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+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
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+status under the laws that apply to them.
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #66982 (https://www.gutenberg.org/ebooks/66982)
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-The Project Gutenberg eBook of New Century Speaker and Writer, by
-Henry Davenport Northrop
-
-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
-www.gutenberg.org. 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.
-
-Title: New Century Speaker and Writer
-       A Standard Work on Composition and Oratory
-
-Author: Henry Davenport Northrop
-
-Release Date: December 20, 2021 [eBook #66982]
-
-Language: English
-
-Produced by: MFR and the Online Distributed Proofreading Team at
-             https://www.pgdp.net (This file was produced from images
-             generously made available by The Internet Archive)
-
-*** START OF THE PROJECT GUTENBERG EBOOK NEW CENTURY SPEAKER AND
-WRITER ***
-
-
-
-
-
-
-                               NEW CENTURY
-                           SPEAKER AND WRITER
-
-                                 =BEING=
-
-                    =A Standard Work on Composition
-                               and Oratory=
-
-                               CONTAINING
-
-      RULES FOR EXPRESSING WRITTEN THOUGHT IN A CORRECT AND ELEGANT
-         MANNER; MODEL SELECTIONS FROM THE MOST FAMOUS AUTHORS;
-          SUBJECTS FOR COMPOSITIONS AND HOW TO TREAT THEM; USE
-               OF ILLUSTRATIONS; DESCRIPTIVE, PATHETIC AND
-                      HUMOROUS WRITINGS, ETC., ETC.
-
-                             TOGETHER WITH A
-
-           =PEERLESS COLLECTION OF READINGS AND RECITATIONS,
-                    INCLUDING PROGRAMMES FOR SPECIAL
-                               OCCASIONS=
-
-    FROM AUTHORS OF WORLD-WIDE RENOWN, FOR PUBLIC SCHOOLS, ACADEMIES,
-                   COLLEGES, LODGES, SUNDAY-SCHOOL AND
-                          SOCIAL ENTERTAINMENTS
-
-                          THE WHOLE FORMING AN
-
-               =UNRIVALED SELF-EDUCATOR FOR YOUNG PEOPLE=
-
-                      =BY HENRY DAVENPORT NORTHROP=
-  Author of “Delsarte Manual of Oratory,” “Golden Gleanings of Poetry,
-                       Prose and Song,” etc., etc.
-
-           =Embellished with a Galaxy of Charming Engravings=
-
-                         NATIONAL PUBLISHING CO.
-                    239, 241, 243 SOUTH AMERICAN ST.
-                              PHILADELPHIA
-
-       ENTERED ACCORDING TO ACT OF CONGRESS, IN THE YEAR 1901, BY
-                              D. Z. HOWELL
-               IN THE OFFICE OF THE LIBRARIAN OF CONGRESS,
-                     AT WASHINGTON, D. C., U. S. A.
-
-
-
-
-PREFACE.
-
-
-Millions of young people in America are being educated, and hence there
-is a very great demand for a Standard Work showing how to express written
-thought in the most elegant manner and how to read and recite in a way
-that insures the greatest success. To meet this enormous demand is the
-aim of this volume.
-
-PART I.—HOW TO WRITE A COMPOSITION.—The treatment of this subject is
-masterly and thorough, and is so fascinating that the study becomes a
-delight. Rules and examples are furnished for the right choice of words,
-for constructing sentences, for punctuation, for acquiring an elegant
-style of composition, for writing essays and letters, what authors should
-be read, etc. The directions given are all right to the point and are
-easily put into practice.
-
-The work contains a complete list of synonyms, or words of similar
-meaning, and more than 500 choice subjects for compositions, which are
-admirably suited to persons of all ages. These are followed by a charming
-collection of Masterpieces of Composition by such world-renowned authors
-as Emerson, Hawthorne, George Eliot, Lord Macaulay, Washington Irving, C.
-H. Spurgeon, Sarah J. Lippincott, Mrs. Stowe and many others.
-
-These grand specimens of composition bear the stamp of the most brilliant
-genius. They are very suggestive and helpful. They inspire the reader to
-the noblest efforts, and teach the truth of Bulwer Lytton’s well-known
-saying that “The pen is mightier than the sword.”
-
-PART II.—READINGS AND RECITATIONS.—The second part of this incomparable
-work is no less valuable, and a candid perusal will convince you that
-it contains the largest and best collection of recitations ever brought
-together in one volume. These are of every variety and description. Be
-careful to notice that every one of these selections, which are from the
-writings of the world’s best authors, is especially adapted for reading
-and reciting. This is something which cannot be said of any similar work.
-
-All the Typical Gestures used in Reciting are shown by choice engravings,
-and the reader has in reality the best kind of teacher right before
-him. The different attitudes, facial expressions and gestures are both
-instructive and charming. These are followed by Recitations with Lesson
-Talks. Full directions are given for reciting the various pieces, and
-this is done by taking each paragraph or verse of the selection and
-pointing out the gestures, tone of voice, emphasis, etc., required to
-render it most effectively. The Lesson Talks render most valuable service
-to all who are studying the grand art of oratory.
-
-The next section of this masterly volume contains Recitations with
-Music. This is a choice collection of readings which are rendered most
-effective by accompaniments of music, enabling the reader by the use of
-the voice or some musical instrument to entrance his audience.
-
-These charming selections are followed by a superb collection of
-Patriotic Recitations which celebrate the grand victories of our army
-and navy in the Philippines and West Indies. These incomparable pieces
-are all aglow with patriotic fervor and are eagerly sought by all
-elocutionists.
-
-There is space here only to mention the different parts of this
-delightful volume, such as Descriptive and Dramatic Recitations; Orations
-by Famous Orators; a peerless collection of Humorous and Pathetic
-Recitations, and Recitations for Children and Sunday Schools.
-
-Parents are charmed with this volume because it furnishes what the little
-folks want and is a self-educator for the young. It marks a new era in
-book publishing.
-
-PART III.—PROGRAMMES FOR SPECIAL OCCASIONS.—These have been prepared
-with the greatest care in order to meet a very urgent demand. The work
-contains Programmes for Fourth of July; Christmas Entertainments;
-Washington’s Birthday; Decoration Day; Thanksgiving Day; Arbor Day;
-Public School and Parlor Entertainments; Harvest Home; Flower Day, etc.
-Beautiful Selections for Special Occasions are contained in no other
-work, and these alone insure this very attractive volume an enormous sale.
-
-DIALOGUES, TABLEAUX, ETC.—Added to the Rich Contents already described is
-a Charming Collection of Dialogues and Tableaux for public and private
-entertainments. These are humorous, pithy, TEACH IMPORTANT LESSONS and
-are thoroughly enjoyed by everybody.
-
-In many places the winter lyceum is an institution; we find it not only
-in academies, and normal schools, but very frequently the people in a
-district or town organize a debating society and discuss the popular
-questions of the day. The benefit thus derived cannot be estimated. In
-the last part of this volume will be found by-laws for those who wish to
-conduct lyceums, together with a choice selection of subjects for debate.
-
-Thus it is seen that this is a very comprehensive work. Not only is
-it carefully prepared, not only does it set a very high standard of
-excellence in composition and elocution, but it is a work peculiarly
-fitted to the wants of millions of young people throughout our country.
-The writer of this is free to say that such a work as this would have
-been of inestimable value to him while obtaining an education. All wise
-parents who wish to make the best provision for educating their children
-should understand that they have in this volume such a teacher in
-composition and oratory as has never before been offered to the public.
-
-
-
-
-CONTENTS.
-
-
-                   PART I.—HOW TO WRITE A COMPOSITION.
-
-                                                                      PAGE
-
-  Treatment of the Subject                                              18
-
-  Right Choice of Words                                                 19
-
-  Obscure Sentences                                                     19
-
-  Write Exactly what You Mean                                           20
-
-  What You Should Read                                                  21
-
-  Our Great Writers                                                     21
-
-  Learning to Think                                                     22
-
-  How to Acquire a Captivating Style                                    23
-
-  Make Your Composition Attractive                                      24
-
-  The Choice of Language                                                25
-
-  Faults in Writing                                                     26
-
-  Putting Words into Sentences                                          27
-
-  Suit the Word to the Thought                                          28
-
-  An Amusing Exercise                                                   29
-
-  Errors to be Avoided                                                  30
-
-  Exercises in Composition                                              32
-
-  Subject and Predicate                                                 32
-
-  Practice in Simple Sentences                                          34
-
-  Sentences Combined                                                    36
-
-  Punctuation                                                           39
-
-  The Full Stop                                                         39
-
-  The Note of Interrogation                                             40
-
-  The Comma                                                             40
-
-  The Semi-colon                                                        42
-
-  Quotation Marks                                                       43
-
-  The Note of Exclamation                                               43
-
-  Exercises in Easy Narratives                                          46
-
-  Short Stories to be Written from Memory                               47
-
-  Outlines to be Turned into Narratives                                 50
-
-  Stories in Verse to be Turned into Prose                              51
-
-  Three Fishers Went Sailing                                            51
-
-  The Sands of Dee                                                      52
-
-  The Way to Win                                                        52
-
-  Press On                                                              52
-
-  The Dying Warrior                                                     52
-
-  The Boy that Laughs                                                   53
-
-  The Cat’s Bath                                                        53
-
-  The Beggar Man                                                        53
-
-  The Shower Bath                                                       54
-
-  Queen Mary’s Return to Scotland                                       54
-
-  The Eagle and Serpent                                                 54
-
-  Ask and Have                                                          55
-
-  What Was His Creed?                                                   55
-
-  The Old Reaper                                                        55
-
-  The Gallant Sailboat                                                  55
-
-  Wooing                                                                56
-
-  Miss Laugh and Miss Fret                                              56
-
-  Monterey                                                              56
-
-  A Woman’s Watch                                                       57
-
-  Love Lightens Labor                                                   57
-
-  Abou Ben Adhem                                                        57
-
-  Essays to be Written from Outlines                                    58
-
-  Easy Subjects for Compositions                                        61
-
-  Use of Illustrations                                                  62
-
-  Examples of Apt Illustrations                                         63
-
-  Examples of Faulty Illustrations                                      63
-
-  How to Compose and Write Letters                                      64
-
-  Examples of Letters                                                   65
-
-  Notes of Invitation                                                   65
-
-  Letters of Congratulation                                             66
-
-  Love Letters                                                          66
-
-  Outlines to be Expanded into Letters                                  66
-
-                    SPECIMENS OF ELEGANT COMPOSITION.
-
-  Getting the Right Start                             _J. G. Holland_   67
-
-  Dinah, the Methodist                                 _George Eliot_   69
-
-  Godfrey and Dunstan                                  _George Eliot_   70
-
-  Rip Van Winkle                                  _Washington Irving_   72
-
-  Puritans of the Sixteenth Century                   _Lord Macaulay_   73
-
-  On being in Time                                   _C. H. Spurgeon_   75
-
-  John Ploughman’s Talk on Home                      _C. H. Spurgeon_   76
-
-  Pearl and her Mother                          _Nathaniel Hawthorne_   78
-
-  Candace’s Opinions                               _Mrs. H. B. Stowe_   80
-
-  Midsummer in the Valley of the Rhine                _Geo. Meredith_   81
-
-  Power of Natural Beauty                             _R. W. Emerson_   82
-
-                       SUBJECTS FOR COMPOSITIONS.
-
-  Historical Subjects                                                   84
-
-  Biographical Subjects                                                 85
-
-  Subjects for Narration and Description                                86
-
-  Popular Proverbs                                                      87
-
-  Subjects to be Expounded                                              87
-
-  Subjects for Argument                                                 89
-
-  Subjects for Comparison                                               89
-
-  Miscellaneous Subjects                                                90
-
-  Synonyms and Antonyms                                                 91
-
-  Noms de Plume of Authors                                             111
-
-                   PART II.—READINGS AND RECITATIONS.
-
-  How to Read and Recite                                               113
-
-  Cultivation of the Voice                                             113
-
-  Distinct Enunciation                                                 113
-
-  Emphasis                                                             114
-
-  Pauses                                                               114
-
-  Gestures                                                             114
-
-  The Magnetic Speaker                                                 114
-
-  Self-Command                                                         114
-
-  Typical Gestures for Reading and Reciting                            115
-
-  Malediction                                                          115
-
-  Designating                                                          115
-
-  Silence                                                              115
-
-  Repulsion                                                            115
-
-  Declaring                                                            116
-
-  Announcing                                                           116
-
-  Discerning                                                           116
-
-  Invocation                                                           117
-
-  Presenting or Receiving                                              117
-
-  Horror                                                               117
-
-  Exaltation                                                           117
-
-  Secrecy                                                              117
-
-  Wonderment                                                           118
-
-  Indecision                                                           118
-
-  Grief                                                                118
-
-  Gladness                                                             118
-
-  Signalling                                                           119
-
-  Tender Rejection                                                     119
-
-  Protecting—Soothing                                                  119
-
-  Anguish                                                              119
-
-  Awe—Appeal                                                           120
-
-  Meditation                                                           120
-
-  Defiance                                                             120
-
-  Denying—Rejecting                                                    120
-
-  Dispersion                                                           121
-
-  Remorse                                                              121
-
-  Accusation                                                           121
-
-  Revealing                                                            121
-
-  Correct Positions of the Hands                                       122
-
-                     RECITATIONS WITH LESSON TALKS.
-
-  Song of Our Soldiers at Santiago                       _D. G. Adee_  123
-
-  Lesson Talk                                                          123
-
-  The Victor of Marengo                                                124
-
-  Lesson Talk                                                          125
-
-  The Wedding Fee                                                      125
-
-  Lesson Talk                                                          126
-
-  The Statue in Clay                                                   127
-
-  Lesson Talk                                                          127
-
-  The Puzzled Boy                                                      128
-
-  Lesson Talk                                                          128
-
-                         RECITATIONS WITH MUSIC.
-
-  Twickenham Ferry                                                     129
-
-  Grandmother’s Chair                                     _John Read_  130
-
-  Put Your Shoulder to the Wheel                         _H. Clifton_  131
-
-  A Brighter Day is Coming                           _Ellen Burnside_  132
-
-  Katie’s Love Letter                                 _Lady Dufferin_  132
-
-  Dost Thou Love Me, Sister Ruth?                        _John Parry_  133
-
-  Two Little Rogues                                 _Mrs. A. M. Diaz_  134
-
-  Arkansaw Pete’s Adventure                                            135
-
-                         PATRIOTIC RECITATIONS.
-
-  The Beat of the Drum at Daybreak                 _Michael O’Connor_  137
-
-  The Cavalry Charge                                                   137
-
-  Great Naval Battle at Santiago               _Admiral W. S. Schley_  138
-
-  Hobson’s Daring Deed                                                 139
-
-  General Wheeler at Santiago                          _J. L. Gordon_  140
-
-  The Flag Goes By                                                     140
-
-  In Manila Bay                                _Chas. Wadsworth, Jr._  141
-
-  My Soldier Boy                                                       142
-
-  The Yankees in Battle                         _Captain R. D. Evans_  142
-
-  The Banner Betsey Made                             _T. C. Harbaugh_  143
-
-  Our Flag                                           _Chas. F. Alsop_  144
-
-  That Starry Flag of Ours                                             144
-
-  The Negro Soldier                                  _B. M. Channing_  145
-
-  Deeds of Valor at Santiago                       _Clinton Scollard_  145
-
-  A Race for Dear Life                                                 146
-
-  Patriotism of American Women                     _T. Buchanan Read_  147
-
-  Our Country’s Call                                  _Richard Barry_  147
-
-  The Story of Seventy-Six                             _W. C. Bryant_  148
-
-  The Roll Call                                                        148
-
-  The Battle-Field                                      _W. C Bryant_  149
-
-  The Sinking of the Merrimac                                          150
-
-  The Stars and Stripes                                                151
-
-  Rodney’s Ride                                                        152
-
-  A Spool of Thread                               _Sophia E. Eastman_  153
-
-  The Young Patriot, Abraham Lincoln                                   154
-
-  Columbia                                              _Joel Barlow_  155
-
-  Captain Molly at Monmouth                         _William Collins_  156
-
-  Douglas to the Populace of Stirling              _Sir Walter Scott_  157
-
-  Our Country                                        _W. G. Peabodie_  157
-
-  McIlrath of Malaté                                 _John J. Rooney_  158
-
-  After the Battle                                                     159
-
-  Great Naval Battle of Manila                                         160
-
-  Sinking of the Ships                               _W. B. Collison_  161
-
-  Perry’s Celebrated Victory on Lake Erie                              163
-
-  Capture of Quebec                                 _James D. McCabe_  164
-
-  Little Jean                                        _Lillie E. Barr_  165
-
-  Defeat of General Braddock                        _James D. McCabe_  166
-
-                  DESCRIPTIVE AND DRAMATIC RECITATIONS.
-
-  Quick! Man the Life Boat                                             167
-
-  Beautiful Hands                                 _J. Whitcomb Riley_  167
-
-  The Burning Ship                                                     168
-
-  The Unknown Speaker                                                  169
-
-  Child Lost                                                           171
-
-  The Captain and the Fireman                        _W. B. Collison_  172
-
-  The Face on the Floor                           _H. Antoine D’Arcy_  173
-
-  The Engineer’s Story                               _Eugene J. Hall_  174
-
-  Jim                                          _James Whitcomb Riley_  175
-
-  Queen Vashti’s Lament                                  _John Reade_  176
-
-  The Skeleton’s Story                                                 177
-
-  The Lady and the Earl                                                179
-
-  My Vesper Song                                                       180
-
-  The Volunteer Organist                                 _S. W. Foss_  180
-
-  Comin’ thro’ the Rye                                 _Robert Burns_  181
-
-  Joan of Arc                                     _Clare S. McKinley_  181
-
-  The Vulture of the Alps                                              183
-
-  The Old-fashioned Girl                                   _Tom Hall_  184
-
-  Nathan Hale, the Martyr Spy                           _I. H. Brown_  184
-
-  The Future                                        _Rudyard Kipling_  186
-
-  The Power of Habit                                  _John B. Gough_  186
-
-  Died on Duty                                                         187
-
-  My Friend the Cricket and I                        _Lillie E. Barr_  188
-
-  The Snowstorm                                                        188
-
-  Parrhasius and the Captive                           _N. P. Willis_  189
-
-  The Ninety-third off Cape Verde                                      190
-
-  A Felon’s Cell                                                       191
-
-  The Battle of Waterloo                                _Victor Hugo_  192
-
-  A Pin                                         _Ella Wheeler Wilcox_  194
-
-  A Relenting Mob                                    _Lucy H. Hooper_  195
-
-  The Black Horse and His Rider                      _Chas. Sheppard_  196
-
-  The Unfinished Letter                                                198
-
-  Legend of the Organ Builder                     _Julius C. R. Dorr_  198
-
-  Caught in the Quicksand                               _Victor Hugo_  200
-
-  The Little Quaker Sinner                       _Lucy L. Montgomery_  201
-
-  The Tell-tale Heart                               _Edgar Allan Poe_  202
-
-  The Little Match Girl                               _Hans Andersen_  203
-
-  The Monk’s Vision                                                    205
-
-  The Boat Race                                                        205
-
-  Phillips of Pelhamville                        _Alexander Anderson_  207
-
-  Poor Little Jim                                                      208
-
-                       ORATIONS BY FAMOUS ORATORS.
-
-  True Moral Courage                                     _Henry Clay_  209
-
-  The Struggle for Liberty                            _Josiah Quincy_  210
-
-  Centennial Oration                             _Henry Armitt Brown_  211
-
-  Speech of Shrewsbury before Queen Elizabeth       _F. Von Schiller_  212
-
-  Prospects of the Republic                          _Edward Everett_  212
-
-  The People Always Conquer                          _Edward Everett_  213
-
-  Survivors of Bunker Hill                           _Daniel Webster_  214
-
-  South Carolina and Massachusetts                   _Daniel Webster_  215
-
-  Eulogium on South Carolina                        _Robert T. Hayne_  216
-
-  Character of Washington                          _Wendell Phillips_  217
-
-  National Monument to Washington                _Robert C. Winthrop_  218
-
-  The New Woman                                  _Frances E. Willard_  219
-
-  An Appeal for Liberty                                _Joseph Story_  220
-
-  True Source of Freedom                            _Edwin H. Chapin_  220
-
-  Appeal to Young Men                                 _Lyman Beecher_  221
-
-  The Pilgrims                                    _Chauncey M. Depew_  222
-
-  Patriotism a Reality                               _Thomas Meagher_  223
-
-  The Glory of Athens                                 _Lord Macaulay_  224
-
-  The Irish Church                             _William E. Gladstone_  225
-
-  Appeal to the Hungarians                            _Louis Kossuth_  226
-
-  The Tyrant Verres Denounced                                _Cicero_  227
-
-                          HUMOROUS RECITATIONS.
-
-  Bill’s in Trouble                                                    229
-
-  “Spacially Jim”                                                      229
-
-  The Marriage Ceremony                                                230
-
-  Blasted Hopes                                                        230
-
-  Tim Murphy Makes a Few Remarks                                       231
-
-  Passing of the Horse                                                 231
-
-  A School-Day                                      _W. F. McSparran_  232
-
-  The Bicycle and the Pup                                              233
-
-  The Puzzled Census Taker                                             233
-
-  It Made a Difference                                                 233
-
-  Bridget O’Flannagan on Christian Science and
-    Cockroaches                                        _M. Bourchier_  234
-
-  Conversational                                                       235
-
-  Wanted, A Minister’s Wife                                            235
-
-  How a Married Man Sews on a Button                   _J. M. Bailey_  236
-
-  The Dutchman’s Serenade                                              236
-
-  Biddy’s Troubles                                                     237
-
-  The Inventor’s Wife                            _Mrs. E. T. Corbett_  238
-
-  Miss Edith Helps Things Along                          _Bret Harte_  239
-
-  The Man Who Has All Diseases at Once                _Dr. Valentine_  240
-
-  The School-Ma’am’s Courting                        _Florence Pyatt_  240
-
-  The Dutchman’s Snake                                                 241
-
-  No Kiss                                                              243
-
-  The Lisping Lover                                                    243
-
-  Larry O’Dee                                            _W. W. Fink_  243
-
-  How Paderewski Plays the Piano                                       244
-
-  The Freckled-Faced Girl                                              244
-
-  When Girls Wore Calico                             _Hattie Whitney_  245
-
-  A Winning Company                                                    246
-
-  The Bravest Sailor                            _Ella Wheeler Wilcox_  246
-
-  How She Was Consoled                                                 247
-
-  That Hired Girl                                                      247
-
-  What Sambo Says                                                      248
-
-  The Irish Sleigh Ride                                                248
-
-  Jane Jones                                               _Ben King_  249
-
-  De Ole Plantation Mule                                               249
-
-  Adam Never Was a Boy                               _T. C. Harbaugh_  250
-
-  A Remarkable Case of S’posin                                         251
-
-  My Parrot                                            _Emma H. Webb_  252
-
-  Bakin and Greens                                                     252
-
-  Hunting a Mouse                                    _Joshua Jenkins_  253
-
-  The Village Sewing Society                                           254
-
-  Signs and Omens                                                      255
-
-  The Ghost                                                            255
-
-  A Big Mistake                                                        256
-
-  The Duel                                             _Eugene Field_  258
-
-  Playing Jokes on a Guide                               _Mark Twain_  258
-
-  A Parody                                                             260
-
-  Man’s Devotion                                      _Parmenas Hill_  261
-
-  Aunt Polly’s “George Washington”                                     261
-
-  Mine Vamily                                        _Yawcob Strauss_  263
-
-  At the Garden Gate                                                   264
-
-  The Minister’s Call                                                  264
-
-  Led by a Calf                                                        265
-
-  Tom Goldy’s Little Joke                                              266
-
-  How Hezekiah Stole the Spoons                                        266
-
-  Two Kinds of Polliwogs                              _Augusta Moore_  268
-
-  The Best Sewing Machine                                              268
-
-  How They Said Good Night                                             269
-
-  Josiar’s Courting                                                    270
-
-                          PATHETIC RECITATIONS.
-
-  Play Softly, Boys                                   _Teresa O’Hare_  271
-
-  In the Baggage Coach Ahead                                           272
-
-  The Musing One                                        _S. E. Kiser_  272
-
-  In Memoriam                                     _Thomas R. Gregory_  273
-
-  The Dying Newsboy                             _Mrs. Emily Thornton_  273
-
-  Coals of Fire                                                        274
-
-  Dirge of the Drums                                    _Ralph Alton_  275
-
-  The Old Dog’s Death Postponed                       _Chas. E. Baer_  275
-
-  The Fallen Hero                                      _Minna Irving_  276
-
-  The Soldier’s Wife                                 _Elliott Flower_  276
-
-  “Break the News Gently”                                              277
-
-  On the Other Train                                                   277
-
-  Some Twenty Years Ago                             _Stephen Marsell_  279
-
-  Only a Soldier                                                       280
-
-  The Pilgrim Fathers                                                  280
-
-  Master Johnny’s Next-Door Neighbor                     _Bret Harte_  281
-
-  Stonewall Jackson’s Death                         _Paul M. Russell_  282
-
-  The Story of Nell                                 _Robert Buchanan_  284
-
-  Little Nan                                                           285
-
-  One of the Little Ones                               _G. L. Catlin_  285
-
-  The Drunkard’s Daughter                            _Eugene J. Hall_  286
-
-  The Beautiful                                                        287
-
-  Trouble in the Amen Corner                         _C. T. Harbaugh_  288
-
-  Little Mag’s Victory                               _Geo. L. Catlin_  289
-
-  Life’s Battle                                       _Wayne Parsons_  290
-
-  The Lost Kiss                                   _J. Whitcomb Riley_  290
-
-  Execution of Mary, Queen of Scots                       _Lamartine_  291
-
-  Over the Range                                  _J. Harrison Mills_  292
-
-  The Story of Crazy Nell                            _Joseph Whitten_  292
-
-  Little Sallie’s Wish                                                 293
-
-  Drowned Among the Lilies                            _E. E. Rexford_  294
-
-  The Fate of Charlotte Corday                       _C. S. McKinley_  294
-
-  The Little Voyager                               _Mrs. M. L. Bayne_  295
-
-  The Dream of Aldarin                               _George Lippard_  296
-
-  In the Mining Town                                 _Rose H. Thorpe_  297
-
-  Tommy’s Prayer                                      _I. F. Nichols_  298
-
-  Robby and Ruth                                    _Louisa S. Upham_  300
-
-                        RECITATIONS FOR CHILDREN.
-
-  Two Little Maidens                                     _Agnes Carr_  301
-
-  The Way to Succeed                                                   301
-
-  When Pa Begins to Shave                           _Harry D. Robins_  301
-
-  A Boy’s View                                                         302
-
-  Mammy’s Churning Song                                _E. A. Oldham_  302
-
-  The Twenty Frogs                                                     303
-
-  Only a Bird                                         _Mary Morrison_  303
-
-  The Way to Do It                                 _Mary Mapes Dodge_  303
-
-  We Must All Scratch                                                  304
-
-  Kitty at School                                       _Kate Hulmer_  304
-
-  A Fellow’s Mother                            _Margaret E. Sangster_  305
-
-  The Story Katie Told                                                 305
-
-  A Little Rogue                                                       306
-
-  Mattie’s Wants and Wishes                            _Grace Gordon_  306
-
-  Won’t and Will                                                       307
-
-  Willie’s Breeches                               _Etta G. Saulsbury_  307
-
-  Little Dora’s Soliloquy                                              307
-
-  The Squirrel’s Lesson                                                308
-
-  Little Kitty                                                         308
-
-  Labor Song                                                           309
-
-  What Baby Said                                                       310
-
-  One Little Act                                                       311
-
-  The Little Orator                              _Thaddeus M. Harris_  311
-
-  A Gentleman                                  _Margaret E. Sangster_  312
-
-  Babies and Kittens                                   _L. M. Hadley_  312
-
-  A Dissatisfied Chicken                               _A. G. Waters_  312
-
-  The Little Torment                                                   313
-
-  The Reason Why                                                       313
-
-  A Child’s Reasoning                                                  314
-
-  A Swell Dinner                                                       314
-
-  Little Jack                                        _Eugene J. Hall_  314
-
-  A Story of an Apple                                  _Sydney Dayre_  315
-
-  Idle Ben                                                             315
-
-  Baby Alice’s Rain                                _John Hay Furness_  316
-
-  Give Us Little Boys a Chance                                         316
-
-  Puss in the Oven                                                     316
-
-  What Was It?                                         _Sydney Dayre_  317
-
-  The Cobbler’s Secret                                                 317
-
-  A Sad Case                                         _Clara D. Bates_  318
-
-  The Heir Apparent                                                    318
-
-  An Egg a Chicken                                                     319
-
-  One of God’s Little Heroes                    _Margaret J. Preston_  320
-
-  What the Cows were Doing                                             320
-
-  Mamma’s Help                                                         320
-
-  How Two Birdies Kept House                                           321
-
-  Why He Wouldn’t Die                                                  321
-
-  The Sick Dolly                                                       322
-
-  Days of the Week                                    _Mary Ely Page_  322
-
-  Popping Corn                                                         323
-
-  How the Farmer Works                                                 323
-
-  The Birds’ Picnic                                                    324
-
-  A Very Smart Dog                                                     324
-
-  Opportunity                                                          325
-
-  The Little Leaves’ Journey                                           325
-
-  The Broom Drill                                                      325
-
-                     RECITATIONS FOR SUNDAY-SCHOOLS.
-
-  Little Servants                                                      332
-
-  Willie and the Birds                                                 332
-
-  A Child’s Prayer                                                     332
-
-  God Loves Me                                                         332
-
-  The Unfinished Prayer                                                333
-
-  Seeds of Kindness                                                    333
-
-  A Lot of Don’ts                                        _E. C. Rook_  333
-
-  Little Willie and the Apple                                          334
-
-  The Child’s Prayer                            _Mary A. P. Humphrey_  334
-
-  “Mayn’t I Be a Boy?”                                                 335
-
-  Give Your Best                                _Adelaide A. Proctor_  335
-
-  The Birds                                        _Myra A. Shattuck_  335
-
-  “Come Unto Me”                                                       336
-
-  There is a Teetotaler                                                337
-
-  An Appeal for Beneficence                                            337
-
-  Address of Welcome to a New Pastor                                   337
-
-  Address of Welcome to a New Superintendent                           338
-
-  Opening Address for a Sunday-school Exhibition                       338
-
-  Closing Address for a Sunday-school Exhibition                       338
-
-  Presentation Address to a Pastor                                     339
-
-  Presentation Address to a Teacher                                    339
-
-  Presentation Address to a Superintendent                             339
-
-  Address of Welcome After Illness                                     340
-
-  Welcome to a Pastor                                  _May Hatheway_  340
-
-               PART III.—PROGRAMMES FOR SPECIAL OCCASIONS.
-
-  Programme No. 1 for Fourth of July                                   341
-
-  “America”                                                            341
-
-  The Fourth of July                                  _Chas. Sprague_  341
-
-  The Vow of Washington                              _J. G. Whittier_  342
-
-  The Little Mayflower                               _Edward Everett_  343
-
-  O Land of a Million Brave Soldiers                                   343
-
-  To the Ladies                                                        344
-
-  Programme No. 2 for Fourth of July                                   344
-
-  God Bless our Native Land                                            344
-
-  Our Natal Day                                       _Will Carleton_  345
-
-  The Banner of the Sea                                 _Homer Green_  346
-
-  What America Has Done for the World               _G. C. Verplanck_  346
-
-  Stand Up for Liberty                           _Robert Treat Paine_  347
-
-  Off with Your Hat as the Flag Goes By                _H. C. Bunner_  348
-
-  Programme for Christmas Entertainment                                349
-
-  Ring, O Bells, in Gladness                       _Alice J. Cleator_  349
-
-  A Letter to Santa Claus                                              349
-
-  Christmas in All the Lands                            _G. A. Brown_  349
-
-  Santa Claus on the Train                           _Henry C. Walsh_  350
-
-  The Waifs                                         _Margaret Deland_  351
-
-  Welcome Santa Claus                                                  351
-
-  Santa Claus and the Mouse                         _Emilie Poulsson_  351
-
-  What Ted Found in His Stocking                                       352
-
-  Programme for Decoration Day                                         353
-
-  The Meaning of the Day                                               353
-
-  Exercise for Fifteen Pupils                                          353
-
-  Decoration Day                                  _J. Whitcomb Riley_  354
-
-  Acrostic                                                             355
-
-  Origin of Memorial Day                                               355
-
-  Strew with Flowers the Soldier’s Grave               _J. W. Dunbar_  355
-
-  Our Nation’s Patriots                                                356
-
-  Programme for Washington’s Birthday                                  357
-
-  Washington Enigma                                                    357
-
-  Washington’s Day                                                     357
-
-  A Little Boy’s Hatchet Story                                         357
-
-  Maxims of Washington                                                 358
-
-  Once More We Celebrate                           _Alice J. Cleator_  358
-
-  The Father of His Country                                            358
-
-  February Twenty-Second                                _Joy Allison_  359
-
-  A True Soldier                                   _Alice J. Cleator_  359
-
-  Washington’s Life                                                    360
-
-  Birthday of Washington                             _George Howland_  360
-
-  Programme for Arbor Day                                              361
-
-  We Have Come with Joyful Greeting                                    361
-
-  Arbor Day                                                            361
-
-  Quotations                                                           361
-
-  What Do We Plant When We Plant a Tree?                _Henry Abbey_  362
-
-  Wedding of the Palm and Pine                                         363
-
-  Origin of Arbor Day                                                  363
-
-  Value of Our Forests                                                 364
-
-  Up From the Smiling Earth                         _Edna D. Proctor_  364
-
-  The Trees                                                            364
-
-  Programme for A Harvest Home                                         365
-
-  Through the Golden Summertime                                        365
-
-  A Sermon in Rhyme                                                    365
-
-  Farmer John                                      _J. T. Trowbridge_  366
-
-  The Husbandman                                      _John Sterling_  366
-
-  The Nobility of Labor                               _Orville Dewey_  367
-
-  The Corn Song                                      _J. G. Whittier_  367
-
-  Great God! Our Heartfelt Thanks                   _W. D. Gallagher_  367
-
-  Programme for Lyceum or Parlor Entertainment                         368
-
-  Salutatory Address                                                   368
-
-  Mrs. Piper                                        _Marian Douglass_  369
-
-  Colloquy—True Bravery                                                370
-
-  Reverie in Church                                 _George A. Baker_  371
-
-  The Spanish-American War                       _President McKinley_  372
-
-  A Cook of the Period                                                 372
-
-  Song—Bee-Hive Town                                                   373
-
-  Programme for Thanksgiving                                           373
-
-  Honor the Mayflower’s Band                                           373
-
-  What am I Thankful For?                                              374
-
-  The Pumpkin                                        _J. G. Whittier_  374
-
-  What Matters the Cold Wind’s Blast?                                  374
-
-  Outside and In                                                       375
-
-  The Laboring Classes                                  _Hugh Legare_  375
-
-  A Thanksgiving                                        _Lucy Larcom_  376
-
-  Song—The Pilgrims                                                    376
-
-  Programme for Flower Day                                             377
-
-  Let Us With Nature Sing                                              377
-
-  The Poppy and Mignonette                                             377
-
-  Flower Quotations                                                    377
-
-  When Winter O’er the Hills Afar                                      378
-
-  Flowers                                            _Lydia M. Child_  378
-
-  The Foolish Harebell                             _George MacDonald_  378
-
-  Questions About Flowers                                              379
-
-  Pansies                                        _Mary A. McClelland_  379
-
-  Plant Song                                        _Nellie M. Brown_  380
-
-  We Would Hail Thee, Joyous Summer                                    380
-
-  Summer-Time                                      _H. W. Longfellow_  380
-
-  The Last Rose of Summer                              _Thomas Moore_  381
-
-                   DIALOGUES FOR SCHOOLS AND LYCEUMS.
-
-  In Want of a Servant                                _Clara Augusta_  382
-
-  The Unwelcome Guest                             _H. Elliot McBride_  386
-
-  Aunty Puzzled                                                        388
-
-  The Poor Little Rich Boy                        _Mrs. Adrian Kraal_  390
-
-  An Entirely Different Matter                                         391
-
-  The Gossips                                                          392
-
-  Farmer Hanks Wants a Divorce                                         393
-
-  Taking the Census                                                    397
-
-  Elder Sniffles’ Courtship                          _F. M. Whitcher_  400
-
-  The Matrimonial Advertisement                                        403
-
-  Mrs. Malaprop and Captain Absolute                 _R. B. Sheridan_  407
-
-  Winning a Widow                                                      410
-
-  MISCELLANEOUS DIALOGUES AND DRAMAS                                   411
-
-  CONSTITUTION AND BY-LAWS FOR LYCEUMS                                 443
-
-  SUBJECTS FOR DEBATE BY LYCEUMS                                       446
-
-  TABLEAUX FOR PUBLIC ENTERTAINMENTS                                   447
-
-
-
-
-PART I.
-
-HOW TO WRITE A COMPOSITION
-
-AND
-
-Express Written Thought in a Correct and Elegant Manner.
-
-
-The correct and pleasing expression of one’s thoughts in writing is an
-accomplishment of the highest order. To have little or no ability in the
-art of composition is a great misfortune.
-
-Who is willing to incur the disgrace and mortification of being unable to
-write a graceful and interesting letter, or an essay worthy to be read
-by intelligent persons? What an air of importance belongs to the young
-scholar, or older student, who can pen a production excellent in thought
-and beautiful in language! Such a gifted individual becomes almost a hero
-or heroine.
-
-When I was a pupil in one of our public schools the day most dreaded by
-all of the scholars was “composition day.” What to write about, and how
-to do it, were the most vexatious of all questions. Probably nine-tenths
-of the pupils would rather have mastered the hardest lessons, or taken a
-sound whipping, than to attempt to write one paragraph of a composition
-on any subject.
-
-While some persons have a natural faculty for putting their thoughts into
-words, a much larger number of others are compelled to confess that it is
-a difficult undertaking, and they are never able to satisfy themselves
-with their written productions.
-
-Let it be some encouragement to you to reflect that many who are
-considered excellent writers labored in the beginning under serious
-difficulties, yet, being resolved to master them, they finally achieved
-the most gratifying success. When Napoleon was told it would be
-impossible for his army to cross the bridge at Lodi, he replied, “There
-is no such word as impossible,” and over the bridge his army went.
-Resolve that you will succeed, and carry out this good resolution by
-close application and diligent practice. “Labor conquers all things.”
-
-
-WHAT TO DO, AND HOW TO DO IT.
-
-Study carefully the lessons contained in the following pages. They will
-be of great benefit, as they show you what to do and how to do it.
-
-These lessons are quite simple at first, and are followed by others that
-are more advanced. All of them have been carefully prepared for the
-purpose of furnishing just such helps as you need. You can study them
-by yourself; if you can obtain the assistance of a competent teacher,
-so much the better. I predict that you will be surprised at the rapid
-progress you are making. Perhaps you will become fascinated with your
-study; at least, it is to be hoped you will, and become enthusiastic in
-your noble work.
-
-Be content to take one step at a time. Do not get the mistaken impression
-that you will be able to write a good composition before you have
-learned how to do it. Many persons are too eager to achieve success
-immediately, without patient and earnest endeavor to overcome all
-difficulties.
-
-Choose a subject for your composition that is adapted to your capacity.
-You cannot write on a subject that you know nothing about. Having
-selected your theme, think upon it, and, if possible, read what others
-have written about it, not for the purpose of stealing their thoughts,
-but to stimulate your own, and store your mind with information. Then you
-will be able to express in writing what you know.
-
-
-The Treatment of the Subject.
-
-The principal reason why many persons make such hard work of the art of
-composition is that they have so few thoughts, and consequently so little
-to say, upon the subjects they endeavor to treat. The same rule must be
-followed in writing a composition as in building a house—you must first
-get your materials.
-
-I said something about stealing the thoughts of others, but must qualify
-this by saying that while you are learning to write, you are quite at
-liberty in your practice to make use of the thoughts of others, writing
-them from memory after you have read a page or a paragraph from some
-standard author. It is better that you should remember only a part of the
-language employed by the writer whose thoughts you are reproducing, using
-as far as possible words of your own, yet in each instance wherein you
-remember his language you need not hesitate to use it. Such an exercise
-is a valuable aid to all who wish to perfect themselves in the delightful
-art of composition.
-
-Take any writer of good English—J. G. Holland, Oliver Wendell Holmes,
-Irving, Cooper, or the articles in our best magazines—and read half a
-page twice or thrice; close the book, and write, in your own words, what
-you have read; borrowing, nevertheless, from the author so much as you
-can remember. Compare what you have written with the original, sentence
-by sentence, and word by word, and observe how far you have fallen short
-of the skilful author.
-
-
-A Frequent Change of Authors.
-
-You will thus not only find out your own faults, but you will discover
-where they lie, and how they may be mended. Repeat the lesson with the
-same passages twice or thrice, if your memory is not filled with the
-words of the author, and observe, at each trial, the progress you have
-made, not merely by comparison with the original, but by comparison with
-the previous exercises.
-
-Do this day after day, changing your author for the purpose of varying
-the style, and continue to do so long after you have passed on to the
-second and more advanced stages of your training. Preserve all your
-exercises, and occasionally compare the latest with the earliest, and so
-ascertain what progress you have made.
-
-Give especial attention to the _words_, which, to my mind, are of greater
-importance than the sentences. Take your nouns first, and compare them
-with the nouns used by your author. You will probably find your words
-to be very much bigger than his, more sounding, more far-fetched, more
-classical, or more poetical. All young writers and speakers fancy that
-they cannot sufficiently revel in fine words. Comparison with the great
-masters of English will rebuke this pomposity of inexperience, and
-chasten and improve your style.
-
-You will discover, to your surprise, that our best writers eschew big
-words and do not aim to dazzle their readers with fine words. Where
-there is a choice, they prefer the pure, plain, simple English noun—the
-name by which the thing is known to everybody, and which, therefore, is
-instantly understood by all readers. These great authors call a spade “a
-spade;” only small scribblers term it “an implement of husbandry.” If
-there is a choice of names, good writers prefer the one best known, while
-an inexperienced writer is apt to select the most uncommon.
-
-The example of the masters of the English tongue should teach you that
-commonness (if I may be allowed to coin a word to express that for which
-I can find no precise equivalent) and vulgarity are not the same in
-substance. Vulgarity is shown in assumption and affectation of language
-quite as much as in dress and manners, and it is never vulgar to be
-natural. Your object is to be understood. To be successful, you must
-write and talk in a language that everybody can understand; and such is
-the natural vigor, picturesqueness and music of our tongue, that you
-could not possess yourself of a more powerful or effective instrument for
-expression.
-
-
-Right Choice of Words.
-
-It is well for you to be assured that while, by this choice of plain
-English for the embodying of your thoughts, you secure the ears of
-ordinary people, you will at the same time please the most highly
-educated and refined. The _words_ that have won the applause of a
-political meeting are equally successful in securing a hearing in
-Congress, provided that the thoughts expressed and the manner of their
-expression be adapted to the changed audience.
-
-Then for the _sentences_. Look closely at their construction, comparing
-it with that of your author; I mean, note how you have put your words
-together. The placing of words is next in importance to the choice of
-them. The best writers preserve the natural order of thought. They
-sedulously shun obscurities and perplexities. They avoid long and
-involved sentences. Their rule is, that one sentence should express one
-thought, and they will not venture on the introduction of two or three
-thoughts, if they can help it.
-
-
-Obscure Sentences.
-
-Undoubtedly this is extremely difficult—sometimes impossible. If you want
-to qualify an assertion, you must do so on the instant; but the rule
-should never be forgotten, that a long and involved sentence is to be
-avoided, wherever it is practicable to do so.
-
-Another lesson you will doubtless learn from the comparison of your
-composition with that of your model author. You will see a wonderful
-number of _adjectives_ in your own writing, and very few in his. It
-is the besetting sin of young writers to indulge in adjectives, and
-precisely as a man gains experience do his adjectives diminish in
-number. It seems to be supposed by all unpracticed scribblers that the
-multiplication of epithets gives force. The nouns are never left to speak
-for themselves.
-
-It is curious to take up any newspaper and read the paragraphs of news,
-to open the books of nine-tenths of our authors of the third and downward
-ranks. You will rarely see a noun standing alone, without one or more
-adjectives prefixed. Be assured that this is a mistake. An adjective
-should never be used unless it is essential to correct description. As
-a general rule adjectives add little strength to the noun they are set
-to prop, and a multiplication of them is always enfeebling. The vast
-majority of nouns convey to the mind a much more accurate picture of the
-thing they signify than you can possibly paint by attaching epithets to
-them.
-
-Yet do not push to the extreme what has just been said. Adjectives are a
-very important part of language, and we could not well do without them.
-You do not need to say a “flowing river;” every river flows, but you
-might wish to say a “swollen river,” and you could not convey the idea
-you desire to express without using the adjective “swollen.” What I wish
-to caution you against is the needless multiplication of adjectives,
-which only serve to overload and weaken the expression of your thought.
-
-
-Express Your Own Ideas.
-
-When you have repeated your lesson many times, and find that you can
-write with some approach to the purity of your author, you should attempt
-an original composition. In the beginning it would be prudent, perhaps,
-to borrow the _ideas_, but to put them into your own language. The
-difficulty of this consists in the tendency of the mind to mistake memory
-for invention, and thus, unconsciously to copy the language as well as
-the thoughts of the author.
-
-The best way to avoid this is to translate poetry into prose; to take,
-for instance, a page of narrative in verse and relate the same story in
-plain prose; or to peruse a page of didactic poetry, and set down the
-argument in a plain, unpoetical fashion. This will make you familiar
-with the art of composition, only to be acquired by practice; and the
-advantage, at this early stage of your education in the arts of writing
-and speaking, of putting into proper language the thoughts of others
-rather than your own is, that you are better able to discover your
-faults. Your fatherly love for your own ideas is such that you are really
-incompetent to form a judgment of their worth, or of the correctness of
-the language in which they are embodied.
-
-The critics witness this hallucination every day. Books continually come
-to them, written by men who are _not_ mad, who probably are sufficiently
-sensible in the ordinary business of life, who see clearly enough the
-faults of other books, who would have laughed aloud over the same pages,
-if placed in their hands by another writer, but who, nevertheless, are
-utterly unable to recognize the absurdities of their own handiwork. The
-reader is surprised that any man of common intelligence could indite such
-a maze of nonsense where the right word is never to be found in its right
-place, and this with such utter unconsciousness of incapacity on the part
-of the author.
-
-
-Write Exactly What You Mean.
-
-Still more is he amazed that, even if a sensible man could so write, a
-sane man could read that composition in print, and not with shame throw
-it into the fire. But the explanation is, that the writer knew what he
-_intended_ to say; his mind is full of _that_, and he reads from the
-manuscript or the type, not so much what is there set down, as what was
-already floating in his own mind. To criticise yourself you must, to some
-extent, forget yourself. This is impracticable to many persons, and, lest
-it may be so with you, I advise you to begin by putting the thoughts
-of others into your own language, before you attempt to give formal
-expression to your own thoughts.
-
-You must habitually place your thoughts upon paper—first, that you may do
-so rapidly; and, secondly, that you may do so correctly. When you come
-to write your reflections, you will be surprised to find how loose and
-inaccurate the most vivid of them have been, what terrible flaws there
-are in your best arguments.
-
-You are thus enabled to correct them, and to compare the matured sentence
-with the rude conception of it. You are thus trained to weigh your words
-and assure yourself that they precisely embody the idea you desire to
-convey. You can trace uncouthness in the sentences, and dislocations of
-thought, of which you had not been conscious before. It is far better
-to learn your lesson thus upon paper, which you can throw into the fire
-unknown to any human being, than to be taught it by readers who are not
-always very lenient critics and are quick to detect any faults that
-appear in your production.
-
-
-READING AND THINKING.
-
-Having accustomed yourself to express, in plain words, and in clear,
-precise and straightforward sentences, the ideas of others, you should
-proceed to express your own thoughts in the same fashion. You will now
-see more distinctly the advantage of having first studied composition by
-the process I have recommended, for you are in a condition to discover
-the deficiencies in the flow of your own ideas. You will be surprised to
-find, when you come to put them into words, how many of your thoughts
-were shapeless, hazy and dreamy, slipping from your grasp when you try to
-seize them, resolving themselves, like the witches in Macbeth,
-
-  Into the air: and what seemed corporal melted
-  As breath into the wind.
-
-
-What You Should Read.
-
-Thus, after you have learned _how_ to write, you will need a good deal of
-education before you will learn _what_ to write. I cannot much assist you
-in this part of the business. Two words convey the whole lesson—_Read_
-and _think_. What should you read? Everything. What think about? All
-subjects that present themselves. The writer and orator must be a man of
-very varied knowledge. Indeed, for all the purposes of practical life,
-you cannot know too much. No learning is quite useless. But a speaker,
-especially if an advocate, cannot anticipate the subjects on which he may
-be required to talk. Law is the least part of his discourse. For once
-that he is called upon to argue a point of law, he is compelled to treat
-matters of fact twenty times.
-
-And the range of topics is very wide; it embraces science and art,
-history and philosophy; above all, the knowledge of human nature that
-teaches how the mind he addresses is to be convinced and persuaded, and
-how a willing ear is to be won to his discourse. No limited range of
-reading will suffice for so large a requirement. The elements of the
-sciences must be mastered; the foundations of philosophy must be learned;
-the principles of art must be acquired; the broad facts of history must
-be stamped upon the memory; poetry and fiction must not be slighted or
-neglected.
-
-
-Our Great Writers.
-
-You must cultivate frequent and intimate intercourse with the genius
-of all ages and of all countries, not merely as standards by which to
-measure your own progress, or as fountains from which you may draw
-unlimited ideas for your own use, but because they are peculiarly
-_suggestive_. This is the characteristic of genius, that, conveying one
-thought to the reader’s mind, it kindles in him many other thoughts. The
-value of this to speaker and writer will be obvious to you.
-
-Never, therefore, permit a day to pass without reading more or less—if
-it be but a single page—from some one of our great writers. Besides the
-service I have described in the multiplication of your ideas, it will
-render you the scarcely lesser service of preserving purity of style
-and language, and preventing you from falling into the conventional
-affectations and slang of social dialogue.
-
-For the same reason, without reference to any higher motive, but simply
-to fill our mind with the purest English, read daily some portion of
-the Bible; for which exercise there is another reason also, that its
-phraseology is more familiar to all kinds of audiences than any other, is
-more readily understood, and, therefore, is more sufficient in securing
-their attention.
-
-
-Three Kinds of Reading.
-
-Your reading will thus consist of three kinds: reading for _knowledge_,
-by which I mean the storing of your memory with facts; reading for
-_thoughts_, by which I mean the ideas and reflections that set your own
-mind thinking; and reading the _words_, by which I mean the best language
-in which the best authors have clothed their thoughts. And these three
-classes of reading should be pursued together daily, more or less as
-you can, for they are needful each to the others, and neither can be
-neglected without injury to the rest.
-
-So also you must make it a business to _think_. You will probably say
-that you are always thinking when you are not _doing_ anything, and often
-when you are busiest. True, the mind is active, but wandering, vaguely
-from topic to topic. You are not in reality _thinking out_ anything;
-indeed, you cannot be sure that your thoughts have a shape until you try
-to express them in words. Nevertheless you must think before you can
-write or speak, and you should cultivate a _habit of thinking_ at all
-appropriate seasons.
-
-But do not misunderstand this suggestion. I do not design advising you
-to set yourself a-thinking, as you would take up a book to read at the
-intervals of business, or as a part of a course of self-training; for
-such attempts would probably begin with wandering fancies and end in a
-comfortable nap. It is a fact worth noting, that few persons can think
-continuously while the body is at perfect rest. The time for thinking is
-when you are kept awake by some slight and almost mechanical muscular
-exercise, and the mind is not busily attracted by external subjects of
-attention.
-
-Thus walking, angling, gardening, and other rural pursuits are
-pre-eminently the seasons for thought, and you should cultivate a habit
-of thinking during those exercises, so needful for health of body and
-for fruitfulness of mind. _Then_ it is that you should submit whatever
-subject you desire to treat to careful review, turning it on all sides,
-and inside out, marshalling the facts connected with it, trying what may
-be said for or against every view of it, recalling what you may have read
-about it, and finally thinking what you could say upon it that had not
-been said before, or how you could put old views of it into new shapes.
-
-
-Learning to Think.
-
-Perhaps the best way to accomplish this will be to imagine yourself
-writing upon it, or making a speech upon it, and to think what in such
-case you would say; I do not mean in what _words_ you would express
-yourself, but what you would discourse about; what ideas you would put
-forth; to what thoughts you would give utterance.
-
-At the beginning of this exercise you will find your reflections
-extremely vague and disconnected; you will range from theme to theme,
-and mere flights of fancy will be substituted for steady, continuous
-thought. But persevere day by day, and that which was in the beginning an
-effort will soon grow into a habit, and you will pass few moments of your
-working life in which, when not occupied from without, your mind will not
-be _usefully_ employed within itself.
-
-Having attained this habit of thinking, let it be a rule with you,
-before you write or speak on any subject, to employ your thoughts upon
-it in the manner I have described. Go a-fishing. Take a walk. Weed
-your garden. Sweep, dust, do any sewing that needs to be done. While
-so occupied, _think_. It will be hard if your own intelligence cannot
-suggest to you how the subject should be treated, in what order of
-argument, with what illustrations, and with what new aspects of it, the
-original product of your own genius.
-
-At all events this is certain, that without preliminary reflection you
-cannot hope to deal with any subject to your own satisfaction, or to the
-profit or pleasure of others. If you neglect these precautions, you can
-never be more than a wind-bag, uttering words that, however grandly they
-may roll, convey no thoughts. There is hope for ignorance; there is none
-for emptiness.
-
-To sum up these rules and suggestions: To become a writer or an orator,
-you must fill your mind with knowledge by reading and observation,
-and educate it to the creation of thoughts by cultivating a habit of
-reflection. There is no limit to the knowledge that will be desirable and
-useful; it should include something of natural science, much of history,
-and still more of human nature. The latter must be your study, for it is
-with this that the writer and speaker has to deal.
-
-Remember, that no amount of antiquarian, or historical, or scientific, or
-literary lore will make a writer or orator, without intimate acquaintance
-with the ways of the world about him, with the tastes, sentiments,
-passions, emotions, and modes of thought of the men and women of the age
-in which he lives, and whose minds it is his business to instruct and
-sway.
-
-
-HOW TO ACQUIRE A CAPTIVATING STYLE.
-
-You must think, that you may have thoughts to convey; and read, that
-you may have words wherewith to express your thoughts correctly and
-gracefully. But something more than this is required to qualify you to
-write or speak. You must have a _style_. I will endeavor to explain what
-I mean by that.
-
-As every man has a manner of his own, differing from the manner of
-every other man, so has every mind its own fashion of communicating
-with other minds. This manner of expressing thought is _style_, and
-therefore may style be described as the features of the mind displayed in
-its communications with other minds; as manner is the external feature
-exhibited in personal communication.
-
-But though style is the gift of nature, it is nevertheless to be
-cultivated; only in a sense different from that commonly understood by
-the word cultivation.
-
-Many elaborate treatises have been written on style, and the subject
-usually occupies a prominent place in all books on composition and
-oratory. It is usual with teachers to urge emphatically the importance of
-cultivating style, and to prescribe ingenious recipes for its production.
-All these proceed upon the assumption that style is something artificial,
-capable of being taught, and which may and should be learned by the
-student, like spelling or grammar.
-
-But, if the definition of style which I have submitted to you is right,
-these elaborate trainings are a needless labor; probably a positive
-mischief. I do not design to say _a_ style may not be taught to you;
-but it will be the style of some other man, and not your own; and, not
-being your own, it will no more fit your mind than a second-hand suit of
-clothes, bought without measurement at a pawn-shop, would fit your body,
-and your appearance in it would be as ungainly.
-
-But you must not gather from this that you are not to concern yourself
-about style, that it may be left to take care of itself, and that you
-will require only to write or speak as untrained nature prompts. I say
-that you must cultivate style; but I say also that the style to be
-cultivated must be your own, and not the style of another.
-
-
-How to Cultivate Style.
-
-The majority of those who have written upon the subject recommend you
-to study the styles of the great writers of the English language, with
-a view to acquiring their accomplishment. So I say—study them, by all
-means; but not for the purpose of imitation, not with a view to acquire
-_their_ manner, but to learn their language, to see how they have
-embodied their thoughts in words, to discover the manifold graces with
-which they have invested the expression of their thoughts, so as to
-surround the act of communicating information, or kindling emotion, with
-the various attractions and charms of art.
-
-_Cultivate style_; but instead of laboring to acquire the style of your
-model, it should be your most constant endeavor to avoid it. The greatest
-danger to which you are exposed is that of falling into an imitation of
-the manner of some favorite author, whom you have studied for the sake of
-learning a style, which, if you did learn it, would be unbecoming to you,
-because it is not your own. That which in him was _manner_ becomes in you
-_mannerism_; you but dress yourself in his clothes, and imagine that you
-are like him, while you are no more like than is the valet to his master
-whose cast-off coat he is wearing.
-
-There are some authors whose manner is so infectious that it is
-extremely difficult _not_ to catch it. Hawthorne is one of these; it
-requires an effort not to fall into his formula of speech. But your
-protection against this danger must be an ever-present conviction that
-your own style will be the best for you, be it ever so bad or good. You
-must strive to _be_ yourself, to think for yourself, to speak in your
-own manner; then, what you say and your _style_ of saying it will be in
-perfect accord, and the pleasure to those who read or listen will not be
-disturbed by a sense of impropriety and unfitness.
-
-Nevertheless, I repeat, you should cultivate your own style, not by
-changing it into some other person’s style, but by striving to preserve
-its individuality, while decorating it with all the graces of art. Nature
-gives the style, for your style is yourself; but the decorations are
-slowly and laboriously acquired by diligent study, and, above all, by
-long and patient practice. There are but two methods of attaining to
-this accomplishment—contemplation of the best productions of art, and
-continuous toil in the exercise of it.
-
-
-Make Your Composition Attractive.
-
-I assume that, by the process I have already described, you have acquired
-a tolerably quick flow of ideas, a ready command of words, and ability
-to construct grammatical sentences; all that now remains to you is to
-learn to use this knowledge that the result may be presented in the most
-attractive shape to those whom you address. I am unable to give you many
-practical hints towards this, because it is not a thing to be acquired
-by formal rules, in a few lessons and by a set course of study; it is
-the product of very wide and long-continued gleanings from a countless
-variety of sources; but, above all, it is taught by experience.
-
-If you compare your compositions at intervals of six months, you will
-see the progress you have made. You began with a multitude of words,
-with big nouns and bigger adjectives, a perfect firework of epithets, a
-tendency to call everything by something else than its proper name, and
-the more you admired your own ingenuity the more you thought it must
-be admired by others. If you had a good idea, you were pretty sure to
-dilute it by expansion, supposing the while that you were improving by
-amplifying it. You indulged in small flights of poetry (in prose), not
-always in appropriate places, and you were tolerably sure to go off into
-rhapsody, and to mistake fine words for eloquence. This is the juvenile
-style; and is not peculiar to yourself—it is the common fault of _all_
-young writers.
-
-But the cure for it may be hastened by judicious self-treatment. In
-addition to the study of good authors, to cultivate your taste, you may
-mend your style by a process of pruning, after the following fashion.
-Having finished your composition, or a section of it, lay it aside, and
-do not look at it again for a week, during which interval other labors
-will have engaged your thoughts. You will then be in a condition to
-revise it with an approach to critical impartiality, and so you will
-begin to learn the wholesome _art of blotting_. Go through it slowly, pen
-in hand, weighing every word, and asking yourself, “What did I _intend_
-to say? How can I say it in the briefest and plainest English?”
-
-Compare with the plain answer you return to this question the form in
-which you had tried to express the same meaning in the writing before
-you, and at each word further ask yourself, “Does this word precisely
-convey my thought? Is it the aptest word? Is it a necessary word? Would
-my meaning be fully expressed without it?” If it is not the best, change
-it for a better. If it is superfluous, ruthlessly strike it out.
-
-The work will be painful at first—you will sacrifice with a sigh so
-many flourishes of fancy, so many figures of speech, of whose birth you
-were proud. Nay, at the beginning, and for a long time afterwards, your
-courage will fail you, and many a cherished phrase will be spared by your
-relenting pen. But be persistent, and you will triumph at last. Be not
-content with one act of erasure. Read the manuscript again, and, seeing
-how much it is improved, you will be inclined to blot a little more. Lay
-it aside for a month, and then read again, and blot again as before. Be
-severe toward yourself.
-
-
-THE CHOICE OF LANGUAGE.
-
-Simplicity is the crowning achievement of judgment and good taste. It is
-of very slow growth in the greatest minds; by the multitude it is never
-acquired. The gradual progress towards it can be curiously traced in
-the works of the great masters of English composition, wheresoever the
-injudicious zeal of admirers has given to the world the juvenile writings
-which their own better taste had suffered to pass into oblivion. Lord
-Macaulay was an instance of this. Compare his latest with his earliest
-compositions, as collected in the posthumous volume of his “Remains,” and
-the growth of improvement will be manifest.
-
-Yet, at first thought, nothing appears to be easier to remember, and
-to act upon, than the rule, “Say what you want to say in the fewest
-words that will express your meaning clearly; and let those words be
-the plainest, the most common (not vulgar), and the most intelligible
-to the greatest number of persons.” It is certain that a beginner will
-adopt the very reverse of this. He will say what he has to say in the
-greatest number of words he can devise, and those words will be the
-most artificial and uncommon his memory can recall. As he advances, he
-will learn to drop these long phrases and big words; he will gradually
-contract his language to the limit of his thoughts, and he will discover,
-after long experience, that he was never so feeble as when he flattered
-himself that he was most forcible.
-
-
-Faults in Writing.
-
-I have dwelt upon this subject with repetitions that may be deemed almost
-wearisome, because affectations and conceits are the besetting sin of
-modern composition, and the vice is growing and spreading. The literature
-of our periodicals teems with it; the magazines are infected by it almost
-as much as the newspapers, which have been always famous for it.
-
-Instead of an endeavor to write plainly, the express purpose of the
-writers in the periodicals is to write as obscurely as possible; they
-make it a rule never to call anything by its proper name, never to say
-anything directly in plain English, never to express their true meaning.
-They delight to say something quite different in appearance from that
-which they purpose to say, requiring the reader to translate it, if he
-can, and, if he cannot, leaving him in a state of bewilderment, or wholly
-uninformed.
-
-Worse models you could not find than those presented to you by the
-newspapers and periodicals; yet are you so beset by them that it is
-extremely difficult not to catch the infection. Reading day by day
-compositions teeming with bad taste, and especially where the style
-floods you with its conceits and affectations, you unconsciously fall
-into the same vile habit, and incessant vigilance is required to restore
-you to sound, vigorous, manly, and wholesome English. I cannot recommend
-to you a better plan for counteracting the inevitable mischief than
-the daily reading of portions of some of our best writers of English,
-specimens of which you will find near the close of the First Part of this
-volume. We learn more by example than in any other way, and a careful
-perusal of these choice specimens of writing from the works of the most
-celebrated authors will greatly aid you.
-
-You will soon learn to appreciate the power and beauty of those simple
-sentences compared with the forcible feebleness of some, and the
-spasmodic efforts and mountebank contortions of others, that meet your
-eye when you turn over the pages of magazine or newspaper. I do not say
-that you will at once become reconciled to plain English, after being
-accustomed to the tinsel and tin trumpets of too many modern writers; but
-you will gradually come to like it more and more; you will return to it
-with greater zest year by year; and, having thoroughly learned to love
-it, you will strive to follow the example of the authors who have written
-it.
-
-
-Read Great Authors.
-
-And this practice of daily reading the writings of one of the great
-masters of the English tongue should never be abandoned. So long as you
-have occasion to write or speak, let it be held by you almost as a duty.
-And here I would suggest that you should read them _aloud_; for there is
-no doubt that the words, entering at once by the eye and the ear, are
-more sharply impressed upon the mind than when perused silently.
-
-Moreover, when reading aloud you read more slowly; the full meaning of
-each word must be understood, that you may give the right expression
-to it, and the ear catches the general structure of the sentences more
-perfectly. Nor will this occupy much time. There is no need to devote to
-it more than a few minutes every day. Two or three pages thus read daily
-will suffice to preserve the purity of your taste.
-
-Your first care in composition will be, of course, to express yourself
-grammatically. This is partly habit, partly teaching. If those with whom
-a child is brought up talk grammatically, he will do likewise, from mere
-imitation; but he will learn quite as readily anything ungrammatical
-to which his ears may be accustomed; and, as the most fortunate of us
-mingle in childhood with servants and other persons not always observant
-of number, gender, mood, and tense, and as even they who have enjoyed
-the best education lapse, in familiar talk, into occasional defiance of
-grammar, which could not be avoided without pedantry, you will find the
-study of grammar necessary to you under any circumstances. Your ear will
-teach you a great deal, and you may usually trust to it as a guide; but
-sometimes occasions arise when you are puzzled to determine which is the
-correct form of expression, and in such cases there is safety only in
-reference to the rule.
-
-Fortunately our public schools and academies give much attention to the
-study of grammar. The very first evidence that a person is well educated
-is the ability to speak correctly. If you were to say, “I paid big prices
-for them pictures,” or, “Her photographs always flatters her,” or, “His
-fund of jokes and stories make him a pleasant companion,” or, “He buys
-the paper for you and I”—if you were guilty of committing such gross
-errors against good grammar, or scores of others that might be mentioned,
-your chances for obtaining a standing in polite society would be very
-slim. Educated persons would at once rank you as an ignorant boor, and
-their treatment of you would be suggestive of weather below zero. Do not
-“murder the King’s English.”
-
-
-PUTTING WORDS INTO SENTENCES.
-
-Having pointed out the importance of correct grammar and the right choice
-of language, I wish now to furnish you with some practical suggestions
-for the construction of sentences. Remember that a good thought often
-suffers from a weak and faulty expression of it.
-
-Your sentences will certainly shape themselves after the structure of
-your own mind. If your thoughts are vivid and definite, so will be your
-language; if dreamy and hazy, so will your composition be obscure. Your
-speech, whether oral or written, can be but the expression of yourself;
-and what you are, that speech will be.
-
-Remember, then, that you cannot materially change the substantial
-character of your writing; but you may much improve the form of it by the
-observance of two or three general rules.
-
-In the first place, _be sure you have something to say_. This may appear
-to you a very unnecessary precaution; for who, you will ask, having
-nothing to say, desires to write or to speak? I do not doubt that you
-have often felt as if your brain was teeming with thoughts too big for
-words; but when you came to seize them, for the purpose of putting them
-into words, you have found them evading your grasp and melting into the
-air. They were not _thoughts_ at all, but _fancies_—shadows which you
-had mistaken for substances, and whose vagueness you would never have
-detected, had you not sought to embody them in language. Hence you will
-need to be assured that you have thoughts to express, before you try to
-express them.
-
-And how to do this? By asking yourself, when you take up the pen, what
-it is you intend to say, and answering yourself as you best can, without
-caring for the form of expression. If it is only a vague and mystical
-idea, conceived in cloudland, you will try in vain to put it into any
-form of words, however rude. If, however, it is a definite thought,
-proceed at once to set it down in words and fix it upon paper.
-
-
-Vague and Hazy Ideas.
-
-The expression of a precise and definite thought is not difficult. Words
-will follow the thought; indeed, they usually accompany it, because
-it is almost impossible to think unless the thought is clothed in
-words. So closely are ideas and language linked by habit, that very few
-minds are capable of contemplating them apart, insomuch that it may be
-safely asserted of all intellects, save the highest, that if they are
-unable to express their ideas, it is because the ideas are incapable of
-expression—because they are vague and hazy.
-
-For the present purpose it will suffice that you put upon paper the
-substance of what you desire to say, in terms as rude as you please, the
-object being simply to measure your thoughts. If you cannot express them,
-do not attribute your failure to the weakness of language, but to the
-dreaminess of your ideas, and therefore banish them without mercy, and
-direct your mind to some more definite object for its contemplations. If
-you succeed in putting your ideas into words, be they ever so rude, you
-will have learned the first, the most difficult, and the most important
-lesson in the art of writing.
-
-The second is far easier. Having thoughts, and having embodied those
-thoughts in unpolished phrase, your next task will be to present them in
-the most attractive form. To secure the attention of those to whom you
-desire to communicate your thoughts, it is not enough that you utter
-them in any words that come uppermost; you must express them in the best
-words, and in the most graceful sentences, so that they may be read with
-pleasure, or at least without offending the taste.
-
-Your first care in the choice of words will be that they shall express
-precisely your meaning. Words are used so loosely in society that the
-same word will often be found to convey half a dozen different ideas
-to as many auditors. Even where there is not a conflict of meanings
-in the same word, there is usually a choice of words having meanings
-sufficiently alike to be used indiscriminately, without subjecting the
-user to a charge of positive error. But the cultivated taste is shown in
-the selection of such as express the most delicate shades of difference.
-
-
-Suit the Word to the Thought.
-
-Therefore, it is not enough to have abundance of words; you must learn
-the precise meaning of each word, and in what it differs from other words
-supposed to be synonymous; and then you must select that which most
-exactly conveys the thought you are seeking to embody. There is but one
-way to fill your mind with words, and that is, to read the best authors,
-and to acquire an accurate knowledge of the precise meaning of their
-words—by _parsing_ as you read.
-
-By the practice of _parsing_, I intend very nearly the process so
-called at schools, only limiting the exercise to the definitions
-of the principal words. As thus: take, for instance the sentence
-that immediately precedes this,—ask yourself what is the meaning of
-“practice,” of “parsing,” of “process,” and such like. Write the answer
-to each, that you may be assured that your definition is distinct.
-Compare it with the definitions of the same word in the dictionaries, and
-observe the various senses in which it has been used.
-
-You will thus learn also the words that have the same, or nearly the
-same, meaning—a large vocabulary of which is necessary to composition,
-for frequent repetition of the same word, especially in the same
-sentence, is an inelegance, if not a positive error. Compare your
-definition with that of the authorities, and your use of the word with
-the uses of it cited in the dictionary, and you will thus measure your
-own progress in the science of words.
-
-
-An Amusing Exercise.
-
-This useful exercise may be made extremely amusing as well as
-instructive, if friends, having a like desire for self-improvement, will
-join you in the practice of it; and I can assure you that an evening will
-be thus spent pleasantly as well as profitably. You may make a merry game
-of it—a game of speculation. Given a word; each one of the company in
-turn writes his definition of it; Webster’s Dictionary, or some other, is
-then referred to, and that which comes nearest the authentic definition
-wins the honor or the prize; it may be a sweepstakes carried off by him
-whose definition hits the mark the most nearly.
-
-But, whether in company or alone, you should not omit the frequent
-practice of this exercise, for none will impart such a power of accurate
-expression and supply such an abundance of apt words wherein to embody
-the delicate hues and various shadings of thought.
-
-So with _sentences_, or the combination of words. Much skill is required
-for their construction. They must convey your meaning accurately, and as
-far as possible in the natural order of thought, and yet they must not be
-complex, involved, verbose, stiff, ungainly, or full of repetitions. They
-must be brief, but not curt; explicit, but not verbose. Here, again,
-good taste must be your guide, rather than rules which teachers propound,
-but which the pupil never follows.
-
-Not only does every style require its own construction of a sentence, but
-almost every combination of thought will demand a different shape in the
-sentence by which it is conveyed. A standard sentence, like a standard
-style, is a pedantic absurdity; and, if you would avoid it, you must
-_not_ try to write by rule, though you may refer to rules in order to
-find out your faults after you have written.
-
-Lastly, inasmuch as your design is, not only to influence, but to
-please, it will be necessary for you to cultivate what may be termed the
-_graces_ of composition. It is not enough that you instruct the minds
-of your readers; you must gratify their taste, and win their attention,
-giving pleasure in the very process of imparting information. Hence you
-must make choice of words that convey no coarse meanings, and excite
-no disagreeable associations. You are not to sacrifice expression to
-elegance; but so, likewise, you are not to be content with a word or
-a sentence if it is offensive or unpleasing, merely because it best
-expresses your meaning.
-
-
-Graces of Composition.
-
-The precise boundary between refinement and rudeness cannot be defined;
-your own cultivated taste must tell you the point at which power or
-explicitness is to be preferred to delicacy. One more caution I would
-impress upon you, that you pause and give careful consideration to it
-before you permit a coarse expression, on account of its correctness, to
-pass your critical review when you revise your manuscript, and again when
-you read the proof, if ever you rush into print.
-
-And much might be said also about the _music of speech_. Your words
-and sentences must be musical. They must not come harshly from the
-tongue, if uttered, or grate upon the ear, if heard. There is a rhythm
-in words which should be observed in all composition, written or oral.
-The perception of it is a natural gift, but it may be much cultivated and
-improved by reading the works of the great masters of English, especially
-of the best poets—the most excellent of all in this wonderful melody of
-words being Longfellow and Tennyson. Perusal of their works will show you
-what you should strive to attain in this respect, even though it may not
-enable you fully to accomplish the object of your endeavor. Aim at the
-sun and you will shoot high.
-
-
-ERRORS TO BE AVOIDED.
-
-The faculty for writing varies in various persons. Some write easily,
-some laboriously; words flow from some pens without effort, others
-produce them slowly; composition seems to come naturally to a few,
-and a few never can learn it, toil after it as they may. But whatever
-the natural power, of this be certain, that _good_ writing cannot be
-accomplished without study and painstaking practice. Facility is far from
-being a proof of excellence. Many of the finest works in our language
-were written slowly and painfully; the words changed again and again, and
-the structure of the sentences carefully cast and recast.
-
-There is a fatal facility that runs “in one weak, washy, everlasting
-flood,” that is more hopeless than any slowness or slovenliness. If
-you find your pen galloping over the paper, take it as a warning of a
-fault to be shunned; stay your hand, pause, reflect, read what you have
-written; see what are the thoughts you have set down, and resolutely try
-to condense them. There is no more wearisome process than to write the
-same thing over again; nevertheless it is a most efficient teaching. Your
-endeavor should be to say the same things, but to say them in a different
-form; to condense your thoughts, and express them in fewer words.
-
-Compare this second effort with the first, and you will at once measure
-your improvement. You cannot now do better than repeat this lesson
-twice; rewrite, still bearing steadily in mind your object, which is, to
-say what you desire to utter in words the most apt and in the briefest
-form consistent with intelligibility and grace. Having done this,
-take your last copy and strike out pitilessly every superfluous word,
-substitute a vigorous or expressive word for a weak one, sacrifice the
-adjectives without remorse, and, when this work is done, rewrite the
-whole, as amended.
-
-And, if you would see what you have gained by this laborious but
-effective process, compare the completed essay with the first draft of
-it, and you will recognize the superiority of careful composition over
-facile scribbling. You will be fortunate if you thus acquire a mastery
-of condensation, and can succeed in putting the reins upon that fatal
-facility of words, before it has grown into an unconquerable habit.
-
-Simplicity is the charm of writing, as of speech; therefore, cultivate
-it with care. It is not the natural manner of expression, or, at least,
-there grows with great rapidity in all of us a tendency to an ornamental
-style of talking and writing. As soon as the child emerges from the
-imperfect phraseology of his first letters to papa, he sets himself
-earnestly to the task of trying to disguise what he has to say in some
-other words than such as plainly express his meaning and nothing more. To
-him it seems an object of ambition—a feat to be proud of—to go by the
-most indirect paths, instead of the straight way, and it is a triumph to
-give the person he addresses the task of interpreting his language, to
-find the true meaning lying under the apparent meaning.
-
-
-Come Right to the Point.
-
-Circumlocution is not the invention of refinement and civilization, but
-the vice of the uncultivated; it prevails the most with the young in
-years and in minds that never attain maturity. It is a characteristic of
-the savage. You cannot too much school yourself to avoid this tendency,
-if it has not already seized you, as is most probable, or to banish it,
-if infected by it.
-
-If you have any doubt of your condition in this respect, your better
-course will be to consult some judicious friend, conscious of the evil
-and competent to criticism. Submit to him some of your compositions,
-asking him to tell you candidly what are their faults, and especially
-what are the circumlocutions in them, and how the same thought might have
-been better, because more simply and plainly, expressed. Having studied
-his corrections, rewrite the article, striving to avoid those faults.
-
-Submit this again to your friendly censor, and, if many faults are found
-still to linger, apply yourself to the labor of repetition once more.
-Repeat this process with new writings, until you produce them in a shape
-that requires few blottings, and, having thus learned what to shun, you
-may venture on self-reliance.
-
-But, even when parted from your friendly critic, you should continue to
-be your own critic, revising every sentence, with resolute purpose to
-strike out all superfluous words and to substitute an expressive word
-for every fine word. You will hesitate to blot many a pet phrase, of
-whose invention you felt proud at the moment of its birth; but, if it is
-circumlocution, pass the pen through it ruthlessly, and by degrees you
-will train yourself to the crowning victory of art—simplicity.
-
-When you are writing on any subject, address yourself to it directly.
-Come to the point as speedily as possible, and do not walk round about
-it, as if you were reluctant to grapple with it. There is so much to be
-read nowadays that it is the duty of all who write to condense their
-thoughts and words. This cannot always be done in speaking, where slow
-minds must follow your faster lips, but it is always practicable in
-writing, where the reader may move slowly, or repeat what he has not
-understood on the first passing of the eye over the words.
-
-
-Arranging Your Words.
-
-In constructing your sentences, marshal your words in the order of
-thought—that is the natural, and therefore the most intelligible shape
-for language to assume. In conversation we do this instinctively, but in
-writing the rule is almost always set at defiance. The man who would tell
-you a story in a plain, straightforward way would not write it without
-falling into utter confusion and placing almost every word precisely
-where it ought not to be. In learning to write, let this be your next
-care.
-
-Probably it will demand much toil at first in rewriting for the sake
-of redistributing your words; acquired habit of long standing will
-unconsciously mould your sentences to the accustomed shape; but persevere
-and you will certainly succeed at last, and your words will express your
-thoughts precisely as you think them, and as you desire that they should
-be impressed upon the minds of those to whom they are addressed.
-
-So with the sentences. Let each be complete in itself, embodying one
-proposition. Shun that tangled skein in which some writers involve
-themselves, to the perplexity of their readers and their own manifest
-bewilderment. When you find a sentence falling into such a maze, halt
-and retrace your steps. Cancel what you have done, and reflect what you
-design to say. Set clearly before your mind the ideas that you had begun
-to mingle; disentangle them, range them in orderly array, and express
-them in distinct sentences, where each will stand separate, but in its
-right relationship to all the rest.
-
-This exercise will improve, not only your skill in the art of writing,
-but also in the art of thinking, for those involved sentences are almost
-always the result of confused thoughts; the resolve to write clearly
-will compel you to think clearly, and you will be surprised to discover
-how often thoughts, which had appeared to you definite in contemplation,
-are found, when you come to set them upon paper, to be most incomplete
-and shadowy. Knowing the fault, you can then put your wits to work and
-furnish the remedy.
-
-
-EXERCISES IN COMPOSITION.
-
-
-SIMPLE SENTENCES.
-
-
-SUBJECT AND PREDICATE.
-
-The sentence ‘John writes’ consists of two parts:—
-
-  (1) The name of the person of whom we are speaking,—_John_
-
-and
-
-  (2) What we say about John,—_writes_.
-
-Similarly the sentence ‘Fire burns’ consists of two parts:—
-
-  (1) The name of the thing of which we are speaking,—_fire_.
-
-  (2) What we say about fire,—_burns_.
-
-Every sentence has two such parts.
-
-The name of the person or thing spoken about is called the =Subject=.
-
-What is said about the Subject is called the =Predicate=.
-
-
-Exercise 1.
-
-_Point out the Subjects and the Predicates._
-
-  William sings. Birds fly. Sheep bleat. Henry is reading. Rain is
-  falling. Rain has fallen. Stars are shining. Stars were shining.
-  Cattle are grazing. Soldiers are watching. Soldiers watched.
-  Soldiers were watched. School is closed. Donkeys bray. Donkeys
-  were braying. I am writing. We are reading.
-
-  EXAMPLES.—William sings: “William” is the subject; “sings” is the
-  predicate. Henry is reading: “Henry” is the subject; “is reading”
-  is the predicate. In like manner you should go through the list
-  and point out the subjects and verbs.
-
-
-Exercise 2.
-
-_Place Predicates (Verbs) after the following Subjects_:—
-
-  Baby. Babies. Lightning. Flowers. Soldiers. Lions. Bees. Gas. The
-  sun. The wind. The eagle. Eagles. The ship. Ships. The master.
-  The scholars. The cat. Cats. Bakers. A butcher. The moon. The
-  stars. Carpenters. The carpenter. The mower. Porters. Ploughmen.
-
-  EXAMPLES.—“Baby” smiles. “Babies” cry. “Lightning” strikes.
-  Supply verbs for all the subjects.
-
-
-Exercise 3.
-
-_Place Subjects before the following Predicates_:—
-
-  Mew. Chatter. Grunt. Ran. Hum. Fly. Howl. Is walking. Plays.
-  Played. Fell. Whistled. Shrieked. Sings. Sing. Sang. Sleeps.
-  Slept. Bark. Barks. Cried. Bloom. Laughed. Soar. Swim. Swam. Was
-  swimming. Dawns. Dawned. Gallops. Roar.
-
-  EXAMPLES.—Cats “mew.” Monkeys “chatter.” Pigs “grunt.” Go on and
-  write subjects for all the verbs.
-
-
-SUBJECT, PREDICATE, AND OBJECT.
-
-The Predicate always is, or contains, a Verb. In many sentences the
-Predicate is a Verb alone. When it is a Verb in the Active Voice, it has
-an =Object=, thus:—
-
-  _Subject._    _Predicate._    _Object._
-  Parents          love         children.
-  Children         obey         parents.
-  Boys             write        essays.
-  Haste            makes        waste.
-
-
-Exercise 4.
-
-_Pick out the Subjects, Predicates, and Objects._
-
-  Soldiers fight battles. Tom missed Fred. Mary is minding baby.
-  Job showed patience. Abraham had faith. Romulus founded Rome.
-  Titus captured Jerusalem. Arthur loves father. Walter threw a
-  stone. Tom broke a window. The servant swept the room. Masons
-  build houses. The girl is milking the cow. The dog bit the
-  beggar. Artists paint pictures. I am expecting a letter. We have
-  won prizes.
-
-  EXAMPLES.—The word “soldiers” is the subject; “fight” is the
-  predicate; “battles” is the object. “Tom” is the subject;
-  “missed” is the predicate; “Fred” is the object. You do not need
-  to be confined to the sentences here given; write others of your
-  own, and name the subjects, verbs and objects.
-
-
-Exercise 5.
-
-You will readily understand what is required to complete the sentences
-in Exercises 5, 6 and 7. A poet _writes_ poems. The smith _strikes_ the
-iron, etc.
-
-_Supply Predicates._
-
-  A poet ... poems. The smith ... the iron. Horses ... carts. Cows
-  ... grass. Cats ... milk. The sexton ... the bell. The horse ...
-  the groom. Grocers ... sugar. The hounds ... the fox. Birds ...
-  nests. The gardener ... the flowers. Miss Wilson ... a ballad.
-  Horses ... hay. The dog ... the thief. The banker ... a purse.
-  Tailors ... coats. Brewers ... beer. The girl ... a rose.
-
-
-Exercise 6.
-
-_Supply Objects._
-
-  The servant broke.... The cook made.... The hunter killed....
-  Farmers till.... Soldiers fight.... Tom missed.... Mary is
-  minding.... Romulus founded.... Titus captured.... Cæsar
-  invaded.... The gardener sowed.... Somebody stole.... Artists
-  paint.... The sailor lost.... Children learn.... Authors
-  write.... Farmers grow.... Birds build.... I admire.... We
-  like.... I hurt....
-
-
-Exercise 7.
-
-_Supply Subjects._
-
-  ... dusted the room. ... is drawing a load. ... loves me. ...
-  met Tom. ... caught the thief. ... grow flowers. ... bit the
-  beggar. ... won the prize. ... has lost the dog. ... has killed
-  the cat. ... felled a tree. ... are singing songs. ... is making
-  a pudding. ... is expecting a letter. ... gives light. ... makes
-  shoes. ... sold a book. ... like him. ... likes him.
-
-
-ENLARGED SUBJECT.
-
-Subjects may be enlarged by =Adjuncts=. Thus the sentence “Boys work”
-may, by additions to the subject, become
-
-  _The_ boys work.
-
-  _These_ boys work.
-
-  _Good_ boys work.
-
-  _My_ boys work.
-
-  _The good_ boys _of the village_ work.
-
-  _The good_ boys _of the village, wishing to please their master_,
-  work.
-
-
-Exercise 8.
-
-_Point out the Subject and its Adjuncts._
-
-  Tom’s brother has arrived. The careless boy will be punished.
-  The laws of the land have been broken. The sweet flowers are
-  blooming. The poor slave is crying. The boat, struck by a great
-  wave, sank. The little child, tired of play, is sleeping. A short
-  letter telling the good news has been sent.
-
-
-Exercise 9.
-
-_Add Adjuncts to each Subject._
-
-  Birds fly. Sheep bleat. Stars are shining. Cattle are grazing.
-  Soldiers are watching. Donkeys bray. Lightning is flashing. The
-  sun is shining. The scholars are studying. The ploughman is
-  whistling. Monkeys chatter. Pigs grunt. The lark is soaring.
-  Lions roar.
-
-
-ENLARGED OBJECTS.
-
-Objects, like Subjects, may be enlarged by Adjuncts. Thus the sentence
-“Boys learn lessons” may, by additions to the Object, become
-
-  Boys learn _the_ lessons.
-
-  Boys learn _their_ lessons.
-
-  Boys learn _home_ lessons.
-
-  Boys learn _difficult_ lessons.
-
-  Boys learn lessons _about Verbs_.
-
-  Boys learn _the_ lessons _set by Mr. Edwards_.
-
-  Boys learn _the difficult home_ lessons _about Verbs set by Mr.
-  Edwards_.
-
-
-Exercise 10.
-
-_Point out the Object and its Adjuncts._
-
-  The servant dusted every room. Fred loves his sweet little
-  sister. We have rented a house at Barmouth. We saw our neighbor’s
-  new Shetland pony. I am reading a book written by my father. The
-  policeman caught the man accused of theft. The gardener is hoeing
-  the potatoes planted by him in the early spring.
-
-
-Exercise 11.
-
-_Add Adjuncts to each Object._
-
-  The soldiers fought battles. Mary is minding baby. Walter threw a
-  stone. Tom broke a window. The servant swept the room. The girl
-  is milking the cow. The dog bit the beggar. The artist painted
-  pictures. I am expecting a letter. We have won prizes. The fire
-  destroyed houses. The general gained a victory. The engineer
-  made a railway. The children drowned the kittens. We have bought
-  books. He teaches geography.
-
-
-ENLARGED PREDICATE.
-
-Predicates, like Subjects and Objects, may be enlarged by Adjuncts. Thus
-the sentence “Boys work” may, by additions to the Predicate, become
-
-  Boys work _diligently_.
-
-  Boys work _now_.
-
-  Boys work _in school_.
-
-  Boys work _to please their teacher_.
-
-  Boys work _diligently now in school to please their teacher_.
-
-
-Exercise 12.
-
-_Pick out Predicate and its Adjuncts._
-
-  Tom’s brother will come to-morrow. The careless girl was looking
-  off her book. The laws of the land were often broken by the rude
-  mountaineers. Pretty flowers grow in my garden all through the
-  spring. The poor slave was crying bitterly over the loss of his
-  child. The corn is waving in the sun. The great bell was tolling
-  slowly for the death of the President. The trees are bowing
-  before the strong wind. I am going to Montreal with my father
-  next week.
-
-
-Exercise 13.
-
-_Add Adjuncts to each Predicate in Exercises 8, 9, 10 and 11._
-
-
-VERBS OF INCOMPLETE PREDICATION.
-
-Some Verbs do not convey a complete idea, and therefore cannot be
-Predicates by themselves. Such Verbs are called =Verbs of Incomplete
-Predication=, and the words added to complete the Predicate are called
-the =Complement=.
-
-
-_Examples of Verbs of Incomplete Predication._
-
-  The words, “London is,” do not contain a complete idea. Add the
-  words, “a great city,” and you have a complete sentence. “William
-  was,” needs a complement, and you can finish the sentence by
-  writing, “Duke of Normandy.”
-
-
-Exercise 14.
-
-_Point out the Verbs of Incomplete Predication and the Complements._
-
-  Thou art the man. I am he. It is good. He is here. The house is
-  to be sold. The horse is in the stable. The gun was behind the
-  door. Jackson is a very good gardener. Those buds will be pretty
-  flowers. Old King Cole was a merry old soul. I’m the chief of
-  Ulva’s isle. William became King of England. The girl seems to be
-  very happy. The general was made Emperor of Rome.
-
-_Supply Complements._
-
-  London is.... Paris is.... Jerusalem was.... The boy will
-  be.... He has become.... We are.... I am.... He was.... Richard
-  became.... The prisoners are.... The man was.... Those birds
-  are.... Grass is.... Homer was.... The child was.... The sun
-  is.... The stars are.... The sheep were.... Charleston is....
-  Havana was....
-
-
-PRACTICE IN SIMPLE SENTENCES.
-
-A sentence when written should always begin with a capital letter, and
-nearly always end with a full stop.
-
-  A sentence which is a question ends with a note of interrogation
-  (?), and one which is an exclamation ends with a note of
-  admiration or exclamation (!).
-
-
-Exercise 15.
-
-_Make sentences about_
-
-  Fire. The sun. The moon. The sea. Bread. Butter. Cheese. Wool.
-  Cotton. Linen. Boots. Hats. A coat. The table. The window. The
-  desk. Pens. Ink. Paper. Pencils. Lead. Iron. Tin. Copper. Gold.
-  Silver. A knife. The clock. Books. Coal. The servant. A chair.
-  Breakfast. Dinner. Supper. The apple. The pear. Oranges. Lemons.
-  Water. Milk. Coffee. Tea. Cocoa. Maps. Pictures.
-
-
-Exercise 16.
-
-_Make sentences introducing the following pairs of words_:
-
-  Fire, grate. Sun, earth. Moon, night. Bread, flour. Pen, steel.
-  Wool, sheep. Cotton, America. Boots, leather. Ink, black. Paper,
-  rags. Walk, fields. Pair, gloves. Learning, to paint. Brother,
-  arm. Wheel, cart. London, Thames. Bristol, Avon. Dublin, Ireland.
-  Paris, France. Columbus, America. Shakespeare, poet. Threw,
-  window. Useful, metal. Carpet, new. Wall, bricklayer. Road,
-  rough. Lock, cupboard. Jug, full. Hawaii, island. Pencils, made.
-  Drew, map.
-
-
-Exercise 17.
-
-_Write complete sentences in answer to the following questions_:—
-
-  EXAMPLE. _Question._ What is your name?
-           _Answer._ My name is John Smith.
-
-  If you said simply “John Smith” your answer would not be a
-  complete sentence.
-
-  What is your name? When were you born? How old are you? Where
-  do you live? How long have you lived there? What school do you
-  attend? Of what games are you fond? During what part of the year
-  is football played? And lawn-tennis? Are you learning Latin? And
-  French? And German? Can you swim? And row? And ride? And play the
-  piano? Do you like the sea? Have you ever been on the sea? Have
-  you read “Robinson Crusoe?” What is the first meal of the day?
-  And the second? And the third? Where does the sun rise? And set?
-  How many days are there in a week? And in a year? And in leap
-  year? How often does leap year come?
-
-
-Exercise 18.
-
-_Make three sentences about each of the following_:—
-
-  The place where you live. France. India. Australia. America. A
-  horse. A cow. A dog. A sheep. A lion. A tiger. Spring. Summer.
-  Autumn. Winter. The sun. The moon. Stars. Holidays. Boys’ games.
-  Girls’ games. A railway. A steam-engine. The sea. A ship.
-  Flowers. Fruits. A garden. Wool. Cotton. Leather. Silk. Water.
-  Milk. Rice. Wheat. Books. Tea. Coffee. Sugar. Cocoa. Paper.
-  Houses. Bricks. Stone. A field. Guns. A watch. A farm. Knives.
-  Bees. Shellfish. Fresh-water fish. Coal. Glass. Gas. The United
-  States. New York. The Mississippi. Canada. Indians. Chicago. St.
-  Louis. Oakland. Philadelphia. Bicycle. Golf.
-
-
-Exercise 19.
-
-_Combine each of the following facts into a sentence and write it out_:
-
-  EXAMPLE: Take the first name below, thus:—“Joseph Addison, the
-  essayist, was born at Milston in Wiltshire, in the year 1672.”
-  Pursue the same plan with all the other sets of facts here
-  furnished.
-
-       _Name._          _What he was._        _Where born._  _When born._
-
-  Joseph Addison     Essayist                  Milston,            1672
-                                                 Wiltshire
-  William Blake      Poet and painter          London              1757
-  John Bunyan        Author of the “Pilgrim’s  Elstow,             1628
-                       Progress”                 Bedfordshire
-  Lord Byron         Great English poet        London              1788
-  Geoffrey Chaucer   Great English poet        London           About 1344
-                                                 (probably)
-  George Washington  First President of the    Virginia            1732
-                       United States
-  Justin S. Morrill  United States Senator     Vermont             1810
-  William McKinley   President of the United   Ohio                1844
-                       States
-
-      _Name._        _What he was._     _Where he died._   _When he died._
-
-  Matthew Arnold   Poet and essayist    Liverpool               1888
-  Daniel Defoe     Author of “Robinson  London                  1731
-                     Crusoe”
-  Henry Fielding   Novelist             Lisbon                  1754
-  Henry Hallam     Historian            Penshurst               1859
-  William          Greatest English     Stratford-on-Avon       1616
-    Shakespeare      poet
-  William H.       Great English        Hawarden                1898
-    Gladstone        statesman
-  Henry W.         American poet        Cambridge               1882
-    Longfellow
-  Abraham Lincoln  President of the     Washington              1865
-                     United States
-
-        _Battle._        _Date._       _Between._          _Victor._
-
-  Senlac, near Hastings   1066    English and Normans      Normans
-  Bannockburn             1314    English and Scotch       Scotch
-  Cressy                  1346    English and French       English
-  Waterloo                1815    English and French       English
-  Marston Moor            1644    Royalists and            Parliamentarians
-                                    Parliamentarians
-  Bull Run                1861    Unionists and            Confederates
-                                    Confederates
-  Manila                  1898    Americans and Spaniards  Americans
-
-These facts should be combined into sentences in various ways, thus:
-
-_The Normans defeated the English at Senlac, near Hastings, in the year
-1066._
-
-_The English were defeated by the Normans at Senlac, near Hastings, in
-the year 1066._
-
-_In the year 1066, at Senlac, near Hastings, the Normans beat the
-English, etc. etc._
-
-         _Event._            _Place._      _Date._    _Person._
-
-  Printing introduced                       1476    William Caxton
-    into England
-  Discovery of America                      1492    Christopher Columbus
-  Defeat of the Spanish   English Channel   1588    Howard, Drake and
-    Armada                                            others
-  Gunpowder Plot          Westminster       1605    Guy Fawkes and others
-  Conquest of England                       1066    William, Duke of
-                                                      Normandy
-  Surrender of British    Yorktown          1781    Lord Cornwallis
-  Destruction of Spanish  Santiago          1898    Admiral Schley
-    fleet
-
-
-SENTENCES COMBINED.
-
-A number of simple sentences may sometimes be combined so as to form one.
-
-  EXAMPLE:—The girl was little. She lost her doll. The doll was
-  pretty. It was new. She lost it yesterday. She lost it in the
-  afternoon.
-
-  These sentences may be combined in one, thus:—The little girl
-  lost her pretty new doll yesterday afternoon.
-
-The combined sentence tells us as much as the separate sentences, and
-tells it in a shorter, clearer, and more pleasing way.
-
-
-Exercise 20.
-
-_Combine the following sets of sentences_:—
-
-  1. The man is tall. He struck his head. He was entering a
-  carriage. The carriage was low.
-
-  2. Tom had a slate. It was new. He broke it. He broke it this
-  morning.
-
-  3. The cow is black. She is grazing in a meadow. The meadow is
-  beside the river.
-
-  4. The apples are ripe. They grow in an orchard. The orchard is
-  Mr. Brown’s.
-
-  5. The corn is green. It is waving. The breeze causes it to wave.
-  The breeze is gentle.
-
-  6. The father is kind. He bought some clothes. The clothes were
-  new. He bought them for the children. The children were good.
-
-  7. The boy was careless. He made blots. The blots were big. They
-  were made on his book. The book was clean.
-
-  8. The bucket was old. It was made of oak. It fell. It fell into
-  the well. The well was deep.
-
-  9. Polly Flinders was little. She sat. She sat among the cinders.
-  She was warming her toes. Her toes were pretty. They were little.
-
-  10. Tom Tucker is little. He is singing. He is singing for his
-  supper.
-
-  11. There were three wise men. They lived at Gotham. They went to
-  sea. They went in a bowl. They had a rough trip.
-
-  12. The man came. He was the man in the moon. He came down soon.
-  He came too soon.
-
-  13. I saw ships. There were three. They came sailing. They sailed
-  by. I saw them on Christmas day. I saw them in the morning.
-
-  14. Cole was a king. He was old. He was a merry soul.
-
-  15. A great battle began. It was between the English and the
-  Scotch. It began next morning. It began at break of day. It was
-  at Bannockburn.
-
-Sentences are often combined by means of Conjunctions or other connecting
-words.
-
-Sentences are combined, by means of the Conjunction _and_.
-
-  EXAMPLES:—1. The boy is good. The boy is clever.
-
-  2. William is going to school. John is going to school.
-
-  3. I admire my teacher. I love my teacher.
-
-These may be combined into single sentences, as follows:—
-
-  1. The boy is good and clever.
-
-  2. William and John are going to school.
-
-  3. I admire and love my teacher.
-
-Note the use of the comma when more than two words or sets of words are
-joined by _and_:—
-
-  I met Fred, Will and George.
-
-  Faith, Hope and Charity are sometimes called the Christian Graces.
-
-  I bought a pound of tea, two pounds of coffee, ten pounds of
-  sugar and a peck of flour.
-
-The comma is used in the same way with _or_.
-
-
-Exercise 21.
-
-_Combine the following set of sentences by means of the Conjunction
-=and=_:—
-
-  1. Jack went up the hill. Jill went up the hill.
-
-  2. The lion beat the unicorn. The lion drove the unicorn out of
-  town.
-
-  3. Edward is honest. Edward is truthful.
-
-  4. The child is tired. The child is sleepy.
-
-  5. Tom will pay us a visit. Ethel will pay us a visit. Their
-  parents will pay us a visit.
-
-  6. The grocer sells tea. He sells coffee. He sells sugar.
-
-  7. Maud deserves the prize. She will get it.
-
-  8. Coal is a mineral. Iron is a mineral. Copper is a mineral.
-  Lead is a mineral.
-
-  9. The boy worked hard. He advanced rapidly.
-
-  10. Little drops of water, little grains of sand make the mighty
-  ocean. Little drops of water, little grains of sand make the
-  pleasant land.
-
-Sentences are combined by means of the Conjunction _or_, thus:—
-
-  1. The boy is lazy. The boy is stupid.
-
-  2. I want a pen. I want a pencil.
-
-  3. The horse is lost. The horse is stolen.
-
-These sentences may be combined as follows:—
-
-  1. The boy is lazy or stupid.
-
-  2. I want a pen or a pencil.
-
-  3. The horse is lost or stolen.
-
-Remember to put in the commas when more than two words or sets of words
-are joined by _or_, thus:—
-
-  We could have tea, coffee or cocoa.
-
-  The beggar asked for a piece of bread, a glass of milk or a few
-  pennies.
-
-
-Exercise 22.
-
-_Combine the following sets of sentences by means of the Conjunction
-=or=_:—
-
-  1. The child was tired. The child was sleepy.
-
-  2. My father will meet me at the station. My mother will meet me
-  at the station.
-
-  3. Will you have tea? Will you have coffee?
-
-  4. The colonel must be present. One of the other officers must be
-  present.
-
-  5. The cup was broken by the servant. The cup was broken by the
-  dog. The cup was broken by the cat.
-
-  6. I must find the book. I must buy another.
-
-  7. The horse is in the stable. The horse is in the barnyard. The
-  horse is in the meadow.
-
-  8. The prize will be gained by Brown. The prize will be gained by
-  Smith. The prize will be gained by Jones.
-
-Sentences may be combined by _either_ ... _or_, and _neither_ ... _nor_,
-thus:—
-
-  James was at school this morning. His sister was at school this
-  morning.
-
-These sentences may be combined thus:—
-
-  Either James or his sister was at school this morning.
-
-  Neither James nor his sister was at school this morning.
-
-
-Exercise 23.
-
-_Combine the following sets of sentences:—(a) By =either= ... =or=. (b)
-By =neither= ... =nor=._
-
-  1. The man can read. The man can write.
-
-  2. He is deaf. He is stupid.
-
-  3. That shot will strike the horse. That shot will strike the
-  rider.
-
-  4. The king was weak in mind. The king was weak in body.
-
-  5. The king was loved. The queen was loved.
-
-  6. The cow is for sale. The calf is for sale.
-
-Sentences may be combined by _both_ ... _and_, thus:—
-
-  The man is tired. The horse is tired.
-
-These sentences may be combined in the following:—
-
-  Both the man and the horse are tired.
-
-
-Exercise 24.
-
-_Combine, by means of =both= ... =and=, the sets of sentences given in
-Exercise 23._
-
-Sentences may be combined by means of Conjunctions of Cause, Consequence
-or Condition, such as _if_, _though_, _although_, _because_, thus:—
-
-  1. You are tired. You may rest.
-
-  2. The boy was not bright. He was good.
-
-  3. He is liked. He is good tempered.
-
-Combine these sentences as follows:—
-
-  1. If you are tired you may rest.
-
-  2. Though the boy was not bright he was good.
-
-  3. He is liked because he is good tempered.
-
-
-Exercise 25.
-
-_Combine the following sets of sentences_:—
-
-(a) _By means of =if=._
-
-  1. You will get the prize. You deserve it.
-
-  2. He might have succeeded. He had tried.
-
-  3. You are truthful. You will be believed.
-
-  4. Send for me. You want me.
-
-  5. You do not sow. You cannot expect to reap.
-
-  6. You are waking. Call me early.
-
-  7. I will come with you. You wish it.
-
-  8. We had known you were in town. We should have called on you.
-
-(b) _By means of =though= or =although=._
-
-  9. The man was contented. He was poor.
-
-  10. The little girl has travelled much. She is young.
-
-  11. The story is true. You do not believe it.
-
-  12. He spoke the truth. He was not believed.
-
-  13. It was rather cold. The day was pleasant.
-
-  14. He is often told of his faults. He does not mend them.
-
-(c) _By means of =because=; also by means of =as= and =since=._
-
-  16. I came. You called me.
-
-  17. I will stay. You wish it.
-
-  18. The dog could not enter. The hole was too small.
-
-  19. You are tired. You may rest.
-
-  20. Freely we serve. We freely love.
-
-  21. The hireling fleeth. He is a hireling.
-
-  22. We love him. He first loved us.
-
-Sentences may be combined by means of Conjunctive Adverbs (such as
-_where_ with its compounds, also _when_, _whence_, _why_), and of
-Conjunctions of Time (such as _after_, _before_ _while_, _ere_, _till_,
-_until_, _since_).
-
-
-Exercise 26.
-
-_Combine, by means of one of the words given in the last paragraph, the
-following sets of sentences_:
-
-  1. This is the place. My brother works.
-
-  2. Mary went. The lamb was sure to go.
-
-  3. The boy was reading. His master came up.
-
-  4. The moon rose. The sun had set.
-
-  5. It is now three months. We heard from our cousin.
-
-  6. Do not go out. The storm has abated.
-
-  7. The man arrived. We were speaking to him.
-
-  8. I remember the house. I was born.
-
-  9. I know a bank. The wild thyme blows.
-
-  10. There is the field. The money was found.
-
-  11. The workman did not hear. He was called.
-
-  12. He goes out riding. He can find time.
-
-_Supply the omitted clauses_:
-
-  The tree is still lying where.... Wherever ... was my poor dog
-  Tray. William came after.... My brother cannot stay till....
-  The merchant has been here since.... Go where.... Smooth runs
-  the water where.... She stayed till.... The boy has worked hard
-  since.... We shall be pleased to see you whenever.... The train
-  had gone before.... The little girl was tired after.... Make hay
-  while....
-
-Sentences may be combined by means of Relative Pronouns, thus:
-
-  1. That is the boy. The boy broke the window.
-
-  2. That is the man. The man’s window was broken.
-
-  3. Mary is the girl. You want Mary.
-
-  4. This is the house. Jack built the house.
-
-  5. The knife was lost. The knife cost fifty cents.
-
-Combine as follows:
-
-  1. That is the boy who broke the window.
-
-  2. That is the man whose window was broken.
-
-  3. Mary is the girl whom you want.
-
-  4. This is the house that Jack built.
-
-  5. The knife which was lost cost fifty cents.
-
-
-Exercise 27.
-
-_Combine, as in the examples just given, the following pairs of
-sentences_:
-
-  1. The boy is crying. The boy is called Tom.
-
-  2. The man was hurt. The man is better now.
-
-  3. The grocer has sent for the police. The grocer’s goods were
-  stolen.
-
-  4. The child is very naughty. The father punished the child.
-
-  5. My uncle gave me the book. The book is on the table.
-
-  6. The horse goes well. I bought the horse.
-
-  7. The lady sings beautifully. You see the lady.
-
-  8. They did not hear the preacher. They went to hear the preacher.
-
-  9. The gentleman is very kind to the poor. You see the
-  gentleman’s house.
-
-  10. I have just bought an overcoat. The overcoat is waterproof.
-
-  11. The tree was a chestnut. The wind blew the tree down.
-
-  12. Tom had just been given the dollar. He lost it.
-
-  13. The boy drove away the birds. The birds were eating the corn.
-
-  14. The girl is very clever. You met her brother.
-
-  15. The dog fetched the birds. Its master had shot them.
-
-  16. Where is the book? You borrowed it.
-
-  17. The cow has been found. It was lost.
-
-
-PUNCTUATION.
-
-If the proper stops are left out, the meaning of a sentence may be
-doubtful. Take, for example, the toast at a public dinner:
-
-  Woman without her man is a brute.
-
-  This might mean that woman without man is a brute. Punctuate the
-  sentence correctly by the right use of the comma, and you will
-  see that the meaning is quite different. Thus: Woman, without
-  her, man is a brute.
-
-The misplacing of the stops may make nonsense of a sentence. Take the
-sentence:
-
-  Cæsar entered, on his head his helmet, on his feet sandals, in
-  his hand his trusty sword, in his eye an angry glare.
-
-  This may become: Cæsar entered on his head, his helmet on his
-  feet, sandals in his hand, his trusty sword in his eye, an angry
-  glare.
-
-  The barber’s sign also had two meanings according to its
-  punctuation:
-
-  1. What do you think?
-     I shave you for nothing and give you a drink.
-
-  2. What! Do you think
-     I shave you for nothing and give you a drink?
-
-
-THE FULL STOP.
-
-A =Full Stop= is placed at the end of every sentence.
-
-
-Exercise 28.
-
-_Insert full stops where wanted. Place a capital letter after each._
-
-  The old man was sitting under a tree the house was burned the
-  roses were scattered by the wind the carpet was beaten this
-  morning the mower was bitten by a snake that book is liked
-  England was conquered by William the corn was ground by the
-  miller the father was called by a little girl the cheeses were
-  eaten by mice that fish is caught with a hook the flowers were
-  gathered by Ellen that carving is much admired the lady was
-  nearly stunned snow had newly fallen the sun had just risen the
-  moon was almost setting Amelia is always reading Nelly had often
-  driven the horse the week has quickly gone the bells were merrily
-  ringing.
-
-  EXAMPLES:—The old man was sitting under a tree. The house was
-  burned. The roses were scattered by the wind, etc.
-
-_Write the following, insert stops where wanted, and make good sense of
-it._
-
-  The celebrated Rabelais was once staying at a remote country inn
-  he wished to go to Paris but had no money to pay his traveling
-  expenses he therefore hit upon a plan of traveling at the expense
-  of the government out of brickdust he made up three little
-  parcels on the first he wrote “For the king” on the second
-  “For the king’s son” on the third “For the king’s brother” the
-  landlord seeing these on the table where they had been purposely
-  left sent word to the king’s ministers they ordered a messenger
-  to fetch the traitor when he reached Paris he was recognized he
-  proved that he was no traitor and his trick was discovered.
-
-  EXAMPLE:—The celebrated Rabelais was once staying at a remote
-  country inn. He wished to go to Paris, but had no money to
-  pay his traveling expenses. He, therefore, hit upon a plan of
-  traveling, etc.
-
-
-Exercise 29.
-
-_Correct the punctuation._
-
-  A farmer had several sons. Who used to quarrel with one another.
-  He tried to cure them of this bad habit. By pointing out how
-  foolish and wicked it was. But he found. That he did no good. By
-  talking to them. So one day he laid a bundle of sticks before
-  them. And he bade them break it. The eldest put out all his
-  strength. But in vain. The other sons tried in vain. But they all
-  failed. Then the father. Untying the bundle. Gave his sons the
-  separate sticks to break. And they broke them easily. “Remember,”
-  he said, “the lesson. Which this bundle teaches. While you help
-  each other. None can harm you. When you quarrel. You are easily
-  hurt.”
-
-
-THE NOTE OF INTERROGATION.
-
-Every direct question is followed by a =Note of Interrogation=; as, “How
-do you do?” “When did you see your father?” “I suppose, sir, you are a
-doctor?”
-
-Sometimes a question forms part of a larger sentence, as,
-
-  They put this question to the committee, “Will you grant us a
-  hearing?” in a manner that proved their earnestness.
-
-Except in such cases, a note of interrogation is always followed by a
-capital letter.
-
-_Carefully observe the full stops and notes of interrogation in the
-following_:
-
-  A Paris fortune-teller was arrested and brought before a
-  magistrate. He said to her, “You know how to read the future?” “I
-  do, sir.” “Then you know what sentence I mean to pass on you?”
-  “Certainly.” “Well, what will happen to you?” “Nothing.” “You are
-  sure of it?” “Yes.” “Why?” “Because if you had meant to punish me
-  you would not be cruel enough to mock me.”
-
-
-Exercise 30.
-
-_Insert full stops and notes of interrogation._
-
-  Is the gardener pruning the trees has the baker been here is
-  the teacher liked were those roses cut to-day had the gentleman
-  lost his hat was the thief caught is the water boiling have the
-  girls learned their poetry has the window been broken was the
-  ship wrecked has the crew been saved was Susan knitting will Mr.
-  Robinson sing has Frank started
-
-  A boy was going away without his mother’s leave she called after
-  him “Where are you going, sir” “To the village” “What for” “To
-  buy ten cents worth of nails” “And what do you want ten cents
-  worth of nails for” “For a nickel”
-
-
-THE COMMA.
-
-The =Comma= is the most frequently used of all stops.
-
-As a general rule, it may be stated that when, in reading, a slight pause
-is made, a comma should be inserted in writing; thus:—
-
-  The Spaniards were no match for the Roosevelt fighters, however,
-  and, as had been the case at La Quasina, the Western cowboys and
-  Eastern “dandies” hammered the enemy from their path. Straight
-  ahead they advanced, until by noon they were well along toward
-  San Juan, the capture of which was their immediate object.
-  Fighting like demons, they held their ground tenaciously, now
-  pressing forward a few feet, then falling back, under the
-  enemy’s fire, to the position they held a few moments before.
-
-  Without books God is silent, justice dormant, natural science at
-  a stand, philosophy lame, letters dumb and all things involved in
-  Cimmerian darkness.
-
-When a Noun or Pronoun in Apposition is very closely connected with the
-preceding word, no comma is needed, as,
-
-  William the Conqueror.
-
-  My cousin Fred.
-
-  Cromwell the Protector.
-
-When the connection is not so close, or when the words in apposition are
-qualified, the phrase should have commas before and after, as,
-
-  William, the Norman conqueror of England, lived a stormy life.
-
-  My cousin, the bold and gallant Fred, fell in battle.
-
-  Cromwell, the great Protector, died in 1658.
-
-
-Exercise 31.
-
-_Insert the necessary commas._
-
-  Napoleon the fallen emperor was sent to St. Helena. I live in
-  Washington the capital of the United States. The children love
-  their uncle Mr. Holmes. That coat was made by Brown the village
-  tailor. It was the lark the herald of the morn. Tom the piper’s
-  son stole a pig. Frank the jockey’s leg is broken. Rome the city
-  of the emperors became the city of the popes. He still feels
-  ambition the last infirmity of noble minds. Julius Cæsar a great
-  Roman general invaded Britain.
-
-  EXAMPLES:—Napoleon, the fallen emperor, was sent to St. Helena.
-  I live in Washington, the capital, etc. The children love their
-  uncle, Mr. Holmes, etc.
-
-A Nominative of Address is marked off by commas, as,
-
-  Are you, sir, waiting for anyone?
-
-Should the Nominative of Address have any qualifying words joined to it,
-the whole phrase is marked off by commas, as,
-
-  How now, my man of mettle, what is it you want?
-
-
-Exercise 32.
-
-_Insert the necessary commas._
-
-  O Romeo wherefore art thou Romeo? In truth fair Montague I am too
-  fond. O grave where is thy victory? I pray you sire to let me
-  have the honor. Exult ye proud patricians. Put on thy strength O
-  Zion. My name dear saint is hateful to myself. I am sorry friend
-  that my vessel is already chosen. O night and darkness ye are
-  wondrous strong. Good morrow sweet Hal. Now my good sweet honey
-  lord ride with us to-morrow. Come my masters let us share. For
-  mine own part my lord I could be well content to be there.
-
-  EXAMPLES:—O Romeo, wherefore art thou, Romeo? In truth, fair
-  Montague, I am too fond. I pray you, sire, to let me have the
-  honor, etc.
-
-An Adverbial phrase or clause let into a sentence should be marked off by
-commas, as,
-
-  His story was, in several ways, improbable.
-
-  The letter was written, strange to say, on club paper.
-
-  A time there was, ere England’s griefs began,
-  When every rood of ground maintained its man.
-
-  They sat, as sets the morning star, which goes
-  Not down behind the darkened west.
-
-
-Exercise 33.
-
-_Supply commas where necessary._
-
-  You will hear in the course of the meeting a full account of
-  the business. The story is however true. The wounded man is
-  according to the latest news doing well. He arrived in spite
-  of difficulties at his journey’s end. He explains with perfect
-  simplicity vast designs affecting all the governments of Europe.
-  In France indeed such things are done. I will when I see you tell
-  you a secret. I had till you told me heard nothing of the matter.
-  There where a few torn shrubs the place disclose the village
-  preacher’s modest mansion rose. You may if you call again see
-  him. You cannot unless you try harder hope to succeed.
-
-  EXAMPLES:—You will hear, in the course of the meeting, a full
-  account, etc. The story is, however, true. You cannot, unless you
-  try harder, hope to succeed, etc.
-
-Words, phrases, or clauses of the same kind, coming after one another,
-must be separated by commas, except when joined by Conjunctions, as,
-
-  Let Rufus weep, rejoice, stand still or walk....
-  Let him eat, drink, ask questions or dispute.
-
-  Her lower weeds were all o’er coarsely patched
-  With diff’rent colored rags, black, red, white, yellow.
-
-  On I walked, my face flushed, my feet sore, my clothes dusty and
-  my stomach as empty as my purse.
-
-
-Exercise 34.
-
-_Supply commas where necessary._
-
-  I met Fred Will and George. Faith hope and charity are the
-  Christian graces. The grocer sold four pounds of cheese two
-  pounds of bacon and seven pounds of sugar. Little drops of water
-  little grains of sand make the mighty ocean and the pleasant
-  land. We could have tea coffee cocoa lemonade or ginger beer. The
-  beggar asked for a piece of bread a glass of milk or a few pence.
-  The prize will be won by Smith Brown or Jones. The first second
-  third and fourth boys in the class will be promoted.
-
-  EXAMPLES:—I met Fred, Will and George. Faith, hope and charity
-  are, etc. The first, second, third and fourth boys, etc.
-
-A participial phrase is generally marked off by commas; as,
-
-  The general, seeing his soldiers turn, galloped up to them.
-
-  The baby lying asleep, the children were very quiet.
-
-
-Exercise 35.
-
-_Insert commas where necessary._
-
-  James leaving the country William was made king. The storm having
-  abated the ships ventured to sail. Henry returning victorious
-  the people went forth to meet him. My friend Sir Roger being a
-  good churchman has beautified the inside of his church. The woman
-  being in great trouble was weeping. Fearing the storm we returned.
-
-  EXAMPLES:—James leaving the country, William was made king.
-  Fearing the storm, we returned, etc.
-
-
-Exercise 36.
-
-_Insert commas where necessary in the following sentences_:—
-
-  On their bridal trip they took a palace car went down the
-  Cumberland Valley stopped awhile at a watering place and wondered
-  at the divorce cases recorded in the newspapers.
-
-  In those distant days as in all other times and places where the
-  mental atmosphere is changing and men are inhaling the stimulus
-  of new ideas folly often mistook itself for wisdom ignorance gave
-  itself airs of knowledge and selfishness turning its eyes upward
-  called itself religion—_George Eliot._
-
-  When I was running about this town a very poor fellow I was a
-  great arguer for the advantages of poverty but I was at the same
-  time very sorry to be poor.—_Johnson._
-
-  Sail on Three Bells forever
-    In grateful memory sail!
-  Ring on Three Bells of rescue
-    Above the wave and gale!
-
-  As thine in night and tempest
-    I hear the Master’s cry
-  And tossing through the darkness
-    The lights of God draw nigh.—_Whittier._
-
-
-THE SEMI-COLON.
-
-It may be generally stated that a =Semi-colon= is used in a complex
-sentence when a comma would not be a sufficient division.
-
-Co-ordinate clauses or sentences, especially if not joined by
-Conjunctions, are generally separated by semi-colons.
-
-
-_Examples of the use of semi-colons._
-
-  The first in loftiness of mind surpassed;
-  The next in majesty; in both the last.—_Dryden._
-
-  Many a man lives a burden to the earth; but a good book is the
-  precious life-blood of a master-spirit, embalmed and treasured up
-  on purpose to a life beyond life.—_Milton._
-
-  All nature is but art unknown to thee;
-  All chance, direction, which thou canst not see;
-  All discord, harmony, not understood;
-  All partial evil universal good.—_Pope._
-
-
-Exercise 37.
-
-_Supply semi-colons where necessary._
-
-  Of the great men by whom Milton had been distinguished at his
-  entrance into life some had been taken away from the evil to come
-  some had carried into foreign climates their unconquerable hatred
-  of oppression some were pining in dungeons and some had poured
-  forth their blood on scaffolds.
-
-  Then palaces shall rise the joyful son
-  Shall finish what his short-lived sire begun
-  Their vines a shadow to their race shall yield
-  And the same hand that sowed shall reap the field.—_Pope._
-
-  EXAMPLES:—Of the great men by whom Milton had been distinguished
-  at his entrance into life, some had been taken away from the
-  evil to come; some had carried into foreign climates their
-  unconquerable hatred of oppression; some were pining in
-  dungeons, and some had poured forth their blood on scaffolds.
-
-  Then palaces shall rise; the joyful son
-  Shall finish what his short-lived sire begun;
-  Their vines a shadow to their race shall yield;
-  And the same hand that sowed shall reap the field.—_Pope._
-
-
-THE NOTE OF ADMIRATION OR EXCLAMATION.
-
-The =Note of Admiration= or =Exclamation= is used
-
-  1. After Interjections; as,
-
-  Alas! he is already dead.
-
-  2. After a phrase in the nature of an address or exclamation; as,
-
-  Vital spark of heavenly flame!
-  Quit, oh quit this mortal frame;
-  Trembling, hoping, ling’ring, flying,
-  Oh the pain, the bliss of dying!—_Pope._
-
-  3. As a mark of surprise; as,
-
-  Two and two are five!
-
-  Prepare the way, a god, a god appears!
-  “A god! a god!” the vocal hills reply.
-
-
-Exercise 38.
-
-_Insert notes of exclamation where necessary._
-
-  Alas he is already dead. Alas poor Yorick. Tush never tell
-  me that. Well-a-day it is but too true. Tut, tut that is all
-  nonsense. Hey come here. O for a falconer’s voice. Hurrah our
-  side has won. Bravo that was well done. Hush the baby is asleep.
-  Ah the cowards. Oh what beautiful flowers. Heigh-ho I am tired of
-  waiting.
-
-  Hush hush mee-ow mee-ow
-  We smell a rat close by.
-
-  Hurrah, hurrah a single field hath turned the chance of war
-  Hurrah, hurrah for Ivry and Henry of Navarre
-
-  Ho maidens of Vienna ho matrons of Lucerne,
-  Weep, weep for those who never will return.
-
-  EXAMPLES:—Alas! poor Yorick. Tut, tut! that is all nonsense. Bravo!
-  that was well done, etc.
-
-  Ho! maidens of Vienna, ho! matrons of Lucerne,
-  Weep, weep! for those who never will return.
-
-
-QUOTATION MARKS.
-
-A =Quotation= is said to be =direct= when the exact words are given; it
-is said to be =indirect= when the substance is given, but not the exact
-words; thus:—
-
-_Direct quotations._
-
-  1. Mr. Brown said, “I am going for a walk.”
-
-  2. Mrs. Evans writes, “I hope to see you soon.”
-
-  3. He asked me, “What is your name?”
-
-_Indirect quotations._
-
-  1. Mr. Brown said he was going for a walk.
-
-  2. Mrs. Evans writes that she hopes to see us soon.
-
-  3. He asked me what my name was.
-
-
-Exercise 39.
-
-_Turn the direct quotations into indirect._
-
-  Johnson said, “I am a very fair judge.” “I doubt the story,”
-  observed Mrs. Beckett. “That was not quite what I had in my
-  mind,” answered the widow. “I am very tired,” added Mr. Brown.
-  “That is false,” we all shouted. “You must be a born fool,”
-  shouted the old man to me. “Our host is an inferior person,” he
-  remarked. “Are you better?” inquired she. Some one asked, “Do you
-  mean to stay till to-morrow?” “Little kitten,” I say, “just an
-  hour you may stay.” “I’ll have that mouse,” said the bigger cat.
-  Bun replied, “You are doubtless very big.”
-
-  EXAMPLES:—Johnson said he was a very fair judge. Mrs. Beckett
-  observed that she doubted the story. Some one asked if you mean
-  to stay, etc. Bun replied that he was doubtless very big, etc.
-
-A direct quotation always begins with a capital letter, and is placed
-within inverted commas, thus:—
-
-  But his little daughter whispered,
-    As she shook his icy hand,
-  “Isn’t God upon the ocean,
-    Just the same as on the land?”
-
-  The man said, “Where are you going?”
-
-The titles of books are generally placed within inverted commas, thus:—
-
-  Defoe wrote “Robinson Crusoe.”
-
-  Thackeray is the author of “Vanity Fair,” “Pendennis,” “Esmond,”
-  “The Newcomes,” and other novels.
-
-
-Exercise 40.
-
-_Place all direct quotations within inverted commas._
-
-  Oh Charley, this is too absurd ejaculated Mrs. Beckett. Why, Mr.
-  Paton must be going mad exclaimed Mrs. Beckett. Oh dear! dear! I
-  can indeed gasped the widow. The butler announced Major and Mrs.
-  Wellington de Boots. You will give my love to your mother when
-  you write said Mary warmly. He smiled as though he were thinking
-  I have it not to give. The elder replied I was, as usual,
-  unfortunate. How naughty he is said his mother. Do you understand
-  the language of flowers? inquired Uncle Ralph. Why, that is
-  lightning exclaimed the knight. Juan replied Not while this arm
-  is free. He thought The boy will be here soon. Tom broke in with
-  You do not know whom I mean. He will soon be back continued Mr.
-  Brooke. Remember the proverb Small strokes fell great oaks.
-  Provoking scoundrel muttered the antiquary. Out with those boats
-  and let us haste away cried one. Hearts of oak! our captains
-  cried.
-
-  Shoot, if you must, this old gray head,
-  But spare your country’s flag she said.
-
-  Who touches a hair of yon gray head
-  Dies like a dog. March on he said.
-
-  He woke to hear his sentries shriek
-  To arms! They come! The Greek! The Greek!
-
-  Out spake the victor then,
-    As he hailed them o’er the wave,
-  Ye are brothers! ye are men!
-    And we conquer but to save.
-
-  EXAMPLES:—“Oh! Charley, this is too absurd,” ejaculated Mrs.
-  Beckett. “Why, Mr. Paton must be going mad,” exclaimed Mrs.
-  Beckett. “Hearts of oak!” our captains cried.
-
-  “Shoot, if you must, this old gray head,
-  But spare your country’s flag,” she said.
-
-  He woke to hear his sentries shriek,
-  “To arms! They come! The Greek! The Greek!”
-
-The student should write out all of the above sentences and place the
-quotation marks where they belong. You have enough examples to guide you.
-
-Sometimes, in the course of a quotation, words are inserted which form no
-part of the quotation; thus,
-
-  “Out with those boats and let us haste away,”
-  Cried one, “ere yet yon sea the bark devours.”
-
-In such cases every separate part of the quotation is marked off by
-inverted commas. A capital letter is placed only at the beginning of the
-quotation, or after a full stop.
-
-
-Exercise 41.
-
-_Place all direct quotations within inverted commas._
-
-  I cannot tell you that replied the young man; it would not be
-  fair to others. It was not answered the other; your house has
-  always seemed like home. But, surely, argued the widow it must be
-  a comfort to feel that. In the meantime said Edgar I will write
-  to you. A common rose, said Uncle Ralph, like common sense and
-  common honesty, is not so very common. Poor faithful old doggie!
-  murmured Mrs. Currie, he thought Tacks was a burglar. Capital
-  house dog! murmured the colonel; I shall never forget how he made
-  poor Heavisides run. Cloudy, sir, said the colonel, cloudy; rain
-  before morning, I think. I don’t see the dog I began; I suppose
-  you found him all right, the other evening. Oh, uncle, pleaded
-  Lilian; don’t talk like that.
-
-  Little kitten, I say,
-  Just an hour you may stay.
-
-  Agreed, said Ching, but let us try it soon:
-  Suppose we say to-morrow afternoon.
-  They’re there, said Chang, if I see anything
-  As clear as day-light.
-
-  May Heaven look down, the old man cries
-  Upon my son and on his ship.
-
-  Nay, Solomon replied,
-    The wise and strong should seek
-    The welfare of the weak.
-
-    Oh king! she said; henceforth
-    The secret of thy worth
-  And wisdom well I know.
-
-  EXAMPLES:—“I cannot tell you that,” replied the young man; “it
-  would not be fair to others.” “It was not,” answered the other;
-  “your house has always seemed like home.”
-
-  “Little kitten,” I say,
-  “Just an hour you may stay.”
-
-  “May Heaven look down,” the old man cries,
-  “Upon my son and on his ship.”
-
-
-When double inverted commas are used for an ordinary quotation, a
-quotation within a quotation is marked by single inverted commas; thus,
-
-  Miriam sang, “The enemy said, ‘I will pursue, I will overtake, I
-  will divide the spoil.’”
-
-
-Exercise 42.
-
-_Place all direct quotations within inverted commas._
-
-  Mr. Brocklehurst said When I asked him which he would rather
-  have, a gingerbread nut to eat or a verse of a Psalm to learn he
-  says Oh the verse of a Psalm: angels sing Psalms. He continued,
-  On her return she exclaimed Oh, dear Papa, how quiet and plain
-  all the girls at Lowood look. I shall remember I said how you
-  thrust me back though I cried out Have mercy! Have mercy, Aunt
-  Reed. The father said Remember the proverb Keep not evil men
-  company lest you increase the number. But said the lecturer you
-  must note the words of Shakespeare
-
-  Spirits are not finely touched
-      But to fine issues.
-
-  The teacher asked in what play do the words All the world’s a
-  stage occur? My sister writes in her last letter Will you please
-  get me a copy of the song Tell me, my heart. In a poem on Dr.
-  South preaching before Charles II. we read
-
-  The doctor stopped, began to call,
-  Pray wake the Earl of Lauderdale.
-
-  EXAMPLES:—He continued, “On her return she exclaimed, ‘Oh! dear
-  Papa, how quiet and plain all girls at Lowood look.’” “But,” said
-  the lecturer, “you must note the words of Shakespeare,
-
-  ‘Spirits are not finely touched
-      But to fine issues.’”
-
-
-A =colon= (:) is used to separate parts of a sentence that are complete
-in themselves and nearly independent, often taking the place of a
-conjunction, thus:—
-
-  Labor is the first great law: labor is good for man.
-
-A =period= (.) brings the sentence to a full stop, thus:—
-
-  He rode down the valley, over the hill, and finally coming to a
-  farmhouse, there he stopped.
-
-
-Exercise 43.
-
-You now come to a very important part of these exercises. You are to
-turn to practical account what you have learned concerning Punctuation.
-Write the lines that follow, and make good sense by dividing them into
-sentences and placing the punctuation marks where they belong. Take time
-for this and do it thoroughly.
-
-The following Example will aid you in carrying out your instructions. The
-sentences are first printed without punctuation. I then construct the
-sentences and give them punctuation marks:
-
-  The smoke from the Spanish fleet rose above the headlands of
-  Santiago Harbor are they coming out I shouted to Fowler aye sir
-  there they come he cried instantly we took in the situation and
-  being ready for battle stood to our guns did you ask if it was
-  a hot chase well our captains gunners and marines can answer
-  that what thunder of guns our victory was complete the President
-  cabled congratulations.
-
-  Divided into sentences and punctuated, you have the following:
-  The smoke from the Spanish fleet rose above the headlands of
-  Santiago Harbor. “Are they coming out?” I shouted to Fowler.
-  “Aye, sir, there they come,” he cried. Instantly we took in the
-  situation, and, being ready for battle, stood to our guns. Did
-  you ask if it was a hot chase? Well, our captains, gunners and
-  marines can answer that. What thunder of guns! Our victory was
-  complete; the President cabled congratulations.
-
-_Insert the necessary stops and capital letters._
-
-  Mr. Rich had much money and little politeness he thought it
-  beneath him to be civil to ordinary people one wet day he was
-  driving in his carriage along a turnpike road when he came to the
-  toll gate he called out what’s to pay five cents if you please
-  sir said the keeper Mr. Rich instead of handing the money rudely
-  flung a quarter on the muddy ground and cried there take your
-  change out of that the keeper stooped for the quarter and picked
-  it up then placing twenty cents exactly on the same spot he
-  coolly walked back into his cottage.
-
-  The statement is beyond doubt true. They set out and in a few
-  hours arrived at their father’s. We live in an old beautiful and
-  interesting town. Sir I believe you. He is guilty of the vice of
-  cowards falsehood. The horse tired with the long gallop could
-  go no further. Yes I am coming. Nay you are wrong. Philosophers
-  assert that nature is unlimited in her operations that she has
-  inexhaustible treasures in reserve that knowledge will always
-  be progressive and that all future generations will continue to
-  make discoveries of which we have not the least idea. Is this the
-  gray-haired wanderer mildly said the voice which we so lately
-  overheard Hark ’tis the twanging horn. O what a fall was there
-  my countrymen Oh why has worth so short a date Such inquiry
-  according to him was out of their province. The conflict was
-  terrible it was the combat of despair against grief and rage.
-
-
-EXERCISES IN EASY NARRATIVES.
-
-In the preceding pages you have been advised to practice the writing of
-compositions by reading the productions of authors, and then writing
-from memory what you have read. This may not be easy at first. You will,
-however, find it less difficult as you proceed. You could not become
-an expert typewriter or pianist without faithful practice, yet we have
-expert typewriters and pianists.
-
-It is so with learning to express your thoughts in writing. What is hard
-at first becomes “second nature” afterward. I have prepared some helpful
-rules and examples to aid you.
-
-=When writing a Story which you have read or heard, observe the following
-directions=:—
-
-1. Before beginning to write, think over the whole story, to make sure
-that you remember all the points, and the order in which they come.
-
-  Neglect of this direction may cause you to omit something or to
-  put something in the wrong place.
-
-2. Before beginning to write each sentence, arrange the whole of it in
-your mind.
-
-  If you neglect this direction you may find that the second part
-  of a sentence goes badly with the first, or that you cannot
-  finish at all a sentence such as you have begun. Here is an
-  example:—
-
-  I am desired to inform the Board of Aldermen that Mr. Alderman
-  Gill died last night _by order of Mrs. Gill_.
-
-  The words printed in italics could not have been in the mind of
-  the writer when he began, or he would have placed them after
-  _desired_, or (better still) he would have said, “I am desired by
-  Mrs. Gill, etc.”
-
-3. Make short sentences.
-
-  Beware of using _and_ and _so_ too much. Avoid such a sentence as
-  the following:
-
-  Once upon a time there was a fox and he went into a vineyard and
-  there he saw many bunches of beautiful ripe grapes hanging on
-  high and he tried to reach them and he could not jump high enough
-  and so he turned to go and said “It does not matter; the grapes
-  are sour.”
-
-  Such a sentence ought to be divided into several; thus:—
-
-  A fox once went into a vineyard. There he saw many bunches of
-  beautiful ripe grapes hanging on high. He tried to reach them,
-  but found that he could not jump high enough. As he turned to go
-  he said, “It does not matter; the grapes are sour.”
-
-  The following sentence has several faults besides its length:—
-
-  He [Swinton] did with a sort of eloquence that moved the whole
-  House lay out all his own errors and the ill spirit he was in
-  when he committed the things that were charged on him with so
-  tender a sense that he seemed as one indifferent what they
-  should do with him, and without so much as moving for mercy or
-  even for a delay he did so effectually prevail on them that they
-  recommended him to the king as a fit object of his mercy.—BURNET:
-  _History of his Own Time_.
-
-  It is amended somewhat by division into shorter sentences, thus:—
-
-  With a sort of eloquence that moved the whole House, he did lay
-  out all his own errors and the ill spirit that he was in when
-  he committed the things that were charged on him. He spoke with
-  so tender a sense that he seemed as one indifferent what they
-  should do with him. Without so much as moving for mercy or even
-  for a delay, he did so effectually prevail on them that they
-  recommended him to the king as a fit object for mercy.
-
-4. Use no word of which you do not know the exact meaning.
-
-  Neglect of this rule led some one to write:
-
-  At the dedication of the Gettysburg Monument, President Lincoln
-  gave the _ovation_.
-
-5. Do not use long words if you can find short ones.
-
-  The barber who advertised himself as “a first-class tonsorial
-  artist and facial operator,” meant only that he could cut hair
-  and shave well.
-
-6. Arrange the different parts of each sentence so that they convey the
-meaning which you intend.
-
-  The following sentence is badly arranged:—
-
-  He tells stories which Mountain would be shocked to hear after
-  dinner.—_Thackeray_: _The Virginians_.
-
-  Mountain would be shocked to hear them at any time. To convey the
-  author’s meaning the sentence should be:—
-
-  After dinner he tells stories which Mountain would be shocked to
-  hear.
-
-7. When you have written your story, always read it over, and correct all
-the mistakes which you can find.
-
-
-SHORT STORIES TO BE READ CAREFULLY, AND THEN WRITTEN FROM MEMORY.
-
-
-_The Fox and the Goat._
-
-A fox that had fallen into a well tried in vain to get out again.
-By-and-by a goat came to the place to quench her thirst. Seeing the
-fox below she asked if the water was good. “Yes,” answered the cunning
-creature, “it is so good that I cannot leave off drinking.” Thereupon the
-goat, without a moment’s thought, jumped in. The fox at once scrambled
-on her back and got out. Then, looking down at the poor fool, he said
-coolly, “If you had half as much brains as beard, you would look before
-you leap.”
-
-
-_The Vain Jackdaw._
-
-A vain jackdaw found some peacocks’ feathers and stuck them amongst
-his own. Then he left his old companions and boldly went amongst the
-peacocks. They knew him at once, in spite of his disguise; so they
-stripped off his borrowed plumes, pecked him well, and sent him about his
-business. He went back to the daws as if nothing had happened, but they
-would not allow him to mix with them. If he was too good for them before,
-they were too good for him now. Thus the silly bird, by trying to appear
-better than he was, lost his old friends without making any new ones.
-
-
-_The Ant and the Grasshopper._
-
-One frosty day a grasshopper, half dead with cold and hunger, knocked at
-the door of an ant, and begged for something to eat. “What were you doing
-in the summer?” asked the ant. “Oh, I was singing all the time.” “Then,”
-said the ant, “if you could sing all the summer you may dance all the
-winter.”
-
-
-_The Wolf and the Lamb._
-
-A wolf, coming to a brook to drink, saw a lamb standing in the stream,
-some distance down. He made up his mind to kill her, and at once set
-about finding an excuse. “Villain,” he said, “how dare you dirty the
-water which I am drinking?” The lamb answered meekly, “Sir, it is
-impossible for me to dirty the water which you are drinking, because the
-stream runs from you to me, not from me to you.” “Be that as it may,”
-replied the wolf, “you called me bad names a year ago.” “Sir,” pleaded
-the lamb, “you are mistaken; a year ago I was not born.” “Then,” said the
-hungry beast, “if it was not you it was your father, and that is as bad.
-It is of no use trying to argue me out of my supper.” Thereupon he fell
-upon the poor creature and ate her up.
-
-
-_What the Bear Said._
-
-As two friends were traveling through a wood, a bear rushed out upon
-them. One of the men without a thought to his companion, climbed up into
-a tree, and hid among the branches. The other, knowing that alone he had
-no chance, threw himself on the ground, and pretended to be dead; for he
-had heard that bears will not touch a dead body. The creature came and
-sniffed him from head to foot, but, thinking him to be lifeless, went
-away without harming him. Then the man in the tree got down, and, hoping
-to pass his cowardice off with a joke, he said, “I noticed that the bear
-had his mouth very close to your ear; what did he whisper to you?” “Oh,”
-answered the other, “he only told me never to keep company with those who
-in time of danger leave their friends in the lurch.”
-
-
-_Bad Company._
-
-A farmer who had just sown his fields placed a net to catch the cranes
-that came to steal his corn. After some time he went to look at the net,
-and in it he found several cranes and one stork. “Oh, sir, please spare
-me,” said the stork; “I am not a crane, I am an innocent stork, kind
-to my parents, and——” The farmer would hear no more. “All that may be
-very true,” he said, “but it is no business of mine. I found you amongst
-thieves, and you must suffer with them.”
-
-
-_Mercury and the Woodmen._
-
-A woodman was working beside a deep river when his axe slipped, and fell
-into the water. As the axe was his living, he was very sorry to lose it,
-and sat on the bank to weep. Mercury, hearing his cries, appeared to him,
-and, finding what was the matter, dived, and brought up a golden axe.
-“Is this the one which you lost?” asked the god. “No,” said the woodman.
-Then the god dived a second time, and brought up a silver axe, and asked
-if that was the one. The woodman again answered “No.” So Mercury dived a
-third time, and then he brought up the axe which had been lost. “That is
-mine,” cried the woodman joyfully. The god gave it to him, and presented
-him with the other two as a reward for his truth and honesty.
-
-One of the woodman’s neighbors, hearing what had happened, determined to
-see if he could not have the same good luck. He went to the bank of the
-river, began to fell a tree, purposely let his axe slip into the water,
-and then pretended to cry. Mercury appeared as before, dived, and brought
-up a golden axe. The man, in his eagerness to grasp the prize, forgot to
-act as his neighbor had done; so when the god asked, “Is that yours?” he
-answered “Yes.” To punish him for his lying and dishonesty, the god would
-neither give him the golden axe nor find his own.
-
-
-_Dr. Johnson and Mrs. Siddons._
-
-Dr. Johnson always spoke scornfully of actors and actresses, but he
-treated the famous actress, Mrs. Siddons, with great politeness. She
-called on him, and his servant could not readily find a chair for her.
-“You see, madam,” said the doctor, “wherever you go no seats can be got.”
-
-
-_Clever Children._
-
-An ignorant Englishman once visited Paris. After his return he was
-talking to some of his friends about the wonders he had seen. “I was most
-surprised,” he said, “with the cleverness of the children. Boys and girls
-of seven or eight spoke French quite as easily as the children in this
-country speak English.”
-
-
-_One Good Turn Deserves Another._
-
-A Cambridge student sent to another student to borrow a book. “I never
-lend my books out,” was the answer, “but if the gentleman chooses to come
-to my rooms he may use them there.” A few days after the book owner sent
-to the other student to borrow a carpet sweeper. “I never lend my carpet
-sweeper,” replied he, “but if the gentleman chooses to come to my rooms
-he may use it there.”
-
-
-_Learning Rewarded._
-
-A rich farmer sent his son to a famous university. The young man was
-rather foolish, and brought home more folly than learning. One night,
-when there were two fowls for supper, he said, “I can prove these two
-fowls to be three.” “Let us hear,” answered the old man. “This,” said the
-scholar, pointing to the first, “is one; this,” pointing to the second,
-“is two; and two and one make three.” “Since you have made it out so
-well,” replied the father, “your mother shall have the first fowl, I will
-have the second, and you may keep the third for your great learning.”
-
-
-_Daring a Dutchman._
-
-A Dutch vessel and an English vessel were lying near each other. One of
-the Dutch sailors wished to show his activity, so he ran up the mast, and
-stood upon his head on the top of it. One of the English sailors (who did
-not like to be beaten by a Dutchman) also tried to stand upon his head on
-the top of the mast. He, however, fell. The rigging broke his fall and he
-alighted on the deck unhurt. “There, you lubber,” he cried, “do that if
-you dare.”
-
-
-_The Miserly Planter._
-
-A very miserly planter formerly lived in the island of Jamaica. He often
-gave his poor slaves too little food. They complained, and he answered
-that he could not help himself, because the provision ships had been
-taken by pirates. This lying excuse satisfied them once, twice, thrice,
-and again, but in the end long fasting made them impatient. Then they
-went to their master and said to him, “Is it not strange that the pirates
-have so often taken the ships bringing food, but have never taken the
-ships bringing pickaxes and hoes?”
-
-
-_A Precious Turnip._
-
-Before Louis the Eleventh became king he used to visit a peasant whose
-garden produced excellent fruit. After his accession, the peasant brought
-him as a present a very large turnip which had grown in his garden. The
-king, remembering the pleasant hours that he had spent under the old
-man’s roof, gave him a thousand crowns. The lord of the village, hearing
-of this, thought that if one who gave a paltry turnip received so large
-a reward, one who gave a really valuable present would receive a still
-larger reward. He, therefore, offered a splendid horse. The king accepted
-it and, calling for the big turnip, said, “This cost me a thousand
-crowns; I give it to you in return for your horse.”
-
-
-_The Dangers of a Bed._
-
-A carpenter asked a sailor, “Where did your father die?” The sailor
-answered, “My father, my grandfather, and my great-grandfather were all
-drowned at sea.” “Then,” said the carpenter, “are you not afraid of going
-to sea, lest you should be drowned too?” Instead of replying, the sailor
-asked, “Where did your father die?” “In his bed.” “And your grandfather?”
-“In his bed.” “And your great-grandfather?” “In his bed also.” “Then,”
-said the sailor, “why should I be more afraid of going to sea than you
-are of going to bed?”
-
-
-_How to treat Enemies._
-
-A Scotch minister had in his parish a man who sometimes used to get
-drunk. One day the minister, reproving him for his bad habit, said, “You
-love whisky too much, Donald; you know very well that it is your worst
-enemy.” “But,” answered the man slily, “have you not often told us that
-we ought to love our enemies?” “True, Donald, but I never told you that
-you ought to swallow them.”
-
-
-_The Secret of Success._
-
-During the long struggle between England and France, two ignorant old
-ladies were discussing the war as they went to church. One said, “Is it
-not wonderful that the English always beat the French?” “Not at all,”
-answered the other; “don’t you know that the English always say their
-prayers before going into battle?” “But,” replied the first, “can’t the
-French say their prayers as well?” “Tut, tut,” said the second; “poor
-jabbering bodies, who can understand them?”
-
-
-_The Preacher for Prisoners._
-
-When David Dewar was a member of the Prison Board the question of
-appointing a chaplain for the jail came up. The favorite candidate of
-the other members of the Board was an unsuccessful clergyman. David,
-when asked to vote for him, said, “I have no objection; I hear that he
-has already preached a church empty, and if he will only preach the jail
-empty too, he is just the man for our money.”
-
-
-_The Squire and his Servant._
-
-A Scotch squire was one day riding out with his man. Opposite a hole in
-a steep bank the master stopped and said, “John, I saw a badger go in
-there.” “Did you?” said John; “will you hold my horse, sir?” “Certainly,”
-answered the squire, and away rushed John for a spade. He got one and dug
-furiously for half an hour, the squire looking on with an amused look. At
-last John exclaimed, “I can’t find him, sir.” “I should be surprised if
-you could,” said the squire, “for it is ten years since I saw him go in.”
-
-
-_Proper Payment._
-
-A boy went into a baker’s shop and bought a five-cent loaf. It seemed to
-him rather small, so he said that he did not believe it to be of full
-weight. “Never mind,” answered the baker, “you will have the less to
-carry.” “True,” replied the lad, and throwing four cents on the counter
-he left the shop. The baker called after him, “Hi! this is not enough
-money.” “Never mind,” said the boy, “you will have the less to count.”
-
-
-_The Corporal’s Watch._
-
-A corporal in the life-guards of Frederick the Great was a brave but
-rather vain fellow. He could not afford a watch, but managed to buy a
-chain, and this he wore with a bullet at the end. The king, hearing of
-this, thought he would have a little fun at the soldier’s expense, so he
-said to him, “It is six o’clock by my watch; what time is it by yours?”
-The man drew the bullet from his pocket and answered, “My watch does not
-mark the hour, but it tells me every moment that it is my duty to face
-death for your Majesty.” “Here, my friend,” said Frederick, offering him
-his own costly watch, “take this, that you may be able to tell the hour
-also.”
-
-
-_Three Toasts._
-
-When the Earl of Stair was ambassador in Holland he was once at a banquet
-with the French and Austrian ambassadors. The Frenchman proposed the
-health of his master, calling him, “The Sun.” The Austrian then proposed
-the health of his mistress, calling her “The Moon.” The Earl of Stair was
-equal to the occasion, for when his turn came he proposed the health of
-his sovereign as “Joshua, who made the sun and moon to stand still.”
-
-
-_Going to Sleep in Church._
-
-A Scotch clergyman had a youth in his congregation who was underwitted,
-and was commonly spoken of as being half daft. One Sunday the clergyman
-observed that all his hearers were asleep except this youth. After the
-service the minister congratulated him upon being awake, when he naively
-replied, “Maybe if I hadn’t been half daft I would have been asleep too.”
-
-
-_Striking Back._
-
-A little girl complained to her brother that a boy had struck her. “Why
-did you not strike back?” he asked. “O,” said the innocent creature, “I
-did that before he hit me.”
-
-
-OUTLINES TO BE TURNED INTO NARRATIVES.
-
-The following is an outline of one of Æsop’s fables:—
-
-  1. Donkey carrying salt—passing through stream—falls—loses load.
-
-  2. Next day loaded with salt—lies down in stream.
-
-  3. Master resolves to teach lesson—third journey load of sponge.
-
-  4. Donkey lies down—load heavier.
-
-This outline may be filled in thus:—
-
-  A donkey laden with salt happened to fall while passing through a
-  stream. _The water melted the salt_, and the donkey _on getting
-  up was delighted_ to find himself with nothing to carry. Next day
-  he had to pass again, laden with salt, through the same stream.
-  _Remembering how the water had yesterday rid him of his burden_,
-  he lay down purposely, and was again rid of it. _But clever as he
-  was his master was cleverer_, and resolved to teach him a lesson.
-  On the third journey he therefore placed on the creature’s back
-  several bags filled with sponges. The donkey lay down as before,
-  but on getting up he found that his load, instead of being much
-  lighter, was much heavier.
-
-In the fable, as thus told, there are several points (printed in italics)
-which are not in the outline. Such little details help to make the story
-more real.
-
-
-_The Snake’s Ingratitude._
-
-  1. Cold winter’s day—snake half dead.
-
-  2. Peasant pities it—places in bosom—takes home—lays before fire.
-
-  3. Snake revives—attacks children—peasant kills it.
-
-This outline may be filled in as follows:—
-
-  On a cold winter’s day a peasant discovered a snake that was half
-  dead. He pitied the half-frozen creature, placed it in his bosom,
-  and upon taking it home, laid it before the fire. The snake soon
-  revived, and, true to its nature, attacked the children of the
-  household, when it was promptly killed by the peasant.
-
-
-_The Lion and the Mouse._
-
-  1. Lion sleeping—mouse happens to wake him.
-
-  2. Lion going to kill mouse—mouse begs for mercy—mercy granted.
-
-  3. Lion caught in a net—roars—mouse hears him—nibbles net.
-
-
-_The Frog and the Ox._
-
-  1. Ox feeding in marshy meadow—treads among young frogs—kills
-  many.
-
-  2. One that escapes tells mother—“Such a big beast!”
-
-  3. Vain mother asks, “So big?”—“Much bigger.”
-
-  4. Mother puffs out—“So big?”—“Much bigger.”
-
-  5. This several times—at last mother bursts.
-
-
-_The Hare and the Tortoise._
-
-  1. Hare jeers at tortoise for slowness.
-
-  2. Tortoise proposes race—hare accepts.
-
-  3. Tortoise starts—hare says, “Will take a nap first.”
-
-  4. When hare wakes tortoise has passed post.
-
-  5. “Slow and steady wins the race.”
-
-
-_Dividing the Spoils._
-
-  1. Lion, donkey and fox hunting—much spoil.
-
-  2. Lion asks donkey to divide—divides into three equal parts.
-
-  3. Lion angry—kills donkey—asks fox to divide.
-
-  4. Fox makes very great heap for lion and very little one for
-  himself.
-
-  5. “Who taught you to divide so well?”—“The dead donkey.”
-
-
-_The Wind and the Sun._
-
-  1. Wind and sun dispute which is stronger.
-
-  2. Agree to try on passing traveler—which can soonest make him
-  take off cloak.
-
-  3. Wind begins—blows furiously—traveler holds cloak the tighter.
-
-  4. Sun shines—traveler too warm—throws off cloak.
-
-  5. Kindness better than force.
-
-
-_The Bundle of Sticks._
-
-  1. Quarrelsome brothers—father speaks in vain.
-
-  2. Asks sons to break bundle of sticks—each tries and fails.
-
-  3. Asks them to undo bundle and break separate sticks—easy.
-
-  4. Brothers united, like bundle—quarrelsome, like separate sticks.
-
-  5. “Union is strength.”
-
-
-_The Goose with the Golden Eggs._
-
-  1. Man has goose—lays golden egg daily.
-
-  2. Man greedy—thinks inside must be full of gold—kills
-  goose—finds her like all other geese.
-
-
-_The Frogs asking for a King._
-
-  1. Frogs ask Jupiter for a king—he laughs at their folly—throws
-  them a log.
-
-  2. The splash frightens them—finding log still they venture to
-  look at it—at last jump on it and despise it.
-
-  3. Ask for another king—Jupiter annoyed—sends them a stork.
-
-  4. Stork eats many—the rest ask Jupiter to take stork away—he
-  says “No.” “Let well alone.”
-
-
-_The Battle of the Birds and Beasts._
-
-  1. Bat is a beast, but flies like a bird.
-
-  2. Battle between birds and beasts—bat keeps aloof.
-
-  3. Beasts appear to be winning—bat joins them.
-
-  4. Birds rally and win—bat found among victors.
-
-  5. Peace made—birds and beasts condemn bat—bat never since dared
-  show face in daylight.
-
-
-_The Hart and the Vine._
-
-  1. Hart fleeing from hunters—hides among leaves of vine—hunters
-  pass without seeing him.
-
-  2. He begins to eat leaves—a hunter hears noise—shoots hart.
-
-  3. Hart lies wounded—reproaches itself for committing so great a
-  folly.
-
-  4. “Vine protected me; I injured it; deserved my fate.”
-
-
-_The Lion and the Bulls._
-
-  1. Three bulls feeding together in a meadow.
-
-  2. Lion wished to eat them—afraid of the three.
-
-  3. Lion tells each that the others have been slandering.
-
-  4. Bulls quarrel—lion kills each separately.
-
-
-_Saved by the Life-boat._
-
-  1. Vessel goes to sea—overtaken by storm.
-
-  2. Storm increases—ship driven on the rocks.
-
-  3. Officers and crew in distress—clinging to the rigging—making
-  signals.
-
-  4. Seen by the Life Guard on shore.
-
-  5. Boat hurries to the rescue—heroic seamen.
-
-  6. Men on board brought ashore—benumbed—famishing.
-
-  7. Revived—grateful to rescuers.
-
-
-_Story of a Tramp._
-
-  1. Early home—restless youth—runs away.
-
-  2. Goes to seek his fortune—falls in with vicious companions.
-
-  3. Roams from place to place—becomes an idle beggar.
-
-  4. Young man in a police court charged with burglary—sentenced to
-  state prison.
-
-  5. First mistake was leaving home—next, companionship—then, theft.
-
-  6. Value of home attachments—industry—honesty.
-
-  7. Beware of the first wrong step—not easy to remedy our mistakes.
-
-
-STORIES IN VERSE TO BE TURNED INTO PROSE.
-
-The following poem, by Charles Kingsley, tells a touching little story:—
-
-  Three fishers went sailing away to the west,
-    Away to the west as the sun went down;
-  Each thought on the woman who loved him the best,
-    And the children stood watching them out of the town.
-      For men must work, and women must weep,
-      And there’s little to earn, and many to keep,
-          Though the harbor bar be moaning.
-
-  Three wives sat up in the lighthouse tower,
-    And trimmed the lamps as the sun went down;
-  They looked at the squall, and they looked at the shower,
-    And the night-rack came rolling up, ragged and brown!
-      But men must work, and women must weep,
-      Though storms be sudden and waters deep,
-          And the harbor bar be moaning.
-
-  Three corpses lay out on the shining sands,
-    In the morning gleam, as the tide went down,
-  And the women are weeping and wringing their hands
-    For those who will never come home to the town.
-      For men must work, and women must weep,
-      And the sooner it’s over the sooner to sleep,
-          And good-bye to the bar and its moaning.
-
-Here is the same story, told in prose:—
-
-  One afternoon in a western port, three fishermen might be seen
-  walking slowly down towards the beach. Heavy masses of clouds
-  were moving rapidly overhead; the setting sun had tinged the
-  sky an angry crimson, and the waves broke with a moaning noise
-  over the bar at the mouth of the harbor. The fishermen knew that
-  a storm was threatening, but still they were going to sea, for
-  their families were large and their earnings had of late been
-  small. Yet they were sad at heart, and as they sailed away they
-  thought of the dear wives left behind, and of the dear children
-  watching them out of the town.
-
-  The women were so anxious that they could not rest at home,
-  so they went up to the lighthouse to trim the lamps and peer
-  out into the darkness. The storm came on even sooner than was
-  expected. A huge billow caught the fishermen’s boat and sank it,
-  and the tide carried their dead bodies to the shore.
-
-  By morning the storm had passed, and the rising sun shone on the
-  wet sand and on three poor women wringing their hands over the
-  corpses of their husbands.
-
-Note that in this prose rendering there is no attempt to preserve the
-poetry. Attention has been paid to the story only, and that has been told
-in the simplest manner. I here append a cluster of poems to be turned
-into prose.
-
-
-THE SANDS OF DEE.
-
-  “O Mary, go and call the cattle home,
-        And call the cattle home,
-        And call the cattle home,
-      Across the sands of Dee!”
-  The western wind was wild and dark with foam,
-      And all alone went she.
-
-  The creeping tide came up along the sand,
-        And o’er and o’er the sand,
-        And round and round the sand,
-      As far as eye could see;
-  The blinding mist came up and hid the land,
-      And never home came she.
-
-  Oh, is it weed, or fish, or floating hair,—
-        A tress of golden hair,
-        Of drownèd maiden’s hair,
-      Above the nets at sea?
-  Was never salmon yet that shone so fair,
-      Among the stakes of Dee!
-
-  They rowed her in across the rolling foam,
-        The cruel, crawling foam,
-        The cruel, hungry foam,
-      To her grave beside the sea;
-  But still the boatmen hear her call the cattle home
-      Across the sands of Dee.—_Charles Kingsley._
-
-
-THE WAY TO WIN.
-
-  There’s always a river to cross,
-    Always an effort to make,
-  If there’s anything good to win,
-    Any rich prize to take.
-  Yonder’s the fruit we crave,
-    Yonder the charming scene;
-  But deep and wide, with a troubled tide,
-    Is the river that lies between.
-
-
-PRESS ON.
-
-  Press on! there’s no such word as fail;
-    Press nobly on! the goal is near;
-  Ascend the mountain! breast the gale!
-    Look upward, onward—never fear!
-
-  _Press on!_ if once, and twice thy feet
-    Slip back and stumble, harder try;
-  From him who never dreads to meet
-    Danger and death, they’re sure to fly.
-
-  To coward ranks the bullet speeds;
-    While on _their_ breasts who never quail,
-  Gleams, guardian of chivalric deeds,
-    Bright courage, like a coat of mail.
-
-  _Press on!_ if fortune play thee false
-    To-day, to-morrow she’ll be true;
-  Whom now she sinks, she now exalts,
-    Taking old gifts and granting new.
-
-  The wisdom of the present hour
-    Makes up for follies past and gone;
-  To weakness strength succeeds, and power
-    From frailty springs:—_Press on! PRESS ON!_—_Park Benjamin._
-
-
-THE DYING WARRIOR.
-
-  A wounded chieftain, lying
-    By the Danube’s leafy side,
-  Thus faintly said, in dying,
-    “Oh! bear, thou foaming tide,
-    This gift to my lady bride.”
-
-  ’Twas then, in life’s last quiver,
-    He flung the scarf he wore
-  Into the foaming river,
-    Which, ah, too quickly, bore
-    That pledge of one no more!
-
-  With fond impatience burning,
-    The chieftain’s lady stood,
-  To watch her love returning
-    In triumph down the flood,
-    From that day’s field of blood.
-
-  But, field, alas! ill-fated,
-    The lady saw, instead
-  Of the bark whose speed she waited,
-    Her hero’s scarf, all red
-    With the drops his heart had shed.
-
-  One shriek—and all was over—
-    Her life-pulse ceased to beat;
-  The gloomy waves now cover
-    That bridal flower so sweet,
-    And the scarf is her winding-sheet.—_Thomas Moore._
-
-
-THE BOY THAT LAUGHS.
-
-  I know a funny little boy,
-    The happiest ever born;
-  His face is like a beam of joy,
-    Although his clothes are torn.
-
-  I saw him tumble on his nose,
-    And waited for a groan;
-  But how he laughed! Do you suppose
-    He struck his funny bone?
-
-  There’s sunshine in each word he speaks;
-    His laugh is something grand;
-  Its ripples overrun his cheeks
-    Like waves on snowy sand.
-
-  He laughs the moment he awakes,
-    And till the day is done,
-  The school-room for a joke he takes,
-    His lessons are but fun.
-
-  No matter how the day may go,
-    You cannot make him cry.
-  He’s worth a dozen boys I know,
-    Who pout and mope and sigh.
-
-
-THE CAT’S BATH.
-
-  As pussy sat washing her face by the gate,
-    A nice little dog came to have a good chat;
-  And after some talk about matters of state,
-    Said, with a low bow, “My dear Mrs. Cat,
-  I really do hope you’ll not think I am rude;
-    I am curious, I know, and that you may say—
-  Perhaps you’ll be angry; but no, you’re too good—
-    Pray why do you wash in that very odd way?
-
-  “Now I every day rush away to the lake,
-    And in the clear water I dive and I swim;
-  I dry my wet fur with a run and a shake,
-    And am fresh as a rose and neat as a pin.
-  But you any day in the sun may be seen,
-    Just rubbing yourself with your red little tongue;
-  I admire the grace with which it is done—
-    But really, now, are you sure you get yourself clean?”
-
-  The cat, who sat swelling with rage and surprise
-    At this, could no longer her fury contain,
-  For she had always supposed herself rather precise,
-    And of her sleek neatness had been somewhat vain;
-  So she flew at poor doggy and boxed both his ears,
-    Scratched his nose and his eyes, and spit in his face,
-  And sent him off yelping; from which it appears
-    Those who ask prying questions may meet with disgrace.
-
-
-THE BEGGAR MAN.
-
-  Around the fire, one wintry night,
-    The farmer’s rosy children sat;
-  The fagot lent its blazing light,
-    And jokes went round, and careless chat;
-
-  When, hark! a gentle hand they hear
-    Low tapping at the bolted door;
-  And thus, to gain their willing ear,
-    A feeble voice was heard implore:—
-
-  “Cold blows the blast across the moor,
-    The sleet drives hissing in the wind;
-  Yon toilsome mountain lies before,
-    A dreary, treeless waste behind.
-
-  “My eyes are weak and dim with age,
-    No road, no path can I descry;
-  And these poor rags ill stand the rage
-    Of such a keen, inclement sky.
-
-  “So faint I am, these tottering feet
-    No more my palsied frame can bear;
-  My freezing heart forgets to beat,
-    And drifting snows my tomb prepare.
-
-  “Open your hospitable door,
-    And shield me from the biting blast:
-  Cold, cold it blows across the moor,
-    The weary moor that I have passed!”
-
-  With hasty steps the farmer ran,
-    And close beside the fire they place
-  The poor half-frozen beggar man,
-    With shaking limbs and pale-blue face.
-
-  The little children flocking came,
-    And chafed his frozen hands in theirs;
-  And busily the good old dame
-    A comfortable mess prepares.
-
-  Their kindness cheered his drooping soul;
-    And slowly down his wrinkled cheek
-  The big round tear was seen to roll,
-    Which told the thanks he could not speak.
-
-  The children then began to sigh,
-    And all their merry chat was o’er;
-  And yet they felt, they knew not why,
-    More glad than they had done before.—_Aiken._
-
-
-THE SHOWER-BATH.
-
-  Quoth Dermot (a lodger at Mrs. O’Flynn’s),
-    “How queerly my shower-bath feels!
-  It shocks like a posse of needles and pins,
-    Or a shoal of electrical eels.”
-
-  Quoth Murphy, “Then mend it, and I’ll tell you how
-    It’s all your own fault, my good fellow:
-  I used to be bothered as you are, but now
-    I’m wiser—I take my umbrella.”—_James Smith._
-
-
-QUEEN MARY’S RETURN TO SCOTLAND.
-
-  After a youth by woes o’ercast,
-  After a thousand sorrows past,
-  The lovely Mary once again
-  Set foot upon her native plain;
-  Knelt on the pier with modest grace,
-  And turned to heaven her beauteous face.
-  ’Twas then the caps in air were blended,
-  A thousand thousand shouts ascended,
-  Shivered the breeze around the throng,
-  Gray barrier cliffs the peals prolong;
-  And every tongue gave thanks to heaven,
-  That Mary to their hopes was given.
-
-  Her comely form and graceful mien
-  Bespoke the lady and the queen;
-  The woes of one so fair and young
-  Moved every heart and every tongue.
-  Driven from her home, a helpless child,
-  To brave the winds and billows wild;
-  An exile bred in realms afar,
-  Amid commotions, broils, and war.
-  In one short year, her hopes all crossed
-  A parent, husband, kingdom, lost!
-  And all ere eighteen years had shed
-  Their honors o’er her royal head.
-  For such a queen, the Stuart’s heir,—
-  A queen so courteous, young, and fair,—
-  Who would not every foe defy?
-  Who would not stand—who would not die?
-
-  Light on her airy steed she sprung,
-  Around with golden tassels hung;
-  No chieftain there rode half so free,
-  Or half so light and gracefully.
-  How sweet to see her ringlets pale
-  Wide waving in the southland gale,
-  Which through the broomwood blossoms flew,
-  To fan her cheeks of rosy hue!
-  Whene’er it heaved her bosom’s screen,
-  What beauties in her form were seen!
-  And when her courser’s mane it swung,
-  A thousand silver bells were rung.
-  A sight so fair, on Scottish plain,
-  A Scot shall never see again!—_Hogg._
-
-
-THE EAGLE AND SERPENT.
-
-  In the air do I behold indeed
-    An eagle and a serpent wreathed in fight,
-  And now, relaxing its impetuous flight,
-    Before th’ aerial rock on which I stood,
-  The eagle hovering wheeled to left and right,
-    And hung with lingering wings over the flood,
-  And startled with its yells the wide air’s solitude.
-
-  A shaft of light upon its wings descended,
-    And every golden feather gleamed therein,
-  Feather and scale inextricably blended:
-    The serpent’s mailed and many-colored skin
-  Shone through the plumes, its coils were twined within,
-    With many a swoln and knotted fold; and high
-  And far the neck receding lithe and thin,
-    Sustained a crested head, which warily
-  Shifted, and glanced before the eagle’s steadfast eye.
-
-  Around, around, in ceaseless circles wheeling,
-    With clang of wings and scream the eagle sailed
-  Incessantly; sometimes on high concealing
-    Its lessening orbs, sometimes as if it failed,
-  Drooped through the air, and still it shrieked and wailed,
-    And, casting back its eager head, with beak
-  And talon unremittingly assailed
-    The wreathèd serpent, who did ever seek
-  Upon his enemy’s heart a mortal wound to wreak.—_Shelley._
-
-
-ASK AND HAVE.
-
-  “Oh, ’tis time I should talk to your mother,
-    Sweet Mary,” says I;
-  “Oh, don’t talk to my mother,” says Mary,
-    Beginning to cry:
-  “For my mother says men are deceivers,
-    And never, I know, will consent;
-  She says girls in a hurry who marry,
-    At leisure repent.”
-
-  “Then, suppose I would talk to your father,
-    Sweet Mary,” says I;
-  “Oh, don’t talk to my father,” says Mary,
-    Beginning to cry:
-  “For my father, he loves me so dearly,
-    He’ll never consent I should go—
-  If you talk to my father,” says Mary,
-    “He’ll surely say ‘No.’”
-
-  “Then how shall I get you, my jewel?
-    Sweet Mary,” says I;
-  “If your father and mother’s so cruel,
-    Most surely I’ll die!”
-  “Oh, never say die, dear,” says Mary;
-    “A way now to save you I see;
-  Since my parents are both so contrary—
-    You’d better ask _me_.”—_Lover._
-
-
-WHAT WAS HIS CREED?
-
-  He left a load of anthracite
-    In front of a poor widow’s door
-  When the deep snow, frozen and white,
-    Wrapped street and square, mountain and moor—
-        That was his deed:
-          He did it well;
-        “What was his creed?”
-          I cannot tell.
-
-  Blessed “in his basket and his store,”
-    In sitting down and rising up;
-  When more he got he gave the more,
-    Withholding not the crust and cup;
-        He took the lead
-          In each good task;
-        “What was his creed?”
-          I did not ask.
-
-  His charity was like the snow,
-    Soft, white, and silken in its fall;
-  Not like the noisy winds that blow
-    From shivering trees the leaves; a pall
-        For flower and weed,
-          Dropping below;
-        “What was his creed?”
-          The poor may know.
-
-  He had great faith in loaves of bread
-    For hungry people, young and old;
-  And hope inspired, kind words he said,
-    To those he sheltered from the cold,
-          For he must feed
-            As well as pray;
-          “What was his creed?”
-            I cannot say.
-
-
-THE OLD REAPER.
-
-  Mid the brown-haired and the black-haired men,
-    With ruddy faces aglow,
-  The old man stood in the harvest field,
-    With a head as white as snow.
-  “Let me cut a sheaf, my boys,” he said,
-    “Before it is time to go.”
-
-  They put the sickle within his hand:
-    He bowed to the windy wheat;
-  Pleasantly fell the golden ears,
-    With the corn flowers at his feet.
-  He lifted a handful, thoughtfully;
-    It was ripe and full and sweet.
-
-  “Many and many a sheaf,” he said,
-    “I have cut in the years gone past;
-  And many and many a sheaf these arms
-    On the harvest wains have cast.
-  But, children dear, I am weary now,
-    And I think this is—the last.
-
-  “Let me rest awhile beneath the tree;
-    For I like to watch you go,
-  With sickles bright, through the ripe, full wheat,
-    And to feel the fresh wind blow.”
-  And they spread their working coats for him
-    ’Mong the grasses sweet and low.
-
-  When the sun grew high they came again,
-    For a drink and their bread and meat;
-  And in the shadow he sleeping lay,
-    With sunshine on his feet.
-  Like a child at night, outspent with play,
-    He lay in slumber sweet.
-
-
-THE GALLANT SAIL-BOAT.
-
-    The boat, impatient of delay,
-  With spreading, white wings flew away,
-  Pushed its bold venture more and more.
-  Left far behind the fading shore,
-  And glided on, swan-like and free,
-  A thing of life, sylph of the sea.
-  The speed grew swift, each eager sail
-  Swelled as it caught the gentle gale,
-  And so, with canvas all unfurled,
-  Around the prow the waters curled,
-  And wreaths of spray, formed one by one,
-  Made rainbows in the shining sun.
-
-    The lively breeze then stiffer grew,
-  The sail-boat leaped and darted through
-  Each billow as it struck her breast,
-  Or, mounting upward, skimmed the crest,
-  Plunged down into the hollow graves,
-  Made by the fast advancing waves,
-  Then rose again with graceful bound,
-  Wet with the white-caps splashing round,
-  And in her frolicsome advance,
-  Moved like a maiden in the dance.
-  Careening low upon her side,
-  No bird that cuts the air could glide
-  More deftly than she gaily flew,
-  Light-hearted, o’er the waters blue.
-
-    And just as gay were those on board,
-  Their youthful spirits in accord.
-  As well-tuned strings wake with a thrill,
-  Touched by the harpist’s facile skill,
-  So these young hearts were in attune,
-  And carolled like the birds of June.
-  The pleasure-seekers, side by side,
-  Rode with the wind, rode with the tide,
-  While sparkling jest and blithesome song,
-  And bursts of laughter loud and long,
-  Spontaneous mirth and shouts of glee,
-  Went floating o’er the ruffled sea.—_Davenport._
-
-
-WOOING.
-
-  A little bird once met another bird,
-    And whistled to her, “Will you be my mate?”
-  With fluttering wings she twittered, “How absurd!
-          Oh, what a silly pate!”
-
-  And off into a distant tree she flew,
-    To find concealment in the shady cover;
-  And passed the hours in slily peeping through
-          At her rejected lover.
-
-  The jilted bird, with drooping heart and wing,
-    Poured forth his grief all day in plaintiff songs;
-  Telling in sadness to the ear of spring
-          The story of his wrongs.
-
-  But little thought he, while each nook and dell
-    With the wild music of his plaint was thrilling,
-  That scornful breast with sighs began to swell—
-          Half-pitying and half-willing.
-
-  Next month I walked the same sequestered way,
-    When close together on a twig I spied them;
-  And in a nest half-hid with leaves there lay
-          Four little birds beside them.
-
-  Coy maid, this moral in your ear I drop:
-    When lover’s hopes within their hearts you prison,
-  Fly out of sight and hearing; do not stop
-          To look behind and listen.—_Soule._
-
-
-MISS LAUGH AND MISS FRET.
-
-            Cries little Miss Fret,
-            In a very great pet:
-  “I hate this warm weather; it’s horrid to tan.
-            It scorches my nose,
-            And blisters my toes,
-  And wherever I go, I must carry a fan.”
-
-            Chirps little Miss Laugh:
-            “Why, I couldn’t tell half
-  The fun I am having this bright summer day.
-            I sing through the hours,
-            I cull pretty flowers,
-  And ride like a queen on the sweet smelling hay.”
-
-
-MONTEREY.
-
-  We were not many, we who stood
-    Before the iron sleet that day;
-  Yet many a gallant spirit would
-  Give half his years if but he could
-    Have with us been at Monterey.
-
-  Now here, now there, the shot it hailed
-    In deadly drifts of fiery spray,
-  Yet not a single soldier quailed
-  When wounded comrades round him wailed
-    Their dying shout at Monterey.
-
-  And on, still on, our column kept
-    Through walls of flame its wavering way;
-  Where fell the dead, the living stepped,
-  Still charging on the guns which swept
-    The slippery streets of Monterey.
-
-  The foe himself recoiled aghast,
-    When, striking where he strongest lay,
-  We swooped his flanking batteries past,
-  And braving full their murderous blast,
-    Stormed home the towers of Monterey.
-
-  Our banners on those turrets wave,
-    And there our evening bugles play,
-  Where orange-boughs above their grave,
-  Keep green the memory of the brave
-    Who fought and fell at Monterey.
-
-  We are not many, we who pressed
-    Beside the brave who fell that day;
-  But who of us has not confessed
-  He’d rather share their warrior rest
-    Than not have been at Monterey?—_Hoffman._
-
-
-A WOMAN’S WATCH.
-
-  Oh, I am a woman’s watch, am I,
-    But I would that I were not;
-  For if you knew, you would not deny
-    That mine is a sorry lot.
-  She will let me rest for a great long while,
-    Then all of a sudden seek
-  To twist me up so tight that I’ll
-    Keep going for a week.
-
-  She leaves me open when she will,
-    Till I’m sick of dirt and things;
-  Of pins and hair I have got my fill,
-    And of buttons, hooks and strings.
-  There’s a four-leaf clover in me, too,
-    And a piece of a photograph;
-  I’m stuffed completely through and through
-    With toothpicks, cloves and chaff.
-
-  My hands are twisted to and fro,
-    I’m thumped and jarred, alack!
-  And then, if I fail to straightway go,
-    I’m pounded front and back.
-  With her hat-pin all my wheels she’ll pry
-    Till she breaks them every one,
-  And then she’ll say: “I don’t see why
-    This mean old thing won’t run!”
-
-
-LOVE LIGHTENS LABOR.
-
-  A good wife rose from her bed one morn,
-    And thought, with a nervous dread,
-  Of the piles of clothes to be washed, and more
-    Than a dozen mouths to be fed,
-  “There’s the meals to be got for the men in the field,
-    And the children to fix away
-  To school, and the milk to be skimmed and churned;
-    And all to be done this day.”
-
-  It had rained in the night, and all the wood
-    Was wet as it could be;
-  There were puddings and pies to bake, besides
-    A loaf of cake for tea.
-  And the day was hot, and her aching head
-    Throbbed wearily as she said.
-  “If maidens but knew what good wives know,
-    They would not be in haste to wed!”
-
-  “Jennie, what do you think I told Ben Brown?”
-    Called the farmer from the well;
-  And a flush crept up to his bronzed brow,
-    And his eyes half-blushingly fell:
-  “It was this,” he said, and coming near
-    He smiled, and stooping down,
-  Kissed her cheek—“’twas this, that you were the best
-    And the dearest wife in town!”
-
-  The farmer went back to the field, and the wife,
-    In a smiling, absent way,
-  Sang snatches of tender little songs
-    She’d not sung for many a day.
-  And the pain in her head was gone, and the clothes
-    Were white as the foam of the sea;
-  Her bread was light, and her butter was sweet,
-    And as golden as it could be.
-
-  “Just think,” the children all called in a breath,
-    “Tom Wood has run off to sea!
-  He wouldn’t, I know, if he’d only had
-    As happy a home as we.”
-  The night came down, and the good wife smiled
-    To herself, as she softly said:
-  “’Tis so sweet to labor for those we love—
-    It’s not strange that maids will wed!”
-
-
-ABOU BEN ADHEM.
-
-  Abou Ben Adhem—may his tribe increase!
-  Awoke one night from a deep dream of peace,
-  And saw, within the moonlight in his room,
-  Making it rich, and like a lily in bloom,
-
-  An angel, writing in a book of gold.
-  Exceeding peace had made Ben Adhem bold,
-  And to the Presence in the room he said,
-  “What writest thou?” The vision raised its head,
-  And, with a look made all of sweet accord,
-  Answered, “The names of those who love the Lord.”
-
-  “And is mine one?” said Abou. “Nay, not so,”
-  Replied the angel. Abou spoke more low,
-  But cheerily still; and said, “I pray thee, then,
-  Write me as one that loves his fellow-men.”
-
-  The angel wrote and vanished. The next night
-  It came again with a great wakening light,
-  And showed the names whom love of God had blessed;
-  And lo! Ben Adhem’s name led all the rest.—_Leigh Hunt._
-
-
-ESSAYS TO BE WRITTEN FROM OUTLINES.
-
-It is considered best by most experienced writers to prepare a plan of
-the composition, of whatever character it may be. In this way you are
-able to properly arrange your thoughts, and are less likely to omit
-something which ought to be treated.
-
-There are authors who map out in their minds a general plan without
-committing it formally to paper. The disadvantage of this method is that
-something is liable to be forgotten, or inserted in the wrong place. Many
-authors compose a whole book with nothing more in mind than the general
-outline: others draw out what lawyers would call a “brief,” from which
-they build up their production step by step.
-
-To aid you in learning how to write compositions, I have inserted here
-the outlines of essays from which the complete productions are to be
-written. Many of these subjects will compel you to consult books in order
-that you may obtain the information you require, yet this will only be a
-benefit to you, and will amply repay all the time and labor you expend.
-
-You do not need to confine yourself to the thoughts suggested in these
-outlines. Think for yourself; do not always go on crutches. Introduce new
-matter and express whatever is suggested to your mind, that will make
-your production complete and interesting.
-
-The following is an outline of a brief and simple essay on “The Cat.”
-
-  1. Where found.
-
-  2. Why kept.
-
-  3. Fitted to be a beast of prey:—(_a_) Teeth; (_b_) Claws; (_c_)
-  Pads.
-
-  4. Fitted for night prowling:—(_a_) Fur; (_b_) Eyes.
-
-  5. Fitted to be a pet.
-
-  6. Habits.
-
-The outline may be filled in thus:—
-
-  A cat is found in nearly every house. Sometimes it is kept as a
-  pet only, and sometimes it is kept only to catch mice, but most
-  people keep one for both purposes. The cat is fitted by nature to
-  be a beast of prey; hence its claws and teeth are sharp and long,
-  and under its feet are pads, which enable it to walk without
-  making a noise. The cat is also fitted for prowling at night.
-  Its thick fur keeps it from feeling cold, and its wonderful eyes
-  enable it to see almost in the dark. Cats make good pets because
-  they are pretty, clean and gentle. They like to lie on something
-  soft and warm. When stroked they purr. Kittens are very playful.
-
-
-_Dog._
-
-  1. Found nearly all over world; friend to man.
-
-  2. Uses:—Hunting, guarding, minding sheep, etc.
-
-  3. Description: Teeth for tearing, legs for running, coat for
-  warmth; differences between cat and dog.
-
-  4. Habits.
-
-
-_Kinds of Dogs._
-
-  1. Name various kinds.
-
-  2. Showing how structure of each kind fits it for its work; as
-
-  (_a_) Greyhound—shape, legs, chest for swiftness.
-
-  (_b_) Bloodhound—broad head, large nose for smell.
-
-  (_c_) Bulldog—size of head, strength of jaw and of body.
-
-  (_d_) Newfoundland—thick, oily coat, webbed feet etc., etc.
-
-
-_Hay._
-
-  1. Grass allowed to grow from early spring.
-
-  2. Ripe in June or July.
-
-  3. Cut with a scythe or machine.
-
-  4. Spread out to dry in sun—turned over—raked into “cocks”—carted.
-
-
-_Grain._
-
-  1. Different kinds:—wheat, barley, oats.
-
-  2. Sown in spring (wheat sometimes late in autumn).
-
-  3. Ground prepared by ploughing, harrowing.
-
-  4. Sowing (describe).
-
-  5. Weeding.
-
-  6. Harvesting:—cut with sickle, scythe or machine—bound—carted.
-
-
-_Flour._
-
-  1. Wheat threshed to get grain and chaff from ear.
-
-  2. Winnowed to separate chaff from grain.
-
-  3. Ground in mill (wind, steam).
-
-  4. Skin (bran) separated from flour.
-
-
-_Bread._
-
-  1. Generally made from flour.
-
-  2. Flour mixed with water, a little salt and yeast, into
-  sponge—yeast to make it “rise.”
-
-  3. Made into loaves.
-
-  4. Baked in oven.
-
-
-_Butter._
-
-  1. Made from cream.
-
-  2. Milk placed in shallow pans—cream rises—skimmed.
-
-  3. Cream begins to turn sour—churned.
-
-  4. Describe churn.
-
-  5. Churning divides cream into butter and buttermilk.
-
-  6. Butter run off—butter washed.
-
-  7. Beaten, often salted, moulded.
-
-
-_Lion._
-
-  1. Cat kind—teeth, claws, sheath pad.
-
-  2. About four feet high, tawny yellow, tufted tail, mane of male.
-
-  3. Lion like cat steals up to prey.
-
-  4. Brave.
-
-  5. Cubs playful.
-
-
-_Tiger._
-
-  1. Compare tiger and lion:—
-
-  (_a_) Lion in Africa and Asia, tiger in Asia.
-
-  (_b_) Tiger as strong, more fierce and cunning.
-
-  (_c_) Tiger golden fur with black stripes, no mane, tail not
-  tufted.
-
-  (_d_) Tiger, like lion, lies in wait.
-
-  2. Man-eating tigers.
-
-  3. Hunted, often on elephants.
-
-
-_Elephant._
-
-  1. Largest land animal, eight to ten feet high.
-
-  2. Very heavy body, thick skin, little hair, legs thick.
-
-  3. Head large, tusks sixty to seventy pounds each.
-
-  4. Short neck; why?
-
-  5. Trunk; why needed?—describe.
-
-  6. Clever, obedient, faithful.
-
-
-_Stories of Elephants._
-
-  Tell a story showing cleverness of elephant.
-
-
-_Owl._
-
-  1. Night bird; therefore eyes large, hearing sharp, feathers
-  thick.
-
-  2. Downy feathers make flight silent.
-
-  3. Beak and claws.
-
-  4. Food.
-
-  5. Haunts.
-
-
-_Swallow._
-
-  1. Made for speed; feathers firm and close, wings large, tail
-  long and pointed, legs short.
-
-  2. Lives on insects; large, wide mouth.
-
-  3. Bird of passage; comes in spring, leaves in autumn.
-
-  4. Kind:—
-
-  (_a_) Chimney martin or swallow—builds often under eaves.
-
-  (_b_) Sand martin: smallest, builds in sandy banks or cliffs.
-
-
-_Cuckoo._
-
-  1. Named from cry.
-
-  2. Bird of passage—
-
-  In April
-  Come he will; ...
-  In July
-  He prepares to fly;
-  In August
-  Go he must.
-
-  3. Description:—size of magpie or small pigeon; color:—blue gray
-  above; white, with slaty bars below; wings black, with white at
-  tips.
-
-  4. Lays eggs in nest of other birds—often a hedge-sparrow.
-
-
-_Tea._
-
-  1. From China, Assam, Ceylon.
-
-  2. Evergreen shrub, glossy leaves, white flower.
-
-  3. Three crops a year, first and best in spring.
-
-  4. Leaves gathered, placed in shallow baskets, dried first in
-  sun, then over charcoal; rolled between hands.
-
-  5. Two kinds, green and black.
-
-
-_Coffee._
-
-  1. Arabia, Brazil, East and West Indies, Ceylon.
-
-  2. Evergreen tree, eight to twelve feet high.
-
-  3. Tree bears a dark red berry, size of cherry, and containing
-  two hard seeds (the coffee “bean”) each in a skin.
-
-  4. Berries gathered, dried, passed under rollers to remove skin.
-
-  5. Roasted in a closed iron vessel over slow fire.
-
-  6. Ground.
-
-
-_Coal._
-
-  1. How formed:—Places where forests, woods, etc., growing,
-  sank—covered with water bringing soil—rose again—vegetable
-  remains hardened into coal.
-
-  2. Hence found in layers.
-
-  3. Mining:—shaft, galleries.
-
-  4. Dangers:—fall of roof; flooding; explosions of “fire-damp;”
-  afterwards “choke-damp.”
-
-  5. Safety lamp.
-
-
-_Iron._
-
-  1. Iron ore found in many places, worked on coal fields; why?
-
-  2. To drive away sulphur roasted in kiln, or with layers of coal
-  on ground.
-
-  3. Mixed with coal and lime and placed in blast furnace.
-
-  4. Earthy matters unite with lime to form “slag.”
-
-  5. Melted iron falls to bottom—run off “cast iron.”
-
-  6. Carbon added to iron to make steel.
-
-
-_Spring._
-
-  1. What months?
-
-  2. Welcome season after short, cold days of winter.
-
-  3. Trees and flowers—blossom.
-
-  4. Sowing.
-
-  5. Pleasant walks in the country.
-
-
-_Christmas._
-
-  1. When?
-
-  2. Most general holiday.
-
-  3. Why kept—“peace and goodwill.”
-
-  4. How kept:—business stopped; cards; presents; meetings of
-  friends; Christmas fare; trees.
-
-
-_Your School._
-
-  1. Name.
-
-  2. Situation.
-
-  3. History.
-
-  4. Subjects taught.
-
-  5. Games.
-
-  6. How you may do credit to it.
-
-
-_Any Town._
-
-  1. Name.
-
-  2. Situation.
-
-  3. Population.
-
-  4. Chief industry.
-
-  5. Chief buildings.
-
-  6. History.
-
-
-_Linen._
-
-  1. Made from flax-plant about four feet high, blue flower.
-
-  2. Ripe flax pulled up, dried.
-
-  3. Seed (linseed) removed by pulling stalks through a kind of
-  comb.
-
-  4. Stalks consist of two parts, woody and fibrous.
-
-  5. Steeped in water to make separation of two easier.
-
-  6. Beaten to break woody part.
-
-  7. Combed to remove it.
-
-  8. Spun, bleached, woven.
-
-  9. Uses.
-
-
-_Blind Man’s Buff._
-
-  1. One of the players has handkerchief tied over eyes.
-
-  2. Tries to catch any of the others.
-
-  3. If he catches any one he must say who it is.
-
-  4. If he succeeds, player caught takes his place.
-
-  5. The fun of the game.
-
-
-_Base Ball._
-
-  1. Describe bases (number, positions, etc.).
-
-  2. Describe bat and ball.
-
-  3. How many players?
-
-  4. Pitcher, catcher, basemen, fielders.
-
-  5. How “runs” are made.
-
-  6. How a player is “out.”
-
-  7. How one side is out.
-
-  8. Which “team” wins?
-
-
-_The Blacksmith’s Shop._
-
-  1. Describe the blacksmith.
-
-  2. His work.
-
-  3. Fire, bellows.
-
-  4. Anvil, hammers, tongs, water-trough.
-
-  5. “The children coming home from school....”
-
-
-_The Carpenter’s Shop._
-
-  1. Work.
-
-  2. Bench, planes, chisels, hammers, mallets, axe, adze, gimlets,
-  saws, rule.
-
-  3. Compare blacksmith and carpenter.
-
-
-_Soldier._
-
-  1. Appearance.
-
-  2. Work.
-
-  3. Where he lives in peace and in war.
-
-  4. Recruits, drill, reviews, band.
-
-  5. Battle.
-
-  6. Qualities of a soldier.
-
-
-_A Farm Laborer._
-
-  1. Work varies with season.
-
-  2. In spring work connected with sowing.
-
-  3. Summer—weeding, haymaking.
-
-  4. Autumn—harvesting; sometimes ploughing.
-
-  5. Winter—looking after stock.
-
-
-_A Visit to Washington._
-
-  1. On what river situated?
-
-  2. Founded when? When captured by the British?
-
-  3. Streets and avenues.
-
-  4. Capitol building, dome, Senate chamber, Chamber of the House
-  of Representatives.
-
-  5. White House.
-
-  6. Buildings of Government Departments.
-
-  7. Smithsonian Institute.
-
-  8. Washington’s monument.
-
-
-_Cleanliness._
-
-  1. Of person.
-
-  (_a_) Describe pores. Waste of body passes through them like
-  smoke up a chimney; therefore must be kept open.
-
-  (_b_) Diseases arise if waste cannot pass off.
-
-  (_c_) Dirty person disagreeable.
-
-  2. Of clothes.
-
-  Clean person impossible in dirty clothes.
-
-  3. Of houses.
-
-  (_a_) Dust passes into lungs.
-
-  (_b_) Dirty houses—bad smells.
-
-  (_c_) Plague (formerly common) due to dirt.
-
-
-_Lying._
-
-  1. What it is—willful attempt to deceive.
-
-  2. Words may be true and yet a lie because meant to deceive.
-
-  3. There may be lies without words.
-
-  4. Why wrong.
-
-  5. Consequence to liar—not believed even when speaking truth.
-
-  6. Fable of boy that cried “Wolf.”
-
-
-_Cruelty to Animals._
-
-  1. Animals can feel.
-
-  2. How would you like cruel treatment?
-
-  3. “Do unto others....”
-
-  4. Animals grateful for kindness.
-
-  5. Any story to show this.
-
-
-_Thrift._
-
-  1. “Penny saved, penny earned.”
-
-  2. Name some things on which children spend money needlessly.
-
-  3. Advantages of saving:—“Take care of the pennies and the
-  dollars will take care of themselves;” savings can be turned to
-  account; provision for a “rainy day.”
-
-  4. Aids to thrift:—Savings banks, building societies, etc.
-
-
-_Make Hay while the Sun Shines._
-
-  1. Meaning of proverb. Hay is grass dried in the sun; if not
-  “made” on first opportunity, it may be spoiled by rain.
-
-  2. Proverb teaches us to miss no opportunity.
-
-  3. Reasons:—Do not know what may happen by to-morrow; chance
-  perhaps lost forever; “The mill cannot grind with the water that
-  is past.”
-
-  4. Story to show danger of putting off.
-
-
-_A Rolling Stone Gathers no Moss._
-
-  1. Meaning of the proverb—persevere.
-
-  2. Illustrations:—
-
-  (_a_) If you do not finish a study begun, _all_ the time spent on
-  it is wasted.
-
-  (_b_) Three removes are as bad as a fire.
-
-  (_c_) By staying in the same place you make friends and a
-  position.
-
-
-“_Virtue is its Own Reward._”
-
-  1. Virtue often gains for a man honor, wealth, friends.
-
-  2. But though it brought no such rewards it should be sought.
-
-  3. For the approval of one’s own conscience is more important
-  than the approval of any one else.
-
-
-Easy Subjects for Compositions.
-
-Rabbit. Fox. Pig. Mouse. Bear. Camel. Monkey. Sheep. Goat. Cow. Hen.
-Duck. Robin. Lark. Canary. Ostrich. Eagle. Pigeon. Gull. Sparrow. Whale.
-Seal. Bee. Spider. Fly. Butterfly. Shark. Herring. Mackerel. Crab. Cod.
-Frog. Crocodile. Turtle. Adder. Cocoa. Sugar. Sago. Cork. India rubber.
-Potato. Turnip. Salt. Lead. Tin. Copper. Gold. Knife. Glass. Paper. Soap.
-Pins. Needles. Candles. Cotton. Silk. Woollen cloth. Autumn. Winter. Any
-game with marbles. Making and flying kites. Boating. Swimming. Fishing.
-Football. Skating. Lawn tennis. Punctuality. Industry. Perseverance.
-Obedience. Bad language. Good manners. Good habits. Temperance. Honesty.
-The “Golden Rule.” How to make yourself useful at home.
-
-Describe:—(_a_) A house. (_b_) A street. (_c_) A church. (_d_) Any
-village. (_e_) Any town. (_f_) A farm. (_g_) A mill. (_h_) The sea-side.
-(_i_) Common spring flowers. (_j_) The most beautiful place you have
-seen. (_k_) A snow-storm. (_l_) A thunder-storm.
-
-Describe the life and work of:—(_a_) A mason. (_b_) A gardener. (_c_)
-A teacher. (_d_) A doctor. (_e_) A sailor. (_f_) A policeman. (_g_)
-A postman. (_h_) A tailor. (_i_) A baker. (_j_) A shepherd. (_k_) A
-fisherman. (_l_) An errand-boy. (_m_) A painter.
-
-Describe a visit to:—(_a_) The seaside. (_b_) Chicago or some other large
-town. (_c_) The Zoological Gardens or a menagerie. (_d_) A circus. (_e_)
-A school exhibition. (_f_) A department store. (_g_) A country dairy.
-(_h_) A picture gallery.
-
-Tell a story about:—(_a_) A dog. (_b_) A cat. (_c_) A horse. (_d_) A
-monkey. (_e_) A parrot. (_f_) An elephant. (_g_) A hen.
-
-Tell any stories you know illustrating the following sayings:—
-
-  (_a_) “Look before you leap.”
-
-  (_b_) “Liars are not believed even when they speak the truth.”
-
-  (_c_) “People are judged by the company they keep.”
-
-  (_d_) “Penny wise and pound foolish.”
-
-  (_e_) “Count not your chickens before they are hatched.”
-
-  (_f_) “A friend in need is a friend indeed.”
-
-  (_g_) “Union is strength.”
-
-Explain and illustrate the following proverbs:—
-
-  (_a_) “A stitch in time saves nine.”
-
-  (_b_) “A prudent man foreseeth the evil; fools pass on and are
-  punished.”
-
-  (_c_) “The more haste the less speed.”
-
-  (_d_) “Strike the iron while it is hot.”
-
-  (_e_) “Touch pitch and be defiled.”
-
-  (_f_) “Rome was not built in a day.”
-
-  (_g_) “No gains without pains.”
-
-  (_h_) “Nothing venture nothing win.”
-
-
-USE OF ILLUSTRATIONS.
-
-An apt illustration is always a help to a writer or speaker. The mind
-of the reader or hearer is interested in tracing the comparison, and
-receives a stronger impression than it does when the thought is stated
-simply by itself.
-
-Many of the most famous orators have been very gifted in employing
-similes to express their meaning. You should cultivate the habit of using
-illustrations. Although there is sometimes danger in employing them, yet
-where carefully and rightly used they not only ornament the composition,
-but render its thoughts and ideas more striking, more impressive and more
-easily remembered.
-
-=A Simile= is a comparison explicitly stated; as,
-
-              Now does he feel his title
-  Hang loose upon him like a giant’s robe
-  Upon a dwarfish thief.
-
-  How far that little candle throws his beams!
-  So shines a good deed in a naughty world.
-
-  An evil soul producing holy witness
-  Is like a goodly apple rotten at the heart.
-
-  The course of a great statesman resembles that of navigable
-  rivers, avoiding immovable obstacles with noble bends of
-  concession, seeking the broad levels of opinion on which men
-  soonest settle and longest dwell, following and marking the most
-  imperceptible slopes of national tendency, yet always aiming at
-  direct advances, always recruited from sources nearer heaven,
-  and sometimes bursting open paths of progress and fruitful human
-  commerce through what seem the eternal barriers of both.
-
-=A Metaphor= is a condensed Simile. The comparison is implied, but not
-expressed at length; thus:—
-
-  But look, the morn in russet mantle clad
-  Walks o’er the dew of yon high eastern hill.
-
-  The simile implied here is, “The morning like to a person clad in
-  russet mantle walks,” etc.
-
-  Stand, therefore, having your loins girt about with truth, and
-  having on the breastplate of righteousness ... above all taking
-  the shield of faith wherewith ye may be able to quench all the
-  fiery darts of the wicked.
-
-Similes and Metaphors are employed
-
-1. To aid the understanding.
-
-  We comprehend the unknown best by comparison with the known.
-
-2. To intensify the feelings; as
-
-  Offence’s gilded hand may shove by justice.
-
-  What a piece of work is man; how noble in reason! how infinite in
-  faculty! in form and moving how express and admirable! in action
-  how like an angel! in apprehension how like a god! the beauty of
-  the world! the paragon of animals!
-
-3. To give point and force to what we wish to express.
-
-  Our conduct towards the Indians has been that of a man who
-  subscribes to hospitals, weeps at charity sermons, carries out
-  broth and blankets to beggars, and then comes home and beats his
-  wife and children.
-
-  Howe’er it be, it seems to me
-    ’Tis only noble to be good.
-  Kind hearts are more than coronets,
-    And simple faith than Norman blood.—_Tennyson._
-
-  Every one must admit the beauty and force of the great poet’s
-  comparison of kind hearts to coronets, and simple faith to Norman
-  blood, implying that each object mentioned surpasses the one with
-  which it is compared.
-
-The following rules should be observed in the conduct of Metaphors:—
-
-  1. Do not use metaphors, except when needed to make a sentence
-  clearer or stronger. Needless metaphors are a blemish instead of
-  an ornament.
-
-  2. Do not pursue a simile or metaphor too far. The further it is
-  pursued the less likely is the comparison to hold.
-
-  3. Metaphors should avoid mean or disagreeable details.
-
-  4. Metaphors should not be forced. Some metaphors are so
-  far-fetched that (as Mr. Lowell says) one could wish their
-  authors no worse fate than to be obliged to carry them back
-  whence they came.
-
-  5. Do not mix literal and metaphorical language. In the sentence
-
-  I was walking on the barren hills of sin and sorrow near Welshpool,
-
-  “the barren hills of sin and sorrow” is metaphorical, and “near
-  Welshpool” is literal.
-
-
-_Examples of Apt Illustrations._
-
-  But I am constant as the northern star,
-  Of whose true-fix’d and resting quality
-  There is no fellow in the firmament.—_Shakespeare._
-
-  I had rather be a dog and bay the moon,
-  Than such a Roman.—_Shakespeare._
-
-  There is a tide in the affairs of men
-  Which taken at the flood, leads on to fortune;
-  Omitted, all the voyage of their life
-  Is bound in shallows and in miseries.—_Shakespeare._
-
-  Squat like a toad, close at the ear of Eve.—_Milton._
-
-  Now morn, her rosy steps in eastern clime
-  Advancing, sow’d the earth with orient pearl.—_Milton._
-
-  So may’st thou live, till like ripe fruit thou drop
-  Into thy mother’s lap.—_Milton._
-
-  Methinks I see in my mind a noble and puissant nation rousing
-  herself like a strong man after sleep, and shaking her invincible
-  locks.—_Milton._
-
-  There is a reaper whose name is death,
-    And with his sickle keen
-  He reaps the bearded grain at a breath,
-    And the flowers that grow between.—_Longfellow._
-
-  And the night shall be filled with music,
-    And the cares that infest the day
-  Shall fold their tents like the Arabs,
-    And as silently steal away.—_Longfellow._
-
-        But what am I?
-  An infant crying in the night:
-  An infant crying for the light,
-  And with no language but a cry.—_Tennyson._
-
-  But Memory blushes at the sneer,
-    And Honor turns with frown defiant,
-  And Freedom, leaning on her spear,
-    Laughs louder than the laughing giant.—_Holmes._
-
-  There comes Emerson first, whose rich words, every one,
-  Are like gold nails in temples to hang trophies on.—_Lowell._
-
-  In winter, when the dismal rain
-    Came down in slanting lines,
-  And wind, that grand old harper, smote
-    His thunder-harp of pines.—_Mulock._
-
-  Men not only want a competency, but they want a ten-story
-  competency; then they want religion as a lightning rod to
-  ward off the bolts of divine judgment.—_Beecher._
-
-  As the river is swollen by the melting snows of spring and
-  runs with greater force and volume, so, when he is aroused,
-  his thoughts and words pour forth impetuously, and he exhibits
-  the strength and majesty of the most commanding eloquence.
-
-
-_Examples of Faulty Illustrations._
-
-Peace has poured oil on the troubled waters, and they blossom like the
-rose.
-
-She has come down among us in her floating robes, bearing the
-olive-branch in her beak.
-
-The American eagle broods over his nest in the rocky fastnesses, and his
-young shall lie down with the lamb.
-
-We have gone through the floods, and have turned their hot ploughshares
-into pruning-hooks.
-
-May we be as lucky in the future, preserving forever our Goddess of
-Liberty one and inseparable.
-
-CORRECTIONS.—Peace may pour oil on troubled waters, but waters never
-blossom.
-
-Anything that wears floating robes is not furnished with a beak.
-
-The young of eagles are not in the habit of lying down with lambs.
-
-Floods do not have hot ploughshares.
-
-Why should anyone wish to preserve the Goddess of Liberty inseparable, as
-it would be an unheard-of experience for a Goddess to be divided?
-
-
-HOW TO COMPOSE AND WRITE LETTERS.
-
-To be a good letter writer is an accomplishment as desirable as it is
-rare. Few persons possess the faculty of writing an interesting letter,
-politely and gracefully expressed. Unless you are an exception to the
-general rule you become stiff and formal when you attempt to express your
-thoughts to a friend, or make known your wants to a man of business. The
-epistle is labored, unnatural and lacking in that ease which is the charm
-of conversation.
-
-“I now take my pen in hand,” etc. Do get rid of all old, set forms of
-expression. Imagine the person to whom you are writing as placed right
-before you, and talk to him with your pen as you would with your tongue.
-
-There can be but one opinion concerning the general value of
-correspondence. How often people complain that they do not get letters
-from their friends. Neglect can be shown in no way more effectively than
-by failing to answer a letter when it ought to be written.
-
-In writing a letter, care should be taken that the different parts are
-properly arranged.
-
-First comes the =Address of the Writer=.
-
-  This is written at the top of the paper, towards the right side.
-  If the address consists of several parts, each part is given a
-  separate line; thus—
-
-                                                LIVONIA,
-                                                    LIVINGSTON CO.,
-                                                          NEW YORK.
-
-
-After the address comes the =Date of Writing=.
-
-Next comes the =Form of Address=.
-
-  This is always placed towards the left of the page, and varies
-  according to the relations between the sender and the receiver
-  of the letter. Writing to an intimate friend, one may say, “My
-  dear Tom,” or (a little less familiarly) “My dear Brown.” Writing
-  to a friend who is also a superior in age or position, one would
-  say, “My dear Mr. Brown.” “Dear Sir” is formal, but claims some
-  small degree of acquaintance or regard. “Sir” is purely formal.
-  Similarly we may have, “My dear Annie,” “My dear Mrs. Brown,”
-  “Dear Madam,” and “Madam.” In writing to Miss Jones, a stranger,
-  you may not wish to say, “Dear Miss.” It would be better in this
-  instance to address her as “Miss Jones.”
-
-After the form of address comes the =Letter=.
-
-  A friendly letter should be easy and pleasant in style—it should
-  be, in fact, a talk on paper. In a business letter, on the other
-  hand, the style is brief and concise. The first aim of the writer
-  is to make himself understood, the next to be brief.
-
-After the letter comes the =Subscription=, as,
-
-                         Sincerely yours,
-                                                  ALEXANDER ARGYLE.
-
-  Or,
-
-                        Respectfully yours,
-                                               NEW ENGLAND COAL CO.
-
-  Or in more formal style,
-
-                          I am, dear sir,
-                                  Your obedient servant,
-                                                  THOMAS LANCASTER.
-
-  The subscription is arranged like the address, but begins further
-  to the left. The form of subscription varies with the form of
-  address.
-
-A business letter ends with the =Address of the Person to whom it is
-Sent=.
-
-  This is written in the left corner. A friendly letter generally
-  ends with the subscription.
-
-
-EXAMPLES OF LETTERS.
-
-_Application for a Situation._
-
-                                        345 Lancaster Street,
-                                               15th February, 189-.
-
-  SIR:
-
-  Seeing by your advertisement in this morning’s “Standard” that
-  you are in need of an office boy, I beg leave to apply for the
-  position. I have been for six years a pupil in the Commercial
-  School, Old Bridge Street. My teacher permits me to refer you to
-  him for an account of my conduct and abilities. I have therefore
-  only to add that if I am fortunate enough to enter your employ,
-  it shall be my aim to serve you diligently and faithfully.
-
-                            I am, sir,
-                                Your obedient servant,
-                                                     THOMAS WATSON.
-
-  J. W. CHAMBERS, ESQ.,
-           97 Dearborn Street.
-
-
-_Letters of Invitation._
-
-                                              NEWARK, September 11.
-
-  MY DEAR JOE:
-
-  Myself, and a half dozen other good fellows, are going to devote
-  a few hours on Tuesday evening to the enjoyment of refreshments,
-  chit-chat, and so on. I hope you will make one, as we have not
-  enjoyed the “feast of reason and flow of soul” in each other’s
-  company for some time past.
-
-                       Believe me, dear Joe,
-                                                    Yours ever,
-                                                             HARRY.
-
-
-                                       MADISON SQUARE, November 12.
-
-  DEAR MR. ROBINSON:
-
-  My old friend Richard Roy is coming to take a chop with me on
-  Saturday, the 15th, and I hope you will come and join us at six
-  o’clock. I know you are not partial to large parties, so trust
-  you will think us two sufficient company.
-
-                         Yours ever truly,
-
-
-                                                WASHINGTON, July 3.
-
-  HON. J. B. GRANGER,
-  MY DEAR SIR:
-
-  We are endeavoring to get up a small excursion to visit Mount
-  Vernon on the 10th of this month. Will you do us the favor of
-  making one of our number? Mrs. ⸺ and my family desire their
-  compliments, and request me to mention that they have taken upon
-  themselves the task of providing the “creature comforts” for
-  that occasion, and trust that their exertions will meet with
-  unanimous approval. Should you have no previous engagement for
-  that day, and feel disposed to join our party, a carriage will be
-  at your door by 10 o’clock on Thursday morning; and believe me to
-  be,
-
-                My dear sir, yours most sincerely,
-
-  HON. J. B. GRANGER.
-
-  P. S.—The favor of an early answer will oblige.
-
-                                                WASHINGTON, July 3.
-
-  MR. E. B. ALLEN,
-  MY DEAR SIR:
-
-  Replying to your kind invitation of this morning, I beg leave
-  to say it would afford me great pleasure to join your excursion
-  to Mount Vernon on the 10th inst. I will await your carriage at
-  10 o’clock on Thursday morning. Thanking you for your welcome
-  invitation,
-
-               I am, my dear sir, very truly yours,
-                                                     J. B. GRANGER.
-
-  MR. E. B. ALLEN.
-
-
-_Notes of Invitation._
-
-  Mr. and Mrs. Thompson request the pleasure of Mr. and Mrs.
-  James’s company, on Wednesday evening next, at eight o’clock, to
-  join a social party. An immediate answer will much oblige.
-
-  Fifth Avenue, January 9th.
-
-  Mr. and Mrs. James will be most happy to avail themselves of Mr.
-  and Mrs. Thompson’s kind invitation to join their social party as
-  requested.
-
-  West Street, January 10th.
-
-  Mr. and Mrs. James greatly regret their inability to accept
-  Mr. and Mrs. Thompson’s kind invitation to join their social
-  party. Nothing would have afforded them more pleasure than to be
-  present, but family affliction prevents them.
-
-  West Street, January 10th.
-
-  MY DEAR BERTHA,—A few friends will be here on Wednesday evening
-  next, to take a social cup of tea, and chat about mankind in
-  particular. Give us the pleasure of your company.
-
-                                                        S. BUCKMAN.
-
-  Prince Street, Saturday morning.
-
-  MY DEAR SOPHIE,—It affords me great pleasure to inform you that I
-  shall join your party on Wednesday evening next.
-
-                                                     BERTHA MERWIN.
-
-  Spring Street, Saturday afternoon.
-
-_Letters of Congratulation._
-
-                                      LOUISVILLE, KY., February 10.
-
-  MY DEAR HOWARD:
-
-  The news of your good fortune gives me great satisfaction. No one
-  can possess true friendship without rejoicing in the prosperity
-  of a friend. To one who has always been manly, true and noble,
-  and who has labored persistently toward a particular end, success
-  must be extremely gratifying.
-
-  It will ever be my delight to hear that you are prospering in
-  your undertakings, and if in any way I can serve you, you can
-  rely upon my best endeavors. With every good wish for yourself
-  and Mrs. Kerr,
-
-                      Ever faithfully yours,
-
-
-                                     ST. LOUIS, MO., June 15, 189-.
-
-  DEAR OLD FRIEND:
-
-  The happy announcement that a son and heir has been born to
-  you, gives me extreme satisfaction. I always thought you would
-  distinguish yourself in some way, and would do something whereby
-  your name might descend to posterity. And now, my worthy chum, it
-  seems you have done it. Blessings on you!
-
-                       Very sincerely yours,
-
-
-_Love Letters._
-
-  MY DEAREST HARRIET:
-
-  I cannot express the happiness I feel in finding that my letter
-  to your respected parents has been crowned with success,
-  and I flatter myself, notwithstanding your temporizing with
-  my feelings, in thus reserving your avowal of a reciprocal
-  attachment, that you, my dear girl, will not be unsusceptible to
-  its value, but condescend to acknowledge an equal happiness with
-  myself at its contents. In token of the confidence with which
-  your dear letter has inspired me, I beg leave to present you
-  with a trifle, the acceptance of which will be highly flattering
-  to him whose image it portrays; and permit me the fond pleasure
-  of indulging a belief that you will esteem the trifle, in
-  affectionate remembrance of the original.
-
-  In obedience to your father’s command, I shall wait upon him at
-  the appointed time; till then, my beloved Harriet, adieu.
-
-                    Ever your devoted admirer,
-
-
-  DEAR SIR:
-
-  I make no doubt of the truth of your assertions, relative to
-  yourself, character, and connections; but as I think I am too
-  young to enter into such a serious engagement, I request I may
-  hear no more of your passion for the present; in every other
-  respect,
-
-              I am, Sir,
-                       Yours very sincerely,
-
-
-OUTLINES TO BE EXPANDED INTO LETTERS.
-
-
-_Inviting a Friend to Tea._
-
-  1. Can you come to tea—day—hour.
-
-  2. My birthday—several friends coming.
-
-  3. Tea in orchard—then cricket in field.
-
-  4. Hope mother will let you come—be home by nine.
-
-
-_Accepting Invitation._
-
-  1. Thanks for invitation—happy to accept.
-
-  2. Glad to meet ⸺.
-
-  3. Look forward to pleasant evening.
-
-
-_Declining Invitation._
-
-  1. Thanks for invitation—should have been glad to come.
-
-  2. Sorry to lose chance of meeting ⸺.
-
-  3. Father some time ago arranged to take me and my brother to ⸺.
-
-  4. Hope you will have pleasant evening and many happy returns.
-
-
-_From a Town Child to a Country Child._
-
-  1. Town crowded—noisy—dirty—glad to get into country.
-
-  2. Shall never forget visit to the country last summer.
-
-  3. No streets—few houses—beautiful views—quiet—sweet air.
-
-  4. Fine weather—many enjoyable walks.
-
-  5. Returned to town almost envying a country life.
-
-
-_Answer from Country Child to Town Child._
-
-  1. You almost envying country life—I almost envying town life.
-
-  2. Country has the advantages you describe, but you saw it in
-  summer.
-
-  3. Difficult to get about in bad weather—especially in winter
-  when much bad weather.
-
-  4. Dull—no libraries, exhibitions, meetings, concerts, etc.
-
-  5. Town may have all the disadvantages named, but always
-  plenty to see, opportunities for study, friendly intercourse,
-  entertainments.
-
-  6. Traveling easy.
-
-
-
-
-SPECIMENS OF ELEGANT COMPOSITION FROM WORLD-RENOWNED AUTHORS.
-
-
-Do not consider yourself too ambitious when you make an earnest effort
-to express your thoughts so well that your productions will compare
-favorably with those of the best writers. You should have specimens
-of the best composition before you. The following pages contain such,
-and you will readily see how the most famous authors construct their
-sentences, what apt words they choose, and how easily, yet forcibly, they
-express their ideas.
-
-Do not be disheartened if you fail to come up to the standard here placed
-before you. It is related of the great painter, Correggio, that he was
-once almost ready to fling away his brush, exclaiming, “I can never
-paint like Raphael.” But he persevered, and at length the great painter
-whom he admired so much said, “If I were not Raphael, I would wish to be
-Correggio.” You should take the best writers for your models and set your
-standard high. Be a severe critic of yourself, and do your very best.
-
-
-GETTING THE RIGHT START.
-
-BY J. G. HOLLAND.
-
-In clear expression of thought and use of plain, forcible English, the
-works of Doctor Holland are superior to those of most authors. He does
-not employ large, overgrown words, but such as are easily understood.
-This is one secret of the popularity of his writings. Dr. Holland was
-born at Belchertown, Mass., in 1819, and died October 12, 1881. He was
-associate editor of the “Springfield Republican,” and in 1870 became
-editor of “Scribner’s Magazine.” Both as a writer of prose and poetry he
-is held in high esteem by all lovers of elevated thought and pure diction.
-
-  Society demands that a young man shall be somebody, not only,
-  but that he shall prove his right to the title; and it has a
-  right to demand this. Society will not take this matter upon
-  trust—at least, not for a long time, for it has been cheated too
-  frequently. Society is not very particular what a man does, so
-  that it proves him to be a man: then it will bow to him, and make
-  room for him.
-
-  I know a young man who made a place for himself by writing an
-  article for the North American Review: nobody read the article,
-  so far as I know, but the fact that he wrote such an article,
-  that it was very long, and that it was published, did the
-  business for him. Everybody, however, cannot write articles for
-  the North American Review—at least I hope everybody will not,
-  for it is a publication which makes me a quarterly visit; but
-  everybody, who is somebody, can do something. There is a wide
-  range of effort between holding a skein of silk for a lady and
-  saving her from drowning—between collecting voters on election
-  day and teaching a Sunday-school class.
-
-  A man must enter society of his own free will, as an active
-  element or a valuable component, before he can receive the
-  recognition that every true man longs for. I take it that this is
-  right. A man who is willing to enter society as a beneficiary is
-  mean, and does not deserve recognition.
-
-  There is no surer sign of an unmanly and cowardly spirit than a
-  vague desire for help, a wish to depend, to lean upon somebody,
-  and enjoy the fruits of the industry of others. There are
-  multitudes of young men, I suppose, who indulge in dreams of help
-  from some quarter, coming in at a convenient moment, to enable
-  them to secure the success in life which they covet.
-
-  The vision haunts them of some benevolent old gentleman with a
-  pocket full of money, a trunk full of mortgages and stocks, and
-  a mind remarkably appreciative of merit and genius, who will,
-  perhaps, give or lend them anywhere from ten to twenty thousand
-  dollars, with which they will commence and go on swimmingly.
-  Perhaps he will take a different turn, and educate them. Or,
-  perhaps, with an eye to the sacred profession, they desire to
-  become the beneficiaries of some benevolent society, or some
-  gentle circle of female devotees.
-
-  To me, one of the most disgusting sights in the world is that
-  of a young man with healthy blood, broad shoulders, presentable
-  calves, and a hundred and fifty pounds, more or less, of good
-  bone and muscle, standing with his hands in his pockets, longing
-  for help. I admit that there are positions in which the most
-  independent spirit may accept of assistance—may, in fact, as a
-  choice of evils, desire it; but for a man who is able to help
-  himself, to desire the help of others in the accomplishment of
-  his plans of life, is positive proof that he has received a most
-  unfortunate training, or that there is a leaven of meanness in
-  his composition that should make him shudder.
-
-  Do not misunderstand me: I would not inculcate that pride of
-  personal independence which repels in its sensitiveness the
-  well-meant good offices and benefactions of friends, or that
-  resorts to desperate shifts rather than incur an obligation.
-  What I condemn in a young man is the love of dependence; the
-  willingness to be under obligation for that which his own efforts
-  may win.
-
-  Let this be understood, then, at starting; that the patient
-  conquest of difficulties which rise in the regular and legitimate
-  channels of business and enterprise, is not only essential in
-  securing the success which you seek, but it is essential to that
-  preparation of your mind which is requisite for the enjoyment of
-  your successes, and for retaining them when gained. It is the
-  general rule of Providence, the world over, and in all time, that
-  unearned success is a curse. It is the rule of Providence, that
-  the process of earning success shall be the preparation for its
-  conservation and enjoyment.
-
-  So, day by day, and week by week; so, month after month, and
-  year after year, work on, and in that process gain strength and
-  symmetry, and nerve and knowledge, that when success, patiently
-  and bravely worked for, shall come, it may find you prepared to
-  receive it and keep it.
-
-  The development which you will get in this brave and patient
-  labor, will prove itself, in the end, the most valuable of your
-  successes. It will help to make a man of you. It will give you
-  power and self-reliance. It will give you not only self-respect,
-  but the respect of your fellows and the public.
-
-  Never allow yourself to be seduced from this course. You
-  will hear of young men who have made fortunes in some wild
-  speculations. Pity them; for they will almost certainly lose
-  their easily won success. Do not be in a hurry for anything. Are
-  you in love with some dear girl, whom you would make your wife?
-  Give Angelina Matilda to understand that she must wait; and if
-  Angelina Matilda is really the good girl you take her to be, she
-  will be sensible enough to tell you to choose your time.
-
-  You cannot build well without first laying a good foundation; and
-  for you to enter upon a business which you have not patiently
-  and thoroughly learned, and to marry before you have won a
-  character, or even the reasonable prospect of a competence, is
-  ultimately to bring your house down about the ears of Angelina
-  Matilda, and such pretty children as she may give you. If, at
-  the age of thirty years, you find yourself established in a
-  business which pays you with certainty a living income, you are
-  to remember that God has blessed you beyond the majority of men.
-
-
-DINAH THE METHODIST.
-
-BY GEORGE ELIOT.
-
-The works of Marian Evans Cross created unusual interest when first
-published in England. Her “Adam Bede,” “The Mill on the Floss” and “Silas
-Marner,” immediately placed her in the highest rank of the writers of
-fiction. For some time her identity was concealed, yet there were critics
-who suspected that “George Eliot” was the assumed name of a female
-author. Her writings are characterized by a keen insight into character,
-intellectual vigor and sympathy with the advanced thought of the day. She
-was born in 1819, and died in 1880. The selection from “Adam Bede,” here
-given, is an excellent specimen from one of her well-known works.
-
-  Several of the men followed Ben’s lead, and the traveler pushed
-  his horse on to the Green, as Dinah walked rather quickly, and in
-  advance of her companions, toward the cart under the maple tree.
-  While she was near Seth’s tall figure she looked short, but when
-  she had mounted the cart, and was away from all comparison, she
-  seemed above the middle height of woman, though in reality she
-  did not exceed it—an effect which was due to the slimness of her
-  figure, and the simple line of her black stuff dress.
-
-  The stranger was struck with surprise as he saw her approach and
-  mount the cart—surprise, not so much for the feminine delicacy of
-  her appearance, as at the total absence of self-consciousness in
-  her demeanor. He had made up his mind to see her advance with a
-  measured step, and a demure solemnity of countenance; he had felt
-  sure that her face would be mantled with a smile of conscious
-  saintship, or else charged with denunciatory bitterness. He knew
-  but two types of Methodist—the ecstatic and the bilious.
-
-  But Dinah walked as simply as if she were going to market, and
-  seemed as unconscious of her outward appearance as a little boy;
-  there was no blush, no tremulousness, which said, “I know you
-  think me a pretty woman, too young to preach;” no casting up or
-  down of the eyelids, no compression of the lips, no attitude of
-  the arms, that said, “But you must think of me as a saint.”
-
-  She held no book in her ungloved hands, but let them hang down
-  lightly crossed before her, as she stood and turned her grey eyes
-  on the people. There was no keenness in her eyes; they seemed
-  rather to be shedding love than making observations; they had the
-  liquid look which tells that the mind is full of what it has to
-  give out, rather than impressed by external objects.
-
-  The eyebrows, of the same color as the hair, were perfectly
-  horizontal and firmly pencilled; the eyelashes, though no darker,
-  were long and abundant; nothing was left blurred or unfinished.
-
-  It was one of those faces that make one think of white flowers
-  with light touches of color on their pure petals. The eyes had
-  no peculiar beauty, beyond that of expression; they looked so
-  simple, so candid, so gravely loving, that no accusing scowl, no
-  light sneer, could help melting away before their glance.
-
-  Joshua Rann gave a long cough, as if he were clearing his throat
-  in order to come to a new understanding with himself; Chad
-  Cranage lifted up his leather skull-cap and scratched his head;
-  and Wiry Ben wondered how Seth had the pluck to think of courting
-  her.
-
-  “A sweet woman,” the stranger said to himself, “but surely Nature
-  never meant her for a preacher.”
-
-
-GODFREY AND DUNSTAN.
-
-BY GEORGE ELIOT.
-
-An excellent example of dialogue in fiction.
-
-  Some one opened the door at the other end of the room, and Nancy
-  felt that it was her husband. She turned from the window with
-  gladness in her eyes, for the wife’s chief dread was stilled.
-
-  “Dear, I’m so thankful you’re come,” she said, going towards him.
-  “I began to get”—
-
-  She paused abruptly, for Godfrey was laying down his hat with
-  trembling hands, and turned towards her with a pale face and a
-  strange, unanswering glance, as if he saw her indeed, but saw her
-  as part of a scene invisible to herself. She laid her hand on his
-  arm, not daring to speak again; but he left the touch unnoticed,
-  and threw himself into his chair.
-
-  Jane was already at the door with the hissing urn. “Tell her to
-  keep away, will you?” said Godfrey; and when the door was closed
-  again he exerted himself to speak more distinctly.
-
-  “Sit down, Nancy—there,” he said, pointing to a chair opposite
-  him. “I came back as soon as I could to hinder anybody’s telling
-  you but me. I’ve had a great shock—but I care most about the
-  shock it’ll be to you.”
-
-  “It isn’t father and Priscilla?” said Nancy, with quivering lips,
-  clasping her hands together tightly on her lap.
-
-  “No, it’s nobody living,” said Godfrey, unequal to the
-  considerate skill with which he would have wished to make his
-  revelation. “It’s Dunstan—my brother Dunstan, that we lost
-  sight of sixteen years ago. We’ve found him,—found his body—his
-  skeleton.”
-
-  The deep dread Godfrey’s look had created in Nancy made her feel
-  these words a relief. She sat in comparative calmness to hear
-  what else he had to tell. He went on:
-
-  “The stone pit has gone dry suddenly,—from the draining, I
-  suppose; and there he lies—has lain for sixteen years, wedged
-  between two great stones. There’s his watch and seals, and
-  there’s my gold-handled hunting whip, with my name on. He took it
-  away, without my knowing, the day he went hunting on Wildfire,
-  the last time he was seen.”
-
-  Godfrey paused! it was not so easy to say what came next. “Do you
-  think he drowned himself?” said Nancy, almost wondering that her
-  husband should be so deeply shaken by what had happened all those
-  years ago to an unloved brother, of whom worse things had been
-  augured.
-
-  “No, he fell in,” said Godfrey, in a low but distinct voice, as
-  if he felt some deep meaning in the fact. Presently he added:
-  “Dunstan was the man that robbed Silas Marner.”
-
-  The blood rushed to Nancy’s face and neck at this surprise and
-  shame, for she had been bred up to regard even a distant kinship
-  with crime as a dishonor.
-
-  “O Godfrey!” she said, with compassion in her tone, for she had
-  immediately reflected that the dishonor must be felt more keenly
-  by her husband.
-
-  “There was money in the pit,” he continued, “all the weaver’s
-  money. Everything’s been gathered up, and they have taken the
-  skeleton to the Rainbow. But I came back to tell you. There was
-  no hindering it; you must know.”
-
-  He was silent, looking on the ground for two long minutes. Nancy
-  would have said some words of comfort under this disgrace, but
-  she refrained, from an instinctive sense that there was something
-  behind,—that Godfrey had something else to tell her. Presently he
-  lifted his eyes to her face, and kept them fixed on her, as he
-  said:
-
-  “Everything comes to light, Nancy, sooner or later. When God
-  Almighty wills it, our secrets are found out. I’ve lived with
-  a secret on my mind, but I’ll keep it from you no longer. I
-  wouldn’t have you know it by somebody else, and not by me—I
-  wouldn’t have you find it out after I’m dead. I’ll tell you now.
-  It’s been ‘I will’ and ‘I won’t’ with me all my life; I’ll make
-  sure of myself now.”
-
-  Nancy’s utmost dread had returned. The eyes of the husband and
-  wife met with an awe in them, as at a crisis which suspended
-  affection.
-
-  “Nancy,” said Godfrey slowly, “when I married you, I hid
-  something from you,—something I ought to have told you. That
-  woman Marner found dead in the snow—Eppie’s mother—that wretched
-  woman—was my wife; Eppie is my child.”
-
-  He paused, dreading the effects of his confession. But Nancy sat
-  quite still, only that her eyes dropped and ceased to meet his.
-  She was pale and quiet as a meditative statue, clasping her hands
-  on her lap.
-
-  “You’ll never think the same of me again,” said Godfrey after a
-  little while, with some tremor in his voice. She was silent.
-
-  “I oughtn’t to have left the child unowned; I oughtn’t to have
-  kept it from you. But I couldn’t bear to give you up, Nancy. I
-  was led away into marrying her; I suffered for it.”
-
-  Still Nancy was silent, looking down; and he almost expected that
-  she would presently get up and say she would go to her father’s.
-  How could she have any mercy for faults that seemed so black to
-  her, with her simple, severe notions?
-
-  But at last she lifted up her eyes to his again and spoke. There
-  was no indignation in her voice; only deep regret.
-
-  “Godfrey, if you had told me this six years ago, we could have
-  done some of our duty by the child. Do you think I’d have refused
-  to take her in, if I’d known she was yours?”
-
-  At that moment Godfrey felt all the bitterness of an error that
-  was not simply futile, but had defeated its own end. He had not
-  measured this wife with whom he had lived so long. But she spoke
-  again, with more agitation.
-
-  “And—oh, Godfrey—if we’d had her from the first, if you’d taken
-  to her as you ought, she’d have loved me for her mother—and you’d
-  been happier with me; I could better have bore my little baby
-  dying, and our life might have been more like what we used to
-  think it ’ud be.”
-
-  The tears fell, and Nancy ceased to speak.
-
-  “But you wouldn’t have married me then, Nancy, if I’d told you,”
-  said Godfrey, urged, in the bitterness of his self-reproach, to
-  prove to himself that his conduct had not been utter folly. “You
-  may think you would now, but you wouldn’t then. With your pride
-  and your father’s, you’d have hated having anything to do with me
-  after the talk there’d been.”
-
-  “I can’t say what I should have done about that, Godfrey. I
-  should never have married anybody else. But I wasn’t worth doing
-  wrong for; nothing is in this world. Nothing is so good as it
-  seems beforehand; not even our marrying wasn’t, you see.” There
-  was a faint, sad smile on Nancy’s face as she said the last words.
-
-  “I’m a worse man than you thought I was, Nancy,” said Godfrey
-  rather tremulously. “Can you forgive me ever?”
-
-  “The wrong to me is but little, Godfrey. You’ve made it up to me;
-  you’ve been good to me for fifteen years. It’s another you did
-  the wrong to; and I doubt it can never be all made up for.”
-
-  “But we can take Eppie now,” said Godfrey. “I won’t mind the
-  world knowing at last. I’ll be plain and open for the rest o’ my
-  life.”
-
-  “It’ll be different coming to us, now she’s grown up,” said
-  Nancy, shaking her head sadly. “But it’s your duty to acknowledge
-  her and provide for her; and I’ll do my part by her, and pray to
-  God Almighty to make her love me.”
-
-  “Then we’ll go together to Silas Marner’s this very night, as
-  soon as everything’s quiet at the Stone Pits.”
-
-
-RIP VAN WINKLE.
-
-BY WASHINGTON IRVING.
-
-This charming author, who is a master of pure style, beautiful sentiment
-and pleasing humor, has been called the father of American literature.
-If this be not strictly true, it is a matter of record that no American
-authors before his time achieved any remarkable success. Mr. Irving was
-born in 1783, and died in 1859. He was particularly happy in portraying
-the quaint character and customs of the old Dutch settlers in our
-country. He published a number of volumes, including “The Sketch Book,”
-“Tales of a Traveler,” “Life and Voyages of Christopher Columbus,” etc.
-One of Irving’s best known and most delightful short productions is “Rip
-Van Winkle,” from which the following extract is taken. The easy-going,
-inoffensive character of Rip is delightfully pictured.
-
-  The great error in Rip’s composition was an insuperable aversion
-  to all kinds of profitable labor. It could not be from the want
-  of assiduity or perseverance; for he would sit on a wet rock,
-  with a rod as long and heavy as a Tartar’s lance, and fish all
-  day without a murmur, even though he should not be encouraged by
-  a single nibble.
-
-  He would carry a fowling-piece on his shoulder for hours
-  together, trudging through woods and swamps, and up hill and down
-  dale, to shoot a few squirrels or wild pigeons. He would never
-  refuse to assist a neighbor even in the roughest toil, and was a
-  foremost man at all country frolics for husking Indian corn, or
-  building stone fences.
-
-  The women of the village, too, used to employ him to run their
-  errands, and to do such little odd jobs as their less obliging
-  husbands would not do for them;—in a word, Rip was ready to
-  attend to anybody’s business but his own; but as to doing family
-  duty and keeping his farm in order, he found it impossible.
-
-  In fact, he declared it was of no use to work on his farm; it was
-  the most pestilent little piece of ground in the whole country;
-  everything about it went wrong, and would go wrong in spite of
-  him. His fences were continually falling to pieces; his cow would
-  either go astray, or get among the cabbages; weeds were sure to
-  grow quicker in his fields than anywhere else; the rain always
-  made a point of setting in just as he had some outdoor work to
-  do; so that, though his patrimonial estate had dwindled away
-  under his management, acre by acre, until there was little more
-  left than a mere patch of Indian corn, and potatoes, yet it was
-  the worst conditioned farm in the neighborhood.
-
-  His children, too, were as ragged and wild as if they belonged
-  to nobody. His son Rip, an urchin begotten in his own likeness,
-  promised to inherit the habits, with the old clothes, of his
-  father. He was generally seen trooping like a colt at his
-  mother’s heels, equipped in a pair of his father’s cast-off
-  trousers, which he had much ado to hold up with one hand, as a
-  fine lady does her train in bad weather.
-
-  Rip Van Winkle, however, was one of those happy mortals, of
-  foolish, well-oiled dispositions, who take the world easy, eat
-  white bread or brown, whichever can be got with least thought
-  or trouble, and would rather starve on a penny than work for a
-  pound. If left to himself, he would have whistled life away in
-  perfect contentment; but his wife kept continually dinning in his
-  ears about his idleness, his carelessness, and the ruin he was
-  bringing on his family.
-
-  Morning, noon and night her tongue was incessantly going, and
-  everything he said or did was sure to produce a torrent of
-  household eloquence. Rip had but one way of replying to all
-  lectures of the kind, and that by frequent use had grown into a
-  habit. He shrugged his shoulders, shook his head, cast up his
-  eyes, but said nothing. This, however, always provoked a fresh
-  volley from his wife, so that he was fain to draw off his forces
-  and take to the outside of the house—the only side which, in
-  truth, belongs to a henpecked husband.
-
-  Poor Rip was at last reduced almost to despair, and his only
-  alternative to escape from the labor of the farm, and the clamor
-  of his wife, was to take gun in hand and stroll away into the
-  woods. Here he would sometimes seat himself at the foot of a
-  tree, and share the contents of his wallet with his dog Wolf,
-  with whom he sympathized as a fellow-sufferer in persecution.
-
-  “Poor Wolf,” he would say, “thy mistress leads thee a dog’s life
-  of it; but never mind, my lad, whilst I live thou shalt never
-  want a friend to stand by thee.” Wolf would wag his tail, look
-  wistfully in his master’s face, and if dogs can feel pity, I
-  verily believe he reciprocated the sentiment with all his heart.
-
-
-THE PURITANS OF THE SIXTEENTH CENTURY.
-
-BY LORD MACAULAY.
-
-Distinguished as a descriptive poet by his fine “Lays of Ancient Rome,”
-and yet more distinguished as a master of English prose by his “Essays”
-and his noble “History of England,” Thomas Babington Macaulay stands
-prominent as the most learned and eloquent of the essayists and critics
-of the nineteenth century. He was the son of Zachary Macaulay, known as
-the warm friend and co-laborer of Wilberforce and Clarkson, and was born
-at Rothley Temple, Leicestershire, October 25, 1800, and died in 1859. In
-1818 he entered Trinity College, Cambridge, where he took his degree in
-1822. Here he gave proof of his great intellectual powers, obtaining a
-scholarship, and twice gaining the Chancellor’s medal for a poem called
-“Pompeii.” To crown his triumphs, he secured a “Craven Scholarship,”—the
-highest distinction in classics which the university confers.
-
-Lord Macaulay’s glowing description of the Puritans has been pronounced
-the finest writing of its kind to be found in our language. It is the
-product of pre-eminent literary ability, and the highest genius.
-
-  We would first speak of the Puritans of the sixteenth century,
-  the most remarkable body of men, perhaps, which the world has
-  ever produced.
-
-  Those who roused the people to resistance—who directed their
-  measures through a long series of eventful years—who formed,
-  out of the most unpromising materials, the finest army that
-  Europe had ever seen—who trampled down king, church, and
-  aristocracy—who, in the short intervals of domestic sedition and
-  rebellion, made the name of England terrible to every nation on
-  the face of the earth—were no vulgar fanatics.
-
-  Most of their absurdities were mere external badges, like the
-  signs of freemasonry or the dresses of friars. We regret that
-  these badges were not more attractive; we regret that a body,
-  to whose courage and talents mankind has owed inestimable
-  obligations, had not the lofty elegance which distinguished some
-  of the adherents of Charles I., or the easy good breeding for
-  which the court of Charles II. was celebrated. But, if we must
-  make our choice, we shall, like Bassanio in the play, turn from
-  the specious caskets which contain only the Death’s head and the
-  Fool’s head, and fix our choice on the plain leaden chest which
-  conceals the treasure.
-
-  The Puritans were men whose minds had derived a peculiar
-  character from the daily contemplation of superior beings and
-  eternal interests. Not content with acknowledging, in general
-  terms, an overruling Providence, they habitually ascribed every
-  event to the will of the Great Being, for whose power nothing was
-  too minute. To know him, to serve him, to enjoy him, was with
-  them the great end of existence.
-
-  They rejected with contempt the ceremonious homage which other
-  sects substituted for the pure worship of the soul. Instead of
-  catching occasional glimpses of the Deity through an obscuring
-  veil, they aspired to gaze full on the intolerable brightness,
-  and to commune with him face to face. Hence originated their
-  contempt for terrestrial distinctions.
-
-  The difference between the greatest and meanest of mankind seemed
-  to vanish when compared with the boundless interval which
-  separated the whole race from Him on whom their own eyes were
-  constantly fixed.
-
-  They recognized no title to superiority but his favor; and,
-  confident of that favor, they despised all the accomplishments
-  and all the dignities of the world. If they were unacquainted
-  with the works of philosophers and poets, they were deeply read
-  in the oracles of God; if their names were not found in the
-  registers of heralds, they felt assured that they were recorded
-  in the Book of Life; if their steps were not accompanied by a
-  splendid train of menials, legions of ministering angels had
-  charge over them. Their palaces were houses not made with hands;
-  their diadems, crowns of glory which should never fade away.
-
-  On the rich and the eloquent, on nobles and priests, they
-  looked down with contempt; for they esteemed themselves rich
-  in a more precious treasure, and eloquent in a more sublime
-  language—nobles by the right of an earlier creation, and priests
-  by the imposition of a mightier hand. The very meanest of them
-  was a being to whose fate a mysterious and terrible importance
-  belonged—on whose slightest actions the spirits of light and
-  darkness looked with anxious interest—who had been destined,
-  before heaven and earth were created, to enjoy a felicity which
-  should continue when heaven and earth should have passed away.
-
-  Events which short-sighted politicians ascribed to earthly causes
-  had been ordained on his account. For his sake empires had
-  risen and flourished and decayed; for his sake the Almighty had
-  proclaimed his will by the pen of the evangelist and the harp
-  of the prophet. He had been rescued by no common deliverer from
-  the grasp of no common foe; he had been ransomed by the sweat of
-  no vulgar agony, by the blood of no earthly sacrifice. It was
-  for him that the sun had been darkened, that the rocks had been
-  rent, that the dead had arisen, that all nature had shuddered at
-  the sufferings of her expiring God!
-
-
-ON BEING IN TIME.
-
-BY C. H. SPURGEON.
-
-When we examine Mr. Spurgeon’s writings we are able to discover one
-great secret of his power. As no preacher of modern times was more
-successful, in like manner no other had such a vigorous command of plain
-English in the pulpit. The great majority of his words are short and
-simple, reminding one of the terse writings of the old Puritan authors.
-Mr. Spurgeon was born in 1834 and died in 1893. No other writer has
-published so many sermons and volumes of miscellaneous writings, and no
-other author of similar works has been so widely read. He was the marvel
-of his generation.
-
-  He who begins a little late in the morning will have to drive
-  fast, will be constantly in a fever, and will scarcely overtake
-  his business at night; whereas he who rises in proper time can
-  enjoy the luxury of pursuing his calling with regularity, ending
-  his work in fit season, and gaining a little portion of leisure.
-
-  Late in the morning may mean puffing and blowing all the day
-  long, whereas an early hour will make the pace an easy one. This
-  is worth a man’s considering. Much evil comes of hurry, and hurry
-  is the child of unpunctuality.
-
-  We once knew a brother whom we named “the late Mr. S⸺,” because
-  he never came in time. A certain tart gentleman, who had been
-  irritated by this brother’s unpunctuality, said that the sooner
-  that name was literally true the better for the temper of those
-  who had to wait for him. Many a man would much rather be fined
-  than be kept waiting. If a man _must_ injure me, let him rather
-  plunder me of my cash than of my time.
-
-  To keep a busy man waiting is an act of impudent robbery, and
-  is also a constructive insult. It may not be so intended, but
-  certainly if a man has proper respect for his friend, he will
-  know the value of his time, and will not cause him to waste
-  it. There is a cool contempt in unpunctuality, for it as good
-  as says: “Let the fellow wait; who is he that I should keep my
-  appointment with him?”
-
-  In this world, matters are so linked together that you cannot
-  disarrange one without throwing others out of gear; if one
-  business is put out of time, another is delayed by the same
-  means. The other day we were traveling to the Riviera, and the
-  train after leaving Paris was detained for an hour and a half.
-  This was bad enough, but the result was worse, for when we
-  reached Marseilles the connecting train had gone, and we were not
-  only detained for a considerable time, but were forced to proceed
-  by a slow train, and so reached our destination six hours later
-  than we ought to have done. All the subsequent delay was caused
-  through the first stoppage.
-
-  A merchant once said to us: “A. B. is a good fellow in many
-  respects, but he is so frightfully slow that we cannot retain
-  him in our office, because, as all the clerks work into each
-  other’s hands, his delays are multiplied enormously, and cause
-  intolerable inconvenience. He is a hindrance to the whole system,
-  and he had better go where he can work alone.”
-
-  The worst of it is that we cannot send unpunctual people where
-  they can work alone. To whom or whither should they go? We cannot
-  rig out a hermitage for each one, or that would be a great
-  deliverance. If they prepared their own dinners, it would not
-  matter that they dropped in after every dish had become cold. If
-  they preached sermons to themselves, and had no other audience,
-  it would not signify that they began consistently seven minutes
-  behind the published hour. If they were their own scholars, and
-  taught themselves, it would be of no consequence if the pupil sat
-  waiting for his teacher for twenty minutes.
-
-  As it is, we in this world cannot get away from the unpunctual,
-  nor get them away from us, and therefore we are obliged to put up
-  with them; but we should like them to know that they are a gross
-  nuisance, and a frequent cause of sin, through irritating the
-  tempers of those who cannot afford to squander time as they do.
-
-  If this should meet the eye of any gentleman who has almost
-  forgotten the meaning of the word “punctuality,” we earnestly
-  advise him to try and be henceforth five minutes _too soon_ for
-  every appointment, and then perhaps he will gradually subside
-  into the little great virtue which we here recommend.
-
-  Could not some good genius get up a Punctuality Association,
-  every member to wear a chronometer set to correct time, and to
-  keep appointments by the minute-hand? Pledges should be issued,
-  to be signed by all sluggish persons who can summon up sufficient
-  resolution totally to abstain from being behind time in church or
-  chapel, or on committee, or at dinner, or in coming home from the
-  office in the evening. Ladies eligible as members upon signing a
-  special pledge to keep nobody waiting while they run upstairs to
-  pop on their bonnets. How much of sinful temper would be spared,
-  and how much of time saved, we cannot venture to guess. Try it.
-
-
-JOHN PLOUGHMAN’S TALK ON HOME.
-
-BY C. H. SPURGEON.
-
-The famous London minister wrote a book entitled, “John Ploughman’s
-Talk.” His object was to express plain and homely truths in a quaint,
-humorous way, and thus gain the attention of common people whose reading
-is confined mostly to murder and divorce cases in newspapers. The
-enjoyment of the public in reading Mr. Spurgeon’s pithy sayings was
-evinced by the enormous sale of the book. The extract here given is a
-fair specimen of its unique style.
-
-  That word _home_ always sounds like poetry to me. It rings like
-  a peal of bells at a wedding, only more soft and sweet, and it
-  chimes deeper into the ears of my heart. It does not matter
-  whether it means thatched cottage or manor-house, home is home,
-  be it ever so homely, and there’s no place on earth like it.
-  Green grow the houseleek on the roof forever, and let the moss
-  flourish on the thatch.
-
-  Sweetly the sparrows chirrup and the swallows twitter around the
-  chosen spot which is my joy and my rest. Every bird loves its
-  own nest; the owl thinks the old ruins the fairest spot under
-  the moon, and the fox is of opinion that his hole in the hill
-  is remarkably cozy. When my master’s nag knows that his head is
-  towards home he wants no whip, but thinks it best to put on all
-  steam; and I am always of the same mind, for the way home, to
-  me, is the best bit of road in the country. I like to see the
-  smoke out of my own chimney better than the fire on another man’s
-  hearth; there’s something so beautiful in the way in which it
-  curls up among the trees.
-
-  Cold potatoes on my own table taste better than roast meat at my
-  neighbor’s, and the honeysuckle at my own door is the sweetest I
-  ever smell. When you are out, friends do their best, but still it
-  is not home. “Make yourself at home,” they say, because everybody
-  knows that to feel at home is to feel at ease.
-
-  “East and west,
-  Home is best.”
-
-  Why, at home you are at home, and what more do you want? Nobody
-  grudges you, whatever your appetite may be; and you don’t get
-  put into a damp bed. Safe in his own castle, like a king in his
-  palace, a man feels himself somebody, and is not afraid of being
-  thought proud for thinking so. Every cock may crow on his own
-  dunghill; and a dog is a lion when he is at home. No need to
-  guard every word because some enemy is on the watch, no keeping
-  the heart under lock and key; but as soon as the door is shut it
-  is liberty hall, and none to peep and pry.
-
-  It is a singular fact, and perhaps some of you will doubt
-  it—but that is your unbelieving nature—our little ones are real
-  beauties, always a pound or two plumper than others of their age;
-  and yet it don’t tire you half so much to nurse them as it does
-  other people’s babies. Why, bless you, my wife would be tired
-  out in half the time, if her neighbor had asked her to see to a
-  strange youngster, but her own children don’t seem to tire her at
-  all. Now my belief is that it all comes of their having been born
-  at home.
-
-  Just so it is with everything else: our lane is the most
-  beautiful for twenty miles round, because our home is in it; and
-  my garden is a perfect paradise, for no other particular reason
-  than this very good one, that it belongs to the old house at home.
-
-  Husbands should try to make home happy and holy. It is an ill
-  bird that fouls its own nest, a bad man who makes his home
-  wretched. Our house ought to be a little church, with holiness
-  to the Lord over the door; but it ought never to be a prison,
-  where there is plenty of rule and order, but little love and no
-  pleasure.
-
-  Married life is not all sugar, but grace in the heart will keep
-  away most of the sours. Godliness and love can make a man, like
-  a bird in a hedge, sing among thorns and briars, and set others
-  a-singing too. It should be the husband’s pleasure to please his
-  wife, and the wife’s care to care for her husband. He is kind to
-  himself who is kind to his wife. I am afraid some men live by the
-  rule of self, and when that is the case home happiness is a mere
-  sham. When husbands and wives are well yoked, how light their
-  load becomes!
-
-  It is not every couple that is a pair, and the more’s the pity.
-  In a true home all the strife is which can do the most to make
-  the family happy. A home should be a Bethel, not a Babel. The
-  husband should be the house-band, binding all together like a
-  corner-stone, but not crushing everything like a millstone.
-
-  Nothing is improved by anger, unless it be the arch of a cat’s
-  back. A man with his back up is spoiling his figure. People look
-  none the handsomer for being red in the face. It takes a great
-  deal out of a man to get into a towering rage; it is almost
-  as unhealthy as having a fit, and time has been when men have
-  actually choked themselves with passion, and died on the spot.
-  Whatever wrong I suffer, it cannot do me half so much hurt as
-  being angry about it; for passion shortens life and poisons peace.
-
-  When once we give way to temper, temper will get right of way,
-  and come in easier every time. He that will be in a pet for any
-  little thing, will soon be out at elbows about nothing at all. A
-  thunder-storm curdles the milk, and so does a passion sour the
-  heart and spoil the character.
-
-
-LITTLE PEARL AND HER MOTHER.
-
-BY NATHANIEL HAWTHORNE.
-
-Hawthorne is justly regarded as one of the masters of English prose,
-although the shadowed side of his life predominated and often gave a
-somewhat gloomy tinge to his writings. Yet through the morbid drapery
-by which he surrounds himself the light of his superb genius shines
-brilliantly. His style is a model of clearness, choice words and elevated
-sentiment. The extract given below is from “The Scarlet Letter,” one of
-his best works of fiction, and, in fact, one of the best that enriches
-our American literature. He possessed great originality, a rare power
-of analyzing character, a delicate and exquisite humor and marvelous
-felicity in the use of language. Mr. Hawthorne was born at Salem,
-Massachusetts, in 1804, and died in 1864.
-
-  So the mother and little Pearl were admitted into the hall of
-  entrance. With many variations, suggested by the nature of his
-  building-materials, diversity of climate, and a different mode of
-  social life, Governor Bellingham had planned his new habitation
-  after the residences of gentlemen of fair estate in his native
-  land.
-
-  Here, then, was a wide and reasonably lofty hall, extending
-  through the whole depth of the house, and forming a medium of
-  general communication, more or less directly, with all the other
-  apartments. At one extremity, this spacious room was lighted
-  by the windows of the two towers, which formed a small recess
-  on either side of the portal. At the other end, though partly
-  muffled by a curtain, it was more powerfully illuminated by one
-  of those embowed hall-windows which we read of in old books, and
-  which was provided with a deep and cushioned seat.
-
-  Here, on the cushion, lay a folio tome, probably of the
-  Chronicles of England, or other such substantial literature;
-  even as, in our own days, we scatter gilded volumes on the
-  centre-table, to be turned over by the casual guest. The
-  furniture of the hall consisted of some ponderous chairs, the
-  backs of which were elaborately carved with wreaths of oaken
-  flowers; and likewise a table in the same taste; the whole
-  being of Elizabethan age, or perhaps earlier, and heirlooms,
-  transferred hither from the governor’s paternal home.
-
-  On the table—in token that the sentiment of old English
-  hospitality had not been left behind—stood a large pewter
-  tankard, at the bottom of which, had Hester or Pearl peeped into
-  it, they might have seen the frothy remnant of a recent draught
-  of ale.
-
-  On the wall hung a row of portraits, representing the forefathers
-  of the Bellingham lineage, some with armor on their breasts,
-  and others with stately ruffs and robes of peace. All were
-  characterized by the sternness and severity which old portraits
-  so invariably put on; as if they were the ghosts, rather than the
-  pictures, of departed worthies, and were gazing with harsh and
-  intolerant criticism at the pursuits and enjoyments of living men.
-
-  At about the center of the oaken panels that lined the hall was
-  suspended a suit of mail, not, like the pictures, an ancestral
-  relic, but of the most modern date; for it had been manufactured
-  by a skillful armorer in London the same year in which Governor
-  Bellingham came over to New England. There was a steel headpiece,
-  a cuirass, a gorget and greaves, with a pair of gauntlets and
-  a sword hanging beneath; all, and especially the helmet and
-  breastplate, so highly burnished as to glow with white radiance
-  and scatter an illumination everywhere about upon the floor.
-
-  This bright panoply was not meant for mere idle show, but had
-  been worn by the governor on many a solemn muster and training
-  field, and had glittered, moreover, at the head of a regiment
-  in the Pequod war. For, though bred a lawyer, and accustomed
-  to speak of Bacon, Coke, Noye and Finch as his professional
-  associates, the exigencies of this new country had transformed
-  Governor Bellingham into a soldier, as well as a statesman and
-  ruler.
-
-  Little Pearl—who was as greatly pleased with the gleaming
-  armor as she had been with the glittering frontispiece of the
-  house—spent some time looking into the polished mirror of the
-  breastplate.
-
-  “Mother,” cried she, “I see you here. Look! Look!”
-
-  Hester looked, by way of humoring the child; and she saw that,
-  owing to the peculiar effect of this convex mirror, the scarlet
-  letter was represented in exaggerated and gigantic proportions,
-  so as to be greatly the most prominent feature of her appearance.
-  In truth, she seemed absolutely hidden behind it.
-
-  Pearl pointed upward, also, at a similar picture in the
-  headpiece, smiling at her mother with the elfish intelligence
-  that was so familiar an expression on her small physiognomy. That
-  look of naughty merriment was likewise reflected in the mirror,
-  with so much breadth and intensity of effect, that it made Hester
-  Prynne feel as if it could not be the image of her own child, but
-  of an imp who was seeking to mold itself into Pearl’s shape.
-
-
-THE BABY IN THE BATH-TUB.
-
-BY GRACE GREENWOOD.
-
-The following selection is an excellent example of sprightly and
-vivacious writing, a kind of composition that is always entertaining
-to the reader. Under the assumed name of Grace Greenwood, Mrs. Sarah
-J. Lippincott was for many years a well-known and popular contributor
-to various periodicals. She also published several volumes, including
-works of fiction and stories of travel. She wrote poems that possessed
-much merit, thus exhibiting a wide range of talent. Her fine thoughts
-were expressed in a style of great ease, simplicity and beauty. Mrs.
