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fill, shoot straight ahead, or flirt suddenly around a corner, and make
the oar stay in those insignificant notches, is a problem to me and a
never diminishing matter of interest. I am afraid I study the
gondolier's marvelous skill more than I do the sculptured palaces we
glide among. He cuts a corner so closely, now and then, or misses
another gondola by such an imperceptible hair-breadth that I feel myself
"scrooching," as the children say, just as one does when a buggy wheel
grazes his elbow. But he makes all his calculations with the nicest
precision, and goes darting in and out among a Broadway confusion of busy
craft with the easy confidence of the educated hackman. He never makes a
mistake.
Sometimes we go flying down the great canals at such a gait that we can
get only the merest glimpses into front doors, and again, in obscure
alleys in the suburbs, we put on a solemnity suited to the silence, the
mildew, the stagnant waters, the clinging weeds, the deserted houses and
the general lifelessness of the place, and move to the spirit of grave
meditation.
The gondolier is a picturesque rascal for all he wears no satin harness,
no plumed bonnet, no silken tights. His attitude is stately; he is lithe
and supple; all his movements are full of grace. When his long canoe,
and his fine figure, towering from its high perch on the stern, are cut
against the evening sky, they make a picture that is very novel and
striking to a foreign eye.
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