I am not thinking about the Albert Hall Concerts, where the highest in the musical world go time after time, always singing the same songs.
Neither am I thinking of "Monday Pops," and purely classical concerts, to which at least half the audience listens with closed eyes and thoughts somewhere in dreamland. They like to be thought musical; they know they ought to appreciatesuchrenderings ofsuchcompositions; and after all, when they describe "the treat they had! such a perfect touch, my dear! and the execution!!—" no one knows they have never heard a note, so what does their inattention matter. They have been seen there, and that is all they care about.
No, my thoughts take a much lower range.They are intent on only amateur productions, from penny readings upwards, to those superintended by theéliteof the neighborhood, when the seats rise in price to five shillings each.
They are such nice cheery entertainments, so much life, such a great deal of energy about them! You are called on by four separate people to take tickets. In desperation you have to yield at last; paying extra for having your seat reserved, or else you must start half-an-hour beforehand, and scramble in with the crowd. There is generally a series of them too, and you are obliged to go to them all. They are so considerate, these concert-makers, they would not allow you to miss one for worlds.
There is a great deal of novelty and variety about the artists themselves. All the musical members in the neighborhood are routed out, and each is persuaded to contribute to the public pleasure—by the way, there is never very much persuasion needed. It is such a treat to listen to people you know, and whom you have heard perform dozens and dozens of times before in every drawing-room in the place. At least, you know what to expect. You recognize each song,each piece. You wait in suspense until Miss. Brown has passed her high A—always half a tone too flat. You take it as a matter of course that Mr. Black—the first violinist in the place—after tuning up for ten minutes, will break a string directly he begins to play. I should have thought he would be pretty well used to it by now, but he never gets in tune again for the rest of the evening. You would be quite disappointed if Mrs. Green ever concluded her most finished and spirited pianoforte solo on the right chord.
These concerts always begin with a pianoforte solo, and the performers ought to feel very flattered at the way in which they are received. We, the audience, regard them no more than we do the mounted policemen in the Lord Mayor's Show. They are not part of the procession. They are only meant to clear the way and let us know that the concert is going to begin, and then we must leave off our chatter. Naturally, we make the most of our time, and try to get all our talking done at once. In fact, we are so taken up with what we are saying that we actually forget to applaud when the performance is over.
After the introduction in this form, the chief moving spirit of the entertainment comes forward, and, after bowing right and left, stammers out (the chief moving spirit is never a good speaker) that he much regrets that, on account of Mr. Jones, Mr. Smith, and Miss. Blank having been prevented by illness from turning up, he is afraid there will be a little change in the programme. Now as Mr. Jones, Mr. Smith, and Miss. Blank are down for seven things between them there is likely to be a very great change in the programme. Why is it that people never know they cannot come until the last moment, I wonder? Perhaps they think that the more often they disappoint the more they emulate the "stars" in the musical world. Only the force of example, you see. And, after all, what does it matter? The other performers are most kind and sympathetic, and ready to help all they can. They are delighted to sing four times each instead of twice. Selfish people! they have no consideration for the audience, they only think of their own enjoyment!
There is the youth who looks as if he were going to favor us with a sweet treble. Lo, andbehold! he opens his mouth, and out comes a loud double bass voice that seems to spring somewhere from the region of his boots. It is not a pretty sound by any means.
There is the smiling, simpering girl who comes forward gorgeously arrayed in light blue satin. She chooses a song, all trills and little scales, running up and down, shaking at last upon a high note for nearly two minutes, and then coming down with a rush. This brings down the house. We applaud lustily; we begin the encoring business here, which, having once started, we do not intend to give up again. We like to get as much as we can for our money, we Britons. She keeps us waiting some time, too—taking a little refreshment in between, perhaps—and then comes back beaming with smiles and, under the impression that she is a second Patti, shrieks out in plaintive tones, "Home, sweet home!" A cat might as well try to emulate a thrush! And we never find it "sweet" either. Never do you dislike "Home" more than when you hear it sung thus.
There is the sentimental man, who gets intoposition while the introduction to his song is being played. He sticks his finger down his collar (the object of which I can never understand), pulls both cuffs out, stretches out his music a yard or two in front of him and gazes above the audience with a hungry yearning look. His is always a love song, an unhappy love song, that should bring tears to our eyes, only we are so taken up with his expression, and the fear that he is going to die or have a fit, that we have no time for weeping. True to our instincts, he is greeted with deafening applause, and coming back, he generously treats us to the last verse over again.