-Lippincott was born in Onondaga County, New York, in 1825, and died in
-1898.
-
-  “Annie! Sophie! come up quick, and see baby in her bath-tub!”
-  cries a charming little maiden, running down the wide stairway
-  of an old country house, and half-way up the long hall, all in
-  a fluttering cloud of pink lawn, her soft dimpled cheeks tinged
-  with the same lovely morning hue.
-
-  In an instant there is a stir and gush of light laughter in
-  the drawing-room, and presently, with a movement a little more
-  majestic and elder-sisterly, Annie and Sophie float noiselessly
-  through the hall and up the soft-carpeted ascent, as though borne
-  on their respective clouds of blue and white drapery, and take
-  their way to the nursery, where a novel entertainment awaits
-  them. It is the first morning of the eldest married sister’s
-  first visit home, with her first baby; and the first baby, having
-  slept late after its journey, is about to take its first bath in
-  the old house.
-
-  “Well, I declare, if here isn’t mother, forgetting her dairy, and
-  Cousin Nellie, too, who must have left poor Ned all to himself in
-  the garden, lonely and disconsolate, and I am torn from my books,
-  and Sophie from her flowers, and all for the sake of seeing a
-  nine-months-old baby kicking about in a bath-tub! What simpletons
-  we are!”
-
-  Thus Miss Annie, the _proude ladye_ of the family; handsome,
-  haughty, with perilous proclivities toward grand socialistic
-  theories, transcendentalism, and general strong-mindedness;
-  pledged by many a saucy vow to a life of single dignity and
-  freedom, given to studies artistic, æsthetic, philosophic, and
-  ethical; a student of Plato, an absorber of Emerson, an exalter
-  of her sex, a contemner of its natural enemies.
-
-  “Simpletons, are we?” cries pretty Elinor Lee, aunt of the baby
-  on the other side, and “Cousin Nellie” by love’s courtesy,
-  now kneeling close by the bath-tub, and receiving on her
-  sunny braids a liberal baptism from the pure, plashing hands
-  of babyhood,—“simpletons, indeed! Did I not once see thee, O
-  Pallas-Athene, standing rapt before a copy of the ‘Crouching
-  Venus?’
-
-  “And this is a sight a thousand times more beautiful; for here
-  we have color, action, life, and such grace as the divinest
-  sculptors of Greece were never able to entrance in marble. Just
-  look at these white, dimpled shoulders, every dimple holding a
-  tiny, sparkling drop,—these rosy, plashing feet and hands,—this
-  laughing, roguish face,—these eyes, bright and blue and deep as
-  lakes of fairy land,—these ears, like dainty sea shells,—these
-  locks of gold, dripping diamonds,—and tell me what cherub of
-  Titian, what Cupid of Greuze, was ever half so lovely? I say,
-  too, that Raphael himself would have jumped at the chance of
-  painting Louise, as she sits there, towel in hand, in all the
-  serene pride and chastened dignity of young maternity—of painting
-  her as _Madonna_.”
-
-
-CANDACE’S OPINIONS.
-
-BY HARRIET BEECHER STOWE.
-
-Mrs. Stowe is particularly happy in portraying negro character. It
-requires for this a great appreciation of humor, and her writings abound
-in this, while her imagination and fine command of language make many of
-her writings brilliant and even poetical.
-
-Mrs. Stowe is the most celebrated American authoress. Her “Uncle Tom’s
-Cabin” has been more widely read than any other work of fiction ever
-published. While in this work her conspicuous genius appears to fine
-advantage, she has nevertheless written other works, some of them
-describing New England life and character, which are masterpieces. She
-was born at Litchfield, Conn., on the 14th of June, 1812, and died at
-Hartford July 1st, 1896.
-
-  “I intend,” said Mr. Marvyn, “to make the same offer to your
-  husband, when he returns from work to-night.”
-
-  “Laus, Mass’r—why, Cato, he’ll do jes’ as I do—dere a’n’t no kind
-  o’ need o’ askin’ him. Course he will.”
-
-  A smile passed round the circle, because between Candace and her
-  husband there existed one of those whimsical contrasts which one
-  sometimes sees in married life. Cato was a small-built, thin,
-  softly-spoken negro, addicted to a gentle chronic cough; and,
-  though a faithful and skillful servant, seemed, in relation to
-  his better half, much like a hill of potatoes under a spreading
-  apple-tree. Candace held to him with a vehement and patronizing
-  fondness, so devoid of conjugal reverence as to excite the
-  comments of her friends.
-
-  “You must remember, Candace,” said a good deacon to her one day,
-  when she was ordering him about at a catechizing, “you ought to
-  give honor to your husband; the wife is the weaker vessel.”
-
-  “_I_ de weaker vessel?” said Candace, looking down from the tower
-  of her ample corpulence on the small, quiet man whom she had
-  been fledging with the ample folds of a worsted comforter, out of
-  which his little head and shining bead-eyes looked, much like a
-  blackbird in a nest—“_I_ de weaker vassel! Umph!”
-
-  A whole woman’s rights convention could not have expressed more
-  in a day than was given in that single look and word. Candace
-  considered a husband as a thing to be taken care of—a rather
-  inconsequent and somewhat troublesome species of pet, to be
-  humored, nursed, fed, clothed, and guided in the way that he was
-  to go—an animal that was always losing off buttons, catching
-  colds, wearing his best coat every day, and getting on his Sunday
-  hat in a surreptitious manner for week-day occasions; but she
-  often condescended to express it as her opinion that he was a
-  blessing, and that she didn’t know what she’d do if it wasn’t for
-  Cato.
-
-  She sometimes was heard expressing herself very energetically in
-  disapprobation of the conduct of one of her sable friends, named
-  Jinny Stiles, who, after being presented with her own freedom,
-  worked several years to buy that of her husband, but became
-  afterwards so disgusted with her acquisition, that she declared
-  she would “neber buy anoder nigger.”
-
-  “Now, Jinny don’t know what she’s talkin’ about,” she would say.
-  “S’pose he does cough and keep her awake nights, and take a
-  little too much sometimes, a’n’t he better’n no husband at all? A
-  body wouldn’t seem to hab nuffin to lib for, ef dey hadn’t an old
-  man to look arter. Men is nate’lly foolish about some tings—but
-  dey’s good deal better’n nuffin.”
-
-  And Candace, after this condescending remark, would lift with one
-  hand a brass kettle in which poor Cato might have been drowned,
-  and fly across the kitchen with it as if it were a feather.
-
-
-MIDSUMMER IN THE VALLEY OF THE RHINE.
-
-BY GEORGE MEREDITH.
-
-An example of beautiful description.
-
-  An oppressive slumber hung about the forest-branches. In the
-  dells and on the heights was the same dead heat. Here where the
-  brook tinkled it was no cool-lipped sound, but metallic, and
-  without the spirit of water. Yonder in a space of moonlight on
-  lush grass, the beams were as white fire to sight and feeling.
-  No haze spread around. The valleys were clear, defined to the
-  shadows of their verges; the distances sharply distinct, and with
-  the colors of day but slightly softened.
-
-  Richard beheld a roe moving across a slope of sward far out of
-  rifle-mark. The breathless silence was significant, yet the moon
-  shone in a broad blue heaven. Tongue out of mouth trotted the
-  little dog after him; couched panting when he stopped an instant;
-  rose weariedly when he started afresh. Now and then a large white
-  night-moth flitted through the dusk of the forest.
-
-  On a barren corner of the wooded highland looking inland stood
-  gray topless ruins set in nettles and rank grass-blades. Richard
-  mechanically sat down on the crumbling flints to rest, and
-  listened to the panting of the dog. Sprinkled at his feet were
-  emerald lights: hundreds of glow-worms studded the dark dry
-  ground.
-
-  He sat and eyed them, thinking not at all. His energies were
-  expended in action. He sat as a part of the ruins, and the
-  moon turned his shadow westward from the south. Overhead, as
-  she declined, long ripples of silver cloud were imperceptibly
-  stealing toward her. They were the van of a tempest. He did not
-  observe them, or the leaves beginning to chatter. When he again
-  pursued his course with his face to the Rhine, a huge mountain
-  appeared to rise sheer over him, and he had it in his mind to
-  scale it. He got no nearer to the base of it for all his vigorous
-  outstepping. The ground began to dip; he lost sight of the sky.
-  Then heavy thunder-drops struck his cheek, the leaves were
-  singing, the earth breathed, it was black before him and behind.
-  All at once the thunder spoke. The mountain he had marked was
-  bursting over him.
-
-  Up started the whole forest in violent fire. He saw the country
-  at the foot of the hills to the bounding Rhine gleam, quiver,
-  extinguished. Then there were pauses; and the lightning seemed as
-  the eye of heaven, and the thunder as the tongue of heaven, each
-  alternately addressing him; filling him with awful rapture.
-
-
-THE POWER OF NATURAL BEAUTY.
-
-BY RALPH WALDO EMERSON.
-
-“The Sage of Concord,” as Mr. Emerson was called, expresses the estimate
-the American public placed upon his writings. His profound thought and
-originality are unquestioned. To these grand qualities he added a poetic
-imagination which diffused a fine glow over all his productions.
-
-Mr. Emerson was born in Boston in 1803, graduated from Harvard College
-in 1821, and entered the ministry of the Unitarian Church, from which,
-however, he shortly resigned, and soon devoted himself to literary
-pursuits. His works have a high reputation among scholars and speculative
-thinkers. His style is singularly terse and at times almost abrupt, but
-his thoughts are masterly and striking. He died in 1882.
-
-  Beauty is the mark God sets upon virtue. Every natural action is
-  graceful. Every heroic act is also decent, and causes the place
-  and the bystanders to shine. We are taught by great actions that
-  the universe is the property of every individual in it.
-
-  Every rational creature has all nature for his dowry and estate.
-  It is his if he will. He may divest himself of it; he may creep
-  into a corner, and abdicate his kingdom, as most men do; but he
-  is entitled to the world by his constitution. In proportion to
-  the energy of his thought and will, he takes up the world into
-  himself. “All those things for which men plough, build, or sail,
-  obey virtue;” said an ancient historian. “The winds and waves,”
-  said Gibbon, “are always on the side of the ablest navigators.”
-  So are the sun and moon and all the stars of heaven.
-
-  When a noble act is done—perchance in a scene of great natural
-  beauty; when Leonides and his three hundred martyrs consume one
-  day in dying, and the sun and moon come each and look at them
-  once in the steep defile of Thermopylæ; when Arnold Winkelreid,
-  in the high Alps, under the shadow of the avalanche, gathers in
-  his side a sheaf of Austrian spears to break the line for his
-  comrades; are not these heroes entitled to add the beauty of the
-  scene to the beauty of the deed? When the bark of Columbus nears
-  the shore of America;—before it the beach lined with savages,
-  fleeing out of all their huts of cane; the sea behind; and
-  the purple mountains of the Indian Archipelago around, can we
-  separate the man from the living picture? Does not the New World
-  clothe his form with her palm groves and savannahs as fit drapery?
-
-  Ever does natural beauty steal in like air, and envelop great
-  actions. When Sir Harry Vane was dragged up the Tower-hill
-  sitting on a sled, to suffer death, as the champion of the
-  English laws, one of the multitude cried out to him, “You never
-  sate on so glorious a seat.” Charles II., to intimidate the
-  citizens of London, caused the patriot Lord Russel to be drawn in
-  an open coach through the principal streets of the city, on his
-  way to the scaffold. “But,” to use the simple narrative of his
-  biographer, “the multitude imagined they saw liberty and virtue
-  sitting by his side.”
-
-  In private places, among sordid objects, an act of truth or
-  heroism seems at once to draw to itself the sky as its temple,
-  the sun as its candle. Nature stretcheth out her arms to embrace
-  man, only let his thoughts be of equal greatness. Willingly does
-  she follow his steps with the rose and the violet, and bend her
-  lines of grandeur and grace to the decoration of her darling
-  child. Only let his thoughts be of equal scope, and the frame
-  will suit the picture. A virtuous man is in unison with her
-  works, and makes the central figure of the visible sphere.
-
-  The noonday darkness of the American forest, the deep, echoing,
-  aboriginal woods, where the living columns of the oak and fir
-  tower up from the ruins of the trees of the last millennium;
-  where, from year to year, the eagle and the crow see no intruder;
-  the pines, bearded with savage moss, yet touched with grace
-  by the violets at their feet; the broad, cold lowland, which
-  forms its coat of vapor with the stillness of subterranean
-  crystallization; and where the traveler, amid the repulsive
-  plants that are native in the swamp, thinks with pleasing terror
-  of the distant town; this beauty—haggard and desert beauty, which
-  the sun and the moon, the snow and the rain repaint and vary,
-  has never been recorded by art, yet is not indifferent to any
-  passenger.
-
-  All men are poets at heart. They serve nature for bread, but her
-  loveliness overcomes them sometimes. What mean these journeys to
-  Niagara; these pilgrims to the White Hills? Men believe in the
-  adaptations of utility always. In the mountains they may believe
-  in the adaptations of the eye.
-
-  Undoubtedly the changes of geology have a relation to the
-  prosperous sprouting of the corn and peas in my kitchen garden;
-  but not less is there a relation of beauty between my soul and
-  the dim crags of Agiocochook up there in the clouds. Every
-  man, when this is told, hearkens with joy, and yet his own
-  conversation with nature is still unsung.
-
-
-
-
-SUBJECTS FOR COMPOSITIONS.
-
-
-To aid you in writing compositions a lengthy list of subjects is here
-furnished. These, you will see, are adapted to persons of various ages
-and capacities. Many of them are comparatively simple and require no
-profound thought, while others are deep enough to tax all your powers of
-reason.
-
-Do not choose a subject that is too abstruse and difficult. Plain
-narration and description should go before profound argument. Yet do not
-be satisfied with a simple theme if you are capable of writing upon one
-that demands more study and thought. When you have chosen your subject,
-you should be guided by the practical hints and directions contained in
-the first pages of this volume, which you should faithfully study.
-
-Many of the subjects here presented will require a good deal of reading
-and research before you can write upon them intelligently. This is true
-especially of the historical and biographical subjects. If you find
-history to be a fascinating study, as it is to most persons, you will
-become so filled and enamored with your theme, that you can write upon it
-easily.
-
-Never consider it too much trouble to prepare yourself thoroughly to
-write your compositions. If you would have nuggets of gold you must
-dig for them. Success is worth all it costs, however much that may be.
-Remember Bulwer Lytton’s saying, “The pen is mightier than the sword.”
-
-
-HISTORICAL SUBJECTS.
-
-  The Landing of the Pilgrims.
-  Captain John Smith and Pocahontas.
-  The French and Indian War.
-  The Siege of Quebec.
-  King Philip’s War.
-  Washington at Valley Forge.
-  The Surrender of Lord Cornwallis.
-  The Discovery of the Mississippi River.
-  Sir Walter Raleigh in Virginia.
-  The Pequod War.
-  Witchcraft at Salem, Massachusetts.
-  The Old Charter Oak at Hartford.
-  Destruction of Tea in Boston Harbor.
-  The Battles of Lexington and Concord.
-  The Famous Ride of Paul Revere.
-  The Siege of Boston.
-  The Battle of Long Island.
-  The Battle of the Brandywine.
-  The Murder of Miss McCrea.
-  The Battle of Monmouth.
-  The Surrender of Burgoyne’s Army.
-  The Siege of Savannah.
-  Washington Crossing the Delaware.
-  The Massacre of Wyoming.
-  The Treason of Benedict Arnold.
-  The Execution of Major André.
-  The Duel Between Hamilton and Burr.
-  The Battle of Monterey.
-  The Battle of Chapultepec.
-  The Siege of Vicksburg.
-  General Sherman’s March to the Sea.
-  Jackson’s Victories in Virginia.
-  The Death of “Stonewall Jackson.”
-  The Story of Cuban Insurrections.
-  The Great Naval Battle at Manila.
-  The Great Naval Battle at Santiago.
-  The Exploits of the “Rough Riders” at San Juan.
-  The Execution of John Brown.
-  The Massacre at Fort Dearborn.
-  The Discovery of Gold in California.
-  The Opening of the Pacific Railroad.
-  The Discovery of Gold in Alaska.
-  The Massacre of General Custer.
-  The Indian Wars in the Northwest.
-  The World’s Fair at Chicago.
-  The Centennial Exhibition at Philadelphia.
-  The Story of the Old Liberty Bell at Philadelphia.
-  The Great Flood at Johnstown, Pa.
-  The Destruction of the Battleship Maine.
-  The Invention of Printing.
-  Magna Charta, the Charter of Rights.
-  Constantinople Taken by the French.
-  The Moors Driven Out of Spain.
-  The Reformation in England.
-  The Invasion of Peru by Pizarro.
-  The Battle of Trafalgar.
-  The Spanish Armada.
-  The Battle of Balaklava.
-  The Gunpowder Plot (1605).
-  The Atrocities of the Paris Commune.
-  The Execution of Charles I.
-  The Bursting of the South Sea Bubble.
-  The Battle of Waterloo.
-  The Dismemberment of Poland.
-  The Great Mutiny in India.
-  The French Revolution.
-  The Martyrdom of Joan of Arc.
-  The Crusades.
-  The Siege of Troy.
-  The Great Plague in London.
-  The Battle of the Boyne.
-  The Imprisonment of James I. of Scotland.
-  The Story of Mary, Queen of Scots.
-
-
-BIOGRAPHICAL SUBJECTS.
-
-  Miles Standish.
-  Cotton Mather.
-  Benjamin Franklin.
-  John Jay.
-  Samuel Adams.
-  Fisher Ames.
-  George Washington.
-  William Penn.
-  Marquis de Lafayette.
-  Count Pulaski.
-  General Israel Putnam.
-  General Anthony Wayne.
-  General Ethan Allen.
-  Thomas Jefferson.
-  Andrew Jackson.
-  Martha Washington.
-  Commodore Perry.
-  Commodore Decatur.
-  Daniel Webster.
-  Henry Clay.
-  Patrick Henry.
-  John Hancock.
-  General Winfield Scott.
-  Zachary Taylor.
-  The Indian Chief Tecumseh.
-  William Henry Harrison.
-  John C. Fremont.
-  Abraham Lincoln.
-  Robert E. Lee.
-  Ulysses S. Grant.
-  James A. Garfield.
-  General William T. Sherman.
-  Mary Lyon.
-  Frances E. Willard.
-  Susan B. Anthony.
-  Clara Barton.
-  Henry W. Longfellow.
-  William Cullen Bryant.
-  The Cary Sisters.
-  Washington Irving.
-  James Fenimore Cooper.
-  Francis Scott Key.
-  John Howard Payne.
-  Daniel Boone.
-  David Crockett.
-  General Sam Houston.
-  Lord Nelson.
-  The Duke of Wellington.
-  Napoleon Bonaparte.
-  The Duke of Marlborough.
-  Robert Bruce.
-  Robert Burns.
-  John Bright.
-  William E. Gladstone.
-  Alfred Tennyson.
-  Daniel O’Connell.
-  Robert Emmet.
-  Florence Nightingale.
-  John Knox.
-  Julius Cæsar.
-  Demosthenes.
-  Cicero.
-  Hannibal.
-  Alexander the Great.
-  Socrates.
-  Xantippe.
-  Queen Elizabeth.
-  Oliver Cromwell.
-  William Pitt.
-  Frederick the Great.
-  Captain Kidd.
-  Ferdinand de Soto.
-  Hernando Cortez.
-  Sir John Franklin.
-  Elisha Kent Kane.
-  Cyrus W. Field.
-  Professor Samuel B. F. Morse.
-  Alexander T. Stewart.
-  Peter Cooper.
-  John Jacob Astor.
-  William H. Vanderbilt.
-
-
-SUBJECTS FOR NARRATION AND DESCRIPTION.
-
-  A New England Thanksgiving.
-  The Puritan Sabbath.
-  The Deserted Farm.
-  The Dangers of Frontier Life.
-  Natural Resources of the United States.
-  Social Customs of the Last Century.
-  A Spanish Bull Fight.
-  The Falls of Niagara.
-  The Hudson River.
-  Mount Washington.
-  A Western Prairie.
-  The Cotton Fields of the South.
-  The Orange Groves of Florida.
-  “The Father of Waters.”
-  The Rapid Growth of Western Cities.
-  A Ranch in the South-West.
-  The Cowboys of the Plains.
-  The Great Trees of California.
-  The Geysers of the Yellowstone Park.
-  The Instinct in Animals.
-  Some Recent Invention.
-  Some Public Institutions.
-  The Physical Characteristics of your State.
-  A Country Farm.
-  Your Home Enjoyments.
-  Fresh Air and its Uses.
-  Town and Country Schools.
-  Some Out Door School Games.
-  The Beauties of Summer.
-  The Remarkable Instinct of Birds.
-  An Arctic Expedition.
-  A Railway Station.
-  A Picture Gallery.
-  Electric Lights.
-  Winds and Clouds.
-  The Pastime of Fishing.
-  The Pastime of Skating.
-  Agricultural Implements.
-  Habits of Domestic Animals.
-  A Flower Garden.
-  Singing Birds.
-  Migration of Birds.
-  The American Eagle.
-  The Uses of Cats and Dogs.
-  The Game of Foot Ball.
-  The Game of Base Ball.
-  Your Favorite Book.
-  The County in which your School is Situated.
-  School Life: its Joys and Difficulties.
-  Castles in the Air.
-  The Pleasures of Christmas.
-  Leaning Tower of Pisa.
-  The Vatican at Rome.
-  St. Paul’s Cathedral in London.
-  The Capitol at Washington.
-  The White House at Washington.
-  The Suspension Bridge between New York and Brooklyn.
-  Bunker Hill Monument.
-  Mammoth Cave in Kentucky.
-  Independence Hall in Philadelphia.
-  An Ocean Steamship.
-  An American Battleship.
-  Coal Mines of Pennsylvania.
-  A Seaside Watering Place.
-  A Country Picnic.
-  A Clam Bake by the Sea-shore.
-  A Sleigh Ride.
-  A Century Run on Bicycles.
-  Your Favorite Walk.
-  The Value of Sunshine.
-  A Thunder Storm.
-  A Summer Vacation.
-
-
-POPULAR PROVERBS.
-
-  More Haste, Less Speed.
-  Necessity is the Mother of Invention.
-  What Can’t be Cured must be Endured.
-  Well Begun is Half Done.
-  All that Glitters is not Gold.
-  Evil Communications Corrupt Good Manners.
-  Honesty is the Best Policy.
-  A Stitch in Time Saves Nine.
-  Prevention is Better than Cure.
-  A Rolling Stone Gathers no Moss.
-  Make Hay while the Sun Shines.
-  Birds of a Feather Flock Together.
-  Knowledge is Power.
-  Take Care of the Pennies and the Dollars will take Care of Themselves.
-  A Bird in the Hand is Worth Two in the Bush.
-  The Longest Way Around is the Shortest Way Home.
-  The Proof of the Pudding is in the Eating.
-  If you would Shoot High you must Aim High.
-  Marry in Haste and Repent at Leisure.
-  People who Live in Glass Houses should not Throw Stones.
-  Be Sure you are Right, then Go Ahead.
-  It is an Ill Wind that Blows Good to no One.
-  Every Crow Thinks her own Little Crows the Blackest.
-  You Cannot Make a Silk Purse out of a Sow’s Ear.
-  The Least Said, the Soonest Mended.
-  Speech is Silver, Silence is Golden.
-  Manners Make the Man.
-
-
-SUBJECTS TO BE EXPOUNDED.
-
-  Benefits of Industry.
-  Evils of Idleness.
-  Summer Sports in the Country.
-  Winter Amusements in Cities.
-  Shop Windows at Christmas Time.
-  Habits of Economy.
-  Advantages of Travel.
-  Temptations of Riches.
-  Dangers of Trades Unions.
-  Benefits of Application.
-  Advantages of Muscular Exercise.
-  Physical and Moral Perils of Muscular Exercise.
-  Effects of Machinery upon Manual Labor.
-  Pleasures of Literature.
-  Sources of National Wealth.
-  Benefits of Self-Control.
-  Modern Methods of Benevolence.
-  Responsibilities of Scholars.
-  Causes of Commercial Decline.
-  Advantages of a National Bankrupt Law.
-  Peculiarities of the New England Poets.
-  The Character of Wilkins Micawber.
-  Claims of the Indians to Government Protection.
-  Evils of Immigration.
-  Characteristics of the English Novel.
-  Incentives to Literary Exertion.
-  Reforms Suggested in “Oliver Twist.”
-  American Tendencies to Extravagance.
-  Uses of Gold.
-  Uses of Public Libraries.
-  Infirmities of Genius.
-  Excellencies of the Puritan Character.
-  Miseries of Authorship.
-  Blessings of Liberty.
-  Pleasures in Contemplating Nature.
-  Dangers that Threaten our Republic.
-  Advantages of Method.
-  Distinctions in Society.
-  Rewards of Literary Labor.
-  Struggles for Civil Freedom.
-  Advantages of Competition.
-  Uses of Adversity.
-  Advantages of Self-Reliance.
-  Evils of Prejudice.
-  The Colonial Period of Our History.
-  Uses of Art.
-  Self-Made Men.
-  Dickens’ Caricatures of English Schools.
-  Irving’s Portraitures of the Dutch Settlers.
-  Injuries of Stimulants.
-  Evils of Centralization.
-  Advantages of Modern Inventions.
-  Uses of Coal.
-  Sources of Corruption in Civil Offices.
-  Elements of Success in Life.
-  Dangers of the French Republic.
-  Changes of Fashion.
-  Social Dangers from Anarchists.
-  Longfellow’s “Hiawatha.”
-  Longfellow’s “Evangeline.”
-  Oliver Wendell Holmes’s Humor.
-  Character of Eugene Field’s Poetry.
-  Characteristics of American Humor.
-  Hardships of the New England Settlers.
-  Persecution of the Jews.
-  Causes of Nihilism in Russia.
-  English Ideas of America.
-  Methods of Reform in the Civil Service.
-  Benefits of Mechanical Exhibitions.
-  Strikes and Arbitrations.
-  Time: its Use and Abuse.
-  Employers and Men: their Rights and Relations.
-  The Study of Modern Languages.
-  The Study of Ancient Languages.
-  Industry and Energy.
-  The Duty of Cleanliness.
-  Punctuality.
-  Courage.
-  Fortitude.
-  Cruelty to Animals.
-  The Law of Supply and Demand.
-  “Right before Might.”
-  The Telescope and Microscope.
-  Manhood Suffrage.
-  “The New Woman.”
-  Uses and Abuses of Money.
-  The Cultivation of Music.
-  Amusements for Young People.
-  The Great Discoverers of Queen Elizabeth’s Reign.
-  Pleasures of the Imagination.
-  Natural History as a Study.
-  Your Favorite Female Character.
-  The Cultivation of Memory.
-  Mental Discipline from the Study of Mathematics.
-  Knowledge the Best Kind of Wealth.
-  The Position and Prospects of the United States.
-  The Influence of Scenery on Character.
-  Sketch of the Plot of Any One of Shakespeare’s Plays.
-  How to Best Help the Poor.
-  Influence of Works of Fiction.
-  Description of Any One of Sir Walter Scott’s Poems and Novels.
-  Changes Caused by the Invention of the Typewriter.
-  The Saloon in Modern Politics.
-  The Evils of Great Trusts.
-  Utility of Shorthand.
-  Great Poets of England.
-  Dante’s Inferno.
-  The Alhambra.
-  The Catacombs of Rome.
-  The Style of John Bunyan.
-  The Consolations of Age.
-  The Dangers Arising from Great Trusts.
-  The Coast Guard Service.
-  The Wrongs of Ireland.
-  Plot of any one of Bret Harte’s Novels.
-  The Lives of the Poor in Large Cities.
-  On Making Music a Profession.
-  The Novel Entitled “Lorna Doone.”
-  The Duty of Cheerfulness.
-  Cervantes, the Soldier and the Writer.
-  Our American Humorists.
-  Martin Luther’s Moral Courage.
-  Truth the Standard of Excellence.
-  The Evils of Prejudice.
-  The Power of Ridicule.
-  The Power of Early Impressions.
-  The Exiles of Siberia.
-  Politics as a Profession.
-
-
-SUBJECTS FOR ARGUMENT.
-
-  Should a Polygamist be Admitted to Congress?
-  Should Eight Hours Constitute a Day’s Labor?
-  Should Political Spoils Belong to the Victors?
-  Is a National Debt a Benefit?
-  Is Poverty an Incentive to Crime?
-  Should the United States Maintain a Large Standing Army?
-  Should Office Holders be Assessed for Party Expenses?
-  Is Drunkenness any Excuse for Murder?
-  Would Harmony in Human Beliefs be Desirable?
-  Should There be a Uniform Divorce Law in All Our States?
-  Can a Country be Free Without Free Trade?
-  Should Church Property be Exempt from Taxation?
-  Should Capital Punishment be Abolished?
-  Do Luxuries Become Necessities?
-  Should a Man Vote Who Cannot Read?
-  Was Thackeray a Cynic?
-  Should Public School Money be Given to Religious Sects?
-  Should Writers Adopt Phonetic Spelling?
-  Is a Man of Business Benefited by a Classical Education?
-  Is Literature Indicative of National Progress?
-  Is Electricity Destined to Become the Greatest Motive Power?
-  Should the Inventor Monopolize His Invention?
-  Should Cremation Supersede Burial?
-  Was the Execution of André Unjust?
-  Is Crime in Our Country on the Increase?
-  Does the Press in Our Country have too much Freedom?
-
-
-SUBJECTS FOR COMPARISON.
-
-  Falsehood and Truth.
-  Practice and Habit.
-  Wit and Humor.
-  Extravagance and Thrift.
-  Confusion and Order.
-  The Democrats and Whigs.
-  Natural and Acquired Ability.
-  The Comparative Value of Iron and Gold.
-  Foreign and Domestic Commerce.
-  The Cavalier and the Puritan.
-  Waterloo and Sedan.
-  The Stage Coach and the Locomotive.
-  The Uses and Abuses of Fashion.
-  Capital and Labor.
-  Genius and Talent.
-  Romance and Reality.
-  “The Pen is Mightier than the Sword.”
-  Notoriety and Reputation.
-  Resolution and Action.
-  Working and Dreaming.
-  Leo X and Martin Luther.
-  The Statesmanship of Hamilton and Jefferson.
-  War and Arbitration.
-  Helen and Andromache.
-  “When the Law Ends, Tyranny Begins.”
-  “Deep Versed in Books, and Shallow in Himself.”
-  The Victories of Peace and of War.
-  Hypocrisy and Sincerity.
-  Solitude and Society.
-  Affection and Naturalness.
-  Brusque People and Fawning People.
-
-
-MISCELLANEOUS SUBJECTS FOR COMPOSITIONS.
-
-  Looking on the Bright Side.
-  The Character of Busybodies.
-  Benevolence and Greed.
-  Character of the Pilgrims.
-  Painting and Sculpture.
-  The Head and the Heart.
-  Party Spirit and Good Government.
-  The Responsibility of Our Country to Mankind.
-  The Obligation of Treaties.
-  Great Men the Glory of their Country.
-  Ancient and Modern Eloquence.
-  Conscience and the Will.
-  The Heroism of the Indian.
-  Religion and Pleasure.
-  Spiritual Freedom.
-  The Present Age.
-  The Humorousness of Love Matches.
-  The Influence of Woman.
-  The Mission of Reformers.
-  The True Aristocracy.
-  The Expansion of the Republic.
-  The Bible and the Iliad.
-  The Huguenots in Carolina.
-  Puritan Intolerance.
-  The Compensations of Calamity.
-  Stateliness and Courtesy.
-  Truth and Tenderness.
-  Loungers in Corner Groceries.
-  A Defense of Enthusiasm.
-  The Ancient Mound Builders.
-  The Power of Words.
-  The Advantages of Playing Golf.
-  College Athletics.
-  The Physique of Americans.
-  The Influence of Climate on Physical Characteristics.
-  “Home is Where the Heart is.”
-  Coral Treasures of the Sea.
-  Sublimity of the Ocean.
-  The Beauty of Sea Waves.
-  The Power of Maternal Love.
-  The Beauty of Heroic Deeds.
-  The Ravages of War.
-  Children and Flowers.
-  Earning Capital.
-  The Sacredness of Work.
-  “The Boy is the Father of the Man.”
-  The Last Hours of Socrates.
-  The Discoveries of Astronomy.
-  Luck and Labor.
-  The Achievements of Earnestness.
-  The Ideal Citizen.
-
-
-SYNONYMS AND ANTONYMS.
-
-We use words to express ideas and thoughts. The best words are those
-which best express the thought or idea. All writers are frequently at a
-loss for the exact word or phrase that will express their meaning the
-most forcibly, and are compelled to ransack and search their vocabulary
-in order to get out of the difficulty.
-
-The number of words used by the majority of persons is very small, and
-they are therefore in constant danger of the fault of repetition. We do
-not like to hear a speaker use the same word too frequently. To do so
-detracts seriously from the force and beauty of his address. While there
-are instances in which a repetition of a word is called for, and to make
-use of another would weaken the sentence and fail to fully give the
-meaning of the writer or speaker, it is nevertheless true that constant
-repetitions are not only a blemish, but a fault that should be corrected.
-
-For the purpose of avoiding too much repetition in writing and speaking
-it is necessary to have a Dictionary of words of similar meaning. A
-Synonym is one of two or more words of similar significance which may
-often be used interchangeably. An Antonym is a word of opposite meaning.
-In the following list the Synonyms are first given; then follow, in
-parenthesis, the Antonyms, or words of opposite meaning.
-
-All persons who would acquire an elegant style in literary composition,
-correspondence or ordinary conversation, will find this comprehensive
-Dictionary of Synonyms and Antonyms of great value. Jewels of thought
-should be set in appropriate language.
-
-In this table the letter _a_ means adjective; _v_ means verb; _n_ means
-noun or substantive.
-
-  ABANDON—forsake, desert, renounce, relinquish. (Keep, cherish.)
-
-  ABANDONED—deserted, forsaken, profligate, wicked, reprobate,
-  dissolute, flagitious, corrupt, depraved, vicious. (Respected,
-  esteemed, cherished, virtuous.)
-
-  ABASEMENT—degradation, fall, degeneracy, humiliation, abjectness,
-  debasement, servility. (Elevation, promotion, honor.)
-
-  ABASH—disconcert, discompose, confound, confuse, shame, bewilder.
-  (Embolden.)
-
-  ABBREVIATE—shorten, curtail, contract, abridge, condense, reduce,
-  compress. (Lengthen, extend, enlarge, expand.)
-
-  ABDICATE—renounce, resign, relinquish. (Usurp.)
-
-  ABET—incite, stimulate, whet, encourage, back up, second,
-  countenance, assist. (Dampen, discourage, dispirit, depress,
-  repress, oppose.)
-
-  ABETTOR—instigator, prompter, assistant, coadjutor, accomplice,
-  accessory, _particeps criminis_. (Extinguisher.)
-
-  ABHOR—loathe, abominate, (Love, admire.)
-
-  ABILITY—power, skill, gumption, efficiency, mastery,
-  qualification, faculty, expertness. (Incompetence, inefficiency,
-  inability.)
-
-  ABJECT—despised, despicable, vile, grovelling, mean, base,
-  worthless, servile. (Supreme, august, commanding, noble.)
-
-  ABJURE—forswear, disclaim, unsay, recant, revoke, deny, disown.
-  (Attest, affirm.)
-
-  ABLE—competent, qualified, skilled, efficient, capable, clever,
-  adroit, adept, strong, telling, masterly. (Incompetent, weak,
-  unskilful, unqualified.)
-
-  ABODE—dwelling, residence, domicile, home, quarters, habitation,
-  lodging, settlement. (Transition, shifting, wandering,
-  pilgrimage, peregrination.)
-
-  ABOLISH—efface, extinguish, annihilate, nullify, destroy, undo,
-  quash, annul, cancel, abrogate, quench, suppress, vitiate,
-  revoke. (Introduce, establish, enforce, restore.)
-
-  ABOMINABLE—detestable, hateful, odious, execrable. (Choice,
-  excellent, attractive, select.)
-
-  ABORTIVE—ineffectual, futile, inoperative, defective, inadequate.
-  (Efficient, productive, complete.)
-
-  ABOUT—around, near to, nearly, approximately, contiguous. (Remote
-  from, distant.)
-
-  ABSCOND—take oneself off, “vamoose,” disappear, decamp, run away.
-  (Thrust oneself into notice.)
-
-  ABSENT—not present, wanting, absentminded, abstracted,
-  inattentive, listless, dreamy, visionary. (Present, collected,
-  composed, vigilant, observant.)
-
-  ABSOLUTE—certain, unconditioned, unconditional, unlimited,
-  unrestricted, transcendent, authoritative, paramount, imperative,
-  arbitrary, despotic. (Conditional, limited, hampered, fettered.)
-
-  ABSORB—suck up, imbibe, engross, drain away, consume. (Reserve,
-  save, spare, husband, economize, hoard up.)
-
-  ABSURD—unreasonable, nonsensical, foolish, vain, impracticable.
-  (Reasonable, prudent, veracious.)
-
-  ABUSE, _v._—pervert, deprave, traduce, debase, disparage,
-  slander, calumniate, rail at, reproach, depreciate. (Improve,
-  develop, cultivate, promote, bless, magnify, appreciate.)
-
-  ABUSE, _n._—perversion, ill-usage, depravation, debasement,
-  slander, reproach. (Cultivation, use, promotion, development,
-  appreciation, praise.)
-
-  ACCEDE—join, assent, acquiesce in, comply, agree, concur,
-  coincide, approve. (Dissent, object, decline, refuse.)
-
-  ACCELERATE—hasten, hurry, speed, expedite, quicken, precipitate,
-  facilitate. (Retard, delay, procrastinate, arrest, stop, impede,
-  suspend.)
-
-  ACCEPT—take, receive, assume, acknowledge, endorse. (Refuse,
-  repudiate, protest, disown.)
-
-  ACCEPTABLE—pleasant, grateful, welcome. (Repugnant, displeasing.)
-
-  ACCIDENT—casualty, contingency, hap, mishap, chance, mischance,
-  misadventure. (Law, order.)
-
-  ACCOMMODATE—adjust, adapt, fit, conform, reconcile, suit, oblige,
-  furnish, convenience. (Cross, thwart, counteract, plot against,
-  checkmate, defeat, inconvenience.)
-
-  ACCOMPLICE—confederate, ally, associate, accessory, _particeps
-  criminis_. (Adversary, rival, spy, opponent, enemy.)
-
-  ACCOMPLISH—complete, perform, finish, fulfil, execute, perfect,
-  consummate, achieve, effect, carry out. (Fail, miscarry, undo,
-  wreck, frustrate.)
-
-  ACCOMPLISHMENT—success, fulfilment, completion, performance,
-  execution, achievement, consummation, attainment. (Failure,
-  miscarriage, wreck, ruin.)
-
-  ACCORD—harmonize, agree, allow, grant, concede. (Jar, clash with,
-  deny, disallow.)
-
-  ACCOST—address, confront, speak to, greet, salute. (Evade, fight
-  shy of.)
-
-  ACCOUNT, _v._—compute, estimate, reckon up, take stock of. (Leave
-  unexplained, unsolved.)
-
-  ACCOUNT, _n._—reckoning, relation, charge, bill. (Riddle,
-  mystery, puzzle, unknown quantity.)
-
-  ACCOUNTABLE—answerable, responsible, amenable. (Exempt, free,
-  irresponsible.)
-
-  ACCUMULATE—heap up, save, collect. (Scatter, dissipate, diffuse,
-  spend, squander.)
-
-  ACCUMULATION—heap, amount, glut. (Dissipation, dissemination,
-  distribution, diminution.)
-
-  ACCURATE—definite, precise, correct, exact. (Inaccurate, wrong,
-  erroneous, blundering, careless.)
-
-  ACHIEVE—complete, gain, win.
-
-  ACHIEVEMENT—feat, exploit, distinguished performance,
-  acquirement. (Abortion, frustration, failure, shortcoming,
-  defect.)
-
-  ACKNOWLEDGE—avow, confess, own, recognize, admit, grant, concede.
-  (Repudiate, disclaim, disallow, disown, deny.)
-
-  ACQUAINT—make known, apprise, inform, communicate, intimate,
-  notify. (Leave ignorant, keep secret, conceal.)
-
-  ACQUAINTANCE—knowledge, familiarity, fellowship, companionship.
-  (Ignorance, stranger.)
-
-  ACQUIESCE—yield, concur, agree, assent. (Protest, object,
-  dissent, secede, oppose.)
-
-  ACQUIT—set free, release, discharge, clear, absolve, exculpate,
-  exonerate, liberate, deliver. (Accuse, impeach, charge, blame,
-  convict.)
-
-  ACT, _v._—do, perform, commit, operate, work, practice, behave,
-  personate, play, enact. (Neglect, cease, desist, rest, wait, lie
-  idle, refrain.)
-
-  ACTION—working, agency, operation, business, gesture, engagement,
-  fight, deed, battle, feat. (Inaction, repose, rest, idleness,
-  ease, indolence, inertia, passiveness, quiescence, dormancy.)
-
-  ACTIVE—energetic, busy, stirring, alive, brisk, operative,
-  lively, agile, nimble, diligent, sprightly, alert, quick, supple,
-  prompt, industrious. (Passive, inert, dead, extinct, dull,
-  torpid, sluggish, indolent, lazy, dormant, quiescent, asleep.)
-
-  ACTUAL—real, positive, existing, certain. (False, imaginary,
-  theoretical, illusive, fictitious.)
-
-  ACUTE—sharp, pointed, penetrating, piercing, keen, poignant,
-  pungent, intense, violent, shrill, sensitive, sharp-witted,
-  shrewd, discriminating, clever, cunning. (Obtuse, blunt, bluff,
-  dull, flat, callous, stupid, apathetic.)
-
-  ADAPT—fit, suit, adjust, conform, regulate. (Misfit, discommode,
-  dislocate.)
-
-  ADDICTED—committed to, devoted, prone, given up to, inclined,
-  habituated. (Uncommitted, free, uncompromised, neutral.)
-
-  ADDITION—annexation, accession, supplement, adjunct, affix,
-  appendage, accessory, increment, increase, complement, _plus_,
-  more. (Subtraction, deduction, retrenchment, curtailment,
-  deprivation, _minus_, less, loss, impoverishment.)
-
-  ADDRESS—speech, salutation, accost, appeal; also skill,
-  dexterity, adroitness; also direction, name; also residence.
-  (Response, answer, reply, rejoinder; also awkwardness,
-  maladroitness, clumsiness, slovenliness.)
-
-  ADHESION—sticking, adherence, adoption, attachment, espousal.
-  (Repulsion, revulsion, antipathy, aversion, hostility,
-  incompatibility, dislike.)
-
-  ADJACENT—next, near, nigh, at hand, alongside, close by,
-  adjoining, contiguous, bordering, neighboring, proximate.
-  (Remote, foreign, distant, aloof, far, apart, asunder.)
-
-  ADJOURN—put off, postpone, defer, delay, keep in abeyance,
-  prorogue, suspend, procrastinate, retard, waive, remand, reserve.
-  (Conclude, clinch, accelerate, precipitate.)
-
-  ADJUNCT—appendage, affix, annex, annexation, appendix, adhesion,
-  appurtenance. (Curtailment, retrenchment, lop, mutilation,
-  reduction, clipping, docking, filching.)
-
-  ADJUST—make exact, set right, fit, adapt, dovetail, arrange,
-  harmonize, settle, regulate. (Confound, confuse, muddle,
-  disorder, perplex, embarrass, entangle, clash, jar, jumble,
-  disarrange, unsettle.)
-
-  ADMIRABLE—wonderful, excellent, choice, noble, grand, estimable,
-  lovely, ideal, surpassing, extraordinary, eminent. (Detestable,
-  vile, mean, contemptible, despicable, worthless, wretched,
-  villainous, pitiful.)
-
-  ADMIT—allow, permit, suffer, receive, usher, grant, acknowledge,
-  confess, concede, accept. (Deny, refuse, shut out, forbid,
-  disown, disclaim.)
-
-  ADVANTAGEOUS—profitable, serviceable, useful, beneficial,
-  helpful, of value. (Disadvantageous, detrimental, prejudicial,
-  injurious, hurtful, harmful, deleterious, obnoxious, pernicious.)
-
-  AFFECTION—bent, inclination, partiality, attraction, impulse,
-  love, desire, passion, fascination; also suffering, disease,
-  morbidness. (Repulsion, revulsion, antipathy, dislike, recoil,
-  aversion, estrangement, indifference, coldness, alienation; also
-  wholeness, soundness, healthiness.)
-
-  AFFECTIONATE—loving, kind, fond, doting, tender, amiable,
-  cordial, hearty, good-hearted. (Cold, unloving, unkind,
-  heartless, selfish, crabbed, sour, malign, malicious, malevolent,
-  misanthropic, cynical, ill-natured, cruel, hating.)
-
-  AGREEABLE—pleasant, acceptable, grateful, refreshing, genial,
-  pleasing, palatable, sweet, charming, delectable. (Disagreeable,
-  displeasing, unpleasant, ungrateful, harsh, repellent, painful,
-  noxious, plaguy, irritating, annoying, mortifying.)
-
-  ALTERNATING—reciprocal, correlative, interchangeable, by turns,
-  _vice versa_. (Monotonous, unchanging, continual.)
-
-  AMBASSADOR—messenger, envoy, emissary, legate, nuncio,
-  diplomatist, diplomate, representative, vicegerent,
-  plenipotentiary, minister, agent. (Principal, government,
-  sovereign, power.)
-
-  AMEND—improve, correct, better, meliorate, rectify, prune,
-  repair, revise, remedy, reform. (Injure, impair, damage, harm,
-  hurt, mar, mangle, blemish, deteriorate, ruin, spoil.)
-
-  ANGER—resentment, animosity, wrath, indignation, pique, umbrage,
-  huff, displeasure, dungeon, irritation, irascibility, choler,
-  ire, hate. (Kindness, benignity, _bonhomie_, good nature.)
-
-  APPROPRIATE—assimilate, assume, possess oneself of, take, grab,
-  clutch, collar, snap up, capture, steal. (Relinquish, give up,
-  surrender, yield, resign, forego, renounce, abandon, discard,
-  dismiss.)
-
-  ARGUE—reason, discuss, debate, dispute, contend. (Obscure,
-  darken, mystify, mislead, misrepresent, evade, sophisticate.)
-
-  ARISE—rise, ascend, mount, climb, soar, spring, emanate, proceed,
-  issue. (Descend, fall, gravitate, drop, slide, settle, decline,
-  sink, dismount, alight.)
-
-  ARTFUL—cunning, crafty, skilful, wily, designing, politic,
-  astute, knowing, tricky. (Artless, naïve, natural, simple,
-  plain, ingenuous, frank, sincere, open, candid, guileless,
-  straightforward, direct.)
-
-  ARTIFICE—contrivance, stratagem, trick, design, plot,
-  machination, chicanery, knavery, jugglery, guile, jobbery.
-  (Artlessness, candor, openness, simplicity, innocence,
-  ingenuousness.)
-
-  ASSOCIATION—partnership, fellowship, solidarity, league,
-  alliance, combination, coalition, federation, junto, cabal.
-  (Opposition, antagonism, conflict, counteraction, resistance,
-  hinderance, counterplot, detachment, individualism.)
-
-  ATTACK—assault, charge, onset, onslaught, incursion, inroad,
-  bombardment, cannonade. (Defence, protection, guard, ward,
-  resistance, stand, repulse, rebuff, retreat.)
-
-  AUDACITY—boldness, defiance, prowess, intrepidity, mettle, game,
-  pluck, fortitude, rashness, temerity, presumption, foolhardiness,
-  courage, hardihood. (Cowardice, pusillanimity, timidity,
-  meekness, poltroonery, fear, caution, calculation, discretion,
-  prudence.)
-
-  AUSTERE—severe, harsh, rigid, stern, rigorous, uncompromising,
-  inflexible, obdurate, exacting, straight-laced, unrelenting.
-  (Lax, loose, slack, remiss, weak, pliant, lenient, mild,
-  indulgent, easy-going, forbearing, forgiving.)
-
-  AVARICIOUS—tight-fisted, griping, churlish, parsimonious, stingy,
-  penurious, miserly, niggardly, close, illiberal, ungenerous,
-  covetous, greedy, rapacious. (Prodigal, thriftless, improvident,
-  extravagant, lavish, dissipated, freehanded.)
-
-  AVERSION—antipathy, revulsion, repulsion, dislike, recoil,
-  estrangement, alienation, repugnance, disgust, nausea.
-  (Predilection, fancy, fascination, allurement, attraction,
-  magnet.)
-
-  AWE—dread, fear, reverence, prostration, admiration,
-  bewilderment. (Familiarity, indifference, heedlessness,
-  unconcern, contempt, mockery.)
-
-  AXIOM—maxim, aphorism, apophthegm, adage, motto, _dictum_,
-  theorem, truism, proverb, saw. (Absurdity, paradox.)
-
-
-  BABBLE—splash, gurgle, bubble, purl, ripple, prattle, clack,
-  gabble, clash, jabber, twaddle, prate, chatter, blab. (Silence,
-  hush.)
-
-  BAD—depraved, defiled, distorted, corrupt, evil, wicked, wrong,
-  sinful, morbid, foul, peccant, noxious, pernicious, diseased,
-  imperfect, tainted, touched. (Good, whole, sound, healthy,
-  beneficial, salutary, prime, perfect, entire, untouched,
-  unblemished, intact, choice, worthy.)
-
-  BAFFLE—thwart, checkmate, defeat, disconcert, confound, block,
-  outwit, traverse, contravene, frustrate, balk, foil. (Aid,
-  assist, succor, further, forward, expedite, sustain, second,
-  reinforce.)
-
-  BASE—crude, undeveloped, low, villainous, mean, deteriorated,
-  misbegotten, ill-contrived, ill-constituted. (Noble, exalted,
-  lofty, sublime, excellent, elect, choice, aristocratic,
-  exquisite, capital.)
-
-  BEAR—carry, hold, sustain, support, suffer, endure, beget,
-  generate, produce, breed, hatch. (Lean, depend, hang, yield,
-  sterile, unproductive.)
-
-  BEASTLY—bestial, animal, brutal, sensual, gross, carnal,
-  lewd. (Human, humane, virtuous, moral, ethical, intellectual,
-  thoughtful, spiritual.)
-
-  BEAT—strike, smite, thrash, thwack, thump, pummel, drub, leather,
-  baste, belabor, birch, scourge, defeat, surpass, rout, overthrow.
-  (Protect, defend, soothe.)
-
-  BEAUTIFUL—fair, complete, symmetrical, handsome. (Ugly,
-  repulsive, foul.)
-
-  BECOMING—suiting, accordant, fit, seemly. (Discrepant, improper,
-  in bad form.)
-
-  BEG—beseech, crave, entreat. (Offer, proffer.)
-
-  BEHAVIOR—carriage, deportment, conduct.
-
-  BENEFICENT—bountiful, generous, liberal. (Sordid, mercenary.)
-
-  BENEFIT—good, advantage, service. (Loss, detriment, injury.)
-
-  BENEVOLENCE—well-wishing, charity. (Malevolence, malice, hate.)
-
-  BLAME—censure, reproach. (Approve, honor.)
-
-  BLEMISH—flaw, stain, spot, imperfection, defect. (Ornament,
-  decoration, embellishment, adornment, finery, gilding.)
-
-  BLIND—dimsighted, ignorant, uninformed. (Sharp-sighted,
-  enlightened.)
-
-  BLOT—efface, cancel, expunge, erase. (Record.)
-
-  BOLD—brave, daring, fearless, intrepid, courageous. (Cowardly,
-  timid, shy, chicken-hearted.)
-
-  BORDER—margin, boundary, frontier, confine, fringe, hem,
-  selvedge, valance. (Inclosure, interior, inside.)
-
-  BOUND—circumscribe, limit, restrict, confine, enclose; _also_
-  leap, jump, hop, spring, vault, skip. (Enlarge, clear, deliver;
-  _also_ plunge, dip, sink.)
-
-  BRAVE—dare, defy. (Cave in, show the white feather.)
-
-  BREAK—bruise, crush, pound, squeeze, crack, snap, splinter.
-  (Bind, hold together, knit, rivet.)
-
-  BREEZE—blow, zephyr. (Stillness, hush, calm.)
-
-  BRIGHT—shining, lustrous, radiant. (Dull, dim.)
-
-  BRITTLE—frangible, fragile, frail. (Tough.)
-
-  BURIAL—interment, sepulture, obsequies. (Exhumation,
-  disinterment.)
-
-  BUSINESS—occupation, employment, pursuit, vocation, calling,
-  profession, craft, trade. (Leisure, vacation, play.)
-
-  BUSTLE—stir, fuss, ado, flurry. (Quiet, stillness.)
-
-
-  CALAMITY—misfortune, disaster, catastrophe. (Good luck,
-  prosperity.)
-
-  CALM—still, motionless, placid, serene, composed. (Stormy,
-  unsettled, restless, agitated, distracted.)
-
-  CAPABLE—competent, able, efficient. (Unqualified.)
-
-  CAPTIOUS—censorious, cantankerous. (Conciliatory, bland.)
-
-  CARE—solicitude, concern. (Negligence, carelessness,
-  _nonchalance_.)
-
-  CARESS—fondle, love, pet. (Spurn, disdain.)
-
-  CARNAGE—butchery, gore, massacre, slaughter.
-
-  CAUSE—origin, source, ground, reason, motive.
-
-  CENSURE—reprehend, chide. (Approve.)
-
-  CERTAIN—sure, infallible. (Doubtful, dubious.)
-
-  CESSATION—discontinuance, stoppage, rest, halt. (Perseverance,
-  persistence, continuance.)
-
-  CHANCE—accident, luck. (Intention, purpose.)
-
-  ’CHANGE—exchange, _bourse_, mart, emporium.
-
-  CHANGEABLE—mutable, variable, fickle. (Steadfast, firm.)
-
-  CHARACTER—constitution, nature, disposition.
-
-  CHARM—fascination, enchantment, witchery, attraction. (Nuisance,
-  mortification, bore, plague.)
-
-  CHASTITY—purity, virtue. (Concupiscence.)
-
-  CHEAP—inexpensive, worthless. (Dear, costly.)
-
-  CHEERFUL—blithe, lightsome, brisk, sprightly. (Melancholy,
-  sombre, morose, gloomy, sad.)
-
-  CHIEF—sachem, head, ruler. (Vassal, henchman.)
-
-  CIRCUMSTANCE—situation, predicament.
-
-  CLASS—division, category, department, order, kind, sort, genus,
-  species, variety.
-
-  CLEVER—adroit, dexterous, expert, deft, ready, smart. (Awkward,
-  dull, shiftless, clumsy.)
-
-  CLOTHED—dressed, arrayed, apparelled. (Disrobed, stripped.)
-
-  COARSE—crude, unrefined. (Refined, cultivated.)
-
-  COAX—cajole, wheedle, fawn, lure, induce, entice. (Dissuade,
-  indispose, warn, admonish.)
-
-  COLD—frigid, chill, inclement. (Hot, glowing.)
-
-  COLOR—hue, tint, tinge, tincture, dye, shade, stain. (Pallor,
-  paleness, wanness, blankness, achromatism, discoloration.)
-
-  COMBINATION—coalescence, fusion, faction, coalition, league.
-  (Dissolution, rupture, schism.)
-
-  COMMAND—empire, rule. (Anarchy, license.)
-
-  COMMODITY—goods, effects, merchandise, stock.
-
-  COMMON—general, ordinary, mean, base. (Rare, exceptional, unique.)
-
-  COMPASSION—pity, commiseration, sympathy. (Cruelty, severity.)
-
-  COMPEL—force, coerce, oblige, necessitate, make, constrain. (Let
-  alone, tolerate.)
-
-  COMPENSATION—amends, atonement, requital. (Withholding.)
-
-  COMPENDIUM—abstract, epitome, digest. (Amplification, expansion.)
-
-  COMPLAIN—lament, murmur, regret, repine, deplore. (Rejoice,
-  exult, boast, brag, chuckle.)
-
-  COMPLY—consent, yield, acquiesce. (Refuse, deny, decline.)
-
-  COMPOUND, _a._—composite, complex, blended. (Simple, elementary.)
-
-  COMPREHEND—comprise, contain, embrace, include, enclose, grasp.
-  (Exclude, reject, mistake, eliminate, loss.)
-
-  CONCEAL—hide, secrete, cover, screen, shroud, veil, disguise.
-  (Publish, report, divulge.)
-
-  CONCEIVE—grasp, apprehend, devise, invent. (Ignorant of.)
-
-  CONCLUSION—result, finding. (Undetermined.)
-
-  CONDEMN—convict, find guilty, sentence, doom. (Acquit.)
-
-  CONDUCT, _v._—direct, manage, govern. (Follow, obey, submit.)
-
-  CONFIRM—corroborate, ratify, endorse, support, uphold. (Weaken,
-  enfeeble, reduce.)
-
-  CONFLICT—contend, contest, wrestle, tussle, clash, wrangle.
-  (Harmonize, agree, fraternize, concur.)
-
-  CONFUTE—refute, disprove. (Demonstrate.)
-
-  CONQUER—defeat, vanquish, overcome. (Fail, be beaten, lose.)
-
-  CONSEQUENCE—effect, derivation, result, event, issue. (Cause,
-  origin, source, antecedent.)
-
-  CONSIDER—reflect, deliberate. (Forget, ignore.)
-
-  CONSISTENT—accordant, concordant, compatible, consonant,
-  congruous, reconcilable, harmonious. (Discordant, discrepant.)
-
-  CONSOLE—relieve, soothe, comfort. (Embitter.)
-
-  CONSTANCY—continuance, tenacity, stability. (Irresolution,
-  fickleness.)
-
-  CONTAMINATE—Pollute, stain, taint, tarnish, blur, smudge, defile.
-  (Cleanse, purify, purge.)
-
-  CONTEMN—despise, disdain, scorn. (Esteem, appreciate, admire.)
-
-  CONTEMPLATE—survey, scan, observe, intend. (Disregard.)
-
-  CONTEMPTIBLE—despicable, paltry, shabby, beggarly, worthless,
-  vile, cheap, trashy. (Estimable.)
-
-  CONTEND—fight, wrangle, vie. (Be at peace.)
-
-  CONTINUAL—perpetual, endless, ceaseless. (Momentary, transient.)
-
-  CONTINUE—remain, persist, endure. (Desist, stay.)
-
-  CONTRADICT—deny, gainsay, oppose. (Affirm, assert, declare.)
-
-  CORRECT—mend, rectify. (Impair, muddle.)
-
-  COST—expense, charge, price, value.
-
-  COVETOUSNESS—avarice, cupidity, extortion. (Generosity,
-  liberality.)
-
-  COWARDICE—poltroonery, faint-heartedness. (Courage, boldness,
-  intrepidity.)
-
-  CRIME—offence, trespass, misdemeanor, felony, transgression.
-  (Innocence, guiltlessness.)
-
-  CRIMINAL—culprit, felon, convict. (Paragon.)
-
-  CROOKED—twisted, distorted, bent, awry, wry, askew, deformed.
-  (Straight, upright.)
-
-  CRUEL—brutal, ferocious, barbarous, blood-thirsty, fiendish.
-  (Kind, benignant, benevolent.)
-
-  CULTIVATION—tillage, culture. (Waste.)
-
-  CURSORY—fugitive, hurried, perfunctory. (Permanent, thorough.)
-
-  CUSTOM—habit, wont, usage, fashion, practice.
-
-
-  DANGER—peril, hazard, jeopardy. (Safety.)
-
-  DARK—obscure, sombrous, opaque, unintelligible. (Light, luminous,
-  shining, clear, lucid.)
-
-  DEADLY—mortal, fatal, destructive, lethal.
-
-  DEAR—costly, precious, high-priced, beloved, darling, pet,
-  favorite. (Cheap, disliked, despised.)
-
-  DEATH—decease, demise, dissolution. (Birth, life.)
-
-  DECAY, _n._—decline, consumption, atrophy. (Development, growth.)
-
-  DECEIVE—cheat, defraud, cozen, overreach, gull, dupe, swindle,
-  victimize. (Truthfulness.)
-
-  DECEIT, _n._—imposition, fraud, deception. (Veracity, honesty.)
-
-  DECIDE—determine, resolve, conclude, settle, adjudicate,
-  arbitrate, terminate. (Hesitate, dilly-dally, shuffle.)
-
-  DECIPHER—interpret, explain, construe, unravel. (Mistake,
-  confound.)
-
-  DECISION—determination, conclusion, firmness. (Wavering,
-  hesitancy.)
-
-  DECLAMATION—harangue, oration, recitation, tirade, speech.
-
-  DECLARATION—affirmation, assertion. (Denial.)
-
-  DECREASE—diminish, lessen, reduce, wane, decline. (Increase,
-  grow, enlarge.)
-
-  DEDICATE—consecrate, devote, offer, apportion.
-
-  DEED—act, transaction, exploit, document.
-
-  DEEM—judge, estimate, consider, esteem, suppose.
-
-  DEEP—profound, abtruse, hidden, extraordinarily wise. (Shallow,
-  superficial.)
-
-  DEFACE—mar, spoil, injure, disfigure. (Beautify.)
-
-  DEFAULT—shortcoming, deficiency, defect, imperfection.
-  (Sufficiency, satisfaction.)
-
-  DEFENCE—fortification, bulwark, vindication, justification,
-  apology.
-
-  DEFEND—shield, vindicate. (Assault, accuse.)
-
-  DEFICIENT—incomplete, lacking. (Entire, perfect, whole.)
-
-  DEFILE—soil, smutch, besmear, begrime.
-
-  DEFINE—limit, bound. (Enlarge, expand.)
-
-  DEFRAY—pay, settle, liquidate, satisfy, clear.
-
-  DEGREE—grade, extent, measure, ratio, standard.
-
-  DELIBERATE, _a._—circumspect, wary, cautious. (Heedless,
-  thoughtless.)
-
-  DELICACY—nicety, dainty, tit-bit, taste, refinement, modesty.
-  (Grossness, coarseness, vulgarity, indecorum.)
-
-  DELICATE—dainty, refined. (Coarse, beastly.)
-
-  DELICIOUS—savory, palatable, luscious, charming, delightful.
-  (Offensive, nasty, odious, shocking, nauseous.)
-
-  DELIGHT—gratification, felicity. (Mortification, vexation.)
-
-  DELIVER—transfer, consign, utter, liberate, declare. (Keep,
-  retain, restrain, check, bridle.)
-
-  DEMONSTRATE—prove, show, manifest. (Mystify, obscure.)
-
-  DEPART—quit, vacate, retire, withdraw, remove.
-
-  DEPRIVE—strip, bereave, despoil. (Invest, equip.)
-
-  DEPUTE—commission, delegate, accredit, entrust.
-
-  DERISION—ridicule, scoffing, mockery, raillery, chaff,
-  _badinage_. (Awe, dread, reverence.)
-
-  DERIVATION—origin, source, spring, emanation, etymology.
-
-  DESCRIBE—delineate, portray, style, specify, characterize.
-
-  DESECRATE—profane, blaspheme, revile. (Consecrate, sanctify.)
-
-  DESERVE—merit, be entitled to, earn, justify.
-
-  DESIGN, _n._—delineation, illustration, sketch, plan, drawing,
-  portraiture, draught, projection, scheme, proposal, outline.
-
-  DESIRABLE—eligible, suitable, acceptable. (Unfit, objectionable.)
-
-  DESIRE, _n._—wish, longing, hankering, appetite.
-
-  DESOLATE, _a._—lonely, solitary, bereaved, forlorn, forsaken,
-  deserted, bleak, dreary. (Befriended, social, festive.)
-
-  DESPERATE—frenzied, frantic, furious. (Calm, composed, moderate.)
-
-  DESTINY—fatality, doom, predestination, decree, fate. (Casualty,
-  accident, contingency, chance.)
-
-  DESTRUCTIVE—mischievous, disastrous, deleterious. (Creative,
-  beneficial.)
-
-  DESUETUDE—disuse, discontinuance. (Use, habit, practice.)
-
-  DESULTORY—immethodical, disconnected, rambling, discontinuous,
-  interrupted, fitful, intermittent. (Continuous, consecutive,
-  constant.)
-
-  DETAIL, _n._—particular, item, count, specialty, individuality.
-
-  DETAIL, _v._—particularize, enumerate, specify. (Generalize.)
-
-  DETER—discourage, dissuade. (Encourage, incite.)
-
-  DETRIMENT—damage, loss. (Benefit, improvement, betterment.)
-
-  DEVELOP—unfold, expand, increase. (Extirpate.)
-
-  DEVOID—wanting, destitute, bereft, denuded, bare, emptied, void.
-  (Provided, supplied, furnished.)
-
-  DEVOTED—destined, consecrated, sworn to.
-
-  DICTATE—enjoin, order, prescribe, mark out.
-
-  DICTATORIAL—authoritative, imperative, overbearing, imperious,
-  arbitrary, domineering.
-
-  DIE—expire, perish, depart this life, cease.
-
-  DIET—food, victuals, nourishment, aliment, board, sustenance,
-  fare, viands, meal, repast, _menu_.
-
-  DIFFER—vary, diverge, disagree, bicker, nag, split. (Accord,
-  harmonize.)
-
-  DIFFERENT—various, diverse, unlike. (Identical.)
-
-  DIFFICULT—hard, tough, laborious, arduous, formidable. (Easy,
-  facile, manageable, pliant.)
-
-  DIFFUSE—discursive, digressive, diluted. (Condensed, concise,
-  terse.)
-
-  DIGNIFY—elevate, exalt, ennoble, honor, advance, promote.
-  (Degrade, disgrace, demean, vulgarize.)
-
-  DILATE—widen, extend, enlarge, expand, descant, expatiate.
-  (Contract, narrow, compress, reduce.)
-
-  DILATORY—slow, tardy, slow-paced, procrastinating, lagging,
-  dawdling. (Prompt, peremptory, quick, instant.)
-
-  DILIGENCE—zeal, ardor, assiduity. (Indolence.)
-
-  DIMINISH—lessen, reduce, curtail, retrench, bate, abate, shorten,
-  contract. (Increase, augment, aggrandize, enlarge.)
-
-  DISABILITY—incapacity, unfitness. (Power.)
-
-  DISCERN—descry, perceive, distinguish, espy, scan, recognize,
-  understand, discriminate. (Ignore.)
-
-  DISCIPLINE—order, training, drill, schooling. (Laxity, disorder,
-  confusion, anarchy.)
-
-  DISCOVER—detect, find, unveil, reveal, open, expose, publish,
-  disclose. (Cover, conceal, hide.)
-
-  DISCREDITABLE—disreputable, reprehensible, blameworthy, shameful,
-  scandalous, flagrant. (Exemplary, laudable, commendable.)
-
-  DISCREET—prudent, politic, cautious, wary, guarded, judicious.
-  (Reckless, heedless, rash, unadvised, foolhardy, precipitate.)
-
-  DISCREPANCY—disagreement, discordance, incongruity, disparity,
-  unfitness, clash, jar. (Concord, unison, harmony, congruity.)
-
-  DISCRIMINATION—distinction, differentiation, discernment,
-  appreciation, acuteness, judgment, tact, nicety. (Confusion.)
-
-  DISEASE—illness, sickness, ailment, indisposition, complaint,
-  malady, disorder. (Health, sanity, soundness, robustness.)
-
-  DISGRACE, _n._—stigma, reproach, brand, dishonor, shame, scandal,
-  odium, infamy. (Honor.)
-
-  DISGUST—distaste, loathing, nausea, aversion, revulsion,
-  abhorrence. (Predilection, partiality, inclination, bias.)
-
-  DISHONEST—fraudulent, unfair, tricky, unjust. (Straightforward,
-  open, sincere, honest, fair, right, just, impartial.)
-
-  DISMAY, _v._—alarm, startle, scare, frighten, affright, terrify,
-  astound, appal, daunt. (Assure, cheer.)
-
-  DISMAY, _n._—terror, dread, fear, fright. (Courage.)
-
-  DISMISS—send off, discharge, disband. (Instal, retain, keep.)
-
-  DISPEL—scatter, disperse, dissipate, drive off, chase. (Collect,
-  rally, summon, gather.)
-
-  DISPLAY, _v._—exhibit, show, parade. (Conceal.)
-
-  DISPOSE—arrange, place, order, marshal, rank, group, assort,
-  distribute, co-ordinate, collocate. (Derange, embroil, jumble,
-  muddle, huddle.)
-
-  DISPUTE, _v._—discuss, debate, wrangle, controvert, contend.
-  (Homologate, acquiesce in, assent to.)
-
-  DISPUTE, _n._—argument, controversy, contention, polemic.
-  (Homologation, acquiescence.)
-
-  DISTINCT—separate, detached. (Joined, involved.)
-
-  DISTINGUISH—perceive, separate. (Confound.)
-
-  DISTINGUISHED—famous, noted, marked, eminent, celebrated,
-  illustrious. (Obscure, mean.)
-
-  DISTRACT—divert, disconcert, perplex, bewilder, fluster, dazzle.
-  (Observe, study, note, mark.)
-
-  DISTRIBUTE—disperse, disseminate, dispense, retail, apportion,
-  consign, dole out. (Accumulate.)
-
-  DISTURB—derange, displace, unsettle, trouble, vex, worry, annoy.
-  (Compose, pacify, quiet, soothe.)
-
-  DIVIDE—disjoin, part, separate, sunder, sever, cleave, split,
-  rend, partition, distribute. (Constitute, unite.)
-
-  DIVINE, _a._—God-like, holy, heavenly. (Devilish.)
-
-  DIVINE, _n._—clergyman, churchman, priest, pastor, shepherd,
-  parson, minister. (Layman.)
-
-  DO—effect, make, accomplish, transact, act.
-
-  DOCILE—teachable, willing. (Refractory, stubborn, obstinate.)
-
-  DOCTRINE—teaching, lore, tenet, dogma, articles of faith, creed.
-  (Ignorance, superstition.)
-
-  DOLEFUL—woeful, dismal. (Joyous, merry.)
-
-  DOOM, _n._—sentence, fate, lot, destiny, decree.
-
-  DOUBT—uncertainty, skepticism, hesitation. (Certainty, faith.)
-
-  DRAW—pull, attract, inhale, sketch, delineate.
-
-  DREAD, _n._—fear, horror, alarm, terror, dismay, apprehension.
-  (Confidence, fearlessness.)
-
-  DREADFUL—fearful, alarming, formidable, portentous, direful,
-  terrible, horrid, awful. (Mild, winsome, gentle.)
-
-  DRESS, _n._—clothing, raiment, attire, apparel, clothes,
-  _trousseau_. (Nudity, nakedness.)
-
-  DRIFT—tendency, direction, course, bearing, tenor.
-
-  DROLL—funny, laughable, grotesque, farcical, odd. (Dull, serious,
-  solemn, grave.)
-
-  DRY, _a._—arid, parched, bald, flat, dull. (Aqueous, green,
-  fresh, juicy, interesting.)
-
-  DUE—owing, indebted, just, fair, proper.
-
-  DULL—heavy, sad, commonplace, gloomy, stupid. (Bright, gay,
-  brilliant.)
-
-  DUNCE—blockhead, ignoramus, simpleton, donkey, ninny, dolt,
-  booby, goose, dullard, numskull, dunderpate, clodhopper. (Sage,
-  genius, man of talent, wit.)
-
-  DURABLE—abiding, lasting. (Evanescent.)
-
-  DWELL—stay, abide, sojourn, remain, tarry, stop. (Shift, wander,
-  remove, tramp.)
-
-  DWINDLE—pine, waste, shrink, shrivel, diminish.
-
-
-  EAGER—keen, desirous, craving, ardent, impatient, intent,
-  impetuous. (Loth, reluctant.)
-
-  EARN—gain, win, acquire. (Lose, miss, forfeit.)
-
-  EARNEST, _a._—serious, resolved. (Trifling, giddy, irresolute,
-  fickle.)
-
-  EARNEST, _n._—pledge, gage, deposit, caution.
-
-  EASE, _n._—content, rest, satisfaction, comfort, repose. (Worry,
-  bother, friction, agitation, turmoil.)
-
-  EASE, _v._—calm, console, appease, assuage, allay, mitigate.
-  (Worry, fret, alarm, gall, harass.)
-
-  EASY—light, comfortable, unconstrained. (Hard, difficult,
-  embarrassed, constrained.)
-
-  ECCENTRIC—wandering, irregular, peculiar, odd, unwonted,
-  extraordinary, queer, nondescript. (Orderly, customary.)
-
-  ECONOMICAL—frugal, thrifty, provident. (Squandering, wasteful.)
-
-  EDGE—verge, brink, brim, rim, skirt, hem.
-
-  EFFECT, _v._—produce, bring about, execute.
-
-  EFFECTIVE—efficient, operative, powerful, efficacious, competent.
-  (Impotent, incapable, incompetent, inefficient.)
-
-  EFFICACY—efficiency, virtue, competence, agency, instrumentality.
-
-  ELIMINATE—expel, weed, thin, decimate, exclude, bar, reject,
-  repudiate, winnow, eject, cast out. (Include, comprehend,
-  incorporate, embrace.)
-
-  ELOQUENCE—oratory, rhetoric, declamation, facundity,
-  grandiloquence, fluency. (Mumbling, stammering.)
-
-  ELUCIDATE—clear up, unfold, simplify, explain, decipher, unravel,
-  disentangle. (Darken, obscure.)
-
-  ELUDE—escape, avoid, shun, slip, disappear, shirk.
-
-  EMBARRASS—perplex, entangle, involve, impede. (Relieve, unravel.)
-
-  EMBELLISH—adorn, decorate, beautify. (Tarnish, disfigure.)
-
-  EMBOLDEN—animate, encourage, cheer, instigate, impel, urge,
-  stimulate. (Discourage, dispirit, dampen, depress.)
-
-  EMINENT—exalted, lofty, prominent, renowned, distinguished,
-  famous, glorious, illustrious. (Base, obscure, low, unknown.)
-
-  EMIT—send out, despatch, spirt, publish, promulgate, edit.
-  (Reserve, conceal, hide.)
-
-  EMOTION—feeling, sensation, pathos, nerve, ardor, agitation,
-  excitement. (Apathy, frigidity, phlegm, _nonchalance_.)
-
-  EMPLOY—occupy, engage, utilize, exercise, turn to account,
-  exploit, make use of.
-
-  ENCOMPASS—encircle, surround, gird, beset.
-
-  ENCOUNTER, _v._—meet, run against, clash.
-
-  ENCOUNTER, _n._—attack, conflict, assault, onset, engagement.
-
-  END, _n._—object, aim, result, purpose, conclusion, upshot,
-  termination. (Beginning, motive.)
-
-  ENDEAVOR, _v._—attempt, try, essay, strive.
-
-  ENDURANCE—stay, stability, stamina, fortitude.
-
-  ENDURE—sustain, bear, brook, undergo.
-
-  ENEMY—foe, antagonist, adversary, opponent. (Friend, ally.)
-
-  ENERGETIC—active, vigorous, sinewy, nervous, forcible. (Lazy,
-  languid, inert, flabby, flaccid, slack, effete.)
-
-  ENGAGE—occupy, busy, entice, captivate.
-
-  ENGROSS—monopolize, absorb, take up.
-
-  ENGULF—swallow up, drown, submerge, bury.
-
-  ENJOIN—order, command, decree, ordain, direct, appoint,
-  prescribe, bind, impose, stipulate.
-
-  ENJOYMENT—pleasure, relish, zest. (Privation, grief, misery.)
-
-  ENLARGE—expand, widen, augment, broaden, increase, extend.
-  (Diminish, narrow, straighten.)
-
-  ENLIGHTEN—illumine, instruct. (Darken, befog, mystify.)
-
-  ENLIVEN—cheer, animate, exhilarate, brighten, incite, inspire.
-  (Sadden, deaden, mortify.)
-
-  ENMITY—hostility, hatred, antipathy, aversion, detestation.
-  (Love, fondness, predilection.)
-
-  ENORMOUS—huge, immense, vast, stupendous, monstrous, gigantic,
-  colossal, elephantine. (Tiny, little, minute, puny, petty,
-  diminutive, infinitesimal, dwarfish.)
-
-  ENOUGH—sufficient, adequate. (Short, scrimp, insufficient.)
-
-  ENRAGED—infuriated, wrathful, wroth, rabid, mad, raging.
-  (Pacified, calmed, lulled, assuaged.)
-
-  ENRAPTURE—captivate, fascinate, enchant, bewitch, ravish,
-  transport, entrance. (Irritate, gall, shock, repel.)
-
-  ENROLL—enlist, register, enter, record.
-
-  ENTERPRISE—undertaking, endeavor, adventure, pursuit.
-
-  ENTHUSIASM—ardor, zeal, glow, unction, fervor. (Coolness,
-  indifference, apathy, _nonchalance_.)
-
-  ENTHUSIAST—visionary, fanatic, devotee, zealot.
-
-  EQUAL—even, level, co-ordinate, balanced, alike, equable,
-  equitable. (Unequal, disproportionate.)
-
-  ERADICATE—root out, extirpate. (Cherish.)
-
-  ERRONEOUS—fallacious, inaccurate, incorrect, untrue, false,
-  inexact. (Accurate, just, right.)
-
-  ERROR—mistake, blunder, slip, delusion, fallacy, deception.
-  (Truth, fact, verity, gospel, veracity.)
-
-  ESPECIALLY—chiefly, particularly, peculiarly.
-
-  ESSAY—endeavor, experiment, trial, attempt, venture,
-  dissertation, treatise, disquisition, tract.
-
-  ESTABLISH—settle, fix, set, plant, pitch, lay down, confirm,
-  authenticate, substantiate, verify.
-
-  ESTEEM, _n._—value, appreciation, honor, regard. (Contempt,
-  depreciation, disparagement.)
-
-  ESTIMATE, _v._—value, assess, rate, appraise, gauge.
-
-  ETERNAL—everlasting, perpetual, endless, immortal, infinite.
-  (Finite, transitory, temporary.)
-
-  EVADE—avoid, shun, elude, dodge, parry.
-
-  EVEN—plain, flat, level, smooth. (Uneven, rough, indented,
-  protuberant.)
-
-  EVENT—occurrence, incident, affair, transaction, contingency.
-
-  EVIL—ill, harm, mischief, disaster, bane, calamity, catastrophe.
-  (Good, benefit, advantage, boon.)
-
-  EXACT, _a._—precise, literal, particular, correct.
-
-  EXAMINATION—investigation, inquiry, search, research, scrutiny,
-  exploration, test, sitting, trial.
-
-  EXCEED—excel, outdo, transcend, surpass.
-
-  EXCEPTIONAL—uncommon, unusual, rare, extraordinary. (General,
-  ordinary, regular, normal.)
-
-  EXCITE—urge, rouse, stir, awaken. (Assuage, calm, still,
-  tranquilize.)
-
-  EXCURSION—tour, trip, expedition, ramble.
-
-  EXEMPT—free, absolved, cleared, discharged. (Implicated,
-  included, bound, obliged.)
-
-  EXERCISE, _n._—operation, practice, office, action, performance.
-  (Stagnation, rest, stoppage.)
-
-  EXHAUSTIVE—complete, thorough, out-and-out.
-
-  EXIGENCY—predicament, emergency, crisis, push, pass, turning
-  point, conjecture.
-
-  EXPRESS, _v._—utter, tell, declare, signify.
-
-  EXTRAVAGANT—excessive, prodigal, profuse, wasteful, lavish,
-  thriftless. (Penurious, stingy.)
-
-
-  FABLE—parable, tale, myth, romance. (Truth, fact, history, event,
-  deed.)
-
-  FACE—aspect, visage, countenance.
-
-  FACETIOUS—pleasant, jocular. (Serious.)
-
-  FACTOR—manager, agent, officer.
-
-  FAIL—fall short, be deficient. (Accomplish.)
-
-  FAINT—feeble, languid. (Forcible.)
-
-  FAIR—clear. (Stormy.)
-
-  FAIR—equitable, honest, reasonable. (Unfair.)
-
-  FAITH—creed. (Unbelief, infidelity.)
-
-  FAITHFUL—true, loyal, constant. (Faithless.)
-
-  FAITHLESS—perfidious, treacherous. (Faithful.)
-
-  FALL—drop, droop, sink, tumble. (Rise.)
-
-  FAME—renown, reputation.
-
-  FAMOUS—celebrated, renowned. (Obscure.)
-
-  FANCIFUL—capricious, fantastical, whimsical.
-
-  FANCY—imagination.
-
-  FAST—rapid, quick, fleet, expeditious. (Slow.)
-
-  FATIGUE—weariness, lassitude. (Vigor.)
-
-  FEAR—timidity, timorousness. (Bravery.)
-
-  FEELING—sensation, sense.
-
-  FEELING—sensibility. (Insensibility.)
-
-  FEROCIOUS—fierce, savage, wild. (Mild.)
-
-  FERTILE—fruitful, prolific, plenteous. (Sterile.)
-
-  FICTION—falsehood, fabrication. (Fact.)
-
-  FIGURE—allegory, emblem, metaphor, symbol, picture, type.
-
-  FIND—descry, discover, espy. (Lose, overlook.)
-
-  FINE, _a._—delicate, nice. (Coarse.)
-
-  FINE, _n._—forfeit, forfeiture, mulct, penalty.
-
-  FIRE—glow, heat, warmth.
-
-  FIRM—constant, solid, steadfast, fixed. (Weak.)
-
-  FIRST—foremost, chief, earliest. (Last.)
-
-  FIT—accommodate, adapt, adjust, suit.
-
-  FIX—determine, establish, settle, limit.
-
-  FLAME—blaze, flare, flash, glare.
-
-  FLAT—level, even.
-
-  FLEXIBLE—pliant, pliable, ductile. (Inflexible.)
-
-  FLOURISH—prosper, thrive. (Decay.)
-
-  FLUCTUATING—wavering, hesitating, oscillating, vacillating,
-  change. (Firm, steadfast, decided.)
-
-  FLUENT—flowing, glib, voluble, unembarrassed, ready. (Hesitating.)
-
-  FOLKS—persons, people, individuals.
-
-  FOLLOW—succeed, ensue, imitate, copy, pursue.
-
-  FOLLOWER—partisan, disciple, adherent, retainer, pursuer,
-  successor.
-
-  FOLLY—silliness, foolishness, imbecility, weakness. (Wisdom.)
-
-  FOND—enamored, attached, affectionate. (Distant.)
-
-  FONDNESS—affection, attachment, kindness, love. (Aversion.)
-
-  FOOLHARDY—venturesome, incautious, hasty, adventurous, rash.
-  (Cautious.)
-
-  FOOLISH—simple, silly, irrational, brainless, imbecile, crazy,
-  absurd, preposterous, ridiculous, nonsensical. (Wise, discreet.)
-
-  FOP—dandy, dude, beau, coxcomb, puppy, jackanapes. (Gentleman.)
-
-  FORBEAR—abstain, refrain, withhold.
-
-  FORCE, _n._—strength, vigor, dint, might, energy, power,
-  violence, army, host.
-
-  FORCE, _v._—compel. (Persuade.)
-
-  FORECAST—forethought, foresight, premeditation, prognostication.
-
-  FOREGO—quit, relinquish, let go, waive.
-
-  FOREGOING—antecedent, anterior, preceding, previous, prior,
-  former.
-
-  FORERUNNER—herald, harbinger, precursor.
-
-  FORESIGHT—forethought, forecast, premeditation.
-
-  FORGE—coin, invent, frame, feign, fabricate.
-
-  FORGIVE—pardon, remit, absolve, acquit, excuse.
-
-  FORLORN—forsaken, abandoned, deserted, desolate, lone, lonesome.
-
-  FORM, _n._—ceremony, solemnity, observance, rite, figure, shape,
-  conformation, fashion, appearance, representation, semblance.
-
-  FORM, _v._—make, create, produce, constitute, arrange, fashion,
-  mould, shape.
-
-  FORMAL—ceremonious, precise, exact, stiff, methodical, affected.
-  (Informal, natural.)
-
-  FORMER—antecedent, anterior, previous, prior, preceding,
-  foregoing.
-
-  FORSAKEN—abandoned, forlorn, deserted, desolate, lone, lonesome.
-
-  FORTHWITH—immediately, directly, instantly, instantaneously.
-  (Anon.)
-
-  FORTITUDE—endurance, resolution, fearlessness, dauntlessness.
-  (Weakness.)
-
-  FORTUNATE—lucky, happy, auspicious, successful, prosperous.
-  (Unfortunate.)
-
-  FORTUNE—chance, fate, luck, doom, possession, destiny, property,
-  riches.
-
-  FOSTER—cherish, nurse, tend, harbor. (Neglect.)
-
-  FOUL—impure, nasty, filthy, dirty, unclean, defiled. (Pure,
-  clean.)
-
-  FRACTIOUS—cross, captious, petulant, splenetic, touchy, testy,
-  peevish, fretful. (Tractable.)
-
-  FRAGILE—brittle, frail, delicate, feeble. (Strong.)
-
-  FRAGMENTS—pieces, scraps, leavings, remnants, chips, remains.
-
-  FRAILTY—weakness, failing, foible, imperfection, fault, blemish.
-  (Strength.)
-
-  FRAME, _v._—construct, invent, coin, fabricate, feign, forge,
-  mold, make, compose.
-
-  FRANCHISE—right, exemption, immunity, privilege, freedom,
-  suffrage.
-
-  FRANK—artless, candid, sincere, free, easy, open, familiar,
-  ingenious, plain. (Tricky, insincere.)
-
-  FRANTIC—distracted, furious, raving, frenzied, mad. (Quiet,
-  subdued.)
-
-  FRAUD—deceit, deception, duplicity, guile, cheat, imposition.
-  (Honesty.)
-
-  FREAK—fancy, humor, vagary, whim, caprice, crochet. (Purpose,
-  resolution.)
-
-  FREE, _a._—liberal, generous, bountiful, bounteous, munificent,
-  frank, artless, candid, familiar, open, independent, unconfined,
-  unreserved, unrestricted, exempt, clear, loose, easy, careless.
-  (Slavish, stingy, artful, costly.)
-
-  FREE, _v._—release, set free, deliver, rescue, liberate,
-  enfranchise, affranchise, emancipate, exempt. (Enslave, bind.)
-
-  FREEDOM—liberty, independence, unrestraint, familiarity,
-  franchise, exemption. (Slavery.)
-
-  FREQUENT—often, common, general. (Rare.)
-
-  FRET—gall, chafe, agitate, irritate, vex.
-
-  FRIENDLY—amicable, social, sociable. (Distant, reserved, cool.)
-
-  FRIGHTFUL—fearful, dreadful, dire, direful, awful, terrific,
-  horrible, horrid.
-
-  FRIVOLOUS—trifling, trivial, petty. (Serious.)
-
-  FRUGAL—provident, economical, saving. (Wasteful, extravagant.)
-
-  FRUITFUL—fertile, prolific, productive, abundant, plentiful,
-  plenteous. (Barren, sterile.)
-
-  FRUITLESS—vain, useless, idle, bootless, unavailing, without
-  avail.
-
-  FRUSTRATE—defeat, foil, balk, disappoint.
-
-  FULFILL—accomplish, effect, complete.
-
-  FULLY—completely, abundantly, perfectly.
-
-  FULSOME—coarse, gross, sickening, offensive, rank. (Moderate.)
-
-  FURIOUS—violent, boisterous, vehement, dashing, sweeping,
-  rolling, impetuous, frantic, distracted, stormy, angry, raging,
-  fierce. (Calm.)
-
-  FUTILE—trifling, trivial, frivolous. (Effective.)
-
-
-  GAIN, _n._—profit, emolument, advantage, benefit, winnings,
-  earnings. (Loss.)
-
-  GAIN, _v._—get, acquire, obtain, attain, procure, earn, win,
-  achieve, reap, realize, reach. (Lose.)
-
-  GALLANT—brave, bold, courageous, gay, showy, fine, intrepid,
-  fearless, heroic.
-
-  GALLING—chafing, irritating. (Soothing.)
-
-  GAME—play, pastime, diversion, amusement.
-
-  GANG—band, horde, company, troop, crew.
-
-  GAP—breach, chasm, hollow, cavity, cleft, crevice, rift, chink.
-
-  GARNISH—embellish, adorn, beautify, decorate.
-
-  GATHER—pick, cull, assemble, muster, infer, collect. (Scatter.)
-
-  GAUDY—showy, flashy, tawdry, gay, glittering, bespangled.
-  (Sombre.)
-
-  GAUNT—emaciated, scraggy, skinny, meagre, lank, attenuated,
-  spare, lean, thin. (Well-fed.)
-
-  GAY—cheerful, merry, lively, jolly, sprightly, blithe. (Solemn.)
-
-  GENERATE—form, make, beget, produce.
-
-  GENERATION—formation, race, breed, stock, kind, age, era.
-
-  GENEROUS—beneficent, noble, honorable, bountiful, liberal, free.
-  (Niggardly.)
-
-  GENIAL—cordial, hearty, festive. (Distant, cold.)
-
-  GENIUS—intellect, invention, talent, taste, nature, character,
-  adept.
-
-  GENTEEL—refined, polished, fashionable, polite, well-bred.
-  (Boorish.)
-
-  GENTLE—placid, mild, bland, meek, tame, docile. (Rough, uncouth.)
-
-  GENUINE—real, true, unaffected. (False.)
-
-  GESTURE—attitude, action, posture.
-
-  GET—obtain, earn, gain, attain, procure, achieve.
-
-  GHASTLY—pallid, wan, hideous, grim, shocking.
-
-  GHOST—spectre, sprite, apparition, phantom.
-
-  GIBE—scoff, sneer, flout, jeer, mock, taunt, deride.
-
-  GIDDY—unsteady, thoughtless. (Steady.)
-
-  GIFT—donation, benefaction, grant, alms, gratuity, boon, present,
-  faculty, talent. (Purchase.)
-
-  GIGANTIC—colossal, huge, enormous, prodigious, vast, immense.
-  (Diminutive.)
-
-  GIVE—grant, bestow, confer, yield, impart.
-
-  GLAD—pleased, cheerful, joyful, gladsome, cheering, gratified.
-  (Sad.)
-
-  GLEAM—glimmer, glance, glitter, shine, flash.
-
-  GLEE—gayety, merriment, mirth, joviality, joy, hilarity. (Sorrow.)
-
-  GLIDE—slip, slide, run, roll on.
-
-  GLIMMER, _v._—gleam, flicker, glitter.
-
-  GLIMPSE—glance, look, glint.
-
-  GLITTER—gleam, shine, glisten, glister, radiate.
-
-  GLOOM—cloud, darkness, dimness, blackness, dullness, sadness.
-  (Light, brightness, joy.)
-
-  GLOOMY—lowering, lurid, dim, dusky, sad, glum. (Bright, clear.)
-
-  GLORIFY—magnify, celebrate, adore, exalt.
-
-  GLORIOUS—famous, renowned, distinguished, exalted, noble.
-  (Infamous.)
-
-  GLORY—honor, fame, renown, splendor, grandeur. (Infamy.)
-
-  GLUT—gorge, stuff, cram, cloy, satiate, block up.
-
-  GO—depart, proceed, move, budge, stir.
-
-  GOD—Creator, Lord, Almighty, Jehovah, Omnipotence, Providence.
-
-  GODLY—righteous, devout, holy, pious, religious.
-
-  GOOD—benefit, weal, advantage, profit. (Evil.)
-
-  GOOD, _a._—virtuous, righteous, upright, just, true. (Wicked,
-  bad.)
-
-  GORGE—glut, fill, cram, stuff, satiate.
-
-  GORGEOUS—superb, grand, magnificent, splendid. (Plain, simple.)
-
-  GOVERN—rule, direct, manage, command.
-
-  GOVERNMENT—rule, state, control, sway.
-
-  GRACEFUL—becoming, comely, elegant, beautiful. (Awkward.)
-
-  GRACIOUS—merciful, kindly, beneficent.
-
-  GRADUAL—slow, progressive. (Sudden.)
-
-  GRAND—majestic, stately, dignified, lofty, elevated, exalted,
-  splendid, gorgeous, superb, magnificent, sublime, pompous.
-  (Shabby.)
-
-  GRANT—bestow, impart, give, yield, cede, allow, confer, invest.
-
-  GRANT—gift, boon, donation.
-
-  GRAPHIC—forcible, telling, picturesque, pictorial.
-
-  GRASP—catch, seize, gripe, clasp, grapple.
-
-  GRATEFUL—agreeable, pleasing, welcome, thankful. (Harsh.)
-
-  GRATIFICATION—enjoyment, pleasure, delight, reward.
-  (Disappointment.)
-
-  GRAVE, _a._—serious, sedate, solemn, sober, pressing, heavy.
-  (Giddy.)
-
-  GRAVE, _n._—tomb, sepulchre, vault.
-
-  GREAT—big, huge, large, majestic, vast, grand, noble, august.
-  (Small.)
-
-  GREEDINESS—avidity, eagerness. (Generosity.)
-
-  GRIEF—affliction, sorrow, trial, tribulation. (Joy.)
-
-  GRIEVE—mourn, lament, sorrow, pain, wound, hurt, bewail.
-  (Rejoice.)
-
-  GRIEVOUS—painful, afflicting, heavy, unhappy.
-
-  GRIND—crush, oppress, grate, harass, afflict.
-
-  GRISLY—terrible, hideous, grim, ghastly, dreadful. (Pleasing.)
-
-  GROSS—coarse, outrageous, unseemly, shameful, indelicate.
-  (Delicate.)
-
-  GROUP—assembly, cluster, collection, clump, order.
-
-  GROVEL—crawl, cringe, fawn, sneak.
-
-  GROW—increase, vegetate, expand, advance. (Decay, diminution.)
-
-  GROWL—grumble, snarl, murmur, complain.
-
-  GRUDGE—malice, rancor, spite, pique, hatred.
-
-  GRUFF—rough, rugged, blunt, rude, harsh, surly, bearish.
-  (Pleasant.)
-
-  GUILE—deceit, fraud. (Candor.)
-
-  GUILTLESS—harmless, innocent.
-
-  GUILTY—culpable, sinful, criminal.
-
-
-  HABIT—custom, practice.
-
-  HAIL—accost, address, greet, salute, welcome.
-
-  HAPPINESS—beatitude, blessedness, bliss, felicity. (Unhappiness.)
-
-  HARBOR—haven, port.
-
-  HARD—firm, solid. (Soft.)
-
-  HARD—arduous, difficult. (Easy.)
-
-  HARM—injury, hurt, wrong, infliction. (Benefit.)
-
-  HARMLESS—safe, innocuous, innocent. (Hurtful.)
-
-  HARSH—rough, rigorous, severe, gruff. (Gentle.)
-
-  HASTEN—accelerate, dispatch, expedite. (Delay.)
-
-  HASTY—hurried, ill-advised. (Deliberate.)
-
-  HATEFUL—odious, detestable. (Lovable.)
-
-  HATRED—enmity, ill-will, rancor. (Friendship.)
-
-  HAUGHTINESS—arrogance, pride. (Modesty.)
-
-  HAUGHTY—arrogant, disdainful, supercilious.
-
-  HAZARD—risk, venture.
-
-  HEALTHY—salubrious, salutary. (Unhealthy.)
-
-  HEAP—accumulate, amass, pile.
-
-  HEARTY—cordial, sincere, warm. (Insincere.)
-
-  HEAVY—burdensome, ponderous. (Light.)
-
-  HEED—care, attention.
-
-  HEIGHTEN—enhance, exalt, elevate, raise.
-
-  HEINOUS—atrocious, flagrant. (Venial.)
-
-  HELP—aid, assist, relieve, succor. (Hinder.)
-
-  HERETIC—sectary, sectarian, schismatic, dissenter, non-conformist.
-
-  HESITATE—falter, stammer, stutter.
-
-  HIDEOUS—grim, ghastly, grisly. (Beautiful.)
-
-  HIGH—lofty, tall, elevated. (Deep.)
-
-  HINDER—impede, obstruct, prevent. (Help.)
-
-  HINT—allude, refer, suggest, intimate, insinuate.
-
-  HOLD—detain, keep, retain.
-
-  HOLINESS—sanctity, piety, sacredness.
-
-  HOLY—devout, pious, religious.
-
-  HOMELY—plain, ugly, coarse. (Beautiful.)
-
-  HONESTY—integrity, probity, uprightness. (Dishonesty.)
-
-  HONOR, _v._—respect, reverence. (Dishonor.)
-
-  HOPE—confidence, expectation, trust.
-
-  HOPELESS—desperate.
-
-  HOT—ardent, burning, fiery. (Cold.)
-
-  HOWEVER—nevertheless, notwithstanding, yet.
-
-  HUMBLE—modest, submissive, plain, unostentatious, simple.
-  (Haughty.)
-
-  HUMBLE—degrade, humiliate, mortify. (Exalt.)
-
-  HUMOR—mood, temper.
-
-  HUNT—seek, chase.
-
-  HURTFUL—noxious, pernicious. (Beneficial.)
-
-  HUSBANDRY—cultivation, tillage.
-
-  HYPOCRITE—dissembler, imposter, canter.
-
-  HYPOTHESIS—theory, supposition.
-
-
-  IDEA—thought, imagination.
-
-  IDEAL—imaginary, fancied. (Actual.)
-
-  IDLE—indolent, lazy. (Industrious.)
-
-  IGNOMINIOUS—shameful, scandalous, infamous. (Honorable.)
-
-  IGNOMINY—shame, disgrace, obloquy, reproach.
-
-  IGNORANT—unlearned, illiterate, uninformed, uneducated.
-  (Knowing.)
-
-  ILL, _n._—evil, wickedness, misfortune, mischief, harm. (Good.)
-
-  ILL, _a._—sick, indisposed, diseased. (Well.)
-
-  ILL-TEMPERED—crabbed, sour, acrimonious, surly. (Good-natured.)
-
-  ILL-WILL—enmity, antipathy. (Good-will.)
-
-  ILLEGAL—unlawful, illicit, contraband, illegitimate. (Legal.)
-
-  ILLIMITABLE—boundless, immeasurable, infinite.
-
-  ILLITERATE—unlettered, unlearned, untaught, uninstructed.
-  (Learned, educated.)
-
-  ILLUSION—fallacy, deception, phantasm.
-
-  ILLUSORY—imaginary, chimerical. (Real.)
-
-  ILLUSTRATE—explain, elucidate, clear.
-
-  ILLUSTRIOUS—celebrated, noble, eminent, famous, renowned.
-  (Obscure.)
-
-  IMAGE—likeness, picture, representation, effigy.
-
-  IMAGINARY—ideal, fanciful, illusory. (Real.)
-
-  IMAGINE—conceive, fancy, apprehend, think.
-
-  IMBECILITY—silliness, senility, dotage.
-
-  IMITATE—copy, ape, mimic, mock, counterfeit.
-
-  IMMACULATE—unspotted, spotless, unsullied, stainless. (Soiled.)
-
-  IMMEDIATE—pressing, instant, next, proximate.
-
-  IMMEDIATELY—instantly, forthwith, directly.
-
-  IMMENSE—vast, enormous, huge, prodigious.
-
-  IMMUNITY—privilege, prerogative, exemption.
-
-  IMPAIR—injure, diminish, decrease.
-
-  IMPART—reveal, divulge, disclose, discover, afford.
-
-  IMPARTIAL—just, equitable, unbiased. (Partial.)
-
-  IMPASSIONED—glowing, burning, fiery, intense.
-
-  IMPEACH—accuse, charge, arraign, censure.
-
-  IMPEDE—hinder, retard, obstruct. (Help.)
-
-  IMPEDIMENT—obstruction, hindrance, obstacle, barrier. (Aid.)
-
-  IMPEL—animate, induce, incite, instigate, embolden. (Retard.)
-
-  IMPENDING—imminent, threatening.
-
-  IMPERATIVE—commanding, authoritative.
-
-  IMPERFECTION—fault, blemish, defect, vice.
-
-  IMPERIL—endanger, hazard, jeopardize.
-
-  IMPERIOUS—commanding, dictatorial, imperative, authoritative,
-  lordly, overbearing, domineering.
-
-  IMPERTINENT—intrusive, meddling, officious, rude, saucy,
-  impudent, insolent.
-
-  IMPETUOUS—violent, boisterous, furious, vehement. (Calm.)
-
-  IMPIOUS—profane, irreligious. (Reverent.)
-
-  IMPLICATE—involve, entangle, embarrass.
-
-  IMPLY—involve, comprise, infold, import, denote.
-
-  IMPORTANCE—signification, significance, avail, consequence,
-  weight, gravity, moment.
-
-  IMPOSING—impressive, striking, majestic, august, noble, grand.
-  (Insignificant.)
-
-  IMPOTENCE—weakness, incapacity, infirmity, frailty, feebleness.
-  (Power.)
-
-  IMPOTENT—weak, feeble, helpless, enfeebled, nerveless, infirm.
-  (Strong.)
-
-  IMPRESSIVE—stirring, forcible, exciting, moving.
-
-  IMPRISON—incarcerated, shut up, immure, confine. (Liberate.)
-
-  IMPRISONMENT—captivity, durance.
-
-  IMPROVE—amend, better, mend, reform, rectify, ameliorate, apply,
-  use, employ. (Deteriorate.)
-
-  IMPROVIDENT—careless, incautious, imprudent, prodigal, wasteful,
-  reckless, rash. (Thrifty.)
-
-  IMPUDENCE—assurance, impertinence, confidence, insolence,
-  rudeness.
-
-  IMPUDENT—saucy, brazen, bold, impertinent, forward, rude,
-  insolent, immodest, shameless.
-
-  IMPULSE—incentive, incitement, instigation.
-
-  IMPULSIVE—rash, hasty, forcible. (Deliberate.)
-
-  IMPUTATION—blame, censure, reproach, charge.
-
-  INADVERTENCY—error, oversight, blunder, inattention,
-  carelessness, negligence.
-
-  INCENTIVE—motive, inducement, impulse.
-
-  INCITE—instigate, excite, provoke, stimulate, urge, encourage,
-  impel.
-
-  INCLINATION—leaning, slope, disposition, bent, tendency, bias,
-  affection, attachment, wish, liking, desire. (Aversion.)
-
-  INCLINE, _v._—slope, lean, slant, tend, bend, turn, bias, dispose.
-
-  INCLOSE—surround, shut in, fence in, cover, wrap.
-
-  INCLUDE—comprehend, comprise, contain, take in, embrace.
-
-  INCOMMODE—annoy, plague, molest, disturb, inconvenience, trouble.
-  (Accommodate.)
-
-  INCOMPETENT—incapable, unable, inadequate.
-
-  INCREASE, _v._—extend, enlarge, augment, dilate, expand, amplify,
-  raise, enhance, aggravate, magnify, grow. (Diminish.)
-
-  INCREASE, _n._—augmentation, accession, addition, enlargement,
-  extension. (Decrease.)
-
-  INCUMBENT—obligatory.
-
-  INDEFINITE—vague, uncertain, unsettled, loose, lax. (Definite.)
-
-  INDICATE—point out, show, mark.
-
-  INDIFFERENCE—apathy, carelessness, listlessness, insensibility.
-  (Application, assiduity.)
-
-  INDIGENCE—want, neediness, penury, poverty, destitution,
-  privation. (Affluence.)
-
-  INDIGNATION—anger, wrath, ire, resentment.
-
-  INDIGNITY—insult, affront, outrage, opprobrium, obloquy,
-  reproach, ignominy. (Honor.)
-
-  INDISCRIMINATE—promiscuous, chance, indistinct, confused.
-  (Select, chosen.)
-
-  INDISPENSABLE—essential, necessary, requisite, expedient.
-  (Unnecessary, supernumerary.)
-
-  INDISPUTABLE—undeniable, undoubted, incontestable, indubitable,
-  unquestionable, infallible.
-
-  INDORSE—ratify, confirm, superscribe.
-
-  INDULGE—foster, cherish, fondle. (Deny.)
-
-  INEFFECTUAL—vain, useless, unavailing, fruitless, abortive,
-  inoperative. (Effective.)
-
-  INEQUALITY—disparity, disproportion, dissimilarity, unevenness.
-  (Equality.)
-
-  INEVITABLE—unavoidable, not to be avoided.
-
-  INFAMOUS—scandalous, shameful, ignominious, opprobrious,
-  disgraceful. (Honorable.)
-
-  INFERENCE—deduction, corollary, conclusion.
-
-  INFERNAL—diabolical, fiendish, devilish, hellish.
-
-  INFEST—annoy, plague, harass, disturb.
-
-  INFIRM—weak, feeble, enfeebled. (Robust.)
-
-  INFLAME—anger, irritate, enrage, chafe, incense, nettle,
-  aggravate, embitter, exasperate. (Allay.)
-
-  INFLUENCE, _v._—bias, sway, prejudice, preposess.
-
-  INFLUENCE, _n._—credit, favor, reputation, weight, character,
-  authority, sway, ascendancy.
-
-  INFRINGE—invade, intrude, contravene, break, transgress, violate.
-
-  INGENUOUS—artless, candid, generous, sincere, open, frank, plain.
-  (Crafty.)
-
-  INHUMAN—cruel, brutal, savage, barbarous, ruthless, merciless,
-  ferocious. (Humane.)
-
-  INIQUITY—injustice, wrong, grievance.
-
-  INJURE—damage, hurt, deteriorate, wrong, spoil, aggrieve, harm,
-  mar, sully. (Benefit.)
-
-  INJURIOUS—hurtful, baneful, pernicious, deleterious, noxious,
-  prejudicial, wrongful. (Beneficial.)
-
-  INJUSTICE—wrong, iniquity, grievance. (Right.)
-
-  INNOCENT—guiltless, sinless, harmless, inoffensive, innoxious.
-  (Guilty.)
-
-  INNOCUOUS—harmless, safe, innocent. (Hurtful.)
-
-  INORDINATE—intemperate, irregular, disorderly, excessive,
-  immoderate. (Moderate.)
-
-  INQUIRY—investigation, examination, research, scrutiny,
-  disquisition, question, interrogation.
-
-  INQUISITIVE—prying, peeping, curious, peering.
-
-  INSANE—deranged, delirious, demented. (Sane.)
-
-  INSANITY—madness, mental aberration, lunacy, delirium. (Sanity.)
-
-  INSINUATE—hint, intimate, suggest, infuse, introduce, ingratiate.
-
-  INSIPID—dull, flat, mawkish, tasteless, inanimate, vapid,
-  lifeless. (Bright, sparkling.)
-
-  INSOLENT—rude, saucy, impertinent, abusive, pert, scurrilous,
-  opprobrious, insulting, offensive.
-
-  INSPIRE—animate, exhilarate, enliven, breathe, cheer, inhale.
-
-  INSTABILITY—mutability, fickleness, mutableness, wavering.
-  (Stability, firmness.)
-
-  INSTIGATE—stir up, persuade, animate, stimulate, incite, urge,
-  encourage.
-
-  INSTIL—implant, inculcate, infuse, insinuate.
-
-  INSTRUCT—inform, teach, educate, enlighten.
-
-  INSTRUMENTAL—conducive, assistant, helping.
-
-  INSUFFICIENCY—incompetency, incapability, inadequacy, deficiency,
-  lack.
-
-  INSULT—affront, outrage, indignity. (Honor.)
-
-  INSULTING—insolent, impertinent, abusive, rude.
-
-  INTEGRITY—uprightness, honesty, completeness, probity, entirety,
-  entireness, purity. (Dishonesty.)
-
-  INTELLECT—understanding, sense, brains, mind, intelligence,
-  ability, talent, genius. (Body.)
-
-  INTELLECTUAL—mental, metaphysical. (Brutal.)
-
-  INTELLIGIBLE—clear, obvious, plain. (Abstruse.)
-
-  INTEMPERATE—immoderate, excessive, drunken, nimious, inordinate.
-  (Temperate.)
-
-  INTENSE—ardent, earnest, glowing, fervid, burning, vehement.
-
-  INTENT—design, purpose, intention, drift, view, aim, purport,
-  meaning.
-
-  INTERCOURSE—commerce, connection, intimacy.
-
-  INTERDICT—forbid, prohibit, inhibit, proscribe, debar, restrain
-  from. (Allow.)
-
-  INTERFERE—meddle, intermeddle, interpose.
-
-  INTERMINABLE—endless, interminate, infinite, unlimited,
-  illimitable, boundless. (Brief.)
-
-  INTERPOSE—intercede, arbitrate, mediate, interfere, meddle.
-
-  INTERPRET—explain, expound, elucidate, unfold.
-
-  INTIMATE—hint, suggest, insinuate, express, tell, signify, impart.
-
-  INTIMIDATE—dishearten, alarm, frighten, scare, appal, daunt, cow,
-  browbeat. (Encourage.)
-
-  INTOLERABLE—insufferable, unbearable, insupportable, unendurable.
-
-  INTREPID—bold, brave, daring, fearless, dauntless, undaunted,
-  courageous, valorous, valiant, heroic, gallant, chivalrous,
-  doughty. (Cowardly, faint-hearted.)
-
-  INTRIGUE—plot, cabal, conspiracy, combination, artifice, ruse,
-  _amour_.
-
-  INTRINSIC—real, true, genuine, sterling, native, natural.
-  (Extrinsic.)
-
-  INVALIDATE—quash, cancel, overthrow, vacate, nullify, annul.
-
-  INVASION—incursion, irruption, inroad, aggression, raid, fray.
-
-  INVECTIVE—abuse, reproach, railing, censure, sarcasm, satire.
-
-  INVENT—devise, contrive, frame, find out, discover.
-
-  INVESTIGATION—examination, search, inquiry, research, scrutiny.
-
-  INVETERATE—confirmed, chronic, malignant. (Inchoate.)
-
-  INVIDIOUS—envious, hateful, odious, malignant.
-
-  INVIGORATE—brace, harden, nerve, strengthen, fortify. (Enervate.)
-
-  INVINCIBLE—unconquerable, impregnable, insurmountable.
-
-  INVISIBLE—unseen, imperceptible, impalpable.
-
-  INVITE—ask, call, bid, request, allure, attract.
-
-  INVOKE—invocate, call upon, appeal, refer, implore, beseech.
-
-  INVOLVE—implicate, entangle, compromise.
-
-  IRKSOME—wearisome, tiresome, tedious, annoying. (Pleasant.)
-
-  IRONY—sarcasm, satire, ridicule, raillery.
-
-  IRRATIONAL—foolish, silly, imbecile, brutish, absurd, ridiculous.
-  (Rational.)
-
-  IRREGULAR—eccentric, anomalous, inordinate, intemperate.
-  (Regular.)
-
-  IRRELIGIOUS—profane, godless, impious, sacrilegious, desecrating.
-
-  IRREPROACHABLE—blameless, spotless.
-
-  IRRESISTIBLE—resistless, irrepressible.
-
-  IRRESOLUTE—wavering, undetermined, undecided, vacillating.
-  (Determined.)
-
-  IRRITABLE—excitable, irascible, susceptible, sensitive. (Calm.)
-
-  IRRITATE—aggravate, worry, embitter, madden.
-
-  ISSUE, _v._—emerge, rise, proceed, flow, spring.
-
-  ISSUE, _n._—end, upshot, effect, result, offspring.
-
-
-  JADE—harass, weary, tire, worry.
-
-  JANGLE—wrangle, conflict, disagree.
-
-  JARRING—conflicting, discordant, inconsonant.
-
-  JAUNT—ramble, excursion, trip.
-
-  JEALOUSY—suspicion, envy.
-
-  JEOPARD—hazard, peril, endanger.
-
-  JEST—joke, sport, divert, make game of.
-
-  JOURNEY—travel, tour, passage.
-
-  JOY—gladness, mirth, delight. (Grief.)
-
-  JUDGE—justice, referee, arbitrator.
-
-  JOYFUL—glad, rejoicing, exultant. (Mournful.)
-
-  JUDGMENT—discernment, discrimination.
-
-  JUSTICE—equity, right. Justice is right as established by law;
-  equity according to the circumstances of each particular case.
-  (Injustice.)
-
-  JUSTNESS—accuracy, correctness, precision.
-
-
-  KEEP—preserve, save. (Abandon.)
-
-  KILL—assassinate, murder, slay.
-
-  KINDRED—affinity, consanguinity, relationship.
-
-  KNOWLEDGE—erudition, learning. (Ignorance.)
-
-
-  LABOR—toil, work, effort, drudgery. (Idleness.)
-
-  LACK—need, deficiency, scarcity, insufficiency. (Plenty.)
-
-  LAMENT—mourn, grieve, weep. (Rejoice.)
-
-  LANGUAGE—dialect, idiom, speech, tongue.
-
-  LASCIVIOUS—loose, unchaste, lustful, lewd, lecherous. (Chaste.)
-
-  LAST—final, latest, ultimate. (First.)
-
-  LAUDABLE—commendable. (Blamable.)
-
-  LAUGHABLE—comical, droll, ludicrous. (Serious.)
-
-  LAWFUL—legal, legitimate, licit. (Illegal.)
-
-  LEAD—conduct, guide. (Follow.)
-
-  LEAN—meager. (Fat.)
-
-  LEARNED—erudite, scholarly. (Ignorant.)
-
-  LEAVE, _v._—quit, relinquish.
-
-  LEAVE, _n._—liberty, permission. (Prohibition.)
-
-  LIFE—existence, animation, spirit. (Death.)
-
-  LIFELESS—dead, inanimate.
-
-  LIFT—erect, elevate, exalt, raise. (Lower.)
-
-  LIGHT—clear, bright. (Dark.)
-
-  LIGHTNESS—flightiness, giddiness, levity, volatility.
-  (Seriousness.)
-
-  LIKENESS—resemblance, similarity. (Unlikeness.)
-
-  LINGER—lag, loiter, tarry, saunter. (Hasten.)
-
-  LITTLE—diminutive, small. (Great.)
-
-  LIVELIHOOD—living, maintenance, subsistence.
-
-  LIVELY—jocund, merry, sportive, sprightly, vivacious. (Slow,
-  languid, sluggish.)
-
-  LONG—extended, extensive. (Short.)
-
-  LOOK—appear, seem, aspect, glance, peep.
-
-  LOSE—miss, forfeit. (Gain.)
-
-  LOSS—detriment, damage, deprivation. (Gain.)
-
-  LOUD—clamorous, high-sounding, noisy. (Low, quiet.)
-
-  LOVE—affection. (Hatred.)
-
-  LOW—abject, mean. (Noble.)
-
-  LUNACY—derangement, insanity, mania, madness. (Sanity.)
-
-  LUSTER—brightness, brilliancy, splendor.
-
-  LUXURIANT—exuberant. (Sparse.)
-
-
-  MACHINATION—plot, intrigue, cabal, conspiracy. (Artlessness.)
-
-  MAD—crazy, delirious, insane, rabid, violent, frantic. (Sane,
-  rational, quiet.)
-
-  MADNESS—insanity, fury, rage, frenzy.
-
-  MAGISTERIAL—august, dignified, majestic, pompous, stately.
-
-  MAKE—form, create, produce. (Destroy.)
-
-  MALEDICTION—anathema, curse, imprecation.
-
-  MALEVOLENT—malicious, virulent, malignant. (Benevolent.)
-
-  MALICE—spite, rancor, ill-feeling, grudge, animosity, ill-will.
-  (Benignity.)
-
-  MALICIOUS—see malevolent.
-
-  MANACLE, _v._—shackle, fetter, chain. (Free.)
-
-  MANAGE—contrive, concert, direct.
-
-  MANAGEMENT—direction, superintendence, care.
-
-  MANGLE—tear, lacerate, mutilate, cripple, maim.
-
-  MANIA—madness, insanity, lunacy.
-
-  MANIFEST, _v._—reveal, prove, evince, exhibit, display, show.
-
-  MANIFEST, _a._—clear, plain, evident, open, apparent, visible.
-  (Hidden, occult.)
-
-  MANIFOLD—several, sundry, various, divers.
-
-  MANLY—masculine, vigorous, courageous, brave, heroic.
-  (Effeminate.)
-
-  MANNER—habit, custom, way, air, look.
-
-  MANNERS—morals, habits, behavior, carriage.
-
-  MAR—spoil, ruin, disfigure. (Improve.)
-
-  MARCH—tramp, tread, walk, step, space.
-
-  MARGIN—edge, rim, border, brink, verge.
-
-  MARK, _n._—sign, note, symptom, token, indication, trace,
-  vestige, track, badge, brand.
-
-  MARK, _v._—impress, print, stamp, engrave, note.
-
-  MARRIAGE—wedding, nuptials, matrimony.
-
-  MARTIAL—military, warlike, soldierlike.
-
-  MARVEL—wonderful, miracle, prodigy.
-
-  MARVELOUS—wondrous, wonderful, miraculous.
-
-  MASSIVE—bulky, heavy, weighty, ponderous, solid, substantial.
-  (Flimsy.)
-
-  MASTERY—dominion, rule, sway, ascendancy.
-
-  MATCHLESS—unrivaled, unequaled, unparalleled, peerless,
-  incomparable, inimitable, surpassing. (Common, ordinary.)
-
-  MATERIAL, _a._—corporeal, bodily, physical, temporal, momentous.
-  (Spiritual, immaterial.)
-
-  MAXIM—adage, apothegm, proverb, saying, byword, saw.
-
-  MEAGER—poor, lank, emaciated, barren, dry, uninteresting. (Rich.)
-
-  MEAN, _a._—stingy, niggardly, low, abject, vile, ignoble,
-  degraded, contemptible, vulgar, despicable. (Generous.)
-
-  MEAN, _v._—design, purpose, intend, contemplate, signify, denote,
-  indicate.
-
-  MEANING—signification, import, acceptation, sense, purport.
-
-  MEDIUM—organ, channel, instrument, means.
-
-  MEDLEY—mixture, variety, diversity, miscellany.
-
-  MEEK—unassuming, mild, gentle. (Proud.)
-
-  MELANCHOLY—low-spirited, dispirited, dreamy, sad. (Jolly,
-  buoyant.)
-
-  MELLOW—ripe, mature, soft. (Immature.)
-
-  MELODIOUS—tuneful, musical, silver, dulcet, sweet. (Discordant.)
-
-  MEMORABLE—signal, distinguished, marked.
-
-  MEMORIAL—monument, memento.
-
-  MEMORY—remembrance, recollection.
-
-  MENACE, _n._—threat.
-
-  MEND—repair, amend, correct, better, ameliorate, improve, rectify.
-
-  MENTION—tell, name, communicate, impart, divulge, reveal,
-  disclose, inform, acquaint.
-
-  MERCIFUL—compassionate, lenient, clement, tender, gracious, kind.
-  (Cruel.)
-
-  MERCILESS—hard-hearted, cruel, unmerciful, pitiless, remorseless,
-  unrelenting. (Kind.)
-
-  MERRIMENT—mirth, joviality, jollity. (Sorrow.)
-
-  MERRY—cheerful, mirthful, joyous, gay, lively, sprightly,
-  hilarious, blithe, blithesome, jovial, sportive, jolly. (Sad.)
-
-  METAPHORICAL—figurative, allegorical.
-
-  METHOD—way, manner, mode, process, order, rule, regularity,
-  system.
-
-  MIEN—air, look, manner, aspect, appearance.
-
-  MIGRATORY—roving, strolling, wandering, vagrant. (Settled,
-  sedate, permanent.)
-
-  MIMIC—imitate, ape, mock.
-
-  MINDFUL—observant, attentive. (Heedless.)
-
-  MISCELLANEOUS—promiscuous, indiscriminate.
-
-  MISCHIEF—injury, harm, damage, hurt. (Benefit.)
-
-  MISCREANT—caitiff, villain, ruffian.
-
-  MISERABLE—unhappy, wretched, distressed, afflicted. (Happy.)
-
-  MISERLY—stingy, niggardly, avaricious, griping.
-
-  MISERY—wretchedness, woe, destitution, penury, privation,
-  beggary. (Happiness.)
-
-  MISFORTUNE—calamity, disaster, mishap, catastrophe. (Good luck.)
-
-  MISS—omit, lose, fall, miscarry.
-
-  MITIGATE—alleviate, relieve, abate. (Aggravate.)
-
-  MODERATE—temperate, abstemious, sober, abstinent. (Immoderate.)
-
-  MODEST—chaste, virtuous, bashful. (Immodest.)
-
-  MOIST—wet, damp, dank, humid. (Dry.)
-
-  MONOTONOUS—unvaried, tiresome. (Varied.)
-
-  MONSTROUS—shocking, dreadful, horrible, huge.
-
-  MONUMENT—memorial, record, remembrancer.
-
-  MOOD—humor, disposition, vein, temper.
-
-  MORBID—sick, ailing, sickly, diseased, corrupted. (Normal, sound.)
-
-  MOROSE—gloomy, sullen, surly, fretful, crabbed, crusty. (Joyous.)
-
-  MORTAL—deadly, fatal, human.
-
-  MOTION—proposition, proposal, movement.
-
-  MOTIONLESS—still, stationary, torpid, stagnant. (Active, moving.)
-
-  MOUNT—arise, rise, ascend, soar, tower, climb.
-
-  MOURNFUL—sad, sorrowful, lugubrious, grievous, doleful, heavy.
-  (Happy.)
-
-  MOVE—actuate, impel, induce, prompt, instigate, persuade, stir,
-  agitate, propel, push.
-
-  MULTITUDE—crowd, throng, host, mob, swarm.
-
-  MURDER, _v._—kill, assassinate, slay, massacre.
-
-  MUSE, _v._—meditate, contemplate, think, reflect, cogitate,
-  ponder.
-
-  MUSIC—harmony, melody, symphony.
-
-  MUSICAL—tuneful, melodious, harmonious, sweet.
-
-  MUSTY—stale, sour, fetid. (Fresh, sweet.)
-
-  MUTE—dumb, silent, speechless.
-
-  MUTILATE—maim, cripple, disable, disfigure.
-
-  MUTINOUS—insurgent, seditious, tumultuous, turbulent, riotous.
-  (Obedient, orderly.)
-
-  MUTUAL—reciprocal, interchanged, correlative. (Sole, solitary.)
-
-  MYSTERIOUS—dark, obscure, hidden, secret, dim, mystic,
-  enigmatical, unaccountable. (Open, clear.)
-
-  MYSTIFY—confuse, perplex. (Clear, explain.)
-
-
-  NAKED—nude, bare, uncovered, unclothed, rough, rude, simple.
-  (Covered, clad.)
-
-  NAME, _v._—denominate, entitle, style, designate, term, call,
-  christen.
-
-  NAME, _n._—appellation, designation, denomination, title,
-  cognomen, reputation, character, fame, credit, repute.
-
-  NARRATE—tell, relate, detail, recount, describe, enumerate,
-  rehearse, recite.
-
-  NASTY—filthy, foul, dirty, unclean, impure, gross, indecent, vile.
-
-  NATION—people, community, realm, state.
-
-  NATIVE—indigenous, inborn, vernacular.
-
-  NATURAL—original, regular, normal, bastard. (Unnatural, forced.)
-
-  NEAR—nigh, neighboring, close, adjacent, contiguous, intimate.
-  (Distant.)
-
-  NECESSARY—needful, expedient, essential, indispensable,
-  requisite. (Useless.)
-
-  NECESSITATE—compel, force, oblige.
-
-  NECESSITY—need, occasion, exigency, emergency, urgency, requisite.
-
-  NEED, _n._—necessity, distress, poverty, indigence, want, penury.
-
-  NEED, _v._—require, want, lack.
-
-  NEGLECT, _v._—disregard, slight, omit, overlook.
-
-  NEGLECT, _n._—omission, failure, default, slight, negligence,
-  remissness, carelessness.
-
-  NEIGHBORHOOD—environs, vicinity, nearness, adjacency, proximity.
-
-  NERVOUS—timid, timorous, shaky.
-
-  NEW—fresh, recent, novel. (Old.)
-
-  NEWS—tidings, intelligence, information.
-
-  NICE—exact, accurate, good, particular, precise, fine, delicate.
-  (Careless, coarse, unpleasant.)
-
-  NIMBLE—active, brisk, lively, alert, quick, agile, prompt.
-  (Awkward.)
-
-  NOBILITY—aristocracy, greatness, grandeur.
-
-  NOBLE—exalted, elevated, illustrious, great, grand, lofty. (Low.)
-
-  NOISE—cry, outcry, clamor, row, din, uproar, tumult. (Silence.)
-
-  NONSENSICAL—irrational, absurd, silly, foolish. (Sensible.)
-
-  NOTABLE—plain, evident, remarkable, striking, signal, rare.
-  (Obscure.)
-
-  NOTE, _n._—token, symbol, mark, sign, indication, remark, comment.
-
-  NOTED—distinguished, remarkable, eminent, renowned. (Obscure.)
-
-  NOTICE, _n._—advice, notification, intelligence.
-
-  NOTICE, _v._—mark, note, observe, attend to, heed.
-
-  NOTIFY, _v._—publish, acquaint, apprise, inform.
-
-  NOTION—conception, idea, belief, opinion.
-
-  NOTORIOUS—conspicuous, open, obvious, ill-famed. (Unknown.)
-
-  NOURISH—nurture, cherish, foster, supply. (Starve, famish.)
-
-  NOURISHMENT—food, diet, sustenance, nutrition.
-
-  NOVEL—modern, new, fresh, recent, unused, rare, strange. (Old.)
-
-  NOXIOUS—hurtful, deadly poisonous, deleterious, baneful.
-  (Beneficial.)
-
-  NULLIFY—annul, vacate, invalidate, quash, cancel, repeal.
-  (Affirm.)
-
-  NUTRITION—food, diet, nutriment, nourishment.
-
-
-  OBDURATE—hard, callous, hardened, unfeeling, insensible.
-  (Yielding, tractable.)
-
-  OBEDIENT—compliant, submissive, dutiful, respectful. (Obstinate.)
-
-  OBESE—corpulent, fat, adipose. (Attenuated.)
-
-  OBEY, _v._—conform, comply, submit. (Rebel.)
-
-  OBJECT, _n._—aim, end, purpose, design, mark.
-
-  OBJECT, _v._—oppose, except to, contravene, impeach, deprecate.
-  (Assent.)
-
-  OBNOXIOUS—offensive. (Agreeable.)
-
-  OBSCURE—undistinguished, unknown. (Distinguished.)
-
-  OBSTINATE—contumacious, headstrong, stubborn, obdurate.
-  (Yielding.)
-
-  OCCASION—opportunity.
-
-  OFFENCE—affront, misdeed, misdemeanor, transgression, trespass.
-
-  OFFENSIVE—insolent, abusive. (Inoffensive.)
-
-  OFFICE—charge, function, place.
-
-  OFFSPRING—issue, progeny, children, posterity.
-
-  OLD—aged, superannuated, ancient, antique, antiquated, obsolete,
-  old-fashioned. (Young, new.)
-
-  OMEN—presage, prognostic.
-
-  OPAQUE—dark. (Bright, transparent.)
-
-  OPEN—candid, unreserved, clear, fair. (Hidden.)
-
-  OPINION—notion, view, judgment, sentiment.
-
-  OPINIONATED—conceited, egotistical. (Modest.)
-
-  OPPOSE—resist, withstand, thwart. (Give way.)
-
-  OPTION—choice.
-
-  ORDER—method, system, regularity. (Disorder.)
-
-  ORIGIN—cause, occasion, beginning. (End.)
-
-  OUTLIVE—survive.
-
-  OUTWARD—external, outside, exterior. (Inner.)
-
-  OVER—above. (Under.)
-
-  OVERBALANCE—outweigh, preponderate.
-
-  OVERBEAR—bear down, overwhelm, overpower.
-
-  OVERBEARING—haughty, arrogant. (Gentle.)
-
-  OVERFLOW—inundation, deluge.
-
-  OVERRULE—supersede, suppress.
-
-  OVERSPREAD—overrun, ravage.
-
-  OVERTURN—invert, overthrow, reverse, subvert. (Establish,
-  fortify.)
-
-  OVERWHELM—crush, defeat, vanquish.
-
-
-  PAIN—suffering, qualm, pang, agony, anguish. (Pleasure.)
-
-  PALLID—pale, wan. (Florid.)
-
-  PART—division, portion, share, fraction. (Whole.)
-
-  PARTICULAR—exact, distinct, singular, strange, odd. (General.)
-
-  PATIENT—passive, submissive. (Obdurate.)
-
-  PEACE—calm, quiet, tranquility. (War, trouble, riot, turbulence.)
-
-  PEACEABLE—pacific, peaceful, quiet. (Troublesome, riotous.)
-
-  PENETRATE—bore, pierce, perforate.
-
-  PENETRATION—acuteness, sagacity. (Dullness.)
-
-  PEOPLE—nation, persons, folks.
-
-  PERCEIVE—note, observe, discern, distinguish.
-
-  PERCEPTION—conception, notion, idea.
-
-  PERIL—danger, pitfall, snare. (Safety.)
-
-  PERMIT—allow, tolerate. (Forbid.)
-
-  PERSUADE—allure, entice, prevail upon.
-
-  PHYSICAL—corporeal, bodily, material. (Mental.)
-
-  PICTURE—engraving, print, representation, illustration, image.
-
-  PITEOUS—doleful, woeful, rueful. (Joyful.)
-
-  PITILESS—see merciless.
-
-  PITY—compassion, sympathy. (Cruelty.)
-
-  PLACE, _n._—spot, site, position, post, situation.
-
-  PLACE, _v._—order, dispose.
-
-  PLAIN—open, manifest, evident. (Secret.)
-
-  PLAY—game, sport, amusement. (Work.)
-
-  PLEASE—gratify, pacify. (Displease.)
-
-  PLEASURE—charm, delight, joy. (Pain.)
-
-  PLENTIFUL—abundant, ample, copious, plenteous. (Scarce.)
-
-  POISE—balance, equilibrium, evenness.
-
-  POSITIVE—absolute, peremptory, decided, certain. (Negative,
-  undecided.)
-
-  POSSESSOR—owner, proprietor.
-
-  POSSIBLE—practical, practicable. (Impossible.)
-
-  POVERTY—penury, indigence, need. (Wealth.)
-
-  POWER—authority, force, strength, dominion.
-
-  POWERFUL—mighty, potent. (Weak.)
-
-  PRAISE—commend, extol, laud. (Blame.)
-
-  PRAYER—entreaty, petition, request, suit.
-
-  PRETENCE, _n._—pretext, subterfuge.
-
-  PREVAILING—predominant, prevalent, general. (Isolated, sporadic.)
-
-  PREVENT—obviate, preclude.
-
-  PREVIOUS—antecedent, introductory, preparatory, preliminary.
-  (Subsequent.)
-
-  PRIDE—vanity, conceit. (Humility.)
-
-  PRINCIPALLY—chiefly, essentially, mainly.
-
-  PRINCIPLE—ground, reason, motive, impulse, maxim, rule,
-  rectitude, integrity.
-
-  PRIVILEGE—immunity, advantage, favor, claim, prerogative,
-  exemption, right.
-
-  PROBITY—rectitude, uprightness, honesty, integrity, sincerity,
-  soundness. (Dishonesty.)
-
-  PROBLEMATICAL—uncertain, doubtful, dubious, questionable,
-  disputable, suspicious. (Certain.)
-
-  PRODIGIOUS—huge, enormous, vast, amazing, astonishing,
-  astounding, surprising, remarkable, wonderful. (Insignificant.)
-
-  PROFESSION—business, trade, occupation, office, vocation,
-  employment, engagement, avowal.
-
-  PROFFER—volunteer, offer, propose, tender.
-
-  PROFLIGATE—abandoned, dissolute, depraved, vicious, degenerate,
-  corrupt. (Virtuous.)
-
-  PROFOUND—deep, fathomless, penetrating, recondite, solemn,
-  abstruse. (Shallow.)
-
-  PROFUSE—extravagant, prodigal, lavish, copious, improvident,
-  excessive, plentiful. (Succinct.)
-
-  PROLIFIC—productive, generative, fertile, fruitful, teeming.
-  (Barren.)
-
-  PROLIX—diffuse, long, prolonged, tedious, wordy, tiresome,
-  verbose, prosaic. (Concise, brief.)
-
-  PROMINENT—eminent, conspicuous, marked, important, leading.
-  (Obscure.)
-
-  PROMISCUOUS—mixed, unarranged, mingled, indiscriminate. (Select.)
-
-  PROMPT—See punctual.
-
-  PROP, _v._—maintain, sustain, support, stay.
-
-  PROPAGATE—spread, circulate, diffuse, disseminate, extend, breed,
-  increase. (Suppress.)
-
-  PROPER—legitimate, right, just, fair, equitable, honest,
-  suitable, fit, adapted, meet, becoming, befitting, decent,
-  pertinent. (Wrong.)
-
-  PROSPER—flourish, succeed, grow rich, thrive, advance. (Fail.)
-
-  PROSPERITY—well-being, weal, welfare, happiness, good luck.
-  (Poverty.)
-
-  PROXY—agent, representative, substitute, deputy.
-
-  PRUDENCE—carefulness, judgment, discretion, wisdom.
-  (Indiscretion.)
-
-  PRURIENT—itching, craving, hankering, longing.
-
-  PUERILE—youthful, juvenile, boyish, childish, infantile,
-  trifling, weak, silly. (Mature.)
-
-  PUNCTILIOUS—nice, particular, formal, precise. (Negligent.)
-
-  PUNCTUAL—exact, precise, nice, particular prompt, timely.
-  (Dilatory.)
-
-  PUTREFY—rot, decompose, corrupt, decay.
-
-  PUZZLE, _v._—perplex, confound, embarrass, pose, bewilder,
-  confuse, mystify. (Enlighten.)
-
-
-  QUACK—imposter, pretender, charlatan, empiric, mountebank.
-  (Savant.)
-
-  QUAINT—artful, curious, far-fetched, fanciful, odd.
-
-  QUALIFIED—competent, fitted. (Incompetent.)
-
-  QUALITY—attribute, rank, distinction.
-
-  QUERULOUS—doubting, complaining, fretting, repining. (Patient.)
-
-  QUESTION—query, inquiry, interrogatory.
-
-  QUIBBLE—cavil, evade, equivocate, shuffle.
-
-  QUICK—lively, ready, prompt, alert, nimble, agile, active, brisk,
-  expeditious, adroit, fleet, rapid, impetuous, swift, sweeping,
-  dashing, clever. (Slow.)
-
-  QUOTE—note, repeat, cite, adduce.
-
-
-  RABID—mad, furious, raging, frantic. (Rational.)
-
-  RACE—course, match, pursuit, career, family, clan, house,
-  ancestry, lineage, pedigree.
-
-  RACK—agonize, wring, torture, excruciate, harass, distress.
-  (Soothe.)
-
-  RACY—spicy, pungent, smart, spirited, vivacious, lively. (Dull,
-  insipid.)
-
-  RADIANCE—splendor, brightness, brilliance, brilliancy, lustre,
-  glare. (Dullness.)
-
-  RADICAL—organic, innate, fundamental, original, constitutional,
-  inherent, complete, entire. (Superficial. In a political sense,
-  uncompromising; antonym, moderate.)
-
-  RANCID—fetid, rank, stinking, sour, tainted, foul. (Fresh, sweet.)
-
-  RANCOR—malignity, hatred, hostility, antipathy, animosity,
-  enmity, ill-will, spite. (Forgiveness.)
-
-  RANK—order, degree, dignity, consideration.
-
-  RANSACK—rummage, pillage, overhaul, explore.
-
-  RANSOM—emancipate, free, unfetter.
-
-  RANT—bombast, fustian, cant.
-
-  RAPACIOUS—ravenous, voracious, greedy, grasping. (Generous.)
-
-  RAPT—ecstatic, transported, ravished, entranced, charmed.
-  (Distracted.)
-
-  RAPTURE—ecstacy, transport, bliss. (Dejection.)
-
-  RARE—scarce, singular, uncommon, unique.
-
-  RASCAL—scoundrel, rogue, knave, vagabond.
-
-  RASH—hasty, precipitate, foolhardy, adventurous, heedless,
-  reckless, careless. (Deliberate.)
-
-  RATE—value, compute, appraise, estimate, abuse.
-
-  RATIFY—confirm, establish, substantiate, sanction (Protest,
-  oppose.)
-
-  RATIONAL—reasonable, sagacious, judicious, wise, sensible, sound.
-  (Unreasonable.)
-
-  RAVAGE—overrun, overspread, desolate, despoil.
-
-  RAVISH—enrapture, enchant, charm, delight.
-
-  RAZE—demolish, destroy, overthrow, dismantle, ruin. (Build up.)
-
-  REACH—touch, stretch, attain, gain, arrive at.
-
-  READY—prepared, ripe, apt, prompt, adroit, handy. (Slow,
-  dilatory.)
-
-  REAL—actual, literal, practical, positive, certain, genuine,
-  true. (Unreal.)
-
-  REALIZE—accomplish, achieve, effect, gain, get, acquire,
-  comprehend.
-
-  REAP—gain, get, acquire, obtain.
-
-  REASON, _n._—motive, design, end, proof, cause, ground, purpose.
-
-  REASON, _v._—deduce, draw from, trace, conclude.
-
-  REASONABLE—rational, wise, honest, fair, right, just.
-  (Unreasonable.)
-
-  REBELLION—insurrection, revolt.
-
-  RECANT—recall, abjure, retract, revoke.
-
-  RECEDE—retire, retreat, withdraw, ebb.
-
-  RECEIVE—accept, take, admit, entertain.
-
-  RECEPTION—receiving, levee, receipt, admission.
-
-  RECESS—retreat, depth, niche, vacation.
-
-  RECREATION—sport, pastime, play, amusement, game, fun.
-
-  REDEEM—ransom, recover, rescue, deliver, save.
-
-  REDRESS—remedy, repair, remission, abatement.
-
-  REDUCE—abate, lessen, decrease, lower, shorten.
-
-  REFINED—polite, courtly, polished, cultured, purified, genteel.
-  (Boorish.)
-
-  REFLECT—consider, cogitate, think, muse, censure.
-
-  REFORM—amend, correct, better, restore, improve. (Corrupt.)
-
-  REFORMATION—improvement, reform, amendment. (Corruption.)
-
-  REFUGE—asylum, protection, harbor, shelter.
-
-  REFUSE, _v._—deny, reject, repudiate, decline, withhold. (Accept.)
-
-  REFUSE, _n._—dregs, dross, scum, rubbish, leavings.
-
-  REFUTE—disprove, falsify, negative. (Affirm.)
-
-  REGARD, _v._—mind, heed, notice, behold, respect, view, consider.
-
-  REGRET, _n._—grief, sorrow, lamentation, remorse.
-
-  REGULAR—orderly, uniform, customary, ordinary, stated.
-  (Irregular.)
-
-  REGULATE—methodize, arrange, adjust, organize, govern, rule.
-  (Disorder.)
-
-  REIMBURSE—refund, repay, satisfy, indemnify.
-
-  RELEVANT—fit, proper, suitable, appropriate, apt, pertinent.
-  (Irrelevant.)
-
-  RELIANCE—trust, hope, dependence, confidence. (Suspicion.)
-
-  RELIEF—succor, aid, help, redress, alleviation.
-
-  RELINQUISH—give up, forsake, resign, surrender, quit, leave,
-  forego. (Retain.)
-
-  REMEDY—help, relief, redress, cure, specific.
-
-  REMORSELESS—pitiless, relentless, cruel, ruthless, merciless,
-  barbarous. (Merciful, humane.)
-
-  REMOTE—distant, far, secluded, indirect. (Near.)
-
-  REPRODUCE—propagate, imitate, represent, copy.
-
-  REPUDIATE—disown, discard, disavow, renounce, disclaim.
-  (Acknowledge.)
-
-  REPUGNANT—antagonistic, distasteful. (Agreeable.)
-
-  REPULSIVE—forbidding, odious, ugly, disagreeable, revolting.
-  (Attractive.)
-
-  RESPITE—reprieve, interval, stop, pause.
-
-  REVENGE—vengeance, retaliation, requital, retribution.
-  (Forgiveness.)
-
-  REVENUE—produce, income, fruits, proceeds.
-
-  REVERENCE, _n._—honor, respect, awe, veneration, deference,
-  worship, homage. (Execration.)
-
-  REVISE—review, reconsider.
-
-  REVIVE—refresh, renew, renovate, animate, resuscitate, vivify,
-  cheer, comfort.
-
-  RICH—wealthy, affluent, opulent, copious, ample, abundant,
-  exuberant, plentiful, fertile, gorgeous, superb, fruitful. (Poor.)
-
-  RIVAL, _n._—antagonist, opponent, competitor.
-
-  ROAD—way, highway, route, course, path, pathway, anchorage.
-
-  ROAM—ramble, rove, wander, stray, stroll.
-
-  ROBUST—strong, lusty, vigorous, sinewy, stalwart, stout, sturdy,
-  able-bodied. (Puny.)
-
-  ROUT, _v._—discomfit, beat, defeat, overthrow.
-
-  ROUTE—road, course, march, way, journey, path.
-
-  RUDE—rugged, rough, uncouth, unpolished, harsh, gruff,
-  impertinent, saucy, flippant, impudent, insolent, saucy,
-  churlish. (Polite, polished.)
-
-  RULE—sway, method, system, law, maxim, guide, precept, formula,
-  regulation, government, test, standard.
-
-  RUMOR—hearsay, talk, fame, report, bruit.
-
-  RUTHLESS—cruel, savage, barbarous, inhuman, merciless,
-  remorseless, relentless. (Considerate.)
-
-
-  SACRED—holy, hallowed, divine, consecrated, dedicated, devoted.
-  (Profane.)
-
-  SAFE—secure, harmless, trustworthy. (Perilous.)
-
-  SANCTION—confirm, countenance, encourage, support, ratify,
-  authorize. (Disapprove.)
-
-  SANE—sober, lucid, sound, rational. (Crazy.)
-
-  SAUCY—impertinent, rude, impudent, insolent, flippant, forward.
-  (Modest.)
-
-  SCANDALIZE—shock, disgust, offend, calumniate, vilify, revile,
-  malign, traduce, defame, slander.
-
-  SCANTY—bare, pinched, insufficient, slender, meager. (Ample.)
-
-  SCATTER—strew, spread, disseminate, disperse, dissipate, dispel.
-  (Collect.)
-
-  SECRET—clandestine, concealed, hidden, sly, underhand, latent,
-  private. (Open.)
-
-  SEDUCE—allure, attract, decoy, entice, abduct, inveigle, deprave.
-
-  SENSE—discernment, appreciation, view, opinion, feeling,
-  perception, sensibility, susceptibility, significance, thought,
-  judgment, signification, meaning, import, purport, wisdom.
-
-  SENSIBLE—wise, intelligent, reasonable, sober, sound, conscious,
-  aware. (Foolish.)
-
-  SETTLE—arrange, adjust, regulate, conclude.
-
-  SEVERAL—sundry, divers, various, many.
-
-  SEVERE—harsh, stern, stringent, unmitigated, unyielding, rough.
-  (Lenient.)
-
-  SHAKE—tremble, shudder, shiver, quake, quiver.
-
-  SHALLOW—superficial, flimsy, slight. (Deep, thorough.)
-
-  SHAME—disgrace, dishonor. (Honor.)
-
-  SHAMEFUL—degrading, scandalous, disgraceful, outrageous.
-  (Honorable.)
-
-  SHAMELESS—immodest, impudent, indecent, indelicate, brazen.
-
-  SHAPE—form, fashion, mold, model.
-
-  SHARE—portion, lot, division, quantity, quota.
-
-  SHARP—acute, keen. (Dull.)
-
-  SHINE—glare, glitter, radiate, sparkle.
-
-  SHORT—brief, concise, succinct, summary. (Long.)
-
-  SHOW, _n._—exhibition, sight, spectacle.
-
-  SICK—diseased, sickly, unhealthy. (Healthy.)
-
-  SICKNESS—illness, indisposition, disease, disorder. (Health.)
-
-  SIGNIFICANT, _a._—expressive, material, important.
-  (Insignificant.)
-
-  SIGNIFICATION—import, meaning, sense.
-
-  SILENCE—speechlessness, dumbness. (Noise.)
-
-  SILENT—dumb, mute, speechless. (Talkative.)
-
-  SIMILE—comparison, similitude.
-
-  SIMPLE—single, uncompounded, artless, plain. (Complex, compound.)
-
-  SIMULATE—dissimulate, dissemble, pretend.
-
-  SINCERE—candid, hearty, honest, pure, genuine, real. (Insincere.)
-
-  SITUATION—condition, plight, predicament, state.
-
-  SIZE—bulk, greatness, magnitude, dimension.
-
-  SLAVERY—servitude, enthrallment, thralldom. (Freedom.)
-
-  SLEEP—doze, drowse, nap, slumber.
-
-  SLEEPY—somnolent. (Wakeful.)
-
-  SLOW—dilatory, tardy. (Fast.)
-
-  SMELL—fragrance, odor, perfume, scent.
-
-  SMOOTH—even, level, mild. (Rough.)
-
-  SOAK—drench, imbrue, steep.
-
-  SOCIAL—sociable, friendly, communicative. (Unsocial.)
-
-  SOFT—gentle, meek, mild. (Hard.)
-
-  SOLICIT—importune, urge.
-
-  SOLITARY—sole, only, single.
-
-  SORRY—grieved, poor, paltry, insignificant. (Glad, respectable.)
-
-  SOUL—mind, spirit. (Soul is opposed to body, mind to matter.)
-
-  SOUND, _a._—healthy, sane. (Unsound.)
-
-  SOUND, _n._—tone, noise, silence.
-
-  SPACE—room.
-
-  SPARSE—scanty, thin. (Luxuriant.)
-
-  SPEAK—converse, talk, confer, say, tell.
-
-  SPECIAL—particular, specific. (General.)
-
-  SPEND—expend, exhaust, consume, waste, dissipate. (Save.)
-
-  SPORADIC—isolated, rare. (General, prevalent.)
-
-  SPREAD—disperse, diffuse, expand, disseminate.
-
-  SPRING—fountain, source.
-
-  STAFF—prop, support, stay.
-
-  STAGGER—reel, totter.
-
-  STAIN—soil, discolor, spot, sully, tarnish.
-
-  STATE—commonwealth, realm.
-
-  STERILE—barren, unfruitful. (Fertile.)
-
-  STIFLE—choke, suffocate, smother.
-
-  STORMY—rough, boisterous, tempestuous. (Calm.)
-
-  STRAIGHT—direct, right. (Crooked.)
-
-  STRAIT, _a._—narrow, confined.
-
-  STRANGER—alien, foreigner. (Friend.)
-
-  STRENGTHEN—fortify, invigorate. (Weaken.)
-
-  STRONG—robust, sturdy, powerful. (Weak.)
-
-  STUPID—dull, foolish, obtuse, witless. (Clever.)
-
-  SUBJECT—exposed to, liable, obnoxious. (Exempt.)
-
-  SUBJECT—inferior, subordinate. (Superior to, above.)
-
-  SUBSEQUENT—succeeding, following. (Previous.)
-
-  SUBSTANTIAL—solid, durable. (Unsubstantial.)
-
-  SUIT—accord, agree. (Disagree.)
-
-  SUPERFICIAL—flimsy, shallow, untrustworthy. (Thorough.)
-
-  SUPERFLUOUS—unnecessary. (Necessary.)
-
-  SURROUND—encircle, encompass, environ.
-
-  SUSTAIN—maintain, support.
-
-  SYMMETRY—proportion.
-
-  SYMPATHY—commiseration, compassion.
-
-  SYSTEM—method, plan, order.
-
-  SYSTEMATIC—orderly, regular, methodical. (Chaotic.)
-
-
-  TAKE—accept, receive. (Give.)
-
-  TALKATIVE—garrulous, loquacious, communicative. (Silent.)
-
-  TASTE—flavor, relish, savor. (Tastelessness.)
-
-  TAX—custom, duty, impost, excise, toll.
-
-  TAX—assessment, rate.
-
-  TEASE—taunt, tantalize, torment, vex.
-
-  TEMPORARY, _a._—fleeting, transient, transitory. (Permanent.)
-
-  TENACIOUS—pertinacious, retentive.
-
-  TENDENCY—aim, drift, scope.
-
-  TENET—position, view, conviction, belief.
-
-  TERM—boundary, limit, period, time.
-
-  TERRITORY—dominion.
-
-  THANKFUL—grateful, obliged. (Thankless.)
-
-  THANKLESS—ungracious, profitless, ungrateful, unthankful.
-
-  THAW—melt, dissolve, liquefy. (Freeze.)
-
-  THEATRICAL—dramatic, showy, ceremonious.
-
-  THEFT—robbery, depredation, spoliation.
-
-  THEME—subject, topic, text, essay.
-
-  THEORY—speculation, scheme, plea, hypothesis, conjecture.
-
-  THEREFORE—accordingly, consequently, hence.
-
-  THICK—dense, close, compact, solid, coagulated, muddy, turbid,
-  misty, vaporous. (Thin.)
-
-  THIN—slim, slender, slight, flimsy, lean, scraggy, attenuated.
-
-  THINK—cogitate, consider, reflect, ponder, muse, contemplate,
-  meditate, conceive, fancy, imagine, apprehend, hold, esteem,
-  reckon, consider, deem, regard, believe, opine.
-
-  THOROUGH—accurate, correct, trustworthy, complete, reliable.
-  (Superficial.)
-
-  THOUGHT—idea, conception, imagination, fancy, conceit, notion,
-  supposition, care, provision, consideration, opinion, view,
-  sentiment, reflection, deliberation.
-
-  THOUGHTFUL—considerate, careful, cautious, heedful,
-  contemplative, reflective, provident, pensive, dreamy.
-  (Thoughtless.)
-
-  THOUGHTLESS—inconsiderate, rash, precipitate, improvident,
-  heedless.
-
-  TIE, _v._—bind, restrain, restrict, oblige, secure, join, unite.
-  (Loose.)
-
-  TIME—duration, season, period, era, age, date, span, spell.
-
-  TOLERATE—allow, admit, receive, suffer, permit, let, endure,
-  abide. (Oppose.)
-
-  TOP—summit, apex, head, crown, surface. (Base, bottom.)
-
-  TORRID—burning, hot, parching, scorching.
-
-  TORTUOUS—twisted, winding, crooked, indirect.
-
-  TORTURE—torment, anguish, agony.
-
-  TOUCHING—tender, affecting, moving, pathetic.
-
-  TRACTABLE—docile, manageable, amenable.
-
-  TRADE—traffic, commerce, dealing, occupation, employment, office.
-
-  TRADITIONAL—oral, uncertain, transmitted.
-
-  TRAFFIC—trade, exchange, commerce.
-
-  TRAMMEL, _n._—fetter, shatter, clog, bond, impediment, chain,
-  hindrance.
-
-  TRANQUIL—still, unruffled, peaceful, hushed, quiet. (Noisy,
-  boisterous.)
-
-  TRANSACTION—negotiation, occurrence, proceeding, affair.
-
-  TRAVEL—trip, peregrination, excursion, journey, tour, voyage.
-
-  TREACHEROUS—traitorous, disloyal, treasonable, faithless,
-  false-hearted. (Trustworthy, faithful.)
-
-  TRITE—stale, old, ordinary, commonplace, hackneyed. (Novel.)
-
-  TRIUMPH—achievement, ovation, victory, jubilation, conquest.
-  (Failure, defeat.)
-
-  TRIVIAL—trifling, petty, small, frivolous, unimportant,
-  insignificant. (Important.)
-
-  TRUE—genuine, actual, sincere, unaffected, true-hearted, honest,
-  upright, veritable, real, veracious, authentic, exact, accurate,
-  correct.
-
-  TUMULTUOUS—turbulent, riotous, disorderly, disturbed, confused,
-  unruly. (Orderly.)
-
-  TURBID—foul, thick, muddy, impure, unsettled.
-
-  TYPE—emblem, symbol, figure, sign, kind, letter.
-
-  TYRO—novice, beginner, learner.
-
-
-  UGLY—unsightly, plain, homely, ill-favored, hideous. (Beautiful.)
-
-  UMBRAGE—offense, dissatisfaction, resentment.
-
-  UMPIRE—referee, arbitrator, judge, arbiter.
-
-  UNANIMITY—accord, agreement, unity, concord. (Discord.)
-
-  UNBRIDLED—wanton, licentious, dissolute, loose.
-
-  UNCERTAIN—doubtful, dubious, questionable, fitful, equivocal,
-  ambiguous, indistinct, fluctuating.
-
-  UNCIVIL—rude, discourteous, disrespectful, disobliging. (Civil.)
-
-  UNCLEAN—dirty, foul, filthy, sullied. (Clean.)
-
-  UNCOMMON—rare, strange, scarce, singular, choice. (Common,
-  ordinary.)
-
-  UNCONCERNED—careless, indifferent, apathetic. (Anxious.)
-
-  UNCOUTH—strange, odd, clumsy. (Graceful.)
-
-  UNCOVER—reveal, strip, expose, lay bare. (Hide.)
-
-  UNDER—below, underneath, beneath, subordinate, lower, inferior.
-  (Above.)
-
-  UNDERSTANDING—knowledge, intellect, intelligence, faculty,
-  comprehension, mind, reason.
-
-  UNDO—annul, frustrate, untie, unfasten, destroy.
-
-  UNEASY—restless, disturbed, unquiet, awkward, stiff. (Quiet.)
-
-  UNEQUAL—uneven, not alike, irregular. (Even.)
-
-  UNEQUALED—matchless, unique, novel, new.
-
-  UNFIT, _a._—improper, unsuitable, inconsistent, untimely,
-  incompetent. (Fit.)
-
-  UNFIT, _v._—disable, incapacitate, disqualify. (Fit.)
-
-  UNFORTUNATE—calamitous, ill-fated, unlucky, wretched, unhappy,
-  miserable. (Fortunate.)
-
-  UNGAINLY—clumsy, awkward, lumbering, uncouth. (Pretty.)
-
-  UNHAPPY—miserable, wretched, distressed, painful, afflicted,
-  disastrous, drear, dismal. (Happy.)
-
-  UNIFORM—regular, symmetrical, equal, even, alike, unvaried.
-  (Irregular.)
-
-  UNINTERRUPTED—continuous, perpetual, unceasing, incessant,
-  endless. (Intermittent.)
-
-  UNION—junction, combination, alliance, confederacy, league,
-  coalition, agreement. (Disunion.)
-
-  UNIQUE—unequal, uncommon, rare, choice, matchless. (Common,
-  ordinary.)
-
-  UNITE—join, conjoin, combine, concert, add, attach. (Separate,
-  disrupt, sunder.)
-
-  UNIVERSAL—general, all, entire, total, catholic. (Sectional.)
-
-  UNLIMITED—absolute, undefined, boundless, infinite. (Limited.)
-
-  UNREASONABLE—foolish, silly, absurd, preposterous, ridiculous.
-
-  UNRIVALED—unequaled, unique, unexampled, incomparable, matchless.
-  (Mediocre.)
-
-  UNRULY—ungovernable, unmanageable, refractory. (Tractable,
-  docile.)
-
-  UNUSUAL—rare, unwonted, singular, uncommon, remarkable, strange.
-  (Common.)
-
-  UPHOLD—maintain, defend, sustain, support, vindicate. (Desert,
-  abandon.)
-
-  UPRIGHT—vertical, perpendicular, erect, just, equitable, fair,
-  pure, honorable. (Prone.)
-
-  UPRIGHTNESS—honesty, integrity, fairness, goodness, probity,
-  virtue, honor. (Dishonesty.)
-
-  URGE—incite, impel, push, drive, instigate, stimulate, press,
-  induce, solicit.
-
-  URGENT—pressing, imperative, immediate, serious, wanted.
-  (Unimportant.)
-
-  USAGE—custom, fashion, practice, prescription.
-
-  USE, _n._—usage, practice, habit, custom, avail, advantage,
-  utility, benefit, application. (Disuse.)
-
-  USUAL—ordinary, common, accustomed, habitual, wonted, customary,
-  general. (Unusual.)
-
-  UTMOST—farthest, remotest, uttermost, greatest.
-
-  UTTER, _a._—extreme, excessive, sheer, mere, pure.
-
-  UTTER, _v._—speak, articulate, pronounce, express.
-
-  UTTERLY—totally, completely, wholly, altogether.
-
-
-  VACANT—empty, unfilled, unoccupied, thoughtless, unthinking.
-  (Occupied.)
-
-  VAGRANT, _n._—wanderer, beggar, tramp, rogue.
-
-  VAGUE—unsettled, undetermined, pointless, uncertain, indefinite.
-  (Definite.)
-
-  VAIN—useless, fruitless, empty, worthless, inflated, proud,
-  conceited, unreal. (Effectual, humble.)
-
-  VALIANT—brave, bold, valorous, courageous, gallant. (Cowardly.)
-
-  VALID—weighty, strong, powerful, sound, binding, efficient.
-  (Invalid.)
-
-  VALOR—courage, gallantry, boldness, bravery, heroism. (Cowardice.)
-
-  VALUE, _v._—appraise, assess, reckon, appreciate, estimate,
-  prize, esteem, treasure. (Despise.)
-
-  VARIABLE—changeable, unsteady, inconstant, shifting, wavering,
-  fickle, restless. (Constant.)
-
-  VARIETY—difference, diversity, change, diversification, mixture,
-  medley, miscellany. (Sameness, monotony.)
-
-  VAST—spacious, boundless, mighty, enormous, immense, colossal,
-  gigantic, prodigious. (Confined.)
-
-  VAUNT—boast, brag, puff, hawk, advertise, parade.
-
-  VENERABLE—grave, sage, wise, old, reverend.
-
-  VENIAL—pardonable, excusable, justifiable. (Serious, grave.)
-
-  VENOM—poison, virus, spite, malice, malignity.
-
-  VENTURE, _n._—speculation, chance, peril, stake.
-
-  VERACITY—truth, truthfulness, credibility, accuracy. (Falsehood.)
-
-  VERBAL—oral, spoken, literal, parole, unwritten.
-
-  VERDICT—judgment, finding, decision, answer.
-
-  VEXATION—chagrin, mortification. (Pleasure.)
-
-  VIBRATE—oscillate, swing, sway, wave, thrill.
-
-  VICE—vileness, corruption, depravity, pollution, immorality,
-  wickedness, guilt, iniquity. (Virtue.)
-
-  VICIOUS—corrupt, depraved, debased, bad, unruly, contrary,
-  demoralized, profligate, faulty. (Gentle, virtuous.)
-
-  VICTIM—sacrifice, food, prey, sufferer, dupe, gull.
-
-  VICTUALS—viands, bread, meat, provisions, fare, food, repast.
-
-  VIOLENT—boisterous, furious, impetuous, vehement. (Gentle.)
-
-  VIRTUOUS—upright, honest, moral. (Profligate.)
-
-  VISION—apparition, ghost, phantom, specter.
-
-  VOLUPTUARY—epicure, sensualist.
-
-  VOUCH—affirm, asserverate, assure, aver.
-
-
-  WAIT—await, expect, look for, wait for.
-
-  WAKEFUL—vigilant, watchful. (Sleepy.)
-
-  WANDER—range, ramble, roam, rove, stroll.
-
-  WANT—lack, need. (Abundance.)
-
-  WARY—circumspect, cautious. (Foolhardy.)
-
-  WASH—clean, rinse, wet, moisten, stain, tint.
-
-  WASTE, _v._—squander, dissipate, lavish, destroy, decay, dwindle,
-  wither.
-
-  WAY—method, plan, system, means, manner, mode, form, fashion,
-  course, process, road, route, track, path, habit, practice.
-
-  WEAKEN—debilitate, enfeeble, enervate, invalidate. (Strengthen.)
-
-  WEARY—harass, jade, tire, fatigue. (Refresh.)
-
-  WEIGHT—gravity, heaviness, burden, load. (Lightness.)
-
-  WELL-BEING—happiness, prosperity, welfare.
-
-  WHOLE—entire, complete, total, integral. (Part.)
-
-  WICKED—iniquitous, nefarious. (Virtuous.)
-
-  WILL—wish, desire.
-
-  WILLINGLY—spontaneously, voluntarily. (Unwillingly.)
-
-  WIN—get, obtain, gain, procure, effect, realize, accomplish,
-  achieve. (Lose.)
-
-  WINNING—attractive, charming, fascinating, bewitching,
-  enchanting, dazzling. (Repulsive.)
-
-  WISDOM—prudence, foresight, far-sightedness, sagacity.
-  (Foolishness.)
-
-  WONDER, _v._—admire, amaze, astonish, surprise.
-
-  WONDER, _n._—marvel, miracle, prodigy.
-
-  WRONG—injustice, injury. (Right.)
-
-
-  YAWN—gape, open wide.
-
-  YEARN—hanker after, long for, desire, crave.
-
-  YELL—bellow, cry out, scream.
-
-  YELLOW—golden, saffron-like.
-
-  YELP—bark, sharp cry, howl.
-
-  YET—besides, nevertheless, notwithstanding, however, still,
-  ultimately, at last, so far, thus far.
-
-  YIELD—bear, give, afford, impart, communicate, confer, bestow,
-  abdicate, resign, cede, surrender.
-
-  YIELDING—supple, pliant, bending, compliant, submissive,
-  unresisting. (Obstinate.)
-
-  YOKE, _v._—couple, link, connect.
-
-  YORE—long ago, long since.
-
-  YOUTH—boy, lad, minority, adolescence.
-
-  YOUTHFUL—juvenile, puerile. (Old.)
-
-
-  ZEAL—energy, fervor, ardor, earnestness, enthusiasm, eagerness.
-  (Indifference.)
-
-  ZEALOUS—warm, ardent, fervent, enthusiastic, anxious.
-  (Indifferent, careless.)
-
-  ZEST—relish, gusto, flavor. (Disgust.)
-
-
-NOMS DE PLUME OF AUTHORS
-
-  ASSUMED NAME               REAL NAME
-  A Country Parson           Archbishop Whately
-  Agate                      Whitelaw Reid
-  A. K. H. B.                Rev. A. K. H. Boyd
-  A. L. O. E.                Miss Charlotte Tucker
-  Alfred Crowquill           A. H. Forrester
-  Americus                   Dr. Francis Lieber
-  Amy Lothrop                Miss Anna B. Warner
-  American Girl Abroad       Miss Trafton
-  Artemus Ward               Charles F. Browne
-  Asa Trenchard              Henry Watterson
-  Aunt Kitty                 Maria J. Macintosh
-  Aunt Mary                  Mary A. Lathbury
-  Barnacle                   A. C. Barnes
-  Barry Cornwall             Bryan Waller Proctor
-  Benauly                    Benjamin, Austin, and Lyman Abbott
-  Besieged Resident          Henry Labouchere
-  Bibliophile                Samuel Austin Allibone
-  Bill Arp                   Charles H. Smith
-  Blythe White, Jr.          Solon Robinson
-  Bookworm                   Thomas F. Donnelly
-  Boston Bard                Robert S. Coffin
-  Boz                        Charles Dickens
-  Brick Pomeroy              Mark M. Pomeroy
-  Burleigh                   Rev. Matthew Hale Smith
-  Burlington                 Robert Saunders
-  Carl Benson                Charles A. Bristed
-  Chartist Parson            Rev. Charles Kingsley
-  Chinese Philosopher        Oliver Goldsmith
-  Christopher Crowfield      Mrs. Harriet Beecher Stowe
-  Chrystal Croftangry        Sir Walter Scott
-  Claribel                   Mrs. Caroline Barnard
-  Country Parson             A. K. H. Boyd
-  Cousin Alice               Mrs. Alice B. Haven
-  Cousin Kate                Catherine D. Bell
-  Currer Bell                Charlotte Bronte (Mrs. Nichols)
-  Danbury Newsman            J. M. Bailey
-  Diedrich Knickerbocker     Washington Irving
-  Dolores                    Miss Dickson
-  Dow, Jr.                   Elbridge G. Page
-  Dr. Syntax                 William Combe
-  Dunn Browne                Rev. Samuel Fiske
-  E. D. E. N.                Mrs. Emma D. E. N. Southworth
-  Edmund Kirke               James Roberts Gilmore
-  Eleanor Kirke              Mrs. Nolly Ames
-  Elia                       Charles Lamb
-  Eli Perkins                Matthew D. Landon
-  Elizabeth Wetherell        Susan Warner
-  Ella Rodman                Mrs. Eliza Rodman
-  Ellis Bell                 Emily J. Bronte
-  English Opium-Eater        Thomas DeQuincy
-  Ettrick Shepherd           James Hogg
-  Eugene Pomeroy             Thomas F. Donnelly
-  Falconbridge               Jonathan F. Kelly
-  Fanny Fern                 Wife of James Parton and sister of
-                               N. P. Willis
-  Fanny Fielding             Mary J. S. Upsher
-  Fanny Forester             Emily C. Judson
-  Fat Contributor            A. M. Griswold
-  Father Prout               Francis Mahoney
-  Florence Percy             Mrs. Elizabeth Akers Allen
-  Frank Forrester            Henry W. Herbert
-  Gail Hamilton              Miss Mary Abigail Dodge of Hamilton
-  Gath, also Laertes         George Alfred Townsend
-  Geoffrey Crayon            Washington Irving
-  George Eliot               Mrs. Marian Lewes Cross
-  George Fitz Boodle         William M. Thackeray
-  George Forest              Rev. J. G. Wood
-  George Sand                Mme. Amantine Lucille Aurore Dudevant
-  Grace Greenwood            Mrs. Sara J. Lippincott
-  Grace Wharton              A. T. Thompson
-  Hans Breitmann             Charles Godfrey Leland
-  Hans Yokel                 A. Oakey Hall
-  Harriet Myrtle             Mrs. Lydia F. F. Miller
-  Harry Hazell               Justin Jones
-  Harry Lorrequer            Charles Lever
-  Hesba Stretton             Miss Hannah Smith
-  Hibernicus                 De Witt Clinton
-  Historicus                 Wm. G. Vernon Harcourt
-  Hosea Bigelow              James Russell Lowell
-  Howadji                    George William Curtis
-  Howard                     Mordecai Manuel Noah
-  Howard Glyndon             Laura C. Redden
-  Hyperion                   Josiah Quincy
-  Ianthe                     Emma C. Embury
-  Ik Marvel                  Donald G. Mitchell
-  Irenæus                    Rev. S. Irenæus Prime, D.D.
-  Isabel                     William Gilmore Simms
-  Janus                      Dr. Dollinger
-  Jaques                     J. Hain Friswell
-  Jay Charlton               J. C. Goldsmith
-  Jedediah Cleishbotham      Sir Walter Scott
-  Jennie June                Mrs. Jennie C. Croly
-  John Chalkhill             Izaak Walton
-  John Darby                 J. C. Garretson
-  John Paul                  C. H. Webb
-  John Phœnix, Gentleman     George H. Derby
-  Josh Billings              Henry W. Shaw
-  Joshua Coffin              H. W. Longfellow
-  Kate Campbell              Jane Elizabeth Lincoln
-  Kirwan                     Rev. Nicholas Murray
-  K. N. Pepper               James M. Morris
-  Laicus                     Rev. Lyman Abbott
-  Launcelot Wagstaffe, Jr.   Charles Mackay
-  Lemuel Gulliver            Jonathan Swift
-  Louise Muhlbach            Clara Mundt
-  Major Jack Downing         Seba Smith
-  Marion Harland             Mary V. Terhune
-  Mark Twain                 Samuel L. Clemens
-  Max Adler                  Charles H. Clark
-  Minnie Myrtle              Miss Anna C. Johnson
-  Mintwood                   Miss Mary A. E. Wager
-  M. Quad                    Charles B. Lewis
-  Mrs. Partington            B. P. Shillaber
-  M. T. Jug                  Joseph Howard
-  Ned Buntline               Edward Z. C. Judson
-  Nym Crinkle                A. C. Wheeler
-  Old Bachelor               George William Curtis
-  Old Cabinet                R. Watson Gilder
-  Old Humphrey               George Mogridge
-  Old’Un                     Francis Alexander Durivage
-  Oliver Optic               William Taylor Adams
-  Olivia                     Emily Edson Grigg
-  Ollapod                    Willis G. Clark
-  Orpheus C. Kerr            Robert H. Newell
-  Ouida                      Louisa De La Ramé
-  Owen Meredith              Lord Lytton
-  Parson Brownlow            Wm. Gunnaway Brownlow
-  Patty Lee                  Alice Cary
-  Paul Creyton               J. T. Trowbridge
-  Pen Holder                 Rev. Edward Eggleston
-  Pequot                     Charles W. March
-  Perdita                    Mrs. Mary Robinson
-  Perley                     Benj. Perley Poore
-  Peter Parley               S. G. Goodrich
-  Peter Pindar               Dr. John Wolcot
-  Petroleum V. Nasby         D. R. Locke
-  Phœnix                     Sir Henry Martin
-  Poor Richard               Benjamin Franklin
-  Porte Crayon               David H. Strother
-  Private Miles O’Reilly     Charles G. Halpine
-  Robinson Crusoe            Daniel Defoe
-  Runnymede                  Lord Beaconsfield
-  Rustic Bard                Robert Dinsmore
-  Sam Slick                  Thomas C. Halliburton
-  Saxe Holm Miss             Rush Ellis
-  Shirley Dare               Mrs. Susan D. Waters
-  Sophie May                 Mrs. Eckerson
-  Sophie Sparkle             Jennie E. Hicks
-  Sparrowgrass               F. S. Cozzens
-  Straws, Jr.                Kate Field
-  Susan Coolidge             Miss Woolsey
-  Teufelsdrœckh              Thomas Carlyle
-  Teutha                     William Jerdan
-  The Black Dwarf            Thomas J. Wooler
-  The Celt                   Thomas Davis
-  The Druid                  Henry H. Dixon
-  The Governor               Henry Morford
-  The Traveller              Isaac Stary
-  Theodore Taylor            J. C. Hotten
-  Thomas Ingoldsby           Rev. R. H. Barham
-  Thomas Little              Thomas Moore
-  Thomas Rowley              Thomas Chatterton
-  Timon Fieldmouse           William B. Rands
-  Timothy Tickler            Robert Syme
-  Timothy Titcomb            Dr. J. G. Holland
-  Tom Brown                  Thomas Hughes
-  Tom Folio                  Joseph E. Babson
-  Tom Hawkins                Theodore W. A. Buckley
-  Trinculo                   John A. Cockerill
-  Tristram Merton            Thomas B. Macaulay
-  Two Brothers               A. and C. Tennyson
-  Ubique                     Parker Gilmore
-  Una Mary                   A. Ford
-  Uncle Hardy                William Senior
-  Uncle John                 Elisha Noyce
-  Uncle Philip               Rev. Dr. F. L. Hawks
-  Uncle Toby                 Rev. Tobias H. Miller
-  Veteran Observer           E. D. Mansfield
-  Vigilant                   John Corlett
-  Vivian                     George H. Lewes
-  Vivian Joyeux              W. M. Praed
-  Walter Maynard             William Beale
-  Warhawk                    William Palmer
-  Warrington                 W. P. Robinson
-  Warwick                    F. O. Otterson
-  Waters                     William H. Russell
-  What’s His Name            E. C. Massey
-  Wilibald, Alexis           William Hæring
-  Wizard                     John Corlett
-
-
-
-
-PART II.
-
-READINGS AND RECITATIONS FROM THE MOST CELEBRATED AUTHORS
-
-COMPRISING
-
-THRILLING BATTLE SCENES AND VICTORIES; BEAUTIFUL DESCRIPTIONS;
-SOUL-STIRRING DEEDS OF HEROISM; WITTY AND HUMOROUS SELECTIONS; PATHETIC
-PIECES; FAMOUS ORATIONS; RECITATIONS FOR CHILDREN; READINGS WITH
-ACCOMPANIMENTS OF MUSIC; DRILLS; LESSON TALKS, ETC.
-
-
-HOW TO READ AND RECITE.
-
-Good readers and reciters are extremely rare, and it is because
-sufficient time and study are not devoted to the art of elocution.
-Not one educated man in ten can read a paragraph in a newspaper so
-effectively that to listen to him is a pleasure, and not a pain.
-
-Many persons are unable so to express the words as to convey their
-meaning. They pervert the sense of the sentence by emphasizing in the
-wrong place, or deprive it of all sense by a monotonous gabble, giving no
-emphasis to any words they utter. They neglect the “stops,” as they are
-called; they make harsh music with their voices; they hiss, or croak, or
-splutter, or mutter—everything but speak the words set down for them as
-they would have talked them to you in conversation.
-
-Why should this be? Why should correct reading be rare, pleasant reading
-rarer still, and good reading found only in one person in ten thousand?
-Let me urge you with all earnestness to become an accomplished reader
-and reciter. This is something to be coveted, and it is worth your while
-to acquire it, though it cost you much time and labor. Attend to the
-rules here furnished.
-
-
-Cultivation of the Voice.
-
-Accustom yourself to reading and reciting aloud. Some of our greatest
-orators have made it a practice to do this in the open air, throwing out
-the voice with full volume, calling with prolonged vowel sounds to some
-object in the distance, and thus strengthening the throat and lungs.
-Every day you should practice breathings; by which I mean that you should
-take in a full breath, expand the lungs to their full capacity, and then
-emit the breath slowly, and again suddenly with explosive force. A good,
-flexible voice is the first thing to be considered.
-
-
-Distinct Enunciation.
-
-When you hear a person read or speak you are always pleased if the full
-quantity is given to each syllable of every word. Only in this way can
-the correct meaning of the sentence be conveyed. People who are partially
-deaf will tell you that they are not always able to hear those who speak
-the loudest, but those who speak the most distinctly. Do not recite
-to persons who are nearest to you, but rather glance at those who are
-farthest away, and measure the amount of volume required to make them
-hear.
-
-
-Emphasis.
-
-Some word or words in every sentence are more important, and require
-greater emphasis than others. You must get at the exact meaning of the
-sentence, and be governed by this. The finest effects can be produced by
-making words emphatic where the meaning demands it. Look well to this.
-
-
-Pauses.
-
-Avoid a sing-song, monotonous style of delivery. Break the flow where it
-is required; you will always notice how skillfully a trained elocutionist
-observes the proper pauses. Have such command of yourself that you do not
-need to hurry on with your recitation at the same pace from beginning to
-end. The pause enables the hearer to take in the meaning of the words,
-and is therefore always to be observed.
-
-
-Gestures.
-
-Speak with your whole body, not merely with your tongue and lips. It is
-permissible to even stamp with your foot when the sense calls for it.
-Speak with your eyes, with your facial expression, with your fingers,
-with your clenched fist, with your arm, with the pose of your body, with
-all the varying attitudes needful to express what you have to say with
-the greatest effect.
-
-Stand, as a rule, with one foot slightly in advance of the other, the
-weight of the body resting upon the foot farther back. Do not be tied to
-one position; hold yourself at liberty to change your position and move
-about. Do not hold your elbows close to your body, as if your arms were
-strapped to your sides. Make the gesture in point of time slightly in
-advance of the word or words it is to illustrate.
-
-
-The Magnetic Speaker.
-
-It has always been said that the poet is born, but the orator is made.
-This is not wholly correct, for the more magnetism you were born with,
-the better speaker you will become. Still, the indefinable thing called
-magnetism is something that can be cultivated; at least you can learn
-how to show it, and permit it to exert its wonderful influence over your
-hearers.
-
-Put yourself into your recitations in such a way that the thoughts
-and sentiments you express shall, for the time being, be your own.
-Every nerve and muscle of your body, every thought and emotion of
-your mind, in short, your whole being should be enlisted. You should
-become transformed, taking on the character required by the reading or
-recitation, and making it your own.
-
-Persons who can thus lose themselves in what they are saying, and throw
-into their recitations all the force and magnetism of which they are
-capable, are sure to meet with success.
-
-
-Self-Command.
-
-Young persons naturally feel embarrassed when they face an audience.
-Some of our greatest orators have known what this is, and were compelled
-to labor hard to overcome it. Practice alone will give you confidence,
-unless you possess it already, and this is true of only a few young
-persons.
-
-Do your utmost to control yourself. Let your will come into play; strong
-will, governing every emotion of the mind and movement of the body, is
-absolutely essential. Do not be brazen, but self-confident.
-
-
-TYPICAL GESTURES TO BE USED IN READING AND RECITING.
-
-[Illustration: Fig. 1.—Malediction.
-
-Traitors! I would call down the wrath of Heaven on them.]
-
-[Illustration: Fig. 2.—Designating.
-
-Scorn points his slow, unmoving finger.]
-
-[Illustration: Fig. 3.—Silence.
-
-  There was silence deep as death,
-  And the boldest held his breath.]
-
-[Illustration: Fig. 4.—Repulsion.
-
-  Back to thy punishment, false fugitive,
-  And to thy speed add wings!]
-
-[Illustration: Fig. 5.—Declaring.
-
-I speak the truth, and dare to speak it.]
-
-[Illustration: Fig. 6.—Announcing.
-
-We proclaim the liberty that God gave when He gave us life.]
-
-[Illustration: Fig. 7.—Discerning.
-
-A sail, ho! A dim speck on the horizon.]
-
-[Illustration: Fig. 8.—Invocation.
-
-Angels and ministers of grace, defend us!]
-
-[Illustration: Fig. 9.—Presenting or Receiving.
-
-Welcome the coming, speed the going guest.]
-
-[Illustration: Fig. 10.—Horror.
-
-  Methought I heard a voice cry, “Sleep no more!
-  Macbeth, does murder sleep?”]
-
-[Illustration: Fig. 11.—Exaltation.
-
-Washington is in the clear upper sky.]
-
-[Illustration: Fig. 12—Secrecy.
-
-Be mute, be secret as the grave.]
-
-[Illustration: Fig. 13.—Wonderment.
-
-While the dance was the merriest, the door opened and there stood the
-parson!]
-
-[Illustration: Fig. 14.—Indecision.
-
-Shall I take back my promise? ’Twill but expose me to contempt.]
-
-[Illustration: Fig. 15.—Grief.
-
-O, that by weeping I could heal my sorrow!]
-
-[Illustration: Fig. 16.—Gladness.
-
-  No pen, no tongue can summon power
-  To tell the transports of that hour.]
-
-[Illustration: Fig. 17.—Signalling.
-
-There stood Count Wagstaff, beckoning.]
-
-[Illustration: Fig. 18.—Tender Rejection.
-
-It has come at last; I must say, No.]
-
-[Illustration: Fig. 19.—Protecting—Soothing.
-
-  Boy! Harold! safely rest,
-  Enjoy the honey-dew of slumber.]
-
-[Illustration: Fig. 20.—Anguish.
-
-  My cup with agony is filled,
-  From nettles sharp as death distilled.]
-
-[Illustration: Fig. 21.—Awe—Appeal.
-
-Spirits of the just made perfect, from your empyrean heights look down!]
-
-[Illustration: Fig. 22.—Meditation.
-
-A lonely man, wending his slow way along and lost in deepest thought.]
-
-[Illustration: Fig. 23.—Defiance.
-
-Defy the devil; consider he is the enemy of mankind.]
-
-[Illustration: Fig. 24.—Denying—Rejecting.
-
-Yes, if this were my last breath I would deny these infamous charges.]
-
-[Illustration: Fig. 25.—Dispersion.
-
-Spain’s proud Armada was scattered to the winds.]
-
-[Illustration: Fig. 26.—Remorse.
-
-A thoughtless, wicked deed; it stings sharper than a serpent’s tooth.]
-
-[Illustration: Fig. 27.—Accusation.
-
-And Nathan said to David, Thou art the man.]
-
-[Illustration: Fig. 28.—Revealing.
-
-  The way she kept it was, of course,
-  To tell it all and make it worse.]
-
-[Illustration: Fig. 29.—Correct Positions of the Hands.
-
-1. Simple affirmation. 2. Emphatic declaration. 3. Apathy or prostration.
-4. Energetic appeal. 5. Negation or denial. 6. Violent repulsion. 7.
-Indexing or cautioning. 8. Determination or anger. 9. Supplication.
-10. Gentle entreaty. 11. Carelessness. 12. Argumentation. 13. Earnest
-entreaty. 14. Resignation.]
-
-
-
-
-RECITATIONS WITH LESSON TALKS.
-
-SHOWING BY EXAMPLES HOW TO READ AND RECITE.
-
-
-THE SONG OF OUR SOLDIERS AT SANTIAGO.
-
-When the destruction of Admiral Cervera’s fleet became known before
-Santiago, the American soldiers cheered wildly, and, with one accord,
-through miles of trenches, began singing “The Star Spangled Banner.” You
-should preface the recitation with the foregoing statement.
-
-  Singing “The Star Spangled Banner”
-    In the very jaws of death!
-  Singing our glorious anthem,
-    Some with their latest breath!
-  The strains of that solemn music
-    Through the spirit will ever roll,
-  Thrilling with martial ardor
-    The depths of each patriot soul.
-
-  2. Hearing the hum of the bullets!
-    Eager to charge the foe!
-  Biding the call to battle,
-    Where crimson heart streams flow!
-  Thinking of home and dear ones,
-    Of mother, of child, of wife,
-  They sang “The Star Spangled Banner”
-    On that field of deadly strife.
-
-  3. They sang with the voices of heroes,
-    In the face of the Spanish guns,
-  As they leaned on their loaded rifles,
-    With the courage that never runs,
-  They sang to our glorious emblem,
-    Upraised on that war-worn sod,
-  As the saints in the old arena
-    Sang a song of praise to God.
-
-                      DAVID GRAHAM ADEE.
-
-
-LESSON TALK.
-
-This selection is inspiring. It is brimful of the glow of patriotism.
-To deliver it, therefore, in a dull, listless, indifferent manner would
-suppress the natural sentiment of the piece and rob it of the effect it
-would otherwise produce. Be _alive_; not wooden and nerveless. If you
-were standing in a crowd and a brass band should come along and strike up
-the “Star Spangled Banner,” you would instantly see the change that would
-come over the assembled throng. Every heart would be moved, every face
-would be filled with expression, every nerve would seem to tingle.
-
-When you are to deliver a selection of this kind, come before your
-audience with your body straightened to its full height, your shoulders
-thrown back, and your head erect. For the time being you are a patriot,
-and are saying some grand things about the Stars and Stripes and about
-our brave heroes who have carried “Old Glory” to victory on so many
-battlefields.
-
-Your manner must indicate that you appreciate their heroism, that you are
-ready to extol it, and that you expect your hearers to share the emotions
-of your own breast. You should know what tones of voice your are to
-employ in expressing most effectively the sentiments of the piece, what
-gestures should be used and what words are to be emphasized.
-
-1. Taking now the first verse, you should let the tones of your voice
-out full and clear on the first line, lowering your voice on the second
-line; then letting your voice ring out again on the third line, and
-again subduing it on the fourth. Here is a fine opportunity for contrast
-between strong tones and tones subdued and suggestive of death. It would
-not be amiss to give the words “their latest breath” in a whisper.
-Prolong the sound on the word “roll.” The word “thrilling” should be
-expressed with energetic impulse, and the voice lowered, yet round and
-full, on the last line.
-
-2. With hands elevated as high as the shoulders and palms turned outward,
-expressive of wonder and almost alarm, deliver the first line of the
-second verse. Suddenly change to confidence and courage in the next three
-lines. Express nothing here that could suggest timidity, but rather the
-opposite.
-
-  “Thinking of home and dear ones,
-    Of mother, of child, of wife,”
-
-should be spoken in a thoughtful mood, with head dropped on breast;
-then lift it as you speak the two lines that follow, the last of which
-refers to the field of battle and should be designated, as in Figure 2 of
-Typical Gestures, found in the preceding pages.
-
-3. At the beginning of verse three, elevate your voice and prolong the
-tones. The words “never runs” are emphatic; put stress on them. On the
-fifth and sixth lines of this verse use the gesture for Exaltation,
-Figure 11 of Typical Gestures—arm lifted as high as the head and palm
-opened upward, giving the arm at the same time a circular motion. The
-last two lines should be delivered with hands clasped, palm to palm, in
-front of the breast, and eyes turned upward.
-
-
-THE VICTOR OF MARENGO.
-
-Napoleon was sitting in his tent; before him lay a map of Italy. He took
-four pins and stuck them up; measured, moved the pins, and measured
-again. “Now,” said he, “that is right; I will capture him there!” “Who,
-sir?” said an officer. “Milas, the old fox of Austria. He will retire
-from Genoa, pass Turin, and fall back on Alexandria. I shall cross the
-Po, meet him on the plains of Laconia, and conquer him there,” and the
-finger of the child of destiny pointed to Marengo.
-
-2. Two months later the memorable campaign of 1800 began. The 20th of
-May saw Napoleon on the heights of St. Bernard. The 22d, Lannes, with
-the army of Genoa, held Padua. So far, all had been well with Napoleon.
-He had compelled the Austrians to take the position he desired; reduced
-the army from one hundred and twenty thousand to forty thousand men;
-dispatched Murat to the right, and June 14th moved forward to consummate
-his masterly plan.
-
-3. But God threatened to overthrow his scheme! A little rain had fallen
-in the Alps, and the Po could not be crossed in time. The battle was
-begun. Milas, pushed to the wall, resolved to cut his way out; and
-Napoleon reached the field to see Lannes beaten—Champeaux dead—Desaix
-still charging old Milas, with his Austrian phalanx at Marengo, till the
-consular guard gave way, and the well-planned victory was a terrible
-defeat. Just as the day was lost, Desaix, the boy General, sweeping
-across the field at the head of his cavalry, halted on the eminence where
-stood Napoleon.
-
-4. There was in the corps a drummer-boy, a gamin whom Desaix had picked
-up in the streets of Paris. He had followed the victorious eagle of
-France in the campaigns of Egypt and Germany. As the columns halted,
-Napoleon shouted to him: “Beat a retreat!” The boy did not stir. “Gamin,
-beat a retreat!” The boy stopped, grasped his drum-sticks, and said:
-“Sir, I do not know how to beat a retreat; Desaix never taught me that;
-but I can beat a charge,—Oh! I can beat a charge that will make the dead
-fall into line. I beat that charge at the Pyramid: I beat that charge at
-Mount Tabor: I beat it again at the bridge of Lodi. May I beat it here?”
-
-5. Napoleon turned to Desaix, and said: “We are beaten; what shall we
-do?” “Do? Beat them! It is only three o’clock, and there is time enough
-to win a victory yet. Up! the charge! beat the old charge of Mount Tabor
-and Lodi!” A moment later the corps, following the sword-gleam of Desaix,
-and keeping step with the furious roll of the gamin’s drum, swept down on
-the host of Austrians. They drove the first line back on the second—both
-on the third, and there they died. Desaix fell at the first volley, but
-the line never faltered, and as the smoke cleared away the gamin was seen
-in front of his line marching right on, and still beating the furious
-charge.
-
-6. Over the dead and wounded, over breastworks and fallen foe, over
-cannon belching forth their fire of death, he led the way to victory,
-and the fifteen days in Italy were ended. To-day men point to Marengo in
-wonder. They admire the power and foresight that so skillfully handled
-the battle but they forget that a General only thirty years of age made a
-victory of a defeat. They forget that a gamin of Paris put to shame “the
-child of destiny.”
-
-
-LESSON TALK.
-
-A story or a narrative like this should be read in a more easy,
-conversational manner than is demanded for selections more tragic or
-oratorical. Yet a great variety of expression can be introduced into this
-piece, and without it, the reading will be tame.
-
-1. In the first part of this verse spread your hands forward, then
-outward with the palms downward, to indicate the map of Italy which is
-lying before the great general. In a tone of triumph, accompanied with
-firmness and decision, Napoleon says, “I will capture him there.” Use the
-gesture for defiance, Figure 23, in Typical Gestures. Your body must be
-immediately relaxed as you ask the question, “Who, sir?” Let the answer
-be given with utterance somewhat rapid, still indicating firmness and
-decision.
-
-2. This verse is easy narrative and should be recited as you would tell
-it to a friend in conversation. The words “masterly plan” in the last
-line are emphatic.
-
-3. In the first line of this verse use the gesture shown in Figure 24
-of Typical Gestures, indicating that Napoleon’s scheme was rejected by
-God and brought to nought. The style of narrative here is very concise
-and the sentences should follow one another in quick succession. “Milas,
-pushed to the wall,” should be expressed by Figure 4 of Typical Gestures.
-When you come to the words “the well-planned victory was a terrible
-defeat,” stretch forth your right arm as in Figure 6 of Typical Gestures,
-dropping it to your side heavily on the last word. Point to the boy
-general sweeping across the field and to the eminence where Napoleon
-stood. Champeaux is pronounced _Shon-po_; Desaix is pronounced _De-say_.
-
-4. Here you drop again into easy narrative until you come to the words,
-“Beat a retreat!” These are to be shouted as if you were the officer on
-the battlefield giving the command. Put intense expression into the boy’s
-appeal, as he states that he does not know how to beat a retreat, and
-pleads to be permitted to beat a charge. There is opportunity here for
-grand effect as you deliver these lines.
-
-5 and 6. Use the gesture for Defiance on the words, “Up! the charge!” You
-are ordering an advance, resolved to win the victory. The remainder of
-this verse and the following is narrative and demands quite a different
-rendering from the words of command in other parts of the selection.
-If you recite it in such a way as to express the full meaning it will
-captivate your hearers.
-
-
-THE WEDDING FEE.
-
-  1.  One morning, fifty years ago—
-      When apple-trees were white with snow
-      Of fragrant blossoms, and the air
-      Was spellbound with the perfume rare—
-      Upon a farm horse, large and lean,
-        And lazy with its double load,
-      A sun-brown youth and maid were seen
-        Jogging along the winding road
-
-  2.  Blue were the arches of the skies,
-      But bluer were that maiden’s eyes!
-      The dewdrops on the grass were bright,
-      But brighter was the loving light
-      That sparkled ’neath each long-fringed lid,
-      Where those bright eyes of blue were hid;
-      Adown the shoulders, brown and bare,
-      Rolled the soft waves of golden hair.
-
-  3.  So on they ride, until among
-      The new born leaves with dew-drops hung,
-      The parsonage, arrayed in white,
-      Peers out—a more than welcome sight.
-        Then with a cloud upon his face,
-      “What shall we do?” he turned to say,
-      “Should he refuse to take his pay
-        From what is in the pillow case?”
-
-  4.  And glancing down his eyes surveyed
-      The pillow case before him laid,
-      Whose contents reaching to its hem,
-      Might purchase endless joys for them.
-      The maiden answers: “Let us wait;
-        To borrow trouble where’s the need?”
-      Then at the parson’s squeaking gate
-        Halted the more than willing steed.
-
-  5.  Down from his horse the bridegroom sprung;
-      The latchless gate behind him swung.
-      The knocker of that startled door,
-      Struck as it never was before,
-        Brought the whole household, pale with fright,
-      And there with blushes on his cheek,
-      So bashful he could hardly speak,
-        The parson met their wondering sight.
-
-  6.  The groom goes in, his errand tells,
-        And as the parson nods, he leans
-      Far out across the window-sill and yells—
-        “Come in. He says he’ll take the beans!”
-      Oh! how she jumped! With one glad bound
-      She and the bean-bag reached the ground.
-
-  7.  Then, clasping with each dimpled arm
-      The precious products of the farm,
-      She bears it through the open door,
-      And down upon the parlor floor
-      Dumps the best beans vines ever bore.
-
-  8.  Ah! happy were their songs that day,
-      When man and wife they rode away;
-      But happier this chorus still
-        Which echoed through those woodland scenes:
-      “God bless the priest of Whittensville!
-        God bless the man who took the beans.”
-
-
-LESSON TALK.
-
-The quiet humor of this piece stands in strong contrast to selections of
-a tragic character, and if it is recited in an easy pleasant way, it is
-sure to be appreciated by all who hear it. Adapt your voice and manner,
-therefore, to the style of narrative.
-
-1. With the right hand extended designate the farm horse, large and
-lean. Drawl out the word lazy in the next line, and continue this slow
-utterance to the end of the verse.
-
-2. The sentiment changes in the next verse and requires more animation.
-In the first line make the gesture shown in Figure 21 of Typical
-Gestures, in the beginning of Part II. of this volume. Become more
-animated as you describe the maiden’s eyes and the soft waves of her
-golden hair.
-
-3. The young couple reach the parsonage and your manner should suggest
-theirs; they have come on very important business. Express the
-embarrassment of the young man as he asks the question: “What shall we
-do?” etc. Give a half look of surprise as you refer to the contents of
-the pillow-case.
-
-4. In a half tone of rebuke the maiden answers, “Let us wait,” saying
-encouragingly that there is no need to borrow trouble. She evidently
-believes the parson will be quite willing to take the fee.
-
-5. Let your utterance become more rapid as you picture the bridegroom
-springing from the horse. With uplifted, clenched hand knock on the door,
-and then portray the half fright of the parson as he answers the knock.
-
-6. Here is an opportunity for a genuine touch of humor. Cry out as the
-young man would to the maiden by the gate, “Come in; he says he’ll take
-the beans!” She jumps to the ground. Make the gesture of Figure 16 in
-Typical Gestures.
-
-7. Act out the effort of carrying the pillow-case through the open door
-and throwing it upon the parlor floor. Do not let your facial expression
-be too serious. You should know how to smile without looking silly.
-
-8. Here again in the first line make the gesture in Figure 16, and with
-elevated pitch and joyous expression picture the young couple as they
-ride away. With fervent tones and uplifted hands recite the last two
-lines of the piece. A good recital for a parlor entertainment.
-
-
-THE STATUE IN CLAY.
-
-  1.  “Make me a statue,” said the King,
-        “Of marble white as snow;
-      It must be pure enough to stand
-      Before my throne, at my right hand;
-        The niche is waiting. Go!”
-
-  2.  The sculptor heard the King’s command
-        And went upon his way;
-      He had no marble, but he meant,
-      With willing mind and high intent,
-        To mould his thoughts in clay.
-
-  3.  Day after day he wrought in clay,
-        But knew not what he wrought;
-      He sought the help of heart and brain,
-      But could not make the riddle plain;
-        It lay beyond his thought.
-
-  4.  To-day the statue seemed to grow,
-        To-morrow it stood still,
-      The third day all went well again;
-      Thus year by year, in joy and pain,
-        He served his master’s will.
-
-  5.  At last his life-long work was done;
-        It was a fateful day;
-      He took the statue to the King,
-      And trembled like a guilty thing,
-        Because it was but clay.
-
-  6.  “Where is my statue?” asked the King,
-        “Here, Lord,” the Sculptor said:
-      “But I commanded marble.” “True,
-      I had not that, what could I do
-        But mould in clay instead?”
-
-  7.  “Thou shalt not unrewarded go
-        Since thou hast done thy best,
-      Thy statue shall acceptance win,
-      It shall be as it should have been,
-        For I will do the rest.”
-
-  8.  He touched the statue, and it changed.
-        The clay falls off, and lo!
-      The marble shape before him stands,
-      The perfect work of heavenly hands,
-        An angel, pure as snow.
-
-
-LESSON TALK.
-
-The beautiful lesson taught in this selection is apparent to every one.
-In reciting it you have, therefore, the advantage of presenting a reading
-that commends itself to all hearers, the sentiment of which is admirable.
-The piece will speak for itself, and there is a vast difference between a
-reading of this description and one that has nothing specially to commend
-it.
-
-And here let me say something concerning your choice of recitations.
-First of all, they should be adapted to your range of capacity. It is
-simply grotesque for one to whom only tragedy is natural to attempt to
-recite humorous pieces. On the other hand, it is a great mistake for one
-who is expert in nothing but humorous selections to attempt to recite
-tragedy.
-
-The error with many readers lies in attempting to do that for which
-they are not naturally fitted. The selections in this volume are so
-diversified that you ought to be able to find what is especially suited
-to your ability.
-
-Nothing is inserted here simply because it is good poetry or good prose.
-There are thousands of readings and recitations, so called, that do not
-afford the elocutionist any opportunity to display his powers. They are
-a dull monotony from beginning to end. They fill the pages of the book,
-but nobody wants them. Every recitation in this volume has been chosen
-because it has some special merit and is adapted to call out the powers
-of the reader.
-
-1. Taking now the recitation before us you have in the first verse
-the King’s command, which you should deliver in a tone of authority,
-extending the right hand on the fourth line.
-
-And this affords me an opportunity to say that your gestures should
-never be thrust forward or sideways in an angular manner, but with
-something approaching a curve. Do not make gestures as though you were a
-prize-fighter and were thrusting at an imaginary foe. Remember that the
-line of beauty is always the curve.
-
-2. This verse is narrative and requires a different expression from the
-one preceding it. Extend your right hand on the second line in which it
-is stated that the sculptor went upon his way, curving your arm outward
-and then letting it fall gently by your side.
-
-3. In this verse the sculptor is in perplexity. He is trying to study
-out the riddle, and to express this you should use Figure 22 of Typical
-Gestures.
-
-4 and 5. These verses are also narrative, the only thing to be noted
-being the trembling timidity of the sculptor in the last part of the 5th
-verse. This should be indicated by the tones of your voice and general
-manner.
-
-6. This is dialogue, and while the inflexions required are those of
-ordinary conversation, do not let your manner be too tame.
-
-7. Make the announcement contained in this verse with evident
-satisfaction. The last line is emphatic and should be spoken with full
-volume.
-
-8. Make a pause after the word statue in the first line and recite the
-remainder of this line in a tone of surprise. In the second line make
-the gesture in Figure 13 of Typical Gestures. Let your facial expression
-indicate satisfaction.
-
-
-THE PUZZLED BOY.
-
-  1.  “Well—whose boy am I, any way?
-      I fell down cellar yesterday,
-      And gave my head an awful bump
-      (If you had only seen the lump!)
-      And Mamma called me when I cried,
-      And hugged me close up to her side,
-      And said: ‘I’ll kiss and make it well,
-      Mamma’s own boy; how hard he fell.’
-
-  2.  “When Papa took me out to play
-      Where all the men were making hay,
-      He put me on old Dobbin’s back;
-      And when they gave the whip a crack,
-      And off he threw me, Papa said,
-      (When I got up and rubbed my head,
-      And shut my lips, and winked my eyes)
-      ‘Papa’s brave boy. He never cries!’
-
-  3.  “And when I go to Grandma’s—well,
-      You’d be surprised if I could tell
-      Of all the pies and ginger-cakes
-      And doughnuts that she always makes,
-      And all the jam and tarts and such,
-      And _never_ says, ‘Don’t take too much;
-      Because,’ she says, ‘he must enjoy
-      His visit, for he’s Grandma’s boy!’
-
-  4.  “And Grandpa says: ‘I’ll give him soon
-      A little pony for his own,
-      He’ll learn to ride it well, I know,
-      Because he’s Grandpa’s boy. Ho! ho!’
-      And plenty other people say;
-      ‘Well, how are you, my boy, to-day?’
-      Now, can you tell me, if you try,
-      How many little boys _am I_?”
-
-
-LESSON TALK.
-
-This selection is in a lighter vein than the others that have gone
-before. It is adapted to a boy eight or ten years old. While the humor is
-not of a boisterous character, the piece is very pleasing when recited
-by a boy who knows how to take in the situation and can put on a look of
-natural surprise.
-
-Recitations by little people are always interesting to older persons. The
-young should be taught to recite in public. While this need not make them
-bold, it does give them confidence, which is very desirable for them to
-have.
-
-Moreover, it helps them to become graceful in manner if they are properly
-trained, and takes away the awkwardness which makes many young persons
-appear to a disadvantage. Added to all this the cultivation of the memory
-derived from learning recitations, and learning them so thoroughly that
-they cannot be forgotten through any temporary embarrassment, and you
-will readily see that the noble art of elocution is an essential part of
-every young person’s education.
-
-The selection before us is not a difficult one to recite. In the first
-verse emphasis should be placed on the word “am,” and the question should
-be asked in a tone of surprise. Put your hand to your head in speaking of
-that “awful bump.”
-
-In the next verse lift your right hand with a sudden motion and use any
-gesture with which you can best indicate the cracking of the whip. When
-you come to the words “off he threw me,” use the gesture in Figure 24 of
-Typical Gestures. Emphasize the word “he” in the last line.
-
-In verse three open your eyes in half wonder and put on an expressive
-smile as you speak of grandma’s pies, cakes, doughnuts, tarts, etc. Make
-it plain that you enjoy your visit to grandma’s.
-
-With elevated voice and accents of delight refer to the gift of the
-little pony in the last verse. Speak the first “ho!” rather quickly; then
-prolong the sound on the second “ho!” In the last line the words “am I?”
-are emphatic. You are puzzled to know how many little boys you are. Pause
-a moment and look as if expecting an answer.
-
-
-
-
-RECITATIONS WITH MUSIC.
-
-
-Nothing renders a recitation more acceptable to any audience than
-snatches of music, some of the words being sung, if the reader has a
-voice for singing. The change from reciting to singing should be made
-easily, and you should be fully confident that you can carry through
-the part to be expressed by the notes of music, and sing the words
-effectively.
-
-This will require practice, but will repay you for the time spent in
-preparation. Selections for song and recital combined are here presented,
-which cannot fail to captivate your audience if they are skillfully
-rendered.
-
-
-TWICKENHAM FERRY.
-
-The words to be sung, or that should receive the prolonged sound
-indicated by the notes, are printed in italics. Remember you are calling
-to some one in the distance.
-
-[Music]
-
-  1.
-
-  “_O-hoi ye-ho, Ho-ye-ho, Who’s for the ferry?_
-    The briars in bud, the sun is going down,
-  And I’ll row ye so quick and I’ll row ye so steady,
-    And ’tis but a penny to Twickenham Town.”
-
-  The ferryman’s slim and the ferryman’s young,
-  And he’s just a soft twang in the turn of his tongue,
-    And he’s fresh as a pippin and brown as a berry,
-  And ’tis but a penny to Twickenham Town.
-    _O-hoi ye-ho, Ho-ye-ho, Ho-ye-ho, Ho._
-
-  2.
-
-  “_O-hoi ye-ho, Ho-ye-ho, I’m for the ferry_,
-    The briars in bud, the sun going down,
-  And it’s late as it is, and I haven’t a penny,
-    And how shall I get me to Twickenham Town?”
-  She’d a rose in her bonnet, and oh! she look’d sweet
-  As the little pink flower that grows in the wheat,
-    With her cheeks like a rose and her lips like a cherry,
-  “And sure and you’re welcome to Twickenham Town.”
-    _O-hoi ye-ho, Ho-ye-ho, Ho-ye-ho, Ho._
-
-  3.
-
-  _O-hoi ye-ho, Ho, you’re too late for the ferry_,
-    The briars in bud, the sun going down,
-  And he’s not rowing quick and he’s not rowing steady,
-    You’d think ’twas a journey to Twickenham Town.
-  “_O hoi, and O ho_,” you may call as you will,
-  The moon is a rising on Peterham Hill,
-    And with love like a rose in the stern of the wherry,
-  There’s danger in crossing to Twickenham Town.
-    _O-hoi ye-ho, Ho-ye-ho, Ho-ye-ho, Ho._
-
-[Music]
-
-
-GRANDMOTHER’S CHAIR.
-
-The words to be sung are printed in italics.
-
-[Music]
-
-  My grandmother she, at the age of eighty-three,
-    One day in May was taken ill and died;
-  And after she was dead, the will of course was read,
-    By a lawyer as we all stood by his side.
-  Five hundred dollars to my brother did she leave,
-    The same unto my sister, I declare;
-  But when it came to me, the lawyer said, “I see
-    She has left to you her old arm chair.”
-
-  _And how they tittered, how they chaffed,_
-  _How my brother and sister laughed,_
-  _When they heard the lawyer declare_
-  _Granny had only left to me her old arm chair._
-
-  I thought it hardly fair, still I said I did not care,
-    And in the evening took the chair away;
-  The neighbors they me chaffed, my brother at me laughed,
-    And said it will be useful, John, some day:
-  When you settle down in life, find some girl to be your wife,
-    You’ll find it very handy, I declare;
-  On a cold and frosty night, when the fire is burning bright,
-    You can then sit in your old arm chair.
-
-  What my brother said was true, for in a year or two,
-    Strange to say, I settled down in married life;
-  I first a girl did court, and then the ring I bought,
-    Took her to the church, and when she was my wife,
-  The girl and I were just as happy as could be,
-    For when my work was over, I declare,
-  I ne’er abroad would roam, but each night would stay at home,
-    And be seated in my old arm chair.
-
-  One night the chair fell down; when I picked it up I found
-    The seat had fallen out upon the floor;
-  And there to my surprise I saw before my eyes,
-    Ten thousand dollars tucked away, or more.
-  When my brother heard of this, the fellow, I confess,
-    Went nearly mad with rage, and tore his hair;
-  But I only laughed at him, then said unto him, “Jem,
-    Don’t you wish you had the old arm chair?”
-
-                                                    JOHN READ.
-
-[_Repeat words with music._]
-
-
-PUT YOUR SHOULDER TO THE WHEEL.
-
-The words to be sung are in italics.
-
-[Music]
-
-  Some people you’ve met in your time, no doubt,
-    Who never look happy or gay;
-  I’ll tell you the way to get jolly and stout,
-    If you’ll listen awhile to my lay.
-  I’ve come here to tell you a bit of my mind,
-    And please with the same, if I can;
-  Advice is my song, you will certainly find,
-    And a motto for every man.
-
-  _So we will sing, and banish melancholy;_
-    _Trouble may come, we’ll do the best we can_
-  _To drive care away, for grieving is a folly;_
-    _Put your shoulder to the wheel is a motto for ev’ry man._
-
-  We cannot all fight in this battle of life,
-    The weak must go to the wall;
-  So do to each other the thing that is right,
-    For there’s room in this world for us all.
-  “Credit refuse,” if you’ve money to pay,
-    You’ll find it the wiser plan;
-  And “a dollar laid by for a rainy day,”
-    Is a motto for every man.
-
-  A coward gives in at the first repulse;
-    A brave man struggles again,
-  With a resolute eye and a bounding pulse,
-    To battle his way amongst men;
-  For he knows he has only one chance in his time
-    To better himself, if he can;
-  “So make your hay while the sun doth shine,”
-    That’s a motto for every man.
-
-                               HARRY CLIFTON.
-
-[_Repeat the part to be sung._]
-
-
-A BRIGHTER DAY IS COMING.
-
-The words in italics are to be sung.
-
-[Music]
-
-  “Tired,” ah, yes, so tired, dear, the day has been very long,
-  But shadowy gloaming draweth near, ’tis time for the even song.
-  I’m ready to go to rest at last, ready to say, “Good night;”
-  The sunset glory darkens fast, to-morrow will bring me light.
-
-  _Sing once again, “Abide with me” that sweetest evening hymn,_
-  _And now “Good night,” I cannot see, the light has grown so dim._
-  _“Tired” ah, yes, so tired, dear, I shall soundly sleep to-night,_
-  _With never a dream, and never a fear, to wake in the morning’s light._
-
-  It has seemed so long since morning tide, and I have been left so lone,
-  Young, smiling faces thronged my side when the early sunlight shone,
-  But they grew tired long ago, and I saw them sink to rest,
-  With folded hands and brows of snow, on the green earth’s mother breast.
-
-                                                          HELEN BURNSIDE.
-
-[_Repeat the words with music._]
-
-
-KATY’S LOVE LETTER.
-
-Sing the words printed in italics.
-
-[Music]
-
-  Och, girls dear, did you ever hear, I wrote my love a letter.
-  And although he cannot read, sure I thought ’twas all the better;
-  For why should he be puzzled with hard spelling in the matter,
-  When the meaning was so plain that I love him faithfully?
-
-            _I love him faithfully,_
-  _And he knows it, oh, he knows it, without one word from me._
-
-  I wrote it, and I folded it, and put a seal upon it;
-  ’Twas a seal almost as big as the crown of my best bonnet;
-  For I would not have the Postmaster make his remarks upon it,
-  As I said inside the letter that I loved him faithfully,
-
-            _I love him faithfully,_
-  _And he knows it, oh, he knows it! without one word from me._
-
-  My heart was full, but when I wrote, I dared not put the half in,
-  The neighbors know I love him, and they’re mighty fond of chaffing;
-  And I dared not write his name outside, for fear they would be laughing,
-  So I wrote, “From little Kate to one whom she loves faithfully.”
-
-            _I love him faithfully,_
-  _And he knows it, oh, he knows it! without one word from me._
-
-  Now, girls, would you believe it, that Postman, so consaited,
-  No answer will he bring me, so long as I have waited;
-  But maybe there isn’t one for the raison that I stated,
-  That my love can neither read nor write, but he loves me faithfully.
-
-            _He loves me faithfully,_
-  _And I know where’er my love is, that he is true to me._
-
-                                                           LADY DUFFERIN.
-
-
-DOST THOU LOVE ME, SISTER RUTH?
-
-A COMIC DUET.
-
-The persons who present this recital should appear in Quaker costume and
-stand near each other, face to face. It can be made very amusing. The
-change from reciting to singing adds greatly to the effect. Sing the
-words in italics, and make appropriate gestures.
-
-[Music]
-
-  1. SIMON.—Dost thou love me, Sister Ruth?
-                Say, say, say!
-
-      RUTH.—As I fain would speak the truth,
-                Yea, yea, yea.
-
-     SIMON.—_Long my heart hath yearned for thee,_
-              _Pretty Sister Ruth;_
-
-      RUTH.—_That has been the case with me,_
-                _Dear engaging youth._
-
-  2. SIMON.—Wilt thou promise to be mine,
-                Maiden fair?
-
-      RUTH.—Take my hand, my heart is thine,
-                There, there, there. [_Salutes her._]
-
-       SIMON.—_Let us thus the bargain seal._
-                _O, dear me, heigh-ho!_
-
-      RUTH.—_Lauk! how very odd I feel!_
-                _O, dear me, heigh-ho!_
-
-  3. SIMON.—Love like ours can never cloy,
-                Humph! humph! humph!
-
-      RUTH.—While no jealous fears annoy,
-                Humph! humph! humph!
-
-     SIMON.—_O, how blessed we both should be,_
-                _Hey down, ho down, hey!_
-
-      RUTH.—_I could almost dance with glee,_
-                _Hey down, ho down, hey!_
-
-                                       JOHN PARRY.
-
-
-TWO LITTLE ROGUES.
-
-[Music]
-
-  Says Sammy to Dick,
-  “Come, hurry! come quick!
-  And we’ll do, and we’ll do, and
-  we’ll do!
-  Our mammy’s away,
-  She’s gone for to stay,
-    And we’ll make a great hullabaloo!
-  _Ri too! ri loo! loo! loo! loo! loo!_
-    _We’ll make a great hullabaloo!_”
-
-  Says Dick to Sam,
-  “All weddy I am
-    To do, and to do, and to do,
-  But how doesth it go?
-  I so ’ittle to know,
-    That, what be a hullabawoo?
-  _Ri too! ri loo! woo! woo! woo! woo!_
-    _Thay, what be a hullabawoo?_”
-
-  “Oh, slammings and bangings,
-  And whingings and whangings;
-    And very bad mischief we’ll do!
-  We’ll clatter and shout,
-  And knock things about,
-    And that’s what’s a hullabaloo!
-  _Ri too! ri loo! loo! loo! loo! loo!_
-    _And that’s what’s a hullabaloo!_
-
-  “Slide down the front stairs!
-  Tip over the chairs!
-    Now into the pantry break through!
-  Pull down all the tin-ware,
-  And pretty things in there!
-    All aboard for a hullabaloo!
-  _Ri too! ri loo! loo! loo! loo! loo!_
-    _All aboard for a hullabaloo!_
-
-  “Now roll up the table,
-  Far up as you are able,
-    Chairs, sofa, big easy-chair too!
-  Put the lamps and the vases
-  In funny old places.
-    How’s this for a hullabaloo?
-  _Ri too! ri loo! loo! loo! loo! loo!_
-    _How’s this for a hullabaloo?_
-
-  “Let the dishes and pans
-  Be the womans and mans;
-    Everybody keep still in their pew;
-  Mammy’s gown I’ll get next,
-  And preach you a text.
-    Dick! hush with your hullabaloo!
-  _Ri too! ri loo! loo! loo! loo! loo!_
-    _Dicky! hush with your hullabaloo!_”
-
-  As the preacher in gown
-  Climbed up and looked down,
-    His queer congregation to view,
-  Said Dicky to Sammy,
-  “Oh, dere comes our mammy!
-  She’ll ’pank for dis hullubawoo!
-  _Ri too! ri loo! woo! woo! woo! woo!_
-    _She’ll ’pank for dis hullabawoo!_
-
-  “O mammy! O mammy!”
-  Cried Dicky and Sammy,
-    “We’ll never again, certain true!”
-  But with firm step she trod
-  To take down the rod—
-    Oh, then came a hullabaloo!
-  _Bo hoo! bo hoo! woo! woo! woo! woo!_
-    _Oh, then came a hullabaloo!_
-
-                      MRS. A. M. DIAZ.
-
-
-ARKANSAW PETE’S ADVENTURE;
-
-ARKANSAW PETE, a frontier-backwoodsman, who sings the solo. CHORUS, three
-lively city gentlemen.
-
-[Music]
-
-[Music]
-
-  1.  Now ladies and gents, who here I see,
-                  Snap-poo!
-      I pray you listen unto me,
-                  Snap-poo!
-      And I’ll relate what came to pass
-      when I lived down in Ar-kan-sas,
-          Snap-poo! Snap-Peter!
-          Fi-lan-thi-go-shee-ter!
-                  Snap-poo!
-
-  2.  While riding home one Saturday night,
-                  Snap-poo!
-      I passed Miss Smith’s and thought I’d light,
-                  Snap-poo!
-      So I hitch’d my hoss and in did go,
-      Just for to spend an hour or so.
-
-  CHORUS (_marching up and down, and snapping fingers at PETE_).
-
-          Snap-poo! Snap-Peter!
-          Fi-lan-thi-go-shee-ter!
-                  Snap-poo! (_Repeat chorus._)
-
-  3.  When to the door I had safely got,
-                  Snap-poo!
-      She came and pok’d her sweet head out,
-                  Snap-poo!
-      Said she right out, “Why, Mister Pete!
-      Oh, do walk in and have a seat!”
-
-  (CHORUS.)
-
-  4.  With easy step and a jolly heart,
-                  Snap-poo!
-      I bounded in just like a dart,
-                  Snap-poo!
-      And, oh, you may bet, I felt all hunk
-      When into a chair by her I sunk.
-
-  (CHORUS.)
-
-  5.  Our chairs got closer as we two rock’d,
-                  Snap-poo!
-      My throat swell’d up till I most chok’d,
-                  Snap-poo!
-      At length they struck, and came to a stop—
-      Now, now, thinks I,’s the time to “pop!”
-
-  (CHORUS.)
-
-  6.  I tried to look in her love-lit eyes,
-                  Snap-poo!
-      They were clear and blue as summer skies,
-                  Snap-poo!
-      Not a word could I speak—alas! poor Pete!
-      Though she look’d good enough to eat.
-
-  (CHORUS.)
-
-  7.  I look’d at her, and she look’d at me,
-                  Snap-poo!
-      I heard my heart say pee-dee-dee,
-                  Snap-poo!
-      I twisted my chair, and cross’d my feet—
-      I’d never seen anything half so sweet.
-
-  (CHORUS.)
-
-  8.  My tongue grew thick, and my eyes stuck out,
-                  Snap-poo!
-      My hands flew nervously about,
-                  Snap-poo!
-      And, before I could their motion check,
-      They grabb’d that gal right ’round the neck!
-
-  (CHORUS.)
-
-  9.  She haul’d away with her pretty fist,
-                  Snap-poo!
-      She gave my jaw an awful twist,
-                  Snap-poo!
-      It seem’d an hour before I spoke—
-      I thought by gum, my head was broke!
-
-  (CHORUS.)
-
-  10. The racket we made brought her ma-ma,
-                  Snap-poo!
-      Who straightway call’d her great pa-pa,
-                  Snap-poo!
-      He kicked me out—and, you bet, I fled
-      That gal won’t do, thinks I, to wed!
-
-  (CHORUS.)
-
-
-
-
-PATRIOTIC RECITATIONS.
-
-
-THE BEAT OF THE DRUM AT DAYBREAK.
-
-Speak the words in italics with full, earnest tones of command. Then
-change easily to a manner suited to animated description. An excellent
-selection for one who can make these changes effectively.
-
-  The morning is cheery, my boys, arouse!
-    The dew shines bright on the chestnut boughs,
-    And the sleepy mist on the river lies,
-  Though the east is flushing with crimson dyes.
-    _Awake! awake! awake!_
-    O’er field and wood and brake,
-    With glories newly born,
-    Comes on the blushing morn.
-        _Awake! awake!_
-
-  You have dreamed of your homes and your friends all night;
-  You have basked in your sweethearts’ smiles so bright:
-  Come, part with them all for a while again—
-  Be lovers in dreams; when awake, be men.
-
-    _Turn out! turn out! turn out!_
-      You have dreamed full long I know,
-    _Turn out! turn out! turn out!_
-      The east is all aglow.
-        _Turn out! turn out!_
-
-  From every valley and hill there come
-  The clamoring voices of fife and drum;
-  And out on the fresh, cool morning air
-  The soldiers are swarming everywhere.
-    _Fall in! fall in! fall in!_
-      Every man in his place.
-    _Fall in! fall in! fall in!_
-      Each with a cheerful face.
-        _Fall in! fall in!_
-
-                           MICHAEL O’CONNOR.
-
-
-THE CAVALRY CHARGE.
-
-Admirably suited to rapid utterance, vivid description and full tones on
-an elevated key. Hurrah in the last lines as you would if you saw the
-enemy routed on the field of battle.
-
-  With bray of the trumpet
-    And roll of the drum,
-  And keen ring of bugles,
-    The cavalry come,
-  Sharp clank the steel scabbards,
-    The bridle-chains ring,
-  And foam from red nostrils
-    The wild chargers fling.
-
-  Tramp! tramp! o’er the green sward
-    That quivers below,
-  Scarce held by the curb-bit,
-    The fierce horses go!
-  And the grim-visaged colonel,
-    With ear-rending shout,
-  Peals forth to the squadrons,
-    The order—“Trot out.”
-
-  One hand on the sabre,
-    And one on the rein,
-  The troopers move forward
-    In line on the plain.
-  As rings the word “Gallop!”
-    The steel scabbards clank,
-  And each rowel is pressed
-    To a horse’s hot flank:
-  And swift is their rush
-    As the wild torrent’s flow,
-  When it pours from the crag
-    On the valley below.
-
-  “Charge!” thunders the leader.
-    Like shaft from the bow
-  Each mad horse is hurled
-    On the wavering foe.
-  A thousand bright sabres
-    Are gleaming in air;
-  A thousand dark horses
-    Are dashed on the square.
-
-  Resistless and reckless
-    Of aught may betide,
-  Like demons, not mortals,
-    The wild troopers ride.
-  Cut right! and cut left!
-    For the parry who needs?
-  The bayonets shiver
-    Like wind-shattered reeds!
-
-  Vain—vain the red volley
-    That bursts from the square—
-  The random-shot bullets
-    Are wasted in air.
-  Triumphant, remorseless,
-    Unerring as death,—
-  No sabre that’s stainless
-    Returns to its sheath.
-
-  The wounds that are dealt
-    By that murderous steel
-  Will never yield case
-    For the surgeons to heal
-  Hurrah! they are broken—
-    Hurrah! boys, they fly—
-  None linger save those
-    Who but linger to die.
-
-
-THE GREAT NAVAL BATTLE OF SANTIAGO.
-
-Hold your body erect, but not awkwardly stiff, let every nerve be
-tense, your voice full and round, and let your manner indicate that you
-have a grand story to relate, as you recite Admiral Schley’s thrilling
-description of the great naval battle at Santiago. You are depicting the
-scene as though you were there and yourself won the brilliant victory.
-
-  One hour before the Spaniards appeared my quartermaster on the
-  Brooklyn reported to me that Cervera’s fleet was coaling up. This
-  was just what I expected, and we prepared everything for a hot
-  reception. Away over the hills great clouds of smoke could be
-  faintly seen rising up to the sky. A little later and the smoke
-  began to move towards the mouth of the harbor. The black cloud
-  wound in and out along the narrow channel, and every eye on board
-  the vessels in our fleet strained with expectation.
-
-  The sailor boys were silent for a full hour and the grim old
-  vessels lay back like tigers waiting to pounce upon their prey.
-  Suddenly the whole Spanish fleet shot out of the mouth of the
-  channel. It was the grandest spectacle I ever witnessed. The
-  flames were pouring out of the funnels, and as it left the
-  channel the fleet opened fire with every gun on board. Their
-  guns were worked as rapidly as possible, and shells were raining
-  around like hail.
-
-  It was a grand charge. My first impression was that of a lot
-  of maddened bulls, goaded to desperation, dashing at their
-  tormentors. The storm of projectiles and shells was the hottest
-  imaginable. I wondered where they all came from. Just as the
-  vessels swung around the Brooklyn opened up with three shells,
-  and almost simultaneously the rest of the fleet fired. Our volley
-  was a terrible shock to the Spaniards, and so surprised them that
-  they must have been badly rattled.
-
-  When our fleet swung around and gave chase, we not only had to
-  face the fire from the vessels, but were bothered by a cross-fire
-  from the forts on either side, which opened on our fleet as soon
-  as the Spaniards shot out of the harbor. The engagement lasted
-  three hours, but I hardly knew what time was. I remember crashing
-  holes through the Spanish Admiral’s flagship, the Maria Teresa,
-  and giving chase to the Colon.
-
-  I was on the bridge of the Brooklyn during the whole engagement,
-  and at times the smoke was so dense that I could not see three
-  yards ahead of me. The shells from the enemy’s fleet were
-  whistling around and bursting everywhere, except where they could
-  do some damage. I seemed to be the only thing on the vessel not
-  protected by heavy armor, and oh! how I would have liked to get
-  behind some of that armor!
-
-  I don’t know how I kept my head, but I do know that I surprised
-  myself by seeing and knowing all that was going on, and I could
-  hear my voice giving orders to do just what my head thought was
-  right, while my heart was trying to get beneath the shelter of
-  the armored deck. How do I account for such a victory with so
-  little loss? That would mean how do I account for the rain of
-  Spanish shell not doing more execution? They fought nobly and
-  desperately, but they were not a match for our Yankee officers
-  and sailors.
-
-  I was proud of the boys in our fleet during that engagement.
-  They knew just what their guns could do, and not one shot was
-  wasted. Their conduct was wonderful. It was inspiring. It was
-  magnificent. Men who can stand behind big guns and face a black
-  storm of shells and projectiles as coolly as though nothing was
-  occurring; men who could laugh because a shell had missed hitting
-  them; men who could bet one another on shots and lay odds in the
-  midst of the horrible crashing; men who could not realize that
-  they were in danger—such men are wonders, and we have a whole
-  navy of wonders.
-
-                                              ADMIRAL W. S. SCHLEY.
-
-
-HOBSON’S DARING DEED.
-
-Let your tones of voice be strong and bold, not boisterous, and give to
-the most spirited lines full force. You are depicting a daring deed, and
-it must not be done in a weak, timid, hesitating way, but with strong
-utterance and emphasis. The sinking of the steam collier Merrimac was a
-famous exploit.
-
-  Thunder peal and roar and rattle of the ships in line of battle,
-    Rumbling noise of steel volcanoes hurling metal from the shore,
-  Drowned the sound of quiet speaking and the creaking, creaking, creaking
-    Of the steering-gear that turned her toward the narrow harbor door.
-
-  On the hulk was calm and quiet, deeper for the shoreward riot;
-    Dumb they watched the fountain streaming; mute they heard the waters
-      hiss,
-  Till one laughed and murmured, “Surely it was worth while rising early
-    For a fireworks exhibition of such character as this.”
-
-  Down the channel the propeller drove her as they tried to shell her
-    From the dizzy heights of Morro and Socapa parapet;
-  She was torn and she was battered, and her upper works were shattered
-    By the bursting of the missiles that in air above her met.
-
-  Parallels of belching cannon marked the winding course she ran on,
-    And they flashed through morning darkness like a giant’s flaming teeth;
-  Waters steaming, boiling, churning; rows of muzzles at each turning;
-    Mines like geysers spouting after and before her and beneath.
-
-  Not a man was there who faltered; not a theory was altered
-    Of the detailed plan agreed on—not a doubt was there expressed;
-  This was not a time for changing, deviating, re-arranging;
-    Let the great God help the wounded, and their courage save the rest.
-
-  And they won. But greater glory than the winning is the story
-    Of the foeman’s friendly greeting of that valiant captive band;
-  Speech of his they understood not, talk to him in words they could not;
-    But their courage spoke a language that all men might understand.
-
-
-GENERAL WHEELER AT SANTIAGO.
-
-“Fighting Joe,” as he was familiarly called, was one of the most
-conspicuous and heroic figures in the battles fought around Santiago.
-Recite this tribute to the hero with feeling, and show by looks, tone
-and gestures that you appreciate the patriotism and valor of the famous
-commander of cavalry.
-
-  Into the thick of the fight he went, pallid and sick and wan,
-  Borne in an ambulance to the front, a ghostly wisp of a man;
-  But the fighting soul of a fighting man, approved in the long ago,
-  Went to the front in that ambulance, and the body of Fighting Joe.
-
-  Out from the front they were coming back, smitten of Spanish shells—
-  Wounded boys from the Vermont Hills and the Alabama dells;
-  “Put them into this ambulance; I’ll ride to the front,” he said,
-  And he climbed to the saddle and rode right on, that little old
-      ex-Confed.
-
-  From end to end of the long blue ranks rose up the ringing cheers,
-  And many a powder-blackened face was furrowed with sudden tears,
-  As with flashing eyes and gleaming sword, and hair and beard of snow,
-  Into the hell of shot and shell rode little old Fighting Joe!
-
-  Sick with fever and racked with pain, he could not stay away,
-  For he heard the song of the yester-years in the deep-mouthed cannon’s
-      bay—
-  He heard in the calling song of the guns there was work for him to do,
-  Where his country’s best blood splashed and flowed ’round the old Red,
-      White and Blue.
-
-  Fevered body and hero heart! This Union’s heart to you
-  Beats out in love and reverence—and to each dear boy in blue
-  Who stood or fell ’mid the shot and shell, and cheered in the face of the
-      foe,
-  As, wan and white, to the heart of the fight rode little old Fighting
-      Joe!
-
-                                                    JAMES LINDSAY GORDON.
-
-
-THE FLAG GOES BY.
-
-  Hats off!
-  Along the street there comes
-  A blare of bugles, a ruffle of drums,
-  A flash of color beneath the sky:
-      Hats off!
-  The flag is passing by!
-
-  Blue and crimson and white it shines
-  Over the steel-tipped, ordered lines,
-      Hats off!
-  The colors before us fly!
-  But more than the flag is passing by,
-
-  Sea-fights and land-fights grim and great
-  Fought to make and to save the state;
-  Cheers of victory on dying lips;
-  Weary marches and sinking ships;
-  Days of plenty and years of peace
-  March of a strong land’s swift increase;
-  Equal justice, right and law,
-  Stately honor and reverend awe;
-
-  Sign of a nation great and strong,
-  To ward her people from foreign wrong;
-  Pride and glory and honor, all
-  Live in the colors to stand or fall.
-        Hats off!
-
-
-IN MANILA BAY.
-
-A graphic description of the great naval battle of Manila and Admiral
-Dewey’s overwhelming victory. Unless this recital is delivered in an
-animated, exultant manner, and with great oratorical force, the grand
-power of the description will be weakened, if not entirely lost. Put your
-whole soul into it.
-
-  On the broad Manila Bay
-  The Spanish cruisers lay,
-    In the shelter of their forts upon the shore;
-  And they dared their foes to sail
-  Through the crashing iron hail
-    Which the guns from decks and battlements would pour.
-
-  All the harbor ways were missed,
-  And along the channel blind
-    Slept the wild torpedoes, dreaming dreams of wrath.
-  Yea! the fiery hates of hell
-  Lay beneath the ocean’s swell,
-    Like a thousand demons ambushed in the path.
-
-  Breasting fierce Pacific gales,
-  Lo! a little squadron sails,
-    And the Stars and Stripes are floating from its spars.
-  It is friendless and alone,
-  Aids and allies it has none,
-    But a dauntless chorus sings its dauntless tars:
-
-  “We’re ten thousand miles from home;
-  Ocean’s wastes and wave and foam
-    Shut us from the land we love so far away.
-  We have ne’er a friendly port
-  For retreat as last resort,
-    But we’ll beard the ships of Spain in their own bay.
-
-  “They have mines beneath the sea,
-  They have forts upon their lee,
-    They have everything to aid them in the fray;
-  But we’ll brave their hidden mines,
-  And we’ll face their blazing lines;
-    Yes! We’ll beard the ships of Spain in their own bay.
-
-  “If we’re worsted in the fight,
-  We shall perish in the right—
-    No hand will wipe the dews of death away.
-  The wounded none will tend,
-  For we’ve not a single friend;
-    But we’ll beard the ships of Spain in their own bay.
-
-  “No ironclads we sail,
-  Only cruisers light and frail,
-    With no armor plates to turn the shells away.
-  All the battleships now steer
-  In another hemisphere,
-    But we’ll beard the ships of Spain in their own bay.
-
-  “Ho! Remember now the Maine!
-  Up! And smite the ships of Spain!
-    Let them not forget for years this first of May!
-  Though hell blaze up from beneath,
-  Forward through the cannon’s breath,
-    When Dewey leads into Manila Bay.”
-
-  There, half-way round the world,
-  Swift and straight the shots were hurled,
-    And a handful of bold sailors won the day.
-  Never since earth was begun
-  Has a braver deed been done
-    Than when Dewey sailed into Manila Bay.
-
-  God made for him a path
-  Through the mad torpedoes’ wrath,
-    From their slumbers never wakened into play.
-  When dawn smote the east with gold,
-  Spaniards started to behold
-    Dewey and his gallant fleet within their bay.
-
-  Then from forts and warships first
-  Iron maledictions burst,
-    And the guns with tongues of flame began to pray;
-  Like demons out of hell
-  The batteries roar and yell,
-    While Dewey answers back across the bay.
-
-  O Gods! it was a sight,
-  Till the smoke, as black as night,
-    Hid the fire-belching ships from light of day.
-  When it lifted from the tide,
-  Smitten low was Spanish pride,
-    And Dewey was the master of their bay.
-
-  Where the awful conflict roared,
-  And red blood in torrents poured,
-    There the Stars and Stripes are waving high to-day.
-  Dewey! Hero strong and grand!
-  Shout his name through every land!
-    For he sunk the ships of Spain in their own bay.
-
-                              CHARLES WADSWORTH, JR.
-
-
-MY SOLDIER BOY.
-
-  When night comes on, when morning breaks, they rise,
-    Those earnest prayers by faithful lips oft said,
-  And pierce the blue which shrouds the inner skies:
-    “God guard my boy; God grant he is not dead!”
-  “My soldier boy—where is he camped to-night?”
-  “God guard him waking, sleeping or in fight!”
-
-  Far, far away where tropic suns cast down
-    Their scorching rays, where sultry damp airs rise
-  And haunting breath of sickness holds its own,
-    A homesick boy, sore wounded, suffering lies.
-  “Mother! Mother!” is his ceaseless cry.
-  “Come, mother, come, and see me ere I die!”
-
-  Where is war’s glory? Ask the trumpet’s blare,
-    The marching columns run to bitter strife;
-  Ask of the raw recruit who knows as yet
-    Naught of its horrors, naught of its loss of life;
-  Ask not the mother; weeping for her son,
-  She knows the heart-aches following victories won.
-
-
-THE YANKEES IN BATTLE.
-
-  For courage and dash there is no parallel in history to this
-  action of the Spanish Admiral. He came, as he knew, to absolute
-  destruction. There was one single hope. That was that the Spanish
-  ship Cristobal Colon would steam faster than the American ship
-  Brooklyn. The spectacle of two torpedo-boat destroyers, paper
-  shells at best, deliberately steaming out in broad daylight in
-  the face of the fire of battleships can only be described in one
-  way. It was Spanish, and it was ordered by the Spanish General
-  Blanco. The same may be said of the entire movement.
-
-  In contrast to the Spanish fashion was the cool, deliberate
-  Yankee work. The American squadron was without sentiment
-  apparently. The ships went at their Spanish opponents and
-  literally tore them to pieces. Admiral Cervera was taken aboard
-  the Iowa from the Gloucester, which had rescued him, and he
-  was received with a full Admiral’s guard. The crew of the Iowa
-  crowded aft over the turrets, half naked and black with powder,
-  as Cervera stepped over the side bareheaded. The crew cheered
-  vociferously. The Admiral submitted to the fortunes of war with a
-  grace that proclaimed him a thoroughbred.
-
-  The officers of the Spanish ship Vizcaya said they simply could
-  not hold their crews at the guns on account of the rapid fire
-  poured upon them. The decks were flooded with water from the
-  fire hose, and the blood from the wounded made this a dark red.
-  Fragments of bodies floated in this along the gun deck. Every
-  instant the crack of exploding shells told of new havoc.
-
-  The torpedo boat Ericsson was sent by the flagship to the help
-  of the Iowa in the rescue of the Vizcaya’s crew. Her men saw a
-  terrible sight. The flames, leaping out from the huge shot holes
-  in the Vizcaya’s sides, licked up the decks, sizzling the flesh
-  of the wounded who were lying there shrieking for help. Between
-  the frequent explosions there came awful cries and groans from
-  the men pinned in below. This carnage was chiefly due to the
-  rapidity of the American fire.
-
-  From two 6-pounders 400 shells were fired in fifty minutes. Up in
-  the tops the marines banged away with 1-pounders, too excited to
-  step back to duck as the shells whistled over them. One gunner
-  of a secondary battery under a 12-inch gun was blinded by smoke
-  and saltpetre from the turret, and his crew were driven off, but
-  sticking a wet handkerchief over his face, with holes cut for his
-  eyes, he stuck to his gun.
-
-  Finally, as the 6-pounders were so close to the 8-inch turret as
-  to make it impossible to stay there with safety, the men were
-  ordered away before the big gun was fired, but they refused to
-  leave. When the 3-inch gun was fired, the concussion blew two
-  men of the smaller gun’s crew ten feet from their guns and threw
-  them to the deck as deaf as posts. Back they went again, however,
-  and were again blown away, and finally had to be dragged away
-  from their stations. Such bravery and such dogged determination
-  under the heavy fire were of frequent occurrence on all the ships
-  engaged.
-
-                                               CAPTAIN R. D. EVANS.
-
-
-THE BANNER BETSEY MADE.
-
-The first American flag, including the thirteen stars and stripes, was
-made by Mrs. Betsey Ross, a Quaker lady of Philadelphia. Recite these
-lines in an easy, conversational manner, yet with animation. In this and
-similar recitations never let your voice sink down into your throat, as
-if you were just ready to faint away. Your delivery should never be dull,
-least of all in patriotic pieces.
-
-  We have nicknamed it “Old Glory”
-    As it floats upon the breeze,
-  Rich in legend, song and story
-    On the land and on the seas;
-  Far above the shining river,
-    Over mountain, glen and glade
-  With a fame that lives forever
-    Streams the banner Betsey made.
-
-  Once it went from her, its maker,
-    To the glory of the wars,
-  Once the modest little Quaker
-    Deftly studded it with stars;
-  And her fingers, swiftly flying
-    Through the sunshine and the shade,
-  Welded colors bright, undying,
-    In the banner Betsey made.
-
-  When at last her needle rested
-    And her cherished work was done
-  Went the banner, love invested,
-    To the camps of Washington;
-  And the glorious continentals
-    In the morning light arrayed
-  Stood in ragged regimentals
-    ’Neath the banner Betsey made.
-
-  How they cheered it and its maker,
-    They the gallant sons of Mars,
-  How they blessed the little Quaker
-    And her flag of stripes and stars;
-  ’Neath its folds, the foemen scorning,
-    Glinted bayonets and blade,
-  And the breezes of the morning
-    Kissed the banner Betsey made.
-
-  Years have passed, but still in glory
-    With a pride we love to see,
-  Laureled with a nation’s glory
-    Waves the emblem of the free;
-  From the rugged pines of Northland
-    To the deep’ning everglade,
-  In the sunny heart of Southland
-    Floats the banner Betsey made.
-
-  A protector all have found it
-    And beneath it stands no slave,
-  Freemen brave have died around it
-    On the land and on the wave;
-  In the foremost front of battle
-    Borne by heroes not afraid,
-  ’Mid the musket’s rapid rattle,
-    Soared the banner Betsey made.
-
-  Now she sleeps whose fingers flying
-    With a heart to freedom true
-  Mingled colors bright, undying—
-    Fashioned stars and field of blue;
-  It will lack for no defenders
-    When the nation’s foes invade,
-  For our country rose to splendor
-    ’Neath the banner Betsey made.
-
-                       T. C. HARBAUGH.
-
-
-OUR FLAG.
-
-  Now can the world once more the glory see
-  Of this our flag, emblem of liberty.
-  Now can the tyrant quake with direst fear
-  As o’er his land our banners shall appear.
-
-  No selfish aim shall lead our flag astray,
-  No base desire shall point our banner’s way;
-  Each star has told a tale of noble deed,
-  Each stripe shall mean from strife a nation free.
-
-  Our glorious past when first with thirteen stars
-  On field of blue with white and bright red bars,
-  Our flag led on in battle’s fierce array,
-  And freed the land from mighty Britain’s sway.
-
-  And since this time when first it was unfurled,
-  Our flag has proved the noblest in the world.
-  From Cuba’s shore out to Manila Bay
-  Its mighty folds protecting fly to-day.
-
-  Beneath this flag with patriotic pride
-  For freedom’s cause great men have gladly died
-  Our noblest sons beneath its folds so free
-  In conflict died for Cuba’s liberty.
-
-  Float on, dear flag, our nation’s greatest joy,
-  Thy starry folds no despot shall destroy;
-  Stretch out thy arms till war forever cease,
-  And all the world is universal peace.
-
-                                  CHAS. F. ALSOP.
-
-
-THAT STARRY FLAG OF OURS.
-
-  Unfurl the starry banner,
-    Till with loving eyes we view
-  The stars and stripes we honor
-    And the folds of azure blue
-
-  ’Tis the pride of all our nation
-    And the emblem of its powers—
-  The gem of all creation
-    Is that starry flag of ours.
-
-  Then raise aloft “Old Glory,”
-    And its colors bright surround,
-  In battle fierce and gory,
-    Or in peace with honor bound.
-
-  Let it float from spire and steeple,
-    And from house-tops, masts and towers,
-  For the banner of the people
-    Is that starry flag of ours.
-
-  Now, behold it, bright and peerless,
-    In the light of freedom’s sky;
-  See its colors floating, fearless
-    As the eagle soaring high.
-
-  And amid the cannon’s rattle
-    And the bullets’ deadly showers,
-  Ten million men will battle
-    For that starry flag of ours.
-
-
-THE NEGRO SOLDIER.
-
-In reciting this piece give stress and emphasis to the words, “the Tenth
-at La Quasina.” You are praising the valor of this regiment, and should
-not do it in a doubtful or hesitating manner.
-
-  We used to think the negro didn’t count for very much—
-  Light-fingered in the melon patch, and chicken yard, and such;
-  Much mixed in point of morals and absurd in point of dress,
-  The butt of droll cartoonists and the target of the press;
-  But we’ve got to reconstruct our views on color, more or less,
-        Now we know about the Tenth at La Quasina!
-
-  When a rain of shot was falling, with a song upon his lips,
-  In the horror where such gallant lives went out in death’s eclipse,
-  Face to face with Spanish bullets, on the slope of San Juan,
-  The negro soldier showed himself another type of man;
-  Read the story of his courage, coldly, carelessly, who can—
-        The story of the Tenth at La Quasina!
-
-  We have heaped the Cuban soil above their bodies, black and white—
-  The strangely sorted comrades of that grand and glorious fight—
-  And many a fair-skinned volunteer goes whole and sound to-day
-  For the succor of the colored troops, the battle records say,
-  And the feud is done forever, of the blue coat and the gray—
-        All honor to the Tenth at La Quasina!
-
-                                                          B. M. CHANNING.
-
-
-DEEDS OF VALOR AT SANTIAGO.
-
-To be delivered with full, ringing tones. You are an exultant patriot,
-picturing the glorious deeds of our American army. This selection affords
-opportunity for very effective gestures.
-
-  Who cries that the days of daring are those that are faded far,
-  That never a light burns planet-bright to be hailed as the hero’s star?
-  Let the deeds of the dead be laureled, the brave of the elder years,
-  But a song, we say, for the men of to-day who have proved themselves
-      their peers!
-
-  High in the vault of the tropic sky is the garish eye of the sun,
-  And down with its crown of guns a-frown looks the hill-top to be won;
-  There is the trench where the Spaniard lurks, his hold and his
-      hiding-place,
-  And he who would cross the space between must meet death face to face.
-
-  The black mouths belch and thunder, and the shrapnel shrieks and flies;
-  Where are the fain and the fearless, the lads with the dauntless eyes?
-  Will the moment find them wanting! Nay, but with valor stirred!
-  Like the leashed hound on the coursing-ground they wait but the
-      warning word.
-
-  “Charge!” and the line moves forward, moves with a shout and a swing,
-  While sharper far than the cactus-thorn is the spiteful bullet’s sting.
-  Now they are out in the open, and now they are breasting the slope,
-  While into the eyes of death they gaze as into the eyes of hope.
-
-  Never they wait nor waver, but on they clamber and on,
-  With “Up with the flag of the stripes and stars, and down with the flag
-      of the Don!”
-  What should they bear through the shot-rent air but rout to the ranks
-      of Spain,
-  For the blood that throbs in their hearts is the blood of the boys of
-      Anthony Wayne!
-
-  See, they have taken the trenches! Where are the foemen? Gone!
-  And now “Old Glory” waves in the breeze from the heights of San Juan!
-  And so, while the dead are laureled, the brave of the elder years,
-  A song, we say, for the men of to-day who have proved themselves their
-      peers!
-
-                                                        CLINTON SCOLLARD.
-
-
-A RACE FOR DEAR LIFE.
-
-  The battleships Brooklyn, Oregon and Texas pushed ahead after the
-  Spanish ships Colon and Almirante Oquendo, which were now running
-  the race of their lives along the coast. When Admiral Cervera’s
-  flagship, the Almirante Oquendo, suddenly headed in shore, she
-  had the Brooklyn and Oregon abeam and the Texas astern. The
-  Brooklyn and Oregon pushed on after the Cristobal Colon, which
-  was making fine time, and which looked as if she might escape,
-  leaving the Texas to finish the Almirante Oquendo. This work did
-  not take long. The Spanish ship was already burning. Just as
-  the Texas got abeam of her she was shaken by a loud and mighty
-  explosion.
-
-  The crew of the Texas started to cheer. “Don’t cheer, because the
-  poor devils are dying!” called Captain Philip, and the Texas left
-  the Almirante Oquendo to her fate to join in the chase of the
-  Cristobal Colon.
-
-  That ship, in desperation, was ploughing the waters at a rate
-  that caused the fast Brooklyn trouble. The Oregon made great
-  speed for a battleship, and the Texas made the effort of her
-  life. Never since her trial trip had she made such time. The
-  Brooklyn might have proved a match to the Cristobal Colon in
-  speed, but was not supposed to be her match in strength.
-
-  It would never do to allow even one of the Spanish ships to get
-  away. Straight into the west the strongest chase of modern times
-  took place. The Brooklyn headed the pursuers. She stood well out
-  from the shore in order to try to cut off the Cristobal Colon at
-  a point jutting out into the sea far ahead. The Oregon kept a
-  middle course about a mile from the cruiser. The Desperate Don
-  ran close along the shore, and now and then he threw a shell of
-  defiance. The old Texas kept well up in the chase under forced
-  draught for over two hours.
-
-  The fleet Spaniard led the Americans a merry chase, but she had
-  no chance. The Brooklyn gradually forged ahead, so that the
-  escape of the Cristobal Colon was cut off. The Oregon was abeam
-  of the Colon then, and the gallant Don gave it up. He headed for
-  the shore, and five minutes later down came the Spanish flag.
-  None of our ships were then within a mile of her, but her escape
-  was cut off. The Texas, Oregon and Brooklyn closed in on her, and
-  stopped their engines a few hundred yards away.
-
-  With the capture of the Cristobal Colon the battle was ended,
-  and there was great rejoicing on all our ships. Meantime the New
-  York, with Admiral Sampson on board, and the Vixen were coming up
-  on the run. Commodore Schley signalled to Admiral Sampson: “We
-  have won a great victory.”
-
-
-PATRIOTISM OF AMERICAN WOMEN.
-
-  The maid who binds her warrior’s sash
-    With smile that well her pain dissembles,
-  The while beneath her drooping lash
-    One starry tear-drop hangs and trembles,
-  Though heaven alone records the tear,
-    And fame shall never know her story,
-  Her heart has shed a drop as dear
-    As e’er bedewed the field of glory!
-
-  The wife who girds her husband’s sword,
-    Mid little ones who weep or wonder,
-  And bravely speaks the cheering word,
-    What though her heart be rent asunder,
-  Doomed nightly in her dreams to hear
-    The bolts of death around him rattle,
-  Hath shed as sacred blood as e’er
-    Was poured upon the field of battle!
-
-  The mother who conceals her grief
-    While to her breast her son she presses,
-  Then breathes a few brave words and brief,
-    Kissing the patriot brow she blesses,
-  With no one but her secret God
-    To know the pain that weighs upon her
-  Sheds holy blood as e’er the sod
-    Received on Freedom’s field of honor!
-
-                    THOMAS BUCHANAN READ.
-
-
-OUR COUNTRY’S CALL.
-
-There is a strain of gladness, a tone of rejoicing in this selection,
-which requires a spirited delivery and full volume of voice. Patriotic
-emotions should always be expressed in an exultant, joyous manner by
-voice, attitude and gestures.
-
-  The clouds grew dark as the people paused,
-    A people of peace and toil,
-  And there came a cry from all the sky:
-    “Come, children of mart and soil,
-  Your mother needs you—hear her voice;
-    Though she has not a son to spare,
-  She has spoken the word that ye all have heard,
-    Come, answer ye everywhere!”
-
-  They need no urging to stir them on.
-    They yearn for no battle cry;
-  At the word that their country calls for men
-  They throw down hammer and scythe and pen,
-    And are ready to serve and die!
-  From the North, from the South, from East, from West,
-    Hear the thrill of the rumbling drum!
-
-  Under one flag they march along,
-  With their voices swelling a single song,
-    Here they come, they come, they come!
-  List! the North men cheer the men from the South
-    And the South returns the cheer;
-  There is no question of East or West,
-  For hearts are a-tune in every breast,
-    ’Tis a nation answering here.
-
-  It is elbow to elbow and knee to knee,
-    One land for each and for all,
-  And the veterans’ eyes see their children rise
-    To answer their country’s call.
-  They have not forgotten—God grant not so!
-    (Ah, we know of the graves on the hill.)
-  But these eager feet make the old hearts beat,
-    And the old eyes dim and fill!
-
-  The Past sweeps out, and the Present comes—
-    A Present that all have wrought!
-  And the sons of these sires, at the same campfires,
-    Cheer one flag where their fathers fought!
-  Yes, we know of the graves on the Southern hills
-    That are filled with the Blue and the Gray.
-
-  We know how they fought and how they died,
-  We honor them both there side by side,
-    And they’re brothers again to-day.
-  Brothers again—thank God on high!
-    (Here’s a hand-clasp all around.)
-  The sons of one race now take their place
-    On one common and holy ground.
-
-                              RICHARD BARRY.
-
-
-THE STORY OF SEVENTY-SIX.
-
-  What heroes from the woodland sprung,
-    When, through the fresh awakened land,
-  The thrilling cry of freedom rung,
-  And to the work of warfare strung
-    The yeoman’s iron hand!
-
-  Hills flung the cry to hills around,
-    And ocean-mart replied to mart,
-  And streams, whose springs were yet unfound,
-  Pealed far away the startling sound
-    Into the forest’s heart.
-
-  Then marched the brave from rocky steep,
-    From mountain river swift and cold;
-  The borders of the stormy deep,
-  The vales where gathered waters sleep,
-    Sent up the strong and bold—
-
-  As if the very earth again
-    Grew quick with God’s creating breath,
-  And, from the sods of grove and glen,
-  Rose ranks of lion-hearted men
-    To battle to the death.
-
-  The wife, whose babe first smiled that day,
-    The fair fond bride of yestereve,
-  And aged sire and matron gray,
-  Saw the loved warriors haste away,
-    And deemed it sin to grieve.
-
-  Already had the strife begun;
-    Already blood on Concord’s plain
-  Along the springing grass had run,
-  And blood had flowed at Lexington,
-    Like brooks of April rain.
-
-  That death-stain on the vernal sward
-    Hallowed to freedom all the shore;
-  In fragments fell the yoke abhorred—
-  The footstep of a foreign lord
-    Profaned the soil no more.
-
-                         W. C. BRYANT.
-
-
-THE ROLL CALL.
-
-Speak the names of persons in this recitation, exactly as you would if
-you were the orderly calling the roll, or the private in the ranks who is
-answering. The general character of the selection is pathetic; recite it
-with subdued and tender force.
-
-  “Corporal Green!” the orderly cried;
-    “Here!” was the answer, loud and clear,
-    From the lips of a soldier who stood near,
-  And “Here!” was the word the next replied.
-
-  “Cyrus Drew!”—then a silence fell—
-    This time no answer followed the call;
-    Only his rear man had seen him fall,
-  Killed or wounded he could not tell.
-
-  There they stood in the falling light,
-    These men of battle, with grave, dark looks,
-    As plain to be read as open books,
-  While slowly gathered the shades of night.
-
-  The fern on the hill-side was splashed with blood,
-    And down in the corn where the poppies grew,
-    Were redder stains than the poppies knew;
-  And crimson dyed was the river’s flood.
-
-  For the foe had crossed from the other side,
-    That day in the face of a murderous fire,
-    That swept them down in its terrible ire;
-  And their life-blood went to color the tide.
-
-  “Herbert Kline!” At the call, there came
-    Two stalwart soldiers into the line,
-    Bearing between them this Herbert Kline,
-  Wounded and bleeding to answer his name.
-
-  “Ezra Kerr!”—and a voice answered “Here!”
-    “Hiram Kerr!”—but no man replied.
-    They were brothers, these two, the sad wind sighed,
-  And a shudder crept through the cornfield near.
-
-  “Ephraim Deane!”—then a soldier spoke;
-    “Deane carried our Regiment’s colors,” he said;
-    “Where our Ensign was shot, I left him dead,
-  Just after the enemy wavered and broke.
