initial commit of ebook 15092HEADmain

26 files changed, 16438 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/15092-8.txt b/15092-8.txt
new file mode 100644
index 0000000..7178240
--- /dev/null
+++ b/15092-8.txt
@@ -0,0 +1,4275 @@
+Project Gutenberg's The Aldine, Vol. 5, No. 1., January, 1872, by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Aldine, Vol. 5, No. 1., January, 1872
+       A Typographic Art Journal
+
+Author: Various
+
+Release Date: February 17, 2005 [EBook #15092]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ALDINE, VOL. 5, NO. 1., ***
+
+
+
+
+Produced by Juliet Sutherland, Sandra Brown and the PG Online
+Distributed Proofreading Team.
+
+
+
+
+
+
+
+
+
+[Illustration: A VENETIAN FESTIVAL.--C. HULK.]
+
+THE ALDINE,
+
+A
+
+TYPOGRAPHIC ART JOURNAL
+
+[Illustration]
+
+"_Il ne faut pas tant regarder ce qu'on doit faire que ce qu'on
+peut faire_."
+
+VOLUME V.
+
+NEW YORK:
+JAMES SUTTON & COMPANY.
+1873.
+
+[Illustration]
+
+"_THE ALDINE PRESS_."--JAMES SUTTON & Co., Printers, 58 Maiden
+Lane, New York.
+
+
+[Illustration]
+
+Entered according to Act of Congress, in the year 1872, by
+JAMES SUTTON, JR., in the Office of the Librarian of Congress
+at Washington, D. C.
+
+
+
+
+CONTENTS
+
+Abyssinia, A Peep at  _Editorial_  186
+Adirondacks, The Heart of the  _Editorial_  194
+After the Comet  _W.L. Alden_  136
+A Great Master and His Greatest Work  _Editorial_  83
+Aldine Chromos for 1873  _Editorial_  228
+Alpine World, The  _Editorial_  134
+America, Home Life in  _Editorial_  76
+American Robin, The  _Gilbert Darling_  327
+Angling, A Few Words on  _Henry Richards_  155
+Architecture  _W. Von Humboldt_  43
+Art  28
+Artistic Evening, An  _Editorial_  248
+Art-Musee in America, An  _Erastus South_  127
+Art, Roman  _Ottfreid Müller_  32
+At Rest. (Poem)  _Julia C.R. Dorr_  234
+August in the Woods  _W.W. Bailey_  161
+Ausable, Morning on the  _Editorial_  40
+Authorship, Style in  _Stewart_  75
+Autumn Rambles  _W.W. Bailey_  212
+A Yarn  _Uncle Bluejacket_  216
+
+Babes in the Wood, The  _Editorial_  223
+Badger Hunting  _Editorial_  225
+Barry Cornwall, To. (Poem)  _A.C. Swinburne_  50
+Beauty, Of  _Bacon_.  107
+Beside the Sea. (Poem)  _Mary E. Bradley_  161
+Biography  _Henry Richards_  65
+Bishop's Oak  _Caroline Cheesebro_'  172
+Black Gnat, The  _A.R.M._  34
+Blood Money  _Editorial_  207
+Blue-Birds  _Gilbert Burling_  163
+Books, Borrowing  _Leigh Hunt_  36
+"Bridge of Sighs," Hood's  _Editorial_  50
+Bronte's (Charlotte) Brother and Father  _January Searle_  111
+Building of the Ship, The. (Poem)  _Longfellow_  89
+
+Cedar Bird, The  _Gilbert Burling_  85
+Celebration of the Passover, The  _Editorial_  64
+Chase, After the  _Editorial_  227
+Chet's, Miss, Club  _Caroline Cheesbro'_  59
+Children, Loss of Little  _Leigh Hunt_  104
+Chinese Stories  _Henry Richards_  215
+Christmas Trees  _W.W. Bailey_  234
+Coleridge as a Plagiarist  23
+Coming Out of School  _Editorial_  12
+Cosas de Espana  _Editorial_  86
+Crown Diamonds and other Gems  _S.F. Corkran_  181
+
+Daisies, Among The  _A.S. Isaacs_  23
+December and May  _Editorial_  147
+Death Chase, The  _Editorial_  236
+Dogs, About  _Henry Richards_  175
+Dogs, Education of  _Henry Richards_  234
+
+Englishmen, Religion of  _H. Taine_  183
+English Rhymes and Stories  _Henry Richards_  96
+En Miniature. (From the German)  _M.A.P. Humphreys_  132
+Exquisite Moment, An  _Editorial_  93
+
+Fancie's Dream  _Lolly Dinks's Mother_  34
+Fancie's Farewell  _Lolly Dinks's Mother_  114
+Fawn Family, A Day with a  _Editorial_  107
+Feast of the Tabernacles, The  _Editorial_  64
+Fra Bartolomeo  _Editorial_  106
+Forester's Happy Family, The  _Editorial_  167
+Forester's Last Coming Home, The  _Editorial_  56
+Fortune of The Hassans, The  _C.F. Guernsey_  123
+Friendship of Poets, The  _Editorial_  50
+Frosty Day, A. (Poem)  _J.L. Warren_  11
+
+Garden, In the  _Betsy Drew_  138
+Gems, Colored  _W.S. Ward_  39
+Going to the Volcano  _T.M. Coan_  245
+Green River. (Poem)  _W.C. Bryant_  72
+Gypsies, The  _Editorial_  166
+
+Heart of Kosciusko, The  _Editorial_  113
+Heartsease. (Poem)  _Mary E. Bradley_  43
+Hello!  _Editorial_  193
+Home and Exile  _Editorial_  237
+House with the Hollyhocks, The  _A.L. Noble_  177
+House Wrens  _Gilbert Burling_  105
+How to Tame Pet Birds  _January Searle_  146
+Hunt (Leigh), A Last Visit to  _January Searle_  192
+Hunting Snails  _T.M. Coan_  156
+
+Ideal, The  _Theodore Parker_  133
+Il Beato. (From the German)  _M.A.P. Humphrey_  183
+Ill Wind, An  _Leslie Malbone_  112
+Inside the Door  _Caroline Cheesebro'_  30
+Ireland, A Glimpse at  _T.M. Coan_  119
+Island, On an  _Caroline Cheesebro'_  114
+
+Jack and Gill  _Editorial_  223
+
+King Baby. (Poem)  _George Cooper_  224
+Kingfisher, The  _Editorial_  125
+King's Rosebud, The. (Poem)  _Julia C.R. Porr_  107
+Knowledge  _Ethics of the Fathers_  135
+
+"Lais Corinthaica," Holbein's  _Editorial_  182
+Lalalo--A Legend of Galicia. (From the Spanish)  _H.S. Conant_  164
+Lamp-Light  _Julian Hawthorne_  165
+Lisbon, Loiterings around  _Editorial_  44
+Literature  28, 47, 67, 88, 108, 128, 148, 168, 188,  208
+Little Emily  _Editorial_  178
+Liverworts. (Poem)  _W.W. Bailey_  70
+Longfellow's House and Library  _Geo. W. Greene_  100
+Love Aloft  _Editorial_  116
+Love's Humility. (Poem)  _B.G. Hosmer_  141
+
+Mandarin, A  _From the French_  19
+Manifest Destiny. (Poem)  _R.H. Stoddard_  47
+Man in Blue, The  _R.B. Davey_  50
+Man in the Moon, The  _Yule-tide Stories_  120
+Man's Unselfish Friend  _Editorial_  60
+Married in a Snow-Storm. (From the Russian)  _Wm. Percival_  152
+Marsh and Pond Flowers  _W.W. Bailey_  126
+Martinmas Goose, The  _Editorial_  243
+Maximilian Morningdew's Advice, Mr.  _Julian Hawthorne_  74
+Millerism  _Editorial_  10
+Minster at Ulm, The  _Editorial_  158
+Misers, About  _Betsy Drew_  99
+Mother is Here!  20
+Morning Dew  _Editorial_  76
+Morning and Evening  _Editorial_  242
+Mountain Land of Western North Carolina  _J.A. Oertel_  52
+Mountain Land of Western North Carolina  _J.A. Oertel_  214
+Mountains, In the  _Editorial_  16
+Mouse Shoes  _Lolly Dinks's Mother_  197
+Music in the Alps  _Editorial_  33
+
+Necessity of Believing Something  _Jean Paul_  31
+Neighbor Over the Way, My. (Poem)  _G.W. Scars_  110
+Newport, At. (Poem)  _Geo. H. Boker_  10
+Niagara  _Editorial_  213
+Noble Savage, The  110
+Nooning, The  16
+
+Oblivion  _Browne_  120
+October  _W.W. Bailey_  192
+Old Maid's Village, The  _Kate F. Hill_  26
+Old Oaken Bucket, The  _Editorial_  152
+Othello, How Rossini Wrote  _L.C. Bullard_  91
+Out of the Deeps  _Elizabeth Stoddard_  94
+
+Painted Boats on Painted Seas  _Hiram Rich_  201
+Patriotism and Powder  _Editorial_  132
+Pavilions on the Lake, The. (From the French)  _H.S. Conant_  14
+Pepito  _Lucy Ellen Guernsey_  212
+Perkins, Granville  48
+Peruvians, Among the  _Editorial_  24
+Play for a Heart, A. (From the German)  _H.S. Conant_  54
+Pleasure-Seeking  _Editorial_  240
+Poet's Rivers  _Editorial_  70
+Portugal, Wanderings in  _Editorial_  224
+Pottery, Ancient  _S.F. Corkran_  72
+Prince and Peasant. (From the German,)  _H.S. Conant_  196
+Puddle Party, The  _Lolly Dinks's Mother_  83
+Punishment after Death. (From the Danish)  _James Watkins_  218
+Puss Asleep  _Henry Richards_  143
+
+Queen's Closet, The  _Lolly Dinks's Mother_  27
+
+Rainy Day, The. (Poem)  _H.W. Longfellow_  120
+Raymondskill, The  _E.C. Stedman_  154
+Real Romance, The  _Julian Hawthorne_  10
+Ruse de Guerre. (Poem)  _H.B. Bostwick_  63
+
+School-Children  _Editorial_  198
+Scissor Family, The  _Lolly Dinks's Mother_  144
+Secret, A. (Poem)  _Julia C.R. Dorr_  212
+September Reverie, A  _Editorial_  172
+Serious Case, A  _Editorial_  203
+Shadows  _Julian Hawthorne_  142
+Shakspeare Celebrations  _Editorial_  90
+Shakspeare Portraits  _R.H. Stoddard_  103
+Shameful Death. (Poem)  _Wm. Morris_  83
+Shrews  _A.S. Isaacs_  63
+Simple Suggestion, A  _Mary E. Bradley_  216
+Smallpox, Worse than  _L.E. Guernsey_  157
+Snow-Bird, The  _Gilbert Burling_  207
+Song Sparrow, The  _Gilbert Burling_  32
+Song or Wood Thrush, The  _Gilbert Burling_  66
+Sonnet  _Alfred Tennyson_  67
+Sparrows' City, The. (Poem)  _George Cooper_  165
+Stael, Baroness de, The Salon of. (From the French)  43
+Story of Coeho, The  _R.B. Davey_  71
+Street Scene in Cairo, A  _Editorial_  239
+Stuffing Birds  _January Searle_  246
+Summer Fallacies  _C.D. Shanly_  176
+Sunshine  _Julian Hawthorne_  92
+Superstition  _Bacon_  56
+Swift, Dean  _Lady Mary Wortley Montague_  53
+
+Temple of Canova, The  _Editorial_  203
+Thievish Animals  _Editorial_  238
+Thistle-Down. (Poem)  _W.W. Bailey_  145
+Tired Mothers. (Poem)  _Mrs. A. Smith_  172
+Tropic Forest, A. (Poem)  _Montgomery_  20
+Trout Fishing  _C.D. Shanly_  141
+Truants, The  40
+Two  _J.C.R. Dorr_  152
+Two Gazels of Hafiz  _Henry Richards_  145
+Two Lives, The. (Poem)  _S.W. Duffield_  201
+Two Queens in Westminster. (Poem)  _H. Morford_  132
+
+Uncollected Poems  50
+Uncollected Poems by Campbell.  _Editorial_  144
+Uncollected Poems by "L.E.L."  _Editorial_  94
+Uttmann, Barbara. (From the German)  66
+
+Venice, A Glimpse of  _Editorial_  13
+Violins, About  _J.D. Elwell_  36
+Virginia, On the Eastern Shore of  _Mary E. Bradley_  79
+
+Water Ballad  _S.T. Coleridge_  67
+Weber (Von), Karl Maria  _Editorial_  206
+Wine and Kisses. (Poem) From the Persian  _Joel Benton_  27
+Winter-Green. (Poem)  _Mary E. Bradley_  90
+Winter Pictures from the Poets  _Editorial_  14
+Winter Scenes  _Editorial_  230
+Wolf, Calf and Goat, The  _Æsop, Junior_  124
+Woman in Art  _E.B. Leonard_  145
+Woman's Eternity, A  _E.B.L._  204
+Woman's Place  _Editorial_  162
+Wood or Summer Ducks  _Editorial_  187
+Woods, In the. (Poem)  _G.W. Sears_  192
+Woods Out in the. (Poem)  _Mary E. Bradley_  126
+Wordsworth  _Taine_  33
+Wyoming Valley  _Editorial_  36
+
+Young Robin Hunter, The  _Editorial_  60
+
+Zekle's Courtin'  _Editorial_  30
+
+
+
+
+ILLUSTRATIONS
+
+Adirondack Scenery  _G.H. Smillie_  97
+Advance in Winter, The  236
+After the Storm  _Schenck_  231
+After the Storm a Calm. (I, II, III, IV,)  244
+Agnes  _R.E. Piguet_  112
+Albai, View on the River  183
+American Robin, The  _Gilbert Burling_  227
+Artistic Evening, An  248
+At Home  239
+Ausable, Morning on the  _G.H. Smillie_  41
+
+Babes in the Wood, The  _John S. Davis_  222
+Badger Hunting  _L. Beckmann_  226
+Blood Money  _Victor Nehlig_  190
+Blowing Hot and Cold  _John S. Davis_  142
+Blowing Rock  _R.E. Piguet_  57
+Blue-Birds  _Gilbert Burling_  163
+Bonnie Brook, near Rahway  _R.E. Piguet_  112
+Bridal Veil  _Granville Perkins_  154
+Bridge of Sighs, The (View of)  13
+Bridge of Sighs (Hood's)  _Georgie A. Davis_  49
+Building of the Ship, The  _T. Beech_  89
+
+Capella Imperfeita, Archway in the  44
+Casa do Capitulo, The  224
+Casa do Capitulo, Window in the  46
+Castle of Meran, The. (Frontispiece)  _C. Heyn_. Opp. 189
+Caught At Last  238
+Cedar Birds  _Gilbert Burling_  85
+Chase, After the  _David Neal_  219
+Christmas Visitors  _Guido Hammer_  231
+Coming Out of School  _Vautier_  12
+Crossing the Moor  After _F.F. Hill_  228
+
+December and May  _W.H. Davenport_  146
+Death Chase, The  236
+Deer Family, The  _Guido Hammer_  106
+
+Enjoyment  241
+Evening  _Paul Dixon_  205
+Evening  243
+Evenings at Home  _A.E. Emslie_  77
+Exquisite Moment, An  _John S. Davis_  93
+
+Fashionable Loungers of Lima  24
+Feast of the Passover, The  _Oppenheim_  64
+Feast of the Tabernacles, The  _Oppenheim_  65
+Fisherman's Family, The  239
+Forester's Happy Family at Dinner, The  _Guido Hammer_  167
+Forester's Last Coming Home, The  56
+For the Master  _Offterdinger_ (Opp.)  236
+
+Garden, In the  _Arthur Lumley_  138
+Gertrude of Wyoming  _Victor Nehlig_  117
+Glen, The  _F.T. Vance_  194
+God's Acre  232
+Gondar, Emperor's Palace at  186
+Good Bye, Sweetheart  233
+Grandfather Mountain, N.C.  _R.E. Piguet_  215
+Green River  _August Will_  69
+Green River  _R.E. Piguet_  72
+Green River  _R.E. Piguet_  73
+Guide-Board, The  _Knesing_  230
+Gypsy Girl at her Toilette  _G. Dore_  166
+
+Happy Valley  _R.E. Piguet_  53
+Heart of a Hero, The.  (Kosciusko's Monument)  113
+Here. Chick! Chick!  240
+Hollo!  _John S. Davis_  191
+House Wrens  _Gilbert Burling_  105
+How a Spaniard Drinks  _Dore_  86
+Hudson at Hyde Park, The  _G.H. Smillie_  81
+
+In-Doors  243
+Infant Jesus, The  Copied by _J.S. Davis_  229
+"Is the solace of age."  247
+"It ofttimes happens that a child"  245
+
+Jack and Gill  _John S. Davis_  223
+
+Kate  _R.E. Piguet_  112
+Keeping House  _John S. Davis_ (Opp.)  29
+Kingfisher, The  _L. Beckmann_  125
+King Witlaf's Drinking Horn  _A. Kappes_  131
+Kwasind, the Strong Man  _T. Moran_  109
+
+Lais Corinthaica  _Holbein_  182
+Lake Henderson  _F.T. Vance_  195
+Limena, Middle-Aged  25
+Linville, On the  _R.E. Piguet_  52
+Linville River, The  _R.E. Piguet_  53
+Little Emily  _John S. Davis_  178
+Little Mother, The  _John S. Davis_  80
+Loffler Peak, Tyrol, The  135
+Longfellow's House  _A.C. Warren_  100
+Longfellow's Library  _A.C. Warren_  101
+Longing Looks  _J.W. Bolles_  96
+Love Aloft  _Otto Gunther_  116
+
+Manifest Destiny  _W.M. Cary_  37
+Man's Unselfish Friend  _Chas. E. Townsend_  61
+Marston Moor, Before the Battle of  121
+Mestizo Woman, Young  25
+Mill, in Wyoming Valley, An Old  _F.T. Vance_  36
+Minster at Ulm, The  158
+Monastery de Leca do Balio, The  225
+Monk's Oak, The  (After _Constantine Schmidt_)  33
+Moonlight on the Hudson  _Paul Dixon_  170
+Moose Hunting  232
+Morganton, View in  _R.E. Piguet_  53
+Morganton, View near  _R.E. Piguet_  214
+Morning  242
+Morning Dew. (Frontispiece)  _Victor Nehlig_. Opp.  69
+Morning in the Meadow  _R.E. Piguet_  113
+Mother is Here!  _Deiker_  20
+Mountains, In the  16
+Müller, Maud  _Georgie A. Davis_  9
+Music in the Alps  _Dore_  33
+
+Naughty Boy, The  _John S. Davis_ (Opp.)  89
+Navaja, Duel with the  _Dore_  86
+New England, Hills of  _Paul Dixon_  204
+Niagara  _Jules Tavernier_  211
+Nooning, The  (After _Darley_)  17
+
+Old Oaken Bucket, The  _John S. Davis_  159
+Ornamental, The  _Deiker_  234
+Out of Doors  242
+
+Patriotic Education  _F. Beard_  130
+Penha Verde, Doorway and Oriel in the  45
+Perkins, Granville  48
+Peruvian Ladies, Costumes of  24
+Peruvian Priests  25
+Pets, The  241
+Picking and Choosing  _Beckmann_  238
+Pines of the Racquette, The  _John A. Hows_  121
+Playing Sick  _A.H. Thayer_  174
+Preston Ponds, From Bishop's Knoll  _.F.T. Vance_  199
+Puss Asleep  _C.E. Townsend_  143
+
+Rainy Day, The  _John S. Davis_  120
+Raymondskill, Falls of The  _Granville Perkins_  150
+Raymondskill, View on the  _Granville Perkins_  155
+Raymondskill, The Main Fall  _Granville Perkins_  155
+
+Scene on the Catawba River  _R.E. Piguet_  210
+School Discipline  _John S. Davis_  198
+Serious Case, A  _Ernst Bosch_  202
+Shakspeare, Ward's  _J.S. Davis_  104
+Shipwreck on the Coast of Dieppe, A  _T. Weber_  139
+Singing the War Song  187
+Snow-Birds  _Gilbert Burling_  207
+Song Sparrow, The  _Gilbert Burling_  32
+Song or Wood Thrush, The  _Gilbert Burling_  66
+South Mountain  _R.E. Piguet_  53
+Spanish Postilion  _Dore_  87
+Spanish Ladies  _Dore_  87
+Sport  240
+Squaw Pounding Cherries, Old  _W.M. Cary_  162
+Standish, Miles, Courtship of  _J.W. Bolles_  151
+Street Scene in Cairo, A  Opp.  229
+Surenen Pass, Switzerland, View in the  134
+
+Temple of Canova  203
+Then fare thee well, my country, lov'd and lost!  237
+"There's a Beautiful Spirit Breathing Now"  218
+Tight Place, In a  _W.M. Cary_  76
+Tropic Forest, A  _Granville Perkins_  21
+Truants, The  _M.L. Stone_  40
+
+Useful, The  _Deiker_  235
+Uttmann, Barbara  68
+
+Venetian Festival, A. (Frontispiece)  _C. Hulk_
+Vischer's, Peter, Studio  84
+Visconti, Princess  (After "_Fra Bartolomeo_")  108
+Villa de Conde, Church at  215
+Village Belle, The  After _J.J. Hill_  228
+
+Waiting at the Stile  147
+Watauga Falls  _R.E. Piguet_  53
+Watering the Cattle  _Peter Moran_  171
+Wayside Inn, The  (After _Hill_)  107
+Weber, Von, Last Moments of  206
+What Was That Knot Tied For?  (After _I.E. Gaiser_)  92
+"Which in infancy lisped"  246
+"Who Said Rats?"  _A.H. Thayer_  175
+Winter Sketch, A. (Frontispiece)  _George H. Smillie_. Opp.  149
+Wolf, Calf and Goat, The  _H.L. Stephens_  124
+Wood or Summer Ducks  _Gilbert Burling_  179
+
+"Ye limpid springs and floods,"  237
+Young Robin Hunter, The  _John S. Davis_  60
+
+Zekle's Courtin'  _Frank Beard_  29
+
+
+
+
+THE ALDINE
+
+VOL. V.      NEW YORK,       JANUARY, 1872.      No. 1.
+
+
+
+
+[Illustration: MAUD MÜLLER.--DRAWN BY GEORGIE A. DAVIS.]
+
+
+  "MAUD MÜLLER looked and sighed: 'Ah, me!
+  That I the Judge's bride might be!
+
+  "'He would dress me up in silks so fine,
+  And praise and toast me at his wine.
+
+  "'My father should wear a broad-cloth coat:
+  My brother should sail a painted boat.'
+
+  "'I'd dress my mother so grand and gay,
+  And the baby should have a new toy each day.
+
+  "'And I'd feed the hungry and clothe the poor.
+  And all should bless me who left our door.
+
+  "The Judge looked back as he climbed the hill,
+  And saw Maud Müller standing still.
+
+  "'A form more fair, a face more sweet,
+  Ne'er hath it been my lot to meet.
+
+  "'And her modest answer and graceful air,
+  Show her wise and good as she is fair.
+
+  "'Would she were mine, and I to-day,
+  Like her a harvester of hay.'"
+
+  --_Whittier's Maud Müller._
+
+
+
+
+THE ALDINE.
+
+_JAMES SUTTON & CO., PUBLISHERS_
+
+23 LIBERTY STREET, NEW YORK.
+
+       *       *       *       *       *
+
+$5.00 per Annum (_with chrono._) Single Copies, 50 Cents.
+
+       *       *       *       *       *
+
+_AT NEWPORT._
+
+  I stand beside the sea once more;
+    Its measured murmur comes to me;
+  The breeze is low upon the shore,
+    And low upon the purple sea.
+
+  Across the bay the flat sand sweeps,
+    To where the helméd light-house stands
+  Upon his post, and vigil keeps,
+    Far seaward marshaling all the lands.
+
+  The hollow surges rise and fall,
+    The ships steal up the quiet bay;
+  I scarcely hear or see at all,
+    My thoughts are flown so far away.
+
+  They follow on yon sea-bird's track.
+    Beyond the beacon's crystal dome;
+  They will not falter, nor come back,
+    Until they find my darkened home.
+
+  Ah, woe is me! 'tis scarce a year
+    Since, gazing o'er this moaning main,
+  My thoughts flew home without a fear.
+    And with content returned again.
+
+  To-day, alas! the fancies dark
+    That from my laden bosom flew,
+  Returning, came into the ark,
+    Not with the olive, with the yew.
+
+  The ships draw slowly towards the strand,
+    The watchers' hearts with hope beat high;
+  But ne'er again wilt thou touch land--
+  Lost, lost in yonder sapphire sky!
+
+                        --_Geo. H. Boker._
+
+
+
+
+_MILLERISM._
+
+
+Toward the close of the last century there was born in New
+England one William Miller, whose life, until he was past fifty,
+was the life of the average American of his time. He drank, we
+suppose, his share of New England rum, when a young man; married
+a comely Yankee girl, and reared a family of chubby-cheeked
+children; went about his business, whatever it was, on week
+days, and when Sunday came, went to meeting with commendable
+regularity. He certainly read the Old Testament, especially the
+Book of Daniel, and of the New Testament at least the Book of
+Revelation. Like many a wiser man before him, he was troubled at
+what he read, filled as it was with mystical numbers and strange
+beasts, and he sought to understand it, and to apply it to the
+days in which he lived. He made the discovery that the world
+was to be destroyed in 1843, and went to and fro in the land
+preaching that comfortable doctrine. He had many followers--as
+many as fifty thousand, it is said, who thought they were
+prepared for the end of all things; some going so far as to lay
+in a large stock of ascension robes. Though no writer himself, he
+was the cause of a great deal of writing on the part of others,
+who flooded the land with a special and curious literature--the
+literature of Millerism. It is not of that, however, that we
+would speak now.
+
+But before this Miller arose--we proceed to say, if only to show
+that we are familiar with other members of the family--there was
+another, and very different Miller, who was born in old England,
+about one hundred years earlier than our sadly, or gladly,
+mistaken Second Adventist. His Christian name was Joseph, and he
+was an actor of repute, celebrated for his excellence in some of
+the comedies of Congreve. The characters which he played may have
+been comic ones, but he was a serious man. Indeed, his gravity
+was so well known in his lifetime that it was reckoned the height
+of wit, when he was dead, to father off upon him a Jest Book!
+This joke, bad as it was, was better than any joke in the book.
+It made him famous, so famous that for the next hundred years
+every little _bon mot_ was laid at his door, metaphorically
+speaking, the puniest youngest brat of them being christened "Old
+Joe."
+
+After Joseph Miller had become what Mercutio calls "a grave man,"
+his descendants went into literature largely, as any one may
+see by turning to Allibone's very voluminous dictionary, where
+upwards of seventy of the name are immortalized, the most noted
+of whom are Thomas Miller, basket-maker and poet, and Hugh
+Miller, the learned stone-mason of Cromarty, whose many works, we
+confess with much humility, we have not read. To the sixty-eight
+Millers in Allibone (if that be the exact number), must now be
+added another--Mr. Joaquin Miller, who published, two or three
+months since, a collection of poems entitled "Songs of the
+Sierras." From which one of the Millers mentioned above his
+ancestry is derived, we are not informed; but, it would seem,
+from the one first-named. For clearly the end of all things
+literary cannot be far off, if Mr. Miller is the "coming poet,"
+for whom so many good people have been looking all their lives.
+We are inclined to think that such is not the fact. We think,
+on the whole, that it is to the other Miller--Joking Miller--his
+genealogy is to be traced.
+
+But who is Mr. Miller, and what has he done? A good many besides
+ourselves put that question, less than a year ago, and nobody
+could answer it. Nobody, that is, in America. In England he was a
+great man. He went over to England, unheralded, it is stated,
+and was soon discovered to be a poet. Swinburne took him up; the
+Rossettis took him up; the critics took him up; he was taken up
+by everybody in England, except the police, who, as a rule, fight
+shy of poets. He went to fashionable parties in a red shirt, with
+trowsers tucked into his boots, and instead of being shown to the
+door by the powdered footman, was received with enthusiasm. It is
+incredible, but it is true. A different state of society existed,
+thirty or forty years ago, when another American poet went to
+England; and we advise our readers, who have leisure at their
+command, to compare it with the present social lawlessness of the
+upper classes among the English. To do this, they have only
+to turn to the late N.P. Willis's "Pencilings by the Way," and
+contrast his descriptions of the fashionable life of London then,
+with almost any journalistic account of the same kind of life
+now. The contrast will be all the more striking if they will
+only hunt up the portraits of Disraeli, with his long, dark locks
+flowing on his shoulders, and the portrait of Bulwer, behind his
+"stunning" waistcoat, and his cascade of neck-cloth, and then
+imagine Mr. Miller standing beside them, in his red shirt and
+high-topped California boots! Like Byron, Mr. Miller "woke up one
+morning and found himself famous."
+
+We compare the sudden famousness of Mr. Miller with the sudden
+famousness of Byron, because the English critics have done so;
+and because they are pleased to consider Mr. Miller as Byron's
+successor! Byron, we are told, was the only poet whom he had
+read, before he went to England; and is the only poet to whom he
+bears a resemblance. How any of these critics could have
+arrived at this conclusion, with the many glaring imitations
+of Swinburne--at his worst--staring him in the face from Mr.
+Miller's volume, is inconceivable. But, perhaps, they do not read
+Swinburne. Do they read Byron?
+
+There are, however, some points of resemblance between Byron and
+Mr. Miller. Byron traveled, when young, in countries not much
+visited by the English; Mr. Miller claims to have traveled, when
+young, in countries not visited by the English at all. This was,
+and is, an advantage to both Byron and Mr. Miller. But it was,
+and is, a serious disadvantage to their readers, who cannot well
+ascertain the truth, or falsehood, of the poets they admire. The
+accuracy of Byron's descriptions of foreign lands has long
+been admitted; the accuracy of Mr. Miller's descriptions is not
+admitted, we believe, by those who are familiar with the ground
+he professes to have gone over.
+
+Another point of resemblance between Byron and Mr. Miller is,
+that the underlying idea of their poetry is autobiographic. We
+do not say that it was really so in Byron's case, although he, we
+know, would have had us believe as much; nor do we say that it
+is really so in Mr. Miller's case, although he, too, we suspect,
+would have us believe as much.
+
+Mr. Miller resembles Byron as his "Arizonian" resembles Byron's
+"Lara." _Lara_ and _Arizonian_ are birds of the same dark
+feather. They have journeyed in strange lands; they have had
+strange experiences; they have returned to Civilization. Each, in
+his way, is a Blighted Being! "Who is she?" we inquire with the
+wise old Spanish Judge, for, certainly, _Woman_ is at the bottom
+of it all. If our readers wish to know _what_ woman, we refer
+them to "Arizonian:" they, of course, have read "Lara."
+
+Byron was a great poet, but Byronism is dead. Mr. Miller is not a
+great poet, and his spurious Byronism will not live. We shall all
+see the end of Millerism.
+
+
+
+
+_THE REAL ROMANCE._
+
+
+The author laid down his pen, and leaned back in his big easy
+chair. The last word had been written--Finis--and there was the
+complete book, quite a tall pile of manuscript, only waiting for
+the printer's hands to become immortal: so the author whispered
+to himself. He had worked hard upon it; great pains had been
+expended upon the delineations of character, and the tone and
+play of incident; the plot, too, had been worked up with much
+artistic force and skill; and, above all, everything was so
+strikingly original; no one, in regarding the various characters
+of the tale, could say: this is intended for so-and-so! No,
+nothing precisely like the persons in his romance had ever
+actually existed; of that the author was certain, and in that he
+was very probably correct. To be sure, there was the character
+of the country girl, Mary, which he had taken from his own
+little waiting-maid: but that was a very subordinate element,
+and although, on the whole, he rather regretted having introduced
+anything so incongruous and unimaginative, he decided to let it
+go. The romance, as a whole, was too great to be injured by one
+little country girl, drawn from real life. "And by the way,"
+murmured the author to himself, "I wish Mary would bring in my
+tea."
+
+He settled himself still more comfortably in his easy chair, and
+thought, and looked at his manuscript; and the manuscript looked
+back; but all _its_ thinking had been done for it. Neither
+spoke--the author, because the book already knew all he had to
+say; and the book, because its time to speak and be immortal had
+not yet arrived. The fire had all the talking to itself, and it
+cackled, and hummed, and skipped about so cheerfully that one
+would have imagined it expected to be the very first to receive
+a presentation copy of the work on the table. "How I would devour
+its contents!" laughed the fire.
+
+Perhaps the author did not comprehend the full force of the
+fire's remark, but the voice was so cosy and soothing, the
+fire itself so ruddy and genial, and the easy chair so softly
+cushioned and hospitable, that he very soon fell into a condition
+which enabled him to see, hear, and understand a great many
+things which might seem remarkable, and, indeed, almost
+incredible.
+
+The manuscript on the table which had hitherto remained perfectly
+quiet, now rustled its leaves nervously, and finally flung
+itself wide open. A murmur then arose, as of several voices, and
+presently there appeared (though whether stepping from between
+the leaves of the book itself, or growing together from the
+surrounding atmosphere, the author could not well make out)
+a number of peculiar-looking individuals, at the first glance
+appearing to be human beings, though a clear investigation
+revealed in each some odd lack or exaggeration of gesture,
+feature, or manner, which might create a doubt as to whether they
+actually were, after all, what they purported to be, or only some
+_lusus naturæ_. But the author was not slow to recognize them,
+more especially as, happening to cast a glance at the manuscript,
+he noticed that it was such no longer, but a collection of
+unwritten sheets of paper, blank as when it lay in the drawer at
+the stationer's--unwitting of the lofty destiny awaiting it.
+
+Here, then, were the immortal creations which were soon to
+astound the world, come, in person, to pay their respects to the
+author of their being. He arose and made a profound obeisance to
+the august company, which they one and all returned, though in
+such a queer variety of ways, that the author, albeit aware that
+every individual had the best of reasons for employing, under
+certain special circumstances, his or her particular manner of
+salute, could scarcely forbear smiling at the effect they all
+together produced in his own unpretending study.
+
+"Your welcome visit," said the author, addressing his guests
+with all the geniality of which he was master (for they
+seemed somewhat stiff and ill-at-ease), "gives me peculiar
+gratification. I regret not having asked some of my friends, the
+critics, up here to make your acquaintance. I am sure you would
+all come to the best possible understanding directly."
+
+"They cannot fathom _me_," exclaimed a strikingly handsome young
+man, with pale lofty brow, and dark clustering locks, who was
+leaning with proud grace against the mantel-piece. "They may
+take my life, but they cannot read my soul." And he laughed,
+scornfully, as he always did.
+
+[Illustration: THE NOONING.--AFTER DARLEY.]
+
+
+This was a passage from that famous ante-mortem soliloquy in
+which the hero of the romance indulges in the last chapter but
+one. The author, while, of course, he could not deny that the
+elegance of the diction was only equaled by the originality of
+the sentiment, yet felt a slight uneasiness that his hero should
+adopt so defiant a tone with those who were indeed to be the
+arbiters of his existence.
+
+"I'm afraid there's not enough perception of the _comme il faut_
+in him to suit the every-day world," muttered he. "To be sure,
+he was not constructed for ordinary ends. Do you find yourself
+at home in this life, madame?" he continued aloud, turning to a
+young lady of matchless beauty, whose brief career of passionate
+love and romantic misery the author had described in thrilling
+chapters. She raised her luminous eyes to his, and murmured
+reproachfully: "Why speak to me of Life? if it be not Love, it is
+Life no longer!"
+
+It was very beautiful, and the author recollected having thought,
+at the time he wrote it down, that it was about the most forcible
+sentence in that most powerful passage of his book. But it
+was rather an exaggerated tone to adopt in the face of such
+common-place surroundings. Had this exquisite creature, after
+all, no better sense of the appropriate?
+
+"No one can know better than I, my dear Constance," said the
+author, in a fatherly tone, "what a beautiful, tender, and lofty
+soul yours is; but would it not be well, once in a while, to
+veil its lustre--to subdue it to a tint more in keeping with the
+unvariegated hue of common circumstance?"
+
+"Heartless and cruel!" sobbed Constance, falling upon the sofa,
+"hast thou not made me what I am?"
+
+This accusation, intended by the author to be leveled at the
+traitor lover, quite took him aback when directed, with so much
+aptness, too, at his respectable self. But whom but himself
+could he blame, if, when common sense demanded only civility
+and complaisance, she persisted in adhering to the tragic and
+sentimental? He was provoked that he had not noticed this defect
+in time to remedy it; yet he had once considered Constance as,
+perhaps, the completest triumph of his genius! There seemed to
+be something particularly disenchanting in the atmosphere of that
+study.
+
+"I'm afraid you're a failure, ma'am, after all," sighed the
+author, eyeing her disconsolately. "You're so one-sided!"
+
+At this heartless observation the lady gave a harrowing shriek,
+thereby summoning to her side a broad-shouldered young fellow,
+clad in soldier's garb, with a countenance betokening much
+boldness and determination. He faced the author with an angry
+frown, which the latter at once recognized as being that of
+Constance's brother Sam.
+
+"Now then, old bloke!" sang out that young gentleman, "what new
+deviltry are you up to? Down on your knees and beg her pardon,
+or, by George! I'll run you through the body!"
+
+On this character the author had expended much thought and care.
+He was the type of the hardy and bold adventurer, rough and
+unpolished, perhaps, but of true and sterling metal, who, by dint
+of his vigorous common sense and honest, energetic nature, should
+at once clear and lighten whatever in the atmosphere of the story
+was obscure and sombre; and, by the salutary contrast of his
+fresh and rugged character with the delicate or morbid traits
+of his fellow beings, lend a graceful symmetry to the whole. The
+sentence Sam had just delivered with so much emphasis ought to
+have been addressed to the traitor lover, when discovered in the
+act of inconstancy, and, so given, would have been effective and
+dramatic. But at a juncture like the present, the author felt it
+to be simply ludicrous, and had he not been so mortified, would
+have laughed outright!
+
+"Don't make a fool of yourself, Sam," remonstrated he. "Reflect
+whom you're addressing, and in what company you are, and do try
+and talk like a civilized being."
+
+"Come, come! no palaver," returned Sam, in a loud and boisterous
+tone (to do him justice, he had never been taught any other);
+"down on your marrow-bones at once, or here goes for your
+gizzard!" and he drew his sword with a flourish.
+
+So this was the rough diamond--the epitome of common sense! Why,
+he was a half-witted, impertinent, overbearing booby, and his
+author longed to get him across his knee, and correct him in the
+good old way. But meantime the point of the young warrior's
+sword was getting unpleasantly near the left breast-pocket of
+the author's dressing gown (which he wore at the time), and the
+latter happened to recollect, with a nervous thrill, that this
+was the sword which mortally wounded the traitor lover (for whom
+Sam evidently mistook him) during the stirring combat so vividly
+described in the twenty-second chapter. Could he but have
+foreseen the future, what a different ending that engagement
+should have had! But again it was too late, and the author sprang
+behind the big easy chair with astonishing agility, and from that
+vantage ground endeavored to bring on a parley.
+
+Yet how could he argue and expostulate against himself? How
+arraign Sam of harboring murderous designs which he had himself
+implanted in his bosom? How, indeed, expect him to comprehend
+conversation so entirely foreign to his experience? It was an
+awkward dilemma.
+
+It was Sam who took it by the horns. Somebody, he felt, must be
+mortally wounded; and finding himself defrauded of one subject,
+he took up with the next he encountered, which chanced to be none
+other than the venerable and white-haired gentleman who filled
+the position, in the tale, of a wealthy and benevolent uncle. The
+author, having always felt a sentiment of exceptional respect and
+admiration for this reverend and patriarchal personage, who
+by his gentle words and sage counsels, no less than his noble
+generosity, had done so much to elevate and sweeten the tone
+of his book, fell into an ecstasy of terror at witnessing the
+approach of his seemingly inevitable destruction; especially as
+he perceived that the poor old fellow (who never in his life had
+met with aught but reverence and affection, and knew nothing
+of the nature of deadly weapons and impulses) was, so far, from
+attempting to defend himself, or even escape, actually opening
+his arms to the widest extent of avuncular hospitality, and
+preparing to take his assassin, sword and all, into his fond and
+forgiving heart!
+
+"You old fool!" shrieked the author, in the excess of his
+irritation and despair; "he isn't your repentant nephew! Why
+can't you keep your forgiveness until it's wanted?"
+
+But Uncle Dudley having been created solely to forgive and
+benefit, was naturally incapable of taking care of himself, and
+would certainly have been run through the ample white waistcoat,
+had not an unexpected and wholly unprecedented interruption
+averted so awful a catastrophe.
+
+A small, graceful figure, wearing a picturesque white cap, with
+jaunty ribbons, and a short scarlet petticoat, from beneath which
+peeped the prettiest feet and ancles ever seen, stepped suddenly
+between the philanthropic victim and his would-be-murderer,
+dealt the latter a vigorous blow across the face with a broom
+she carried, thereby toppling him over ignominiously into the
+coal-scuttle, and then, placing her plump hands saucily
+akimbo, she exclaimed with enchanting _naivete_: "There! Mr.
+Free-and-easy! take _that_ for your imperance."
+
+This little incident caused the author to fall back into his easy
+chair in a condition of profound emotion. It appeared to have
+corrected a certain dimness or obliquity in his vision, of the
+existence of which its cure rendered him for the first time
+conscious. The appearance of the little country girl (whose very
+introduction into the romance the author had looked upon with
+misgivings) had afforded the first gleam of natural, refreshing,
+wholesome interest--in fact, the only relief to all that was
+vapid, irrational, and unreal--which the combined action of the
+characters in his romance had succeeded in producing. But the
+enchantress who had effected this, so far from being the most
+unadulterated product of his own brain and genius, was the only
+one of all his _dramatis personæ_ who was not in the slightest
+degree indebted to him for her existence. She was nothing
+more than an accurate copy of Mary the house-maid, while the
+others--the mis-formed, ill-balanced, one-sided creations, who,
+the moment they were placed beyond the pale of their written
+instructions--put out of the regular and pre-arranged order of
+their going--displayed in every word and gesture their utter
+lack and want of comprehension of the simplest elements of human
+nature: _these_ were the unaided offspring of the author's fancy.
+And yet it was by help of such as these he had thought to push
+his way to immortality! How the world would laugh at him! and,
+as he thought this, a few bitter tears of shame and humiliation
+trickled down the sides of the poor man's nose.
+
+Presently he looked up. The warlike Sam remained sitting
+disconsolately in the coal-hod; his instructions suggested no
+means of extrication. Forsaken Constance lay fainting on the
+sofa, waiting for some one to chafe her hands and bathe her
+temples. The strikingly handsome betrayer leant in sullen and
+gloomy silence against the mantel-piece, ready to treat all
+advances with stern and defiant obduracy. The benevolent uncle
+stood with open arms and bland smile, never doubting but
+that everybody was preparing for a simultaneous rush to, and
+participation in, his embrace; and, finally, the pretty little
+country girl, with her arms akimbo and her nose in the air,
+remained mistress of the situation. Her unheard of innovation, of
+having done something timely, sensible, and decisive, even
+though not put down in the book, seemed to have paralyzed all the
+others. Ah! she was the only one there who was not less than a
+shadow. The author felt his desolate heart yearn towards her, and
+the next moment found himself on his knees at her feet.
+
+"Mary," cried he, "you are my only reality. The others are empty
+and soulless, but you have a heart. They are the children of a
+conceited brain and visionary experience; you, only, have I drawn
+simply and unaffectedly, as you actually existed. Except for
+you, whom I slighted and despised, my whole romance had been an
+unmitigated falsehood. To you I owe my preservation from worse
+than folly, and my initiation into true wisdom. Mary--dear
+Mary, in return I have but one thing to offer you--my heart! Can
+you--_will_ you not love me?"--
+
+To his intense surprise, Mary, instead of evincing a becoming
+sense of her romantic situation, burst forth into a merry peal
+of laughter, and, catching him by one shoulder, gave him a hearty
+shake.
+
+"La sakes! Mr. Author, do wake up! did ever anybody hear such a
+man!"
+
+There was his room, his fire, his chair, his table, and his
+closely-written manuscript lying quietly upon it. There was
+he himself on his knees on the carpet, and--there was Mary the
+house-maid, one hand holding the brimming tea-pot, the other held
+by the author against his lips, and laughing and blushing in a
+tumult of surprise, amusement and, perhaps, something better than
+either.
+
+"Did I say I loved you, Mary?" enquired the author, in a state of
+bewilderment. "Never mind! I say now that I love you with all my
+heart and soul, and ten times as much when awake, as when I was
+dreaming! Will you marry me?"
+
+Mary only blushed rosier then ever. But she and the author always
+thereafter took their tea cosily together.
+
+As for the romance, the author took it and threw it into the
+fire, which roared a genial acknowledgment, and in five minutes
+had made itself thoroughly acquainted with every page. There
+remained a bunch of black flakes, and in the center one soft
+glowing spark, which lingered a long while ere finally taking
+its flight up the chimney. It was the description of the little
+country girl.
+
+"The next book I write shall be all about you," the author used
+to say to his wife, in after years, as they sat together before
+the fire-place, and watched the bright blaze roar up the chimney.
+
+                                            --_Julian Hawthorne._
+
+
+
+
+_A FROSTY DAY._
+
+
+  Grass afield wears silver thatch,
+    Palings all are edged with rime,
+  Frost-flowers pattern round the latch,
+    Cloud nor breeze dissolve the clime;
+
+  When the waves are solid floor,
+    And the clods are iron-bound,
+  And the boughs are crystall'd hoar,
+    And the red leaf nail'd aground.
+
+  When the fieldfare's flight is slow,
+    And a rosy vapor rim,
+  Now the sun is small and low,
+    Belts along the region dim.
+
+  When the ice-crack flies and flaws,
+    Shore to shore, with thunder shock,
+  Deeper than the evening daws,
+    Clearer than the village clock.
+
+  When the rusty blackbird strips,
+    Bunch by bunch, the coral thorn,
+  And the pale day-crescent dips,
+    New to heaven a slender horn.
+
+                        --_John Leicester Warren._
+
+       *       *       *       *       *
+
+Those who come last seem to enter with advantage. They are
+born to the wealth of antiquity. The materials for judging are
+prepared, and the foundations of knowledge are laid to their
+hands. Besides, if the point was tried by antiquity, antiquity
+would lose it; for the present age is really the oldest, and has
+the largest experience to plead.--_Jeremy Collier_.
+
+
+[Illustration: COMING OUT OF SCHOOL.--VAUTIER.]
+
+
+
+
+_COMING OUT OF SCHOOL._
+
+
+If there be any happier event in the life of a child than coming
+out of school, few children are wise enough to discover it. We do
+not refer to children who go to school unwillingly--thoughtless
+wights--whose heads are full of play, and whose hands are
+prone to mischief:--that these should delight in escaping the
+restraints of the school-room, and the eye of its watchful
+master, is a matter of course. We refer to children generally,
+the good and the bad, the studious and the idle, in short, to
+all who belong to the _genus_ Boy. Perhaps we should include the
+_genus_ Girl, also, but of that we are not certain; for, not
+to dwell upon the fact that we have never been a girl, and are,
+therefore, unable to enter into the feelings of girlhood, we hold
+that girls are better than boys, as women are better than men,
+and that, consequently, they take more kindly to school life.
+What boys are we know, unless the breed has changed very much
+since we were young, which is now upwards of--but our age
+does not concern the reader. We did not take kindly to school,
+although we were sadly in need of what we could only obtain in
+school, viz., learning. We went to school with reluctance,
+and remained with discomfort; for we were not as robust as the
+children of our neighbors. We hated school. We did not dare to
+play truant, however, like other boys whom we knew (we were not
+courageous enough for that); so we kept on going, fretting, and
+pining, and--learning.
+
+Oh the long days (the hot days of summer, and the cold days of
+winter), when we had to sit for hours on hard wooden benches,
+before uncomfortable desks, bending over grimy slates and
+ink-besprinkled "copy books," and poring over studies in which
+we took no interest--geography, which we learned by rote;
+arithmetic, which always evaded us, and grammar, which we never
+could master. We could repeat the "rules," but we could not
+"parse;" we could cipher, but our sums would not "prove;" we
+could rattle off the productions of Italy--"corn, wine, silk and
+oil"--but we could not "bound" the State in which we lived. We
+were conscious of these defects, and deplored them. Our teachers
+were also conscious of them, and flogged us! We had a morbid
+dread of corporeal punishment, and strove to the uttermost to
+avoid it; but it made no difference, it came all the same--came
+as surely and swiftly to us as to the bad boys who played
+"hookey," the worse boys who fought, and the worst boy who once
+stoned his master in the street. With such a school record as
+this, is it to be wondered at that we rejoiced when school was
+out? And rejoiced still more when we were out of school?
+
+The feeling which we had then appears to be shared by the
+children in our illustration. Not for the same reasons, however;
+for we question whether the most ignorant of their number does
+not know more of grammar than we do to-day, and is not better
+acquainted with the boundaries of Germany than we could ever
+force ourselves to be. We like these little fellows for what they
+are, and what they will probably be. And we like their master, a
+grave, simple-hearted man, whose proper place would appear to be
+the parish-pulpit. What his scholars learn will be worth knowing,
+if it be not very profound. They will learn probity and goodness,
+and it will not be ferruled into them either. Clearly, they do
+not fear the master, or they would not be so unconstrained in his
+presence. They would not make snow balls, as one has done, and
+another is doing. Soon they will begin to pelt each other, and
+the passers by will not mind the snow balls, if they will only
+remember how they themselves felt, and behaved, after coming out
+of school.
+
+There is not much in a group of children coming out of school. So
+one might say at first sight, but a little reflection will show
+the fallacy of the remark. One would naturally suppose that in
+every well-regulated State of antiquity measures would have been
+taken to ensure the education of all classes of the community,
+but such was not the case. The Spartans under Lycurgus were
+educated, but their education was mainly a physical one, and
+it did not reach the lower orders. The education of Greece
+generally, even when the Greek mind had attained its highest
+culture, was still largely physical--philosophers, statesmen,
+and poets priding themselves as much upon their athletic feats
+as upon their intellectual endowments. The schools of Rome were
+private, and were confined to the patricians. There was a change
+for the better when Christianity became the established religion.
+Public schools were recommended by a council in the sixth
+century, but rather as a means of teaching the young the
+rudiments of their faith, under the direction of the clergy, than
+as a means of giving them general instruction. It was not until
+the close of the twelfth century that a council ordained the
+establishment of grammar schools in cathedrals for the gratuitous
+instruction of the poor; and not until a century later that the
+ordinance was carried into effect at Lyons. Luther found time,
+amid his multitudinous labors, to interest himself in popular
+education; and, in 1527, he drew up, with the aid of Melanchthon,
+what is known as the Saxon School System. The seed was sown, but
+the Thirty Years' War prevented its coming to a speedy maturity.
+In the middle of the last century several of the German States
+passed laws making it compulsory upon parents to send their
+children to school at a certain age; but these laws were not
+really obeyed until the beginning of the present century. German
+schools are now open to the poorest as well as the richest
+children. The only people, except the Germans, who thought of
+common schools at an early period are the Scotch.
+
+It cost, we see, some centuries of mental blindness to discover
+the need of, and some centuries of struggling to establish
+schools.
+
+
+[Illustration: THE BRIDGE OF SIGHS.]
+
+
+
+
+_A GLIMPSE OF VENICE._
+
+
+The spell which Venice has cast over the English poets is as
+powerful, in its way, as was the influence of Italian literature
+upon the early literature of England. From Chaucer down, the
+poets have turned to Italy for inspiration, and, what is still
+better, have found it. It is not too much to say that the
+"Canterbury Tales" could not have existed, in their present
+form, if Boccaccio had not written the "Decameron;" and it is to
+Boccaccio we are told that the writers of his time were indebted
+for their first knowledge of Homer. Wyatt and Surrey transplanted
+what they could of grace from Petrarch into the rough England of
+Henry the Eighth. We know what the early dramatists owe to the
+Italian storytellers. They went to their novels for the plots
+of their plays, as the novelists of to-day go to the criminal
+calendar for the plots of their stories. Shakspeare appears so
+familiar with Italian life that Mr. Charles Armitage Brown, the
+author of a very curious work on Shakspeare's Sonnets, declares
+that he must have visited Italy, basing this conclusion on the
+minute knowledge of certain Italian localities shown in some of
+his later plays. At home in Verona, Milan, Mantua, and Padua,
+Shakspeare is nowhere so much so as in Venice.
+
+It is impossible to think of Venice without remembering the
+poets; and the poet who is first remembered is Byron. If our
+thoughts are touched with gravity as they should be when we dwell
+upon the sombre aspects of Venice--when we look, as here, for
+example, on the Bridge of Sighs--we find ourselves repeating:
+
+    "I stood in Venice, on the Bridge of Sighs."
+
+If we are in a gayer mood, as we are likely to be after looking
+at the brilliant carnival-scene which greets us at the threshold
+of the present number of _THE ALDINE_, we recall the opening
+passages of Byron's merry poem of "Beppo:"
+
+  "Of all the places where the Carnival
+    Was most facetious in the days of yore,
+  For dance, and song, and serenade, and ball,
+    And masque, and mime, and mystery, and more
+  Than I have time to tell now, or at all,
+    Venice the bell from every city bore."
+
+         *       *       *       *       *
+
+  "And there are dresses splendid, but fantastical,
+    Masks of all times, and nations, Turks and Jews,
+  And harlequins and clowns, with feats gymnastical,
+    Greeks, Romans, Yankee-doodles, and Hindoos
+  All kinds of dress, except the ecclesiastical,
+    All people, as their fancies hit, may choose,
+  But no one in these parts may quiz the clergy,
+  Therefore take heed, ye Freethinkers! I charge ye."
+
+
+The Bridge of Sighs (to return to prose) is a long covered
+gallery, leading from the ducal palace to the old State prisons
+of Venice. It was frequently traversed, we may be sure, in the
+days of some of the Doges, to one of whom, our old friend, and
+Byron's--Marino Faliero--the erection of the ducal palace is
+sometimes falsely ascribed. Founded in the year 800, A.D., the
+ducal palace was afterwards destroyed five times, and each time
+arose from its ruins with increasing splendor until it became,
+what it is now, a stately marble building of the Saracenic style
+of architecture, with a grand staircase and noble halls, adorned
+with pictures by Titian, Tintoretto, Paul Veronese, and other
+famous masters.
+
+It would be difficult to find gloomier dungeons, even in the
+worst strongholds of despotism, than those in which the State
+prisoners of Venice were confined. These "pozzi," or wells, were
+sunk in the thick walls, under the flooring of the chamber at the
+foot of the Bridge of Sighs. There were twelve of them formerly,
+and they ran down three or four stories. The Venetian of old time
+abhorred them as deeply as his descendants, who, on the first
+arrival of the conquering French, attempted to block or break up
+the lowest of them, but were not entirely successful; for, when
+Byron was in Venice, it was not uncommon for adventurous tourists
+to descend by a trap-door, and crawl through holes, half choked
+by rubbish, to the depth of two stories below the first range.
+So says the writer of the _Notes_ to the fourth canto of "Childe
+Harolde" (Byron's friend Hobhouse, if our memory serves), who
+adds, "If you are in want of consolation for the extinction of
+patrician power, perhaps you may find it there. Scarcely a ray of
+light glimmers into the narrow gallery which leads to the cells,
+and the places of confinement themselves are totally dark. A
+little hole in the wall admitted the damp air of the passages,
+and served for the introduction of the prisoner's food. A
+wooden pallet, about a foot or so from the ground, was the only
+furniture. The conductors tell you a light was not allowed. The
+cells are about five paces in length, two and a half in width,
+and seven feet in height. They are directly beneath one another,
+and respiration is somewhat difficult in the lower holes. Only
+one prisoner was found when the Republicans descended into these
+hideous recesses, and he is said to have been confined sixteen
+years." When the prisoner's hour came he was taken out and
+strangled in a cell upon the Bridge of Sighs!
+
+And this was in Venice! The grand old Republic which was once the
+greatest Power of Eastern Europe; the home of great artists and
+architects, renowned the world over for arts and arms; the Venice
+of "blind old Dandolo," who led her galleys to victory at the
+ripe old age of eighty; the Venice of Doge Foscari, whose son
+she tortured, imprisoned and murdered, and whose own paternal,
+patriotic, great heart she broke; the Venice of gay gallants, and
+noble, beautiful ladies; the Venice of mumming, masking, and the
+carnival; the bright, beautiful Venice of Shakspeare, Otway, and
+Byron; joyous, loving Venice; cruel, fatal Venice!
+
+       *       *       *       *       *
+
+MODERN SATIRE.--A satire on everything is a satire on nothing;
+it is mere absurdity. All contempt, all disrespect, implies
+something respected, as a standard to which it is referred; just
+as every valley implies a hill. The _persiflage_ of the French
+and of fashionable worldlings, which turns into ridicule
+the exceptions and yet abjures the rules, is like Trinculo's
+government--its latter end forgets its beginning. Can there be a
+more mortal, poisonous consumption and asphyxy of the mind than
+this decline and extinction of all reverence?--_Jean Paul_.
+
+
+
+
+_WINTER PICTURES FROM THE POETS._
+
+
+Although English Poetry abounds with pictures of the seasons, its
+Winter pictures are neither numerous, nor among its best. For
+one good snow-piece we can readily find twenty delicate Spring
+pictures--twinkling with morning dew, and odorous with the
+perfume of early flowers. It would be easy to make a large
+gallery of Summer pictures; and another gallery, equally large,
+which should contain only the misty skies, the dark clouds, and
+the falling leaves of Autumn. Not so with Winter scenes. Not that
+the English poets have not painted the last, and painted them
+finely, but that as a rule they have not taken kindly to the
+work. They prefer to do what Keats did in one of his poems, viz.,
+make Winter a point of departure from which Fancy shall wing her
+way to brighter days:
+
+  "Fancy, high-commissioned; send her!
+  She has vassals to attend her,
+  She will bring, in spite of frost,
+  Beauties that the earth hath lost,
+  She will bring thee, all together,
+  All delights of summer weather."
+
+But we must not let Keats come between us and the few among his
+fellows who have sung of Winter for us. Above all, we must not
+let him keep his and our master, Shakspeare, waiting:
+
+  "When icicles hang by the wall,
+    And Dick the shepherd blows his nail,
+  And Tom bears logs into the hall,
+    And milk comes frozen home in pail,
+  When blood is nipped, and ways be foul,
+  Then nightly sings the staring owl,
+            To-whoo;
+  To-whit, to-whoo, a merry note,
+  While greasy Joan doth keel the pot.
+
+  "When all aloud the wind doth blow,
+    And coughing drowns the parson's saw,
+  And birds sit brooding in the snow,
+    And Marian's nose looks red and raw.
+  When roasted crabs hiss in the bowl,
+  Then nightly sings the staring owl,
+            To-whoo;
+  To-whit, to-whoo, a merry note,
+  While greasy Joan doth keel the pot."
+
+From Shakspeare to Thomson is something of a descent, but we must
+make it before we can find any Winter poetry worth quoting.
+Here is a picture, ready-made, for Landseer to put into form and
+color:
+
+  "There, warm together pressed, the trooping deer
+  Sleep on the new-fallen snows; and scarce his head
+  Raised o'er the heapy wreath, the branching elk
+  Lies slumbering sullen in the white abyss.
+  The ruthless hunter wants nor dogs nor toils,
+  Nor with the dread of sounding bows he drives
+  The fearful flying race: with ponderous clubs,
+  As weak against the mountain-heaps they push
+  Their beating breast in vain, and piteous bray,
+  He lays them quivering on the ensanguined snows,
+  And with loud shouts rejoicing bears them home."
+
+Cowper is superior to Thomson as a painter of Winter, although it
+is doubtful whether he was by nature the better poet. Here is one
+of his pictures:
+
+  "The cattle mourn in corners, where the fence
+  Screens them, and seem half petrified with sleep
+  In unrecumbent sadness. There they wait
+  Their wonted fodder; not like hungering man,
+  Fretful if unsupplied; but silent, meek,
+  And patient of the slow-paced swain's delay.
+  He, from the stack, carves out the accustomed load,
+  Deep plunging, and again deep plunging oft,
+  The broad keen knife into the solid mass:
+  Smooth as a wall, the upright remnant stands,
+  With such undeviating and even force
+  He severs it away: no needless care,
+  Lest storms should overset the leaning pile
+  Deciduous, or its own unbalanced weight.
+  Forth goes the woodman, leaving, unconcerned,
+  The cheerful haunts of man, to wield the axe
+  And drive the wedge in yonder forest drear,
+  From morn to eve his solitary task.
+  Shaggy, and lean, and shrewd, with pointed ears
+  And tail cropped short, half lurcher and half cur,
+  His dog attends him. Close behind his heel
+  Now creeps he slow; and now, with many a frisk,
+  Wide scampering, snatches up the drifted snow
+  With ivory teeth, or ploughs it with his snout;
+  Then shakes his powdered coat, and barks for joy.
+  Heedless of all his pranks, the sturdy churl
+  Moves right toward the mark; nor stops for aught,
+  But now and then, with pressure of his thumb
+  To adjust the fragrant charge of a short tube
+  That fumes beneath his nose: the trailing cloud
+  Streams far behind him, scenting all the air.
+  Now from the roost, or from the neighboring pale,
+  Where, diligent to cast the first faint gleam
+  Of smiling day, they gossiped side by side,
+  Come trooping at the housewife's well-known call
+  The feathered tribes domestic. Half on wing,
+  And half on foot, they brush the fleecy flood,
+  Conscious and fearful of too deep a plunge.
+  The sparrows peep, and quit the sheltering eaves,
+  To seize the fair occasion; well they eye
+  The scattered grain, and thievishly resolved
+  To escape the impending famine, often scared
+  As oft return, a pert voracious kind.
+  Clean riddance quickly made, one only care
+  Remains to each, the search of sunny nook,
+  Or shed impervious to the blast. Resigned
+  To sad necessity, the cock foregoes
+  His wonted strut; and, wading at their head,
+  With well-considered steps, seems to resent
+  His altered gait and stateliness retrenched."
+
+The American poets have excelled their English brethren in
+painting the outward aspects of Winter. Here is Mr. Emerson's
+description of a snow storm:
+
+  "Announced by all the trumpets of the sky
+  Arrives the snow, and, driving o'er the fields,
+  Seems nowhere to alight: the whited air
+  Hides hills and woods, the river, and the heaven,
+  And veils the farm-house at the garden's end.
+  The sled and traveler stopped, the courier's feet
+  Delayed, all friends shut out, the housemates sit
+  Around the radiant fire-place, enclosed
+  In a tumultuous privacy of storm.
+    Come see the north wind's masonry.
+  Out of an unseen quarry evermore
+  Furnished with tile, the fierce artificer
+  Curves his white bastions with projected roof
+  Round every windward stake, or tree, or door.
+  Speeding, the myriad-handed, his wild work
+  So fanciful, so savage, nought cares he
+  For number or proportion. Mockingly
+  On coop or kennel he hangs Parian wreaths;
+  A swan-like form invests the hidden thorn:
+  Fills up the farmer's lane from wall to wall,
+  Maugre the farmer's sighs, and at the gate
+  A tapering turret overtops the work.
+  And when his hours are numbered, and the world
+  Is all his own, retiring, as he were not,
+  Leaves, when the sun appears, astonished Art
+  To mimic in slow structures, stone by stone,
+  Built in an age, the mad wind's night-work,
+  The frolic architecture of the snow."
+
+In Mr. Bryant's "Winter Piece" we have a brilliant description of
+frost-work:
+
+            "Look! the massy trunks
+  Are cased in the pure crystal; each light spray
+  Nodding and tinkling in the breath of heaven,
+  Is studded with its trembling water-drops,
+  That glimmer with an amethystine light.
+  But round the parent stem the long low boughs
+  Bend, in a glittering ring, and arbors hide
+  The glassy floor. Oh! you might deem the spot
+  The spacious cavern of some virgin mine,
+  Deep in the womb of earth--where the gems grow,
+  And diamonds put forth radiant rods and bud
+  With amethyst and topaz--and the place
+  Lit up, most royally, with the pure beam
+  That dwells in them. Or haply the vast hall
+  Of fairy palace, that outlasts the night,
+  And fades not in the glory of the sun;--
+  Where crystal columns send forth slender shafts
+  And crossing arches; and fantastic aisles
+  Wind from the sight in brightness, and are lost,
+  Among the crowded pillars. Raise thine eye;
+  Thou seest no cavern roof, no palace vault;
+  There the blue sky and the white drifting cloud
+  Look in. Again the wildered fancy dreams
+  Of spouting fountains, frozen as they rose,
+  And fixed, with all their branching jets, in air,
+  And all their sluices sealed. All, all is light;
+  Light without shade. But all shall pass away
+  With the next sun. From numberless vast trunks,
+  Loosened, the crashing ice shall make a sound
+  Like the far roar of rivers, and the eve
+  Shall close o'er the brown woods as it was wont."
+
+Winter, itself, has never been more happily impersonated than by
+dear old Spenser. We meant to close with his portrait of Winter,
+but, on second thoughts, we give, as more seasonable, his
+description of January. The fourth line can hardly fail to
+remind the reader of the second line of Shakspeare's song, and
+to suggest the query--whether Shakspeare borrowed from Spenser,
+Spenser from Shakspeare, or both from Nature?
+
+  "Then came old January, wrapped well
+  In many weeds to keep the cold away;
+  Yet did he quake and quiver like to quell,
+  And blow his nayles to warme them if he may;
+  For they were numbed with holding all the day
+  An hatchet keene, with which he felled wood
+  And from the trees did lop the needlesse spray:
+  Upon an huge great earth-pot steane he stood,
+  From whose wide mouth there flowed forth the Romane floud."
+
+       *       *       *       *       *
+
+As long as you are engaged in the world, you must comply with its
+maxims; because nothing is more unprofitable than the wisdom of
+those persons who set up for reformers of the age. 'Tis a part
+a man can not act long, without offending his friends, and
+rendering himself ridiculous.--_St. Gosemond_.
+
+
+
+
+_THE PAVILIONS ON THE LAKE._
+
+FROM THE FRENCH OF THEOPHILE GAUTIER.
+
+
+In the province of Canton, several miles from the city, there
+once lived two rich Chinese merchants, retired from business. One
+of them was named Tou, the other Kouan. Both were possessed
+of great riches, and were persons of much consequence in the
+community.
+
+Tou and Kouan were distant relatives, and from early youth had
+lived and worked side by side. Bound by ties of great affection,
+they had built their homes near together, and every evening they
+met with a few select friends to pass the hours in delightful
+intercourse. Both possessed of much talent, they vied with each
+other in the production of exquisite Chinese handiwork, and spent
+the evenings in tracing poetry and fancy designs on rice-paper
+as they drank each other's success in tiny glasses of delicate
+cordial. But their characters, apparently so harmonious, as time
+went on grew more and more apart; they were like an almond tree,
+growing as one stem, until little by little the branches divide
+so that the topmost twigs are far from each other--half sending
+their bitter perfume through the whole garden, while the other
+half scatter their snow-white flowers outside the garden wall.
+
+From year to year Tou grew more serious; his figure increased in
+dignity, even his double chin wore a solemn expression, and he
+spent his whole time composing moral inscriptions to hang over
+the doors of his pavilion.
+
+Kouan, on the contrary, grew jolly as his years increased. He
+sang more gaily than ever in praise of wine, flowers, and birds.
+His spirit, unburdened by vulgar cares, was light like a young
+man's, and he dreamed of nothing but pure enjoyment.
+
+Little by little an intense hatred sprang up between the friends.
+They could not meet without indulging in bitter sarcasm. They
+were like two hedges of brambles, bristling with sharp thorns. At
+last, things came to such a pass that they could no longer endure
+each other's society, and each hung a tablet by the door of his
+dwelling, stating that no person from the neighboring house would
+be allowed to cross the threshold on any pretext whatever.
+
+They would have been glad to move their houses to different parts
+of the country, but, unhappily, this was not possible. Tou even
+tried to sell his property but he set such an unreasonable price
+that no buyer appeared, and he was, moreover, unwilling to
+leave all the treasures he had accumulated there--the sculptured
+wainscotting, the polished panels, like mirrors, the transparent
+windows, the gilded lattice-work, the bamboo lounges, the vases
+of rare porcelain, the red and black lacquered cabinets, and the
+cases full of books of ancient poetry. It was hard to give up to
+strangers the garden where he had planted shade and fruit trees
+with his own hands, and where, each spring he had watched the
+opening of the flowers; where in short, each object was bound to
+his heart by ties delicate as the finest silk, but strong as iron
+chains.
+
+In the days of their friendship, Tou and Kouan had each built a
+pavilion in his garden, on the shore of a lake, common to both
+estates. It had been a great delight to sit in their separate
+balconies and exchange friendly salutations while they smoked
+opium in pipes of delicate porcelain. But after becoming enemies
+they built a wall which divided the lake into two equal portions.
+The water was so deep that the wall was supported on a series of
+arches, through which the water flowed freely, reflecting upon
+its placid surface the rival pavilions.
+
+These pavilions were exquisite specimens of Chinese architecture.
+The roofs, covered with tiling, round and brilliant as the scales
+which glisten on the sides of a gold-fish, were supported upon
+red and black pillars which rested on a solid foundation, richly
+ornamented with porcelain slabs bearing all manner of artistic
+designs. A railing ran all around, formed by a graceful
+intermingling of branches and flowers wrought in ivory. The
+interior was not less sumptuous. On the walls were inscribed
+verses of celebrated Chinese poems, elegantly written in
+perpendicular lines, with golden characters on a lacquered
+background. Shades of delicately carved ivory, softened the
+light to a faint opal tint, and all around stood pots of orchis,
+peonies, and daisies, which filled the air with delicious
+perfume. Curtains of rich silk were draped over the entrance,
+and on the marble tables within were scattered fans, tooth-picks,
+ebony pipes, and pencils with all conveniences for writing.
+
+All around the pavilions were picturesque grounds of rock, among
+whose clefts grew clumps of willows, their long green twigs
+swaying on the surface of the water. Under the crystal waves
+sported myriads of gold-fish, and ducks with gay plumage floated
+among the broad, shining leaves of water-lilies. Except in the
+very centre of the pool, where the depth of the water prevented
+the growth of aquatic plants, the whole surface was covered with
+these leaves, like a carpet of soft green velvet.
+
+Before the unsightly wall had been placed there by the hostile
+owners, it was impossible to find a more picturesque spot in the
+whole empire, and even now no philosopher would have wished for a
+more retired and delicious retreat in which to pass his days.
+
+Both Tou and Kouan felt deeply the loss of the enchanting
+prospect, and gazed sadly upon the barren wall which rose before
+their eyes, but each consoled himself with the idea that his
+neighbor was as badly off as himself.
+
+Things went on in this way for several years. Grass and weeds
+choked up the pathway between the two houses, and brambles and
+branches of low shrubs intertwined across it, as though they
+would bar all communication forever. It appeared as if the plants
+understood the quarrel between the two old friends, and took
+delight in perpetuating it.
+
+Meanwhile the wives of both Tou and Kouan were both blessed each
+with a child. Madame Tou became the mother of a charming girl,
+and Madame Kouan of the handsomest boy in the world. Each family
+was ignorant of the happy event which had brought joy into
+the home of the other, for although their houses were so near
+together the families were as far apart as if they had been
+separated by the great wall of the empire, or the ocean itself.
+What mutual friends they still possessed, never alluded to the
+affairs of one in the house of the other; even the servants had
+been forbidden to exchange words with each other, under pain of
+death.
+
+The boy was named Tchin-Sing, and the girl Ju-Kiouan, that is to
+say, Jasper and Pearl. Their perfect beauty fully justified the
+choice of their names. As they grew old enough to take notice of
+their surroundings, the unsightly wall attracted their attention,
+and each inquired of their parents why that strange barrier was
+placed across the centre of such a charming sheet of water, and
+to whom belonged the great trees of which they could see the
+topmost boughs.
+
+Each was told that on the farther side of the wall was the
+habitation of a strange and wicked family, and that it had been
+placed there as a protection against such disagreeable neighbors.
+
+This explanation was sufficient for the children. They grew
+accustomed to the sight and thought no more about it.
+
+Ju-Kiouan grew in grace and beauty. She was skilled in all
+lady-like accomplishments. The butterflies which she embroidered
+upon satin appeared to live and beat their wings, and one could
+almost hear the song of the birds which grew under her fingers,
+and smell the perfume of the flowers she wrought upon canvas. She
+knew the "Book of Odes" by heart, and could repeat the five rules
+of life without missing a word. Her handwriting was perfection,
+and she composed in all the different styles of Chinese poetry.
+Her poems were upon all those delicate themes which would attract
+the mind of a pure young girl; upon the return of the swallows,
+the daisies, the weeping willows and similar topics, and were
+of such merit as to win much praise from the wise men of the
+country.
+
+Tchin-Sing was not less forward in his accomplishments, and his
+name stood at the head of his class. Although he was very young
+he had already gained the right to wear the black cap of the wise
+men, and all the mothers in the country about wished him for a
+son-in-law. But Tchin-Sing had but one answer to all proposals;
+it was too soon, and he desired his liberty for some time to
+come. He refused the hand of Hon-Giu, of Oma, and other beautiful
+young girls. Never was a young man more courted and more
+overwhelmed with sweets and flowers than he, but his heart
+remained insensible to all attractions. Not on account of its
+coldness, for he appeared full of longing for an object to adore.
