A Connecticut Yankee in King Arthur's Court, Part 2. by Mark Twain


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The Project Gutenberg EBook of A Connecticut Yankee in King Arthur's
Court, Part 2., by Mark Twain (Samuel Clemens)

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.net


Title: A Connecticut Yankee in King Arthur's Court, Part 2.

Author: Mark Twain (Samuel Clemens)

Release Date: July 6, 2004 [EBook #7243]

Language: English

Character set encoding: ASCII

*** START OF THIS PROJECT GUTENBERG EBOOK CONNECTICUT YANKEE ***




Produced by David Widger





A CONNECTICUT YANKEE IN KING ARTHUR'S COURT

by

MARK TWAIN
(Samuel L. Clemens)

Part 2.



CHAPTER VII

MERLIN'S TOWER

Inasmuch as I was now the second personage in the Kingdom, as far
as political power and authority were concerned, much was made
of me. My raiment was of silks and velvets and cloth of gold,
and by consequence was very showy, also uncomfortable. But habit
would soon reconcile me to my clothes; I was aware of that. I was
given the choicest suite of apartments in the castle, after
the king's. They were aglow with loud-colored silken hangings,
but the stone floors had nothing but rushes on them for a carpet,
and they were misfit rushes at that, being not all of one breed.
As for conveniences, properly speaking, there weren't any. I mean
_little_ conveniences; it is the little conveniences that make
the real comfort of life. The big oaken chairs, graced with rude
carvings, were well enough, but that was the stopping place.
There was no soap, no matches, no looking-glass--except a metal
one, about as powerful as a pail of water. And not a chromo.
I had been used to chromos for years, and I saw now that without
my suspecting it a passion for art had got worked into the fabric
of my being, and was become a part of me. It made me homesick
to look around over this proud and gaudy but heartless barrenness
and remember that in our house in East Hartford, all unpretending
as it was, you couldn't go into a room but you would find an
insurance-chromo, or at least a three-color God-Bless-Our-Home
over the door; and in the parlor we had nine. But here, even in
my grand room of state, there wasn't anything in the nature of
a picture except a thing the size of a bedquilt, which was either
woven or knitted (it had darned places in it), and nothing in it
was the right color or the right shape; and as for proportions,
even Raphael himself couldn't have botched them more formidably,
after all his practice on those nightmares they call his "celebrated
Hampton Court cartoons." Raphael was a bird. We had several
of his chromos; one was his "Miraculous Draught of Fishes," where
he puts in a miracle of his own--puts three men into a canoe which
wouldn't have held a dog without upsetting. I always admired
to study R.'s art, it was so fresh and unconventional.

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