diff options
Diffstat (limited to 'old/64962-h/64962-h.htm')
| -rw-r--r-- | old/64962-h/64962-h.htm | 3362 |
1 files changed, 0 insertions, 3362 deletions
diff --git a/old/64962-h/64962-h.htm b/old/64962-h/64962-h.htm deleted file mode 100644 index 9f3a046..0000000 --- a/old/64962-h/64962-h.htm +++ /dev/null @@ -1,3362 +0,0 @@ -<!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" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - Chambers’s Journal, by Various—A Project Gutenberg eBook - </title> - <link rel="coverpage" href="images/cover.jpg" /> - <style type="text/css"> - -body { - margin-left: 10%; - margin-right: 10%; -} - - h1,h2,h3,h4,h5,h6 { - text-align: center; /* all headings centered */ - clear: both; -} - -p { - margin-top: .51em; - text-align: justify; - margin-bottom: .49em; -} - -.ml4 {margin-left: 8em;} - -.ph3{ - text-align: center; - font-size: large; - font-weight: bold; -} - -hr { - width: 33%; - margin-top: 2em; - margin-bottom: 2em; - margin-left: 33.5%; - margin-right: 33.5%; - clear: both; -} - -hr.tb {width: 45%; margin-left: 27.5%; margin-right: 27.5%;} -hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;} -@media print { hr.chap {display: none; visibility: hidden;} } -hr.full {width: 95%; margin-left: 2.5%; margin-right: 2.5%;} - -.header {text-align: center; margin-top: 0;} -.header p {text-align: center; text-indent: 0;} -.header .floatl {float: left;} -.header .floatr {float: right;} -.header .floatc {padding-top: .5em;} - -@media handheld -{ -.header {text-align: center; margin-top: 0;} -.header p {text-align: center; text-indent: 0;} -.header .floatl {float: left;} -.header .floatr {float: right;} -.header .floatc {padding-top: .5em;} -} - -div.chapter {page-break-before: always;} -h2.nobreak {page-break-before: avoid;} - -.pagenum { /* uncomment the next line for invisible page numbers */ - /* visibility: hidden; */ - position: absolute; - left: 92%; - font-size: smaller; - text-align: right; - font-style: normal; - font-weight: normal; - font-variant: normal; -} /* page numbers */ - -.blockquot { - margin-left: 5%; - margin-right: 10%; -} - - -.center {text-align: center;} - -.right {text-align: right;} - -.smcap {font-variant: small-caps;} - -/* Images */ - -img { - max-width: 100%; - height: auto; -} -img.w100 {width: 100%;} - - -.figcenter { - margin: auto; - text-align: center; - page-break-inside: avoid; - max-width: 100%; -} - - -/* Poetry */ -.poetry-container {text-align: center;} -.poetry {text-align: left; margin-left: 5%; margin-right: 5%;} -/* uncomment the next line for centered poetry in browsers */ - .poetry {display: inline-block;} -.poetry .stanza {margin: 1em auto;} -.poetry .verse {text-indent: -3em; padding-left: 3em;} -/* large inline blocks don't split well on paged devices */ -@media print { .poetry {display: block;} } -.x-ebookmaker .poetry {display: block;} - -/* Poetry indents */ -.poetry .indent0 {text-indent: -3em;} -.poetry .indent10 {text-indent: 2em;} -.poetry .indent2 {text-indent: -2em;} -.poetry .indent3 {text-indent: -1.5em;} -.poetry .indent4 {text-indent: -1em;} -.poetry .indent6 {text-indent: 0em;} - -/* Illustration classes */ -.illowp100 {width: 100%;} -.x-ebookmaker .illowp100 {width: 100%;} - - - </style> - </head> -<body> - -<div style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Chambers's Journal of Popular Literature, Science, and Art, Fifth Series, No. 5, Vol. I, February 2, 1884, by Various</div> - -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world 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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Chambers's Journal of Popular Literature, Science, and Art, Fifth Series, No. 5, Vol. I, February 2, 1884</div> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Various</div> - -<div style='display:block; margin:1em 0'>Release Date: March 30, 2021 [eBook #64962]</div> - -<div style='display:block; margin:1em 0'>Language: English</div> - -<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div> - -<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Susan Skinner, Eric Hutton and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)</div> - -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK CHAMBERS'S JOURNAL OF POPULAR LITERATURE, SCIENCE, AND ART, FIFTH SERIES, NO. 5, VOL. I, FEBRUARY 2, 1884 ***</div> -<p><span class="pagenum" id="Page_65">{65}</span></p> - -<h1>CHAMBERS’S JOURNAL<br /> -OF<br /> -POPULAR<br /> -LITERATURE, SCIENCE, AND ART.</h1> - -<div class="chapter"> -<h2 class="nobreak">CONTENTS</h2> -</div> - -<p class='center'> - -<!-- Autogenerated TOC. Modify or delete as required. --> - -<a href="#HAMPSTEAD_HEATH">HAMPSTEAD HEATH.</a><br /> -<a href="#BY_MEAD_AND_STREAM">BY MEAD AND STREAM.</a><br /> -<a href="#THE_MUSE_OF_PARODY">THE MUSE OF PARODY.</a><br /> -<a href="#TWO_DAYS_IN_A_LIFETIME">TWO DAYS IN A LIFETIME.</a><br /> -<a href="#GLIMPSES_OF_THE_SCOT_ABROAD">GLIMPSES OF THE SCOT ABROAD.</a><br /> -<a href="#IS_SMOKING_INJURIOUS_TO_HEALTH">IS SMOKING INJURIOUS TO HEALTH?</a><br /> -<a href="#TO_A_CHILD">TO A CHILD.</a><br /> - -<!-- End Autogenerated TOC. --> - -</p> - -<hr class="full" /> - -<div class="chapter"> -<div class="figcenter illowp100" id="header" style="max-width: 43.75em;"> - <img class="w100" src="images/header.jpg" alt="Chambers’s Journal of Popular Literature, Science, -and Art. Fifth Series. Established by William and Robert Chambers, 1832. Conducted by R. Chambers (Secundus)." /> -</div> - - -<hr class="full" /> -<div class="center"> -<div class="header"> -<p class="floatl"><span class="smcap">No. 5.—Vol. I.</span></p> -<p class="floatr"><span class="smcap">Price</span> 1½<em>d.</em></p> -<p class="floatc">SATURDAY, FEBRUARY 2, 1884.</p> -</div></div></div> - -<hr class="full" /> - - -<div class="chapter"> -<h2 class="nobreak" id="HAMPSTEAD_HEATH">HAMPSTEAD HEATH.</h2> -</div> - - -<p><span class="smcap">Hampstead Heath!</span> What a world of delight -seemed concentrated in that name in the days -of childhood, when donkey-riding was not yet -too undignified an amusement, and a gallop ‘cross -country’ through the bracken and furze struck -terror into the heart of nurse or parent, and -covered the rider with glory! Such feats of -horsemanship now belong to the irrevocable past; -but yet no part of the great ‘province of houses’ -known as London brings such pleasant memories -as the quaint old village on its northern outskirts -and the wild breezy heath that bounds it. Even -now, Hampstead is rather in London, than of -it, and keeps up customs that have died out elsewhere. -There, on the fifth of November, a gallant -procession takes its way through its steep winding -streets, and the centuries mingle with as little -regard to accuracy as they might do in a schoolboy’s -dream the night before an examination in -history. Gallant Crusaders in chain-mail, with -the red cross embroidered on their flowing white -mantles, jostle very nineteenth-century Guardsmen, -who in their turn seem to feel no surprise -at seeing Charles I. in velvet doublet and lace -collar talking amicably to a motley, spangled -harlequin. But were the inhabitants in this -their yearly carnival to picture the history of -their village and of the notable personages who -have lived in it, they might make a pageant as -long and varied as any that imagination can -invent.</p> - -<p>The manor of Hampstead was given by Edward -the Confessor to the monks of Westminster; and -subsequent monarchs conferred on them the -neighbouring manors of Belsize and Hendon. -It was at Hendon Manor-house that Cardinal -Wolsey made his first halt when journeying from -Richmond to York after his disgrace. At that -time, however, Hampstead itself had no great -claim to notice, its inhabitants being, we are told, -chiefly washerwomen, whose services were in great -demand among the inhabitants of London. That -this peaceful if humble occupation could be -carried on, proves at least that the wolves which, -according to Dame Juliana Berners’s <i>Boke of St -Albans</i>, abounded among the northern heights -of London in the fifteenth century, had been -exterminated by the end of the sixteenth. The -wild-boar lingered longer; and so late as 1772, -we hear of the hunting of a deer in Belsize Park. -This, however, can scarcely be regarded as genuine -sport, as it is advertised to take place among other -amusements intended to allure visitors to Belsize -House, which had been opened as a pleasure-house -by an energetic individual of the name of -Howell. He describes in his advertisement all -the attractions of the place, and promises for the -protection of visitors that ‘twelve stout fellows -completely armed will patrol between Belsize -and London.’</p> - -<p>Early in the eighteenth century chalybeate -wells were discovered at Hampstead, and as they -were recommended by several physicians, the -hitherto quiet village became a fashionable and -dissipated watering-place. Idle London flocked -there: youths who were delighted to show their -finery in a new place; girls who were young -enough to delight in the prospect of dancing all -night; gamblers of both sexes; wits and fops. -They danced, lost their money at cards and -dice, talked scandal of each other, and drank of the -chalybeate well, which Sam Weller has characterised -for all generations as ‘water with a taste -of warm flat-irons,’ till Hampstead lost its novelty, -and the company went elsewhere to go through -the same programme.</p> - -<p>Among the crowd of nonentities that frequent -the Hampstead Wells there is one notable figure, -that of Richard Steele. In 1712, Steele retired -from London to a small house on Haverstock -Hill, on the road to Hampstead. Here, doubtless, -his friend and fellow-labourer Addison visited -him; and the two would find in the humours and -follies of the company at the Wells material for the -next number of the <i>Tatler</i>, the publication of which -had now been going on for three years. Let us -picture the two friends passing together through -the gay company—Steele, radiant, we may be sure,<span class="pagenum" id="Page_66">{66}</span> -in gay apparel, seizing at once on the humorous -characteristics of the scene; while Addison would -tone down his companion’s exuberant fancy, and -draw his own thoughtful moralisings from the -follies he witnessed. On summer evenings they -would walk on the Heath, and admire the view -across the swelling green slopes to the town of -Harrow, where one day was to be educated my -Lord Byron, a young gentleman who would win -greater fame as a poet than even Addison’s -acquaintance—a protégé to begin with, an enemy -at last—the lame Catholic gentleman, Mr Alexander -Pope.</p> - -<p>The friendship between Steele and Addison -must ever remain a puzzle. They had talent -in common, Steele having the more original -genius, Addison the more cultivated taste; but -otherwise there seems no point of contact between -the natures of graceless, impulsive, erring, loving -Dick, and his cold, conscientious, methodical -comrade. To our century, as to his own, Steele -is ‘Dicky;’ the king made him Sir Richard, -and on the strength of his title he took a fine -house in Soho Square, and swaggered more than -ever, and increased his expenses and his debts, -but to all the world he was Dicky Steele still; -whereas, had the honour of a baronetcy befallen -Mr Secretary Addison, can we doubt that to all -posterity he would have been known as ‘Sir -Joseph?’ Yet these two men, unlike each other -as they were, united to perform in an unobtrusive -fashion a great work; they purified English -literature, and did much to reform English -manners. In a society which had learned to -regard truth, honesty, and virtue as absurd, -they showed, not the wickedness of vice—no one -would have listened to that—but its folly. When -the fops and gamblers found that they, as well -as the honest men they sneered at, could be made -the subject of satire, they began to doubt if their -cherished amusements were such essential characteristics -of ‘men of spirit’ as they had fancied. The -gulf that lies between the comedies of Wycherley -and those of Sheridan was first opened by the -gentle raillery of the <i>Tatler</i> and the <i>Spectator</i>. -The later dramatist had no keener moral sense -than the earlier, but he lived in an atmosphere -which, though by no means pure, was healthier -than that breathed by his predecessor; and in -which it was necessary that virtue, however weak, -should in the end defeat the vice that tried to -trade upon its feebleness.</p> - -<p>Of the clear-cut grace of style that distinguished -the writing of the <i>Spectator</i> there is no need to -speak; it still remains the model of English prose, -while the tiny, whitish-brown sheet, the perusal -of which used to add to the flavour of Belinda’s -morning chocolate, was the progenitor of the -immense mass of periodical literature that surrounds -us to-day. But if the two friends had -done nothing more than give us—Steele the first -sketch, Addison the finished portrait, of old-fashioned, -kind, eccentric Sir Roger de Coverley, -they would have deserved a high and loving -place in our memory.</p> - -<p>Thirty years later, the figure of another literary -man was to be seen at Hampstead. Not -so gorgeous as Dick, not so precise as Addison, is -slovenly, tea-drinking, long-worded Samuel Johnson; -but he is their legitimate successor, nevertheless. -He, too, is a man of letters, living by -the produce of his pen, and appealing for support -to the public, and not to the kindness or -charity of private patrons. Indeed, he scorns -such condescending patronage, as a certain stinging -letter to Lord Chesterfield remains to testify. -In 1748, Mrs Johnson, for the sake of the country -air, took lodgings at Hampstead; and there her -husband wrote his satire, <i>The Vanity of Human -Wishes</i>. Johnson did not spend all his time at -Hampstead, for he was obliged to return and -drudge in smoky London in order to provide for -her comfort. Boswell tells us that ‘she indulged -in country air and good living at an unsuitable -expense; and she by no means treated her husband -with that complacency which is the most engaging -quality in a wife.’ Yet Johnson loved faithfully -and mourned sincerely the querulous, exacting -woman, a quarter of a century older than himself, -and cherished an undoubting belief in her beauty; -while all save him perceived that if she had ever -possessed any—which they doubted—it had long -disappeared.</p> - -<p>Towards the end of the eighteenth century, -Hampstead became the dwelling-place of two -famous lawyers, both of them Scotch—Lords -Erskine and Mansfield. Thomas Erskine, youngest -son of the tenth Earl of Buchan, and ‘a penniless -lad with a lang pedigree,’ began life as a midshipman; -but disliking the service, he, after his father’s -death, invested the whole of his little patrimony -in the purchase of an ensigncy in the 1st Foot. -When, some years later, he felt his true vocation -to be the bar, he was burdened with the responsibility -of a wife and children; and it was only by -the exercise of economy nearly approaching privation -that he succeeded in maintaining himself -during the three years’ study that must elapse -before he was called to the bar. Even when he -received his qualification, it seemed that he was -to fail through lack of opportunity to display his -talents; but opportunity came at last, and his -brilliant career led to the Lord Chancellorship of -England, a peerage, and the Order of the Thistle. -All the power of his oratory and of his ever-increasing -influence was devoted to the promotion -of freedom, civil and religious. He stood up -boldly for the independence of juries against the -bullying of judges; he advocated concessions to -the Catholics; and carrying his love of mercy and -justice beyond the human race, he brought into -parliament a bill for the prevention of cruelty to -animals. The measure failed; for popular feeling -on the subject was then such as is expressed in -the famous couplet—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Things is come to a pretty pass,</div> - <div class="verse indent0">When a man mayn’t wollop his own jackass.