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diff --git a/18195-h/18195-h.htm b/18195-h/18195-h.htm new file mode 100644 index 0000000..64af904 --- /dev/null +++ b/18195-h/18195-h.htm @@ -0,0 +1,3334 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.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 Girl's Own Paper, Vol. VIII., No. 353., OCTOBER 2, 1886. + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: auto; margin-right: auto;} + table.autumn {width: 100%; text-align: left; background-image: + url("images/illus007.png"); background-repeat: no-repeat;} + td.autumn {padding-left: 0em; padding-top: 0em;} + .autumntop {float: left; clear: right; width: 650px; height: 400px;} + .autumnmiddle {float: left; clear: left; width: 375px; height: 125px;} + .autumnbottom {float: left; clear: left; width: 300px; height: 125px;} + .autumnbottomb {float: left; clear: left; width: 225px; height: 140px;} + + body{margin-left: 10%; + margin-right: 10%; + } + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + } /* page numbers */ + + .linenum {position: absolute; top: auto; left: 4%;} /* poetry number */ + .blockquot{margin-left: 5%; margin-right: 10%;} + .sidenote {width: 20%; padding-bottom: .5em; padding-top: .5em; + padding-left: .5em; padding-right: .5em; margin-left: 1em; + float: right; clear: right; margin-top: 1em; + font-size: smaller; color: black; background: #eeeeee; border: dashed 1px;} + + .bb {border-bottom: solid 2px;} + .bl {border-left: solid 2px;} + .bt {border-top: solid 2px;} + .br {border-right: solid 2px;} + .bbox {border: solid 2px;} + + .center {text-align: center;} + .smcap {font-variant: small-caps;} + .u {text-decoration: underline;} + + .caption {font-weight: bold;} + + .figcenter {margin: auto; text-align: center;} + + .figleft {float: left; clear: left; margin-left: 0; margin-bottom: 0em; margin-top: + 0em; margin-right: 0em; padding: 0; text-align: center;} + + .figright {float: right; clear: right; margin-left: 1em; margin-bottom: 1em; + margin-top: 1em; margin-right: 0; padding: 0; text-align: center;} + + .footnotes {border: dashed 1px;} + .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + .footnote .label {position: absolute; right: 84%; text-align: right;} + .fnanchor {vertical-align: super; font-size: .8em; text-decoration: none;} + + .poem {margin-left:10%; margin-right:10%; text-align: left;} + .poem br {display: none;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem span.i0 {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;} + .poem span.i2 {display: block; margin-left: 2em; padding-left: 3em; text-indent: -3em;} + .poem span.i4 {display: block; margin-left: 4em; padding-left: 3em; text-indent: -3em;} + .poem span.i6 {display: block; margin-left: 6em; padding-left: 3em; text-indent: -3em;} + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of The Girl's Own Paper, Vol. VIII: No. 353, +October 2, 1886., 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 Girl's Own Paper, Vol. VIII: No. 353, October 2, 1886. + +Author: Various + +Editor: Charles Peters + +Release Date: April 17, 2006 [EBook #18195] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE GIRL'S OWN PAPER *** + + + + +Produced by Susan Skinner and the Online Distributed +Proofreading Team at http://www.pgdp.net + + + + + + +</pre> + + +<p><span class='pagenum'><a name="Page_1" id="Page_1">[Pg 1]</a></span></p> +<div class="figcenter" style="width: 600px;"> +<img src="images/illus001a.png" width="600" height="224" alt="THE GIRL'S OWN PAPER" title="" /> +</div> +<hr style="width: 95%;" /> +<div class='center'> +<table border="0" cellpadding="4" cellspacing="0" summary="" width="100%"> +<tr><td align='left'><span class="smcap">Vol. VIII.—No. 353.</span></td><td align='center'>OCTOBER 2, 1886.</td><td align='right'><span class="smcap">Price One Penny.</span></td></tr> +</table></div> +<hr style="width: 95%;" /> + +<p class='center'>[Transcriber's Note: This Table of Contents was not present in the original.]</p> + +<!-- Autogenerated TOC. Modify or delete as required. --> +<p class='center'> +<a href="#MERLES_CRUSADE">MERLE'S CRUSADE: Chapter 1.</a><br /> +<a href="#THE_AMATEUR_CHURCH_ORGANIST">THE AMATEUR CHURCH ORGANIST.</a><br /> +<a href="#EVERY_GIRL_A_BUSINESS_WOMAN">EVERY GIRL A BUSINESS WOMAN: Part 1.</a><br /> +<a href="#VARIETIES">VARIETIES.</a><br /> +<a href="#THE_SHEPHERDS_FAIRY">THE SHEPHERD'S FAIRY: Chapter 1.</a><br /> +<a href="#FASHIONABLE_EMBROIDERY">FASHIONABLE EMBROIDERY.</a><br /> +<a href="#ROMANCE">ROMANCE.</a><br /> +<a href="#ANSWERS_TO_CORRESPONDENTS">ANSWERS TO CORRESPONDENTS.</a><br /> +<a href="#AUTUMN">AUTUMN.</a><br /> +</p> +<!-- End Autogenerated TOC. --> + +<hr style="width: 65%;" /> + +<h2><a name="MERLES_CRUSADE" id="MERLES_CRUSADE"></a>MERLE'S CRUSADE.<br /> + +<span style="font-size: 75%;"><span class="smcap">By</span> ROSA NOUCHETTE CAREY, Author of "Aunt Diana," "For Lilias," etc.</span></h2> + +<div class="figcenter" style="width: 600px;"> +<img src="images/illus001b.png" width="600" height="515" alt=""'WHAT A PITY YOU STOPPED ME JUST THEN.'"" title="" /> +<span class="caption">"'WHAT A PITY YOU STOPPED ME JUST THEN.'"</span> +</div> + +<p><span class='pagenum'><a name="Page_2" id="Page_2">[Pg 2]</a></span></p> +<h3>CHAPTER I.<br /> +<span style="font-size: 75%;">THE VALLEY OF HUMILIATION.</span></h3> + +<p><span class="figleft"> +<img src="images/illus002.png" width="200" height="402" alt=""M" title="" /> +</span> +erle, I may +be a little old-fashioned +in +my notions; +middle-aged +people never +adjust their +ideas quite in +harmony with +you young +folk, but in my +day we never +paused to +count fifty at +a full stop."</p> + +<p>Aunt Agatha's +voice +startled me +with its reproachful +irritability. +Well, I had +deserved that +little sarcasm +for I must +confess that I had been reading very +carelessly. My favourite motto was ringing +in my ears, "<i>Laborare est orare</i>."</p> + +<p>Somehow the words had set themselves +to resonant music in my brain; +it seemed as though I were chanting +them inwardly all the time I was climbing +down the steep hill with Christiana +and her boys. <i>Laborare est orare.</i> +And this is what I was reading on that +still, snowy Sunday afternoon: "But we +will come again to this Valley of Humiliation. +It is the best and most fruitful +piece of ground in all these parts. +It is a fat ground, and, as you see, +consisteth much in meadows, and if a +man was to come here in the summertime +as we do now, if he knew not anything +before thereof, and if he delighted +himself in the sight of his eyes, he might +see that which would be delightful to +him. Behold how green this valley is, +also how beautiful with lilies! I have +known many labouring men that have +got good estates in this Valley of Humiliation."</p> + +<p>"Merle," observed Aunt Agatha, a +little dryly, "we may as well leave off +there, for it seems that you and I are to +have our estate among the labouring +men in this very valley."</p> + +<p>Aunt Agatha was a clever woman, +and could say shrewd things sometimes, +but she never spoke a truer word than +this; but my wits were no longer wool-gathering.</p> + +<p>"What a pity you stopped me just +then," I remarked, somewhat sententiously; +"we have missed the purest +gem of the allegory. 'He that is down +need fear no fall; he that is low no +pride.'" But here a hand was lifted in +protesting fashion.</p> + +<p>"Put the marker in the page, child, +and spare me the rest; that is in favour +of your argument, not mine," for a weary +discussion had been waged between us +for two whole hours—a discussion that +had driven Aunt Agatha exhausted to +the couch, but which had only given me +a tingling feeling of excitement, such as +a raw recruit might experience at the +sight of a battlefield. Aunt Agatha's +ladylike ideas lay dead and wounded +round her while I had made that last +impetuous charge.</p> + +<p>"I am of age, a free Englishwoman, +living in a free country, and not all the +nineteenth century prejudices, though +they are thick as dragons' teeth, shall +prevent me, Merle Fenton, of sane mind +and healthy body, from doing what I +believe to be my duty."</p> + +<p>"Humph, I am rather doubtful of the +sanity; I always told you that you were +too independent and strong-minded for +a girl; but what is the use of preaching +to deaf ears?" continued Aunt Agatha, +in a decidedly cross voice, as she arranged +the cushions comfortably.</p> + +<p>It was true that I was getting the +best of the argument, and yet I was +sorry for Aunt Agatha. I felt how I was +shocking all her notions of decorum and +propriety, and giving pain to the kindest +and gentlest heart in the world; but one +cannot lead a new crusade without +trampling on some prejudices. I knew +all my little world would shriek "fie," +and "for shame" into my ears, and all +because I was bent on working out a new +theory. The argument had grown out +of such a little thing. I had shown Aunt +Agatha an advertisement in the <i>Morning +Post</i>, and announced my intention of +answering it in person the following +morning.</p> + +<p>"NURSE.—Can any lady recommend +a thoroughly conscientious superior person +to take charge of two children, +baby eighteen months old? Assistance +given in the nursery. Must be a good, +plain needlewoman. Prince's Gate, +S.W."</p> + +<p>To the last day of my life I do not +think that I shall ever forget Aunt +Agatha's face when she read that advertisement.</p> + +<p>"You intend to offer yourself for this +situation, Merle—to lose caste, and take +your place among menials? It is enough +to make my poor brother rise in his +grave, and your poor, dear mother too, +to think of a Fenton stooping to such +degradation." But I will forbear to +transcribe all the wordy avalanche of +lady-like invective that was hurled at +me, accompanied by much wringing of +hands.</p> + +<p>And yet the whole thing lay in a nut-shell. +I, Merle Fenton, sound, healthy, +and aged two-and-twenty, being +orphaned, penniless, and only possessing +one near relative in the world—Aunt +Agatha—declined utterly to be dependent +for my daily bread and the +clothes I wore on the goodwill of her +husband and my uncle by marriage, +Ezra Keith.</p> + +<p>No, I was not good. I daresay I was +self-willed, contradictory, and as obstinate +as a mule that will go every way but +the right way, but, all the same, I loved +Aunt Agatha, my dead father's only +sister, and I detested Uncle Keith with +a perfectly unreasonable detestation.</p> + +<p>Aunt Agatha had been a governess +all her life. Certainly the Fenton family +had not much to boast of in the way of +wealth. Pedigree and poverty are not +altogether pleasant yoke fellows. It +may be comfortable to one's feelings to +know that a certain progenitor of ours +made boots at the time of the Conquest, +though I am never quite sure in my mind +that they had bootmakers then; but my +historical knowledge was always defective. +But a little money is also pleasant; +indeed, if the pedigree and the money +came wooing to me, and I had to choose +between them—well, perhaps I had +better hold my tongue on that subject; +for what is the good of shocking people +unless one has a very good reason for +doing so?</p> + +<p>My father's pedigree did not help him +into good practice, and he died young—a +grave mistake, people tell me, for a +professional man to commit. My mother +was very pretty and very helpless, but +then she had a pedigree, too, and, probably, +that forbade her to soil her white +hands. She was a fine lady, with more +heart than head, which she had lost +most unwisely to the handsome young +doctor. After his death, she made +futile efforts for her child's sake, but +the grinding wheel of poverty caught the +poor butterfly and crushed her to death.</p> + +<p>My poor, tender-hearted, unhappy +mother! Well, the world is a cruel +place to these soft, unprotected natures.</p> + +<p>I should have fared badly but for Aunt +Agatha; her hardly-earned savings +were all spent on my education. She +was a clever, highly-educated woman, +and commanded good salaries, and out +of this she contrived to board and maintain +me at a school until she married, +and Uncle Keith promised that I should +share their home.</p> + +<p>I never could understand why Aunt +Agatha married him. Perhaps she was +tired of the drudgery of teaching; at +forty-five one may grow a little weary +of one's work. Perhaps she wanted a +home for her old age, and was tired of +warming herself at other people's fires, +and preferred a chimney corner of her +own; but, strange to say, she always +scouted these two notions with the utmost +indignation.</p> + +<p>"I married your uncle, Merle," she +would say, with great dignity, "because +he convinced me that he was the right +person for me to marry. I have no +more idea than you how he contrived to +instil this notion into my head, for +though I am a plain body and never +had any beauty, I must own I liked tall, +good-looking men. But there, my dear, +I lived forty-five years in the world without +three things very common in women's +lives—without beauty, without love, and +without discontent." And in this last +clause she was certainly right. Aunt +Agatha was the most contented creature +in the world.</p> + +<p>If Uncle Keith—for never, never +would I call him Uncle Ezra, even had +he asked me as a personal favour to do +so—if Uncle Keith had been rich I +could have understood the marriage +better, being rather a mercenary and +far-sighted young person, but he had +only a very small income. He was +managing clerk in some mercantile +house, and, being a thrifty soul, invested +all his spare cash instead of +spending it.</p> + +<p>Aunt Agatha had lived in grand +houses all her life, but she was quite<span class='pagenum'><a name="Page_3" id="Page_3">[Pg 3]</a></span> +content with the little cottage at Putney +to which her husband took her. They +only kept one servant; but Aunt Agatha +proved herself to be a notable housekeeper. +She arranged and rearranged +the old-fashioned furniture that had +belonged to Uncle Keith's mother until +she had made quite a charming +drawing-room; but that was just her +way; she had clever brains, and clever +fingers, and to manipulate old materials +into new fashions was just play work to +her.</p> + +<p>But for me, I am perfectly convinced +that Aunt Agatha would have called +herself the happiest woman in the world, +but my discontent leavened the household. +If three people elect to live +together, the success of the scheme +demands that one of the three should +not smile sourly on all occasions.</p> + +<p>For two whole years I tried to be +amiable when Uncle Keith was in the +room, and at last gave up the attempt +in despair, baffled by my own evil +tempers, and yet I will say I was not a +bad-tempered girl. I must have had +good in me or Aunt Agatha would not +have been so fond of me. I call that a +real crucial test—other people's fondness +for us.</p> + +<p>Why is it so difficult to get on with +some folk, very worthy people in their +way?