-
-  “Close to the roadside his body lies.
-    I paused a moment and gave him a drink.
-    He murmured his mother’s name I think,
-  And death came with it and closed his eyes.”
-
-  ’Twas a victory; yes, but it cost us dear—
-    For that company’s roll, when called at night,
-    Of A HUNDRED men who went into the fight
-  The number was few that answered “Here!”
-
-
-THE BATTLE-FIELD.
-
-This striking poem is an American classic. Two lines alone, if there were
-no others, are enough to give it immortal fame:
-
-  “Truth crushed to earth, shall rise again;
-  The eternal years of God are hers.”
-
-  Once this soft turf, this rivulet’s sands,
-    Were trampled by a hurrying crowd,
-  And fiery hearts and armed hands
-    Encountered in the battle cloud.
-
-  Ah! never shall the land forget
-    How gushed the life-blood of her brave,
-  Gushed, warm with hope and courage yet,
-    Upon the soil they sought to save.
-
-  Now all is calm, and fresh, and still,
-    Alone the chirp of flitting bird,
-  And talk of children on the hill,
-    And bell of wandering kine are heard.
-
-  Soon rested those who fought; but thou
-    Who mightiest in the harder strife
-  For truths which men receive not now,
-    Thy warfare only ends with life.
-
-  A friendless warfare! lingering long
-    Through weary day and weary year.
-  A wild and many-weaponed throng
-    Hang on thy front, and flank, and rear.
-
-  Yet nerve thy spirit to the proof,
-    And blench not at thy chosen lot.
-  The timid good may stand aloof,
-    The sage may front—yet faint thou not.
-
-  Nor heed the shaft too surely cast,
-    The foul and hissing bolt of scorn;
-  For with thy side shall dwell, at last,
-    The victory of endurance born.
-
-  Truth, crushed to earth, shall rise again;
-    The eternal years of God are hers;
-  But Error, wounded, writes with pain,
-    And dies among his worshippers.
-
-  Yea, though thou lie upon the dust,
-    When they who helped thee flee in fear,
-  Die full of hope and manly trust,
-    Like those who fell in battle here.
-
-  Another hand thy sword shall wield,
-    Another hand the standard wave,
-  Till from the trumpet’s mouth is pealed
-    The blast of triumph o’er thy grave.
-
-                           W. C. BRYANT.
-
-
-THE SINKING OF THE MERRIMAC.
-
-The sinking of the ship Merrimac at the mouth of Santiago harbor, by
-Lieutenant Hobson, was one of the most daring exploits on record. It is
-here told in his own words. Although this selection is simple narrative,
-you should recite it in a spirited manner, with strong tones of voice,
-and show by your demeanor and expression that you are relating an event
-worthy of admiration.
-
-The figures printed in the text refer you to the corresponding numbers
-in “Typical Gestures,” near the beginning of Part II. of this volume.
-Use other gestures that are appropriate, not in a stiff awkward way, but
-gracefully, making them appear, not forced, but natural.
-
-  I did not miss the entrance to the harbor, I turned east until I
-  got my bearings and then made[6] for it, straight in. Then came
-  the firing. It was grand,[11] flashing out first from one side of
-  the harbor and then from the other, from those big guns[2] on the
-  hills, the Spanish ship Vizcaya, lying inside the harbor, joining
-  in.
-
-  Troops from Santiago had rushed down when the news of the
-  Merrimac’s coming was telegraphed and soon lined the foot of
-  the cliff, firing wildly across and killing each other with the
-  cross fire. The Merrimac’s steering gear broke as she got to
-  Estrella Point. Only three of the torpedoes on her side exploded
-  when I touched the button. A huge submarine mine caught her full
-  amidships, hurling the water high in the air and tearing[25] a
-  great rent in the Merrimac’s side.
-
-  Her stern ran upon Estrella Point. Chiefly owing to the work done
-  by the mine she began to sink slowly. At that time she was across
-  the channel, but before she settled the tide drifted her around.
-  We were all aft, lying on the deck. Shells[13] and bullets
-  whistled around. Six-inch shells from the Vizcaya came tearing
-  into the Merrimac, crashing into wood and iron and passing clear
-  through while the plunging shots from the fort broke through her
-  decks.
-
-  “Not a man[3] must move,” I said, and it was only owing to the
-  splendid discipline of the men that we all were not killed, as
-  the shells rained over us and minutes became hours of suspense.
-  The men’s mouths grew parched, but we must lie there till
-  daylight, I told them. Now and again one or the other of the men
-  lying with his face glued to the deck and wondering whether the
-  next shell would not come our way would say: “Hadn’t[3] we better
-  drop off now, sir?” but I said: “Wait[12] till daylight.”
-
-  It would have been impossible to get the catamaran or raft
-  anywhere but to the shore, where the soldiers stood shooting, and
-  I hoped that by daylight we might be recognized and saved. The
-  grand old Merrimac kept sinking. I wanted to go forward and see
-  the damage done there, where nearly all the fire was directed,
-  but one man said that if I rose it would draw all the fire on
-  the rest. So I lay motionless. It was splendid[11] the way these
-  men behaved. The fire[6] of the soldiers, the batteries and the
-  Vizcaya was awful.
-
-  When the water came up on the Merrimac’s decks the raft floated
-  amid the wreckage, but she was still made fast to the boom, and
-  we caught hold[23] of the edge and clung on, our heads only being
-  above water. One man thought we were safer right[6] there; it was
-  quite light; the firing had ceased, except that on the launch
-  which followed to rescue us, and I feared[20] Ensign Powell and
-  his men had been killed.
-
-  A Spanish launch[2] came toward the Merrimac. We agreed to
-  capture her and run. Just as she came close the Spaniards saw us,
-  and a half-dozen marines jumped up and pointed[2] their rifles
-  at our heads. “Is there any officer in that boat to receive a
-  surrender of prisoners of war?” I shouted. An old man leaned out
-  under the awning and held out[6] his hand. It was the Spanish
-  Admiral Cervera.
-
-
-THE STARS AND STRIPES.
-
-The following glowing tributes to our American Flag afford excellent
-selections for any patriotic occasion. They make suitable recitations for
-children at celebrations on the Fourth of July, Washington’s birthday,
-etc.
-
-
-NOTHING BUT FLAGS.
-
-  Nothing but flags! but simple flags!
-  Tattered and torn, and hanging in rags;
-  And we walk beneath them with careless tread,
-  Nor think of the hosts of the mighty dead
-  Who have marched beneath them in days gone by
-  With a burning cheek and a kindling eye,
-  And have bathed their folds with their young life’s tide,
-  And dying blessed them, and blessing died.
-
-
-OUR BANNER.
-
-  Hail to our banner brave
-  All o’er the land and wave
-      To-day unfurled.
-  No folds to us so fair
-  Thrown on the summer air;
-  None with thee compare
-      In all the world.
-
-               W. P. TILDEN.
-
-
-STAINED BY THE BLOOD OF HEROES.
-
-  Around the globe, through every clime,
-    Where commerce wafts or man hath trod,
-  It floats aloft, unstained with crime,
-    But hallowed by heroic blood.
-
-
-THE TATTERED ENSIGN.
-
-  We seek not strife, but when our outraged laws
-  Cry for protection in so just a cause,
-  Ay, tear her tattered ensign down!
-    Long has it waved on high,
-  And many an eye has danced to see
-    That banner in the sky.
-  Nail to the mast her holy flag,
-    Set every threadbare sail,
-  And give her to the God of storms,
-    The lightning and the gale!
-
-                        OLIVER WENDELL HOLMES.
-
-
-THE FLAG OF OUR UNION.
-
-  The union of lakes, the union of lands,
-    The union of States none can sever;
-  The union of hearts, the union of hands,
-    And the flag of our Union forever.
-
-                        GEORGE P. MORRIS.
-
-
-FLAG OF THE FREE.
-
-  When freedom from her mountain height
-    Unfurled her standard to the air,
-  She tore the azure robe of night
-    And set the stars of glory there.
-
-  She mingled with its gorgeous dyes
-  The milky baldric of the skies,
-  And striped its pure, celestial white
-  With streakings of the morning light.
-
-  Flag of the free hearts’ hope and home!
-    By angel hands to valor given!
-  Thy stars have lit the welkin dome,
-    And all thy hues were born in heaven.
-
-  Forever float that standard sheet,
-    Where breathes the foe, but falls before us,
-  With freedom’s soil beneath our feet,
-    And freedom’s banner streaming o’er us.
-
-                            JOSEPH RODMAN DRAKE.
-
-
-STAND BY THE FLAG.
-
-  Stand by the flag! on land and ocean billow;
-    By it your fathers stood, unmoved and true;
-  Living, defended; dying, from their pillow,
-    With their last blessing, passed it on to you.
-  The lines that divide us are written in water,
-  The love that unite us is cut deep as rock.
-
-        Thus by friendship’s ties united,
-          We will change the bloody past
-        Into golden links of union,
-          Blending all in love at last.
-        Thus beneath the one broad banner,
-          Flag of the true, the brave, the free,
-        We will build anew the Union,
-          Fortress of our Liberty.
-
-
-FREEDOM’S STANDARD.
-
-  God bless our star-gemmed banner;
-    Shake its folds out to the breeze;
-  From church, from fort, from house-top,
-    Over the city, on the seas;
-
-  The die is cast, the storm at last
-    Has broken in its might;
-  Unfurl the starry banner,
-    And may God defend the right.
-
-  Then bless our banner, God of hosts!
-    Watch o’er each starry fold;
-  ’Tis Freedom’s standard, tried and proved
-    On many a field of old;
-
-  And Thou, who long has blessed us,
-    Now bless us yet again,
-  And crown our cause with victory,
-    And keep our flag from stain.
-
-
-RODNEY’S RIDE.
-
-On the third day of July, 1776, Cæsar Rodney rode on horseback from St.
-James’s Neck, below Dover, Delaware, to Philadelphia, in a driving rain
-storm, for the purpose of voting for the Declaration of Independence.
-
-This is an excellent reading for quick changes of voice and manner. To
-render it well will prove that you have genuine dramatic ability. You
-should study this selection carefully and practice it until you are the
-complete master of it. It requires a great deal of life and spirit, with
-changes of voice from the low tone to the loud call. For the most part
-your utterance should be rapid, yet distinct.
-
-  In that soft mid-land where the breezes bear
-  The North and South on the genial air,
-  Through the county of Kent, on affairs of State,
-  Rode Cæsar Rodney, the delegate.
-
-  Burly and big, and bold and bluff,
-  In his three-cornered hat and coat of snuff,
-  A foe to King George and the English State,
-  Was Cæsar Rodney, the delegate.
-
-  Into Dover village he rode apace,
-  And his kinsfolk knew from his anxious face,
-  It was matter grave that brought him there,
-  To the counties three upon the Delaware.
-
-  “Money and men we must have,” he said,
-  “Or the Congress fails and our cause is dead,
-  Give us both and the King shall not work his will,
-  We are men, since the blood of Bunker Hill.”
-
-  Comes a rider swift on a panting bay;
-  “Ho, Rodney, ho! you must save the day,
-  For the Congress halts at a deed so great,
-  And your vote alone may decide its fate.”
-
-  Answered Rodney then: “I will ride with speed;
-  It is Liberty’s stress; it is Freedom’s need.”
-  “When stands it?” “To-night.” “Not a moment to spare,
-  But ride like the wind from the Delaware.”
-
-  “Ho, saddle the black! I’ve but half a day,
-  And the Congress sits eighty miles away—
-  But I’ll be in time, if God grants me grace,
-  To shake my fist in King George’s face.”
-
-  He is up; he is off! and the black horse flies
-  On the northward road ere the “God-speed” dies,
-  It is gallop and spur, as the leagues they clear,
-  And the clustering mile-stones move a-rear.
-
-  It is two of the clock; and the fleet hoofs fling
-  The Fieldsboro’ dust with a clang and a cling,
-  It is three; and he gallops with slack rein where
-  The road winds down to the Delaware.
-
-  Four; and he spurs into New Castle town,
-  From his panting steed he gets him down—
-  “A fresh one quick! and not a moment’s wait!”
-  And off speeds Rodney, the delegate.
-
-  It is five; and the beams of the western sun
-  Tinge the spires of Wilmington, gold and dun;
-  Six; and the dust of Chester street
-  Flies back in a cloud from his courser’s feet.
-
-  It is seven; the horse-boat, broad of beam,
-  At the Schuylkill ferry crawls over the stream—
-  And at seven fifteen by the Rittenhouse clock,
-  He flings his rein to the tavern jock.
-
-  The Congress is met; the debate’s begun,
-  And Liberty lags for the vote of one—
-  When into the hall, not a moment late,
-  Walks Cæsar Rodney, the delegate.
-
-  Not a moment late! and that half day’s ride
-  Forwards the world with a mighty stride;
-  For the act was passed; ere the midnight stroke
-  O’er the Quaker City its echoes woke.
-
-  At Tyranny’s feet was the gauntlet flung;
-  “We are free!” all the bells through the colonies rung,
-  And the sons of the free may recall with pride,
-  The day of Delegate Rodney’s ride.
-
-
-A SPOOL OF THREAD.
-
-The last battle of the Civil War was at Brazos, Texas, May 13, 1865,
-resulting in the surrender of the Texan army. Recite this in a
-conversational tone, as you would tell any story.
-
-  Well, yes, I’ve lived in Texas, since the spring of ’61;
-  And I’ll relate the story, though I fear, sir, when ’tis done,
-  ’Twill be little worth your hearing, it was such a simple thing,
-  Unheralded in verses that the grander poets sing.
-
-  There had come a guest unbidden, at the opening of the year,
-  To find a lodgment in our hearts, and the tenant’s name was fear;
-  For secession’s drawing mandate was a call for men and arms,
-  And each recurring eventide but brought us fresh alarms.
-
-  They had notified the General that he must yield to fate,
-  And all the muniments of war surrender to the State,
-  But he sent from San Antonio an order to the sea
-  To convey on board the steamer all the fort’s artillery.
-
-  Right royal was his purpose, but the foe divined his plan,
-  And the wily Texans set a guard to intercept the man
-  Detailed to bear the message; they placed their watch with care
-  That neither scout nor citizen should pass it unaware.
-
-  Well, this was rather awkward, sir, as doubtless you will say,
-  But the Major who was chief of staff resolved to have his way,
-  Despite the watchful provost guard; so he asked his wife to send,
-  With a little box of knick-knacks, a letter to her friend;
-  And the missive held one sentence I remember to this day:
-  “The thread is for your neighbor, Mr. French, across the way.”
-
-  He dispatched a youthful courier. Of course, as you will know,
-  The Texans searched him thoroughly and ordered him to show
-  The contents of the letter. They read it o’er and o’er,
-  But failed to find the message they had hindered once before.
-
-  So it reached the English lady, and she wondered at the word,
-  But gave the thread to Major French, explaining that she heard
-  He wished a spool of cotton. And great was his surprise
-  At such a trifle sent, unasked, through leagues of hostile spies.
-
-  “There’s some hidden purpose, doubtless, in the curious gift,” he said.
-  Then he tore away the label, and inside the spool of thread
-  Was Major Nichols’ order, bidding him convey to sea
-  All the arms and ammunition from Fort Duncan’s battery.
-  “Down to Brazon speed your horses,” thus the Major’s letter ran,
-  “Shift equipments and munitions, and embark them if you can.”
-
-  Yes, the transfer was effected, for the ships lay close at hand,
-  Ere the Texans guessed their purpose they had vanished from the land.
-  Do I know it for a fact, sir? ’Tis no story that I’ve read—
-  I was but a boy in war time, and I carried him the thread.
-
-                                                       SOPHIE E. EASTMAN.
-
-
-THE YOUNG PATRIOT, ABRAHAM LINCOLN.
-
-  One Fourth of July, when Abraham Lincoln was a boy, he heard
-  an oration by old ’Squire Godfrey. As in the olden days, the
-  ’Squire’s oration was full of Washington; inspiring in the heart
-  of young Lincoln an enthusiasm that sent him home burning with a
-  desire to know more of the great man who heretofore had seemed
-  more of a dream than a reality. Learning that a man some six
-  miles up the creek owned a copy of Washington’s life, Abraham did
-  not rest that night until he had footed the whole distance and
-  begged the loan of the book.
-
-  “Sartin, sartin,” said the owner. “The book is fairly well worn,
-  but no leaves are missin’, and a lad keen enough to read as to
-  walk six miles to get a book, ought to be encouraged.”
-
-  It was a much-worn copy of Weem’s “Life of Washington,” and
-  Abe, thanking the stranger for his kindness, walked back under
-  the stars, stopping every little while to catch a glimpse of
-  the features of the “Father of his Country” as shown in the
-  frontispiece.
-
-  After reaching home, tired as he was, he could not close his
-  eyes until, by the light of a pine knot, he had found out all
-  that was recorded regarding the boyhood of the man who had so
-  suddenly sprung into prominence in his mind. In that busy harvest
-  season he had no time to read or study during the day, but every
-  night, long after the other members of the family were sleeping
-  peacefully, Abe lay, stretched upon the floor with his book on
-  the hearth, reading, reading, reading, the pine knot in the
-  fireplace furnishing all the light he needed, the fire within
-  burning with such intense heat as to kindle a blaze that grew
-  and increased until it placed him in the highest seat of his
-  countrymen.
-
-  What a marvelous insight into the human heart did Abraham Lincoln
-  get between the covers of that wonderful book. The little cabin
-  grew to be a paradise as he learned from the printed pages the
-  story of one great man’s life. The barefooted boy in buckskin
-  breeches, so shrunken that they reached only halfway between the
-  knee and ankle, actually asked himself whether there might not be
-  some place—great and honorable, awaiting him in the future.
-
-  Before this treasured “Life of Washington” was returned to its
-  owner, it met with such a mishap as almost to ruin it. The book,
-  which was lying on a board upheld by two pegs, was soaked by the
-  rain that dashed between the logs one night, when a storm beat
-  with unusual force against the north end of the cabin. Abraham
-  was heartbroken over the catastrophe, and sadly carried the book
-  back to its owner, offering to work to pay for the damage done.
-  The man consented, and the borrower worked for three days at
-  seventy-five cents a day, and thus himself became the possessor
-  of the old, faded, stained book—a book that had more to do with
-  shaping his life, perhaps, than any one other thing.
-
-  Abe had not expected to take the book back with him, but merely
-  to pay for the damage done, and was surprised when the man handed
-  it to him when starting. He was very grateful, however, and when
-  he gave expression to his feelings the old man said, patting him
-  on the shoulder: “You have earned it, my boy, and are welcome to
-  it. It’s a mighty fine thing to have a head for books, just as
-  fine to have a heart for honesty, and if you keep agoin’ as you
-  have started, maybe some day you’ll git to be President yourself.
-  President Abraham Lincoln! That would sound fust rate, fust rate,
-  now, wouldn’t it, sonny?”
-
-  “It’s not a very handsome name, to be sure,” Abe replied, looking
-  as though he thought such an event possible, away off, in the
-  future. “No, it’s not a very very handsome name, but I guess
-  it’s about as handsome as its owner,” he added, glancing at the
-  reflection of his homely features in the little old-fashioned,
-  cracked mirror hanging opposite where he sat.
-
-  “Handsome is that handsome does,” said the old farmer, nodding
-  his gray head in an approving style. “Yes, indeedy; handsome
-  deeds make handsome men. We hain’t a nation of royal idiots, with
-  one generation of kings passin’ away to make room for another.
-  No, sir-ee. In this free country of ourn, the rich and poor
-  stand equal chances, and a boy without money is just as likely
-  to work up to the Presidential chair as the one who inherits
-  from his parents lands and stocks and money and influence. It’s
-  brains that counts in this land of liberty, and Abraham Lincoln
-  has just as much right to sit in the highest seat in the land as
-  Washington’s son himself, if he had had a son, which he hadn’t.”
-
-  Who knows but the future War President of this great Republic
-  received his first aspirations from this kindly neighbor’s words?
-
-
-COLUMBIA.
-
-  Columbia, Columbia, to glory arise;
-  The queen of the world, and the child of the skies;
-  Thy genius commands thee; with rapture behold,
-  While ages on ages thy splendors unfold.
-  Thy reign is the last and the noblest of time,
-  Most fruitful thy soil, most inviting thy clime;
-  Let the crimes of the east ne’er encrimson thy name,
-  Be freedom, and science, and virtue, thy fame.
-
-  To conquest and slaughter let Europe aspire,
-  Whelm nations in blood, and wrap cities in fire;
-  Thy heroes the rights of mankind shall defend,
-  And triumph pursue them, and glory attend.
-  A world is thy realm—for a world be thy laws—
-  Enlarged as thine empire, and just as thy cause;
-  On freedom’s broad basis thy empire shall rise,
-  Extend with the main, and dissolve with the skies.
-
-  Thy fleets to all regions thy power shall display,
-  The nations admire, and the ocean obey;
-  Each shore to thy glory its tribute unfold,
-  And the east and the south yield their spices and gold.
-  As the day-spring, unbounded, thy splendor shall flow,
-  And earth’s little kingdoms before thee shall bow,
-  While the ensigns of union, in triumph unfurled,
-  Hush the tumult of war, and give peace to the world.
-
-  Thus, as down a lone valley, with cedars o’erspread,
-  From war’s dread confusion, I pensively strayed,
-  The gloom from the face of fair heaven retired;
-  The winds ceased to murmur; the thunder expired;
-  Perfumes, as of Eden, flowed sweetly along,
-  And a voice, as of angels, enchantingly sung,
-  “Columbia, Columbia, to glory arise;
-  The queen of the world, and the child of the skies.”
-
-                                         JOEL BARLOW.
-
-
-CAPTAIN MOLLY AT MONMOUTH.
-
-One of the famous battles of the Revolution was that of Monmouth, New
-Jersey, which was fought on the 28th of June, 1778. General Washington
-was in command on the American side, and General Sir Henry Clinton was
-commander-in-chief of the British forces. The British troops met with
-a decisive defeat. The wife of an Irish gunner on the American side
-who went by the name of Molly had followed her husband to the battle.
-During the engagement he was shot down. With the most undaunted heroism
-Molly rushed forward and took his place at the gun and remained there
-throughout the thickest of the fight. In reciting this graphic account of
-her courageous deed you should show great spirit and animation, pointing
-her out as she takes her husband’s place, and in glowing manner describe
-her patriotism.
-
-  On the bloody field of Monmouth flashed the guns of Greene and Wayne;
-  Fiercely roared the tide of battle; thick the sward was heaped with
-      slain.
-  Foremost, facing death and danger, Hessian horse and grenadier,
-  In the vanguard, fiercely fighting, stood an Irish cannoneer.
-
-  Loudly roared his iron cannon, mingling ever in the strife,
-  And beside him, firm and daring, stood his faithful Irish wife;
-  Of her bold contempt of danger, Greene and Lee’s brigade could tell,
-  Every one knew “Captain Molly,” and the army loved her well.
-
-  Surged the roar of battle round them; swiftly flew the iron hail;
-  Forward dashed a thousand bayonets that lone battery to assail;
-  From the foeman’s foremost columns swept a furious fusilade,
-  Mowing down the massed battalions in the ranks of Greene’s brigade.
-
-  Faster and faster worked the gunner, soiled with powder, blood and dust;
-  English bayonets shone before him, shot and shell around him burst;
-  Still he fought with reckless daring, stood and manned her long and well,
-  Till at last the gallant fellow dead beside his cannon fell.
-
-  With a bitter cry of sorrow, and a dark and angry frown,
-  Looked that band of gallant patriots at their gunner stricken down.
-  “Fall back, comrades! It is folly thus to strive against the foe.”
-  “Not so!” cried Irish Molly, “we can strike another blow!”
-
-  Quickly leaped she to the cannon in her fallen husband’s place,
-  Sponged and rammed it fast and steady, fired it in the foeman’s face.
-  Flashed another ringing volley, roared another from the gun;
-  “Boys, hurrah!” cried gallant Molly, “for the flag of Washington!”
-
-  Greene’s brigade, though shorn and shattered, slain and bleeding half
-      their men,
-  When they heard that Irish slogan, turned and charged the foe again;
-  Knox and Wayne and Morgan rally, to the front they forward wheel,
-  And before their rushing onset Clinton’s English columns reel.
-
-  Still the cannon’s voice in anger rolled and rattled o’er the plain,
-  Till they lay in swarms around it mingled heaps of Hessian slain.
-  “Forward! charge them with the bayonet!” ’twas the voice of Washington;
-  And there burst a fiery greeting from the Irishwoman’s gun.
-
-  Monckton falls; against his columns leap the troops of Wayne and Lee,
-  And before their reeking bayonets Clinton’s red battalions flee;
-  Morgan’s rifles, fiercely flashing, thin the foe’s retreating ranks,
-  And behind them, onward dashing, Ogden hovers on their flanks.
-
-  Fast they fly, those boasting Britons, who in all their glory came,
-  With their brutal Hessian hirelings to wipe out our country’s name.
-  Proudly floats the starry banner; Monmouth’s glorious field is won;
-  And, in triumph, Irish Molly stands besides her smoking gun.
-
-                                                         WILLIAM COLLINS.
-
-
-DOUGLAS TO THE POPULACE OF STIRLING.
-
-  Hear, gentle friends! ere yet, for me,
-  Ye break the bands of fealty.
-  My life, my honor, and my cause,
-  I tender free to Scotland’s laws.
-  Are these so weak as must require
-  The aid of your misguided ire?
-  Or, if I suffer causeless wrong,
-  Is then my selfish rage so strong,
-  My sense of public weal so low,
-  That, for mean vengeance on a foe,
-  Those cords of love I should unbind
-  Which knit my country and my kind?
-  Oh no! believe, in yonder tower
-  It will not soothe my captive hour,
-  To know those spears our foes should dread
-  For me in kindred gore are red;
-  To know, in fruitless brawl begun,
-  For me, that mother wails her son;
-  For me that widow’s mate expires,
-  For me, that orphans weep their sires,
-  That patriots mourn insulted laws,
-  And curse the Douglas for the cause.
-  O let your patience ward such ill,
-  And keep your right to love me still.
-
-                      SIR WALTER SCOTT.
-
-
-OUR COUNTRY.
-
-  Our country!—’tis a glorious land!
-    With broad arms stretched from shore to shore,
-  The proud Pacific chafes her strand,
-    She hears the dark Atlantic roar;
-  And, nurtured on her ample breast,
-    How many a goodly prospect lies
-  In Nature’s wildest grandeur drest,
-    Enamelled with her loveliest dyes.
-
-  Rich prairies, decked with flowers of gold,
-    Like sunlit oceans roll afar;
-  Broad lakes her azure heavens behold,
-    Reflecting clear each trembling star,
-  And mighty rivers, mountain-born,
-    Go sweeping onward dark and deep,
-  Through forests where the bounding fawn
-    Beneath their sheltering branches leap.
-
-  And, cradled mid her clustering hills,
-    Sweet vales in dreamlike beauty hide,
-  Where love the air with music fills;
-    And calm content and peace abide;
-  For plenty here her fulness pours
-    In rich profusion o’er the land,
-  And sent to seize her generous stores,
-    There prowls no tyrant’s hireling band.
-
-  Great God! we thank thee for this home—
-    This bounteous birthland of the free;
-  Where wanderers from afar may come,
-    And breathe the air of liberty!—
-  Still may her flowers untrampled spring,
-    Her harvests wave, her cities rise;
-  And yet, till Time shall fold his wing,
-    Remain Earth’s loveliest paradise!
-
-                          W. G. PEABODIE.
-
-
-M’ILRATH OF MALATE.
-
-Acting Sergeant J. A. McIlrath, Battery H, Third Artillery, Regulars;
-enlisted from New York; fifteen years’ service. The heroism of our brave
-Regulars in the War with Spain was the theme of universal admiration.
-Throw plenty of life and fire into this reading, and avoid a sing-song
-tone.
-
-  Yes, yes, my boy, there’s no mistake,
-    You put the contract through!
-  You lads with Shafter, I’ll allow,
-    Were heroes, tried and true;
-
-  But don’t forget the men who fought
-    About Manila Bay,
-  And don’t forget brave McIlrath
-    Who died at Malaté.
-
-  The night was black, save where the forks
-    Of tropic lightning ran,
-  When, with a long deep thunder-roar,
-    The typhoon storm began.
-
-  Then, suddenly above the din,
-    We heard the steady bay
-  Of volleys from the trenches where
-    The Pennsylvanians lay.
-
-  The Tenth, we thought, could hold their own
-    Against the feigned attack,
-  And, if the Spaniards dared advance,
-    Would pay them doubly back.
-
-  But soon we marked the volleys sink
-    Into a scattered fire—
-  And, now we heard the Spanish gun
-    Boom nigher yet and nigher!
-
-  Then, like a ghost, a courier
-    Seemed past our picket tossed
-  With wild hair streaming in his face—
-    “We’re lost—we’re lost—we’re lost.”
-
-  “Front, front—in God’s name—front!” he cried:
-    “Our ammunition’s gone!”
-  He turned a face of dazed dismay—
-    And through the night sped on!
-
-  “Men, follow me!” cried McIlrath,
-    Our acting Sergeant then;
-  And when he gave the word he knew
-    He gave the word to men!
-
-  Twenty there—not one man more—
-    But down the sunken road
-  We dragged the guns of Battery H,
-    Nor even stopped to load!
-
-  Sudden, from the darkness poured
-    A storm of Mauser hail—
-  But not a man there thought to pause,
-    Nor any man to quail!
-
-  Ahead, the Pennsylvanians’ guns
-    In scattered firing broke;
-  The Spanish trenches, red with flame,
-    In fiercer volleys spoke!
-
-  Down with a rush our twenty came—
-    The open field we passed—
-  And in among the hard-pressed Tenth
-    We set our feet at last!
-
-  Up, with a leap, sprang McIlrath,
-    Mud-spattered, worn and wet,
-  And, in an instant, there he stood
-    High on the parapet!
-
-  “Steady, boys! we’ve got ’em now—
-    Only a minute late!
-  It’s all right, lads—we’ve got ’em whipped.
-    Just give ’em volleys straight!”
-
-  Then, up and down the parapet
-    With head erect he went,
-  As cool as when he sat with us
-    Beside our evening tent!
-
-  Not one of us, close sheltered there
-    Down in the trench’s pen,
-  But felt that he would rather die
-    Than shame or grieve him then!
-
-  The fire, so close to being quenched
-    In panic and defeat,
-  Leaped forth, by rapid volleys sped,
-    In one long deadly sheet!
-
-  A cheer went up along the line
-    As breaks the thunder-call—
-  But, as it rose, great God! we saw
-    Our gallant Sergeant fall!
-
-  He sank into our outstretched arms
-    Dead—but immortal grown;
-  And Glory brightened where he fell,
-    And valor claimed her own!
-
-                  JOHN JEROME ROONEY.
-
-
-AFTER THE BATTLE.
-
-If you should read or recite this tragic selection in a dull monotone,
-as most persons read poetry, the effect would be ludicrous. The brave
-captain is dying. With gasping utterance, signs of weakness and appealing
-looks, his words should be delivered. Some of the sentences should be
-whispered. Do not attempt to recite this piece until you have mastered it
-and can render it with telling effect. It demands the trained powers of a
-competent elocutionist.
-
-  “Brave captain! canst thou speak?
-    What is it thou dost see?
-  A wondrous glory lingers on thy face,
-    The night is past; I’ve watched the night with thee.
-        Knowest thou the place?”
-
-    “_The place?_ ’Tis San Juan, comrade.
-    Is the battle over?
-  The victory—the victory—is it won?
-    My wound is mortal; I know I cannot recover—
-        The battle for me is done!
-
-  “I never thought it would come to this!
-    Does it rain?
-  The musketry! Give me a drink; ah, that is glorious!
-    Now if it were not for this pain—this pain—
-        Didst thou say victorious?
-
-  “It would not be strange, would it, if I do wander?
-    A man can’t remember with a bullet in his brain.
-  I wish when at home I had been a little fonder—
-        Shall I ever be well again?
-
-  “It can make no difference whether I go from here or there.
-    Thou’lt write to father and tell him when I am dead?—
-  The eye that sees the sparrow fall numbers every hair
-          Even of this poor head.
-
-  “Tarry awhile, comrade, the battle can wait for thee;
-    I will try to keep thee but a few brief moments longer;
-  Thou’lt say good-bye to the friends at home for me?—
-          If only I were a little stronger!
-
-  “I must not think of it. Thou art sorry for me?
-    The glory—is it the glory?—makes me blind;
-  Strange, for the light, comrade, the light I cannot see—
-          Thou hast been very kind!
-
-  “I do not think I have done so very much evil—
-  I did not mean it. ‘I lay me down to sleep,
-  I pray the Lord my soul’—just a little rude and uncivil—
-          Comrade, why dost thou weep?
-
-  “Oh! if human pity is so gentle and tender—
-    Good-night, good friends! ‘I lay me down to sleep!’—
-  Who from a Heavenly Father’s love needs a defender?
-          ‘My soul to keep!’
-
-  “‘If I should die before I wake’—comrade, tell mother,
-    Remember—‘I pray the Lord my soul to take!’
-  My musket thou’lt carry back to my little brother
-          For my dear sake!
-
-  “Attention, company! Reverse arms! Very well, men; my thanks.
-    Where am I? Do I wander, comrade,—wander again?—
-  Parade is over. Company E, break ranks! break ranks!
-          I know it is the pain.
-
-  “Give me thy strong hand; fain would I cling, comrade to thee;
-    I feel a chill air blown from a far-off shore;
-  My sight revives; Death stands and looks at me.
-          What waits he for?
-
-  “Keep back my ebbing pulse till I be bolder grown;
-    I would know something of the Silent Land;
-  It’s hard to struggle to the front alone—
-          Comrade, thy hand.
-
-  “The _reveille_ calls! be strong, my soul, and peaceful;
-    The Eternal City bursts upon my sight!
-  The ringing air with ravishing melody is full—
-          I’ve won the fight!
-
-  “Nay, comrade, let me go; hold not my hand so steadfast;
-    I am commissioned—under marching orders—
-  I know the Future—let the Past be past—
-          _I cross the borders_.”
-
-
-THE GREAT NAVAL BATTLE OF MANILA.
-
-  With the United States Flag Flying at all their mastheads, our
-  ships moved to the attack in line ahead, with a speed of eight
-  knots, first passing in front of Manila, where the action was
-  begun by three batteries mounting guns powerful enough to send
-  a shell over us at a distance of five miles. The Concord’s guns
-  boomed out a reply to these batteries with two shots. No more
-  were fired, because Admiral Dewey could not engage with these
-  batteries without sending death and destruction into the crowded
-  city.
-
-  As we neared Cavite two very powerful submarine mines were
-  exploded ahead of the flagship. The Spaniards had misjudged our
-  position. Immense volumes of water were thrown high in air by
-  these destroyers, but no harm was done to our ships.
-
-  Admiral Dewey had fought with Farragut at New Orleans and Mobile
-  Bay, where he had his first experience with torpedoes. Not
-  knowing how many more mines there might be ahead, he still kept
-  on without faltering. No other mines exploded, however, and it is
-  believed that the Spaniards had only these two in place.
-
-  Only a few minutes later the shore battery at Cavite Point sent
-  over the flagship a shot that nearly hit the battery in Manila,
-  but soon the guns got a better range, and the shells began to
-  strike near us, or burst close aboard from both the batteries and
-  the Spanish vessels. The heat was intense. Men stripped off all
-  clothing except their trousers.
-
-  As the Admiral’s flagship, the Olympia, drew nearer all was as
-  silent on board as if the ship had been empty, except for the
-  whirr of blowers and the throb of the engines. Suddenly a shell
-  burst directly over us. From the boatswain’s mate at the after
-  5-inch gun came a hoarse cry. “Remember the Maine!” arose from
-  the throats of five hundred men at the guns. This watchword was
-  caught up in turrets and fire-rooms, wherever seaman or fireman
-  stood at his post.
-
-  “Remember the Maine!” had rung out for defiance and revenge. Its
-  utterance seemed unpremeditated, but was evidently in every man’s
-  mind, and, now that the moment had come to make adequate reply to
-  the murder of the Maine’s crew, every man shouted what was in his
-  heart.
-
-  The Olympia was now ready to begin the fight. “You may fire
-  when ready, Captain Gridley,” said the Admiral, and at nineteen
-  minutes of six o’clock, at a distance of 5,500 yards, the
-  starboard 8-inch gun in the forward turret roared forth a
-  compliment to the Spanish forts. Presently similar guns from the
-  Baltimore and the Boston sent 250-pound shells hurtling toward
-  the Spanish ships Castilla and the Reina Christina for accuracy.
-  The Spaniards seemed encouraged to fire faster, knowing exactly
-  our distance, while we had to guess theirs. Their ship and shore
-  guns were making things hot for us.
-
-  The piercing scream of shot was varied often by the bursting of
-  time fuse shells, fragments of which would lash the water like
-  shrapnel or cut our hull and rigging. One large shell that was
-  coming straight at the Olympia’s forward bridge fortunately fell
-  within less than one hundred feet away. One fragment cut the
-  rigging exactly over the heads of some of the officers. Another
-  struck the bridge gratings in line with it. A third passed just
-  under Dewey and gouged a hole in the deck. Incidents like these
-  were plentiful.
-
-  “Capture and destroy Spanish squadron,” were Dewey’s orders.
-  Never were instructions more effectually carried out. Within
-  seven hours after arriving on the scene of action nothing
-  remained to be done. The Admiral closed the day by anchoring
-  off the city of Manila and sending word to the Governor General
-  that if a shot was fired from the city at the fleet he would lay
-  Manila in ashes.
-
-  What was Dewey’s achievement? He steamed into Manila Bay at the
-  dead hour of the night, through the narrower of the two channels,
-  and as soon as there was daylight enough to grope his way about
-  he put his ships in line of battle and brought on an engagement,
-  the greatest in many respects in ancient or modern warfare. The
-  results are known the world over—every ship in the Spanish fleet
-  destroyed, the harbor Dewey’s own, his own ships safe from the
-  shore batteries, owing to the strategic position he occupied, and
-  Manila his whenever he cared to take it.
-
-  Henceforth, so long as ships sail and flags wave, high on the
-  scroll that bears the names of the world’s greatest naval heroes
-  will be written that of George Dewey.
-
-
-THE SINKING OF THE SHIPS.
-
-This is an excellent selection for any one who can put dramatic force
-into its recital. Picture to your imagination the “Sinking of the
-Ships,” and then describe it to your hearers as though the actual scene
-were before you. You have command in these words, “Now, sailors, stand
-by,” etc.; rapid utterance in these words, “And the Oregon flew,” etc.;
-subdued tenderness in the words, “Giving mercy to all,” etc. In short,
-the whole piece affords an excellent opportunity for intense dramatic
-description.
-
-  Dark, dark is the night; not a star in the sky,
-  And the Maine rides serenely; what danger is nigh?
-  Our nation’s at peace with the Kingdom of Spain,
-  So calmly they rest in the battleship Maine.
-  But, hark to that roar! See, the water is red!
-  And the sailor sleeps now with the slime for his bed.
-  Havana then shook, like the leaves of the trees,
-  When the tornado rides on the breast of the breeze;
-  Then people sprang up from their beds in the gloom,
-  As they’ll spring from their graves at the thunder of doom;
-  And they rushed through the streets, in their terror and fear,
-  Crying out as they ran, “Have the rebels come here?”
-
-  “Oh, see how the flame lights the shores of the bay,
-  Like the red rising sun at the coming of day;
-  ’Tis a ship in a blaze! ’Tis the battleship Maine!
-  What means this to us and the Kingdom of Spain?
-  The eagle will come at that loud sounding roar,
-  And our flag will fly free over Cuba no more.”
-
-  Dark, dark is the night on the face of the deep,
-  In the forts all is still; are the soldiers asleep?
-  Oh, see how that ship glides along through the night;
-  ’Tis the ghost of the Maine—she has come to the fight;
-  A flash, and a roar, and a cry of despair;
-  The eagle has come, for brave Dewey is there.
-
-  Oh, Spaniards, come out, for the daylight has fled,
-  And look on those ships—look with terror and dread;
-  The eagle has come, and he swoops to his prey;
-  Oh, fly, Spaniards, fly, to that creek in the bay!
-  The eagle has come—“Remember the Maine!”
-  And the water is red with the blood of the slain.
-
-  They rest for a time—now they sail in again!
-  Oh, woe, doom and woe, to the kingdom of Spain.
-  Their ships are ablaze, they are battered and rent,
-  By the death-dealing shells which our sailors have sent.
-  Not a man have we lost; yet the battle is o’er,
-  And their ships ride the bay of Manila no more.
-
-  Dark, silent and dark, on the face of the deep,
-  A ship glides in there; are the Spaniards asleep?
-  The channel is mined! Oh, rash sailors beware!
-  Or that death dealing fiend will spring up from his lair;
-  He will tear you, and rend you, with wild fiendish roar,
-  And cast you afar on the bay and the shore!
-
-  They laugh at the danger; what care they for death?
-  ’Tis only a shock and the ceasing of breath;
-  Their souls to their Maker, their forms to the wave,
-  What nation has sons like the home of the brave?
-  That ship they would steer to the pit of despair,
-  If duty cried “Onward!” and glory were there.
-
-  The shore is ablaze, but the channel they gain;
-  A word of command, and the rattle of chain;
-  A flash—and the Merrimac’s sunk in the bay,
-  And the Spaniard must leave in the light of the day.
-  Santiago and Hobson remembered shall be,
-  While waves the proud flag of the brave and the free.
-
-  The Spaniards sail out—what a glorious sight!
-  Now, sailors, stand by and prepare for the fight;
-  O, Glo’ster, in there, pelt the Dons as they fly,
-  Make us glorious news for the Fourth of July!
-  And Wainwright remembered the Maine with a roar,
-  And that shell-battered hulk is a terror no more.
-
-  Then Schley and the Brooklyn were right in the way,
-  But Sampson had gone to see Shafter, they say;
-  And the Oregon flew like a fury from hell,
-  Spreading wreckage and death with the might of her shell;
-  Then Evans stood out, like a chivalrous knight,
-  Giving mercy to all at the end of the fight.
-
-  The Colon still flies, but a shell cleaves the air,
-  Its number is fatal—a cry of despair—
-  She turns to the shore, she bursts into flame,
-  And down comes the flag of the kingdom of Spain;
-  Men float all around, the battle is done,
-  And their ships are all sunk for the sinking of one.
-  Not ours is the hand that would strike in the night,
-  With the fiendish intention to mangle and slay;
-  We strike at obstruction to freedom and right,
-  And strike when we strike in the light of the day.
-
-                                     W. B. COLLISON.
-
-
-PERRY’S CELEBRATED VICTORY ON LAKE ERIE.
-
-  Perry’s famous battle on Lake Erie raised the spirits of the
-  Americans. The British had six ships, with sixty-three guns. The
-  Americans had nine ships, with fifty-four guns, and the American
-  ships were much smaller than the English. At this time Perry, the
-  American commander, was but twenty-six years of age. His flagship
-  was the Lawrence. The ship’s watchword was the last charge of the
-  Chesapeake’s dying Commander—“Don’t give up the ship.” The battle
-  was witnessed by thousands of people on shore.
-
-  At first the advantage seemed to be with the English. Perry’s
-  flagship was riddled by English shots, her guns were dismounted
-  and the battle seemed lost. At the supreme crisis Perry embarked
-  in a small boat with some of his officers, and under the fire of
-  many cannon passed to the Niagara, another ship of the fleet, of
-  which he took command.
-
-  After he had left the Lawrence she hauled down her flag and
-  surrendered, but the other American ships carried on the battle
-  with such fierce impetuosity that the English battle-ship in
-  turn surrendered, the Lawrence was retaken and all the English
-  ships yielded with the exception of one, which took flight. The
-  Americans pursued her, took her and came back with the entire
-  British squadron. In the Capitol at Washington is a historical
-  picture showing this famous victory.
-
-  In Perry’s great battle on Lake Erie was shown the true stuff
-  of which American sailors are made. Perry was young, bold and
-  dashing, but withal, he had the coolness and intrepidity of the
-  veteran. History records few braver acts than his passage in an
-  open boat from one ship to another under the galling fire of the
-  enemy.
-
-  The grand achievements of the American navy are brilliant
-  chapters in our country’s history. When the time comes for daring
-  deeds, our gallant tars are equal to the occasion. Coolness
-  in battle, splendid discipline, perfect marksmanship and a
-  patriotism that glories in the victory of the Stars and Stripes,
-  combine to place the officers and men of our navy in the front
-  rank of the world’s greatest heroes.
-
-
-THE CAPTURE OF QUEBEC.
-
-  General Wolfe, the English commander, saw that he must take
-  Quebec by his own efforts or not at all. He attempted several
-  diversions above the city in the hope of drawing Montcalm, the
-  French commander, from his intrenchments into the open field,
-  but Montcalm merely sent De Bougainville with fifteen hundred
-  men to watch the shore above Quebec and prevent a landing. Wolfe
-  fell into a fever, caused by his anxiety, and his despatches to
-  his government created the gravest uneasiness in England for the
-  success of his enterprise.
-
-  Though ill, Wolfe examined the river with eagle eyes to detect
-  some place at which a landing could be attempted. His energy was
-  rewarded by his discovery of the cove which now bears his name.
-  From the shore at the head of this cove a steep and difficult
-  pathway, along which two men could scarcely march abreast, wound
-  up to the summit of the heights and was guarded by a small force
-  of Canadians.
-
-  Wolfe at once resolved to effect a landing here and ascend the
-  heights by this path. The greatest secrecy was necessary to the
-  success of the undertaking, and in order to deceive the French as
-  to his real design, Captain Cook, afterwards famous as a great
-  navigator, was sent to take soundings and place buoys opposite
-  Montcalm’s camp, as if that were to be the real point of attack.
-  The morning of the thirteenth of September was chosen for the
-  movement, and the day and night of the twelfth were spent in
-  preparations for it.
-
-  At one o’clock on the morning of the thirteenth a force of about
-  five thousand men under Wolfe, with Monckton and Murray, set off
-  in boats from the fleet, which had ascended the river several
-  days before, and dropped down to the point designated for the
-  landing. Each officer was thoroughly informed of the duties
-  required of him, and each shared the resolution of the gallant
-  young commander, to conquer or to die. As the boats floated
-  down the stream, in the clear, cool starlight, Wolfe spoke to
-  his officers of the poet Gray, and of his “Elegy in a Country
-  Churchyard.” “I would prefer,” said he, “being the author of that
-  poem to the glory of beating the French to-morrow.” Then in a
-  musing voice he repeated the lines:
-
-  “The boast of heraldry, the pomp of power,
-    And all that beauty, all that wealth e’er gave,
-  Await alike the inexorable hour;
-    The paths of glory lead but to the grave.”
-
-  In a short while the landing-place was reached, and the fleet,
-  following silently, took position to cover the landing if
-  necessary. Wolfe and his immediate command leaped ashore and
-  secured the pathway. The light infantry, who were carried by the
-  tide a little below the path, climbed up the side of the heights,
-  sustaining themselves by clinging to the roots and shrubs which
-  lined the precipitous face of the hill. They reached the summit
-  and drove off the picket-guard after a light skirmish. The rest
-  of the troops ascended in safety by the pathway. Having gained
-  the heights, Wolfe moved forward rapidly to clear the forest, and
-  by daybreak his army was drawn up on the Heights of Abraham, in
-  the rear of the city.
-
-  Montcalm was speedily informed of the presence of the English.
-  “It can be but a small party come to burn a few houses and
-  retire,” he answered incredulously. A brief examination satisfied
-  him of his danger, and he exclaimed in amazement: “Then they have
-  at last got to the weak side of this miserable garrison. We must
-  give battle and crush them before mid-day.”
-
-  He at once despatched a messenger for De Bougainville, who was
-  fifteen miles up the river, and marched from his camp opposite
-  the city to the Heights of Abraham to drive the English from
-  them. The opposing forces were about equal in numbers, though the
-  English troops were superior to their adversaries in discipline,
-  steadiness and determination.
-
-  The battle began about ten o’clock and was stubbornly contested.
-  It was at length decided in favor of the English. Wolfe though
-  wounded several times, continued to direct his army until, as he
-  was leading them to a final charge, he received a musket ball
-  in the breast. He tottered and called to an officer near him:
-  “Support me; let not my brave fellows see me drop.” He was borne
-  tenderly to the rear, and water was brought him to quench his
-  thirst.
-
-  At this moment the officer upon whom he was leaning cried out:
-  “They run! they run!” “Who run?” asked the dying hero, eagerly.
-  “The French,” said the officer, “give way everywhere.” “What,”
-  said Wolfe, summoning up his remaining strength, “do they run
-  already? Go, one of you, to Colonel Burton; bid him march
-  Webb’s regiment with all speed to Charles River to cut off the
-  fugitives.” Then a smile of contentment overspreading his pale
-  features, he murmured: “Now, God be praised, I die happy,” and
-  expired. He had done his whole duty, and with his life had
-  purchased an empire for his country.
-
-                                                   JAMES D. MCCABE.
-
-
-LITTLE JEAN.
-
-_At the battle of the Pyramids, July 21st, A.D. 1798._
-
-  Burning sands, and isles of palm, and the Mamelukes’ fierce array,
-  Under the solemn Pyramids, Napoleon saw that day;
-  “Comrades,” he cried, “from those old heights, Fame watches the deeds
-      you do,
-  The eyes of forty centuries are fixed this day on you!”
-
-  They answered him with ringing shouts, they were eager for the fray,
-  Napoleon held their central square, in front was bold Desaix;
-  They gave one glance to the Pyramids, one glance to the rich Cairo,
-  And then they poured a rain of fire upon their charging foe.
-
-  Only a little drummer boy, from the column of Dufarge,
-  Tottered to where the “Forty-third” stood waiting for their “charge,”
-  Bleeding—but beating still his call—he said, with tear-dimmed eye:
-  “I’m but a baby, Forty-third, so teach me how to die!”
-
-  Then Regnier gnawed his long gray beard, and Joubert turned away,
-  The lad had been the pet of all, they knew not what to say;
-  “I will not shame you, ‘Forty-third,’ though I am but a child!”
-  Then Regnier stooped and kissed his face, and shouted loud and wild:
-
-  “Forward! Why are we waiting here? Shall Mamelukes stop our way?
-  Come, little Jean, and beat the ‘charge,’ and ours shall be the day;
-  And we will show thee how to die, good boy! good boy! Be brave!
-  It is not every ‘nine years’ old’ can fill a soldier’s grave!”
-
-  It was as though a spirit spoke, the men to battle flew;
-  Yet each in passing, cried aloud: “My little Jean, Adieu!”
-  “Adieu, brave Forty-third, Adieu!” Then proudly beat his drum—
-  “You’ve showed me how a soldier dies—and little Jean will come!”
-
-  They found him ’mid the slain next day, amid the brave who fell,
-  Said Regnier, proudly, “My brave Jean, thou learned thy lesson well!”
-  They hung the medal round his neck, and crossed his childish hands,
-  And dug for him a little grave in Egypt’s lonely sands.
-  But, still, the corps his memory keep, and name with flashing eye,
-  The hero whom the “Forty-third,” in Egypt, taught to die.
-
-                                                          LILLIE E. BARR.
-
-
-THE DEFEAT OF GENERAL BRADDOCK.
-
-  Washington, who, at this time, was a subordinate officer, was
-  well convinced that the French and Indians were informed of the
-  movements of the army and would seek to interfere with it before
-  its arrival at Fort Duquesne, which was only ten miles distant,
-  and urged Braddock to throw in advance the Virginia Rangers,
-  three hundred strong, as they were experienced Indian fighters.
-
-  Braddock angrily rebuked his aide, and as if to make the rebuke
-  more pointed, ordered the Virginia troops and other provincials
-  to take position in the rear of the regulars.
-
-  In the meantime the French at Fort Duquesne had been informed
-  by their scouts of Braddock’s movements, and had resolved to
-  ambuscade him on his march. Early on the morning of the ninth
-  a force of about two hundred and thirty French and Canadians
-  and six hundred and thirty-seven Indians, under De Beaujeu,
-  the commandant at Fort Duquesne, was despatched with orders
-  to occupy a designated spot and attack the enemy upon their
-  approach. Before reaching it, about two o’clock in the afternoon,
-  they encountered the advanced force of the English army, under
-  Lieutenant-Colonel Thomas Gage, and at once attacked them with
-  spirit.
-
-  The English army at this moment was moving along a narrow road,
-  about twelve feet in width, with scarcely a scout thrown out in
-  advance or upon the flanks. The engineer who was locating the
-  road was the first to discover the enemy, and called out: “French
-  and Indians!” Instantly a heavy fire was opened upon Gage’s
-  force, and his indecision allowed the French and Indians to seize
-  a commanding ridge, from which they maintained their attack with
-  spirit.
-
-  The regulars were quickly thrown into confusion by the heavy
-  fire and the fierce yells of the Indians, who could nowhere be
-  seen, and their losses were so severe and sudden that they became
-  panic-stricken.
-
-  The only semblance of resistance maintained by the English was
-  by the Virginia Rangers, whom Braddock had insulted at the
-  beginning of the day’s march. Immediately upon the commencement
-  of the battle, they had adopted the tactics of the Indians, and
-  had thrown themselves behind trees, from which shelter they were
-  rapidly picking off the Indians. Washington entreated Braddock
-  to follow the example of the Virginians, but he refused, and
-  stubbornly endeavored to form them in platoons under the fatal
-  fire that was being poured upon them by their hidden assailants.
-  Thus through his obstinacy many useful lives were lost.
-
-  The officers did not share the panic of the men, but behaved
-  with the greatest gallantry. They were the especial marks of the
-  Indian sharpshooters, and many of them were killed or wounded.
-  Two of Braddock’s aides were seriously wounded, and their duties
-  devolved upon Washington in addition to his own. He passed
-  repeatedly over the field, carrying the orders of the commander
-  and encouraging the men. When sent to bring up the artillery, he
-  found it surrounded by Indians, its commander, Sir Peter Halket,
-  killed, and the men standing helpless from fear.
-
-  Springing from his horse, he appealed to the men to save the
-  guns, pointed a field-piece and discharged it at the savages and
-  entreated the gunners to rally. He could accomplish nothing by
-  either his words or example. The men deserted the guns and fled.
-  In a letter to his brother, Washington wrote: “I had four bullets
-  through my coat, two horses shot under me, yet escaped unhurt,
-  though death was levelling my companions on every side around me.”
-
-                                                   JAMES D. MCCABE.
-
-
-
-
-DESCRIPTIVE AND DRAMATIC RECITATIONS
-
-
-QUICK! MAN THE LIFE-BOAT!
-
-This selection demands great vivacity and intense dramatic expression.
-Each reference to the life-boat requires rapid utterance, elevated pitch
-and strong tones of command. Point to the life-boat; you are to see it,
-and make your audience see it. They will see it in imagination if you do;
-that is, if you speak and act as if you stood on the shore and actually
-saw the life-boat hurrying to the rescue.
-
-  Quick! man the life-boat! See yon bark
-    That drives before the blast?
-  There’s a rock ahead, the fog is dark,
-    And the storm comes thick and fast.
-  Can human power, in such an hour,
-    Avert the doom that’s o’er her?
-  Her mainmast’s gone, but she still drives on
-    To the fatal reef before.
-        The life-boat! Man the life-boat!
-
-  Quick! man the life-boat! hark! the gun
-    Booms through the vapory air;
-  And see! the signal flags are on,
-    And speak the ship’s despair.
-  That forked flash, that pealing crash,
-    Seemed from the wave to sweep her:
-  She’s on the rock, with a terrible shock—
-    And the wail comes louder and deeper,
-        The life-boat! Man the life-boat!
-
-  Quick! man the life-boat! See—the crew
-    Gaze on their watery grave:
-  Already, some, a gallant few,
-    Are battling with the wave;
-  And one there stands, and wrings his hand
-    As thoughts of home come o’er him;
-  For his wife and child, through the tempest wild,
-    He sees on the heights before him.
-        The life-boat! Man the life-boat!
-
-  Speed, speed the life-boat! Off she goes!
-    And, as they pulled the oar,
-  From shore and ship a cheer arose,
-    That startled ship and shore.
-  Life-saving ark! yon fated bark
-    Has human lives within her;
-  And dearer than gold is the wealth untold,
-    Thou’lt save if thou canst win her.
-        On, life-boat! Speed thee, life-boat!
-
-  Hurrah! the life-boat dashes on,
-    Though darkly the reef may frown;
-  The rock is there—the ship is gone
-    Full twenty fathoms down.
-  But cheered by hope, the seamen cope
-    With the billows single-handed;
-  They are all in the boat!—hurrah! they’re afloat;
-    And now they are safely landed
-        By the life-boat! Cheer the life-boat!
-
-
-BEAUTIFUL HANDS.
-
-  As I remember the first fair touch
-  Of those beautiful hands that I love so much,
-  I seem to thrill as I then was thrilled
-  Kissing the glove that I found unfilled—
-  When I met your gaze and the queenly bow
-  As you said to me laughingly, “Keep it now!”
-  And dazed and alone in a dream I stand
-  Kissing the ghost of your beautiful hand.
-
-  When first I loved in the long ago,
-  And held your hand as I told you so—
-  Pressed and caressed it and gave it a kiss,
-  And said, “I could die for a hand like this!”
-  Little I dreamed love’s fullness yet
-  Had I to ripen when eyes were wet,
-  And prayers were vain in their wild demands
-  For one warm touch of your beautiful hands.
-
-  Beautiful hands! O, beautiful hands!
-  Could you reach out of the alien lands
-  Where you are lingering, and give me to-night
-  Only a touch—were it ever so light—
-  My heart were soothed, and my weary brain
-  Would lull itself into rest again;
-  For there is no solace the world commands
-  Like the caress of your beautiful hands.
-
-                           JAMES WHITCOMB RILEY.
-
-
-THE BURNING SHIP.
-
-The general character of this selection is intensely dramatic. It is a
-most excellent piece for any one who has the ability and training to
-do it full justice. The emotions of agony, horror and exultation are
-here, and should be made prominent. Let the cry of “Fire!” ring out in
-startling tones, and let your whole manner correspond with the danger and
-the excitement of the scene. The rate throughout should be rapid.
-
-The figures in the text refer you to the corresponding numbers of Typical
-Gestures, at the beginning of Part II of this volume. Insert other
-gestures of your own.
-
-  The storm o’er the ocean flew furious and fast,
-  And the waves rose in foam at the voice of the blast,
-  And heavily[2] labored the gale-beaten ship,
-  Like a stout-hearted swimmer, the spray at his lip;
-  And dark[21] was the sky o’er the mariner’s path,
-  Save when the wild lightning illumined in wrath,
-  A young mother knelt in the cabin below,
-  And pressing her babe to her bosom of snow,
-  She prayed to her God,[20] ’mid the hurricane wild,
-  “O Father, have mercy, look down on my child!”
-
-  It passed—the fierce whirlwind careered on its way,
-  And the ship like an arrow[25] divided the spray;
-  Her sails glimmered white in the beams of the moon,
-  And the wind up aloft seemed to whistle a tune—to whistle a tune.
-
-  There was joy[16] in the ship as she furrowed the foam,
-  For fond hearts within her were dreaming of home.
-  The young mother pressed her fond babe to her breast,
-  And the husband sat cheerily down by her side,
-  And looked with delight on the face of his bride.
-
-  “Oh,[16] happy,” said he, “when our roaming is o’er,
-  We’ll dwell in our cottage that stands by the shore.
-  Already in fancy its roof I descry,
-  And the smoke of its hearth curling up to the sky;
-  Its garden so green, and its vine-covered wall;
-  The kind friends[9] awaiting to welcome us all,
-  And the children that sport by the old oaken tree.”
-
-  Ah gently the ship glided over the sea!
-  Hark![13] what was that? Hark! Hark to the shout!
-  “Fire!”[10] Then a tramp and a rout, and a tumult of voices
-      uprose on the air;—
-  And the mother knelt[8] down, and the half-spoken prayer,
-  That she offered to God in her agony wild,
-  Was, “Father, have mercy, look down on my child!”
-  She flew to her husband,[1] she clung to his side,
-  Oh there was her refuge whate’er might betide.
-
-  “Fire!”[10] “Fire!” It was raging above and below—
-  And the cheeks of the sailors grew pale at the sight,
-  And their eyes glistened wild in the glare of the light,
-  ’Twas vain o’er the ravage the waters to drip;
-  The pitiless flame was the lord of the ship,
-
-  And the smoke in thick wreaths mounted higher and higher.
-  “O God,[20] it is fearful to perish by fire.”
-  Alone with destruction, alone on the sea,
-  “Great Father of mercy, our hope is in thee.”
-
-  Sad at heart and resigned, yet undaunted and brave,
-  They lowered the boat,[2] a mere speck on the wave.
-  First entered the mother, enfolding her child:
-  It knew she caressed it, looked[16] upward and smiled.
-
-  Cold, cold was the night as they drifted away,
-  And mistily dawned o’er the pathway the day—
-  And they prayed for the light, and at noontide about,
-  The sun[16] o’er the waters shone joyously out.
-
-  “Ho! a sail![7] Ho! a sail!” cried the man at the lee,
-  “Ho! a sail!”[7] and they turned their glad eyes o’er the sea.
-  “They see us, they see us,[21] the signal is waved!
-  They bear down upon us, they bear down upon us: Huzza! we are saved.”
-
-
-THE UNKNOWN SPEAKER.
-
-  It is the Fourth day of July, 1776.
-
-  In the old State House in the city of Philadelphia are gathered
-  half a hundred men to strike from their limbs the shackles of
-  British despotism. There is silence in the hall—every face is
-  turned toward the door where the committee of three, who have
-  been out all night penning a parchment, are soon to enter. The
-  door opens, the committee appears. The tall man with the sharp
-  features, the bold brow, and the sand-hued hair, holding the
-  parchment in his hand, is a Virginia farmer, Thomas Jefferson.
-  That stout-built man with stern look and flashing eye, is
-  a Boston man, one John Adams. And that calm-faced man with
-  hair drooping in thick curls to his shoulders, that is the
-  Philadelphia printer, Benjamin Franklin.
-
-  The three advance to the table.
-
-  The parchment is laid there.
-
-  Shall it be signed or not? A fierce debate ensues, Jefferson
-  speaks a few bold words. Adams pours out his whole soul. The
-  deep-toned voice of Lee is heard, swelling in syllables of
-  thunder like music. But still there is doubt, and one pale-faced
-  man whispers something about axes, scaffolds and a gibbet.
-
-  “Gibbet?” echoed a fierce, bold voice through the hall. “Gibbet?
-  They may stretch our necks on all the gibbets in the land; they
-  may turn every rock into a scaffold; every tree into a gallows;
-  every home into a grave, and yet the words of that parchment
-  there can never die! They may pour our blood on a thousand
-  scaffolds, and yet from every drop that dyes the axe a new
-  champion of freedom will spring into birth. The British King may
-  blot out the stars of God from the sky, but he cannot blot out
-  His words written on that parchment there. The works of God may
-  perish. His words never!
-
-  “The words of this declaration will live in the world long
-  after our bones are dust. To the mechanic in his workshop they
-  will speak hope; to the slave in the mines, freedom; but to the
-  coward-kings, these words will speak in tones of warning they
-  cannot choose but hear.
-
-  “They will be terrible as the flaming syllables on Belshazzar’s
-  wall! They will speak in language startling as the trump of the
-  Archangel, saying: ‘You have trampled on mankind long enough!
-  At last the voice of human woe has pierced the ear of God, and
-  called His judgment down! You have waded to thrones through
-  rivers of blood; you have trampled on the necks of millions of
-  fellow-beings. Now kings, now purple hangmen, for _you_ come the
-  days of axes and gibbets and scaffolds.’
-
-  “Such is the message of that declaration to mankind, to the
-  kings of earth. And shall we falter now? And shall we start back
-  appalled when our feet touch the very threshold of Freedom?
-
-  “Sign that parchment! Sign, if the next moment the gibbet’s rope
-  is about your neck! Sign, if the next minute this hall rings with
-  the clash of the falling axes! Sign by all your hopes in life or
-  death as men, as husbands, as fathers, brothers, sign your names
-  to the parchment, or be accursed forever!
-
-  “Sign, and not only for yourselves, but for all ages, for that
-  parchment will be the textbook of freedom—the Bible of the rights
-  of men forever. Nay, do not start and whisper with surprise! It
-  is truth, your own hearts witness it; God proclaims it. Look at
-  this strange history of a band of exiles and outcasts, suddenly
-  transformed into a people—a handful of men weak in arms—but
-  mighty in God-like faith; nay, look at your recent achievements,
-  your Bunker Hill, your Lexington, and then tell me, if you can,
-  that God has not given America to be free!
-
-  “It is not given to our poor human intellect to climb to the
-  skies, and to pierce the councils of the Almighty One. But
-  methinks I stand among the awful clouds which veil the brightness
-  of Jehovah’s throne.
-
-  “Methinks I see the recording angel come trembling up to that
-  throne to speak his dread message. ‘Father, the old world is
-  baptized in blood. Father, look with one glance of thine eternal
-  eye, and behold evermore that terrible sight, man trodden
-  beneath the oppressor’s feet, nations lost in blood, murder
-  and superstition walking hand in hand over the graves of their
-  victims, and not a single voice to whisper hope to man!’
-
-  “He stands there, the angel, trembling with the record of human
-  guilt. But hark! The voice of Jehovah speaks out from the awful
-  cloud: ‘Let there be light again! Tell my people, the poor and
-  oppressed, to go out from the old world, from oppression and
-  blood, and build my altar in the new!’
-
-  “As I live, my friends, I believe that to be His voice! Yes,
-  were my soul trembling on the verge of eternity, were this hand
-  freezing in death, were this voice choking in the last struggle,
-  I would still with the last impulse of that soul, with the last
-  wave of that hand, with the last gasp of that voice, implore you
-  to remember this truth—God has given America to be free! Yes,
-  as I sank into the gloomy shadows of the grave, with my last
-  faint whisper I would beg you to sign that parchment for the
-  sake of the millions whose very breath is now hushed in intense
-  expectation as they look up to you for the awful words, ‘You are
-  free!’”
-
-  The unknown speaker fell exhausted in his seat; but the work was
-  done.
-
-  A wild murmur runs through the hall. “Sign!” There is no doubt
-  now. Look how they rush forward! Stout-hearted John Hancock has
-  scarcely time to sign his bold name before the pen is grasped
-  by another—another and another. Look how the names blaze on the
-  parchment! Adams and Lee, Jefferson and Carroll, Franklin and
-  Sherman.
-
-  And now the parchment is signed.
-
-  Now, old man in the steeple, now bare your arm and let the bell
-  speak! Hark to the music of that bell! Is there not a poetry
-  in that sound, a poetry more sublime than that of Shakespeare
-  and Milton? Is there not a music in that sound that reminds you
-  of those sublime tones which broke from angel lips when the
-  news of the child Jesus burst on the hill-tops of Bethlehem?
-  For the tones of that bell now come pealing, pealing, pealing,
-  “Independence now and Independence forever.”
-
-
-CHILD LOST.
-
-It used to be a custom to have a man go through the town ringing a
-bell and “crying” any thing was lost. You should imitate the crier, at
-the same time swinging your hand as if ringing a bell. This selection
-requires a great variety in the manner, pitch of the voice and gestures
-of the reader.
-
-  “Nine,” by the Cathedral clock!
-    Chill the air with rising damps;
-  Drearily from block to block
-    In the gloom the bellman tramps—
-        “Child lost! Child lost!
-          Blue eyes, curly hair,
-        Pink dress—child lost!”
-
-  Something in the doleful strain
-    Makes the dullest listener start;
-  And a sympathetic pain
-    Shoot to every feeling heart.
-  Anxious fathers homeward haste,
-    Musing with paternal pride
-  Of their daughters, happy-faced,
-    Silken-haired and sparkling-eyed.
-  Many a tender mother sees
-    Younglings playing round her chair,
-  Thinking, “If ’twere one of these,
-    How could I the anguish bear?”
-
-  “Ten,” the old Cathedral sounds;
-    Dark and gloomy are the streets;
-  Still the bellman goes his rounds,
-    Still his doleful cry repeats—
-        “Oh, yes! oh, yes!
-          Child lost! Blue eyes,
-        Curly hair, pink dress—
-          Child lost! Child lost!”
-
-  “Can’t my little one be found?
-    Are there any tidings, friend?”
-  Cries the mother, “Is she drowned?
-    Is she stolen? God forfend!
-  Search the commons, search the parks,
-    Search the doorway and the halls,
-  Search the alleys, foul and dark,
-    Search the empty market stalls.
-  Here is gold and silver—see!
-    Take it all and welcome, man;
-  Only bring my child to me,
-    Let me have my child again.”
-
-  Hark! the old Cathedral bell
-    Peals “eleven,” and it sounds
-  To the mother like a knell;
-    Still the bellman goes his rounds.
-        “Child lost! Child lost!
-          Blue eyes, curly hair,
-        Pink dress—child lost!”
-
-  Half aroused from dreams of peace,
-    Many hear the lonesome call,
-  Then into their beds of ease
-    Into deeper slumber fall;
-  But the anxious mother cries,
-    “Oh, my darling’s curly hair!
-  Oh, her sweetly-smiling eyes!
-    Have you sought her everywhere?
-  Long and agonizing dread
-    Chills my heart and drives me wild—
-  What if Minnie should be dead?
-    God, in mercy, find my child!”
-
-  “Twelve” by the Cathedral clock;
-    Dimly shine the midnight lamps;
-  Drearily from block to block,
-    In the rain the bellman tramps.
-        “Child lost! Child lost!
-          Blue eyes, curly hair,
-        Pink dress—child lost!”
-
-
-THE CAPTAIN AND THE FIREMAN.
-
-  Spin us a yarn of the sea, old man,
-    About some captain bold,
-  Who steered his ship and made her slip
-    When the sea and the thunder rolled;
-  Some tale that will stir the blood, you know,
-    Like the pirate tales of old.
-
-  “It was the old ‘tramp’ Malabar,
-    With coal for Singapore;
-  ‘The captain stood upon the bridge’
-    And loud the wind did roar,
-  And far upon the starboard bow
-    We saw the stormy shore.
-
-  “The night came down as black as pitch;
-    More loud the wind did blow;
-  The waves made wreck around the deck
-    And washed us to and fro;
-  But half the crew, though wild it blew,
-    Were sleeping down below.
-
-  “‘The captain stood upon the bridge,’
-    And I was at the wheel;
-  The waves were piling all around,
-    Which made the old ‘tank’ reel,
-  When—smash! there came an awful crash
-    That shook the ribs of steel.
-
-  “‘We’ve struck a wreck!’ ‘Stand by the pumps!’
-    Her plates were gaping wide;
-  And out her blood streamed in the flood,
-    The wreck had bruised her side;
-  Her coal poured out—her inky blood—
-    And stained the foaming tide.
-
-  “‘The captain stood upon the bridge,’
-    The firemen down below;
-  He saw and knew what he could do,
-    While they but heard the blow.
-  The bravest man is he that stands
-    Against an unseen foe.
-
-  “‘All hands on deck!’ was now the cry,
-    ‘For we are sinking fast;
-  Our boats were stove by that last wave—
-    This night will be our last;
-  There’s not a plank on board the tank,
-    She’s steel, from keel to mast.’
-
-  “‘The captain stood upon the bridge;’
-    All hands were now on deck;
-  The waves went down, the sun came up,
-    We saw the drifting wreck,
-  And there, upon the starboard bow,
-    The land—a distant speck.
-
-  “‘Who’ll go below and fire her up?”
-    The captain loud did roar.
-  ‘We’re dumping coal with every roll,
-    But, see! the storm is o’er;
-  And I will stand upon the bridge,
-    And guide her to the shore.’
-
-  “‘I’ll go for one,’ said old ‘Tramp Jim,’
-    ‘And shovel in the coal.
-  I’ll go,’ said Jim, all black and grim,
-    ‘Though death be down that hole;
-  I’ve heard a man who dies for men
-    Is sure to save his soul.
-
-  “‘So turn the steam into that mill,
-    And let it spin around,
-  And I will feed the old thing coal
-    Till you be hard aground;
-  I’ll go alone, there’s none to moan,
-    If old ‘Tramp Jim’ be drowned!’
-
-  “He went below and fired her up,
-    The steam began to roar;
-  ‘The captain stood upon the bridge’
-    And steered her for the shore;
-  The ship was sinking by the bow,
-    Her race was nearly o’er.
-
-  “The water rose around poor Jim,
-    Down in the fire-room there.
-  ‘I’ll shovel in the coal,’ he gasped,
-    ‘’Till the water wets me hair—
-  The Lord must take me as I am,
-    I have no time for prayer.’
-
-  “‘The captain stood upon the bridge.’
-    (Oh, hang that phrase, I say!
-  ‘The firemen bravely stood below,’
-    Suits more this time of day,)
-  Old Jim kept shovelling in the coal,
-    Though it was time to pray.
-
-  “And every soul was saved, my lads,
-    Why do I speak it low?
-  The Lord took Jim, all black and grim,
-    And made him white as snow.
-  Some say, ‘the captain on the bridge,’
-    But I say, ‘Jim below!’”
-
-                        W. B. COLLISON.
-
-
-THE FACE ON THE FLOOR.
-
-This is one of many recitations in this volume that have proved their
-popularity by actual test. “The Face on the Floor,” when well recited,
-holds the hearers spell-bound.
-
-  ’Twas a balmy summer evening, and a goodly crowd was there
-  That well nigh filled Joe’s barroom on the corner of the square,
-  And as songs and witty stories came through the open door;
-  A vagabond crept slowly in and posed upon the floor.
-
-  “Where did it come from?” some one said;
-  “The wind has blown it in.”
-  “What does it want?” another cried, “Some whiskey, beer or gin?”
-  “Here, Toby, seek him, if your stomach’s equal to the work,
-  I wouldn’t touch him with a fork, he’s as filthy as a Turk.”
-
-  This badinage the poor wretch took with stoical good grace,
-  In fact, he smiled as if he thought he’d struck the proper place;
-  “Come, boys, I know there’s kindly hearts among so good a crowd;
-  To be in such good company would make a deacon proud.
-
-  “Give me a drink! That’s what I want, I’m out of funds, you know,
-  When I had cash to treat the gang, this hand was never slow;
-  What? You laugh as if you thought this pocket never held a sou;
-  I once was fixed as well, my boys, as any one of you.
-
-  “There, thanks, that braced me nicely, God bless you, one and all,
-  Next time I pass this good saloon I’ll make another call;
-  Give you a song? No, I can’t do that, my singing days are past,
-  My voice is cracked, my throat’s worn out and my lungs are going fast.
-
-  “Say, give me another whiskey and I’ll tell you what I’ll do—
-  I’ll tell you a funny story, and a fact, I promise, too;
-  That I was ever a decent man, not one of you would think,
-  But I was, some four or five years back, say, give us another drink.
-
-  “Fill her up, Joe, I want to put some life into my frame—
-  Such little drinks to a bum like me are miserably tame;
-  Five fingers—there, that’s the scheme—and corking whiskey, too,
-  Well, boys, here’s luck, and landlord, my best regards to you.
-
-  “You’ve treated me pretty kindly and I’d like to tell you how
-  I came to be the dirty sot you see before you now;
-  As I told you, once I was a man, with muscle, frame and health,
-  And, but for a blunder, ought to have made considerable wealth.
-
-  “I was a painter—not one that daubed on bricks and wood.
-  But an artist, and, for my age, was rated pretty good;
-  I worked hard at my canvas, and was bidding fair to rise;
-  For gradually I saw the star of fame before my eyes.
-
-  “I made a picture, perhaps you’ve seen, ’tis called the Chase of Fame;
-  It brought me fifteen hundred pounds, and added to my name;
-  And then, I met a woman—now comes the funny part—
-  With eyes that petrified my brain, and sunk into my heart.
-
-  “Why don’t you laugh? ’Tis funny that the vagabond you see
-  Could ever love a woman and expect her love for me;
-  But ’twas so, and for a month or two her smile was freely given;
-  And when her loving lips touched mine, it carried me to heaven.
-
-  “Boys, did you ever see a girl for whom your soul you’d give,
-  With a form like the Milo Venus, too beautiful to live,
-  With eyes that would beat the Kohinoor and a wealth of chestnut hair?
-  If so, ’twas she, for there never was another half so fair.
-
-  “I was working on a portrait one afternoon in May,
-  Of a fair-haired boy, a friend of mine who lived across the way,
-  And Madeline admired it, and much to my surprise,
-  Said that she’d like to know the man that had such dreamy eyes.
-
-  “It didn’t take long to know him, and before the month had flown;
-  My friend had stole my darling, and I was left alone;
-  And ere a year of misery had passed above my head,
-  The jewel I had treasured so had tarnished and was dead.
-
-  “That’s why I took to drink, boys. Why, I never saw you smile,
-  I thought you’d be amused and laughing all the while;
-  Why, what’s the matter, friend? There’s a teardrop in your eye,
-  Come, laugh like me, ’tis only babes and women that should cry.
-
-  “Say, boys, if you’ll give me another whiskey, I’ll be glad,
-  And I’ll draw right here, the picture of the face that drove me mad;
-  Give me that piece of chalk with which you mark the base-ball score—
-  And you shall see the lovely Madeline upon the bar-room floor.”
-
-  Another drink, and with chalk in hand, the vagabond began
-  To sketch a face that well might buy the soul of any man,
-  Then, as he placed another lock upon the shapely head,
-  With a fearful shriek he leaped and fell across the picture—_dead_.
-
-                                                       H. ANTOINE D’ARCY.
-
-
-THE ENGINEER’S STORY.
-
-  Han’som, stranger? Yes, she’s purty an’ ez peart ez she can be.
-  Clever? Wy! she ain’t no chicken, but she’s good enough fur me.
-  What’s her name? ’Tis kind o’ common, yit I ain’t ashamed to tell,
-  She’s ole “Fiddler” Filkin’s daughter, an’ her dad he calls her “Nell.”
-
-  I wuz drivin’ on the “Central” jist about a year ago
-  On the run from Winnemucca up to Reno in Washoe.
-  There’s no end o’ skeery places. ’Taint a road fur one who dreams,
-  With its curves an’ awful tres’les over rocks an’ mountain streams.
-
-  ’Twuz an afternoon in August, we hed got behind an hour
-  An’ wuz tearin’ up the mountain like a summer thunder-shower,
-  Round the bends an’ by the hedges ’bout ez fast ez we could go,
-  With the mountain-peaks above us an’ the river down below.
-
-  Ez we come nigh to a tres’le ’cros’t a holler, deep an’ wild,
-  Suddenly I saw a baby, ’twuz the stationkeeper’s child,
-  Toddlin’ right along the timbers with a bold and fearless tread
-  Right afore the locomotive, not a hundred rods ahead.
-
-  I jist jumped an’ grabbed the throttle an’ I fa’rly held my breath,
-  Fur I felt I couldn’t stop her till the child wuz crushed to death,
-  When a woman sprang afore me like a sudden streak o’ light,
-  Caught the boy and twixt the timbers in a second sank from sight.
-
-  I jist whis’l’d all the brakes on. An’ we worked with might an’ main
-  Till the fire flew from the drivers, but we couldn’t stop the train,
-  An’ it rumbled on above her. How she screamed ez we rolled by
-  An’ the river roared below us—I shall hear her till I die!
-
-  Then we stop’t; the sun was shinin’; I ran back along the ridge
-  An’ I found her—dead? No! livin’! She wuz hangin’ to the bridge
-  Wher she drop’t down thro’ the cross-ties with one arm about a sill
-  An’ the other round the baby, who wuz yellin’ fur to kill!
-
-  So we saved ’em. She wuz gritty. She’s ez peart ez she kin be—
-  Now we’re married; she’s no chicken, but she’s good enough fur me,
-  An’ ef eny ask who owns her, wy! I ain’t ashamed to tell—
-  She’s my wife. Ther’ ain’t none better than ole Filkin’s daughter “Nell.”
-
-                                                          EUGENE J. HALL.
-
-
-JIM.
-
-  He was jes’ a plain, ever’-day, all-round kind of a jour.,
-        Consumpted lookin’—but la!
-  The jokeyest, wittyest, story-tellin’, song-singin’, laughin’est,
-      jolliest
-    Feller you ever saw!
-  Worked at jes’ coarse work, but you kin bet he was fine enough in his
-      talk,
-        And his feelin’s, too!
-  Lordy! ef he was on’y back on his bench again to-day, a carryin’ on
-        Like he ust to do!
-
-  Any shop-mate’ll tell you they never was on top o’dirt
-        A better feller’n Jim!
-  You want a favor, and couldn’t git it anywheres else—
-        You could git it o’ him!
-  Most free-heartedest man thataway in the world, I guess!
-        Give ever’ nickel he’s worth—
-  And, ef you’d a-wanted it, and named it to him, and it was his,
-        He’d a-give you the earth!
-
-  Allus a-reachin’ out, Jim was and a-helpin’ some
-        Poor feller onto his feet—
-  He’d a-never a-keered how hungry he was his se’f.
-        So’s the feller got somepin to eat!
-  Didn’t make no difference at all to him how he was dressed,
-        He used to say to me:
-  “You tog out a tramp purty comfortable in winter-time,
-        And he’ll git along!” says he.
-
-  Jim didn’t have, nor never could git ahead, so overly much
-        O’ this world’s goods at a time—
-  ’Fore now I’ve saw him, more’n onc’t lend a dollar and ha’f to
-        Turn ’round and borry a dime!
-  Mebby laugh and joke about hisse’f fer awhile—then jerk his coat,
-        And kind o’ square his chin,
-  Tie his apern, and squat hisse’f on his old shoe bench
-        And go peggin’ agin.
-
-  Patientest feller, too, I reckon, at every jes’ naturally
-        Coughed hisse’f to death!
-  Long enough after his voice was lost he’d laugh and say,
-        He could git ever’thing but his breath—
-  “You fellers,” he’d sort o’ twinkle his eyes and say,
-        “Is pilin’ onto me
-  A mighty big debt for that air little weak-chested ghost o’ mine to pack
-        Through all eternity!”
-
-  Now there was a man ’at jes’ ’peared like to me,
-        ’At ortn’t a-never died!
-  “But death hain’t a-showin’ no favors,” the old boss said,
-        “On’y to Jim,” and cried:
-  And Wigger, ’at put up the best sewed work in the shop,
-        Er the whole blamed neighborhood,
-  He says, “When God made Jim, I bet you He didn’t do anything else
-      that day,
-        But jes’ set around and feel good.”
-
-                                                    JAMES WHITCOMB RILEY.
-
-
-QUEEN VASHTI’S LAMENT.
-
-  Is this all the love that he bore me, my husband, to publish my face
-  To the nobles of Media and Persia, whose hearts are besotted and base?
-  Did he think me a slave, me, Vashti, the Beautiful, me, Queen of queens,
-  To summon me thus for a show to the midst of his bacchanal scenes?
-
-  I stand like an image of brass, I, Vashti, in sight of such men!
-  No, sooner, a thousand times sooner, the mouth of the lioness’ den,
-  When she’s fiercest with hunger and love for the hungry young lions that
-      tear
-  Her teats with sharp, innocent teeth, I would enter, far rather than
-      here!
-
-  Did he love me, or is he, too, though the King, but a brute like the
-      rest!
-  I have seen him in wine, and I fancied ’twas then that he loved me the
-      best;
-  Though I think I would rather have one sweet, passionate word from the
-      heart
-  Than a year of caresses that may with the wine that creates them depart.
-
-  But ever before, in his wine, toward me he showed honor and grace;
-  He was King, I was Queen, and those nobles, he made them remember their
-      place.
-  But now all is changed; I am vile, they are honored, they push me aside,
-  A butt for Memucan and Shethar and Meres, gone mad in their pride!
-
-  Shall I faint, shall I pine, shall I sicken and die for the loss of his
-      love?
-  Not I; I am queen of myself, though the stars fall from heaven above.
-  The stars! ha! the torment is there, for my light is put out by a star,
-  That has dazzled the eyes of the King and his court and his captains
-      of war.
-
-  He was lonely, they say, and he looked, as he sat like a ghost at his
-      wine,
-  On the couch by his side, where, of yore his Beautiful used to recline.
-  But the King is a slave to his pride, to his oath and the laws of the
-      Medes,
-  And he cannot call Vashti again though his poor heart is wounded and
-      bleeds.
-
-  So they sought through the land for a wife, while the King thought of
-      me all the while—
-  I can see him, this moment, with eyes that are lost for the loss of
-      a smile,
-  Gazing dreamily on while each maiden is temptingly passed in review,
-  While the love in his heart is awake with the thought of a face that
-      he knew!
-
-  Then she came when his heart was grown weary with loving the dream of
-      the past!
-  She is fair—I could curse her for that, if I thought that this passion
-      would last!
-  But e’en if it last, all the love is for me, and, through good and
-      through ill,
-  The King shall remember his Vashti, shall think of his Beautiful still.
-
-  Oh! the day is a weary burden, the night is a restless strife,—
-  I am sick to the very heart of my soul, with this life—this death
-      in life!
-  Oh! that the glorious, changeless sun would draw me up in his might,
-  And quench my dreariness in the flood of his everlasting light!
-
-  What is it? Oft as I lie awake and my pillow is wet with tears,
-  There comes—it came to me just now—a flash, then disappears;
-  A flash of thought that makes this life a re-enacted scene,
-  That makes me dream what was, will be, and what is now, has been.
-
-  And I, when age on age has rolled, shall sit on the royal throne,
-  And the King shall love his Vashti, his Beautiful, his own,
-  And for the joy of what has been and what again will be,
-  I’ll try to bear this awful weight of lonely misery!
-
-  The star! Queen Esther! blazing light that burns into my soul!
-  The star! the star! Oh! flickering light of life beyond control!
-  O King! remember Vashti, thy Beautiful, thy own,
-  Who loved thee and shall love thee still, when Esther’s light has flown!
-
-                                                              JOHN READE.
-
-
-THE SKELETON’S STORY.
-
-It will require all the dramatic power of which you are capable to recite
-this selection and do it full justice. Be wide-awake, quick in tone and
-gesture, shouting at one time, whispering at another, speaking with your
-whole body. The emotions of fear and horror are especially prominent.
-
-  It is two miles ahead to the foot-hills—two miles of parched turf
-  and rocky space. To the right—the left—behind, is the rolling
-  prairie. This broad valley strikes the Sierra Nevadas and stops
-  as if a wall had been built across it.
-
-  Ride closer! What is this on the grass? A skull here—a rib
-  there—bones scattered about as the wild beasts left them after
-  the horrible feast. The clean-picked skull grins and stares—every
-  bone and scattered lock of hair has its story of a tragedy. And
-  what besides these relics? More bones—not scattered, but lying in
-  heaps—a vertebra with ribs attached—a fleshless skull bleaching
-  under the summer sun. Wolves! Yes. Count the heaps of bones and
-  you will find nearly a score. Open boats are picked up at sea
-  with neither life nor sign to betray their secret. Skeletons are
-  found upon the prairie, but they tell a plain story to those who
-  halt beside them. Let us listen:
-
-  Away off to the right you can see treetops. Away off to the left
-  you can see the same sight. The skeleton is in line between the
-  two points. He left one grove to ride to the other. To ride!
-  Certainly; a mile away is the skeleton of a horse or mule. The
-  beast fell and was left there.
-
-  It is months since that ride, and the trail has been obliterated.
-  Were it otherwise, and you took it up from the spot where the
-  skeleton horse now lies, you would find the last three or four
-  miles made at a tremendous pace.
-
-  “Step! step! step!”
-
-  What is it? Darkness has gathered over mountain and prairie
-  as the hunter jogs along over the broken ground. Overhead the
-  countless stars look down upon him—around him is the pall of
-  night. There was a patter of footsteps on the dry grass. He halts
-  and peers around him, but the darkness is too deep for him to
-  discover any cause for alarm.
-
-  “Patter! patter! patter!”
-
-  There it is again! It is not fifty yards from where he last
-  halted. The steps are too light for those of an Indian.
-
-  “Wolves!” whispers the hunter, as a howl suddenly breaks upon his
-  ear.
-
-  Wolves! The gaunt, grizzly wolves of the foot-hills—thin and poor
-  and hungry and savage—the legs tireless—the mouth full of teeth
-  which can crack the shoulder-bone of a buffalo. He can see their
-  dark forms flitting from point to point—the patter of their feet
-  upon the parched grass proves that he is surrounded.
-
-  Now the race begins. A line of wolves spread out to the right and
-  left, and gallops after—tongues out—eyes flashing—great flakes of
-  foam flying back to blotch stone and grass and leave a trail to
-  be followed by the cowardly coyotes.
-
-  Men ride thus only when life is the stake. A horse puts forth
-  such speed only when terror follows close behind and causes every
-  nerve to tighten like a wire drawn until the scratch of a finger
-  makes it chord with a wail of despair. The line is there—aye! it
-  is gaining! Inch by inch it creeps up, and the red eye takes on a
-  more savage gleam as the hunter cries out to his horse and opens
-  fire from his revolvers. A wolf falls on the right—a second on
-  the left. Does the wind cease blowing because it meets a forest!
-  The fall of one man in a mad mob increases the determination of
-  the rest.
-
-  With a cry so full of the despair that wells up from the heart of
-  the strong man when he gives up his struggle for life that the
-  hunter almost believes a companion rides beside him, the horse
-  staggers—recovers—plunges forward—falls to the earth. It was a
-  glorious struggle; but he has lost.
-
-  There is a confused heap of snarling, fighting, maddened beasts,
-  and the line rushes forward again. Saddle, bridle, and blanket
-  are in shreds—the horse a skeleton. And now the chase is after
-  the hunter. He has half a mile the start, and as he runs the
-  veins stand out, the muscles tighten, and he wonders at his own
-  speed. Behind him are the gaunt bodies and the tireless legs.
-  Closer, closer, and now he is going to face fate like a brave man
-  should. He has halted. In an instant a circle is formed about
-  him—a circle of red eyes, foaming mouths, and yellow fangs which
-  are to meet in his flesh.
-
-  There is an interval—a breathing spell. He looks up at the
-  stars—out upon the night. It is his last hour, but there is no
-  quaking—no crying out to the night to send him aid. As the wolves
-  rest, a flash blinds their eyes—a second—a third—and a fourth,
-  and they give before the man they had looked upon as their
-  certain prey. But it is only for a moment. He sees them gathering
-  for the rush, and firing his remaining bullets among them he
-  seizes his long rifle by the barrel and braces to meet the shock.
-  Even a savage would have admired the heroic fight he made for
-  life. He sounds the war-cry and whirls his weapon around him, and
-  wolf after wolf falls disabled. He feels a strange exultation
-  over the desperate combat, and as the pack give way before his
-  mighty blows a gleam of hope springs up in his heart.
-
-  It is only for a moment; then the circle narrows. Each disabled
-  beast is replaced by three which hunger for blood. There is a
-  rush—a swirl—and the cry of despair is drowned in the chorus of
-  snarls as the pack fight over the feast.
-
-  The gray of morning—the sunlight of noonday—the stars of evening
-  will look down upon grinning skull and whitening bones, and the
-  wolf will return to crunch them again. Men will not bury them.
-  They will look down upon them as we look, and ride away with
-  a feeling that ’tis but another dark secret of the wonderful
-  prairie.
-
-
-THE LADY AND THE EARL.
-
-The figures in the text of this piece indicate the gestures to be made,
-as shown in Typical Gestures, at the beginning of Part II. of this volume.
-
-  I saw her in the festive halls, in scenes of pride and[16] glee,
-  ’Mongst many beautiful and fair, but none so fair as she;
-  Hers was the most attractive[2] form that mingled in the scene,
-  And all who saw her said she moved a goddess and a queen.
-
-  The diamond blazed in her dark hair and bound her polished brow,
-  And precious gems were clasped around her swan-like neck of snow;
-  And Indian looms had lent their stores to form her sumptuous dress,
-  And art with nature joined to grace her passing loveliness.
-
-  I looked upon her and I said, who[6] is so blessed as she?
-  A creature she all light and life, all beauty and all glee;
-  Sure,[5] sweet content blooms on her cheek and on her brow a pearl,
-  And she was[1] young and innocent, the Lady of the Earl.
-
-  But as I looked more carefully, I saw that radiant smile
-  Was but assumed in mockery, the unthinking to beguile.
-  Thus have I seen a summer rose in all its beauty bloom,
-  When it has[24] shed its sweetness o’er a cold and lonely tomb.
-
-  She struck the harp, and when they praised her skill she turned aside,
-  A rebel tear of conscious woe[20] and memory to hide;
-  But when she raised her head she looked so[13] lovely, so serene,
-  To gaze in her proud eyes you’d think a tear had seldom been.
-
-  The humblest maid in rural life can[5] boast a happier fate
-  Than she, the beautiful and good, in all her rank and state;
-  For she was sacrificed,[20] alas! to cold and selfish pride
-  When her young lips had breathed the vow to be a soldier’s bride.
-
-  Of late I viewed her move along,[2] the idol of the crowd;
-  A few short months elapsed, and then,[12] I kissed her in her shroud!
-  And o’er her splendid monument I saw the hatchment wave,
-  But there was one proud heart[5] which did more honor to her grave.
-
-  A warrior dropped his plumed head upon her place of rest,
-  And with his feverish lips the name of Ephilinda pressed;
-  Then breathed a prayer, and checked the groan of parting pain,
-  And as he left the tomb he said,[11] “Yet we shall meet again.”
-
-
-MY VESPER SONG.
-
-  Filled with weariness and pain,
-    Scarcely strong enough to pray,
-  In this twilight hour I sit,
-    Sit and sing my doubts away.
-  O’er my broken purposes,
-    Ere the coming shadows roll,
-  Let me build a bridge of song:
-    “Jesus, lover of my soul.”
-
-  “Let me to Thy bosom fly!”
-    How the words my thoughts repeat:
-  To Thy bosom, Lord, I come,
-    Though unfit to kiss Thy feet.
-  Once I gathered sheaves for Thee,
-    Dreaming I could hold them fast:
-  Now I can but faintly sing,
-    “Oh! receive my soul at last.”
-
-  I am weary of my fears,
-    Like a child when night comes on:
-  In the shadow, Lord, I sing,
-    “Leave, oh, leave me not alone.”
-  Through the tears I still must shed,
-    Through the evil yet to be,
-  Though I falter while I sing,
-    “Still support and comfort me.”
-
-  “All my trust on Thee is stayed;”
-    Does the rhythm of the song
-  Softly falling on my heart,
-    Make its pulses firm and strong?
-  Or is this Thy perfect peace,
-    Now descending while I sing,
-  That my soul may sleep to-night
-    “’Neath the shadow of Thy wing?
-
-  “Thou of life the fountain art;”
-    If I slumber on Thy breast,
-  If I sing myself to sleep,
-    Sleep and death alike are rest.
-  Not impatiently I sing,
-    Though I lift my hands and cry
-  “Jesus, lover of my soul,
-    Let me to Thy bosom fly.”
-
-
-THE VOLUNTEER ORGANIST.
-
-With distinct enunciation give the dialect in this piece, and assume the
-character of a countryman who is telling this story. Guard against being
-vulgar or too commonplace.
-
-  The gret big church wuz crowded full uv broadcloth an’ of silk,
-  An’ satins rich as cream thet grows on our ol’ brindle’s milk;
-  Shined boots, biled shirts, stiff dickeys, an’ stove-pipe hats were
-      there,
-  An’ dudes ’ith trouserloons so tight they couldn’t kneel down in prayer.
-
-  The elder in his poolpit high said, as he slowly riz:
-  “Our organist is kep’ to hum, laid up ’ith roomatiz,
-  An’ as we hev no substitoot, as brother Moore ain’t here,
-  Will some ’un in the congregation be so kind ’s to volunteer?”
-
-  An’ then a red-nosed, blear-eyed tramp, of low-toned, rowdy style,
-  Give an interductory hiccup, an’ then swaggered up the aisle.
-  Then thro’ that holy atmosphere there crep’ a sense er sin,
-  An’ thro’ thet air of sanctity the odor uv ol’ gin.
-
-  Then Deacon Purington he yelled, his teeth all set on edge:
-  “This man perfanes the house er God! W’y, this is sacrilege!”
-  The tramp didn’ hear a word he said, but slouched ’ith stumblin’ feet,
-  An’ stalked an’ swaggered up the steps, an’ gained the organ seat.
-
-  He then went pawin’ thro’ the keys, an’ soon there rose a strain
-  Thet seemed to jest bulge out the heart, an’ ’lectrify the brain;
-  An’ then he slapped down on the thing ’ith hands an’ head an’ knees,
-  He slam-dashed his hull body down kerflop upon the keys.
-
-  The organ roared, the music flood went sweepin’ high an’ dry,
-  It swelled into the rafters, an’ bulged out into the sky;
-  The ol’ church shook and staggered, an’ seemed to reel an’ sway,
-  An’ the elder shouted “Glory!” an’ I yelled out “Hooray!”
-
-  An’ then he tried a tender strain thet melted in our ears,
-  Thet brought up blessed memories and drenched ’em down ’ith tears;
-  An’ we dreamed uv ol’ time kitchens, ’ith Tabby on the mat,
-  Tu home an’ luv an’ baby days, an’ mother, an’ all that!
-
-  An’ then he struck a streak uv hope—a song from souls forgiven—
-  Thet burst from prison bars uv sin, an’ stormed the gates uv heaven;
-  The morning stars together sung—no soul wuz left alone—
-  We felt the universe wuz safe, an’ God was on His throne!
-
-  An’ then a wail of deep despair an’ darkness come again,
-  An’ long, black crape hung on the doors uv all the homes uv men;
-  No luv, no light, no joy, no hope, no songs of glad delight,
-  An’ then—the tramp, he swaggered down an’ reeled out into the night!
-
-  But we knew he’d tol’ his story, tho’ he never spoke a word,
-  An’ it was the saddest story thet our ears had ever heard;
-  He hed tol’ his own life history, an’ no eye was dry thet day,
-  W’en the elder rose an’ simply said: “My brethren, let us pray.”
-
-                                                              S. W. FOSS.
-
-
-COMIN’ THRO’ THE RYE.
-
-  If a body meet a body
-    Comin’ thro’ the rye,
-  If a body kiss a body,
-    Need a body cry?
-  Ev’ry lassie has her laddie,
-    Nane they say ha’e I,
-  Yet all the lads they smile at me
-    When comin’ thro’ the rye.
-
-  If a body meet a body,
-    Comin’ frae the town;
-  If a body meet a body,
-    Need a body frown?
-  Ev’ry lassie has her laddie,
-    Nane they say ha’e I,
-  Yet all the lads they smile at me
-    When comin’ thro’ the rye.
-
-  Amang the train there is a swain,
-    I dearly love mysel’,
-  But what’s his name, or where’s his hame
-    I dinna choose to tell.
-  Ev’ry lassie has her laddie,
-    Nane they say ha’e I,
-  Yet all the lads they smile at me
-    When comin’ thro’ the rye.
-
-                              ROBERT BURNS.
-
-
-JOAN OF ARC.
-
-  Twas in the days of chivalry, when steel-clad warriors swore
-  To bear their ladies’ favors amidst the battle’s roar,
-  To right the wrongs of injured maids, the lance in rest to lay,
-  And nobly fall in honor’s cause or triumph in the fray.
-  But not to-day a lance is couched, no waving plume is there,
-  No war-horse sniffs the trumpet’s breath, no banner woos the air;
-  No crowding chiefs the tilt-yard throng to quench the thirst of fame,
-  Though chiefs are met, intent to leave their names eternal shame!
-
-  A still and solemn silence reigned, deep darkness veiled the skies,
-  And Nature, shuddering, shook to see the impious sacrifice!
-  Full in the centre of the lists a dreadful pile is reared,
-  Awaiting one whose noble soul death’s terrors never feared,
-  Gaul’s young Minerva, who had led her countrymen to fame,
-  And foremost in the battle rent that conquered country’s chain;
-  Who, when the sun of fame had set that on its armies shone,
-  Its broken ranks in order set, inspired and led them on;
-  The low-born maid that, clad in steel, restored a fallen king,
-  Who taught the vanquished o’er their foes triumphal songs to sing;
-  Whose banner in the battle’s front the badge of conquest streamed,
-  And built again a tottering throne, a forfeit crown redeemed!
-
-  But when her glorious deeds were done, Fate sent a darker day,
-  The blaze of brightness faded in murkiest clouds away;
-  And France stood looking idly on, nor dared to strike a blow,
-  Her guardian angel’s life to save, but gave it to the foe!
-  Ungrateful France her saviour’s fate beheld with careless smile,
-  While Superstition, hiding hate and vengeance, fired the pile!
-
-  What holy horror of her crime is looked by yonder priest,
-  Like that grim bird that hovers nigh, and scents the funeral feast!
-  Is this the maiden’s triumph, won in battle’s dreadful scenes,
-  Whose banner so triumphant flew before thy walls, Orleans!
-
-  Hark to the trumpet’s solemn sound! Low roll the muffled drums
-  As slowly through the silent throng the sad procession comes;
-  Wrapp’d in the garments of the grave, the corselet laid aside,
-  Still with Bellona’s step she treads, through all her woes descried.
-
-  As beautiful her features now as when inspired she spoke
-  Those oracles that slumbering France to life and action woke:
-  The majesty yet haunts her looks, that late so dreadful beamed
-  In war, when o’er her burnished arms the long rich tresses streamed,
-  She gazes on the ghastly pile, tho’ pale as marble stone;
-  ’Twas not with fear, for from her lips escaped no sigh nor groan;
-  But she, her country’s saviour, thus to render up her breath—
-  That was a pang far worse than all the bitterness of death!
-
-  ’Twas done; the blazing pile is fired, the flames have wrapped her round;
-  The owlet shrieked, and circling flew with dull, foreboding sound;
-  Fate shuddered at the ghastly sight, and smiled a ghostly smile;
-  And fame and honor spread their wings above the funeral pile.
-  But, phœnix-like, her spirit rose from out the burning flame,
-  More beautiful and bright by far than in her days of fame.
-  Peace to her spirit! Let us give her memory to renown,
-  Nor on her faults or failings dwell, but draw the curtain down.
-
-                                                       CLARE S. MCKINLEY.
-
-
-THE VULTURE OF THE ALPS.
-
-This selection is narrative, yet it is narrative intensely dramatic.
-Imagine the feelings of a parent who sees the “youngest of his babes”
-torn away from his embrace by a vulture and carried away in mid-air. Let
-your tones, attitudes and gestures all be strong. Picture the flight of a
-mountain eagle with uplifted arm, and depict with an expression of agony
-the grief of the parent.
-
-  I’ve been among the mighty Alps, and wandered through their vales,
-  And heard the honest mountaineers relate their dismal tales,
-  As round the cottage blazing hearth, when their daily work was o’er,
-  They spake of those who disappeared, and ne’er were heard of more.
-
-  And there I from a shepherd heard a narrative of fear,
-  A tale to rend a mortal heart, which mothers might not hear:
-  The tears were standing in his eyes, his voice was tremulous.
-  But, wiping all those tears away he told his story thus:—
-
-  “It is among these barren cliffs the ravenous vulture dwells,
-  Who never fattens on the prey which from afar he smells;
-  But, patient, watching hour on hour upon a lofty rock,
-  He singles out some truant lamb, a victim, from the flock.
-
-  “One cloudless Sabbath summer morn, the sun was rising high,
-  When from my children on the green, I heard a fearful cry,
-  As if some awful deed were done, a shriek of grief and pain,
-  A cry, I humbly trust in God, I ne’er may hear again.
-
-  “I hurried out to learn the cause; but, overwhelmed with fright,
-  The children never ceased to shriek, and from my frenzied sight
-  I missed the youngest of my babes, the darling of my care,
-  But something caught my searching eyes, slow sailing through the air.
-
-  “Oh! what an awful spectacle to meet a father’s eye!
-  His infant made a vulture’s prey, with terror to descry!
-  And know, with agonizing breast, and with a maniac rave,
-  That earthly power could not avail, that innocent to save!
-
-  “My infant stretched his little hands imploringly to me,
-  And struggled with the ravenous bird, all vainly to get free,
-  At intervals, I heard his cries, as loud he shrieked and screamed:
-  Until, upon the azure sky, a lessening spot he seemed.
-
-  “The vulture flapped his sail-like wings, though heavily he flew,
-  A mote upon the sun’s broad face he seemed unto my view:
-  But once I thought I saw him stoop, as if he would alight;
-  ’Twas only a delusive thought, for all had vanished quite.
-
-  “All search was vain, and years had passed; that child was ne’er forgot,
-  When once a daring hunter climbed unto a lofty spot,
-  From whence, upon a rugged crag the chamois never reached,
-  He saw an infant’s fleshless bones the elements had bleached!
-
-  “I clambered up that rugged cliff; I could not stay away;
-  I knew they were my infant’s bones thus hastening to decay;
-  A tattered garment yet remained, though torn to many a shred,
-  The crimson cap he wore that morn was still upon the head.”
-
-  That dreary spot is pointed out to travelers passing by,
-  Who often stand, and, musing, gaze, nor go without a sigh.
-  And as I journeyed, the next morn, along my sunny way,
-  The precipice was shown to me, whereon the infant lay.
-
-
-THE OLD-FASHIONED GIRL.
-
-  There’s an old-fashioned girl in an old-fashioned street,
-  Dressed in old-fashioned clothes from her head to her feet,
-  And she spends all her time in the old-fashioned way,
-  Of caring for poor people’s children all day.
-
-  She never has been to cotillion or ball,
-  And she knows not the styles of the spring or the fall.
-  Two hundred a year will suffice for her needs,
-  And an old-fashioned Bible is all that she reads.
-
-  And she has an old-fashioned heart that is true
-  To a fellow who died in an old coat of blue,
-  With its buttons all brass—who is waiting above
-  For the woman who loved him with old-fashioned love.
-
-                                                TOM HALL.
-
-
-NATHAN HALE, THE MARTYR SPY.
-
-After the disastrous defeat of the Americans on Long Island, Washington
-desired information respecting the British position and movements.
-Captain Nathan Hale, but twenty-one years old, volunteered to procure the
-information. He was taken and hanged as a spy the day after his capture,
-September 22, 1776. His patriotic devotion, and the brutal treatment he
-received at the hands of his captors, have suggested the following. Put
-your whole soul into this piece, especially Hale’s last speech. It rises
-to the sublime.
-
-      ’Twas in the year that gave the nation birth;
-  A time when men esteemed the common good
-  As greater weal than private gain. A battle fierce
-  And obstinate had laid a thousand patriots low,
-  And filled the people’s hearts with gloom.
-
-      Pursued like hunted deer,
-  The crippled army fled; and, yet, amid
-  Disaster and defeat, the Nation’s chosen chief
-  Resolved his losses to retrieve. But not
-  With armies disciplined and trained by years
-  Of martial service, could he, this Fabian chief,
-  Now hope to check the hosts of Howe’s victorious legions—
-  These had he not.
-
-      In stratagem the shrewder general
-  Ofttimes o’ercomes his strong antagonist.
-  To Washington a knowledge of the plans,
-  Position, strength of England’s force,
-  Must compensate for lack of numbers.
-
-      He casts about for one who’d take his life
-  In hand. Lo! he stands before the chief. In face,
-  A boy—in form, a man on whom the eye could rest
-  In search of God’s perfected handiwork.
-  In culture, grace and speech, reflecting all
-  A mother’s love could lavish on an only son.
-
-      The chieftain’s keen discerning eye
-  Appraised the youth at his full worth, and saw
-  In him those blending qualities that make
-  The hero and the sage. He fain would save
-  For nobler deeds a man whose presence marked
-  A spirit born to lead.
-
-      “Young man,” he said with kindly air,
-  “Your country and commander feel grateful that
-  Such talents are offered in this darkening hour.
-  Have you in reaching this resolve considered well
-  Your fitness, courage, strength—the act, the risk,
-  You undertake?”
-  The young man said: “The hour demands a duty rare—
-  Perhaps a sacrifice. If God and training in
-  The schools have given me capacities
-  This duty to perform, the danger of the enterprise
-  Should not deter me from the act
-  Whose issue makes our country free. In times
-  Like these a Nation’s life sometimes upon
-  A single life depends. If mine be deemed
-  A fitting sacrifice, God grant a quick
-  Deliverance”
-
-      “Enough, go then, at once,” the great
-  Commander said. “May Heaven’s guardian angels give
-  You safe return. Adieu.”
-
-      Disguised with care, the hopeful captain crossed
-  The bay, and moved through British camp
-  Without discovery by troops or refugees.
-  The enemy’s full strength, in men, in stores,
-  Munitions, guns—all military accoutrements
-  Were noted with exact precision; while
-  With graphic sketch, each trench and parapet,
-  Casemated battery, magazine and every point
-  Strategic, was drawn with artist’s skill.
-
-      The task complete, the spy with heart
-  Elate, now sought an exit through the lines.
-  Well might he feel a soldier’s pride. An hour hence
-  A waiting steed would bear him to his friends.
-  His plans he’d lay before his honored chief;
-  His single hand might turn the tide of war,
-  His country yet be free.
-
-      “Halt!” a British musket leveled at
-  His head dimmed all the visions of his soul.
-  A dash—an aimless shot; the spy bore down
-  Upon the picket with a blow that else
-  Had freed him from his clutch, but for a score
-  Of troopers stationed near. In vain the struggle fierce
-  And desperate—in vain demands to be released.
-  A tory relative, for safety quartered in
-  The British camp, would prove his truckling loyalty
-  With kinsman’s blood, a word—a look—
-  A motion of the head, and he who’d dared
-  So much in freedom’s name was free no more.
-
-      Before Lord Howe the captive youth
-  Was led. “Base dog!” the haughty general said,
-  “Ignoble son of loyal sires! you’ve played the spy
-  Quite well I ween. The cunning skill wherewith
-  You wrought these plans and charts might well adorn
-  An honest man; but in a rebel’s hands they’re vile
-  And mischievous. If ought may palliate
-  A traitor’s act, attempted in his sovereign’s camp,
-  I bid you speak ere I pronounce your sentence.”
-
-      With tone and mien that hushed
-  The buzzing noise of idle lackeys in the hall,
-  The patriot thus replied: “You know my name—
-  My rank;—my treach’rous kinsman made
-  My purpose plain. I’ve nothing further of myself
-  To tell beyond the charge of traitor to deny.
-  The brand of spy I do accept without reproach;
-  But never since I’ve known the base ingratitude
-  Of king to loyal subjects of his realm
-  Has British rule been aught to me than barbarous
-  Despotism which God and man abhor, and none
-  But dastards fear to overthrow.
-  For tyrant loyalty your lordship represents
-  I never breathed a loyal breath; and he
-  Who calls me traitor seeks a pretext for a crime
-  His trembling soul might well condemn.”
-
-      “I’ll hear no more such prating cant,”
-  Said Howe, “your crime’s enough to hang a dozen men.
-  Before to-morrow’s sun goes down you’ll swing
-  ’Twixt earth and heaven, that your countrymen
-  May know a British camp is dangerous ground
-  For prowling spies. Away!”
-
-      Securely bound upon a cart, amid
-  A speechless crowd, he stands beneath a strong
-  Projecting limb, to which a rope with noose attached,
-  Portends a tragic scene. He casts his eyes
-  Upon the surging multitude. Clearly now
-  His tones ring out as victors shout in triumph:
-
-      “Men, I do not die in vain,
-  My humble death upon this tree will light anew
-  The Torch of liberty. A hundred hands to one
-  Before will strike for country, home and God,
-  And fill our ranks with men of faith in His
-  Eternal plan to make this people free.
-  A million prayers go up this day to free
-  The land from blighting curse of tyrant’s rule.
-  Oppression’s wrongs have reached Jehovah’s throne;
-  The God of vengeance smites the foe! This land,—
-  This glorious land,—is free—is free!
-
-      “My friends, farewell! In dying thus
-  I feel but one regret; it is the one poor life
-  I have to give in Freedom’s cause.”
-
-                                     I. H. BROWN.
-
-
-THE FUTURE.
-
-  When Earth’s last picture is painted, and the tubes are twisted and
-      dried,
-  When the oldest colors have faded, and the youngest critic has died,
-  We shall rest, and, faith, we shall need it—lie down for an æon or two,
-  Till the Master of all Good Workmen shall set us to work anew!
-
-  And those that were good shall be happy; they shall sit in a golden
-      chair;
-  They shall splash at a ten-league canvas with brushes of comets’ hair;
-  They shall find real saints to draw from—Magdalene, Peter and Paul;
-  They shall work for an age at a sitting and never be tired at all!
-
-  And only the Master shall praise us, and only the Master shall blame!
-  And no one shall work for money, and no one shall work for fame;
-  But each for the joy of the working, and each, in his separate star,
-  Shall draw the Thing as he sees it for the God of Things as They Are!
-
-                                                         RUDYARD KIPLING.
-
-
-THE POWER OF HABIT.
-
-Adapted to the development of transition in pitch, and a very spirited
-utterance. When you are able to deliver this as Mr. Gough did, you may
-consider yourself a graduate in the art of elocution.
-
-  I remember once riding from Buffalo to the Niagara Falls. I said
-  to a gentleman, “What river is that, sir?”
-
-  “That,” said he, “is Niagara River.”
-
-  “Well, it is a beautiful stream,” said I; “bright and fair and
-  glassy. How far off are the rapids?”
-
-  “Only a mile or two,” was the reply.
-
-  “Is it _possible_ that only a mile from us we shall find the
-  water in the turbulence which it must show near the Falls?”
-
-  “You will find it so, sir.” And so I found it; and the first
-  sight of Niagara I shall never forget.
-
-  Now, launch your bark on that Niagara River; it is bright,
-  smooth, beautiful and glassy. There is a ripple at the bow; the
-  silver wake you leave behind adds to your enjoyment. Down the
-  stream you glide, oars, sails, and helm in proper trim, and you
-  set out on your pleasure excursion.
-
-  Suddenly some one cries out from the bank, “Young men, ahoy!”
-
-  “What is it?”
-
-  “The rapids are below you!”
-
-  “Ha! ha! we have heard of the rapids; but we are not such fools
-  as to get there. If we go too fast, then we shall up with the
-  helm, and steer to the shore; we will set the mast in the socket,
-  hoist the sail, and speed to the land. Then on, boys; don’t be
-  alarmed, there is no danger.”
-
-  “Young men, ahoy there!”
-
-  “What is it?”
-
-  “The rapids are below you!”
-
-  “Ha! ha! we will laugh and quaff; all things delight us. What
-  care we for the future? No man ever saw it. Sufficient for the
-  day is the evil thereof. We will enjoy life while we may, will
-  catch pleasure as it flies. This is enjoyment; time enough to
-  steer out of danger when we are sailing swiftly with the current.”
-
-  “Young men, ahoy!”
-
-  “What is it?”
-
-  “Beware! beware! The rapids are below you!”
-
-  “Now you see the water foaming all around. See how fast you pass
-  that point! Up with the helm! Now turn! Pull hard! Quick! quick!
-  quick! pull for your lives! pull till the blood starts from your
-  nostrils, and the veins stand like whip cords upon your brow! Set
-  the mast in the socket! hoist the sail! Ah! ah! it is too late!
-  Shrieking, blaspheming, over they go.”
-
-  Thousands go over the rapids of intemperance every year, through
-  the power of habit, crying all the while, “When I find out that
-  it is injuring me, I will give it up!”
-
-                                                     JOHN B. GOUGH.
-
-
-DIED ON DUTY.
-
-The following lines were written by a comrade, on the death of Engineer
-Billy Ruffin, who lost his life by an accident that occurred on the
-Illinois Central Railroad, in Mississippi.
-
-  Bill Ruffin to some wouldn’t rank very high, being only an engineer;
-  But he opened the throttle with a steady grip, and didn’t know nothin’
-      like fear;
-  For doin’ his duty and doin’ it right, he was known all along the line,
-  And with him in the box of 258, you might figger “you’d be thar on time.”
-
-  Bill was comin’ down the run, one Monday night, a pullin’ of No. 3,
-  Just jogging along at a 30 gait, and a darker night you never see.
-  They had struck the trestle twenty rod north of old Tallahatchie bridge,
-  Where the water backs up under the track, with here and there a ridge.
-
-  Bill had come down that run a hundred times, and supposed that all was
-      right;
-  But the devil’s own had been at work, and loosened a rail that night;
-  When, gods of mercy! what a shock and crash! then all so quiet and still.
-  And old 258 lay dead in the pond, and the train piled up on the fill.
-
-  The crew showed up one by one, looking all white and chill,
-  Anxious to see if all were on deck, but whar on airth wuz Bill?
-  But it wasn’t long before they knew, for there in the pond was the tank,
-  Stickin’ clus to her engine pard, and holdin’ Bill down by the shank.
-
-  When the boys saw what orter be done, they went to work with a vim,
-  But willin’ hands doin’ all they would, couldn’t rize tons offen him;
-  Bill stood thar, brave man that he was, as the hours went slowly by,
-  Seemin’ to feel, if the rest wur scared, he was perfectly willin’ to die.
-
-  Just before daylight looked over the trees, they brought poor Bill to
-      the fire,
-  And done the best they could for him in a place that was all mud and
-      mire;
-  But they done no good, ’twant no use; he had seen his last of wrecks;
-  And thar by the fire that lit up his brave face, poor Bill passed in
-      his checks.
-
-  When they raised old 258 again, the story she did tell
-  Was that the hero in her cab had done his duty well;
-  They found her lever thrown hard, her throttle open wide,
-  Her air applied so close and hard that every wheel must slide.
-
-  Thar’s a wife and two kids down the line, whose sole dependence wuz
-      Bill,
-  Who little thought when he came home he’d be brought cold and still;
-  But tell them, tho’ Bill was rough by natur’ and somewhat so by name,
-  That thar’s a better land for men like him, and he died clear grit
-      just the same.
-
-
-MY FRIEND THE CRICKET AND I.
-
-  My friend the Cricket and I
-    Once sat by the fireside talking;
-  “This life,” I said, “is such weary work;”
-    Chirped Cricket, “You’re always croaking.”
-  “It’s rowing against baith wind an’ tide,
-    And a’ for the smallest earning.”
-  “Ah! weel,” the merry Cricket replied,
-    “But the tide will soon be turning.”
-
-  “And then,” I answered, “dark clouds may rise,
-    And winds with the waters flowing.”
-  “Weel! keep a bit sunshine in your heart,
-    It’s a wonderfu’ help in rowing.”
-  “But many a boat goes down at sea:”
-    “O! friend, but you’re unco trying,
-  Pray how many more come into port,
-    With a’ their colors flying?
-
-  “Would ye idly drift with changing tides,
-    Till lost in a sea of sorrow?”
-  “Ah! no, good Cricket, I’ll take the oars
-    And cheerfully row to-morrow.”
-  “I would! I would! Yes, I would!” he chirped,
-  While I watched the bright fire burning,
-    “I would! I would! Yes, I’d try again,
-  For the tide must have a turning.”
-
-  So all the night long through the drowsy hours
-    I heard, like a cheerful humming—
-  “I would! I would! Yes, I’d try again,
-    Ye never ken what is coming.”
-  So I tried again:—now the wind sets fair,
-    And the tide is shoreward turning,
-  And Cricket and I chirp pleasantly
-    While the fire is brightly burning.
-
-                                  LILLIE E. BARR.
-
-
-THE SNOW STORM.
-
-  A farmer came from the village plain,
-  But he lost the traveled way;
-  And for hours he trod with might and main
-    A path for his horse and sleigh;
-  But colder still the cold winds blew,
-  And deeper still the deep drifts grew,
-  And his mare, a beautiful Morgan brown,
-  At last in her struggles, floundered down,
-    Where a log in a hollow lay.
-
-  In vain, with a neigh and a frenzied snort,
-    She plunged in the drifting snow,
-  While her master urged, till his breath grew short,
-    With a word and a gentle blow.
-  But the snow was deep, and the tugs were tight;
-  His hands were numb and had lost their might;
-  So he wallowed back to his half-filled sleigh,
-  And strove to shelter himself till day,
-    With his coat and the buffalo.
-
-  He has given the last faint jerk of the rein,
-    To rouse up his dying steed;
-  And the poor dog howls to the blast in vain
-    For help in his master’s need.
-  For a while he strives with a wistful cry
-  To catch a glance from his drowsy eye,
-  And wags his tail if the rude winds flap
-  The skirt of the buffalo over his lap,
-    And whines when he takes no heed.
-
-  The wind goes down and the storm is o’er,
-    ’Tis the hour of midnight, past;
-  The old trees writhe and bend no more
-    In the whirl of the rushing blast.
-  The silent moon with her peaceful light
-  Looks down on the hills with snow all white,
-  And the giant shadow of Camel’s Hump,
-  The blasted pine and the ghostly stump
-    Afar on the plain are cast.
-
-  But cold and dead by the hidden log
-    Are they who came from the town:
-  The man in his sleigh, and his faithful dog,
-    And his beautiful Morgan brown—
-  In the wide snow-desert, far and grand,
-  With his cap on his head and the reins in his hand—
-  The dog with his nose on his master’s feet,
-  And the mare half seen through the crusted sleet
-    Where she lay when she floundered down.
-
-
-PARRHASIUS AND THE CAPTIVE.
-
-This is a picture of inordinate ambition. It should be represented by
-a voice of cold indifference to human suffering. The flame of selfish
-passion is wild and frenzied.
-
-  Parrhasius stood, gazing forgetfully
-  Upon his canvas. There Prometheus lay,
-  Chained to the cold rocks of Mount Caucasus—
-  The vulture at his vitals, and the links
-  Of the lame Lemnian festering in his flesh;
-  And as the painter’s mind felt through the dim,
-  Rapt mystery, and pluck’d the shadows forth
-  With its far-reaching fancy, and with form
-  And color clad them, his fine, earnest eye
-  Flashed with a passionate fire, and the quick curl
-  Of his thin nostril, and his quivering lip,
-  Were like the winged god’s, breathing from his flight.
-
-        “Bring me the captive now!
-  My hand feels skillful, and the shadows lift
-  From my waked spirit airily and swift,
-        And I could paint the bow
-  Upon the bended heavens—around me play
-  Colors of such divinity to-day.
-
-        “Ha! bind him on his back!
-  Look!—as Prometheus in my picture here!
-  Quick—or he faints!—stand with the cordial near!
-        Now—bend him to the rack!
-  Press down the poisoned links into his flesh!
-  And tear agape that healing wound afresh!
-
-        “So—let him writhe! How long
-  Will he live thus? Quick, my good pencil, now!
-  What a fine agony works upon his brow!
-        Ha! gray-haired, and so strong!
-  How fearfully he stifles that short moan!
-  Gods! if I could but paint a dying groan!
-
-        “‘Pity’ thee! So I do!
-  I pity the dumb victim at the altar—
-  But does the robed priest for his _pity_ falter?
-        I’d rack thee, though I knew
-  A thousand lives were perishing in thine—
-  What were ten thousand to a fame like mine?
-
-        “‘Hereafter!’ Ay—_hereafter_!
-  A whip to keep a coward to his track!
-  What gave Death ever from his kingdom back
-        To check the skeptic’s laughter?
-  Come from the grave to-morrow with that story
-  And I may take some softer path to glory.
-
-        “No, no, old man! we die
-  Even as the flowers, and we shall breathe away
-  Our life upon the chance wind, even as they!
-        Strain well thy fainting eye—
-  For when that bloodshot quivering is o’er,
-  The light of heaven will never reach thee more.
-
-        “Yet there’s a deathless _name_!
-  A spirit that the smothering vault shall spurn,
-  And like a steadfast planet mount and burn—
-        And though its crown of flame
-  Consumed my brain to ashes as it shone,
-  By all the fiery stars! I’d bind it on!
-
-        “Ay—though it bid me rifle
-  My heart’s last fount for its insatiate thirst—
-  Though every life-strung nerve be maddened first—
-        Though it should bid me stifle
-  The yearning in my throat for my sweet child,
-  And taunt its mother till my brain went wild—
-
-        “All—I would do it all—
-  Sooner than die, lie a dull worm, to rot—
-  Thrust foully into earth to be forgot!
-        O heavens!—but I appall
-  Your heart, old man! forgive——ha! on your lives
-  Let him not faint!—rack him till he revives!
-
-        “Vain—vain—give o’er! His eye
-  Glazes apace. He does not feel you now—
-  Stand back! I’ll paint the death dew on his brow!
-        Gods! if he do not die
-  But for _one_ moment—one—till I eclipse
-  Conception with the scorn of those cold lips!
-
-        “Shivering! Hark! he mutters
-  Brokenly now—that was a difficult breath—
-  Another? Wilt thou never come, O Death!
-        Look! how his temple flutters!
-  Is his heart still? Aha! lift up his head!
-  He shudders—gasps—Jove help him!—so—he’s dead.”
-
-      How like a mounting devil in the heart
-      Rules the unreined _ambition_! Let it once
-      But play the monarch, and its haughty brow
-      Glows with a beauty that bewilders thought
-      And unthrones peace forever. Putting on
-      The very pomp of Lucifer, it turns
-      The heart to ashes, and with not a spring
-      Left in the bosom for the spirit’s lip,
-      We look upon our splendor and forget
-      The thirst of which we perish!
-
-                                   N. P. WILLIS.
-
-
-THE NINETY-THIRD OFF CAPE VERD.
-
-The figures refer you to the Typical Gestures at the beginning of Part
-II. of this volume. Use other gestures of your own. A good recital for
-animated description.
-
-  It is night upon the ocean
-    Near old Afric’s shore;
-  Loud the wind wails o’er the water,
-    Loud the waters roar.
-
-  Dark o’erhead[21] the storm-clouds gather,
-    Huge waves mountains form,
-  As a stout[2] old ship comes struggling
-    On against the storm.
-
-  Hark![3] e’en now across the billows
-    On the wind there floats,
-  Sharp and shrill, the boatswain’s whistle
-    Sounding,[5] “Man the boats!”
-
-  At the sound, from cabin doorways,
-    Rushing out headlong,
-  Pours a weeping,[10] shrieking, shuddering,
-    Terror-stricken throng.
-
-  Men, and women with their children,
-    Weak and pale from fright,
-  Praying,[20] cursing, hurry onward
-    Out into the night.
-
-  But the lightning’s[21] frequent flashes
-    By their ghastly sheen,
-  Further forward in the vessel,
-    Show another scene.
-
-  From the crowd of trembling women,
-    And of trembling men,
-  See![2] a soldier presses forward,
-    Takes his place, and then—
-
-  “Fall in!”[5] Then comes the roll-call.
-    Every man is at his post,
-  Although now they hear the breakers
-    Roaring on the coast.
-
-  “Present arms!”[5] And till the life-boats
-    With their precious freight
-  Have been lowered safely downward
-    Thus they stand and wait.
-
-  And then, as the staunch old vessel
-    Slowly sinks at last,
-  Louder than the ocean’s roaring,
-    Louder than the blast,
-
-  O’er the wildly raging water,
-    Echoing far and near,
-  Hear[11] the soldiers’ dying volley,
-    Hear their dying cheer.
-
-
-A FELON’S CELL.
-
-An intensely dramatic reading, requiring rapid changes of voice and
-gesture.
-
-  I’m going to a felon’s cell,
-    To stay there till I die;
-  They say my hands are stained with blood,
-    But they who say it—lie.
-  The court declared I murdered one
-    I would have died to save;
-  I know who did the awful deed,
-    I saw, but could not save.
-
-  I saw the knife gleam in his hand,
-    I heard the victim’s shriek;
-  My feet seem chained, I tried to run,
-    But terror made me weak.
-  Reeling, at length I reached the spot
-    Too late—a quivering sigh—
-  The pale moon only watched with me
-    To see a sweet girl die.
-
-  The reeking blade lay at my feet,
-    The murderer had fled;
-  I stooped to raise the prostrate form,
-    To lift the sunny head
-  Of her I loved, from out the pool
-    Her own sweet blood had made;
-  That knife was fairly in my way,
-    I raised the murderous blade.
-
-  Unmindful of all else, beside
-    That lovely, bleeding corse,
-  Unheeding the approaching steps
-    Of traveler and horse,
-  I raised the knife; it caught the gleam
-    Of the full moon’s bright glare,
-  One instant, and the next strong arms
-    Pinioned mine firmly there.
-
-  They led me forth, mute with a woe
-    Too deep for word or sign;
-  The knife within my hand the court
-    Identified as mine.
-  My name was graven on the hilt,—
-    The letters told a lie;
-  They doomed me to a felon’s cell
-    To stay there till I die.
-
-  And yet, I did not do the deed;
-    The moon, if she could speak,
-  Would lift this anguish from my brow,
-    This shame from off my cheek.
-  I was not born with gold or lands
-    Nor was I born a slave,
-  My hands are free from blood,—and yet
-    I’ll fill a felon’s grave.
-
-  And I, who last year played at ball
-    Upon the village green,
-  A stripling, on whose lips the sign
-    Of manhood scarce is seen,
-  Whose greatest crime (if crime it be)
-    Was loving her too well,
-  Must leave this beautiful, glad world
-    For a dark prison cell.
-
-  I had just begun to learn to live
-    Since I laid by my books,
-  And I had grown so strangely fond
-    Of forest, spring, and brook,
-  I read a lesson in each drop
-    That trickled through the grass,
-  And found a sermon in the flow
-    Of wavelets, as they pass.
-
-  Dear woodland haunts! I leave your shade;
-    No more at noon’s high hour
-  I’ll list the sound of insect life,
-    Or scent the sweet wild flower.
-  Dear mossy banks, by murmuring streams,
-    ’Tis hard to say good-bye!
-  To leave you for a felon’s cell,
-    Where I must stay and die.
-
-  Farewell all joy and happiness!
-    Farewell all earthly bliss!
-  All human ties must severed be,—
-    Aye, even a mother’s kiss
-  Must fail me now; in this my need
-    O God! to Thee I cry!
-  Oh! take me now, ere yet I find
-    A grave wherein to lie.
-
-  Mother, you here! Mother, the boy
-    You call your poet child
-  Is innocent! His hands are clean,
-    His heart is undefiled.
-  Oh! tell me, mother, am I weak
-    To shrink at thought of pain?
-  To shudder at the sound of bolt,
-    Grow cold at clank of chain?
-  Oh! tell me, is it weakness now
-    To weep upon your breast,—
-  That faithful pillow, where so oft
-    You’ve soothed me to my rest!
-
-  Hark! ’tis an officer’s firm tread,
-    O God! Mother, good-bye!
-  They’ve come to bear me to my cell
-    Where I must stay and die.
-  They’re coming now, I will be strong,
-    No, no, it cannot be.
-  My giddy brain whirls round in pain,
-    Your face I cannot see.
-  But I remember when a child
-    I shrank at thought of pain,
-  But, oh, it is a fearful thing
-    To have this aching brain.
-
-  Pardon! heard I the sound aright?
-    Mine comes from yonder sky;
-  Hold me! don’t let them take me forth
-    To suffer till I die!
-  Pardon! pardon! came the sound,
-    And horsemen galloped fast,
-  But ’twas too late; the dying man
-    Was soon to breathe his last.
-  The crime’s confessed, the guilt made known
-    Quick, lead the guiltless forth.
-  “Then I am free! mother, your hand,
-    Now whisper your good-bye,
-  I’m going where there are no cells
-    To suffer in and die!”
-
-
-THE BATTLE OF WATERLOO.
-
-This soul-stirring account of the historic battle where thrones and
-empires were staked, is from the pen of the great French author whose
-famous descriptions are unsurpassed by those of any other writer. In
-reciting this piece every nerve must be tense, and soul and body must be
-animated by the imaginary sight of the contending armies. Your utterance
-should be somewhat rapid, the tones of your voice round and full, the
-words of command given as a general would give them on the field of
-battle, and you must picture to your hearers the thrilling scene in such
-a way that it may appear to be almost a reality. Otherwise, this very
-graphic description will fall flat, and the verdict of your audience will
-be that you were not equal to the occasion.
-
-  The sky had been overcast all day. All at once, at this very
-  moment—it was eight o’clock at night—the clouds in the horizon
-  broke, and through the elms of the Nivelles road streamed the
-  sinister red light of the setting sun.
-
-  Arrangements were speedily made for the final effort. Each
-  battalion was commanded by a general. When the tall caps of
-  the Grenadiers of the Guard with their large eagle plates
-  appeared, symmetrical, drawn up in line, calm in the smoke of
-  that conflict, the enemy felt respect for France. They thought
-  they saw twenty victories entering upon the field of battle with
-  wings extended, and those who were conquerors thinking themselves
-  conquered recoiled; but Wellington cried: “Up, Guards, and at
-  them!”
-
-  The red regiment of English Guards, lying behind the hedges, rose
-  up; a shower of grape riddled the tricolored flag. All hurled
-  themselves forward, and the final carnage began. The Imperial
-  Guard felt the army slipping away around them in the gloom and
-  the vast overthrow of the rout. There were no weak souls or
-  cowards there. The privates of that band were as heroic as their
-  general. Not a man flinched from the suicide.
-
-  The army fell back rapidly from all sides at once. A disbanding
-  army is a thaw. The whole bends, cracks, snaps, floats, rolls,
-  falls, crashes, hurries, plunges. Ney borrows a horse, leaps upon
-  him, and, without hat, cravat, or sword, plants himself in the
-  Brussels road, arresting at once the English and the French. He
-  endeavors to hold the army; he calls them back, he reproaches
-  them, he grapples with the rout. He is swept away. The soldiers
-  flee from him, crying, “Long live Ney!” Durutte’s two regiments
-  come and go, frightened and tossed between the sabres of the
-  Uhlans and the fire of the brigades of Kempt. Rout is the worst
-  of all conflicts; friends slay each other in their flight;
-  squadrons and battalions are crushed and dispersed against each
-  other, enormous foam of the battle.
-
-  Napoleon gallops among the fugitives, harangues them, urges,
-  threatens, entreats. The mouths which in the morning were crying
-  “Long live the Emperor,” are now agape. He is hardly recognized.
-  The Prussian cavalry, just come up, spring forward, fling
-  themselves upon the enemy, sabre, cut, hack, kill, exterminate.
-  Teams rush off; the guns are left to the care of themselves; the
-  soldiers of the train unhitch the caissons and take the horses to
-  escape; wagons upset, with their four wheels in the air, block up
-  the road, and are accessories of massacre.
-
-  They crush and they crowd; they trample upon the living and the
-  dead. Arms are broken. A multitude fills roads, paths bridges,
-  plains, hills, valleys, woods, choked up by this flight of forty
-  thousand men. Cries despair; knapsacks and muskets cast into the
-  rye; passages forced at the point of the sword; no more comrades,
-  no more officers, no more generals; an inexpressible dismay.
-  Lions become kids. Such was this flight.
-
-  A few squares of the Guard, immovable in the flow of the rout as
-  rocks in running water, held out until night. Night approaching
-  and death also, they awaited this double shadow, and yielded
-  unfaltering to its embrace. At every discharge the square grew
-  less, but returned the fire. It replied to grape by bullets,
-  narrowing in its four walls continually. Afar off, the fugitives,
-  stopping for a moment out of breath, heard in the darkness this
-  dismal thunder decreasing.
-
-  When this legion was reduced to a handful, when their flag was
-  reduced to a shred, when their muskets, exhausted of ammunition,
-  were reduced to nothing but clubs, when the pile of corpses was
-  larger than the group of the living, there spread among the
-  conquerors a sort of sacred terror about these sublime martyrs,
-  and the English artillery, stopping to take breath, was silent.
-  It was a kind of respite. These combatants had about them a swarm
-  of spectres, the outlines of men on horseback, the black profile
-  of the cannons, the white sky seen through the wheels and
-  gun-carriages. The colossal death’s head, which heroes always see
-  in the smoke of the battle, was advancing upon them and glaring
-  at them.
-
-  They could hear in the gloom of the twilight the loading of the
-  pieces. The lighted matches, like tigers’ eyes in the night, made
-  a circle about their heads. All the linstocks of the English
-  batteries approached the guns, when, touched by their heroism,
-  holding the death-moment suspended over these men, an English
-  general cried to them:
-
-  “Brave Frenchmen, surrender!”
-
-  The word “Never!” fierce and desperate came rolling back.
-
-  To this word the English general replied, “Fire!”
-
-  The batteries flamed, the hill trembled; from all those brazen
-  throats went forth a final vomiting of grape, terrific. A vast
-  smoke, dusky white in the light of the rising moon, rolled out,
-  and when the smoke was dissipated, there was nothing left. That
-  formidable remnant was annihilated—the Guard was dead! The four
-  walls of the living redoubt had fallen. Hardly could a quivering
-  be distinguished here and there among the corpses; and thus the
-  French legions expired.
-
-                                                       VICTOR HUGO.
-
-
-A PIN.
-
-  Oh, I know a certain woman who is reckoned with the good,
-  But she fills me with more terror than a raging lion could.
-  The little chills run up and down my spine whene’er we meet,
-  Though she seems a gentle creature, and she’s very trim and neat.
-
-  And she has a thousand virtues, and not one acknowledged sin,
-  But she is the sort of person you could liken to a pin.
-  And she pricks you, and she sticks you in a way that can’t be said—
-  When you ask for what has hurt you, why you cannot find the head.
-
-  But she fills you with discomfort and exasperating pain—
-  If anybody asks you why, you really can’t explain.
-  A pin is such a tiny thing—of that there is no doubt—
-  Yet when it’s sticking in your flesh, you’re wretched till it’s out.
-
-  She is wonderfully observing—when she meets a pretty girl
-  She is always sure to tell her if her “bang” is out of curl.
-  And she is so sympathetic to her friend, who’s much admired,
-  She is often heard remarking: “Dear, you look so worn and tired!”
-
-  And she is a careful critic; for on yesterday she eyed
-  The new dress I was airing with a woman’s natural pride,
-  And she said: “Oh, how becoming!” and then softly added to it,
-  “It is really a misfortune that the basque is such a fit.”
-
-  Then she said: “If you had heard me yestereve,
-  I’m sure, my friend,
-  You would say I am a champion who knows how to defend.”
-  And she left me with the feeling—most unpleasant, I aver—
-  That the whole world would despise me if it had not been for her.
-
-  Whenever I encounter her, in such a nameless way,
-  She gives me the impression I am at my worst that day.
-  And the hat that was imported (and that cost me half a sonnet),
-  With just one glance from her round eye, becomes a Bowery bonnet.
-
-  She is always bright and smiling, sharp and shining for a thrust—
-  Use does not seem to blunt her point, nor does she gather rust—
-  Oh! I wish some hapless specimen of mankind would begin
-  To tidy up the world for me, by picking up this pin.
-
-                                                     ELLA WHEELER WILCOX.
-
-
-A RELENTING MOB.
-
-Translated from the French of Victor Hugo.
-
-  The mob was fierce and furious. They cried:
-  “Kill him!” the while they pressed from every side
-  Around a man, haughty, unmoved and brave,
-  Too pitiless himself to pity crave.
-
-  “Down with the wretch!” on all sides rose the cry.
-  The captive found it natural to die,
-  The game is lost—he’s on the weaker side,
-  Life, too, is lost, and so must fate decide.
-
-  From out his home they dragged him to the street,
-  With fiercely clenching hands and hurrying feet,
-  And shouts of “Death to him!” The crimson stain
-  Of recent carnage on his garb showed plain.
-
-  This man was one of those who blindly slay
-  At a king’s bidding. He’d shoot men all day,
-  Killing he knew not whom, scarce knew why,
-  Now marching forth impassible to die,
-  Incapable of mercy or of fear,
-  Letting his powder-blackened hands appear.
-
-  A woman clutched his collar with a frown,
-  “He’s a policeman—he has shot us down!”
-  “That’s true,” the man said. “Kill him!”
-      “Shoot him!” “Kill!”
-  “No, at the Arsenal”—“The Bastile!”—
-      “Where you will,”
-  The captive answered. And with fiercest breath,
-  Loading their guns his captors still cried
-      “Death!”
-  “We’ll shoot him like a wolf!” “A wolf am I?
-  Then you’re the dogs,” he calmly made reply.
-
-  “Hark, he insults us!” And from every side
-  Clenched fists were shaken, angry voices cried,
-  Ferocious threats were muttered, deep and low.
-  With gall upon his lips, gloom on his brow,
-  And in his eyes a gleam of baffled hate,
-  He went, pursued by howlings, to his fate.
-  Treading with wearied and supreme disdain
-  ’Midst the forms of dead men he perchance had slain.
-  Dread is that human storm, an angry crowd:
-  He braved its wrath with head erect and proud.
-  He was not taken, but walled in with foes,
-  He hated them with hate the vanquished knows,
-  He would have shot them all had he the power.
-
-  “Kill him—he’s fired upon us for an hour!”
-  “Down with the murderer—down with the spy!”
-  And suddenly a small voice made reply,
-  “No—no, he is my father!” And a ray
-  Like a sunbeam seemed to light the day.
-  A child appeared, a boy with golden hair,
-  His arms upraised in menace or in prayer.
-
-  All shouted, “Shoot the bandit, fell the spy!”
-  The little fellow clasped him with a cry
-  Of “Papa, papa, they’ll not hurt you now!”
-  The light baptismal shone upon his brow.
-
-  From out the captive’s home had come the child.
-  Meanwhile the shrieks of “Kill him—Death!” rose wild.
-  The cannon to the tocsin’s voice replied,
-  Sinister men thronged close on every side,
-  And in the street ferocious shouts increased
-  Of “Slay each spy—each minister—each priest—
-  We’ll kill them all!” The little boy replied:
-  “I tell you this is papa.” One girl cried
-  “A pretty fellow—see his curly head!”
-  “How old are you, my boy?” another said.
-  “Do not kill papa!” only he replies.
-
-  A soulful lustre lights his streaming eyes,
-  Some glances from his gaze are turned away,
-  And the rude hands less fiercely grasp their prey.
-  Then one of the most pitiless says, “Go—
-  Get you back home, boy.” “Where—why?” “Don’t you know?
-  Go to your mother.” Then the father said,
-  “He has no mother.” “What—his mother’s dead?
-  Then you are all he has.” “That matters not,”
-  The captive answers, losing not a jot
-  Of his composure as he closely pressed
-  The little hands to warm them in his breast.
-  And says, “Our neighbor, Catherine you know,
-  Go to her.” “You’ll come too?” “Not yet.” “No, no.
-  Then I’ll not leave you.” “Why?” “These men, I fear,
-  Will hurt you, papa, when I am not here.”
-
-  The father to the chieftain of the band
-  Says softly, “Loose your grasp and take my hand,
-  I’ll tell the child to-morrow we shall meet,
-  Then you can shoot me in the nearest street,
-  Or farther off, just as you like.” “’Tis well!”
-  The words from those rough lips reluctant fell.
-  And, half unclasped, the hands less fierce appear.
-  The father says, “You see, we’re all friends here,
-  I’m going with these gentlemen to walk;
-  Go home. Be good. I have no time to talk.”
-  The little fellow, reassured and gay,
-  Kisses his father and then runs away.
-
-  “Now he is gone and we are at our ease,
-  And you can kill me where and how you please,”
-  The father says, “Where is it I must go?”
-  Then through the crowd a long thrill seems to flow,
-  The lips, so late with cruel wrath afoam,
-  Relentingly and roughly cry, “Go home!”
-
-                                      LUCY H. HOOPER.
-
-
-THE BLACK HORSE AND HIS RIDER.
-
-Slow utterance, rapid utterance, loud tones, subdued tones, quick changes
-and intense dramatic force are all required in this reading. Lose
-yourself in your recitation. Never be self-conscious.
-
-  It was the 7th of October, 1777. Horatio Gates stood before his
-  tent gazing steadfastly upon the two armies now arrayed in order
-  of battle. It was a clear, bracing day, mellow with the richness
-  of Autumn. The sky was cloudless; the foliage of the wood scarce
-  tinged with purple and gold; the buckwheat in yonder fields
-  frostened into snowy ripeness. But the tread of legions shook the
-  ground; from every bush shot the glimmer of the rifle barrel; on
-  every hillside blazed the sharpened bayonet. Gates was sad and
-  thoughtful, as he watched the evolutions of the two armies.
-
-  But all at once, a smoke arose, a thunder shook the ground, and
-  a chorus of shouts and groans yelled along the darkened air. The
-  play of death had begun. The two flags, this of the stars, that
-  of the red cross, tossed amid the smoke of battle, while the sky
-  was clouded with leaden folds, and the earth throbbed with the
-  pulsations of a mighty heart. Suddenly, Gates and his officers
-  were startled. Along the height on which they stood, came a
-  rider, upon a black horse, rushing toward the distant battle.
-
-  There was something in the appearance of this horse and his
-  rider, that struck them with surprise. Look! he draws his sword,
-  the sharp blade quivers through the air—he points to the distant
-  battle, and lo! he is gone; gone through those clouds, while his
-  shout echoes over the plains. Wherever the fight is the thickest,
-  there through intervals of cannon smoke, you may see riding
-  madly forward that strange soldier, mounted on his steed black
-  as death. Look at him, as with face red with British blood he
-  waves his sword and shouts to his legions. Now you may see him
-  fighting in that cannon’s glare, and the next moment he is away
-  off yonder, leading the forlorn hope up that steep cliff.
-
-  Is it not a magnificent sight, to see that strange soldier and
-  that noble black horse dashing like a meteor, down the long
-  columns of battle? Let us look for a moment into those dense
-  war-clouds. Over this thick hedge bursts a band of American
-  militia-men, their rude farmer coats stained with blood, while
-  scattering their arms by the way, they flee before that company
-  of redcoat hirelings, who come rushing forward, their solid front
-  of bayonets gleaming in the battle light.
-
-  In this moment of their flight, a horse comes crashing over the
-  plains. The unknown rider reins his steed back on his haunches,
-  right in the path of a broad-shouldered militia-man. “Now,
-  cowards! advance another step and I’ll strike you to the heart!”
-  shouts the unknown, extending a pistol in either hand. “What! are
-  you Americans, men, and fly before British soldiers? Back again,
-  and face them once more, or I myself will ride you down.”
-
-  This appeal was not without its effect. The militia-man turns;
-  his comrades, as if by one impulse, follow his example. In one
-  line, but thirty men in all, they confront thirty sharp bayonets.
-  The British advance.
-
-  “Now upon the rebels, charge!” shouts the red-coat officer. They
-  spring forward at the same bound. Look! their bayonets almost
-  touch the muzzles of their rifles. At this moment the voice
-  of the unknown rider was heard: “Now let them have it! Fire!”
-  A sound is heard, a smoke is seen, twenty Britons are down,
-  some writhing in death, some crawling along the soil, and some
-  speechless as stone. The remaining ten start back. “Club your
-  rifles and charge them home!” shouts the unknown.
-
-  That black horse springs forward, followed by the militia-men.
-  Then a confused conflict—a cry for quarter, and a vision of
-  twenty farmers grouped around the rider of the black horse,
-  greeting him with cheers. Thus it was all the day long. Wherever
-  that black horse and his rider went, there followed victory. At
-  last, toward the setting of the sun, the crisis of the conflict
-  came. That fortress yonder, on Bemiss’ Heights, must be won, or
-  the American cause is lost! That cliff is too steep—that death is
-  too certain. The officers cannot persuade the men to advance. The
-  Americans have lost the field. Even Morgan, that iron man among
-  iron men, leans on his rifle and despairs of the field.
-
-  But look yonder! In this moment when all is dismay and horror,
-  here crashing on, comes the black horse and his rider. That
-  rider bends upon his steed, his frenzied face covered with sweat
-  and dust and blood; he lays his hand upon that brave rifleman’s
-  shoulder, and as though living fire had been poured into his
-  veins, he seized his rifle and started toward the rock. And now
-  look! now hold your breath, as that black steed crashes up that
-  steep cliff. That steed quivers! he totters! he falls! No! No!
-  Still on, still up the cliff, still on toward the fortress.
-
-  The rider turns his face and shouts, “Come on, men of Quebec!
-  come on!” That call is needless. Already the bold riflemen are on
-  the rock. Now British cannon pour your fires, and lay your dead
-  in tens and twenties on the rock. Now, red-coat hirelings, shout
-  your battle-cry if you can! For look! there, in the gate of the
-  fortress, as the smoke clears away, stands the Black Horse and
-  his rider. That steed falls dead, pierced by an hundred balls;
-  but his rider, as the British cry for quarter, lifts up his voice
-  and shouts afar to Horatio Gates waiting yonder in his tent,
-  “Saratoga is won!”
-
-  As that cry goes up to heaven, he falls with his leg shattered by
-  a cannon ball. Who was the rider of the black horse? Do you not
-  guess his name? Then bend down and gaze on that shattered limb,
-  and you will see that it bears the marks of a former wound. That
-  wound was received in the storming of Quebec. That rider of the
-  Black Horse was Benedict Arnold.
-
-                                                  CHARLES SHEPPARD.
-
-
-THE UNFINISHED LETTER.
-
-  “NEAR DEADWOOD.
-
-  “DEAR JENNY—
-
-  “We reached here this morning,
-    Tom Baker, Ned Leonard and I,
-  So you see that, in spite of your warning,
-    The end of our journey is nigh.
-
-  “The redskins—’tis scarce worth a mention,
-    Don’t worry about me, I pray—
-  Have shown us no little attention—
-    Confound them?—along on our way.
-
-  “Poor Ned’s got a ball in the shoulder—
-    Another one just grazed my side—
-  But pshaw! ere we’re half a day older
-    We’ll be at the end of our ride.
-
-  “We’ve camped here for breakfast. Tom’s splitting
-    Some kindling wood, off of the pines,
-  And astride a dead cedar I’m sitting
-    To hastily pen you these lines.
-
-  “A courier from Deadwood—we met him
-    Just now with a mail for the States,
-  (Ah, Jenny! I’ll never forget him)—
-    For this most obligingly waits.
-
-  “He says, too, the miners are earning
-    Ten dollars a day, every man.
-  Halloa! here comes Tom—he’s returning,
-    And running as fast as he can.
-
-  “It’s nothing, I guess; he is only
-    At one of his practical—” Bang!
-  And sharp through that solitude lonely
-    The crack of Sioux rifle shots rang.
-
-  And as the dire volley came blended
-    With echo from canyon and pass,
-  The letter to Jenny was ended—
-    Its writer lay dead on the grass.
-
-
-LEGEND OF THE ORGAN-BUILDER.
-
-  Day by day the Organ-builder in his lonely chamber wrought;
-  Day by day the soft air trembled to the music of his thought;
-
-  Till at last the work was ended; and no organ-voice so grand
-  Ever yet had soared responsive to the master’s magic hand.
-
-  Ay, so rarely was it builded that whenever groom and bride,
-  Who, in God’s sight were well-pleasing, in the church stood side by side,
-
-  Without touch or breath the organ of itself began to play,
-  And the very airs of heaven through the soft gloom seemed to stray.
-
-  He was young, the Organ-builder, and o’er all the land his fame
-  Ran with fleet and eager footsteps, like a swiftly rushing flame.
-
-  All the maidens heard the story; all the maidens blushed and smiled,
-  By his youth and wondrous beauty and his great renown beguiled.
-
-  So he sought and won the fairest, and the wedding-day was set:
-  Happy day—the brightest jewel in the glad year’s coronet!
-
-  But when they the portal entered, he forgot his lovely bride—
-  Forgot his love, forgot his God, and his heart swelled high with pride.
-
-  “Ah!” thought he; “how great a master am I! When the organ plays,
-  How the vast cathedral-arches will re-echo with my praise!”
-
-  Up the aisle the gay procession moved. The altar shone afar,
-  With every candle gleaming through soft shadows like a star.
-
-  But he listened, listened, listened, with no thought of love or prayer,
-  For the swelling notes of triumph from his organ standing there.
-
-  All was silent. Nothing heard he save the priest’s low monotone,
-  And the bride’s robe trailing softly o’er the floor of fretted stone.
-
-  Then his lips grew white with anger. Surely God was pleased with him
-  Who had built the wondrous organ for His temple vast and dim!
-
-  Whose the fault, then? Hers—the maiden standing meekly at his side!
-  Flamed his jealous rage, maintaining she was false to him—his bride.
-
-  Vain were all her protestations, vain her innocence and truth;
-  On that very night he left her to her anguish and her ruth.
-
-  For he wandered to a country wherein no man knew his name;
-  For ten weary years he dwelt there, nursing still his wrath and shame.
-
-  Then his haughty heart grew softer, and he thought by night and day
-  Of the bride he had deserted, till he hardly dared to pray;
-
-  Thought of her, a spotless maiden, fair and beautiful and good;
-  Thought of his relentless anger, that had cursed her womanhood;
-
-  Till his yearning grief and penitence at last were all complete,
-  And he longed, with bitter longing, just to fall down at her feet.
-
-  Ah! how throbbed his heart when, after many a weary day and night,
-  Rose his native towers before him, with the sunset glow alight!
-
-  Through the gates into the city on he pressed with eager tread;
-  There he met a long procession—mourners following the dead.
-
-  “Now why weep ye so, good people? and whom bury ye to-day?
-  Why do yonder sorrowing maidens scatter flowers along the way?
-
-  “Has some saint gone up to heaven?” “Yes,” they answered, weeping sore;
-  “For the Organ-builder’s saintly wife our eyes shall see no more;
-
-  “And because her days were given to the service of God’s poor,
-  From His church we mean to bury her. See! yonder is the door.”
-
-  No one knew him; no one wondered when he cried out, white with pain;
-  No one questioned when, with pallid lips, he poured his tears like rain.
-
-  “’Tis some one whom she has comforted, who mourns with us,” they said,
-  As he made his way unchallenged, and bore the coffin’s head;
-
-  Bore it through the open portal, bore it up the echoing aisle,
-  Let it down before the altar, where the lights burned clear the while;
-
-  When, oh, hark! the wondrous organ of itself began to play
-  Strains of rare, unearthly sweetness never heard until that day!
-
-  All the vaulted arches rang with the music sweet and clear!
-  All the air was filled with glory, as of angels hovering near;
-
-  And ere yet the strain was ended, he who bore the coffin’s head,
-  With the smile of one forgiven, gently sank beside it—dead.
-
-  They who raised the body knew him, and they laid him by his bride;
-  Down the aisle and o’er the threshold they were carried, side by side;
-
-  While the organ played a dirge that no man ever heard before,
-  And then softly sank to silence—silence kept for evermore.
-
-                                                        JULIA C. R. DORR.
-
-
-CAUGHT IN THE QUICKSAND.
-
-  It sometimes happens that a man, traveler or fisherman,
-  walking on the beach at low tide, far from the bank, suddenly
-  notices that for several minutes he has been walking with some
-  difficulty. The strand beneath his feet is like pitch; his soles
-  stick in it; it is sand no longer; it is glue.
-
-  The beach is perfectly dry, but at every step he takes, as soon
-  as he lift his foot, the print which it leaves fills with water.
-  The eye, however, has noticed no change; the immense strand
-  is smooth and tranquil; all the sand has the same appearance;
-  nothing distinguishes the surface which is solid from that which
-  is no longer so; the joyous little crowd of sandflies continue to
-  leap tumultuously over the wayfarer’s feet. The man pursues his
-  way, goes forward, inclines to the land, endeavors to get nearer
-  the upland.
-
-  He is not anxious. Anxious about what? Only he feels, somehow,
-  as if the weight of his feet increases with every step he takes.
-  Suddenly he sinks in.
-
-  He sinks in two or three inches. Decidedly he is not on the right
-  road; he stops to take his bearings; now he looks at his feet.
-  They have disappeared. The sand covers them. He draws them out
-  of the sand; he will retrace his steps. He turns back, he sinks
-  in deeper. The sand comes up to his ankles; he pulls himself out
-  and throws himself to the left; the sand half leg deep. He throws
-  himself to the right; the sand comes up to his shins.
-
-  Then he recognizes with unspeakable terror that he is caught in
-  the quicksand, and that he has beneath him the terrible medium in
-  which man can no more walk than the fish can swim. He throws off
-  his load, if he has one, lightens himself as a ship in distress;
-  it is already too late; the sand is above his knees. He calls, he
-  waves his hat or his handkerchief; the sand gains on him more and
-  more. If the beach is deserted, if the land is too far off, if
-  there is no help in sight, it is all over.
-
-  He is condemned to that appalling burial, long, infallible,
-  implacable and impossible to slacken or to hasten, which endures
-  for hours, which seizes you erect, free and in full health, and
-  which draws you by the feet; which, at every effort that you
-  attempt, at every shout you utter, drags you a little deeper,
-  sinking you slowly into the earth while you look upon the
-  horizon, the sails of the ships upon the sea, the birds flying
-  and singing, the sunshine and the sky. The victim attempts to
-  sit down, to lie down, to creep; every movement he makes inters
-  him; he straightens up, he sinks in; he feels that he is being
-  swallowed. He howls, implores, cries to the clouds, despairs.
-
-  Behold him waist deep in the sand. The sand reaches his breast;
-  he is now only a bust. He raises his arms, utters furious groans,
-  clutches the beach with his nails, would hold by that straw,
-  leans upon his elbows, to pull himself out of this soft sheath;
-  sobs frenziedly; the sand rises; the sand reaches his shoulders;
-  the sand reaches his neck; the face alone is visible now.
-
-  The mouth cries, the sand fills it—silence. The eyes still
-  gaze—the sand shuts them; night. Now the forehead decreases,
-  a little hair flutters above the sand; a hand come to the
-  surface of the beach, moves, and shakes, disappears. It is the
-  earth-drowning man. The earth filled with the ocean becomes a
-  trap. It presents itself like a plain, and opens like a wave.
-
-                                                       VICTOR HUGO.
-
-
-THE LITTLE QUAKER SINNER.
-
-  A little Quaker maiden, with dimpled cheek and chin,
-  Before an ancient mirror stood, and viewed her from within
-  She wore a gown of sober gray, a cap demure and prim,
-  With only simple fold and hem, yet dainty, neat and trim.
-  Her bonnet, too, was gray and stiff; its only line of grace
-  Was in the lace, so soft and white, shirred round her rosy face.
-
-  Quoth she: “Oh, how I hate this hat! I hate this gown and cape!
-  I do wish all my clothes were not of such outlandish shape!
-  The children passing by to school have ribbons on their hair;
-  The little girl next door wears blue; oh, dear, if I could dare,
-  I know what I should like to do!”—(The words were whispered low,
-  Lest such tremendous heresy should reach her aunts below.)
-
-  Calmly reading in the parlor sat the good aunts Faith and Peace,
-  Little dreaming how rebellious throbbed the heart of their young niece.
-  All their prudent, humble teaching willfully she cast aside,
-  And, her mind now fully conquered by vanity and pride,
-  She, with trembling heart and fingers, on a hassock sat her down,
-  And this little Quaker sinner sewed a tuck into her gown!
-
-  “Little Patience, art thou ready? Fifth day meeting time has come,
-  Mercy Jones and Goodman Elder with his wife have left their home.”
-  ’Twas Aunt Faith’s sweet voice that called her, and the naughty little
-      maid—
-  Gliding down the dark old stairway—hoped their notice to evade,
-  Keeping shyly in their shadow as they went out at the door,
-  Ah! never little Quakeress a guiltier conscience bore!
-
-  Dear Aunt Faith walked looking upward; all her thoughts were pure and
-      holy;
-  And Aunt Peace walked gazing downward, with a humble mind and lowly.
-  But “tuck—tuck!” chirped the sparrows, at the little maiden’s side;
-  And, in passing Farmer Watson’s, where the barn-door opened wide,
-  Every sound that issued from it, every grunt and every cluck,
-  Was to her affrighted fancy like “a tuck!” “a tuck!” “a tuck!”
-
-  In meeting, Goodman Elder spoke of pride and vanity,
-  While all the Friends seemed looking round that dreadful tuck to see.
-  How it swelled in its proportions, till it seemed to fill the air,
-  And the heart of little Patience grew heavier with her care.
-  O, the glad relief to her, when, prayers and exhortations ended,
-  Behind her two good aunties her homeward way she wended!
-
-  The pomps and vanities of life she’d seized with eager arms,
-  And deeply she had tasted of the world’s alluring charms—
-  Yea, to the dregs had drained them, and only this to find:
-  All was vanity of spirit and vexation of the mind.
-  So, repentant, saddened, humbled on her hassock she sat down,
-  And this little Quaker sinner ripped the tuck out of her gown!
-
-                                                      LUCY L. MONTGOMERY.
-
-
-THE TELL-TALE HEART.
-
-The emotions of horror and dismay are vividly brought out in this
-selection, which is characteristic of some of the writings of Edgar A.
-Poe. He had a morbid fancy for the weird, the gruesome and startling, all
-of which appear in this ghastly description from his pen. The piece is
-an excellent one of its kind. It requires the ability of a tragedian to
-properly deliver it.
-
-  With a loud yell I threw open the lantern and leaped into the
-  room. He shrieked once—once only. In an instant I dragged him to
-  the floor, and pulled the heavy bed over him. I then smiled gayly
-  to find the deed so far done. But for many minutes the heart beat
-  on with a muffled sound. This, however, did not vex me; it would
-  not be heard through the wall. At length it ceased. The old man
-  was dead. I removed the bed and examined the corpse. I placed my
-  hand upon the heart and held it there many minutes. There was no
-  pulsation. He was stone dead. His eye would trouble me no more.
-
-  If you still think me mad, you will think so no longer when I
-  describe the wise precautions I took for the concealment of the
-  body. The night waned, and I worked hastily, but in silence.
-  First of all I dismembered the corpse.
-
-  I then took up three planks from the flooring of the chamber and
-  deposited all between the scantlings. I then replaced the boards
-  so cleverly, so cunningly, that no human eye—not even his—could
-  have detected anything wrong.
-
-  When I had made an end of these labors it was four o’clock—still
-  dark as midnight. As the bell sounded the hour, there came a
-  knocking at the street door. I went down to open it with a light
-  heart—for what had I now to fear? Then entered three men who
-  introduced themselves, with perfect suavity, as officers of the
-  police. A shriek had been heard by a neighbor during the night;
-  suspicion of foul play had been aroused; information had been
-  lodged at the police office, and they (the officers) had been
-  deputed to search the premises.
-
-  I smiled—for what had I to fear? I bade the gentlemen welcome.
-  The shriek, I said, was my own in a dream. The old man, I
-  mentioned, was absent in the country. I took my visitors all over
-  the house. I bade them search—search well. I led them at length
-  to his chamber. I showed them his treasures, secure, undisturbed.
-  In the enthusiasm of my confidence I brought chairs into the
-  room, and desired them here to rest from their fatigues, while I
-  myself, in the wild audacity of my perfect triumph, placed my own
-  seat upon the very spot beneath which reposed the corpse of the
-  victim.
-
-  The officers were satisfied. My manner had convinced them. I was
-  singularly at ease. But ere long I felt myself getting pale and
-  wished them gone. My head ached, and I fancied a ringing in my
-  ears; but still they sat and still chatted. The ringing became
-  more distinct; it continued and gained definitiveness—until at
-  length I found that the noise was not within my ears.
-
-  No doubt I now grew very pale; but I talked more fluently and
-  with a heightened voice. Yet the sound increased—and what could I
-  do. It was a low, dull, quick sound—much such a sound as a watch
-  makes when enveloped in cotton. I gasped for breath—and yet the
-  officers heard it not. I talked more quickly—more vehemently; but
-  the noise steadily increased. I arose and argued about trifles,
-  in a high key and with violent gesticulations; but the noise
-  steadily increased. Why would they not be gone? I paced the
-  floor to and fro with heavy strides, as if excited to fury by
-  the observations of the men—but the noise steadily increased. O
-  God! what could I do? I foamed—I raved—I swore! I swung the chair
-  upon which I had been sitting, and grated it upon the boards,
-  but the noise arose over all and continually increased. It grew
-  louder—louder—louder. And still the men chatted pleasantly and
-  smiled. Was it possible they heard not?
-
-  They heard!—they suspected!—they knew!—they were making a mockery
-  of my horror! this I thought, and this I think. But anything was
-  better than this agony! Anything was more tolerable than this
-  derision! I can bear those hypocritical smiles no longer! I felt
-  that I must scream or die!—and now—again!—hark! louder! louder!
-  louder! louder!
-
-  “Villains!” I shrieked, “dissemble no more! I admit the deed—tear
-  up the planks! here! here! it is the beating of his hideous
-  heart!”
-
-                                                   EDGAR ALLAN POE.
-
-
-THE LITTLE MATCH-GIRL.
-
-A CHRISTMAS STORY.
-
-  It was terribly cold; it snowed and was already almost dark and
-  evening coming on—the last evening of the year. In the cold and
-  gloom a little girl, bareheaded and barefooted, was walking
-  through the streets. When she left her own house she certainly
-  had slippers on, slippers, but of what use were they? They were
-  very big slippers, and her mother had used them until then. So
-  big were they the little maid lost them as she slipped across the
-  road, where two carriages were rattling by terribly fast. One
-  slipper was not to be found again, and a boy had seized the other
-  and ran away with it. So now the little girl went with naked
-  feet, which were quite red and blue with the cold. In an old
-  apron she carried a number of matches and a bundle of them in
-  her hand. No one had bought anything of her all day, and no one
-  had given her a farthing.
-
-  Shivering with cold and hunger she crept along, a picture of
-  misery, poor little girl! The snowflakes covered her long, fair
-  hair, which fell in pretty curls over her neck, but she did not
-  think of that now. In all the windows lights were shining and
-  there was a glorious smell of roast goose, for it was Christmas
-  Eve. Yes, she thought of that!
-
-  In a corner formed by two houses, one of which projected beyond
-  the other, she sat down, cowering. She had drawn up her little
-  feet, but she was still colder, and she did not dare go home, for
-  she had sold no matches, and did not therefore have a farthing
-  of money. From her father she would certainly receive a beating,
-  and, besides, it was cold at home, for they had nothing over them
-  but a roof, through which the wind whistled, though the largest
-  rents had been stopped with straw and rags.
-
-  Her hands were almost benumbed with the cold. Ah! a match might
-  do her good if she could only draw one from the bundle and rub
-  it against the wall and warm her hands at it. She draws one out.
-  R-r-atch! How it sputtered and burned! It was a warm, bright
-  flame, like a candle, when she held her hands over it; it was a
-  wonderful little light! It really seemed to the child as if she
-  sat before a great polished stove with bright brass feet and a
-  brass cover. How the fire burned! How comfortable it was! but the
-  little flame went out, the stove vanished, and she had only the
-  remains of the burnt match in her hand.
-
-  A second one was rubbed against the wall. It burned up, and when
-  the light fell upon the wall it became transparent, like a thin
-  veil, and she could see through it into the room. On the table
-  a snow-white cloth was spread; upon it stood a shining dinner
-  service; the roast goose smoked gloriously, stuffed with apples
-  and dried plums. And what was still more splendid to behold, the
-  goose hopped down from the dish and waddled along the floor, with
-  a knife and fork in its breast, to the little girl.
-
-  Then the match went out, and only the thick, damp, cold wall was
-  before her. She lighted another match. Then she was sitting under
-  a beautiful Christmas tree; it was greater and more ornamented
-  than the one she had seen through the glass door at the rich
-  merchant’s. Thousands of candles burned upon its green branches
-  and lighted up the pictures in the room. The girl stretched forth
-  her hand toward them; then the match went out. The Christmas
-  lights mounted higher. She saw them now as stars in the sky; one
-  of them fell down, forming a long line of fire.
-
-  “Now some one is dying,” thought the little girl, for her old
-  grandmother, the only person who had loved her and who was now
-  dead, had told her that when a star fell down a soul mounted up
-  to God.
-
-  She rubbed another match against the wall; it became bright
-  again, and in the brightness the old grandmother stood clear and
-  shining, mild and lovely.
-
-  “Grandmother!” cried the child, “oh! take me with you! I know you
-  will go when the match is burned out. You will vanish like the
-  warm fire, the warm food, and the great, glorious Christmas tree!”
-
-  And she hastily rubbed the whole bundle of matches, for she
-  wished to hold her grandmother fast. And the matches burned with
-  such a glow that it became brighter than in the middle of the
-  day; grandmother had never been so large or so beautiful. She
-  took the child in her arms and both flew in brightness and joy
-  above the earth, very, very high; and up there was neither cold
-  nor hunger nor care—they were with God.
-
-  But in the corner, leaning against the wall, sat the poor girl
-  with red cheeks and smiling mouth, frozen to death. “She wanted
-  to warm herself,” the people said. No one imagined what a
-  beautiful thing she had seen and in what glory she had gone in
-  with her grandmother on that Christmas night.
-
-                                           HANS CHRISTIAN ANDERSEN.
-
-
-THE MONK’S VISION.
-
-  I read a legend of a monk who painted,
-    In an old convent cell in days bygone,
-  Pictures of martyrs and of virgins sainted,
-    And the sweet Christ-face with the crown of thorn.
-
-  Poor daubs not fit to be a chapel’s treasure—
-    Full many a taunting word upon them fell;
-  But the good abbot let him, for his pleasure,
-    Adorn with them his solitary cell.
-
-  One night the poor monk mused: “Could I but render
-    Honor to Christ as other painters do—
-  Were but my skill as great as is the tender
-    Love that inspires me when His cross I view!
-
-  “But no; ’tis vain I toil and strive in sorrow;
-    What man so scorns, still less can He admire;
-  My life’s work is all valueless; to-morrow
-    I’ll cast my ill-wrought pictures in the fire.”
-
-  He raised his eyes within his cell—O wonder!
-    There stood a visitor; thorn-crowned was He,
-  And a sweet voice the silence rent asunder:
-    “I scorn no work that’s done for love of me.”
-
-  And round the walls the paintings shone resplendent
-    With lights and colors to this world unknown,
-  A perfect beauty, and a hue transcendent,
-    That never yet on mortal canvas shone.
-
-  There is a meaning in this strange old story;
-    Let none dare judge his brother’s worth or need;
-  The pure intent gives to the act its glory,
-    The noblest purpose makes the grandest deed.
-
-
-THE BOAT RACE
-
-  The Algonquins rowed up and down a few times before the
-  spectators. They appeared in perfect training, mettlesome
-  as colts, steady as draught horses, deep breathed as oxen,
-  disciplined to work together as symmetrically as a single sculler
-  pulls his pair of oars.
-
-  Five minutes passed, and all eyes were strained to the south,
-  looking for the Atalanta. A clumb of trees hid the edge of the
-  lake along which the Corinna’s boat was stealing toward the
-  starting point. Presently the long shell swept into view, with
-  its blooming rowers. How steadily the Atalanta came on! No
-  rocking, no splashing, no apparent strain; the bow oar turning
-  to look ahead every now and then, and watching her course, which
-  seemed to be straight as an arrow, the beat of the strokes as
-  true and regular as the pulse of the healthiest rower among them
-  all.
-
-  If the sight of the other boat and its crew of young men was
-  beautiful, how lovely was the look of this: eight young girls—all
-  in the flush of youth, all in vigorous health; every muscle
-  taught its duty; each rower alert not to be a tenth of a second
-  out of time, or let her oar dally with the water so as to lose an
-  ounce of its propelling virtue; every eye kindling with the hope
-  of victory. Each of the boats was cheered as it came in sight,
-  but the cheers for the Atalanta were naturally the loudest, as
-  the gallantry of one sex and the clear, high voices of the other
-  gave it his and vigor.
-
-  “Take your places!” shouted the umpire, five minutes before the
-  half-hour. The two boats felt their way slowly and cautiously to
-  their positions. After a little backing and filling they got into
-  line, and sat motionless, the bodies of the rowers bent forward,
-  their arms outstretched, their oars in the water, waiting for the
-  word. “Go!” shouted the umpire. Away sprang the Atalanta, and
-  far behind her leaped the Algonquin, her oars bending like long
-  Indian bows as their blades flashed through the water.
-
-  “A stern chase is a long chase,” especially when one craft is
-  a great distance behind the other. It looked as if it would be
-  impossible for the rear boat to overcome the odds against it. Of
-  course, the Algonquin kept gaining, but could it possibly gain
-  enough? As the boats got farther and farther away, it became
-  difficult to determine what change there was in the interval
-  between them.
-
-  But when they came to rounding the stake it was easier to guess
-  at the amount of space which had been gained. Something like half
-  the distance—four lengths as nearly as could be estimated—had
-  been made up in rowing the first three-quarters of a mile. Could
-  the Algonquins do a little better than this in the second half of
-  the race-course they would be sure of winning.
-
-  The boats had turned the stake and were coming in rapidly. Every
-  minute the University boat was getting nearer the other.
-
-  “Go it, ’Quins!” shouted the students.
-
-  “Pull away, ’Lantas!” screamed the girls, who were crowding down
-  to the edge of the water.
-
-  Nearer, nearer—the rear boat is pressing the other more and
-  more closely—a few more strokes and they will be even. It looks
-  desperate for the Atalantas. The bow oar of the Algonquin
-  turns his head. He sees the little coxswain leaning forward
-  at every stroke, as if her trivial weight were of such mighty
-  consequence—but a few ounces might turn the scale of victory. As
-  he turned he got a glimpse of the stroke oar of the Atalanta;
-  what a flash of loveliness it was! Her face was like the reddest
-  of June roses, with the heat and the strain and passion of
-  expected triumph.
-
-  The upper button of her close-fitting flannel suit had strangled
-  her as her bosom heaved with exertion, and it had given way
-  before the fierce clutch she made at it. The bow oar was a
-  staunch and steady rower, but he was human. The blade of his oar
-  lingered in the water; a little more and he would have caught a
-  crab, and perhaps lost the race by his momentary bewilderment.
-
-  The boat, which seemed as if it had all the life and nervousness
-  of a three-year-old colt, felt the slight check, and all her
-  men bent more vigorously to their oars. The Atalanta saw the
-  movement, and made a spurt to keep their lead and gain upon it if
-  they could. It was no use. The strong arms of the young men were
-  too much for the young maidens; only a few lengths remained to
-  be rowed, and they would certainly pass the Atalanta before she
-  could reach the line.
-
-  The little coxswain saw that it was all up with the girls’ crew
-  if she could not save them by some strategic device. As she
-  stooped she lifted the handkerchief at her feet and took from it
-  a flaming bouquet. “Look!” she cried, and flung it just forward
-  of the track of the Algonquin.
-
-  The captain of the University boat turned his head, and there was
-  the lovely vision which had, a moment before, bewitched him. The
-  owner of all that loveliness must, he thought, have flung the
-  bouquet. It was a challenge; how could he be such a coward as to
-  decline accepting it? He was sure he could win the race now,
-  and he would sweep past the line in triumph with the great bunch
-  of flowers at the stern of his boat, proud as Van Tromp in the
-  British Channel with the broom at his masthead.
-
-  He turned the boat’s head a little by backing water, and came up
-  with the floating flowers, near enough to reach them. He stooped
-  and snatched them up, with the loss perhaps of a second, no more.
-  He felt sure of his victory.
-
-  The bow of the Algonquin passes the stern of the Atalanta!
-  The bow of the Algonquin is on a level with the middle of the
-  Atalanta—three more lengths and the college crew will pass the
-  girls!
-
-  “Hurrah for the ’Quins!” The Algonquin ranges up alongside of the
-  Atalanta!
-
-  “Through with her!” shouts the captain of the Algonquin.
-
-  “Now, girls!” shrieks the captain of the Atalanta.
-
-  They near the line, every rower straining desperately, almost
-  madly. Crack goes the oar of the Atalanta’s captain, and up flash
-  its splintered fragments as the stem of her boat springs past the
-  line, eighteen inches at least ahead of the Algonquin.
-
-  “Hooraw for the ’Lantas! Hooraw for the girls! Hooraw for the
-  Institoot!” shout a hundred voices.
-
-  And there is loud laughing and cheering all round.
-
-  The pretty little captain had not studied her classical
-  dictionary for nothing. “I have paid off an old ‘score,’” she
-  said. “Set down my damask roses against the golden apples of
-  Hippomenes!” It was that one second lost in snatching up the
-  bouquet which gave the race to the Atalantas!
-
-
-PHILLIPS OF PELHAMVILLE.
-
-  Short is the story I say, if you will
-  Hear it, of Phillips of Pelhamville:
-
-  An engineer for many a day
-  Over miles and miles of the double way.
-
-  He was out that day, running sharp, for he knew
-  He must shunt ahead for a train overdue,
-
-  The South Express coming on behind
-  With the swing and rush of a mighty wind.
-
-  No need to say in this verse of mine
-  How accidents happen along the line.
-
-  A rail lying wide to the gauge ahead,
-  A signal clear when it should be red;
-
-  An axle breaking, the tire of a wheel
-  Snapping off at a hidden flaw in the steel.
-
-  Enough. There were wagons piled up in the air,
-  As if some giant had tossed them there.
-
-  Rails broken and bent like a willow wand,
-  And sleepers torn up through the ballast and sand.
-
-  The hiss of the steam was heard, as it rushed
-  Through the safety-valves; the engine crushed
-
-  Deep into the slope, like a monster driven
-  To hide itself from the eye of heaven.
-
-  But where was Phillips? From underneath
-  The tender wheels, with their grip of death,
-
-  They drew him, scalded by steam, and burned
-  By the engine fires as it overturned.
-
-  They laid him gently upon the slope,
-  Then knelt beside him with little of hope.
-
-  Though dying, he was the only one
-  Of them all that knew what ought to be done;
-
-  For his fading eye grew quick with a fear,
-  As if of some danger approaching near.
-
-  And it sought—not the wreck of his train that lay
-  Over the six and the four feet away—
-
-  But down the track, for there hung on his mind
-  The South Express coming up behind.
-
-  And he half arose with a stifled groan,
-  While his voice had the same old ring in its tone:
-
-  “Signal the South Express!” he said,
-  Then fell back in the arms of his fireman, dead.
-
-  Short, as you see, is this story of mine,
-  And of one more hero of the line.
-
-  For hero he was, though before his name
-  Goes forth no trumpet-blast of fame.
-
-  Yet true to his duty, as steel to steel,
-  Was Phillips the driver of Pelhamville.
-
-                                 ALEXANDER ANDERSON.
-
-
-POOR LITTLE JIM.
-
-  The cottage was a thatched one, the outside old and mean,
-  But all within that little cot was wondrous neat and clean;
-  The night was dark and stormy, the wind was howling wild,
-  As a patient mother sat beside the death-bed of her child:
-  A little worn-out creature, his once bright eyes grown dim:
-  It was a collier’s wife and child, they called him little Jim.
-
-  And oh! to see the briny tears fast hurrying down her cheek,
-  As she offered up the prayer, in thought, she was afraid to speak,
-  Lest she might waken one she loved far better than her life;
-  For she had all a mother’s heart, had that poor collier’s wife.
-  With hands uplifted, see, she kneels beside the sufferer’s bed,
-  And prays that He would spare her boy, and take herself instead.
-
-  She gets her answer from the child: soft fall the words from him:
-  “Mother, the angels do so smile, and beckon little Jim,
-  I have no pain, dear mother, now, but oh! I am so dry,
-  Just moisten poor Jim’s lips again, and, mother, don’t you cry.”
-  With gentle, trembling haste she held the liquid to his lip;
-  He smiled to thank her as he took each little, tiny sip;
-
-  “Tell father, when he comes from work, I said good-night to him,
-  And, mother, now I’ll go to sleep.” Alas! poor little Jim!
-  She knew that he was dying; that the child she loved so dear
-  Had uttered the last words she might ever hope to hear:
-  The cottage door is opened, the collier’s step is heard,
-  The father and the mother meet, yet neither speak a word.
-
-  He felt that all was over, he knew his child was dead,
-  He took the candle in his hand and walked toward the bed;
-  His quivering lips gave token of the grief he’d fain conceal,
-  And see, his wife has joined him—the stricken couple kneel:
-  With hearts bowed down by sadness, they humbly ask of Him,
-  In heaven once more to meet again their own poor little Jim.
-
-
-
-
-ORATIONS BY FAMOUS ORATORS.
-
-
-An oration, strictly speaking, is an elaborate discourse delivered on
-some special occasion, and in a somewhat formal and dignified manner. As
-this class of recitations stands by itself and is quite different from
-the other selections contained in this volume, I have grouped together
-here a number of Famous Orations, all of which have given their authors
-celebrity. These are well suited for public delivery by those who prefer
-this kind of recitation and have the oratorical ability required for
-reciting them.
-
-
-TRUE MORAL COURAGE.
-
-BY HENRY CLAY.
-
-When reference is made to America’s greatest orators it is customary to
-mention the name of Henry Clay among the very first. He was frequently
-called “The Mill Boy of the Slashes,” from the fact that he was a poor
-boy and was born in a district in Virginia called “the Slashes.” Mr. Clay
-was tall and slender and had a voice of wonderful range and sympathy, was
-remarkably easy and graceful in manner, and few orators who ever lived
-possessed such persuasive power.
-
-The opening part of this fine selection should be delivered in a rather
-quiet, slightly satirical tone; but in the later passages the speaker
-should grow warm and enthusiastic, and voice and gesture should express a
-full appreciation of the lofty sentiments he is uttering.
-
-  There is a sort of courage, which, I frankly confess it, I do not
-  possess—a boldness to which I dare not aspire, a valor which I
-  cannot covet. I cannot lay myself down in the way of the welfare
-  and happiness of my country. That, I cannot—I have not the
-  courage to do. I cannot interpose the power with which I may be
-  invested—a power conferred, not for my personal benefit, nor for
-  my aggrandizement, but for my country’s good—to check her onward
-  march to greatness and glory. I have not courage enough. I am too
-  cowardly for that.
-
-  I would not, I dare not, in the exercise of such a threat, lie
-  down, and place my body across the path that leads my country
-  to prosperity and happiness. This is a sort of courage widely
-  different from that which a man may display in his private
-  conduct and personal relations. Personal or private courage
-  is totally distinct from that higher and nobler courage which
-  prompts the patriot to offer himself a voluntary sacrifice to his
-  country’s good.
-
-  Apprehensions of the imputation of the want of firmness sometimes
-  impel us to perform rash and inconsiderate acts. It is the
-  greatest courage to be able to bear the imputation of the want of
-  courage.
-
-  But pride, vanity, egotism, so unamiable and offensive in private
-  life, are vices which partake of the character of crimes in
-  the conduct of public affairs. The unfortunate victim of these
-  passions cannot see beyond the little, petty, contemptible circle
-  of his own personal interests. All his thoughts are withdrawn
-  from his country, and concentrated on his consistency, his
-  firmness, himself.
-
-  The high, the exalted, the sublime emotions of a patriotism
-  which, soaring toward heaven, rises far above all mean, low, or
-  selfish things, and is absorbed by one soul-transporting thought
-  of the good and the glory of one’s country, are never felt in
-  his impenetrable bosom. That patriotism which, catching its
-  inspiration of the immortal God, and, leaving at an immeasurable
-  distance below all lesser, groveling, personal interests and
-  feelings, animates and prompts to deeds of self-sacrifice, of
-  valor, of devotion, and of death itself—that is public virtue;
-  that is the noblest, the sublimest of all public virtues!
-
-
-THE STRUGGLE FOR LIBERTY.
-
-BY JOSIAH QUINCY.
-
-An American orator and patriot, born in Massachusetts in 1744, Mr.
-Quincy, by his fervid and convincing eloquence, was one of the most
-powerful champions of the popular cause of independence.
-
-  Be not deceived, my countrymen. Believe not these venal
-  hirelings, when they would cajole you by their subtleties into
-  submission, or frighten you by their vaporings into compliance.
-  When they strive to flatter you by the terms “moderation and
-  prudence,” tell them that calmness and deliberation are to guide
-  the judgment; courage and intrepidity command the action. When
-  they endeavor to make us “perceive our inability to oppose our
-  mother country,” let us boldly answer—In defence of our civil
-  and religious rights, we dare oppose the world; with the God of
-  armies on our side, even the God who fought our fathers’ battles,
-  we fear not the hour of trial, though the hosts of our enemies
-  should cover the field like locusts. If this be enthusiasm, we
-  will live and die enthusiasts.
-
-  Blandishments will not fascinate us, nor will threats of a
-  “halter” intimidate. For, under God, we are determined, that
-  wheresoever, whensoever, or howsoever we shall be called to make
-  our exit, we will die freemen. Well do we know that all the
-  regalia of this world can not dignify the death of a villain, nor
-  diminish the ignominy with which a slave shall quit existence.
-
-  Neither can it taint the unblemished honor of a son of freedom
-  though he should make his departure on the already prepared
-  gibbet, or be dragged to the newly-erected scaffold for
-  execution. With the plaudits of his country, and what is more,
-  the plaudits of his conscience, he will go off the stage. The
-  history of his life, his children shall venerate. The virtues of
-  their sires shall excite their emulation.
-
-  Is the debt we owe posterity paid? Answer me, thou coward, who
-  hidest thyself in the hour of trial! If there is no reward in
-  this life, no prize of glory in the next, capable of animating
-  thy dastard soul, think and tremble, thou miscreant! at the whips
-  and stripes thy master shall lash thee with on earth—and the
-  flames and scorpions thy second master shall torment thee with
-  hereafter!
-
-  Oh my countrymen! what will our children say, when they read the
-  history of these times, should they find that we tamely gave way,
-  without one noble struggle for the most invaluable of earthly
-  blessings! As they drag the galling chain, will they not execrate
-  us? If we have any respect for things sacred, any regard to the
-  dearest treasure on earth; if we have one tender sentiment for
-  posterity; if we would not be despised by the world; let us, in
-  the most open, solemn manner, and with determined fortitude,
-  swear—we will die if we cannot live freemen. While we have
-  equity, justice, and God on our side, tyranny, spiritual or
-  temporal, shall never ride triumphant in a land inhabited by
-  Englishmen.
-
-
-CENTENNIAL ORATION.
-
-BY HENRY ARMITT BROWN.
-
-From the oration delivered upon the occasion of the Centennial
-Anniversary of the meeting of the first Colonial Congress in Carpenters’
-Hall, Philadelphia. This oration is the masterpiece of a young orator
-who died when but little past the age of thirty, having already gained a
-wide celebrity for scholarly attainments and commanding eloquence. It is
-remarkable for boldness of thought and fervor of expression.
-
-  The conditions of life are always changing, and the experience of
-  the fathers is rarely the experience of the sons. The temptations
-  which are trying us are not the temptations which beset their
-  footsteps, nor the dangers which threaten our pathway the dangers
-  which surrounded them. These men were few in number; we are
-  many. They were poor, but we are rich. They were weak, but we
-  are strong. What is it, countrymen, that we need to-day? Wealth?
-  Behold it in your hands. Power? God hath given it you. Liberty?
-  It is your birthright. Peace? It dwells amongst you.
-
-  You have a Government founded in the hearts of men, built by the
-  people for the common good. You have a land flowing with milk and
-  honey; your homes are happy, your workshops busy, your barns are
-  full. The school, the railway, the telegraph, the printing press,
-  have welded you together into one. Descend those mines that
-  honeycomb the hills! Behold that commerce whitening every sea!
-  Stand by your gates and see that multitude pour through them from
-  the corners of the earth, grafting the qualities of older stocks
-  upon one stem; mingling the blood of many races in a common
-  stream, and swelling the rich volume of our English speech with
-  varied music from an hundred tongues.
-
-  You have a long and glorious history, a past glittering with
-  heroic deeds, an ancestry full of lofty and imperishable
-  examples. You have passed through danger, endured privation,
-  been acquainted with sorrow, been tried by suffering. You have
-  journeyed in safety through the wilderness and crossed in
-  triumph the Red Sea of civil strife, and the foot of Him who
-  led you hath not faltered nor the light of His countenance been
-  turned away.
-
-  It is a question for us now, not of the founding of a new
-  government, but of the preservation of one already old; not of
-  the formation of an independent power, but of the purification
-  of a nation’s life; not of the conquest of a foreign foe, but of
-  the subjection of ourselves. The capacity of man to rule himself
-  is to be proven in the days to come, not by the greatness of his
-  wealth; not by his valor in the field; not by the extent of his
-  dominion, nor by the splendor of his genius.
-
-  The dangers of to-day come from within. The worship of self, the
-  love of power, the lust for gold, the weakening of faith, the
-  decay of public virtue, the lack of private worth—these are the
-  perils which threaten our future; these are the enemies we have
-  to fear; these are the traitors which infest the camp; and the
-  danger was far less when Catiline knocked with his army at the
-  gates of Rome, than when he sat smiling in the Senate House. We
-  see them daily face to face; in the walk of virtue; in the road
-  to wealth; in the path to honor; on the way to happiness. There
-  is no peace between them and our safety. Nor can we avoid them
-  and turn back. It is not enough to rest upon the past. No man or
-  nation can stand still. We must mount upward or go down. We must
-  grow worse or better. It is the Eternal Law—we cannot change it.
-
-  My countrymen: this anniversary has gone by forever, and my
-  task is done. While I have spoken, the hour has passed from us;
-  the hand has moved upon the dial, and the old century is dead.
-  The American Union hath endured an hundred years! Here, on this
-  threshold of the future, the voice of humanity shall not plead to
-  us in vain. There shall be darkness in the days to come; danger
-  for our courage; temptation for our virtue; doubt for our faith;
-  suffering for our fortitude. A thousand shall fall before us, and
-  tens of thousands at our right hand. The years shall pass beneath
-  our feet, and century follow century in quick succession. The
-  generations of men shall come and go; the greatness of yesterday
-  shall be forgotten; to-day and the glories of this noon shall
-  vanish before to-morrow’s sun; but America shall not perish, but
-  endure while the spirit of our fathers animates their sons.
-
-
-SPEECH OF SHREWSBURY BEFORE QUEEN ELIZABETH.
-
-BY FREDERIC VON SCHILLER.
-
-  God whose most wondrous hand has four times protected you, and
-  who to-day gave the feeble arm of gray hairs strength to turn
-  aside the stroke of a madman, should inspire confidence. I will
-  not now speak in the name of justice: this is not the time. In
-  such a tumult, you cannot hear her still small voice. Consider
-  this only: you are fearful now of the living Mary; but I say it
-  is not the living you have to fear. _Tremble at the dead—the
-  beheaded._ She will rise from the grave a fiend of dissension.
-  She will awaken the spirit of revenge in your kingdom, and wean
-  the hearts of your subjects from you. At present she is an object
-  of dread to the British; but when she is no more, they will
-  revenge her.
-
-  No longer will she then be regarded as the enemy of their faith;
-  her mournful fate will cause her to appear as the grand-daughter
-  of their king, the victim of man’s hatred, and woman’s jealousy.
-  Soon will you see the change appear! Drive through London after
-  the bloody deed has been done; show yourself to the people, who
-  now surround you with joyful acclamations: then will you see
-  another England, another people! No longer will you then walk
-  forth encircled by the radiance of heavenly justice which now
-  binds every heart to you. Dread the frightful name of tyrant
-  which will precede you through shuddering hearts, and resound
-  through every street where you pass. You have done the last
-  irrevocable deed. What head stands fast when this sacred one has
-  fallen?
-
-
-THE PROSPECTS OF THE REPUBLIC.
-
-BY EDWARD EVERETT.
-
-  This, then, is the theatre on which the intellect of America is
-  to appear, and such the motives to its exertion, such the mass
-  to be influenced by its energies, such the crowd to witness its
-  efforts, such the glory to crown its success. If I err in this
-  happy vision of my country’s fortunes, I thank God for an error
-  so animating. If this be false may I never know the truth. Never
-  may you, my friends, be under any other feeling than that a
-  great, a growing, an immeasurably expanding country is calling
-  upon you for your best services.
-
-  The most powerful motives call on us for those efforts which
-  our common country demands of all her children. Most of us are
-  of that class who owe whatever of knowledge has shone into our
-  minds, to the free and popular institutions of our native land.
-  There are few of us, who may not be permitted to boast, that we
-  have been reared in an honest poverty or a frugal competence, and
-  owe everything to those means of education which are equally open
-  to all.
-
-  We are summoned to new energy and zeal by the high nature of
-  the experiment we are appointed in Providence to make, and the
-  grandeur of the theatre on which it is to be performed. When the
-  Old World afforded no longer any hope, it pleased Heaven to open
-  this last refuge of humanity. The attempt has begun, and is going
-  on, far from foreign corruption, on the broadest scale, and under
-  the most benignant prospects; and it certainly rests with us to
-  solve the great problem in human society, to settle, and that
-  forever, that momentous question—whether mankind can be trusted
-  with a purely popular system?
-
-  One might almost think, without extravagance, that the departed
-  wise and good of all places and times are looking down from
-  their happy seats to witness what shall now be done by us;
-  that they who lavished their treasures and their blood of old,
-  who labored and suffered, who spake and wrote, who fought and
-  perished, in the one great cause of freedom and truth, are now
-  hanging from their orbs on high, over the last solemn experiment
-  of humanity.
-
-  As I have wandered over the spots, once the scene of their
-  labors, and mused among the prostrate columns of their senate
-  houses and forums, I have seemed almost to hear a voice from the
-  tombs of departed ages; from the sepulchers of the nations, which
-  died before the sight. They exhort us, they adjure us, to be
-  faithful to our trust.
-
-  They implore us, by the long trials of struggling humanity, by
-  the blessed memory of the departed; by the dear faith, which
-  has been plighted by pure hands, to the holy cause of truth and
-  man; by the awful secrets of the prison houses, where the sons
-  of freedom have been immured; by the noble heads which have been
-  brought to the block; by the wrecks of time, by the eloquent
-  ruins of nations, they conjure us not to quench the light which
-  is rising on the world. Greece cries to us, by the convulsed lips
-  of her poisoned, dying Demosthenes; and Rome pleads with us, in
-  the mute persuasion of her mangled Tully.
-
-
-THE PEOPLE ALWAYS CONQUER.
-
-BY EDWARD EVERETT.
-
-As a finished scholar and eloquent speaker, Mr. Everett gained the
-highest distinction. His silvery tones and flowery periods held
-multitudes spellbound. His orations were always prepared with the
-greatest care, delivered from memory, and are models of elevated thought
-and sentiment and brilliant diction. He was the finished orator, noted
-for the classic beauty of his writings.
-
-  Sir, in the efforts of the people—of the people struggling for
-  their rights—moving, not in organized, disciplined masses, but in
-  their spontaneous action, man for man, and heart for heart—there
-  is something glorious. They can then move forward without
-  orders, act together without combination, and brave the flaming
-  lines of battle without entrenchments to cover or walls to shield
-  them.
-
-  No dissolute camp has worn off from the feelings of the youthful
-  soldier the freshness of that home, where his mother and his
-  sisters sit waiting, with tearful eyes and aching hearts, to
-  hear good news from the wars; no long service in the ranks of a
-  conqueror has turned the veteran’s heart into marble. Their valor
-  springs not from recklessness, from habit, from indifference to
-  the preservation of a life knit by no pledges to the life of
-  others; but in the strength and spirit of the cause alone, they
-  act, they contend, they bleed. In this they conquer.
-
-  The people always conquer. They always _must_ conquer. Armies may
-  be defeated, kings may be overthrown, and new dynasties imposed,
-  by foreign arms, on an ignorant and slavish race, that cares not
-  in what language the covenant of their subjection runs, nor in
-  whose name the deed of their barter and sale is made out.
-
-  But the people never invade; and, when they rise against the
-  invader, are never subdued. If they are driven from the plains,
-  they fly to the mountains. Steep rocks and everlasting hills are
-  their castles; the tangled, pathless thicket their palisado; and
-  nature, God, is their ally! Now he overwhelms the hosts of their
-  enemies beneath his drifting mountains of sand; now he buries
-  them beneath a falling atmosphere of polar snows; He lets loose
-  his tempest on their fleets; He puts a folly into their counsels,
-  a madness into the hearts of their leaders; He never gave, and
-  never will give, a final triumph over a virtuous and gallant
-  people, resolved to be free.
-
-  “For Freedom’s battle once begun,
-  Bequeathed from bleeding sire to son
-  Though baffled oft, is ever won.”
-
-
-TO THE SURVIVORS OF BUNKER HILL.
-
-BY DANIEL WEBSTER.
-
-One of the towering names in American statesmanship is that of Daniel
-Webster, “the great defender of the Constitution.” Mr. Webster was
-not more remarkable for intellectual power than he was for masterly
-eloquence. His triumphs in Senatorial debate and on great public
-occasions are historic. In person he was large and brawny, with a
-swarthy complexion, massive head, and always conveyed the impression of
-strength, and, at times, even of majesty. His orations are masterpieces
-of patriotic fervor and scholarly culture.
-
-  Venerable men: you have come down to us from a former generation.
-  Heaven has bounteously lengthened out your lives that you might
-  behold this joyous day. You are now where you stood fifty years
-  ago, this very hour, with your brothers and your neighbors,
-  shoulder to shoulder, in the strife of your country. Behold how
-  altered! The same heavens are indeed over your heads; the same
-  ocean rolls at your feet; but all else, how changed! You hear now
-  no roar of hostile cannon, you see no mixed volumes of smoke and
-  flame rising from burning Charlestown.
-
-  The ground strewed with the dead and the dying; the impetuous
-  charge; the steady and successful repulse; the loud call to
-  repeated assault; the summoning of all that is manly to repeated
-  resistance; a thousand bosoms freely and fearlessly bared in an
-  instant to whatever of terror there may be in war and death;—all
-  these you have witnessed, but you witness them no more. All is
-  peace. The heights of yonder metropolis, its towers and roofs,
-  which you then saw filled with wives and children and countrymen
-  in distress and terror, and looking with unutterable emotions for
-  the issue of the combat, have presented you to-day with the sight
-  of its whole happy population, come out to welcome and greet you
-  with a universal jubilee.
-
-  Yonder proud ships, by a felicity of position appropriately lying
-  at the foot of this mount, and seeming fondly to cling around it,
-  are not means of annoyance to you, but your country’s own means
-  of distinction and defence. All is peace; and God has granted
-  you this sight of your country’s happiness, ere you slumber in
-  the grave for ever. He has allowed you to behold and partake the
-  reward of your patriotic toils; and he has allowed us, your sons
-  and countrymen, to meet you here, and in the name of the present
-  generation, in the name of your country, in the name of liberty,
-  to thank you!
-
-  But, alas! you are not all here! Time and the sword have thinned
-  your ranks. Prescott, Putnam, Stark, Brooks, Read, Pomeroy,
-  Bridge! our eyes seek for you in vain amidst this broken band.
-  You are gathered to your fathers, and live only to your country
-  in her grateful remembrance and your own bright example. But
-  let us not too much grieve that you have met the common fate of
-  men. You lived at least long enough to know that your work had
-  been nobly and successfully accomplished. You lived to see your
-  country’s independence established and to sheathe your swords
-  from war. On the light of liberty you saw arise the light of
-  Peace, like
-
-      “another morn,
-  Risen on mid-noon;”—
-
-  and the sky on which you closed your eyes was cloudless.
-
-
-SOUTH CAROLINA AND MASSACHUSETTS.
-
-BY DANIEL WEBSTER.
-
-  The eulogium pronounced on the character of the State of South
-  Carolina by the honorable gentleman, for her revolutionary
-  and other merits, meets my hearty concurrence. I shall not
-  acknowledge that the honorable member goes before me in regard
-  for whatever of distinguished talent, or distinguished character,
-  South Carolina has produced. I claim part of the honor; I partake
-  in the pride of her great names. I claim them for countrymen, one
-  and all. The Laurenses, Rutledges, the Pinckneys, the Sumters,
-  the Marions—Americans all—whose fame is no more to be hemmed in
-  by state lines, than their talents and patriotism were capable of
-  being circumscribed within the same narrow limits.
-
-  In their day and generation, they served and honored the country,
-  the whole country, and their renown is of the treasures of
-  the whole country. Him whose honored name the gentleman bears
-  himself—does he suppose me less capable of gratitude for his
-  patriotism, or sympathy for his sufferings, than if his eyes
-  had first opened upon the light in Massachusetts instead of
-  South Carolina? Sir, does he suppose it in his power to exhibit
-  a Carolina name so bright as to produce envy in my bosom? No,
-  sir—increased gratification and delight, rather. Sir, I thank
-  God, that if I am gifted with little of the spirit which is said
-  to be able to raise mortals to the skies, I have yet none, as I
-  trust, of that other spirit which would drag angels down.
-
-  When I shall be found, sir, in my place here in the Senate, or
-  elsewhere, to sneer at public merit, because it happened to
-  spring up beyond the limits of my own State and neighborhood;
-  when I refuse, for any such cause, or for any cause, the homage
-  due to American talent, to elevated patriotism, to sincere
-  devotion to liberty and the country; or if I see an uncommon
-  endowment of heaven—if I see extraordinary capacity and virtue
-  in any son of the South—and if, moved by local prejudice, or
-  gangrened by State jealousy, I get up here to abate the tithe
-  of a hair, from his just character and just fame, may my tongue
-  cleave to the roof of my mouth!
-
-  I shall enter on no encomium upon Massachusetts—she needs none.
-  There she is—behold her and judge for yourselves. There is her
-  history—the world knows it by heart. The past, at least, is
-  secure. There is Boston and Concord, and Lexington, and Bunker’s
-  Hill; and there they will remain forever. The bones of her sons,
-  fallen in the great struggle for independence, now lie mingled
-  with the soil of every State, from New England to Georgia; and
-  there they will lie forever.
-
-
-EULOGIUM ON SOUTH CAROLINA.
-
-BY ROBERT T. HAYNE.
-
-This distinguished American orator was born in the parish of Saint Paul,
-South Carolina. His eminent ability soon secured for him a seat in the
-United States Senate. The following is from one of his orations delivered
-in the celebrated controversy between himself and Daniel Webster. It is
-a glowing defense of his native state, and is memorable in the annals of
-forensic eloquence.
-
-  If there be one State in the Union, and I say it not in a
-  boastful spirit, that may challenge comparison with any other for
-  a uniform, zealous, ardent, and uncalculating devotion to the
-  Union, that State is South Carolina. From the very commencement
-  of the Revolution, up to this hour, there is no sacrifice,
-  however great, she has not cheerfully made, no service she
-  has ever hesitated to perform. She has adhered to you in your
-  prosperity; but in your adversity she has clung to you with more
-  than filial affection.
-
-  No matter what was the condition of her domestic affairs, though
-  deprived of her resources, divided by parties, or surrounded by
-  difficulties, the call of the country has been to her as the
-  voice of God. Domestic discord ceased at the sound; every man
-  became reconciled to his brethren, and the sons of Carolina were
-  all seen crowding together to the temple, bringing their gifts to
-  the altar of their common country.
-
-  What was the conduct of the South during the Revolution? I honor
-  New England for her conduct in that glorious struggle. But, great
-  as is the praise which belongs to her, I think at least equal
-  honor is due to the South. They espoused the quarrel of their
-  brethren with a generous zeal which did not suffer them to stop
-  to calculate their interest in the dispute. Favorites of the
-  mother country, possessed of neither ships nor seamen to create a
-  commercial rivalship, they might have found, in their situation,
-  a guarantee that their trade would be forever fostered and
-  protected by Great Britain. But trampling on all considerations,
-  either of interest or safety, they rushed into the conflict,
-  and, fighting for principle, perilled all in the sacred cause of
-  freedom.
-
-  Never was there exhibited in the history of the world higher
-  examples of noble daring, dreadful suffering, and heroic
-  endurance than by the Whigs of Carolina during the Revolution!
-  The whole State, from the mountains to the sea, was overrun by an
-  overwhelming force of the enemy. The fruits of industry perished
-  on the spot where they were produced, or were consumed by the foe.
-
-  The “plains of Carolina” drank up the most precious blood of her
-  citizens. Black and smoking ruins marked the places which had
-  been the habitations of her children. Driven from their homes
-  into the gloomy and almost impenetrable swamps, even there the
-  spirit of liberty survived, and South Carolina, sustained by the
-  example of her Sumters and her Marions, proved, by her conduct,
-  that, though her soil might be overrun, the spirit of her people
-  was invincible.
-
-
-THE CHARACTER OF WASHINGTON.
-
-BY WENDELL PHILLIPS.
-
-It has been said of Mr. Phillips that in his public addresses he was
-“a gentleman talking,” so easy and graceful was his manner. “The
-golden-mouthed Phillips” was also an appropriate title. Considered simply
-as an orator, perhaps our country has never produced his superior.
-
-  It matters very little what spot may have been the birthplace of
-  Washington. No people can claim, no country can appropriate him.
-  The boon of Providence to the human race, his fame is eternity,
-  and his residence creation. Though it was the defeat of our arms,
-  and the disgrace of our policy, I almost bless the convulsion in
-  which he had his origin. If the heavens thundered, and the earth
-  rocked, yet, when the storm had passed, how pure was the climate
-  that it cleared; how bright, in the brow of the firmament, was
-  the planet which it revealed to us!
-
-  In the production of Washington, it does really appear as if
-  Nature was endeavoring to improve upon herself, and that all the
-  virtues of the ancient world were but so many studies preparatory
-  to the patriot of the new. Individual instances, no doubt, there
-  were, splendid exemplifications of some singular qualification;
-  Cæsar was merciful, Scipio was continent, Hannibal was patient;
-  but it was reserved for Washington to bind them all in one, and,
-  like the lovely masterpiece of the Grecian artist, to exhibit, in
-  one glow of associated beauty, the pride of every model, and the
-  perfection of every master.
-
-  As a general, he marshalled the peasant into a veteran,
-  and supplied by discipline the absence of experience; as a
-  statesman, he enlarged the policy of the cabinet into the most
-  comprehensive system of general advantage; and such was the
-  wisdom of his views, and the philosophy of his counsels, that to
-  the soldier, and the statesman he almost added the character of
-  the sage! A conqueror, he was untainted with the crime of blood;
-  a revolutionist, he was free from any stain of treason; for
-  aggression commenced the contest, and his country called him to
-  the command.
-
-  Liberty unsheathed his sword, necessity stained, victory returned
-  it. If he had paused here, history might have doubted what
-  station to assign him; whether at the head of her citizens or her
-  soldiers, her heroes or her patriots. But the last glorious act
-  crowns his career, and banishes all hesitation.
-
-  Who, like Washington, after having emancipated a hemisphere,
-  resigned its crown, and preferred the retirement of domestic
-  life to the adoration of a land he might almost be said to have
-  created?
-
-  “How shall we rank thee upon Glory’s page,
-  Thou more than soldier, and just less than sage?
-  All thou hast been reflects less fame on thee,
-  Far less, than all thou hast forborne to be!”
-
-  Such, sir, is the testimony of one not to be accused of
-  partiality in his estimate of America. Happy, proud America! The
-  lightnings of heaven yielded to your philosophy! The temptations
-  of earth could not seduce your patriotism.
-
-
-NATIONAL MONUMENT TO WASHINGTON.
-
-BY ROBERT C. WINTHROP.
-
-One of “Boston’s hundred orators” is the author of this eloquent oration,
-which was delivered at the laying of the corner-stone of Washington’s
-monument, that imposing shaft which is one of the greatest objects of
-interest at our national capital. Scarcely any finer tribute was ever
-paid to the Father of his Country. It should be delivered with full
-volume of voice and sustained energy.
-
-  Fellow-citizens, let us seize this occasion to renew to each
-  other our vows of allegiance and devotion to the American Union,
-  and let us recognize in our common title to the name and the
-  fame of Washington, and in our common veneration for his example
-  and his advice, the all-sufficient centripetal power, which
-  shall hold the thick clustering stars of our confederacy in one
-  glorious constellation forever! Let the column which we are about
-  to construct be at once a pledge and an emblem of perpetual union!
-
-  Let the foundations be laid, let the superstructure be built up
-  and cemented, let each stone be raised and riveted in a spirit
-  of national brotherhood! And may the earliest ray of the rising
-  sun—till that sun shall set to rise no more—draw forth from
-  it daily, as from the fabled statue of antiquity, a strain of
-  national harmony, which shall strike a responsive chord in every
-  heart throughout the republic!
-
-  Proceed, then, fellow-citizens, with the work for which you
-  have assembled. Lay the corner-stone of a monument which shall
-  adequately bespeak the gratitude of the whole American people to
-  the illustrious father of his country! Build it to the skies; you
-  can not outreach the loftiness of his principles! Found it upon
-  the massive and eternal rock; you can not make it more enduring
-  than his fame! Construct it of the peerless Parian marble; you
-  cannot make it purer than his life! Exhaust upon it the rules and
-  principles of ancient and of modern art; you cannot make it more
-  proportionate than his character.
-
-  But let not your homage to his memory end here. Think not to
-  transfer to a tablet or a column the tribute which is due from
-  yourselves. Just honor to Washington can only be rendered by
-  observing his precepts and imitating his example. He has built
-  his own monument. We, and those who come after us, in successive
-  generations, are its appointed, its privileged guardians.
-
-  The wide-spread republic is the future monument to Washington.
-  Maintain its independence. Uphold its constitution. Preserve
-  its union. Defend its liberty. Let it stand before the world in
-  all its original strength and beauty, securing peace, order,
-  equality, and freedom, to all within its boundaries, and shedding
-  light and hope and joy upon the pathway of human liberty
-  throughout the world—and Washington needs no other monument.
-  Other structures may testify our veneration for him; this, alone
-  can adequately illustrate his service to mankind.
-
-  Nor does he need even this. The republic may perish; the wide
-  arch of our ranged Union may fall; star by star its glories
-  may expire; stone by stone its columns and its capitol may
-  moulder and crumble; all other names which adorn its annals
-  may be forgotten; but as long as human hearts shall anywhere
-  pant, or human tongues anywhere plead, for a true, rational,
-  constitutional liberty, those hearts shall enshrine the memory,
-  and those tongues prolong the fame, of George Washington.
-
-
-THE NEW WOMAN.
-
-BY FRANCES E. WILLARD.
-
-Although it is not customary to include women among orators, an exception
-must be made in the case of Miss Willard. Few men have ever possessed her
-command over popular audiences. Her eloquence drew multitudes to listen
-to her burning appeals in behalf of the reforms of the day, among whom
-were always many who protested that they “never liked to hear a woman
-talk in public.”
-
-Miss Willard’s remarkable gifts, her zeal and earnestness, and her
-devotion to her cause, gave her a world-wide reputation. This extract
-from one of her eloquent public addresses is bright in thought, wholesome
-in sentiment, and is a model of effective speech.
-
-  Let us be grateful that our horizon is widening. We women have
-  learned to reason from effect to cause. It is considered a fine
-  sign of a thinker to be able to reason from cause to effect.
-  But we, in fourteen years’ march, have learned to go from the
-  drunkard in the gutter, who was the object lesson we first saw,
-  back to the children, as you will hear to-night; back to the idea
-  of preventive, educational, evangelistic, social, and legal work
-  for temperance; back to the basis of the saloon itself.
-
-  We have found that the liquor traffic is joined hand in hand with
-  the very sources of the National Government. And we have come to
-  the place where we want prohibition, first, last, and all the
-  time. While the brewer talks about his “vested interests,” I lend
-  my voice to the motherhood of the nation that has gone down into
-  the valley of unutterable pain and in the shadow of death, with
-  the dews of eternity upon the mother’s brow, given birth and
-  being to the sons who are the “vested interests” of America’s
-  homes.
-
-  We offset the demand of the brewer and distiller, that you shall
-  protect their ill-gotten gains, with the thought of these most
-  sacred treasures, dear to the hearts that you, our brothers,
-  honor—dear to the hearts that you love best. I bring to you this
-  thought, to-night, that you shall vote to represent us, and
-  hasten the time when we can represent ourselves.
-
-  I believe that we are going out into this work, being schooled
-  and inspired for greater things than we have dreamed, and
-  that the army of women will prove the grandest sisterhood the
-  world has ever known. As I have seen the love and kindness and
-  good-will of women who differed so widely from us politically and
-  religiously, and yet have found away down in the depths of their
-  hearts the utmost love and affection, I have said, what kind of a
-  world will this be when all women are as fond of each other as we
-  strong-minded women are?
-
-  Home is the citadel of everything that is good and pure on earth;
-  nothing must enter there to defile, neither anything which
-  loveth or maketh a lie. And it shall be found that all society
-  needed to make it altogether homelike was the home-folks; that
-  all government needed to make it altogether pure from the fumes
-  of tobacco and the debasing effects of strong drink, was the
-  home-folks; that wherever you put a woman who has the atmosphere
-  or home about her, she brings in the good time of pleasant and
-  friendly relationship, and points with the finger of hope and
-  the eye of faith always to something better—always it is better
-  farther on.
-
-  As I look around and see the heavy cloud of apathy under which
-  so many still are stifled, who take no interest in these things,
-  I just think they do not half mean the hard words that they
-  sometimes speak to us, or they wouldn’t if they knew; and, after
-  awhile, they will have the same views I have, spell them with a
-  capital V, and all be harmonious, like Barnum’s happy family, a
-  splendid menagerie of the whole human race—clear-eyed, kind and
-  victorious!
-
-
-AN APPEAL FOR LIBERTY.
-
-BY JOSEPH STORY.
-
-  I call upon you, fathers, by the shades of your ancestors—by the
-  dear ashes which repose in this precious soil—by all you are, and
-  all you hope to be—resist every object of disunion, resist every
-  encroachment upon your liberties, resist every attempt to fetter
-  your consciences, or smother your public schools, or extinguish
-  your system of public instruction.
-
-  I call upon you, mothers, by that which never fails in woman, the
-  love of your offspring; teach them, as they climb your knees, or
-  lean on your bosoms, the blessings of liberty. Swear them at the
-  altar, as with their baptismal vows, to be true to their country,
-  and never to forget or forsake her.
-
-  I call upon you, young men, to remember whose sons you are; whose
-  inheritance you possess. Life can never be too short, which
-  brings nothing but disgrace and oppression. Death never comes too
-  soon, if necessary in defence of the liberties of your country.
-
-  I call upon you, old men, for your counsels, and your prayers,
-  and your benedictions. May not your gray hairs go down in sorrow
-  to the grave, with the recollection that you have lived in vain.
-  May not your last sun sink in the west upon a nation of slaves.
-
-  No; I read in the destiny of my country far better hopes, far
-  brighter visions. We, who are now assembled here, must soon be
-  gathered to the congregation of other days. The time of our
-  departure is at hand, to make way for our children upon the
-  theatre of life. May God speed them and theirs. May he who, at
-  the distance of another century, shall stand here to celebrate
-  this day, still look round upon a free, happy, and virtuous
-  people. May he have reason to exult as we do. May he, with all
-  the enthusiasm of truth as well as of poetry, exclaim, that here
-  is still his country.
-
-
-THE TRUE SOURCE OF REFORM.
-
-BY EDWIN H. CHAPIN.
-
-As a pulpit orator and lecturer Mr. Chapin was widely known and popular.
-His style was ornate and finished, and when to this was added his grand
-voice and magnetic delivery, his audiences could not resist the charm of
-his eloquence. His opinions placed him in the front ranks of reformers.
-
-  The great element of reform is not born of human wisdom, it does
-  not draw its life from human organizations. I find it only in
-  Christianity. “Thy kingdom come!” There is a sublime and pregnant
-  burden in this prayer. It is the aspiration of every soul that
-  goes forth in the spirit of Reform. For what is the significance
-  of this prayer? It is a petition that all holy influences would
-  penetrate and subdue and dwell in the heart of man, until he
-  shall think, and speak, and do good, from the very necessity of
-  his being.
-
-  So would the institutions of error and wrong crumble and pass
-  away. So would sin die out from the earth; and the human soul
-  living in harmony with the Divine will, this earth would become
-  like heaven. It is too late for the reformers to sneer at
-  Christianity—it is foolishness for them to reject it. In it are
-  enshrined our faith in human progress—our confidence in reform.
-  It is indissolubly connected with all that is hopeful, spiritual,
-  capable, in man.
-
-  That men have misunderstood it, and perverted it, is true. But it
-  is also true that the noblest efforts for human melioration have
-  come out of it—have been based upon it. Is it not so? Come, ye
-  remembered ones, who sleep the sleep of the just—who took your
-  conduct from the line of Christian philosophy—come from your
-  tombs, and answer!
-
-  Come, Howard, from the gloom of the prison and the taint of the
-  lazar-house, and show us what philanthropy can do when imbued
-  with the spirit of Jesus. Come, Eliot, from the thick forest
-  where the red man listens to the Word of Life;—Come, Penn,
-  from thy sweet counsel and weaponless victory—and show us what
-  Christian zeal and Christian love can accomplish with the rudest
-  barbarians or the fiercest hearts. Come, Raikes, from thy labors
-  with the ignorant and the poor, and show us with what an eye
-  this faith regards the lowest and least of our race; and how
-  diligently it labors, not for the body, not for the rank, but for
-  the plastic soul that is to course the ages of immortality.
-
-  And ye, who are a great number—ye nameless ones—who have done
-  good in your narrow spheres, content to forego renown on earth,
-  and seeking your reward in the record on high—come and tell
-  us how kindly a spirit, how lofty a purpose, or how strong a
-  courage the religion ye professed can breathe into the poor, the
-  humble, and the weak. Go forth, then, Spirit of Christianity, to
-  thy great work of Reform. The past bears witness to thee in the
-  blood of thy martyrs, and the ashes of thy saints and heroes; the
-  present is hopeful because of thee; the future shall acknowledge
-  thy omnipotence.
-
-
-APPEAL TO YOUNG MEN.
-
-BY LYMAN BEECHER.
-
-A rather small wiry man with strong face, compact fibre, quick motions,
-great earnestness and pulpit ability of the highest order—this was Lyman
-Beecher. He made himself especially prominent in the early days of the
-temperance reformation. The selection here given is one of many similar
-utterances and is full of force and fire.
-
-  Could I call around me in one vast assembly the temperate young
-  men of our land, I would say,—Hopes of the nation, blessed be ye
-  of the Lord now in the dew of your youth. But look well to your
-  footsteps; for vipers, and scorpions, and adders surround your
-  way.
-
-  Look at the generation who have just preceded you: the morning of
-  their life was cloudless, and it dawned as brightly as your own;
-  but behold them bitten, swollen, enfeebled, inflamed, debauched,
-  idle, poor, irreligious, and vicious, with halting step dragging
-  onward to meet an early grave! Their bright prospects are
-  clouded, and their sun is set never to rise. No house of their
-  own receives them, while from poorer to poorer tenements they
-  descend, and to harder and harder fare, as improvidence dries up
-  their resources.
-
-  And now, who are those that wait on their footsteps with
-  muffled faces and sable garments? That is a father—and that is
-  a mother—whose gray hairs are coming with sorrow to the grave.
-  That is a sister, weeping over evils which she cannot arrest; and
-  there is the broken-hearted wife; and there are the children,
-  hapless innocents, for whom their father has provided the
-  inheritance only of dishonor, and nakedness and woe.
-
-  And is this, beloved young men, the history of your course? In
-  this scene of desolation, do you behold the image of your future
-  selves? Is this the poverty and disease which, as an armed man,
-  shall take hold on you? And are your fathers, and mothers, and
-  sisters, and wives, and children, to succeed to those who now
-  move on in this mournful procession, weeping as they go? Yes:
-  bright as your morning now opens, and high as your hopes beat,
-  this is your noon, and your night, unless you shun those habits
-  of intemperance which have thus early made theirs a day of
-  clouds, and of thick darkness. If you frequent places of evening
-  resort for social drinking; if you set out with drinking, daily,
-  a little, temperately, prudently, it is yourselves which, as in a
-  glass, you behold.
-
-
-THE PILGRIMS.
-
-BY CHAUNCEY M. DEPEW.
-
-Mr. Depew is considered one of the foremost of our American orators, and
-it is enough to say he has risen to this distinction in a land noted
-for the eloquence of its public men. He is an excellent extemporaneous
-speaker, is graceful and easy in manner, fluent in utterance, and has a
-touch of humor that renders him popular. His tribute to the Pilgrims is
-worthy of a theme so inspiring.
-
-  They were practical statesmen, these Pilgrims. They wasted no
-  time theorizing upon methods, but went straight at the mark. They
-  solved the Indian problem with shot-guns, and it was not General
-  Sherman, but Miles Standish, who originated the axiom that the
-  only good Indians are the dead ones. They were bound by neither
-  customs nor traditions, nor committals to this or that policy.
-  The only question with them was, Does it work? The success of
-  their Indian experiment led them to try similar methods with
-  witches, Quakers and Baptists.
-
-  Their failure taught them the difference between mind and
-  matter. A dead savage was another wolf under ground, but one
-  of themselves persecuted or killed for conscience sake sowed
-  the seed of discontent and disbelief. The effort to wall in a
-  creed and wall out liberty was at once abandoned, and to-day
-  New England has more religions and not less religion, but less
-  bigotry, than any other community in the world.
-
-  In an age when dynamite was unknown, the Pilgrim invented in
-  the cabin of the Mayflower the most powerful of explosives. The
-  declaration of the equality of all men before the law has rocked
-  thrones and consolidated classes. It separated the colonies from
-  Great Britain and created the United States. It pulverized the
-  chains of the slaves and gave manhood suffrage. It devolved upon
-  the individual the functions of government and made the people
-  the sole source of power. It substituted the cap of liberty for
-  the royal crown in France, and by a bloodless revolution has
-  added to the constellation of American republics, the star of
-  Brazil.
-
-  But with the ever-varying conditions incident to free government,
-  the Puritan’s talent as a political mathematician will never
-  rust. Problems of the utmost importance press upon him for
-  solution. When, in the effort to regulate the liquor traffic, he
-  has advanced beyond the temper of the times and the sentiment of
-  the people in the attempt to enact or enforce prohibition, and
-  either been disastrously defeated or the flagrant evasions of the
-  statutes have brought the law into contempt, he does not despair,
-  but tries to find the error in his calculation.
-
-  If gubernatorial objections block the way of high license he will
-  bombard the executive judgment and conscience by a proposition
-  to tax. The destruction of homes, the ruin of the young, the
-  increase of pauperism and crime, the added burdens upon the
-  taxpayers by the evils of intemperance, appeal with resistless
-  force to his training and traditions. As the power of the saloon
-  increases the difficulties of the task, he becomes more and more
-  certain that some time or other and in some way or other he will
-  do that sum too.
-
-
-PATRIOTISM A REALITY.
-
-BY THOMAS FRANCIS MEAGHER.
-
-All Americans ought to feel kindly disposed toward this eloquent Irish
-patriot, for he not only risked his life in the cause of Irish liberty,
-but also in our own Civil War. This oration has a rugged strength
-and blunt earnestness quite characteristic of the man. Let it not be
-delivered in any feeble halting manner, but with all your nerve and
-energy.
-
-  Sir, the pursuit of liberty must cease to be a traffic. It must
-  resume among us its ancient glory—be with us an active heroism.
-  Once for all, sir, we must have an end of this money making in
-  the public forum. We must ennoble the strife for liberty; make
-  it a gallant sacrifice, not a vulgar game; rescue the cause of
-  Ireland from the profanation of those who beg, and from the
-  control of those who bribe!
-
-  Ah! trust not those dull philosophers of the age, those wretched
-  sceptics, who, to rebuke our enthusiasm, our folly, would
-  persuade us that patriotism is but a delusion, a dream of
-  youth, a wild and glittering passion; that it has died out in
-  this nineteenth century; that it cannot exist with our advanced
-  civilization—with the steam-engine and free trade!
-
-  False—false!—The virtue that gave to Paganism its dazzling
-  lustre, to Barbarism its redeeming trait, to Christianity
-  its heroic form, is not dead. It still lives, to preserve,
-  to console, to sanctify humanity. It has its altar in every
-  clime—its worship and festivities. On the heathered hills of
-  Scotland, the sword of Wallace is yet a bright tradition. The
-  genius of France, in the brilliant literature of the day, pays
-  its high homage to the piety and heroism of the young Maid of
-  Orleans.
-
-  In her new senate hall, England bids her sculptor place among
-  the effigies of her greatest sons the images of Hampden and
-  of Russell. By the soft blue waters of Lake Lucerne stands the
-  chapel of William Tell. At Innsbruck, in the black aisle of the
-  old cathedral, the peasant of the Tyrol kneels before the statue
-  of Andrew Hofer. In the great American republic—in that capital
-  city which bears his name—rises the monument of the Father of his
-  country.
-
-  Sir, shall we not join in this glorious homage, and here in this
-  island, consecrated by the blood of many a good and gallant man,
-  shall we not have the faith, the duties, the festivities, of
-  patriotism? You discard the weapons of these heroic men—do not
-  discard the virtues. Elevate the national character; confront
-  corruption wherever it appears; scourge it from the hustings;
-  scourge it from the public forum; and, whilst proceeding with the
-  noble task to which you have devoted your lives and fortunes,
-  let this thought enrapture and invigorate your hearts: That in
-  seeking the independence of your country, you have preserved her
-  virtue—preserved it at once from the seductions of a powerful
-  minister, and from the infidelity of bad citizens.
-
-
-THE GLORY OF ATHENS.
-
-BY LORD MACAULAY.
-
-As a historian Macaulay has a world-wide reputation. As a poet he takes
-high rank. As an orator his speeches are characterized by lofty thought,
-felicitious language and the most elaborate style. I would call him a
-graceful giant. The last paragraph of the following selection in which
-he predicts the final decay of England, has created an endless amount
-of comment and criticism. Concerning the beauty and grandeur of this
-selection from his writings, there can be but one opinion.
-
-  All the triumphs of truth and genius over prejudice and power,
-  in every country and in every age, have been the triumphs of
-  Athens. Whenever a few great minds have made a stand against
-  violence and fraud, in the cause of liberty and reason, there has
-  been her spirit in the midst of them; inspiring, encouraging,
-  and consoling. It stood by the lonely lamp of Erasmus; by the
-  restless bed of Pascal; in the tribune of Mirabeau; in the cell
-  of Galileo; on the scaffold of Sidney.
-
-  But who shall estimate her influence on private happiness? Who
-  shall say how many thousands have been made wiser, happier,
-  and better, by those pursuits in which she has taught mankind
-  to engage; to how many the studies which took their rise from
-  her have been wealth in poverty; liberty in bondage; health in
-  sickness; society in solitude. Her power is indeed manifested at
-  the bar, in the senate; in the field of battle, in the schools of
-  philosophy.
-
-  But these are not her glory. Surely it is no exaggeration
-  to say, that no external advantage is to be compared with
-  that purification of the intellectual eye, which gives us to
-  contemplate the infinite wealth of the mental world; all the
-  hoarded treasures of the primeval dynasties, all the shapeless
-  ore of the yet unexplored mines.
-
-  This is the gift of Athens to man. Her freedom and her power
-  have for more than twenty centuries been annihilated. Her
-  people have degenerated into timid slaves; her language, into
-  a barbarous jargon. Her temples have been given up to the
-  successive depredations of Romans, Turks, and Scotchmen; but her
-  intellectual empire is imperishable.
-
-  And, when those who have rivaled her greatness, shall have shared
-  her fate; when civilization and knowledge shall have fixed
-  their abode in distant continents; when the sceptre shall have
-  passed away from England; when, perhaps, travelers from distant
-  regions shall in vain labor to decipher on some mouldering
-  pedestal the name of our proudest chief; and shall see a single
-  naked fisherman wash his nets in the river of the ten thousand
-  masts; her influence and her glory will still survive, fresh in
-  eternal youth, exempt from mutability and decay, immortal as the
-  intellectual principle from which they derived their origin, and
-  over which they exercise their control.
-
-
-THE IRISH CHURCH.
-
-BY WILLIAM E. GLADSTONE.
-
-No man in England, or in fact in the whole world, has gained so high
-a distinction in modern times for statesmanship and eloquence as Mr.
-Gladstone. Possessed of vast resources of brain and culture, a remarkable
-command of language, an iron will and an enthusiasm in behalf of every
-cause he espoused that was checked by no opposition, the “Grand Old Man,”
-as he was called, was the most majestic and commanding figure in English
-politics and literature for a generation. His oration on the Irish Church
-is a good specimen of his impassioned oratory.
-
-  If we are prudent men, I hope we shall endeavor as far as in us
-  lies to make some provision for a contingent, a doubtful, and
-  probably a dangerous future. If we be chivalrous men, I trust we
-  shall endeavor to wipe away all those stains which the civilized
-  world has for ages seen, or seemed to see, on the shield of
-  England in her treatment of Ireland. If we be compassionate
-  men, I hope we shall now, once for all, listen to the tale of
-  woe which comes from her, and the reality of which, if not
-  its justice, is testified by the continuous emigration of her
-  people—that we shall endeavor to—
-
-  “Pluck from her memory a rooted sorrow,
-  And raze the written troubles from her brain.”
-
-  But, above all, if we be just men, we shall go forward in the
-  name of truth and right, bearing this in mind—that, when the case
-  is proved and the hour is come, justice delayed is justice denied.
-
-  There are many who think that to lay hands upon the national
-  Church Establishment of a country is a profane and unhallowed
-  act. I respect that feeling. I sympathize with it. I sympathize
-  with it while I think it my duty to overcome and repress it. But
-  if it be an error, it is an error entitled to respect. There is
-  something in the idea of a national establishment of religion,
-  of a solemn appropriation of a part of the Commonwealth for
-  conferring upon all who are ready to receive it what we know
-  to be an inestimable benefit; of saving that portion of the
-  inheritance from private selfishness, in order to extract from
-  it, if we can, pure and unmixed advantages of the highest order
-  for the population at large.
-
-  There is something in this so attractive that it is an image that
-  must always command the homage of the many. It is somewhat like
-  the kingly ghost in Hamlet, of which one of the characters of
-  Shakespeare says:—
-
-  “We do it wrong, being so majestical,
-  To offer it the show of violence;
-  For it is, as the air, invulnerable,
-  And our vain blows malicious mockery”
-
-  But, sir, this is to view a religious establishment upon one
-  side, only upon what I may call the ethereal side. It has
-  likewise a side of earth; and here I cannot do better than quote
-  some lines written by the Archbishop of Dublin, at a time when
-  his genius was devoted to the muses. He said, in speaking of
-  mankind:
-
-  “We who did our lineage high
-  Draw from beyond the starry sky,
-  Are yet upon the other side,
-  To earth and to its dust allied.”
-
-  And so the Church Establishment, regarded in its theory and in
-  its aim, is beautiful and attractive. Yet what is it but an
-  appropriation of public property, an appropriation of the fruits
-  of labor and of skill to certain purposes, and unless these
-  purposes are fulfilled, that appropriation cannot be justified.
-  Therefore, Sir, I cannot but feel that we must set aside fears
-  which thrust themselves upon the imagination, and act upon the
-  sober dictates of our judgment.
-
-  I think it has been shown that the cause for action is strong—not
-  for precipitate action, not for action beyond our powers, but for
-  such action as the opportunities of the times and the condition
-  of Parliament, if there be but a ready will, will amply and
-  easily admit of. If I am asked as to my expectations of the issue
-  of this struggle, I begin frankly by avowing that I, for one,
-  would not have entered into it unless I believed that the final
-  hour was about to sound.
-
-  And I hope that the noble lord will forgive me if I say that
-  before Friday last I thought that the thread of the remaining
-  life of the Irish Established Church was short, but that since
-  Friday last, when at half-past four o’clock in the afternoon
-  the noble lord stood at that table, I have regarded it as being
-  shorter still. The issue is not in our hands.
-
-  What we had and have to do is to consider well and deeply before
-  we take the first step in an engagement such as this; but having
-  entered into the controversy, there and then to acquit ourselves
-  like men, and to use every effort to remove what still remains of
-  the scandals and calamities in the relations which exist between
-  England and Ireland, and use our best efforts at least to fill up
-  with the cement of human concord the noble fabric of the British
-  empire.
-
-
-APPEAL TO THE HUNGARIANS.
-
-BY LOUIS KOSSUTH.
-
-The eminent Hungarian orator and statesman, whose name for a whole
-generation stood for liberty, visited our country in his early manhood
-and received an ovation wherever he went. His progress was a triumphal
-march. This was due not merely to the fact that he was exerting all his
-energies to liberate his country, but his reception was a tribute to his
-brilliant genius and overpowering eloquence. Kossuth was one of the most
-remarkable orators of modern times. The following selection is a fine
-illustration of his impassioned, burning eloquence.
-
-  Our fatherland is in danger. Citizens of the fatherland! To arms!
-  To arms! If we believed the country could be saved by ordinary
-  means, we would not cry that it is in danger. If we stood at the
-  head of a cowardly, childish nation, which, in the hour of peril,
-  prefers defeat to defence, we would not sound the alarm-bell.
-  But because we know that the people of our land compose a manly
-  nation, determined to defend itself against oppression, we call
-  out in the loudest voice, “Our fatherland is in danger!” Because
-  we are sure that the nation is able to defend its hearths and
-  homes, we announce the peril in all its magnitude, and appeal to
-  our brethren, in the name of God and their country, to look the
-  danger boldly in the face.
-
-  We will not smile and flatter. We say it plainly, that unless the
-  nation rise, to a man, prepared to shed the last drop of blood,
-  all our previous struggles will have been in vain. The noble
-  blood that has flowed like water, will have been wasted. Our
-  fatherland will be crushed to the earth. On the soil, where rest
-  the ashes of our ancestors, the Russian knout will be wielded
-  over a people reduced beneath the yoke of slavery.
-
-  If we wish to shut our eyes to the danger, we shall thereby save
-  no one from its power. If we represent the matter as it is, we
-  make our country master of its own fate. If the breath of life is
-  in our people, they will save themselves and their fatherland.
-  But, if paralyzed by coward fear, they remain supine, all will be
-  lost. God will help no man who does not help himself. We tell you
-  that the Austrian Emperor sends the hordes of Russian barbarians
-  for your destruction.
-
-  People of Hungary! Would you die under the destroying sword of
-  the barbarous Russians? If not, defend your own lives! Would
-  you see the Cossacks of the distant north trampling under foot
-  the dishonored bodies of your fathers, your wives, and your
-  children? If not, defend yourselves! Do you wish that your
-  fellow-countrymen should be dragged away to Siberia, or should
-  fight for tyrants in a foreign land, or writhe in slavery beneath
-  a Russian scourge? If not, defend yourselves! Would you see your
-  villages in flames, and your harvest-fields in ruins? Would you
-  die of hunger on the soil which you have cultivated with sweat
-  and blood? If not, defend yourselves!
-
-  This strife is not a strife between two hostile camps, but a war
-  of tyranny against freedom, of barbarians against the collective
-  might of a free nation. Therefore must the whole people arise
-  with the army. If these millions sustain our army, we have
-  gained freedom and victory for universal Europe, as well as for
-  ourselves. Therefore, O strong, gigantic people, unite with the
-  army, and rush to the conflict. Ho! every freeman! To arms! To
-  arms! Thus alone is victory certain.
-
-
-THE TYRANT VERRES DENOUNCED.
-
-BY CICERO.
-
-This oration is inserted here to furnish an example of the style of the
-great Roman orator whose eloquence has been proverbial from his time
-to the present. His patriotic utterances should stir the blood of the
-reciter, and if they do this his hearers will share the inspiration.
-
-  An opinion has long prevailed, fathers, that, in public
-  prosecutions, men of wealth, however clearly convicted, are
-  always safe. This opinion, so injurious to your order, so
-  detrimental to the state, it is now in your power to refute. A
-  man is on trial before you who is rich, and he hopes his riches
-  will compass his acquittal; but whose life and actions are his
-  sufficient condemnation in the eyes of all candid men. I speak of
-  Caius Verres, who, if he now receive not the sentence his crimes
-  deserve, it shall not be through the lack of a criminal or of a
-  prosecutor, but through the failure of the ministers of justice
-  to do their duty.
-
-  Passing over the shameful irregularities of his youth, what
-  does the quæstorship of Verres exhibit but one continued scene
-  of villanies? The public treasure squandered, a consul stripped
-  and betrayed, an army deserted and reduced to want, a province
-  robbed, the civil and religious rights of a people trampled
-  on! But his prætorship in Sicily has crowned his career of
-  wickedness, and completed the lasting monument of his infamy.
-  His decisions have violated all law, all precedent, all right.
-  His extortions from the industrious poor have been beyond
-  computation. Our most faithful allies have been treated as
-  enemies. Roman citizens have, like slaves, been put to death with
-  tortures. Men the most worthy have been condemned and banished
-  without a hearing, while the most atrocious criminals have, with
-  money, purchased exemption from the punishment due to their guilt.
-
-  I ask now, Verres, what have you to advance against these
-  charges? Art thou not the tyrant Prætor, who, at no greater
-  distance than Sicily, within sight of the Italian coast, dared
-  to put to an infamous death, on the cross, that ill-fated and
-  innocent citizen, Publius Gavius Cosanus? And what was his
-  offence? He had declared his intention of appealing to the
-  justice of his country against your brutal persecutions!
-
-  For this, when about to embark for home, he was seized, brought
-  before you, charged with being a spy, scourged and tortured. In
-  vain did he exclaim: “I am a Roman citizen! I have served under
-  Lucius Pretius, who is now at Panormus, and who will attest my
-  innocence!” Deaf to all remonstrance, remorseless, thirsting
-  for innocent blood, you ordered the savage punishment to be
-  inflicted! While the sacred words, “I am a Roman citizen,” were
-  on his lips—words which, in the remotest regions, are a passport
-  to protection—you ordered him to death—to a death upon the cross!
-
-  O liberty! O sound once delightful to every Roman ear! O sacred
-  privilege of Roman citizenship! once sacred—now trampled on! Is
-  it come to this? Shall an inferior magistrate—a governor, who
-  holds his whole power of the Roman people—in a Roman province,
-  within sight of Italy, bind, scourge, torture, and put to an
-  infamous death, a Roman citizen? Shall neither the cries of
-  innocence expiring in agony, the tears of pitying spectators, the
-  majesty of the Roman commonwealth, nor the fear of the justice
-  of his country, restrain the merciless monster, who, in the
-  confidence of his riches, strikes at the very root of liberty,
-  and sets mankind at defiance? And shall this man escape? Fathers,
-  it must not be! It must not be unless you would undermine the
-  very foundations of social safety, strangle justice, and call
-  down anarchy, massacre, and ruin on the commonwealth.
-
-
-
-
-HUMOROUS RECITATIONS.
-
-
-A recitation that has a touch of humor, one that is quaint and droll, one
-that has comical situations, or one that hits off any popular absurdity,
-is sure to be well received by your audience. A school exhibition or
-an evening’s entertainment without something of this kind would be
-pronounced dull and dry.
-
-Some readers are especially adapted to recitals of this description.
-They have an innate sense of the ludicrous and are able to convey it
-by voice and manner. Those who are not favored with the very desirable
-gift of humor should confine themselves to selections of a graver
-character. The department of Wit and Humor here presented is large and
-complete, containing a great variety of readings that cannot fail to be
-enthusiastically received when properly rendered.
-
-
-BILL’S IN TROUBLE!
-
-  I’ve got a letter, parson, from my son away out West,
-  An’ my ol’ heart is heavy as an anvil in my breast,
-  To think the boy whose futur’ I had once so proudly planned
-  Should wander from the path o’ right an’ come to sich an end!
-
-  Bill made a faithful promise to be keerful, an’ allowed
-  He’d build a reputation that’d make us mighty proud,
-  But it seems as how my counsel sort o’ faded from his mind,
-  An’ now the boy’s in trouble o’ the very wustest kind!
-
-  His letters came so seldom that I somehow sort o’ knowed
-  That Billy was a-trampin’ on a mighty rocky road,
-  But never once imagined he would bow my head in shame,
-  An’ in the dust’d waller his ol’ daddy’s honored name.
-
-  He writes from out in Denver, an’ the story’s mighty short;
-  I just can’t tell his mother; it’ll crush her poor ol’ heart!
-  An’ so I reckoned, parson, you might break the news to her—
-  Bill’s in the Legislatur, but he doesn’t say what fur.
-
-
-“’SPACIALLY JIM.”
-
-  I wus mighty good-lookin’ when I was young,
-    Peert an’ black-eyed an’ slim,
-  With fellers a courtin’ me Sunday nights,
-    ’Spacially Jim.
-
-  The likeliest one of ’em all was he,
-    Chipper an’ han’som’ an’ trim,
-  But I tossed up my head an’ made fun o’ the crowd,
-    ’Spacially Jim!
-
-  I said I hadn’t no ’pinion o’ men,
-    An’ I wouldn’t take stock in him!
-  But they kep’ up a-comin’ in spite o’ my talk,
-    ’Spacially Jim!
-
-  I got so tired o’ havin’ ’em roun’
-    (’Spacially Jim!)
-  I made up my mind I’d settle down
-    An’ take up with him.
-
-  So we was married one Sunday in church,
-    ’Twas crowded full to the brim;
-  ’Twas the only way to get rid of ’em all,
-    ’Spacially Jim.
-
-
-THE MARRIAGE CEREMONY.
-
-Be careful, in all dialect recitations, to enunciate as the piece
-requires. A good part of the humor is brought out in the accent, and you
-should study this until you are master of it.
-
-  You promise now, you goot man dere,
-    Vot shtunds upon de floor,
-  To take dis woman for your vrow,
-    And luff her efermore;
-  You’ll feed her well on sauerkraut,
-    Beans, buttermilk and cheese,
-  And in all dings to lend your aid
-    Vot vill promote her ease?
-
-                              —Yah!
-
-  Yes, and you, good voman, too—
-    Do you pledge your vord dis day
-  Dat you vill take dis husband here
-    And mit him alvays shtay?
-  Dat you vill bet and board mit him,
-    Vash, iron and mend his clothes;
-  Laugh when he schmiles, veep when he sighs
-    Und share his joys and voes?
-
-                              —Yah!
-
-  Vel, den, mitin these sacred halls,
-    Mit joy and not mit grief,
-  I do bronounce you man and vife;
-    Von name, von home, von beef!
-  I publish now dese sacred bonts,
-    Dese matrimonial dies,
-  Pefore mine Got, mine vrow, minezelf
-    Und all dese gazing eyes.
-
-  Und now, you pridegroom standing dere,
-    I’ll not let go yoz collar
-  Undil you dell me one ding more,
-    Dat ish: vere ish mine tollar?
-
-
-BLASTED HOPES.
-
-  We said good-bye! My lips to hers were pressed.
-    We looked into each other’s eyes and sighed;
-  I pressed the maiden fondly to my breast,
-    And went my way across the foamy tide.
-
-  I stood upon the spot where Cæsar fell,
-    I mused beside the great Napoleon’s tomb;
-  I loitered where dark-visaged houris dwell,
-    And saw the fabled lotus land abloom.
-
-  I heard Parisian revelers, and so
-    Forgot the maiden who had wept for me;
-  I saw my face reflected in the Po,
-    And saw Italian suns sink in the sea.
-
-  Aweary of it all, at last, I turned
-    My face back to my glorious native land;
-  I thought of her again—my bosom burned—
-    And joyfully I left the ancient strand.
-
-  At last, I held her little hand again,
-    But, oh, the seasons had kept rolling on,
-  I did not stroke her head or kiss her then—
-    Another had appeared while I was gone.
-
-  I’d brought her trinkets from across the sea—
-    Ah, well! she shall not have them now, of course;
-  Alas! the only thing that’s left for me
-    Is to give her little boy a hobby horse!
-
-
-TIM MURPHY MAKES A FEW REMARKS.
-
-A good specimen of the Irish brogue and wit.
-
-  I saw Teddy Reagan the other day; he told me he had been dealing
-  in hogs. “Is business good?” says I. “Yis,” says he. “Talking
-  about hogs, Teddy, how do you find yourself?” sez I. I wint to
-  buy a clock the other day, to make a present to Mary Jane. “Will
-  you have a Frinch clock?” says the jeweler. “The deuce take
-  your Frinch clock,” sez I. “I want a clock that my sister can
-  understand when it strikes.” “I have a Dutch clock,” sez he, “an’
-  you kin put that on the shtairs.” “It might run down if I put it
-  there,” sez I. “Well,” sez he, “here’s a Yankee clock, with a
-  lookin’-glass in the front, so that you can see yourself,” sez
-  he. “It’s too ugly,” sez I. “Thin I’ll take the lookin’-glass
-  out, an’ whin you look at it you’ll not find it so ugly,” sez he.
-
-  I wint to Chatham Sthreet to buy a shirt, for the one I had on
-  was a thrifle soiled. The Jew who kept the sthore looked at my
-  bosom, an’ said: “So hellup me gracious! how long do you vear a
-  shirt?” “Twinty-eight inches,” sez I. “Have you any fine shirts?”
-  sez I. “Yis,” sez he. “Are they clane?” says I. “Yis,” sez he.
-  “Thin you had better put one on,” sez I.
-
-  You may talk about bringin’ up childer in the way they should
-  go, but I believe in bringing them up by the hair of the head.
-  Talking about bringing up childer—I hear my childer’s prayers
-  every night. The other night I let thim up to bed without thim.
-  I skipped and sthood behind the door. I heard the big boy say:
-  “Give us this day our daily bread.” The little fellow said:
-  “Sthrike him for pie, Johnny.” I have one of the most economical
-  boys in the Citty of New York; he hasn’t spint one cint for the
-  last two years. I am expecting him down from Sing Sing prison
-  next week.
-
-  Talking about boys, I have a nephew who, five years ago, couldn’t
-  write a word. Last week he wrote his name for $10,000; he’ll git
-  tin years in the pinatintiary. I can’t write, but I threw a brick
-  at a policeman and made my mark.
-
-  They had a fight at Tim Owen’s wake last week. Mary Jane was
-  there. She says, barrin’ herself, there was only one whole nose
-  left in the party, an’ that belonged to the tay-kettle.
-
-
-PASSING OF THE HORSE.
-
-  I drove my old horse, Dobbin, full slowly toward the town,
-  One beautiful spring morning. The rising sun looked down
-  And saw us slowly jogging and drinking in the balm
-  Of honeyed breath of clover fields. We lissed, in Nature’s calm,
-  To chirping squirrel, and whistling bird, the robin and the wren;
-  The sound of life and love and peace came o’er the fields again.
-  ’Way back behind the wagon there came a tandem bike,
-  A pedaling ’long to beat the wind, I never saw the like.
-  They started by—the road was wide, old Dobbin feeling good,
-  The quiet calmness of the morn had livened up his mood,
-  And stretching out adown the road he chased these cyclers two,
-  And Dobbin in his younger days was distanced by but few.
-  We sped along about a mile, it was a merry chase,
-  But Dobbin gave it up at last, and, dropping from the race,
-  He looked at me, as if to say: “Old man, I’m in disgrace.
-  The horse is surely passing by, the bike has got his place”
-  And all that day, while in the town, old Dobbin’s spirits fell;
-  His stout old pride was broken sure; the reason I could tell.
-  But when that night we trotted back from town, below the hill
-  We met two weary cyclers who waved at us a bill
-  That had a big V on it, and said it would be mine
-  If I would let them ride with us and put their bike behind,
-  And so I whistled softly; and Dobbin winked at me,
-  “I guess the horse will stay, old man; he’s puncture proof—you see?”
-
-
-A SCHOOL-DAY.
-
-Don’t overdo the whimpering and crying, but make the facial expressions
-and imitate the sobbing of one in tears. Make use of a handkerchief to
-render the imitation more effective.
-
-  “Now, John,” the district teacher says
-    With frown that scarce can hide
-  The dimpling smiles around her mouth,
-    Where Cupid’s hosts abide,
-  “What have you done to Mary Ann,
-    That she is crying so?
-  Don’t say ’twas ‘nothing’—don’t, I say,
-    For, John, that can’t be so;
-
-  “For Mary Ann would never cry
-    At nothing, I am sure;
-  And if you’ve wounded justice, John,
-    You know the only cure
-  Is punishment! So, come, stand up;
-    Transgression must abide
-  The pain attendant on the scheme
-    That makes it justified.”
-
-  So John steps forth with sun-burnt face,
-    And hair all in a tumble,
-  His laughing eyes a contrast to
-    His drooping mouth so humble.
-  “Now, Mary, you must tell me all—
-    I see that John will not,
-  And if he’s been unkind or rude,
-    I’ll whip him on the spot.”
-
-  “W—we were p—playin’ p—pris’ner’s b—base,
-    An’ h—he is s—such a t—tease,
-  An’ w—when I w—wasn’t l—lookin’, m—ma’am’
-    H—he _k—kissed_ me—if you please.”
-  Upon the teacher’s face the smiles
-    Have triumphed o’er the frown,
-  A pleasant thought runs through her mind
-    The stick comes harmless down.
-
-  But outraged law must be avenged!
-    Begone, ye smiles, begone!
-  Away, ye little dreams of love,
-    Come on, ye frowns, come on!
-  “I think I’ll have to whip you, John,
-    Such conduct breaks the rule;
-  No boy, except a naughty one,
-    Would kiss a girl—at school.”
-
-  Again the teacher’s rod is raised,
-    A Nemesis she stands—
-  A premium were put on sin,
-    If punished by such hands!
-  As when the bee explores the rose
-    We see the petals tremble,
-  So trembled Mary’s rosebud lips—
-    Her heart would not dissemble.
-
-  “I wouldn’t whip him _very_ hard”—
-    The stick stops in its fall—
-  “It wasn’t right to do it, but—
-    It didn’t hurt at all!”
-  “What made you cry, then, Mary Ann?”
-    The school’s noise makes a pause,
-  And out upon the listening air,
-    From Mary comes—“Because!”
-
-                     W. F. MCSPARRAN.
-
-
-THE BICYCLE AND THE PUP.
-
-  ’Tis a bicycle man, over his broken wheel,
-    That grieveth himself full sore,
-  For the joy of its newness his heart shall feel,
-    Alack and alas! no more.
-
-  When the bright sun tippeth the hills with gold,
-    That rider upriseth gay,
-  And with hat all beribboned and heart that is bold,
-    Pursueth his jaunty way.
-
-  He gazeth at folks in the lowly crowd
-    With a most superior air.
-  He thinketh ha! ha! and he smileth aloud
-    As he masheth the maiden fair.
-
-  Oh, he masheth her much in his nice new clothes,
-    Nor seeth the cheerful pup,
-  Till he roots up the road with his proud, proud nose,
-    While the little wheel tilteth up.
-
-  Oh, that youth on his knees—though he doth not pray—
-    Is a pitiful sight to see,
-  For his pants in their utterest part give way,
-    While merrily laugheth she.
-
-  And that bicycle man in his heart doth feel
-    That the worst of unsanctified jokes
-  Is the small dog that sniffeth anon at his wheel,
-    But getteth mixed up in the spokes.
-
-
-THE PUZZLED CENSUS TAKER.
-
-Before reciting this state to your audience that “nein” is the German for
-“no.”