</div> - </div> -</div> -</div> - -<p>But before Erskine died, it had become law.</p> - -<p>William Murray, Earl of Mansfield, was the -eleventh of the fourteen children of Viscount -Stormont, of the castle of Scone, in Perthshire. -So poor was his lordship, that, as we are told by -Mansfield’s biographer, the only fare he could -provide for those fourteen mouths—which though -high-born, were every whit as hungry as if they -had been peasants’—was oatmeal porridge. The -family was Jacobite in politics, so its fortunes -were little likely to improve; but by the -influence of Bishop Atterbury, who was at -heart a Jacobite too, little Willie was admitted -to Westminster School. He made good use of<span class="pagenum" id="Page_67">{67}</span> -his time there; and by listening to the debates -in Westminster Hall he became enamoured of -the law, and resolved to devote himself to it. -Difficulties enough lay before him; but by the -aid of an indomitable perseverance, a gentle -manner, and a voice so musical that none could -listen to it unmoved, he conquered them all. -Throughout his legal career he was noted for -strict integrity and justice. He advocated free -trade and religious toleration, and used every -effort in his power to decrease the waste of time -and money in the business of law-courts; but -his greatest title to honour is that he was the first -to decide that no slave could remain a slave on -English soil.</p> - -<p>Early in this century, the year after Waterloo -was fought, Hampstead was familiar with the -forms of three men to whom life gave only scorn, -insult, and disappointment, yet whose memory -lingers about it and makes it hallowed ground. -In 1816, Leigh Hunt lived at Hampstead in a -part called the Vale of Health; and there Keats, -who lodged in the village, and Shelley were his -frequent visitors. Each of the three was more -or less a martyr. For the crime of describing -the Prince Regent—whose memory as George IV. -is not highly honoured—as an ‘Adonis of fifty,’ -Hunt was thrown into prison; while the political -reviews and journals abused his graceful poems -and scholarly essays as if they had been firebrands, -to extinguish which every exertion must be made. -They succeeded in torturing him, in reducing -him to poverty and dependence, but they did -not succeed in changing Leigh Hunt’s convictions. -He would not bow down to the Adonis of -fifty.</p> - -<p>Shelley was rather a visitor than a resident at -Hampstead Heath; but Keats composed not a -few of his poems here. The sorrows of his -sorrowful life had not yet reached their climax -in 1816. Already he was struggling with poverty, -disease, and hopeless, passionate love; but he had -not yet published those poems which were to -rouse such wrath in the bosoms of a few critics, -and such delight in thousands of readers. But -at Hampstead most of them were written. Here -he breathed life into the long dead myth of -Endymion, surrounding it with such a wealth of -description as seems scarcely possible to a youth -of such limited experience. Can commonplace -Hampstead Heath, the chosen resort of Bank-holiday -excursionists, be the prototype of that -Grecian valley where the goddess of night stooped -to kiss Endymion! Here were written the sad -story of <i>The Pot of Basil</i> and the legend of <i>The -Eve of St Agnes</i>; here, in 1819, was composed that -most exquisite <i>Ode to a Nightingale</i>, which, even -were it his only production, might place Keats -among our greater poets.</p> - -<p>The memory loves to trace the footsteps of -departed greatness; but even did no such recollections -as these endear Hampstead Heath, it -would still be precious as a spot where half-asphyxiated -Londoners may inhale a fresh untainted -breeze, and children may romp to their -hearts’ content. ‘I like Hampstead Heath much -better than Switzerland,’ says a small boy in -one of Du Maurier’s sketches in <i>Punch</i>. ‘But -you haven’t seen Switzerland,’ objects his sister, -a practical young lady a year or two older. -‘O yes; I have seen it on the map,’ is his reply. -And if he had really visited Switzerland, the little -fellow would perhaps still have preferred the -broken, sandy soil, the grass and ferns, of Hampstead -Heath.</p> - -<p>Du Maurier is the Heath’s own artist. He -lives on its borders, and most of the backgrounds -of his out-of-door sketches are borrowed from its -scenery. He may daily be seen there—till lately -accompanied by his dog Chang, the great St -Bernard whose portrait has so often appeared in -the pages of <i>Punch</i>. But, alas! Chang is no -more; he has fallen a victim to consumption and -heart-disease, and Hampstead weeps for him. -Seldom has any dog been so widely lamented. -‘He is mourned by a large circle of friends,’ -said the <i>World</i>, ‘and the family of which he was -so long a member is inconsolable for his loss.’</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak x-ebookmaker-important" id="BY_MEAD_AND_STREAM">BY MEAD AND STREAM.</h2> -</div> - -<p class="ph3">BY CHARLES GIBBON.</p> - - -<h3>CHAPTER VII.—AN UNLOVED LIFE.</h3> - -<p><span class="smcap">It</span> was a little time before the father spoke -again. But without being able to see his face, -even without being able to hear him breathe, -Philip felt that he was struggling with something -in himself. Perhaps it was only a struggle to -regain that composure of manner which he had -temporarily lost. In this he succeeded. But -was that all Mr Hadleigh was struggling with -in those few moments of silence? At anyrate, -when he spoke, his voice was steadier than -before; more like its ordinary tone, but without -its hardness.</p> - -<p>‘Before I proceed, may I ask what was the -purport of the two letters you received?’</p> - -<p>‘The one was simply urging me on no account -to fail to start in the <i>Hertford Castle</i> as arranged, -and assuring me of such welcome as I might -desire.’</p> - -<p>‘That was not much to write about. And the -other?’</p> - -<p>‘The other inclosed a note which I am to -deliver personally to a firm of solicitors in the -City, and requesting that I should bring with -me the packet they would intrust to my care.’</p> - -<p>‘Is that all?’</p> - -<p>‘That is all, sir.’</p> - -<p>‘One question more. Are you <i>very</i> anxious -to make this journey, which may end in nothing? -Is there no one here who could persuade you -to give it up altogether?’</p> - -<p>Philip was a good deal perplexed as to how -he should answer this question. There was Some -one who could have persuaded him to stay at -home; but the sweet voice of that Some one was -again whispering in his ear, ‘It was your mother’s -wish that you should go;’ and besides, there was -the natural desire of youth to see strange countries -and peoples.</p> - -<p>‘I thought, sir, that this question of my going -out to Uncle Shield had been all settled long -ago,’ he replied awkwardly, for he knew that -any reference to the command laid upon him -by his mother always disturbed his father.</p> - -<p>‘That is not an answer to my questions.’</p> - -<p>‘Well, I consider it my duty to go.’</p> - -<p>‘And you wish to go?’</p> - -<p>‘I do—now. Even setting aside the prospects -he holds out to me, I feel that I must go.’</p> - -<p><span class="pagenum" id="Page_68">{68}</span></p> - -<p>The father made a mental note of the fact -that his son gave no reply to the second question; -but he did not press it farther at this moment. -He seemed to draw breath, and then went on -in a low voice: ‘I think, Philip, you have not -found me an exacting parent. Although I have -never failed to point out to you the way in which -it would please me most to see you walk, I have -never insisted upon it. And I will own that -on your part your conduct has been up to a -certain point satisfactory.’</p> - -<p>‘Thank you, sir.’</p> - -<p>‘That certain point is your procrastination -in the choice of your future career. You have -shown that you do not care about business—and -my own conviction is that you are unfitted -for it—and you will not decide upon a profession. -Although you have dabbled in medicine -and law, you have not entered earnestly upon -the study of either. I have been patient with -this wavering state of mind which you have -displayed ever since you left the university. -I do not wish to force you into any occupation -which you may dislike, and would, therefore, -certainly fail in; for then you would console -yourself by blaming me for being the cause -of your failure.’</p> - -<p>‘Oh, no, no—do not think me so ungrateful.’</p> - -<p>‘But I did hope,’ continued the father calmly, -without heeding the interruption, ‘that before you -came to think of marriage, you would have settled -with yourself upon some definite course of action -in the future.’</p> - -<p>‘Your reproaches are just, sir,’ answered Philip -earnestly and with some agitation, ‘and I deserve -them. But this journey will decide what I -am to be and do.’</p> - -<p>‘I did not mean to reproach you,’ said the -father, and again there was that distant note -of sadness which sounded so strangely in his -voice; ‘but it seemed to me right to remind you -of these things before telling you the rest. I -reproach myself more than you.’</p> - -<p>‘I do not understand.’</p> - -<p>‘Listen. My young life was passed in a home -which had been suddenly stricken down from -wealth and ease to poverty. On every hand I -heard the one explanation given for my father’s -haggard looks, my mother’s wasting illness, for -my poor sister’s white face and constant drudgery -with her needle, and for my own unsatisfied -hunger; and that explanation was—the want -of money.... I resolved that I should conquer -this demon that was destroying us all—I resolved -that I should have money.’</p> - -<p>Here he paused, as if the memory of that time -of misery proved too painful for him. Philip’s -sympathetic nature was drawn closer to his father -at that moment than it had ever been before. He -rose impulsively and grasped his arm. In the -darkness the forms of the two men were indistinguishable -to each other; but with that sympathetic -touch each saw the other clearly in a -new light.</p> - -<p>‘My poor father,’ murmured Philip, clenching -his teeth to keep down the sob that was in his -throat.</p> - -<p>There was silence; and at that moment a pale -gleam of moonlight stole across the room. But it -seemed only to darken the corner in which the -two men stood.</p> - -<p>By-and-by Mr Hadleigh gently removed his -son’s hand.</p> - -<p>‘Sit down again, Philip, or go over to the -window so that I may see you.’</p> - -<p>Philip walked quietly to a place opposite the -window, and putting his hands behind him, rested -them on the ledge of a bookcase, leaning back -so that the light fell full upon his frank, handsome -face, making it look very pale in his anxiety. -He knew that his father was gazing earnestly at -him, and as he could not see him, he was glad -to hear his voice again, which in some measure -took away the uncomfortable feeling produced -by the singular position.</p> - -<p>‘You know that I gained my object,’ Mr -Hadleigh proceeded, with a mingling of bitterness -and regret in his voice; ‘but at what a -cost!... All the lightness of heart which makes -the lives of even the poorest children happy at -times—all the warmth of hope and enthusiasm -which brightens the humblest youth, were gone. -It was not hope that led me on: it was determination. -All emotion was dead within me: at -twenty I was an old man; and in the hard -grasping struggle with which I fought against -the demon Poverty, and won the favour of the -greater demon, Wealth—even love itself was -sacrificed.’</p> - -<p>He paused again; but this time Philip did not -speak or move. There was something so pitiful -as well as painful in this confession that he was -dumb.</p> - -<p>‘They—father, mother, sister—all died before -I had broken down the first barrier between me -and fortune. I shed no tears: each death in -poverty hardened me more and more.... It was—your -mother who enabled me to break down -the first barrier’——</p> - -<p>‘Ah, I am glad of that,’ exclaimed the son with -a burst of happy relief.</p> - -<p>‘Wait. I did not know what love was: I did -not love her.’ (Philip started, but remained -silent.) ‘She had money: I married her for it. -She did not love me; but she had quarrelled -with the man she did love, and accepted me in -her mad chagrin. We understood each other, -and I was content—she was not. From the day -of her marriage to the day of her death, her life -was one weary lamentation that in her moment -of passion I had crossed her path—a life of self-scourging -and regret for the man she loved. I -saw it, and knew it; but I did not know what -love was, and I could not pity it. I did know -something of hate; and I believed she hated -me.... Had she only cared for me a little, it -might have been different,’ he added in a lower -voice, and as if speaking to himself.</p> - -<p>‘You wrong her, father, you wrong her,’ said -Philip in a husky, tremulous voice.</p> - -<p>‘It may be; but I did not know then, what -I understand too well now. A pity, a pity—for -it might have been so different! As it was, her -brother turned from her too, and would not -forgive her. He hated me—he hates me: because -the lover she had deserted was his close friend; -and whilst I prospered, his friend failed. In a -few years the man had lost everything he possessed, -and died—some say by his own hand: -killed by me, as your mother seemed to believe, -and as Austin Shield does believe. I had ruined -his life, he said, and I was as much responsible<span class="pagenum" id="Page_69">{69}</span> -for his death, as if I had given him poison or -shot him. These were the last words Shield ever -spoke to me.’</p> - -<p>‘It must have been in mere passion. He -cannot believe that now, or he would not send -for me.’</p> - -<p>‘I do not know. I went on my way, unheeding -his words, and would have forgotten him, but for -your mother’s grief. I had no home-life; but I -did my duty, as it seemed to me. The money -which had been brought to me was repaid with -compound interest: all that money could buy -was at your mother’s command: all that she -could wish for her children was supplied to -them, and you all seemed satisfied. But I was -not with you—you were hushed and lifeless in -my presence, and seemed only happy in my -absence. Sitting in this room, I have heard -your voices raised in gladness, and if I passed in -amongst you, seeking for that strange something -which the Demon Wealth with all his gold could -not supply, it seemed as if the Demon sat upon -my shoulder, frightening you and rendering you -speechless. So I lived alone, although so near -you, and my Familiar became kinder and kinder -to me, until I wearied of him. I sought I did -not know what, and could not find it.’