4.9 • 686 Ratings
🗓️ 25 July 2020
⏱️ 44 minutes
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0:00.0 | Everybody dies, don't they? |
0:10.5 | Everybody come back, isn't that so? |
0:14.4 | You tried to get into the locked drawer today, didn't you? |
0:17.4 | How do the dead come back, mother? |
0:19.9 | What's the secret? |
0:21.9 | Olive onions. |
0:24.0 | The Beckoning Fair One, Part 5. |
0:27.7 | Even more curious than the commonplace dripping of an ordinary water tap should have tallied so closely with an actually existing air was another result it had, namely that it awakened or seemed |
0:40.2 | to awaken in Oloron, an abnormal sensitiveness to other noise of the old house. It has been |
0:46.7 | remarked that the silence obtains its fullest and most impressive quality when it is broken |
0:52.2 | by some minute sound. And, truth to tell, the place was never |
0:57.8 | still. Perhaps the mildness of the spring air operated on its torpid old timbers. Perhaps Oleron's |
1:05.2 | fires caused it to stretch its own anatomy, and certainly a whole world of insect life bored and burrowed in its borks |
1:13.0 | and joists. At any rate, Oleron had only to sit quiet in his chair and to wait for a minute |
1:19.3 | or two in order to become aware of such a change in the auditory scale as comes upon a man |
1:24.5 | who, conceiving the midsummer Woods to be motionless and still, |
1:28.5 | all at once find his ear sharpened to the crepitation of a myriad insects. |
1:35.3 | And he smiled to think of man's arbitrary distinction between that which has life and that which has not. |
1:42.9 | Here, quite apart from such recognizable sounds as the scampering of mice, the falling of |
1:48.0 | plaster behind its panelling, and the popping of purses or coffins from his fire, was a whole |
1:54.0 | house talking to him had he but known its language. |
1:57.0 | Beam settled with a tired sigh into the old mortices, creatures ticked in the walls, joints |
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