-
-  “Got any boys?” the marshal said,
-    To a lady from over the Rhine;
-  And the lady shook her flaxen head.
-    And civilly answered “nein!”
-
-  “Got any girls?” the marshal said,
-    To that lady from over the Rhine;
-  And again the lady shook her head,
-    And civilly answered “nein!”
-
-  “But some are dead,” the marshal said
-    To the lady from over the Rhine;
-  And again the lady shook her head,
-    And civilly answered “nein!”
-
-  “Husband, of course?” the marshal said
-    To the lady from over the Rhine;
-  And again she shook her flaxen head,
-    And civilly answered “nein!”
-
-  “The duce you have!” the marshal said
-    To the lady from over the Rhine;
-  And again she shook her flaxen head,
-    And civilly answered “nein!”
-
-  “Now what do you mean by shaking your head
-    And always answering “nein?”
-  “Ich kann nicht Englisch,” civilly said
-    The lady from over the Rhine.
-
-
-IT MADE A DIFFERENCE.
-
-  “Now, then,” said the short and fat and anxious-looking man as he
-  sat down in the street car and unfolded a map he had just bought
-  of a fakir. “I want to know how this old thing works. Let me
-  first find the Philippine Islands and Manila. Here I am, and here
-  is Ca-vitt.”
-
-  “I beg your pardon, sir,” said the man on his left, “but that
-  name is pronounced Kah-vee-tay.”
-
-  “Then why ain’t it spelled that way?” demanded the short and fat
-  man. “No wonder Dooye has been left there a whole month without
-  reinforcements when they mix up things that way.”
-
-  “You mean Dewey,” corrected the man on his right.
-
-  “I heard it called Dooye, sir.”
-
-  “But it isn’t right.”
-
-  “Then why don’t this map give it right? Is it the plan of our
-  map-makers to bamboozle the American patriot? Let us turn to
-  Cuba. Ah! here is that San Jew-an they are talking so much about.”
-
-  “Will you allow me to say that the name is pronounced San Wan?”
-  softly observed the man on the left.
-
-  “By whom, sir?”
-
-  “By everybody.”
-
-  “I deny it, sir!” exclaimed the fat man. “If J-u-a-n don’t spell
-  ‘Juan’ then I can’t read. If I am wrong then why don’t this map
-  set me right? Is it the idea to mix up the American patriot until
-  he can’t tell whether he’s in Cuba or the United States?”
-
-  “Where is that Ci-en-fue-gos I’ve read about?”
-
-  “Do you wish for the correct pronunciation of that name?” asked a
-  man on the other side of the car.
-
-  “Haven’t I got it?”
-
-  “Not exactly, sir.”
-
-  “Then let her slide. The men who got out this map ought to be
-  indicted for swindling. Maybe I’m wrong in calling it Ma-tan-zas?”
-
-  “It is hardly correct, sir.”
-
-  “And I’m off on Por-to Ri-co?”
-
-  “Just a little off.”
-
-  “That settles it, sir—that settles it!” said the short man as
-  he folded up the map and tossed it away on the street. “I had a
-  grandfather in the Revolutionary War, a father in the war with
-  Mexico, and two brothers in the late Civil War, and I was going
-  to offer my services to Uncle Sam in this emergency; but it’s
-  off, sir—all off.”
-
-  “But what difference does the pronunciation make?” protested the
-  man on the right.
-
-  “All the difference in the world, sir. My wife is tongue-tied
-  and my only child has got a hare-lip, and if I should get killed
-  neither one of them would be able to ever make any one understand
-  whether I poured out my blood in a battle in Cuba or was run over
-  by an ice-wagon in front of my own house!”
-
-
-BRIDGET O’FLANNAGAN ON CHRISTIAN SCIENCE AND COCKROACHES.
-
-  Och, Mollie Moriarty, I’ve been havin’ the quare iksparyincis
-  since yiz hurrud from me, an’ if I’d known how it wud be whin I
-  lift ould Oireland, I’d nivir have sit fut intil this coonthry
-  befoor landin’. Me prisint misthriss that I had befoor the lasht
-  wan is a discoiple av a new koind av relijun called Christian
-  Soience. She’s been afthur takin’ a sooccission av coorsis av
-  coolchur (I belave that’s fwhat they call it), an’ she knows all
-  aboot this Christian Soience.
-
-  I’ve hurrud her talkin’ wid the other ladies about moind an’
-  matther, an’ as will as I can undherstand, Christian Soience
-  manes that iverything is all moind an’ no matther, or all matther
-  an’ nivir moind, an’ that ivery wan’s nobody, an’ iverything’s
-  nothing ilse. The misthriss ses there’s no disase nor trooble,
-  an’ no nade av physic; nivirthiliss, whin she dishcoovered
-  cockroaches intil the panthry, she sint me out wid the money to
-  buy an iksterminatin’ powdher.
-
-  Thinks I to mesilf, “I’ll give thim roaches a dose av Christian
-  Soience, or fwhat the ladies call an ‘absint thratemint.’” So
-  I fixed the powers av me moind on the middlesoom craythers
-  an’ shpint the money till me own binifit. Afther a few days
-  the misthriss goes intil the panthry, an’ foinds thim roaches
-  roonin’ ’round as if they’d nivir been kilt at all. I throied
-  to iksplain, but wid the inconsishtency av her six she wouldn’t
-  listhin till a worrud, but ses I was addin’ impertinince to
-  desaving’. So I’m afther lookin’ fur a place, an’ if yiz know
-  av any lady widout notions that do be bewildherin’ to me moind,
-  address,
-
-      MISS BRIDGET O’FLANNAGAN,
-          Post Office, Ameriky.
-              M. BOURCHIER.
-
-
-CONVERSATIONAL
-
-  “How’s your father?” Came the whisper,
-    Bashful Ned the silence breaking;
-  “Oh, he’s nicely,” Annie murmured,
-    Smilingly the question taking.
-
-  Conversation flagged a moment,
-    Hopeless, Ned essayed another:
-  “Annie, I—I,” then a coughing,
-    And the question, “How’s your mother!”
-
-  “Mother? Oh, she’s doing nicely!”
-    Fleeting fast was all forbearance,
-  When in low, despairing accents
-    Came the climax, “How’s your parents?”
-
-
-WANTED, A MINISTER’S WIFE.
-
-  Wanted, a perfect lady,
-    Delicate, gentle, refined,
-  With every beauty of person
-    And every endowment of mind;
-  Fitted by early culture
-    To move in a fashionable life.
-  Please notice our advertisement:
-    “Wanted, a minister’s wife.”
-
-  Wanted, a thoroughbred worker,
-    Who well to her household looks
-  (Shall we see our money wasted
-    By extravagant, stupid cooks?)
-  Who cuts the daily expenses
-    With economy as sharp as a knife,
-  And washes and scrubs in the kitchen.
-    “Wanted, a minister’s wife.”
-
-  A very domestic person.
-    To “callers” she must not be “out;”
-  It has such a bad appearance
-    For her to be gadding about.
-  Only to visit the parish
-    Every day of her life,
-  And attend the funerals and weddings.
-    “Wanted, a minister’s wife.”
-
-  Conduct the ladies’ meeting,
-    The sewing-circle attend,
-  And when we work for the needy,
-    Her ready assistance to lend.
-  To clothe the destitute children
-    Where sorrow and want are rife;
-  To hunt up Sunday-school scholars.
-    “Wanted, a minister’s wife.”
-
-  Careful to entertain strangers,
-    Traveling agents, and “such;”
-  Of this kind of “angel visits”
-    The leaders have had so much
-  As to prove a perfect nuisance,
-    And “hope these plagues of their life
-  Can soon be sent to their parson’s.”
-    “Wanted, a minister’s wife.”
-
-  A perfect pattern of prudence
-    To all others, spending less,
-  But never disgracing the parish
-    By looking shabby in dress.
-  Playing the organ on Sunday
-    Would aid our laudable strife
-  To save the society’s money.
-    “Wanted, a minister’s wife.”
-
-
-HOW A MARRIED MAN SEWS ON A BUTTON.
-
-  It is bad enough to see a bachelor sew on a button, but he is
-  the embodiment of grace alongside a married man. Necessity has
-  compelled experience in the case of the former, but the latter
-  has depended upon some one else for this service, and fortunately
-  for the sake of society, it is rarely he is obliged to resort to
-  the needle himself. Sometimes the patient wife scalds her right
-  hand, or runs a sliver under the nail of the index finger of that
-  hand, and it is then the man clutches the needle around the neck,
-  and, forgetting to tie a knot on the thread, commences to put on
-  the button.
-
-  It is always in the morning, and from five to twenty minutes
-  after this he is expected to be down street. He lays the button
-  on exactly the site of its predecessor, and pushes the needle
-  through one eye, and carefully draws the thread after, leaving
-  about three inches of it sticking up for leeway. He says to
-  himself, “Well, if women don’t have the easiest time I ever see.”
-
-  Then he comes back the other way and gets the needle through the
-  cloth easy enough, and lays himself out to find the eye, but,
-  in spite of a great deal of patient jabbing, the needle point
-  persists in bucking against the solid parts of the button, and
-  finally, when he loses patience, his fingers catch the thread,
-  and that three inches he has left to hold the button slips
-  through the eye in a twinkling, and the button rolls leisurely
-  across the floor. He picks it up without a single remark, out of
-  respect for his children, and makes another attempt to fasten it.
-
-  This time, when coming back with the needle, he keeps both the
-  thread and button from slipping, by covering them with his
-  thumb; and it is out of regard for that part of him that he
-  feels around for the eye in a very careful and judicious manner,
-  but eventually losing his philosophy as the search becomes more
-  and more hopeless, he falls to jabbing about in a loose and
-  savage manner, and it is just then the needle finds the opening
-  and comes up the button and part way through his thumb with a
-  celerity that no human ingenuity can guard against. Then he lays
-  down the things with a few familiar quotations, and presses the
-  injured hand between his knees, and then holds it under the other
-  arm, and finally jams it into his mouth, and all the while he
-  prances and calls upon heaven and earth to witness that there
-  has never been anything like it since the world was created, and
-  howls, and whistles, and moans and sobs. After a while he calms
-  down and puts on his pants and fastens them together with a
-  stick, and goes to his business a changed man.
-
-                                                      J. M. BAILEY.
-
-
-THE DUTCHMAN’S SERENADE.
-
-You do not need any set tune for the words to be sung. It will be more
-amusing to have none, but to extemporize as you go along. Stop singing
-when you come to the words in parenthesis and speak them. To complete the
-impersonation, you should have a violin. Do not recite German dialect
-pieces too rapidly; the words should be pronounced very distinctly.
-
-  Vake up, my schveet! Vake up, my lofe!
-  Der moon dot can’t been seen abofe.
-  Vake oud your eyes, und dough it’s late,
-  I’ll make you oud a serenate.
-
-  Der shtreet dot’s kinder dampy vet,
-  Und dhere vas no goot blace to set;
-  My fiddle’s getting oud of dune,
-  So blease get vakey wery soon.
-
-  O my lofe! my lofely lofe!
-  Am you avake ub dhere abofe,
-  Feeling sad und nice to hear
-  Schneider’s fiddle schrabin near?
-
-  Vell, anyvay, obe loose your ear,
-  Und try to saw if you kin hear
-  From dem bedclose vat you’m among,
-  Der little song I’m going to sung:
-
-  SING.
-
-  O lady! vake! Get vake!
-    Und hear der tale I’ll tell;
-  O you vot’s schleebin’ sound ub dhere,
-    I like you pooty vell!
-
-  SING.
-
-  Your plack eyes dhem don’t shine
-    When you’m ashleep—so vake!
-  (Yes, hurry upp, and voke up quick,
-    For gootness gracious sake!)
-
-  SING.
-
-  My schveet imbatience, lofe,
-    I hope you vill excuse;
-  I’m singing schveetly (dhere, py Jinks!
-    Dhere goes a shtring proke loose!)
-
-  SING.
-
-  O putiful, schveet maid!
-    O vill she ever voke?
-  Der moon is mooning—(Jimminy! dhere
-    Anoder shtring vent proke!)
-
-  I say, you schleeby, vake!
-    Vake oud! Vake loose! Vake ub!
-  Fire! Murder! Police! Vatch!
-    O cracious! do vake ub!
-
-  Dot girl she schleebed—dot rain it rained
-    Und I looked shtoopid like a fool,
-  Vhen mit my fiddle I shneaked off
-    So vet und shlobby like a mool!
-
-
-BIDDY’S TROUBLES.
-
-If this selection were recited in the costume of a housemaid, with apron,
-sunbonnet and bare arms, the effect would be intensified. Place the hands
-on the hips except when gesticulating.
-
-  “It’s thru for me, Katy, that I never seed the like of this
-  people afore. It’s a time I’ve been having since coming to this
-  house, twelve months agone this week Thursday. Yer know, honey,
-  that my fourth coosin, Ann Macarthy, recommended me to Mrs.
-  Whaler, and told the lady that I knew about genteel housework
-  and the likes; while at the same time I had niver seed inter an
-  American lady’s kitchen.
-
-  “So she engaged me, and my heart was jist ready to burst wid
-  grief for the story that Ann had told, for Mrs. Whaler was a
-  swate-spoken lady, and never looked cross-like in her life; that
-  I knew by her smooth, kind face. Well, jist the first thing she
-  told me to do, after I dressed the children, was to dress the
-  ducks for dinner. I stood looking at the lady for a couple of
-  minutes, before I could make out any maneing at all to her words.
-
-  “Thin I went searching after clothes for the ducks; and such
-  a time as I had, to be sure. High and low I went till at last
-  my mistress axed me for what I was looking; and I told her the
-  clothes for the ducks, to be sure. Och, how she scramed and
-  laughed, till my face was as rid as the sun wid shame, and she
-  showed me in her kind swate way what her maneing was. Thin she
-  told me how to air the beds; and it was a day for me, indade,
-  when I could go up chamber alone and clare up the rooms. One day
-  Mrs. Whaler said to me:
-
-  “‘Biddy, an’ ye may give the baby an airin’, if yees will.’
-
-  “What should I do—and it’s thru what I am saying this blessed
-  minute—but go upstairs wid the child, and shake it, and then
-  howld it out of the winder. Such a scraming and kicking as the
-  baby gave—but I hild on the harder. Everybody thin in the strate’
-  looked at me; at last misthress came up to see what for was so
-  much noise.
-
-  “‘I am thrying to air the baby,’ I said, ‘but it kicks and
-  scrames dridfully.’
-
-  “There was company down below; and whin Mrs. Whaler told them
-  what I had been after doing, I thought they would scare the folks
-  in the strate wid scraming.
-
-  “And then I was told I must do up Mr. Whaler’s sharts one day
-  when my mistress was out shopping. She told me repeatedly to do
-  them up nice, for master was going away, so I takes the sharts
-  and did them all up in some paper that I was after bringing from
-  the ould country wid me, and tied some nice pink ribbon around
-  the bundle.
-
-  “‘Where are the sharts, Biddy?’ axed Mrs. Whaler, when she comed
-  home.
-
-  “‘I have been doing them up in a quair nice way,’ I said,
-  bringing her the bundle.
-
-  “‘Will you iver be done wid your graneness!’ she axed me with a
-  loud scrame.
-
-  “I can’t for the life of me be tellin’ what their talkin’ manes.
-  At home we call the likes of this fine work starching; and a deal
-  of it I have done, too. Och! and may the blessed Vargin pity me,
-  for I never’ll be cured of my graneness!”
-
-
-THE INVENTOR’S WIFE.
-
-  It’s easy to talk of the patience of Job. Humph! Job hed nothin’ to
-      try him!
-  Ef _he’d_ been married to ’Bijah Brown, folks wouldn’t have dared
-      come nigh him.
-
-  Trials, indeed! Now I’ll tell you what—ef you want to be sick of your
-      life,
-  Jest come and change places with me a spell—for I’m an inventor’s wife.
-
-  And sech inventions! I’m never sure, when I take up my coffee-pot,
-  That ’Bijah hain’t been “improvin’” it, and it mayn’t go off like a shot.
-  Why, didn’t he make me a cradle once, that would keep itself a-rockin’;
-  And didn’t it pitch the baby out, and wasn’t his head bruised shockin’?
-
-  And there was his “Patent Peeler,” too—a wonderful thing, I’ll say;
-  But it hed one fault—it never stopped till the apple was peeled away.
-  As for locks, and clocks, and mowin’ machines, and reapers, and all sech
-      trash,
-  Why, ’Bijah’s invented heaps of em, but they don’t bring in no _cash_.
-
-  Law! that don’t worry him—not at all; he’s the aggravatin’est man—
-  He’ll set in his little workship there, and whistle, and think, and plan.
-  Inventin’ a jew’s-harp to go by steam, or a new-fangled powder-horn,
-  While the children’s goin’ barefoot to school and the weeds is chokin’
-      our corn.
-
-  When I’ve been forced to chop the wood, and tend to the farm beside,
-  And look at ’Bijah a-settin there, I’ve jest dropped down and cried.
-  We lost the hull of our turnip crop while he was inventin’ a gun;
-  But I counted it one of my marcies when it bust before ’twas done.
-
-  So he turned it into a “burglar alarm.” It ought to give thieves a
-      fright—
-  ’Twould scare an honest man out of his wits, ef he sot it off at night.
-  Sometimes I wonder ef ’Bijah’s crazy, he does such cur’ous things.
-  Hev I told you about his bedstead yit?—’Twas full of wheels and springs;
-
-  It had a key to wind it up, and a clock face at the head;
-  All you did was to turn them hands, and at any hour you said,
-  That bed got up and shook itself, and bounced you on the floor,
-  And then shet up, jest like a box, so you couldn’t sleep any more.
-
-  Wa’al ’Bijah he fixed it all complete, and he sot it at half-past five,
-  But he hadn’t more’n got into it when—dear me! sakes alive!
-  Them wheels began to whiz and whir! I heerd a fearful snap!
-  And there was that bedstead, with ’Bijah inside, shet up jest like
-      a trap!
-
-  I screamed, of course, but ’twan’t no use; then I worked that hull
-      long night
-  A-tryin’ to open the pesky thing. At last I got in a fright;
-  I couldn’t hear his voice inside, and I thought he might be dyin;
-  So I took a crow-bar and smashed it in.—There was ’Bijah, peacefully
-      lyin’,
-
-  Inventin’ a way to git out again. That was all very well to say,
-  But I don’t b’lieve he’d have found it out if I’d left him in all day.
-  Now, sence I’ve told you my story, do you wonder I’m tired of life?
-  Or think it strange I often wish I warn’t an inventor’s wife?
-
-                                                      MRS. E. T. CORBETT.
-
-
-MISS EDITH HELPS THINGS ALONG.
-
-  “My sister’ll be down in a minute, and says you’re to wait, if you
-      please;
-  And says I might stay till she came, if I’d promise her never to tease,
-  Nor speak till you spoke to me first. But that’s nonsense; for how would
-      you know
-  What she told me to say, if I didn’t? Don’t you really and truly think
-      so?
-
-  “And then you’d feel strange here alone. And you wouldn’t know just
-      where to sit;
-  For that chair isn’t strong on its legs, and we never use it a bit:
-  We keep it to match with the sofa; but Jack says it would be like you
-  To flop yourself right down upon it, and knock out the very last screw.
-
-  “Suppose you try! I won’t tell. You’re afraid to! Oh! you’re afraid
-      they would think it was mean!
-  Well, then, there’s the album: that’s pretty, if you’re sure that your
-      fingers are clean.
-  For sister says sometimes I daub it; but she only says that when she’s
-      cross.
-  There’s her picture. You know it? It’s like her; but she ain’t as
-      good-looking, of course.
-
-  “This is ME. It’s the best of ’em all. Now, tell me, you’d never have
-      thought
-  That once I was little as that? It’s the only one that could be bought;
-  For that was the message to pa from the photograph-man where I sat—
-  That he wouldn’t print off any more till he first got his money for that.
-
-  “What? Maybe you’re tired of waiting. Why, often she’s longer than this.
-  There’s all her back hair to do up, and all of her front curls to friz.
-  But it’s nice to be sitting here talking like grown people, just you
-      and me!
-  Do you think you’ll be coming here often? Oh, do! But don’t come like
-      Tom Lee—
-
-  “Tom Lee, her last beau. Why, my goodness! he used to be here day and
-      night,
-  Till the folks thought he’d be her husband; and Jack says that gave him
-      a fright;
-  You won’t run away then, as he did? for you’re not a rich man, they say.
-  Pa says you’re poor as a church-mouse. Now, are you? and how poor are
-      they?
-
-  “Ain’t you glad that you met me? Well, I am; for I know now your hair
-      isn’t red;
-  But what there is left of it’s mousy, and not what that naughty Jack
-      said.
-  But there! I must go; sister’s coming! But I wish I could wait, just
-      to see
-  If she ran up to you, and she kissed you in the way she used to kiss
-      Lee.”
-
-                                                              BRET HARTE.
-
-
-THE MAN WHO HAS ALL DISEASES AT ONCE.
-
-Imitate the cough. Put your hands on different parts of your body in
-describing your aches and pains. Wear a long dismal face. Bend forward
-and limp as you change your position.
-
-  Good Morning, Doctor; how do you do? I hain’t quite as well as
-  I have been; but I think I’m some better than I was. I don’t
-  think that last medicine that you gin me did me much good. I
-  had a terrible time with the earache last night; my wife got up
-  and drapt a few draps of walnut sap into it, and that relieved
-  it some; but I didn’t get a wink of sleep till nearly daylight.
-  For nearly a week, Doctor, I’ve had the worst kind of a narvous
-  headache; it has been so bad sometimes that I thought my head
-  would bust open. Oh, dear! I sometimes think that I’m the most
-  afflictedest human that ever lived.
-
-  Since this cold weather sot in, that troublesome cough, that I
-  have had every winter for the last fifteen years, has began to
-  pester me agin. (_Coughs._) Doctor, do you think you can give me
-  any thing that will relieve this desprit pain I have in my side?
-
-  Then I have a crick, at times, in the back of my neck, so that
-  I can’t turn my head without turning the hull of my body.
-  (_Coughs._)
-
-  Oh, dear! What shall I do? I have consulted almost every doctor
-  in the country, but they don’t any of them seem to understand my
-  case. I have tried everything that I could think of; but I can’t
-  find anything that does me the least good. (_Coughs._)
-
-  Oh, this cough—it will be the death of me yet! You know I had
-  my right hip put out last fall at the rising of Deacon Jones’
-  saw-mill; it’s getting to be very troublesome just before we
-  have a change of weather. Then I’ve got the sciatica in my right
-  knee, and sometimes I’m so crippled up that I can hardly crawl
-  round in any fashion.
-
-  What do you think that old white mare of ours did while I was
-  out plowing last week? Why, the weaked old critter, she kept
-  a backing and backing, ontil she backed me right up agin the
-  colter, and knock’d a piece of skin off my shin nearly so big.
-  (_Coughs._)
-
-  But I had a worse misfortune than that the other day, Doctor. You
-  see it was washing-day—and my wife wanted me to go out and bring
-  in a little stove-wood—you know we lost our help lately, and my
-  wife has to wash and tend to everything about the house herself.
-
-  I knew it wouldn’t be safe for me to go out—as it was raining at
-  the time—but I thought I’d risk it anyhow. So I went out, picked
-  up a few chunks of stove-wood, and was a coming up the steps into
-  the house, when my feet slipped from under me, and I fell down as
-  sudden as if I’d been shot. Some of the wood lit upon my face,
-  broke down the bridge of my nose, cut my upper lip, and knocked
-  out three of my front teeth. I suffered dreadfully on account of
-  it, as you may suppose, and my face ain’t well enough yet to make
-  me fit to be seen, ’specially by the women folks. (_Coughs._)
-  Oh, dear! but that ain’t all, Doctor; I’ve got fifteen corns on
-  my toes—and I’m afeard I’m going to have the “yaller janders.”
-  (_Coughs._)
-
-                                                    DR. VALENTINE.
-
-
-THE SCHOOL-MA’AM’S COURTING.
-
-  When Mary Ann Dollinger got the skule daown thar on Injun Bay
-  I was glad, fer I like ter see a gal makin’ her honest way.
-  I heerd some talk in the village abaout her flyin’ high,
-  Tew high fer busy farmer folks with chores ter dew ter fly.
-  But I paid no sorter attention ter all the talk ontel
-  She come in her reg’lar boardin’ raound ter visit with us a spell.
-  My Jake an’ her had been cronies ever since they could walk,
-  An’ it tuk me aback ter hear her kerrectin’ him in his talk.
-
-  Jake ain’t no hand at grammar, though he hain’t his beat for work;
-  But I sez ter myself, “Look out, my gal, yer a-foolin’ with a Turk!”
-  Jake bore it wonderful patient, an’ said in a mournful way,
-  He p’sumed he was behindhand with the doin’s at Injun Bay.
-  I remember once he was askin’ for some o’ my Injun buns,
-  An’ she said he should allus say, “them air,” stid o’ “them is” the ones.
-  Wal, Mary Ann kep’ at him stiddy mornin’ an’ evenin’ long,
-  Tell he dassent open his mouth for fear o’ talkin’ wrong.
-
-  One day I was pickin’ currants daown by the old quince tree,
-  When I heerd Jake’s voice a-sayin’: “Be ye willin’ ter marry me?”
-  An’ Mary Ann kerrectin’, “Air ye willin’, yeou sh’d say.”
-  Our Jake he put his foot daown in a plum, decided way,
-  “No wimmen-folks is a-goin’ ter be re-arrangin’ me.
-  Hereafter I says ‘craps,’ ‘them is,’ ‘I calk’late,’ an’ ‘I be.’
-  Ef folks don’t like my talk they needn’t hark ter what I say;
-  But I ain’t a-goin’ to take no sass from folks from Injun Bay.
-  I ask you free an’ final: Be ye goin’ ter marry me?”
-  An’ Mary Ann sez, tremblin’, yet anxious-like, “I be.”
-
-                                                       FLORENCE E. PYATT.
-
-
-THE DUTCHMAN’S SNAKE.
-
-  Near the town of Reading, in Berks County, Pennsylvania, there
-  formerly lived a well-to-do Dutch farmer named Peter Van Riper.
-  His only son was a strapping lad of seventeen, also named Peter,
-  and upon old Peter and young Peter devolved the principal cares
-  of the old man’s farm, now and then assisted by an ancient
-  Dutchman named Jake Sweighoffer, who lived in the neighborhood,
-  and went out to work by the day.
-
-  One warm day in haying time this trio were hard at work in a
-  meadow near the farm-house, when suddenly Peter the elder dropped
-  his scythe and called out:
-
-  “Oh! mine gracious, Peter! Peter!”
-
-  “What’s de matter, fader?” answered the son, straightening up and
-  looking at his sire.
-
-  “Oh! mine Peter! Peter!” again cried the old man, “do come here,
-  right off! Der schnake pite mine leg!”
-
-  If anything in particular could disturb the nerves of young
-  Peter, it was snakes; for he had once been chased by a black
-  one and frightened nearly out of his wits. At the word snake,
-  therefore, young Van Riper fell back, nimbly as a wire-drawer,
-  and called out in turn: “Where is der shnake, fader?”
-
-  “Here, up mine preeches!—Oh! my! my! my!”
-
-  “Vy don’t you kill him, fader?” exclaimed Peter, junior, keeping
-  at a safe distance from his suffering sire.
-
-  “I can’t get at der little sinner, Peter; you come dake off my
-  drowsis, or he’ll kill me mit his pites.”
-
-  But the fears of Peter, the younger, overcame his filial
-  affection, and lent strength to his legs, for he started off
-  like a scared two-year-old toward the old man Jake, to call him
-  to the assistance of his unhappy father. A few moments after,
-  the two came bounding toward the old man, and as they passed a
-  haycock where their garments had been laid when they began work,
-  Jake grabbed the vest which he supposed belonged to his employer.
-  During this time old Peter had managed to keep on his feet,
-  although he was quaking and trembling like an aspen leaf in a
-  June gale of wind.
-
-  “Oh! come quick, Yacob!” exclaimed he, “he pite like sixty, here,
-  on mine leg.”
-
-  Old Jake was not particularly sensitive to fear, but few people,
-  young or old, are free from alarm when a “pizenous” reptile is
-  about. He seized a small pitchfork, and, telling the unhappy Van
-  Riper to stand steady, promised to stun the reptile by a rap or
-  two, even if he didn’t kill it outright. The frightened old man
-  did not long hesitate between the risk of a broken leg or being
-  bitten to death by a snake, but promptly indicated the place
-  where Jake should strike. Whack went the pitchfork, and down
-  tumbled Peter, exclaiming, “Oh! my! my! my; I pleeve you’ve proke
-  mine leg! but den der shnake’s gone.”
-
-  “Vere! vere’s he gone to?” says old Sweighoffer, looking sharply
-  about on the ground he stood upon.
-
-  “Never mind der shnake now, Yacob,” says Van Riper, “come and
-  help me up, and I’ll go home.”
-
-  “Here, I’ve got your shacket—put it on,” says Jacob, lifting up
-  the old man, and slipping his arms into the armholes of the vest.
-
-  The moment old Peter made the effort to get the garment on his
-  shoulders, he grew livid in the face—his hair stood on end—he
-  shivered and shook—his teeth chattered, and his knees knocked an
-  accompaniment. “O Yacob!” exclaimed he, “help me to go home—I’m
-  dead! I’m dead!”
-
-  “Vat’s dat you say? Ish dere nodder shnake in your preeches?”
-  inquired the intrepid Jacob.
-
-  “Not dat—I don’t mean dat,” says the farmer, “but shust you look
-  on me—I’m shwelt all up, pigger as an ox! my shacket won’t go on
-  my pack. I’m dying mit de pizen. Oh! oh! oh! help me home quick.”
-
-  The hired man came to the same conclusion; and with might and
-  main he hurried old Peter along toward the farm-house. Meantime
-  young Peter had run home, and so alarmed the women folks that
-  they were in a high state of excitement when they saw the
-  approach of the good old man and his assistant.
-
-  Old man Peter was carried into the house, laid on a bed, and
-  began to lament his sad misfortune in a most grievous manner,
-  when the old lady, his frow, came forward and proposed to examine
-  the bitten leg. The unhappy man opened his eyes and feebly
-  pointed out the place of the bite. She carefully ripped up his
-  pantaloons, and out fell—a thistle-top! and at the same time a
-  considerable scratch was made visible.
-
-  “Call dis a shnake? Bah!” says the old lady, holding up the
-  thistle.
-
-  “Oh! but I’m pizened to death, Katreen!—see, I’m all pizen!—mine
-  shacket!—Oh! dear, mine shacket not come over mine pody!”
-
-  “Haw! haw! you crazy fellow,” roars the frow, “dat’s not your
-  shacket—dat’s Peter’s shacket! ha! ha! ha!”
-
-  “Vat! dat Peter’s shacket?” says old Peter, shaking off death’s
-  icy fetters at one surge, and jumping up: “Bosh! Jacob, vat an
-  old fool you must be to say I vas shnake-pite! Go ’pout your
-  pusiness, gals. Peter, give me mine pipe.”
-
-
-NO KISS.
-
-  “Kiss me, Will,” sang Marguerite,
-    To a pretty little tune,
-  Holding up her dainty mouth,
-    Sweet as roses born in June.
-  Will was ten years old that day,
-    And he pulled her golden curls
-  Teasingly, and answer made—
-    “I’m too old—I don’t kiss girls.”
-
-  Ten years pass, and Marguerite
-    Smiles as Will kneels at her feet,
-  Gazing fondly in her eyes,
-    Praying, “Won’t you kiss me, sweet?”
-  ’Rite is seventeen to-day,
-    With her birthday ring she toys
-  For a moment, then replies:
-    “I’m too old—I don’t kiss boys.”
-
-
-THE LISPING LOVER.
-
-  Oh! thtay one moment, love implorth,
-    Ere yet we break thith happy thpell!
-  For to the thoul my thoul adorth
-    It ith tho hard to thay farewell.
-
-  And yet how thad to be tho weak,
-    To think forever, night or day,
-  The thententheth my heart would thpeak
-    Thethe lipth can never truly thay.
-
-  How mournful, too, while thuth I kneel,
-    With nervouthneth my blith to mar,
-  And dream each moment that I feel
-    The boot-toe of thy thtern papa.
-
-  Or yet to fanthy that I hear
-    A thudden order to decamp,
-  Ath dithagreeably thevere
-    Ath—“Get out you infernal thcamp!”
-
-  Yet recklethly I pauthe by thee,
-    To lithp my hopeth, my fearth, my careth,
-  Though any moment I may be
-    Turning a thomerthet down the thtairth!
-
-
-LARRIE O’DEE.
-
-              Now the widow McGee,
-              And Larrie O’Dee,
-  Had two little cottages out on the green,
-  With just room enough for two pig-pens between.
-  The widow was young and the widow was fair,
-  With the brightest of eyes and the brownest of hair;
-  And it frequently chanced, when she came in the morn
-  With the swill for her pig, Larrie came with the corn.
-  And some of the ears that he tossed from his hand,
-  In the pen of the widow were certain to land.
-
-              One morning said he:
-              “Och! Misthress McGee,
-  It’s a waste, of good lumber, this runnin’ two rigs,
-  Wid a fancy petition betwane our two pigs!”
-  “Indade sur, it is!” answered Widow McGee,
-  With the sweetest of smiles upon Larrie O’Dee.
-  “And thin, it looks kind o’ hard-hearted and mane,
-    Kapin’ two friendly pigs so exsaidenly near
-    That whiniver one grunts the other can hear,
-  And yit kape a cruel petition betwane.”
-
-              “Shwate Widow McGee,”
-              Answered Larrie O’Dee,
-  “If ye fale in your heart we are mane to the pigs,
-  Ain’t we mane to ourselves to be runnin’ two rigs?
-  Och! it made me heart ache whin I paped through the cracks
-  Of me shanty, lasht March, at yez shwingin’ yer axe;
-  An’ a bobbin’ yer head an’ a shtompin’ yer fate,
-  Wid yer purty white hands jisht as red as a bate,
-  A-sphlittin’ yer kindlin’-wood out in the shtorm,
-  When one little shtove it would kape us both warm!”
-
-              “Now, piggy,” said she;
-              “Larrie’s courtin’ o’ me,
-  Wid his dilicate tinder allusions to you,
-  So now yez must tell me jisht what I must do;
-  For, if I’m to say yez, shtir the swill wid yer snout;
-  But if I’m to say no, ye must kape yer nose out.
-  Now Larrie, for shame! to be bribin’ a pig
-  By a-tossin’ a handful of corn in its shwig!”
-  “Me darlint, the piggy says yes,” answered he.
-  And that was the courtship of Larrie O’Dee.
-
-                                             W. W. FINK.
-
-
-HOW PADEREWSKI PLAYS THE PIANO.
-
-  First a soft and gentle tinkle,
-  Gentle as the rain-drop’s sprinkle,
-          Then a stop,
-          Fingers drop.
-  Now begins a merry trill,
-  Like a cricket in a mill;
-  Now a short, uneasy motion,
-  Like a ripple on the ocean.
-
-  See the fingers dance about,
-  Hear the notes come tripping out;
-  How they mingle in the tingle
-  Of the everlasting jingle,
-  Like to hailstones on a shingle,
-  Or the ding-dong, dangle-dingle
-  Of a sheep-bell! Double, single,
-  Now they come in wilder gushes,
-  Up and down the player rushes,
-  Quick as squirrels, sweet as thrushes.
-
-  Now the keys begin to clatter
-  Like the music of a platter
-  When the maid is stirring batter.
-  O’er the music comes a change,
-  Every tone is wild and strange;
-  Listen to the lofty tumbling,
-  Hear the mumbling, fumbling, jumbling,
-  Like the rumbling and the grumbling
-  Of the thunder from its slumbering
-  Just awaking. Now it’s taking
-  To the quaking, like a fever-and-ague shaking;
-  Heads are aching, something’s breaking—
-  Goodness gracious! it is wondrous,
-  Rolling round, above, and under us,
-  Like old Vulcan’s stroke so thunderous.
-
-  Now ’tis louder, but the powder
-  Will be all exploded soon;
-  For the only way to do,
-  When the music’s nearly through,
-  Is to muster all your muscle for a bang,
-  Striking twenty notes together with a clang:
-  Hit the treble with a twang,
-  Give the bass an awful whang,
-  And close the whole performance
-  With a slam—bang—whang!
-
-
-THE FRECKLE-FACED GIRL.
-
-  “Ma’s up stairs changing her dress,” said the freckled-faced
-  little girl, tying her doll’s bonnet strings and casting her
-  eye about for a tidy large enough to serve as a shawl for that
-  double-jointed young person.
-
-  “Oh, your mother needn’t dress up for me,” replied the female
-  agent of the missionary society, taking a self-satisfied view of
-  herself in the mirror. “Run up and tell her to come down just as
-  she is in her everyday clothes, and not stand on ceremony.”
-
-  “Oh, but she hasn’t got on her everyday clothes. Ma was all
-  dressed up in her new brown silk dress, ’cause she expected Miss
-  Dimmond to-day. Miss Dimmond always comes over here to show off
-  her nice things, and ma doesn’t mean to get left. When ma saw you
-  coming she said, ‘the dickens!’ and I guess she was mad about
-  something. Ma said if you saw her new dress, she’d have to hear
-  all about the poor heathen, who don’t have silk, and you’d ask
-  her for money to buy hymn books to send ’em. Say, do the nigger
-  ladies use hymn-book leaves to do their hair up on and make it
-  frizzy? Ma says she guesses that’s all the good the books do ’em,
-  if they ever get any books. I wish my doll was a heathen.”
-
-  “Why, you wicked little girl! what do you want of a heathen
-  doll?” inquired the missionary lady, taking a mental inventory
-  of the new things in the parlor to get material for a homily on
-  worldly extravagance.
-
-  “So folks would send her lots of nice things to wear, and feel
-  sorry to have her going about naked. Then she’d have her hair to
-  frizz, and I want a doll with truly hair and eyes that roll up
-  like Deacon Silderback’s when he says amen on Sunday. I ain’t a
-  wicked girl, either, ’cause Uncle Dick—you know Uncle Dick, he’s
-  been out West and swears awful and smokes in the house—he says
-  I’m a holy terror, and he hopes I’ll be an angel pretty soon.
-  Ma’ll be down in a minute, so you needn’t take your cloak off.
-  She said she’d box my ears if I asked you to.
-
-  “Ma’s putting on that old dress she had last year, ’cause she
-  didn’t want you to think she was able to give much this time,
-  and she needed a muff worse than the queen of the cannon-ball
-  islands needed ’ligion. Uncle Dick says you oughter get to the
-  islands, ’cause you’d be safe there, and the natives would be
-  sorry they was such sinners anybody would send you to ’em. He
-  says he never seen a heathen hungry enough to eat you, ’less it
-  was a blind one, an’ you’d set a blind pagan’s teeth on edge so
-  he’d never hanker after any more missionary. Uncle Dick’s awful
-  funny, and makes ma and pa die laughing sometimes.”
-
-  “Your Uncle Richard is a bad, depraved wretch, and ought to have
-  remained out West, where his style is appreciated. He sets a
-  horrid example for little girls like you.”
-
-  “Oh, I think he’s nice. He showed me how to slide down the
-  banisters, and he’s teaching me to whistle when ma ain’t around.
-  That’s a pretty cloak you’ve got, ain’t it? Do you buy all your
-  clothes with missionary money? Ma says you do.”
-
-  Just then the freckle-faced little girl’s ma came into the parlor
-  and kissed the missionary lady on the cheek and said she was
-  delighted to see her, and they proceeded to have a real sociable
-  chat. The little girl’s ma cannot understand why a person who
-  professes to be so charitable as the missionary agent does should
-  go right over to Miss Dimmond’s and say such ill-natured things
-  as she did, and she thinks the missionary is a double-faced
-  gossip. The little girl understands it better than her ma does.
-
-
-WHEN GIRLS WORE CALICO.
-
-  There was a time, betwixt the days
-    Of linsey woolsey, straight and prim,
-  And these when mode, with despot ways,
-    Leads woman captive at its whim,
-      Yet not a hundred years ago,
-      When girls wore simple calico.
-
-  Within the barn, by lantern light,
-    Through many a reel, with flying feet,
-  The boys and maidens danced at night
-    To fiddled measures, shrilly sweet;
-      And merry revels were they, though
-      The girls were gowned in calico.
-
-  Across the flooring rough and gray
-    The gold of scattered chaff was spread,
-  And long festoons of clover hay
-    That straggled from the loft o’erhead,
-      Swung scented fringes to and fro
-      O’er pretty girls in calico.
-
-  They used to go a-Maying then,
-    The blossoms of the spring to seek
-  In sunny glade and sheltered glen,
-    Unweighed by fashion’s latest freak;
-      And Robin fell in love, I know,
-      With Phyllis in her calico.
-
-  A tuck, a frill, a bias fold,
-    A hat curved over gipsy-wise,
-  And beads of coral and of gold,
-    And rosy cheeks and merry eyes,
-      Made lassies in that long ago
-      Look charming in their calico.
-
-  The modern knight who loves a maid
-    Of gracious air and gentle grace,
-  And finds her oftentimes arrayed
-    In shining silk and priceless lace,
-      Would love her just as well, I know,
-      In pink and lilac calico.
-
-                           HATTIE WHITNEY.
-
-
-A WINNING COMPANY.
-
-  Ef gran’paw was a soldier now
-    He’d show ’em what to do;
-  You ought to come and lisen how
-    He talks to me and Sue.
-
-  He tells us all about the days
-    He led his gallant men,
-  And all about the different ways
-    He won the battles then.
-
-  An’ ev’ry night when paw comes in
-    An’ says the fight’s begun,
-  He tells what they could do to win
-    Er what they ought to done.
-
-  An’ paw he laugh and looks at me
-    An’ says we’d surely win it
-  If gran’paw led a company
-    An’ Sue an’ me was in it.
-
-
-THE BRAVEST SAILOR OF ALL.
-
-This graceful tribute to the martial spirit of the little tots should be
-recited in a slightly bombastic style. The little one considers himself
-quite a hero and should be described accordingly.
-
-  I know a naval officer, the bravest fighting man;
-  He wears a jaunty sailor suit, his cap says “Puritan.”
-  And all day long he sails a ship between our land and Spain,
-  And he avenges, every hour, the martyrs of the “Maine.”
-
-  His warship is six inches square, a wash-tub serves for ocean;
-  But never yet, on any coast, was seen such dire commotion.
-  With one skilled move his boat is sent from Cuba to midsea,
-  And just as quickly back it comes to set Havana free.
-
-  He fights with Dewey; plants his flag upon each island’s shore,
-  Then off with Sampson’s fleet he goes to shed the Spanish gore.
-  He comes to guard New England’s coast, but ere his anchor falls,
-  He hurries off in frightful speed, to shell Manila’s walls.
-
-  The Philippines so frequently have yielded to his power,
-  There’s very little left of them, I’m certain, at this hour;
-  And when at last he falls asleep, it is to wake again
-  And hasten into troubled seas and go and conquer Spain.
-
-                                                     ELLA WHEELER WILCOX.
-
-
-HOW SHE WAS CONSOLED.
-
-  Out in the field in the red o’ the rain
-  That crimsoned the breasts that the battle had slain,
-  He lay in the shadow—the captain—at rest,
-  With a lock of gold hair round a face on his breast.
-
-  Out in the darkness, all pallid and dumb,
-  A woman waits long for the captain to come;
-  And she kisses his portrait. O, pitiful pain!
-  She shall kiss not the lips of the captain again!
-
-  But a woman’s a woman, though loyal and brave,
-  Love fareth but ill in the gloom of a grave.
-  The captain lies mute ’neath the stars and the snow,
-  And the woman he loved—well, she’s married you know!
-
-
-THAT HIRED GIRL.
-
-  When she came to work for the family on Congress street, the lady
-  of the house sat down and told her that agents, picture-sellers,
-  peddlers, ragmen, and all that class of people must be met at the
-  front door and coldly repulsed, and Sarah said she’d repulse them
-  if she had to break every broomstick in town.
-
-  And she did. She threw the door open wide, bluffed right up at
-  ’em, and when she got through talking, the cheekiest agent was
-  only too glad to leave. It got so after a while that peddlers
-  marked that house, and the door-bell never rang except for
-  company.
-
-  The other day, as the girl of the house was wiping off the
-  spoons, the bell rang. She hastened to the door, expecting to see
-  a lady, but her eyes encountered a slim man, dressed in black and
-  wearing a white necktie. He was the new minister, and was going
-  around to get acquainted with the members of his flock, but Sarah
-  wasn’t expected to know this.
-
-  “Ah—um—is—Mrs.—ah!”
-
-  “Git!” exclaimed Sarah, pointing to the gate.
-
-  “Beg pardon, but I would like to see—see—!”
-
-  “Meander!” she shouted, looking around for a weapon; “we don’t
-  want any flour-sifters here!”
-
-  “You’re mistaken,” he replied, smiling blandly. “I called to—”
-
-  “Don’t want anything to keep moths away—fly!” exclaimed Sarah,
-  getting red in the face.
-
-  “Is the lady in?” he inquired, trying to look over Sarah’s head.
-
-  “Yes, the lady is in, and I’m in, and you are out!” she snapped;
-  “and now I don’t want to stand here talking to a fly-trap agent
-  any longer! Come lift your boots!”
-
-  “I’m not an agent,” he said, trying to smile. “I’m the new—”
-
-  “Yes, I know you—you are the new man with the patent flat-iron,
-  but we don’t want any, and you’d better go before I call the dog!”
-
-  “Will you give the lady my card, and say that I called?”
-
-  “No, I won’t; we are bored to death with cards and handbills and
-  circulars. Come, I can’t stand here all day.”
-
-  “Didn’t know that I was a minister?” he asked, as he backed off.
-
-  “No, nor I don’t know it now; you look like the man who sold the
-  woman next door a ten cent chromo for two dollars.”
-
-  “But here is my card.”
-
-  “I don’t care for cards, I tell you! If you leave that gate open,
-  I will have to fling a flower-pot at you!”
-
-  “I will call again,” he said, as he went through the gate.
-
-  “It won’t do any good!” she shouted after him; “we don’t want no
-  prepared food for infants—no piano music—no stuffed birds! I know
-  the policeman on this beat, and if you come around here again,
-  he’ll soon find out whether you are a confidence man or vagrant!”
-
-  And she took unusual care to lock the door.
-
-
-WHAT SAMBO SAYS.
-
-  Now, in dese busy wukin’ days, dey’s changed de Scripter fashions,
-  An’ you needn’t look to mirakuls to furnish you wid rations;
-  Now, when you’s wantin’ loaves o’ bread, you got to go and fetch ’em,
-  An’ ef you’s wantin’ fishes, you mus’ dig your wums an’ ketch ’em;
-  For you kin put it down as sartin dat the time is long gone by,
-  When sassages an’ ’taters use to rain fum out de sky!
-
-  I nebber likes de cullud man dat thinks too much o’ eatin’;
-  But frolics froo de wukin’ days, and snoozes at de meetin’;
-  Dat jines de Temp’ance ’Ciety, an’ keeps a gettin’ tight,
-  An’ pulls his water-millions in de middle ob de night!
-
-  Dese milerterry nigger chaps, with muskets in deir han’s,
-  Perradin’ froo de city to de music ob de ban’s,
-  Had better drop deir guns, an’ go to marchin’ wid deir hoes
-  An’ git a honest libbin’ as dey chop de cotton-rows,
-  Or de State may put ’em arter while to drillin’ in de ditches,
-  Wid more’n a single stripe a-runnin’ ’cross deir breeches.
-
-  Well, you think dat doin’ nuffin’ ’tall is mighty sort o’ nice,
-  But it busted up de renters in de lubly Paradise!
-  You see, dey bofe was human bein’s jes’ like me an’ you,
-  An’ dey couldn’t reggerlate deirselves wid not a thing to do;
-  Wid plenty wuk befo’ ’em, an’ a cotton crop to make,
-  Dey’d nebber thought o’ loafin’ roun’ an’ chattin’ wid de snake.
-
-
-THE IRISH SLEIGH RIDE.
-
-  O don’t go way until you hear
-  A story, though it may seem queer,
-  Of a family known both near and far
-  By the funny name of Ump Ha Ha.
-
-  Mr. Ump Ha Ha, one day,
-  Thought he would like to take a sleigh
-  And ride upon the frozen snow;
-  And Mrs. Ump Ha Ha said she would go,
-  Taking all the family, of course,
-  Including, too, the family horse.
-  He was a mule, and a thin one, too;
-  You could see his ribs where the hay stuck through.
-
-  They hitched him up to an old-time bob.
-  Then you ought to have seen the mob!
-  There were Patrick, Mary Ump Ha Ha,
-        Grace and Carrie Ump Ha Ha,
-        Mike and Freddie Ump Ha Ha,
-        Willie and Eddie Ump Ha Ha,
-        Tim and Juley Ump Ha Ha,
-        Rose and Peggy Ump Ha Ha,
-        Lizzie and Mayme Ump Ha Ha,
-        Big fat Jammie Ump Ha Ha.
-
-  Fifteen people in one sleigh
-  Started out to spend the day.
-  The way they packed and jammed them in,
-  It made the family horse look thin.
-  As luck will have it, as it will,
-  They started from the top of a hill.
-  The hill was slippery; down they flew.
-  How fast they went they never knew.
-  The time they made it can’t be beat.
-  The old mule had no use for his feet;
-  He went like a bird or ships on sail;
-  He flew with his ears and steered with his tail.
-  It was a mile to the bottom and the bottom was mud,
-  And they went down with a sickening thud.
-
-  Mary Ump Ha Ha was dazed,
-  Patrick Ump Ha Ha was crazed,
-  Little Willie bumped his nose,
-  Big fat Jammie she got froze.
-  Fourteen doctors came at once.
-  The old mule was buried in the ground.
-  Did you ever see a dead mule laying around?
-  It took four drays to get them home,
-  And when they found they broke no bones,
-  They all sat down and thanked their stars,
-  And then they laughed out, Ump Ha Ha.
-
-
-JANE JONES.
-
-  Jane Jones keeps a-whisperin’ to me all the time,
-    An’ says: “Why don’t you make it a rule
-  To study your lessons, an’ work hard an’ learn,
-    An’ never be absent from school?
-  Remember the story of Elihu Burritt,
-    How he clumb up to the top;
-  Got all the knowledge ’at he ever had
-    Down in the blacksmithin’ shop.”
-  Jane Jones she honestly said it was so;
-        Mebby he did—I dunno;
-  ’Course, what’s a-keepin’ me ’way from the top
-  Is not never havin’ no blacksmithin’ shop.
-
-  She said ’at Ben Franklin was awfully poor,
-    But full o’ ambition and brains,
-  An’ studied philosophy all ’is hull life—
-    An’ see what he got for his pains.
-  He brought electricity out of the sky
-    With a kite an’ the lightnin’ an’ key,
-  So we’re owin’ him more’n any one else
-    For all the bright lights ’at we see.
-  Jane Jones she actually said it was so.
-        Mebby he did—I dunno;
-  ’Course, what’s allers been hinderin’ me
-  In not havin’ any kite, lightnin’ or key.
-
-  Jane Jones said Columbus was out at the knees
-    When he first thought up his big scheme;
-  An’ all of the Spaniards an’ Italians, too,
-    They laughed an’ just said ’twas a dream;
-  But Queen Isabella she listened to him,
-    An’ pawned all her jewels o’ worth,
-  An’ bought ’im the “Santa Marier” ’n said:
-    “Go hunt up the rest of the earth.”
-  Jane Jones she honestly said it was so;
-        Mebby he did—I dunno;
-  ’Course, that may all be, but you must allow
-  They ain’t any land to discover just now.
-
-                                      BEN KING.
-
-
-DE OLE PLANTATION MULE.
-
-  A werry funny feller is de ole plantation mule;
-  An’ nobody’ll play wid him unless he is a fool.
-  De bestest ting to do w’en you meditates about him,
-  Is to kinder sorter calkerlate you’ll get along widout him.
-
-  W’en you try to ’proach dat mule from de front endwise,
-  He look as meek as Moses, but his looks is full ob lies;
-  He doesn’t move a muscle, he doesn’t even wink;
-  An’ you say his dispersition’s better’n people tink.
-
-  He stan’ so still that you s’pose he is a monument of grace;
-  An’ you almos’ see a ’nevolent expression on his face;
-  But dat ’nevolent expression is de mask dat’s allers worn;
-  For ole Satan is behin’ it, jest as sure as you is born.
-
-  Den you cosset him a little, an’ you pat his other end,
-  An’ you has a reverlation dat he ain’t so much your friend;
-  You has made a big mistake; but before de heart repents,
-  You is histed werry sudden to de odder side de fence.
-
-  Well, you feel like you’d been standin’ on de locomotive track
-  An’ de engine come an’ hit you in de middle ob de back;
-  You don’ know wat has happened, you can scarcely cotch your breff;
-  But you tink you’ve made de ’quaintance ob a werry vi’lent deff.
-
-
-ADAM NEVER WAS A BOY.
-
-  Of all the men the world has seen
-    Since time his rounds began,
-  There’s one I pity every day—
-    Earth’s first and foremost man;
-  And then I think what fun he missed
-    By failing to enjoy
-  The wild delights of youth-time, for
-    He never was a boy.
-
-  He never stubbed his naked toe
-    Against a root or stone;
-  He never with a pin-hook fished
-    Along the brook alone;
-  He never sought the bumblebee
-    Among the daisies coy,
-  Nor felt its business end, because
-    He never was a boy.
-
-  He never hookey played, nor tied
-    The ever-ready pail,
-  Down in the alley all alone,
-    To trusting Fido’s tail.
-  And when he home from swimmin’ came,
-    His happiness to cloy,
-  No slipper interfered, because
-    He never was a boy.
-
-  He might refer to splendid times
-    ’Mong Eden’s bowers, yet
-  He never acted Romeo
-    To a six year Juliet.
-  He never sent a valentine,
-    Intended to annoy
-  A good, but maiden aunt, because
-    He never was a boy.
-
-  He never cut a kite string, no!
-    Nor hid an Easter egg;
-  He never ruined his pantaloons
-    A-playing mumble-peg;
-  He never from the attic stole,
-    A coon-hunt to enjoy,
-  To find “the old man” watching, for
-    He never was a boy.
-
-  I pity him. Why should I not?
-    I even drop a tear;
-  He did not know how much he missed;
-    He never will, I fear.
-  And when the scenes of “other days”
-    My growing mind employ,
-  I think of him, earth’s only man
-    Who never was a boy.
-
-                         T. C. HARBAUGH.
-
-
-A REMARKABLE CASE OF S’POSIN.
-
-  A man hobbled into the Colonel’s office upon crutches. Proceeding
-  to a chair and making a cushion of some newspapers, he sat down
-  very gingerly, placed a bandaged leg upon another chair, and said:
-
-  “Col. Coffin, my name is Briggs. I want to get your opinion about
-  a little point of law. Now, Colonel, s’posin’ you lived up the
-  pike here a half mile, next door to a man named Johnson. And
-  s’posin’ you and Johnson was to get into an argument about the
-  human intellect, and you was to say to Johnson that a splendid
-  illustration of the superiority of the human intellect was to be
-  found in the power of the human eye to restrain the ferocity of a
-  wild animal. And s’posin’ Johnson was to remark that that was all
-  bosh, because nobody _could_ hold a wild animal with the human
-  eye, and you should declare that you could hold the savagest
-  beast that was ever born if you could once fix your gaze on him.
-
-  “Well, then, s’posin’ Johnson was to say he’d bet a hundred
-  dollars he could bring a tame animal that you couldn’t hold with
-  your eye, and you was to take him up on it, and Johnson was
-  to ask you to come down to his place to settle the bet. You’d
-  go, we’ll say, and Johnson’d wander round to the back of the
-  house and pretty soon come front again with a dog bigger’n any
-  four decent dogs ought to be. And then s’posin’ Johnson’d let
-  go of that dog and set him on you, and he’d come at you like a
-  sixteen-inch shell out of a howitzer, and you’d get scary about
-  it and try to hold the dog with your eye and couldn’t.
-
-  “And s’posin’ you’d suddenly conclude that maybe your kind of
-  an eye wasn’t calculated to hold that kind of a dog, and you’d
-  conclude to run for a plum tree in order to have a chance to
-  collect your thoughts and to try to reflect what sort of an eye
-  would be best calculated to mollify that sort of a dog. You ketch
-  my idea, of course?
-
-  “Very well, then; s’posin’ you’d take your eye off of that
-  dog—Johnson, mind you, all the time hissing him on and laughing,
-  and you’d turn and rush for the tree, and begin to swarm up as
-  fast as you could. Well, sir, s’posin’ just as you got three feet
-  from the ground Johnson’s dog would grab you by the leg and hold
-  on like a vise, shaking you until you nearly lost your hold.
-
-  “And s’posin’ Johnson was to stand there and holloa, ‘Fix your
-  eye on him, Briggs! Why don’t you manifest the power of the
-  human intellect?’ and so on, howling out ironical remarks like
-  those; and s’posin’ he kept that dog on that leg until he made
-  you swear to pay the bet, and then at last had to pry the dog off
-  with a hot poker, bringing away at the same time some of your
-  flesh in the dog’s mouth, so that you had to be carried home on
-  a stretcher, and to hire several doctors to keep you from dying
-  with lock-jaw.
-
-  “S’posin’ this, what I want to know is, couldn’t you sue Johnson
-  for damages and make him pay heavily for what that dog did?
-  That’s what I want to get at.”
-
-  The Colonel thought for a moment, and then said:
-
-  “Well, Mr. Briggs, I don’t think I could. If I agreed to
-  let Johnson set the dog at me, I should be a party to the
-  transaction, and I could not recover.”
-
-  “Do you mean to say that the law won’t make that infernal
-  scoundrel Johnson suffer for letting his dog eat me up?”
-
-  “I think not, if you state the case properly.”
-
-  “It won’t, hey?” exclaimed Mr. Briggs, hysterically. “Oh, very
-  well, very well! I s’pose if that dog had chewed me all up it’d
-  ’ve been all the same to this constitutional republic. But hang
-  me if I don’t have satisfaction. I’ll kill Johnson, poison his
-  dog, and emigrate to some country where the rights of citizens
-  are protected!”
-
-  Then Mr. Briggs got on his crutches and hobbled out. He is still
-  a citizen, and will vote at the next election.
-
-
-MY PARROT.
-
-Let your face express contempt on the word “pshaw,” and make the gesture
-in Figure 24 of Typical Gestures. Drawl out the word “yawned” in the
-third verse and give a comical wink in the fourth verse. Prolong the
-sound on “pshaw” in the last line.
-
-  I had a parrot once, an ugly bird,
-    With the most wicked eye I ever saw,
-  Who, though it comprehended all it heard,
-    Would only say, “O pshaw!”
-
-  I did my best to teach it goodly lore;
-    I talked to it of medicine and law;
-  It looked as if it knew it all before,
-    And simply said, “O pshaw!”
-
-  I sat me down upon a dry-goods box
-    To stuff sound doctrine down its empty craw,
-  It would have none of matters orthodox,
-    But yawned and said, “O pshaw!”
-
-  I talked to it of politics, finance;
-    I hoped to teach the bird to say “Hurrah!”
-  For my pet candidates when he’d a chance,
-    He winked and chirped, “O pshaw!”
-
-  I am for prohibition, warp and woof,
-    But that bird stole hard cider through a straw,
-  And then he teetered off at my reproof
-    And thickly said, “O pshaw!”
-
-  Enraged, I hurled a bootjack, missed my aim
-    And plugged a passing stranger in the jaw;
-  He wheeled to see from whence the missile came;
-    The demon laughed “O pshaw!”
-
-  I gave the creature to an old-maid aunt,
-    And shook with parting grief its skinny claw.
-  “He’ll serve to cheer,” she said, “my lonely hearth,
-  For I’d not marry the best man on earth!”
-    “O pshaw!” sneered Poll, “O psha-a-w!”
-
-                                         EMMA H. WEBB.
-
-
-BAKIN AND GREENS.
-
-  Yo’ may tell me ob pastries and fine oyster patties,
-    Of salads and crowkets an’ Boston baked beans,
-  But dar’s nuffin so temptin’ to dis nigger’s palate
-    As a big slice of bakin and plenty ob greens.
-
-  Jes bile ’em right down, so dey’ll melt when yo’ eat ’em;
-    Hab a big streak ob fat an’ a small streak o’ lean;
-  Dar’s nuffin on earf yo’ kin fix up to beat ’em,
-    Fur de king ob all dishes am bakin and greens.
-
-  Den take some co’hnmeal and sif’ it and pat it.
-    An’ put it in de ashes wid nuffin between;
-  Den blow off de ashes and set right down at it,
-    For dar’s nuffin like ashcake wid bakin and greens.
-
-  ’Twill take de ole mammies to fix ’em up greasy,
-    Wid a lot ob good likker and dumplin’s between,
-  Take all yo’ fine eatin’, I won’t be uneasy,
-    If you’ll gimme dat bakin wid plenty ob greens.
-
-  Rich folks in dar kerrage may frow de dust on me;
-    But how kin I envy dem men ob big means.
-  Dey may hab de dispepsey and do’ they may scorn me,
-    Dey can’t enjoy bakin wid a dish ob good greens.
-
-  You may put me in rags, fill my cup up wid sorrow;
-    Let joy be a stranger, and trouble my dreams,
-  But I still will be smilin’, no pain kin I borrow,
-    Ef you lebe me dat bakin wid plenty of greens.
-
-
-HUNTING A MOUSE.
-
-  I was dozing comfortably in my easy-chair, and dreaming of the
-  good times which I hope are coming, when there fell upon my
-  ears a most startling scream. It was the voice of my Maria Ann
-  in agony. The voice came from the kitchen, and to the kitchen I
-  rushed. The idolized form of my Maria was perched on a chair, and
-  she was flourishing an iron spoon in all directions and shouting
-  “shoo,” in a general manner, at everything in the room. To my
-  anxious inquiries as to what was the matter, she screamed, “O
-  Joshua! a mouse, shoo—wha—shoo—a great—ya—shoo—horrid mouse,
-  and—she—ew—it ran right out of the cupboard—shoo—go way—O
-  Lord—Joshua—shoo—kill it, oh, my—shoo.”
-
-  All that fuss, you see, about one little harmless mouse. Some
-  women are so afraid of mice. Maria is. I got the poker and set
-  myself to poke that mouse, and my wife jumped down and ran off
-  into another room. I found the mouse in a corner under the sink.
-  The first time I hit it I didn’t poke it any on account of
-  getting the poker all tangled up in a lot of dishes in the sink;
-  and I did not hit it any more because the mouse would not stay
-  still. It ran right toward me, and I naturally jumped, as anybody
-  would; but I am not afraid of mice, and when the horrid thing ran
-  up inside the leg of my pantaloons, I yelled to Maria because I
-  was afraid it would gnaw a hole in my garment.
-
-  I did not lose my presence of mind for an instant. I caught the
-  mouse just as it was clambering over my knee, and by pressing
-  firmly on the outside of the cloth, I kept the animal a prisoner
-  on the inside. I kept jumping around with all my might to confuse
-  it, so that it would not think about biting, and I yelled so that
-  the mice would not hear its squeaks and come to its assistance. A
-  man can’t handle many mice at once to advantage. Besides, I’m not
-  so spry as I was before I had that spine in my back and had to
-  wear plasters.
-
-  Maria was white as a sheet when she came into the kitchen and
-  asked what she should do—as though I could hold the mouse
-  and plan a campaign at the same time. I told her to think
-  of something, and she thought she would throw things at the
-  intruder; but as there was no earthly chance for her to hit the
-  mouse, while every shot took effect on me, I told her to stop,
-  after she had tried two flat-irons and the coal-scuttle. She
-  paused for breath; but I kept bobbing around. Somehow I felt no
-  inclination to sit down anywhere. “O Joshua,” she cried, “I wish
-  you had not killed the cat.”
-
-  Then she got the tea-kettle and wanted to scald the mouse. I
-  objected to that process, except as a last resort. Then she got
-  some cheese to coax the mouse down, but I did not dare to let go,
-  for fear it would run up. Matters were getting desperate. I told
-  her to think of something else, and I kept jumping. Just as I was
-  ready to faint with exhaustion, I tripped over an iron, lost my
-  hold, and the mouse fell to the floor, very dead. I had no idea
-  a mouse could be squeezed to death so easy.
-
-  That was not the end of the trouble, for before I had recovered
-  my breath a fireman broke in one of the front windows, and a
-  whole company followed him through, and they dragged hose around,
-  and mussed things all over the house, and then the foreman wanted
-  to thrash me because the house was not on fire, and I had hardly
-  got him pacified before a policeman came in and arrested me. Some
-  one had run down and told him I was drunk and was killing Maria.
-  It was all Maria and I could do, by combining our eloquence, to
-  prevent him from marching me off in disgrace, but we finally got
-  matters quieted and the house clear.
-
-  Now when mice run out of the cupboard I go outdoors, and let
-  Maria “shoo” them back again. I can kill a mouse, but the fun
-  don’t pay for the trouble.
-
-                                                    JOSHUA JENKINS.
-
-
-THE VILLAGE SEWING SOCIETY.
-
-This is a very amusing recitation when correctly rendered. The gossips
-make the most disparaging remarks about their neighbors, but are very
-pleasant to their faces. The words in parentheses should be spoken
-‘aside’ in an undertone. A recital for one who can imitate different
-female voices.
-
-  “Mis’ Jones is late agin to-day:
-    I’d be ashamed now ef ’twas me.
-  Don’t tell it, but I’ve heerd folks say
-    She only comes to get her tea.”
-
-  “Law me! she needn’t want it _here_,
-    The deacon’s folks ain’t much on eatin’:
-  They haven’t made a pie this year!
-    Of course, ’twon’t do to be repeatin’;
-
-  “But old Mis’ Jenkins says it’s true
-    (You know she lives just ’cross the way,
-  And sees most everything they do.)
-    She says she saw ’em t’other day—”
-
-  “Hush, here comes Hannah! How d’ye do?
-    Why, what a pretty dress you’ve got!”
-  (“Her old merino made up new:
-    _I_ know it by that faded spot.”)
-
-  “Jest look! there’s Dr. Stebbins’ wife”—
-    “A bran-new dress and bunnit!—well—
-  They say she leads him _such_ a life!
-    But, there! I promised not to tell.”
-
-  “What’s that, Mis’ Brown? ‘_All friends_,’ of course;
-    And you can see with your own eyes,
-  That _that_ gray mare’s the better horse,
-    Though gossipin’ I do dispise.”
-
-  “Poor Mary Allen’s lost her beau”—
-    “It serves her right, conceited thing!
-  She’s flirted awfully, I know.
-    Say have you heard she kept his ring?”
-
-  “Listen! the clock is striking six.
-    Thank goodness! then it’s time for tea.”
-  “Now ain’t that too much! Abby Mix
-    Has folded up her work! Just see!”
-
-  “Why _can’t_ she wait until she’s told?
-    Yes, thank you, deacon, here we come.”
-  (“I hope the biscuits won’t be cold:
-    No coffee? Wish I was tu hum!”)
-
-  “Do tell, Mis’ Ellis! _Did_ you make
-    This cheese? the best I ever saw.
-  Such jumbles too (no jelly cake):
-    I’m quite ashamed to take one more.”
-
-  “Good-by: we’ve had a first-rate time,
-    And first-rate tea, I must declare.
-  Mis’ Ellis’ things are always prime.
-    (Well, next week’s meetin’ won’t be _there_!”)
-
-
-SIGNS AND OMENS.
-
-  An old gentleman, whose style was Germanized, was asked what he
-  thought of signs and omens.
-
-  “Vell, I don’t dinks mooch of dem dings, und I don’t pelieve
-  averydings; but I dells you somedimes dere is somedings ash dose
-  dings. Now de oder night I sit and reads mine newspaper, und my
-  frau she speak und say—
-
-  “‘Fritz, de dog ish howling!’
-
-  “Vell, I don’ dinks mooch of dem dings, und I goes on und reads
-  mine paper, und mine frau she says—
-
-  “‘Fritz, dere is somedings pad is happen,—der dog ish howling!’
-
-  “Und den I gets hop mit mineself und look out troo de wines on
-  de porch, und de moon was shinin’, und mine leetle dog he shoomp
-  right up und down like averydings, und he park at de moon, dat
-  was shine so bright as never vas. Und ash I hauled mine het in de
-  winder, de old voman she say—
-
-  “‘Mind, Fritz, I dells you dere ish someding pad ish happen. De
-  dog ish howling.’
-
-  “Vell, I goes to ped, und I shleeps, und all night long ven I
-  vakes up dere vas dat dog howling outside, und ven I dream I hear
-  dat howling vorsher ash never. Und in de morning I kits up und
-  kits mine breakfast, und mine frau she looks at me und say, werry
-  solemn—
-
-  “‘Fritz, dere is somedings pad ish happen. De dog vas howl all
-  night.’
-
-  “Und shoost den de newspaper came in, und I opens him und by
-  shings, vot you dinks; dere vas a man’s vife cracked his skull in
-  Philadelphia!”
-
-
-THE GHOST.
-
-Sing to the tune of Yankee Doodle the words designated.
-
-    ’Tis about twenty years since Abel Law,
-  A short, round-favored, merry
-  Old soldier of the Revolutionary War,
-  Was wedded to
-  A most abominable shrew.
-  The temper, sir, of Shakespeare’s Catharine
-  Could no more be compared with hers,
-  Than mine
-  With Lucifer’s.
-
-    Her eyes were like a weasel’s; she had a harsh
-  Face, like a cranberry marsh.
-  All spread
-  With spots of white and red;
-  Hair of the color of a wisp of straw,
-  And a disposition like a cross-cut saw.
-  The appellation of this lovely dame
-  Was Nancy; don’t forget the name.
-
-    Her brother David was a tall,
-  Good-looking chap, and that was all;
-  One of your great, big nothings, as we say
-  Here in Rhode Island, picking up old jokes
-  And cracking them on other folks.
-  Well, David undertook one night to play
-  The Ghost, and frighten Abel, who,
-  He knew,
-  Would be returning from a journey through
-  A grove of forest wood
-  That stood
-  Below
-  The house some distance—half a mile, or so.
-
-    With a long taper
-  Cap of white paper,
-  Just made to cover
-  A wig, nearly as large over
-  As a corn-basket, and a sheet
-  With both ends made to meet
-  Across his breast,
-  (The way in which ghosts are always dressed,)
-  He took
-  His station near
-  A huge oak-tree,
-  Whence he could overlook
-  The road and see
-  Whatever might appear.
-
-    It happened that about an hour before, friend Abel
-  Had left the table
-  Of an inn, where he had made a halt,
-  With horse and wagon,
-  To taste a flagon,
-  Of malt
-  Liquor, and so forth, which, being done.
-  He went on,
-  Caring no more for twenty ghosts,
-  Than if they were so many posts.
-
-    David was nearly tired of waiting;
-  His patience was abating;
-  At length, he heard the careless tones
-  Of his kinsman’s voice,
-  And then the noise
-  Of wagon-wheels among the stones.
-  Abel was quite elated, and was roaring
-  With all his might, and pouring
-  Out, in great confusion,
-  Scraps of old songs made in “the Revolution.”
-
-    His head was full of Bunker Hill and Trenton
-  And jovially he went on,
-  Scaring the whip-po’-wills among the trees
-  With rhymes like these:—[_Sings._]
-        “See the Yankees
-          Leave the hill,
-            With baggernetts declining,
-          With lopped-down hats
-          And rusty guns,
-            And leather aprons shining.”
-  “See the Yankees—Whoa! Why, what is that?”
-  Said Abel, staring like a cat,
-  As, slowly on, the fearful figure strode
-  Into the middle of the road.
-
-    “My conscience! what a suit of clothes!
-  Some crazy fellow, I suppose.
-  Hallo! friend, what’s your name? By the powers of gin,
-  That’s a strange dress to travel in.”
-  “Be silent, Abel; for I now have come
-  To read your doom;
-  Then hearken, while your fate I now declare.
-  I am a spirit”—“I suppose you are;
-  But you’ll not hurt me, and I’ll tell you why:
-  Here is a fact which you cannot deny;—
-  All spirits must be either good
-  Or bad—that’s understood—
-  And be you good or evil, I am sure
-  That I’m secure.
-  If a good spirit, I am safe. If evil—
-  And I don’t know but you may be the Devil—
-  If that’s the case, you’ll recollect, I fancy,
-  That I am married to your sister Nancy!”
-
-
-A BIG MISTAKE.
-
-  Recently our church had a new minister. He is a nice, good,
-  sociable gentleman; but coming from a distant State, of course he
-  was totally unacquainted with our people. Therefore it happened
-  that during his pastoral calls, he made several ludicrous
-  blunders. One as follows: The other evening he called upon Mrs.
-  Haddon. She had just lost her husband, and she naturally supposed
-  that his visit was relative to the sad occurrence. So, after a
-  few common-places had been exchanged, she was not surprised to
-  hear him remark:
-
-  “It was a sad bereavement, was it not, Mrs. Haddon?”
-
-  “Yes,” faltered the widow.
-
-  “Totally unexpected?”
-
-  “Oh, yes; I never dreamed of it.”
-
-  “He died in the barn, I suppose.”
-
-  “Oh, no; in the house.”
-
-  “Ah, well, I suppose you must have thought a great deal of him?”
-
-  “Of course, sir.”
-
-  This was with vim. The minister looked rather surprised, crossed
-  his legs and renewed the conversation.
-
-  “Blind staggers was the disease, I believe.”
-
-  “No, sir,” snapped the widow. “Apoplexy.”
-
-  “Indeed; you must have fed him too much.”
-
-  “He was quite capable of feeding himself, sir.”
-
-  “Very intelligent he must have been. Died hard?”
-
-  “He did.”
-
-  “You had to hit him on the head with an axe to put him out of his
-  misery, I am told.”
-
-  Mrs. Haddon’s eyes snapped fire.
-
-  “Whoever told you that did not speak the truth,” she haughtily
-  uttered. “James died naturally.”
-
-  “Yes,” continued the minister, in a perplexed tone. “He kicked
-  the side of the barn down in his last agonies, didn’t he?”
-
-  “No, sir; he did not.”
-
-  “Well, I have been misinformed, I suppose. How old was he?”
-
-  “Thirty-five.”
-
-  “He did not do much active work. Perhaps you are better without
-  him, for you can easily supply his place with a better one.”
-
-  “_Never!_ sir, will I find such a good one as he.”
-
-  “Oh, yes you will; he had the heaves bad, you know.”
-
-  “Nothing of the kind, sir.”
-
-  “Why, I recollect I saw him one day, with you on his back, and I
-  distinctly recollect that he had the heaves, and walked as if he
-  had the spring-halt.”
-
-  Mrs. H.’s eyes snapped fire, and she stared at the reverend
-  visitor as if she imagined he was crazy.
-
-  “He could not have had the spring-halt, for he had a cork-leg,”
-  she replied.
-
-  “A cork-leg—remarkable; but really, didn’t he have a dangerous
-  trick of suddenly stopping and kicking the wagon all to pieces?”
-
-  “Never, sir; he was not mad.”
-
-  “Probably not. But there were some good points about him.”
-
-  “I should think so.”
-
-  “The way in which he carried his ears, for example.”
-
-  “Nobody ever noticed that particular merit,” said the widow, with
-  much asperity, “he was warm-hearted, generous and frank.”
-
-  “Good qualities,” answered the minister. “How long did it take
-  him to go a mile?”
-
-  “About fifteen minutes.”
-
-  “Not much of a goer. Wasn’t his hair apt to fly?”
-
-  “He didn’t have any hair, he was bald-headed.”
-
-  “Quite a curiosity.”
-
-  “No, sir; no more of a curiosity than you are.”
-
-  The minister shifted uneasily, and got red in the face; but he
-  returned to the attack.
-
-  “Did you use the whip much on him?”
-
-  “Never, sir.”
-
-  “Went right along without it, eh?”
-
-  “Yes.”
-
-  “He must have been a good sort of a _brute_!”
-
-  The widow sat down and cried.
-
-  “The idea of your coming here and insulting me,” she sobbed. “If
-  my husband had lived you would not have done it. Your remarks in
-  reference to the poor dead man have been a series of insults, and
-  I won’t stand it.”
-
-  He colored, and looked dumfounded.
-
-  “Ain’t you Mrs. Blinkers?” at last he stammered, “and has not
-  your gray horse just died?”
-
-  “No! no!” she cried. “I never owned a horse, but my husband died
-  a week ago.”
-
-  Ten minutes later that minister came out of that house with the
-  reddest face ever seen on mortal man.
-
-  “And to think,” he groaned, as he strode home, “that I was
-  talking horse to that woman all the time—and she was talking
-  husband.”
-
-
-THE DUEL.
-
-Imitate the “bow-wow” of the dog and the “me-ow” of the cat: at least, so
-deliver the words as to convey the idea of the barking and the mewing.
-
-  The gingham dog and the calico cat
-  Side by side on the table sat;
-  ’Twas half-past twelve, and what do you think,
-  Neither of them had slept a wink!
-    And the old Dutch clock and the Chinese plate
-    Seemed to know, as sure as fate,
-  There was going to be an awful spat.
-
-    (I wasn’t there—I simply state
-    What was told to me by the Chinese plate.)
-
-  The gingham dog went “bow-wow-wow!”
-  And the calico cat replied “me-ow?”
-  And the air was streaked for an hour or so
-  With fragments of gingham and calico.
-    While the old Dutch clock in the chimney-place
-    Up with its hands before its face,
-  For it always dreaded a family row!
-
-    (Now mind, I’m simply telling you
-    What the old Dutch clock declares is true.)
-
-  The Chinese plate looked very blue
-  And wailed: “Oh, dear what shall we do?”
-  But the gingham dog and the calico cat
-  Wallowed this way and tumbled that,
-    And utilized every tooth and claw
-    In the awfulest way you ever saw—
-  And, oh! how the gingham and calico flew!
-
-    (Don’t think that I exaggerate
-    I got my news from the Chinese plate.)
-
-  Next morning where the two had sat
-  They found no trace of the dog or cat;
-  And some folks think unto this day
-  That burglars stole that pair away;
-    But the truth about that cat and pup
-    Is that they ate each other up—
-  Now, what do you think of that?
-
-    (The old Dutch clock, it told me so,
-    And that is how I came to know.)
-
-                                 EUGENE FIELD.
-
-
-PLAYING JOKES ON A GUIDE.
-
-  European guides know about enough English to tangle every thing
-  up so that a man can make neither head nor tail of it. They know
-  their story by heart—the history of every statue, painting,
-  cathedral, or other wonder they show you. They know it and tell
-  it as a parrot would; and if you interrupt, and throw them off
-  the track, they have to go back and begin over again. All their
-  lives long, they are employed in showing strange things to
-  foreigners and listening to their bursts of admiration.
-
-  After we discovered this, we never went into ecstasies any more,
-  we never admired anything, we never showed any but impassible
-  faces and stupid indifference in the presence of the sublimest
-  wonders a guide had to display. We had found their weak point. We
-  made some of those people savage, at times, but we never lost our
-  serenity.
-
-  The doctor asked the questions generally, because he can keep his
-  countenance, and look more like an inspired idiot, and throw more
-  imbecility into the tone of his voice than any man that lives.
-  It comes natural to him.
-
-  The guides in Genoa are delighted to secure an American party,
-  because Americans so much wonder, and deal so much in sentiment
-  and emotion before any relic of Columbus. Our guide there
-  fidgeted about as if he had swallowed a spring mattress. He was
-  full of animation—full of impatience. He said:
-
-  “Come wis me, genteelmen!—come! I show you ze letter writing
-  by Christopher Colombo!—write it himself!—write it wis his own
-  hand!—come!”
-
-  He took us to the municipal palace. After much impressive
-  fumbling of keys and opening of locks, the stained and aged
-  document was spread before us. The guide’s eyes sparkled. He
-  danced about us and tapped the parchment with his finger.
-
-  “What I tell you, genteelmen! Is it not so? See! handwriting
-  Christopher Colombo!—write it himself!”
-
-  We looked indifferent, unconcerned. The doctor examined the
-  document very deliberately, during a painful pause. Then he said,
-  without any show of interest,
-
-  “Ah—what—what did you say was the name of the party who wrote
-  this?”
-
-  “Christopher Colombo! ze great Christopher Colombo!”
-
-  Another deliberate examination.
-
-  “Ah—did he write it himself, or—or how?”
-
-  “He write it himself!—Christopher Colombo! he’s own handwriting,
-  write by himself!”
-
-  Then the doctor laid the document down, and said,
-
-  “Why, I have seen boys in America only fourteen years old that
-  could write better than that.”
-
-  “But zis is ze great Christo—”
-
-  “I don’t care who it is! It’s the worst writing I ever saw. Now
-  you mustn’t think you can impose on us because we are strangers.
-  We are not fools, by a good deal. If you have got any specimens
-  of penmanship of real merit, trot them out!—and if you haven’t,
-  drive on!”
-
-  We drove on. The guide was considerably shaken up, but he made
-  one more venture. He had something which he thought would
-  overcome us. He said,
-
-  “Ah, genteelmen, you come wis me! I show you beautiful,
-  oh, magnificent bust Christopher Colombo—splendid, grand,
-  magnificent!”
-
-  He brought us before the beautiful bust—for it _was_
-  beautiful—and sprang back and struck an attitude:
-
-  “Ah, look, genteelmen!—beautiful, grand—bust Christopher
-  Colombo!—beautiful bust, beautiful pedestal!”
-
-  The doctor put up his eye-glass—procured for such occasions:
-
-  “Ah—what did you say this gentleman’s name was?”
-
-  “Christopher Colombo! ze great Christopher Colombo!”
-
-  “Christopher Colombo—the great Christopher Colombo. Well, what
-  did _he_ do?”
-
-  “Discover America!—discover America, oh, ze devil!”
-
-  “Discover America? No—that statement will hardly wash. We
-  are just from America ourselves. We heard nothing about it.
-  Christopher Colombo—pleasant name—is—is he dead?”
-
-  “Oh, corpo di Baccho!—three hundred year!”
-
-  “What did he die of?”
-
-  “I do not know. I cannot tell.”
-
-  “Small-pox, think?”
-
-  “I do not know, genteelmen—I do not know _what_ he died of.”
-
-  “Measles, likely?”
-
-  “Maybe—maybe. I do _not_ know—I think he die of something.”
-
-  “Parents living?”
-
-  “Im-possible!”
-
-  “Ah—which is the bust and which is the pedestal?”
-
-  “Santa Maria!—_zis_ ze bust!—_zis_ ze pedestal!”
-
-  “Ah, I see, I see—happy combination—very happy combination
-  indeed. Is—is this the first time this gentleman was ever on a
-  bust?”
-
-  That joke was lost on the foreigner; guides cannot master the
-  subtleties of the American joke.
-
-  We have made it interesting for this Roman guide. Yesterday we
-  spent three or four hours in the Vatican again, that wonderful
-  world of curiosities. We came very near expressing interest
-  sometimes, even admiration. It was hard to keep from it. We
-  succeeded, though. Nobody else ever did, in the Vatican museums.
-  The guide was bewildered, nonplussed. He walked his legs off,
-  nearly, hunting up extraordinary things, and exhausted all his
-  ingenuity on us, but it was a failure; we never showed any
-  interest in anything. He had reserved what he considered to be
-  his greatest wonder till the last—a royal Egyptian mummy, the
-  best preserved in the world, perhaps. He took us there. He felt
-  so sure, this time, that some of his old enthusiasm came back to
-  him:
-
-  “See, genteelmen!—Mummy! Mummy!”
-
-  The eye-glass came up as calmly, as deliberately as ever.
-
-  “Ah—what did I understand you to say the gentleman’s name was?”
-
-  “Name?—he got no name!—Mummy!—’Gyptian mummy!”
-
-  “Yes, yes. Born here?”
-
-  “No. _’Gyptian_ mummy.”
-
-  “Ah, just so. Frenchman, I presume?”
-
-  “No!—_not_ Frenchman, not Roman!—born in Egypta!”
-
-  “Born in Egypta. Never heard of Egypta before. Foreign locality,
-  likely. Mummy—mummy. How calm he is, how self-possessed! Is—ah—is
-  he dead?”
-
-  “Oh, _sacre bleu_! been dead three thousan’ year!”
-
-  The doctor turned on him, savagely:
-
-  “Here, now, what do you mean by such conduct as this? Playing
-  us for Chinamen because we are strangers and trying to learn!
-  Trying to impose your vile second-hand carcasses on _us_! Thunder
-  and lightning! I’ve a notion to—to—if you’ve got a nice _fresh_
-  corpse, fetch him out!—or, by George, we’ll brain you!”
-
-                                                        MARK TWAIN.
-
-
-A PARODY.
-
-  The boy stood on the backyard fence, whence all but him had fled;
-  The flames that lit his father’s barn shone just above the shed.
-  One bunch of crackers in his hand, two others in his hat,
-  With piteous accents loud he cried, “I never thought of that!”
-  A bunch of crackers to the tail of one small dog he’d tied;
-  The dog in anguish sought the barn, and ’mid its ruins died.
-
-  The sparks flew wide and red and hot, they lit upon that brat;
-  They fired the crackers in his hand, and e’en those in his hat.
-  Then came a burst of rattling sound—the boy! Where was he gone?
-  Ask of the winds that far around strewed bits of meat and bone,
-  And scraps of clothes, and balls, and tops, and nails, and hooks
-      and yarn—
-  The relics of that dreadful boy that burned his father’s barn.
-
-
-MAN’S DEVOTION.
-
-  Jake Boggles was a country youth,
-  Who paid his debts and told the truth.
-
-  He labored hard, and seemed content
-  With life, no matter how it went,
-
-  ’Till with a girl named Sally Skreels
-  He fell in love head over heels.
-
-  Now Sally’s father wasn’t worth
-  A dollar or a foot of earth,
-
-  And Jake’s paternal parent owed
-  Most every other man he knowed;
-
-  But Jake, who had a valiant heart,
-  Vowed that he’d work and get a start,
-
-  And with the help of Sally, dear,
-  He’d own a farm within a year.
-
-  Now Sally, who was cold
-  And pretty—that is, pretty old,
-
-  Pretended that for her dear Jacob
-  The heaviest cross she’d gladly take up;
-
-  But, really, she cared no more
-  For Jake than for the shoes he wore.
-
-  An old maid’s matrimonial chances
-  Grow very slim as time advances,
-
-  And this explains why Sally Skreels
-  Proposed to share Jake’s bed and meals.
-
-  They married. Time fled on apace—
-  Jake rented old Bill Scroggins’ place
-
-  And went to work resolved to make
-  A fortune for his Sally’s sake.
-
-  Poor soul, he toiled with all his might,
-  From early morn till late at night;
-
-  But, ah! no kind, approving word
-  From Sally’s lips was ever heard.
-
-  She lay around, chewed wax and sung
-  Love songs she’d learned when she was young;
-
-  Read old love letters she had got
-  From boobies, long since gone to pot;
-
-  Yawned o’er a scrap book filled with bosh
-  Collected by her Cousin Josh;
-
-  Trimmed her old hat in various ways
-  With all the gew-gaws she could raise.
-
-  In fact, she proved herself to be
-  A slip-shod lump of frivolity.
-
-  Poor Jake, he worked and ate cold meals,
-  Wore socks with neither toes nor heels,
-
-  Washed his own clothes when Sunday came
-  And sewed fresh buttons on the same.
-
-  Got breakfast while his Sally slept,
-  Washed up the dishes, dusted, swept—
-
-  There’s no use talking, Jacob strove
-  To prove how perfect was his love.
-
-  One day Sal ate too many beans,
-  Grew sick and went to other scenes.
-
-  From that day forth Jake seldom spoke,
-  Or smiled, or worked—his heart was broke.
-
-  In the poor-house now he sits and grieves,
-  And wipes his eyes on his threadbare sleeves.
-
-  MORAL.—I’ve told you this to let you see
-         What an all-fired fool a man can be.
-
-                               PARMENAS HILL.
-
-
-AUNT POLLY’S “GEORGE WASHINGTON.”
-
-  “George Washin’ton!”
-
-  From down the hill the answer floated up, muffled by the distance.
-
-  “Ma’m?”
-
-  “Come heah, sah!”
-
-  Aunt Polly folded her arms and leaned against the doorway and
-  waited for the appearance of her son and heir above the edge of
-  the hill on which her cabin stood.
-
-  “George Washin’ton,” she said, “you sartainly is de laziest
-  nigger I eber see. How, long, sah, does you s’pose you was
-  a-comin’ up dat hill? You don’ no? I don’ nether; ’twas so long
-  I los’ all count. You’ll bring yore mudder’s gray har in sorrer
-  to de grabe yet, wid yore pokin’ and slowness, see if you don’.
-  Heah I is waitin’ and a’waitin’ on you for to go down to ole
-  Mass’ Cunningham’s wid dose tings. Take ’em to de young city man
-  boardin’ dar, and tell him dese is his clean close dat yore old
-  mudder washed, and dat dey comes to fifty cents. And if you let
-  de grass grow under yore feet, George Washin’ton, or spiles dese
-  close, or loses dat fifty cents, I’ll break yore bones, chile,
-  when you comes home. You heah dat?”
-
-  George Washington rested his basket on his hip and jogged along.
-  Meditations as to what his mother might have for supper on the
-  strength of the fifty cents brightened his visage and accelerated
-  his steps. His fancy revelled in visions of white biscuit and
-  crisp bacon floating in its own grease. He was gravely weighing
-  the relative merits of spring chicken fried and more elderly
-  chicken stewed, when—
-
-  There was only one muddy place on George Washington’s route to
-  town; that was down at the foot of the hill, by the railroad
-  track. Why should his feet slip from under him, and he go sliding
-  into the mud right there? It was too bad. It did not hurt him,
-  but those shirts and shining collars, alas! Some of them tumbled
-  out, and he lifted them up all spattered and soiled.
-
-  He sat down and contemplated the situation with an expression
-  of speechless solemnity. He was afraid to go back, and he was
-  afraid to go on, but he would rather face the “city man” than his
-  mother; and with a sigh that nearly burst the twine string that
-  did duty as a suspender, he lifted the linen into its place and
-  trudged on.
-
-  The young folks at “Mass’ Cunningham’s” sent him to the
-  boarder’s room, with many a jest on his slowness, and he shook in
-  his ragged clothes when the young man lifted the things from the
-  basket to put them away.
-
-  He exclaimed in anger at their soiled appearance, and, of course,
-  immediately bundled them back into the basket.
-
-  “Here, George,” he said, “take these back to your mother to wash,
-  and don’t you dare, you little vagabond! ever bring such looking
-  things to me again.”
-
-  Slowly the namesake of our illustrious countryman climbed the
-  hill toward home; slowly he entered and set down his basket.
-  The rapidity with which he emerged from the door, about three
-  minutes later, might have led a stranger to believe that it was a
-  different boy. But it was not. It was the same George.
-
-  The next afternoon came around, and George Washington again
-  departed on his errand. No thoughts of supper or good things ran
-  rife in his brain to-day. He attended strictly to business. His
-  mother, standing in the door-way, called after him: “Be keerful,
-  George Washin’ton, ’bout de train. I heer’d it at de upper
-  junction jess now. It’ll be long trectly.”
-
-  George Washington nodded and disappeared. He crossed the muddy
-  place in safety, and breathed more freely. He was turning toward
-  town, when something on the railroad track caught his eye. There
-  lay the big rock that had been on the hill above ever since he
-  could remember; it was right in the track. He wondered how the
-  coming train would get over it.
-
-  Across on the other side, the hill sloped down to a deep ravine.
-  What if the big rock pushed the train off! His heart gave a great
-  jump. He had heard them talk of an accident once, where many
-  people were killed. He thought of running to tell somebody,
-  but it was a good way to the next house, and just then he heard
-  the train faintly; it was too late for that. Just above, in the
-  direction that the train was coming, was a sharp curve. It could
-  not stop if it came tearing round that, and on the other side of
-  the bend was a very high trestle that made him sick to look at.
-
-  The slow, dull boy stood and trembled.
-
-  In a moment more he had set his basket carefully in the bush, and
-  ran around the curve. At the edge of the trestle he paused, and
-  then dropping on his hands and knees, crept as fast as he could
-  over the dizzy height to the other side. He staggered to his
-  feet, and ran on.
-
-  When the train dashed in sight, the engineer spied a small object
-  on the track, pointing frantically behind him. The child ran away
-  from the track, but continued to wave and point and shout “Stop!”
-
-  The train whistled and slackened. George Washington, hatless and
-  breathless, was jerked into the engine, where he gasped, “Big
-  rock on de track round de curve.” The train was moved slowly over
-  the trestle and stopped in the curve, and there, indeed, was the
-  rock that might have hurled them all down to death, but for that
-  ridiculous-looking little boy.
-
-  Meanwhile in the cabin, Aunt Polly was restless, and concluded to
-  go down to the foot of the hill, and wait for George Washington.
-  Behold, then, as she appeared down the path, the sight that met
-  her gaze.
-
-  “What’s dis boy bin a-doin’! I’se his mother. I is. What’s dis
-  mean?”
-
-  On this identical train was the president of the road.
-
-  “Why, auntie,” he said, “you have a boy to be proud of. He crept
-  over the high trestle and warned the train, and maybe saved all
-  our lives. He is a hero.”
-
-  Aunt Polly was dazed.
-
-  “A hearo,” she said; “dat’s a big t’ing for a little black
-  nigger. George Washin’ton, whar’s dat basket?”
-
-  “In de bushes, mammy; I’se gwine for to get it.”
-
-  The train was nearly ready to be off. The president called Aunt
-  Polly aside, and she came back with a beaming face, and five
-  ten-dollar bills clutched in her hands.
-
-  Aunt Polly caught George in her arms.
-
-  “Dey sed you was a hearo, George Washin’ton, but you is yore
-  mammy’s own boy, and you shall hab chicken for yore supper dis
-  berry night, and a whole poun’ cake to-morrow, yes, you shall!”
-
-  And when George Washington returned the gentleman his washing,
-  he, like his namesake, was a hero.
-
-
-MINE VAMILY.
-
-  Dimpled scheeks, mit eyes off plue,
-  Mout’ like it was mois’d mit dew,
-  Und leedle teeth shust peekin’ droo—
-    Dot’s der baby.
-
-  Curly hed und full of glee.
-  Drowsers all oudt at der knee—
-  He vas peen playin’ horss, you see—
-    Dot’s leedle Otto.
-
-  Von hunderd seexty in der shade,
-  Der oder day ven she was veighed—
-  She beats me soon, I vas afraid—
-    Dot’s mine Gretchen.
-
-  Bare-footed hed, und pooty stoudt,
-  Mit grooked legs dot vill bend oudt,
-  Fond off his beer und sauer-kraut—
-    Dot’s me himself.
-
-  Von schmall young baby, full of fun,
-  Von leedle, pright-eyed, roguish son,
-  Von frau to greet vhen vork was done—
-    Dot’s mine vamily.
-
-                        YAWCOB STRAUSS.
-
-
-AT THE GARDEN GATE.
-
-  They lingered at the garden gate,
-    The moon was full above;
-  He took her darling hand in his,
-    The trembling little dove,
-  And pressed it to his fervent lips,
-    And softly told his love.
-
-  About her waist he placed his arm,
-    He called her all his own;
-  His heart, he said, it ever beat
-    For her, and her alone;
-  And he was happier than a king
-    Upon a golden throne.
-
-  “Come weal, come woe,” in ardent tone
-    This youth continued he,
-  “As is the needle to the pole,
-    So I will constant be;
-  No power on earth shall tear thee, love,
-    Away, I swear, from me!”
-
-  From out the chamber window popped
-    A grizzly night-capped head;
-  A hoarse voice yelled: “You, Susan Jane,
-    Come in and go to bed!”
-  And that was all—it was enough;
-    The young man wildly fled.
-
-
-THE MINISTER’S CALL.
-
-  The Rev. Mr. Mulkittle having successfully organized a church
-  fair, was a very happy man. It had been hinted that the
-  congregation were a “little short” on raising the reverend
-  gentleman’s salary, hence the proceeds of the fair would more
-  than supply the deficiency.
-
-  The good man, after retiring from a profitable afternoon’s work,
-  during which he had assured dyspeptics that potato salad would
-  not hurt them, seated himself by the library fire, when the
-  “youngest” entered.
-
-  “Where have you been, pa?”
-
-  “To the fair.”
-
-  “What fair?”
-
-  “Our church fair.”
-
-  “Did they have it out to the fair grounds?”
-
-  “No.”
-
-  “Where then?”
-
-  “Down town in our church.”
-
-  “Did they have horses and cows?”
-
-  “Oh, no! they didn’t show anything.”
-
-  “Well, what did they do?”
-
-  “Oh, they sold toys and something for people to eat.”
-
-  “Did they sell it to the poor?”
-
-  “They sold it to anybody who had money.”
-
-  “Oh, papa! it was the feast of the passover, wasn’t it?”
-
-  Mr. Mulkittle took up a newspaper and began to read.
-
-  “Do you want me to be a preacher, pa?”
-
-  “Yes, if the Lord calls you.”
-
-  “Did the Lord call you?”
-
-  “Yes.”
-
-  “What did He say?”
-
-  “Told me to go and preach the gospel to every living creature.”
-
-  “Didn’t tell you to preach to niggers, did He?”
-
-  “That’ll do now.”
-
-  “You thought the Lord had called you again the other day, did
-  you?”
-
-  “I don’t know what you are talking about,” said the minister.
-
-  “Don’t you know the other day you told ma you had a call to go to
-  some place, and you would go if you could get two hundred dollars
-  more. Wouldn’t the Lord give you the two hundred dollars?”
-
-  “Didn’t I tell you to hush, sir?” said the minister, throwing
-  down his paper and glaring at his son.
-
-  “No, sir; you told me to behave myself.”
-
-  “Well, see that you do.”
-
-  “I wish you’d tell me—”
-
-  “Tell you what?”
-
-  “’Bout the call.”
-
-  “Well, a church in another town wanted me to come there and
-  preach.”
-
-  “Why didn’t you go?”
-
-  “Couldn’t afford it. They didn’t pay enough money.”
-
-  “Call wasn’t loud enough, was it?”
-
-  “Well, hardly,” asserted Mr. Mulkittle, with a smile. “It wasn’t
-  loud enough to be very interesting.”
-
-  “If it had been louder, would you went?”
-
-  “I should have gone if they had offered me more money.”
-
-  “It wasn’t the Lord that called you that time then, was it?”
-
-  “I think not.”
-
-  “How much money did the Lord offer you?”
-
-  “Do you see that door?”
-
-  “No sir; which door?”
-
-  “That one.”
-
-  “Yes, sir.”
-
-  “Well, go out and shut it.”
-
-  “I want to stay in here.”
-
-  “You cannot.”
-
-  “Why?”
-
-  “Because you are too foolishly inquisitive.”
-
-  “What’s foolish ’quisitive?”
-
-  “Asking so many questions.”
-
-  “How many must I ask?”
-
-  “None.”
-
-  “Then I couldn’t talk, could I?”
-
-  “It would be better for you, if you couldn’t talk so much.”
-
-  “How much must I talk?”
-
-  “Here, I’ll give you ten cents now, if you’ll go away and hush.”
-
-  “Call ain’t strong enough,” said the boy, shaking his head.
-
-  “Well, here’s a quarter,” said the preacher, smiling.
-
-  “Call is strong enough; I’ll go.”
-
-
-LED BY A CALF.
-
-  One day through the primeval wood
-  A calf walked home, as good as calves should,
-  But made a trail all bent askew,
-  A crooked trail, as all calves do.
-  Since then two hundred years have fled,
-  And, I infer, the calf is dead.
-  But still he left behind his trail,
-  And thereby hangs a mortal tale.
-
-  The trail was taken up next day
-  By a lone dog that passed that way,
-  And then a wise bell-wether sheep
-  Pursued the trail o’er vale and steep,
-  And drew the flock behind him, too,
-  As good bell-wethers always do.
-  And from that day, o’er hill and glade,
-  Through those old woods a path was made.
-
-  And many men wound in and out,
-  And dodged and turned and bent about,
-  And uttered words of righteous wrath,
-  Because ’twas such a crooked path;
-  But still they followed—do not laugh—
-  The first migration of that calf,
-  And through the winding woodway stalked
-  Because he wabbled when he walked.
-
-  This forest path became a lane,
-  That bent and turned and turned again;
-  This crooked lane became a road,
-  Where many a poor horse, with his load,
-  Toiled on beneath the burning sun,
-  And traveled some three miles in one.
-  And thus a century and a half
-  They trod the footsteps of that calf.
-
-  The years passed on in swiftness fleet,
-  The road became a village street.
-  And this, before men were aware,
-  A city’s crowded thoroughfare,
-  And soon the central street was this
-  Of a renowned metropolis.
-
-  And men two centuries and a half
-  Trod in the footsteps of that calf;
-  Each day a hundred thousand rout
-  Followed the zigzag calf about;
-  And o’er his crooked journey went
-  The traffic of a continent.
-  A hundred thousand men were led
-  By one calf near three centuries dead.
-
-
-TOM GOLDY’S LITTLE JOKE.
-
-  Tom Goldy was a ladies’ man,
-    And popular among them, very—
-  The reason why? Because he was
-    A maker of confectionery.
-
-  Tom’s peppermints and caramels
-    Were always fresh and handy;
-  And so he entertained his guests
-    With packages of candy.
-
-  Tom gave a grand reception once—
-    It was a sweet occasion—
-  The ladies took his caramels
-    And needed no persuasion.
-
-  And when he freely passed around
-    His most delicious fare,
-  To all the damsels there that night
-    He gave an equal share.
-
-  But one, and she a gossip, too,
-    Was singled out for honor,
-  By having twice what others had
-    Of sweets bestowed upon her.
-
-  “Twice what you gave us.” One and all
-    Against Tom laid this charge;
-  Tom slyly winked and said, “Why not?
-    Her mouth is twice as large.”
-
-
-HOW HEZEKIAH STOLE THE SPOONS.
-
-  In a quiet little Ohio village, many years ago, was a tavern
-  where the stages always changed, and the passengers expected to
-  get breakfast. The landlord of the said hotel was noted for his
-  tricks upon travelers, who were allowed to get fairly seated at
-  the table, when the driver would blow his horn (after taking his
-  “horn”), and sing out, “Stage ready, gentlemen!”—whereupon the
-  passengers were obliged to hurry out to take their seats, leaving
-  a scarcely tasted breakfast behind them, for which, however,
-  they had to pay over fifty cents! One day, when the stage was
-  approaching the house of this obliging landlord, a passenger
-  said that he had often heard of the landlord’s trick, and he was
-  afraid they would not be able to eat any breakfast.
-
-  “What!—how? No breakfast!” exclaimed the rest.
-
-  “Exactly so gents, and you may as well keep your seats and tin.”
-
-  “Don’t they expect passengers to breakfast?”
-
-  “Oh! yes! they expect you to it, but not to eat it. I am under
-  the impression that there is an understanding between the
-  landlord and the driver that for sundry and various drinks, etc.,
-  the latter starts before you can scarcely commence eating.”
-
-  “What on airth are you all talking about? Ef you calkelate I’m
-  going to pay four and ninepence for my breakfast, and not get the
-  valee on’t you’re mistaken,” said a voice from a back seat, the
-  owner of which was one Hezekiah Spaulding—though “tew hum” they
-  call him “Hez” for short. “I’m goin’ to get my breakfast here,
-  and not pay nary red cent till I do.”
-
-  “Then you’ll be left.”
-
-  “Not as you knows on, I guess I won’t.”
-
-  “Well, we’ll see,” said the other, as the stage drove up to the
-  door and the landlord ready “to do the hospitable,” says—
-
-  “Breakfast just ready, gents! Take a wash, gents? Here’s water,
-  basins, towels, and soap.”
-
-  After performing the ablutions, they all proceeded to the
-  dining-room, and commenced a fierce onslaught upon the edibles,
-  though Hez took his time. Scarcely had they tasted their coffee
-  when they heard the unwelcome sound of the horn, and the driver
-  exclaim, “Stage ready!” Up rise eight grumbling passengers, pay
-  their fifty cents, and take their seats.
-
-  “All on board, gents?” inquires the host.
-
-  “One missing,” said they.
-
-  Proceeding to the dining-room the host finds Hez very coolly
-  helping himself to an immense piece of steak, the size of a
-  horse’s hip.
-
-  “You’ll be left, sir! Stage going to start.”
-
-  “Wall, I hain’t got nothin’ agin it,” drawls out Hez.
-
-  “Can’t wait, sir—better take your seat.”
-
-  “I’ll be blowed ef I do, nother, till I’ve got my breakfast! I
-  paid for it, and I am goin’ to get the valee on’t it; and ef you
-  calkelate I hain’t you are mistaken.”
-
-  So the stage did start, and left Hez, who continued his attack
-  upon the edibles. Biscuit, coffee, etc., disappeared before the
-  eyes of the astonished landlord.
-
-  “Say, squire, them there cakes is ’bout eat—fetch on another
-  grist on ’em. You” (to the waiter), “’nother cup of that ere
-  coffee. Pass them eggs. Raise your own pork, squire? This is
-  ’mazin’ nice ham. Land ’bout here tolerable cheap, squire?
-  Hain’t much maple timber in these parts, hev ye? Dew right smart
-  trade, squire, I calkelate?” And thus Hez kept quizzing the
-  landlord until he had made a hearty meal.
-
-  “Say, squire, now I’m ’bout to conclude paying my devowers to
-  this ere table, but just give us a bowl of bread and milk to top
-  off with; I’d be much obleeged tew ye.”
-
-  So out go the landlord and waiter for the bowl, milk, and bread,
-  and set them before him.
-
-  “Spoon, tew, ef you please.”
-
-  But no spoon could be found. Landlord was sure he had plenty of
-  silver ones lying on the table when the stage stopped.
-
-  “Say, dew ye? dew ye think them passengers is goin’ to pay ye for
-  a breakfuss and not git no compensashun?”
-
-  “Ah! what? Do you think any of the passengers took them?”
-
-  “Dew I think? No, I don’t think, but I’m sartin. Ef they are all
-  as green as yew bout here I’m going to locate immediately and tew
-  wonst.”
-
-  The landlord rushes out to the stable, and starts a man off after
-  the stage, which had gone about three miles. The man overtakes
-  and says something to the driver in a low tone. He immediately
-  turns back, and on arriving at the hotel Hez comes out, takes his
-  seat, and says:
-
-  “How are yew, gents? I’m glad to see yew.”
-
-  “Can you point out the man you think has the spoons?” asked the
-  landlord.
-
-  “P’int him out? Sartenly I ken. Say, squire, I paid yew four and
-  ninepence for a breakfuss, and I calkelate I got the valee on’t
-  it! You’ll find them spoons in the coffee-pot.”
-
-  “Go ahead! All aboard, driver.”
-
-  The landlord stared.
-
-
-TWO KINDS OF POLLIWOGS.
-
-  Wiggle, waggle, how they go,
-    Through the sunny waters,
-  Swimming high and swimming low,
-    Froggie’s sons and daughters.
-
-  What a wondrous little tail
-    Each black polly carries,
-  Helm and oar at once, and sail,
-    That for wind ne’er tarries.
-
-  Lazy little elves! at morn
-    Never in a hurry,
-  In the brook where they were born
-    Business did not worry.
-
-  When the sun goes in they sink
-    To their muddy pillow.
-  There they lie and eat and drink
-    Of soft mud their fill, oh.
-
-  When has passed the gloomy cloud,
-    And the storm is over,
-  Up they come, a jolly crowd,
-    From their oozy cover.
-
-  Wiggle, waggle, how they go!
-    Knowing nothing better,
-  Yet they are destined to outgrow
-    Each his dusky fetter.
-
-  Watch! they now are changing fast,
-    Some unduly cherish
-  The dark skin whose use is past,
-    So they sink and perish.
-
-  Others, of their new-birth pain
-    Bitterly complaining,
-  Would forego their unknown gain,
-    Polliwogs remaining.
-
-  There are other folk, to-day,
-    Who, with slight endeavor,
-  “Give it up,” and so they stay
-    Polliwogs forever.
-
-                      AUGUSTA MOORE.
-
-
-THE BEST SEWING-MACHINE.
-
-  “Got one? Don’t say so! Which did you get?
-  One of the kind to open and shut?
-  Own it or hire it? How much did you pay?
-  Does it go with a crank or a treadle? S-a-y.
-  I’m a single man, and somewhat green;
-  Tell me about your sewing-machine.”
-
-  “Listen, my boy, and hear all about it:
-  I don’t know what I could do without it;
-  I’ve owned one now for more than a year,
-  And like it so well that I call it ‘my dear;’
-  ’Tis the cleverest thing that ever was seen,
-  This wonderful family sewing-machine.
-
-  “It’s none of your angular Wheeler things,
-  With steel-shod back and cast-iron wings;
-  Its work would bother a hundred of his,
-  And worth a thousand! Indeed it is;
-  And has a way—you need not stare—
-  Of combing and braiding its own back hair!
-
-  “Mine is one of the kind to love,
-  And wears a shawl and a soft kid glove;
-  Has the merriest eyes and the daintiest foot,
-  And sports the charmingest gaiter-boot,
-  And a bonnet with feathers, and ribbons, and loops,
-  With any infinite number of hoops.
-
-  “None of your patent machines for me,
-  Unless Dame Nature’s the patentee;
-  I like the sort that can laugh and talk,
-  And take my arm for an evening walk;
-  That will do whatever the owner may choose,
-  With the slightest perceptible turn of the screws;
-
-  “One that can dance, and—possibly—flirt;
-  And make a pudding as well as a shirt;
-  One that can sing without dropping a stitch,
-  And play the housewife, lady, or witch;
-  Ready to give the sagest advice,
-  Or to do up your collars and things so nice.
-
-  “What do you think of my machine?
-  A’n’t it the best that ever was seen?
-  ’Tisn’t a clumsy, mechanical toy,
-  But flesh and blood! Hear that, my boy?
-  With a turn for gossip and household affairs,
-  Which include, you know, the sewing of tears.
-
-  “Tut, tut, don’t talk. I see it all—
-  You needn’t keep winking so hard at the wall:
-  I know what your fidgety fumblings mean;
-  You would like, yourself, a sewing-machine!
-  Well, get one, then—of the same design—
-  There are plenty left where I got mine!”
-
-
-HOW THEY SAID GOOD-NIGHT.
-
-  They have had a long evening together (three whole hours), but
-  it doesn’t seem more than five minutes to them. Still, the
-  inexorable clock is announcing the hour of eleven in the most
-  forcible and uncompromising manner. He knows that he ought to
-  go, because he must be at the store at seven in the morning; she
-  fully realizes that his immediate departure is necessary, for has
-  not her father threatened that he will come down and “give that
-  young Simpkins a piece of his mind if he don’t leave by eleven
-  o’clock in the future?” They both understand that the fatal hour
-  has come, yet how they hate to part!
-
-  “Well, I suppose I _must_ be going,” he says, with a long,
-  regretful sigh.
-
-  “Yes, I suppose you must,” she rejoins.
-
-  Then they gaze into each other’s eyes; then she pillows her head
-  upon his bosom; then their lips meet, and he mentally swears that
-  if he can get his salary raised to eighteen dollars a week he
-  will make her Mrs. G. W. Simpkins without further agonizing delay.
-
-  The clock looks on with a cynical expression on its face. It
-  is doing its duty, and if old man Smith comes down stairs and
-  destroys the peace of mind of this loving couple, it will not be
-  its fault.
-
-  He asks her if she will not be happy when the time comes
-  that they will never, never have to part, and she murmurs an
-  affirmative response. Then follow more kissing and embracing. If
-  G. W. Simpkins were told now that he would ever come home to her
-  at 2 A.M. with fabulous tales of accidents by flood and field,
-  and on the Elevated Railroad, would he believe it? No; a smile
-  of incredulity and scorn would wreathe his lips, and he would
-  forthwith clasp her to his breast.
-
-  He knows that other men do such things, but he is not that sort
-  of man. Beside, he will have the immense advantage over all
-  others of his sex in possessing the only absolutely perfect
-  specimen of femininity extant. He thinks that he will never be
-  happy anywhere away from her side, and he tells her so, and she
-  believes him.
-
-  The clock does not announce the quarter-hour, because it is not
-  built that way, but, nevertheless, it is now 11.15. They do not
-  imagine that it is later than 11.02. He asks her if she ever
-  loved any one else, and she says “No;” and then he reminds her of
-  a certain Tom Johnson with whom she used to go to the theatre, at
-  which she becomes angry and says that he (G. W. Simpkins) is a
-  “real mean thing.” Then G. W. S. arises with an air of dignity,
-  and says that he is much obliged to her for her flattering
-  opinion; and she says that he is quite welcome.
-
-  Just then a heavy foot-fall is heard upstairs. She glances at
-  the clock, and perceives to her dismay that it is 11.20. She had
-  expected to have a nice little quarrel, followed by the usual
-  reconciliation, but there is no time for that now. She throws her
-  arms around his neck, and whispers in great agitation that she
-  believes pa is coming. G. W. S. quakes inwardly, for her pa is
-  about four sizes larger than himself, and of a cruel, vindictive
-  nature. But he assumes an air of bravado, and darkly hints at the
-  extreme probability that the room in which they stand will be the
-  scene of a sanguinary conflict in the immediate future, should
-  any one venture to cross his path. Then she begs him to remember
-  that papa, notwithstanding his faults, is still her father. At
-  this he magnanimously promises to spare the old man.
-
-  But the footstep is heard no more; papa does not appear. G. W.
-  S. puts on his overcoat. Then the couple stand by the door and
-  settle the Tom Johnson matter. She says she never cared for Tom
-  Johnson, and he says he knows it and that he (G. W. S., you
-  understand) is a brute, and that she is an angel, and that he
-  will never again refer to the aforesaid Tom Johnson. He will,
-  though, the very next time they meet, just as he has every time
-  they have met for the last two months.
-
-  While they are talking the clock strikes the half hour, but they
-  don’t hear it. The Johnson business disposed of, they discuss
-  their future prospects, vow eternal fidelity, compare themselves
-  to all the famous lovers of history (to none of whom they bear
-  the slightest resemblance), make an appointment for Wednesday
-  evening (on which occasion G. W. S. will have the extreme
-  felicity of spending two-thirds of his week’s salary for theatre
-  tickets and a supper at the Brunswick), and indulge in the usual
-  osculation.
-
-  Suddenly the clock begins to strike twelve, and at the same
-  moment a hoarse masculine cough is heard in the room overhead.
-  The fatal moment has really and truly arrived this time. One more
-  kiss, one more embrace, and they part—he to go home and oversleep
-  in the morning, and be docked fifty cents at the store; she to
-  receive the reproaches of an irate parent, who hasn’t been young
-  for such a long time himself that he has forgotten all about it.
-
-
-JOSIAR’S COURTING.
-
-  I never kin forgit the day
-    That we went out a walkin’
-  And sot down on the river bank,
-    And kept on hours a-talkin’;
-  He twisted up my apron string,
-    An’ folded it together,
-  An’ said he thought for harvest-time
-    ’Twas cur’us kind o’ weather.
-
-  The sun went down as we sot there—
-    Josiar seemed uneasy,
-  An’ mother, she began to call:
-    “Loweezy! Come, Loweezy!”
-  An’ then Josiar spoke right up,
-    As I wos just a startin’
-  An’ said, “Loweezy, what’s the use
-    Of us two ever partin?”
-
-  It kind o’ took me by surprise,
-    An’ yet I knew ’twas comin’—
-  I’d heard it all the summer long
-    In every wild bee’s hummin’;
-  I meant to hide my love from him,
-    But seems as if he knew it;
-  I’d studied out the way I’d act,
-    But la! I couldn’t do it.
-
-  It darker grew as we sot there,
-    But Josiar seemed quite easy,
-  And mother had to call again,
-    “Loweezy! Come, Loweezy!”
-
-
-
-
-PATHETIC RECITATIONS.
-
-
-It is a common saying that the public speaker who can draw both smiles
-and tears from his audience is the highest type of orator. The same is
-true of the reciter. If you would awaken pathetic emotions in the hearts
-of your hearers, you must have recitations suited to this purpose, tender
-in sentiment and full of feeling. A charming collection of such pieces is
-here furnished.
-
-Put yourself fully into the spirit of each selection. Do not deliver
-a pathetic recitation in a cold, unfeeling manner. Look well to the
-tones of your voice and facial expression. If you feel the words you
-are uttering, the subtle influence cannot fail to move those who hear
-you. You cannot put on an appearance of feeling; give reality to all the
-emotions your words express.
-
-
-PLAY SOFTLY, BOYS.
-
-Observe the Irish brogue in this selection.
-
-  I’m thinkin’ av the goolden head
-    I nestled to my breast;
-  They’re telling me, “He’s betther off.”
-    And sayin’, “God knows best.”
-  But, oh, my heart is breakin’
-    And the wild, wild waves at play
-  Where the goolden head is buried low,
-    Close to Manila Bay.
-
-  I’m thinkin’ av the roguish eyes
-    Of tender Irish gray;
-  They’re tellin’ me, “He’s betther off,”
-    And, “I’ll thank God some day.”
-  But, oh, my heart is breakin’
-    And the wild, wild waves at play,
-  And my baby’s eyes all closed in death
-    Close to Manila Bay.
-
-  I’m thinkin’ av the little hands
-    That’s fastened ’round my heart;
-  They’re tellin’ me, “Have courage,
-    Sure, life’s to meet and part.”
-  But, oh, my heart is breakin’
-    And the wild, wild waves at play,
-  And my baby’s hands so stiff and cold
-    Close to Manila Bay.
-
-  I’m thinkin’ av the noble boy
-    That kissed my tears away;
-  They’re tellin’ me, “How brave he was,
-    And foremost in the fray!”
-  But, oh, my heart is breakin’
-    And the wild, wild waves at play,
-  And my baby and my soldier dead—
-    Close to Manila Bay.
-
-  Play softly, boys, I know you will,
-    Remembering he’s away—
-  My boy, who proudly marched with ye
-    On last St. Patrick’s Day.
-  Play softly, boys, I know ye will,
-    And the wild, wild waves at play,
-  And your comrade lying lonely,
-    Close to Manila Bay.
-
-  Play softly, boys, I know ye will,
-    And hush this pain to rest—
-  And soothe the bitter agony
-    That’s tearin’ at my breast.
-  How can ye march at all, at all,
-    And the wild, wild waves at play,
-  And the boy who loved ye lying cold—
-    Close to Manila Bay?
-
-                  TERESA BEATRICE O’HARE.
-
-
-IN THE BAGGAGE COACH AHEAD.
-
-  On a dark stormy night, as the train rattled on,
-    All the passengers had gone to bed,
-  Except one young man with a babe on his arm,
-    Who sat there with a bowed-down head.
-
-  The innocent one commenced crying just then,
-    As though its poor heart would break.
-  One angry man said, “Make that child stop its noise,
-    For you’re keeping all of us awake.”
-
-  “Put it out,” said another; “don’t keep it in here,
-    We’ve paid for our berths and want rest.”
-  But never a word said the man with the child,
-    As he fondled it close to his breast.
-
-  “Where is its mother? Go, take it to her—”
-    This a lady then softly said.
-  “I wish that I could,” was the man’s sad reply,
-    “But she’s dead in the coach ahead.”
-
-  Every eye filled with tears when his story he told,
-    Of a wife who was faithful and true.
-  He told how he’s saved up his earnings for years
-    Just to build up a home for two.
-
-  How, when Heaven had sent them this sweet little babe,
-    Their young happy lives were blessed.
-  In tears he broke down when he mentioned her name,
-    And in tears tried to tell them the rest.
-
-  Every woman arose to assist with the child;
-    There were mothers and wives on that train,
-  And soon was the little one sleeping in peace,
-    With no thoughts of sorrow and pain.
-
-  Next morn’ at a station he bade all good-bye.
-    “God bless you,” he softly said.
-  Each one had a story to tell in their home
-    Of the baggage coach ahead.
-
-  While the train rolled onward a husband sat in tears,
-  Thinking of the happiness of just a few short years,
-  For baby’s face brings pictures of a cherished hope that’s dead;
-  But baby’s cries can’t wake her in the baggage coach ahead.
-
-
-THE MISSING ONE.
-
-The deep pathos of these lines should be expressed by a trembling
-utterance. Put tears in your voice, if you can do this difficult thing.
-All the life and spirit are taken out of the old man as he thinks of the
-regiment returning without his son, whose desolate grave is somewhere on
-the Cuban shore.
-
-  I don’t think I’ll go into town to see the boys come back;
-  My bein’ there would do no good in all that jam and pack;
-  There’ll be enough to welcome them—to cheer them when they come
-  A-marchin’ bravely to the time that’s beat upon the drum—
-  They’ll never miss me in the crowd—not one of ’em will care
-  If, when the cheers are ringin’ loud, I’m not among them there.
-
-  I went to see them march away—I hollered with the rest,
-  And didn’t they look fine, that day, a-marchin’ four abreast,
-  With my boy James up near the front, as handsome as could be,
-  And wavin’ back a fond farewell to mother and to me!
-  I vow my old knees trimbled so, when they had all got by,
-  I had to jist set down upon the curbstone there and cry.
-
-  And now they’re comin’ home again! The record that they won
-  Was sich as shows we still have men, when men’s work’s to be done!
-  There wasn’t one of ’em that flinched, each feller stood the test—
-  Wherever they were sent they sailed right in and done their best!
-  They didn’t go away to play—they knowed what was in store—
-  But there’s a grave somewhere to-day, down on the Cuban shore!
-
-  I guess that I’ll not go to town to see the boys come in;
-  I don’t jist feel like mixin’ up in all that crush and din!
-  There’ll be enough to welcome them—to cheer them when they come
-  A-marchin’ bravely to the time that’s beat upon the drum,
-  And the boys’ll never notice—not a one of ’em will care,
-  For the soldier that would miss me ain’t a goin’ to be there!
-
-                                                             S. E. KISER.
-
-
-IN MEMORIAM.
-
-It was a strange coincidence, and a fitting end for a noble old seaman
-who had given his life to the service of his country, that Rear-Admiral
-W. A. Kirkland, U. S. N., and once commandant at Mare Island, should
-die the day peace was declared between our country and Spain. In strong
-tones give the command, “Cease firing!” Point to “the red flames,” “the
-gray smoke-shrouded hills,” “the weary troops,” “the armored squadron,”
-etc. On the first two lines of the last verse use Figure 11 of Typical
-Gestures.
-
-  “Cease firing!” Lo, the bugles call—
-    “Cease!” and the red flame dies away.
-    The thunders sleep; along the gray
-  Smoke-shrouded hills the echoes fall.
-
-  “Cease firing!” Close the columns fold
-    Their shattered wings; the weary troops
-    Now stand at ease; the ensign droops;
-  The heated chargers’ flanks turn cold.
-
-  “Cease firing!” Down, with point reversed,
-    The reeking, crimson sabre drips;
-    Cool grow the fevered cannon’s lips—
-  Their wreathing vapors far dispersed.
-
-  “Cease firing!” From the sponson’s rim
-    The mute, black muzzles frown across
-    The sea, where swelling surges toss
-  The armored squadrons, silent, grim.
-
-  “Cease firing!” Look, white banners show
-    Along the groves where heroes sleep—
-    Above the graves where men lie deep—
-  In pure, soft flutterings of snow.
-
-  “Cease firing!” Glorious and sweet
-    For country ’tis to die—and comes
-    The Peace—and bugles blow and drums
-  Are sounding out the Last Retreat.
-
-                      THOMAS R. GREGORY, U. S. N.
-
-
-THE DYING NEWSBOY.
-
-  In an attic bare and cheerless, Jim, the news-boy, dying lay,
-  On a rough but clean straw pallet, at the fading of the day;
-  Scant the furniture about him, but bright flowers were in the room,
-  Crimson phloxes, waxen lilies, roses laden with perfume.
-
-  On a table by the bedside, open at a well-worn page,
-  Where the mother had been reading, lay a Bible stained by age.
-  Now he could not hear the verses; he was flighty, and she wept
-  With her arms around her youngest, who close to her side had crept.
-
-  Blacking boots and selling papers, in all weathers day by day,
-  Brought upon poor Jim consumption, which was eating life away.
-  And this cry came with his anguish for each breath a struggle cost,
-  “’Ere’s the morning _Sun_ and _’Erald_—latest news of steamship lost.
-
-  “Papers, mister? Morning papers?” Then the cry fell to a moan,
-  Which was changed a moment later to another frenzied tone:
-  “Black yer boots, sir? Just a nickel! Shine ’em like an evening star.
-  It grows late, Jack! Night is coming. Evening papers, here they are!”
-
-  Soon a mission teacher entered, and approached the humble bed;
-  Then poor Jim’s mind cleared an instant, with his cool hand on his head.
-  “Teacher,” cried he, “I remember what you said the other day,
-  Ma’s been reading of the Saviour, and through Him I see my way.
-
-  “He is with me! Jack, I charge you of our mother take good care
-  When Jim’s gone! Hark! boots or papers, which will I be over there?
-  Black yer boots, sir? Shine ’em right up! Papers! Read God’s book
-      instead,
-  Better’n papers that to die on! Jack——” one gasp, and Jim was dead!
-
-                                                     MRS. EMILY THORNTON.
-
-
-“COALS OF FIRE.”
-
-  The coffin was a plain one—no flowers on its top, no lining of
-  rose-white satin for the pale brow, no smooth ribbons about the
-  coarse shroud. The brown hair was laid decently back, but there
-  was no crimped cap, with its neat tie beneath the chin. “I want
-  to see my mother,” sobbed a poor child, as the city undertaker
-  screwed down the top. “You can’t: get out of the way, boy! Why
-  don’t somebody take the brat away?” “Only let me see her for one
-  minute,” cried the hapless orphan, clutching the side of the
-  charity box. And as he gazed into that rough face tears streamed
-  down the cheek on which no childish bloom every lingered. Oh, it
-  was pitiful to hear him cry, “Only once! let me see my mother
-  only once!”
-
-  Brutally, the hard-hearted monster struck the boy away, so that
-  he reeled with the blow. For a moment the boy stood panting with
-  grief and rage, his blue eyes expanded, his lips sprang apart; a
-  fire glittered through his tears as he raised his puny arm, and
-  with a most unchildish accent screamed, “When I am a man I’ll
-  kill you for that!” A coffin and a heap of earth was between the
-  mother and the poor forsaken child; a monument stronger than
-  granite built in his boy-heart to the memory of a heartless deed.
-
-  The court house was crowded to suffocation. “Does any one appear
-  as this man’s counsel?” asked the judge. There was silence when
-  he finished, until, with lips tightly pressed together, a look
-  of strange recognition blended with haughty reserve upon his
-  handsome features, a young man, a stranger, stepped forward to
-  plead for the erring and the friendless. The splendor of his
-  genius entranced, convinced. The man who could not find a friend
-  was acquitted.
-
-  “May God bless you, sir! I cannot.” “I want no thanks,” replied
-  the stranger, with icy coldness. “I—I believe you are unknown
-  to me.” “Man, I will refresh your memory. Twenty years ago you
-  struck a broken-hearted boy away from his poor mother’s coffin;
-  I was that poor, miserable boy.” “Have you rescued me, then,
-  to take my life?” “No! I have a sweeter revenge: I have saved
-  the life of a man whose brutal deed has rankled in my breast for
-  twenty years. Go, and remember the tears of a friendless child.”
-
-
-DIRGE OF THE DRUMS.
-
-The effect produced by this selection will depend very much upon the
-manner in which you speak the constantly repeated word, “Dead!” It should
-be spoken with subdued force, rather slowly, and in a low tone. Show
-intense emotion, but not in a boisterous manner.
-
-    Dead! Dead! Dead!
-  To the solemn beat of the last retreat
-    That falls like lead,
-  Bear the hero now to his honored rest
-  With the badge of courage upon his breast,
-  While the sun sinks down in the gleaming West—
-    Dead! Dead! Dead!
-
-    Dead! Dead! Mourn the dead!
-  While the mournful notes of the bugles float
-    Across his bed,
-  And the guns shall toll on the vibrant air
-  The knell of the victor lying there—
-  ’Tis a fitting sound for a soldier’s prayer—
-    Dead! Dead! Dead!
-
-    Dead! Dead! Dead!
-  To the muffled beat of the lone retreat
-    And speeding lead,
-  Lay the hero low to his well-earned rest,
-  In the land he loved, on her mother breast,
-  While the sunlight dies in the darkening West—
-    Dead! Dead! Dead!
-
-                                    RALPH ALTON.
-
-
-THE OLD DOG’S DEATH POSTPONED.
-
-Any one at all familiar with farm life knows that when the old dog
-becomes blind, toothless and helpless it is the sad but humane duty
-of the farmer to put an end to his sufferings; it is generally done
-by taking him off to the woods and shooting him. Although the new dog
-quickly wins his place in our affections, the old is not soon forgotten,
-and more than one story begins: “You remember how old Fide.” Give strong
-expression in the last verse to the old man’s sudden change of purpose.
-
-  Come along old chap, yer time’s ’bout up,
-  We got another brindle pup;
-  I ’lows it’s tough an’ mighty hard,
-  But a toothless dog’s no good on guard,
-  So trot along right after me,
-  An’ I’ll put yeh out o’ your misery.
-
-  Now, quit yer waggin’ that stumpy tail—
-  We ain’t a-goin’ fer rabbit er quail;
-  ’Sides, you couldn’t pint a bird no more,
-  Yer old an’ blind an’ stiff an’ sore,
-  An’ that’s why I loaded the gun to-day
-  Yer a-gittin’ cross an’ in the way.
-
-  I been thinkin’ it over; ’taint no fun.
-  I don’t like to do it, but it’s got to be done;
-  Got sort of a notion, you know, too,
-  The kind of a job we’re goin’ to do,
-  Else why would yeh hang back that-a-way,
-  Yeh ain’t ez young ez yeh once wuz, hey!
-
-  Frisky dog in them days, I note,
-  When yeh nailed the sneakthief by the throat;
-  Can’t do that now, an’ there ain’t no need
-  A-keepin’ a dog that don’t earn his feed.
-  So yeh got to make way for the brindle pup;
-  Come along, old chap, yer time’s ’bout up.
-
-  We’ll travel along at an easy jog—
-  Course, you don’t know, bein’ only a dog;
-  But I can mind when you wuz sprier,
-  ’Wakin’ us up when the barn caught fire—
-  It don’t seem possible, yet I know
-  That wuz close onto fifteen years ago.
-
-  My, but yer hair wuz long an’ thick
-  When yeh pulled little Sally out o’ the crick;
-  An’ it came in handy that night in the storm,
-  We coddled to keep each other warm.
-  Purty good dog, I’ll admit—but, say,
-  What’s the use o’ talkin’ yeh had yer day.
-
-  I’m hopin’ the children won’t hear the crack,
-  Er what’ll I say when I get back?
-  They’d be askin’ questions, I know their talk,
-  An’ I’d have to lie ’bout a chicken hawk;
-  But the sound won’t carry beyond this hill,
-  All done in a minute—don’t bark, stand still.
-
-  There, that’ll do; steady, quit lickin’ my hand,
-  What’s wrong with this gun, I can’t understand;
-  I’m jest ez shaky ez I can be—
-  Must be the agey’s the matter with me.
-  An’ that stitch in the back—what! gitten’ old too—
-  The—dinner—bell’s—ringin’—fer—me—an’ you.
-
-                                    CHARLES E. BAER.
-
-
-THE FALLEN HERO.
-
-  He went to the war in the morning—
-    The roll of the drums could be heard.
-  But he paused at the gate with his mother
-    For a kiss and a comforting word.
-  He was full of the dreams and ambitions
-    That youth is so ready to weave,
-  And proud of the clank of his sabre
-    And the chevrons of gold on his sleeve.
-
-  He came from the war in the evening—
-    The meadows were sprinkled with snow,
-  The drums and the bugles were silent,
-    And the steps of the soldier were slow.
-  He was wrapped in the flag of his country
-    When they laid him away in the mould,
-  With the glittering stars of a captain
-    Replacing the chevrons of gold.
-
-  With the heroes who slept on the hillside
-    He lies with a flag at his head,
-  But, blind with the years of her weeping,
-    His mother yet mourns for her dead.
-  The soldiers who fall in the battle
-    May feel but a moment of pain,
-  But the women who wait in the homesteads
-    Must dwell with the ghosts of the slain.
-
-                               MINNA IRVING.
-
-
-THE SOLDIER’S WIFE.
-
-  He offered himself for the land he loved,
-    But what shall we say for her?
-  He gave to his country a soldier’s life;
-  ’Twas dearer by far to the soldier’s wife,
-    All honor to-day to her!
-
-  He went to the war while his blood was hot,
-    But what shall we say of her?
-  He saw himself through the battle’s flame
-  A hero’s reward on the scroll of fame:
-    What honor is due to her?
-
-  He offered himself, but his wife did more,
-    All honor to-day to her!
-  For dearer than life was the gift she gave
-  In giving the life she would die to save;
-    What honor is due to her?
-
-  He gave up his life at his country’s call,
-    But what shall we say of her?
-  He offered himself as a sacrifice,
-  But she is the one who pays the price,
-    All honor we owe to her.
-
-                             ELLIOTT FLOWER.
-
-
-“BREAK THE NEWS GENTLY.”
-
-  There on the ground he lay, a fireman so brave,
-  He’d risked his life, he’d fallen, a little child to save;
-  Life’s stream was ebbing fast away, his comrades all stood by,
-  And listened to his dying words, while tears bedimmed each eye:
-
-  “Break the news to mother gently, tell her how her brave son died,
-  Tell her that he did his duty, as in life he ever tried;
-  Treat her kindly, boys, a friend be to her when I’m dead and gone.
-  Break the news to mother gently, do not let her weep or mourn.”
-
-  There in her home she rests, that mother old and gray,
-  She lost a son, but others—they took his place that day;
-  And nobly do they care for her and honor her gray head,
-  In mem’ry of their comrade and the last words that he said:
-
-  “Break the news to mother gently, tell her how her brave son died,
-  Tell her that he did his duty, as in life he ever tried;
-  Treat her kindly, boys, a friend be to her when I’m dead and gone.
-  Break the news to mother gently, do not let her weep or mourn.”
-
-  There on the wall it hangs, within the engine-room,
-  The picture of the bravest lad that ever faced his doom;
-  And, as they point it out and speak the virtues of the dead,
-  They tell about that awful night and the last words that he said:
-
-  “Break the news to mother gently, tell her how her brave son died,
-  Tell her that he did his duty, as in life he ever tried;
-  Treat her kindly, boys, a friend be to her when I’m dead and gone.
-  Break the news to mother gently, do not let her weep or mourn.”
-
-
-ON THE OTHER TRAIN.
-
-  “There, Simmons, you blockhead! Why didn’t you trot that old
-  woman aboard her train? She’ll have to wait now until the 1.05
-  A.M.”
-
-  “You didn’t tell me.”
-
-  “Yes, I did tell you. ’Twas only your confounded stupid
-  carelessness.”
-
-  “She——”
-
-  “_She!_ You fool! What else could you expect of her! Probably
-  she hasn’t any wit; besides, she isn’t bound on a very jolly
-  journey—got a pass up the road to the poor-house. I’ll go and
-  tell her, and if you forget her to-night, see if I don’t make
-  mince-meat of you!” and our worthy ticket-agent shook his fist
-  menacingly at his subordinate.
-
-  “You’ve missed your train, marm,” he remarked, coming forward to
-  a queer-looking bundle in the corner.
-
-  A trembling hand raised the faded black veil, and revealed the
-  sweetest old face I ever saw.
-
-  “Never mind,” said a quivering voice.
-
-  “’Tis only three o’clock now; you’ll have to wait until the night
-  train, which doesn’t go up until 1.05.”
-
-  “Very well, sir; I can wait.”
-
-  “Wouldn’t you like to go to some hotel? Simmons will show you the
-  way.”
-
-  “No, thank you, sir. One place is as good as another to me.
-  Besides, I haven’t any money.”
-
-  “Very well,” said the agent, turning away indifferently. “Simmons
-  will tell you when it’s time.”
-
-  All the afternoon she sat there so quiet that I thought sometimes
-  she must be asleep, but when I looked more closely I could see
-  every once in a while a great tear rolling down her cheek, which
-  she would wipe away hastily with her cotton handkerchief.
-
-  The depot was crowded and all was bustle and hurry until the 9.50
-  train going east came due; then every passenger left except the
-  old lady. It is very rare indeed that any one takes the night
-  express, and almost always, after I have struck ten, the depot
-  becomes silent and empty.
-
-  The ticket agent put on his great coat, and bidding Simmons keep
-  his wits about him for once in his life, departed for home.
-
-  But he had no sooner gone than that functionary stretched himself
-  out upon the table, as usual, and began to snore vociferously.
-  Then it was I witnessed such a sight as I never had before and
-  never expect to again.
-
-  The fire had gone down—it was a cold night, and the wind howled
-  dismally outside. The lamps grew dim and flared, casting weird
-  shadows upon the wall. By and by I heard a smothered sob from the
-  corner, then another. I looked in that direction. She had risen
-  from her seat, and oh! the look of agony on the poor, pinched
-  face.
-
-  “I can’t believe it,” she sobbed, wringing her thin, white hands.
-  “Oh! I can’t believe it! My babies! my babies! how often have I
-  held them in my arms and kissed them; and how often they used to
-  say back to me, ‘Ise love you, mamma;’ and now, O God! they’ve
-  turned against me. Where am I going? To the poor-house! No! no!
-  no! I cannot! I will not! Oh, the disgrace!”
-
-  And sinking upon her knees, she sobbed out in prayer: “O God!
-  spare me this and take me home! O God, spare me this disgrace;
-  spare me!”
-
-  The wind rose higher, and swept through the crevices icy cold.
-  How it moaned and seemed to sob like something human that is
-  hurt. I began to shake, but the kneeling figure never stirred.
-  The thin shawl had dropped from her shoulders unheeded. Simmons
-  turned over and drew his heavy blanket more closely around him.
-
-  Oh, how cold! Only one lamp remained, burning dimly; the other
-  two had gone out for want of oil. I could hardly see, it was so
-  dark.
-
-  At last she became quieter, and ceased to moan. Then I grew
-  drowsy, and kind of lost the run of things after I had struck
-  twelve, when some one entered the depot with a bright light. I
-  started up. It was the brightest light I ever saw, and seemed to
-  fill the room full of glory. I could see ’twas a man. He walked
-  to the kneeling figure and touched her upon the shoulder. She
-  started up and turned her face wildly around. I heard him say:
-
-  “’Tis train time, ma’am. Come!”
-
-  A look of joy came over her face.
-
-  “I’m ready,” she whispered.
-
-  “Then give me your pass, ma’am.”
-
-  She reached him a worn old book, which he took and from it read
-  aloud:
-
-  “Come unto me all ye that labor and are heavy laden, and I will
-  give you rest.”
-
-  “That’s the pass over our road, ma’am. Are you ready?”
-
-  The light died away and darkness fell in its place. My hand
-  touched the stroke of one. Simmons awoke with a start, and
-  snatched his lantern. The whistles sounded down brakes; the train
-  was due. He ran to the corner and shook the old woman.
-
-  “Wake up, marm; ’tis train time.”
-
-  But she never heeded. He gave one look at the white, set face,
-  and dropping his lantern, fled.
-
-  The up-train halted, the conductor shouted “All aboard,” but no
-  one made a move that way.
-
-  The next morning, when the ticket agent came, he found her frozen
-  to death. They whispered among themselves, and the coroner made
-  out the verdict “apoplexy,” and it was in some way hushed up.
-
-  They laid her out in the depot, and advertised for her friends,
-  but no one came. So, after the second day they buried her.
-
-  The last look on the sweet old face, lit up with a smile so
-  unearthly, I keep with me yet; and when I think of the occurrence
-  of that night, I know that she went out on the other train, that
-  never stopped at the poor-house.
-
-
-SOME TWENTY YEARS AGO.
-
-It were well worth while to insert this wonderfully beautiful and
-pathetic selection here to preserve it in enduring type, but it has the
-additional merit of being a most excellent piece for recitation. The
-author’s assumed name was “James Pipes, of Pipesville.” His real name you
-may see below the lines.
-
-  I’ve wandered to the village, Tom; I’ve sat beneath the tree
-  Upon the school house playground that sheltered you and me;
-  But none were there to greet me, Tom; and few were left to know,
-  Who played with us upon the green, some twenty years ago.
-
-  The grass is just as green, Tom; bare-footed boys at play
-  Were sporting, just as we did then, with spirits just as gay.
-  But the “master” sleeps upon the hill, which coated o’er with snow,
-  Afforded us a sliding place, some twenty years ago.
-
-  The old school house is altered now, the benches are replaced
-  By new ones, very like the same our penknives once defaced;
-  But the same old bricks are in the wall; the bell swings to and fro;
-  It’s music just the same, dear Tom, ’twas twenty years ago.
-
-  The boys were playing some old game beneath that same old tree;
-  I have forgot the name just now—you’ve played the same with me
-  On that same spot; ’twas played with knives, by throwing so and so;
-  The loser had a task to do—these twenty years ago.
-
-  The river’s running just as still; the willows on its side
-  Are larger than they were, Tom; the stream appears less wide;
-  But the grape-vine swing is ruined now, where once we played the beau,
-  And swung our sweethearts—pretty girls—just twenty years ago.
-
-  The spring that bubbled ’neath the hill close by the spreading beach
-  Is very low—’twas then so high that we could scarcely reach;
-  And kneeling down to get a drink, dear Tom, I started so,
-  To see how sadly I am changed, since twenty years ago.
-
-  Near by that spring, upon an elm, you know I cut your name;
-  Your sweetheart’s just beneath it, Tom, and you did mine the same;
-  Some heartless wretch has peeled the bark; ’twas dying sure but slow,
-  Just as she died, whose name you cut, some twenty years ago.
-
-  My lids have long been dry, Tom, but tears came to my eyes;
-  I thought of her I loved so well, those early broken ties;
-  I visited the old church yard, and took some flowers to strow
-  Upon the graves of those we loved, some twenty years ago.
-
-  Some are in the church-yard laid, some sleep beneath the sea;
-  But few are left of our old class, excepting you and me;
-  And when our time shall come, Tom, and we are called to go,
-  I hope they’ll lay us where we played, just twenty years ago.
-
-                                                         STEPHEN MARSELL.
-
-
-ONLY A SOLDIER.
-
-  Unarmed and unattended walks the Czar,
-    Through Moscow’s busy street one winter’s day.
-  The crowd uncover as his face they see—
-    “God greet the Czar!” they say.
-
-  Along his path there moved a funeral,
-    Gray spectacle of poverty and woe,
-  A wretched sledge, dragged by one weary man,
-    Slowly across the snow.
-
-  And on the sledge, blown by the winter wind,
-    Lay a poor coffin, very rude and bare,
-  And he who drew it bent before his load,
-    With dull and sullen air.
-
-  The Emperor stopped and beckoned on the man;
-    “Who is’t thou bearest to the grave?” he said.
-  “Only a soldier, sire!” the short reply,
-    “Only a soldier, dead.”
-
-  “Only a soldier!” musing, said the Czar;
-    “Only a Russian, who was poor and brave.
-  Move on. I follow. Such a one goes not
-    Unhonored to his grave.”
-
-  He bent his head, and silent raised his cap;
-    The Czar of all the Russias, pacing slow,
-  Following the coffin, as again it went
-    Slowly across the snow.
-
-  The passers of the street, all wondering,
-    Looked on that sight, then followed silently;
-  Peasant and prince, the artisan and clerk,
-    All in one company.
-
-  Still, at they went the crowd grew ever more,
-    Till thousands stood around the friendless grave,
-  Led by that princely heart, who royal, true,
-    Honored the poor and brave.
-
-
-THE PILGRIM FATHERS.
-
-  The pilgrim fathers—where are they?
-    The waves that brought them o’er
-  Still roll in the bay, and throw their spray,
-    As they break along the shore;
-  Still roll in the bay, as they rolled that day
-    When the Mayflower moored below,
-  When the sea around was black with storms,
-    And white the shore with snow.
-
-  The pilgrim fathers are at rest:
-    When summer’s throned on high,
-  And the world’s warm breast is in verdure dressed.
-    Go stand on the hill where they lie:
-  The earliest ray of the golden day
-    On that hallowed spot is cast,
-  And the evening sun, as he leaves the world,
-    Looks kindly on that spot last.
-
-  The land is holy where they fought,
-    And holy where they fell;
-  For by their blood that land was bought,
-    The land they loved so well,
-  Then glory to that valiant band,
-  The honored saviours of the land!
-  Oh! few and weak their numbers were—
-    A handful of brave men;
-  But to their God they gave their prayer,
-    And rushed to battle then.
-  The God of battles heard their cry,
-  And sent them the victory.
-
-  They left the ploughshare in the mould,
-  Their flocks and herds without a fold,
-  The sickle in the unshorn grain,
-  The corn half garnered on the plain,
-  And mustered, in their simple dress,
-  For wrongs to seek a stern redress;
-  To right those wrongs, come weal, come woe
-  To perish, or o’ercome their foe.
-
-  And where are ye, O fearless men,
-    And where are ye to-day?
-  I call: the hills reply again,
-    That ye have passed away;
-  That on old Bunker’s lonely height,
-    In Trenton, and in Monmouth ground,
-  The grass grows green, the harvest bright,
-    Above each soldier’s mound.
-
-  The bugle’s wild and warlike blast
-    Shall muster them no more;
-  An army now might thunder past,
-    And they not heed its roar.
-  The starry flag, ’neath which they fought
-    In many a bloody fray,
-  From their old graves shall rouse them not,
-    For they have passed away.
-
-
-MASTER JOHNNY’S NEXT-DOOR NEIGHBOR.
-
-  It was Spring the first time that I saw her, for her papa and mamma
-      moved in
-  Next door just as skating was over and marbles about to begin,
-  For the fence in our back-yard was broken, and I saw, as I peeped
-      through the slat,
-  There were ‘Johnny Jump-ups’ all around her, and I knew it was Spring
-      just by that.
-
-  “I never knew whether she saw me—for she didn’t say nothing to me,
-  But ‘Ma! here’s a slat in the fence broke, and the boy that is next
-      door can see.’
-  But the next day I climbed on our wood-shed, as you know Mamma says
-      I’ve a right,
-  And she calls out, ‘Well, peekin is manners!’ and I answered her,
-      ‘Sass is perlite!’
-
-  “But I wasn’t a bit mad; no, Papa; and to prove it, the very next day,
-  When she ran past our fence, in the morning I happened to get in her way,
-  For you know I am ‘chunked’ and clumsy, as she says are all boys of my
-      size,
-  And she nearly upset me, she did, Pa, and laughed till tears came in
-      her eyes.
-
-  “And then we were friends, from that moment, for I knew that she told
-      Kitty Sage—
-  And she wasn’t a girl that would flatter—‘that she thought I was tall
-      for my age,’
-  And I gave her four apples that evening, and took her to ride on my sled,
-  And—‘What am I telling you this for?’ Why, Papa, my neighbor is _dead_!
-
-  “You don’t hear one half I am saying—I really do think it’s too bad!
-  Why, you might have seen crape on her door-knob, and noticed to-day
-      I’ve been sad;
-  And they’ve got her a coffin of rosewood, and they say they have
-      dressed her in white,
-  And I’ve never once looked through the fence, Pa, since she died—at
-      eleven last night.
-
-  “And Ma says its decent and proper, as I was her neighbor and friend,
-  That I should go there to the funeral, and she thinks that _you_ ought
-      to attend;
-  But I am so clumsy and awkward, I know I shall be in the way,
-  And suppose they should speak to me, Papa, I wouldn’t know just what
-      to say.
-
-  “So I think I will get up quite early, I know I sleep late, but I know
-  I’ll be sure to wake up if our Bridget pulls the string that I’ll tie
-      to my toe,
-  And I’ll crawl through the fence and I’ll gather the ‘Johnny Jump-ups’
-      as they grew
-  Round her feet the first day that I saw her, and, Papa, I’ll give them
-      to you.
-
-  “For you’re a big man, and you know, Pa, can come and go just where
-      you choose,
-  And you’ll take the flowers into her and surely they’ll never refuse;
-  But, Papa, don’t _say_ they’re from Johnny; _they_ won’t understand,
-      don’t you see;
-  But just lay them down on her bosom, and, Papa, _she’ll_ know they’re
-      from me.”
-
-                                                              BRET HARTE.
-
-
-STONEWALL JACKSON’S DEATH.
-
-Gen. Joseph Hooker, in command of the Army of the Potomac lying opposite
-Fredericksburg, Md., crossed the Rappahannock River early in May, 1863,
-and fought the severe battle of Chancellorsville, in which was killed the
-famous Southern general, Thomas J. Jackson, commonly known as Stonewall
-Jackson. He received this name at the first battle of Bull Run. Defeat
-seemed imminent, and one of the Confederate generals exclaimed: “Here
-stands Jackson like a stone wall, and here let us conquer or die!” Gen.
-Jackson’s last words were: “Let us cross over the river, and lie down
-under the trees.”
-
-  The lightning flashed across the heaven, the distant thunder rolled,
-  And, swayed by gusts of angry winds, the far-off church bell tolled,
-  The billows crashed against the rocks that kiss the ocean’s foam,
-  And eager pilots trimmed their sails and turned their skiffs for home.
-
-  As darkness fell upon the earth, and we were gathered round
-  Our blazing hearth, and listening to the storm’s terrific sound,
-  We all looked up to Uncle Tom, who sat beside the fire,
-  A-dreaming of the bygone days, and of disaster dire.
-
-  For memory brought us back again to times of darkest woe,
-  When, strong in hand and light in heart, he fought the Northern foe.
-  He often spoke of ’46—the fight on Mexic’s plain—
-  How Buena Vista heights were reached while bullets fell like rain.
-
-  How Shields had gained Chapultepec, how Santa Anna fled,
-  And how the Sisters labored even where the bullets sped;
-  And oft he spoke of later times, but always with a sigh,
-  When South and North rose up to fight _en masse_ for cause or die.
-
-  And as beside the fire he sat and piped his meerschaum well,
-  We asked, to pass the time away, that he a tale should tell.
-  He paused a moment, then he laid his good old pipe aside,
-  And said, “I’ll tell you boys, to-night, how Stonewall Jackson died.
-
-  “We were retreating from the foe, for Fredericksburg was lost,
-  And on our flank, still threatening, appeared the Union host;
-  Down by the Rappahannock, in our dismal tents we lay,
-  And the lightest heart was heavy with our grave defeat that day.
-
-  “For ’tis better for a soldier like Montgomery to die,
-  Than live to see his comrades from a hated foeman fly;
-  But reverses often come upon defenders of the right,
-  And justice seldom conquers, boys, when nations go to fight.
-
-  “With heavy hearts we laid us down, but, mind you, not to sleep,
-  Nor did we turn aside to sing, or turn aside to weep,
-  But as we pondered o’er our griefs, a sudden moan was heard,
-  Far louder than the willow’s moan, when by the wind ’tis stirred.
-
-  “It woke the camp from reverie, it woke the camp to fear;
-  And louder, louder grew the wail, most dreadful then to hear.
-  And nearer came the weeping crowd, and something stiff and still
-  Was borne, we knew not what it was, but followed with a will.
-
-  “At last within our Gen’ral’s tent the precious load was laid,
-  And then a pallid soldier turned unto us all, and said:
-  ‘We thought it hard, my comrades brave, to lose the field to-day;
-  But harder will our struggle be, to labor in the fray;
-  For he is gone, our gallant chief, who could our hopes restore,
-  And rout and ruin is our fate, since Stonewall is no more.’
-
-  “I cannot tell you how we felt, or how we acted then,
-  For words are weak to tell a tale when grief has mastered men;
-  But this I know, I pulled the cloth from off brave Jackson’s face,
-  And almost jumped with joy to see him gaze around the place.
-
-  “But, boys, it was a fleeting dream, a vacant stare he cast;
-  He did not see the canvas shaken by the sudden blast;
-  He did not see us weeping as we staunched the flowing blood,
-  But again in battle fighting, he was where the foemen stood.
-
-  “‘Order Gen’ral Hill to action!’ loud he cried, as he was wont;
-  And then he quickly added: ‘Bring the infantry to front!’
-  As he saw the corps pass by him—as it were—in duty’s call,
-  Suddenly he shouted: ‘Drive them! charge upon them, one and all!’
-
-  “Then he turned aside, and, smiling, said with voice of one in ease:
-  ‘Let us cross the foaming river; let us rest beneath the trees.’
-  Then we waited, boys, and watched him, but no other word he said;
-  For adown the foaming river had our leader’s spirit sped.”
-
-                                                         PAUL M. RUSSELL.
-
-
-THE STORY OF NELL.
-
-  You’re a kind woman, Nan! Ay, kind and true!
-    God will be good to faithful folk like you!
-  You knew my Ned?
-    A better, kinder lad never drew breath.
-  We loved each other true, and we were wed
-    In church, like some who took him to his death;
-  A lad as gentle as a lamb, but lost
-    His senses when he took a drop too much.
-
-  Drink did it all—drink made him mad when crossed—
-    He was a poor man, and they’re hard on such
-  O Nan! that night! that night!
-    When I was sitting in this very chair,
-  Watching and waiting in the candle-light,
-    And heard his foot come creaking up the stair,
-  And turned and saw him standing yonder, white
-    And wild, with staring eyes and rumpled hair!
-  And when I caught his arm and called in fright,
-    He pushed me, swore, and to the door he passed
-    To lock and bar it fast.
-
-  Then down he drops just like a lump of lead,
-    Holding his brow, shaking, and growing whiter,
-    And—Nan—just then the light seemed growing brighter,
-  And I could see the hands that held his head,
-  All red! all bloody red!
-  What could I do but scream? He groaned to hear,
-    Jumped to his feet, and gripped me by the wrist;
-    “Be still, or I shall kill thee, Nell!” he hissed.
-
-  And I was still for fear.
-  “They’re after me—I’ve knifed a man!” he said,
-  “Be still!—the drink—drink did it!—he is dead!”
-  Then we grew still, dead still. I couldn’t weep;
-  All I could do was cling to Ned and hark,
-  And Ned was cold, cold, cold, as if asleep,
-  But breathing hard and deep.
-
-  The candle flickered out—the room grew dark
-  And—Nan!—although my heart was true and tried—
-  When all grew cold and dim,
-  I shuddered—not for fear of them outside,
-  But just afraid to be alone with him.
-  “Ned! Ned!” I whispered—and he moaned and shook,
-  But did not heed or look!
-  “Ned! Ned! speak, lad! tell me it is not true!”
-  At that he raised his head and looked so wild;
-  Then, with a stare that froze my blood, he threw
-  His arms around me, crying like a child,
-  And held me close—and not a word was spoken,
-  While I clung tighter to his heart and pressed him,
-  And did not fear him, though my heart was broken,
-  But kissed his poor stained hands, and cried, and blessed him!
-
-  Then, Nan, the dreadful daylight, coming cold
-  With sound of falling rain—
-  When I could see his face, and it looked old,
-  Like the pinched face of one that dies in pain;
-  Well, though we heard folk stirring in the sun,
-  We never thought to hide away or run,
-  Until we heard those voices in the street,
-  That hurrying of feet,
-  And Ned leaped up, and knew that they had come.
-
-  “Run, Ned!” I cried, but he was deaf and dumb;
-  “Hide, Ned!” I screamed, and held him; “Hide thee, man!”
-  He stared with blood-shot eyes and hearkened, Nan!
-  And all the rest is like a dream—the sound
-  Of knocking at the door—
-  A rush of men—a struggle on the ground—
-  A mist—a tramp—a roar;
-  For when I got my senses back again,
-  The room was empty, and my head went round!
-  God help him? God _will_ help him! Ay, no fear!
-  It was the drink, not Ned—he meant no wrong
-  So kind! So good!—and I am useless here,
-  Now he is lost that loved me true and long.
-
-  That night before he died,
-  I didn’t cry—my heart was hard and dried;
-  But when the clocks went “one,” I took my shawl
-  To cover up my face, and stole away,
-  And walked along the silent streets, where all
-  Looked cold and still and gray.
-  Some men and lads went by,
-  And turning round, I gazed, and watched ’em go,
-  Then felt that they were going to see him die,
-  And drew my shawl more tight, and followed slow.
-  More people passed me, a country cart with hay
-  Stopped close beside me, and two or three
-  Talked about _it_! I moaned, and crept away!
-
-  Next came a hollow sound I knew full well,
-  For something gripped me round the heart—and then
-  There came the solemn tolling of a bell!
-  O God! O God! how could I sit close by,
-  And neither scream nor cry?
-  As if I had been stone, all hard and cold,
-  I listened, listened, listened, still and dumb,
-  While the folk murmured, and the death-bell tolled,
-  And the day brightened, and his time had come.
-  All else was silent but the knell
-  Of the slow bell!
-  And I could only wait, and wait, and wait,
-  And what I waited for I couldn’t tell—
-  At last there came a groaning deep and great—
-  St. Paul’s struck “eight”—
-  I screamed, and seemed to turn to fire and fell!
-
-  God bless him, alive or dead!
-  He never meant no wrong, was kind and true.
-  They’re wrought their fill of spite upon his head
-  Why didn’t they be kind, and take me too?
-  And there’s the dear old things he used to wear,
-  And there’s a lock of hair.
-  And Ned, my Ned! is fast asleep, and cannot hear me call.
-  God bless you, Nan, for all you’ve done and said!
-  But don’t mind me, my heart is broke, that’s all!
-
-                                           ROBERT BUCHANAN.
-
-
-LITTLE NAN.
-
-  The wide gates swung open,
-  The music softly sounded,
-    And loving hands were heaping the soldiers’ graves with flowers;
-  With pansies, pinks, and roses,
-  And pure, gold-hearted lilies,
-    The fairest, sweetest blossoms that grace the spring-time bowers.
-
-  When down the walk came tripping
-  A wee, bare-headed girlie,
-    Her eyes were filled with wonder, her face was grave and sweet;
-  Her small brown hands were crowded
-  With dandelions yellow—
-    The gallant, merry blossoms that children love to greet.
-
-  O, many smiled to see her,
-  That dimple-cheeked wee baby,
-    Pass by with quaint intentness, as on a mission bound;
-  And, pausing oft an instant,
-  Let fall from out her treasures
-    A yellow dandelion upon each flower-strewn mound.
-
-  The music died in silence,
-  A robin ceased its singing;
-    And in the fragrant stillness a bird-like whisper grew,
-  So sweet, so clear and solemn,
-  That smiles gave place to tear-drops;
-    “Nan loves ’oo darlin’ soldier; an’ here’s a f’ower for ’oo.”
-
-
-ONE OF THE LITTLE ONES.
-
-  ’Twas a crowded street, and a cry of joy
-  Came from a ragged, barefoot boy—
-  A cry of eager and glad surprise,
-  And he opened wide his great black eyes
-  As he held before him a coin of gold
-  He had found in a heap of rubbish old
-  By the curb stone there.
-
-  “How it sparkles!” the youngster cried,
-  As the golden piece he eagerly eyed:
-  “Oh, see it shine!” and he laughed aloud;
-  Little heeding the curious crowd
-  That gathered around, “Hurrah!” said he,
-  “How glad my poor mother will be!
-  I’ll buy her a brand-new Sunday hat,
-  And a pair of shoes for Nell, at that,
-  And baby sister shall have a dress—
-  There’ll be enough for all, I guess;
-  And then I’ll——”
-
-                  “Here,” said a surly voice
-  “That money’s mine. You can take your choice
-  Of giving it up or going to jail.”
-  The youngster trembled, and then turned pale
-  As he looked and saw before him stand
-  A burly drayman with outstretched hand;
-
-  Rough and uncouth was the fellow’s face,
-  And without a single line or trace
-  Of the goodness that makes the world akin.
-  “Come, be quick! or I’ll take you in,”
-  Said he.
-        “For shame!” said the listening crowd.
-  The ruffian seemed for the moment cowed.
-  “The money’s mine,” he blurted out;
-  “I lost it yesterday hereabout.
-  I don’t want nothin’ but what’s my own
-  And I am going to have it.”
-
-                          The lad alone
-  Was silent. A tear stood in his eye,
-  And he brushed it away; he would not cry.
-  “Here, mister,” he answered, “take it then;
-  If it’s yours, it’s yours; if it hadn’t been——”
-  A sob told all he would have said,
-  Of the hope so suddenly raised, now dead.
-
-  And then with a sigh, which volumes told,
-  He dropped the glittering piece of gold
-  Into the other’s hand. Once more
-  He sighed—and his dream of wealth was o’er.
-  But no! Humanity hath a heart
-  Always ready to take the part
-  Of childish sorrow, wherever found.
-
-  “Let’s make up a purse”—the word went round
-  Through the kindly crowd, and the hat was passed
-  And the coins came falling thick and fast.
-
-  “Here, sonny, take this,” said they. Behold,
-  Full twice as much as the piece of gold
-  He had given up was in the hand
-  Of the urchin. He could not understand
-  It all. The tears came thick and fast,
-  And his grateful heart found voice at last.
-
-  But, lo! when he spoke, the crowd had gone—
-  Left him, in gratitude, there alone.
-  Who’ll say there is not some sweet, good-will
-  And kindness left in this cold world still?
-
-                                   G. L. CATLIN.
-
-
-THE DRUNKARD’S DAUGHTER.
-
-  She was a bright and beautiful child, one who seemed born for a
-  better career, yet one on whom the blight of intemperance had
-  left its impress early.
-
-  Her father was a drunkard, a worthless, miserable sot, whose only
-  aim and ambition in life seemed to be to contrive ways and means
-  of satisfying the devouring fire that constantly burned within
-  him.
-
-  Her mother had died when she was a mere child, leaving her to
-  grow up a wild flower in the forest, uncultured and uncared for.
-
-  Yet she was very beautiful; her form and face were of wondrous
-  perfection and loveliness; her disposition was happy and
-  cheerful, notwithstanding the abuse to which she was continually
-  subjected.
-
-  The years went by; she grew to be almost a woman. She could not
-  go to school or church, because she had nothing respectable to
-  wear; and had she gone her wicked father would have reviled her
-  for her disposition to make something better of herself and for
-  her simple piety. He sank lower and lower in the miserable slough
-  of intemperance, and yet, when urged by well-meaning friends, to
-  leave him she clung to him with an affection as unaccountable as
-  it was earnest and sincere.
-
-  “If I should leave him he would die,” she said. “If I stay and
-  suffer with him here, some time I may save him and make him a
-  worthy man.”
-
-  Many would have given her a home, food and comfortable clothes,
-  but she preferred to share her father’s misery rather than
-  selfishly forsake him in his unhappy infirmity.
-
-  The summer passed, the berries ripened and disappeared from the
-  bushes. The leaves turned to crimson and yellow, and fell from
-  the trees. The cold November winds howled through the desolate
-  hollows, while, scantily clad, she crouched in a corner of her
-  inhospitable, unhappy home.
-
-  She was very ill; bad treatment, poor food, and exposure had
-  brought on a fatal sickness. Her brow burned with fever. Even her
-  wretched father, selfish and inebriated as he was, became alarmed
-  at her condition as he staggered about the room upon his return
-  at a late hour from the village tavern, where he had spent the
-  evening with a company of dissolute companions.
-
-  “Father,” she said, “I am very sick; the doctor has been to see
-  me; he left a prescription. Will you not go to the village and
-  get it filled?”
-
-  “They won’t trust me, child,” he said, gruffly.
-
-  “But I will trust you,” she said sweetly. “There is a little
-  money hidden in the old clock there, which I saved from picking
-  and selling berries. You can take it; there is enough.”
-
-  His eyes sparkled with a dangerous glitter.
-
-  “Money!” he exclaimed almost fiercely. “I didn’t know you had
-  money. Why didn’t you tell me before? Didn’t you know it belonged
-  by right to me?”
-
-  She sighed pitifully.
-
-  He staggered to the clock, fumbled about for a few moments, and
-  soon found what he was seeking.
-
-  “Yes, I’ll go,” he said, excitedly. “Give me the prescription.”
-
-  He snatched it from her extended hand, opened the door and
-  disappeared.
-
-  The night grew colder. The sick girl crept into bed and tossed
-  and turned restlessly. The oil in the old lamp burned out. The
-  windows rattled, a storm came, and rain and hail beat upon the
-  window panes. The old clock struck the hour of midnight. The
-  drunkard did not return.
-
-  Poor girl, her soul became filled with apprehension and fear for
-  him.
-
-  “I must go for him,” she said. “He will perish, and it will be my
-  fault.” She crawled out of bed, drew on her scanty apparel and
-  worn shoes, threw a ragged shawl over her head and shoulders, and
-  went forth into the darkness, heroically facing the driving storm.
-
-  The morning came, clear, cloudless and beautiful. The earth was
-  cold and frosty. A neighbor, going early to the village, found
-  two lifeless forms lying by the roadway. Beside the dead man lay
-  an empty black bottle. The girl’s white arms were clasped about
-  his neck. Her soul had gone to intercede for him before the Mercy
-  Seat on high.
-
-                                                    EUGENE J. HALL.
-
-
-THE BEAUTIFUL.
-
-  Beautiful faces are those that wear—
-  It matters little if dark or fair—
-  Whole-souled honesty printed there.
-
-  Beautiful eyes are those that show,
-  Like crystal panes, where earth fires glow,
-  Beautiful thoughts that burn below.
-
-  Beautiful lips are those whose words
-  Leap from the heart like song of birds,
-  Yet whose utterance prudence girds.
-
-  Beautiful hands are those that do
-  Work that is earnest and brave and true,
-  Moment by moment the long day through.
-
-  Beautiful feet are those that go
-  On kindly ministry to and fro,
-  Down lowliest ways, if God wills it so.
-
-  Beautiful shoulders are those that bear
-  Heavy burdens of homely cart
-  With patience, grace and daily prayer.
-
-  Beautiful lives are those that bless—
-  Silent rivers of happiness,
-  Whose hidden fountains but few may guess.
-
-  Beautiful twilight at set of sun,
-  Beautiful goal with race well run,
-  Beautiful rest with work well done.
-
-  Beautiful grave where grasses creep,
-  Where brown leaves fall, where drifts lie deep,
-  Over worn-out hands—oh, beautiful sleep.
-
-
-TROUBLE IN THE AMEN CORNER.
-
-  ’Twas a stylish congregation, that of Theophrastus Brown,
-  And its organ was the finest and the biggest in the town,
-  And the chorus, all the papers favorably commented on it,
-  For ’twas said each female member had a forty—dollar bonnet.
-
-  Now in the “amen corner” of the church sat Brother Eyer,
-  Who persisted every Sabbath-day in singing with the choir;
-  He was poor, but genteel-looking, and his heart as snow was white,
-  And his old face beamed with sweetness when he sang with all his might.
-
-  His voice was cracked and broken, age had touched his vocal chords,
-  And nearly every Sunday he would mispronounce the words
-  Of the hymns, and ’twas no wonder, he was old and nearly blind,
-  And the choir rattling onward always left him far behind.
-
-  Then the pastor called together in the lecture-room one day
-  Seven influential members who subscribe more than they pay,
-  And having asked God’s guidance in a printed prayer or two,
-  They put their heads together to determine what to do.
-
-  They debated, thought, suggested, till at last “dear Brother York,”
-  Who last winter made a million on a sudden rise in pork,
-  Rose and moved that a committee wait at once on Brother Eyer,
-  And proceed to rake him lively for “disturbin’ of the choir.”
-
-  Of course the motion carried, and one day a coach and four,
-  With the latest style of driver, rattled up to Eyer’s door;
-  And the sleek, well-dressed committee, Brothers Sharkey, York, and Lamb,
-  As they crossed the humble portal took good care to miss the jam.
-
-  They found the choir’s great trouble sitting in his old arm-chair,
-  And the summer’s golden sunbeams lay upon his thin white hair;
-  He was singing “Rock of Ages” in a voice both cracked and low,
-  But the angels understood him, ’twas all he cared to know.
-
-  Said York: “We’re here, dear brother, with the vestry’s approbation,
-  To discuss a little matter that affects the congregation;”
-  “And the choir, too,” said Sharkey, giving Brother York a nudge,
-  “And the choir, too!” he echoed with the graveness of a judge.
-
-  “It was the understanding when we bargained for the chorus
-  That it was to relieve us, that is, do the singing for us;
-  If we rupture the agreement, it is very plain, dear brother,
-  It will leave our congregation and be gobbled by another.
-
-  “We don’t want any singing except that what we’ve bought!
-  The latest tunes are all the rage; the old ones stand for naught;
-  And so we have decided—are you listening, Brother Eyer?—
-  That you’ll have to stop your singin’, for it flurrytates the choir.”
-
-  The old man slowly raised his head, a sign that he did hear,
-  And on his cheek the trio caught the glitter of a tear;
-  His feeble hands pushed back the locks white as the silky snow,
-  As he answered the committee in a voice both sweet and low;
-
-  “I’ve sung the psalms of David for nearly eighty years,
-  They’ve been my staff and comfort and calmed life’s many fears;
-  I’m sorry I disturb the choir, perhaps I’m doing wrong;
-  But when my heart is filled with praise, I can’t keep back a song.
-
-  “I wonder if beyond the tide that’s breaking at my feet,
-  In the far-off heavenly temple, where the Master I shall greet,—
-  Yes, I wonder when I try to sing the songs of God up higher.
-  If the angel band will church me for disturbing heaven’s choir.”
-
-  A silence filled the little room; the old man bowed his head;
-  The carriage rattled on again, but Brother Eyer was dead!
-  Yes, dead! his hand had raised the veil the future hangs before us,
-  And the Master dear had called him to the everlasting chorus.
-
-  The choir missed him for awhile, but he was soon forgot,
-  A few church-goers watched the door; the old man entered not.
-  Far away, his voice no longer cracked, he sings his heart’s desires,
-  Where there are no church committees and no fashionable choirs.
-
-                                                          C. T. HARBAUGH.
-
-
-LITTLE MAG’S VICTORY.
-
-  ’Twas a hovel all wretched, forlorn and poor,
-  With crumbling eves and a hingeless door,
-  And windows where pitiless midnight rains
-  Beat fiercely in through the broken panes,
-  And tottering chimneys, and moss-grown roof,
-  From the heart of the city far aloof,
-  Where Nanny, a hideous, wrinkled hag,
-  Dwelt with her grandchild, “Little Mag.”
-
-  The neighbors called old Nanny a witch.
-  The story went that she’d once been rich—
-  Aye, rich as any lady in town—
-  But trouble had come and dragged her down
-  And down; then sickness, and want, and age
-  Had filled the rest of her life’s sad page,
-  And driven her into the slums to hide
-  Her shame and misery till she died.
-
-  The boys, as she hobbled along the street,
-  Her coming with yells and hoots would greet;
-  E’en grown folks dreaded old Nan so much
-  That they’d shun, in passing, her very touch,
-  And a mocking word or glance would send.
-
-  Poor little Mag was her only friend:
-  Faithful and true was the child, indeed.
-  What did she ever care or heed
-  For those cruel words, and those looks of scorn
-  In patient silence they all were borne;
-  But she prayed that God would hasten the day
-  That would take her sorrow and care away.
-
-  Alas! that day—that longed-for boon,
-  That ending of sorrow—came all too soon.
-  For there came a day when a ruffian crowd,
-  With stones, and bludgeons, and hootings loud,
-  Surrounded old Nanny’s hovel door,
-  Led on by a drunken brute, who swore,
-  In blasphemous oaths, and in language wild,
-  She had stolen a necklace from off his child.
-
-  Crouched in a corner, dumb with fear,
-  The old hag sat, with her grandchild near,
-  As the furious mob of boys and men,
-  Yelling, entered her dingy den.
-  “Kill her!” shouted the brutal pack.
-  “Cowards!” screamed Little Mag. “Stand back!”
-  As she placed her fragile form before
-  Her poor old grandmother, on the floor,
-  And clasped her about the neck, and pressed
-  The thin gray hairs to her childish breast.
-  “Cowards!” she said. “Now, do your worst.
-  If either must die, let _me_ die first!”
-
-  Cowed and abashed, the crowd stood still,
-  Awed by that child’s unaided will;
-  One by one, in silence and shame,
-  They all stole out by the way they came,
-  Till the fair young child and the withered crone
-  Were left once more in that room—alone.
-
-  But stop! What is it the child alarms?
-  _Old Nan lies dead in her grandchild’s arms!_
-
-                                  GEORGE L. CATLIN.
-
-
-LIFE’S BATTLE.
-
-  Alas! I’m growing old, my hair, once thick and brown,
-  Is now quite white and silky, and sparse about the crown;
-  A year, that once seemed endless, now, passes like a dream,
-  Yet my boat still rides the billows, as it floats along the stream.
-
-  My eye, once like the eagle’s, is now much dimmed by age,
-  And art alone enables me to read the printed page,
-  Yet still it rests with quickened glance upon each lovely scene.
-  As years roll by with silent pace and changes come between.
-
-  Life is full of gladness if we but make it so,
-  There’s not a wave of sorrow but has an undertow.
-  A stout heart and a simple faith gives victory o’er the grave,
-  And God awaits all patiently, all powerful to save.
-
-  ’Tis not a cross to live, nor is it hard to die,
-  If we but view the future with steadfast, fearless eye,
-  Looking ever on the bright side, where falls the sun’s warm beam,
-  Our boats will ride the billows as they float along the stream.
-
-                                                      WAYNE HOWE PARSONS.
-
-
-THE LOST KISS.
-
-  I put by the half-written poem,
-    While the pen, idly trailed in my hand,
-  Writes on, “Had I words to complete it,
-    Who’d read it, or who’d understand?”
-  But the little bare feet on the stairway,
-    And the faint, smothered laugh in the hall,
-  And the eerie-low lisp on the silence,
-    Cry up to me over it all.
-
-  So I gather it up—where was broken
-    The tear—faded thread of my theme,
-  Telling how, as one night I sat writing,
-    A fairy broke in on my dream.
-  A little inquisitive fairy
-    My own little girl, with the gold
-  Of the sun in her hair, and the dewy
-    Blue eyes of the fairies of old.
-
-  ’Twas the dear little girl that I scolded—
-    “For was it a moment like this,”
-  I said, when she knew I was busy,
-    “To come romping in for a kiss?
-  Come rowdying up from her mother
-    And clamoring there at my knee
-  For ‘One ’ittle kiss for my dolly
-    And one ’ittle uzzer for me?’”
-
-  God pity the heart that repelled her
-    And the cold hand that turned her away!
-  And take from the lips that denied her
-    This answerless prayer of to-day!
-  Take, Lord, from my mem’ry forever
-    That pitiful sob of despair,
-  And the patter and trip of the little bare feet
-    And the one piercing cry on the stair!
-
-  I put by the half-written poem,
-    While the pen, idly trailed in my hand,
-  Writes on, “Had I words to complete it,
-    Who’d read it, or who’d understand?”
-  But the little bare feet on the stairway,
-    And the faint, smothered laugh in the hall,
-  And the eerie-low lisp on the silence,
-    Cry up to me over all.
-
-                             JAMES WHITCOMB RILEY.
-
-
-EXECUTION OF MARY, QUEEN OF SCOTS.
-
-  The Queen arrived in the hall of death. Pale but unflinching
-  she contemplated the dismal preparations. There lay the block
-  and the axe. There stood the executioner and his assistant. All
-  were clothed in mourning. On the floor was scattered the sawdust
-  which was to soak her blood, and in a dark corner lay the bier.
-  It was nine o’clock when the Queen appeared in the funereal hall.
-  Fletcher, Dean of Peterborough, and certain privileged persons,
-  to the number of more than two hundred, were assembled. The hall
-  was hung with black cloth; the scaffold, which was elevated about
-  two feet and a half above the ground, was covered with black
-  frieze of Lancaster; the arm-chair in which Mary was to sit, the
-  footstool on which she was to kneel, the block on which her head
-  was to be laid, were covered with black velvet.
-
-  The Queen was clothed in mourning like the hall and as the ensign
-  of punishment. Her black velvet robe, with its high collar and
-  hanging sleeves, was bordered with ermine. Her mantle, lined
-  with marten sable, was of satin, with pearl buttons and a long
-  train. A chain of sweet-smelling beads, to which was attached a
-  scapulary, and beneath that a golden cross, fell upon her bosom.
-  Two rosaries were suspended to her girdle, and a long veil of
-  white lace, which in some measure softened this costume of a
-  widow and of a condemned criminal, was thrown around her.
-
-  Arrived on the scaffold, Mary seated herself in the chair
-  provided for her, with her face toward the spectators. The Dean
-  of Peterborough, in ecclesiastical costume, sat on the right of
-  the Queen, with a black velvet footstool before him. The Earls
-  of Kent and Shrewsbury were seated, like him, on the right, but
-  upon larger chairs. On the other side of the Queen stood the
-  Sheriff, Andrews, with white wand. In front of Mary were seen the
-  executioner and his assistant, distinguishable by their vestments
-  of black velvet with red crape round the left arm. Behind the
-  Queen’s chair, ranged by the wall, wept her attendants and
-  maidens.
-
-  In the body of the hall, the nobles and citizens from the
-  neighboring counties were guarded by musketeers. Beyond the
-  balustrade was the bar of the tribunal. The sentence was read;
-  the Queen protested against it in the name of royalty and of
-  innocence, but accepted death for the sake of the faith. She then
-  knelt before the block and the executioner proceeded to remove
-  her veil. She repelled him by a gesture, and turning toward the
-  Earls with a blush on her forehead, “I am not accustomed,” she
-  said, “to be undressed before so numerous a company, and by the
-  hands of such grooms of the chamber.”
-
-  She then called Jane Kennedy and Elizabeth Curle, who took off
-  her mantle, her veil, her chains, cross and scapulary. On their
-  touching her robe, the Queen told them to unloosen the corsage
-  and fold down the ermine collar, so as to leave her neck bare for
-  the axe. Her maidens weepingly yielded her these last services.
-  Melvil and the three other attendants wept and lamented, and
-  Mary placed her finger on her lips to signify that they should
-  be silent. She then arranged the handkerchief embroidered with
-  thistles of gold with which her eyes had been covered by Jane
-  Kennedy.
-
-  Thrice she kissed the crucifix, each time repeating, “Lord, into
-  Thy hands I commend my spirit.” She knelt anew and leant her
-  head on that block which was already scored with deep marks, and
-  in this solemn attitude she again recited some verses from the
-  Psalms. The executioner interrupted her at the third verse by a
-  blow of the axe, but its trembling stroke only grazed her neck;
-  she groaned slightly, and the second blow separated the head from
-  the body.
-
-                                                         LAMARTINE.
-
-
-OVER THE RANGE.
-
-  Half-sleeping, by the fire I sit,
-    I start and wake, it is so strange
-  To find myself alone, and Tom
-    Across the Range.
-
-  We brought him in with heavy feet
-    And eased him down; from eye to eye,
-  Though no one spoke, there passed a fear
-    That Tom must die.
-
-  He rallied when the sun was low,
-    And spoke; I thought the words were strange;
-  “It’s almost night, and I must go
-    Across the Range.”
-
-  “What, Tom?” He smiled and nodded: “Yes,
-    They’ve struck it rich there, Jim, you know,
-  The parson told us; you’ll come soon;
-    Now Tom must go.”
-
-  I brought his sweetheart’s pictured face:
-    Again that smile, so sad and strange,
-  “Tell her,” said he, “that Tom has gone
-    Across the Range.”
-
-  The last night lingered on the hill.
-    “There’s a pass, somewhere,” then he said,
-  And lip, and eye, and hand were still;
-    And Tom was dead.
-
-  Half-sleeping, by the fire I sit:
-    I start and wake, it is so strange
-  To find myself alone, and Tom
-    Across the Range.
-
-                            J. HARRISON MILLS.
-
-
-THE STORY OF CRAZY NELL.
-
-FOUNDED ON FACT.
-
-  “Come, Rosy, come!” I heard the voice and looked
-    Out on the road that passed my window wide,
-  And saw a woman and a fair-haired child
-    That knelt and picked the daisies at the side.
-
-  The child ran quickly with its gathered prize,
-    And, laughing, held it high above its head;
-  A light glowed bright within the woman’s eyes,
-    And in that light a mother’s love I read.
-
-  She took the little hand, and both passed on;
-    The prattle of the child I still could hear,
-  Mixed with the woman’s fond, caressing tone,
-    That came in loving words upon my ear.
-
-  “Come, Rosy, come!” Years, many years had gone,
-    But yet had left the recollection of that scene—
-  The woman and the fair-haired child that knelt
-    And picked the daisies on the roadside green.
-
-  I looked. The old familiar road was there—
-    A woman, wan and stooping, stood there too;
-  And beckoned slowly, and with vacant stare
-    That fixed itself back where the daisies grew.
-
-  “Come, Rosy, come!” I saw no fair-haired child
-    Run from the daisies with its gathered prize;
-  “Come, Rosy, come!” I heard no merry laugh
-    To light the love-glow in the mother’s eyes.
-
-  “Come, Rosy, come!” She turned, and down the road
-    The plaintive voice grew fainter on my ear;
-  Caressing tones—not mixed with prattle now,
-    But full of loving words—I still could hear.
-
-  I, wondering, asked a gossip at my door;
-    He told the story—all there was to tell:
-  A little mound the village churchyard bore;
-    And this, he said, is only Crazy Nell.
-
-                                     JOSEPH WHITTON.
-
-
-LITTLE SALLIE’S WISH.
-
-The following poem was written from _facts_, concerning a sweet little
-girl who lived in New York. When Summer came her parents took a cottage
-in the country, where the scene described was enacted.
-
-  I have seen the first robin of Spring, mother dear,
-    And have heard the brown darling sing;
-  You said, “Hear it and wish, and ’twill surely come true,”
-    So I’ve wished such a beautiful thing.
-
-  I thought I would like to ask something for you,
-    But couldn’t think what there could be
-  That you’d want, while you had all these beautiful things;
-    Besides you have papa and me.
-
-  So I wished for a ladder, so long that ’twould stand
-    One end by our own cottage door,
-  And the other go up past the moon and the stars,
-    And lean against heaven’s white floor.
-
-  Then I’d get you to put on my pretty white dress,
-    With my sash and my darling new shoes;
-  And I’d find some white roses to take up to God,
-    The most beautiful ones I could choose.
-
-  And you, dear papa, would sit on the ground,
-    And kiss me, and tell me “good-bye;”
-  Then I’d go up the ladder, far out of your sight,
-    Till I came to the door in the sky.
-
-  I wonder if God keeps the door fastened tight?
-    If but one little crack I could see,
-  I would whisper, “Please, God, let this little girl in,
-    She’s as weary and tired as can be.
-
-  “She came all alone from the earth to the sky,
-    For she’s always been wanting to see
-  The gardens of heaven, with their robins and flowers;
-    Please, God, is there room there for me?”
-
-  And then when the angels had opened the door,
-    God would say, “Bring the little child here.”
-  But He’d speak it so softly, I’d not be afraid,
-    And He’d smile just like you, mother dear.
-
-  He would put His kind arms round your dear little girl,
-    And I’d ask Him to send down for you,
-  And papa, and cousin, and all that I love—
-    Oh, dear, don’t you wish ’twould come true?
-
-  The next Spring time, when the robins came home,
-    They sang over grasses and flowers,
-  That grew where the foot of the long ladder stood,
-    Whose top reached the heavenly bowers.
-
-  And the parents had dressed the pale, still child
-    For her flight to the Summer land,
-  In a fair white robe, with one snow-white rose
-    Folded tight in her pulseless hand.
-
-  And now at the foot of the ladder they sit,
-    Looking upward with quiet tears,
-  Till the beckoning hand and the fluttering robe
-    Of the child at the top re-appears.
-
-
-DROWNED AMONG THE LILIES.
-
-  How the reeds and rushes quiver
-  On the low banks of the river,
-  And the leaning willows shiver
-    In a strange and deep affright,
-  And the water moans and murmurs
-  As it eddies round the lilies,
-  Like a human soul in sorrow,
-    Over something hid from sight.
-
-  How the shadows haunt the edges
-  Of the river, where the sedges
-  To the lilies whisper ever
-    Of some strange and awful deed!
-  How the sunshine, timid, frightened,
-  Dares not touch the spot it brightened
-  Yesterday, among the shadows
-    Of the lily and the reed.
-
-  What is that that floats and shimmers
-  Where the water gleams and glimmers,
-  In and out among the rushes,
-    Growing thick, and tall, and green?
-  Something yellow, long and shining
-  Something wondrous fair and silken,
-  Like a woman’s golden tresses,
-    With a broken flower between.
-
-  What is that, so white and slender,
-  Hidden, almost, by the splendor
-  Of a great white water lily,
-    Floating on the river there?
-  ’Tis a hand stretched up toward Heaven,
-  As, when we would be forgiven,
-  We reach out our hands, imploring,
-    In an agony of prayer.
-
-  Tremble, reeds, and moan and shiver,
-  At your feet, in the still river,
-  Lies a woman, done forever,
-    With life’s mockery and woe.
-  God alone can know the sorrow,
-  All the bitterness and heartache,
-  Ended in the moaning river
-    Where the water lilies blow.
-
-                      EBEN E. REXFORD.
-
-
-THE FATE OF CHARLOTTE CORDAY.
-
-  The sunny land of France with streams of noblest blood was dyed,
-  Nor could a monarch’s royal veins suffice the insatiate tide;
-  And youth and beauty knelt in vain, and mercy ceased to shine,
-  And Nature’s holiest ties were loosed beneath the guillotine.
-
-  Wild war and rapine, hate and blood, and terror ruled supreme,
-  Till all who loved its vine-clad vales had ceased of peace to dream;
-  But there was one whose lover’s blood wrote vengeance in her soul,
-  Whom zeal for France and blighted hopes had bound in fast control.
-
-  Dark “Discord’s demon,” fierce Marat, his country’s fellest foe,
-  Belzance’s executioner, the fount of war and woe;
-  Demon alike in mind and face, he dreamt not of his fall,
-  Yet him the noble maiden doomed to vengeance and to Gaul.
-
-  O! had an artist seen them there as face to face they stand;
-  The noblest and the meanest mind in all that bleeding land;
-  The loveliest and most hideous forms that pencil could portray—
-  A picture might on canvas live that would not pass away.
-
-  “Point out the foes of France,” he said, “and ere to-morrow shine,
-  The blood, now warm within their veins, shall stain the guillotine.”
-  “The guillotine!” the maid exclaimed, the steel a moment gleams,
-  A moment more ’tis in his heart; adieu to all his dreams!
-
-  Before her judges Charlotte stands, undaunted, undismayed,
-  While eyes that never wept are wet with pity for the maid,
-  Unstained as beautiful she stands before the judgment seat,
-  Resigned to fate, her heart is calm while others wildly beat!
-
-  Alas! too sure her doom is read in those stern faces, while
-  Fear from her looks affrighted fled, where shone Minerva’s smile;
-  Hope she had none, or, if perchance she had, that hope was gone,
-  Yet in its stead ’twas not despair but brightest triumph shone!
-
-  “What was the cause?” “His crimes,” she said, her bleeding country’s foe,
-  Inspired her hand, impelled the steel, and laid the tyrant low;
-  Though well she knew her blood would flow for him she caused to bleed,
-  Yet what was death?—The crowning wreath that graced the noble deed!
-
-  Her doom is passed, a lovely smile dawns slowly o’er her face,
-  And adds another beauty to her calm majestic grace;
-  She does not weep, she does not shrink, her features are not pale,
-  The firmness that inspired her hand forbids her heart to fail!
-
-  ’Tis morn; before the Tuilleries the dawn is breaking gray,
-  And thousands through the busy streets in haste pursue their way;
-  What means the bustle and the throng, the scene is nothing new—
-  A fair young lady, doomed to die, each day the same they view.
-
-  Before that home of bygone kings a gloomy scaffold stands,
-  Upreared in Freedom’s injured name to manacle her hands;
-  Some crowd to worship, some insult, the martyr in her doom,
-  But over friends and foes a cloud is cast of sombre gloom.
-
-  She stands upon the fatal spot angelically fair,
-  The roses of her cheek concealed beneath her flowing hair;
-  “Greater than Brutus,” she displays no sign of fear or dread,
-  But in a moment will be still and silent with the dead.
-
-  Her neck is bared, the fatal knife descends, and all is o’er,
-  The martyred heroine of France—of freedom dreams no more;
-  The insults of the wretched throng she hears no longer now,
-  But Death, man’s universal friend, sits on her pallid brow!
-
-  In life, fear never blanched her cheek; but now ’tis calm and pale,
-  Love and her country asked revenge, and both her fate bewail;
-  She fell, more glorious in her fall than chief or crowned queen,
-  A martyr in a noble cause, without a fault to screen!
-
-                                                       CLARE S. MCKINLEY.
-
-
-THE LITTLE VOYAGER.
-
-  Three little children in a boat
-    On seas of opal splendor;
-  The willing waves their treasure float
-    To rhythm low and tender;
-  Over their heads the skies are blue—
-  Where are the darlings sailing to?
-
-  They do not know—we do not know,
-    Who watch their pretty motions;
-  Safe moored within the harbor, though
-    They sail untraveled oceans;
-  They rock and sway and shut their eyes;
-  “No land in sight!” the helmsman cries!
-
-  “Oh, little children have you heard
-    Of ships that sail for pleasure;
-  And never wind or wave hath word
-    Of all their vanished treasure?
-  They were as blithe and gay as you
-  And sailed away as fearless, too!”
-
-  Then from the pleasure-freighted crew
-    One spake—a little maiden,
-  With sunny hair, and eyes of blue,
-    And lashes fair, dew-laden,
-  Her wise head gave a thoughtful nod—!
-  “Perhaps—they sailed—away to God!”
-
-                      MRS. M. L. BAYNE.
-
-
-THE DREAM OF ALDARIN.
-
-This selection won a gold medal at a Commencement of the Mt. Vernon
-Institute of Elocution in Philadelphia. It is a remarkable embodiment of
-tragedy and pathos.
-
-  A chamber with a low, dark ceiling, supported by massive rafters
-  of oak; floors and walls of dark stone, unrelieved by wainscot or
-  plaster—bare, rugged, and destitute.
-
-  A dim, smoking light, burning in a vessel of iron, threw its red
-  and murky beams over the fearful contents of a table. It was
-  piled high with the unsightly forms of the dead. Prostrate among
-  these mangled bodies, his arms flung carelessly on either side,
-  slept and dreamed Aldarin—Aldarin, the Fratricide.
-
-  He hung on the verge of a rock, a rock of melting bitumen, that
-  burned his hands to masses of crisped and blackened flesh. The
-  rock projected over a gulf, to which the cataracts of earth might
-  compare as the rivulet to the vast ocean. It was the Cataract of
-  Hell. He looked below. God of Heaven, what a sight! Fiery waves,
-  convulsed and foaming, with innumerable whirlpools crimsoned by
-  bubbles of flame. Each whirlpool swallowing millions of the lost.
-  Each bubble bearing on its surface the face of a soul, lost and
-  lost forever.
-
-  Born on by the waves, they raised their hands and cast their
-  burning eyes to the skies, and shrieked the eternal death-wail of
-  the lost.
-
-  Over this scene, awful and vast, towered a figure of ebony
-  blackness, his darkened brow concealed in the clouds, his
-  extended arms grasping the infinitude of the cataract, his feet
-  resting upon islands of bitumen far in the gulf below. The eyes
-  of the figure were fixed upon Aldarin, as he clung with the
-  nervous clasp of despair to the rock, and their gaze curdled his
-  heated blood.
-
-  He was losing his grasp; sliding and sliding from the rock, his
-  feet hung over the gulf. There was no hope for him. He must
-  fall—fall—and fall forever. But lo! a stairway, built of white
-  marble, wide, roomy and secure, seemed to spring from the very
-  rock to which he clung, winding upward from the abyss, till it
-  was lost in the distance far, far above. He beheld two figures
-  slowly descending—the figure of a warrior and the form of a
-  dark-eyed woman.
-
-  He knew those figures; he knew them well. They were his victims!
-  Her face, his wife’s! beautiful as when he first wooed her in the
-  gardens of Palestine; but there was blood on her vestments, near
-  the heart, and his lip was spotted with one drop of that thick,
-  red blood. “This,” he muttered, “this, indeed, is hell, and yet I
-  must call for aid—call to them!” How the thought writhed like a
-  serpent round his very heart.
-
-  He drew himself along the rugged rock, clutching the red-hot ore
-  in the action. He wanted but a single inch, a little inch and he
-  might grasp the marble of the stairway. Another and a desperate
-  effort. His fingers clutched it, but his strength was gone. He
-  could not hold it in his grasp. With an eye of horrible intensity
-  he looked above. “Thou wilt save me, Ilmerine, my wife. Thou wilt
-  drag me up to thee.” She stooped. She clutched his blackened
-  fingers and placed them around the marble. His grasp was tight
-  and desperate. “Julian, O Julian! grasp this hand. Aid me, O
-  Julian! my brother!” The warrior stooped, laid hold on his hand
-  and drawing it toward the casement, wound it around another piece
-  of marble.
-
-  But again his strength fails. “Julian, my brother; Ilmerine,
-  my wife, seize me! Drag me from this rock of terror! Save me!
-  O save me!” She stooped. She unwound finger after finger. She
-  looked at his horror-stricken face and pointed to the red wound
-  in her heart. He looked toward the other face. “Thou, Julian,
-  reach me thy hand. Thy hand, or I perish!” The warrior slowly
-  reached forth his hand from beneath the folds of his cloak. He
-  held before the eyes of the doomed a goblet of gold. It shone and
-  glimmered through the foul air like the beacon fire of hell.
-
-  “Take it away! ’Tis the death bowl!” shrieked Aldarin’s livid
-  lips. “I murdered thee. Thou canst not save.” He drew back from
-  the maddening sight. He lost his hold, he slid from the rock, he
-  fell.
-
-  Above, beneath, around, all was fire, horror, death; and still he
-  fell. “Forever and forever,” rose the shrieks of the lost. All
-  hell groaned aloud, “Ever, ever. Forever and forever,” and his
-  own soul muttered back, “This—this—is—hell!”
-
-                                                    GEORGE LIPPARD.
-
-
-IN THE MINING TOWN.
-
-  “Tis the last time, darling,” he gently said,
-  As he kissed her lips like the cherries red,
-  While a fond look shone in his eyes of brown.
-  “My own is the prettiest girl in town!
-  To-morrow the bell from the tower will ring
-  A joyful peal. Was there ever a king
-  So truly blessed, on his royal throne,
-  As I shall be when I claim my own?”
-
-  ’Twas a fond farewell, ’twas a sweet good-by,
-  But she watched him go with a troubled sigh.
-  So, into the basket that swayed and swung
-  O’er the yawning abyss, he lightly sprung.
-  And the joy of her heart seemed turned to woe
-  As they lowered him into the depths below.
-  Her sweet young face, with its tresses brown,
-  Was the fairest face in the mining town.
-
-  Lo! the morning came; but the marriage-bell,
-  High up in the tower, rang a mournful knell
-  For the true heart buried ’neath earth and stone,
-  Far down in the heart of the mine, alone.
-  A sorrowful peal on their wedding-day,
-  For the breaking heart and the heart of clay,
-  And the face that looked from the tresses brown,
-  Was the saddest face in the mining town.
-
-  Thus time rolled along on its weary way,
-  Until fifty years, with their shadows gray,
-  Had darkened the light of her sweet eyes’ glow,
-  And had turned the brown of her hair to snow.
-  Oh! never the kiss from a husband’s lips,
-  Or the clasp of a child’s sweet finger-tips,
-  Had lifted one moment the shadows brown
-  From the saddest heart in the mining town.
-
-  Far down in the depths of the mine, one day,
-  In the loosened earth they were digging away.
-  They discovered a face, so young, so fair;
-  From the smiling lip to the bright brown hair
-  Untouched by the finger of Time’s decay.
-  When they drew him up to the light of day,
-  The wondering people gathered ’round
-  To gaze at the man thus strangely found.
-
-  Then a woman came from among the crowd,
-  With her long white hair and her slight form bowed.
-  She silently knelt by the form of clay,
-  And kissed the lips that were cold and gray.
-  Then, the sad old face, with its snowy hair
-  On his youthful bosom lay pillowed there.
-  He had found her at last, his waiting bride,
-  And the people buried them side by side.
-
-                                ROSE HARTWICK THORPE.
-
-
-TOMMY’S PRAYER.
-
-This beautiful poem is full of the pathos and suffering of poverty. It
-should be delivered with expression and feeling. Although lengthy the
-interest is sustained throughout.
-
-  In a dark and dismal alley where the sunshine never came,
-  Dwelt a little lad named Tommy, sickly, delicate and lame;
-  He had never yet been healthy, but had lain since he was born,
-  Dragging out his weak existence well nigh hopeless and forlorn.
-
-  He was six, was little Tommy, ’twas just five years ago
-  Since his drunken mother dropped him, and the babe was crippled so.
-  He had never known the comfort of a mother’s tender care,
-  But her cruel blows and curses made his pain still worse to bear.
-
-  There he lay within the cellar from the morning till the night,
-  Starved, neglected, cursed, ill-treated, naught to make his dull life
-      bright;
-  Not a single friend to love him, not a living thing to love—
-  For he knew not of a Saviour, or a heaven up above.
-
-  ’Twas a quiet summer evening; and the alley, too, was still;
-  Tommy’s little heart was sinking, and he felt so lonely, till,
-  Floating up the quiet alley, wafted inwards from the street,
-  Came the sound of some one singing, sounding, oh! so clear and sweet.
-
-  Eagerly did Tommy listen as the singing nearer came—
-  Oh! that he could see the singer! How he wished he wasn’t lame.
-  Then he called and shouted loudly, till the singer heard the sound,
-  And on noting whence it issued, soon the little cripple found.
-
-  ’Twas a maiden, rough and rugged, hair unkempt and naked feet,
-  All her garments torn and ragged, her appearance far from neat;
-  “So yer called me,” said the maiden, “wonder wot yer wants o’ me;
-  Most folks call me Singing Jessie; wot may your name chance to be?”
-
-  “My name’s Tommy; I’m a cripple, and I want to hear you sing,
-  For it makes me feel so happy—sing me something, anything.”
-  Jessie laughed, and answered, smiling, “I can’t stay here very long,
-  But I’ll sing a hymn to please you, wot I calls the ‘Glory song’”
-
-  Then she sang to him of Heaven, pearly gates and streets of gold,
-  Where the happy angel children are not starved or nipped with cold;
-  But where happiness and gladness never can decrease or end,
-  And where kind and loving Jesus is their Sovereign and their Friend.
-
-  Oh! how Tommy’s eyes did glisten as he drank in every word
-  As it fell from “Singing Jessie”—was it true, what he had heard?
-  And so anxiously he asked her: “Is there really such a place?”
-  And a tear began to trickle down his pallid little face.
-
-  “Tommy, you’re a little heathen; why, it’s up beyond the sky,
-  And if yer will love the Saviour, yer shall go there when yer die.”
-  “Then,” said Tommy; “tell me, Jessie, how can I the Saviour love,
-  When I’m down in this ’ere cellar, and he’s up in Heaven above?”
-
-  So the little ragged maiden who had heard at Sunday-school
-  All about the way to Heaven, and the Christian’s golden rule,
-  Taught the little cripple Tommy how to love and how to pray,
-  Then she sang a “Song of Jesus,” kissed his cheek and went away.
-
-  Tommy lay within the cellar which had grown so dark and cold,
-  Thinking all about the children in the streets of shining gold;
-  And he heeded not the darkness of that damp and chilly room,
-  For the joy in Tommy’s bosom could disperse the deepest gloom.
-
-  “Oh! if I could only see it,” thought the cripple, as he lay.
-  “Jessie said that Jesus listens and I think I’ll try and pray;”
-  So he put his hands together, and he closed his little eyes,
-  And in accents weak, yet earnest, sent this message to the skies:
-
-  “Gentle Jesus, please forgive me, as I didn’t know afore,
-  That yer cared for little cripples who is weak and very poor,
-  And I never heard of Heaven till that Jessie came to-day
-  And told me all about it, so I wants to try and pray.
-
-  “You can see me, can’t yer, Jesus? Jessie told me that yer could,
-  And I somehow must believe it, for it seems so prime and good;
-  And she told me if I loved you, I should see yer when I die,
-  In the bright and happy heaven that is up beyond the sky.
-
-  “Lord, I’m only just a cripple, and I’m no use here below,
-  For I heard my mother whisper she’d be glad if I could go;
-  And I’m cold and hungry sometimes; and I feel so lonely, too,
-  Can’t yer take me, gentle Jesus, up to Heaven along o’ you?
-
-  “Oh! I’d be so good and patient, and I’d never cry or fret;
-  And yer kindness to me, Jesus, I would surely not forget;
-  I would love you all I know of, and would never make a noise—
-  Can’t you find me just a corner, where I’ll watch the other boys?
-
-  “Oh! I think yer’ll do it, Jesus, something seems to tell me so,
-  For I feel so glad and happy, and I do so want to go;
-  How I long to see yer, Jesus, and the children all so bright!
-  Come and fetch me, won’t yer, Jesus? Come and fetch me home to-night!”
-
-  Tommy ceased his supplication, he had told his soul’s desire,
-  And he waited for the answer till his head began to tire;
-  Then he turned towards his corner, and lay huddled in a heap,
-  Closed his little eyes so gently, and was quickly fast asleep.
-
-  Oh, I wish that every scoffer could have seen his little face
-  As he lay there in the corner, in that damp and noisome place;
-  For his countenance was shining like an angel’s, fair and bright,
-  And it seemed to fill the cellar with a holy, heavenly light.
-
-  He had only heard of Jesus from a ragged singing girl,
-  He might well have wondered, pondered, till his brain began to whirl;
-  But he took it as she told it, and believed it then and there,
-  Simply trusting in the Saviour, and His kind and tender care.
-
-  In the morning, when the mother came to wake her crippled boy,
-  She discovered that his features wore a look of sweetest joy,
-  And she shook him somewhat roughly, but the cripple’s face was cold—
-  He had gone to join the children in the streets of shining gold.
-
-  Tommy’s prayer had soon been answered, and the Angel Death had come
-  To remove him from his cellar, to His bright and heavenly home
-  Where sweet comfort, joy and gladness never can decrease or end,
-  And where Jesus reigns eternally, his Sovereign and his Friend.
-
-                                                           I. F. NICHOLS.
-
-
-ROBBY AND RUTH.
-
-  Robby and Ruth strolled out one day,
-    Over the meadows, beyond the town;
-  The robins sang, and the fields looked gay,
-    And the orchards dropped their blossoms down:
-  But they took no thought of song or flower,
-  For this, to them, was love’s sweet hour;
-          And love’s hour is fleet,
-          And swift love’s feet,
-  When a lad and a winsome lassie meet!
-
-  Robby and Ruth in the church were wed,
-    Ere the orchard apples began to fall;
-  “Till death shall part,” were the words they said,
-    And love’s pure sunlight hallowed all.
-  Ah! never a bride more sweet and fair
-  Wore orange-blooms in her sunny hair!
-          The maiden sung,
-          And the joy-bells rung
-  And echoed the orchards and groves among.
-
-  Robby and Ruth kept house together,
-    Till both were old and bent and gray,
-  And little they cared for outside weather,
-    For home’s sweet light gilded all their way;
-  And many a precious nestling came
-  To be called by the dear old household name;
-          And the love that blessed
-          When first confessed
-  Remained in their hearts a constant guest.
-
-  Robby and Ruth grew weary at last—
-    Bobby went first the shining way;
-  And when the earth on _his_ grave was cast,
-    The faithful Ruth could no longer stay;
-  And daisy ne’er blossomed or wild-rose grew
-  O’er hearts more tender, leal and true!
-          Love’s vows were sweet
-          When they sat at Love’s feet,
-  And Heaven makes love itself complete.
-
-                              LOUISA S. UPHAM.
-
-
-
-
-RECITATIONS FOR CHILDREN.
-
-
-The perplexing question of obtaining something suitable for the “little
-tots” to recite, is solved by the choice collection of pieces here
-presented. The pathetic, the humorous, the beautiful, in short, every
-variety of recitation for the young people, may be found in the following
-pages, including drills and motion recitals, and selections for special
-occasions, all of which are entertaining and admirably suited to the
-little folks.
-
-
-TWO LITTLE MAIDENS
-
-  A sorry little maiden
-    Is Miss Fuss-and-Feather,
-  Crying for the golden moon,
-    Grumbling at the weather;
-  The sun will fade her gown,
-    The rain will spoil her bonnet,
-  If she ventures out,
-    And lets it fall upon it.
-
-  A merry little maiden
-    Is Miss Rags-and-Tatters,
-  Chatting of the twinkling stars
-    And many other matters;
-  Dancing in the sunshine,
-    Pattering through the rain,
-  Her clothes never cause her
-    A single thought or pain.
-
-                       AGNES CARR.
-
-
-THE WAY TO SUCCEED.
-
-  Drive the nail aright, boys,
-    Hit it on the head;
-  Strike with all your might, boys,
-    While the iron’s red.
-
-  When you’ve work to do, boys,
-    Do it with a will;
-  They who reach the top, boys,
-    First must climb the hill.
-
-  Standing at the foot, boys,
-    Gazing at the sky,
-  How can you ever get up, boys,
-    If you never try?
-
-  Though you stumble oft, boys,
-    Never be downcast;
-  Try, and try again, boys—
-    You’ll succeed at last.
-
-
-WHEN PA BEGINS TO SHAVE.
-
-  When Sunday mornin’ comes around
-    My pa hangs up his strop,
-  An’ takes his razor out an’ makes
-    It go c’flop! c’flop!
-  An’ then he gits his mug an’ brush
-    An’ yells t’ me, “Behave!”
-  I tell y’u, things is mighty still—
-    When pa begins t’ shave.
-
-  Then pa he stirs his brush around
-    An’ makes th’ soapsuds fly;
-  An’ sometimes, when he stirs too hard,
-    He gits some in his eye.
-  I tell y’u, but it’s funny then
-    To see pa stamp and rave;
-  But y’u mustn’t git ketched laffin’—
-    When pa begins t’ shave.
-
-  Th’ hired hand he dassent talk,
-    An’ even ma’s afeard,
-  An’ y’u can hear th’ razor click
-    A-cuttin’ through pa’s beard!
-  An’ then my Uncle Bill he laffs
-    An’ says: “Gosh! John, you’re brave,”
-  An’ pa he swears, an’ ma jest smiles—
-    When pa begins t’ shave.
-
-  When pa gits done a-shavin’ of
-    His face, he turns around,
-  And Uncle Bill says: “Why, John,
-    Yu’r chin looks like plowed ground!”
-  An’ then he laffs—jest laffs an’ laffs,
-    But I got t’ behave,
-  Cos things’s apt to happen quick—
-    When pa begins t’ shave.
-
-                  HARRY DOUGLASS ROBBINS.
-
-
-A BOY’S VIEW.
-
-  Girl is very nice! Everybody who has not the misfortune to be
-  girl will allow this. Nice girl will allow it also as far as
-  itself is concerned. Strange girl is objectionable in the eyes of
-  girl generally.
-
-  Powder improves girl sometimes, but it seldom finds this out
-  until it is suggested to it by one of experience.
-
-  Healthy girl costs its parents less money for doctors’ bills, but
-  persons who write romantic tales for circulating libraries choose
-  unhealthy and pasty faced girl to write about—the swooning kind
-  preferred.
-
-  If I were not boy I think I should like to be girl. It’s best fun
-  to be boy when there’s plenty of girl about.
-
-
-MAMMY’S CHURNING SONG.
-
-  Set still, honey, let ole Mammy tell yer ’bout de churn,
-        Wid de cream en clabber dashin’,
-        En de buttermilk er-splashin’.
-  Dis de chune hit am er-singin’ ’fore hit ’gin ter turn:
-        Jiggery, jiggery, jiggery, jum,
-            Bum-bum-bum,
-            But-ter-come,
-        Massa give old nigger some.
-
-  Jump down, honey, en fotch me dat rag fum de table, fer ter wipe
-  off dis hyah led. Tole yer so, dat milk gwine ter splatter up
-  hyah ’reckly! Dar now, dat’s er good chile, git back in mer lap.
-
-  Now de cream, en milk, en clabber’s churnin’ up so fas’,
-        Hyah hit splatterin’ en er-splutterin’,
-        En er-mixin’, en er-mutterin’,
-  In de churn en roun’ de dasher, singin’ ter de las’;
-        Jiggery, jiggery, jiggery, jum,
-            Bum-bum-bum,
-            But-ter-come,
-        Massa gib old nigger some.
-
-  Uh-er! Teck kyah, honey, keep dem fingers way fum dar! Butter
-  mos’ come now: set still jis’ er leetle w’ile longer.
-
-  Sooen de lumps ob butter ’ll be er-floatin’ on de top—
-        Now de ole churn’s fa’rly hummin’,
-        Tell yer wot, de butter comin’—
-  Done come! Mammy’s arm so ti-yerd, now she’s gwine ter stop.
-        Jiggery, jiggery, jiggery, jum,
-            Bum-bum-bum,
-            But-ter-come,
-        Mammy ’ll gib de baby some.
-
-  Dar now! [_removing the top and giving the dasher a circular
-  motion_] jis’ peep in dar en see de lumps ob yaller butter
-  er-huddlin’ tergedder. Now run fotch yer leetle blue mug, en
-  Mammy ’ll gib yer some nice sweet buttermilk right outen dis hyah
-  churn.
-
-                                                  EDWARD A. OLDHAM.
-
-
-THE TWENTY FROGS!
-
-  Twenty froggies went to school,
-  Down beside a rushy pool;
-  Twenty little coats of green,
-  Twenty vests all white and clean.
-  “We must be in time,” said they;
-  “First we study, then we play;
-  That is how we keep the rule
-  When we froggies go to school.”
-
-  Master Bullfrog, grave and stern,
-  Called the classes in their turn;
-  Taught them how to nobly strive,
-  Likewise how to leap and dive.
-  From his seat upon the log,
-  Taught them how to say “Ker-chug,”
-  Also how to dodge a blow
-  From the sticks which bad boys throw.
-
-  Twenty froggies grew up fast;
-  Bullfrogs they became at last;
-  Not one dunce among the lot,
-  Not one lesson they forgot;
-  Polished in a high degree,
-  As each froggie ought to be;
-  Now they sit on other logs,
-  Teaching other little frogs.
-
-
-ONLY A BIRD.
-
-  Only a bird! and a vagrant boy
-    Fits a pebble with a boyish skill
-  Into the fold of a supple sling.
-    “Watch me hit him. I can an’ I will.”
-  Whirr! and a silence chill and sad
-    Falls like a pall on the vibrant air,
-  From a birchen tree, whence a shower of song
-    Has fallen in ripples everywhere.
-
-  Only a bird! and the tiny throat
-    With quaver and trill and whistle of flute,
-  Bruised and bleeding and silent lies
-    There at his feet. Its chords are mute.
-  And the boy, with a loud and boisterous laugh,
-    Proud of his prowess and brutal skill,
-  Throws it aside with a careless toss—
-    “Only a bird! it was made to kill.”
-
-  Only a bird! yet far away
-    Little ones clamor and cry for food—
-  Clamor and cry, and the chill of night
-    Settles over the orphan brood.
-  Weaker and fainter the moaning call
-    For a brooding breast that shall never come.
-  Morning breaks o’er a lonely nest,
-    Songless and lifeless; mute and dumb.
-
-                                  MARY MORRISON.
-
-
-THE WAY TO DO IT.
-
-Teach the child to make all the gestures and facial expressions. This is
-a captivating recital for any “little tot” who can do it well, and this
-will require patient practice.
-
-  I’ll tell you how I speak a piece:
-    First, I make my bow;
-  Then I bring my words out clear
-    And plain as I know how.
-
-  Next, I throw my hands up—so!
-    Then I lift my eyes:
-  That’s to let my hearers know
-    Something doth surprise.
-
-  Next, I grin and show my teeth,
-    Nearly every one,
-  Shake my shoulders, hold my sides:
-    That’s the sign of fun.
-
-  Next, I start, and knit my brows,
-    Hold my head erect:
-  Something’s wrong, you see, and I
-    Decidedly object.
-
-  Then I wabble at my knees,
-    Clutch at shadows near,
-  Tremble well from top to toe:
-    That’s the sign of fear.
-
-  Now I start, and with a leap,
-    Seize an airy dagger.
-  “Wretch!” I cry: that’s tragedy
-    Every soul to stagger.
-
-  Then I let my voice grow faint,
-    Gasp, and hold my breath,
-  Tumble down and plunge about:
-    That’s a villain’s death.
-
-  Quickly then I come to life,
-    Perfectly restored;
-  With a bow my speech is done.
-    Now you’ll please applaud.
-
-                   MARY MAPES DODGE.
-
-
-WE MUST ALL SCRATCH.
-
-For five little children and one older, a girl, who takes the part of the
-mother. They stand in a row and each steps forward and recites the verse.
-
-  Said the first little chicken,
-    With a queer little squirm,
-  “I wish I could find
-    A fat little worm.”
-
-  Said the next little chicken,
-    With an odd little shrug,
-  “I wish I could find
-    A fat little bug,”
-
-  Said the third little chicken,
-    With a sharp little squeal,
-  “I wish I could find
-    Some nice yellow meal.”
-
-  Said the fourth little chicken,
-    With a small sigh of grief,
-  “I wish I could find
-    A green little leaf.”
-
-  Said the fifth little chicken,
-    With a faint little moan,
-  “I wish I could find
-    A wee gravel stone.”
-
-  “Now, see here,” said the mother,
-    From the green garden patch,
-  “If you want any breakfast,
-    Just come here and scratch.”
-
-
-KITTY AT SCHOOL.
-
-  Come, Kitty dear, I’ll tell you what
-    We’ll do this rainy day;
-  Just you and I, all by ourselves,
-    At keeping _school_, will play.
-
-  The teacher, Kitty, I will be;
-    And _you_ shall be the class;
-  And you must close attention give,
-    If you expect to pass.
-
-  Now, Kitty, “C-A-T” spells _cat_.
-    Stop playing with your tail!
-  You are so heedless, I am sure
-    In spelling you will fail.
-
-  “C-A” oh, Kitty! _do_ sit still!
-    You must not chase that fly!
-  You’ll never learn a single word,
-    You do not even try.
-
-  I’ll tell you what my teacher says
-    To me most ev’ry day—
-  She says that girls can never learn
-    While they are full of play.
-
-  So try again—another word;
-    “L-A-C-E” spells “_lace_.”
-  Why, Kitty, it is not polite
-    In school to wash your face!
-
-  You are a naughty, naughty puss,
-    And keep you in I should;
-  But then, I love you, dear, so much
-    I don’t see how I could!
-
-  O, see! the sun shines bright again!
-    We’ll run out doors and play;
-  We’ll leave our school and lessons for
-    Another rainy day.
-
-                              KATE ULMER.
-
-
-A FELLOW’S MOTHER.
-
-  “A fellow’s mother,” said Fred the wise,
-  With his rosy cheeks and his merry eyes,
-  “Knows what to do if a fellow gets hurt
-  By a thump, or a bruise, or a fall in the dirt.
-
-  “A fellow’s mother has bags and strings,
-  Rags and buttons, and lots of things;
-  No matter how busy she is, she’ll stop
-  To see how well you can spin your top.
-
-  “She does not care—not much, I mean—
-  If a fellow’s face is not always clean;
-  And if your trousers are torn at the knee
-  She can put in a patch that you’d never see.
-
-  “A fellow’s mother is never mad,
-  But only sorry if you are bad,
-  And I’ll tell you this, if you’re only true,
-  She’ll always forgive whate’er you do.
-
-  “I’m sure of this,” said Fred the wise,
-  With a manly look in his laughing eyes,
-  “I’ll mind my mother, quick, every day,
-  A fellow’s a baby that don’t obey.”
-
-                               M. E. SANGSTER.
-
-
-THE STORY KATIE TOLD.
-
-  Now, stay right still and listen, kitty-cat, and I’ll tell you a
-  story.
-
-  Once there was a girl.
-
-  She was a pretty good little girl, and minded her papa ’n’ mamma
-  everything they said, only sometimes she didn’t, and then she was
-  naughty; but she was always sorry, and said she wouldn’t do so
-  any more, and her mamma’d forgive her.
-
-  She was going to hang up her stocking.
-
-  “You’ll have to be pretty good, ’lest ’twon’t be filled,” said
-  her mamma.
-
-  “’Less maybe there’ll be a big bunch of sticks in it,” said her
-  papa.
-
-  Do you think that’s a nice way to talk, kitty-cat? I don’t.
-
-  So the little girl was good as she could be, ’less she was
-  bigger, and didn’t cry and slap her little sister hardly any at
-  all, and always minded her mamma when she came where the chimney
-  was, ’specially much.
-
-  So she hung up her stocking.
-
-  And in the night she got awake, and wanted it to come morning;
-  but in the morning she didn’t get awake till ’twas all sunshiny
-  out doors.
-
-  Then she ran quick as she could to look at her stocking where
-  she’d hung it; and true’s you live, kitty-cat, there wasn’t the
-  leastest thing in it—not the leastest bit of a scrimp!
-
-  Oh, the little girl felt dreadfully! How’d you feel, s’pose it
-  had been you, kitty-cat?
-
-  She ’menced to cry, the little girl did, and she kept going
-  harder ’n harder, till by’mby she screeched orfly, and her mamma
-  came running to see what the matter was.
-
-  “Mercy me!” said her mamma. “Look over by the window ’fore you do
-  that any more, Kathie.”
-
-  That little girl’s name was Kathie too, kitty-cat, just the
-  same’s mine.
-
-  So she looked over by the window, the way her mamma said, and—oh!
-  there was the loveliest dolly’s house you ever saw in all your
-  born life.
-
-  It had curtains to pull to the sides when you wanted to play, and
-  pull in front when you didn’t.
-
-  There was a bed-room, kitty-cat, and a dinner-room, and a
-  kitchen, and a parlor, and they all had carpets on.
-
-  And there was the sweetest dolly in the parlor, all dressed up in
-  blue silk! Oh, dear! And a penano, to play real little tunes on,
-  and a rocking-chair, and—O kitty-cat! I can’t begin to tell you
-  half about it.
-
-  I can’t about the bed-room, either, and the dinner-room.
-
-  But the kitchen was the very bestest of all. There was a
-  stove—a teeny tonty mite of a one, kitty-cat,—with dishes just
-  zactly like mamma’s, only littler, of course, and fry-pans and
-  everything; and spoons to stir with, and a rolling-pin, and two
-  little cutters-out, and the darlingest baker-sheet ever you saw!
-
-  And the first thing that little girl did was to make some teenty
-  mites of cookies, ’cause her mamma let her; and if you’ll come
-  right down stairs, kitty-cat, I’ll give you one.
-
-  ’Cause I was that little girl, kitty-cat, all the time.
-
-
-A LITTLE ROGUE.
-
-  Grandma was nodding, I rather think;
-  Harry was sly and quick as a wink;
-  He climbed in the back of her great arm-chair,
-  And nestled himself very snugly there;
-  Grandma’s dark locks were mingled with white,
-  And quick this fact came to his sight;
-  A sharp twinge soon she felt at her hair,
-  And woke with a start, to find Harry there.
-  “Why, what are you doing, my child?” she said;
-  He answered, “I’se pulling a basting fread?”
-
-
-MATTIE’S WANTS AND WISHES.
-
-  I wants a piece of cal’co
-    To make my doll a dess;
-  I doesn’t want a big piece;
-    A yard’ll do, I guess.
-  I wish you’d fred my needle,
-    And find my fimble, too—
-  I has such heaps o’ sewin’
-    I don’t know what to do.
-
-  I wants my Maud a bonnet;
-    She hasn’t none at all;
-  And Fred must have a jacket;
-    His ozzer one’s too small.
-  I wants to go to grandma’s;
-    You promised me I might.
-  I know she’d like to see me;
-    I wants to go to-night.
-
-  She lets me wipe the dishes,
-    And see in grandpa’s watch—
-  I wish I’d free, four pennies
-    To buy some butter-scotch.
-  My Hepsy tored her apron
-    A tum’lin’ down the stair,
-  And Cæsar’s lost his pantloons.
-    And needs anozzer pair.
-
-  I wants some newer mittens—
-    I wish you’d knit me some,
-  ’Cause most my fingers freezes,
-    They leaks so in the fum.
-  I wored ’em out last summer,
-    A pullin’ George’s sled;
-  I wish you wouldn’t laugh so—
-    It hurts me in my head.
-
-  I wish I had a cookie;
-    I’m hungry’s I can be.
-  If you hasn’t pretty large ones,
-    You’d better bring me free.
-  I wish I had a p’ano—
-    Won’t you buy me one to keep?
-  O, dear! I feels so tired,
-    I wants to go to sleep.
-
-                    GRACE GORDON.
-
-
-WON’T AND WILL.
-
-  Sha’n’t and Won’t were two little brothers,
-    Angry, and sullen, and gruff;
-  Try and Will are dear little sisters,
-    One can scarcely love them enough.
-
-  Sha’n’t and Won’t looked down on their noses,
-    Their faces were dismal to see;
-  Try and Will are brighter than roses
-    In June, and as blithe as a bee.
-
-  Sha’n’t and Won’t are backward and stupid,
-    Little, indeed, did they know;
-  Try and Will learn something new daily,
-    And seldom are heedless or slow.
-
-  Sha’n’t and Won’t loved nothing, no, nothing,
-    So much as to have their own way;
-  Try and Will give up to their elders,
-    And try to please others at play.
-
-  Sha’n’t and Won’t came to terrible trouble:
-    Their story is awful to tell;
-  Try and Will are in the schoolroom,
-    Learning to read and spell.
-
-
-WILLIE’S BREECHES.
-
-The boy’s garments should suit the description contained in the piece.
-In reciting the last two lines he should point to his head, stretch out
-his hands to show them, look down at his feet, and then catch hold of his
-pants and spread them out on the sides, putting on at the same time a
-look of pride.
-
-  I’m just a little boy, you know,
-    And hardly can remember,
-  When people ask how old I am,
-    To tell ’em four last ’vember.
-  And yet for all I am so small,
-    I made so many stitches
-  For mamma’s fingers, that she put
-    Her little boy in breeches.
-
-  You may be sure that I was glad;
-    I marched right up and kissed her,
-  Then gave my bibs and petticoats,
-    And all, to baby sister.
-  I never whine, now I’m so fine,
-    And don’t get into messes;
-  For mamma says, if I am bad,
-    She’ll put me back in dresses!
-
-  There’s buttons up and down my legs,
-    And buttons on my jacket;
-  I’d count ’em all, but baby makes
-    Just now, an awful racket.
-  She’s sitting there, behind the chair,
-    With blocks, and dolls, and kitty,
-  A playing “go to gran’ma’s house,”
-    Alone, ’n that’s a pity.
-
-  I think I’ll go and help her some,
-    I’m sure it would amuse me;
-  So I won’t bother any more
-    To talk—if you’ll excuse me.
-  But first I’ll stand before the glass,
-    From top to toe it reaches;
-  Now look! there’s head, and hands, and feet,
-    But all the rest is breeches!
-
-                             ETTA G. SALSBURY.
-
-
-LITTLE DORA’S SOLILOQUY.
-
-  I tan’t see what our baby boy is dood for anyway:
-  He don’t know how to walk or talk, he don’t know how to play;
-  He tears up ev’ry single zing he posser-bil-ly tan,
-  An’ even tried to break, one day, my mamma’s bestest fan.
-  He’s al’ays tumblin’ ’bout ze floor, an’ gives us awful scares,
-  An’ when he goes to bed at night, he never says his prayers.
-  On Sunday, too, he musses up my go-to-meetin’ clothes,
-  An’ once I foun’ him hard at work a-pinc’in’ Dolly’s nose;
-  An’ ze uzzer day zat naughty boy (now what you s’pose you zink?)
-  Upset a dreat big bottle of my papa’s writin’ ink;
-  An’, ’stead of kyin’ dood an’ hard, as course he ought to done,
-  He laughed and kicked his head ’most off, as zough he zought ’twas fun.
-
-  He even tries to reach up high, an’ pull zings off ze shelf,
-  An’ he’s al’ays wantin’ you, of course, jus’ when you wants you’self.
-  I rather dess, I really do, from how he pulls my turls,
-  Zey all was made a-purpose for to ’noy us little dirls;
-  An’ I wish zere wasn’t no such zing as naughty baby boys
-  Why—why, zat’s him a-kyin’ now; he makes a drefful noise,
-  I dess I better run and see, for if he has—boo-hoo!—
-  Felled down ze stairs and killed his-self, whatever s-s-s’all I do!
-
-
-THE SQUIRREL’S LESSON.
-
-  Two little squirrels, out in the sun,
-  One gathered nuts, and the other had none;
-  “Time enough yet,” his constant refrain;
-  “Summer is still just on the wane.”
-
-  Listen, my child, while I tell you his fate:
-  He roused him at last, but he roused him too late;
-  Down fell the snow from a pitiless cloud,
-  And gave little squirrel a spotless white shroud.
-
-  Two little boys in a school-room were placed,
-  One always perfect, the other disgraced;
-  “Time though yet for my learning,” he said;
-  “I will climb, by and by, from the foot to the head.”
-
-  Listen, my darling; their locks are turned gray;
-  One as a Governor sitteth to-day;
-  The other, a pauper, looks out at the door
-  Of the almshouse, and idles his days as of yore.
-
-  Two kinds of people we meet every day;
-  One is at work, the other at play,
-  Living uncared for, dying unknown—
-  The busiest hive hath ever a drone.
-
-
-LITTLE KITTY.
-
-  Once there was a little kitty,
-    Whiter than snow;
-  In the barn she used to frolic,
-    Long time ago;
-  In the barn a little mousie
-    Ran to and fro;
-  For she heard the kitty coming,
-    Long time ago.
-
-  Two black eyes had little kitty,
-    Black as a sloe;
-  And they spied the little mousie,
-    Long time ago.
-  Nine pearl teeth had little kitty,
-    All in a row;
-  And they bit the little mousie,
-    Long time ago.
-
-  When the teeth bit little mousie,
-    Little mousie cried, “Oh!”
-  But she got away from kitty,
-    Long time ago.
-  Kitty White so shyly comes,
-    To catch the mousie Gray;
-  But mousie hears her softly step
-    And quickly runs away.
-
-
-LABOR SONG.
-
-This is a charming exercise for boys and girls. Each should be dressed
-in the costume of the character to be represented, and, as far as
-possible, should go through the motions called for by the part. The
-properties can all be placed on the stage before the performance begins.
-Each character comes in alone, those who have already entered remaining
-until the close. All unite in singing the chorus, after each performer
-has spoken or sung (according to choice) the part he or she is to act.
-Music suitable for this selection is herewith furnished. Come in promptly
-and avoid long pauses.
-
-[Music]
-
-  THE FARMER (_with scythe and dressed like a farmer_.)
-
-  I’m glad I am a husbandman,
-    My acres broad to till,
-  And in the Autumn of the year
-    My many barns to fill.
-  How happy is the farmer’s life,
-    ’Tis one of peace and joy,
-  To reap and sow, and plow and mow,
-    And thus the time employ.
-
-  CHORUS.
-
-    How happy is the laborer,
-      For when the day is o’er,
-    The evening shadows gather round,
-      That he may work no more;
-    How happy is the laborer,
-      His heart is light and gay,
-    And merrily his song rings out,
-      Throughout the livelong day.
-
-  THE FARMER’S WIFE (_kneading bread_).
-
-  I’m glad I am a farmer’s wife,
-    The wheaten bread to knead,
-  And when the men come home from work
-    Their hungry mouths to feed.
-  I keep my house in perfect trim,
-    I sweep and dust and bake,
-  And when the busy day is done,
-    Sweet is the rest I take.—CHORUS.
-
-  THE FARMER’S GIRL (_with broom and milk pail_)
-
-  I’m glad I am a farmer’s girl,
-    I love the farmer’s life,
-  And if I ever wed at all,
-    I’ll be a farmer’s wife.
-  My milking pails make music sweet,
-    I’m happy all the day,
-  Work gives my cheek the glow of health,
-    And drives dull care away.—CHORUS.
-
-  THE FARMER’S BOY (_with rake_).
-
-  I’m glad I am a farmer’s boy,
-    To plant and rake and hoe—
-  I get upon old Dobbin’s back,
-    And don’t I make him go?
-  I shout and make the welkin ring,
-    I sing my merry song,
-  And, roaming through the fields and woods,
-    I’m jolly all day long. [_Boy whistles Chorus._
-
-  DAIRY MAID (_with churn_.)
-
-  I’m glad I am a dairy maid,
-    My butter is so yellow;
-  I know the lad that catches me
-    Will be a lucky fellow.
-  I’m glad I am a dairy maid,
-    My heart is light and gay,
-  And with my milk and cream and churn,
-    I’m happy all the day.—CHORUS.
-
-  WASHERWOMAN (_with tub and washboard_).
-
-  I’m glad I am a washerwoman,
-    Ye know me by my look,
-  I’ll wash and starch your snowy clothes,
-    And fold them like a book;
-  Then sind me in your orders quick
-    For I’ve no time for fooling;
-
-  (_Spoken_).
-
-  I’ll do thim to the best of my ability,
-    Ontirely sure.—CHORUS.
-
-  THE SHOEMAKER (_shoe, last and hammer_).
-
-  I’m glad I am a shoemaker,
-    With hammer, last and shoe;
-  Without the slippers that I make,
-    What would the ladies do?
-  I cut the leather, fit the last—
-    To me, my work is play—
-  From morn to night, with heart so light,
-    I sing and peg away.—CHORUS.
-
-  THE BLACKSMITH (_with anvil and hammer_).
-
-  I’m glad I am a blacksmith,
-    A noble horse to shoe,
-  I hold within my lap his hoof,
-    And whack the shoe-nail through;
-  I swing the hammer and I know
-    Just how to make a hit,
-  And indigestion, if you please,
-    Don’t trouble me a bit.—CHORUS.
-
-  THE SCHOOL-TEACHER (_with slate, hook and rule; three or four children
-      to take part of scholars_).
-
-  I’m glad I am a school-teacher,
-    With slate and book and rule,
-  To teach the young idea to shoot,
-    And extirpate the fool.
-  The heights of knowledge I point out,
-    And upward lead the way,
-  And with my pupils pressing on,
-    I’m happy every day.—CHORUS.
-
-
-WHAT BABY SAID.
-
-  I am here. And if this is what they call the world, I don’t think
-  much of it. It’s a very flannelly world and smells of paregoric
-  awfully. It’s a dreadful light world, too, and makes me blink, I
-  tell you. And I don’t know what to do with my hands; I think I’ll
-  dig my fists in my eyes. No, I won’t. I’ll scratch at the corner
-  of my blanket and chew it up, and then I’ll holler; whatever
-  happens, I’ll holler. And the more paregoric they give me, the
-  louder I’ll yell. That old nurse puts the spoon in the corner of
-  my mouth, sidewise like, and keeps tasting my milk herself all
-  the while. She spilt snuff in it last night, and when I hollered
-  she trotted me. That comes of being a two-days-old baby. Never
-  mind; when I’m a man, I’ll pay her back good.
-
-  There’s a pin sticking in me now, and if I say a word about it,
-  I’ll be trotted or fed; and I would rather have catnip-tea. I
-  heard folks say, “Hush! don’t wake up Emeline’s baby;” and I
-  suppose that pretty, white-faced woman on the pillow is Emeline.
-
-  No, I was mistaken; for a chap was in here just now and wanted
-  to see Bob’s baby and looked at me and said I was a funny little
-  toad, and looked just like Bob. He smelt of cigars. I wonder
-  who else I belong to! Yes, there’s another one—that’s “Gamma.”
-  “It was Gamma’s baby, so it was.” I declare, I don’t know who I
-  belong to; but I’ll holler, and maybe I’ll find out. There comes
-  snuffy with catnip tea. I’m going to sleep. I wonder why my hands
-  won’t go where I want them to!
-
-
-ONE LITTLE ACT.
-
-  I saw a man, with tottering steps,
-    Come down a graveled walk, one day;
-  The honored frost of many years
-    Upon his scattered thin locks lay.
-  With trembling hands he strove to raise
-    The latch that held the little gate,
-  When rosy lips looked up and smiled,—
-    A silvery child-voice said, “Please wait.”
-
-  A little girl oped wide the gate,
-    And held it till he passed quite through,
-  Then closed it, raising to his face
-    Her modest eyes of winsome blue.
-  “May Heaven bless you, little one,”
-    The old man said, with tear-wet eyes;
-  “Such deeds of kindness to the old
-    Will be rewarded in the skies.”
-
-  ’Twas such a little thing to do—
-    A moment’s time it took—no more;
-  And then the dancing, graceful feet
-    Had vanished through the school-room door.
-  And yet I’m sure the angels smiled,
-    And penned it down in words of gold;
-  ’Tis such a blessed thing to see
-    The young so thoughtful of the old.
-
-
-THE LITTLE ORATOR.
-
-Lines written for Edward Everett, when a child.
-
-  Pray, how should I, a little lad,
-    In speaking make a figure?
-  You’re only joking, I’m afraid—
-    Do wait till I am bigger.
-
-  But, since you wish to hear my part,
-    And urge me to begin it,
-  I’ll strive for praise, with all my heart,
-    Though small the hope to win it.
-
-  I’ll tell a tale how Farmer John
-    A little roan colt bred, sir,
-  And every night and every morn
-    He watered and he fed, sir.
-
-  Said Neighbor Joe to Farmer John,
-    “Aren’t you a silly dolt, sir,
-  To spend such time and care upon
-    A little useless colt, sir?”
-
-  Said Farmer John to Neighbor Joe,
-    “I bring my little roan up,
-  Not for the good he now can do,
-    But will do when he’s grown up.”
-
-  The moral you can well espy,
-    To keep the tale from spoiling;
-  The little colt, you think, is I—
-    I know it by your smiling.
-
-  And now, my friends, please to excuse
-    My lisping and my stammers;
-  I, for this once, have done my best,
-    And so—I’ll make my manners.
-
-                      THADDEUS MASON HARRIS.
-
-
-A GENTLEMAN.
-
-  I knew him for a gentleman
-    By signs that never fail;
-  His coat was rough and rather worn,
-    His cheeks were thin and pale—
-  A lad who had his way to make,
-    With little time for play;
-  I knew him for a gentleman
-    By certain signs to-day.
-
-  He met his mother on the street;
-    Off came his little cap.
-  My door was shut; he waited there
-    Until I heard his rap.
-  He took the bundle from my hand,
-    And when I dropped my pen,
-  He sprang to pick it up for me—
-    This gentleman of ten.
-
-  He does not push and crowd along;
-    His voice is gently pitched;
-  He does not fling his books about
-    As if he were bewitched,
-  He stands aside to let you pass;
-    He always shuts the door;
-  He runs on errands willingly
-    To forge and mill and store.
-
-  He thinks of you before himself,
-    He serves you if he can;
-  For, in whatever company,
-    The manners make the man.
-  At ten or forty, ’tis the same;
-    The manner tells the tale,
-  And I discern the gentleman
-    By signs that never fail.
-
-               MARGARET E. SANGSTER.
-
-
-BABIES AND KITTENS.
-
-  There were two kittens, a black and a gray,
-    And grandma said with a frown:
-  “It never will do to keep them both,
-    The black one we had better drown.”
-
-  “Don’t cry, my dear,” to tiny Bess,
-    “One kitten is enough to keep,
-  Now run to nurse, for ’tis growing late
-    And time you were fast asleep.”
-
-  The morning dawned, and rosy and sweet,
-    Came little Bess from her nap,
-  The nurse said, “Go in mamma’s room,
-    And look in grandma’s lap.”
-
-  “Come here,” said grandma, with a smile,
-    From the rocking-chair, where she sat,
-  “God has sent you two little sisters,
-    What do you think of that?”
-
-  Bess looked at the babies a moment,
-    With their wee heads, yellow and brown,
-  And then to grandma soberly said:
-    “Which one are you going to drown?”
-
-                              L. M. HADLEY.
-
-
-A DISSATISFIED CHICKEN.
-
-  There was a little chicken that was shut up in a shell,
-  He thought to himself, “I’m sure I cannot tell
-  What I am walled in here for—a shocking coop I find,
-  Unfitted for a chicken with an enterprising mind.”
-
-  He went out in the barnyard one lovely morn in May,
-  Each hen he found spring-cleaning in the only proper way;
-  “This yard is much too narrow—a shocking coop I find,
-  Unfitted for a chicken with an enterprising mind.”
-
-  He crept up to the gateway and slipped betwixt a crack,
-  The world stretched wide before him, and just as widely back;
-  “This world is much too narrow—a shocking coop I find,
-  Unfitted for a chicken with an enterprising mind.
-
-  “I should like to have ideals, I should like to tread the stars,
-  To get the unattainable, and free my soul from bars;
-  I should like to leave this dark earth, and some other dwelling find
-  More fitted for a chicken with an enterprising mind.
-
-  “There’s a place where ducks and pleasure boats go sailing to and fro,
-  There’s one world on the surface and another world below.”
-  The little waves crept nearer and, on the brink inclined,
-  They swallowed up the chicken with an enterprising mind.
-
-                                                            A. G. WATERS.
-
-
-THE LITTLE TORMENT.
-
-  My name’s Jack. I’m eight years old. I’ve a sister Arathusa,
-  and she calls me a little torment. I’ll tell you why: You know
-  Arathusa has got a beau, and he comes to see her every night, and
-  they turn the gas ’way, ’way down ’till you can’t hardly see. I
-  like to stay in the room with the gas on full blaze, but Arathusa
-  skites me out of the room every night.
-
-  I checked her once, you better believe. You know she went to
-  the door to let Alphonso in, and I crawled under the sofa. Then
-  they came in, and it got awful dark, and they sat down on the
-  sofa, and I couldn’t hear nothing but smack! smack! smack! Then I
-  reached out and jerked Arathusa’s foot. Then she jumped and said,
-  “Oh, mercy, what’s that?” and Alphonso said she was a “timid
-  little creature.” “Oh, Alphonso, I’m happy by your side, but when
-  I think of your going away it almost breaks my heart.”
-
-  Then I snickered right out, I couldn’t help it, and Arathusa got
-  up, went and peeked through the keyhole and said, “I do believe
-  that’s Jack, nasty little torment, he’s always where he isn’t
-  wanted.” Do you know this made me mad, and I crawled out from
-  under the sofa and stood up before her and said, “You think
-  you are smart because you have got a beau. I guess I know what
-  you’ve been doing; you’ve been sitting on Alphonso’s lap, and
-  letting him kiss you like you let Bill Jones kiss you. You ought
-  to be ashamed of yourself. If it hadn’t been for that old false
-  front of yours, Pa would have let me have a bicycle like Tom
-  Clifford’s. You needn’t be grinding them false teeth of yours
-  at me, I ain’t a-going out of here. I ain’t so green as I look.
-  I guess I know a thing or two. I don’t care if you are 28 years
-  old, you ain’t no boss of me!”
-
-
-THE REASON WHY.
-
-  A Boston master said, one day,
-  “Boys, tell me, if you can, I pray,
-  Why Washington’s birthday should shine
-  In to-day’s history, more than mine?”
-
-  At once such stillness in the hall
-  You might have heard a feather fall;
-  Exclaims a boy not three feet high,
-  “Because _he_ never told a lie!”
-
-
-A CHILD’S REASONING.
-
-  She was ironing dolly’s new gown,
-    Maid Marian, four years old,
-  With her brows puckered down
-  In a painstaking frown
-    Under her tresses of gold.
-
-  ’Twas Sunday, and nurse coming in
-    Exclaimed in a tone of surprise:
-  “Don’t you know it’s a sin
-  Any work to begin
-    On the day that the Lord sanctifies?”
-
-  Then, lifting her face like a rose,
-    Thus answered this wise little tot:
-  “Now, don’t you suppose
-  The good Lord He knows
-    This little iron ain’t hot?”
-
-
-A SWELL DINNER.
-
-  A plain, grave man once grew quite celebrated;
-    Dame Grundy met him with her blandest smile,
-  And Mrs. Shoddy, finding him much feted,
-    Gave him a dinner in her swellest style.
-
-  Her dining-table was a blaze of glory;
-    Soft light from many colored candles fell
-  Upon the young, the middle aged, and hoary—
-    On beauty and on those who “made up” well.
-
-  Her china was a miracle of beauty—
-    No service like it ever had been sold,
-  And, being unsmuggled, with the price and duty,
-    Was nearly worth its weight in gold.
-
-  The flowers were wonderful—I think that maybe
-    Only another world has flowers more fair;
-  Each rose was big enough to brain a baby,
-    And there were several bushels of them there.
-
-  The serving was the acme of perfection;
-    Waiters were many, silent, deft, and fleet;
-  Their manners seemed a reverent affection
-    And oh! what stacks of things there were to eat!
-
-  And yet the man, for all this honor singled,
-    Would have exchanged it with the greatest joy
-  For one plain meal of pork and cabbage mingled,
-    Cooked by his mother when he was a boy.
-
-
-LITTLE JACK.
-
-  He wore a pair of tattered pants,
-    A ragged roundabout,
-  And through the torn crown of his hat
-    A lock of hair stuck out;
-  He had no shoes upon his feet,
-    No shirt upon his back;
-  His home was on the friendless street,
-    His name was “Little Jack.”
-
-  One day a toddling baby-boy
-    With head of curly hair
-  Escaped his loving mother’s eyes,
-    Who, busy with her care,
-  Forgot the little one, that crept
-    Upon the railroad near
-  To play with the bright pebbles there,
-    Without a thought of fear.
-
-  But see! around the curve there comes
-    A swiftly flying train—
-  It rattles, roars! the whistle shrieks
-    With all its might and main;
-  The mother sees her child, but stands
-    Transfixed with sudden fright!
-  The baby clasps his little hands
-    And laughs with low delight.
-
-  Look! look! a tattered figure flies
-    Adown the railroad track!
-  His hat is gone, his feet are bare!
-    ’Tis ragged “Little Jack!”
-  He grasps the child, and from the track
-    The babe is safely tossed—
-  A slip! a cry! the train rolls by—
-    Brave “Little Jack” is lost.
-
-  They found his mangled body there,
-    Just where he slipped and fell,
-  And strong men wept who never cared
-    For him when he was well.
-  If there be starry crowns in heaven
-    For little ones to wear,
-  The star in “Little Jack’s” shall shine
-    As bright as any there!
-
-                           EUGENE J. HALL.
-
-
-A STORY OF AN APPLE.
-
-  Little Tommy and Peter and Archy and Bob
-    Were walking one day, when they found
-  An apple; ’twas mellow and rosy and red,
-    And lying alone on the ground.
-
-  Said Tommy: “I’ll have it.” Said Peter: “’Tis mine.”
-    Said Archy: “I’ve got it; so there!”
-  Said Bobby: “Now let us divide in four parts,
-    And each of us boys have a share.”
-
-  “No, no!” shouted Tommy, “I’ll have it myself.”
-    Said Peter: “I want it, I say.”
-  Said Archy: “I’ve got it, and I’ll have it all;
-    I won’t give a morsel away.”
-
-  Then Tommy, he snatched it, and Peter, he fought,
-    (’Tis sad and distressing to tell!)
-  And Archy held on with his might and his main,
-    Till out of his fingers it fell.
-
-  Away from the quarrelsome urchins it flew,
-    And then down a green little hill
-  That apple it rolled, and it rolled, and it rolled
-    As if it would never be still.
-
-  A lazy old brindle was nipping the grass
-    And switching her tail at the flies,
-  When all of a sudden the apple rolled down
-    And stopped just in front of her eyes.
-
-  She gave but a bite and a swallow or two—
-    That apple was seen nevermore!
-  “I wish,” whimpered Archy and Peter and Tom,
-  “We’d kept it and cut it in four.”
-
-                                        SYDNEY DAYRE.
-
-
-IDLE BEN.
-
-  Idle Ben was a naughty boy;
-    (If you please, this story’s true;)
-  He caused his teachers great annoy,
-    And his worthy parents, too.
-
-  Idle Ben, in a boastful way,
-    To his anxious parents told,
-  That, while he was young, he thought he’d play,
-    And he’d learn when he grew old.
-
-  “Ah, Ben!” said his mother, and dropped a tear,
-    “You’ll be sorry for this by-and-by.”
-  Says Ben, “To me, that’s not very clear,
-    But at any rate I’ll try.”
-
-  So Idle Ben, he refused to learn,
-    Thinking that he could wait;
-  But, when he had his living to earn,
-    He found it was just too late.
-
-  Little girls, little boys, don’t delay your work;
-    Some day you’ll be women and men:
-  Whenever your task you’re inclined to shirk,
-    Take warning by Idle Ben.
-
-
-BABY ALICE’S RAIN.
-
-  The drouth had been long—oh, very long—
-    The whole long month of blithesome May;
-  The rain-clouds seemed to have wandered wrong,
-    From the pinched, brown land so far away:
-  Leaves fell; and the blue-birds hushed their song,
-    As field and forest grew dim and gray.
-
-  Then one night the clouds had gathered: the wind
-    Came in from the east; but it needed trust
-  To believe that the soft rain lurked behind,
-    To cool the fierce heat and to lay the dust:
-  So soon we forget that God is kind!
-    So easily cease to hope and to trust!
-
-  But it rained at morning: oh, welcome fall
-    Of the drops from heaven, that had such need!
-  Those drops that have fallen alike on all,
-    Of the kindly thought and the cruel deed,
-  Since the plant of life was so tiny and small
-    When the Mighty Hand had just dropped the seed.
-
-  Did we wonder, to see it come at last—
-    This coveted blessing?—wee Alice did not,
-  As quick to the window all dimpled she passed,
-    Springing up in glee from her little cot,
-  And bearing a love so holy and vast
-    In such limited space—dear baby tot!
-
-  “Look, mamma! look, papa!—oh yes, it yanes!
-    “I tought dere ood be some ’ittle showers!
-  “Detoration Day—Dod take such pains!
-    “Don’t ’u see Dod’s waterin’ de soldiers’ f’owers?”
-  Oh, lips of the children!—there’s something remains
-    Yet, of Eden’s prime, in this world of ours.
-
-                                     JOHN HAY FURNESS.
-
-
-GIVE US LITTLE BOYS A CHANCE.
-
-  Here we are! don’t leave us out,
-    Just because we’re little boys!
-  Though we’re not so bold and stout,
-    In the world we’ll make a noise.
-  You are many a year ahead,
-    But we’ll step by step advance;
-  All the world’s before _you_ spread—
-    Give us little boys a chance!
-
-  Never slight us in our play;
-    You were once as small as we;
-  We’ll be big, like you, some day,
-    Then perhaps _our_ power you’ll see.
-  We will meet you, when we’re grown
-    With a brave and fearless glance;
-  Don’t think all this world’s _your_ own—
-    Give us little boys a chance!
-
-  Little hands will soon be strong
-    For the work that they must do;
-  Little lips will sing their song
-    When these early days are through.
-  So, you big folks, if we’re small,
-    On our toes you needn’t dance;
-  There is room enough for all—
-    Give us little boys a chance!
-
-
-PUSS IN THE OVEN.
-
-  While sitting at our breakfast rather late
-  One winter’s morn a little after eight,
-      We heard a noise;
-  But from the shuffling of feet and legs,
-  Of drinking coffee and of eating eggs,
-              We girls and boys
-  Thought little of it, but looked at one another;
-  Fred looked at Polly—Polly at her brother.
-  Just then we heard a feeble cry, so wee,
-  Where could it come from—and what could it be?
-  “It’s puss,” cried one, “she must be in the ‘aery.’”
-  And so we went with footsteps soft and wary.
-  But, no; Puss in the aery was not found,
-  And once again we heard the plaintive sound,
-          “M-e-o-w, M-e-w,”
-          What could we do?
-
-  We looked again and Clara searched the house;
-  Was pussy in the coal-hole, with a mouse?
-          “M-e-w, M-e-o-w,”
-          Much louder now.
-  “She’s in the cupboard,” so, we search the shelves,
-  But find no pussy. Have some fairy elves
-  Been imitating puss? But once again
-  Poor pussy gives a cry as if in pain;
-  The drawers are searched; in every little nook
-  Where puss could hide we take a hasty look.
-
-          “M-e-w, M-e-o-w,”
-          Still louder now,
-  We all look frightened, so while one declares
-  That pussy’s hidden underneath the stairs;
-  And while we stood upon the kitchen rug,
-  Wondering where pussy was so nice and snug,
-  The oven door was opened just a bit
-  To warm some toast, _when out jumped little Kit_!
-  And as she shook her furry brindled form,
-  She seemed to say, “My bed was rather warm.”
-
-
-WHAT WAS IT?
-
-  Guess what he had in his pocket.
-    Marbles and tops and sundry toys
-    Such as always belong to boys,
-    A bitter apple, a leathern ball?—
-    Not at all.
-
-  What did he have in his pocket?
-    A bubble-pipe, and a rusty screw,
-    A brassy watch-key, broken in two.
-    A fish-hook in a tangle of string?—
-    No such thing.
-
-  What did he have in his pocket?
-    Ginger-bread crumbs, a whistle he made,
-    Buttons, a knife with a broken blade,
-    A nail or two and a rubber gun?—
-    Neither one.
-
-  What _did_ he have in his pocket?
-    Before he knew it slyly crept
-    Under the treasures carefully kept,
-    And away they all of them quickly stole—
-    ’Twas a hole!
-
-                               SIDNEY DAYRE.
-
-
-THE COBBLER’S SECRET.
-
-  A waggish cobbler once in Rome,
-    Put forth this proclamation,
-  That he was willing to disclose
-    For due consideration,
-  A secret which the cobbling world
-    Could ill afford to lose;
-  The way to make in one short day
-    A hundred pairs of shoes.
-  From every quarter soon there came
-    A crowd of eager fellows;
-  Tanners, cobblers, bootmen, shoemen,
-    Jolly leather sellers,
-  All redolent of beef and smoke,
-    And cobbler’s wax and hides;
-  Each fellow paid his thirty pence
-    And called it cheap besides.
-  Silence! The cobbler enters
-    And casts around his eyes,
-  Then curls his lips—the rogue!—then frowns
-    And looks most wondrous wise;
-  “My friends,” he says, “’tis simple quite,
-    The plan that I propose;
-  And every man of you, I think,
-    Might learn it if he chose.