+His heart seemed fixed upon some memory, some dream, perhaps, for
+whose realization he was waiting and hoping. It was all in vain
+to tell him of beautiful tresses, languishing eyes, and soft
+hands waiting for his acceptance. He listened with a distracted
+air, as if thinking of other things.
+
+Ju-Kiouan was not less difficult to please. She refused all
+suitors for her hand. This did not salute her gracefully, that
+was not dainty in his habits; one had a bad handwriting, another
+composed poor verses; in short all had some defect. She drew
+amusing caricatures of everyone, which made her parents laugh,
+and show the door to the unlucky lover in the most polite manner
+possible.
+
+At last the parents of both young people became alarmed at the
+continued refusal of their children to marry, and the mothers
+commenced to follow the subject in their dreams. One night Madame
+Kouan dreamed that she saw a pearl of wonderful purity reposing
+on the breast of her son. On the other hand, Madame Tou dreamed
+that on her daughter's forehead sparkled a jasper of inestimable
+value. Much consultation was held as to the significance of these
+dreams. Madame Kouan's was thought to imply that her son would
+win the highest honors of the Imperial Academy, while Madame
+Tou's might signify that her daughter would find some untold
+treasure in the garden. These interpretations, however, did not
+satisfy the two mothers, whose whole minds were bent upon the
+happy marriage of their children. Unfortunately both Tchin-Sing
+and Ju-Kiouan persisted more obstinately than ever in their
+refusal to listen to the subject.
+
+As young people are not usually so averse to marriage, the
+parents suspected some secret attachment, but a few days' careful
+watching sufficed to prove that Tchin-Sing was paying court to no
+young girl, and that no lover was to be seen under the balcony of
+Ju-Kiouan.
+
+At length both mothers decided to consult the bronze oracle in
+the temple of Fo. After burning gilt paper and perfume before the
+oracle, Madame Tou received the unsatisfactory answer that,
+until the jasper appeared, the pearl would unite with no one, and
+Madame Kouan was told the jasper would take nothing to his
+bosom but the pearl. Both women went sadly homeward in deeper
+perplexity than ever.
+
+One day Ju-Kiouan was leaning pensively on the balcony of her
+pavilion, precisely at the same time when Tchin-Sing was standing
+by his. The day was clear as crystal, and not a cloud floated in
+the blue space above. There was not sufficient wind to move the
+lightest twigs of the willows, and the surface of the water
+was glistening and placid as a mirror, only disturbed, here and
+there, when some tiny gold-fish leaped for an instant into the
+sunshine. The trees and grassy banks were reflected so distinctly
+that it was impossible to tell where the real world left off, and
+the land of dreams began. Ju-Kiouan was amusing herself watching
+the beauteous water-picture when her eyes fell upon that portion
+of the lake, near the wall, where, with all the clearness of
+reality, was the reflection of the pavilion on the opposite
+shore.
+
+She had never noticed it before, and what was her surprise to
+behold an exact reproduction of the one where she was standing,
+the gilded roof, the red and black pillars, and all the beauteous
+drapery about the doors. She would have been able to read the
+inscription upon the tablets, had they not been reversed. But
+what surprised her more than all was to see, leaning on the
+balcony, a figure which, if it had not come from the other side
+of the lake, she would have taken for her own reflection. It was
+the mirrored image of Tchin-Sing. At first she took it for the
+reflection of a girl, as he was dressed in robes according to the
+fashion of the time. As the heat was intense, he had thrown off
+his student's cap, and his hair fell about his fresh, beardless
+face. But soon Ju-Kiouan recognized, from the violent beating
+of her heart, that the reflection in the water was not that of a
+young girl.
+
+Until then she had believed that the earth contained no being
+created for her, and had often indulged in pensive revery over
+her loneliness. Never, said she, shall I take my place as a link
+between the past and future of my family, but I shall enter among
+the shadows as a lonely shade.
+
+But when she beheld the reflection in the water, she found that
+her beauty had a sister, or, more properly speaking, a brother.
+Far from being displeased to discover that her beauty was not
+unrivaled, she was filled with intense joy. Her heart was
+beating and throbbing with love for another, and in that instant
+Ju-Kiouan's whole life was changed. It was foolish in her to fall
+violently in love with a reflection, of whose reality she knew
+nothing, but after all she was only acting like nearly all young
+girls who take a husband for his white teeth or his curly hair,
+knowing nothing whatever of his real character.
+
+Tchin-Sing had also perceived the charming reflection of the
+young girl. "I am dreaming," he cried. "That beautiful image upon
+the water is the combination of sunshine and the perfume of many
+flowers. I recognize it well. It is the reflection of the image
+within my own heart, the divine unknown whom I have worshiped all
+my life."
+
+Tchin-Sing was aroused from his monologue by the voice of his
+father, who called him to come at once to the grand saloon.
+
+"My son," said he, "here is a very rich and very learned man
+who seeks you as a husband for his daughter. The young girl has
+imperial blood in her veins, is of a rare beauty, and possesses
+all the qualities necessary to make her husband happy."
+
+Tchin-Sing, whose heart was bursting with love for the reflection
+seen from the pavilion, refused decidedly. His father, carried
+away with passion, heaped upon him the most violent imprecations.
+
+"Undutiful child," said he, "if you persist in your obstinacy, I
+will have you confined in one of the strongest fortresses of the
+empire, where you will see nothing but the sea beating against
+the rocks, and the mountains covered with mist. There you will
+have leisure to reflect, and repent of your wicked conduct."
+
+These threats did not frighten Tchin-Sing in the least. He
+quickly replied that he would accept for his wife the first
+maiden who touched his heart, and until then he should listen to
+no one.
+
+The next day, at the same hour, he went to the pavilion on
+the lake, and, leaning on the balcony, eagerly watched for the
+beloved reflection. In a few moments he saw it glisten in the
+water, beauteous as a boquet of submerged flowers.
+
+A radiant smile broke over the face of the reflection, which
+proved to Tchin-Sing that his presence was not unpleasant to the
+lovely unknown. But as it was impossible to hold communication
+with a reflection whose substance is invisible, he made a sign
+that he would write, and vanished into the interior of the
+pavilion. He soon reappeared, bearing in his hand a silvered
+paper, upon which he had written a declaration of love in
+seven-syllabled stanzas. He carefully folded his verses and
+placed them in the cup of a white flower, which he rolled in a
+leaf of the water-lily, and placed the whole tenderly upon the
+surface of the lake.
+
+A light breeze wafted the lover's message through the arches of
+the wall, and it floated so near Ju-Kiouan that she had only to
+stretch out her hand to receive it. Fearful of being seen she
+returned to her private boudoir, where she read with great
+delight the expressions of love written by Tchin-Sing. Her
+joy was all the greater, as she recognized from the exquisite
+hand-writing and choice versification that the writer was a
+man of culture and talent. And when she read his signature, the
+significance of which she perceived at once, remembering her
+mother's dream, she felt that heaven had sent her the long
+desired companion.
+
+The next day the breeze blew in a different direction, so that
+Ju-Kiouan was able to send an answer in verse by the same subtle
+messenger, by which, notwithstanding her girlish modesty, it was
+easy to see that she returned the love of Tchin-Sing.
+
+On reading the signature, Tchin-Sing could not repress an
+exclamation of surprise and delight. "The pearl," said he, "that
+is the precious jewel my mother saw glittering on my bosom. I
+must at once entreat this young girl's hand of her parents, for
+she is the wife appointed for me by the oracle."
+
+As he was preparing to go, he suddenly remembered the dislike
+between the two families, and the prohibitions inscribed upon
+the tablet over the entrance. Determined to win his prize at any
+cost, he resolved to confide the whole history to his mother.
+Ju-Kiouan had also told her love to Madame Tou. The names of
+Pearl and Jasper troubled the good matrons so much that, not
+daring to set themselves against what appeared to be the will of
+the gods, they both went again to the temple of Fo.
+
+The bronze oracle replied that this marriage was in reality the
+true interpretation of the dreams, and that to prevent it
+would be to incur the eternal anger of the gods. Touched by the
+entreaties of the mothers, and also by slight mutual advances,
+the two fathers gave way and consented to a reconciliation of the
+families. The two old friends, on meeting each other again, were
+astonished to find what frivolous causes had separated them for
+so many years, and mourned sincerely over all the pleasure they
+had lost in being deprived of each other's society. The marriage
+of the children was celebrated with much rejoicing, and the
+Jasper and the Pearl were no longer obliged to hold intercourse
+by means of a reflection on the water. The wall was removed, and
+the wavelets rippled placidly between the two pavilions on the
+lake.
+
+                                               --_H.S. Conant._
+
+
+[Illustration: IN THE MOUNTAINS.]
+
+
+
+
+_IN THE MOUNTAINS._
+
+
+A line of Walter Savage Landor's, a poet for poets, was an
+especial favorite with Southey, and, we believe, with Lamb.
+It occurs in "Gebir," and drops from the lips of one of its
+characters, who, being suddenly shown the sea, exclaims,
+
+    "Is this the mighty ocean?--is this all?"
+
+The feeling which underlies this line is generally the first
+emotion we have when brought face to face with the stupendous
+forms of Nature. It is the feeling inspired by mountains, the
+first sight of which is disappointing. They are grand, but not
+quite what we were led to expect from pictures and books, and,
+still more, from our own imaginations. The more we see mountains,
+the more they grow upon us, until, finally, they are clothed
+with a grandeur not, in all cases, belonging to them--our Mount
+Washingtons over-topping the Alps, and the Alps the Himmalayas.
+The poets assist us in thus magnifying them.
+
+The American poets have translated the mountains of their native
+land into excellent verse. Everybody remembers Mr. Bryant's
+"Monument Mountain," for its touching story, and its
+clearly-defined descriptions of scenery.
+
+Mr. Stedman has a mountain of his own, though perhaps only in
+Dream-land; and Mr. Bayard Taylor has a whole range of them, the
+sight of which once filled him with rapture:
+
+  "O deep, exulting freedom of the hills!
+    O summits vast, that to the climbing view
+    In naked glory stand against the blue!
+  O cold and buoyant air, whose crystal fills
+  Heaven's amethystine gaol! O speeding streams
+    That foam and thunder from the cliffs below!
+    O slippery brinks and solitudes of snow
+  And granite bleakness, where the vulture screams!
+  O stormy pines, that wrestle with the breath
+    Of every tempest, sharp and icy horns
+    And hoary glaciers, sparkling in the morns,
+  And broad dim wonders of the world beneath!
+  I summon ye, and mid the glare that fills
+  The noisy mart, my spirit walks the hills."
+
+       *       *       *       *       *
+
+GLADNESS OF NATURE.--Midnight--when asleep so still and
+silent--seems inspired with the joyous spirit of the owls in
+their revelry--and answers to their mirth and merriment through
+all her clouds. The moping owl, indeed!--the boding owl,
+forsooth! the melancholy owl, you blockhead! why, they are the
+most cheerful, joy-portending, and exulting of God's creatures.
+Their flow of animal spirits is incessant--crowing cocks are
+a joke to them--blue devils are to them unknown--not one
+hypochondriac in a thousand barns--and the Man-in-the-Moon
+acknowledges that he never heard one utter a complaint.
+
+
+
+
+_THE NOONING._
+
+
+Mr. Darley's very characteristic picture on the opposite page
+needs no description, it so thoroughly explains itself, and
+realizes his intention. The following lines from Mary Howitt seem
+very appropriate to the sketch:
+
+  "O golden fields of bending corn,
+      How beautiful they seem!
+  The reaper-folk, the piled up sheaves,
+      To me are like a dream;
+  The sunshine and the very air
+  Seem of old time, and take me there."
+
+
+
+
+_A MANDARIN._
+
+FROM THE FRENCH OF AUGUSTE VITU.
+
+
+It was Saturday night, and the pavement sparkled with frost
+diamonds under flashing lights and echoing steps in the opera
+quarter. Tinkling carnival bells and wild singing resounded from
+all the carriages dashing towards Rue Lepelletier; the shops were
+only half shut, and Paris, wide awake, reveled in a fairy-night
+frolic.
+
+And yet, Felix d'Aubremel, one of the bright applauded heroes of
+those orgies, seemed in no mood to answer their mad challenge.
+Plunged in a deep armchair, hands drooping and feet on the
+fender, he was sunk in sombre revery. An open book lay near him,
+and a letter was flung, furiously crumpled, on the floor.
+
+An orphan at the age of twelve, Felix had watched his mother's
+slow death through ten years of suffering. The Marquis Gratien
+d'Aubremel, ruined by reckless dissipation, and driven by
+necessity, rather than love, into a marriage with an English
+heiress, Margaret Malden, deserted her, like the wretch he was,
+as soon as the last of her dowry melted away. A common story
+enough, and ending in as common a close. D'Aubremel sailed for
+the Indies to retrieve his fortune, and met death there by yellow
+fever. So that the sad lessons of Felix's family life stimulated
+to excess his innate leaning towards misanthropy--if that name
+may define a resistless urgency of belief in the appearances of
+evil, linked with a doubt of the reality of good. Probably, at
+heart, he believed himself incapable of a bad action, but he
+would take no oath to such a conviction, since by his theory
+every man must yield under certain circumstances, attacking
+powerfully his personal interest, while threatening slight danger
+of failure or detection. This style of thought, set off by a fair
+share of witty expression and ever-ready impertinence, gave Felix
+a kind of ascendancy in his circle of intimates--but naturally
+it gained him no friends. Common reputation grows out of words
+rather than actions, and Felix suffered the just penalty of his
+sceptical fancies. They cost him more than they were worth, as he
+had just learned by sad experience.
+
+He had chanced to make the acquaintance of a rich manufacturer,
+Montmorot by name, whose daughter Ernestine was pleased with
+the devotion of a charming young fellow, who mingled the rather
+reckless grace of French cleverness with a reserved style and
+refined pride gained from the English blood of the Maldens.
+For his part, Felix really loved the girl, and had let his
+impatience, that very day, carry him into a step that failed to
+move the elder Montmorot's inflexibility. He refused absolutely
+to give his daughter to a man without fortune or prospects. Felix
+was crushed, his hopes all shattered at a blow, by this answer,
+though he had a thousand reasons to expect it. And at what a
+moment! A half-unfolded red ticket, stuffed with disgusting
+threats, peeped out from between the wall and his sofa. The
+officers of justice had paid him a little visit. He got into a
+passion with himself.
+
+"Pshaw," he cried, "confound all scruples! If I had been less in
+love I should be Ernestine's husband now. With a pretty wife, one
+I am so fond of, too, I should have fortune, position, and the
+luxury indispensable to my life--now, I don't know where to lay
+my head to-morrow. To-morrow, at ten o'clock, the sheriff will
+seize everything--everything, from that Troyou sketch to that
+china monster, nodding his frightful sneering head at me. They
+will carry off this casket that was my father's--this locket,
+with the hair of--of--what the deuce was her name? Poor girl! how
+she loved me! And now all that is left of her vanishes--even her
+name!
+
+"What, nothing? no hope? Not even one of those silly impulses
+that used to drive me out into the streets when everybody else
+was abed, with the firm conviction that at some crossing, in some
+gutter, some unknown deity must have dropped a fat pocket-book,
+on purpose for me! I believed in something, then--even in lost
+pocket-books. And now, now! I would commit no such follies as
+that, but I believe I could be guilty of even worse things,
+if crime, common, low, contemptible, shameful crime, were not
+forbidden to the son of the Marquis d'Aubremel and Margaret
+Malden.
+
+"Oh, great genius!" he went on, taking up the open book near him,
+"great philosopher, called a sophist by the ignorant--how deep a
+truth you uttered in writing these lines, that I never read
+over without a shudder: 'Imagine a Chinese mandarin, living in a
+fabulous country three thousand leagues away, whom you have never
+seen and shall never see--imagine, moreover, that the death
+of this mandarin, this man, almost a myth, would make you a
+millionaire, and that you have but to lift your finger, at home,
+in France, to bring about his death, without the possibility of
+ever being called to account for it by any one; say, what would
+you do?'
+
+"That fearful passage must have made many men dream--and does
+not Bianchon, that great materialist, so well painted by Balzac,
+confess that he has got as far as his thirty-third mandarin? What
+a St. Bartholomew of mandarins, if my philosopher's supposition
+could grow into a truth!"
+
+Felix ceased his soliloquy, and bent his head to let the storm
+raised in his soul by the atheist philosopher pass over. His bad
+instincts, aroused, spoke louder at that instant than reason,
+louder than reality. His glance fell on the chimney-piece, where
+a porcelain figure, the grotesque _chef d'oeuvre_ of some great
+Chinese artist, leered at him with its everlasting grin.
+The young man smiled. "Perhaps that is the likeness of a
+mandarin--bulbous nose, hanging cheeks, moustaches drooping
+like plumes, a peaked head, knotty hands--a regular deformity.
+Reflecting on the ugliness of that idiotic race, there is much to
+be urged by way of excuse for people who kill mandarins."
+
+Some persistent thought evidently haunted Felix's mind. Again he
+drove it off, and again it beset him.
+
+"Pshaw!" he exclaimed, after a last brief struggle, "I am alone,
+and out of sorts. I will amuse myself with a carnival freak, a
+mere theoretic and philosophic piece of nonsense. I have tried
+many worse ones. It wants a quarter to twelve. I give myself
+fifteen minutes to study my spells. Let me see, what mandarin
+shall I murder? I don't know any, and I have no peerage list of
+the Flowery Empire. Let me try the newspapers."
+
+It was in the height of the English war with China. On the
+seventh column of the paper our hero found a proclamation signed
+by the imperial commissioners, Lin, Lou, Lun, and Li.
+
+"Here goes for Li," he said to himself. "He is likely to be the
+youngest."
+
+The clock began to strike, announcing the hour. Felix placed
+himself solemnly before the mirror, and said aloud, in a
+grave tone: "If the death of Mandarin Li will make me rich
+and powerful, whatever may come of it, I vote for the death of
+Mandarin Li." He lifted his finger--at that instant the porcelain
+figure rocked on its base, and fell in fragments at Felix's feet.
+The glass reflected his startled face. He thrilled for an instant
+with superstitious terror, but recollecting that his finger had
+touched the fragile figure, he accounted for it as an accident,
+and went to bed and to such repose as a debtor can enjoy with an
+execution hanging over his head.
+
+Masks and dominos made the street merry under his window. The
+opera ball was unusually brilliant, experts said, and nothing
+made the Parisians aware that on the night of January 12th, 1840,
+Felix d'Aubremel had passed sentence of death on Chinaman Li, son
+of Mung, son of Tseu, a literate mandarin of the 114th class.
+
+Nine months later Felix d'Aubremel was living in furnished
+lodgings in an alley off the Rue St. Pierre, and living by
+borrowing. The gentlemanly sceptic owed his landlady a good deal
+of money; his clothes were aged past wearing, and his tailor
+had long ago broken off all relations with him. The Marquis
+d'Aubremel was within a hairsbreadth of that utterly crushed
+state that ends in madness, or in suicide--which is only a
+variety of madness.
+
+One morning while sitting in the glass cage that leads to the
+staircase of every lodging-house, waiting to beg another respite
+from his landlady, he took up a newspaper, and the following
+notice was lucky enough to catch his attention.
+
+"Chiusang, 12th January, 1840. Hostilities have broken out
+between England and the Celestial Empire. The sudden and
+inexplicable death of Mandarin Li, the only member of the council
+who opposed the violent and warlike projects of Lin, led to
+unfortunate events. At the first attack the Chinese fled, with
+the basest want of pluck, but in their retreat they murdered
+several English merchants, and among them an old resident,
+Richard Maiden, who leaves an estate of half a million sterling.
+The heirs of the deceased are requested to communicate with
+William Harrison, Solicitor, Lincoln's Inn."
+
+"My uncle!" cried Felix. "Alas, I have killed my uncle and
+Mandarin Li."
+
+He had not a penny to pay for his traveling expenses to London;
+but, on producing his certificate of birth and the newspaper
+article, his landlady easily negotiated for him with an honest
+broker, who advanced him a thousand francs to arrange his
+affairs, without interest, upon his note for a trifle of eighteen
+hundred, payable in six weeks.
+
+Eight days after reaching London, Felix, established in a
+fashionable hotel, was awaiting with nervous eagerness the first
+instalment of a million, the proceeds of a cargo of teas, sold
+under the direction of Mr. Harrison. He was too restless for
+thought, burning with impatience to take possession of his
+property, to handle his wealth, and, as it were, to verify his
+dream. Yet the fact was indisputable. Richard Malden's death, and
+his own relationship to the intestate had been legally proved and
+established. Felix d'Aubremel regularly and assuredly inherited a
+fortune, and he had no doubts nor scruples on that point.
+
+A servant interrupted his reflections, announcing his solicitor's
+clerk. "Why does not Mr. Harrison come himself?" he was on the
+point of asking, but amazement at the clerk's appearance took
+away his breath. He was a shriveled little object, slight, bony,
+crooked and hideous, with a monstrous head and round eyes, a bald
+skull, a flat nose, a mouth from ear to ear, and a little jutting
+paunch that looked like a sack.
+
+"I bring the Marquis d'Aubremel the monies he is expecting," said
+the man, and his voice, shrill and silvery, like a musical box or
+the bell of a clock, impressed Felix painfully. The voice grated
+on the nerves. "I have drawn a receipt in regular form," said
+Felix, extending his hand. But the solicitor's clerk leaned his
+back against the door, without stirring a step. "Well, sir,"
+Felix exclaimed with a convulsive effort. The man approached
+slowly, scarcely moving his feet, as if sliding across the floor.
+His right hand was buried in his coat pocket; he held his head
+bent down, and his lips moved inaudibly. At last he pulled from
+his pocket a large bundle of banknotes, bills and papers, drew
+near the window, and began to count them carefully.
+
+Felix was then struck by a strange phenomenon that might well
+inspire undefined terror. Standing directly in front of the
+window, the clerk's figure cast no shadow, though the sun's rays
+fell full upon it, and through his human body, translucent as
+rock crystal, Felix plainly saw the houses across the street.
+Then his eyes seemed to be suddenly unsealed. The clerk's black
+coat took colors, blue, green, and scarlet; it lengthened out
+into the folds of a robe, and blazed with the dazzling image of
+the fire-dragon, the son of Buddha; a lock of stiff grayish hair
+sprouted like a short tuft out of his yellowish skull; his round
+tawny eyes rolled with frightful rapidity in their sockets.
+
+Felix recognized Li, son of Mung, son of Tseu, the literate
+mandarin of the 114th class. The murderer had never seen his
+victim, but could not doubt his identity a moment, thanks to the
+marvelous resemblance between the solicitor's clerk and the china
+monster that dropped into bits at his feet the night of January
+12th, 1840.
+
+Meantime the man had done counting his package, and held it out
+to Felix, saying, in his grating, vibrating tones, "Monsieur le
+Marquis, here are forty thousand pounds sterling; please to give
+me your receipt." And Felix heard the voice say in a shriller
+under-key, "Felix, here is an instalment of the million, the
+price of your crime. Felix, my assassin, take this money from my
+hand."
+
+"From my hand," echoed a thousand fine voices, quivering all
+through the air of the room.
+
+"No, no," cried Felix, pushing the clerk away, "the money would
+burn me! Begone with you!"
+
+He dropped exhausted into a chair, half suffocated, with drops
+of sweat rolling down his convulsed face. The man bowed to the
+floor, and slowly moved away backwards. With every gradual step
+Felix saw his natural shape return. The rays of the autumn sun
+ceased to light up that mysterious apparition, and only
+his attorney's humble clerk stood before Felix. With a rush
+overpowering his will, Felix dashed after the old man, already
+across the threshold, and overtook him on the staircase.
+
+"My papers!" he shouted imperiously. "Here they are, sir," said
+the old fellow quietly.
+
+Felix regained his room, bolted the door, and counted the immense
+sum contained in the pocket-book with excitement bordering on
+frenzy. Then he bathed his burning head with cold water, and
+threw an anxious look around the room.
+
+"I must have had an attack of fever," he muttered.
+
+[Illustration: A TROPIC FOREST.--GRANVILLE PERKINS]
+
+"Mandarins don't rise from the dead, and a man can't kill another
+by simply lifting his finger. So my philosopher talked like one
+who knows nothing of moral experience. If the fancy of an unreal
+crime almost drove me mad, what must be the remorse of an actual
+criminal?"
+
+The same evening Felix ordered post horses and set out for
+France.
+
+Some months later, Monsieur Montmorot, chevalier of the legion of
+honor, gave a grand dinner to celebrate his daughter's betrothal
+with the Marquis Felix d'Aubremel, one of the noblest names in
+France, as he styled it. The contract settling a part of his
+fortune on his daughter Ernestine was signed at nine in the
+evening. The Monday following the pair presented themselves
+before the civil officials to solemnize their marriage by due
+legal ceremonies.
+
+Felix, a prey to the strange hallucination that incessantly
+pursued him, saw a likeness between the official and the Chinese
+figure he had awkwardly thrown down and broken one night long
+ago. Presently his face darkened, and his eyes began to burn.
+Behind the magistrate's blue spectacles he caught the gleam and
+roll of the tawny eyes belonging to Mr. Harrison's clerk, to Li,
+son of Mung, son of Tseu.
+
+When at length the magistrate put the formal question, "Felix
+Etienne d'Aubremel, do you take for your wife Ernestine Juliette
+Montmorot," Felix heard a shrill ringing voice say, "Felix, I
+give you your wife with my hand--my hand."
+
+The official repeated the question more loudly. "With my hand--my
+hand," whispered a thousand mocking little voices.
+
+"No!" Felix shouted rather than answered, and rushed away from
+the spot like a lunatic.
+
+Once more at home, he shut out everyone and flung himself on his
+bed, in a state of stupor that weighed him down till night--a
+sort of dull torpor of brain, with utter exhaustion of physical
+strength--a misery of formless thought. Towards evening one
+persistent idea aroused him from this strange lethargy.
+
+"I am a cowardly murderer," he groaned. "I wished for my
+fellow-being's death. God punishes me--I will execute his
+sentence." He stretched out his hand in the dark, groping for a
+dagger that hung from the wall. Then a mild brightness filtered
+through the curtains and irradiated the bed. Felix distinctly saw
+the grotesque figure of Mandarin Li standing a few steps away.
+The shadow of death darkened his face, and without seeming
+movement of his lips, Felix heard these words, uttered by that
+shrill ringing voice so hated, now mellowed into divine music.
+
+"Felix d'Aubremel, God does not will that you should die, and I,
+his servant, am sent to tell you his decree. You have been cruel
+and covetous--you have wished an innocent man's death, and his
+death caused that of a multitude of victims to the barbarous
+passions of a great western nation. Man's life must be sacred
+for every man. God only can take what he gave. Live, then, if you
+would not add a great crime to a great error. And if forgiveness
+from one dead can restore in part your strength and courage to
+endure, Felix, I forgive you."
+
+The vision vanished.
+
+Felix religiously obeyed the instructions of Li, and consecrated
+his life by a vow to the relief of human misery wherever he
+found it. He devoted Richard Malden's vast fortune to founding
+charitable establishments. Ernestine Montmorot would never
+consent to see him again.
+
+Two years ago, yielding to an impulse easy to understand, he
+requested the English consul at Chiusang to make inquiries as
+to the family of Li, who might perhaps be suffering in poverty.
+Nothing more could be discovered than that the gracious sovereign
+of the Middle Kingdom had confiscated the property of Li's
+family, that his wife had died of sorrow, in misery, and that
+his son, Li, having taken the liberty to complain of the glorious
+emperor's severity, suffered death by the bowstring, as is proper
+and reasonable in all well-governed states.
+
+       *       *       *       *       *
+
+[Illustration: MOTHER IS HERE!--DEIKER.]
+
+MOTHER IS HERE!--A little fawn in the clutches of a fox bleats
+loudly for help. The mother appears quickly on the scene, and
+Renard retires, foiled and chagrined at the loss of his dinner.
+He stays not upon the order of his going, but goes at once. The
+artist Deiker is a well-known German painter, whose success with
+these pictures of animal life ranks him with such men as Beckmann
+and Hammer, whose names are familiar to the friends of _THE
+ALDINE_.
+
+
+
+
+_A TROPIC FOREST._
+
+
+  Trees lifted to the skies their stately heads,
+  Tufted with verdure, like depending plumage,
+  O'er stems unknotted, waving to the wind:
+  Of these in graceful form, and simple beauty,
+  The fruitful cocoa and the fragrant palm
+  Excelled the wilding daughters of the wood,
+  That stretched unwieldly their enormous arms,
+  Clad with luxuriant foliage, from the trunk,
+  Like the old eagle feathered to the heel;
+  While every fibre, from the lowest root
+  To the last leaf upon the topmost twig,
+  Was held by common sympathy, diffusing
+  Through all the complex frame unconscious life.
+
+                        --_Montgomery's Pelican Island_.
+
+       *       *       *       *       *
+
+What makes us like new acquaintances is not so much any weariness
+of our old ones, or the pleasure of change, as disgust at not
+being sufficiently admired by those who know us too well, and
+the hope of being more so by those who do not know so much of
+us.--_La Rochefoucauld_.
+
+
+
+
+_AMONG THE DAISIES._
+
+  "Laud the first spring daisies--
+  Chant aloud their praises."--_Ed. Youl._
+
+  "When daisies pied and violets blue,
+    And lady-smocks all silver white--
+  And cuckoo-buds of yellow hue,
+    Do paint the meadows with delight."
+
+                        --_Shakspeare._
+
+
+
+"Belle et douce Marguerite, aimable soeur du roi Kingcup,"
+enthusiastically exclaims genial Leigh Hunt, "we would tilt for
+thee with a hundred pens against the stoutest poet that did not
+find perfection in thy cheek." And yet, who would have the heart
+to slander the daisy, or cause a blush of shame to tint
+its whiteness? Tastes vary, and poets may value the flower
+differently; but a rash, deliberate condemnation of the daisy is
+as likely to become realized as is a harsh condemnation of the
+innocence and simplicity of childhood. So the chivalric Hunt need
+not fear being invoked from the silence of the grave to take part
+in a lively tournament for "belle et douce Marguerite."
+
+Subjectively, the daisy is a theme upon which we love to linger.
+In our natural state, when flesh and spirit are both models
+of meekness, two objects are wont to throw us into a kind of
+ecstasy: a row of nicely painted white railings, and a bunch of
+fresh daisies. These waft us back along a vista of years, peopled
+with scenes the most entrancing, and fancies the most pleasing.
+They call up at once the old country home: the honeysuckle
+clasping the thatched cottage, contrasting so prettily with the
+white fence in front: the sloping fields of green painted with
+daisies, through which, unshackled, the buoyant breeze swept so
+peacefully. It was an invariable rule, in those days, to
+troop through the meadows at early morn and, like a young
+knight-errant, bear home in triumph "Marguerite," the peerless
+daisy, rescued from the clutches of unmentionable dragons,
+and now to beam brightly on us for the rest of the day from a
+neighboring mantel-piece. And it was with great reluctance that
+we refrained from decapitating the whole field of daisies at one
+fell sweep, when we were once allowed to touch their upturned
+faces. A contract was then made on the spot: we were permitted to
+pluck the daisies on condition that we plucked but one every day.
+The field was not large, and long before the blasts of autumn had
+hushed the voices of the flowers, not a single daisy remained.
+Advancing spring threw lavish handfuls once more on the grass,
+and on these we sported anew with all the ardor of boyhood.
+
+Our enthusiasm for the daisy then is only equaled by the
+gratitude it now awakens. Too soon does the busy world, with
+unwarrantable liberty, allure us from boyish scenes. Too soon are
+the buoyant fancies of youth succeeded by the feverish anxieties
+of age, happy innocence by the consciousness of evil, confidence
+by doubt, faith by despair. We must chill our demonstrativeness,
+restrain our affections, blunt our sensibilities. We must
+cultivate conscience until we have too much of it, and become
+monkish, savage and misanthropic. The asceticism of manhood is
+apparent from the studied air with which everybody is on his
+guard against his neighbor. In a crowded car, men instinctively
+clutch their pockets, and fancy a pickpocket in a benevolent-looking
+old gentleman opposite. When we see men so distrustful, we shun
+them. They then call us selfish when we feel only solitary. We
+protest against such manhood as would lower golden ideals of
+youth to its own contemptible _Avernus_. And now as our daisy,
+which is blooming before us, sagely nods its white crest as it is
+swayed by the passing breeze, it seems to bring back of itself
+decades gone forever. We never intend to become a man. We keep
+our boy's heart ever fresh and ever warm. We don't care if the
+whole human race, from the Ascidians to Darwin himself, assail us
+and fiercely thrust us once more into short jackets and
+knickerbockers, provided they allow an indefinite vacation in a
+daisy field. The joy of childhood is said to be vague. It was all
+satisfying to us once, and we do not intend to allow it to waste
+in unconscious effervescence among the gaudier though less
+gratifying delights of manhood.
+
+It is, however, of daisies among the poets we would speak at more
+length. In fact, to the imaginative mind, the daisy in poetry is
+as suggestive as the daisy in nature. Philosophically, they are
+identical; in the absence of the one you can commune with the
+other. Thus unconsciously the daisy undergoes a metempsychosis;
+its soul is transferred at will from meadow to book and from book
+to meadow, without losing a particle of its vitality.
+
+To premise with the daisy historically: Among the Romans it
+was called _Bellis_, or "pretty one;" in modern Greece, it
+is star-flower. In France, Spain, and Italy, it was named
+"Marguerita," or pearl, a term which, being of Greek origin,
+doubtless was brought from Constantinople by the Franks. From
+the word "Marguerita," poems in praise of the daisy were termed
+"Bargerets." Warton calls them "Bergerets," or "songs du Berger,"
+that is, shepherd songs. These were pastorals, lauding fair
+mistresses and maidens of the day under the familiar title of
+the daisy. Froissart has written a characteristic Bargeret; and
+Chaucer, in his "Flower and the Leaf," sings:
+
+  "And, at the last, there began, anone,
+  A lady for to sing right womanly,
+  A bargaret in praising the daisie;
+  For as methought among her notes sweet,
+  She said, 'Si douce est la Margarite."
+
+Speght supposes that Chaucer here intends to pay a compliment to
+Lady Margaret, King Edward's daughter, Countess of Pembroke, one
+of his patronesses. But Warton hesitates to express a decided
+opinion as to the reference. Chaucer shows his love for the daisy
+in other places. In his "Prologue to the Legend of Good Women,"
+alluding to the power with which the flowers drive him from his
+books, he says that
+
+            "all the floures in the mede,
+  Than love I most these floures white and rede,
+  Soch that men callen daisies in our toun
+  To hem I have so great affectioun,
+  As I sayd erst, whan comen is the May,
+  That in my bedde there daweth me no day,
+  That I nam up and walking in the mede,
+  To seen this floure agenst the Sunne sprede."
+
+To see it early in the morn, the poet continues:
+
+  "That blissfull sight softeneth all my sorow,
+  So glad am I, whan that I have presence
+  Of it, to done it all reverence
+  As she that is of all floures the floure."
+
+Chaucer says that to him it is ever fresh, that he will cherish
+it till his heart dies; and then he describes himself resting on
+the grass, gazing on the daisy:
+
+  "Adowne full softly I gan to sink,
+  And leaning on my elbow and my side,
+  The long day I shope me for to abide,
+  For nothing els, and I shall nat lie,
+  But for to looke upon the daisie,
+  That well by reason men it call may
+  The daisie, or els the eye of day."
+
+Chaucer gives us the true etymology of the word in the last line.
+Ben Jonson, to confirm it, writes with more force than elegance,
+
+  "Days-eyes, and the lippes of cows;"
+
+that is, cowslips; a "disentanglement of compounds,"--Leigh Hunt
+says, in the style of the parodists:
+
+  "Puddings of the plum
+  And fingers of the lady."
+
+The poets abound in allusions to the daisy. It serves both for
+a moral and for an epithet. The morality is adduced more by
+our later poets, who have written whole poems in its honor. The
+earlier poets content themselves generally with the daisy
+in description, and leave the daisy in ethics to such a
+philosophico-poetical Titan as Wordsworth. Douglas (1471), in his
+description of the month of May, writes:
+
+  "The dasy did on crede (unbraid) hir crownet smale."
+
+And Lyndesay (1496), in the prologue to his "Dreme," describes
+June
+
+  "Weill bordowrit with dasyis of delyte."
+
+The eccentric Skelton, who wrote about the close of the 15th
+century, in a sonnet, says:
+
+  "Your colowre
+  Is lyke the daisy flowre
+  After the April showre."
+
+Thomas Westwood, in an agreeable little madrigal, pictures the
+daisies:
+
+  "All their white and pinky faces
+  Starring over the green places."
+
+Thomas Nash (1592), in another of similar quality, exclaims:
+
+  "The fields breathe sweet,
+  The daisies kiss our feet."
+
+Suckling, in his famous "Wedding," in his description of the
+bride, confesses:
+
+  "Her cheeks so rare a white was on
+  No daisy makes comparison."
+
+Spenser, in his "Prothalamion," alludes to
+
+  "The little dazie that at evening closes."
+
+George Wither speaks of the power of his imagination:
+
+  "By a daisy, whose leaves spread
+  Shut when Titan goes to bed;
+  Or a shady bush or tree,
+  She could more infuse in me
+  Than all Nature's beauties can
+  In some other wiser man."
+
+Poor Chatterton, in his "Tragedy of Ella," refers to the daisy in
+the line:
+
+  "In daiseyed mantells is the mountayne dyghte."
+
+Hervey, in his "May," describes
+
+  "The daisy singing in the grass
+  As thro' the cloud the star."
+
+And Hood, in his fanciful "Midsummer Fairies," sings of
+
+  "Daisy stars whose firmament is green."
+
+Burns, whose "Ode to a Mountain Daisy" is so universally admired,
+gives, besides, a few brief notices of the daisy:
+
+  "The lowly daisy sweetly blows--"
+  "The daisy's for simplicity and unaffected air."
+
+Tennyson has made the daisy a subject of one of his most
+unsatisfactory poems. In "Maud," he writes:
+
+  "Her feet have touched the meadows
+  And left the daisies rosy."
+
+To Wordsworth, the poet of nature, the daisy seems perfectly
+intelligible. Scattered throughout the lowly places, with
+meekness it seems to shed beauty over its surroundings, and
+compensate for gaudy vesture by cheerful contentment. Wordsworth
+calls the daisy "the poet's darling," "a nun demure," "a little
+Cyclops," "an unassuming commonplace of nature," and sums up its
+excellences in a verse which may fitly conclude our attempt to
+pluck a bouquet of fresh daisies from the poets:
+
+  "Sweet flower! for by that name at last,
+  When all my reveries are past,
+  I call thee, and to that cleave fast;
+    Sweet silent creature!
+  That breath'st with me in sun and air,
+  Do thou, as thou art wont, repair
+  My heart with gladness, and a share
+    Of thy meek nature!"
+
+                        --_A.S. Isaacs_.
+
+
+       *       *       *       *       *
+
+_COLERIDGE AS A PLAGIARIST._
+
+SOMETHING CHILDISH BUT VERY NATURAL.
+
+WRITTEN IN GERMANY 1798-99.
+
+
+  If I had but two little wings,
+    And were a little feathery bird,
+      To you I'd fly, my dear!
+  But thoughts like these are idle things,
+        And I stay here.
+
+  But in my sleep to you I fly:
+    I'm always with you in my sleep!
+      The world is all one's own.
+  But then one wakes, and where am I?
+        All, all alone.
+
+  Sleep stays not, though a monarch bids,
+    So I love to wake ere break of day:
+      For though my sleep be gone,
+  Yet, while tis dark, one shuts one's lids,
+        And still dreams on.
+
+Thus much for Coleridge. Now for his original:
+
+  "Were I a little bird,
+  Had I two wings of mine,
+  I'd fly to my dear;
+  But that can never be,
+  So I stay here.
+
+  "Though I am far from thee,
+  Sleeping I'm near to thee,
+  Talk with my dear;
+  When I awake again,
+  I am alone.
+
+  "Scarce there's an hour in the night
+  When sleep does not take its flight,
+  And I think of thee,
+  How many thousand times
+  Thou gav'st thy heart to me."
+
+"This," says Mr. Bayard Taylor, in the _Notes_ to his translation
+of _Faust_, "this is an old song of the people of Germany. Herder
+published it in his _Volkslieder_, in 1779, but it was no doubt
+familiar to Goethe in his childhood. The original melody, to
+which it is still sung, is as simple and sweet as the words."
+
+
+
+
+_AMONG THE PERUVIANS._
+
+
+The extremes of civilization and barbarism are nearer together
+in those countries which the Spaniards have wrested from their
+native inhabitants, than in any other portion of the globe.
+Before other European races, aboriginal tribes, even the
+fiercest, gradually disappear. They hold their own before the
+descendants of the _conquistadores_, who conquered the New
+World only to be conquered by it. Out of Spain the Spaniard
+deteriorates, and nowhere so much as in South America. Of course
+he is superior there to the best of the Indian tribes with which
+he is thrown in contact; but we doubt whether he is superior to
+the intelligent, but forgotten, races which peopled the regions
+around him centuries before Pizzaro set foot therein, and which
+built enormous cities whose ruins have long been overgrown by
+forests. To compare the Spaniard of to-day, in Peru, with its
+ancient Incas is to do him no honor. To be sure, he is a
+good Catholic, which the Incas were not, but he is indolent,
+enervated, and enslaved by his own passions. His religion has not
+done much for him--at least in this world, whatever it may do in
+the next. It has done still less, if that be possible, for the
+aboriginal Peruvians.
+
+"In all parts of Peru," says a recent traveler, "except amongst
+the savage Indian tribes, Christianity, at least nominally
+prevails. The aborigines, however, converted by the sword in the
+old days of Spanish persecution, do not, as a rule, seem to have
+more notion of that faith in the country parts, than such as
+may be obtained from stray visits of some errant, image-bearing
+friar, whose principal object is to obtain sundry _reals_ in
+consideration of prayers offered to his little idols. These
+wandering ministers also distribute execrably colored prints of
+various saints, besides having indulgences for sale. As to the
+nature of the pious offerings from their disciples, they are not
+at all particular. They go upon the easy principle that all is
+fish that comes into their net. If the ignorant and superstitious
+givers have not 'filthy lucre' wherewithal to propitiate the ugly
+represented saints, wax candles, silver ore, cacao, sugar, and
+any other description of property is as readily received. Thus,
+it often happens that these peripatetic friars have a long convoy
+of heavily-laden mules with which to gladden the members of their
+monastery when they return home.
+
+[Illustration: FASHIONABLE LOUNGERS OF LIMA.]
+
+"The priests in all parts of Peru dress in a very extraordinary,
+not to say outlandish manner. One of the lower grade wears a very
+capacious shovel hat, projecting as much in front as behind, and
+looking very like a double-ended coal-heaver's _hat_. A loose
+black serge robe covers him all over, as with a funereal pall,
+and being fastened together only at the neck, gives to his often
+obese figure an appearance the very reverse of grave or serious:
+The superior of a monastery, or the priest in charge of a parish,
+wears a more stately clerical costume. His hat is of formidable
+dimensions--a huge, flat, Chinese-umbrella-shaped sort of a
+concern, which cannot be compared to anything else in creation.
+He also affects ruffles and lace, a long cassock, and a
+voluminous cloak like many of those of Geneva combined together;
+black silk stockings and low shoes complete the clerical array of
+the higher ecclesiastics."
+
+[Illustration: RIDING AND FULL-DRESS COSTUME OF THE PERUVIAN
+LADIES.]
+
+Quite as odd, in their way, as these good padres, are the
+Peruvian loungers, the "lions" of Lima--a long-haired, becloaked,
+truculent-looking set of fellows, whose proper place would seem
+to be among operatic banditti. A greater contrast and disparity
+than exists between them and the beautiful brunettes to whom they
+are fain to devote themselves, cannot well be imagined. That the
+latter generally prefer European gentlemen to these ill-favored
+beaux, follows as a matter of course. That the discarded "lion"
+resents this preference of his fair countrywomen, we have the
+testimony of the traveler already quoted from.
+
+"Instinctively, as it were, a feeling of dislike and rivalry
+seemed to prevail between ourselves and such of these truculent
+gentry as it was our fortune to come into contact with. They were
+jealous, no doubt, of the wandering foreigners, whom they chose
+contemptuously to term _gringos_, but who, they know well
+enough, are infinitely preferred to themselves by their handsome
+coquettish countrywomen. It is, indeed, notoriously the fact,
+that any respectable man of European birth can marry well, and
+even far above his own social position, amongst the dark-eyed
+donnas of Peru. The men don't seem exactly to like it. Judging by
+their appearance, we found but little difficulty in believing the
+character which report had given them--namely, their proneness to
+assassination, especially in love affairs, either personally,
+or, more frequently, by deputy. If the brilliant creole and
+half-caste women of this warm, tropical country, are some of
+the most beautiful and lovable of the sex, their sallow,
+sinister-looking, natural protectors are just the very opposite.
+The singular difference in the moral and physical characteristics
+of the two sexes is something really remarkable, and I, for one,
+cannot satisfactorily explain it to my own mind. That such is the
+case I venture to affirm; the why and the wherefore I must fain
+leave to wiser ethnological heads."
+
+Not less curious, as regards costume, are the Peruvian ladies.
+And, as they are _equestriennes_, we will describe their
+riding-habits in the words of the same traveler:
+
+"To commence at the top. This riding dress consisted of a huge
+felt hat, both tall and broad, and generally ornamented with a
+plume of three great feathers sticking up in front. Next came an
+all-round sort of a cape, of no shape in particular, with a
+wide collar, several rows of fringe, much needle-work (and
+corresponding waste of time upon so hideous a garment), and of
+a length sufficient to reach below the waist, and so completely
+hide and spoil the wearer's generally fine figure. Then came a
+short overskirt, extending a little below the knees, and beneath
+which appeared the fair senora or senorita's most unfeminine
+pantaloons, which, being carefully tied above the ankle in a
+frill, were allowed to fully display that treasure of treasures,
+that most valued of charms, the beautiful little foot and ankle.
+In addition to this absurd dress, which conceals the graceful
+form of perhaps the handsomest race of women in the world,
+the fair creatures have a style of riding which, to Europeans
+accustomed to the side-saddle, certainly seems more peculiar
+than elegant; that is to say, they ride á la Duchesse de
+Berri--_Anglicè_, like a man.
+
+"The full dress, or evening costume, in the provinces, seemed
+simply an exaggeration upon that of the towns--the crinoline
+being more extensive, the petticoats shorter, and the dressing of
+the hair still more wonderful and elaborate."
+
+[Illustration: YOUNG MESTIZO WOMAN. MIDDLE-AGED LIMENA.]
+
+Among the _mestizos_, half-castes, of white and Indian origin the
+women are often very beautiful, especially when the blood of the
+latter prevails. They are, we are told, the best-looking of all
+the Peruvian women, possessing brilliantly fair complexions,
+magnificent long black tresses, lithe and graceful figures of
+exquisite proportions, regular and classic features, and the most
+superb great black eyes.
+
+"Though often glorious in youth, these dark-skinned, passionate
+daughters of the sunny Pacific shore soon begin to fade. Although
+their scant costume and the _manto y saya_--the dress favored at
+night--serve only to expose and display the charming contour of
+their youthful form, as the years roll on and rob them of
+these alluring attractions, the simple array becomes ugly and
+ridiculous. Often did we laugh at the absurd figure presented by
+some stout, middle-aged half-caste, or a good many more caste,
+lady, clad in her _manto y saya_. Especially ludicrous did these
+staid females appear when viewed from behind."
+
+The Peruvian negress, of elderly years, compares not unfavorably
+with her whiter Spanish sister of the same age. Both display
+inordinate vanity, which consorts ill with the brawny calves and
+large feet they cannot help showing on account of their short
+though voluminous skirts, and both have a womanly love of
+jewelry.
+
+"They manifest a very apparent weakness for all sorts of
+glittering ornaments, especially in the way of numerous rings,
+huge ear-rings, and mighty necklaces. Indeed, it is not at all
+uncommon to see pearls (their favorite gem) of great value,
+rising and falling, and gleaming with incongruous lustre, upon
+their bare, black, and massive bosoms; whilst ear-rings of solid
+gold hang glittering from their large ears, in singular contrast
+to their common and dirty clothing.
+
+"Except for the occasional excitement of theatre, cock-fight, or
+bull-fight, and the regular attendance at mass and vespers, the
+life of the higher class Limena is a dreamy existence of languor,
+amidst siestas, cigarettes, agua-rica, and jasmine perfumes, the
+tinkling of guitars, and the melody of song. Alas! that I must
+record it; she is, too, a terrible _intriguante_. The _manto y
+saya_, the _bête noir_ of many a poor jealous husband, seems a
+garment for disguise, invented on purpose to oblige her. It
+is the very thing for an intriguing dame; and, by a stringent
+custom, bears a sacred inviolate right, for no man dare profane
+it by a touch, although he may even suspect the bright black eye,
+it may alone allow to be seen, to be that of his own wife! He
+can follow, if he likes, the graceful, muffled up figure that he
+dreads to be so familiar, but woe to the wretch who dares to
+pull aside a fair Limena's _manto_! If seen, he would surely
+experience the resentment of the crowd, and become a regular
+laughing-stock to all who knew him."
+
+But let us be just to the women of Peru, who, in the matter of
+flirting and fondness for finery, are probably not worse than the
+sex elsewhere. They love where they love with a fervor unknown
+to the women of Europe, their Spanish sisters, perhaps, excepted,
+and they are capable of profound patriotism.
+
+[Illustration: PERUVIAN PRIESTS.]
+
+There is an element of real strength in the wild, stormy nature
+of these beautiful and impassioned creatures: it is their
+misfortune not to know how to hide their weaknesses as well
+as their more sophisticated sisters. The tide of time flows so
+smoothly with them, through such level summer landscapes steeped
+in tropical repose, that the desire for excitement naturally
+arises, and excitement itself becomes a necessity. Lacking many
+of the indoor employments of the women of colder climates, time
+hangs heavy on their hands, idleness wearies, and they cast about
+for a way in which to amuse, enjoy, and distract themselves. They
+find it in love. If no European is near upon whom they can bestow
+their smiles and the lustre of their magnificent eyes, they have
+to be content with their own countrymen, who woo them after the
+fashion of their Spanish ancestors, by serenades at night, in
+which the strumming of guitars generally plays a more important
+part than the words it accompanies.
+
+While we are among the Peruvians, we must not entirely overlook
+their country, and the features of its varied landscapes. It is
+divided by the Andes into three different lands, so to speak, _La
+Costa_, the region between the coast and the Andes; _La Sierra_,
+the mountain region, and _La Montaña_, or the wooded region
+east of the Andes. _La Costa_, in which Lima is situated, at
+the distance of about six miles from the sea, may be briefly
+described as a sandy desert, interspersed with fertile valleys,
+and watered by several rivers of no great magnitude. It seldom
+or never rains there, but there are heavy dews at night which
+freshen and preserve the vegetation. The magnificence of the
+mountain region baffles all attempts at word-painting, as it
+baffles the art of the painter. Church, the artist, gives us what
+is, perhaps, the best representation we are ever likely to
+have of it, but it is only a glimpse after all. Still more
+indescribable, if that be possible, are the enormous wildernesses
+which stretch from the Andes to the vast pampas to the eastward.
+"Here everything is on Nature's great scale. The whole country
+is one continuous forest, which, beginning at very different
+heights, presents an undulating aspect. One moves on his way with
+trees before, above, and beneath him, in a deep abyss like the
+ocean. And in these woods, as on the immensity of the waters,
+the mind is bewildered; whatever way it directs the eye there it
+meets the majesty of the Infinite. The marvels of Nature are in
+these regions so common that one becomes accustomed to behold,
+without emotion, trees whose tops exceed the height of 100 varas
+(290 English feet), with a proportionate thickness, beyond the
+belief of such as never saw them; and, supporting on their trunks
+a hundred different plants, they, individually, present rather
+the appearance of a small plantation than one great tree. It
+is only after you leave the woods, and ordinary objects of
+comparison present themselves to the mind, that you can realize
+in thought the colossal stature of these samples of Montana
+vegetation."
+
+Peru is a fitting theatre for the great dramas which have been
+played upon its wild, mountainous stage. The dark background of
+its past is haunted by the shadows of the unknown race who built
+its ruined cities and temples. Then come the beneficent, heavenly
+Incas, and the mild, pastoral people over whom they rule. Last,
+the cruel, treacherous Spaniard, slaughtering his friendly hosts
+with one hand, while the other holds the Bible to their lips!
+
+
+
+
+_THE OLD MAID'S VILLAGE._
+
+
+I had been passing the summer on the banks of the Hudson--in
+that charmed region which lies about what was once the home
+of Diedrich Knickerbocker, with the enchanted ground of Sleepy
+Hollow on the one hand, and the shrine of Sunnyside on the other.
+In many happy morning walks and peaceful twilight rambles, I had
+made the acquaintance of every winding lane, every shaded avenue,
+every bosky dell and sunny glade for miles around. I had wandered
+hither and thither, through all the golden season, and fairly
+steeped my soul in the beauty, the languor, the poetry of the
+"Irving country;" and now, filled, as it were, with rare wine,
+content and happy, I was ready to return to the town, and take up
+the matter-of-fact habit of life again.
+
+But even on the last day of my sojourn, when my trunks stood
+packed and corded, and the loins of my spirit were girt for
+departure on the morrow; as I stood at my window somewhat
+pensively contemplating, for the last time, the peculiarly
+delicious river-bit which it framed, the door opened suddenly,
+and Nannette, my _fidus Achates_, and the companion of my summer,
+ran in.
+
+"Do you know," she cried, "I have just learned that we were
+about to leave the place without visiting one of its greatest
+curiosities? We have narrowly escaped going without having seen
+the 'Old Maid's Village!'"
+
+"The 'Old Maid's Village!'" I echoed, stupidly. "But what village
+is _not_ the peculiar property of the race?"
+
+"Yes, I know; but this village is really built on an old
+maid's property, and by her own hands. And there is the 'Cat's
+Monument,' too. Come! don't stop to talk about it, but let us
+go and see it. It will be just the thing for a last evening; in
+memoriam, you know, and all that. Get on your hat, and come, and
+we shall see the sunset meeting the moonrise on the river once
+more, as we return."
+
+That, at least, was always worth seeing, I reflected; and so,
+without more ado, I put on my wraps as I was bid, and reported
+myself under marching orders.
+
+How lovely, how indescribably lovely, the world was that
+September afternoon, as we strolled along the shaded sidewalk
+where the maples were already laying a mosaic of gold and garnet,
+and looked off toward the river and the hills beyond--the far
+blue hills--all veiled in tenderest amber mist! The very air
+was full of soft, warm color; the sunbeams, mild and level now,
+played with the shadows across our path, and every now and then a
+leaf, flecked with orange or crimson, fluttered to our feet.
+The blue-birds sang in the goldening boughs, unaffrighted by the
+constant roll of elegant equipages in which, at this hour, the
+residents of the stately mansions on either side the road were
+taking the air; and the crickets hopped about undisturbed in the
+crevices of the gray stone walls.
+
+We walked leisurely on, past one and another lofty gateway, until
+presently reaching an entrance rather less assuming than its
+neighbors, but, like them, hospitably open, Nannette said, with
+promptness:
+
+"This is the place, I am sure. Square white house; black railing;
+next to the printing-press man's great gate. Come right in; all
+are welcome, and not even thank you to pay, for one never sees
+anyone to speak to here."
+
+It seemed to my modesty rather an audacious proceeding, but
+trusting to my companion's superior information, I followed her
+in, and we walked up a circular carriage-drive through smooth
+shaven lawns dotted with brilliant clumps of salvia and
+gladiolus, towards the house--a square, solid structure, white,
+and with broad verandas running across its front.
+
+At its northern side, sloping towards the wall, was visible what
+looked like an ordinary terrace, rather low, and ornamented with
+small shrubs and grotto-work; but which, on nearer approach,
+proved to be a veritable village in miniature, constructed with a
+verisimilitude of design, and a fidelity to detail, which was at
+once in the highest degree amazing and amusing. As Nannette had
+been assured, no one appeared to interfere with us in any way,
+and full of a curious wonder at such a manifestation of eccentric
+ingenuity, we seated ourselves upon a wooden box, evidently kept
+more for the purpose of protecting the odd out-of-door plaything
+in bad weather, and proceeded to give it the minute inspection
+which it merited; the result of which I chronicle here for the
+benefit of the like curious minded.
+
+The terrace, which forms the site of this doll-baby city, is low
+and semi-circular in shape, and separated from the graveled drive
+by a close border of box. Within this protecting hedge the
+ground is laid out in the most picturesque and fantastic manner
+compatible with a scale of extreme minuteness. Winding roads,
+shady bye-paths ending in rustic stiles, willow-bordered ponds,
+streams with fairy bridges, rocky ravines and sunny meadows,
+ferny dells, and steep hills clambered over with a wilderness
+of tangled vines, and strewn with lichen-covered stones--all are
+there, and all reproduced with the most conscientious fidelity
+to nature, and with Lilliputian diminutiveness. Regular streets,
+"macadamized" with a gray cement which gives very much the effect
+of asphaltum, separate one demesne from another; and each meadow,
+lawn, field, and barn-yard has its own proper fence or wall,
+constructed in the most workmanlike manner. The streets are
+bordered by trees, principally evergreens, which, though rigidly
+kept down to the height of mere shrubs, appear stately by the
+side of the miniature mansions they overlook; and, in every
+dooryard, or more pretentious greensward, tiny larches, pines yet
+in their babyhood, and dwarfed cedars, cast a mimic shade, and
+bestow an air of dignity and venerableness to the place.
+
+The first object upon which the eye is apt to rest on approaching
+this modern Lilliput is the squire's house, the residence of the
+landed proprietor. This is a handsome edifice of some eight by
+ten inches in breadth and height. It stands upon an eminence in
+the midst of ornamented grounds, and with its white walls, its
+lofty cupola, and high, square portico, presents a properly
+imposing appearance. There are signs of social life about the
+mansion befitting its own style of conscious superiority. In the
+wide arched entrance hall stands a high-born dame attired in gay
+Watteau costume--red-heeled slippers, brocaded petticoat, and
+bodice and train of puce-colored satin. She is receiving the
+adieux of an elegant gentleman, hatted, booted, and spurred, who,
+with whip in hand and dog by his side, is about to descend the
+steps and mount his horse for a ride over his estate. A bird-cage
+swings by an open window, and, on the lawn, a group of children,
+in charge of their nurse, are engaged in the time-honored game
+of "Ring-around-a-rosy." Winding walks, bordered with shrubbery,
+disappear among fantastic mounds of rock-work, moss-grown
+grottoes, and tiny dells of fern; and under a ruined arch, gray
+with lichen and green with vines, flows a placid streamlet,
+spanned by a rustic bridge. In the meadow beyond, flocks of sheep
+are cropping the grass, and an old negro is busily engaged in
+repairing a breach in the stone wall.
+
+Hard by this stately demesne is a humbler tenement, built of
+wattled logs, but showing signs of comfort and thrift all about
+it. The old grandsire sits in a high-backed chair, sunning
+himself in front of the door; on a bench, at the side of the
+house, stand rows of washtubs filled with soiled linen, and a
+woman is busy wringing out clothes; while another, with a
+bucket on her head, goes to the well to supply her with a
+fresh thimbleful of water; and still a third milks a handsome
+dapple-gray cow in the yard where the dairy stands. There is a
+well-filled barn behind, with another cow and a horse, too,
+for that matter, in the stable attached, and the farmer, who is
+putting the last sheaf on his wheat-stack, looks contented enough
+with his lot.
+
+Just beyond the stream, on whose bank the fisherman sits
+leisurely dropping his line, stands the village church; a
+fac-simile of the old Dutch Church which has stood near the
+entrance of Sleepy Hollow since long before the Revolution, and
+is hallowed now not only by the pious associations of centuries,
+but by the near vicinage of Irving's grave. In its little
+twelve-inch counterpart, every point of the ancient structure is
+preserved in exact detail. The dull red walls, the beetling roof,
+the narrow pointed windows and low, arched door; the quaint Dutch
+weathercock, and odd-shaped tower--aye, even the bell within, no
+bigger than a doll's thimble--and upon all a sentimental traveler
+in the person of a china figure perhaps three inches in height,
+is gazing half pensively, half curiously, as we suppose, at this
+relic of by-gone years!
+
+On the other side of the stream the village school, likewise an
+ancient and steeple-crowned edifice, stands out in the midst of a
+bare and clean swept playground. It bears its signature upon its
+front:
+
+"DISTRICT SCHOOL, NO. 2,"
+
+and its worshipful character is otherwise indicated by the
+presence of the master, a venerable looking puppet in cocked
+hat and knee-breeches, in the doorway, and sundry china children
+playing rather stiffly about the stone steps.
+
+Ascending by a steep, rocky path, one arrives at a rather
+pretentious looking wind-mill, which spreads its wide white arms
+protectingly over the cottages below. Barrels of flour and sacks
+of meal, well filled and plentiful in number, attest its thriving
+business, and the miller himself, in a properly dusty coat, looks
+about him with contented air. At the foot of the hill upon which
+the mill is perched, are several dwellings--all showing signs of
+more or less prosperous life, with the exception of one,
+which affords the orthodox "haunted house" belonging to every
+well-regulated village. The ruined walls of this old mansion,
+with lichen cropping out from every crevice; the unhinged doors
+and broken windows; the ladder rotting as it leans against the
+moss-grown roof, the broken well-sweep and deserted barn, offer
+an aspect of desolation and decay which should prove sufficient
+bait to tempt any ghost of moderate demands.
+
+In direct contrast to the gloom which surrounds this now empty
+and forsaken home, one observes, in a shady grove surmounting a
+ridge of hills which rise somewhat steeply here from the roadway,
+a party of "pic-nickers" gaily attired and disporting themselves
+after the time-honored manner of such merry-makers; swinging,
+dancing, or, better still, strolling off arm in arm, in search of
+cooler shades, and of that company which is never a crowd.
+
+At the base of this rocky ridge, the same stream which one meets
+above flowing darkly under arch and bridge, winds placidly along
+in sunshine and shadow until it loses itself in a clump of alders
+and willows quite at the edge of the box-bordered terrace; and
+here the village ends.
+
+Not so my sketch: for I have purposely left it to the last to
+make mention of the great central idea round which all the rest
+is gathered, and which, doubtless, formed the germ of the whole
+oddly-conceived, but most admirably-executed plan. This is the
+"Cat's Monument" of which Nannette had made mention, and which is
+a structure so original and imposing that it deserves special and
+minute description.
+
+About midway the terrace, and conspicuous from its size and
+height, rises a mound of earth shaped into the semblance of
+an urn or vase, crusted thickly with bits of rock, moss, and
+pebbles, and overgrown with a tangle of tiny vines. Surmounting
+this picturesque pedestal is an obelisk of black-veined marble on
+a granite base, the whole rising some seven feet from the ground.
+On the polished surface of this memorial pillar is inscribed, in
+large black capitals, the following classic and touching tribute
+to the venerable departed who sleeps in peace below:
+
+    IN MEMORIAM
+      TOMMY
+  FELINI GENERIS
+      OPTIMUS.
+  DECESSIT A VITA
+  MENSE NOVEMBRIS
+  ANNO ÆTATIS 19.
+
+       *       *       *       *       *
+
+_Quid me ploras? Nonne decessi gravis senectute? Nonne vivo
+amicorum ardentium memoria?_
+
+       *       *       *       *       *
+
+On the reverse side of the column appears an inscription even
+more pathetic and poetic, to yet another departed favorite, who
+seems, not like Tommy to have been gathered to his fathers ripe
+in years and honors but to have been cut down in the bloom
+of youth by some untimely and tragic fate. He is all the more
+felin'ly lamented:
+
+      HIC JACET
+        PUSSY
+    SUI GENERIS
+    PULCHERRIMUS.
+    OCCISUS EST
+    MENSE APRILIS
+      ÆTAT. 9.
+
+       *       *       *       *       *
+
+"_Vixi, et quum dederat cursum fortuna, peregi. Felix! heu nimium
+felix! si litora ista nunquam tetigissem!_"
+
+       *       *       *       *       *
+
+Thanks to certain by no means homoeopathic doses of the Latin
+grammar in my early years, I was able to gather the meaning of
+these elegiac effusions, and when the last stanza embodying poor
+Pussy's posthumous wail was discovered to be none other than the
+despairing death-cry of the "infelix Dido" as immortalized by
+Virgil--the one step from the sublime to the ridiculous seemed to
+have been passed.
+
+I looked at Nannette, and Nannette looked at me, and we burst
+into silent but irrepressible laughter. Nannette was the first to
+recover herself.
+
+"We ought to be ashamed of ourselves," said she severely: "Honest
+grief is always respectable; and a fitting tribute to departed
+worth, no more than what is due from the survivors. I have no
+doubt but that Tommy and Pussy were most esteemed members of
+society, and that their loss has left an aching void in the
+family of which they were the youngest and most petted darlings.
+I have heard the history of this monument, and the village that
+has grown up around it, and if you will comport yourself more as
+a Christian being should in the presence of a solemn memorial, I
+will relate to you the interesting facts in my possession."
+
+I immediately signified a due contrition and full purpose of
+amendment; when Nannette continued, still speaking with the
+gravity befitting the subject.
+
+"This estate then, this large and respectable mansion, and these
+pleasant grounds in which we now sit, are the property in common
+of three most estimable ladies, all past their first youth, and
+all possessed of sufficient good sense and strength of mind to
+remain their own mistresses, which has procured for the very
+remarkable specimen of ingenuity now before us, from some
+ignorant townspeople, the sobriquet of the 'Old Maid's Village.'
+
+"There is only one of the ladies, however, I am informed, who
+interests herself in the construction of these most ingenious
+toys. Possessed of ample means, and more than ample leisure,
+she amuses herself in hours which might otherwise be devoted
+to gossip and tea, in putting together these various models
+of buildings, all differing in style, and of most singular
+materials. The church, for instance, is built of fragments of
+clinker, gathered from stove and grate, and held firmly together
+by cement. Nothing could have reproduced so exactly the rough
+reddish stone of which the old Sleepy Hollow Church is built.
+The window-glass is represented by carefully framed pieces of tin
+foil; the gray stone of the gate-posts is imitated by sand rubbed
+on wooden pillars with a coating of cement. The streets are paved
+in much the same clever fashion. The well, the pond, the stream,
+are filled with water each day by the chatelaine's own careful
+hands. Many of the mimic creatures, human and otherwise, are
+automata, manufactured to order; the others are wooden or china
+figures selected with extreme care as to their fitness for their
+purpose. So rare and so exceedingly pretty are some of these
+little figures, that they have become objects of unlawful desire
+to certain soulless curiosity-mongers, who have rewarded an open
+and confiding hospitality with base attempts at spoliation; and
+now a person is employed to live in the cottage just beyond us,
+and do little else than take care of these unique possessions.
+
+"No, you need not start. The woman is probably there at her
+post, and surveying our operations from time to time. But we
+have behaved like decent people. We are taking away nothing but
+a remembrance of a singularly interesting hour, and an admiring
+impression of the originality, the ingenuity, the industry, and
+the independence of one of our own sex.
+
+"Is it not so, my friend? And now, by the length of those cedar
+shadows, it is time for us to rise up and be gone. Else the
+moonlight will have met and parted with the sunset ere we reach
+home."
+
+There was nothing to be said; the tale had been told, and with
+one last, lingering glance, one parting smile, half amused, half
+touched, I rose, and together we walked home in somewhat pensive
+mood. Was it not our last day in Fairyland?--_Kate J. Hill_.
+
+       *       *       *       *       *
+
+_WINE AND KISSES._
+
+TRANSLATED FROM THE PERSIAN OF MIRTSA SCHAFFY.
+
+  The lover may be shy--
+  His bashfulness goes by
+        When first he kisses.
+
+  The bibber, though so staid,
+  Gets bravely unafraid
+        When wine his bliss is.
+
+  Yet he who, in his youth,
+    No wine nor kiss hath tasted.
+  Will some day think, in truth,
+    That half his joys were wasted.
+
+                        --_Joel Benton_.
+
+       *       *       *       *       *
+
+I have heard it asked why we speak of the dead with unqualified
+praise: of the living, always with certain reservations. It may
+be answered, because we have nothing to fear from the former,
+while the latter may stand in our way: so impure is our boasted
+solicitude for the memory of the dead. If it were the sacred and
+earnest feeling we pretend, it would strengthen and animate our
+intercourse with the living.--_Goethe_.
+
+
+
+
+_THE QUEEN'S CLOSET._
+
+
+Did anybody ever see a fairy in the city? Was a glimpse ever
+caught of Fairyland there? I say _No_. But I was in the country
+this summer where a great number of mushrooms grew, and one day
+when I was walking in a grassy lane I met a little, old
+queen, who was fanning herself with the leaf of the
+poor-man's-weather-glass; she had taken off her crown, and it was
+lying on the top of a lovely red mushroom. I poked the mushroom
+with my parasol, and instantly felt on my face a faint puff of
+air, and heard a hum no louder than the buzz of an angry fly.
+
+I sat down on the grass, and then my eyes fell on the queen.
+
+"You have let my crown fall in the dirt," she said, tossing a
+wisp of hair from her forehead; "but you great, insensible beings
+are always in mischief when you are in the country. Why don't
+you stay at home, in your brick cages that stand on heaps of
+flat stones? You are watched there all the time by creatures with
+clubs in their leather belts, so you cannot tear and crush things
+to pieces as you do here."
+
+"Oh, I am so sorry, madam," I answered; "if you knew how unhappy
+I felt this morning when I started on my last walk, you would
+pity me. I must go home at once, and my home is in the city--shut
+in by houses before and behind it. If I look out of the window,
+I only see a strip of sky above me, where neither sun nor moon
+passes on its journey round the world; and below me, only the
+stone pavement over which goes an endless procession of men and
+women, upon a hundred errands I never guess at."
+
+The queen tapped her head with a white stick like a peeled twig,
+and made such a noise that I examined it, and saw an ivory knob,
+which reminded me of the budding horns of a young deer. As if in
+answer to my thought, she said:
+
+"It drops off every year. In the fairy-nature all elements are
+united. We partake of the animal and vegetable kingdoms, and
+add our own; this makes us what we are. We do not suffer, but we
+experience, without suffering, of course; our long lives glide
+along like dreams. As you are in sleep, so are we awake. If
+you love the country, which contains our kingdom, as the
+filbert-shell contains the kernel, I will endow you with power. I
+will give you something to take back with you."
+
+What do you think she gave me? A little closet with shelves; on
+each shelf were laid away all my remembrances of the summer, for
+me to unfold at leisure. When she gave me the key, which looked
+exactly like a steel pen, she said: "When you turn the key you
+will understand my power. All things will be alive, will know as
+much, and talk as fast as you do. The closet, in short, is but
+a wee corner of my kingdom, where to-day and to-morrow are the
+same--past and present one. A maid-of-honor wishes to go to town.
+I'll send her in the closet. My slave, the geometrical spider,
+must spin her a warm cobweb--and when you open the closet, be
+sure and not disturb my little Fancie."
+
+Some way Queen Imagin disappeared then. To any person less
+knowing than myself, it would have seemed as if a dandelion ball
+was floating in the air; but I knew better, and I watched her
+sailing, sailing away till lost behind the trees. The crown was
+gone, too; I discovered nothing in the neighborhood of the red
+mushroom, except a tiny yellow blossom already wilted by the heat
+of the sun.
+
+Well, I am at home. I sit down this misty autumn morning in my
+lonely room, and wish for some work or if not that, for something
+to play with. I am too old for dolls, but very young in the way
+of amusement. Ah--the closet! I'll unlock that; the key is at
+hand--in my writing-desk.
+
+Open Sesame! On the top shelf sits little Fancie, her eyes
+shining like diamonds in her soft, dusky cobweb. She nods, so do
+I, and we are in Greenside again--on a summer evening. How the
+crickets sing; and the tree-toads harp in the trees as if they
+were a picket guard entirely surrounding us. Hueston's big dog
+barks in the lane at just the right distance. What security I
+used to feel when I was a little child, tucked away in my bed,
+and heard a dog bark a mile away; too far off ever to come up and
+bite, and yet near enough to frighten prowling robbers!
+
+"When in the breeze the distant watch-dog bayed," I was about to
+say; but Polly, who is at Greenside with me, calls, "Just hear
+the mosquitoes."
+
+The blinds must be closed. What a delicious smell comes in! The
+dew wetting all the shrubs and flowers distils sweet odors. What
+a family of moths have rushed in; this big, brown one, with white
+and red markings, is very enterprising. He has voyaged twice down
+the lamp chimney, as if it were the funnel of a steamship.
+
+Get out, moth!
