Robert W. Lowndes

Summary

Robert W. Lowndes The Troubadour

There is despair at the loss of the comforts the civilization they knew brought them, sorrow at their inability to share in its greatness—even in memory; and a resigned certainty that they are the last of the race—they will soon be gone, and no others shall arise after them.
There was silence when Fayliss finished, then discreet but firm applause, as if the audience felt that giving full reign to their approval would make an impious racket. Fayliss seemed to sense this feeling, and smiled as he bowed.
"These are not songs of your people, are they?" asked Jocelyn.
Source: Gutenberg

Robert W. Lowndes The Troubadour

Kutrov adheres to the "onward and upward" school of linear progress, while Alva is more or less of a Spenglerian. More when he goes along by himself; less when you try to pin him down to it. And since the subject of tonight's revelations would be the pre-Mohammed Arabian Culture, I'd find Alva inclined toward my side of the debate, which is strictly morphological and without any pious theories of "progress".
I'd completely forgotten that Jocelyn had mentioned something about having a special attraction: a "Mr. Fayliss", who, she insisted, was a troubadour.
Source: Gutenberg

Robert W. Lowndes The Troubadour

The songs told of the feelings, the memories, and despair of a nearly-extinct people—one which had achieved a great culture and a world-wide civilization. The singer knows that the civilization has been destroyed; that the people created by this culture and civilization are gone, the few survivors being pitiful fellaheen, unable to rebuild or bring forth a culture of their own.
Source: Gutenberg

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