</p> - -<p>He stopped, breathing heavily, as if suppressing -his emotion.</p> - -<p>‘Oh, if you had only spoken to us as you -are speaking to me now, father!’ cried Philip, so -earnestly that it sounded like a reproach.</p> - -<p>‘It would have been better,’ was the sad reply. -‘I tell you these things that you may understand -the proposal I am about to make to you. I now -know what love is, and as too often happens, the -knowledge comes too late. But it will help me -in my effort to make two people happy. Can you -guess who they are?’</p> - -<p>‘I am afraid you must inform me.’</p> - -<p>‘Yourself and Ma—Miss Heathcote. I propose -that you should stay at home and marry as soon -as may be agreeable to the lady. I shall settle -upon you a sufficient fortune to enable you to -live comfortably; but I shall expect you to enter -some profession. Do you consent?’</p> - -<p>Here was a proposal at which Philip’s whole -nature jumped gleefully. But that voice was in -his ears, and he overcame the temptation.</p> - -<p>‘It was my mother’s wish that I should go, if -my uncle ever summoned me,’ he said in a respectful -but decisive voice, ‘and I must go.’</p> - -<p>‘So be it,’ rejoined the father, and there was -a note of bitterness in his tone; ‘I shall not again -attempt to alter your plans.’</p> - -<p>There was a peculiar emphasis on the ‘I.’</p> - - -<h3>CHAPTER VIII.—‘WILL YOU SPEAK THAT WORD?’</h3> - -<p>Madge was singing as she dressed in her pretty -little room, filled with the exhilarating breath -of the early morning, which the wide open -window admitted freely. This was no dainty -lady’s chamber full of costly nick-knacks. Everything -in it was useful, and everything was so -bright and simple, that glancing into it on a -winter’s day, one might have imagined that -summer still lingered here.</p> - -<p>As she stood at the chintz-draped toilet-table -she could see the green glades apparently rising -amidst the trees, one glade half in shadow, another -with its dewdrops glistening like diamonds in the -morning sunshine. Beyond that on the high -ground were yellow plains of ripe grain, relieved -by black and gray patches, which she knew to -be fields of beans and tares. Down below there, -at the foot of the meadows, the calmly flowing -river sent silver flashes through every space left -by the willows and elms. Farther on, she saw -the stumpy tower of the old village church -struggling to raise its head through a mass of ivy. -And to all this her window, with its surrounding -network of rose-tree branches, formed a suitable -frame.</p> - -<p>It was not a blithe song she was singing, and -yet the hope that was in her voice and in her -eyes took away from it all thought of sadness. -It was that now old-fashioned but once popular -song of the <i>Soldier’s Tear</i>, and she dwelt with -sympathy on the lines, ‘Upon the hill he turned, -to take a last fond look.’ She repeated them -dreamily again and again, and then her face -would brighten into smiles when the happier -picture presented itself of the time when she -should stand on the top of the hill, or at the -more probable although more prosaic railway -station, welcoming Philip home.</p> - -<p>Ah, it was much better to think of that. -And then, what was a year, or what were two -years, to reckon in their young lives, when all -the succeeding years would be theirs to pass -together—always together—no matter what Aunt -Hessy might say? Besides, there would be his -letters! He would speak to her in them every -day, and she would speak to him every day. Of -course, the ridiculous postal arrangements would -not permit them to receive the letters on the -day they were written; but when they <i>were</i> -delivered, they would contain a full record of -their daily lives.</p> - -<p>Up from the barnyard came the loud voice of -one of the labourers, rising above the obstreperous -squeaking of the pigs he was feeding, as he -drawled out a verse of some rustic ballad—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Ow Mary Styles, Ow Mary Styles,</div> - <div class="verse indent2">It’s ’long ov yow I’m dying,</div> - <div class="verse indent0">But if yow won’t have me at last,</div> - <div class="verse indent2">Why, then, there’s no use crying.</div> - </div> -</div> -</div> - -<p>A delightful combination of sentiment and -philosophy, thought Madge, smiling.</p> - -<p>Then came the other sounds which intimated -that another day’s work of the farm had begun. -The milk-cans rattled as they were whirled out -of the dairy to the waiting carts; merry jests -were passed between the men and maids; harness -clattered and clanked as the horses were put -into the carts or reaping-machine; and there was -much horse-language mingling with the confusion -of dialects as the harvest hands turned out to -the fields. The melancholy ‘moo’ of the cows -rose from the barn as, having been milked, they -were driven out to the meadows; the cocks, -although they had been crowing since daybreak, -crowed with louder defiance than ever, now that -their hens were cackling and clucking around -them; and the ducks emitted their curious self-satisfied -‘quack’ as they waggled off to the -pond.</p> - -<p>All these sounds warned Madge that she was -somewhat later than usual in getting downstairs.</p> - -<p><span class="pagenum" id="Page_70">{70}</span></p> - -<p>She was a little startled when she discovered -on the hall table a letter bearing the Ringsford -Manor crest; for she knew at once it was not -from Philip, and feared that some mishap might -have befallen him. She knew it was not from -him, because he never used this crest, although -all the other members of the family did. It had -been the outcome of Miss Hadleigh’s vanity, to -which the others took kindly, whilst Philip -laughed at it.</p> - -<p>She learned that the note had been delivered -about half an hour ago by young Jerry Mogridge, -who left a special message that the ‘flunkey’ who -gave it to him said it was to be given to her the -moment she came down. She was surprised to -find that it was from Philip’s father, and still -more surprised by its contents.</p> - -<div class="blockquot"> - -<p><span class="smcap">My Dear Miss Heathcote</span>—The unusual hour -at which this will be delivered will at once -apprise you that the motive which prompts it is -an important one. I cannot tell you how important -it is in my eyes; and I hope and believe -that you will not only appreciate the motive, but -cordially sympathise with it.</p> - -<p>Only a few hours ago I had to ask your -assistance in a matter which entirely concerned -myself; in the present instance I have to ask -your assistance in a matter on which, I believe, -your own happiness depends. You shall judge -for yourself; and your answer will enable me -to decide a question which has of late occupied -my mind a great deal.</p> - -<p>You have not hitherto heard me raise any -objection to the journey Philip is about to make. -To-day I decided that he ought not to go away. -But after a long and painful conversation with -him, I find that no words of mine can move him -from his purpose.</p> - -<p>Now, my dear Miss Heathcote, will you help -me to hold him back from this useless enterprise?</p> - -<p>I think you will—unless I am mistaken as -to the nature of your feelings in regard to -him.</p> - -<p>My first and chief reason for desiring to keep -him at home is my anxiety to see you and him -happy—to see you two united, and him, under -your influence, working earnestly in some profession.</p> - -<p>I fear there is much danger that this desire -of mine will never be realised, if he is permitted -to spend a year with one who would delight in -thwarting any wish of mine. You know his -impulsive and impressionable nature. You are -too young for experience to have taught you—and -I earnestly trust it may never teach you—that -absence, change of scene, and adverse counsels -are not the most favourable conditions for keeping -the most honest man steadfast.</p> - -<p>Pray, do not misunderstand me. I do not doubt -Philip. He is honest; but with such a nature -as his, I think the trial of his honesty is too -severe; and I object to it all the more because -it is absolutely unnecessary. My proposal to him -is that he should abandon this journey, that -he should enter a profession at once, and that -you should be married at as early a date as -you may be inclined to fix. I need not say -that you will be provided with ample means.</p> - -<p>In the course of my life, few of the desires -springing from my affections have been gratified. -I beg of you to gratify this one. Although he -resolutely declines to forego his purpose for my -sake, I feel assured that you have only to speak -one word—‘stay’—and he will forego it for -yours.</p> - -<p>Will you speak that word?</p> - -<p>Believe me, your humble servant,<br /> -<span class="smcap ml4">Lloyd Hadleigh.</span> -</p> -</div> - -<p>There was something so pathetic and yet so -strange in this appeal of the father that she should -keep his son near him, that Madge was pained as -well as bewildered. Keep Philip at home!—marry -him!—be happy!—help to steady his -impulsive nature and influence him in some good -work! What else was there that she could desire -more? How beautiful the visions were that these -suggestions conjured up. Her face brightened as -if a blaze of sunshine fell upon it ... and then -it suddenly darkened.</p> - -<p>She, too, like Philip remembered the dead -mother’s wish, and hesitated. But the question -presented itself: if his mother had been alive now -and had understood all the circumstances, would -she have insisted upon this wish—which seemed -to cause the father so much anxiety—being carried -out?</p> - -<p>She read the letter again, and this time her -cheeks flushed a little at the doubt of her implied -in the words, ‘unless I am mistaken as to the -nature of your feelings.’ The unpleasant sensation -was only momentary. How could he—how even -could Philip—realise her feelings? But she also -became conscious of a certain vagueness in the -reasons given for the anxiety expressed by Mr -Hadleigh. Were she to grant the appeal, would -it not be a proof of her want of faith in Philip? -<i>That</i> idea was enough to make her answer ‘no’ -at once.</p> - -<p>And yet she hesitated. The poor old man -was evidently very much in earnest. (She always -thought of Mr Hadleigh as an old man, older -than Uncle Dick, although he was twenty years -younger than the latter.) To say ‘no’ would -cause him much pain: to say ‘yes’ would afford -him much happiness, and at the same time bring -about the completion of her own.</p> - -<p>There was a yelping of dogs, and above it the -stentorian voice of her uncle shouting: ‘Down, -Dash, down—here, Rover, here—be quiet, Tip, -you brute.’</p> - -<p>The door opened, dogs rushed in and bounded -round Madge in wild delight. They were followed -by Uncle Dick, his fresh ruddy face beaming with -the happiness of health and content.</p> - -<p>‘What are you dreaming about, Madge? -Breakfast ready? We are as hungry as if we -had been starving for a week. Thought I should -have met you in the meadow as usual. What’s -the matter?’</p> - -<p>‘I am trying to solve a riddle, uncle.’</p> - -<p>‘What!’ he exclaimed with a burst of laughter, -‘at this time in the morning. O ho! I see -Master Philip was here too long yesterday.’</p> - -<p>‘Will you try it?’</p> - -<p>‘Don’t be a fool. Call the Missus and let’s -have breakfast.’</p> - -<p>‘To please me, uncle,’ she said, putting her -hand on his arm.</p> - -<p>‘Well, what is it?’</p> - -<p><span class="pagenum" id="Page_71">{71}</span></p> - -<p>‘Suppose somebody asked you to do something -that you wanted to do yourself, what would you -say?’</p> - -<p>‘That’s easily answered—yes, of course.’</p> - -<p>‘But, suppose there were reasons connected -with other people on account of which you ought -to say “no,” what would you do?’</p> - -<p>‘Please myself.—Now, let’s have our victuals, -and confound your riddles, or I’ll send for the -doctor and the parson at once.’</p> - -<p>There was not much help to Madge in this -easy settlement of the difficulty. But she had -a maxim which did help her: whenever you -have a doubt as to which of two courses you -should take, choose the one which is least agreeable -to yourself. She decided to follow it in -this instance, as she had done in many others -of less importance.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="THE_MUSE_OF_PARODY">THE MUSE OF PARODY.</h2> -</div> - - -<p><span class="smcap">Reader</span>, are you of those who cannot tolerate -their favourite authors or their favourite poems -being parodied? A lady-friend of the writer’s -lately said, in regard to one of the best-known -poems of a distinguished poet: ‘I admired and -liked it once; but I can hardly read it now, since -I saw that dreadful parody of it that appeared in -<i>Punch</i>.’ If you are of this sensitive class, we -fear this article is not for you. But we feel pretty -sure of an audience; for we know that the large -majority of readers can relish a clever parody -without in the least losing their enjoyment in or -respect for the thing parodied. And it is well -that it is so; for parody in some shape and to -some extent is early as the beginnings of literature -itself; and if the fame of poets depended -on their immunity from travesty, every poet that -has ever won his bays, and whose reputation now -rests secure and impregnable, would have been -laughed out of court long since.</p> - -<p>In speaking of modern English parody, one’s -thoughts turn first, almost inevitably, to the -brothers Horace and James Smith, who, in -<i>Rejected Addresses</i>, may be regarded as the first -to practise parody in a systematised fashion, -as a vehicle of fun and humour. The <i>Rejected -Addresses</i> won high praise from Jeffrey, who pronounced -the parody on Crabbe ‘an exquisite -and masterly imitation;’ while the poet himself -declared it to be ‘admirably done.’ We shall -give a short extract from it, which we think hits -off Crabbe’s manner in a way that fully justifies -Jeffrey’s criticism:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">John Richard William Alexander Dwyer</div> - <div class="verse indent0">Was footman to Justinian Stubbs, Esquire;</div> - <div class="verse indent0">But when John Dwyer listed in the Blues,</div> - <div class="verse indent0">Emanuel Jennings polished Stubbs’s shoes.</div> - <div class="verse indent0">Emanuel Jennings brought his youngest boy</div> - <div class="verse indent0">Up as a corn-cutter—a safe employ;</div> - <div class="verse indent0">In Holywell Street, St Pancras, he was bred</div> - <div class="verse indent0">(At number twenty-seven, it is said),</div> - <div class="verse indent0">Pacing the pump, and near the Granby’s Head.</div> - <div class="verse indent0">He would have bound him to some shop in town,</div> - <div class="verse indent0">But with a premium he could not come down.</div> - <div class="verse indent0">Pat was the urchin’s name—a red-haired youth,</div> - <div class="verse indent0">Fonder of purl and skittle-grounds than truth.</div> - </div> -</div> -</div> - -<p>In regard to the parody of Sir Walter Scott -in <i>Rejected Addresses</i>, the poet himself said: ‘I -must have done it myself, though I forget on -what occasion.’ Here are a few lines descriptive -of the Drury Lane Theatre on fire:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">At length the mist awhile was cleared,</div> - <div class="verse indent0">When lo! amid the wreck upreared,</div> - <div class="verse indent0">Gradual a moving head appeared,</div> - <div class="verse indent2">And Eagle firemen knew</div> - <div class="verse indent0">’Twas Joseph Muggins, name revered,</div> - <div class="verse indent2">The foreman of their crew.</div> - <div class="verse indent0">Loud shouted all in signs of woe,</div> - <div class="verse indent0">‘A Muggins to the rescue, ho!’</div> - <div class="verse indent2">And poured the hissing tide.</div> - </div> -</div> -</div> - -<p>Thackeray was especially happy and especially -funny in his Irish burlesques. <i>Larry O’Toole</i>, -a parody of the rollicking Irish bacchanalian -songs with which Charles Lever made us so -familiar, admirably hits the medium between -close imitation and high burlesque. There is a -dash in it both of <i>Larry O’Hale</i> and the <i>Widow -Malone</i>. We quote two of the three verses:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">You’ve all heard of Larry O’Toole,</div> - <div class="verse indent0">Of the beautiful town of Drumgoole.</div> - <div class="verse indent6">He had but one eye</div> - <div class="verse indent6">To ogle ye by;</div> - <div class="verse indent0">Och, murther, but that was a jew’l!</div> - <div class="verse indent10">A fool</div> - <div class="verse indent0">He made of the girls, this O’Toole.</div> - </div> - <div class="stanza"> - <div class="verse indent0">’Twas he was the boy didn’t fail,</div> - <div class="verse indent0">That tuck down purtaties and mail;</div> - <div class="verse indent6">He never would shrink</div> - <div class="verse indent6">From any sthrong dthrink;</div> - <div class="verse indent0">Was it whisky or Drogheda ale,</div> - <div class="verse indent10">I’m bail</div> - <div class="verse indent0">This Larry would swallow a pail.</div> - </div> -</div> -</div> - -<p>Moore’s well-known lines—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">I never nursed a young gazelle</div> - <div class="verse indent2">To glad me with its soft dark eye,</div> - <div class="verse indent0">But when it came to know me well,</div> - <div class="verse indent2">And love me, it was sure to die—</div> - </div> -</div> -</div> - -<p>have been frequently parodied. Here is one -version which, we think, is not very familiar:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">I never had a piece of toast</div> - <div class="verse indent2">Particularly long and wide,</div> - <div class="verse indent0">But fell upon the sanded floor,</div> - <div class="verse indent2">And always on the buttered side.</div> - </div> -</div> -</div> - -<p>The following is by Mr H. C. Pennel, author -of <i>Puck on Pegasus</i>:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">I never roved by Cynthia’s beam,</div> - <div class="verse indent2">To gaze upon the starry sky,</div> - <div class="verse indent0">But some old stiff-backed beetle came,</div> - <div class="verse indent2">And charged into my pensive eye.</div> - </div> - <div class="stanza"> - <div class="verse indent0">And oh! I never did the swell</div> - <div class="verse indent2">In Regent Street among the beaus,</div> - <div class="verse indent0">But smuts the most prodigious fell,</div> - <div class="verse indent2">And always settled on my nose!</div> - </div> -</div> -</div> - -<p>In those two delightful volumes, <i>Alice in -Wonderland</i> and <i>Through the Looking-glass</i>, ‘Lewis -Carroll’ gives us some capital travesties. Mr -Southey’s poem beginning ‘“You are old, Father -William,” the young man said,’ is so familiar, -that every reader will appreciate the point of -the burlesque, without needing the original before -him:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">‘You are old, Father William,’ the young man said,</div> - <div class="verse indent2">‘And your hair has become very white;</div> - <div class="verse indent0">And yet you incessantly stand on your head—</div> - <div class="verse indent2">Do you think at your age it is right?’</div> - </div> - <div class="stanza"> - <div class="verse indent0">‘In my youth,’ Father William replied to his son,</div> - <div class="verse indent2">‘I thought it might injure the brain;</div> - <div class="verse indent0">But now that I’m perfectly sure I have none,</div> - <div class="verse indent2">Why, I do it again and again.’</div> - </div> -</div> -</div> -<p><span class="pagenum" id="Page_72">{72}</span></p> -<p>The old nursery song, ‘“Will you walk into my -parlour?” said the Spider to the Fly,’ the same -writer has likewise burlesqued:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">‘Will you walk a little faster?’ said a whiting to a snail;</div> - <div class="verse indent0">‘There’s a porpoise close behind me, and he’s treading on my tail.</div> - <div class="verse indent0">See how eagerly the lobsters and the turtles all advance!</div> - <div class="verse indent0">They are waiting on the shingle—will you come and join the dance?</div> - <div class="verse indent0">Will you, won’t you, will you, won’t you, will you join the dance?</div> - <div class="verse indent0">Will you, won’t you, will you, won’t you, won’t you join the dance?’</div> - </div> -</div> -</div> - -<p>The late Mr J. R. Planché, whose innumerable -fairy extravaganzas were so full of fun and -humour, was also an expert in parody. We give -the first verse of a burlesque by him of the once -popular song, <i>When other Lips</i>:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">When other lips and other eyes</div> - <div class="verse indent2">Their tales of love shall tell—</div> - <div class="verse indent0">Which means the usual sort of lies</div> - <div class="verse indent2">You’ve heard from every swell;</div> - <div class="verse indent0">When, bored with every sort of bosh,</div> - <div class="verse indent2">You’d give the world to see</div> - <div class="verse indent0">A friend whose love you know will wash,</div> - <div class="verse indent2">Oh, then remember me!</div> - </div> -</div> -</div> - -<p>The funniest burlesque of Wordsworth’s <i>We -are Seven</i>, with which we are acquainted, is by -Mr H. S. Leigh:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">‘I thought it would have sent me mad</div> - <div class="verse indent2">Last night about eleven.’</div> - <div class="verse indent0">Said I: ‘What is it makes you bad?</div> - <div class="verse indent0">How many apples have you had?’</div> - <div class="verse indent0">She answered: ‘Only seven.’</div> - </div> - <div class="stanza"> - <div class="verse indent0">‘And are you sure you took no more,</div> - <div class="verse indent2">My little maid?’ quoth I.</div> - <div class="verse indent0">‘Oh, please, sir, mother gave me four,</div> - <div class="verse indent2">But they were in a pie.’</div> - </div> - <div class="stanza"> - <div class="verse indent0">‘If that’s the case,’ I stammered out,</div> - <div class="verse indent2">‘Of course you’ve had eleven.’</div> - <div class="verse indent0">The maiden answered with a pout:</div> - <div class="verse indent2">‘I ain’t had more nor seven.’</div> - </div> -</div> -</div> - -<p>Here are four lines from a travesty of Tennyson’s -<i>May Queen</i>—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">‘You may lay me in my bed, mother—my head is throbbing sore;</div> - <div class="verse indent0">And mother, prithee, let the sheets be duly aired before;</div> - <div class="verse indent0">And if you’d do a kindness to your poor desponding child,</div> - <div class="verse indent0">Draw me a pot of beer, mother—and, mother, draw it mild.’</div> - </div> -</div> -</div> - -<p>It is not necessary to name the original of the -following. We quote two of the three verses -which compose the whole:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">He wore a brace of pistols, the night when first we met;</div> - <div class="verse indent0">His deep-lined brow was frowning beneath his wig of jet;</div> - <div class="verse indent0">His footsteps had the moodiness, his voice the hollow tone,</div> - <div class="verse indent0">Of a bandit chief, who feels remorse, and tears his hair alone.</div> - <div class="verse indent2">I saw him but at half-price, but methinks I see him now,</div> - <div class="verse indent2">In the tableau of the last act, with the blood upon his brow.</div> - </div> - <div class="stanza"> - <div class="verse indent0">A <i>private</i> bandit’s belt and boots, when next we met, he wore;</div> - <div class="verse indent0">His salary, he told me, was lower than before;</div> - <div class="verse indent0">And standing at the O. P. wing, he strove, and not in vain,</div> - <div class="verse indent0">To borrow half a sovereign, which he never paid again.</div> - <div class="verse indent2">I saw it but a moment—and I wish I saw it now—</div> - <div class="verse indent2">As he buttoned up his pocket with a condescending bow.</div> - </div> -</div> -</div> - -<p>Tennyson’s well-known lyric, <i>Home they brought -her warrior dead</i>, has been thus amusingly parodied -by Mr Sawyer:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Home they brought her sailor son,</div> - <div class="verse indent2">Grown a man across the sea,</div> - <div class="verse indent0">Tall and broad, and black of beard,</div> - <div class="verse indent2">And hoarse of voice as man may be.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Hand to shake, and mouth to kiss,</div> - <div class="verse indent2">Both he offered ere he spoke;</div> - <div class="verse indent0">But she said: ‘What man is this</div> - <div class="verse indent2">Comes to play a sorry joke?’</div> - </div> - <div class="stanza"> - <div class="verse indent0">Then they praised him, called him ‘smart,’</div> - <div class="verse indent2">‘Tightest lad that ever stept;’</div> - <div class="verse indent0">But her son she did not know,</div> - <div class="verse indent2">And she neither smiled nor wept.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Rose, a nurse of ninety years,</div> - <div class="verse indent2">Set a pigeon-pie in sight;</div> - <div class="verse indent0">She saw him eat: ‘’Tis he, ’tis he!’</div> - <div class="verse indent2">She knew him—by his appetite.</div> - </div> -</div> -</div> - -<p>The following clever parody of Wordsworth’s -<i>Lucy</i> is but little known. It was written by -Hartley Coleridge, and reappeared some years ago -in <i>Notes and Queries</i>. We shall quote the first -verse of the original:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">She dwelt among the untrodden ways,</div> - <div class="verse indent2">Beside the banks of Dove;</div> - <div class="verse indent0">A maid whom there were none to praise,</div> - <div class="verse indent2">And very few to love.</div> - </div> -</div> -</div> - -<p>We give two of the three verses composing the -parody:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">He lived among the untrodden ways,</div> - <div class="verse indent2">To Rydal Mount that lead;</div> - <div class="verse indent0">A bard whom there were none to praise,</div> - <div class="verse indent2">And very few to read.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Unread his works—his <i>Milk-white Doe</i></div> - <div class="verse indent2">With dust is dark and dim;</div> - <div class="verse indent0">It’s still in Longman’s shop; and oh!</div> - <div class="verse indent2">The difference to him!</div> - </div> -</div> -</div> - -<p>From a parody of Tennyson’s <i>Mariana</i>, which -appeared in an Australian paper, we take the -concluding verse. The burden of the original -ballad, it will be remembered, runs:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent4">She only said: ‘My life is dreary;</div> - <div class="verse indent6">He cometh not,’ she said;</div> - <div class="verse indent4">She said: ‘I am aweary, aweary—</div> - <div class="verse indent6">I would that I were dead!’</div> - </div> - <div class="stanza"> - <div class="verse indent0">They lifted him with kindly care;</div> - <div class="verse indent2">They took him by the heels and head;</div> - <div class="verse indent0">Across the floor, and up the stair,</div> - <div class="verse indent2">They bore him safely to his bed.</div> - <div class="verse indent0">They wrapped the blankets warm and tight,</div> - <div class="verse indent2">And round about his nose and chin</div> - <div class="verse indent2">They drew the sheets, and tucked them in,</div> - <div class="verse indent0">And whispered: ‘Poor old boy—Good-night!’</div> - <div class="verse indent0">He murmured: ‘Boys, oh, deary, deary,</div> - <div class="verse indent2">That punch <i>was</i> strong,’ he said;</div> - <div class="verse indent0">He said: ‘I am aweary, aweary—</div> - <div class="verse indent2">Thank heaven, I’ve got to bed!’</div> - </div> -</div> -</div> - -<p>An American magazine published some years -ago a series of burlesques of the old nursery -rhymes, of which we give specimens:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Little Jack Horner,</div> - <div class="verse indent0">Of Latin no scorner,</div> - <div class="verse indent2">In the second declension did spy</div><span class="pagenum" id="Page_73">{73}</span> - <div class="verse indent0">How of nouns there are some</div> - <div class="verse indent0">Which, ending in <i>um</i>,</div> - <div class="verse indent2">Do <i>not</i> make their plural in <i>i</i>.</div> - </div> -</div> -</div> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Jack and Jill</div> - <div class="verse indent0">Have studied Mill,</div> - <div class="verse indent2">And all that sage has taught too;</div> - <div class="verse indent0">Now both promote</div> - <div class="verse indent0">Jill’s claim to vote,</div> - <div class="verse indent2">As every good girl ought to.</div> - </div> -</div> -</div> - -<p>The case for the evolutionists is thus tersely -put by an American poet, parodying <i>Sing a song -of Sixpence</i>:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Sing a song of phosphates,</div> - <div class="verse indent2">Fibrine in a line,</div> - <div class="verse indent0">Four-and-twenty follicles</div> - <div class="verse indent2">In the van of time.</div> - <div class="verse indent0">When the phosphorescence</div> - <div class="verse indent2">Evoluted brain,</div> - <div class="verse indent0">Superstition ended,</div> - <div class="verse indent2">Man began to reign.</div> - </div> -</div> -</div> - -<p>Pope’s familiar couplet—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Here shall the spring its earliest sweets bestow,</div> - <div class="verse indent0">Here the first roses of the year shall blow—</div> - </div> -</div> -</div> - -<p>has been thus travestied by Miss Catherine Fanshawe, -who accomplishes the step from the sublime -to the ridiculous by the change of two words -only:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Here shall the spring its earliest coughs bestow,</div> - <div class="verse indent0">Here the first noses of the year shall blow.</div> - </div> -</div> -</div> - -<p>Among living parodists, few, if any, excel Mr -C. S. Calverley, who seems to possess every qualification -for success in this sort of work. The -reader will at once recognise how happily he has -caught Tennyson’s method and manner in the -following parody of <i>The Brook</i>, especially in the -blank-verse portion. We quote two verses and -the conclusion:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent4">‘I loiter down by thorp and town;</div> - <div class="verse indent6">For any job I’m willing;</div> - <div class="verse indent4">Take here and there a dusty brown,</div> - <div class="verse indent6">And here and there a shilling.