Everyone is not so fortunate in receiving an encore, though. It depends on how well they are known, not on their desserts. The newcomer in the neighborhood tries her hardest and does her best, but as we have never seen her before we scarcely take the trouble to applaud her, which must be rather disappointing, especially when her mother is sitting among the audience with the encore song on her lap, ready to hand it up.
The best exhibition of all is made by theflutist. He is the only one who plays that instrument for miles round, and so the swagger with which he steps on to the platform is perhaps excusable.
How anyonecanplay it I do not know. It is such a singularly unbecoming instrument. But the wretched owner never seems to think so. When he once commences he gives us a good dose of it. We begin to think he is going on all night. Suddenly there comes a pause, and applause is started at once, we being only too delighted to make a little noise on our own account. But no—it is a mistake, a delusion, after all. The pause was only an interval between an Andante and a Scherzo; and, with a bland smile at his ovation, on he goes again for another quarter of an hour. We—the audience—are disappointed, we feel we have been tricked, and we therefore sulk for a season. But the Scherzo is so long, it gives us time to get over our ill-humor, though we are mutually resolved that we will not have him back again. Vain hope! From the far end of the room comes thundering applause, whichnever dies away until the talented flutist appears on the platform again. We find out afterwards that he treats the whole of his establishment to the cheap seats; so, of course, poor things, we cannot blame them. They are only earning their wages. Perhaps they are presented with an extra shilling each when their master returns home.
It is a curious thing how we all like applauding and making a noise. If you notice, at organ recitals in the Church we feel quite uncomfortable. We think we ought to do something at the conclusion of the pieces; so, as we may not clap our hands, we all give a little rustle and cough. This is to show our approbation.Everyone coughs. It is astonishing how many people have bad colds. For my part I think it is a pity applause is not allowed. It is infinitely preferable to the coughing at any rate.
Of course the comic singer goes down best. He is called back three, sometimes four times. The schoolboys behind grow excited, and greet him with a whistle that would do credit to the "gods." This is too much for decently-clad minds, anything so profane as that whistle. The clergyman, who is in the chair (the proceedsare always to be devoted to some charitable object), rises and insists "that if that most objectionable noise does not cease, the boys will have to be turned out."
Where the "objectionable" comes in I cannot think. The boys are very clever to be able to do it. I have often tried it, and cannot succeed, and so conclude it must be a difficult accomplishment. They stick about four fingers in their mouths, and thereby make quite a different sound to any ordinary whistle. However, it is no wonder the chairman discourages it. When he was reading a few minutes before, reading out some dry little tale with a moral, in which the humorous parts were the heaviest, no encore whistle was accorded him. He was clapped loudly, of course—is he not one of the chief men in the parish? But no one wished to hear him read again, so we stopped our applause just in time to prevent him from re-appearing.
We go home glad at heart, and two mornings later read an account of the evening's performance in the local paper.
We find there a few statements which agreewith our own feelings. They say that "Mr. Jones sang in a pure and cultured manner, and deserves special attention for his sweet tenor voice and the refinement of the sentiment in his songs" (whatever that may mean!) "Mr. Smith played two violin solos with remarkable precision of touch and with the greatest ease;" while "Miss. Blank, with a good contralto, was all that could be desired in both her songs!" They were none of them there, but that does not matter. They were praised up more than anyone else, which must be very discouraging to those whodidperform. But on account of their non-appearance alone we feel they deserve some approbation, and so do not grudge it them. It is of no consequence to a newspaper reporter who is there and who is not. He takes the programme, ticks off the names, and writes his remarks and criticisms just as he likes. It would be wiser, all the same, on his part, if he found out the absentees, for otherwise his little hints rather lose their effect.
He writes that this one wants a little "animation," that one "sings out of tune." Miss So-and-So plays the piano "with faultless manipulation,the only drawback being a slight preponderance of pedal," and so on. He generally has as good an ear for music as a parish priest who only knew two tunes: one of which was "God save the Queen," and the other wasn't. And once, when a brass band was playing a selection outside the vicarage, he went on to his balcony, hat in hand, and waved it vigorously as he commenced to sing the first line of "God save the Queen."