-  A good sharp knife is all you need
-    In carrying out my plan;
-  So easy is it none can fail
-    Let him be child or man,
-  To make a hundred pairs of shoes,
-    Just go back to your shops,
-  And take a hundred pairs of boots
-    And cut off all their tops!”
-
-
-A SAD CASE.
-
-    I’m a poor little kitty,
-    And alas! when born, so pretty,
-  That the morning I was found,
-  Instead of being drowned,
-    I was saved to be the toy
-    Of a dreadful baby-boy,
-  Who pinches and who pokes me,
-  Holds me by my throat and chokes me,
-    And when I could vainly try
-    From his cruel clutch to fly,
-  Grabs my tail, and pulls so hard
-  That some day, upon my word!
-    I am sure ’twill broken be,
-    And then everybody’ll see
-                Such a looking Kitty!
-
-    That baby has no pity!
-    Thinks I’m “only a kitty”—
-  I won’t stand it, nor would you!
-  ’Tis no use to cry out m-e-w!
-    Listen! Some day I shall scratch,
-    And he’ll find he’s met his match;
-  That within my little paws
-  There are ever so many claws!
-    And it won’t be very long,
-    If this sort of thing goes on,
-  Till there’ll be a kitten row
-  Such as has not been till now;
-    Then, my lad, there will be found,
-    Left upon that battle-ground,
-                  Such a looking Baby!
-
-                       CLARA D. BATES.
-
-
-THE HEIR APPARENT.
-
-A small boy who can adopt the air and demeanor of the “afflicted parent”
-will make this soliloquy very amusing.
-
-  A Baby! Yes—a baby—a real, definite, unquestionable baby! _What
-  of it?_ do you ask. Well, that’s queer. Don’t know what a baby
-  is? I’m sorry for you. My advice is—go and get one.
-
-  Heigho! I’m weighted down with my responsibility.
-  Solferino in color—no hair on its
-  head—kicks—yowls—mews—whines-sneezes—squints—makes up mouths—it’s
-  a singular circumstance—_that_ baby is, and—but never mind.
-
-  Cross? I guess that’s a beginning of the truth, so far as _it’s_
-  concerned, but, why did it happen along just at the moment when
-  muslin, linen and white flannel were the highest they had been
-  since Adam built a hen-house for Mrs. Eve’s chickens? when the
-  doctors charge two dollars a squint, four dollars a grunt, and,
-  on account of the scarcity in the country, take what is left in
-  a man’s pocket, no discount for cash, and send bill for balance,
-  Jan. 1st? Queer, isn’t it? (_A pause._)
-
-  A queer little thing is that baby; a speck of a nose like a wart,
-  head as bald as a squash, and no place to hitch a waterfall; a
-  mouth just situated to come the gum-game and chew milk. Oh! you
-  should hear her sing. I have stuffed my fur cap down its throat,
-  given it the smoothing-iron to play with; but that little red
-  lump that looks as if it couldn’t hold blood enough to keep a
-  musketo from fainting, persists to swallow its fists, and the
-  other day they dropped down its throat, to the crook in its
-  elbows. _That_ stopped its music, and I was happy for one and a
-  half minutes.
-
-  It is a pleasant thing to have a baby in the house—one of your
-  achy kind. Think of the pleasures of a father in his night
-  costume, trembling in the midnight hour, with his warm feet upon
-  a square yard of oilcloth, dropping paregoric in a teaspoon, by
-  moonlight, the nurse thumping at the door, and the wife of your
-  bosom crying “hurray,” and the baby yelling till the fresco drops
-  from the ceiling. It’s a nice time to think of dress coats,
-  pants, ties, and white kids.
-
-  Its mother says the darling is troubled with—oh, don’t mention
-  it. I have got to get up in the cold and shiver while the milk
-  warms—it uses the bottle. I tried to stop its growth the other
-  night; it was no go. I rocked so hard that I missed stays, and
-  sent it slap clear across the room, upsetting the flower-stand.
-  It didn’t make any noise then! Oh, no! I was a happy man. Oh,
-  yes. (_A pause._) That baby’s mother says only wait until it gets
-  bleached (it’s been vaccinated) and old enough to crawl about and
-  feed on pins. Yes, I’m going to wait. Won’t it be delightful?
-
-  John, run for the doctor; it’s fallen into the slop pail; it’s
-  choking with a peach-skin; or it has fallen down stairs; or has
-  swallowed the tack-hammer; or shows signs of the mumps, croup,
-  whooping cough, small pox, cholera infantum, or some other
-  curious thing to let the doctor take the money laid by for my
-  winter’s donation to the poor.
-
-  Shampooing, curling my hair, wearing nice clothes, going to
-  parties? Oh, no more of that! No—more—of—that. A baby—oh! I’m an
-  old fellow now. Adieu, vain world!
-
-
-AN EGG A CHICKEN.
-
-  “An egg a chicken! Don’t tell me!
-  For didn’t I break an egg to see?
-  There was nothing inside but a yellow ball,
-  With a bit of mucillage round it all—
-              Neither beak nor bill,
-              Nor toe nor quill,
-              Not even a feather
-              To hold it together;
-  Not a sign of life could any one see.
-  An egg a chicken? You can’t fool me!
-
-  “An egg a chicken! Didn’t I pick
-  Up the very shell that had held the chick—
-  So they said?—and didn’t I work half a day
-  To pack him in where he couldn’t stay?
-              Let me try as I please,
-              With squeeze upon squeeze,
-              There is scarce space to meet
-              His head and his feet.
-  No room for any of the rest of him—so
-  That egg never held that chicken I know.”
-
-  Mamma heard the logic of her little man,
-  Felt his trouble, and helped him, as mothers can!
-  Took an egg from the nest—it was smooth and round:
-  “Now, my boy, can you tell me what makes this sound?”
-              Faint and low, tap, tap;
-              Soft and slow, rap, rap;
-              Sharp and quick,
-              Like a prisoner’s pick.
-  “Hear it peep, inside there!” cried Tom, with a shout;
-  “How did it get in, and how can it get out?”
-
-  Tom was eager to help—he could break the shell.
-  Mamma smiled and said, “All’s well that ends well.
-  Be patient awhile yet my boy.” Click, click,
-  And out popped the bill of a dear little chick.
-              No room had it lacked.
-              Though snug it was packed,
-              There it was, all complete,
-              From its head to its feet.
-  The softest of down and the brightest of eyes,
-  And so big—why, the shell wasn’t half its size.
-
-  Tom gave a long whistle, “Mamma, now I see
-  That an egg is a chicken—though the how beats me,
-  An egg isn’t a chicken, that I know and declare;
-  Yet an egg isn’t a chicken—see the proof of it there.
-              Nobody can tell
-              How it came in that shell;
-              Once out all in vain
-              Would I pack it again.
-  I think ’tis a miracle, mamma mine,
-  As much as that of the water and wine.”
-
-
-ONE OF GOD’S LITTLE HEROES.
-
-  The patter of feet was on the stair,
-  As the Editor turned in his sanctum chair,
-  And said—for weary the day had been—
-  “Don’t let another intruder in.”
-
-  But scarce had he uttered the words, before
-  A face peered in at the half-closed door,
-  And a child sobbed out—“Sir, mother said
-  I should come and tell you that Dan is dead.”
-
-  “And pray who is ‘Dan’?” The streaming eyes
-  Looked questioning up, with a strange surprise:
-  “Not know him?—Why, sir, all day he sold
-  The papers you print, through wet and cold.
-
-  “The newsboys say that they could not tell
-  The reason his stock went off so well:
-  I knew!—with a voice so weak and low,
-  Could any one bear to say him ‘No?’
-
-  “And the money he made, whatever it be,
-  He carried straight home to mother and me:
-  No matter about his rags, he said,
-  If only he kept us clothed and fed.
-
-  “And he did it, sir—trudging through rain and cold,
-  Nor stopped till the last of his sheets was sold;
-  But he’s dead—he’s dead! and we miss him so!
-  And mother—she thought you might like to know!”
-
-  In the paper, next morning, as “leader,” ran
-  A paragraph thus: “The newsboy Dan,
-  One of God’s little heroes, who
-  Did nobly the duty he had to do—
-  For mother and sister earning bread,
-  By patient endurance and toil—is dead.”
-
-                                 MARGARET J. PRESTON.
-
-
-WHAT THE COWS WERE DOING.
-
-  Little Rosie, walking slowly
-    Past the verdant meadow, sees
-  Many cows, and some are standing,
-    Others lying ’neath the trees.
-
-  In the road stands little Rosie,
-    Caring not for dust or mud,
-  While her eyes are bent upon them
-    As they calmly chew their cud.
-
-  Great surprise her face expresses,
-    For awhile her lips are dumb;
-  Then she cries out, “Mamma! Mamma!
-    All the cows are chewing gum!”
-
-
-MAMMA’S HELP.
-
-  “Yes, Bridget has gone to the city,
-    And papa is sick, as you see,
-  And mamma has no one to help her
-    But two-year old Lawrence and me.
-
-  “You’d like to know what I am good for,
-    ’Cept to make work and tumble things down;
-  I guess there aren’t no little girlies
-    At your house at home, Dr. Brown.
-
-  “I’ve brushed all the crumbs from the table,
-    And dusted the sofa and chairs,
-  I’ve polished the hearthstone and fender,
-    And swept off the area stairs.
-
-  “I’ve wiped all the silver and china,
-    And just dropped one piece on the floor,
-  Yes, Doctor, it broke in the middle,
-    But I ’spect it was cracked before.
-
-  “And the steps that I saved precious mamma!
-    You’d be s’prised, Doctor Brown, if you knew.
-  She says if it wasn’t for Bessie
-    She couldn’t exist the day through!
-
-  “It’s ‘Bessie, bring papa some water!’
-    And ‘Bessie dear, run to the door!’
-  And ‘Bessie love, pick up the playthings
-    The baby has dropped on the floor!’
-
-  “Yes, Doctor, I’m ’siderably tired,
-    I’ve been on my feet all the day;
-  Good-bye! well, perhaps I will help you
-    When your old Bridget ‘goes off to stay!’”
-
-
-HOW TWO BIRDIES KEPT HOUSE.
-
-  The morning was sunshiny, lovely, and clear,
-  And two little wrens were both hovering near,
-  Chirping and warbling with wonderful zest,
-  Looking for some place to build them a nest.
-
-  They searched the veranda, examined the trees,
-  But never a place could they find that would please;
-  Till Mabel, whose eyes were as blue as the sky,
-  And very observing, their trouble did spy.
-
-  Then, quick as the thought darted through her wee head,
-  “I’ll help you, dear birdies,” she lispingly said;
-  “You just wait a minute, I’ll give you my shoe;
-  ’Twill make you a nice nest—as good as if new.”
-
-  With much toil and trouble she undid the knot,
-  Took off the small shoe, and picked out a spot
-  Behind a large pillar: there tucked it away;
-  And soon she forgot it in innocent play.
-
-  But the wrens chirped, “Why, here’s a nest ready-made,
-  In the very best place, too, and quite in the shade!”
-  They went to work quickly, without more ado,
-  To keep house like the woman “that lived in a shoe.”
-
-  When evening shades came, at the close of the day,
-  And dear little Mable was tired of play,
-  She thought of the birdies, and went off alone,
-  To see, if she could, what the birdies had done,
-
-  With heads under their wings the wrens were asleep;
-  Side by side, in the shoe, they were cuddled down deep,
-  Then, clapping her hands, Mable said, “Keep my shoe;
-  My new ones I’ll wear, and this one’s for you.”
-
-
-WHY HE WOULDN’T DIE.
-
-  Listen, my boy, and you shall know
-  A thing that happened a long time ago,
-  When I was a boy not as large as you,
-  And the youngest of all the children, too.
-  I laugh even now as I think it o’er,
-  And the more I think I laugh the more.
-  ’Twas the chilly eve of an autumn day;
-  We were all in the kitchen, cheery and gay;
-  The fire burned bright on the old brick hearth,
-  And its cheerful light gave zest to our mirth.
-  My elder sister, addressing me,
-  “To-morrow’s Thanksgiving, you know,” said she;
-  “We must kill the chickens to-night, you see.
-  Now light the lantern and come with me;
-  I will wring their necks until they are dead,
-  And have them all dressed ere we go to bed.”
-
-  My sister, unused to sights of blood,
-  And, pale with excitement, trembling stood;
-  But summoning courage, she laid her plans,
-  And seized the old rooster with both her hands,
-  And, with triumph written all over her face,
-  Her victim bore to the open space.
-  Then she wrung and wrung with might and main,
-  And wrung and twisted and wrung again,
-  ’Till, sure that the spark of life had fled,
-  She threw him down on the ground for dead.
-
-  But the rooster would not consent to die,
-  And be made up into chicken-pie,
-  So he sprang away with a cackle and bound,
-  Almost as soon as he touched the ground,
-  And hiding away from the candle’s light,
-  Escaped the slaughter of that dark night.
-  My sister, thus brought to sudden stand,
-  And looking at what she held in her hand,
-  Soon saw why the rooster was not dead—
-  She had wrung off his tail instead of his head!
-
-
-THE SICK DOLLY.
-
-It needs a cute little girl who can make appropriate gestures to recite
-this piece.
-
-  My dolly is very sick!
-    I don’t know what to do;
-  Her little forehead it scowls quite horrid,
-    Her lips are turning blue.
-
-  She’s got a dreadful pain,
-    I know it from her face;
-  I’ll fetch a pellet and make her smell it,
-    From mamma’s medicine-case.
-
-  There, there, my child, lie still;
-    That’s sure to do you good.
-  Now don’t be ugly, I’ll wrap you snugly
-    All in your scarlet hood.
-
-  I know what made her sick!
-    She’s had too much to eat!
-  A piece of cheese, six blackberries
-    And a little bit of meat!
-
-  That’s too much for a doll,
-    (Hush, Baby dear, don’t cry!)
-  All those blackberries, besides stewed cherries,
-    And huckleberry pie.
-
-  I ought to be ashamed
-    (That’s just what mamma said)
-  To let my dolly commit such folly,
-    And get a pain in her head.
-
-  Some gruel would do her good;
-    What fun ’twill be to make it!
-  Just flour and water, and then, my daughter,
-    You’ll have to wake and take it!
-
-  I’d like to be a cook!
-    How nice the gruel _does_ smell!
-  Oh, there it goes all over her nose!
-    Now dolly has got well.
-
-
-DAYS OF THE WEEK.
-
-For seven little boys and girls. Teacher or some large boy or girl should
-speak.
-
-  The days of the week once talking together
-  About their housekeeping, their friends and the weather,
-  Agreed in their talk it would be a nice thing
-  For all to march, and dance, and sing;
-  So they all stood up in a very straight row,
-  And this is the way they decided to go:
-
-  (_Let seven children stand up, and as day of week is called, take
-  places, each one equipped with the things the speaker mentions._)
-
-  First came little Sunday, so sweet and good,
-  With a book in her hand, at the head she stood.
-  Monday skipped in with soap and a tub,
-  Scrubbing away with a rub-a-dub-dub;
-  With board and iron comes Tuesday bright,
-  Talking to Monday in great delight.
-  Then Wednesday—the dear little cook—came in,
-  Riding cock horse on his rolling-pin.
-  Thursday followed, with broom and brush,
-  Her hair in a towel, and she in a rush.
-  Friday appeared, gayly tripping along;
-  He scoured the knives and then he was gone.
-  Saturday last, with a great big tub,
-  Into which we all jump for a very good rub.
-
-  (_The children march and sing to the tune of “Good Morning,
-  Merry Sunshine.”_)
-
-  Children of the week are we,
-  Happy, busy, full of glee.
-  Often do we come this way,
-  And you meet us every day.
-  Hand in hand we trip along,
-  Singing, as we go, a song.
-  Each one may a duty bring,
-  Though it be a little thing.
-
-  (_All bow, and, taking up the articles, retire from the stage
-  in order, Sunday, Monday etc._)
-
-                                                     MARY ELY PAGE.
-
-
-POPPING CORN.
-
-  And there they sat, a popping corn,
-    John Styles and Susan Cutter—
-  John Styles as fat as any ox
-    And Susan fat as butter.
-
-  And there they sat and shelled the corn,
-    And raked and stirred the fire,
-  And talked of different kinds of care
-    And hitched their chairs up nigher.
-
-  Then Susan she the popper shook,
-    Then John he shook the popper,
-  Till both their faces grew as red
-    As saucepans made of copper.
-
-  And then they shelled, and popped and ate,
-    All kinds of fun a-poking,
-  While he haw-hawed at her remarks,
-    And she laughed at his joking.
-
-  And still they popped, and still they ate—
-    John’s mouth was like a hopper—
-  And stirred the fire and sprinkled salt,
-    And shook and shook the popper.
-
-  The clock struck nine—the clock struck ten,
-    And still the corn kept popping;
-  It struck eleven, and then struck twelve,
-    And still no signs of stopping.
-
-  And John he ate, and Sue she thought—
-    The corn did pop and patter—
-  Till John cried out, “The corn’s afire!
-    Why, Susan, what’s the matter?”
-
-  Said she, “John Styles, it’s one o’clock;
-    You’ll die of indigestion;
-  I’m sick of all this popping corn—
-    Why don’t you pop the question?”
-
-
-HOW THE FARMER WORKS.
-
-For Several Boys.
-
-  This is the way the happy farmer(1)
-    Plows his piece of ground,
-  That from the little seeds he sows
-    A large crop may abound.
-
-  This is the way he sows the seed,(2)
-    Dropping with careful hand,
-  In all the furrows well prepared
-    Upon the fertile land.
-
-  This is the way he cuts the grain(3)
-    When bending with its weight;
-  And thus he bundles it in sheaves,(4)
-    Working long and late.
-
-  And then the grain he threshes thus,(5)
-    And stores away to keep;
-  And thus he stands contentedly(6)
-    And views the plenteous heap.
-
-1. Arms extended forward as though holding a plow. 2. A motion as
-of taking seed out of a bag or basket, and scattering with the
-right hand. 3. Motion as of cutting with a scythe. 4. Arms curved
-and extended forward. 5. Hands as though grasping a flail. Strike
-with some force. 6. Erect position arms folded, or hands on the hips.
-
-
-THE BIRDS’ PICNIC.
-
-  The birds gave a picnic, the morning was fine,
-  They all came in couples, to chat and to dine;
-  Miss Robin, Miss Wren and the two Misses Jay,
-  Were dressed in a manner decidedly gay.
-
-  And Bluebird, who looks like a handful of sky,
-  Dropped in with her spouse as the morning wore by;
-  The yellow-birds, too, wee bundles of sun,
-  With brave chickadees, came along to the fun.
-
-  Miss Phœbe was there, in her prim suit of brown;
-  In fact, all the birds in the fair leafy town.
-  The neighbors, of course, were politely invited;
-  Not even the ants and the crickets were slighted.
-
-  The grasshoppers came, some in gray, some in green,
-  And covered with dust, hardly fit to be seen:
-  Miss Miller flew in, with her gown white as milk;
-  And Lady Bug flourished a new crimson silk.
-
-  The bees turned out lively, the young and the old,
-  And proud as could be, in their spencers of gold.
-  But Miss Caterpillar, how funny of her,
-  She hurried along in her mantle of fur.
-
-  There were big bugs in plenty, and gnats great and small—
-  A very hard matter to mention them all.
-  And what did they do? Why, they sported and sang,
-  Till all the green wood with their melody rang.
-
-  Whoe’er gave a picnic so grand and so gay?
-  They hadn’t a shower, I’m happy to say.
-  And when the sun fell, like a cherry-ripe red,
-  The fire-flies lighted them all home to bed.
-
-
-A VERY SMART DOG.
-
-For a boy eight or ten years old.
-
-  I have a pretty little dog, he’s just about so high,(1)
-  And sometimes you would think he knew as much as you(2) or I;(3)
-  When e’er a letter I would write, he jumps around in glee,(4)
-  For then he knows that he can take it to the mail for me,(5)
-
-  I hold a stick out in my hands,(6) o’er it he jumps in joy—
-  He shoulders(7) arms as soberly as any soldier boy—
-  He jumps on table, box(8) or chair, which e’er I tell him to.
-  I think he is the smartest dog—now, really do not you?
-
-  My little dog will sit up straight(9) and open wide his eyes,
-  And hold his pretty paws just so,(10) and look so very wise.
-  If e’er to him I crossly speak(11) I very soon regret,
-  And just as soon my little dog my anger will forget.
-
-  He says bow-wow-wow-wow-wow-wow,
-  No word but this alone,
-  And yet he is the smartest dog that ever I have known.
-
-At place marked 1 hold right hand out, palm downwards, as if measuring
-height. At place marked 2, point to audience. At 3, the reciter points
-to himself. At 4, downward motion of hand. At 5, point to right. At 6,
-hold out both hands, as if holding stick. At 7, double up right arm, with
-hand in front of shoulder. At 8, point to left. At 9, hold head up very
-straight. At 10, cross hands on breast. At 11, hold out right hand, with
-finger pointed, as if in command.
-
-
-OPPORTUNITY.
-
-ADDRESSED TO THE BOYS OF AMERICA.
-
-  A judgeship is vacant, the ermine awaits
-    The shoulder of youth, brave, honest and true,
-  Some one will be standing by fame’s open gates,
-    I wonder, my boys, will it be one of you?
-
-  The president’s chair of a great railroad maze,
-    Is empty to-day, for death claimed his due,
-  The directors are choosing a man for his place,
-    I wonder, my boys—Will it be one of you?
-
-  A pulpit is waiting for some one to fill,
-    Of eloquent men there are only a few,
-  The man who can fill it must have power to thrill;
-    The best will be chosen—Will it be one of you?
-
-  The great men about us will pass to their rest,
-    The places be filled by the boys who pursue
-  The search for the highest, the noblest—the best,
-    I wonder who’ll fill them; I hope ’twill be you.
-
-
-THE LITTLE LEAVES’ JOURNEY.
-
-A motion exercise for six little girls.
-
-  Some little leaves one autumn day
-    From maple(1) branches high,
-  Looked down(2) upon the lovely world
-    And upward(3) at the sky;
-  Then each one sighed, “Had I(4) but wings,
-    (5)Away, away I’d fly.”
-
-  At last the wind(6) aweary grew
-    Of hearing them complain,
-  He(7) shook the sturdy maple boughs
-    With all his might and main;
-  He shook(8) the little leaflets all,
-    And down(9) they fell like rain.
-
-  They huddled(10) close in little heaps
-    To keep all snug and warm,
-  When Nature(11) came, a tender nurse,
-    With bed(12) clothes on her arm;
-  She tucked(13) them ’neath soft snowy folds
-    And hid(14) them from the storm.
-
-1. Motion upward with right hand. 2. Look downward. 3. Look upward. 4.
-Wave hands back and forth. 5. Extend right arm. 6. Close eyes, faces
-expressive of weariness. 7. Double the hands up, moving them quickly
-backwards and forwards. 8. Same as 7. 9. Move hands downward. 10. Put
-palms of hands together. 11. Look toward right. 12. Extend right arm,
-looking at same. 13. Downward motion with right hand. 14. Motion toward
-the north.
-
-
-THE BROOM DRILL.
-
-Marches and drills by the little folks are always very attractive
-and entertaining. The preparation for these benefits young people by
-requiring them to move the body quickly and gracefully, assuming an erect
-attitude, then other positions at the word of command. Such exercises
-also aid in forming a habit of strict attention.
-
-The Broom Drill is one of the most entertaining, and can readily be
-learned. It should be practiced until it can be performed promptly and
-without any mistakes. Twelve or sixteen girls—in fact, any even number,
-according to the size of the stage—may take part in it.
-
-All should be dressed alike, in blouse waist of Turkey red chintz,
-sleeves and collar trimmed with white braid; skirt made of white cheese
-cloth, trimmed above the hem with band of red chintz, four or five inches
-wide; a red cap completes the costume.
-
-During the marching there should be music, and the notes of the piano
-should be struck sharply. Any good march will answer for the music. The
-following exercises conform very nearly to the “Manual of Arms” used
-in the army. The cuts will be found very serviceable in showing the
-different positions.
-
-[Illustration]
-
-Standing in rank near the front side of the stage, the teacher gives the
-command to “present arms,” “carry arms,” “trail arms,” etc. Each command
-consists of two words: the first is to indicate what the pupil is to do,
-and on the second word the movement is made, all acting in concert.
-
-The following exercises are suitable for this drill, and always prove
-very entertaining to the audience.
-
-_Carry_—ARMS!—The broom is held in the right hand, handle upward, with
-the hand clasping the handle where it joins the brush. The left hand
-hangs at the side. (Fig. 1.)
-
-[Illustration: FIG. 1.]
-
-_Present_—ARMS!—Place the broom with the right hand in front of the
-centre of the body, clasping the handle with the left hand above the
-right. Hold the broom perfectly perpendicular. (Fig. 2.)
-
-[Illustration: FIG. 2.]
-
-_Order_—ARMS!—Let go the handle with the left hand, and carry the broom
-to the side with the right hand; then drop the broom to the floor. (Fig.
-3.)
-
-[Illustration: FIG. 3.]
-
-_In place_—REST!—Grasp the handle with both hands, the left above the
-right, and place both hands in front of the lower part of the breast.
-(Fig. 4.)
-
-[Illustration: FIG. 4.]
-
-_Trail_—ARMS!—Grasp the handle with the right hand and incline it
-forward, the broom behind, resting on the floor. (Fig. 5.)
-
-[Illustration: FIG. 5.]
-
-_Attention_—CHARGE!—Half face to the right, carrying the heel six inches
-to the rear and three inches to the right of the left, turning the toes
-of both feet slightly inward; at the same time drop the stick into the
-left hand, elbow against the body, point of stick at the height of the
-chin; right hand grasping the stick just above the brush and supporting
-it firmly against the right hip. (Fig. 6.)
-
-[Illustration: FIG. 6.]
-
-_Port_—ARMS!—Raise and throw the broom diagonally across the body; grasp
-it smartly with both hands, the right, palm down at the base of the
-stick; the left, palm up, thumb clasping stick; handle sloping to the
-left and crossing opposite the middle of left shoulder; right forearm
-horizontal; forearms and handle near the body. (Fig. 7.)
-
-[Illustration: FIG. 7.]
-
-_Secure_—ARMS!—Advance the broom slightly with the right hand, turn the
-handle to the front with the left hand. At the same time change the
-position of the right hand, placing it further up the handle, drop the
-handle to the front, placing the broom where joined with the handle,
-under the right arm. (Fig. 8.)
-
-[Illustration: FIG. 8.]
-
-_Reverse_—ARMS!—Lift the broom vertically with the right hand, clasp the
-stick with the left hand; then, with the right hand grasp the handle near
-the brush. Reverse the broom, the handle dropping to the front, the broom
-passing between the breast and right forearm. Press the handle under the
-arm with the left hand until the right elbow can hold it in place against
-the body; pass left hand behind the back and clasp the stick. (Fig. 9.)
-
-[Illustration: FIG. 9.]
-
-_Inspection_—ARMS!—This is executed from the “carry arms” position. Lift
-the broom quickly with the right hand, bringing it in front of the centre
-of the body; then grasp the handle with the left hand, placed near the
-chin, and hold it. (Fig. 10.)
-
-[Illustration: FIG. 10.]
-
-
-MOVEMENTS OF ATTACK AND DEFENSE.
-
-These can be executed only with open ranks, the pupils being placed seven
-or eight feet apart. To so place them, the teacher will give the order—
-
-_Right (or Left) open Ranks_—MARCH!—The pupils face to the right or left,
-according to the order given, except the one at the extreme end of the
-line. The others march, the last of the file halting at every four or
-five steps from the one in the rear, until all are the same distance
-apart. They then face front. To close the rank, turn to the right or left
-and march toward the pupil standing at the end until halted by the one
-ahead. Then face front.
-
-_Attention_—GUARD!—At the command _guard_, half face to the right, carry
-back and place the right foot about twice its length to the rear and
-nearly the same distance to the right, the feet at little less than a
-right angle, the right toe pointing squarely to the right, both knees
-bent slightly, weight of the body held equally on both legs; at the same
-time throw the end of the stick to the front, at the height of the chin,
-grasping it lightly with both hands, the right just above the brush, the
-left a few inches higher; the right hand in line with the left hip and
-both arms held free from the body and without constraint. (Fig. 11.)
-
-_Being at the Guard_—ADVANCE!—Move the left foot quickly forward, twice
-its length; follow with the right foot the same distance.
-
-[Illustration: FIG. 11.]
-
-RETIRE!—Move the right foot quickly to the rear, twice its length; follow
-with the left foot the same distance.
-
-_Front_—PASS!—Advance the right foot quickly, fifteen inches in front of
-the left, keeping right toe squarely to the right; advance the left foot
-to its relative position in front.
-
-_Rear_—PASS!—Carry the left foot quickly fifteen inches to the rear of
-the right; place the right foot in its relative position in rear, keeping
-the right toe squarely to the right.
-
-_Right_—VOLT!—Face to the right, turning on the ball of the left foot, at
-the same time carry the right foot quickly to its position in rear.
-
-_Left_—VOLT!—Face to the left, turning on the ball of the left foot, at
-the same time carry the right foot quickly to its position in rear.
-
-_Right rear and left rear volts_ are similarly executed, facing about on
-the ball of the left foot.
-
-_Quarte_—PARRY!—Hold the broom in front of the left shoulder with the
-right hand, handle upward, the fingers of the left hand on the handle,
-the left elbow touching the right wrist. (Fig. 12.)
-
-[Illustration: FIG. 12.]
-
-_Seconde_—PARRY!—Move the point of the broom-handle quickly to the left,
-describing a semi-circle from left to right, the left elbow in front of
-the body, the flat of the broom under the right forearm, the right elbow
-two or three inches higher than the right shoulder. (Fig. 13.)
-
-[Illustration: FIG. 13.]
-
-_Prime_—PARRY.—Carry the broom to the left, covering the left shoulder,
-the handle downward, the left forearm behind the handle, the right arm in
-front of and above the eyes. (Fig. 14.)
-
-[Illustration: FIG. 14.]
-
-
-THRUSTS.
-
-TO THRUST IN TIERCE.—Straighten the right leg, extend both arms, keeping
-point of handle at height of the breast, broom at right side of head.
-(Fig. 15.)
-
-[Illustration: FIG. 15.]
-
-THRUST IN QUARTE.—The same as tierce, but with the broom on the left side
-of the head.
-
-
-LUNGES.
-
-The lunges are the same as the thrusts, except that the left foot is
-extended farther in front. (Fig. 16.)
-
-[Illustration: FIG. 16.]
-
-_Broom to Front_—ONE!—Raise handle nearly straight up and down, drop it
-into the hollow of the right shoulder.—TWO!—Strike quickly by pushing the
-broom forward, the handle always resting on the right shoulder. (Fig. 17.)
-
-[Illustration: FIG. 17.]
-
-_Right Short_—THRUST!—ONE!—Hold the broom with the right hand to the
-rear, left hand by the right breast, the point of the handle opposite the
-centre of the body.—TWO!—Thrust forward. (Fig. 18.)
-
-[Illustration: FIG. 18.]
-
-_High Prime_—PARRY!—Raise the broom with both hands in front of and
-higher than the head. Hold the handle firmly with the right hand,
-the broom being to the right; turn the knuckles of the left hand to
-the front, and let other end of broom handle rest on the thumb and
-forefinger. (Fig. 19.)
-
-[Illustration: FIG. 19.]
-
-TO GUARD WHEN KNEELING.—Bring the toe of the left foot square in front,
-plant the right foot to the rear, kneel on the right knee, bending the
-left, hold the broom at an angle of 45 degrees, pointing directly to the
-front, the right hand pressed firmly against the side, the left hand
-holding the point of handle upward. (Fig. 20.)
-
-[Illustration: FIG. 20.]
-
-
-THE MARCH.
-
-There should be music while the pupils are coming upon the stage and
-leaving. Any spirited march will answer.
-
-Girls enter from right and left sides of stage at the back, eight on each
-side, and march in single files according to the diagram furnished below.
-
-[Illustration]
-
-When they meet at C F, separate and march to L F and R F, then up sides
-of stage to back, then across back to C B. When they meet at C B, form
-couples and march in twos forward on centre line. At C F first couple
-turn to R F, second to L F, third to R F, fourth to L F, etc. March up
-sides to back, and when couples meet at C B march in fours to C F. First
-four turn to R F, second four to L F, etc. March up sides to back.
-
-When the fours meet at C B, form eights and march toward front and halt
-for drill. During the march they “carry brooms” in the right hand, the
-stick resting against the right shoulder and nearly vertical, the arm
-hanging at nearly its full length near the body, the hand grasping the
-handle of the broom just above the sweep (the brush part), which rests
-flat against the side of skirt. The thumb and forefinger must be in
-front.
-
-
-
-
-RECITATIONS FOR THE SUNDAY-SCHOOL.
-
-
-It is so difficult to obtain really good selections to be recited at
-Sunday-school anniversaries and similar occasions, that those here
-presented will be much appreciated. They have the merit of containing
-good sentiments and are therefore appropriate. The best lessons for young
-and old are often conveyed in simple language.
-
-
-LITTLE SERVANTS.
-
-  Oh, what can little hands do
-    To please the King of heaven?
-  The little hands some work may try
-  To help the poor in misery;—
-    Such grace to mine be given.
-
-  Oh, what can little lips do
-    To please the King of heaven?
-  The little lips can praise and pray,
-  And gentle words of kindness say:—
-    Such grace to mine be given.
-
-  Oh, what can little eyes do
-    To please the King of heaven?
-  The little eyes can upward look,
-  Can learn to read God’s holy book;—
-    Such grace to mine be given.
-
-  Oh, what can little hearts do
-    To please the King of heaven?
-  The hearts, if God his Spirit send,
-  Can love and trust the children’s Friend;—
-    Such grace to mine be given.
-
-  When hearts, eyes, lips and hands unite
-    To please the King of heaven,
-  And serve the Saviour with delight,
-  They are most precious in his sight;—
-    Such grace to mine be given.
-
-
-WILLIE AND THE BIRDS.
-
-  A little black-eyed boy of five
-    Thus spake to his mamma:
-  “Do look at all the pretty birds;
-    How beautiful they are!
-  How smooth and glossy are their wings;
-    How beautiful their hue;
-  Besides, mamma, I really think
-    That they are _pious_, too!”
-
-  “Why so, my dear?” the mother said,
-    And scarce suppressed a smile;
-  The answer showed a thoughtful head,
-    A heart quite free from guile:
-  “Because, when each one bows his head,
-    His tiny bill to wet,
-  To lift a thankful glance above
-    He never does forget;
-  And so, mamma, it seems to me
-    That very pious they must be.”
-
-  Dear child, I would a lesson learn
-    From this sweet thought of thine,
-  And heavenward, with a glad heart, turn
-    These earth-bound eyes of mine;
-  Perfected praise, indeed is given,
-    By babes below, to God in heaven,
-
-
-A CHILD’S PRAYER.
-
-  Lord, teach a little child to pray,
-    And oh! accept my prayer;
-  Thou canst hear all the words I say,
-    For Thou art everywhere.
-
-  A little sparrow cannot fall
-    Unnoticed, Lord by Thee;
-  And though I am so young and small,
-    Thou dost take care of me.
-
-  Teach me to do whate’er is right,
-    And when I sin, forgive;
-  And make it still my chief delight
-    To serve Thee while I live.
-
-
-GOD LOVES ME.
-
-  God cares for every little child
-    That on this great earth liveth;
-  He gives them homes and food and clothes,
-    And more than these God giveth;—
-
-  He gives them all their loving friends;
-    He gives each child its mother;
-  He gives them all the happiness
-    Of loving one another.
-
-  He makes the earth all beautiful;
-    He gives us eyes to see;
-  And touch and hearing, taste and smell,
-    He gives them all to me.
-
-  And, better still, he gives his word,
-    Which tells how God’s dear Son
-  Gathered the children in his arms
-    And loves them—every one.
-
-  What can a little child give God?
-    From his bright heavens above
-  The great God smiles, and reaches down
-    To take his children’s love.
-
-
-THE UNFINISHED PRAYER.
-
-This beautiful poem is admirably adapted for a church entertainment when
-spoken by a little girl.
-
-  “Now I lay”—say it, darling;
-    “Lay me,” lisped the tiny lips
-  Of my daughter, kneeling, bending
-    O’er her folded finger tips.
-
-  “Down to sleep”—“to sleep,” she murmured
-    And the curly head dropped low;
-  “I pray the Lord”—I gently added,
-    “You can say it all, I know.”
-
-  “Pray the Lord”—the words came faintly,
-    Fainter still—“my soul to keep;”
-  When the tired head fairly nodded,
-    And the child was fast asleep.
-
-  But the dewy eyes half opened,
-    When I clasped her to my breast,
-  And the dear voice softly whispered,
-    “Mamma, God knows all the rest.”
-
-
-DEEDS OF KINDNESS.
-
-  Suppose the little cowslip
-    Should hang its little cup,
-  And say, “I’m such a tiny flower,
-    I’d better not grow up.”
-  How many a weary traveler
-    Would miss its fragrant smell!
-  How many a little child would grieve
-    To lose it from the dell!
-
-  Suppose the glistening dew-drops
-    Upon the grass should say,
-  “What can a little dew-drop do?
-    I’d better roll away.”
-  The blade on which it rested,
-    Before the day was done,
-  Without a drop to moisten it
-    Would wither in the sun.
-
-  Suppose the little breezes,
-    Upon a summer’s day,
-  Should think themselves too small to cool
-    The traveler on his way;
-  Who would not miss the smallest
-    And softest ones that blow,
-  And think they made a great mistake
-    If they were talking so?
-
-  How many deeds of kindness
-    A little child may do,
-  Although it has so little strength,
-    And little wisdom too!
-  It needs a loving spirit,
-    Much more than strength, to prove
-  How many things a child may do
-    For others by its love.
-
-
-A LOT OF DON’TS.
-
-  I believe, if there is one word that grown-up folks are more
-  fond of using to us little folks, than any other word in the big
-  dictionary, it is the word D-o-n-t.
-
-  It is all the time “Don’t do this,” and “Don’t do that,” and
-  “Don’t do the other,” until I am sometimes afraid there will be
-  nothing left that we can do.
-
-  Why, for years and years and years, ever since I was a tiny
-  little tot, this word “Don’t” has been my torment. It’s “Lizzie,
-  don’t make a noise, you disturb me,” and “Lizzie, don’t eat so
-  much candy, it will make you sick,” and “Lizzie, don’t be so
-  idle,” and “Don’t talk so much,” and “Don’t soil your clothes,”
-  and “Don’t” everything else. One day I thought I’d count how
-  many times I was told not to do things! Just think! I counted
-  twenty-three “don’ts,” and I think I missed two or three little
-  ones besides.
-
-  But now it is my turn. I have got a chance to talk, and I’m going
-  to tell some of the big people when to Don’t! That is what my
-  piece is about. First, I shall tell the papas and mammas—Don’t
-  scold the children, just because you have been at a party the
-  night before, and so feel cross and tired. Second, Don’t fret and
-  make wrinkles in your faces over things that cannot be helped. I
-  think fretting spoils big folks just as much as it does us little
-  people. Third, Don’t forget where you put your scissors, and then
-  say you s’pose the children have taken them. Oh! I could tell you
-  ever so many “don’ts,” but I think I’ll only say one more, and
-  that is—Don’t think I mean to be saucy, because all these don’ts
-  are in my piece, and I had to say them.
-
-                                                        E. C. ROOK.
-
-
-LITTLE WILLIE AND THE APPLE.
-
-  Little Willie stood under an apple tree old,
-  The fruit was all shining with crimson and gold,
-  Hanging temptingly low—how he longed for a bite,
-  Though he knew if he took one it wouldn’t be right.
-
-  Said he, “I don’t see why my father should say,
-  ‘Don’t touch the old apple tree, Willie, to-day;’
-  I shouldn’t have thought, now they’re hanging so low,
-  When I asked for just one, he would answer me, ‘No.’
-
-  “He would never find out if I took but just one,
-  And they do look so good, shining out in the sun,
-  There are hundreds and hundreds, and he wouldn’t miss
-  So paltry a little red apple as this.”
-
-  He stretched forth his hand, but a low mournful strain
-  Came wandering dreamily over his brain;
-  In his bosom a beautiful harp had long laid,
-  Which the angel of conscience quite frequently played:—
-
-  And he sang, “Little Willie, beware, O beware!
-  Your father is gone, but your Maker is there.
-  How sad you would feel, if you heard the Lord say,
-  ‘This dear little boy stole an apple to-day.’”
-
-  Then Willie turned round, and, as still as a mouse,
-  Crept slowly and carefully into the house.
-  In his own little chamber he knelt down to pray
-  That the Lord would forgive him, and please not to say,
-  “Little Willie almost stole an apple to-day.”
-
-
-THE CHILD’S PRAYER.
-
-  The curtains drawn across the light
-    Made darkness in the room,
-  And in our watching eyes and hearts
-    Fear wrought an answering gloom.
-
-  Grief-wrung, we heard from lips we loved
-    The moanings of distress,
-  And vainly strove to stifle pain
-    With helpless tenderness.
-
-  We scarcely marked the three-years boy
-    Who stood beside the bed,
-  From whose wet cheeks and quivering lips
-    The frightened dimples fled.
-
-  Till all at once, with eager hope,
-    A thrill in every word,
-  Our darling cried, “I guess I’ll speak
-    About it to the Lord!”
-
-  He sank upon his bended knee,
-    And clasped his hands in prayer,
-  While, like a glory, from his brow
-    Streamed back his golden hair.
-
-  “O Lord!” he said, “dear grandma’s sick;
-    We don’t know what to do!
-  If I could only make her well,
-    I’m sure I would. Won’t you?”
-
-  He rose; o’er all his childish face
-    A subtle radiance shone,
-  As one who on the mount of faith
-    Had talked with God alone.
-
-  We gazed each in the other’s eyes,
-    We almost held our breath
-  Before the fearless confidence
-    That shamed our tardy faith.
-
-  But, when our yearning glances sought
-    The sufferer’s face again,
-  A look of growing ease and rest
-    Replaced the lines of pain.
-
-  Quick as his trusting prayer to raise,
-    Its answer to discern,
-  The child climbed up to reach her lips,
-    Which kissed him in return.
-
-  “Grandma”—the ringing accents struck
-    A new, triumphant chord—
-  “I _knew_ you would be better soon,
-    Because I asked the Lord!”
-
-                     MARY A. P. HUMPHREY.
-
-
-“MAYN’T I BE A BOY?”
-
-  “Mayn’t I be a boy?” said our Mary,
-    The tears in her great eyes blue;
-  “I’m only a wee little lassie—
-    There’s nothing a woman can do.
-
-  “’Tis so; I heard Cousin John say so—
-    He’s home from a great college, too—
-  He said so just now in the parlor;
-    ‘There’s nothing a _woman_ can do.’”
-
-  “My wee little lassie, my darling,”
-    Said I, putting back her soft hair,
-  “I want you, my dear little maiden,
-    To smooth away all mother’s care.
-
-  “Who is it, when pa comes home weary,
-    That runs for his slippers and gown?
-  What eyes does he watch for at morning,
-    Looking out from their lashes of brown?
-
-  “And can you do nothing, my darling,
-    What was it that pa said last night?
-  ‘My own little sunbeam is coming,
-    I know, for the room is so bright.’
-
-  “And there is a secret, my Mary—
-    Perhaps you will learn it some day—
-  The hand that is willing and loving
-    Will do the most work on the way.
-
-  “And the work that is sweetest and dearest—
-    The great work that so many ne’er do—
-  The work of making folks happy
-    Can be done by a lassie like you.”
-
-
-GIVE YOUR BEST.
-
-  See the rivers flowing
-    Downward to the sea,
-  Pouring all their treasures
-    Bountiful and free!
-  Yet, to help their giving,
-    Hidden springs arise;
-  Or, if need be, showers
-    Feed them from the skies.
-
-  Watch the princely flowers
-    Their rich fragrance spread;
-  Load the air with perfumes
-    From their beauty shed;
-  Yet their lavish spending
-    Leaves them not in dearth,
-  With fresh life replenished
-    By their mother earth.
-
-  Give thy heart’s best treasures;
-    From fair Nature learn;
-  Give thy love, and ask not,
-    Wait not, a return.
-  And the more thou spendest
-    From thy little store,
-  With a double bounty
-    God will give thee more.
-
-                  ADELAIDE A. PROCTOR.
-
-
-THE BIRDS.
-
-For six children and an older scholar, who takes the part of teacher, and
-recites the “Response.” Stand in a row and step forward as you recite
-your lines.
-
-  HUMMING-BIRD.
-
-  I wish I were a humming-bird,
-    A tiny little thing,
-  With feathers light and airy,
-    And a brilliant rainbow wing;
-  Fleet as a sound, I’d fly, I’d fly,
-    Away from fear and harm,
-  Over the flowers and through the air,
-    Inhaling heavenly balm.
-
-  LARK.
-
-  I’d rather be a lark to rise,
-    When the sleep of night is done;
-  And higher, higher through the skies
-    Soar to the morning sun;
-  And clearer, sweeter, as I rise,
-    With rapture I would sing,
-  While diadems from heaven’s own light
-    Would sparkle on my wings.
-
-  NIGHTINGALE.
-
-  I’d like to be a nightingale;
-    She sings the sweetest song;
-  The daylight gone, her voice is heard
-    In tune the whole night long.
-  The stars look down from heaven’s dome,
-    The pale moon rolls along;
-  And maybe angels live up there,
-    And listen to her song.
-
-  EAGLE.
-
-  Of all the birds that sing so sweet,
-    Or roam the air so free,
-  With pinions firm, and proud, and strong,
-    The eagle I would be;
-  On some high mount whose rugged peaks
-    Beyond the clouds do rest,
-  There, in the blaze of day, I’d find
-    My shelter and my rest.
-
-  DOVE.
-
-  The humming-bird’s a pretty thing.
-    The lark flies very high,
-  The eagle’s very proud and strong,
-    The nightingale sings lullaby;
-  But, as I want a nature
-    That every one can love,
-  And would be gentle, mild, and sweet,
-    I think I’ll be a dove.
-
-  CHICKADEE.
-
-  I’ll tell you what I want to be—
-  A little, merry, chickadee;
-  In the storm and in the snow
-  When the cold winds fiercely blow,
-  Not to mind the wintry blast,
-  Nor how long the storm may last,
-  Active, merry, blithe and free,
-  This’s the bird I’d like to be.
-
-  RESPONSE.
-
-  I do not want to be a bird,
-    And really had not you
-  Much rather be like all the birds,
-    And yet be children too?
-  The humming-bird, from bloom to bloom
-    Inhales the heavenly balm;
-  So we from all may gather good,
-    And still reject the harm.
-  And, like the lark, our minds arise,
-    By inspirations given,
-  To bathe our souls, as she her wings,
-    In the pure light of heaven.
-
-  The nightingale sings all the night,
-    In sweet, harmonious lays;
-  So, in the night of sorrow, we
-    Should sing our Maker’s praise.
-  The eagle, firm, and proud, and strong,
-    On his own strength relying,
-  Soars through the storm, the lightning’s glare
-    And thunders bold defying.
-  Till far above the clouds and storm,
-    High on some mountain crest,
-  He finds the sun’s clear light at last,
-    And there he goes to rest.
-
-  Be ours a spirit firm and true,
-    Bold in the cause of right,
-  Ever steadily onward moving,
-    And upward to the light;
-  But still as gentle as the dove,
-    As loving and as true;
-  Every word and act be kindness,
-    All life’s journey through;
-  Always thankful, happy, free;
-    Though life’s tempests fiercely blow;
-  Cheerful as a chickadee
-    Flying through the wintry snow.
-
-                        MYRA A. SHATTUCK.
-
-
-“COME UNTO ME.”
-
-  As children once to Christ were brought
-    That he might bless them there,
-  So now we little children ought
-    To seek the Lord by prayer.
-
-  And as so many years ago
-    Poor babes his pity drew,
-  I’m sure he will not let me go
-    Without a blessing too.
-
-  Then while, this favor to implore,
-    My little hands are spread,
-  Do thou thy sacred blessing pour,
-    Dear Jesus, on my head.
-
-
-THERE IS A TEETOTALER.
-
-This piece should be spoken by a spirited boy, and as he goes upon the
-stage, some one should cry out, “There’s a teetotaler!”
-
-  Yes, sir, here _is_ a teetotaler, from the crown of his head to
-  the tips of his toes. I’ve got on teetotal boots, too, that never
-  will walk in the way of a drunkard. The other day a man asked me
-  about our White Ribbon Army. He wanted to know what use there is
-  in making so many promises. I told him the use was in _keeping_
-  the promises more than in _making_ them.
-
-  The boys which belong to our Army have something to do besides
-  loafing at the corners of the streets, and smoking the stumps of
-  cigars they pick out of the gutters. It makes me sick to think of
-  it!
-
-  Some boys are dreadfully afraid of losing their liberty, so they
-  won’t sign our pledge. I saw four or five of them the other day.
-  They had been off, somewhere, having what they call a jolly time;
-  and they were so drunk they couldn’t walk straight. They lifted
-  their feet higher than a sober boy would to go upstairs, and I
-  watched them till one fell down and bumped his nose.
-
-  Thinks I to myself, there’s liberty for you, but it’s just such
-  liberty as I don’t want. I would rather walk straight than
-  crooked, I would rather stand up than fall down, and I would
-  rather go to a party with my sisters, and some other pretty
-  girls, than hide away with a lot of rough fellows, to guzzle beer
-  and whisky.
-
-  There are plenty of other reasons why I am a teetotaler. When I
-  grow up, I would rather be a _man_ than a walking wine-cask or
-  rum-barrel; I would rather live in a _good_ house than a _poor_
-  one, and I would rather be loved and respected than despised and
-  hated.
-
-  Now, if these are not reasons enough for being a teetotaler, I
-  will give you some more the next time we meet.
-
-
-AN APPEAL FOR BENEFICENCE.
-
-_For a small boy._
-
-  The boy that spoke first to-night said you were all welcome. I
-  shan’t take it back. You _are_ welcome. You’re welcome to see and
-  hear; but you’re just twice as welcome to _give_. We love to look
-  at you, and we’re _willing_ you should look at us. We’re glad to
-  have you hear _us_; but we want to hear _you_. You haven’t any
-  speeches ready? All right! We don’t want to hear those. We can
-  make those ourselves—as you’ve seen.
-
-  What we do want to hear is the rustling of Greenbacks and
-  the clinking of Silver, as the ushers pass the boxes round.
-  That’s a kind of music that we appreciate, for it gets us our
-  library-books, our papers, our banners, and everything else
-  that a Sunday-School needs; and then it’s a kind of music that
-  we can’t make ourselves, and everybody prizes what he can’t do
-  himself. We do our best now. This school has given ⸺ dollars for
-  benevolent objects, during the past year. Isn’t such a school
-  worth helping? We mean to do better by-and-by, when _we_ get hold
-  of the money-bags. Just now, _you_ must do the giving.
-
-
-ADDRESS OF WELCOME TO A NEW PASTOR.
-
-To be spoken by a small girl.
-
-  DEAR PASTOR:—The old folks have asked you to come and be their
-  pastor, and we children want to know if you won’t come and be
-  ours too. I am sure little folks need a pastor just as much as
-  big ones do. I think they do more, because big folks ought to be
-  able to take care of themselves.
-
-  We think the Sunday-school belongs especially to us, as we are
-  allowed to say more there than we are in church, so we would like
-  you to come into the Sunday-school and work with us there, and
-  we will gladly pay you with our love and sunny smiles. (We can’t
-  give you our pennies because they have to go across the ocean
-  to the poor heathen.) If you could only come around through our
-  classes every week and help us just a little by a word of good
-  cheer, I am sure we would feel that you belonged to us and we to
-  you.
-
-  I know pastors have an awful lot to do, and they say it is real
-  hard work to preach, but if you could say just a little less to
-  the old folks, and a little more to the young folks, we will help
-  you build up the church and make it a big success. So, I hope,
-  dear pastor, you will let us call you our own, and when you come
-  among us you may be sure we will love you and welcome you as the
-  children’s friend.
-
-
-ADDRESS OF WELCOME TO A NEW SUPERINTENDENT.
-
-To be spoken by a small boy.
-
-  DEAR MR. BLANK:—I am sent out here to-day to tell you how glad
-  we are that you are to be our new superintendent. I welcome you
-  in the name of the school, and do it most heartily. Boys know a
-  good thing when they see it—if they didn’t Farmer Jones wouldn’t
-  have to put up sticky fly-paper on his peach trees—just to catch
-  flies, of course. So, when we were told that you had been chosen
-  for our new superintendent, we said “that’s all right.”
-
-  There must be an engineer to every train if it is to be run
-  properly, at the same time a great deal depends on the train and
-  how it is made up. Now, I believe there is good stuff in our
-  Sunday-school. We would make a good train if guided by a good
-  engineer. We can’t run ourselves and keep on the track, that’s
-  sure. We are quite certain, to begin with, that we are on the
-  right track, and we know that Mr. Blank can keep us there. To get
-  to the end of our journey safely, though, will depend much on how
-  well our train hangs together. This, boys and girls, is our part,
-  and we must do our best.
-
-  We know that love will make the wheels go round and charity will
-  bind us together, tighter than any cord. We hope our engineer
-  will be proud of his train.
-
-
-OPENING ADDRESS FOR A SUNDAY-SCHOOL EXHIBITION.
-
-  I have always been told that children should be seen and not
-  heard, but this is children’s night and we are going to be seen
-  and heard too.
-
-  We are very glad to welcome the old folks. There are so many here
-  their presence would lead us to think they believe boys and girls
-  can do something after all. Their eyes are on us, and I hope,
-  children, that you have brought your best behavior with you,
-  because this is a good time and place to use it. Perhaps I may be
-  allowed to suggest that you keep your eye on the old folks, just
-  to see that they conduct themselves properly.
-
-  Boys and girls, we have a great deal to say that is worth
-  hearing, and I hope you will speak out loud and prompt so that
-  our audience will not miss any of the good things. We want to
-  make this the best exhibition we have ever given, so that when
-  our elders go home they will have a better impression of us than
-  they ever had before.
-
-
-CLOSING ADDRESS FOR A SUNDAY-SCHOOL EXHIBITION.
-
-  When I found that our superintendent had put me _last_ on the
-  programme, I felt, as boys often do, that it would be much nicer
-  to be _first_, but he said it was a good plan to keep the best
-  wine till the last, so I feel all right about it. I know, too,
-  that you will not question the superintendent’s good taste. I
-  mean about _me_, not the _wine_. He wants me to say we are all
-  very much obliged to you for coming, and we hope you have had a
-  much bigger treat than you expected.
-
-  These exhibitions mean work for the boys and girls, as well as
-  for the teachers, but _work_ does everybody good, especially boys
-  who love base-ball better than Sunday-school. I hope our efforts
-  have been a credit to ourselves and to the Sunday-school, of
-  which we are all so proud.
-
-
-PRESENTATION ADDRESS TO A PASTOR.
-
-For a young lady.
-
-  DEAR PASTOR:—It is our delight at this season of gifts and good
-  will, to present to you a slight token of the esteem in which
-  you are held by your Sunday School. To say we all love you is to
-  repeat what you must already know.
-
-  “Out of the fullness of the heart the mouth speaketh,” but words
-  do not always answer our purpose. We like to put them into some
-  tangible form, and so to-night we present you with this ⸺ which
-  comes as an expression of our sincere love and good wishes.
-
-  We ask you to accept this, not for its intrinsic value, but as
-  a gift from loyal scholars, who recognize and appreciate your
-  constant and untiring efforts to minister to their needs in every
-  way and at all times.
-
-  Do not thank us, dear Pastor. We are discharging but a mite of
-  the indebtedness we owe you, and you will only add to that debt
-  if you persist in returning thanks to us. You know how Church
-  people abhor debts, and we are trying to put into practice some
-  of your preaching. We hope the token will be a constant reminder,
-  if that were necessary, of our unceasing interest in you and your
-  work.
-
-
-A PRESENTATION ADDRESS TO A TEACHER.
-
-  DEAR TEACHER:—We take this occasion to acknowledge publicly
-  our deep and sincere appreciation of the faithful service you
-  have rendered us. It is our desire to tender you some tangible
-  expression of the sincere feeling we have for you and to impress
-  upon you the love and good will felt by every pupil.
-
-  I, therefore, present you this ⸺ asking you to associate it
-  forever with the names and faces of the donors. Through your kind
-  and prayerful aid many of us have been led into the way of truth,
-  and will, therefore, gratefully remember you as long as we live.
-
-
-A PRESENTATION ADDRESS TO A SUPERINTENDENT.
-
-For a young man.
-
-  MR. SUPERINTENDENT:—We are going to make you a present to-night,
-  and I for one think you deserve it.
-
-  Our School has the reputation of being a _live_ one, and it is
-  a good deal because there is a _live_ man at the head of it. In
-  the past year that you have been with us, your patience must have
-  been sorely tried, for while most of the children are naturally
-  good, some are naturally unruly. The young men and young women
-  from whom we expect the best conduct are often, strange to say,
-  more attentive to each other than to their lessons. But having
-  been first a boy yourself, and perhaps later a beau, you have
-  not had the heart to be too severe on those who are still young
-  pupils in the school of experience.
-
-  By your untiring efforts you have brought the Sunday School up
-  to a standard of unusual excellence. For its free and vigorous
-  life, we are largely indebted to you. As a token of that fact
-  please accept this gift. We wish its intrinsic value were twice
-  as great. But if it conveys, even in a slight degree, the esteem
-  in which you are held by all our scholars, young and old, it will
-  serve the purpose for which it was procured.
-
-
-ADDRESS OF WELCOME AFTER ILLNESS.
-
-To be spoken by a young lady.
-
-  DEAR MR. BLANK:—I feel unable to fully express to you our joy at
-  seeing you once more in your place in the Sunday School. It has
-  been hard for us to be deprived of your presence, for you had
-  made yourself invaluable to us, but added to the personal loss
-  we felt at your absence was the greater sorrow that you had been
-  called upon to pass through so much physical suffering.
-
-  But, we know that God’s hand is always leading us, and the same
-  wise purpose that causes the shadows to fall, also makes the sun
-  to shine, and “the darker the shadow, the brighter the sunshine.”
-  When, for a time, it was feared that you might not be restored to
-  us, we felt we could not have it so, but our prayers were heard,
-  and our thanks are deep and sincere that you are again in our
-  midst. We pray that you may long be permitted to glorify Him who
-  is the great physician, in the work to which you are returned.
-
-
-ADDRESS OF WELCOME AFTER ABSENCE.
-
-To be spoken by a young man.
-
-  DEAR PASTOR:—I want to speak in behalf of the younger members
-  of your flock and add our hearty welcome to that already voiced
-  by our elders. We congratulate you on your safe return, and
-  rejoice with you that change and rest have reinvigorated your
-  physical health. As you come, bringing the fresh fruits of added
-  experience and observation, you will find us all eager to benefit
-  by what has enriched your store.
-
-  Welcome home, then, to all that has suffered by your absence.
-  The Church with its manifold offices has often felt the need of
-  your strength and wisdom. Welcome to the Sunday-school where your
-  words of help and counsel have guided us many times, and where
-  your presence has been most uplifting.
-
-  Welcome to the homes and hearts of the young and old alike. There
-  is not a fireside in our midst that has not been cheered by your
-  frequent and timely visits. In the seasons of joy and sorrow
-  which must come to all homes alike, there has been no one to whom
-  we could turn and be so sure of loving sympathy as yourself.
-
-  Welcome to the privileges and responsibilities of your calling
-  and to the honor of your old title—The Pastor who loves the
-  children. We want to give fresh assurance of our hearty
-  co-operation in that work which you are about to resume. We have
-  learned in your absence how much and how great is that work.
-
-  Let it be our privilege to share it with you and so prove by our
-  deeds, the love we have for your labors.
-
-                                                      MAY HATHEWAY.
-
-
-
-
-PART III.
-
-PROGRAMMES FOR SPECIAL OCCASIONS
-
-CONTAINING
-
-Charming Exercises for Fourth-of-July Celebrations; Washington’s
-Birthday; Christmas and Thanksgiving; Decoration Day; Public School
-Exhibitions; Arbor Day; Harvest Homes; Evening Entertainments, Etc., Etc.
-
-INCLUDING A CHOICE COLLECTION OF DIALOGUES, TABLEAUX, SUBJECTS FOR
-DEBATE, ETC.
-
-
-PROGRAMME NO. 1 FOR FOURTH OF JULY.
-
-The following programme can be varied as occasion may require by
-additional exercises or by substituting others for those here suggested.
-The platform should be decorated with flags and patriotic emblems. In
-addition to the singing of patriotic airs, there should be music by a
-band or orchestra. Each of the children should be furnished with a small
-flag. Let all the exercises be very spirited.
-
-
-MUSIC—By the Band or Orchestra.
-
-
-SINGING—Tune: “America.”
-
-  My country, ’tis of thee,
-  Sweet land of liberty,
-    Of thee I sing;
-  Land where my fathers died,
-  Land of the pilgrim’s pride,
-  From every mountain-side
-    Let freedom ring.
-
-  My native country, thee—
-  Land of the noble free—
-    Thy name I love;
-  I love thy rocks and rills,
-  Thy woods and templed hills,
-  My heart with rapture thrills
-    Like that above.
-
-  Let music swell the breeze
-  And ring from all the trees
-    Sweet freedom’s song;
-  Let mortal tongues awake;
-  Let all that breathe partake;
-  Let rocks their silence break—
-    The sound prolong.
-
-  Our fathers’ God, to Thee,
-  Author of liberty,
-    To Thee we sing;
-  Long may our land be bright
-  With Freedom’s holy light;
-  Protect us by Thy might,
-    Great God, our King.
-
-                 SAMUEL F. SMITH.
-
-
-READING—The Declaration of Independence.
-
-
-RECITATION—The Fourth of July.
-
-  To the sages who spoke, to the heroes who bled,
-    To the day and the deed, strike the harp-strings of glory!
-  Let the song of the ransomed remember the dead,
-    And the tongue of the eloquent hallow the story,
-            O’er the bones of the bold
-            Be that story long told,
-    And on fame’s golden tablets their triumphs enrolled
-  Who on freedom’s green hills freedom’s banner unfurled,
-  And the beacon-fire raised that gave light to the world!
-
-  They are gone—mighty men!—and they sleep in their fame:
-    Shall we ever forget them? Oh, never! no, never!
-  Let our sons learn from us to embalm each great name,
-    And the anthem send down—“Independence forever!”
-            Wake, wake, heart and tongue!
-            Keep the theme ever young;
-    Let their deeds through the long line of ages be sung
-  Who on freedom’s green hills freedom’s banner unfurled,
-  And the beacon-fire raised that gave light to the world!
-
-                                          CHARLES SPRAGUE.
-
-
-MUSIC—By Band or Orchestra.
-
-
-READING—The Vow of Washington.
-
-      The sword was sheathed: in April’s sun
-      Lay green the fields by freedom won;
-  And severed sections, weary of debates,
-  Joined hands at last and were United States.
-
-      O city, sitting by the sea!
-      How proud the day that dawned on thee,
-  When the new era, long desired, began,
-  And, in its need, the hour had found the man!
-
-      One thought the cannon salvos spoke;
-      The resonant bell-tower’s vibrant stroke,
-  The voiceful streets, the plaudit-echoing halls,
-  And prayer and hymn borne heavenward from St. Paul’s!
-
-      How felt the land in every part
-      The strong throb of a nation’s heart,
-  As its great leader gave, with reverent awe,
-  His pledge to union, liberty and law!
-
-      That pledge the heavens above him heard,
-      That vow the sleep of centuries stirred;
-  In world-wide wonder listening peoples bent
-  Their gaze on freedom’s great experiment.
-
-      Could it succeed? Of honor sold
-      And hopes deceived all history told.
-  Above the wrecks that strewed the mournful past
-  Was the long dream of ages true at last?
-
-      Thank God! the people’s choice was just,
-      The one man equal to his trust,
-  Wise beyond lore, and without weakness good,
-  Calm in the strength of flawless rectitude!
-
-      His rule of justice, order, peace,
-      Made possible the world’s release;
-  Taught prince and serf that power is but a trust,
-  And rule, alone, which serves the ruled, is just;
-
-      That freedom generous is, but strong
-      In hate of fraud and selfish wrong,
-  Pretense that turns her holy truths to lies,
-  And lawless license masking in her guise.
-
-      Land of his love! with one glad voice
-      Let thy great sisterhood rejoice;
-  A century’s suns o’er thee have risen and set,
-  And, God be praised, we are one nation yet.
-
-      And still, we trust, the years to be
-      Shall prove his hope was destiny,
-  Leaving our flag with all its added stars
-  Unrent by faction and unstained by wars!
-
-      Lo! where with patient toil he nursed
-      And trained the new-set plant at first,
-  The widening branches of a stately tree
-  Stretched from the sunrise to the sunset sea.
-
-      And in its broad and sheltering shade,
-      Sitting with none to make afraid,
-  Were we now silent, through each mighty limb,
-  The winds of heaven would sing the praise of him.
-
-      Our first and best—his ashes lie
-      Beneath his own Virginian sky.
-  Forgive, forget, O true and just and brave,
-  The storm that swept above thy sacred grave!
-
-      For, ever in the awful strife
-      And dark hours of the nation’s life,
-  Through the fierce tumult pierced his warning word,
-  Their father’s voice his erring children heard!
-
-      The change for which he prayed and sought
-      In that sharp agony was wrought;
-  No partial interest draws its alien line
-  ’Twixt North and South, the cypress and the pine!
-
-      One people now, all doubt beyond,
-      His name shall be our Union-bond;
-  We lift our hands to heaven, and here, and now,
-  Take on our lips the old Centennial vow.
-
-      For rule and trust must needs be ours;
-      Chooser and chosen both our powers
-  Equaled in service as in rights; the claim
-  Of duty rests on each and all the same.
-
-      Then let the sovereign millions, where
-      Our banner floats in sun and air,
-  From the warm palm-lands to Alaska’s cold,
-  Repeat with us the pledge a century old!
-
-                         JOHN GREENLEAF WHITTIER.
-
-
-DECLAMATION—The Little Mayflower.
-
-And now—for the fulness of time is come—let us go up, in imagination
-to yonder hill, and look out upon the November scene. That single dark
-speck, just discernible through the perspective glass, on the waste of
-waters, is the fated vessel. The storm moans through her tattered canvas,
-as she creeps, almost sinking, to her anchorage in Provincetown harbor;
-and there she lies, with all her treasures, not of silver and gold (for
-of these she has none), but of courage, of patience, of zeal, of high
-spiritual daring.
-
-So often as I dwell in imagination on this scene; when I consider the
-condition of the Mayflower, utterly incapable, as she was, of living
-through another gale; when I survey the terrible front presented by
-our coast to the navigator who, unacquainted with its channels and
-roadsteads, should approach it in the stormy season, I dare not call it a
-mere piece of good fortune, that the general north and south wall of the
-shore of New England should be broken by this extraordinary projection
-of the cape, running out into the ocean a hundred miles, as if on purpose
-to receive and encircle the precious vessel.
-
-As I now see her, freighted with the destinies of a continent, barely
-escaped from the perils of the deep, approaching the shore precisely
-where the broad sweep of this most remarkable headland presents almost
-the only point at which, for hundreds of miles, she could, with any ease,
-have made a harbor, and this, perhaps, the very best on the seaboard, I
-feel my spirit raised above the sphere of mere natural agencies.
-
-I see the mountains of New England rising from their rocky thrones. They
-rush forward into the ocean, settling down as they advance; and there
-they range themselves, as a mighty bulwark around the heaven-directed
-vessel. Yes, the everlasting God himself stretches out the arm of his
-mercy and his power, in substantial manifestation, and gathers the meek
-company of his worshipers as in the hollow of his hand.
-
-                                                          EDWARD EVERETT.
-
-
-MARCH—Our Naval Cadets.
-
-  (Twelve or more boys dressed in naval costume and carrying flags.)
-
-
-SINGING—TUNE: Columbia, the Gem of the Ocean.
-
-  O, land of a million brave soldiers,
-    Who severed the bonds of despair;
-  O, land of a million true-hearted
-    Who failed not to do and to dare!
-  May ever thy shores gleam before us,
-    With harvests whose wealth shall not cease,
-  May ever in beauty bend o’er us,
-    The wings of the white dove of peace.
-
-  CHORUS.
-
-  Hail the glory of Freedom’s glad light!
-    Hail the passing of Slavery’s night!
-  Hail the triumph of Truth over Error!
-    Hail the glory of Freedom’s glad light!
-  Though hushed is the voice of the cannon
-    Though silent the loud battle cry,
-  There’s many to-day, who if needful,
-    For Freedom would suffer and die.
-  Columbia’s sons still are loyal,
-    Columbia’s sons still are true,
-  ’Neath the emblem of Justice and Mercy
-    The banner of red, white and blue.
-
-
-RECITATION—To the Ladies.
-
-(To be prefaced with the following statement: “In the year 1768, the
-people of Boston resolved that they would not import any tea, glass,
-paper, or other commodities commonly brought from Great Britain, until
-the act imposing duties upon all such articles should be repealed. This
-poetical appeal to the ladies of the country, to lend a ‘helping hand’
-for the furtherance of that resolution, appeared in the Boston _News
-Letter_, anonymously.”)
-
-  Young ladies in town, and those that live round,
-    Let a friend at this season advise you;
-  Since money’s so scarce, and times growing worse,
-    Strange things may soon hap and surprise you.
-
-  First, then, throw aside your topknots of pride;
-    Wear none but your own country linen;
-  Of economy boast, let your pride be the most
-    To show clothes of your own make and spinning.
-
-  What if homespun they say is not quite so gay
-    As brocades, yet be not in a passion,
-  For when once it is known this is much worn in town,
-    One and all will cry out—’Tis the fashion!
-
-  And, as one, all agree, that you’ll not married be
-    To such as will wear London factory,
-  But at first sight refuse, tell ’em such you will choose
-    As encourage our own manufactory.
-
-  No more ribbons wear, nor in rich silks appear;
-    Love your country much better than fine things;
-  Begin without passion, ’twill soon be the fashion
-    To grace your smooth locks with a twine string.
-
-  Throw aside your Bohea, and your Green Hyson tea,
-    And all things with a new-fashion duty;
-  Procure a good store of the choice Labrador,
-    For there’ll soon be enough here to suit you.
-
-  These do without fear, and to all you’ll appear
-    Fair, charming, true, lovely and clever;
-  Though the times remain darkish, young men may be sparkish,
-    And love you much stronger than ever.
-
-  Then make yourselves easy, for no one will teaze ye,
-    Nor tax you, if chancing to sneer
-  At the sense-ridden tools, who think us all fools;
-    But they’ll find the reverse far and near.
-
-
-MUSIC—By Band or Orchestra.
-
-
-TABLEAU—Conquered and Conqueror.
-
-  (A soldier dressed as a British redcoat is lying down, resting
-  on one elbow and holding up his hand to ward off his foe. A
-  soldier dressed in Continental uniform stands over him, pointing
-  a bayonet at his breast.)
-
-
-MUSIC—By Band or Orchestra.
-
-
-PROGRAMME NO. 2, FOR FOURTH OF JULY.
-
-
-MUSIC—By Band or Orchestra.
-
-
-SINGING—TUNE: America.
-
-  God bless our native land!
-  Firm may she ever stand
-      Through storm and night;
-  When the wild tempests rave,
-  Ruler of winds and wave!
-  Do thou our country save
-      By thy great might.
-
-  For her our prayers shall rise
-  To God above the skies,
-      On him we wait;
-  Thou who art ever nigh,
-  Guardian with watchful eye!
-  To thee alone we cry,
-      God save the State.
-
-  Our fathers’ God! to thee,
-  Author of liberty,
-      To thee we sing;
-
-  Long may our land be bright
-  With freedom’s holy light;
-  Protect us by thy might,
-      Great God, our King!
-
-
-READING—Declaration of Independence.
-
-
-RECITATION—Our Natal Day.
-
-  Oh, the Fourth of July!
-      When fire-crackers fly,
-  And urchins in petticoats tyrants defy!
-      When all the still air
-      Creeps away in despair,
-  And clamor is king, be the day dark or fair!
-          When freedom’s red flowers
-          Fall in star-spangled showers,
-  And liberty capers for twenty-four hours.
-          When the morn’s ushered in
-          By a sleep-crushing din,
-  That tempts us to use philological sin;
-          When the forenoon advances
-          With large circumstances,
-  Subjecting our lives to debatable chances;
-          When the soldiers of peace
-          Their attractions increase,
-  By marching, protected with clubs of police;
-          When the little toy gun
-          Has its share of the fun,
-  By teaching short-hand to the favorite son.
-
-          Oh, the Fourth of July!
-          When grand souls hover nigh!
-  When Washington bends from the honest blue sky!
-          When Jefferson stands—
-          Famous scribe of all lands—
-  The charter of heaven in his glorified hands!
-          When his comrade—strong, high,
-          John Adams—comes nigh,
-  (For both went to their rest the same Fourth of July!)
-          When Franklin—grand, droll—
-          That could lightnings control,
-  Comes here with his sturdy, progressive old soul;
-          When freedom’s strong staff—
-          Hancock—with a laugh,
-  Writes in memory’s album his huge autograph!
-
-          But let thought have its way,
-          And give memory sway;
-  Do we think of the cost of this glorified day?
-          While the harvest-field waves,
-          Do we think of those braves
-  In the farms thickly planted with thousands of graves?
-          How the great flag up there,
-          Clean and pure as the air,
-  Has been drabbled with blood-drops, and trailed in despair?
-
-          Do we know what a land
-          God hath placed in our hand,
-  To be made into star-gems, or crushed into sand?
-          Let us feel that our race,
-          Doomed to no second place,
-  Must glitter with triumph, or die in disgrace!
-          That millions unborn,
-          At night, noon, and morn,
-  Will thank us with blessings, or curse us with scorn,
-          For raising more high
-          Freedom’s flag to the sky,
-  Or losing forever the Fourth of July!
-
-                                       WILL CARLETON.
-
-
-SINGING—Tune: “Hold the Fort.”
-
-  Oh, behold in all its beauty,
-    Freedom’s flag unfurled!
-  Glorious flag—to us the fairest
-    In the wide, wide world.
-
-  CHORUS.
-
-  Proudly float, O flag of Freedom,
-    Fair Columbia’s pride!
-  For thy stars and stripes of beauty,
-    Many a hero died.
-
-  Great the price of Freedom’s purchase—
-    ’Twas the price of life;
-  Oh, the pain and loss and sorrow
-    Ere the end of strife.
-
-  Ever mindful of the struggle,
-    Let us all be true
-  To the colors of our nation—
-    Red, and white and blue.
-
-
-RECITATION—The Banner of the Sea.
-
-  By wind and wave the sailor brave has fared
-      To shores of every sea;
-  But never yet have seamen met or dared
-    Grim death for victory
-  In braver mood than they who died
-  On drifting decks, in Apia’s tide,
-  While cheering every sailor’s pride,
-                  The banner of the free!
-
-  Columbia’s men were they who then went down,
-          Not knights nor kings of old,
-  But brighter far their laurels are than crown
-          Or coronet of gold;
-    Our sailor true, of any crew,
-    Would give the last long breath he drew
-    To cheer the old red, white and blue,
-                  The banner of the bold!
-
-  With hearts of oak, through storm and smoke and flame,
-          Columbia’s seamen long
-  Have bravely fought and nobly wrought, that shame
-          Might never dull their song;
-    They sing the country of the free,
-    The glory of the rolling sea,
-    The starry flag of liberty,
-                  The banner of the strong!
-
-  We ask but this, and not amiss the claim,
-          A fleet to ride the wave,
-  A navy great to crown the State with fame,
-          Though foes or tempests rave;
-    Then, as our fathers did of yore,
-    We’ll sail our ships to every shore,
-    On every ocean wind will soar
-                  The banner of the brave!
-
-  Oh! this we claim, that never shame may ride
-          On any wave with thee,
-  Thou Ship of State, whose timbers great abide
-          The home of liberty!
-    For, so, our gallant Yankee tars,
-    Of daring deeds and honored scars,
-    Will make the banner of the stars
-                  The banner of the sea.
-
-                                        HOMER GREEN.
-
-
-MUSIC—Cornet Solo.
-
-
-ORATION—What America has Done for the World.
-
-What has this nation done to repay the world for the benefits we have
-received from others? We have been repeatedly told, and sometimes,
-too, in a tone of affected impartiality, that the highest praise which
-can fairly be given to the American mind, is that of possessing an
-enlightened selfishness; that if the philosophy and talents of this
-country, with all their effects, were forever swept into oblivion, the
-loss would be felt only by ourselves; and that if to the accuracy of this
-general charge, the labors of Franklin present an illustrious, it is
-still but a solitary, exception.
-
-The answer may be given, confidently and triumphantly. Without abandoning
-the fame of our eminent men, whom Europe has been slow and reluctant to
-honor, we would reply, that the intellectual power of this people has
-exerted itself in conformity to the general system of our institutions
-and manners; and therefore, that, for the proof of its existence and the
-measure of its force, we must look not so much to the works of prominent
-individuals, as to the great aggregate results; and if Europe has
-hitherto been wilfully blind to the value of our example and the exploits
-of our sagacity, courage, invention, and freedom, the blame must rest
-with her, and not with America.
-
-Is it nothing for the universal good of mankind to have carried into
-successful operation a system of self-government, uniting personal
-liberty, freedom of opinion, and equality of rights, with national power
-and dignity; such as had before existed only in the Utopian dreams of
-philosophers? Is it nothing, in moral science, to have anticipated
-in sober reality, numerous plans of reform in civil and criminal
-jurisprudence, which are, but now, received as plausible theories by the
-politicians and economists of Europe? Is it nothing to have been able to
-call forth on every emergency, either in war or peace, a body of talented
-patriots always equal to the difficulty?
-
-Is it nothing to have, in less than a half-century, exceedingly improved
-the sciences of political economy, of law, and of medicine, with all
-their auxiliary branches; to have enriched human knowledge by the
-accumulation of a great mass of useful facts and observations, and to
-have augmented the power and the comforts of civilized man, by miracles
-of mechanical invention? Is it nothing to have given the world examples
-of disinterested patriotism, of political wisdom, of public virtue; of
-learning, eloquence, and valor, never exerted save for some praiseworthy
-end? It is sufficient to have briefly suggested these considerations;
-every mind would anticipate me in filling up the details.
-
-No—Land of Liberty! thy children have no cause to blush for thee. What
-though the arts have reared few monuments among us, and scarce a trace
-of the muse’s footstep is found in the paths of our forests, or along
-the banks of our rivers; yet our soil has been consecrated by the blood
-of heroes, and by great and holy deeds of peace. Its wide extent has
-become one vast temple and hallowed asylum, sanctified by the prayers
-and blessings of the persecuted of every sect, and the wretched of all
-nations.
-
-Land of Refuge—Land of Benedictions! Those prayers still arise, and they
-still are heard: “May peace be within thy walls, and plenteousness within
-thy palaces!” “May there be no decay, no leading into captivity, and no
-complaining in thy streets!” “May truth flourish out of the earth, and
-righteousness look down from Heaven!”
-
-                                                     GULIAN C. VERPLANCK.
-
-
-MARCH—Daughters of the Revolution.
-
-(Twelve or more little girls, dressed in Continental costume and carrying
-flags. They should be drilled to perform a march.)
-
-
-RECITATION—Stand up for Liberty.
-
-  Ye sons of Columbia, who bravely have fought
-    For those rights which unstained from your sires had descended.
-  May you long taste the blessings your valor has brought,
-    And your sons reap the soil which your fathers defended.
-  Let our patriots destroy anarch’s pestilent worm,
-    Lest our liberty’s growth should be checked by corrosion;
-  Then let clouds thicken round us: we heed not the storm;
-    Our realm feels no shock but the earth’s own explosion.
-            Foes assail us in vain,
-            Though their fleets bridge the main;
-    For our altars and laws with our lives we’ll maintain;
-    For ne’er shall the sons of Columbia be slaves,
-    While the earth bears a plant or the sea rolls its waves.
-
-  Should the tempest of war overshadow our land,
-    Its bolts could ne’er rend freedom’s temple asunder;
-  For, unmoved, at its portal would Washington stand,
-    And repulse, with his breast, the assaults of the thunder!
-            His sword from the sleep
-            Of its scabbard would leap,
-    And conduct, with its point, every flash to the deep!
-    For ne’er shall the sons of Columbia be slaves,
-    While the earth bears a plant or the sea rolls its waves.
-
-  Let fame to the world sound America’s voice;
-    No intrigues can her sons from their government sever;
-  Her pride are her statesmen—their laws are her choice,
-    And shall flourish till liberty slumbers forever.
-              Then unite heart and hand,
-              Like Leonidas’ band,
-    And swear to the God of the ocean and land
-    That ne’er shall the sons of Columbia be slaves,
-    While the earth bears a plant or the sea rolls its waves.
-
-                                                  ROBERT TREAT PAINE, JR.
-
-
-MUSIC—By Band or Orchestra.
-
-
-RECITATION—Off with Your Hat as the Flag Goes By.
-
-  Off with your hat as the flag goes by!
-    And let the heart have its say;
-  You’re man enough for a tear in your eye
-    That you will not wipe away.
-
-  You’re man enough for a thrill that goes
-    To your very finger tips—
-  Ay! The lump just then in your throat that rose
-    Spoke more than your parted lips.
-
-  Lift up the boy on your shoulder high,
-    And show him the faded shred—
-  Those stripes would be red as the sunset sky
-    If death could have dyed them red.
-
-  The man that bore it, with death has lain
-    These thirty years or more—
-  He died that the work should not be vain
-    Of the men who bore it before.
-
-  The man that bears it is bent and old,
-    And ragged his beard and gray;
-  But see his proud form grow young and bold,
-    At the tune that he hears them play.
-
-  The old tune thunders through all the air,
-    And strikes right into the heart;
-  If it ever calls for you, boy, be there!
-    Be there and ready to start!
-
-  Off with your hat as the flag goes by!
-    Uncover the youngster’s head!
-  Teach him to hold it holy and high,
-    For the sake of its sacred dead.
-
-                               H. C. BUNNER.
-
-
-RECITATION—The Young American.
-
-  Scion of a mighty stock!
-  Hands of iron—hearts of oak—
-  Follow with unflinching tread
-  Where the noble fathers led.
-
-  Craft and subtle treachery,
-  Gallant youth! are not for thee;
-  Follow thou in word and deeds
-  Where the God within thee leads!
-
-  Honesty with steady eye,
-  Truth and pure simplicity,
-  Love that gently winneth hearts—
-  These shall be thy only arts:
-
-  Prudent in the council train,
-  Dauntless on the battle-plain,
-  Ready at the country’s need
-  For her glorious cause to bleed!
-
-  Where the dews of night distill
-  Upon Vernon’s holy hill;
-  Where above it, gleaming far,
-  Freedom lights her guiding star:
-
-  Thither turn the steady eye,
-  Flashing with a purpose high;
-  Thither, with devotion meet,
-  Often turn the pilgrim feet!
-
-  Let the noble motto be,
-  God—the country—liberty!
-  Planted on religion’s rock,
-  Thou shalt stand in every shock.
-
-
-TABLEAU—Surrender of Cornwallis.
-
-  (American and British soldiers in the background. Washington in
-  front and Cornwallis handing him his sword.)
-
-
-MUSIC—By Band or Orchestra.
-
-
-PROGRAMME FOR A CHRISTMAS ENTERTAINMENT.
-
-(A Christmas tree always pleases young people, and what interests them
-is sure to be appreciated by older persons. In the absence of a Christmas
-tree, loaded with decorations and gifts, the room should be trimmed with
-evergreens; in fact, such decorations are always in order at the merry
-Christmas time.)
-
-
-SONG—Christmas Bells, Tune: “Ring the Bells of Heaven.”
-
-    Ring, O bells, in gladness,
-    Tell of joy to-day;
-  Ring and swing o’er all the world so wide.
-    Banish thoughts of sadness,
-    Drive all grief away,
-  For it is the Merry Christmas tide.
-
-  CHORUS.
-
-    Ring, O bells, from spire and swelling dome,
-    Ring and bid the peaceful ages come;
-      Banish thoughts of sadness,
-      Drive all grief away,
-    For it is the Merry Christmas Day.
-
-    Ring, O bells, the story
-      From the ages far;
-  Of the Christmas joy and song and light;
-    How the wondrous glory
-      Of the Christmas star
-  Led the shepherds onward through the night!
-
-    Ring, O bells, in gladness
-      Of the Saviour King;
-  May your silver chimings never cease;
-    Banish thoughts of sadness
-      And all nations bring
-  Glorious dawning of the Day of Peace.
-
-                            ALICE JEAN CLEATOR.
-
-
-RELIGIOUS EXERCISES—To be Selected.
-
-
-RECITATION—A Letter to Santa Claus.
-
-  Blessed old Santa Claus! king of delights!
-  What are you doing these long winter nights?
-  Filling your budgets with trinkets and toys—
-  Wonderful gifts for the girls and the boys?
-  While you are planning for everything nice,
-  Pray let me give you a bit of advice.
-
-  Don’t take it hard, if I say in your ear,
-  Santa, I think you were partial last year;
-  Loading the rich folks with everything gay,
-  Snubbing the poor ones who came in your way:
-  Now, of all times in the year, I am sure
-  This is the time to remember the poor.
-
-  Little red hands that are aching with cold,
-  You should have mittens your fingers to hold;
-  Poor little feet, with your frost-bitten toes,
-  You should be clothed in the warmest of hose.
-  On the dark hearth I would kindle a light,
-  Till the sad faces were happy and bright.
-
-  Don’t you think, Santa, if all your life through,
-  Some one had always been caring for you,
-  Watching to guard you by night and by day,
-  Giving you gifts you could never repay,
-  Sometimes, at least, you would sigh to recall
-  How many children have nothing at all?
-
-  Safe in your own quiet chamber at night,
-  Cozy and warm in your blankets so white,
-  Wouldn’t you think of the shivering forms
-  Out in the cold and the wind and the storms?
-  Wouldn’t you think of the babies who cry,
-  Pining in hunger and cold till they die?
-
-  Blessed old Nick! I was sure, if you knew it,
-  You would remember, and certainly do it;
-  This year, at least, when you open your pack,
-  Pray give a portion to all who may lack;
-  Then if you chance to have anything over,
-  Bring a small gift to your friend—Kitty Clover.
-
-
-RECITATION—Christmas in all the Lands
-
-  (For four children. They recite singly and then in concert,
-  beginning with the words in the last verse, “Lo, want and
-  sin,” etc.)
-
-  FIRST CHILD.
-
-  From the wild Northland where the wolf’s long howl
-  Stirs the depths of down in the ocean fowl,
-  And the white bear prowls with stealthy creep
-  To the spot where the seal lies fast asleep,
-  And the sledges flash through the silence vast
-  Like a glittering dream, now here, now past,—
-  On this waste of sparkle and waste of snow
-  ’Neath skies aflame with a crimson glow;
-  The feet of the Christ-child softly fall,
-  And Christmas dawn brings cheer to all.
-
-  SECOND CHILD.
-
-  ’Tis the homestead low in the quiet vale
-  Where the farm-dog follows Dobbin’s trail
-  To the pasture lot, now cold and bare,
-  And sniffs with glee the snow-filled air.
-  In this home of busy household joys,
-  ’Mong the rosy girls and sturdy boys,
-  Sweet peace descends on wings of light,
-  And all exclaim, “’Tis Christmas night,
-  The dear Christ-child is hovering near
-  Let each one share our Christmas cheer.”
-
-  THIRD CHILD.
-
-  ’Tis the prairies vast where cyclones sweep,
-  And their sturdy men world-harvests reap,
-  Where the skies are such an airy blue
-  An angel’s robe might flutter through;
-  And the lark flings down her music sweet
-  A chain of song, each link complete;
-  Then a white day comes, so bland or wild,
-  It bears in arms the sweet Christ-child,
-  And hearts touch heart and hands touch hand,
-  While Christmas light illumes the land.
-
-  FOURTH CHILD.
-
-  ’Tis the land of palms and of orange trees,
-  Whose lamps of gold swing in the breeze,
-  Where the pickaninny’s black eyes glow,
-  O’er swarthy cheeks and teeth of snow,
-  And the dusky hand is raised to bless
-  The gift that makes his misery less;
-  For rich and poor and young and old
-  Stand in the charmed ring of gold
-  Which Christmas brings. Lo, want and sin
-  Flee from the blessed eyes of Him,
-  The dear Christ child, who far and near
-  Gives Christmas love and Christmas cheer.
-
-                               G. A. BROWN.
-
-
-MUSIC—Cornet Solo, or Choir.
-
-
-READING—Santa Claus on the Train.
-
-  On a Christmas eve an emigrant train
-    Sped on through the blackness of night,
-  And cleft the pitchy dark in twain
-    With the gleam of its fierce headlight.
-
-  In a crowded car, a noisome place,
-    Sat a mother and her child;
-  The woman’s face bore want’s wan trace,
-    But the little one only smiled,
-
-  And tugged and pulled at her mother’s dress,
-    And her voice had a merry ring,
-  As she lisped, “Now, mamma, come and guess
-    What Santa Claus’ll bring.”
-
-  But sadly the mother shook her head,
-    As she thought of a happier past;
-  “He never can catch us here,” she said
-    “The train is going too fast.”
-
-  “O, mamma, yes, he’ll come, I say,
-    So swift are his little deer,
-  They run all over the world to-day;—I’ll
-    hang my stocking up here.”
-
-  She pinned her stocking to the seat,
-    And closed her tired eyes;
-  And soon she saw each longed-for sweet
-    In dreamland’s paradise.
-
-  On a seat behind the little maid
-    A rough man sat apart,
-  But a soft light o’er his features played,
-    And stole into his heart.
-
-  As the cars drew up at a busy town
-    The rough man left the train,
-  But scarce had from the steps jumped down
-    Ere he was back again.
-
-  And a great big bundle of Christmas joys
-    Bulged out from his pocket wide;
-  He filled the stocking with sweets and toys
-    He laid by the dreamer’s side.
-
-  At dawn the little one woke with a shout,
-    ’Twas sweet to hear her glee;
-  “I knowed that Santa Claus would find me out,
-    He caught the train you see.”
-
-  Though some from smiling may scarce refrain,
-    The child was surely right,
-  The good St. Nicholas caught the train,
-    And came aboard that night.
-
-  For the saint is fond of masquerade
-    And may fool the old and wise,
-  And so he came to the little maid
-    In an emigrant’s disguise.
-
-  And he dresses in many ways because
-    He wishes no one to know him,
-  For he never says, “I am Santa Claus,”
-    But his good deeds always show him.
-
-                               HENRY C. WALSH.
-
-
-RECITATION—The Waifs.
-
-  At the break of Christmas day,
-    Through the frosty starlight ringing,
-  Faint and sweet and far away,
-    Comes the sound of children, singing,
-      Chanting, singing,
-        “Cease to mourn,
-        For Christ is born,
-  Peace and joy to all men bringing!”
-
-  Careless that the chill winds blow,
-    Growing stronger, sweeter, clearer,
-  Noiseless footfalls in the snow
-    Bringing the happy voices nearer;
-      Hear them singing,
-        “Winter’s drear,
-        But Christ is here,
-  Mirth and gladness with him bringing!”
-
-  “Merry Christmas!” hear them say
-    As the east is growing lighter;
-  “May the joy of Christmas day
-    Make your whole year gladder, brighter!”
-      Join their singing,
-        “To each home
-        Our Christ has come,
-  All Love’s treasures with him bringing!”
-
-                         MARGARET DELAND.
-
-
-SONG—Welcome Santa Claus. Tune: “Hold the Fort.”
-
-  From the cold and frosty northland;
-      Oh so far away,
-    Santa Claus will soon be coming
-  In his little sleigh;
-  Let us listen for the reindeers’
-    Dancing, prancing feet,
-  Let us wait old Santa’s jolly,
-    Jolly face to greet!
-
-  Listen, don’t you hear his sleigh-bells
-    Oh so faintly ring,
-  Santa Claus is surely coming
-    Many gifts to bring;
-  In his busy little workshop
-    Many a long, long day,
-  Pretty presents he has made
-    To give them all away!
-
-  Oh his sleigh-bells jingle, jingle,
-    Very, very near;
-  Can it be that dear old Santa’s
-    Really almost here?
-  Hark, they cease their silver music,
-    Santa Claus has come!
-  Welcome, welcome, dear old Santa,
-    Welcome to each home!
-
-
-ORIGINAL ADDRESS—By a Person Selected.
-
-
-RECITAL—Santa Claus and the Mouse.
-
-  (For boy or girl, who has a stocking with a hole in it, and holds
-  it up in the last verse, shows the hole and thrusts one or two
-  fingers through it.)
-
-  One Christmas eve when Santa Claus
-    Came to a certain house,
-  To fill the children’s stockings there
-    He found a little mouse.
-
-  “A merry Christmas, little friend,”
-    Said Santa, good and kind.
-  “The same to you, sir,” said the mouse,
-    “I thought you wouldn’t mind
-
-  If I should stay awake to-night
-    And watch you for awhile.”
-  “You’re very welcome, little mouse,”
-    Said Santa with a smile.
-
-  And then he filled the stockings up
-    Before the mouse could wink.—
-  From toe to top, from top to toe
-    There wasn’t left a chink.
-
-  “Now, they won’t hold another thing,”
-    Said Santa Claus, with pride.
-  A twinkle came in mouse’s eyes,
-    But humbly he replied:
-
-  “It’s not polite to contradict,—
-    Your pardon I implore,—
-  But in the fullest stocking there
-    I could put one thing more.”
-
-  “Oh, ho!” laughed Santa, “silly mouse!
-    Don’t I know how to pack?
-  By filling stockings all these years,
-    I should have learned the knack.”
-
-  And then he took the stocking down
-    From where it hung so high,
-  And said: “Now put in one thing more;
-    I give you leave to try.”
-
-  The mousie chuckled to himself,
-    And then he softly stole
-  Right to the stocking’s crowded toe
-    And gnawed a little hole!
-
-  “Now, if you please, good Santa Claus,
-    I’ve put in one thing more;
-  For you will own that little hole
-    Was not in there before.”
-
-  How Santa Claus did laugh and laugh!
-    And then he gayly spoke:
-  “Well! you shall have a Christmas cheese
-    For that nice little joke.”
-
-  If you don’t think this story true,
-    Why I can show to you
-  The very stocking with the hole
-    The little mouse gnawed through!
-
-                           EMILIE POULSSON.
-
-
-RECITATION—What Ted Found in his Stocking.
-
-  “I don’t care, I _will_ go!
-    So there, Mamma Mouse!
-  The folks are all sleeping
-    All over the house;
-
-  “The stockings are hanging—
-    I smell the sweet bits.
-  It’s enough to drive mousies
-    Into wild, crazy fits!”
-
-  So when old Mrs. Mouse
-    Went off to her bed,
-  The little mouse watched,
-    And popped up his head.
-
-  Then smelling his way
-    Very nicely along,
-  He jumped into a stocking,
-    So new and so strong.
-
-  But a string on a bundle
-    Stuck out in a loop,
-  And in it he tumbled,
-    The poor silly dupe!
-
-  Oh, then what bewailings
-    Came out of that stocking!
-  Such moans and lamentings,
-    It really was shocking!
-
-  “O dear! and oh dear!
-    I wish I was home!
-  If I’d minded mamma,
-    And hadn’t ’a’ come!”
-
-  But ’twas all of no use.
-    The string was so tight
-  That all he could do
-    Was to wait for daylight.
-
-  Then Ted gave a shout
-    That awoke the whole house;
-  For there in his stocking
-    Was a little gray mouse!
-
-  What became of him then
-    The cat only can tell,
-  But one thing I’ll say—
-    I know very well
-
-  (_By Whole School in Concert_).
-
-  That he’ll never again on a Christmas Eve
-  Jump into a stocking without any leave!
-
-
-MUSIC—To be Selected.
-
-
-SANTA CLAUS—To be Selected.
-
-  (Comes in dressed in heavy winter garments, with long, white beard
-  and pockets stuffed with toys).
-
-
-DISTRIBUTION OF GIFTS.
-
-
-PROGRAMME FOR DECORATION DAY.
-
-(Music by band or orchestra can be introduced whenever deemed
-appropriate).
-
-
-SINGING—“Columbia, the Gem of the Ocean.”
-
-
-DECLAMATION—The Meaning of the Day.
-
-All over our land, in every cemetery where rests members of our army of
-the dead—and we doubt if any burial place has not such sleepers,—people
-are gathered to-day to pay tribute to our soldier dead and strew flowers
-over their graves. All hearts turn as by a common impulse to these
-ceremonies. We bring our offerings of flowers to the soldiers, but it
-affects them not; they cannot feel the love and gratitude that prompt the
-gift. Their lives and deeds have wrought for themselves more enduring
-monuments than sculptured marble. We assure the loving soldiers that
-they are not forgotten—that their courage and patriotism will always
-be remembered as long as a loyal school boy or school girl may live.
-But this day means more than this, it means something for our nation,
-something for posterity; its belief in that grand old flag and what
-it stands for; a belief in freedom. It means that the boys and girls
-of to-day, the men and women of to-morrow, who share in this day’s
-ceremonies, echo the words of our fathers, that “this government shall be
-preserved, come what will, threaten it who may.”
-
-
-EXERCISE.
-
-  (For fifteen pupils each carrying a flag, and gesturing as
-  indicated. Pupil 8 should carry a larger flag than the others.
-  Seven to the left of eight should hold flags to left shoulder;
-  seven to right of eight, should hold flags to right shoulder.
-  When the word _North_ is recited, the seven to the right of
-  number eight raise their flags, then back to the shoulder; when
-  the word _South_ is recited, the seven to the left of number
-  eight lift their flags, then replace to shoulders. Each might
-  carry in other hand a bunch of flowers, and at the word
-  _flowers_, the bouquets should be raised as were the flags.
-  The pupils to the left could wear gray and those to the right,
-  blue, in some way—in caps, sashes or bows. Number eight should
-  be dressed in red, white and blue.)
-
-  _1st Pupil._
-
-  There is peace, there is peace in the South and the North,
-  When the suns of the May-time shall call the blooms forth.
-
-  _2nd Pupil._
-
-  There is peace in the vale where the Tennessee runs—
-  Where the river grass covers the long silent guns.
-
-  _3rd Pupil._
-
-  There is peace in Virginia amid the tall corn;
-  Where Lookout’s high summit grows bright in the morn.
-
-  _4th Pupil._
-
-  There is peace where the James wanders down to the main;
-  Where the war-torn Savannas are golden with grain.
-
-  _5th Pupil._
-
-  There is peace where the squadrons of carnage have wheeled,
-  Fierce over Shiloh’s shell-furrowed field.
-
-  _6th Pupil._
-
-  There is peace in the soil whence the palmettoes spring;
-  In the sad Shenandoah the harvesters sing.
-
-  _7th Pupil._
-
-  There is peace in Manassas, Antietam’s dark rills;
-  No more throb the drum on the bare Georgian hills.
-
-  _8th Pupil._
-
-  There is peace where the warriors of Gettysburg rest;
-  On the ramparts of Sumter the summer bird’s nest.
-
-  _9th Pupil._
-
-  There is peace where the “Father of Waters” ran red,
-  Where the batteries of Mobile lie soundless and dead.
-
-  _10th Pupil._
-
-  There is peace where the rifle hangs mantled with dust,
-  Where the once reeking saber is sheathed in its rust.
-
-  _11th Pupil._
-
-  There is peace where the war-hoofs tore up the smooth lea,
-  Where the hoarse-noted cannon rang over the sea.
-
-  _12th Pupil._
-
-  There is peace in the North, though her soldier is yet
-  Far away on the field where the fierce columns met.
-
-  _13th Pupil._
-
-  There is peace in the South, though her soldier is lost
-  In the path where the lines of the foeman have crossed.
-
-  _14th Pupil._
-
-  There is peace in the land, and the “stars and the bars”
-  Forever have merged in the “stripes and the stars.”
-
-  _15th Pupil._
-
-  There is peace where the flowers cover the tombs,
-  And the Blue and the Gray now blend with the blooms.
-
-  _All._
-
-  God grant that this peace may forever be ours!
-  And the Blue and the Gray alike sleep neath the flowers!
-
-  (These last two lines should be recited while flags and flowers
-  are held in front, in prayerful attitude, eyes of pupils glancing
-  upward.)
-
-
-RECITATION—Decoration Day.
-
-  It’s lonesome—sorto’ lonesome—it’s a Sund’y day to me,
-  It ’pears like—mor’n any day I nearly ever see!
-  Yit, with the Stars and Stripes above, a flutterin’ in the air,
-  On ev’ry soldier’s grave I’d love to lay a lily there.
-
-  They say, though, Decoration Days is generally observed—
-  Most ev’ry wheres—especially by soldier boys that served—
-  But me and mother never went—we seldom git away—
-  In pint of fact, we’re allus home on Decoration Day.
-
-  They say the old boys marches through the streets in columns grand,
-  A-follerin’ the old war tunes they’re playin’ on the band,
-  And citizens all jinin’ in—and little children, too—
-  All marchin’ under shelter of the old Red, White and Blue,
-
-  With roses! roses! roses!—ev’rybody in the town!
-  And crowds of girls in white, just fairly loaded down!
-  Oh! don’t the boys know it, from their camp across the hill?
-  Don’t they see their comrades comin’ and the old flag wavin’ still?
-
-  Oh! can’t they hear the bugle and the rattle of the drum?—
-  Ain’t they no way under heaven they can rickollect us some?
-  Ain’t they no way we can coax ’em through the roses, just to say
-  They know that every day on earth is their Decoration Day?
-
-  We’ve tried that,—me and mother,—where Elias takes his rest,
-  In the orchard, in his uniform, and hands across his breast,
-  And the flag he died fer smilin’ and a-ripplin’ in the breeze
-  Above his grave—and, over that—the robin in the trees.
-
-  And yet it’s lonesome—lonesome! It’s a Sund’y-day to me,
-  It ’pears like—more’n any day—I nearly ever see—
-  Yit, with the Stars and Stripes above, a flutterin’ in the air,
-  On ev’ry soldier’s grave—I’d love to lay a lily there.
-
-                                                    JAMES WHITCOMB RILEY.
-
-
-ACROSTIC—Memorial Day.
-
-  (_Exercise for eleven children. Each carries standard on which
-  the letters are pasted in red, white and blue, and turns the
-  letter toward the audience as the words are recited._)
-
-  Memorial Day again has come,
-  When throbs the music of the drum.
-
-  Each muffled accent seems to tell
-  Of heroes who in battle fell.
-
-  Memories return to boys in blue,
-  Of vanished comrades brave and true.
-
-  On camping ground and battle plain
-  Alike they met with want and pain.
-
-  Rivers of blood their courses swept,
-  While sad Columbia mourned and wept.
-
-  In fever swamp and prison pen
-  Died many of her bravest men.
-
-  All honor to the soldier bands
-  Who followed Freedom’s stern commands.
-
-  Let each true soldier’s noble name,
-  Glow brightly on the books of Fame.
-
-  Deeds wrought for truth can never die
-  For they are penned in books on high.
-
-  A nation now in reverence stands
-  With sorrowing heart and flower-filled hands.
-
-  Years may into long ages glide,
-  These names shall still be glorified.
-
-
-PAPER—Origin of Memorial Day.
-
-General John Murray was the originator of Memorial Day in the North.
-While visiting in the South in the winter of 1867-’68, he noticed the
-touching rite of decorating soldiers’ graves with flowers by the ladies.
-Being very much impressed with this custom, he instituted a similar one
-at his own home.
-
-On the 5th day of May, 1868, Gen. John A. Logan, who was then
-Commander-in-chief of the Grand Army of the Republic, established
-Decoration Day, and by a general order, May 30, 1868, was designated as a
-day set apart for the purpose of paying tribute to the memory of those
-brave men who died in defense of our country. The national encampment
-held in Washington had it incorporated in its rules and regulations,
-May 11, 1870. Since then, in many of the States, May 30th has been
-established as a holiday, and it is the universal custom to decorate the
-graves of all ex-soldiers, thus making it one of the most patriotic days
-of the year, wherein all classes unite in paying honor to our heroic
-dead, and feel a conscious pride in being able to thus show respect for
-their memory and the cause for which they fought.
-
-
-SONG:—“The Star Spangled Banner.”
-
-
-EXERCISE.
-
-  (A large urn or vase is placed on a stand decorated with the
-  national colors and a bow of black ribbon. Around the rim of
-  the vase a beautiful wreath should be placed. The stand should
-  be at the front of the rostrum, so the pupils may pass behind it.
-  The pupils representing the various wars should be dressed if
-  possible in the costumes of that day—military costumes. Beside
-  the urn, a girl representing Liberty should stand holding a large
-  flag at half-mast, she should dress in white and wear sash of the
-  national colors. After reciting, each pupil stands in rear of
-  Liberty. When coming upon the stage, each pupil salutes the flag
-  before reciting and stands on opposite side of urn while reciting.
-  When through, he gracefully deposits his bouquet into the urn. At
-  close of exercise the school arises and salutes the flag and
-  repeats the pledge.)
-
-  _Liberty_ (_Enters carrying flag and recites standing at right
-  of urn; when through reciting casts her flowers into the urn._)
-
-  “Strew with flowers the soldier’s grave,
-    Plant each lovely thing that grows;
-  Let the summer breezes wave
-    The calla lily and the rose;
-  White and red—the cause, the price!
-  Right, upheld by sacrifice.
-
-  Let the summer’s perfumed breath,
-    Fragrant with the sweetest flowers,
-  Charm the sadness out of death,
-    Glorify the mourners’ hours,
-      Freighted with their prayers, arise
-      Incense of their sacrifice.
-
-  ’Tis not valor that we praise,
-    Thirst for glory, love of strife;
-  Gentle hearts from quiet ways,
-    Turned to save a nation’s life,
-      Lest in jealous fragments torn
-      Freedom’s land should come to scorn.
-
-  O’er the Gray, as o’er the Blue,
-    Nature’s bursting tears will flow;
-  Both were brave, and both were true
-    And fought for all they loved below.
-      Pity! nor forbid the tear
-      Shed above so sad a bier.
-
-  Cherish, then, the patriot fires,
-    Honor loyalty, and trust
-  In God that Freedom ne’er expires
-    Where virtue guards the martyr’s dust,
-      Who counted life as little worth,
-      And saved the imperiled Hope of Earth.”
-
-                             JNO. W. DUNBAR.
-
-
-OUR NATION’S PATRIOTS.
-
-  _Revolutionary Pupil._
-
-  I had heard the muskets’ rattle of the April running battle;
-  Lord Percey’s hunted soldiers, I can see their red coats still;
-  But a deadly chill comes o’er me, as the day looms up before me,
-  When a thousand men lay bleeding on the slopes of Bunker Hill.
-  Here are lilies for the valorous, and roses for the brave;
-  And laurel for the victor’s crown, and rue for lowly grave.
-  There’s crimson for the blood that flowed that Freedom might be free,
-  And golden for the hearts of gold that died for you and me;
-  Till love no more is loving, we lift our souls and say,
-  For liberty find loyalty we bless their names to-day!
-
-  _Civil War Pupil._
-
-  Strew the fair garlands where slumber the dead,
-    Ring out the strains like the swell of the sea,
-  Heartfelt the tribute we lay on each bed.
-    Sound o’er the brave the refrain of the free.
-
-  Sound the refrain of the loyal and free,
-    Visit each sleeper and hallow each bed,
-  Wave the starred banner from seacoast to sea
-    Grateful the living, and honored the dead.
-
-  _Cuban War Pupil (carrying Cuban Flag.)_
-
-  New graves we crown with flowers to-day
-    New homes shall saddened be;
-  For loved ones sleeping far away,
-    And some beneath the sea.
-
-  ’Twas for humanity and right
-    Our loved boys fought and died;
-  To lift the islands into light
-    And break the Spanish pride.
-
-  We’ll wrap the Bible in the Flag
-    And back them with our might,
-  And bear them over sea and crag,
-    In lofty eagle’s flight;
-
-  And break the bands of heathen night,
-    And set the islands free;
-  Till Freedom sheds her glorious light
-    O’er every land and sea.
-
-  _Liberty (in prayerful attitude, the boys standing in rear with
-      hats lifted.)_
-
-  O God! look down upon the land which Thou hast loved so well,
-  And grant that in unbroken truth her children still may dwell;
-  Nor while the grass grows on the hill, and streams flow through the vale,
-  May they forget their fathers’ faith, or in their covenant fail!
-  God keep the fairest, noblest land that lies beneath the sky—
-  Our country, our whole country, whose fame shall never die.
-
-
-PLEDGE.
-
-(All stand; salute flag; and repeat pledge.)
-
-“We pledge allegiance to our flag and the republic for which it
-stands—one nation, indivisible, with liberty and justice for all.”
-
-
-SONG—America.
-
-
-PROGRAMME FOR WASHINGTON’S BIRTHDAY.
-
-
-MUSIC—“The Star-Spangled Banner.”
-
-
-RECITATION—Washington Enigma.
-
-  To be given by ten little girls with evergreen or large printed
-  letters hung around their necks by a black thread and adjusted
-  to the proper height. Let the letter be turned as the child
-  speaks.
-
-  _First Child_—W—
-
-  In the wailing winds my first
-  Speaks in faintly murmuring tones.
-
-  _Second Child_—A—
-
-  While my second’s cry will burst
-  In the martyr’s latest groans.—
-
-  _Third Child_—S—
-
-  How the noisome serpents scare.
-  In them finds my third a place.
-
-  _Fourth Child_—H—
-
-  In the homes which mothers share,
-  Rules my fourth with gentle grace.
-
-  _Fifth Child_—I—
-
-  Watch the Indian’s scalping knife,
-  And my fifth shall greet your sight.
-
-  _Sixth Child_—N—
-
-  But my sixth is brought to life
-  In the moonless ebon night.
-
-  _Seventh Child_—G—
-
-  See the gambler’s greed and note
-  How my seventh rules supreme.
-
-  _Eighth Child_—T—
-
-  The latest presidential vote
-  Holds secure my eighth, I deem.
-
-  _Ninth Child_—O—
-
-  From our sorrow, from our woe,
-  None can drive my ninth away.
-
-  _Tenth Child_—N—
-
-  Mark the wailing infant—lo!
-  There my tenth holds fullest sway.
-
-  _All in Concert._
-
-  Join from first to tenth each part,
-    And you’ll find a noble name,
-  Written on each patriot’s heart,
-    Glorious in our country’s fame.
-
-
-RECITATION—Washington’s Day.
-
-For a little boy.
-
-  Oh! how the world remembers!
-    It is many and many a day
-  Since the patriot, George Washington,
-    Grew old and passed away.
-
-  And yet to-day we are keeping
-    In memory of his birth,
-  And his deeds of truth and valor
-    Are told at every hearth.
-
-  How he fought for independence
-    All little schoolboys know;
-  And why he signed the declaration
-    So many years ago.
-
-  To be as great as Washington
-    I could not if I would;
-  But I’ve made up my mind that I
-    Will try to be as good.
-
-
-RECITATION—A Little Boy’s Hatchet Story.
-
-  When the great and good George Washington
-    Was a little boy like me,
-  He took his little hatchet
-    And chopped down a cherry tree.
-
-  And when his papa called him,
-    He then began to cry,
-  “I did it, oh, I did it;
-    I cannot tell a lie!”
-
-  His papa didn’t scold at all,
-    But said, “You noble youth,
-  I’d gladly lose ten cherry trees
-    To have you tell the truth!”
-
-  But I myself am not quite clear;
-    For if I took my hatchet
-  And chopped my papa’s cherry tree,
-    Oh, wouldn’t I just catch it!
-
-
-READING—Maxims of Washington.
-
-Adopted by him at the age of fifteen.
-
-“Neither laugh, nor speak, nor listen when older people are talking
-together.”
-
-“Say not anything that will hurt another, either in fun or in earnest.”
-
-“If you say anything funny, don’t laugh at it yourself, but let others
-enjoy it.”
-
-“When another person speaks, listen yourself, and try not to disturb
-others.”
-
-“Obey and honor your father and mother.”
-
-“Every action in company ought to be with some sign of respect to those
-present.”
-
-“When you meet with one of greater quality than yourself, stop and
-retire, especially if it be at a door or any strait place, to give way
-for him to pass.”
-
-“Speak not evil of the absent, for it is unjust.”
-
-“Show not yourself glad at the misfortune of another, though he were your
-enemy.”
-
-“Be not curious to know the affairs of others; neither approach to those
-that speak in private.”
-
-“Undertake not what you cannot perform, but be careful to keep your
-promises.”
-
-“Labor to keep alive in your breast that little spark of celestial fire
-called conscience.”
-
-
-SINGING—Tune: “My Country.”
-
-  Once more we celebrate
-  Birthday of him so great,
-    So true and brave;
-  Who struggled not in vain
-  Liberty to attain,
-  Breaking a tyrant’s chain
-    His land to save.
-
-  Bravely the patriot band
-  Fought ’neath his sure command
-    And freedom won;
-  Honor those soldiers all,
-  Who did for freedom fall,
-  Who followed at the call
-    Of Washington.
-
-  While shines in heaven the sun,
-  The name of Washington
-    Shall glow with light;
-  He feared no tyrant grand,
-  But foremost in command,
-  Did like a mountain stand
-    For cause of right.
-
-                 ALICE JEAN CLEATOR.
-
-
-ORATION—The Father of his Country.
-
-The birthday of the “Father of his Country!” May it ever be freshly
-remembered by American hearts! May it ever re-awaken in them a filial
-veneration for his memory; ever rekindle the fires of patriotic regard
-to the country he loved so well; to which he gave his youthful vigor
-and his youthful energy, during the perilous period of the early Indian
-warfare; to which he devoted his life, in the maturity of his powers, in
-the field; to which again he offered the counsels of his wisdom and his
-experience, as President of the Convention that framed our Constitution;
-which he guided and directed while in the Chair of State, and for which
-the last prayer of his earthly supplication was offered up, when it came
-the moment for him so well, and so grandly, and I so calmly, to die. He
-was the first man of the time in which he grew. His memory is I first and
-most sacred in our love; and ever hereafter, till the last drop of blood
-shall freeze in the last American heart, his name shall be a spell of
-power and might.
-
-Yes, there is one personal, one vast felicity, which no man can share
-with him. It was the daily beauty and towering and matchless glory of his
-life, which enabled him to create his country, and, at the same time,
-secure an undying love and regard from the whole American people. “The
-first in the hearts of his countrymen!” Yes, first! He has our first and
-most fervent love. Undoubtedly there were brave and wise and good men,
-before his day, in every colony. But the American Nation, as a Nation,
-I do not reckon to have begun before 1774. And the first love of that
-young America was Washington. The first word she lisped was his name. Her
-earliest breath spoke it. It still is her proud ejaculation; and it will
-be the last gasp of her expiring life!
-
-Yes, others of our great men have been appreciated—many admired by
-all. But him we love. Him we all love. About and around him we call up
-no dissentient and discordant and dissatisfied elements—no sectional
-prejudice nor bias,—no party, no creed, no dogma of politics. None of
-these shall assail him. Yes, when the storm of battle blows darkest and
-rages highest, the memory of Washington shall nerve every American arm,
-and cheer every American heart. It shall relume that Promethean fire,
-that sublime flame of patriotism, that devoted love of country, which his
-words have commended, which his example has consecrated. Well did Lord
-Byron write:
-
-  “Where may the wearied eye repose
-        When gazing on the great,
-  Where neither guilty glory glows,
-        Nor despicable state?—
-  Yes—one—the first, the last, the best,
-  The Cincinnatus of the West,
-        Whom Envy dared not hate,
-  Bequeathed the name of Washington,
-  To make man blush, there was but one.”
-
-
-RECITATION—February Twenty-second.
-
-  In seventeen hundred thirty-two,
-    This very month and day,
-  Winking and blinking at the light,
-    A little baby lay.
-
-  No doubt they thought the little man
-    A goodly child enough;
-  But time has proved that he was made
-    Of most uncommon stuff.
-
-  The little babe became a man
-    That everybody knew
-  Would finish well what he began,
-    And prove both firm and true.
-
-  So when the Revolution came,
-    That made our nation free,
-  They couldn’t find a better man
-    For general, you see.
-
-  As general, he never failed
-    Or faltered; so they though
-  He ought to be the President,
-    And so I’m sure he ought.
-
-  And then he did his part so well
-    As President—’twas plain
-  They couldn’t do a better thing
-    Than choose him yet again.
-
-  Through all his life they loved him well
-    And mourned him when he died;
-  And ever since his noble name
-    Has been our nation’s pride.
-
-  The lesson of his life is clear,
-    And easy quite to guess,
-  Be firm and true, if you would make
-    Your life a grand success.
-
-                              JOY ALLISON.
-
-
-SONG—A True Soldier. Tune: “Hold the Fort.”
-
-  Though we never may be soldiers
-    On the battle field,
-  Though we may not carry banner,
-    Bayonet or shield;
-  Each can be as true and valiant
-    Till life’s work is done,
-  Each can be as brave a soldier
-    As George Washington.
-
-  There are mighty hosts of evil,
-    Armies great and strong,
-  Each can be a little soldier
-    Fighting all day long.
-  Let us ever fight them bravely,
-    Let us valiant be;
-
-  Fight the host of falsehood, envy,
-      Pride and cruelty.
-  Oh, how valiant are the soldiers
-      Who to battle go,
-  Yet more brave are they who struggle
-      With an unseen foe.
-  When the battles all are ended
-      And the victory’s won,
-  Each will be as true a soldier
-      As George Washington.
-
-                ALICE JEAN CLEATOR.
-
-
-RECITAL—Washington’s Life.
-
-  (Recitation for five boys; each holds in his right hand a card
-  with date, lifting it during his recitation.)
-
-  1732.
-
-  In seventeen hundred and thirty-two
-    George Washington was born;
-  Truth, goodness, skill, and glory high,
-    His whole life did adorn.
-
-  1775.
-
-  In seventeen hundred and seventy-five
-    The chief command he took
-  Of all the army in the State
-    Who ne’er his flag forsook.
-
-  1783.
-
-  In seventeen hundred and eighty-three,
-    Retired to private life;
-  He saw his much-loved country free
-    From battle and from strife.
-
-  1789.
-
-  In seventeen hundred and eighty-nine,
-    The country with one voice,
-  Proclaimed him president, to shine,
-    Blessed by the people’s choice.
-
-  1799.
-
-  In seventeen hundred and ninety-nine,
-    The nation’s tears were shed,
-  To see the patriot life resign,
-    And sleep among the dead.
-
-  ALL IN CONCERT.
-
-  As “first in war, first in peace,”
-    As patriot, father, friend—
-  He will be blessed till time shall cease,
-    And earthly life shall end.
-
-
-SINGING—Birthday of Washington.
-
-(May be sung to “America.”)
-
-  _First Pupil_:
-
-  Welcome, thou festal morn,
-  Never be passed in scorn
-        Thy rising sun.
-  Thou day forever bright
-  With Freedom’s holy light,
-  That gave the world the sight
-        Of Washington.
-
-  _Second Pupil_:
-
-  Unshaken ’mid the storm,
-  Behold that noble form—
-        That peerless one,
-  With his protecting hand,
-  Like Freedom’s angel, stand,
-  The guardian of our land,
-        Our Washington.
-
-  _Third Pupil_:
-
-  Traced there in lines of light,
-  Where all pure rays unite,
-        Obscured by none;
-  Brightest on history’s page,
-  Of any clime or age,
-  As chieftain, man or sage,
-        Stands Washington.
-
-  _Fourth Pupil_:
-
-  Name at which tyrants pale,
-  And their proud legions quail,
-        Their boasting done;
-  While Freedom lifts her head,
-  No longer filled with dread,
-  Her sons to victory led
-        By Washington.
-
-  _Class in Concert_:
-
-  Now the true patriot see,
-  The foremost of the free,
-        The victory won.
-  In Freedom’s presence bow,
-  While sweetly smiling now
-  She wreathes the spotless brow
-        Of Washington.
-
-  Then, with each coming year,
-  Whenever shall appear
-        That natal sun,
-  Will we attest the worth
-  Of one true man to earth
-  And celebrate the birth
-        Of Washington.
-
-               GEORGE HOWLAND.
-
-
-MARCH.—Boys and Girls Carrying Flags.
-
-
-PROGRAMME FOR ARBOR DAY.
-
-The celebration of Arbor Day has become so common that there is a demand
-for a programme of public exercises for schools and academies. The
-following can be varied by omitting pieces or substituting others. Little
-flags on palm-leaf fans tacked on well, also tufts of pine, and wreaths
-of flowers, bouquets, etc., might aid in decoration. Let the pupils take
-an active part in preparation.
-
-
-SONG. Tune: “What a Friend We Have in Jesus.”
-
-  We have come with joyful greeting,
-    Songs of gladness, voices gay,
-  Teachers, friends, and happy children,
-    All to welcome Arbor Day.
-  Here we plant the trees whose branches,
-    Warmed by breath of summer days,
-  Nourished by the dews and showers,
-    Soon shall wave in leafy sprays.
-
-  Let us plant throughout our borders,
-    O’er our lands so far and wide,
-  Treasures from the leafy forest,
-    Vale, and hill, and mountain side;
-  Rooted deep, oh let them flourish,
-    Sturdy giants may they be!
-  Emblems of the cause we cherish—
-    Education broad and free.
-
-  Gentle winds will murmur softly,
-    Zephyrs float on noiseless wing;
-  ’Mid their bows shall thrush and robin,
-    Build their nests and sweetly sing.
-  ’Neath their shady arms will childhood
-    Weary of the noontide heat,
-  In its cool inviting shadow,
-    Find a pleasant, safe retreat.
-
-
-READING.
-
-  Proclamation of State Governor or of School Commissioner.
-
-
-DECLAMATION.
-
-Arbor Day is an anniversary that looks forward with bright hope. The
-trees which we plant to-day, will grow into groves and forests of the
-future, and in their silent beauty and voiceless green will honor the
-hands that so tenderly planted them. Beneath them the youth yet to be may
-meet in social banquet, and enjoy the fruitage of our labors.
-
-  “We are what wind and sun and water make us,
-  The mountains are our sponsors, and the rills
-  Fashion and win their nurslings with their smiles.”
-
-This is not a holiday; but a day especially set apart for the purpose of
-tree-planting, of observing more closely and studying more carefully the
-trees, flowers and gifts of the forest; also of cultivating a greater
-reverence and finer sense of the beautiful and sublime.
-
-What object can better inspire us to gain victory over trials than the
-grand old oak which in bold defiance to its foes while reeling in the
-wrath of the tempest is sending down to deeper hold its gnarled roots
-only to be better able to triumph in the next storm? Our poets have used
-their purest thought, their sweetest music in praise of the forest and
-the flowers. Arbor Day provides gracious means of a closer acquaintance
-with “God’s first temples,” and we hope that this day’s effort may result
-in much good.
-
-
-QUOTATIONS.
-
-  (Pupils stand by desks and after naming authors recite the
-  quotations.)
-
-  _1st Pupil._—Whittier said:
-
-  “Give fools their gold, and knaves their power;
-    Let fortune’s bubbles rise and fall;
-  Who sows a field or trains a flower,
-    Or plants a tree, is more than all.”
-
-  _2nd Pupil._—Ben Johnson wrote:
-
-  “Not merely growing like a tree
-  In bulk doth make man better be,
-  Or standing long an oak three hundred years,
-  To fall a log at last, dry, bald and sear.
-  A lily of a day is fairer far in May;
-  Although it fall and die that night,
-  It was the plant and flower of light.
-  In small proportions we just beauties see,
-  And in short measure life may perfect be.”
-
-  _3rd Pupil._—Holmes said:
-
-  “In fact there’s nothing that keeps its youth,
-  So far as I know, but a tree and truth.”
-
-  _4th Pupil._—Morris wrote:
-
-  “To me the world’s an open book
-    Of sweet and pleasant poetry;
-  I read it in the running book
-    That sings its way toward the sea.
-  It whispers in the leaves of trees,
-    The swelling grain, the waving grass,
-  And in the cool, fresh evening breeze,
-    That crisps the wavelets as they pass.
-
-  “The flowers below, the stars above,
-    In all their bloom and brightness given,
-  Are, like the attributes of love,
-    The poetry of earth and heaven;
-  Thus, nature’s volume, read aright,
-    Attunes the soul to minstrelsy,
-  Tingeing life’s cloud with rosy light
-    And all the world with poetry.”
-
-  _5th Pupil._—Longfellow said:
-
-  “If thou art worn and heart beset
-  With sorrows that thou wouldst forget,
-  If thou wouldst read a lesson that will keep
-  Thy heart from fainting and thy soul from sleep,
-  Go to the woods and hills! No tears
-  Dim the sweet look that Nature wears.”
-
-  _6th Pupil._—Bryan Waller Proctor wrote:
-
-  “Methinks I love all common things,
-    The common air, the common flower,
-  The dear, kind, common thought that springs
-    From hearts that have no other dower,
-    No other wealth, no other power,
-  Save love; and will not that repay
-  For all else fortune tears away?
-
-  “What good are fancies rare, that rack
-    With painful thought the poet’s brain?
-  Alas! they cannot bear us back
-    Unto happy years again!
-    But the white rose without a stain
-  Bringeth times and thoughts of flowers,
-  When youth was bounteous as the hours.”
-
-  _The School._
-
-  “He who plants a tree
-    Plants a hope.
-    Rootlets up through fibres blindly grope;
-  Leaves unfold into horizons free,
-      So man’s life must climb
-      From the clods of time
-      Unto heavens sublime.”
-
-
-RECITATION—What do we Plant when we Plant a Tree?
-
-  What do we plant when we plant the tree
-  We plant the ships that will cross the sea
-  We plant the mast to carry the sails,
-  We plant the plank to withstand the gales,
-  The keel, the keelson, the beam and knee,
-  We plant the ship when we plant the tree.
-
-  What do we plant when we plant the tree?
-  We plant the houses for you and me;
-  We plant the rafters, the shingles, the floors,
-  We plant the studding, the lath, the doors,
-  The beams, the siding, all parts that be,
-  We plant the house when we plant the tree.
-
-  What do we plant when we plant the tree?
-  A thousand things that we daily see.
-  We plant the spire that out-towers the crag,
-  We plant the staff for our country’s flag;
-  We plant the shade from the hot sun free,
-  We plant all these when we plant the tree.
-
-                                HENRY ABBEY.
-
-
-EXERCISE—Wedding of the Palm and Pine.
-
-(CHARACTERS.—Uncle Sam, Miss Palm, Mr. Pine, and maids for Miss Palm,
-and servant for Mr. Pine. The maids carry tropical fruits, and one holds
-either a palm leaf or a peacock fan over Miss Palm, who wears a flowing
-dress made of some light cheesecloth or goods without starch; also over
-her head an ice-wool shawl. Her face powdered white, cheeks rosy, and she
-should be a girl having black hair and eyes. Approaches the stage very
-modestly, and is always very reserved. Her dress should wear flowers and
-blossoms. Mr. Pine should be stately, tall and reserved, and should wear
-tuft of pine for button-hole bouquet. His hair might be whitened with
-magnesia. His attendant should carry his fur coat and leggings, etc.
-Uncle Sam should be dressed in customary attire. Uncle Sam first enters
-stage, carrying a good-sized flag. Palm carries a palm-leaf fan on which
-is fastened on one side a small flag, and on the other side a wreath of
-leaves—myrtle or the like.)
-
-  _Uncle Sam_:
-
-  “She’s up there, Old Glory, where light wings are sped,
-  She dazzles the nations with ripples of red;
-  And she’ll wave for us living, or droop o’er us dead—
-        The flag of our country forever!
-
-  She’s up there, Old Glory, how bright the stars stream!
-  And the stripes like red signals, of liberty gleam!
-  And we dare for her living or dream the last dream,
-        ’Neath the flag of our country forever!
-
-  She’s up there, Old Glory, no tyrant-dealt scars—
-  No blur on her brightness, no stain on her stars!
-  The brave blood of heroes hath crimsoned her bars—
-        She’s the flag of our country forever!”
-
-  There comes from the south (_Miss Palm enters_) where the balmy breeze
-      blows,
-  There comes from the north (_Mr. Pine enters_) where the hardy pine
-      grows,
-  Warm hearts and true hearts, loyal and free,
-  The Palm and the Pine now wedded to be.
-  Come stand ’neath the flag, modest Palm, mighty Pine,
-
-  (_Both step to front before Uncle Sam and bow to each other, and then
-      gracefully salute the flag._)
-
-  The emblem so dear to brave fathers of thine,
-  And under its bars, and its stars and its blue,
-  Unite now and ever to dare and to do (_join hands_)
-  What your hearts and your hands can our nation to save,
-  And to keep the old flag o’er the free and the brave.
-
-  (_Uncle Sam, placing his right hand upon the joined hands of Palm and
-      Pine, continues._)
-
-  No north, no south, no east, no west,
-    But one, united, free!
-  The Palm and Pine, in Union blest,
-    Now stand for liberty.
-  From lakes to gulf, from sea to sea,
-    May union stronger grow;
-  Thus teach the world humanity,
-    And might together go.
-
-  (_Retire, Palm leaning on arm of Pine._)
-
-
-PAPER—Origin of Arbor Day.
-
-At an annual meeting of the Nebraska State Board of Agriculture, held in
-the city of Lincoln, January 4, 1872, Hon. J. Sterling Morton introduced
-the following resolution which was unanimously adopted after a short
-debate as to the name; some desired to call the day “Sylvan” instead of
-“Arbor:”
-
-RESOLVED, “That Wednesday, the 10th day of April, 1872, be, and the same
-is hereby especially set apart and consecrated for tree planting in the
-State of Nebraska, and the State Board of Agriculture hereby name it
-_Arbor Day_, and urge upon the people of the State the vital importance
-of tree planting, and hereby offer a special premium of one hundred
-dollars to the agricultural society of that county in Nebraska which
-shall upon that day plant properly the largest number of trees; and a
-farm library of twenty-five dollars’ worth of books to that person, who,
-on that day, shall plant properly in Nebraska the greatest number of
-trees.”
-
-The result was that over a million trees were planted in Nebraska on that
-first Arbor Day. A few years later, April 22, the birthday of Mr. Morton
-was set apart by the Governor as Arbor Day in that State, and now nearly
-all States observe Arbor Day.
-
-
-RECITATION—Value of Our Forests.
-
-  (The pupils come on the stage, one at a time, and recite, showing
-  the article about which they speak and give motions.)
-
-_1st Pupil_ (carrying a bunch of toothpicks).
-
-A Toothpick is a little thing, yet it is reported that one factory uses
-10,000 cords of wood annually in the production of these splints of wood.
-
-_2d Pupil_ (carrying a box of pegs).
-
-Shoe pegs are small affairs; yet a single factory sends to Europe
-annually 40,000 bushels of pegs, besides what it sells in this country.
-
-_3d Pupil._
-
-A spool is of small account when the thread is wound off; yet several
-factories use each from 1800 to 3500 cords of wood every year in making
-these articles. Thousands of acres of birch trees have been bought at one
-time by thread manufacturers, for the sole purpose of securing a supply
-of spools.
-
-_4th Pupil._
-
-Who thinks much of the little friction match, as he uses it to light the
-lamp or fire, and then throws it away? But one factory, it is said, makes
-60,000,000 of these little articles every day, and uses for this purpose
-12,000 square feet of best pine lumber.
-
-_5th Pupil._
-
-Forests affect the climate of the country; influence the rain of a
-country; build up a wall and protect the crops; they keep the air pure.
-The leaf-mold in forests holds back the rains. We draw $700,000,000
-worth of products every year from the trees. No other crop equals this in
-value.
-
-_All in Concert._
-
-  “The groves were God’s first temples.
-      Ere man learned
-  To hew the shaft and lay the architrave
-  And spread the roof above them; ere he framed
-  The lofty vault, to gather and roll back
-  The sound of anthems; in the darkling wood,
-  Amidst the cool and silence, he knelt down
-  And offered to the Mightiest solemn thanks
-  And supplication.”
-
-
-SONG—Tune: “America.”
-
-  Up from the smiling earth
-  Comes there a voice of mirth
-      Our hearts to cheer;
-  Listen where the willows lean,
-  Lovingly o’er the stream,
-  Listen, where the pine trees dream,
-      Springtime is here.
-
-  Let us sing merrily,
-  Blithely and cheerily,
-      With the new year;
-  Join in the chorus,
-  Loudly swelling o’er us;
-  Joy is before us,
-      Springtime is here.
-
-  Come, let us plant a tree
-  Tenderly, lovingly,
-      Some heart to cheer,
-  Long may its branches sway,
-  Over the dusty way
-  With shade for sultry day,
-      For years to be.
-
-               EDNA D. PROCTOR.
-
-
-CONCERT RECITATION—The Trees.
-
-  (By small pupils standing in aisles and in imitation of trees,
-  gestures as indicated.)
-
-  We are trees in tiny rows
-    Growing straight and tall;
-  Roots we have so when it(1) blows,
-    None of us may fall.
-
-  Bending gently (2)to and fro
-    Then to (3)left and right,
-  Makes us stronger as we grow,
-    (4)Upward to the light.
-
-  Tiny branches spreading wide,(5)
-    Adding grace and form,
-  Growing firmly from our side,
-    (6)Hide us from the storm.
-
-  On our branches, in the spring,
-    (7)Leaves in green unfold;
-  Till the frost with cruel sting,
-    Turns them into gold.
-
-  Then our brightly tinted leaves,
-    From our branches fall;
-  (8)Flutter in the autumn breeze,
-    To October’s call.
-
-  (9)Midst our branches squirrels run,
-    Searching for our fruit;
-  And the birds in summer’s sun,
-    (10)Flit in hot pursuit
-
-  And at night when all is still,
-    (11)We have gone to sleep,
-  Comes the owl, a mouse to kill,
-    And (12)hoots in a voice so deep.
-
-  As little trees of hope we stand
-    And promises of good;
-  Oh, may we grow up (13)tall and grand
-    A deep and shady wood,
-
-  Bear sweet and gladsome fruit of love,
-    And shelter weary souls;
-  And (14)lift our crests the storm above,
-    Where endless sunlight rolls.
-
-
-_Gestures for “The Trees.”_
-
-1. Half of the number imitate the swaying of trees by the blowing of
-wind, done by bending head and body to right and left. 2. Hands on hips,
-body bending forward and backward. 3. Body bending left and right. 4.
-Point upward with right hands. 5. Slowly extend arms. 6. Crouch as in
-hiding. 7. Arms extended, open hands slowly. 8. Arms extended, move
-fingers like fluttering leaves. 9. First imitate leaping squirrel with
-right hand; then with left; then with both hands. 10. Move hands to and
-fro with fast moving fingers. 11. Arms extended direct above head,
-fingers closed and eyes shut. 12. Half the number imitate the _hoots_
-while others recite. 13. Move arm full length obliquely from right side,
-and direct eyes upward in same direction. 14. Lift both hands slowly to
-full length above head in front of body, and look up.
-
-
-MUSIC—To be Selected.
-
-
-PROGRAMME FOR A HARVEST HOME.
-
-
-TUNE.—“Marching Through Georgia.”
-
-  Through the golden summertime we’ve all been sowing seeds;
-  Oh they’ve sprung to blossoms or to tall and ugly weeds;
-  Children have we sown the seed of wrong or kindly deeds,
-  All through the bright days of summer.
-
-  CHORUS.
-
-  The seeds we planted along life’s onward way,
-  Are swiftly growing, growing every day;
-  What the harvest time shall be, it is for us to say—
-          Let us be cheerful in sowing.
-
-
-RECITATION.—A Sermon in Rhyme
-
-  If you have a friend worth loving,
-    Love him. Yes, and let him know
-  That you love him, ere life’s evening
-    Tinge his brow with sunset glow.
-  Why should good words ne’er be said
-  Of a friend till he is dead?
-
-  If you hear a song that thrills you,
-    Sung by any child of song,
-  Praise it. Do not let the singer
-    Wait deserved praises long.
-  Why should one who thrills your heart
-  Lack the joy you may impart?
-
-  If a silvery laugh goes rippling
-    Through the sunshine on his race,
-  Share it. ’Tis the wise man’s saying
-    For both joy and grief a place.
-  There’s health and goodness in the mirth
-  In which an honest laugh has birth.
-
-  If your work is made more easy
-    By a friendly helping hand,
-  Say so. Speak out brave and truly
-    Ere the darkness veil the land.
-  Should a brother workman dear
-  Falter for a word of cheer?
-
-  Scatter thus your seeds of kindness,
-    All enriching as you go—
-  Leave them. Trust the Harvest Giver,
-    He will make each seed to grow.
-  So, until its happy end
-  Your life shall never lack a friend.
-
-
-FARMER JOHN.
-
-(For a man dressed in farmer’s costume.)
-
-  Home from his journey Farmer John
-    Arrived this morning safe and sound;
-  His black off and his old clothes on;
-  “Now I’m myself,” says Farmer John;
-    And he thinks, “I’ll look round.”
-
-  Up leaps the dog: “Get down, you pup!
-  Are you so glad you would eat me up?”
-  The old cow lows at the gate to greet him,
-  The horses prick up their ears to meet him:
-      “Well, well, old Bay!
-      Ha, ha, old Gray!
-  Do you get good food when I’m away?
-      You haven’t a rib,” says Farmer John;
-    “The cattle are looking round and sleek;
-    The colt is going to be a roan,
-  And a beauty, too; how he has grown!
-    We’ll wean the calf next week.”
-
-  “I’ve found this out,” says Farmer John,
-    “That happiness is not bought and sold,
-  And clutched in a life of waste and hurry,
-  In nights of pleasure and days of worry;
-    And wealth isn’t all in gold,
-  Mortgages, stocks, and ten per cent.,
-  But in simple ways and sweet content;
-  Few wants, pure hope, and noble ends,
-  Some land to till, and a few good friends
-      Like you, old Bay,
-      And you, old Gray:
-  That’s what I learned by going away.”
-
-                           J. T. TROWBRIDGE.
-
-
-RECITAL—The Husbandman.
-
-(For boys and girls.)
-
-  _First_:
-
-  Earth, of man the bounteous mother,
-    Feeds him still with golden grain;
-  He who best would aid a brother
-    Shares with him his loaded wain.
-
-  _Second_:
-
-  Many a power within her bosom,
-    Noiseless hidden, works beneath;
-  Hence are seed and leaf and blossom,
-    Golden ear, and clustered wreath.
-
-  _Third_:
-
-  These to swell with strength and beauty
-    Is the royal task of man;
-  Man’s a king; his throne is duty,
-    Since his work on earth began.
-
-  _Fourth_:
-
-  Bud and harvest, bloom and vintage—
-    These, like men, are fruits of earth;
-  Stamped in clay, a heavenly mintage.
-    All from dust receive their birth.
-
-  _Fifth_:
-
-  What the dream but vain rebelling,
-    If from earth we sought to flee?
-  ’Tis our stored and ample dwelling;
-    ’Tis from it the skies we see.
-
-  _Sixth_:
-
-  Wind and frost, and hour and season,
-    Land and water, sun and shade—
-  Work with these, as bids thy reason,
-    For they work thy toil to aid.
-
-  _All in concert_:
-
-  Sow thy seed and reap in gladness!
-    Man himself is all a seed;
-  Hope and hardship, joy and sadness—
-    Slow the plant to ripeness lead.
-
-                      JOHN STERLING.
-
-
-ORATION—The Nobility of Labor.
-
-I call upon those whom I address to stand up for the nobility of labor.
-It is Heaven’s great ordinance for human improvement. Let not that great
-ordinance be broken down. What do I say? It is broken down; and it has
-been broken down for ages. Let it, then, be built up again; here, if
-anywhere, on these shores of a new world—of a new civilization. But how,
-I may be asked, is it broken down? Do not men toil? it may be said. They
-do, indeed, toil; but they, too, generally do it because they must. Many
-submit to it as, in some sort, a degrading necessity; and they desire
-nothing so much on earth as escape from it. They fulfill the great law
-of labor in the letter, but break it in the spirit; fulfill it with the
-muscle, but break it with the mind.
-
-To some field of labor, mental or manual, every idler should fasten, as a
-chosen and coveted theatre of improvement. But so is he not impelled to
-do, under the teachings of our imperfect civilization. On the contrary,
-he sits down, folds his hands, and blesses himself in his idleness. This
-way of thinking is the heritage of the absurd and unjust feudal system,
-under which serfs labored, and gentlemen spent their lives in fighting
-and feasting. It is time that this opprobrium of toil were done away with.
-
-Ashamed to toil, art thou? Ashamed of thy dingy workshop and dusty
-labor-field; of thy hard hands, scarred with service more honorable than
-that of war; of thy soiled and weather-stained garments, on which Mother
-Nature has embroidered, ’midst sun and rain, ’midst fire and steam, her
-own heraldic honors? Ashamed of these tokens and titles, and envious of
-the flaunting robes of imbecile idleness and vanity? It is treason to
-nature—it is impiety to Heaven—it is breaking Heaven’s great ordinance.
-TOIL, I repeat—TOIL, either of the brain, or of the heart, or of the
-hand, is the only true manhood, the only true nobility!
-
-                                                           ORVILLE DEWEY.
-
-
-RECITATION—The Corn Song.
-
-(For a lad who holds a tall stalk of corn in left hand.)
-
-  Heap high the farmer’s wintry hoard;
-    Heap high the golden corn!
-  No richer gift has autumn poured
-    From her most lavish horn!
-
-  Let other lands, exulting, glean
-    The apple from the pine,
-  The orange from its glossy green,
-    The cluster from the vine;
-
-  We better love the hardy gift
-    Our rugged vales bestow,
-  To cheer us when the storm shall drift
-    Our harvest-fields with snow.
-
-  Where’er the wide old kitchen hearth
-    Sends up its smoky curls,
-  Who will not thank the kindly earth,
-    And bless our farmer girls?
-
-  Then shame on all the proud and vain,
-    Whose folly laughs to scorn
-  The blessing of our hardy grain,
-    Our wealth of golden corn!
-
-  Let earth withhold her goodly root,
-    Let mildew blight the rye,
-  Give to the worm the orchard’s fruit,
-    The wheat-field to the fly.
-
-  But let the good old crop adorn
-    The hills our fathers trod;
-  Still let us, for his golden corn,
-    Send up our thanks to God!
-
-                         J. G. WHITTIER.
-
-
-SINGING—Tune: “Rockingham.”
-
-  Great God! our heart-felt thanks to Thee!
-    We feel Thy presence everywhere;
-  And pray that we may ever be
-    The objects of Thy guardian care.
-
-  We sowed!—by Thee our work was seen,
-    And blessed; and instantly went forth
-  Thy mandate; and in living green
-    Soon smiled the fair and fruitful earth.
-
-  We toiled!—and Thou didst note our toil;
-    And gav’st the sunshine and the rain,
-  Till ripened on the teeming soil
-    The fragrant grass, and golden grain.
-
-  And now, we reap!—and oh, our God!
-    From this, the earth’s unbounded floor,
-  We send our song of thanks abroad,
-    And pray Thee, bless our hoarded store!
-
-                           W. D. GALLAGHER.
-
-
-PROGRAMME FOR LYCEUM OR PARLOR ENTERTAINMENT.
-
-
-MUSIC—Piano Solo.
-
-
-SONG—Selected by Quartette.
-
-
-SALUTATORY ADDRESS.
-
-  (The following speech should be delivered by a droll boy who can
-  keep his face straight while others do the laughing. He should
-  act out the spirit of the piece with appropriate gestures.)
-
-I am requested to open our performances by a salutatory address. It needs
-but one honest Saxon word for that—one homely pertinent word; but before
-I utter a pertinent word, allow me, like other great speakers, to indulge
-in a few _im_pertinent words.
-
-And first, let me ask if there is a critic among us; for this is a sort
-of family gathering. We allow no critics! No reporters! No interviewers!
-(Do I see a boy taking notes? Put him out. No! It’s a false alarm, I
-believe.)
-
-Pardon me if, with the help of my mother’s eye-glass (_lifts
-eye-glasses_), I look round on your phys—phys—physiognomies. (That’s the
-word, I’m very certain, for I practiced on it a good half hour.) Without
-flattery I say it, I like your countenances—with one exception.
-
-A critic! If there is anything I detest it is a critic. One who cannot
-bear a little nonsense, and who shakes his head at a little salutary (not
-salutatory) fun. Salutary fun? Did anybody hiss? Point him out. (_Speaker
-folds his arms, advances, fixes his eyes on some one in the audience,
-and shakes his fist at him._) Yes, sir, I said salutary fun. Salutary!
-You needn’t put on such a grave look. Salutary! You needn’t sneer at that
-ep—ep—epithet. (Yes, I’m quite positive that’s the word I was drilled on.
-Epi—_thet_! That’s it.)
-
-But I was speaking of critics. If there is any one of that tribe in this
-assembly—any dear friend of Cæsar—I mean any stupid friend of Pompey, no,
-of pomposity—to him I say—no, to you I say—Go mark him well; for him no
-minstrel raptures swell; despite his titles, power and pelf, the wretch
-(rather rough on him, that!)—the wretch, concentred all in self, living
-shall forfeit fair renown, and, doubly dying, shall go down to the vile
-dust from whence he sprung, unwept, unhonored, and unsung.
-
-There! If any member of Congress could do it better, bring him on. Excuse
-me if I sop my brow. (_Wiping it with handkerchief._)
-
-But enough! Let us now put by the cap and bells. Enough of nonsense! As
-a great philosopher, who had been frolicking, once said: “Hush! Let us
-be grave! Here comes a fool.” Nothing personal, sir, in that! Let us be
-grave.
-
-And so friends, relatives, ladies, and gentlemen, I shall conclude by
-uttering from an overflowing heart that one word to which I alluded at
-the beginning—that one pertinent Saxon word; that is—(_flourishes his
-hand as if about to utter it; then suddenly puts his hand to his forehead
-as if trying to remember_.)
-
-Forgotten? Confusion! Not a big word either! Not half as big as some I
-have spoken! What—where—when—whence—what has become of it? Must I break
-down, after all? Must I retire in disgrace from public life? Never! I
-have it. Here it is! Here it is in big capitals: WELCOME!
-
-
-RECITATION—Mrs. Piper.
-
-  (Suited for a young lady. She should appear very innocent at the
-  beginning, and speak in a droll, unsuspecting voice and manner.
-  Toward the end she should exhibit an uncontrollable delight, at
-  the same time manifest a disposition to conceal it.)
-
-  Mrs. Piper was a widow—
-  “Oh, dear me!
-  This world is not at all,” she said, “the place it used to be!
-  Now my good husband, he was such a good man to provide—
-  I never had the leastest care of anything outside!
-  But now,
-  Why, there’s the cow,
-  A constant care, and Brindle’s calf I used to feed when small,
-  And those two Ayrshire heifers that we purchased in the fall—
-  Oh, dear,
-  My husband sleeping in the grave, it’s gloomy being here!
-  The oxen Mr. Piper broke, and four steers two years old,
-  The blind mare and the little colt, they all wait to be sold!
-  For how am I to keep ’em now? and yet how shall I sell?
-  And what’s the price they ought to bring, how can a woman tell?
-  Now, Jacob Smith, he called last night, and stayed till nine o’clock,
-  And talked and talked, and talked and talked, and tried to buy my stock;
-  He said he’d pay a higher price than any man in town;
-  He’d give his note, or, if I chose, he’d pay the money down.
-  But, there!
-  To let him take those creeturs off, I really do not dare!
-  For ’tis a lying world, and men are slippery things at best;
-  My poor, dear husband in the ground, he wasn’t like the rest!
-  But Jacob Smith’s a different case; if I would let him, now,
-  Perhaps he’d wrong me on the horse, or cheat me on a cow;
-  And so
-  I do not dare to trust him, and I mean to answer ‘No.’”
-
-  Mrs. Piper was a widow—
-  “Oh, dear me!
-  A single woman with a farm must fight her way,” said she.
-  “Of everything about the land my husband always knew;
-  I never felt, when he was here, I’d anything to do;
-  But now, what fields to plow,
-  And how much hay I ought to cut, and just what crops to sow,
-  And what to tell the hired men, how can a woman know?
-  Oh, dear!
-  With no strong arm to lean upon, it’s lonesome being here!
-  Now Jacob Smith, the other night, he called on me again,
-  And talked and talked, and talked and talked, and stayed till after ten;
-  He said he’d like to take my farm, to buy it or to lease—
-  I do declare, I wish that man would give me any peace!
-  For there!
-  To trust him with my real estate I truly did not dare;
-  For, if he buys it, on the price he’ll cheat me underhand;
-  And, if he leases it, I know he will run out the land;
-  And, if he takes it at the halves, both halves he’ll strike for then;
-  It’s risky work when women folk have dealings with the men!
-  And so,
-  I do not dare to trust him, and I mean to answer ‘No.’”
-
-  Mrs. Piper was a widow—
-  “Oh, dear me!
-  Yet I have still some mercies left; I won’t complain,” said she.
-  “My poor, dear husband knows, I trust, a better world than this;
-  ’Twere sinful selfishness in me to grudge him Heaven’s bliss!
-  So now,
-  I ought to bow
-  Submissively to what is sent—not murmur and repine;
-  The hand that sends our trials has, in all, some good design.
-  Oh, dear!
-  If we knew all, we might not want our buried lost ones here!
-  And Jacob Smith, he called last night, but it was not to see
-  About the cattle or the farm, but this time it was me!
-  He said he prized me very high, and wished I’d be his wife,
-  And if I did not he should lead a most unhappy life.
-  He did not have a selfish thought, but gladly, for my sake,
-  The care of all my stock and farm he would consent to take—
-  And, there!
-  To slight so plain a Providence I really do not dare!
-  He’ll take the cattle off my mind, he’ll carry on the farm—
-  I haven’t since my husband died had such a sense of calm!
-  I think the man was sent to me—a poor, lone woman must,
-  In such a world as this, I feel, have some one she can trust;
-  And so,
-  I do not feel it would be right for me to answer ‘No.’”
-
-                                                MARIAN DOUGLAS.
-
-
-MUSIC—To be Selected.
-
-
-COLLOQUY—True Bravery.
-
-(Suited to a boy and girl of twelve years.)
-
-_Ralph._ Good morning, Cousin Laura! I have a word to say to you.
-
-_Laura._ Only a word! It is yet half an hour to school-time, and I can
-listen.
-
-_R._ I saw you yesterday speaking to that fellow Sterling—Frank Sterling.
-
-_L._ Of course I spoke to Frank. What then? Is he too good to be spoken
-to?
-
-_R._ Far from it. You must give up his acquaintance.
-
-_L._ Indeed, Cousin Ralph! I must give up his acquaintance? On what
-compulsion _must_ I?
-
-_R._ If you do not wish to be cut by all the boys of the academy, you
-must cut Frank.
-
-_L._ Cut! What do you mean by _cut_?
-
-_R._ By cutting, I mean not recognizing an individual. When a boy who
-knows you passes you without speaking or bowing, he cuts you.
-
-_L._ I thank you for the explanation. And I am to understand that I
-must either give up the acquaintance of my friend Frank, or submit to
-the terrible mortification of being “cut” by Mr. Ralph Burton and his
-companions!
-
-_R._ Certainly. Frank is a boy of no spirit—in short, a coward.
-
-_L._ How has he shown it?
-
-_R._ Why, a dozen boys have dared him to fight, and he refuses to do it.
-
-_L._ And is your test of courage a willingness to fight? If so, a
-bull-dog is the most courageous of gentlemen.
-
-_R._ I am serious, Laura; you must give him up. Why, the other day Tom
-Harding put a chip on a fellow’s hat, and dared Frank Sterling to knock
-it off. But Sterling folded his arms and walked off, while we all
-groaned and hissed.
-
-_L._ You did? You groaned and hissed? Oh, Ralph, I did not believe you
-had so little of the true gentleman about you!
-
-_R._ What do you mean? Come, now, I do not like that.
-
-_L._ Were you at the great fire last night?
-
-_R._ Yes; Tom Harding and I helped work one of the engines.
-
-_L._ Did you see that boy go up the ladder?
-
-_R._ Yes; wouldn’t I like to be in his shoes! They say the Humane
-Society are going to give him a medal; for he saved a baby’s life and no
-mistake—at the risk of his own, too; everybody said so; for the ladder he
-went up was all charred and weakened, and it broke short off before he
-got to the ground.
-
-_L._ What boy was it!
-
-_R._ Nobody could find out, but I suppose the morning paper will tell us
-all about it.
-
-_L._ I have a copy. Here’s the account; “Great fire; house tenanted by
-poor families; baby left in one of the upper rooms; ladder much charred;
-firemen too heavy to go up; boy came forward, ran up; seized an infant;
-descended safely; gave it into arms of frantic mother.”
-
-_R._ Is the boy’s name mentioned?
-
-_L._ Ay! Here it is! Here it is! And who do you think he is?
-
-_R._ Do not keep me in suspense.
-
-_L._ Well, then, he’s the boy who was so afraid of knocking a chip off
-your hat—Frank Sterling—the coward, as _you_ called him.
-
-_R._ No! Let me see the paper for myself. There’s the name, sure enough,
-printed in capital letters.
-
-_L._ But, cousin, how much more illustrious an achievement it would have
-been for him to have knocked a chip off your hat! Risking his life to
-save a chip of a baby was a small matter compared with that. Can the
-gratitude of a mother for saving her baby make amends for the ignominy of
-being cut by Mr. Tom Harding and Mr. Ralph Burton?
-
-_R._ Don’t laugh at me any more, Cousin Laura. I see I have been stupidly
-in the wrong. Frank Sterling is no coward. I’ll ask his pardon this very
-day.
-
-_L._ Will you? My dear Ralph, you will in that case show that you are not
-without courage.
-
-
-RECITATION—Reverie in Church.
-
-  Too early of course! How provoking!
-    I told ma just how it would be.
-  I might as well have on a wrapper,
-    For there’s not a soul here yet to see.
-  There! Sue Delaplaine’s pew is empty—
-    I declare if it isn’t too bad!
-  I knew my suit cost more than her’s did,
-    And I wanted to see her look mad.
-
-  I do think that sexton’s too stupid—
-    He’s put some one else in our pew—
-  And the girl’s dress just kills mine completely;
-    Now what am I going to do?
-  The psalter, and Sue isn’t here yet!
-    I don’t care, I think it’s a sin
-  For people to get late to service,
-    Just to make a great show coming in.
-
-  Oh, you’ve got here at last, my dear, have you?
-    Well, I don’t think you need be so proud
-  Of that bonnet if Virot did make it,
-    It’s horrid fast-looking and loud.
-  What a dress!—for a girl in her senses
-    To go on the street in light blue!
-  And those coat-sleeves—they wore them last summer—
-    Don’t doubt, though, that she thinks they’re new.
-
-  Mrs. Gray’s polonaise was imported—
-    So dreadful!—a minister’s wife,
-  And thinking so much about fashion!—
-    A pretty example of life!
-  The altar’s dressed sweetly—I wonder
-    Who sent those white flowers for the font!—
-  Some girl who’s gone on the assistant—
-    Don’t doubt it was Bessie Lamont.
-
-  Just look at her now, little humbug!—
-    So devout—I suppose she don’t know
-  That she’s bending her head too far over
-    And the end of her switches all show.
-  What a sight Mrs. Ward is this morning!
-    That woman will kill me some day,
-  With her horrible lilacs and crimsons,
-    Why will these old things dress so gay?
-
-  And there’s Jenny Wells with Fred Tracy—
-    She’s engaged to him now—horrid thing!
-  Dear me! I’d keep on my glory sometimes,
-    If I did have a solitaire ring!
-  How can this girl next to me act so—
-    The way that she turns round and stares,
-  And then makes remarks about people:—
-    She’d better be saying her prayers.
-
-  Oh, dear, what a dreadful long sermon!
-    He must love to hear himself talk!
-  And it’s after twelve now—how provoking!
-    I wanted to have a nice walk.
-  Through at last. Well, it isn’t so dreadful
-    After all, for we won’t dine till one:
-  How can people say church is poky!—
-    So wicked!—I think it’s real fun.
-
-                              GEORGE A. BAKER.
-
-
-ORATION—The Spanish-American War.
-
-It is gratifying to all of us to know that this has never ceased to be
-a war of humanity. The last ship that went out of the harbor of Havana
-before war was declared was an American ship that had taken to the
-suffering people of Cuba the supplies furnished by American charity,
-and the first ship to sail into the harbor of Santiago was an American
-ship bearing food supplies to the suffering Cubans, and I am sure it is
-the universal prayer of American citizens that justice and humanity and
-civilization shall characterize the final settlement of peace, as they
-have distinguished the progress of the war.
-
-My countrymen, the currents of destiny flow through the hearts of our
-people. Who will check them, who will divert them, who will stop them?
-And the movements of men, planned and designed by the Master of Men,
-will never be interrupted by the American people.
-
-I witness with pride and satisfaction the cheers of the multitudes as the
-veterans of the civil war on both sides of the contest are reviewed. I
-witness with increasing pride the wild acclaim of the people as you watch
-the volunteers and the regulars and our naval reserves (the guardians
-of the people on land and sea) pass before your eyes, for I read in the
-faces and hearts of my countrymen the purpose to see to it that this
-government, with its free institutions, shall never perish from the face
-of the earth.
-
-My heart is filled with gratitude to the God of battles, who has so
-favored us, and to the soldiers and sailors who have won such victories
-on land and sea and have given such a new meaning to American valor. No
-braver soldiers or sailors ever assembled under any flag.
-
-Gentlemen, the American people are ready. If the Merrimac is to be sunk
-in the mouth of the Santiago harbor to prevent the escape of the Spanish
-fleet, a brave young hero is ready to do it and to succeed in what his
-foes have never been able to do—sink an American ship. All honor to
-the army and navy, without whose sacrifices we could not celebrate the
-victory. The flag of our country is safe in the hands of our patriots and
-heroes.
-
-                                                      PRESIDENT MCKINLEY.
-
-
-MUSIC—To be Selected.
-
-
-RECITATION—A Cook of the Period.
-
-(For a young lady who can give the Irish brogue.)
-
-  The looks of yer, ma’am, rather suits me—
-    The wages ye offer ’ill do;
-  But thin I can’t inter yer sarvice
-    Without a condition or two.
-  And now, to begin, is the kitchen,
-    Commodgeous, with plenty of light,
-  And fit, ye know, fur entertainin’
-    Sech fri’nds as I’m like to invite?
-
-  And nixt, are yous regular at male-times?
-    Because ’taint convainyent, ye see,
-  To wait, and if I behaves punkshul,
-    It’s no more than yous ought to be.
-  And thin is your gurrels good-natured?
-    The rayson I lift my last place,
-  The French nuss was sich a high lady,
-    I sint a dish-cloth at her face.
-
-  And have yer the laste objection
-    To min droppin’ in when they choose?
-  I’ve got some enlivinin’ fust cousins
-    That frayquently brings me the news.
-  I must have thim trayted powlitely;
-    I give yer fair warnin’ ma’am, now,
-  If the airy gate be closed agin thim,
-    You’ll find me commincin’ a row.
-
-  These matters agrayed on between us,
-    I’d try yer a wake, so I would.
-  (She looks like the kind I can manage,
-    A thin thing without any blood!)
-  But mind, if I comes for a wake, ma’am,
-    I comes for that time, and no liss;
-  And so, thin, purvidin’ ye’d want me,
-    Just give me your name and addriss.
-
-
-SONG—Bee-hive Town. TUNE—“Marching Through Georgia.”
-
-  Have you ever been to see the busy Bee-Hive Town,
-  With its funny little wooden houses square and brown?
-  Hear the bees from clover-fields come flying swiftly down
-        All enter one little doorway.
-
-  CHORUS.
-
-  Hurrah, hurrah, for busy Bee-Hive Town,
-  With funny little houses square and brown;
-  Here the bees from clover fields come flying swiftly down
-        Bringing the sweet golden honey.
-
-  Oh, there are so many rooms with thin and waxen wall,
-  Packed so close together that you could not count them all,
-  Here the small bee babies sleep until they learn to crawl,
-        And fly to find the golden honey.
-
-  Mother bee is called the queen, her children love her well,
-  And she lives within a warm and cosy little cell;
-  While her children search in garden, meadow-land and dell,
-        Helpful and happy in working.
-
-  All the merry sister bees do many a helpful thing—
-  Tend their little sisters and the golden honey bring:
-  But the lazy brother bees do naught but hum and sing,
-        All through the long golden summer.
-
-
-PROGRAMME FOR THANKSGIVING.
-
-(The room should be decorated with fruits and grains of the season,
-among them a large pumpkin, which will be appropriate to one of the
-recitations.)
-
-
-SONG—Tune: “My Country.”
-
-  Honor the Mayflower’s band,
-  Who left their native land
-    And home so bright;
-  Honor the bravery
-  That crossed the winter sea,
-  For worship, fearless, free,
-    In cause of right.
-
-  Oh, they had much to fear,
-  Sickness and death was near
-    To many a one;
-  Foes did them cruel wrong,
-  Winter was dark and long,
-  Ere came the Springtime’s song
-    And burst of sun.
-
-  Honor those valiant sons,
-  Honor those fearless ones,
-    The Mayflower’s band.
-  Honor the bravery
-  That scorned all tyranny,
-  And crossed the stormy sea
-    To this fair land!
-
-
-RELIGIOUS EXERCISES—Selected.
-
-
-RECITATION—What I’m Thankful For.
-
-  I’m thankful that I’m six years old,
-    And that I’ve left off dresses;
-  And that I’ve had my curls cut off,—
-    Some people call them tresses.
-  Such things were never meant for boys;—
-    Horrid dangling, tangling curls—
-  They go quite well with dress and sash;
-    They are just the thing for girls.
-
-  I’m thankful I have pockets four,
-    Tho’ they’re almost too small,
-  To hold the things I want to keep;—
-    Some strings, knife, top and ball.
-  I’m thankful that we’re going to have,
-    All my folks and I,
-  Just a jolly dinner to-day,
-    With turkey and mince pie.
-
-  O, one thing more, my mamma says,
-    And what she says is true;
-  ’Tis God who gives us everything,
-    And keeps and loves us too.
-  And so I thank Him very much
-    For all that I enjoy;
-  And promise that next New Year’s day
-    Will find a better boy.
-
-
-RECITATION—The Pumpkin.
-
-  Ah! on Thanksgiving Day, when from East and from West,
-  From North and from South come the pilgrim and guest,
-  When the grey-haired New Englander sees round his board
-  The old broken links of affection restored,
-  When the care-wearied man seeks his mother once more,
-  And the worn matron smiles where the girl smiled before,
-  What moistens the lip, and what brightens the eye?
-  What calls back the past, like the rich pumpkin pie?
-
-  O, fruit loved of boyhood! the old days recalling;
-  When wood-grapes were purpling and brown nuts were falling!
-  When wild, ugly faces were carved in its skin,
-  Glaring out through the dark with a candle within!
-  When we laughed round the corn heap, with hearts all in tune,
-  Our chair a broad pumpkin, our lantern the moon,
-  Telling tales of the fairy who traveled like steam
-  In a pumpkin-shell coach, with two rats for her team!
-
-  Then thanks for thy present!—none sweeter or better
-  E’er smoked from an oven or circled a platter!
-  Fairer hands never wrought at a pastry more fine,
-  Brighter eyes never watched o’er its baking than thine!
-  And the prayer, which my mouth is too full to express,
-  Swells my heart that thy shadow may never be less,
-  That the days of thy lot may be lengthened below,
-  And the fame of thy worth like a pumpkin-vine grow,
-  And thy life be as sweet, and its last sunset sky
-  Gold-tinted and fair as thine own pumpkin-pie!
-
-                                           J. G. WHITTIER.
-
-
-SONG—Tune: “Yankee Doodle.”
-
-  What matters it the cold wind’s blast,
-    What matters though ’tis snowing,
-  Thanksgiving Day has come at last;
-    To grandmamma’s we’re going.
-  Wrapped in furs as warm as toast,
-    O’er the hills we’re fleeting;
-  To welcome friends, a merry host
-    And grandma’s smile of greeting.
-
-  The sleigh bells jingle merrily,
-    And though the flakes are flying,
-  At last beyond the hills we see
-    A little mansion lying.
-  I’m sure we’ll find sweet cakes and fruit
-    And pumpkin pies so yellow;
-  For grandma knows just how to suit
-    Each hungry little fellow.
-
-
-RECITAL—Outside and In.
-
-  (May be recited by three girls; No. 1 remaining on the platform
-  while No. 2 recites the second part, and both standing while No.
-  3 steps between and repeats the closing verse.)
-
-  1.  Just outside the window,
-        Through the cold night air,
-      Snowflakes falling softly,
-        Dropping here and there,
-      Covering like a blanket
-        All the ground below,
-      Where the flowers are sleeping,
-        Tucked in by the snow.
-      They are dreaming sweetly,
-        Through the winter’s night,
-      Of the summer’s morning
-        Coming sure and bright.
-
-  2.  Just inside the window
-        Firelight ruddy gleams;
-      On the walls and ceiling
-        Dance its merry beams.
-      White as outside snowflakes
-        Is the little bed;
-      On the downy pillow
-        Rests a curly head.
-      Like the flowers the child is dreaming
-        Of the long, bright hours of play
-      Coming as the darkness melteth
-        Into sunny day.
-
-  3.  And above the sleepers,—
-        Be they child or flower,—
-      Our loving Father bendeth
-        Watching hour by hour.
-      ’Tis his love which giveth
-        Blessings great or small;
-      ’Tis his sun which shineth,
-        Making day for all.
-
-
-ORATION—The Laboring Classes.
-
-Sir, it is an insult to our laboring classes to compare them to the
-debased poor of Europe. Why, sir, we of this country do not know what
-poverty is. We have no poor in this country, in the sense in which that
-word is used abroad. Every laborer, even the most humble, in the United
-States, soon becomes a capitalist, and even, if he choose, a proprietor
-of land; for the West, with all its boundless fertility, is open to him.
-
-How can any one dare compare the mechanic of this land (whose
-inferiority, in any substantial particular, in intelligence, in virtue,
-in wealth, to the other classes of our society, I have yet to learn) with
-that race of outcasts, of which so terrific a picture is presented by
-recent writers—the poor of Europe?—a race among no inconsiderable portion
-of whom famine and pestilence may be said to dwell continually; many of
-whom are without morals, without education, without a country, without
-a God! and may be said to know society only by the terrors of its penal
-code, and to live in perpetual war with it. Poor bondmen! mocked with
-the name of liberty, that they may be sometimes tempted to break their
-chains, in order that, after a few days of starvation in idleness and
-dissipation, they may be driven back to their prison-house to take their
-shackles up again, heavier and more galling than before; severed, as it
-has been touchingly expressed, from nature, from the common air, and the
-light of the sun; knowing only by hearsay that the fields are green, that
-the birds sing, and that there is a perfume in flowers!
-
-And is it with a race whom the perverse institutions of Europe have
-thus degraded beneath the condition of humanity that the advocates, the
-patrons, the protectors, of our working-men, presume to compare them?
-Sir, it is to treat them with a scorn at which their spirit should
-revolt, and does revolt.
-
-                                                             HUGH LEGARE.
-
-
-RECITATION—A Thanksgiving.
-
-(For six boys. They stand in a row and each steps forward to recite his
-verse).
-
-  For the wealth of pathless forests,
-    Whereon no axe may fall;
-  For the winds that haunt the branches;
-    The young bird’s timid call;
-  For the red leaves dropped like rubies
-    Upon the dark green sod;
-  For the waving of the forests
-    I thank thee, O my God!
-
-  For the sound of water gushing
-    In the bubbling beads of light;
-  For the fleets of snow-white lilies
-    Firm anchored out of sight;
-  For the reeds among the eddies;
-    The crystal on the clod;
-  For the flowing of the rivers,
-    I thank thee, O my God!
-
-  For the rosebud’s break of beauty
-    Along the toiler’s way;
-  For the violet’s eye that opens
-    To bless the new-born day;
-  For the bare twigs that in summer
-    Bloom like the prophet’s rod;
-  For the blossoming of flowers,
-    I thank thee, O my God!
-
-  For the lifting up of mountains,
-    In brightness and in dread;
-  For the peaks where snow and sunshine
-    Alone have dared to tread;
-  For the dark and silent gorges,
-    Whence mighty cedars nod;
-  For the majesty of mountains,
-    I thank thee, O my God!
-
-  For the splendor of the sunsets,
-    Vast mirrored on the sea;
-  For the gold-fringed clouds that curtain
-    Heaven’s inner mystery;
-  For the molten bars of twilight,
-    Where thought leans glad yet awed;
-  For the glory of the sunsets,
-    I thank thee, O my God!
-
-  For the earth and all its beauty;
-    The sky and all its light;
-  For the dim and soothing shadow
-    That rest the dazzled sight;
-  For unfading fields and prairies,
-    Where sense in vain has trod;
-  For the world’s exhaustless beauty,
-    I thank thee, O my God!
-
-                         LUCY LARCOM.
-
-
-SONG—The Pilgrims. Tune—“Lightly Row.”
-
-            Long ago,
-            To our land
-  Came the Mayflower’s little band,
-            Long ago
-            To our land
-  Came the Mayflower’s band.
-    O, they came across the sea,
-    For the heart’s devotion free.
-            Long ago
-            To our land
-  Came the Mayflower’s band.
-
-            Winter, spring,
-            Slowly passed,
-  And the harvest came at last.
-            Winter, spring,
-            Slowly passed
-  Harvest came at last.
-    Then for all the blessings given,
-    Thanks they rendered unto heaven,
-            From that day
-            Came to stay,
-  Glad Thanksgiving Day.
-
-
-TABLEAU—Harvest Home.
-
-  (Handsome lady, representing Ceres, surrounded by baskets or
-  shocks of grain, wheat, corn, etc., with farmers in attitudes
-  of gathering or binding the crops).
-
-
-PROGRAMME FOR FLOWER DAY.
-
-
-SONG—Tune: “My Country.”
-
-  Let us with nature sing,
-  And floral tributes bring,
-      On this glad day;
-  Violets white and blue,
-  Daisies and lilies too,
-  Pansies of purple hue,
-      And roses gay.
-
-  O’er this fair land of ours,
-  Blossom the golden flowers
-      In loveliness;
-  From Maine to Washington,
-  Wherever smiles the sun,
-  Their fairy footsteps run
-      To cheer and bless.
-
-  When winter’s curtains gray,
-  From skies are pushed away
-      By nature’s hand;
-  We gladly welcome you,
-  Blossoms of red and blue,
-  Blossoms of every hue,
-      To our fair land.
-
-
-RECITAL—The Poppy and Mignonette.
-
-  Once ’tis said, gay, flaunting poppies,
-    And the humble mignonette,
-  Side by side grew in a garden
-    Where one day their glances met.
-  Cried a Poppy: “Of your presence,
-    In this spot we have no need,
-  You are sadly out of place,
-    You are nothing but a weed.”
-
-  Meekly bowed the Mignonette
-    And ashamed in silence stood,
-  When there came a gentle murmur,
-    Like a whisper from the wood:
-  “Henceforth, gay and flaunting poppies,
-    Proud and stately in thy bloom,
-  Shall be taken half thy beauty—
-    All thy wealth of sweet perfume.
-
-  It is thine, O mignonette,
-    Flower of sweet and lowly grace;
-  Thou shalt win the hearts of others,
-    Though thou hast a humble face.”
-  And the magic of that whisper.
-    Holds its mystic power yet;
-  Poppies lure us with their beauty,
-    But we love the mignonette.
-
-
-FLOWER QUOTATIONS.
-
-  (For seven pupils, each of whom recites a verse, prefacing it
-  with the name of the author.)
-
-  _Wordsworth wrote_:
-
-    The rainbow comes and goes,
-  And lovely is the rose;
-    The moon doth with delight
-  Look round her when the heavens are bare.
-    Waters on a starry night,
-  Are beautiful and fair.
-
-  _Longfellow wrote_:
-
-  O flower de luce, bloom on, and let the river
-    Linger to kiss thy feet.
-  O flower of song, bloom on, and make forever
-    The world more fair and sweet.
-
-  _Lowell wrote_:
-
-  The cowslip startles in meadows green,
-    The buttercup catches the sun in its chalice,
-  And there’s never a blade or a flower too mean,
-    To be some happy creature’s palace.
-
-  _Leigh Hunt wrote_:
-
-  We are violets blue,
-    For our sweetness found
-  Careless in the mossy shades,
-    Looking on the ground.
-  Love-dropped eye-lids, and a kiss,
-  Such our breath and blueness is.
-
-  _John Wolcott wrote_:
-
-  The daisies peep from every field,
-  And violets sweet their odors yield,
-  The purple blossom paints the thorn,
-  And streams reflect the blush of morn
-  Then lads and lasses, all be gay,
-  For this is Nature’s holiday.
-
-  _Horace Smith wrote_:
-
-  Your voiceless lips, O flowers, are living teachers,
-    Each cup a pulpit and each leaf a book,
-  Supplying to my fancy numerous teachers,
-    From loveliest nook.
-
-  _Lowell wrote_:
-
-  Winds wander, and dews drip earthward,
-    Rains fall, suns rise and set,
-  Earth whirls, and all but to prosper
-    A poor little violet.
-
-
-SONG—Tune: “Auld Lang Syne.”
-
-  When winter o’er the hills afar,
-    Has vanished from the land,
-  And glad and welcome signs of Spring
-    Are seen on every hand,
-  Then Robin in his vest of red,
-    And sober suit of brown,
-  From out his sunny, southern home,
-    Flies gaily into town.
-
-  The blossoms smile to hear him sing,
-    And see him build his nest;
-  For of all merry summer birds
-    Dear Robin, they love best.
-  He chirps and twitters at his work,
-    While skies forget to frown,
-  And all the world is glad and gay
-    When Robin lives in town.
-
-  The summer softly fades away
-    Into the winter drear,
-  Then Robin gayly sings, “good-bye,
-    I’ll come another year.”
-  So when the woodland trees are bare,
-    And snowy flakes fall down;
-  In little suit of brown and red,
-    Dear Robin leaves the town.
-
-
-RECITATION—Flowers.
-
-How the universal heart of man blesses flowers! They are wreathed round
-the cradle, the marriage altar, and the tomb. The Persian in the far East
-delights in their perfume, and writes his love in nosegays; while the
-Indian child of the far West clasps his hands with glee as he gathers the
-abundant blossoms—the illuminated scripture of the prairies. The Cupid
-of the ancient Hindoos tipped his arrows with flowers, and orange buds
-are the bridal crown with us, a nation of yesterday. Flowers garlanded
-the Grecian altar, and they hang in votive wreaths before the Christian
-shrine.
-
-All these are appropriate uses. Flowers should deck the brow of the
-youthful bride, for they are in themselves a lovely type of marriage.
-They should twine round the tomb, for their perpetually renewed beauty is
-a symbol of the resurrection. They should festoon the altar, for their
-fragrance and their beauty ascend in perpetual worship before the Most
-High.
-
-                                                          LYDIA M. CHILD.
-
-
-THE FOOLISH HAREBELL.
-
-(For eighteen pupils, each speaking two lines.)
-
-  A harebell hung its willful head:
-  “I am so tired, so tired! I wish I was dead.”
-
-  She hung her head in the mossy dell:
-  “If all were over, then all were well.”
-
-  The wind he heard, and was pitiful;
-  He waved her about to make her cool.
-
-  “Wind, you are rough,” said the dainty bell;
-  “Leave me alone—I am not well.”
-
-  And the wind, at the voice of the drooping dame,
-  Sank in his heart, and ceased for shame.
-
-  “I am hot, so hot!” she sighed and said;
-  “I am withering up; I wish I was dead.”
-
-  Then the sun, he pitied her pitiful case,
-  And drew a thick veil over his face.
-
-  “Cloud, go away, and don’t be rude;
-  I am not—I don’t see why you should.”
-
-  The cloud withdrew, and the harebell cried,
-  “I am faint, so faint! and no water beside!”
-
-  And the dew came down its million-fold path;
-  But she murmured, “I did not want a bath.”
-
-  A boy came by in the morning gray;
-  He plucked the harebell, and threw it away.
-
-  The harebell shivered, and cried, “Oh! oh!
-  I am faint, so faint! Come, dear wind, blow.”
-
-  The wind blew softly, and did not speak.
-  She thanked him kindly, but grew more weak.
-
-  “Sun, dear sun, I am cold,” she said.
-  He rose; but lower she drooped her head.
-
-  “O rain! I am withering; all the blue
-  Is fading out of me;—come, please do.”
-
-  The rain came down as fast as it could,
-  But for all its will it did her no good.
-
-  She shuddered and shriveled, and moaning said;
-  “Thank you all kindly;” and then she was dead.
-
-  Let us hope, let us hope, when she comes next year,
-  She’ll be simple and sweet. But I fear, I fear.
-
-                                    GEORGE MACDONALD.
-
-
-QUESTIONS ABOUT FLOWERS.
-
-(To be answered by a class or the whole school.)
-
-What is the favorite flower of the poets?
-
-_Ans._ The daisy.
-
-What English poet so loved the daisy that he lay all one day in the field
-to see it open in the morning and close at night?
-
-_Ans._ Chaucer.
-
-What violet, so called, really belongs to the lily family?
-
-_Ans._ The dog-tooth violet.
-
-What flower was named by the Greeks after one of their gods?
-
-_Ans._ The pansy, after Pan.
-
-About what flower was Emerson’s finest poem written?
-
-_Ans._ The rhodora.
-
-Which of the buttercups are foreigners?
-
-_Ans._ The tall buttercup and the common buttercup with bulbous base.
-
-Name some other imported flowers.
-
-_Ans._ Dandelion and ox-eyed daisy.
-
-Name two distinctly American blossoms.
-
-_Ans._ Indian pipe and blood-root.
-
-What queen adopted the daisy as her flower?
-
-_Ans._ Queen Margherita of Italy.
-
-Name one of the most brilliant of August flowers.
-
-_Ans._ The cardinal flower.
-
-What is one of the most difficult wild flowers to cultivate?
-
-_Ans._ Trailing arbutus, which grows all over the United States.
-
-What floral poem of Wordsworth’s is famous?
-
-_Ans._ Daffodils.
-
-What is the most beautiful plant of Autumn?
-
-_Ans._ The golden rod.
-
-
-RECITATION—Pansies.
-
-  We had climbed to the top of the old Gray Peak,
-    And viewed the valley o’er;
-  And we started off on our homeward tramp,
-    A good three miles or more.
-  The road lay curved like a ribbon of gold,
-    Around the base of the hill,
-  And the brook gleamed out with a silver sheen,
-    From thickets near the mill.
-
-  But the sun shone warm on the dusty road,
-    Until by heat oppressed,
-  We wearily stopped at a cottage gate;
-    The matron bade us rest.
-  How cool was the shade of the trumpet-vine,
-    A spring ran fresh and clear?
-  The flash and whirr of a jeweled thing,
-    A humming-bird was near.
-
-  We were sauntering down the garden path,
-    Repeating kind good-byes,
-  When suddenly now were our footsteps stayed,
-    New beauties met our eyes.
-  “Will you have some pansies?” the hostess asks,
-    “O, thank you, on!” we say;
-  But the matron is culling the purple blooms,
-    We let her have her way.
-
-  Purple and blue and russet and gold
-    Those fragrant rich bouquets;
-  “Ah!” she explains, “of my violets sweet,
-    You have not learned the ways.
-
-  “There is something good about pansies
-    That’s worth your while to know;
-  The more they are picked and given away
-    The more they’re sure to grow.”
-
-                           MARY A. MCCLELLAND.
-
-
-RECITAL—Plant Song.
-
-  O where do you come from, berries red,
-  Nuts, apples and plums, that hang ripe overhead,
-  Sweet, juicy grapes, with your rich purple hue,
-  Saying, “Pick us and eat us; we’re growing for you?”
-
-  O, where do you come from, bright flower and fair,
-  That please with your colors and fragrance so rare,
-  Glowing with sunshine or sparkling with dew?
-  “We are blooming for dear little children like you.”
-
-  “Our roots are our mouths, taking food from the ground,
-  Our leaves are our lungs, breathing air all around,
-  Our sap, like your blood, our veins courses through—
-  Don’t you think, little children, we’re somewhat like you?
-
-  “Your hearts are the soil, your thoughts are the seeds;
-  Your lives may become useful plants or foul weeds;
-  If thou think but good thoughts your lives will be true,
-  For good women and men were once children like you.”
-
-                                            NELLIE M. BROWN.
-
-
-SONG—TUNE.—“Bounding Billows.”
-
-  We would hail thee, joyous summer,
-    We would welcome thee to-day,
-  With thy skies so blue and cloudless
-    And thy song-birds, glad and gay.
-
-  Oh, the blossoms hear thee calling,
-    Hear thy voice that ne’er deceives,
-  And they waken from their slumbers
-    Far beneath the withered leaves.
-
-  Little brooks with merry laughter,
-    Run to greet their lovely guest;
-  For of all the happy seasons
-    Summer dear, they love thee best.
-
-  So we hail thee, joyous summer,
-    We would welcome thee to-day;
-  With thy skies so blue and cloudless,
-    And thy song-birds, glad and gay.
-
-
-READING—Summer-Time.
-
-They were right—those old German minnesingers—to sing the pleasant
-summer-time! What a time it is! How June stands illuminated in the
-calendar! The windows are all wide open; only the Venetian blinds closed.
-Here and there a long streak of sunshine streams in through a crevice.
-We hear the low sound of the wind among the trees; and, as it swells and
-freshens, the distant doors clap to, with a sudden sound. The trees are
-heavy with leaves; and the gardens full of blossoms, red and white. The
-whole atmosphere is laden with perfume and sunshine. The birds sing.
-The cock struts about, and crows loftily. Insects chirp in the grass.
-Yellow buttercups stud the green carpet like golden buttons, and the red
-blossoms of the clover like rubies.
-
-The elm-trees reach their long, pendulous branches almost to the ground.
-White clouds sail aloft, and vapors fret the blue sky with silver
-threads. The white village gleams afar against the dark hills. Through
-the meadow winds the river—careless, indolent. It seems to love the
-country, and is in no haste to reach the sea. The bee only is at work—the
-hot and angry bee. All things else are at play! he never plays, and is
-vexed that any one should.
-
-People drive out from town to breathe, and to be happy. Most of them have
-flowers in their hands; bunches of apple-blossoms, and still oftener
-lilacs. Ye denizens of the crowded city, how pleasant to you is the
-change from the sultry streets to the open fields, fragrant with clover
-blossoms! how pleasant the fresh, breezy country air, dashed with brine
-from the meadows! how pleasant, above all, the flowers, the manifold
-beautiful flowers!
-
-                                                        H. W. LONGFELLOW.
-
-
-SONG.—Tune.—“The Last Rose of Summer.”
-
-  Tis the last rose of summer
-    Left blooming alone;
-  All her lovely companions
-    Are faded and gone;
-  No flower of her kindred,
-    No rose bud is nigh,
-  To reflect back her blushes,
-    Or give sigh for sigh!
-
-  I’ll not leave thee, thou lone one,
-    To pine on the stem;
-  Since the lovely are sleeping,
-    Go, sleep thou with them.
-  Thus kindly I scatter
-    Thy leaves o’er the bed
-  Where thy mates of the garden
-    Lie scentless and dead.
-
-  So soon may follow,
-    When friendships decay,
-  And from love’s shining circle
-    The gems drop away!
-  When true hearts lie withered
-    And fond ones are flown,
-  Oh! who would inhabit
-    This bleak world alone?
-
-                    THOMAS MOORE.
-
-
-MARCH—Honor to the Flag.
-
-  (Young people march to a well known tune; each carries a bouquet,
-  and, approaching a staff flying the Stars and Stripes, places the
-  flowers at the base.)
-
-
-
-
-DIALOGUES FOR SCHOOLS AND LYCEUMS.
-
-
-IN WANT OF A SERVANT.
-
-_Characters_:
-
-  MR. MARSHALL AND WIFE.
-  MARGARET O’FLANAGAN.
-  KATRINA VAN FOLLESTEIN.
-  SNOWDROP WASHINGTON.
-  MRS. BUNKER.
-  FREDDIE.
-
-_Scene I._—_The breakfast-room of MR. and MRS. MARSHALL. MR. MARSHALL
-enjoying the morning paper with his heels on the mantel._
-
-_Mrs. Marshall_ (_in a complaining tone_.) Oh, dear, Charles, how sick
-and tired I am of housework! I do envy people who are able to keep help.
-Here I am tied up to the little hot kitchen morning till night—stewing,
-and baking, and frying, and scrubbing, and washing floors, till I am
-ready to sink! One thing over and over again. I wonder why Hood, when he
-wrote the “Song of the Shirt,” had not kept on and written the “Song of
-the Basement Story.”
-
-_Mr. M._ Is it so very bad, Lily? Why, I always thought it must be nice
-work to cook—and washing dishes is the easiest thing in the world. All
-you have to do is to pour a little hot water over ’em and give ’em a
-flirt over with a towel.
-
-_Mrs. M._ That’s all you men know about it; it is the hardest work in
-the world! I always hated it. I remember, when I was a little girl, I
-always used to be taken with a headache when mother wanted me to wash the
-dishes. And then she’d dose me with rhubarb. Ugh! how bitter it was; but
-not half so bitter as washing dishes in boiling water in a hot kitchen
-in the middle of August!
-
-_Mr. M._ (_meditatively taking his feet from the mantel_.) I made a lucky
-sale this morning, and saved a cool three hundred. I had intended giving
-you a new silk, but I’ll do better—I’ll hire you a girl. How will that
-suit?
-
-_Mrs. M._ Oh, what a darling! I would kiss you if you hadn’t been
-smoking, and my collar weren’t quite so fresh. I am afraid I shall muss
-it. But you are a good soul, Charlie; and I shall be so happy. Do you
-really mean it?
-
-_Mr. M._ To be sure.
-
-_Mrs. M._ Won’t Mrs. Fitzjones die of envy? She puts her washing out, and
-she’s always flinging that in my face. I guess the boot will be on the
-other foot now! I wonder what she’ll say when she runs in of a morning
-to see what I’m cooking, and finds me in the parlor hem-stitching a
-handkerchief, and my _maid_ attending to things in the kitchen? But where
-is a girl to be had? Will you go to the intelligence office?
-
-_Mr. M._ No; I don’t approve of intelligence offices. I will advertise.
-Bring me a pen and ink, Lily.
-
-_Mrs. M._ (_bringing the articles_.) You won’t say that to me any
-more, Charles. It will be, “Biddy, my good girl, bring me the writing
-implements.” Won’t it be nice? Just like a novel. They always have
-servants, you know.
-
-_Mr. M._ What, the novels?
-
-_Mrs. M._ No; the people in them. Are you writing the advertisement? Be
-sure and say that no one need apply except experienced persons. I want no
-green hands about my kitchen.
-
-_Mr. M._ (_reads from the paper what he has been writing_.) “Wanted, by a
-quiet family, a girl to do general housework. None but those having had
-experience need apply. Call at No. 116 B⸺ street, between the hours of
-ten and two.” How will that answer?
-
-_Mrs. M._ Admirably! Charles, you ought to have been an editor. You
-express your ideas so clearly!
-
-_Mr. M._ Thank you, my dear, thank you. I believe I _have_ some talent
-for expressing my meaning. But I am going down town now, and will have
-this advertisement inserted in the _Herald_, and by to-morrow you can
-hold yourself in readiness to receive applicants. By-bye (_goes out_).
-
-_Mrs. M._ (_alone_). If it isn’t the most charming thing! Won’t the
-Fitzjoneses and Mrs. Smith be raving? Mrs. Smith has got a bound girl,
-and Mrs. Fitzjones puts out her washing; but I am to have a regular
-servant! I shall get a chance to practice my music now. Dear me—how red
-my hands are! (_looks at them_) I must get some cold cream for them;
-one’s hands show so on the white keys of a piano. I’ll go and open that
-piano now, and dust it. It must be dreadfully out of tune. But I’ll have
-it tuned as soon as ever I get that girl fairly initiated into my way of
-doing work (_goes out_).
-
-
-_Scene II._—_MRS. MARSHALL awaiting the coming of “applicants.” A furious
-ring at the front door bell._
-
-_Mrs. M._ (_peeping through the blinds_). Dear me! I wonder who’s coming!
-A person applying for the situation of servant would not be likely to
-come to the front door. I can just see the edge of a blue-silk flounce,
-and a streamer of red ribbon on the bonnet. I’ll go and see who it
-is (_opens the door, and a stout Irish girl, gaudily dressed, with
-an eye-glass, and a bonnet of enormous dimensions pushes by her, and
-entering the parlor, seats herself in the rocking-chair_).
-
-_Mrs. M._ To what am I indebted for this visit?
-
-_Irish Girl._ It looks well for the like of yees to ask! It’s the leddy
-what’s wanting a young leddy to help in the wurrk that I’m after seeing.
-
-_Mrs. M._ (_with dignity_). I am that person, if you please. What may I
-call your name?
-
-_Irish Girl._ Me name’s Margaret O’Flanagan, though some people has the
-impudence to call me Peggy; but if ever the likes of it happens agin I’ll
-make the daylight shine into ’em where it never dramed of shining before.
-What may your name be, mum?
-
-_Mrs. M._ My name is Marshall. I am in want of a servant.
-
-_Margaret._ Sarvint, is it? Never a bit of a sarvint will I be for
-anybody! The blud of my forefathy would cry out against it. But I might
-have ixpected it from the appearance of yees. Shure, and I’d no other
-thought but ye was the chambermaid. Marshall, is it? Holy St. Patrick!
-why that was the name of the man that was hung in County Cork for the
-murthering of Dennis McMurphy, and he had a nose exactly like the one
-foreninst your face. (_A second ring at the door. MRS. MARSHALL ushers in
-a stolid-faced German girl, and an over-dressed colored lady. They take
-seats on the sofa._)
-
-_German Girl._ Ish dis the place mit the woman what wants a girl in her
-housework that was put into de paper day pefore to-morrow.
-
-_Mrs. M._ Yes, I am the woman. What is your name?
-
-_German Girl._ Katrina Van Follenstein. I can do leetle of most
-everything. I can bake all myself, and bile, and fry; and makes
-sourkrout—oh, sphlendid! And I sphanks the children as well as their own
-mudders.
-
-_Marg._ If ye’ll condescend to lave that dirty Dutchman, young leddy,
-I’ll be afther asking ye a few questions; and then if ye don’t shute me I
-can be laving. Me time is precious. Is them the best cheers in yer house?
-
-_Mrs. M._ They are.
-
-_Marg._ Holy Virgin! Why, mum, I’ve been used to having better cheers
-than them in me own room, and a sofy in me kitchen to lay me bones on
-when they’re took aching. Have ye got a wine cellar?
-
-_Mrs. M._ (_indignantly_). No! We are temperance people.
-
-_Marg._ Oh, botheration! Then ye’ll niver do for me, at all at all? It’s
-wine I must have every day to keep me stummach in tune, and if Barney
-O’Grath comes in of an evening I should die of mortification if I didn’t
-have a drop of something to trate him on. And about the peanny. It’s
-taking lessons I am, meself, and if it’s out of kilter, why, it must be
-fixed at once. I never could think of playing on a instrument that was
-ontuned. It might spile me voice.
-
-_Mrs. M._ I want no servants in my house who are taking music lessons. I
-hire a girl to do my work—not to dictate to me, and sit in the parlor.
-
-_Marg._ Ye don’t hire me. No mum! Not by a long walk. It’s not Margaret
-O’Flanagan that’ll be hosted round by an old sharp-nosed crayter like
-yerself, wid a mole on yer left cheek, and yer waterfall made out of
-other folks’ hair! The saints be blessed, me own is an illegant one—and
-never a dead head was robbed for to make it! ’Twas the tail of me cousin
-Jimmy’s red horse—rest his soul!
-
-_Mrs. M._ (_pointing to the door_). You can leave the house, Miss
-O’Flanagan. You won’t suit me.
-
-_Marg._ And you won’t shute me. I wouldn’t work with ye for a thousand
-dollars a week! It’s not low vulgar people that Margaret O’Flanagan
-associates with. Good-bye to ye! I pity the girl ye gets. May the saints
-presarve her—and not a drop of wine in the house! (_MARGARET goes out._)
-
-_Mrs. M._ Well, Katrina, are you ready to answer a few questions?
-
-_Katrina._ Yah; I is.
-
-_Mrs. M._ Are you acquainted with general housework?
-
-_Kat._ Nix; I never have seen that shinneral. I know Shinneral Shackson,
-and Shinneral Grant, but not that one to speak of!
-
-_Mrs._ M. I intended to ask if you are used to doing work in the kitchen.
-
-_Kat._ Yaw, I sees. Dat ish my thrade.
-
-_Mrs. M._ Can you cook?
-
-_Kat._ Most people, what bees shenteel, keeps a cook.
-
-_Mrs. M._ I do not. I shall expect you to cook. Can you wash?
-
-_Kat._ Beeples that ish in de upper-crust puts their washing out.
-
-_Mrs. M._ Can you make beds, and sweep?
-
-_Kat._ The dust of the fedders sthuffs up my head, what has got one
-leetle giutar into it. Most beeples keeps a chambermaid. Now, I wants
-to ask you some tings. You gits up in morning, and gits breakfast, of
-course? It makes mine head ache to git up early. And you’ll dust all
-the furnitures, and schrub the kittles, and your goot man will wash the
-floors and pump the water, and make the fires, and——
-
-_Mrs. M._ We shall do no such thing. What an insolent wretch! You can go
-at once. I’ve no further use for you. You won’t suit.
-
-_Kat._ (_retreating_). Mine krout! what a particular vomans.
-
-_Colored Lady._ Wall, missis, specks here’s jest de chile for ye. What
-wages does you gib? and what is yer pollyticks?
-
-_Mrs. M._ What is your name—what wages do you expect?
-
-_Colored Lady._ My name is Snowdrop Washington, and I specks five dollars
-a week if I do my own washing, but if it is put out to de washerwoman’s
-wid de rest of de tings, den I takes off a quarter. And it’s best to have
-a fair understanding now, in de beginning. I’m very particular about
-my afternoons. Tuesdays I studies my cataplasin and can’t be ’sturbed;
-Wednesdays I goes to see old Aunt Sally Gumbo, what’s got de spine of de
-back; Thursdays I allers takes a dose of lobeely for me stummuch, and has
-to lay abed; and Fridays I ginerally walks out wid Mr. Sambo Snow, a fren
-of mine—and in none of dem cases can I be ’sturbed. And I shall spect you
-to find gloves for me to do de work in; don’t like to sile my hands.
-
-_Mrs. M._ I want to hire a girl to work—every day—and every hour in the
-day.
-
-_Snowdrop._ The laws-a-massy! what a missis! Why, in dat case dis chile
-haint no better off dan wite trash! Ketch Snowdrop Washington setting in
-that pew! Not dis nigger. I wish you a berry lubly morning! (_goes out,
-and a woman clad in widow’s weeds, and a little boy enter._)
-
-_Woman_ (_in a brisk tone_). Are you the person that wants to hire help?
-Dear me, don’t I smell onions! I detest onions! Only vulgar people eat
-’em! Have your children had the measles? Because I never could think
-of taking Freddie where he might be exposed to that dreadful disease!
-Freddie, my love, put down that vase. If you should break it, you might
-cut yourself with the pieces. Have you a dog about the house, marm?
-
-_Mrs. M._ Yes, we have.
-
-_Woman in Black._ Good gracious! he must be killed then! I shouldn’t see
-a bit of comfort if Freddie was where there was a dog. The last words my
-dear lamented husband said to me were these: “Mrs. Bunker, take care of
-Freddie.” Bunker’s my name, marm. Have you a cow?
-
-_Mrs. M._ We have not.
-
-_Mrs. Bunker._ How unfortunate! Well, I suppose you can buy one. Freddie
-depends so much on his new milk; and so do I. How many children have you?
-
-_Mrs. M._ Three.
-
-_Mrs. B._ Good gracious! what a host! I hope none of them have bad
-tempers, or use profane language. I wouldn’t have Freddie associate with
-them for the world if they did. He’s a perfect cherub in temper. My
-darling, don’t pull the cat’s tail! she may scratch you.
-
-_Mrs. M._ You need not remain any longer, Mrs. Bunker. I do not wish to
-employ a maid with a child.
-
-_Mrs. B._ Good heavens! (_indignantly_). Whoever saw such a hard-hearted
-wretch! Object to my darling Freddie! Did I ever expect to live to see
-the day when the offspring of my beloved Jeremiah would be treated
-in this way? I’ll not stay another moment in the house with such an
-unfeeling monster! Come, Freddie. (_Goes out. MRS. MARSHALL closes the
-door and locks it._)
-
-_Mrs. M._ Gracious! if this is the way of having a servant, I am
-satisfied. I’ll do my own work till the end of the chapter! There’s
-another ring; but I won’t answer it—not I. I’ll make believe I’m not at
-home. Ring away, if it’s any satisfaction to you! It doesn’t hurt me.
-
-                                                           CLARA AUGUSTA.
-
-
-THE UNWELCOME GUEST.
-
-_Characters_:
-
-  MR. EDWARD SIMPSON.
-  MRS. EMELINE SIMPSON, his wife.
-  JOHN SIMPSON, his brother, and a guest.
-  MR. MARTIN JONES.
-  MRS. ELIZA JONES, his wife.
-
-SCENE.—_A room in Edward Simpson’s house. Mr. and Mrs. Simpson
-discovered._
-
-_Mrs. S._ Edward, I may just as well say plainly that I think we must do
-something to get your brother off our hands. He has been here now over
-two weeks, and he stays and stays just as if this was his home, and as if
-he hadn’t the slightest idea of ever going away.
-
-_Mr. S._ You are quite right, wife; we must get him away. I thought
-it possible, when he came here, that he had plenty of money; but that
-idea has vanished entirely. If he had money, he would not go around so
-shabbily dressed. He had the audacity to hint to me yesterday that I
-might buy him a new coat; just as if I hadn’t enough to do to buy new
-coats for myself and my children.
-
-_Mrs. S._ Oh! the impudence of some people! I am sure we have done very
-well in keeping him these two weeks, and not charging him a cent for his
-boarding. And now he wants a new coat, does he? I wonder he didn’t ask
-for a full suit; he certainly has need of it; but he needn’t expect to
-get it here. But are you _sure_, Edward, that he didn’t bring any money
-home with him?
-
-_Mr. S._ Yes, quite sure. I didn’t say anything to him about it, but John
-was never the man to go in rags if he had any money in his pocket. He
-has been away for fifteen years, you know, and he might have made plenty
-of money in that time; but it is my impression, that if he did make
-anything, he spent it all before he started for home.
-
-_Mrs. S._ Well, what are we to do with him?
-
-_Mr. S._ Send him to the poor-house, I suppose. I don’t quite like to do
-that, either; for people _will_ talk, and they will say that I ought to
-have kept him in his old days.
-
-_Mrs. S._ Let them talk. It’s nobody’s business but our own, and it will
-all blow over in a week or two. Of course we can’t have him on our hands
-as long as he lives, merely because the neighbors will talk a little
-about our sending him to the poor-house.
-
-_Mr. S._ No, of course not. Here he comes now; we must inform him of our
-decision.
-
-_Enter JOHN SIMPSON, shabbily dressed._
-
-_Mr. S._ John, we have been talking about you.
-
-_John._ So I supposed. I thought I heard my name mentioned. You were
-considering that matter about the coat, were you? I hope you will think
-favorably of it.
-
-_Mrs. S._ (_bridling up_.) No, sir; we were not thinking of buying you a
-coat, but we were speaking of your audacity in making such a request.
-
-_John._ Ah! were you? Don’t you see I am old now, and dreadfully crippled
-with rheumatism? And, of course I am not able to work to buy myself
-clothes. If my brother will not take care of me now, who will?
-
-_Mrs. S._ That’s just what we are going to talk about.
-
-_Mr. S._ Wife, allow me to speak to John about the matter. (_To John._)
-It may sound a little harsh and unpleasant, but we have come to the
-conclusion that we cannot keep you any longer. You know that we are not
-very well off in this world’s goods; we have not much house-room, and
-we have three children that demand our attention. We have kept you two
-weeks and we think we have done very well. We feel that you would be
-considerably in our road here, and we have concluded to send you to the
-poor-house.
-
-_John._ The poor-house! I always did hate the poor-house. It must be so
-lonesome there; and then, I don’t think the boarding will be good. Must I
-go to the poor-house?
-
-_Mr. S._ Yes, we have decided. We cannot keep you.
-
-_John._ I thought, when I was away, that if I could only get home again,
-I would find my brother willing to take me under his roof, and allow me
-to end my days there. But I was mistaken. When must I go?
-
-_Mr. S._ I will have the papers made out, and be ready to take you
-to-morrow afternoon.
-
-_John._ Send for Eliza Jones and her husband. They will not want to keep
-me either, I suppose—how can I expect them, when they are a great deal
-poorer than you? But send for them. I want to see them, and say good-bye,
-before I go away.
-
-_Mrs. S._ Emeline, tell Parker to run across Jones’ for his Uncle Martin
-and Aunt Eliza.
-
-[_Exit Mrs. S._
-
-_John._ If they do not treat me well at the poor-house, what shall I do?
-Cut stick and run off, or sue them for breach of promise?
-
-_Mr. S._ (_aside_.) It seems to me, he takes it exceedingly cool. But it
-is better he should do so, than to make a noise about it. (_To John._) I
-think you will be well treated. The Superintendent is very kind to all
-under his care, and is considered a perfect gentleman.
-
-_John._ A gentleman! I’m glad of that. (_Sarcastically._) Ah! Edward, it
-is a great thing to be a _gentleman_.
-
-_Mr. S._ I am glad you are willing to go without making any fuss about
-it. You know people _will_ talk; and they would talk a great deal more,
-if you should be opposed to going. I hope you will not think unkindly of
-us, because we have concluded to take this step; you see that we can not
-well keep you here; and as you are getting old, and are greatly afflicted
-with rheumatism, you will be better attended to there than you could be
-here.
-
-_John._ Yes, yes, I understand. Don’t fret about me, Edward. I suppose
-it isn’t much difference where I live, and where I end my days. But,
-Edward, I _think_ I would not have treated you so. However, one hardly
-knows what one will do when one comes to the pinch. If I had brought home
-a market-basket full of ninety-dollar gold pieces, perhaps I would not
-have taken up so much room in your house, nor crowded your children so
-dreadfully.
-
-_Enter MRS. SIMPSON, and MR. and MRS. JONES._
-
-_Mrs. J._ (_running to John_.) O John, my brother, they want to send you
-to the poor-house! You shall not go! you shall not go!
-
-_Mr. J._ No, John, you shall not go. While we have a crust of bread, you
-shall share it with us.
-
-_John._ But I never did like to eat crusts.
-
-_Mrs. S._ That’s him, for you! He doesn’t want to pay anything for his
-board, but he wants to have the best.
-
-_John._ And he doesn’t like to eat dirt.
-
-_Mrs. S._ Do you mean to say I am a dirty cook?
-
-_John_ (_whistles “Yankee Doodle.”_) Come, if I am to go to the
-poor-house, let me be off.
-
-_Mrs. J._ You shall not go. We are poor, but you shall stay with us. We
-can find room for you, and we will be provided for, I’ll warrant, some
-way.
-
-_Mrs. S._ People oughtn’t to be rash about taking on a load they can’t
-carry.
-
-_Mr. S._ Emeline, if Martin and Eliza want to keep John, let them do so;
-don’t say a word. Of course, I think they have quite enough to do to keep
-their own heads above water; but if they want to keep John, it is their
-own business.
-
-_John._ Yes, it is their own business; and if they were on the point of
-sinking, would _you_ raise a finger to keep their heads above water?
-_No!_ Edward.—I cannot call you brother,—I know you now. I leave your
-house to-day, but I do not go to the poor-house. I have money enough to
-buy and _keep_ a hundred such little farms as yours, and a hundred such
-_little men_. I do not need your coats nor your cringing sympathies; I
-wanted to know what kind of a man you were, and _I know_. When I came
-home, I determined to find out, in some way, whether you or the Jones
-family were most deserving of my money. I have found that out; and I go
-with them, to make my home there.
-
-_Mrs. S._ But we didn’t know——
-
-_John._ Ay, I know it. You thought I was a beggar; you thought I had
-no money and no clothes. If you had believed otherwise, you would have
-received me with open arms. Come (_to Mr. and Mrs. Jones_), we will go.
-I shall not forget you for your kindness. I will make my home with you;
-and if it is true that you have hard enough work to keep your heads above
-water it shall be so no longer. (_To Mr. and Mrs. Simpson._) I had almost
-forgotten. Here are twenty dollars, for my two weeks’ board (_throwing
-down the bills_). You see that although I may have a _shabby appearance_,
-I am yet able to pay my way in the world. Good-day, Mr. and Mrs. Simpson.
-(_Exit John Simpson, and Mr. and Mrs. Jones._)
-
-_Mrs. S._ Isn’t this dreadful! (_Rushes out at one side of the stage._)
-
-_Mr. S._ Confound the luck! (_Rushes out at the other side of the stage._)
-
-[_Curtain falls._
-
-                                                       H. ELLIOT MCBRIDE.
-
-
-AUNTY PUZZLED.
-
-_Characters_:
-
-  PIOUS MAIDEN AUNT AND WAYWARD LITTLE GIRL, FIVE OR SIX YEARS OLD.
-
-_Aunt._ Now, Beth, this is the Sabbath day, and—
-
-_Niece._ How do you know it is?
-
-_A._ It is wrong to play to-day, Beth—
-
-_N._ Wrong to play what?
-
-_A._ Anything.
-
-_N._ Tain’t wrong to play Sunday-school. Didn’t you wish dat Carlo was me
-when you was whippin’ him, jest now, Aunt Dora?
-
-_A._ Beth, I’ll tell you a beautiful story, the tender story of Joseph.
-
-_N._ Joseph who?
-
-_A._ He had no other name.
-
-_N._ Well, dat’s funny.
-
-_A._ Joseph was the son of a good old man, named Jacob—
-
-_N._ I knows him, he saws our wood, an’ he’s dot a wooden leg! What was
-his last name?
-
-_A._ I don’t know, dear.
-
-_N._ Well, dat’s ze same man. Our Jacob he ain’t dot no ozzer name,
-either: des Jacob, old Jacob.
-
-_A._ This good old man had twelve sons.
-
-_N._ Any little girls?
-
-_A._ Only one.
-
-_N._ Huh! I dess she was mighty sorry wiz such a houseful of boys an’ no
-little sister.
-
-_A._ Well, Jacob loved this son very much—
-
-_N._ How much?
-
-_A._ Oh, ever so much; more than he could tell.
-
-_N._ Ten hundred thousand bushels?
-
-_A._ Yes, and more than that. He bought him a new coat—
-
-_N._ May Crawford’s dot a new dress, dray and blue, an’ pearl buttons on
-it, an’ a new parasol, and I’m doing to have some new button shoes as
-twick as I can kick zese ones out.
-
-_A._ His father bought him a new coat, a beautiful coat of many colors—
-
-_N._ Oh, ho! des like a bed quilt.
-
-_A._ And Joseph was very proud of this pretty coat—
-
-_N._ Huh! I bet you ze boys frowed stones an’ hollered at him if he wored
-it to school!
-
-_A._ But his brothers, all of his older brothers, who—
-
-_N._ Did he wear it to school, Aunt Dora?
-
-_A._ No, I don’t think he did.
-
-_N._ I dess he was afraid, and kept it for a Sunday coat. Did he wear it
-to Sunday school?
-
-_A._ He didn’t go to one.
-
-_N._ Den he was a heathen.
-
-_A._ No, Joseph wasn’t a heathen.
-
-_N._ Den he was a bad boy.
-
-_A._ No, indeed; Joseph was a good boy—
-
-_N._ Den why didn’t he go to Sunday-school?
-
-_A._ No matter. But all his brothers hated him because his father loved
-him the best and—
-
-_N._ I spect he always dot the biggest piece of pie.
-
-_A._ And so they wanted to get rid of him, because—
-
-_N._ Den why didn’t zey send him out in the kitchen to talk with Jenny?
-Dat’s what my ma’am does.
-
-_A._ And they hated him all the more because one night, Joseph had a
-dream—
-
-_N._ Oo-oo! I dreamed dot ze big Bible on ze parlor had five long legs
-and a mouf full of sharp teeth, an’ it climbed onto my bed and drowled
-at me ’cause I bit ze wax apple an’ tied gran’pa’s wig onto Carlo’s head
-last Sunday! Oh, I was so scared an’ I hollered an’ ma’am said she dessed
-I had ze nightmare.
-
-_A._ Well, one day Joseph’s father sent him away to see how his brothers
-were getting along—
-
-_N._ Why didn’t he write ’em a letter?
-
-_A._ And when they saw Joseph coming they said—
-
-_N._ Did he ride in ze cars?
-
-_A._ No, he walked. And when his brothers saw him coming—
-
-_N._ I dess they fought he was a tramp. I bet you Carlo would have bited
-his legs if he’d been zere.
-
-_A._ No, they knew who he was, but they were bad, cruel, wicked men, and
-they took poor Joseph, who was so good, and who loved them all so well—
-
-_N._ I see a boy climbing our fence! I dess he’s goin’ to steal our
-apples. Let’s go sic Carlo on him.
-
-_A._ Poor Joseph, who was only a boy, just a little boy, who never did
-any one any harm; these great rough men seized him with fierce looks and
-angry words, and they were going to kill the frightened, helpless little
-youth, who cried and begged them so piteously not to hurt him; going to
-kill their own little brother—
-
-_N._ Nellie Taylor has a little brother Jim, an’ she says she wishes
-somebody would kill him when he tears off her doll’s legs an’ frows her
-kittens in ze cistern.
-
-_A._ But Joseph’s oldest brother pitied the little boy when he cried—
-
-_N._ I dess he wanted some cake; I cry when I want cake, an’ mamma dives
-me some.
-
-_A._ And as he wouldn’t let them kill him, they found a pit—
-
-_N._ I like peach pits, an’ I know where I can find a great lot of ’em
-now. Come along.
-
-_A._ No, let’s finish the story first. These bad men put Joseph in the
-pit—
-
-_N._ Why—Aunt—Dora! What is you talking about?
-
-_A._ About those cruel men who put Joseph into the pit—
-
-_N._ I dess you mean zey put the pit into Joseph.
-
-_A._ So there the poor little boy was, all alone in this deep, dark hole—
-
-_N._ Why didn’t he climb out?
-
-_A._ Because he couldn’t. The sides of the pit were rough, and it was
-very deep, deep as a well—
-
-_N._ Ding-dong-dell, cat’s in ’e well; oh auntie, I know a nice story,
-’bout a boy that felled into a cistern and climbed out on a ladder.
-
-_A._ Poor Joseph was sitting in this pit—
-
-_N._ Did he have a chair?
-
-_A._ No, he was sitting on the ground, wishing—
-
-_N._ I wish I was a bumble bee an’ could stand on my head like a boy, an’
-have all ze honey I could eat.
-
-_A._ But while Joseph was in the dark pit, frightened and crying all
-alone—
-
-_N._ I bet he was afraid of ghosts!
-
-_A._ While he was wondering if his cruel brothers were going to leave him
-in the dark pit, some merchants came along, and Joseph’s brothers took
-him out of the pit and sold him for a slave. Just think of it. Sold their
-little brother to be a slave in a country far away from his home, where
-he would have to work hard and where his cruel master would beat him;
-where—
-
-_N._ What did zey get for him, Aunt Dora?
-
-_A._ Twenty pieces of silver, and now—
-
-_N._ Hump, dat was pitty cheap, but, I spec’ it was all that he was worth.
-
-
-THE POOR LITTLE RICH BOY.
-
-  (Dialogue for two boys.)
-
-_Harry._ (_Enters room, tossing his hat on table where Roy sits
-studying._) “I tell you, Roy, I’m sorry for Harold Belmont!”
-
-_Roy._ “Sorry for Harold Belmont! Why, I’d like to know? His father is
-the richest man in town. You know father has been working for him ever
-since we were born.”
-
-_Harry._ “Yes, I know; but Harold don’t have half the nice times we do.”
-
-_Roy._ “Well, I like that. Don’t he wear nicer clothes every day than we
-ever had for Sunday?”
-
-_Harry._ “Yes, but they’re so nice his mother won’t let him roll on the
-grass, or go wading in the pond, or anything.”
-
-_Roy._ “Well, did you ever notice what nice lemon pie and frosted cake he
-has in his lunch basket?”
-
-_Harry._ “Yes, but he often wants to trade lunches with me.”
-
-_Roy._ “But, Harry, he’s got a bicycle!”
-
-_Harry._ “He told me yesterday that he would rather have a dog like our
-Rover that he could drive to a little wagon like ours.”
-
-_Roy._ “But only think, Harry, of the hundreds and hundreds of books in
-his father’s library that he can read as much as he pleases! Why, if
-I had them, I’d be the happiest boy in the State. I wouldn’t waste a
-minute. I know just what books I’d read first—Dickens’ Child’s History of
-England, and—”
-
-_Harry._ “O yes, Roy, but then he doesn’t care for books, like you, nor
-to be a carpenter, as I mean to be. He wants to be a farmer, and he
-says his father don’t mean to let him—wants Harold to be a banker, like
-himself; but those are not the things I was thinking of when I said I was
-sorry for him.”
-
-_Roy._ “What was it?”
-
-_Harry._ “Why, you know I made a little bird-house out of that
-cracker-box mother gave me; just a common little bird-house, without any
-paint or nice things about it, and set it up on a pole in the garden—”
-
-_Roy._ “Yes, I know, and two families of blue-birds are living in it.
-What else?”
-
-_Harry._ “Well, Harold begged his father to let him have a bird-house,
-and so Mr. Belmont got a man to make one—oh, a little beauty!—just like a
-little Swiss chalet, with porches and gables, and all painted so nicely,
-white with green trimmings and a dark brown roof, and the pole is striped
-red, white and blue, and they put it close to the big maple tree on the
-lawn. Oh, it was so nice I was almost ashamed of my poor little unpainted
-house—only the birds were building in it then, and it made me glad to see
-them so busy and happy. Harold was happy, too. He sat by the window for
-hours, watching for the birds to come to his house. But, Roy, none ever
-came! They were afraid of that beautiful house. I guess they thought it
-was a trap. Harold don’t sit by the window to watch it any more; that’s
-why I’m sorry for him.”
-
-_Roy._ “Well, that is too bad; but I don’t know that we can help him.
-You couldn’t give him your little house, because it isn’t fine enough for
-his father’s lawn; besides, the blue-birds might object to moving.”
-
-_Harry._ “Of course; but, Roy, don’t you believe he’d like to come over
-here and watch our birds feed their little ones? I never get tired of
-seeing them.”
-
-_Roy._ “He might. Let’s go and ask him.”
-
-(_Both boys take their hats and pass out._)
-
-                                                       MRS. ADRIAN KRAAL.
-
-
-COLLOQUY.
-
-AN ENTIRELY DIFFERENT MATTER.
-
-SCENE.—_An office with a desk or table on which are an inkstand, a pile
-of ledgers and some extra sheets of paper. Mr. Pinchem, with gray wig and
-whiskers and spectacles sits in his office busily engaged in figuring up
-his accounts. He does not look up from his paper, but keeps on figuring
-while his clerk enters and takes a seat near the table in such a position
-as to both face the audience._
-
-_Clerk._ Mr. Pinchem, I—I—
-
-_Mr. Pinchem._ Have you got those goods off for Kalamazoo?
-
-_Clerk._ Yes, sir, they are off. Mr. Pinchem, I—
-
-_Mr. P._ And about that order for starch?
-
-_Clerk._ That has been attended to, sir. Mr. Pinchem—
-
-_Mr. P._ And that invoice of tea?
-
-_Clerk._ That’s all right, sir. Mr. Pinchem, I have—
-
-_Mr. P._ And that cargo of sugar?
-
-_Clerk._ Taken care of as you directed, sir. Mr. Pinchem, I have long—
-
-_Mr. P._ What about Bush & Bell’s consignment?
-
-_Clerk._ Received in good order, sir. Mr. Pinchem, I have long wanted—
-
-_Mr. P._ And that shipment to Buffalo?
-
-_Clerk._ All right, sir. Mr. Pinchem, I have long wanted to speak to you—
-
-_Mr. P._ Ah! speak to me? Why, I thought you spoke to me fifty times a
-day.
-
-_Clerk._ Yes, sir, I know, but this is a private matter.
-
-_Mr. P._ Private? Oh! Ah! Wait till I see how much we made on the last
-ten thousand pounds of soap—Six times four are twenty-four; six times two
-are twelve and two to carry make fourteen; six times nought are nothing
-and one to carry makes one; six times five are thirty; seven times
-four—ah! well go ahead, I’ll finish this afterwards.
-
-_Clerk._ Mr. Pinchem, I have been with you ten long years.—
-
-_Mr. P._ Ten, eh! Long years, eh! any longer than any others years? Go
-ahead.
-
-_Clerk._ And I have always tried to do my duty.
-
-_Mr. P._ Have, eh? Go on.
-
-_Clerk._ And I now make bold—
-
-_Mr. P._ Hold on! What is there bold about it? But never mind, I’ll hear
-you out.
-
-_Clerk._ Mr. Pinchem I want to ask—ask—I want to ask—
-
-_Mr. P._ Well, why don’t you ask, then? I don’t see why you don’t ask if
-you want to.
-
-_Clerk._ Mr. Pinchem I want to ask you for—for—
-
-_Mr. P._ You want to ask me for the hand of my daughter. Ah! why didn’t
-you speak right out? She’s yours, my boy, take her and be happy. You
-might have had her two years ago if you had mentioned it. Go along, now,
-I’m busy. Seven times six are forty-two, seven times five are thirty-five
-and four are thirty-nine, seven times eight—
-
-_Clerk._ Mr. Pinchem—
-
-_Mr. P._ What! You here yet? Well, what is it?
-
-_Clerk._ I want to ask you for—
-
-_Mr. P._ Didn’t I give her to you, you rascal!
-
-_Clerk._ Yes, but what I wanted to ask you for was not the hand of your
-daughter, but a raise of salary.
-
-_Mr. P._ Oh! that was it, eh? Well, sir, that is an entirely different
-matter, and it requires time for serious thought and earnest
-deliberation. Return to your work. I’ll think about it, and some time
-next fall I’ll see about giving you a raise of a dollar or so a week.
-Seven times eight are fifty-six and three are fifty-nine—
-
-
-THE GOSSIPS.
-
-  _Characters._—MRS. PRY, MRS. QUICK, MRS. SEARCH, MRS. GOSSIP.
-
-SCENE.—_The Street. MRS. PRY, MRS. SEARCH and MRS. QUICK, meeting._
-
-_Mrs. Pry._ Have you heard any news, neighbor Search?
-
-_Mrs. Search._ News? no. I am dying to hear some. I have not heard a word
-since last night, and it is now almost noon.
-
-_Mrs. Quick._ I have heard a piece of news as I came along, and you will
-hardly believe it, though I received it from a person of veracity, who
-was knowing to the fact, and therefore could not mistake.
-
-_Mrs. S._ Pray let us have it. I hope it is nothing short of an elopement.
-
-_Mrs. P._ I hope it is a murder, or, at least, a suicide. We have not had
-any news worth mentioning these two months.
-
-_Mrs. Q._ It is neither an elopement nor a murder, but you may think it
-something akin to the latter. The truth is, there is a woman down in the
-village, and they will not allow her to be buried.
-
-_Mrs. S._ You don’t say so?
-
-_Mrs. Q._ I do. The coroner has positively refused to bury her.
-
-_Mrs. P._ Do tell! What could the poor creature have done to be denied
-Christian burial?
-
-_Mrs. Q._ I do not know what the offense was, but they say he has his
-reasons, and buried she shall not be.
-
-_Mrs. P._ Where is she lying? I must go and inquire into it. Bless me,
-Mrs. Search, how could this happen and we not hear of it?
-
-_Mrs. S._ Did you hear her name, Mrs. Quick? That may give us a clue to
-the mystery.
-
-_Mrs. Q._ I did not learn her name, though, if I forget not, it began
-with a G, or some such letter. But I have a little errand up the
-street, and must leave you. In the meantime as we know so little of the
-circumstances, it will be prudent not to repeat what I have told you.
-Good morning. (_She goes out_).
-
-_Mrs. P._ Did you ever hear anything so strange? One of two things is
-certain, she has either killed herself or been killed, and is reserved
-for examination.
-
-_Mrs. S._ I don’t understand it so. Mrs. Quick seemed to insinuate that
-she had been lying a long time, and was not to be buried at all. But here
-comes Mrs. Gossip, and perhaps she can tell us all about it, as she comes
-fresh from the village.
-
-_Enter MRS. GOSSIP._
-
-_Mrs. P._ Good morning, Mrs. Gossip.
-
-_Mrs. Gossip._ Good morning, Mrs. Pry. How do you do, Mrs. Search?
-
-_Mrs. S._ Pretty well, I thank you. How do you do?
-
-_Mrs. G._ Indifferent, I’m much obliged to you. I’ve had a touch of
-hydrophoby, I believe they call it or something else.
-
-_Mrs. P._ (_to MRS. SEARCH aside_). No new complaint. She always hated
-cold water. (_aloud_) How did the dreadful disease affect you, Mrs. G.?
-What dog bit you?
-
-_Mrs. G._ Dog! what do you mean by a dog? The disease began with a cold
-in my head, and a sore throat, and—
-
-_Mrs. S._ Oh, it was the influenza.
-
-_Mrs. G._ So it was; I knew it was some outlandish name, and they all
-sound alike to me. For my part, I wish there _was_ no foreign words.
-
-_Mrs. P._ Mrs. Gossip, did you hear the particulars of the dreadful news
-in the village?
-
-_Mrs. G._ No. What dreadful news? I have not heard _nothing_, good, bad,
-or indifferent.
-
-_Mrs. P._ What! haven’t you heard of the woman in the village that they
-won’t bury?
-
-_Mrs. G._ Not a word. Who is she? What’s her name?
-
-_Mrs. S._ Her name begins with G, and as that begins your name, I hoped
-you would know something about it.
-
-_Mrs. G._ Bless me! I never heard a syllable of it! Why don’t they bury
-the poor thing? I couldn’t refuse to bury even a dog.
-
-_Mrs. P._ There is a suspicion of murder or suicide in the case.
-
-_Mrs. G._ Well, they hang murderers and suicides, don’t they? What can be
-the matter? There is something very mysterious about it!
-
-_Mrs. S._ I am dying to know all about it. Come, let’s all go down to the
-village, and probe the matter to the bottom. I dearly love to get hold of
-a mystery.
-
-_Mrs. P._ I say, let us all go, and here is Mrs. Quick coming back. She
-will go with us, for she told us the news, and she is dying to learn the
-particulars.
-
-_Re-enter MRS. QUICK._
-
-_Mrs. Quick._ Good morning again, ladies.
-
-_All._ Good morning.
-
-_Mrs. G._ What was the matter with that _air_ woman that they won’t bury
-in the village?
-
-_Mrs. Q._ Nothing is the matter with her.
-
-_Mrs. G._ Then, in _marcy’s_ name, why don’t they bury her?
-
-_Mrs. Q._ I know of but one reason, but that is a very important one.
-
-_Mrs. P._ We did not know you knew the reason they wouldn’t bury her. Why
-did you not tell us what it was?
-
-_Mrs. Q._ You did not ask me, and, besides, it is somewhat of a secret.
-
-_Mrs. S._ You need not fear our disclosing it. Pray let us have it.
-
-_Mrs. P._ Pray do. I am bursting with curiosity.
-
-_Mrs. G._ And I too. Mrs. Quick, you say there is but one reason why they
-will not bury the woman, and pray what is that?
-
-_Mrs. P._ What is it?
-
-_Mrs. S._ Yes, what is it?
-
-_All_ (_earnestly_). What is it?
-
-_Mrs. Q._ _She is not dead!_
-
-
-FARMER HANKS WANTS A DIVORCE.
-
-  (For two males and one female.)
-
-  _Characters._—LAWYER PORTER; FARMER HANKS; MRS. HANKS.
-
-SCENE.—_Lawyer’s office. LAWYER PORTER sitting at desk writing. Knock at
-door._
-
-(_Enter FARMER HANKS in rustic attire, looking hesitatingly around._)
-
-_Farmer Hanks._ Be you the divorce man?
-
-_Lawyer Porter._ (_Smiling._) Well, I don’t exactly know that my vocation
-lies particularly in that direction, but I have been known to undertake
-such cases. Are you in trouble?
-
-_Far. H._ I should rather say so! It’s come to jest this ’ere climax
-that I _can’t_ stand it nohow, not another day; an’ ef you can’t git me
-unspliced, I’ll hev to find some one who can.
-
-_Law. P._ What are your grounds for complaint?
-
-_Far. H._ _Grounds!_ Ordinary grounds wouldn’t hold ’em! I’ve a hull farm
-full!
-
-_Law. P._ One or two are just as efficient in procuring a divorce as
-a hundred, providing the offence is grave enough. Your wife now, for
-instance; I suppose she hasn’t fallen in love with another man?
-
-_Far. H._ Haw-haw! That’s a good ’un! Betsey in love with _another_
-feller! Wal, hardly, mister! Betsey isn’t no fool. You can bet high on
-_that_!
-
-_Law. P._ Of course that was a suppositional case, merely. Is she a
-scandal-monger?
-
-_Far. H._ Scandal-monger? Not much; ef ever a woman knew how to hold her
-tongue when other folks’s is a-waggin’, that’s Betsey every time.
-
-_Law. P._ Cruel to her children, possibly?
-
-_Far. H._ I swow, I’ll begin to take you fer the fool, mister. Our
-children is growed up an’ in homes of the’r own, years back; an’ ez fer
-gran’children, ef ever an old woman made an idjit of herself over babies,
-it’s Betsey with them thar youngsters. She jest sp’iles them no end, an’
-thar’s nobudy they sets such store by as gran’ma. You hain’t on the right
-track, by long odds.
-
-_Law. P._ Evidently not. Suppose now, as my time is valuable, we reverse
-the case, and you enlighten me as to the cause of your unhappiness,
-instead of my wasting the minutes in making conjectures? Perhaps
-incompatibility of temper may cover the ground.
-
-_Far. H._ In—com—what kind of temper? You beat me with them long words o’
-yourn; but, mebbe you’ve struck it, this time. Thar’s no use talking, but
-Betsey’s that aggervatin’, she riles me so it seems like as though I’d
-bu’st! Ef she’d ever _say_ a word I could stand it; but she’s that mum
-you can’t get a word out o’ her edgewise; you’d say, for sartain, thet
-she’d b’en born deaf, an’ without a tongue in her mouth.
-
-_Law. H._ A woman and _dumb_? Ye gods! This is a reversal of the laws of
-nature with a vengeance! Do you mean for me to understand that your wife
-_never_ speaks? How can she conduct her household?
-
-_Far. H._ Oh, she’s chipper enough when things goes to suit; but when I’m
-r’iled, an’ dyin’ to see the fur fly—to hev it out with some one—then
-she’s mummer than the side o’ a house; ye couldn’t git a word out o’
-her then with a pair o’ oxen! Ef she’d only spit it out, too, an’ hev
-a good out en out settlin’ o’ matters, ’twould clear the air like a
-thunder-storm; but thet’s exactly whar the pinch comes. I might r’are an’
-tear, an’ pull the house down over our heads, fer all the good ’twould
-do—thet woman would set as calm es a cucumber, or go about her chores,
-an’ you’d never guess she knew I was within a hundred miles o’ her!
-Either she hain’t got an atom o’ sense in her git up, or else she’s too
-dumb to show it at sech times. It’s enough to drive a man into fits, an’
-I can’t go it no longer. It’s either her or me that’s got to git out!
-I’m willin’ to do my duty to the letter, an’ give her a share in the old
-farm. I wouldn’t see her want for nothin’, fer in spite o’ her tongue—
-
-_Law. P._ I rather think you mean her want of tongue!
-
-_Far. H._ Jest so! There isn’t a kinder or willin’er woman in the section.
-
-_Law. P._ Suppose, now, that we sum up: your wife, according to your
-statements, is a good, pure woman—
-
-_Far. H._ That she is, lawyer! I’d like to hear any one say a thing
-against Betsey’s character! I’d choke the life out ov him!
-
-_Law. P._ Fond of her children and grandchildren; don’t gossip; domestic
-in her tastes—Does she keep your house in order, your clothes mended,
-your wants all attended to, and give you your meals on time!
-
-_Far. H._ Why, of course! Thet’s what a wife’s fer, isn’t she? What a
-question to ax!
-
-_Law. P._ You acknowledge all this. Now, supposing, on the contrary, that
-your wife was a shrew.
-
-_Far. H._ (_Bewildered._) A which?
-
-_Law. P._ A cross, scolding woman; a woman who left her own fireside to
-gossip and make scandal among her neighbors; who neglected her home; who
-got your meals at all or no times and let you look out for yourself; who
-abused the little children around her; who—
-
-_Far. H._ Stop, mister! Betsey _couldn’t_ do none o’ them things. Why,
-you’d make her out a pretty sort o’ critter for me to hev been livin’
-with these forty years!
-
-_Law. P._ No, Betsey couldn’t do all or any of these things. From
-your own story you have a saint instead of an ordinary woman for a
-wife; a being who knows that essence of all true happiness—how to hold
-her tongue; who, instead of lowering herself to petty quarrels and
-commonplace bickerings, keeps her temper within bounds while you are
-purposely doing all you possibly can to aggravate her—to make her dislike
-you—to—
-
-_Far. H._ (_Shamefacedly._) Sho! You air trying to make out a purty
-strong case against me, ain’t you now? I never looked at it in jest
-_that_ light before, an’ you can’t tell how a few words now an’ then
-would splice up things in general.
-
-_Law. P._ If your wife were to come to me and demand a divorce, after
-what you have told me, I should be strongly tempted to take up her case.
-
-_Far. H._ _Betsey_ git a divorce from _me_! Thet’s the best yet! Well, I
-should as soon think o’ the sky falling. (_Knock at door, voice outside
-asking if LAWYER PORTER is in._) I’ll be everlastin’ly simmered, ef thet
-don’t sound like Betsey’s voice this actual minute! Whar’ll I go? I don’t
-want to be found around these parts; but, what in the name o’ conscience
-kin _she_ want with you, now? (_Glares, at the lawyer, who takes him by
-the shoulder and leads him up to closet door or behind a screen._)
-
-_Law. P._ Step into this cover, and be quick about it. You’ll soon
-ascertain what your wife wants of me. And remember, this is a private
-interview which you are not to interrupt (_FARMER HANKS disappears, and
-the lawyer goes to door._)
-
-(_Enter MRS HANKS, hesitatingly._)
-
-_Law. P._ Good morning, madame! What can I do for you? Let me give you
-a chair. (_Seats her with back to closet or screen. FARMER H. pokes his
-head out._)
-
-_Far. H._ I’ll be durned but it _is_ Betsey! (_Comes half out into room,
-but LAWYER P. scowls and motions him back. MRS. HANKS sits silent._)
-
-_Law. P._ (_Kindly._) Well, madame, you want—
-
-_Mrs. Hanks._ (_In a half whisper._) I want, or I _guess_ I want a bill
-of divorce. (_FARMER HANKS’S face pops out again, with an expression of
-bewilderment and horror upon it._)
-
-_Law. P._ Your husband is addicted to the excessive use of liquor, maybe?
-(_FARMER H. shakes his fist at the lawyer._)
-
-_Mrs. H._ Good gracious, no! Samuel never took too much liquor in his
-life, to my knowledge.
-
-_Law. P._ Then, perhaps, he is violent, and cruel to you and the children?
-
-_Mrs. H._ Mercy, no! Whatever made you think of sech a thing! Samuel
-wouldn’t hurt a fly; he’s the softest-hearted man in the world; it isn’t
-that—it’s only—only—
-
-_Law._ P. Well, you must try to tell me your difficulty, or I will be
-unable to help you.
-
-_Mrs. H._ (_Bursting into tears._) It’s so hard to tell, yet it’s so hard
-to bear. It seems jest as if I’d go wild ef I had it to stand another
-day. Yet except fer this one thing Samuel’s the best husband a woman
-could ask fer. He is perfect temperate in all his habits, liberal an’
-open-handed as the day is long, an’ as kind an’ considerate as any one
-could wish fer. (_FARMER H. looks out at the lawyer exultingly._) But—but—
-
-_Law. P._ But what?
-
-_Mrs. H._ Oh, those _dreadful_ tantrums of his’n! They come on without
-any apparent reason at all, an’ he’s like to a crazy man.
-
-_Law. P._ And you oppose him and aggravate him when he gets in these
-moods, possibly?
-
-_Mrs. H._ (_Sadly._) Oh, no! What good would _that_ do? or rather, what
-harm wouldn’t it do? I jest stand them as best I may, an’ pray the Good
-Power above for strength to hold my tongue, an’ bear the affliction which
-he has seen fit to visit me with. (_FARMER H. looks out again with an
-incredulous, shamefaced expression, and seems about to speak, but the
-lawyer motions him back._)
-
-_Law. P_. And you say absolutely nothing?
-
-_Mrs. H._ I never hev given way to my tongue yet; ef I once _should_,
-or to the feelin’ that he rouses in me at sech times, I almost think I
-should _strike_ him. (_FARMER H. again advances, but is motioned back._)
-
-LAW. P. Wouldn’t that serve him right?
-
-_Mrs. H._ (_Surprised._) Strike Samuel? I’d never forgive myself ef I
-did. Yet, it is so hard; you can’t tell! It really seems as ef the harder
-I tried to hold my tongue an’ keep the peace, the worse he got, until
-sometimes I ’most think he’d like to _kill_ me!
-
-_Law. P._ Oh, surely not! His wicked temper would not, or could not,
-carry itself to such an extent against such an angel of peace. But, I
-cannot find words to express my opinion of such a brute. I cannot find
-strong enough terms to convey my condemnation. A man who will seek
-willfully to quarrel with a wife who is gentleness and meekness itself,
-to say nothing of the other cardinal virtues, is a selfish heartless
-piece of humanity, unworthy of the name of man, and deserves nothing
-better than the public whipping-post, which, unhappily—
-
-_Mrs. H._ Stop! I will not allow you to speak of Samuel in such a manner!
-He may hev his little faults as all men do—
-
-_Far. H._ (_Rushing out_). Yes, let him say every durned thing he kin
-of me, Betsey! I deserve it all, an’ a hundred times more—(_Mrs. Hanks
-gives a scream and almost sinks to the floor, but her husband catches
-her_)—when I think of what a howlin’ idjit I’ve b’en all these years. The
-whippin’-post ain’t half severe enough.
-
-_Mrs. H._ Oh, you _never_ was that, Samuel!
-
-_Far. H._ Yes I was, an’ be, up to this very minute; but I be goin’ to
-make a clean breast of it or bu’st. Here I hev b’en thinkin’ an’ sayin’
-that you didn’t quarrel with me nor answer me back, because ye didn’t
-_know_ enough—
-
-_Mrs. H._ Oh, Samuel, how _could_ you?
-
-_Far. H._ An’ thet you was a perfect fool, with no spunk in ye, an’ here
-you’ve b’en with the spunk all bottled up, an’ never darin’ to let her
-loose for fear o’ makin’ _me_ wuss, an’ doin’ wrong yourself! Oh! I’m the
-wickedest kind of a sinner, Betsey. (_Groans_). I don’t wonder you want
-to git a bill ag’inst me; an’ this here lawyer’ll be sure to git ye one,
-as he sees you deserve it fast enough, an’ I don’t blame neither o’ ye.
-
-_Mrs. H._ But I don’t _want_ it, Samuel. Now you see jest how it is,
-an’ that I never allowed to r’ile you, I’m sure ’twill all be right.
-(_Turning to Lawyer P_). An’ you won’t let what I’ve said turn you
-ag’inst him, will you? You can see for yourself that he never could hev
-meant it.
-
-_Law. P._ And he never was such a man as he proves at this very time when
-he humbles himself to confess how wrong he has been, and acknowledges
-the true worth of his devoted wife whom he has so long misjudged or
-misunderstood.
-
-_Far. H._ You’re right thar, Lawyer Porter. I can’t find the words to
-tell what a blamed fool I’ve been; yet, ef you’ll believe it, I feel
-lighter o’ heart this blessed minute than I hev in a month o’ Sundays
-before. An’ to think that an hour ago I was actually hankerin’ after a
-bill ag’in ye, Betsey! I don’t desarve ye should forgive me, like this,
-but I give ye my word o’ honor that the next time a tantrum strikes me
-I’ll hev it out down in the meddar with that old Jersey bull o’ mine.
-
-(_Curtain falls._)
-
-
-TAKING THE CENSUS.
-
-_Characters_:
-
-  INQUISITOR. _A Patient Man, with pen, ink and a large sheet of
-  paper, engaged in taking the census._
-
-  MRS. TOUCHWOOD. _An old lady in frilled cap and set-sprig apron,
-  engaged in giving it._
-
-SCENE.—_A house in the country. MRS. TOUCHWOOD at a wash-tub hard at
-work._
-
-_Enter INQUISITOR._
-
-_Inquisitor._ Good morning, madam. Is the head of the family at home?
-
-_Mrs. Touchwood._ Yes, sir, _I’m at home_.
-
-_Inq._ Haven’t you a husband?
-
-_Mrs. T._ Yes, sir, but he ain’t the head of the family, I’d have you to
-know.
-
-_Inq._ How many persons have you in your family?
-
-_Mrs. T._ Why, bless me, sir, what’s that to you? You’re mighty
-inquisitive, I think.
-
-_Inq._ I’m the man that takes the census.
-
-_Mrs. T._ If you was a man in your _senses_ you wouldn’t ask such
-impertinent questions.
-
-_Inq._ Don’t be offended, old lady, but answer my questions as I ask them.
-
-_Mrs. T._ “Answer a fool according to his folly!”—you know what the
-Scripture says. _Old_ lady, indeed!
-
-_Inq._ Beg your pardon, madam; but I don’t care about hearing Scripture
-just at this moment I’m bound to go according to law and not according to
-gospel.
-
-_Mrs. T._ I should think you went neither according to law nor gospel.
-What business is it to you to inquire into folks’ affairs, Mr. Thingumbob?
-
-_Inq._ The law makes it my business, good woman, and if you don’t want to
-expose yourself to its penalties, you must answer my questions.
-
-_Mrs. T._ Oh, it’s the law, is it? That alters the case. But I should
-like to know what the law has to do with other people’s household matters?
-
-_Inq._ Why, Congress made the law, and if it don’t please you, you must
-talk to them about it.
-
-_Mrs. T._ Talk to a fiddle-stick! Why, Congress is a fool, and you’re
-another.
-
-_Inq._ Now, good lady, you’re a fine, good-looking woman; if you’ll give
-me a few civil answers I’ll thank you. What I wish to know first is, how
-many are there in your family?
-
-_Mrs. T._ Let me see [_counting on her fingers_]; there’s I and my
-husband is one——
-
-_Inq._ Two, you mean.
-
-_Mrs. T._ Don’t put me out, now, Mr. Thinkummy. There’s I and my husband
-is one——
-
-_Inq._ Are you always one?
-
-_Mrs. T._ What’s that to you, I should like to know. But I tell you, if
-you don’t leave off interrupting me I won’t say another word.
-
-_Inq._ Well, take your own way, and be hanged to you.
-
-_Mrs. T._ I will take my own way, and no thanks to you. [_Again counting
-her fingers._] There’s I and my husband is one; there’s John, he’s two;
-Peter is three, Sue and Moll are four, and Thomas is five. And then
-there’s Mr. Jenkins and his wife and the two children is six; and
-there’s Jowler, he’s seven.
-
-_Inq._ Jowler! Who’s he?
-
-_Mrs. T._ Who’s Jowler! Why, who should he be but the old house dog?
-
-_Inq._ It’s the number of persons I want to know.
-
-_Mrs. T._ Very well, Mr. Flippergin, ain’t Jowler a person? Come here,
-Jowler, and speak for yourself. I’m sure he’s as personable a dog as
-there is in the whole State.
-
-_Inq._ He’s a very clever dog, no doubt. But it’s the number of human
-beings I want to know.
-
-_Mrs. T._ Human! There ain’t a more human dog that ever breathed.
-
-_Inq._ Well, but I mean the two-legged kind of beings.
-
-_Mrs. T._ Oh, the two-legged, is it? Well, then, there’s the old rooster,
-he’s seven; the fighting-cock is eight, and the bantam is nine——
-
-_Inq._ Stop, stop, good woman, I don’t want to know the number of your
-fowls.
-
-_Mrs. T._ I’m very sorry indeed, I can’t please you, such a sweet
-gentleman as you are. But didn’t you tell me—’twas the two-legged beings——
-
-_Inq._ True, but I didn’t mean the hens.
-
-_Mrs. T._ Oh, now I understand you. The old gobbler, he’s seven, the hen
-turkey is eight; and if you’ll wait a week there’ll be a parcel of young
-ones, for the old hen turkey is setting on a whole snarl of eggs.
-
-_Inq._ Blast your turkeys!
-
-_Mrs. T._ Oh, don’t now, good Mr. Hipper-stitcher, I pray you don’t.
-They’re as honest turkeys as any in the country.
-
-_Inq._ Don’t vex me any more. I’m getting to be angry.
-
-_Mrs. T._ Ha! ha! ha!
-
-_Inq._ [_striding about the room in a rage_.] Have a care, madam, or I
-shall fly out of my skin.
-
-_Mrs T._ If you do, I don’t know who will fly in.
-
-_Inq._ You do all you can to anger me. It’s the two-legged creatures who
-talk I have reference to.
-
-_Mrs. T._ Oh, now I understand you. Well then, our Poll Parrot makes
-seven and the black gal eight.
-
-_Inq._ I see you will have your own way.
-
-_Mrs. T._ You have just found out, have you! You are a smart little man!
-
-_Inq._ Have you mentioned the whole of your family?
-
-_Mrs. T._ Yes, that’s the whole—except the wooden-headed man in front.
-
-_Inq._ Wooden-headed?
-
-_Mrs. T._ Yes, the schoolmaster what’s boarding here.
-
-_Inq._ I suppose if he has a wooden head he lives without eating, and
-therefore must be a profitable boarder.
-
-_Mrs. T._ Oh, no, sir, you are mistaken there. He eats like a leather
-judgment.
-
-_Inq._ How many servants are there in the family?
-
-_Mrs. T._ Servants! Why, there’s no servants but me and my husband.
-
-_Inq._ What makes you and your husband servants?
-
-_Mrs. T._ I’m a servant to hard work, and he is a servant to rum. He
-does nothing all day but guzzle, guzzle, guzzle; while I’m working,
-and stewing, and sweating from morning till night, and from night till
-morning.
-
-_Inq._ How many colored persons have you?
-
-_Mrs. T._ There’s nobody but Dinah, the black girl, Poll Parrot and my
-daughter Sue.
-
-_Inq._ Is your daughter a colored girl?
-
-_Mrs. T._ I guess you’d think so if you was to see her. She’s always out
-in the sun—and she’s tanned up as black as an Indian.
-
-_Inq._ How many white males are there in your family under ten years of
-age?
-
-_Mrs. T._ Why, there ain’t none now; my husband don’t carry the mail
-since he’s taken to drink so bad. He used to carry two, but they wasn’t
-white.
-
-_Inq._ You mistake, good woman; I meant male folks, not leather mails.
-
-_Mrs. T._ Let me see; there’s none except little Thomas, and Mr. Jenkins’
-two little girls.
-
-_Inq._ Males, I said, madam, not females.
-
-_Mrs. T._ Well, if you don’t like them, you may leave them off.
-
-_Inq._ How many white males are there between ten and twenty?
-
-_Mrs. T._ Why, there’s nobody but John and Peter, and John ran away last
-week.
-
-_Inq._ How many white males are there between twenty and thirty?
-
-_Mrs. T._ Let me see—there’s the wooden-headed man is one, Mr. Jenkins
-and his wife is two, and the black girl is three.
-
-_Inq._ No more of your nonsense, old lady; I’m heartily tired of it.
-
-_Mrs. T._ Hoity toity! Haven’t I a right to talk as I please in my own
-house?
-
-_Inq._ You must answer the questions as I put them.
-
-_Mrs. T._ “Answer a fool according to his folly”—you’re right, Mr.
-Hippogriff.
-
-_Inq._ How many white males are there between thirty and forty?
-
-_Mrs. T._ Why, there’s nobody but I and my husband—and he was forty-one
-last March.
-
-_Inq._ As you count yourself among the males, I dare say you wear the
-breeches.
-
-_Mrs. T._ Well, what if I do, Mr. Impertinence? Is that anything to you?
-Mind your own business, if you please.
-
-_Inq._ Certainly—I did but speak. How many white males are there between
-forty and fifty?
-
-_Mrs. T._ None.
-
-_Inq._ How many between fifty and sixty?
-
-_Mrs. T._ None.
-
-_Inq._ Are there any between this and a hundred?
-
-_Mrs. T._ None except the old gentleman.
-
-_Inq._ What old gentleman? You haven’t mentioned any before.
-
-_Mrs. T._ Why, gramther Grayling—I thought everybody knew gramther
-Grayling—he’s a hundred and two years old next August, if he lives so
-long—and I dare say he will, for he’s got the dry wilt, and they say such
-folks never dies.
-
-_Inq._ Now give the number of deaf and dumb persons.
-
-_Mrs. T._ Why, there is no deaf persons, excepting husband, and he ain’t
-so deaf as he pretends to be. When anybody axes him to take a drink of
-rum, if it’s only in a whisper, he can hear quick enough. But if I tell
-him to fetch an armful of wood or feed the pigs or tend the griddle, he’s
-as deaf as a horse-block.
-
-_Inq._ How many dumb persons?
-
-_Mrs. T._ Dumb! Why, there’s no dumb body in the house, except the
-wooden-headed man, and he never speaks unless he’s spoken to. To be sure,
-my husband wishes I was dumb, but he can’t make it out.
-
-_Inq._ Are there any manufactures carried on here?
-
-_Mrs. T._ None to speak on, except turnip sausages and tow cloth.
-
-_Inq._ Turnip-sausages!
-
-_Mrs. T._ Yes, turnip-sausages. Is there anything so wonderful in that?
-
-_Inq._ I never heard of them before. What kind of machinery is used in
-making them?
-
-_Mrs. T._ Nothing but a bread-trough, a chopping-knife and a sausage
-filler.
-
-_Inq._ Are they made of clear turnips?
-
-_Mrs. T._ Now you’re terrible inquisitive. What would you give to know?
-
-_Inq._ I’ll give you the name of being the most communicative and
-pleasant woman I’ve met with for the last half-hour.
-
-_Mrs. T._ Well, now, you’re a sweet gentleman, and I must gratify you.
-You must know we mix with the turnip a little red cloth, just enough to
-give them a color, so they needn’t look as if they were made of clear fat
-meat; then we chop them up well together, put in a little sage, summer
-savory, and black pepper; and they make as pretty little delicate links
-as ever was set on a gentleman’s table; they fetch the highest price in
-the market.
-
-_Inq._ Indeed! Have you a piano in the house?
-
-_Mrs. T._ A piany! What’s that?
-
-_Inq._ A musical instrument.
-
-_Mrs. T._ Lor, no. But Sary Jane, down at the Corners, has one—you see.
-Sary got all highfalutin about the great Colushun down to Bosting, and
-down she went; an’ when she came back the old man got no rest until she
-had one of the big square music boxes with white teeth—’spose that’s what
-you call a piany.
-
-_Inq._ You seem to know what it is, then.
-
-_Mrs. T._ Yes, sir. Have you anything more to ax?
-
-_Inq._ Nothing more. Good morning, madam.
-
-_Mrs. T._ Stop a moment; can’t you think of something else? Do now,
-that’s a good man. Wouldn’t you like to know what we’re a-going to have
-for dinner; or how many chickens our old white hen hatched at her last
-brood; or how many—
-
-_Inq._ Nothing more—nothing more.
-
-Mrs. T. Here, just look in the cupboard, and see how many red ants there
-are in the sugar-bowl; I haven’t time to count them myself.
-
-_Inq._ Confound your ants and all your relations.
-
-[_Exit in a huff._
-
-
-ELDER SNIFFLES’ COURTSHIP
-
-_Characters._
-
-  WIDOW BEDOTT, ELDER SNIFFLES, In Character.
-
-_The widow retires to the grove in the rear of ELDER SNIFFLES’ house,
-sits down on a log and sings in a plaintive voice._
-
-_Widow Bedott._
-
-  What peaceful hours I once enjoyed,
-    All on a summer’s day!
-  But O, my comfort was destroyed,
-    When Shadrack crossed my way!
-
-  I heerd him preach—I heerd him pray—
-    I heerd him sweetly sing;
-  Dear suz! how I did feel that day!
-    It was a drefful thing!
-
-  Full forty dollars would I give
-    If we’d continnerd apart—
-  For though he’s made my sperrit live
-    He’s surely bust my heart!
-
-_She sighs profoundly, and the ELDER advances unexpectedly._
-
-_W. B._ Good gracious! is that you, Elder Sniffles! how you _did_ scare
-me! Never was so flustrated in all the days o’ my life! hadn’t the
-remotest idee o’ meeting _you_ here—would’t a come for forty dollars if
-I’d a s’posed you ever meander’d here. I never was here afore—but was
-settin’ by my winder and I cast my eyes over here, and as I observed
-the lofty trees a wavin’ in the gentle blast, and heerd the feathered
-songsters a wobblin’ their mellancolly music, I felt quite a call to come
-over; it’s so retired and morantic—such an approbriate place to marvel
-round in, ye know, when a body feels low-sperrited and unconsolable, as I
-dew to-night. O, d-e-a-r!
-
-_E. S._ Most worthy Mrs. Bedott, your evident depression fills me with
-unmitigated sympathy. Your feelings (if I may be permitted to judge from
-the language of your song, which I overheard)——
-
-_W. B._ You didn’t though, Elder! the drefful suz! what _shall_ I dew! I
-wouldn’t a had you heerd that song for no money! I wish I hadn’t a come!