</div> - </div> - <div class="stanza"> - <div class="verse indent4">‘I steal from th’ parson’s strawberry plats,</div> - <div class="verse indent6">I hide by the Squire’s covers;</div> - <div class="verse indent4">I teach the sweet young housemaids what’s</div> - <div class="verse indent6">The art of trapping lovers.’</div> - </div> - <div class="stanza"> - <div class="verse indent0">Thus on he prattled like a babbling brook.</div> - <div class="verse indent0">But I: ‘The sun hath slipt behind the hill,</div> - <div class="verse indent0">And my Aunt Vivian dines at half-past six.’</div> - <div class="verse indent0">So in all love we parted; I to the Hall;</div> - <div class="verse indent0">They to the village. It was noised next noon</div> - <div class="verse indent0">That chickens had been missed at Syllabub Farm.</div> - </div> -</div> -</div> - -<p>We had noted down several other examples of -parody by different authors, which might have -served further to illustrate our subject. Our -selections have necessarily lost something of force -and pertinence, from the fragmentary condition -in which we have been obliged to present them; -but the reader, if he be sufficiently interested -in the matter, may easily go to the original -sources.</p> - -<p>It needs not to be pointed out that there are -limits to parody, as to all other forms of light and -sportive literature, whose main object is, after all, -to divert and amuse. Good taste should guide -the course of parody, in fact should never be -absent from it. Let the parodist hit as hard -as he pleases, but let him deal no foul blow, -nor aim his strokes at aught that tradition and -the world’s verdict have made sacred and to be -revered. Parody may be as clever, laughable, -and amusing as you can make it; but it should -always be good-natured, fair, and gentlemanly.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="TWO_DAYS_IN_A_LIFETIME">TWO DAYS IN A LIFETIME.</h2> -</div> - -<p class="ph3">A STORY IN EIGHT CHAPTERS.</p> - -<p class="ph3">BY T. W. SPEIGHT.</p> - - -<h3>CHAPTER V.</h3> - -<p><span class="smcap">After</span> his rebuff by Lady Dimsdale, the Baronet -made up his mind to set off home as soon as -possible. He was stung as he had rarely been -stung in his life before, and was in no humour -for the company of any one. But before he could -get away, an almost incredible rumour reached -his ears that Mr Boyd’s long-lost wife had -unexpectedly appeared at Rosemount. This was -enough to induce Sir Frederick to change his -plans, especially when backed up by the Captain’s -pressing invitation to stay for dinner, for who -could tell what unexpected turn events might -now take? So he sent his groom in the dogcart -to fetch his dress clothes, and made up his -mind to remain where he was till the following -morning.</p> - -<p>Sir Frederick had easily discovered, by questioning -one of the servants, in which particular -room Mr Boyd and his wife had located themselves. -It was the room next the library. So into -the library went Sir Frederick, on the pretext -of having some letters to write, and there he sat -with the door a little way open—waiting. A -certain strange idea was fermenting in his brain, -which he could not get rid of till he had satisfied -himself whether it had any foundation in fact -or otherwise. The moment he saw Boyd pass -the library door, he knew that the opportunity -for which he had been waiting had come.</p> - -<p>Sir Frederick advanced a step or two, and -looked round, as if in search of some one. ‘Pardon -my intrusion,’ he said with a bow; ‘but—Mr -Boyd—is he not here?’</p> - -<p>‘Mr Boyd has left the room for a few minutes. -He will be back presently.’</p> - -<p>The Baronet gave a well-simulated start at the -first sound of Mrs Boyd’s voice. Then he seemed -to regard her attentively for a moment or two, -with his head a little on one side. ‘Pardon me,’ -he said with a half-smile of inquiry, ‘but have -I not the honour of addressing Mrs Boyd?’</p> - -<p>At this question she seemed to freeze suddenly. -Her eyes traversed him from head to foot before -she answered him; then in cold clear tones she -said: ‘I am the wife of Oscar Boyd.’</p> - -<p>‘I thought I could not be mistaken,’ replied -the Baronet, with his most insinuating smile.—‘I -am Sir Frederick Pinkerton. But it is so long -since I had the pleasure of seeing you last, that -in all probability you have quite forgotten me.’</p> - -<p>There was something about him that had evidently -aroused her suspicions. She was at a -loss to know what ground to take with him. -‘Yes—I cannot quite call you to mind,’ she said -hesitatingly, after a little pause. ‘And yet? No. -Tell me where I have seen you before.’</p> - -<p>‘At New Orleans.’</p> - -<p>‘Ha! I have not been at New Orleans for -many years.’</p> - -<p><span class="pagenum" id="Page_74">{74}</span></p> - -<p>‘I met you on two or three occasions in society, -a few months after your marriage.’</p> - -<p>‘Yes—I think I remember you now. But it -is a long time ago, monsieur, and I was introduced -to so many people about that time.’</p> - -<p>‘I entertain a very distinct recollection of you, -madam.’</p> - -<p>‘I am indeed flattered, monsieur.’ She smiled -a little set smile, which came and went as if it -were produced by clockwork. She was evidently -far from being at her ease.</p> - -<p>‘Your unexpected appearance must have been -a great surprise to Mr Boyd—a surprise and a -pleasure in one. The return of a wife whom he -believed to have been lost to him for ever several -years ago! What a unique experience!’</p> - -<p>‘An experience, monsieur, which very few -husbands, I am afraid, would care to have brought -home to themselves. You have an English proverb, -“Out of sight, out of mind.” That is a very -true proverb.’</p> - -<p>‘Fie, fie! Mrs Boyd. You must not be so -severe on us poor men. We are not all alike. -Take your own case as an instance. You come -back, from the tomb as it were, after I know not -how many years, and find your husband still -faithful to your memory.—Ah no; you must not -malign us all.’</p> - -<p>Was he mocking her, or what, this smiling, -smooth-faced man? She was becoming more -vaguely uneasy every minute, she scarcely knew -why.</p> - -<p>‘The sight of you this morning, Mrs Boyd,’ -resumed the Baronet, ‘brings to my memory a -certain little incident which I had all but forgotten. -In those days, I was something of a traveller. -About a year subsequently to my introduction to -you, madam, I found myself in Mexico.’</p> - -<p>Mrs Boyd could not repress a start, but she -did not speak.</p> - -<p>‘While there, singular to say, I made the acquaintance -of a certain relative of yours, who inquired -most particularly concerning your welfare.’</p> - -<p>Mrs Boyd’s face might have been seen to pale -even under its artificial colouring. She steadied -her voice by an effort. ‘Of a relation of mine, -monsieur! May I ask his name?’</p> - -<p>‘Don Diego Riaz.’ He pronounced the name -slowly, looking fixedly at her the while.</p> - -<p>‘Ha!’ She fell back a step, as if some one had -aimed a blow at her, and then one hand went up -quickly to her heart. Both hatred and fear shone -out of the eyes with which she stared at him.</p> - -<p>‘By heavens! I have hit the mark,’ said the -Baronet to himself.</p> - -<p>‘Who can this man be? How much does he -know?’ was her unspoken thought.</p> - -<p>‘I am afraid you are ill, Mrs Boyd,’ remarked -the Baronet.</p> - -<p>‘A spasm; a mere nothing,’ she answered.—‘To -return to what you were saying. I have neither -seen nor heard anything of Don Diego Riaz -for many years, and I hope neither to see nor hear -anything of him in time to come. There was -no love lost between him and me.’</p> - -<p>‘His was a singular character, and strange tales -were told of him. For instance, it was whispered -that on one occasion when a certain member of -his family left home without his knowledge or -consent, he’——</p> - -<p>‘Spare me the recital, I pray of you. The -mere mention of that man’s name is hateful to -me! utterly hateful!’ Her voice was charged -with passion, her black eyes seemed to strike -fire. She walked across to the window and then -came back again.</p> - -<p>Sir Frederick felt that he had pursued the -topic as far as it was safe to do so. ‘’Tis she; -I can no longer doubt,’ he murmured to himself. -‘I have not forgotten what I was told in -Mexico.’</p> - -<p>‘How much or how little does this man know?’ -Estelle kept asking herself. She was seriously -uneasy.</p> - -<p>‘Do you purpose making a long stay in England, -Mrs Boyd?’ asked the Baronet in his most matter-of-fact -tone.</p> - -<p>‘I think not, Sir Frederick. My husband talks -about sailing for South America in a few days. -He has lost nearly the whole of his fortune. <i>N’est -ce pas?</i>’</p> - -<p>‘I believe so. I was prodigiously sorry to hear -of it.—Do you accompany your husband abroad, -Mrs Boyd?’</p> - -<p>‘Monsieur! Is it not a wife’s duty to -accompany her husband anywhere and everywhere? -And consider for how many years Oscar -and I have been separated! He would not leave -me behind him for the world.’</p> - -<p>‘Yours must be a romantic story, Mrs Boyd. -I hope we shall have the pleasure of hearing -from your lips some particulars of your marvellous -escape.’</p> - -<p>At this moment Mrs Bowood entered the room. -She could contain herself no longer. What was -Mr Boyd about, that he did not at once introduce -his wife to herself and the Captain? Then she -was dying to apologise for her mistake of the -morning; besides which, her sense of hospitality -was outraged by the fact that Mrs Boyd had been -all this time in the house without having been -shown to her rooms or asked to partake of -refreshments of any kind. Such a state of affairs -must be put an end to forthwith.</p> - -<p>Mrs Bowood came forward with her most genial -smile. ‘I am come to apologise for my absurd -mistake of this morning, though it was partly -your own fault, my dear Mrs Boyd.’ She had -hold of both Estelle’s hands by this time. ‘How -do you do? How do you do? Allow me to -welcome you to Rosemount.—Ah, Sir Frederick, -you here?’ This was said with some surprise.</p> - -<p>‘I had the honour of making Mrs Boyd’s -acquaintance several years ago.’</p> - -<p>‘Wonders will never cease.’ Then turning to -Estelle, she went on: ‘Only to think that I -mistook you for a French governess! But you -ought to have let me know at first who you were, -and then matters would have been set right at -once.’</p> - -<p>‘I wanted to surprise my husband,’ answered -Estelle, with downcast eyes. ‘I wanted to see -whether he would know me again, after so long -a time.’</p> - -<p>‘As if he could help knowing you and he -your husband! I can imagine how overjoyed -he must have been to see you again.’</p> - -<p>‘<i>Cher</i> Oscar! He was distracted with joy. -He could scarcely speak to me at first for -emotion.’</p> - -<p>Sir Frederick smiled cynically, but did not -speak.</p> - -<p><span class="pagenum" id="Page_75">{75}</span></p> - -<p>‘No chance for Laura now,’ said Mrs Bowood -to herself. ‘How fortunate this woman did not -come a day later.’</p> - -<p>Mrs Bowood had left the room-door wide open, -and at this juncture her eye caught sight of Lady -Dimsdale, who was passing along the corridor -on her way to the side-door that opened into the -grounds. ‘Laura, Laura! come here,’ she called. -‘I want to introduce you to Mrs Boyd.’</p> - -<p>‘The woman he kissed!’ muttered Estelle -between her teeth.</p> - -<p>‘Checkmate for my Lady Disdain,’ remarked -Sir Frederick to himself with a shrug.</p> - -<p>Lady Dimsdale hearing herself called by name -turned back, and entered the room. She looked -a little paler than ordinary, but was perfectly -composed. Going straight up to Estelle, she -held out her hand. ‘Mrs Boyd and I have met -already,’ she said in her most matter-of-fact -tone.</p> - -<p>‘Ah, <i>oui</i>,’ answered Estelle with a shrug, as -she took the proffered hand for a moment and -then let it drop.</p> - -<p>‘Met before!’ exclaimed Mrs Bowood in amazement.</p> - -<p>‘A couple of hours ago,’ said Lady Dimsdale.</p> - -<p>‘For one minute only,’ explained Estelle.</p> - -<p>‘Then I must introduce you.—This is Lady -Dimsdale, one of my dearest friends.—Laura—Mrs -Boyd.’</p> - -<p>‘I am enchanted to make the acquaintance of -Lady Dimsdale.’</p> - -<p>‘’Tis a pity Lady D. cannot return the compliment,’ -muttered Sir Frederick to himself.</p> - -<p>Mrs Bowood turned to him. ‘By-the-bye, Sir -Frederick, have you seen the Captain since -luncheon?’ With that the two crossed over to -the window and began to talk together.</p> - -<p>‘Mrs Boyd, I feel that some explanation is -due to you,’ said Lady Dimsdale in a low voice to -the other.</p> - -<p>‘I have not asked for any explanation, Lady -Dimsdale.’</p> - -<p>‘I repeat that one is due to you.’</p> - -<p>‘As you please,’ answered the other, with a -little lifting of her shoulders; and with that she -sat down and yawned unmistakably behind her -handkerchief.</p> - -<p>‘Mr Boyd and I were acquainted many years -ago, before he went abroad,’ began Lady Dimsdale. -‘He was a frequent visitor at my father’s vicarage. -After he went away, I never saw him again till -yesterday. This morning, fully believing that -you had been dead for many years, he asked me -to become his wife.’</p> - -<p>‘You did not say No,’ sneered Estelle.</p> - -<p>‘At that moment you entered the room.’</p> - -<p>‘It was very bad taste on my part, I confess. -Had I known how you were engaged, I would -have waited five minutes longer.’</p> - -<p>‘With all my heart, I wish that you had come -an hour sooner!’</p> - -<p>‘I told you that I did not require any explanation. -Now that you have chosen to press one on -me, what is the value of it? <i>Absolument rien!</i> -The world is wide, and one kiss more or less is -of little consequence.’ She rose, and crossed to -the table and opened a book of photographs.</p> - -<p>‘And that woman is Oscar Boyd’s wife!’ said -Lady Dimsdale to herself as she looked after her. -Her heart was very, very bitter.</p> - -<p>Mrs Bowood turned as Estelle crossed to the -table. ‘I am afraid you will think us all very -inhospitable, Mrs Boyd,’ she said; ‘but it is -your husband’s fault that you did not come in -to luncheon. However, a tray will be ready for -you in a few minutes. By-the-bye, has any one -shown you your rooms?’</p> - -<p>‘My rooms, madame! We—that is, my husband -and I—are going to London by the next -train. At least, that is what Oscar says.’</p> - -<p>‘Going away by the next train! Mr Boyd had -promised to stay a week, and why need he go -away because you have arrived?’</p> - -<p>‘I only know, madame, that he told me he was -going away.’</p> - -<p>‘That will never do. I must talk to him; and -Captain Bowood must talk to him; and you, -Lady Dimsdale, and you, Sir Frederick, must add -your persuasions to ours to induce Mr Boyd not -to run away from us in this sudden fashion. -Next week we have two picnics and an archery -meeting—and Mrs Boyd has been so long away -from England!’</p> - -<p>‘I am sure Mr Boyd can’t be hard-hearted -enough to resist all our entreaties,’ said the -Baronet. ‘The influence of Lady Dimsdale alone -might’——</p> - -<p>‘You rate my influence too highly, Sir Frederick,’ -interrupted Laura hastily, while a warm -flush mounted to her cheek. ‘In a matter like -this, Mr Boyd probably knows his own business -better than any one.’