In Kedar’s Tents

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It is in the staging of her comedies that fate shows herself superior to mere human invention. While we, with careful regard to scenery, place our conventional puppets on the stage and bid them play their old old parts in a manner as ancient, she rings up the curtain and starts a tragedy on a scene that has obviously been set by the carpenter for a farce. She deals out the parts with a fine inconsistency, and the jolly-faced little man is cast to play Romeo, while the poetic youth with lantern jaw and an impaired digestion finds no Juliet to match his love. Fate, with that playfulness which some take too seriously or quite amiss, set her queer stage as long ago as 1838 for the comedy of certain lives, and rang up the curtain one dark evening on no fitter scene than the high road from Gateshead to Durham. It was raining hard, and a fresh breeze from the southeast swept a salt rime from the North Sea across a tract of land as bare and bleak as the waters of that grim ocean. A hard, cold land this, where the iron that has filled men’s purses has also entered their souls.