Well, it does not matter after all. The only object is to appear learned, and to use long words. If the artists do not like being ignorantly criticized they must forbear to appear in public, a result which would incline us to go and shake hands with the reporters all round in the exuberance of our gratitude.
I was looking through a "Querist Album" the other day; one of those dreadful confession books in which you are required to answer the most absurd questions. Dreadful indeed they are to write in, but not altogether uninteresting to peruse, though the interest comes not so much in the answers themselves as in the manner in which they are written.
Some go in for it seriously, and describe their inmost feelings on the pages; some take a witty strain, and put down the most ridiculous things they can think of; while others write just what comes first.
Some are such hypocrites, too. Here is a man who describes his wife as his ideal woman; and when we know that he scarcely everaddresses a civil word to the poor little woman, his admission is, to say the least of it, amusing.
"Have you ever been in love? and if so, how often?" This is one of the questions. The answers to it are of doubtful veracity. All the single ladies reply "Never!" underlining the word three times. "Yes, only once," is the statement of the married ones. According to the Querist Album, "The course of true lovealwaysruns smooth." No one seems to be attacked by Cupid but they must immediately marry the object of their choice, and "all goes merrily as a marriage bell." The men, on the contrary, like to appear somewhat inflammable. It is generally the masculine writers who adopt the sprightly key. Twenty—forty—thousands of times they admit falling in love. Such one-sided affairs they must have been, too; for the girls, according to their own confessions, never reciprocated any attachment until their rightful lords and masters appeared on the scene. I am afraid we must be a very hard-hearted race!
But it is the question relating to your idea of "the greatest earthly happiness" that struck me most. "Never being called in the morning,"was one lazy person's reply. "To write M.P. after my name," was the ambition of another. "Married life," wrote the bride on the completion of her honeymoon. Ah, little bride, you have been married some years now. Are your ideas still the same, I wonder? "A good partner, a good floor, and good music," said a fourth, and it is this one that has my entire sympathy. I agree with her. It is my idea also of "the greatest earthly happiness." I do not require much, you see. These are not very difficult things to procure now-a-days; and yet I am often taunted with my love of dancing. If I express disapproval of a man, "I suppose he can't dance," they say with a sneer.
Now though that accomplishment is a necessity in a ball-room, I donotconsider it indispensable in a husband. Unfortunately you cannot dance through life. I wish you could for many reasons. A continual change of partners, for instance, would it not be refreshing? You would scarcely have time to grow tired of them. And how much more polite our husbands would be if they thought we were only fleeting joys! What am I saying? I am shocking everyone Iam afraid; the little matron who advocates married life, the newly-made brides whose ideal men are realized in their husbands—I am shocking them all! I humbly plead forgiveness. You see, I am not married myself. I can only give my impressions as a looker-on, and, as Thackeray says, "One is bound to speak the truth as far as one knows it, and a deal of disagreeable matter must come out in the course of such an undertaking."
But dancingisindispensable in a ball-room. If a man cannot dance he should stay away, and not make an object of himself. Unfortunately, so many think they excel in the art when they have not the least idea of it. Again, with girls, dancing (in a ball-room only, of course) comes before charm of manner, before wit, even before beauty. I know girls, absolutely plain, with not a word to say for themselves, who dance every dance, while the walls of the room are lined with pretty faces, and dismal-looking enough they are too, which is very foolish of them. They should have too much pride to show their discomfiture.
Men have so much the best of it at dances—soeverybody says. I am afraid I do not agree. I would not change our positions for anything. After all, a girl can nearly always dance with anyone she likes, and pick and choose as well as the men—provided, of course, that she is an adept on the "light fantastic toe" herself.
And think, on the other hand, what men go through! Reverse the order of things, as you are supposed to do at leap year dances—which system, however, is never properly carried out. But suppose you go up to a man and ask him for a dance, and he tells you with a smile that "he is very sorry, but really he has not one left." Suppose that the next minute you see him give three to another girl, would you speak to that man ever again?Never!And yet this is what they constantly endure and, what is more, forgive.
After all, if you analyze it, what an absurd thing dancing is. Close your ears to the music and look around you when a ball is at its height. What motive, you foolishly wonder, could induce all these people—who are supposed to possess an average amount of brains—to assemble together to clasp each other round the waist,twirl round and round up and down the room, suddenly stop, and hurry one after another outside the dancing hall, seeking dark corners, secret retreats, anywhere away from the eyes of other men? "Ah, what a mad world it is, my masters!"