+
+"Sho," she answers in a husky voice, as if very dry, "It is my
+nature to; that's all you know, turning us to moral purposes,
+and making us a tiresome metaphor. We are much like you human
+creatures--only we don't compare ourselves continually with
+others. We just scorch ourselves as we please. My cousin,
+Noctilia Glow-worm, who is out late o' nights on the grass-bank
+in poor company--the Katydids, who board for the season with the
+widow Poplar--a two-sided, deceitful woman--she does not care
+where I go, and never shrieks out, 'A burnt moth dreads the lamp
+chimney.' If she sees me wingless, she coughs, and throws out
+a green light, but says nothing. Don't mind me; there's more
+coming."
+
+It can't be moths making such a noise on the second shelf. It is
+Tom, who calls out to us, from his room, to come, and help him
+catch a bat.
+
+  "Now air is hushed, save where the weak-eyed bat
+  With short shrill shriek flits by on leathern wings."
+
+"Always mouthing something," somebody mutters. But we rush into
+Tom's room, and behold him in the middle of the floor, flopping
+north and south, east and west, with a towel. No bat is to be
+seen. I hear a pretty singing, however, and declare it to be
+from a young swallow fallen down the chimney; but as there is
+no fire-place in the room, my opinion goes for nothing. Tom
+maintains that it is a bat; that it flew in by the window; and
+that it is behind the bureau. He is right, for the bat whirrs
+up to the ceiling and from that height accosts us in a squeaking
+voice:
+
+"I am weak-eyed, am I? and my wings are leathery? Catch me,
+and you will find my wings are like down, my eyes as bright as
+diamonds. How much you know, writing yourselves down in books as
+Naturalists! My name is Vespertila; my family are from Servia,
+at your service. Could you offer me a fly, or a beetle? I was
+chasing Judge Blue Bottle, or I should not have been trapped. Go
+to sleep, dears, and leave me to fan you. When you are asleep,
+I'll bite a hole in your ear, and sup bountifully on your red
+blood."
+
+Flop went our towels, and down went Miss Vespertila behind the
+bed crying. Polly crept up to her; and caught her in a towel.
+What black beads of eyes had Miss Vespertila from Servia, where
+her grandfather, General Vampire, still commands a brigade of
+rascals! Her teeth were sharp, and white as pearls. Polly held
+her up, and she cunningly combed her furry wings with her hind
+feet, and said:
+
+"Polly, dear, I itch dreadfully; do you mind plain speaking? I am
+full of bat lice. Ariel caught them, and the folks say that Queen
+Mab often buys fine combs--"
+
+"Slanderer!" cried Polly, "fly to your witch home!"
+
+She shook the towel out of the window, and the bat soared away.
+
+"What's coming next?" we all asked. "There are the rabbits to
+hear from, the pigeons, the sparrows, the mole, and the striped
+snake who lives by the garden gate?"
+
+Slap, Bang! Fancie has pulled the door to. The cunning Queen
+Imagin placed her in the closet, perhaps for this purpose. But
+I have the key. I shall unlock it to-morrow, for I must have the
+picnic over again, under the beech tree, where the brown thrush
+built her nest, and reared her young ones, who ate our crumbs,
+and chirped merrily when we laughed.--_Lolly Dinks's Mother_.
+
+       *       *       *       *       *
+
+Doth a man reproach thee for being proud or ill-natured, envious
+or conceited, ignorant or detractive, consider with thyself
+whether his reproaches be true. If they are not, consider that
+thou art not the person whom he reproaches, but that he reviles
+an imaginary being, and perhaps loves what thou really art,
+although he hates what thou appearest to be. If his reproaches
+are true, if thou art the envious, ill-natured man he takes
+thee for, give thyself another turn, become mild, affable
+and obliging, and his reproaches of thee naturally cease. His
+reproaches may indeed continue, but thou art no longer the person
+he reproaches.--_Epictetus_.
+
+
+
+
+_LITERATURE._
+
+
+"Of the making of many books there is no end," said the Wise Man
+of old. Of the making of good books there is frequently an end,
+say we. The good books of one year may be counted on the fingers
+of one hand. Among those of the present year none ranks higher
+than Taine's "Art in Greece," a translation of which, by Mr. John
+Durand, is published by Messrs. Holt & Williams. The French are
+a nation of critics, and Taine is the critic of the French.
+This could not have been said with truth during the lifetime of
+Sainte-Beuve, but since his death it is true. There is nothing,
+apparently, which Taine is not competent to criticise, so subtle
+is his intellect, and so wide the range of his studies, but what
+he is most competent to criticise is Art. We have heard great
+things of a History of English Literature by him, but as it has
+not yet appeared in an English dress (although Messrs. Holt &
+Williams have a translation of it in press) we shall reserve our
+decision until it appears. Art, it seems to us, is the specialty
+to which Taine has devoted himself, with the enthusiasm peculiar
+to his countrymen, and a thoroughness peculiar to himself.
+Others may have accumulated greater stores of art-knowledge--the
+knowledge indispensable to the historian of Art, and the
+biographer of artists--but none has so saturated himself with the
+spirit of Art as Taine. We may not always agree with him, but he
+is always worth listening to, and what he says is worthy of
+our serious consideration. We think he is _too_ philosophical
+sometimes, but then the fault may be in us. It may be that we are
+so accustomed to the materialism of the English critics that
+we fail, at first, to apprehend the spirituality of this most
+refined and refining of Frenchmen. No English critic could have
+written his "Art in Greece," because no English critic could put
+himself in his place. We know what the English think of Greek
+Art, or may, with a little reading: what Taine thinks of it
+is--that it is what it is, simply because the Greeks were what
+they were. Before he tells us what Greek Art is, he tells us what
+the Greeks were. Nor does he stop here, but goes on to tell us,
+or rather begins by telling us, what kind of a country it was
+in which they dwelt, what skies shone over them, what mountains
+looked down upon them, in the shadow of what trees they walked
+within sight of the wine-dark sea. He begins at the beginning,
+as the children say. Whether he succeeds in convincing us that
+it was Greece alone which made the Greeks what they were, depends
+somewhat upon the cast of our minds, and somewhat upon our power
+to resist his eloquence. We think, ourselves, that he lays too
+much stress upon the mere outward environment of the Grecian
+people. The influence exercised over their lives, by the
+Institutions which grew up out of these lives--the influence, in
+short, of their purely physical culture--is admirably described,
+as is also the difference between this culture and ours:
+
+    "Modern people are Christian, and Christianity is a
+    religion of second growth which opposes natural instinct.
+    We may liken it to a violent contraction which has
+    inflected the primitive attitude of the human mind. It
+    proclaims, in effect, that the world is sinful, and that
+    man is depraved--which certainly is indisputable in the
+    century in which it was born. According to it, man must
+    change his ways. Life here below is simply an exile;
+    let us turn our eyes upward to our celestial home. Our
+    natural character is vicious; let us stifle natural
+    desires and mortify the flesh. The experience of our
+    senses and the knowledge of the wise are inadequate and
+    delusive; let us accept the light of revelation, faith
+    and divine illumination. Through penitence, renunciation
+    and meditation let us develop within ourselves the
+    spiritual man; let our life be an ardent awaiting of
+    deliverance, a constant sacrifice of will, an undying
+    yearning for God, a revery of sublime love, occasionally
+    rewarded with ecstasy and a vision of the infinite.
+    For fourteen centuries the ideal of this life was the
+    anchorite or monk. If you would estimate the power of
+    such a conception and the grandeur of the transformation
+    it imposes on human faculties and habits, read, in turn,
+    the great Christian poem and the great pagan poem, one
+    the 'Divine Comedy' and the other the 'Odyssey' and the
+    'Iliad.' Dante has a vision and is transported out of our
+    little ephemeral sphere into eternal regions; he beholds
+    its tortures, its expiations and its felicities; he is
+    affected by superhuman anguish and horror; all that the
+    infuriate and subtle imagination of the lover of justice
+    and the executioner can conceive of he sees, suffers and
+    sinks under. He then ascends into light; his body loses
+    its gravity; he floats involuntarily, led by the smile
+    of a radiant woman; he listens to souls in the shape of
+    voices and to passing melodies; he sees choirs of angels,
+    a vast rose of living brightness representing the virtues
+    and the celestial powers; sacred utterances and the
+    dogmas of truth reverberate in ethereal space. At this
+    fervid height, where reason melts like wax, both symbol
+    and apparition, one effacing the other, merge into mystic
+    bewilderment, the entire poem, infernal or divine, being
+    a dream which begins with horrors and ends in ravishment.
+    How much more natural and healthy is the spectacle which
+    Homer presents! We have the Troad, the isle of Ithica and
+    the coasts of Greece; still at the present day we follow
+    in his track; we recognize the forms of mountains, the
+    color of the sea; the jutting fountains, the cypress and
+    the alders in which the sea-birds perched; he copied a
+    steadfast and persistent nature: with him throughout we
+    plant our feet on the firm ground of truth. His book is
+    a historical document; the manners and customs of his
+    contemporaries were such as he describes; his Olympus
+    itself is a Greek family."
+
+The manifest inferiority of our mixed languages to their one
+simple language is stated in the following paragraph, with which
+we must leave Taine for the present:
+
+    "Almost the whole of our philosophic and scientific
+    vocabulary is foreign; we are obliged to know Greek and
+    Latin to make use of it properly, and, most frequently,
+    employ it badly. Innumerable terms find their way out of
+    this technical vocabulary into common conversation and
+    literary style, and hence it is that we now speak and
+    think with words cumbersome and difficult to manage.
+    We adopt them ready made and conjoined, we repeat
+    them according to routine; we make use of them without
+    considering their scope and without a nice appreciation
+    of their sense; we only approximate to that which we
+    would like to express. Fifteen years are necessary for
+    an author to learn to write, not with genius, for that
+    is not to be acquired, but with clearness, sequence,
+    propriety and precision. He finds himself obliged to
+    weigh and investigate ten or twelve thousand words and
+    diverse expressions, to note their origin, filiation and
+    relationships, to rebuild on an original plan, his ideas
+    and his whole intellect. If he has not done it, and he
+    wishes to reason on rights, duties, the beautiful, the
+    State or any other of man's important interests, he
+    gropes about and stumbles; he gets entangled in long,
+    vague phrases, in sonorous common-places, in crabbed
+    and abstract formulas. Look at the newspapers and the
+    speeches of our popular orators. It is especially the
+    case with workmen who are intelligent but who have had no
+    classical education; they are not masters of words, and,
+    consequently, of ideas; they use a refined language which
+    is not natural to them; it is a perplexity to them and
+    consequently confuses their minds; they have had no
+    time to filter it drop by drop. This is an enormous
+    disadvantage, from which the Greeks were exempt. There
+    was no break with them between the language of concrete
+    facts and that of abstract reasoning, between the
+    language spoken by the people and that of the learned;
+    the one was a counterpart of the other; there was no term
+    in any of Plato's dialogues which a youth, leaving his
+    gymnasia, could not comprehend; there is not a phrase in
+    any of Demosthenes' harangues which did not readily find
+    a lodging-place in the brain of an Athenian peasant or
+    blacksmith. Attempt to translate into Greek one of Pitt's
+    or Mirabeau's discourses, or an extract from Addison or
+    Nicole, and you will be obliged to recast and transpose
+    the thought; you will be led to find for the same
+    thoughts, expressions more akin to facts and to concrete
+    experience; a flood of light will heighten the prominence
+    of all the truths and of all the errors; that which you
+    were wont to call natural and clear will seem to you
+    affected and semi-obscure, and you will perceive by force
+    of contrast why, among the Greeks, the instrument of
+    thought being more simple, it did its office better and
+    with less effort."
+
+Among the good books of the year, two belong to a special walk
+of letters in which we have not hitherto excelled the English
+Translation. There are periods in the history of English Poetry
+when translation has played an important part. Such a period
+occurred just before the Shakspearean era, and it was noted for
+translations from the Latin poets. Chapman was the first English
+writer to perceive the greatness of the Greek poets, and, like
+the poet that he was, he attempted to translate the father of
+poets, Homer. Chapman's Homer is a noble work, with all its
+faults; but it is not what Homer should be in English. It was
+followed by other translations mostly of the Latin poets, the
+best, perhaps, being Dryden's Virgil, until, finally, the English
+mind returned to Homer, or supposed it did, in the pretty,
+musical numbers of Pope. Who will may read Pope's Homer. We
+cannot. Nor Cowper's either, although it contains some good,
+manly writing. We can read Lord Derby's Homer, or could, until
+Mr. Bryant published his translation of the "Iliad," when the
+necessity no longer existed. No English translation of Homer will
+compare with Mr. Bryant's; and we are glad that we are soon to
+have the whole of the "Odyssey," as we already have the whole of
+the "Iliad." The first volume of Mr. Bryant's translation of the
+"Odyssey" (J.R. Osgood & Co.) fully sustains the reputation of
+the writer. It is so admirably done, that, if we did not know to
+the contrary, we should think we were reading an original poem.
+The stiffness which generally inheres in translations is wanting;
+nowhere is there any sense of restraint, but everywhere a
+delightful sense of ease--the freedom of one great poet shining
+through the freedom of another great poet, as the sun shines
+through the sky. It is the ideal English translation of Homer;
+and we congratulate Mr. Bryant upon having finished it (for we
+believe he has); and congratulate ourselves that it is the work
+of an American poet.
+
+We offer the like congratulation to Mr. Bayard Taylor for his
+translation of "Faust," which occupies the same place, as regards
+German Poetry, that Mr. Bryant's translation of Homer does to
+Greek Poetry. The difficulty of the task which Mr. Taylor set
+himself, the task of rendering the original in the measures of
+the original, was never met before by any English translator of
+"Faust"--never even attempted, we believe--and, to say that he
+has accomplished it, is to say that Mr. Taylor is a very skilful
+poet--how skilful we never knew before, highly as we have always
+valued his poetical powers. He enables us to understand the
+_Intention_ of Goethe in "Faust," as no one besides himself
+has done; and, among the obligations that we owe him for the
+enjoyment he has given us, we must not forget the obligation we
+are under to him for his _Notes_. They are scholarly, and to the
+point. There is not one too many, not one which we could afford
+to lose, now that we have it. What _might_ have been written,
+under the pretense of _Notes_--what another translator might not
+have been able to resist writing--is fearful to think of--Life is
+so short, and Goethe's Art so long!
+
+The year has been fertile in American verse. How much Poetry it
+has produced is a question into which we do not care to enter. It
+has witnessed the publication of two volumes by Mr. Bret Harte;
+of one volume by Mr. John Hay; and of one volume by Mr. William
+Winter. The title of Mr. Winter's volume, "My Witness," (J.R.
+Osgood & Co.) is a happy one. It is not every American writer who
+can afford to place his verse on the stand as his witness; and it
+is not every American writer whose verse will substantiate what
+he is so desirous of proving, viz., that he is an American poet.
+
+Mr. Winter is not without faults--what American writer is?--but
+he endeavors to write simply. The virtue of simplicity--always a
+rare one, and never so rare as at present--he possesses. We have
+Tennyson, who is not simple; we have Browning, who is not simple;
+we have Swinburne, who is not simple; and we have Mr. Joaquin
+Miller, who is not simple.
+
+Mr. Winter's book has its defects--among which we observe an
+occasional lapse into Latinity--but with all its defects it is a
+very _poetical_ book. Mr. Winter reminds us, more than any recent
+American poet, of the English poets of the reigns of Charles the
+First and Second. He has, at his best, all their graces of style,
+and he has, at all times, the grace of Purity, to which they laid
+no claim. With the exception of Carew (whom, we dare say, he has
+never read), Mr. Winter is the daintiest and sweetest of amatory
+poets. He has the fancy of Carew, without his artificiality; he
+has Carew's sweetness, without his grossness of suggestion.
+
+There is a tinge of sadness in some of Mr. Winter's poems, and
+the critics, we suppose, will censure him for it. If so, they
+will be in the wrong. The poet has the right to express his
+moods, sad or merry, and he is no more to be judged by his sad
+moods than his merry ones. He is to be judged by both, and the
+sum of both--if the critic is able to add it up--is the poet. As
+far as he is revealed in his book, that is, but no further. There
+is such a thing as Dramatic Poetry, as some critics are aware,
+and there is such a thing as Representative Poetry, as few
+critics are aware. The former deals with the passions, the
+latter with those shadowy and evanescent sensations which we call
+feelings. Mr. Winter is not a dramatic poet, but he is, in his
+own way, a representative poet. His poem "Lethe" represents one
+set of feelings; "The White Flag" another; and "Love's Queen"
+another. We like the last best. For, while we believe the others
+to be equally genuine, they do not impress us as being the best
+expression of his genius. What we feel most after finishing his
+volume, what seems to us most characteristic of his poetry, is
+loveliness--the tender loveliness that lingers in the mind after
+we have seen the sun-set of a quiet summer evening, or after
+we have heard music on a dreamy summer night. If this poetic
+melancholy be treason, the critics may make the most of it. Mr.
+Winter has nothing to fear. He has the authority of the greatest
+poets with which to defend himself, and confute the critics.
+
+
+
+
+_ART._
+
+THE PRODIGAL SON, BY EDOUARD DUBUFE.
+
+
+The sublime lesson of forgiveness, inculcated by the story of
+the Prodigal Son, is among the earliest and most familiar in the
+memories of a nation of Bible readers like our own. Every one
+of us, perhaps unconsciously, carries in mind a simple,
+straight-forward conception of this subject, formed in early
+childhood--a time when the imagination rarely goes beyond an
+attempt to realize the unlooked for forgiveness of the once
+deserted parent, or the captivating visions of adventure
+suggested by the changing fortunes of the wanderer during his
+absence in a "far country."
+
+With the painter the picture is his vision, and the panels are
+the realities. As a man of a different order of thought would
+have chosen another incident of the story for illustration, so
+also would a painter of a less independent school have permitted
+himself to be bound down by the historical facts of the
+architectural and costume fashions of the time of narration.
+Dubufe has so far discarded the unities of time and place, if
+any can _really_ be said to exist--as no date was fixed in
+the relation of the parable by Christ--that he has adopted the
+mingled costumes of Europe and the East, which obtained in the
+fifteenth century, and has placed his figures in a Corinthian
+porch under the light of Italian skies. Apart from the conception
+and the "telling of the story," about which there will be various
+opinions, this picture may be justly regarded as a magnificent
+work of art.
+
+The great David, a pupil of whose pupil Edouard Dubufe was, and
+Horace Vernet, appear to have been the guides selected by him,
+rather than the greatest of his masters--Paul Delaroche. The
+influence of both is to be traced in this work, although it may
+be said to take rank above any production of either of them. In
+drawing, color, and composition, rendering of textures, and the
+exhibition of the resources of the palette, now better known to
+French painters than ever before, the picture leaves nothing to
+be desired. The faces of the principal figures are full of
+that "expression to the life" in which the English are justly
+considered to excel, while the admirable focus of the groups,
+the color, and interest, are as un-English as excellent.
+Fault-finding in more than one or two unimportant details would
+be hypercriticism where so much is perfect, and it becomes our
+happy privilege, in this notice, to commend and to point out, to
+"lay" readers about Art, the manifold beauties of its technical
+execution. A critical examination will show that the composition
+is on the pyramidal principle, and the arrangement of groups
+principally in threes. In the central portion of the canvas,
+where the marble pillars of the porch fall off in perspective,
+the Profligate stands holding up a golden cup in his right
+hand, as in the act of proposing a toast. His red costume and
+commanding figure attract the eye, and the attention falls at
+once and equally on him and on the magnificent woman whose arms
+embrace his neck, and whose eyes, as her chin rests close on his
+breast, gaze with dangerous fascination into his face. Her dress
+is of rich white satin, and, with the delicate green and gold
+sheen of her rival's robe--she with whom the Prodigal's right
+hand toys in caress--makes up a wonderfully brilliant prismatic
+chord, having the effect of focusing the richer, but not less
+gorgeous, pigments spread everywhere on the canvas. The faces of
+the women are very beautiful, and are made voluptuous by a
+subtle art which, through all their beauty, tells a story of
+unrestrained lives of passion and pleasure.
+
+The face of the magnificent creature at the Prodigal's left hand
+is a wondrous piece of drawing. It is thrown back against him
+and from the spectator, in order that she may look up into his
+face--at the moment a dissipated, spiritless face, without even
+the flush of the wine which dyes her's so rosily--a face at once
+weak and weary, and yet revealing a possible intensity, indeed,
+the face of a French woman who "has lived," rather than that of a
+man.
+
+Up to this centre leads the other groups. Below, and seated on
+the rich rugs which cover the marble pavement, musicians
+and singers pause to listen to impassioned words from a
+laurel-crowned poet, while further on a sort of orchestra
+plays time for the sensuous dance of lithe-bodied Oriental
+dancers--each woman of them more ravishing than the other. Minor
+incidents, like dice-play and love-making, give interest to the
+remaining space, and keep up the revel.
+
+Throughout, the drawing is true, and good, and graceful. The
+hands of the figures demand especial mention. The hand of one of
+the women, near the central group, grasped by her lover at the
+wrist as he kisses her shoulder, is particularly exquisite
+in form and color; the more remarkable, perhaps, because the
+position of it is so trying in nature and so difficult to draw.
+
+The type of feature chosen for the women, the dancing girls
+excepted, is essentially Gallic. As remarked before, the face
+of the Prodigal, also, is French; but the musicians and the poet
+have faces of their own which seem to belong to the university of
+genius. The mere revelers, curiously enough, have a likeness to
+the figures in some old Italian pictures; one of them looks like
+a copy of Judas Iscariot, made younger.
+
+A distant city and mountains fill up the background, and, on
+the extreme right of the near middle distance, flights of
+marble steps ascend to a grand doorway, where servants are seen
+loitering within easy call of their masters.
+
+It was by a sublime inspiration that Dubufe painted the accessory
+panels in monotone. In that on the right, a dismal sky, filled
+with rolling clouds and sad presaging ravens flying, over-shadows
+the outcast, seated on a rock in an attitude of listless
+dejection, with the swine feeding at his feet. In the panel on
+the left he is seen in the close embrace of his merciful parent.
+His head is bowed in humility, and, in an agony of remorse and
+shame, while the old house-dog sniffs at him for an obtrusive
+mendicant who has no business with such affectionate welcome.
+
+Let us congratulate ourselves that this picture has come to our
+country, as yet so barren of great works, and pray that the noble
+school of art of which this is so admirable an exponent, may
+find favor, not only with our painters, but with those who call
+themselves connoisseurs, in preference to unmeaning works of
+microscopic finish, or slick examples of boudoir and millinery
+painting.
+
+       *       *       *       *       *
+
+"_THE ALDINE PRESS._"--JAMES SUTTON & CO., _Printers and
+Publishers, 23 Liberty St., N.Y._
+
+
+
+
+
+End of the Project Gutenberg EBook of The Aldine, Vol. 5, No. 1., January,
+1872, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE ALDINE, VOL. 5, NO. 1., ***
+
+***** This file should be named 15092-8.txt or 15092-8.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/1/5/0/9/15092/
+
+Produced by Juliet Sutherland, Sandra Brown and the PG Online
+Distributed Proofreading Team.
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/15092-8.zip b/15092-8.zip
new file mode 100644
index 0000000..95096a0
--- /dev/null
+++ b/15092-8.zip
diff --git a/15092-h.zip b/15092-h.zip
new file mode 100644
index 0000000..3404a11
--- /dev/null
+++ b/15092-h.zip
diff --git a/15092-h/15092-h.htm b/15092-h/15092-h.htm
new file mode 100644
index 0000000..14c1dad
--- /dev/null
+++ b/15092-h/15092-h.htm
@@ -0,0 +1,7872 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd">
+
+<html xmlns="http://www.w3.org/1999/xhtml">
+<head>
+    <meta http-equiv="Content-Type"
+          content="text/html; charset=ISO-8859-1" />
+
+    <title>The Project Gutenberg eBook of The Aldine, A Typographic
+    Art Journal by Various</title>
+    <style type="text/css">
+    /*<![CDATA[*/
+
+    <!--
+    body                 {margin-left: 10%; margin-right: 10%;}
+    p                    {text-align: justify;}
+    blockquote           {text-align: justify;}
+    h1,h2,h3,h4,h5,h6    {text-align: center;}
+
+    pre                  {font-size: 0.7em;}
+
+    hr                   {text-align: center; width: 50%;}
+    html>body hr         {margin-right: 25%; margin-left: 25%; width: 50%;}
+    hr.full              {width: 100%;}
+    html>body hr.full    {margin-right: 0%; margin-left: 0%; width: 100%;}
+    hr.short             {text-align: center; width: 20%;}
+    html>body hr.short   {margin-right: 40%; margin-left: 40%; width: 20%;}
+
+    .note {margin-left: 10%; margin-right: 10%; font-size: 0.9em;}
+
+    span.pagenum {position: absolute; left: 1%; right: 91%; font-size: 8pt;}
+
+    .poem {margin-left:10%; margin-right:10%; margin-bottom: 1em;
+         text-align: left;}
+    .poem .stanza        {margin: 1em 0em 1em 0em;}
+    .poem p              {margin: 0; padding-left: 3em; text-indent: -3em;}
+    .poem p.i2           {margin-left: 1em;}
+    .poem p.i4           {margin-left: 2em;}
+    .poem p.i6           {margin-left: 3em;}
+    .poem p.i8           {margin-left: 4em;}
+    .poem p.i10          {margin-left: 5em;}
+
+    .figure, .figcenter, .figright, .figleft
+    {padding: 1em; margin: 0; text-align: center;}
+    .figure img, .figcenter img, .figright img, .figleft img
+                       {border: none;}
+    .figure p, .figcenter p, .figright p, .figleft p
+                       {margin: 0; text-indent: 1em;}
+    .figcenter           {margin: auto;}
+    .figright            {float: right;}
+    .figleft             {float: left;}
+
+    .inline {border: none; vertical-align: middle;}
+
+    .footnote {font-size: 0.9em; margin-right: 10%; margin-left: 10%;}
+
+    .illustrations {margin: 0.5em 10%; font-size: 0.9em;}
+
+    p.author {text-align: right; margin-right: 5%;}
+    p.center {text-align: center}
+    a:link {color: blue; text-decoration: none;}
+    link {color: blue; text-decoration: none;}
+    a:visited {color: blue; text-decoration: none;}
+    a:hover {color: red;}
+    -->
+    /*]]>*/
+    </style>
+</head>
+
+<body>
+
+
+<pre>
+
+Project Gutenberg's The Aldine, Vol. 5, No. 1., January, 1872, by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Aldine, Vol. 5, No. 1., January, 1872
+       A Typographic Art Journal
+
+Author: Various
+
+Release Date: February 17, 2005 [EBook #15092]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ALDINE, VOL. 5, NO. 1., ***
+
+
+
+
+Produced by Juliet Sutherland, Sandra Brown and the PG Online
+Distributed Proofreading Team.
+
+
+
+
+
+
+</pre>
+
+    <span class="pagenum"><a name="page4"
+       id="page4"></a>[pg 4]</span>
+
+    <div class="figcenter"
+         style="width:100%;">
+        <a name="frontis"
+             id="frontis"><img width="600"
+             src="images/frontis.jpg"
+             alt="A VENETIAN FESTIVAL.&mdash;C. HULK." /></a><br />
+
+        <h4>A VENETIAN FESTIVAL.&mdash;C. HULK.</h4>
+    </div><span class="pagenum"><a name="page5"
+       id="page5"></a>[pg 5]</span>
+
+    <h1>THE ALDINE,</h1>
+
+    <h2>A</h2>
+
+    <h2>TYPOGRAPHIC ART JOURNAL</h2>
+
+    <div class="figcenter"
+         style="width:30%;">
+        <img width="250"
+             src="images/02.png"
+             alt="title page decoration" />
+    </div><br />
+    <br />
+
+    <p class="center">"<i>Il ne faut pas tant regarder ce qu'on
+    doit faire que ce qu'on peut faire</i>."</p><br />
+    <br />
+
+    <h3>VOLUME V.</h3><br />
+
+    <h4>NEW YORK:<br />
+    JAMES SUTTON &amp; COMPANY.</h4>
+
+    <h4>1873.</h4><span class="pagenum"><a name="page6"
+       id="page6"></a>[pg 6]</span> <br />
+    <br />
+
+    <div class="figcenter"
+         style="width:40%;">
+        <img width="250"
+             src="images/04.png"
+             alt="anchor" />
+    </div><br />
+
+    <p>Entered according to Act of Congress, in the year 1872, by
+    JAMES SUTTON, JR., in the Office of the Librarian of Congress
+    at Washington, D. C.</p><br />
+    <br />
+
+
+    <p>"<i>THE ALDINE PRESS</i>."&mdash;JAMES SUTTON &amp; Co.,
+    Printers, 58 Maiden Lane, New York.</p><br />
+    <span class="pagenum"><a name="page7"
+       id="page7"></a>[pg 7]</span>
+    <hr class="full" />
+    <br />
+
+    <div class="figcenter"
+         style="width:50%;">
+        <a name="fig60"
+             id="fig60"><img width="100%"
+             src="images/60.jpg"
+             alt="Lady Reading" /></a>
+    </div>
+
+    <h2>CONTENTS</h2>
+
+    <table width="600"
+           align="center"
+           cellpadding="2"
+           summary="Contents">
+        <tr>
+            <td align="left">Abyssinia, A Peep at</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">186</td>
+        </tr>
+
+        <tr>
+            <td align="left">Adirondacks, The Heart of the</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">194</td>
+        </tr>
+
+        <tr>
+            <td align="left">After the Comet</td>
+
+            <td align="right"><i>W.L. Alden</i></td>
+
+            <td align="right">136</td>
+        </tr>
+
+        <tr>
+            <td align="left">A Great Master and His Greatest
+            Work</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">83</td>
+        </tr>
+
+        <tr>
+            <td align="left">Aldine Chromos for 1873</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">228</td>
+        </tr>
+
+        <tr>
+            <td align="left">Alpine World, The</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">134</td>
+        </tr>
+
+        <tr>
+            <td align="left">America, Home Life in</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">76</td>
+        </tr>
+
+        <tr>
+            <td align="left">American Robin, The</td>
+
+            <td align="right"><i>Gilbert Darling</i></td>
+
+            <td align="right">327</td>
+        </tr>
+
+        <tr>
+            <td align="left">Angling, A Few Words on</td>
+
+            <td align="right"><i>Henry Richards</i></td>
+
+            <td align="right">155</td>
+        </tr>
+
+        <tr>
+            <td align="left">Architecture</td>
+
+            <td align="right"><i>W. Von Humboldt</i></td>
+
+            <td align="right">43</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#art">Art</a></td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">28</td>
+        </tr>
+
+        <tr>
+            <td align="left">Artistic Evening, An</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">248</td>
+        </tr>
+
+        <tr>
+            <td align="left">Art-Musee in America, An</td>
+
+            <td align="right"><i>Erastus South</i></td>
+
+            <td align="right">127</td>
+        </tr>
+
+        <tr>
+            <td align="left">Art, Roman</td>
+
+            <td align="right"><i>Ottfreid M&uuml;ller</i></td>
+
+            <td align="right">32</td>
+        </tr>
+
+        <tr>
+            <td align="left">At Rest. (Poem)</td>
+
+            <td align="right"><i>Julia C.R. Dorr</i></td>
+
+            <td align="right">234</td>
+        </tr>
+
+        <tr>
+            <td align="left">August in the Woods</td>
+
+            <td align="right"><i>W.W. Bailey</i></td>
+
+            <td align="right">161</td>
+        </tr>
+
+        <tr>
+            <td align="left">Ausable, Morning on the</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">40</td>
+        </tr>
+
+        <tr>
+            <td align="left">Authorship, Style in</td>
+
+            <td align="right"><i>Stewart</i></td>
+
+            <td align="right">75</td>
+        </tr>
+
+        <tr>
+            <td align="left">Autumn Rambles</td>
+
+            <td align="right"><i>W.W. Bailey</i></td>
+
+            <td align="right">212</td>
+        </tr>
+
+        <tr>
+            <td align="left">A Yarn</td>
+
+            <td align="right"><i>Uncle Bluejacket</i></td>
+
+            <td align="right">216</td>
+        </tr>
+
+        <tr>
+            <td align="left">Babes in the Wood, The</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">223</td>
+        </tr>
+
+        <tr>
+            <td align="left">Badger Hunting</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">225</td>
+        </tr>
+
+        <tr>
+            <td align="left">Barry Cornwall, To. (Poem)</td>
+
+            <td align="right"><i>A.C. Swinburne</i></td>
+
+            <td align="right">50</td>
+        </tr>
+
+        <tr>
+            <td align="left">Beauty, Of</td>
+
+            <td align="right"><i>Bacon</i>.</td>
+
+            <td align="right">107</td>
+        </tr>
+
+        <tr>
+            <td align="left">Beside the Sea. (Poem)</td>
+
+            <td align="right"><i>Mary E. Bradley</i></td>
+
+            <td align="right">161</td>
+        </tr>
+
+        <tr>
+            <td align="left">Biography</td>
+
+            <td align="right"><i>Henry Richards</i></td>
+
+            <td align="right">65</td>
+        </tr>
+
+        <tr>
+            <td align="left">Bishop's Oak</td>
+
+            <td align="right"><i>Caroline Cheesebro</i>'</td>
+
+            <td align="right">172</td>
+        </tr>
+
+        <tr>
+            <td align="left">Black Gnat, The</td>
+
+            <td align="right"><i>A.R.M.</i></td>
+
+            <td align="right">34</td>
+        </tr>
+
+        <tr>
+            <td align="left">Blood Money</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">207</td>
+        </tr>
+
+        <tr>
+            <td align="left">Blue-Birds</td>
+
+            <td align="right"><i>Gilbert Burling</i></td>
+
+            <td align="right">163</td>
+        </tr>
+
+        <tr>
+            <td align="left">Books, Borrowing</td>
+
+            <td align="right"><i>Leigh Hunt</i></td>
+
+            <td align="right">36</td>
+        </tr>
+
+        <tr>
+            <td align="left">"Bridge of Sighs," Hood's</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">50</td>
+        </tr>
+
+        <tr>
+            <td align="left">Bronte's (Charlotte) Brother and
+            Father</td>
+
+            <td align="right"><i>January Searle</i></td>
+
+            <td align="right">111</td>
+        </tr>
+
+        <tr>
+            <td align="left">Building of the Ship, The. (Poem)</td>
+
+            <td align="right"><i>Longfellow</i></td>
+
+            <td align="right">89</td>
+        </tr>
+
+        <tr>
+            <td align="left">Cedar Bird, The</td>
+
+            <td align="right"><i>Gilbert Burling</i></td>
+
+            <td align="right">85</td>
+        </tr>
+
+        <tr>
+            <td align="left">Celebration of the Passover, The</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">64</td>
+        </tr>
+
+        <tr>
+            <td align="left">Chase, After the</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">227</td>
+        </tr>
+
+        <tr>
+            <td align="left">Chet's, Miss, Club</td>
+
+            <td align="right"><i>Caroline Cheesbro'</i></td>
+
+            <td align="right">59</td>
+        </tr>
+
+        <tr>
+            <td align="left">Children, Loss of Little</td>
+
+            <td align="right"><i>Leigh Hunt</i></td>
+
+            <td align="right">104</td>
+        </tr>
+
+        <tr>
+            <td align="left">Chinese Stories</td>
+
+            <td align="right"><i>Henry Richards</i></td>
+
+            <td align="right">215</td>
+        </tr>
+
+        <tr>
+            <td align="left">Christmas Trees</td>
+
+            <td align="right"><i>W.W. Bailey</i></td>
+
+            <td align="right">234</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#coleridge">Coleridge as a
+            Plagiarist</a></td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">23</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#coming">Coming Out of
+            School</a></td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">12</td>
+        </tr>
+
+        <tr>
+            <td align="left">Cosas de Espana</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">86</td>
+        </tr>
+
+        <tr>
+            <td align="left">Crown Diamonds and other Gems</td>
+
+            <td align="right"><i>S.F. Corkran</i></td>
+
+            <td align="right">181</td>
+        </tr>
+
+        <tr>
+            <td align="left">Daisies, Among The</td>
+
+            <td align="right"><i>A.S. Isaacs</i></td>
+
+            <td align="right">23</td>
+        </tr>
+
+        <tr>
+            <td align="left">December and May</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">147</td>
+        </tr>
+
+        <tr>
+            <td align="left">Death Chase, The</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">236</td>
+        </tr>
+
+        <tr>
+            <td align="left">Dogs, About</td>
+
+            <td align="right"><i>Henry Richards</i></td>
+
+            <td align="right">175</td>
+        </tr>
+
+        <tr>
+            <td align="left">Dogs, Education of</td>
+
+            <td align="right"><i>Henry Richards</i></td>
+
+            <td align="right">234</td>
+        </tr>
+
+        <tr>
+            <td align="left">Englishmen, Religion of</td>
+
+            <td align="right"><i>H. Taine</i></td>
+
+            <td align="right">183</td>
+        </tr>
+
+        <tr>
+            <td align="left">English Rhymes and Stories</td>
+
+            <td align="right"><i>Henry Richards</i></td>
+
+            <td align="right">96</td>
+        </tr>
+
+        <tr>
+            <td align="left">En Miniature. (From the German)</td>
+
+            <td align="right"><i>M.A.P. Humphreys</i></td>
+
+            <td align="right">132</td>
+        </tr>
+
+        <tr>
+            <td align="left">Exquisite Moment, An</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">93</td>
+        </tr>
+
+        <tr>
+            <td align="left">Fancie's Dream</td>
+
+            <td align="right"><i>Lolly Dinks's Mother</i></td>
+
+            <td align="right">34</td>
+        </tr>
+
+        <tr>
+            <td align="left">Fancie's Farewell</td>
+
+            <td align="right"><i>Lolly Dinks's Mother</i></td>
+
+            <td align="right">114</td>
+        </tr>
+
+        <tr>
+            <td align="left">Fawn Family, A Day with a</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">107</td>
+        </tr>
+
+        <tr>
+            <td align="left">Feast of the Tabernacles, The</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">64</td>
+        </tr>
+
+        <tr>
+            <td align="left">Fra Bartolomeo</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">106</td>
+        </tr>
+
+        <tr>
+            <td align="left">Forester's Happy Family, The</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">167</td>
+        </tr>
+
+        <tr>
+            <td align="left">Forester's Last Coming Home, The</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">56</td>
+        </tr>
+
+        <tr>
+            <td align="left">Fortune of The Hassans, The</td>
+
+            <td align="right"><i>C.F. Guernsey</i></td>
+
+            <td align="right">123</td>
+        </tr>
+
+        <tr>
+            <td align="left">Friendship of Poets, The</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">50</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#frosty">Frosty Day, A.
+            (Poem)</a></td>
+
+            <td align="right"><i>J.L. Warren</i></td>
+
+            <td align="right">11</td>
+        </tr>
+
+        <tr>
+            <td align="left">Garden, In the</td>
+
+            <td align="right"><i>Betsy Drew</i></td>
+
+            <td align="right">138</td>
+        </tr>
+
+        <tr>
+            <td align="left">Gems, Colored</td>
+
+            <td align="right"><i>W.S. Ward</i></td>
+
+            <td align="right">39</td>
+        </tr>
+
+        <tr>
+            <td align="left">Going to the Volcano</td>
+
+            <td align="right"><i>T.M. Coan</i></td>
+
+            <td align="right">245</td>
+        </tr>
+
+        <tr>
+            <td align="left">Green River. (Poem)</td>
+
+            <td align="right"><i>W.C. Bryant</i></td>
+
+            <td align="right">72</td>
+        </tr>
+
+        <tr>
+            <td align="left">Gypsies, The</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">166</td>
+        </tr>
+
+        <tr>
+            <td align="left">Heart of Kosciusko, The</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">113</td>
+        </tr>
+
+        <tr>
+            <td align="left">Heartsease. (Poem)</td>
+
+            <td align="right"><i>Mary E. Bradley</i></td>
+
+            <td align="right">43</td>
+        </tr>
+
+        <tr>
+            <td align="left">Hello!</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">193</td>
+        </tr>
+
+        <tr>
+            <td align="left">Home and Exile</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">237</td>
+        </tr>
+
+        <tr>
+            <td align="left">House with the Hollyhocks, The</td>
+
+            <td align="right"><i>A.L. Noble</i></td>
+
+            <td align="right">177</td>
+        </tr>
+
+        <tr>
+            <td align="left">House Wrens</td>
+
+            <td align="right"><i>Gilbert Burling</i></td>
+
+            <td align="right">105</td>
+        </tr>
+
+        <tr>
+            <td align="left">How to Tame Pet Birds</td>
+
+            <td align="right"><i>January Searle</i></td>
+
+            <td align="right">146</td>
+        </tr>
+
+        <tr>
+            <td align="left">Hunt (Leigh), A Last Visit to</td>
+
+            <td align="right"><i>January Searle</i></td>
+
+            <td align="right">192</td>
+        </tr>
+
+        <tr>
+            <td align="left">Hunting Snails</td>
+
+            <td align="right"><i>T.M. Coan</i></td>
+
+            <td align="right">156</td>
+        </tr>
+
+        <tr>
+            <td align="left">Ideal, The</td>
+
+            <td align="right"><i>Theodore Parker</i></td>
+
+            <td align="right">133</td>
+        </tr>
+
+        <tr>
+            <td align="left">Il Beato. (From the German)</td>
+
+            <td align="right"><i>M.A.P. Humphrey</i></td>
+
+            <td align="right">183</td>
+        </tr>
+
+        <tr>
+            <td align="left">Ill Wind, An</td>
+
+            <td align="right"><i>Leslie Malbone</i></td>
+
+            <td align="right">112</td>
+        </tr>
+
+        <tr>
+            <td align="left">Inside the Door</td>
+
+            <td align="right"><i>Caroline Cheesebro'</i></td>
+
+            <td align="right">30</td>
+        </tr>
+
+        <tr>
+            <td align="left">Ireland, A Glimpse at</td>
+
+            <td align="right"><i>T.M. Coan</i></td>
+
+            <td align="right">119</td>
+        </tr>
+
+        <tr>
+            <td align="left">Island, On an</td>
+
+            <td align="right"><i>Caroline Cheesebro'</i></td>
+
+            <td align="right">114</td>
+        </tr>
+
+        <tr>
+            <td align="left">Jack and Gill</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">223</td>
+        </tr>
+
+        <tr>
+            <td align="left">King Baby. (Poem)</td>
+
+            <td align="right"><i>George Cooper</i></td>
+
+            <td align="right">224</td>
+        </tr>
+
+        <tr>
+            <td align="left">Kingfisher, The</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">125</td>
+        </tr>
+
+        <tr>
+            <td align="left">King's Rosebud, The. (Poem)</td>
+
+            <td align="right"><i>Julia C.R. Porr</i></td>
+
+            <td align="right">107</td>
+        </tr>
+
+        <tr>
+            <td align="left">Knowledge</td>
+
+            <td align="right"><i>Ethics of the Fathers</i></td>
+
+            <td align="right">135</td>
+        </tr>
+
+        <tr>
+            <td align="left">"Lais Corinthaica," Holbein's</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">182</td>
+        </tr>
+
+        <tr>
+            <td align="left">Lalalo--A Legend of Galicia. (From the
+            Spanish)</td>
+
+            <td align="right"><i>H.S. Conant</i></td>
+
+            <td align="right">164</td>
+        </tr>
+
+        <tr>
+            <td align="left">Lamp-Light</td>
+
+            <td align="right"><i>Julian Hawthorne</i></td>
+
+            <td align="right">165</td>
+        </tr>
+
+        <tr>
+            <td align="left">Lisbon, Loiterings around</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">44</td>
+        </tr>
+
+        <tr>
+            <td align="left"
+                valign="top">
+                <a href="#literature">Literature</a></td>
+
+            <td align="right"
+                colspan="2">28, 47, 67, 88, 108, 128, 148, 168,
+                188, 208</td>
+        </tr>
+
+        <tr>
+            <td align="left">Little Emily</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">178</td>
+        </tr>
+
+        <tr>
+            <td align="left">Liverworts. (Poem)</td>
+
+            <td align="right"><i>W.W. Bailey</i></td>
+
+            <td align="right">70</td>
+        </tr>
+
+        <tr>
+            <td align="left">Longfellow's House and Library</td>
+
+            <td align="right"><i>Geo. W. Greene</i></td>
+
+            <td align="right">100</td>
+        </tr>
+
+        <tr>
+            <td align="left">Love Aloft</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">116</td>
+        </tr>
+
+        <tr>
+            <td align="left">Love's Humility. (Poem)</td>
+
+            <td align="right"><i>B.G. Hosmer</i></td>
+
+            <td align="right">141</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#mandarin">Mandarin,
+            A</a></td>
+
+            <td align="right"><i>From the French</i></td>
+
+            <td align="right">19</td>
+        </tr>
+
+        <tr>
+            <td align="left">Manifest Destiny. (Poem)</td>
+
+            <td align="right"><i>R.H. Stoddard</i></td>
+
+            <td align="right">47</td>
+        </tr>
+
+        <tr>
+            <td align="left">Man in Blue, The</td>
+
+            <td align="right"><i>R.B. Davey</i></td>
+
+            <td align="right">50</td>
+        </tr>
+
+        <tr>
+            <td align="left">Man in the Moon, The</td>
+
+            <td align="right"><i>Yule-tide Stories</i></td>
+
+            <td align="right">120</td>
+        </tr>
+
+        <tr>
+            <td align="left">Man's Unselfish Friend</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">60</td>
+        </tr>
+
+        <tr>
+            <td align="left">Married in a Snow-Storm. (From the
+            Russian)</td>
+
+            <td align="right"><i>Wm. Percival</i></td>
+
+            <td align="right">152</td>
+        </tr>
+
+        <tr>
+            <td align="left">Marsh and Pond Flowers</td>
+
+            <td align="right"><i>W.W. Bailey</i></td>
+
+            <td align="right">126</td>
+        </tr>
+
+        <tr>
+            <td align="left">Martinmas Goose, The</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">243</td>
+        </tr>
+
+        <tr>
+            <td align="left">Maximilian Morningdew's Advice,
+            Mr.</td>
+
+            <td align="right"><i>Julian Hawthorne</i></td>
+
+            <td align="right">74</td>
+        </tr>
+
+        <tr>
+            <td align="left">
+            <a href="#millerism">Millerism</a></td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">10</td>
+        </tr>
+
+        <tr>
+            <td align="left">Minster at Ulm, The</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">158</td>
+        </tr>
+
+        <tr>
+            <td align="left">Misers, About</td>
+
+            <td align="right"><i>Betsy Drew</i></td>
+
+            <td align="right">99</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#fig66">Mother is
+            Here!</a></td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">20</td>
+        </tr>
+
+        <tr>
+            <td align="left">Morning Dew</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">76</td>
+        </tr>
+
+        <tr>
+            <td align="left">Morning and Evening</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">242</td>
+        </tr>
+
+        <tr>
+            <td align="left">Mountain Land of Western North
+            Carolina</td>
+
+            <td align="right"><i>J.A. Oertel</i></td>
+
+            <td align="right">52</td>
+        </tr>
+
+        <tr>
+            <td align="left">Mountain Land of Western North
+            Carolina</td>
+
+            <td align="right"><i>J.A. Oertel</i></td>
+
+            <td align="right">214</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#mountains">Mountains, In
+            the</a></td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">16</td>
+        </tr>
+
+        <tr>
+            <td align="left">Mouse Shoes</td>
+
+            <td align="right"><i>Lolly Dinks's Mother</i></td>
+
+            <td align="right">197</td>
+        </tr>
+
+        <tr>
+            <td align="left">Music in the Alps</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">33</td>
+        </tr>
+
+        <tr>
+            <td align="left">Necessity of Believing Something</td>
+
+            <td align="right"><i>Jean Paul</i></td>
+
+            <td align="right">31</td>
+        </tr>
+
+        <tr>
+            <td align="left">Neighbor Over the Way, My. (Poem)</td>
+
+            <td align="right"><i>G.W. Scars</i></td>
+
+            <td align="right">110</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#newport">Newport, At.
+            (Poem)</a></td>
+
+            <td align="right"><i>Geo. H. Boker</i></td>
+
+            <td align="right">10</td>
+        </tr>
+
+        <tr>
+            <td align="left">Niagara</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">213</td>
+        </tr>
+
+        <tr>
+            <td align="left">Noble Savage, The</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">110</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#nooning">Nooning,
+            The</a></td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">16</td>
+        </tr>
+
+        <tr>
+            <td align="left">Oblivion</td>
+
+            <td align="right"><i>Browne</i></td>
+
+            <td align="right">120</td>
+        </tr>
+
+        <tr>
+            <td align="left">October</td>
+
+            <td align="right"><i>W.W. Bailey</i></td>
+
+            <td align="right">192</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#old_maids">Old Maid's
+            Village, The</a></td>
+
+            <td align="right"><i>Kate F. Hill</i></td>
+
+            <td align="right">26</td>
+        </tr>
+
+        <tr>
+            <td align="left">Old Oaken Bucket, The</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">152</td>
+        </tr>
+
+        <tr>
+            <td align="left">Othello, How Rossini Wrote</td>
+
+            <td align="right"><i>L.C. Bullard</i></td>
+
+            <td align="right">91</td>
+        </tr>
+
+        <tr>
+            <td align="left">Out of the Deeps</td>
+
+            <td align="right"><i>Elizabeth Stoddard</i></td>
+
+            <td align="right">94</td>
+        </tr>
+
+        <tr>
+            <td align="left">Painted Boats on Painted Seas</td>
+
+            <td align="right"><i>Hiram Rich</i></td>
+
+            <td align="right">201</td>
+        </tr>
+
+        <tr>
+            <td align="left">Patriotism and Powder</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">132</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#pavilions">Pavilions on the
+            Lake, The. (From the French)</a></td>
+
+            <td align="right"><i>H.S. Conant</i></td>
+
+            <td align="right">14</td>
+        </tr>
+
+        <tr>
+            <td align="left">Pepito</td>
+
+            <td align="right"><i>Lucy Ellen Guernsey</i></td>
+
+            <td align="right">212</td>
+        </tr>
+
+        <tr>
+            <td align="left">Perkins, Granville</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">48</td>
+        </tr>
+
+        <tr>
+            <td align="left">Peruvians, Among the</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">24</td>
+        </tr>
+
+        <tr>
+            <td align="left">Play for a Heart, A. (From the
+            German)</td>
+
+            <td align="right"><i>H.S. Conant</i></td>
+
+            <td align="right">54</td>
+        </tr>
+
+        <tr>
+            <td align="left">Pleasure-Seeking</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">240</td>
+        </tr>
+
+        <tr>
+            <td align="left">Poet's Rivers</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">70</td>
+        </tr>
+
+        <tr>
+            <td align="left">Portugal, Wanderings in</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">224</td>
+        </tr>
+
+        <tr>
+            <td align="left">Pottery, Ancient</td>
+
+            <td align="right"><i>S.F. Corkran</i></td>
+
+            <td align="right">72</td>
+        </tr>
+
+        <tr>
+            <td align="left">Prince and Peasant. (From the
+            German,)</td>
+
+            <td align="right"><i>H.S. Conant</i></td>
+
+            <td align="right">196</td>
+        </tr>
+
+        <tr>
+            <td align="left">Puddle Party, The</td>
+
+            <td align="right"><i>Lolly Dinks's Mother</i></td>
+
+            <td align="right">83</td>
+        </tr>
+
+        <tr>
+            <td align="left">Punishment after Death. (From the
+            Danish)</td>
+
+            <td align="right"><i>James Watkins</i></td>
+
+            <td align="right">218</td>
+        </tr>
+
+        <tr>
+            <td align="left">Puss Asleep</td>
+
+            <td align="right"><i>Henry Richards</i></td>
+
+            <td align="right">143</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#queens">Queen's Closet,
+            The</a></td>
+
+            <td align="right"><i>Lolly Dinks's Mother</i></td>
+
+            <td align="right">27</td>
+        </tr>
+
+        <tr>
+            <td align="left">Rainy Day, The. (Poem)</td>
+
+            <td align="right"><i>H.W. Longfellow</i></td>
+
+            <td align="right">120</td>
+        </tr>
+
+        <tr>
+            <td align="left">Raymondskill, The</td>
+
+            <td align="right"><i>E.C. Stedman</i></td>
+
+            <td align="right">154</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#romance">Real Romance,
+            The</a></td>
+
+            <td align="right"><i>Julian Hawthorne</i></td>
+
+            <td align="right">10</td>
+        </tr>
+
+        <tr>
+            <td align="left">Ruse de Guerre. (Poem)</td>
+
+            <td align="right"><i>H.B. Bostwick</i></td>
+
+            <td align="right">63</td>
+        </tr>
+
+        <tr>
+            <td align="left">School-Children</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">198</td>
+        </tr>
+
+        <tr>
+            <td align="left">Scissor Family, The</td>
+
+            <td align="right"><i>Lolly Dinks's Mother</i></td>
+
+            <td align="right">144</td>
+        </tr>
+
+        <tr>
+            <td align="left">Secret, A. (Poem)</td>
+
+            <td align="right"><i>Julia C.R. Dorr</i></td>
+
+            <td align="right">212</td>
+        </tr>
+
+        <tr>
+            <td align="left">September Reverie, A</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">172</td>
+        </tr>
+
+        <tr>
+            <td align="left">Serious Case, A</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">203</td>
+        </tr>
+
+        <tr>
+            <td align="left">Shadows</td>
+
+            <td align="right"><i>Julian Hawthorne</i></td>
+
+            <td align="right">142</td>
+        </tr>
+
+        <tr>
+            <td align="left">Shakspeare Celebrations</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">90</td>
+        </tr>
+
+        <tr>
+            <td align="left">Shakspeare Portraits</td>
+
+            <td align="right"><i>R.H. Stoddard</i></td>
+
+            <td align="right">103</td>
+        </tr>
+
+        <tr>
+            <td align="left">Shameful Death. (Poem)</td>
+
+            <td align="right"><i>Wm. Morris</i></td>
+
+            <td align="right">83</td>
+        </tr>
+
+        <tr>
+            <td align="left">Shrews</td>
+
+            <td align="right"><i>A.S. Isaacs</i></td>
+
+            <td align="right">63</td>
+        </tr>
+
+        <tr>
+            <td align="left">Simple Suggestion, A</td>
+
+            <td align="right"><i>Mary E. Bradley</i></td>
+
+            <td align="right">216</td>
+        </tr>
+
+        <tr>
+            <td align="left">Smallpox, Worse than</td>
+
+            <td align="right"><i>L.E. Guernsey</i></td>
+
+            <td align="right">157</td>
+        </tr>
+
+        <tr>
+            <td align="left">Snow-Bird, The</td>
+
+            <td align="right"><i>Gilbert Burling</i></td>
+
+            <td align="right">207</td>
+        </tr>
+
+        <tr>
+            <td align="left">Song Sparrow, The</td>
+
+            <td align="right"><i>Gilbert Burling</i></td>
+
+            <td align="right">32</td>
+        </tr>
+
+        <tr>
+            <td align="left">Song or Wood Thrush, The</td>
+
+            <td align="right"><i>Gilbert Burling</i></td>
+
+            <td align="right">66</td>
+        </tr>
+
+        <tr>
+            <td align="left">Sonnet</td>
+
+            <td align="right"><i>Alfred Tennyson</i></td>
+
+            <td align="right">67</td>
+        </tr>
+
+        <tr>
+            <td align="left">Sparrows' City, The. (Poem)</td>
+
+            <td align="right"><i>George Cooper</i></td>
+
+            <td align="right">165</td>
+        </tr>
+
+        <tr>
+            <td align="left"
+                colspan="2">Stael, Baroness de, The Salon of. (From
+                the French)</td>
+
+            <td align="right">43</td>
+        </tr>
+
+        <tr>
+            <td align="left">Story of Coeho, The</td>
+
+            <td align="right"><i>R.B. Davey</i></td>
+
+            <td align="right">71</td>
+        </tr>
+
+        <tr>
+            <td align="left">Street Scene in Cairo, A</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">239</td>
+        </tr>
+
+        <tr>
+            <td align="left">Stuffing Birds</td>
+
+            <td align="right"><i>January Searle</i></td>
+
+            <td align="right">246</td>
+        </tr>
+
+        <tr>
+            <td align="left">Summer Fallacies</td>
+
+            <td align="right"><i>C.D. Shanly</i></td>
+
+            <td align="right">176</td>
+        </tr>
+
+        <tr>
+            <td align="left">Sunshine</td>
+
+            <td align="right"><i>Julian Hawthorne</i></td>
+
+            <td align="right">92</td>
+        </tr>
+
+        <tr>
+            <td align="left">Superstition</td>
+
+            <td align="right"><i>Bacon</i></td>
+
+            <td align="right">56</td>
+        </tr>
+
+        <tr>
+            <td align="left">Swift, Dean</td>
+
+            <td align="right"><i>Lady Mary Wortley
+            Montague</i></td>
+
+            <td align="right">53</td>
+        </tr>
+
+        <tr>
+            <td align="left">Temple of Canova, The</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">203</td>
+        </tr>
+
+        <tr>
+            <td align="left">Thievish Animals</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">238</td>
+        </tr>
+
+        <tr>
+            <td align="left">Thistle-Down. (Poem)</td>
+
+            <td align="right"><i>W.W. Bailey</i></td>
+
+            <td align="right">145</td>
+        </tr>
+
+        <tr>
+            <td align="left">Tired Mothers. (Poem)</td>
+
+            <td align="right"><i>Mrs. A. Smith</i></td>
+
+            <td align="right">172</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#tropic">Tropic Forest, A.
+            (Poem)</a></td>
+
+            <td align="right"><i>Montgomery</i></td>
+
+            <td align="right">20</td>
+        </tr>
+
+        <tr>
+            <td align="left">Trout Fishing</td>
+
+            <td align="right"><i>C.D. Shanly</i></td>
+
+            <td align="right">141</td>
+        </tr>
+
+        <tr>
+            <td align="left">Truants, The</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">40</td>
+        </tr>
+
+        <tr>
+            <td align="left">Two</td>
+
+            <td align="right"><i>J.C.R. Dorr</i></td>
+
+            <td align="right">152</td>
+        </tr>
+
+        <tr>
+            <td align="left">Two Gazels of Hafiz</td>
+
+            <td align="right"><i>Henry Richards</i></td>
+
+            <td align="right">145</td>
+        </tr>
+
+        <tr>
+            <td align="left">Two Lives, The. (Poem)</td>
+
+            <td align="right"><i>S.W. Duffield</i></td>
+
+            <td align="right">201</td>
+        </tr>
+
+        <tr>
+            <td align="left">Two Queens in Westminster. (Poem)</td>
+
+            <td align="right"><i>H. Morford</i></td>
+
+            <td align="right">132</td>
+        </tr>
+
+        <tr>
+            <td align="left">Uncollected Poems</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">50</td>
+        </tr>
+
+        <tr>
+            <td align="left">Uncollected Poems by Campbell.</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">144</td>
+        </tr>
+
+        <tr>
+            <td align="left">Uncollected Poems by "L.E.L."</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">94</td>
+        </tr>
+
+        <tr>
+            <td align="left">Uttmann, Barbara. (From the
+            German)</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">66</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#venice">Venice, A Glimpse
+            of</a></td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">13</td>
+        </tr>
+
+        <tr>
+            <td align="left">Violins, About</td>
+
+            <td align="right"><i>J.D. Elwell</i></td>
+
+            <td align="right">36</td>
+        </tr>
+
+        <tr>
+            <td align="left">Virginia, On the Eastern Shore of</td>
+
+            <td align="right"><i>Mary E. Bradley</i></td>
+
+            <td align="right">79</td>
+        </tr>
+
+        <tr>
+            <td align="left">Water Ballad</td>
+
+            <td align="right"><i>S.T. Coleridge</i></td>
+
+            <td align="right">67</td>
+        </tr>
+
+        <tr>
+            <td align="left">Weber (Von), Karl Maria</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">206</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#wine">Wine and Kisses.
+            (Poem) From the Persian</a></td>
+
+            <td align="right"><i>Joel Benton</i></td>
+
+            <td align="right">27</td>
+        </tr>
+
+        <tr>
+            <td align="left">Winter-Green. (Poem)</td>
+
+            <td align="right"><i>Mary E. Bradley</i></td>
+
+            <td align="right">90</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#winter">Winter Pictures from
+            the Poets</a></td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">14</td>
+        </tr>
+
+        <tr>
+            <td align="left">Winter Scenes</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">230</td>
+        </tr>
+
+        <tr>
+            <td align="left">Wolf, Calf and Goat, The</td>
+
+            <td align="right"><i>&AElig;sop, Junior</i></td>
+
+            <td align="right">124</td>
+        </tr>
+
+        <tr>
+            <td align="left">Woman in Art</td>
+
+            <td align="right"><i>E.B. Leonard</i></td>
+
+            <td align="right">145</td>
+        </tr>
+
+        <tr>
+            <td align="left">Woman's Eternity, A</td>
+
+            <td align="right"><i>E.B.L.</i></td>
+
+            <td align="right">204</td>
+        </tr>
+
+        <tr>
+            <td align="left">Woman's Place</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">162</td>
+        </tr>
+
+        <tr>
+            <td align="left">Wood or Summer Ducks</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">187</td>
+        </tr>
+
+        <tr>
+            <td align="left">Woods, In the. (Poem)</td>
+
+            <td align="right"><i>G.W. Sears</i></td>
+
+            <td align="right">192</td>
+        </tr>
+
+        <tr>
+            <td align="left">Woods Out in the. (Poem)</td>
+
+            <td align="right"><i>Mary E. Bradley</i></td>
+
+            <td align="right">126</td>
+        </tr>
+
+        <tr>
+            <td align="left">Wordsworth</td>
+
+            <td align="right"><i>Taine</i></td>
+
+            <td align="right">33</td>
+        </tr>
+
+        <tr>
+            <td align="left">Wyoming Valley</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">36</td>
+        </tr>
+
+        <tr>
+            <td align="left">Young Robin Hunter, The</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">60</td>
+        </tr>
+
+        <tr>
+            <td align="left">Zekle's Courtin'</td>
+
+            <td align="right"><i>Editorial</i></td>
+
+            <td align="right">30</td>
+        </tr>
+    </table>
+    <hr />
+    <span class="pagenum"><a name="page8"
+       id="page8"></a>[pg 8]</span>
+
+    <div class="figcenter"
+         style="width:60%;">
+        <a name="fig61"
+             id="fig61"><img width="600"
+             src="images/61.jpg"
+             alt="Teacher and Pupil" /></a>
+    </div>
+
+    <h2>ILLUSTRATIONS</h2>
+
+    <table width="500"
+           align="center"
+           cellpadding="2"
+           summary="Illustrations">
+        <tr>
+            <td align="left">Adirondack Scenery</td>
+
+            <td align="right"><i>G.H. Smillie</i></td>
+
+            <td align="right">97</td>
+        </tr>
+
+        <tr>
+            <td align="left">Advance in Winter, The</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">236</td>
+        </tr>
+
+        <tr>
+            <td align="left">After the Storm</td>
+
+            <td align="right"><i>Schenck</i></td>
+
+            <td align="right">231</td>
+        </tr>
+
+        <tr>
+            <td align="left">After the Storm a Calm. (I, II, III,
+            IV,)</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">244</td>
+        </tr>
+
+        <tr>
+            <td align="left">Agnes</td>
+
+            <td align="right"><i>R.E. Piguet</i></td>
+
+            <td align="right">112</td>
+        </tr>
+
+        <tr>
+            <td align="left">Albai, View on the River</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">183</td>
+        </tr>
+
+        <tr>
+            <td align="left">American Robin, The</td>
+
+            <td align="right"><i>Gilbert Burling</i></td>
+
+            <td align="right">227</td>
+        </tr>
+
+        <tr>
+            <td align="left">Artistic Evening, An</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">248</td>
+        </tr>
+
+        <tr>
+            <td align="left">At Home</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">239</td>
+        </tr>
+
+        <tr>
+            <td align="left">Ausable, Morning on the</td>
+
+            <td align="right"><i>G.H. Smillie</i></td>
+
+            <td align="right">41</td>
+        </tr>
+
+        <tr>
+            <td align="left">Babes in the Wood, The</td>
+
+            <td align="right"><i>John S. Davis</i></td>
+
+            <td align="right">222</td>
+        </tr>
+
+        <tr>
+            <td align="left">Badger Hunting</td>
+
+            <td align="right"><i>L. Beckmann</i></td>
+
+            <td align="right">226</td>
+        </tr>
+
+        <tr>
+            <td align="left">Blood Money</td>
+
+            <td align="right"><i>Victor Nehlig</i></td>
+
+            <td align="right">190</td>
+        </tr>
+
+        <tr>
+            <td align="left">Blowing Hot and Cold</td>
+
+            <td align="right"><i>John S. Davis</i></td>
+
+            <td align="right">142</td>
+        </tr>
+
+        <tr>
+            <td align="left">Blowing Rock</td>
+
+            <td align="right"><i>R.E. Piguet</i></td>
+
+            <td align="right">57</td>
+        </tr>
+
+        <tr>
+            <td align="left">Blue-Birds</td>
+
+            <td align="right"><i>Gilbert Burling</i></td>
+
+            <td align="right">163</td>
+        </tr>
+
+        <tr>
+            <td align="left">Bonnie Brook, near Rahway</td>
+
+            <td align="right"><i>R.E. Piguet</i></td>
+
+            <td align="right">112</td>
+        </tr>
+
+        <tr>
+            <td align="left">Bridal Veil</td>
+
+            <td align="right"><i>Granville Perkins</i></td>
+
+            <td align="right">154</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#sighs">Bridge of Sighs,
+            The (View of)</a></td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">13</td>
+        </tr>
+
+        <tr>
+            <td align="left">Bridge of Sighs (Hood's)</td>
+
+            <td align="right"><i>Georgie A. Davis</i></td>
+
+            <td align="right">49</td>
+        </tr>
+
+        <tr>
+            <td align="left">Building of the Ship, The</td>
+
+            <td align="right"><i>T. Beech</i></td>
+
+            <td align="right">89</td>
+        </tr>
+
+        <tr>
+            <td align="left">Capella Imperfeita, Archway in
+            the</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">44</td>
+        </tr>
+
+        <tr>
+            <td align="left">Casa do Capitulo, The</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">224</td>
+        </tr>
+
+        <tr>
+            <td align="left">Casa do Capitulo, Window in the</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">46</td>
+        </tr>
+
+        <tr>
+            <td align="left">Castle of Meran, The.