</p> + +<p>Why do some people invariably rub +up one's fur until it bristles with discomfort? +Why do these same thoroughly +estimable creatures bring a sort +of moral east wind with them, scarifying +one's nerves? Surely it is beneath the +dignity of a human being to be rasped +by a harsh, drawling voice, or offended +by trifling mannerisms. Uncle Keith +was just like one of my sums—you might +add him up, subtract from him, divide +or multiply him, but he would never +come right in the end; one always +reckoned that he was more or less than +he was. He was a little, pale, washed-out +looking man, with sandy hair and +prominent brown eyes. Being an old +bachelor when he married Aunt Agatha, +he had very precise, formal ways, and +was methodical and punctual to a fault. +Next to Uncle Keith, I hated that white-faced +watch of his. I hated the slow, +ponderous way in which he drew it from +his pocket, and produced it for my special +benefit.</p> + +<p>I have said that my detestation of +Uncle Keith was somewhat unreasonable. +I must own I had no grave +reasons for my dislike. Uncle Keith +had a good moral character; he was a +steady church-goer, was painstaking +and abstemious; never put himself in a +passion, or, indeed, lost his temper for a +minute; but how was a girl to tolerate +a man who spent five minutes scraping +his boots before he entered his own +door, whatever the weather might be; +who said, "Hir-rumph" (humph was +what he meant) before every sentence, +booming at one like a great bee; who +always prefaced a lecture with a "my +dear;" who would not read a paper +until it was warmed; who would burn +every cinder before fresh coals were +allowed on the fire; who looked reproachfully +at my crumbs (I crumbled +my bread purposely at last), and scooped +them carefully in his hand for the benefit +of the birds, with the invariable remark, +"Waste not, want not," a saying I +learnt to detest?</p> + +<p>I suppose if we are ever admitted +into heaven we shall find very odd +people there; but perhaps they will +have dropped their trying ways and +peculiarities, as the chrysalis drops its +case, and may develop all sorts of new +prismatic glories. I once heard a lady +say that she was afraid the society +there would be rather mixed; she was a +very exclusive person; but Solomon tells +us that there is nothing new under the +sun, so I suppose we shall never be +without our modern Pharisees and +Sadducees. The grand idea to me is +that there will be room for all. I do +not know when the idea first came to +me that it was a mean thing to live +under a man's roof, eating his bread +and warming oneself at his fire, and all +the time despising him in one's heart. +I only know that one day the idea took +possession of me, and, like an Eastern +mustard seed, grew and flourished. +Soon after that Uncle Keith had rather +a serious loss—some mercantile venture +in which he was interested had come to +grief. I began to notice small retrenchments +in the household; certain little +luxuries were given up. Now and then +Aunt Agatha grew a little grave as she +balanced her weekly accounts. One +night I took myself to task.</p> + +<p>"What business have you, a strong, +healthy, young woman," I observed to +myself, severely, "to be a burthen on +these good folk? What is enough for +two may be a tight fit for three; it was +that new mantle of yours, Miss Merle, +that has put out the drawing-room fire +for three weeks, and has shut up the +sherry in the sideboard. Is it fair or +right that Aunt Agatha and Uncle +Keith should forego their little comforts +just because an idle girl is on their +hands?"</p> + +<p>I pondered this question heavily before +I summoned courage to speak to +Aunt Agatha. To my surprise she +listened to me very quietly, though her +soft brown eyes grew a little misty—I +did so love Aunt Agatha's eyes.</p> + +<p>"Dear," she said, very gently, "I +wish this could have been prevented; +but, for my husband's sake, I dare not +throw cold water on your plan. I cannot +deny that he has had a heavy loss, +and that we have to be very careful. I +would keep you with me if I could, +Merle, for you are just like my own child, +but Ezra is not young;" and here Aunt +Agatha's forehead grew puckered with +anxiety.</p> + +<p>"Oh, Aunt Agatha," I exclaimed, +quite forgetting the gravity of my proposition +in sudden, childish annoyance, +"how can you call Uncle Keith, Ezra? +It is such a hideous name."</p> + +<p>"Not to my ears," she answered, +quite calmly; "a wife never thinks her +husband's name hideous. He loves to +hear me say it, and I love to please him, +for though you may not believe it, Merle, +I think there are very few men to compare +with your uncle."</p> + +<p>She could actually say this to my face, +looking at me all the time with those +honest eyes! I could not forbear a little +shrug at this, but she turned the subject, +placidly, but with much dignity.</p> + +<p>"I have been a working bee all my life, +and have been quite contented with my +lot; if you could only follow my example, +I should be perfectly willing to let you +go. I have thought once or twice lately +that if anything were to happen to me, +you and your uncle would hardly be +comfortable together; you do not study +him sufficiently; you have no idea what +he really is."</p> + +<p>I thought it better to remain silent.</p> + +<p>Aunt Agatha sighed a little as she +went on.</p> + +<p>"I am not afraid of work for you, +Merle, there is no life without activity. +'The idle man,' as someone observes, +'spins on his own axis in the dark.' 'A +man of mere capacity undeveloped,' as +Emerson says, 'is only an organised daydream +with a skin on it.' Just listen to +this," opening a book that lay near her. +"'Action and enjoyment are contingent +upon each other. When we are unfit +for work we are always incapable of +pleasure; work is the wooing by which +happiness is won.'"</p> + +<p>"Yes, yes," I returned, rather impatiently, +for Aunt Agatha, with all her +perfections, was too much given to proverbial +and discursive philosophy; "but +to reduce this to practice, what work can +I do in this weary world?"</p> + +<p>"You cannot be a governess, not even +a nursery governess, Merle," and here +Aunt Agatha looked at me very gently, +as though she knew her words must +give me pain, and suddenly my cheeks +grew hot and my eyelids drooped. +Alas! I knew too well what Aunt +Agatha meant; this was a sore point, +the great difficulty and stumbling block +of my young life.</p> + +<p>I had been well taught in a good +school; I had had unusual advantages, +for Aunt Agatha was an accomplished +and clever woman, and spared no pains +with me in her leisure hours; but by some +freak of Nature, not such an unusual +thing as people would have us believe, +from some want of power in the brain—at +least, so a clever man has since told +me—I was unable to master more than +the rudiments of spelling.</p> + +<p>I know some people would laugh incredulously +at this, but the fact will remain.</p> + +<p>As a child I have lain sobbing on my +bed, beaten down by a very anguish of +humiliation at being unable to commit +the column of double syllables to memory, +and have only been comforted by Aunt +Agatha's patience and gentleness.</p> + +<p>At school I had a severer ordeal. For +a long time my teachers refused to admit +my incapacity; they preferred attributing +it to idleness, stubbornness, and +want of attention; even Aunt Agatha +was puzzled by it, for I was a quick +child in other things, could draw very +well for my age, and could accomplish +wonders in needlework, was a fair +scholar in history and geography, soon +acquired a good French accent, and did +some of my lessons most creditably.</p> + +<p>But the construction of words baffle +me to this day. I should be unwilling<span class='pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span> +to write the simplest letter without a +dictionary lying snugly near my hand. I +have learned to look my misfortune in +the face, and to bear it with tolerable +grace. With my acquaintances it is a +standing joke, with my nearest and +dearest friends it is merely an opportunity +for kindly service and offers to write +from my dictation, but when I was +growing into womanhood it was a bitter +and most shameful trial to me, one +secretly lamented with hot tears and +with a most grievous sense of humiliation.</p> + +<p>"No," Aunt Agatha repeated, in the +old pitying voice I knew so well, "you cannot +be even a nursery governess, Merle."</p> + +<p>"Nor a companion either," I exclaimed +bitterly. "Old ladies want +letters written for them."</p> + +<p>"That is very true," she replied, +shaking her head.</p> + +<p>"I could be a nurse in a hospital—in +fact, that is what I should like, but the +training could not be afforded, it would +be a pound a week, Aunt Agatha, and +there would be my uniform and other +expenses, and I should not get the +smallest salary for at least two or three +years."</p> + +<p>"I am afraid we must not think of +that, Merle," and then I relapsed into +silence from sheer sadness of heart. I +had always so longed to be trained in a +hospital, and then I could nurse wounded +soldiers or little children. I always +loved little children.</p> + +<p>But this idea must be given up, and yet +it would not have mattered in a hospital +if I had spelt "all-right" with one "l." +I am quite sure my bandages would +have been considered perfect, and that +would have been more to the point.</p> + +<p class="center">(<i>To be continued.</i>)</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/illus003.png" width="600" height="113" alt="" title="" /> +</div> + +<h2><a name="THE_AMATEUR_CHURCH_ORGANIST" id="THE_AMATEUR_CHURCH_ORGANIST"></a>THE AMATEUR CHURCH ORGANIST.<br /> +<br /> +<span class="smcap" style="font-size: 75%;">By the Hon. VICTORIA GROSVENOR.</span></h2> + + +<p>We believe that young people generally have +a desire to be useful. Sometimes not an +actually formulated desire, but a vague intention +which they mean some day shall have a +practical issue, when and how they do not +quite know, or in what way. It is proposed +in this article to point out one means of +eminent usefulness—<i>i.e.</i>, that of amateur organ +playing in our churches. It is scarcely +necessary to show what a large field of good +useful work is open to amateurs in this direction. +We all know that on the one hand +parishes wholly agricultural—the other +suburban parishes in large towns—are utterly +unable to pay for the services of a professional +player; while there is nothing so calculated to +lift up the heart of the congregations such as +these are likely to obtain, as good music. +Would it not therefore be a pleasant duty for +anyone gifted with musical talent and leisure +to qualify in the best manner possible for this +ennobling and helpful occupation?</p> + +<p>The intending organ-player must ascertain +that he or she has a gift for music, and this +need not be of the highest order, as even a +small portion of the gift can be improved with +care, and fostered into usefulness. A first +rate ear can be a snare to those who trust to it +too much—although it is undoubtedly the +best of servants, if kept in its proper sphere of +work. A very ordinary measure of talent, +supplemented by calm and good sense, clear +power of thought, and determined perseverance, +will be a good foundation to start +with. Good sense and attention have more to +do with the good music of ordinary persons (as +opposed, we mean, to remarkably clever ones) +than people are apt to think. It was said of +Mendelssohn that music was the <i>accident</i> of +his being; and there are many of whom the +same could be said, with this meaning—<i>i.e.</i>, +that the powers which make them succeed in +music would enable them to succeed in other +great things if attempted.</p> + +<p>We will therefore suppose the case of a +young lady possessing a moderate gift for +music, desiring to improve it and herself, and +to take up organ playing with a view to real +usefulness. She should first find out whether +her playing on the piano is perfectly correct, +taking the easiest possible music to exercise +herself upon, and trying whether her musical +ear is competent to be her teacher in the +matter of correctness. If neither steady +attention nor ear enable her to discover mistakes, +she had better consider that music is +not the talent God has given her to use to His +glory. A musical ear may, however, be +much improved by its possessor. With even +the smallest of voices she should join a choir +or madrigal society and learn to sing at sight. +She should, when listening to a musical performance, +try to guess its key. She should +endeavour to know, without seeing, the sound +and name of single notes on the piano, +practising herself with her eyes shut. It is +good practice, also, to take an easy chant or +hymn tune, hitherto unknown, and try to get +some idea of its melody and harmony without +playing it. When all this is done, one of the +most important tasks remains: that of +mastering time in all its branches. Slovenliness +in this particular is fatal to all music, +above all to that for the organ, which is meant +to guide and control. A feeling for rhythm +and a quick-sighted accurate knowledge of +time, may be much improved by playing with +others, either duets on the piano, or accompaniments +to voice or instrument. The +player should compel herself to account for +the time reason of every passage slowly, +until she is able to do so with rapidity and +precision at sight. At this point it may be +well to begin lessons on the organ, taking +great pains to become familiar with the +technical part of the instrument, the names of +stops and meaning of these names, mechanism +and its use. Then will come the careful +practice of pedals, which are at first so +absolutely bewildering that amateurs are +filled with despair at the apparent impossibilities +they are asked to face with hope.</p> + +<p>Into the teacher's work it is not our province +to go; but we would ask the learner to +be armed with courage and perseverance, and +to practise patiently. Success is more than +likely.</p> + +<p>We now proceed with advice to one possessed +of some knowledge of organ-playing +and some acquaintance with its technical capabilities. +First, we should say—Play on all +available instruments, as no two are alike, and +the stops are called by many different names, +which must be identified quickly as emergencies +arise. Then acquire a knowledge of harmony, +specially useful in accompanying church +music with dignity, and enabling the player to +fill in chords which the vocal score (or voice +parts) have left thin and ineffective. Volumes +might be written on accompaniments; but on +this subject we would advise amateurs to consult +heart, head, and common sense, and we +would recommend them to read Dr. Bridge's +"Organ Accompaniment," one of Novello's +music primers, which will open out to them +many possibilities, on the use of which they +must decide for themselves according to their +technical ability and the effect they aim at. +It may be they can only try to pull a few weak +voices through the singing allotted to them—in +which case a strong, steady accompaniment +of the simplest description is the best.