How our grandmothers exclaim at the present mode of dancing!—they who used to consider round dances almost improper. How the programmes must astonish them, too; those engagement cards that did not exist fifty years ago, and in their infancy were quite content to bear only two or three names on their paper countenances. But now times have changed, and as they grow older they become most greedy little cards. They are not only not content with being scribbled all over, but require two names on the top of one another, and thus causing dissensions to ensue.
There is a great deal of art in making up a programme. It is a mistake to be full up before you arrive. Someone may come whom you did not expect, and then you have no dance to give him. Arrangement of a programme requires two or three seasons' practice. There are theduty dances to be got through first; put them up early, so that they shall be soon over, and then you have the good ones at the end to look forward to.
Everyone has duty dances. There are your father's constituents, clients, patients, someone you are obliged to ingratiate, and these are generally the worst dancers in the room! One is so fat he shakes the hall as he walks, and yet is just as eager to join the giddy throng, and alas! to take you with him! Another resembles the little tin soldiers which schoolboys have such an affection for, in that he has been gifted with large flat stands, twice the length of himself, instead of feet. And oh,howhe kicks! Then there is the complimentary man, a creature who never opens his mouth without making or implying a compliment. Does he ever find anyone whom this system pleases, I wonder! The only antidote I can find is to take no notice, and pretend not to understand that the pretty speeches are directed at you. This discourages him after a time.
It is amusing to get hold of a man's programme, and find out how you are representedthere. They do not put down names, but describe costumes, hoping thus to find their partners easier, but in reality plunging themselves into most hopeless perplexities. They scribble down "pearl necklace," and find later that there are at least sixteen in the room, and so are worse off than if they had written the name.
Some describe the personal appearance, but this is a very risky thing to do. A man the other day wrote down his partner as "Miss blue dress, with the nose," and subsequently dropped his programme, which, of course, was picked up by the lady mentioned. Now I do not know why you should dislike being told that you have a nose—you would feel very much worse without one—but when your nasal organ takes up double its share of room in your face, and is, moreover, prettily tinted with scarlet, which you try to conceal under a little pearl powder, and only succeed in making it purple—well, perhaps you would not like to be told you have a nose. At any rate, this lady did not, and hers very much resembled this description, I believe. But she was a wise woman. Not a word did she say on the subject, and he went home happilyunconscious of her fatal discovery, until a few days later he received his programme back as a Christmas card, with "Miss blue dress with the nose's compliments." How very comfortable he must have felt when he met her next!
What a great many different styles of dancing there are! You have to change your step with nearly every partner. The girl should always suit hers to the man's, he has quite enough to do with the steering. You require about five good partners altogether, and can then spend an enjoyable evening. A different man for every dance is tiring. You never get beyond the theatres and the weather; you have not time to say much more, and grow quite weary of the same style of conversation. I always think I must be a most uninteresting partner when I am asked what theatres I have been to lately, or what is my opinion of the Academy, &c., &c. I never begin this kind of talk myself except as a last resource, when I can get nothing else out of a man. Someone says, I forget who, that "a woman can always know in what opinion she is held by the conversation addressed to her," and is it not true?The foolish compliments paid to the pretty, but silly littledébutante; the small talk to the fools; the sparring with the witty; therisquétales enjoyed by those of a more rapid style. Men find out first what are our tastes, and then dish up their conversation accordingly, and they do not often make mistakes.
Some girls dance with one man the whole evening. How weary they must get of each other! Engaged people invariably pass the evening together, and sometimes do not dance at all, but sit out in some secluded corner. They have to endure one another for years to come, I wonder they do not get as much variety as possible now. At any rate, they might just as well stop at home.
Like everything else, dancing is hurrying along, and growing faster every year. Thedeux-temps, they say is coming back. May the day be far ahead when that step reigns once more! Perhaps before then I shall be converted into a chaperone, and shall sit watching others dance, not being able to do so myself; or, perhaps worse, not beingaskedmyself. I am afraid I should not make a nice chaperone. I should look very cross, and should hurry away as early as possible. Ah, sad indeed will the day be when I give up dancing, when only the remembrance of my past enjoyments will be brought back to me through the scent of gardenias and tube-roses, dear dissipated-smelling flowers!
