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The Girl on the Boat - Penn State University

The Girl on the Boat - Penn State University

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“Ah, well, it’s seven years ago. You would have had<br />

to send it to <strong>the</strong> wash anyhow by this time. But d<strong>on</strong>’t<br />

let us brood <strong>on</strong> <strong>the</strong> past. Let us put our heads toge<strong>the</strong>r<br />

and think how we can get you out of this terrible situati<strong>on</strong>.”<br />

“I d<strong>on</strong>’t want to get out of it. I c<strong>on</strong>fidently expect to<br />

be <strong>the</strong> hit of <strong>the</strong> evening.”<br />

“<str<strong>on</strong>g>The</str<strong>on</strong>g> hit of <strong>the</strong> evening! You! Singing!”<br />

“I’m not going to sing. I’m going to do that imitati<strong>on</strong><br />

of Frank Tinney which I did at <strong>the</strong> Trinity smoker. You<br />

haven’t forgotten that? You were at <strong>the</strong> piano taking<br />

<strong>the</strong> part of <strong>the</strong> c<strong>on</strong>ductor of <strong>the</strong> orchestra. What a riot<br />

I was—we were! I say, Eustace, old man, I suppose you<br />

d<strong>on</strong>’t feel well enough to come up now and take your<br />

old part? You could do it without a rehearsal. You remember<br />

how it went …. ‘Hullo, Ernest!’ ‘Hullo, Frank!’<br />

Why not come al<strong>on</strong>g?”<br />

“<str<strong>on</strong>g>The</str<strong>on</strong>g> <strong>on</strong>ly piano I will ever sit at will be <strong>on</strong>e firmly fixed<br />

<strong>on</strong> a floor that does not heave and wobble under me.”<br />

“N<strong>on</strong>sense! <str<strong>on</strong>g>The</str<strong>on</strong>g> boat’s as steady as a rock now. <str<strong>on</strong>g>The</str<strong>on</strong>g><br />

sea’s like a mill-p<strong>on</strong>d.”<br />

P. G. Wodehouse<br />

65<br />

“Never<strong>the</strong>less, thanking you for your suggesti<strong>on</strong>, no!”<br />

“Oh, well, <strong>the</strong>n I shall have to get <strong>on</strong> as best I can<br />

with that fellow Mortimer. We’ve been rehearsing all<br />

<strong>the</strong> afterno<strong>on</strong>, and he seems to have <strong>the</strong> hang of <strong>the</strong><br />

thing. But he w<strong>on</strong>’t be really right. He has no pep, no<br />

vim. Still, if you w<strong>on</strong>’t … well, I think I’ll be getting<br />

al<strong>on</strong>g to his state-room. I told him I would look in for<br />

a last rehearsal.”<br />

<str<strong>on</strong>g>The</str<strong>on</strong>g> door closed behind Sam, and Eustace Hignett,<br />

lying <strong>on</strong> his back, gave himself up to melancholy meditati<strong>on</strong>.<br />

He was deeply disturbed by his cousin’s sad<br />

story. He knew what it meant being engaged to<br />

Wilhelmina Bennett. It was like being taken aloft in a<br />

ballo<strong>on</strong> and dropped with a thud <strong>on</strong> <strong>the</strong> rocks.<br />

His reflecti<strong>on</strong>s were broken by <strong>the</strong> abrupt opening<br />

of <strong>the</strong> door. Sam rushed in. Eustace peered anxiously<br />

out of his berth. <str<strong>on</strong>g>The</str<strong>on</strong>g>re was too much burnt cork <strong>on</strong> his<br />

cousin’s face to allow of any real registering of emoti<strong>on</strong>,<br />

but he could tell from his manner that all was not<br />

well.<br />

“What’s <strong>the</strong> matter?”

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