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Updated: May 16, 2025
"And let somebody else take the responsibility with the percentage unless you've also felt it your duty to warn Nott too," said Sleight with a sneer. "You only dare say that to me, Sleight," said Renshaw quietly, "because you have in that drawer an equal evidence of my folly and my confidence; but if you are wise you will not presume too far on either. Let us see how we stand.
Consider that I've passed out. Let some other man take my hand. Rake down the pot if you like, old man, I leave for Sacramento to-night. Adios." When the door had closed behind him Mr. Sleight summoned his clerk. "Is that petition for grading Pontiac Street ready?" "I've seen the largest property holders, sir; they're only waiting for you to sign first," Mr.
How much better it is to understand it all, to recognise it all, all the impossibilities and the stone wall; not to be reconciled to one of those impossibilities and stone walls if it disgusts you to be reconciled to it; by the way of the most inevitable, logical combinations to reach the most revolting conclusions on the everlasting theme, that even for the stone wall you are yourself somehow to blame, though again it is as clear as day you are not to blame in the least, and therefore grinding your teeth in silent impotence to sink into luxurious inertia, brooding on the fact that there is no one even for you to feel vindictive against, that you have not, and perhaps never will have, an object for your spite, that it is a sleight of hand, a bit of juggling, a card-sharper's trick, that it is simply a mess, no knowing what and no knowing who, but in spite of all these uncertainties and jugglings, still there is an ache in you, and the more you do not know, the worse the ache.
Then, with cheeks stained with thick-coming tears, he recited these also: The days and nights are fashioned for treachery and despite; Yea, they are full of perfidy and knavish craft and sleight. The mirage is their lustre of teeth, and to their eyes The horror of all darkness the kohl that keeps them bright.
Lights were burning brilliantly in counting-rooms and offices, the feverish life of the mercantile city was at its height. With a vague idea of entering into immediate negotiations with Mr. Sleight for the sale of the ship as a direct way out of his present perplexity, he bent his steps towards the financier's office, but paused and turned back before reaching the door.
It offers no additional difficulty to any manifestations, and appears only intended to prevent the scrutineers seeing behind her. A very simple exercise of sleight of hand would enable the gallant Colonel to cut the one ligature that binds the two wrists, when, for instance, he goes into the cabinet with scissors to trim off the ends of the piece of calico in the opening trick.
Renshaw left the ship with the evident determination of some settled purpose. He walked rapidly until he reached the counting-house of Mr. Sleight, when he was at once shown into a private office. In a few moments Mr. Sleight, a brusque but passionless man, joined him. "Well," said Sleight, closing the door carefully. "What news?" "None," said Renshaw bluntly.
"But," said Renshaw, "do you think that would have been fair to Sleight?" "As fair to him as to us. For, don't you see, it wouldn't belong to any of us. It would belong to the friends or the family of the man who lost it." "But there were no heirs," said Renshaw.
Having this day, my horse, my hand, my lance, Guided so well that I obtained the prize, Both by the judgment of the English eyes, And of some sent from that sweet enemy, France; Horsemen my skill in horsemanship advance; Townsfolk my strength; a daintier judge applies His praise to sleight, which from good use doth rise; Some lucky wits impute it but to chance; Others, because of both sides I do take My blood from them, who did excel in this, Think Nature me a man of arms did make.
Moreover, in a theatre we must consider, not the marble of its pavements, not the boards of the stage, nor the columns of the back-scene, nay, nor yet the height of its gables, the splendour of its fretted roofs, the expanse of its tiers of seats; we need not call to mind that this place is sometimes the scene for the foolery of the mime, the dialogue of comedy, the sonorous rant of tragedy, the perilous antics of the rope-walker, the juggler's sleight of hand, the gesticulation of the dancer, with all the tricks of their respective arts that are displayed before the people by other artists.
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