Adventures and Enthusiasms — Background and Themes

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Lucas, E. V. (Edward Verrall), 1868-1938 Project Gutenberg 2010 Not confirmed
Essays Readers of public-domain and historical texts
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Edition facts

Words 68,686
Reading time 299 min
Text sections 8

The catalog record for Adventures and Enthusiasms — Background and Themes provides practical reading context through 68,686 words, 4 hr 59 min estimated reading time, and 8 detected text sections.

The text analysis averages about 22.9 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Essays,” connecting these edition facts with the source record’s subject description.

E. V. Lucas's 1920 essay collection blends light observation with antiquarian curiosity, moving from a moralizing Georgian beauty manual to the social range of illustrator John Leech, all in a conversational, digressive style.
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And did not crave an extra blanket, Nor extra pillows for her head; She seemed to like the spare-room bed. She brought her own self-filling pen, And always went to bed at ten. She left no little things behind, But stories new and gossip kind.

Those verses seem to me to cover the ground, although one might want a change here and there. For example, would a little spice of malice in her anecdotage be so undesirable? And a little less meekness in the lady, who comes out rather as a poor relation, might do no harm. They also might emphasize the point that she was never indisposed, for it is an unpardonable offence in a guest to be ill; that she spent a great deal of time in writing letters (which all hostesses like their guests to do); and that on returning home she sat down and composed a "roofer" in the warmest possible terms. They might touch lightly but feelingly on her readiness not only to eat what was offered, and not to desire luxuries, but to refuse the rarities, such as, in recent times, bacon and butter and sugar. ("Oh, no, I never take butter!"--what grateful words to fall on a hostess's ear!) One would not, however, have one's guest a vegetarian, because that way distraction lies. If vegetarians ate vegetables all might be well, but they don't; they want made dishes of an exotic nature, or hostesses think they do, and then the cook gives notice. The verses might also refer to the perfect guest's easy flow of conversation when neighbouring bores call; and last--but how far from least!--they might note the genuine ring in her voice when she volunteers to do a little weeding.

But the lines, as far as they go, are comprehensive; their defect is that they deal with but one type--a woman visiting in the country. There is also to be considered the woman from the country visiting in town, who, to be perfect, must not insist too strongly on her own choice of play, must not pine inordinately for dances, and must not bring more frocks than her hostess can keep pace with. Mention of the hostess reminds me that it is by a hostess that the verses obviously were written, and that, as such, they leave apertures which the arrows of censure might penetrate if we were considering the perfect hostess too. For how could the poet, for all her epigrammatic conciseness, ever have given her exemplary friend the opportunity of drinking lukewarm tea? In any catalogue of the perfect hostess's virtues a very high place must be reserved for that watchfulness over the teapot and the bell that prevents such a possibility. And the perfect hostess is careful, by providing extra blankets, to make craving for more unnecessary. She also places by the bed biscuits, matches, and a volume either of O. Henry or "Saki," or both.

If you entered the Tuileries any fine morning (and surely the sun always shines in Paris, does it not?) by the gate opposite Fremiet's golden arrogant Joan of Arc, and turned into the gardens opposite the white Gambetta memorial, you were certain to see a little knot of people gathered around an old gentleman in a black slouch hat, with a deeply furrowed melancholy face, a heavy moustache, and the big comfortable slippers of one who (like so many a wise Frenchman) prefers comfort to conventionality or the outraged opinion of others. All about him, pecking among the grass of the little enclosed lawns, or in the gravel path at his feet, or fluttering up to his hands and down again, were sparrows--_les moineaux_: for this was M. Pol, the famous "_Charmeur d'oiseaux_."

There is a certain attraction about Notre Dame, its gloom, its purple glass and its history; Sainte Chapelle is not without a polished beauty; the Louvre contains a picture or two and a statue or two that demand to be seen and seen again; but this old retired civil servant with the magic power over the _gamins_ of the Parisian roadways and chimney-stacks was far more magnetic to many a tourist. Those other of Baedeker's lions were permanent and would endure, but a frowsy furrowed old man in scandalous footwear who not only charmed the sparrows but quite clearly had confidential understandings with each was a marvel indeed and not to be missed. Notre Dame's twin towers on each side of that miracle of a rose window would be there next time; but would M. Pol? That is how we reasoned.

We did well to see him as often as we could, for he is now no more; he died in 1918.

E. V. Lucas's Adventures and Enthusiasms opens with a study of the perfect guest, but quickly veers into a detailed examination of a rare 18th-century conduct book called The Toilet. Lucas lingers over its ingenious conceit: a lady's cosmetic case whose contents—rouge, lip salve, eye water—are revealed to be moral qualities such as Modesty and Benevolence. The essayist's voice is that of a delighted discoverer, sharing the book's charm with a confiding tone: 'I wish you could see it.' This blend of bibliophilic enthusiasm and gentle irony sets the pattern for the collection.

The Curious Art of the Digression

Lucas rarely stays on a single track. In 'The Perfect Guest,' he begins with general reflections on hospitality, then devotes most of the essay to The Toilet, a volume he has clearly handled. He describes its illustrations as 'very charmingly designed as though by a Chippendale,' and quotes its preface at length. The shift from abstract advice to concrete artifact is typical: Lucas prefers the particular over the general. He does not argue a thesis; he shares a find. The essay ends not with a conclusion about guests, but with a wry note on King George IV's failure to use the 'Eye Water' of benevolence, citing a poem by Moore. The structure mirrors a rambling conversation.

A Voice of Measured Enthusiasm

Lucas's narrative persona is that of a cultivated, amused observer. He uses rhetorical questions ('Fancy the shock to the frivolous and vain!') and exclamations that imply a shared sensibility. His vocabulary is precise but not ostentatious: 'ingeniously or ingratiatingly made' captures his tone. He is capable of dry humor, as when he notes that the 'Mixture giving Sweetness to the Voice' is Mildness and Truth, and then asks: 'where is the young woman who any longer wants mildness?' The pace is unhurried, allowing space for descriptive detail—the flowered pot, the 'Late King's Eye Water'—before delivering the punchline. This leisurely rhythm gives the essays a reflective, almost meditative quality.

From Georgian Morals to Victorian Caricature

The second excerpt, 'Thackeray's Schoolfellow,' shifts register entirely. Lucas here makes a bold claim: that John Leech is 'the most representative artist that England has produced.' The sentence is immediately qualified—'since such a claim as that would submerge us in controversial waters'—showing Lucas's awareness of hyperbole. The essay moves from the 18th-century world of The Toilet to the 19th-century world of Punch. Lucas's method remains the same: he seizes on a figure (Leech) and uses him to explore a broader cultural moment. The contrast in subject matter—from a moralizing beauty manual to a comic illustrator—demonstrates the range of Lucas's enthusiasms, but his voice stays consistent: curious, appreciative, and slightly arch.

Readers approaching Adventures and Enthusiasms should expect neither a sustained argument nor a linear narrative. Lucas's essays are best taken singly, as one might sample a box of chocolates. The pleasure lies in the detours: the forgotten book, the half-remembered anecdote, the sudden shift from the trivial to the telling. Let the author's leisurely pace guide you, and watch for the moments when his enthusiasm for a curious detail overtakes the nominal topic.

That rainy afternoon, Adventures and Enthusiasms drifted from Georgian beauty tips to John Leech’s bustling street scenes, each digression a warm room off a hallway. I closed it feeling that curiosity itself was the plot. Later, flipping through New Brooms — Key Ideas to Explore, I recognized that same unhurried pleasure in simply following a thought, broom in hand, brushing corners clean.

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