What a great deal of trouble and time it takes to choose a watering-place! And yet there are many and various kinds of resorts, some for one season, some for another.
If you could be carried sufficiently high above the earth so as to have a bird's-eye view of the whole of Great Britain, what a strange sight it would present during the months of August and September! The county would appear surrounded with a human fringe, the outer edge more resembling a disturbed ants' hill than anything else. I don't suppose we should appear more significant than ants at that distance.
There are those places teeming with shop-keepers and children, when you can scarcely see the beach so covered is it with those who are making the most of their one holiday in the year.
There is the primitive little village, discovered by few, which is welcomed by the city man who wants rest and entire seclusion from business matters and the world for a month or two. And oh, what language he uses! and how annoyed he is to find absolutely nothing to do—one post aday, and, worst of all, no newspaper until late in the afternoon! And this is the man who wishes to be shut out from the world and from his acquaintances! There is no pier, there are no amusements. The esplanade is composed of nothing more than a plank of wood, on which, in walking you have to observe much caution in order to keep your balance; and sometimes the butcher from the neighboring village forgets to call! In desperation, the unfortunate creature digs sand-castles with his children, and, after a few days of his banishment, grows quite excited as the waves wash up and undermine their foundations. He picks acquaintance with anybody he comes across, be he peer or peasant—anything to make the time pass a little quicker until he can return to the stir of his business life again.
Someone remarks somewhere that "a man works one-half of his life in order that he may rest the other." I wonder if those who are successful ever appreciate their rest when they get it! I wonder if it comes up to their expectations! if the goal toward which they have been looking almost since they began to exist is worth the trouble and energy spent on it! Ah, I am afraid they very rarely find it so! They have become so immured in their busy lives, that it is difficult to grow accustomed to any other. Unless one is brought up to it, theDolce far nienteis not an existence we enjoy. We are made the wrong way about somehow. We ought to be born old and gradually grow younger as the years roll on. Still, I daresay there wouldbe something to complain of even then, and perhaps it would not be very dignified to go off the stage as a baby!
To go to the opposite extreme, there are the fashionable water-places; little Londons, or rather little imitations of London; for beside that great capital itself they are like pieces of glass to a diamond. And yet fashion and folly are all here, sunning themselves by the sea instead of in the park; driving up and down in the same way, in equally charming toilets. But still there seems to be something lacking, something wanting. They are too small, these towns; you so soon know everyone by sight, and grow tired both of them and their costumes. There is a good deal of stir and life about all the same. There are bands, niggers, clairvoyantes, fire-eaters; plenty indeed for you to see and hear when you are weary of strutting up and down and nodding to your friends. And yet, in spite of all, you grow tired of "London by the sea," after a few weeks, even in that dead season of the year—November.
Have you ever visited one of these places in the midst of a tennis week, when the grand tournaments take place? Lawn tennis is a delightful recreation for a time, provided you have a good partner and good antagonists, and you are playing under a moderately warm sun; but when you hear, see, and play nothing else for a week, when the conversation is "tennis," when no one appears without a racquet in his hand, when all you have to listen to are criticisms on the courts and balls,grumblings against the handicapping, imprecations on "bisques"—well, you begin to hate the very name, and wish you could injure the man who invented it. You grow tired of watching the same thing day after day, the men who spend their lives in tossing balls across to each other, the sea of faces; turning backwards and forwards at each stroke with the regulation of a pendulum.
Yes, it takes a long time to decide on a watering place, and when at last you do make up your mind you have to change it again very soon because you find all your "sisters, cousins, and aunts" have chosen the same resort; and really you have quite enough of your relations in town without their following you wherever you go. You require a little variety when you go away. An old lady I used to know always kept it a profound secret where she intended spending her summer holiday, "otherwise, my dear," she said, "I should have the whole family at my heels!" A most disagreeable old lady she was; and I know for a fact that her relatives always avoided her when possible (she was not blessed with very great possessions!) so that her caution was quite unnecessary. Oh, vanity of vanities, how little we know of the world's true opinion of us!
When you have fixed on your locality, there is even a greater difficulty to go through. You have to choose your residence; and this takes up even more thought and time.