+            (Frontispiece)</td>
+
+            <td align="right"><i>C. Heyn</i></td>
+
+            <td align="right">Opp. 189</td>
+        </tr>
+
+        <tr>
+            <td align="left">Caught At Last</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">238</td>
+        </tr>
+
+        <tr>
+            <td align="left">Cedar Birds</td>
+
+            <td align="right"><i>Gilbert Burling</i></td>
+
+            <td align="right">85</td>
+        </tr>
+
+        <tr>
+            <td align="left">Chase, After the</td>
+
+            <td align="right"><i>David Neal</i></td>
+
+            <td align="right">219</td>
+        </tr>
+
+        <tr>
+            <td align="left">Christmas Visitors</td>
+
+            <td align="right"><i>Guido Hammer</i></td>
+
+            <td align="right">231</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#fig63">Coming Out of
+            School</a></td>
+
+            <td align="right"><i>Vautier</i></td>
+
+            <td align="right">12</td>
+        </tr>
+
+        <tr>
+            <td align="left">Crossing the Moor</td>
+
+            <td align="right">After <i>F.F. Hill</i></td>
+
+            <td align="right">228</td>
+        </tr>
+
+        <tr>
+            <td align="left">December and May</td>
+
+            <td align="right"><i>W.H. Davenport</i></td>
+
+            <td align="right">146</td>
+        </tr>
+
+        <tr>
+            <td align="left">Death Chase, The</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">236</td>
+        </tr>
+
+        <tr>
+            <td align="left">Deer Family, The</td>
+
+            <td align="right"><i>Guido Hammer</i></td>
+
+            <td align="right">106</td>
+        </tr>
+
+        <tr>
+            <td align="left">Enjoyment</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">241</td>
+        </tr>
+
+        <tr>
+            <td align="left">Evening</td>
+
+            <td align="right"><i>Paul Dixon</i></td>
+
+            <td align="right">205</td>
+        </tr>
+
+        <tr>
+            <td align="left">Evening</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">243</td>
+        </tr>
+
+        <tr>
+            <td align="left">Evenings at Home</td>
+
+            <td align="right"><i>A.E. Emslie</i></td>
+
+            <td align="right">77</td>
+        </tr>
+
+        <tr>
+            <td align="left">Exquisite Moment, An</td>
+
+            <td align="right"><i>John S. Davis</i></td>
+
+            <td align="right">93</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#fig68">Fashionable Loungers
+            of Lima</a></td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">24</td>
+        </tr>
+
+        <tr>
+            <td align="left">Feast of the Passover, The</td>
+
+            <td align="right"><i>Oppenheim</i></td>
+
+            <td align="right">64</td>
+        </tr>
+
+        <tr>
+            <td align="left">Feast of the Tabernacles, The</td>
+
+            <td align="right"><i>Oppenheim</i></td>
+
+            <td align="right">65</td>
+        </tr>
+
+        <tr>
+            <td align="left">Fisherman's Family, The</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">239</td>
+        </tr>
+
+        <tr>
+            <td align="left">Forester's Happy Family at Dinner,
+            The</td>
+
+            <td align="right"><i>Guido Hammer</i></td>
+
+            <td align="right">167</td>
+        </tr>
+
+        <tr>
+            <td align="left">Forester's Last Coming Home, The</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">56</td>
+        </tr>
+
+        <tr>
+            <td align="left">For the Master</td>
+
+            <td align="right"><i>Offterdinger</i> (Opp.)</td>
+
+            <td align="right">236</td>
+        </tr>
+
+        <tr>
+            <td align="left">Garden, In the</td>
+
+            <td align="right"><i>Arthur Lumley</i></td>
+
+            <td align="right">138</td>
+        </tr>
+
+        <tr>
+            <td align="left">Gertrude of Wyoming</td>
+
+            <td align="right"><i>Victor Nehlig</i></td>
+
+            <td align="right">117</td>
+        </tr>
+
+        <tr>
+            <td align="left">Glen, The</td>
+
+            <td align="right"><i>F.T. Vance</i></td>
+
+            <td align="right">194</td>
+        </tr>
+
+        <tr>
+            <td align="left">God's Acre</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">232</td>
+        </tr>
+
+        <tr>
+            <td align="left">Gondar, Emperor's Palace at</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">186</td>
+        </tr>
+
+        <tr>
+            <td align="left">Good Bye, Sweetheart</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">233</td>
+        </tr>
+
+        <tr>
+            <td align="left">Grandfather Mountain, N.C.</td>
+
+            <td align="right"><i>R.E. Piguet</i></td>
+
+            <td align="right">215</td>
+        </tr>
+
+        <tr>
+            <td align="left">Green River</td>
+
+            <td align="right"><i>August Will</i></td>
+
+            <td align="right">69</td>
+        </tr>
+
+        <tr>
+            <td align="left">Green River</td>
+
+            <td align="right"><i>R.E. Piguet</i></td>
+
+            <td align="right">72</td>
+        </tr>
+
+        <tr>
+            <td align="left">Green River</td>
+
+            <td align="right"><i>R.E. Piguet</i></td>
+
+            <td align="right">73</td>
+        </tr>
+
+        <tr>
+            <td align="left">Guide-Board, The</td>
+
+            <td align="right"><i>Knesing</i></td>
+
+            <td align="right">230</td>
+        </tr>
+
+        <tr>
+            <td align="left">Gypsy Girl at her Toilette</td>
+
+            <td align="right"><i>G. Dore</i></td>
+
+            <td align="right">166</td>
+        </tr>
+
+        <tr>
+            <td align="left">Happy Valley</td>
+
+            <td align="right"><i>R.E. Piguet</i></td>
+
+            <td align="right">53</td>
+        </tr>
+
+        <tr>
+            <td align="left">Heart of a Hero, The.</td>
+
+            <td align="right">(Kosciusko's Monument)</td>
+
+            <td align="right">113</td>
+        </tr>
+
+        <tr>
+            <td align="left">Here. Chick! Chick!</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">240</td>
+        </tr>
+
+        <tr>
+            <td align="left">Hollo!</td>
+
+            <td align="right"><i>John S. Davis</i></td>
+
+            <td align="right">191</td>
+        </tr>
+
+        <tr>
+            <td align="left">House Wrens</td>
+
+            <td align="right"><i>Gilbert Burling</i></td>
+
+            <td align="right">105</td>
+        </tr>
+
+        <tr>
+            <td align="left">How a Spaniard Drinks</td>
+
+            <td align="right"><i>Dore</i></td>
+
+            <td align="right">86</td>
+        </tr>
+
+        <tr>
+            <td align="left">Hudson at Hyde Park, The</td>
+
+            <td align="right"><i>G.H. Smillie</i></td>
+
+            <td align="right">81</td>
+        </tr>
+
+        <tr>
+            <td align="left">In-Doors</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">243</td>
+        </tr>
+
+        <tr>
+            <td align="left">Infant Jesus, The</td>
+
+            <td align="right">Copied by <i>J.S. Davis</i></td>
+
+            <td align="right">229</td>
+        </tr>
+
+        <tr>
+            <td align="left">"Is the solace of age."</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">247</td>
+        </tr>
+
+        <tr>
+            <td align="left">"It ofttimes happens that a
+            child"</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">245</td>
+        </tr>
+
+        <tr>
+            <td align="left">Jack and Gill</td>
+
+            <td align="right"><i>John S. Davis</i></td>
+
+            <td align="right">223</td>
+        </tr>
+
+        <tr>
+            <td align="left">Kate</td>
+
+            <td align="right"><i>R.E. Piguet</i></td>
+
+            <td align="right">112</td>
+        </tr>
+
+        <tr>
+            <td align="left">Keeping House</td>
+
+            <td align="right"><i>John S. Davis</i> (Opp.)</td>
+
+            <td align="right">29</td>
+        </tr>
+
+        <tr>
+            <td align="left">Kingfisher, The</td>
+
+            <td align="right"><i>L. Beckmann</i></td>
+
+            <td align="right">125</td>
+        </tr>
+
+        <tr>
+            <td align="left">King Witlaf's Drinking Horn</td>
+
+            <td align="right"><i>A. Kappes</i></td>
+
+            <td align="right">131</td>
+        </tr>
+
+        <tr>
+            <td align="left">Kwasind, the Strong Man</td>
+
+            <td align="right"><i>T. Moran</i></td>
+
+            <td align="right">109</td>
+        </tr>
+
+        <tr>
+            <td align="left">Lais Corinthaica</td>
+
+            <td align="right"><i>Holbein</i></td>
+
+            <td align="right">182</td>
+        </tr>
+
+        <tr>
+            <td align="left">Lake Henderson</td>
+
+            <td align="right"><i>F.T. Vance</i></td>
+
+            <td align="right">195</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#fig70-2">Limena,
+            Middle-Aged</a></td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">25</td>
+        </tr>
+
+        <tr>
+            <td align="left">Linville, On the</td>
+
+            <td align="right"><i>R.E. Piguet</i></td>
+
+            <td align="right">52</td>
+        </tr>
+
+        <tr>
+            <td align="left">Linville River, The</td>
+
+            <td align="right"><i>R.E. Piguet</i></td>
+
+            <td align="right">53</td>
+        </tr>
+
+        <tr>
+            <td align="left">Little Emily</td>
+
+            <td align="right"><i>John S. Davis</i></td>
+
+            <td align="right">178</td>
+        </tr>
+
+        <tr>
+            <td align="left">Little Mother, The</td>
+
+            <td align="right"><i>John S. Davis</i></td>
+
+            <td align="right">80</td>
+        </tr>
+
+        <tr>
+            <td align="left">Loffler Peak, Tyrol, The</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">135</td>
+        </tr>
+
+        <tr>
+            <td align="left">Longfellow's House</td>
+
+            <td align="right"><i>A.C. Warren</i></td>
+
+            <td align="right">100</td>
+        </tr>
+
+        <tr>
+            <td align="left">Longfellow's Library</td>
+
+            <td align="right"><i>A.C. Warren</i></td>
+
+            <td align="right">101</td>
+        </tr>
+
+        <tr>
+            <td align="left">Longing Looks</td>
+
+            <td align="right"><i>J.W. Bolles</i></td>
+
+            <td align="right">96</td>
+        </tr>
+
+        <tr>
+            <td align="left">Love Aloft</td>
+
+            <td align="right"><i>Otto Gunther</i></td>
+
+            <td align="right">116</td>
+        </tr>
+
+        <tr>
+            <td align="left">Manifest Destiny</td>
+
+            <td align="right"><i>W.M. Cary</i></td>
+
+            <td align="right">37</td>
+        </tr>
+
+        <tr>
+            <td align="left">Man's Unselfish Friend</td>
+
+            <td align="right"><i>Chas. E. Townsend</i></td>
+
+            <td align="right">61</td>
+        </tr>
+
+        <tr>
+            <td align="left">Marston Moor, Before the Battle
+            of</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">121</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#fig70-1">Mestizo Woman,
+            Young</a></td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">25</td>
+        </tr>
+
+        <tr>
+            <td align="left">Mill, in Wyoming Valley, An Old</td>
+
+            <td align="right"><i>F.T. Vance</i></td>
+
+            <td align="right">36</td>
+        </tr>
+
+        <tr>
+            <td align="left">Minster at Ulm, The</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">158</td>
+        </tr>
+
+        <tr>
+            <td align="left">Monastery de Leca do Balio, The</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">225</td>
+        </tr>
+
+        <tr>
+            <td align="left">Monk's Oak, The</td>
+
+            <td align="right">(After <i>Constantine
+            Schmidt</i>)</td>
+
+            <td align="right">33</td>
+        </tr>
+
+        <tr>
+            <td align="left">Moonlight on the Hudson</td>
+
+            <td align="right"><i>Paul Dixon</i></td>
+
+            <td align="right">170</td>
+        </tr>
+
+        <tr>
+            <td align="left">Moose Hunting</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">232</td>
+        </tr>
+
+        <tr>
+            <td align="left">Morganton, View in</td>
+
+            <td align="right"><i>R.E. Piguet</i></td>
+
+            <td align="right">53</td>
+        </tr>
+
+        <tr>
+            <td align="left">Morganton, View near</td>
+
+            <td align="right"><i>R.E. Piguet</i></td>
+
+            <td align="right">214</td>
+        </tr>
+
+        <tr>
+            <td align="left">Morning</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">242</td>
+        </tr>
+
+        <tr>
+            <td align="left">Morning Dew. (Frontispiece)</td>
+
+            <td align="right"><i>Victor Nehlig</i>. Opp.</td>
+
+            <td align="right">69</td>
+        </tr>
+
+        <tr>
+            <td align="left">Morning in the Meadow</td>
+
+            <td align="right"><i>R.E. Piguet</i></td>
+
+            <td align="right">113</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#fig66">Mother is
+            Here!</a></td>
+
+            <td align="right"><i>Deiker</i></td>
+
+            <td align="right">20</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#fig65">Mountains, In the</a></td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">16</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#fig62">Muller, Maud</a></td>
+
+            <td align="right"><i>Georgie A. Davis</i></td>
+
+            <td align="right">9</td>
+        </tr>
+
+        <tr>
+            <td align="left">Music in the Alps</td>
+
+            <td align="right"><i>Dore</i></td>
+
+            <td align="right">33</td>
+        </tr>
+
+        <tr>
+            <td align="left">Naughty Boy, The</td>
+
+            <td align="right"><i>John S. Davis</i> (Opp.)</td>
+
+            <td align="right">89</td>
+        </tr>
+
+        <tr>
+            <td align="left">Navaja, Duel with the</td>
+
+            <td align="right"><i>Dore</i></td>
+
+            <td align="right">86</td>
+        </tr>
+
+        <tr>
+            <td align="left">New England, Hills of</td>
+
+            <td align="right"><i>Paul Dixon</i></td>
+
+            <td align="right">204</td>
+        </tr>
+
+        <tr>
+            <td align="left">Niagara</td>
+
+            <td align="right"><i>Jules Tavernier</i></td>
+
+            <td align="right">211</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#fig08">Nooning, The</a></td>
+
+            <td align="right">(After <i>Darley</i>)</td>
+
+            <td align="right">17</td>
+        </tr>
+
+        <tr>
+            <td align="left">Old Oaken Bucket, The</td>
+
+            <td align="right"><i>John S. Davis</i></td>
+
+            <td align="right">159</td>
+        </tr>
+
+        <tr>
+            <td align="left">Ornamental, The</td>
+
+            <td align="right"><i>Deiker</i></td>
+
+            <td align="right">234</td>
+        </tr>
+
+        <tr>
+            <td align="left">Out of Doors</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">242</td>
+        </tr>
+
+        <tr>
+            <td align="left">Patriotic Education</td>
+
+            <td align="right"><i>F. Beard</i></td>
+
+            <td align="right">130</td>
+        </tr>
+
+        <tr>
+            <td align="left">Penha Verde, Doorway and Oriel in
+            the</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">45</td>
+        </tr>
+
+        <tr>
+            <td align="left">Perkins, Granville</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">48</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#fig69">Peruvian Ladies,
+            Costumes of</a></td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">24</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#fig71">Peruvian
+            Priests</a></td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">25</td>
+        </tr>
+
+        <tr>
+            <td align="left">Pets, The</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">241</td>
+        </tr>
+
+        <tr>
+            <td align="left">Picking and Choosing</td>
+
+            <td align="right"><i>Beckmann</i></td>
+
+            <td align="right">238</td>
+        </tr>
+
+        <tr>
+            <td align="left">Pines of the Racquette, The</td>
+
+            <td align="right"><i>John A. Hows</i></td>
+
+            <td align="right">121</td>
+        </tr>
+
+        <tr>
+            <td align="left">Playing Sick</td>
+
+            <td align="right"><i>A.H. Thayer</i></td>
+
+            <td align="right">174</td>
+        </tr>
+
+        <tr>
+            <td align="left">Preston Ponds, From Bishop's
+            Knoll</td>
+
+            <td align="right"><i>.F.T. Vance</i></td>
+
+            <td align="right">199</td>
+        </tr>
+
+        <tr>
+            <td align="left">Puss Asleep</td>
+
+            <td align="right"><i>C.E. Townsend</i></td>
+
+            <td align="right">143</td>
+        </tr>
+
+        <tr>
+            <td align="left">Rainy Day, The</td>
+
+            <td align="right"><i>John S. Davis</i></td>
+
+            <td align="right">120</td>
+        </tr>
+
+        <tr>
+            <td align="left">Raymondskill, Falls of The</td>
+
+            <td align="right"><i>Granville Perkins</i></td>
+
+            <td align="right">150</td>
+        </tr>
+
+        <tr>
+            <td align="left">Raymondskill, View on the</td>
+
+            <td align="right"><i>Granville Perkins</i></td>
+
+            <td align="right">155</td>
+        </tr>
+
+        <tr>
+            <td align="left">Raymondskill, The Main Fall</td>
+
+            <td align="right"><i>Granville Perkins</i></td>
+
+            <td align="right">155</td>
+        </tr>
+
+        <tr>
+            <td align="left">Scene on the Catawba River</td>
+
+            <td align="right"><i>R.E. Piguet</i></td>
+
+            <td align="right">210</td>
+        </tr>
+
+        <tr>
+            <td align="left">School Discipline</td>
+
+            <td align="right"><i>John S. Davis</i></td>
+
+            <td align="right">198</td>
+        </tr>
+
+        <tr>
+            <td align="left">Serious Case, A</td>
+
+            <td align="right"><i>Ernst Bosch</i></td>
+
+            <td align="right">202</td>
+        </tr>
+
+        <tr>
+            <td align="left">Shakspeare, Ward's</td>
+
+            <td align="right"><i>J.S. Davis</i></td>
+
+            <td align="right">104</td>
+        </tr>
+
+        <tr>
+            <td align="left">Shipwreck on the Coast of Dieppe,
+            A</td>
+
+            <td align="right"><i>T. Weber</i></td>
+
+            <td align="right">139</td>
+        </tr>
+
+        <tr>
+            <td align="left">Singing the War Song</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">187</td>
+        </tr>
+
+        <tr>
+            <td align="left">Snow-Birds</td>
+
+            <td align="right"><i>Gilbert Burling</i></td>
+
+            <td align="right">207</td>
+        </tr>
+
+        <tr>
+            <td align="left">Song Sparrow, The</td>
+
+            <td align="right"><i>Gilbert Burling</i></td>
+
+            <td align="right">32</td>
+        </tr>
+
+        <tr>
+            <td align="left">Song or Wood Thrush, The</td>
+
+            <td align="right"><i>Gilbert Burling</i></td>
+
+            <td align="right">66</td>
+        </tr>
+
+        <tr>
+            <td align="left">South Mountain</td>
+
+            <td align="right"><i>R.E. Piguet</i></td>
+
+            <td align="right">53</td>
+        </tr>
+
+        <tr>
+            <td align="left">Spanish Postilion</td>
+
+            <td align="right"><i>Dore</i></td>
+
+            <td align="right">87</td>
+        </tr>
+
+        <tr>
+            <td align="left">Spanish Ladies</td>
+
+            <td align="right"><i>Dore</i></td>
+
+            <td align="right">87</td>
+        </tr>
+
+        <tr>
+            <td align="left">Sport</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">240</td>
+        </tr>
+
+        <tr>
+            <td align="left">Squaw Pounding Cherries, Old</td>
+
+            <td align="right"><i>W.M. Cary</i></td>
+
+            <td align="right">162</td>
+        </tr>
+
+        <tr>
+            <td align="left">Standish, Miles, Courtship of</td>
+
+            <td align="right"><i>J.W. Bolles</i></td>
+
+            <td align="right">151</td>
+        </tr>
+
+        <tr>
+            <td align="left">Street Scene in Cairo, A</td>
+
+            <td align="right">Opp.</td>
+
+            <td align="right">229</td>
+        </tr>
+
+        <tr>
+            <td align="left"
+                colspan="2">Surenen Pass, Switzerland, View in
+                the</td>
+
+            <td align="right">134</td>
+        </tr>
+
+        <tr>
+            <td align="left">Temple of Canova</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">203</td>
+        </tr>
+
+        <tr>
+            <td align="left"
+                colspan="2">Then fare thee well, my country, lov'd
+                and lost!</td>
+
+            <td align="right">237</td>
+        </tr>
+
+        <tr>
+            <td align="left"
+                colspan="2">"There's a Beautiful Spirit Breathing
+                Now"</td>
+
+            <td align="right">218</td>
+        </tr>
+
+        <tr>
+            <td align="left">Tight Place, In a</td>
+
+            <td align="right"><i>W.M. Cary</i></td>
+
+            <td align="right">76</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#fig38">Tropic Forest,
+            A</a></td>
+
+            <td align="right"><i>Granville Perkins</i></td>
+
+            <td align="right">21</td>
+        </tr>
+
+        <tr>
+            <td align="left">Truants, The</td>
+
+            <td align="right"><i>M.L. Stone</i></td>
+
+            <td align="right">40</td>
+        </tr>
+
+        <tr>
+            <td align="left">Useful, The</td>
+
+            <td align="right"><i>Deiker</i></td>
+
+            <td align="right">235</td>
+        </tr>
+
+        <tr>
+            <td align="left">Uttmann, Barbara</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">68</td>
+        </tr>
+
+        <tr>
+            <td align="left"><a href="#frontis">Venetian Festival,
+            A. (Frontispiece)</a></td>
+
+            <td align="right"><i>C. Hulk</i></td>
+
+            <td>&nbsp;</td>
+        </tr>
+
+        <tr>
+            <td align="left">Vischer's, Peter, Studio</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">84</td>
+        </tr>
+
+        <tr>
+            <td align="left">Visconti, Princess</td>
+
+            <td align="right">(After "<i>Fra Bartolomeo</i>")</td>
+
+            <td align="right">108</td>
+        </tr>
+
+        <tr>
+            <td align="left">Villa de Conde, Church at</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">215</td>
+        </tr>
+
+        <tr>
+            <td align="left">Village Belle, The</td>
+
+            <td align="right">After <i>J.J. Hill</i></td>
+
+            <td align="right">228</td>
+        </tr>
+
+        <tr>
+            <td align="left">Waiting at the Stile</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">147</td>
+        </tr>
+
+        <tr>
+            <td align="left">Watauga Falls</td>
+
+            <td align="right"><i>R.E. Piguet</i></td>
+
+            <td align="right">53</td>
+        </tr>
+
+        <tr>
+            <td align="left">Watering the Cattle</td>
+
+            <td align="right"><i>Peter Moran</i></td>
+
+            <td align="right">171</td>
+        </tr>
+
+        <tr>
+            <td align="left">Wayside Inn, The</td>
+
+            <td align="right">(After <i>Hill</i>)</td>
+
+            <td align="right">107</td>
+        </tr>
+
+        <tr>
+            <td align="left">Weber, Von, Last Moments of</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">206</td>
+        </tr>
+
+        <tr>
+            <td align="left">What Was That Knot Tied For?</td>
+
+            <td align="right">(After <i>I.E. Gaiser</i>)</td>
+
+            <td align="right">92</td>
+        </tr>
+
+        <tr>
+            <td align="left">"Which in infancy lisped"</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">246</td>
+        </tr>
+
+        <tr>
+            <td align="left">"Who Said Rats?"</td>
+
+            <td align="right"><i>A.H. Thayer</i></td>
+
+            <td align="right">175</td>
+        </tr>
+
+        <tr>
+            <td align="left">Winter Sketch, A. (Frontispiece)</td>
+
+            <td align="right"><i>George H. Smillie</i>. Opp.</td>
+
+            <td align="right">149</td>
+        </tr>
+
+        <tr>
+            <td align="left">Wolf, Calf and Goat, The</td>
+
+            <td align="right"><i>H.L. Stephens</i></td>
+
+            <td align="right">124</td>
+        </tr>
+
+        <tr>
+            <td align="left">Wood or Summer Ducks</td>
+
+            <td align="right"><i>Gilbert Burling</i></td>
+
+            <td align="right">179</td>
+        </tr>
+
+        <tr>
+            <td align="left">"Ye limpid springs and floods,"</td>
+
+            <td>&nbsp;</td>
+
+            <td align="right">237</td>
+        </tr>
+
+        <tr>
+            <td align="left">Young Robin Hunter, The</td>
+
+            <td align="right"><i>John S. Davis</i></td>
+
+            <td align="right">60</td>
+        </tr>
+
+        <tr>
+            <td align="left">Zekle's Courtin'</td>
+
+            <td align="right"><i>Frank Beard</i></td>
+
+            <td align="right">29</td>
+        </tr>
+    </table>
+    <hr class="full" />
+    <span class="pagenum"><a name="page9"
+       id="page9"></a>[pg 9]</span>
+
+    <h1>The Aldine</h1>
+    <hr class="full" />
+
+    <table summary="Issue Information"
+           width="100%">
+        <tr>
+            <td>VOL. V.</td>
+
+            <td align="center">NEW YORK, JANUARY, 1872.</td>
+
+            <td align="right">No. 1.</td>
+        </tr>
+    </table>
+    <hr class="full" />
+
+    <div class="figcenter"
+         style="width:100%;">
+        <a name="fig62"
+             id="fig62"><img width="100%"
+             src="images/62.jpg"
+             alt="MAUD M&Uuml;LLER.&mdash;DRAWN BY GEORGIE A. DAVIS." />
+             </a>
+
+        <h4>MAUD M&Uuml;LLER.&mdash;DRAWN BY GEORGIE A. DAVIS.</h4>
+    </div>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"MAUD M&Uuml;LLER looked and sighed: 'Ah, me!</p>
+
+            <p>That I the Judge's bride might be!</p>
+        </div>
+
+        <div class="stanza">
+            <p>"'He would dress me up in silks so fine,</p>
+
+            <p>And praise and toast me at his wine.</p>
+        </div>
+
+        <div class="stanza">
+            <p>"'My father should wear a broad-cloth coat:</p>
+
+            <p>My brother should sail a painted boat.'</p>
+        </div>
+
+        <div class="stanza">
+            <p>"'I'd dress my mother so grand and gay,</p>
+
+            <p>And the baby should have a new toy each day.</p>
+        </div>
+
+        <div class="stanza">
+            <p>"'And I'd feed the hungry and clothe the poor.</p>
+
+            <p>And all should bless me who left our door.</p>
+        </div>
+
+        <div class="stanza">
+            <p>"The Judge looked back as he climbed the hill,</p>
+
+            <p>And saw Maud M&uuml;ller standing still.</p>
+        </div>
+
+        <div class="stanza">
+            <p>"'A form more fair, a face more sweet,</p>
+
+            <p>Ne'er hath it been my lot to meet.</p>
+        </div>
+
+        <div class="stanza">
+            <p>"'And her modest answer and graceful air,</p>
+
+            <p>Show her wise and good as she is fair.</p>
+        </div>
+
+        <div class="stanza">
+            <p>"'Would she were mine, and I to-day,</p>
+
+            <p>Like her a harvester of hay.'"</p>
+        </div>
+
+        <div class="stanza">
+            <p class="center">&mdash;<i>Whittier's Maud
+            M&uuml;ller.</i></p>
+        </div>
+    </div><span class="pagenum"><a name="page10"
+       id="page10"></a>[pg 10]</span>
+    <hr class="full" />
+
+    <h2>THE ALDINE.</h2>
+
+    <h3><i>JAMES SUTTON &amp; CO., Publishers</i></h3>
+
+    <h4>23 LIBERTY STREET, NEW YORK.</h4>
+    <hr class="full" />
+
+    <table summary="Price Information"
+           width="100%">
+        <tr>
+            <td><b>$5.00 per Annum (<i>with chrono.</i>)</b></td>
+
+            <td align="right"><b>Single Copies, 50 Cents.</b></td>
+        </tr>
+    </table>
+    <hr class="full" />
+
+    <h2><a name="newport"
+       id="newport"><i>AT NEWPORT.</i></a></h2>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>I stand beside the sea once more;</p>
+
+            <p class="i2">Its measured murmur comes to me;</p>
+
+            <p>The breeze is low upon the shore,</p>
+
+            <p class="i2">And low upon the purple sea.</p>
+        </div>
+
+        <div class="stanza">
+            <p>Across the bay the flat sand sweeps,</p>
+
+            <p class="i2">To where the helm&eacute;d light-house
+            stands</p>
+
+            <p>Upon his post, and vigil keeps,</p>
+
+            <p class="i2">Far seaward marshaling all the lands.</p>
+        </div>
+
+        <div class="stanza">
+            <p>The hollow surges rise and fall,</p>
+
+            <p class="i2">The ships steal up the quiet bay;</p>
+
+            <p>I scarcely hear or see at all,</p>
+
+            <p class="i2">My thoughts are flown so far away.</p>
+        </div>
+
+        <div class="stanza">
+            <p>They follow on yon sea-bird's track.</p>
+
+            <p class="i2">Beyond the beacon's crystal dome;</p>
+
+            <p>They will not falter, nor come back,</p>
+
+            <p class="i2">Until they find my darkened home.</p>
+        </div>
+
+        <div class="stanza">
+            <p>Ah, woe is me! 'tis scarce a year</p>
+
+            <p class="i2">Since, gazing o'er this moaning main,</p>
+
+            <p>My thoughts flew home without a fear.</p>
+
+            <p class="i2">And with content returned again.</p>
+        </div>
+
+        <div class="stanza">
+            <p>To-day, alas! the fancies dark</p>
+
+            <p class="i2">That from my laden bosom flew,</p>
+
+            <p>Returning, came into the ark,</p>
+
+            <p class="i2">Not with the olive, with the yew.</p>
+        </div>
+
+        <div class="stanza">
+            <p>The ships draw slowly towards the strand,</p>
+
+            <p class="i2">The watchers' hearts with hope beat
+            high;</p>
+
+            <p>But ne'er again wilt thou touch land&mdash;</p>
+
+            <p>Lost, lost in yonder sapphire sky!</p>
+        </div>
+    </div>
+
+    <p class="author">&mdash;<i>Geo. H. Boker.</i></p>
+
+    <h2><a name="millerism"
+       id="millerism"><i>MILLERISM.</i></a></h2>
+
+    <p>Toward the close of the last century there was born in New
+    England one William Miller, whose life, until he was past
+    fifty, was the life of the average American of his time. He
+    drank, we suppose, his share of New England rum, when a young
+    man; married a comely Yankee girl, and reared a family of
+    chubby-cheeked children; went about his business, whatever it
+    was, on week days, and when Sunday came, went to meeting with
+    commendable regularity. He certainly read the Old Testament,
+    especially the Book of Daniel, and of the New Testament at
+    least the Book of Revelation. Like many a wiser man before him,
+    he was troubled at what he read, filled as it was with mystical
+    numbers and strange beasts, and he sought to understand it, and
+    to apply it to the days in which he lived. He made the
+    discovery that the world was to be destroyed in 1843, and went
+    to and fro in the land preaching that comfortable doctrine. He
+    had many followers&mdash;as many as fifty thousand, it is said,
+    who thought they were prepared for the end of all things; some
+    going so far as to lay in a large stock of ascension robes.
+    Though no writer himself, he was the cause of a great deal of
+    writing on the part of others, who flooded the land with a
+    special and curious literature&mdash;the literature of
+    Millerism. It is not of that, however, that we would speak
+    now.</p>
+
+    <p>But before this Miller arose&mdash;we proceed to say, if
+    only to show that we are familiar with other members of the
+    family&mdash;there was another, and very different Miller, who
+    was born in old England, about one hundred years earlier than
+    our sadly, or gladly, mistaken Second Adventist. His Christian
+    name was Joseph, and he was an actor of repute, celebrated for
+    his excellence in some of the comedies of Congreve. The
+    characters which he played may have been comic ones, but he was
+    a serious man. Indeed, his gravity was so well known in his
+    lifetime that it was reckoned the height of wit, when he was
+    dead, to father off upon him a Jest Book! This joke, bad as it
+    was, was better than any joke in the book. It made him famous,
+    so famous that for the next hundred years every little <i>bon
+    mot</i> was laid at his door, metaphorically speaking, the
+    puniest youngest brat of them being christened "Old Joe."</p>
+
+    <p>After Joseph Miller had become what Mercutio calls "a grave
+    man," his descendants went into literature largely, as any one
+    may see by turning to Allibone's very voluminous dictionary,
+    where upwards of seventy of the name are immortalized, the most
+    noted of whom are Thomas Miller, basket-maker and poet, and
+    Hugh Miller, the learned stone-mason of Cromarty, whose many
+    works, we confess with much humility, we have not read. To the
+    sixty-eight Millers in Allibone (if that be the exact number),
+    must now be added another&mdash;Mr. Joaquin Miller, who
+    published, two or three months since, a collection of poems
+    entitled "Songs of the Sierras." From which one of the Millers
+    mentioned above his ancestry is derived, we are not informed;
+    but, it would seem, from the one first-named. For clearly the
+    end of all things literary cannot be far off, if Mr. Miller is
+    the "coming poet," for whom so many good people have been
+    looking all their lives. We are inclined to think that such is
+    not the fact. We think, on the whole, that it is to the other
+    Miller&mdash;Joking Miller&mdash;his genealogy is to be
+    traced.</p>
+
+    <p>But who is Mr. Miller, and what has he done? A good many
+    besides ourselves put that question, less than a year ago, and
+    nobody could answer it. Nobody, that is, in America. In England
+    he was a great man. He went over to England, unheralded, it is
+    stated, and was soon discovered to be a poet. Swinburne took
+    him up; the Rossettis took him up; the critics took him up; he
+    was taken up by everybody in England, except the police, who,
+    as a rule, fight shy of poets. He went to fashionable parties
+    in a red shirt, with trowsers tucked into his boots, and
+    instead of being shown to the door by the powdered footman, was
+    received with enthusiasm. It is incredible, but it is true. A
+    different state of society existed, thirty or forty years ago,
+    when another American poet went to England; and we advise our
+    readers, who have leisure at their command, to compare it with
+    the present social lawlessness of the upper classes among the
+    English. To do this, they have only to turn to the late N.P.
+    Willis's "Pencilings by the Way," and contrast his descriptions
+    of the fashionable life of London then, with almost any
+    journalistic account of the same kind of life now. The contrast
+    will be all the more striking if they will only hunt up the
+    portraits of Disraeli, with his long, dark locks flowing on his
+    shoulders, and the portrait of Bulwer, behind his "stunning"
+    waistcoat, and his cascade of neck-cloth, and then imagine Mr.
+    Miller standing beside them, in his red shirt and high-topped
+    California boots! Like Byron, Mr. Miller "woke up one morning
+    and found himself famous."</p>
+
+    <p>We compare the sudden famousness of Mr. Miller with the
+    sudden famousness of Byron, because the English critics have
+    done so; and because they are pleased to consider Mr. Miller as
+    Byron's successor! Byron, we are told, was the only poet whom
+    he had read, before he went to England; and is the only poet to
+    whom he bears a resemblance. How any of these critics could
+    have arrived at this conclusion, with the many glaring
+    imitations of Swinburne&mdash;at his worst&mdash;staring him in
+    the face from Mr. Miller's volume, is inconceivable. But,
+    perhaps, they do not read Swinburne. Do they read Byron?</p>
+
+    <p>There are, however, some points of resemblance between Byron
+    and Mr. Miller. Byron traveled, when young, in countries not
+    much visited by the English; Mr. Miller claims to have
+    traveled, when young, in countries not visited by the English
+    at all. This was, and is, an advantage to both Byron and Mr.
+    Miller. But it was, and is, a serious disadvantage to their
+    readers, who cannot well ascertain the truth, or falsehood, of
+    the poets they admire. The accuracy of Byron's descriptions of
+    foreign lands has long been admitted; the accuracy of Mr.
+    Miller's descriptions is not admitted, we believe, by those who
+    are familiar with the ground he professes to have gone
+    over.</p>
+
+    <p>Another point of resemblance between Byron and Mr. Miller
+    is, that the underlying idea of their poetry is autobiographic.
+    We do not say that it was really so in Byron's case, although
+    he, we know, would have had us believe as much; nor do we say
+    that it is really so in Mr. Miller's case, although he, too, we
+    suspect, would have us believe as much.</p>
+
+    <p>Mr. Miller resembles Byron as his "Arizonian" resembles
+    Byron's "Lara." <i>Lara</i> and <i>Arizonian</i> are birds of
+    the same dark feather. They have journeyed in strange lands;
+    they have had strange experiences; they have returned to
+    Civilization. Each, in his way, is a Blighted Being! "Who is
+    she?" we inquire with the wise old Spanish Judge, for,
+    certainly, <i>Woman</i> is at the bottom of it all. If our
+    readers wish to know <i>what</i> woman, we refer them to
+    "Arizonian:" they, of course, have read "Lara."</p>
+
+    <p>Byron was a great poet, but Byronism is dead. Mr. Miller is
+    not a great poet, and his spurious Byronism will not live. We
+    shall all see the end of Millerism.</p><br />
+
+
+    <h2><a name="romance"
+       id="romance"><i>THE REAL ROMANCE.</i></a></h2>
+
+    <p>The author laid down his pen, and leaned back in his big
+    easy chair. The last word had been
+    written&mdash;Finis&mdash;and there was the complete book,
+    quite a tall pile of manuscript, only waiting for the printer's
+    hands to become immortal: so the author whispered to himself.
+    He had worked hard upon it; great pains had been expended upon
+    the delineations of character, and the tone and play of
+    incident; the plot, too, had been worked up with much artistic
+    force and skill; and, above all, everything was so strikingly
+    original; no one, in regarding the various characters of the
+    tale, could say: this is intended for so-and-so! No, nothing
+    precisely like the persons in his romance had ever actually
+    existed; of that the author was certain, and in that he was
+    very probably correct. To be sure, there was the character of
+    the country girl, Mary, which he had taken from his own little
+    waiting-maid: but that was a very subordinate element, and
+    although, on the whole, he rather regretted having introduced
+    anything so incongruous and unimaginative, he decided to let it
+    go. The romance, as a whole, was too great to be injured by one
+    little country girl, drawn from real life. "And by the way,"
+    murmured the author to himself, "I wish Mary would bring in my
+    tea."</p>
+
+    <p>He settled himself still more comfortably in his easy chair,
+    and thought, and looked at his manuscript; and the manuscript
+    looked back; but all <i>its</i> thinking had been done for it.
+    Neither spoke&mdash;the author, because the book already knew
+    all he had to say; and the book, because its time to speak and
+    be immortal had not yet arrived. The fire had all the talking
+    to itself, and it cackled, and hummed, and skipped about so
+    cheerfully that one would have imagined it expected to be the
+    very first to receive a presentation copy of the work on the
+    table. "How I would devour its contents!" laughed the fire.</p>
+
+    <p>Perhaps the author did not comprehend the full force of the
+    fire's remark, but the voice was so cosy and soothing, the fire
+    itself so ruddy and genial, and the easy chair so softly
+    cushioned and hospitable, that he very soon fell into a
+    condition which enabled him to see, hear, and understand a
+    great many things which might seem remarkable, and, indeed,
+    almost incredible.</p>
+
+    <p>The manuscript on the table which had hitherto remained
+    perfectly quiet, now rustled its leaves nervously, and finally
+    flung itself wide open. A murmur then arose, as of several
+    voices, and presently there appeared (though whether stepping
+    from between the leaves of the book itself, or growing together
+    from the surrounding atmosphere, the author could not well make
+    out) a number of peculiar-looking individuals, at the first
+    glance appearing to be human beings, though a clear
+    investigation revealed in each some odd lack or exaggeration of
+    gesture, feature, or manner, which might create a doubt as to
+    whether they actually were, after all, what they purported to
+    be, or only some <i>lusus natur&aelig;</i>. But the author was
+    not slow to recognize them, more especially as, happening to
+    cast a glance at the manuscript, he noticed that it was such no
+    longer, but a collection of unwritten sheets of paper, blank as
+    when it lay in the drawer at the stationer's&mdash;unwitting of
+    the lofty destiny awaiting it.</p>
+
+    <p>Here, then, were the immortal creations which were soon to
+    astound the world, come, in person, to pay their respects to
+    the author of their being. He arose and made a profound
+    obeisance to the august company, which they one and all
+    returned, though in such a queer variety of ways, that the
+    author, albeit aware that every individual had the best of
+    reasons for employing, under certain special circumstances, his
+    or her particular manner of salute, could scarcely forbear
+    smiling at the effect they all together produced in his own
+    unpretending study.</p>
+
+    <p>"Your welcome visit," said the author, addressing his guests
+    with all the geniality of which he was master (for they seemed
+    somewhat stiff and ill-at-ease), "gives me peculiar
+    gratification. I regret not having asked some of my friends,
+    the critics, up here to make your acquaintance. I am sure you
+    would all come to the best possible understanding
+    directly."</p>
+
+    <p>"They cannot fathom <i>me</i>," exclaimed a strikingly
+    handsome young man, with pale lofty brow, and dark clustering
+    locks, who was leaning with proud grace against the
+    mantel-piece. "They may take my life, but they cannot read my
+    soul." And he laughed, scornfully, as he always did.</p>
+
+    <div class="figcenter"
+         style="width:100%;">
+        <a name="fig08"
+             id="fig08"><img width="100%"
+             src="images/08.jpg"
+             alt="THE NOONING.&mdash;AFTER DARLEY." /></a>
+
+        <h4>THE NOONING.&mdash;AFTER DARLEY.</h4>
+    </div><span class="pagenum"><a name="page11"
+       id="page11"></a>[pg 11]</span>
+
+    <p>This was a passage from that famous ante-mortem soliloquy in
+    which the hero of the romance indulges in the last chapter but
+    one. The author, while, of course, he could not deny that the
+    elegance of the diction was only equaled by the originality of
+    the sentiment, yet felt a slight uneasiness that his hero
+    should adopt so defiant a tone with those who were indeed to be
+    the arbiters of his existence.</p>
+
+    <p>"I'm afraid there's not enough perception of the <i>comme il
+    faut</i> in him to suit the every-day world," muttered he. "To
+    be sure, he was not constructed for ordinary ends. Do you find
+    yourself at home in this life, madame?" he continued aloud,
+    turning to a young lady of matchless beauty, whose brief career
+    of passionate love and romantic misery the author had described
+    in thrilling chapters. She raised her luminous eyes to his, and
+    murmured reproachfully: "Why speak to me of Life? if it be not
+    Love, it is Life no longer!"</p>
+
+    <p>It was very beautiful, and the author recollected having
+    thought, at the time he wrote it down, that it was about the
+    most forcible sentence in that most powerful passage of his
+    book. But it was rather an exaggerated tone to adopt in the
+    face of such common-place surroundings. Had this exquisite
+    creature, after all, no better sense of the appropriate?</p>
+
+    <p>"No one can know better than I, my dear Constance," said the
+    author, in a fatherly tone, "what a beautiful, tender, and
+    lofty soul yours is; but would it not be well, once in a while,
+    to veil its lustre&mdash;to subdue it to a tint more in keeping
+    with the unvariegated hue of common circumstance?"</p>
+
+    <p>"Heartless and cruel!" sobbed Constance, falling upon the
+    sofa, "hast thou not made me what I am?"</p>
+
+    <p>This accusation, intended by the author to be leveled at the
+    traitor lover, quite took him aback when directed, with so much
+    aptness, too, at his respectable self. But whom but himself
+    could he blame, if, when common sense demanded only civility
+    and complaisance, she persisted in adhering to the tragic and
+    sentimental? He was provoked that he had not noticed this
+    defect in time to remedy it; yet he had once considered
+    Constance as, perhaps, the completest triumph of his genius!
+    There seemed to be something particularly disenchanting in the
+    atmosphere of that study.</p>
+
+    <p>"I'm afraid you're a failure, ma'am, after all," sighed the
+    author, eyeing her disconsolately. "You're so one-sided!"</p>
+
+    <p>At this heartless observation the lady gave a harrowing
+    shriek, thereby summoning to her side a broad-shouldered young
+    fellow, clad in soldier's garb, with a countenance betokening
+    much boldness and determination. He faced the author with an
+    angry frown, which the latter at once recognized as being that
+    of Constance's brother Sam.</p>
+
+    <p>"Now then, old bloke!" sang out that young gentleman, "what
+    new deviltry are you up to? Down on your knees and beg her
+    pardon, or, by George! I'll run you through the body!"</p>
+
+    <p>On this character the author had expended much thought and
+    care. He was the type of the hardy and bold adventurer, rough
+    and unpolished, perhaps, but of true and sterling metal, who,
+    by dint of his vigorous common sense and honest, energetic
+    nature, should at once clear and lighten whatever in the
+    atmosphere of the story was obscure and sombre; and, by the
+    salutary contrast of his fresh and rugged character with the
+    delicate or morbid traits of his fellow beings, lend a graceful
+    symmetry to the whole. The sentence Sam had just delivered with
+    so much emphasis ought to have been addressed to the traitor
+    lover, when discovered in the act of inconstancy, and, so
+    given, would have been effective and dramatic. But at a
+    juncture like the present, the author felt it to be simply
+    ludicrous, and had he not been so mortified, would have laughed
+    outright!</p>
+
+    <p>"Don't make a fool of yourself, Sam," remonstrated he.
+    "Reflect whom you're addressing, and in what company you are,
+    and do try and talk like a civilized being."</p>
+
+    <p>"Come, come! no palaver," returned Sam, in a loud and
+    boisterous tone (to do him justice, he had never been taught
+    any other); "down on your marrow-bones at once, or here goes
+    for your gizzard!" and he drew his sword with a flourish.</p>
+
+    <p>So this was the rough diamond&mdash;the epitome of common
+    sense! Why, he was a half-witted, impertinent, overbearing
+    booby, and his author longed to get him across his knee, and
+    correct him in the good old way. But meantime the point of the
+    young warrior's sword was getting unpleasantly near the left
+    breast-pocket of the author's dressing gown (which he wore at
+    the time), and the latter happened to recollect, with a nervous
+    thrill, that this was the sword which mortally wounded the
+    traitor lover (for whom Sam evidently mistook him) during the
+    stirring combat so vividly described in the twenty-second
+    chapter. Could he but have foreseen the future, what a
+    different ending that engagement should have had! But again it
+    was too late, and the author sprang behind the big easy chair
+    with astonishing agility, and from that vantage ground
+    endeavored to bring on a parley.</p>
+
+    <p>Yet how could he argue and expostulate against himself? How
+    arraign Sam of harboring murderous designs which he had himself
+    implanted in his bosom? How, indeed, expect him to comprehend
+    conversation so entirely foreign to his experience? It was an
+    awkward dilemma.</p>
+
+    <p>It was Sam who took it by the horns. Somebody, he felt, must
+    be mortally wounded; and finding himself defrauded of one
+    subject, he took up with the next he encountered, which chanced
+    to be none other than the venerable and white-haired gentleman
+    who filled the position, in the tale, of a wealthy and
+    benevolent uncle. The author, having always felt a sentiment of
+    exceptional respect and admiration for this reverend and
+    patriarchal personage, who by his gentle words and sage
+    counsels, no less than his noble generosity, had done so much
+    to elevate and sweeten the tone of his book, fell into an
+    ecstasy of terror at witnessing the approach of his seemingly
+    inevitable destruction; especially as he perceived that the
+    poor old fellow (who never in his life had met with aught but
+    reverence and affection, and knew nothing of the nature of
+    deadly weapons and impulses) was, so far, from attempting to
+    defend himself, or even escape, actually opening his arms to
+    the widest extent of avuncular hospitality, and preparing to
+    take his assassin, sword and all, into his fond and forgiving
+    heart!</p>
+
+    <p>"You old fool!" shrieked the author, in the excess of his
+    irritation and despair; "he isn't your repentant nephew! Why
+    can't you keep your forgiveness until it's wanted?"</p>
+
+    <p>But Uncle Dudley having been created solely to forgive and
+    benefit, was naturally incapable of taking care of himself, and
+    would certainly have been run through the ample white
+    waistcoat, had not an unexpected and wholly unprecedented
+    interruption averted so awful a catastrophe.</p>
+
+    <p>A small, graceful figure, wearing a picturesque white cap,
+    with jaunty ribbons, and a short scarlet petticoat, from
+    beneath which peeped the prettiest feet and ancles ever seen,
+    stepped suddenly between the philanthropic victim and his
+    would-be-murderer, dealt the latter a vigorous blow across the
+    face with a broom she carried, thereby toppling him over
+    ignominiously into the coal-scuttle, and then, placing her
+    plump hands saucily akimbo, she exclaimed with enchanting
+    <i>naivete</i>: "There! Mr. Free-and-easy! take <i>that</i> for
+    your imperance."</p>
+
+    <p>This little incident caused the author to fall back into his
+    easy chair in a condition of profound emotion. It appeared to
+    have corrected a certain dimness or obliquity in his vision, of
+    the existence of which its cure rendered him for the first time
+    conscious. The appearance of the little country girl (whose
+    very introduction into the romance the author had looked upon
+    with misgivings) had afforded the first gleam of natural,
+    refreshing, wholesome interest&mdash;in fact, the only relief
+    to all that was vapid, irrational, and unreal&mdash;which the
+    combined action of the characters in his romance had succeeded
+    in producing. But the enchantress who had effected this, so far
+    from being the most unadulterated product of his own brain and
+    genius, was the only one of all his <i>dramatis
+    person&aelig;</i> who was not in the slightest degree indebted
+    to him for her existence. She was nothing more than an accurate
+    copy of Mary the house-maid, while the others&mdash;the
+    mis-formed, ill-balanced, one-sided creations, who, the moment
+    they were placed beyond the pale of their written
+    instructions&mdash;put out of the regular and pre-arranged
+    order of their going&mdash;displayed in every word and gesture
+    their utter lack and want of comprehension of the simplest
+    elements of human nature: <i>these</i> were the unaided
+    offspring of the author's fancy. And yet it was by help of such
+    as these he had thought to push his way to immortality! How the
+    world would laugh at him! and, as he thought this, a few bitter
+    tears of shame and humiliation trickled down the sides of the
+    poor man's nose.</p>
+
+    <p>Presently he looked up. The warlike Sam remained sitting
+    disconsolately in the coal-hod; his instructions suggested no
+    means of extrication. Forsaken Constance lay fainting on the
+    sofa, waiting for some one to chafe her hands and bathe her
+    temples. The strikingly handsome betrayer leant in sullen and
+    gloomy silence against the mantel-piece, ready to treat all
+    advances with stern and defiant obduracy. The benevolent uncle
+    stood with open arms and bland smile, never doubting but that
+    everybody was preparing for a simultaneous rush to, and
+    participation in, his embrace; and, finally, the pretty little
+    country girl, with her arms akimbo and her nose in the air,
+    remained mistress of the situation. Her unheard of innovation,
+    of having done something timely, sensible, and decisive, even
+    though not put down in the book, seemed to have paralyzed all
+    the others. Ah! she was the only one there who was not less
+    than a shadow. The author felt his desolate heart yearn towards
+    her, and the next moment found himself on his knees at her
+    feet.</p>
+
+    <p>"Mary," cried he, "you are my only reality. The others are
+    empty and soulless, but you have a heart. They are the children
+    of a conceited brain and visionary experience; you, only, have
+    I drawn simply and unaffectedly, as you actually existed.
+    Except for you, whom I slighted and despised, my whole romance
+    had been an unmitigated falsehood. To you I owe my preservation
+    from worse than folly, and my initiation into true wisdom.
+    Mary&mdash;dear Mary, in return I have but one thing to offer
+    you&mdash;my heart! Can you&mdash;<i>will</i> you not love
+    me?"&mdash;</p>
+
+    <p>To his intense surprise, Mary, instead of evincing a
+    becoming sense of her romantic situation, burst forth into a
+    merry peal of laughter, and, catching him by one shoulder, gave
+    him a hearty shake.</p>
+
+    <p>"La sakes! Mr. Author, do wake up! did ever anybody hear
+    such a man!"</p>
+
+    <p>There was his room, his fire, his chair, his table, and his
+    closely-written manuscript lying quietly upon it. There was he
+    himself on his knees on the carpet, and&mdash;there was Mary
+    the house-maid, one hand holding the brimming tea-pot, the
+    other held by the author against his lips, and laughing and
+    blushing in a tumult of surprise, amusement and, perhaps,
+    something better than either.</p>
+
+    <p>"Did I say I loved you, Mary?" enquired the author, in a
+    state of bewilderment. "Never mind! I say now that I love you
+    with all my heart and soul, and ten times as much when awake,
+    as when I was dreaming! Will you marry me?"</p>
+
+    <p>Mary only blushed rosier then ever. But she and the author
+    always thereafter took their tea cosily together.</p>
+
+    <p>As for the romance, the author took it and threw it into the
+    fire, which roared a genial acknowledgment, and in five minutes
+    had made itself thoroughly acquainted with every page. There
+    remained a bunch of black flakes, and in the center one soft
+    glowing spark, which lingered a long while ere finally taking
+    its flight up the chimney. It was the description of the little
+    country girl.</p>
+
+    <p>"The next book I write shall be all about you," the author
+    used to say to his wife, in after years, as they sat together
+    before the fire-place, and watched the bright blaze roar up the
+    chimney.</p>
+
+    <p class="author">&mdash;<i>Julian Hawthorne.</i></p><br />
+
+
+    <h2><a name="frosty"
+       id="frosty"><i>A FROSTY DAY.</i></a></h2>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>Grass afield wears silver thatch,</p>
+
+            <p class="i2">Palings all are edged with rime,</p>
+
+            <p>Frost-flowers pattern round the latch,</p>
+
+            <p class="i2">Cloud nor breeze dissolve the clime;</p>
+        </div>
+
+        <div class="stanza">
+            <p>When the waves are solid floor,</p>
+
+            <p class="i2">And the clods are iron-bound,</p>
+
+            <p>And the boughs are crystall'd hoar,</p>
+
+            <p class="i2">And the red leaf nail'd aground.</p>
+        </div>
+
+        <div class="stanza">
+            <p>When the fieldfare's flight is slow,</p>
+
+            <p class="i2">And a rosy vapor rim,</p>
+
+            <p>Now the sun is small and low,</p>
+
+            <p class="i2">Belts along the region dim.</p>
+        </div>
+
+        <div class="stanza">
+            <p>When the ice-crack flies and flaws,</p>
+
+            <p class="i2">Shore to shore, with thunder shock,</p>
+
+            <p>Deeper than the evening daws,</p>
+
+            <p class="i2">Clearer than the village clock.</p>
+        </div>
+
+        <div class="stanza">
+            <p>When the rusty blackbird strips,</p>
+
+            <p class="i2">Bunch by bunch, the coral thorn,</p>
+
+            <p>And the pale day-crescent dips,</p>
+
+            <p class="i2">New to heaven a slender horn.</p>
+        </div>
+    </div>
+
+    <p class="center">&mdash;<i>John Leicester Warren.</i></p>
+    <hr />
+
+    <p>Those who come last seem to enter with advantage. They are
+    born to the wealth of antiquity. The materials for judging are
+    prepared, and the foundations of knowledge are laid to their
+    hands. Besides, if the point was tried by antiquity, antiquity
+    would lose it; for the present age is really the oldest, and
+    has the largest experience to plead.&mdash;<i>Jeremy
+    Collier</i>.</p><span class="pagenum"><a name="page12"
+       id="page12"></a>[pg 12]</span>
+
+    <div class="figcenter"
+         style="width:100%;">
+        <a href="images/63.jpg"
+             name="fig63"
+             id="fig63"><img width="100%"
+             src="images/63.jpg"
+             alt="COMING OUT OF SCHOOL.&mdash;VAUTIER." /></a>
+
+        <h4>COMING OUT OF SCHOOL.&mdash;VAUTIER.</h4>
+    </div>
+
+    <h2><a name="coming"
+       id="coming"><i>COMING OUT OF SCHOOL.</i></a></h2>
+
+    <p>If there be any happier event in the life of a child than
+    coming out of school, few children are wise enough to discover
+    it. We do not refer to children who go to school
+    unwillingly&mdash;thoughtless wights&mdash;whose heads are full
+    of play, and whose hands are prone to mischief:&mdash;that
+    these should delight in escaping the restraints of the
+    school-room, and the eye of its watchful master, is a matter of
+    course. We refer to children generally, the good and the bad,
+    the studious and the idle, in short, to all who belong to the
+    <i>genus</i> Boy. Perhaps we should include the <i>genus</i>
+    Girl, also, but of that we are not certain; for, not to dwell
+    upon the fact that we have never been a girl, and are,
+    therefore, unable to enter into the feelings of girlhood, we
+    hold that girls are better than boys, as women are better than
+    men, and that, consequently, they take more kindly to school
+    life. What boys are we know, unless the breed has changed very
+    much since we were young, which is now upwards of&mdash;but our
+    age does not concern the reader. We did not take kindly to
+    school, although we were sadly in need of what we could only
+    obtain in school, viz., learning. We went to school with
+    reluctance, and remained with discomfort; for we were not as
+    robust as the children of our neighbors. We hated school. We
+    did not dare to play truant, however, like other boys whom we
+    knew (we were not courageous enough for that); so we kept on
+    going, fretting, and pining, and&mdash;learning.</p>
+
+    <p>Oh the long days (the hot days of summer, and the cold days
+    of winter), when we had to sit for hours on hard wooden
+    benches, before uncomfortable desks, bending over grimy slates
+    and ink-besprinkled "copy books," and poring over studies in
+    which we took no interest&mdash;geography, which we learned by
+    rote; arithmetic, which always evaded us, and grammar, which we
+    never could master. We could repeat the "rules," but we could
+    not "parse;" we could cipher, but our sums would not "prove;"
+    we could rattle off the productions of Italy&mdash;"corn, wine,
+    silk and oil"&mdash;but we could not "bound" the State in which
+    we lived. We were conscious of these defects, and deplored
+    them. Our teachers were also conscious of them, and flogged us!
+    We had a morbid dread of corporeal punishment, and strove to
+    the uttermost to avoid it; but it made no difference, it came
+    all the same&mdash;came as surely and swiftly to us as to the
+    bad boys who played "hookey," the worse boys who fought, and
+    the worst boy who once stoned his master in the street. With
+    such a school record as this, is it to be wondered at that we
+    rejoiced when school was out? And rejoiced still more when we
+    were out of school?</p>
+
+    <p>The feeling which we had then appears to be shared by the
+    children in our illustration. Not for the same reasons,
+    however; for we question whether the most ignorant of their
+    number does not know more of grammar than we do to-day, and is
+    not better acquainted with the boundaries of Germany than we
+    could ever force ourselves to be. We like these little fellows
+    for what they are, and what they will probably be. And we like
+    their master, a grave, simple-hearted man, whose proper place
+    would appear to be the parish-pulpit. What his scholars learn
+    will be worth knowing, if it be not very profound. They will
+    learn probity and goodness, and it will not be ferruled into
+    them either. Clearly, they do not fear the master, or they
+    would not be so unconstrained in his presence. They would not
+    make snow balls, as one has done, and another is doing. Soon
+    they will begin to pelt each other, and the passers by will not
+    mind the snow balls, if they will only remember how they
+    themselves felt, and behaved, after coming out of school.</p>
+
+    <p>There is not much in a group of children coming out of
+    school. So one might say at first sight, but a little
+    reflection will show the fallacy of the remark. One would
+    naturally suppose that in every well-regulated State of
+    antiquity measures would have been taken to ensure the
+    education of all classes of the community, but such was not the
+    case. The Spartans under Lycurgus were educated, but their
+    education was mainly a physical one, and it did not reach the
+    lower orders. The education of Greece generally, even when the
+    Greek mind had attained its highest culture, was still largely
+    physical&mdash;philosophers, statesmen, and poets priding
+    themselves as much upon their athletic feats as upon their
+    intellectual endowments. The schools of Rome were private, and
+    were confined to the patricians. There was a change for the
+    better when Christianity became the established religion.
+    Public schools were recommended by a council in the sixth
+    century, but rather as a means of teaching the young the
+    rudiments of their faith, under the direction of the clergy,
+    than as a means of giving them general instruction. It was not
+    until the close of the twelfth century that a council ordained
+    the establishment of grammar schools in cathedrals for the
+    gratuitous instruction of the poor; and not until a century
+    later that the ordinance was carried into effect at Lyons.
+    Luther found time, amid his multitudinous labors, to interest
+    himself in popular education; and, in 1527, he drew up, with
+    the aid of Melanchthon, what is known as the Saxon School
+    System. The seed was sown, but the Thirty Years' War prevented
+    its coming to a speedy maturity. In the middle of the last
+    century several of the German States passed laws making it
+    compulsory upon parents to send their children to school at a
+    certain age; but these laws were not really obeyed until the
+    beginning of the present century. German schools are now open
+    to the poorest as well as the richest children. The only
+    people, except the Germans, who thought of common schools at an
+    early period are the Scotch.</p>
+
+    <p>It cost, we see, some centuries of mental blindness to
+    discover the need of, and some centuries of struggling to
+    establish schools.</p><span class="pagenum"><a name="page13"
+       id="page13"></a>[pg 13]</span>
+
+    <div class="figcenter"
+         style="width:70%;">
+        <a name="fig64"
+             id="fig64"><img width="100%"
+             src="images/64.jpg"
+             alt="THE BRIDGE OF SIGHS." /></a>
+
+        <h4><a name="sighs" id="sighs">THE BRIDGE OF SIGHS.</a></h4>
+    </div>
+
+    <h2><a name="venice"
+       id="venice"><i>A GLIMPSE OF VENICE.</i></a></h2>
+
+    <p>The spell which Venice has cast over the English poets is as
+    powerful, in its way, as was the influence of Italian
+    literature upon the early literature of England. From Chaucer
+    down, the poets have turned to Italy for inspiration, and, what
+    is still better, have found it. It is not too much to say that
+    the "Canterbury Tales" could not have existed, in their present
+    form, if Boccaccio had not written the "Decameron;" and it is
+    to Boccaccio we are told that the writers of his time were
+    indebted for their first knowledge of Homer. Wyatt and Surrey
+    transplanted what they could of grace from Petrarch into the
+    rough England of Henry the Eighth. We know what the early
+    dramatists owe to the Italian storytellers. They went to their
+    novels for the plots of their plays, as the novelists of to-day
+    go to the criminal calendar for the plots of their stories.
+    Shakspeare appears so familiar with Italian life that Mr.
+    Charles Armitage Brown, the author of a very curious work on
+    Shakspeare's Sonnets, declares that he must have visited Italy,
+    basing this conclusion on the minute knowledge of certain
+    Italian localities shown in some of his later plays. At home in
+    Verona, Milan, Mantua, and Padua, Shakspeare is nowhere so much
+    so as in Venice.</p>
+
+    <p>It is impossible to think of Venice without remembering the
+    poets; and the poet who is first remembered is Byron. If our
+    thoughts are touched with gravity as they should be when we
+    dwell upon the sombre aspects of Venice&mdash;when we look, as
+    here, for example, on the Bridge of Sighs&mdash;we find
+    ourselves repeating:</p>
+
+    <blockquote>
+        <p>"I stood in Venice, on the Bridge of Sighs."</p>
+    </blockquote>
+
+    <p>If we are in a gayer mood, as we are likely to be after
+    looking at the brilliant carnival-scene which greets us at the
+    threshold of the present number of <i>THE ALDINE</i>, we recall
+    the opening passages of Byron's merry poem of "Beppo:"</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"Of all the places where the Carnival</p>
+
+            <p class="i2">Was most facetious in the days of
+            yore,</p>
+
+            <p>For dance, and song, and serenade, and ball,</p>
+
+            <p class="i2">And masque, and mime, and mystery, and
+            more</p>
+
+            <p>Than I have time to tell now, or at all,</p>
+
+            <p class="i2">Venice the bell from every city
+            bore."</p>
+        </div>
+
+        <div class="stanza">
+            <hr class="short" />
+        </div>
+
+        <div class="stanza">
+            <p>"And there are dresses splendid, but
+            fantastical,</p>
+
+            <p class="i2">Masks of all times, and nations, Turks
+            and Jews,</p>
+
+            <p>And harlequins and clowns, with feats
+            gymnastical,</p>
+
+            <p class="i2">Greeks, Romans, Yankee-doodles, and
+            Hindoos</p>
+
+            <p>All kinds of dress, except the ecclesiastical,</p>
+
+            <p class="i2">All people, as their fancies hit, may
+            choose,</p>
+
+            <p>But no one in these parts may quiz the clergy,</p>
+
+            <p>Therefore take heed, ye Freethinkers! I charge
+            ye."</p>
+        </div>
+    </div>
+
+    <p>The Bridge of Sighs (to return to prose) is a long covered
+    gallery, leading from the ducal palace to the old State prisons
+    of Venice. It was frequently traversed, we may be sure, in the
+    days of some of the Doges, to one of whom, our old friend, and
+    Byron's&mdash;Marino Faliero&mdash;the erection of the ducal
+    palace is sometimes falsely ascribed. Founded in the year 800,
+    A.D., the ducal palace was afterwards destroyed five times, and
+    each time arose from its ruins with increasing splendor until
+    it became, what it is now, a stately marble building of the
+    Saracenic style of architecture, with a grand staircase and
+    noble halls, adorned with pictures by Titian, Tintoretto, Paul
+    Veronese, and other famous masters.</p>
+
+    <p>It would be difficult to find gloomier dungeons, even in the
+    worst strongholds of despotism, than those in which the State
+    prisoners of Venice were confined. These "pozzi," or wells,
+    were sunk in the thick walls, under the flooring of the chamber
+    at the foot of the Bridge of Sighs. There were twelve of them
+    formerly, and they ran down three or four stories. The Venetian
+    of old time abhorred them as deeply as his descendants, who, on
+    the first arrival of the conquering French, attempted to block
+    or break up the lowest of them, but were not entirely
+    successful; for, when Byron was in Venice, it was not uncommon
+    for adventurous tourists to descend by a trap-door, and crawl
+    through holes, half choked by rubbish, to the depth of two
+    stories below the first range. So says the writer of the
+    <i>Notes</i> to the fourth canto of "Childe Harolde" (Byron's
+    friend Hobhouse, if our memory serves), who adds, "If you are
+    in want of consolation for the extinction of patrician power,
+    perhaps you may find it there. Scarcely a ray of light glimmers
+    into the narrow gallery which leads to the cells, and the
+    places of confinement themselves are totally dark. A little
+    hole in the wall admitted the damp air of the passages, and
+    served for the introduction of the prisoner's food. A wooden
+    pallet, about a foot or so from the ground, was the only
+    furniture. The conductors tell you a light was not allowed. The
+    cells are about five paces in length, two and a half in width,
+    and seven feet in height. They are directly beneath one
+    another, and respiration is somewhat difficult in the lower
+    holes. Only one prisoner was found when the Republicans
+    descended into these hideous recesses, and he is said to have
+    been confined sixteen years." When the prisoner's hour came he
+    was taken out and strangled in a cell upon the Bridge of
+    Sighs!</p>
+
+    <p>And this was in Venice! The grand old Republic which was
+    once the greatest Power of Eastern Europe; the home of great
+    artists and architects, renowned the world over for arts and
+    arms; the Venice of "blind old Dandolo," who led her galleys to
+    victory at the ripe old age of eighty; the Venice of Doge
+    Foscari, whose son she tortured, imprisoned and murdered, and
+    whose own paternal, patriotic, great heart she broke; the
+    Venice of gay gallants, and noble, beautiful ladies; the Venice
+    of mumming, masking, and the carnival; the bright, beautiful
+    Venice of Shakspeare, Otway, and Byron; joyous, loving Venice;
+    cruel, fatal Venice!</p>
+    <hr />
+
+    <p>MODERN SATIRE.&mdash;A satire on everything is a satire on
+    nothing; it is mere absurdity. All contempt, all disrespect,
+    implies something respected, as a standard to which it is
+    referred; just as every valley implies a hill. The
+    <i>persiflage</i> of the French and of fashionable worldlings,
+    which turns into ridicule the exceptions and yet abjures the
+    rules, is like Trinculo's government&mdash;its latter end
+    forgets its beginning. Can there be a more mortal, poisonous
+    consumption and asphyxy of the mind than this decline and
+    extinction of all reverence?&mdash;<i>Jean
+    Paul</i>.</p><span class="pagenum"><a name="page14"
+       id="page14"></a>[pg 14]</span> <br />
+
+
+    <h2><a name="winter"
+       id="winter"><i>WINTER PICTURES FROM THE POETS.</i></a></h2>
+
+    <p>Although English Poetry abounds with pictures of the
+    seasons, its Winter pictures are neither numerous, nor among
+    its best. For one good snow-piece we can readily find twenty
+    delicate Spring pictures&mdash;twinkling with morning dew, and
+    odorous with the perfume of early flowers. It would be easy to
+    make a large gallery of Summer pictures; and another gallery,
+    equally large, which should contain only the misty skies, the
+    dark clouds, and the falling leaves of Autumn. Not so with
+    Winter scenes. Not that the English poets have not painted the
+    last, and painted them finely, but that as a rule they have not
+    taken kindly to the work. They prefer to do what Keats did in
+    one of his poems, viz., make Winter a point of departure from
+    which Fancy shall wing her way to brighter days:</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"Fancy, high-commissioned; send her!</p>
+
+            <p>She has vassals to attend her,</p>
+
+            <p>She will bring, in spite of frost,</p>
+
+            <p>Beauties that the earth hath lost,</p>
+
+            <p>She will bring thee, all together,</p>
+
+            <p>All delights of summer weather."</p>
+        </div>
+    </div>
+
+    <p>But we must not let Keats come between us and the few among
+    his fellows who have sung of Winter for us. Above all, we must
+    not let him keep his and our master, Shakspeare, waiting:</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"When icicles hang by the wall,</p>
+
+            <p class="i2">And Dick the shepherd blows his nail,</p>
+
+            <p>And Tom bears logs into the hall,</p>
+
+            <p class="i2">And milk comes frozen home in pail,</p>
+
+            <p>When blood is nipped, and ways be foul,</p>
+
+            <p>Then nightly sings the staring owl,</p>
+
+            <p class="i10">To-whoo;</p>
+
+            <p>To-whit, to-whoo, a merry note,</p>
+
+            <p>While greasy Joan doth keel the pot.</p>
+        </div>
+
+        <div class="stanza">
+            <p>"When all aloud the wind doth blow,</p>
+
+            <p class="i2">And coughing drowns the parson's saw,</p>
+
+            <p>And birds sit brooding in the snow,</p>
+
+            <p class="i2">And Marian's nose looks red and raw.</p>
+
+            <p>When roasted crabs hiss in the bowl,</p>
+
+            <p>Then nightly sings the staring owl,</p>
+
+            <p class="i10">To-whoo;</p>
+
+            <p>To-whit, to-whoo, a merry note,</p>
+
+            <p>While greasy Joan doth keel the pot."</p>
+        </div>
+    </div>
+
+    <p>From Shakspeare to Thomson is something of a descent, but we
+    must make it before we can find any Winter poetry worth
+    quoting. Here is a picture, ready-made, for Landseer to put
+    into form and color:</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"There, warm together pressed, the trooping deer</p>
+
+            <p>Sleep on the new-fallen snows; and scarce his
+            head</p>
+
+            <p>Raised o'er the heapy wreath, the branching elk</p>
+
+            <p>Lies slumbering sullen in the white abyss.</p>
+
+            <p>The ruthless hunter wants nor dogs nor toils,</p>
+
+            <p>Nor with the dread of sounding bows he drives</p>
+
+            <p>The fearful flying race: with ponderous clubs,</p>
+
+            <p>As weak against the mountain-heaps they push</p>
+
+            <p>Their beating breast in vain, and piteous bray,</p>
+
+            <p>He lays them quivering on the ensanguined snows,</p>
+
+            <p>And with loud shouts rejoicing bears them home."</p>
+        </div>
+    </div>
+
+    <p>Cowper is superior to Thomson as a painter of Winter,
+    although it is doubtful whether he was by nature the better
+    poet. Here is one of his pictures:</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"The cattle mourn in corners, where the fence</p>
+
+            <p>Screens them, and seem half petrified with sleep</p>
+
+            <p>In unrecumbent sadness. There they wait</p>
+
+            <p>Their wonted fodder; not like hungering man,</p>
+
+            <p>Fretful if unsupplied; but silent, meek,</p>
+
+            <p>And patient of the slow-paced swain's delay.</p>
+
+            <p>He, from the stack, carves out the accustomed
+            load,</p>
+
+            <p>Deep plunging, and again deep plunging oft,</p>
+
+            <p>The broad keen knife into the solid mass:</p>
+
+            <p>Smooth as a wall, the upright remnant stands,</p>
+
+            <p>With such undeviating and even force</p>
+
+            <p>He severs it away: no needless care,</p>
+
+            <p>Lest storms should overset the leaning pile</p>
+
+            <p>Deciduous, or its own unbalanced weight.</p>
+
+            <p>Forth goes the woodman, leaving, unconcerned,</p>
+
+            <p>The cheerful haunts of man, to wield the axe</p>
+
+            <p>And drive the wedge in yonder forest drear,</p>
+
+            <p>From morn to eve his solitary task.</p>
+
+            <p>Shaggy, and lean, and shrewd, with pointed ears</p>
+
+            <p>And tail cropped short, half lurcher and half
+            cur,</p>
+
+            <p>His dog attends him. Close behind his heel</p>
+
+            <p>Now creeps he slow; and now, with many a frisk,</p>
+
+            <p>Wide scampering, snatches up the drifted snow</p>
+
+            <p>With ivory teeth, or ploughs it with his snout;</p>
+
+            <p>Then shakes his powdered coat, and barks for
+            joy.</p>
+
+            <p>Heedless of all his pranks, the sturdy churl</p>
+
+            <p>Moves right toward the mark; nor stops for
+            aught,</p>
+
+            <p>But now and then, with pressure of his thumb</p>
+
+            <p>To adjust the fragrant charge of a short tube</p>
+
+            <p>That fumes beneath his nose: the trailing cloud</p>
+
+            <p>Streams far behind him, scenting all the air.</p>
+
+            <p>Now from the roost, or from the neighboring
+            pale,</p>
+
+            <p>Where, diligent to cast the first faint gleam</p>
+
+            <p>Of smiling day, they gossiped side by side,</p>
+
+            <p>Come trooping at the housewife's well-known call</p>
+
+            <p>The feathered tribes domestic. Half on wing,</p>
+
+            <p>And half on foot, they brush the fleecy flood,</p>
+
+            <p>Conscious and fearful of too deep a plunge.</p>
+
+            <p>The sparrows peep, and quit the sheltering
+            eaves,</p>
+
+            <p>To seize the fair occasion; well they eye</p>
+
+            <p>The scattered grain, and thievishly resolved</p>
+
+            <p>To escape the impending famine, often scared</p>
+
+            <p>As oft return, a pert voracious kind.</p>
+
+            <p>Clean riddance quickly made, one only care</p>
+
+            <p>Remains to each, the search of sunny nook,</p>
+
+            <p>Or shed impervious to the blast. Resigned</p>
+
+            <p>To sad necessity, the cock foregoes</p>
+
+            <p>His wonted strut; and, wading at their head,</p>
+
+            <p>With well-considered steps, seems to resent</p>
+
+            <p>His altered gait and stateliness retrenched."</p>
+        </div>
+    </div>
+
+    <p>The American poets have excelled their English brethren in
+    painting the outward aspects of Winter. Here is Mr. Emerson's
+    description of a snow storm:</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"Announced by all the trumpets of the sky</p>
+
+            <p>Arrives the snow, and, driving o'er the fields,</p>
+
+            <p>Seems nowhere to alight: the whited air</p>
+
+            <p>Hides hills and woods, the river, and the
+            heaven,</p>
+
+            <p>And veils the farm-house at the garden's end.</p>
+
+            <p>The sled and traveler stopped, the courier's
+            feet</p>
+
+            <p>Delayed, all friends shut out, the housemates
+            sit</p>
+
+            <p>Around the radiant fire-place, enclosed</p>
+
+            <p>In a tumultuous privacy of storm.</p>
+
+            <p class="i2">Come see the north wind's masonry.</p>
+
+            <p>Out of an unseen quarry evermore</p>
+
+            <p>Furnished with tile, the fierce artificer</p>
+
+            <p>Curves his white bastions with projected roof</p>
+
+            <p>Round every windward stake, or tree, or door.</p>
+
+            <p>Speeding, the myriad-handed, his wild work</p>
+
+            <p>So fanciful, so savage, nought cares he</p>
+
+            <p>For number or proportion. Mockingly</p>
+
+            <p>On coop or kennel he hangs Parian wreaths;</p>
+
+            <p>A swan-like form invests the hidden thorn:</p>
+
+            <p>Fills up the farmer's lane from wall to wall,</p>
+
+            <p>Maugre the farmer's sighs, and at the gate</p>
+
+            <p>A tapering turret overtops the work.</p>
+
+            <p>And when his hours are numbered, and the world</p>
+
+            <p>Is all his own, retiring, as he were not,</p>
+
+            <p>Leaves, when the sun appears, astonished Art</p>
+
+            <p>To mimic in slow structures, stone by stone,</p>
+
+            <p>Built in an age, the mad wind's night-work,</p>
+
+            <p>The frolic architecture of the snow."</p>
+        </div>
+    </div>
+
+    <p>In Mr. Bryant's "Winter Piece" we have a brilliant
+    description of frost-work:</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p class="i10">"Look! the massy trunks</p>
+
+            <p>Are cased in the pure crystal; each light spray</p>
+
+            <p>Nodding and tinkling in the breath of heaven,</p>
+
+            <p>Is studded with its trembling water-drops,</p>
+
+            <p>That glimmer with an amethystine light.</p>
+
+            <p>But round the parent stem the long low boughs</p>
+
+            <p>Bend, in a glittering ring, and arbors hide</p>
+
+            <p>The glassy floor. Oh! you might deem the spot</p>
+
+            <p>The spacious cavern of some virgin mine,</p>
+
+            <p>Deep in the womb of earth&mdash;where the gems
+            grow,</p>
+
+            <p>And diamonds put forth radiant rods and bud</p>
+
+            <p>With amethyst and topaz&mdash;and the place</p>
+
+            <p>Lit up, most royally, with the pure beam</p>
+
+            <p>That dwells in them. Or haply the vast hall</p>
+
+            <p>Of fairy palace, that outlasts the night,</p>
+
+            <p>And fades not in the glory of the sun;&mdash;</p>
+
+            <p>Where crystal columns send forth slender shafts</p>
+
+            <p>And crossing arches; and fantastic aisles</p>
+
+            <p>Wind from the sight in brightness, and are lost,</p>
+
+            <p>Among the crowded pillars. Raise thine eye;</p>
+
+            <p>Thou seest no cavern roof, no palace vault;</p>
+
+            <p>There the blue sky and the white drifting cloud</p>
+
+            <p>Look in. Again the wildered fancy dreams</p>
+
+            <p>Of spouting fountains, frozen as they rose,</p>
+
+            <p>And fixed, with all their branching jets, in
+            air,</p>
+
+            <p>And all their sluices sealed. All, all is light;</p>
+
+            <p>Light without shade. But all shall pass away</p>
+
+            <p>With the next sun. From numberless vast trunks,</p>
+
+            <p>Loosened, the crashing ice shall make a sound</p>
+
+            <p>Like the far roar of rivers, and the eve</p>
+
+            <p>Shall close o'er the brown woods as it was
+            wont."</p>
+        </div>
+    </div>
+
+    <p>Winter, itself, has never been more happily impersonated
+    than by dear old Spenser. We meant to close with his portrait
+    of Winter, but, on second thoughts, we give, as more
+    seasonable, his description of January. The fourth line can
+    hardly fail to remind the reader of the second line of
+    Shakspeare's song, and to suggest the query&mdash;whether
+    Shakspeare borrowed from Spenser, Spenser from Shakspeare, or
+    both from Nature?</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"Then came old January, wrapped well</p>
+
+            <p>In many weeds to keep the cold away;</p>
+
+            <p>Yet did he quake and quiver like to quell,</p>
+
+            <p>And blow his nayles to warme them if he may;</p>
+
+            <p>For they were numbed with holding all the day</p>
+
+            <p>An hatchet keene, with which he felled wood</p>
+
+            <p>And from the trees did lop the needlesse spray:</p>
+
+            <p>Upon an huge great earth-pot steane he stood,</p>
+
+            <p>From whose wide mouth there flowed forth the Romane
+            floud."</p>
+        </div>
+    </div>
+    <hr class="short" />
+
+    <p>As long as you are engaged in the world, you must comply
+    with its maxims; because nothing is more unprofitable than the
+    wisdom of those persons who set up for reformers of the age.
