Summary

Portrait of Israel Zangwill Israel Zangwill The Grey Wig (collection) — The Eternal Feminine (1903)

A breath of coolness and purity seemed to waft into the feverish ball-room; a ray of fresh morning sunlight. I looked curiously at the young artist. He seemed transfigured. I could scarcely realise that an hour ago he had been among the rowdiest of the Comus crew, whose shrieks and laughter still rang all around us. Even his duplex costume seemed to have grown subtly symbolical, the diabolical part typical of all that is bestial and selfish in man, the death-mask speaking silently of renunciation and the peace of the tomb.
Source: Wikisource

Portrait of Israel Zangwill Israel Zangwill The Grey Wig (collection) — The Eternal Feminine (1903)

I just want to see good honest faces, full of suffering and sacrifice, and if ever I paint an angel its phiz shall have the unflinching ugliness of Ingeborg Jensen, God bless her! To be near her was to live in an atmosphere of purity and pity and tenderness, and everything that is sweet and sacred."
As he spoke I became suddenly aware that the gas-lights were paling, and glancing towards the window on my left I saw the splendour of the sunrise breaking fresh and clear over the city of diabolical night, where in the sombre eastern sky—
"God made himself an awful rose of dawn."
Source: Wikisource

Portrait of Israel Zangwill Israel Zangwill The Grey Wig (collection) — The Eternal Feminine (1903)

Ingeborg presided meekly over the dishes, her ugliness more rampant than ever after the illusion of the mask. I remembered now he had been disagreeable when I had dined there before, though, not being interested in Ingeborg then, I had not resented his ill-humour, contenting myself with remarking to my friend that I understood now why the Danes disliked the Swedes so much—a generalisation that was probably as unjust as most of one's judgments of other peoples.
Source: Wikisource

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