-I wish to gracious I hadn’t a come!
-
-_E. S._ I assure you, Mrs. Bedott, it was unintentional on my part,
-entirely unintentional, but my contiguity to yourself and your proximity
-to me were such as rendered it impossible for me to avoid hearing you—
-
-_W. B._ Well, it can’t be helped now; it’s no use crying for spilt milk,
-but I wouldn’t have you to think I know’d _you_ ever came here.
-
-_E. S._ On the contrary, this grove is a favorite resort of mine; it
-affords a congenial retreat after the exterminating and tremendous mental
-labors of the day. I not unfrequently spend the declining hours of the
-evening here, buried in the most profound meditations. On your entrance
-I was occupying my customary seat beneath that umbrageous mounting ash
-which you perceive a few feet from you; indeed, had not your mind been
-much pre-occupied you could scarcely have avoided discovering me.
-
-_W. B._ Oh, granf’ther grievous! I wish I’d staid to hum! I was born for
-misfortin’ and nothin’ else! I wish to massy I’d staid to hum to-night!
-but I felt as if I’d like to come here once afore I leave the place.
-[_She weeps._]
-
-_E. S._ Ah! indeed! do you project leaving Scrabble Hill?
-
-_W. B._ Yes, I dew; I calklate to go next week. I must hear you preach
-once more—_once_ more, Elder, and then I’m gwine—somewhere—I don’t care
-where, nor I don’t care what becomes o’ me when I git there. [_She sobs
-violently._]
-
-_E. S._ O, Mrs. Bedott, you distress me beyond limitation—permit me to
-inquire the cause of this uncontrollable agony?
-
-_W. B._ O, Elder Sniffles, you’re the last indiwidual that ought to ax
-such a question. O, I _shall_ die! I shall give it up!
-
-_E. S._ Madame, my interest in your welfare is intense; allow me to
-entreat you still more vehemently to unburden your mind; perhaps it is in
-my power to relieve you.
-
-_W. B._ Relieve me! what an idee! O, Elder, you _will_ be the death o’
-me if you make me revulge my feelings so. An hour ago I felt as if I’d a
-died afore I’d a said what I hev said now, but you’ve draw’d it out o’ me.
-
-_E. S._ Respected madame, you have as yet promulgated nothing
-satisfactory; permit me——
-
-_W. B._ O, granf’ther grievous! must I come to’t? Well, then, if I must,
-I must, so to begin at the beginnin’. When I fust heern you preach, your
-sarmons onsettled my faith; but after a spell I was convinced by yer
-argefyin’, and gin up my ’roneus notions, and my mind got considerably
-carm. But how could I set Sabberday after Sabberday under the droppin’s
-o’ yer voice, and not begin to feel a mor’n ordinary interest in the
-speaker? I indevored not tew, but I couldn’t help it; ’twas in vain to
-struggle against the feelin’s that prepossest my buzzom. But it’s all
-over with me now! my felicitude is at an end! my sittiwation is hopeless!
-I shall go back to Wiggleton next week, and never truble you no more.
-
-_E. S._ Ah, Mrs. Bedott, you alarm——
-
-_W. B._ Yes, you never’ll see no more truble with Prissilly. I’m agwine
-back to Wiggleton. Can’t bear to go back thar, nother, on account o’ the
-indiwidduals that I come away to git rid of. There’s Cappen Canoot, he’s
-always been after me ever since my husband died, though I hain’t never
-gin him no incurridgement—but he won’t take no for an answer. I dread the
-critter’s attentions. And ’Squire Bailey—he’s wonderful rich—but that
-ain’t no recommendation to me, and I’ve told him so time and agin, but I
-s’pose he thinks I’ll come round bumby. And Deacon Crosby, he lost his
-partner a spell afore I come away; he was very much pleased with me;
-he’s a wonderful fine man—make a fust-rate husband. I kind o’ hesitated
-when he promulgated his sentiments tew me, told him I’d think on’t till
-I cum back—s’pose he’ll be at me as soon as I git there. I hate to
-disappoint Deacon Crosby, he’s such a fine man, and my dezeased companion
-sot so much by him, but then I don’t feel for him as I dew for——. He’s
-a Presbyterian, tew, and I don’t think ’twould be right to unite my
-destination to hisen.
-
-_E. S._ Undoubtedly in your present state of feeling, the uncongeniality
-would render a union——
-
-_W. B._ O, dear, dear, dear! I can’t bear to go back there and indure
-their attentions, but, thank fortune, they won’t bother me long—I shall
-go into a decline, I know I shall, as well as I want to know it. My
-trubles’ll soon be over—undoubtedly they’ll put up a monnyment to my
-memory—I’ve got the description all ready for it—it says:
-
-  Here sleeps Prissilly P. Bedott,
-    Late relic of Hezekier,
-  How mellancolly was her lot!
-    How soon she did expire!
-
-  She didn’t commit self-suicide,
-    ’Twas tribbilation killed her;
-  O, what a pity she hadn’t a died
-    Afore she saw the elder!
-
-And O, Elder, you’ll visit my grave, won’t ye, and shed tew or three
-tears over it? ’Twould be a consolation tew me tew think you would.
-
-_E. S._ In case I should ever have occasion to journey through that
-section of the country, and could consistently with my arrangements make
-it convenient to tarry for a short time at Wiggleton, I assure you it
-would afford me much pleasure to visit your grave, agreeably to your
-request.
-
-_W. B._ O, Elder, how onfeelin’!
-
-_E. S._ Unfeeling! did I not understand you correctly when I understood
-you to request me to visit your grave?
-
-_W. B._ Yes, but I don’t see how you could be so carm, when I’m talkin’
-about dyin’.
-
-_E. S._ I assure you, Mrs. Bedott, I had not the slightest intention of
-manifesting a want of feeling in my remark. I should regard your demise
-as a most deplorable event, and it would afford me no small degree of
-satisfaction to prevent so melancholy a catastrophe were it in my power.
-
-_W. B._ Well, I guess I’ll go hum. If Sally should know you was here a
-talkin’ with me, she’d make an awful fuss.
-
-_E. S._ Indeed I see no reason to fear that my domestic should interfere
-in any of my proceedings.
-
-_W. B._ O, lawful sakes! how numb you be, elder! I didn’t allude to Sal
-Blake—I meant Sal Hugle. She’t you’re ingaged tew.
-
-_E. S._ Engaged to Miss Hugle! You alarm me, Mrs. Be——
-
-_W. B._ Now don’t undertake to deny it, Elder; everybody says it’s a fact.
-
-_E. S._ Well, then, it only remains for me to assert that everybody is
-laboring under an entire and unmitigated mistake.
-
-_W. B._ You don’t say so, Elder! Well, I declare, I do feel relieved. I
-couldn’t endure the idea o’ stayin’ here to see that match go off. She’s
-so onworthy—so different from what your companion had ort to be—and so
-lazy—and makes such awful poitry; and then she hain’t worth a cent in
-the world. But I don’t want to say a word against her; for, if you ain’t
-ingaged now, mabby you will be. O, Elder! promise me, dew promise me
-now’t you won’t marry that critter. ’Twould be a consolation to me when
-I’m far away on my dyin’ bed to know—[_She weeps with renewed energy._]
-O, Elder, I’m afeared I’m a gwine to have the highsterics. I’m subjick to
-spasmotic affections when I’m excited and overcome.
-
-_E. S._ You alarm me, Mrs. Bedott! I will hasten to the house and bring
-the sal volatile, which may restore you.
-
-_W. B._ For the land’s sake, Elder, don’t go after Sal; she can’t dew
-nothin’ for me. It’ll only make talk, for she’ll tell it all round the
-village. Jest take that ar newspaper that sticks out o’ yer pocket, and
-fan me with it a leetle. There, I feel quite resusticated. I’m obliged
-tew ye; guess I can manage to get hum now. [_She rises._] Farwell, Elder
-Sniffles! adoo! we part to meet no more!
-
-_E. S._ Ah, Mrs. Bedott! do not speak in that mournful strain; you
-distress me beyond all mitigation. [_He takes her hand._] Pray reseat
-yourself, and allow me to prolong the conversation for a short period. As
-I before observed, your language distresses me beyond all duration.
-
-_W. B._ Dew you actually feel distressed at the idee o’ partin’ with me?
-
-_E. S._ Most indubitably, Mrs. Bedott.
-
-_W. B._ Well, then, what’s the use o’ partin’ at all? O, what have I
-said? what have I said?
-
-_E. S._ Ahem—ahaw, allow me to inquire—are you in easy circumstances,
-Mrs. Bedott?
-
-_W. B._ Well, not entirely yet, though I feel considerable easier’n what
-I did an hour ago.
-
-_E. S._ Ahem! I imagine that you do not fully apprehend my meaning. I
-am a clergyman, a laborer in the vineyard of the Lord—as such you will
-readily understand I cannot be supposed to abound in the filthy lucre of
-this world; my remuneration is small—hence——
-
-_W. B._ O, Elder, how can you s’pose I’d hesitate on account o’ your
-bein’ poor? Don’t think on’t—it only increases my opinion of you; money
-ain’t no objick to me.
-
-_E. S._ I naturally infer from your indifference respecting the amount of
-_my_ worldly possessions that you yourself have——
-
-_W. B._ Don’t be oneasy, Elder, dear—don’t illude tew it again; depend
-on’t you’re jest as dear tew me, every bit and grain, as you would be if
-you owned all the mines in Ingy.
-
-_E. S._ I will say no more about it.
-
-_W. B._ So I s’pose we’re ingaged.
-
-_E. S._ Undoubtedly.
-
-_W. B._ We’re ingaged, and my tribbilation is at an end. [_Her head drops
-on his shoulder._] O, Shadrack! what will Hugelina say when she hears
-on’t?
-
-                                                     FRANCIS M. WHITCHER.
-
-
-THE MATRIMONIAL ADVERTISEMENT.
-
-  _Characters._—_MARY COLE; GRANDMOTHER COLE, who is very deaf;
-  JACK COLE; AUNT MARTHA GORDON; CYRUS GORDON._
-
-
-SCENE I.—_The sitting-room of the COLE family. MARY reading a newspaper.
-GRANDMOTHER COLE knitting. AUNT MARTHA crocheting. JACK playing with the
-balls in AUNT MARTHA’S work-basket._
-
-_Mary Cole._ Oh, Aunt Martha! only hear this! it’s in the _Chronicle_.
-What a splendid chance! I declare, I’ve a great mind to answer it myself!
-
-_Aunt M._ What have you got hold of now? You’re allez a-making some
-powerful diskivery somewheres. What now? Something to turn gray eyes
-black, and blue eyes gray?
-
-_Mary._ No; it’s a matrimonial advertisement. What a splendid fellow this
-“C. G.” must be!
-
-_Aunt M._ Oh, shaw! A body must be dreadfully put to it, to advertise for
-a pardner in the newspapers. Thank goodness! I never got in such a strait
-as that ’er. The Lord has marcyfully kept me thus fur from having any
-dealings with the male sect, and I trust I shall be presarved to the end.
-
-_Jack Cole._ Didn’t you ever have an offer, Aunt Mattie?
-
-_Aunt M._ (_indignantly_.) Why, Jack Cole! What an idee! I’ve had more
-chances to change my condition than you’ve got fingers and toes. But I
-refused ’em all. A single life is the only way to be happy. But it did
-kinder hurt my feelings to send some of my sparks adrift—they took it so
-hard. There was Colonel Turner. He lost his wife in June, and the last
-of August he come over to our ’ouse, and I gave him to understand that
-he needn’t trouble himself; and he felt so mad that he went rite off and
-married the Widder Hopkins afore the month was out.
-
-_Jack._ Poor fellow! How he must have felt! And, Aunt Mattie, I notice
-that Deacon Goodrich looks at you a great deal in meeting, since you’ve
-got that pink feather on your bonnet. What if he should want you to be a
-mother to his ten little ones?
-
-_Aunt M._ (_simpering_). Law, Jack Cole! What a dreadful boy you be!
-(_pinches his ear._) The deacon never thought of such a thing! But if it
-should please Providence to appoint to me such a fate, I should try and
-be resigned.
-
-_Granny Cole._ Resigned? Who’s resigned? Not the President, has he? Well,
-I don’t blame him. I’d resign, too, if I was into his place. Nothing
-spiles a man’s character so quick as being President or Congress. Yer
-gran’father got in justice of the peace and chorus, once, and he resigned
-afore he was elected. Sed he didn’t want his repetition spiled.
-
-_Jack._ Three cheers for Gran’father Cole!
-
-_Granny C._ Cheers? What’s the matter with the cheers, now? Yer father
-had them bottomed last year, and this year they were new painted. What’s
-to pay with ’em now?
-
-_Mary_ (_impatiently_). Do listen, all of you, to this advertisement.
-
-_Aunt M._ Mary Cole, I’m sorry your head is so turned with the vanities
-of this world. Advertising for a pardner in that way is wicked. I hadn’t
-orter listen to it.
-
-_Mary._ Oh, it won’t hurt you a bit, auntie. (_reads_) “A gentleman of
-about forty, very fine looking; tall, slender, and fair-haired, with very
-expressive eyes, and side whiskers, and some property, wishes to make the
-acquaintance of a young lady with similar qualifications——”
-
-_Jack._ A young lady with expressive eyes and side whiskers——
-
-_Mary._ Do keep quiet, Jack Cole! (_reads_) “With similar qualifications
-as to good looks and amiable temper, with a view to matrimony. Address,
-with stamp to pay return postage—C. G., _Scrubtown_; stating when and
-where an interview may be had.” There! what do you think of that?
-
-_Jack._ Deacon Goodrich to a T. “C. G.” stands for Calvin Goodrich.
-
-_Aunt M._ The land of goodness! Deacon Goodrich, indeed! a pillar of the
-church! advertising for a wife! No, no, Jack; it can’t be him! He’d never
-stoop so low!
-
-_Jack._ But if all the women are as hard-hearted as you are, and the poor
-man needs a wife. Think of his ten little olive plants!
-
-_Granny C._ Plants? Cabbage plants? ’Taint time to set them out yet. Fust
-of August is plenty airly enuff to set ’em for winter. Cabbages never
-begin to head till the nights come cold.
-
-_Jack._ Poor Mr. C. G.! Why don’t you answer it, Aunt Mattie; and tell
-him you’ll darn his stockings for him, and comb that fair hair of his?
-
-_Aunt M._ Jack Cole! if you don’t hold your tongue, I’ll comb your
-hair for you in a way you won’t like. Me answering one of them low
-advertisements! _Me_, indeed! I hain’t so eager to get married as some
-folks I know. Brother Cyrus and I have lived all our lives in maiden
-meditation, fancy free—the only sensible ones of the family of twelve
-children; and it’s my idee that we shall continner on in that way.
-
-_Mary._ Why, don’t you believe that Uncle Cyrus would get married if he
-could?
-
-_Aunt M._ Your Uncle Cyrus! I tell you, Mary Cole, he wouldn’t marry the
-best woman that ever trod! I’ve hearn him say so a hundred times.
-
-_Mary._ Won’t you answer this advertisement, auntie? I’ll give you a
-sheet of my nicest gilt-edge note-paper if you will!
-
-_Aunt M._ (_furiously_). If you weren’t so big, Mary Jane Cole, I’d spank
-you soundly! I vow I would! Me answer it, indeed!
-
-(_Leaves the room in great indignation._)
-
-_Mary._ Look here, Jack. What’ll you bet she won’t reply to that notice?
-
-_Jack._ Nonsense! Wouldn’t she blaze if she could hear you?
-
-_Mary._ I’ll wager my new curled waterfall against your ruby pin that
-Aunt Mattie replies to Mr. “C. G.” before to-morrow night.
-
-_Jack._ Done! I shall wear a curled waterfall after to-morrow.
-
-_Mary._ No, sir! But I shall wear a ruby pin. Jack, who do you think “C.
-G.” is?
-
-_Jack._ Really, I do not know; do you? Ah! I know you do, by that look in
-your eyes. Tell me, that’s a darling.
-
-_Mary._ Not I. I don’t expose secrets to a fellow who tells them all over
-town. Besides, it would spoil the fun.
-
-_Jack._ Mary, you are the dearest little sister in the world! Tell me,
-please. (_taking her hands._)
-
-_Mary._ No, sir! You don’t get that out of me. Take care, now. Let go of
-my hands. I’m going up stairs to keep an eye on Aunt Mattie. She’s gone
-up now to write an answer to “C. G.” And if there is any fun by-and-by,
-Jack, if you’re a good boy you shall be there to see.
-
-_Granny C._ To sea? Going to sea? Why, Jack Cole! you haint twenty-one
-yet, and the sea’s a dreadful place! There’s a sarpint lives in it as
-big as the Scrubtown meeting-’us’, and whales that swaller folks alive,
-clothes and all! I read about one in a book a great while ago that
-swallered a man of the name of Jonah, and he didn’t set well on the
-critter’s stummuck, and up he come, lively as ever!
-
-(_Curtain falls._)
-
-
-SCENE II.—_The garden of a deserted house, in the vicinity of MR. COLE’S.
-MARY leading JACK cautiously along a shady path._
-
-_Mary._ There; we’ll squat down behind this lilac bush. It’s nearly
-the appointed hour. I heard Aunt Mattie soliloquizing in her room this
-morning, after this manner—“At eight o’clock this night I go to meet
-my destiny! In the deserted garden, under the old pear tree. How very
-romantic!” Hark! there she comes!
-
-_Jack._ Well, of all the absurd things that ever I heard tell of! Who
-would have believed that our staid old maid aunt would have been guilty
-of answering a matrimonial advertisement?
-
-_Mary._ Hush! Jack, if you make a noise and spoil the fun now, I’ll never
-forgive you. Keep your head still, and don’t fidget so.
-
-_Aunt Mattie_ (_slowly walking down the path—soliloquizing_.) Eight
-o’clock! It struck just as I started out. He ought to be here. Why
-does he tarry? If he aint punctual I’ll give him the mitten. I swow
-I will! Dear gracious! what a sitivation to be in! Me, at my time of
-life! though, to be shure, I haint so old as—as I might be. The dew’s
-a-falling, and I shall get the rheumatiz in these thin shoes, if he don’t
-come quick. What if Jack and Mary should git hold of this? I never should
-hear the last of it! Never! I wouldn’t have ’em know it for a thousand
-dollars! Goodness me! What if it _should_ be the deacon? Them children
-of his’n is dreadful youngsters; but, the Lord helping me, I’d try to
-train ’em up in the way they should go. Hark! is that him a-coming? No;
-it’s a toad hopping through the carrot bed. My soul and body! what if he
-should want to kiss me? I’ll chew a clove for fear he should. I wonder if
-it would be properous to let him? But then I s’pose if it’s the deacon I
-couldn’t help myself. He’s an awful _dee_tarmined man; and if I couldn’t
-help it I shouldn’t be to blame! Deary me! how I trimble! There he comes!
-I hear his step! What a tall man! ’Taint the deacon. He’s got a shawl on!
-Must be the new school-master! he wears a shawl! (_a man approaches, MISS
-MATTIE goes up to him cautiously._) Is this Mr. C. G.?
-
-_C. G._ Yes, it is; Is this Miss M. G.?
-
-_Aunt M._ It is. Dear sir, I hope you wont think me bold and unmaidenly
-in coming out here all alone in the dark to meet you?
-
-_C. G._ Never! Ah, the happiness of this moment! For forty years I have
-been looking for thee! (_puts his arm around her._)
-
-_Aunt M._ Oh, dear me! dont! dont! my dear sir! I aint used to it! and it
-aint exactly proper out here in this old garden! It’s a dreadful lonely
-spot, and if people should see us they might talk.
-
-_C. G._ Let ’em talk! They’ll talk still more when you and I are married,
-I reckon. Lift your veil and let me see your sweet face.
-
-_Aunt M._ Yes, if you’ll remove that hat and let me behold your
-countenance.
-
-_C. G._ Now, then; both together. (_AUNT M. throws back her veil. C. G.
-removes his hat. They gaze at each other a moment in utter silence._)
-
-_Aunt M._ Good gracious airth! ’tis brother Cyrus!
-
-_C. G._ Jubiter Ammon! ’tis sister Martha!
-
-_Aunt M._ Oh, my soul and body, Cyrus Gordon! Who’d ever a-thought of
-you, at your time of life, cutting up such a caper as this? You old,
-bald-headed, gray-whiskered man! Forty years old! My gracious! You were
-fifty-nine last July!
-
-_C. G._ Well, if I am, you’re two year older. So it’s as broad as ’tis
-long!
-
-_Aunt M._ Why, I thought shure it was Deacon Goodrich that advertised. C.
-G. stands for Calvin Goodrich.
-
-_C. G._ Yes; and it stands for Cyrus Gordon, too. And Deacon Goodrich was
-married last night to Peggy Jones.
-
-_Aunt M._ That snub-nosed, red-haired Peggy Jones! He’d ort to be flayed
-alive! Married again! and his wife not hardly cold! Oh, the desatefulness
-of men! Thank Providence I haint tied to one of the abominable sect.
-
-_C. G._ Well, Martha, we’re both in the same boat. If you wont tell
-of me, I wont of you. But it’s a terrible disappointment to me, for I
-sarting thought M. G. meant Marion Giles, the pretty milliner.
-
-_Aunt M._ Humph! What an old goose! She wouldn’t look at you! I heerd her
-laffing at your swaller-tailed coat, when you come out of meeting last
-Sunday. But I’m ready to keep silence if you will. Gracious! if Jack and
-Mary should get wind of this, shouldn’t we have to take it?
-
-_C. G._ Hark! what’s that? (_voice behind the lilac-bush sings_:)
-
-  “Oh, there’s many a bud the cold frost will nip,
-  And there’s many a slip ’twixt the cup and the lip.”
-
-_Aunt M._ That’s Jack’s voice! Goodness me! Let us scoot for home!
-
-_Jack._ Did he kiss you, Aunt Mattie?
-
-_Mary._ Do you like the smell of cloves, Uncle Cyrus?
-
-_C. G._ Confound you both! If I had hold of ye I’d let you know if I like
-to smell cloves, and birch, too.
-
-(_Curtain falls._)
-
-
-MRS. MALAPROP AND CAPTAIN ABSOLUTE.
-
-  _From “The Rivals.”_
-
-  _Costumes._
-
-  MRS. MALAPROP, _Crimson satin dress, trimmed with white lace and
-  satin ribbon._
-
-  CAPTAIN ABSOLUTE, _Scarlet regimental full-dress coat, white
-  breeches, silk stockings and cocked hat._
-
-_Enter MRS. MALAPROP, with a letter in her hand, CAPTAIN ABSOLUTE
-following._
-
-_Mrs. Malaprop._ Your being Sir Anthony’s son, Captain, would itself be a
-sufficient accommodation; but from the ingenuity of your appearance, I am
-convinced you deserve the character here given of you.
-
-_Capt. A._ Permit me to say, madame, that as I have never yet had the
-pleasure of seeing Miss Languish, my principal inducement in this affair,
-at present, is the honor of being allied to Mrs. Malaprop, of whose
-intellectual accomplishments, elegant manners and unaffected learning no
-tongue is silent.
-
-_Mrs. M._ Sir, you do me infinite honor! I beg, Captain, you’ll be
-seated. [_Both sit._] Ah! few gentlemen, nowadays, know how to value
-the ineffectual qualities in a woman! Men have no sense now but for the
-worthless flower of beauty.
-
-_Capt. A._ It is but too true, indeed, ma’am; yet I fear our ladies
-should share the blame; they think our admiration of beauty so great
-that knowledge in them would be superfluous. Thus, like garden trees,
-they seldom show fruit till time has robbed them of the more spacious
-blossoms: few, like Mrs. Malaprop and the orange tree, are rich in both
-at once.
-
-_Mrs. M._ Sir, you overpower me with good breeding. [_Aside._] He is the
-very pineapple of politeness! You are not ignorant, Captain, that this
-giddy girl has, somehow, contrived to fix her affections on a beggarly,
-strolling, eavesdropping ensign, whom none of us have seen, and nobody
-knows anything of.
-
-_Capt. A._ Oh, I have heard the silly affair before. I’m not at all
-prejudiced against her on that account. But it must be very distressing,
-indeed, to you, ma’am.
-
-_Mrs. M._ Oh, it gives me the hydrostatics to such a degree!—I thought
-she had persisted from corresponding with him; but, behold, this very
-day, I have interceded another letter from the fellow—I believe I have it
-in my pocket.
-
-_Capt. A._ My last note! [_Aside._]
-
-_Mrs. M._ Ay, here it is.
-
-_Capt. A._ Oh, the little traitress, Lucy!
-
-_Mrs. M._ There, perhaps you may know the writing. [_Gives him the
-letter._]
-
-_Capt. A._ I think I have seen the hand before—yes, I certainly must have
-seen this hand before.
-
-_Mrs. M._ Nay, but read it, Captain.
-
-_Capt. A._ [_reads_.] “My soul’s idol, my adored Lydia!” Very tender,
-indeed!
-
-_Mrs. M._ Tender! ay, and profane too, o’my conscience.
-
-_Capt. A._ “I am excessively alarmed at the intelligence you send me, the
-more so as my new rival”——
-
-_Mrs. M._ That’s you, sir.
-
-_Capt. A._ “Has universally the character of being an accomplished
-gentleman and a man of honor.” Well, that’s handsome enough.
-
-_Mrs. M._ Oh, the fellow has some design in writing so.
-
-_Capt. A._ That he had, I’ll answer for him, ma’am.
-
-_Mrs. M._ But go on, sir—you’ll see presently.
-
-_Capt. A._ “As for the old weather-beaten she-dragon who guards you”?—who
-can he mean by that?
-
-_Mrs. M._ Me, sir—me—he means me there—what do you think now?—but go on a
-little further.
-
-_Capt. A._ Impudent scoundrel!—“it shall go hard, but I will elude her
-vigilance! as I am told that the same ridiculous vanity which makes her
-dress up her coarse features and deck her dull chat with hard words which
-she don’t understand”——
-
-_Mrs. M._ There, sir, an attack upon my language! what do you think of
-that?—an aspersion upon my parts of speech! was ever such a brute! Sure,
-if I reprehend anything in this world, it is the use of my oracular
-tongue, and a nice derangement of epitaphs.
-
-_Capt. A._ He deserves to be hanged and quartered! let me see—“same
-ridiculous vanity”——
-
-_Mrs. M._ You need not read it again, sir!
-
-_Capt. A._ I beg pardon, ma’am—“does also lay her open to the
-grossest deceptions from flattery and pretended admiration”—an
-impudent coxcomb—“so that I have a scheme to see you shortly, with
-the old harridan’s consent, and even to make her a go-between in our
-interviews”—Was ever such assurance!
-
-_Mrs. M._ Did you ever hear anything like it? [_They rise._] He’ll elude
-my vigilance, will he?—yes, yes!—ha! ha! he’s very likely to enter these
-doors!—we’ll try who can run best!
-
-_Capt. A._ So we will, ma’am—so we will—Ha! ha! ha! a conceited puppy!
-ha! ha! ha!—Well, but Mrs. Malaprop, as the girl seems so infatuated by
-this fellow, suppose you were to wink at her corresponding with him for
-a little time—let her even plot an elopement with him—then do you connive
-at her escape—while I, just in the nick, will have the fellow laid by the
-heels, and fairly contrive to carry her off in his stead.
-
-_Mrs. M._ I am delighted with the scheme; never was anything better
-perpetrated.
-
-_Capt. A._ But, pray, could I not see the lady for a few minutes now?—I
-should like to try her temper a little.
-
-_Mrs. M._ Why, I don’t know—I doubt she is not prepared for a visit of
-this kind. There is a decorum in these matters.
-
-_Capt. A._ O, she won’t mind me!—only tell her Beverley——
-
-_Mrs. M._ Sir!
-
-_Capt. A._ Gently, good tongue! [_Aside._]
-
-_Mrs. M._ What did you say of Beverley?
-
-_Capt. A._ Oh, I was going to propose that you should tell her, by way
-of jest, that it was Beverley who was below—she’d come down fast enough
-then—ha! ha! ha!
-
-_Mrs. M._ ’Twould be a trick she well deserves—besides, you know, the
-fellow tells her he’ll get my consent to see her—ha! ha!—Let him, if he
-can, I say again.—Lydia, come down here! [_Calling._] He’ll make me a
-go-between in their interviews!—ha! ha! ha!—Come down, I say, Lydia!—I
-don’t wonder at your laughing—ha! ha! ha! his impudence is truly
-ridiculous.
-
-_Capt. A._ ’Tis very ridiculous, upon my soul, ma’am!—ha! ha! ha!
-
-_Mrs. M._ The little hussy won’t hear. Well, I’ll go and tell her at once
-who it is—she shall know that Captain Absolute is come to wait on her;
-and I’ll make her behave as becomes a young woman.
-
-_Capt. A._ As you please ma’am.
-
-_Mrs. M._ For the present, Captain, your servant—Ah! you’ve not done
-laughing yet, I see—elude my vigilance! yes, yes—Ha! ha! ha! [_Exit._
-
-                                               RICHARD BRINSLEY SHERIDAN.
-
-
-WINNING A WIDOW.
-
-_Characters._
-
-  MRS. CUMMISKEY, _A Middle-aged Widow_.
-  MR. COSTELLO, _An Old Bachelor_.
-
-SCENE.—_MRS. C.’S dwelling. Table set. MR. C. outside._
-
-_Mr. C._ Good evenin’ to you, ma’am.
-
-_Mrs. C._ Good evenin’ to you, Mr. Costello.
-
-_Mr. C._ It’s fine weather we’re havin’, ma’am.
-
-_Mrs. C._ It is that, thank God, but the winter’s comin’ at last, and it
-comes to all, both great and small.
-
-_Mr. C._ Ah! but for all that it doesn’t come to all alike. Nowhere
-are you, ma’am, fat, rosy and good-lookin’, equally swate as a summer
-greenin’, a fall pippin or a winter russet—
-
-_Mrs. C._ Arrah, hould your whist, now. Much an old bachelor like you
-knows about apples or women. But come in, Mr. Costello, and take a cup o’
-tay with me, for I was only standin’ be the door lookin’ at the people
-passin’ for company sake, like, and I’m sure the kittle must have sung
-itself hoarse. [_MR. C. enters and sits._]
-
-_Mr. C._ It’s very cosy ye are here, Mrs. Cummiskey.
-
-_Mrs. C._ Yes. [_Lays the supper._] It is that whin I do be havin’
-company.
-
-_Mr. C._ Ah! it must be lonesome for you with only yer cat and the cup o’
-tay.
-
-_Mrs. C._ Sure it is. But sit up to the table, Mr. Costello. Help
-yourself to this fish, and don’t furget the purtaties. Look at them;
-they’re splittin’ their sides wid laughin’. [_She pours tea._]
-
-_Mr. C._ I’m sensible of the comforts of a home, Mrs. Cummiskey, though
-I’ve none meself. Mind now, the difference between the taste o’ tay made
-and sarved that way and the tay they gives you in an aitin’-house.
-
-_Mrs. C._ Sure there’s nothin’ like a little home of yer own. I wonder
-yer never got marrit, Mr. Costello.
-
-_Mr. C._ I was about to make the same remark in rifference to yerself,
-ma’am.
-
-_Mrs. C._ God help us, aren’t I a widder woman this seven years?
-
-_Mr. C._ Ah, but it’s thinkin’ I was why ye didn’t get marrit again.
-
-_Mrs. C._ Well, it’s sure I am [_thoughtfully setting down her teacup and
-raising her hand by way of emphasis_], there was no betther husband to
-any woman than him that’s dead and gone, heaven save an’ rest his sowl.
-He was that asy a child could do anything wid him, and he was as humorous
-as a monkey. You favor him very much, Mr. Costello. He was about your
-height, and complicted like you.
-
-_Mr. C._ Ah!
-
-_Mrs. C._ He often used to say to me in his banterin’ way, Sure, Nora,
-what’s the woruld to a man whin his wife is a widder, manin’, you know,
-that all the timptations and luxuries of this life can never folly a man
-beyant the grave. Sure, Nora, says he, what’s the woruld to a man whin
-his wife’s a widder?
-
-_Mr. C._ It was a sensible sayin’ that [_helping himself to more fish_].
-
-_Mrs. C._ I mind the day John died. He knew everything to the last, and
-about four o’clock in the afthernoon—it was seventeen minutes past five
-exactly, be the clock, that he died—he says to me, Nora, says he, you’ve
-been a good wife, says he, an’ I’ve been a good husband, says he, an’
-so there’s no love lost atween us, says he, an’ I could give ye a good
-characthur to any place, says he, an’ I wish ye could do the same for
-me where I’m goin’, says he; but it’s case equal, says he, an’ every
-dog has his day, an’ some has a day an’ a half, says he, an’ says he,
-I’ll know more in a bit than Father Corrigan himself, says he, but I’ll
-say now, says he, that I’ve always been a true son of the Church, says
-he, so I’ll not bother my brains about it; an’ he says, says he, I lave
-ye in good hands, Nora for I lave you in your hands, says he; an’ if
-at any time ye see any wan ye like betther nor me, marry him, says he.
-Ah, Nora, says he, for the first time spakin’ it solemn like, ah, Nora,
-what’s the woruld to a man whin his wife’s a widder? An’ says he, I lave
-fifty dollars for masses, and the rest I lave to yourself, said he, an’ I
-needn’t tell ye to be a good mother to the childer’, says he, for well ye
-know there are none. Ah, poor John! Will ye have another cup of tay, Mr.
-Costello?
-
-_Mr. C._ It must have been very hard on ye [_passing cup_]. Thank ye,
-ma’am, no more.
-
-_Mrs. C._ It was hard, but time will tell. I must cast about me for my
-own livin’; and so I got intil this place an’ here I am to-day. [_Both
-rise from the table and seat themselves before the fire._]
-
-_Mr. C._ Ah! an’ here we are both of us this evenin.’
-
-_Mrs. C._ Here we are, sure enough.
-
-_Mr. C._ And so I mind ye of—of him, do I?
-
-_Mrs. C._ That ye do. Ye favor him greatly. Dark complicted, an’ the same
-plisint smile.
-
-_Mr. C._ Now, with me sittin’ here an’ you sittin’ there ferninst me, ye
-might almost think ye were marrit agin. [_Insinuatingly._]
-
-_Mrs. C._ Ah, go away now for a taze that ye are. [_Mussing her apron by
-rolling the corners of it._]
-
-_Mr. C._ I disremember what it was ye said about seein’ any man you liked
-betther nor him. [_Moving his chair nearer to that of the widow._]
-
-_Mrs. C._ He said, said he [_smoothing her apron over her knees_], Nora,
-said he, if anny time ye see anny man ye like betther nor me, marry him,
-says he.
-
-_Mr. C._ Did he say anything about anny one ye liked as good as him?
-
-_Mrs. C._ I don’t mind that he did. [_Reflectively, folding her hands in
-her lap._]
-
-_Mr. C._ I suppose he left that to yerself?
-
-_Mrs. C._ Faith, an’ I don’t know, thin.
-
-_Mr. C._ Div ye think ye like me as well as ye did him? [_Persuasively,
-leaning forward to look into the widow’s eyes, which are cast down._]
-
-_Mrs. C._ Ah, go away now for a taze. [_Straightening herself and
-playfully slapping MR. COSTELLO on the face. He moves his chair still
-nearer, and puts his arm around her waist._]
-
-_Mr. C._ Tell me, div ye like me as well as ye did him?
-
-_Mrs. C._ I—I most—I most disremember now how much I liked him.
-[_Embarrassed._]
-
-_Mr. C._ Ah, now, don’t be breakin’ me heart. Answer me this question,
-Mrs. Cummiskey—Is your heart tender toward me?
-
-_Mrs. C._ It is [_whispers_], an’ there, now ye have it.
-
-_Mr. C._ Glory! [_Kisses her._]
-
-_Mrs. C._ But, James, ye haven’t told me yet how ye liked yer tay?
-
-_Mr. C._ Ah, Nora, me jewel, the taste of that first kiss would take away
-the taste of all the tay that ever was brewed.
-
-
-
-
-MISCELLANEOUS SELECTIONS
-
-COMPRISING
-
-Dramatic, Humorous and Tragic Pieces from the most Celebrated Authors,
-adapted to the use of Public Schools, Academies and Higher Institutions
-of Learning, for Public and Social Entertainments.
-
-Wit and Wisdom Represented by a Great Variety of Entertaining Characters.
-
-
-UNCLE PETE.
-
-_Characters._
-
-  GEORGE PEYTON, _a planter_.
-
-  UNCLE PETE, _a venerable darkey, looking the worse for wear, with
-  more patches than pantaloons_.
-
-  SCENE—_Exterior view of a planter’s cabin, with practicable door.
-  GEORGE PEYTON discovered, seated on a bench, under veranda,
-  reading a newspaper._
-
-  _Enter UNCLE PETE, a limp noticeable in his left leg, the knee of
-  which is bowed outward, hoe on his shoulder._
-
-_Uncle Pete._ (_Pausing as he enters, shading his eyes with his hand,
-going towards GEORGE PEYTON._) Yes, dar he is; dar is Marse George, a
-sittin’ on the porch, a readin’ his papah. Golly, I cotch him at home!
-(_Advancing and calling_) Marse George, Marse George, I’s come to see
-you once mo’, once mo,’ befo’ I leabes you fo’ebber. Marse George, I’se
-gwine to de odder shoah; I’se far on de way to my long home, to dat home
-ober acrost de ribber, whar de wicked hab’ no mo’ trouble, and where
-water-millions ripen all the year! Youns has all bin berry kine to me
-heah, Marse George, berry kine to de ole man, but I’s gwine away, acrost
-de dark ribber. I’s gwine ober, an’ dar, on dat odder shoah, I’ll stan’
-an’ pick on de golden hawp among de angels, an’ in de company of de
-blest. Dar I’ll fine my rest; dar I’ll stan’ befo’ de throne fo’ ebber
-mo’ a singin’ an’ a shoutin’ susannis to de Lord!
-
-_George Peyton._ Oh, no, Uncle Pete, you’re all right yet—you’re good for
-another twenty years.
-
-_Uncle P._ Berry kine o’ you to say dat, Marse George—berry kine—but it’s
-no use. It almos’ breaks my hawt to leab you, and to leab de missus and
-de chillun, Marse George, but I’s got my call—I’s all gone inside.
-
-_George P._ Don’t talk so, Uncle Pete; you are still quite a hale old man.
-
-_Uncle P._ No use talkin’, Marse George, I’s gwine to hebben berry soon.
-’Pears like I can heah the singin’ on de odder shoah. ’Pears like I
-can heah de voice of ol’ “Aunt Liza” an’ de odders dat’s gone befoah.
-You’s bin berry kine, Marse George—de missus an’ de chillun’s bin berry
-good—seems like all de people’s been berry good to poor ole Pete—poor
-cretur like me.
-
-_George P._ Nonsense, Uncle Pete (_kindly and encouragingly_), nonsense,
-you are good for many years yet. You’ll see the sod placed on the graves
-of many younger men than you are, before they dig the hole for you. What
-you want just now, Uncle Pete, is a good square meal. Go into the kitchen
-and help yourself—fill up inside. There is no one at home, but I think
-you know the road. Plenty of cold victuals of all kinds in there.
-
-_Uncle P._ (_A smile illuminating his face._) ’Bleedged t’ye, Marse
-George, ’bleeged t’ye, sah, I’ll go! For de little time I has got to
-stay, I’ll not go agin natur’; but it’s no use. I’s all gone inside—I’s
-got my call. I’m one o’ dem dat’s on de way to de golden shoah.
-
-(_Exit UNCLE PETE through door, his limp hardly noticeable. His manner
-showing his delight._)
-
-_George P._ Poor old Uncle Pete, he seems to be the victim of religious
-enthusiasm. I suppose he has been to camp-meeting, but he is a cunning
-old fox, and it must have taken a regular hard-shell sermon to convert
-the old sinner. He was raised on this plantation, and I have often
-heard my father say, he hadn’t a better negro on the place. Ever since
-the war, he has been working a little, and loafing a good deal, and I
-have no doubt he sometimes sighs to be a slave again at work on the old
-plantation. (_Starts and listens._)
-
-_Uncle P._ (_Singing inside_:)
-
-  Jay bird, jay bird, sittin’ on a limb,
-  He winked at me, an’ I at him;
-  Cocked my gun, an’ split his shin,
-  An’ left the arrow a-stickin’.
-
-_George P._ (_Starting up._) Zounds! if that old thief hasn’t found my
-bitters bottle! Pete! Pete, you rascal!
-
-_Uncle P._ (_Continues singing_:)
-
-  Snake bake a hoe cake,
-  An’ set the frog to mind it;
-  But the frog fell asleep,
-  An’ the lizard come an’ find it.
-
-_George P._ Pete! you rascal, come out of that.
-
-_Uncle P._ (_Who does not hear the planter, continues singing, and dances
-a gentle, old-fashioned shuffle._)
-
-  De debbil cotch the groun’ hog
-  A-sittin’ in de sun,
-  An’ kick him off de back-log,
-  Jes’ to see de fun.
-
-_George P._ (_Furious._) Pete; you infernal nigger, come out of that, I
-say.
-
-_Uncle P._ (_Still singing and dancing._)
-
-  De ’possum up de gum tree,
-    A-playin’ wid his toes,
-  An’ up comes de ginny pig,
-    Den off he goes.
-
-_George P._ (_Thoroughly aroused, throwing down his paper._) You, Pete;
-blast the nigger.
-
-_Uncle P._ (_Continues singing_:)
-
-  De weasel went to see de polecat’s wife,
-  You nebber smelt such a row in all yer—
-
-_George P._ (_Rushes in the cabin, interrupts the singing, and drags PETE
-out by the ear._) Pete! Pete, you infernal old rascal, is that the way
-you are crossing the river? Are those the songs they sing on the golden
-shore? Is this the way for a man to act when he has got his call—when he
-is all gone inside?
-
-_Uncle P._ (_Looking as if he had been caught in a hen-roost._) Marse
-George. I’s got de call, sah, an’ I’s gwine acrost de dark ribber
-soon, but I’s now braced up a little on de inside, an’ de ’scursion am
-postponed—you see, de ’scursion am postponed, sah!
-
-_George P._ (_Folding his arms, looking at Pete, as if in admiration
-of his impudence._) The excursion is postponed, is it? Well, _this_
-excursion is not postponed, you old scoundrel. (_Seizes PETE by the
-coat-collar and runs him off stage, L._) [CURTAIN.]
-
-
-PAT’S EXCUSE.
-
-CHARACTERS:
-
-  NORA, _a young Irish lass_.
-  PAT MURPHY, _a gay deceiver_.
-
-_Curtain rises._—_Discovers NORA in kitchen, peeling potatoes._
-
-_Nora._ Och! it’s deceivin’ that all men are! Now I belaved Pat niver
-would forsake me, and here he’s trated me like an ould glove, and I’ll
-niver forgive him. How praties make your eyes water. (_Wipes tears
-away._) Almost as bad as onions. Not that I’m cryin’; oh, no. Pat Murphy
-can’t see _me_ cry. (_Knock without._) There is Pat now, the rascal. I’ll
-lock the door. (_Hastens to lock door._)
-
-_Pat_ (_without_). Arrah, Nora, and here I am.
-
-_Nora._ And there ye’ll stay, ye spalpeen.
-
-_Pat_ (_without_). Ah, come now, Nora,—ain’t it opening the door you are
-after? Sure, I’m dyin’ of cold.
-
-_Nora._ Faith, you are too hard a sinner to die aisy—so you can take your
-time about it.
-
-_Pat._ Open the door, cushla; the police will be takin’ me up.
-
-_Nora._ He won’t kape you long, alanna!
-
-_Pat._ Nora, if you let me in, I’ll tell you how I came to lave you at
-the fair last night.
-
-_Nora_ (_relenting_). Will you, for true?
-
-_Pat._ Indade I will.
-
-(_Nora unlocks door. Enter PAT gayly. He snatches a kiss from her._)
-
-_Nora._ Be off wid ye! Now tell me how you happened to be wid Mary
-O’Dwight last night?
-
-_Pat (sitting down)._ Well, you see it happened this way; ye know Mike O’
-Dwight is her brother, and he and me is blatherin’ good friends, ye know;
-and as we was going to Caltry the ither day, Mike says to me, says he:
-“Pat, what’ll you take fur that dog?” and I says, says I—
-
-_Nora (who has been listening earnestly)._ Bother you, Pat, but you are
-foolin’ me again.
-
-_Pat (coaxingly takes her hand)._ No—no—Nora—I’ll tell ye the truth this
-time, sure. Well, as I was sayin’, Mike and me is good friends; and Mike
-says, says he: “Pat, that’s a good dog.” “Yis,” says I, “it is.” And he
-says, says he. “Pat, it is a blatherin’ good dog.” “Yis,” says I; and
-then—and then—(_Scratches his head as if to aid his imagination._)
-
-_Nora_ (_angrily snatching away hand_). There! I’ll not listen to another
-word!
-
-_She Sings._
-
-  (Tune—Rory O’Moore.)
-
-  Oh, Patrick Murphy, be off wid you, pray,
-  I been watching your pranks this many a day;
-  You’re false, and ye’re fickle, as sure as I live
-  And your hateful desaivin’ I’ll niver forgive.
-  Ouch! do you think I was blind yester night,
-  When you walked so fine with Mary O’Dwight?
-  You kissed her, you rascal, and called her your own,
-  And left me to walk down the dark lane alone.
-
-_Pat_ (_taking up song_).
-
-  Oh, Nora, me darlint, be off wid your airs,
-  For nobody wants you, and nobody cares!
-  For you do want your Patrick, for don’t you see,
-  You could not so well love any but me.
-  When my lips met[1] Miss Mary’s, now just look at me,
-  I shut my eyes tight just this way, don’t you see?
-  And when the kiss came, what did I do?—
-  I shut my eyes tight, and made believe it was _you_!
-
-_Nora._
-
-  Be off wid your nonsense—a word in your ear,
-  Listen, my Patrick, be sure that you hear;
-  Last night when Mike Duffy came here to woo,
-  We sat in the dark, and made believe it was you—
-  And when the kiss came, now just look at me,—
-  I shut my eyes tight, just this way, don’t you see?
-  And when our lips met, what did I do,
-  But keep my eyes shut, and make belave it was you!
-
-(_Nora, laughing; Pat, disconcerted._)
-
-[QUICK CURTAIN.]
-
-[1] From the asterisk they sing only the first strain of “Rory
-O’More”—omitting the minor strain, with which Nora finishes her first
-stanza.
-
-
-THE DUEL.
-
-_Enter SIR LUCIUS O’TRIGGER to left, with pistols, followed by ACRES._
-
-_Acres._ (_L._[2]) By my valor, then, Sir Lucius, forty yards is a good
-distance. Odds levels and aims!—I say it is a good distance.
-
-_Sir Lucius._ (_R._) Is it for muskets or small field-pieces? Upon my
-conscience Mr. Acres, you must leave those things to me.—Stay, now—I’ll
-show you. (_Measures paces along the floor._) There, now, that is a very
-pretty distance—a pretty gentleman’s distance.
-
-_Acr._ (_R._) Zounds! we might as well fight in a sentry-box! I tell you,
-Sir Lucius, the further he is off, the cooler I shall take my aim.
-
-_Sir L._ (_L._) Faith! then I suppose you would aim at him best of all if
-he was out of sight!
-
-Acr. No, Sir Lucius; but I should think forty or eight-and-thirty yards—
-
-_Sir L._ Pooh! pooh! nonsense! Three or four feet between the mouths of
-your pistols is as good as a mile.
-
-_Acr._ Odds bullets, no!—by my valor! here is no merit in killing him so
-near! Do, my dear Sir Lucius, let me bring him down at a long shot:—a
-long shot, Sir Lucius, if you love me!
-
-_Sir L._ Well, the gentlemen’s friend and I must settle that. But tell
-me now, Mr. Acres, in case of an accident, is there any little will or
-commission I could execute for you?
-
-_Acr._ I am much obliged to you, Sir Lucius—but I don’t understand—
-
-_Sir L._ Why, you may think there’s no being shot at without a little
-risk; and if an unlucky bullet should carry a quietus with it—I say it
-will be no time then to be bothering you about family matters.
-
-_Acr._ A quietus!
-
-_Sir L._ For instance, now—if that should be the case—would you choose to
-be pickled and sent home?—or would it be the same to you to lie here in
-the Abbey?—I’m told there is very snug lying in the Abbey.
-
-_Acr._ Pickled!—Snugly in the Abbey!—Odds tremors! Sir Lucius, don’t talk
-so!
-
-_Sir L._ I suppose, Mr. Acres, you never were engaged in an affair of
-this kind before.
-
-_Acr._ No, Sir Lucius, never before.
-
-_Sir L._ Ah! that’s a pity!—there’s nothing like being used to a thing.
-Pray, now, how would you receive the gentlemen’s shot?
-
-_Acr._ Odds files!—I’ve practiced that—there, Sir Lucius—there. (_Puts
-himself in an attitude._) A side front, hey? I’ll make myself small
-enough: I’ll stand edgeways.
-
-_Sir L._ Now—you’re quite out—for if you stand so when I take my
-aim—(_Leveling at him._)
-
-_Acr._ Zounds! Sir Lucius—are you sure it is not cocked?
-
-_Sir L._ Never fear.
-
-_Acr._ But—but—you don’t know—it may go off of its own head!
-
-_Sir L._ Pooh! be easy. Well, now, if I hit you in the body, my bullet
-has a double chance; for, if it misses a vital part of your right side,
-’twill be very hard if it don’t succeed on the left.
-
-_Acr._ A vital part!
-
-_Sir L._ But, there, fix yourself so—(_placing him_)—let him see the
-broadside of your full front, there, now, a ball or two may pass clean
-through your body, and never do any harm at all.
-
-_Acr._ Clean through me!—a ball or two clean through me!
-
-_Sir L._ Ay, may they; and it is much the genteelest attitude into the
-bargain.
-
-_Acr._ Look’ee, Sir Lucius! I’d just as lieve be shot in an awkward
-posture as a genteel one; so, by my valor! I will stand edgeways.
-
-_Sir L._ (_Looking at his watch._) Sure, they don’t mean to disappoint
-us. Ha! no, faith; I think I see them coming. (_Crosses to R._)
-
-_Acr._ (_L._) Hey!—what!—coming!—
-
-_Sir L._ Ay. Who are those yonder, getting over the stile?
-
-_Acr._ There are two of them, indeed! Well—let them come—hey, Sir Lucius!
-we—we—we—we—won’t run!
-
-_Sir L._ Run!
-
-_Acr._ No,—I say,—we won’t run, by my valor!
-
-_Sir L._ What’s the matter with you?
-
-_Acr._ Nothing—nothing—my dear friend—my dear Sir Lucius! but I—I don’t
-feel quite so bold, somehow, as I did.
-
-_Sir L._ O, fy! Consider your honor.
-
-_Acr._ Ay—true—my honor. Do, Sir Lucius, edge in a word or two every now
-and then about my honor.
-
-_Sir L._ Well, here they’re coming. (_Looking R._)
-
-_Acr._ Sir Lucius, if I wa’n’t with you, I should almost think I was
-afraid! If my valor should leave me!—Valor will come and go.
-
-_Sir L._ Then pray keep it fast while you have it.
-
-_Acr._ Sir Lucius, I doubt it is going!—yes—my valor is certainly
-going!—it is sneaking off! I feel it oozing out, as it were, at the palms
-of my hands!
-
-_Sir L._ Your honor! your honor! Here they are.
-
-_Acr._ O mercy!—now—that I was safe at Clod Hall! or could be shot
-before I was aware! (_SIR LUCIUS takes Acres by the arm, and leads him
-reluctantly off, R._)
-
-                                                                SHERIDAN.
-
-[2] _L._ signifies _left_; _R._, _right_, and _C._, _centre_ of stage.
-
-
-READING THE WILL.
-
-CHARACTERS:
-
-  _SWIPES, a brewer. CURRIE, a saddler. FRANK MILLINGTON, and
-  ’SQUIRE DRAWL._
-
-_Enter SWIPES, R.,[3] CURRIE, L._
-
-_Swipes._ A sober occasion this, brother Currie! Who would have thought
-the old lady was so near her end?
-
-_Currie._ Ah! we must all die, brother Swipes. Those who live longest
-outlive the most.
-
-_Swipes._ True, true; but, since we must die and leave our earthly
-possessions, it is well that the law takes such good care of us. Had the
-old lady her senses when she departed?
-
-_Cur._ Perfectly, perfectly. ’Squire Drawl told me she read every word of
-her last will and testament aloud, and never signed her name better.
-
-_Swipes._ Had you any hint from the ’Squire what disposition she made of
-her property?
-
-_Cur._ Not a whisper! the ’Squire is as close as a miser’s purse. But one
-of the witnesses hinted to me that she has cut off her graceless nephew
-with a shilling.
-
-_Swipes._ Has she? Good soul! Has she? You know I come in, then, in right
-of my wife.
-
-_Cur._ And I in my _own_ right; and this is, no doubt, the reason why we
-have been called to hear the reading of the will. ’Squire Drawl knows
-how things should be done, though he is as air-tight as one of your own
-beer-barrels, brother Swipes. But here comes the young reprobate. He must
-be present, as a matter of course, you know. (_Enter FRANK MILLINGTON,
-R._) Your servant, young gentleman. So, your benefactress has left you,
-at last!
-
-_Swipes._ It is a painful thing to part with old and good friends, Mr.
-Millington.
-
-_Frank._ It is so, sir; but I could bear her loss better, had I not so
-often been ungrateful for her kindness. She was my only friend, and I
-knew not her value.
-
-_Cur._ It is too late to repent, Master Millington. You will now have a
-chance to earn your own bread.
-
-_Swipes._ Ay, ay, by the sweat of your brow, as better people are obliged
-to. You would make a fine brewer’s boy, if you were not too old.
-
-_Cur._ Ay, or a saddler’s lackey, if held with a tight rein.
-
-_Frank._ Gentlemen, your remarks imply that my aunt has treated me as
-I deserved. I am above your insults, and only hope you will bear your
-fortune as modestly, as I shall mine submissively. I shall retire. (_As
-he is going, R., enter ’SQUIRE DRAWL, R._)
-
-_’Squire._ Stop, stop, young man! We must have your presence.
-Good-morning, gentlemen: you are early on the ground.
-
-_Cur._ I hope the ’Squire is well to-day.
-
-_’Squire._ Pretty comfortable for an invalid.
-
-_Swipes._ I trust the damp air has not affected your lungs.
-
-_’Squire._ No, I believe not. You know I never hurry. _Slow and sure_ is
-my maxim. Well, since the heirs-at-law are all convened, I shall proceed
-to open the last will and testament of your deceased relative, according
-to law.
-
-_Swipes._ (_While the ’SQUIRE is breaking the seal._) It is a trying
-scene to leave all one’s possessions, ’Squire, in this manner!
-
-_Cur._ It really makes me feel melancholy when I look round and see
-everything but the venerable owner of these goods. Well did the preacher
-say, All is vanity!
-
-_’Squire._ Please to be seated, gentlemen.
-
-(_All sit.—The ’SQUIRE puts on his spectacles, and reads slowly._)
-“Imprimis: Whereas my nephew, Francis Millington, by his disobedience
-and ungrateful conduct, has shown himself unworthy of my bounty, and
-incapable of managing my large estate, I do hereby give and bequeath
-all my houses, farms, stocks, bonds, moneys and property, both personal
-and real, to my dear cousins, Samuel Swipes, of Malt street, brewer,
-and Christopher Currie, of Fly Court, saddler.” (_’SQUIRE takes off his
-spectacles to wipe them._)
-
-_Swipes._ (_Dreadfully overcome._) Generous creature! kind soul! I always
-loved her.
-
-_Cur._ She _was_ good, she _was_ kind! She was in her right mind. Brother
-Swipes, when we divide, I think I will take the mansion-house.
-
-_Swipes._ Not so fast, if you please, Mr. Currie! My wife has long had
-her eye upon that, and must have it. (_Both rise._)
-
-_Cur._ There will be two words to that bargain, Mr. Swipes! And, besides,
-I ought to have the first choice. Did not I lend her a new chaise every
-time she wished to ride? And who knows what influence——.
-
-_Swipes._ Am I not named first in her will? And did I not furnish her
-with my best small beer for more than six months? And who knows——.
-
-_Frank._ Gentlemen, I must leave you. (_Going._)
-
-_’Squire._ (_Wiping his spectacles, and putting them on._) Pray,
-gentlemen, keep your seats. I have not done yet. (_All sit._) Let me see;
-where was I?—Ay,—“All my property, both personal and real, to my dear
-cousins, Samuel Swipes, of Malt street, brewer——”
-
-_Swipes._ Yes!
-
-_’Squire._ “And Christopher Currie, Fly Court, saddler——”
-
-_Cur._ Yes!
-
-_’Squire._ “To have and to hold in trust, for the sole and exclusive
-benefit of my nephew, Francis Millington, until he shall have attained
-the age of twenty-one years; by which time I hope he will have so far
-reformed his evil habits, as that he may safely be intrusted with the
-large fortune which I hereby bequeath to him.”
-
-_Swipes._ What’s all this? You don’t mean that we are humbugged? _In
-trust!_—how does that appear? Where is it?
-
-_’Squire._ (_Pointing to the parchment._) There! In two words of as good
-old English as I ever penned.
-
-_Cur._ Pretty well, too, Mr. ’Squire, if we must be sent for to be made a
-laughing-stock of! She shall pay for every ride she had out of my chaise,
-I promise you!
-
-_Swipes._ And for every drop of my beer. Fine times, if two sober,
-hard-working citizens are to be brought here to be made the sport of
-a graceless profligate! But we will manage his property for him, Mr.
-Currie! We will make him feel that trustees are not to be trifled with!
-
-_Cur._ That will we!
-
-_’Squire._ Not so fast, gentlemen; for the instrument is dated three
-years ago, and the young gentleman must already be of age, and able to
-take care of himself. Is it not so, Francis?
-
-_Frank._ It is, your worship.
-
-_’Squire._ Then, gentlemen, having attended to the breaking of this
-seal according to law, you are released from any further trouble in the
-premises.
-
-(_Exit SWIPES and CURRIE in earnest conversation._)
-
-                                                                 SARGENT.
-
-[3] _R._, signifies _right_; _L._, _left_ and _C._, _centre_ of stage.
-
-
-THE DEBTOR AND THE DUN.
-
-_Enter REMNANT, R._[4]
-
-_Remnant._ Well, I am resolved I’ll collect my bill of Col. Blarney
-this time. He shan’t put me off again. This is the twentieth time, as
-I’m a sinner, that I have dunned him! His smooth words shan’t humbug me
-now. No, no! Richard Remnant is not such a goose as to be paid in fine
-words for fine clothes. (_Takes out a long bill and unrolls it._) A
-pretty collection of items, that! Why, the interest alone would make a
-good round sum. But hark! He is coming. (_Hastily rolls up the bill and
-returns it to his pocket._)
-
-_Enter COL. BLARNEY, R._
-
-_Blarney._ Ah! my dear Remnant, a thousand welcomes! How delighted I am
-to see you! And what stupidity on the part of my people not to make you
-enter at once! True, I had given orders that they should admit nobody;
-but those orders did not extend to you, my dear sir, for to you I am
-always at home.
-
-_Rem._ Much obliged, sir. (_Fumbling in his pocket for his bill._)
-
-_Blar._ (_calling to his servants_.) What, ho! John! Martha! confound
-you! I will teach you to keep my friend Remnant kicking his heels in the
-entry! I will teach you to distinguish among my visitors!
-
-_Rem._ Indeed, sir, it is no sort of consequence.
-
-_Blar._ But it _is_ consequence! To tell you—you, one of my best
-friends—that I was not in!
-
-_Rem._ I am your humble servant, sir. (_Drawing forth bill._) I just
-dropped in to hand you this little—
-
-_Blar._ Quick, there, quick! A chair for my friend Remnant!
-
-_Rem._ I am very well as I am, sir.
-
-_Blar._ Not at all! I would have you seated.
-
-_Rem._ It is not necessary. (_Servant hands a common chair._)
-
-_Blar._ Rascal!—not that! An arm-chair!
-
-_Rem._ You are taking too much trouble. (_An arm-chair is placed for
-him._)
-
-_Blar._ No, no; you have been walking some distance, and require rest.
-Now be seated.
-
-_Rem._ There is no need of it—I have but a single word to say. I have
-brought—
-
-_Blar._ Be seated, I say. I will not listen to you till you are seated.
-
-_Rem._ Well, sir, I will do as you wish. (_Sits._) I was about to say—
-
-_Blar._ Upon my word, friend Remnant, you are looking remarkably well.
-
-_Rem._ Yes, sir, thank heaven, I am pretty well. I have come with this—
-
-_Blar._ You have an admirable stock of health—lips fresh, skin ruddy,
-eyes clear and bright—really—
-
-_Rem._ If you would be good enough to—
-
-_Blar._ And how is Madam Remnant?
-
-_Rem._ Quite well, sir, I am happy to say.
-
-_Blar._ A charming woman, Mr. Remnant! A very superior woman.
-
-_Rem._ She will be much obliged, sir. As I was saying—
-
-_Blar._ And your daughter, Claudine, how is she?
-
-_Rem._ As well as can be.
-
-_Blar._ The beautiful little thing that she is! I am quite in love with
-her.
-
-_Rem._ You do us too much honor, sir. I—you—
-
-_Blar._ And little Harry—does he make as much noise as ever, beating that
-drum of his?
-
-_Rem._ Ah, yes! He goes on the same as ever. But, as I was saying—
-
-_Blar._ And your little dog, Brisk,—does he bark as loud as ever, and
-snap at the legs of your visitors?
-
-_Rem._ More than ever, sir, and we don’t know how to cure him. He, he!
-But I dropped in to—
-
-_Blar._ Do not be surprised if I want particular news of all your family,
-for I take the deepest interest in all of you.
-
-_Rem._ We are much obliged to your honor, much obliged. I—
-
-_Blar._ (_Giving his hand._) Your hand upon it, Mr. Remnant. Don’t rise.
-Now, tell me, do you stand well with the people of quality?—for I can
-make interest for you among them.
-
-_Rem._ Sir, I am your humble servant.
-
-_Blar._ And I am yours, with all my heart. (_Shaking hands again._)
-
-_Rem._ You do me too much honor.
-
-_Blar._ There is nothing I would not do for you.
-
-_Rem._ Sir, you are too kind to me.
-
-_Blar._ At least I am disinterested; be sure of that, Mr. Remnant.
-
-_Rem._ Certainly I have not merited these favors, sir. But, sir,—
-
-_Blar._ Now I think of it, will you stay and sup with me?—without
-ceremony, of course.
-
-_Rem._ No, sir, I must return to my shop; I should have been there before
-this. I—
-
-_Blar._ What ho, there! A light for Mr. Remnant! and tell the coachman to
-bring the coach and drive him home.
-
-_Rem._ Indeed, sir, it is not necessary. I can walk well enough. But
-here— (_Offering bill._)
-
-_Blar._ O! I shall not listen to it. Walk? Such a night as this! I am
-your friend, Remnant, and, what is more, your debtor—your debtor, I
-say—all the world may know it.
-
-_Rem._ Ah! sir if you could but find it convenient—
-
-_Blar._ Hark! There is the coach. One more embrace, my dear Remnant!
-(_Shakes hands again._) Take care of the steps. Command me always; and be
-sure there is nothing in the world I would not do for you. There! Good-by.
-
-(_Exit REMNANT, conducted by COL. B._)
-
-                                                    ALTERED FROM MOLIÈRE.
-
-[4] The initials _R._ and _L._ stand for the _Right_ and _Left_ of the
-stage, facing the audience.
-
-
-THE DISAGREEABLE MEDDLER.
-
-_Enter DOUBLEDOT and SIMON, L._[5]
-
-_Doubledot._ Plague take Mr. Paul Pry! He is one of those idle,
-meddling fellows, who, having no employment themselves, are perpetually
-interfering in other people’s affairs.
-
-_Simon._ Ay, and he’s inquisitive into all matters, great and small.
-
-_Doub._ Inquisitive! Why, he makes no scruple of questioning you
-respecting your most private concerns. Then he will weary you to
-death with a long story about a cramp in his leg, or the loss of a
-sleeve-button, or some such idle matter. And so he passes his days,
-“dropping in,” as he calls it, from house to house at the most
-unreasonable times, to the annoyance of every family in the village. But
-I’ll soon get rid of him.
-
-_Enter PRY, L., with umbrella, which he places against the wall._
-
-_Pry._ Ha! how d’ye do, Mr. Doubledot?
-
-_Doub._ Very busy, Mr. Pry, and have scarcely time to say, “Pretty well,
-thank ye.” (_Turns from him as if writing in memorandum book. SIMON
-advances._)
-
-_Pry._ Ha, Simon! you here? Rather early in the morning to be in a public
-house. Been taking a horn, eh? Sent here with a message from your master,
-perhaps? I say, Simon, when this wedding takes place, I suppose your
-master will put you all into new liveries, eh?
-
-_Simon._ Can’t say, sir.
-
-_Pry._ Well, I think he might. (_Touches SIMON’S sleeve._) Between
-ourselves, Simon, it won’t be before you want ’em, eh?
-
-_Simon._ That’s master’s business, sir, and neither yours nor mine.
-
-_Pry._ Mr. Simon, behave yourself, or I shall complain of you to the
-colonel. By the way, Simon, that’s an uncommon fine leg of mutton the
-butcher has sent to your house. It weighs thirteen pounds five ounces.
-
-_Doub._ And how do you know that?
-
-_Pry._ I asked the butcher. I say, Simon, is it for roasting or boiling?
-
-_Simon._ Half and half, with the chill taken off. There’s your answer.
-(_Exit SIMON, R._)
-
-_Pry._ That’s an uncommon ill-behaved servant! Well, since you say you
-are busy, I won’t interrupt you; only, as I was passing, I thought I
-might as well drop in.
-
-_Doub._ Then you may now drop out again. The railway ’bus will be in
-presently, and—
-
-_Pry._ No passengers by it to-day, for I have been to the hill to look
-for it.
-
-_Doub._ Did you expect any one by it, that you were so anxious?
-
-_Pry._ No; but I make it my business to see the coach come in every day.
-I can’t bear to be idle.
-
-_Doub._ Useful occupation, truly!
-
-_Pry._ Always see it go out; have done so these ten years.
-
-_Doub._ (_Going up._) Tiresome blockhead! Well; good morning to you.
-
-_Pry._ Good-morning, Mr. Doubledot. Your tavern doesn’t appear to be very
-full just now.
-
-_Doub._ No, no.
-
-_Pry._ Ha! you are at a heavy rent? (_Pauses for an answer after
-each question._) I’ve often thought of that. No supporting such an
-establishment without a deal of custom. If it’s not an impertinent
-question, don’t you find it rather a hard matter to make both ends meet
-when the first of the month comes round?
-
-_Doub._ If it isn’t asking an impertinent question, what’s that to you?
-
-_Pry._ O, nothing; only some folks have the luck of it: they have just
-taken in a nobleman’s family at the opposition house, the Green Dragon.
-
-_Doub._ What’s that? A nobleman at the Green Dragon!
-
-_Pry._ Traveling carriage and four. Three servants on the dickey and an
-outrider, all in blue liveries. They dine and stop all night. A pretty
-bill there will be to-morrow, for the servants are not on board wages.
-
-_Doub._ Plague take the Green Dragon! How did you discover that they are
-not on board wages?
-
-_Pry._ I was curious to know, and asked one of them. You know I never
-miss any thing for want of asking. ’Tis no fault of mine that the nabob
-is not here, at your house.
-
-_Doub._ Why, what had you to do with it?
-
-_Pry._ You know I never forget my friends. I stopped the carriage as it
-was coming down the hill—brought it to a dead stop, and said that if his
-lordship—I took him for a lord at once—that if his lordship intended to
-make any stay, he couldn’t do better than to go to Doubledot’s.
-
-_Doub._ Well?
-
-_Pry._ Well,—would you believe it?—out pops a saffron-colored face from
-the carriage window, and says, “You’re an impudent rascal for stopping
-my carriage, and I’ll not go to Doubledot’s if there’s another inn to be
-found within ten miles of it!”
-
-_Doub._ There, that comes of your confounded meddling! If you had not
-interfered I should have stood an equal chance with the Green Dragon.
-
-_Pry._ I’m very sorry; but I did it for the best.
-
-_Doub._ Did it for the best, indeed! Deuce take you! By your officious
-attempts to serve, you do more mischief in the neighborhood than the
-exciseman, the apothecary, and the attorney, all together.
-
-_Pry._ Well, there’s gratitude! Now, really, I must go. Good-morning.
-(_Exit PAUL PRY._)
-
-_Doub._ I’m rid of him at last, thank fortune! (_PRY re-enters._) Well,
-what now?
-
-_Pry._ I’ve dropped one of my gloves. Now, that’s very odd—here it is in
-my hand all the time!
-
-_Doub._ Go to confusion! (_Exit._)
-
-_Pry._ Come, that’s civil! If I were the least of a bore, now, it
-would be pardonable—But—Hullo! There’s the postman! I wonder whether
-the Parkins’s have got letters again to-day. They have had letters
-every day this week, and I can’t for the life of me think what they
-can—(_Feels hastily in his pockets._) By the way, talking of letters,
-here’s one I took from the postman last week for the colonel’s
-daughter, Miss Eliza, and I have always forgotten to give it to her.
-I dare say it is not of much importance. (_Peeps into it—reads._)
-“Likely—unexpected—affectionate.” I can’t make it out. No matter; I’ll
-contrive to take it to the house—though I’ve a deal to do to-day. (_Runs
-off and returns._) Dear me! I had like to have gone without my umbrella.
-
-[CURTAIN.]
-
-                                                              JOHN POOLE.
-
-[5] _L._ signifies _left_; _R._, _right_, and _C._, _centre_ of stage.
-
-
-SPARTACUS AND JOVIUS.
-
-_Enter SPARTACUS, L.,[6] JOVIUS, R._
-
-  _Spartacus._ Speak, Roman! wherefore does thy master send
-  Thy gray hairs to the “cut throat’s” camp?
-
-  _Jovius._ Brave rebel—
-
-  _Spart._ Why, that’s a better name than rogue or bondman;
-  But in this camp I am called _General_.
-
-  _Jov._ Brave General,—for, though a rogue and bondman,
-  As you have said, I’ll still allow you General,
-  As he that beats a consul surely is.
-
-  _Spart._ Say two—two consuls; and to that e’en add
-  A proconsul, three prætors, and some generals.
-
-  _Jov._ Why, this is no more than true. Are you a Thracian?
-
-  _Spart._ Ay.
-
-  _Jov._ There is something in the air of Thrace
-  Breeds valor up as rank as grass. ’Tis pity.
-  You are a barbarian.
-
-  _Spart._ Wherefore?
-
-  _Jov._ Had you been born
-  A Roman, you had won by this a triumph.
-
-  _Spart._ I thank the gods I am barbarian;
-  For I can better teach the grace-begot
-  And heaven-supported masters of the earth
-  How a mere dweller of a desert rock
-  Can bow their crowned heads to his chariot-wheels,
-  Their regal necks to be his stepping-blocks.
-  But come, what is thy message?
-
-  _Jov._ Julia, niece
-  Of the prætor, is thy captive.
-
-  _Spart._ Ay.
-
-  _Jov._ For whom
-  Is offered in exchange thy wife, Senona,
-  And thy young boy.
-
-  _Spart._ Tell thou the prætor, Roman,
-  The Thracian’s wife is ransomed.
-
-  _Jov._ How is that?
-
-  _Spart._ Ransomed, and by the steel, from out the camp
-  Of slaughtered Gellius! (_Pointing off._) Behold them, Roman!
-
-  _Jov._ (_Looking as SPART. points._) This is sorcery!
-  But name a ransom for the general’s niece.
-
-  _Spart._ Have I not now the prætor on the hip?
-  He would, in his extremity, have made
-  My wife his buckler of defence; perhaps
-  Have doomed her to the scourge! But this is Roman.
-  Now the barbarian is instructed. Look!
-  I hold the prætor by the heart; and he
-  Shall feel how tightly grip barbarian fingers.
-
-  _Jov._ Men do not war on women. Name her ransom.
-
-  _Spart._ Men do not war on women! Look you:
-  One day I climbed up to the ridgy top
-  Of the cloud-piercing Hæmus, where, among
-  The eagles and the thunders, from that height,
-  I looked upon the world, as far as where,
-  Wrestling with storms, the gloomy Euxine chafed
-  On his recoiling shores; and where dim Adria
-  In her blue bosom quenched the fiery sphere.
-  Between those surges lay a land, might once
-  Have matched Elysium; but Rome had made it
-  A Tartarus. In my green youth I looked
-  From the same frosty peak where now I stood,
-  And then beheld the _glory_ of those lands,
-  Where Peace was tinkling on the shepherd’s bell
-  And singing with the reapers.
-  Since that glad day, Rome’s conquerors had passed
-  With withering armies there, and all was changed.
-  Peace had departed; howling War was there,
-  Cheered on by Roman hunters. Then, methought
-  E’en as I looked upon the altered scene,
-  Groans echoed through the valleys, through which ran
-  Rivers of blood, like smoking Phlegethons;
-  Fires flashed from burning villages, and Famine
-  Shrieked in the empty cornfields! Women and children,
-  Robbed of their sires and husbands, left to starve—
-  These were the dwellers of the land! Say’st thou
-  Rome wars not, then, on women?
-
-  _Jov._ This is not to the matter.
-
-  _Spart._ Now, by Jove,
-  It is! These things do Romans. But the earth
-  Is sick of conquerors. There is not a man,
-  Not Roman, but is Rome’s extremest foe:
-  And such am I; sworn from that hour I saw
-  Those sights of horror, while the gods support me,
-  To wreak on Rome such havoc as Rome wreaks,
-  Carnage and devastation, woe and ruin.
-  Why should I ransom, when I swear to slay?
-  Begone! This is my answer!
-
-                                               BIRD.
-
-[6] _L._ signifies _left_; _R._, _right_, and _C._, _centre_ of stage
-
-
-THE RESOLVE OF REGULUS.—_Sargent._
-
-  (Regulus, a Roman consul, having been defeated in battle and
-  taken prisoner by the Carthaginians, was detained in captivity
-  five years, and then sent on an embassy to Rome to solicit peace,
-  under a promise that he would return to Carthage if the proposals
-  were rejected. These, it was thought, he would urge in order
-  to obtain his own liberty; but he urged contrary and patriotic
-  measures on his countrymen; and then, having carried his point,
-  resisted the persuasions of his friends to remain in Rome, and
-  returned to Carthage, where a martyr’s death awaited him. Some
-  writers say that he was thrust into a cask covered over on the
-  inside with iron spikes, and thus rolled down hill. The following
-  scene presents Regulus just as he has made known to his friends
-  in Rome his resolution to return to Carthage.)
-
-_Enter REGULUS, followed by SERTORIUS._
-
-  _Sertorius._ Stay, Roman, in pity!—if not for thy life,
-  For the sake of thy country, thy children, thy wife.
-  Sent, not to urge war, but to lead Rome to peace,
-  Thy captors of Carthage vouchsafed thee release.
-  Thou return’st to encounter their anger, their rage;—
-  No mercy expect for thy fame or thy age!
-
-  _Regulus._ To my captors one pledge, and one only, I gave:
-  To RETURN, though it were to walk into my grave!
-  No hope I extended, no promise I made,
-  Rome’s Senate and people from war to dissuade.
-  If the vengeance of Carthage be stored for me now,
-  I have reaped no dishonor, have broken no vow.
-
-  _Sert._ They released thee, but dreamed not that thou wouldst fulfil
-  A part that would leave thee a prisoner still;
-  They hoped thy own danger would lead thee to sway
-  The councils of Rome a far different way;
-  Would induce thee to urge the conditions they crave,
-  If only thy freedom, thy life-blood, to save.
-  Thought shudders, the torment and woe to depict
-  Thy merciless foes have the heart to inflict!
-  Remain with us, Regulus! do not go back!
-  No hope sheds its ray on thy death-pointing track!
-  Keep faith with the faithless? The gods will forgive
-  The balking of such. O, live, Regulus, live!
-
-  _Reg._ With the consciousness fixed in the core of my heart,
-  That I had been playing the perjurer’s part?
-  With the stain ever glaring, the thought ever nigh,
-  That I owe the base breath I inhale to a lie?
-  O, never! Let Carthage infract every oath,
-  Be false to her word and humanity both,
-  Yet never will I in her infamy share,
-  Or turn for a refuge to guilt from despair!
-
-  _Sert._ O, think of the kindred and friends who await
-  To fall on thy neck, and withhold thee from fate;
-  O, think of the widow, the orphans to be,
-  And let thy compassion plead softly with me.
-
-  _Reg._ O, my friend, thou canst soften, but canst not subdue;
-  To the faith of my soul I must ever be true.
-  If my honor I cheapen, my conscience discrown,
-  All the graces of life to the dust are brought down;
-  All creation to me is a chaos once more—
-  No heaven to hope for, no God to adore!
-  And the love that I feel for wife, children, and friend,
-  Has lost all its beauty, and thwarted its end.
-
-  _Sert._ Let thy country determine.
-
-  _Reg._                My country? Her will,
-  Were I free to obey, would be paramount still.
-  I go to my doom for my country alone;
-  My life is my country’s; my honor, my own!
-
-  _Sert._ O, Regulus! think of the pangs in reserve!
-
-  _Reg._ What menace should make me from probity swerve?
-
-  _Sert._ Refinements of pain will these miscreants find
-  To daunt and disable the loftiest mind.
-
-  _Reg._ And ’tis to a Roman thy fears are addressed!
-
-  _Sert._ Forgive me. I know thy unterrified breast.
-
-  _Reg._ Thou know’st me but human—as weak to sustain
-  As thyself, or another, the searchings of pain.
-  This flesh may recoil, and the anguish they wreak
-  Chase the strength from my knees, and the hue from my cheek;
-  But the body alone they can vanquish and kill;
-  The spirit immortal shall smile at them still.
-  Then let them make ready their engines of dread,
-  Their spike-bristling cask, and their torturing bed;
-  Still Regulus, heaving no recreant breath,
-  Shall greet as a friend the deliverer, Death!
-  Their cunning in torture and taunt shall defy,
-  And hold it in joy for his country to die.
-
-
-HOW THE MONEY GOES.
-
-  (A temperance play.)
-
-  CHARACTERS.—_MAN, about thirty-five years old; his WIFE; NELLIE,
-  his daughter, ten years old; FRIEND, man about husband’s age,
-  dressed in a man-of-the-world style; A. and B., two young men,
-  dressed as business men, should appear about thirty years of age._
-
-
-SCENE I. (_MR. L. and his wife on the stage; MR. L. dressed for his work,
-and about to go._)
-
-_Mrs. L._ Albert, I wish you would give me seventy-five cents.
-
-_Mr. L._ What do you want seventy-five cents for?
-
-_Mrs. L._ I want to get some braid for my new dress.
-
-_Mr. L._ I thought you had material enough on hand for that.
-
-_Mrs. L._ So I thought I had; but it looks rather plain with no trimming
-at all. You know I was intending to trim it with that fringe; but it
-looks too gray, come to try it by the side of the dress.
-
-_Mr. L._ Haven’t you something else that will do?
-
-_Mrs. L._ No. But, then, braid is cheap; and I can make it look quite
-pretty with seventy-five cents.
-
-_Mr. L._ Plague take these women’s fashions. Your endless trimmings and
-thing-a-ma-jigs cost more than the dress is worth. It is nothing but
-shell out money when a woman thinks of a new dress.
-
-_Mrs. L._ I don’t have many new dresses. I do certainly try to be as
-economical as I can.
-
-_Mr. L._ It is funny kind of economy, at all events. But if you must have
-it, I suppose you must.
-
-(_Takes out his purse, and counts out carefully seventy-five cents, and
-puts his purse away, angrily. He starts to go; but when at the door, he
-thinks he will take his umbrella, and goes back for it. Finds his wife in
-tears, which she tries hastily to conceal._)
-
-_Mr. L._ Good gracious! Kate, I should like to know if you are crying at
-what I said about the dress.
-
-_Mrs. L._ I was not crying at what you said, but you were so reluctant to
-grant the small favor! I was thinking how hard I have to work. I am tied
-to the house. I have many little things to perplex me. Then to think—
-
-_Mr. L._ Pshaw! What do you want to be foolish for. (_Exit._)
-
-(_In the hall he was met by his little girl_, LIZZIE.)
-
-_Lizzie_ (_holding both his hands_). O, papa, give me fifteen cents.
-
-_Mr. L._ What?
-
-_Lizzie._ I want fifteen cents. _Please_ give me fifteen cents.
-
-_Mr. L._ What in the world do you want it for? Are they changing books
-again?
-
-_Lizzie._ No. I want a hoop. It’s splendid rolling; and all the girls
-have one. Mr. Grant has some real nice ones to sell. _Please_, can’t I
-have one?
-
-_Mr. L._ Nonsense! If you want a hoop, go and get one off some old
-barrel. I can’t afford to buy hoops for you to trundle about the streets.
-(_Throws her off._)
-
-_Lizzie_ (_in a pleading tone_). Please, papa?
-
-_Mr. L._ No, I told you!
-
-(_She bursts into tears, and he goes off muttering, “Cry, then, and cry
-it out.”_)
-
-
-SCENE II. (_ALBERT enters, his wife entering on the opposite side. She
-kisses him as a greeting._)
-
-_Mrs. L._ I am glad you are home thus early. How has business gone to-day?
-
-_Mr. L._ Well, I am happy to say.
-
-_Mrs. L._ Are you very tired?
-
-_Mr. L._ No; why?
-
-_Mrs. L._ I want you to go to the sewing circle to-night.
-
-_Mr. L._ I can’t go; I have an engagement.
-
-_Mrs. L._ I am sorry. You never go with me now. You used to go a great
-deal.
-
-(_Just then LIZZIE comes in crying, dragging an old hoop, and rubbing her
-eyes._)
-
-_Mr. L._ What is the matter with you, darling?
-
-_Lizzie._ The girls have been laughing at me, and making fun of my hoop.
-They say mine is ugly and homely.
-
-_Mr. L._ Never mind; perhaps we’ll have a new one some time.
-
-_Lizzie._ Mayn’t I have one now? Mr. Grant has one left—a real pretty one.
-
-_Mr. L._ Not now, Lizzie; not now. I’ll think of it.
-
-(_LIZZIE goes out crying, followed by her mother. A friend of MR. L.
-enters._)
-
-_Friend._ Hello, Albert! What’s up?
-
-_Mr. L._ Nothing in particular. Take a chair.
-
-_Friend._ How’s business?
-
-_Mr. L._ Good.
-
-_Friend._ Did you go to the club last night?
-
-_Mr. L._ Don’t speak so loud!
-
-_Friend._ Ha! wife don’t know—does she? Where does she think you go?
-
-_Mr. L._ I don’t know. She never asks me, and I am glad of it. She asked
-me to go with her to-night, and I told her I was engaged.
-
-_Friend._ Good! I shan’t ask you where, but take it for granted that it
-was with me. What do you say for a game of billiards?
-
-_Mr. L._ Good! I’m in for that. (_They rise to go._) Have a cigar, Tom?
-
-_Friend._ Yes. (_They go out._)
-
-
-SCENE III. (_Two men in conversation as they come upon the stage._)
-
-_B._ Billiards? No, I never play billiards.
-
-_A._ Why not?
-
-_B._ I don’t like its tendency.
-
-_A._ It is only a healthy pastime. I am sure it has no evil tendency.
-
-_B._ I cannot assert that the game in its most innocent form is, of
-itself, an evil, to be sure. But, although it has the advantage of
-calling forth skill and judgment, yet it is evil when it excites and
-stimulates beyond the bounds of healthy recreation.
-
-_A._ That result can scarcely follow such a game.
-
-_B._ You are wrong there. The result can follow in two ways. First, it
-can lead men away from their business. Secondly, it leads those to spend
-money who have none to spend. Look at that young man just passing. He
-looks like a mechanic; and I should judge from his appearance that he has
-a family. I see by his face that he is kind and generous, and wants to do
-as near right as he can. I have watched him in the billiard saloon time
-after time, and only last night I saw him pay one dollar and forty cents
-for two hours’ recreation. He did it cheerfully, too, and smiled at his
-loss. But how do you suppose it is at home? Suppose his wife had asked
-him for a dollar or two for some household ornament, or his child, if he
-has one, for a picture-book or toy, what do you suppose he would have
-answered? This is not conjecture; for you and I both know plenty of such
-cases.
-
-_A._ Upon my word, B., you speak to the point; for I know that young man,
-and what you have said is true. I can furnish you with facts. We have a
-club for a literary paper in our village, and last year he was one of the
-subscribers. This year he was obliged to discontinue. His wife was very
-anxious to take it; but he said he could not afford the $1.25 for it.
-And his little Lizzie, ten years old, has coaxed her father for fifteen
-cents, for a hoop, in vain. My Nellie told me that.
-
-_B._ Yes; and that two hours’ recreation last night, would have paid for
-both. It is well for wives and children that they do not know where all
-the money goes.
-
-
-THE SALUTATORIAN’S DIFFICULTIES.
-
-CHARACTERS.
-
-  FRANK CLAYTON.
-  HARRY THOMPSON.
-  TOMMY WATKINS.
-  SAMMY LONG.
-  JOHNNY WILSON.
-  WILLIE BROWN.
-
-SCENE.—_A stage. Curtain rises, and FRANK CLAYTON comes forward and
-speaks._
-
-_Frank._ Ladies and gentlemen: Our performances are now about to
-commence. We have spent some time in preparing for this exhibition,
-and we hope you will be pleased with all the performances that may be
-given. You well know that we have not had much practice in giving school
-exhibitions, and if you see any errors, we hope you will kindly forgive
-and overlook. We will endeavor to give our recitations correctly, and act
-our parts truthfully, and we ask you to—and we ask you to—and—and—and we
-ask that—that—
-
-(_Enter HARRY THOMPSON. He comes in front of FRANK and commences to
-speak._)
-
-  “Did you ever hear of Jehosophat Boggs,
-  A dealer and raiser of all sorts of dogs?
-  No? Then I’ll endeavor in doggerel verse
-  To just the main points of the story rehearse.
-  Boggs had a good wife—”
-
-_Frank._ (_Speaking in a loud whisper._) Harry, what did you come out
-here for? I’m not through with the introductory speech yet.
-
-_Harry._ (_Turns half way round, puts his hand to his mouth, as if to
-keep the audience from hearing, and speaks in a loud whisper._) I know
-you weren’t through, but you stuck, and I thought I had better come on.
-You know my recitation is second on the programme, and I didn’t want to
-have a bungle right at the commencement of the exhibition.
-
-_Frank._ Go back to your place, you little rascal, and don’t interrupt me
-again. I’m going to speak my piece.
-
-_Harry._ (_With his hand up to hide his mouth as before._) Oh, you’re
-stuck and you’d better retire. (_Turns to audience and continues to speak
-his piece._)
-
-  “Boggs had a good wife, the joy of his life,
-  There was nothing between them inclining to strife.
-  Except her dear J.’s dogmatic employment;
-  And that, she averred, did mar her enjoyment.”
-
-_Frank._ (_Whispering as before._) I say, Harry, get from before me and
-let me speak my piece.
-
-_Harry._ (_Turns, puts up his hand, and whispers as before._) Oh, you
-keep shady until I get through. (_Turns to audience and speaks._)
-
-  “She often had begged him to sell off his dogs,
-  And instead to raise turkeys, spring chickens or hogs.
-  She made him half promise at no distant day
-  He would sell the whole lot, not excepting old Tray;
-  And as good luck would have it,—”
-
-_Frank._ (_Turning Harry by the collar and pulling him back._) I tell you
-to get out of this until I have spoken my piece.
-
-_Harry._ I won’t. Let me alone, I say. You have stuck fast, and do you
-want to spoil the exhibition? Didn’t you know enough to keep off the
-stage until I had spoken my piece?
-
-_Frank._ (_Still holding him by the collar._) It is you that are spoiling
-the exhibition. (_Leads him off the stage._)
-
-_Harry._ (_Speaking loudly as he goes out._) I call this an outrage.
-
-_Frank._ (_Returning to his place and commencing to speak._) Ladies and
-gentlemen, my speech has been interrupted, and I will commence again.
-Our performances are now about to commence. We have spent some time in
-preparing for this exhibition, and we hope you will be pleased with
-all the performances that may be given. You know that we have not had
-much practice in giving school exhibitions, and if you see any errors,
-we hope you will kindly forgive and overlook. We will endeavor to give
-our recitations correctly, and act our parts truthfully, and we ask you
-to—to—and we ask you to—and act our parts truthfully, and we ask you
-to—and we ask you to—(_In a lower tone._) I’ve forgotten it again; isn’t
-that too bad? (_Speaking as before._) And we ask you to—to—to—
-
-(_Enter TOMMY WATKINS. He comes in front of FRANK, and commences to speak
-“The Ghost.”_)
-
-  “’Tis about twenty years since Abel Law,
-  A short, round, favored merry
-  Old soldier of the Revolutionary War,
-  Was wedded to a most abominable shrew.
-  The temper, sir, of Shakespeare’s Catharine
-  Could no more be compared with hers
-  Than mine
-  With Lucifer’s.”
-
-_Frank._ (_In a loud whisper._) Tommy Watkins, get from before me. Don’t
-you see I’m speaking? I don’t want to be interrupted—I want to finish my
-speech.
-
-_Tommy._ (_Facing the audience and speaking in the same tone as when
-reciting his speech._) Oh, you’d better quit! You’ve stuck twice now, and
-if you don’t go off the stage the audience will become disgusted.
-
-_Sammy Long._ (_Seated in the audience._) The people are disgusted now
-with that boy’s opening speech. He’d better go home, memorize it, and
-speak it some time next year.
-
-_Tommy._ There! You hear what they say out there in the audience. They
-are disgusted, and they think you had better leave the stage.
-
-_Frank._ Oh, that’s nobody but Sammy Long, and he is displeased because
-we didn’t invite him to take part in the exhibition.
-
-_Tommy._ Well, I’ll go ahead and speak my piece while you are trying to
-think up the words you have forgotten.
-
-  Her eyes were like a weasel’s; she had a harsh
-  Face, like a cranberry marsh,
-  All spread with spots of white and red;
-  Hair of the color of a wisp of straw,
-  And a disposition like a cross-cut saw.
-  The appellation of this lovely dame
-  Was Nancy; don’t forget the name.
-
-_Frank._ Stop, Tommy; I can finish my speech now.
-
-_Tommy._ So can I. (_Continues his recitation._)
-
-  His brother David was a tall,
-  Good-looking chap, and that was all,
-  One of your great big nothings, as they say
-  Out in Rhode Island, picking up old jokes,
-  And cracking them on other folks.
-  Well, David undertook one night to play
-  The Ghost, and frighten Abel, who,
-  He knew,
-  Would be returning from a journey through
-  A grove of forest wood
-  That stood
-  Below
-  The house some distance—half a mile or so.
-
-  With a long taper
-  Cap of white paper,
-  Just made to cover
-  A wig, nearly as large over
-  As a corn-basket, and a sheet
-  With both ends made to meet
-  Across his breast
-  (The way in which ghosts are always dressed),
-  He took
-  His station near
-  A huge oak-tree,
-  Whence he could overlook
-  The road and see
-  Whatever might appear.
-
-  It happened that about an hour before, friend Abel
-  Had left the table
-  Of an inn, where he had made a halt,
-  With horse and wagon,
-  To taste a flagon
-  Of malt
-  Liquor, and so forth, which, being done,
-  He went on,
-  Caring no more for twenty ghosts
-  Than if they had been so many posts.
-
-  David was nearly tired of waiting;
-  His patience was abating;
-  At length, he heard the careless tones
-  Of his kinsman’s voice,
-  And then the noise
-  Of wagon-wheels among the stones.
-  Abel was quite elated, and was roaring
-  With all his might, and pouring
-  Out, in great confusion,
-  Scraps of old songs made in “the Revolution.”
-
-  His head was full of Bunker Hill and Trenton;
-  And jovially he went on.
-  Scaring the whip-po’-wills among the trees
-  With rhymes like these:
-
-  (_Sings. Air, “Yankee Doodle.”_)
-
-  “See the Yankees
-  Leave the hill,
-    With baggernetts declining,
-  With lopped-down hats
-  And rusty guns,
-    And leather aprons shining.”
-
-  “‘See the Yankees’—Whoa! Why, what is that?”
-  Said Abel, staring like a cat,
-  As, slowly, on the fearful figure strode
-  Into the middle of the road.
-
-  “My conscience! what a suit of clothes!
-  Some crazy fellow, I suppose.
-  Hallo! friend, what’s your name? by the powers of gin,
-  That’s a strange dress to travel in.”
-  “Be silent, Abel; for I now have come
-  To read your doom;
-  Then hearken, while your fate I now declare.
-  I am a spirit—” “I suppose you are;
-  But you’ll not hurt me, and I’ll tell you why:
-  Here is a fact which you cannot deny;—
-  All spirits must be either good
-  Or bad—that’s understood—
-  And be you good or evil, I am sure
-  That I’m secure.
-  If a good spirit, I am safe. If evil—
-  And I don’t know but you may be the devil—
-  If that’s the case, you’ll recollect, I fancy,
-  That I am married to your sister Nancy!”
-
-(_Bows and turns to go off. To FRANK._) Now, Frank, you can go ahead
-again until you come to the sticking place. I hope that, during the
-time I have generously given you by speaking my piece, you have been
-collecting your scattered senses, and will now be able to finish what you
-began. (_Exit TOMMY._)
-
-_Frank._ Ladies and gentlemen, I am not at all pleased with this way
-of doing business. I think these boys have not treated me with proper
-respect. I was selected to give the opening or introductory address, and
-you see how it has been done.
-
-_Sammy._ (_In the audience._) We didn’t see very much of it. Don’t you
-think it would be well enough for you to retire and memorize your speech?
-
-_Frank._ You boys out there had better keep silent and not create a
-disturbance. There is an officer in the house.
-
-(_Enter WILLIE BROWN. He comes before FRANK and commences to speak._)
-
-“’Twas night! The stars were shrouded in a veil of mist; a clouded canopy
-o’erhung the world; the vivid lightnings flashed and shook their fiery
-darts upon the earth—”
-
-_Frank._ (_Speaking out._) I say, Willie Brown, what did you come here
-for? I haven’t finished the opening speech yet.
-
-_Willie._ What’s the use of having an opening speech now? The exhibition
-is half over. (_Continues his speech._)
-
-“The deep-toned thunder rolled along the vaulted sky; the elements
-were in wild commotion; the storm-spirit howled in the air; the winds
-whistled; the hail-stones fell like leaden balls; the huge undulations
-of the ocean dashed upon the rock-bound shore; and torrents leaped from
-mountain tops; when the murderer sprang from his sleepless couch with
-vengeance on his brow—murder in his heart—and the fell instrument of
-destruction in his hand.”
-
-_Frank._ Stop, I say. What kind of an exhibition will this be without an
-introductory speech? Stop, I say. We will be the laughing-stock of the
-country if we don’t open our exhibition with an introductory speech.
-
-_Johnny._ (_In the audience._) Oh, nobody cares for the introductory
-speech. Let the speech go and give us some dialogues and songs.
-
-_Willie._ No dialogues and songs until I have finished my speech. This
-is my place on the programme. (_Continues his speech. FRANK comes and
-stands near him and they both speak at the same time, WILLIE giving the
-concluding portion of his speech and FRANK commencing at the first of
-his Opening Speech and going as far as he had gone before. WILLIE should
-finish just before FRANK commences to stammer._)
-
-“The storm increased; the lightnings flashed with brighter glare; the
-thunder growled with deeper energy; the winds whistled with a wilder
-fury; the confusion of the hour was congenial to his soul, and the stormy
-passions which raged in his bosom. He clenched his weapon with a sterner
-grasp. A demoniac smile gathered on his lip; he grated his teeth; raised
-his arm; sprang with a yell of triumph upon his victim, and relentlessly
-killed—a _mosquito_!” (_Bows and turns to go off. To FRANK._) Stuck
-again, my boy? If we had waited for the opening speech we would not have
-got our exhibition opened for a week or ten days.
-
-(_Exit WILLIE._)
-
-_Johnny._ (_In the audience._) Well, we haven’t had that introductory
-speech yet, and I guess we are not going to get it. That was the
-queerest kind of speech I ever heard. It began, and then balked, and
-then kicked up, and then braced its feet in front, and finally stopped
-altogether. I think we would have done better if we had started without
-any introduction, just as grandpa said the other day he thought Parson
-Goodwin ought to have begun his sermon at the conclusion and left out all
-that went before it.
-
-_Frank._ (_Excitedly._) Hold on there! You say we don’t need any speech
-and yet you are making a long one yourself. You said that I hitched like
-a balky horse, but you have kicked up your heels and cantered off as if
-somebody had touched off a pack of fire-crackers under you.
-
-(_Enter HARRY THOMPSON. He comes forward and speaks._)
-
-  Our parts are performed and our speeches are ended,
-    We are monarchs and courtiers and heroes no more;
-  To a much humbler station again we’ve descended,
-    And are now but the school-boys you’ve known us before.
-
-  Farewell then our greatness—’tis gone like a dream,
-    ’Tis gone—but remembrance will often retrace
-  The indulgent applause which rewarded each theme,
-    And the heart-cheering smiles that enlivened each face.
-
-  We thank you! Our gratitude words cannot tell,
-    But deeply we feel it—to you it belongs;
-  With heartfelt emotion we bid you farewell,
-    And our feelings now thank you much more than our tongues.
-
-  We will strive to improve, since applauses thus cheer us,
-    That our juvenile efforts may gain your kind looks;
-  And we hope to convince you, the next time you hear us,
-    That praise has but sharpened our relish for books.
-
-(_Bows and turns to go off._) I have spoken the valedictory, and the
-exhibition is over. Ring down the curtain.
-
-_Frank._ (_Excitedly._) Stop! Hold! Don’t! I haven’t finished my speech
-yet.
-
-_Johnny._ (_In the audience._) You’ve given us enough for the present.
-You can finish it out next Christmas.
-
-_Harry._ Ring down the curtain.
-
-_Frank._ Stop! Don’t! Don’t! I want to speak my piece. (_A bell is rung
-and the curtain falls._)
-
-_Frank._ (_Drawing the curtain aside and looking out._) Here’s a go! How
-are we going to get along without an Opening Speech? (_Disappears._)
-
-[CURTAIN.]
-
-
-PYGMALION AND GALATEA.
-
-CHARACTERS.
-
-  PYGMALION, _an Athenian sculptor_.
-  GALATEA, _a statue_.
-
-COSTUMES.
-
-  _GENTLEMAN, in the habit of a Greek artist. LADY, in
-  statuesque drapery or ordinary Greek costume._
-
-  (A noted Greek sculptor, Pygmalion, makes a most beautiful
-  statue of woman. Having attained perfection of form he longs to
-  breathe life into his work, and blames the gods that they have
-  limited his power. He stands on the stage, to the left, looking
-  thoughtfully up as if imploring the gods. While apparently
-  uttering his complaints, Galatea, coming to life, calls to him
-  from behind the curtain.)
-
-  _Galatea_ (_from behind curtain, C._[7]). Pygmalion!
-
-  _Pygmalion_ (_after a pause_). Who called?
-
-  _Gal._                                    Pygmalion!
-
-  (_PYGMALION tears away curtain and discovers GALATEA alive._)
-
-  _Pyg._ Ye gods! It lives!
-
-  _Gal._                   Pygmalion.
-
-  _Pyg._                             It speaks!
-  I have my prayer! my Galatea breathes!
-
-  _Gal._ Where am I? Let me speak, Pygmalion;
-  Give me thy hand—both hands—how soft and warm!
-  Whence came I? (_Descends._)
-
-  _Pyg._              Why, from yonder pedestal.
-
-  _Gal._ That pedestal! Ah, yes, I recollect,
-  There was a time when it was part of me.
-
-  _Pyg._ That time has passed forever, thou art now
-  A living, breathing woman, excellent
-  In every attribute of womankind.
-
-  _Gal._ Where am I, then?
-
-  _Pyg._              Why, born into the world
-  By miracle.
-
-  _Gal._          Is this the world?
-
-  _Pyg._                           It is.
-
-  _Gal._ This room?
-
-  _Pyg._          This room is a portion of a house;
-  The house stands in a grove; the grove itself
-  Is one of many, many hundred groves
-  In Athens.
-
-  _Gal._          And is Athens, then, the world?
-
-  _Pyg._ To an Athenian—yes—
-
-  _Gal._                           And I am one?
-
-  _Pyg._ By birth and parentage, not by descent.
-
-  _Gal._ But how came I to be?
-
-  _Pyg._                     Well, let me see
-  Oh! you were quarried in Pentelicus;
-  I modelled you in clay; my artisans
-  Then roughed you out in marble; I, in turn,
-  Brought my artistic skill to bear on you,
-  And made you what you are, in all but life.
-  The gods completed what I had begun,
-  And gave the only gift I could not give.
-
-  _Gal._ Then this is life?
-
-  _Pyg._                   It is.
-
-  _Gal._                         And not long since
-  I was a cold, dull stone. I recollect
-  That by some means I knew that I was stone,
-  That was the first dull gleam of consciousness;
-  I became conscious of a chilly self,
-  A cold immovable identity.
-  I knew that I was stone, and knew no more;
-  Then by an imperceptible advance,
-  Came the dim evidence of outer things,
-  Seen, darkly and imperfectly, yet seen;
-  The walls surrounded me, and I alone.
-  That pedestal—that curtain—then a voice
-  That called on Galatea! At that word,
-  Which seemed to shake my marble to the core.
-  That which was dim before, came evident.
-  Sounds that had hummed around me, indistinct,
-  Vague, meaningless—seemed to resolve themselves
-  Into a language I could understand;
-  I felt my frame pervaded with a glow
-  That seemed to thaw my marble into flesh;
-  Its cold, hard substance throbbed with active life,
-  My limbs grew supple, and I moved—I lived!
-  Lived in the ecstasy of new born life;
-  Lived in the love of him that fashioned me;
-  Lived in a thousand tangled thoughts of hope,
-  Love, gratitude, thoughts that resolved themselves
-  Into one word, that word, Pygmalion!
-
-  (_Kneels to him._)
-
-  _Pyg._ I have no words to tell thee of my joy,
-  O woman—perfect in thy loveliness.
-
-  _Gal._ What is that word? Am I a woman?
-
-  _Pyg._                                 Yes.
-
-  _Gal._ Art thou a woman?
-
-  _Pyg._                   No, I am a man!
-
-  _Gal._ What is a man?
-
-  _Pyg._                A being strongly framed,
-  To wait on woman, and protect her from
-  All ills that strength and courage can avert;
-  To work and toil for her, that she may rest;
-  To weep and mourn for her, that she may laugh;
-  To fight and die for her, that she may live!
-
-  _Gal._ (_after a pause_). I’m glad I am a woman.
-
-  (_Takes his hand—he leads her down, L._)
-
-  _Pyg._            So am I. (_They sit._)
-
-  _Gal._ That I escape the pains thou hast to bear?
-
-  _Pyg._ That I may undergo those pains for thee.
-
-  _Gal._ With whom wouldst thou fight?
-
-  _Pyg._                              With any man
-  Whose word or deed gave Galatea pain.
-
-  _Gal._ Then there are other men in this strange world?
-
-  _Pyg._ There are, indeed?
-
-  _Gal._                And other women?
-
-  _Pyg._ (_taken aback_).                  Yes;
-  Though for the moment I’d forgotten it!
-  Yes, other women.
-
-  _Gal._            And for all of these
-  Men work, and toil, and mourn, and weep, and fight?
-
-  _Pyg._ It is man’s duty, if he’s called upon,
-  To fight for all—he works for those he loves.
-
-  _Gal._ Then by thy works I know thou lovest me?
-
-  _Pyg._ Indeed, I love thee. (_Embraces her._)
-
-  _Gal._                       What kind of love?
-
-  _Pyg._ I love thee (_recollecting himself and releasing her_)
-      as a sculptor loves his work!
-  (_Aside._) There is diplomacy in that reply.
-
-  _Gal._ My love is different in kind to thine:
-  I am no sculptor, and I’ve done no work,
-  Yet I do love thee; say—what love is mine?
-
-  _Pyg._ Tell me its symptoms, then I’ll answer thee.
-
-  _Gal._ Its symptoms? Let me call them as they come.
-  A sense that I am made by thee for thee.
-  That I’ve no will that is not wholly thine,
-  That I’ve no thought, no hope, no enterprise,
-  That does not own thee as its sovereign;
-  That I have life that I may live for thee,
-  That I am thine—that thou and I are one!
-  What kind of love is that?
-
-  _Pyg._                     A kind of love
-  That I shall run some risk in dealing with.
-
-  _Gal._ And why, Pygmalion?
-
-  _Pyg._                     Such love as thine
-  A man may not receive, except, indeed,
-  From one who is, or is to be, his wife.
-
-  _Gal._ Then I will be thy wife.
-
-  _Pyg._                         That may not be;
-  I have a wife—the gods allow but one.
-
-  _Gal._ Why did the gods then send me here to thee?
-
-  _Pyg._ I cannot say—unless to punish me (_Rises._)
-  For unreflecting and presumptuous prayer!
-  I pray’d that thou shouldst live. I have my prayer,
-  And now I see the fearful consequence
-  That must attend it!
-
-  _Gal._              Yet thou lovest me? (_Rises._)
-
-  _Pyg._ Who could look on that face and stifle love?
-
-  _Gal._ Then I am beautiful?
-
-  _Pyg._                     Indeed thou art.
-
-  _Gal._ I wish that I could look upon myself,
-  But that’s impossible.
-
-  _Pyg._                Not so, indeed, (_Crosses, R._)
-  This mirror will reflect thy face. Behold!
-
-  (_Hands her a mirror from table, R. C._)
-
-  _Gal._ How beautiful! I am very glad to know
-  That both our tastes agree so perfectly;
-  Why, my Pygmalion, I did not think
-  That aught could be more beautiful than thou,
-  Till I behold myself. Believe me, love,
-  I could look in this mirror all day long.
-  So I’m a woman.
-
-  _Pyg._         There’s no doubt of that!
-
-  _Gal._ Oh! happy maid, to be so passing fair!
-  And happier still Pygmalion, who can gaze
-  At will upon so beautiful a face!
-
-  _Pyg._ Hush! Galatea—in thine innocence
-
-  (_Taking glass from her._)
-
-  Thou sayest things that others would reprove.
-
-  _Gal._ Indeed, Pygmalion; then it is wrong
-  To think that one is exquisitely fair?
-
-  _Pyg._ Well, Galatea, it’s a sentiment
-  That every other woman shares with thee;
-  They think it—but they keep it to themselves.
-
-  _Gal._ And is thy wife as beautiful as I?
-
-  _Pyg._ No, Galatea; for in forming thee
-  I took her features—lovely in themselves—
-  And in marble made them lovelier still.
-
-  _Gal._ (_disappointed_). Oh! then I am not original?
-
-  _Pyg._                                               Well—no—
-  That is, thou hast indeed a prototype,
-  But though in stone thou didst resemble her,
-  In life, the difference is manifest.
-
-  _Gal._ I’m very glad that I am lovelier than she.
-  And am I better? (_Sits, L._)
-
-  _Pyg._          That I do not know.
-
-  _Gal._ Then she has faults.
-
-  _Pyg._                     Very few, indeed;
-  Mere trivial blemishes, that serve to show
-  That she and I are of one common kin.
-  I love her all the better for such faults.
-
-  _Gal._ (_after a pause_). Tell me some faults and I’ll commit them now.
-
-  _Pyg._ There is no hurry; they will come in time: (_Sits beside her, L._)
-  Though for that matter, it’s a grievous sin
-  To sit as lovingly as we sit now.
-
-  _Gal._ Is sin so pleasant? If to sit and talk
-  As we are sitting, be indeed a sin,
-  Why I could sin all day. But tell me, love,
-  Is this great fault that I’m committing now,
-  The kind of fault that only serves to show
-  That thou and I are of one common kin?
-
-  _Pyg._ Indeed, I am very much afraid it is.
-
-  _Gal._ And dost thou love me better for such fault?
-
-  _Pyg._ Where is the mortal that could answer “no?”
-
-  _Gal._ Why then I’m satisfied, Pygmalion;
-  Thy wife and I can start on equal terms.
-  She loves thee?
-
-  _Pyg._         Very much.
-
-  _Gal._                     I’m glad of that.
-  I like thy wife.
-
-  _Pyg._           And why?
-
-  _Gal._ (_surprised at the question_). Our tastes agree
-  We love Pygmalion well, and what is more,
-  Pygmalion loves us both. I like thy wife;
-  I’m sure we shall agree.
-
-  _Pyg._ (_aside_).        I doubt it much.
-
-  _Gal._ Is she within?
-
-  _Pyg._                No, she is not within.
-
-  _Gal._ But she’ll come back?
-
-  _Pyg._                       Oh! yes, she will come back.
-
-  _Gal._ How pleased she’ll be to know when she returns,
-  That there was someone here to fill her place.
-
-  _Pyg._ (_dryly_). Yes, I should say she’d be extremely pleased.
-      (_Rises._)
-
-  _Gal._ Why, there is something in thy voice which says
-  That thou art jesting. Is it possible
-  To say one thing and mean another?
-
-  _Pyg._                             Yes,
-  It’s sometimes done.
-
-  _Gal._              How very wonderful!
-  So clever!
-
-  _Pyg._    And so very useful.
-
-  _Gal._                         Yes.
-  Teach me the art.
-
-  _Pyg._           The art will come in time.
-  My wife will not be pleased; there—that’s the truth.
-
-  _Gal._, I do not think that I shall like thy wife.
-  Tell me more of her.
-
-  _Pyg._              Well—
-
-  _Gal._                   What did she say
-  When she last left thee?
-
-  _Pyg._                   Humph! Well, let me see:
-  Oh! true, she gave thee to me as my wife—
-  Her solitary representative;
-  (_Tenderly_) She feared I should be lonely till she came,
-  And counselled me, if thoughts of love should come,
-  To speak those thoughts to thee, as I am wont
-  To speak to her.
-
-  _Gal._          That’s right.
-
-  _Pyg._ (_releasing her_).    But when she spoke
-  Thou wast a stone, now thou art flesh and blood,
-  Which makes a difference.
-
-  _Gal._                   It’s a strange world;
-  A woman loves her husband very much,
-  And cannot brook that I should love him too;
-  She fears he will be lonely till she comes,
-  And will not let me cheer his loneliness:
-  She bids him breathe his love to senseless stone,
-  And when that stone is brought to life—be dumb!
-  It’s a strange world, I cannot fathom it.
-
-  (_Crosses, R._)
-
-  _Pyg._ (_aside_). Let me be brave, and put an end to this.
-  (_Aloud._) Come, Galatea—till my wife returns,
-  My sister shall provide thee with a home;
-  Her house is close at hand.
-
-  _Gal._ (_astonished and alarmed_). Send me not hence,
-  Pygmalion—let me stay.
-
-  _Pyg._                 It may not be.
-  Come, Galatea, we shall meet again.
-
-  _Gal._ (_resignedly_). Do with me as thou wilt, Pygmalion!
-  But we shall meet again?—and very soon?
-
-  _Pyg._ Yes, very soon.
-
-  _Gal._                 And when thy wife returns,
-  She’ll let me stay with thee?
-
-  _Pyg._                       I do not know.
-  (_Aside._) Why should I hide the truth from her?
-  (_Aloud._) Alas!
-  I may not see thee then.
-
-  _Gal._                   Pygmalion,
-  What fearful words are these?
-
-  _Pyg._                       The bitter truth.
-  I may not love thee; I must send thee hence.
-
-  _Gal._ Recall those words, Pygmalion, my love!
-  Was it for this that Heaven gave me life?
-  Pygmalion, have mercy on me; see
-  I am thy work, thou hast created me;
-  The gods have sent me to thee. I am thine,
-  Thine! only and unalterably thine! (_Music._)
-  This is the thought with which my soul is charged.
-  Thou tellest me of one who claims thy love,
-  That thou hast love for her alone! Alas!
-  I do not know these things; I only know
-  That Heaven has sent me here to be with thee.
-  Thou tellest me of duty to thy wife,
-  Of vows that thou wilt love but her; alas!
-  I do not know these things; I only know
-  That Heaven, who sent me here, has given me
-  One all-absorbing duty to discharge—
-  To love thee, and to make thee love again!
-
-(_During this speech Pygmalion has shown symptoms of irresolution; at its
-conclusion he takes her in his arms and embraces her passionately._)
-
-                                                           W. S. GILBERT.
-
-[7] _C._ indicates _centre_; _R._, _right_, and _L._, _left_ of stage.
-
-
-QUARREL OF BRUTUS AND CASSIUS.
-
-  (A dialogue for two men. From Act IV. of _Julius Cæsar_. Before
-  rendering the dialogue it is presumed that the participants will
-  read the whole play from a volume of Shakespeare, and familiarize
-  themselves with the spirit of the selection. The interest will
-  be enhanced by the use of proper costumes. Where these cannot
-  be hired—as they generally may in cities and large towns—they
-  may be easily improvised by observing the simple Roman dress as
-  illustrated in historical works.)
-
-(_Curtain rises, revealing BRUTUS and CASSIUS in heated conversation on
-the stage._)
-
-  _Cassius._ That you have wronged me doth appear in this;
-  You have condemned and noted Lucius Pella
-  For taking bribes here of Sardinians;
-  Wherein my letters (praying on his side
-  Because I knew the man) were slighted of.
-
-  _Brutus._ You wronged yourself, to write in such a case.
-
-  _Cas._ At such a time as this, it is not meet
-  That every nice offence should bear its comment.
-
-  _Bru._ Let me tell you, Cassius, you yourself
-  Are much condemned to have an itching palm;
-  To sell and mart your offices for gold,
-  To undeservers.
-
-  _Cas._ I an itching palm?
-  You know that you are Brutus that speak this,
-  Or, by the gods, this speech were else your last!
-
-  _Bru._ The name of Cassius honors this corruption,
-  And chastisement doth therefore hide its head.
-
-  _Cas._ Chastisement!
-
-  _Bru._ Remember March, the ides of March remember!
-  Did not great Julius bleed for justice’ sake?
-  What villain touched his body, that did stab,
-  And not for justice?—What! shall one of us,
-  That struck the foremost man of all this world,
-  But for supporting robbers,—shall we now
-  Contaminate our fingers with base bribes,
-  And sell the mighty space of our large honors
-  For so much trash as may be grasped thus?—
-  I had rather be a dog, and bay the moon,
-  Than such a Roman!
-
-  _Cas._ Brutus, bay not me!
-  I’ll not endure it. You forget yourself
-  To hedge me in: I am a soldier, I,
-  Older in practice, abler than yourself
-  To make conditions.
-
-  _Bru._ Go to! you’re not Cassius!
-
-  _Cas._ I am.
-
-  _Bru._ I say you are not.
-
-  _Cas._ Urge me no more: I shall forget myself:
-  Have mind upon your health: tempt me no further!
-
-  _Bru._ Away, slight man!
-
-  _Cas._ Is’t possible?
-
-  _Bru._ Hear me, for I will speak.
-  Must I give way and room to your rash choler?
-  Shall I be frighted when a madman stares?
-
-  _Cas._ Must I endure all this?
-
-  _Bru._ All this? Ay, more! Fret till your proud heart break!
-  Go, show your slaves how choleric you are,
-  And make your bondmen tremble. Must I budge?
-  Must I observe you? Must I stand and crouch
-  Under your testy humor?
-  You shall digest the venom of your spleen,
-  Though it do split you; for, from this day forth,
-  I’ll use you for my mirth,—yea, for my laughter,—
-  When you are waspish.
-
-  _Cas._ Is it come to this?
-
-  _Bru._ You say you are a better soldier,
-  Let it appear so; make your vaunting true,
-  And it shall please me well. For mine own part,
-  I shall be glad to learn of noble men.
-
-  _Cas._ You wrong me every way; you wrong me, Brutus:
-  I said an elder soldier, not a better.
-  Did I say better?
-
-  _Bru._ If you did, I care not.
-
-  _Cas._ When Cæsar lived, he durst not thus have moved me.
-
-  _Bru._ Peace, peace! you durst not so have tempted him.
-
-  _Cas._ I durst not?
-
-  _Bru._ No.
-
-  _Cas._ What! durst not tempt him?
-
-  _Bru._ For your life you durst not.
-
-  _Cas._ Do not presume too much upon my love;
-  I may do that I shall be sorry for.
-
-  _Bru._ You have done that you should be sorry for.
-  There is no terror, Cassius, in your threats;
-  For I am armed so strong in honesty,
-  That they pass by me as the idle wind,
-  Which I respect not. I did send to you
-  For certain sums of gold, which you denied me;—
-  For I can raise no money by vile means:
-  I had rather coin my heart,
-  And drop my blood for drachmas, than to wring
-  From the hard hands of peasants their vile trash
-  By any indirection. I did send
-  To you for gold to pay my legions;
-  Which you denied me. Was that done like Cassius?
-  Should I have answered Caius Cassius so?
-  When Marcus Brutus grows so covetous,
-  To lock such rascal counters from his friends,
-  Be ready, gods, with all your thunderbolts,
-  Dash him to pieces!
-
-  _Cas._ I denied you not.
-
-  _Bru._ You did.
-
-  _Cas._ I did not: he was but a fool
-  That brought my answer back. Brutus hath rived my heart,
-  A friend should bear a friend’s infirmities;
-  But Brutus makes mine greater than they are.
-
-  _Bru._ I do not, till you practice them on me.
-
-  _Cas._ You love me not.
-
-  _Bru._ I do not like your faults.
-
-  _Cas._ A friendly eye could never see such faults.
-
-  _Bru._ A flatterer’s would not, though they do appear
-  As huge as high Olympus.
-
-  _Cas._ Come, Antony, and young Octavius, come!
-  Revenge yourselves alone on Cassius;
-  For Cassius is a-weary of the world—
-  Hated by one he loves; braved by his brother;
-  Checked like a bondman; all his faults observed,
-  Set in a note-book, learned and conned by rote,
-  To cast into my teeth. O, I could weep
-  My spirit from my eyes!—There is my dagger,
-  And here my naked breast; within, a heart
-  Dearer than Plutus’ mine, richer than gold;
-  If that thou be’st a Roman, take it forth:
-  I, that denied thee gold, will give my heart:
-  Strike as thou didst at Cæsar; for I know,
-  When thou didst hate him worse, thou lovedst him better
-  Than ever thou lovedst Cassius.
-
-  _Bru._ Sheathe your dagger:
-  Be angry when you will, it shall have scope:
-  Do what you will, dishonor shall be humor.
-  O, Cassius, you are yoked with a lamb,
-  That carries anger as the flint bears fire;
-  Who, much enforced, shows a hasty spark,
-  And straight is cold again.
-
-  _Cas._ Hath Cassius lived
-  To be but mirth and laughter to his Brutus,
-  When grief and blood ill-tempered vexeth him?
-
-  _Bru._ When I spoke that, I was ill-tempered too.
-
-  _Cas._ Do you confess so much? Give me your hand.
-
-  _Bru._ And my heart, too.—
-
-  _Cas._ O, Brutus!
-
-  _Bru._ What’s the matter?
-
-  _Cas._ Have you not love enough to bear with me,
-  When that rash humor which my mother gave me
-  Makes me forgetful?
-
-  _Bru._ Yes, Cassius; and, henceforth,
-  When you are over-earnest with your Brutus,
-  He’ll think your mother chides, and leave you so.
-
-[CURTAIN.]
-
-                                                             SHAKESPEARE.
-
-
-_TABLEAU._—FRIENDSHIP RESTORED.
-
-_Curtain rises, revealing BRUTUS and CASSIUS with one hand laid upon the
-other’s shoulder, while the right hands firmly clasp. On the face of each
-beams the light of noble love and manly friendship, showing their mutual
-joy. The bearing should be dignified and manly._
-
-
-SCENE BETWEEN HAMLET AND THE QUEEN.
-
-  (Dialogue for elderly lady and young man. From Act III. of the
-  tragedy of _Hamlet_. The part of HAMLET is a very difficult one
-  to play, and should be thoroughly studied. The whole tragedy
-  should be read from Shakespeare, any illustrated volume of which
-  will suggest appropriate costume. The GHOST may be impersonated
-  by a voice, unless a suitable costume and staging are available.)
-
-(_Curtain rises and reveals HAMLET approaching his MOTHER, who may be
-seated and apparently in much distress._)
-
-  _Hamlet._ Now, mother, what’s the matter?
-
-  _Queen._ Hamlet, thou hast thy father much offended.
-
-  _Hamlet._ Mother, you have my father much offended.
-
-  _Queen._ Come, come, you answer with an idle tongue.
-
-  _Hamlet._ Go, go, you question with a wicked tongue.
-
-  _Queen._ Why, how now, Hamlet!
-
-  _Hamlet._ What’s the matter now?
-
-  _Queen._ Have you forgot me?
-
-  _Hamlet._ No, by the rood, not so.
-  You are the queen, your husband’s brother’s wife;
-  And—would it were not so—you are my mother.
-
-  _Queen._ Nay, then, I’ll set those to you that can speak.
-
-  _Hamlet._ Come, come, and sit you down you shall not budge:
-  You go not till I set you up a glass
-  Where you may see the inmost part of you.
-
-  _Queen._ What wilt thou do? thou wilt not murther me?
-  Help, help, ho!
-
-  _Polonius_ (_behind_). What, ho! help, help, help!
-
-  _Hamlet_ (_drawing_.) How now! a rat? Dead, for a ducat, dead!
-
-  (_Makes a pass through the arras._)
-
-  _Polonius_ (_behind_). O, I am slain!
-
-  (_Falls and dies._)
-
-  _Queen._ O me, what hast thou done?
-
-  _Hamlet._ Nay, I know not;
-  Is it the king?
-
-  _Queen._ O, what a rash and bloody deed is this!
-
-  _Hamlet._ A bloody deed! almost as bad, good mother,
-  As kill a king, and marry with his brother.
-
-  _Queen._ As kill a king!
-
-  _Hamlet._ Ay, lady, ’twas my word.—
-
-  (_Lifts up the arras and discovers Polonius._)
-
-  Thou wretched, rash, intruding fool, farewell!
-  I took thee for thy better:
-  Leave wringing of your hands: peace! sit you down,
-  And let me wring your heart; for so I shall,
-  If it be made of penetrable stuff,
-  If damned custom have not braz’d it so
-  That it is proof and bulwark against sense.
-
-  _Queen._ What have I done, that thou darest wag thy tongue
-  In noise so rude against me?
-
-  _Hamlet._ Such an act
-  That blurs the grace and blush of modesty,
-  Calls virtue hypocrite, takes off the rose
-  From the fair forehead of an innocent love
-  And sets a blister there, makes marriage-vows
-  As false as dicers’ oaths; O, such a deed
-  As from the body of contraction plucks
-  The very soul, and sweet religion makes
-  A rhapsody of words: heaven’s face doth glow,
-  Yea, this sondity and compound mass,
-  With tristful visage, as against the doom,
-  Is thought-sick at the act.
-
-  _Queen._ Ay me, what act,
-  That roars so loud and thunders in the index?
-
-  _Hamlet._ Look here, upon this picture, and on this,
-  The counterfeit presentment of two brothers.
-  See what a grace was seated on this brow;
-  Hyperion’s curls; the front of Jove himself;
-  An eye like Mars, to threaten and command;
-  A station like the herald Mercury
-  New lighted on a heaven-kissing hill;
-  A combination and a form indeed,
-  Where every god did seem to set his seal,
-  To give the world assurance of a man.
-  This was your husband. Look you now, what follows:
-  Here is your husband; like a mildew’d ear.
-  Blasting his wholesome brother. Have you eyes?
-  Could you on this fair mountain leave to feed,
-  And batten on this moor? Ha! have you eyes?
-  You cannot call it love, for at your age
-  The hey-day in the blood is tame, it’s humble,
-  And waits upon the judgment; and what judgment
-  Would step from this to this?
-  O shame! where is thy blush?
-
-  _Queen._ O Hamlet, speak no more;
-  Thou turns’t mine eyes into my very soul,
-  And there I see such black and grained spots
-  As will not leave their tinct.
-  O, speak to me no more;
-  These words like daggers enter in mine ears;
-  No more, sweet Hamlet!
-
-  _Hamlet._ A murtherer and a villain;
-  A slave that is not twentieth part the tithe
-  Of your precedent lord; a vice of kings;
-  A cutpurse of the empire and the rule,
-  That from a shelf the precious diadem stole,
-  And put it in his pocket!
-
-  _Queen._ No more!
-
-  _Hamlet._ A king of shreds and patches,—
-
-  (_Enter GHOST._)
-
-  Save me, and hover o’er me with your wings,
-  You heavenly guards!—What would your gracious figure?
-
-  _Queen._ Alas! he’s mad!
-
-  _Hamlet._ Do you not come your tardy son to chide,
-  That, laps’d in time and passion, lets go by
-  The important acting of your dread command?
-  O, say!
-
-  _Ghost._ Do not forget. This visitation
-  Is but to whet thy almost blunted purpose.
-  But, look, amazement on thy mother sits
-  O, step between her and her fighting soul:
-  Speak to her, Hamlet.
-
-  _Hamlet._ How is it with you, lady?
-
-  _Queen._ Alas, how is’t with you,
-  That you do bend your eye on vacancy
-  And with the incorporal air do hold discourse?
-                                    O gentle son,
-  Upon the heat and flame of thy distemper
-  Sprinkle cool patience. Whereon do you look?
-
-  _Hamlet._ On him, on him! Look you, how pale he glares!
-  His form and cause conjoin’d, preaching to stones,
-  Would make them capable. Do not look upon me;
-  Lest with this piteous action you convert
-  My stern effects; then what I have to do
-  Will want true color; tears perchance for blood.
-
-  _Queen._ To whom do you speak this?
-
-  _Hamlet._ Do you see nothing there?
-
-  _Queen._ Nothing at all; yet all that is I see.
-
-  _Hamlet._ Nor did you nothing hear?
-
-  _Queen._ No, nothing but ourselves.
-
-  _Hamlet._ Why, look you there! look, how it steals away!
-  My father, in his habit as he liv’d!
-  Look, where he goes, even now, out at the portal.
-
-  (_Exit GHOST._)
-
-  _Queen._ This is the very coinage of your brain;
-  This bodiless creation ecstasy
-  Is very cunning in.
-
-  _Hamlet._ Ecstasy!
-  My pulse, as yours, doth temperately keep time,
-  And makes as healthful music: it is not madness
-  That I have utter’d; bring me to the test,
-  And I the matter will re-word, which madness
-  Would gambol from. Mother, for love of grace,
-  Lay not that flattering unction to your soul,
-  That not your trespass but my madness speaks;
-  It will but skin and film the ulcerous place,
-  Whilst rank corruption, mining all within,
-  Infects unseen. Confess yourself to heaven;
-  Repent what’s past, avoid what is to come.
-
-  _Queen._ O Hamlet, thou hast cleft my heart in twain.
-
-  _Hamlet._ O, throw away the worser part of it,
-  And live the purer with the other half.
-  For this same lord, (_Pointing to Polonius._)
-  I do repent;
-  I will bestow him, and will answer well
-  The death I gave him,—So, again, good-night.
-  I must be cruel, only to be kind;
-  Thus bad begins, and worse remains behind.
-
-[CURTAIN.]
-
-                                                             SHAKESPEARE.
-
-
-LOCHIEL’S WARNING.
-
-  (This piece is frequently recited by one person, but is much more
-  effective in dialogue. LOCHIEL, a Highland chieftain, while on
-  his march to join the Pretender, is met by one of the Highland
-  seers, or prophets, who warns him to return, and not incur the
-  certain ruin and disaster which await the unfortunate prince and
-  his followers on the field of Culloden. When used as a dialogue,
-  a blast of trumpet is heard. The curtain being drawn, LOCHIEL
-  enters, attired in the Highland fighting costume, and following
-  him should appear in the doorway of the stage two or three armed
-  Scotch soldiers to give the idea of a large number behind them.
-  The SEER meets him from the other direction, dressed in flowing
-  robes, and with long white hair and beard, and, raising his hands
-  in the attitude of warning, speaks imploringly as follows:)
-
-  _Seer._
-
-  Lochiel, Lochiel, beware of the day
-  When the Lowlands shall meet thee in battle array!
-  For a field of the dead rushes red on my sight,
-  And the clans of Culloden are scattered in flight:
-  They rally, they bleed, for their country and crown,—
-  Woe, woe to the riders that trample them down!
-  Proud Cumberland prances, insulting the slain,
-  And their hoof-beaten bosoms are trod to the plain.
-  But, hark! through the fast-flashing lightning of war,
-  What steed to the desert flies frantic and far?
-  ’Tis thine, O Glenullin! whose bride shall await,
-  Like a love-lighted watch-fire, all night at the gate.
-  A steed comes at morning: no rider is there;
-  But its bridle is red with the sign of despair!
-  Weep, Albin! to death and captivity led!
-  O! weep! but thy tears cannot number the dead!
-  For a merciless sword on Culloden shall wave—
-  Culloden, that reeks with the blood of the brave!
-
-  _Lochiel._
-
-  Go preach to the coward, thou death-telling seer!
-  Or, if gory Culloden so dreadful appear,
-  Draw, dotard, around thy old wavering sight,
-  This mantle, to cover the phantoms of fright!
-
-  _Seer._
-
-  Ha! laugh’st thou, Lochiel, my vision to scorn?
-  Proud bird of the mountain, thy plume shall be torn!
-  Say, rushed the bold eagle exultingly forth,
-  From his home in the dark-rolling clouds of the North?
-  Lo! the death-shot of foemen out-speeding, he rode
-  Companionless, bearing destruction abroad:
-  But down let him stoop from his havoc on high!
-  Ah! home let him speed, for the spoiler is nigh.
-  Why flames the far summit? Why shoot to the blast
-  Those embers, like stars from the firmament cast?
-  ’Tis the fire-shower of ruin, all dreadfully driven
-  From his eyry, that beacons the darkness of Heaven.
-  O, crested Lochiel! the peerless in might,
-  Whose banners arise on the battlements’ height,
-  Heaven’s fire is around thee, to blast and to burn;
-  Return to thy dwelling! all lonely return!
-  For the blackness of ashes shall mark where it stood,
-  And a wild mother scream o’er her famishing brood!
-
-  _Lochiel._
-
-  False Wizard, avaunt! I have marshall’d my clan:
-  Their swords are a thousand; their bosoms are one:
-  They are true to the last of their blood, and their breath,
-  And like reapers, descend to the harvest of death.
-  Then welcome be Cumberland’s steed to the shock!
-  Let him dash his proud foam like a wave on the rock!
-  But woe to his kindred, and woe to his cause,
-  When Albin her claymore indignantly draws;
-  When her bonneted chieftains to victory crowd,
-  Clanronald the dauntless, and Moray the proud;
-  All plaided, and plum’d in their tartan array—
-
-  _Seer._
-
-  Lochiel, Lochiel, beware of the day!
-  For, dark and despairing, my sight I may seal,
-  Yet man cannot cover what God would reveal:
-  ’Tis the sunset of life gives me mystical lore,
-  And coming events cast their shadows before.
-  I tell thee, Culloden’s dread echoes shall ring
-  With the bloodhounds that bark for thy fugitive king.
-  Lo! anointed by Heaven with vials of wrath,
-  Behold where he flies on his desolate path!
-  Now in darkness, and billows, he sweeps from my sight:
-  Rise! Rise! ye wild tempests, and cover his flight!
-  ’Tis finish’d.—Their thunders are hush’d on the moors;
-  Culloden is lost, and my country deplores.
-  But where is the iron-bound prisoner! Where?
-  For the red eye of battle is shut in despair.
-  Say, mounts he the ocean-wave, banish’d, forlorn,
-  Like a limb from his country, cast bleeding, and torn?
-  Ah! no; for a darker departure is near;
-  The war-drum is muffled, and black is the bier;
-  His death-bell is tolling; oh! mercy, dispel
-  Yon sight, that it freezes my spirit to tell!
-  Life flutters, convuls’d in his quivering limbs,
-  And his blood-streaming nostril in agony swims.
-  Accurs’d be the fagots that blaze at his feet,
-  Where his heart shall be thrown ere it ceases to beat,
-  With the smoke of its ashes to poison the gale—
-
-  _Lochiel._
-
-  Down, soothless insulter! I trust not the tale,
-  For never shall Albin a destiny meet
-  So black with dishonor—so foul with retreat.
-  Tho’ his perishing ranks should be strow’d in their gore,
-  Like ocean-weeds heap’d on the surf-beaten shore,
-  Lochiel, untainted by flight, or by chains,
-  While the kindling of life in his bosom remains,
-  Shall victor exult, or in death be laid low,
-  With his back to the field, and his feet to the foe!
-  And, leaving in battle no blot on his name,
-  Look proudly to heaven from the death-bed of fame.
-
-                                                  CAMPBELL.
-
-[CURTAIN.]
-
-
-_TABLEAU._
-
-_A very pretty tableau may be quickly formed behind the curtain, and at
-the close of applause from the audience the curtain be raised, showing
-LOCHIEL standing proud and imperious, his clan gathered around him, and
-the old SEER upon his knees, head thrown back, with hands and face raised
-imploringly._
-
-
-MARY STUART, QUEEN OF SCOTLAND.
-
-  (Adapted from Schiller, Scene II., Act III. Arranged for two
-  ladies and two gentlemen.)
-
-CHARACTERS:
-
-  MARY, _Queen of Scotland_.
-  ELIZABETH, _Queen of England_.
-  ROBERT, _Earl of Leicester_.
-  TALBOT, _a friend of Mary_.
-
-COSTUMES.
-
-  _Elizabethan age of England and Scotland._
-
-_Enter MARY and TALBOT._
-
-_Mary._ Talbot, Elizabeth will soon be here. I cannot see her. Preserve
-me from this hateful interview.
-
-_Talbot._ Reflect a while. Recall thy courage. The moment is come upon
-which everything depends. Incline thyself; submit to the necessity of the
-moment. She is the stronger. Thou must bend before her.
-
-_Mary._ Before her? I cannot!
-
-_Tal._ Thou must do so. Speak to her humbly; invoke the greatness of her
-generous heart; dwell not too much upon thy rights. But see first how she
-bears herself towards thee. I myself did witness her emotion on reading
-thy letter. The tears stood in her eyes. Her heart, ’tis sure, is not
-a stranger to compassion; therefore place more confidence in her, and
-prepare thyself for her reception.
-
-_Mary._ (_Taking his hand._) Thou wert ever my faithful friend. Oh, that
-I had always remained beneath thy kind guardianship, Talbot! Their care
-of me has indeed been harsh. Who attends her?
-
-_Tal._ Leicester. You need not fear him; the earl doth not seek thy fall.
-Behold, the queen approaches. (_Retires._)
-
-_Enter ELIZABETH and LEICESTER._
-
-_Mary._ (_Aside._) O heavens! Protect me! her features say she has no
-heart!
-
-_Elizabeth._ (_To LEICESTER._) Who is this woman? (_Feigning surprise._)
-Robert, who has dared to—
-
-_Lei._ Be not angry, queen, and since heaven has hither directed thee,
-suffer pity to triumph in thy noble heart.
-
-_Tal._ (_Advancing._) Deign, royal lady, to cast a look of compassion on
-the unhappy woman who prostrates herself at thy feet.
-
-[_MARY, having attempted to approach ELIZABETH, stops short, overcome by
-repugnance, her gestures indicating internal struggle._]
-
-_Eliz._ (_Haughtily._) Sirs, which of you spoke of humility and
-submission? I see nothing but a proud lady, whom misfortune has not
-succeeded in subduing.
-
-_Mary._ (_Aside._) I will undergo even this last degree of ignominy. My
-soul discards its noble but, alas! impotent pride. I will seek to forget
-who I am, what I have suffered, and will humble myself before her who
-has caused my disgrace. (_Turns to ELIZABETH._) Heaven, O sister, has
-declared itself on thy side, and has graced thy happy head with the crown
-of victory. (_Kneeling._) I worship the Deity who hath rendered thee so
-powerful. Show thyself noble in thy triumph, and leave me not overwhelmed
-by shame! Open thy arms, extend in mercy to me thy royal hand, and raise
-me from my fearful fall.
-
-_Eliz._ (_Drawing back._) Thy place, Stuart, is there, and I shall ever
-raise my hands in gratitude to heaven that it has not willed that I
-should kneel at thy feet, as thou now crouchest in the dust at mine.
-
-_Mary._ (_With great emotion._) Think of the vicissitudes of all things
-human! There is a Deity above who punisheth pride. Respect the Providence
-who now doth prostrate me at thy feet. Do not show thyself insensible and
-pitiless as the rock, to which the drowning man, with failing breath and
-outstretched arms, doth cling. My life, my entire destiny, depend upon my
-words and the power of my tears. Inspire my heart, teach me to move, to
-touch thine own. Thou turnest such icy looks upon me, that my soul doth
-sink within me, my grief parches my lips, and a cold shudder renders my
-entreaties mute. (_Rises._)
-
-_Eliz._ (_Coldly._) What wouldst thou say to me? thou didst seek converse
-with me. Forgetting that I am an outraged sovereign, I honor thee with my
-royal presence. ’Tis in obedience to a generous impulse that I incur the
-reproach of having sacrificed my dignity.
-
-_Mary._ How can I express myself? how shall I so choose every word that
-it may penetrate, without irritating, thy heart? God of mercy! aid my
-lips, and banish from them whatever may offend my sister! I cannot
-relate to thee my woes without appearing to accuse thee, and this is
-not my wish. Towards me thou hast been neither merciful nor just. I am
-thine equal, and yet thou hast made me a prisoner, a suppliant, and a
-fugitive. I turned to thee for aid, and thou, trampling on the rights
-of nations and of hospitality, hast immured me in a living tomb! Thou
-hast abandoned me to the most shameful need, and finally exposed me to
-the ignominy of a trial! But, no more of the past; we are now face to
-face. Display the goodness of thy heart! tell me the crimes of which I am
-accused! Wherefore didst thou not grant me this friendly audience when
-I so eagerly desired it? Years of misery would have been spared me, and
-this painful interview would not have occurred in this abode of gloom and
-horror.
-
-_Eliz._ Accuse not fate, but thine own wayward soul and the unreasonable
-ambition of thy house. There was no quarrel between us until thy most
-worthy ally inspired thee with the mad and rash desire to claim for
-thyself the royal titles and my throne! Not satisfied with this, he then
-urged thee to make war against me, to threaten my crown and my life.
-Amidst the peace which reigned in my dominions, he fraudulently excited
-my subjects to revolt. But heaven doth protect me, and the attempt was
-abandoned in despair. The blow was aimed at my head, but ’tis on thine
-that it will fall.
-
-_Mary._ I am in the hand of my God, but thou wilt not exceed thy power by
-committing a deed so atrocious?
-
-_Eliz._ What could prevent me? Thy kinsman has shown monarchs how to make
-peace with their enemies! Who would be surety for thee if, imprudently,
-I were to release thee? How can I rely on thy pledged faith? Nought but
-my power renders me secure. No! there can be no friendship with a race of
-vipers.
-
-_Mary._ Are these thy dark suspicions? To thine eyes, then, I have ever
-seemed a stranger and an enemy. If thou hadst but recognized me as
-heiress to thy throne—as is my lawful right—love, friendship, would have
-made me thy friend—thy sister.
-
-_Eliz._ What affection hast thou that is not feigned? I declare thee
-heiress to my throne! Insidious treachery! In order, forsooth, to
-overturn the state, and—wily Armida that thou art—entrap within thy
-snares all the youthful spirits of my kingdom, so that during my own
-lifetime all eyes would turn towards thee—the new constellation!
-
-_Mary._ Reign on in peace! I renounce all right to thy sceptre. The wings
-of my ambition have long drooped, and greatness has no longer charms for
-me. ’Tis thou who hast it all; I am now only the shade of Mary Stuart! My
-pristine ardor has been subdued by the ignominy of my chains. Thou hast
-nipped my existence in the bud. But pronounce those magnanimous words
-for which thou cam’st hither; for I will not believe that thou art come
-to enjoy the base delight of insulting thy victim! Pronounce the words
-so longed for, and say, “Mary, thou art free! Till now thou hast known
-only my power; now know my greatness.” Woe to thee, shouldst thou not
-depart from me propitious, beneficent, like an invoked Deity. O sister!
-not for all England, not for all the lands the vast ocean embraces, would
-I present myself to thee with the inexorable aspect with which thou now
-regardest me!
-
-_Eliz._ At length thou confessest thyself vanquished! Hast thou emptied
-thy quiver of the artifices it contained? Hast thou no more assassins?
-Does there not remain to thee one single hero to undertake in thy defence
-the duties of knight-errant? Gone, Mary, gone forever are those days.
-Thou canst no longer seduce a follower of mine; other causes now inflame
-men’s hearts. In vain didst thou seek a fourth husband among my English
-subjects; they knew too well that thou murderest thy husbands, as thou
-dost thy lovers.
-
-_Mary._ (_Shuddering._) O heavens! sister! Grant me resignation.
-
-_Eliz._ (_To LEICESTER, with contempt._) Earl, are these the boasted
-features, on which no mortal eye could gaze with safety? Is this the
-beauty to which no other woman’s could be compared? In sooth, the
-reputation appears to have been easily won. To be thus celebrated as the
-reigning beauty of the universe seems merely to infer that she has been
-universal in the distribution of her favors.
-
-_Mary._ Ah, ’tis too much.
-
-_Eliz._ (_With a smile of satisfaction._) Now thou showest thyself in
-thine own form. Till now thou hast worn a mask.
-
-_Mary._ (_With dignified pride._) They were mere human errors that
-overcame my youth. My grandeur dazzled me. I have nought to conceal, nor
-deny my faults; my pride has ever disdained the base artifices of vile
-intriguers. The worst I ever did is known, and I may boast myself far
-better than my reputation. But woe to thee, thou malignant hypocrite,
-if thou ever lettest fall the mantle beneath which thou concealest thy
-shameless amours! Thou, the daughter of Anne Boleyn, hast not inherited
-virtue! The causes that brought thy sinful mother to the block are known
-to all.
-
-_Tal._ (_Stepping between them._) Is this, O Mary, thine endurance? Is
-this thy humility?
-
-_Mary._ Endurance? I have endured all that a mortal heart can bear.
-Hence, abject humility! Insulted patience, get ye from my heart! And
-thou, my long pent-up indignation, break thy bonds, and burst forth from
-thy lair! Oh, thou gavest to the angry serpent his deadly glance; arm my
-tongue with poisonous stings.
-
-_Tal._ (_To ELIZABETH._) Forgive the angry transports which thou hast
-thyself provoked.
-
-_Lei._ (_Inducing ELIZABETH to withdraw._) Hear not the ravings of a
-distracted woman. Leave this ill—
-
-_Mary._ The throne of England is profaned by a base-born—the British
-nation is duped by a vile pretender! If right did prevail, thou
-wouldst be grovelling at my feet, for ’tis I who am thy sovereign.
-(_ELIZABETH retires. LEICESTER and TALBOT follow._) She departs, burning
-with rage, and with bitterness of death at heart. Now happy I am! I have
-degraded her in Leicester’s presence. At last! at last! After long years
-of insult and contumely, I have at least enjoyed a season of triumph.
-(_Sinks upon the floor._)
-
-[CURTAIN.]
-
-                                                                SCHILLER.
-
-
-_TABLEAU._
-
-_Curtain rises. MARY reclines upon the floor, disheveled hair, face
-buried in hands, shaking with emotion. ELIZABETH stands glaring at her,
-face livid with anger, clenched fists. LEICESTER is restraining her; his
-hand is raised as if admonishing her not to yield to her rage and do an
-act unbecoming a queen. TALBOT leans over MARY, to whom he appears to
-offer words of hope and consolation, at the same time lifting his right
-hand imploringly to ELIZABETH._
-
-
-A CASE OF INDIGESTION.
-
-SCENE—_DR. GREGORY’S study. A table and two chairs._
-
-_Enter PATIENT (an unhappy Scotch merchant) from left. DR. GREGORY
-discovered reading (on right)._
-
-_Patient._ Good morning, Dr. Gregory! I’m just come into Edinburgh about
-some law business, and I thought when I was here, at any rate, I might
-just as weel take your advice, sir, about my trouble.
-
-_Doctor._ Pray, sir, sit down. (_Patient sits on left._) And now, my good
-sir, what may your trouble be?
-
-_Pa._ Indeed, doctor, I’m not very sure, but I’m thinking it’s a kind of
-weakness that makes me dizzy at times, and a kind of pinkling about my
-stomach—I’m just na right.
-
-_Dr._ You are from the west country, I should suppose, sir?
-
-_Pa._ Yes, sir; from Glasgow.
-
-_Dr._ Ay, pray, sir, are you a glutton?
-
-_Pa._ Heaven forbid, sir! I am one of the plainest men living in the west
-country.
-
-_Dr._ Then, perhaps, you are a drunkard?
-
-_Pa._ No, Dr. Gregory, thank Heaven, no one can accuse me of that! I’m of
-the dissenting persuasion, doctor, and an elder, so you may suppose I’m
-na drunkard.
-
-_Dr._ I’ll suppose no such thing till you tell me your mode of living.
-I’m so much puzzled with your symptoms, sir, that I should wish to hear
-in detail what you do eat and drink. When do you breakfast, and what do
-you take at it?
-
-_Pa._ I breakfast at nine o’clock; take a cup of coffee, and one or two
-cups of tea, a couple of eggs, and a bit of ham or kippered salmon, or,
-maybe, both, if they’re good, and two or three rolls and butter.
-
-_Dr._ Do you eat no honey, or jelly, or jam, at breakfast?
-
-_Pa._ O, yes, sir! but I don’t count that as anything.
-
-_Dr._ Come, this is a very moderate breakfast. What kind of a dinner do
-you make?
-
-_Pa._ O, sir, I eat a very plain dinner, indeed. Some soup, and some
-fish, and a little plain roast or boiled; for I dinna care for made
-dishes; I think, some way, they never satisfy the appetite.
-
-_Dr._ You take a little pudding, then, and afterwards some cheese?
-
-_Pa._ O, yes! though I don’t care much about them.
-
-_Dr._ You take a glass of ale or porter with your cheese?
-
-_Pa._ Yes, one or the other; but seldom both.
-
-_Dr._ You west-country people generally take a glass of Highland whiskey
-after dinner?
-
-_Pa._ Yes, we do; it’s good for digestion.
-
-_Dr._ Do you take any wine during dinner?
-
-_Pa._ Yes, a glass or two of sherry; but I’m indifferent as to wine
-during dinner. I drink a good deal of beer.
-
-_Dr._ What quantity of port do you drink?
-
-_Pa._ O, very little; not above half a dozen glasses or so.
-
-_Dr._ In the west country, it is impossible, I hear, to dine without
-punch?
-
-_Pa._ Yes, sir; indeed, ’tis punch we drink chiefly; but, for myself,
-unless I happen to have a friend with me, I never take more than a couple
-of tumblers or so, and that’s moderate.
-
-_Dr._ O, exceedingly moderate, indeed! You then, after this slight
-repast, take some tea and bread and butter?
-
-_Pa._ Yes, before I go to the counting-house to read the evening letters.
-
-_Dr._ And on your return you take supper, I suppose?
-
-_Pa._ No, sir, I canna be said to take supper; just something before
-going to bed;—a rizzered haddock, or a bit of toasted cheese, or a
-half-hundred oysters, or the like o’that, and, maybe, two-thirds of a
-bottle of ale; but I take no _regular_ supper.
-
-_Dr._ But you take a little more punch after that?
-
-_Pa._ No, sir; punch does not agree with me at bedtime. I take a tumbler
-of warm whiskey-toddy at night; it is lighter to sleep on.
-
-_Dr._ So it must be, no doubt. This, you say, is your everyday life; but,
-upon great occasions, you perhaps exceed a little?
-
-_Pa._ No, sir; except when a friend or two dine with me, or I dine out,
-which, as I am a sober family man, does not often happen.
-
-_Dr._ Not above twice a week?
-
-_Pa._ No, not oftener.
-
-_Dr._ Of course you sleep well and have a good appetite?
-
-_Pa._ Yes, sir, thank Heaven, I have; indeed, any ill health that I have
-is about mealtime.
-
-_Dr._ (_Rising with a severe air—the PATIENT also rises._) Now, sir, you
-are a very pretty fellow, indeed! You come here and tell me you are a
-moderate man; but, upon examination, I find, by your own showing, that
-you are a most voracious glutton. You said you were a sober man; yet, by
-your own showing, you are a beer-swiller, a dram-drinker, a wine-bibber,
-and a guzzler of punch. You tell me you eat indigestible suppers, and
-swill toddy to force sleep. I see that you chew tobacco. Now, sir, what
-human stomach can stand this? Go home, sir, and leave your present course
-of riotous living, and there are hopes that your stomach may recover its
-tone, and you be in good health, like your neighbors.
-
-_Pa._ I’m sure, doctor, I’m very much obliged to you. (_Taking out a
-bundle of bank notes._) I shall endeavor to——
-
-_Dr._ Sir, you are not obliged to me:—put up your money, sir. Do you
-think I’ll take a fee for telling you what you know as well as myself?
-Though you’re no physician, sir, you are not altogether a fool. Go home,
-sir, and reform, or, take my word for it, your life is not worth half a
-year’s purchase.
-
-_Pa._ Thank you, doctor, thank you. Good-day, doctor.
-
-(_Exit on right, followed by DOCTOR._)
-
-
-MR. CROSS AND SERVANT JOHN.
-
-_Mr. Cross._ Why do you keep me knocking all day at the door?
-
-_John._ I was at work, sir, in the garden. As soon as I heard your knock,
-I ran to open the door with such haste that I fell down and hurt myself.
-
-_Mr. C._ Why didn’t you leave the door open?
-
-_John._ Why, sir, you scolded me yesterday because I did so. When the
-door is open, you scold; when it is shut, you scold. I should like to
-know what to do?
-
-_Mr. C._ What to do? What to do, did you say?
-
-_John._ I said it. Shall I leave the door open?
-
-_Mr. C._ No. I tell you, no!
-
-_John._ Shall I keep the door shut?
-
-_Mr. C._ Shall you keep the door shut? No, I say.
-
-_John._ But, sir, a door must be either open or——
-
-_Mr. C._ Don’t presume to argue with me, fellow!
-
-_John._ But doesn’t it hold to reason that a door——
-
-_Mr. C._ Silence, I say. Hold your tongue!
-
-_John._ And I say that a door must be either open or shut. Now, how will
-you have it?
-
-_Mr. C._ I have told you a thousand times, you provoking fellow—I have
-told you that I wished it—— But what do you mean by cross-questioning me,
-sir? Have you trimmed the grape-vine, as I ordered you?
-
-_John._ I did that three days ago, sir.
-
-_Mr. C._ Have you washed the carriage? Eh?
-
-_John._ I washed it before breakfast, sir, as usual.
-
-_Mr. C._ You haven’t watered the horses to-day!
-
-_John._ Go and see, sir, if you can make them drink any more. They have
-had their fill.
-
-_Mr. C._ Have you given them their oats?
-
-_John._ Ask William; he saw me do it.
-
-_Mr. C._ But you have forgotten to take the mare to be shod. Ah! I have
-you now!
-
-_John._ I have the blacksmith’s bill here.
-
-_Mr. C._ My letters!—Did you take them to the post-office? Ha! You
-forgot, did you?
-
-_John._ I forgot nothing, sir. The letters were in the mail ten minutes
-after you handed them to me.
-
-_Mr. C._ How often have I told you not to scrape on that abominable
-violin of yours? And yet this very morning——
-
-_John._ This morning? You forget, sir. You broke the violin all to pieces
-for me last Saturday night.
-
-_Mr. C._ I’m glad of it! Come, now; that wood which I told you to saw and
-put into the shed—why is it not done? Answer me!
-
-_John._ The wood is all sawed, split, and housed, sir; besides doing
-that, I have watered all the trees in the garden, dug over three of the
-beds, and was digging another when you knocked.
-
-_Mr. C._ Oh, I must get rid of this fellow! He will plague my life out of
-me. Out of my sight, sir! (_John rushes out._)
-
-
-HOW TO BREAK BAD NEWS.
-
-_Mr. H._ Ha, steward! how are you, my old boy? How do things go on at
-home?
-
-_Steward._ Bad enough, your honor; the magpie’s dead.
-
-_Mr. H._ Poor Mag! so he’s gone. How came he to die?
-
-_Steward._ Over-ate himself, sir.
-
-_Mr. H._ Did he, indeed? a greedy villain! Why, what did he get he liked
-so well?
-
-_Steward._ Horse-flesh, sir; he died of eating horse-flesh.
-
-_Mr. H._ How came he to get so much horse-flesh?
-
-_Steward._ All your father’s horses, sir.
-
-_Mr. H._ What! are they dead, too?
-
-_Steward._ Ay, sir; they died of over-work.
-
-_Mr. H._ And why were they over-worked, pray.
-
-_Steward._ To carry water, sir.
-
-_Mr. H._ To carry water! What did they carry water for?
-
-_Steward._ Sure, sir, to put out the fire.
-
-_Mr. H._ Fire! What fire?
-
-_Steward._ Oh, sir, your father’s house is burned to the ground.
-
-_Mr. H._ My father’s house! How come it set on fire?
-
-_Steward._ I think, sir, it must have been the torches.
-
-_Mr. H._ Torches! What torches?
-
-_Steward._ At your mother’s funeral.
-
-_Mr. H._ Alas! my mother dead?
-
-_Steward._ Ah, poor lady, she never looked up after it!
-
-_Mr. H._ After what?
-
-_Steward._ The loss of your father.
-
-_Mr. H._ My father gone, too?
-
-_Steward._ Yes, poor man, he took to his bed soon as he heard of it.
-
-_Mr. H._ Heard of what?
-
-_Steward._ The bad news, sir, an’ please your honor.
-
-_Mr. H._ What! more miseries? more bad news? No! you can add nothing more!
-
-_Steward._ Yes, sir; your bank has failed, and your credit is lost, and
-you are not worth a dollar in the world. I made bold, sir, to come to
-wait on you about it, for I thought you would like to hear the news.
-
-
-
-
-HOW TO DRAFT CONSTITUTION AND BY-LAWS FOR THE ORGANIZATION AND CONDUCT OF
-LITERARY SOCIETIES.
-
-
-All permanent associations formed for mutual benefit must have a
-Constitution by which they shall be governed.
-
-Where it is intended to organize a society for the intellectual
-improvement or social enjoyment of its members, a number of persons meet
-together and select a name for the organization. The next step is to
-appoint a committee, whose duty it shall be to prepare a _Constitution_
-and code of _By-Laws_ for the society. These must be reported to the
-society at its next meeting, and must be adopted by the votes of a
-majority of that body before they can take effect.
-
-The Constitution consists of the rules which form the foundation upon
-which the organization is to rest. It should be brief and explicit. It
-should be considered and adopted section by section; should be recorded
-in a book for that purpose, and should be signed by all the members of
-the society.
-
-Amendments to the Constitution should be adopted in the same way, and
-should be signed by each member of the society.
-
-In addition to the Constitution, it is usual to adopt a series of minor
-rules, which should be explanatory of the principles of the Constitution.
-These are termed _By-Laws_, and should be recorded in the same book with
-the Constitution, and immediately after it. New by-laws may be added from
-time to time, as the necessity for them may arise. It is best to have as
-few as possible. They should be brief, and as clear that their meaning
-may be easily comprehended, and should govern the action of the body.
-
-
-CONSTITUTION.
-
-As growth and development of mind, together with readiness and fluency of
-speech, are the result of investigation and free discussion of religious,
-education, political, and other topics, the undersigned agree to form
-an association, and for its government, do hereby adopt the following
-Constitution:
-
-ARTICLE I.—The name and title of this organization shall be
-
-  “The Philomathian Literary Society,”
-
-and its objects shall be the free discussion of any subject coming before
-the meeting for the purpose of diffusing knowledge among its members.
-
-ARTICLE II.—The officers of the Association shall consist of a President,
-two Vice-Presidents, a Corresponding Secretary, a Recording Secretary, a
-Treasurer and a Librarian, who shall be elected annually by ballot, on
-the first Monday in January of each year, said officers to hold their
-position until their successors are elected.
-
-ARTICLE III.—It shall be the duty of the President to preside at all
-public meetings of the Society. The first Vice-President shall preside
-in the absence of the President, and in case of the absence of both
-President and Vice-President, it shall be the duty of the second
-Vice-President to preside.
-
-The duty of the Secretary shall be to conduct the correspondence, keep
-the records of the Society, and read at each meeting a report of the work
-done at the preceding meeting.
-
-The Treasurer shall keep the funds of the Society, making an annual
-report of all moneys received, disbursed, and the amount on hand.
-
-It shall be the duty of the Librarian to keep, in a careful manner, all
-books, records and manuscripts in the possession of the Society.
-
-ARTICLE IV.—There shall be appointed by the President, at the first
-meeting after his election, the following standing committees, to consist
-of three members each, namely: On lectures, library, finance, and
-printing, whose duties shall be designated by the President.
-
-The question for debate at the succeeding meeting shall be determined by
-a majority vote of the members present.
-
-ARTICLE V.—Any lady or gentleman may become a member of this Society by
-the consent of the majority of the members present, the signing of the
-Constitution, and the payment of two dollars as membership fee. It shall
-be the privilege of the Society to elect any person whose presence may be
-advantageous to the Society, an honorary member who shall not be required
-to pay membership fees or dues.
-
-ARTICLE VI.—This Association shall meet weekly, and at such other times
-as a majority, consisting of at least five members of the Association,
-shall determine. The President shall be authorized to call special
-meetings upon the written request of any five members of the Society, at
-which meetings one-third of the members shall be sufficient to constitute
-a quorum for the transaction of business.
-
-ARTICLE VII.—It shall be the duty of the Finance Committee to determine
-the amount of dues necessary to be collected from each member, and to
-inform the Treasurer of the amount, who shall promptly proceed to collect
-the same at such times as the committee may designate.
-
-ARTICLE VIII.—The parliamentary rules and general form of conducting
-public meetings, as shown in “Cushing’s Manual of Practice,” shall be the
-standard authority in governing the deliberations of this Association.
-
-ARTICLE IX.—Any member neglecting to pay dues, or who shall be guilty of
-improper conduct, calculated to bring this Association into disrepute,
-shall be expelled from the membership of the Society by a two-thirds
-vote of the members present at any regular meeting. No member shall be
-expelled, however, until he shall have had notice of such intention on
-the part of the Association, and has been given an opportunity of being
-heard in his own defense.
-
-ARTICLE X.—By giving written notice of change at any regular meeting,
-this Constitution may be altered or amended at the next stated meeting by
-vote of two-thirds of the members present.
-
-
-BY-LAWS.
-
-RULE 1.—No question shall be stated unless moved by two members, nor be
-open for consideration until stated by the chair. When a question is
-before the Society, no motion shall be received, except to lay on the
-table, the previous question, to postpone, to refer, or to amend; and
-they shall have precedence in the order in which they are here arranged.
-
-RULE 2.—When a member intends to speak on a question, he shall rise in
-his place, and respectfully address his remarks to the President, confine
-himself to the question, and avoid personality. Should more than one
-member rise to speak at the same time the President shall determine who
-is entitled to the floor.
-
-RULE 3.—Every member shall have the privilege of speaking three times on
-any question under consideration, but not oftener, unless by the consent
-of the Society (determined by vote); and no member shall speak more than
-once, until every member wishing to speak shall have spoken.
-
-RULE 4.—The President, while presiding, shall state every question coming
-before the Society; and immediately before putting it to vote shall ask:
-“Are you ready for the question?” Should no member rise to speak, he
-shall rise to put the question; and after he has risen no member shall
-speak upon it, unless by permission of the Society.
-
-RULE 5.—The affirmative and negative of the question having been both put
-and answered, the President declares the number of legal votes cast, and
-whether the affirmative or negative have it.
-
-RULE 6.—All questions, unless otherwise fixed by law, shall be decided by
-a majority of votes.
-
-RULE 7.—After any question, except one of indefinite postponement, has
-been decided, any member may move a reconsideration thereof, if done in
-two weeks after the decision. A motion for reconsideration the second
-time, of the same question, shall not be in order at any time.
-
-RULE 8.—Any two members may call for a division of a question, when the
-same will admit of it.
-
-RULE 9.—The President, or any member, may call a member to order while
-speaking, when the debate must be suspended, and the member take his seat
-until the question of order is decided.
-
-RULE 10.—The President shall preserve order and decorum; may speak to
-points of order in preference to other members; and shall decide all
-questions of order, subject to an appeal to the Society by any member,
-on which appeal no person shall speak but the President and the member
-called to order.
-
-RULE 11.—No motion or proposition on a subject different from that under
-consideration shall be admitted under color of an amendment.
-
-RULE 12.—No addition, alteration, or amendment to the Constitution,
-By-Laws, etc., shall be acted upon, except in accordance with the
-Constitution.
-
-RULE 13.—No nomination shall be considered as made until seconded.
-
-RULE 14.—The President shall sign all proceedings of the meetings.
-
-RULE 15.—No member shall vote by proxy.
-
-RULE 16.—No motion shall be withdrawn by the mover unless the second
-withdraw his second.
-
-RULE 17.—No extract from any book shall be read consuming more than five
-minutes.
-
-RULE 18.—No motion for adjournment shall be in order until after nine
-o’clock.
-
-RULE 19.—Every motion shall be reduced to writing, should the officers of
-the society desire it.
-
-RULE 20.—An amendment to an amendment is in order, but not to amend an
-amendment to an amendment of a main question.
-
-RULE 21.—The previous question shall be put in this form, if seconded by
-a majority of the members present: “Shall the main question be put?” If
-decided in the affirmative, the main question is to be put immediately,
-and all further debate or amendment must be suspended.
-
-RULE 22.—Members not voting shall be considered as voting in the
-affirmative, unless excused by the Society.
-
-RULE 23.—Any member offering a protest against any of the proceedings of
-this Society may have the same, if, in respectful language, entered in
-full upon the minutes.
-
-RULE 24.—No subject laid on the table shall be taken up again on the same
-evening.
-
-RULE 25.—No motion shall be debatable until seconded.
-
-RULE 26.—Points of order are debatable to the Society.
-
-RULE 27.—Appeals and motions to reconsider or adjourn are not debatable.
-
-RULE 28.—When a very important motion or amendment shall be made and
-seconded, the mover thereof may be called upon to reduce the same to
-writing, and hand it in at the table, from which it shall be read, open
-to the Society for debate.
-
-RULE 29.—The mover of a motion shall be at liberty to accept any
-amendment thereto; but if an amendment be offered and not accepted, yet
-duly seconded, the Society shall pass upon it before voting upon the
-original motion.
-
-RULE 30.—Every officer, on leaving his office, shall give to his
-successor all papers, documents, books, or money belonging to the Society.
-
-RULE 31.—No smoking, and no refreshments except water, shall be allowed
-in the Society’s hall.
-
-RULE 32.—When a motion to adjourn is carried, no member shall leave his
-seat until the President has left his chair.
-
-RULE 33.—No alteration can be made in these rules of order without a
-four-fifth vote of the society, and two weeks’ notice; neither can they
-be suspended, but by a like vote, and then for the evening only.
-
-
-
-
-SUGGESTED SUBJECTS FOR DEBATE
-
-
-1. Should there be a Board of Arbitration appointed by the Government for
-Settling Disputes between Employees and Employers?
-
-2. Is England Rising or Falling as a Nation?
-
-NOTE.—Compare the Elements of Modern with the Elements of Ancient
-Prosperity.
-
-3. Has Nature or Education the Greater Influence in the Formation of
-Character?
-
-4. From which does the Mind gain the more Knowledge, Reading or
-Observation?
-
-5. Is the Character of Queen Elizabeth deserving of our Admiration?
-
-6. Is an Advocate Justified in Defending a Man whom he Knows to be Guilty
-of the Crime with which he is Charged?
-
-7. Which does the most to Produce Crime—Poverty, Wealth, or Ignorance?
-
-8. Is a Limited Monarchy, like that of England, the Best Form of
-Government?
-
-9. Is not Private Virtue essentially requisite to Greatness of Public
-Character?
-
-10. Is Eloquence a Gift of Nature, or may it be Acquired?
-
-11. Is Genius an Innate Capacity?
-
-12. Is a Rude or a Refined Age the More Favorable to the Production of
-Works of Imagination?
-
-13. Is the Shakespearian the Augustan Age of English Literature?
-
-14. Ought Pope to Rank in the First Class of Poets?
-
-15. Has the Introduction of Machinery been Generally Beneficial to
-Mankind?
-
-16. Which Produce the Greater Happiness, the Pleasures of Hope or of
-Memory?
-
-17. Is the Existence of Parties in the State Favorable to the Public
-Welfare?
-
-18. Is there any Ground for Believing in the Ultimate Perfection and
-Universal Happiness of the Human Race?
-
-19. Is Co-operation more Adapted to Promote the Virtue and Happiness of
-Mankind than Competition?
-
-20. Was the Banishment of Napoleon to St. Helena a Justifiable Proceeding?
-
-21. Ought Persons to be Excluded from the Civil Offices on Account of
-their Religious Opinions?
-
-22. Which Exercises the Greater Influence on the Civilization and
-Happiness of the Human Race, the Male or the Female Mind?
-
-23. Which did the Most to Produce the French Revolution, the Tyranny of
-the Government, the Excesses of the Higher Orders, or the Writings of
-Voltaire, Montesquieu and Rousseau?
-
-24. Which was the Greater Poet, Byron or Burns?
-
-25. Is there Reasonable Ground for Believing that the Character of
-Richard the Third was not so Atrocious as is Generally Supposed?
-
-26. Does Happiness or Misery Preponderate in Life?
-
-27. Should the Press be Totally Free?
-
-28. Do Modern Geological Discoveries Agree with Holy Writ?
-
-29. Did Circumstances Justify the First French Revolution?
-
-30. Could not Arbitration be Made a Substitute for War?
-
-31. Which Character is the More to be Admired, that of Loyola or Luther?
-
-32. Are there Good Grounds for Applying the Term “Dark” to the Middle
-Ages?
-
-33. Which was the Greater Poet, Chatterton or Cowper?
-
-34. Are Public or Private Schools to be Preferred?
-
-35. Is the System of Education Pursued at our Universities in Accordance
-with the Requirements of the Age?
-
-36. Which is the More Healthful Exercise, Bicycle Riding or Walking?
-
-37. Does the Game of Foot-Ball Produce more Evil than Beneficial Effects?
-
-38. Would the Free and Unlimited Coinage of both Silver and Gold be
-better than the Single Gold Standard in America?
-
-39. Should Women be Granted the Right to Vote on all State and National
-Questions?
-
-40. Would Absolute Prohibition be a Benefit to the Country?
-
-
-
-
-TABLEAUX FOR PUBLIC ENTERTAINMENTS.
-
-
-JOAN OF ARC AT THE STAKE.
-
-CHARACTER AND COSTUME.
-
-MAIDEN.—Loose, white robe, wing-like sleeves, displaying arm; hair long,
-loose, and flowing over shoulders.
-
-THE TABLEAU.
-
-A large post in centre of stage, around which are piled fagots. Fastened
-to the post by means of a chain around the waist stands the maiden, with
-eyes cast upward, and the whole attitude that of exaltation. A strong
-red light suddenly thrown upon the lower part of the picture, from both
-sides, will produce the effect of ignited wood.
-
-Music, if any, triumphant.
-
-
-WINTER IN THE LAP OF SPRING.
-
-CHARACTERS AND COSTUMES.
-
-WINTER.—Black, loose dress to the feet, fur cap, white wig, and long
-white beard; dress flecked with bits of cotton, to represent snow; face
-full and florid. The part may be taken by a lady.
-
-SPRING.—Trailing loose dress of white, sleeves draped so as to show arm
-to elbow; scarf and sash of pink; long, flowing, yellow hair; sprays
-of roses and other flowers gracefully fastened on the dress; wealth of
-flowers on the head.
-
-THE TABLEAU.
-
-Spring is seated on a chair, over which may be thrown a covering of white
-or pink, upon which are scattered profusely sprays of flowers. She holds
-at her side a golden sceptre.
-
-Winter is seated in the lap of Spring holding extended in his right hand
-a sceptre of black.
-
-
-THERE’S NO ROSE WITHOUT A THORN.
-
-The scene is a parlor.—Standing in the foreground is a young girl,
-simply dressed. In her left hand she has a rose, and holding out her
-right hand shows to her companion the scratches made by the thorns (a
-little carmine paint, put on with a fine camel’s-hair pencil, makes very
-painless scratches.) Her companion, a young man dressed as a mechanic’s
-apprentice (a carpenter’s, butcher’s, shoemaker’s or any other trade),
-is, with a look of sympathy, raising the wounded hand to his lips. Behind
-the young man stands his employer, with an expression of rage, raising a
-rope about to strike the apprentice. He is not perceived by either of the
-young people.
-
-In the background is a child, with a look of great glee, putting its
-fingers into a jar, marked jam, while the mother, behind the child, is
-raising her hand to box its ears.
-
-
-A NUN AT HER DEVOTIONS.
-
-It hardly needs description. A background of dark brown gauze, very
-faintly lighted at the upper right-hand corner; a dress of black serge or
-stuff, with black veil and white coif; a crucifix and rosary—these are
-the very simple materials needed. Let the light fall from the left-hand
-upper corner in front. Choose your nun for the beauty of her eyes, the
-regularity and refinement of feature, and the elegance of her hands.
-
-
-TABLEAU WITH RECITALS.
-
-_Characters._
-
-POET.—A young man with long hair and wide linen collar turned down over
-coat collar.
-
-STATUE.—Personated by a young woman in white, with arms bare.
-
-  (_The Poet speaks._)
-
-  Thou holdest me, thou holdest me,
-    O marble presence, cold and fair.
-  I cannot draw my feet past thee
-    Within thy niche above the stair.
-
-  I found thee in a mossy cave—
-    The entrance to a buried shrine;
-  The rocks around a shudder gave
-    As thence I bore my prize divine.
-
-  What master wrought thee long ago—
-    Who but Pygmalion’s scholar apt?
-  The rose upon thy cheek of snow
-    Ofttimes he saw in vision rapt.
-
-  The day upspringing in thine eye
-    He fancied now, and now it seemed
-  A hovering smile, a gradual sigh,
-    Thy lips from silence dead redeemed;
-
-  But, dying ere the moment ripe
-    When thou should’st gather vital fire,
-  He left thee, a half-conscious type
-    Of Love and Love’s unvoiced desire.
-
-  Thou holdest me, thou holdest me,
-    O marble presence, cold and fair!
-  Now let thy prisoned soul be free,
-    Thy breast its long-sealed fate declare.
-
-  (_The Statue speaks._)
-
-  Thou troublest me, thou troublest me!
-    A thousand years unused to speech,
-  Why should the charm dissolve for thee,
-    Or why to thee my secret teach?
-
-  Not Paros, nor Pentelicus,
-    E’er held me in its quarried hill;
-  Nor master’s chisel carved me thus,
-    With lofty thought and patient skill.
-
-  Ah, surely, not Pygmalion’s hand
-    Unprisoned me, through loving art—
-  I, who in marble moveless stand,
-    Once held quick veins and pulsing heart;
-
-  Love, changed to hate, wrought this cold change
-    I froze beneath his bitter eye;
-  Love, changed to Hate—transformer strange—
-    Forbade me live, forbade me die!
-
-  Thou troublest me, thou troublest me;
-    No further question; go thy way!
-  He, only, who could set me free,
-    Hath long since crumbled back to clay!
-
-  Thy soul in peace if thou would’st save,
-    And give forgetfulness to mine,
-  Restore me to that mossy cave,
-    The entrance to a buried shrine!
-
-                            EDITH M. THOMAS.
-
-
-CINDERELLA’S SLIPPER.
-
-(This beautiful tableau may be represented in three or four scenes, with
-fine dress effect.)
-
-SCENE I.
-
-Cinderella meanly clad, the sisters and Prince in costliest attire. One
-of the sisters is eagerly bent on forcing her foot into the slipper.
-
-A very large shoe, which she has just vacated, is on the floor beside
-her. The other, her face and attitude showing keenest disappointment,
-has just put on her shoe. These shoes, while nicely made, should be the
-largest that can be had. The slipper may be of white satin, small and
-handsome.
-
-SCENE II.
-
-Cinderella, having begged permission to try on the slipper, has
-just seated herself, withdrawn her shoe and placed a dainty foot on
-the cushion beside the slipper. The sisters give her a scornful and
-reproachful look.
-
-SCENE III.
-
-Cinderella, having put on the slipper, has just drawn from her pocket its
-mate. The sisters, bewildered and dumfounded, have thrown themselves at
-her feet. This scene makes a fitting conclusion to the performance, and
-the next two scenes should not be attempted unless the appliances are at
-hand to make Cinderella imagination’s richest queen.
-
-SCENE IV.
-
-The fairy has touched her clothes with the magic wand, and Cinderella has
-become a being of marvelous beauty. Her gorgeous splendor dazzles the
-eyes of the Prince. She helps her sisters to their feet, and shows, as
-before, no resentment for past insult.
-
-SCENE V.
-
-Cinderella and the Prince, arm in arm, prepare to leave the stage,
-followed by the sisters.
-
-
-LISTENERS HEAR NO GOOD OF THEMSELVES.
-
-The scene is a parlor.—In the foreground are two young girls, one of whom
-holds a miniature out to the other, who puts it aside, with an expression
-of angry contempt. The first girl is laughing heartily, and pointing her
-finger at the second, as if teasing her about the picture.
-
-Peeping out from behind a window-curtain is a young man, who, with an
-expression of perfect rage, is shaking his fist at the ladies.
-
-
-[Illustration: IN MANILA BAY]
-
-[Illustration: COMIN’ THRO’ THE RYE]
-
-[Illustration: REMINISCENCES OF CHARLES DICKENS
-
-1. THE BIRTHPLACE OF CHARLES DICKENS, COMMERCIAL ROAD, PORTSEA. 2. THE
-“DARK COURT” IN FLEET STREET, (JOHNSON’S COURT) WHERE DICKENS POSTED
-HIS FIRST SKETCH. 3. THE HOUSE IN FURNIVAL’S INN WHERE “PICKWICK” WAS
-WRITTEN. 4. CHARLES DICKENS EDITING “HOUSEHOLD WORDS.” 5. THE CHURCH IN
-WHICH DICKENS WAS MARRIED, ST. LUKE’S, CHELSEA. 6. GAD’S HILL PLACE,
-ROCHESTER, THE NOVELISTS’ LAST HOME. 7. THE MOAT, ROCHESTER CASTLE, WHERE
-DICKENS DESIRED TO BE BURIED.]
-
-[Illustration: FRANCIS WILSON
-
-  “It was all about a—ha! ha! and a—ho! ho! ho!—well really;
-  It is—he! he! he!—I never could begin to tell you.”
-
-(A Fine Study of Mirth)]
-
-[Illustration: THE DAUGHTER OF THE REGIMENT—SUGGESTION FOR A TABLEAU]
-
-[Illustration: CHARACTERS AND COSTUMES SUGGESTED FOR CHILDREN IN JUVENILE
-ENTERTAINMENTS]
-
-[Illustration: JOSEPH JEFFERSON and BLANCHE BENDER in “Rip Van Winkle.”
-
-(Suggestion for Tableau.)]
-
-[Illustration: INDIAN COSTUME—SUGGESTION FOR A TABLEAU]
-
-[Illustration: THE SICK CHILD.
-
-(Suggestion For Tableau.)
-
-“Jessie tired, mamma; good-night, papa; Jessie see you in the morning.”]
-
-[Illustration: AN OLD TIME TEA
-
-(Suggestion for Tableau)]
-
-[Illustration:
-
-  CHERRY RIPE, RIPE, RIPE, I CRY,
-  FULL AND FAIR ONES—COME AND BUY!]
-
-[Illustration: A STUDY IN ATTITUDES]
-
-[Illustration: THE GODDESS OF LIBERTY
-
-(Suggestion For Tableau)]
-
-[Illustration: RECITATION IN COSTUME
-
-  WHOEVER WOULD BRING DOWN HER GAME,
-  MUST STRING HER BOW AND TAKE SURE AIM.]
-
-[Illustration: A LITTLE CHILD’S PRAYER.
-
-(Suggestion For Tableau.)
-
-  “Jesus I would be like thee,
-  Look from heaven and pity me.
-  Though so full of sin I am,
-  Make me now thy little lamb.”]
-
-[Illustration: NOBODY’S CHILD
-
-(Suggestion for Tableau)
-
-  “All day I wander to and fro
-  Hungry and shivering and nowhere to go
-  Oh! Why does the wind blow upon me so wild?
-  Is it because I’m nobody’s child?”]
-
-[Illustration: SHE HAD SO MANY CHILDREN SHE DIDN’T KNOW WHAT TO DO]
-
-[Illustration:
-
-  THEY TELL ME I MUST DO IT JUST SO,
-  I WONDER IF THEY THINK THAT I DON’T KNOW.]
-
-[Illustration:
-
-  OUR GREAT GRANDPARENTS WERE ONCE YOUNG, TOO,
-  AND THIS IS THE WAY THEY USED TO DO.]
-
-[Illustration:
-
-  “I’M NOT QUITE SURE I’LL TAKE YOU FOR MY MAID;”
-  “WELL NOBODY ASKED YOU TO,” SHE SAID.]
-
-[Illustration: HOW PADEREWSKI PLAYS THE PIANO]
-
-[Illustration: GENERAL WHEELER AT SANTIAGO]
-
-[Illustration:
-
-  ALAS, HOW LIGHT A CAUSE MAY MOVE
-  DISSENSION BETWEEN HEARTS THAT LOVE]
-
-[Illustration:
-
-  “Out swept the squadrons, fated three hundred
-  Into the battle-line steady and full;”]
-
-[Illustration: ORIENTAL COSTUME]
-
-[Illustration: A FRENCH DANCER—SHOWING REVOLVING SKIRT
-
-PHOTO. BY MORRISON, CHICAGO]
-
-[Illustration: RECITATION IN COSTUME
-
-PHOTO. BY MORRISON, CHICAGO]
-
-[Illustration:
-
-  OH, COLUMBIA, THE GEM OF THE OCEAN,
-  THE HOME OF THE BRAVE AND THE FREE.]
-
-[Illustration: PLEASING ENTRANCE IN A SPIRITED DIALOGUE]
-
-[Illustration: SONG OF THE FLOWER GIRL
-
-PHOTO. BY MORRISON, CHICAGO]
-
-[Illustration: THE DANCING LESSON]
-
-[Illustration: READY FOR THE OPENING SONG]
-
-[Illustration: THE BOY THAT LAUGHS]
-
-[Illustration: THREE FISHERS WENT SAILING]
-
-[Illustration: BRYANT. IRVING. WHITTIER. COOPER.]
-
-[Illustration: BYRON. TENNYSON. SCOTT. SHELLEY.]
-
-[Illustration: EDWARD EVERETT. BRET HARTE. H. W. LONGFELLOW. J. G.
-HOLLAND. R. H. STODDARD.]
-
-[Illustration: H. B. STOWE. ALICE CARY. ELIZ. PHELPS WARD.]
-
-[Illustration:
-
-  With her waves of golden hair
-        Floating free,
-  Hilda ran along the shore,
-  Gazing oft the waters o’er;
-  And the fishermen replied:
-  “He will come in with the tide,”
-  As they saw her golden hair
-        Floating free!]
-
-[Illustration: THE NEW COOK.
-
-“‘Will you iver be done wid your graneness,’ she axed me wid a loud
-scrame.”]
-
-[Illustration: “DO YOU KNOW ME NOW?”
-
-PHOTO. BY MORRISON, CHICAGO]
-
-[Illustration: “I’VE PUT THE SOUL OF LAUGHTER IN MY FACE.”
-
-PHOTO. BY MORRISON, CHICAGO]
-
-[Illustration: A PASSING SALUTE
-
-PHOTO. BY MORRISON, CHICAGO]
-
-[Illustration:
-
-  “SOCIETY IS QUICK TO TRACE
-  THE MAGIC OF A PLEASING FACE”]
-
-[Illustration: THE MASK REMOVED
-
-PHOTO. BY MORRISON, CHICAGO]
-
-[Illustration: NO DECEPTION, NOW!
-
-PHOTO. BY MORRISON, CHICAGO]
-
-[Illustration: A HUMOROUS RECITATION
-
-PHOTO. BY MORRISON, CHICAGO]
-
-[Illustration: RECITAL WITH HARP ACCOMPANIMENT
-
-PHOTO. BY MORRISON, CHICAGO]
-
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-<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of New Century Speaker and Writer, by Henry Davenport Northrop</p>
-<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>
-
-<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: New Century Speaker and Writer</p>
-<p style='display:block; margin-left:2em; text-indent:0; margin-top:0; margin-bottom:1em;'>A Standard Work on Composition and Oratory</p>
-  <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Henry Davenport Northrop</p>
-<p style='display:block; text-indent:0; margin:1em 0'>Release Date: December 20, 2021 [eBook #66982]</p>
-<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p>
-  <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: MFR and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)</p>
-<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK NEW CENTURY SPEAKER AND WRITER ***</div>
-
-<p><span class="pagenum"><a id="Page_i"></a>[i]</span></p>
-
-<h1>NEW CENTURY<br />
-<span class="smcap">SPEAKER and WRITER</span></h1>
-
-<p class="center"><b>BEING</b></p>
-
-<p class="center"><b>A Standard Work on Composition<br />
-and Oratory</b></p>
-
-<p class="center">CONTAINING</p>
-
-<p class="center">RULES FOR EXPRESSING WRITTEN THOUGHT IN A CORRECT AND ELEGANT<br />
-MANNER; MODEL SELECTIONS FROM THE MOST FAMOUS AUTHORS;<br />
-SUBJECTS FOR COMPOSITIONS AND HOW TO TREAT THEM; USE<br />
-OF ILLUSTRATIONS; DESCRIPTIVE, PATHETIC AND<br />
-HUMOROUS WRITINGS, ETC., ETC.</p>
-
-<p class="titlepage">TOGETHER WITH A</p>
-
-<p class="titlepage"><b><span class="smcap">Peerless Collection of Readings and Recitations,<br />
-Including Programmes for Special<br />
-Occasions</span></b></p>
-
-<p class="center">FROM AUTHORS OF WORLD-WIDE RENOWN, FOR PUBLIC SCHOOLS, ACADEMIES,<br />
-COLLEGES, LODGES, SUNDAY-SCHOOL AND<br />
-SOCIAL ENTERTAINMENTS</p>
-
-<p class="titlepage">THE WHOLE FORMING AN</p>
-
-<p class="titlepage"><b>UNRIVALED SELF-EDUCATOR FOR YOUNG PEOPLE</b></p>
-
-<p class="titlepage"><b><span class="smcap">by Henry Davenport Northrop</span></b><br />
-<span class="smaller">Author of “Delsarte Manual of Oratory,” “Golden Gleanings of Poetry, Prose and Song,” etc., etc.</span></p>
-
-<p class="titlepage"><b>Embellished with a Galaxy of Charming Engravings</b></p>
-
-<p class="titlepage">NATIONAL PUBLISHING CO.<br />
-<span class="smcap smaller">239, 241, 243 South American St.<br />
-Philadelphia</span></p>
-
-<p><span class="pagenum"><a id="Page_ii"></a>[ii]</span></p>
-
-<p class="titlepage smaller">ENTERED ACCORDING TO ACT OF CONGRESS, IN THE YEAR 1901, BY<br />
-D. Z. HOWELL<br />
-IN THE OFFICE OF THE LIBRARIAN OF CONGRESS, AT WASHINGTON, D. C., U. S. A.</p>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-
-<p><span class="pagenum"><a id="Page_iii"></a>[iii]</span></p>
-
-<h2 class="nobreak"><span class="smcap">Preface.</span></h2>
-
-</div>
-
-<p>Millions of young people in America are being educated, and hence
-there is a very great demand for a Standard Work showing how to
-express written thought in the most elegant manner and how to
-read and recite in a way that insures the greatest success. To meet this
-enormous demand is the aim of this volume.</p>
-
-<p><span class="smcap">Part I.—How to Write a Composition.</span>—The treatment of this subject is
-masterly and thorough, and is so fascinating that the study becomes a delight.
-Rules and examples are furnished for the right choice of words, for constructing
-sentences, for punctuation, for acquiring an elegant style of composition, for
-writing essays and letters, what authors should be read, etc. The directions
-given are all right to the point and are easily put into practice.</p>
-
-<p>The work contains a complete list of synonyms, or words of similar meaning,
-and more than 500 choice subjects for compositions, which are admirably suited
-to persons of all ages. These are followed by a charming collection of Masterpieces
-of Composition by such world-renowned authors as Emerson, Hawthorne,
-George Eliot, Lord Macaulay, Washington Irving, C. H. Spurgeon, Sarah J.
-Lippincott, Mrs. Stowe and many others.</p>
-
-<p>These grand specimens of composition bear the stamp of the most brilliant
-genius. They are very suggestive and helpful. They inspire the reader to the
-noblest efforts, and teach the truth of Bulwer Lytton’s well-known saying that
-“The pen is mightier than the sword.”</p>
-
-<p><span class="smcap">Part II.—Readings and Recitations.</span>—The second part of this incomparable
-work is no less valuable, and a candid perusal will convince you that it contains
-the largest and best collection of recitations ever brought together in one
-volume. These are of every variety and description. Be careful to notice that
-every one of these selections, which are from the writings of the world’s best
-authors, is especially adapted for reading and reciting. This is something which
-cannot be said of any similar work.</p>
-
-<p>All the Typical Gestures used in Reciting are shown by choice engravings,
-and the reader has in reality the best kind of teacher right before him. The different
-attitudes, facial expressions and gestures are both instructive and charming.
-These are followed by Recitations with Lesson Talks. Full directions are
-given for reciting the various pieces, and this is done by taking each paragraph
-or verse of the selection and pointing out the gestures, tone of voice, emphasis,
-etc., required to render it most effectively. The Lesson Talks render most valuable
-service to all who are studying the grand art of oratory.</p>
-
-<p>The next section of this masterly volume contains Recitations with Music.<span class="pagenum"><a id="Page_iv"></a>[iv]</span>
-This is a choice collection of readings which are rendered most effective by
-accompaniments of music, enabling the reader by the use of the voice or some
-musical instrument to entrance his audience.</p>
-
-<p>These charming selections are followed by a superb collection of Patriotic
-Recitations which celebrate the grand victories of our army and navy in the
-Philippines and West Indies. These incomparable pieces are all aglow with
-patriotic fervor and are eagerly sought by all elocutionists.</p>
-
-<p>There is space here only to mention the different parts of this delightful
-volume, such as Descriptive and Dramatic Recitations; Orations by Famous
-Orators; a peerless collection of Humorous and Pathetic Recitations, and Recitations
-for Children and Sunday Schools.</p>
-
-<p>Parents are charmed with this volume because it furnishes what the little
-folks want and is a self-educator for the young. It marks a new era in book
-publishing.</p>
-
-<p><span class="smcap">Part III.—Programmes for Special Occasions.</span>—These have been prepared
-with the greatest care in order to meet a very urgent demand. The work contains
-Programmes for Fourth of July; Christmas Entertainments; Washington’s
-Birthday; Decoration Day; Thanksgiving Day; Arbor Day; Public School and
-Parlor Entertainments; Harvest Home; Flower Day, etc. Beautiful Selections
-for Special Occasions are contained in no other work, and these alone insure
-this very attractive volume an enormous sale.</p>
-
-<p><span class="smcap">Dialogues, Tableaux, etc.</span>—Added to the Rich Contents already described
-is a Charming Collection of Dialogues and Tableaux for public and private entertainments.
-These are humorous, pithy, <span class="smcap">teach important lessons</span> and are
-thoroughly enjoyed by everybody.</p>
-
-<p>In many places the winter lyceum is an institution; we find it not only in
-academies, and normal schools, but very frequently the people in a district
-or town organize a debating society and discuss the popular questions of the day.
-The benefit thus derived cannot be estimated. In the last part of this volume
-will be found by-laws for those who wish to conduct lyceums, together with a
-choice selection of subjects for debate.</p>
-
-<p>Thus it is seen that this is a very comprehensive work. Not only is it carefully
-prepared, not only does it set a very high standard of excellence in composition
-and elocution, but it is a work peculiarly fitted to the wants of millions of
-young people throughout our country. The writer of this is free to say that such
-a work as this would have been of inestimable value to him while obtaining an
-education. All wise parents who wish to make the best provision for educating
-their children should understand that they have in this volume such a teacher in
-composition and oratory as has never before been offered to the public.</p>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-
-<p><span class="pagenum"><a id="Page_v"></a>[v]</span></p>
-
-<h2 class="nobreak">CONTENTS.</h2>
-
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<table summary="Contents">
-  <tr>
-    <td colspan="3" class="tdc"><a href="#PART_I">PART I.—HOW TO WRITE A COMPOSITION.</a></td>
-  </tr>
-  <tr>
-    <td colspan="2"></td>
-    <td class="tdpg smaller">PAGE</td>
-  </tr>
-  <tr>
-    <td colspan="2">Treatment of the Subject</td>
-    <td class="tdpg"><a href="#Page_18">18</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Right Choice of Words</td>
-    <td class="tdpg"><a href="#Page_19">19</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Obscure Sentences</td>
-    <td class="tdpg"><a href="#Page_19">19</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Write Exactly what You Mean</td>
-    <td class="tdpg"><a href="#Page_20">20</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">What You Should Read</td>
-    <td class="tdpg"><a href="#Page_21">21</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Our Great Writers</td>
-    <td class="tdpg"><a href="#Page_21">21</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Learning to Think</td>
-    <td class="tdpg"><a href="#Page_22">22</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">How to Acquire a Captivating Style</td>
-    <td class="tdpg"><a href="#Page_23">23</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Make Your Composition Attractive</td>
-    <td class="tdpg"><a href="#Page_24">24</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Choice of Language</td>
-    <td class="tdpg"><a href="#Page_25">25</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Faults in Writing</td>
-    <td class="tdpg"><a href="#Page_26">26</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Putting Words into Sentences</td>
-    <td class="tdpg"><a href="#Page_27">27</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Suit the Word to the Thought</td>
-    <td class="tdpg"><a href="#Page_28">28</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">An Amusing Exercise</td>
-    <td class="tdpg"><a href="#Page_29">29</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Errors to be Avoided</td>
-    <td class="tdpg"><a href="#Page_30">30</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Exercises in Composition</td>
-    <td class="tdpg"><a href="#Page_32">32</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Subject and Predicate</td>
-    <td class="tdpg"><a href="#Page_32">32</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Practice in Simple Sentences</td>
-    <td class="tdpg"><a href="#Page_34">34</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Sentences Combined</td>
-    <td class="tdpg"><a href="#Page_36">36</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Punctuation</td>
-    <td class="tdpg"><a href="#Page_39">39</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Full Stop</td>
-    <td class="tdpg"><a href="#Page_39">39</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Note of Interrogation</td>
-    <td class="tdpg"><a href="#Page_40">40</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Comma</td>
-    <td class="tdpg"><a href="#Page_40">40</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Semi-colon</td>
-    <td class="tdpg"><a href="#Page_42">42</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Quotation Marks</td>
-    <td class="tdpg"><a href="#Page_43">43</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Note of Exclamation</td>
-    <td class="tdpg"><a href="#Page_43">43</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Exercises in Easy Narratives</td>
-    <td class="tdpg"><a href="#Page_46">46</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Short Stories to be Written from Memory</td>
-    <td class="tdpg"><a href="#Page_47">47</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Outlines to be Turned into Narratives</td>
-    <td class="tdpg"><a href="#Page_50">50</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Stories in Verse to be Turned into Prose</td>
-    <td class="tdpg"><a href="#Page_51">51</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Three Fishers Went Sailing</td>
-    <td class="tdpg"><a href="#Page_51">51</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Sands of Dee</td>
-    <td class="tdpg"><a href="#Page_52">52</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Way to Win</td>
-    <td class="tdpg"><a href="#Page_52">52</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Press On</td>
-    <td class="tdpg"><a href="#Page_52">52</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Dying Warrior</td>
-    <td class="tdpg"><a href="#Page_52">52</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Boy that Laughs</td>
-    <td class="tdpg"><a href="#Page_53">53</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Cat’s Bath</td>
-    <td class="tdpg"><a href="#Page_53">53</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Beggar Man</td>
-    <td class="tdpg"><a href="#Page_53">53</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Shower Bath</td>
-    <td class="tdpg"><a href="#Page_54">54</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Queen Mary’s Return to Scotland</td>
-    <td class="tdpg"><a href="#Page_54">54</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Eagle and Serpent</td>
-    <td class="tdpg"><a href="#Page_54">54</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Ask and Have</td>
-    <td class="tdpg"><a href="#Page_55">55</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">What Was His Creed?</td>
-    <td class="tdpg"><a href="#Page_55">55</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Old Reaper</td>
-    <td class="tdpg"><a href="#Page_55">55</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Gallant Sailboat</td>
-    <td class="tdpg"><a href="#Page_55">55</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Wooing</td>
-    <td class="tdpg"><a href="#Page_56">56</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Miss Laugh and Miss Fret</td>
-    <td class="tdpg"><a href="#Page_56">56</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Monterey</td>
-    <td class="tdpg"><a href="#Page_56">56</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">A Woman’s Watch</td>
-    <td class="tdpg"><a href="#Page_57">57</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Love Lightens Labor</td>
-    <td class="tdpg"><a href="#Page_57">57</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Abou Ben Adhem</td>
-    <td class="tdpg"><a href="#Page_57">57</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Essays to be Written from Outlines</td>
-    <td class="tdpg"><a href="#Page_58">58</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Easy Subjects for Compositions</td>
-    <td class="tdpg"><a href="#Page_61">61</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Use of Illustrations</td>
-    <td class="tdpg"><a href="#Page_62">62</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Examples of Apt Illustrations</td>
-    <td class="tdpg"><a href="#Page_63">63</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Examples of Faulty Illustrations</td>
-    <td class="tdpg"><a href="#Page_63">63</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">How to Compose and Write Letters</td>
-    <td class="tdpg"><a href="#Page_64">64</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Examples of Letters</td>
-    <td class="tdpg"><a href="#Page_65">65</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Notes of Invitation</td>
-    <td class="tdpg"><a href="#Page_65">65</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Letters of Congratulation</td>
-    <td class="tdpg"><a href="#Page_66">66</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Love Letters</td>
-    <td class="tdpg"><a href="#Page_66">66</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Outlines to be Expanded into Letters</td>
-    <td class="tdpg"><a href="#Page_66">66</a></td>
-  </tr>
-  <tr>
-  <td colspan="3" class="tdc"><a href="#Specimens_of_Elegant_Composition">SPECIMENS OF ELEGANT COMPOSITION.</a></td>
-  </tr>
-  <tr>
-    <td>Getting the Right Start</td>
-    <td class="tdpg"><i>J. G. Holland</i></td>
-    <td class="tdpg"><a href="#Page_67">67</a></td>
-  </tr>
-  <tr>
-    <td>Dinah, the Methodist</td>
-    <td class="tdpg"><i>George Eliot</i></td>
-    <td class="tdpg"><a href="#Page_69">69</a></td>
-  </tr>
-  <tr>
-    <td>Godfrey and Dunstan</td>
-    <td class="tdpg"><i>George Eliot</i></td>
-    <td class="tdpg"><a href="#Page_70">70</a></td>
-  </tr>
-  <tr>
-    <td>Rip Van Winkle</td>
-    <td class="tdpg"><i>Washington Irving</i></td>
-    <td class="tdpg"><a href="#Page_72">72</a></td>
-  </tr>
-  <tr>
-    <td>Puritans of the Sixteenth Century</td>
-    <td class="tdpg"><i>Lord Macaulay</i></td>
-    <td class="tdpg"><a href="#Page_73">73</a></td>
-  </tr>
-  <tr>
-    <td>On being in Time</td>
-    <td class="tdpg"><i>C. H. Spurgeon</i></td>
-    <td class="tdpg"><a href="#Page_75">75</a></td>
-  </tr>
-  <tr>
-    <td>John Ploughman’s Talk on Home</td>
-    <td class="tdpg"><i>C. H. Spurgeon</i></td>
-    <td class="tdpg"><a href="#Page_76">76</a></td>
-  </tr>
-  <tr>
-    <td>Pearl and her Mother</td>
-    <td class="tdpg"><i>Nathaniel Hawthorne</i></td>
-    <td class="tdpg"><a href="#Page_78">78</a></td>
-  </tr>
-  <tr>
-    <td>Candace’s Opinions</td>
-    <td class="tdpg"><i>Mrs. H. B. Stowe</i></td>
-    <td class="tdpg"><a href="#Page_80">80</a></td>
-  </tr>
-  <tr>
-    <td>Midsummer in the Valley of the Rhine</td>
-    <td class="tdpg"><i>Geo. Meredith</i></td>
-    <td class="tdpg"><a href="#Page_81">81</a></td>
-  </tr>
-  <tr>
-    <td>Power of Natural Beauty</td>
-    <td class="tdpg"><i>R. W. Emerson</i></td>
-    <td class="tdpg"><a href="#Page_82">82</a></td>
-  </tr>
-  <tr>
-  <td colspan="3" class="tdc"><a href="#Subjects_for_Compositions">SUBJECTS FOR COMPOSITIONS.</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Historical Subjects</td>
-    <td class="tdpg"><a href="#Page_84">84</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Biographical Subjects</td>
-    <td class="tdpg"><a href="#Page_85">85</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Subjects for Narration and Description</td>
-    <td class="tdpg"><a href="#Page_86">86</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Popular Proverbs</td>
-    <td class="tdpg"><a href="#Page_87">87</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Subjects to be Expounded</td>
-    <td class="tdpg"><a href="#Page_87">87</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Subjects for Argument</td>
-    <td class="tdpg"><a href="#Page_89">89</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Subjects for Comparison</td>
-    <td class="tdpg"><a href="#Page_89">89</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Miscellaneous Subjects</td>
-    <td class="tdpg"><a href="#Page_90">90</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Synonyms and Antonyms</td>
-    <td class="tdpg"><a href="#Page_91">91</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Noms de Plume of Authors</td>
-    <td class="tdpg"><a href="#Page_111">111</a><span class="pagenum"><a id="Page_vi"></a>[vi]</span></td>
-  </tr>
-  <tr>
-  <td colspan="3" class="tdc"><a href="#PART_II">PART II.—READINGS AND RECITATIONS.</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">How to Read and Recite</td>
-    <td class="tdpg"><a href="#Page_113">113</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Cultivation of the Voice</td>
-    <td class="tdpg"><a href="#Page_113">113</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Distinct Enunciation</td>
-    <td class="tdpg"><a href="#Page_113">113</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Emphasis</td>
-    <td class="tdpg"><a href="#Page_114">114</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Pauses</td>
-    <td class="tdpg"><a href="#Page_114">114</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Gestures</td>
-    <td class="tdpg"><a href="#Page_114">114</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Magnetic Speaker</td>
-    <td class="tdpg"><a href="#Page_114">114</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Self-Command</td>
-    <td class="tdpg"><a href="#Page_114">114</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Typical Gestures for Reading and Reciting</td>
-    <td class="tdpg"><a href="#Page_115">115</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Malediction</td>
-    <td class="tdpg"><a href="#Page_115">115</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Designating</td>
-    <td class="tdpg"><a href="#Page_115">115</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Silence</td>
-    <td class="tdpg"><a href="#Page_115">115</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Repulsion</td>
-    <td class="tdpg"><a href="#Page_115">115</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Declaring</td>
-    <td class="tdpg"><a href="#Page_116">116</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Announcing</td>
-    <td class="tdpg"><a href="#Page_116">116</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Discerning</td>
-    <td class="tdpg"><a href="#Page_116">116</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Invocation</td>
-    <td class="tdpg"><a href="#Page_117">117</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Presenting or Receiving</td>
-    <td class="tdpg"><a href="#Page_117">117</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Horror</td>
-    <td class="tdpg"><a href="#Page_117">117</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Exaltation</td>
-    <td class="tdpg"><a href="#Page_117">117</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Secrecy</td>
-    <td class="tdpg"><a href="#Page_117">117</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Wonderment</td>
-    <td class="tdpg"><a href="#Page_118">118</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Indecision</td>
-    <td class="tdpg"><a href="#Page_118">118</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Grief</td>
-    <td class="tdpg"><a href="#Page_118">118</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Gladness</td>
-    <td class="tdpg"><a href="#Page_118">118</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Signalling</td>
-    <td class="tdpg"><a href="#Page_119">119</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Tender Rejection</td>
-    <td class="tdpg"><a href="#Page_119">119</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Protecting—Soothing</td>
-    <td class="tdpg"><a href="#Page_119">119</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Anguish</td>
-    <td class="tdpg"><a href="#Page_119">119</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Awe—Appeal</td>
-    <td class="tdpg"><a href="#Page_120">120</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Meditation</td>
-    <td class="tdpg"><a href="#Page_120">120</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Defiance</td>
-    <td class="tdpg"><a href="#Page_120">120</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Denying—Rejecting</td>
-    <td class="tdpg"><a href="#Page_120">120</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Dispersion</td>
-    <td class="tdpg"><a href="#Page_121">121</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Remorse</td>
-    <td class="tdpg"><a href="#Page_121">121</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Accusation</td>
-    <td class="tdpg"><a href="#Page_121">121</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Revealing</td>
-    <td class="tdpg"><a href="#Page_121">121</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Correct Positions of the Hands</td>
-    <td class="tdpg"><a href="#Page_122">122</a></td>
-  </tr>
-  <tr>
-  <td colspan="3" class="tdc"><a href="#Recitations_with_Lesson_Talks">RECITATIONS WITH LESSON TALKS.</a></td>
-  </tr>
-  <tr>
-    <td>Song of Our Soldiers at Santiago</td>
-    <td class="tdpg"><i>D. G. Adee</i></td>
-    <td class="tdpg"><a href="#Page_123">123</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Lesson Talk</td>
-    <td class="tdpg"><a href="#Page_123">123</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Victor of Marengo</td>
-    <td class="tdpg"><a href="#Page_124">124</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Lesson Talk</td>
-    <td class="tdpg"><a href="#Page_125">125</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Wedding Fee</td>
-    <td class="tdpg"><a href="#Page_125">125</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Lesson Talk</td>
-    <td class="tdpg"><a href="#Page_126">126</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Statue in Clay</td>
-    <td class="tdpg"><a href="#Page_127">127</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Lesson Talk</td>
-    <td class="tdpg"><a href="#Page_127">127</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Puzzled Boy</td>
-    <td class="tdpg"><a href="#Page_128">128</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Lesson Talk</td>
-    <td class="tdpg"><a href="#Page_128">128</a></td>
-  </tr>
-  <tr>
-  <td colspan="3" class="tdc"><a href="#Recitations_with_Music">RECITATIONS WITH MUSIC.</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Twickenham Ferry</td>
-    <td class="tdpg"><a href="#Page_129">129</a></td>
-  </tr>
-  <tr>
-    <td>Grandmother’s Chair</td>
-    <td class="tdpg"><i>John Read</i></td>
-    <td class="tdpg"><a href="#Page_130">130</a></td>
-  </tr>
-  <tr>
-    <td>Put Your Shoulder to the Wheel</td>
-    <td class="tdpg"><i>H. Clifton</i></td>
-    <td class="tdpg"><a href="#Page_131">131</a></td>
-  </tr>
-  <tr>
-    <td>A Brighter Day is Coming</td>
-    <td class="tdpg"><i>Ellen Burnside</i></td>
-    <td class="tdpg"><a href="#Page_132">132</a></td>
-  </tr>
-  <tr>
-    <td>Katie’s Love Letter</td>
-    <td class="tdpg"><i>Lady Dufferin</i></td>
-    <td class="tdpg"><a href="#Page_132">132</a></td>
-  </tr>
-  <tr>
-    <td>Dost Thou Love Me, Sister Ruth?</td>
-    <td class="tdpg"><i>John Parry</i></td>
-    <td class="tdpg"><a href="#Page_133">133</a></td>
-  </tr>
-  <tr>
-    <td>Two Little Rogues</td>
-    <td class="tdpg"><i>Mrs. A. M. Diaz</i></td>
-    <td class="tdpg"><a href="#Page_134">134</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Arkansaw Pete’s Adventure</td>
-    <td class="tdpg"><a href="#Page_135">135</a></td>
-  </tr>
-  <tr>
-  <td colspan="3" class="tdc"><a href="#Patriotic_Recitations">PATRIOTIC RECITATIONS.</a></td>
-  </tr>
-  <tr>
-    <td>The Beat of the Drum at Daybreak</td>
-    <td class="tdpg"><i>Michael O’Connor</i></td>
-    <td class="tdpg"><a href="#Page_137">137</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Cavalry Charge</td>
-    <td class="tdpg"><a href="#Page_137">137</a></td>
-  </tr>
-  <tr>
-    <td>Great Naval Battle at Santiago</td>
-    <td class="tdpg"><i>Admiral W. S. Schley</i></td>
-    <td class="tdpg"><a href="#Page_138">138</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Hobson’s Daring Deed</td>
-    <td class="tdpg"><a href="#Page_139">139</a></td>
-  </tr>
-  <tr>
-    <td>General Wheeler at Santiago</td>
-    <td class="tdpg"><i>J. L. Gordon</i></td>
-    <td class="tdpg"><a href="#Page_140">140</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Flag Goes By</td>
-    <td class="tdpg"><a href="#Page_140">140</a></td>
-  </tr>
-  <tr>
-    <td>In Manila Bay</td>
-    <td class="tdpg"><i>Chas. Wadsworth, Jr.</i></td>
-    <td class="tdpg"><a href="#Page_141">141</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">My Soldier Boy</td>
-    <td class="tdpg"><a href="#Page_142">142</a></td>
-  </tr>
-  <tr>
-    <td>The Yankees in Battle</td>
-    <td class="tdpg"><i>Captain R. D. Evans</i></td>
-    <td class="tdpg"><a href="#Page_142">142</a></td>
-  </tr>
-  <tr>
-    <td>The Banner Betsey Made</td>
-    <td class="tdpg"><i>T. C. Harbaugh</i></td>
-    <td class="tdpg"><a href="#Page_143">143</a></td>
-  </tr>
-  <tr>
-    <td>Our Flag</td>
-    <td class="tdpg"><i>Chas. F. Alsop</i></td>
-    <td class="tdpg"><a href="#Page_144">144</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">That Starry Flag of Ours</td>
-    <td class="tdpg"><a href="#Page_144">144</a></td>
-  </tr>
-  <tr>
-    <td>The Negro Soldier</td>
-    <td class="tdpg"><i>B. M. Channing</i></td>
-    <td class="tdpg"><a href="#Page_145">145</a></td>
-  </tr>
-  <tr>
-    <td>Deeds of Valor at Santiago</td>
-    <td class="tdpg"><i>Clinton Scollard</i></td>
-    <td class="tdpg"><a href="#Page_145">145</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">A Race for Dear Life</td>
-    <td class="tdpg"><a href="#Page_146">146</a></td>
-  </tr>
-  <tr>
-    <td>Patriotism of American Women</td>
-    <td class="tdpg"><i>T. Buchanan Read</i></td>
-    <td class="tdpg"><a href="#Page_147">147</a></td>
-  </tr>
-  <tr>
-    <td>Our Country’s Call</td>
-    <td class="tdpg"><i>Richard Barry</i></td>
-    <td class="tdpg"><a href="#Page_147">147</a></td>
-  </tr>
-  <tr>
-    <td>The Story of Seventy-Six</td>
-    <td class="tdpg"><i>W. C. Bryant</i></td>
-    <td class="tdpg"><a href="#Page_148">148</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Roll Call</td>
-    <td class="tdpg"><a href="#Page_148">148</a></td>
-  </tr>
-  <tr>
-    <td>The Battle-Field</td>
-    <td class="tdpg"><i>W. C Bryant</i></td>
-    <td class="tdpg"><a href="#Page_149">149</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Sinking of the Merrimac</td>
-    <td class="tdpg"><a href="#Page_150">150</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Stars and Stripes</td>
-    <td class="tdpg"><a href="#Page_151">151</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Rodney’s Ride</td>
-    <td class="tdpg"><a href="#Page_152">152</a></td>
-  </tr>
-  <tr>
-    <td>A Spool of Thread</td>
-    <td class="tdpg"><i>Sophia E. Eastman</i></td>
-    <td class="tdpg"><a href="#Page_153">153</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Young Patriot, Abraham Lincoln</td>
-    <td class="tdpg"><a href="#Page_154">154</a></td>
-  </tr>
-  <tr>
-    <td>Columbia</td>
-    <td class="tdpg"><i>Joel Barlow</i></td>
-    <td class="tdpg"><a href="#Page_155">155</a></td>
-  </tr>
-  <tr>
-    <td>Captain Molly at Monmouth</td>
-    <td class="tdpg"><i>William Collins</i></td>
-    <td class="tdpg"><a href="#Page_156">156</a></td>
-  </tr>
-  <tr>
-    <td>Douglas to the Populace of Stirling</td>
-    <td class="tdpg"><i>Sir Walter Scott</i></td>
-    <td class="tdpg"><a href="#Page_157">157</a><span class="pagenum"><a id="Page_vii"></a>[vii]</span></td>
-  </tr>
-  <tr>
-    <td>Our Country</td>
-    <td class="tdpg"><i>W. G. Peabodie</i></td>
-    <td class="tdpg"><a href="#Page_157">157</a></td>
-  </tr>
-  <tr>
-    <td>McIlrath of Malaté</td>
-    <td class="tdpg"><i>John J. Rooney</i></td>
-    <td class="tdpg"><a href="#Page_158">158</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">After the Battle</td>
-    <td class="tdpg"><a href="#Page_159">159</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Great Naval Battle of Manila</td>
-    <td class="tdpg"><a href="#Page_160">160</a></td>
-  </tr>
-  <tr>
-    <td>Sinking of the Ships</td>
-    <td class="tdpg"><i>W. B. Collison</i></td>
-    <td class="tdpg"><a href="#Page_161">161</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Perry’s Celebrated Victory on Lake Erie</td>
-    <td class="tdpg"><a href="#Page_163">163</a></td>
-  </tr>
-  <tr>
-    <td>Capture of Quebec</td>
-    <td class="tdpg"><i>James D. McCabe</i></td>
-    <td class="tdpg"><a href="#Page_164">164</a></td>
-  </tr>
-  <tr>
-    <td>Little Jean</td>
-    <td class="tdpg"><i>Lillie E. Barr</i></td>
-    <td class="tdpg"><a href="#Page_165">165</a></td>
-  </tr>
-  <tr>
-    <td>Defeat of General Braddock</td>
-    <td class="tdpg"><i>James D. McCabe</i></td>
-    <td class="tdpg"><a href="#Page_166">166</a></td>
-  </tr>
-  <tr>
-  <td colspan="3" class="tdc"><a href="#Descriptive_and_Dramatic_Recitations">DESCRIPTIVE AND DRAMATIC RECITATIONS.</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Quick! Man the Life Boat</td>
-    <td class="tdpg"><a href="#Page_167">167</a></td>
-  </tr>
-  <tr>
-    <td>Beautiful Hands</td>
-    <td class="tdpg"><i>J. Whitcomb Riley</i></td>
-    <td class="tdpg"><a href="#Page_167">167</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Burning Ship</td>
-    <td class="tdpg"><a href="#Page_168">168</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Unknown Speaker</td>
-    <td class="tdpg"><a href="#Page_169">169</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Child Lost</td>
-    <td class="tdpg"><a href="#Page_171">171</a></td>
-  </tr>
-  <tr>
-    <td>The Captain and the Fireman</td>
-    <td class="tdpg"><i>W. B. Collison</i></td>
-    <td class="tdpg"><a href="#Page_172">172</a></td>
-  </tr>
-  <tr>
-    <td>The Face on the Floor</td>
-    <td class="tdpg"><i>H. Antoine D’Arcy</i></td>
-    <td class="tdpg"><a href="#Page_173">173</a></td>
-  </tr>
-  <tr>
-    <td>The Engineer’s Story</td>
-    <td class="tdpg"><i>Eugene J. Hall</i></td>
-    <td class="tdpg"><a href="#Page_174">174</a></td>
-  </tr>
-  <tr>
-    <td>Jim</td>
-    <td class="tdpg"><i>James Whitcomb Riley</i></td>
-    <td class="tdpg"><a href="#Page_175">175</a></td>
-  </tr>
-  <tr>
-    <td>Queen Vashti’s Lament</td>
-    <td class="tdpg"><i>John Reade</i></td>
-    <td class="tdpg"><a href="#Page_176">176</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Skeleton’s Story</td>
-    <td class="tdpg"><a href="#Page_177">177</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Lady and the Earl</td>
-    <td class="tdpg"><a href="#Page_179">179</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">My Vesper Song</td>
-    <td class="tdpg"><a href="#Page_180">180</a></td>
-  </tr>
-  <tr>
-    <td>The Volunteer Organist</td>
-    <td class="tdpg"><i>S. W. Foss</i></td>
-    <td class="tdpg"><a href="#Page_180">180</a></td>
-  </tr>
-  <tr>
-    <td>Comin’ thro’ the Rye</td>
-    <td class="tdpg"><i>Robert Burns</i></td>
-    <td class="tdpg"><a href="#Page_181">181</a></td>
-  </tr>
-  <tr>
-    <td>Joan of Arc</td>
-    <td class="tdpg"><i>Clare S. McKinley</i></td>
-    <td class="tdpg"><a href="#Page_181">181</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Vulture of the Alps</td>
-    <td class="tdpg"><a href="#Page_183">183</a></td>
-  </tr>
-  <tr>
-    <td>The Old-fashioned Girl</td>
-    <td class="tdpg"><i>Tom Hall</i></td>
-    <td class="tdpg"><a href="#Page_184">184</a></td>
-  </tr>
-  <tr>
-    <td>Nathan Hale, the Martyr Spy</td>
-    <td class="tdpg"><i>I. H. Brown</i></td>
-    <td class="tdpg"><a href="#Page_184">184</a></td>
-  </tr>
-  <tr>
-    <td>The Future</td>
-    <td class="tdpg"><i>Rudyard Kipling</i></td>
-    <td class="tdpg"><a href="#Page_186">186</a></td>
-  </tr>
-  <tr>
-    <td>The Power of Habit</td>
-    <td class="tdpg"><i>John B. Gough</i></td>
-    <td class="tdpg"><a href="#Page_186">186</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Died on Duty</td>
-    <td class="tdpg"><a href="#Page_187">187</a></td>
-  </tr>
-  <tr>
-    <td>My Friend the Cricket and I</td>
-    <td class="tdpg"><i>Lillie E. Barr</i></td>
-    <td class="tdpg"><a href="#Page_188">188</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Snowstorm</td>
-    <td class="tdpg"><a href="#Page_188">188</a></td>
-  </tr>
-  <tr>
-    <td>Parrhasius and the Captive</td>
-    <td class="tdpg"><i>N. P. Willis</i></td>
-    <td class="tdpg"><a href="#Page_189">189</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Ninety-third off Cape Verde</td>
-    <td class="tdpg"><a href="#Page_190">190</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">A Felon’s Cell</td>
-    <td class="tdpg"><a href="#Page_191">191</a></td>
-  </tr>
-  <tr>
-    <td>The Battle of Waterloo</td>
-    <td class="tdpg"><i>Victor Hugo</i></td>
-    <td class="tdpg"><a href="#Page_192">192</a></td>
-  </tr>
-  <tr>
-    <td>A Pin</td>
-    <td class="tdpg"><i>Ella Wheeler Wilcox</i></td>
-    <td class="tdpg"><a href="#Page_194">194</a></td>
-  </tr>
-  <tr>
-    <td>A Relenting Mob</td>
-    <td class="tdpg"><i>Lucy H. Hooper</i></td>
-    <td class="tdpg"><a href="#Page_195">195</a></td>
-  </tr>
-  <tr>
-    <td>The Black Horse and His Rider</td>
-    <td class="tdpg"><i>Chas. Sheppard</i></td>
-    <td class="tdpg"><a href="#Page_196">196</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Unfinished Letter</td>
-    <td class="tdpg"><a href="#Page_198">198</a></td>
-  </tr>
-  <tr>
-    <td>Legend of the Organ Builder</td>
-    <td class="tdpg"><i>Julius C. R. Dorr</i></td>
-    <td class="tdpg"><a href="#Page_198">198</a></td>
-  </tr>
-  <tr>
-    <td>Caught in the Quicksand</td>
-    <td class="tdpg"><i>Victor Hugo</i></td>
-    <td class="tdpg"><a href="#Page_200">200</a></td>
-  </tr>
-  <tr>
-    <td>The Little Quaker Sinner</td>
-    <td class="tdpg"><i>Lucy L. Montgomery</i></td>
-    <td class="tdpg"><a href="#Page_201">201</a></td>
-  </tr>
-  <tr>
-    <td>The Tell-tale Heart</td>
-    <td class="tdpg"><i>Edgar Allan Poe</i></td>
-    <td class="tdpg"><a href="#Page_202">202</a></td>
-  </tr>
-  <tr>
-    <td>The Little Match Girl</td>
-    <td class="tdpg"><i>Hans Andersen</i></td>
-    <td class="tdpg"><a href="#Page_203">203</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Monk’s Vision</td>
-    <td class="tdpg"><a href="#Page_205">205</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Boat Race</td>
-    <td class="tdpg"><a href="#Page_205">205</a></td>
-  </tr>
-  <tr>
-    <td>Phillips of Pelhamville</td>
-    <td class="tdpg"><i>Alexander Anderson</i></td>
-    <td class="tdpg"><a href="#Page_207">207</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Poor Little Jim</td>
-    <td class="tdpg"><a href="#Page_208">208</a></td>
-  </tr>
-  <tr>
-  <td colspan="3" class="tdc"><a href="#Orations_by_Famous_Orators">ORATIONS BY FAMOUS ORATORS.</a></td>
-  </tr>
-  <tr>
-    <td>True Moral Courage</td>
-    <td class="tdpg"><i>Henry Clay</i></td>
-    <td class="tdpg"><a href="#Page_209">209</a></td>
-  </tr>
-  <tr>
-    <td>The Struggle for Liberty</td>
-    <td class="tdpg"><i>Josiah Quincy</i></td>
-    <td class="tdpg"><a href="#Page_210">210</a></td>
-  </tr>
-  <tr>
-    <td>Centennial Oration</td>
-    <td class="tdpg"><i>Henry Armitt Brown</i></td>
-    <td class="tdpg"><a href="#Page_211">211</a></td>
-  </tr>
-  <tr>
-    <td>Speech of Shrewsbury before Queen Elizabeth</td>
-    <td class="tdpg"><i>F. Von Schiller</i></td>
-    <td class="tdpg"><a href="#Page_212">212</a></td>
-  </tr>
-  <tr>
-    <td>Prospects of the Republic</td>
-    <td class="tdpg"><i>Edward Everett</i></td>
-    <td class="tdpg"><a href="#Page_212">212</a></td>
-  </tr>
-  <tr>
-    <td>The People Always Conquer</td>
-    <td class="tdpg"><i>Edward Everett</i></td>
-    <td class="tdpg"><a href="#Page_213">213</a></td>
-  </tr>
-  <tr>
-    <td>Survivors of Bunker Hill</td>
-    <td class="tdpg"><i>Daniel Webster</i></td>
-    <td class="tdpg"><a href="#Page_214">214</a></td>
-  </tr>
-  <tr>
-    <td>South Carolina and Massachusetts</td>
-    <td class="tdpg"><i>Daniel Webster</i></td>
-    <td class="tdpg"><a href="#Page_215">215</a></td>
-  </tr>
-  <tr>
-    <td>Eulogium on South Carolina</td>
-    <td class="tdpg"><i>Robert T. Hayne</i></td>
-    <td class="tdpg"><a href="#Page_216">216</a></td>
-  </tr>
-  <tr>
-    <td>Character of Washington</td>
-    <td class="tdpg"><i>Wendell Phillips</i></td>
-    <td class="tdpg"><a href="#Page_217">217</a></td>
-  </tr>
-  <tr>
-    <td>National Monument to Washington</td>
-    <td class="tdpg"><i>Robert C. Winthrop</i></td>
-    <td class="tdpg"><a href="#Page_218">218</a></td>
-  </tr>
-  <tr>
-    <td>The New Woman</td>
-    <td class="tdpg"><i>Frances E. Willard</i></td>
-    <td class="tdpg"><a href="#Page_219">219</a></td>
-  </tr>
-  <tr>
-    <td>An Appeal for Liberty</td>
-    <td class="tdpg"><i>Joseph Story</i></td>
-    <td class="tdpg"><a href="#Page_220">220</a></td>
-  </tr>
-  <tr>
-    <td>True Source of Freedom</td>
-    <td class="tdpg"><i>Edwin H. Chapin</i></td>
-    <td class="tdpg"><a href="#Page_220">220</a></td>
-  </tr>
-  <tr>
-    <td>Appeal to Young Men</td>
-    <td class="tdpg"><i>Lyman Beecher</i></td>
-    <td class="tdpg"><a href="#Page_221">221</a></td>
-  </tr>
-  <tr>
-    <td>The Pilgrims</td>
-    <td class="tdpg"><i>Chauncey M. Depew</i></td>
-    <td class="tdpg"><a href="#Page_222">222</a></td>
-  </tr>
-  <tr>
-    <td>Patriotism a Reality</td>
-    <td class="tdpg"><i>Thomas Meagher</i></td>
-    <td class="tdpg"><a href="#Page_223">223</a></td>
-  </tr>
-  <tr>
-    <td>The Glory of Athens</td>
-    <td class="tdpg"><i>Lord Macaulay</i></td>
-    <td class="tdpg"><a href="#Page_224">224</a></td>
-  </tr>
-  <tr>
-    <td>The Irish Church</td>
-    <td class="tdpg"><i>William E. Gladstone</i></td>
-    <td class="tdpg"><a href="#Page_225">225</a></td>
-  </tr>
-  <tr>
-    <td>Appeal to the Hungarians</td>
-    <td class="tdpg"><i>Louis Kossuth</i></td>
-    <td class="tdpg"><a href="#Page_226">226</a></td>
-  </tr>
-  <tr>
-    <td>The Tyrant Verres Denounced</td>
-    <td class="tdpg"><i>Cicero</i></td>
-    <td class="tdpg"><a href="#Page_227">227</a></td>
-  </tr>
-  <tr>
-  <td colspan="3" class="tdc"><a href="#Humorous_Recitations">HUMOROUS RECITATIONS.</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Bill’s in Trouble</td>
-    <td class="tdpg"><a href="#Page_229">229</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">“Spacially Jim”</td>
-    <td class="tdpg"><a href="#Page_229">229</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Marriage Ceremony</td>
-    <td class="tdpg"><a href="#Page_230">230</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Blasted Hopes</td>
-    <td class="tdpg"><a href="#Page_230">230</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Tim Murphy Makes a Few Remarks</td>
-    <td class="tdpg"><a href="#Page_231">231</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Passing of the Horse</td>
-    <td class="tdpg"><a href="#Page_231">231</a></td>
-  </tr>
-  <tr>
-    <td>A School-Day</td>
-    <td class="tdpg"><i>W. F. McSparran</i></td>
-    <td class="tdpg"><a href="#Page_232">232</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Bicycle and the Pup</td>
-    <td class="tdpg"><a href="#Page_233">233</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Puzzled Census Taker</td>
-    <td class="tdpg"><a href="#Page_233">233</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">It Made a Difference</td>
-    <td class="tdpg"><a href="#Page_233">233</a></td>
-  </tr>
-  <tr>
-    <td>Bridget O’Flannagan on Christian Science and Cockroaches</td>
-    <td class="tdpg"><i>M. Bourchier</i></td>
-    <td class="tdpg"><a href="#Page_234">234</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Conversational</td>
-    <td class="tdpg"><a href="#Page_235">235</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Wanted, A Minister’s Wife</td>
-    <td class="tdpg"><a href="#Page_235">235</a></td>
-  </tr>
-  <tr>
-    <td>How a Married Man Sews on a Button</td>
-    <td class="tdpg"><i>J. M. Bailey</i></td>
-    <td class="tdpg"><a href="#Page_236">236</a><span class="pagenum"><a id="Page_viii"></a>[viii]</span></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Dutchman’s Serenade</td>
-    <td class="tdpg"><a href="#Page_236">236</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Biddy’s Troubles</td>
-    <td class="tdpg"><a href="#Page_237">237</a></td>
-  </tr>
-  <tr>
-    <td>The Inventor’s Wife</td>
-    <td class="tdpg"><i>Mrs. E. T. Corbett</i></td>
-    <td class="tdpg"><a href="#Page_238">238</a></td>
-  </tr>
-  <tr>
-    <td>Miss Edith Helps Things Along</td>
-    <td class="tdpg"><i>Bret Harte</i></td>
-    <td class="tdpg"><a href="#Page_239">239</a></td>
-  </tr>
-  <tr>
-    <td>The Man Who Has All Diseases at Once</td>
-    <td class="tdpg"><i>Dr. Valentine</i></td>
-    <td class="tdpg"><a href="#Page_240">240</a></td>
-  </tr>
-  <tr>
-    <td>The School-Ma’am’s Courting</td>
-    <td class="tdpg"><i>Florence Pyatt</i></td>
-    <td class="tdpg"><a href="#Page_240">240</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Dutchman’s Snake</td>
-    <td class="tdpg"><a href="#Page_241">241</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">No Kiss</td>
-    <td class="tdpg"><a href="#Page_243">243</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Lisping Lover</td>
-    <td class="tdpg"><a href="#Page_243">243</a></td>
-  </tr>
-  <tr>
-    <td>Larry O’Dee</td>
-    <td class="tdpg"><i>W. W. Fink</i></td>
-    <td class="tdpg"><a href="#Page_243">243</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">How Paderewski Plays the Piano</td>
-    <td class="tdpg"><a href="#Page_244">244</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Freckled-Faced Girl</td>
-    <td class="tdpg"><a href="#Page_244">244</a></td>
-  </tr>
-  <tr>
-    <td>When Girls Wore Calico</td>
-    <td class="tdpg"><i>Hattie Whitney</i></td>
-    <td class="tdpg"><a href="#Page_245">245</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">A Winning Company</td>
-    <td class="tdpg"><a href="#Page_246">246</a></td>
-  </tr>
-  <tr>
-    <td>The Bravest Sailor</td>
-    <td class="tdpg"><i>Ella Wheeler Wilcox</i></td>
-    <td class="tdpg"><a href="#Page_246">246</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">How She Was Consoled</td>
-    <td class="tdpg"><a href="#Page_247">247</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">That Hired Girl</td>
-    <td class="tdpg"><a href="#Page_247">247</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">What Sambo Says</td>
-    <td class="tdpg"><a href="#Page_248">248</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Irish Sleigh Ride</td>
-    <td class="tdpg"><a href="#Page_248">248</a></td>
-  </tr>
-  <tr>
-    <td>Jane Jones</td>
-    <td class="tdpg"><i>Ben King</i></td>
-    <td class="tdpg"><a href="#Page_249">249</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">De Ole Plantation Mule</td>
-    <td class="tdpg"><a href="#Page_249">249</a></td>
-  </tr>
-  <tr>
-    <td>Adam Never Was a Boy</td>
-    <td class="tdpg"><i>T. C. Harbaugh</i></td>
-    <td class="tdpg"><a href="#Page_250">250</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">A Remarkable Case of S’posin</td>
-    <td class="tdpg"><a href="#Page_251">251</a></td>
-  </tr>
-  <tr>
-    <td>My Parrot</td>
-    <td class="tdpg"><i>Emma H. Webb</i></td>
-    <td class="tdpg"><a href="#Page_252">252</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Bakin and Greens</td>
-    <td class="tdpg"><a href="#Page_252">252</a></td>
-  </tr>
-  <tr>
-    <td>Hunting a Mouse</td>
-    <td class="tdpg"><i>Joshua Jenkins</i></td>
-    <td class="tdpg"><a href="#Page_253">253</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Village Sewing Society</td>
-    <td class="tdpg"><a href="#Page_254">254</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Signs and Omens</td>
-    <td class="tdpg"><a href="#Page_255">255</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Ghost</td>
-    <td class="tdpg"><a href="#Page_255">255</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">A Big Mistake</td>
-    <td class="tdpg"><a href="#Page_256">256</a></td>
-  </tr>
-  <tr>
-    <td>The Duel</td>
-    <td class="tdpg"><i>Eugene Field</i></td>
-    <td class="tdpg"><a href="#Page_258">258</a></td>
-  </tr>
-  <tr>
-    <td>Playing Jokes on a Guide</td>
-    <td class="tdpg"><i>Mark Twain</i></td>
-    <td class="tdpg"><a href="#Page_258">258</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">A Parody</td>
-    <td class="tdpg"><a href="#Page_260">260</a></td>
-  </tr>
-  <tr>
-    <td>Man’s Devotion</td>
-    <td class="tdpg"><i>Parmenas Hill</i></td>
-    <td class="tdpg"><a href="#Page_261">261</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Aunt Polly’s “George Washington”</td>
-    <td class="tdpg"><a href="#Page_261">261</a></td>
-  </tr>
-  <tr>
-    <td>Mine Vamily</td>
-    <td class="tdpg"><i>Yawcob Strauss</i></td>
-    <td class="tdpg"><a href="#Page_263">263</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">At the Garden Gate</td>
-    <td class="tdpg"><a href="#Page_264">264</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Minister’s Call</td>
-    <td class="tdpg"><a href="#Page_264">264</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Led by a Calf</td>
-    <td class="tdpg"><a href="#Page_265">265</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Tom Goldy’s Little Joke</td>
-    <td class="tdpg"><a href="#Page_266">266</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">How Hezekiah Stole the Spoons</td>
-    <td class="tdpg"><a href="#Page_266">266</a></td>
-  </tr>
-  <tr>
-    <td>Two Kinds of Polliwogs</td>
-    <td class="tdpg"><i>Augusta Moore</i></td>
-    <td class="tdpg"><a href="#Page_268">268</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Best Sewing Machine</td>
-    <td class="tdpg"><a href="#Page_268">268</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">How They Said Good Night</td>
-    <td class="tdpg"><a href="#Page_269">269</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Josiar’s Courting</td>
-    <td class="tdpg"><a href="#Page_270">270</a></td>
-  </tr>
-  <tr>
-  <td colspan="3" class="tdc"><a href="#Pathetic_Recitations">PATHETIC RECITATIONS.</a></td>
-  </tr>
-  <tr>
-    <td>Play Softly, Boys</td>
-    <td class="tdpg"><i>Teresa O’Hare</i></td>
-    <td class="tdpg"><a href="#Page_271">271</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">In the Baggage Coach Ahead</td>
-    <td class="tdpg"><a href="#Page_272">272</a></td>
-  </tr>
-  <tr>
-    <td>The Musing One</td>
-    <td class="tdpg"><i>S. E. Kiser</i></td>
-    <td class="tdpg"><a href="#Page_272">272</a></td>
-  </tr>
-  <tr>
-    <td>In Memoriam</td>
-    <td class="tdpg"><i>Thomas R. Gregory</i></td>
-    <td class="tdpg"><a href="#Page_273">273</a></td>
-  </tr>
-  <tr>
-    <td>The Dying Newsboy</td>
-    <td class="tdpg"><i>Mrs. Emily Thornton</i></td>
-    <td class="tdpg"><a href="#Page_273">273</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Coals of Fire</td>
-    <td class="tdpg"><a href="#Page_274">274</a></td>
-  </tr>
-  <tr>
-    <td>Dirge of the Drums</td>
-    <td class="tdpg"><i>Ralph Alton</i></td>
-    <td class="tdpg"><a href="#Page_275">275</a></td>
-  </tr>
-  <tr>
-    <td>The Old Dog’s Death Postponed</td>
-    <td class="tdpg"><i>Chas. E. Baer</i></td>
-    <td class="tdpg"><a href="#Page_275">275</a></td>
-  </tr>
-  <tr>
-    <td>The Fallen Hero</td>
-    <td class="tdpg"><i>Minna Irving</i></td>
-    <td class="tdpg"><a href="#Page_276">276</a></td>
-  </tr>
-  <tr>
-    <td>The Soldier’s Wife</td>
-    <td class="tdpg"><i>Elliott Flower</i></td>
-    <td class="tdpg"><a href="#Page_276">276</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">“Break the News Gently”</td>
-    <td class="tdpg"><a href="#Page_277">277</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">On the Other Train</td>
-    <td class="tdpg"><a href="#Page_277">277</a></td>
-  </tr>
-  <tr>
-    <td>Some Twenty Years Ago</td>
-    <td class="tdpg"><i>Stephen Marsell</i></td>
-    <td class="tdpg"><a href="#Page_279">279</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Only a Soldier</td>
-    <td class="tdpg"><a href="#Page_280">280</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Pilgrim Fathers</td>
-    <td class="tdpg"><a href="#Page_280">280</a></td>
-  </tr>
-  <tr>
-    <td>Master Johnny’s Next-Door Neighbor</td>
-    <td class="tdpg"><i>Bret Harte</i></td>
-    <td class="tdpg"><a href="#Page_281">281</a></td>
-  </tr>
-  <tr>
-    <td>Stonewall Jackson’s Death</td>
-    <td class="tdpg"><i>Paul M. Russell</i></td>
-    <td class="tdpg"><a href="#Page_282">282</a></td>
-  </tr>
-  <tr>
-    <td>The Story of Nell</td>
-    <td class="tdpg"><i>Robert Buchanan</i></td>
-    <td class="tdpg"><a href="#Page_284">284</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Little Nan</td>
-    <td class="tdpg"><a href="#Page_285">285</a></td>
-  </tr>
-  <tr>
-    <td>One of the Little Ones</td>
-    <td class="tdpg"><i>G. L. Catlin</i></td>
-    <td class="tdpg"><a href="#Page_285">285</a></td>
-  </tr>
-  <tr>
-    <td>The Drunkard’s Daughter</td>
-    <td class="tdpg"><i>Eugene J. Hall</i></td>
-    <td class="tdpg"><a href="#Page_286">286</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Beautiful</td>
-    <td class="tdpg"><a href="#Page_287">287</a></td>
-  </tr>
-  <tr>
-    <td>Trouble in the Amen Corner</td>
-    <td class="tdpg"><i>C. T. Harbaugh</i></td>
-    <td class="tdpg"><a href="#Page_288">288</a></td>
-  </tr>
-  <tr>
-    <td>Little Mag’s Victory</td>
-    <td class="tdpg"><i>Geo. L. Catlin</i></td>
-    <td class="tdpg"><a href="#Page_289">289</a></td>
-  </tr>
-  <tr>
-    <td>Life’s Battle</td>
-    <td class="tdpg"><i>Wayne Parsons</i></td>
-    <td class="tdpg"><a href="#Page_290">290</a></td>
-  </tr>
-  <tr>
-    <td>The Lost Kiss</td>
-    <td class="tdpg"><i>J. Whitcomb Riley</i></td>
-    <td class="tdpg"><a href="#Page_290">290</a></td>
-  </tr>
-  <tr>
-    <td>Execution of Mary, Queen of Scots</td>
-    <td class="tdpg"><i>Lamartine</i></td>
-    <td class="tdpg"><a href="#Page_291">291</a></td>
-  </tr>
-  <tr>
-    <td>Over the Range</td>
-    <td class="tdpg"><i>J. Harrison Mills</i></td>
-    <td class="tdpg"><a href="#Page_292">292</a></td>
-  </tr>
-  <tr>
-    <td>The Story of Crazy Nell</td>
-    <td class="tdpg"><i>Joseph Whitten</i></td>
-    <td class="tdpg"><a href="#Page_292">292</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Little Sallie’s Wish</td>
-    <td class="tdpg"><a href="#Page_293">293</a></td>
-  </tr>
-  <tr>
-    <td>Drowned Among the Lilies</td>
-    <td class="tdpg"><i>E. E. Rexford</i></td>
-    <td class="tdpg"><a href="#Page_294">294</a></td>
-  </tr>
-  <tr>
-    <td>The Fate of Charlotte Corday</td>
-    <td class="tdpg"><i>C. S. McKinley</i></td>
-    <td class="tdpg"><a href="#Page_294">294</a></td>
-  </tr>
-  <tr>
-    <td>The Little Voyager</td>
-    <td class="tdpg"><i>Mrs. M. L. Bayne</i></td>
-    <td class="tdpg"><a href="#Page_295">295</a></td>
-  </tr>
-  <tr>
-    <td>The Dream of Aldarin</td>
-    <td class="tdpg"><i>George Lippard</i></td>
-    <td class="tdpg"><a href="#Page_296">296</a></td>
-  </tr>
-  <tr>
-    <td>In the Mining Town</td>
-    <td class="tdpg"><i>Rose H. Thorpe</i></td>
-    <td class="tdpg"><a href="#Page_297">297</a></td>
-  </tr>
-  <tr>
-    <td>Tommy’s Prayer</td>
-    <td class="tdpg"><i>I. F. Nichols</i></td>
-    <td class="tdpg"><a href="#Page_298">298</a></td>
-  </tr>
-  <tr>
-    <td>Robby and Ruth</td>
-    <td class="tdpg"><i>Louisa S. Upham</i></td>
-    <td class="tdpg"><a href="#Page_300">300</a></td>
-  </tr>
-  <tr>
-  <td colspan="3" class="tdc"><a href="#Recitations_for_Children">RECITATIONS FOR CHILDREN.</a></td>
-  </tr>
-  <tr>
-    <td>Two Little Maidens</td>
-    <td class="tdpg"><i>Agnes Carr</i></td>
-    <td class="tdpg"><a href="#Page_301">301</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Way to Succeed</td>
-    <td class="tdpg"><a href="#Page_301">301</a></td>
-  </tr>
-  <tr>
-    <td>When Pa Begins to Shave</td>
-    <td class="tdpg"><i>Harry D. Robins</i></td>
-    <td class="tdpg"><a href="#Page_301">301</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">A Boy’s View</td>
-    <td class="tdpg"><a href="#Page_302">302</a></td>
-  </tr>
-  <tr>
-    <td>Mammy’s Churning Song</td>
-    <td class="tdpg"><i>E. A. Oldham</i></td>
-    <td class="tdpg"><a href="#Page_302">302</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Twenty Frogs</td>
-    <td class="tdpg"><a href="#Page_303">303</a></td>
-  </tr>
-  <tr>
-    <td>Only a Bird</td>
-    <td class="tdpg"><i>Mary Morrison</i></td>
-    <td class="tdpg"><a href="#Page_303">303</a></td>
-  </tr>
-  <tr>
-    <td>The Way to Do It</td>
-    <td class="tdpg"><i>Mary Mapes Dodge</i></td>
-    <td class="tdpg"><a href="#Page_303">303</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">We Must All Scratch</td>
-    <td class="tdpg"><a href="#Page_304">304</a></td>
-  </tr>
-  <tr>
-    <td>Kitty at School</td>
-    <td class="tdpg"><i>Kate Hulmer</i></td>
-    <td class="tdpg"><a href="#Page_304">304</a></td>
-  </tr>
-  <tr>
-    <td>A Fellow’s Mother</td>
-    <td class="tdpg"><i>Margaret E. Sangster</i></td>
-    <td class="tdpg"><a href="#Page_305">305</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Story Katie Told</td>
-    <td class="tdpg"><a href="#Page_305">305</a><span class="pagenum"><a id="Page_ix"></a>[ix]</span></td>
-  </tr>
-  <tr>
-    <td colspan="2">A Little Rogue</td>
-    <td class="tdpg"><a href="#Page_306">306</a></td>
-  </tr>
-  <tr>
-    <td>Mattie’s Wants and Wishes</td>
-    <td class="tdpg"><i>Grace Gordon</i></td>
-    <td class="tdpg"><a href="#Page_306">306</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Won’t and Will</td>
-    <td class="tdpg"><a href="#Page_307">307</a></td>
-  </tr>
-  <tr>
-    <td>Willie’s Breeches</td>
-    <td class="tdpg"><i>Etta G. Saulsbury</i></td>
-    <td class="tdpg"><a href="#Page_307">307</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Little Dora’s Soliloquy</td>
-    <td class="tdpg"><a href="#Page_307">307</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Squirrel’s Lesson</td>
-    <td class="tdpg"><a href="#Page_308">308</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Little Kitty</td>
-    <td class="tdpg"><a href="#Page_308">308</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Labor Song</td>
-    <td class="tdpg"><a href="#Page_309">309</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">What Baby Said</td>
-    <td class="tdpg"><a href="#Page_310">310</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">One Little Act</td>
-    <td class="tdpg"><a href="#Page_311">311</a></td>
-  </tr>
-  <tr>
-    <td>The Little Orator</td>
-    <td class="tdpg"><i>Thaddeus M. Harris</i></td>
-    <td class="tdpg"><a href="#Page_311">311</a></td>
-  </tr>
-  <tr>
-    <td>A Gentleman</td>
-    <td class="tdpg"><i>Margaret E. Sangster</i></td>
-    <td class="tdpg"><a href="#Page_312">312</a></td>
-  </tr>
-  <tr>
-    <td>Babies and Kittens</td>
-    <td class="tdpg"><i>L. M. Hadley</i></td>
-    <td class="tdpg"><a href="#Page_312">312</a></td>
-  </tr>
-  <tr>
-    <td>A Dissatisfied Chicken</td>
-    <td class="tdpg"><i>A. G. Waters</i></td>
-    <td class="tdpg"><a href="#Page_312">312</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Little Torment</td>
-    <td class="tdpg"><a href="#Page_313">313</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Reason Why</td>
-    <td class="tdpg"><a href="#Page_313">313</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">A Child’s Reasoning</td>
-    <td class="tdpg"><a href="#Page_314">314</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">A Swell Dinner</td>
-    <td class="tdpg"><a href="#Page_314">314</a></td>
-  </tr>
-  <tr>
-    <td>Little Jack</td>
-    <td class="tdpg"><i>Eugene J. Hall</i></td>
-    <td class="tdpg"><a href="#Page_314">314</a></td>
-  </tr>
-  <tr>
-    <td>A Story of an Apple</td>
-    <td class="tdpg"><i>Sydney Dayre</i></td>
-    <td class="tdpg"><a href="#Page_315">315</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Idle Ben</td>
-    <td class="tdpg"><a href="#Page_315">315</a></td>
-  </tr>
-  <tr>
-    <td>Baby Alice’s Rain</td>
-    <td class="tdpg"><i>John Hay Furness</i></td>
-    <td class="tdpg"><a href="#Page_316">316</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Give Us Little Boys a Chance</td>
-    <td class="tdpg"><a href="#Page_316">316</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Puss in the Oven</td>
-    <td class="tdpg"><a href="#Page_316">316</a></td>
-  </tr>
-  <tr>
-    <td>What Was It?</td>
-    <td class="tdpg"><i>Sydney Dayre</i></td>
-    <td class="tdpg"><a href="#Page_317">317</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Cobbler’s Secret</td>
-    <td class="tdpg"><a href="#Page_317">317</a></td>
-  </tr>
-  <tr>
-    <td>A Sad Case</td>
-    <td class="tdpg"><i>Clara D. Bates</i></td>
-    <td class="tdpg"><a href="#Page_318">318</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Heir Apparent</td>
-    <td class="tdpg"><a href="#Page_318">318</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">An Egg a Chicken</td>
-    <td class="tdpg"><a href="#Page_319">319</a></td>
-  </tr>
-  <tr>
-    <td>One of God’s Little Heroes</td>
-    <td class="tdpg"><i>Margaret J. Preston</i></td>
-    <td class="tdpg"><a href="#Page_320">320</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">What the Cows were Doing</td>
-    <td class="tdpg"><a href="#Page_320">320</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Mamma’s Help</td>
-    <td class="tdpg"><a href="#Page_320">320</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">How Two Birdies Kept House</td>
-    <td class="tdpg"><a href="#Page_321">321</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Why He Wouldn’t Die</td>
-    <td class="tdpg"><a href="#Page_321">321</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Sick Dolly</td>
-    <td class="tdpg"><a href="#Page_322">322</a></td>
-  </tr>
-  <tr>
-    <td>Days of the Week</td>
-    <td class="tdpg"><i>Mary Ely Page</i></td>
-    <td class="tdpg"><a href="#Page_322">322</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Popping Corn</td>
-    <td class="tdpg"><a href="#Page_323">323</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">How the Farmer Works</td>
-    <td class="tdpg"><a href="#Page_323">323</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Birds’ Picnic</td>
-    <td class="tdpg"><a href="#Page_324">324</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">A Very Smart Dog</td>
-    <td class="tdpg"><a href="#Page_324">324</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Opportunity</td>
-    <td class="tdpg"><a href="#Page_325">325</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Little Leaves’ Journey</td>
-    <td class="tdpg"><a href="#Page_325">325</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Broom Drill</td>
-    <td class="tdpg"><a href="#Page_325">325</a></td>
-  </tr>
-  <tr>
-  <td colspan="3" class="tdc"><a href="#Recitations_for_the_Sunday-school">RECITATIONS FOR SUNDAY-SCHOOLS.</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Little Servants</td>
-    <td class="tdpg"><a href="#Page_332">332</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Willie and the Birds</td>
-    <td class="tdpg"><a href="#Page_332">332</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">A Child’s Prayer</td>
-    <td class="tdpg"><a href="#Page_332">332</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">God Loves Me</td>
-    <td class="tdpg"><a href="#Page_332">332</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Unfinished Prayer</td>
-    <td class="tdpg"><a href="#Page_333">333</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Seeds of Kindness</td>
-    <td class="tdpg"><a href="#Page_333">333</a></td>
-  </tr>
-  <tr>
-    <td>A Lot of Don’ts</td>
-    <td class="tdpg"><i>E. C. Rook</i></td>
-    <td class="tdpg"><a href="#Page_333">333</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Little Willie and the Apple</td>
-    <td class="tdpg"><a href="#Page_334">334</a></td>
-  </tr>
-  <tr>
-    <td>The Child’s Prayer</td>
-    <td class="tdpg"><i>Mary A. P. Humphrey</i></td>
-    <td class="tdpg"><a href="#Page_334">334</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">“Mayn’t I Be a Boy?”</td>
-    <td class="tdpg"><a href="#Page_335">335</a></td>
-  </tr>
-  <tr>
-    <td>Give Your Best</td>
-    <td class="tdpg"><i>Adelaide A. Proctor</i></td>
-    <td class="tdpg"><a href="#Page_335">335</a></td>
-  </tr>
-  <tr>
-    <td>The Birds</td>
-    <td class="tdpg"><i>Myra A. Shattuck</i></td>
-    <td class="tdpg"><a href="#Page_335">335</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">“Come Unto Me”</td>
-    <td class="tdpg"><a href="#Page_336">336</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">There is a Teetotaler</td>
-    <td class="tdpg"><a href="#Page_337">337</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">An Appeal for Beneficence</td>
-    <td class="tdpg"><a href="#Page_337">337</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Address of Welcome to a New Pastor</td>
-    <td class="tdpg"><a href="#Page_337">337</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Address of Welcome to a New Superintendent</td>
-    <td class="tdpg"><a href="#Page_338">338</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Opening Address for a Sunday-school Exhibition</td>
-    <td class="tdpg"><a href="#Page_338">338</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Closing Address for a Sunday-school Exhibition</td>
-    <td class="tdpg"><a href="#Page_338">338</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Presentation Address to a Pastor</td>
-    <td class="tdpg"><a href="#Page_339">339</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Presentation Address to a Teacher</td>
-    <td class="tdpg"><a href="#Page_339">339</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Presentation Address to a Superintendent</td>
-    <td class="tdpg"><a href="#Page_339">339</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Address of Welcome After Illness</td>
-    <td class="tdpg"><a href="#Page_340">340</a></td>
-  </tr>
-  <tr>
-    <td>Welcome to a Pastor</td>
-    <td class="tdpg"><i>May Hatheway</i></td>
-    <td class="tdpg"><a href="#Page_340">340</a></td>
-  </tr>
-  <tr>
-  <td colspan="3" class="tdc"><a href="#PART_III">PART III.—PROGRAMMES FOR SPECIAL OCCASIONS.</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Programme No. 1 for Fourth of July</td>
-    <td class="tdpg"><a href="#Page_341">341</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">“America”</td>
-    <td class="tdpg"><a href="#Page_341">341</a></td>
-  </tr>
-  <tr>
-    <td>The Fourth of July</td>
-    <td class="tdpg"><i>Chas. Sprague</i></td>
-    <td class="tdpg"><a href="#Page_341">341</a></td>
-  </tr>
-  <tr>
-    <td>The Vow of Washington</td>
-    <td class="tdpg"><i>J. G. Whittier</i></td>
-    <td class="tdpg"><a href="#Page_342">342</a></td>
-  </tr>
-  <tr>
-    <td>The Little Mayflower</td>
-    <td class="tdpg"><i>Edward Everett</i></td>
-    <td class="tdpg"><a href="#Page_343">343</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">O Land of a Million Brave Soldiers</td>
-    <td class="tdpg"><a href="#Page_343">343</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">To the Ladies</td>
-    <td class="tdpg"><a href="#Page_344">344</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Programme No. 2 for Fourth of July</td>
-    <td class="tdpg"><a href="#Page_344">344</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">God Bless our Native Land</td>
-    <td class="tdpg"><a href="#Page_344">344</a></td>
-  </tr>
-  <tr>
-    <td>Our Natal Day</td>
-    <td class="tdpg"><i>Will Carleton</i></td>
-    <td class="tdpg"><a href="#Page_345">345</a></td>
-  </tr>
-  <tr>
-    <td>The Banner of the Sea</td>
-    <td class="tdpg"><i>Homer Green</i></td>
-    <td class="tdpg"><a href="#Page_346">346</a></td>
-  </tr>
-  <tr>
-    <td>What America Has Done for the World</td>
-    <td class="tdpg"><i>G. C. Verplanck</i></td>
-    <td class="tdpg"><a href="#Page_346">346</a></td>
-  </tr>
-  <tr>
-    <td>Stand Up for Liberty</td>
-    <td class="tdpg"><i>Robert Treat Paine</i></td>
-    <td class="tdpg"><a href="#Page_347">347</a></td>
-  </tr>
-  <tr>
-    <td>Off with Your Hat as the Flag Goes By</td>
-    <td class="tdpg"><i>H. C. Bunner</i></td>
-    <td class="tdpg"><a href="#Page_348">348</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Programme for Christmas Entertainment</td>
-    <td class="tdpg"><a href="#Page_349">349</a></td>
-  </tr>
-  <tr>
-    <td>Ring, O Bells, in Gladness</td>
-    <td class="tdpg"><i>Alice J. Cleator</i></td>
-    <td class="tdpg"><a href="#Page_349">349</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">A Letter to Santa Claus</td>
-    <td class="tdpg"><a href="#Page_349">349</a></td>
-  </tr>
-  <tr>
-    <td>Christmas in All the Lands</td>
-    <td class="tdpg"><i>G. A. Brown</i></td>
-    <td class="tdpg"><a href="#Page_349">349</a></td>
-  </tr>
-  <tr>
-    <td>Santa Claus on the Train</td>
-    <td class="tdpg"><i>Henry C. Walsh</i></td>
-    <td class="tdpg"><a href="#Page_350">350</a></td>
-  </tr>
-  <tr>
-    <td>The Waifs</td>
-    <td class="tdpg"><i>Margaret Deland</i></td>
-    <td class="tdpg"><a href="#Page_351">351</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Welcome Santa Claus</td>
-    <td class="tdpg"><a href="#Page_351">351</a></td>
-  </tr>
-  <tr>
-    <td>Santa Claus and the Mouse</td>
-    <td class="tdpg"><i>Emilie Poulsson</i></td>
-    <td class="tdpg"><a href="#Page_351">351</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">What Ted Found in His Stocking</td>
-    <td class="tdpg"><a href="#Page_352">352</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Programme for Decoration Day</td>
-    <td class="tdpg"><a href="#Page_353">353</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Meaning of the Day</td>
-    <td class="tdpg"><a href="#Page_353">353</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Exercise for Fifteen Pupils</td>
-    <td class="tdpg"><a href="#Page_353">353</a><span class="pagenum"><a id="Page_x"></a>[x]</span></td>
-  </tr>
-  <tr>
-    <td>Decoration Day</td>
-    <td class="tdpg"><i>J. Whitcomb Riley</i></td>
-    <td class="tdpg"><a href="#Page_354">354</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Acrostic</td>
-    <td class="tdpg"><a href="#Page_355">355</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Origin of Memorial Day</td>
-    <td class="tdpg"><a href="#Page_355">355</a></td>
-  </tr>
-  <tr>
-    <td>Strew with Flowers the Soldier’s Grave</td>
-    <td class="tdpg"><i>J. W. Dunbar</i></td>
-    <td class="tdpg"><a href="#Page_355">355</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Our Nation’s Patriots</td>
-    <td class="tdpg"><a href="#Page_356">356</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Programme for Washington’s Birthday</td>
-    <td class="tdpg"><a href="#Page_357">357</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Washington Enigma</td>
-    <td class="tdpg"><a href="#Page_357">357</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Washington’s Day</td>
-    <td class="tdpg"><a href="#Page_357">357</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">A Little Boy’s Hatchet Story</td>
-    <td class="tdpg"><a href="#Page_357">357</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Maxims of Washington</td>
-    <td class="tdpg"><a href="#Page_358">358</a></td>
-  </tr>
-  <tr>
-    <td>Once More We Celebrate</td>
-    <td class="tdpg"><i>Alice J. Cleator</i></td>
-    <td class="tdpg"><a href="#Page_358">358</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Father of His Country</td>
-    <td class="tdpg"><a href="#Page_358">358</a></td>
-  </tr>
-  <tr>
-    <td>February Twenty-Second</td>
-    <td class="tdpg"><i>Joy Allison</i></td>
-    <td class="tdpg"><a href="#Page_359">359</a></td>
-  </tr>
-  <tr>
-    <td>A True Soldier</td>
-    <td class="tdpg"><i>Alice J. Cleator</i></td>
-    <td class="tdpg"><a href="#Page_359">359</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Washington’s Life</td>
-    <td class="tdpg"><a href="#Page_360">360</a></td>
-  </tr>
-  <tr>
-    <td>Birthday of Washington</td>
-    <td class="tdpg"><i>George Howland</i></td>
-    <td class="tdpg"><a href="#Page_360">360</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Programme for Arbor Day</td>
-    <td class="tdpg"><a href="#Page_361">361</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">We Have Come with Joyful Greeting</td>
-    <td class="tdpg"><a href="#Page_361">361</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Arbor Day</td>
-    <td class="tdpg"><a href="#Page_361">361</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Quotations</td>
-    <td class="tdpg"><a href="#Page_361">361</a></td>
-  </tr>
-  <tr>
-    <td>What Do We Plant When We Plant a Tree?</td>
-    <td class="tdpg"><i>Henry Abbey</i></td>
-    <td class="tdpg"><a href="#Page_362">362</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Wedding of the Palm and Pine</td>
-    <td class="tdpg"><a href="#Page_363">363</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Origin of Arbor Day</td>
-    <td class="tdpg"><a href="#Page_363">363</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Value of Our Forests</td>
-    <td class="tdpg"><a href="#Page_364">364</a></td>
-  </tr>
-  <tr>
-    <td>Up From the Smiling Earth</td>
-    <td class="tdpg"><i>Edna D. Proctor</i></td>
-    <td class="tdpg"><a href="#Page_364">364</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Trees</td>
-    <td class="tdpg"><a href="#Page_364">364</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Programme for A Harvest Home</td>
-    <td class="tdpg"><a href="#Page_365">365</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Through the Golden Summertime</td>
-    <td class="tdpg"><a href="#Page_365">365</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">A Sermon in Rhyme</td>
-    <td class="tdpg"><a href="#Page_365">365</a></td>
-  </tr>
-  <tr>
-    <td>Farmer John</td>
-    <td class="tdpg"><i>J. T. Trowbridge</i></td>
-    <td class="tdpg"><a href="#Page_366">366</a></td>
-  </tr>
-  <tr>
-    <td>The Husbandman</td>
-    <td class="tdpg"><i>John Sterling</i></td>
-    <td class="tdpg"><a href="#Page_366">366</a></td>
-  </tr>
-  <tr>
-    <td>The Nobility of Labor</td>
-    <td class="tdpg"><i>Orville Dewey</i></td>
-    <td class="tdpg"><a href="#Page_367">367</a></td>
-  </tr>
-  <tr>
-    <td>The Corn Song</td>
-    <td class="tdpg"><i>J. G. Whittier</i></td>
-    <td class="tdpg"><a href="#Page_367">367</a></td>
-  </tr>
-  <tr>
-    <td>Great God! Our Heartfelt Thanks</td>
-    <td class="tdpg"><i>W. D. Gallagher</i></td>
-    <td class="tdpg"><a href="#Page_367">367</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Programme for Lyceum or Parlor Entertainment</td>
-    <td class="tdpg"><a href="#Page_368">368</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Salutatory Address</td>
-    <td class="tdpg"><a href="#Page_368">368</a></td>
-  </tr>
-  <tr>
-    <td>Mrs. Piper</td>
-    <td class="tdpg"><i>Marian Douglass</i></td>
-    <td class="tdpg"><a href="#Page_369">369</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Colloquy—True Bravery</td>
-    <td class="tdpg"><a href="#Page_370">370</a></td>
-  </tr>
-  <tr>
-    <td>Reverie in Church</td>
-    <td class="tdpg"><i>George A. Baker</i></td>
-    <td class="tdpg"><a href="#Page_371">371</a></td>
-  </tr>
-  <tr>
-    <td>The Spanish-American War</td>
-    <td class="tdpg"><i>President McKinley</i></td>
-    <td class="tdpg"><a href="#Page_372">372</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">A Cook of the Period</td>
-    <td class="tdpg"><a href="#Page_372">372</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Song—Bee-Hive Town</td>
-    <td class="tdpg"><a href="#Page_373">373</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Programme for Thanksgiving</td>
-    <td class="tdpg"><a href="#Page_373">373</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Honor the Mayflower’s Band</td>
-    <td class="tdpg"><a href="#Page_373">373</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">What am I Thankful For?</td>
-    <td class="tdpg"><a href="#Page_374">374</a></td>
-  </tr>
-  <tr>
-    <td>The Pumpkin</td>
-    <td class="tdpg"><i>J. G. Whittier</i></td>
-    <td class="tdpg"><a href="#Page_374">374</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">What Matters the Cold Wind’s Blast?</td>
-    <td class="tdpg"><a href="#Page_374">374</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Outside and In</td>
-    <td class="tdpg"><a href="#Page_375">375</a></td>
-  </tr>
-  <tr>
-    <td>The Laboring Classes</td>
-    <td class="tdpg"><i>Hugh Legare</i></td>
-    <td class="tdpg"><a href="#Page_375">375</a></td>
-  </tr>
-  <tr>
-    <td>A Thanksgiving</td>
-    <td class="tdpg"><i>Lucy Larcom</i></td>
-    <td class="tdpg"><a href="#Page_376">376</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Song—The Pilgrims</td>
-    <td class="tdpg"><a href="#Page_376">376</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Programme for Flower Day</td>
-    <td class="tdpg"><a href="#Page_377">377</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Let Us With Nature Sing</td>
-    <td class="tdpg"><a href="#Page_377">377</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Poppy and Mignonette</td>
-    <td class="tdpg"><a href="#Page_377">377</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Flower Quotations</td>
-    <td class="tdpg"><a href="#Page_377">377</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">When Winter O’er the Hills Afar</td>
-    <td class="tdpg"><a href="#Page_378">378</a></td>
-  </tr>
-  <tr>
-    <td>Flowers</td>
-    <td class="tdpg"><i>Lydia M. Child</i></td>
-    <td class="tdpg"><a href="#Page_378">378</a></td>
-  </tr>
-  <tr>
-    <td>The Foolish Harebell</td>
-    <td class="tdpg"><i>George MacDonald</i></td>
-    <td class="tdpg"><a href="#Page_378">378</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Questions About Flowers</td>
-    <td class="tdpg"><a href="#Page_379">379</a></td>
-  </tr>
-  <tr>
-    <td>Pansies</td>
-    <td class="tdpg"><i>Mary A. McClelland</i></td>
-    <td class="tdpg"><a href="#Page_379">379</a></td>
-  </tr>
-  <tr>
-    <td>Plant Song</td>
-    <td class="tdpg"><i>Nellie M. Brown</i></td>
-    <td class="tdpg"><a href="#Page_380">380</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">We Would Hail Thee, Joyous Summer</td>
-    <td class="tdpg"><a href="#Page_380">380</a></td>
-  </tr>
-  <tr>
-    <td>Summer-Time</td>
-    <td class="tdpg"><i>H. W. Longfellow</i></td>
-    <td class="tdpg"><a href="#Page_380">380</a></td>
-  </tr>
-  <tr>
-    <td>The Last Rose of Summer</td>
-    <td class="tdpg"><i>Thomas Moore</i></td>
-    <td class="tdpg"><a href="#Page_381">381</a></td>
-  </tr>
-  <tr>
-  <td colspan="3" class="tdc"><a href="#Dialogues_for_Schools_and_Lyceums">DIALOGUES FOR SCHOOLS AND LYCEUMS.</a></td>
-  </tr>
-  <tr>
-    <td>In Want of a Servant</td>
-    <td class="tdpg"><i>Clara Augusta</i></td>
-    <td class="tdpg"><a href="#Page_382">382</a></td>
-  </tr>
-  <tr>
-    <td>The Unwelcome Guest</td>
-    <td class="tdpg"><i>H. Elliot McBride</i></td>
-    <td class="tdpg"><a href="#Page_386">386</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Aunty Puzzled</td>
-    <td class="tdpg"><a href="#Page_388">388</a></td>
-  </tr>
-  <tr>
-    <td>The Poor Little Rich Boy</td>
-    <td class="tdpg"><i>Mrs. Adrian Kraal</i></td>
-    <td class="tdpg"><a href="#Page_390">390</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">An Entirely Different Matter</td>
-    <td class="tdpg"><a href="#Page_391">391</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Gossips</td>
-    <td class="tdpg"><a href="#Page_392">392</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Farmer Hanks Wants a Divorce</td>
-    <td class="tdpg"><a href="#Page_393">393</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Taking the Census</td>
-    <td class="tdpg"><a href="#Page_397">397</a></td>
-  </tr>
-  <tr>
-    <td>Elder Sniffles’ Courtship</td>
-    <td class="tdpg"><i>F. M. Whitcher</i></td>
-    <td class="tdpg"><a href="#Page_400">400</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">The Matrimonial Advertisement</td>
-    <td class="tdpg"><a href="#Page_403">403</a></td>
-  </tr>
-  <tr>
-    <td>Mrs. Malaprop and Captain Absolute</td>
-    <td class="tdpg"><i>R. B. Sheridan</i></td>
-    <td class="tdpg"><a href="#Page_407">407</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">Winning a Widow</td>
-    <td class="tdpg"><a href="#Page_410">410</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">MISCELLANEOUS DIALOGUES AND DRAMAS</td>
-    <td class="tdpg"><a href="#Miscellaneous_Selections">411</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">CONSTITUTION AND BY-LAWS FOR LYCEUMS</td>
-    <td class="tdpg"><a href="#HOW_TO_DRAFT">443</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">SUBJECTS FOR DEBATE BY LYCEUMS</td>
-    <td class="tdpg"><a href="#SUGGESTED_SUBJECTS_FOR_DEBATE">446</a></td>
-  </tr>
-  <tr>
-    <td colspan="2">TABLEAUX FOR PUBLIC ENTERTAINMENTS</td>
-    <td class="tdpg"><a href="#TABLEAUX">447</a></td>
-  </tr>
-</table>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-
-<p><span class="pagenum"><a id="Page_17"></a>[17]</span></p>
-
-<h2 class="nobreak" id="PART_I">PART I.<br />
-<span class="smcap">How to Write a Composition</span><br />
-<span class="smaller smcap">and</span><br />
-<span class="smaller">Express Written Thought in a Correct and Elegant Manner.</span></h2>
-
-</div>
-
-<div class="figcenter-line" style="width: 300px;">
-<img src="images/line11.jpg" width="300" height="15" alt="" />
-</div>
-
-<div>
-<img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">The correct and pleasing expression of
-one’s thoughts in writing is an accomplishment
-of the highest order.