There are the lodging-houses, monotonous in their similarity. The same gilt-edged mirrorsprotected from the dust by green perforated paper; the same jar of wax flowers, standing on a mat which is composed of floral designs in Berlin wool—designs to which you can give any name you like—"You pays your money and you takes your choice." They represent anything, the whole concern hiding its modest head under a glass case; the same shavings in the grate, with long trails of roses gently slumbering on the top; yes, and the same voluble landlady, the whole of whose private concerns you are in possession of five minutes after you have taken the apartments.
There is the boarding-house, advertised as "Directly facing the sea;" and when you have engaged your rooms, and arrive with all your luggage, you find the establishment is at the far end of a side street; and "Directly facing the sea" is interpreted by the fact that by hanging half-way out of the sitting-room widow, and screwing your head round violently to the left, you can see the place where that watery monarch ought to be.
"A boarding-house is so much nicer than an hotel, because you get to know the people so much easier," I heard a girl remark once. This is my chief objection to a boarding-house. Because you are staying under the same roof, all the inhabitants consider they have a right to address you, and, what is more, they will not be repulsed, which, as most of them by no means move in the best society, is not at all palatable. The women you can tolerate, but the men are not to beendured. You are always coming across them, too. On whatever drive, excursion, or trip you take you invariably meet "boarding-houseites," who are only too ready to recognize you. You can never get away from them; there is only the public drawing-room, and there they come in and out, talking to you, interrupting you, or else causing your ears to ache by their attempts at music.(?)
The meals are somewhat amusing, as you can watch all your fellow-boarders without being disturbed. They cannot talk and eat at the same time, and so philosophically devote all their energies to their dinner.
There is the girl who scrapes up acquaintances with everybody. She has had the good luck to be placed near a man, and the demure way in which she prattles and smiles at him convinces you that she is trying to make the best use of her time. Sometimes he is absent, and then the smiles give way to the gloomiest expression. Finally, on the arrival of new-comers, when there is a sort of general post all round, she is placed at the farthest extreme to her late partner, and oh! the wistful little glances she passes up the table to the gourmand who, oblivious to all but his dinner, scarcely notices her departure.
There are the three old maids, intent on capturing a husband. They have come here as a last resource. But with the usual fickleness of fortune, they seem to be more shunned by the male sex than attracted to it.
There is the newly-married couple, looking veryconscious and silly, as if they were the only people in the world who had ever committed matrimony.
There is one old lady grumbling, and objecting to the back of a chicken. Poor birds, they have only two wings each, and really cannot provide everybody with them! There is another furious, because on asking for a favorite dish, that is down in themenu, is told that "it is all served!" The best things always are, unless you manage to get into the good graces of the waiter or waitress.
Young men and maidens, old men and children, all here, offering plenty of material for students of human nature!
Hotel life is very different. Even if you find theparvenuandnouveau richeas equally objectionable as the boarding-house species, at least they do not force their acquaintance upon you. Thetable d'hoteis much more entertaining, and you are altogether more independent. Characters you come across occasionally that are most interesting to study. There are the girls who are taking the round of hotels by their mothers, in the hopes of getting them "off." There are the men who astonish everybody by their generosity and apparent display of riches, and finally decamp without paying their bill.
A man was telling me the other day of a certain "black sheep" who had run into difficulty; how his family after a great deal of trouble managed to raise £200 between them, and sent him off to America with the money to start afresh in a newcountry. In a month's time he was back again, penniless as ever, and cursing his luck and bad fortune. It was only by accident they discovered the bills of the best hotels in New York in his pocket, and found that he had been living like a prince while his £200 lasted, nor had tried at all to obtain any occupation.
With such consummate cheek, a man ought to get on in the world, I think, for after all it is self-confidence and "bluffing" that seems to succeed most. However down in the world you are, however bad your "hand," you only have to "bluff" a little to make it all right. There are many foolish people in the world ready to be your dupes, and luckily they never think of asking to "see" you. Even the best of us try it on a little; we strive to hide our skeletons under the cloak of cheerfulness, and entirely disguise our real feelings—
"Alas, our frailty is the cause, not we;For, such as we are made of, such we be."
"Alas, our frailty is the cause, not we;For, such as we are made of, such we be."
Transcriber's Note: Pagination for blank pages is omitted in the margin numbering.
Transcriber's Note: Pagination for blank pages is omitted in the margin numbering.