Wessex Tales Series: 18 Novels & Stories (Complete Collection). Томас ХардиЧитать онлайн книгу.
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Thomas Hardy
Wessex Tales Series: 18 Novels & Stories (Complete Collection)
Including Far from the Madding Crowd, Tess of the d'Urbervilles, Jude the Obscure, The Return of the Native, The Mayor of Casterbridge, The Trumpet-Major… Illustrator: Helen Paterson Allingham, J. Abbott Pasquier, George Du Maurier
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[email protected] 2018 OK Publishing ISBN 978-80-272-4128-6
Table of Contents
The Romantic Adventures of a Milkmaid
Under the Greenwood Tree
Thomas Hardy
Part the First — Winter
1. Mellstock-Lane
2. The Tranter’s
3. The Assembled Quire
4. Going the Rounds
5. The Listeners
6. Christmas Morning
7. The Tranter’s Party
8. They Dance More Wildly
9. Dick Calls at the School
Part the Second — Spring
1. Passing by the School
2. A Meeting of the Quire
3. A Turn in the Discussion
4. The Interview with the Vicar
5. Returning Home Ward
6. Yalbury Wood and the Keeper’s House
7. Dick Makes Himself Useful
8. Dick Meets His Father
Part the Third — Summer
1. Driving Out of Budmouth
2. Further Along the Road
3. A Confession
4. An Arrangement
Part the Fourth — Autumn
1. Going Nutting
2. Honey-Taking, and Afterwards
3. Fancy in the Rain
4. The Spell
5. After Gaining Her Point
6. Into Temptation
7. Second Thoughts
Part the Fifth: Conclusion
1. ‘The Knot There’s No Untying’
2. Under the Greenwood Tree
Preface
This story of the Mellstock Quire and its old established west-gallery musicians, with some supplementary descriptions of similar officials in Two on a Tower, A Few Crusted Characters, and other places, is intended to be a fairly true picture, at first hand, of the personages, ways, and customs which were common among such orchestral bodies in the villages of fifty or sixty years ago.
One is inclined to regret the displacement of these ecclesiastical bandsmen by an isolated organist (often at first a barrel-organist) or harmonium player; and despite certain advantages in point of control and accomplishment which were, no doubt, secured by installing the single artist, the change has tended to stultify the professed aims of the clergy, its direct result being to curtail and extinguish the interest of parishioners in church doings. Under the old plan, from half a dozen to ten full-grown players, in addition to the numerous more or less grown-up singers, were officially occupied with the Sunday routine, and concerned in trying their best to make it an artistic outcome of the combined musical taste of the congregation. With a musical executive limited, as it mostly is limited now, to the parson’s