-To have little or no ability in the art of
-composition is a great misfortune.</p>
-
-<p>Who is willing to incur the disgrace and
-mortification of being unable to write a
-graceful and interesting letter, or an essay
-worthy to be read by intelligent persons?
-What an air of importance belongs to the
-young scholar, or older student, who can pen
-a production excellent in thought and beautiful
-in language! Such a gifted individual
-becomes almost a hero or heroine.</p>
-
-<p>When I was a pupil in one of our public
-schools the day most dreaded by all of the
-scholars was “composition day.” What to
-write about, and how to do it, were the most
-vexatious of all questions. Probably nine-tenths
-of the pupils would rather have mastered
-the hardest lessons, or taken a sound
-whipping, than to attempt to write one paragraph
-of a composition on any subject.</p>
-
-<p>While some persons have a natural faculty
-for putting their thoughts into words, a much
-larger number of others are compelled to
-confess that it is a difficult undertaking, and
-they are never able to satisfy themselves with
-their written productions.</p>
-
-<p>Let it be some encouragement to you to
-reflect that many who are considered excellent
-writers labored in the beginning under
-serious difficulties, yet, being resolved to
-master them, they finally achieved the most
-gratifying success. When Napoleon was told
-it would be impossible for his army to cross
-the bridge at Lodi, he replied, “There is no
-such word as impossible,” and over the
-bridge his army went. Resolve that you
-will succeed, and carry out this good resolution
-by close application and diligent practice.
-“Labor conquers all things.”</p>
-
-<h3>WHAT TO DO, AND HOW TO DO IT.</h3>
-
-<div>
-<img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" />
-</div>
-
-<p class="dropcap">Study carefully the lessons contained
-in the following pages.
-They will be of great benefit, as
-they show you what to do and how to do it.</p>
-
-<p>These lessons are quite simple at first, and
-are followed by others that are more advanced.
-All of them have been carefully prepared
-for the purpose of furnishing just such
-helps as you need. You can study them by
-yourself; if you can obtain the assistance of
-a competent teacher, so much the better. I
-predict that you will be surprised at the rapid
-progress you are making. Perhaps you will
-become fascinated with your study; at least,
-it is to be hoped you will, and become enthusiastic
-in your noble work.</p>
-
-<p>Be content to take one step at a time. Do
-not get the mistaken impression that you<span class="pagenum"><a id="Page_18"></a>[18]</span>
-will be able to write a good composition
-before you have learned how to do it. Many
-persons are too eager to achieve success
-immediately, without patient and earnest
-endeavor to overcome all difficulties.</p>
-
-<p>Choose a subject for your composition that
-is adapted to your capacity. You cannot
-write on a subject that you know nothing
-about. Having selected your theme, think
-upon it, and, if possible, read what others
-have written about it, not for the purpose of
-stealing their thoughts, but to stimulate your
-own, and store your mind with information.
-Then you will be able to express in writing
-what you know.</p>
-
-<h4>The Treatment of the Subject.</h4>
-
-<p>The principal reason why many persons
-make such hard work of the art of composition
-is that they have so few thoughts, and
-consequently so little to say, upon the subjects
-they endeavor to treat. The same rule
-must be followed in writing a composition as
-in building a house—you must first get your
-materials.</p>
-
-<p>I said something about stealing the
-thoughts of others, but must qualify this by
-saying that while you are learning to write,
-you are quite at liberty in your practice to
-make use of the thoughts of others, writing
-them from memory after you have read a
-page or a paragraph from some standard
-author. It is better that you should remember
-only a part of the language employed by
-the writer whose thoughts you are reproducing,
-using as far as possible words of your
-own, yet in each instance wherein you
-remember his language you need not hesitate
-to use it. Such an exercise is a valuable aid
-to all who wish to perfect themselves in the
-delightful art of composition.</p>
-
-<p>Take any writer of good English—J. G.
-Holland, Oliver Wendell Holmes, Irving,
-Cooper, or the articles in our best magazines—and
-read half a page twice or thrice; close
-the book, and write, in your own words,
-what you have read; borrowing, nevertheless,
-from the author so much as you can remember.
-Compare what you have written with
-the original, sentence by sentence, and word
-by word, and observe how far you have fallen
-short of the skilful author.</p>
-
-<h4>A Frequent Change of Authors.</h4>
-
-<p>You will thus not only find out your own
-faults, but you will discover where they lie,
-and how they may be mended. Repeat the
-lesson with the same passages twice or
-thrice, if your memory is not filled with the
-words of the author, and observe, at each
-trial, the progress you have made, not merely
-by comparison with the original, but by comparison
-with the previous exercises.</p>
-
-<p>Do this day after day, changing your
-author for the purpose of varying the style,
-and continue to do so long after you have
-passed on to the second and more advanced
-stages of your training. Preserve all your
-exercises, and occasionally compare the latest
-with the earliest, and so ascertain what progress
-you have made.</p>
-
-<p>Give especial attention to the <i>words</i>, which,
-to my mind, are of greater importance than
-the sentences. Take your nouns first, and
-compare them with the nouns used by your
-author. You will probably find your words
-to be very much bigger than his, more
-sounding, more far-fetched, more classical,
-or more poetical. All young writers and
-speakers fancy that they cannot sufficiently
-revel in fine words. Comparison with the
-great masters of English will rebuke this
-pomposity of inexperience, and chasten and
-improve your style.</p>
-
-<p>You will discover, to your surprise, that
-our best writers eschew big words and do
-not aim to dazzle their readers with fine
-words. Where there is a choice, they prefer<span class="pagenum"><a id="Page_19"></a>[19]</span>
-the pure, plain, simple English noun—the
-name by which the thing is known to
-everybody, and which, therefore, is instantly
-understood by all readers. These great
-authors call a spade “a spade;” only small
-scribblers term it “an implement of husbandry.”
-If there is a choice of names,
-good writers prefer the one best known,
-while an inexperienced writer is apt to select
-the most uncommon.</p>
-
-<p>The example of the masters of the English
-tongue should teach you that commonness
-(if I may be allowed to coin a word to express
-that for which I can find no precise
-equivalent) and vulgarity are not the same in
-substance. Vulgarity is shown in assumption
-and affectation of language quite as
-much as in dress and manners, and it is
-never vulgar to be natural. Your object is
-to be understood. To be successful, you
-must write and talk in a language that everybody
-can understand; and such is the natural
-vigor, picturesqueness and music of
-our tongue, that you could not possess yourself
-of a more powerful or effective instrument
-for expression.</p>
-
-<h4>Right Choice of Words.</h4>
-
-<p>It is well for you to be assured that while,
-by this choice of plain English for the embodying
-of your thoughts, you secure the
-ears of ordinary people, you will at the same
-time please the most highly educated and
-refined. The <i>words</i> that have won the applause
-of a political meeting are equally
-successful in securing a hearing in Congress,
-provided that the thoughts expressed and
-the manner of their expression be adapted to
-the changed audience.</p>
-
-<p>Then for the <i>sentences</i>. Look closely at
-their construction, comparing it with that of
-your author; I mean, note how you have
-put your words together. The placing of
-words is next in importance to the choice of
-them. The best writers preserve the natural
-order of thought. They sedulously shun
-obscurities and perplexities. They avoid
-long and involved sentences. Their rule is,
-that one sentence should express one thought,
-and they will not venture on the introduction
-of two or three thoughts, if they can help it.</p>
-
-<h4>Obscure Sentences.</h4>
-
-<p>Undoubtedly this is extremely difficult—sometimes
-impossible. If you want to
-qualify an assertion, you must do so on the
-instant; but the rule should never be forgotten,
-that a long and involved sentence is
-to be avoided, wherever it is practicable to
-do so.</p>
-
-<p>Another lesson you will doubtless learn
-from the comparison of your composition
-with that of your model author. You will
-see a wonderful number of <i>adjectives</i> in your
-own writing, and very few in his. It is the besetting
-sin of young writers to indulge in adjectives,
-and precisely as a man gains experience
-do his adjectives diminish in number.
-It seems to be supposed by all unpracticed
-scribblers that the multiplication
-of epithets gives force. The nouns are never
-left to speak for themselves.</p>
-
-<p>It is curious to take up any newspaper
-and read the paragraphs of news, to open
-the books of nine-tenths of our authors of
-the third and downward ranks. You will
-rarely see a noun standing alone, without
-one or more adjectives prefixed. Be assured
-that this is a mistake. An adjective should
-never be used unless it is essential to correct
-description. As a general rule adjectives
-add little strength to the noun they are set
-to prop, and a multiplication of them is
-always enfeebling. The vast majority of
-nouns convey to the mind a much more accurate
-picture of the thing they signify than
-you can possibly paint by attaching epithets
-to them.</p>
-
-<p><span class="pagenum"><a id="Page_20"></a>[20]</span></p>
-
-<p>Yet do not push to the extreme what has
-just been said. Adjectives are a very important
-part of language, and we could not
-well do without them. You do not need to
-say a “flowing river;” every river flows,
-but you might wish to say a “swollen river,”
-and you could not convey the idea you desire
-to express without using the adjective
-“swollen.” What I wish to caution you
-against is the needless multiplication of adjectives,
-which only serve to overload and
-weaken the expression of your thought.</p>
-
-<h4>Express Your Own Ideas.</h4>
-
-<p>When you have repeated your lesson
-many times, and find that you can write
-with some approach to the purity of your
-author, you should attempt an original composition.
-In the beginning it would be prudent,
-perhaps, to borrow the <i>ideas</i>, but to
-put them into your own language. The
-difficulty of this consists in the tendency of
-the mind to mistake memory for invention,
-and thus, unconsciously to copy the language
-as well as the thoughts of the author.</p>
-
-<p>The best way to avoid this is to translate
-poetry into prose; to take, for instance, a
-page of narrative in verse and relate the same
-story in plain prose; or to peruse a page of
-didactic poetry, and set down the argument
-in a plain, unpoetical fashion. This will make
-you familiar with the art of composition, only
-to be acquired by practice; and the advantage,
-at this early stage of your education in
-the arts of writing and speaking, of putting
-into proper language the thoughts of others
-rather than your own is, that you are better
-able to discover your faults. Your fatherly
-love for your own ideas is such that you are
-really incompetent to form a judgment of
-their worth, or of the correctness of the language
-in which they are embodied.</p>
-
-<p>The critics witness this hallucination every
-day. Books continually come to them, written
-by men who are <i>not</i> mad, who probably
-are sufficiently sensible in the ordinary business
-of life, who see clearly enough the faults
-of other books, who would have laughed
-aloud over the same pages, if placed in their
-hands by another writer, but who, nevertheless,
-are utterly unable to recognize the absurdities
-of their own handiwork. The reader
-is surprised that any man of common intelligence
-could indite such a maze of nonsense
-where the right word is never to be found in
-its right place, and this with such utter unconsciousness
-of incapacity on the part of
-the author.</p>
-
-<h4>Write Exactly What You Mean.</h4>
-
-<p>Still more is he amazed that, even if a sensible
-man could so write, a sane man could
-read that composition in print, and not with
-shame throw it into the fire. But the explanation
-is, that the writer knew what he <i>intended</i>
-to say; his mind is full of <i>that</i>, and he
-reads from the manuscript or the type, not
-so much what is there set down, as what was
-already floating in his own mind. To criticise
-yourself you must, to some extent, forget
-yourself. This is impracticable to many
-persons, and, lest it may be so with you, I
-advise you to begin by putting the thoughts
-of others into your own language, before you
-attempt to give formal expression to your
-own thoughts.</p>
-
-<p>You must habitually place your thoughts
-upon paper—first, that you may do so rapidly;
-and, secondly, that you may do so correctly.
-When you come to write your reflections,
-you will be surprised to find how
-loose and inaccurate the most vivid of them
-have been, what terrible flaws there are in
-your best arguments.</p>
-
-<p>You are thus enabled to correct them, and
-to compare the matured sentence with the
-rude conception of it. You are thus trained
-to weigh your words and assure yourself<span class="pagenum"><a id="Page_21"></a>[21]</span>
-that they precisely embody the idea you desire
-to convey. You can trace uncouthness
-in the sentences, and dislocations of thought,
-of which you had not been conscious before.
-It is far better to learn your lesson thus upon
-paper, which you can throw into the fire unknown
-to any human being, than to be
-taught it by readers who are not always very
-lenient critics and are quick to detect any
-faults that appear in your production.</p>
-
-<h3>READING AND THINKING.</h3>
-
-<div>
-<img class="dropcap" src="images/dropcap-h.jpg" width="130" height="110" alt="" />
-</div>
-
-<p class="dropcap">Having accustomed yourself to express,
-in plain words, and in clear,
-precise and straightforward sentences,
-the ideas of others, you
-should proceed to express your own thoughts
-in the same fashion. You will now see
-more distinctly the advantage of having first
-studied composition by the process I have
-recommended, for you are in a condition to
-discover the deficiencies in the flow of your
-own ideas. You will be surprised to find,
-when you come to put them into words, how
-many of your thoughts were shapeless, hazy
-and dreamy, slipping from your grasp when
-you try to seize them, resolving themselves,
-like the witches in Macbeth,</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Into the air: and what seemed corporal melted</div>
-    <div class="verse indent0">As breath into the wind.</div>
-  </div>
-</div>
-</div>
-
-<h4>What You Should Read.</h4>
-
-<p>Thus, after you have learned <i>how</i> to write,
-you will need a good deal of education before
-you will learn <i>what</i> to write. I cannot much
-assist you in this part of the business. Two
-words convey the whole lesson—<i>Read</i> and
-<i>think</i>. What should you read? Everything.
-What think about? All subjects that present
-themselves. The writer and orator must be
-a man of very varied knowledge. Indeed,
-for all the purposes of practical life, you cannot
-know too much. No learning is quite
-useless. But a speaker, especially if an advocate,
-cannot anticipate the subjects on
-which he may be required to talk. Law is
-the least part of his discourse. For once
-that he is called upon to argue a point of
-law, he is compelled to treat matters of fact
-twenty times.</p>
-
-<p>And the range of topics is very wide; it
-embraces science and art, history and philosophy;
-above all, the knowledge of human
-nature that teaches how the mind he addresses
-is to be convinced and persuaded, and
-how a willing ear is to be won to his discourse.
-No limited range of reading will
-suffice for so large a requirement. The elements
-of the sciences must be mastered; the
-foundations of philosophy must be learned;
-the principles of art must be acquired; the
-broad facts of history must be stamped upon
-the memory; poetry and fiction must not be
-slighted or neglected.</p>
-
-<h4>Our Great Writers.</h4>
-
-<p>You must cultivate frequent and intimate
-intercourse with the genius of all ages and
-of all countries, not merely as standards by
-which to measure your own progress, or as
-fountains from which you may draw unlimited
-ideas for your own use, but because they
-are peculiarly <i>suggestive</i>. This is the characteristic
-of genius, that, conveying one
-thought to the reader’s mind, it kindles in
-him many other thoughts. The value of this
-to speaker and writer will be obvious to you.</p>
-
-<p>Never, therefore, permit a day to pass
-without reading more or less—if it be but a
-single page—from some one of our great
-writers. Besides the service I have described
-in the multiplication of your ideas, it will
-render you the scarcely lesser service of preserving
-purity of style and language, and preventing<span class="pagenum"><a id="Page_22"></a>[22]</span>
-you from falling into the conventional
-affectations and slang of social dialogue.</p>
-
-<p>For the same reason, without reference to
-any higher motive, but simply to fill our
-mind with the purest English, read daily
-some portion of the Bible; for which exercise
-there is another reason also, that its
-phraseology is more familiar to all kinds of
-audiences than any other, is more readily understood,
-and, therefore, is more sufficient in
-securing their attention.</p>
-
-<h4>Three Kinds of Reading.</h4>
-
-<p>Your reading will thus consist of three
-kinds: reading for <i>knowledge</i>, by which I
-mean the storing of your memory with facts;
-reading for <i>thoughts</i>, by which I mean the
-ideas and reflections that set your own mind
-thinking; and reading the <i>words</i>, by which I
-mean the best language in which the best
-authors have clothed their thoughts. And
-these three classes of reading should be pursued
-together daily, more or less as you can,
-for they are needful each to the others, and
-neither can be neglected without injury to
-the rest.</p>
-
-<p>So also you must make it a business to
-<i>think</i>. You will probably say that you are
-always thinking when you are not <i>doing</i>
-anything, and often when you are busiest.
-True, the mind is active, but wandering,
-vaguely from topic to topic. You are not in
-reality <i>thinking out</i> anything; indeed, you cannot
-be sure that your thoughts have a shape
-until you try to express them in words.
-Nevertheless you must think before you can
-write or speak, and you should cultivate a
-<i>habit of thinking</i> at all appropriate seasons.</p>
-
-<p>But do not misunderstand this suggestion.
-I do not design advising you to set yourself
-a-thinking, as you would take up a book to
-read at the intervals of business, or as a part
-of a course of self-training; for such attempts
-would probably begin with wandering fancies
-and end in a comfortable nap. It is a fact
-worth noting, that few persons can think
-continuously while the body is at perfect rest.
-The time for thinking is when you are kept
-awake by some slight and almost mechanical
-muscular exercise, and the mind is not busily
-attracted by external subjects of attention.</p>
-
-<p>Thus walking, angling, gardening, and
-other rural pursuits are pre-eminently the
-seasons for thought, and you should cultivate
-a habit of thinking during those exercises,
-so needful for health of body and for
-fruitfulness of mind. <i>Then</i> it is that you
-should submit whatever subject you desire
-to treat to careful review, turning it on all
-sides, and inside out, marshalling the facts
-connected with it, trying what may be said
-for or against every view of it, recalling what
-you may have read about it, and finally
-thinking what you could say upon it that
-had not been said before, or how you could
-put old views of it into new shapes.</p>
-
-<h4>Learning to Think.</h4>
-
-<p>Perhaps the best way to accomplish this
-will be to imagine yourself writing upon it,
-or making a speech upon it, and to think
-what in such case you would say; I do not
-mean in what <i>words</i> you would express
-yourself, but what you would discourse
-about; what ideas you would put forth; to
-what thoughts you would give utterance.</p>
-
-<p>At the beginning of this exercise you will
-find your reflections extremely vague and
-disconnected; you will range from theme
-to theme, and mere flights of fancy will be
-substituted for steady, continuous thought.
-But persevere day by day, and that which
-was in the beginning an effort will soon grow
-into a habit, and you will pass few moments
-of your working life in which, when not occupied
-from without, your mind will not be
-<i>usefully</i> employed within itself.</p>
-
-<p>Having attained this habit of thinking, let<span class="pagenum"><a id="Page_23"></a>[23]</span>
-it be a rule with you, before you write
-or speak on any subject, to employ your
-thoughts upon it in the manner I have described.
-Go a-fishing. Take a walk. Weed
-your garden. Sweep, dust, do any sewing
-that needs to be done. While so occupied,
-<i>think</i>. It will be hard if your own intelligence
-cannot suggest to you how the subject
-should be treated, in what order of argument,
-with what illustrations, and with what new
-aspects of it, the original product of your
-own genius.</p>
-
-<p>At all events this is certain, that without
-preliminary reflection you cannot hope to
-deal with any subject to your own satisfaction,
-or to the profit or pleasure of others.
-If you neglect these precautions, you can
-never be more than a wind-bag, uttering
-words that, however grandly they may roll,
-convey no thoughts. There is hope for
-ignorance; there is none for emptiness.</p>
-
-<p>To sum up these rules and suggestions:
-To become a writer or an orator, you must
-fill your mind with knowledge by reading
-and observation, and educate it to the creation
-of thoughts by cultivating a habit of
-reflection. There is no limit to the knowledge
-that will be desirable and useful; it
-should include something of natural science,
-much of history, and still more of human
-nature. The latter must be your study, for
-it is with this that the writer and speaker
-has to deal.</p>
-
-<p>Remember, that no amount of antiquarian,
-or historical, or scientific, or literary lore
-will make a writer or orator, without intimate
-acquaintance with the ways of the
-world about him, with the tastes, sentiments,
-passions, emotions, and modes of thought of
-the men and women of the age in which he
-lives, and whose minds it is his business to
-instruct and sway.</p>
-
-<h3>HOW TO ACQUIRE A CAPTIVATING STYLE.</h3>
-
-<div>
-<img class="dropcap" src="images/dropcap-y.jpg" width="125" height="100" alt="" />
-</div>
-
-<p class="dropcap">You must think, that you may have
-thoughts to convey; and read, that
-you may have words wherewith to express
-your thoughts correctly and gracefully.
-But something more than this is required to
-qualify you to write or speak. You must
-have a <i>style</i>. I will endeavor to explain
-what I mean by that.</p>
-
-<p>As every man has a manner of his own,
-differing from the manner of every other
-man, so has every mind its own fashion of
-communicating with other minds. This
-manner of expressing thought is <i>style</i>, and
-therefore may style be described as the features
-of the mind displayed in its communications
-with other minds; as manner is the
-external feature exhibited in personal communication.</p>
-
-<p>But though style is the gift of nature, it is
-nevertheless to be cultivated; only in a sense
-different from that commonly understood by
-the word cultivation.</p>
-
-<p>Many elaborate treatises have been written
-on style, and the subject usually occupies a
-prominent place in all books on composition
-and oratory. It is usual with teachers to
-urge emphatically the importance of cultivating
-style, and to prescribe ingenious recipes
-for its production. All these proceed
-upon the assumption that style is something
-artificial, capable of being taught, and which
-may and should be learned by the student,
-like spelling or grammar.</p>
-
-<p>But, if the definition of style which I have
-submitted to you is right, these elaborate
-trainings are a needless labor; probably a
-positive mischief. I do not design to say
-<i>a</i> style may not be taught to you; but it will
-be the style of some other man, and not your
-own; and, not being your own, it will no<span class="pagenum"><a id="Page_24"></a>[24]</span>
-more fit your mind than a second-hand suit
-of clothes, bought without measurement at a
-pawn-shop, would fit your body, and your
-appearance in it would be as ungainly.</p>
-
-<p>But you must not gather from this that
-you are not to concern yourself about style,
-that it may be left to take care of itself, and
-that you will require only to write or speak
-as untrained nature prompts. I say that you
-must cultivate style; but I say also that the
-style to be cultivated must be your own, and
-not the style of another.</p>
-
-<h4>How to Cultivate Style.</h4>
-
-<p>The majority of those who have written
-upon the subject recommend you to study
-the styles of the great writers of the English
-language, with a view to acquiring their accomplishment.
-So I say—study them, by
-all means; but not for the purpose of imitation,
-not with a view to acquire <i>their</i> manner,
-but to learn their language, to see how they
-have embodied their thoughts in words, to
-discover the manifold graces with which
-they have invested the expression of their
-thoughts, so as to surround the act of communicating
-information, or kindling emotion,
-with the various attractions and charms of art.</p>
-
-<p><i>Cultivate style</i>; but instead of laboring to
-acquire the style of your model, it should be
-your most constant endeavor to avoid it.
-The greatest danger to which you are exposed
-is that of falling into an imitation
-of the manner of some favorite author,
-whom you have studied for the sake of
-learning a style, which, if you did learn it,
-would be unbecoming to you, because it is
-not your own. That which in him was <i>manner</i>
-becomes in you <i>mannerism</i>; you but
-dress yourself in his clothes, and imagine
-that you are like him, while you are no more
-like than is the valet to his master whose
-cast-off coat he is wearing.</p>
-
-<p>There are some authors whose manner is
-so infectious that it is extremely difficult <i>not</i>
-to catch it. Hawthorne is one of these; it
-requires an effort not to fall into his formula
-of speech. But your protection against this
-danger must be an ever-present conviction
-that your own style will be the best for you,
-be it ever so bad or good. You must strive
-to <i>be</i> yourself, to think for yourself, to speak
-in your own manner; then, what you say
-and your <i>style</i> of saying it will be in perfect
-accord, and the pleasure to those who read
-or listen will not be disturbed by a sense of
-impropriety and unfitness.</p>
-
-<p>Nevertheless, I repeat, you should cultivate
-your own style, not by changing it into
-some other person’s style, but by striving to
-preserve its individuality, while decorating it
-with all the graces of art. Nature gives the
-style, for your style is yourself; but the decorations
-are slowly and laboriously acquired
-by diligent study, and, above all, by long and
-patient practice. There are but two methods
-of attaining to this accomplishment—contemplation
-of the best productions of art, and
-continuous toil in the exercise of it.</p>
-
-<h4>Make Your Composition Attractive.</h4>
-
-<p>I assume that, by the process I have already
-described, you have acquired a tolerably
-quick flow of ideas, a ready command
-of words, and ability to construct grammatical
-sentences; all that now remains to you is to
-learn to use this knowledge that the result
-may be presented in the most attractive
-shape to those whom you address. I am
-unable to give you many practical hints
-towards this, because it is not a thing to be
-acquired by formal rules, in a few lessons and
-by a set course of study; it is the product of
-very wide and long-continued gleanings from
-a countless variety of sources; but, above all,
-it is taught by experience.</p>
-
-<p>If you compare your compositions at intervals
-of six months, you will see the progress<span class="pagenum"><a id="Page_25"></a>[25]</span>
-you have made. You began with a multitude
-of words, with big nouns and bigger
-adjectives, a perfect firework of epithets, a
-tendency to call everything by something
-else than its proper name, and the more you
-admired your own ingenuity the more you
-thought it must be admired by others. If
-you had a good idea, you were pretty sure
-to dilute it by expansion, supposing the
-while that you were improving by amplifying
-it. You indulged in small flights of
-poetry (in prose), not always in appropriate
-places, and you were tolerably sure to go off
-into rhapsody, and to mistake fine words for
-eloquence. This is the juvenile style; and
-is not peculiar to yourself—it is the common
-fault of <i>all</i> young writers.</p>
-
-<p>But the cure for it may be hastened by
-judicious self-treatment. In addition to the
-study of good authors, to cultivate your
-taste, you may mend your style by a process
-of pruning, after the following fashion.
-Having finished your composition, or a section
-of it, lay it aside, and do not look at it
-again for a week, during which interval other
-labors will have engaged your thoughts.
-You will then be in a condition to revise it
-with an approach to critical impartiality,
-and so you will begin to learn the wholesome
-<i>art of blotting</i>. Go through it slowly,
-pen in hand, weighing every word, and asking
-yourself, “What did I <i>intend</i> to say?
-How can I say it in the briefest and plainest
-English?”</p>
-
-<p>Compare with the plain answer you return
-to this question the form in which you had
-tried to express the same meaning in the
-writing before you, and at each word further
-ask yourself, “Does this word precisely convey
-my thought? Is it the aptest word?
-Is it a necessary word? Would my meaning
-be fully expressed without it?” If it is
-not the best, change it for a better. If it is
-superfluous, ruthlessly strike it out.</p>
-
-<p>The work will be painful at first—you will
-sacrifice with a sigh so many flourishes of
-fancy, so many figures of speech, of whose
-birth you were proud. Nay, at the beginning,
-and for a long time afterwards, your
-courage will fail you, and many a cherished
-phrase will be spared by your relenting pen.
-But be persistent, and you will triumph at
-last. Be not content with one act of erasure.
-Read the manuscript again, and, seeing how
-much it is improved, you will be inclined to
-blot a little more. Lay it aside for a month,
-and then read again, and blot again as before.
-Be severe toward yourself.</p>
-
-<h3>THE CHOICE OF LANGUAGE.</h3>
-
-<div>
-<img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" />
-</div>
-
-<p class="dropcap">Simplicity is the crowning
-achievement of judgment and
-good taste. It is of very slow
-growth in the greatest minds; by
-the multitude it is never acquired. The
-gradual progress towards it can be curiously
-traced in the works of the great masters of
-English composition, wheresoever the injudicious
-zeal of admirers has given to the
-world the juvenile writings which their own
-better taste had suffered to pass into oblivion.
-Lord Macaulay was an instance of this.
-Compare his latest with his earliest compositions,
-as collected in the posthumous volume
-of his “Remains,” and the growth of improvement
-will be manifest.</p>
-
-<p>Yet, at first thought, nothing appears to
-be easier to remember, and to act upon, than
-the rule, “Say what you want to say in the
-fewest words that will express your meaning
-clearly; and let those words be the plainest,
-the most common (not vulgar), and the most
-intelligible to the greatest number of persons.”
-It is certain that a beginner will adopt<span class="pagenum"><a id="Page_26"></a>[26]</span>
-the very reverse of this. He will say what
-he has to say in the greatest number of words
-he can devise, and those words will be the
-most artificial and uncommon his memory
-can recall. As he advances, he will learn to
-drop these long phrases and big words; he
-will gradually contract his language to the
-limit of his thoughts, and he will discover,
-after long experience, that he was never so
-feeble as when he flattered himself that he
-was most forcible.</p>
-
-<h4>Faults in Writing.</h4>
-
-<p>I have dwelt upon this subject with repetitions
-that may be deemed almost wearisome,
-because affectations and conceits are the besetting
-sin of modern composition, and the vice
-is growing and spreading. The literature of
-our periodicals teems with it; the magazines
-are infected by it almost as much as the
-newspapers, which have been always famous
-for it.</p>
-
-<p>Instead of an endeavor to write plainly,
-the express purpose of the writers in the
-periodicals is to write as obscurely as possible;
-they make it a rule never to call anything
-by its proper name, never to say anything
-directly in plain English, never to
-express their true meaning. They delight
-to say something quite different in appearance
-from that which they purpose to say,
-requiring the reader to translate it, if he can,
-and, if he cannot, leaving him in a state of
-bewilderment, or wholly uninformed.</p>
-
-<p>Worse models you could not find than
-those presented to you by the newspapers
-and periodicals; yet are you so beset by
-them that it is extremely difficult not to
-catch the infection. Reading day by day
-compositions teeming with bad taste, and
-especially where the style floods you with its
-conceits and affectations, you unconsciously
-fall into the same vile habit, and incessant
-vigilance is required to restore you to sound,
-vigorous, manly, and wholesome English.
-I cannot recommend to you a better plan
-for counteracting the inevitable mischief than
-the daily reading of portions of some of our
-best writers of English, specimens of which
-you will find near the close of the First Part
-of this volume. We learn more by example
-than in any other way, and a careful perusal
-of these choice specimens of writing from
-the works of the most celebrated authors
-will greatly aid you.</p>
-
-<p>You will soon learn to appreciate the power
-and beauty of those simple sentences compared
-with the forcible feebleness of some,
-and the spasmodic efforts and mountebank
-contortions of others, that meet your eye
-when you turn over the pages of magazine
-or newspaper. I do not say that you will at
-once become reconciled to plain English,
-after being accustomed to the tinsel and tin
-trumpets of too many modern writers; but
-you will gradually come to like it more and
-more; you will return to it with greater zest
-year by year; and, having thoroughly learned
-to love it, you will strive to follow the example
-of the authors who have written it.</p>
-
-<h4>Read Great Authors.</h4>
-
-<p>And this practice of daily reading the
-writings of one of the great masters of the
-English tongue should never be abandoned.
-So long as you have occasion to write or
-speak, let it be held by you almost as a duty.
-And here I would suggest that you should
-read them <i>aloud</i>; for there is no doubt that
-the words, entering at once by the eye and
-the ear, are more sharply impressed upon
-the mind than when perused silently.</p>
-
-<p>Moreover, when reading aloud you read
-more slowly; the full meaning of each word
-must be understood, that you may give the
-right expression to it, and the ear catches the
-general structure of the sentences more perfectly.
-Nor will this occupy much time.<span class="pagenum"><a id="Page_27"></a>[27]</span>
-There is no need to devote to it more than a
-few minutes every day. Two or three pages
-thus read daily will suffice to preserve the
-purity of your taste.</p>
-
-<p>Your first care in composition will be, of
-course, to express yourself grammatically.
-This is partly habit, partly teaching. If
-those with whom a child is brought up talk
-grammatically, he will do likewise, from mere
-imitation; but he will learn quite as readily
-anything ungrammatical to which his ears
-may be accustomed; and, as the most fortunate
-of us mingle in childhood with servants
-and other persons not always observant of
-number, gender, mood, and tense, and as even
-they who have enjoyed the best education
-lapse, in familiar talk, into occasional defiance
-of grammar, which could not be avoided
-without pedantry, you will find the study of
-grammar necessary to you under any circumstances.
-Your ear will teach you a great deal,
-and you may usually trust to it as a guide;
-but sometimes occasions arise when you are
-puzzled to determine which is the correct
-form of expression, and in such cases there
-is safety only in reference to the rule.</p>
-
-<p>Fortunately our public schools and academies
-give much attention to the study of
-grammar. The very first evidence that a
-person is well educated is the ability to speak
-correctly. If you were to say, “I paid big
-prices for them pictures,” or, “Her photographs
-always flatters her,” or, “His fund of
-jokes and stories make him a pleasant companion,”
-or, “He buys the paper for you and
-I”—if you were guilty of committing such
-gross errors against good grammar, or scores
-of others that might be mentioned, your
-chances for obtaining a standing in polite
-society would be very slim. Educated persons
-would at once rank you as an ignorant
-boor, and their treatment of you would be
-suggestive of weather below zero. Do not
-“murder the King’s English.”</p>
-
-<h3>PUTTING WORDS INTO SENTENCES.</h3>
-
-<div>
-<img class="dropcap" src="images/dropcap-h.jpg" width="130" height="110" alt="" />
-</div>
-
-<p class="dropcap">Having pointed out the importance
-of correct grammar and the right
-choice of language, I wish now
-to furnish you with some practical
-suggestions for the construction of sentences.
-Remember that a good thought
-often suffers from a weak and faulty expression
-of it.</p>
-
-<p>Your sentences will certainly shape themselves
-after the structure of your own mind.
-If your thoughts are vivid and definite, so
-will be your language; if dreamy and hazy,
-so will your composition be obscure. Your
-speech, whether oral or written, can be but
-the expression of yourself; and what you are,
-that speech will be.</p>
-
-<p>Remember, then, that you cannot materially
-change the substantial character of
-your writing; but you may much improve
-the form of it by the observance of two or
-three general rules.</p>
-
-<p>In the first place, <i>be sure you have something
-to say</i>. This may appear to you a very unnecessary
-precaution; for who, you will ask,
-having nothing to say, desires to write or
-to speak? I do not doubt that you have
-often felt as if your brain was teeming with
-thoughts too big for words; but when you
-came to seize them, for the purpose of putting
-them into words, you have found them
-evading your grasp and melting into the air.
-They were not <i>thoughts</i> at all, but <i>fancies</i>—shadows
-which you had mistaken for substances,
-and whose vagueness you would
-never have detected, had you not sought to
-embody them in language. Hence you will
-need to be assured that you have thoughts
-to express, before you try to express them.</p>
-
-<p><span class="pagenum"><a id="Page_28"></a>[28]</span></p>
-
-<p>And how to do this? By asking yourself,
-when you take up the pen, what it is you intend
-to say, and answering yourself as you
-best can, without caring for the form of expression.
-If it is only a vague and mystical
-idea, conceived in cloudland, you will try in
-vain to put it into any form of words, however
-rude. If, however, it is a definite
-thought, proceed at once to set it down in
-words and fix it upon paper.</p>
-
-<h4>Vague and Hazy Ideas.</h4>
-
-<p>The expression of a precise and definite
-thought is not difficult. Words will follow
-the thought; indeed, they usually accompany
-it, because it is almost impossible to
-think unless the thought is clothed in words.
-So closely are ideas and language linked by
-habit, that very few minds are capable of contemplating
-them apart, insomuch that it may
-be safely asserted of all intellects, save the
-highest, that if they are unable to express
-their ideas, it is because the ideas are incapable
-of expression—because they are vague
-and hazy.</p>
-
-<p>For the present purpose it will suffice that
-you put upon paper the substance of what
-you desire to say, in terms as rude as you
-please, the object being simply to measure
-your thoughts. If you cannot express them,
-do not attribute your failure to the weakness
-of language, but to the dreaminess of your
-ideas, and therefore banish them without
-mercy, and direct your mind to some more
-definite object for its contemplations. If you
-succeed in putting your ideas into words, be
-they ever so rude, you will have learned the
-first, the most difficult, and the most important
-lesson in the art of writing.</p>
-
-<p>The second is far easier. Having thoughts,
-and having embodied those thoughts in unpolished
-phrase, your next task will be to
-present them in the most attractive form. To
-secure the attention of those to whom you
-desire to communicate your thoughts, it is
-not enough that you utter them in any words
-that come uppermost; you must express
-them in the best words, and in the most
-graceful sentences, so that they may be read
-with pleasure, or at least without offending
-the taste.</p>
-
-<p>Your first care in the choice of words will
-be that they shall express precisely your
-meaning. Words are used so loosely in society
-that the same word will often be found
-to convey half a dozen different ideas to as
-many auditors. Even where there is not a
-conflict of meanings in the same word, there
-is usually a choice of words having meanings
-sufficiently alike to be used indiscriminately,
-without subjecting the user to a charge of
-positive error. But the cultivated taste is
-shown in the selection of such as express the
-most delicate shades of difference.</p>
-
-<h4>Suit the Word to the Thought.</h4>
-
-<p>Therefore, it is not enough to have abundance
-of words; you must learn the precise
-meaning of each word, and in what it differs
-from other words supposed to be synonymous;
-and then you must select that which
-most exactly conveys the thought you are
-seeking to embody. There is but one way
-to fill your mind with words, and that is, to
-read the best authors, and to acquire an
-accurate knowledge of the precise meaning
-of their words—by <i>parsing</i> as you read.</p>
-
-<p>By the practice of <i>parsing</i>, I intend very
-nearly the process so called at schools, only
-limiting the exercise to the definitions of the
-principal words. As thus: take, for instance
-the sentence that immediately precedes this,—ask
-yourself what is the meaning of “practice,”
-of “parsing,” of “process,” and such
-like. Write the answer to each, that you
-may be assured that your definition is distinct.
-Compare it with the definitions of the
-same word in the dictionaries, and observe<span class="pagenum"><a id="Page_29"></a>[29]</span>
-the various senses in which it has been
-used.</p>
-
-<p>You will thus learn also the words that
-have the same, or nearly the same, meaning—a
-large vocabulary of which is necessary
-to composition, for frequent repetition of the
-same word, especially in the same sentence,
-is an inelegance, if not a positive error.
-Compare your definition with that of the
-authorities, and your use of the word with
-the uses of it cited in the dictionary, and you
-will thus measure your own progress in the
-science of words.</p>
-
-<h4>An Amusing Exercise.</h4>
-
-<p>This useful exercise may be made extremely
-amusing as well as instructive, if
-friends, having a like desire for self-improvement,
-will join you in the practice of it; and
-I can assure you that an evening will be thus
-spent pleasantly as well as profitably. You
-may make a merry game of it—a game of
-speculation. Given a word; each one of the
-company in turn writes his definition of it;
-Webster’s Dictionary, or some other, is then
-referred to, and that which comes nearest
-the authentic definition wins the honor or
-the prize; it may be a sweepstakes carried
-off by him whose definition hits the mark
-the most nearly.</p>
-
-<p>But, whether in company or alone, you
-should not omit the frequent practice of this
-exercise, for none will impart such a power
-of accurate expression and supply such an
-abundance of apt words wherein to embody
-the delicate hues and various shadings of
-thought.</p>
-
-<p>So with <i>sentences</i>, or the combination of
-words. Much skill is required for their construction.
-They must convey your meaning
-accurately, and as far as possible in the natural
-order of thought, and yet they must not
-be complex, involved, verbose, stiff, ungainly,
-or full of repetitions. They must be brief,
-but not curt; explicit, but not verbose.
-Here, again, good taste must be your guide,
-rather than rules which teachers propound,
-but which the pupil never follows.</p>
-
-<p>Not only does every style require its own
-construction of a sentence, but almost every
-combination of thought will demand a different
-shape in the sentence by which it is conveyed.
-A standard sentence, like a standard
-style, is a pedantic absurdity; and, if you
-would avoid it, you must <i>not</i> try to write by
-rule, though you may refer to rules in order
-to find out your faults after you have written.</p>
-
-<p>Lastly, inasmuch as your design is, not
-only to influence, but to please, it will be necessary
-for you to cultivate what may be
-termed the <i>graces</i> of composition. It is not
-enough that you instruct the minds of your
-readers; you must gratify their taste, and win
-their attention, giving pleasure in the very
-process of imparting information. Hence
-you must make choice of words that convey
-no coarse meanings, and excite no disagreeable
-associations. You are not to sacrifice
-expression to elegance; but so, likewise, you
-are not to be content with a word or a sentence
-if it is offensive or unpleasing, merely
-because it best expresses your meaning.</p>
-
-<h4>Graces of Composition.</h4>
-
-<p>The precise boundary between refinement
-and rudeness cannot be defined; your own
-cultivated taste must tell you the point at
-which power or explicitness is to be preferred
-to delicacy. One more caution I
-would impress upon you, that you pause
-and give careful consideration to it before
-you permit a coarse expression, on account
-of its correctness, to pass your critical review
-when you revise your manuscript, and again
-when you read the proof, if ever you rush
-into print.</p>
-
-<p>And much might be said also about the
-<i>music of speech</i>. Your words and sentences<span class="pagenum"><a id="Page_30"></a>[30]</span>
-must be musical. They must not come
-harshly from the tongue, if uttered, or grate
-upon the ear, if heard. There is a rhythm
-in words which should be observed in all
-composition, written or oral. The perception
-of it is a natural gift, but it may be
-much cultivated and improved by reading
-the works of the great masters of English,
-especially of the best poets—the most excellent
-of all in this wonderful melody of words
-being Longfellow and Tennyson. Perusal
-of their works will show you what you
-should strive to attain in this respect, even
-though it may not enable you fully to accomplish
-the object of your endeavor. Aim
-at the sun and you will shoot high.</p>
-
-<h3>ERRORS TO BE AVOIDED.</h3>
-
-<div>
-<img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">The faculty for writing varies in various
-persons. Some write easily, some
-laboriously; words flow from some
-pens without effort, others produce them slowly;
-composition seems to come naturally to
-a few, and a few never can learn it, toil after
-it as they may. But whatever the natural
-power, of this be certain, that <i>good</i> writing
-cannot be accomplished without study and
-painstaking practice. Facility is far from
-being a proof of excellence. Many of the
-finest works in our language were written
-slowly and painfully; the words changed
-again and again, and the structure of the
-sentences carefully cast and recast.</p>
-
-<p>There is a fatal facility that runs “in one
-weak, washy, everlasting flood,” that is more
-hopeless than any slowness or slovenliness.
-If you find your pen galloping over the
-paper, take it as a warning of a fault to be
-shunned; stay your hand, pause, reflect, read
-what you have written; see what are the
-thoughts you have set down, and resolutely
-try to condense them. There is no more
-wearisome process than to write the same
-thing over again; nevertheless it is a most
-efficient teaching. Your endeavor should
-be to say the same things, but to say them
-in a different form; to condense your
-thoughts, and express them in fewer words.</p>
-
-<p>Compare this second effort with the first,
-and you will at once measure your improvement.
-You cannot now do better than repeat
-this lesson twice; rewrite, still bearing
-steadily in mind your object, which is, to
-say what you desire to utter in words the
-most apt and in the briefest form consistent
-with intelligibility and grace. Having done
-this, take your last copy and strike out pitilessly
-every superfluous word, substitute a
-vigorous or expressive word for a weak one,
-sacrifice the adjectives without remorse, and,
-when this work is done, rewrite the whole,
-as amended.</p>
-
-<p>And, if you would see what you have
-gained by this laborious but effective process,
-compare the completed essay with the
-first draft of it, and you will recognize the
-superiority of careful composition over facile
-scribbling. You will be fortunate if you
-thus acquire a mastery of condensation, and
-can succeed in putting the reins upon that
-fatal facility of words, before it has grown
-into an unconquerable habit.</p>
-
-<p>Simplicity is the charm of writing, as of
-speech; therefore, cultivate it with care. It
-is not the natural manner of expression, or,
-at least, there grows with great rapidity in
-all of us a tendency to an ornamental style
-of talking and writing. As soon as the child
-emerges from the imperfect phraseology of
-his first letters to papa, he sets himself earnestly
-to the task of trying to disguise what
-he has to say in some other words than such
-as plainly express his meaning and nothing
-more. To him it seems an object of ambition—a<span class="pagenum"><a id="Page_31"></a>[31]</span>
-feat to be proud of—to go by the
-most indirect paths, instead of the straight
-way, and it is a triumph to give the person
-he addresses the task of interpreting his
-language, to find the true meaning lying
-under the apparent meaning.</p>
-
-<h4>Come Right to the Point.</h4>
-
-<p>Circumlocution is not the invention of refinement
-and civilization, but the vice of the
-uncultivated; it prevails the most with the
-young in years and in minds that never
-attain maturity. It is a characteristic of the
-savage. You cannot too much school yourself
-to avoid this tendency, if it has not
-already seized you, as is most probable, or to
-banish it, if infected by it.</p>
-
-<p>If you have any doubt of your condition
-in this respect, your better course will be to
-consult some judicious friend, conscious of
-the evil and competent to criticism. Submit
-to him some of your compositions, asking
-him to tell you candidly what are their
-faults, and especially what are the circumlocutions
-in them, and how the same thought
-might have been better, because more simply
-and plainly, expressed. Having studied his
-corrections, rewrite the article, striving to
-avoid those faults.</p>
-
-<p>Submit this again to your friendly censor,
-and, if many faults are found still to linger,
-apply yourself to the labor of repetition once
-more. Repeat this process with new writings,
-until you produce them in a shape that
-requires few blottings, and, having thus
-learned what to shun, you may venture on
-self-reliance.</p>
-
-<p>But, even when parted from your friendly
-critic, you should continue to be your own
-critic, revising every sentence, with resolute
-purpose to strike out all superfluous words
-and to substitute an expressive word for
-every fine word. You will hesitate to blot
-many a pet phrase, of whose invention you
-felt proud at the moment of its birth; but,
-if it is circumlocution, pass the pen through
-it ruthlessly, and by degrees you will train
-yourself to the crowning victory of art—simplicity.</p>
-
-<p>When you are writing on any subject,
-address yourself to it directly. Come to
-the point as speedily as possible, and do not
-walk round about it, as if you were reluctant
-to grapple with it. There is so much to be
-read nowadays that it is the duty of all who
-write to condense their thoughts and words.
-This cannot always be done in speaking,
-where slow minds must follow your faster
-lips, but it is always practicable in writing,
-where the reader may move slowly, or repeat
-what he has not understood on the first
-passing of the eye over the words.</p>
-
-<h4>Arranging Your Words.</h4>
-
-<p>In constructing your sentences, marshal
-your words in the order of thought—that is
-the natural, and therefore the most intelligible
-shape for language to assume. In conversation
-we do this instinctively, but in writing
-the rule is almost always set at defiance.
-The man who would tell you a story in a
-plain, straightforward way would not write it
-without falling into utter confusion and
-placing almost every word precisely where
-it ought not to be. In learning to write, let
-this be your next care.</p>
-
-<p>Probably it will demand much toil at first
-in rewriting for the sake of redistributing
-your words; acquired habit of long standing
-will unconsciously mould your sentences to
-the accustomed shape; but persevere and
-you will certainly succeed at last, and your
-words will express your thoughts precisely
-as you think them, and as you desire that
-they should be impressed upon the minds of
-those to whom they are addressed.</p>
-
-<p>So with the sentences. Let each be complete
-in itself, embodying one proposition.<span class="pagenum"><a id="Page_32"></a>[32]</span>
-Shun that tangled skein in which some
-writers involve themselves, to the perplexity
-of their readers and their own manifest bewilderment.
-When you find a sentence falling
-into such a maze, halt and retrace your
-steps. Cancel what you have done, and reflect
-what you design to say. Set clearly
-before your mind the ideas that you had begun
-to mingle; disentangle them, range them
-in orderly array, and express them in distinct
-sentences, where each will stand separate,
-but in its right relationship to all the rest.</p>
-
-<p>This exercise will improve, not only your
-skill in the art of writing, but also in the art
-of thinking, for those involved sentences are
-almost always the result of confused thoughts;
-the resolve to write clearly will compel you
-to think clearly, and you will be surprised
-to discover how often thoughts, which had
-appeared to you definite in contemplation,
-are found, when you come to set them
-upon paper, to be most incomplete and
-shadowy. Knowing the fault, you can then
-put your wits to work and furnish the remedy.</p>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line2.jpg" width="150" height="15" alt="" />
-</div>
-
-<h3><span class="smcap">Exercises in Composition.</span></h3>
-
-<h4>SIMPLE SENTENCES.</h4>
-
-<h5>SUBJECT AND PREDICATE.</h5>
-
-<div>
-<img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">The sentence ‘John writes’ consists of
-two parts:—</p>
-
-<div class="blockquote">
-
-<p>(1) The name of the person of whom we are speaking,—<i>John</i></p>
-
-</div>
-
-<p class="noindent">and</p>
-
-<div class="blockquote">
-
-<p>(2) What we say about John,—<i>writes</i>.</p>
-
-</div>
-
-<p>Similarly the sentence ‘Fire burns’ consists
-of two parts:—</p>
-
-<div class="blockquote">
-
-<p>(1) The name of the thing of which we are speaking,—<i>fire</i>.</p>
-
-<p>(2) What we say about fire,—<i>burns</i>.</p>
-
-</div>
-
-<p>Every sentence has two such parts.</p>
-
-<p>The name of the person or thing spoken
-about is called the <b>Subject</b>.</p>
-
-<p>What is said about the Subject is called
-the <b>Predicate</b>.</p>
-
-<h6>Exercise 1.</h6>
-
-<p class="center"><i>Point out the Subjects and the Predicates.</i></p>
-
-<div class="blockquote">
-
-<p>William sings. Birds fly. Sheep bleat. Henry
-is reading. Rain is falling. Rain has fallen. Stars
-are shining. Stars were shining. Cattle are grazing.
-Soldiers are watching. Soldiers watched. Soldiers
-were watched. School is closed. Donkeys bray. Donkeys
-were braying. I am writing. We are reading.</p>
-
-<p><span class="smcap">Examples.</span>—William sings: “William” is the
-subject; “sings” is the predicate. Henry is reading:
-“Henry” is the subject; “is reading” is the
-predicate. In like manner you should go through
-the list and point out the subjects and verbs.</p>
-
-</div>
-
-<h6>Exercise 2.</h6>
-
-<p class="center"><i>Place Predicates (Verbs) after the following
-Subjects</i>:—</p>
-
-<div class="blockquote">
-
-<p>Baby. Babies. Lightning. Flowers. Soldiers.
-Lions. Bees. Gas. The sun. The wind. The
-eagle. Eagles. The ship. Ships. The master.
-The scholars. The cat. Cats. Bakers. A butcher.
-The moon. The stars. Carpenters. The carpenter.
-The mower. Porters. Ploughmen.</p>
-
-<p><span class="smcap">Examples.</span>—“Baby” smiles. “Babies” cry.
-“Lightning” strikes. Supply verbs for all the
-subjects.</p>
-
-</div>
-
-<h6>Exercise 3.</h6>
-
-<p class="center"><i>Place Subjects before the following Predicates</i>:—</p>
-
-<div class="blockquote">
-
-<p>Mew. Chatter. Grunt. Ran. Hum. Fly. Howl.
-Is walking. Plays. Played. Fell. Whistled.
-Shrieked. Sings. Sing. Sang. Sleeps. Slept.
-Bark. Barks. Cried. Bloom. Laughed. Soar.
-Swim. Swam. Was swimming. Dawns. Dawned.
-Gallops. Roar.</p>
-
-<p><span class="smcap">Examples.</span>—Cats “mew.” Monkeys “chatter.”
-Pigs “grunt.” Go on and write subjects for all the
-verbs.</p>
-
-</div>
-
-<p><span class="pagenum"><a id="Page_33"></a>[33]</span></p>
-
-<h5>SUBJECT, PREDICATE, AND OBJECT.</h5>
-
-<p>The Predicate always is, or contains, a
-Verb. In many sentences the Predicate is
-a Verb alone. When it is a Verb in the
-Active Voice, it has an <b>Object</b>, thus:—</p>
-
-<table summary="Subjects, predicates and objects" class="sm90">
-  <tr>
-    <th><i>Subject.</i></th>
-    <th><i>Predicate.</i></th>
-    <th><i>Object.</i></th>
-  </tr>
-  <tr>
-    <td>Parents</td>
-    <td>love</td>
-    <td>children.</td>
-  </tr>
-  <tr>
-    <td>Children</td>
-    <td>obey</td>
-    <td>parents.</td>
-  </tr>
-  <tr>
-    <td>Boys</td>
-    <td>write</td>
-    <td>essays.</td>
-  </tr>
-  <tr>
-    <td>Haste</td>
-    <td>makes</td>
-    <td>waste.</td>
-  </tr>
-</table>
-
-<h6>Exercise 4.</h6>
-
-<p class="center"><i>Pick out the Subjects, Predicates, and Objects.</i></p>
-
-<div class="blockquote">
-
-<p>Soldiers fight battles. Tom missed Fred. Mary
-is minding baby. Job showed patience. Abraham
-had faith. Romulus founded Rome. Titus captured
-Jerusalem. Arthur loves father. Walter threw a
-stone. Tom broke a window. The servant swept
-the room. Masons build houses. The girl is milking
-the cow. The dog bit the beggar. Artists paint
-pictures. I am expecting a letter. We have won
-prizes.</p>
-
-<p><span class="smcap">Examples.</span>—The word “soldiers” is the subject;
-“fight” is the predicate; “battles” is the object.
-“Tom” is the subject; “missed” is the predicate;
-“Fred” is the object. You do not need to be confined
-to the sentences here given; write others of
-your own, and name the subjects, verbs and objects.</p>
-
-</div>
-
-<h6>Exercise 5.</h6>
-
-<p>You will readily understand what is required to
-complete the sentences in Exercises 5, 6 and 7. A
-poet <i>writes</i> poems. The smith <i>strikes</i> the iron, etc.</p>
-
-<p class="center"><i>Supply Predicates.</i></p>
-
-<div class="blockquote">
-
-<p>A poet ... poems. The smith ... the iron.
-Horses ... carts. Cows ... grass. Cats ...
-milk. The sexton ... the bell. The horse ...
-the groom. Grocers ... sugar. The hounds ...
-the fox. Birds ... nests. The gardener ...
-the flowers. Miss Wilson ... a ballad. Horses
-... hay. The dog ... the thief. The banker
-... a purse. Tailors ... coats. Brewers ...
-beer. The girl ... a rose.</p>
-
-</div>
-
-<h6>Exercise 6.</h6>
-
-<p class="center"><i>Supply Objects.</i></p>
-
-<div class="blockquote">
-
-<p>The servant broke.... The cook made....
-The hunter killed.... Farmers till.... Soldiers
-fight.... Tom missed.... Mary is
-minding.... Romulus founded.... Titus
-captured.... Cæsar invaded.... The gardener
-sowed.... Somebody stole.... Artists
-paint.... The sailor lost.... Children learn....
-Authors write.... Farmers grow....
-Birds build.... I admire.... We like....
-I hurt....</p>
-
-</div>
-
-<h6>Exercise 7.</h6>
-
-<p class="center"><i>Supply Subjects.</i></p>
-
-<div class="blockquote">
-
-<p>... dusted the room. ... is drawing a load.
-... loves me. ... met Tom. ... caught
-the thief. ... grow flowers. ... bit the beggar.
-... won the prize. ... has lost the dog.
-... has killed the cat. ... felled a tree. ...
-are singing songs. ... is making a pudding.
-... is expecting a letter. ... gives light.
-... makes shoes. ... sold a book. ...
-like him. ... likes him.</p>
-
-</div>
-
-<h5><span class="smcap">Enlarged Subject.</span></h5>
-
-<p>Subjects may be enlarged by <b>Adjuncts</b>.
-Thus the sentence “Boys work” may, by
-additions to the subject, become</p>
-
-<div class="blockquote">
-
-<p><i>The</i> boys work.</p>
-
-<p><i>These</i> boys work.</p>
-
-<p><i>Good</i> boys work.</p>
-
-<p><i>My</i> boys work.</p>
-
-<p><i>The good</i> boys <i>of the village</i> work.</p>
-
-<p><i>The good</i> boys <i>of the village, wishing to please
-their master</i>, work.</p>
-
-</div>
-
-<h6>Exercise 8.</h6>
-
-<p class="center"><i>Point out the Subject and its Adjuncts.</i></p>
-
-<div class="blockquote">
-
-<p>Tom’s brother has arrived. The careless boy will
-be punished. The laws of the land have been
-broken. The sweet flowers are blooming. The
-poor slave is crying. The boat, struck by a great
-wave, sank. The little child, tired of play, is sleeping.
-A short letter telling the good news has been
-sent.</p>
-
-</div>
-
-<h6>Exercise 9.</h6>
-
-<p class="center"><i>Add Adjuncts to each Subject.</i></p>
-
-<div class="blockquote">
-
-<p>Birds fly. Sheep bleat. Stars are shining. Cattle
-are grazing. Soldiers are watching. Donkeys
-bray. Lightning is flashing. The sun is shining.
-The scholars are studying. The ploughman is
-whistling. Monkeys chatter. Pigs grunt. The lark
-is soaring. Lions roar.</p>
-
-</div>
-
-<h5><span class="smcap">Enlarged Objects.</span></h5>
-
-<p>Objects, like Subjects, may be enlarged by
-Adjuncts. Thus the sentence “Boys learn<span class="pagenum"><a id="Page_34"></a>[34]</span>
-lessons” may, by additions to the Object,
-become</p>
-
-<div class="blockquote">
-
-<p>Boys learn <i>the</i> lessons.</p>
-
-<p>Boys learn <i>their</i> lessons.</p>
-
-<p>Boys learn <i>home</i> lessons.</p>
-
-<p>Boys learn <i>difficult</i> lessons.</p>
-
-<p>Boys learn lessons <i>about Verbs</i>.</p>
-
-<p>Boys learn <i>the</i> lessons <i>set by Mr. Edwards</i>.</p>
-
-<p>Boys learn <i>the difficult home</i> lessons <i>about Verbs
-set by Mr. Edwards</i>.</p>
-
-</div>
-
-<h6>Exercise 10.</h6>
-
-<p class="center"><i>Point out the Object and its Adjuncts.</i></p>
-
-<div class="blockquote">
-
-<p>The servant dusted every room. Fred loves his
-sweet little sister. We have rented a house at Barmouth.
-We saw our neighbor’s new Shetland pony.
-I am reading a book written by my father. The
-policeman caught the man accused of theft. The
-gardener is hoeing the potatoes planted by him in
-the early spring.</p>
-
-</div>
-
-<h6>Exercise 11.</h6>
-
-<p class="center"><i>Add Adjuncts to each Object.</i></p>
-
-<div class="blockquote">
-
-<p>The soldiers fought battles. Mary is minding
-baby. Walter threw a stone. Tom broke a window.
-The servant swept the room. The girl is milking the
-cow. The dog bit the beggar. The artist painted
-pictures. I am expecting a letter. We have won
-prizes. The fire destroyed houses. The general
-gained a victory. The engineer made a railway.
-The children drowned the kittens. We have bought
-books. He teaches geography.</p>
-
-</div>
-
-<h5><span class="smcap">Enlarged Predicate.</span></h5>
-
-<p>Predicates, like Subjects and Objects, may
-be enlarged by Adjuncts. Thus the sentence
-“Boys work” may, by additions to the Predicate,
-become</p>
-
-<div class="blockquote">
-
-<p>Boys work <i>diligently</i>.</p>
-
-<p>Boys work <i>now</i>.</p>
-
-<p>Boys work <i>in school</i>.</p>
-
-<p>Boys work <i>to please their teacher</i>.</p>
-
-<p>Boys work <i>diligently now in school to please their
-teacher</i>.</p>
-
-</div>
-
-<h6>Exercise 12.</h6>
-
-<p class="center"><i>Pick out Predicate and its Adjuncts.</i></p>
-
-<div class="blockquote">
-
-<p>Tom’s brother will come to-morrow. The careless
-girl was looking off her book. The laws of the land
-were often broken by the rude mountaineers. Pretty
-flowers grow in my garden all through the spring.
-The poor slave was crying bitterly over the loss of
-his child. The corn is waving in the sun. The great
-bell was tolling slowly for the death of the President.
-The trees are bowing before the strong wind. I am
-going to Montreal with my father next week.</p>
-
-</div>
-
-<h6>Exercise 13.</h6>
-
-<p class="center"><i>Add Adjuncts to each Predicate in Exercises
-8, 9, 10 and 11.</i></p>
-
-<h5><span class="smcap">Verbs of Incomplete Predication.</span></h5>
-
-<p>Some Verbs do not convey a complete
-idea, and therefore cannot be Predicates by
-themselves. Such Verbs are called <b>Verbs
-of Incomplete Predication</b>, and the words
-added to complete the Predicate are called
-the <b>Complement</b>.</p>
-
-<h5><i>Examples of Verbs of Incomplete Predication.</i></h5>
-
-<div class="blockquote">
-
-<p>The words, “London is,” do not contain a complete
-idea. Add the words, “a great city,” and you
-have a complete sentence. “William was,” needs a
-complement, and you can finish the sentence by
-writing, “Duke of Normandy.”</p>
-
-</div>
-
-<h6>Exercise 14.</h6>
-
-<p class="center"><i>Point out the Verbs of Incomplete Predication
-and the Complements.</i></p>
-
-<div class="blockquote">
-
-<p>Thou art the man. I am he. It is good. He is
-here. The house is to be sold. The horse is in the
-stable. The gun was behind the door. Jackson is
-a very good gardener. Those buds will be pretty
-flowers. Old King Cole was a merry old soul. I’m
-the chief of Ulva’s isle. William became King of
-England. The girl seems to be very happy. The
-general was made Emperor of Rome.</p>
-
-</div>
-
-<p class="center"><i>Supply Complements.</i></p>
-
-<div class="blockquote">
-
-<p>London is.... Paris is.... Jerusalem was....
-The boy will be.... He has become....
-We are.... I am.... He was.... Richard
-became.... The prisoners are.... The man
-was.... Those birds are.... Grass is....
-Homer was.... The child was.... The sun is....
-The stars are.... The sheep were....
-Charleston is.... Havana was....</p>
-
-</div>
-
-<h4>PRACTICE IN SIMPLE SENTENCES.</h4>
-
-<p>A sentence when written should always
-begin with a capital letter, and nearly always
-end with a full stop.</p>
-
-<p><span class="pagenum"><a id="Page_35"></a>[35]</span></p>
-
-<div class="blockquote">
-
-<p>A sentence which is a question ends with a note of
-interrogation (?), and one which is an exclamation
-ends with a note of admiration or exclamation (!).</p>
-
-</div>
-
-<h6>Exercise 15.</h6>
-
-<p class="center"><i>Make sentences about</i></p>
-
-<div class="blockquote">
-
-<p>Fire. The sun. The moon. The sea. Bread.
-Butter. Cheese. Wool. Cotton. Linen. Boots.
-Hats. A coat. The table. The window. The desk.
-Pens. Ink. Paper. Pencils. Lead. Iron. Tin.
-Copper. Gold. Silver. A knife. The clock.
-Books. Coal. The servant. A chair. Breakfast.
-Dinner. Supper. The apple. The pear. Oranges.
-Lemons. Water. Milk. Coffee. Tea. Cocoa.
-Maps. Pictures.</p>
-
-</div>
-
-<h6>Exercise 16.</h6>
-
-<p class="center"><i>Make sentences introducing the following
-pairs of words</i>:</p>
-
-<div class="blockquote">
-
-<p>Fire, grate. Sun, earth. Moon, night. Bread,
-flour. Pen, steel. Wool, sheep. Cotton, America.
-Boots, leather. Ink, black. Paper, rags. Walk,
-fields. Pair, gloves. Learning, to paint. Brother,
-arm. Wheel, cart. London, Thames. Bristol,
-Avon. Dublin, Ireland. Paris, France. Columbus,
-America. Shakespeare, poet. Threw, window.
-Useful, metal. Carpet, new. Wall, bricklayer.
-Road, rough. Lock, cupboard. Jug, full. Hawaii,
-island. Pencils, made. Drew, map.</p>
-
-</div>
-
-<h6>Exercise 17.</h6>
-
-<p class="center"><i>Write complete sentences in answer to the
-following questions</i>:—</p>
-
-<div class="blockquote">
-
-<table summary="Example">
-  <tr>
-    <td><span class="smcap">Example.</span></td>
-    <td><i>Question.</i> What is your name?</td>
-  </tr>
-  <tr>
-    <td></td>
-    <td><i>Answer.</i> My name is John Smith.</td>
-  </tr>
-</table>
-
-<p class="noindent">If you said simply “John Smith” your answer would
-not be a complete sentence.</p>
-
-<p>What is your name? When were you born? How
-old are you? Where do you live? How long have
-you lived there? What school do you attend? Of
-what games are you fond? During what part of the
-year is football played? And lawn-tennis? Are you
-learning Latin? And French? And German? Can
-you swim? And row? And ride? And play the
-piano? Do you like the sea? Have you ever been
-on the sea? Have you read “Robinson Crusoe?”
-What is the first meal of the day? And the second?
-And the third? Where does the sun rise? And
-set? How many days are there in a week?
-And in a year? And in leap year? How often
-does leap year come?</p>
-
-</div>
-
-<h6>Exercise 18.</h6>
-
-<p class="center"><i>Make three sentences about each of the following</i>:—</p>
-
-<div class="blockquote">
-
-<p>The place where you live. France. India. Australia.
-America. A horse. A cow. A dog. A
-sheep. A lion. A tiger. Spring. Summer. Autumn.
-Winter. The sun. The moon. Stars. Holidays.
-Boys’ games. Girls’ games. A railway. A
-steam-engine. The sea. A ship. Flowers. Fruits.
-A garden. Wool. Cotton. Leather. Silk. Water.
-Milk. Rice. Wheat. Books. Tea. Coffee. Sugar.
-Cocoa. Paper. Houses. Bricks. Stone. A
-field. Guns. A watch. A farm. Knives. Bees.
-Shellfish. Fresh-water fish. Coal. Glass. Gas.
-The United States. New York. The Mississippi.
-Canada. Indians. Chicago. St. Louis. Oakland.
-Philadelphia. Bicycle. Golf.</p>
-
-</div>
-
-<h6>Exercise 19.</h6>
-
-<p class="center"><i>Combine each of the following facts into a sentence and write it out</i>:</p>
-
-<div class="blockquote">
-
-<p><span class="smcap">Example</span>: Take the first name below, thus:—“Joseph Addison, the essayist, was born at Milston in
-Wiltshire, in the year 1672.” Pursue the same plan with all the other sets of facts here furnished.</p>
-
-</div>
-
-<table summary="Sets of facts to be turned into a sentence" class="sm90">
-  <tr>
-    <th><i>Name.</i></th>
-    <th><i>What he was.</i></th>
-    <th><i>Where born.</i></th>
-    <th><i>When born.</i></th>
-  </tr>
-  <tr>
-    <td>Joseph Addison</td>
-    <td>Essayist</td>
-    <td>Milston, Wiltshire</td>
-    <td>1672</td>
-  </tr>
-  <tr>
-    <td>William Blake</td>
-    <td>Poet and painter</td>
-    <td>London</td>
-    <td>1757</td>
-  </tr>
-  <tr>
-    <td>John Bunyan</td>
-    <td>Author of the “Pilgrim’s Progress”</td>
-    <td>Elstow, Bedfordshire</td>
-    <td>1628</td>
-  </tr>
-  <tr>
-    <td>Lord Byron</td>
-    <td>Great English poet</td>
-    <td>London</td>
-    <td>1788</td>
-  </tr>
-  <tr>
-    <td>Geoffrey Chaucer</td>
-    <td>Great English poet</td>
-    <td>London (probably)</td>
-    <td>About 1344</td>
-  </tr>
-  <tr>
-    <td>George Washington</td>
-    <td>First President of the United States</td>
-    <td>Virginia</td>
-    <td>1732</td>
-  </tr>
-  <tr>
-    <td>Justin S. Morrill</td>
-    <td>United States Senator</td>
-    <td>Vermont</td>
-    <td>1810</td>
-  </tr>
-  <tr>
-    <td>William McKinley</td>
-    <td>President of the United States</td>
-    <td>Ohio</td>
-    <td>1844</td>
-  </tr>
-</table>
-
-<p><span class="pagenum"><a id="Page_36"></a>[36]</span></p>
-
-<table summary="Sets of facts to be turned into a sentence" class="sm90">
-  <tr>
-    <th><i>Name.</i></th>
-    <th><i>What he was.</i></th>
-    <th><i>Where he died.</i></th>
-    <th><i>When he died.</i></th>
-  </tr>
-  <tr>
-    <td>Matthew Arnold</td>
-    <td>Poet and essayist</td>
-    <td>Liverpool</td>
-    <td>1888</td>
-  </tr>
-  <tr>
-    <td>Daniel Defoe</td>
-    <td>Author of “Robinson Crusoe”</td>
-    <td>London</td>
-    <td>1731</td>
-  </tr>
-  <tr>
-    <td>Henry Fielding</td>
-    <td>Novelist</td>
-    <td>Lisbon</td>
-    <td>1754</td>
-  </tr>
-  <tr>
-    <td>Henry Hallam</td>
-    <td>Historian</td>
-    <td>Penshurst</td>
-    <td>1859</td>
-  </tr>
-  <tr>
-    <td>William Shakespeare</td>
-    <td>Greatest English poet</td>
-    <td>Stratford-on-Avon</td>
-    <td>1616</td>
-  </tr>
-  <tr>
-    <td>William H. Gladstone</td>
-    <td>Great English statesman</td>
-    <td>Hawarden</td>
-    <td>1898</td>
-  </tr>
-  <tr>
-    <td>Henry W. Longfellow</td>
-    <td>American poet</td>
-    <td>Cambridge</td>
-    <td>1882</td>
-  </tr>
-  <tr>
-    <td>Abraham Lincoln</td>
-    <td>President of the United States</td>
-    <td>Washington</td>
-    <td>1865</td>
-  </tr>
-</table>
-
-<table summary="Sets of facts to be turned into a sentence" class="sm90">
-  <tr>
-    <th><i>Battle.</i></th>
-    <th><i>Date.</i></th>
-    <th><i>Between.</i></th>
-    <th><i>Victor.</i></th>
-  </tr>
-  <tr>
-    <td>Senlac, near Hastings</td>
-    <td>1066</td>
-    <td>English and Normans</td>
-    <td>Normans</td>
-  </tr>
-  <tr>
-    <td>Bannockburn</td>
-    <td>1314</td>
-    <td>English and Scotch</td>
-    <td>Scotch</td>
-  </tr>
-  <tr>
-    <td>Cressy</td>
-    <td>1346</td>
-    <td>English and French</td>
-    <td>English</td>
-  </tr>
-  <tr>
-    <td>Waterloo</td>
-    <td>1815</td>
-    <td>English and French</td>
-    <td>English</td>
-  </tr>
-  <tr>
-    <td>Marston Moor</td>
-    <td>1644</td>
-    <td>Royalists and Parliamentarians</td>
-    <td>Parliamentarians</td>
-  </tr>
-  <tr>
-    <td>Bull Run</td>
-    <td>1861</td>
-    <td>Unionists and Confederates</td>
-    <td>Confederates</td>
-  </tr>
-  <tr>
-    <td>Manila</td>
-    <td>1898</td>
-    <td>Americans and Spaniards</td>
-    <td>Americans</td>
-  </tr>
-</table>
-
-<div class="blockquote">
-
-<p>These facts should be combined into sentences in various ways, thus:</p>
-
-<p><i>The Normans defeated the English at Senlac, near Hastings, in the year 1066.</i></p>
-
-<p><i>The English were defeated by the Normans at Senlac, near Hastings, in the year 1066.</i></p>
-
-<p><i>In the year 1066, at Senlac, near Hastings, the Normans beat the English, etc. etc.</i></p>
-
-</div>
-
-<table summary="Sets of facts to be turned into a sentence" class="sm90">
-  <tr>
-    <th><i>Event.</i></th>
-    <th><i>Place.</i></th>
-    <th><i>Date.</i></th>
-    <th><i>Person.</i></th>
-  </tr>
-  <tr>
-    <td>Printing introduced into England</td>
-    <td></td>
-    <td>1476</td>
-    <td>William Caxton</td>
-  </tr>
-  <tr>
-    <td>Discovery of America</td>
-    <td></td>
-    <td>1492</td>
-    <td>Christopher Columbus</td>
-  </tr>
-  <tr>
-    <td>Defeat of the Spanish Armada</td>
-    <td>English Channel</td>
-    <td>1588</td>
-    <td>Howard, Drake and others</td>
-  </tr>
-  <tr>
-    <td>Gunpowder Plot</td>
-    <td>Westminster</td>
-    <td>1605</td>
-    <td>Guy Fawkes and others</td>
-  </tr>
-  <tr>
-    <td>Conquest of England</td>
-    <td></td>
-    <td>1066</td>
-    <td>William, Duke of Normandy</td>
-  </tr>
-  <tr>
-    <td>Surrender of British</td>
-    <td>Yorktown</td>
-    <td>1781</td>
-    <td>Lord Cornwallis</td>
-  </tr>
-  <tr>
-    <td>Destruction of Spanish fleet</td>
-    <td>Santiago</td>
-    <td>1898</td>
-    <td>Admiral Schley</td>
-  </tr>
-</table>
-
-<h4>SENTENCES COMBINED.</h4>
-
-<p>A number of simple sentences may sometimes
-be combined so as to form one.</p>
-
-<div class="blockquote">
-
-<p><span class="smcap">Example</span>:—The girl was little. She lost her doll.
-The doll was pretty. It was new. She lost it yesterday.
-She lost it in the afternoon.</p>
-
-<p>These sentences may be combined in one, thus:—The
-little girl lost her pretty new doll yesterday
-afternoon.</p>
-
-</div>
-
-<p>The combined sentence tells us as much
-as the separate sentences, and tells it in a
-shorter, clearer, and more pleasing way.</p>
-
-<h6>Exercise 20.</h6>
-
-<p class="center"><i>Combine the following sets of sentences</i>:—</p>
-
-<div class="blockquote">
-
-<p>1. The man is tall. He struck his head. He was
-entering a carriage. The carriage was low.</p>
-
-<p>2. Tom had a slate. It was new. He broke it.
-He broke it this morning.</p>
-
-<p>3. The cow is black. She is grazing in a meadow.
-The meadow is beside the river.</p>
-
-<p>4. The apples are ripe. They grow in an orchard.
-The orchard is Mr. Brown’s.</p>
-
-<p>5. The corn is green. It is waving. The breeze
-causes it to wave. The breeze is gentle.</p>
-
-<p>6. The father is kind. He bought some clothes.<span class="pagenum"><a id="Page_37"></a>[37]</span>
-The clothes were new. He bought them for the children.
-The children were good.</p>
-
-<p>7. The boy was careless. He made blots. The
-blots were big. They were made on his book. The
-book was clean.</p>
-
-<p>8. The bucket was old. It was made of oak. It
-fell. It fell into the well. The well was deep.</p>
-
-<p>9. Polly Flinders was little. She sat. She sat
-among the cinders. She was warming her toes. Her
-toes were pretty. They were little.</p>
-
-<p>10. Tom Tucker is little. He is singing. He is
-singing for his supper.</p>
-
-<p>11. There were three wise men. They lived at
-Gotham. They went to sea. They went in a
-bowl. They had a rough trip.</p>
-
-<p>12. The man came. He was the man in the moon.
-He came down soon. He came too soon.</p>
-
-<p>13. I saw ships. There were three. They came
-sailing. They sailed by. I saw them on Christmas
-day. I saw them in the morning.</p>
-
-<p>14. Cole was a king. He was old. He was a
-merry soul.</p>
-
-<p>15. A great battle began. It was between the English
-and the Scotch. It began next morning. It
-began at break of day. It was at Bannockburn.</p>
-
-</div>
-
-<p>Sentences are often combined by means of
-Conjunctions or other connecting words.</p>
-
-<p>Sentences are combined, by means of the
-Conjunction <i>and</i>.</p>
-
-<div class="blockquote">
-
-<p><span class="smcap">Examples</span>:—1. The boy is good. The boy is
-clever.</p>
-
-<p>2. William is going to school. John is going to
-school.</p>
-
-<p>3. I admire my teacher. I love my teacher.</p>
-
-</div>
-
-<p>These may be combined into single sentences,
-as follows:—</p>
-
-<div class="blockquote">
-
-<p>1. The boy is good and clever.</p>
-
-<p>2. William and John are going to school.</p>
-
-<p>3. I admire and love my teacher.</p>
-
-</div>
-
-<p>Note the use of the comma when more
-than two words or sets of words are joined
-by <i>and</i>:—</p>
-
-<div class="blockquote">
-
-<p>I met Fred, Will and George.</p>
-
-<p>Faith, Hope and Charity are sometimes called the
-Christian Graces.</p>
-
-<p>I bought a pound of tea, two pounds of coffee, ten
-pounds of sugar and a peck of flour.</p>
-
-</div>
-
-<p>The comma is used in the same way with <i>or</i>.</p>
-
-<h6>Exercise 21.</h6>
-
-<p class="center"><i>Combine the following set of sentences by
-means of the Conjunction <b>and</b></i>:—</p>
-
-<div class="blockquote">
-
-<p>1. Jack went up the hill. Jill went up the hill.</p>
-
-<p>2. The lion beat the unicorn. The lion drove the
-unicorn out of town.</p>
-
-<p>3. Edward is honest. Edward is truthful.</p>
-
-<p>4. The child is tired. The child is sleepy.</p>
-
-<p>5. Tom will pay us a visit. Ethel will pay us a
-visit. Their parents will pay us a visit.</p>
-
-<p>6. The grocer sells tea. He sells coffee. He sells
-sugar.</p>
-
-<p>7. Maud deserves the prize. She will get it.</p>
-
-<p>8. Coal is a mineral. Iron is a mineral. Copper
-is a mineral. Lead is a mineral.</p>
-
-<p>9. The boy worked hard. He advanced rapidly.</p>
-
-<p>10. Little drops of water, little grains of sand make
-the mighty ocean. Little drops of water, little grains
-of sand make the pleasant land.</p>
-
-</div>
-
-<p>Sentences are combined by means of the
-Conjunction <i>or</i>, thus:—</p>
-
-<div class="blockquote">
-
-<p>1. The boy is lazy. The boy is stupid.</p>
-
-<p>2. I want a pen. I want a pencil.</p>
-
-<p>3. The horse is lost. The horse is stolen.</p>
-
-</div>
-
-<p>These sentences may be combined as follows:—</p>
-
-<div class="blockquote">
-
-<p>1. The boy is lazy or stupid.</p>
-
-<p>2. I want a pen or a pencil.</p>
-
-<p>3. The horse is lost or stolen.</p>
-
-</div>
-
-<p>Remember to put in the commas when
-more than two words or sets of words are
-joined by <i>or</i>, thus:—</p>
-
-<div class="blockquote">
-
-<p>We could have tea, coffee or cocoa.</p>
-
-<p>The beggar asked for a piece of bread, a glass of
-milk or a few pennies.</p>
-
-</div>
-
-<h6>Exercise 22.</h6>
-
-<p class="center"><i>Combine the following sets of sentences by
-means of the Conjunction <b>or</b></i>:—</p>
-
-<div class="blockquote">
-
-<p>1. The child was tired. The child was sleepy.</p>
-
-<p>2. My father will meet me at the station. My
-mother will meet me at the station.</p>
-
-<p>3. Will you have tea? Will you have coffee?</p>
-
-<p>4. The colonel must be present. One of the other
-officers must be present.</p>
-
-<p>5. The cup was broken by the servant. The cup
-was broken by the dog. The cup was broken by the
-cat.</p>
-
-<p><span class="pagenum"><a id="Page_38"></a>[38]</span></p>
-
-<p>6. I must find the book. I must buy another.</p>
-
-<p>7. The horse is in the stable. The horse is in the
-barnyard. The horse is in the meadow.</p>
-
-<p>8. The prize will be gained by Brown. The prize
-will be gained by Smith. The prize will be gained
-by Jones.</p>
-
-</div>
-
-<p>Sentences may be combined by <i>either</i> ...
-<i>or</i>, and <i>neither</i> ... <i>nor</i>, thus:—</p>
-
-<div class="blockquote">
-
-<p>James was at school this morning. His sister was
-at school this morning.</p>
-
-</div>
-
-<p>These sentences may be combined thus:—</p>
-
-<div class="blockquote">
-
-<p>Either James or his sister was at school this morning.</p>
-
-<p>Neither James nor his sister was at school this
-morning.</p>
-
-</div>
-
-<h6>Exercise 23.</h6>
-
-<p class="center"><i>Combine the following sets of sentences:—(a)
-By <b>either</b> ... <b>or</b>. (b) By <b>neither</b> ... <b>nor</b>.</i></p>
-
-<div class="blockquote">
-
-<p>1. The man can read. The man can write.</p>
-
-<p>2. He is deaf. He is stupid.</p>
-
-<p>3. That shot will strike the horse. That shot will
-strike the rider.</p>
-
-<p>4. The king was weak in mind. The king was
-weak in body.</p>
-
-<p>5. The king was loved. The queen was loved.</p>
-
-<p>6. The cow is for sale. The calf is for sale.</p>
-
-</div>
-
-<p>Sentences may be combined by <i>both</i> ...
-<i>and</i>, thus:—</p>
-
-<div class="blockquote">
-
-<p>The man is tired. The horse is tired.</p>
-
-</div>
-
-<p>These sentences may be combined in the
-following:—</p>
-
-<div class="blockquote">
-
-<p>Both the man and the horse are tired.</p>
-
-</div>
-
-<h6>Exercise 24.</h6>
-
-<p class="center"><i>Combine, by means of <b>both</b> ... <b>and</b>, the
-sets of sentences given in Exercise 23.</i></p>
-
-<p>Sentences may be combined by means of
-Conjunctions of Cause, Consequence or Condition,
-such as <i>if</i>, <i>though</i>, <i>although</i>, <i>because</i>,
-thus:—</p>
-
-<div class="blockquote">
-
-<p>1. You are tired. You may rest.</p>
-
-<p>2. The boy was not bright. He was good.</p>
-
-<p>3. He is liked. He is good tempered.</p>
-
-</div>
-
-<p>Combine these sentences as follows:—</p>
-
-<div class="blockquote">
-
-<p>1. If you are tired you may rest.</p>
-
-<p>2. Though the boy was not bright he was good.</p>
-
-<p>3. He is liked because he is good tempered.</p>
-
-</div>
-
-<h6>Exercise 25.</h6>
-
-<p class="center"><i>Combine the following sets of sentences</i>:—</p>
-
-<p>(a) <i>By means of <b>if</b>.</i></p>
-
-<div class="blockquote">
-
-<p>1. You will get the prize. You deserve it.</p>
-
-<p>2. He might have succeeded. He had tried.</p>
-
-<p>3. You are truthful. You will be believed.</p>
-
-<p>4. Send for me. You want me.</p>
-
-<p>5. You do not sow. You cannot expect to reap.</p>
-
-<p>6. You are waking. Call me early.</p>
-
-<p>7. I will come with you. You wish it.</p>
-
-<p>8. We had known you were in town. We should
-have called on you.</p>
-
-</div>
-
-<p>(b) <i>By means of <b>though</b> or <b>although</b>.</i></p>
-
-<div class="blockquote">
-
-<p>9. The man was contented. He was poor.</p>
-
-<p>10. The little girl has travelled much. She is
-young.</p>
-
-<p>11. The story is true. You do not believe it.</p>
-
-<p>12. He spoke the truth. He was not believed.</p>
-
-<p>13. It was rather cold. The day was pleasant.</p>
-
-<p>14. He is often told of his faults. He does not
-mend them.</p>
-
-</div>
-
-<p>(c) <i>By means of <b>because</b>; also by means
-of <b>as</b> and <b>since</b>.</i></p>
-
-<div class="blockquote">
-
-<p>16. I came. You called me.</p>
-
-<p>17. I will stay. You wish it.</p>
-
-<p>18. The dog could not enter. The hole was too
-small.</p>
-
-<p>19. You are tired. You may rest.</p>
-
-<p>20. Freely we serve. We freely love.</p>
-
-<p>21. The hireling fleeth. He is a hireling.</p>
-
-<p>22. We love him. He first loved us.</p>
-
-</div>
-
-<p>Sentences may be combined by means of
-Conjunctive Adverbs (such as <i>where</i> with its
-compounds, also <i>when</i>, <i>whence</i>, <i>why</i>), and of
-Conjunctions of Time (such as <i>after</i>, <i>before</i>
-<i>while</i>, <i>ere</i>, <i>till</i>, <i>until</i>, <i>since</i>).</p>
-
-<h6>Exercise 26.</h6>
-
-<p class="center"><i>Combine, by means of one of the words given
-in the last paragraph, the following sets of
-sentences</i>:</p>
-
-<div class="blockquote">
-
-<p>1. This is the place. My brother works.</p>
-
-<p>2. Mary went. The lamb was sure to go.</p>
-
-<p>3. The boy was reading. His master came up.</p>
-
-<p>4. The moon rose. The sun had set.</p>
-
-<p>5. It is now three months. We heard from our
-cousin.</p>
-
-<p>6. Do not go out. The storm has abated.</p>
-
-<p><span class="pagenum"><a id="Page_39"></a>[39]</span></p>
-
-<p>7. The man arrived. We were speaking to him.</p>
-
-<p>8. I remember the house. I was born.</p>
-
-<p>9. I know a bank. The wild thyme blows.</p>
-
-<p>10. There is the field. The money was found.</p>
-
-<p>11. The workman did not hear. He was called.</p>
-
-<p>12. He goes out riding. He can find time.</p>
-
-</div>
-
-<p class="center"><i>Supply the omitted clauses</i>:</p>
-
-<div class="blockquote">
-
-<p>The tree is still lying where.... Wherever
-... was my poor dog Tray. William came after....
-My brother cannot stay till.... The
-merchant has been here since.... Go where....
-Smooth runs the water where.... She
-stayed till.... The boy has worked hard since....
-We shall be pleased to see you whenever....
-The train had gone before.... The little
-girl was tired after.... Make hay while....</p>
-
-</div>
-
-<p>Sentences may be combined by means of
-Relative Pronouns, thus:</p>
-
-<div class="blockquote">
-
-<p>1. That is the boy. The boy broke the window.</p>
-
-<p>2. That is the man. The man’s window was
-broken.</p>
-
-<p>3. Mary is the girl. You want Mary.</p>
-
-<p>4. This is the house. Jack built the house.</p>
-
-<p>5. The knife was lost. The knife cost fifty cents.</p>
-
-</div>
-
-<p>Combine as follows:</p>
-
-<div class="blockquote">
-
-<p>1. That is the boy who broke the window.</p>
-
-<p>2. That is the man whose window was broken.</p>
-
-<p>3. Mary is the girl whom you want.</p>
-
-<p>4. This is the house that Jack built.</p>
-
-<p>5. The knife which was lost cost fifty cents.</p>
-
-</div>
-
-<h6>Exercise 27.</h6>
-
-<p class="center"><i>Combine, as in the examples just given, the
-following pairs of sentences</i>:</p>
-
-<div class="blockquote">
-
-<p>1. The boy is crying. The boy is called Tom.</p>
-
-<p>2. The man was hurt. The man is better now.</p>
-
-<p>3. The grocer has sent for the police. The grocer’s
-goods were stolen.</p>
-
-<p>4. The child is very naughty. The father punished
-the child.</p>
-
-<p>5. My uncle gave me the book. The book is on
-the table.</p>
-
-<p>6. The horse goes well. I bought the horse.</p>
-
-<p>7. The lady sings beautifully. You see the lady.</p>
-
-<p>8. They did not hear the preacher. They went to
-hear the preacher.</p>
-
-<p>9. The gentleman is very kind to the poor. You
-see the gentleman’s house.</p>
-
-<p>10. I have just bought an overcoat. The overcoat
-is waterproof.</p>
-
-<p>11. The tree was a chestnut. The wind blew the
-tree down.</p>
-
-<p>12. Tom had just been given the dollar. He
-lost it.</p>
-
-<p>13. The boy drove away the birds. The birds
-were eating the corn.</p>
-
-<p>14. The girl is very clever. You met her brother.</p>
-
-<p>15. The dog fetched the birds. Its master had
-shot them.</p>
-
-<p>16. Where is the book? You borrowed it.</p>
-
-<p>17. The cow has been found. It was lost.</p>
-
-</div>
-
-<h4>PUNCTUATION.</h4>
-
-<p>If the proper stops are left out, the meaning
-of a sentence may be doubtful. Take,
-for example, the toast at a public dinner:</p>
-
-<div class="blockquote">
-
-<p>Woman without her man is a brute.</p>
-
-<p>This might mean that woman without man is a
-brute. Punctuate the sentence correctly by the right
-use of the comma, and you will see that the meaning
-is quite different. Thus: Woman, without her, man
-is a brute.</p>
-
-</div>
-
-<p>The misplacing of the stops may make
-nonsense of a sentence. Take the sentence:</p>
-
-<div class="blockquote">
-
-<p>Cæsar entered, on his head his helmet, on his feet
-sandals, in his hand his trusty sword, in his eye an
-angry glare.</p>
-
-<p>This may become: Cæsar entered on his head,
-his helmet on his feet, sandals in his hand, his
-trusty sword in his eye, an angry glare.</p>
-
-<p>The barber’s sign also had two meanings according
-to its punctuation:</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">1. What do you think?</div>
-    <div class="verse indent2">I shave you for nothing and give you a drink.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">2. What! Do you think</div>
-    <div class="verse indent2">I shave you for nothing and give you a drink?</div>
-  </div>
-</div>
-</div>
-
-</div>
-
-<h5><span class="smcap">The Full Stop.</span></h5>
-
-<p>A <b>Full Stop</b> is placed at the end of every
-sentence.</p>
-
-<h6>Exercise 28.</h6>
-
-<p class="center"><i>Insert full stops where wanted. Place a
-capital letter after each.</i></p>
-
-<div class="blockquote">
-
-<p>The old man was sitting under a tree the house
-was burned the roses were scattered by the wind the
-carpet was beaten this morning the mower was bitten
-by a snake that book is liked England was conquered
-by William the corn was ground by the miller the
-father was called by a little girl the cheeses were
-eaten by mice that fish is caught with a hook the<span class="pagenum"><a id="Page_40"></a>[40]</span>
-flowers were gathered by Ellen that carving is much
-admired the lady was nearly stunned snow had newly
-fallen the sun had just risen the moon was almost
-setting Amelia is always reading Nelly had often
-driven the horse the week has quickly gone the bells
-were merrily ringing.</p>
-
-<p><span class="smcap">Examples</span>:—The old man was sitting under a
-tree. The house was burned. The roses were scattered
-by the wind, etc.</p>
-
-</div>
-
-<p class="center"><i>Write the following, insert stops where
-wanted, and make good sense of it.</i></p>
-
-<div class="blockquote">
-
-<p>The celebrated Rabelais was once staying at a
-remote country inn he wished to go to Paris but had
-no money to pay his traveling expenses he therefore
-hit upon a plan of traveling at the expense of the
-government out of brickdust he made up three little
-parcels on the first he wrote “For the king” on the
-second “For the king’s son” on the third “For the
-king’s brother” the landlord seeing these on the
-table where they had been purposely left sent word
-to the king’s ministers they ordered a messenger to
-fetch the traitor when he reached Paris he was recognized
-he proved that he was no traitor and his trick
-was discovered.</p>
-
-<p><span class="smcap">Example</span>:—The celebrated Rabelais was once
-staying at a remote country inn. He wished to go
-to Paris, but had no money to pay his traveling
-expenses. He, therefore, hit upon a plan of traveling,
-etc.</p>
-
-</div>
-
-<h6>Exercise 29.</h6>
-
-<p class="center"><i>Correct the punctuation.</i></p>
-
-<div class="blockquote">
-
-<p>A farmer had several sons. Who used to quarrel
-with one another. He tried to cure them of this bad
-habit. By pointing out how foolish and wicked it
-was. But he found. That he did no good. By
-talking to them. So one day he laid a bundle of
-sticks before them. And he bade them break it.
-The eldest put out all his strength. But in vain.
-The other sons tried in vain. But they all failed.
-Then the father. Untying the bundle. Gave his
-sons the separate sticks to break. And they broke
-them easily. “Remember,” he said, “the lesson.
-Which this bundle teaches. While you help each
-other. None can harm you. When you quarrel.
-You are easily hurt.”</p>
-
-</div>
-
-<h5><span class="smcap">The Note of Interrogation.</span></h5>
-
-<p>Every direct question is followed by a
-<b>Note of Interrogation</b>; as, “How do you
-do?” “When did you see your father?”
-“I suppose, sir, you are a doctor?”</p>
-
-<p>Sometimes a question forms part of a larger
-sentence, as,</p>
-
-<div class="blockquote">
-
-<p>They put this question to the committee, “Will
-you grant us a hearing?” in a manner that proved
-their earnestness.</p>
-
-</div>
-
-<p>Except in such cases, a note of interrogation
-is always followed by a capital letter.</p>
-
-<p><i>Carefully observe the full stops and notes of
-interrogation in the following</i>:</p>
-
-<div class="blockquote">
-
-<p>A Paris fortune-teller was arrested and brought
-before a magistrate. He said to her, “You know
-how to read the future?” “I do, sir.” “Then you
-know what sentence I mean to pass on you?”
-“Certainly.” “Well, what will happen to you?”
-“Nothing.” “You are sure of it?” “Yes.” “Why?”
-“Because if you had meant to punish me you would
-not be cruel enough to mock me.”</p>
-
-</div>
-
-<h6>Exercise 30.</h6>
-
-<p class="center"><i>Insert full stops and notes of interrogation.</i></p>
-
-<div class="blockquote">
-
-<p>Is the gardener pruning the trees has the baker
-been here is the teacher liked were those roses cut
-to-day had the gentleman lost his hat was the thief
-caught is the water boiling have the girls learned their
-poetry has the window been broken was the ship
-wrecked has the crew been saved was Susan knitting
-will Mr. Robinson sing has Frank started</p>
-
-<p>A boy was going away without his mother’s leave
-she called after him “Where are you going, sir”
-“To the village” “What for” “To buy ten cents
-worth of nails” “And what do you want ten cents
-worth of nails for” “For a nickel”</p>
-
-</div>
-
-<h5><span class="smcap">The Comma.</span></h5>
-
-<p>The <b>Comma</b> is the most frequently used
-of all stops.</p>
-
-<p>As a general rule, it may be stated that
-when, in reading, a slight pause is made, a
-comma should be inserted in writing; thus:—</p>
-
-<div class="blockquote">
-
-<p>The Spaniards were no match for the Roosevelt
-fighters, however, and, as had been the case at
-La Quasina, the Western cowboys and Eastern
-“dandies” hammered the enemy from their path.
-Straight ahead they advanced, until by noon they
-were well along toward San Juan, the capture of which
-was their immediate object. Fighting like demons,
-they held their ground tenaciously, now pressing forward<span class="pagenum"><a id="Page_41"></a>[41]</span>
-a few feet, then falling back, under the enemy’s
-fire, to the position they held a few moments before.</p>
-
-<p>Without books God is silent, justice dormant,
-natural science at a stand, philosophy lame, letters
-dumb and all things involved in Cimmerian darkness.</p>
-
-</div>
-
-<p>When a Noun or Pronoun in Apposition
-is very closely connected with the preceding
-word, no comma is needed, as,</p>
-
-<div class="blockquote">
-
-<p>William the Conqueror.</p>
-
-<p>My cousin Fred.</p>
-
-<p>Cromwell the Protector.</p>
-
-</div>
-
-<p>When the connection is not so close, or
-when the words in apposition are qualified,
-the phrase should have commas before and
-after, as,</p>
-
-<div class="blockquote">
-
-<p>William, the Norman conqueror of England, lived
-a stormy life.</p>
-
-<p>My cousin, the bold and gallant Fred, fell in battle.</p>
-
-<p>Cromwell, the great Protector, died in 1658.</p>
-
-</div>
-
-<h6>Exercise 31.</h6>
-
-<p class="center"><i>Insert the necessary commas.</i></p>
-
-<div class="blockquote">
-
-<p>Napoleon the fallen emperor was sent to St.
-Helena. I live in Washington the capital of the
-United States. The children love their uncle Mr.
-Holmes. That coat was made by Brown the village
-tailor. It was the lark the herald of the morn. Tom
-the piper’s son stole a pig. Frank the jockey’s leg
-is broken. Rome the city of the emperors became
-the city of the popes. He still feels ambition the
-last infirmity of noble minds. Julius Cæsar a great
-Roman general invaded Britain.</p>
-
-<p><span class="smcap">Examples</span>:—Napoleon, the fallen emperor, was
-sent to St. Helena. I live in Washington, the capital,
-etc. The children love their uncle, Mr. Holmes, etc.</p>
-
-</div>
-
-<p>A Nominative of Address is marked off
-by commas, as,</p>
-
-<div class="blockquote">
-
-<p>Are you, sir, waiting for anyone?</p>
-
-</div>
-
-<p>Should the Nominative of Address have
-any qualifying words joined to it, the whole
-phrase is marked off by commas, as,</p>
-
-<div class="blockquote">
-
-<p>How now, my man of mettle, what is it you want?</p>
-
-</div>
-
-<h6>Exercise 32.</h6>
-
-<p class="center"><i>Insert the necessary commas.</i></p>
-
-<div class="blockquote">
-
-<p>O Romeo wherefore art thou Romeo? In truth
-fair Montague I am too fond. O grave where is thy
-victory? I pray you sire to let me have the honor.
-Exult ye proud patricians. Put on thy strength O
-Zion. My name dear saint is hateful to myself. I
-am sorry friend that my vessel is already chosen.
-O night and darkness ye are wondrous strong. Good
-morrow sweet Hal. Now my good sweet honey lord
-ride with us to-morrow. Come my masters let us
-share. For mine own part my lord I could be well
-content to be there.</p>
-
-<p><span class="smcap">Examples</span>:—O Romeo, wherefore art thou, Romeo?
-In truth, fair Montague, I am too fond. I
-pray you, sire, to let me have the honor, etc.</p>
-
-</div>
-
-<p>An Adverbial phrase or clause let into a
-sentence should be marked off by commas, as,</p>
-
-<div class="blockquote">
-
-<p>His story was, in several ways, improbable.</p>
-
-<p>The letter was written, strange to say, on club
-paper.</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">A time there was, ere England’s griefs began,</div>
-    <div class="verse indent0">When every rood of ground maintained its man.</div>
-  </div>
-</div>
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">They sat, as sets the morning star, which goes</div>
-    <div class="verse indent0">Not down behind the darkened west.</div>
-  </div>
-</div>
-</div>
-
-<h6>Exercise 33.</h6>
-
-<p class="center"><i>Supply commas where necessary.</i></p>
-
-<div class="blockquote">
-
-<p>You will hear in the course of the meeting a full
-account of the business. The story is however true.
-The wounded man is according to the latest news
-doing well. He arrived in spite of difficulties at his
-journey’s end. He explains with perfect simplicity
-vast designs affecting all the governments of Europe.
-In France indeed such things are done. I will when
-I see you tell you a secret. I had till you told me
-heard nothing of the matter. There where a few
-torn shrubs the place disclose the village preacher’s
-modest mansion rose. You may if you call again
-see him. You cannot unless you try harder hope to
-succeed.</p>
-
-<p><span class="smcap">Examples</span>:—You will hear, in the course of the
-meeting, a full account, etc. The story is, however,
-true. You cannot, unless you try harder, hope to
-succeed, etc.</p>
-
-</div>
-
-<p>Words, phrases, or clauses of the same
-kind, coming after one another, must be separated
-by commas, except when joined by
-Conjunctions, as,</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Let Rufus weep, rejoice, stand still or walk....</div>
-    <div class="verse indent0">Let him eat, drink, ask questions or dispute.</div>
-  </div>
-</div>
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Her lower weeds were all o’er coarsely patched</div>
-    <div class="verse indent0">With diff’rent colored rags, black, red, white, yellow.</div>
-  </div>
-</div>
-</div>
-
-<p><span class="pagenum"><a id="Page_42"></a>[42]</span></p>
-
-<div class="blockquote">
-
-<p>On I walked, my face flushed, my feet sore, my
-clothes dusty and my stomach as empty as my purse.</p>
-
-</div>
-
-<h6>Exercise 34.</h6>
-
-<p class="center"><i>Supply commas where necessary.</i></p>
-
-<div class="blockquote">
-
-<p>I met Fred Will and George. Faith hope and
-charity are the Christian graces. The grocer sold
-four pounds of cheese two pounds of bacon and
-seven pounds of sugar. Little drops of water little
-grains of sand make the mighty ocean and the pleasant
-land. We could have tea coffee cocoa lemonade
-or ginger beer. The beggar asked for a piece of
-bread a glass of milk or a few pence. The prize will
-be won by Smith Brown or Jones. The first second
-third and fourth boys in the class will be promoted.</p>
-
-<p><span class="smcap">Examples</span>:—I met Fred, Will and George. Faith,
-hope and charity are, etc. The first, second, third
-and fourth boys, etc.</p>
-
-</div>
-
-<p>A participial phrase is generally marked
-off by commas; as,</p>
-
-<div class="blockquote">
-
-<p>The general, seeing his soldiers turn, galloped up to
-them.</p>
-
-<p>The baby lying asleep, the children were very quiet.</p>
-
-</div>
-
-<h6>Exercise 35.</h6>
-
-<p class="center"><i>Insert commas where necessary.</i></p>
-
-<div class="blockquote">
-
-<p>James leaving the country William was made
-king. The storm having abated the ships ventured
-to sail. Henry returning victorious the people went
-forth to meet him. My friend Sir Roger being a good
-churchman has beautified the inside of his church.
-The woman being in great trouble was weeping.
-Fearing the storm we returned.</p>
-
-<p><span class="smcap">Examples</span>:—James leaving the country, William
-was made king. Fearing the storm, we returned,
-etc.</p>
-
-</div>
-
-<h6>Exercise 36.</h6>
-
-<p class="center"><i>Insert commas where necessary in the following
-sentences</i>:—</p>
-
-<div class="blockquote">
-
-<p>On their bridal trip they took a palace car went
-down the Cumberland Valley stopped awhile at
-a watering place and wondered at the divorce cases
-recorded in the newspapers.</p>
-
-<p>In those distant days as in all other times and
-places where the mental atmosphere is changing and
-men are inhaling the stimulus of new ideas folly often
-mistook itself for wisdom ignorance gave itself airs
-of knowledge and selfishness turning its eyes upward
-called itself religion—<i>George Eliot.</i></p>
-
-<p>When I was running about this town a very poor
-fellow I was a great arguer for the advantages of
-poverty but I was at the same time very sorry to be
-poor.—<i>Johnson.</i></p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Sail on Three Bells forever</div>
-    <div class="verse indent2">In grateful memory sail!</div>
-    <div class="verse indent0">Ring on Three Bells of rescue</div>
-    <div class="verse indent2">Above the wave and gale!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">As thine in night and tempest</div>
-    <div class="verse indent2">I hear the Master’s cry</div>
-    <div class="verse indent0">And tossing through the darkness</div>
-    <div class="verse indent2">The lights of God draw nigh.—<i>Whittier.</i></div>
-  </div>
-</div>
-</div>
-
-<h5><span class="smcap">The Semi-colon.</span></h5>
-
-<p>It may be generally stated that a <b>Semi-colon</b>
-is used in a complex sentence when
-a comma would not be a sufficient division.</p>
-
-<p>Co-ordinate clauses or sentences, especially
-if not joined by Conjunctions, are generally
-separated by semi-colons.</p>
-
-<p class="center"><i>Examples of the use of semi-colons.</i></p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">The first in loftiness of mind surpassed;</div>
-    <div class="verse indent0">The next in majesty; in both the last.—<i>Dryden.</i></div>
-  </div>
-</div>
-</div>
-
-<div class="blockquote">
-
-<p>Many a man lives a burden to the earth; but a
-good book is the precious life-blood of a master-spirit,
-embalmed and treasured up on purpose to a life beyond
-life.—<i>Milton.</i></p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">All nature is but art unknown to thee;</div>
-    <div class="verse indent0">All chance, direction, which thou canst not see;</div>
-    <div class="verse indent0">All discord, harmony, not understood;</div>
-    <div class="verse indent0">All partial evil universal good.—<i>Pope.</i></div>
-  </div>
-</div>
-</div>
-
-<h6>Exercise 37.</h6>
-
-<p class="center"><i>Supply semi-colons where necessary.</i></p>
-
-<div class="blockquote">
-
-<p>Of the great men by whom Milton had been distinguished
-at his entrance into life some had been
-taken away from the evil to come some had carried
-into foreign climates their unconquerable hatred of
-oppression some were pining in dungeons and some
-had poured forth their blood on scaffolds.</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Then palaces shall rise the joyful son</div>
-    <div class="verse indent0">Shall finish what his short-lived sire begun</div>
-    <div class="verse indent0">Their vines a shadow to their race shall yield</div>
-    <div class="verse indent0">And the same hand that sowed shall reap the field.—<i>Pope.</i></div>
-  </div>
-</div>
-</div>
-
-<div class="blockquote">
-
-<p><span class="smcap">Examples</span>:—Of the great men by whom Milton
-had been distinguished at his entrance into life, some
-had been taken away from the evil to come; some
-had carried into foreign climates their unconquerable<span class="pagenum"><a id="Page_43"></a>[43]</span>
-hatred of oppression; some were pining in dungeons,
-and some had poured forth their blood on scaffolds.</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Then palaces shall rise; the joyful son</div>
-    <div class="verse indent0">Shall finish what his short-lived sire begun;</div>
-    <div class="verse indent0">Their vines a shadow to their race shall yield;</div>
-    <div class="verse indent0">And the same hand that sowed shall reap the field.—<i>Pope.</i></div>
-  </div>
-</div>
-</div>
-
-<h5><span class="smcap">The Note of Admiration or Exclamation.</span></h5>
-
-<p>The <b>Note of Admiration</b> or <b>Exclamation</b>
-is used</p>
-
-<div class="blockquote">
-
-<p>1. After Interjections; as,</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Alas! he is already dead.</div>
-  </div>
-</div>
-</div>
-
-<div class="blockquote">
-
-<p>2. After a phrase in the nature of an address or
-exclamation; as,</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Vital spark of heavenly flame!</div>
-    <div class="verse indent0">Quit, oh quit this mortal frame;</div>
-    <div class="verse indent0">Trembling, hoping, ling’ring, flying,</div>
-    <div class="verse indent0">Oh the pain, the bliss of dying!—<i>Pope.</i></div>
-  </div>
-</div>
-</div>
-
-<div class="blockquote">
-
-<p>3. As a mark of surprise; as,</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Two and two are five!</div>
-  </div>
-</div>
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Prepare the way, a god, a god appears!</div>
-    <div class="verse indent0">“A god! a god!” the vocal hills reply.</div>
-  </div>
-</div>
-</div>
-
-<h6>Exercise 38.</h6>
-
-<p class="center"><i>Insert notes of exclamation where necessary.</i></p>
-
-<div class="blockquote">
-
-<p>Alas he is already dead. Alas poor Yorick. Tush
-never tell me that. Well-a-day it is but too true.
-Tut, tut that is all nonsense. Hey come here. O
-for a falconer’s voice. Hurrah our side has won.
-Bravo that was well done. Hush the baby is asleep.
-Ah the cowards. Oh what beautiful flowers. Heigh-ho
-I am tired of waiting.</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Hush hush mee-ow mee-ow</div>
-    <div class="verse indent0">We smell a rat close by.</div>
-  </div>
-</div>
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Hurrah, hurrah a single field hath turned the chance of war</div>
-    <div class="verse indent0">Hurrah, hurrah for Ivry and Henry of Navarre</div>
-  </div>
-</div>
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Ho maidens of Vienna ho matrons of Lucerne,</div>
-    <div class="verse indent0">Weep, weep for those who never will return.</div>
-  </div>
-</div>
-</div>
-
-<div class="blockquote">
-
-<p><span class="smcap">Examples</span>:—Alas! poor Yorick. Tut, tut! that is
-all nonsense. Bravo! that was well done, etc.</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Ho! maidens of Vienna, ho! matrons of Lucerne,</div>
-    <div class="verse indent0">Weep, weep! for those who never will return.</div>
-  </div>
-</div>
-</div>
-
-<h5><span class="smcap">Quotation Marks.</span></h5>
-
-<p>A <b>Quotation</b> is said to be <b>direct</b> when
-the exact words are given; it is said to be
-<b>indirect</b> when the substance is given, but
-not the exact words; thus:—</p>
-
-<p class="center"><i>Direct quotations.</i></p>
-
-<div class="blockquote">
-
-<p>1. Mr. Brown said, “I am going for a walk.”</p>
-
-<p>2. Mrs. Evans writes, “I hope to see you soon.”</p>
-
-<p>3. He asked me, “What is your name?”</p>
-
-</div>
-
-<p class="center"><i>Indirect quotations.</i></p>
-
-<div class="blockquote">
-
-<p>1. Mr. Brown said he was going for a walk.</p>
-
-<p>2. Mrs. Evans writes that she hopes to see us soon.</p>
-
-<p>3. He asked me what my name was.</p>
-
-</div>
-
-<h6>Exercise 39.</h6>
-
-<p class="center"><i>Turn the direct quotations into indirect.</i></p>
-
-<div class="blockquote">
-
-<p>Johnson said, “I am a very fair judge.” “I doubt
-the story,” observed Mrs. Beckett. “That was not
-quite what I had in my mind,” answered the widow.
-“I am very tired,” added Mr. Brown. “That is
-false,” we all shouted. “You must be a born fool,”
-shouted the old man to me. “Our host is an inferior
-person,” he remarked. “Are you better?” inquired
-she. Some one asked, “Do you mean to stay till to-morrow?”
-“Little kitten,” I say, “just an hour you
-may stay.” “I’ll have that mouse,” said the bigger
-cat. Bun replied, “You are doubtless very big.”</p>
-
-<p><span class="smcap">Examples</span>:—Johnson said he was a very fair judge.
-Mrs. Beckett observed that she doubted the story.
-Some one asked if you mean to stay, etc. Bun replied
-that he was doubtless very big, etc.</p>
-
-</div>
-
-<p>A direct quotation always begins with a
-capital letter, and is placed within inverted
-commas, thus:—</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">But his little daughter whispered,</div>
-    <div class="verse indent2">As she shook his icy hand,</div>
-    <div class="verse indent0">“Isn’t God upon the ocean,</div>
-    <div class="verse indent2">Just the same as on the land?”</div>
-  </div>
-</div>
-</div>
-
-<div class="blockquote">
-
-<p>The man said, “Where are you going?”</p>
-
-</div>
-
-<p>The titles of books are generally placed
-within inverted commas, thus:—</p>
-
-<div class="blockquote">
-
-<p>Defoe wrote “Robinson Crusoe.”</p>
-
-<p>Thackeray is the author of “Vanity Fair,” “Pendennis,”
-“Esmond,” “The Newcomes,” and other
-novels.</p>
-
-</div>
-
-<h6>Exercise 40.</h6>
-
-<p class="center"><i>Place all direct quotations within inverted
-commas.</i></p>
-
-<div class="blockquote">
-
-<p>Oh Charley, this is too absurd ejaculated Mrs.
-Beckett. Why, Mr. Paton must be going mad exclaimed
-Mrs. Beckett. Oh dear! dear! I can indeed
-gasped the widow. The butler announced Major
-and Mrs. Wellington de Boots. You will give my<span class="pagenum"><a id="Page_44"></a>[44]</span>
-love to your mother when you write said Mary
-warmly. He smiled as though he were thinking I
-have it not to give. The elder replied I was, as
-usual, unfortunate. How naughty he is said his
-mother. Do you understand the language of flowers?
-inquired Uncle Ralph. Why, that is lightning exclaimed
-the knight. Juan replied Not while this arm
-is free. He thought The boy will be here soon. Tom
-broke in with You do not know whom I mean. He
-will soon be back continued Mr. Brooke. Remember
-the proverb Small strokes fell great oaks. Provoking
-scoundrel muttered the antiquary. Out with
-those boats and let us haste away cried one. Hearts
-of oak! our captains cried.</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Shoot, if you must, this old gray head,</div>
-    <div class="verse indent0">But spare your country’s flag she said.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Who touches a hair of yon gray head</div>
-    <div class="verse indent0">Dies like a dog. March on he said.</div>
-  </div>
-</div>
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">He woke to hear his sentries shriek</div>
-    <div class="verse indent0">To arms! They come! The Greek! The Greek!</div>
-  </div>
-</div>
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Out spake the victor then,</div>
-    <div class="verse indent2">As he hailed them o’er the wave,</div>
-    <div class="verse indent0">Ye are brothers! ye are men!</div>
-    <div class="verse indent2">And we conquer but to save.</div>
-  </div>
-</div>
-</div>
-
-<div class="blockquote">
-
-<p><span class="smcap">Examples</span>:—“Oh! Charley, this is too absurd,”
-ejaculated Mrs. Beckett. “Why, Mr. Paton must
-be going mad,” exclaimed Mrs. Beckett. “Hearts
-of oak!” our captains cried.</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“Shoot, if you must, this old gray head,</div>
-    <div class="verse indent0">But spare your country’s flag,” she said.</div>
-  </div>
-</div>
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">He woke to hear his sentries shriek,</div>
-    <div class="verse indent0">“To arms! They come! The Greek! The Greek!”</div>
-  </div>
-</div>
-</div>
-
-<p>The student should write out all of the
-above sentences and place the quotation
-marks where they belong. You have enough
-examples to guide you.</p>
-
-<p>Sometimes, in the course of a quotation,
-words are inserted which form no part of
-the quotation; thus,</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“Out with those boats and let us haste away,”</div>
-    <div class="verse indent0">Cried one, “ere yet yon sea the bark devours.”</div>
-  </div>
-</div>
-</div>
-
-<p>In such cases every separate part of the
-quotation is marked off by inverted commas.
-A capital letter is placed only at the beginning
-of the quotation, or after a full stop.</p>
-
-<h6>Exercise 41.</h6>
-
-<p class="center"><i>Place all direct quotations within inverted
-commas.</i></p>
-
-<div class="blockquote">
-
-<p>I cannot tell you that replied the young man; it
-would not be fair to others. It was not answered
-the other; your house has always seemed like home.
-But, surely, argued the widow it must be a comfort
-to feel that. In the meantime said Edgar I will
-write to you. A common rose, said Uncle Ralph,
-like common sense and common honesty, is not so
-very common. Poor faithful old doggie! murmured
-Mrs. Currie, he thought Tacks was a burglar. Capital
-house dog! murmured the colonel; I shall never
-forget how he made poor Heavisides run. Cloudy,
-sir, said the colonel, cloudy; rain before morning, I
-think. I don’t see the dog I began; I suppose you
-found him all right, the other evening. Oh, uncle,
-pleaded Lilian; don’t talk like that.</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Little kitten, I say,</div>
-    <div class="verse indent0">Just an hour you may stay.</div>
-  </div>
-</div>
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Agreed, said Ching, but let us try it soon:</div>
-    <div class="verse indent0">Suppose we say to-morrow afternoon.</div>
-    <div class="verse indent0">They’re there, said Chang, if I see anything</div>
-    <div class="verse indent0">As clear as day-light.</div>
-  </div>
-</div>
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">May Heaven look down, the old man cries</div>
-    <div class="verse indent0">Upon my son and on his ship.</div>
-  </div>
-</div>
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Nay, Solomon replied,</div>
-    <div class="verse indent2">The wise and strong should seek</div>
-    <div class="verse indent2">The welfare of the weak.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2">Oh king! she said; henceforth</div>
-    <div class="verse indent2">The secret of thy worth</div>
-    <div class="verse indent0">And wisdom well I know.</div>
-  </div>
-</div>
-</div>
-
-<div class="blockquote">
-
-<p><span class="smcap">Examples</span>:—“I cannot tell you that,” replied the
-young man; “it would not be fair to others.” “It
-was not,” answered the other; “your house has
-always seemed like home.”</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“Little kitten,” I say,</div>
-    <div class="verse indent0">“Just an hour you may stay.”</div>
-  </div>
-</div>
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“May Heaven look down,” the old man cries,</div>
-    <div class="verse indent0">“Upon my son and on his ship.”</div>
-  </div>
-</div>
-</div>
-
-<p>When double inverted commas are used
-for an ordinary quotation, a quotation within
-a quotation is marked by single inverted
-commas; thus,</p>
-
-<div class="blockquote">
-
-<p>Miriam sang, “The enemy said, ‘I will pursue, I
-will overtake, I will divide the spoil.’”</p>
-
-</div>
-
-<h6>Exercise 42.</h6>
-
-<p class="center"><i>Place all direct quotations within inverted
-commas.</i></p>
-
-<p><span class="pagenum"><a id="Page_45"></a>[45]</span></p>
-
-<div class="blockquote">
-
-<p>Mr. Brocklehurst said When I asked him which he
-would rather have, a gingerbread nut to eat or a
-verse of a Psalm to learn he says Oh the verse of a
-Psalm: angels sing Psalms. He continued, On her
-return she exclaimed Oh, dear Papa, how quiet and
-plain all the girls at Lowood look. I shall remember
-I said how you thrust me back though I cried out
-Have mercy! Have mercy, Aunt Reed. The father
-said Remember the proverb Keep not evil men company
-lest you increase the number. But said the
-lecturer you must note the words of Shakespeare</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Spirits are not finely touched</div>
-    <div class="verse indent4">But to fine issues.</div>
-  </div>
-</div>
-</div>
-
-<p>The teacher asked in what play do the words All
-the world’s a stage occur? My sister writes in her
-last letter Will you please get me a copy of the song
-Tell me, my heart. In a poem on Dr. South preaching
-before Charles II. we read</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">The doctor stopped, began to call,</div>
-    <div class="verse indent0">Pray wake the Earl of Lauderdale.</div>
-  </div>
-</div>
-</div>
-
-<p><span class="smcap">Examples</span>:—He continued, “On her return she
-exclaimed, ‘Oh! dear Papa, how quiet and plain all
-girls at Lowood look.’” “But,” said the lecturer,
-“you must note the words of Shakespeare,</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">‘Spirits are not finely touched</div>
-    <div class="verse indent4">But to fine issues.’”</div>
-  </div>
-</div>
-</div>
-
-</div>
-
-<p>A <b>colon</b> (:) is used to separate parts of a
-sentence that are complete in themselves
-and nearly independent, often taking the
-place of a conjunction, thus:—</p>
-
-<div class="blockquote">
-
-<p>Labor is the first great law: labor is good for man.</p>
-
-</div>
-
-<p>A <b>period</b> (.) brings the sentence to a full
-stop, thus:—</p>
-
-<div class="blockquote">
-
-<p>He rode down the valley, over the hill, and finally
-coming to a farmhouse, there he stopped.</p>
-
-</div>
-
-<h6>Exercise 43.</h6>
-
-<p>You now come to a very important part
-of these exercises. You are to turn to practical
-account what you have learned concerning
-Punctuation. Write the lines that
-follow, and make good sense by dividing
-them into sentences and placing the punctuation
-marks where they belong. Take time
-for this and do it thoroughly.</p>
-
-<p>The following Example will aid you in
-carrying out your instructions. The sentences
-are first printed without punctuation.
-I then construct the sentences and give them
-punctuation marks:</p>
-
-<div class="blockquote">
-
-<p>The smoke from the Spanish fleet rose above the
-headlands of Santiago Harbor are they coming out
-I shouted to Fowler aye sir there they come he cried
-instantly we took in the situation and being ready for
-battle stood to our guns did you ask if it was a hot
-chase well our captains gunners and marines can
-answer that what thunder of guns our victory was
-complete the President cabled congratulations.</p>
-
-<p>Divided into sentences and punctuated, you have
-the following: The smoke from the Spanish fleet
-rose above the headlands of Santiago Harbor. “Are
-they coming out?” I shouted to Fowler. “Aye, sir,
-there they come,” he cried. Instantly we took in
-the situation, and, being ready for battle, stood to
-our guns. Did you ask if it was a hot chase? Well,
-our captains, gunners and marines can answer that.
-What thunder of guns! Our victory was complete;
-the President cabled congratulations.</p>
-
-</div>
-
-<p class="center"><i>Insert the necessary stops and capital letters.</i></p>
-
-<div class="blockquote">
-
-<p>Mr. Rich had much money and little politeness he
-thought it beneath him to be civil to ordinary people
-one wet day he was driving in his carriage along a
-turnpike road when he came to the toll gate he called
-out what’s to pay five cents if you please sir said the
-keeper Mr. Rich instead of handing the money rudely
-flung a quarter on the muddy ground and cried there
-take your change out of that the keeper stooped for
-the quarter and picked it up then placing twenty cents
-exactly on the same spot he coolly walked back into
-his cottage.</p>
-
-<p>The statement is beyond doubt true. They set out
-and in a few hours arrived at their father’s. We live
-in an old beautiful and interesting town. Sir I believe
-you. He is guilty of the vice of cowards falsehood.
-The horse tired with the long gallop could go
-no further. Yes I am coming. Nay you are wrong.
-Philosophers assert that nature is unlimited in her
-operations that she has inexhaustible treasures in
-reserve that knowledge will always be progressive
-and that all future generations will continue to make
-discoveries of which we have not the least idea. Is
-this the gray-haired wanderer mildly said the voice
-which we so lately overheard Hark ’tis the twanging
-horn. O what a fall was there my countrymen Oh
-why has worth so short a date Such inquiry according
-to him was out of their province. The conflict
-was terrible it was the combat of despair against
-grief and rage.</p>
-
-</div>
-
-<p><span class="pagenum"><a id="Page_46"></a>[46]</span></p>
-
-<h3><span class="smcap">Exercises in Easy Narratives.</span></h3>
-
-<div>
-<img class="dropcap" src="images/dropcap-i.jpg" width="50" height="100" alt="" />
-</div>
-
-<p class="dropcap">In the preceding pages you have been
-advised to practice the writing of compositions
-by reading the productions of
-authors, and then writing from memory
-what you have read. This may not be
-easy at first. You will, however, find it less
-difficult as you proceed. You could not become
-an expert typewriter or pianist without
-faithful practice, yet we have expert typewriters
-and pianists.</p>
-
-<p>It is so with learning to express your
-thoughts in writing. What is hard at first
-becomes “second nature” afterward. I have
-prepared some helpful rules and examples
-to aid you.</p>
-
-<p><b>When writing a Story which you have
-read or heard, observe the following
-directions</b>:—</p>
-
-<p>1. Before beginning to write, think over
-the whole story, to make sure that you remember
-all the points, and the order in which
-they come.</p>
-
-<div class="blockquote">
-
-<p>Neglect of this direction may cause you to omit
-something or to put something in the wrong place.</p>
-
-</div>
-
-<p>2. Before beginning to write each sentence,
-arrange the whole of it in your mind.</p>
-
-<div class="blockquote">
-
-<p>If you neglect this direction you may find that the
-second part of a sentence goes badly with the first,
-or that you cannot finish at all a sentence such as
-you have begun. Here is an example:—</p>
-
-<p>I am desired to inform the Board of Aldermen that
-Mr. Alderman Gill died last night <i>by order of Mrs.
-Gill</i>.</p>
-
-<p>The words printed in italics could not have been
-in the mind of the writer when he began, or he would
-have placed them after <i>desired</i>, or (better still) he
-would have said, “I am desired by Mrs. Gill, etc.”</p>
-
-</div>
-
-<p>3. Make short sentences.</p>
-
-<div class="blockquote">
-
-<p>Beware of using <i>and</i> and <i>so</i> too much. Avoid
-such a sentence as the following:</p>
-
-<p>Once upon a time there was a fox and he went into
-a vineyard and there he saw many bunches of beautiful
-ripe grapes hanging on high and he tried to
-reach them and he could not jump high enough and
-so he turned to go and said “It does not matter; the
-grapes are sour.”</p>
-
-<p>Such a sentence ought to be divided into several;
-thus:—</p>
-
-<p>A fox once went into a vineyard. There he saw
-many bunches of beautiful ripe grapes hanging on
-high. He tried to reach them, but found that he
-could not jump high enough. As he turned to go he
-said, “It does not matter; the grapes are sour.”</p>
-
-<p>The following sentence has several faults besides
-its length:—</p>
-
-<p>He [Swinton] did with a sort of eloquence that
-moved the whole House lay out all his own errors
-and the ill spirit he was in when he committed the
-things that were charged on him with so tender a
-sense that he seemed as one indifferent what they
-should do with him, and without so much as moving
-for mercy or even for a delay he did so effectually
-prevail on them that they recommended him to the
-king as a fit object of his mercy.—<span class="smcap">Burnet</span>: <i>History
-of his Own Time</i>.</p>
-
-<p>It is amended somewhat by division into shorter
-sentences, thus:—</p>
-
-<p>With a sort of eloquence that moved the whole
-House, he did lay out all his own errors and the ill
-spirit that he was in when he committed the things
-that were charged on him. He spoke with so tender
-a sense that he seemed as one indifferent what they
-should do with him. Without so much as moving
-for mercy or even for a delay, he did so effectually
-prevail on them that they recommended him to the
-king as a fit object for mercy.</p>
-
-</div>
-
-<p>4. Use no word of which you do not know
-the exact meaning.</p>
-
-<div class="blockquote">
-
-<p>Neglect of this rule led some one to write:</p>
-
-<p>At the dedication of the Gettysburg Monument,
-President Lincoln gave the <i>ovation</i>.</p>
-
-</div>
-
-<p>5. Do not use long words if you can find
-short ones.</p>
-
-<div class="blockquote">
-
-<p>The barber who advertised himself as “a first-class
-tonsorial artist and facial operator,” meant only that
-he could cut hair and shave well.</p>
-
-</div>
-
-<p><span class="pagenum"><a id="Page_47"></a>[47]</span></p>
-
-<p>6. Arrange the different parts of each sentence
-so that they convey the meaning which
-you intend.</p>
-
-<div class="blockquote">
-
-<p>The following sentence is badly arranged:—</p>
-
-<p>He tells stories which Mountain would be shocked
-to hear after dinner.—<i>Thackeray</i>: <i>The Virginians</i>.</p>
-
-<p>Mountain would be shocked to hear them at any
-time. To convey the author’s meaning the sentence
-should be:—</p>
-
-<p>After dinner he tells stories which Mountain would
-be shocked to hear.</p>
-
-</div>
-
-<p>7. When you have written your story, always
-read it over, and correct all the mistakes
-which you can find.</p>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line2.jpg" width="150" height="15" alt="" />
-</div>
-
-<h4>SHORT STORIES TO BE READ CAREFULLY, AND THEN
-WRITTEN FROM MEMORY.</h4>
-
-<h5><i>The Fox and the Goat.</i></h5>
-
-<p>A fox that had fallen into a well tried in vain to
-get out again. By-and-by a goat came to the place
-to quench her thirst. Seeing the fox below she asked
-if the water was good. “Yes,” answered the cunning
-creature, “it is so good that I cannot leave off
-drinking.” Thereupon the goat, without a moment’s
-thought, jumped in. The fox at once scrambled on
-her back and got out. Then, looking down at the
-poor fool, he said coolly, “If you had half as much
-brains as beard, you would look before you leap.”</p>
-
-<h5><i>The Vain Jackdaw.</i></h5>
-
-<p>A vain jackdaw found some peacocks’ feathers and
-stuck them amongst his own. Then he left his old
-companions and boldly went amongst the peacocks.
-They knew him at once, in spite of his disguise; so
-they stripped off his borrowed plumes, pecked him
-well, and sent him about his business. He went back
-to the daws as if nothing had happened, but they
-would not allow him to mix with them. If he was
-too good for them before, they were too good for him
-now. Thus the silly bird, by trying to appear better
-than he was, lost his old friends without making any
-new ones.</p>
-
-<h5><i>The Ant and the Grasshopper.</i></h5>
-
-<p>One frosty day a grasshopper, half dead with cold
-and hunger, knocked at the door of an ant, and
-begged for something to eat. “What were you doing
-in the summer?” asked the ant. “Oh, I was singing
-all the time.” “Then,” said the ant, “if you could
-sing all the summer you may dance all the winter.”</p>
-
-<h5><i>The Wolf and the Lamb.</i></h5>
-
-<p>A wolf, coming to a brook to drink, saw a lamb
-standing in the stream, some distance down. He
-made up his mind to kill her, and at once set about
-finding an excuse. “Villain,” he said, “how dare
-you dirty the water which I am drinking?” The
-lamb answered meekly, “Sir, it is impossible for me
-to dirty the water which you are drinking, because
-the stream runs from you to me, not from me to you.”
-“Be that as it may,” replied the wolf, “you called me
-bad names a year ago.” “Sir,” pleaded the lamb,
-“you are mistaken; a year ago I was not born.”
-“Then,” said the hungry beast, “if it was not you it
-was your father, and that is as bad. It is of no use
-trying to argue me out of my supper.” Thereupon
-he fell upon the poor creature and ate her up.</p>
-
-<h5><i>What the Bear Said.</i></h5>
-
-<p>As two friends were traveling through a wood, a
-bear rushed out upon them. One of the men without
-a thought to his companion, climbed up into a
-tree, and hid among the branches. The other, knowing
-that alone he had no chance, threw himself on
-the ground, and pretended to be dead; for he had
-heard that bears will not touch a dead body. The
-creature came and sniffed him from head to foot, but,
-thinking him to be lifeless, went away without harming
-him. Then the man in the tree got down, and,
-hoping to pass his cowardice off with a joke, he said,
-“I noticed that the bear had his mouth very close to
-your ear; what did he whisper to you?” “Oh,”
-answered the other, “he only told me never to keep
-company with those who in time of danger leave
-their friends in the lurch.”</p>
-
-<h5><i>Bad Company.</i></h5>
-
-<p>A farmer who had just sown his fields placed a
-net to catch the cranes that came to steal his corn.
-After some time he went to look at the net, and in it
-he found several cranes and one stork. “Oh, sir,
-please spare me,” said the stork; “I am not a crane,
-I am an innocent stork, kind to my parents, and——”
-The farmer would hear no more. “All that may be
-very true,” he said, “but it is no business of mine.
-I found you amongst thieves, and you must suffer
-with them.”</p>
-
-<p><span class="pagenum"><a id="Page_48"></a>[48]</span></p>
-
-<h5><i>Mercury and the Woodmen.</i></h5>
-
-<p>A woodman was working beside a deep river when
-his axe slipped, and fell into the water. As the axe
-was his living, he was very sorry to lose it, and sat
-on the bank to weep. Mercury, hearing his cries,
-appeared to him, and, finding what was the matter,
-dived, and brought up a golden axe. “Is this the
-one which you lost?” asked the god. “No,” said
-the woodman. Then the god dived a second time,
-and brought up a silver axe, and asked if that was
-the one. The woodman again answered “No.” So
-Mercury dived a third time, and then he brought up
-the axe which had been lost. “That is mine,” cried
-the woodman joyfully. The god gave it to him, and
-presented him with the other two as a reward for his
-truth and honesty.</p>
-
-<p>One of the woodman’s neighbors, hearing what
-had happened, determined to see if he could not
-have the same good luck. He went to the bank of
-the river, began to fell a tree, purposely let his axe
-slip into the water, and then pretended to cry. Mercury
-appeared as before, dived, and brought up a
-golden axe. The man, in his eagerness to grasp the
-prize, forgot to act as his neighbor had done; so
-when the god asked, “Is that yours?” he answered
-“Yes.” To punish him for his lying and dishonesty,
-the god would neither give him the golden axe nor
-find his own.</p>
-
-<h5><i>Dr. Johnson and Mrs. Siddons.</i></h5>
-
-<p>Dr. Johnson always spoke scornfully of actors and
-actresses, but he treated the famous actress, Mrs.
-Siddons, with great politeness. She called on him,
-and his servant could not readily find a chair for
-her. “You see, madam,” said the doctor, “wherever
-you go no seats can be got.”</p>
-
-<h5><i>Clever Children.</i></h5>
-
-<p>An ignorant Englishman once visited Paris. After
-his return he was talking to some of his friends about
-the wonders he had seen. “I was most surprised,”
-he said, “with the cleverness of the children. Boys
-and girls of seven or eight spoke French quite as
-easily as the children in this country speak English.”</p>
-
-<h5><i>One Good Turn Deserves Another.</i></h5>
-
-<p>A Cambridge student sent to another student to
-borrow a book. “I never lend my books out,” was
-the answer, “but if the gentleman chooses to come
-to my rooms he may use them there.” A few days
-after the book owner sent to the other student to
-borrow a carpet sweeper. “I never lend my carpet
-sweeper,” replied he, “but if the gentleman chooses
-to come to my rooms he may use it there.”</p>
-
-<h5><i>Learning Rewarded.</i></h5>
-
-<p>A rich farmer sent his son to a famous university.
-The young man was rather foolish, and brought
-home more folly than learning. One night, when
-there were two fowls for supper, he said, “I can
-prove these two fowls to be three.” “Let us hear,”
-answered the old man. “This,” said the scholar,
-pointing to the first, “is one; this,” pointing to the
-second, “is two; and two and one make three.”
-“Since you have made it out so well,” replied the
-father, “your mother shall have the first fowl, I will
-have the second, and you may keep the third for
-your great learning.”</p>
-
-<h5><i>Daring a Dutchman.</i></h5>
-
-<p>A Dutch vessel and an English vessel were lying
-near each other. One of the Dutch sailors wished to
-show his activity, so he ran up the mast, and stood
-upon his head on the top of it. One of the English
-sailors (who did not like to be beaten by a Dutchman)
-also tried to stand upon his head on the top of
-the mast. He, however, fell. The rigging broke
-his fall and he alighted on the deck unhurt. “There,
-you lubber,” he cried, “do that if you dare.”</p>
-
-<h5><i>The Miserly Planter.</i></h5>
-
-<p>A very miserly planter formerly lived in the island
-of Jamaica. He often gave his poor slaves too little
-food. They complained, and he answered that he
-could not help himself, because the provision ships
-had been taken by pirates. This lying excuse satisfied
-them once, twice, thrice, and again, but in the
-end long fasting made them impatient. Then they
-went to their master and said to him, “Is it not
-strange that the pirates have so often taken the ships
-bringing food, but have never taken the ships bringing
-pickaxes and hoes?”</p>
-
-<h5><i>A Precious Turnip.</i></h5>
-
-<p>Before Louis the Eleventh became king he used
-to visit a peasant whose garden produced excellent
-fruit. After his accession, the peasant brought him
-as a present a very large turnip which had grown in
-his garden. The king, remembering the pleasant
-hours that he had spent under the old man’s roof,
-gave him a thousand crowns. The lord of the village,
-hearing of this, thought that if one who gave a
-paltry turnip received so large a reward, one who
-gave a really valuable present would receive a still
-larger reward. He, therefore, offered a splendid
-horse. The king accepted it and, calling for the big
-turnip, said, “This cost me a thousand crowns; I
-give it to you in return for your horse.”</p>
-
-<p><span class="pagenum"><a id="Page_49"></a>[49]</span></p>
-
-<h5><i>The Dangers of a Bed.</i></h5>
-
-<p>A carpenter asked a sailor, “Where did your
-father die?” The sailor answered, “My father, my
-grandfather, and my great-grandfather were all
-drowned at sea.” “Then,” said the carpenter, “are
-you not afraid of going to sea, lest you should be
-drowned too?” Instead of replying, the sailor asked,
-“Where did your father die?” “In his bed.” “And
-your grandfather?” “In his bed.” “And your
-great-grandfather?” “In his bed also.” “Then,”
-said the sailor, “why should I be more afraid of
-going to sea than you are of going to bed?”</p>
-
-<h5><i>How to treat Enemies.</i></h5>
-
-<p>A Scotch minister had in his parish a man who
-sometimes used to get drunk. One day the minister,
-reproving him for his bad habit, said, “You love
-whisky too much, Donald; you know very well that
-it is your worst enemy.” “But,” answered the man
-slily, “have you not often told us that we ought to
-love our enemies?” “True, Donald, but I never
-told you that you ought to swallow them.”</p>
-
-<h5><i>The Secret of Success.</i></h5>
-
-<p>During the long struggle between England and
-France, two ignorant old ladies were discussing the
-war as they went to church. One said, “Is it not
-wonderful that the English always beat the French?”
-“Not at all,” answered the other; “don’t you know
-that the English always say their prayers before
-going into battle?” “But,” replied the first, “can’t
-the French say their prayers as well?” “Tut, tut,”
-said the second; “poor jabbering bodies, who can
-understand them?”</p>
-
-<h5><i>The Preacher for Prisoners.</i></h5>
-
-<p>When David Dewar was a member of the Prison
-Board the question of appointing a chaplain for the
-jail came up. The favorite candidate of the other
-members of the Board was an unsuccessful clergyman.
-David, when asked to vote for him, said, “I
-have no objection; I hear that he has already
-preached a church empty, and if he will only preach
-the jail empty too, he is just the man for our money.”</p>
-
-<h5><i>The Squire and his Servant.</i></h5>
-
-<p>A Scotch squire was one day riding out with his
-man. Opposite a hole in a steep bank the master
-stopped and said, “John, I saw a badger go in
-there.” “Did you?” said John; “will you hold
-my horse, sir?” “Certainly,” answered the squire,
-and away rushed John for a spade. He got one and
-dug furiously for half an hour, the squire looking on
-with an amused look. At last John exclaimed, “I
-can’t find him, sir.” “I should be surprised if you
-could,” said the squire, “for it is ten years since I
-saw him go in.”</p>
-
-<h5><i>Proper Payment.</i></h5>
-
-<p>A boy went into a baker’s shop and bought a five-cent
-loaf. It seemed to him rather small, so he said
-that he did not believe it to be of full weight. “Never
-mind,” answered the baker, “you will have the less
-to carry.” “True,” replied the lad, and throwing
-four cents on the counter he left the shop. The baker
-called after him, “Hi! this is not enough money.”
-“Never mind,” said the boy, “you will have the less
-to count.”</p>
-
-<h5><i>The Corporal’s Watch.</i></h5>
-
-<p>A corporal in the life-guards of Frederick the Great
-was a brave but rather vain fellow. He could not
-afford a watch, but managed to buy a chain, and this
-he wore with a bullet at the end. The king, hearing
-of this, thought he would have a little fun at the soldier’s
-expense, so he said to him, “It is six o’clock by
-my watch; what time is it by yours?” The man
-drew the bullet from his pocket and answered, “My
-watch does not mark the hour, but it tells me every
-moment that it is my duty to face death for your
-Majesty.” “Here, my friend,” said Frederick, offering
-him his own costly watch, “take this, that you
-may be able to tell the hour also.”</p>
-
-<h5><i>Three Toasts.</i></h5>
-
-<p>When the Earl of Stair was ambassador in Holland
-he was once at a banquet with the French and
-Austrian ambassadors. The Frenchman proposed
-the health of his master, calling him, “The Sun.”
-The Austrian then proposed the health of his mistress,
-calling her “The Moon.” The Earl of Stair
-was equal to the occasion, for when his turn came he
-proposed the health of his sovereign as “Joshua, who
-made the sun and moon to stand still.”</p>
-
-<h5><i>Going to Sleep in Church.</i></h5>
-
-<p>A Scotch clergyman had a youth in his congregation
-who was underwitted, and was commonly spoken
-of as being half daft. One Sunday the clergyman
-observed that all his hearers were asleep except this
-youth. After the service the minister congratulated
-him upon being awake, when he naively replied,
-“Maybe if I hadn’t been half daft I would have
-been asleep too.”</p>
-
-<h5><i>Striking Back.</i></h5>
-
-<p>A little girl complained to her brother that a boy
-had struck her. “Why did you not strike back?”
-he asked. “O,” said the innocent creature, “I did
-that before he hit me.”</p>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line2.jpg" width="150" height="15" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_50"></a>[50]</span></p>
-
-<h4><span class="smcap">Outlines to be Turned into Narratives.</span></h4>
-
-<div>
-<img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">The following is an outline of one of
-Æsop’s fables:—</p>
-
-<div class="blockquote">
-
-<p>1. Donkey carrying salt—passing through
-stream—falls—loses load.</p>
-
-<p>2. Next day loaded with salt—lies down in stream.</p>
-
-<p>3. Master resolves to teach lesson—third journey
-load of sponge.</p>
-
-<p>4. Donkey lies down—load heavier.</p>
-
-</div>
-
-<p>This outline may be filled in thus:—</p>
-
-<div class="blockquote">
-
-<p>A donkey laden with salt happened to fall while
-passing through a stream. <i>The water melted the
-salt</i>, and the donkey <i>on getting up was delighted</i> to
-find himself with nothing to carry. Next day he had
-to pass again, laden with salt, through the same
-stream. <i>Remembering how the water had yesterday
-rid him of his burden</i>, he lay down purposely, and
-was again rid of it. <i>But clever as he was his master
-was cleverer</i>, and resolved to teach him a lesson.
-On the third journey he therefore placed on the
-creature’s back several bags filled with sponges.
-The donkey lay down as before, but on getting up
-he found that his load, instead of being much lighter,
-was much heavier.</p>
-
-</div>
-
-<p>In the fable, as thus told, there are several
-points (printed in italics) which are not in
-the outline. Such little details help to make
-the story more real.</p>
-
-<h5><i>The Snake’s Ingratitude.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Cold winter’s day—snake half dead.</p>
-
-<p>2. Peasant pities it—places in bosom—takes home—lays
-before fire.</p>
-
-<p>3. Snake revives—attacks children—peasant kills
-it.</p>
-
-</div>
-
-<p>This outline may be filled in as follows:—</p>
-
-<div class="blockquote">
-
-<p>On a cold winter’s day a peasant discovered a
-snake that was half dead. He pitied the half-frozen
-creature, placed it in his bosom, and upon taking it
-home, laid it before the fire. The snake soon revived,
-and, true to its nature, attacked the children
-of the household, when it was promptly killed by the
-peasant.</p>
-
-</div>
-
-<h5><i>The Lion and the Mouse.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Lion sleeping—mouse happens to wake him.</p>
-
-<p>2. Lion going to kill mouse—mouse begs for mercy—mercy
-granted.</p>
-
-<p>3. Lion caught in a net—roars—mouse hears him—nibbles
-net.</p>
-
-</div>
-
-<h5><i>The Frog and the Ox.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Ox feeding in marshy meadow—treads among
-young frogs—kills many.</p>
-
-<p>2. One that escapes tells mother—“Such a big
-beast!”</p>
-
-<p>3. Vain mother asks, “So big?”—“Much bigger.”</p>
-
-<p>4. Mother puffs out—“So big?”—“Much bigger.”</p>
-
-<p>5. This several times—at last mother bursts.</p>
-
-</div>
-
-<h5><i>The Hare and the Tortoise.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Hare jeers at tortoise for slowness.</p>
-
-<p>2. Tortoise proposes race—hare accepts.</p>
-
-<p>3. Tortoise starts—hare says, “Will take a nap
-first.”</p>
-
-<p>4. When hare wakes tortoise has passed post.</p>
-
-<p>5. “Slow and steady wins the race.”</p>
-
-</div>
-
-<h5><i>Dividing the Spoils.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Lion, donkey and fox hunting—much spoil.</p>
-
-<p>2. Lion asks donkey to divide—divides into three
-equal parts.</p>
-
-<p>3. Lion angry—kills donkey—asks fox to divide.</p>
-
-<p>4. Fox makes very great heap for lion and very
-little one for himself.</p>
-
-<p>5. “Who taught you to divide so well?”—“The
-dead donkey.”</p>
-
-</div>
-
-<h5><i>The Wind and the Sun.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Wind and sun dispute which is stronger.</p>
-
-<p>2. Agree to try on passing traveler—which can
-soonest make him take off cloak.</p>
-
-<p>3. Wind begins—blows furiously—traveler holds
-cloak the tighter.</p>
-
-<p>4. Sun shines—traveler too warm—throws off
-cloak.</p>
-
-<p>5. Kindness better than force.</p>
-
-</div>
-
-<h5><i>The Bundle of Sticks.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Quarrelsome brothers—father speaks in vain.</p>
-
-<p>2. Asks sons to break bundle of sticks—each tries
-and fails.</p>
-
-<p>3. Asks them to undo bundle and break separate
-sticks—easy.</p>
-
-<p>4. Brothers united, like bundle—quarrelsome, like
-separate sticks.</p>
-
-<p>5. “Union is strength.”</p>
-
-</div>
-
-<p><span class="pagenum"><a id="Page_51"></a>[51]</span></p>
-
-<h5><i>The Goose with the Golden Eggs.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Man has goose—lays golden egg daily.</p>
-
-<p>2. Man greedy—thinks inside must be full of gold—kills
-goose—finds her like all other geese.</p>
-
-</div>
-
-<h5><i>The Frogs asking for a King.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Frogs ask Jupiter for a king—he laughs at their
-folly—throws them a log.</p>
-
-<p>2. The splash frightens them—finding log still
-they venture to look at it—at last jump on it and
-despise it.</p>
-
-<p>3. Ask for another king—Jupiter annoyed—sends
-them a stork.</p>
-
-<p>4. Stork eats many—the rest ask Jupiter to take
-stork away—he says “No.” “Let well alone.”</p>
-
-</div>
-
-<h5><i>The Battle of the Birds and Beasts.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Bat is a beast, but flies like a bird.</p>
-
-<p>2. Battle between birds and beasts—bat keeps
-aloof.</p>
-
-<p>3. Beasts appear to be winning—bat joins them.</p>
-
-<p>4. Birds rally and win—bat found among victors.</p>
-
-<p>5. Peace made—birds and beasts condemn bat—bat
-never since dared show face in daylight.</p>
-
-</div>
-
-<h5><i>The Hart and the Vine.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Hart fleeing from hunters—hides among leaves
-of vine—hunters pass without seeing him.</p>
-
-<p>2. He begins to eat leaves—a hunter hears noise—shoots
-hart.</p>
-
-<p>3. Hart lies wounded—reproaches itself for committing
-so great a folly.</p>
-
-<p>4. “Vine protected me; I injured it; deserved my
-fate.”</p>
-
-</div>
-
-<h5><i>The Lion and the Bulls.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Three bulls feeding together in a meadow.</p>
-
-<p>2. Lion wished to eat them—afraid of the three.</p>
-
-<p>3. Lion tells each that the others have been slandering.</p>
-
-<p>4. Bulls quarrel—lion kills each separately.</p>
-
-</div>
-
-<h5><i>Saved by the Life-boat.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Vessel goes to sea—overtaken by storm.</p>
-
-<p>2. Storm increases—ship driven on the rocks.</p>
-
-<p>3. Officers and crew in distress—clinging to the
-rigging—making signals.</p>
-
-<p>4. Seen by the Life Guard on shore.</p>
-
-<p>5. Boat hurries to the rescue—heroic seamen.</p>
-
-<p>6. Men on board brought ashore—benumbed—famishing.</p>
-
-<p>7. Revived—grateful to rescuers.</p>
-
-</div>
-
-<h5><i>Story of a Tramp.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Early home—restless youth—runs away.</p>
-
-<p>2. Goes to seek his fortune—falls in with vicious
-companions.</p>
-
-<p>3. Roams from place to place—becomes an idle
-beggar.</p>
-
-<p>4. Young man in a police court charged with burglary—sentenced
-to state prison.</p>
-
-<p>5. First mistake was leaving home—next, companionship—then,
-theft.</p>
-
-<p>6. Value of home attachments—industry—honesty.</p>
-
-<p>7. Beware of the first wrong step—not easy to
-remedy our mistakes.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line2.jpg" width="150" height="15" alt="" />
-</div>
-
-<h4><span class="smcap">Stories in Verse to be Turned into Prose.</span></h4>
-
-<p>The following poem, by Charles Kingsley,
-tells a touching little story:—</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">Three fishers went sailing away to the west,</div>
-    <div class="verse indent2">Away to the west as the sun went down;</div>
-    <div class="verse indent0">Each thought on the woman who loved him the best,</div>
-    <div class="verse indent2">And the children stood watching them out of the town.</div>
-    <div class="verse indent4">For men must work, and women must weep,</div>
-    <div class="verse indent4">And there’s little to earn, and many to keep,</div>
-    <div class="verse indent8">Though the harbor bar be moaning.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Three wives sat up in the lighthouse tower,</div>
-    <div class="verse indent2">And trimmed the lamps as the sun went down;</div>
-    <div class="verse indent0">They looked at the squall, and they looked at the shower,</div>
-    <div class="verse indent2">And the night-rack came rolling up, ragged and brown!</div>
-    <div class="verse indent4">But men must work, and women must weep,</div>
-    <div class="verse indent4">Though storms be sudden and waters deep,</div>
-    <div class="verse indent8">And the harbor bar be moaning.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Three corpses lay out on the shining sands,</div>
-    <div class="verse indent2">In the morning gleam, as the tide went down,</div>
-    <div class="verse indent0">And the women are weeping and wringing their hands</div>
-    <div class="verse indent2">For those who will never come home to the town.</div>
-    <div class="verse indent4">For men must work, and women must weep,</div>
-    <div class="verse indent4">And the sooner it’s over the sooner to sleep,</div>
-    <div class="verse indent8">And good-bye to the bar and its moaning.</div>
-  </div>
-</div>
-</div>
-
-<p><span class="pagenum"><a id="Page_52"></a>[52]</span></p>
-
-<p>Here is the same story, told in prose:—</p>
-
-<div class="blockquote">
-
-<p>One afternoon in a western port, three fishermen
-might be seen walking slowly down towards the
-beach. Heavy masses of clouds were moving rapidly
-overhead; the setting sun had tinged the sky
-an angry crimson, and the waves broke with a
-moaning noise over the bar at the mouth of the harbor.
-The fishermen knew that a storm was threatening,
-but still they were going to sea, for their families
-were large and their earnings had of late been
-small. Yet they were sad at heart, and as they sailed
-away they thought of the dear wives left behind, and
-of the dear children watching them out of the town.</p>
-
-<p>The women were so anxious that they could not
-rest at home, so they went up to the lighthouse to
-trim the lamps and peer out into the darkness. The
-storm came on even sooner than was expected. A
-huge billow caught the fishermen’s boat and sank it,
-and the tide carried their dead bodies to the shore.</p>
-
-<p>By morning the storm had passed, and the rising
-sun shone on the wet sand and on three poor women
-wringing their hands over the corpses of their husbands.</p>
-
-</div>
-
-<p>Note that in this prose rendering there is
-no attempt to preserve the poetry. Attention
-has been paid to the story only, and that
-has been told in the simplest manner. I
-here append a cluster of poems to be turned
-into prose.</p>
-
-<h5>THE SANDS OF DEE.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">“O Mary, go and call the cattle home,</div>
-    <div class="verse indent6">And call the cattle home,</div>
-    <div class="verse indent6">And call the cattle home,</div>
-    <div class="verse indent4">Across the sands of Dee!”</div>
-    <div class="verse indent0">The western wind was wild and dark with foam,</div>
-    <div class="verse indent4">And all alone went she.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The creeping tide came up along the sand,</div>
-    <div class="verse indent6">And o’er and o’er the sand,</div>
-    <div class="verse indent6">And round and round the sand,</div>
-    <div class="verse indent4">As far as eye could see;</div>
-    <div class="verse indent0">The blinding mist came up and hid the land,</div>
-    <div class="verse indent4">And never home came she.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Oh, is it weed, or fish, or floating hair,—</div>
-    <div class="verse indent6">A tress of golden hair,</div>
-    <div class="verse indent6">Of drownèd maiden’s hair,</div>
-    <div class="verse indent4">Above the nets at sea?</div>
-    <div class="verse indent0">Was never salmon yet that shone so fair,</div>
-    <div class="verse indent4">Among the stakes of Dee!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">They rowed her in across the rolling foam,</div>
-    <div class="verse indent6">The cruel, crawling foam,</div>
-    <div class="verse indent6">The cruel, hungry foam,</div>
-    <div class="verse indent4">To her grave beside the sea;</div>
-    <div class="verse indent0">But still the boatmen hear her call the cattle home</div>
-    <div class="verse indent4">Across the sands of Dee.—<i>Charles Kingsley.</i></div>
-  </div>
-</div>
-</div>
-
-<h5>THE WAY TO WIN.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">There’s always a river to cross,</div>
-    <div class="verse indent2">Always an effort to make,</div>
-    <div class="verse indent0">If there’s anything good to win,</div>
-    <div class="verse indent2">Any rich prize to take.</div>
-    <div class="verse indent0">Yonder’s the fruit we crave,</div>
-    <div class="verse indent2">Yonder the charming scene;</div>
-    <div class="verse indent0">But deep and wide, with a troubled tide,</div>
-    <div class="verse indent2">Is the river that lies between.</div>
-  </div>
-</div>
-</div>
-
-<h5>PRESS ON.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-p.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">Press on! there’s no such word as fail;</div>
-    <div class="verse indent2">Press nobly on! the goal is near;</div>
-    <div class="verse indent0">Ascend the mountain! breast the gale!</div>
-    <div class="verse indent2">Look upward, onward—never fear!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Press on!</i> if once, and twice thy feet</div>
-    <div class="verse indent2">Slip back and stumble, harder try;</div>
-    <div class="verse indent0">From him who never dreads to meet</div>
-    <div class="verse indent2">Danger and death, they’re sure to fly.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">To coward ranks the bullet speeds;</div>
-    <div class="verse indent2">While on <i>their</i> breasts who never quail,</div>
-    <div class="verse indent0">Gleams, guardian of chivalric deeds,</div>
-    <div class="verse indent2">Bright courage, like a coat of mail.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Press on!</i> if fortune play thee false</div>
-    <div class="verse indent2">To-day, to-morrow she’ll be true;</div>
-    <div class="verse indent0">Whom now she sinks, she now exalts,</div>
-    <div class="verse indent2">Taking old gifts and granting new.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The wisdom of the present hour</div>
-    <div class="verse indent2">Makes up for follies past and gone;</div>
-    <div class="verse indent0">To weakness strength succeeds, and power</div>
-    <div class="verse indent2">From frailty springs:—<i>Press on! <span class="smcap">Press on!</span></i>—<i>Park Benjamin.</i></div>
-  </div>
-</div>
-</div>
-
-<h5>THE DYING WARRIOR.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" /></div>
-    <div class="dropcapline">A wounded chieftain, lying</div>
-    <div class="verse indent2">By the Danube’s leafy side,</div>
-    <div class="verse indent0">Thus faintly said, in dying,</div>
-    <div class="verse indent2">“Oh! bear, thou foaming tide,</div>
-    <div class="verse indent2">This gift to my lady bride.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">’Twas then, in life’s last quiver,</div>
-    <div class="verse indent2">He flung the scarf he wore</div><span class="pagenum"><a id="Page_53"></a>[53]</span>
-    <div class="verse indent0">Into the foaming river,</div>
-    <div class="verse indent2">Which, ah, too quickly, bore</div>
-    <div class="verse indent2">That pledge of one no more!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">With fond impatience burning,</div>
-    <div class="verse indent2">The chieftain’s lady stood,</div>
-    <div class="verse indent0">To watch her love returning</div>
-    <div class="verse indent2">In triumph down the flood,</div>
-    <div class="verse indent2">From that day’s field of blood.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But, field, alas! ill-fated,</div>
-    <div class="verse indent2">The lady saw, instead</div>
-    <div class="verse indent0">Of the bark whose speed she waited,</div>
-    <div class="verse indent2">Her hero’s scarf, all red</div>
-    <div class="verse indent2">With the drops his heart had shed.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">One shriek—and all was over—</div>
-    <div class="verse indent2">Her life-pulse ceased to beat;</div>
-    <div class="verse indent0">The gloomy waves now cover</div>
-    <div class="verse indent2">That bridal flower so sweet,</div>
-    <div class="verse indent2">And the scarf is her winding-sheet.—<i>Thomas Moore.</i></div>
-  </div>
-</div>
-</div>
-
-<h5>THE BOY THAT LAUGHS.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I know a funny little boy,</div>
-    <div class="verse indent2">The happiest ever born;</div>
-    <div class="verse indent0">His face is like a beam of joy,</div>
-    <div class="verse indent2">Although his clothes are torn.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I saw him tumble on his nose,</div>
-    <div class="verse indent2">And waited for a groan;</div>
-    <div class="verse indent0">But how he laughed! Do you suppose</div>
-    <div class="verse indent2">He struck his funny bone?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There’s sunshine in each word he speaks;</div>
-    <div class="verse indent2">His laugh is something grand;</div>
-    <div class="verse indent0">Its ripples overrun his cheeks</div>
-    <div class="verse indent2">Like waves on snowy sand.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He laughs the moment he awakes,</div>
-    <div class="verse indent2">And till the day is done,</div>
-    <div class="verse indent0">The school-room for a joke he takes,</div>
-    <div class="verse indent2">His lessons are but fun.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">No matter how the day may go,</div>
-    <div class="verse indent2">You cannot make him cry.</div>
-    <div class="verse indent0">He’s worth a dozen boys I know,</div>
-    <div class="verse indent2">Who pout and mope and sigh.</div>
-  </div>
-</div>
-</div>
-
-<h5>THE CAT’S BATH.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" /></div>
-    <div class="dropcapline">As pussy sat washing her face by the gate,</div>
-    <div class="verse indent2">A nice little dog came to have a good chat;</div>
-    <div class="verse indent0">And after some talk about matters of state,</div>
-    <div class="verse indent2">Said, with a low bow, “My dear Mrs. Cat,</div>
-    <div class="verse indent0">I really do hope you’ll not think I am rude;</div>
-    <div class="verse indent2">I am curious, I know, and that you may say—</div>
-    <div class="verse indent0">Perhaps you’ll be angry; but no, you’re too good—</div>
-    <div class="verse indent2">Pray why do you wash in that very odd way?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Now I every day rush away to the lake,</div>
-    <div class="verse indent2">And in the clear water I dive and I swim;</div>
-    <div class="verse indent0">I dry my wet fur with a run and a shake,</div>
-    <div class="verse indent2">And am fresh as a rose and neat as a pin.</div>
-    <div class="verse indent0">But you any day in the sun may be seen,</div>
-    <div class="verse indent2">Just rubbing yourself with your red little tongue;</div>
-    <div class="verse indent0">I admire the grace with which it is done—</div>
-    <div class="verse indent2">But really, now, are you sure you get yourself clean?”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The cat, who sat swelling with rage and surprise</div>
-    <div class="verse indent2">At this, could no longer her fury contain,</div>
-    <div class="verse indent0">For she had always supposed herself rather precise,</div>
-    <div class="verse indent2">And of her sleek neatness had been somewhat vain;</div>
-    <div class="verse indent0">So she flew at poor doggy and boxed both his ears,</div>
-    <div class="verse indent2">Scratched his nose and his eyes, and spit in his face,</div>
-    <div class="verse indent0">And sent him off yelping; from which it appears</div>
-    <div class="verse indent2">Those who ask prying questions may meet with disgrace.</div>
-  </div>
-</div>
-</div>
-
-<h5>THE BEGGAR MAN.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" /></div>
-    <div class="dropcapline">Around the fire, one wintry night,</div>
-    <div class="verse indent2">The farmer’s rosy children sat;</div>
-    <div class="verse indent0">The fagot lent its blazing light,</div>
-    <div class="verse indent2">And jokes went round, and careless chat;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">When, hark! a gentle hand they hear</div>
-    <div class="verse indent2">Low tapping at the bolted door;</div>
-    <div class="verse indent0">And thus, to gain their willing ear,</div>
-    <div class="verse indent2">A feeble voice was heard implore:—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Cold blows the blast across the moor,</div>
-    <div class="verse indent2">The sleet drives hissing in the wind;</div>
-    <div class="verse indent0">Yon toilsome mountain lies before,</div>
-    <div class="verse indent2">A dreary, treeless waste behind.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“My eyes are weak and dim with age,</div>
-    <div class="verse indent2">No road, no path can I descry;</div>
-    <div class="verse indent0">And these poor rags ill stand the rage</div>
-    <div class="verse indent2">Of such a keen, inclement sky.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“So faint I am, these tottering feet</div>
-    <div class="verse indent2">No more my palsied frame can bear;</div>
-    <div class="verse indent0">My freezing heart forgets to beat,</div>
-    <div class="verse indent2">And drifting snows my tomb prepare.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Open your hospitable door,</div>
-    <div class="verse indent2">And shield me from the biting blast:</div><span class="pagenum"><a id="Page_54"></a>[54]</span>
-    <div class="verse indent0">Cold, cold it blows across the moor,</div>
-    <div class="verse indent2">The weary moor that I have passed!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">With hasty steps the farmer ran,</div>
-    <div class="verse indent2">And close beside the fire they place</div>
-    <div class="verse indent0">The poor half-frozen beggar man,</div>
-    <div class="verse indent2">With shaking limbs and pale-blue face.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The little children flocking came,</div>
-    <div class="verse indent2">And chafed his frozen hands in theirs;</div>
-    <div class="verse indent0">And busily the good old dame</div>
-    <div class="verse indent2">A comfortable mess prepares.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Their kindness cheered his drooping soul;</div>
-    <div class="verse indent2">And slowly down his wrinkled cheek</div>
-    <div class="verse indent0">The big round tear was seen to roll,</div>
-    <div class="verse indent2">Which told the thanks he could not speak.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The children then began to sigh,</div>
-    <div class="verse indent2">And all their merry chat was o’er;</div>
-    <div class="verse indent0">And yet they felt, they knew not why,</div>
-    <div class="verse indent2">More glad than they had done before.—<i>Aiken.</i></div>
-  </div>
-</div>
-</div>
-
-<h5>THE SHOWER-BATH.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-q.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">Quoth Dermot (a lodger at Mrs. O’Flynn’s),</div>
-    <div class="verse indent2">“How queerly my shower-bath feels!</div>
-    <div class="verse indent0">It shocks like a posse of needles and pins,</div>
-    <div class="verse indent2">Or a shoal of electrical eels.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Quoth Murphy, “Then mend it, and I’ll tell you how</div>
-    <div class="verse indent2">It’s all your own fault, my good fellow:</div>
-    <div class="verse indent0">I used to be bothered as you are, but now</div>
-    <div class="verse indent2">I’m wiser—I take my umbrella.”—<i>James Smith.</i></div>
-  </div>
-</div>
-</div>
-
-<h5>QUEEN MARY’S RETURN TO SCOTLAND.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" /></div>
-    <div class="dropcapline">After a youth by woes o’ercast,</div>
-    <div class="verse indent0">After a thousand sorrows past,</div>
-    <div class="verse indent0">The lovely Mary once again</div>
-    <div class="verse indent0">Set foot upon her native plain;</div>
-    <div class="verse indent0">Knelt on the pier with modest grace,</div>
-    <div class="verse indent0">And turned to heaven her beauteous face.</div>
-    <div class="verse indent0">’Twas then the caps in air were blended,</div>
-    <div class="verse indent0">A thousand thousand shouts ascended,</div>
-    <div class="verse indent0">Shivered the breeze around the throng,</div>
-    <div class="verse indent0">Gray barrier cliffs the peals prolong;</div>
-    <div class="verse indent0">And every tongue gave thanks to heaven,</div>
-    <div class="verse indent0">That Mary to their hopes was given.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Her comely form and graceful mien</div>
-    <div class="verse indent0">Bespoke the lady and the queen;</div>
-    <div class="verse indent0">The woes of one so fair and young</div>
-    <div class="verse indent0">Moved every heart and every tongue.</div>
-    <div class="verse indent0">Driven from her home, a helpless child,</div>
-    <div class="verse indent0">To brave the winds and billows wild;</div>
-    <div class="verse indent0">An exile bred in realms afar,</div>
-    <div class="verse indent0">Amid commotions, broils, and war.</div>
-    <div class="verse indent0">In one short year, her hopes all crossed</div>
-    <div class="verse indent0">A parent, husband, kingdom, lost!</div>
-    <div class="verse indent0">And all ere eighteen years had shed</div>
-    <div class="verse indent0">Their honors o’er her royal head.</div>
-    <div class="verse indent0">For such a queen, the Stuart’s heir,—</div>
-    <div class="verse indent0">A queen so courteous, young, and fair,—</div>
-    <div class="verse indent0">Who would not every foe defy?</div>
-    <div class="verse indent0">Who would not stand—who would not die?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Light on her airy steed she sprung,</div>
-    <div class="verse indent0">Around with golden tassels hung;</div>
-    <div class="verse indent0">No chieftain there rode half so free,</div>
-    <div class="verse indent0">Or half so light and gracefully.</div>
-    <div class="verse indent0">How sweet to see her ringlets pale</div>
-    <div class="verse indent0">Wide waving in the southland gale,</div>
-    <div class="verse indent0">Which through the broomwood blossoms flew,</div>
-    <div class="verse indent0">To fan her cheeks of rosy hue!</div>
-    <div class="verse indent0">Whene’er it heaved her bosom’s screen,</div>
-    <div class="verse indent0">What beauties in her form were seen!</div>
-    <div class="verse indent0">And when her courser’s mane it swung,</div>
-    <div class="verse indent0">A thousand silver bells were rung.</div>
-    <div class="verse indent0">A sight so fair, on Scottish plain,</div>
-    <div class="verse indent0">A Scot shall never see again!—<i>Hogg.</i></div>
-  </div>
-</div>
-</div>
-
-<h5>THE EAGLE AND SERPENT.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">In the air do I behold indeed</div>
-    <div class="verse indent2">An eagle and a serpent wreathed in fight,</div>
-    <div class="verse indent0">And now, relaxing its impetuous flight,</div>
-    <div class="verse indent2">Before th’ aerial rock on which I stood,</div>
-    <div class="verse indent0">The eagle hovering wheeled to left and right,</div>
-    <div class="verse indent2">And hung with lingering wings over the flood,</div>
-    <div class="verse indent0">And startled with its yells the wide air’s solitude.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">A shaft of light upon its wings descended,</div>
-    <div class="verse indent2">And every golden feather gleamed therein,</div>
-    <div class="verse indent0">Feather and scale inextricably blended:</div>
-    <div class="verse indent2">The serpent’s mailed and many-colored skin</div>
-    <div class="verse indent0">Shone through the plumes, its coils were twined within,</div>
-    <div class="verse indent2">With many a swoln and knotted fold; and high</div>
-    <div class="verse indent0">And far the neck receding lithe and thin,</div>
-    <div class="verse indent2">Sustained a crested head, which warily</div>
-    <div class="verse indent0">Shifted, and glanced before the eagle’s steadfast eye.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Around, around, in ceaseless circles wheeling,</div>
-    <div class="verse indent2">With clang of wings and scream the eagle sailed</div>
-    <div class="verse indent0">Incessantly; sometimes on high concealing</div>
-    <div class="verse indent2">Its lessening orbs, sometimes as if it failed,</div>
-    <div class="verse indent0">Drooped through the air, and still it shrieked and wailed,</div>
-    <div class="verse indent2">And, casting back its eager head, with beak</div>
-    <div class="verse indent0">And talon unremittingly assailed</div>
-    <div class="verse indent2">The wreathèd serpent, who did ever seek</div>
-    <div class="verse indent0">Upon his enemy’s heart a mortal wound to wreak.—<i>Shelley.</i></div>
-  </div>
-</div>
-</div>
-
-<p><span class="pagenum"><a id="Page_55"></a>[55]</span></p>
-
-<h5>ASK AND HAVE.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">“Oh, ’tis time I should talk to your mother,</div>
-    <div class="verse indent2">Sweet Mary,” says I;</div>
-    <div class="verse indent0">“Oh, don’t talk to my mother,” says Mary,</div>
-    <div class="verse indent2">Beginning to cry:</div>
-    <div class="verse indent0">“For my mother says men are deceivers,</div>
-    <div class="verse indent2">And never, I know, will consent;</div>
-    <div class="verse indent0">She says girls in a hurry who marry,</div>
-    <div class="verse indent2">At leisure repent.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Then, suppose I would talk to your father,</div>
-    <div class="verse indent2">Sweet Mary,” says I;</div>
-    <div class="verse indent0">“Oh, don’t talk to my father,” says Mary,</div>
-    <div class="verse indent2">Beginning to cry:</div>
-    <div class="verse indent0">“For my father, he loves me so dearly,</div>
-    <div class="verse indent2">He’ll never consent I should go—</div>
-    <div class="verse indent0">If you talk to my father,” says Mary,</div>
-    <div class="verse indent2">“He’ll surely say ‘No.’”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Then how shall I get you, my jewel?</div>
-    <div class="verse indent2">Sweet Mary,” says I;</div>
-    <div class="verse indent0">“If your father and mother’s so cruel,</div>
-    <div class="verse indent2">Most surely I’ll die!”</div>
-    <div class="verse indent0">“Oh, never say die, dear,” says Mary;</div>
-    <div class="verse indent2">“A way now to save you I see;</div>
-    <div class="verse indent0">Since my parents are both so contrary—</div>
-    <div class="verse indent2">You’d better ask <i>me</i>.”—<i>Lover.</i></div>
-  </div>
-</div>
-</div>
-
-<h5>WHAT WAS HIS CREED?</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-h.jpg" width="130" height="110" alt="" /></div>
-    <div class="dropcapline">He left a load of anthracite</div>
-    <div class="verse indent2">In front of a poor widow’s door</div>
-    <div class="verse indent0">When the deep snow, frozen and white,</div>
-    <div class="verse indent2">Wrapped street and square, mountain and moor—</div>
-    <div class="verse indent6">That was his deed:</div>
-    <div class="verse indent8">He did it well;</div>
-    <div class="verse indent6">“What was his creed?”</div>
-    <div class="verse indent8">I cannot tell.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Blessed “in his basket and his store,”</div>
-    <div class="verse indent2">In sitting down and rising up;</div>
-    <div class="verse indent0">When more he got he gave the more,</div>
-    <div class="verse indent2">Withholding not the crust and cup;</div>
-    <div class="verse indent6">He took the lead</div>
-    <div class="verse indent8">In each good task;</div>
-    <div class="verse indent6">“What was his creed?”</div>
-    <div class="verse indent8">I did not ask.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">His charity was like the snow,</div>
-    <div class="verse indent2">Soft, white, and silken in its fall;</div>
-    <div class="verse indent0">Not like the noisy winds that blow</div>
-    <div class="verse indent2">From shivering trees the leaves; a pall</div>
-    <div class="verse indent6">For flower and weed,</div>
-    <div class="verse indent8">Dropping below;</div>
-    <div class="verse indent6">“What was his creed?”</div>
-    <div class="verse indent8">The poor may know.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He had great faith in loaves of bread</div>
-    <div class="verse indent2">For hungry people, young and old;</div>
-    <div class="verse indent0">And hope inspired, kind words he said,</div>
-    <div class="verse indent2">To those he sheltered from the cold,</div>
-    <div class="verse indent8">For he must feed</div>
-    <div class="verse indent10">As well as pray;</div>
-    <div class="verse indent6">“What was his creed?”</div>
-    <div class="verse indent10">I cannot say.</div>
-  </div>
-</div>
-</div>
-
-<h5>THE OLD REAPER.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-m.jpg" width="140" height="100" alt="" /></div>
-    <div class="dropcapline">Mid the brown-haired and the black-haired men,</div>
-    <div class="verse indent2">With ruddy faces aglow,</div>
-    <div class="verse indent0">The old man stood in the harvest field,</div>
-    <div class="verse indent2">With a head as white as snow.</div>
-    <div class="verse indent0">“Let me cut a sheaf, my boys,” he said,</div>
-    <div class="verse indent2">“Before it is time to go.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">They put the sickle within his hand:</div>
-    <div class="verse indent2">He bowed to the windy wheat;</div>
-    <div class="verse indent0">Pleasantly fell the golden ears,</div>
-    <div class="verse indent2">With the corn flowers at his feet.</div>
-    <div class="verse indent0">He lifted a handful, thoughtfully;</div>
-    <div class="verse indent2">It was ripe and full and sweet.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Many and many a sheaf,” he said,</div>
-    <div class="verse indent2">“I have cut in the years gone past;</div>
-    <div class="verse indent0">And many and many a sheaf these arms</div>
-    <div class="verse indent2">On the harvest wains have cast.</div>
-    <div class="verse indent0">But, children dear, I am weary now,</div>
-    <div class="verse indent2">And I think this is—the last.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Let me rest awhile beneath the tree;</div>
-    <div class="verse indent2">For I like to watch you go,</div>
-    <div class="verse indent0">With sickles bright, through the ripe, full wheat,</div>
-    <div class="verse indent2">And to feel the fresh wind blow.”</div>
-    <div class="verse indent0">And they spread their working coats for him</div>
-    <div class="verse indent2">’Mong the grasses sweet and low.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">When the sun grew high they came again,</div>
-    <div class="verse indent2">For a drink and their bread and meat;</div>
-    <div class="verse indent0">And in the shadow he sleeping lay,</div>
-    <div class="verse indent2">With sunshine on his feet.</div>
-    <div class="verse indent0">Like a child at night, outspent with play,</div>
-    <div class="verse indent2">He lay in slumber sweet.</div>
-  </div>
-</div>
-</div>
-
-<h5>THE GALLANT SAIL-BOAT.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">The boat, impatient of delay,</div>
-    <div class="verse indent0">With spreading, white wings flew away,</div>
-    <div class="verse indent0">Pushed its bold venture more and more.</div>
-    <div class="verse indent0">Left far behind the fading shore,</div>
-    <div class="verse indent0">And glided on, swan-like and free,</div>
-    <div class="verse indent0">A thing of life, sylph of the sea.</div>
-    <div class="verse indent0">The speed grew swift, each eager sail</div>
-    <div class="verse indent0">Swelled as it caught the gentle gale,</div><span class="pagenum"><a id="Page_56"></a>[56]</span>
-    <div class="verse indent0">And so, with canvas all unfurled,</div>
-    <div class="verse indent0">Around the prow the waters curled,</div>
-    <div class="verse indent0">And wreaths of spray, formed one by one,</div>
-    <div class="verse indent0">Made rainbows in the shining sun.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2">The lively breeze then stiffer grew,</div>
-    <div class="verse indent0">The sail-boat leaped and darted through</div>
-    <div class="verse indent0">Each billow as it struck her breast,</div>
-    <div class="verse indent0">Or, mounting upward, skimmed the crest,</div>
-    <div class="verse indent0">Plunged down into the hollow graves,</div>
-    <div class="verse indent0">Made by the fast advancing waves,</div>
-    <div class="verse indent0">Then rose again with graceful bound,</div>
-    <div class="verse indent0">Wet with the white-caps splashing round,</div>
-    <div class="verse indent0">And in her frolicsome advance,</div>
-    <div class="verse indent0">Moved like a maiden in the dance.</div>
-    <div class="verse indent0">Careening low upon her side,</div>
-    <div class="verse indent0">No bird that cuts the air could glide</div>
-    <div class="verse indent0">More deftly than she gaily flew,</div>
-    <div class="verse indent0">Light-hearted, o’er the waters blue.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2">And just as gay were those on board,</div>
-    <div class="verse indent0">Their youthful spirits in accord.</div>
-    <div class="verse indent0">As well-tuned strings wake with a thrill,</div>
-    <div class="verse indent0">Touched by the harpist’s facile skill,</div>
-    <div class="verse indent0">So these young hearts were in attune,</div>
-    <div class="verse indent0">And carolled like the birds of June.</div>
-    <div class="verse indent0">The pleasure-seekers, side by side,</div>
-    <div class="verse indent0">Rode with the wind, rode with the tide,</div>
-    <div class="verse indent0">While sparkling jest and blithesome song,</div>
-    <div class="verse indent0">And bursts of laughter loud and long,</div>
-    <div class="verse indent0">Spontaneous mirth and shouts of glee,</div>
-    <div class="verse indent0">Went floating o’er the ruffled sea.—<i>Davenport.</i></div>
-  </div>
-</div>
-</div>
-
-<h5>WOOING.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" /></div>
-    <div class="dropcapline">A little bird once met another bird,</div>
-    <div class="verse indent2">And whistled to her, “Will you be my mate?”</div>
-    <div class="verse indent0">With fluttering wings she twittered, “How absurd!</div>
-    <div class="verse indent8">Oh, what a silly pate!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And off into a distant tree she flew,</div>
-    <div class="verse indent2">To find concealment in the shady cover;</div>
-    <div class="verse indent0">And passed the hours in slily peeping through</div>
-    <div class="verse indent8">At her rejected lover.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The jilted bird, with drooping heart and wing,</div>
-    <div class="verse indent2">Poured forth his grief all day in plaintiff songs;</div>
-    <div class="verse indent0">Telling in sadness to the ear of spring</div>
-    <div class="verse indent8">The story of his wrongs.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But little thought he, while each nook and dell</div>
-    <div class="verse indent2">With the wild music of his plaint was thrilling,</div>
-    <div class="verse indent0">That scornful breast with sighs began to swell—</div>
-    <div class="verse indent8">Half-pitying and half-willing.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Next month I walked the same sequestered way,</div>
-    <div class="verse indent2">When close together on a twig I spied them;</div>
-    <div class="verse indent0">And in a nest half-hid with leaves there lay</div>
-    <div class="verse indent8">Four little birds beside them.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Coy maid, this moral in your ear I drop:</div>
-    <div class="verse indent2">When lover’s hopes within their hearts you prison,</div>
-    <div class="verse indent0">Fly out of sight and hearing; do not stop</div>
-    <div class="verse indent8">To look behind and listen.—<i>Soule.</i></div>
-  </div>
-</div>
-</div>
-
-<h5>MISS LAUGH AND MISS FRET.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-c.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">Cries little Miss Fret,</div>
-    <div class="verse indent10">In a very great pet:</div>
-    <div class="verse indent0">“I hate this warm weather; it’s horrid to tan.</div>
-    <div class="verse indent10">It scorches my nose,</div>
-    <div class="verse indent10">And blisters my toes,</div>
-    <div class="verse indent0">And wherever I go, I must carry a fan.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent10">Chirps little Miss Laugh:</div>
-    <div class="verse indent10">“Why, I couldn’t tell half</div>
-    <div class="verse indent0">The fun I am having this bright summer day.</div>
-    <div class="verse indent10">I sing through the hours,</div>
-    <div class="verse indent10">I cull pretty flowers,</div>
-    <div class="verse indent0">And ride like a queen on the sweet smelling hay.”</div>
-  </div>
-</div>
-</div>
-
-<h5>MONTEREY.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">We were not many, we who stood</div>
-    <div class="verse indent2">Before the iron sleet that day;</div>
-    <div class="verse indent0">Yet many a gallant spirit would</div>
-    <div class="verse indent0">Give half his years if but he could</div>
-    <div class="verse indent2">Have with us been at Monterey.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Now here, now there, the shot it hailed</div>
-    <div class="verse indent2">In deadly drifts of fiery spray,</div>
-    <div class="verse indent0">Yet not a single soldier quailed</div>
-    <div class="verse indent0">When wounded comrades round him wailed</div>
-    <div class="verse indent2">Their dying shout at Monterey.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And on, still on, our column kept</div>
-    <div class="verse indent2">Through walls of flame its wavering way;</div>
-    <div class="verse indent0">Where fell the dead, the living stepped,</div>
-    <div class="verse indent0">Still charging on the guns which swept</div>
-    <div class="verse indent2">The slippery streets of Monterey.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The foe himself recoiled aghast,</div>
-    <div class="verse indent2">When, striking where he strongest lay,</div>
-    <div class="verse indent0">We swooped his flanking batteries past,</div>
-    <div class="verse indent0">And braving full their murderous blast,</div>
-    <div class="verse indent2">Stormed home the towers of Monterey.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Our banners on those turrets wave,</div>
-    <div class="verse indent2">And there our evening bugles play,</div>
-    <div class="verse indent0">Where orange-boughs above their grave,</div>
-    <div class="verse indent0">Keep green the memory of the brave</div>
-    <div class="verse indent2">Who fought and fell at Monterey.</div><span class="pagenum"><a id="Page_57"></a>[57]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">We are not many, we who pressed</div>
-    <div class="verse indent2">Beside the brave who fell that day;</div>
-    <div class="verse indent0">But who of us has not confessed</div>
-    <div class="verse indent0">He’d rather share their warrior rest</div>
-    <div class="verse indent2">Than not have been at Monterey?—<i>Hoffman.</i></div>
-  </div>
-</div>
-</div>
-
-<h5>A WOMAN’S WATCH.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">Oh, I am a woman’s watch, am I,</div>
-    <div class="verse indent2">But I would that I were not;</div>
-    <div class="verse indent0">For if you knew, you would not deny</div>
-    <div class="verse indent2">That mine is a sorry lot.</div>
-    <div class="verse indent0">She will let me rest for a great long while,</div>
-    <div class="verse indent2">Then all of a sudden seek</div>
-    <div class="verse indent0">To twist me up so tight that I’ll</div>
-    <div class="verse indent2">Keep going for a week.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">She leaves me open when she will,</div>
-    <div class="verse indent2">Till I’m sick of dirt and things;</div>
-    <div class="verse indent0">Of pins and hair I have got my fill,</div>
-    <div class="verse indent2">And of buttons, hooks and strings.</div>
-    <div class="verse indent0">There’s a four-leaf clover in me, too,</div>
-    <div class="verse indent2">And a piece of a photograph;</div>
-    <div class="verse indent0">I’m stuffed completely through and through</div>
-    <div class="verse indent2">With toothpicks, cloves and chaff.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">My hands are twisted to and fro,</div>
-    <div class="verse indent2">I’m thumped and jarred, alack!</div>
-    <div class="verse indent0">And then, if I fail to straightway go,</div>
-    <div class="verse indent2">I’m pounded front and back.</div>
-    <div class="verse indent0">With her hat-pin all my wheels she’ll pry</div>
-    <div class="verse indent2">Till she breaks them every one,</div>
-    <div class="verse indent0">And then she’ll say: “I don’t see why</div>
-    <div class="verse indent2">This mean old thing won’t run!”</div>
-  </div>
-</div>
-</div>
-
-<h5>LOVE LIGHTENS LABOR.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" /></div>
-    <div class="dropcapline">A good wife rose from her bed one morn,</div>
-    <div class="verse indent2">And thought, with a nervous dread,</div>
-    <div class="verse indent0">Of the piles of clothes to be washed, and more</div>
-    <div class="verse indent2">Than a dozen mouths to be fed,</div>
-    <div class="verse indent0">“There’s the meals to be got for the men in the field,</div>
-    <div class="verse indent2">And the children to fix away</div>
-    <div class="verse indent0">To school, and the milk to be skimmed and churned;</div>
-    <div class="verse indent2">And all to be done this day.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">It had rained in the night, and all the wood</div>
-    <div class="verse indent2">Was wet as it could be;</div>
-    <div class="verse indent0">There were puddings and pies to bake, besides</div>
-    <div class="verse indent2">A loaf of cake for tea.</div>
-    <div class="verse indent0">And the day was hot, and her aching head</div>
-    <div class="verse indent2">Throbbed wearily as she said.</div>
-    <div class="verse indent0">“If maidens but knew what good wives know,</div>
-    <div class="verse indent2">They would not be in haste to wed!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Jennie, what do you think I told Ben Brown?”</div>
-    <div class="verse indent2">Called the farmer from the well;</div>
-    <div class="verse indent0">And a flush crept up to his bronzed brow,</div>
-    <div class="verse indent2">And his eyes half-blushingly fell:</div>
-    <div class="verse indent0">“It was this,” he said, and coming near</div>
-    <div class="verse indent2">He smiled, and stooping down,</div>
-    <div class="verse indent0">Kissed her cheek—“’twas this, that you were the best</div>
-    <div class="verse indent2">And the dearest wife in town!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The farmer went back to the field, and the wife,</div>
-    <div class="verse indent2">In a smiling, absent way,</div>
-    <div class="verse indent0">Sang snatches of tender little songs</div>
-    <div class="verse indent2">She’d not sung for many a day.</div>
-    <div class="verse indent0">And the pain in her head was gone, and the clothes</div>
-    <div class="verse indent2">Were white as the foam of the sea;</div>
-    <div class="verse indent0">Her bread was light, and her butter was sweet,</div>
-    <div class="verse indent2">And as golden as it could be.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Just think,” the children all called in a breath,</div>
-    <div class="verse indent2">“Tom Wood has run off to sea!</div>
-    <div class="verse indent0">He wouldn’t, I know, if he’d only had</div>
-    <div class="verse indent2">As happy a home as we.”</div>
-    <div class="verse indent0">The night came down, and the good wife smiled</div>
-    <div class="verse indent2">To herself, as she softly said:</div>
-    <div class="verse indent0">“’Tis so sweet to labor for those we love—</div>
-    <div class="verse indent2">It’s not strange that maids will wed!”</div>
-  </div>
-</div>
-</div>
-
-<h5>ABOU BEN ADHEM.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" /></div>
-    <div class="dropcapline">Abou Ben Adhem—may his tribe increase!</div>
-    <div class="verse indent0">Awoke one night from a deep dream of peace,</div>
-    <div class="verse indent0">And saw, within the moonlight in his room,</div>
-    <div class="verse indent0">Making it rich, and like a lily in bloom,</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">An angel, writing in a book of gold.</div>
-    <div class="verse indent0">Exceeding peace had made Ben Adhem bold,</div>
-    <div class="verse indent0">And to the Presence in the room he said,</div>
-    <div class="verse indent0">“What writest thou?” The vision raised its head,</div>
-    <div class="verse indent0">And, with a look made all of sweet accord,</div>
-    <div class="verse indent0">Answered, “The names of those who love the Lord.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“And is mine one?” said Abou. “Nay, not so,”</div>
-    <div class="verse indent0">Replied the angel. Abou spoke more low,</div>
-    <div class="verse indent0">But cheerily still; and said, “I pray thee, then,</div>
-    <div class="verse indent0">Write me as one that loves his fellow-men.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The angel wrote and vanished. The next night</div>
-    <div class="verse indent0">It came again with a great wakening light,</div>
-    <div class="verse indent0">And showed the names whom love of God had blessed;</div>
-    <div class="verse indent0">And lo! Ben Adhem’s name led all the rest.—<i>Leigh Hunt.</i></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line2.jpg" width="150" height="15" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_58"></a>[58]</span></p>
-
-<h4>ESSAYS TO BE WRITTEN FROM OUTLINES.</h4>
-
-<div>
-<img class="dropcap" src="images/dropcap-i.jpg" width="50" height="100" alt="" />
-</div>
-
-<p class="dropcap">It is considered best by most experienced
-writers to prepare a plan of the composition,
-of whatever character it may
-be. In this way you are able to properly
-arrange your thoughts, and are less likely
-to omit something which ought to be treated.</p>
-
-<p>There are authors who map out in their
-minds a general plan without committing it
-formally to paper. The disadvantage of this
-method is that something is liable to be
-forgotten, or inserted in the wrong place.
-Many authors compose a whole book with
-nothing more in mind than the general outline:
-others draw out what lawyers would
-call a “brief,” from which they build up their
-production step by step.</p>
-
-<p>To aid you in learning how to write compositions,
-I have inserted here the outlines
-of essays from which the complete productions
-are to be written. Many of these
-subjects will compel you to consult books in
-order that you may obtain the information
-you require, yet this will only be a benefit to
-you, and will amply repay all the time and
-labor you expend.</p>
-
-<p>You do not need to confine yourself to the
-thoughts suggested in these outlines. Think
-for yourself; do not always go on crutches.
-Introduce new matter and express whatever
-is suggested to your mind, that will make
-your production complete and interesting.</p>
-
-<p>The following is an outline of a brief and
-simple essay on “The Cat.”</p>
-
-<div class="blockquote">
-
-<p>1. Where found.</p>
-
-<p>2. Why kept.</p>
-
-<p>3. Fitted to be a beast of prey:—(<i>a</i>) Teeth; (<i>b</i>)
-Claws; (<i>c</i>) Pads.</p>
-
-<p>4. Fitted for night prowling:—(<i>a</i>) Fur; (<i>b</i>) Eyes.</p>
-
-<p>5. Fitted to be a pet.</p>
-
-<p>6. Habits.</p>
-
-</div>
-
-<p>The outline may be filled in thus:—</p>
-
-<div class="blockquote">
-
-<p>A cat is found in nearly every house. Sometimes
-it is kept as a pet only, and sometimes it is kept only
-to catch mice, but most people keep one for both
-purposes. The cat is fitted by nature to be a beast
-of prey; hence its claws and teeth are sharp and long,
-and under its feet are pads, which enable it to walk
-without making a noise. The cat is also fitted for
-prowling at night. Its thick fur keeps it from feeling
-cold, and its wonderful eyes enable it to see almost
-in the dark. Cats make good pets because they are
-pretty, clean and gentle. They like to lie on something
-soft and warm. When stroked they purr.
-Kittens are very playful.</p>
-
-</div>
-
-<h5><i>Dog.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Found nearly all over world; friend to man.</p>
-
-<p>2. Uses:—Hunting, guarding, minding sheep, etc.</p>
-
-<p>3. Description: Teeth for tearing, legs for running,
-coat for warmth; differences between cat and dog.</p>
-
-<p>4. Habits.</p>
-
-</div>
-
-<h5><i>Kinds of Dogs.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Name various kinds.</p>
-
-<p>2. Showing how structure of each kind fits it for its
-work; as</p>
-
-<p>(<i>a</i>) Greyhound—shape, legs, chest for swiftness.</p>
-
-<p>(<i>b</i>) Bloodhound—broad head, large nose for
-smell.</p>
-
-<p>(<i>c</i>) Bulldog—size of head, strength of jaw and
-of body.</p>
-
-<p>(<i>d</i>) Newfoundland—thick, oily coat, webbed feet
-etc., etc.</p>
-
-</div>
-
-<h5><i>Hay.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Grass allowed to grow from early spring.</p>
-
-<p>2. Ripe in June or July.</p>
-
-<p>3. Cut with a scythe or machine.</p>
-
-<p>4. Spread out to dry in sun—turned over—raked
-into “cocks”—carted.</p>
-
-</div>
-
-<h5><i>Grain.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Different kinds:—wheat, barley, oats.</p>
-
-<p>2. Sown in spring (wheat sometimes late in
-autumn).</p>
-
-<p>3. Ground prepared by ploughing, harrowing.</p>
-
-<p>4. Sowing (describe).</p>
-
-<p>5. Weeding.</p>
-
-<p>6. Harvesting:—cut with sickle, scythe or machine—bound—carted.</p>
-
-</div>
-
-<h5><i>Flour.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Wheat threshed to get grain and chaff from ear.</p>
-
-<p>2. Winnowed to separate chaff from grain.</p>
-
-<p>3. Ground in mill (wind, steam).</p>
-
-<p>4. Skin (bran) separated from flour.</p>
-
-</div>
-
-<p><span class="pagenum"><a id="Page_59"></a>[59]</span></p>
-
-<h5><i>Bread.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Generally made from flour.</p>
-
-<p>2. Flour mixed with water, a little salt and yeast,
-into sponge—yeast to make it “rise.”</p>
-
-<p>3. Made into loaves.</p>
-
-<p>4. Baked in oven.</p>
-
-</div>
-
-<h5><i>Butter.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Made from cream.</p>
-
-<p>2. Milk placed in shallow pans—cream rises—skimmed.</p>
-
-<p>3. Cream begins to turn sour—churned.</p>
-
-<p>4. Describe churn.</p>
-
-<p>5. Churning divides cream into butter and buttermilk.</p>
-
-<p>6. Butter run off—butter washed.</p>
-
-<p>7. Beaten, often salted, moulded.</p>
-
-</div>
-
-<h5><i>Lion.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Cat kind—teeth, claws, sheath pad.</p>
-
-<p>2. About four feet high, tawny yellow, tufted tail,
-mane of male.</p>
-
-<p>3. Lion like cat steals up to prey.</p>
-
-<p>4. Brave.</p>
-
-<p>5. Cubs playful.</p>
-
-</div>
-
-<h5><i>Tiger.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Compare tiger and lion:—</p>
-
-<p>(<i>a</i>) Lion in Africa and Asia, tiger in Asia.</p>
-
-<p>(<i>b</i>) Tiger as strong, more fierce and cunning.</p>
-
-<p>(<i>c</i>) Tiger golden fur with black stripes, no
-mane, tail not tufted.</p>
-
-<p>(<i>d</i>) Tiger, like lion, lies in wait.</p>
-
-<p>2. Man-eating tigers.</p>
-
-<p>3. Hunted, often on elephants.</p>
-
-</div>
-
-<h5><i>Elephant.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Largest land animal, eight to ten feet high.</p>
-
-<p>2. Very heavy body, thick skin, little hair, legs
-thick.</p>
-
-<p>3. Head large, tusks sixty to seventy pounds each.</p>
-
-<p>4. Short neck; why?</p>
-
-<p>5. Trunk; why needed?—describe.</p>
-
-<p>6. Clever, obedient, faithful.</p>
-
-</div>
-
-<h5><i>Stories of Elephants.</i></h5>
-
-<div class="blockquote">
-
-<p>Tell a story showing cleverness of elephant.</p>
-
-</div>
-
-<h5><i>Owl.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Night bird; therefore eyes large, hearing sharp,
-feathers thick.</p>
-
-<p>2. Downy feathers make flight silent.</p>
-
-<p>3. Beak and claws.</p>
-
-<p>4. Food.</p>
-
-<p>5. Haunts.</p>
-
-</div>
-
-<h5><i>Swallow.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Made for speed; feathers firm and close, wings
-large, tail long and pointed, legs short.</p>
-
-<p>2. Lives on insects; large, wide mouth.</p>
-
-<p>3. Bird of passage; comes in spring, leaves in
-autumn.</p>
-
-<p>4. Kind:—</p>
-
-<p>(<i>a</i>) Chimney martin or swallow—builds often
-under eaves.</p>
-
-<p>(<i>b</i>) Sand martin: smallest, builds in sandy
-banks or cliffs.</p>
-
-</div>
-
-<h5><i>Cuckoo.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Named from cry.</p>
-
-<p>2. Bird of passage—</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">In April</div>
-    <div class="verse indent0">Come he will; ...</div>
-    <div class="verse indent0">In July</div>
-    <div class="verse indent0">He prepares to fly;</div>
-    <div class="verse indent0">In August</div>
-    <div class="verse indent0">Go he must.</div>
-  </div>
-</div>
-</div>
-
-<p>3. Description:—size of magpie or small pigeon;
-color:—blue gray above; white, with slaty bars below;
-wings black, with white at tips.</p>
-
-<p>4. Lays eggs in nest of other birds—often a hedge-sparrow.</p>
-
-</div>
-
-<h5><i>Tea.</i></h5>
-
-<div class="blockquote">
-
-<p>1. From China, Assam, Ceylon.</p>
-
-<p>2. Evergreen shrub, glossy leaves, white flower.</p>
-
-<p>3. Three crops a year, first and best in spring.</p>
-
-<p>4. Leaves gathered, placed in shallow baskets,
-dried first in sun, then over charcoal; rolled between
-hands.</p>
-
-<p>5. Two kinds, green and black.</p>
-
-</div>
-
-<h5><i>Coffee.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Arabia, Brazil, East and West Indies, Ceylon.</p>
-
-<p>2. Evergreen tree, eight to twelve feet high.</p>
-
-<p>3. Tree bears a dark red berry, size of cherry, and
-containing two hard seeds (the coffee “bean”) each
-in a skin.</p>
-
-<p>4. Berries gathered, dried, passed under rollers to
-remove skin.</p>
-
-<p>5. Roasted in a closed iron vessel over slow fire.</p>
-
-<p>6. Ground.</p>
-
-</div>
-
-<h5><i>Coal.</i></h5>
-
-<div class="blockquote">
-
-<p>1. How formed:—Places where forests, woods, etc.,
-growing, sank—covered with water bringing soil—rose
-again—vegetable remains hardened into coal.</p>
-
-<p>2. Hence found in layers.</p>
-
-<p>3. Mining:—shaft, galleries.</p>
-
-<p>4. Dangers:—fall of roof; flooding; explosions of
-“fire-damp;” afterwards “choke-damp.”</p>
-
-<p>5. Safety lamp.</p>
-
-</div>
-
-<p><span class="pagenum"><a id="Page_60"></a>[60]</span></p>
-
-<h5><i>Iron.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Iron ore found in many places, worked on coal
-fields; why?</p>
-
-<p>2. To drive away sulphur roasted in kiln, or with
-layers of coal on ground.</p>
-
-<p>3. Mixed with coal and lime and placed in blast
-furnace.</p>
-
-<p>4. Earthy matters unite with lime to form “slag.”</p>
-
-<p>5. Melted iron falls to bottom—run off “cast iron.”</p>
-
-<p>6. Carbon added to iron to make steel.</p>
-
-</div>
-
-<h5><i>Spring.</i></h5>
-
-<div class="blockquote">
-
-<p>1. What months?</p>
-
-<p>2. Welcome season after short, cold days of winter.</p>
-
-<p>3. Trees and flowers—blossom.</p>
-
-<p>4. Sowing.</p>
-
-<p>5. Pleasant walks in the country.</p>
-
-</div>
-
-<h5><i>Christmas.</i></h5>
-
-<div class="blockquote">
-
-<p>1. When?</p>
-
-<p>2. Most general holiday.</p>
-
-<p>3. Why kept—“peace and goodwill.”</p>
-
-<p>4. How kept:—business stopped; cards; presents;
-meetings of friends; Christmas fare; trees.</p>
-
-</div>
-
-<h5><i>Your School.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Name.</p>
-
-<p>2. Situation.</p>
-
-<p>3. History.</p>
-
-<p>4. Subjects taught.</p>
-
-<p>5. Games.</p>
-
-<p>6. How you may do credit to it.</p>
-
-</div>
-
-<h5><i>Any Town.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Name.</p>
-
-<p>2. Situation.</p>
-
-<p>3. Population.</p>
-
-<p>4. Chief industry.</p>
-
-<p>5. Chief buildings.</p>
-
-<p>6. History.</p>
-
-</div>
-
-<h5><i>Linen.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Made from flax-plant about four feet high, blue
-flower.</p>
-
-<p>2. Ripe flax pulled up, dried.</p>
-
-<p>3. Seed (linseed) removed by pulling stalks through
-a kind of comb.</p>
-
-<p>4. Stalks consist of two parts, woody and fibrous.</p>
-
-<p>5. Steeped in water to make separation of two
-easier.</p>
-
-<p>6. Beaten to break woody part.</p>
-
-<p>7. Combed to remove it.</p>
-
-<p>8. Spun, bleached, woven.</p>
-
-<p>9. Uses.</p>
-
-</div>
-
-<h5><i>Blind Man’s Buff.</i></h5>
-
-<div class="blockquote">
-
-<p>1. One of the players has handkerchief tied over
-eyes.</p>
-
-<p>2. Tries to catch any of the others.</p>
-
-<p>3. If he catches any one he must say who it is.</p>
-
-<p>4. If he succeeds, player caught takes his place.</p>
-
-<p>5. The fun of the game.</p>
-
-</div>
-
-<h5><i>Base Ball.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Describe bases (number, positions, etc.).</p>
-
-<p>2. Describe bat and ball.</p>
-
-<p>3. How many players?</p>
-
-<p>4. Pitcher, catcher, basemen, fielders.</p>
-
-<p>5. How “runs” are made.</p>
-
-<p>6. How a player is “out.”</p>
-
-<p>7. How one side is out.</p>
-
-<p>8. Which “team” wins?</p>
-
-</div>
-
-<h5><i>The Blacksmith’s Shop.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Describe the blacksmith.</p>
-
-<p>2. His work.</p>
-
-<p>3. Fire, bellows.</p>
-
-<p>4. Anvil, hammers, tongs, water-trough.</p>
-
-<p>5. “The children coming home from school....”</p>
-
-</div>
-
-<h5><i>The Carpenter’s Shop.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Work.</p>
-
-<p>2. Bench, planes, chisels, hammers, mallets, axe,
-adze, gimlets, saws, rule.</p>
-
-<p>3. Compare blacksmith and carpenter.</p>
-
-</div>
-
-<h5><i>Soldier.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Appearance.</p>
-
-<p>2. Work.</p>
-
-<p>3. Where he lives in peace and in war.</p>
-
-<p>4. Recruits, drill, reviews, band.</p>
-
-<p>5. Battle.</p>
-
-<p>6. Qualities of a soldier.</p>
-
-</div>
-
-<h5><i>A Farm Laborer.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Work varies with season.</p>
-
-<p>2. In spring work connected with sowing.</p>
-
-<p>3. Summer—weeding, haymaking.</p>
-
-<p>4. Autumn—harvesting; sometimes ploughing.</p>
-
-<p>5. Winter—looking after stock.</p>
-
-</div>
-
-<h5><i>A Visit to Washington.</i></h5>
-
-<div class="blockquote">
-
-<p>1. On what river situated?</p>
-
-<p>2. Founded when? When captured by the British?</p>
-
-<p>3. Streets and avenues.</p>
-
-<p>4. Capitol building, dome, Senate chamber, Chamber
-of the House of Representatives.</p>
-
-<p>5. White House.</p>
-
-<p>6. Buildings of Government Departments.</p>
-
-<p><span class="pagenum"><a id="Page_61"></a>[61]</span></p>
-
-<p>7. Smithsonian Institute.</p>
-
-<p>8. Washington’s monument.</p>
-
-</div>
-
-<h5><i>Cleanliness.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Of person.</p>
-
-<p>(<i>a</i>) Describe pores. Waste of body passes
-through them like smoke up a chimney;
-therefore must be kept open.</p>
-
-<p>(<i>b</i>) Diseases arise if waste cannot pass off.</p>
-
-<p>(<i>c</i>) Dirty person disagreeable.</p>
-
-<p>2. Of clothes.</p>
-
-<p>Clean person impossible in dirty clothes.</p>
-
-<p>3. Of houses.</p>
-
-<p>(<i>a</i>) Dust passes into lungs.</p>
-
-<p>(<i>b</i>) Dirty houses—bad smells.</p>
-
-<p>(<i>c</i>) Plague (formerly common) due to dirt.</p>
-
-</div>
-
-<h5><i>Lying.</i></h5>
-
-<div class="blockquote">
-
-<p>1. What it is—willful attempt to deceive.</p>
-
-<p>2. Words may be true and yet a lie because meant
-to deceive.</p>
-
-<p>3. There may be lies without words.</p>
-
-<p>4. Why wrong.</p>
-
-<p>5. Consequence to liar—not believed even when
-speaking truth.</p>
-
-<p>6. Fable of boy that cried “Wolf.”</p>
-
-</div>
-
-<h5><i>Cruelty to Animals.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Animals can feel.</p>
-
-<p>2. How would you like cruel treatment?</p>
-
-<p>3. “Do unto others....”</p>
-
-<p>4. Animals grateful for kindness.</p>
-
-<p>5. Any story to show this.</p>
-
-</div>
-
-<h5><i>Thrift.</i></h5>
-
-<div class="blockquote">
-
-<p>1. “Penny saved, penny earned.”</p>
-
-<p>2. Name some things on which children spend
-money needlessly.</p>
-
-<p>3. Advantages of saving:—“Take care of the
-pennies and the dollars will take care of themselves;”
-savings can be turned to account; provision
-for a “rainy day.”</p>
-
-<p>4. Aids to thrift:—Savings banks, building societies,
-etc.</p>
-
-</div>
-
-<h5><i>Make Hay while the Sun Shines.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Meaning of proverb. Hay is grass dried in the
-sun; if not “made” on first opportunity, it may be
-spoiled by rain.</p>
-
-<p>2. Proverb teaches us to miss no opportunity.</p>
-
-<p>3. Reasons:—Do not know what may happen by
-to-morrow; chance perhaps lost forever; “The mill
-cannot grind with the water that is past.”</p>
-
-<p>4. Story to show danger of putting off.</p>
-
-</div>
-
-<h5><i>A Rolling Stone Gathers no Moss.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Meaning of the proverb—persevere.</p>
-
-<p>2. Illustrations:—</p>
-
-<p>(<i>a</i>) If you do not finish a study begun, <i>all</i> the
-time spent on it is wasted.</p>
-
-<p>(<i>b</i>) Three removes are as bad as a fire.</p>
-
-<p>(<i>c</i>) By staying in the same place you make
-friends and a position.</p>
-
-</div>
-
-<h5>“<i>Virtue is its Own Reward.</i>”</h5>
-
-<div class="blockquote">
-
-<p>1. Virtue often gains for a man honor, wealth,
-friends.</p>
-
-<p>2. But though it brought no such rewards it should
-be sought.</p>
-
-<p>3. For the approval of one’s own conscience is
-more important than the approval of any one else.</p>
-
-</div>
-
-<h5>Easy Subjects for Compositions.</h5>
-
-<p>Rabbit. Fox. Pig. Mouse. Bear. Camel. Monkey.
-Sheep. Goat. Cow. Hen. Duck. Robin. Lark.
-Canary. Ostrich. Eagle. Pigeon. Gull. Sparrow.
-Whale. Seal. Bee. Spider. Fly. Butterfly. Shark.
-Herring. Mackerel. Crab. Cod. Frog. Crocodile.
-Turtle. Adder. Cocoa. Sugar. Sago. Cork. India rubber.
-Potato. Turnip. Salt. Lead. Tin. Copper. Gold.
-Knife. Glass. Paper. Soap. Pins. Needles. Candles.
-Cotton. Silk. Woollen cloth. Autumn. Winter.
-Any game with marbles. Making and flying kites.
-Boating. Swimming. Fishing. Football. Skating.
-Lawn tennis. Punctuality. Industry. Perseverance.
-Obedience. Bad language. Good manners. Good
-habits. Temperance. Honesty. The “Golden Rule.”
-How to make yourself useful at home.</p>
-
-<p>Describe:—(<i>a</i>) A house. (<i>b</i>) A street. (<i>c</i>) A
-church. (<i>d</i>) Any village. (<i>e</i>) Any town. (<i>f</i>) A
-farm. (<i>g</i>) A mill. (<i>h</i>) The sea-side. (<i>i</i>) Common
-spring flowers. (<i>j</i>) The most beautiful place you
-have seen. (<i>k</i>) A snow-storm. (<i>l</i>) A thunder-storm.</p>
-
-<p>Describe the life and work of:—(<i>a</i>) A mason. (<i>b</i>)
-A gardener. (<i>c</i>) A teacher. (<i>d</i>) A doctor. (<i>e</i>) A
-sailor. (<i>f</i>) A policeman. (<i>g</i>) A postman. (<i>h</i>) A
-tailor. (<i>i</i>) A baker. (<i>j</i>) A shepherd. (<i>k</i>) A fisherman.
-(<i>l</i>) An errand-boy. (<i>m</i>) A painter.</p>
-
-<p>Describe a visit to:—(<i>a</i>) The seaside. (<i>b</i>) Chicago
-or some other large town. (<i>c</i>) The Zoological Gardens
-or a menagerie. (<i>d</i>) A circus. (<i>e</i>) A school
-exhibition. (<i>f</i>) A department store. (<i>g</i>) A country
-dairy. (<i>h</i>) A picture gallery.</p>
-
-<p>Tell a story about:—(<i>a</i>) A dog. (<i>b</i>) A cat. (<i>c</i>) A
-horse. (<i>d</i>) A monkey. (<i>e</i>) A parrot. (<i>f</i>) An
-elephant. (<i>g</i>) A hen.</p>
-
-<p><span class="pagenum"><a id="Page_62"></a>[62]</span></p>
-
-<p>Tell any stories you know illustrating the following
-sayings:—</p>
-
-<div class="blockquote">
-
-<p>(<i>a</i>) “Look before you leap.”</p>
-
-<p>(<i>b</i>) “Liars are not believed even when they
-speak the truth.”</p>
-
-<p>(<i>c</i>) “People are judged by the company they
-keep.”</p>
-
-<p>(<i>d</i>) “Penny wise and pound foolish.”</p>
-
-<p>(<i>e</i>) “Count not your chickens before they are
-hatched.”</p>
-
-<p>(<i>f</i>) “A friend in need is a friend indeed.”</p>
-
-<p>(<i>g</i>) “Union is strength.”</p>
-
-</div>
-
-<p>Explain and illustrate the following proverbs:—</p>
-
-<div class="blockquote">
-
-<p>(<i>a</i>) “A stitch in time saves nine.”</p>
-
-<p>(<i>b</i>) “A prudent man foreseeth the evil; fools
-pass on and are punished.”</p>
-
-<p>(<i>c</i>) “The more haste the less speed.”</p>
-
-<p>(<i>d</i>) “Strike the iron while it is hot.”</p>
-
-<p>(<i>e</i>) “Touch pitch and be defiled.”</p>
-
-<p>(<i>f</i>) “Rome was not built in a day.”</p>
-
-<p>(<i>g</i>) “No gains without pains.”</p>
-
-<p>(<i>h</i>) “Nothing venture nothing win.”</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 215px;">
-<img src="images/line3.jpg" width="215" height="30" alt="" />
-</div>
-
-<h3><span class="smcap">Use of Illustrations.</span></h3>
-
-<div>
-<img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" />
-</div>
-
-<p class="dropcap">An apt illustration is always a help to a
-writer or speaker. The mind of the
-reader or hearer is interested in
-tracing the comparison, and receives
-a stronger impression than it does
-when the thought is stated simply by itself.</p>
-
-<p>Many of the most famous orators have
-been very gifted in employing similes to express
-their meaning. You should cultivate
-the habit of using illustrations. Although
-there is sometimes danger in employing
-them, yet where carefully and rightly used
-they not only ornament the composition,
-but render its thoughts and ideas more
-striking, more impressive and more easily
-remembered.</p>
-
-<p><b>A Simile</b> is a comparison explicitly stated;
-as,</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Now does he feel his title</div>
-    <div class="verse indent0">Hang loose upon him like a giant’s robe</div>
-    <div class="verse indent0">Upon a dwarfish thief.</div>
-  </div>
-</div>
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">How far that little candle throws his beams!</div>
-    <div class="verse indent0">So shines a good deed in a naughty world.</div>
-  </div>
-</div>
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">An evil soul producing holy witness</div>
-    <div class="verse indent0">Is like a goodly apple rotten at the heart.</div>
-  </div>
-</div>
-</div>
-
-<div class="blockquote">
-
-<p>The course of a great statesman resembles that of
-navigable rivers, avoiding immovable obstacles with
-noble bends of concession, seeking the broad levels
-of opinion on which men soonest settle and longest
-dwell, following and marking the most imperceptible
-slopes of national tendency, yet always aiming at
-direct advances, always recruited from sources nearer
-heaven, and sometimes bursting open paths of progress
-and fruitful human commerce through what
-seem the eternal barriers of both.</p>
-
-</div>
-
-<p><b>A Metaphor</b> is a condensed Simile. The
-comparison is implied, but not expressed at
-length; thus:—</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">But look, the morn in russet mantle clad</div>
-    <div class="verse indent0">Walks o’er the dew of yon high eastern hill.</div>
-  </div>
-</div>
-</div>
-
-<div class="blockquote">
-
-<p>The simile implied here is, “The morning like to
-a person clad in russet mantle walks,” etc.</p>
-
-<p>Stand, therefore, having your loins girt about with
-truth, and having on the breastplate of righteousness
-... above all taking the shield of faith wherewith
-ye may be able to quench all the fiery darts of
-the wicked.</p>
-
-</div>
-
-<p>Similes and Metaphors are employed</p>
-
-<p>1. To aid the understanding.</p>
-
-<div class="blockquote">
-
-<p>We comprehend the unknown best by comparison
-with the known.</p>
-
-</div>
-
-<p>2. To intensify the feelings; as</p>
-
-<div class="blockquote">
-
-<p>Offence’s gilded hand may shove by justice.</p>
-
-<p>What a piece of work is man; how noble in reason!
-how infinite in faculty! in form and moving
-how express and admirable! in action how like an
-angel! in apprehension how like a god! the beauty
-of the world! the paragon of animals!</p>
-
-</div>
-
-<p>3. To give point and force to what we
-wish to express.</p>
-
-<div class="blockquote">
-
-<p>Our conduct towards the Indians has been that of
-a man who subscribes to hospitals, weeps at charity
-sermons, carries out broth and blankets to beggars,
-and then comes home and beats his wife and children.</p>
-
-<p><span class="pagenum"><a id="Page_63"></a>[63]</span></p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Howe’er it be, it seems to me</div>
-    <div class="verse indent2">’Tis only noble to be good.</div>
-    <div class="verse indent0">Kind hearts are more than coronets,</div>
-    <div class="verse indent2">And simple faith than Norman blood.—<i>Tennyson.</i></div>
-  </div>
-</div>
-</div>
-
-<p>Every one must admit the beauty and force of the
-great poet’s comparison of kind hearts to coronets,
-and simple faith to Norman blood, implying that
-each object mentioned surpasses the one with which
-it is compared.</p>
-
-</div>
-
-<p>The following rules should be observed in
-the conduct of Metaphors:—</p>
-
-<div class="blockquote">
-
-<p>1. Do not use metaphors, except when needed to
-make a sentence clearer or stronger. Needless metaphors
-are a blemish instead of an ornament.</p>
-
-<p>2. Do not pursue a simile or metaphor too far.
-The further it is pursued the less likely is the comparison
-to hold.</p>
-
-<p>3. Metaphors should avoid mean or disagreeable
-details.</p>
-
-<p>4. Metaphors should not be forced. Some metaphors
-are so far-fetched that (as Mr. Lowell says) one
-could wish their authors no worse fate than to be
-obliged to carry them back whence they came.</p>
-
-<p>5. Do not mix literal and metaphorical language.
-In the sentence</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">I was walking on the barren hills of sin and sorrow near Welshpool,</div>
-  </div>
-</div>
-</div>
-
-<p class="noindent">“the barren hills of sin and sorrow” is metaphorical,
-and “near Welshpool” is literal.</p>
-
-</div>
-
-<h4><i>Examples of Apt Illustrations.</i></h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">But I am constant as the northern star,</div>
-    <div class="verse indent0">Of whose true-fix’d and resting quality</div>
-    <div class="verse indent0">There is no fellow in the firmament.—<i>Shakespeare.</i></div>
-  </div>
-</div>
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">I had rather be a dog and bay the moon,</div>
-    <div class="verse indent0">Than such a Roman.—<i>Shakespeare.</i></div>
-  </div>
-</div>
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">There is a tide in the affairs of men</div>
-    <div class="verse indent0">Which taken at the flood, leads on to fortune;</div>
-    <div class="verse indent0">Omitted, all the voyage of their life</div>
-    <div class="verse indent0">Is bound in shallows and in miseries.—<i>Shakespeare.</i></div>
-  </div>
-</div>
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Squat like a toad, close at the ear of Eve.—<i>Milton.</i></div>
-  </div>
-</div>
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Now morn, her rosy steps in eastern clime</div>
-    <div class="verse indent0">Advancing, sow’d the earth with orient pearl.—<i>Milton.</i></div>
-  </div>
-</div>
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">So may’st thou live, till like ripe fruit thou drop</div>
-    <div class="verse indent0">Into thy mother’s lap.—<i>Milton.</i></div>
-  </div>
-</div>
-</div>
-
-<div class="blockquote">
-
-<p>Methinks I see in my mind a noble and puissant
-nation rousing herself like a strong man after sleep,
-and shaking her invincible locks.—<i>Milton.</i></p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">There is a reaper whose name is death,</div>
-    <div class="verse indent2">And with his sickle keen</div>
-    <div class="verse indent0">He reaps the bearded grain at a breath,</div>
-    <div class="verse indent2">And the flowers that grow between.—<i>Longfellow.</i></div>
-  </div>
-</div>
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">And the night shall be filled with music,</div>
-    <div class="verse indent2">And the cares that infest the day</div>
-    <div class="verse indent0">Shall fold their tents like the Arabs,</div>
-    <div class="verse indent2">And as silently steal away.—<i>Longfellow.</i></div>
-  </div>
-</div>
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent6">But what am I?</div>
-    <div class="verse indent0">An infant crying in the night:</div>
-    <div class="verse indent0">An infant crying for the light,</div>
-    <div class="verse indent0">And with no language but a cry.—<i>Tennyson.</i></div>
-  </div>
-</div>
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">But Memory blushes at the sneer,</div>
-    <div class="verse indent2">And Honor turns with frown defiant,</div>
-    <div class="verse indent0">And Freedom, leaning on her spear,</div>
-    <div class="verse indent2">Laughs louder than the laughing giant.—<i>Holmes.</i></div>
-  </div>
-</div>
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">There comes Emerson first, whose rich words, every one,</div>
-    <div class="verse indent0">Are like gold nails in temples to hang trophies on.—<i>Lowell.</i></div>
-  </div>
-</div>
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">In winter, when the dismal rain</div>
-    <div class="verse indent2">Came down in slanting lines,</div>
-    <div class="verse indent0">And wind, that grand old harper, smote</div>
-    <div class="verse indent2">His thunder-harp of pines.—<i>Mulock.</i></div>
-  </div>
-</div>
-</div>
-
-<div class="blockquote">
-
-<p>Men not only want a competency, but they want
-a ten-story competency; then they want religion as
-a lightning rod to ward off the bolts of divine judgment.—<i>Beecher.</i></p>
-
-<p>As the river is swollen by the melting snows of
-spring and runs with greater force and volume, so,
-when he is aroused, his thoughts and words pour
-forth impetuously, and he exhibits the strength and
-majesty of the most commanding eloquence.</p>
-
-</div>
-
-<h4><i>Examples of Faulty Illustrations.</i></h4>
-
-<div class="blockquote">
-
-<p>Peace has poured oil on the troubled waters, and
-they blossom like the rose.</p>
-
-<p>She has come down among us in her floating
-robes, bearing the olive-branch in her beak.</p>
-
-<p>The American eagle broods over his nest in the
-rocky fastnesses, and his young shall lie down with
-the lamb.</p>
-
-<p>We have gone through the floods, and have turned
-their hot ploughshares into pruning-hooks.</p>
-
-<p>May we be as lucky in the future, preserving forever
-our Goddess of Liberty one and inseparable.</p>
-
-<p><span class="smcap">Corrections.</span>—Peace may pour oil on troubled
-waters, but waters never blossom.</p>
-
-<p><span class="pagenum"><a id="Page_64"></a>[64]</span></p>
-
-<p>Anything that wears floating robes is not furnished
-with a beak.</p>
-
-<p>The young of eagles are not in the habit of lying
-down with lambs.</p>
-
-<p>Floods do not have hot ploughshares.</p>
-
-<p>Why should anyone wish to preserve the Goddess
-of Liberty inseparable, as it would be an unheard-of
-experience for a Goddess to be divided?</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 215px;">
-<img src="images/line3.jpg" width="215" height="30" alt="" />
-</div>
-
-<h3><span class="smcap">How to Compose and Write Letters.</span></h3>
-
-<div>
-<img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">To be a good letter writer is an accomplishment
-as desirable as it is rare.
-Few persons possess the faculty of
-writing an interesting letter, politely and
-gracefully expressed. Unless you are an exception
-to the general rule you become stiff
-and formal when you attempt to express
-your thoughts to a friend, or make known
-your wants to a man of business. The
-epistle is labored, unnatural and lacking in
-that ease which is the charm of conversation.</p>
-
-<p>“I now take my pen in hand,” etc. Do
-get rid of all old, set forms of expression.
-Imagine the person to whom you are writing
-as placed right before you, and talk to him
-with your pen as you would with your
-tongue.</p>
-
-<p>There can be but one opinion concerning the
-general value of correspondence. How often
-people complain that they do not get letters
-from their friends. Neglect can be shown in
-no way more effectively than by failing to
-answer a letter when it ought to be written.</p>
-
-<p>In writing a letter, care should be taken
-that the different parts are properly arranged.</p>
-
-<p>First comes the <b>Address of the Writer</b>.</p>
-
-<div class="blockquote">
-
-<p>This is written at the top of the paper, towards the
-right side. If the address consists of several parts,
-each part is given a separate line; thus—</p>
-
-<div class="addressblock">
-<div class="lines">
-<p><span class="smcap">Livonia,<br />
-Livingston Co.,<br />
-<span class="line">New York.</span></span></p>
-
-</div>
-</div>
-
-</div>
-
-<p>After the address comes the <b>Date of
-Writing</b>.</p>
-
-<p>Next comes the <b>Form of Address</b>.</p>
-
-<div class="blockquote">
-
-<p>This is always placed towards the left of the page,
-and varies according to the relations between the
-sender and the receiver of the letter. Writing to an
-intimate friend, one may say, “My dear Tom,” or (a
-little less familiarly) “My dear Brown.” Writing to
-a friend who is also a superior in age or position, one
-would say, “My dear Mr. Brown.” “Dear Sir” is
-formal, but claims some small degree of acquaintance
-or regard. “Sir” is purely formal. Similarly
-we may have, “My dear Annie,” “My dear Mrs.
-Brown,” “Dear Madam,” and “Madam.” In writing
-to Miss Jones, a stranger, you may not wish to
-say, “Dear Miss.” It would be better in this instance
-to address her as “Miss Jones.”</p>
-
-</div>
-
-<p>After the form of address comes the
-<b>Letter</b>.</p>
-
-<div class="blockquote">
-
-<p>A friendly letter should be easy and pleasant in
-style—it should be, in fact, a talk on paper. In a
-business letter, on the other hand, the style is brief
-and concise. The first aim of the writer is to make
-himself understood, the next to be brief.</p>
-
-</div>
-
-<p>After the letter comes the <b>Subscription</b>,
-as,</p>
-
-<div class="blockquote">
-
-<div class="subscriptionblock">
-<div class="lines">
-<p>Sincerely yours,<br />
-<span class="smcap">Alexander Argyle</span>.</p>
-</div>
-</div>
-
-<p>Or,</p>
-
-<div class="subscriptionblock">
-<div class="lines">
-<p>Respectfully yours,<br />
-<span class="smcap">New England Coal Co.</span></p>
-</div>
-</div>
-
-<p>Or in more formal style,</p>
-
-<div class="subscriptionblock">
-<div class="lines">
-<p>I am, dear sir,<br />
-Your obedient servant,<br />
-<span class="line"><span class="smcap">Thomas Lancaster</span>.</span></p>
-</div>
-</div>
-
-<p>The subscription is arranged like the address, but
-begins further to the left. The form of subscription
-varies with the form of address.</p>
-
-</div>
-
-<p>A business letter ends with the <b>Address
-of the Person to whom it is Sent</b>.</p>
-
-<div class="blockquote">
-
-<p>This is written in the left corner. A friendly letter
-generally ends with the subscription.</p>
-
-</div>
-
-<p><span class="pagenum"><a id="Page_65"></a>[65]</span></p>
-
-<h4><span class="smcap">Examples of Letters.</span></h4>
-
-<h5><i>Application for a Situation.</i></h5>
-
-<div class="blockquote">
-
-<div class="addressblock">
-<div class="lines">
-<p>345 Lancaster Street,<br />
-15th February, 189-.</p>
-</div>
-</div>
-
-<p class="noindent"><span class="smcap">Sir</span>:</p>
-
-<p>Seeing by your advertisement in this morning’s
-“Standard” that you are in need of an office boy, I
-beg leave to apply for the position. I have been for
-six years a pupil in the Commercial School, Old
-Bridge Street. My teacher permits me to refer you
-to him for an account of my conduct and abilities. I
-have therefore only to add that if I am fortunate
-enough to enter your employ, it shall be my aim to
-serve you diligently and faithfully.</p>
-
-<div class="subscriptionblock">
-<div class="lines">
-<p>I am, sir,<br />
-Your obedient servant,<br />
-<span class="line"><span class="smcap">Thomas Watson</span>.</span></p>
-</div>
-</div>
-
-<p class="hanging"><span class="smcap">J. W. Chambers, Esq.</span>,<br />
-97 Dearborn Street.</p>
-
-</div>
-
-<h5><i>Letters of Invitation.</i></h5>
-
-<div class="blockquote">
-
-<div class="addressblock">
-<div class="lines">
-<p><span class="smcap">Newark</span>, September 11.</p>
-</div>
-</div>
-
-<p class="noindent"><span class="smcap">My Dear Joe</span>:</p>
-
-<p>Myself, and a half dozen other good fellows, are
-going to devote a few hours on Tuesday evening to
-the enjoyment of refreshments, chit-chat, and so on.
-I hope you will make one, as we have not enjoyed
-the “feast of reason and flow of soul” in each
-other’s company for some time past.</p>
-
-<div class="subscriptionblock">
-<div class="lines">
-<p>Believe me, dear Joe,<br />
-Yours ever,<br />
-<span class="line"><span class="smcap">Harry</span>.</span></p>
-</div>
-</div>
-
-</div>
-
-<div class="blockquote">
-
-<div class="addressblock">
-<div class="lines">
-<p><span class="smcap">Madison Square</span>, November 12.</p>
-</div>
-</div>
-
-<p class="noindent"><span class="smcap">Dear Mr. Robinson</span>:</p>
-
-<p>My old friend Richard Roy is coming to take a
-chop with me on Saturday, the 15th, and I hope you
-will come and join us at six o’clock. I know you
-are not partial to large parties, so trust you will
-think us two sufficient company.</p>
-
-<div class="subscriptionblock">
-<div class="lines">
-<p>Yours ever truly,</p>
-</div>
-</div>
-
-</div>
-
-<div class="blockquote">
-
-<div class="addressblock">
-<div class="lines">
-<p><span class="smcap">Washington</span>, July 3.</p>
-</div>
-</div>
-
-<p class="hanging"><span class="smcap">Hon. J. B. Granger,<br />
-My Dear Sir</span>:</p>
-
-<p>We are endeavoring to get up a small excursion
-to visit Mount Vernon on the 10th of this month. Will
-you do us the favor of making one of our number?
-Mrs. ⸺ and my family desire their compliments,
-and request me to mention that they have taken
-upon themselves the task of providing the “creature
-comforts” for that occasion, and trust that their exertions
-will meet with unanimous approval. Should
-you have no previous engagement for that day, and
-feel disposed to join our party, a carriage will be at
-your door by 10 o’clock on Thursday morning; and
-believe me to be,</p>
-
-<div class="subscriptionblock">
-<div class="lines">
-<p>My dear sir, yours most sincerely,</p>
-</div>
-</div>
-
-<p class="hanging"><span class="smcap">Hon. J. B. Granger</span>.</p>
-
-<p>P. S.—The favor of an early answer will oblige.</p>
-
-</div>
-
-<div class="blockquote">
-
-<div class="addressblock">
-<div class="lines">
-<p><span class="smcap">Washington</span>, July 3.</p>
-</div>
-</div>
-
-<p class="hanging"><span class="smcap">Mr. E. B. Allen,<br />
-My Dear Sir</span>:</p>
-
-<p>Replying to your kind invitation of this morning,
-I beg leave to say it would afford me great pleasure
-to join your excursion to Mount Vernon on the 10th
-inst. I will await your carriage at 10 o’clock on
-Thursday morning. Thanking you for your welcome
-invitation,</p>
-
-<div class="subscriptionblock">
-<div class="lines">
-<p>I am, my dear sir, very truly yours,<br />
-<span class="smcap">J. B. Granger</span>.</p>
-</div>
-</div>
-
-<p class="hanging"><span class="smcap">Mr. E. B. Allen.</span></p>
-
-</div>
-
-<h5><i>Notes of Invitation.</i></h5>
-
-<div class="blockquote">
-
-<p>Mr. and Mrs. Thompson request the pleasure of
-Mr. and Mrs. James’s company, on Wednesday
-evening next, at eight o’clock, to join a social party.
-An immediate answer will much oblige.</p>
-
-<p>Fifth Avenue, January 9th.</p>
-
-<p class="tb">Mr. and Mrs. James will be most happy to avail
-themselves of Mr. and Mrs. Thompson’s kind invitation
-to join their social party as requested.</p>
-
-<p>West Street, January 10th.</p>
-
-<p class="tb">Mr. and Mrs. James greatly regret their inability
-to accept Mr. and Mrs. Thompson’s kind invitation
-to join their social party. Nothing would have afforded
-them more pleasure than to be present, but
-family affliction prevents them.</p>
-
-<p>West Street, January 10th.</p>
-
-<p class="tb"><span class="smcap">My Dear Bertha</span>,—A few friends will be here on
-Wednesday evening next, to take a social cup of
-tea, and chat about mankind in particular. Give us
-the pleasure of your company.</p>
-
-<p class="right"><span class="smcap">S. Buckman.</span></p>
-
-<p>Prince Street, Saturday morning.</p>
-
-<p class="tb"><span class="smcap">My Dear Sophie</span>,—It affords me great pleasure
-to inform you that I shall join your party on Wednesday
-evening next.</p>
-
-<p class="right"><span class="smcap">Bertha Merwin.</span></p>
-
-<p>Spring Street, Saturday afternoon.</p>
-
-</div>
-
-<p><span class="pagenum"><a id="Page_66"></a>[66]</span></p>
-
-<h5><i>Letters of Congratulation.</i></h5>
-
-<div class="blockquote">
-
-<div class="addressblock">
-<div class="lines">
-<p><span class="smcap">Louisville, Ky.</span>, February 10.</p>
-</div>
-</div>
-
-<p class="noindent"><span class="smcap">My Dear Howard</span>:</p>
-
-<p>The news of your good fortune gives me great
-satisfaction. No one can possess true friendship
-without rejoicing in the prosperity of a friend. To
-one who has always been manly, true and noble,
-and who has labored persistently toward a particular
-end, success must be extremely gratifying.</p>
-
-<p>It will ever be my delight to hear that you are
-prospering in your undertakings, and if in any way
-I can serve you, you can rely upon my best endeavors.
-With every good wish for yourself and
-Mrs. Kerr,</p>
-
-<div class="subscriptionblock">
-<div class="lines">
-<p>Ever faithfully yours,</p>
-</div>
-</div>
-
-</div>
-
-<div class="blockquote">
-
-<div class="addressblock">
-<div class="lines">
-<p><span class="smcap">St. Louis, Mo.</span>, June 15, 189-.</p>
-</div>
-</div>
-
-<p class="noindent"><span class="smcap">Dear Old Friend</span>:</p>
-
-<p>The happy announcement that a son and heir has
-been born to you, gives me extreme satisfaction. I
-always thought you would distinguish yourself in
-some way, and would do something whereby your
-name might descend to posterity. And now, my
-worthy chum, it seems you have done it. Blessings
-on you!</p>
-
-<div class="subscriptionblock">
-<div class="lines">
-<p>Very sincerely yours,</p>
-</div>
-</div>
-
-</div>
-
-<h5><i>Love Letters.</i></h5>
-
-<div class="blockquote">
-
-<p class="noindent"><span class="smcap">My Dearest Harriet</span>:</p>
-
-<p>I cannot express the happiness I feel in finding
-that my letter to your respected parents has been
-crowned with success, and I flatter myself, notwithstanding
-your temporizing with my feelings, in thus
-reserving your avowal of a reciprocal attachment, that
-you, my dear girl, will not be unsusceptible to its value,
-but condescend to acknowledge an equal happiness
-with myself at its contents. In token of the confidence
-with which your dear letter has inspired me, I beg
-leave to present you with a trifle, the acceptance of
-which will be highly flattering to him whose image it
-portrays; and permit me the fond pleasure of indulging
-a belief that you will esteem the trifle, in
-affectionate remembrance of the original.</p>
-
-<p>In obedience to your father’s command, I shall
-wait upon him at the appointed time; till then, my
-beloved Harriet, adieu.</p>
-
-<div class="subscriptionblock">
-<div class="lines">
-<p>Ever your devoted admirer,</p>
-</div>
-</div>
-
-</div>
-
-<div class="blockquote">
-
-<p class="noindent"><span class="smcap">Dear Sir</span>:</p>
-
-<p>I make no doubt of the truth of your assertions,
-relative to yourself, character, and connections; but
-as I think I am too young to enter into such a serious
-engagement, I request I may hear no more of
-your passion for the present; in every other respect,</p>
-
-<div class="subscriptionblock">
-<div class="lines">
-<p>I am, Sir,<br />
-Yours very sincerely,</p>
-</div>
-</div>
-
-</div>
-
-<h4><span class="smcap">Outlines to be Expanded into Letters.</span></h4>
-
-<h5><i>Inviting a Friend to Tea.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Can you come to tea—day—hour.</p>
-
-<p>2. My birthday—several friends coming.</p>
-
-<p>3. Tea in orchard—then cricket in field.</p>
-
-<p>4. Hope mother will let you come—be home by
-nine.</p>
-
-</div>
-
-<h5><i>Accepting Invitation.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Thanks for invitation—happy to accept.</p>
-
-<p>2. Glad to meet ⸺.</p>
-
-<p>3. Look forward to pleasant evening.</p>
-
-</div>
-
-<h5><i>Declining Invitation.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Thanks for invitation—should have been glad
-to come.</p>
-
-<p>2. Sorry to lose chance of meeting ⸺.</p>
-
-<p>3. Father some time ago arranged to take me and
-my brother to ⸺.</p>
-
-<p>4. Hope you will have pleasant evening and many
-happy returns.</p>
-
-</div>
-
-<h5><i>From a Town Child to a Country Child.</i></h5>
-
-<div class="blockquote">
-
-<p>1. Town crowded—noisy—dirty—glad to get into
-country.</p>
-
-<p>2. Shall never forget visit to the country last
-summer.</p>
-
-<p>3. No streets—few houses—beautiful views—quiet—sweet
-air.</p>
-
-<p>4. Fine weather—many enjoyable walks.</p>
-
-<p>5. Returned to town almost envying a country life.</p>
-
-</div>
-
-<h5><i>Answer from Country Child to Town Child.</i></h5>
-
-<div class="blockquote">
-
-<p>1. You almost envying country life—I almost
-envying town life.</p>
-
-<p>2. Country has the advantages you describe, but
-you saw it in summer.</p>
-
-<p>3. Difficult to get about in bad weather—especially
-in winter when much bad weather.</p>
-
-<p>4. Dull—no libraries, exhibitions, meetings, concerts,
-etc.</p>
-
-<p>5. Town may have all the disadvantages named,
-but always plenty to see, opportunities for study,
-friendly intercourse, entertainments.</p>
-
-<p>6. Traveling easy.</p>
-
-</div>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-
-<p><span class="pagenum"><a id="Page_67"></a>[67]</span></p>
-
-<h3 class="nobreak" id="Specimens_of_Elegant_Composition"><span class="smcap">Specimens of Elegant Composition<br />
-from<br />
-World-Renowned Authors.</span></h3>
-
-</div>
-
-<div>
-<img class="dropcap" src="images/dropcap-d.jpg" width="100" height="100" alt="" />
-</div>
-
-<p class="dropcap">Do not consider yourself too ambitious
-when you make an earnest
-effort to express your thoughts
-so well that your productions will compare
-favorably with those of the best writers.
-You should have specimens of the best
-composition before you. The following
-pages contain such, and you will readily see
-how the most famous authors construct their
-sentences, what apt words they choose, and
-how easily, yet forcibly, they express their
-ideas.</p>
-
-<p>Do not be disheartened if you fail to come
-up to the standard here placed before you. It
-is related of the great painter, Correggio,
-that he was once almost ready to fling away
-his brush, exclaiming, “I can never paint
-like Raphael.” But he persevered, and at
-length the great painter whom he admired
-so much said, “If I were not Raphael, I
-would wish to be Correggio.” You should
-take the best writers for your models and set
-your standard high. Be a severe critic of
-yourself, and do your very best.</p>
-
-<div class="figcenter-line" style="width: 215px;">
-<img src="images/line3.jpg" width="215" height="30" alt="" />
-</div>
-
-<h4>GETTING THE RIGHT START.</h4>
-
-<p class="center"><span class="smcap">By J. G. Holland.</span></p>
-
-<p>In clear expression of thought and use of plain, forcible English, the works of Doctor Holland are superior
-to those of most authors. He does not employ large, overgrown words, but such as are easily understood.
-This is one secret of the popularity of his writings. Dr. Holland was born at Belchertown, Mass., in 1819,
-and died October 12, 1881. He was associate editor of the “Springfield Republican,” and in 1870 became
-editor of “Scribner’s Magazine.” Both as a writer of prose and poetry he is held in high esteem by all
-lovers of elevated thought and pure diction.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" />
-</div>
-
-<p class="dropcap">Society demands that a young
-man shall be somebody, not only,
-but that he shall prove his right to
-the title; and it has a right to demand this.
