Bribble’s rendering of the service —he had the sort of voice that brings out things—and was still teeming with ideas about it when finally a wild outburst from the organ made it clear that, whatever snivelling there might be down in the chancel, that excellent wind instrument was, in its Mendelssohnian way, as glad as ever it could be. All through the love music of the second act, until the hunting horns of Mark break in upon the dream, Ann Veronica’s consciousness was flooded with the perception of a man close beside her, preparing some new thing to say to her, preparing, perhaps, to touch her, stretching hungry invisible tentacles about her. ‘C’est ridicule.
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