</p> + +<p>One word on voluntaries. These should be +chosen with great care and the deepest respect +for the church and the instrument, and kept +well within the powers of the player. Amateurs +do not as a rule obtain much control of +their nerves, and the greatest help in the world +is given by the knowledge that there is not a +"difficult bit" coming. Voluntary books are +not quite to be trusted, as their selection often +contains operatic music very unfit for organ or +church; but they generally contain some pieces +of a sacred and dignified character, +which may be useful. It is also dangerous +for the inexperienced to plunge into easy +arrangements of unknown music, taking perhaps +wrong views of the time, and sometimes<span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span> +making the more experienced listener smile, if +nothing worse, at the curious rendering of +some well-known air, jumbled up with its +obbligato accompaniment, the existence of +which was entirely unknown to the poor player. +Every organist should possess a metronome, +and carefully ascertain with it the correct time +of any music intended for use in public.</p> + +<p>Finally, if every small action is to be done +to the glory of God, how much more the +playing in His church! Let none take this +noble work in hand without a desire to give, +in its degree, the best work that can be given +in absolute self-renunciation, humility, and +reverence.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/illus004.png" width="600" height="127" alt="" title="" /> +</div> + + +<h2><a name="EVERY_GIRL_A_BUSINESS_WOMAN" id="EVERY_GIRL_A_BUSINESS_WOMAN"></a>EVERY GIRL A BUSINESS WOMAN.<br /> +<br /> +<span style="font-size: 75%;">A PRACTICAL GUIDE TO THE WORLD OF INDUSTRY AND THRIFT.</span><br /> +<br /> +<span class="smcap font-size: 75%;">By JAMES MASON.</span></h2> + +<h3>PART I.</h3> + + +<p>Every girl who is guided by common sense +will aim at becoming a business woman. That +is to say, she will try to cultivate habits of +order, industry, perseverance, method, and +punctuality, and will do her best to learn how +to conduct formal correspondence, how to +keep accounts, how to manage money, and +what to do with savings. Besides this, she +will make a point of knowing something about +the laws relating to domestic life—the renting +of houses and the employment of servants, for +example—and she will push her inquiries in +every direction, so as to acquire not only the +right way of doing things, but the right way +of forming a judgment upon them.</p> + +<p>A wise girl will thus greatly increase her +usefulness in the world. She will be able to +take part in the affairs of life with pleasure to +herself and without being a trouble and hindrance +to her neighbours.</p> + +<p>Another advantage may be pointed out. +There are always people trying to get the +better of those who know nothing, and their +victims more often than not are ladies. It is +easy to fall a prey to rogues and sharpers if +one is ignorant of business, especially when +nature has made women kind-hearted and +experience has not rendered them suspicious. +As a protection, there is nothing like being a +business woman.</p> + +<p>Perhaps someone may say that "business +woman" has a hard sound, and stands for a +character precise, selfish, and uninteresting. +That is not what we intend by it at all. Is a +girl to be less loveable, less gentle, less charming, +whenever we cease to say of her, That +girl, in regard to all the ways of business, is a +perfect simpleton? On the contrary, business +is a fine training-school for many virtues; +and of all good women, a good business +woman may be reckoned the very best.</p> + +<p>Our articles are intended to be of use to +two classes of girls. The first consists of those +who either have or are likely to have a little +money of their own, and need to know how +to manage it and how to regulate those affairs +which money always brings in its train. By +ignorance of business many a useful life of this +class as been marred.</p> + +<p>The second is made up of girls who have to +earn their own living and make their own way +in the world. These have a special need to +know something about business. People as a +rule are valuable in proportion to their knowledge—those +who know nothing being simply +worth nothing.</p> + +<p>One great reason for the work of girls and +women being poorly paid, is that few know +anything about either the principles or the +practice of the most ordinary business affairs. +We shall try in these articles to put girls in +future on a better footing, and to make them +in business equal, at any rate, to any average +men. In this way there is a good chance of +doubling their usefulness and value, and of +more than doubling their independence.</p> + +<p>Nothing is done all at once, and in business, +as in everything else, if you mean to build +high you must begin low. A girl who wishes +to be a business woman must start with accumulating +the same sort of knowledge as an +office-boy. We shall therefore try to deal +with the subject simply and from the very +beginning. You may sometimes be tempted +to say, "Oh, we knew that before," but +another girl may not have been so fortunate, +and her ignorance must be taken as our reason +for pointing out what appears to be familiar +facts.</p> + +<p>We begin with the subject of business +letters, and the first thing we shall say about +them is—Be very particular about their +appearance. There is a proverb, to be sure, +warning us that appearances are deceitful, but +that proverb is only true occasionally; in +general we may safely draw an inference as to +the writer from the look of her letter. An +ill-folded, clumsy, up-and-down-hill, blotted, +greasy-looking letter almost certainly comes +from an untidy house and a stupid girl, +whereas a neat, carefully-written epistle suggests +just as surely the opposite.</p> + +<p>In friendly letters our correspondents know +something about us beforehand, but in business +we may be writing to perfect strangers, who +can only judge of us by the figure we cut on a +sheet of note-paper. To secure prompt attention +and a polite reply, no plan works so well +as putting good taste into the appearance of +letters. They are really a part of ourselves, +and a girl should as soon think of sending +them marked with carelessness to either a +friend or a stranger as of going to make a call +in a patched frock, a faded hat, and gloves +with holes.</p> + +<p>An indispensable point in a business letter +is to have the meaning quite clear. It must +say exactly what the writer intends, leaving +nothing to be guessed at.</p> + +<p>And after clearness the next point is shortness. +A brief letter makes far more impression +than a long one, besides which it usually gets +attended to at once. We have known a man +open a lady's letter on a matter of business, +and, seeing it a long rigmarole, put it at once +in his pocket and let it lie there forgotten for +a week.</p> + +<p>That long letters receive most notice is a +mistake into which girls fall very often, but +she who aspires to be a real business woman +must give herself to the study of such short +epistles as that of the officer who sent in as his +official report, "Sir,—I have the honour to +inform you that I have just shot a man +who came to kill me.—Your obedient servant, +——."</p> + +<p>All letters should be headed with the address +from which they were written, the day +of the month, and the year; in this way:—</p> + +<p class="center"> +2, Ireland Avenue,<br /> +Stratford-on-Avon, 9th October, 1886.<br /> +</p> + +<p>It is an irritating peculiarity with many +people unaccustomed to business to be careless +on this point. Common sense suggests +that they should mend their ways, and by +putting the date and a full address on every +letter, save their correspondents sometimes a +good deal of trouble.</p> + +<p>There is a short way, occasionally employed, +of writing the date; for example, 4 / 7 / 86; +meaning the 4th day of the 7th month (July, +that is) of 1886. This contraction—which is +improved by having the month put in Roman +figures (as, 4 / vii. / 86)—is handy now and +again, but it does not strike one as looking +particularly well at the head of a letter.</p> + +<p>Put the name of the person to whom the +letter is written at the beginning or the end. +Long ago, when envelopes were not in use, +this did not matter so much, because the name +of the person addressed could be seen by +turning to the postal direction; but nowadays +the envelope bearing the address is dropped +into the waste-paper basket, and a second +address is required to give the letter completeness, +and enable third parties, perhaps, to +understand it.</p> + +<p>As to how to begin, whether "Sir" or +"Madam," or "Dear Sir" or "Dear +Madam," everyone may please herself, only +taking note that the "Dear" should be +omitted when any special reason exists for +being distant and formal. Not, however, that +the word when used in a business letter has +anything of an affectionate meaning. It is +just one of the drops of oil used to keep the +machinery of human intercourse working +smoothly. Perhaps it originally crept in to +soften the sharp effect of "Sir," which sounds<span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span> +for all the world as if it would snap a correspondent's +head off.</p> + +<p>"Dear Sir" and "Dear Sirs" are both right, +but "Dear Gentlemen" is not, though there +seems no reason against it. If you begin +"Sir" you must not end "I remain, dear sir." +The beginning and the end should be all of a +piece, and in both places the same form of +address should be used.</p> + +<p>In concluding a business letter you may say +"yours respectfully," or "your obedient +servant," or "yours truly," or "yours faithfully," +according to the degree of intimacy +existing between you and your correspondent. +But really there are no very nice distinctions to +be observed between such phrases, and their +use may safely be left to every girl's common +sense and discretion.</p> + +<p>Take pains to sign your name always so +that people can read it. Some, out of pure +affectation, conceal what they call themselves +under a scribble which none can read—"a +hopeless puzzle of intemperate scratches." +How is a stranger, getting a letter signed in +this way, to know to whom to send a reply, +unless, as is sometimes done, he cuts out the +signature, pastes it on the envelope, and adds +the address? But illegible signatures, it must +be confessed, are more often a man's folly +than a woman's.</p> + +<p>Always, too, sign your name the same way: +get into the habit of it. Don't let it be to-day +"Mary G. Snodham," and to-morrow +"Mary Snodham," and the day after "M. G. +Snodham." If character comes out anywhere +in writing, it is in the signature, and it ought +to be every day the same, the same in words, +the same in writing, and the same in flourishes—that +is to say, if there are any flourishes.</p> + +<p>When you send a Post Office order to anyone, +however, you may make an exception to +this rule. It is a good plan to sign a letter +accompanying such an order with initials only. +When this is done, should the letter fall into +the hands of dishonest people, the chances are +considerably reduced of their knowing the +name of the sender so as to get payment of +the order. In getting the money for a Post +Office order it is always necessary, as perhaps +you know, to tell at the post-office who +sent it.</p> + +<p>When you (we shall call you Elizabeth +Fisher) are asked to write a letter in the name +of another person (call her Janet Constable), +how should you sign it? Not, certainly, by +just writing Janet Constable; that would be +highly improper. To put another person's +name to any letter or document whatever, even +in fun, is not even to be dreamt about. You +must sign—</p> + +<p> +<span style="margin-left: 2em;">Yours truly,<br /></span> +<span style="margin-left: 4em;"><i>for</i> <span class="smcap">Janet Constable,</span><br /></span> +<span class="smcap" style="margin-left: 6em;">Elizabeth Fisher.<br /></span> +</p> + +<p>Or, if you like it better—</p> + +<p> +<span style="margin-left: 2em;">Yours respectfully,<br /></span> +<span class="smcap" style="margin-left: 4em;">Janet Constable,<br /></span> +<span style="margin-left: 6em;"><i>p.</i> <span class="smcap">Elizabeth Fisher.</span><br /></span> +</p> + +<p>In this case the <i>p.</i> stands for <i>per</i>, and means +that Janet Constable signs the letter <i>by</i> or +<i>through</i> you. You may write <i>per</i> in full, if +you like.</p> + +<p>Sometimes you may have to write inquiring +about the character of people or their standing +from a money point of view. In doing so, put +the name or names on a slip of paper and gum +it at the foot of your letter, so that it can be +easily torn off. Your correspondent can then +at once destroy the slip, and should your letter +or her reply afterwards be read by other people, +they will probably be none the wiser, for they +will only see in your letter an inquiry regarding +the person or persons "noted at foot," and in +hers an answer about the person or persons +"about whom you inquire."</p> + +<p>All enclosures sent in a letter should be +mentioned in a note in the left-hand bottom +corner after signing one's name. Thus:—</p> + +<p> +<span style="margin-left: 2em;">Enclosed:<br /></span> +<span style="margin-left: 3em;">Postal Order, 10s. 6d.</span><br /> +<span style="margin-left: 3em;">Recipe for cooking rattlesnakes.</span><br /> +<span style="margin-left: 3em;">Pattern: the Tullochgorum mantle.</span><br /> +</p> + +<p>We have spoken about the clearness and +brevity required in business letters, but to the +subject of style a few lines more may be +devoted. Business letters are of necessity dry +and matter-of-fact, and in writing them no +time should be lost in hunting for fine expressions. +They should contain politeness, but +light and airy sentences are worse than thrown +away.</p> + +<p>"Accuracy of expression," says Mr. George +Seton, in his pleasant "Gossip about Letters +and Letter-writers," "as distinguished from +looseness and slovenliness of statement, is of +the utmost consequence—not only with the +view of saving the time of one's correspondent, +but also to prevent what may prove a very +serious misunderstanding. I have known many +cases of prolonged litigation which were chiefly +owing to some doubtful or equivocal expressions +in the course of a business correspondence."</p> + +<p>There are many phrases peculiar to business +letters—formal beginnings, for example, such +as—</p> + +<p>"I am favoured with yours of 14th curt."</p> + +<p>"I duly received your favour of 19th inst."</p> + +<p>"I am in receipt of your lines of y'day, and +note that, &c."</p> + +<p>"I beg to confirm my last respects of 25th +ult."</p> + +<p>"I beg to confirm my letter of yesterday."</p> + +<p>These phrases and many others which will +appear in the course of these articles may seem +formal enough, but we must not expect in +business to meet with the language of story-books.</p> + +<p>A common business term is "advice," used +to mean information sent by letter. For example: +"I wait your advice as to the despatch +of the parcel." A funny misunderstanding of +the word occurred recently, when a provincial +postmaster, new to his duties, in the United +States, sent the following communication to +the Postmaster-General:—</p> + +<p>"Seeing by the regulations that I am required +to send you a letter of advice, I must +plead in excuse that I have been postmaster +but a short time; but I will say, if your office +pays no better than mine, I advise you to give +it up."