</p> - -<p>The Baronet, in nowise disconcerted, turned -to Estelle: ‘To run away from us so soon would -be cruel indeed.’ Then to Mrs Bowood: ‘I am -sure we are all anxious for the pleasure of Mrs -Boyd’s further acquaintance. We want to know -her better—we want to hear the story of her -adventures, of her wonderful escape from shipwreck.’</p> - -<p>‘A dangerous man this—I hate him!’ muttered -Estelle between her teeth.</p> - -<p>‘Yes—of course—the story of the shipwreck,’ -cried impulsive Mrs Bowood. ‘I had forgotten -that for the moment. We are all dying to hear -it.’</p> - -<p>Estelle’s eyes were on Lady Dimsdale. ‘The -woman he kissed says nothing,’ was her unspoken -comment. Then turning to Mrs Bowood, she -said: ‘The shipwreck? O yes, I will tell you -all about the shipwreck—but not to-day. I am -a little tired.’</p> - -<p>‘I am sure you must be, and hungry too. We -have all been very remiss,’ replied the mistress -of Rosemount. Then putting her arm into that -of Estelle, she added: ‘But your tray will be -ready by this time, and Mr Boyd must join you -when he comes down. Meanwhile, I want to -introduce you to Captain Bowood.—Laura, dear, -you are coming?’</p> - -<p>‘I will join you in a few minutes,’ was Lady -Dimsdale’s reply. She wanted to be alone.</p> - -<p>Mrs Bowood and Estelle quitted the room -together. Sir Frederick lingered behind for a -moment.</p> - -<p>‘What a happy man our friend Boyd must be -to-day.—Don’t you think so, dear Lady Dimsdale?’ -he said with a smirk.</p> - -<p>‘Very happy, Sir Frederick,’ answered Laura, -looking him steadily in the eyes. ‘Who can -doubt it?’</p> - -<p><span class="pagenum" id="Page_76">{76}</span></p> - -<p>‘Lucky dog! lucky dog!’ ejaculated the -Baronet as he followed the other ladies from -the room.</p> - -<p>Lady Dimsdale sank into an easy-chair. ‘His -wife! His wife!’ How the words kept ringing -in her brain. ‘Thank heaven she came at the -moment she did, and not five minutes later! -And yet if she had come an hour sooner, that -would have been better still. Would it? I don’t -know. I cannot tell. His words were so sweet -to me! Did I answer him? No. He looked -into my eyes and read his answer there. And -now I must never see him or think of him more! -Oh, my darling—the love of my girlhood—the -only love of my life—it is hard to bear, hard -to bear!’ She felt as if her heart were surcharged -with tears; they glistened in her eyes.</p> - -<p>At this moment Oscar Boyd entered the room. -He gave a little start when he saw who was in -it. He had not expected to find her there. From -the head of the staircase, just as he was on the -point of coming down, he had seen his wife and -Mrs Bowood enter the dining-room, and he guessed -what had happened during his absence. The -hard set look on his pale face softened inexpressibly -as his eyes rested on Lady Dimsdale. -‘Laura!’ he said, pausing for an instant with -the handle of the door in his hand.</p> - -<p>She neither looked up nor answered him; -for a moment or two she was afraid to trust either -her eyes or her voice.</p> - -<p>He shut the door, and went forward and took -one of her hands. ‘Laura!’ he said again, and -there was a world of tenderness in the way he -pronounced that one little word.</p> - -<p>Then she looked up, and he saw the tears -shining in her eyes. ‘Oscar!—I may call you so -for the last time—we ought to have parted without -another word.’</p> - -<p>‘I could not have gone away without seeing -you again, if only for a few minutes.’</p> - -<p>‘You <i>are</i> going away?’</p> - -<p>‘By the next train.’</p> - -<p>‘It is better so.’</p> - -<p>‘Laura! when I spoke to you this morning, it -was in the full belief that I was a free man—that -no tie existed on earth to debar me from -saying the words I said then.’</p> - -<p>‘I know it—I know it.’</p> - -<p>‘The woman—my wife—whom I had every -reason to believe had died long ago, will accompany -me when I leave this place. But to-morrow -she and I will part for ever. Her future will -be duly cared for, and after that I shall never -see her again. Laura! you and I may never meet -again after to-day. Think of me sometimes -when I am far away.’</p> - -<p>‘Always—always.’</p> - -<p>‘O heavens, when I think how happy we might -have been! And now!’ Strong man though -he was, it was all he could do to keep himself -from breaking down. He was possessed by an -almost irresistible impulse to fling his arms round -her and press her passionately to his heart.</p> - -<p>Love’s fine instinct told Laura something of -what was passing in his breast. She stood up -and laid one hand softly on his arm. ‘You had -better go now,’ she said very gently. ‘No more -words are needed between you and me. We -know what we know, and no one can deprive -us of that knowledge.’</p> - -<p>He felt the wisdom of her words. To delay -that which was inevitable was merely to prolong -her misery and his own. Besides, his wife might -enter the room at any moment. And yet—and -yet it was so hard to have his treasure torn from -him at the very moment he had made it his -own!</p> - -<p>Laura had a rose in the bosom of her dress. -She took it out and fixed it in his button-hole. -‘Now go. Not another word,’ she whispered.</p> - -<p>‘I shall write to you once before I sail,’ he said.</p> - -<p>‘No—no; better not.’</p> - -<p>He did not dispute the point, but took each -of her hands in one of his. For the space of -a few seconds they stood heart to heart, as it -were, gazing into each other’s eyes. Then Oscar -lifted first one hand and then the other, and pressed -them to his lips with a sort of reverent passionate -tenderness. ‘Farewell, my darling, farewell!’</p> - -<p>The words struck a chill to her heart. They -were the last anguished cry of love and happiness -lost for ever.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="GLIMPSES_OF_THE_SCOT_ABROAD">GLIMPSES OF THE SCOT ABROAD.</h2> -</div> - - -<p><span class="smcap">A few</span> years ago, I was what is called a ‘globe-trotter,’ -by which title, as the reader knows, is -meant that distinctively modern personage—the -world-tourist. He is the creation of the steamboat -and the rail, and of all the Ariel-like capabilities -due to recent discoveries and improvements -in locomotion by land and sea. The term -globe-trotter is suggestive. One conjures up a -traveller, knapsack on back, poking his nose -into the Himalayas, sauntering across Sahara, -brushing past the Pyramids, leaving his card at -Calcutta, scampering over the American prairie, -lunching at Rome, and dropping in to see the -Seven Churches of Asia. The voyager of to-day -can buttonhole Old Father Time, and be on -familiar terms with his primal relative Space. -It was thus that in the course of two or three -years I was fortunate enough to visit most of the -embryo kingdoms which make up our colonial -empire, as well as Britain’s great dependency in -the East. As need scarcely be said, I boasted a -note-book, for what traveller of this era is without -one, wherewith on his return to publish Passages, -Reminiscences, Fly-leaves, or Jottings of his -unique wanderings? From the memoranda made -during this tour round the world, I have compiled -several incidents connected with the Scot abroad. -These pretend to be nothing more than ripples -on the current of colonial life, giving slight hints -as to moods and bearing of the Scot abroad, in -the varying scenes of his exile.</p> - -<p>It is a truism to say that Scotsmen are to be -found in every corner of the habitable globe. As -I once heard a Melbourne Englishman remark: -‘If there were no Scotchmen, what would the -world do for bank-managers?’ They have been -noted as enterprising emigrants, and, in a large -number of cases, successful colonists. I met with -few instances of Scotchmen complaining in respect -of their material welfare. One man in Queensland -had a somewhat unique grievance, which, -however, he set forth with a twinkle in the eye: -‘There’s the government spendin’ pounds upon -pounds in bringin’ oot folk to this country, while -here’s me wi’ fifteen bairns, maistly a’ born here, -an’ I’ve never got a penny for ony o’ them!’</p> - -<p><span class="pagenum" id="Page_77">{77}</span></p> - -<p>Otago is perhaps the most Scottish of any -portion of the colonial empire, though Ontario -runs it very close. Dunedin is almost undiluted -in its Scottish nationality, and is a city of considerable -stir. Sabbatarian questions, as well as -the question of instrumental music in the church, -are warmly discussed in Otago. At a certain -gathering of Presbyterian clergymen, one of them -urged that organs should be introduced in order -to draw more young people to the church; upon -which an old minister remarked that this was -acting on the principle of ‘O whistle, an’ I’ll come -to ye, my lad!’ The Scot abroad has a great love -for the institutions of his native country, and -endeavours to transplant as many of them as circumstances -will allow. Even the winter weather -of Scotland induces kindly recollections in the -breasts of old settlers. I remember, after a -phenomenal fall of snow in Dunedin, the like -of which had not been seen for twenty years, an -elder of the kirk exclaiming, as he rubbed his -hands: ‘Sic glorious snaw-ba’ fechts we had—it -mindit me o’ langsyne! Man, I was sorry when -the thaw cam’ on.’ Caledonian Societies flourish -all over New Zealand as much as does the thistle -itself. On the Thames gold-field, in the province -of Auckland, there was a corps of Highland -Volunteers. Whenever they marched through -the town, they were invariably followed by numbers -of Maories, who tied blankets round their -waists, like kilts, and no doubt imagined themselves -sufficiently Celtic.</p> - -<p>The national dishes are much in vogue in New -Zealand. An English lady in Wellington, the -capital of that colony, on one occasion detailed -how she had tried to make a haggis in order to -please her husband, who hailed from north of -the Tweed. With the help of a cookery-book, -the numerous ingredients were collected and -prepared, and at last inserted in a big pot. Alas! -the haggis would not sink, despite renewed -efforts. The lady, in despair, called in an -experienced neighbour, who pierced the haggis -with a fork, and successfully ‘scuttled’ it. I am -sorry to add that after all the wife’s trouble and -anxiety, the dish proved a total failure. It is to -be hoped that her husband was not so difficult -to please as the well-to-do tradesman in Auckland, -who grumbled sorely as to New Zealand ‘not -being fit for a Scotsman to live in.’ ‘How’s -that?’ ‘Weel, the fact is I—I—canna get my -parritch made to please me!’ Talking of porridge, -the dish was a favourite in the Christchurch Hotel, -province of Canterbury, where it was cooked -by a Frenchman who now and again actually -spoke broken Scotch with a Parisian accent; -while at Wanganui, in the North Island, the -‘parritch’ was prepared by a Chinese cook.</p> - -<p>To say that Scotsmen abroad are still fond of -their national music is simply to say that they -do not cease to be Scotsmen. If anything, the -fondness becomes intensified. I once heard an -enthusiast in South Africa observe: ‘<i>My Ain -Fireside</i>—<i>Ye Banks and Braes</i>—<i>The Land o’ the -Leal</i>—eh! a body could be fit to gang to heaven -hearing thae sangs sung!’ At a mission-school -connected with the Scotch Church in Cape Town -I once listened to <i>Weel may the Boatie row</i>, sung -as a duet by a Dutch girl and a Malay, a result -attained by the enthusiasm of the Scottish schoolmaster. -It seemed to me as incongruous as -hearing the Old Hundred in the ‘Scots Kirk’ of -Calcutta, unwittingly accompanied by the tom-toms -of a Hindu festival transpiring in the street. -Now that I have taken the reader so far as India, -let me note also that in the Church of Scotland -College at Calcutta I saw an advanced class of -Bengali youths reading Scott’s <i>Lady of the Lake</i> -and making marginal notes. Returning to -Australia, a pleasant memory is that of an afternoon -spent in a school at Sandhurst, the aforetime -‘Bendigo.’ Here, after the ordinary class-duties -had been performed, the scholars were initiated -into the mysteries of Highland reels and strathspeys, -under the tutorship of an Aberdonian -dame, the Aberdonian schoolmaster accompanying -on the fiddle. I recollect, too, how an Irish -grocer in Adelaide, South Australia, was moved -to stand outside his door in the bright moonlight -evenings and play <i>Monymusk</i> on a tin whistle. -A vision of Canada now rises before me, with its -host of local bards, each with his wallet of poems -on his back, trudging from village to village—the -troubadours of the backwoods. Their warblings -were not of the snow-laden forest, the subdued -glory of the Indian summer, the autumn-gilded -maple, or the swift, miraculous dawn of the -Columbian spring. Their strains were those of -exile; strains of Scotia, of ‘hame,’ of rippling -burnies, of the purple heather, of the thousand-and-one -historic and sympathetic memories of -the dear old land. But hark! what sounds do we -hear echoing from a Sabbath school in Sacramento, -California? Scottish tunes, but linked to religious -words, the children singing a hymn of the church -militant to the melody of <i>Scots wha hae</i>; while <i>Ye -Banks and Braes</i> served as the tender medium -for stanzas of a more devotional character.</p> - -<p>The farmer is a notable figure in one’s Canadian -remembrances, the agricultural class comprising -about half the population. In Ontario you will -find many old Scotch settlers, and much could -be written upon their present and past experiences. -The times are considerably altered from -the days when the rough pioneering work had -to be done. I once met two aged farmers, one -of whom had seen eighty-three winters, who had -emigrated to Canada together about forty years -ago, and might have been taken for typical old -settlers. In telling their primitive toils and -privations, their weather-beaten faces were lit -up with an animation that was almost joyous in -its character. One related, as if it were some -rare humour, that his first log-hut in the backwoods -was at many places open to the heavens, -and that frequently he had to dust the snow off -his blankets before he went to bed. The wintry -theme suggests the story of a Scottish Canadian -who, on a voyage to the mother-country, was one -day found sleeping on deck, when the captain -roused him with a natural caution against sunstroke. -‘Sunstroke!’ scornfully replied the -awakened one. ‘It wad tak’ a’ the sun atween -here an’ Greenock to thaw the Canada frost oot -o’ my head.’</p> - -<p>In Salt Lake City there are not a few Scottish -Mormons. I chanced to have a brief conversation -there with a middle-aged Scotchwoman, who was -a follower of Brigham Young, and who did not -hesitate to magnify the virtues of polygamy. It -turned out, however, that her zeal was largely of -a theoretical nature, as the good lady did not seem<span class="pagenum" id="Page_78">{78}</span> -to believe in the system so far as it might entail -any discomfort upon herself. At Omaha I was -acquainted with a Highlander who in the first -days of Mormonism became converted to polygamy, -but who ultimately abjured the faith. -Many a time and oft, in Celtic daring, had he -stood on the banks of the Missouri River, lifting -up his voice in the wilderness like the Baptist -of old, denouncing Mormonism to the bands of -converts as they passed over the stream to the -ostensible Land of Canaan. His life was in daily -peril, but he escaped scathless from his self-imposed -mission. In San Francisco I saw Elder -Stenhouse, who had been until lately a chief -among the Utah Saints. He and his wife, both -Scotch people, had dedicated themselves honestly -to the new faith, but finding out its hollowness, -they shook off the dust of the desert—there is -plenty of it—from their shoes, and took farewell -of Salt Lake.