Jerome K. Jerome

Jerome K. Jerome

Summary

Portrait of Jerome K. Jerome Jerome K. Jerome On being shy (1886)

He tries to reach them, but his prison walls move with him and hem him in on every side. In the busy street, in the crowded room, in the grind of work, in the whirl of pleasure, amid the many or amid the few—­wherever men congregate together, wherever the music of human speech is heard and human thought is flashed from human eyes, there, shunned and solitary, the shy man, like a leper, stands apart. His soul is full of love and longing, but the world knows it not. The iron mask of shyness is riveted before his face, and the man beneath is never seen.
Source: Wikisource

Portrait of Jerome K. Jerome Jerome K. Jerome On being shy (1886)

Without that breast-plate the sword of talent cannot force its way through the battle of life, for blows have to be borne as well as dealt. I do not, of course, speak of the conceit that displays itself in an elevated nose and a falsetto voice. That is not real conceit—­that is only playing at being conceited; like children play at being kings and queens and go strutting about with feathers and long trains. Genuine conceit does not make a man objectionable.
Source: Wikisource

Portrait of Jerome K. Jerome Jerome K. Jerome On being shy (1886)

The girl of twelve is self-contained and as cool as the proverbial cucumber, while her brother of twenty stammers and stutters by her side. A woman will enter a concert-room late, interrupt the performance, and disturb the whole audience without moving a hair, while her husband follows her, a crushed heap of apologizing misery.
The superior nerve of women in all matters connected with love, from the casting of the first sheep’s-eye down to the end of the honeymoon, is too well acknowledged to need comment.
Source: Wikisource

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