</p> + +<p>Every subject mentioned in a letter should +have a separate paragraph. Very formal, you +may say. Perhaps; but it is also very clear.</p> + +<p>Always acknowledge receipt of business +letters at the earliest possible opportunity. If +they come with money, an acknowledgment +ought to be sent by return of post, that is to +say, by the first post after they arrive. The +same rule may safely be applied to letters +coming with any enclosure whatever. Sometimes +delay may be of no consequence, but to +answer at once will at any rate get you the +credit of courtesy.</p> + +<p>Of all business letters a copy should be +kept. If you write few they may be copied +by hand into a book kept for the purpose, but +if many the use of a copying-press saves a +great deal of monotonous labour, and secures +absolute accuracy besides.</p> + +<p>The way to use a copying-press is this. +Write the letter with copying-ink. Then put +a sheet of oiled paper under the leaf of the +letter-book on which you wish to take the +copy. Letter-books of thin paper are sold for +the purpose. Wet the leaf with a brush or +soft sponge. On the top of the wet leaf put +a sheet of blotting paper, and on the top of +that another sheet of oiled paper. Then shut +the book, put it in the press, and give it a +squeeze for a second to take off the superfluous +moisture. Take out the book, remove +the blotting-paper and the top sheet of oiled +paper, and in their place put your letter face +downwards on the damp page. Shut the +book, put it back into the copying-press, give +it a hard squeeze by means of the lever or +screw, leave it in from half a minute to a +minute, and the whole thing is done; an exact +copy of the letter will be left in your letter-book.</p> + +<p>A letter being written and copied, has to be +posted; but before being posted it must be +addressed. The address should be written +neatly and plainly, neither too high up nor +too low down.</p> + +<p>To say, Be sure to put the direction on your +letters is not unnecessary advice. Thousands +of letters are posted every year without any +address whatever. In the year ending 31st +March, 1886, there were no fewer than 26,228 +of them, and of this large number 1,620 contained +cash and cheques to the amount, in all, +of £3,733 17s. 5d.</p> + +<p>Be sure, too, that your letters are properly +fastened. On this subject, hear Mr. George +Seton. "There is," he says, "no real security +in wafers, and probably still less in adhesive +envelopes, which are now in almost universal +use. Both may easily be loosened by the +application of either water or steam. The +best mode of securing a letter is first to wafer +it and then seal it with wax. When, however, +an adhesive envelope is used, the proper +course is to <i>damp</i>, rather than wet, <i>both</i> sides +of the flap before pressing it down; and if +the paper is very thick, the upper side should +be again damped after being pressed down."</p> + +<p>Insufficient and wrong addresses occasion a +great deal of trouble to the Post Office officials, +and this trouble one of the present Postmaster-General's +predecessors remarks, with some +pathos, "ought scarcely to be given to make +up for what generally arises from the carelessness +of the writers, without an additional +charge." Last year, through some fault in the +addresses, no fewer than 12,822,067 letters, +postcards, newspapers, and parcels were +received in the returned letter offices.</p> + +<p>As an example of an insufficiently-addressed +letter, we may mention one the subject of a +complaint made by a Mrs. Jones of Newmarket. +She stated that a letter had been +posted to her, but had not reached her. It +appeared, however, on inquiry, that there +were twenty-nine Mrs. Joneses at the place, +and that there was nothing in the address to +help the postman to decide between their +several claims.</p> + +<p>When money or anything of value is sent +through the post, the letter in which it goes +should be registered. By this means we can +be almost absolutely sure of its travelling +safely. The fee for a registered letter was +at one time half-a-crown, and not so long ago +was a shilling. In 1878 it was reduced from +4d. to 2d. Not only has the fee been reduced +to what may be thought the lowest possible +point, but registered letter envelopes are now +sold in different and convenient sizes. The +Post Office also undertakes to make good, +under certain reasonable conditions, up to £2 +the value of any registered letter which it loses.</p> + +<p>If people who have these facilities for sending +letters securely provided for them choose to +run the risk of loss, they deserve very little +sympathy if the chance goes against them. +Last year an unregistered letter containing a +cheque was alleged to have been stolen in the +post. It was found, however, to have been +duly delivered by being pushed under the front +door, and afterwards to have been torn in +pieces by some puppies inside the house. The +fragments were in the end discovered in the +straw of the dog-kennel. Now, had the +sender only spent 2d. in registering this letter, +a receipt would have been taken on its delivery, +and all chance of its falling into the<span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span> +paws of the puppies would have been prevented.</p> + +<p>But it is wonderful what people, penny-wise +and pound foolish, will sometimes do to save +2d. A few years back the sealing-wax on a +letter was found to contain £1 10s. in gold +coins. There could hardly be a more stupid +way of sending money.</p> + +<p>If coin, or watches, or jewellery are posted +in letters or packets without registration, and +the fact is discovered, the Post Office people +bring into force a system of registration by +compulsion, and on delivery charge a fee of +8d. in addition to the ordinary postage.</p> + +<p>When coins are sent in a letter they should +on no account be put in loose, but should be +packed so as to move about as little as possible. +The best way is to take a card, and, +cutting quite through to the other side, make +a cross on it for each coin; then slip the coin +into the cross, so that it is held in its place +by the tongues of cardboard, two on each +side.</p> + +<p>Who owns letters whilst they are in the +post? In Great Britain the ownership of a +letter whilst it is in the post lies in the Queen, +as represented by her Postmaster-General and +her Secretary of State. "Neither the sender +nor the person to whom it is sent can claim +to interfere with a letter whilst it is in the +Post Office. Only the warrant of a Secretary +of State can stay its delivery." Once a letter +is dropped into a letter-box it is like a spoken +word, it cannot be recalled.</p> + +<p>After letters come postcards, which were +introduced into this country in October, 1870, +and have proved a great convenience to many +people, saving them both time and money. +By means of reply postcards you can make +sure of an answer from a correspondent without +putting her to any expense or to any trouble +worth mentioning.</p> + +<p>The back of the postcard is for the message; +nothing must be put on the front except the +address. This limitation of space is useful for +the cultivation of brevity; but those who have +a great deal to say may derive consolation +from the fact that on the back of a postcard +you can, by writing small, easily put at least +four hundred and sixty words! We do not, +however, say that such a performance, good +enough for amusement, would be like that of +a woman of business.</p> + +<p>All business letters ought to be preserved. +They should be folded neatly longways and +all of a size, and docketed, as it is called—that +is to say, the date and the name of the +sender and his (or her) address, and the +subject, should be put on the back thus:</p> + +<p class="center"> +6th September, 1886.<br /> +<span class="smcap">Martin Rose and Co.</span>,<br /> +Liverpool.<br /> +Remittance, £10 19s. 2d.<br /> +</p> + +<p>Do not, however, crowd these particulars together, +as has been done here for convenience in +printing; leave a considerable space between +the first and second, and the third and fourth +lines. When letters are folded and docketed +they should be tied up in the order of their +dates, or put away in pigeon holes under the +different letters of the alphabet. One can +never tell when it may be necessary to refer +to old letters on matters of business, so it is +prudent to keep them all. Doing so and +turning them over occasionally is also useful +for giving us a humble opinion of ourselves; +we see by the light of additional experience +how we might often have managed things +much better than we did.</p> + +<p>Besides letters and postcards, telegrams +furnish another means of communication. +For a telegram sent to any place in the +United Kingdom, the charge is sixpence for +the first twelve words, and a halfpenny for +every word after the first twelve. Addresses +are charged for, so a sixpennyworth of +telegraphing does not represent a long +message, but by ingenuity—and a business +woman is nothing without ingenuity—a few +words may be made to mean a great deal. The +cost of a reply to a telegram may be prepaid.</p> + +<p>About the newspaper post, the book post, +and the parcel post, not much need be said. +Always be careful about wrappers. A great +many newspapers and books escape from their +wrappers every day, and land in the returned +letter office. In sending parcels the packing +is often a weak point; it is not so much that +people are either handless or stupid, they are +just thoughtless. "It must be borne in +mind," says the Postmaster-General, +"although, of course, every care will be +taken by the officers, that a parcel with +fragile or perishable contents must be several +times handled before it reaches its destination, +and will probably have to be packed with +many others of a different kind and shape, or +more weighty and bulky. Eggs, butter, and +fruit, especially delicate fruit, such as grapes +and peaches, should be placed in strong +boxes and so placed as not to shift. Fresh +flowers should be carefully packed in strong +boxes; but cardboard boxes should not be +used for the purpose, as they are often +reduced to pulp by the moisture which +exudes from the contents. Fish or game +should be carefully packed in strong boxes, or +hampers, or in perforated boxes."</p> + +<p>Remember that some things are forbidden +to be sent by post—live animals, for instance. +This prohibition is very little regarded by +some people. Last year, in Dublin alone, two +hens, eight mice, and two hedgehogs were +stopped on their way through the post. One +of the hens which was addressed to a +veterinary surgeon in London, was in bad +health, and though carefully attended to, died +in the office. The rest of the animals were +given up alive to the senders.</p> + +<p>Certificates of the posting of parcels can be +got at all post offices. If you have any doubt +about the trustworthiness of the person +entrusted with the posting of a parcel, +instructions should be given to bring back a +receipt. A few months ago the Post Office +was charged at Liverpool with the non-delivery +of a bottle of wine and a box of figs. +It turned out, however, that the missing +goods had never come under its charge, the +person to whom the packet had been given to +post having eaten the figs and drunk the wine.</p> + +<p>Parcels can also be insured against loss and +damage by the payment of a small sum. +Paying a penny insures to the extent of £5 and +twopence to the amount of £10.</p> + +<p>In order to understand the outs and ins +of the Post Office—and it is a subject +with which every sensible person should +be familiar—let a girl invest sixpence +in a copy of the Post Office Guide, a +publication of which an edition is issued every +quarter. She will there find everything necessary +to be known about the posting of letters, postcards, +newspapers, book packets, and parcels +to places in the United Kingdom, or abroad, +the sending of telegrams, the rates for money +and postal orders, and the regulations of the +Savings Bank. To turn over its 300 pages or +so is decidedly interesting. One sees what a +complicated machinery is now employed for +the convenience of the public, what wonders—to +speak of letters alone—can be done for a +penny, and how thousands of miles can be +reduced to insignificance by the magic of +twopence-halfpenny.</p> + +<p>In the twelve months from the 31st of +March, 1885, to the same day of this year, the +number of letters delivered in the United +Kingdom was 1,403,547,900, giving an +average of 38.6 to each person in the kingdom. +The total number of postcards was 171,290,000. +Adding to the letters and postcards the book-packets, +newspapers, and parcels which passed +through the Post Office during the twelve +months, we have a grand total of 2,091,183,822, +which shows an average to each person of +57.5.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="VARIETIES" id="VARIETIES"></a>VARIETIES.</h2> + + +<p class="center"><span class="smcap">The "Woman of Stenay."</span></p> + +<p>"And so you have not heard the story of the +'Woman of Stenay'?" said a Lorraine peasant. +"It was in war-time, and she offered a +barrel of wine to a detachment of Austrians, +saying—</p> + +<p>"'You are thirsty, friends. Drink. You +are welcome to all my store.' And as she +spoke she drank a cupful in their honour.</p> + +<p>"The soldiers accepted with pleasure, and +in a few minutes four hundred men were +writhing on the ground in agony.</p> + +<p>"Then the 'Woman of Stenay' rose, and +with her dying breath shrieked out—</p> + +<p>"'You are all poisoned! <i>Vive la France!</i>'</p> + +<p>"She then fell back a corpse."</p> + +<p>This is the legend of Lorraine, and the +memory of its heroine is revered by the +peasantry as highly as that of Charlotte +Corday.</p> + + +<p class="center"><span class="smcap">Singing Servants.</span></p> + +<p>Tusser, in his "Points of Huswifry united +to the Comforts of Husbandry," published in +1570, recommends the country housewife to +select servants who sing at their work as being +usually the most painstaking and the best. +He says—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Such servants are oftenest painful and good<br /></span> +<span class="i0">That sing in their labour, as birds in the wood."<br /></span> +</div></div> + + +<p><span class="smcap">A Hint for Workers.</span>—St. Bernard has +said that the more he prayed and read his +Bible the better he did his ordinary work and +the more clearly and regularly did he conduct +his correspondence. An increase of private +devotion will be found not to lessen one's +power of work or one's efficiency in ordinary +duties.</p> + + +<p><span class="smcap">Our Own Selves.</span>—How can you learn +self-knowledge? Never by meditation, but +best by action. Try to do your duty, and you +will soon find what you are worth. What is +your duty? The exigency of the day.—<i>Goethe.</i></p> + + +<p><span class="smcap">Useless Anxiety.</span>—I shall add to my list +as the eighth deadly sin that of anxiety of +mind, and resolve not to be pining and +miserable when I ought to be grateful and +happy.—<i>Sir Thomas Barnard.</i></p> + + +<p><span class="smcap">The Moonlight Sonata.