+    'Tis a part a man can not act long, without offending his
+    friends, and rendering himself ridiculous.&mdash;<i>St.
+    Gosemond</i>.</p><br />
+
+
+    <h2><a name="pavilions"
+       id="pavilions"><i>THE PAVILIONS ON THE LAKE.</i></a></h2>
+
+    <h3>From the French of Theophile Gautier.</h3>
+
+    <p>In the province of Canton, several miles from the city,
+    there once lived two rich Chinese merchants, retired from
+    business. One of them was named Tou, the other Kouan. Both were
+    possessed of great riches, and were persons of much consequence
+    in the community.</p>
+
+    <p>Tou and Kouan were distant relatives, and from early youth
+    had lived and worked side by side. Bound by ties of great
+    affection, they had built their homes near together, and every
+    evening they met with a few select friends to pass the hours in
+    delightful intercourse. Both possessed of much talent, they
+    vied with each other in the production of exquisite Chinese
+    handiwork, and spent the evenings in tracing poetry and fancy
+    designs on rice-paper as they drank each other's success in
+    tiny glasses of delicate cordial. But their characters,
+    apparently so harmonious, as time went on grew more and more
+    apart; they were like an almond tree, growing as one stem,
+    until little by little the branches divide so that the topmost
+    twigs are far from each other&mdash;half sending their bitter
+    perfume through the whole garden, while the other half scatter
+    their snow-white flowers outside the garden wall.</p>
+
+    <p>From year to year Tou grew more serious; his figure
+    increased in dignity, even his double chin wore a solemn
+    expression, and he spent his whole time composing moral
+    inscriptions to hang over the doors of his pavilion.</p>
+
+    <p>Kouan, on the contrary, grew jolly as his years increased.
+    He sang more gaily than ever in praise of wine, flowers, and
+    birds. His spirit, unburdened by vulgar cares, was light like a
+    young man's, and he dreamed of nothing but pure enjoyment.</p>
+
+    <p>Little by little an intense hatred sprang up between the
+    friends. They could not meet without indulging in bitter
+    sarcasm. They were like two hedges of brambles, bristling with
+    sharp thorns. At last, things came to such a pass that they
+    could no longer endure each other's society, and each hung a
+    tablet by the door of his dwelling, stating that no person from
+    the neighboring house would be allowed to cross the threshold
+    on any pretext whatever.</p>
+
+    <p>They would have been glad to move their houses to different
+    parts of the country, but, unhappily, this was not possible.
+    Tou even tried to sell his property but he set such an
+    unreasonable price that no buyer appeared, and he was,
+    moreover, unwilling to leave all the treasures he had
+    accumulated there&mdash;the sculptured wainscotting, the
+    polished panels, like mirrors, the transparent windows, the
+    gilded lattice-work, the bamboo lounges, the vases of rare
+    porcelain, the red and black lacquered cabinets, and the cases
+    full of books of ancient poetry. It was hard to give up to
+    strangers the garden where he had planted shade and fruit trees
+    with his own hands, and where, each spring he had watched the
+    opening of the flowers; where in short, each object was bound
+    to his heart by ties delicate as the finest silk, but strong as
+    iron chains.</p>
+
+    <p>In the days of their friendship, Tou and Kouan had each
+    built a pavilion in his garden, on the shore of a lake, common
+    to both estates. It had been a great delight to sit in their
+    separate balconies and exchange friendly salutations while they
+    smoked opium in pipes of delicate porcelain. But after becoming
+    enemies they built a wall which divided the lake into two equal
+    portions. The water was so deep that the wall was supported on
+    a series of arches, through which the water flowed freely,
+    reflecting upon its placid surface the rival pavilions.</p>
+
+    <p>These pavilions were exquisite specimens of Chinese
+    architecture. The roofs, covered with tiling, round and
+    brilliant as the scales which glisten on the sides of a
+    gold-fish, were supported upon red and black pillars which
+    rested on a solid foundation, richly ornamented with porcelain
+    slabs bearing all manner of artistic designs. A railing ran all
+    around, formed by a graceful intermingling of branches and
+    flowers wrought in ivory. The interior was not less sumptuous.
+    On the walls were inscribed verses of celebrated Chinese poems,
+    elegantly written in perpendicular lines, with golden
+    characters on a lacquered background. Shades of delicately
+    carved ivory, softened the light to a faint opal tint, and all
+    around stood pots of orchis, peonies, and daisies, which filled
+    the air with delicious perfume. Curtains of rich silk were
+    draped over the entrance, and on the marble tables within were
+    scattered fans, tooth-picks, ebony pipes, and pencils with all
+    conveniences for writing.</p>
+
+    <p>All around the pavilions were picturesque grounds
+    <span class="pagenum"><a name="page15"
+       id="page15"></a>[pg 15]</span> of rock, among whose clefts
+       grew clumps of willows, their long green twigs swaying on
+       the surface of the water. Under the crystal waves sported
+       myriads of gold-fish, and ducks with gay plumage floated
+       among the broad, shining leaves of water-lilies. Except in
+       the very centre of the pool, where the depth of the water
+       prevented the growth of aquatic plants, the whole surface
+       was covered with these leaves, like a carpet of soft green
+       velvet.</p>
+
+    <p>Before the unsightly wall had been placed there by the
+    hostile owners, it was impossible to find a more picturesque
+    spot in the whole empire, and even now no philosopher would
+    have wished for a more retired and delicious retreat in which
+    to pass his days.</p>
+
+    <p>Both Tou and Kouan felt deeply the loss of the enchanting
+    prospect, and gazed sadly upon the barren wall which rose
+    before their eyes, but each consoled himself with the idea that
+    his neighbor was as badly off as himself.</p>
+
+    <p>Things went on in this way for several years. Grass and
+    weeds choked up the pathway between the two houses, and
+    brambles and branches of low shrubs intertwined across it, as
+    though they would bar all communication forever. It appeared as
+    if the plants understood the quarrel between the two old
+    friends, and took delight in perpetuating it.</p>
+
+    <p>Meanwhile the wives of both Tou and Kouan were both blessed
+    each with a child. Madame Tou became the mother of a charming
+    girl, and Madame Kouan of the handsomest boy in the world. Each
+    family was ignorant of the happy event which had brought joy
+    into the home of the other, for although their houses were so
+    near together the families were as far apart as if they had
+    been separated by the great wall of the empire, or the ocean
+    itself. What mutual friends they still possessed, never alluded
+    to the affairs of one in the house of the other; even the
+    servants had been forbidden to exchange words with each other,
+    under pain of death.</p>
+
+    <p>The boy was named Tchin-Sing, and the girl Ju-Kiouan, that
+    is to say, Jasper and Pearl. Their perfect beauty fully
+    justified the choice of their names. As they grew old enough to
+    take notice of their surroundings, the unsightly wall attracted
+    their attention, and each inquired of their parents why that
+    strange barrier was placed across the centre of such a charming
+    sheet of water, and to whom belonged the great trees of which
+    they could see the topmost boughs.</p>
+
+    <p>Each was told that on the farther side of the wall was the
+    habitation of a strange and wicked family, and that it had been
+    placed there as a protection against such disagreeable
+    neighbors.</p>
+
+    <p>This explanation was sufficient for the children. They grew
+    accustomed to the sight and thought no more about it.</p>
+
+    <p>Ju-Kiouan grew in grace and beauty. She was skilled in all
+    lady-like accomplishments. The butterflies which she
+    embroidered upon satin appeared to live and beat their wings,
+    and one could almost hear the song of the birds which grew
+    under her fingers, and smell the perfume of the flowers she
+    wrought upon canvas. She knew the "Book of Odes" by heart, and
+    could repeat the five rules of life without missing a word. Her
+    handwriting was perfection, and she composed in all the
+    different styles of Chinese poetry. Her poems were upon all
+    those delicate themes which would attract the mind of a pure
+    young girl; upon the return of the swallows, the daisies, the
+    weeping willows and similar topics, and were of such merit as
+    to win much praise from the wise men of the country.</p>
+
+    <p>Tchin-Sing was not less forward in his accomplishments, and
+    his name stood at the head of his class. Although he was very
+    young he had already gained the right to wear the black cap of
+    the wise men, and all the mothers in the country about wished
+    him for a son-in-law. But Tchin-Sing had but one answer to all
+    proposals; it was too soon, and he desired his liberty for some
+    time to come. He refused the hand of Hon-Giu, of Oma, and other
+    beautiful young girls. Never was a young man more courted and
+    more overwhelmed with sweets and flowers than he, but his heart
+    remained insensible to all attractions. Not on account of its
+    coldness, for he appeared full of longing for an object to
+    adore. His heart seemed fixed upon some memory, some dream,
+    perhaps, for whose realization he was waiting and hoping. It
+    was all in vain to tell him of beautiful tresses, languishing
+    eyes, and soft hands waiting for his acceptance. He listened
+    with a distracted air, as if thinking of other things.</p>
+
+    <p>Ju-Kiouan was not less difficult to please. She refused all
+    suitors for her hand. This did not salute her gracefully, that
+    was not dainty in his habits; one had a bad handwriting,
+    another composed poor verses; in short all had some defect. She
+    drew amusing caricatures of everyone, which made her parents
+    laugh, and show the door to the unlucky lover in the most
+    polite manner possible.</p>
+
+    <p>At last the parents of both young people became alarmed at
+    the continued refusal of their children to marry, and the
+    mothers commenced to follow the subject in their dreams. One
+    night Madame Kouan dreamed that she saw a pearl of wonderful
+    purity reposing on the breast of her son. On the other hand,
+    Madame Tou dreamed that on her daughter's forehead sparkled a
+    jasper of inestimable value. Much consultation was held as to
+    the significance of these dreams. Madame Kouan's was thought to
+    imply that her son would win the highest honors of the Imperial
+    Academy, while Madame Tou's might signify that her daughter
+    would find some untold treasure in the garden. These
+    interpretations, however, did not satisfy the two mothers,
+    whose whole minds were bent upon the happy marriage of their
+    children. Unfortunately both Tchin-Sing and Ju-Kiouan persisted
+    more obstinately than ever in their refusal to listen to the
+    subject.</p>
+
+    <p>As young people are not usually so averse to marriage, the
+    parents suspected some secret attachment, but a few days'
+    careful watching sufficed to prove that Tchin-Sing was paying
+    court to no young girl, and that no lover was to be seen under
+    the balcony of Ju-Kiouan.</p>
+
+    <p>At length both mothers decided to consult the bronze oracle
+    in the temple of Fo. After burning gilt paper and perfume
+    before the oracle, Madame Tou received the unsatisfactory
+    answer that, until the jasper appeared, the pearl would unite
+    with no one, and Madame Kouan was told the jasper would take
+    nothing to his bosom but the pearl. Both women went sadly
+    homeward in deeper perplexity than ever.</p>
+
+    <p>One day Ju-Kiouan was leaning pensively on the balcony of
+    her pavilion, precisely at the same time when Tchin-Sing was
+    standing by his. The day was clear as crystal, and not a cloud
+    floated in the blue space above. There was not sufficient wind
+    to move the lightest twigs of the willows, and the surface of
+    the water was glistening and placid as a mirror, only
+    disturbed, here and there, when some tiny gold-fish leaped for
+    an instant into the sunshine. The trees and grassy banks were
+    reflected so distinctly that it was impossible to tell where
+    the real world left off, and the land of dreams began.
+    Ju-Kiouan was amusing herself watching the beauteous
+    water-picture when her eyes fell upon that portion of the lake,
+    near the wall, where, with all the clearness of reality, was
+    the reflection of the pavilion on the opposite shore.</p>
+
+    <p>She had never noticed it before, and what was her surprise
+    to behold an exact reproduction of the one where she was
+    standing, the gilded roof, the red and black pillars, and all
+    the beauteous drapery about the doors. She would have been able
+    to read the inscription upon the tablets, had they not been
+    reversed. But what surprised her more than all was to see,
+    leaning on the balcony, a figure which, if it had not come from
+    the other side of the lake, she would have taken for her own
+    reflection. It was the mirrored image of Tchin-Sing. At first
+    she took it for the reflection of a girl, as he was dressed in
+    robes according to the fashion of the time. As the heat was
+    intense, he had thrown off his student's cap, and his hair fell
+    about his fresh, beardless face. But soon Ju-Kiouan recognized,
+    from the violent beating of her heart, that the reflection in
+    the water was not that of a young girl.</p>
+
+    <p>Until then she had believed that the earth contained no
+    being created for her, and had often indulged in pensive revery
+    over her loneliness. Never, said she, shall I take my place as
+    a link between the past and future of my family, but I shall
+    enter among the shadows as a lonely shade.</p>
+
+    <p>But when she beheld the reflection in the water, she found
+    that her beauty had a sister, or, more properly speaking, a
+    brother. Far from being displeased to discover that her beauty
+    was not unrivaled, she was filled with intense joy. Her heart
+    was beating and throbbing with love for another, and in that
+    instant Ju-Kiouan's whole life was changed. It was foolish in
+    her to fall violently in love with a reflection, of whose
+    reality she knew nothing, but after all she was only acting
+    like nearly all young girls who take a husband for his white
+    teeth or his curly hair, knowing nothing whatever of his real
+    character.</p>
+
+    <p>Tchin-Sing had also perceived the charming reflection of the
+    young girl. "I am dreaming," he cried. "That beautiful image
+    upon the water is the combination of sunshine and the perfume
+    of many flowers. I recognize it well. It is the reflection of
+    the image within my own heart, the divine unknown whom I have
+    worshiped all my life."</p>
+
+    <p>Tchin-Sing was aroused from his monologue by the voice of
+    his father, who called him to come at once to the grand
+    saloon.</p>
+
+    <p>"My son," said he, "here is a very rich and very learned man
+    who seeks you as a husband for his daughter. The young girl has
+    imperial blood in her veins, is of a rare beauty, and possesses
+    all the qualities necessary to make her husband happy."</p>
+
+    <p>Tchin-Sing, whose heart was bursting with love for the
+    reflection seen from the pavilion, refused decidedly. His
+    father, carried away with passion, heaped upon him the most
+    violent imprecations.</p>
+
+    <p>"Undutiful child," said he, "if you persist in your
+    obstinacy, I will have you confined in one of the strongest
+    fortresses of the empire, where you will see nothing but the
+    sea beating against the rocks, and the mountains covered with
+    mist. There you will have leisure to reflect, and repent of
+    your wicked conduct."</p>
+
+    <p>These threats did not frighten Tchin-Sing in the least. He
+    quickly replied that he would accept for his wife the first
+    maiden who touched his heart, and until then he should listen
+    to no one.</p>
+
+    <p>The next day, at the same hour, he went to the pavilion on
+    the lake, and, leaning on the balcony, eagerly watched for the
+    beloved reflection. In a few moments he saw it glisten in the
+    water, beauteous as a boquet of submerged flowers.</p>
+
+    <p>A radiant smile broke over the face of the reflection, which
+    proved to Tchin-Sing that his presence was not unpleasant to
+    the lovely unknown. But as it was impossible to hold
+    communication with a reflection whose substance is invisible,
+    he made a sign that he would write, and vanished into the
+    interior of the pavilion. He soon reappeared, bearing in his
+    hand a silvered paper, upon which he had written a declaration
+    of love in seven-syllabled stanzas. He carefully folded his
+    verses and placed them in the cup of a white flower, which he
+    rolled in a leaf of the water-lily, and placed the whole
+    tenderly upon the surface of the lake.</p>
+
+    <p>A light breeze wafted the lover's message through the arches
+    of the wall, and it floated so near Ju-Kiouan that she had only
+    to stretch out her hand to receive it. Fearful of being seen
+    she returned to her private boudoir, where she read with great
+    delight the expressions of love written by Tchin-Sing. Her joy
+    was all the greater, as she recognized from the exquisite
+    hand-writing and choice versification that the writer was a man
+    of culture and talent. And when she read his signature, the
+    significance of which she perceived at once, remembering her
+    mother's dream, she felt that heaven had sent her the long
+    desired companion.</p>
+
+    <p>The next day the breeze blew in a different direction, so
+    that Ju-Kiouan was able to send an answer in verse by the same
+    subtle messenger, by which, notwithstanding her girlish
+    modesty, it was easy to see that she returned the love of
+    Tchin-Sing.</p>
+
+    <p>On reading the signature, Tchin-Sing could not repress an
+    exclamation of surprise and delight. "The pearl," said he,
+    "that is the precious jewel my mother saw glittering on my
+    bosom. I must at once entreat this young girl's hand of her
+    parents, for she is the wife appointed for me by the
+    oracle."</p>
+
+    <p>As he was preparing to go, he suddenly remembered the
+    dislike between the two families, and the prohibitions
+    inscribed upon the tablet over the entrance. Determined to win
+    his prize at any cost, he resolved to confide the whole history
+    to his mother. Ju-Kiouan had also told her love to Madame Tou.
+    The names of Pearl and Jasper troubled the good matrons so much
+    that, not daring to set themselves against what appeared to be
+    the will of the gods, they both went again to the temple of
+    Fo.</p>
+
+    <p>The bronze oracle replied that this marriage was in reality
+    the true interpretation of the dreams, and that to prevent it
+    would be to incur the eternal anger of the gods. Touched by the
+    entreaties of the mothers, and also by slight mutual advances,
+    the two fathers gave way and consented to a reconciliation of
+    the families. The two old friends, on meeting each other again,
+    were astonished to find what frivolous causes had separated
+    them for so many years, and mourned sincerely over all the
+    pleasure they had lost in being deprived of each other's
+    society. The marriage of the children was celebrated with much
+    rejoicing, and the Jasper and the Pearl were no longer obliged
+    to hold intercourse by means of a reflection on the water. The
+    wall was removed, and the wavelets rippled placidly between the
+    two pavilions on the lake.</p>
+
+    <p class="author">&mdash;<i>H.S.
+    Conant.</i></p><span class="pagenum"><a name="page16"
+       id="page16"></a>[pg 16]</span>
+
+    <div class="figcenter"
+         style="width:90%;">
+        <a name="fig65"
+             id="fig65"><img width="100%"
+             src="images/65.jpg"
+             alt="IN THE MOUNTAINS." /></a>
+
+        <h4>IN THE MOUNTAINS.</h4>
+    </div>
+
+    <h2><a name="mountains"
+       id="mountains"><i>IN THE MOUNTAINS.</i></a></h2>
+
+    <p>A line of Walter Savage Landor's, a poet for poets, was an
+    especial favorite with Southey, and, we believe, with Lamb. It
+    occurs in "Gebir," and drops from the lips of one of its
+    characters, who, being suddenly shown the sea, exclaims,</p>
+
+    <blockquote>
+        <p>"Is this the mighty ocean?&mdash;is this all?"</p>
+    </blockquote>
+
+    <p>The feeling which underlies this line is generally the first
+    emotion we have when brought face to face with the stupendous
+    forms of Nature. It is the feeling inspired by mountains, the
+    first sight of which is disappointing. They are grand, but not
+    quite what we were led to expect from pictures and books, and,
+    still more, from our own imaginations. The more we see
+    mountains, the more they grow upon us, until, finally, they are
+    clothed with a grandeur not, in all cases, belonging to
+    them&mdash;our Mount Washingtons over-topping the Alps, and the
+    Alps the Himmalayas. The poets assist us in thus magnifying
+    them.</p>
+
+    <p>The American poets have translated the mountains of their
+    native land into excellent verse. Everybody remembers Mr.
+    Bryant's "Monument Mountain," for its touching story, and its
+    clearly-defined descriptions of scenery.</p>
+
+    <p>Mr. Stedman has a mountain of his own, though perhaps only
+    in Dream-land; and Mr. Bayard Taylor has a whole range of them,
+    the sight of which once filled him with rapture:</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"O deep, exulting freedom of the hills!</p>
+
+            <p class="i2">O summits vast, that to the climbing
+            view</p>
+
+            <p class="i2">In naked glory stand against the
+            blue!</p>
+
+            <p>O cold and buoyant air, whose crystal fills</p>
+
+            <p>Heaven's amethystine gaol! O speeding streams</p>
+
+            <p class="i2">That foam and thunder from the cliffs
+            below!</p>
+
+            <p class="i2">O slippery brinks and solitudes of
+            snow</p>
+
+            <p>And granite bleakness, where the vulture
+            screams!</p>
+
+            <p>O stormy pines, that wrestle with the breath</p>
+
+            <p class="i2">Of every tempest, sharp and icy horns</p>
+
+            <p class="i2">And hoary glaciers, sparkling in the
+            morns,</p>
+
+            <p>And broad dim wonders of the world beneath!</p>
+
+            <p>I summon ye, and mid the glare that fills</p>
+
+            <p>The noisy mart, my spirit walks the hills."</p>
+        </div>
+    </div>
+    <hr class="short" />
+
+    <p>GLADNESS OF NATURE.&mdash;Midnight&mdash;when asleep so
+    still and silent&mdash;seems inspired with the joyous spirit of
+    the owls in their revelry&mdash;and answers to their mirth and
+    merriment through all her clouds. The moping owl,
+    indeed!&mdash;the boding owl, forsooth! the melancholy owl, you
+    blockhead! why, they are the most cheerful, joy-portending, and
+    exulting of God's creatures. Their flow of animal spirits is
+    incessant&mdash;crowing cocks are a joke to them&mdash;blue
+    devils are to them unknown&mdash;not one hypochondriac in a
+    thousand barns&mdash;and the Man-in-the-Moon acknowledges that
+    he never heard one utter a complaint.</p><br />
+
+
+    <h2><a name="nooning"
+       id="nooning"><i>THE NOONING.</i></a></h2>
+
+    <p>Mr. Darley's very characteristic picture on the opposite
+    page needs no description, it so thoroughly explains itself,
+    and realizes his intention. The following lines from Mary
+    Howitt seem very appropriate to the sketch:</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"O golden fields of bending corn,</p>
+
+            <p class="i4">How beautiful they seem!</p>
+
+            <p>The reaper-folk, the piled up sheaves,</p>
+
+            <p class="i4">To me are like a dream;</p>
+
+            <p>The sunshine and the very air</p>
+
+            <p>Seem of old time, and take me there."</p>
+        </div>
+    </div><span class="pagenum"><a name="page19"
+       id="page19"></a>[pg 19]</span> <br />
+
+
+    <h2><a name="mandarin"
+       id="mandarin"><i>A MANDARIN.</i></a></h2>
+
+    <h3>From the French of Auguste Vitu.</h3>
+
+    <p>It was Saturday night, and the pavement sparkled with frost
+    diamonds under flashing lights and echoing steps in the opera
+    quarter. Tinkling carnival bells and wild singing resounded
+    from all the carriages dashing towards Rue Lepelletier; the
+    shops were only half shut, and Paris, wide awake, reveled in a
+    fairy-night frolic.</p>
+
+    <p>And yet, Felix d'Aubremel, one of the bright applauded
+    heroes of those orgies, seemed in no mood to answer their mad
+    challenge. Plunged in a deep armchair, hands drooping and feet
+    on the fender, he was sunk in sombre revery. An open book lay
+    near him, and a letter was flung, furiously crumpled, on the
+    floor.</p>
+
+    <p>An orphan at the age of twelve, Felix had watched his
+    mother's slow death through ten years of suffering. The Marquis
+    Gratien d'Aubremel, ruined by reckless dissipation, and driven
+    by necessity, rather than love, into a marriage with an English
+    heiress, Margaret Malden, deserted her, like the wretch he was,
+    as soon as the last of her dowry melted away. A common story
+    enough, and ending in as common a close. D'Aubremel sailed for
+    the Indies to retrieve his fortune, and met death there by
+    yellow fever. So that the sad lessons of Felix's family life
+    stimulated to excess his innate leaning towards
+    misanthropy&mdash;if that name may define a resistless urgency
+    of belief in the appearances of evil, linked with a doubt of
+    the reality of good. Probably, at heart, he believed himself
+    incapable of a bad action, but he would take no oath to such a
+    conviction, since by his theory every man must yield under
+    certain circumstances, attacking powerfully his personal
+    interest, while threatening slight danger of failure or
+    detection. This style of thought, set off by a fair share of
+    witty expression and ever-ready impertinence, gave Felix a kind
+    of ascendancy in his circle of intimates&mdash;but naturally it
+    gained him no friends. Common reputation grows out of words
+    rather than actions, and Felix suffered the just penalty of his
+    sceptical fancies. They cost him more than they were worth, as
+    he had just learned by sad experience.</p>
+
+    <p>He had chanced to make the acquaintance of a rich
+    manufacturer, Montmorot by name, whose daughter Ernestine was
+    pleased with the devotion of a charming young fellow, who
+    mingled the rather reckless grace of French cleverness with a
+    reserved style and refined pride gained from the English blood
+    of the Maldens. For his part, Felix really loved the girl, and
+    had let his impatience, that very day, carry him into a step
+    that failed to move the elder Montmorot's inflexibility. He
+    refused absolutely to give his daughter to a man without
+    fortune or prospects. Felix was crushed, his hopes all
+    shattered at a blow, by this answer, though he had a thousand
+    reasons to expect it. And at what a moment! A half-unfolded red
+    ticket, stuffed with disgusting threats, peeped out from
+    between the wall and his sofa. The officers of justice had paid
+    him a little visit. He got into a passion with himself.</p>
+
+    <p>"Pshaw," he cried, "confound all scruples! If I had been
+    less in love I should be Ernestine's husband now. With a pretty
+    wife, one I am so fond of, too, I should have fortune,
+    position, and the luxury indispensable to my life&mdash;now, I
+    don't know where to lay my head to-morrow. To-morrow, at ten
+    o'clock, the sheriff will seize everything&mdash;everything,
+    from that Troyou sketch to that china monster, nodding his
+    frightful sneering head at me. They will carry off this casket
+    that was my father's&mdash;this locket, with the hair
+    of&mdash;of&mdash;what the deuce was her name? Poor girl! how
+    she loved me! And now all that is left of her
+    vanishes&mdash;even her name!</p>
+
+    <p>"What, nothing? no hope? Not even one of those silly
+    impulses that used to drive me out into the streets when
+    everybody else was abed, with the firm conviction that at some
+    crossing, in some gutter, some unknown deity must have dropped
+    a fat pocket-book, on purpose for me! I believed in something,
+    then&mdash;even in lost pocket-books. And now, now! I would
+    commit no such follies as that, but I believe I could be guilty
+    of even worse things, if crime, common, low, contemptible,
+    shameful crime, were not forbidden to the son of the Marquis
+    d'Aubremel and Margaret Malden.</p>
+
+    <p>"Oh, great genius!" he went on, taking up the open book near
+    him, "great philosopher, called a sophist by the
+    ignorant&mdash;how deep a truth you uttered in writing these
+    lines, that I never read over without a shudder: 'Imagine a
+    Chinese mandarin, living in a fabulous country three thousand
+    leagues away, whom you have never seen and shall never
+    see&mdash;imagine, moreover, that the death of this mandarin,
+    this man, almost a myth, would make you a millionaire, and that
+    you have but to lift your finger, at home, in France, to bring
+    about his death, without the possibility of ever being called
+    to account for it by any one; say, what would you do?'</p>
+
+    <p>"That fearful passage must have made many men
+    dream&mdash;and does not Bianchon, that great materialist, so
+    well painted by Balzac, confess that he has got as far as his
+    thirty-third mandarin? What a St. Bartholomew of mandarins, if
+    my philosopher's supposition could grow into a truth!"</p>
+
+    <p>Felix ceased his soliloquy, and bent his head to let the
+    storm raised in his soul by the atheist philosopher pass over.
+    His bad instincts, aroused, spoke louder at that instant than
+    reason, louder than reality. His glance fell on the
+    chimney-piece, where a porcelain figure, the grotesque <i>chef
+    d'oeuvre</i> of some great Chinese artist, leered at him with
+    its everlasting grin. The young man smiled. "Perhaps that is
+    the likeness of a mandarin&mdash;bulbous nose, hanging cheeks,
+    moustaches drooping like plumes, a peaked head, knotty
+    hands&mdash;a regular deformity. Reflecting on the ugliness of
+    that idiotic race, there is much to be urged by way of excuse
+    for people who kill mandarins."</p>
+
+    <p>Some persistent thought evidently haunted Felix's mind.
+    Again he drove it off, and again it beset him.</p>
+
+    <p>"Pshaw!" he exclaimed, after a last brief struggle, "I am
+    alone, and out of sorts. I will amuse myself with a carnival
+    freak, a mere theoretic and philosophic piece of nonsense. I
+    have tried many worse ones. It wants a quarter to twelve. I
+    give myself fifteen minutes to study my spells. Let me see,
+    what mandarin shall I murder? I don't know any, and I have no
+    peerage list of the Flowery Empire. Let me try the
+    newspapers."</p>
+
+    <p>It was in the height of the English war with China. On the
+    seventh column of the paper our hero found a proclamation
+    signed by the imperial commissioners, Lin, Lou, Lun, and
+    Li.</p>
+
+    <p>"Here goes for Li," he said to himself. "He is likely to be
+    the youngest."</p>
+
+    <p>The clock began to strike, announcing the hour. Felix placed
+    himself solemnly before the mirror, and said aloud, in a grave
+    tone: "If the death of Mandarin Li will make me rich and
+    powerful, whatever may come of it, I vote for the death of
+    Mandarin Li." He lifted his finger&mdash;at that instant the
+    porcelain figure rocked on its base, and fell in fragments at
+    Felix's feet. The glass reflected his startled face. He
+    thrilled for an instant with superstitious terror, but
+    recollecting that his finger had touched the fragile figure, he
+    accounted for it as an accident, and went to bed and to such
+    repose as a debtor can enjoy with an execution hanging over his
+    head.</p>
+
+    <p>Masks and dominos made the street merry under his window.
+    The opera ball was unusually brilliant, experts said, and
+    nothing made the Parisians aware that on the night of January
+    12th, 1840, Felix d'Aubremel had passed sentence of death on
+    Chinaman Li, son of Mung, son of Tseu, a literate mandarin of
+    the 114th class.</p>
+
+    <p>Nine months later Felix d'Aubremel was living in furnished
+    lodgings in an alley off the Rue St. Pierre, and living by
+    borrowing. The gentlemanly sceptic owed his landlady a good
+    deal of money; his clothes were aged past wearing, and his
+    tailor had long ago broken off all relations with him. The
+    Marquis d'Aubremel was within a hairsbreadth of that utterly
+    crushed state that ends in madness, or in suicide&mdash;which
+    is only a variety of madness.</p>
+
+    <p>One morning while sitting in the glass cage that leads to
+    the staircase of every lodging-house, waiting to beg another
+    respite from his landlady, he took up a newspaper, and the
+    following notice was lucky enough to catch his attention.</p>
+
+    <p>"Chiusang, 12th January, 1840. Hostilities have broken out
+    between England and the Celestial Empire. The sudden and
+    inexplicable death of Mandarin Li, the only member of the
+    council who opposed the violent and warlike projects of Lin,
+    led to unfortunate events. At the first attack the Chinese
+    fled, with the basest want of pluck, but in their retreat they
+    murdered several English merchants, and among them an old
+    resident, Richard Maiden, who leaves an estate of half a
+    million sterling. The heirs of the deceased are requested to
+    communicate with William Harrison, Solicitor, Lincoln's
+    Inn."</p>
+
+    <p>"My uncle!" cried Felix. "Alas, I have killed my uncle and
+    Mandarin Li."</p>
+
+    <p>He had not a penny to pay for his traveling expenses to
+    London; but, on producing his certificate of birth and the
+    newspaper article, his landlady easily negotiated for him with
+    an honest broker, who advanced him a thousand francs to arrange
+    his affairs, without interest, upon his note for a trifle of
+    eighteen hundred, payable in six weeks.</p>
+
+    <p>Eight days after reaching London, Felix, established in a
+    fashionable hotel, was awaiting with nervous eagerness the
+    first instalment of a million, the proceeds of a cargo of teas,
+    sold under the direction of Mr. Harrison. He was too restless
+    for thought, burning with impatience to take possession of his
+    property, to handle his wealth, and, as it were, to verify his
+    dream. Yet the fact was indisputable. Richard Malden's death,
+    and his own relationship to the intestate had been legally
+    proved and established. Felix d'Aubremel regularly and
+    assuredly inherited a fortune, and he had no doubts nor
+    scruples on that point.</p>
+
+    <p>A servant interrupted his reflections, announcing his
+    solicitor's clerk. "Why does not Mr. Harrison come himself?" he
+    was on the point of asking, but amazement at the clerk's
+    appearance took away his breath. He was a shriveled little
+    object, slight, bony, crooked and hideous, with a monstrous
+    head and round eyes, a bald skull, a flat nose, a mouth from
+    ear to ear, and a little jutting paunch that looked like a
+    sack.</p>
+
+    <p>"I bring the Marquis d'Aubremel the monies he is expecting,"
+    said the man, and his voice, shrill and silvery, like a musical
+    box or the bell of a clock, impressed Felix painfully. The
+    voice grated on the nerves. "I have drawn a receipt in regular
+    form," said Felix, extending his hand. But the solicitor's
+    clerk leaned his back against the door, without stirring a
+    step. "Well, sir," Felix exclaimed with a convulsive effort.
+    The man approached slowly, scarcely moving his feet, as if
+    sliding across the floor. His right hand was buried in his coat
+    pocket; he held his head bent down, and his lips moved
+    inaudibly. At last he pulled from his pocket a large bundle of
+    banknotes, bills and papers, drew near the window, and began to
+    count them carefully.</p>
+
+    <p>Felix was then struck by a strange phenomenon that might
+    well inspire undefined terror. Standing directly in front of
+    the window, the clerk's figure cast no shadow, though the sun's
+    rays fell full upon it, and through his human body, translucent
+    as rock crystal, Felix plainly saw the houses across the
+    street. Then his eyes seemed to be suddenly unsealed. The
+    clerk's black coat took colors, blue, green, and scarlet; it
+    lengthened out into the folds of a robe, and blazed with the
+    dazzling image of the fire-dragon, the son of Buddha; a lock of
+    stiff grayish hair sprouted like a short tuft out of his
+    yellowish skull; his round tawny eyes rolled with frightful
+    rapidity in their sockets.</p>
+
+    <p>Felix recognized Li, son of Mung, son of Tseu, the literate
+    mandarin of the 114th class. The murderer had never seen his
+    victim, but could not doubt his identity a moment, thanks to
+    the marvelous resemblance between the solicitor's clerk and the
+    china monster that dropped into bits at his feet the night of
+    January 12th, 1840.</p>
+
+    <p>Meantime the man had done counting his package, and held it
+    out to Felix, saying, in his grating, vibrating tones,
+    "Monsieur le Marquis, here are forty thousand pounds sterling;
+    please to give me your receipt." And Felix heard the voice say
+    in a shriller under-key, "Felix, here is an instalment of the
+    million, the price of your crime. Felix, my assassin, take this
+    money from my hand."</p>
+
+    <p>"From my hand," echoed a thousand fine voices, quivering all
+    through the air of the room.</p>
+
+    <p>"No, no," cried Felix, pushing the clerk away, "the money
+    would burn me! Begone with you!"</p>
+
+    <p>He dropped exhausted into a chair, half suffocated, with
+    drops of sweat rolling down his convulsed face. The man bowed
+    to the floor, and slowly moved away backwards. With every
+    gradual step Felix saw his natural shape return. The rays of
+    the autumn sun ceased to light up that mysterious apparition,
+    and only his attorney's humble clerk stood before Felix. With a
+    rush overpowering his will, Felix dashed after the old man,
+    already across the threshold, and overtook him on the
+    staircase.</p>
+
+    <p>"My papers!" he shouted imperiously. "Here they are, sir,"
+    said the old fellow quietly.</p>
+
+    <p>Felix regained his room, bolted the door, and counted the
+    immense sum contained in the pocket-book with excitement
+    bordering on frenzy. Then he bathed his burning head with cold
+    water, and threw an anxious look around the room.</p>
+
+    <p>"I must have had an attack of fever," he muttered.</p>
+
+    <div class="figcenter"
+         style="width:100%;">
+        <a name="fig38"
+             id="fig38"><img width="100%"
+             src="images/38.jpg"
+             alt="A TROPIC FOREST.&mdash;GRANVILLE PERKINS" /></a>
+
+        <h4>A TROPIC FOREST.&mdash;GRANVILLE PERKINS</h4>
+    </div><span class="pagenum"><a name="page20"
+       id="page20"></a>[pg 20]</span>
+
+    <p>"Mandarins don't rise from the dead, and a man can't kill
+    another by simply lifting his finger. So my philosopher talked
+    like one who knows nothing of moral experience. If the fancy of
+    an unreal crime almost drove me mad, what must be the remorse
+    of an actual criminal?"</p>
+
+    <p>The same evening Felix ordered post horses and set out for
+    France.</p>
+
+    <p>Some months later, Monsieur Montmorot, chevalier of the
+    legion of honor, gave a grand dinner to celebrate his
+    daughter's betrothal with the Marquis Felix d'Aubremel, one of
+    the noblest names in France, as he styled it. The contract
+    settling a part of his fortune on his daughter Ernestine was
+    signed at nine in the evening. The Monday following the pair
+    presented themselves before the civil officials to solemnize
+    their marriage by due legal ceremonies.</p>
+
+    <p>Felix, a prey to the strange hallucination that incessantly
+    pursued him, saw a likeness between the official and the
+    Chinese figure he had awkwardly thrown down and broken one
+    night long ago. Presently his face darkened, and his eyes began
+    to burn. Behind the magistrate's blue spectacles he caught the
+    gleam and roll of the tawny eyes belonging to Mr. Harrison's
+    clerk, to Li, son of Mung, son of Tseu.</p>
+
+    <p>When at length the magistrate put the formal question,
+    "Felix Etienne d'Aubremel, do you take for your wife Ernestine
+    Juliette Montmorot," Felix heard a shrill ringing voice say,
+    "Felix, I give you your wife with my hand&mdash;my hand."</p>
+
+    <p>The official repeated the question more loudly. "With my
+    hand&mdash;my hand," whispered a thousand mocking little
+    voices.</p>
+
+    <p>"No!" Felix shouted rather than answered, and rushed away
+    from the spot like a lunatic.</p>
+
+    <p>Once more at home, he shut out everyone and flung himself on
+    his bed, in a state of stupor that weighed him down till
+    night&mdash;a sort of dull torpor of brain, with utter
+    exhaustion of physical strength&mdash;a misery of formless
+    thought. Towards evening one persistent idea aroused him from
+    this strange lethargy.</p>
+
+    <p>"I am a cowardly murderer," he groaned. "I wished for my
+    fellow-being's death. God punishes me&mdash;I will execute his
+    sentence." He stretched out his hand in the dark, groping for a
+    dagger that hung from the wall. Then a mild brightness filtered
+    through the curtains and irradiated the bed. Felix distinctly
+    saw the grotesque figure of Mandarin Li standing a few steps
+    away. The shadow of death darkened his face, and without
+    seeming movement of his lips, Felix heard these words, uttered
+    by that shrill ringing voice so hated, now mellowed into divine
+    music.</p>
+
+    <p>"Felix d'Aubremel, God does not will that you should die,
+    and I, his servant, am sent to tell you his decree. You have
+    been cruel and covetous&mdash;you have wished an innocent man's
+    death, and his death caused that of a multitude of victims to
+    the barbarous passions of a great western nation. Man's life
+    must be sacred for every man. God only can take what he gave.
+    Live, then, if you would not add a great crime to a great
+    error. And if forgiveness from one dead can restore in part
+    your strength and courage to endure, Felix, I forgive you."</p>
+
+    <p>The vision vanished.</p>
+
+    <p>Felix religiously obeyed the instructions of Li, and
+    consecrated his life by a vow to the relief of human misery
+    wherever he found it. He devoted Richard Malden's vast fortune
+    to founding charitable establishments. Ernestine Montmorot
+    would never consent to see him again.</p>
+
+    <p>Two years ago, yielding to an impulse easy to understand, he
+    requested the English consul at Chiusang to make inquiries as
+    to the family of Li, who might perhaps be suffering in poverty.
+    Nothing more could be discovered than that the gracious
+    sovereign of the Middle Kingdom had confiscated the property of
+    Li's family, that his wife had died of sorrow, in misery, and
+    that his son, Li, having taken the liberty to complain of the
+    glorious emperor's severity, suffered death by the bowstring,
+    as is proper and reasonable in all well-governed states.</p>
+    <hr />
+
+    <div class="figcenter"
+         style="width:100%;">
+        <a name="fig66"
+             id="fig66"><img width="100%"
+             src="images/66.jpg"
+             alt="MOTHER IS HERE!&mdash;DEIKER." /></a>
+
+        <h4>MOTHER IS HERE!&mdash;DEIKER.</h4>
+    </div>
+
+    <p>MOTHER IS HERE!&mdash;A little fawn in the clutches of a fox
+    bleats loudly for help. The mother appears quickly on the
+    scene, and Renard retires, foiled and chagrined at the loss of
+    his dinner. He stays not upon the order of his going, but goes
+    at once. The artist Deiker is a well-known German painter,
+    whose success with these pictures of animal life ranks him with
+    such men as Beckmann and Hammer, whose names are familiar to
+    the friends of <i>THE ALDINE</i>.</p>
+    <hr />
+
+    <h3><a name="tropic" id="tropic"><i>A TROPIC FOREST.</i></a></h3>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>Trees lifted to the skies their stately heads,</p>
+
+            <p>Tufted with verdure, like depending plumage,</p>
+
+            <p>O'er stems unknotted, waving to the wind:</p>
+
+            <p>Of these in graceful form, and simple beauty,</p>
+
+            <p>The fruitful cocoa and the fragrant palm</p>
+
+            <p>Excelled the wilding daughters of the wood,</p>
+
+            <p>That stretched unwieldly their enormous arms,</p>
+
+            <p>Clad with luxuriant foliage, from the trunk,</p>
+
+            <p>Like the old eagle feathered to the heel;</p>
+
+            <p>While every fibre, from the lowest root</p>
+
+            <p>To the last leaf upon the topmost twig,</p>
+
+            <p>Was held by common sympathy, diffusing</p>
+
+            <p>Through all the complex frame unconscious life.</p>
+        </div>
+    </div>
+
+    <p>&mdash;<i>Montgomery's Pelican Island</i>.</p>
+    <hr class="short" />
+
+    <p>What makes us like new acquaintances is not so much any
+    weariness of our old ones, or the pleasure of change, as
+    disgust at not being sufficiently admired by those who know us
+    too well, and the hope of being more so by those who do not
+    know so much of us.&mdash;<i>La
+    Rochefoucauld</i>.</p><span class="pagenum"><a name="page23"
+       id="page23"></a>[pg 23]</span> <br />
+
+
+    <h2><i>AMONG THE DAISIES.</i></h2>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"Laud the first spring daisies&mdash;</p>
+
+            <p>Chant aloud their praises."&mdash;<i>Ed.
+            Youl.</i></p>
+        </div>
+
+        <div class="stanza">
+            <p>"When daisies pied and violets blue,</p>
+
+            <p class="i2">And lady-smocks all silver
+            white&mdash;</p>
+
+            <p>And cuckoo-buds of yellow hue,</p>
+
+            <p class="i2">Do paint the meadows with delight."</p>
+        </div>
+    </div>
+
+    <p class="author">&mdash;<i>Shakspeare.</i></p>
+
+    <p>"Belle et douce Marguerite, aimable soeur du roi Kingcup,"
+    enthusiastically exclaims genial Leigh Hunt, "we would tilt for
+    thee with a hundred pens against the stoutest poet that did not
+    find perfection in thy cheek." And yet, who would have the
+    heart to slander the daisy, or cause a blush of shame to tint
+    its whiteness? Tastes vary, and poets may value the flower
+    differently; but a rash, deliberate condemnation of the daisy
+    is as likely to become realized as is a harsh condemnation of
+    the innocence and simplicity of childhood. So the chivalric
+    Hunt need not fear being invoked from the silence of the grave
+    to take part in a lively tournament for "belle et douce
+    Marguerite."</p>
+
+    <p>Subjectively, the daisy is a theme upon which we love to
+    linger. In our natural state, when flesh and spirit are both
+    models of meekness, two objects are wont to throw us into a
+    kind of ecstasy: a row of nicely painted white railings, and a
+    bunch of fresh daisies. These waft us back along a vista of
+    years, peopled with scenes the most entrancing, and fancies the
+    most pleasing. They call up at once the old country home: the
+    honeysuckle clasping the thatched cottage, contrasting so
+    prettily with the white fence in front: the sloping fields of
+    green painted with daisies, through which, unshackled, the
+    buoyant breeze swept so peacefully. It was an invariable rule,
+    in those days, to troop through the meadows at early morn and,
+    like a young knight-errant, bear home in triumph "Marguerite,"
+    the peerless daisy, rescued from the clutches of unmentionable
+    dragons, and now to beam brightly on us for the rest of the day
+    from a neighboring mantel-piece. And it was with great
+    reluctance that we refrained from decapitating the whole field
+    of daisies at one fell sweep, when we were once allowed to
+    touch their upturned faces. A contract was then made on the
+    spot: we were permitted to pluck the daisies on condition that
+    we plucked but one every day. The field was not large, and long
+    before the blasts of autumn had hushed the voices of the
+    flowers, not a single daisy remained. Advancing spring threw
+    lavish handfuls once more on the grass, and on these we sported
+    anew with all the ardor of boyhood.</p>
+
+    <p>Our enthusiasm for the daisy then is only equaled by the
+    gratitude it now awakens. Too soon does the busy world, with
+    unwarrantable liberty, allure us from boyish scenes. Too soon
+    are the buoyant fancies of youth succeeded by the feverish
+    anxieties of age, happy innocence by the consciousness of evil,
+    confidence by doubt, faith by despair. We must chill our
+    demonstrativeness, restrain our affections, blunt our
+    sensibilities. We must cultivate conscience until we have too
+    much of it, and become monkish, savage and misanthropic. The
+    asceticism of manhood is apparent from the studied air with
+    which everybody is on his guard against his neighbor. In a
+    crowded car, men instinctively clutch their pockets, and fancy
+    a pickpocket in a benevolent-looking old gentleman opposite.
+    When we see men so distrustful, we shun them. They then call us
+    selfish when we feel only solitary. We protest against such
+    manhood as would lower golden ideals of youth to its own
+    contemptible <i>Avernus</i>. And now as our daisy, which is
+    blooming before us, sagely nods its white crest as it is swayed
+    by the passing breeze, it seems to bring back of itself decades
+    gone forever. We never intend to become a man. We keep our
+    boy's heart ever fresh and ever warm. We don't care if the
+    whole human race, from the Ascidians to Darwin himself, assail
+    us and fiercely thrust us once more into short jackets and
+    knickerbockers, provided they allow an indefinite vacation in a
+    daisy field. The joy of childhood is said to be vague. It was
+    all satisfying to us once, and we do not intend to allow it to
+    waste in unconscious effervescence among the gaudier though
+    less gratifying delights of manhood.</p>
+
+    <p>It is, however, of daisies among the poets we would speak at
+    more length. In fact, to the imaginative mind, the daisy in
+    poetry is as suggestive as the daisy in nature.
+    Philosophically, they are identical; in the absence of the one
+    you can commune with the other. Thus unconsciously the daisy
+    undergoes a metempsychosis; its soul is transferred at will
+    from meadow to book and from book to meadow, without losing a
+    particle of its vitality.</p>
+
+    <p>To premise with the daisy historically: Among the Romans it
+    was called <i>Bellis</i>, or "pretty one;" in modern Greece, it
+    is star-flower. In France, Spain, and Italy, it was named
+    "Marguerita," or pearl, a term which, being of Greek origin,
+    doubtless was brought from Constantinople by the Franks. From
+    the word "Marguerita," poems in praise of the daisy were termed
+    "Bargerets." Warton calls them "Bergerets," or "songs du
+    Berger," that is, shepherd songs. These were pastorals, lauding
+    fair mistresses and maidens of the day under the familiar title
+    of the daisy. Froissart has written a characteristic Bargeret;
+    and Chaucer, in his "Flower and the Leaf," sings:</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"And, at the last, there began, anone,</p>
+
+            <p>A lady for to sing right womanly,</p>
+
+            <p>A bargaret in praising the daisie;</p>
+
+            <p>For as methought among her notes sweet,</p>
+
+            <p>She said, 'Si douce est la Margarite."</p>
+        </div>
+    </div>
+
+    <p>Speght supposes that Chaucer here intends to pay a
+    compliment to Lady Margaret, King Edward's daughter, Countess
+    of Pembroke, one of his patronesses. But Warton hesitates to
+    express a decided opinion as to the reference. Chaucer shows
+    his love for the daisy in other places. In his "Prologue to the
+    Legend of Good Women," alluding to the power with which the
+    flowers drive him from his books, he says that</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p class="i10">"all the floures in the mede,</p>
+
+            <p>Than love I most these floures white and rede,</p>
+
+            <p>Soch that men callen daisies in our toun</p>
+
+            <p>To hem I have so great affectioun,</p>
+
+            <p>As I sayd erst, whan comen is the May,</p>
+
+            <p>That in my bedde there daweth me no day,</p>
+
+            <p>That I nam up and walking in the mede,</p>
+
+            <p>To seen this floure agenst the Sunne sprede."</p>
+        </div>
+    </div>
+
+    <p>To see it early in the morn, the poet continues:</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"That blissfull sight softeneth all my sorow,</p>
+
+            <p>So glad am I, whan that I have presence</p>
+
+            <p>Of it, to done it all reverence</p>
+
+            <p>As she that is of all floures the floure."</p>
+        </div>
+    </div>
+
+    <p>Chaucer says that to him it is ever fresh, that he will
+    cherish it till his heart dies; and then he describes himself
+    resting on the grass, gazing on the daisy:</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"Adowne full softly I gan to sink,</p>
+
+            <p>And leaning on my elbow and my side,</p>
+
+            <p>The long day I shope me for to abide,</p>
+
+            <p>For nothing els, and I shall nat lie,</p>
+
+            <p>But for to looke upon the daisie,</p>
+
+            <p>That well by reason men it call may</p>
+
+            <p>The daisie, or els the eye of day."</p>
+        </div>
+    </div>
+
+    <p>Chaucer gives us the true etymology of the word in the last
+    line. Ben Jonson, to confirm it, writes with more force than
+    elegance,</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"Days-eyes, and the lippes of cows;"</p>
+        </div>
+    </div>
+
+    <p>that is, cowslips; a "disentanglement of
+    compounds,"&mdash;Leigh Hunt says, in the style of the
+    parodists:</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"Puddings of the plum</p>
+
+            <p>And fingers of the lady."</p>
+        </div>
+    </div>
+
+    <p>The poets abound in allusions to the daisy. It serves both
+    for a moral and for an epithet. The morality is adduced more by
+    our later poets, who have written whole poems in its honor. The
+    earlier poets content themselves generally with the daisy in
+    description, and leave the daisy in ethics to such a
+    philosophico-poetical Titan as Wordsworth. Douglas (1471), in
+    his description of the month of May, writes:</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"The dasy did on crede (unbraid) hir crownet
+            smale."</p>
+        </div>
+    </div>
+
+    <p>And Lyndesay (1496), in the prologue to his "Dreme,"
+    describes June</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"Weill bordowrit with dasyis of delyte."</p>
+        </div>
+    </div>
+
+    <p>The eccentric Skelton, who wrote about the close of the 15th
+    century, in a sonnet, says:</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"Your colowre</p>
+
+            <p>Is lyke the daisy flowre</p>
+
+            <p>After the April showre."</p>
+        </div>
+    </div>
+
+    <p>Thomas Westwood, in an agreeable little madrigal, pictures
+    the daisies:</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"All their white and pinky faces</p>
+
+            <p>Starring over the green places."</p>
+        </div>
+    </div>
+
+    <p>Thomas Nash (1592), in another of similar quality,
+    exclaims:</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"The fields breathe sweet,</p>
+
+            <p>The daisies kiss our feet."</p>
+        </div>
+    </div>
+
+    <p>Suckling, in his famous "Wedding," in his description of the
+    bride, confesses:</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"Her cheeks so rare a white was on</p>
+
+            <p>No daisy makes comparison."</p>
+        </div>
+    </div>
+
+    <p>Spenser, in his "Prothalamion," alludes to</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"The little dazie that at evening closes."</p>
+        </div>
+    </div>
+
+    <p>George Wither speaks of the power of his imagination:</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"By a daisy, whose leaves spread</p>
+
+            <p>Shut when Titan goes to bed;</p>
+
+            <p>Or a shady bush or tree,</p>
+
+            <p>She could more infuse in me</p>
+
+            <p>Than all Nature's beauties can</p>
+
+            <p>In some other wiser man."</p>
+        </div>
+    </div>
+
+    <p>Poor Chatterton, in his "Tragedy of Ella," refers to the
+    daisy in the line:</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"In daiseyed mantells is the mountayne dyghte."</p>
+        </div>
+    </div>
+
+    <p>Hervey, in his "May," describes</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"The daisy singing in the grass</p>
+
+            <p>As thro' the cloud the star."</p>
+        </div>
+    </div>
+
+    <p>And Hood, in his fanciful "Midsummer Fairies," sings of</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"Daisy stars whose firmament is green."</p>
+        </div>
+    </div>
+
+    <p>Burns, whose "Ode to a Mountain Daisy" is so universally
+    admired, gives, besides, a few brief notices of the daisy:</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"The lowly daisy sweetly blows&mdash;"</p>
+
+            <p>"The daisy's for simplicity and unaffected air."</p>
+        </div>
+    </div>
+
+    <p>Tennyson has made the daisy a subject of one of his most
+    unsatisfactory poems. In "Maud," he writes:</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"Her feet have touched the meadows</p>
+
+            <p>And left the daisies rosy."</p>
+        </div>
+    </div>
+
+    <p>To Wordsworth, the poet of nature, the daisy seems perfectly
+    intelligible. Scattered throughout the lowly places, with
+    meekness it seems to shed beauty over its surroundings, and
+    compensate for gaudy vesture by cheerful contentment.
+    Wordsworth calls the daisy "the poet's darling," "a nun
+    demure," "a little Cyclops," "an unassuming commonplace of
+    nature," and sums up its excellences in a verse which may fitly
+    conclude our attempt to pluck a bouquet of fresh daisies from
+    the poets:</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"Sweet flower! for by that name at last,</p>
+
+            <p>When all my reveries are past,</p>
+
+            <p>I call thee, and to that cleave fast;</p>
+
+            <p class="i2">Sweet silent creature!</p>
+
+            <p>That breath'st with me in sun and air,</p>
+
+            <p>Do thou, as thou art wont, repair</p>
+
+            <p>My heart with gladness, and a share</p>
+
+            <p class="i2">Of thy meek nature!"</p>
+        </div>
+    </div>
+
+    <p class="author">&mdash;<i>A.S. Isaacs</i>.</p>
+    <hr />
+
+    <h2><a name="coleridge"
+       id="coleridge"><i>COLERIDGE AS A PLAGIARIST.</i></a></h2>
+
+    <h3>SOMETHING CHILDISH BUT VERY NATURAL.</h3>
+
+    <h4>Written in Germany 1798-99.</h4>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>If I had but two little wings,</p>
+
+            <p class="i2">And were a little feathery bird,</p>
+
+            <p class="i4">To you I'd fly, my dear!</p>
+
+            <p>But thoughts like these are idle things,</p>
+
+            <p class="i6">And I stay here.</p>
+        </div>
+
+        <div class="stanza">
+            <p>But in my sleep to you I fly:</p>
+
+            <p class="i2">I'm always with you in my sleep!</p>
+
+            <p class="i4">The world is all one's own.</p>
+
+            <p>But then one wakes, and where am I?</p>
+
+            <p class="i6">All, all alone.</p>
+        </div>
+
+        <div class="stanza">
+            <p>Sleep stays not, though a monarch bids,</p>
+
+            <p class="i2">So I love to wake ere break of day:</p>
+
+            <p class="i4">For though my sleep be gone,</p>
+
+            <p>Yet, while tis dark, one shuts one's lids,</p>
+
+            <p class="i6">And still dreams on.</p>
+        </div>
+    </div>
+
+    <p>Thus much for Coleridge. Now for his original:</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"Were I a little bird,</p>
+
+            <p>Had I two wings of mine,</p>
+
+            <p>I'd fly to my dear;</p>
+
+            <p>But that can never be,</p>
+
+            <p>So I stay here.</p>
+        </div>
+
+        <div class="stanza">
+            <p>"Though I am far from thee,</p>
+
+            <p>Sleeping I'm near to thee,</p>
+
+            <p>Talk with my dear;</p>
+
+            <p>When I awake again,</p>
+
+            <p>I am alone.</p>
+        </div>
+
+        <div class="stanza">
+            <p>"Scarce there's an hour in the night</p>
+
+            <p>When sleep does not take its flight,</p>
+
+            <p>And I think of thee,</p>
+
+            <p>How many thousand times</p>
+
+            <p>Thou gav'st thy heart to me."</p>
+        </div>
+    </div>
+
+    <p>"This," says Mr. Bayard Taylor, in the <i>Notes</i> to his
+    translation of <i>Faust</i>, "this is an old song of the people
+    of Germany. Herder published it in his <i>Volkslieder</i>, in
+    1779, but it was no doubt familiar to Goethe in his childhood.
+    The original melody, to which it is still sung, is as simple
+    and sweet as the
+    words."</p><span class="pagenum"><a name="page224"
+       id="page224"></a>[pg 224]</span> <br />
+
+
+    <h2><i>AMONG THE PERUVIANS.</i></h2>
+
+    <p>The extremes of civilization and barbarism are nearer
+    together in those countries which the Spaniards have wrested
+    from their native inhabitants, than in any other portion of the
+    globe. Before other European races, aboriginal tribes, even the
+    fiercest, gradually disappear. They hold their own before the
+    descendants of the <i>conquistadores</i>, who conquered the New
+    World only to be conquered by it. Out of Spain the Spaniard
+    deteriorates, and nowhere so much as in South America. Of
+    course he is superior there to the best of the Indian tribes
+    with which he is thrown in contact; but we doubt whether he is
+    superior to the intelligent, but forgotten, races which peopled
+    the regions around him centuries before Pizzaro set foot
+    therein, and which built enormous cities whose ruins have long
+    been overgrown by forests. To compare the Spaniard of to-day,
+    in Peru, with its ancient Incas is to do him no honor. To be
+    sure, he is a good Catholic, which the Incas were not, but he
+    is indolent, enervated, and enslaved by his own passions. His
+    religion has not done much for him&mdash;at least in this
+    world, whatever it may do in the next. It has done still less,
+    if that be possible, for the aboriginal Peruvians.</p>
+
+    <p>"In all parts of Peru," says a recent traveler, "except
+    amongst the savage Indian tribes, Christianity, at least
+    nominally prevails. The aborigines, however, converted by the
+    sword in the old days of Spanish persecution, do not, as a
+    rule, seem to have more notion of that faith in the country
+    parts, than such as may be obtained from stray visits of some
+    errant, image-bearing friar, whose principal object is to
+    obtain sundry <i>reals</i> in consideration of prayers offered
+    to his little idols. These wandering ministers also distribute
+    execrably colored prints of various saints, besides having
+    indulgences for sale. As to the nature of the pious offerings
+    from their disciples, they are not at all particular. They go
+    upon the easy principle that all is fish that comes into their
+    net. If the ignorant and superstitious givers have not 'filthy
+    lucre' wherewithal to propitiate the ugly represented saints,
+    wax candles, silver ore, cacao, sugar, and any other
+    description of property is as readily received. Thus, it often
+    happens that these peripatetic friars have a long convoy of
+    heavily-laden mules with which to gladden the members of their
+    monastery when they return home.</p>
+
+    <div class="figright"
+         style="width:50%;">
+        <a href="images/68.jpg"
+             name="fig68"
+             id="fig68"><img width="100%"
+             src="images/68.jpg"
+             alt="FASHIONABLE LOUNGERS OF LIMA." /></a>FASHIONABLE
+             LOUNGERS OF LIMA.
+    </div>
+
+    <p>"The priests in all parts of Peru dress in a very
+    extraordinary, not to say outlandish manner. One of the lower
+    grade wears a very capacious shovel hat, projecting as much in
+    front as behind, and looking very like a double-ended
+    coal-heaver's <i>hat</i>. A loose black serge robe covers him
+    all over, as with a funereal pall, and being fastened together
+    only at the neck, gives to his often obese figure an appearance
+    the very reverse of grave or serious: The superior of a
+    monastery, or the priest in charge of a parish, wears a more
+    stately clerical costume. His hat is of formidable
+    dimensions&mdash;a huge, flat, Chinese-umbrella-shaped sort of
+    a concern, which cannot be compared to anything else in
+    creation. He also affects ruffles and lace, a long cassock, and
+    a voluminous cloak like many of those of Geneva combined
+    together; black silk stockings and low shoes complete the
+    clerical array of the higher ecclesiastics."</p>
+
+    <div class="figcenter"
+         style="width:70%;">
+        <a href="images/69.jpg"
+             name="fig69"
+             id="fig69"><img width="100%"
+             src="images/69.jpg"
+             alt="RIDING AND FULL-DRESS COSTUME OF THE PERUVIAN LADIES." />
+        </a>RIDING AND FULL-DRESS COSTUME OF THE PERUVIAN LADIES.
+    </div>
+
+    <p>Quite as odd, in their way, as these good padres, are the
+    Peruvian loungers, the "lions" of Lima&mdash;a long-haired,
+    becloaked, truculent-looking set of fellows, whose proper place
+    would seem to be among operatic banditti. A greater contrast
+    and disparity than exists between them and the beautiful
+    brunettes to whom they are fain to devote themselves, cannot
+    well be imagined. That the latter generally prefer European
+    gentlemen to these ill-favored beaux, follows as a matter of
+    course. That the discarded "lion" resents this preference of
+    his fair countrywomen, we have the testimony of the traveler
+    already quoted from.</p>
+
+    <p>"Instinctively, as it were, a feeling of dislike and rivalry
+    seemed to prevail between ourselves and such of these truculent
+    gentry as it was our fortune to come into contact with. They
+    were jealous, no doubt, of the wandering foreigners, whom they
+    chose contemptuously to term <i>gringos</i>, but who, they know
+    well enough, are infinitely preferred to themselves by their
+    handsome coquettish countrywomen. It is, indeed, notoriously
+    the fact, that any respectable man of European birth can marry
+    well, and even far above his own social position, amongst the
+    dark-eyed donnas of Peru. The men don't seem exactly to like
+    it. Judging by their appearance, we found but little difficulty
+    in believing the character which report had given
+    them&mdash;namely, their proneness to assassination, especially
+    in love affairs, either personally, or, more frequently, by
+    deputy. If the brilliant creole and half-caste women of this
+    warm, tropical country, are some of the most beautiful and
+    lovable of the sex, their sallow, sinister-looking, natural
+    protectors are just the very opposite. The singular difference
+    in the moral and physical characteristics of the two sexes is
+    something really remarkable, and I, for one, cannot
+    satisfactorily explain it to my own mind. That such is the case
+    I venture to affirm; the why and the wherefore I must fain
+    leave to wiser ethnological heads."</p>
+
+    <p>Not less curious, as regards costume, are the Peruvian
+    ladies. And, as they are <i>equestriennes</i>, we will describe
+    their riding-habits in the words of the same traveler:</p>
+
+    <p>"To commence at the top. This riding dress consisted of a
+    huge felt hat, both tall and broad, and generally ornamented
+    with a plume of three great feathers sticking up in front. Next
+    came an all-round sort of a cape, of no shape in particular,
+    with a wide collar, several rows of fringe, much needle-work
+    (and corresponding waste of time upon so hideous a garment),
+    and of a length sufficient to reach below the waist, and so
+    completely hide and spoil the wearer's generally fine figure.
+    Then came a short overskirt, extending a little below the
+    knees, and beneath which appeared the fair senora or senorita's
+    most unfeminine pantaloons, which, being carefully tied above
+    the ankle in a frill, were allowed to fully display that
+    treasure of treasures, that most valued of charms, the
+    beautiful little foot and ankle. In addition to this absurd
+    dress, which conceals the graceful form of perhaps the
+    handsomest race of women in the world, the fair creatures have
+    a style of riding which, to Europeans accustomed to the
+    side-saddle, certainly seems more
+    <span class="pagenum"><a name="page25"
+       id="page25"></a>[pg 25]</span> peculiar than elegant; that
+       is to say, they ride &aacute; la Duchesse de
+       Berri&mdash;<i>Anglic&egrave;</i>, like a man.</p>
+
+    <p>"The full dress, or evening costume, in the provinces,
+    seemed simply an exaggeration upon that of the towns&mdash;the
+    crinoline being more extensive, the petticoats shorter, and the
+    dressing of the hair still more wonderful and elaborate."</p>
+
+    <div class="figright"
+         style="width:40%;">
+        <a href="images/70-2.jpg"
+             name="fig70-2"
+             id="fig70-2"><img width="100%"
+             src="images/70-2.jpg"
+             alt="MIDDLE-AGED LIMENA." /></a>MIDDLE-AGED LIMENA.
+    </div>
+
+    <div class="figleft"
+         style="width:40%;">
+        <a href="images/70-1.jpg"
+             name="fig70-1"
+             id="fig70-1"><img width="100%"
+             src="images/70-1.jpg"
+             alt="YOUNG MESTIZO WOMAN." /></a>YOUNG MESTIZO WOMAN.
+    </div><br clear="all" />
+
+    <p>Among the <i>mestizos</i>, half-castes, of white and Indian
+    origin the women are often very beautiful, especially when the
+    blood of the latter prevails. They are, we are told, the
+    best-looking of all the Peruvian women, possessing brilliantly
+    fair complexions, magnificent long black tresses, lithe and
+    graceful figures of exquisite proportions, regular and classic
+    features, and the most superb great black eyes.</p>
+
+    <p>"Though often glorious in youth, these dark-skinned,
+    passionate daughters of the sunny Pacific shore soon begin to
+    fade. Although their scant costume and the <i>manto y
+    saya</i>&mdash;the dress favored at night&mdash;serve only to
+    expose and display the charming contour of their youthful form,
+    as the years roll on and rob them of these alluring
+    attractions, the simple array becomes ugly and ridiculous.
+    Often did we laugh at the absurd figure presented by some
+    stout, middle-aged half-caste, or a good many more caste, lady,
+    clad in her <i>manto y saya</i>. Especially ludicrous did these
+    staid females appear when viewed from behind."</p>
+
+    <p>The Peruvian negress, of elderly years, compares not
+    unfavorably with her whiter Spanish sister of the same age.
+    Both display inordinate vanity, which consorts ill with the
+    brawny calves and large feet they cannot help showing on
+    account of their short though voluminous skirts, and both have
+    a womanly love of jewelry.</p>
+
+    <p>"They manifest a very apparent weakness for all sorts of
+    glittering ornaments, especially in the way of numerous rings,
+    huge ear-rings, and mighty necklaces. Indeed, it is not at all
+    uncommon to see pearls (their favorite gem) of great value,
+    rising and falling, and gleaming with incongruous lustre, upon
+    their bare, black, and massive bosoms; whilst ear-rings of
+    solid gold hang glittering from their large ears, in singular
+    contrast to their common and dirty clothing.</p>
+
+    <p>"Except for the occasional excitement of theatre,
+    cock-fight, or bull-fight, and the regular attendance at mass
+    and vespers, the life of the higher class Limena is a dreamy
+    existence of languor, amidst siestas, cigarettes, agua-rica,
+    and jasmine perfumes, the tinkling of guitars, and the melody
+    of song. Alas! that I must record it; she is, too, a terrible
+    <i>intriguante</i>. The <i>manto y saya</i>, the <i>b&ecirc;te
+    noir</i> of many a poor jealous husband, seems a garment for
+    disguise, invented on purpose to oblige her. It is the very
+    thing for an intriguing dame; and, by a stringent custom, bears
+    a sacred inviolate right, for no man dare profane it by a
+    touch, although he may even suspect the bright black eye, it
+    may alone allow to be seen, to be that of his own wife! He can
+    follow, if he likes, the graceful, muffled up figure that he
+    dreads to be so familiar, but woe to the wretch who dares to
+    pull aside a fair Limena's <i>manto</i>! If seen, he would
+    surely experience the resentment of the crowd, and become a
+    regular laughing-stock to all who knew him."</p>
+
+    <p>But let us be just to the women of Peru, who, in the matter
+    of flirting and fondness for finery, are probably not worse
+    than the sex elsewhere. They love where they love with a fervor
+    unknown to the women of Europe, their Spanish sisters, perhaps,
+    excepted, and they are capable of profound patriotism.</p>
+
+    <div class="figleft"
+         style="width:50%;">
+        <a href="images/71.jpg"
+             name="fig71"
+             id="fig71"><img width="100%"
+             src="images/71.jpg"
+             alt="PERUVIAN PRIESTS." /></a>PERUVIAN PRIESTS.
+    </div>
+
+    <p>There is an element of real strength in the wild, stormy
+    nature of these beautiful and impassioned creatures: it is
+    their misfortune not to know how to hide their weaknesses as
+    well as their more sophisticated sisters. The tide of time
+    flows so smoothly with them, through such level summer
+    landscapes steeped in tropical repose, that the desire for
+    excitement naturally arises, and excitement itself becomes a
+    necessity. Lacking many of the indoor employments of the women
+    of colder climates, time hangs heavy on their hands, idleness
+    wearies, and they cast about for a way in which to amuse,
+    enjoy, and distract themselves. They find it in love. If no
+    European is near upon whom they can bestow their smiles and the
+    lustre of their magnificent eyes, they have to be content with
+    their own countrymen, who woo them after the fashion of their
+    Spanish ancestors, by serenades at night, in which the
+    strumming of guitars generally plays a more important part than
+    the words it accompanies.</p>
+
+    <p>While we are among the Peruvians, we must not entirely
+    overlook their country, and the features of its varied
+    landscapes. It is divided by the Andes into three different
+    lands, so to speak, <i>La Costa</i>, the region between the
+    coast and the Andes; <i>La Sierra</i>, the mountain region, and
+    <i>La Monta&ntilde;a</i>, or the wooded region east of the
+    Andes. <i>La Costa</i>, in which Lima is situated, at the
+    distance of about six miles from the sea, may be briefly
+    described as a sandy desert, interspersed with fertile valleys,
+    and watered by several rivers of no great magnitude. It seldom
+    or never rains there, but there are heavy dews at night which
+    freshen and preserve the vegetation. The magnificence of the
+    mountain region baffles all attempts at word-painting, as it
+    baffles the art of the painter. Church, the artist, gives us
+    what is, perhaps, the best representation we are ever likely to
+    have of it, but it is only a glimpse after all. Still more
+    indescribable, if that be possible, are the enormous
+    wildernesses which stretch from the Andes to the vast pampas to
+    the eastward. "Here everything is on Nature's great scale. The
+    whole country is one continuous forest, which, beginning at
+    very different heights, presents an undulating aspect. One
+    moves on his way with trees before, above, and beneath him, in
+    a deep abyss like the ocean. And in these woods, as on the
+    immensity of the waters, the mind is bewildered; whatever way
+    it directs the eye there it meets the majesty of the Infinite.
