Opposite the gallows was an open gallery, or scaffolding, like the stand at a racecourse, which, on state occasions, was crowded with spectators. It was a bizarre sight, a miniature manor, replicated fully, walled in gray limestone. They don’t catch on to discursive interests, you see, because they are more serious, they are concentrated on the central reality of life, and a little impatient of its—its outer aspects.
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