</span>—The "Moonlight +Sonata" is an absurd title which has for +years been attached, both in Germany and +England, to one of Beethoven's sonatas. It +is said to have been derived from the expression +of a German critic comparing the first +movement to a boat wandering by moonlight +on the Lake of Lucerne.<span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span></p> + + +<hr style="width: 65%;" /> + +<div class="figcenter" style="width: 600px;"> +<img src="images/illus005.png" width="600" height="614" alt="THE SHEPHERD'S FAIRY" title="" /> +</div> + + + +<h2><a name="THE_SHEPHERDS_FAIRY" id="THE_SHEPHERDS_FAIRY"></a>THE SHEPHERD'S FAIRY<br /> +<br /> +<span style="font-size: 75%;">A PASTORALE.<br /></span> +<br /> +<span style="font-size: 75%;"><span class="smcap">By DARLEY DALE</span>, Author of "Fair Katherine," etc.</span></h2> + + +<h3>CHAPTER I.<br /> + +<span style="font-size: 75%;">THE FAIRY'S ORIGIN.</span></h3> + +<p>"Die Eifersucht ist eine Leidenschaft +der mit Eifer sucht muss Leiden +schaffen."—<i>German Proverb.</i></p> + + +<p>Very many years ago, in a valley a few +miles from the coast, there stood a +French château, beautifully situated in +a handsome park near the Norman +village of Carolles. The rich woodland +scenery, the green pastures with their +large wild fences now laden with wild +roses; the shady lanes, whose banks +will soon be covered with the long, +bright green fronds of the hartstongue, +and the delicate drooping trichomanes; +the fine timber, and the picturesque +farmhouses with their thatched roofs +nestling in the valleys—all tend to give +a home-like English air to the scenery +of Normandy. And the district in which +the Château de Thorens stands possesses +all these attractions for an English eye. +Not that any English people lived in the +château; the De Thorens were French, +or rather Norman, to the backbone, +descended from the great duke, and +proud as Lucifer of their birth. Pride +and poverty are generally supposed to +go together; and though poor is perhaps +hardly the word to apply to people who +could afford to live in the ease and +luxury which prevailed at Château de +Thorens, yet for their rank the De Thorens +were not rich, and, consequently, after +the fashion of many French families, +there were three generations of them +now all living under the ancestral roof.</p> + +<p>First there was the old baroness, a +picturesque old lady with very white hair +and piercing black eyes, with whom we +have very little to do; then there was +her eldest son, the present baron, for his +father had been dead some years, and<span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span> +his beautiful young wife, whom he was +so passionately fond of that he was +jealous—dreadfully jealous—of her love +for her baby, a little girl a few months +old; and, lastly, there were the baron's +three younger brothers, who with Père +Yvon, the chaplain, made up the family +party. The two younger brothers were +mere boys, still under Père Yvon's +charge, for he acted as tutor to them +as well as chaplain; but Léon de +Thorens was a young man of five-and-twenty, +only a year or two younger than +the baron. He was a fine, handsome +man, tall and thin, with his mother's +fine black eyes and small well-cut nose +and mouth. He was of a bold, reckless +nature, full of animal spirits, the very +life of the house when he was at home, +which was seldom, as he owned a yacht, +in which he spent a great deal of his +time. He was his mother's favourite +son, and both he and she had often +privately regretted that he was not the +eldest.</p> + +<p>The baron was smaller and fairer than +Léon, and not so handsome, though +there was a strong family likeness +between the brothers. He was of a +quieter disposition, and his restlessness +took an intellectual rather than a +physical form, his wanderings being +confined to the shelves of the valuable +library which the château boasted, +instead of extending over the seas on +which Léon spent so much of his time. +The baron's studious nature had endeared +him very much to Père Yvon, +with whom he was a prime favourite, +and who had never shown him any of +the severity of which the other brothers +often complained, but, on the contrary, +had erred on the opposite side with the +baron, whose wishes had never been +crossed in any way, and who had grown +up to think himself the one important +person in the world to whom the convenience +of everyone else must be sacrificed.</p> + +<p>For the first year of their married +life the pretty baroness had contributed +as much as Père Yvon to spoil her husband, +whose every whim she had +humoured until her baby was born, and +then, much to his astonishment, the +baron found that his beautiful, gentle +wife had a will of her own, and, what +was still worse in his eyes, a large place +in her heart for someone else besides +himself, and although that someone else +was only his infant daughter, the baron +was jealous.</p> + +<p>In vain had he urged that the baby +should be sent away to some peasant +to nurse until it was a year or +two old, as he and all his brothers had +been, after a very common custom in +French families. No, the baroness +would not hear of such a thing; she +could not live without her baby, and +every moment she could spare she spent +by its cradle. Indeed, so infatuated was +she with her new possession, whose +every movement was a delight to her, +that she did not notice the baron became +daily more and more morose, and that +an ominous frown had settled on his fine +forehead, while his mouth was closed +with a determination that boded ill for +his wife and daughter. But the baroness +lived so much in her child that she did +not observe the change in her husband; +and as he never allowed the baby to be +brought into his presence, the baroness +saw but little of him except at meals, +when all the others were present, and +Léon's wild spirits covered his brother's +depression and silence.</p> + +<p>At last, one fine June morning, +matters reached a climax, when the +family sat down to their one o'clock +<i>déjeuner</i>. The baroness was late; the +first course was finished, and still she +did not appear.</p> + +<p>"Where is Mathilde, Arnaut?" asked +the old baroness.</p> + +<p>"I don't know," said the baron, +sulkily.</p> + +<p>"I do," said Léon; "she is worshipping +at the shrine of that precious +baby of yours, Arnaut. Why on earth +don't you send it away till it is old +enough to amuse us?"</p> + +<p>"Go and tell Madame la Baronne the +soup is already finished," said the baron +to a servant at his elbow; but he vouchsafed +no further answer.</p> + +<p>"I think Arnaut has suggested that +the baby should be sent away, but +Mathilde objects," remarked the old +baroness.</p> + +<p>"Send it away without asking her, +then. Give her a pug instead; it will +be much more amusing, and not half +the trouble the baby is," said Léon.</p> + +<p>Here the servant returned to say +madame would take her <i>déjeuner</i> in +the nursery, as the nurse was out and +she could not leave the baby.</p> + +<p>"Really, Mathilde is +too absurd, when there +are at least three or four +other servants in the +house who could look +after the baby as well +as the nurse," said the +old baroness, helping +herself to some omelette.</p> + +<p>"She is mad," muttered +the baron, angrily.</p> + +<p>"Quite, all women +are; there can be no +doubt about that. Look +here, Arnaut, it is quite +clear if you don't send +that infant away, you +might just as well live +<i>en garçon</i>, like me, as I +foresee you won't have +much of Mathilde's society +now," said Léon.</p> + +<p>"It does not require +much foresight to predict +that," said the +baron, bitterly.</p> + +<p>"Well, if Mathilde +won't send it away, just +hand it over to me the +next time I take a cruise, +which will be as soon as +ever there is wind enough +to fill my sails, and I'll +place the child somewhere +where there is no +fear of Mathilde getting +it again till it is of a +reasonable age," said +Léon.</p> + +<p>The idea of handing +the baby over to +the tender mercies of Léon struck them +all as so comic that a general laugh, in +which all but the baron joined, greeted +this speech, which was forgotten as soon +as it was uttered by the speaker.</p> + +<p>A few days after Léon announced that +he was going on board his yacht that +evening; a south wind was blowing, and +he should take a cruise up the Channel. +Would the baron go with him? They +were sure to have fine weather, and it +would be delightful at sea in this heat. +The baron declined the invitation, as he +was a wretched sailor; but that evening, +when he and Léon were smoking after +dinner, he said, suddenly, "Where are +you going, Léon?"</p> + +<p>"I don't know; it depends on the +wind. I may run over to England, or +I may only go to the Channel Isles. I +shall see."</p> + +<p>"Shall you touch anywhere?"</p> + +<p>"Oh, yes, I shall go ashore; I shan't +take provisions for more than a week. +Why?"</p> + +<p>The baron looked round the verandah +in which they were sitting to make sure +that they were alone, and having satisfied +himself of this he leant forward and +said, in a half-whisper, "Tiens, Léon! +Will you help me? I am determined to +stand it no longer; it is wearing my life +out; I have not a moment's peace. If +I don't get rid of it I believe I shall go +mad."</p> + +<p>"What is it you are talking of? I'll +help you if I can, but what is wearing +your life out?" said Léon.</p> + +<div class="figright" style="width: 300px;"> +<img src="images/illus006.png" width="300" height="436" alt="THE BARONESS." title="" /> +<span class="caption">THE BARONESS.</span> +</div> + +<p>"The baby, of course," said the baron.<span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span></p> + +<p>"The baby! Well, but what do you +want me to do with that! I can't kill it, +you know."</p> + +<p>"Of course not, but you said in joke +the other day you would take it with you +on one of your trips, and put it out to +nurse. I wish to heaven, Léon, you'd +do it in reality. It is no use my sending +it to anyone near here; Mathilde would +go after it the next day. My only +chance is to send it somewhere where it +will be safe, of course, and well looked +after, but where Mathilde can't go after +it, and as she would go to the end of +the world for it if she knew where it was, +it must go where she can't find it; she +must not know where it is. No one, +indeed, need know but you, for as far as +I am concerned the less I know about it +at present the better; it has spoilt all +my happiness. Mathilde is so wrapped +up in that child she does not care a fig +for me now; in fact, I rarely see her. If +you can only put that infant safely out +of our way for a year or two, I'll never +forget it, Léon."</p> + +<p>"Are you in real sober earnest, Arnaut?" +asked Léon, who, in his astonishment, +had risen to his feet, and was +puffing away vigorously at his cigar.</p> + +<p>"Of course I am. I am willing to +pay handsomely for it, and I shall depend +upon you putting it where it will +be well taken care of. As for all the rest, +I leave it to you to take it where you +like—Australia if you wish, only don't +tell me where it is, or I might cut my +own throat by telling Mathilde if she +makes a great scene, as she will when +it is gone. Will you do it, Léon?"</p> + +<p>"Whew!" whistled Léon. "I don't +care for the work, for if anything should +happen to the child Mathilde would +never forgive me nor you either. However, +if you insist, I think I could manage +it, but as I am going to start in two +or three hours, there is not much time. I +must go down to the yacht and speak to +my men first. If I may tell them I am +taking the child by your express wish I +could manage it, I think. The next difficulty +is where to take it, but I have +an idea about that, so I'll be off now, +and see what I can arrange. I shall +ride, so I shall be back in an hour."</p> + +<p>"Tell them anything you like, except +not to let anyone know where you leave +the child," replied the baron, as Léon +started on an errand which, in spite of +his protest to the contrary, was +thoroughly after his own heart; indeed, +any mad freak such as this was quite in +his line.</p> + +<p>Among his crew he had an English +sailor who acted as carpenter, and, as +Léon often said, was worth two or three +French sailors in a gale or an emergency. +He knew the Channel, too, as +well as a pilot, and, indeed often acted in +that capacity; he was an honest, trustworthy +man—at least, so Léon thought; +and as he rode over the hills to Carolles, +he decided to take this man into his +confidence, and see if he could help him; +it was possible this Englishman knew of +some of his own countrywomen who would +undertake the charge of the child.</p> + +<p>Accordingly, when he reached his +yacht, Léon called for John Smith, and +had a long conversation with him in +English, which he spoke fairly well, the +result of which was the carpenter, after a +little thought, declared he knew of a +shepherd and his wife in Sussex who, he +felt sure, would undertake the charge of +the child; his only fear was that they +might have some scruples about keeping +the matter a secret, and might want to +know who the child was; but if Léon +would leave this to him to arrange, he +could, he thought, manage it so that the +shepherd should have no idea to whom +the child belonged, nor why it was put +into his care.</p> + +<p>"Where does this good man live?" +asked Léon.</p> + +<p>"About four or five miles from +Brighton, sir. The wind is favourable; we +might run across in twenty-four hours or +less if it lasts, and I think it will; we +shall have the tide with us going out if +we start at ten to-night," said the +carpenter.</p> + +<p>"Well, that is settled. Now the next +point is, who is to take care of it on +board? It must be fed; who of our men +understands babies best?"</p> + +<p>"I can't undertake that, sir, but +there's Pierre Legros, he has half a +dozen of his own, and when he is at +home looks after them all I believe; he +ought to know all about it."</p> + +<p>"Call Pierre, then."</p> + +<p>Pierre Legros was accordingly called, +and, on hearing what was required of +him, professed with pride his ability to +act as nurse during the voyage; and +having commissioned him to lay in a +stock of food for the baby, about which +Léon's ideas were exceedingly vague, +Léon rode back to the château.</p> + +<p>The baron was on the lookout for him, +and was delighted to hear all was +arranged for the baby's removal.</p> + +<p>"I have not been idle since you have +been gone. Luckily Mathilde has a headache, +so I have sent her to bed, and I sat +with her till she was asleep. My next +care was to get rid of the nurse, so I +have packed her off to Brécy with one +of the other servants for some medicine +for Mathilde, and the coast is clear to the +nursery now. There is only one of the +housemaids with the baby, and when you +are ready to start you must lose something +and require her to find it while I +secure the child. Lastly, I ordered the +dogcart, and said I would drive you."</p> + +<p>"But how about the child?" interrupted +Léon.