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                <title>The Dial, Volume I&#8212;1889</title>
                <title type="dialv1-sensations"/>
                <editor>Lorraine Janzen Kooistra</editor>
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                    <date>2019</date>
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                        <editor>Charles Ricketts</editor>
                        <editor>Charles Shannon</editor>
                        <author>Charles Ricketts</author>
                        <title>Sensations</title>
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                            <publisher>Charles Shannon in The Vale</publisher>
                            <pubPlace>London W.C.</pubPlace>
                            <date>1889</date>
                            <biblScope> Ricketts, Charles. "Sensations." <emph rend="italic">The
                                    Dial,</emph> vol. 1, 1889, pp. 34-36. <emph rend="italic">Dial
                                    Digital Edition,</emph> edited by Lorraine Janzen Kooistra,
                                2018-2020. <emph rend="italic">Yellow Nineties 2.0,</emph> Ryerson University Centre for
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                    mean verbal and visual printed material, including non-referential physical
                    elements such as bindings, page layouts, and ornaments. We view any text as the
                    outcome of collaborative processes that have specific manifestations at precise
                    historical moments. The Yellow Nineties Online publishes facsimile editions of a
                    select collection of fin-de- siècle aesthetic periodicals, together with
                    paratexts of production and reception such as cover designs, advertising
                    materials, and reviews. This historical material is enhanced by two kinds of
                    peer-reviewed scholarly commentary: biographies of the periodicals’ contributors
                    and associates; and critical introductions to each title and volume by experts
                    in the field. All scholarly material on the site is vetted by the editor(s) and
                    peer- reviewed by them and/or an international board of advisors. The site as a
                    whole is peer- reviewed by NINES (Networked Infrastructure for
                    Nineteenth-Century Electronic Scholarship). Contributors to the site retain
                    personal copyright in their material. The site is licensed with a Creative
                    Commons Attribution-NonCommercial-ShareAlike 3.0 license. Both primary and
                    secondary materials, including all visual images, are marked up in TEI-
                    (Textual-Encoding Initiative) compliant XML (Extensible Markup Language). To
                    ensure maximum flexibility for users, magazines are available on the site as
                    virtual objects (facsimiles) in FlipBook form; in HTML for online reading; in
                    PDF for downloading and collecting; and in XML for those who wish to review
                    and/or adapt our tag sets. In order to make ornamental devices, such as initial
                    letters, head- and tail- pieces, searchable, we have developed a Database of
                    Ornament in OMEKA, and linked it to the relevant pages of each magazine edition.
                    As a dynamic structure, a scholarly website is always in process; Phase One of
                    The Yellow Nineties Online (2010-2015) is completed and Phase Two (2016-2021) is
                    underway.</p>
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                            introductions), "Visual Art" (images, bio images), Historiography
                            (bios),"Bibliography" (intros, crit, bios, anything with a bibliography
                            attached), "Drama," "Ephemera," "Translation," "Religion," "Travel
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                <!-- EDIT^^ -->
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                <!-- EDIT^^ -->
                <head>
                    <title level="a">SENSATIONS.</title>
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                <!-- EDIT^^ -->
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        			<ref target="#Sensations">The Database of Ornament</ref>
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        	</div>

            <div type="prose">
                <p>Little by little the air grew thick <lb/> and oily; the sky, colour of oil, <lb/>
                    was strangely streaked with slowly <lb/> lengthening shafts of smoke, rising
                    <lb/> from the whitish houses. The <lb/> window panes, instead of being cool
                    <lb/> and soothing, gave a harsh shock, <lb/> almost painful, suggesting a
                    shudder. <lb/> The traffic on the stony road passed <lb/> with a sound distinct
                    without blare, <lb/> almost veiled. The morning was un- <lb/> pleasant, and a
                    sudden forked flash <lb/> was not altogether unexpected. Seen <lb/> clearly, it
                    seemed to descend slowly <lb/> as if selecting a comfortable pinnacle <lb/> on
                    which to alight.—I must close the <lb/> window.—The rictus of the thunder was
                    decidedly nasty;<lb/> the shudder suggested itself again, and the window was
                    <lb/> closed. </p>

                <p>The room danced. Each repetition of vivid light gave <lb/> almost the impression
                    of a blow; the eye, puzzled, seemed <lb/> to see from the back of the
                    head—flash! flash!—blue, <lb/> lilac, rose—flash! flash! Then other sensations
                    rushed <lb/> upon me, the consciousness of an awful tearing, <lb/> crackling,
                    and rolling round; something rolling wantonly<lb/> in the glory of its strength,
                    falling in key like a <lb/> phrase of Bach; and still that awful sensation of
                    dancing <lb/> light—flash! flash! destroying all sense of touch, of space; <lb/>
                    all, save that of hearing, concentrated into one awful sense <lb/> of sight. A
                    friend in the room, naturally red-faced and <lb/> florid, looked a pale grey
                    almost like cigar ashes, while blue, <lb/> rose, danced about the room,
                    seemingly for minutes. While <lb/> still realising my bodily presence, I felt
                    myself rooted to the <lb/> floor, my lips cold; my brain, flashing like the
                    lightning, <lb/> was becoming frenzied with the idea that my friend was as <lb/>
                    frightened as myself. I felt enraged, but powerless. I was <lb/> panic-stricken. </p>