</p> - -<p>In travelling about from place to place you -make acquaintance with a most interesting type -of character—that of the veteran Scotchman. In -Christchurch, New Zealand, I met a Waterloo -veteran, eighty-four years of age, yet with erect, -military carriage. With vivacious garrulity he -told that he was born in Fife; that he had -lodged at the house of Mrs Grant of Laggan; that -he knew ‘Jamie Hogg’ and Nathaniel Gow; that -he had been all through the Peninsular War, had -fought at Waterloo, and had been on half-pay -since 1817. A companion-figure was that of the -venerable Highlander of King William’s Town, -Cape Colony—a genial-hearted man, of stern brow -and with war-worn features—whose talk was a -strange blending of pleasant Scottish reminiscence -and weird stories of Kaffir campaigns in which -he had taken part. Again, while sailing up the -Suez Canal, on the voyage home from India, one -of my fellow-passengers was an old Scotsman who -had fought at Waterloo, and was then engaged -making a tour of the world. As he said, with -pleasant pathos: ‘I want to see all that’s to be -seen before I’m happit up in the mools’—a -phrase that can only be inadequately rendered -in English as ‘lying snug beneath the sod.’ He -left the steamer at Port Saïd, as he was bound -on an excursion to the Holy Land, and as the -quarter-master offered to carry his portmanteau, -the old fellow elbowed him aside, exclaiming: -‘Pooh, pooh; I’m a young man yet!’ Last and -not least notable of this class was an old and -well-preserved gentleman I met at Wellington, -New Zealand. He was an Edinburgh man, and -had been educated at the university there. He -had been acquainted with friends of Burns, had -known the poet’s ‘Chloris’ and ‘Clarinda,’ and -in speaking of the Potterrow always seemed to -regard it as still a fashionable street. To gossip -with him was like shaking hands with the -past.</p> - -<p>In going round the world, one is sure to find -relatives and souvenirs of famous men and women. -At Hobart-Town, Tasmania, there resided, when -I visited the town, the granddaughter of Neil -Gow and daughter of Nathaniel Gow, the composer -of <i>Caller Herrin’</i>. In the Waikato district -of the North Island of New Zealand, -about a hundred miles from the city of Auckland, -lives, I still trust, old Mrs Nicol, mother of -the late Robert Nicol, the celebrated Perthshire -poet. During a stormy passage in a small steamer -on the New Zealand coast, I had some interesting -chats with an Irish gentleman who had met and -talked with Sir Walter Scott in a chapel in Italy, -during the closing scenes of that busy life. I -may add also that at Listowel, in Ontario, I was -privileged to meet the brother of Dr Livingstone, -and was much struck with the facial resemblance -between him and the great traveller. In the -University of Dunedin the visitor can see, in a -gilt frame, a lock of Burns’s hair, labelled ‘A -genuine relic of the Poet, and modicum of a larger -lock owned by Jean Armour.’ A certain country -hotel in Tasmania lives in my memory from its -having distributed through its rooms an extraordinary -number of pictures of John Knox, the -religious character of the house being increased -by the fact that one of the apartments was used -as the ‘study’ of the Presbyterian clergyman of -the village. The name of John Knox, by association, -recalls to my mind the incident of the -eccentric Scot of Kaffraria, South Africa, who -had a portrait of Mary Queen of Scots hung in -his bedroom, and who, every morning on rising, -stretched his hands towards it, crying: ‘O my -poor murdered queen!’</p> - -<p>The visitor fresh from home is certain of -meeting with a kind welcome from his countrymen -abroad. The welcome need not be on -personal grounds. An Edinburgh man in Canada -once shook my hand warmly, saying: ‘I dinna -ken ye; I never met ye before; but I just want -to see a man that’s seen Arthur Seat since I saw -it.’ The love of home sometimes reaches an -intense pitch, as in the case of the Scotsman at -Fort Beaufort, in Cape Colony, who ejaculated: -‘I’d rather gang hame and be hanged, than dee -here a natural death!’ Again, an old man in -New Zealand remarked: ‘I doot I’ll no get -hame to Scotland again; but if onybody said: -“Ye shall not go,” I’d be off the morn’s mornin’!’ -With which forcible yet touching deliverance let -these glimpses conclude.</p> - -<p>I am afraid that during our brief bird’s-eye view -of colonial life, the reader has been dragged hither -and thither in a somewhat erratic course. The -irregularity, however, has been more apparent -than real. Whether amid Canadian snows, New -Zealand mountains, Australian bush, or South -African <i>veldt</i>, you meet with the same shrewd, -persevering Scotsman, steadily moving in his -colonial orbit, and moving none the less regularly -because of the tender gravitation of his heart -towards the central sphere of patriotic affection—dear -though distant Scotland.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="IS_SMOKING_INJURIOUS_TO_HEALTH">IS SMOKING INJURIOUS TO HEALTH?</h2> -</div> - - -<p><span class="smcap">Although</span> the above important question is so -frequently asked, more especially of medical men, -yet their replies are as a general rule either -of a vague or dogmatic nature that is anything -but satisfactory. There has been unlimited discussion -respecting the injurious effects of smoking, -ever since the first introduction of tobacco, and -a great deal of nonsense has unfortunately been -urged by enthusiasts on both sides. Some have -praised tobacco far beyond its merits; while -others have so enlarged upon its injurious and -poisonous qualities as to make one wonder that -anybody who smokes should be left alive at all.<span class="pagenum" id="Page_79">{79}</span> -Hitherto, however, no satisfactory solution of the -problem appears to have been arrived at. Our -object in this paper will be to deal as concisely as -possible with the subject upon its merits.</p> - -<p>In the first place, we may inform our readers -that smoking is and is not injurious. This apparently -contradictory assertion admits, however, of -the following explanation. In New England, it -has been with truth alleged that the thirst induced -by smoking is an active incentive to alcoholic -excess and its attendant evils. Now, on the -other hand, amongst Asiatic nations the reverse -holds good. Mr Lane—translator of the <i>Arabian -Nights</i>—when in the East, noticed that smoking -appeared to possess a soothing effect, attended with -slight exhilaration, and that it supplied the place -of alcoholic beverages. Mr Layard, whose knowledge -of eastern nations is most extensive, was -also of the same opinion. Mr Crawford, again, -an authority of high repute as regards Asiatic -habits, believes the use of tobacco has contributed -to the sobriety both of Asiatic and European -nations. Here we have two entirely contradictory -results, as, in North America smoking produces -dissipation; whilst in the East it not only -restrains, but takes its place. It is therefore -to climate, temperament, and bodily constitution -acting and reacting upon each other, that we may -trace so opposite an effect.</p> - -<p>The chemical constituents of tobacco are three, -the due consideration of which is highly important. -They are: (1) A volatile oil; (2) a volatile -alkali; (3) an empyreumatic oil. The volatile oil, -although in minute quantities, has a most powerful -action on the physical system, even in the -smallest dose; and when taken internally, gives -rise to nausea with giddiness. The volatile alkali -is <i>nicotine</i>, possessing narcotic and very poisonous -qualities; so much so indeed, that a single drop -of it is sufficient to kill a dog. The proportion -of this substance in the dry tobacco-leaf varies -from two to eight per cent., according to Professor -Johnston, who states that ‘in smoking a quarter -of an ounce of tobacco, two grains or more of -one of the most subtle poisons known may be -drawn into the smoker’s mouth;’ the reason why -he is not poisoned being because this deadly juice -is not concentrated. Empyreumatic oil (from Gr. -<i>empyreuo</i>, I kindle), the third active ingredient of -tobacco, is so called to express the burned smell -and acrid taste which result from the combustion -of the tobacco during smoking. This oil closely -resembles in its action that which is produced -from poisonous foxglove leaf (<i>Digitalis purpurea</i>). -A drop of empyreumatic oil when applied to the -tongue of a cat has produced convulsions and death -in a few minutes. Reptiles are destroyed by it -as through an electric shock. It must be borne -in mind that these three chemical ingredients are -<i>united</i> when smoking, and produce to a greater or -less degree their respective effects. A cigar when -smoked to the <i>end</i> effectually discharges into -the smoker’s mouth everything produced by its -combustion. When saliva is retained in the -mouth, the effects of tobacco in one sense become -more markedly developed on the nervous system. -On the other hand, when constant expectoration -takes place, digestion becomes impaired, from the -diminution of saliva, which plays an important -part in this function. We have heard medical -men, who were themselves smokers, aver that -the former is the least of the two evils; which -we hope is the case, as the habit of constant -expectoration in which many smokers indulge, -is certainly one of the most unpleasant concomitants -of the pipe or cigar.</p> - -<p>In a purely physiological sense, smoking acts -as follows: (1) The heart’s action becomes lowered; -(2) the elimination of carbonic acid is diminished, -thus interfering with the respiratory power; -(3) the waste of the body is checked, and digestion -to a certain extent impeded. Excessive smoking -disorders digestion, and, where the heart is weak, -often induces disease of that organ. It is by -no means uncommon to find habitual smokers -troubled with dyspepsia. Dr Leared considers -excessive smoking decidedly productive of indigestion. -Dr Pereira, who was a high authority on -such matters, when alluding to habitual smokers -in his celebrated <i>Materia Medica</i>, observes: ‘The -practice, when moderately indulged in, provokes -thirst, increases the secretion of saliva, and produces -that remarkably soothing and tranquillising -effect upon the mind which has caused it to be -so much admired and adopted by all classes of -society, and by all nations civilised and barbarous.’ -Later on, the same eminent authority states that -‘when indulged in to excess, and especially by -those unaccustomed to its use, smoking causes -nausea, trembling, and in some cases paralysis -and death.’ Instances are recorded of persons killing -themselves by smoking seventeen or eighteen -pipes at a sitting!</p> - -<p>In his luminous <i>Treatise on Poisons</i>, Dr Christison -states that ‘no well-ascertained ill effects -have been shown to result from the habitual practice -of smoking.’ On the other hand, Dr Prout, a -late distinguished physician and chemist, was of -a different opinion. He observes: ‘Tobacco disorders -the assimilating functions in general, but -particularly, I believe, the assimilation of saccharine -principle. It is the weak and those -predisposed to disease who fall victims to its -poisonous operation, whilst the strong and healthy -suffer comparatively little therefrom.’ So even -this learned physician’s opinion is to a certain -extent thus modified.</p> - -<p>The researches of Dr Richardson, F.R.S., are -of immense value with regard to the action of -tobacco upon the health. He is of opinion that -there are no grounds for believing that smoking—of -course, we infer, when indulged in with moderation—can -produce organic change. Functional -disturbances of the heart, brain, and vision, he -tells us, may be traced to its excessive use. It is -universally, however, admitted that tobacco, like -alcohol—in minute doses—arrests oxidation of -living tissues, thus checking their disintegration. -Dr Richardson, for this reason, justly considers -smoking highly injurious to the young, causing -impairment of growth.</p> - -<p>In the course of an important discussion which -took place between Sir Ranald Martin, Mr Solly, -Dr Ranking, and other scientific physicians, -the following important results were arrived at -respecting smoking: (1) That the habit is only -prejudicial when carried to excess; (2) that -tobacco is innocuous as compared with alcohol, -and in no case worse than tea, and by the -side of high living, contrasts most favourably. -Whether smoking is or is not injurious -to health depends principally upon the<span class="pagenum" id="Page_80">{80}</span> -following conditions: (1) The kind of tobacco -smoked; (2) the manner in which it is consumed; -(3) the amount of tobacco smoked; and lastly, -when it is indulged in. The great object is to -obtain a tobacco which possesses the smallest percentage -of nicotine. It was formerly believed -that the best varieties of Havana and Turkish -tobacco were the most innocuous. According, however, -to the recent exhaustive researches of Dr -George Harley, F.R.S., it appears that the more -delicate the aroma of tobacco, the more poisonous -it becomes. Dr Harley is also of opinion that -‘Caporal’ tobacco contains <i>least nicotine</i>, and is -consequently to be preferred by those desirous of -health. Pipes made of clay, and meerschaums—not -foul—are, Dr Richardson considers, in a -hygienic point of view, superior to cigars and -cigarettes. Neither cigars nor cigarettes should -ever be smoked near the end, as the nicotine -then is discharged into the mouth in larger -proportions. M. Melsens, a very distinguished -chemist, is of opinion that a plug of cotton-wool -saturated with a solution of strong citric or tannic -acid should be inserted in the stem of the pipe, -cigar, or cigarette holder. By this precaution, -the smoke is effectually filtered, ere reaching the -mouth, as the nicotine would then be seized by -and combined with the acid. Those who object -to this plan on account of its trouble, might with -advantage place a small piece of plain cotton-wool -in the stem of their pipe as a filtering agent. -This should on each occasion be removed and -replaced by a fresh one. A more convenient, and -probably not less effective plug, is a bit of paper -crumpled into a soft ball and placed in the bottom -of the pipe. It acts as an absorbent of the objectionable -juices which might otherwise find their -way into the mouth, and can be changed, if the -smoker chooses, every time he fills his pipe.