</p> + +<p>"I am coming to that. Just as we +are going to start, you must lose a stick +or a coat. I'll offer to go back for it, and +meet you at the side door; there is a +staircase leading to the nursery close to +it, down which I shall come with the +baby after I have sent the housemaid +who is guarding it to look for your stick. +We shall be off and the baby on board +before it is missed, for the girl is sure to +stay gossiping with the other servants +when we are off."</p> + +<p>"Well, I hope you'll succeed, but I +confess I think this is the most difficult +part of the affair. However, there is no +time to lose; you had better order the +dogcart at once, while I go and say +good-bye to mother and the boys. We +must be off in twenty minutes," replied +Léon.</p> + +<p>Half an hour later the brothers were +seated in the dogcart, while the old +baroness, with a shawl thrown round +her head, stood on the steps under the +portico to catch the last glimpse of her +handsome Léon, with her two younger +boys by her side, and Père Yvon and +some of the servants in the background. +The groom had just let go of the horse's +bridle when Léon exclaimed—</p> + +<p>"Wait a minute! I have forgotten my +Malacca cane. I lent it to you the other +day, Arnaut. I must have it. Where +shall I find it?"</p> + +<p>"So you did. Here, one of you boys, run +into my—but no, you'll wake Mathilde, +I'll go myself. Here, Léon, take the +reins, and drive round to the side door; +I'll meet you there," said the baron, descending +from the dogcart, and running +into the house.</p> + +<p class="center">(<i>To be continued.</i>)</p> + + + +<hr style="width: 65%;" /> +<h2><a name="FASHIONABLE_EMBROIDERY" id="FASHIONABLE_EMBROIDERY"></a>FASHIONABLE EMBROIDERY.</h2> + + +<p>The fancy embroidery of the present day is of +such varied character and make that all would-be +workers will find among the diversities of +stitch and material some description that suits +their particular need and ingenuity.</p> + +<p>A few years ago one embroidery alone +claimed attention. This was the celebrated +crewel work, of which there is no fault to be +found in the execution and design of its higher +grades, but which, like all fancy work that +becomes the rage and is cheapened and multiplied +without any regard to reason, degenerated +to the most impossible designs and the +worst execution attainable. Thus crewel work +passed away, and though the best kinds are +still to be met with, it is really superseded in +modern drawing-rooms by embroideries all +originating in the present desire after Oriental +colouring and design, but of kinds distinctly +characteristic and individual.</p> + +<p>The work known as Leek embroidery recommends +itself in many ways, it being very +reasonable in price, easily executed, and extremely +rich and handsome when finished. +The foundation is Tussore silk, specially +made with the pattern to be embroidered +upon it printed upon the foundation, during +its manufacture, and therefore indelible. The +colouring of the foundation is either cream, +straw, pink, blue, green, or terra-cotta, and +the pattern is not printed in outline only, but +filled up with indications guiding the arrangement +for the centres of flowers, veins of leaves, +and other distinguishing marks. To work the +embroidery it is necessary to line the Tussore +with fine unbleached muslin, and to work with +Tussore silk and Japanese gold thread. The +Tussore silk costs 1d. the skein, and is dyed in +every shade of Oriental colouring. Three to<span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span> +four shades of a colour are used to work in a +flower, and two shades of green for the leaves. +The stitch is crewel-stitch worked very close. +No shading about each leaf is necessary, but +different greens are used for different leaves, +and thus a variety of colouring is attained +without trouble. Every part of the pattern, +the bordering included, is worked, and only +the foundation left, showing where it forms +the background to the design. The gold +thread is laid on as the finishing touch. It is +placed round all the chief parts of the design, +and sewn on as an edging with a couching +stitch; that is to say, the gold thread is held +tightly stretched in its position with the left +hand, while a stitch brought from the back of +the material is passed over it and put down to +the back again with the right hand. Lines of +gold are used to mark out the border pattern, +and are fastened down with the couching +stitch. When sewing on the gold it is very +important to keep it tightly stretched, as if +put on loosely it is not effective. If the work +is at all puckered, iron it with a warm but not +hot iron on the wrong side before laying down +the gold thread. Leek embroidery is sold by +the yard in strips, varying from one inch to +twelve inches in width, and costing from 6d. to +2s. the yard. These strips are used for mantelpiece +borders, table borders, chair backs, and +curtain bands, according to their width. They +look best mounted upon plush or velveteen, +but are often mounted upon Liberty's Oriental +silks, or made up as perfectly plain bands. +When used for chair backs or for hanging firescreens +the background should be handsome, +and either ruby or dark blue in colour, and +the work arranged either straight down its +centre or crossing it in a number of diagonal +lines. This manner of making up is newer +and more effective than merely laying it on as +an edging. Bands of unmounted Leek embroidery, +simply lined with twill, are much +used for looping up summer curtains, and give +richness to the soft, creamy materials now +employed for curtains.</p> + +<p>As dress trimmings Leek embroidery is +good, the wide bands making a waistcoat +front and the narrow the cuff trimmings. To +a velveteen winter dress a waistcoat and cuffs +so made are an admirable finish as long as the +embroidery is kept subdued by rich colours, +and the gold carefully put on, while for dinner +dresses a broad panel of embroidery is carried +down the skirt, and the waistcoat cut low, and +no trimming required for the sleeves.</p> + +<p>Oriental embroidery cannot be made up in +so many different ways as Leek embroidery, +but it is quite new, and aims at reproducing +early Eastern designs. The foundation +material is surah silk, the silk sold in large +squares as Liberty's handkerchief being +correct in colouring and texture. Upon this +foundation the patterns, which all consist of +single petalled flowers resembling single +dahlias, sunflowers, or chrysanthemums, are +worked with Oriental silk, which are silks of a +thick make, but very soft and with a gloss on +them similar to the gloss on floss silk. The +leaves surrounding the flowers are of the shape +of the jessamine, and to these are added +tendrils and queer-looking bunches of seed-vessels.</p> + +<p>There is little variety in the design, as the +embroidery is entirely executed in one stitch +(that of a close herringbone), but there is +great variety and great scope for good shading +in the colouring. Oriental silks are all dyed +in the shades of blues, yellow pinks, terra-cotta +reds, and brilliant yellows, to be seen in +Eastern embroideries worked before the +introduction of aniline dyes, and the consequent +lapse into Imperial purples and +magentas and royal blues.</p> + +<p>By a judicious use of good colours the same +design can be so repeated as to look entirely +different. Thus, a spray of flowers worked +upon an orange-red ground, with cream, yellow, +pink and pale blue colours, will be quite distinct +from the same spray laid upon sea-green silk, +and coloured with deep orange-reds and blues +running from sky into navy blue.</p> + +<p>As before mentioned, the only stitch used is +herringboning, and the only flowers single +petalled ones; but the herringboning is done +so closely together that it looks like an interwoven +stitch of double crossings, and the +flowers are all worked in their centres in a +different silk to that used on their tips, and +therefore resemble double petalled flowers. +The tips of each petal are wider than the commencement, +and the herringboning is not +taken along as a wide line of equal width, but +as a curved line running small, and widening +out again several times if the petal or seed-vessel +is a long one. Each petal is worked +separately, and the silk is never dragged or +drawn tightly, but is allowed to lie easily over +the foundation, and rather loosely, although the +stitches follow each other so closely that +nothing of the foundation can be seen where +they are laid. The stems, long leaves, and +large branches are worked as closely as the +petals in herringbone, but tendrils and sprays +are more opened out, and are given the look of +single coral stitch as a variety.</p> + +<p>When shading a flower select two colours +that are distinct in tone but not jarring in +their contrast; thus, cream-white used for the +outer petals can be finished with pale blue, +yellow pink, pure orange, or pale yellow for +its centre petals; scarlet red outside petals +with black inner petals, bright blue outside +petals with lemon yellow or terra-cotta red +inside petals, and every one of these colours +are allowable when working bunches of flowers +scattered over the whole of a five o'clock tea-cloth +or fireplace curtains.</p> + +<p>The embroidery is used for table-cloths, +mantel borders, and curtain brackets, knitting +bags, handkerchief cases, and as a trimming +to evening dresses. In all cases it requires a +silk lining, and should be worked with a +muslin lining beneath it. Embroidering Breton +handkerchiefs is not a new description of fancy +work, but it is still in vogue; and when a lady +has had sufficient patience to successfully +accomplish the feat of covering every portion +of the handkerchief with thick filoselle work, +there is no doubt that she has produced a +piece of embroidery not only handsome and +durable, but that will justly hand her name +down to posterity as a real worker, and not +one who takes up the whim of the hour and +throws it on one side as soon as it bores her. +The squares made of these embroidered +handkerchiefs are shown more effectually +when they are lined with quilted silk and used +as banner-screens than when they are bordered +with wide plush and used as table-cloths. +The pattern in the latter case is never seen as +a whole, and the beauty of the work is often +marred by water from flower vases spilt over +it, or wet teacups and saucers put down on it. +The small screens now so fashionable make +another admirable place for mounting Breton +work. These screens are made of two compartments +only, in height about 4½ feet. To +each panel, 2½ feet from the ground, a ledge +that can be put up or down is fixed, and that +is used for holding a book or a teacup. The +panel below this ledge is merely filled with a +little curtain made of coloured Oriental silk, +and arranged in very full folds. The panel +above the ledge, that is fully displayed to +every eye, is filled with the embroidery +stretched quite tightly across it and displayed +to its full advantage. The back of the +embroidery is concealed with a satin or silk +matching the little curtain beneath. Two +Breton handkerchiefs are required, one for +each division, but they should not be selected +both of the same design. The little screens +are made of oak, mahogany, and ebonised +wood. They are a simple framework, an inch +and a half square, and any working carpenter +would make them to order.</p> + +<p>Breton embroidery is too laborious for many +people, and those whose time is much occupied +with household matters, and who cannot +devote much of it to the task of making their +drawing-rooms pretty, we recommend to try +crazy patchwork in its place. We have lately +seen this easy work carried out most successfully, +and used as mantel and table borders, +covers for footstools, and as the centres of +small table-cloths. The work is one of the +least expensive that can be tried, and can be +put down without derangement of effect at +any moment (a great point in its favour where +interruptions are frequent). Before commencing +any piece of it, it is better to accumulate +all the oddments of ribbons, plush, velvet, +silk, and satin lying in the piece-drawer from +dress trimmings or sent as patterns from shops. +The more plush and velvet obtainable, the +greater the effect produced, while the colouring +should be of a vivid tone, but excluding +the bright aniline dyes already once referred +to as being unsuitable to blend with other +shades. A strong piece of ticking is required +for the foundation, and on this the pieces are +arranged. They should be pinned on while +the amalgamation of colouring is being tried, +and, when that is settled, basted on to the +lining, the edges of soft materials being turned +under and secured with the basting lines. +Similarity in shape and size is to be avoided +when placing the pieces, and the effect aimed +at that of the colouring of a kaleidoscope in +its variety and brightness. In order to obtain +queer shapes and corners, it is not necessary to +carefully cut them out and fit them into their +various spaces; in fact, it is better not to do +so, but to lay one material partly over another, +and by so doing make the desired form. The +embroidery is generally left until the pieces +are basted down to the lining, but now and +again the scraps should be embroidered before +they are fixed down, this method being the +least troublesome when fine silk work is attempted, +such as working flowers in shades of +colour or intricate designs, or following out +the lines of stamped velvet or brocade with +couched-down cords and gold thread. Thin +Oriental silks require a thin muslin lining +underneath them, and the embroidery executed +before they are tacked to the ticking, as unless +this precaution is taken they are apt to pucker +and look uneven and poor. When the patchwork +scraps are all arranged, spare strands of +filoselle of any shades are used to cover over +the basting threads with lines of coral stitch, +feather, chain, rope, and herringbone, while +oddments of silk cord, Japanese gold thread, +very fine braids, etc., are sewn down either as +borderings to the securing lines or as forming +designs and figures on the patches themselves. +Embroidery stitches of all kinds are used to +fill in the centres of the patches, and advantage +is always taken of any pattern on the patches +either by filling it in entirely with shaded silks, +filling up its background with stars, crosses, +or dots, or by enclosing it within diagonal +lines, or sewing spangles down so as to cover +it over. Every effort is made to enrich the +patches by the use of gold thread, spangles, +gold lace, and silk cords, and when the work +is faithfully done, no one could guess it was +devised out of oddments and produced at a +nominal cost.</p> + +<p style="text-align: right;"><span class="smcap">B. C. Saward.</span><span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="ROMANCE" id="ROMANCE"></a>ROMANCE.<br /> +<br /> +<span style="font-size: 75%;">FOR VIOLIN AND PIANOFORTE.</span><br /> +<br /> +<span class="smcap" style="font-size: 75%;">Professor Sir G. A. Macfarren.