+    The marvels of Nature are in these regions so common that one
+    becomes accustomed to behold, without emotion, trees whose tops
+    exceed the height of 100 varas (290 English feet), with a
+    proportionate thickness, beyond the belief of such as never saw
+    them; and, supporting on their trunks a hundred different
+    plants, they, individually, present rather the appearance of a
+    small plantation than one great tree. It is only after you
+    leave the woods, and ordinary objects of comparison present
+    themselves to the mind, that you can realize in thought the
+    colossal stature of these samples of Montana vegetation."</p>
+
+    <p>Peru is a fitting theatre for the great dramas which have
+    been played upon its wild, mountainous stage. The dark
+    background of its past is haunted by the shadows of the unknown
+    race who built its ruined cities and temples. Then come the
+    beneficent, heavenly Incas, and the mild, pastoral people over
+    whom they rule. Last, the cruel, treacherous Spaniard,
+    slaughtering his friendly hosts with one hand, while the other
+    holds the Bible to their
+    lips!</p><span class="pagenum"><a name="page26"
+       id="page26"></a>[pg 26]</span> <br />
+
+
+    <h2><a name="old_maids"
+       id="old_maids"><i>THE OLD MAID'S VILLAGE.</i></a></h2>
+
+    <p>I had been passing the summer on the banks of the
+    Hudson&mdash;in that charmed region which lies about what was
+    once the home of Diedrich Knickerbocker, with the enchanted
+    ground of Sleepy Hollow on the one hand, and the shrine of
+    Sunnyside on the other. In many happy morning walks and
+    peaceful twilight rambles, I had made the acquaintance of every
+    winding lane, every shaded avenue, every bosky dell and sunny
+    glade for miles around. I had wandered hither and thither,
+    through all the golden season, and fairly steeped my soul in
+    the beauty, the languor, the poetry of the "Irving country;"
+    and now, filled, as it were, with rare wine, content and happy,
+    I was ready to return to the town, and take up the
+    matter-of-fact habit of life again.</p>
+
+    <p>But even on the last day of my sojourn, when my trunks stood
+    packed and corded, and the loins of my spirit were girt for
+    departure on the morrow; as I stood at my window somewhat
+    pensively contemplating, for the last time, the peculiarly
+    delicious river-bit which it framed, the door opened suddenly,
+    and Nannette, my <i>fidus Achates</i>, and the companion of my
+    summer, ran in.</p>
+
+    <p>"Do you know," she cried, "I have just learned that we were
+    about to leave the place without visiting one of its greatest
+    curiosities? We have narrowly escaped going without having seen
+    the 'Old Maid's Village!'"</p>
+
+    <p>"The 'Old Maid's Village!'" I echoed, stupidly. "But what
+    village is <i>not</i> the peculiar property of the race?"</p>
+
+    <p>"Yes, I know; but this village is really built on an old
+    maid's property, and by her own hands. And there is the 'Cat's
+    Monument,' too. Come! don't stop to talk about it, but let us
+    go and see it. It will be just the thing for a last evening; in
+    memoriam, you know, and all that. Get on your hat, and come,
+    and we shall see the sunset meeting the moonrise on the river
+    once more, as we return."</p>
+
+    <p>That, at least, was always worth seeing, I reflected; and
+    so, without more ado, I put on my wraps as I was bid, and
+    reported myself under marching orders.</p>
+
+    <p>How lovely, how indescribably lovely, the world was that
+    September afternoon, as we strolled along the shaded sidewalk
+    where the maples were already laying a mosaic of gold and
+    garnet, and looked off toward the river and the hills
+    beyond&mdash;the far blue hills&mdash;all veiled in tenderest
+    amber mist! The very air was full of soft, warm color; the
+    sunbeams, mild and level now, played with the shadows across
+    our path, and every now and then a leaf, flecked with orange or
+    crimson, fluttered to our feet. The blue-birds sang in the
+    goldening boughs, unaffrighted by the constant roll of elegant
+    equipages in which, at this hour, the residents of the stately
+    mansions on either side the road were taking the air; and the
+    crickets hopped about undisturbed in the crevices of the gray
+    stone walls.</p>
+
+    <p>We walked leisurely on, past one and another lofty gateway,
+    until presently reaching an entrance rather less assuming than
+    its neighbors, but, like them, hospitably open, Nannette said,
+    with promptness:</p>
+
+    <p>"This is the place, I am sure. Square white house; black
+    railing; next to the printing-press man's great gate. Come
+    right in; all are welcome, and not even thank you to pay, for
+    one never sees anyone to speak to here."</p>
+
+    <p>It seemed to my modesty rather an audacious proceeding, but
+    trusting to my companion's superior information, I followed her
+    in, and we walked up a circular carriage-drive through smooth
+    shaven lawns dotted with brilliant clumps of salvia and
+    gladiolus, towards the house&mdash;a square, solid structure,
+    white, and with broad verandas running across its front.</p>
+
+    <p>At its northern side, sloping towards the wall, was visible
+    what looked like an ordinary terrace, rather low, and
+    ornamented with small shrubs and grotto-work; but which, on
+    nearer approach, proved to be a veritable village in miniature,
+    constructed with a verisimilitude of design, and a fidelity to
+    detail, which was at once in the highest degree amazing and
+    amusing. As Nannette had been assured, no one appeared to
+    interfere with us in any way, and full of a curious wonder at
+    such a manifestation of eccentric ingenuity, we seated
+    ourselves upon a wooden box, evidently kept more for the
+    purpose of protecting the odd out-of-door plaything in bad
+    weather, and proceeded to give it the minute inspection which
+    it merited; the result of which I chronicle here for the
+    benefit of the like curious minded.</p>
+
+    <p>The terrace, which forms the site of this doll-baby city, is
+    low and semi-circular in shape, and separated from the graveled
+    drive by a close border of box. Within this protecting hedge
+    the ground is laid out in the most picturesque and fantastic
+    manner compatible with a scale of extreme minuteness. Winding
+    roads, shady bye-paths ending in rustic stiles, willow-bordered
+    ponds, streams with fairy bridges, rocky ravines and sunny
+    meadows, ferny dells, and steep hills clambered over with a
+    wilderness of tangled vines, and strewn with lichen-covered
+    stones&mdash;all are there, and all reproduced with the most
+    conscientious fidelity to nature, and with Lilliputian
+    diminutiveness. Regular streets, "macadamized" with a gray
+    cement which gives very much the effect of asphaltum, separate
+    one demesne from another; and each meadow, lawn, field, and
+    barn-yard has its own proper fence or wall, constructed in the
+    most workmanlike manner. The streets are bordered by trees,
+    principally evergreens, which, though rigidly kept down to the
+    height of mere shrubs, appear stately by the side of the
+    miniature mansions they overlook; and, in every dooryard, or
+    more pretentious greensward, tiny larches, pines yet in their
+    babyhood, and dwarfed cedars, cast a mimic shade, and bestow an
+    air of dignity and venerableness to the place.</p>
+
+    <p>The first object upon which the eye is apt to rest on
+    approaching this modern Lilliput is the squire's house, the
+    residence of the landed proprietor. This is a handsome edifice
+    of some eight by ten inches in breadth and height. It stands
+    upon an eminence in the midst of ornamented grounds, and with
+    its white walls, its lofty cupola, and high, square portico,
+    presents a properly imposing appearance. There are signs of
+    social life about the mansion befitting its own style of
+    conscious superiority. In the wide arched entrance hall stands
+    a high-born dame attired in gay Watteau
+    costume&mdash;red-heeled slippers, brocaded petticoat, and
+    bodice and train of puce-colored satin. She is receiving the
+    adieux of an elegant gentleman, hatted, booted, and spurred,
+    who, with whip in hand and dog by his side, is about to descend
+    the steps and mount his horse for a ride over his estate. A
+    bird-cage swings by an open window, and, on the lawn, a group
+    of children, in charge of their nurse, are engaged in the
+    time-honored game of "Ring-around-a-rosy." Winding walks,
+    bordered with shrubbery, disappear among fantastic mounds of
+    rock-work, moss-grown grottoes, and tiny dells of fern; and
+    under a ruined arch, gray with lichen and green with vines,
+    flows a placid streamlet, spanned by a rustic bridge. In the
+    meadow beyond, flocks of sheep are cropping the grass, and an
+    old negro is busily engaged in repairing a breach in the stone
+    wall.</p>
+
+    <p>Hard by this stately demesne is a humbler tenement, built of
+    wattled logs, but showing signs of comfort and thrift all about
+    it. The old grandsire sits in a high-backed chair, sunning
+    himself in front of the door; on a bench, at the side of the
+    house, stand rows of washtubs filled with soiled linen, and a
+    woman is busy wringing out clothes; while another, with a
+    bucket on her head, goes to the well to supply her with a fresh
+    thimbleful of water; and still a third milks a handsome
+    dapple-gray cow in the yard where the dairy stands. There is a
+    well-filled barn behind, with another cow and a horse, too, for
+    that matter, in the stable attached, and the farmer, who is
+    putting the last sheaf on his wheat-stack, looks contented
+    enough with his lot.</p>
+
+    <p>Just beyond the stream, on whose bank the fisherman sits
+    leisurely dropping his line, stands the village church; a
+    fac-simile of the old Dutch Church which has stood near the
+    entrance of Sleepy Hollow since long before the Revolution, and
+    is hallowed now not only by the pious associations of
+    centuries, but by the near vicinage of Irving's grave. In its
+    little twelve-inch counterpart, every point of the ancient
+    structure is preserved in exact detail. The dull red walls, the
+    beetling roof, the narrow pointed windows and low, arched door;
+    the quaint Dutch weathercock, and odd-shaped tower&mdash;aye,
+    even the bell within, no bigger than a doll's thimble&mdash;and
+    upon all a sentimental traveler in the person of a china figure
+    perhaps three inches in height, is gazing half pensively, half
+    curiously, as we suppose, at this relic of by-gone years!</p>
+
+    <p>On the other side of the stream the village school, likewise
+    an ancient and steeple-crowned edifice, stands out in the midst
+    of a bare and clean swept playground. It bears its signature
+    upon its front:</p>
+
+    <p>"DISTRICT SCHOOL, NO. 2,"</p>
+
+    <p>and its worshipful character is otherwise indicated by the
+    presence of the master, a venerable looking puppet in cocked
+    hat and knee-breeches, in the doorway, and sundry china
+    children playing rather stiffly about the stone steps.</p>
+
+    <p>Ascending by a steep, rocky path, one arrives at a rather
+    pretentious looking wind-mill, which spreads its wide white
+    arms protectingly over the cottages below. Barrels of flour and
+    sacks of meal, well filled and plentiful in number, attest its
+    thriving business, and the miller himself, in a properly dusty
+    coat, looks about him with contented air. At the foot of the
+    hill upon which the mill is perched, are several
+    dwellings&mdash;all showing signs of more or less prosperous
+    life, with the exception of one, which affords the orthodox
+    "haunted house" belonging to every well-regulated village. The
+    ruined walls of this old mansion, with lichen cropping out from
+    every crevice; the unhinged doors and broken windows; the
+    ladder rotting as it leans against the moss-grown roof, the
+    broken well-sweep and deserted barn, offer an aspect of
+    desolation and decay which should prove sufficient bait to
+    tempt any ghost of moderate demands.</p>
+
+    <p>In direct contrast to the gloom which surrounds this now
+    empty and forsaken home, one observes, in a shady grove
+    surmounting a ridge of hills which rise somewhat steeply here
+    from the roadway, a party of "pic-nickers" gaily attired and
+    disporting themselves after the time-honored manner of such
+    merry-makers; swinging, dancing, or, better still, strolling
+    off arm in arm, in search of cooler shades, and of that company
+    which is never a crowd.</p>
+
+    <p>At the base of this rocky ridge, the same stream which one
+    meets above flowing darkly under arch and bridge, winds
+    placidly along in sunshine and shadow until it loses itself in
+    a clump of alders and willows quite at the edge of the
+    box-bordered terrace; and here the village ends.</p>
+
+    <p>Not so my sketch: for I have purposely left it to the last
+    to make mention of the great central idea round which all the
+    rest is gathered, and which, doubtless, formed the germ of the
+    whole oddly-conceived, but most admirably-executed plan. This
+    is the "Cat's Monument" of which Nannette had made mention, and
+    which is a structure so original and imposing that it deserves
+    special and minute description.</p>
+
+    <p>About midway the terrace, and conspicuous from its size and
+    height, rises a mound of earth shaped into the semblance of an
+    urn or vase, crusted thickly with bits of rock, moss, and
+    pebbles, and overgrown with a tangle of tiny vines. Surmounting
+    this picturesque pedestal is an obelisk of black-veined marble
+    on a granite base, the whole rising some seven feet from the
+    ground. On the polished surface of this memorial pillar is
+    inscribed, in large black capitals, the following classic and
+    touching tribute to the venerable departed who sleeps in peace
+    below:</p>
+
+    <p class="center">IN MEMORIAM</p>
+
+    <p class="center"><big>TOMMY</big></p>
+
+    <p class="center">FELINI GENERIS</p>
+
+    <p class="center">OPTIMUS.</p>
+
+    <p class="center">DECESSIT A VITA</p>
+
+    <p class="center">MENSE NOVEMBRIS</p>
+
+    <p class="center">ANNO &AElig;TATIS 19.</p>
+    <hr class="short" />
+
+    <p><i>Quid me ploras? Nonne decessi gravis senectute? Nonne
+    vivo amicorum ardentium memoria?</i></p>
+    <hr class="short" />
+
+    <p>On the reverse side of the column appears an inscription
+    even more pathetic and poetic, to yet another departed
+    favorite, who seems, not like Tommy to have been gathered to
+    his fathers ripe in years and honors but to have been cut down
+    in the bloom of youth by some untimely and tragic fate. He is
+    all the more felin'ly lamented:</p>
+
+    <p class="center">HIC JACET</p>
+
+    <p class="center"><big>PUSSY</big></p>
+
+    <p class="center">SUI GENERIS</p>
+
+    <p class="center">PULCHERRIMUS.</p>
+
+    <p class="center">OCCISUS EST</p>
+
+    <p class="center">MENSE APRILIS</p>
+
+    <p class="center">&AElig;TAT. 9.</p>
+    <hr class="short" />
+
+    <p>"<i>Vixi, et quum dederat cursum fortuna, peregi. Felix! heu
+    nimium felix! si litora ista nunquam tetigissem!</i>"</p>
+    <hr class="short" />
+
+    <p>Thanks to certain by no means homoeopathic doses of the
+    Latin grammar in my early years, I was able to gather the
+    meaning of these elegiac effusions, and when the last stanza
+    embodying poor Pussy's posthumous wail was discovered to be
+    none other than the despairing death-cry of the "infelix Dido"
+    as immortalized by Virgil&mdash;the one step from the sublime
+    to the ridiculous seemed to have been passed.</p>
+
+    <p>I looked at Nannette, and Nannette looked at me, and we
+    burst into silent but irrepressible laughter. Nannette was the
+    first to recover herself.</p>
+
+    <p>"We ought to be ashamed of ourselves," said she
+    <span class="pagenum"><a name="page27"
+       id="page27"></a>[pg 27]</span> severely: "Honest grief is
+       always respectable; and a fitting tribute to departed worth,
+       no more than what is due from the survivors. I have no doubt
+       but that Tommy and Pussy were most esteemed members of
+       society, and that their loss has left an aching void in the
+       family of which they were the youngest and most petted
+       darlings. I have heard the history of this monument, and the
+       village that has grown up around it, and if you will comport
+       yourself more as a Christian being should in the presence of
+       a solemn memorial, I will relate to you the interesting
+       facts in my possession."</p>
+
+    <p>I immediately signified a due contrition and full purpose of
+    amendment; when Nannette continued, still speaking with the
+    gravity befitting the subject.</p>
+
+    <p>"This estate then, this large and respectable mansion, and
+    these pleasant grounds in which we now sit, are the property in
+    common of three most estimable ladies, all past their first
+    youth, and all possessed of sufficient good sense and strength
+    of mind to remain their own mistresses, which has procured for
+    the very remarkable specimen of ingenuity now before us, from
+    some ignorant townspeople, the sobriquet of the 'Old Maid's
+    Village.'</p>
+
+    <p>"There is only one of the ladies, however, I am informed,
+    who interests herself in the construction of these most
+    ingenious toys. Possessed of ample means, and more than ample
+    leisure, she amuses herself in hours which might otherwise be
+    devoted to gossip and tea, in putting together these various
+    models of buildings, all differing in style, and of most
+    singular materials. The church, for instance, is built of
+    fragments of clinker, gathered from stove and grate, and held
+    firmly together by cement. Nothing could have reproduced so
+    exactly the rough reddish stone of which the old Sleepy Hollow
+    Church is built. The window-glass is represented by carefully
+    framed pieces of tin foil; the gray stone of the gate-posts is
+    imitated by sand rubbed on wooden pillars with a coating of
+    cement. The streets are paved in much the same clever fashion.
+    The well, the pond, the stream, are filled with water each day
+    by the chatelaine's own careful hands. Many of the mimic
+    creatures, human and otherwise, are automata, manufactured to
+    order; the others are wooden or china figures selected with
+    extreme care as to their fitness for their purpose. So rare and
+    so exceedingly pretty are some of these little figures, that
+    they have become objects of unlawful desire to certain soulless
+    curiosity-mongers, who have rewarded an open and confiding
+    hospitality with base attempts at spoliation; and now a person
+    is employed to live in the cottage just beyond us, and do
+    little else than take care of these unique possessions.</p>
+
+    <p>"No, you need not start. The woman is probably there at her
+    post, and surveying our operations from time to time. But we
+    have behaved like decent people. We are taking away nothing but
+    a remembrance of a singularly interesting hour, and an admiring
+    impression of the originality, the ingenuity, the industry, and
+    the independence of one of our own sex.</p>
+
+    <p>"Is it not so, my friend? And now, by the length of those
+    cedar shadows, it is time for us to rise up and be gone. Else
+    the moonlight will have met and parted with the sunset ere we
+    reach home."</p>
+
+    <p>There was nothing to be said; the tale had been told, and
+    with one last, lingering glance, one parting smile, half
+    amused, half touched, I rose, and together we walked home in
+    somewhat pensive mood. Was it not our last day in
+    Fairyland?&mdash;<i>Kate J. Hill</i>.</p>
+    <hr />
+
+    <h3><a name="wine"
+       id="wine"><i>WINE AND KISSES.</i></a></h3>
+
+    <h4>Translated from the Persian of Mirtsa Schaffy.</h4>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>The lover may be shy&mdash;</p>
+
+            <p>His bashfulness goes by</p>
+
+            <p class="i6">When first he kisses.</p>
+        </div>
+
+        <div class="stanza">
+            <p>The bibber, though so staid,</p>
+
+            <p>Gets bravely unafraid</p>
+
+            <p class="i6">When wine his bliss is.</p>
+        </div>
+
+        <div class="stanza">
+            <p>Yet he who, in his youth,</p>
+
+            <p class="i2">No wine nor kiss hath tasted.</p>
+
+            <p>Will some day think, in truth,</p>
+
+            <p class="i2">That half his joys were wasted.</p>
+        </div>
+    </div>
+
+    <p class="center">&mdash;<i>Joel Benton</i>.</p>
+    <hr />
+
+    <p>I have heard it asked why we speak of the dead with
+    unqualified praise: of the living, always with certain
+    reservations. It may be answered, because we have nothing to
+    fear from the former, while the latter may stand in our way: so
+    impure is our boasted solicitude for the memory of the dead. If
+    it were the sacred and earnest feeling we pretend, it would
+    strengthen and animate our intercourse with the
+    living.&mdash;<i>Goethe</i>.</p><br />
+
+
+    <h2><a name="queens"
+       id="queens"><i>THE QUEEN'S CLOSET.</i></a></h2>
+
+    <p>Did anybody ever see a fairy in the city? Was a glimpse ever
+    caught of Fairyland there? I say <i>No</i>. But I was in the
+    country this summer where a great number of mushrooms grew, and
+    one day when I was walking in a grassy lane I met a little, old
+    queen, who was fanning herself with the leaf of the
+    poor-man's-weather-glass; she had taken off her crown, and it
+    was lying on the top of a lovely red mushroom. I poked the
+    mushroom with my parasol, and instantly felt on my face a faint
+    puff of air, and heard a hum no louder than the buzz of an
+    angry fly.</p>
+
+    <p>I sat down on the grass, and then my eyes fell on the
+    queen.</p>
+
+    <p>"You have let my crown fall in the dirt," she said, tossing
+    a wisp of hair from her forehead; "but you great, insensible
+    beings are always in mischief when you are in the country. Why
+    don't you stay at home, in your brick cages that stand on heaps
+    of flat stones? You are watched there all the time by creatures
+    with clubs in their leather belts, so you cannot tear and crush
+    things to pieces as you do here."</p>
+
+    <p>"Oh, I am so sorry, madam," I answered; "if you knew how
+    unhappy I felt this morning when I started on my last walk, you
+    would pity me. I must go home at once, and my home is in the
+    city&mdash;shut in by houses before and behind it. If I look
+    out of the window, I only see a strip of sky above me, where
+    neither sun nor moon passes on its journey round the world; and
+    below me, only the stone pavement over which goes an endless
+    procession of men and women, upon a hundred errands I never
+    guess at."</p>
+
+    <p>The queen tapped her head with a white stick like a peeled
+    twig, and made such a noise that I examined it, and saw an
+    ivory knob, which reminded me of the budding horns of a young
+    deer. As if in answer to my thought, she said:</p>
+
+    <p>"It drops off every year. In the fairy-nature all elements
+    are united. We partake of the animal and vegetable kingdoms,
+    and add our own; this makes us what we are. We do not suffer,
+    but we experience, without suffering, of course; our long lives
+    glide along like dreams. As you are in sleep, so are we awake.
+    If you love the country, which contains our kingdom, as the
+    filbert-shell contains the kernel, I will endow you with power.
+    I will give you something to take back with you."</p>
+
+    <p>What do you think she gave me? A little closet with shelves;
+    on each shelf were laid away all my remembrances of the summer,
+    for me to unfold at leisure. When she gave me the key, which
+    looked exactly like a steel pen, she said: "When you turn the
+    key you will understand my power. All things will be alive,
+    will know as much, and talk as fast as you do. The closet, in
+    short, is but a wee corner of my kingdom, where to-day and
+    to-morrow are the same&mdash;past and present one. A
+    maid-of-honor wishes to go to town. I'll send her in the
+    closet. My slave, the geometrical spider, must spin her a warm
+    cobweb&mdash;and when you open the closet, be sure and not
+    disturb my little Fancie."</p>
+
+    <p>Some way Queen Imagin disappeared then. To any person less
+    knowing than myself, it would have seemed as if a dandelion
+    ball was floating in the air; but I knew better, and I watched
+    her sailing, sailing away till lost behind the trees. The crown
+    was gone, too; I discovered nothing in the neighborhood of the
+    red mushroom, except a tiny yellow blossom already wilted by
+    the heat of the sun.</p>
+
+    <p>Well, I am at home. I sit down this misty autumn morning in
+    my lonely room, and wish for some work or if not that, for
+    something to play with. I am too old for dolls, but very young
+    in the way of amusement. Ah&mdash;the closet! I'll unlock that;
+    the key is at hand&mdash;in my writing-desk.</p>
+
+    <p>Open Sesame! On the top shelf sits little Fancie, her eyes
+    shining like diamonds in her soft, dusky cobweb. She nods, so
+    do I, and we are in Greenside again&mdash;on a summer evening.
+    How the crickets sing; and the tree-toads harp in the trees as
+    if they were a picket guard entirely surrounding us. Hueston's
+    big dog barks in the lane at just the right distance. What
+    security I used to feel when I was a little child, tucked away
+    in my bed, and heard a dog bark a mile away; too far off ever
+    to come up and bite, and yet near enough to frighten prowling
+    robbers!</p>
+
+    <p>"When in the breeze the distant watch-dog bayed," I was
+    about to say; but Polly, who is at Greenside with me, calls,
+    "Just hear the mosquitoes."</p>
+
+    <p>The blinds must be closed. What a delicious smell comes in!
+    The dew wetting all the shrubs and flowers distils sweet odors.
+    What a family of moths have rushed in; this big, brown one,
+    with white and red markings, is very enterprising. He has
+    voyaged twice down the lamp chimney, as if it were the funnel
+    of a steamship.</p>
+
+    <p>Get out, moth!</p>
+
+    <p>"Sho," she answers in a husky voice, as if very dry, "It is
+    my nature to; that's all you know, turning us to moral
+    purposes, and making us a tiresome metaphor. We are much like
+    you human creatures&mdash;only we don't compare ourselves
+    continually with others. We just scorch ourselves as we please.
+    My cousin, Noctilia Glow-worm, who is out late o' nights on the
+    grass-bank in poor company&mdash;the Katydids, who board for
+    the season with the widow Poplar&mdash;a two-sided, deceitful
+    woman&mdash;she does not care where I go, and never shrieks
+    out, 'A burnt moth dreads the lamp chimney.' If she sees me
+    wingless, she coughs, and throws out a green light, but says
+    nothing. Don't mind me; there's more coming."</p>
+
+    <p>It can't be moths making such a noise on the second shelf.
+    It is Tom, who calls out to us, from his room, to come, and
+    help him catch a bat.</p>
+
+    <div class="poem">
+        <div class="stanza">
+            <p>"Now air is hushed, save where the weak-eyed bat</p>
+
+            <p>With short shrill shriek flits by on leathern
+            wings."</p>
+        </div>
+    </div>
+
+    <p>"Always mouthing something," somebody mutters. But we rush
+    into Tom's room, and behold him in the middle of the floor,
+    flopping north and south, east and west, with a towel. No bat
+    is to be seen. I hear a pretty singing, however, and declare it
+    to be from a young swallow fallen down the chimney; but as
+    there is no fire-place in the room, my opinion goes for
+    nothing. Tom maintains that it is a bat; that it flew in by the
+    window; and that it is behind the bureau. He is right, for the
+    bat whirrs up to the ceiling and from that height accosts us in
+    a squeaking voice:</p>
+
+    <p>"I am weak-eyed, am I? and my wings are leathery? Catch me,
+    and you will find my wings are like down, my eyes as bright as
+    diamonds. How much you know, writing yourselves down in books
+    as Naturalists! My name is Vespertila; my family are from
+    Servia, at your service. Could you offer me a fly, or a beetle?
+    I was chasing Judge Blue Bottle, or I should not have been
+    trapped. Go to sleep, dears, and leave me to fan you. When you
+    are asleep, I'll bite a hole in your ear, and sup bountifully
+    on your red blood."</p>
+
+    <p>Flop went our towels, and down went Miss Vespertila behind
+    the bed crying. Polly crept up to her; and caught her in a
+    towel. What black beads of eyes had Miss Vespertila from
+    Servia, where her grandfather, General Vampire, still commands
+    a brigade of rascals! Her teeth were sharp, and white as
+    pearls. Polly held her up, and she cunningly combed her furry
+    wings with her hind feet, and said:</p>
+
+    <p>"Polly, dear, I itch dreadfully; do you mind plain speaking?
+    I am full of bat lice. Ariel caught them, and the folks say
+    that Queen Mab often buys fine combs&mdash;"</p>
+
+    <p>"Slanderer!" cried Polly, "fly to your witch home!"</p>
+
+    <p>She shook the towel out of the window, and the bat soared
+    away.</p>
+
+    <p>"What's coming next?" we all asked. "There are the rabbits
+    to hear from, the pigeons, the sparrows, the mole, and the
+    striped snake who lives by the garden gate?"</p>
+
+    <p>Slap, Bang! Fancie has pulled the door to. The cunning Queen
+    Imagin placed her in the closet, perhaps for this purpose. But
+    I have the key. I shall unlock it to-morrow, for I must have
+    the picnic over again, under the beech tree, where the brown
+    thrush built her nest, and reared her young ones, who ate our
+    crumbs, and chirped merrily when we laughed.&mdash;<i>Lolly
+    Dinks's Mother</i>.</p>
+    <hr />
+
+    <p>Doth a man reproach thee for being proud or ill-natured,
+    envious or conceited, ignorant or detractive, consider with
+    thyself whether his reproaches be true. If they are not,
+    consider that thou art not the person whom he reproaches, but
+    that he reviles an imaginary being, and perhaps loves what thou
+    really art, although he hates what thou appearest to be. If his
+    reproaches are true, if thou art the envious, ill-natured man
+    he takes thee for, give thyself another turn, become mild,
+    affable and obliging, and his reproaches of thee naturally
+    cease. His reproaches may indeed continue, but thou art no
+    longer the person he
+    reproaches.&mdash;<i>Epictetus</i>.</p><span class="pagenum"><a name="page28"
+       id="page28"></a>[pg 28]</span> <br />
+
+
+    <h2><a name="literature"
+       id="literature"><i>LITERATURE.</i></a></h2>
+
+    <p>"Of the making of many books there is no end," said the Wise
+    Man of old. Of the making of good books there is frequently an
+    end, say we. The good books of one year may be counted on the
+    fingers of one hand. Among those of the present year none ranks
+    higher than Taine's "Art in Greece," a translation of which, by
+    Mr. John Durand, is published by Messrs. Holt &amp; Williams.
+    The French are a nation of critics, and Taine is the critic of
+    the French. This could not have been said with truth during the
+    lifetime of Sainte-Beuve, but since his death it is true. There
+    is nothing, apparently, which Taine is not competent to
+    criticise, so subtle is his intellect, and so wide the range of
+    his studies, but what he is most competent to criticise is Art.
+    We have heard great things of a History of English Literature
+    by him, but as it has not yet appeared in an English dress
+    (although Messrs. Holt &amp; Williams have a translation of it
+    in press) we shall reserve our decision until it appears. Art,
+    it seems to us, is the specialty to which Taine has devoted
+    himself, with the enthusiasm peculiar to his countrymen, and a
+    thoroughness peculiar to himself. Others may have accumulated
+    greater stores of art-knowledge&mdash;the knowledge
+    indispensable to the historian of Art, and the biographer of
+    artists&mdash;but none has so saturated himself with the spirit
+    of Art as Taine. We may not always agree with him, but he is
+    always worth listening to, and what he says is worthy of our
+    serious consideration. We think he is <i>too</i> philosophical
+    sometimes, but then the fault may be in us. It may be that we
+    are so accustomed to the materialism of the English critics
+    that we fail, at first, to apprehend the spirituality of this
+    most refined and refining of Frenchmen. No English critic could
+    have written his "Art in Greece," because no English critic
+    could put himself in his place. We know what the English think
+    of Greek Art, or may, with a little reading: what Taine thinks
+    of it is&mdash;that it is what it is, simply because the Greeks
+    were what they were. Before he tells us what Greek Art is, he
+    tells us what the Greeks were. Nor does he stop here, but goes
+    on to tell us, or rather begins by telling us, what kind of a
+    country it was in which they dwelt, what skies shone over them,
+    what mountains looked down upon them, in the shadow of what
+    trees they walked within sight of the wine-dark sea. He begins
+    at the beginning, as the children say. Whether he succeeds in
+    convincing us that it was Greece alone which made the Greeks
+    what they were, depends somewhat upon the cast of our minds,
+    and somewhat upon our power to resist his eloquence. We think,
+    ourselves, that he lays too much stress upon the mere outward
+    environment of the Grecian people. The influence exercised over
+    their lives, by the Institutions which grew up out of these
+    lives&mdash;the influence, in short, of their purely physical
+    culture&mdash;is admirably described, as is also the difference
+    between this culture and ours:</p>
+
+    <blockquote>
+        <p>"Modern people are Christian, and Christianity is a
+        religion of second growth which opposes natural instinct.
+        We may liken it to a violent contraction which has
+        inflected the primitive attitude of the human mind. It
+        proclaims, in effect, that the world is sinful, and that
+        man is depraved&mdash;which certainly is indisputable in
+        the century in which it was born. According to it, man must
+        change his ways. Life here below is simply an exile; let us
+        turn our eyes upward to our celestial home. Our natural
+        character is vicious; let us stifle natural desires and
+        mortify the flesh. The experience of our senses and the
+        knowledge of the wise are inadequate and delusive; let us
+        accept the light of revelation, faith and divine
+        illumination. Through penitence, renunciation and
+        meditation let us develop within ourselves the spiritual
+        man; let our life be an ardent awaiting of deliverance, a
+        constant sacrifice of will, an undying yearning for God, a
+        revery of sublime love, occasionally rewarded with ecstasy
+        and a vision of the infinite. For fourteen centuries the
+        ideal of this life was the anchorite or monk. If you would
+        estimate the power of such a conception and the grandeur of
+        the transformation it imposes on human faculties and
+        habits, read, in turn, the great Christian poem and the
+        great pagan poem, one the 'Divine Comedy' and the other the
+        'Odyssey' and the 'Iliad.' Dante has a vision and is
+        transported out of our little ephemeral sphere into eternal
+        regions; he beholds its tortures, its expiations and its
+        felicities; he is affected by superhuman anguish and
+        horror; all that the infuriate and subtle imagination of
+        the lover of justice and the executioner can conceive of he
+        sees, suffers and sinks under. He then ascends into light;
+        his body loses its gravity; he floats involuntarily, led by
+        the smile of a radiant woman; he listens to souls in the
+        shape of voices and to passing melodies; he sees choirs of
+        angels, a vast rose of living brightness representing the
+        virtues and the celestial powers; sacred utterances and the
+        dogmas of truth reverberate in ethereal space. At this
+        fervid height, where reason melts like wax, both symbol and
+        apparition, one effacing the other, merge into mystic
+        bewilderment, the entire poem, infernal or divine, being a
+        dream which begins with horrors and ends in ravishment. How
+        much more natural and healthy is the spectacle which Homer
+        presents! We have the Troad, the isle of Ithica and the
+        coasts of Greece; still at the present day we follow in his
+        track; we recognize the forms of mountains, the color of
+        the sea; the jutting fountains, the cypress and the alders
+        in which the sea-birds perched; he copied a steadfast and
+        persistent nature: with him throughout we plant our feet on
+        the firm ground of truth. His book is a historical
+        document; the manners and customs of his contemporaries
+        were such as he describes; his Olympus itself is a Greek
+        family."</p>
+    </blockquote>
+
+    <p>The manifest inferiority of our mixed languages to their one
+    simple language is stated in the following paragraph, with
+    which we must leave Taine for the present:</p>
+
+    <blockquote>
+        <p>"Almost the whole of our philosophic and scientific
+        vocabulary is foreign; we are obliged to know Greek and
+        Latin to make use of it properly, and, most frequently,
+        employ it badly. Innumerable terms find their way out of
+        this technical vocabulary into common conversation and
+        literary style, and hence it is that we now speak and think
+        with words cumbersome and difficult to manage. We adopt
+        them ready made and conjoined, we repeat them according to
+        routine; we make use of them without considering their
+        scope and without a nice appreciation of their sense; we
+        only approximate to that which we would like to express.
+        Fifteen years are necessary for an author to learn to
+        write, not with genius, for that is not to be acquired, but
+        with clearness, sequence, propriety and precision. He finds
+        himself obliged to weigh and investigate ten or twelve
+        thousand words and diverse expressions, to note their
+        origin, filiation and relationships, to rebuild on an
+        original plan, his ideas and his whole intellect. If he has
+        not done it, and he wishes to reason on rights, duties, the
+        beautiful, the State or any other of man's important
+        interests, he gropes about and stumbles; he gets entangled
+        in long, vague phrases, in sonorous common-places, in
+        crabbed and abstract formulas. Look at the newspapers and
+        the speeches of our popular orators. It is especially the
+        case with workmen who are intelligent but who have had no
+        classical education; they are not masters of words, and,
+        consequently, of ideas; they use a refined language which
+        is not natural to them; it is a perplexity to them and
+        consequently confuses their minds; they have had no time to
+        filter it drop by drop. This is an enormous disadvantage,
+        from which the Greeks were exempt. There was no break with
+        them between the language of concrete facts and that of
+        abstract reasoning, between the language spoken by the
+        people and that of the learned; the one was a counterpart
+        of the other; there was no term in any of Plato's dialogues
+        which a youth, leaving his gymnasia, could not comprehend;
+        there is not a phrase in any of Demosthenes' harangues
+        which did not readily find a lodging-place in the brain of
+        an Athenian peasant or blacksmith. Attempt to translate
+        into Greek one of Pitt's or Mirabeau's discourses, or an
+        extract from Addison or Nicole, and you will be obliged to
+        recast and transpose the thought; you will be led to find
+        for the same thoughts, expressions more akin to facts and
+        to concrete experience; a flood of light will heighten the
+        prominence of all the truths and of all the errors; that
+        which you were wont to call natural and clear will seem to
+        you affected and semi-obscure, and you will perceive by
+        force of contrast why, among the Greeks, the instrument of
+        thought being more simple, it did its office better and
+        with less effort."</p>
+    </blockquote>
+
+    <p>Among the good books of the year, two belong to a special
+    walk of letters in which we have not hitherto excelled the
+    English Translation. There are periods in the history of
+    English Poetry when translation has played an important part.
+    Such a period occurred just before the Shakspearean era, and it
+    was noted for translations from the Latin poets. Chapman was
+    the first English writer to perceive the greatness of the Greek
+    poets, and, like the poet that he was, he attempted to
+    translate the father of poets, Homer. Chapman's Homer is a
+    noble work, with all its faults; but it is not what Homer
+    should be in English. It was followed by other translations
+    mostly of the Latin poets, the best, perhaps, being Dryden's
+    Virgil, until, finally, the English mind returned to Homer, or
+    supposed it did, in the pretty, musical numbers of Pope. Who
+    will may read Pope's Homer. We cannot. Nor Cowper's either,
+    although it contains some good, manly writing. We can read Lord
+    Derby's Homer, or could, until Mr. Bryant published his
+    translation of the "Iliad," when the necessity no longer
+    existed. No English translation of Homer will compare with Mr.
+    Bryant's; and we are glad that we are soon to have the whole of
+    the "Odyssey," as we already have the whole of the "Iliad." The
+    first volume of Mr. Bryant's translation of the "Odyssey" (J.R.
+    Osgood &amp; Co.) fully sustains the reputation of the writer.
+    It is so admirably done, that, if we did not know to the
+    contrary, we should think we were reading an original poem. The
+    stiffness which generally inheres in translations is wanting;
+    nowhere is there any sense of restraint, but everywhere a
+    delightful sense of ease&mdash;the freedom of one great poet
+    shining through the freedom of another great poet, as the sun
+    shines through the sky. It is the ideal English translation of
+    Homer; and we congratulate Mr. Bryant upon having finished it
+    (for we believe he has); and congratulate ourselves that it is
+    the work of an American poet.</p>
+
+    <p>We offer the like congratulation to Mr. Bayard Taylor for
+    his translation of "Faust," which occupies the same place, as
+    regards German Poetry, that Mr. Bryant's translation of Homer
+    does to Greek Poetry. The difficulty of the task which Mr.
+    Taylor set himself, the task of rendering the original in the
+    measures of the original, was never met before by any English
+    translator of "Faust"&mdash;never even attempted, we
+    believe&mdash;and, to say that he has accomplished it, is to
+    say that Mr. Taylor is a very skilful poet&mdash;how skilful we
+    never knew before, highly as we have always valued his poetical
+    powers. He enables us to understand the <i>Intention</i> of
+    Goethe in "Faust," as no one besides himself has done; and,
+    among the obligations that we owe him for the enjoyment he has
+    given us, we must not forget the obligation we are under to him
+    for his <i>Notes</i>. They are scholarly, and to the point.
+    There is not one too many, not one which we could afford to
+    lose, now that we have it. What <i>might</i> have been written,
+    under the pretense of <i>Notes</i>&mdash;what another
+    translator might not have been able to resist writing&mdash;is
+    fearful to think of&mdash;Life is so short, and Goethe's Art so
+    long!</p>
+
+    <p>The year has been fertile in American verse. How much Poetry
+    it has produced is a question into which we do not care to
+    enter. It has witnessed the publication of two volumes by Mr.
+    Bret Harte; of one volume by Mr. John Hay; and of one volume by
+    Mr. William Winter. The title of Mr. Winter's volume, "My
+    Witness," (J.R. Osgood &amp; Co.) is a happy one. It is not
+    every American writer who can afford to place his verse on the
+    stand as his witness; and it is not every American writer whose
+    verse will substantiate what he is so desirous of proving,
+    viz., that he is an American poet.</p>
+
+    <p>Mr. Winter is not without faults&mdash;what American writer
+    is?&mdash;but he endeavors to write simply. The virtue of
+    simplicity&mdash;always a rare one, and never so rare as at
+    present&mdash;he possesses. We have Tennyson, who is not
+    simple; we have Browning, who is not simple; we have Swinburne,
+    who is not simple; and we have Mr. Joaquin Miller, who is not
+    simple.</p>
+
+    <p>Mr. Winter's book has its defects&mdash;among which we
+    observe an occasional lapse into Latinity&mdash;but with all
+    its defects it is a very <i>poetical</i> book. Mr. Winter
+    reminds us, more than any recent American poet, of the English
+    poets of the reigns of Charles the First and Second. He has, at
+    his best, all their graces of style, and he has, at all times,
+    the grace of Purity, to which they laid no claim. With the
+    exception of Carew (whom, we dare say, he has never read), Mr.
+    Winter is the daintiest and sweetest of amatory poets. He has
+    the fancy of Carew, without his artificiality; he has Carew's
+    sweetness, without his grossness of suggestion.</p>
+
+    <p>There is a tinge of sadness in some of Mr. Winter's poems,
+    and the critics, we suppose, will censure him for it. If so,
+    they will be in the wrong. The poet has the right to express
+    his moods, sad or merry, and he is no more to be judged by his
+    sad moods than his merry ones. He is to be judged by both, and
+    the sum of both&mdash;if the critic is able to add it
+    up&mdash;is the poet. As far as he is revealed in his book,
+    that is, but no further. There is such a thing as Dramatic
+    Poetry, as some critics are aware, and there is such a thing as
+    Representative Poetry, as few critics are aware. The former
+    deals with the passions, the latter with those shadowy and
+    evanescent sensations which we call feelings. Mr. Winter is not
+    a dramatic poet, but he is, in his own way, a representative
+    poet. His poem "Lethe" represents one set of feelings; "The
+    White Flag" another; and "Love's Queen" another. We like the
+    last best. For, while we believe the others to be equally
+    genuine, they do not impress us as being the best expression of
+    his genius. What we feel most after finishing his volume, what
+    seems to us most characteristic of his poetry, is
+    loveliness&mdash;the tender loveliness that lingers in the mind
+    after we have seen the sun-set of a quiet summer evening, or
+    after we have heard music on a dreamy summer night. If this
+    poetic melancholy be treason, the critics may make the most of
+    it. Mr. Winter has nothing to fear. He has the authority of the
+    greatest poets with which to defend himself, and confute the
+    critics.</p>
+
+    <h2><a name="art"
+       id="art"><i>ART.</i></a></h2>
+
+    <h3>THE PRODIGAL SON, BY EDOUARD DUBUFE.</h3>
+
+    <p>The sublime lesson of forgiveness, inculcated by the story
+    of the Prodigal Son, is among the earliest and most familiar in
+    the memories of a nation of Bible readers like our own. Every
+    one of us, perhaps unconsciously, carries in mind a simple,
+    straight-forward conception of this subject, formed in early
+    childhood&mdash;a time when the imagination rarely goes beyond
+    an attempt to realize the unlooked for forgiveness of the once
+    deserted parent, or the captivating visions of adventure
+    suggested by the changing fortunes of the wanderer during his
+    absence in a "far country."</p>
+
+    <p>With the painter the picture is his vision, and the panels
+    are the realities. As a man of a different order of thought
+    would have chosen another incident of the story for
+    illustration, so also would a painter of a less independent
+    school have permitted himself to be bound down by the
+    historical facts of the architectural and costume fashions of
+    the time of narration. Dubufe has so far discarded the unities
+    of time and place, if any can <i>really</i> be said to
+    exist&mdash;as no date was fixed in the relation of the parable
+    by Christ&mdash;that he has adopted the mingled costumes of
+    Europe and the East, which obtained in the fifteenth century,
+    and has placed his figures in a Corinthian porch under the
+    light of Italian skies. Apart from the conception and the
+    "telling of the story," about which there will be various
+    opinions, this picture may be justly regarded as a magnificent
+    work of art.</p>
+
+    <p>The great David, a pupil of whose pupil Edouard Dubufe was,
+    and Horace Vernet, appear to have been the guides selected by
+    him, rather than the greatest of his masters&mdash;Paul
+    Delaroche. The influence of both is to be traced in this work,
+    although it may be said to take rank above any production of
+    either of them. In drawing, color, and composition, rendering
+    of textures, and the exhibition of the resources of the
+    palette, now better known to French painters than ever before,
+    the picture leaves nothing to be desired. The faces of the
+    principal figures are full of that "expression to the life" in
+    which the English are justly considered to excel, while the
+    admirable focus of the groups, the color, and interest, are as
+    un-English as excellent. Fault-finding in more than one or two
+    unimportant details would be hypercriticism where so much is
+    perfect, and it becomes our happy privilege, in this notice, to
+    commend and to point out, to "lay" readers about Art, the
+    manifold beauties of its technical execution. A critical
+    examination will show that the composition is on the pyramidal
+    principle, and the arrangement of groups principally in threes.
+    In the central portion of the canvas, where the marble pillars
+    of the porch fall off in perspective, the Profligate stands
+    holding up a golden cup in his right hand, as in the act of
+    proposing a toast. His red costume and commanding figure
+    attract the eye, and the attention falls at once and equally on
+    him and on the magnificent woman whose arms embrace his neck,
+    and whose eyes, as her chin rests close on his breast, gaze
+    with dangerous fascination into his face. Her dress is of rich
+    white satin, and, with the delicate green and gold sheen of her
+    rival's robe&mdash;she with whom the Prodigal's right hand toys
+    in caress&mdash;makes up a wonderfully brilliant prismatic
+    chord, having the effect of focusing the richer, but not less
+    gorgeous, pigments spread everywhere on the canvas. The faces
+    of the women are very beautiful, and are made voluptuous by a
+    subtle art which, through all their beauty, tells a story of
+    unrestrained lives of passion and pleasure.</p>
+
+    <p>The face of the magnificent creature at the Prodigal's left
+    hand is a wondrous piece of drawing. It is thrown back against
+    him and from the spectator, in order that she may look up into
+    his face&mdash;at the moment a dissipated, spiritless face,
+    without even the flush of the wine which dyes her's so
+    rosily&mdash;a face at once weak and weary, and yet revealing a
+    possible intensity, indeed, the face of a French woman who "has
+    lived," rather than that of a man.</p>
+
+    <p>Up to this centre leads the other groups. Below, and seated
+    on the rich rugs which cover the marble pavement, musicians and
+    singers pause to listen to impassioned words from a
+    laurel-crowned poet, while further on a sort of orchestra plays
+    time for the sensuous dance of lithe-bodied Oriental
+    dancers&mdash;each woman of them more ravishing than the other.
+    Minor incidents, like dice-play and love-making, give interest
+    to the remaining space, and keep up the revel.</p>
+
+    <p>Throughout, the drawing is true, and good, and graceful. The
+    hands of the figures demand especial mention. The hand of one
+    of the women, near the central group, grasped by her lover at
+    the wrist as he kisses her shoulder, is particularly exquisite
+    in form and color; the more remarkable, perhaps, because the
+    position of it is so trying in nature and so difficult to
+    draw.</p>
+
+    <p>The type of feature chosen for the women, the dancing girls
+    excepted, is essentially Gallic. As remarked before, the face
+    of the Prodigal, also, is French; but the musicians and the
+    poet have faces of their own which seem to belong to the
+    university of genius. The mere revelers, curiously enough, have
+    a likeness to the figures in some old Italian pictures; one of
+    them looks like a copy of Judas Iscariot, made younger.</p>
+
+    <p>A distant city and mountains fill up the background, and, on
+    the extreme right of the near middle distance, flights of
+    marble steps ascend to a grand doorway, where servants are seen
+    loitering within easy call of their masters.</p>
+
+    <p>It was by a sublime inspiration that Dubufe painted the
+    accessory panels in monotone. In that on the right, a dismal
+    sky, filled with rolling clouds and sad presaging ravens
+    flying, over-shadows the outcast, seated on a rock in an
+    attitude of listless dejection, with the swine feeding at his
+    feet. In the panel on the left he is seen in the close embrace
+    of his merciful parent. His head is bowed in humility, and, in
+    an agony of remorse and shame, while the old house-dog sniffs
+    at him for an obtrusive mendicant who has no business with such
+    affectionate welcome.</p>
+
+    <p>Let us congratulate ourselves that this picture has come to
+    our country, as yet so barren of great works, and pray that the
+    noble school of art of which this is so admirable an exponent,
+    may find favor, not only with our painters, but with those who
+    call themselves connoisseurs, in preference to unmeaning works
+    of microscopic finish, or slick examples of boudoir and
+    millinery painting.</p>
+    <hr class="full" />
+
+    <blockquote class="note">
+        "<b><i>THE ALDINE PRESS.</i>"&mdash;JAMES SUTTON &amp; CO.,
+        <i>Printers and Publishers, 23 Liberty St., N.Y.</i></b>
+    </blockquote>
+    <hr class="full" />
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Aldine, Vol. 5, No. 1., January,
+1872, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE ALDINE, VOL. 5, NO. 1., ***
+
+***** This file should be named 15092-h.htm or 15092-h.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/1/5/0/9/15092/
+
+Produced by Juliet Sutherland, Sandra Brown and the PG Online
+Distributed Proofreading Team.
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+
+</body>
+</html>
diff --git a/15092-h/images/02.png b/15092-h/images/02.png
new file mode 100644
index 0000000..6be9889
--- /dev/null
+++ b/15092-h/images/02.png
diff --git a/15092-h/images/04.png b/15092-h/images/04.png
new file mode 100644
index 0000000..4e5ac34
--- /dev/null
+++ b/15092-h/images/04.png
diff --git a/15092-h/images/08.jpg b/15092-h/images/08.jpg
new file mode 100644
index 0000000..032a456
--- /dev/null
+++ b/15092-h/images/08.jpg
diff --git a/15092-h/images/38.jpg b/15092-h/images/38.jpg
new file mode 100644
index 0000000..91444be
--- /dev/null
+++ b/15092-h/images/38.jpg
diff --git a/15092-h/images/60.jpg b/15092-h/images/60.jpg
new file mode 100644
index 0000000..463eb3f
--- /dev/null
+++ b/15092-h/images/60.jpg
diff --git a/15092-h/images/61.jpg b/15092-h/images/61.jpg
new file mode 100644
index 0000000..8ee53a5
--- /dev/null
+++ b/15092-h/images/61.jpg
diff --git a/15092-h/images/62.jpg b/15092-h/images/62.jpg
new file mode 100644
index 0000000..7ec5b8a
--- /dev/null
+++ b/15092-h/images/62.jpg
diff --git a/15092-h/images/63.jpg b/15092-h/images/63.jpg
new file mode 100644
index 0000000..607a302
--- /dev/null
+++ b/15092-h/images/63.jpg
diff --git a/15092-h/images/64.jpg b/15092-h/images/64.jpg
new file mode 100644
index 0000000..c972141
--- /dev/null
+++ b/15092-h/images/64.jpg
diff --git a/15092-h/images/65.jpg b/15092-h/images/65.jpg
new file mode 100644
index 0000000..210d052
--- /dev/null
+++ b/15092-h/images/65.jpg
diff --git a/15092-h/images/66.jpg b/15092-h/images/66.jpg
new file mode 100644
index 0000000..db3003e
--- /dev/null
+++ b/15092-h/images/66.jpg
diff --git a/15092-h/images/68.jpg b/15092-h/images/68.jpg
new file mode 100644
index 0000000..79da43a
--- /dev/null
+++ b/15092-h/images/68.jpg
diff --git a/15092-h/images/69.jpg b/15092-h/images/69.jpg
new file mode 100644
index 0000000..b409c9c
--- /dev/null
+++ b/15092-h/images/69.jpg
diff --git a/15092-h/images/70-1.jpg b/15092-h/images/70-1.jpg
new file mode 100644
index 0000000..4f193d3
--- /dev/null
+++ b/15092-h/images/70-1.jpg
diff --git a/15092-h/images/70-2.jpg b/15092-h/images/70-2.jpg
new file mode 100644
index 0000000..2861191
--- /dev/null
+++ b/15092-h/images/70-2.jpg
diff --git a/15092-h/images/71.jpg b/15092-h/images/71.jpg
new file mode 100644
index 0000000..b33c7df
--- /dev/null
+++ b/15092-h/images/71.jpg
diff --git a/15092-h/images/frontis.jpg b/15092-h/images/frontis.jpg
new file mode 100644
index 0000000..e1f88cb
--- /dev/null
+++ b/15092-h/images/frontis.jpg
diff --git a/15092.txt b/15092.txt
new file mode 100644
index 0000000..0616847
--- /dev/null
+++ b/15092.txt
@@ -0,0 +1,4275 @@
+Project Gutenberg's The Aldine, Vol. 5, No. 1., January, 1872, by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Aldine, Vol. 5, No. 1., January, 1872
+       A Typographic Art Journal
+
+Author: Various
+
+Release Date: February 17, 2005 [EBook #15092]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ALDINE, VOL. 5, NO. 1., ***
+
+
+
+
+Produced by Juliet Sutherland, Sandra Brown and the PG Online
+Distributed Proofreading Team.
+
+
+
+
+
+
+
+
+
+[Illustration: A VENETIAN FESTIVAL.--C. HULK.]
+
+THE ALDINE,
+
+A
+
+TYPOGRAPHIC ART JOURNAL
+
+[Illustration]
+
+"_Il ne faut pas tant regarder ce qu'on doit faire que ce qu'on
+peut faire_."
+
+VOLUME V.
+
+NEW YORK:
+JAMES SUTTON & COMPANY.
+1873.
+
+[Illustration]
+
+"_THE ALDINE PRESS_."--JAMES SUTTON & Co., Printers, 58 Maiden
+Lane, New York.
+
+
+[Illustration]
+
+Entered according to Act of Congress, in the year 1872, by
+JAMES SUTTON, JR., in the Office of the Librarian of Congress
+at Washington, D. C.
+
+
+
+
+CONTENTS
+
+Abyssinia, A Peep at  _Editorial_  186
+Adirondacks, The Heart of the  _Editorial_  194
+After the Comet  _W.L. Alden_  136
+A Great Master and His Greatest Work  _Editorial_  83
+Aldine Chromos for 1873  _Editorial_  228
+Alpine World, The  _Editorial_  134
+America, Home Life in  _Editorial_  76
+American Robin, The  _Gilbert Darling_  327
+Angling, A Few Words on  _Henry Richards_  155
+Architecture  _W. Von Humboldt_  43
+Art  28
+Artistic Evening, An  _Editorial_  248
+Art-Musee in America, An  _Erastus South_  127
+Art, Roman  _Ottfreid Mueller_  32
+At Rest. (Poem)  _Julia C.R. Dorr_  234
+August in the Woods  _W.W. Bailey_  161
+Ausable, Morning on the  _Editorial_  40
+Authorship, Style in  _Stewart_  75
+Autumn Rambles  _W.W. Bailey_  212
+A Yarn  _Uncle Bluejacket_  216
+
+Babes in the Wood, The  _Editorial_  223
+Badger Hunting  _Editorial_  225
+Barry Cornwall, To. (Poem)  _A.C. Swinburne_  50
+Beauty, Of  _Bacon_.  107
+Beside the Sea. (Poem)  _Mary E. Bradley_  161
+Biography  _Henry Richards_  65
+Bishop's Oak  _Caroline Cheesebro_'  172
+Black Gnat, The  _A.R.M._  34
+Blood Money  _Editorial_  207
+Blue-Birds  _Gilbert Burling_  163
+Books, Borrowing  _Leigh Hunt_  36
+"Bridge of Sighs," Hood's  _Editorial_  50
+Bronte's (Charlotte) Brother and Father  _January Searle_  111
+Building of the Ship, The. (Poem)  _Longfellow_  89
+
+Cedar Bird, The  _Gilbert Burling_  85
+Celebration of the Passover, The  _Editorial_  64
+Chase, After the  _Editorial_  227
+Chet's, Miss, Club  _Caroline Cheesbro'_  59
+Children, Loss of Little  _Leigh Hunt_  104
+Chinese Stories  _Henry Richards_  215
+Christmas Trees  _W.W. Bailey_  234
+Coleridge as a Plagiarist  23
+Coming Out of School  _Editorial_  12
+Cosas de Espana  _Editorial_  86
+Crown Diamonds and other Gems  _S.F. Corkran_  181
+
+Daisies, Among The  _A.S. Isaacs_  23
+December and May  _Editorial_  147
+Death Chase, The  _Editorial_  236
+Dogs, About  _Henry Richards_  175
+Dogs, Education of  _Henry Richards_  234
+
+Englishmen, Religion of  _H. Taine_  183
+English Rhymes and Stories  _Henry Richards_  96
+En Miniature. (From the German)  _M.A.P. Humphreys_  132
+Exquisite Moment, An  _Editorial_  93
+
+Fancie's Dream  _Lolly Dinks's Mother_  34
+Fancie's Farewell  _Lolly Dinks's Mother_  114
+Fawn Family, A Day with a  _Editorial_  107
+Feast of the Tabernacles, The  _Editorial_  64
+Fra Bartolomeo  _Editorial_  106
+Forester's Happy Family, The  _Editorial_  167
+Forester's Last Coming Home, The  _Editorial_  56
+Fortune of The Hassans, The  _C.F. Guernsey_  123
+Friendship of Poets, The  _Editorial_  50
+Frosty Day, A. (Poem)  _J.L. Warren_  11
+
+Garden, In the  _Betsy Drew_  138
+Gems, Colored  _W.S. Ward_  39
+Going to the Volcano  _T.M. Coan_  245
+Green River. (Poem)  _W.C. Bryant_  72
+Gypsies, The  _Editorial_  166
+
+Heart of Kosciusko, The  _Editorial_  113
+Heartsease. (Poem)  _Mary E. Bradley_  43
+Hello!  _Editorial_  193
+Home and Exile  _Editorial_  237
+House with the Hollyhocks, The  _A.L. Noble_  177
+House Wrens  _Gilbert Burling_  105
+How to Tame Pet Birds  _January Searle_  146
+Hunt (Leigh), A Last Visit to  _January Searle_  192
+Hunting Snails  _T.M. Coan_  156
+
+Ideal, The  _Theodore Parker_  133
+Il Beato. (From the German)  _M.A.P. Humphrey_  183
+Ill Wind, An  _Leslie Malbone_  112
+Inside the Door  _Caroline Cheesebro'_  30
+Ireland, A Glimpse at  _T.M. Coan_  119
+Island, On an  _Caroline Cheesebro'_  114
+
+Jack and Gill  _Editorial_  223
+
+King Baby. (Poem)  _George Cooper_  224
+Kingfisher, The  _Editorial_  125
+King's Rosebud, The. (Poem)  _Julia C.R. Porr_  107
+Knowledge  _Ethics of the Fathers_  135
+
+"Lais Corinthaica," Holbein's  _Editorial_  182
+Lalalo--A Legend of Galicia. (From the Spanish)  _H.S. Conant_  164
+Lamp-Light  _Julian Hawthorne_  165
+Lisbon, Loiterings around  _Editorial_  44
+Literature  28, 47, 67, 88, 108, 128, 148, 168, 188,  208
+Little Emily  _Editorial_  178
+Liverworts. (Poem)  _W.W. Bailey_  70
+Longfellow's House and Library  _Geo. W. Greene_  100
+Love Aloft  _Editorial_  116
+Love's Humility. (Poem)  _B.G. Hosmer_  141
+
+Mandarin, A  _From the French_  19
+Manifest Destiny. (Poem)  _R.H. Stoddard_  47
+Man in Blue, The  _R.B. Davey_  50
+Man in the Moon, The  _Yule-tide Stories_  120
+Man's Unselfish Friend  _Editorial_  60
+Married in a Snow-Storm. (From the Russian)  _Wm. Percival_  152
+Marsh and Pond Flowers  _W.W. Bailey_  126
+Martinmas Goose, The  _Editorial_  243
+Maximilian Morningdew's Advice, Mr.  _Julian Hawthorne_  74
+Millerism  _Editorial_  10
+Minster at Ulm, The  _Editorial_  158
+Misers, About  _Betsy Drew_  99
+Mother is Here!  20
+Morning Dew  _Editorial_  76
+Morning and Evening  _Editorial_  242
+Mountain Land of Western North Carolina  _J.A. Oertel_  52
+Mountain Land of Western North Carolina  _J.A. Oertel_  214
+Mountains, In the  _Editorial_  16
+Mouse Shoes  _Lolly Dinks's Mother_  197
+Music in the Alps  _Editorial_  33
+
+Necessity of Believing Something  _Jean Paul_  31
+Neighbor Over the Way, My. (Poem)  _G.W. Scars_  110
+Newport, At. (Poem)  _Geo. H. Boker_  10
+Niagara  _Editorial_  213
+Noble Savage, The  110
+Nooning, The  16
+
+Oblivion  _Browne_  120
+October  _W.W. Bailey_  192
+Old Maid's Village, The  _Kate F. Hill_  26
+Old Oaken Bucket, The  _Editorial_  152
+Othello, How Rossini Wrote  _L.C. Bullard_  91
+Out of the Deeps  _Elizabeth Stoddard_  94
+
+Painted Boats on Painted Seas  _Hiram Rich_  201
+Patriotism and Powder  _Editorial_  132
+Pavilions on the Lake, The. (From the French)  _H.S. Conant_  14
+Pepito  _Lucy Ellen Guernsey_  212
+Perkins, Granville  48
+Peruvians, Among the  _Editorial_  24
+Play for a Heart, A. (From the German)  _H.S. Conant_  54
+Pleasure-Seeking  _Editorial_  240
+Poet's Rivers  _Editorial_  70
+Portugal, Wanderings in  _Editorial_  224
+Pottery, Ancient  _S.F. Corkran_  72
+Prince and Peasant. (From the German,)  _H.S. Conant_  196
+Puddle Party, The  _Lolly Dinks's Mother_  83
+Punishment after Death. (From the Danish)  _James Watkins_  218
+Puss Asleep  _Henry Richards_  143
+
+Queen's Closet, The  _Lolly Dinks's Mother_  27
+
+Rainy Day, The. (Poem)  _H.W. Longfellow_  120
+Raymondskill, The  _E.C. Stedman_  154
+Real Romance, The  _Julian Hawthorne_  10
+Ruse de Guerre. (Poem)  _H.B. Bostwick_  63
+
+School-Children  _Editorial_  198
+Scissor Family, The  _Lolly Dinks's Mother_  144
+Secret, A. (Poem)  _Julia C.R. Dorr_  212
+September Reverie, A  _Editorial_  172
+Serious Case, A  _Editorial_  203
+Shadows  _Julian Hawthorne_  142
+Shakspeare Celebrations  _Editorial_  90
+Shakspeare Portraits  _R.H. Stoddard_  103
+Shameful Death. (Poem)  _Wm. Morris_  83
+Shrews  _A.S. Isaacs_  63
+Simple Suggestion, A  _Mary E. Bradley_  216
+Smallpox, Worse than  _L.E. Guernsey_  157
+Snow-Bird, The  _Gilbert Burling_  207
+Song Sparrow, The  _Gilbert Burling_  32
+Song or Wood Thrush, The  _Gilbert Burling_  66
+Sonnet  _Alfred Tennyson_  67
+Sparrows' City, The. (Poem)  _George Cooper_  165
+Stael, Baroness de, The Salon of. (From the French)  43
+Story of Coeho, The  _R.B. Davey_  71
+Street Scene in Cairo, A  _Editorial_  239
+Stuffing Birds  _January Searle_  246
+Summer Fallacies  _C.D. Shanly_  176
+Sunshine  _Julian Hawthorne_  92
+Superstition  _Bacon_  56
+Swift, Dean  _Lady Mary Wortley Montague_  53
+
+Temple of Canova, The  _Editorial_  203
+Thievish Animals  _Editorial_  238
+Thistle-Down. (Poem)  _W.W. Bailey_  145
+Tired Mothers. (Poem)  _Mrs. A. Smith_  172
+Tropic Forest, A. (Poem)  _Montgomery_  20
+Trout Fishing  _C.D. Shanly_  141
+Truants, The  40
+Two  _J.C.R. Dorr_  152
+Two Gazels of Hafiz  _Henry Richards_  145
+Two Lives, The. (Poem)  _S.W. Duffield_  201
+Two Queens in Westminster. (Poem)  _H. Morford_  132
+
+Uncollected Poems  50
+Uncollected Poems by Campbell.  _Editorial_  144
+Uncollected Poems by "L.E.L."  _Editorial_  94
+Uttmann, Barbara. (From the German)  66
+
+Venice, A Glimpse of  _Editorial_  13
+Violins, About  _J.D. Elwell_  36
+Virginia, On the Eastern Shore of  _Mary E. Bradley_  79
+
+Water Ballad  _S.T. Coleridge_  67
+Weber (Von), Karl Maria  _Editorial_  206
+Wine and Kisses. (Poem) From the Persian  _Joel Benton_  27
+Winter-Green. (Poem)  _Mary E. Bradley_  90
+Winter Pictures from the Poets  _Editorial_  14
+Winter Scenes  _Editorial_  230
+Wolf, Calf and Goat, The  _AEsop, Junior_  124
+Woman in Art  _E.B. Leonard_  145
+Woman's Eternity, A  _E.B.L._  204
+Woman's Place  _Editorial_  162
+Wood or Summer Ducks  _Editorial_  187
+Woods, In the. (Poem)  _G.W. Sears_  192
+Woods Out in the. (Poem)  _Mary E. Bradley_  126
+Wordsworth  _Taine_  33
+Wyoming Valley  _Editorial_  36
+
+Young Robin Hunter, The  _Editorial_  60
+
+Zekle's Courtin'  _Editorial_  30
+
+
+
+
+ILLUSTRATIONS
+
+Adirondack Scenery  _G.H. Smillie_  97
+Advance in Winter, The  236
+After the Storm  _Schenck_  231
+After the Storm a Calm. (I, II, III, IV,)  244
+Agnes  _R.E. Piguet_  112
+Albai, View on the River  183
+American Robin, The  _Gilbert Burling_  227
+Artistic Evening, An  248
+At Home  239
+Ausable, Morning on the  _G.H. Smillie_  41
+
+Babes in the Wood, The  _John S. Davis_  222
+Badger Hunting  _L. Beckmann_  226
+Blood Money  _Victor Nehlig_  190
+Blowing Hot and Cold  _John S. Davis_  142
+Blowing Rock  _R.E. Piguet_  57
+Blue-Birds  _Gilbert Burling_  163
+Bonnie Brook, near Rahway  _R.E. Piguet_  112
+Bridal Veil  _Granville Perkins_  154
+Bridge of Sighs, The (View of)  13
+Bridge of Sighs (Hood's)  _Georgie A. Davis_  49
+Building of the Ship, The  _T. Beech_  89
+
+Capella Imperfeita, Archway in the  44
+Casa do Capitulo, The  224
+Casa do Capitulo, Window in the  46
+Castle of Meran, The. (Frontispiece)  _C. Heyn_. Opp. 189
+Caught At Last  238
+Cedar Birds  _Gilbert Burling_  85
+Chase, After the  _David Neal_  219
+Christmas Visitors  _Guido Hammer_  231
+Coming Out of School  _Vautier_  12
+Crossing the Moor  After _F.F. Hill_  228
+
+December and May  _W.H. Davenport_  146
+Death Chase, The  236
+Deer Family, The  _Guido Hammer_  106
+
+Enjoyment  241
+Evening  _Paul Dixon_  205
+Evening  243
+Evenings at Home  _A.E. Emslie_  77
+Exquisite Moment, An  _John S. Davis_  93
+
+Fashionable Loungers of Lima  24
+Feast of the Passover, The  _Oppenheim_  64
+Feast of the Tabernacles, The  _Oppenheim_  65
+Fisherman's Family, The  239
+Forester's Happy Family at Dinner, The  _Guido Hammer_  167
+Forester's Last Coming Home, The  56
+For the Master  _Offterdinger_ (Opp.)  236
+
+Garden, In the  _Arthur Lumley_  138
+Gertrude of Wyoming  _Victor Nehlig_  117
+Glen, The  _F.T. Vance_  194
+God's Acre  232
+Gondar, Emperor's Palace at  186
+Good Bye, Sweetheart  233
+Grandfather Mountain, N.C.  _R.E. Piguet_  215
+Green River  _August Will_  69
+Green River  _R.E. Piguet_  72
+Green River  _R.E. Piguet_  73
+Guide-Board, The  _Knesing_  230
+Gypsy Girl at her Toilette  _G. Dore_  166
+
+Happy Valley  _R.E. Piguet_  53
+Heart of a Hero, The.  (Kosciusko's Monument)  113
+Here. Chick! Chick!  240
+Hollo!  _John S. Davis_  191
+House Wrens  _Gilbert Burling_  105
+How a Spaniard Drinks  _Dore_  86
+Hudson at Hyde Park, The  _G.H. Smillie_  81
+
+In-Doors  243
+Infant Jesus, The  Copied by _J.S. Davis_  229
+"Is the solace of age."  247
+"It ofttimes happens that a child"  245
+
+Jack and Gill  _John S. Davis_  223
+
+Kate  _R.E. Piguet_  112
+Keeping House  _John S. Davis_ (Opp.)  29
+Kingfisher, The  _L. Beckmann_  125
+King Witlaf's Drinking Horn  _A. Kappes_  131
+Kwasind, the Strong Man  _T. Moran_  109
+
+Lais Corinthaica  _Holbein_  182
+Lake Henderson  _F.T. Vance_  195
+Limena, Middle-Aged  25
+Linville, On the  _R.E. Piguet_  52
+Linville River, The  _R.E. Piguet_  53
+Little Emily  _John S. Davis_  178
+Little Mother, The  _John S. Davis_  80
+Loffler Peak, Tyrol, The  135
+Longfellow's House  _A.C. Warren_  100
+Longfellow's Library  _A.C. Warren_  101
+Longing Looks  _J.W. Bolles_  96
+Love Aloft  _Otto Gunther_  116
+
+Manifest Destiny  _W.M. Cary_  37
+Man's Unselfish Friend  _Chas. E. Townsend_  61
+Marston Moor, Before the Battle of  121
+Mestizo Woman, Young  25
+Mill, in Wyoming Valley, An Old  _F.T. Vance_  36
+Minster at Ulm, The  158
+Monastery de Leca do Balio, The  225
+Monk's Oak, The  (After _Constantine Schmidt_)  33
+Moonlight on the Hudson  _Paul Dixon_  170
+Moose Hunting  232
+Morganton, View in  _R.E. Piguet_  53
+Morganton, View near  _R.E. Piguet_  214
+Morning  242
+Morning Dew. (Frontispiece)  _Victor Nehlig_. Opp.  69
+Morning in the Meadow  _R.E. Piguet_  113
+Mother is Here!  _Deiker_  20
+Mountains, In the  16
+Mueller, Maud  _Georgie A. Davis_  9
+Music in the Alps  _Dore_  33
+
+Naughty Boy, The  _John S. Davis_ (Opp.)  89
+Navaja, Duel with the  _Dore_  86
+New England, Hills of  _Paul Dixon_  204
+Niagara  _Jules Tavernier_  211
+Nooning, The  (After _Darley_)  17
+
+Old Oaken Bucket, The  _John S. Davis_  159
+Ornamental, The  _Deiker_  234
+Out of Doors  242
+
+Patriotic Education  _F. Beard_  130
+Penha Verde, Doorway and Oriel in the  45
+Perkins, Granville  48
+Peruvian Ladies, Costumes of  24
+Peruvian Priests  25
+Pets, The  241
+Picking and Choosing  _Beckmann_  238
+Pines of the Racquette, The  _John A. Hows_  121
+Playing Sick  _A.H. Thayer_  174
+Preston Ponds, From Bishop's Knoll  _.F.T. Vance_  199
+Puss Asleep  _C.E. Townsend_  143
+
+Rainy Day, The  _John S. Davis_  120
+Raymondskill, Falls of The  _Granville Perkins_  150
+Raymondskill, View on the  _Granville Perkins_  155
+Raymondskill, The Main Fall  _Granville Perkins_  155
+
+Scene on the Catawba River  _R.E. Piguet_  210
+School Discipline  _John S. Davis_  198
+Serious Case, A  _Ernst Bosch_  202
+Shakspeare, Ward's  _J.S. Davis_  104
+Shipwreck on the Coast of Dieppe, A  _T. Weber_  139
+Singing the War Song  187
+Snow-Birds  _Gilbert Burling_  207
+Song Sparrow, The  _Gilbert Burling_  32
+Song or Wood Thrush, The  _Gilbert Burling_  66
+South Mountain  _R.E. Piguet_  53
+Spanish Postilion  _Dore_  87
+Spanish Ladies  _Dore_  87
+Sport  240
+Squaw Pounding Cherries, Old  _W.M. Cary_  162
+Standish, Miles, Courtship of  _J.W. Bolles_  151
+Street Scene in Cairo, A  Opp.  229
+Surenen Pass, Switzerland, View in the  134
+
+Temple of Canova  203
+Then fare thee well, my country, lov'd and lost!  237
+"There's a Beautiful Spirit Breathing Now"  218
+Tight Place, In a  _W.M. Cary_  76
+Tropic Forest, A  _Granville Perkins_  21
+Truants, The  _M.L. Stone_  40
+
+Useful, The  _Deiker_  235
+Uttmann, Barbara  68
+
+Venetian Festival, A. (Frontispiece)  _C. Hulk_
+Vischer's, Peter, Studio  84
+Visconti, Princess  (After "_Fra Bartolomeo_")  108
+Villa de Conde, Church at  215
+Village Belle, The  After _J.J. Hill_  228
+
+Waiting at the Stile  147
+Watauga Falls  _R.E. Piguet_  53
+Watering the Cattle  _Peter Moran_  171
+Wayside Inn, The  (After _Hill_)  107
+Weber, Von, Last Moments of  206
+What Was That Knot Tied For?  (After _I.E. Gaiser_)  92
+"Which in infancy lisped"  246
+"Who Said Rats?"  _A.H. Thayer_  175
+Winter Sketch, A. (Frontispiece)  _George H. Smillie_. Opp.  149
+Wolf, Calf and Goat, The  _H.L. Stephens_  124
+Wood or Summer Ducks  _Gilbert Burling_  179
+
+"Ye limpid springs and floods,"  237
+Young Robin Hunter, The  _John S. Davis_  60
+
+Zekle's Courtin'  _Frank Beard_  29
+
+
+
+
+THE ALDINE
+
+VOL. V.      NEW YORK,       JANUARY, 1872.      No. 1.
+
+
+
+
+[Illustration: MAUD MUeLLER.--DRAWN BY GEORGIE A. DAVIS.]
+
+
+  "MAUD MUeLLER looked and sighed: 'Ah, me!
+  That I the Judge's bride might be!
+
+  "'He would dress me up in silks so fine,
+  And praise and toast me at his wine.
+
+  "'My father should wear a broad-cloth coat:
+  My brother should sail a painted boat.'
+
+  "'I'd dress my mother so grand and gay,
+  And the baby should have a new toy each day.
+
+  "'And I'd feed the hungry and clothe the poor.
+  And all should bless me who left our door.
+
+  "The Judge looked back as he climbed the hill,
+  And saw Maud Mueller standing still.
+
+  "'A form more fair, a face more sweet,
+  Ne'er hath it been my lot to meet.
