Thomas Hardy

Thomas Hardy

Summary

Portrait of Thomas Hardy Thomas Hardy The Fiddler of the Reels (1893)

Mop was standing on his door-step, as was his custom, spinning the insidious thread of semi—and demi-semi-quavers from the E string of his fiddle for the benefit of passers-by, and laughing as the tears rolled down the cheeks of the little children hanging around him. Car'line pretended to be engrossed with the rippling of the stream under the arches, but in reality she was listening, as he knew. Presently the aching of the heart seized her simultaneously with a wild desire to glide airily in the mazes of an infinite dance.
Source: Wikisource

Portrait of Thomas Hardy Thomas Hardy The Fiddler of the Reels (1893)

She continued to wend her way through the figure of 8 that was formed by her course, the fiddler introducing into his notes the wild and agonizing sweetness of a living voice in one too highly wrought; its pathos running high and running low in endless variation, projecting through her nerves excruciating spasms, a sort of blissful torture. The room swam, the tune was endless; and in about a quarter of an hour the only other woman in the figure dropped out exhausted, and sank panting on a bench.
The reel instantly resolved itself into a four-handed one.
Source: Wikisource

Portrait of Thomas Hardy Thomas Hardy The Fiddler of the Reels (1893)

While standing near a large mirror in one of the courts devoted to furniture, Car'line started, for in the glass appeared the reflection of a form exactly resembling Mop Ollamoor's—so exactly, that it seemed impossible to believe anybody but that artist in person to be the original. On passing round the objects which hemmed in Ned, her, and the child from a direct view, no Mop was to be seen. Whether he were really in London or not at that time was never known; and Car'line always stoutly denied that her readiness to go and meet Ned in town arose from any rumour that Mop had also gone thither
Source: Wikisource

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