</span></h2> + +<p style="text-align: center;"><a href="music/romance.midi">Listen</a> | <a href="music/romance.ly">View/Download Lilypond</a></p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/romance_1.png" width="600" height="747" alt="" title="" /> +</div> +<div class="figcenter" style="width: 600px;"> +<img src="images/romance_2.png" width="600" height="827" alt="" title="" /> +</div> +<p><span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span></p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/romance_3.png" width="600" height="828" alt="" title="" /> +</div> +<div class="figcenter" style="width: 600px;"> +<img src="images/romance_4.png" width="600" height="826" alt="" title="" /> +</div> +<p><span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span></p> +<div class="figcenter" style="width: 600px;"> +<img src="images/romance_5.png" width="600" height="822" alt="" title="" /> +</div> +<div class="figcenter" style="width: 600px;"> +<img src="images/romance_6.png" width="600" height="646" alt="" title="" /> +</div> + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span></p> +<h2><a name="ANSWERS_TO_CORRESPONDENTS" id="ANSWERS_TO_CORRESPONDENTS"></a>ANSWERS TO CORRESPONDENTS.</h2> + + +<h3>EDUCATIONAL.</h3> + +<p>A. Z.—The part of a whole made by two-thirds of +three-fourths is one-half. Such books as those you +name are not so appropriate for young girls as very +desirable, instructive, as well as interesting books, +although a girl of twenty-one might read one of such +a kind once in a way. There is an article by Dr. +Green in the last two numbers of the <i>Leisure Hour</i> +(published by the Religious Tract Society, 56, Paternoster-row, +London, E.C.), those for April and May, +in which such books as you require are recommended—history, +biography, travels, archæology, geology, +astronomy; Shakespeare, Milton, Elizabeth Barret +Browning, Longfellow, Tennyson, etc. Such books +should occupy all your leisure for reading, besides +the study of household economy, nursing, cookery, +needlework, and cutting out. The first five years +after leaving the school-room should be devoted to +such studies as these, not wasted on the class of +literature you specify.</p> + +<p>G. H. T.—Yes, there is a Kindergarten College and +Practising School established by the British and +Foreign School Society. It is at 21, Stockwell-road, +S.W., and it is directed by the Misses Crombie. +There are ten such schools in London and eight in +the provinces. Write for papers, and all information +will be supplied you direct from that or any of the +other schools. Had you given your address we could +have given that which is the nearest to you. We +think your age would be suitable. The answer you +receive as to terms may decide you as to the way in +which your £20 may be required. Perhaps if you +annoyed your cousin she would not allow you to +return home to sleep. Whether you could do so as +well as board at the college we could not say. "Look +well before you leap."</p> + + +<h3>ART.</h3> + +<p><span class="smcap">Sheltie.</span>—To ornament ginger jars, or any kind of +earthenware, without knowing how to draw or paint, +first size it with ordinary glue-size, melted over the +fire; then cut bright scraps of chintz, or gaily-painted +cottons, into diamonds, squares, half-circles, triangles, +etc., and paste them to the jars, carefully +covering every part of the jar with the scraps laid +closely together, but without making any set design. +Let the paste dry; then size the jar, and varnish +with white hard varnish.</p> + +<p><span class="smcap">Fleur des Alpes.</span>—We fear there are no chances of a +sale in London, as the market for screen and fan painting +is already so full. Besides, you should take such +work personally to shops and obtain trade orders. +Would it not be wiser and more easy to dispose of +them at Geneva, which is within your reach? Accept +our best wishes.</p> + +<p><span class="smcap">Would-be Photographer.</span>—The reason that the +object to be taken appears upside down in the +camera is this. Light travels in straight lines, and +rays coming through little crevices (such as are used +in cameras), cross each other, and become inverted.</p> + + +<h3>MISCELLANEOUS.</h3> + +<p><span class="smcap">Effie.</span>—The texts of Holy Scripture which you cannot +find are to be found as follows:—Psalm xciv. 22, and +Gen. xvii. 8; Exodus xxix. 45; Ezekiel xi. 20; +Zechariah viii. 8; 2 Cor. vi. 16; Rev. xxi. 3, and +in other places. Your "Concordance" must be a +very bad one. Your handwriting is not formed, but +promises well.</p> + +<p><span class="smcap">Gowan Cobban.</span>—We do not recommend publishers to +our correspondents. All three specimens of writing +are legible, but No. 2 is careless and unfinished. +Why write a small "b" for a "v"? The latter has +no tall upper stroke.</p> + +<p>E. M.—The health of bride, bridegroom, bridesmaids, +and respective parents of the newly-married pair is +drunk, but no others, as a rule.</p> + +<p><span class="smcap">Corisande.</span>—We could not possibly assist you in +carrying out or devising a method of revenge on the +wrong-doer, nor do we think that even the aggrieved +parents of the injured friend would approve of the +plan. If you reprobate an ill-bred action, you cannot, +consistently with your own views of what is seemly +and dignified, punish that action by following suit, +and doing what would be ill-bred yourself. Besides, +as a Christian, read Romans xii. 19.</p> + +<p><span class="smcap">Una Mildred Hitchings (N.Z).</span>—The 14th of +February, 1809, was a Tuesday. Many thanks for +your nice letter.</p> + +<p>E. B. P. we think had better take more exercise, and +avoid late suppers and sitting up late, as it seems +probable her digestion is weak.</p> + +<p><span class="smcap">Sepia.</span>—Hairpins are not injurious to the hair except +when the hair is too tightly put up, when that certainly +affects the nerves. We think young people, as +a rule, do not require stimulants unless under the +doctor's orders. We think oils are far easier to use +than water-colours.</p> + +<p><span class="smcap">Morning Dewdrop.</span>—We do not think the poetry +worth much now, but it shows that at fifteen you are +thinking about good things in preference to evil and +idle things, and so we consider writing poetry, in +many cases, a good amusement.</p> + +<p><span class="smcap">Queenie Foster</span> should return the duplicate copy +and ask for the right one, and if enclosing stamps, as +the surest way of getting it, she can retain the +duplicate.</p> + +<p><span class="smcap">An Unhappy One</span> should not marry her widower on +any account, if she feels as unhappy as her letter +portrays. She must not grow discouraged too soon, +but cultivate patience, and never minding. And +should she finally undertake the care of a ready-made +family, she must be brave and courteous, not +rendering railing for railing, but, contrariwise, blessing. +Be not overcome of evil, but overcome evil +with good.</p> + +<p><span class="smcap">Hawthorn</span>.—We know of nothing better than your +present treatment. We are much obliged by your +kind offer, but we do not require any at present.</p> + +<p><span class="smcap">Idonea</span>.—We should think your digestion was out of +order. Read the advice given by Medicus to +"Working Girls," page 295, vol. vi.</p> + +<p><span class="smcap">Mysotis</span>.—Your nationality is that of your father, but +you may adopt a country; and if he be naturalised +English, you become English too, or you may +legally become so yourself. Also, if you marry an +Englishman you become an Englishwoman, without +going through the process of naturalisation. Of +course by blood you are half English, through your +maternal descent.</p> + +<p><span class="smcap">Ophelia</span>.—We feel for "Ophelia" very sincerely; but +she should rouse herself, and not give way to morbid +brooding over her troubles. Has she no sacred +duties to perform to those around her? No Lord and +Master above to serve and glorify, by submission to +His dispensations? Has she no blessed hope of a +life beyond the grave? We could not insert your +verses. "All else" is not "gone," whoever was +removed, when you have "one that sticketh closer +than a brother" to lean upon. Read St. John xiv.; +indeed, you had better study the whole Gospel, and +set yourself resolutely to devote yourself to others.</p> + +<p><span class="smcap">May Elwin</span>.—Our publisher, Mr. Tarn, sent us your +letter. We suppose you thought him the editor. +The writer of the poems you name is not one with +whom we are acquainted.</p> + +<p><span class="smcap">Myself</span>.—We cannot do better than refer you to the +abuses of the Lord's supper, to which St. Paul +alludes in 1 Cor. ii. 21, 22, which answers your +question. Also see Hebrews x. 25, and 1 Cor. xiv. +40. Beware how you trifle with sacred rites and +sacraments. You had better look up the whole of the +text about Elders and their office in the New Testament +Epistles. Our Lord's promise is that where two +or three are gathered together He would be in their +midst and bless them. You had better look out the +word communion in the dictionary, as it cannot +refer to one person alone; it is an act performed +by a certain number of persons together, more or less. +Again, when the clergyman prays for his congregation, +is he not a mediator? And when you and +your friends pray for each other, are you not +mediators? And this, without disparagement to the +doctrine that Christ is the great and chief Mediator, +without whose divine mediation all other would be +useless.</p> + +<p><span class="smcap">Brunette</span>.—The soul does not attain its highest state +of bliss until it be re-united to the body; but the soul +of a believer in Christ (by which we mean one of +His faithful people, who loves, serves, and trusts in +Him and His atonement alone) will enter into a +happy and sinless rest. He has made "an everlasting +covenant with them," not with those who +deny Him. Any mercy shown to such would be +uncovenanted. See for yourself what the Scriptures +say. We know nothing more than what is revealed +in them. As to the heathen who have not heard the +Gospel, they are "a law unto themselves," and will +be judged as such, not as those who rejected +Christ.</p> + +<p><span class="smcap">One Wanting To Learn</span>.—We are glad that you +find the Sulhampstead Question Society, which we +recommended, so useful in helping forward your education. +We do not print our correspondents' letters.</p> + +<p><span class="smcap">Roy</span>.—We regret that we cannot accede to your +request. It would interfere with the general usefulness +of our magazine if we were to introduce the +subject of politics into it. We do not even discuss +vexed questions of religious belief, because our paper +is meant for persons of all denominations, whose +feelings should be respected. We limit our teaching +to the broad principles of our common Christianity.</p> + +<p><span class="smcap">Lottie</span>.—If in so feeble a state of health, you should +obtain medical advice. We could not prescribe for a +perfect stranger.</p> + +<p><span class="smcap">June</span>.—All the chief writers of this paper, with the +artists and musical composers, including ourselves, +have already been represented, in a more or less +satisfactory manner. The story, "That Aggravating +Schoolgirl," appeared in the second volume, beginning +at page 9.</p> + +<p>M. C. F.—We do not quite understand what you +mean. Visiting cards should never be sent by post, +and if they be left at the house you acknowledge +them by calling in return. If people be at a distance +from you, you must take an opportunity of calling +when near. You must answer congratulations either +by letter or a call.</p> + +<p><span class="smcap">Birchbroom</span>.—St. Paul was a bachelor, and tells you +so in 1 Cor. vii. You will find many pretty designs +for knitting in our paper. We do not propose to +keep any space specially for knitting recipes. You +will find one for a petticoat at page 41, vol. ii., in the +number for October, 1880.</p> + +<p><span class="smcap">Nellica</span>.—We thank you for your kind and grateful +letter, and rejoice that you enjoy our paper and are +allowed to read it. You write a very fair, legible +handwriting.</p> + +<p><span class="smcap">A Hothouse Plant</span>.—Pampas grass must be bleached +in a solution of chloride of lime. You had better +consult the chemist of whom you procure the drug +as to the proportion of water. Perhaps he would +prepare it for you. You write well, but use a bad +pen—we mean an old, worn-out one.</p> + +<p><span class="smcap">Bedwaeen</span> (Hyderabad).—We acknowledge your kind +letter with our best wishes and thanks. You do not +ask any special question; but as you regret a want +of acquaintance with the rules of English grammar, +we recommend "The Handbook of the English +Tongue," by Dr. Angus, published at our office, +56, Paternoster-row, E.C.; address Mr. Tarn.</p> + +<p><span class="smcap">Amelia</span> should take her "twopenny mulready envelope" +to a shop where stamps are sold for collections. +This is the only plan, if not disposed of to a private +collector. We do not think she will make very much +on the sale.</p> + +<p><span class="smcap">The Bird</span>.—Kindly refer to the article in question, +where all information is already given.</p> + +<p><span class="smcap">Ormonde</span> should call after all invitations, whether she +accept them or not.</p> + +<p><span class="smcap">Lily Walker</span>.—The bridegroom presents the bride +and bridesmaids with their bouquets; but it is not +needful that the latter should have them. The health +of the bride and bridegroom respectively are proposed +by the oldest friend of the family present; but +other healths are no longer drunk as a universal rule, +we believe.</p> + +<p><span class="smcap">Italia</span>.—The competition papers are in no case +returned. Your quotation is very good, but is +useless under the circumstances.</p> + +<p><span class="smcap">Dulcie Weston</span> should consult a doctor and take a +tonic. We should decidedly object to cold baths in +her case. They should be rather warmer than +tepid.</p> + +<p><span class="smcap">Dewdrop</span>.—When the right time comes for the hatching +of silkworms, they should be kept in the sun. +Before that they should be kept cool, as their coming +out should be delayed until that of the new mulberry +leaves. The worms need not to be kept in the +sun.</p> + +<p><span class="smcap">Bluebell</span> and <span class="smcap">Dolly</span>.—Many thanks for your kind +letter.</p> + +<p><span class="smcap">Mayflower</span>.—We should think, from the price you +name, that you are buying spirits of wine. Send +your own bottle to an oilshop for methylated spirits. +But why not do this:—Get a small oil-lamp and +kettle, enough to boil a quart of water; when quite +boiling it will be enough for two gallons of cold +water, and, using a sponge bath, you can have a comfortable +bath?</p> + +<p><span class="smcap">Grace</span> should wear the backboard and faceboard, so +often recommended by us, for an hour every day +while reading or learning her lessons. The book +could be set on a stand or shelf, and she could learn +while walking to and fro.</p> + +<p><span class="smcap">Guelder Rose</span>.