                <p>Thank goodness it was over; what had happened? </p>

                <p>A second endless flash lit up the room as I closed my</p>

                <fw type="footer"><fw type="pageNumLeft"/>34</fw>

                <p>eyes, conscious of each throb repeated at the back of my skull with the<lb/>
                    distinctness of a telegraph machine under nimble fingers. Then the roar<lb/> of
                    the thunder simultaneously, less awful, happily, than the dancing<lb/>
                    light.</p>

                <p>The rain at last fallen, suddenly poured down the sloping street. I<lb/> talked
                    rapidly, my thoughts were galloping indiscriminately in the future<lb/> and the
                    past. The lightning was in the room. Or cramped in the<lb/> corner of a railway
                    carriage, the train was bearing me, three years ago,<lb/> through the black
                    night, to the certain deathbed of a friend (if it were<lb/> not already too
                    late), while the night was made awful by a thunderstorm<lb/> that swept across
                    England. My thoughts still rushed wildly; dreading<lb/> the next flash, I
                    chattered on in an altered voice. A few doors in the<lb/> house slammed, feet
                    ran up and down. The lightning flashed again as<lb/> I closed my eyes. Somebody
                    knocked at the door—Monsieur, vous<lb/> est-t-il arrivé quelque chose? la maison
                    a été frappée.</p>

                <p><emph rend="indent4"/>ET CUM SPIRITU TUO.</p>

                <p>I enter the church for Solemn High Mass. I know I am<lb/> pacing like a priest in
                    procession and feel an irresistible desire to-'<lb/> place my finger-tips
                    together. An old Irishman, late of the Horse<lb/> Artillery, takes the red
                    tickets, shows us to places, performs a slovenly<lb/> genuflexion and returns to
                    his station midway in the nave. I am<lb/> trying to place my hat where I shall
                    not compel some one else, or be<lb/> myself obliged, to kneel upon it; for the
                    church will be full, Father<lb/> Somebody O.J. is going to preach. The air is
                    oppressive from the earlier<lb/> celebrations; the chattering girls and craped
                    old women dotted with<lb/> tottering octogenarians who have to bend both knees
                    if at all, smell of<lb/> vile soap and hidden dirt. The devout child at my side
                    is ruminating<lb/> Latin sentences which she approximates to the sound of
                    English words.<lb/> Two overfed young Englishwomen, vilely dressed, are planted
                    just in<lb/> front; one wears crimson plush, the other has constantly clipped
                    the<lb/> straggling hairs upon the nuque till now she has a festoon of
                    bristles<lb/> from ear to ear. The screen of light woodwork is overtrailed with
                    ivy,<lb/> and fairy lamps hang in each arcade. The weeping of the fiddles,
                    the<lb/> moans of the organ, warm the church. Without warning there is a
                    loud<lb/> Oh! oh! oh! .... on my right. I turn suddenly; the sight
                    transfixes<lb/> me; it is a Saint Jerome drawn all of wriggles, stretching his
                    hands<lb/> towards the altar, with his plaintive cries, as the procession enters
                    the<lb/> church; his body is gradually collapsing under the progress of a
                    paralytic<lb/> fit. We rise and the priests begin to murmur while a small
                    crowd<lb/> around the inert sufferer under the cramped seats are baring his
                    chest<lb/> and slapping the palms of his hands. He is carried away, one man
                    at<lb/> his knees, two at his shoulders; his arms are lifeless, his beard
                    trails<lb/> upon his chest where the shirt has been rudely torn open; only his
                    eyes<lb/> are full of strength, starting as though he had been strangled,
                    wondering<lb/> if it is purgatory or hell. Sally smiles, to show me she is not
                    frightened.</p>

                <fw type="footer"><fw type="pageNumRight"/>35</fw>


                <p>Breakfast delayed has unstrung my nerves; the drowsy smell of spiced<lb/>
                    cigarettes; it all passes like a dream where white and green and gold<lb/>
                    things dance a religious redowa before a flower-decked altar. The<lb/> devout
                    child tips out the contents of a purse made of a shell with a<lb/> clatter. We
                    pace, pace, pace; we worship the Saviour, the life-giving<lb/> cross; we press
                    unworthy lips to the feet bleeding scarlet, not less<lb/> blessed that they are
                    preposterously out of drawing and skewered with<lb/> a gold nail.</p>

                <fw type="footer"><fw type="pageNumLeft"/>36</fw>

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