“Then， do you remember our pleasant walks to Enf？ield， and Potter’s Bar， and Waltham， when we had a holiday—holidays， and all other fun， are gone now we are rich—and the little hand-basket in which I used to deposit our day’s fare of savory cold lamb and salad—and how you would pry about at noontide for some decent house， where we might go in and produce our store—only paying for the ale that you must call for—and speculate upon the looks of the landlady， and whether she was likely to allow us a tablecloth—and wish for such another honest hostess as Izaak Walton has described many a one on the pleasant blanks of the Lea， when he went a-f？ishing—anti sometimes they would prove obliging enough， and sometimes they would look grudgingly upon us—but we had cheerful looks still for one another， and would eat our plain food savorily， scarcely grudging Piscator his Trout Hall？ Now—when we go out a day’s pleasuring， which is seldom， moreover， we ride part of the way—and go into a f？ine inn， and order the best of dinners， never debating the expense—which， after all， never has half the relish of those chance country snaps， when we were at the mercy of uncertain usage and a precarious welcome.
“You are too proud to see a play anywhere now but in the pit. Do you remember where it was we used to sit， when we saw the Battle of Hexham， and the Surrender of Calais， and Bannister and Mrs. Bland in the Children in the Wood—when we squeezed out our shillings apiece to sit three or four times in a season in the one-shilling gallery—where you felt all the time that you ought not to have brought me—and more strongly I felt obligation to you for having brought me—and the pleasure was the better for a little shame—and when the curtain drew up， what cared we for our place in the house， or what mattered it where we were sitting， when our thoughts were with Rosalind in Arden， or with Viola at the Court of Ilyria. You used to say that the gallery was the best place of all for enjoying a play socially—that the relish of such exhibitions must be in proportion to the infrequency of going—that the company we met there， not being in general readers of plays， were obliged to attend the more， and did attend， to what was going on， on the stage—because a word lost would have been a chasm， which it was impossible for them to f？ill up. With such ref？lections we consoled our pride then—and I appeal to you whether， as a woman， I met generally with less attention and accommodation than I have done since in more expensive situations in the house？ The getting in indeed， and the crowding up those inconvenient staircases was bad enough—but there was still a law of civility to woman recognized to quite as great an extent as we ever found in the other passages—and how a little diff？iculty overcome heightened the snug seat and the play， afterwards！ Now we can only pay our money and walk in. You cannot see， you say， in the galleries now. I am sure we saw， and heard too， well enough then—but sight， and all， I think， is gone with our poverty.”
我对古瓷器的偏爱甚至有些女性化。每次去大户人家造访，我都要求先看看瓷器架，然后才是画廊。我改变不了这个欣赏的先后顺序，只能说人人都有这样或那样的偏好，由于年代久远不可能记得哪些是后天形成的。我还记得跟人看的第一出戏、第一次展览，但真不记得这些瓷坛瓷碟是何时进入我的思索空间的。
那些怪异的天蓝色的小巧形体没有规律可以琢磨，我当时就不曾反感，现在又怎么会反感呢？在常人眼中，他们在那个没有透视的世界——一个瓷茶杯上飘浮不定，不受任何局限。
