But this is beside the mark, and I must not allow myself to wander off. I am too apt to be discursive. When I had to write leading articles for our manuscript periodical, Jack used to laugh at me, and say, "If it wasn't for Eleanor's disentangling your sentences, you'd put parenthesis within parenthesis till, when you got yourself into the very inside one, you'd be as puzzled as a pig in a labyrinth, and not know how to get back to where you started from." And I remember Clement--who generally disputed a point, if possible--said, "How do you know she wouldn't get back, if you let her work out each train of thought in peace? The curt, clean-cut French style may suit some people, whose brains won't stretch far without getting tired; but others may have more sympathy with a Semitic cast of mind."

This excuse pleased me very much. It was pleasanter to believe that my style was Semitic, than to allow, with Jack, that it tended towards that of Mrs. Nickleby. Though at that time my notion of the meaning of the word Semitic was not so precise as it might have been.

Six to Sixteen — Part 4

Our home is a beautiful place in the summer, and in much of spring and autumn. In winter I fancy it would look dreary to the eyes of strangers. At night the wind comes over the top of Deadmanstone Hill, and down the valley, whirls the last leaves off the old trees by the church, and sends them dancing over the closely-ranged gravestones. Then up through the village it comes, and moans round our house all night, like some miserable being wanting to get in. The boys say it does get in, more than enough, especially into their bedrooms; but then boys always grumble. It certainly makes strange noises here. I have more than once opened the back-door late in the evening, because I fancied that one of the dogs had been hurt, and was groaning outside.

Six to Sixteen — Part 4

That stormy winter after the Ladybrig murder, our fancies and the wind together played Eleanor and me sad tricks. When once we began to listen we seemed to hear a whole tragedy going on close outside. We could distinguish footsteps and voices through the bluster, and then a struggle in the shrubbery, and a _thud_, and a groan, and then a roar of wind, half drowning the sound of flying footsteps--and then an awful pause, and at last faint groaning, and a bump, as of some poor wounded body falling against the house. At this point we were wont to summon courage and rush out, with the kitchen poker and a candle shapeless with tallow shrouds from the strong draughts. We never could see anything; partly, perhaps, because the candle was always blown out; and when we stood outside it became evident that what we had heard was only the wind, and a bough of the old acacia-tree, which beat at intervals upon the house.

Six to Sixteen — Part 4