to have the painting of her to console the hours of her absence. I reflected what his relative had said about the weakness of his wits, and recalled his great age, which one was apt to forget in face of his composure and reasonableness.

He had a strange look of lifelessness as he slumbered there in the faintest rays of the cloudy autumn sun. I reflected how lightly the spirit must dwell in this ancient frame, how easily it must take flight into the past, how soon into eternity.

It did not cost me much persuasion to induce my friend, the banker, to lend me the portrait of Ann Leete, particularly as the canvas had been again sent up to the attics. He replied that he had heard something; that the case had made a great stir at the time; that it was all very confused and amazing, and that he did not desire to discuss the matter. He was again on the terrace, enjoying with a sort of calm eagerness the last warmth of the failing sun. She still wears that dark-green silk.

I never see her in any other garment. I saw her, and see her still as a spirit. I loved her as a spirit.


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Yet our bodily union was necessary for our complete happiness.

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