At noon, on another warm, sunny, day with a moderate breeze, I poked my camera out of the upstairs window in order to record the garden’s continuing splendour. (I was inspired by a comment from Elizabeth Gauffreau for today’s title)
This afternoon I finished reading ‘David Copperfield’ and scanned the final eight drawings with which that splendid illustrator, Charles Keeping, has adorned the closing pages of my Folio Society edition.
‘I hired a boat directly, and we put off to the ship’
‘I came into the valley, as the evening sun was shining on the remote heights of snow’
‘I thought I had never seen an obstinate head of hair rolling about in such a shower of kisses’
in ‘Going softly to her piano, Agnes played some of those old airs to which we had often listened in that place’ Mr Keeping, through the medium of the flowing grain on the side of the instrument, conveys the unspoken communication between singer and listener which culminates in the next but one illustration.
‘Whom should we behold, to our amazement, in this converted Number Twenty Seven, but Uriah Heep!’, unmistakeable to anyone who has seen the artist’s previous depictions.
‘Clasped in my arms as she had never been, as I had thought she never was to be!’
‘Mr Peggotty went with me to see a little tablet I had put up in the churchyard to the memory of Ham’
‘Peggotty, my good old nurse’
I don’t propose to review such a well-known book, save to say that it was a very good choice for Charles Dickens to term his favourite of the novels.
I have probably mentioned before that I do not generally keep more than one book on the go at any one time. This Dickens work and another, modern, novel have been an exception while I have returned to the Victorian masterpiece. As soon as I have finished reading Harold Brodkey’s book I will draw some comparisons between the two.
This evening we dined on Jackie’s spicy pasta arrabbiata with which she finished the Rosé and I drank Barossa Valley Shiraz 2017.