—Some words and names have been +given an arbitrary pronunciation by that tyrant—the +fashion of the day. There is a rule for each class +of society, by which all within those respective +circles is bound, unless its members wish to make +themselves remarkable. Amongst the "Upper Ten" +the name Derby is pronounced "Darby," Shrewsbury +as "Shrowsbury," and clerk as "clark." +Balmoral is "Bal-moral," the "mo" chiefly accentuated. +Writing fairly good.</p> + +<p><span class="smcap">Try Again</span> is thanked for her kind letter. That a +competitor should not be successful is no discredit to +her work, because the number of papers sent in is +so enormous, none but the most remarkably perfect +amongst the good ones can be awarded even certificates, +not to say prizes.</p> + +<p><span class="smcap">Coming thro' the Rye</span>.—You form your letters fairly +well, but reverse the heavy and light strokes. The +down strokes should be heavy, and the up strokes +light. Also, if you did not make the ends of your +final letters in every word turn up like pig-tails, your +writing would be improved. Perhaps your handwriting +may be formed, or begin to be so, at sixteen. +No children write running hands.</p> + +<p><span class="smcap">Rose</span>.—No "gentlemen" presume to speak to girls in +their own rank of life without an introduction; it +would be an insult. And as to proposing to walk +with you, as a stranger, if you have no father, +brother, nor uncle to warn him away, he deserves to +be handed over to the police. But men do not +usually take such liberties unless they have had +some encouragement. Beware of looking at strange +men in passing them. Look away when they come +near.</p> + +<p><span class="smcap">Edith</span>.—Sage tea is good for cooling the face and +healing the skin when much sunburnt; but it should +be used the same day. Lie on a sofa, and lay the +wet leaves over your face.<span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span></p> + +<hr style="width: 65%;" /> + +<h2><a name="AUTUMN" id="AUTUMN"></a>AUTUMN.<br /> +<br /> +<span class="smcap" style="font-size: 75%;">By HELEN MARION BURNSIDE.</span></h2> +<table class="autumn" summary=""> +<tbody><tr> +<td class="autumn"> +<div class="poem"> +<span class="autumntop"> </span> +<span class="autumnmiddle"> </span> +<span class="autumnbottom"> </span> +<span class="autumnbottomb"> </span> +<div class="stanza"> +<span style="display: block; text-indent: 1em;">The chestnut burrs are falling<br /></span> +<span style="display: block; text-indent: 2em;">On the shining dew-steeped lawn,<br /></span> +<span style="display: block; text-indent: 1em;">Where the swallows have been calling<br /></span> +<span style="display: block; text-indent: 2em;">To each other since the dawn;<br /></span> +<span style="display: block; text-indent: 1em;">For again the forest leaves,<br /></span> +<span style="display: block; text-indent: 1em;">And the upland's crown of sheaves,<br /></span> +<span class="i0">Wear the fair pathetic glory, which so quickly is withdrawn.<br /></span> +</div><div class="stanza"> +<span style="display: block; text-indent: 2em;">And a youthful pair goes straying,<br /></span> +<span style="display: block; text-indent: 4em;">As we used to do of old,<br /></span> +<span style="display: block; text-indent: 2em;">With the sunlight on them playing,<br /></span> +<span style="display: block; text-indent: 4em;">Through the elm trees' paling gold;<br /></span> +<span style="display: block; text-indent: 2em;">And I wonder as they go,<br /></span> +<span style="display: block; text-indent: 2em;">Pacing slowly to and fro,<br /></span> +<span class="i0">Are they telling one another just such secrets as we told?<br /></span> +</div><div class="stanza"> +<span style="display: block; text-indent: 2em;">In the cool and fragrant dunlight<br /></span> +<span style="display: block; text-indent: 4em;">Of the woodlands, wet with dew,<br /></span> +<span style="display: block; text-indent: 2em;">Looking out towards the sunlight<br /></span> +<span style="display: block; text-indent: 4em;">Here I stand—but where are you?<br /></span> +<span style="display: block; text-indent: 2em;">Where are summer's lusty leaves,<br /></span> +<span style="display: block; text-indent: 2em;">Where the swallows from the eaves,<br /></span> +<span class="i0">And the hopes, and dreams, and longings that in those old days we knew?<br /></span> +</div><div class="stanza"> +<span style="display: block; text-indent: 2em;">Many a spring has blossomed brightly<br /></span> +<span style="display: block; text-indent: 4em;">On the grave of a dead past,<br /></span> +<span style="display: block; text-indent: 2em;">Many a summer has tossed lightly<br /></span> +<span style="display: block; text-indent: 4em;">Her cast leaves upon the blast;<br /></span> +<span style="display: block; text-indent: 2em;">And as autumn fades away<br /></span> +<span style="display: block; text-indent: 2em;">Into winter's quiet grey,<br /></span> +<span class="i0">Comes the hope: eternal springtide will give back my friend at last!<br /></span> +</div></div> + +</td> +</tr> +</tbody></table> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of The Girl's Own Paper, Vol. VIII: No. +353, October 2, 1886., by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK THE GIRL'S OWN PAPER *** + +***** This file should be named 18195-h.htm or 18195-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/8/1/9/18195/ + +Produced by Susan Skinner and the Online Distributed +Proofreading Team at http://www.pgdp.net + + +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. 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Macfarren." +} + +melody = \relative c' { + \clef treble + \key g \major + \time 4/4 + \override Rest #'style = #'classical + +%12 + + s1*0^\markup { \italic {Andante.} } R1 | r2 d4(^\p g8.[ fs16]) | fs2 fs4 g8 a8 | b2 b4( c8 b8) | a4( e4) fs4. e8 | + + d2 d4( g8.[ fs16]) | fs2 fs4 g8 a8 | a4( b4) b4 c8 d8 | d8( e,8 c'2) b8.([ a16]) | g2 g4( a8.[ g16]) | + + fs4( d'4) g,8.([ a32 b32] a8 g8) | fs4( fs'4) d4-.^\<( d8-. d8-.)\! | d8^\>( b8 g8 e8)\!\p b'4.( cs,8) | d8 d4 d8 d4( g8.[ b32 a32]) | g4( fs4) fs8 g8 a8 as8 | + + as4( b4) e4\< f8.[ e16]\! | e'4\>( a,,8 c8\!) e4.^\p( fs,8) | g4 r4 r2 | \tieDown g'8^\f([~ g32 e32 b32 g32]) e8.[ e16] fs8 g8 a8 b8 | b8.([ a16] e'8) r16 a16( e'8) r16 a,,,16( e'8) r16 a16 | + + \tieDown c'8([~ c32 a32 fs32 c32] a8)[ r16 a16_(] \tieUp fs'8[~ fs32 c32 a32 fs32] c8)[ r16 a'16] | g'8.([ fs16] b,8) r16 fs''16( b,8) r16 fs,16( b,8)[ r16 b'16] | b'16.([ g32 e32 b32 g32 e32] b8.)[ g'16] fs8 g8 a8 b8 | c2( f,4) r8. a16 | + +%13 + + d'16.([ b32 g32 d32 b32 g32] d8.[ g16]) fs8 g8 \acciaccatura b8 a8 g8 | e'4( e,8)[ r16 e'16] e4( e,8)[ r16 e'16] | e16[ g8 fs8 e8 d16]~ d16[ c8 b16] as16([ g'8 as,16]) | b4 r4 r8^\f a8( e'8 a,8) | ds4 r4 r8 as8( g'8) fs8 | + + e4( ds8.)[ b16] b4( e8.[ ds16]) | ds2 c4( fs8.[ e16]) | e2 g,4( d'8.[ cs16]) | e,4( a8.[ g16]) cs,4( fs8.[ e16]) | e4_(^\> ef4)\! d4^\p( g8.[ fs16]) | + + fs2 fs4^\markup { \hspace #3.0 \musicglyph #"scripts.turn" } g8 a8 | b2 b4 \acciaccatura d8 c8 b8 | b8([ a8 e8.) e16] fs16( g16 b16 a16 fs8) e8 | + + d8.[ g,16] b16 d16 g16 b16 d4( g8.[ fs16]) | fs2 fs,16( a16 d16 fs16) g8 a8 | a4( b4) b,16( e16 gs16 b16) b16( c16) c16( d16) | + + d8([ f16 e16] b16 c16 gs16 a16) ds,16( e16 b16 c16 gs16[ a16 c16) r32 fs,32] | g4 r4 g'4( a8. g16) | fs4( d'4) g,8([ \grace {a16[ g16]} fs16 g16] cs16 b16 a16 g16) | + +%14 + + fs4( fs'4) d8 d4 d8 | d16( b16) b16( g16) g16( e16) e16( b'16) b16( as,16) as16( as'16) as16([ e16 g16.) c,32] | d2\trill( \grace {cs16[ d16]} d8) e8 fs8 \acciaccatura a8 g8 | + + g8.([ fs16] d'4) fs,8 g8 a8 as8 | c8.([ b16] g'4) e4( f8.[ e16]) | e16( c16 a16 g16 e16 c16 a16 e'16) e16( d16 c16 a16 fs16[ d16 c16.) a32] | g1~ | + + g1~ | g1~ | g1~ | g8.[ b16] d16 g16 b16 d16 g4 a8 b8 | + + c4( g'8) c,8 b4( a8.[ e16]) | g4(^\> fs4)\! f16( f'16 d16 b16 g16 gs16 a16 f16) | ds8.([ e16]) e8[ c16 a16] e4 \afterGrace fs4\trill( {e16)[ fs16]} | + + g4 r8 b,8 d4( c4) | b4 r8 g8^\markup { \italic {ritard.} } b4 \afterGrace a4\trill {g16[ a16]} | g16.([ b32 d16 g16] b16 d16 g16_\markup { \italic {dim.} } b16 d4) g4 | b1^\pp \bar "||" +} + +upper = \relative c'' { + \clef treble + \key g \major + \time 4/4 + \override Rest #'style = #'classical + +%12 + + b,8\p( d8 g8 d8 b8 d8 b'8 d,8) | b8( d8 g8 d8 b8 d8 b'8 d,8) | c8( d8 a'8 d,8) << {c8( d8 e8 fs8)} \\ {c2} >> | << {g'8( d8 g8 d8)} \\ {b4} >> g'8( b8 e,8 g8) | c,8( e8 c8 e8) c8( a8 d8 c8) + + b8( d8 g8 d8) b8( d8 b'8 d,8) | c8( d8 a'8 d,8) << {c8( d8 e8 fs8)} \\ {c2} >> | << {fs8( d8 g8 d8)} \\ {c4( b4)} >> e8 b8 e8 b8 | e8 c8 a'8 g8 << {fs2} \\ {fs8 e8 d8 c8} >> | <b g'>8 d8 g8 d8 cs8 e8 cs8 e8 + + a,8 d8 fs8 d8 cs8 e8 cs8 e8 | a,8 d8 fs8 d8 as8_\< d8 fs8 d8\! | b8_\> d8 b8 e8\! g8_\p e8 g8 e8 | fs8 <fs d' fs>8[( <g e' g>8 <a fs' a>8] <b g' b>4) b8 d,8 | c8 d8 a'8 d,8 a8 b8 c8 d8 + + <c fs>8 d8 <b g'>8 d8 b8_\< e8 d8 e8\! | c8_\> e8 c8 e8\! c8\p a8 c8 a8 | b8_\< <b b'>8 <b b'>8 <b b'>8 <b b'>8 <b b'>8 <b b'>8 <b b'>8\! | <b e g b>8\fp <b e g>8 <b e g>8 <b e g>8 <b e g>8 <b e g>8 <b e g>8 <b e g>8 | <c e>8 <c e>8 <c e>8 <c e>8 <c e>8 <c e>8 <c e>8 <c e>8 + + <c e a>8\fp <c e a>8 <c e a>8 <c e a>8 <c e fs>8\fp <c e fs>8 <c e fs>8 <c e fs>8 | <b ds a'>8 <b ds a'>8 <b ds a'>8 <b ds a'>8 <b ds a'>8 <b ds a'>8 <b ds fs>8 <b ds fs>8 | <b e b'>8\fp <b e b'>8 <b e b'>8 <b e b'>8 <b e b'>8 <b e b'>8 <b e a>8 <b e g>8 | <c f>8 <c' f>8 < c f a>8 <c f b>8 <c f c'>8 <c f a>8 <c f>8 <c e>8 + +%13 + + <g d'>8\fp <d f>8 <d f>8 <d f>8 <d f>8 <d f>8 <d f>8 <d f>8 | e8_> e8 e8 e8 e8_> e8 e8 e8 | e8_> e8 e8 e8 <e e'>8_> <e e'>8 <e e'>8 <e e'>8 | r8 <fs ds'>8\f <fs ds'>8 <fs ds'>8 <a e'>4 r4 | r8 <fs ds'>8 <fs ds'>8 <fs ds'>8 <e e'>4 r4 + + r8 <b fs'>8 <b fs'>8 <b fs'>8 <b e g>8 <b e g>8 <b e g>8 <b e g>8 | <a ds fs>8 <a ds fs>8 <a ds fs>8 <a ds fs>8 <c ds fs>8 <c ds fs>8 <c ds fs>8 <c ds fs>8 | <cs e g>8 <cs e g>8 <cs e g>8 <cs e g>8 <g cs e>8 <g cs e>8 <g cs e>8 <g cs e>8 | <e' g cs>8 <e g cs>8 <e g cs>8 <e g cs>8 <g cs e>8 <g cs e>8 <g cs e>8 <g cs e>8 | <g cs g'>4 r4 r16\p d16_( g16 b16 d16 g16 b16 d16) + + r16 d,,16( fs16 a16 d16 fs16 a16 d16) r16 d,,16 cs16 d16 <c e>16 d16 <c fs>16 d16 | r16 b16 d16 g16 b16 d16 g16 b16 r16 g,16 e16 g16 e16 g16 e16 g16 | c,16 e16 c16 e16 c16 e16 c16 e16 c16 b16 d16 c16 a16 c16 a16 c16 + + b16 d16 g16 b16 g16 d16 b16 d16 b16 d16 g16 d16 b16 d16 b'16 d,16 | c16 d16 a'16 d,16 c16 d16 c'16 d,16 c16 d16 c16 d16 <c e>16 d16 <c fs>16 d16 | <c fs>16 d16 <c fs>16 d16 <b g'>16 d16 b16 d16 <b d e>4 d8 e8 + + e2 c8 a8 fs'8 a,8 | b16 d16 g16 d16 b16 d16 b'16 d,16 cs16 g'16 cs16 g16 cs,16 e16 g16 e16 | d16 fs16 a16 fs16 d16 fs16 d'16 fs,16 cs16 g'16 cs16 g16 e16 g16 cs,16 g'16 + +%14 + + d16 fs16 a16 fs16 d16 fs16 d'16 fs,16 as,16 d16 as'16 d,16 as16 d16 as'16 d,16 | b4 <b e g>4 <a e' g>4 <a cs g'>4 | <a d fs>8 <fs' d' fs>8([ <g e' g>8 <a fs' a>8] <b g' b>8) g16[ d16] b16_( d16 b'16 d,16) + + c16 d16 c'16 d,16 c16 d16 fs16 d16 c16 d16 e16 d16 fs16 d16 <c fs>16 d16 | <a fs'>16 d16 fs16 d16 b16 d16 g16 d16 d16 e16 b'16 e,16 d16 b16 d16 e16 | c4 <c e g>4 \set doubleSlurs = ##t <c fs a>2( | <b g' b>4) r4 <b' f' g>4\p <c f a>8 <d f b>8 + + <e c'>4( <g e'>8) <e g c>8 <d g b>4 <cs g' a>8.[ e16] | \set doubleSlurs = ##f << {g4( fs4)} \\ {<c d>2} >> <b d f>4 <g d' g>8 <g d' f>8 | << {<b d>8.[ <c e>16] <c e>8[ c16 a16]} \\ {g4( g8)} >> e4 \afterGrace fs4\trill( {e16)[ fs16]} | g4 r4 <b f'>16 g16 <b f'>16 g16 <c f>16 g16 <d' f>16 g16 + + e16 g,16 <c e>16 g16 <c e>16 g16 <c e>16 g16 <g d'>16 d16 <g d'>16 d16 <g cs>16 e16 <g cs>16 e16 | <a c>16( d,16\> <a' c>16 <gs b>16 <a c>16\! <gs b>16 <a c>16 <as cs>16) <b d>16( gs16) <gs b>16( d16) <d f>16 b16 <d f>16 b16 | << {<f' b>16( g16 <f b>16 g16 <e c'>16 gs16) a16 c16 d4 c4} \\ {c,4( c8) s8 b'16 d,16 b'16 d,16 a'16 d,16 a'16 d,16 } >> + + << {b'4 s4 e4 fs4} \\ {g,16 d16 g16 d16 fs16 g16 b16 d16 b16 d16 b16 d16 a16 d16 a16 d16} >> | << {g4 s4 d'4 c4} \\ {g,16 d'16 b16 d16 cs16 d16 g16 b16 \once \override TextScript #'padding = #2.0 e,16_\markup { \italic {ritard.} } d16 e16 d16 fs16 d16 fs16 d16} >> | <g b>1~ | <g b>4 <g b d>8-.( <g b d>8-.) <g b d>2 +} + +lower = \relative c { + \clef bass + \key g \major + \time 4/4 + \override Rest #'style = #'classical + +%12 + + <g d' g>1 | <g d' g>2 <g d' g>2 | <a d a'>2 <d, d'>2 | <g d' g>2 <e e'>2 | <a e' a>2 <d, d'>2 + + <g g'>2 <g d' g>2 | <a d a'>2 <d, d'>2 | <g g'>2 <gs e' gs>2 | <a e' a>2 <d, d'>2 | <g g'>2 \set doubleSlurs = ##t <e e'>2( + + <d d'>4) r4 <e e'>2( | <d d'>4) r4 <fs fs'>2 | <g g'>2 <a, a'>2 | <d d'>8 \set doubleSlurs = ##f <d' fs>8([ <e g>8 <fs a>8]) <g b>8( d'8 r4) | <a, a'>2 <d, d'>2 + +%%Transcriber's Note: Could not get slur in bar 4 above to cross staffs with \change Staff command. Compromised by leaving slur in lower staff. + + <g g'>2 <gs e' gs>2 | <a e' a>2 <d, d'>2 | <g g'>8 b8 b8 b8 b8 b8 b8 b8 | <e, e'>8 <e e'>8 <e e'>8 <e e'>8 <e e'>8 <e e'>8 <e e'>8 <e e'>8 | <a a'>8 <a a'>8 <a a'>8 <a a'>8 <a a'>8 <a a'>8 <a a'>8 <a a'>8 + + <fs fs'>8 <fs fs'>8 <fs fs'>8 <fs fs'>8 <a a'>8 <a a'>8 <a a'>8 <a a'>8 | b8 b8 b8 b8 b8 b8 a8 a8 | g8 g8 g8 g8 g8 g8 g8 g8 | a8 <a c f>8 <a c f>8 <a c f>8 <a c f>8 <a c f>8 <a c f>8 <a c f>8 + +%13 + + <b f' g>8 <b d g>8 <b d g>8 <b d g>8 <b d g>8 <b d g>8 <b d g>8 <b d g>8 | <c e gs>8-> <c e gs>8 <c e gs>8 <c e gs>8 <c e a>8-> <c e a>8 <c e a>8 <c e a>8 | <c e as>8-> <c e as>8 <c e as>8 <c e as>8 <c e>8-> <c e>8 <c e>8 <c e>8 | r8 <b b'>8 <b b'>8 <b b'>8 <c a'>4 r4 | r8 <b b'>8 <b b'>8 <b b'>8 <c as'>4 r4 + + r8 b8 b8 b8 b8 b8 b8 b8 | c8 c8 c8 c8 a8 a8 a8 a8 | as8 as8 as8 as8 <as, as'>8 <as as'>8 <as as'>8 <as as'>8 | <as as'>8 <as as'>8 <as as'>8 <as as'>8 <as as'>8 <as as'>8 <as as'>8 <as as'>8 | <as as'>4 r4 <b' d g>2 + + <c d fs a>2 <a c d>4 <d, d'>4 | <g d'>2 <e e'>2 | <a a'>2 <d, d'>2 + + <g g'>2 <g d' g>2 | <a d a'>2 <d, d'>2 | <g g'>2 <gs e' gs>2 + + <a e' a>2 <d, d'>2 | <g g'>4 r4 \set doubleSlurs = ##t <e e'>2( | <d d'>4) r4 <e e'>2( + +%14 + + <d d'>4) r4 <fs fs'>2( | <g g'>4) <e e'>4 <a, a'>4 <a a'>4 | <d d'>8 \set doubleSlurs = ##f << {fs'8[ <e g>8 <fs a>8]} \\ {d8( d4)} >> << {b'16[ d16]} \\ {g,2} >> + + a2 d,2 | g2 <gs, e' gs>2 | <a e' a>4 <a e' a>4 \set doubleSlurs = ##t <d, d'>2( | <g g'>4 ) r4 \clef treble <b' f' g>4 <c f a>8 <d f b>8 + + <e c'>4( <g e'>8) <e g c>8 <d g b>4 << {<g a>8.[ e16]} \\ {cs4} >> | \set doubleSlurs = ##f << {g'4( fs4)} \\ {<c d>2} >> <b d f>4 <b d>8 <b d>8 | << {f'8.[ e16] e8 e8]} \\ {c4. a8} >> <b d>4 <a c>4 | b8 \clef bass <g, g'>8[ <g g'>8 <g g'>8] <g g'>8 <g g'>8 <g g'>8 <g g'>8 + + <g g'>8 <g g'>8 <g g'>8 <g g'>8 <g g'>8 <g g'>8 <g g'>8 <g g'>8 | <g g'>8 <g g'>8 <g g'>8 <g g'>8 <g g'>8 <g g'>8 <g g'>8 <g g'>8 | <g g'>8 <g g'>8 <g g'>8 <g g'>8 <g g'>8 <g g'>8 <g g'>8 <g g'>8 + + <g g'>8 <g g'>8 <g g'>8 <g g'>8 <g g'>8 <g g'>8 <g g'>8 <g g'>8 | <g g'>8[ <g, g'>8] <g g'>8[ <g g'>8] <g g'>8 <g g'>8 <g g'>8 <g g'>8 | <g g'>1~\sustainDown | <g g'>4 \clef treble <g'' d' g>8-.^\pp( <g d' g>8-.) <g d' g>2\sustainUp +} + +\score { + << + \context Staff = melody \melody + \set Staff.instrument = \markup { \smallCaps {Violin.} } + \set Staff.midiInstrument = "violin" + \context PianoStaff << + \set PianoStaff.instrument = \markup { \smallCaps {Piano.} } + \context Staff = upper \upper + \context Staff = lower \lower + >> + >> + \layout { + \context { \RemoveEmptyStaffContext } + \context { + \Score + \remove Bar_number_engraver + } + } + \midi { \tempo 4 = 84 } +} + +\paper { raggedbottom = ##t }
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