Nearly everybody who goes on holiday nowadays takes a camera, in the pleasurable expectation of obtaining a graphic record of the place he goes to, the people he meets there and the things they all do. Modern cameras are extremely easy to use; and yet the holiday snapshot album is only too often, for all but its possessor, a weariness of the flesh. "That's that lovely French girl who had a cottage there - look, you can just see her behind the newspaper". "This is the view from my window - the mountains are over here, but they don't come out very well in this print". "Here's the quaint little church - pity I couldn't get the spire in!" We all experience that sort of thing, and the holiday snapshot whose merits are not purely intrinsic is rare. Mr. Edgar Ward is himself one of the most distinguished of landscape photographers, and in this talk he will give some advice on how to take holiday pictures that will be something better than mere souvenirs. Next week he will turn his attention to the motorist who wants to obtain a worthy record of the country that he passes through, and in the remaining two talks of his series he will deal with 'Development and Printing' and 'Question Times'.
In his talk last Wednesday Mr.
Williamson dealt with ' Childhood.' This evening he passes to the next stage-falling in love. One does not need to be exceptionally widely read to recall dozens of notable passages in literature describing that phenomenon which, like the sunrise, is always happening and is always new. The instant surrender of David Copperfield at the first shake of Dora's curls ; the no less complete conquest of the Chevalier des Trieux when first he saw Manon Lesr-aut in the courtyard of the inn at Amiens : the famous meetings-of Dante and Beatrice, of Ferdinand and Miranda-half the passages that are remembered through the centuries describe the same curious psychological catastrophe that, in all its variety, is simply labelled' falling in love.' And the torturing, unhappy passion of Jude the Obscure, of Bradley Headstone , or of Romola, sticks with a persistent discomfort in the reader's mind.
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