</p> - -<p>From a review of the scientific testimony and -physiological facts bearing upon this subject, we -may safely arrive at the following conclusions: -(1) That smoking in excess is decidedly an -injurious habit, frequently causing dyspepsia, -and functional diseases of the heart, brain, and -nervous system. (2) That smoking, even when -in moderation, is pernicious in early life, also to -certain constitutions, and in particular conditions -of the body. (3) That in adult life and in ordinary -health, no well-ascertained ill effects have -been demonstrated as owing their causation to -<i>moderate</i> smoking. (4) That the <i>moderate</i> use -of tobacco is not only in many cases a harmless -luxury, but occasionally, from its soothing and -tranquillising influence, a useful adjunct. Smoking, -even in the strictest moderation, with some -persons of peculiar idiosyncrasies, acts as a poison, -and should therefore be avoided, when feelings -of discomfort are entailed by its use.</p> - -<p>It is impossible to lay down any rule as to the -amount of tobacco which may be consumed without -a deleterious effect upon the health. What -would be moderation to one is often excess to -another, according to temperament, habit, and -individual peculiarities. Each person ought to -be able to judge for himself as to what is moderation. -The best time for smoking is undoubtedly -after a meal; and the most injurious, on an empty -stomach.</p> - -<p>In drawing this paper to a close, we cannot do -better than by appending the following extract, -taken from Mr Dawson’s valuable little work on -longevity. On page sixty-nine of <i>How to Prolong -Life</i>, when speaking of smoking, Mr Dawson -observes: ‘All things taken into account, it is -evident that tobacco in excess is certainly prejudicial -to good health; in moderation, however, -it may be indulged in with comparative impunity; -but under any circumstances, it should be known -that a man in health is much better without it. -How much more so in the case of those who are -weakly! Lastly, I desire to impress upon all -smokers that <i>moderation</i> in this habit is of no -small moment, the ill effects being proportioned -to indulgence.’</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="TO_A_CHILD">TO A CHILD.</h2> -</div> - - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0"><span class="smcap">Kathleen</span> of the glad blue eyes,</div> - <div class="verse indent3">Elf-locks dark and curling—</div> - <div class="verse indent0">Kathleen of the laughing voice,</div> - <div class="verse indent2">Like a wild stream whirling:</div> - <div class="verse indent0">When I gaze into those eyes,</div> - <div class="verse indent2">Deep I read the story</div> - <div class="verse indent0">Of a long-lost Paradise</div> - <div class="verse indent2">And the young world’s glory.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Many a tale of fairyland</div> - <div class="verse indent2">Have we dreamed together,</div> - <div class="verse indent0">By the hearth in shadow-time,</div> - <div class="verse indent2">Out on wind-swept heather.</div> - <div class="verse indent0">Tired, I told of prince and fay,</div> - <div class="verse indent2">Court and castle hoary;</div> - <div class="verse indent0">Give me, sweet, my turn to-day—</div> - <div class="verse indent2">I, too, crave a story.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Blue eyes telling tales to mine</div> - <div class="verse indent2">Darkly raise their fringes:</div> - <div class="verse indent0">Earth had doors to heaven once,</div> - <div class="verse indent2">Wide on golden hinges.</div> - <div class="verse indent0">From beyond, the timeless light</div> - <div class="verse indent2">Banished time and sorrow;</div> - <div class="verse indent0">Child-world had no yesterday,</div> - <div class="verse indent2">Heaven was to-morrow.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Nought was there of languid bloom,</div> - <div class="verse indent2">Frail and fevered splendour,</div> - <div class="verse indent0">Kisses like the daisies thronged,</div> - <div class="verse indent2">Love made greensward tender,</div> - <div class="verse indent0">Truth was sunny as the sky,</div> - <div class="verse indent2">Branching care spread o’er us,</div> - <div class="verse indent0">All that warbled ecstasy</div> - <div class="verse indent2">Made the garden’s chorus.</div> - </div> - <div class="stanza"> - <div class="verse indent0">O thou Eden of the past—</div> - <div class="verse indent2">If I could but find thee,</div> - <div class="verse indent0">All I have, for thee, I’d cast,</div> - <div class="verse indent2">Worthless, vain, behind me—</div> - <div class="verse indent0">When the heaven-gates stood wide,</div> - <div class="verse indent2">And all the air was ringing</div> - <div class="verse indent0">With mingled voices of our home</div> - <div class="verse indent2">And sound of angels singing!</div> - </div> - <div class="stanza"> - <div class="verse indent0">Am I sad? How startled shine</div> - <div class="verse indent2">Those blue eyes in wonder!</div> - <div class="verse indent0">Child, whose heart beats close to mine,</div> - <div class="verse indent2">Far are we asunder.</div> - <div class="verse indent0">Yet, if I would follow thee,</div> - <div class="verse indent2">Oft I marvel whether</div> - <div class="verse indent0">Thou couldst lead me in, to see</div> - <div class="verse indent2">Eden-land together.</div> - </div> - <div class="stanza"> - <div class="verse right"><span class="smcap">M. E. Atteridge.</span></div> - </div> -</div> -</div> - -<hr class="full" /> - -<p class="center">Printed and Published by <span class="smcap">W. & R. Chambers</span>, 47 Paternoster -Row, <span class="smcap">London</span>, and 339 High Street, <span class="smcap">Edinburgh</span>.</p> - -<hr class="full" /> - -<p class="center"><i>All Rights Reserved.</i></p> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK CHAMBERS'S JOURNAL OF POPULAR LITERATURE, SCIENCE, AND ART, FIFTH SERIES, NO. 5, VOL. I, FEBRUARY 2, 1884 ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks may be modified and printed and given away--you may -do practically ANYTHING in the United States with eBooks not protected -by U.S. copyright law. Redistribution is subject to the trademark -license, especially commercial redistribution. -</div> - -<div style='margin:0.83em 0; font-size:1.1em; text-align:center'>START: FULL LICENSE<br /> -<span style='font-size:smaller'>THE FULL PROJECT GUTENBERG LICENSE<br /> -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK</span> -</div> - -<div style='display:block; margin:1em 0'> -To protect the Project Gutenberg™ mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase “Project -Gutenberg”), you agree to comply with all the terms of the Full -Project Gutenberg™ License available with this file or online at -www.gutenberg.org/license. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -1.A. By reading or using any part of this Project Gutenberg™ -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg™ electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg™ electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the person -or entity to whom you paid the fee as set forth in paragraph 1.E.8. -</div> - -<div style='display:block; margin:1em 0'> -1.B. “Project Gutenberg” is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg™ electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg™ electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg™ -electronic works. See paragraph 1.E below. -</div> - -<div style='display:block; margin:1em 0'> -1.C. The Project Gutenberg Literary Archive Foundation (“the -Foundation” or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg™ electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg™ mission of promoting -free access to electronic works by freely sharing Project Gutenberg™ -works in compliance with the terms of this agreement for keeping the -Project Gutenberg™ name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg™ License when -you share it without charge with others. -</div> - -<div style='display:block; margin:1em 0'> -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg™ work. The Foundation makes no -representations concerning the copyright status of any work in any -country other than the United States. -</div> - -<div style='display:block; margin:1em 0'> -1.E. Unless you have removed all references to Project Gutenberg: -</div> - -<div style='display:block; margin:1em 0'> -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg™ License must appear -prominently whenever any copy of a Project Gutenberg™ work (any work -on which the phrase “Project Gutenberg” appears, or with which the -phrase “Project Gutenberg” is associated) is accessed, displayed, -performed, viewed, copied or distributed: -</div> - -<blockquote> - <div style='display:block; margin:1em 0'> - This eBook is for the use of anyone anywhere in the United States and most - other parts of the world 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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you - are not located in the United States, you will have to check the laws - of the country where you are located before using this eBook. - </div> -</blockquote> - -<div style='display:block; margin:1em 0'> -1.E.2. If an individual Project Gutenberg™ electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase “Project -Gutenberg” associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg™ -trademark as set forth in paragraphs 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.3. If an individual Project Gutenberg™ electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg™ License for all works -posted with the permission of the copyright holder found at the -beginning of this work. -</div> - -<div style='display:block; margin:1em 0'> -1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg™. -</div> - -<div style='display:block; margin:1em 0'> -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg™ License. -</div> - -<div style='display:block; margin:1em 0'> -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg™ work in a format -other than “Plain Vanilla ASCII” or other format used in the official -version posted on the official Project Gutenberg™ website -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original “Plain -Vanilla ASCII” or other form. Any alternate format must include the -full Project Gutenberg™ License as specified in paragraph 1.E.1. -</div> - -<div style='display:block; margin:1em 0'> -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg™ works -unless you comply with paragraph 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg™ electronic works -provided that: -</div> - -<div style='margin-left:0.7em;'> - <div style='text-indent:-0.7em'> - • You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg™ works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg™ trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, “Information about donations to the Project Gutenberg - Literary Archive Foundation.” - </div> - - <div style='text-indent:-0.7em'> - • You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg™ - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg™ - works. - </div> - - <div style='text-indent:-0.7em'> - • You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - </div> - - <div style='text-indent:-0.7em'> - • You comply with all other terms of this agreement for free - distribution of Project Gutenberg™ works. - </div> -</div> - -<div style='display:block; margin:1em 0'> -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg™ electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from the Project Gutenberg Literary Archive Foundation, the manager of -the Project Gutenberg™ trademark. Contact the Foundation as set -forth in Section 3 below. -</div> - -<div style='display:block; margin:1em 0'> -1.F. -</div> - -<div style='display:block; margin:1em 0'> -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg™ collection. Despite these efforts, Project Gutenberg™ -electronic works, and the medium on which they may be stored, may -contain “Defects,” such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. -</div> - -<div style='display:block; margin:1em 0'> -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right -of Replacement or Refund” described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg™ trademark, and any other party distributing a Project -Gutenberg™ electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. -</div> - -<div style='display:block; margin:1em 0'> -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. -</div> - -<div style='display:block; margin:1em 0'> -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. -</div> - -<div style='display:block; margin:1em 0'> -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. -</div> - -<div style='display:block; margin:1em 0'> -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg™ electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg™ -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg™ work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg™ work, and (c) any -Defect you cause. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 2. Information about the Mission of Project Gutenberg™ -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. -</div> - -<div style='display:block; margin:1em 0'> -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg™’s -goals and ensuring that the Project Gutenberg™ collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg™ and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at www.gutenberg.org. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 3. Information about the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -The Project Gutenberg Literary Archive Foundation is a non-profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation’s EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state’s laws. -</div> - -<div style='display:block; margin:1em 0'> -The Foundation’s business office is located at 809 North 1500 West, -Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up -to date contact information can be found at the Foundation’s website -and official page at www.gutenberg.org/contact -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ depends upon and cannot survive without widespread -public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine-readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. -</div> - -<div style='display:block; margin:1em 0'> -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular state -visit <a href="https://www.gutenberg.org/donate/">www.gutenberg.org/donate</a>. -</div> - -<div style='display:block; margin:1em 0'> -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. -</div> - -<div style='display:block; margin:1em 0'> -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. -</div> - -<div style='display:block; margin:1em 0'> -Please check the Project Gutenberg web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 5. General Information About Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -Professor Michael S. Hart was the originator of the Project -Gutenberg™ concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg™ eBooks with only a loose network of -volunteer support. -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. -</div> - -<div style='display:block; margin:1em 0'> -Most people start at our website which has the main PG search -facility: <a href="https://www.gutenberg.org">www.gutenberg.org</a>. -</div> - -<div style='display:block; margin:1em 0'> -This website includes information about Project Gutenberg™, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. -</div> - -</div> - -</body> -</html> |