+
+  "'And her modest answer and graceful air,
+  Show her wise and good as she is fair.
+
+  "'Would she were mine, and I to-day,
+  Like her a harvester of hay.'"
+
+  --_Whittier's Maud Mueller._
+
+
+
+
+THE ALDINE.
+
+_JAMES SUTTON & CO., PUBLISHERS_
+
+23 LIBERTY STREET, NEW YORK.
+
+       *       *       *       *       *
+
+$5.00 per Annum (_with chrono._) Single Copies, 50 Cents.
+
+       *       *       *       *       *
+
+_AT NEWPORT._
+
+  I stand beside the sea once more;
+    Its measured murmur comes to me;
+  The breeze is low upon the shore,
+    And low upon the purple sea.
+
+  Across the bay the flat sand sweeps,
+    To where the helmed light-house stands
+  Upon his post, and vigil keeps,
+    Far seaward marshaling all the lands.
+
+  The hollow surges rise and fall,
+    The ships steal up the quiet bay;
+  I scarcely hear or see at all,
+    My thoughts are flown so far away.
+
+  They follow on yon sea-bird's track.
+    Beyond the beacon's crystal dome;
+  They will not falter, nor come back,
+    Until they find my darkened home.
+
+  Ah, woe is me! 'tis scarce a year
+    Since, gazing o'er this moaning main,
+  My thoughts flew home without a fear.
+    And with content returned again.
+
+  To-day, alas! the fancies dark
+    That from my laden bosom flew,
+  Returning, came into the ark,
+    Not with the olive, with the yew.
+
+  The ships draw slowly towards the strand,
+    The watchers' hearts with hope beat high;
+  But ne'er again wilt thou touch land--
+  Lost, lost in yonder sapphire sky!
+
+                        --_Geo. H. Boker._
+
+
+
+
+_MILLERISM._
+
+
+Toward the close of the last century there was born in New
+England one William Miller, whose life, until he was past fifty,
+was the life of the average American of his time. He drank, we
+suppose, his share of New England rum, when a young man; married
+a comely Yankee girl, and reared a family of chubby-cheeked
+children; went about his business, whatever it was, on week
+days, and when Sunday came, went to meeting with commendable
+regularity. He certainly read the Old Testament, especially the
+Book of Daniel, and of the New Testament at least the Book of
+Revelation. Like many a wiser man before him, he was troubled at
+what he read, filled as it was with mystical numbers and strange
+beasts, and he sought to understand it, and to apply it to the
+days in which he lived. He made the discovery that the world
+was to be destroyed in 1843, and went to and fro in the land
+preaching that comfortable doctrine. He had many followers--as
+many as fifty thousand, it is said, who thought they were
+prepared for the end of all things; some going so far as to lay
+in a large stock of ascension robes. Though no writer himself, he
+was the cause of a great deal of writing on the part of others,
+who flooded the land with a special and curious literature--the
+literature of Millerism. It is not of that, however, that we
+would speak now.
+
+But before this Miller arose--we proceed to say, if only to show
+that we are familiar with other members of the family--there was
+another, and very different Miller, who was born in old England,
+about one hundred years earlier than our sadly, or gladly,
+mistaken Second Adventist. His Christian name was Joseph, and he
+was an actor of repute, celebrated for his excellence in some of
+the comedies of Congreve. The characters which he played may have
+been comic ones, but he was a serious man. Indeed, his gravity
+was so well known in his lifetime that it was reckoned the height
+of wit, when he was dead, to father off upon him a Jest Book!
+This joke, bad as it was, was better than any joke in the book.
+It made him famous, so famous that for the next hundred years
+every little _bon mot_ was laid at his door, metaphorically
+speaking, the puniest youngest brat of them being christened "Old
+Joe."
+
+After Joseph Miller had become what Mercutio calls "a grave man,"
+his descendants went into literature largely, as any one may
+see by turning to Allibone's very voluminous dictionary, where
+upwards of seventy of the name are immortalized, the most noted
+of whom are Thomas Miller, basket-maker and poet, and Hugh
+Miller, the learned stone-mason of Cromarty, whose many works, we
+confess with much humility, we have not read. To the sixty-eight
+Millers in Allibone (if that be the exact number), must now be
+added another--Mr. Joaquin Miller, who published, two or three
+months since, a collection of poems entitled "Songs of the
+Sierras." From which one of the Millers mentioned above his
+ancestry is derived, we are not informed; but, it would seem,
+from the one first-named. For clearly the end of all things
+literary cannot be far off, if Mr. Miller is the "coming poet,"
+for whom so many good people have been looking all their lives.
+We are inclined to think that such is not the fact. We think,
+on the whole, that it is to the other Miller--Joking Miller--his
+genealogy is to be traced.
+
+But who is Mr. Miller, and what has he done? A good many besides
+ourselves put that question, less than a year ago, and nobody
+could answer it. Nobody, that is, in America. In England he was a
+great man. He went over to England, unheralded, it is stated,
+and was soon discovered to be a poet. Swinburne took him up; the
+Rossettis took him up; the critics took him up; he was taken up
+by everybody in England, except the police, who, as a rule, fight
+shy of poets. He went to fashionable parties in a red shirt, with
+trowsers tucked into his boots, and instead of being shown to the
+door by the powdered footman, was received with enthusiasm. It is
+incredible, but it is true. A different state of society existed,
+thirty or forty years ago, when another American poet went to
+England; and we advise our readers, who have leisure at their
+command, to compare it with the present social lawlessness of the
+upper classes among the English. To do this, they have only
+to turn to the late N.P. Willis's "Pencilings by the Way," and
+contrast his descriptions of the fashionable life of London then,
+with almost any journalistic account of the same kind of life
+now. The contrast will be all the more striking if they will
+only hunt up the portraits of Disraeli, with his long, dark locks
+flowing on his shoulders, and the portrait of Bulwer, behind his
+"stunning" waistcoat, and his cascade of neck-cloth, and then
+imagine Mr. Miller standing beside them, in his red shirt and
+high-topped California boots! Like Byron, Mr. Miller "woke up one
+morning and found himself famous."
+
+We compare the sudden famousness of Mr. Miller with the sudden
+famousness of Byron, because the English critics have done so;
+and because they are pleased to consider Mr. Miller as Byron's
+successor! Byron, we are told, was the only poet whom he had
+read, before he went to England; and is the only poet to whom he
+bears a resemblance. How any of these critics could have
+arrived at this conclusion, with the many glaring imitations
+of Swinburne--at his worst--staring him in the face from Mr.
+Miller's volume, is inconceivable. But, perhaps, they do not read
+Swinburne. Do they read Byron?
+
+There are, however, some points of resemblance between Byron and
+Mr. Miller. Byron traveled, when young, in countries not much
+visited by the English; Mr. Miller claims to have traveled, when
+young, in countries not visited by the English at all. This was,
+and is, an advantage to both Byron and Mr. Miller. But it was,
+and is, a serious disadvantage to their readers, who cannot well
+ascertain the truth, or falsehood, of the poets they admire. The
+accuracy of Byron's descriptions of foreign lands has long
+been admitted; the accuracy of Mr. Miller's descriptions is not
+admitted, we believe, by those who are familiar with the ground
+he professes to have gone over.
+
+Another point of resemblance between Byron and Mr. Miller is,
+that the underlying idea of their poetry is autobiographic. We
+do not say that it was really so in Byron's case, although he, we
+know, would have had us believe as much; nor do we say that it
+is really so in Mr. Miller's case, although he, too, we suspect,
+would have us believe as much.
+
+Mr. Miller resembles Byron as his "Arizonian" resembles Byron's
+"Lara." _Lara_ and _Arizonian_ are birds of the same dark
+feather. They have journeyed in strange lands; they have had
+strange experiences; they have returned to Civilization. Each, in
+his way, is a Blighted Being! "Who is she?" we inquire with the
+wise old Spanish Judge, for, certainly, _Woman_ is at the bottom
+of it all. If our readers wish to know _what_ woman, we refer
+them to "Arizonian:" they, of course, have read "Lara."
+
+Byron was a great poet, but Byronism is dead. Mr. Miller is not a
+great poet, and his spurious Byronism will not live. We shall all
+see the end of Millerism.
+
+
+
+
+_THE REAL ROMANCE._
+
+
+The author laid down his pen, and leaned back in his big easy
+chair. The last word had been written--Finis--and there was the
+complete book, quite a tall pile of manuscript, only waiting for
+the printer's hands to become immortal: so the author whispered
+to himself. He had worked hard upon it; great pains had been
+expended upon the delineations of character, and the tone and
+play of incident; the plot, too, had been worked up with much
+artistic force and skill; and, above all, everything was so
+strikingly original; no one, in regarding the various characters
+of the tale, could say: this is intended for so-and-so! No,
+nothing precisely like the persons in his romance had ever
+actually existed; of that the author was certain, and in that he
+was very probably correct. To be sure, there was the character
+of the country girl, Mary, which he had taken from his own
+little waiting-maid: but that was a very subordinate element,
+and although, on the whole, he rather regretted having introduced
+anything so incongruous and unimaginative, he decided to let it
+go. The romance, as a whole, was too great to be injured by one
+little country girl, drawn from real life. "And by the way,"
+murmured the author to himself, "I wish Mary would bring in my
+tea."
+
+He settled himself still more comfortably in his easy chair, and
+thought, and looked at his manuscript; and the manuscript looked
+back; but all _its_ thinking had been done for it. Neither
+spoke--the author, because the book already knew all he had to
+say; and the book, because its time to speak and be immortal had
+not yet arrived. The fire had all the talking to itself, and it
+cackled, and hummed, and skipped about so cheerfully that one
+would have imagined it expected to be the very first to receive
+a presentation copy of the work on the table. "How I would devour
+its contents!" laughed the fire.
+
+Perhaps the author did not comprehend the full force of the
+fire's remark, but the voice was so cosy and soothing, the
+fire itself so ruddy and genial, and the easy chair so softly
+cushioned and hospitable, that he very soon fell into a condition
+which enabled him to see, hear, and understand a great many
+things which might seem remarkable, and, indeed, almost
+incredible.
+
+The manuscript on the table which had hitherto remained perfectly
+quiet, now rustled its leaves nervously, and finally flung
+itself wide open. A murmur then arose, as of several voices, and
+presently there appeared (though whether stepping from between
+the leaves of the book itself, or growing together from the
+surrounding atmosphere, the author could not well make out)
+a number of peculiar-looking individuals, at the first glance
+appearing to be human beings, though a clear investigation
+revealed in each some odd lack or exaggeration of gesture,
+feature, or manner, which might create a doubt as to whether they
+actually were, after all, what they purported to be, or only some
+_lusus naturae_. But the author was not slow to recognize them,
+more especially as, happening to cast a glance at the manuscript,
+he noticed that it was such no longer, but a collection of
+unwritten sheets of paper, blank as when it lay in the drawer at
+the stationer's--unwitting of the lofty destiny awaiting it.
+
+Here, then, were the immortal creations which were soon to
+astound the world, come, in person, to pay their respects to the
+author of their being. He arose and made a profound obeisance to
+the august company, which they one and all returned, though in
+such a queer variety of ways, that the author, albeit aware that
+every individual had the best of reasons for employing, under
+certain special circumstances, his or her particular manner of
+salute, could scarcely forbear smiling at the effect they all
+together produced in his own unpretending study.
+
+"Your welcome visit," said the author, addressing his guests
+with all the geniality of which he was master (for they
+seemed somewhat stiff and ill-at-ease), "gives me peculiar
+gratification. I regret not having asked some of my friends, the
+critics, up here to make your acquaintance. I am sure you would
+all come to the best possible understanding directly."
+
+"They cannot fathom _me_," exclaimed a strikingly handsome young
+man, with pale lofty brow, and dark clustering locks, who was
+leaning with proud grace against the mantel-piece. "They may
+take my life, but they cannot read my soul." And he laughed,
+scornfully, as he always did.
+
+[Illustration: THE NOONING.--AFTER DARLEY.]
+
+
+This was a passage from that famous ante-mortem soliloquy in
+which the hero of the romance indulges in the last chapter but
+one. The author, while, of course, he could not deny that the
+elegance of the diction was only equaled by the originality of
+the sentiment, yet felt a slight uneasiness that his hero should
+adopt so defiant a tone with those who were indeed to be the
+arbiters of his existence.
+
+"I'm afraid there's not enough perception of the _comme il faut_
+in him to suit the every-day world," muttered he. "To be sure,
+he was not constructed for ordinary ends. Do you find yourself
+at home in this life, madame?" he continued aloud, turning to a
+young lady of matchless beauty, whose brief career of passionate
+love and romantic misery the author had described in thrilling
+chapters. She raised her luminous eyes to his, and murmured
+reproachfully: "Why speak to me of Life? if it be not Love, it is
+Life no longer!"
+
+It was very beautiful, and the author recollected having thought,
+at the time he wrote it down, that it was about the most forcible
+sentence in that most powerful passage of his book. But it
+was rather an exaggerated tone to adopt in the face of such
+common-place surroundings. Had this exquisite creature, after
+all, no better sense of the appropriate?
+
+"No one can know better than I, my dear Constance," said the
+author, in a fatherly tone, "what a beautiful, tender, and lofty
+soul yours is; but would it not be well, once in a while, to
+veil its lustre--to subdue it to a tint more in keeping with the
+unvariegated hue of common circumstance?"
+
+"Heartless and cruel!" sobbed Constance, falling upon the sofa,
+"hast thou not made me what I am?"
+
+This accusation, intended by the author to be leveled at the
+traitor lover, quite took him aback when directed, with so much
+aptness, too, at his respectable self. But whom but himself
+could he blame, if, when common sense demanded only civility
+and complaisance, she persisted in adhering to the tragic and
+sentimental? He was provoked that he had not noticed this defect
+in time to remedy it; yet he had once considered Constance as,
+perhaps, the completest triumph of his genius! There seemed to
+be something particularly disenchanting in the atmosphere of that
+study.
+
+"I'm afraid you're a failure, ma'am, after all," sighed the
+author, eyeing her disconsolately. "You're so one-sided!"
+
+At this heartless observation the lady gave a harrowing shriek,
+thereby summoning to her side a broad-shouldered young fellow,
+clad in soldier's garb, with a countenance betokening much
+boldness and determination. He faced the author with an angry
+frown, which the latter at once recognized as being that of
+Constance's brother Sam.
+
+"Now then, old bloke!" sang out that young gentleman, "what new
+deviltry are you up to? Down on your knees and beg her pardon,
+or, by George! I'll run you through the body!"
+
+On this character the author had expended much thought and care.
+He was the type of the hardy and bold adventurer, rough and
+unpolished, perhaps, but of true and sterling metal, who, by dint
+of his vigorous common sense and honest, energetic nature, should
+at once clear and lighten whatever in the atmosphere of the story
+was obscure and sombre; and, by the salutary contrast of his
+fresh and rugged character with the delicate or morbid traits
+of his fellow beings, lend a graceful symmetry to the whole. The
+sentence Sam had just delivered with so much emphasis ought to
+have been addressed to the traitor lover, when discovered in the
+act of inconstancy, and, so given, would have been effective and
+dramatic. But at a juncture like the present, the author felt it
+to be simply ludicrous, and had he not been so mortified, would
+have laughed outright!
+
+"Don't make a fool of yourself, Sam," remonstrated he. "Reflect
+whom you're addressing, and in what company you are, and do try
+and talk like a civilized being."
+
+"Come, come! no palaver," returned Sam, in a loud and boisterous
+tone (to do him justice, he had never been taught any other);
+"down on your marrow-bones at once, or here goes for your
+gizzard!" and he drew his sword with a flourish.
+
+So this was the rough diamond--the epitome of common sense! Why,
+he was a half-witted, impertinent, overbearing booby, and his
+author longed to get him across his knee, and correct him in the
+good old way. But meantime the point of the young warrior's
+sword was getting unpleasantly near the left breast-pocket of
+the author's dressing gown (which he wore at the time), and the
+latter happened to recollect, with a nervous thrill, that this
+was the sword which mortally wounded the traitor lover (for whom
+Sam evidently mistook him) during the stirring combat so vividly
+described in the twenty-second chapter. Could he but have
+foreseen the future, what a different ending that engagement
+should have had! But again it was too late, and the author sprang
+behind the big easy chair with astonishing agility, and from that
+vantage ground endeavored to bring on a parley.
+
+Yet how could he argue and expostulate against himself? How
+arraign Sam of harboring murderous designs which he had himself
+implanted in his bosom? How, indeed, expect him to comprehend
+conversation so entirely foreign to his experience? It was an
+awkward dilemma.
+
+It was Sam who took it by the horns. Somebody, he felt, must be
+mortally wounded; and finding himself defrauded of one subject,
+he took up with the next he encountered, which chanced to be none
+other than the venerable and white-haired gentleman who filled
+the position, in the tale, of a wealthy and benevolent uncle. The
+author, having always felt a sentiment of exceptional respect and
+admiration for this reverend and patriarchal personage, who
+by his gentle words and sage counsels, no less than his noble
+generosity, had done so much to elevate and sweeten the tone
+of his book, fell into an ecstasy of terror at witnessing the
+approach of his seemingly inevitable destruction; especially as
+he perceived that the poor old fellow (who never in his life had
+met with aught but reverence and affection, and knew nothing
+of the nature of deadly weapons and impulses) was, so far, from
+attempting to defend himself, or even escape, actually opening
+his arms to the widest extent of avuncular hospitality, and
+preparing to take his assassin, sword and all, into his fond and
+forgiving heart!
+
+"You old fool!" shrieked the author, in the excess of his
+irritation and despair; "he isn't your repentant nephew! Why
+can't you keep your forgiveness until it's wanted?"
+
+But Uncle Dudley having been created solely to forgive and
+benefit, was naturally incapable of taking care of himself, and
+would certainly have been run through the ample white waistcoat,
+had not an unexpected and wholly unprecedented interruption
+averted so awful a catastrophe.
+
+A small, graceful figure, wearing a picturesque white cap, with
+jaunty ribbons, and a short scarlet petticoat, from beneath which
+peeped the prettiest feet and ancles ever seen, stepped suddenly
+between the philanthropic victim and his would-be-murderer,
+dealt the latter a vigorous blow across the face with a broom
+she carried, thereby toppling him over ignominiously into the
+coal-scuttle, and then, placing her plump hands saucily
+akimbo, she exclaimed with enchanting _naivete_: "There! Mr.
+Free-and-easy! take _that_ for your imperance."
+
+This little incident caused the author to fall back into his easy
+chair in a condition of profound emotion. It appeared to have
+corrected a certain dimness or obliquity in his vision, of the
+existence of which its cure rendered him for the first time
+conscious. The appearance of the little country girl (whose very
+introduction into the romance the author had looked upon with
+misgivings) had afforded the first gleam of natural, refreshing,
+wholesome interest--in fact, the only relief to all that was
+vapid, irrational, and unreal--which the combined action of the
+characters in his romance had succeeded in producing. But the
+enchantress who had effected this, so far from being the most
+unadulterated product of his own brain and genius, was the only
+one of all his _dramatis personae_ who was not in the slightest
+degree indebted to him for her existence. She was nothing
+more than an accurate copy of Mary the house-maid, while the
+others--the mis-formed, ill-balanced, one-sided creations, who,
+the moment they were placed beyond the pale of their written
+instructions--put out of the regular and pre-arranged order of
+their going--displayed in every word and gesture their utter
+lack and want of comprehension of the simplest elements of human
+nature: _these_ were the unaided offspring of the author's fancy.
+And yet it was by help of such as these he had thought to push
+his way to immortality! How the world would laugh at him! and,
+as he thought this, a few bitter tears of shame and humiliation
+trickled down the sides of the poor man's nose.
+
+Presently he looked up. The warlike Sam remained sitting
+disconsolately in the coal-hod; his instructions suggested no
+means of extrication. Forsaken Constance lay fainting on the
+sofa, waiting for some one to chafe her hands and bathe her
+temples. The strikingly handsome betrayer leant in sullen and
+gloomy silence against the mantel-piece, ready to treat all
+advances with stern and defiant obduracy. The benevolent uncle
+stood with open arms and bland smile, never doubting but
+that everybody was preparing for a simultaneous rush to, and
+participation in, his embrace; and, finally, the pretty little
+country girl, with her arms akimbo and her nose in the air,
+remained mistress of the situation. Her unheard of innovation, of
+having done something timely, sensible, and decisive, even
+though not put down in the book, seemed to have paralyzed all the
+others. Ah! she was the only one there who was not less than a
+shadow. The author felt his desolate heart yearn towards her, and
+the next moment found himself on his knees at her feet.
+
+"Mary," cried he, "you are my only reality. The others are empty
+and soulless, but you have a heart. They are the children of a
+conceited brain and visionary experience; you, only, have I drawn
+simply and unaffectedly, as you actually existed. Except for
+you, whom I slighted and despised, my whole romance had been an
+unmitigated falsehood. To you I owe my preservation from worse
+than folly, and my initiation into true wisdom. Mary--dear
+Mary, in return I have but one thing to offer you--my heart! Can
+you--_will_ you not love me?"--
+
+To his intense surprise, Mary, instead of evincing a becoming
+sense of her romantic situation, burst forth into a merry peal
+of laughter, and, catching him by one shoulder, gave him a hearty
+shake.
+
+"La sakes! Mr. Author, do wake up! did ever anybody hear such a
+man!"
+
+There was his room, his fire, his chair, his table, and his
+closely-written manuscript lying quietly upon it. There was
+he himself on his knees on the carpet, and--there was Mary the
+house-maid, one hand holding the brimming tea-pot, the other held
+by the author against his lips, and laughing and blushing in a
+tumult of surprise, amusement and, perhaps, something better than
+either.
+
+"Did I say I loved you, Mary?" enquired the author, in a state of
+bewilderment. "Never mind! I say now that I love you with all my
+heart and soul, and ten times as much when awake, as when I was
+dreaming! Will you marry me?"
+
+Mary only blushed rosier then ever. But she and the author always
+thereafter took their tea cosily together.
+
+As for the romance, the author took it and threw it into the
+fire, which roared a genial acknowledgment, and in five minutes
+had made itself thoroughly acquainted with every page. There
+remained a bunch of black flakes, and in the center one soft
+glowing spark, which lingered a long while ere finally taking
+its flight up the chimney. It was the description of the little
+country girl.
+
+"The next book I write shall be all about you," the author used
+to say to his wife, in after years, as they sat together before
+the fire-place, and watched the bright blaze roar up the chimney.
+
+                                            --_Julian Hawthorne._
+
+
+
+
+_A FROSTY DAY._
+
+
+  Grass afield wears silver thatch,
+    Palings all are edged with rime,
+  Frost-flowers pattern round the latch,
+    Cloud nor breeze dissolve the clime;
+
+  When the waves are solid floor,
+    And the clods are iron-bound,
+  And the boughs are crystall'd hoar,
+    And the red leaf nail'd aground.
+
+  When the fieldfare's flight is slow,
+    And a rosy vapor rim,
+  Now the sun is small and low,
+    Belts along the region dim.
+
+  When the ice-crack flies and flaws,
+    Shore to shore, with thunder shock,
+  Deeper than the evening daws,
+    Clearer than the village clock.
+
+  When the rusty blackbird strips,
+    Bunch by bunch, the coral thorn,
+  And the pale day-crescent dips,
+    New to heaven a slender horn.
+
+                        --_John Leicester Warren._
+
+       *       *       *       *       *
+
+Those who come last seem to enter with advantage. They are
+born to the wealth of antiquity. The materials for judging are
+prepared, and the foundations of knowledge are laid to their
+hands. Besides, if the point was tried by antiquity, antiquity
+would lose it; for the present age is really the oldest, and has
+the largest experience to plead.--_Jeremy Collier_.
+
+
+[Illustration: COMING OUT OF SCHOOL.--VAUTIER.]
+
+
+
+
+_COMING OUT OF SCHOOL._
+
+
+If there be any happier event in the life of a child than coming
+out of school, few children are wise enough to discover it. We do
+not refer to children who go to school unwillingly--thoughtless
+wights--whose heads are full of play, and whose hands are
+prone to mischief:--that these should delight in escaping the
+restraints of the school-room, and the eye of its watchful
+master, is a matter of course. We refer to children generally,
+the good and the bad, the studious and the idle, in short, to
+all who belong to the _genus_ Boy. Perhaps we should include the
+_genus_ Girl, also, but of that we are not certain; for, not
+to dwell upon the fact that we have never been a girl, and are,
+therefore, unable to enter into the feelings of girlhood, we hold
+that girls are better than boys, as women are better than men,
+and that, consequently, they take more kindly to school life.
+What boys are we know, unless the breed has changed very much
+since we were young, which is now upwards of--but our age
+does not concern the reader. We did not take kindly to school,
+although we were sadly in need of what we could only obtain in
+school, viz., learning. We went to school with reluctance,
+and remained with discomfort; for we were not as robust as the
+children of our neighbors. We hated school. We did not dare to
+play truant, however, like other boys whom we knew (we were not
+courageous enough for that); so we kept on going, fretting, and
+pining, and--learning.
+
+Oh the long days (the hot days of summer, and the cold days of
+winter), when we had to sit for hours on hard wooden benches,
+before uncomfortable desks, bending over grimy slates and
+ink-besprinkled "copy books," and poring over studies in which
+we took no interest--geography, which we learned by rote;
+arithmetic, which always evaded us, and grammar, which we never
+could master. We could repeat the "rules," but we could not
+"parse;" we could cipher, but our sums would not "prove;" we
+could rattle off the productions of Italy--"corn, wine, silk and
+oil"--but we could not "bound" the State in which we lived. We
+were conscious of these defects, and deplored them. Our teachers
+were also conscious of them, and flogged us! We had a morbid
+dread of corporeal punishment, and strove to the uttermost to
+avoid it; but it made no difference, it came all the same--came
+as surely and swiftly to us as to the bad boys who played
+"hookey," the worse boys who fought, and the worst boy who once
+stoned his master in the street. With such a school record as
+this, is it to be wondered at that we rejoiced when school was
+out? And rejoiced still more when we were out of school?
+
+The feeling which we had then appears to be shared by the
+children in our illustration. Not for the same reasons, however;
+for we question whether the most ignorant of their number does
+not know more of grammar than we do to-day, and is not better
+acquainted with the boundaries of Germany than we could ever
+force ourselves to be. We like these little fellows for what they
+are, and what they will probably be. And we like their master, a
+grave, simple-hearted man, whose proper place would appear to be
+the parish-pulpit. What his scholars learn will be worth knowing,
+if it be not very profound. They will learn probity and goodness,
+and it will not be ferruled into them either. Clearly, they do
+not fear the master, or they would not be so unconstrained in his
+presence. They would not make snow balls, as one has done, and
+another is doing. Soon they will begin to pelt each other, and
+the passers by will not mind the snow balls, if they will only
+remember how they themselves felt, and behaved, after coming out
+of school.
+
+There is not much in a group of children coming out of school. So
+one might say at first sight, but a little reflection will show
+the fallacy of the remark. One would naturally suppose that in
+every well-regulated State of antiquity measures would have been
+taken to ensure the education of all classes of the community,
+but such was not the case. The Spartans under Lycurgus were
+educated, but their education was mainly a physical one, and
+it did not reach the lower orders. The education of Greece
+generally, even when the Greek mind had attained its highest
+culture, was still largely physical--philosophers, statesmen,
+and poets priding themselves as much upon their athletic feats
+as upon their intellectual endowments. The schools of Rome were
+private, and were confined to the patricians. There was a change
+for the better when Christianity became the established religion.
+Public schools were recommended by a council in the sixth
+century, but rather as a means of teaching the young the
+rudiments of their faith, under the direction of the clergy, than
+as a means of giving them general instruction. It was not until
+the close of the twelfth century that a council ordained the
+establishment of grammar schools in cathedrals for the gratuitous
+instruction of the poor; and not until a century later that the
+ordinance was carried into effect at Lyons. Luther found time,
+amid his multitudinous labors, to interest himself in popular
+education; and, in 1527, he drew up, with the aid of Melanchthon,
+what is known as the Saxon School System. The seed was sown, but
+the Thirty Years' War prevented its coming to a speedy maturity.
+In the middle of the last century several of the German States
+passed laws making it compulsory upon parents to send their
+children to school at a certain age; but these laws were not
+really obeyed until the beginning of the present century. German
+schools are now open to the poorest as well as the richest
+children. The only people, except the Germans, who thought of
+common schools at an early period are the Scotch.
+
+It cost, we see, some centuries of mental blindness to discover
+the need of, and some centuries of struggling to establish
+schools.
+
+
+[Illustration: THE BRIDGE OF SIGHS.]
+
+
+
+
+_A GLIMPSE OF VENICE._
+
+
+The spell which Venice has cast over the English poets is as
+powerful, in its way, as was the influence of Italian literature
+upon the early literature of England. From Chaucer down, the
+poets have turned to Italy for inspiration, and, what is still
+better, have found it. It is not too much to say that the
+"Canterbury Tales" could not have existed, in their present
+form, if Boccaccio had not written the "Decameron;" and it is to
+Boccaccio we are told that the writers of his time were indebted
+for their first knowledge of Homer. Wyatt and Surrey transplanted
+what they could of grace from Petrarch into the rough England of
+Henry the Eighth. We know what the early dramatists owe to the
+Italian storytellers. They went to their novels for the plots
+of their plays, as the novelists of to-day go to the criminal
+calendar for the plots of their stories. Shakspeare appears so
+familiar with Italian life that Mr. Charles Armitage Brown, the
+author of a very curious work on Shakspeare's Sonnets, declares
+that he must have visited Italy, basing this conclusion on the
+minute knowledge of certain Italian localities shown in some of
+his later plays. At home in Verona, Milan, Mantua, and Padua,
+Shakspeare is nowhere so much so as in Venice.
+
+It is impossible to think of Venice without remembering the
+poets; and the poet who is first remembered is Byron. If our
+thoughts are touched with gravity as they should be when we dwell
+upon the sombre aspects of Venice--when we look, as here, for
+example, on the Bridge of Sighs--we find ourselves repeating:
+
+    "I stood in Venice, on the Bridge of Sighs."
+
+If we are in a gayer mood, as we are likely to be after looking
+at the brilliant carnival-scene which greets us at the threshold
+of the present number of _THE ALDINE_, we recall the opening
+passages of Byron's merry poem of "Beppo:"
+
+  "Of all the places where the Carnival
+    Was most facetious in the days of yore,
+  For dance, and song, and serenade, and ball,
+    And masque, and mime, and mystery, and more
+  Than I have time to tell now, or at all,
+    Venice the bell from every city bore."
+
+         *       *       *       *       *
+
+  "And there are dresses splendid, but fantastical,
+    Masks of all times, and nations, Turks and Jews,
+  And harlequins and clowns, with feats gymnastical,
+    Greeks, Romans, Yankee-doodles, and Hindoos
+  All kinds of dress, except the ecclesiastical,
+    All people, as their fancies hit, may choose,
+  But no one in these parts may quiz the clergy,
+  Therefore take heed, ye Freethinkers! I charge ye."
+
+
+The Bridge of Sighs (to return to prose) is a long covered
+gallery, leading from the ducal palace to the old State prisons
+of Venice. It was frequently traversed, we may be sure, in the
+days of some of the Doges, to one of whom, our old friend, and
+Byron's--Marino Faliero--the erection of the ducal palace is
+sometimes falsely ascribed. Founded in the year 800, A.D., the
+ducal palace was afterwards destroyed five times, and each time
+arose from its ruins with increasing splendor until it became,
+what it is now, a stately marble building of the Saracenic style
+of architecture, with a grand staircase and noble halls, adorned
+with pictures by Titian, Tintoretto, Paul Veronese, and other
+famous masters.
+
+It would be difficult to find gloomier dungeons, even in the
+worst strongholds of despotism, than those in which the State
+prisoners of Venice were confined. These "pozzi," or wells, were
+sunk in the thick walls, under the flooring of the chamber at the
+foot of the Bridge of Sighs. There were twelve of them formerly,
+and they ran down three or four stories. The Venetian of old time
+abhorred them as deeply as his descendants, who, on the first
+arrival of the conquering French, attempted to block or break up
+the lowest of them, but were not entirely successful; for, when
+Byron was in Venice, it was not uncommon for adventurous tourists
+to descend by a trap-door, and crawl through holes, half choked
+by rubbish, to the depth of two stories below the first range.
+So says the writer of the _Notes_ to the fourth canto of "Childe
+Harolde" (Byron's friend Hobhouse, if our memory serves), who
+adds, "If you are in want of consolation for the extinction of
+patrician power, perhaps you may find it there. Scarcely a ray of
+light glimmers into the narrow gallery which leads to the cells,
+and the places of confinement themselves are totally dark. A
+little hole in the wall admitted the damp air of the passages,
+and served for the introduction of the prisoner's food. A
+wooden pallet, about a foot or so from the ground, was the only
+furniture. The conductors tell you a light was not allowed. The
+cells are about five paces in length, two and a half in width,
+and seven feet in height. They are directly beneath one another,
+and respiration is somewhat difficult in the lower holes. Only
+one prisoner was found when the Republicans descended into these
+hideous recesses, and he is said to have been confined sixteen
+years." When the prisoner's hour came he was taken out and
+strangled in a cell upon the Bridge of Sighs!
+
+And this was in Venice! The grand old Republic which was once the
+greatest Power of Eastern Europe; the home of great artists and
+architects, renowned the world over for arts and arms; the Venice
+of "blind old Dandolo," who led her galleys to victory at the
+ripe old age of eighty; the Venice of Doge Foscari, whose son
+she tortured, imprisoned and murdered, and whose own paternal,
+patriotic, great heart she broke; the Venice of gay gallants, and
+noble, beautiful ladies; the Venice of mumming, masking, and the
+carnival; the bright, beautiful Venice of Shakspeare, Otway, and
+Byron; joyous, loving Venice; cruel, fatal Venice!
+
+       *       *       *       *       *
+
+MODERN SATIRE.--A satire on everything is a satire on nothing;
+it is mere absurdity. All contempt, all disrespect, implies
+something respected, as a standard to which it is referred; just
+as every valley implies a hill. The _persiflage_ of the French
+and of fashionable worldlings, which turns into ridicule
+the exceptions and yet abjures the rules, is like Trinculo's
+government--its latter end forgets its beginning. Can there be a
+more mortal, poisonous consumption and asphyxy of the mind than
+this decline and extinction of all reverence?--_Jean Paul_.
+
+
+
+
+_WINTER PICTURES FROM THE POETS._
+
+
+Although English Poetry abounds with pictures of the seasons, its
+Winter pictures are neither numerous, nor among its best. For
+one good snow-piece we can readily find twenty delicate Spring
+pictures--twinkling with morning dew, and odorous with the
+perfume of early flowers. It would be easy to make a large
+gallery of Summer pictures; and another gallery, equally large,
+which should contain only the misty skies, the dark clouds, and
+the falling leaves of Autumn. Not so with Winter scenes. Not that
+the English poets have not painted the last, and painted them
+finely, but that as a rule they have not taken kindly to the
+work. They prefer to do what Keats did in one of his poems, viz.,
+make Winter a point of departure from which Fancy shall wing her
+way to brighter days:
+
+  "Fancy, high-commissioned; send her!
+  She has vassals to attend her,
+  She will bring, in spite of frost,
+  Beauties that the earth hath lost,
+  She will bring thee, all together,
+  All delights of summer weather."
+
+But we must not let Keats come between us and the few among his
+fellows who have sung of Winter for us. Above all, we must not
+let him keep his and our master, Shakspeare, waiting:
+
+  "When icicles hang by the wall,
+    And Dick the shepherd blows his nail,
+  And Tom bears logs into the hall,
+    And milk comes frozen home in pail,
+  When blood is nipped, and ways be foul,
+  Then nightly sings the staring owl,
+            To-whoo;
+  To-whit, to-whoo, a merry note,
+  While greasy Joan doth keel the pot.
+
+  "When all aloud the wind doth blow,
+    And coughing drowns the parson's saw,
+  And birds sit brooding in the snow,
+    And Marian's nose looks red and raw.
+  When roasted crabs hiss in the bowl,
+  Then nightly sings the staring owl,
+            To-whoo;
+  To-whit, to-whoo, a merry note,
+  While greasy Joan doth keel the pot."
+
+From Shakspeare to Thomson is something of a descent, but we must
+make it before we can find any Winter poetry worth quoting.
+Here is a picture, ready-made, for Landseer to put into form and
+color:
+
+  "There, warm together pressed, the trooping deer
+  Sleep on the new-fallen snows; and scarce his head
+  Raised o'er the heapy wreath, the branching elk
+  Lies slumbering sullen in the white abyss.
+  The ruthless hunter wants nor dogs nor toils,
+  Nor with the dread of sounding bows he drives
+  The fearful flying race: with ponderous clubs,
+  As weak against the mountain-heaps they push
+  Their beating breast in vain, and piteous bray,
+  He lays them quivering on the ensanguined snows,
+  And with loud shouts rejoicing bears them home."
+
+Cowper is superior to Thomson as a painter of Winter, although it
+is doubtful whether he was by nature the better poet. Here is one
+of his pictures:
+
+  "The cattle mourn in corners, where the fence
+  Screens them, and seem half petrified with sleep
+  In unrecumbent sadness. There they wait
+  Their wonted fodder; not like hungering man,
+  Fretful if unsupplied; but silent, meek,
+  And patient of the slow-paced swain's delay.
+  He, from the stack, carves out the accustomed load,
+  Deep plunging, and again deep plunging oft,
+  The broad keen knife into the solid mass:
+  Smooth as a wall, the upright remnant stands,
+  With such undeviating and even force
+  He severs it away: no needless care,
+  Lest storms should overset the leaning pile
+  Deciduous, or its own unbalanced weight.
+  Forth goes the woodman, leaving, unconcerned,
+  The cheerful haunts of man, to wield the axe
+  And drive the wedge in yonder forest drear,
+  From morn to eve his solitary task.
+  Shaggy, and lean, and shrewd, with pointed ears
+  And tail cropped short, half lurcher and half cur,
+  His dog attends him. Close behind his heel
+  Now creeps he slow; and now, with many a frisk,
+  Wide scampering, snatches up the drifted snow
+  With ivory teeth, or ploughs it with his snout;
+  Then shakes his powdered coat, and barks for joy.
+  Heedless of all his pranks, the sturdy churl
+  Moves right toward the mark; nor stops for aught,
+  But now and then, with pressure of his thumb
+  To adjust the fragrant charge of a short tube
+  That fumes beneath his nose: the trailing cloud
+  Streams far behind him, scenting all the air.
+  Now from the roost, or from the neighboring pale,
+  Where, diligent to cast the first faint gleam
+  Of smiling day, they gossiped side by side,
+  Come trooping at the housewife's well-known call
+  The feathered tribes domestic. Half on wing,
+  And half on foot, they brush the fleecy flood,
+  Conscious and fearful of too deep a plunge.
+  The sparrows peep, and quit the sheltering eaves,
+  To seize the fair occasion; well they eye
+  The scattered grain, and thievishly resolved
+  To escape the impending famine, often scared
+  As oft return, a pert voracious kind.
+  Clean riddance quickly made, one only care
+  Remains to each, the search of sunny nook,
+  Or shed impervious to the blast. Resigned
+  To sad necessity, the cock foregoes
+  His wonted strut; and, wading at their head,
+  With well-considered steps, seems to resent
+  His altered gait and stateliness retrenched."
+
+The American poets have excelled their English brethren in
+painting the outward aspects of Winter. Here is Mr. Emerson's
+description of a snow storm:
+
+  "Announced by all the trumpets of the sky
+  Arrives the snow, and, driving o'er the fields,
+  Seems nowhere to alight: the whited air
+  Hides hills and woods, the river, and the heaven,
+  And veils the farm-house at the garden's end.
+  The sled and traveler stopped, the courier's feet
+  Delayed, all friends shut out, the housemates sit
+  Around the radiant fire-place, enclosed
+  In a tumultuous privacy of storm.
+    Come see the north wind's masonry.
+  Out of an unseen quarry evermore
+  Furnished with tile, the fierce artificer
+  Curves his white bastions with projected roof
+  Round every windward stake, or tree, or door.
+  Speeding, the myriad-handed, his wild work
+  So fanciful, so savage, nought cares he
+  For number or proportion. Mockingly
+  On coop or kennel he hangs Parian wreaths;
+  A swan-like form invests the hidden thorn:
+  Fills up the farmer's lane from wall to wall,
+  Maugre the farmer's sighs, and at the gate
+  A tapering turret overtops the work.
+  And when his hours are numbered, and the world
+  Is all his own, retiring, as he were not,
+  Leaves, when the sun appears, astonished Art
+  To mimic in slow structures, stone by stone,
+  Built in an age, the mad wind's night-work,
+  The frolic architecture of the snow."
+
+In Mr. Bryant's "Winter Piece" we have a brilliant description of
+frost-work:
+
+            "Look! the massy trunks
+  Are cased in the pure crystal; each light spray
+  Nodding and tinkling in the breath of heaven,
+  Is studded with its trembling water-drops,
+  That glimmer with an amethystine light.
+  But round the parent stem the long low boughs
+  Bend, in a glittering ring, and arbors hide
+  The glassy floor. Oh! you might deem the spot
+  The spacious cavern of some virgin mine,
+  Deep in the womb of earth--where the gems grow,
+  And diamonds put forth radiant rods and bud
+  With amethyst and topaz--and the place
+  Lit up, most royally, with the pure beam
+  That dwells in them. Or haply the vast hall
+  Of fairy palace, that outlasts the night,
+  And fades not in the glory of the sun;--
+  Where crystal columns send forth slender shafts
+  And crossing arches; and fantastic aisles
+  Wind from the sight in brightness, and are lost,
+  Among the crowded pillars. Raise thine eye;
+  Thou seest no cavern roof, no palace vault;
+  There the blue sky and the white drifting cloud
+  Look in. Again the wildered fancy dreams
+  Of spouting fountains, frozen as they rose,
+  And fixed, with all their branching jets, in air,
+  And all their sluices sealed. All, all is light;
+  Light without shade. But all shall pass away
+  With the next sun. From numberless vast trunks,
+  Loosened, the crashing ice shall make a sound
+  Like the far roar of rivers, and the eve
+  Shall close o'er the brown woods as it was wont."
+
+Winter, itself, has never been more happily impersonated than by
+dear old Spenser. We meant to close with his portrait of Winter,
+but, on second thoughts, we give, as more seasonable, his
+description of January. The fourth line can hardly fail to
+remind the reader of the second line of Shakspeare's song, and
+to suggest the query--whether Shakspeare borrowed from Spenser,
+Spenser from Shakspeare, or both from Nature?
+
+  "Then came old January, wrapped well
+  In many weeds to keep the cold away;
+  Yet did he quake and quiver like to quell,
+  And blow his nayles to warme them if he may;
+  For they were numbed with holding all the day
+  An hatchet keene, with which he felled wood
+  And from the trees did lop the needlesse spray:
+  Upon an huge great earth-pot steane he stood,
+  From whose wide mouth there flowed forth the Romane floud."
+
+       *       *       *       *       *
+
+As long as you are engaged in the world, you must comply with its
+maxims; because nothing is more unprofitable than the wisdom of
+those persons who set up for reformers of the age. 'Tis a part
+a man can not act long, without offending his friends, and
+rendering himself ridiculous.--_St. Gosemond_.
+
+
+
+
+_THE PAVILIONS ON THE LAKE._
+
+FROM THE FRENCH OF THEOPHILE GAUTIER.
+
+
+In the province of Canton, several miles from the city, there
+once lived two rich Chinese merchants, retired from business. One
+of them was named Tou, the other Kouan. Both were possessed
+of great riches, and were persons of much consequence in the
+community.
+
+Tou and Kouan were distant relatives, and from early youth had
+lived and worked side by side. Bound by ties of great affection,
+they had built their homes near together, and every evening they
+met with a few select friends to pass the hours in delightful
+intercourse. Both possessed of much talent, they vied with each
+other in the production of exquisite Chinese handiwork, and spent
+the evenings in tracing poetry and fancy designs on rice-paper
+as they drank each other's success in tiny glasses of delicate
+cordial. But their characters, apparently so harmonious, as time
+went on grew more and more apart; they were like an almond tree,
+growing as one stem, until little by little the branches divide
+so that the topmost twigs are far from each other--half sending
+their bitter perfume through the whole garden, while the other
+half scatter their snow-white flowers outside the garden wall.
+
+From year to year Tou grew more serious; his figure increased in
+dignity, even his double chin wore a solemn expression, and he
+spent his whole time composing moral inscriptions to hang over
+the doors of his pavilion.
+
+Kouan, on the contrary, grew jolly as his years increased. He
+sang more gaily than ever in praise of wine, flowers, and birds.
+His spirit, unburdened by vulgar cares, was light like a young
+man's, and he dreamed of nothing but pure enjoyment.
+
+Little by little an intense hatred sprang up between the friends.
+They could not meet without indulging in bitter sarcasm. They
+were like two hedges of brambles, bristling with sharp thorns. At
+last, things came to such a pass that they could no longer endure
+each other's society, and each hung a tablet by the door of his
+dwelling, stating that no person from the neighboring house would
+be allowed to cross the threshold on any pretext whatever.
+
+They would have been glad to move their houses to different parts
+of the country, but, unhappily, this was not possible. Tou even
+tried to sell his property but he set such an unreasonable price
+that no buyer appeared, and he was, moreover, unwilling to
+leave all the treasures he had accumulated there--the sculptured
+wainscotting, the polished panels, like mirrors, the transparent
+windows, the gilded lattice-work, the bamboo lounges, the vases
+of rare porcelain, the red and black lacquered cabinets, and the
+cases full of books of ancient poetry. It was hard to give up to
+strangers the garden where he had planted shade and fruit trees
+with his own hands, and where, each spring he had watched the
+opening of the flowers; where in short, each object was bound to
+his heart by ties delicate as the finest silk, but strong as iron
+chains.
+
+In the days of their friendship, Tou and Kouan had each built a
+pavilion in his garden, on the shore of a lake, common to both
+estates. It had been a great delight to sit in their separate
+balconies and exchange friendly salutations while they smoked
+opium in pipes of delicate porcelain. But after becoming enemies
+they built a wall which divided the lake into two equal portions.
+The water was so deep that the wall was supported on a series of
+arches, through which the water flowed freely, reflecting upon
+its placid surface the rival pavilions.
+
+These pavilions were exquisite specimens of Chinese architecture.
+The roofs, covered with tiling, round and brilliant as the scales
+which glisten on the sides of a gold-fish, were supported upon
+red and black pillars which rested on a solid foundation, richly
+ornamented with porcelain slabs bearing all manner of artistic
+designs. A railing ran all around, formed by a graceful
+intermingling of branches and flowers wrought in ivory. The
+interior was not less sumptuous. On the walls were inscribed
+verses of celebrated Chinese poems, elegantly written in
+perpendicular lines, with golden characters on a lacquered
+background. Shades of delicately carved ivory, softened the
+light to a faint opal tint, and all around stood pots of orchis,
+peonies, and daisies, which filled the air with delicious
+perfume. Curtains of rich silk were draped over the entrance,
+and on the marble tables within were scattered fans, tooth-picks,
+ebony pipes, and pencils with all conveniences for writing.
+
+All around the pavilions were picturesque grounds of rock, among
+whose clefts grew clumps of willows, their long green twigs
+swaying on the surface of the water. Under the crystal waves
+sported myriads of gold-fish, and ducks with gay plumage floated
+among the broad, shining leaves of water-lilies. Except in the
+very centre of the pool, where the depth of the water prevented
+the growth of aquatic plants, the whole surface was covered with
+these leaves, like a carpet of soft green velvet.
+
+Before the unsightly wall had been placed there by the hostile
+owners, it was impossible to find a more picturesque spot in the
+whole empire, and even now no philosopher would have wished for a
+more retired and delicious retreat in which to pass his days.
+
+Both Tou and Kouan felt deeply the loss of the enchanting
+prospect, and gazed sadly upon the barren wall which rose before
+their eyes, but each consoled himself with the idea that his
+neighbor was as badly off as himself.
+
+Things went on in this way for several years. Grass and weeds
+choked up the pathway between the two houses, and brambles and
+branches of low shrubs intertwined across it, as though they
+would bar all communication forever. It appeared as if the plants
+understood the quarrel between the two old friends, and took
+delight in perpetuating it.
+
+Meanwhile the wives of both Tou and Kouan were both blessed each
+with a child. Madame Tou became the mother of a charming girl,
+and Madame Kouan of the handsomest boy in the world. Each family
+was ignorant of the happy event which had brought joy into
+the home of the other, for although their houses were so near
+together the families were as far apart as if they had been
+separated by the great wall of the empire, or the ocean itself.
+What mutual friends they still possessed, never alluded to the
+affairs of one in the house of the other; even the servants had
+been forbidden to exchange words with each other, under pain of
+death.
+
+The boy was named Tchin-Sing, and the girl Ju-Kiouan, that is to
+say, Jasper and Pearl. Their perfect beauty fully justified the
+choice of their names. As they grew old enough to take notice of
+their surroundings, the unsightly wall attracted their attention,
+and each inquired of their parents why that strange barrier was
+placed across the centre of such a charming sheet of water, and
+to whom belonged the great trees of which they could see the
+topmost boughs.
+
+Each was told that on the farther side of the wall was the
+habitation of a strange and wicked family, and that it had been
+placed there as a protection against such disagreeable neighbors.
+
+This explanation was sufficient for the children. They grew
+accustomed to the sight and thought no more about it.
+
+Ju-Kiouan grew in grace and beauty. She was skilled in all
+lady-like accomplishments. The butterflies which she embroidered
+upon satin appeared to live and beat their wings, and one could
+almost hear the song of the birds which grew under her fingers,
+and smell the perfume of the flowers she wrought upon canvas. She
+knew the "Book of Odes" by heart, and could repeat the five rules
+of life without missing a word. Her handwriting was perfection,
+and she composed in all the different styles of Chinese poetry.
+Her poems were upon all those delicate themes which would attract
+the mind of a pure young girl; upon the return of the swallows,
+the daisies, the weeping willows and similar topics, and were
+of such merit as to win much praise from the wise men of the
+country.
+
+Tchin-Sing was not less forward in his accomplishments, and his
+name stood at the head of his class. Although he was very young
+he had already gained the right to wear the black cap of the wise
+men, and all the mothers in the country about wished him for a
+son-in-law. But Tchin-Sing had but one answer to all proposals;
+it was too soon, and he desired his liberty for some time to
+come. He refused the hand of Hon-Giu, of Oma, and other beautiful
+young girls. Never was a young man more courted and more
+overwhelmed with sweets and flowers than he, but his heart
+remained insensible to all attractions. Not on account of its
+coldness, for he appeared full of longing for an object to adore.
+His heart seemed fixed upon some memory, some dream, perhaps, for
+whose realization he was waiting and hoping. It was all in vain
+to tell him of beautiful tresses, languishing eyes, and soft
+hands waiting for his acceptance. He listened with a distracted
+air, as if thinking of other things.
+
+Ju-Kiouan was not less difficult to please. She refused all
+suitors for her hand. This did not salute her gracefully, that
+was not dainty in his habits; one had a bad handwriting, another
+composed poor verses; in short all had some defect. She drew
+amusing caricatures of everyone, which made her parents laugh,
+and show the door to the unlucky lover in the most polite manner
+possible.
+
+At last the parents of both young people became alarmed at the
+continued refusal of their children to marry, and the mothers
+commenced to follow the subject in their dreams. One night Madame
+Kouan dreamed that she saw a pearl of wonderful purity reposing
+on the breast of her son. On the other hand, Madame Tou dreamed
+that on her daughter's forehead sparkled a jasper of inestimable
+value. Much consultation was held as to the significance of these
+dreams. Madame Kouan's was thought to imply that her son would
+win the highest honors of the Imperial Academy, while Madame
+Tou's might signify that her daughter would find some untold
+treasure in the garden. These interpretations, however, did not
+satisfy the two mothers, whose whole minds were bent upon the
+happy marriage of their children. Unfortunately both Tchin-Sing
+and Ju-Kiouan persisted more obstinately than ever in their
+refusal to listen to the subject.
+
+As young people are not usually so averse to marriage, the
+parents suspected some secret attachment, but a few days' careful
+watching sufficed to prove that Tchin-Sing was paying court to no
+young girl, and that no lover was to be seen under the balcony of
+Ju-Kiouan.
+
+At length both mothers decided to consult the bronze oracle in
+the temple of Fo. After burning gilt paper and perfume before the
+oracle, Madame Tou received the unsatisfactory answer that,
+until the jasper appeared, the pearl would unite with no one, and
+Madame Kouan was told the jasper would take nothing to his
+bosom but the pearl. Both women went sadly homeward in deeper
+perplexity than ever.
+
+One day Ju-Kiouan was leaning pensively on the balcony of her
+pavilion, precisely at the same time when Tchin-Sing was standing
+by his. The day was clear as crystal, and not a cloud floated in
+the blue space above. There was not sufficient wind to move the
+lightest twigs of the willows, and the surface of the water
+was glistening and placid as a mirror, only disturbed, here and
+there, when some tiny gold-fish leaped for an instant into the
+sunshine. The trees and grassy banks were reflected so distinctly
+that it was impossible to tell where the real world left off, and
+the land of dreams began. Ju-Kiouan was amusing herself watching
+the beauteous water-picture when her eyes fell upon that portion
+of the lake, near the wall, where, with all the clearness of
+reality, was the reflection of the pavilion on the opposite
+shore.
+
+She had never noticed it before, and what was her surprise to
+behold an exact reproduction of the one where she was standing,
+the gilded roof, the red and black pillars, and all the beauteous
+drapery about the doors. She would have been able to read the
+inscription upon the tablets, had they not been reversed. But
+what surprised her more than all was to see, leaning on the
+balcony, a figure which, if it had not come from the other side
+of the lake, she would have taken for her own reflection. It was
+the mirrored image of Tchin-Sing. At first she took it for the
+reflection of a girl, as he was dressed in robes according to the
+fashion of the time. As the heat was intense, he had thrown off
+his student's cap, and his hair fell about his fresh, beardless
+face. But soon Ju-Kiouan recognized, from the violent beating
+of her heart, that the reflection in the water was not that of a
+young girl.
+
+Until then she had believed that the earth contained no being
+created for her, and had often indulged in pensive revery over
+her loneliness. Never, said she, shall I take my place as a link
+between the past and future of my family, but I shall enter among
+the shadows as a lonely shade.
+
+But when she beheld the reflection in the water, she found that
+her beauty had a sister, or, more properly speaking, a brother.
+Far from being displeased to discover that her beauty was not
+unrivaled, she was filled with intense joy. Her heart was
+beating and throbbing with love for another, and in that instant
+Ju-Kiouan's whole life was changed. It was foolish in her to fall
+violently in love with a reflection, of whose reality she knew
+nothing, but after all she was only acting like nearly all young
+girls who take a husband for his white teeth or his curly hair,
+knowing nothing whatever of his real character.
+
+Tchin-Sing had also perceived the charming reflection of the
+young girl. "I am dreaming," he cried. "That beautiful image upon
+the water is the combination of sunshine and the perfume of many
+flowers. I recognize it well. It is the reflection of the image
+within my own heart, the divine unknown whom I have worshiped all
+my life."
+
+Tchin-Sing was aroused from his monologue by the voice of his
+father, who called him to come at once to the grand saloon.
+
+"My son," said he, "here is a very rich and very learned man
+who seeks you as a husband for his daughter. The young girl has
+imperial blood in her veins, is of a rare beauty, and possesses
+all the qualities necessary to make her husband happy."
+
+Tchin-Sing, whose heart was bursting with love for the reflection
+seen from the pavilion, refused decidedly. His father, carried
+away with passion, heaped upon him the most violent imprecations.
+
+"Undutiful child," said he, "if you persist in your obstinacy, I
+will have you confined in one of the strongest fortresses of the
+empire, where you will see nothing but the sea beating against
+the rocks, and the mountains covered with mist. There you will
+have leisure to reflect, and repent of your wicked conduct."
+
+These threats did not frighten Tchin-Sing in the least. He
+quickly replied that he would accept for his wife the first
+maiden who touched his heart, and until then he should listen to
+no one.
+
+The next day, at the same hour, he went to the pavilion on
+the lake, and, leaning on the balcony, eagerly watched for the
+beloved reflection. In a few moments he saw it glisten in the
+water, beauteous as a boquet of submerged flowers.
+
+A radiant smile broke over the face of the reflection, which
+proved to Tchin-Sing that his presence was not unpleasant to the
+lovely unknown. But as it was impossible to hold communication
+with a reflection whose substance is invisible, he made a sign
+that he would write, and vanished into the interior of the
+pavilion. He soon reappeared, bearing in his hand a silvered
+paper, upon which he had written a declaration of love in
+seven-syllabled stanzas. He carefully folded his verses and
+placed them in the cup of a white flower, which he rolled in a
+leaf of the water-lily, and placed the whole tenderly upon the
+surface of the lake.
+
+A light breeze wafted the lover's message through the arches of
+the wall, and it floated so near Ju-Kiouan that she had only to
+stretch out her hand to receive it. Fearful of being seen she
+returned to her private boudoir, where she read with great
+delight the expressions of love written by Tchin-Sing. Her
+joy was all the greater, as she recognized from the exquisite
+hand-writing and choice versification that the writer was a
+man of culture and talent. And when she read his signature, the
+significance of which she perceived at once, remembering her
+mother's dream, she felt that heaven had sent her the long
+desired companion.
+
+The next day the breeze blew in a different direction, so that
+Ju-Kiouan was able to send an answer in verse by the same subtle
+messenger, by which, notwithstanding her girlish modesty, it was
+easy to see that she returned the love of Tchin-Sing.
+
+On reading the signature, Tchin-Sing could not repress an
+exclamation of surprise and delight. "The pearl," said he, "that
+is the precious jewel my mother saw glittering on my bosom. I
+must at once entreat this young girl's hand of her parents, for
+she is the wife appointed for me by the oracle."
+
+As he was preparing to go, he suddenly remembered the dislike
+between the two families, and the prohibitions inscribed upon
+the tablet over the entrance. Determined to win his prize at any
+cost, he resolved to confide the whole history to his mother.
+Ju-Kiouan had also told her love to Madame Tou. The names of
+Pearl and Jasper troubled the good matrons so much that, not
+daring to set themselves against what appeared to be the will of
+the gods, they both went again to the temple of Fo.
+
+The bronze oracle replied that this marriage was in reality the
+true interpretation of the dreams, and that to prevent it
+would be to incur the eternal anger of the gods. Touched by the
+entreaties of the mothers, and also by slight mutual advances,
+the two fathers gave way and consented to a reconciliation of the
+families. The two old friends, on meeting each other again, were
+astonished to find what frivolous causes had separated them for
+so many years, and mourned sincerely over all the pleasure they
+had lost in being deprived of each other's society. The marriage
+of the children was celebrated with much rejoicing, and the
+Jasper and the Pearl were no longer obliged to hold intercourse
+by means of a reflection on the water. The wall was removed, and
+the wavelets rippled placidly between the two pavilions on the
+lake.
+
+                                               --_H.S. Conant._
+
+
+[Illustration: IN THE MOUNTAINS.]
+
+
+
+
+_IN THE MOUNTAINS._
+
+
+A line of Walter Savage Landor's, a poet for poets, was an
+especial favorite with Southey, and, we believe, with Lamb.
+It occurs in "Gebir," and drops from the lips of one of its
+characters, who, being suddenly shown the sea, exclaims,
+
+    "Is this the mighty ocean?--is this all?"
+
+The feeling which underlies this line is generally the first
+emotion we have when brought face to face with the stupendous
+forms of Nature. It is the feeling inspired by mountains, the
+first sight of which is disappointing. They are grand, but not
+quite what we were led to expect from pictures and books, and,
+still more, from our own imaginations. The more we see mountains,
+the more they grow upon us, until, finally, they are clothed
+with a grandeur not, in all cases, belonging to them--our Mount
+Washingtons over-topping the Alps, and the Alps the Himmalayas.
+The poets assist us in thus magnifying them.
+
+The American poets have translated the mountains of their native
+land into excellent verse. Everybody remembers Mr. Bryant's
+"Monument Mountain," for its touching story, and its
+clearly-defined descriptions of scenery.
+
+Mr. Stedman has a mountain of his own, though perhaps only in
+Dream-land; and Mr. Bayard Taylor has a whole range of them, the
+sight of which once filled him with rapture:
+
+  "O deep, exulting freedom of the hills!
+    O summits vast, that to the climbing view
+    In naked glory stand against the blue!
+  O cold and buoyant air, whose crystal fills
+  Heaven's amethystine gaol! O speeding streams
+    That foam and thunder from the cliffs below!
+    O slippery brinks and solitudes of snow
+  And granite bleakness, where the vulture screams!
+  O stormy pines, that wrestle with the breath
+    Of every tempest, sharp and icy horns
+    And hoary glaciers, sparkling in the morns,
+  And broad dim wonders of the world beneath!
+  I summon ye, and mid the glare that fills
+  The noisy mart, my spirit walks the hills."
+
+       *       *       *       *       *
+
+GLADNESS OF NATURE.--Midnight--when asleep so still and
+silent--seems inspired with the joyous spirit of the owls in
+their revelry--and answers to their mirth and merriment through
+all her clouds. The moping owl, indeed!--the boding owl,
+forsooth! the melancholy owl, you blockhead! why, they are the
+most cheerful, joy-portending, and exulting of God's creatures.
+Their flow of animal spirits is incessant--crowing cocks are
+a joke to them--blue devils are to them unknown--not one
+hypochondriac in a thousand barns--and the Man-in-the-Moon
+acknowledges that he never heard one utter a complaint.
+
+
+
+
+_THE NOONING._
+
+
+Mr. Darley's very characteristic picture on the opposite page
+needs no description, it so thoroughly explains itself, and
+realizes his intention. The following lines from Mary Howitt seem
+very appropriate to the sketch:
+
+  "O golden fields of bending corn,
+      How beautiful they seem!
+  The reaper-folk, the piled up sheaves,
+      To me are like a dream;
+  The sunshine and the very air
+  Seem of old time, and take me there."
+
+
+
+
+_A MANDARIN._
+
+FROM THE FRENCH OF AUGUSTE VITU.
+
+
+It was Saturday night, and the pavement sparkled with frost
+diamonds under flashing lights and echoing steps in the opera
+quarter. Tinkling carnival bells and wild singing resounded from
+all the carriages dashing towards Rue Lepelletier; the shops were
+only half shut, and Paris, wide awake, reveled in a fairy-night
+frolic.
+
+And yet, Felix d'Aubremel, one of the bright applauded heroes of
+those orgies, seemed in no mood to answer their mad challenge.
+Plunged in a deep armchair, hands drooping and feet on the
+fender, he was sunk in sombre revery. An open book lay near him,
+and a letter was flung, furiously crumpled, on the floor.
+
+An orphan at the age of twelve, Felix had watched his mother's
+slow death through ten years of suffering. The Marquis Gratien
+d'Aubremel, ruined by reckless dissipation, and driven by
+necessity, rather than love, into a marriage with an English
+heiress, Margaret Malden, deserted her, like the wretch he was,
+as soon as the last of her dowry melted away. A common story
+enough, and ending in as common a close. D'Aubremel sailed for
+the Indies to retrieve his fortune, and met death there by yellow
+fever. So that the sad lessons of Felix's family life stimulated
+to excess his innate leaning towards misanthropy--if that name
+may define a resistless urgency of belief in the appearances of
+evil, linked with a doubt of the reality of good. Probably, at
+heart, he believed himself incapable of a bad action, but he
+would take no oath to such a conviction, since by his theory
+every man must yield under certain circumstances, attacking
+powerfully his personal interest, while threatening slight danger
+of failure or detection. This style of thought, set off by a fair
+share of witty expression and ever-ready impertinence, gave Felix
+a kind of ascendancy in his circle of intimates--but naturally
+it gained him no friends. Common reputation grows out of words
+rather than actions, and Felix suffered the just penalty of his
+sceptical fancies. They cost him more than they were worth, as he
+had just learned by sad experience.
+
+He had chanced to make the acquaintance of a rich manufacturer,
+Montmorot by name, whose daughter Ernestine was pleased with
+the devotion of a charming young fellow, who mingled the rather
+reckless grace of French cleverness with a reserved style and
+refined pride gained from the English blood of the Maldens.
+For his part, Felix really loved the girl, and had let his
+impatience, that very day, carry him into a step that failed to
+move the elder Montmorot's inflexibility. He refused absolutely
+to give his daughter to a man without fortune or prospects. Felix
+was crushed, his hopes all shattered at a blow, by this answer,
+though he had a thousand reasons to expect it. And at what a
+moment! A half-unfolded red ticket, stuffed with disgusting
+threats, peeped out from between the wall and his sofa. The
+officers of justice had paid him a little visit. He got into a
+passion with himself.
+
+"Pshaw," he cried, "confound all scruples! If I had been less in
+love I should be Ernestine's husband now. With a pretty wife, one
+I am so fond of, too, I should have fortune, position, and the
+luxury indispensable to my life--now, I don't know where to lay
+my head to-morrow. To-morrow, at ten o'clock, the sheriff will
+seize everything--everything, from that Troyou sketch to that
+china monster, nodding his frightful sneering head at me. They
+will carry off this casket that was my father's--this locket,
+with the hair of--of--what the deuce was her name? Poor girl! how
+she loved me! And now all that is left of her vanishes--even her
+name!
+
+"What, nothing? no hope? Not even one of those silly impulses
+that used to drive me out into the streets when everybody else
+was abed, with the firm conviction that at some crossing, in some
+gutter, some unknown deity must have dropped a fat pocket-book,
+on purpose for me! I believed in something, then--even in lost
+pocket-books. And now, now! I would commit no such follies as
+that, but I believe I could be guilty of even worse things,
+if crime, common, low, contemptible, shameful crime, were not
+forbidden to the son of the Marquis d'Aubremel and Margaret
+Malden.
+
+"Oh, great genius!" he went on, taking up the open book near him,
+"great philosopher, called a sophist by the ignorant--how deep a
+truth you uttered in writing these lines, that I never read
+over without a shudder: 'Imagine a Chinese mandarin, living in a
+fabulous country three thousand leagues away, whom you have never
+seen and shall never see--imagine, moreover, that the death
+of this mandarin, this man, almost a myth, would make you a
+millionaire, and that you have but to lift your finger, at home,
+in France, to bring about his death, without the possibility of
+ever being called to account for it by any one; say, what would
+you do?'
+
+"That fearful passage must have made many men dream--and does
+not Bianchon, that great materialist, so well painted by Balzac,
+confess that he has got as far as his thirty-third mandarin? What
+a St. Bartholomew of mandarins, if my philosopher's supposition
+could grow into a truth!"
+
+Felix ceased his soliloquy, and bent his head to let the storm
+raised in his soul by the atheist philosopher pass over. His bad
+instincts, aroused, spoke louder at that instant than reason,
+louder than reality. His glance fell on the chimney-piece, where
+a porcelain figure, the grotesque _chef d'oeuvre_ of some great
+Chinese artist, leered at him with its everlasting grin.
+The young man smiled. "Perhaps that is the likeness of a
+mandarin--bulbous nose, hanging cheeks, moustaches drooping
+like plumes, a peaked head, knotty hands--a regular deformity.
+Reflecting on the ugliness of that idiotic race, there is much to
+be urged by way of excuse for people who kill mandarins."
+
+Some persistent thought evidently haunted Felix's mind. Again he
+drove it off, and again it beset him.
+
+"Pshaw!" he exclaimed, after a last brief struggle, "I am alone,
+and out of sorts. I will amuse myself with a carnival freak, a
+mere theoretic and philosophic piece of nonsense. I have tried
+many worse ones. It wants a quarter to twelve. I give myself
+fifteen minutes to study my spells. Let me see, what mandarin
+shall I murder? I don't know any, and I have no peerage list of
+the Flowery Empire. Let me try the newspapers."
+
+It was in the height of the English war with China. On the
+seventh column of the paper our hero found a proclamation signed
+by the imperial commissioners, Lin, Lou, Lun, and Li.
+
+"Here goes for Li," he said to himself. "He is likely to be the
+youngest."
+
+The clock began to strike, announcing the hour. Felix placed
+himself solemnly before the mirror, and said aloud, in a
+grave tone: "If the death of Mandarin Li will make me rich
+and powerful, whatever may come of it, I vote for the death of
+Mandarin Li." He lifted his finger--at that instant the porcelain
+figure rocked on its base, and fell in fragments at Felix's feet.
+The glass reflected his startled face. He thrilled for an instant
+with superstitious terror, but recollecting that his finger had
+touched the fragile figure, he accounted for it as an accident,
+and went to bed and to such repose as a debtor can enjoy with an
+execution hanging over his head.
+
+Masks and dominos made the street merry under his window. The
+opera ball was unusually brilliant, experts said, and nothing
+made the Parisians aware that on the night of January 12th, 1840,
+Felix d'Aubremel had passed sentence of death on Chinaman Li, son
+of Mung, son of Tseu, a literate mandarin of the 114th class.
+
+Nine months later Felix d'Aubremel was living in furnished
+lodgings in an alley off the Rue St. Pierre, and living by
+borrowing. The gentlemanly sceptic owed his landlady a good deal
+of money; his clothes were aged past wearing, and his tailor
+had long ago broken off all relations with him. The Marquis
+d'Aubremel was within a hairsbreadth of that utterly crushed
+state that ends in madness, or in suicide--which is only a
+variety of madness.
+
+One morning while sitting in the glass cage that leads to the
+staircase of every lodging-house, waiting to beg another respite
+from his landlady, he took up a newspaper, and the following
+notice was lucky enough to catch his attention.
+
+"Chiusang, 12th January, 1840. Hostilities have broken out
+between England and the Celestial Empire. The sudden and
+inexplicable death of Mandarin Li, the only member of the council
+who opposed the violent and warlike projects of Lin, led to
+unfortunate events. At the first attack the Chinese fled, with
+the basest want of pluck, but in their retreat they murdered
+several English merchants, and among them an old resident,
+Richard Maiden, who leaves an estate of half a million sterling.
+The heirs of the deceased are requested to communicate with
+William Harrison, Solicitor, Lincoln's Inn."
+
+"My uncle!" cried Felix. "Alas, I have killed my uncle and
+Mandarin Li."
+
+He had not a penny to pay for his traveling expenses to London;
+but, on producing his certificate of birth and the newspaper
+article, his landlady easily negotiated for him with an honest
+broker, who advanced him a thousand francs to arrange his
+affairs, without interest, upon his note for a trifle of eighteen
+hundred, payable in six weeks.
+
+Eight days after reaching London, Felix, established in a
+fashionable hotel, was awaiting with nervous eagerness the first
+instalment of a million, the proceeds of a cargo of teas, sold
+under the direction of Mr. Harrison. He was too restless for
+thought, burning with impatience to take possession of his
+property, to handle his wealth, and, as it were, to verify his
+dream. Yet the fact was indisputable. Richard Malden's death, and
+his own relationship to the intestate had been legally proved and
+established. Felix d'Aubremel regularly and assuredly inherited a
+fortune, and he had no doubts nor scruples on that point.
+
+A servant interrupted his reflections, announcing his solicitor's
+clerk. "Why does not Mr. Harrison come himself?" he was on the
+point of asking, but amazement at the clerk's appearance took
+away his breath. He was a shriveled little object, slight, bony,
+crooked and hideous, with a monstrous head and round eyes, a bald
+skull, a flat nose, a mouth from ear to ear, and a little jutting
+paunch that looked like a sack.
+
+"I bring the Marquis d'Aubremel the monies he is expecting," said
+the man, and his voice, shrill and silvery, like a musical box or
+the bell of a clock, impressed Felix painfully. The voice grated
+on the nerves. "I have drawn a receipt in regular form," said
+Felix, extending his hand. But the solicitor's clerk leaned his
+back against the door, without stirring a step. "Well, sir,"
+Felix exclaimed with a convulsive effort. The man approached
+slowly, scarcely moving his feet, as if sliding across the floor.
+His right hand was buried in his coat pocket; he held his head
+bent down, and his lips moved inaudibly. At last he pulled from
+his pocket a large bundle of banknotes, bills and papers, drew
+near the window, and began to count them carefully.
+
+Felix was then struck by a strange phenomenon that might well
+inspire undefined terror. Standing directly in front of the
+window, the clerk's figure cast no shadow, though the sun's rays
+fell full upon it, and through his human body, translucent as
+rock crystal, Felix plainly saw the houses across the street.
+Then his eyes seemed to be suddenly unsealed. The clerk's black
+coat took colors, blue, green, and scarlet; it lengthened out
+into the folds of a robe, and blazed with the dazzling image of
+the fire-dragon, the son of Buddha; a lock of stiff grayish hair
+sprouted like a short tuft out of his yellowish skull; his round
+tawny eyes rolled with frightful rapidity in their sockets.
+
+Felix recognized Li, son of Mung, son of Tseu, the literate
+mandarin of the 114th class. The murderer had never seen his
+victim, but could not doubt his identity a moment, thanks to the
+marvelous resemblance between the solicitor's clerk and the china
+monster that dropped into bits at his feet the night of January
+12th, 1840.
