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                <title>Yellow Nineties 2.0</title>
                <title>The Green Sheaf, No. 5</title>
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                <editor>Lorraine Janzen Kooistra</editor>
                
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                    <date>2022</date>
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                    <addrLine>Canada</addrLine>
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                        <editor>Pamela Colman Smith</editor>
                        <author>Mary Brown</author>
                        <title>The Lament of the Lyceum Rat.</title>
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                            <publisher>Pamela Colman Smith</publisher>
                            <pubPlace>London</pubPlace>
                            <date>1903</date>
                            <biblScope>Brown, Mary. “The Lament of the Lyceum Rat,” illustrated by Pamela Colman Smith. <emph rend="italics">The
                                Green Sheaf</emph>, No. 5, 1903, pp. 8-10.
                                <emph rend="italics">Green Sheaf Digital Edition</emph>,
                                edited by Lorraine Janzen Kooistra, <emph rend="italics">Yellow Nineties 2.0</emph>,  
                                Toronto Metropolitan University Centre for Digital Humanities, 2022. https://1890s.ca/GSV5-brown-lyceum/
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                    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-
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                    up in TEI- (Textual-Encoding Initiative) compliant XML (Extensible Markup
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                    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 (2016-2022) is underway. </p>
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                    <title level="a"><emph rend="bold"><emph rend="indent3">THE LAMENT OF A LYCEUM RAT.</emph></emph></title>
                </head>
              
         
                <p>“Yes,” said the last rat, “they say that rats leave the sinking ship; so <lb/>
                    they do&#8212;another trait in common with humanity. Why? Because <lb/>
                    both men and rodents must live! For though the necessity for our <lb/>
                    existence does not seem obvious to men, it is so to a far higher power, <lb/>
                    and therefore we live and seek the means withal.</p>
                
                <p><emph rend="indent"></emph>“I am the last rat left here. I had hoped to find shelter in the <lb/>
                    Lyceum to the end, but,” he said abruptly, “I am starving.” He leapt <lb/>
                    to the edge of the dress circle where I sat gloomily gazing at the deserted <lb/>
                    stage.</p>
                
                <p><emph rend="indent"></emph>“Ravenous, I roamed over the house just before dawn. All I could <lb/>
                    find to gnaw was a fragment of hare’s-foot and an old grease rag which <lb/>
                    some of you people had left on departing. I crept down again cold and <lb/>
                    weary, when suddenly the old familiar staircase seemed thronged with <lb/>
                    crowds of men and women and little children all hurrying away. I <lb/>
                    crouched in fear, but they did not touch me nor heed me in any way.</p>
                
                <p><emph rend="indent"></emph>“Brave men in armour, priests, lovers, fair girls, witches, nuns, <lb/>
                    dancers&#8212;a whole rabble of beings from every page of history and <lb/>
                    romance&#8212;they rushed past me like the eddies of a strong tide, flowing <lb/>
                    rapidly away and out into the night. Then as they left me, scared and</p>
                     
                <fw type="footer"><fw type="pagNumLeft">8</fw></fw>
                
                <fw type="runningHead">
                    <fw type="head">The Green Sheaf</fw> 
                </fw>    
                
                <p>trembling, I raced across the stage that was filled with a light subdued but <lb/>
                    intensely clear, and once more I looked upon Hamlet, Shylock with <lb/>
                    sweet Portia, Mephistopheles with Margaret and the ill-fated Faust, The <lb/>
                    Vicar with the Squire and lovely Olivia, incomparable Beatrice and <lb/>
                    Benedick, the Martyr King with his Queen and Cromwell, Macbeth, <lb/>
                    Napoleon, the bloodthirsty Louis XI., the tortured Matthias, Robespierre, <lb/>
                    Richelieu, and countless others. And the old house glowed and breathed</p>
                
                <fw type="footer"><fw type="pagNumLeft">9</fw></fw>
                
                <fw type="runningHead">
                    <fw type="head">The Green Sheaf</fw> 
                </fw>    
                
                <p>again in their gracious presence, but where as all that motley rout that had <lb/>
                    fled away bore in their eyes a look of expectancy, restlessly trying to read <lb/>
                    the future, these all seemed rapt and calm and full of peace.</p>
                
                <p><emph rend="indent"></emph>“Suddenly the shapes all bowed down, swaying like trees before the <lb/>
                    autumn winds, and a tall form appeared before them&#8212;Dante! They made <lb/>
                    way, fell back and left him&#8212;left him standing alone. Then he spoke: <lb/>
                    ‘May I not join you, O my comrades?’ And he stretched out his <lb/>
                    hands toward them in greeting.</p>
                
                <p><emph rend="indent"></emph>“But they bowed again and answered with mournful voices, ‘No, <lb/>
                    Master, you have fresh fields to fight&#8212;fresh victories to gain. Here only <lb/>
                    memories can live, and like memories we must cling here until your magic <lb/>
                    hand shall beckon us to life again. You alone can call us back. Go, <lb/>
                    Master! Hope shall not leave you, but will lead you forth that you may <lb/>
                    give to the world yet another creation. Bid Dante live at your bidding, <lb/>
                    even as we lived; human that mankind may love ; divine that souls may <lb/>
                    be lifted nearer to Heaven.’</p>
                
                <p><emph rend="indent"></emph>“Then the Master turned and went, Courage and Hope beside him, <lb/>
                    though Sorrow fell weeping at his feet. &#8230; This,” said the last<lb/>
                    rat, “is the vision I saw last night. I leave my home and its dear<lb/>
                    memories, for even I must live my life.” A ray of sunshine strayed in <lb/>
                    and he vanished seeking the darkness, while sadly I wandered out into <lb/>
                    the light.</p>
                
                <p><emph rend="indent6"><emph rend="italic"><ref target="#MBR">Mary Brown</ref>.</emph></emph></p>
                
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