+
+Meantime the man had done counting his package, and held it out
+to Felix, saying, in his grating, vibrating tones, "Monsieur le
+Marquis, here are forty thousand pounds sterling; please to give
+me your receipt." And Felix heard the voice say in a shriller
+under-key, "Felix, here is an instalment of the million, the
+price of your crime. Felix, my assassin, take this money from my
+hand."
+
+"From my hand," echoed a thousand fine voices, quivering all
+through the air of the room.
+
+"No, no," cried Felix, pushing the clerk away, "the money would
+burn me! Begone with you!"
+
+He dropped exhausted into a chair, half suffocated, with drops
+of sweat rolling down his convulsed face. The man bowed to the
+floor, and slowly moved away backwards. With every gradual step
+Felix saw his natural shape return. The rays of the autumn sun
+ceased to light up that mysterious apparition, and only
+his attorney's humble clerk stood before Felix. With a rush
+overpowering his will, Felix dashed after the old man, already
+across the threshold, and overtook him on the staircase.
+
+"My papers!" he shouted imperiously. "Here they are, sir," said
+the old fellow quietly.
+
+Felix regained his room, bolted the door, and counted the immense
+sum contained in the pocket-book with excitement bordering on
+frenzy. Then he bathed his burning head with cold water, and
+threw an anxious look around the room.
+
+"I must have had an attack of fever," he muttered.
+
+[Illustration: A TROPIC FOREST.--GRANVILLE PERKINS]
+
+"Mandarins don't rise from the dead, and a man can't kill another
+by simply lifting his finger. So my philosopher talked like one
+who knows nothing of moral experience. If the fancy of an unreal
+crime almost drove me mad, what must be the remorse of an actual
+criminal?"
+
+The same evening Felix ordered post horses and set out for
+France.
+
+Some months later, Monsieur Montmorot, chevalier of the legion of
+honor, gave a grand dinner to celebrate his daughter's betrothal
+with the Marquis Felix d'Aubremel, one of the noblest names in
+France, as he styled it. The contract settling a part of his
+fortune on his daughter Ernestine was signed at nine in the
+evening. The Monday following the pair presented themselves
+before the civil officials to solemnize their marriage by due
+legal ceremonies.
+
+Felix, a prey to the strange hallucination that incessantly
+pursued him, saw a likeness between the official and the Chinese
+figure he had awkwardly thrown down and broken one night long
+ago. Presently his face darkened, and his eyes began to burn.
+Behind the magistrate's blue spectacles he caught the gleam and
+roll of the tawny eyes belonging to Mr. Harrison's clerk, to Li,
+son of Mung, son of Tseu.
+
+When at length the magistrate put the formal question, "Felix
+Etienne d'Aubremel, do you take for your wife Ernestine Juliette
+Montmorot," Felix heard a shrill ringing voice say, "Felix, I
+give you your wife with my hand--my hand."
+
+The official repeated the question more loudly. "With my hand--my
+hand," whispered a thousand mocking little voices.
+
+"No!" Felix shouted rather than answered, and rushed away from
+the spot like a lunatic.
+
+Once more at home, he shut out everyone and flung himself on his
+bed, in a state of stupor that weighed him down till night--a
+sort of dull torpor of brain, with utter exhaustion of physical
+strength--a misery of formless thought. Towards evening one
+persistent idea aroused him from this strange lethargy.
+
+"I am a cowardly murderer," he groaned. "I wished for my
+fellow-being's death. God punishes me--I will execute his
+sentence." He stretched out his hand in the dark, groping for a
+dagger that hung from the wall. Then a mild brightness filtered
+through the curtains and irradiated the bed. Felix distinctly saw
+the grotesque figure of Mandarin Li standing a few steps away.
+The shadow of death darkened his face, and without seeming
+movement of his lips, Felix heard these words, uttered by that
+shrill ringing voice so hated, now mellowed into divine music.
+
+"Felix d'Aubremel, God does not will that you should die, and I,
+his servant, am sent to tell you his decree. You have been cruel
+and covetous--you have wished an innocent man's death, and his
+death caused that of a multitude of victims to the barbarous
+passions of a great western nation. Man's life must be sacred
+for every man. God only can take what he gave. Live, then, if you
+would not add a great crime to a great error. And if forgiveness
+from one dead can restore in part your strength and courage to
+endure, Felix, I forgive you."
+
+The vision vanished.
+
+Felix religiously obeyed the instructions of Li, and consecrated
+his life by a vow to the relief of human misery wherever he
+found it. He devoted Richard Malden's vast fortune to founding
+charitable establishments. Ernestine Montmorot would never
+consent to see him again.
+
+Two years ago, yielding to an impulse easy to understand, he
+requested the English consul at Chiusang to make inquiries as
+to the family of Li, who might perhaps be suffering in poverty.
+Nothing more could be discovered than that the gracious sovereign
+of the Middle Kingdom had confiscated the property of Li's
+family, that his wife had died of sorrow, in misery, and that
+his son, Li, having taken the liberty to complain of the glorious
+emperor's severity, suffered death by the bowstring, as is proper
+and reasonable in all well-governed states.
+
+       *       *       *       *       *
+
+[Illustration: MOTHER IS HERE!--DEIKER.]
+
+MOTHER IS HERE!--A little fawn in the clutches of a fox bleats
+loudly for help. The mother appears quickly on the scene, and
+Renard retires, foiled and chagrined at the loss of his dinner.
+He stays not upon the order of his going, but goes at once. The
+artist Deiker is a well-known German painter, whose success with
+these pictures of animal life ranks him with such men as Beckmann
+and Hammer, whose names are familiar to the friends of _THE
+ALDINE_.
+
+
+
+
+_A TROPIC FOREST._
+
+
+  Trees lifted to the skies their stately heads,
+  Tufted with verdure, like depending plumage,
+  O'er stems unknotted, waving to the wind:
+  Of these in graceful form, and simple beauty,
+  The fruitful cocoa and the fragrant palm
+  Excelled the wilding daughters of the wood,
+  That stretched unwieldly their enormous arms,
+  Clad with luxuriant foliage, from the trunk,
+  Like the old eagle feathered to the heel;
+  While every fibre, from the lowest root
+  To the last leaf upon the topmost twig,
+  Was held by common sympathy, diffusing
+  Through all the complex frame unconscious life.
+
+                        --_Montgomery's Pelican Island_.
+
+       *       *       *       *       *
+
+What makes us like new acquaintances is not so much any weariness
+of our old ones, or the pleasure of change, as disgust at not
+being sufficiently admired by those who know us too well, and
+the hope of being more so by those who do not know so much of
+us.--_La Rochefoucauld_.
+
+
+
+
+_AMONG THE DAISIES._
+
+  "Laud the first spring daisies--
+  Chant aloud their praises."--_Ed. Youl._
+
+  "When daisies pied and violets blue,
+    And lady-smocks all silver white--
+  And cuckoo-buds of yellow hue,
+    Do paint the meadows with delight."
+
+                        --_Shakspeare._
+
+
+
+"Belle et douce Marguerite, aimable soeur du roi Kingcup,"
+enthusiastically exclaims genial Leigh Hunt, "we would tilt for
+thee with a hundred pens against the stoutest poet that did not
+find perfection in thy cheek." And yet, who would have the heart
+to slander the daisy, or cause a blush of shame to tint
+its whiteness? Tastes vary, and poets may value the flower
+differently; but a rash, deliberate condemnation of the daisy is
+as likely to become realized as is a harsh condemnation of the
+innocence and simplicity of childhood. So the chivalric Hunt need
+not fear being invoked from the silence of the grave to take part
+in a lively tournament for "belle et douce Marguerite."
+
+Subjectively, the daisy is a theme upon which we love to linger.
+In our natural state, when flesh and spirit are both models
+of meekness, two objects are wont to throw us into a kind of
+ecstasy: a row of nicely painted white railings, and a bunch of
+fresh daisies. These waft us back along a vista of years, peopled
+with scenes the most entrancing, and fancies the most pleasing.
+They call up at once the old country home: the honeysuckle
+clasping the thatched cottage, contrasting so prettily with the
+white fence in front: the sloping fields of green painted with
+daisies, through which, unshackled, the buoyant breeze swept so
+peacefully. It was an invariable rule, in those days, to
+troop through the meadows at early morn and, like a young
+knight-errant, bear home in triumph "Marguerite," the peerless
+daisy, rescued from the clutches of unmentionable dragons,
+and now to beam brightly on us for the rest of the day from a
+neighboring mantel-piece. And it was with great reluctance that
+we refrained from decapitating the whole field of daisies at one
+fell sweep, when we were once allowed to touch their upturned
+faces. A contract was then made on the spot: we were permitted to
+pluck the daisies on condition that we plucked but one every day.
+The field was not large, and long before the blasts of autumn had
+hushed the voices of the flowers, not a single daisy remained.
+Advancing spring threw lavish handfuls once more on the grass,
+and on these we sported anew with all the ardor of boyhood.
+
+Our enthusiasm for the daisy then is only equaled by the
+gratitude it now awakens. Too soon does the busy world, with
+unwarrantable liberty, allure us from boyish scenes. Too soon are
+the buoyant fancies of youth succeeded by the feverish anxieties
+of age, happy innocence by the consciousness of evil, confidence
+by doubt, faith by despair. We must chill our demonstrativeness,
+restrain our affections, blunt our sensibilities. We must
+cultivate conscience until we have too much of it, and become
+monkish, savage and misanthropic. The asceticism of manhood is
+apparent from the studied air with which everybody is on his
+guard against his neighbor. In a crowded car, men instinctively
+clutch their pockets, and fancy a pickpocket in a benevolent-looking
+old gentleman opposite. When we see men so distrustful, we shun
+them. They then call us selfish when we feel only solitary. We
+protest against such manhood as would lower golden ideals of
+youth to its own contemptible _Avernus_. And now as our daisy,
+which is blooming before us, sagely nods its white crest as it is
+swayed by the passing breeze, it seems to bring back of itself
+decades gone forever. We never intend to become a man. We keep
+our boy's heart ever fresh and ever warm. We don't care if the
+whole human race, from the Ascidians to Darwin himself, assail us
+and fiercely thrust us once more into short jackets and
+knickerbockers, provided they allow an indefinite vacation in a
+daisy field. The joy of childhood is said to be vague. It was all
+satisfying to us once, and we do not intend to allow it to waste
+in unconscious effervescence among the gaudier though less
+gratifying delights of manhood.
+
+It is, however, of daisies among the poets we would speak at more
+length. In fact, to the imaginative mind, the daisy in poetry is
+as suggestive as the daisy in nature. Philosophically, they are
+identical; in the absence of the one you can commune with the
+other. Thus unconsciously the daisy undergoes a metempsychosis;
+its soul is transferred at will from meadow to book and from book
+to meadow, without losing a particle of its vitality.
+
+To premise with the daisy historically: Among the Romans it
+was called _Bellis_, or "pretty one;" in modern Greece, it
+is star-flower. In France, Spain, and Italy, it was named
+"Marguerita," or pearl, a term which, being of Greek origin,
+doubtless was brought from Constantinople by the Franks. From
+the word "Marguerita," poems in praise of the daisy were termed
+"Bargerets." Warton calls them "Bergerets," or "songs du Berger,"
+that is, shepherd songs. These were pastorals, lauding fair
+mistresses and maidens of the day under the familiar title of
+the daisy. Froissart has written a characteristic Bargeret; and
+Chaucer, in his "Flower and the Leaf," sings:
+
+  "And, at the last, there began, anone,
+  A lady for to sing right womanly,
+  A bargaret in praising the daisie;
+  For as methought among her notes sweet,
+  She said, 'Si douce est la Margarite."
+
+Speght supposes that Chaucer here intends to pay a compliment to
+Lady Margaret, King Edward's daughter, Countess of Pembroke, one
+of his patronesses. But Warton hesitates to express a decided
+opinion as to the reference. Chaucer shows his love for the daisy
+in other places. In his "Prologue to the Legend of Good Women,"
+alluding to the power with which the flowers drive him from his
+books, he says that
+
+            "all the floures in the mede,
+  Than love I most these floures white and rede,
+  Soch that men callen daisies in our toun
+  To hem I have so great affectioun,
+  As I sayd erst, whan comen is the May,
+  That in my bedde there daweth me no day,
+  That I nam up and walking in the mede,
+  To seen this floure agenst the Sunne sprede."
+
+To see it early in the morn, the poet continues:
+
+  "That blissfull sight softeneth all my sorow,
+  So glad am I, whan that I have presence
+  Of it, to done it all reverence
+  As she that is of all floures the floure."
+
+Chaucer says that to him it is ever fresh, that he will cherish
+it till his heart dies; and then he describes himself resting on
+the grass, gazing on the daisy:
+
+  "Adowne full softly I gan to sink,
+  And leaning on my elbow and my side,
+  The long day I shope me for to abide,
+  For nothing els, and I shall nat lie,
+  But for to looke upon the daisie,
+  That well by reason men it call may
+  The daisie, or els the eye of day."
+
+Chaucer gives us the true etymology of the word in the last line.
+Ben Jonson, to confirm it, writes with more force than elegance,
+
+  "Days-eyes, and the lippes of cows;"
+
+that is, cowslips; a "disentanglement of compounds,"--Leigh Hunt
+says, in the style of the parodists:
+
+  "Puddings of the plum
+  And fingers of the lady."
+
+The poets abound in allusions to the daisy. It serves both for
+a moral and for an epithet. The morality is adduced more by
+our later poets, who have written whole poems in its honor. The
+earlier poets content themselves generally with the daisy
+in description, and leave the daisy in ethics to such a
+philosophico-poetical Titan as Wordsworth. Douglas (1471), in his
+description of the month of May, writes:
+
+  "The dasy did on crede (unbraid) hir crownet smale."
+
+And Lyndesay (1496), in the prologue to his "Dreme," describes
+June
+
+  "Weill bordowrit with dasyis of delyte."
+
+The eccentric Skelton, who wrote about the close of the 15th
+century, in a sonnet, says:
+
+  "Your colowre
+  Is lyke the daisy flowre
+  After the April showre."
+
+Thomas Westwood, in an agreeable little madrigal, pictures the
+daisies:
+
+  "All their white and pinky faces
+  Starring over the green places."
+
+Thomas Nash (1592), in another of similar quality, exclaims:
+
+  "The fields breathe sweet,
+  The daisies kiss our feet."
+
+Suckling, in his famous "Wedding," in his description of the
+bride, confesses:
+
+  "Her cheeks so rare a white was on
+  No daisy makes comparison."
+
+Spenser, in his "Prothalamion," alludes to
+
+  "The little dazie that at evening closes."
+
+George Wither speaks of the power of his imagination:
+
+  "By a daisy, whose leaves spread
+  Shut when Titan goes to bed;
+  Or a shady bush or tree,
+  She could more infuse in me
+  Than all Nature's beauties can
+  In some other wiser man."
+
+Poor Chatterton, in his "Tragedy of Ella," refers to the daisy in
+the line:
+
+  "In daiseyed mantells is the mountayne dyghte."
+
+Hervey, in his "May," describes
+
+  "The daisy singing in the grass
+  As thro' the cloud the star."
+
+And Hood, in his fanciful "Midsummer Fairies," sings of
+
+  "Daisy stars whose firmament is green."
+
+Burns, whose "Ode to a Mountain Daisy" is so universally admired,
+gives, besides, a few brief notices of the daisy:
+
+  "The lowly daisy sweetly blows--"
+  "The daisy's for simplicity and unaffected air."
+
+Tennyson has made the daisy a subject of one of his most
+unsatisfactory poems. In "Maud," he writes:
+
+  "Her feet have touched the meadows
+  And left the daisies rosy."
+
+To Wordsworth, the poet of nature, the daisy seems perfectly
+intelligible. Scattered throughout the lowly places, with
+meekness it seems to shed beauty over its surroundings, and
+compensate for gaudy vesture by cheerful contentment. Wordsworth
+calls the daisy "the poet's darling," "a nun demure," "a little
+Cyclops," "an unassuming commonplace of nature," and sums up its
+excellences in a verse which may fitly conclude our attempt to
+pluck a bouquet of fresh daisies from the poets:
+
+  "Sweet flower! for by that name at last,
+  When all my reveries are past,
+  I call thee, and to that cleave fast;
+    Sweet silent creature!
+  That breath'st with me in sun and air,
+  Do thou, as thou art wont, repair
+  My heart with gladness, and a share
+    Of thy meek nature!"
+
+                        --_A.S. Isaacs_.
+
+
+       *       *       *       *       *
+
+_COLERIDGE AS A PLAGIARIST._
+
+SOMETHING CHILDISH BUT VERY NATURAL.
+
+WRITTEN IN GERMANY 1798-99.
+
+
+  If I had but two little wings,
+    And were a little feathery bird,
+      To you I'd fly, my dear!
+  But thoughts like these are idle things,
+        And I stay here.
+
+  But in my sleep to you I fly:
+    I'm always with you in my sleep!
+      The world is all one's own.
+  But then one wakes, and where am I?
+        All, all alone.
+
+  Sleep stays not, though a monarch bids,
+    So I love to wake ere break of day:
+      For though my sleep be gone,
+  Yet, while tis dark, one shuts one's lids,
+        And still dreams on.
+
+Thus much for Coleridge. Now for his original:
+
+  "Were I a little bird,
+  Had I two wings of mine,
+  I'd fly to my dear;
+  But that can never be,
+  So I stay here.
+
+  "Though I am far from thee,
+  Sleeping I'm near to thee,
+  Talk with my dear;
+  When I awake again,
+  I am alone.
+
+  "Scarce there's an hour in the night
+  When sleep does not take its flight,
+  And I think of thee,
+  How many thousand times
+  Thou gav'st thy heart to me."
+
+"This," says Mr. Bayard Taylor, in the _Notes_ to his translation
+of _Faust_, "this is an old song of the people of Germany. Herder
+published it in his _Volkslieder_, in 1779, but it was no doubt
+familiar to Goethe in his childhood. The original melody, to
+which it is still sung, is as simple and sweet as the words."
+
+
+
+
+_AMONG THE PERUVIANS._
+
+
+The extremes of civilization and barbarism are nearer together
+in those countries which the Spaniards have wrested from their
+native inhabitants, than in any other portion of the globe.
+Before other European races, aboriginal tribes, even the
+fiercest, gradually disappear. They hold their own before the
+descendants of the _conquistadores_, who conquered the New
+World only to be conquered by it. Out of Spain the Spaniard
+deteriorates, and nowhere so much as in South America. Of course
+he is superior there to the best of the Indian tribes with which
+he is thrown in contact; but we doubt whether he is superior to
+the intelligent, but forgotten, races which peopled the regions
+around him centuries before Pizzaro set foot therein, and which
+built enormous cities whose ruins have long been overgrown by
+forests. To compare the Spaniard of to-day, in Peru, with its
+ancient Incas is to do him no honor. To be sure, he is a
+good Catholic, which the Incas were not, but he is indolent,
+enervated, and enslaved by his own passions. His religion has not
+done much for him--at least in this world, whatever it may do in
+the next. It has done still less, if that be possible, for the
+aboriginal Peruvians.
+
+"In all parts of Peru," says a recent traveler, "except amongst
+the savage Indian tribes, Christianity, at least nominally
+prevails. The aborigines, however, converted by the sword in the
+old days of Spanish persecution, do not, as a rule, seem to have
+more notion of that faith in the country parts, than such as
+may be obtained from stray visits of some errant, image-bearing
+friar, whose principal object is to obtain sundry _reals_ in
+consideration of prayers offered to his little idols. These
+wandering ministers also distribute execrably colored prints of
+various saints, besides having indulgences for sale. As to the
+nature of the pious offerings from their disciples, they are not
+at all particular. They go upon the easy principle that all is
+fish that comes into their net. If the ignorant and superstitious
+givers have not 'filthy lucre' wherewithal to propitiate the ugly
+represented saints, wax candles, silver ore, cacao, sugar, and
+any other description of property is as readily received. Thus,
+it often happens that these peripatetic friars have a long convoy
+of heavily-laden mules with which to gladden the members of their
+monastery when they return home.
+
+[Illustration: FASHIONABLE LOUNGERS OF LIMA.]
+
+"The priests in all parts of Peru dress in a very extraordinary,
+not to say outlandish manner. One of the lower grade wears a very
+capacious shovel hat, projecting as much in front as behind, and
+looking very like a double-ended coal-heaver's _hat_. A loose
+black serge robe covers him all over, as with a funereal pall,
+and being fastened together only at the neck, gives to his often
+obese figure an appearance the very reverse of grave or serious:
+The superior of a monastery, or the priest in charge of a parish,
+wears a more stately clerical costume. His hat is of formidable
+dimensions--a huge, flat, Chinese-umbrella-shaped sort of a
+concern, which cannot be compared to anything else in creation.
+He also affects ruffles and lace, a long cassock, and a
+voluminous cloak like many of those of Geneva combined together;
+black silk stockings and low shoes complete the clerical array of
+the higher ecclesiastics."
+
+[Illustration: RIDING AND FULL-DRESS COSTUME OF THE PERUVIAN
+LADIES.]
+
+Quite as odd, in their way, as these good padres, are the
+Peruvian loungers, the "lions" of Lima--a long-haired, becloaked,
+truculent-looking set of fellows, whose proper place would seem
+to be among operatic banditti. A greater contrast and disparity
+than exists between them and the beautiful brunettes to whom they
+are fain to devote themselves, cannot well be imagined. That the
+latter generally prefer European gentlemen to these ill-favored
+beaux, follows as a matter of course. That the discarded "lion"
+resents this preference of his fair countrywomen, we have the
+testimony of the traveler already quoted from.
+
+"Instinctively, as it were, a feeling of dislike and rivalry
+seemed to prevail between ourselves and such of these truculent
+gentry as it was our fortune to come into contact with. They were
+jealous, no doubt, of the wandering foreigners, whom they chose
+contemptuously to term _gringos_, but who, they know well
+enough, are infinitely preferred to themselves by their handsome
+coquettish countrywomen. It is, indeed, notoriously the fact,
+that any respectable man of European birth can marry well, and
+even far above his own social position, amongst the dark-eyed
+donnas of Peru. The men don't seem exactly to like it. Judging by
+their appearance, we found but little difficulty in believing the
+character which report had given them--namely, their proneness to
+assassination, especially in love affairs, either personally,
+or, more frequently, by deputy. If the brilliant creole and
+half-caste women of this warm, tropical country, are some of
+the most beautiful and lovable of the sex, their sallow,
+sinister-looking, natural protectors are just the very opposite.
+The singular difference in the moral and physical characteristics
+of the two sexes is something really remarkable, and I, for one,
+cannot satisfactorily explain it to my own mind. That such is the
+case I venture to affirm; the why and the wherefore I must fain
+leave to wiser ethnological heads."
+
+Not less curious, as regards costume, are the Peruvian ladies.
+And, as they are _equestriennes_, we will describe their
+riding-habits in the words of the same traveler:
+
+"To commence at the top. This riding dress consisted of a huge
+felt hat, both tall and broad, and generally ornamented with a
+plume of three great feathers sticking up in front. Next came an
+all-round sort of a cape, of no shape in particular, with a
+wide collar, several rows of fringe, much needle-work (and
+corresponding waste of time upon so hideous a garment), and of
+a length sufficient to reach below the waist, and so completely
+hide and spoil the wearer's generally fine figure. Then came a
+short overskirt, extending a little below the knees, and beneath
+which appeared the fair senora or senorita's most unfeminine
+pantaloons, which, being carefully tied above the ankle in a
+frill, were allowed to fully display that treasure of treasures,
+that most valued of charms, the beautiful little foot and ankle.
+In addition to this absurd dress, which conceals the graceful
+form of perhaps the handsomest race of women in the world,
+the fair creatures have a style of riding which, to Europeans
+accustomed to the side-saddle, certainly seems more peculiar
+than elegant; that is to say, they ride a la Duchesse de
+Berri--_Anglice_, like a man.
+
+"The full dress, or evening costume, in the provinces, seemed
+simply an exaggeration upon that of the towns--the crinoline
+being more extensive, the petticoats shorter, and the dressing of
+the hair still more wonderful and elaborate."
+
+[Illustration: YOUNG MESTIZO WOMAN. MIDDLE-AGED LIMENA.]
+
+Among the _mestizos_, half-castes, of white and Indian origin the
+women are often very beautiful, especially when the blood of the
+latter prevails. They are, we are told, the best-looking of all
+the Peruvian women, possessing brilliantly fair complexions,
+magnificent long black tresses, lithe and graceful figures of
+exquisite proportions, regular and classic features, and the most
+superb great black eyes.
+
+"Though often glorious in youth, these dark-skinned, passionate
+daughters of the sunny Pacific shore soon begin to fade. Although
+their scant costume and the _manto y saya_--the dress favored at
+night--serve only to expose and display the charming contour of
+their youthful form, as the years roll on and rob them of
+these alluring attractions, the simple array becomes ugly and
+ridiculous. Often did we laugh at the absurd figure presented by
+some stout, middle-aged half-caste, or a good many more caste,
+lady, clad in her _manto y saya_. Especially ludicrous did these
+staid females appear when viewed from behind."
+
+The Peruvian negress, of elderly years, compares not unfavorably
+with her whiter Spanish sister of the same age. Both display
+inordinate vanity, which consorts ill with the brawny calves and
+large feet they cannot help showing on account of their short
+though voluminous skirts, and both have a womanly love of
+jewelry.
+
+"They manifest a very apparent weakness for all sorts of
+glittering ornaments, especially in the way of numerous rings,
+huge ear-rings, and mighty necklaces. Indeed, it is not at all
+uncommon to see pearls (their favorite gem) of great value,
+rising and falling, and gleaming with incongruous lustre, upon
+their bare, black, and massive bosoms; whilst ear-rings of solid
+gold hang glittering from their large ears, in singular contrast
+to their common and dirty clothing.
+
+"Except for the occasional excitement of theatre, cock-fight, or
+bull-fight, and the regular attendance at mass and vespers, the
+life of the higher class Limena is a dreamy existence of languor,
+amidst siestas, cigarettes, agua-rica, and jasmine perfumes, the
+tinkling of guitars, and the melody of song. Alas! that I must
+record it; she is, too, a terrible _intriguante_. The _manto y
+saya_, the _bete noir_ of many a poor jealous husband, seems a
+garment for disguise, invented on purpose to oblige her. It
+is the very thing for an intriguing dame; and, by a stringent
+custom, bears a sacred inviolate right, for no man dare profane
+it by a touch, although he may even suspect the bright black eye,
+it may alone allow to be seen, to be that of his own wife! He
+can follow, if he likes, the graceful, muffled up figure that he
+dreads to be so familiar, but woe to the wretch who dares to
+pull aside a fair Limena's _manto_! If seen, he would surely
+experience the resentment of the crowd, and become a regular
+laughing-stock to all who knew him."
+
+But let us be just to the women of Peru, who, in the matter of
+flirting and fondness for finery, are probably not worse than the
+sex elsewhere. They love where they love with a fervor unknown
+to the women of Europe, their Spanish sisters, perhaps, excepted,
+and they are capable of profound patriotism.
+
+[Illustration: PERUVIAN PRIESTS.]
+
+There is an element of real strength in the wild, stormy nature
+of these beautiful and impassioned creatures: it is their
+misfortune not to know how to hide their weaknesses as well
+as their more sophisticated sisters. The tide of time flows so
+smoothly with them, through such level summer landscapes steeped
+in tropical repose, that the desire for excitement naturally
+arises, and excitement itself becomes a necessity. Lacking many
+of the indoor employments of the women of colder climates, time
+hangs heavy on their hands, idleness wearies, and they cast about
+for a way in which to amuse, enjoy, and distract themselves. They
+find it in love. If no European is near upon whom they can bestow
+their smiles and the lustre of their magnificent eyes, they have
+to be content with their own countrymen, who woo them after the
+fashion of their Spanish ancestors, by serenades at night, in
+which the strumming of guitars generally plays a more important
+part than the words it accompanies.
+
+While we are among the Peruvians, we must not entirely overlook
+their country, and the features of its varied landscapes. It is
+divided by the Andes into three different lands, so to speak, _La
+Costa_, the region between the coast and the Andes; _La Sierra_,
+the mountain region, and _La Montana_, or the wooded region
+east of the Andes. _La Costa_, in which Lima is situated, at
+the distance of about six miles from the sea, may be briefly
+described as a sandy desert, interspersed with fertile valleys,
+and watered by several rivers of no great magnitude. It seldom
+or never rains there, but there are heavy dews at night which
+freshen and preserve the vegetation. The magnificence of the
+mountain region baffles all attempts at word-painting, as it
+baffles the art of the painter. Church, the artist, gives us what
+is, perhaps, the best representation we are ever likely to
+have of it, but it is only a glimpse after all. Still more
+indescribable, if that be possible, are the enormous wildernesses
+which stretch from the Andes to the vast pampas to the eastward.
+"Here everything is on Nature's great scale. The whole country
+is one continuous forest, which, beginning at very different
+heights, presents an undulating aspect. One moves on his way with
+trees before, above, and beneath him, in a deep abyss like the
+ocean. And in these woods, as on the immensity of the waters,
+the mind is bewildered; whatever way it directs the eye there it
+meets the majesty of the Infinite. The marvels of Nature are in
+these regions so common that one becomes accustomed to behold,
+without emotion, trees whose tops exceed the height of 100 varas
+(290 English feet), with a proportionate thickness, beyond the
+belief of such as never saw them; and, supporting on their trunks
+a hundred different plants, they, individually, present rather
+the appearance of a small plantation than one great tree. It
+is only after you leave the woods, and ordinary objects of
+comparison present themselves to the mind, that you can realize
+in thought the colossal stature of these samples of Montana
+vegetation."
+
+Peru is a fitting theatre for the great dramas which have been
+played upon its wild, mountainous stage. The dark background of
+its past is haunted by the shadows of the unknown race who built
+its ruined cities and temples. Then come the beneficent, heavenly
+Incas, and the mild, pastoral people over whom they rule. Last,
+the cruel, treacherous Spaniard, slaughtering his friendly hosts
+with one hand, while the other holds the Bible to their lips!
+
+
+
+
+_THE OLD MAID'S VILLAGE._
+
+
+I had been passing the summer on the banks of the Hudson--in
+that charmed region which lies about what was once the home
+of Diedrich Knickerbocker, with the enchanted ground of Sleepy
+Hollow on the one hand, and the shrine of Sunnyside on the other.
+In many happy morning walks and peaceful twilight rambles, I had
+made the acquaintance of every winding lane, every shaded avenue,
+every bosky dell and sunny glade for miles around. I had wandered
+hither and thither, through all the golden season, and fairly
+steeped my soul in the beauty, the languor, the poetry of the
+"Irving country;" and now, filled, as it were, with rare wine,
+content and happy, I was ready to return to the town, and take up
+the matter-of-fact habit of life again.
+
+But even on the last day of my sojourn, when my trunks stood
+packed and corded, and the loins of my spirit were girt for
+departure on the morrow; as I stood at my window somewhat
+pensively contemplating, for the last time, the peculiarly
+delicious river-bit which it framed, the door opened suddenly,
+and Nannette, my _fidus Achates_, and the companion of my summer,
+ran in.
+
+"Do you know," she cried, "I have just learned that we were
+about to leave the place without visiting one of its greatest
+curiosities? We have narrowly escaped going without having seen
+the 'Old Maid's Village!'"
+
+"The 'Old Maid's Village!'" I echoed, stupidly. "But what village
+is _not_ the peculiar property of the race?"
+
+"Yes, I know; but this village is really built on an old
+maid's property, and by her own hands. And there is the 'Cat's
+Monument,' too. Come! don't stop to talk about it, but let us
+go and see it. It will be just the thing for a last evening; in
+memoriam, you know, and all that. Get on your hat, and come, and
+we shall see the sunset meeting the moonrise on the river once
+more, as we return."
+
+That, at least, was always worth seeing, I reflected; and so,
+without more ado, I put on my wraps as I was bid, and reported
+myself under marching orders.
+
+How lovely, how indescribably lovely, the world was that
+September afternoon, as we strolled along the shaded sidewalk
+where the maples were already laying a mosaic of gold and garnet,
+and looked off toward the river and the hills beyond--the far
+blue hills--all veiled in tenderest amber mist! The very air
+was full of soft, warm color; the sunbeams, mild and level now,
+played with the shadows across our path, and every now and then a
+leaf, flecked with orange or crimson, fluttered to our feet.
+The blue-birds sang in the goldening boughs, unaffrighted by the
+constant roll of elegant equipages in which, at this hour, the
+residents of the stately mansions on either side the road were
+taking the air; and the crickets hopped about undisturbed in the
+crevices of the gray stone walls.
+
+We walked leisurely on, past one and another lofty gateway, until
+presently reaching an entrance rather less assuming than its
+neighbors, but, like them, hospitably open, Nannette said, with
+promptness:
+
+"This is the place, I am sure. Square white house; black railing;
+next to the printing-press man's great gate. Come right in; all
+are welcome, and not even thank you to pay, for one never sees
+anyone to speak to here."
+
+It seemed to my modesty rather an audacious proceeding, but
+trusting to my companion's superior information, I followed her
+in, and we walked up a circular carriage-drive through smooth
+shaven lawns dotted with brilliant clumps of salvia and
+gladiolus, towards the house--a square, solid structure, white,
+and with broad verandas running across its front.
+
+At its northern side, sloping towards the wall, was visible what
+looked like an ordinary terrace, rather low, and ornamented with
+small shrubs and grotto-work; but which, on nearer approach,
+proved to be a veritable village in miniature, constructed with a
+verisimilitude of design, and a fidelity to detail, which was at
+once in the highest degree amazing and amusing. As Nannette had
+been assured, no one appeared to interfere with us in any way,
+and full of a curious wonder at such a manifestation of eccentric
+ingenuity, we seated ourselves upon a wooden box, evidently kept
+more for the purpose of protecting the odd out-of-door plaything
+in bad weather, and proceeded to give it the minute inspection
+which it merited; the result of which I chronicle here for the
+benefit of the like curious minded.
+
+The terrace, which forms the site of this doll-baby city, is low
+and semi-circular in shape, and separated from the graveled drive
+by a close border of box. Within this protecting hedge the
+ground is laid out in the most picturesque and fantastic manner
+compatible with a scale of extreme minuteness. Winding roads,
+shady bye-paths ending in rustic stiles, willow-bordered ponds,
+streams with fairy bridges, rocky ravines and sunny meadows,
+ferny dells, and steep hills clambered over with a wilderness
+of tangled vines, and strewn with lichen-covered stones--all are
+there, and all reproduced with the most conscientious fidelity
+to nature, and with Lilliputian diminutiveness. Regular streets,
+"macadamized" with a gray cement which gives very much the effect
+of asphaltum, separate one demesne from another; and each meadow,
+lawn, field, and barn-yard has its own proper fence or wall,
+constructed in the most workmanlike manner. The streets are
+bordered by trees, principally evergreens, which, though rigidly
+kept down to the height of mere shrubs, appear stately by the
+side of the miniature mansions they overlook; and, in every
+dooryard, or more pretentious greensward, tiny larches, pines yet
+in their babyhood, and dwarfed cedars, cast a mimic shade, and
+bestow an air of dignity and venerableness to the place.
+
+The first object upon which the eye is apt to rest on approaching
+this modern Lilliput is the squire's house, the residence of the
+landed proprietor. This is a handsome edifice of some eight by
+ten inches in breadth and height. It stands upon an eminence in
+the midst of ornamented grounds, and with its white walls, its
+lofty cupola, and high, square portico, presents a properly
+imposing appearance. There are signs of social life about the
+mansion befitting its own style of conscious superiority. In the
+wide arched entrance hall stands a high-born dame attired in gay
+Watteau costume--red-heeled slippers, brocaded petticoat, and
+bodice and train of puce-colored satin. She is receiving the
+adieux of an elegant gentleman, hatted, booted, and spurred, who,
+with whip in hand and dog by his side, is about to descend the
+steps and mount his horse for a ride over his estate. A bird-cage
+swings by an open window, and, on the lawn, a group of children,
+in charge of their nurse, are engaged in the time-honored game
+of "Ring-around-a-rosy." Winding walks, bordered with shrubbery,
+disappear among fantastic mounds of rock-work, moss-grown
+grottoes, and tiny dells of fern; and under a ruined arch, gray
+with lichen and green with vines, flows a placid streamlet,
+spanned by a rustic bridge. In the meadow beyond, flocks of sheep
+are cropping the grass, and an old negro is busily engaged in
+repairing a breach in the stone wall.
+
+Hard by this stately demesne is a humbler tenement, built of
+wattled logs, but showing signs of comfort and thrift all about
+it. The old grandsire sits in a high-backed chair, sunning
+himself in front of the door; on a bench, at the side of the
+house, stand rows of washtubs filled with soiled linen, and a
+woman is busy wringing out clothes; while another, with a
+bucket on her head, goes to the well to supply her with a
+fresh thimbleful of water; and still a third milks a handsome
+dapple-gray cow in the yard where the dairy stands. There is a
+well-filled barn behind, with another cow and a horse, too,
+for that matter, in the stable attached, and the farmer, who is
+putting the last sheaf on his wheat-stack, looks contented enough
+with his lot.
+
+Just beyond the stream, on whose bank the fisherman sits
+leisurely dropping his line, stands the village church; a
+fac-simile of the old Dutch Church which has stood near the
+entrance of Sleepy Hollow since long before the Revolution, and
+is hallowed now not only by the pious associations of centuries,
+but by the near vicinage of Irving's grave. In its little
+twelve-inch counterpart, every point of the ancient structure is
+preserved in exact detail. The dull red walls, the beetling roof,
+the narrow pointed windows and low, arched door; the quaint Dutch
+weathercock, and odd-shaped tower--aye, even the bell within, no
+bigger than a doll's thimble--and upon all a sentimental traveler
+in the person of a china figure perhaps three inches in height,
+is gazing half pensively, half curiously, as we suppose, at this
+relic of by-gone years!
+
+On the other side of the stream the village school, likewise an
+ancient and steeple-crowned edifice, stands out in the midst of a
+bare and clean swept playground. It bears its signature upon its
+front:
+
+"DISTRICT SCHOOL, NO. 2,"
+
+and its worshipful character is otherwise indicated by the
+presence of the master, a venerable looking puppet in cocked
+hat and knee-breeches, in the doorway, and sundry china children
+playing rather stiffly about the stone steps.
+
+Ascending by a steep, rocky path, one arrives at a rather
+pretentious looking wind-mill, which spreads its wide white arms
+protectingly over the cottages below. Barrels of flour and sacks
+of meal, well filled and plentiful in number, attest its thriving
+business, and the miller himself, in a properly dusty coat, looks
+about him with contented air. At the foot of the hill upon which
+the mill is perched, are several dwellings--all showing signs of
+more or less prosperous life, with the exception of one,
+which affords the orthodox "haunted house" belonging to every
+well-regulated village. The ruined walls of this old mansion,
+with lichen cropping out from every crevice; the unhinged doors
+and broken windows; the ladder rotting as it leans against the
+moss-grown roof, the broken well-sweep and deserted barn, offer
+an aspect of desolation and decay which should prove sufficient
+bait to tempt any ghost of moderate demands.
+
+In direct contrast to the gloom which surrounds this now empty
+and forsaken home, one observes, in a shady grove surmounting a
+ridge of hills which rise somewhat steeply here from the roadway,
+a party of "pic-nickers" gaily attired and disporting themselves
+after the time-honored manner of such merry-makers; swinging,
+dancing, or, better still, strolling off arm in arm, in search of
+cooler shades, and of that company which is never a crowd.
+
+At the base of this rocky ridge, the same stream which one meets
+above flowing darkly under arch and bridge, winds placidly along
+in sunshine and shadow until it loses itself in a clump of alders
+and willows quite at the edge of the box-bordered terrace; and
+here the village ends.
+
+Not so my sketch: for I have purposely left it to the last to
+make mention of the great central idea round which all the rest
+is gathered, and which, doubtless, formed the germ of the whole
+oddly-conceived, but most admirably-executed plan. This is the
+"Cat's Monument" of which Nannette had made mention, and which is
+a structure so original and imposing that it deserves special and
+minute description.
+
+About midway the terrace, and conspicuous from its size and
+height, rises a mound of earth shaped into the semblance of
+an urn or vase, crusted thickly with bits of rock, moss, and
+pebbles, and overgrown with a tangle of tiny vines. Surmounting
+this picturesque pedestal is an obelisk of black-veined marble on
+a granite base, the whole rising some seven feet from the ground.
+On the polished surface of this memorial pillar is inscribed, in
+large black capitals, the following classic and touching tribute
+to the venerable departed who sleeps in peace below:
+
+    IN MEMORIAM
+      TOMMY
+  FELINI GENERIS
+      OPTIMUS.
+  DECESSIT A VITA
+  MENSE NOVEMBRIS
+  ANNO AETATIS 19.
+
+       *       *       *       *       *
+
+_Quid me ploras? Nonne decessi gravis senectute? Nonne vivo
+amicorum ardentium memoria?_
+
+       *       *       *       *       *
+
+On the reverse side of the column appears an inscription even
+more pathetic and poetic, to yet another departed favorite, who
+seems, not like Tommy to have been gathered to his fathers ripe
+in years and honors but to have been cut down in the bloom
+of youth by some untimely and tragic fate. He is all the more
+felin'ly lamented:
+
+      HIC JACET
+        PUSSY
+    SUI GENERIS
+    PULCHERRIMUS.
+    OCCISUS EST
+    MENSE APRILIS
+      AETAT. 9.
+
+       *       *       *       *       *
+
+"_Vixi, et quum dederat cursum fortuna, peregi. Felix! heu nimium
+felix! si litora ista nunquam tetigissem!_"
+
+       *       *       *       *       *
+
+Thanks to certain by no means homoeopathic doses of the Latin
+grammar in my early years, I was able to gather the meaning of
+these elegiac effusions, and when the last stanza embodying poor
+Pussy's posthumous wail was discovered to be none other than the
+despairing death-cry of the "infelix Dido" as immortalized by
+Virgil--the one step from the sublime to the ridiculous seemed to
+have been passed.
+
+I looked at Nannette, and Nannette looked at me, and we burst
+into silent but irrepressible laughter. Nannette was the first to
+recover herself.
+
+"We ought to be ashamed of ourselves," said she severely: "Honest
+grief is always respectable; and a fitting tribute to departed
+worth, no more than what is due from the survivors. I have no
+doubt but that Tommy and Pussy were most esteemed members of
+society, and that their loss has left an aching void in the
+family of which they were the youngest and most petted darlings.
+I have heard the history of this monument, and the village that
+has grown up around it, and if you will comport yourself more as
+a Christian being should in the presence of a solemn memorial, I
+will relate to you the interesting facts in my possession."
+
+I immediately signified a due contrition and full purpose of
+amendment; when Nannette continued, still speaking with the
+gravity befitting the subject.
+
+"This estate then, this large and respectable mansion, and these
+pleasant grounds in which we now sit, are the property in common
+of three most estimable ladies, all past their first youth, and
+all possessed of sufficient good sense and strength of mind to
+remain their own mistresses, which has procured for the very
+remarkable specimen of ingenuity now before us, from some
+ignorant townspeople, the sobriquet of the 'Old Maid's Village.'
+
+"There is only one of the ladies, however, I am informed, who
+interests herself in the construction of these most ingenious
+toys. Possessed of ample means, and more than ample leisure,
+she amuses herself in hours which might otherwise be devoted
+to gossip and tea, in putting together these various models
+of buildings, all differing in style, and of most singular
+materials. The church, for instance, is built of fragments of
+clinker, gathered from stove and grate, and held firmly together
+by cement. Nothing could have reproduced so exactly the rough
+reddish stone of which the old Sleepy Hollow Church is built.
+The window-glass is represented by carefully framed pieces of tin
+foil; the gray stone of the gate-posts is imitated by sand rubbed
+on wooden pillars with a coating of cement. The streets are paved
+in much the same clever fashion. The well, the pond, the stream,
+are filled with water each day by the chatelaine's own careful
+hands. Many of the mimic creatures, human and otherwise, are
+automata, manufactured to order; the others are wooden or china
+figures selected with extreme care as to their fitness for their
+purpose. So rare and so exceedingly pretty are some of these
+little figures, that they have become objects of unlawful desire
+to certain soulless curiosity-mongers, who have rewarded an open
+and confiding hospitality with base attempts at spoliation; and
+now a person is employed to live in the cottage just beyond us,
+and do little else than take care of these unique possessions.
+
+"No, you need not start. The woman is probably there at her
+post, and surveying our operations from time to time. But we
+have behaved like decent people. We are taking away nothing but
+a remembrance of a singularly interesting hour, and an admiring
+impression of the originality, the ingenuity, the industry, and
+the independence of one of our own sex.
+
+"Is it not so, my friend? And now, by the length of those cedar
+shadows, it is time for us to rise up and be gone. Else the
+moonlight will have met and parted with the sunset ere we reach
+home."
+
+There was nothing to be said; the tale had been told, and with
+one last, lingering glance, one parting smile, half amused, half
+touched, I rose, and together we walked home in somewhat pensive
+mood. Was it not our last day in Fairyland?--_Kate J. Hill_.
+
+       *       *       *       *       *
+
+_WINE AND KISSES._
+
+TRANSLATED FROM THE PERSIAN OF MIRTSA SCHAFFY.
+
+  The lover may be shy--
+  His bashfulness goes by
+        When first he kisses.
+
+  The bibber, though so staid,
+  Gets bravely unafraid
+        When wine his bliss is.
+
+  Yet he who, in his youth,
+    No wine nor kiss hath tasted.
+  Will some day think, in truth,
+    That half his joys were wasted.
+
+                        --_Joel Benton_.
+
+       *       *       *       *       *
+
+I have heard it asked why we speak of the dead with unqualified
+praise: of the living, always with certain reservations. It may
+be answered, because we have nothing to fear from the former,
+while the latter may stand in our way: so impure is our boasted
+solicitude for the memory of the dead. If it were the sacred and
+earnest feeling we pretend, it would strengthen and animate our
+intercourse with the living.--_Goethe_.
+
+
+
+
+_THE QUEEN'S CLOSET._
+
+
+Did anybody ever see a fairy in the city? Was a glimpse ever
+caught of Fairyland there? I say _No_. But I was in the country
+this summer where a great number of mushrooms grew, and one day
+when I was walking in a grassy lane I met a little, old
+queen, who was fanning herself with the leaf of the
+poor-man's-weather-glass; she had taken off her crown, and it was
+lying on the top of a lovely red mushroom. I poked the mushroom
+with my parasol, and instantly felt on my face a faint puff of
+air, and heard a hum no louder than the buzz of an angry fly.
+
+I sat down on the grass, and then my eyes fell on the queen.
+
+"You have let my crown fall in the dirt," she said, tossing a
+wisp of hair from her forehead; "but you great, insensible beings
+are always in mischief when you are in the country. Why don't
+you stay at home, in your brick cages that stand on heaps of
+flat stones? You are watched there all the time by creatures with
+clubs in their leather belts, so you cannot tear and crush things
+to pieces as you do here."
+
+"Oh, I am so sorry, madam," I answered; "if you knew how unhappy
+I felt this morning when I started on my last walk, you would
+pity me. I must go home at once, and my home is in the city--shut
+in by houses before and behind it. If I look out of the window,
+I only see a strip of sky above me, where neither sun nor moon
+passes on its journey round the world; and below me, only the
+stone pavement over which goes an endless procession of men and
+women, upon a hundred errands I never guess at."
+
+The queen tapped her head with a white stick like a peeled twig,
+and made such a noise that I examined it, and saw an ivory knob,
+which reminded me of the budding horns of a young deer. As if in
+answer to my thought, she said:
+
+"It drops off every year. In the fairy-nature all elements are
+united. We partake of the animal and vegetable kingdoms, and
+add our own; this makes us what we are. We do not suffer, but we
+experience, without suffering, of course; our long lives glide
+along like dreams. As you are in sleep, so are we awake. If
+you love the country, which contains our kingdom, as the
+filbert-shell contains the kernel, I will endow you with power. I
+will give you something to take back with you."
+
+What do you think she gave me? A little closet with shelves; on
+each shelf were laid away all my remembrances of the summer, for
+me to unfold at leisure. When she gave me the key, which looked
+exactly like a steel pen, she said: "When you turn the key you
+will understand my power. All things will be alive, will know as
+much, and talk as fast as you do. The closet, in short, is but
+a wee corner of my kingdom, where to-day and to-morrow are the
+same--past and present one. A maid-of-honor wishes to go to town.
+I'll send her in the closet. My slave, the geometrical spider,
+must spin her a warm cobweb--and when you open the closet, be
+sure and not disturb my little Fancie."
+
+Some way Queen Imagin disappeared then. To any person less
+knowing than myself, it would have seemed as if a dandelion ball
+was floating in the air; but I knew better, and I watched her
+sailing, sailing away till lost behind the trees. The crown was
+gone, too; I discovered nothing in the neighborhood of the red
+mushroom, except a tiny yellow blossom already wilted by the heat
+of the sun.
+
+Well, I am at home. I sit down this misty autumn morning in my
+lonely room, and wish for some work or if not that, for something
+to play with. I am too old for dolls, but very young in the way
+of amusement. Ah--the closet! I'll unlock that; the key is at
+hand--in my writing-desk.
+
+Open Sesame! On the top shelf sits little Fancie, her eyes
+shining like diamonds in her soft, dusky cobweb. She nods, so do
+I, and we are in Greenside again--on a summer evening. How the
+crickets sing; and the tree-toads harp in the trees as if they
+were a picket guard entirely surrounding us. Hueston's big dog
+barks in the lane at just the right distance. What security I
+used to feel when I was a little child, tucked away in my bed,
+and heard a dog bark a mile away; too far off ever to come up and
+bite, and yet near enough to frighten prowling robbers!
+
+"When in the breeze the distant watch-dog bayed," I was about to
+say; but Polly, who is at Greenside with me, calls, "Just hear
+the mosquitoes."
+
+The blinds must be closed. What a delicious smell comes in! The
+dew wetting all the shrubs and flowers distils sweet odors. What
+a family of moths have rushed in; this big, brown one, with white
+and red markings, is very enterprising. He has voyaged twice down
+the lamp chimney, as if it were the funnel of a steamship.
+
+Get out, moth!
+
+"Sho," she answers in a husky voice, as if very dry, "It is my
+nature to; that's all you know, turning us to moral purposes,
+and making us a tiresome metaphor. We are much like you human
+creatures--only we don't compare ourselves continually with
+others. We just scorch ourselves as we please. My cousin,
+Noctilia Glow-worm, who is out late o' nights on the grass-bank
+in poor company--the Katydids, who board for the season with the
+widow Poplar--a two-sided, deceitful woman--she does not care
+where I go, and never shrieks out, 'A burnt moth dreads the lamp
+chimney.' If she sees me wingless, she coughs, and throws out
+a green light, but says nothing. Don't mind me; there's more
+coming."
+
+It can't be moths making such a noise on the second shelf. It is
+Tom, who calls out to us, from his room, to come, and help him
+catch a bat.
+
+  "Now air is hushed, save where the weak-eyed bat
+  With short shrill shriek flits by on leathern wings."
+
+"Always mouthing something," somebody mutters. But we rush into
+Tom's room, and behold him in the middle of the floor, flopping
+north and south, east and west, with a towel. No bat is to be
+seen. I hear a pretty singing, however, and declare it to be
+from a young swallow fallen down the chimney; but as there is
+no fire-place in the room, my opinion goes for nothing. Tom
+maintains that it is a bat; that it flew in by the window; and
+that it is behind the bureau. He is right, for the bat whirrs
+up to the ceiling and from that height accosts us in a squeaking
+voice:
+
+"I am weak-eyed, am I? and my wings are leathery? Catch me,
+and you will find my wings are like down, my eyes as bright as
+diamonds. How much you know, writing yourselves down in books as
+Naturalists! My name is Vespertila; my family are from Servia,
+at your service. Could you offer me a fly, or a beetle? I was
+chasing Judge Blue Bottle, or I should not have been trapped. Go
+to sleep, dears, and leave me to fan you. When you are asleep,
+I'll bite a hole in your ear, and sup bountifully on your red
+blood."
+
+Flop went our towels, and down went Miss Vespertila behind the
+bed crying. Polly crept up to her; and caught her in a towel.
+What black beads of eyes had Miss Vespertila from Servia, where
+her grandfather, General Vampire, still commands a brigade of
+rascals! Her teeth were sharp, and white as pearls. Polly held
+her up, and she cunningly combed her furry wings with her hind
+feet, and said:
+
+"Polly, dear, I itch dreadfully; do you mind plain speaking? I am
+full of bat lice. Ariel caught them, and the folks say that Queen
+Mab often buys fine combs--"
+
+"Slanderer!" cried Polly, "fly to your witch home!"
+
+She shook the towel out of the window, and the bat soared away.
+
+"What's coming next?" we all asked. "There are the rabbits to
+hear from, the pigeons, the sparrows, the mole, and the striped
+snake who lives by the garden gate?"
+
+Slap, Bang! Fancie has pulled the door to. The cunning Queen
+Imagin placed her in the closet, perhaps for this purpose. But
+I have the key. I shall unlock it to-morrow, for I must have the
+picnic over again, under the beech tree, where the brown thrush
+built her nest, and reared her young ones, who ate our crumbs,
+and chirped merrily when we laughed.--_Lolly Dinks's Mother_.
+
+       *       *       *       *       *
+
+Doth a man reproach thee for being proud or ill-natured, envious
+or conceited, ignorant or detractive, consider with thyself
+whether his reproaches be true. If they are not, consider that
+thou art not the person whom he reproaches, but that he reviles
+an imaginary being, and perhaps loves what thou really art,
+although he hates what thou appearest to be. If his reproaches
+are true, if thou art the envious, ill-natured man he takes
+thee for, give thyself another turn, become mild, affable
+and obliging, and his reproaches of thee naturally cease. His
+reproaches may indeed continue, but thou art no longer the person
+he reproaches.--_Epictetus_.
+
+
+
+
+_LITERATURE._
+
+
+"Of the making of many books there is no end," said the Wise Man
+of old. Of the making of good books there is frequently an end,
+say we. The good books of one year may be counted on the fingers
+of one hand. Among those of the present year none ranks higher
+than Taine's "Art in Greece," a translation of which, by Mr. John
+Durand, is published by Messrs. Holt & Williams. The French are
+a nation of critics, and Taine is the critic of the French.
+This could not have been said with truth during the lifetime of
+Sainte-Beuve, but since his death it is true. There is nothing,
+apparently, which Taine is not competent to criticise, so subtle
+is his intellect, and so wide the range of his studies, but what
+he is most competent to criticise is Art. We have heard great
+things of a History of English Literature by him, but as it has
+not yet appeared in an English dress (although Messrs. Holt &
+Williams have a translation of it in press) we shall reserve our
+decision until it appears. Art, it seems to us, is the specialty
+to which Taine has devoted himself, with the enthusiasm peculiar
+to his countrymen, and a thoroughness peculiar to himself.
+Others may have accumulated greater stores of art-knowledge--the
+knowledge indispensable to the historian of Art, and the
+biographer of artists--but none has so saturated himself with the
+spirit of Art as Taine. We may not always agree with him, but he
+is always worth listening to, and what he says is worthy of
+our serious consideration. We think he is _too_ philosophical
+sometimes, but then the fault may be in us. It may be that we are
+so accustomed to the materialism of the English critics that
+we fail, at first, to apprehend the spirituality of this most
+refined and refining of Frenchmen. No English critic could have
+written his "Art in Greece," because no English critic could put
+himself in his place. We know what the English think of Greek
+Art, or may, with a little reading: what Taine thinks of it
+is--that it is what it is, simply because the Greeks were what
+they were. Before he tells us what Greek Art is, he tells us what
+the Greeks were. Nor does he stop here, but goes on to tell us,
+or rather begins by telling us, what kind of a country it was
+in which they dwelt, what skies shone over them, what mountains
+looked down upon them, in the shadow of what trees they walked
+within sight of the wine-dark sea. He begins at the beginning,
+as the children say. Whether he succeeds in convincing us that
+it was Greece alone which made the Greeks what they were, depends
+somewhat upon the cast of our minds, and somewhat upon our power
+to resist his eloquence. We think, ourselves, that he lays too
+much stress upon the mere outward environment of the Grecian
+people. The influence exercised over their lives, by the
+Institutions which grew up out of these lives--the influence, in
+short, of their purely physical culture--is admirably described,
+as is also the difference between this culture and ours:
+
+    "Modern people are Christian, and Christianity is a
+    religion of second growth which opposes natural instinct.
+    We may liken it to a violent contraction which has
+    inflected the primitive attitude of the human mind. It
+    proclaims, in effect, that the world is sinful, and that
+    man is depraved--which certainly is indisputable in the
+    century in which it was born. According to it, man must
+    change his ways. Life here below is simply an exile;
+    let us turn our eyes upward to our celestial home. Our
+    natural character is vicious; let us stifle natural
+    desires and mortify the flesh. The experience of our
+    senses and the knowledge of the wise are inadequate and
+    delusive; let us accept the light of revelation, faith
+    and divine illumination. Through penitence, renunciation
+    and meditation let us develop within ourselves the
+    spiritual man; let our life be an ardent awaiting of
+    deliverance, a constant sacrifice of will, an undying
+    yearning for God, a revery of sublime love, occasionally
+    rewarded with ecstasy and a vision of the infinite.
+    For fourteen centuries the ideal of this life was the
+    anchorite or monk. If you would estimate the power of
+    such a conception and the grandeur of the transformation
+    it imposes on human faculties and habits, read, in turn,
+    the great Christian poem and the great pagan poem, one
+    the 'Divine Comedy' and the other the 'Odyssey' and the
+    'Iliad.' Dante has a vision and is transported out of our
+    little ephemeral sphere into eternal regions; he beholds
+    its tortures, its expiations and its felicities; he is
+    affected by superhuman anguish and horror; all that the
+    infuriate and subtle imagination of the lover of justice
+    and the executioner can conceive of he sees, suffers and
+    sinks under. He then ascends into light; his body loses
+    its gravity; he floats involuntarily, led by the smile
+    of a radiant woman; he listens to souls in the shape of
+    voices and to passing melodies; he sees choirs of angels,
+    a vast rose of living brightness representing the virtues
+    and the celestial powers; sacred utterances and the
+    dogmas of truth reverberate in ethereal space. At this
+    fervid height, where reason melts like wax, both symbol
+    and apparition, one effacing the other, merge into mystic
+    bewilderment, the entire poem, infernal or divine, being
+    a dream which begins with horrors and ends in ravishment.
+    How much more natural and healthy is the spectacle which
+    Homer presents! We have the Troad, the isle of Ithica and
+    the coasts of Greece; still at the present day we follow
+    in his track; we recognize the forms of mountains, the
+    color of the sea; the jutting fountains, the cypress and
+    the alders in which the sea-birds perched; he copied a
+    steadfast and persistent nature: with him throughout we
+    plant our feet on the firm ground of truth. His book is
+    a historical document; the manners and customs of his
+    contemporaries were such as he describes; his Olympus
+    itself is a Greek family."
+
+The manifest inferiority of our mixed languages to their one
+simple language is stated in the following paragraph, with which
+we must leave Taine for the present:
+
+    "Almost the whole of our philosophic and scientific
+    vocabulary is foreign; we are obliged to know Greek and
+    Latin to make use of it properly, and, most frequently,
+    employ it badly. Innumerable terms find their way out of
+    this technical vocabulary into common conversation and
+    literary style, and hence it is that we now speak and
+    think with words cumbersome and difficult to manage.
+    We adopt them ready made and conjoined, we repeat
+    them according to routine; we make use of them without
+    considering their scope and without a nice appreciation
+    of their sense; we only approximate to that which we
+    would like to express. Fifteen years are necessary for
+    an author to learn to write, not with genius, for that
+    is not to be acquired, but with clearness, sequence,
+    propriety and precision. He finds himself obliged to
+    weigh and investigate ten or twelve thousand words and
+    diverse expressions, to note their origin, filiation and
+    relationships, to rebuild on an original plan, his ideas
+    and his whole intellect. If he has not done it, and he
+    wishes to reason on rights, duties, the beautiful, the
+    State or any other of man's important interests, he
+    gropes about and stumbles; he gets entangled in long,
+    vague phrases, in sonorous common-places, in crabbed
+    and abstract formulas. Look at the newspapers and the
+    speeches of our popular orators. It is especially the
+    case with workmen who are intelligent but who have had no
+    classical education; they are not masters of words, and,
+    consequently, of ideas; they use a refined language which
+    is not natural to them; it is a perplexity to them and
+    consequently confuses their minds; they have had no
+    time to filter it drop by drop. This is an enormous
+    disadvantage, from which the Greeks were exempt. There
+    was no break with them between the language of concrete
+    facts and that of abstract reasoning, between the
+    language spoken by the people and that of the learned;
+    the one was a counterpart of the other; there was no term
+    in any of Plato's dialogues which a youth, leaving his
+    gymnasia, could not comprehend; there is not a phrase in
+    any of Demosthenes' harangues which did not readily find
+    a lodging-place in the brain of an Athenian peasant or
+    blacksmith. Attempt to translate into Greek one of Pitt's
+    or Mirabeau's discourses, or an extract from Addison or
+    Nicole, and you will be obliged to recast and transpose
+    the thought; you will be led to find for the same
+    thoughts, expressions more akin to facts and to concrete
+    experience; a flood of light will heighten the prominence
+    of all the truths and of all the errors; that which you
+    were wont to call natural and clear will seem to you
+    affected and semi-obscure, and you will perceive by force
+    of contrast why, among the Greeks, the instrument of
+    thought being more simple, it did its office better and
+    with less effort."
+
+Among the good books of the year, two belong to a special walk
+of letters in which we have not hitherto excelled the English
+Translation. There are periods in the history of English Poetry
+when translation has played an important part. Such a period
+occurred just before the Shakspearean era, and it was noted for
+translations from the Latin poets. Chapman was the first English
+writer to perceive the greatness of the Greek poets, and, like
+the poet that he was, he attempted to translate the father of
+poets, Homer. Chapman's Homer is a noble work, with all its
+faults; but it is not what Homer should be in English. It was
+followed by other translations mostly of the Latin poets, the
+best, perhaps, being Dryden's Virgil, until, finally, the English
+mind returned to Homer, or supposed it did, in the pretty,
+musical numbers of Pope. Who will may read Pope's Homer. We
+cannot. Nor Cowper's either, although it contains some good,
+manly writing. We can read Lord Derby's Homer, or could, until
+Mr. Bryant published his translation of the "Iliad," when the
+necessity no longer existed. No English translation of Homer will
+compare with Mr. Bryant's; and we are glad that we are soon to
+have the whole of the "Odyssey," as we already have the whole of
+the "Iliad." The first volume of Mr. Bryant's translation of the
+"Odyssey" (J.R. Osgood & Co.) fully sustains the reputation of
+the writer. It is so admirably done, that, if we did not know to
+the contrary, we should think we were reading an original poem.
+The stiffness which generally inheres in translations is wanting;
+nowhere is there any sense of restraint, but everywhere a
+delightful sense of ease--the freedom of one great poet shining
+through the freedom of another great poet, as the sun shines
+through the sky. It is the ideal English translation of Homer;
+and we congratulate Mr. Bryant upon having finished it (for we
+believe he has); and congratulate ourselves that it is the work
+of an American poet.
+
+We offer the like congratulation to Mr. Bayard Taylor for his
+translation of "Faust," which occupies the same place, as regards
+German Poetry, that Mr. Bryant's translation of Homer does to
+Greek Poetry. The difficulty of the task which Mr. Taylor set
+himself, the task of rendering the original in the measures of
+the original, was never met before by any English translator of
+"Faust"--never even attempted, we believe--and, to say that he
+has accomplished it, is to say that Mr. Taylor is a very skilful
+poet--how skilful we never knew before, highly as we have always
+valued his poetical powers. He enables us to understand the
+_Intention_ of Goethe in "Faust," as no one besides himself
+has done; and, among the obligations that we owe him for the
+enjoyment he has given us, we must not forget the obligation we
+are under to him for his _Notes_. They are scholarly, and to the
+point. There is not one too many, not one which we could afford
+to lose, now that we have it. What _might_ have been written,
+under the pretense of _Notes_--what another translator might not
+have been able to resist writing--is fearful to think of--Life is
+so short, and Goethe's Art so long!
+
+The year has been fertile in American verse. How much Poetry it
+has produced is a question into which we do not care to enter. It
+has witnessed the publication of two volumes by Mr. Bret Harte;
+of one volume by Mr. John Hay; and of one volume by Mr. William
+Winter. The title of Mr. Winter's volume, "My Witness," (J.R.
+Osgood & Co.) is a happy one. It is not every American writer who
+can afford to place his verse on the stand as his witness; and it
+is not every American writer whose verse will substantiate what
+he is so desirous of proving, viz., that he is an American poet.
+
+Mr. Winter is not without faults--what American writer is?--but
+he endeavors to write simply. The virtue of simplicity--always a
+rare one, and never so rare as at present--he possesses. We have
+Tennyson, who is not simple; we have Browning, who is not simple;
+we have Swinburne, who is not simple; and we have Mr. Joaquin
+Miller, who is not simple.
+
+Mr. Winter's book has its defects--among which we observe an
+occasional lapse into Latinity--but with all its defects it is a
+very _poetical_ book. Mr. Winter reminds us, more than any recent
+American poet, of the English poets of the reigns of Charles the
+First and Second. He has, at his best, all their graces of style,
+and he has, at all times, the grace of Purity, to which they laid
+no claim. With the exception of Carew (whom, we dare say, he has
+never read), Mr. Winter is the daintiest and sweetest of amatory
+poets. He has the fancy of Carew, without his artificiality; he
+has Carew's sweetness, without his grossness of suggestion.
+
+There is a tinge of sadness in some of Mr. Winter's poems, and
+the critics, we suppose, will censure him for it. If so, they
+will be in the wrong. The poet has the right to express his
+moods, sad or merry, and he is no more to be judged by his sad
+moods than his merry ones. He is to be judged by both, and the
+sum of both--if the critic is able to add it up--is the poet. As
+far as he is revealed in his book, that is, but no further. There
+is such a thing as Dramatic Poetry, as some critics are aware,
+and there is such a thing as Representative Poetry, as few
+critics are aware. The former deals with the passions, the
+latter with those shadowy and evanescent sensations which we call
+feelings. Mr. Winter is not a dramatic poet, but he is, in his
+own way, a representative poet. His poem "Lethe" represents one
+set of feelings; "The White Flag" another; and "Love's Queen"
+another. We like the last best. For, while we believe the others
+to be equally genuine, they do not impress us as being the best
+expression of his genius. What we feel most after finishing his
+volume, what seems to us most characteristic of his poetry, is
+loveliness--the tender loveliness that lingers in the mind after
+we have seen the sun-set of a quiet summer evening, or after
+we have heard music on a dreamy summer night. If this poetic
+melancholy be treason, the critics may make the most of it. Mr.
+Winter has nothing to fear. He has the authority of the greatest
+poets with which to defend himself, and confute the critics.
+
+
+
+
+_ART._
+
+THE PRODIGAL SON, BY EDOUARD DUBUFE.
+
+
+The sublime lesson of forgiveness, inculcated by the story of
+the Prodigal Son, is among the earliest and most familiar in the
+memories of a nation of Bible readers like our own. Every one
+of us, perhaps unconsciously, carries in mind a simple,
+straight-forward conception of this subject, formed in early
+childhood--a time when the imagination rarely goes beyond an
+attempt to realize the unlooked for forgiveness of the once
+deserted parent, or the captivating visions of adventure
+suggested by the changing fortunes of the wanderer during his
+absence in a "far country."
+
+With the painter the picture is his vision, and the panels are
+the realities. As a man of a different order of thought would
+have chosen another incident of the story for illustration, so
+also would a painter of a less independent school have permitted
+himself to be bound down by the historical facts of the
+architectural and costume fashions of the time of narration.
+Dubufe has so far discarded the unities of time and place, if
+any can _really_ be said to exist--as no date was fixed in
+the relation of the parable by Christ--that he has adopted the
+mingled costumes of Europe and the East, which obtained in the
+fifteenth century, and has placed his figures in a Corinthian
+porch under the light of Italian skies. Apart from the conception
+and the "telling of the story," about which there will be various
+opinions, this picture may be justly regarded as a magnificent
+work of art.
+
+The great David, a pupil of whose pupil Edouard Dubufe was, and
+Horace Vernet, appear to have been the guides selected by him,
+rather than the greatest of his masters--Paul Delaroche. The
+influence of both is to be traced in this work, although it may
+be said to take rank above any production of either of them. In
+drawing, color, and composition, rendering of textures, and the
+exhibition of the resources of the palette, now better known to
+French painters than ever before, the picture leaves nothing to
+be desired. The faces of the principal figures are full of
+that "expression to the life" in which the English are justly
+considered to excel, while the admirable focus of the groups,
+the color, and interest, are as un-English as excellent.
+Fault-finding in more than one or two unimportant details would
+be hypercriticism where so much is perfect, and it becomes our
+happy privilege, in this notice, to commend and to point out, to
+"lay" readers about Art, the manifold beauties of its technical
+execution. A critical examination will show that the composition
+is on the pyramidal principle, and the arrangement of groups
+principally in threes. In the central portion of the canvas,
+where the marble pillars of the porch fall off in perspective,
+the Profligate stands holding up a golden cup in his right
+hand, as in the act of proposing a toast. His red costume and
+commanding figure attract the eye, and the attention falls at
+once and equally on him and on the magnificent woman whose arms
+embrace his neck, and whose eyes, as her chin rests close on his
+breast, gaze with dangerous fascination into his face. Her dress
+is of rich white satin, and, with the delicate green and gold
+sheen of her rival's robe--she with whom the Prodigal's right
+hand toys in caress--makes up a wonderfully brilliant prismatic
+chord, having the effect of focusing the richer, but not less
+gorgeous, pigments spread everywhere on the canvas. The faces of
+the women are very beautiful, and are made voluptuous by a
+subtle art which, through all their beauty, tells a story of
+unrestrained lives of passion and pleasure.
+
+The face of the magnificent creature at the Prodigal's left hand
+is a wondrous piece of drawing. It is thrown back against him
+and from the spectator, in order that she may look up into his
+face--at the moment a dissipated, spiritless face, without even
+the flush of the wine which dyes her's so rosily--a face at once
+weak and weary, and yet revealing a possible intensity, indeed,
+the face of a French woman who "has lived," rather than that of a
+man.
+
+Up to this centre leads the other groups. Below, and seated on
+the rich rugs which cover the marble pavement, musicians
+and singers pause to listen to impassioned words from a
+laurel-crowned poet, while further on a sort of orchestra
+plays time for the sensuous dance of lithe-bodied Oriental
+dancers--each woman of them more ravishing than the other. Minor
+incidents, like dice-play and love-making, give interest to the
+remaining space, and keep up the revel.
+
+Throughout, the drawing is true, and good, and graceful. The
+hands of the figures demand especial mention. The hand of one of
+the women, near the central group, grasped by her lover at the
+wrist as he kisses her shoulder, is particularly exquisite
+in form and color; the more remarkable, perhaps, because the
+position of it is so trying in nature and so difficult to draw.
+
+The type of feature chosen for the women, the dancing girls
+excepted, is essentially Gallic. As remarked before, the face
+of the Prodigal, also, is French; but the musicians and the poet
+have faces of their own which seem to belong to the university of
+genius. The mere revelers, curiously enough, have a likeness to
+the figures in some old Italian pictures; one of them looks like
+a copy of Judas Iscariot, made younger.
+
+A distant city and mountains fill up the background, and, on
+the extreme right of the near middle distance, flights of
+marble steps ascend to a grand doorway, where servants are seen
+loitering within easy call of their masters.
+
+It was by a sublime inspiration that Dubufe painted the accessory
+panels in monotone. In that on the right, a dismal sky, filled
+with rolling clouds and sad presaging ravens flying, over-shadows
+the outcast, seated on a rock in an attitude of listless
+dejection, with the swine feeding at his feet. In the panel on
+the left he is seen in the close embrace of his merciful parent.
+His head is bowed in humility, and, in an agony of remorse and
+shame, while the old house-dog sniffs at him for an obtrusive
+mendicant who has no business with such affectionate welcome.
+
+Let us congratulate ourselves that this picture has come to our
+country, as yet so barren of great works, and pray that the noble
+school of art of which this is so admirable an exponent, may
+find favor, not only with our painters, but with those who call
+themselves connoisseurs, in preference to unmeaning works of
+microscopic finish, or slick examples of boudoir and millinery
+painting.
+
+       *       *       *       *       *
+
+"_THE ALDINE PRESS._"--JAMES SUTTON & CO., _Printers and
+Publishers, 23 Liberty St., N.Y._
+
+
+
+
+
+End of the Project Gutenberg EBook of The Aldine, Vol. 5, No. 1., January,
+1872, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE ALDINE, VOL. 5, NO. 1., ***
+
+***** This file should be named 15092.txt or 15092.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/1/5/0/9/15092/
+
+Produced by Juliet Sutherland, Sandra Brown and the PG Online
+Distributed Proofreading Team.
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/15092.zip b/15092.zip
new file mode 100644
index 0000000..4fc60f1
--- /dev/null
+++ b/15092.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..18fb67b
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #15092 (https://www.gutenberg.org/ebooks/15092)