-Society will not take this matter upon trust—at
-least, not for a long time, for it has
-been cheated too frequently. Society is not
-very particular what a man does, so that it
-proves him to be a man: then it will bow to
-him, and make room for him.</p>
-
-<p>I know a young man who made a place
-for himself by writing an article for the
-North American Review: nobody read the
-article, so far as I know, but the fact that he
-wrote such an article, that it was very long,
-and that it was published, did the business
-for him. Everybody, however, cannot write
-articles for the North American Review—at
-least I hope everybody will not, for it is
-a publication which makes me a quarterly
-visit; but everybody, who is somebody, can
-do something. There is a wide range of effort
-between holding a skein of silk for a lady
-and saving her from drowning—between collecting
-voters on election day and teaching
-a Sunday-school class.</p>
-
-<p>A man must enter society of his own free
-will, as an active element or a valuable component,
-before he can receive the recognition
-that every true man longs for. I take it that
-this is right. A man who is willing to enter
-society as a beneficiary is mean, and does
-not deserve recognition.</p>
-
-<p>There is no surer sign of an unmanly and<span class="pagenum"><a id="Page_68"></a>[68]</span>
-cowardly spirit than a vague desire for help,
-a wish to depend, to lean upon somebody,
-and enjoy the fruits of the industry of others.
-There are multitudes of young men, I suppose,
-who indulge in dreams of help from
-some quarter, coming in at a convenient moment,
-to enable them to secure the success
-in life which they covet.</p>
-
-<p>The vision haunts them of some benevolent
-old gentleman with a pocket full of
-money, a trunk full of mortgages and stocks,
-and a mind remarkably appreciative of merit
-and genius, who will, perhaps, give or lend
-them anywhere from ten to twenty thousand
-dollars, with which they will commence and
-go on swimmingly. Perhaps he will take a
-different turn, and educate them. Or, perhaps,
-with an eye to the sacred profession,
-they desire to become the beneficiaries of
-some benevolent society, or some gentle circle
-of female devotees.</p>
-
-<p>To me, one of the most disgusting sights
-in the world is that of a young man with
-healthy blood, broad shoulders, presentable
-calves, and a hundred and fifty pounds, more
-or less, of good bone and muscle, standing
-with his hands in his pockets, longing for
-help. I admit that there are positions in
-which the most independent spirit may accept
-of assistance—may, in fact, as a choice
-of evils, desire it; but for a man who is able
-to help himself, to desire the help of others
-in the accomplishment of his plans of life, is
-positive proof that he has received a most
-unfortunate training, or that there is a leaven
-of meanness in his composition that should
-make him shudder.</p>
-
-<p>Do not misunderstand me: I would not
-inculcate that pride of personal independence
-which repels in its sensitiveness the well-meant
-good offices and benefactions of friends,
-or that resorts to desperate shifts rather than
-incur an obligation. What I condemn in a
-young man is the love of dependence; the
-willingness to be under obligation for that
-which his own efforts may win.</p>
-
-<p>Let this be understood, then, at starting;
-that the patient conquest of difficulties which
-rise in the regular and legitimate channels of
-business and enterprise, is not only essential
-in securing the success which you seek, but it
-is essential to that preparation of your mind
-which is requisite for the enjoyment of your
-successes, and for retaining them when
-gained. It is the general rule of Providence,
-the world over, and in all time, that unearned
-success is a curse. It is the rule of Providence,
-that the process of earning success
-shall be the preparation for its conservation
-and enjoyment.</p>
-
-<p>So, day by day, and week by week; so,
-month after month, and year after year, work
-on, and in that process gain strength and
-symmetry, and nerve and knowledge, that
-when success, patiently and bravely worked
-for, shall come, it may find you prepared to
-receive it and keep it.</p>
-
-<p>The development which you will get in
-this brave and patient labor, will prove itself,
-in the end, the most valuable of your successes.
-It will help to make a man of you.
-It will give you power and self-reliance. It
-will give you not only self-respect, but the
-respect of your fellows and the public.</p>
-
-<p>Never allow yourself to be seduced from
-this course. You will hear of young men
-who have made fortunes in some wild speculations.
-Pity them; for they will almost
-certainly lose their easily won success. Do
-not be in a hurry for anything. Are you in
-love with some dear girl, whom you would
-make your wife? Give Angelina Matilda to
-understand that she must wait; and if Angelina
-Matilda is really the good girl you
-take her to be, she will be sensible enough
-to tell you to choose your time.</p>
-
-<p>You cannot build well without first laying
-a good foundation; and for you to enter<span class="pagenum"><a id="Page_69"></a>[69]</span>
-upon a business which you have not patiently
-and thoroughly learned, and to marry before
-you have won a character, or even the reasonable
-prospect of a competence, is ultimately
-to bring your house down about the
-ears of Angelina Matilda, and such pretty
-children as she may give you. If, at the age
-of thirty years, you find yourself established
-in a business which pays you with certainty
-a living income, you are to remember that
-God has blessed you beyond the majority of
-men.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 215px;">
-<img src="images/line3.jpg" width="215" height="30" alt="" />
-</div>
-
-<h4>DINAH THE METHODIST.</h4>
-
-<p class="center"><span class="smcap">By George Eliot.</span></p>
-
-<p>The works of Marian Evans Cross created unusual interest when first
-published in England. Her “Adam Bede,” “The Mill on the Floss” and “Silas
-Marner,” immediately placed her in the highest rank of the writers of
-fiction. For some time her identity was concealed, yet there were critics
-who suspected that “George Eliot” was the assumed name of a female
-author. Her writings are characterized by a keen insight into character,
-intellectual vigor and sympathy with the advanced thought of the day. She
-was born in 1819, and died in 1880. The selection from “Adam Bede,” here
-given, is an excellent specimen from one of her well-known works.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" />
-</div>
-
-<p class="dropcap">Several of the men followed Ben’s
-lead, and the traveler pushed his
-horse on to the Green, as Dinah
-walked rather quickly, and in advance of her
-companions, toward the cart under the
-maple tree. While she was near Seth’s tall
-figure she looked short, but when she had
-mounted the cart, and was away from all
-comparison, she seemed above the middle
-height of woman, though in reality she did
-not exceed it—an effect which was due to
-the slimness of her figure, and the simple
-line of her black stuff dress.</p>
-
-<p>The stranger was struck with surprise as
-he saw her approach and mount the cart—surprise,
-not so much for the feminine delicacy
-of her appearance, as at the total absence
-of self-consciousness in her demeanor.
-He had made up his mind to see her advance
-with a measured step, and a demure
-solemnity of countenance; he had felt sure
-that her face would be mantled with a smile
-of conscious saintship, or else charged with
-denunciatory bitterness. He knew but two
-types of Methodist—the ecstatic and the
-bilious.</p>
-
-<p>But Dinah walked as simply as if she were
-going to market, and seemed as unconscious
-of her outward appearance as a little boy;
-there was no blush, no tremulousness, which
-said, “I know you think me a pretty woman,
-too young to preach;” no casting up or
-down of the eyelids, no compression of the
-lips, no attitude of the arms, that said, “But
-you must think of me as a saint.”</p>
-
-<p>She held no book in her ungloved hands,
-but let them hang down lightly crossed before
-her, as she stood and turned her grey
-eyes on the people. There was no keenness
-in her eyes; they seemed rather to be shedding
-love than making observations; they
-had the liquid look which tells that the mind
-is full of what it has to give out, rather than
-impressed by external objects.</p>
-
-<p>The eyebrows, of the same color as the
-hair, were perfectly horizontal and firmly
-pencilled; the eyelashes, though no darker,
-were long and abundant; nothing was left
-blurred or unfinished.</p>
-
-<p>It was one of those faces that make one
-think of white flowers with light touches of
-color on their pure petals. The eyes had no
-peculiar beauty, beyond that of expression;
-they looked so simple, so candid, so gravely
-loving, that no accusing scowl, no light sneer,
-could help melting away before their glance.</p>
-
-<p><span class="pagenum"><a id="Page_70"></a>[70]</span></p>
-
-<p>Joshua Rann gave a long cough, as if he
-were clearing his throat in order to come to
-a new understanding with himself; Chad
-Cranage lifted up his leather skull-cap and
-scratched his head; and Wiry Ben wondered
-how Seth had the pluck to think of
-courting her.</p>
-
-<p>“A sweet woman,” the stranger said to
-himself, “but surely Nature never meant her
-for a preacher.”</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 215px;">
-<img src="images/line3.jpg" width="215" height="30" alt="" />
-</div>
-
-<h4>GODFREY AND DUNSTAN.</h4>
-
-<p class="center"><span class="smcap">By George Eliot.</span></p>
-
-<p>An excellent example of dialogue in fiction.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" />
-</div>
-
-<p class="dropcap">Some one opened the door at the
-other end of the room, and Nancy
-felt that it was her husband. She
-turned from the window with gladness
-in her eyes, for the wife’s chief dread
-was stilled.</p>
-
-<p>“Dear, I’m so thankful you’re come,” she
-said, going towards him. “I began to get”—</p>
-
-<p>She paused abruptly, for Godfrey was laying
-down his hat with trembling hands, and
-turned towards her with a pale face and a
-strange, unanswering glance, as if he saw her
-indeed, but saw her as part of a scene invisible
-to herself. She laid her hand on his
-arm, not daring to speak again; but he left
-the touch unnoticed, and threw himself into
-his chair.</p>
-
-<p>Jane was already at the door with the hissing
-urn. “Tell her to keep away, will you?”
-said Godfrey; and when the door was closed
-again he exerted himself to speak more distinctly.</p>
-
-<p>“Sit down, Nancy—there,” he said, pointing
-to a chair opposite him. “I came back
-as soon as I could to hinder anybody’s telling
-you but me. I’ve had a great shock—but
-I care most about the shock it’ll be to
-you.”</p>
-
-<p>“It isn’t father and Priscilla?” said Nancy,
-with quivering lips, clasping her hands together
-tightly on her lap.</p>
-
-<p>“No, it’s nobody living,” said Godfrey, unequal
-to the considerate skill with which he
-would have wished to make his revelation.
-“It’s Dunstan—my brother Dunstan, that we
-lost sight of sixteen years ago. We’ve found
-him,—found his body—his skeleton.”</p>
-
-<p>The deep dread Godfrey’s look had created
-in Nancy made her feel these words a relief.
-She sat in comparative calmness to hear what
-else he had to tell. He went on:</p>
-
-<p>“The stone pit has gone dry suddenly,—from
-the draining, I suppose; and there he
-lies—has lain for sixteen years, wedged between
-two great stones. There’s his watch
-and seals, and there’s my gold-handled hunting
-whip, with my name on. He took it
-away, without my knowing, the day he went
-hunting on Wildfire, the last time he was
-seen.”</p>
-
-<p>Godfrey paused! it was not so easy to say
-what came next. “Do you think he drowned
-himself?” said Nancy, almost wondering
-that her husband should be so deeply shaken
-by what had happened all those years ago to
-an unloved brother, of whom worse things
-had been augured.</p>
-
-<p>“No, he fell in,” said Godfrey, in a low but
-distinct voice, as if he felt some deep meaning
-in the fact. Presently he added: “Dunstan
-was the man that robbed Silas Marner.”</p>
-
-<p>The blood rushed to Nancy’s face and neck
-at this surprise and shame, for she had been
-bred up to regard even a distant kinship with
-crime as a dishonor.</p>
-
-<p>“O Godfrey!” she said, with compassion<span class="pagenum"><a id="Page_71"></a>[71]</span>
-in her tone, for she had immediately reflected
-that the dishonor must be felt more keenly
-by her husband.</p>
-
-<p>“There was money in the pit,” he continued,
-“all the weaver’s money. Everything’s been
-gathered up, and they have taken the skeleton
-to the Rainbow. But I came back to tell you.
-There was no hindering it; you must know.”</p>
-
-<p>He was silent, looking on the ground for
-two long minutes. Nancy would have said
-some words of comfort under this disgrace,
-but she refrained, from an instinctive sense
-that there was something behind,—that Godfrey
-had something else to tell her. Presently
-he lifted his eyes to her face, and kept
-them fixed on her, as he said:</p>
-
-<p>“Everything comes to light, Nancy, sooner
-or later. When God Almighty wills it, our
-secrets are found out. I’ve lived with a
-secret on my mind, but I’ll keep it from you
-no longer. I wouldn’t have you know it by
-somebody else, and not by me—I wouldn’t
-have you find it out after I’m dead. I’ll tell
-you now. It’s been ‘I will’ and ‘I won’t’
-with me all my life; I’ll make sure of myself
-now.”</p>
-
-<p>Nancy’s utmost dread had returned. The
-eyes of the husband and wife met with an
-awe in them, as at a crisis which suspended
-affection.</p>
-
-<p>“Nancy,” said Godfrey slowly, “when I
-married you, I hid something from you,—something
-I ought to have told you. That
-woman Marner found dead in the snow—Eppie’s
-mother—that wretched woman—was
-my wife; Eppie is my child.”</p>
-
-<p>He paused, dreading the effects of his confession.
-But Nancy sat quite still, only that
-her eyes dropped and ceased to meet his.
-She was pale and quiet as a meditative statue,
-clasping her hands on her lap.</p>
-
-<p>“You’ll never think the same of me again,”
-said Godfrey after a little while, with some
-tremor in his voice. She was silent.</p>
-
-<p>“I oughtn’t to have left the child unowned;
-I oughtn’t to have kept it from you.
-But I couldn’t bear to give you up, Nancy.
-I was led away into marrying her; I suffered
-for it.”</p>
-
-<p>Still Nancy was silent, looking down; and
-he almost expected that she would presently
-get up and say she would go to her father’s.
-How could she have any mercy for faults
-that seemed so black to her, with her simple,
-severe notions?</p>
-
-<p>But at last she lifted up her eyes to his
-again and spoke. There was no indignation
-in her voice; only deep regret.</p>
-
-<p>“Godfrey, if you had told me this six
-years ago, we could have done some of our
-duty by the child. Do you think I’d have
-refused to take her in, if I’d known she was
-yours?”</p>
-
-<p>At that moment Godfrey felt all the bitterness
-of an error that was not simply futile,
-but had defeated its own end. He had not
-measured this wife with whom he had lived
-so long. But she spoke again, with more
-agitation.</p>
-
-<p>“And—oh, Godfrey—if we’d had her from
-the first, if you’d taken to her as you ought,
-she’d have loved me for her mother—and
-you’d been happier with me; I could better
-have bore my little baby dying, and our life
-might have been more like what we used to
-think it ’ud be.”</p>
-
-<p>The tears fell, and Nancy ceased to speak.</p>
-
-<p>“But you wouldn’t have married me then,
-Nancy, if I’d told you,” said Godfrey, urged,
-in the bitterness of his self-reproach, to prove
-to himself that his conduct had not been
-utter folly. “You may think you would
-now, but you wouldn’t then. With your
-pride and your father’s, you’d have hated
-having anything to do with me after the
-talk there’d been.”</p>
-
-<p>“I can’t say what I should have done
-about that, Godfrey. I should never have<span class="pagenum"><a id="Page_72"></a>[72]</span>
-married anybody else. But I wasn’t worth
-doing wrong for; nothing is in this world.
-Nothing is so good as it seems beforehand;
-not even our marrying wasn’t, you see.”
-There was a faint, sad smile on Nancy’s face
-as she said the last words.</p>
-
-<p>“I’m a worse man than you thought I was,
-Nancy,” said Godfrey rather tremulously.
-“Can you forgive me ever?”</p>
-
-<p>“The wrong to me is but little, Godfrey.
-You’ve made it up to me; you’ve been good
-to me for fifteen years. It’s another you did
-the wrong to; and I doubt it can never be
-all made up for.”</p>
-
-<p>“But we can take Eppie now,” said Godfrey.
-“I won’t mind the world knowing at
-last. I’ll be plain and open for the rest o’
-my life.”</p>
-
-<p>“It’ll be different coming to us, now she’s
-grown up,” said Nancy, shaking her head
-sadly. “But it’s your duty to acknowledge
-her and provide for her; and I’ll do my part
-by her, and pray to God Almighty to make
-her love me.”</p>
-
-<p>“Then we’ll go together to Silas Marner’s
-this very night, as soon as everything’s quiet
-at the Stone Pits.”</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 215px;">
-<img src="images/line3.jpg" width="215" height="30" alt="" />
-</div>
-
-<h4>RIP VAN WINKLE.</h4>
-
-<p class="center"><span class="smcap">By Washington Irving.</span></p>
-
-<p>This charming author, who is a master of pure style, beautiful sentiment
-and pleasing humor, has been called the father of American literature.
-If this be not strictly true, it is a matter of record that no American
-authors before his time achieved any remarkable success. Mr. Irving was
-born in 1783, and died in 1859. He was particularly happy in portraying
-the quaint character and customs of the old Dutch settlers in our
-country. He published a number of volumes, including “The Sketch Book,”
-“Tales of a Traveler,” “Life and Voyages of Christopher Columbus,” etc.
-One of Irving’s best known and most delightful short productions is “Rip
-Van Winkle,” from which the following extract is taken. The easy-going,
-inoffensive character of Rip is delightfully pictured.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">The great error in Rip’s composition
-was an insuperable aversion to all
-kinds of profitable labor. It could
-not be from the want of assiduity or perseverance;
-for he would sit on a wet rock,
-with a rod as long and heavy as a Tartar’s
-lance, and fish all day without a murmur,
-even though he should not be encouraged
-by a single nibble.</p>
-
-<p>He would carry a fowling-piece on his
-shoulder for hours together, trudging through
-woods and swamps, and up hill and down
-dale, to shoot a few squirrels or wild pigeons.
-He would never refuse to assist a neighbor
-even in the roughest toil, and was a foremost
-man at all country frolics for husking Indian
-corn, or building stone fences.</p>
-
-<p>The women of the village, too, used to
-employ him to run their errands, and to do
-such little odd jobs as their less obliging husbands
-would not do for them;—in a word,
-Rip was ready to attend to anybody’s business
-but his own; but as to doing family
-duty and keeping his farm in order, he found
-it impossible.</p>
-
-<p>In fact, he declared it was of no use to
-work on his farm; it was the most pestilent
-little piece of ground in the whole country;
-everything about it went wrong, and would
-go wrong in spite of him. His fences were
-continually falling to pieces; his cow would
-either go astray, or get among the cabbages;
-weeds were sure to grow quicker in his fields
-than anywhere else; the rain always made a
-point of setting in just as he had some outdoor
-work to do; so that, though his patrimonial
-estate had dwindled away under his
-management, acre by acre, until there was<span class="pagenum"><a id="Page_73"></a>[73]</span>
-little more left than a mere patch of Indian
-corn, and potatoes, yet it was the worst conditioned
-farm in the neighborhood.</p>
-
-<p>His children, too, were as ragged and
-wild as if they belonged to nobody. His
-son Rip, an urchin begotten in his own likeness,
-promised to inherit the habits, with the
-old clothes, of his father. He was generally
-seen trooping like a colt at his mother’s heels,
-equipped in a pair of his father’s cast-off
-trousers, which he had much ado to hold up
-with one hand, as a fine lady does her train
-in bad weather.</p>
-
-<p>Rip Van Winkle, however, was one of
-those happy mortals, of foolish, well-oiled
-dispositions, who take the world easy, eat
-white bread or brown, whichever can be got
-with least thought or trouble, and would
-rather starve on a penny than work for a
-pound. If left to himself, he would have
-whistled life away in perfect contentment;
-but his wife kept continually dinning in his
-ears about his idleness, his carelessness, and
-the ruin he was bringing on his family.</p>
-
-<p>Morning, noon and night her tongue was
-incessantly going, and everything he said or
-did was sure to produce a torrent of household
-eloquence. Rip had but one way of
-replying to all lectures of the kind, and that
-by frequent use had grown into a habit. He
-shrugged his shoulders, shook his head, cast
-up his eyes, but said nothing. This, however,
-always provoked a fresh volley from
-his wife, so that he was fain to draw off his
-forces and take to the outside of the house—the
-only side which, in truth, belongs to a
-henpecked husband.</p>
-
-<p>Poor Rip was at last reduced almost to
-despair, and his only alternative to escape
-from the labor of the farm, and the clamor
-of his wife, was to take gun in hand and
-stroll away into the woods. Here he would
-sometimes seat himself at the foot of a tree,
-and share the contents of his wallet with his
-dog Wolf, with whom he sympathized as a
-fellow-sufferer in persecution.</p>
-
-<p>“Poor Wolf,” he would say, “thy mistress
-leads thee a dog’s life of it; but never mind,
-my lad, whilst I live thou shalt never want
-a friend to stand by thee.” Wolf would wag
-his tail, look wistfully in his master’s face,
-and if dogs can feel pity, I verily believe
-he reciprocated the sentiment with all his
-heart.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 215px;">
-<img src="images/line3.jpg" width="215" height="30" alt="" />
-</div>
-
-<h4>THE PURITANS OF THE SIXTEENTH CENTURY.</h4>
-
-<p class="center"><span class="smcap">By Lord Macaulay.</span></p>
-
-<p>Distinguished as a descriptive poet by his fine “Lays of Ancient Rome,”
-and yet more distinguished as a master of English prose by his “Essays”
-and his noble “History of England,” Thomas Babington Macaulay stands
-prominent as the most learned and eloquent of the essayists and critics
-of the nineteenth century. He was the son of Zachary Macaulay, known as
-the warm friend and co-laborer of Wilberforce and Clarkson, and was born
-at Rothley Temple, Leicestershire, October 25, 1800, and died in 1859. In
-1818 he entered Trinity College, Cambridge, where he took his degree in
-1822. Here he gave proof of his great intellectual powers, obtaining a
-scholarship, and twice gaining the Chancellor’s medal for a poem called
-“Pompeii.” To crown his triumphs, he secured a “Craven Scholarship,”—the
-highest distinction in classics which the university confers.</p>
-
-<p>Lord Macaulay’s glowing description of the Puritans has been pronounced
-the finest writing of its kind to be found in our language. It is the
-product of pre-eminent literary ability, and the highest genius.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" />
-</div>
-
-<p class="dropcap">We would first speak of the Puritans
-of the sixteenth century, the most
-remarkable body of men, perhaps,
-which the world has ever produced.</p>
-
-<p>Those who roused the people to resistance—who
-directed their measures through
-a long series of eventful years—who formed,
-out of the most unpromising materials, the<span class="pagenum"><a id="Page_74"></a>[74]</span>
-finest army that Europe had ever seen—who
-trampled down king, church, and aristocracy—who,
-in the short intervals of domestic
-sedition and rebellion, made the name of
-England terrible to every nation on the face
-of the earth—were no vulgar fanatics.</p>
-
-<p>Most of their absurdities were mere external
-badges, like the signs of freemasonry or
-the dresses of friars. We regret that these
-badges were not more attractive; we regret
-that a body, to whose courage and talents
-mankind has owed inestimable obligations,
-had not the lofty elegance which distinguished
-some of the adherents of Charles I.,
-or the easy good breeding for which the
-court of Charles II. was celebrated. But, if
-we must make our choice, we shall, like
-Bassanio in the play, turn from the specious
-caskets which contain only the Death’s head
-and the Fool’s head, and fix our choice on
-the plain leaden chest which conceals the
-treasure.</p>
-
-<p>The Puritans were men whose minds had
-derived a peculiar character from the daily
-contemplation of superior beings and eternal
-interests. Not content with acknowledging,
-in general terms, an overruling Providence,
-they habitually ascribed every event to the
-will of the Great Being, for whose power
-nothing was too minute. To know him, to
-serve him, to enjoy him, was with them the
-great end of existence.</p>
-
-<p>They rejected with contempt the ceremonious
-homage which other sects substituted
-for the pure worship of the soul. Instead
-of catching occasional glimpses of the
-Deity through an obscuring veil, they aspired
-to gaze full on the intolerable brightness, and
-to commune with him face to face. Hence
-originated their contempt for terrestrial distinctions.</p>
-
-<p>The difference between the greatest and
-meanest of mankind seemed to vanish
-when compared with the boundless interval
-which separated the whole race from
-Him on whom their own eyes were constantly
-fixed.</p>
-
-<p>They recognized no title to superiority but
-his favor; and, confident of that favor, they
-despised all the accomplishments and all the
-dignities of the world. If they were unacquainted
-with the works of philosophers and
-poets, they were deeply read in the oracles
-of God; if their names were not found
-in the registers of heralds, they felt assured
-that they were recorded in the Book of Life;
-if their steps were not accompanied by a
-splendid train of menials, legions of ministering
-angels had charge over them. Their
-palaces were houses not made with hands;
-their diadems, crowns of glory which should
-never fade away.</p>
-
-<p>On the rich and the eloquent, on nobles
-and priests, they looked down with contempt;
-for they esteemed themselves rich in
-a more precious treasure, and eloquent in a
-more sublime language—nobles by the right
-of an earlier creation, and priests by the imposition
-of a mightier hand. The very meanest
-of them was a being to whose fate a mysterious
-and terrible importance belonged—on
-whose slightest actions the spirits of light and
-darkness looked with anxious interest—who
-had been destined, before heaven and earth
-were created, to enjoy a felicity which should
-continue when heaven and earth should have
-passed away.</p>
-
-<p>Events which short-sighted politicians
-ascribed to earthly causes had been ordained
-on his account. For his sake empires had
-risen and flourished and decayed; for his
-sake the Almighty had proclaimed his will
-by the pen of the evangelist and the harp of
-the prophet. He had been rescued by no
-common deliverer from the grasp of no common
-foe; he had been ransomed by the
-sweat of no vulgar agony, by the blood of no
-earthly sacrifice. It was for him that the sun<span class="pagenum"><a id="Page_75"></a>[75]</span>
-had been darkened, that the rocks had been
-rent, that the dead had arisen, that all nature
-had shuddered at the sufferings of her expiring
-God!</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 215px;">
-<img src="images/line3.jpg" width="215" height="30" alt="" />
-</div>
-
-<h4>ON BEING IN TIME.</h4>
-
-<p class="center"><span class="smcap">By C. H. Spurgeon.</span></p>
-
-<p>When we examine Mr. Spurgeon’s writings we are able to discover one great
-secret of his power. As no preacher of modern times was more successful,
-in like manner no other had such a vigorous command of plain English
-in the pulpit. The great majority of his words are short and simple,
-reminding one of the terse writings of the old Puritan authors. Mr.
-Spurgeon was born in 1834 and died in 1893. No other writer has published
-so many sermons and volumes of miscellaneous writings, and no other
-author of similar works has been so widely read. He was the marvel of his
-generation.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-h.jpg" width="130" height="110" alt="" />
-</div>
-
-<p class="dropcap">He who begins a little late in the morning
-will have to drive fast, will be
-constantly in a fever, and will
-scarcely overtake his business at
-night; whereas he who rises in proper time
-can enjoy the luxury of pursuing his calling
-with regularity, ending his work in fit season,
-and gaining a little portion of leisure.</p>
-
-<p>Late in the morning may mean puffing and
-blowing all the day long, whereas an early
-hour will make the pace an easy one. This
-is worth a man’s considering. Much evil
-comes of hurry, and hurry is the child of unpunctuality.</p>
-
-<p>We once knew a brother whom we named
-“the late Mr. S⸺,” because he never
-came in time. A certain tart gentleman,
-who had been irritated by this brother’s unpunctuality,
-said that the sooner that name
-was literally true the better for the temper
-of those who had to wait for him. Many a
-man would much rather be fined than be
-kept waiting. If a man <i>must</i> injure me, let
-him rather plunder me of my cash than of
-my time.</p>
-
-<p>To keep a busy man waiting is an act of
-impudent robbery, and is also a constructive
-insult. It may not be so intended, but certainly
-if a man has proper respect for his
-friend, he will know the value of his time,
-and will not cause him to waste it. There
-is a cool contempt in unpunctuality, for it as
-good as says: “Let the fellow wait; who
-is he that I should keep my appointment
-with him?”</p>
-
-<p>In this world, matters are so linked together
-that you cannot disarrange one without
-throwing others out of gear; if one business
-is put out of time, another is delayed by the
-same means. The other day we were traveling
-to the Riviera, and the train after leaving
-Paris was detained for an hour and a
-half. This was bad enough, but the result
-was worse, for when we reached Marseilles
-the connecting train had gone, and we were
-not only detained for a considerable time,
-but were forced to proceed by a slow train,
-and so reached our destination six hours
-later than we ought to have done. All the
-subsequent delay was caused through the
-first stoppage.</p>
-
-<p>A merchant once said to us: “A. B. is a
-good fellow in many respects, but he is so
-frightfully slow that we cannot retain him in
-our office, because, as all the clerks work
-into each other’s hands, his delays are multiplied
-enormously, and cause intolerable inconvenience.
-He is a hindrance to the
-whole system, and he had better go where
-he can work alone.”</p>
-
-<p>The worst of it is that we cannot send unpunctual
-people where they can work alone.
-To whom or whither should they go? We
-cannot rig out a hermitage for each one, or<span class="pagenum"><a id="Page_76"></a>[76]</span>
-that would be a great deliverance. If they
-prepared their own dinners, it would not
-matter that they dropped in after every dish
-had become cold. If they preached sermons
-to themselves, and had no other audience,
-it would not signify that they began
-consistently seven minutes behind the published
-hour. If they were their own scholars,
-and taught themselves, it would be of no
-consequence if the pupil sat waiting for his
-teacher for twenty minutes.</p>
-
-<p>As it is, we in this world cannot get away
-from the unpunctual, nor get them away
-from us, and therefore we are obliged to put
-up with them; but we should like them to
-know that they are a gross nuisance, and a
-frequent cause of sin, through irritating the
-tempers of those who cannot afford to
-squander time as they do.</p>
-
-<p>If this should meet the eye of any gentleman
-who has almost forgotten the meaning
-of the word “punctuality,” we earnestly
-advise him to try and be henceforth five
-minutes <i>too soon</i> for every appointment, and
-then perhaps he will gradually subside into the
-little great virtue which we here recommend.</p>
-
-<p>Could not some good genius get up a
-Punctuality Association, every member to
-wear a chronometer set to correct time, and
-to keep appointments by the minute-hand?
-Pledges should be issued, to be signed by
-all sluggish persons who can summon up
-sufficient resolution totally to abstain from
-being behind time in church or chapel, or on
-committee, or at dinner, or in coming home
-from the office in the evening. Ladies eligible
-as members upon signing a special
-pledge to keep nobody waiting while they
-run upstairs to pop on their bonnets. How
-much of sinful temper would be spared, and
-how much of time saved, we cannot venture
-to guess. Try it.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 215px;">
-<img src="images/line3.jpg" width="215" height="30" alt="" />
-</div>
-
-<h4>JOHN PLOUGHMAN’S TALK ON HOME.</h4>
-
-<p class="center"><span class="smcap">By C. H. Spurgeon.</span></p>
-
-<p>The famous London minister wrote a book entitled, “John Ploughman’s
-Talk.” His object was to express plain and homely truths in a quaint,
-humorous way, and thus gain the attention of common people whose reading
-is confined mostly to murder and divorce cases in newspapers. The
-enjoyment of the public in reading Mr. Spurgeon’s pithy sayings was
-evinced by the enormous sale of the book. The extract here given is a
-fair specimen of its unique style.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">That word <i>home</i> always sounds like
-poetry to me. It rings like a peal of
-bells at a wedding, only more soft and
-sweet, and it chimes deeper into the ears of
-my heart. It does not matter whether it
-means thatched cottage or manor-house,
-home is home, be it ever so homely, and
-there’s no place on earth like it. Green grow
-the houseleek on the roof forever, and let the
-moss flourish on the thatch.</p>
-
-<p>Sweetly the sparrows chirrup and the
-swallows twitter around the chosen spot
-which is my joy and my rest. Every bird
-loves its own nest; the owl thinks the old
-ruins the fairest spot under the moon, and
-the fox is of opinion that his hole in the hill
-is remarkably cozy. When my master’s nag
-knows that his head is towards home he
-wants no whip, but thinks it best to put on
-all steam; and I am always of the same mind,
-for the way home, to me, is the best bit of
-road in the country. I like to see the smoke
-out of my own chimney better than the fire
-on another man’s hearth; there’s something
-so beautiful in the way in which it curls up
-among the trees.</p>
-
-<p>Cold potatoes on my own table taste better
-than roast meat at my neighbor’s, and the<span class="pagenum"><a id="Page_77"></a>[77]</span>
-honeysuckle at my own door is the sweetest
-I ever smell. When you are out, friends do
-their best, but still it is not home. “Make
-yourself at home,” they say, because everybody
-knows that to feel at home is to feel at
-ease.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“East and west,</div>
-    <div class="verse indent0">Home is best.”</div>
-  </div>
-</div>
-</div>
-
-<p>Why, at home you are at home, and what
-more do you want? Nobody grudges you,
-whatever your appetite may be; and you
-don’t get put into a damp bed. Safe in his
-own castle, like a king in his palace, a man
-feels himself somebody, and is not afraid of
-being thought proud for thinking so. Every
-cock may crow on his own dunghill; and a
-dog is a lion when he is at home. No need
-to guard every word because some enemy is
-on the watch, no keeping the heart under
-lock and key; but as soon as the door is
-shut it is liberty hall, and none to peep and
-pry.</p>
-
-<p>It is a singular fact, and perhaps some of
-you will doubt it—but that is your unbelieving
-nature—our little ones are real beauties,
-always a pound or two plumper than others
-of their age; and yet it don’t tire you half so
-much to nurse them as it does other people’s
-babies. Why, bless you, my wife would be
-tired out in half the time, if her neighbor had
-asked her to see to a strange youngster, but
-her own children don’t seem to tire her at
-all. Now my belief is that it all comes of
-their having been born at home.</p>
-
-<p>Just so it is with everything else: our lane
-is the most beautiful for twenty miles round,
-because our home is in it; and my garden is
-a perfect paradise, for no other particular
-reason than this very good one, that it belongs
-to the old house at home.</p>
-
-<p>Husbands should try to make home happy
-and holy. It is an ill bird that fouls its own
-nest, a bad man who makes his home wretched.
-Our house ought to be a little church, with
-holiness to the Lord over the door; but it
-ought never to be a prison, where there is
-plenty of rule and order, but little love and
-no pleasure.</p>
-
-<p>Married life is not all sugar, but grace in
-the heart will keep away most of the sours.
-Godliness and love can make a man, like a
-bird in a hedge, sing among thorns and
-briars, and set others a-singing too. It should
-be the husband’s pleasure to please his wife,
-and the wife’s care to care for her husband.
-He is kind to himself who is kind to his
-wife. I am afraid some men live by the rule
-of self, and when that is the case home happiness
-is a mere sham. When husbands and
-wives are well yoked, how light their load
-becomes!</p>
-
-<p>It is not every couple that is a pair, and
-the more’s the pity. In a true home all the
-strife is which can do the most to make the
-family happy. A home should be a Bethel,
-not a Babel. The husband should be the
-house-band, binding all together like a corner-stone,
-but not crushing everything like a
-millstone.</p>
-
-<p>Nothing is improved by anger, unless it be
-the arch of a cat’s back. A man with his
-back up is spoiling his figure. People look
-none the handsomer for being red in the face.
-It takes a great deal out of a man to get into
-a towering rage; it is almost as unhealthy as
-having a fit, and time has been when men
-have actually choked themselves with passion,
-and died on the spot. Whatever wrong
-I suffer, it cannot do me half so much hurt
-as being angry about it; for passion shortens
-life and poisons peace.</p>
-
-<p>When once we give way to temper, temper
-will get right of way, and come in easier
-every time. He that will be in a pet for any
-little thing, will soon be out at elbows about
-nothing at all. A thunder-storm curdles the
-milk, and so does a passion sour the heart
-and spoil the character.</p>
-
-</div>
-
-<p><span class="pagenum"><a id="Page_78"></a>[78]</span></p>
-
-<div class="figcenter-line" style="width: 215px;">
-<img src="images/line3.jpg" width="215" height="30" alt="" />
-</div>
-
-<h4>LITTLE PEARL AND HER MOTHER.</h4>
-
-<p class="center"><span class="smcap">By Nathaniel Hawthorne.</span></p>
-
-<p>Hawthorne is justly regarded as one of the masters of English prose,
-although the shadowed side of his life predominated and often gave a
-somewhat gloomy tinge to his writings. Yet through the morbid drapery
-by which he surrounds himself the light of his superb genius shines
-brilliantly. His style is a model of clearness, choice words and elevated
-sentiment. The extract given below is from “The Scarlet Letter,” one of
-his best works of fiction, and, in fact, one of the best that enriches
-our American literature. He possessed great originality, a rare power
-of analyzing character, a delicate and exquisite humor and marvelous
-felicity in the use of language. Mr. Hawthorne was born at Salem,
-Massachusetts, in 1804, and died in 1864.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" />
-</div>
-
-<p class="dropcap">So the mother and little Pearl were
-admitted into the hall of entrance.
-With many variations, suggested
-by the nature of his building-materials,
-diversity of climate, and a different
-mode of social life, Governor Bellingham had
-planned his new habitation after the residences
-of gentlemen of fair estate in his
-native land.</p>
-
-<p>Here, then, was a wide and reasonably
-lofty hall, extending through the whole depth
-of the house, and forming a medium of general
-communication, more or less directly,
-with all the other apartments. At one extremity,
-this spacious room was lighted by
-the windows of the two towers, which formed
-a small recess on either side of the portal.
-At the other end, though partly muffled by
-a curtain, it was more powerfully illuminated
-by one of those embowed hall-windows which
-we read of in old books, and which was provided
-with a deep and cushioned seat.</p>
-
-<p>Here, on the cushion, lay a folio tome,
-probably of the Chronicles of England, or
-other such substantial literature; even as, in
-our own days, we scatter gilded volumes on
-the centre-table, to be turned over by the
-casual guest. The furniture of the hall consisted
-of some ponderous chairs, the backs of
-which were elaborately carved with wreaths
-of oaken flowers; and likewise a table in the
-same taste; the whole being of Elizabethan
-age, or perhaps earlier, and heirlooms, transferred
-hither from the governor’s paternal
-home.</p>
-
-<p>On the table—in token that the sentiment
-of old English hospitality had not been left
-behind—stood a large pewter tankard, at the
-bottom of which, had Hester or Pearl peeped
-into it, they might have seen the frothy remnant
-of a recent draught of ale.</p>
-
-<p>On the wall hung a row of portraits, representing
-the forefathers of the Bellingham
-lineage, some with armor on their breasts,
-and others with stately ruffs and robes of
-peace. All were characterized by the sternness
-and severity which old portraits so invariably
-put on; as if they were the ghosts,
-rather than the pictures, of departed worthies,
-and were gazing with harsh and intolerant
-criticism at the pursuits and enjoyments of
-living men.</p>
-
-<p>At about the center of the oaken panels
-that lined the hall was suspended a suit of
-mail, not, like the pictures, an ancestral relic,
-but of the most modern date; for it had been
-manufactured by a skillful armorer in London
-the same year in which Governor Bellingham
-came over to New England. There
-was a steel headpiece, a cuirass, a gorget and
-greaves, with a pair of gauntlets and a sword
-hanging beneath; all, and especially the
-helmet and breastplate, so highly burnished
-as to glow with white radiance and scatter an
-illumination everywhere about upon the floor.</p>
-
-<p>This bright panoply was not meant for<span class="pagenum"><a id="Page_79"></a>[79]</span>
-mere idle show, but had been worn by the
-governor on many a solemn muster and
-training field, and had glittered, moreover,
-at the head of a regiment in the Pequod war.
-For, though bred a lawyer, and accustomed
-to speak of Bacon, Coke, Noye and Finch
-as his professional associates, the exigencies
-of this new country had transformed Governor
-Bellingham into a soldier, as well as a
-statesman and ruler.</p>
-
-<p>Little Pearl—who was as greatly pleased
-with the gleaming armor as she had been
-with the glittering frontispiece of the house—spent
-some time looking into the polished
-mirror of the breastplate.</p>
-
-<p>“Mother,” cried she, “I see you here.
-Look! Look!”</p>
-
-<p>Hester looked, by way of humoring the
-child; and she saw that, owing to the peculiar
-effect of this convex mirror, the scarlet
-letter was represented in exaggerated and
-gigantic proportions, so as to be greatly the
-most prominent feature of her appearance.
-In truth, she seemed absolutely hidden behind
-it.</p>
-
-<p>Pearl pointed upward, also, at a similar
-picture in the headpiece, smiling at her mother
-with the elfish intelligence that was so
-familiar an expression on her small physiognomy.
-That look of naughty merriment
-was likewise reflected in the mirror, with so
-much breadth and intensity of effect, that it
-made Hester Prynne feel as if it could not
-be the image of her own child, but of an imp
-who was seeking to mold itself into Pearl’s
-shape.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 215px;">
-<img src="images/line3.jpg" width="215" height="30" alt="" />
-</div>
-
-<h4>THE BABY IN THE BATH-TUB.</h4>
-
-<p class="center"><span class="smcap">By Grace Greenwood.</span></p>
-
-<p>The following selection is an excellent example of sprightly and
-vivacious writing, a kind of composition that is always entertaining
-to the reader. Under the assumed name of Grace Greenwood, Mrs. Sarah
-J. Lippincott was for many years a well-known and popular contributor
-to various periodicals. She also published several volumes, including
-works of fiction and stories of travel. She wrote poems that possessed
-much merit, thus exhibiting a wide range of talent. Her fine thoughts
-were expressed in a style of great ease, simplicity and beauty. Mrs.
-Lippincott was born in Onondaga County, New York, in 1825, and died in
-1898.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" />
-</div>
-
-<p class="dropcap">“Annie! Sophie! come up quick,
-and see baby in her bath-tub!”
-cries a charming little maiden,
-running down the wide stairway of an old
-country house, and half-way up the long hall,
-all in a fluttering cloud of pink lawn, her
-soft dimpled cheeks tinged with the same
-lovely morning hue.</p>
-
-<p>In an instant there is a stir and gush of
-light laughter in the drawing-room, and
-presently, with a movement a little more
-majestic and elder-sisterly, Annie and Sophie
-float noiselessly through the hall and up the
-soft-carpeted ascent, as though borne on their
-respective clouds of blue and white drapery,
-and take their way to the nursery, where a
-novel entertainment awaits them. It is the
-first morning of the eldest married sister’s
-first visit home, with her first baby; and the
-first baby, having slept late after its journey,
-is about to take its first bath in the old
-house.</p>
-
-<p>“Well, I declare, if here isn’t mother, forgetting
-her dairy, and Cousin Nellie, too,
-who must have left poor Ned all to himself
-in the garden, lonely and disconsolate, and I
-am torn from my books, and Sophie from
-her flowers, and all for the sake of seeing a
-nine-months-old baby kicking about in a
-bath-tub! What simpletons we are!”</p>
-
-<p><span class="pagenum"><a id="Page_80"></a>[80]</span></p>
-
-<p>Thus Miss Annie, the <i>proude ladye</i> of the
-family; handsome, haughty, with perilous
-proclivities toward grand socialistic theories,
-transcendentalism, and general strong-mindedness;
-pledged by many a saucy vow to a
-life of single dignity and freedom, given to
-studies artistic, æsthetic, philosophic, and
-ethical; a student of Plato, an absorber of
-Emerson, an exalter of her sex, a contemner
-of its natural enemies.</p>
-
-<p>“Simpletons, are we?” cries pretty Elinor
-Lee, aunt of the baby on the other side, and
-“Cousin Nellie” by love’s courtesy, now
-kneeling close by the bath-tub, and receiving
-on her sunny braids a liberal baptism
-from the pure, plashing hands of babyhood,—“simpletons,
-indeed! Did I not once see
-thee, O Pallas-Athene, standing rapt before
-a copy of the ‘Crouching Venus?’</p>
-
-<p>“And this is a sight a thousand times
-more beautiful; for here we have color,
-action, life, and such grace as the divinest
-sculptors of Greece were never able to entrance
-in marble. Just look at these white,
-dimpled shoulders, every dimple holding a
-tiny, sparkling drop,—these rosy, plashing
-feet and hands,—this laughing, roguish face,—these
-eyes, bright and blue and deep as
-lakes of fairy land,—these ears, like dainty sea
-shells,—these locks of gold, dripping diamonds,—and
-tell me what cherub of Titian,
-what Cupid of Greuze, was ever half so
-lovely? I say, too, that Raphael himself
-would have jumped at the chance of painting
-Louise, as she sits there, towel in hand, in
-all the serene pride and chastened dignity of
-young maternity—of painting her as <i>Madonna</i>.”</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 215px;">
-<img src="images/line3.jpg" width="215" height="30" alt="" />
-</div>
-
-<h4>CANDACE’S OPINIONS.</h4>
-
-<p class="center"><span class="smcap">By Harriet Beecher Stowe.</span></p>
-
-<p>Mrs. Stowe is particularly happy in portraying negro character. It
-requires for this a great appreciation of humor, and her writings abound
-in this, while her imagination and fine command of language make many of
-her writings brilliant and even poetical.</p>
-
-<p>Mrs. Stowe is the most celebrated American authoress. Her “Uncle Tom’s
-Cabin” has been more widely read than any other work of fiction ever
-published. While in this work her conspicuous genius appears to fine
-advantage, she has nevertheless written other works, some of them
-describing New England life and character, which are masterpieces. She
-was born at Litchfield, Conn., on the 14th of June, 1812, and died at
-Hartford July 1st, 1896.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-i.jpg" width="50" height="100" alt="" />
-</div>
-
-<p class="dropcap">“I intend,” said Mr. Marvyn, “to
-make the same offer to your husband,
-when he returns from work
-to-night.”</p>
-
-<p>“Laus, Mass’r—why, Cato, he’ll do jes’
-as I do—dere a’n’t no kind o’ need o’ askin’
-him. Course he will.”</p>
-
-<p>A smile passed round the circle, because
-between Candace and her husband there
-existed one of those whimsical contrasts
-which one sometimes sees in married life.
-Cato was a small-built, thin, softly-spoken
-negro, addicted to a gentle chronic cough;
-and, though a faithful and skillful servant,
-seemed, in relation to his better half, much
-like a hill of potatoes under a spreading
-apple-tree. Candace held to him with a
-vehement and patronizing fondness, so devoid
-of conjugal reverence as to excite the comments
-of her friends.</p>
-
-<p>“You must remember, Candace,” said a
-good deacon to her one day, when she was
-ordering him about at a catechizing, “you
-ought to give honor to your husband; the
-wife is the weaker vessel.”</p>
-
-<p>“<i>I</i> de weaker vessel?” said Candace,
-looking down from the tower of her ample
-corpulence on the small, quiet man whom<span class="pagenum"><a id="Page_81"></a>[81]</span>
-she had been fledging with the ample folds
-of a worsted comforter, out of which his little
-head and shining bead-eyes looked, much
-like a blackbird in a nest—“<i>I</i> de weaker
-vassel! Umph!”</p>
-
-<p>A whole woman’s rights convention could
-not have expressed more in a day than was
-given in that single look and word. Candace
-considered a husband as a thing to be
-taken care of—a rather inconsequent and
-somewhat troublesome species of pet, to be
-humored, nursed, fed, clothed, and guided
-in the way that he was to go—an animal
-that was always losing off buttons, catching
-colds, wearing his best coat every day, and
-getting on his Sunday hat in a surreptitious
-manner for week-day occasions; but she
-often condescended to express it as her
-opinion that he was a blessing, and that she
-didn’t know what she’d do if it wasn’t for
-Cato.</p>
-
-<p>She sometimes was heard expressing herself
-very energetically in disapprobation of
-the conduct of one of her sable friends, named
-Jinny Stiles, who, after being presented with
-her own freedom, worked several years to
-buy that of her husband, but became afterwards
-so disgusted with her acquisition, that
-she declared she would “neber buy anoder
-nigger.”</p>
-
-<p>“Now, Jinny don’t know what she’s talkin’
-about,” she would say. “S’pose he does
-cough and keep her awake nights, and take
-a little too much sometimes, a’n’t he better’n
-no husband at all? A body wouldn’t seem
-to hab nuffin to lib for, ef dey hadn’t an old
-man to look arter. Men is nate’lly foolish
-about some tings—but dey’s good deal better’n
-nuffin.”</p>
-
-<p>And Candace, after this condescending remark,
-would lift with one hand a brass kettle
-in which poor Cato might have been
-drowned, and fly across the kitchen with it
-as if it were a feather.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 215px;">
-<img src="images/line3.jpg" width="215" height="30" alt="" />
-</div>
-
-<h4>MIDSUMMER IN THE VALLEY OF THE RHINE.</h4>
-
-<p class="center"><span class="smcap">By George Meredith.</span></p>
-
-<p>An example of beautiful description.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" />
-</div>
-
-<p class="dropcap">An oppressive slumber hung about the
-forest-branches. In the dells and
-on the heights was the same
-dead heat. Here where the
-brook tinkled it was no cool-lipped sound,
-but metallic, and without the spirit of
-water. Yonder in a space of moonlight
-on lush grass, the beams were as white
-fire to sight and feeling. No haze spread
-around. The valleys were clear, defined to
-the shadows of their verges; the distances
-sharply distinct, and with the colors of day
-but slightly softened.</p>
-
-<p>Richard beheld a roe moving across a
-slope of sward far out of rifle-mark. The
-breathless silence was significant, yet the
-moon shone in a broad blue heaven. Tongue
-out of mouth trotted the little dog after him;
-couched panting when he stopped an instant;
-rose weariedly when he started afresh. Now
-and then a large white night-moth flitted
-through the dusk of the forest.</p>
-
-<p>On a barren corner of the wooded highland
-looking inland stood gray topless ruins
-set in nettles and rank grass-blades. Richard
-mechanically sat down on the crumbling
-flints to rest, and listened to the panting of
-the dog. Sprinkled at his feet were emerald
-lights: hundreds of glow-worms studded the
-dark dry ground.</p>
-
-<p>He sat and eyed them, thinking not at all.
-His energies were expended in action. He<span class="pagenum"><a id="Page_82"></a>[82]</span>
-sat as a part of the ruins, and the moon
-turned his shadow westward from the south.
-Overhead, as she declined, long ripples of
-silver cloud were imperceptibly stealing toward
-her. They were the van of a tempest.
-He did not observe them, or the leaves beginning
-to chatter. When he again pursued
-his course with his face to the Rhine, a huge
-mountain appeared to rise sheer over him,
-and he had it in his mind to scale it. He
-got no nearer to the base of it for all his
-vigorous outstepping. The ground began
-to dip; he lost sight of the sky. Then
-heavy thunder-drops struck his cheek, the
-leaves were singing, the earth breathed, it
-was black before him and behind. All at
-once the thunder spoke. The mountain he
-had marked was bursting over him.</p>
-
-<p>Up started the whole forest in violent fire.
-He saw the country at the foot of the hills to
-the bounding Rhine gleam, quiver, extinguished.
-Then there were pauses; and the
-lightning seemed as the eye of heaven, and
-the thunder as the tongue of heaven, each
-alternately addressing him; filling him with
-awful rapture.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 215px;">
-<img src="images/line3.jpg" width="215" height="30" alt="" />
-</div>
-
-<h4>THE POWER OF NATURAL BEAUTY.</h4>
-
-<p class="center"><span class="smcap">By Ralph Waldo Emerson.</span></p>
-
-<p>“The Sage of Concord,” as Mr. Emerson was called, expresses the estimate
-the American public placed upon his writings. His profound thought and
-originality are unquestioned. To these grand qualities he added a poetic
-imagination which diffused a fine glow over all his productions.</p>
-
-<p>Mr. Emerson was born in Boston in 1803, graduated from Harvard College
-in 1821, and entered the ministry of the Unitarian Church, from which,
-however, he shortly resigned, and soon devoted himself to literary
-pursuits. His works have a high reputation among scholars and speculative
-thinkers. His style is singularly terse and at times almost abrupt, but
-his thoughts are masterly and striking. He died in 1882.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-b.jpg" width="100" height="100" alt="" />
-</div>
-
-<p class="dropcap">Beauty is the mark God sets upon
-virtue. Every natural action is
-graceful. Every heroic act is
-also decent, and causes the place
-and the bystanders to shine. We are taught
-by great actions that the universe is the
-property of every individual in it.</p>
-
-<p>Every rational creature has all nature for
-his dowry and estate. It is his if he will.
-He may divest himself of it; he may creep
-into a corner, and abdicate his kingdom,
-as most men do; but he is entitled to the
-world by his constitution. In proportion
-to the energy of his thought and will, he
-takes up the world into himself. “All those
-things for which men plough, build, or sail,
-obey virtue;” said an ancient historian.
-“The winds and waves,” said Gibbon, “are
-always on the side of the ablest navigators.”
-So are the sun and moon and all the stars of
-heaven.</p>
-
-<p>When a noble act is done—perchance in a
-scene of great natural beauty; when Leonides
-and his three hundred martyrs consume
-one day in dying, and the sun and moon
-come each and look at them once in the
-steep defile of Thermopylæ; when Arnold
-Winkelreid, in the high Alps, under the
-shadow of the avalanche, gathers in his side
-a sheaf of Austrian spears to break the line
-for his comrades; are not these heroes entitled
-to add the beauty of the scene to the
-beauty of the deed? When the bark of
-Columbus nears the shore of America;—before
-it the beach lined with savages, fleeing
-out of all their huts of cane; the sea behind;
-and the purple mountains of the Indian
-Archipelago around, can we separate the<span class="pagenum"><a id="Page_83"></a>[83]</span>
-man from the living picture? Does not the
-New World clothe his form with her palm
-groves and savannahs as fit drapery?</p>
-
-<p>Ever does natural beauty steal in like air,
-and envelop great actions. When Sir Harry
-Vane was dragged up the Tower-hill sitting
-on a sled, to suffer death, as the champion of
-the English laws, one of the multitude cried
-out to him, “You never sate on so glorious
-a seat.” Charles II., to intimidate the citizens
-of London, caused the patriot Lord
-Russel to be drawn in an open coach through
-the principal streets of the city, on his way to
-the scaffold. “But,” to use the simple narrative
-of his biographer, “the multitude imagined
-they saw liberty and virtue sitting
-by his side.”</p>
-
-<p>In private places, among sordid objects, an
-act of truth or heroism seems at once to draw
-to itself the sky as its temple, the sun as its
-candle. Nature stretcheth out her arms to
-embrace man, only let his thoughts be of
-equal greatness. Willingly does she follow
-his steps with the rose and the violet, and
-bend her lines of grandeur and grace to the
-decoration of her darling child. Only let
-his thoughts be of equal scope, and the frame
-will suit the picture. A virtuous man is in
-unison with her works, and makes the central
-figure of the visible sphere.</p>
-
-<p>The noonday darkness of the American
-forest, the deep, echoing, aboriginal woods,
-where the living columns of the oak and fir
-tower up from the ruins of the trees of the
-last millennium; where, from year to year,
-the eagle and the crow see no intruder; the
-pines, bearded with savage moss, yet touched
-with grace by the violets at their feet; the
-broad, cold lowland, which forms its coat of
-vapor with the stillness of subterranean crystallization;
-and where the traveler, amid the
-repulsive plants that are native in the swamp,
-thinks with pleasing terror of the distant
-town; this beauty—haggard and desert
-beauty, which the sun and the moon, the
-snow and the rain repaint and vary, has never
-been recorded by art, yet is not indifferent to
-any passenger.</p>
-
-<p>All men are poets at heart. They serve
-nature for bread, but her loveliness overcomes
-them sometimes. What mean these
-journeys to Niagara; these pilgrims to the
-White Hills? Men believe in the adaptations
-of utility always. In the mountains they
-may believe in the adaptations of the eye.</p>
-
-<p>Undoubtedly the changes of geology have
-a relation to the prosperous sprouting of the
-corn and peas in my kitchen garden; but
-not less is there a relation of beauty between
-my soul and the dim crags of Agiocochook
-up there in the clouds. Every man, when
-this is told, hearkens with joy, and yet his
-own conversation with nature is still unsung.</p>
-
-</div>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-
-<p><span class="pagenum"><a id="Page_84"></a>[84]</span></p>
-
-<h3 class="nobreak" id="Subjects_for_Compositions"><span class="smcap">Subjects for Compositions.</span></h3>
-
-</div>
-
-<div>
-<img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">To aid you in writing compositions a lengthy list of subjects is here
-furnished. These, you will see, are adapted to persons of various ages
-and capacities. Many of them are comparatively simple and require no
-profound thought, while others are deep enough to tax all your powers of
-reason.</p>
-
-<p>Do not choose a subject that is too abstruse and difficult. Plain
-narration and description should go before profound argument. Yet do not
-be satisfied with a simple theme if you are capable of writing upon one
-that demands more study and thought. When you have chosen your subject,
-you should be guided by the practical hints and directions contained in
-the first pages of this volume, which you should faithfully study.</p>
-
-<p>Many of the subjects here presented will require a good deal of reading
-and research before you can write upon them intelligently. This is true
-especially of the historical and biographical subjects. If you find
-history to be a fascinating study, as it is to most persons, you will
-become so filled and enamored with your theme, that you can write upon it
-easily.</p>
-
-<p>Never consider it too much trouble to prepare yourself thoroughly to
-write your compositions. If you would have nuggets of gold you must
-dig for them. Success is worth all it costs, however much that may be.
-Remember Bulwer Lytton’s saying, “The pen is mightier than the sword.”</p>
-
-<h4>HISTORICAL SUBJECTS.</h4>
-
-<ul>
-<li>The Landing of the Pilgrims.</li>
-<li>Captain John Smith and Pocahontas.</li>
-<li>The French and Indian War.</li>
-<li>The Siege of Quebec.</li>
-<li>King Philip’s War.</li>
-<li>Washington at Valley Forge.</li>
-<li>The Surrender of Lord Cornwallis.</li>
-<li>The Discovery of the Mississippi River.</li>
-<li>Sir Walter Raleigh in Virginia.</li>
-<li>The Pequod War.</li>
-<li>Witchcraft at Salem, Massachusetts.</li>
-<li>The Old Charter Oak at Hartford.</li>
-<li>Destruction of Tea in Boston Harbor.</li>
-<li>The Battles of Lexington and Concord.</li>
-<li>The Famous Ride of Paul Revere.</li>
-<li>The Siege of Boston.</li>
-<li>The Battle of Long Island.</li>
-<li>The Battle of the Brandywine.</li>
-<li>The Murder of Miss McCrea.</li>
-<li>The Battle of Monmouth.</li>
-<li>The Surrender of Burgoyne’s Army.</li>
-<li>The Siege of Savannah.</li>
-<li>Washington Crossing the Delaware.</li>
-<li>The Massacre of Wyoming.</li>
-<li>The Treason of Benedict Arnold.</li>
-<li>The Execution of Major André.</li>
-<li>The Duel Between Hamilton and Burr.</li>
-<li>The Battle of Monterey.</li>
-<li>The Battle of Chapultepec.</li>
-<li>The Siege of Vicksburg.</li>
-<li>General Sherman’s March to the Sea.</li>
-<li>Jackson’s Victories in Virginia.</li>
-<li>The Death of “Stonewall Jackson.”</li>
-<li>The Story of Cuban Insurrections.</li>
-<li>The Great Naval Battle at Manila.</li>
-<li>The Great Naval Battle at Santiago.</li>
-<li>The Exploits of the “Rough Riders” at San Juan.</li>
-<li>The Execution of John Brown.</li>
-<li>The Massacre at Fort Dearborn.</li>
-<li>The Discovery of Gold in California.</li>
-<li>The Opening of the Pacific Railroad.</li>
-<li>The Discovery of Gold in Alaska.</li>
-<li>The Massacre of General Custer.<span class="pagenum"><a id="Page_85"></a>[85]</span></li>
-<li>The Indian Wars in the Northwest.</li>
-<li>The World’s Fair at Chicago.</li>
-<li>The Centennial Exhibition at Philadelphia.</li>
-<li>The Story of the Old Liberty Bell at Philadelphia.</li>
-<li>The Great Flood at Johnstown, Pa.</li>
-<li>The Destruction of the Battleship Maine.</li>
-<li>The Invention of Printing.</li>
-<li>Magna Charta, the Charter of Rights.</li>
-<li>Constantinople Taken by the French.</li>
-<li>The Moors Driven Out of Spain.</li>
-<li>The Reformation in England.</li>
-<li>The Invasion of Peru by Pizarro.</li>
-<li>The Battle of Trafalgar.</li>
-<li>The Spanish Armada.</li>
-<li>The Battle of Balaklava.</li>
-<li>The Gunpowder Plot (1605).</li>
-<li>The Atrocities of the Paris Commune.</li>
-<li>The Execution of Charles I.</li>
-<li>The Bursting of the South Sea Bubble.</li>
-<li>The Battle of Waterloo.</li>
-<li>The Dismemberment of Poland.</li>
-<li>The Great Mutiny in India.</li>
-<li>The French Revolution.</li>
-<li>The Martyrdom of Joan of Arc.</li>
-<li>The Crusades.</li>
-<li>The Siege of Troy.</li>
-<li>The Great Plague in London.</li>
-<li>The Battle of the Boyne.</li>
-<li>The Imprisonment of James I. of Scotland.</li>
-<li>The Story of Mary, Queen of Scots.</li>
-</ul>
-
-<h4>BIOGRAPHICAL SUBJECTS.</h4>
-
-<ul>
-<li>Miles Standish.</li>
-<li>Cotton Mather.</li>
-<li>Benjamin Franklin.</li>
-<li>John Jay.</li>
-<li>Samuel Adams.</li>
-<li>Fisher Ames.</li>
-<li>George Washington.</li>
-<li>William Penn.</li>
-<li>Marquis de Lafayette.</li>
-<li>Count Pulaski.</li>
-<li>General Israel Putnam.</li>
-<li>General Anthony Wayne.</li>
-<li>General Ethan Allen.</li>
-<li>Thomas Jefferson.</li>
-<li>Andrew Jackson.</li>
-<li>Martha Washington.</li>
-<li>Commodore Perry.</li>
-<li>Commodore Decatur.</li>
-<li>Daniel Webster.</li>
-<li>Henry Clay.</li>
-<li>Patrick Henry.</li>
-<li>John Hancock.</li>
-<li>General Winfield Scott.</li>
-<li>Zachary Taylor.</li>
-<li>The Indian Chief Tecumseh.</li>
-<li>William Henry Harrison.</li>
-<li>John C. Fremont.</li>
-<li>Abraham Lincoln.</li>
-<li>Robert E. Lee.</li>
-<li>Ulysses S. Grant.</li>
-<li>James A. Garfield.</li>
-<li>General William T. Sherman.</li>
-<li>Mary Lyon.</li>
-<li>Frances E. Willard.</li>
-<li>Susan B. Anthony.</li>
-<li>Clara Barton.</li>
-<li>Henry W. Longfellow.</li>
-<li>William Cullen Bryant.</li>
-<li>The Cary Sisters.</li>
-<li>Washington Irving.</li>
-<li>James Fenimore Cooper.</li>
-<li>Francis Scott Key.</li>
-<li>John Howard Payne.</li>
-<li>Daniel Boone.</li>
-<li>David Crockett.</li>
-<li>General Sam Houston.</li>
-<li>Lord Nelson.</li>
-<li>The Duke of Wellington.</li>
-<li>Napoleon Bonaparte.</li>
-<li>The Duke of Marlborough.</li>
-<li>Robert Bruce.</li>
-<li>Robert Burns.</li>
-<li>John Bright.</li>
-<li>William E. Gladstone.</li>
-<li>Alfred Tennyson.<span class="pagenum"><a id="Page_86"></a>[86]</span></li>
-<li>Daniel O’Connell.</li>
-<li>Robert Emmet.</li>
-<li>Florence Nightingale.</li>
-<li>John Knox.</li>
-<li>Julius Cæsar.</li>
-<li>Demosthenes.</li>
-<li>Cicero.</li>
-<li>Hannibal.</li>
-<li>Alexander the Great.</li>
-<li>Socrates.</li>
-<li>Xantippe.</li>
-<li>Queen Elizabeth.</li>
-<li>Oliver Cromwell.</li>
-<li>William Pitt.</li>
-<li>Frederick the Great.</li>
-<li>Captain Kidd.</li>
-<li>Ferdinand de Soto.</li>
-<li>Hernando Cortez.</li>
-<li>Sir John Franklin.</li>
-<li>Elisha Kent Kane.</li>
-<li>Cyrus W. Field.</li>
-<li>Professor Samuel B. F. Morse.</li>
-<li>Alexander T. Stewart.</li>
-<li>Peter Cooper.</li>
-<li>John Jacob Astor.</li>
-<li>William H. Vanderbilt.</li>
-</ul>
-
-<h4>SUBJECTS FOR NARRATION AND
-DESCRIPTION.</h4>
-
-<ul>
-<li>A New England Thanksgiving.</li>
-<li>The Puritan Sabbath.</li>
-<li>The Deserted Farm.</li>
-<li>The Dangers of Frontier Life.</li>
-<li>Natural Resources of the United States.</li>
-<li>Social Customs of the Last Century.</li>
-<li>A Spanish Bull Fight.</li>
-<li>The Falls of Niagara.</li>
-<li>The Hudson River.</li>
-<li>Mount Washington.</li>
-<li>A Western Prairie.</li>
-<li>The Cotton Fields of the South.</li>
-<li>The Orange Groves of Florida.</li>
-<li>“The Father of Waters.”</li>
-<li>The Rapid Growth of Western Cities.</li>
-<li>A Ranch in the South-West.</li>
-<li>The Cowboys of the Plains.</li>
-<li>The Great Trees of California.</li>
-<li>The Geysers of the Yellowstone Park.</li>
-<li>The Instinct in Animals.</li>
-<li>Some Recent Invention.</li>
-<li>Some Public Institutions.</li>
-<li>The Physical Characteristics of your State.</li>
-<li>A Country Farm.</li>
-<li>Your Home Enjoyments.</li>
-<li>Fresh Air and its Uses.</li>
-<li>Town and Country Schools.</li>
-<li>Some Out Door School Games.</li>
-<li>The Beauties of Summer.</li>
-<li>The Remarkable Instinct of Birds.</li>
-<li>An Arctic Expedition.</li>
-<li>A Railway Station.</li>
-<li>A Picture Gallery.</li>
-<li>Electric Lights.</li>
-<li>Winds and Clouds.</li>
-<li>The Pastime of Fishing.</li>
-<li>The Pastime of Skating.</li>
-<li>Agricultural Implements.</li>
-<li>Habits of Domestic Animals.</li>
-<li>A Flower Garden.</li>
-<li>Singing Birds.</li>
-<li>Migration of Birds.</li>
-<li>The American Eagle.</li>
-<li>The Uses of Cats and Dogs.</li>
-<li>The Game of Foot Ball.</li>
-<li>The Game of Base Ball.</li>
-<li>Your Favorite Book.</li>
-<li>The County in which your School is Situated.</li>
-<li>School Life: its Joys and Difficulties.</li>
-<li>Castles in the Air.</li>
-<li>The Pleasures of Christmas.</li>
-<li>Leaning Tower of Pisa.</li>
-<li>The Vatican at Rome.</li>
-<li>St. Paul’s Cathedral in London.</li>
-<li>The Capitol at Washington.</li>
-<li>The White House at Washington.</li>
-<li>The Suspension Bridge between New York and Brooklyn.<span class="pagenum"><a id="Page_87"></a>[87]</span></li>
-<li>Bunker Hill Monument.</li>
-<li>Mammoth Cave in Kentucky.</li>
-<li>Independence Hall in Philadelphia.</li>
-<li>An Ocean Steamship.</li>
-<li>An American Battleship.</li>
-<li>Coal Mines of Pennsylvania.</li>
-<li>A Seaside Watering Place.</li>
-<li>A Country Picnic.</li>
-<li>A Clam Bake by the Sea-shore.</li>
-<li>A Sleigh Ride.</li>
-<li>A Century Run on Bicycles.</li>
-<li>Your Favorite Walk.</li>
-<li>The Value of Sunshine.</li>
-<li>A Thunder Storm.</li>
-<li>A Summer Vacation.</li>
-</ul>
-
-<h4>POPULAR PROVERBS.</h4>
-
-<ul>
-<li>More Haste, Less Speed.</li>
-<li>Necessity is the Mother of Invention.</li>
-<li>What Can’t be Cured must be Endured.</li>
-<li>Well Begun is Half Done.</li>
-<li>All that Glitters is not Gold.</li>
-<li>Evil Communications Corrupt Good Manners.</li>
-<li>Honesty is the Best Policy.</li>
-<li>A Stitch in Time Saves Nine.</li>
-<li>Prevention is Better than Cure.</li>
-<li>A Rolling Stone Gathers no Moss.</li>
-<li>Make Hay while the Sun Shines.</li>
-<li>Birds of a Feather Flock Together.</li>
-<li>Knowledge is Power.</li>
-<li>Take Care of the Pennies and the Dollars will take Care of Themselves.</li>
-<li>A Bird in the Hand is Worth Two in the Bush.</li>
-<li>The Longest Way Around is the Shortest Way Home.</li>
-<li>The Proof of the Pudding is in the Eating.</li>
-<li>If you would Shoot High you must Aim High.</li>
-<li>Marry in Haste and Repent at Leisure.</li>
-<li>People who Live in Glass Houses should not Throw Stones.</li>
-<li>Be Sure you are Right, then Go Ahead.</li>
-<li>It is an Ill Wind that Blows Good to no One.</li>
-<li>Every Crow Thinks her own Little Crows the Blackest.</li>
-<li>You Cannot Make a Silk Purse out of a Sow’s Ear.</li>
-<li>The Least Said, the Soonest Mended.</li>
-<li>Speech is Silver, Silence is Golden.</li>
-<li>Manners Make the Man.</li>
-</ul>
-
-<h4>SUBJECTS TO BE EXPOUNDED.</h4>
-
-<ul>
-<li>Benefits of Industry.</li>
-<li>Evils of Idleness.</li>
-<li>Summer Sports in the Country.</li>
-<li>Winter Amusements in Cities.</li>
-<li>Shop Windows at Christmas Time.</li>
-<li>Habits of Economy.</li>
-<li>Advantages of Travel.</li>
-<li>Temptations of Riches.</li>
-<li>Dangers of Trades Unions.</li>
-<li>Benefits of Application.</li>
-<li>Advantages of Muscular Exercise.</li>
-<li>Physical and Moral Perils of Muscular Exercise.</li>
-<li>Effects of Machinery upon Manual Labor.</li>
-<li>Pleasures of Literature.</li>
-<li>Sources of National Wealth.</li>
-<li>Benefits of Self-Control.</li>
-<li>Modern Methods of Benevolence.</li>
-<li>Responsibilities of Scholars.</li>
-<li>Causes of Commercial Decline.</li>
-<li>Advantages of a National Bankrupt Law.</li>
-<li>Peculiarities of the New England Poets.</li>
-<li>The Character of Wilkins Micawber.</li>
-<li>Claims of the Indians to Government Protection.</li>
-<li>Evils of Immigration.</li>
-<li>Characteristics of the English Novel.</li>
-<li>Incentives to Literary Exertion.</li>
-<li>Reforms Suggested in “Oliver Twist.”</li>
-<li>American Tendencies to Extravagance.</li>
-<li>Uses of Gold.</li>
-<li>Uses of Public Libraries.<span class="pagenum"><a id="Page_88"></a>[88]</span></li>
-<li>Infirmities of Genius.</li>
-<li>Excellencies of the Puritan Character.</li>
-<li>Miseries of Authorship.</li>
-<li>Blessings of Liberty.</li>
-<li>Pleasures in Contemplating Nature.</li>
-<li>Dangers that Threaten our Republic.</li>
-<li>Advantages of Method.</li>
-<li>Distinctions in Society.</li>
-<li>Rewards of Literary Labor.</li>
-<li>Struggles for Civil Freedom.</li>
-<li>Advantages of Competition.</li>
-<li>Uses of Adversity.</li>
-<li>Advantages of Self-Reliance.</li>
-<li>Evils of Prejudice.</li>
-<li>The Colonial Period of Our History.</li>
-<li>Uses of Art.</li>
-<li>Self-Made Men.</li>
-<li>Dickens’ Caricatures of English Schools.</li>
-<li>Irving’s Portraitures of the Dutch Settlers.</li>
-<li>Injuries of Stimulants.</li>
-<li>Evils of Centralization.</li>
-<li>Advantages of Modern Inventions.</li>
-<li>Uses of Coal.</li>
-<li>Sources of Corruption in Civil Offices.</li>
-<li>Elements of Success in Life.</li>
-<li>Dangers of the French Republic.</li>
-<li>Changes of Fashion.</li>
-<li>Social Dangers from Anarchists.</li>
-<li>Longfellow’s “Hiawatha.”</li>
-<li>Longfellow’s “Evangeline.”</li>
-<li>Oliver Wendell Holmes’s Humor.</li>
-<li>Character of Eugene Field’s Poetry.</li>
-<li>Characteristics of American Humor.</li>
-<li>Hardships of the New England Settlers.</li>
-<li>Persecution of the Jews.</li>
-<li>Causes of Nihilism in Russia.</li>
-<li>English Ideas of America.</li>
-<li>Methods of Reform in the Civil Service.</li>
-<li>Benefits of Mechanical Exhibitions.</li>
-<li>Strikes and Arbitrations.</li>
-<li>Time: its Use and Abuse.</li>
-<li>Employers and Men: their Rights and Relations.</li>
-<li>The Study of Modern Languages.</li>
-<li>The Study of Ancient Languages.</li>
-<li>Industry and Energy.</li>
-<li>The Duty of Cleanliness.</li>
-<li>Punctuality.</li>
-<li>Courage.</li>
-<li>Fortitude.</li>
-<li>Cruelty to Animals.</li>
-<li>The Law of Supply and Demand.</li>
-<li>“Right before Might.”</li>
-<li>The Telescope and Microscope.</li>
-<li>Manhood Suffrage.</li>
-<li>“The New Woman.”</li>
-<li>Uses and Abuses of Money.</li>
-<li>The Cultivation of Music.</li>
-<li>Amusements for Young People.</li>
-<li>The Great Discoverers of Queen Elizabeth’s Reign.</li>
-<li>Pleasures of the Imagination.</li>
-<li>Natural History as a Study.</li>
-<li>Your Favorite Female Character.</li>
-<li>The Cultivation of Memory.</li>
-<li>Mental Discipline from the Study of Mathematics.</li>
-<li>Knowledge the Best Kind of Wealth.</li>
-<li>The Position and Prospects of the United States.</li>
-<li>The Influence of Scenery on Character.</li>
-<li>Sketch of the Plot of Any One of Shakespeare’s Plays.</li>
-<li>How to Best Help the Poor.</li>
-<li>Influence of Works of Fiction.</li>
-<li>Description of Any One of Sir Walter Scott’s Poems and Novels.</li>
-<li>Changes Caused by the Invention of the Typewriter.</li>
-<li>The Saloon in Modern Politics.</li>
-<li>The Evils of Great Trusts.</li>
-<li>Utility of Shorthand.</li>
-<li>Great Poets of England.</li>
-<li>Dante’s Inferno.</li>
-<li>The Alhambra.</li>
-<li>The Catacombs of Rome.</li>
-<li>The Style of John Bunyan.</li>
-<li>The Consolations of Age.<span class="pagenum"><a id="Page_89"></a>[89]</span></li>
-<li>The Dangers Arising from Great Trusts.</li>
-<li>The Coast Guard Service.</li>
-<li>The Wrongs of Ireland.</li>
-<li>Plot of any one of Bret Harte’s Novels.</li>
-<li>The Lives of the Poor in Large Cities.</li>
-<li>On Making Music a Profession.</li>
-<li>The Novel Entitled “Lorna Doone.”</li>
-<li>The Duty of Cheerfulness.</li>
-<li>Cervantes, the Soldier and the Writer.</li>
-<li>Our American Humorists.</li>
-<li>Martin Luther’s Moral Courage.</li>
-<li>Truth the Standard of Excellence.</li>
-<li>The Evils of Prejudice.</li>
-<li>The Power of Ridicule.</li>
-<li>The Power of Early Impressions.</li>
-<li>The Exiles of Siberia.</li>
-<li>Politics as a Profession.</li>
-</ul>
-
-<h4>SUBJECTS FOR ARGUMENT.</h4>
-
-<ul>
-<li>Should a Polygamist be Admitted to Congress?</li>
-<li>Should Eight Hours Constitute a Day’s Labor?</li>
-<li>Should Political Spoils Belong to the Victors?</li>
-<li>Is a National Debt a Benefit?</li>
-<li>Is Poverty an Incentive to Crime?</li>
-<li>Should the United States Maintain a Large Standing Army?</li>
-<li>Should Office Holders be Assessed for Party Expenses?</li>
-<li>Is Drunkenness any Excuse for Murder?</li>
-<li>Would Harmony in Human Beliefs be Desirable?</li>
-<li>Should There be a Uniform Divorce Law in All Our States?</li>
-<li>Can a Country be Free Without Free Trade?</li>
-<li>Should Church Property be Exempt from Taxation?</li>
-<li>Should Capital Punishment be Abolished?</li>
-<li>Do Luxuries Become Necessities?</li>
-<li>Should a Man Vote Who Cannot Read?</li>
-<li>Was Thackeray a Cynic?</li>
-<li>Should Public School Money be Given to Religious Sects?</li>
-<li>Should Writers Adopt Phonetic Spelling?</li>
-<li>Is a Man of Business Benefited by a Classical Education?</li>
-<li>Is Literature Indicative of National Progress?</li>
-<li>Is Electricity Destined to Become the Greatest Motive Power?</li>
-<li>Should the Inventor Monopolize His Invention?</li>
-<li>Should Cremation Supersede Burial?</li>
-<li>Was the Execution of André Unjust?</li>
-<li>Is Crime in Our Country on the Increase?</li>
-<li>Does the Press in Our Country have too much Freedom?</li>
-</ul>
-
-<h4>SUBJECTS FOR COMPARISON.</h4>
-
-<ul>
-<li>Falsehood and Truth.</li>
-<li>Practice and Habit.</li>
-<li>Wit and Humor.</li>
-<li>Extravagance and Thrift.</li>
-<li>Confusion and Order.</li>
-<li>The Democrats and Whigs.</li>
-<li>Natural and Acquired Ability.</li>
-<li>The Comparative Value of Iron and Gold.</li>
-<li>Foreign and Domestic Commerce.</li>
-<li>The Cavalier and the Puritan.</li>
-<li>Waterloo and Sedan.</li>
-<li>The Stage Coach and the Locomotive.</li>
-<li>The Uses and Abuses of Fashion.</li>
-<li>Capital and Labor.</li>
-<li>Genius and Talent.</li>
-<li>Romance and Reality.</li>
-<li>“The Pen is Mightier than the Sword.”</li>
-<li>Notoriety and Reputation.</li>
-<li>Resolution and Action.</li>
-<li>Working and Dreaming.</li>
-<li>Leo X and Martin Luther.</li>
-<li>The Statesmanship of Hamilton and Jefferson.</li>
-<li>War and Arbitration.</li>
-<li>Helen and Andromache.<span class="pagenum"><a id="Page_90"></a>[90]</span></li>
-<li>“When the Law Ends, Tyranny Begins.”</li>
-<li>“Deep Versed in Books, and Shallow in Himself.”</li>
-<li>The Victories of Peace and of War.</li>
-<li>Hypocrisy and Sincerity.</li>
-<li>Solitude and Society.</li>
-<li>Affection and Naturalness.</li>
-<li>Brusque People and Fawning People.</li>
-</ul>
-
-<h4>MISCELLANEOUS SUBJECTS FOR COMPOSITIONS.</h4>
-
-<ul>
-<li>Looking on the Bright Side.</li>
-<li>The Character of Busybodies.</li>
-<li>Benevolence and Greed.</li>
-<li>Character of the Pilgrims.</li>
-<li>Painting and Sculpture.</li>
-<li>The Head and the Heart.</li>
-<li>Party Spirit and Good Government.</li>
-<li>The Responsibility of Our Country to Mankind.</li>
-<li>The Obligation of Treaties.</li>
-<li>Great Men the Glory of their Country.</li>
-<li>Ancient and Modern Eloquence.</li>
-<li>Conscience and the Will.</li>
-<li>The Heroism of the Indian.</li>
-<li>Religion and Pleasure.</li>
-<li>Spiritual Freedom.</li>
-<li>The Present Age.</li>
-<li>The Humorousness of Love Matches.</li>
-<li>The Influence of Woman.</li>
-<li>The Mission of Reformers.</li>
-<li>The True Aristocracy.</li>
-<li>The Expansion of the Republic.</li>
-<li>The Bible and the Iliad.</li>
-<li>The Huguenots in Carolina.</li>
-<li>Puritan Intolerance.</li>
-<li>The Compensations of Calamity.</li>
-<li>Stateliness and Courtesy.</li>
-<li>Truth and Tenderness.</li>
-<li>Loungers in Corner Groceries.</li>
-<li>A Defense of Enthusiasm.</li>
-<li>The Ancient Mound Builders.</li>
-<li>The Power of Words.</li>
-<li>The Advantages of Playing Golf.</li>
-<li>College Athletics.</li>
-<li>The Physique of Americans.</li>
-<li>The Influence of Climate on Physical Characteristics.</li>
-<li>“Home is Where the Heart is.”</li>
-<li>Coral Treasures of the Sea.</li>
-<li>Sublimity of the Ocean.</li>
-<li>The Beauty of Sea Waves.</li>
-<li>The Power of Maternal Love.</li>
-<li>The Beauty of Heroic Deeds.</li>
-<li>The Ravages of War.</li>
-<li>Children and Flowers.</li>
-<li>Earning Capital.</li>
-<li>The Sacredness of Work.</li>
-<li>“The Boy is the Father of the Man.”</li>
-<li>The Last Hours of Socrates.</li>
-<li>The Discoveries of Astronomy.</li>
-<li>Luck and Labor.</li>
-<li>The Achievements of Earnestness.</li>
-<li>The Ideal Citizen.</li>
-</ul>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<p><span class="pagenum"><a id="Page_91"></a>[91]</span></p>
-
-<h3><span class="smcap">Synonyms and Antonyms.</span></h3>
-
-<div>
-<img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" />
-</div>
-
-<p class="dropcap">We use words to express ideas and thoughts. The best words are those
-which best express the thought or idea. All writers are frequently at a
-loss for the exact word or phrase that will express their meaning the
-most forcibly, and are compelled to ransack and search their vocabulary
-in order to get out of the difficulty.</p>
-
-<p>The number of words used by the majority of persons is very small, and
-they are therefore in constant danger of the fault of repetition. We do
-not like to hear a speaker use the same word too frequently. To do so
-detracts seriously from the force and beauty of his address. While there
-are instances in which a repetition of a word is called for, and to make
-use of another would weaken the sentence and fail to fully give the
-meaning of the writer or speaker, it is nevertheless true that constant
-repetitions are not only a blemish, but a fault that should be corrected.</p>
-
-<p>For the purpose of avoiding too much repetition in writing and speaking
-it is necessary to have a Dictionary of words of similar meaning. A
-Synonym is one of two or more words of similar significance which may
-often be used interchangeably. An Antonym is a word of opposite meaning.
-In the following list the Synonyms are first given; then follow, in
-parenthesis, the Antonyms, or words of opposite meaning.</p>
-
-<p>All persons who would acquire an elegant style in literary composition,
-correspondence or ordinary conversation, will find this comprehensive
-Dictionary of Synonyms and Antonyms of great value. Jewels of thought
-should be set in appropriate language.</p>
-
-<p>In this table the letter <i>a</i> means adjective; <i>v</i> means verb;
-<i>n</i> means noun or substantive.</p>
-
-<div class="hanging">
-
-<p class="tb">ABANDON—forsake, desert, renounce, relinquish.
-(Keep, cherish.)</p>
-
-<p>ABANDONED—deserted, forsaken, profligate,
-wicked, reprobate, dissolute, flagitious, corrupt,
-depraved, vicious. (Respected, esteemed, cherished,
-virtuous.)</p>
-
-<p>ABASEMENT—degradation, fall, degeneracy, humiliation,
-abjectness, debasement, servility. (Elevation,
-promotion, honor.)</p>
-
-<p>ABASH—disconcert, discompose, confound, confuse,
-shame, bewilder. (Embolden.)</p>
-
-<p>ABBREVIATE—shorten, curtail, contract, abridge,
-condense, reduce, compress. (Lengthen, extend,
-enlarge, expand.)</p>
-
-<p>ABDICATE—renounce, resign, relinquish. (Usurp.)</p>
-
-<p>ABET—incite, stimulate, whet, encourage, back up,
-second, countenance, assist. (Dampen, discourage,
-dispirit, depress, repress, oppose.)</p>
-
-<p>ABETTOR—instigator, prompter, assistant, coadjutor,
-accomplice, accessory, <i>particeps criminis</i>.
-(Extinguisher.)</p>
-
-<p>ABHOR—loathe, abominate, (Love, admire.)</p>
-
-<p>ABILITY—power, skill, gumption, efficiency, mastery,
-qualification, faculty, expertness. (Incompetence,
-inefficiency, inability.)</p>
-
-<p>ABJECT—despised, despicable, vile, grovelling,
-mean, base, worthless, servile. (Supreme, august,
-commanding, noble.)</p>
-
-<p>ABJURE—forswear, disclaim, unsay, recant, revoke,
-deny, disown. (Attest, affirm.)</p>
-
-<p>ABLE—competent, qualified, skilled, efficient, capable,
-clever, adroit, adept, strong, telling, masterly.
-(Incompetent, weak, unskilful, unqualified.)</p>
-
-<p>ABODE—dwelling, residence, domicile, home, quarters,
-habitation, lodging, settlement. (Transition,
-shifting, wandering, pilgrimage, peregrination.)</p>
-
-<p>ABOLISH—efface, extinguish, annihilate, nullify,
-destroy, undo, quash, annul, cancel, abrogate,
-quench, suppress, vitiate, revoke. (Introduce,
-establish, enforce, restore.)</p>
-
-<p>ABOMINABLE—detestable, hateful, odious, execrable.
-(Choice, excellent, attractive, select.)</p>
-
-<p>ABORTIVE—ineffectual, futile, inoperative, defective,
-inadequate. (Efficient, productive, complete.)</p>
-
-<p>ABOUT—around, near to, nearly, approximately,
-contiguous. (Remote from, distant.)</p>
-
-<p>ABSCOND—take oneself off, “vamoose,” disappear,
-decamp, run away. (Thrust oneself into notice.)</p>
-
-<p>ABSENT—not present, wanting, absentminded,
-abstracted, inattentive, listless, dreamy, visionary.
-(Present, collected, composed, vigilant, observant.)</p>
-
-<p>ABSOLUTE—certain, unconditioned, unconditional,
-unlimited, unrestricted, transcendent, authoritative,
-paramount, imperative, arbitrary, despotic.
-(Conditional, limited, hampered, fettered.)</p>
-
-<p>ABSORB—suck up, imbibe, engross, drain away,
-consume. (Reserve, save, spare, husband, economize,
-hoard up.)</p>
-
-<p>ABSURD—unreasonable, nonsensical, foolish, vain,
-impracticable. (Reasonable, prudent, veracious.)</p>
-
-<p><span class="pagenum"><a id="Page_92"></a>[92]</span></p>
-
-<p>ABUSE, <i>v.</i>—pervert, deprave, traduce, debase, disparage,
-slander, calumniate, rail at, reproach,
-depreciate. (Improve, develop, cultivate, promote,
-bless, magnify, appreciate.)</p>
-
-<p>ABUSE, <i>n.</i>—perversion, ill-usage, depravation, debasement,
-slander, reproach. (Cultivation, use,
-promotion, development, appreciation, praise.)</p>
-
-<p>ACCEDE—join, assent, acquiesce in, comply, agree,
-concur, coincide, approve. (Dissent, object,
-decline, refuse.)</p>
-
-<p>ACCELERATE—hasten, hurry, speed, expedite,
-quicken, precipitate, facilitate. (Retard, delay,
-procrastinate, arrest, stop, impede, suspend.)</p>
-
-<p>ACCEPT—take, receive, assume, acknowledge, endorse.
-(Refuse, repudiate, protest, disown.)</p>
-
-<p>ACCEPTABLE—pleasant, grateful, welcome. (Repugnant,
-displeasing.)</p>
-
-<p>ACCIDENT—casualty, contingency, hap, mishap,
-chance, mischance, misadventure. (Law, order.)</p>
-
-<p>ACCOMMODATE—adjust, adapt, fit, conform, reconcile,
-suit, oblige, furnish, convenience. (Cross,
-thwart, counteract, plot against, checkmate, defeat,
-inconvenience.)</p>
-
-<p>ACCOMPLICE—confederate, ally, associate, accessory,
-<i>particeps criminis</i>. (Adversary, rival, spy,
-opponent, enemy.)</p>
-
-<p>ACCOMPLISH—complete, perform, finish, fulfil,
-execute, perfect, consummate, achieve, effect, carry
-out. (Fail, miscarry, undo, wreck, frustrate.)</p>
-
-<p>ACCOMPLISHMENT—success, fulfilment, completion,
-performance, execution, achievement, consummation,
-attainment. (Failure, miscarriage,
-wreck, ruin.)</p>
-
-<p>ACCORD—harmonize, agree, allow, grant, concede.
-(Jar, clash with, deny, disallow.)</p>
-
-<p>ACCOST—address, confront, speak to, greet, salute.
-(Evade, fight shy of.)</p>
-
-<p>ACCOUNT, <i>v.</i>—compute, estimate, reckon up, take
-stock of. (Leave unexplained, unsolved.)</p>
-
-<p>ACCOUNT, <i>n.</i>—reckoning, relation, charge, bill.
-(Riddle, mystery, puzzle, unknown quantity.)</p>
-
-<p>ACCOUNTABLE—answerable, responsible, amenable.
-(Exempt, free, irresponsible.)</p>
-
-<p>ACCUMULATE—heap up, save, collect. (Scatter,
-dissipate, diffuse, spend, squander.)</p>
-
-<p>ACCUMULATION—heap, amount, glut. (Dissipation,
-dissemination, distribution, diminution.)</p>
-
-<p>ACCURATE—definite, precise, correct, exact. (Inaccurate,
-wrong, erroneous, blundering, careless.)</p>
-
-<p>ACHIEVE—complete, gain, win.</p>
-
-<p>ACHIEVEMENT—feat, exploit, distinguished performance,
-acquirement. (Abortion, frustration,
-failure, shortcoming, defect.)</p>
-
-<p>ACKNOWLEDGE—avow, confess, own, recognize,
-admit, grant, concede. (Repudiate, disclaim,
-disallow, disown, deny.)</p>
-
-<p>ACQUAINT—make known, apprise, inform, communicate,
-intimate, notify. (Leave ignorant, keep
-secret, conceal.)</p>
-
-<p>ACQUAINTANCE—knowledge, familiarity, fellowship,
-companionship. (Ignorance, stranger.)</p>
-
-<p>ACQUIESCE—yield, concur, agree, assent. (Protest,
-object, dissent, secede, oppose.)</p>
-
-<p>ACQUIT—set free, release, discharge, clear, absolve,
-exculpate, exonerate, liberate, deliver. (Accuse,
-impeach, charge, blame, convict.)</p>
-
-<p>ACT, <i>v.</i>—do, perform, commit, operate, work, practice,
-behave, personate, play, enact. (Neglect,
-cease, desist, rest, wait, lie idle, refrain.)</p>
-
-<p>ACTION—working, agency, operation, business,
-gesture, engagement, fight, deed, battle, feat.
-(Inaction, repose, rest, idleness, ease, indolence,
-inertia, passiveness, quiescence, dormancy.)</p>
-
-<p>ACTIVE—energetic, busy, stirring, alive, brisk,
-operative, lively, agile, nimble, diligent, sprightly,
-alert, quick, supple, prompt, industrious. (Passive,
-inert, dead, extinct, dull, torpid, sluggish, indolent,
-lazy, dormant, quiescent, asleep.)</p>
-
-<p>ACTUAL—real, positive, existing, certain. (False,
-imaginary, theoretical, illusive, fictitious.)</p>
-
-<p>ACUTE—sharp, pointed, penetrating, piercing,
-keen, poignant, pungent, intense, violent, shrill,
-sensitive, sharp-witted, shrewd, discriminating,
-clever, cunning. (Obtuse, blunt, bluff, dull, flat,
-callous, stupid, apathetic.)</p>
-
-<p>ADAPT—fit, suit, adjust, conform, regulate. (Misfit,
-discommode, dislocate.)</p>
-
-<p>ADDICTED—committed to, devoted, prone, given
-up to, inclined, habituated. (Uncommitted, free,
-uncompromised, neutral.)</p>
-
-<p>ADDITION—annexation, accession, supplement,
-adjunct, affix, appendage, accessory, increment,
-increase, complement, <i>plus</i>, more. (Subtraction,
-deduction, retrenchment, curtailment, deprivation,
-<i>minus</i>, less, loss, impoverishment.)</p>
-
-<p>ADDRESS—speech, salutation, accost, appeal; also
-skill, dexterity, adroitness; also direction, name;
-also residence. (Response, answer, reply, rejoinder;
-also awkwardness, maladroitness, clumsiness,
-slovenliness.)</p>
-
-<p>ADHESION—sticking, adherence, adoption, attachment,
-espousal. (Repulsion, revulsion, antipathy,
-aversion, hostility, incompatibility, dislike.)</p>
-
-<p>ADJACENT—next, near, nigh, at hand, alongside,
-close by, adjoining, contiguous, bordering, neighboring,
-proximate. (Remote, foreign, distant,
-aloof, far, apart, asunder.)</p>
-
-<p>ADJOURN—put off, postpone, defer, delay, keep in
-abeyance, prorogue, suspend, procrastinate, retard,
-waive, remand, reserve. (Conclude, clinch, accelerate,
-precipitate.)</p>
-
-<p>ADJUNCT—appendage, affix, annex, annexation,
-appendix, adhesion, appurtenance. (Curtailment,
-retrenchment, lop, mutilation, reduction, clipping,
-docking, filching.)</p>
-
-<p>ADJUST—make exact, set right, fit, adapt, dovetail,
-arrange, harmonize, settle, regulate. (Confound,
-confuse, muddle, disorder, perplex, embarrass,
-entangle, clash, jar, jumble, disarrange, unsettle.)</p>
-
-<p>ADMIRABLE—wonderful, excellent, choice, noble,
-grand, estimable, lovely, ideal, surpassing, extraordinary,
-eminent. (Detestable, vile, mean, contemptible,
-despicable, worthless, wretched, villainous,
-pitiful.)</p>
-
-<p>ADMIT—allow, permit, suffer, receive, usher, grant,
-acknowledge, confess, concede, accept. (Deny,
-refuse, shut out, forbid, disown, disclaim.)</p>
-
-<p><span class="pagenum"><a id="Page_93"></a>[93]</span></p>
-
-<p>ADVANTAGEOUS—profitable, serviceable, useful,
-beneficial, helpful, of value. (Disadvantageous,
-detrimental, prejudicial, injurious, hurtful, harmful,
-deleterious, obnoxious, pernicious.)</p>
-
-<p>AFFECTION—bent, inclination, partiality, attraction,
-impulse, love, desire, passion, fascination;
-also suffering, disease, morbidness. (Repulsion,
-revulsion, antipathy, dislike, recoil, aversion,
-estrangement, indifference, coldness, alienation;
-also wholeness, soundness, healthiness.)</p>
-
-<p>AFFECTIONATE—loving, kind, fond, doting, tender,
-amiable, cordial, hearty, good-hearted. (Cold,
-unloving, unkind, heartless, selfish, crabbed, sour,
-malign, malicious, malevolent, misanthropic, cynical,
-ill-natured, cruel, hating.)</p>
-
-<p>AGREEABLE—pleasant, acceptable, grateful, refreshing,
-genial, pleasing, palatable, sweet, charming,
-delectable. (Disagreeable, displeasing, unpleasant,
-ungrateful, harsh, repellent, painful,
-noxious, plaguy, irritating, annoying, mortifying.)</p>
-
-<p>ALTERNATING—reciprocal, correlative, interchangeable,
-by turns, <i>vice versa</i>. (Monotonous,
-unchanging, continual.)</p>
-
-<p>AMBASSADOR—messenger, envoy, emissary, legate,
-nuncio, diplomatist, diplomate, representative,
-vicegerent, plenipotentiary, minister, agent.
-(Principal, government, sovereign, power.)</p>
-
-<p>AMEND—improve, correct, better, meliorate, rectify,
-prune, repair, revise, remedy, reform. (Injure,
-impair, damage, harm, hurt, mar, mangle, blemish,
-deteriorate, ruin, spoil.)</p>
-
-<p>ANGER—resentment, animosity, wrath, indignation,
-pique, umbrage, huff, displeasure, dungeon, irritation,
-irascibility, choler, ire, hate. (Kindness,
-benignity, <i>bonhomie</i>, good nature.)</p>
-
-<p>APPROPRIATE—assimilate, assume, possess oneself
-of, take, grab, clutch, collar, snap up, capture,
-steal. (Relinquish, give up, surrender, yield, resign,
-forego, renounce, abandon, discard, dismiss.)</p>
-
-<p>ARGUE—reason, discuss, debate, dispute, contend.
-(Obscure, darken, mystify, mislead, misrepresent,
-evade, sophisticate.)</p>
-
-<p>ARISE—rise, ascend, mount, climb, soar, spring,
-emanate, proceed, issue. (Descend, fall, gravitate,
-drop, slide, settle, decline, sink, dismount, alight.)</p>
-
-<p>ARTFUL—cunning, crafty, skilful, wily, designing,
-politic, astute, knowing, tricky. (Artless, naïve,
-natural, simple, plain, ingenuous, frank, sincere,
-open, candid, guileless, straightforward, direct.)</p>
-
-<p>ARTIFICE—contrivance, stratagem, trick, design,
-plot, machination, chicanery, knavery, jugglery,
-guile, jobbery. (Artlessness, candor, openness,
-simplicity, innocence, ingenuousness.)</p>
-
-<p>ASSOCIATION—partnership, fellowship, solidarity,
-league, alliance, combination, coalition, federation,
-junto, cabal. (Opposition, antagonism, conflict,
-counteraction, resistance, hinderance, counterplot,
-detachment, individualism.)</p>
-
-<p>ATTACK—assault, charge, onset, onslaught, incursion,
-inroad, bombardment, cannonade. (Defence,
-protection, guard, ward, resistance, stand, repulse,
-rebuff, retreat.)</p>
-
-<p>AUDACITY—boldness, defiance, prowess, intrepidity,
-mettle, game, pluck, fortitude, rashness,
-temerity, presumption, foolhardiness, courage,
-hardihood. (Cowardice, pusillanimity, timidity,
-meekness, poltroonery, fear, caution, calculation,
-discretion, prudence.)</p>
-
-<p>AUSTERE—severe, harsh, rigid, stern, rigorous,
-uncompromising, inflexible, obdurate, exacting,
-straight-laced, unrelenting. (Lax, loose, slack,
-remiss, weak, pliant, lenient, mild, indulgent,
-easy-going, forbearing, forgiving.)</p>
-
-<p>AVARICIOUS—tight-fisted, griping, churlish, parsimonious,
-stingy, penurious, miserly, niggardly,
-close, illiberal, ungenerous, covetous, greedy,
-rapacious. (Prodigal, thriftless, improvident, extravagant,
-lavish, dissipated, freehanded.)</p>
-
-<p>AVERSION—antipathy, revulsion, repulsion, dislike,
-recoil, estrangement, alienation, repugnance,
-disgust, nausea. (Predilection, fancy, fascination,
-allurement, attraction, magnet.)</p>
-
-<p>AWE—dread, fear, reverence, prostration, admiration,
-bewilderment. (Familiarity, indifference,
-heedlessness, unconcern, contempt, mockery.)</p>
-
-<p>AXIOM—maxim, aphorism, apophthegm, adage,
-motto, <i>dictum</i>, theorem, truism, proverb, saw.
-(Absurdity, paradox.)</p>
-
-<p class="tb">BABBLE—splash, gurgle, bubble, purl, ripple, prattle,
-clack, gabble, clash, jabber, twaddle, prate,
-chatter, blab. (Silence, hush.)</p>
-
-<p>BAD—depraved, defiled, distorted, corrupt, evil,
-wicked, wrong, sinful, morbid, foul, peccant, noxious,
-pernicious, diseased, imperfect, tainted,
-touched. (Good, whole, sound, healthy, beneficial,
-salutary, prime, perfect, entire, untouched,
-unblemished, intact, choice, worthy.)</p>
-
-<p>BAFFLE—thwart, checkmate, defeat, disconcert,
-confound, block, outwit, traverse, contravene,
-frustrate, balk, foil. (Aid, assist, succor, further,
-forward, expedite, sustain, second, reinforce.)</p>
-
-<p>BASE—crude, undeveloped, low, villainous, mean,
-deteriorated, misbegotten, ill-contrived, ill-constituted.
-(Noble, exalted, lofty, sublime, excellent,
-elect, choice, aristocratic, exquisite, capital.)</p>
-
-<p>BEAR—carry, hold, sustain, support, suffer, endure,
-beget, generate, produce, breed, hatch. (Lean,
-depend, hang, yield, sterile, unproductive.)</p>
-
-<p>BEASTLY—bestial, animal, brutal, sensual, gross,
-carnal, lewd. (Human, humane, virtuous, moral,
-ethical, intellectual, thoughtful, spiritual.)</p>
-
-<p>BEAT—strike, smite, thrash, thwack, thump, pummel,
-drub, leather, baste, belabor, birch, scourge,
-defeat, surpass, rout, overthrow. (Protect, defend,
-soothe.)</p>
-
-<p>BEAUTIFUL—fair, complete, symmetrical, handsome.
-(Ugly, repulsive, foul.)</p>
-
-<p>BECOMING—suiting, accordant, fit, seemly. (Discrepant,
-improper, in bad form.)</p>
-
-<p>BEG—beseech, crave, entreat. (Offer, proffer.)</p>
-
-<p>BEHAVIOR—carriage, deportment, conduct.</p>
-
-<p>BENEFICENT—bountiful, generous, liberal. (Sordid,
-mercenary.)</p>
-
-<p>BENEFIT—good, advantage, service. (Loss, detriment,
-injury.)</p>
-
-<p>BENEVOLENCE—well-wishing, charity. (Malevolence,
-malice, hate.)</p>
-
-<p>BLAME—censure, reproach. (Approve, honor.)</p>
-
-<p><span class="pagenum"><a id="Page_94"></a>[94]</span></p>
-
-<p>BLEMISH—flaw, stain, spot, imperfection, defect.
-(Ornament, decoration, embellishment, adornment,
-finery, gilding.)</p>
-
-<p>BLIND—dimsighted, ignorant, uninformed. (Sharp-sighted,
-enlightened.)</p>
-
-<p>BLOT—efface, cancel, expunge, erase. (Record.)</p>
-
-<p>BOLD—brave, daring, fearless, intrepid, courageous.
-(Cowardly, timid, shy, chicken-hearted.)</p>
-
-<p>BORDER—margin, boundary, frontier, confine,
-fringe, hem, selvedge, valance. (Inclosure, interior,
-inside.)</p>
-
-<p>BOUND—circumscribe, limit, restrict, confine, enclose;
-<i>also</i> leap, jump, hop, spring, vault, skip.
-(Enlarge, clear, deliver; <i>also</i> plunge, dip, sink.)</p>
-
-<p>BRAVE—dare, defy. (Cave in, show the white
-feather.)</p>
-
-<p>BREAK—bruise, crush, pound, squeeze, crack, snap,
-splinter. (Bind, hold together, knit, rivet.)</p>
-
-<p>BREEZE—blow, zephyr. (Stillness, hush, calm.)</p>
-
-<p>BRIGHT—shining, lustrous, radiant. (Dull, dim.)</p>
-
-<p>BRITTLE—frangible, fragile, frail. (Tough.)</p>
-
-<p>BURIAL—interment, sepulture, obsequies. (Exhumation,
-disinterment.)</p>
-
-<p>BUSINESS—occupation, employment, pursuit, vocation,
-calling, profession, craft, trade. (Leisure,
-vacation, play.)</p>
-
-<p>BUSTLE—stir, fuss, ado, flurry. (Quiet, stillness.)</p>
-
-<p class="tb">CALAMITY—misfortune, disaster, catastrophe.
-(Good luck, prosperity.)</p>
-
-<p>CALM—still, motionless, placid, serene, composed.
-(Stormy, unsettled, restless, agitated, distracted.)</p>
-
-<p>CAPABLE—competent, able, efficient. (Unqualified.)</p>
-
-<p>CAPTIOUS—censorious, cantankerous. (Conciliatory,
-bland.)</p>
-
-<p>CARE—solicitude, concern. (Negligence, carelessness,
-<i>nonchalance</i>.)</p>
-
-<p>CARESS—fondle, love, pet. (Spurn, disdain.)</p>
-
-<p>CARNAGE—butchery, gore, massacre, slaughter.</p>
-
-<p>CAUSE—origin, source, ground, reason, motive.</p>
-
-<p>CENSURE—reprehend, chide. (Approve.)</p>
-
-<p>CERTAIN—sure, infallible. (Doubtful, dubious.)</p>
-
-<p>CESSATION—discontinuance, stoppage, rest, halt.
-(Perseverance, persistence, continuance.)</p>
-
-<p>CHANCE—accident, luck. (Intention, purpose.)</p>
-
-<p>’CHANGE—exchange, <i>bourse</i>, mart, emporium.</p>
-
-<p>CHANGEABLE—mutable, variable, fickle. (Steadfast,
-firm.)</p>
-
-<p>CHARACTER—constitution, nature, disposition.</p>
-
-<p>CHARM—fascination, enchantment, witchery, attraction.
-(Nuisance, mortification, bore, plague.)</p>
-
-<p>CHASTITY—purity, virtue. (Concupiscence.)</p>
-
-<p>CHEAP—inexpensive, worthless. (Dear, costly.)</p>
-
-<p>CHEERFUL—blithe, lightsome, brisk, sprightly.
-(Melancholy, sombre, morose, gloomy, sad.)</p>
-
-<p>CHIEF—sachem, head, ruler. (Vassal, henchman.)</p>
-
-<p>CIRCUMSTANCE—situation, predicament.</p>
-
-<p>CLASS—division, category, department, order, kind,
-sort, genus, species, variety.</p>
-
-<p>CLEVER—adroit, dexterous, expert, deft, ready,
-smart. (Awkward, dull, shiftless, clumsy.)</p>
-
-<p>CLOTHED—dressed, arrayed, apparelled. (Disrobed,
-stripped.)</p>
-
-<p>COARSE—crude, unrefined. (Refined, cultivated.)</p>
-
-<p>COAX—cajole, wheedle, fawn, lure, induce, entice.
-(Dissuade, indispose, warn, admonish.)</p>
-
-<p>COLD—frigid, chill, inclement. (Hot, glowing.)</p>
-
-<p>COLOR—hue, tint, tinge, tincture, dye, shade, stain.
-(Pallor, paleness, wanness, blankness, achromatism,
-discoloration.)</p>
-
-<p>COMBINATION—coalescence, fusion, faction, coalition,
-league. (Dissolution, rupture, schism.)</p>
-
-<p>COMMAND—empire, rule. (Anarchy, license.)</p>
-
-<p>COMMODITY—goods, effects, merchandise, stock.</p>
-
-<p>COMMON—general, ordinary, mean, base. (Rare,
-exceptional, unique.)</p>
-
-<p>COMPASSION—pity, commiseration, sympathy.
-(Cruelty, severity.)</p>
-
-<p>COMPEL—force, coerce, oblige, necessitate, make,
-constrain. (Let alone, tolerate.)</p>
-
-<p>COMPENSATION—amends, atonement, requital.
-(Withholding.)</p>
-
-<p>COMPENDIUM—abstract, epitome, digest. (Amplification,
-expansion.)</p>
-
-<p>COMPLAIN—lament, murmur, regret, repine, deplore.
-(Rejoice, exult, boast, brag, chuckle.)</p>
-
-<p>COMPLY—consent, yield, acquiesce. (Refuse,
-deny, decline.)</p>
-
-<p>COMPOUND, <i>a.</i>—composite, complex, blended.
-(Simple, elementary.)</p>
-
-<p>COMPREHEND—comprise, contain, embrace, include,
-enclose, grasp. (Exclude, reject, mistake,
-eliminate, loss.)</p>
-
-<p>CONCEAL—hide, secrete, cover, screen, shroud,
-veil, disguise. (Publish, report, divulge.)</p>
-
-<p>CONCEIVE—grasp, apprehend, devise, invent.
-(Ignorant of.)</p>
-
-<p>CONCLUSION—result, finding. (Undetermined.)</p>
-
-<p>CONDEMN—convict, find guilty, sentence, doom.
-(Acquit.)</p>
-
-<p>CONDUCT, <i>v.</i>—direct, manage, govern. (Follow,
-obey, submit.)</p>
-
-<p>CONFIRM—corroborate, ratify, endorse, support,
-uphold. (Weaken, enfeeble, reduce.)</p>
-
-<p>CONFLICT—contend, contest, wrestle, tussle, clash,
-wrangle. (Harmonize, agree, fraternize, concur.)</p>
-
-<p>CONFUTE—refute, disprove. (Demonstrate.)</p>
-
-<p>CONQUER—defeat, vanquish, overcome. (Fail, be
-beaten, lose.)</p>
-
-<p>CONSEQUENCE—effect, derivation, result, event,
-issue. (Cause, origin, source, antecedent.)</p>
-
-<p>CONSIDER—reflect, deliberate. (Forget, ignore.)</p>
-
-<p>CONSISTENT—accordant, concordant, compatible,
-consonant, congruous, reconcilable, harmonious.
-(Discordant, discrepant.)</p>
-
-<p>CONSOLE—relieve, soothe, comfort. (Embitter.)</p>
-
-<p>CONSTANCY—continuance, tenacity, stability.
-(Irresolution, fickleness.)</p>
-
-<p>CONTAMINATE—Pollute, stain, taint, tarnish,
-blur, smudge, defile. (Cleanse, purify, purge.)</p>
-
-<p><span class="pagenum"><a id="Page_95"></a>[95]</span></p>
-
-<p>CONTEMN—despise, disdain, scorn. (Esteem, appreciate,
-admire.)</p>
-
-<p>CONTEMPLATE—survey, scan, observe, intend.
-(Disregard.)</p>
-
-<p>CONTEMPTIBLE—despicable, paltry, shabby, beggarly,
-worthless, vile, cheap, trashy. (Estimable.)</p>
-
-<p>CONTEND—fight, wrangle, vie. (Be at peace.)</p>
-
-<p>CONTINUAL—perpetual, endless, ceaseless. (Momentary,
-transient.)</p>
-
-<p>CONTINUE—remain, persist, endure. (Desist, stay.)</p>
-
-<p>CONTRADICT—deny, gainsay, oppose. (Affirm,
-assert, declare.)</p>
-
-<p>CORRECT—mend, rectify. (Impair, muddle.)</p>
-
-<p>COST—expense, charge, price, value.</p>
-
-<p>COVETOUSNESS—avarice, cupidity, extortion.
-(Generosity, liberality.)</p>
-
-<p>COWARDICE—poltroonery, faint-heartedness.
-(Courage, boldness, intrepidity.)</p>
-
-<p>CRIME—offence, trespass, misdemeanor, felony,
-transgression. (Innocence, guiltlessness.)</p>
-
-<p>CRIMINAL—culprit, felon, convict. (Paragon.)</p>
-
-<p>CROOKED—twisted, distorted, bent, awry, wry,
-askew, deformed. (Straight, upright.)</p>
-
-<p>CRUEL—brutal, ferocious, barbarous, blood-thirsty,
-fiendish. (Kind, benignant, benevolent.)</p>
-
-<p>CULTIVATION—tillage, culture. (Waste.)</p>
-
-<p>CURSORY—fugitive, hurried, perfunctory. (Permanent,
-thorough.)</p>
-
-<p>CUSTOM—habit, wont, usage, fashion, practice.</p>
-
-<p class="tb">DANGER—peril, hazard, jeopardy. (Safety.)</p>
-
-<p>DARK—obscure, sombrous, opaque, unintelligible.
-(Light, luminous, shining, clear, lucid.)</p>
-
-<p>DEADLY—mortal, fatal, destructive, lethal.</p>
-
-<p>DEAR—costly, precious, high-priced, beloved, darling,
-pet, favorite. (Cheap, disliked, despised.)</p>
-
-<p>DEATH—decease, demise, dissolution. (Birth, life.)</p>
-
-<p>DECAY, <i>n.</i>—decline, consumption, atrophy. (Development,
-growth.)</p>
-
-<p>DECEIVE—cheat, defraud, cozen, overreach, gull,
-dupe, swindle, victimize. (Truthfulness.)</p>
-
-<p>DECEIT, <i>n.</i>—imposition, fraud, deception. (Veracity,
-honesty.)</p>
-
-<p>DECIDE—determine, resolve, conclude, settle, adjudicate,
-arbitrate, terminate. (Hesitate, dilly-dally,
-shuffle.)</p>
-
-<p>DECIPHER—interpret, explain, construe, unravel.
-(Mistake, confound.)</p>
-
-<p>DECISION—determination, conclusion, firmness.
-(Wavering, hesitancy.)</p>
-
-<p>DECLAMATION—harangue, oration, recitation,
-tirade, speech.</p>
-
-<p>DECLARATION—affirmation, assertion. (Denial.)</p>
-
-<p>DECREASE—diminish, lessen, reduce, wane, decline.
-(Increase, grow, enlarge.)</p>
-
-<p>DEDICATE—consecrate, devote, offer, apportion.</p>
-
-<p>DEED—act, transaction, exploit, document.</p>
-
-<p>DEEM—judge, estimate, consider, esteem, suppose.</p>
-
-<p>DEEP—profound, abtruse, hidden, extraordinarily
-wise. (Shallow, superficial.)</p>
-
-<p>DEFACE—mar, spoil, injure, disfigure. (Beautify.)</p>
-
-<p>DEFAULT—shortcoming, deficiency, defect, imperfection.
-(Sufficiency, satisfaction.)</p>
-
-<p>DEFENCE—fortification, bulwark, vindication, justification,
-apology.</p>
-
-<p>DEFEND—shield, vindicate. (Assault, accuse.)</p>
-
-<p>DEFICIENT—incomplete, lacking. (Entire, perfect,
-whole.)</p>
-
-<p>DEFILE—soil, smutch, besmear, begrime.</p>
-
-<p>DEFINE—limit, bound. (Enlarge, expand.)</p>
-
-<p>DEFRAY—pay, settle, liquidate, satisfy, clear.</p>
-
-<p>DEGREE—grade, extent, measure, ratio, standard.</p>
-
-<p>DELIBERATE, <i>a.</i>—circumspect, wary, cautious.
-(Heedless, thoughtless.)</p>
-
-<p>DELICACY—nicety, dainty, tit-bit, taste, refinement,
-modesty. (Grossness, coarseness, vulgarity,
-indecorum.)</p>
-
-<p>DELICATE—dainty, refined. (Coarse, beastly.)</p>
-
-<p>DELICIOUS—savory, palatable, luscious, charming,
-delightful. (Offensive, nasty, odious, shocking,
-nauseous.)</p>
-
-<p>DELIGHT—gratification, felicity. (Mortification,
-vexation.)</p>
-
-<p>DELIVER—transfer, consign, utter, liberate, declare.
-(Keep, retain, restrain, check, bridle.)</p>
-
-<p>DEMONSTRATE—prove, show, manifest. (Mystify,
-obscure.)</p>
-
-<p>DEPART—quit, vacate, retire, withdraw, remove.</p>
-
-<p>DEPRIVE—strip, bereave, despoil. (Invest, equip.)</p>
-
-<p>DEPUTE—commission, delegate, accredit, entrust.</p>
-
-<p>DERISION—ridicule, scoffing, mockery, raillery,
-chaff, <i>badinage</i>. (Awe, dread, reverence.)</p>
-
-<p>DERIVATION—origin, source, spring, emanation,
-etymology.</p>
-
-<p>DESCRIBE—delineate, portray, style, specify,
-characterize.</p>
-
-<p>DESECRATE—profane, blaspheme, revile. (Consecrate,
-sanctify.)</p>
-
-<p>DESERVE—merit, be entitled to, earn, justify.</p>
-
-<p>DESIGN, <i>n.</i>—delineation, illustration, sketch, plan,
-drawing, portraiture, draught, projection, scheme,
-proposal, outline.</p>
-
-<p>DESIRABLE—eligible, suitable, acceptable. (Unfit,
-objectionable.)</p>
-
-<p>DESIRE, <i>n.</i>—wish, longing, hankering, appetite.</p>
-
-<p>DESOLATE, <i>a.</i>—lonely, solitary, bereaved, forlorn,
-forsaken, deserted, bleak, dreary. (Befriended,
-social, festive.)</p>
-
-<p>DESPERATE—frenzied, frantic, furious. (Calm,
-composed, moderate.)</p>
-
-<p>DESTINY—fatality, doom, predestination, decree,
-fate. (Casualty, accident, contingency, chance.)</p>
-
-<p>DESTRUCTIVE—mischievous, disastrous, deleterious.
-(Creative, beneficial.)</p>
-
-<p>DESUETUDE—disuse, discontinuance. (Use, habit,
-practice.)</p>
-
-<p>DESULTORY—immethodical, disconnected, rambling,
-discontinuous, interrupted, fitful, intermittent.
-(Continuous, consecutive, constant.)</p>
-
-<p>DETAIL, <i>n.</i>—particular, item, count, specialty,
-individuality.</p>
-
-<p><span class="pagenum"><a id="Page_96"></a>[96]</span></p>
-
-<p>DETAIL, <i>v.</i>—particularize, enumerate, specify.
-(Generalize.)</p>
-
-<p>DETER—discourage, dissuade. (Encourage, incite.)</p>
-
-<p>DETRIMENT—damage, loss. (Benefit, improvement,
-betterment.)</p>
-
-<p>DEVELOP—unfold, expand, increase. (Extirpate.)</p>
-
-<p>DEVOID—wanting, destitute, bereft, denuded, bare,
-emptied, void. (Provided, supplied, furnished.)</p>
-
-<p>DEVOTED—destined, consecrated, sworn to.</p>
-
-<p>DICTATE—enjoin, order, prescribe, mark out.</p>
-
-<p>DICTATORIAL—authoritative, imperative, overbearing,
-imperious, arbitrary, domineering.</p>
-
-<p>DIE—expire, perish, depart this life, cease.</p>
-
-<p>DIET—food, victuals, nourishment, aliment, board,
-sustenance, fare, viands, meal, repast, <i>menu</i>.</p>
-
-<p>DIFFER—vary, diverge, disagree, bicker, nag,
-split. (Accord, harmonize.)</p>
-
-<p>DIFFERENT—various, diverse, unlike. (Identical.)</p>
-
-<p>DIFFICULT—hard, tough, laborious, arduous, formidable.
-(Easy, facile, manageable, pliant.)</p>
-
-<p>DIFFUSE—discursive, digressive, diluted. (Condensed,
-concise, terse.)</p>
-
-<p>DIGNIFY—elevate, exalt, ennoble, honor, advance,
-promote. (Degrade, disgrace, demean, vulgarize.)</p>
-
-<p>DILATE—widen, extend, enlarge, expand, descant,
-expatiate. (Contract, narrow, compress, reduce.)</p>
-
-<p>DILATORY—slow, tardy, slow-paced, procrastinating,
-lagging, dawdling. (Prompt, peremptory,
-quick, instant.)</p>
-
-<p>DILIGENCE—zeal, ardor, assiduity. (Indolence.)</p>
-
-<p>DIMINISH—lessen, reduce, curtail, retrench, bate,
-abate, shorten, contract. (Increase, augment,
-aggrandize, enlarge.)</p>
-
-<p>DISABILITY—incapacity, unfitness. (Power.)</p>
-
-<p>DISCERN—descry, perceive, distinguish, espy, scan,
-recognize, understand, discriminate. (Ignore.)</p>
-
-<p>DISCIPLINE—order, training, drill, schooling.
-(Laxity, disorder, confusion, anarchy.)</p>
-
-<p>DISCOVER—detect, find, unveil, reveal, open, expose,
-publish, disclose. (Cover, conceal, hide.)</p>
-
-<p>DISCREDITABLE—disreputable, reprehensible,
-blameworthy, shameful, scandalous, flagrant.
-(Exemplary, laudable, commendable.)</p>
-
-<p>DISCREET—prudent, politic, cautious, wary,
-guarded, judicious. (Reckless, heedless, rash,
-unadvised, foolhardy, precipitate.)</p>
-
-<p>DISCREPANCY—disagreement, discordance, incongruity,
-disparity, unfitness, clash, jar. (Concord,
-unison, harmony, congruity.)</p>
-
-<p>DISCRIMINATION—distinction, differentiation,
-discernment, appreciation, acuteness, judgment,
-tact, nicety. (Confusion.)</p>
-
-<p>DISEASE—illness, sickness, ailment, indisposition,
-complaint, malady, disorder. (Health, sanity,
-soundness, robustness.)</p>
-
-<p>DISGRACE, <i>n.</i>—stigma, reproach, brand, dishonor,
-shame, scandal, odium, infamy. (Honor.)</p>
-
-<p>DISGUST—distaste, loathing, nausea, aversion, revulsion,
-abhorrence. (Predilection, partiality, inclination,
-bias.)</p>
-
-<p>DISHONEST—fraudulent, unfair, tricky, unjust.
-(Straightforward, open, sincere, honest, fair, right,
-just, impartial.)</p>
-
-<p>DISMAY, <i>v.</i>—alarm, startle, scare, frighten, affright,
-terrify, astound, appal, daunt. (Assure, cheer.)</p>
-
-<p>DISMAY, <i>n.</i>—terror, dread, fear, fright. (Courage.)</p>
-
-<p>DISMISS—send off, discharge, disband. (Instal,
-retain, keep.)</p>
-
-<p>DISPEL—scatter, disperse, dissipate, drive off,
-chase. (Collect, rally, summon, gather.)</p>
-
-<p>DISPLAY, <i>v.</i>—exhibit, show, parade. (Conceal.)</p>
-
-<p>DISPOSE—arrange, place, order, marshal, rank,
-group, assort, distribute, co-ordinate, collocate.
-(Derange, embroil, jumble, muddle, huddle.)</p>
-
-<p>DISPUTE, <i>v.</i>—discuss, debate, wrangle, controvert,
-contend. (Homologate, acquiesce in, assent to.)</p>
-
-<p>DISPUTE, <i>n.</i>—argument, controversy, contention,
-polemic. (Homologation, acquiescence.)</p>
-
-<p>DISTINCT—separate, detached. (Joined, involved.)</p>
-
-<p>DISTINGUISH—perceive, separate. (Confound.)</p>
-
-<p>DISTINGUISHED—famous, noted, marked, eminent,
-celebrated, illustrious. (Obscure, mean.)</p>
-
-<p>DISTRACT—divert, disconcert, perplex, bewilder,
-fluster, dazzle. (Observe, study, note, mark.)</p>
-
-<p>DISTRIBUTE—disperse, disseminate, dispense, retail,
-apportion, consign, dole out. (Accumulate.)</p>
-
-<p>DISTURB—derange, displace, unsettle, trouble, vex,
-worry, annoy. (Compose, pacify, quiet, soothe.)</p>
-
-<p>DIVIDE—disjoin, part, separate, sunder, sever,
-cleave, split, rend, partition, distribute. (Constitute,
-unite.)</p>
-
-<p>DIVINE, <i>a.</i>—God-like, holy, heavenly. (Devilish.)</p>
-
-<p>DIVINE, <i>n.</i>—clergyman, churchman, priest, pastor,
-shepherd, parson, minister. (Layman.)</p>
-
-<p>DO—effect, make, accomplish, transact, act.</p>
-
-<p>DOCILE—teachable, willing. (Refractory, stubborn,
-obstinate.)</p>
-
-<p>DOCTRINE—teaching, lore, tenet, dogma, articles
-of faith, creed. (Ignorance, superstition.)</p>
-
-<p>DOLEFUL—woeful, dismal. (Joyous, merry.)</p>
-
-<p>DOOM, <i>n.</i>—sentence, fate, lot, destiny, decree.</p>
-
-<p>DOUBT—uncertainty, skepticism, hesitation. (Certainty,
-faith.)</p>
-
-<p>DRAW—pull, attract, inhale, sketch, delineate.</p>
-
-<p>DREAD, <i>n.</i>—fear, horror, alarm, terror, dismay,
-apprehension. (Confidence, fearlessness.)</p>
-
-<p>DREADFUL—fearful, alarming, formidable, portentous,
-direful, terrible, horrid, awful. (Mild,
-winsome, gentle.)</p>
-
-<p>DRESS, <i>n.</i>—clothing, raiment, attire, apparel,
-clothes, <i>trousseau</i>. (Nudity, nakedness.)</p>
-
-<p>DRIFT—tendency, direction, course, bearing, tenor.</p>
-
-<p>DROLL—funny, laughable, grotesque, farcical, odd.
-(Dull, serious, solemn, grave.)</p>
-
-<p>DRY, <i>a.</i>—arid, parched, bald, flat, dull. (Aqueous,
-green, fresh, juicy, interesting.)</p>
-
-<p>DUE—owing, indebted, just, fair, proper.</p>
-
-<p>DULL—heavy, sad, commonplace, gloomy, stupid.
-(Bright, gay, brilliant.)</p>
-
-<p><span class="pagenum"><a id="Page_97"></a>[97]</span></p>
-
-<p>DUNCE—blockhead, ignoramus, simpleton, donkey,
-ninny, dolt, booby, goose, dullard, numskull, dunderpate,
-clodhopper. (Sage, genius, man of
-talent, wit.)</p>
-
-<p>DURABLE—abiding, lasting. (Evanescent.)</p>
-
-<p>DWELL—stay, abide, sojourn, remain, tarry, stop.
-(Shift, wander, remove, tramp.)</p>
-
-<p>DWINDLE—pine, waste, shrink, shrivel, diminish.</p>
-
-<p class="tb">EAGER—keen, desirous, craving, ardent, impatient,
-intent, impetuous. (Loth, reluctant.)</p>
-
-<p>EARN—gain, win, acquire. (Lose, miss, forfeit.)</p>
-
-<p>EARNEST, <i>a.</i>—serious, resolved. (Trifling, giddy,
-irresolute, fickle.)</p>
-
-<p>EARNEST, <i>n.</i>—pledge, gage, deposit, caution.</p>
-
-<p>EASE, <i>n.</i>—content, rest, satisfaction, comfort, repose.
-(Worry, bother, friction, agitation, turmoil.)</p>
-
-<p>EASE, <i>v.</i>—calm, console, appease, assuage, allay,
-mitigate. (Worry, fret, alarm, gall, harass.)</p>
-
-<p>EASY—light, comfortable, unconstrained. (Hard,
-difficult, embarrassed, constrained.)</p>
-
-<p>ECCENTRIC—wandering, irregular, peculiar, odd,
-unwonted, extraordinary, queer, nondescript.
-(Orderly, customary.)</p>
-
-<p>ECONOMICAL—frugal, thrifty, provident. (Squandering,
-wasteful.)</p>
-
-<p>EDGE—verge, brink, brim, rim, skirt, hem.</p>
-
-<p>EFFECT, <i>v.</i>—produce, bring about, execute.</p>
-
-<p>EFFECTIVE—efficient, operative, powerful, efficacious,
-competent. (Impotent, incapable, incompetent,
-inefficient.)</p>
-
-<p>EFFICACY—efficiency, virtue, competence, agency,
-instrumentality.</p>
-
-<p>ELIMINATE—expel, weed, thin, decimate, exclude,
-bar, reject, repudiate, winnow, eject, cast out.
-(Include, comprehend, incorporate, embrace.)</p>
-
-<p>ELOQUENCE—oratory, rhetoric, declamation, facundity,
-grandiloquence, fluency. (Mumbling,
-stammering.)</p>
-
-<p>ELUCIDATE—clear up, unfold, simplify, explain,
-decipher, unravel, disentangle. (Darken, obscure.)</p>
-
-<p>ELUDE—escape, avoid, shun, slip, disappear, shirk.</p>
-
-<p>EMBARRASS—perplex, entangle, involve, impede.
-(Relieve, unravel.)</p>
-
-<p>EMBELLISH—adorn, decorate, beautify. (Tarnish,
-disfigure.)</p>
-
-<p>EMBOLDEN—animate, encourage, cheer, instigate,
-impel, urge, stimulate. (Discourage, dispirit,
-dampen, depress.)</p>
-
-<p>EMINENT—exalted, lofty, prominent, renowned,
-distinguished, famous, glorious, illustrious. (Base,
-obscure, low, unknown.)</p>
-
-<p>EMIT—send out, despatch, spirt, publish, promulgate,
-edit. (Reserve, conceal, hide.)</p>
-
-<p>EMOTION—feeling, sensation, pathos, nerve, ardor,
-agitation, excitement. (Apathy, frigidity, phlegm,
-<i>nonchalance</i>.)</p>
-
-<p>EMPLOY—occupy, engage, utilize, exercise, turn
-to account, exploit, make use of.</p>
-
-<p>ENCOMPASS—encircle, surround, gird, beset.</p>
-
-<p>ENCOUNTER, <i>v.</i>—meet, run against, clash.</p>
-
-<p>ENCOUNTER, <i>n.</i>—attack, conflict, assault, onset,
-engagement.</p>
-
-<p>END, <i>n.</i>—object, aim, result, purpose, conclusion,
-upshot, termination. (Beginning, motive.)</p>
-
-<p>ENDEAVOR, <i>v.</i>—attempt, try, essay, strive.</p>
-
-<p>ENDURANCE—stay, stability, stamina, fortitude.</p>
-
-<p>ENDURE—sustain, bear, brook, undergo.</p>
-
-<p>ENEMY—foe, antagonist, adversary, opponent.
-(Friend, ally.)</p>
-
-<p>ENERGETIC—active, vigorous, sinewy, nervous,
-forcible. (Lazy, languid, inert, flabby, flaccid,
-slack, effete.)</p>
-
-<p>ENGAGE—occupy, busy, entice, captivate.</p>
-
-<p>ENGROSS—monopolize, absorb, take up.</p>
-
-<p>ENGULF—swallow up, drown, submerge, bury.</p>
-
-<p>ENJOIN—order, command, decree, ordain, direct,
-appoint, prescribe, bind, impose, stipulate.</p>
-
-<p>ENJOYMENT—pleasure, relish, zest. (Privation,
-grief, misery.)</p>
-
-<p>ENLARGE—expand, widen, augment, broaden, increase,
-extend. (Diminish, narrow, straighten.)</p>
-
-<p>ENLIGHTEN—illumine, instruct. (Darken, befog,
-mystify.)</p>
-
-<p>ENLIVEN—cheer, animate, exhilarate, brighten,
-incite, inspire. (Sadden, deaden, mortify.)</p>
-
-<p>ENMITY—hostility, hatred, antipathy, aversion,
-detestation. (Love, fondness, predilection.)</p>
-
-<p>ENORMOUS—huge, immense, vast, stupendous,
-monstrous, gigantic, colossal, elephantine. (Tiny,
-little, minute, puny, petty, diminutive, infinitesimal,
-dwarfish.)</p>
-
-<p>ENOUGH—sufficient, adequate. (Short, scrimp,
-insufficient.)</p>
-
-<p>ENRAGED—infuriated, wrathful, wroth, rabid, mad,
-raging. (Pacified, calmed, lulled, assuaged.)</p>
-
-<p>ENRAPTURE—captivate, fascinate, enchant, bewitch,
-ravish, transport, entrance. (Irritate, gall,
-shock, repel.)</p>
-
-<p>ENROLL—enlist, register, enter, record.</p>
-
-<p>ENTERPRISE—undertaking, endeavor, adventure,
-pursuit.</p>
-
-<p>ENTHUSIASM—ardor, zeal, glow, unction, fervor.
-(Coolness, indifference, apathy, <i>nonchalance</i>.)</p>
-
-<p>ENTHUSIAST—visionary, fanatic, devotee, zealot.</p>
-
-<p>EQUAL—even, level, co-ordinate, balanced, alike,
-equable, equitable. (Unequal, disproportionate.)</p>
-
-<p>ERADICATE—root out, extirpate. (Cherish.)</p>
-
-<p>ERRONEOUS—fallacious, inaccurate, incorrect,
-untrue, false, inexact. (Accurate, just, right.)</p>
-
-<p>ERROR—mistake, blunder, slip, delusion, fallacy,
-deception. (Truth, fact, verity, gospel, veracity.)</p>
-
-<p>ESPECIALLY—chiefly, particularly, peculiarly.</p>
-
-<p>ESSAY—endeavor, experiment, trial, attempt, venture,
-dissertation, treatise, disquisition, tract.</p>
-
-<p>ESTABLISH—settle, fix, set, plant, pitch, lay down,
-confirm, authenticate, substantiate, verify.</p>
-
-<p>ESTEEM, <i>n.</i>—value, appreciation, honor, regard.
-(Contempt, depreciation, disparagement.)</p>
-
-<p>ESTIMATE, <i>v.</i>—value, assess, rate, appraise, gauge.</p>
-
-<p>ETERNAL—everlasting, perpetual, endless, immortal,
-infinite. (Finite, transitory, temporary.)</p>
-
-<p><span class="pagenum"><a id="Page_98"></a>[98]</span></p>
-
-<p>EVADE—avoid, shun, elude, dodge, parry.</p>
-
-<p>EVEN—plain, flat, level, smooth. (Uneven, rough,
-indented, protuberant.)</p>
-
-<p>EVENT—occurrence, incident, affair, transaction,
-contingency.</p>
-
-<p>EVIL—ill, harm, mischief, disaster, bane, calamity,
-catastrophe. (Good, benefit, advantage, boon.)</p>
-
-<p>EXACT, <i>a.</i>—precise, literal, particular, correct.</p>
-
-<p>EXAMINATION—investigation, inquiry, search,
-research, scrutiny, exploration, test, sitting, trial.</p>
-
-<p>EXCEED—excel, outdo, transcend, surpass.</p>
-
-<p>EXCEPTIONAL—uncommon, unusual, rare, extraordinary.
-(General, ordinary, regular, normal.)</p>
-
-<p>EXCITE—urge, rouse, stir, awaken. (Assuage,
-calm, still, tranquilize.)</p>
-
-<p>EXCURSION—tour, trip, expedition, ramble.</p>
-
-<p>EXEMPT—free, absolved, cleared, discharged.
-(Implicated, included, bound, obliged.)</p>
-
-<p>EXERCISE, <i>n.</i>—operation, practice, office, action,
-performance. (Stagnation, rest, stoppage.)</p>
-
-<p>EXHAUSTIVE—complete, thorough, out-and-out.</p>
-
-<p>EXIGENCY—predicament, emergency, crisis, push,
-pass, turning point, conjecture.</p>
-
-<p>EXPRESS, <i>v.</i>—utter, tell, declare, signify.</p>
-
-<p>EXTRAVAGANT—excessive, prodigal, profuse,
-wasteful, lavish, thriftless. (Penurious, stingy.)</p>
-
-<p class="tb">FABLE—parable, tale, myth, romance. (Truth,
-fact, history, event, deed.)</p>
-
-<p>FACE—aspect, visage, countenance.</p>
-
-<p>FACETIOUS—pleasant, jocular. (Serious.)</p>
-
-<p>FACTOR—manager, agent, officer.</p>
-
-<p>FAIL—fall short, be deficient. (Accomplish.)</p>
-
-<p>FAINT—feeble, languid. (Forcible.)</p>
-
-<p>FAIR—clear. (Stormy.)</p>
-
-<p>FAIR—equitable, honest, reasonable. (Unfair.)</p>
-
-<p>FAITH—creed. (Unbelief, infidelity.)</p>
-
-<p>FAITHFUL—true, loyal, constant. (Faithless.)</p>
-
-<p>FAITHLESS—perfidious, treacherous. (Faithful.)</p>
-
-<p>FALL—drop, droop, sink, tumble. (Rise.)</p>
-
-<p>FAME—renown, reputation.</p>
-
-<p>FAMOUS—celebrated, renowned. (Obscure.)</p>
-
-<p>FANCIFUL—capricious, fantastical, whimsical.</p>
-
-<p>FANCY—imagination.</p>
-
-<p>FAST—rapid, quick, fleet, expeditious. (Slow.)</p>
-
-<p>FATIGUE—weariness, lassitude. (Vigor.)</p>
-
-<p>FEAR—timidity, timorousness. (Bravery.)</p>
-
-<p>FEELING—sensation, sense.</p>
-
-<p>FEELING—sensibility. (Insensibility.)</p>
-
-<p>FEROCIOUS—fierce, savage, wild. (Mild.)</p>
-
-<p>FERTILE—fruitful, prolific, plenteous. (Sterile.)</p>
-
-<p>FICTION—falsehood, fabrication. (Fact.)</p>
-
-<p>FIGURE—allegory, emblem, metaphor, symbol,
-picture, type.</p>
-
-<p>FIND—descry, discover, espy. (Lose, overlook.)</p>
-
-<p>FINE, <i>a.</i>—delicate, nice. (Coarse.)</p>
-
-<p>FINE, <i>n.</i>—forfeit, forfeiture, mulct, penalty.</p>
-
-<p>FIRE—glow, heat, warmth.</p>
-
-<p>FIRM—constant, solid, steadfast, fixed. (Weak.)</p>
-
-<p>FIRST—foremost, chief, earliest. (Last.)</p>
-
-<p>FIT—accommodate, adapt, adjust, suit.</p>
-
-<p>FIX—determine, establish, settle, limit.</p>
-
-<p>FLAME—blaze, flare, flash, glare.</p>
-
-<p>FLAT—level, even.</p>
-
-<p>FLEXIBLE—pliant, pliable, ductile. (Inflexible.)</p>
-
-<p>FLOURISH—prosper, thrive. (Decay.)</p>
-
-<p>FLUCTUATING—wavering, hesitating, oscillating,
-vacillating, change. (Firm, steadfast, decided.)</p>
-
-<p>FLUENT—flowing, glib, voluble, unembarrassed,
-ready. (Hesitating.)</p>
-
-<p>FOLKS—persons, people, individuals.</p>
-
-<p>FOLLOW—succeed, ensue, imitate, copy, pursue.</p>
-
-<p>FOLLOWER—partisan, disciple, adherent, retainer,
-pursuer, successor.</p>
-
-<p>FOLLY—silliness, foolishness, imbecility, weakness.
-(Wisdom.)</p>
-
-<p>FOND—enamored, attached, affectionate. (Distant.)</p>
-
-<p>FONDNESS—affection, attachment, kindness, love.
-(Aversion.)</p>
-
-<p>FOOLHARDY—venturesome, incautious, hasty, adventurous,
-rash. (Cautious.)</p>
-
-<p>FOOLISH—simple, silly, irrational, brainless, imbecile,
-crazy, absurd, preposterous, ridiculous,
-nonsensical. (Wise, discreet.)</p>
-
-<p>FOP—dandy, dude, beau, coxcomb, puppy, jackanapes.
-(Gentleman.)</p>
-
-<p>FORBEAR—abstain, refrain, withhold.</p>
-
-<p>FORCE, <i>n.</i>—strength, vigor, dint, might, energy,
-power, violence, army, host.</p>
-
-<p>FORCE, <i>v.</i>—compel. (Persuade.)</p>
-
-<p>FORECAST—forethought, foresight, premeditation,
-prognostication.</p>
-
-<p>FOREGO—quit, relinquish, let go, waive.</p>
-
-<p>FOREGOING—antecedent, anterior, preceding, previous,
-prior, former.</p>
-
-<p>FORERUNNER—herald, harbinger, precursor.</p>
-
-<p>FORESIGHT—forethought, forecast, premeditation.</p>
-
-<p>FORGE—coin, invent, frame, feign, fabricate.</p>
-
-<p>FORGIVE—pardon, remit, absolve, acquit, excuse.</p>
-
-<p>FORLORN—forsaken, abandoned, deserted, desolate,
-lone, lonesome.</p>
-
-<p>FORM, <i>n.</i>—ceremony, solemnity, observance, rite,
-figure, shape, conformation, fashion, appearance,
-representation, semblance.</p>
-
-<p>FORM, <i>v.</i>—make, create, produce, constitute, arrange,
-fashion, mould, shape.</p>
-
-<p>FORMAL—ceremonious, precise, exact, stiff, methodical,
-affected. (Informal, natural.)</p>
-
-<p>FORMER—antecedent, anterior, previous, prior,
-preceding, foregoing.</p>
-
-<p>FORSAKEN—abandoned, forlorn, deserted, desolate,
-lone, lonesome.</p>
-
-<p>FORTHWITH—immediately, directly, instantly,
-instantaneously. (Anon.)</p>
-
-<p>FORTITUDE—endurance, resolution, fearlessness,
-dauntlessness. (Weakness.)</p>
-
-<p>FORTUNATE—lucky, happy, auspicious, successful,
-prosperous. (Unfortunate.)</p>
-
-<p><span class="pagenum"><a id="Page_99"></a>[99]</span></p>
-
-<p>FORTUNE—chance, fate, luck, doom, possession,
-destiny, property, riches.</p>
-
-<p>FOSTER—cherish, nurse, tend, harbor. (Neglect.)</p>
-
-<p>FOUL—impure, nasty, filthy, dirty, unclean, defiled.
-(Pure, clean.)</p>
-
-<p>FRACTIOUS—cross, captious, petulant, splenetic,
-touchy, testy, peevish, fretful. (Tractable.)</p>
-
-<p>FRAGILE—brittle, frail, delicate, feeble. (Strong.)</p>
-
-<p>FRAGMENTS—pieces, scraps, leavings, remnants,
-chips, remains.</p>
-
-<p>FRAILTY—weakness, failing, foible, imperfection,
-fault, blemish. (Strength.)</p>
-
-<p>FRAME, <i>v.</i>—construct, invent, coin, fabricate, feign,
-forge, mold, make, compose.</p>
-
-<p>FRANCHISE—right, exemption, immunity, privilege,
-freedom, suffrage.</p>
-
-<p>FRANK—artless, candid, sincere, free, easy, open,
-familiar, ingenious, plain. (Tricky, insincere.)</p>
-
-<p>FRANTIC—distracted, furious, raving, frenzied,
-mad. (Quiet, subdued.)</p>
-
-<p>FRAUD—deceit, deception, duplicity, guile, cheat,
-imposition. (Honesty.)</p>
-
-<p>FREAK—fancy, humor, vagary, whim, caprice,
-crochet. (Purpose, resolution.)</p>
-
-<p>FREE, <i>a.</i>—liberal, generous, bountiful, bounteous,
-munificent, frank, artless, candid, familiar, open,
-independent, unconfined, unreserved, unrestricted,
-exempt, clear, loose, easy, careless. (Slavish,
-stingy, artful, costly.)</p>
-
-<p>FREE, <i>v.</i>—release, set free, deliver, rescue, liberate,
-enfranchise, affranchise, emancipate, exempt.
-(Enslave, bind.)</p>
-
-<p>FREEDOM—liberty, independence, unrestraint,
-familiarity, franchise, exemption. (Slavery.)</p>
-
-<p>FREQUENT—often, common, general. (Rare.)</p>
-
-<p>FRET—gall, chafe, agitate, irritate, vex.</p>
-
-<p>FRIENDLY—amicable, social, sociable. (Distant,
-reserved, cool.)</p>
-
-<p>FRIGHTFUL—fearful, dreadful, dire, direful, awful,
-terrific, horrible, horrid.</p>
-
-<p>FRIVOLOUS—trifling, trivial, petty. (Serious.)</p>
-
-<p>FRUGAL—provident, economical, saving. (Wasteful,
-extravagant.)</p>
-
-<p>FRUITFUL—fertile, prolific, productive, abundant,
-plentiful, plenteous. (Barren, sterile.)</p>
-
-<p>FRUITLESS—vain, useless, idle, bootless, unavailing,
-without avail.</p>
-
-<p>FRUSTRATE—defeat, foil, balk, disappoint.</p>
-
-<p>FULFILL—accomplish, effect, complete.</p>
-
-<p>FULLY—completely, abundantly, perfectly.</p>
-
-<p>FULSOME—coarse, gross, sickening, offensive,
-rank. (Moderate.)</p>
-
-<p>FURIOUS—violent, boisterous, vehement, dashing,
-sweeping, rolling, impetuous, frantic, distracted,
-stormy, angry, raging, fierce. (Calm.)</p>
-
-<p>FUTILE—trifling, trivial, frivolous. (Effective.)</p>
-
-<p class="tb">GAIN, <i>n.</i>—profit, emolument, advantage, benefit,
-winnings, earnings. (Loss.)</p>
-
-<p>GAIN, <i>v.</i>—get, acquire, obtain, attain, procure,
-earn, win, achieve, reap, realize, reach. (Lose.)</p>
-
-<p>GALLANT—brave, bold, courageous, gay, showy,
-fine, intrepid, fearless, heroic.</p>
-
-<p>GALLING—chafing, irritating. (Soothing.)</p>
-
-<p>GAME—play, pastime, diversion, amusement.</p>
-
-<p>GANG—band, horde, company, troop, crew.</p>
-
-<p>GAP—breach, chasm, hollow, cavity, cleft, crevice,
-rift, chink.</p>
-
-<p>GARNISH—embellish, adorn, beautify, decorate.</p>
-
-<p>GATHER—pick, cull, assemble, muster, infer, collect.
-(Scatter.)</p>
-
-<p>GAUDY—showy, flashy, tawdry, gay, glittering, bespangled.
-(Sombre.)</p>
-
-<p>GAUNT—emaciated, scraggy, skinny, meagre, lank,
-attenuated, spare, lean, thin. (Well-fed.)</p>
-
-<p>GAY—cheerful, merry, lively, jolly, sprightly,
-blithe. (Solemn.)</p>
-
-<p>GENERATE—form, make, beget, produce.</p>
-
-<p>GENERATION—formation, race, breed, stock,
-kind, age, era.</p>
-
-<p>GENEROUS—beneficent, noble, honorable, bountiful,
-liberal, free. (Niggardly.)</p>
-
-<p>GENIAL—cordial, hearty, festive. (Distant, cold.)</p>
-
-<p>GENIUS—intellect, invention, talent, taste, nature,
-character, adept.</p>
-
-<p>GENTEEL—refined, polished, fashionable, polite,
-well-bred. (Boorish.)</p>
-
-<p>GENTLE—placid, mild, bland, meek, tame, docile.
-(Rough, uncouth.)</p>
-
-<p>GENUINE—real, true, unaffected. (False.)</p>
-
-<p>GESTURE—attitude, action, posture.</p>
-
-<p>GET—obtain, earn, gain, attain, procure, achieve.</p>
-
-<p>GHASTLY—pallid, wan, hideous, grim, shocking.</p>
-
-<p>GHOST—spectre, sprite, apparition, phantom.</p>
-
-<p>GIBE—scoff, sneer, flout, jeer, mock, taunt, deride.</p>
-
-<p>GIDDY—unsteady, thoughtless. (Steady.)</p>
-
-<p>GIFT—donation, benefaction, grant, alms, gratuity,
-boon, present, faculty, talent. (Purchase.)</p>
-
-<p>GIGANTIC—colossal, huge, enormous, prodigious,
-vast, immense. (Diminutive.)</p>
-
-<p>GIVE—grant, bestow, confer, yield, impart.</p>
-
-<p>GLAD—pleased, cheerful, joyful, gladsome, cheering,
-gratified. (Sad.)</p>
-
-<p>GLEAM—glimmer, glance, glitter, shine, flash.</p>
-
-<p>GLEE—gayety, merriment, mirth, joviality, joy,
-hilarity. (Sorrow.)</p>
-
-<p>GLIDE—slip, slide, run, roll on.</p>
-
-<p>GLIMMER, <i>v.</i>—gleam, flicker, glitter.</p>
-
-<p>GLIMPSE—glance, look, glint.</p>
-
-<p>GLITTER—gleam, shine, glisten, glister, radiate.</p>
-
-<p>GLOOM—cloud, darkness, dimness, blackness, dullness,
-sadness. (Light, brightness, joy.)</p>
-
-<p>GLOOMY—lowering, lurid, dim, dusky, sad, glum.
-(Bright, clear.)</p>
-
-<p>GLORIFY—magnify, celebrate, adore, exalt.</p>
-
-<p>GLORIOUS—famous, renowned, distinguished, exalted,
-noble. (Infamous.)</p>
-
-<p>GLORY—honor, fame, renown, splendor, grandeur.
-(Infamy.)</p>
-
-<p>GLUT—gorge, stuff, cram, cloy, satiate, block up.</p>
-
-<p><span class="pagenum"><a id="Page_100"></a>[100]</span></p>
-
-<p>GO—depart, proceed, move, budge, stir.</p>
-
-<p>GOD—Creator, Lord, Almighty, Jehovah, Omnipotence,
-Providence.</p>
-
-<p>GODLY—righteous, devout, holy, pious, religious.</p>
-
-<p>GOOD—benefit, weal, advantage, profit. (Evil.)</p>
-
-<p>GOOD, <i>a.</i>—virtuous, righteous, upright, just, true.
-(Wicked, bad.)</p>
-
-<p>GORGE—glut, fill, cram, stuff, satiate.</p>
-
-<p>GORGEOUS—superb, grand, magnificent, splendid.
-(Plain, simple.)</p>
-
-<p>GOVERN—rule, direct, manage, command.</p>
-
-<p>GOVERNMENT—rule, state, control, sway.</p>
-
-<p>GRACEFUL—becoming, comely, elegant, beautiful.
-(Awkward.)</p>
-
-<p>GRACIOUS—merciful, kindly, beneficent.</p>
-
-<p>GRADUAL—slow, progressive. (Sudden.)</p>
-
-<p>GRAND—majestic, stately, dignified, lofty, elevated,
-exalted, splendid, gorgeous, superb, magnificent,
-sublime, pompous. (Shabby.)</p>
-
-<p>GRANT—bestow, impart, give, yield, cede, allow,
-confer, invest.</p>
-
-<p>GRANT—gift, boon, donation.</p>
-
-<p>GRAPHIC—forcible, telling, picturesque, pictorial.</p>
-
-<p>GRASP—catch, seize, gripe, clasp, grapple.</p>
-
-<p>GRATEFUL—agreeable, pleasing, welcome, thankful.
-(Harsh.)</p>
-
-<p>GRATIFICATION—enjoyment, pleasure, delight,
-reward. (Disappointment.)</p>
-
-<p>GRAVE, <i>a.</i>—serious, sedate, solemn, sober, pressing,
-heavy. (Giddy.)</p>
-
-<p>GRAVE, <i>n.</i>—tomb, sepulchre, vault.</p>
-
-<p>GREAT—big, huge, large, majestic, vast, grand,
-noble, august. (Small.)</p>
-
-<p>GREEDINESS—avidity, eagerness. (Generosity.)</p>
-
-<p>GRIEF—affliction, sorrow, trial, tribulation. (Joy.)</p>
-
-<p>GRIEVE—mourn, lament, sorrow, pain, wound,
-hurt, bewail. (Rejoice.)</p>
-
-<p>GRIEVOUS—painful, afflicting, heavy, unhappy.</p>
-
-<p>GRIND—crush, oppress, grate, harass, afflict.</p>
-
-<p>GRISLY—terrible, hideous, grim, ghastly, dreadful.
-(Pleasing.)</p>
-
-<p>GROSS—coarse, outrageous, unseemly, shameful,
-indelicate. (Delicate.)</p>
-
-<p>GROUP—assembly, cluster, collection, clump, order.</p>
-
-<p>GROVEL—crawl, cringe, fawn, sneak.</p>
-
-<p>GROW—increase, vegetate, expand, advance. (Decay,
-diminution.)</p>
-
-<p>GROWL—grumble, snarl, murmur, complain.</p>
-
-<p>GRUDGE—malice, rancor, spite, pique, hatred.</p>
-
-<p>GRUFF—rough, rugged, blunt, rude, harsh, surly,
-bearish. (Pleasant.)</p>
-
-<p>GUILE—deceit, fraud. (Candor.)</p>
-
-<p>GUILTLESS—harmless, innocent.</p>
-
-<p>GUILTY—culpable, sinful, criminal.</p>
-
-<p class="tb">HABIT—custom, practice.</p>
-
-<p>HAIL—accost, address, greet, salute, welcome.</p>
-
-<p>HAPPINESS—beatitude, blessedness, bliss, felicity.
-(Unhappiness.)</p>
-
-<p>HARBOR—haven, port.</p>
-
-<p>HARD—firm, solid. (Soft.)</p>
-
-<p>HARD—arduous, difficult. (Easy.)</p>
-
-<p>HARM—injury, hurt, wrong, infliction. (Benefit.)</p>
-
-<p>HARMLESS—safe, innocuous, innocent. (Hurtful.)</p>
-
-<p>HARSH—rough, rigorous, severe, gruff. (Gentle.)</p>
-
-<p>HASTEN—accelerate, dispatch, expedite. (Delay.)</p>
-
-<p>HASTY—hurried, ill-advised. (Deliberate.)</p>
-
-<p>HATEFUL—odious, detestable. (Lovable.)</p>
-
-<p>HATRED—enmity, ill-will, rancor. (Friendship.)</p>
-
-<p>HAUGHTINESS—arrogance, pride. (Modesty.)</p>
-
-<p>HAUGHTY—arrogant, disdainful, supercilious.</p>
-
-<p>HAZARD—risk, venture.</p>
-
-<p>HEALTHY—salubrious, salutary. (Unhealthy.)</p>
-
-<p>HEAP—accumulate, amass, pile.</p>
-
-<p>HEARTY—cordial, sincere, warm. (Insincere.)</p>
-
-<p>HEAVY—burdensome, ponderous. (Light.)</p>
-
-<p>HEED—care, attention.</p>
-
-<p>HEIGHTEN—enhance, exalt, elevate, raise.</p>
-
-<p>HEINOUS—atrocious, flagrant. (Venial.)</p>
-
-<p>HELP—aid, assist, relieve, succor. (Hinder.)</p>
-
-<p>HERETIC—sectary, sectarian, schismatic, dissenter,
-non-conformist.</p>
-
-<p>HESITATE—falter, stammer, stutter.</p>
-
-<p>HIDEOUS—grim, ghastly, grisly. (Beautiful.)</p>
-
-<p>HIGH—lofty, tall, elevated. (Deep.)</p>
-
-<p>HINDER—impede, obstruct, prevent. (Help.)</p>
-
-<p>HINT—allude, refer, suggest, intimate, insinuate.</p>
-
-<p>HOLD—detain, keep, retain.</p>
-
-<p>HOLINESS—sanctity, piety, sacredness.</p>
-
-<p>HOLY—devout, pious, religious.</p>
-
-<p>HOMELY—plain, ugly, coarse. (Beautiful.)</p>
-
-<p>HONESTY—integrity, probity, uprightness. (Dishonesty.)</p>
-
-<p>HONOR, <i>v.</i>—respect, reverence. (Dishonor.)</p>
-
-<p>HOPE—confidence, expectation, trust.</p>
-
-<p>HOPELESS—desperate.</p>
-
-<p>HOT—ardent, burning, fiery. (Cold.)</p>
-
-<p>HOWEVER—nevertheless, notwithstanding, yet.</p>
-
-<p>HUMBLE—modest, submissive, plain, unostentatious,
-simple. (Haughty.)</p>
-
-<p>HUMBLE—degrade, humiliate, mortify. (Exalt.)</p>
-
-<p>HUMOR—mood, temper.</p>
-
-<p>HUNT—seek, chase.</p>
-
-<p>HURTFUL—noxious, pernicious. (Beneficial.)</p>
-
-<p>HUSBANDRY—cultivation, tillage.</p>
-
-<p>HYPOCRITE—dissembler, imposter, canter.</p>
-
-<p>HYPOTHESIS—theory, supposition.</p>
-
-<p class="tb">IDEA—thought, imagination.</p>
-
-<p>IDEAL—imaginary, fancied. (Actual.)</p>
-
-<p>IDLE—indolent, lazy. (Industrious.)</p>
-
-<p>IGNOMINIOUS—shameful, scandalous, infamous.
-(Honorable.)</p>
-
-<p>IGNOMINY—shame, disgrace, obloquy, reproach.</p>
-
-<p>IGNORANT—unlearned, illiterate, uninformed,
-uneducated. (Knowing.)</p>
-
-<p><span class="pagenum"><a id="Page_101"></a>[101]</span></p>
-
-<p>ILL, <i>n.</i>—evil, wickedness, misfortune, mischief,
-harm. (Good.)</p>
-
-<p>ILL, <i>a.</i>—sick, indisposed, diseased. (Well.)</p>
-
-<p>ILL-TEMPERED—crabbed, sour, acrimonious,
-surly. (Good-natured.)</p>
-
-<p>ILL-WILL—enmity, antipathy. (Good-will.)</p>
-
-<p>ILLEGAL—unlawful, illicit, contraband, illegitimate.
-(Legal.)</p>
-
-<p>ILLIMITABLE—boundless, immeasurable, infinite.</p>
-
-<p>ILLITERATE—unlettered, unlearned, untaught,
-uninstructed. (Learned, educated.)</p>
-
-<p>ILLUSION—fallacy, deception, phantasm.</p>
-
-<p>ILLUSORY—imaginary, chimerical. (Real.)</p>
-
-<p>ILLUSTRATE—explain, elucidate, clear.</p>
-
-<p>ILLUSTRIOUS—celebrated, noble, eminent, famous,
-renowned. (Obscure.)</p>
-
-<p>IMAGE—likeness, picture, representation, effigy.</p>
-
-<p>IMAGINARY—ideal, fanciful, illusory. (Real.)</p>
-
-<p>IMAGINE—conceive, fancy, apprehend, think.</p>
-
-<p>IMBECILITY—silliness, senility, dotage.</p>
-
-<p>IMITATE—copy, ape, mimic, mock, counterfeit.</p>
-
-<p>IMMACULATE—unspotted, spotless, unsullied,
-stainless. (Soiled.)</p>
-
-<p>IMMEDIATE—pressing, instant, next, proximate.</p>
-
-<p>IMMEDIATELY—instantly, forthwith, directly.</p>
-
-<p>IMMENSE—vast, enormous, huge, prodigious.</p>
-
-<p>IMMUNITY—privilege, prerogative, exemption.</p>
-
-<p>IMPAIR—injure, diminish, decrease.</p>
-
-<p>IMPART—reveal, divulge, disclose, discover, afford.</p>
-
-<p>IMPARTIAL—just, equitable, unbiased. (Partial.)</p>
-
-<p>IMPASSIONED—glowing, burning, fiery, intense.</p>
-
-<p>IMPEACH—accuse, charge, arraign, censure.</p>
-
-<p>IMPEDE—hinder, retard, obstruct. (Help.)</p>
-
-<p>IMPEDIMENT—obstruction, hindrance, obstacle,
-barrier. (Aid.)</p>
-
-<p>IMPEL—animate, induce, incite, instigate, embolden.
-(Retard.)</p>
-
-<p>IMPENDING—imminent, threatening.</p>
-
-<p>IMPERATIVE—commanding, authoritative.</p>
-
-<p>IMPERFECTION—fault, blemish, defect, vice.</p>
-
-<p>IMPERIL—endanger, hazard, jeopardize.</p>
-
-<p>IMPERIOUS—commanding, dictatorial, imperative,
-authoritative, lordly, overbearing, domineering.</p>
-
-<p>IMPERTINENT—intrusive, meddling, officious,
-rude, saucy, impudent, insolent.</p>
-
-<p>IMPETUOUS—violent, boisterous, furious, vehement.
-(Calm.)</p>
-
-<p>IMPIOUS—profane, irreligious. (Reverent.)</p>
-
-<p>IMPLICATE—involve, entangle, embarrass.</p>
-
-<p>IMPLY—involve, comprise, infold, import, denote.</p>
-
-<p>IMPORTANCE—signification, significance, avail,
-consequence, weight, gravity, moment.</p>
-
-<p>IMPOSING—impressive, striking, majestic, august,
-noble, grand. (Insignificant.)</p>
-
-<p>IMPOTENCE—weakness, incapacity, infirmity,
-frailty, feebleness. (Power.)</p>
-
-<p>IMPOTENT—weak, feeble, helpless, enfeebled,
-nerveless, infirm. (Strong.)</p>
-
-<p>IMPRESSIVE—stirring, forcible, exciting, moving.</p>
-
-<p>IMPRISON—incarcerated, shut up, immure, confine.
-(Liberate.)</p>
-
-<p>IMPRISONMENT—captivity, durance.</p>
-
-<p>IMPROVE—amend, better, mend, reform, rectify,
-ameliorate, apply, use, employ. (Deteriorate.)</p>
-
-<p>IMPROVIDENT—careless, incautious, imprudent,
-prodigal, wasteful, reckless, rash. (Thrifty.)</p>
-
-<p>IMPUDENCE—assurance, impertinence, confidence,
-insolence, rudeness.</p>
-
-<p>IMPUDENT—saucy, brazen, bold, impertinent,
-forward, rude, insolent, immodest, shameless.</p>
-
-<p>IMPULSE—incentive, incitement, instigation.</p>
-
-<p>IMPULSIVE—rash, hasty, forcible. (Deliberate.)</p>
-
-<p>IMPUTATION—blame, censure, reproach, charge.</p>
-
-<p>INADVERTENCY—error, oversight, blunder, inattention,
-carelessness, negligence.</p>
-
-<p>INCENTIVE—motive, inducement, impulse.</p>
-
-<p>INCITE—instigate, excite, provoke, stimulate, urge,
-encourage, impel.</p>
-
-<p>INCLINATION—leaning, slope, disposition, bent,
-tendency, bias, affection, attachment, wish, liking,
-desire. (Aversion.)</p>
-
-<p>INCLINE, <i>v.</i>—slope, lean, slant, tend, bend, turn,
-bias, dispose.</p>
-
-<p>INCLOSE—surround, shut in, fence in, cover, wrap.</p>
-
-<p>INCLUDE—comprehend, comprise, contain, take
-in, embrace.</p>
-
-<p>INCOMMODE—annoy, plague, molest, disturb,
-inconvenience, trouble. (Accommodate.)</p>
-
-<p>INCOMPETENT—incapable, unable, inadequate.</p>
-
-<p>INCREASE, <i>v.</i>—extend, enlarge, augment, dilate,
-expand, amplify, raise, enhance, aggravate, magnify,
-grow. (Diminish.)</p>
-
-<p>INCREASE, <i>n.</i>—augmentation, accession, addition,
-enlargement, extension. (Decrease.)</p>
-
-<p>INCUMBENT—obligatory.</p>
-
-<p>INDEFINITE—vague, uncertain, unsettled, loose,
-lax. (Definite.)</p>
-
-<p>INDICATE—point out, show, mark.</p>
-
-<p>INDIFFERENCE—apathy, carelessness, listlessness,
-insensibility. (Application, assiduity.)</p>
-
-<p>INDIGENCE—want, neediness, penury, poverty,
-destitution, privation. (Affluence.)</p>
-
-<p>INDIGNATION—anger, wrath, ire, resentment.</p>
-
-<p>INDIGNITY—insult, affront, outrage, opprobrium,
-obloquy, reproach, ignominy. (Honor.)</p>
-
-<p>INDISCRIMINATE—promiscuous, chance, indistinct,
-confused. (Select, chosen.)</p>
-
-<p>INDISPENSABLE—essential, necessary, requisite,
-expedient. (Unnecessary, supernumerary.)</p>
-
-<p>INDISPUTABLE—undeniable, undoubted, incontestable,
-indubitable, unquestionable, infallible.</p>
-
-<p>INDORSE—ratify, confirm, superscribe.</p>
-
-<p>INDULGE—foster, cherish, fondle. (Deny.)</p>
-
-<p>INEFFECTUAL—vain, useless, unavailing, fruitless,
-abortive, inoperative. (Effective.)</p>
-
-<p>INEQUALITY—disparity, disproportion, dissimilarity,
-unevenness. (Equality.)</p>
-
-<p>INEVITABLE—unavoidable, not to be avoided.</p>
-
-<p><span class="pagenum"><a id="Page_102"></a>[102]</span></p>
-
-<p>INFAMOUS—scandalous, shameful, ignominious,
-opprobrious, disgraceful. (Honorable.)</p>
-
-<p>INFERENCE—deduction, corollary, conclusion.</p>
-
-<p>INFERNAL—diabolical, fiendish, devilish, hellish.</p>
-
-<p>INFEST—annoy, plague, harass, disturb.</p>
-
-<p>INFIRM—weak, feeble, enfeebled. (Robust.)</p>
-
-<p>INFLAME—anger, irritate, enrage, chafe, incense,
-nettle, aggravate, embitter, exasperate. (Allay.)</p>
-
-<p>INFLUENCE, <i>v.</i>—bias, sway, prejudice, preposess.</p>
-
-<p>INFLUENCE, <i>n.</i>—credit, favor, reputation, weight,
-character, authority, sway, ascendancy.</p>
-
-<p>INFRINGE—invade, intrude, contravene, break,
-transgress, violate.</p>
-
-<p>INGENUOUS—artless, candid, generous, sincere,
-open, frank, plain. (Crafty.)</p>
-
-<p>INHUMAN—cruel, brutal, savage, barbarous, ruthless,
-merciless, ferocious. (Humane.)</p>
-
-<p>INIQUITY—injustice, wrong, grievance.</p>
-
-<p>INJURE—damage, hurt, deteriorate, wrong, spoil,
-aggrieve, harm, mar, sully. (Benefit.)</p>
-
-<p>INJURIOUS—hurtful, baneful, pernicious, deleterious,
-noxious, prejudicial, wrongful. (Beneficial.)</p>
-
-<p>INJUSTICE—wrong, iniquity, grievance. (Right.)</p>
-
-<p>INNOCENT—guiltless, sinless, harmless, inoffensive,
-innoxious. (Guilty.)</p>
-
-<p>INNOCUOUS—harmless, safe, innocent. (Hurtful.)</p>
-
-<p>INORDINATE—intemperate, irregular, disorderly,
-excessive, immoderate. (Moderate.)</p>
-
-<p>INQUIRY—investigation, examination, research,
-scrutiny, disquisition, question, interrogation.</p>
-
-<p>INQUISITIVE—prying, peeping, curious, peering.</p>
-
-<p>INSANE—deranged, delirious, demented. (Sane.)</p>
-
-<p>INSANITY—madness, mental aberration, lunacy,
-delirium. (Sanity.)</p>
-
-<p>INSINUATE—hint, intimate, suggest, infuse, introduce,
-ingratiate.</p>
-
-<p>INSIPID—dull, flat, mawkish, tasteless, inanimate,
-vapid, lifeless. (Bright, sparkling.)</p>
-
-<p>INSOLENT—rude, saucy, impertinent, abusive, pert,
-scurrilous, opprobrious, insulting, offensive.</p>
-
-<p>INSPIRE—animate, exhilarate, enliven, breathe,
-cheer, inhale.</p>
-
-<p>INSTABILITY—mutability, fickleness, mutableness,
-wavering. (Stability, firmness.)</p>
-
-<p>INSTIGATE—stir up, persuade, animate, stimulate,
-incite, urge, encourage.</p>
-
-<p>INSTIL—implant, inculcate, infuse, insinuate.</p>
-
-<p>INSTRUCT—inform, teach, educate, enlighten.</p>
-
-<p>INSTRUMENTAL—conducive, assistant, helping.</p>
-
-<p>INSUFFICIENCY—incompetency, incapability,
-inadequacy, deficiency, lack.</p>
-
-<p>INSULT—affront, outrage, indignity. (Honor.)</p>
-
-<p>INSULTING—insolent, impertinent, abusive, rude.</p>
-
-<p>INTEGRITY—uprightness, honesty, completeness,
-probity, entirety, entireness, purity. (Dishonesty.)</p>
-
-<p>INTELLECT—understanding, sense, brains, mind,
-intelligence, ability, talent, genius. (Body.)</p>
-
-<p>INTELLECTUAL—mental, metaphysical. (Brutal.)</p>
-
-<p>INTELLIGIBLE—clear, obvious, plain. (Abstruse.)</p>
-
-<p>INTEMPERATE—immoderate, excessive, drunken,
-nimious, inordinate. (Temperate.)</p>
-
-<p>INTENSE—ardent, earnest, glowing, fervid, burning,
-vehement.</p>
-
-<p>INTENT—design, purpose, intention, drift, view,
-aim, purport, meaning.</p>
-
-<p>INTERCOURSE—commerce, connection, intimacy.</p>
-
-<p>INTERDICT—forbid, prohibit, inhibit, proscribe,
-debar, restrain from. (Allow.)</p>
-
-<p>INTERFERE—meddle, intermeddle, interpose.</p>
-
-<p>INTERMINABLE—endless, interminate, infinite,
-unlimited, illimitable, boundless. (Brief.)</p>
-
-<p>INTERPOSE—intercede, arbitrate, mediate, interfere,
-meddle.</p>
-
-<p>INTERPRET—explain, expound, elucidate, unfold.</p>
-
-<p>INTIMATE—hint, suggest, insinuate, express, tell,
-signify, impart.</p>
-
-<p>INTIMIDATE—dishearten, alarm, frighten, scare,
-appal, daunt, cow, browbeat. (Encourage.)</p>
-
-<p>INTOLERABLE—insufferable, unbearable, insupportable,
-unendurable.</p>
-
-<p>INTREPID—bold, brave, daring, fearless, dauntless,
-undaunted, courageous, valorous, valiant,
-heroic, gallant, chivalrous, doughty. (Cowardly,
-faint-hearted.)</p>
-
-<p>INTRIGUE—plot, cabal, conspiracy, combination,
-artifice, ruse, <i>amour</i>.</p>
-
-<p>INTRINSIC—real, true, genuine, sterling, native,
-natural. (Extrinsic.)</p>
-
-<p>INVALIDATE—quash, cancel, overthrow, vacate,
-nullify, annul.</p>
-
-<p>INVASION—incursion, irruption, inroad, aggression,
-raid, fray.</p>
-
-<p>INVECTIVE—abuse, reproach, railing, censure,
-sarcasm, satire.</p>
-
-<p>INVENT—devise, contrive, frame, find out, discover.</p>
-
-<p>INVESTIGATION—examination, search, inquiry,
-research, scrutiny.</p>
-
-<p>INVETERATE—confirmed, chronic, malignant.
-(Inchoate.)</p>
-
-<p>INVIDIOUS—envious, hateful, odious, malignant.</p>
-
-<p>INVIGORATE—brace, harden, nerve, strengthen,
-fortify. (Enervate.)</p>
-
-<p>INVINCIBLE—unconquerable, impregnable, insurmountable.</p>
-
-<p>INVISIBLE—unseen, imperceptible, impalpable.</p>
-
-<p>INVITE—ask, call, bid, request, allure, attract.</p>
-
-<p>INVOKE—invocate, call upon, appeal, refer, implore,
-beseech.</p>
-
-<p>INVOLVE—implicate, entangle, compromise.</p>
-
-<p>IRKSOME—wearisome, tiresome, tedious, annoying.
-(Pleasant.)</p>
-
-<p>IRONY—sarcasm, satire, ridicule, raillery.</p>
-
-<p>IRRATIONAL—foolish, silly, imbecile, brutish,
-absurd, ridiculous. (Rational.)</p>
-
-<p>IRREGULAR—eccentric, anomalous, inordinate,
-intemperate. (Regular.)</p>
-
-<p>IRRELIGIOUS—profane, godless, impious, sacrilegious,
-desecrating.</p>
-
-<p>IRREPROACHABLE—blameless, spotless.</p>
-
-<p>IRRESISTIBLE—resistless, irrepressible.</p>
-
-<p><span class="pagenum"><a id="Page_103"></a>[103]</span></p>
-
-<p>IRRESOLUTE—wavering, undetermined, undecided,
-vacillating. (Determined.)</p>
-
-<p>IRRITABLE—excitable, irascible, susceptible, sensitive.
-(Calm.)</p>
-
-<p>IRRITATE—aggravate, worry, embitter, madden.</p>
-
-<p>ISSUE, <i>v.</i>—emerge, rise, proceed, flow, spring.</p>
-
-<p>ISSUE, <i>n.</i>—end, upshot, effect, result, offspring.</p>
-
-<p class="tb">JADE—harass, weary, tire, worry.</p>
-
-<p>JANGLE—wrangle, conflict, disagree.</p>
-
-<p>JARRING—conflicting, discordant, inconsonant.</p>
-
-<p>JAUNT—ramble, excursion, trip.</p>
-
-<p>JEALOUSY—suspicion, envy.</p>
-
-<p>JEOPARD—hazard, peril, endanger.</p>
-
-<p>JEST—joke, sport, divert, make game of.</p>
-
-<p>JOURNEY—travel, tour, passage.</p>
-
-<p>JOY—gladness, mirth, delight. (Grief.)</p>
-
-<p>JUDGE—justice, referee, arbitrator.</p>
-
-<p>JOYFUL—glad, rejoicing, exultant. (Mournful.)</p>
-
-<p>JUDGMENT—discernment, discrimination.</p>
-
-<p>JUSTICE—equity, right. Justice is right as established
-by law; equity according to the circumstances
-of each particular case. (Injustice.)</p>
-
-<p>JUSTNESS—accuracy, correctness, precision.</p>
-
-<p class="tb">KEEP—preserve, save. (Abandon.)</p>
-
-<p>KILL—assassinate, murder, slay.</p>
-
-<p>KINDRED—affinity, consanguinity, relationship.</p>
-
-<p>KNOWLEDGE—erudition, learning. (Ignorance.)</p>
-
-<p class="tb">LABOR—toil, work, effort, drudgery. (Idleness.)</p>
-
-<p>LACK—need, deficiency, scarcity, insufficiency.
-(Plenty.)</p>
-
-<p>LAMENT—mourn, grieve, weep. (Rejoice.)</p>
-
-<p>LANGUAGE—dialect, idiom, speech, tongue.</p>
-
-<p>LASCIVIOUS—loose, unchaste, lustful, lewd, lecherous.
-(Chaste.)</p>
-
-<p>LAST—final, latest, ultimate. (First.)</p>
-
-<p>LAUDABLE—commendable. (Blamable.)</p>
-
-<p>LAUGHABLE—comical, droll, ludicrous. (Serious.)</p>
-
-<p>LAWFUL—legal, legitimate, licit. (Illegal.)</p>
-
-<p>LEAD—conduct, guide. (Follow.)</p>
-
-<p>LEAN—meager. (Fat.)</p>
-
-<p>LEARNED—erudite, scholarly. (Ignorant.)</p>
-
-<p>LEAVE, <i>v.</i>—quit, relinquish.</p>
-
-<p>LEAVE, <i>n.</i>—liberty, permission. (Prohibition.)</p>
-
-<p>LIFE—existence, animation, spirit. (Death.)</p>
-
-<p>LIFELESS—dead, inanimate.</p>
-
-<p>LIFT—erect, elevate, exalt, raise. (Lower.)</p>
-
-<p>LIGHT—clear, bright. (Dark.)</p>
-
-<p>LIGHTNESS—flightiness, giddiness, levity, volatility.
-(Seriousness.)</p>
-
-<p>LIKENESS—resemblance, similarity. (Unlikeness.)</p>
-
-<p>LINGER—lag, loiter, tarry, saunter. (Hasten.)</p>
-
-<p>LITTLE—diminutive, small. (Great.)</p>
-
-<p>LIVELIHOOD—living, maintenance, subsistence.</p>
-
-<p>LIVELY—jocund, merry, sportive, sprightly, vivacious.
-(Slow, languid, sluggish.)</p>
-
-<p>LONG—extended, extensive. (Short.)</p>
-
-<p>LOOK—appear, seem, aspect, glance, peep.</p>
-
-<p>LOSE—miss, forfeit. (Gain.)</p>
-
-<p>LOSS—detriment, damage, deprivation. (Gain.)</p>
-
-<p>LOUD—clamorous, high-sounding, noisy. (Low,
-quiet.)</p>
-
-<p>LOVE—affection. (Hatred.)</p>
-
-<p>LOW—abject, mean. (Noble.)</p>
-
-<p>LUNACY—derangement, insanity, mania, madness.
-(Sanity.)</p>
-
-<p>LUSTER—brightness, brilliancy, splendor.</p>
-
-<p>LUXURIANT—exuberant. (Sparse.)</p>
-
-<p class="tb">MACHINATION—plot, intrigue, cabal, conspiracy.
-(Artlessness.)</p>
-
-<p>MAD—crazy, delirious, insane, rabid, violent, frantic.
-(Sane, rational, quiet.)</p>
-
-<p>MADNESS—insanity, fury, rage, frenzy.</p>
-
-<p>MAGISTERIAL—august, dignified, majestic, pompous,
-stately.</p>
-
-<p>MAKE—form, create, produce. (Destroy.)</p>
-
-<p>MALEDICTION—anathema, curse, imprecation.</p>
-
-<p>MALEVOLENT—malicious, virulent, malignant.
-(Benevolent.)</p>
-
-<p>MALICE—spite, rancor, ill-feeling, grudge, animosity,
-ill-will. (Benignity.)</p>
-
-<p>MALICIOUS—see malevolent.</p>
-
-<p>MANACLE, <i>v.</i>—shackle, fetter, chain. (Free.)</p>
-
-<p>MANAGE—contrive, concert, direct.</p>
-
-<p>MANAGEMENT—direction, superintendence, care.</p>
-
-<p>MANGLE—tear, lacerate, mutilate, cripple, maim.</p>
-
-<p>MANIA—madness, insanity, lunacy.</p>
-
-<p>MANIFEST, <i>v.</i>—reveal, prove, evince, exhibit, display,
-show.</p>
-
-<p>MANIFEST, <i>a.</i>—clear, plain, evident, open, apparent,
-visible. (Hidden, occult.)</p>
-
-<p>MANIFOLD—several, sundry, various, divers.</p>
-
-<p>MANLY—masculine, vigorous, courageous, brave,
-heroic. (Effeminate.)</p>
-
-<p>MANNER—habit, custom, way, air, look.</p>
-
-<p>MANNERS—morals, habits, behavior, carriage.</p>
-
-<p>MAR—spoil, ruin, disfigure. (Improve.)</p>
-
-<p>MARCH—tramp, tread, walk, step, space.</p>
-
-<p>MARGIN—edge, rim, border, brink, verge.</p>
-
-<p>MARK, <i>n.</i>—sign, note, symptom, token, indication,
-trace, vestige, track, badge, brand.</p>
-
-<p>MARK, <i>v.</i>—impress, print, stamp, engrave, note.</p>
-
-<p>MARRIAGE—wedding, nuptials, matrimony.</p>
-
-<p>MARTIAL—military, warlike, soldierlike.</p>
-
-<p>MARVEL—wonderful, miracle, prodigy.</p>
-
-<p>MARVELOUS—wondrous, wonderful, miraculous.</p>
-
-<p>MASSIVE—bulky, heavy, weighty, ponderous,
-solid, substantial. (Flimsy.)</p>
-
-<p>MASTERY—dominion, rule, sway, ascendancy.</p>
-
-<p>MATCHLESS—unrivaled, unequaled, unparalleled,
-peerless, incomparable, inimitable, surpassing.
-(Common, ordinary.)</p>
-
-<p>MATERIAL, <i>a.</i>—corporeal, bodily, physical, temporal,
-momentous. (Spiritual, immaterial.)</p>
-
-<p><span class="pagenum"><a id="Page_104"></a>[104]</span></p>
-
-<p>MAXIM—adage, apothegm, proverb, saying, byword,
-saw.</p>
-
-<p>MEAGER—poor, lank, emaciated, barren, dry, uninteresting.
-(Rich.)</p>
-
-<p>MEAN, <i>a.</i>—stingy, niggardly, low, abject, vile,
-ignoble, degraded, contemptible, vulgar, despicable.
-(Generous.)</p>
-
-<p>MEAN, <i>v.</i>—design, purpose, intend, contemplate,
-signify, denote, indicate.</p>
-
-<p>MEANING—signification, import, acceptation,
-sense, purport.</p>
-
-<p>MEDIUM—organ, channel, instrument, means.</p>
-
-<p>MEDLEY—mixture, variety, diversity, miscellany.</p>
-
-<p>MEEK—unassuming, mild, gentle. (Proud.)</p>
-
-<p>MELANCHOLY—low-spirited, dispirited, dreamy,
-sad. (Jolly, buoyant.)</p>
-
-<p>MELLOW—ripe, mature, soft. (Immature.)</p>
-
-<p>MELODIOUS—tuneful, musical, silver, dulcet,
-sweet. (Discordant.)</p>
-
-<p>MEMORABLE—signal, distinguished, marked.</p>
-
-<p>MEMORIAL—monument, memento.</p>
-
-<p>MEMORY—remembrance, recollection.</p>
-
-<p>MENACE, <i>n.</i>—threat.</p>
-
-<p>MEND—repair, amend, correct, better, ameliorate,
-improve, rectify.</p>
-
-<p>MENTION—tell, name, communicate, impart, divulge,
-reveal, disclose, inform, acquaint.</p>
-
-<p>MERCIFUL—compassionate, lenient, clement,
-tender, gracious, kind. (Cruel.)</p>
-
-<p>MERCILESS—hard-hearted, cruel, unmerciful, pitiless,
-remorseless, unrelenting. (Kind.)</p>
-
-<p>MERRIMENT—mirth, joviality, jollity. (Sorrow.)</p>
-
-<p>MERRY—cheerful, mirthful, joyous, gay, lively,
-sprightly, hilarious, blithe, blithesome, jovial,
-sportive, jolly. (Sad.)</p>
-
-<p>METAPHORICAL—figurative, allegorical.</p>
-
-<p>METHOD—way, manner, mode, process, order,
-rule, regularity, system.</p>
-
-<p>MIEN—air, look, manner, aspect, appearance.</p>
-
-<p>MIGRATORY—roving, strolling, wandering, vagrant.
-(Settled, sedate, permanent.)</p>
-
-<p>MIMIC—imitate, ape, mock.</p>
-
-<p>MINDFUL—observant, attentive. (Heedless.)</p>
-
-<p>MISCELLANEOUS—promiscuous, indiscriminate.</p>
-
-<p>MISCHIEF—injury, harm, damage, hurt. (Benefit.)</p>
-
-<p>MISCREANT—caitiff, villain, ruffian.</p>
-
-<p>MISERABLE—unhappy, wretched, distressed, afflicted.
-(Happy.)</p>
-
-<p>MISERLY—stingy, niggardly, avaricious, griping.</p>
-
-<p>MISERY—wretchedness, woe, destitution, penury,
-privation, beggary. (Happiness.)</p>
-
-<p>MISFORTUNE—calamity, disaster, mishap, catastrophe.
-(Good luck.)</p>
-
-<p>MISS—omit, lose, fall, miscarry.</p>
-
-<p>MITIGATE—alleviate, relieve, abate. (Aggravate.)</p>
-
-<p>MODERATE—temperate, abstemious, sober, abstinent.
-(Immoderate.)</p>
-
-<p>MODEST—chaste, virtuous, bashful. (Immodest.)</p>
-
-<p>MOIST—wet, damp, dank, humid. (Dry.)</p>
-
-<p>MONOTONOUS—unvaried, tiresome. (Varied.)</p>
-
-<p>MONSTROUS—shocking, dreadful, horrible, huge.</p>
-
-<p>MONUMENT—memorial, record, remembrancer.</p>
-
-<p>MOOD—humor, disposition, vein, temper.</p>
-
-<p>MORBID—sick, ailing, sickly, diseased, corrupted.
-(Normal, sound.)</p>
-
-<p>MOROSE—gloomy, sullen, surly, fretful, crabbed,
-crusty. (Joyous.)</p>
-
-<p>MORTAL—deadly, fatal, human.</p>
-
-<p>MOTION—proposition, proposal, movement.</p>
-
-<p>MOTIONLESS—still, stationary, torpid, stagnant.
-(Active, moving.)</p>
-
-<p>MOUNT—arise, rise, ascend, soar, tower, climb.</p>
-
-<p>MOURNFUL—sad, sorrowful, lugubrious, grievous,
-doleful, heavy. (Happy.)</p>
-
-<p>MOVE—actuate, impel, induce, prompt, instigate,
-persuade, stir, agitate, propel, push.</p>
-
-<p>MULTITUDE—crowd, throng, host, mob, swarm.</p>
-
-<p>MURDER, <i>v.</i>—kill, assassinate, slay, massacre.</p>
-
-<p>MUSE, <i>v.</i>—meditate, contemplate, think, reflect,
-cogitate, ponder.</p>
-
-<p>MUSIC—harmony, melody, symphony.</p>
-
-<p>MUSICAL—tuneful, melodious, harmonious, sweet.</p>
-
-<p>MUSTY—stale, sour, fetid. (Fresh, sweet.)</p>
-
-<p>MUTE—dumb, silent, speechless.</p>
-
-<p>MUTILATE—maim, cripple, disable, disfigure.</p>
-
-<p>MUTINOUS—insurgent, seditious, tumultuous, turbulent,
-riotous. (Obedient, orderly.)</p>
-
-<p>MUTUAL—reciprocal, interchanged, correlative.
-(Sole, solitary.)</p>
-
-<p>MYSTERIOUS—dark, obscure, hidden, secret, dim,
-mystic, enigmatical, unaccountable. (Open, clear.)</p>
-
-<p>MYSTIFY—confuse, perplex. (Clear, explain.)</p>
-
-<p class="tb">NAKED—nude, bare, uncovered, unclothed, rough,
-rude, simple. (Covered, clad.)</p>
-
-<p>NAME, <i>v.</i>—denominate, entitle, style, designate,
-term, call, christen.</p>
-
-<p>NAME, <i>n.</i>—appellation, designation, denomination,
-title, cognomen, reputation, character, fame,
-credit, repute.</p>
-
-<p>NARRATE—tell, relate, detail, recount, describe,
-enumerate, rehearse, recite.</p>
-
-<p>NASTY—filthy, foul, dirty, unclean, impure, gross,
-indecent, vile.</p>
-
-<p>NATION—people, community, realm, state.</p>
-
-<p>NATIVE—indigenous, inborn, vernacular.</p>
-
-<p>NATURAL—original, regular, normal, bastard.
-(Unnatural, forced.)</p>
-
-<p>NEAR—nigh, neighboring, close, adjacent, contiguous,
-intimate. (Distant.)</p>
-
-<p>NECESSARY—needful, expedient, essential, indispensable,
-requisite. (Useless.)</p>
-
-<p>NECESSITATE—compel, force, oblige.</p>
-
-<p>NECESSITY—need, occasion, exigency, emergency,
-urgency, requisite.</p>
-
-<p>NEED, <i>n.</i>—necessity, distress, poverty, indigence,
-want, penury.</p>
-
-<p>NEED, <i>v.</i>—require, want, lack.</p>
-
-<p>NEGLECT, <i>v.</i>—disregard, slight, omit, overlook.</p>
-
-<p><span class="pagenum"><a id="Page_105"></a>[105]</span></p>
-
-<p>NEGLECT, <i>n.</i>—omission, failure, default, slight,
-negligence, remissness, carelessness.</p>
-
-<p>NEIGHBORHOOD—environs, vicinity, nearness,
-adjacency, proximity.</p>
-
-<p>NERVOUS—timid, timorous, shaky.</p>
-
-<p>NEW—fresh, recent, novel. (Old.)</p>
-
-<p>NEWS—tidings, intelligence, information.</p>
-
-<p>NICE—exact, accurate, good, particular, precise,
-fine, delicate. (Careless, coarse, unpleasant.)</p>
-
-<p>NIMBLE—active, brisk, lively, alert, quick, agile,
-prompt. (Awkward.)</p>
-
-<p>NOBILITY—aristocracy, greatness, grandeur.</p>
-
-<p>NOBLE—exalted, elevated, illustrious, great, grand,
-lofty. (Low.)</p>
-
-<p>NOISE—cry, outcry, clamor, row, din, uproar,
-tumult. (Silence.)</p>
-
-<p>NONSENSICAL—irrational, absurd, silly, foolish.
-(Sensible.)</p>
-
-<p>NOTABLE—plain, evident, remarkable, striking,
-signal, rare. (Obscure.)</p>
-
-<p>NOTE, <i>n.</i>—token, symbol, mark, sign, indication,
-remark, comment.</p>
-
-<p>NOTED—distinguished, remarkable, eminent, renowned.
-(Obscure.)</p>
-
-<p>NOTICE, <i>n.</i>—advice, notification, intelligence.</p>
-
-<p>NOTICE, <i>v.</i>—mark, note, observe, attend to, heed.</p>
-
-<p>NOTIFY, <i>v.</i>—publish, acquaint, apprise, inform.</p>
-
-<p>NOTION—conception, idea, belief, opinion.</p>
-
-<p>NOTORIOUS—conspicuous, open, obvious, ill-famed.
-(Unknown.)</p>
-
-<p>NOURISH—nurture, cherish, foster, supply.
-(Starve, famish.)</p>
-
-<p>NOURISHMENT—food, diet, sustenance, nutrition.</p>
-
-<p>NOVEL—modern, new, fresh, recent, unused, rare,
-strange. (Old.)</p>
-
-<p>NOXIOUS—hurtful, deadly poisonous, deleterious,
-baneful. (Beneficial.)</p>
-
-<p>NULLIFY—annul, vacate, invalidate, quash, cancel,
-repeal. (Affirm.)</p>
-
-<p>NUTRITION—food, diet, nutriment, nourishment.</p>
-
-<p class="tb">OBDURATE—hard, callous, hardened, unfeeling,
-insensible. (Yielding, tractable.)</p>
-
-<p>OBEDIENT—compliant, submissive, dutiful, respectful.
-(Obstinate.)</p>
-
-<p>OBESE—corpulent, fat, adipose. (Attenuated.)</p>
-
-<p>OBEY, <i>v.</i>—conform, comply, submit. (Rebel.)</p>
-
-<p>OBJECT, <i>n.</i>—aim, end, purpose, design, mark.</p>
-
-<p>OBJECT, <i>v.</i>—oppose, except to, contravene, impeach,
-deprecate. (Assent.)</p>
-
-<p>OBNOXIOUS—offensive. (Agreeable.)</p>
-
-<p>OBSCURE—undistinguished, unknown. (Distinguished.)</p>
-
-<p>OBSTINATE—contumacious, headstrong, stubborn,
-obdurate. (Yielding.)</p>
-
-<p>OCCASION—opportunity.</p>
-
-<p>OFFENCE—affront, misdeed, misdemeanor, transgression,
-trespass.</p>
-
-<p>OFFENSIVE—insolent, abusive. (Inoffensive.)</p>
-
-<p>OFFICE—charge, function, place.</p>
-
-<p>OFFSPRING—issue, progeny, children, posterity.</p>
-
-<p>OLD—aged, superannuated, ancient, antique, antiquated,
-obsolete, old-fashioned. (Young, new.)</p>
-
-<p>OMEN—presage, prognostic.</p>
-
-<p>OPAQUE—dark. (Bright, transparent.)</p>
-
-<p>OPEN—candid, unreserved, clear, fair. (Hidden.)</p>
-
-<p>OPINION—notion, view, judgment, sentiment.</p>
-
-<p>OPINIONATED—conceited, egotistical. (Modest.)</p>
-
-<p>OPPOSE—resist, withstand, thwart. (Give way.)</p>
-
-<p>OPTION—choice.</p>
-
-<p>ORDER—method, system, regularity. (Disorder.)</p>
-
-<p>ORIGIN—cause, occasion, beginning. (End.)</p>
-
-<p>OUTLIVE—survive.</p>
-
-<p>OUTWARD—external, outside, exterior. (Inner.)</p>
-
-<p>OVER—above. (Under.)</p>
-
-<p>OVERBALANCE—outweigh, preponderate.</p>
-
-<p>OVERBEAR—bear down, overwhelm, overpower.</p>
-
-<p>OVERBEARING—haughty, arrogant. (Gentle.)</p>
-
-<p>OVERFLOW—inundation, deluge.</p>
-
-<p>OVERRULE—supersede, suppress.</p>
-
-<p>OVERSPREAD—overrun, ravage.</p>
-
-<p>OVERTURN—invert, overthrow, reverse, subvert.
-(Establish, fortify.)</p>
-
-<p>OVERWHELM—crush, defeat, vanquish.</p>
-
-<p class="tb">PAIN—suffering, qualm, pang, agony, anguish.
-(Pleasure.)</p>
-
-<p>PALLID—pale, wan. (Florid.)</p>
-
-<p>PART—division, portion, share, fraction. (Whole.)</p>
-
-<p>PARTICULAR—exact, distinct, singular, strange,
-odd. (General.)</p>
-
-<p>PATIENT—passive, submissive. (Obdurate.)</p>
-
-<p>PEACE—calm, quiet, tranquility. (War, trouble,
-riot, turbulence.)</p>
-
-<p>PEACEABLE—pacific, peaceful, quiet. (Troublesome,
-riotous.)</p>
-
-<p>PENETRATE—bore, pierce, perforate.</p>
-
-<p>PENETRATION—acuteness, sagacity. (Dullness.)</p>
-
-<p>PEOPLE—nation, persons, folks.</p>
-
-<p>PERCEIVE—note, observe, discern, distinguish.</p>
-
-<p>PERCEPTION—conception, notion, idea.</p>
-
-<p>PERIL—danger, pitfall, snare. (Safety.)</p>
-
-<p>PERMIT—allow, tolerate. (Forbid.)</p>
-
-<p>PERSUADE—allure, entice, prevail upon.</p>
-
-<p>PHYSICAL—corporeal, bodily, material. (Mental.)</p>
-
-<p>PICTURE—engraving, print, representation, illustration,
-image.</p>
-
-<p>PITEOUS—doleful, woeful, rueful. (Joyful.)</p>
-
-<p>PITILESS—see merciless.</p>
-
-<p>PITY—compassion, sympathy. (Cruelty.)</p>
-
-<p>PLACE, <i>n.</i>—spot, site, position, post, situation.</p>
-
-<p>PLACE, <i>v.</i>—order, dispose.</p>
-
-<p>PLAIN—open, manifest, evident. (Secret.)</p>
-
-<p>PLAY—game, sport, amusement. (Work.)</p>
-
-<p>PLEASE—gratify, pacify. (Displease.)</p>
-
-<p>PLEASURE—charm, delight, joy. (Pain.)</p>
-
-<p>PLENTIFUL—abundant, ample, copious, plenteous.
-(Scarce.)</p>
-
-<p><span class="pagenum"><a id="Page_106"></a>[106]</span></p>
-
-<p>POISE—balance, equilibrium, evenness.</p>
-
-<p>POSITIVE—absolute, peremptory, decided, certain.
-(Negative, undecided.)</p>
-
-<p>POSSESSOR—owner, proprietor.</p>
-
-<p>POSSIBLE—practical, practicable. (Impossible.)</p>
-
-<p>POVERTY—penury, indigence, need. (Wealth.)</p>
-
-<p>POWER—authority, force, strength, dominion.</p>
-
-<p>POWERFUL—mighty, potent. (Weak.)</p>
-
-<p>PRAISE—commend, extol, laud. (Blame.)</p>
-
-<p>PRAYER—entreaty, petition, request, suit.</p>
-
-<p>PRETENCE, <i>n.</i>—pretext, subterfuge.</p>
-
-<p>PREVAILING—predominant, prevalent, general.
-(Isolated, sporadic.)</p>
-
-<p>PREVENT—obviate, preclude.</p>
-
-<p>PREVIOUS—antecedent, introductory, preparatory,
-preliminary. (Subsequent.)</p>
-
-<p>PRIDE—vanity, conceit. (Humility.)</p>
-
-<p>PRINCIPALLY—chiefly, essentially, mainly.</p>
-
-<p>PRINCIPLE—ground, reason, motive, impulse,
-maxim, rule, rectitude, integrity.</p>
-
-<p>PRIVILEGE—immunity, advantage, favor, claim,
-prerogative, exemption, right.</p>
-
-<p>PROBITY—rectitude, uprightness, honesty, integrity,
-sincerity, soundness. (Dishonesty.)</p>
-
-<p>PROBLEMATICAL—uncertain, doubtful, dubious,
-questionable, disputable, suspicious. (Certain.)</p>
-
-<p>PRODIGIOUS—huge, enormous, vast, amazing,
-astonishing, astounding, surprising, remarkable,
-wonderful. (Insignificant.)</p>
-
-<p>PROFESSION—business, trade, occupation, office,
-vocation, employment, engagement, avowal.</p>
-
-<p>PROFFER—volunteer, offer, propose, tender.</p>
-
-<p>PROFLIGATE—abandoned, dissolute, depraved,
-vicious, degenerate, corrupt. (Virtuous.)</p>
-
-<p>PROFOUND—deep, fathomless, penetrating, recondite,
-solemn, abstruse. (Shallow.)</p>
-
-<p>PROFUSE—extravagant, prodigal, lavish, copious,
-improvident, excessive, plentiful. (Succinct.)</p>
-
-<p>PROLIFIC—productive, generative, fertile, fruitful,
-teeming. (Barren.)</p>
-
-<p>PROLIX—diffuse, long, prolonged, tedious, wordy,
-tiresome, verbose, prosaic. (Concise, brief.)</p>
-
-<p>PROMINENT—eminent, conspicuous, marked, important,
-leading. (Obscure.)</p>
-
-<p>PROMISCUOUS—mixed, unarranged, mingled, indiscriminate.
-(Select.)</p>
-
-<p>PROMPT—See punctual.</p>
-
-<p>PROP, <i>v.</i>—maintain, sustain, support, stay.</p>
-
-<p>PROPAGATE—spread, circulate, diffuse, disseminate,
-extend, breed, increase. (Suppress.)</p>
-
-<p>PROPER—legitimate, right, just, fair, equitable,
-honest, suitable, fit, adapted, meet, becoming,
-befitting, decent, pertinent. (Wrong.)</p>
-
-<p>PROSPER—flourish, succeed, grow rich, thrive,
-advance. (Fail.)</p>
-
-<p>PROSPERITY—well-being, weal, welfare, happiness,
-good luck. (Poverty.)</p>
-
-<p>PROXY—agent, representative, substitute, deputy.</p>
-
-<p>PRUDENCE—carefulness, judgment, discretion,
-wisdom. (Indiscretion.)</p>
-
-<p>PRURIENT—itching, craving, hankering, longing.</p>
-
-<p>PUERILE—youthful, juvenile, boyish, childish,
-infantile, trifling, weak, silly. (Mature.)</p>
-
-<p>PUNCTILIOUS—nice, particular, formal, precise.
-(Negligent.)</p>
-
-<p>PUNCTUAL—exact, precise, nice, particular
-prompt, timely. (Dilatory.)</p>
-
-<p>PUTREFY—rot, decompose, corrupt, decay.</p>
-
-<p>PUZZLE, <i>v.</i>—perplex, confound, embarrass, pose,
-bewilder, confuse, mystify. (Enlighten.)</p>
-
-<p class="tb">QUACK—imposter, pretender, charlatan, empiric,
-mountebank. (Savant.)</p>
-
-<p>QUAINT—artful, curious, far-fetched, fanciful, odd.</p>
-
-<p>QUALIFIED—competent, fitted. (Incompetent.)</p>
-
-<p>QUALITY—attribute, rank, distinction.</p>
-
-<p>QUERULOUS—doubting, complaining, fretting,
-repining. (Patient.)</p>
-
-<p>QUESTION—query, inquiry, interrogatory.</p>
-
-<p>QUIBBLE—cavil, evade, equivocate, shuffle.</p>
-
-<p>QUICK—lively, ready, prompt, alert, nimble, agile,
-active, brisk, expeditious, adroit, fleet, rapid, impetuous,
-swift, sweeping, dashing, clever. (Slow.)</p>
-
-<p>QUOTE—note, repeat, cite, adduce.</p>
-
-<p class="tb">RABID—mad, furious, raging, frantic. (Rational.)</p>
-
-<p>RACE—course, match, pursuit, career, family, clan,
-house, ancestry, lineage, pedigree.</p>
-
-<p>RACK—agonize, wring, torture, excruciate, harass,
-distress. (Soothe.)</p>
-
-<p>RACY—spicy, pungent, smart, spirited, vivacious,
-lively. (Dull, insipid.)</p>
-
-<p>RADIANCE—splendor, brightness, brilliance, brilliancy,
-lustre, glare. (Dullness.)</p>
-
-<p>RADICAL—organic, innate, fundamental, original,
-constitutional, inherent, complete, entire. (Superficial.
-In a political sense, uncompromising;
-antonym, moderate.)</p>
-
-<p>RANCID—fetid, rank, stinking, sour, tainted, foul.
-(Fresh, sweet.)</p>
-
-<p>RANCOR—malignity, hatred, hostility, antipathy,
-animosity, enmity, ill-will, spite. (Forgiveness.)</p>
-
-<p>RANK—order, degree, dignity, consideration.</p>
-
-<p>RANSACK—rummage, pillage, overhaul, explore.</p>
-
-<p>RANSOM—emancipate, free, unfetter.</p>
-
-<p>RANT—bombast, fustian, cant.</p>
-
-<p>RAPACIOUS—ravenous, voracious, greedy, grasping.
-(Generous.)</p>
-
-<p>RAPT—ecstatic, transported, ravished, entranced,
-charmed. (Distracted.)</p>
-
-<p>RAPTURE—ecstacy, transport, bliss. (Dejection.)</p>
-
-<p>RARE—scarce, singular, uncommon, unique.</p>
-
-<p>RASCAL—scoundrel, rogue, knave, vagabond.</p>
-
-<p>RASH—hasty, precipitate, foolhardy, adventurous,
-heedless, reckless, careless. (Deliberate.)</p>
-
-<p>RATE—value, compute, appraise, estimate, abuse.</p>
-
-<p>RATIFY—confirm, establish, substantiate, sanction
-(Protest, oppose.)</p>
-
-<p>RATIONAL—reasonable, sagacious, judicious, wise,
-sensible, sound. (Unreasonable.)</p>
-
-<p>RAVAGE—overrun, overspread, desolate, despoil.</p>
-
-<p><span class="pagenum"><a id="Page_107"></a>[107]</span></p>
-
-<p>RAVISH—enrapture, enchant, charm, delight.</p>
-
-<p>RAZE—demolish, destroy, overthrow, dismantle,
-ruin. (Build up.)</p>
-
-<p>REACH—touch, stretch, attain, gain, arrive at.</p>
-
-<p>READY—prepared, ripe, apt, prompt, adroit, handy.
-(Slow, dilatory.)</p>
-
-<p>REAL—actual, literal, practical, positive, certain,
-genuine, true. (Unreal.)</p>
-
-<p>REALIZE—accomplish, achieve, effect, gain, get,
-acquire, comprehend.</p>
-
-<p>REAP—gain, get, acquire, obtain.</p>
-
-<p>REASON, <i>n.</i>—motive, design, end, proof, cause,
-ground, purpose.</p>
-
-<p>REASON, <i>v.</i>—deduce, draw from, trace, conclude.</p>
-
-<p>REASONABLE—rational, wise, honest, fair, right,
-just. (Unreasonable.)</p>
-
-<p>REBELLION—insurrection, revolt.</p>
-
-<p>RECANT—recall, abjure, retract, revoke.</p>
-
-<p>RECEDE—retire, retreat, withdraw, ebb.</p>
-
-<p>RECEIVE—accept, take, admit, entertain.</p>
-
-<p>RECEPTION—receiving, levee, receipt, admission.</p>
-
-<p>RECESS—retreat, depth, niche, vacation.</p>
-
-<p>RECREATION—sport, pastime, play, amusement,
-game, fun.</p>
-
-<p>REDEEM—ransom, recover, rescue, deliver, save.</p>
-
-<p>REDRESS—remedy, repair, remission, abatement.</p>
-
-<p>REDUCE—abate, lessen, decrease, lower, shorten.</p>
-
-<p>REFINED—polite, courtly, polished, cultured, purified,
-genteel. (Boorish.)</p>
-
-<p>REFLECT—consider, cogitate, think, muse, censure.</p>
-
-<p>REFORM—amend, correct, better, restore, improve.
-(Corrupt.)</p>
-
-<p>REFORMATION—improvement, reform, amendment.
-(Corruption.)</p>
-
-<p>REFUGE—asylum, protection, harbor, shelter.</p>
-
-<p>REFUSE, <i>v.</i>—deny, reject, repudiate, decline, withhold.
-(Accept.)</p>
-
-<p>REFUSE, <i>n.</i>—dregs, dross, scum, rubbish, leavings.</p>
-
-<p>REFUTE—disprove, falsify, negative. (Affirm.)</p>
-
-<p>REGARD, <i>v.</i>—mind, heed, notice, behold, respect,
-view, consider.</p>
-
-<p>REGRET, <i>n.</i>—grief, sorrow, lamentation, remorse.</p>
-
-<p>REGULAR—orderly, uniform, customary, ordinary, stated.
-(Irregular.)</p>
-
-<p>REGULATE—methodize, arrange, adjust, organize,
-govern, rule. (Disorder.)</p>
-
-<p>REIMBURSE—refund, repay, satisfy, indemnify.</p>
-
-<p>RELEVANT—fit, proper, suitable, appropriate, apt,
-pertinent. (Irrelevant.)</p>
-
-<p>RELIANCE—trust, hope, dependence, confidence.
-(Suspicion.)</p>
-
-<p>RELIEF—succor, aid, help, redress, alleviation.</p>
-
-<p>RELINQUISH—give up, forsake, resign, surrender,
-quit, leave, forego. (Retain.)</p>
-
-<p>REMEDY—help, relief, redress, cure, specific.</p>
-
-<p>REMORSELESS—pitiless, relentless, cruel, ruthless,
-merciless, barbarous. (Merciful, humane.)</p>
-
-<p>REMOTE—distant, far, secluded, indirect. (Near.)</p>
-
-<p>REPRODUCE—propagate, imitate, represent, copy.</p>
-
-<p>REPUDIATE—disown, discard, disavow, renounce,
-disclaim. (Acknowledge.)</p>
-
-<p>REPUGNANT—antagonistic, distasteful. (Agreeable.)</p>
-
-<p>REPULSIVE—forbidding, odious, ugly, disagreeable,
-revolting. (Attractive.)</p>
-
-<p>RESPITE—reprieve, interval, stop, pause.</p>
-
-<p>REVENGE—vengeance, retaliation, requital, retribution.
-(Forgiveness.)</p>
-
-<p>REVENUE—produce, income, fruits, proceeds.</p>
-
-<p>REVERENCE, <i>n.</i>—honor, respect, awe, veneration,
-deference, worship, homage. (Execration.)</p>
-
-<p>REVISE—review, reconsider.</p>
-
-<p>REVIVE—refresh, renew, renovate, animate, resuscitate,
-vivify, cheer, comfort.</p>
-
-<p>RICH—wealthy, affluent, opulent, copious, ample,
-abundant, exuberant, plentiful, fertile, gorgeous,
-superb, fruitful. (Poor.)</p>
-
-<p>RIVAL, <i>n.</i>—antagonist, opponent, competitor.</p>
-
-<p>ROAD—way, highway, route, course, path, pathway,
-anchorage.</p>
-
-<p>ROAM—ramble, rove, wander, stray, stroll.</p>
-
-<p>ROBUST—strong, lusty, vigorous, sinewy, stalwart,
-stout, sturdy, able-bodied. (Puny.)</p>
-
-<p>ROUT, <i>v.</i>—discomfit, beat, defeat, overthrow.</p>
-
-<p>ROUTE—road, course, march, way, journey, path.</p>
-
-<p>RUDE—rugged, rough, uncouth, unpolished, harsh,
-gruff, impertinent, saucy, flippant, impudent, insolent,
-saucy, churlish. (Polite, polished.)</p>
-
-<p>RULE—sway, method, system, law, maxim, guide,
-precept, formula, regulation, government, test,
-standard.</p>
-
-<p>RUMOR—hearsay, talk, fame, report, bruit.</p>
-
-<p>RUTHLESS—cruel, savage, barbarous, inhuman,
-merciless, remorseless, relentless. (Considerate.)</p>
-
-<p class="tb">SACRED—holy, hallowed, divine, consecrated, dedicated,
-devoted. (Profane.)</p>
-
-<p>SAFE—secure, harmless, trustworthy. (Perilous.)</p>
-
-<p>SANCTION—confirm, countenance, encourage, support,
-ratify, authorize. (Disapprove.)</p>
-
-<p>SANE—sober, lucid, sound, rational. (Crazy.)</p>
-
-<p>SAUCY—impertinent, rude, impudent, insolent,
-flippant, forward. (Modest.)</p>
-
-<p>SCANDALIZE—shock, disgust, offend, calumniate,
-vilify, revile, malign, traduce, defame, slander.</p>
-
-<p>SCANTY—bare, pinched, insufficient, slender,
-meager. (Ample.)</p>
-
-<p>SCATTER—strew, spread, disseminate, disperse,
-dissipate, dispel. (Collect.)</p>
-
-<p>SECRET—clandestine, concealed, hidden, sly, underhand,
-latent, private. (Open.)</p>
-
-<p>SEDUCE—allure, attract, decoy, entice, abduct,
-inveigle, deprave.</p>
-
-<p>SENSE—discernment, appreciation, view, opinion,
-feeling, perception, sensibility, susceptibility, significance,
-thought, judgment, signification, meaning,
-import, purport, wisdom.</p>
-
-<p>SENSIBLE—wise, intelligent, reasonable, sober,
-sound, conscious, aware. (Foolish.)</p>
-
-<p>SETTLE—arrange, adjust, regulate, conclude.</p>
-
-<p><span class="pagenum"><a id="Page_108"></a>[108]</span></p>
-
-<p>SEVERAL—sundry, divers, various, many.</p>
-
-<p>SEVERE—harsh, stern, stringent, unmitigated, unyielding,
-rough. (Lenient.)</p>
-
-<p>SHAKE—tremble, shudder, shiver, quake, quiver.</p>
-
-<p>SHALLOW—superficial, flimsy, slight. (Deep,
-thorough.)</p>
-
-<p>SHAME—disgrace, dishonor. (Honor.)</p>
-
-<p>SHAMEFUL—degrading, scandalous, disgraceful,
-outrageous. (Honorable.)</p>
-
-<p>SHAMELESS—immodest, impudent, indecent, indelicate,
-brazen.</p>
-
-<p>SHAPE—form, fashion, mold, model.</p>
-
-<p>SHARE—portion, lot, division, quantity, quota.</p>
-
-<p>SHARP—acute, keen. (Dull.)</p>
-
-<p>SHINE—glare, glitter, radiate, sparkle.</p>
-
-<p>SHORT—brief, concise, succinct, summary. (Long.)</p>
-
-<p>SHOW, <i>n.</i>—exhibition, sight, spectacle.</p>
-
-<p>SICK—diseased, sickly, unhealthy. (Healthy.)</p>
-
-<p>SICKNESS—illness, indisposition, disease, disorder.
-(Health.)</p>
-
-<p>SIGNIFICANT, <i>a.</i>—expressive, material, important.
-(Insignificant.)</p>
-
-<p>SIGNIFICATION—import, meaning, sense.</p>
-
-<p>SILENCE—speechlessness, dumbness. (Noise.)</p>
-
-<p>SILENT—dumb, mute, speechless. (Talkative.)</p>
-
-<p>SIMILE—comparison, similitude.</p>
-
-<p>SIMPLE—single, uncompounded, artless, plain.
-(Complex, compound.)</p>
-
-<p>SIMULATE—dissimulate, dissemble, pretend.</p>
-
-<p>SINCERE—candid, hearty, honest, pure, genuine,
-real. (Insincere.)</p>
-
-<p>SITUATION—condition, plight, predicament, state.</p>
-
-<p>SIZE—bulk, greatness, magnitude, dimension.</p>
-
-<p>SLAVERY—servitude, enthrallment, thralldom.
-(Freedom.)</p>
-
-<p>SLEEP—doze, drowse, nap, slumber.</p>
-
-<p>SLEEPY—somnolent. (Wakeful.)</p>
-
-<p>SLOW—dilatory, tardy. (Fast.)</p>
-
-<p>SMELL—fragrance, odor, perfume, scent.</p>
-
-<p>SMOOTH—even, level, mild. (Rough.)</p>
-
-<p>SOAK—drench, imbrue, steep.</p>
-
-<p>SOCIAL—sociable, friendly, communicative. (Unsocial.)</p>
-
-<p>SOFT—gentle, meek, mild. (Hard.)</p>
-
-<p>SOLICIT—importune, urge.</p>
-
-<p>SOLITARY—sole, only, single.</p>
-
-<p>SORRY—grieved, poor, paltry, insignificant. (Glad,
-respectable.)</p>
-
-<p>SOUL—mind, spirit. (Soul is opposed to body,
-mind to matter.)</p>
-
-<p>SOUND, <i>a.</i>—healthy, sane. (Unsound.)</p>
-
-<p>SOUND, <i>n.</i>—tone, noise, silence.</p>
-
-<p>SPACE—room.</p>
-
-<p>SPARSE—scanty, thin. (Luxuriant.)</p>
-
-<p>SPEAK—converse, talk, confer, say, tell.</p>
-
-<p>SPECIAL—particular, specific. (General.)</p>
-
-<p>SPEND—expend, exhaust, consume, waste, dissipate.
-(Save.)</p>
-
-<p>SPORADIC—isolated, rare. (General, prevalent.)</p>
-
-<p>SPREAD—disperse, diffuse, expand, disseminate.</p>
-
-<p>SPRING—fountain, source.</p>
-
-<p>STAFF—prop, support, stay.</p>
-
-<p>STAGGER—reel, totter.</p>
-
-<p>STAIN—soil, discolor, spot, sully, tarnish.</p>
-
-<p>STATE—commonwealth, realm.</p>
-
-<p>STERILE—barren, unfruitful. (Fertile.)</p>
-
-<p>STIFLE—choke, suffocate, smother.</p>
-
-<p>STORMY—rough, boisterous, tempestuous. (Calm.)</p>
-
-<p>STRAIGHT—direct, right. (Crooked.)</p>
-
-<p>STRAIT, <i>a.</i>—narrow, confined.</p>
-
-<p>STRANGER—alien, foreigner. (Friend.)</p>
-
-<p>STRENGTHEN—fortify, invigorate. (Weaken.)</p>
-
-<p>STRONG—robust, sturdy, powerful. (Weak.)</p>
-
-<p>STUPID—dull, foolish, obtuse, witless. (Clever.)</p>
-
-<p>SUBJECT—exposed to, liable, obnoxious. (Exempt.)</p>
-
-<p>SUBJECT—inferior, subordinate. (Superior to,
-above.)</p>
-
-<p>SUBSEQUENT—succeeding, following. (Previous.)</p>
-
-<p>SUBSTANTIAL—solid, durable. (Unsubstantial.)</p>
-
-<p>SUIT—accord, agree. (Disagree.)</p>
-
-<p>SUPERFICIAL—flimsy, shallow, untrustworthy.
-(Thorough.)</p>
-
-<p>SUPERFLUOUS—unnecessary. (Necessary.)</p>
-
-<p>SURROUND—encircle, encompass, environ.</p>
-
-<p>SUSTAIN—maintain, support.</p>
-
-<p>SYMMETRY—proportion.</p>
-
-<p>SYMPATHY—commiseration, compassion.</p>
-
-<p>SYSTEM—method, plan, order.</p>
-
-<p>SYSTEMATIC—orderly, regular, methodical.
-(Chaotic.)</p>
-
-<p class="tb">TAKE—accept, receive. (Give.)</p>
-
-<p>TALKATIVE—garrulous, loquacious, communicative.
-(Silent.)</p>
-
-<p>TASTE—flavor, relish, savor. (Tastelessness.)</p>
-
-<p>TAX—custom, duty, impost, excise, toll.</p>
-
-<p>TAX—assessment, rate.</p>
-
-<p>TEASE—taunt, tantalize, torment, vex.</p>
-
-<p>TEMPORARY, <i>a.</i>—fleeting, transient, transitory.
-(Permanent.)</p>
-
-<p>TENACIOUS—pertinacious, retentive.</p>
-
-<p>TENDENCY—aim, drift, scope.</p>
-
-<p>TENET—position, view, conviction, belief.</p>
-
-<p>TERM—boundary, limit, period, time.</p>
-
-<p>TERRITORY—dominion.</p>
-
-<p>THANKFUL—grateful, obliged. (Thankless.)</p>
-
-<p>THANKLESS—ungracious, profitless, ungrateful,
-unthankful.</p>
-
-<p>THAW—melt, dissolve, liquefy. (Freeze.)</p>
-
-<p>THEATRICAL—dramatic, showy, ceremonious.</p>
-
-<p>THEFT—robbery, depredation, spoliation.</p>
-
-<p>THEME—subject, topic, text, essay.</p>
-
-<p>THEORY—speculation, scheme, plea, hypothesis,
-conjecture.</p>
-
-<p>THEREFORE—accordingly, consequently, hence.</p>
-
-<p><span class="pagenum"><a id="Page_109"></a>[109]</span></p>
-
-<p>THICK—dense, close, compact, solid, coagulated,
-muddy, turbid, misty, vaporous. (Thin.)</p>
-
-<p>THIN—slim, slender, slight, flimsy, lean, scraggy,
-attenuated.</p>
-
-<p>THINK—cogitate, consider, reflect, ponder, muse,
-contemplate, meditate, conceive, fancy, imagine,
-apprehend, hold, esteem, reckon, consider, deem,
-regard, believe, opine.</p>
-
-<p>THOROUGH—accurate, correct, trustworthy, complete,
-reliable. (Superficial.)</p>
-
-<p>THOUGHT—idea, conception, imagination, fancy,
-conceit, notion, supposition, care, provision, consideration,
-opinion, view, sentiment, reflection,
-deliberation.</p>
-
-<p>THOUGHTFUL—considerate, careful, cautious,
-heedful, contemplative, reflective, provident, pensive,
-dreamy. (Thoughtless.)</p>
-
-<p>THOUGHTLESS—inconsiderate, rash, precipitate,
-improvident, heedless.</p>
-
-<p>TIE, <i>v.</i>—bind, restrain, restrict, oblige, secure, join,
-unite. (Loose.)</p>
-
-<p>TIME—duration, season, period, era, age, date,
-span, spell.</p>
-
-<p>TOLERATE—allow, admit, receive, suffer, permit,
-let, endure, abide. (Oppose.)</p>
-
-<p>TOP—summit, apex, head, crown, surface. (Base,
-bottom.)</p>
-
-<p>TORRID—burning, hot, parching, scorching.</p>
-
-<p>TORTUOUS—twisted, winding, crooked, indirect.</p>
-
-<p>TORTURE—torment, anguish, agony.</p>
-
-<p>TOUCHING—tender, affecting, moving, pathetic.</p>
-
-<p>TRACTABLE—docile, manageable, amenable.</p>
-
-<p>TRADE—traffic, commerce, dealing, occupation,
-employment, office.</p>
-
-<p>TRADITIONAL—oral, uncertain, transmitted.</p>
-
-<p>TRAFFIC—trade, exchange, commerce.</p>
-
-<p>TRAMMEL, <i>n.</i>—fetter, shatter, clog, bond, impediment,
-chain, hindrance.</p>
-
-<p>TRANQUIL—still, unruffled, peaceful, hushed,
-quiet. (Noisy, boisterous.)</p>
-
-<p>TRANSACTION—negotiation, occurrence, proceeding,
-affair.</p>
-
-<p>TRAVEL—trip, peregrination, excursion, journey, tour,
-voyage.</p>
-
-<p>TREACHEROUS—traitorous, disloyal, treasonable,
-faithless, false-hearted. (Trustworthy, faithful.)</p>
-
-<p>TRITE—stale, old, ordinary, commonplace, hackneyed.
-(Novel.)</p>
-
-<p>TRIUMPH—achievement, ovation, victory, jubilation,
-conquest. (Failure, defeat.)</p>
-
-<p>TRIVIAL—trifling, petty, small, frivolous, unimportant,
-insignificant. (Important.)</p>
-
-<p>TRUE—genuine, actual, sincere, unaffected, true-hearted,
-honest, upright, veritable, real, veracious,
-authentic, exact, accurate, correct.</p>
-
-<p>TUMULTUOUS—turbulent, riotous, disorderly, disturbed,
-confused, unruly. (Orderly.)</p>
-
-<p>TURBID—foul, thick, muddy, impure, unsettled.</p>
-
-<p>TYPE—emblem, symbol, figure, sign, kind, letter.</p>
-
-<p>TYRO—novice, beginner, learner.</p>
-
-<p class="tb">UGLY—unsightly, plain, homely, ill-favored, hideous.
-(Beautiful.)</p>
-
-<p>UMBRAGE—offense, dissatisfaction, resentment.</p>
-
-<p>UMPIRE—referee, arbitrator, judge, arbiter.</p>
-
-<p>UNANIMITY—accord, agreement, unity, concord.
-(Discord.)</p>
-
-<p>UNBRIDLED—wanton, licentious, dissolute, loose.</p>
-
-<p>UNCERTAIN—doubtful, dubious, questionable, fitful,
-equivocal, ambiguous, indistinct, fluctuating.</p>
-
-<p>UNCIVIL—rude, discourteous, disrespectful, disobliging.
-(Civil.)</p>
-
-<p>UNCLEAN—dirty, foul, filthy, sullied. (Clean.)</p>
-
-<p>UNCOMMON—rare, strange, scarce, singular, choice.
-(Common, ordinary.)</p>
-
-<p>UNCONCERNED—careless, indifferent, apathetic.
-(Anxious.)</p>
-
-<p>UNCOUTH—strange, odd, clumsy. (Graceful.)</p>
-
-<p>UNCOVER—reveal, strip, expose, lay bare. (Hide.)</p>
-
-<p>UNDER—below, underneath, beneath, subordinate,
-lower, inferior. (Above.)</p>
-
-<p>UNDERSTANDING—knowledge, intellect, intelligence,
-faculty, comprehension, mind, reason.</p>
-
-<p>UNDO—annul, frustrate, untie, unfasten, destroy.</p>
-
-<p>UNEASY—restless, disturbed, unquiet, awkward,
-stiff. (Quiet.)</p>
-
-<p>UNEQUAL—uneven, not alike, irregular. (Even.)</p>
-
-<p>UNEQUALED—matchless, unique, novel, new.</p>
-
-<p>UNFIT, <i>a.</i>—improper, unsuitable, inconsistent, untimely,
-incompetent. (Fit.)</p>
-
-<p>UNFIT, <i>v.</i>—disable, incapacitate, disqualify. (Fit.)</p>
-
-<p>UNFORTUNATE—calamitous, ill-fated, unlucky,
-wretched, unhappy, miserable. (Fortunate.)</p>
-
-<p>UNGAINLY—clumsy, awkward, lumbering, uncouth.
-(Pretty.)</p>
-
-<p>UNHAPPY—miserable, wretched, distressed, painful,
-afflicted, disastrous, drear, dismal. (Happy.)</p>
-
-<p>UNIFORM—regular, symmetrical, equal, even,
-alike, unvaried. (Irregular.)</p>
-
-<p>UNINTERRUPTED—continuous, perpetual, unceasing,
-incessant, endless. (Intermittent.)</p>
-
-<p>UNION—junction, combination, alliance, confederacy,
-league, coalition, agreement. (Disunion.)</p>
-
-<p>UNIQUE—unequal, uncommon, rare, choice, matchless.
-(Common, ordinary.)</p>
-
-<p>UNITE—join, conjoin, combine, concert, add, attach.
-(Separate, disrupt, sunder.)</p>
-
-<p>UNIVERSAL—general, all, entire, total, catholic.
-(Sectional.)</p>
-
-<p>UNLIMITED—absolute, undefined, boundless, infinite.
-(Limited.)</p>
-
-<p>UNREASONABLE—foolish, silly, absurd, preposterous,
-ridiculous.</p>
-
-<p>UNRIVALED—unequaled, unique, unexampled,
-incomparable, matchless. (Mediocre.)</p>
-
-<p>UNRULY—ungovernable, unmanageable, refractory.
-(Tractable, docile.)</p>
-
-<p>UNUSUAL—rare, unwonted, singular, uncommon,
-remarkable, strange. (Common.)</p>
-
-<p>UPHOLD—maintain, defend, sustain, support, vindicate.
-(Desert, abandon.)</p>
-
-<p><span class="pagenum"><a id="Page_110"></a>[110]</span></p>
-
-<p>UPRIGHT—vertical, perpendicular, erect, just,
-equitable, fair, pure, honorable. (Prone.)</p>
-
-<p>UPRIGHTNESS—honesty, integrity, fairness, goodness,
-probity, virtue, honor. (Dishonesty.)</p>
-
-<p>URGE—incite, impel, push, drive, instigate, stimulate,
-press, induce, solicit.</p>
-
-<p>URGENT—pressing, imperative, immediate, serious,
-wanted. (Unimportant.)</p>
-
-<p>USAGE—custom, fashion, practice, prescription.</p>
-
-<p>USE, <i>n.</i>—usage, practice, habit, custom, avail,
-advantage, utility, benefit, application. (Disuse.)</p>
-
-<p>USUAL—ordinary, common, accustomed, habitual,
-wonted, customary, general. (Unusual.)</p>
-
-<p>UTMOST—farthest, remotest, uttermost, greatest.</p>
-
-<p>UTTER, <i>a.</i>—extreme, excessive, sheer, mere, pure.</p>
-
-<p>UTTER, <i>v.</i>—speak, articulate, pronounce, express.</p>
-
-<p>UTTERLY—totally, completely, wholly, altogether.</p>
-
-<p class="tb">VACANT—empty, unfilled, unoccupied, thoughtless,
-unthinking. (Occupied.)</p>
-
-<p>VAGRANT, <i>n.</i>—wanderer, beggar, tramp, rogue.</p>
-
-<p>VAGUE—unsettled, undetermined, pointless, uncertain,
-indefinite. (Definite.)</p>
-
-<p>VAIN—useless, fruitless, empty, worthless, inflated,
-proud, conceited, unreal. (Effectual, humble.)</p>
-
-<p>VALIANT—brave, bold, valorous, courageous, gallant.
-(Cowardly.)</p>
-
-<p>VALID—weighty, strong, powerful, sound, binding,
-efficient. (Invalid.)</p>
-
-<p>VALOR—courage, gallantry, boldness, bravery,
-heroism. (Cowardice.)</p>
-
-<p>VALUE, <i>v.</i>—appraise, assess, reckon, appreciate,
-estimate, prize, esteem, treasure. (Despise.)</p>
-
-<p>VARIABLE—changeable, unsteady, inconstant,
-shifting, wavering, fickle, restless. (Constant.)</p>
-
-<p>VARIETY—difference, diversity, change, diversification,
-mixture, medley, miscellany. (Sameness,
-monotony.)</p>
-
-<p>VAST—spacious, boundless, mighty, enormous, immense,
-colossal, gigantic, prodigious. (Confined.)</p>
-
-<p>VAUNT—boast, brag, puff, hawk, advertise, parade.</p>
-
-<p>VENERABLE—grave, sage, wise, old, reverend.</p>
-
-<p>VENIAL—pardonable, excusable, justifiable. (Serious,
-grave.)</p>
-
-<p>VENOM—poison, virus, spite, malice, malignity.</p>
-
-<p>VENTURE, <i>n.</i>—speculation, chance, peril, stake.</p>
-
-<p>VERACITY—truth, truthfulness, credibility, accuracy.
-(Falsehood.)</p>
-
-<p>VERBAL—oral, spoken, literal, parole, unwritten.</p>
-
-<p>VERDICT—judgment, finding, decision, answer.</p>
-
-<p>VEXATION—chagrin, mortification. (Pleasure.)</p>
-
-<p>VIBRATE—oscillate, swing, sway, wave, thrill.</p>
-
-<p>VICE—vileness, corruption, depravity, pollution,
-immorality, wickedness, guilt, iniquity. (Virtue.)</p>
-
-<p>VICIOUS—corrupt, depraved, debased, bad, unruly,
-contrary, demoralized, profligate, faulty. (Gentle,
-virtuous.)</p>
-
-<p>VICTIM—sacrifice, food, prey, sufferer, dupe, gull.</p>
-
-<p>VICTUALS—viands, bread, meat, provisions, fare,
-food, repast.</p>
-
-<p>VIOLENT—boisterous, furious, impetuous, vehement.
-(Gentle.)</p>
-
-<p>VIRTUOUS—upright, honest, moral. (Profligate.)</p>
-
-<p>VISION—apparition, ghost, phantom, specter.</p>
-
-<p>VOLUPTUARY—epicure, sensualist.</p>
-
-<p>VOUCH—affirm, asserverate, assure, aver.</p>
-
-<p class="tb">WAIT—await, expect, look for, wait for.</p>
-
-<p>WAKEFUL—vigilant, watchful. (Sleepy.)</p>
-
-<p>WANDER—range, ramble, roam, rove, stroll.</p>
-
-<p>WANT—lack, need. (Abundance.)</p>
-
-<p>WARY—circumspect, cautious. (Foolhardy.)</p>
-
-<p>WASH—clean, rinse, wet, moisten, stain, tint.</p>
-
-<p>WASTE, <i>v.</i>—squander, dissipate, lavish, destroy,
-decay, dwindle, wither.</p>
-
-<p>WAY—method, plan, system, means, manner, mode,
-form, fashion, course, process, road, route, track,
-path, habit, practice.</p>
-
-<p>WEAKEN—debilitate, enfeeble, enervate, invalidate.
-(Strengthen.)</p>
-
-<p>WEARY—harass, jade, tire, fatigue. (Refresh.)</p>
-
-<p>WEIGHT—gravity, heaviness, burden, load.
-(Lightness.)</p>
-
-<p>WELL-BEING—happiness, prosperity, welfare.</p>
-
-<p>WHOLE—entire, complete, total, integral. (Part.)</p>
-
-<p>WICKED—iniquitous, nefarious. (Virtuous.)</p>
-
-<p>WILL—wish, desire.</p>
-
-<p>WILLINGLY—spontaneously, voluntarily. (Unwillingly.)</p>
-
-<p>WIN—get, obtain, gain, procure, effect, realize,
-accomplish, achieve. (Lose.)</p>
-
-<p>WINNING—attractive, charming, fascinating, bewitching,
-enchanting, dazzling. (Repulsive.)</p>
-
-<p>WISDOM—prudence, foresight, far-sightedness,
-sagacity. (Foolishness.)</p>
-
-<p>WONDER, <i>v.</i>—admire, amaze, astonish, surprise.</p>
-
-<p>WONDER, <i>n.</i>—marvel, miracle, prodigy.</p>
-
-<p>WRONG—injustice, injury. (Right.)</p>
-
-<p class="tb">YAWN—gape, open wide.</p>
-
-<p>YEARN—hanker after, long for, desire, crave.</p>
-
-<p>YELL—bellow, cry out, scream.</p>
-
-<p>YELLOW—golden, saffron-like.</p>
-
-<p>YELP—bark, sharp cry, howl.</p>
-
-<p>YET—besides, nevertheless, notwithstanding, however,
-still, ultimately, at last, so far, thus far.</p>
-
-<p>YIELD—bear, give, afford, impart, communicate,
-confer, bestow, abdicate, resign, cede, surrender.</p>
-
-<p>YIELDING—supple, pliant, bending, compliant,
-submissive, unresisting. (Obstinate.)</p>
-
-<p>YOKE, <i>v.</i>—couple, link, connect.</p>
-
-<p>YORE—long ago, long since.</p>
-
-<p>YOUTH—boy, lad, minority, adolescence.</p>
-
-<p>YOUTHFUL—juvenile, puerile. (Old.)</p>
-
-<p class="tb">ZEAL—energy, fervor, ardor, earnestness, enthusiasm,
-eagerness. (Indifference.)</p>
-
-<p>ZEALOUS—warm, ardent, fervent, enthusiastic,
-anxious. (Indifferent, careless.)</p>
-
-<p>ZEST—relish, gusto, flavor. (Disgust.)</p>
-
-</div>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<p><span class="pagenum"><a id="Page_111"></a>[111]</span></p>
-
-<h3><span class="smcap">Noms De Plume of Authors</span></h3>
-
-<div class="figcenter-line" style="width: 300px;">
-<img src="images/line11.jpg" width="300" height="15" alt="" />
-</div>
-
-<table summary="Noms De Plume of Authors">
-  <tr>
-    <th><span class="allsmcap">ASSUMED NAME</span></th>
-    <th><span class="allsmcap">REAL NAME</span></th>
-  </tr>
-  <tr>
-    <td>A Country Parson</td>
-    <td>Archbishop Whately</td>
-  </tr>
-  <tr>
-    <td>Agate</td>
-    <td>Whitelaw Reid</td>
-  </tr>
-  <tr>
-    <td>A. K. H. B.</td>
-    <td>Rev. A. K. H. Boyd</td>
-  </tr>
-  <tr>
-    <td>A. L. O. E.</td>
-    <td>Miss Charlotte Tucker</td>
-  </tr>
-  <tr>
-    <td>Alfred Crowquill</td>
-    <td>A. H. Forrester</td>
-  </tr>
-  <tr>
-    <td>Americus</td>
-    <td>Dr. Francis Lieber</td>
-  </tr>
-  <tr>
-    <td>Amy Lothrop</td>
-    <td>Miss Anna B. Warner</td>
-  </tr>
-  <tr>
-    <td>American Girl Abroad</td>
-    <td>Miss Trafton</td>
-  </tr>
-  <tr>
-    <td>Artemus Ward</td>
-    <td>Charles F. Browne</td>
-  </tr>
-  <tr>
-    <td>Asa Trenchard</td>
-    <td>Henry Watterson</td>
-  </tr>
-  <tr>
-    <td>Aunt Kitty</td>
-    <td>Maria J. Macintosh</td>
-  </tr>
-  <tr>
-    <td>Aunt Mary</td>
-    <td>Mary A. Lathbury</td>
-  </tr>
-  <tr>
-    <td>Barnacle</td>
-    <td>A. C. Barnes</td>
-  </tr>
-  <tr>
-    <td>Barry Cornwall</td>
-    <td>Bryan Waller Proctor</td>
-  </tr>
-  <tr>
-    <td>Benauly</td>
-    <td>Benjamin, Austin, and Lyman Abbott</td>
-  </tr>
-  <tr>
-    <td>Besieged Resident</td>
-    <td>Henry Labouchere</td>
-  </tr>
-  <tr>
-    <td>Bibliophile</td>
-    <td>Samuel Austin Allibone</td>
-  </tr>
-  <tr>
-    <td>Bill Arp</td>
-    <td>Charles H. Smith</td>
-  </tr>
-  <tr>
-    <td>Blythe White, Jr.</td>
-    <td>Solon Robinson</td>
-  </tr>
-  <tr>
-    <td>Bookworm</td>
-    <td>Thomas F. Donnelly</td>
-  </tr>
-  <tr>
-    <td>Boston Bard</td>
-    <td>Robert S. Coffin</td>
-  </tr>
-  <tr>
-    <td>Boz</td>
-    <td>Charles Dickens</td>
-  </tr>
-  <tr>
-    <td>Brick Pomeroy</td>
-    <td>Mark M. Pomeroy</td>
-  </tr>
-  <tr>
-    <td>Burleigh</td>
-    <td>Rev. Matthew Hale Smith</td>
-  </tr>
-  <tr>
-    <td>Burlington</td>
-    <td>Robert Saunders</td>
-  </tr>
-  <tr>
-    <td>Carl Benson</td>
-    <td>Charles A. Bristed</td>
-  </tr>
-  <tr>
-    <td>Chartist Parson</td>
-    <td>Rev. Charles Kingsley</td>
-  </tr>
-  <tr>
-    <td>Chinese Philosopher</td>
-    <td>Oliver Goldsmith</td>
-  </tr>
-  <tr>
-    <td>Christopher Crowfield</td>
-    <td>Mrs. Harriet Beecher Stowe</td>
-  </tr>
-  <tr>
-    <td>Chrystal Croftangry</td>
-    <td>Sir Walter Scott</td>
-  </tr>
-  <tr>
-    <td>Claribel</td>
-    <td>Mrs. Caroline Barnard</td>
-  </tr>
-  <tr>
-    <td>Country Parson</td>
-    <td>A. K. H. Boyd</td>
-  </tr>
-  <tr>
-    <td>Cousin Alice</td>
-    <td>Mrs. Alice B. Haven</td>
-  </tr>
-  <tr>
-    <td>Cousin Kate</td>
-    <td>Catherine D. Bell</td>
-  </tr>
-  <tr>
-    <td>Currer Bell</td>
-    <td>Charlotte Bronte (Mrs. Nichols)</td>
-  </tr>
-  <tr>
-    <td>Danbury Newsman</td>
-    <td>J. M. Bailey</td>
-  </tr>
-  <tr>
-    <td>Diedrich Knickerbocker</td>
-    <td>Washington Irving</td>
-  </tr>
-  <tr>
-    <td>Dolores</td>
-    <td>Miss Dickson</td>
-  </tr>
-  <tr>
-    <td>Dow, Jr.</td>
-    <td>Elbridge G. Page</td>
-  </tr>
-  <tr>
-    <td>Dr. Syntax</td>
-    <td>William Combe</td>
-  </tr>
-  <tr>
-    <td>Dunn Browne</td>
-    <td>Rev. Samuel Fiske</td>
-  </tr>
-  <tr>
-    <td>E. D. E. N.</td>
-    <td>Mrs. Emma D. E. N. Southworth</td>
-  </tr>
-  <tr>
-    <td>Edmund Kirke</td>
-    <td>James Roberts Gilmore</td>
-  </tr>
-  <tr>
-    <td>Eleanor Kirke</td>
-    <td>Mrs. Nolly Ames</td>
-  </tr>
-  <tr>
-    <td>Elia</td>
-    <td>Charles Lamb</td>
-  </tr>
-  <tr>
-    <td>Eli Perkins</td>
-    <td>Matthew D. Landon</td>
-  </tr>
-  <tr>
-    <td>Elizabeth Wetherell</td>
-    <td>Susan Warner</td>
-  </tr>
-  <tr>
-    <td>Ella Rodman</td>
-    <td>Mrs. Eliza Rodman</td>
-  </tr>
-  <tr>
-    <td>Ellis Bell</td>
-    <td>Emily J. Bronte</td>
-  </tr>
-  <tr>
-    <td>English Opium-Eater</td>
-    <td>Thomas DeQuincy</td>
-  </tr>
-  <tr>
-    <td>Ettrick Shepherd</td>
-    <td>James Hogg</td>
-  </tr>
-  <tr>
-    <td>Eugene Pomeroy</td>
-    <td>Thomas F. Donnelly</td>
-  </tr>
-  <tr>
-    <td>Falconbridge</td>
-    <td>Jonathan F. Kelly</td>
-  </tr>
-  <tr>
-    <td>Fanny Fern</td>
-    <td>Wife of James Parton and sister of N. P. Willis</td>
-  </tr>
-  <tr>
-    <td>Fanny Fielding</td>
-    <td>Mary J. S. Upsher</td>
-  </tr>
-  <tr>
-    <td>Fanny Forester</td>
-    <td>Emily C. Judson</td>
-  </tr>
-  <tr>
-    <td>Fat Contributor</td>
-    <td>A. M. Griswold</td>
-  </tr>
-  <tr>
-    <td>Father Prout</td>
-    <td>Francis Mahoney</td>
-  </tr>
-  <tr>
-    <td>Florence Percy</td>
-    <td>Mrs. Elizabeth Akers Allen</td>
-  </tr>
-  <tr>
-    <td>Frank Forrester</td>
-    <td>Henry W. Herbert</td>
-  </tr>
-  <tr>
-    <td>Gail Hamilton</td>
-    <td>Miss Mary Abigail Dodge of Hamilton</td>
-  </tr>
-  <tr>
-    <td>Gath, also Laertes</td>
-    <td>George Alfred Townsend</td>
-  </tr>
-  <tr>
-    <td>Geoffrey Crayon</td>
-    <td>Washington Irving</td>
-  </tr>
-  <tr>
-    <td>George Eliot</td>
-    <td>Mrs. Marian Lewes Cross</td>
-  </tr>
-  <tr>
-    <td>George Fitz Boodle</td>
-    <td>William M. Thackeray</td>
-  </tr>
-  <tr>
-    <td>George Forest</td>
-    <td>Rev. J. G. Wood</td>
-  </tr>
-  <tr>
-    <td>George Sand</td>
-    <td>Mme. Amantine Lucille Aurore Dudevant</td>
-  </tr>
-  <tr>
-    <td>Grace Greenwood</td>
-    <td>Mrs. Sara J. Lippincott</td>
-  </tr>
-  <tr>
-    <td>Grace Wharton</td>
-    <td>A. T. Thompson</td>
-  </tr>
-  <tr>
-    <td>Hans Breitmann</td>
-    <td>Charles Godfrey Leland</td>
-  </tr>
-  <tr>
-    <td>Hans Yokel</td>
-    <td>A. Oakey Hall</td>
-  </tr>
-  <tr>
-    <td>Harriet Myrtle</td>
-    <td>Mrs. Lydia F. F. Miller</td>
-  </tr>
-  <tr>
-    <td>Harry Hazell</td>
-    <td>Justin Jones</td>
-  </tr>
-  <tr>
-    <td>Harry Lorrequer</td>
-    <td>Charles Lever</td>
-  </tr>
-  <tr>
-    <td>Hesba Stretton</td>
-    <td>Miss Hannah Smith</td>
-  </tr>
-  <tr>
-    <td>Hibernicus</td>
-    <td>De Witt Clinton</td>
-  </tr>
-  <tr>
-    <td>Historicus</td>
-    <td>Wm. G. Vernon Harcourt</td>
-  </tr>
-  <tr>
-    <td>Hosea Bigelow</td>
-    <td>James Russell Lowell</td>
-  </tr>
-  <tr>
-    <td>Howadji</td>
-    <td>George William Curtis</td>
-  </tr>
-  <tr>
-    <td>Howard</td>
-    <td>Mordecai Manuel Noah<span class="pagenum"><a id="Page_112"></a>[112]</span></td>
-  </tr>
-  <tr>
-    <td>Howard Glyndon</td>
-    <td>Laura C. Redden</td>
-  </tr>
-  <tr>
-    <td>Hyperion</td>
-    <td>Josiah Quincy</td>
-  </tr>
-  <tr>
-    <td>Ianthe</td>
-    <td>Emma C. Embury</td>
-  </tr>
-  <tr>
-    <td>Ik Marvel</td>
-    <td>Donald G. Mitchell</td>
-  </tr>
-  <tr>
-    <td>Irenæus</td>
-    <td>Rev. S. Irenæus Prime, D.D.</td>
-  </tr>
-  <tr>
-    <td>Isabel</td>
-    <td>William Gilmore Simms</td>
-  </tr>
-  <tr>
-    <td>Janus</td>
-    <td>Dr. Dollinger</td>
-  </tr>
-  <tr>
-    <td>Jaques</td>
-    <td>J. Hain Friswell</td>
-  </tr>
-  <tr>
-    <td>Jay Charlton</td>
-    <td>J. C. Goldsmith</td>
-  </tr>
-  <tr>
-    <td>Jedediah Cleishbotham</td>
-    <td>Sir Walter Scott</td>
-  </tr>
-  <tr>
-    <td>Jennie June</td>
-    <td>Mrs. Jennie C. Croly</td>
-  </tr>
-  <tr>
-    <td>John Chalkhill</td>
-    <td>Izaak Walton</td>
-  </tr>
-  <tr>
-    <td>John Darby</td>
-    <td>J. C. Garretson</td>
-  </tr>
-  <tr>
-    <td>John Paul</td>
-    <td>C. H. Webb</td>
-  </tr>
-  <tr>
-    <td>John Phœnix, Gentleman</td>
-    <td>George H. Derby</td>
-  </tr>
-  <tr>
-    <td>Josh Billings</td>
-    <td>Henry W. Shaw</td>
-  </tr>
-  <tr>
-    <td>Joshua Coffin</td>
-    <td>H. W. Longfellow</td>
-  </tr>
-  <tr>
-    <td>Kate Campbell</td>
-    <td>Jane Elizabeth Lincoln</td>
-  </tr>
-  <tr>
-    <td>Kirwan</td>
-    <td>Rev. Nicholas Murray</td>
-  </tr>
-  <tr>
-    <td>K. N. Pepper</td>
-    <td>James M. Morris</td>
-  </tr>
-  <tr>
-    <td>Laicus</td>
-    <td>Rev. Lyman Abbott</td>
-  </tr>
-  <tr>
-    <td>Launcelot Wagstaffe, Jr.</td>
-    <td>Charles Mackay</td>
-  </tr>
-  <tr>
-    <td>Lemuel Gulliver</td>
-    <td>Jonathan Swift</td>
-  </tr>
-  <tr>
-    <td>Louise Muhlbach</td>
-    <td>Clara Mundt</td>
-  </tr>
-  <tr>
-    <td>Major Jack Downing</td>
-    <td>Seba Smith</td>
-  </tr>
-  <tr>
-    <td>Marion Harland</td>
-    <td>Mary V. Terhune</td>
-  </tr>
-  <tr>
-    <td>Mark Twain</td>
-    <td>Samuel L. Clemens</td>
-  </tr>
-  <tr>
-    <td>Max Adler</td>
-    <td>Charles H. Clark</td>
-  </tr>
-  <tr>
-    <td>Minnie Myrtle</td>
-    <td>Miss Anna C. Johnson</td>
-  </tr>
-  <tr>
-    <td>Mintwood</td>
-    <td>Miss Mary A. E. Wager</td>
-  </tr>
-  <tr>
-    <td>M. Quad</td>
-    <td>Charles B. Lewis</td>
-  </tr>
-  <tr>
-    <td>Mrs. Partington</td>
-    <td>B. P. Shillaber</td>
-  </tr>
-  <tr>
-    <td>M. T. Jug</td>
-    <td>Joseph Howard</td>
-  </tr>
-  <tr>
-    <td>Ned Buntline</td>
-    <td>Edward Z. C. Judson</td>
-  </tr>
-  <tr>
-    <td>Nym Crinkle</td>
-    <td>A. C. Wheeler</td>
-  </tr>
-  <tr>
-    <td>Old Bachelor</td>
-    <td>George William Curtis</td>
-  </tr>
-  <tr>
-    <td>Old Cabinet</td>
-    <td>R. Watson Gilder</td>
-  </tr>
-  <tr>
-    <td>Old Humphrey</td>
-    <td>George Mogridge</td>
-  </tr>
-  <tr>
-    <td>Old’Un</td>
-    <td>Francis Alexander Durivage</td>
-  </tr>
-  <tr>
-    <td>Oliver Optic</td>
-    <td>William Taylor Adams</td>
-  </tr>
-  <tr>
-    <td>Olivia</td>
-    <td>Emily Edson Grigg</td>
-  </tr>
-  <tr>
-    <td>Ollapod</td>
-    <td>Willis G. Clark</td>
-  </tr>
-  <tr>
-    <td>Orpheus C. Kerr</td>
-    <td>Robert H. Newell</td>
-  </tr>
-  <tr>
-    <td>Ouida</td>
-    <td>Louisa De La Ramé</td>
-  </tr>
-  <tr>
-    <td>Owen Meredith</td>
-    <td>Lord Lytton</td>
-  </tr>
-  <tr>
-    <td>Parson Brownlow</td>
-    <td>Wm. Gunnaway Brownlow</td>
-  </tr>
-  <tr>
-    <td>Patty Lee</td>
-    <td>Alice Cary</td>
-  </tr>
-  <tr>
-    <td>Paul Creyton</td>
-    <td>J. T. Trowbridge</td>
-  </tr>
-  <tr>
-    <td>Pen Holder</td>
-    <td>Rev. Edward Eggleston</td>
-  </tr>
-  <tr>
-    <td>Pequot</td>
-    <td>Charles W. March</td>
-  </tr>
-  <tr>
-    <td>Perdita</td>
-    <td>Mrs. Mary Robinson</td>
-  </tr>
-  <tr>
-    <td>Perley</td>
-    <td>Benj. Perley Poore</td>
-  </tr>
-  <tr>
-    <td>Peter Parley</td>
-    <td>S. G. Goodrich</td>
-  </tr>
-  <tr>
-    <td>Peter Pindar</td>
-    <td>Dr. John Wolcot</td>
-  </tr>
-  <tr>
-    <td>Petroleum V. Nasby</td>
-    <td>D. R. Locke</td>
-  </tr>
-  <tr>
-    <td>Phœnix</td>
-    <td>Sir Henry Martin</td>
-  </tr>
-  <tr>
-    <td>Poor Richard</td>
-    <td>Benjamin Franklin</td>
-  </tr>
-  <tr>
-    <td>Porte Crayon</td>
-    <td>David H. Strother</td>
-  </tr>
-  <tr>
-    <td>Private Miles O’Reilly</td>
-    <td>Charles G. Halpine</td>
-  </tr>
-  <tr>
-    <td>Robinson Crusoe</td>
-    <td>Daniel Defoe</td>
-  </tr>
-  <tr>
-    <td>Runnymede</td>
-    <td>Lord Beaconsfield</td>
-  </tr>
-  <tr>
-    <td>Rustic Bard</td>
-    <td>Robert Dinsmore</td>
-  </tr>
-  <tr>
-    <td>Sam Slick</td>
-    <td>Thomas C. Halliburton</td>
-  </tr>
-  <tr>
-    <td>Saxe Holm Miss</td>
-    <td>Rush Ellis</td>
-  </tr>
-  <tr>
-    <td>Shirley Dare</td>
-    <td>Mrs. Susan D. Waters</td>
-  </tr>
-  <tr>
-    <td>Sophie May</td>
-    <td>Mrs. Eckerson</td>
-  </tr>
-  <tr>
-    <td>Sophie Sparkle</td>
-    <td>Jennie E. Hicks</td>
-  </tr>
-  <tr>
-    <td>Sparrowgrass</td>
-    <td>F. S. Cozzens</td>
-  </tr>
-  <tr>
-    <td>Straws, Jr.</td>
-    <td>Kate Field</td>
-  </tr>
-  <tr>
-    <td>Susan Coolidge</td>
-    <td>Miss Woolsey</td>
-  </tr>
-  <tr>
-    <td>Teufelsdrœckh</td>
-    <td>Thomas Carlyle</td>
-  </tr>
-  <tr>
-    <td>Teutha</td>
-    <td>William Jerdan</td>
-  </tr>
-  <tr>
-    <td>The Black Dwarf</td>
-    <td>Thomas J. Wooler</td>
-  </tr>
-  <tr>
-    <td>The Celt</td>
-    <td>Thomas Davis</td>
-  </tr>
-  <tr>
-    <td>The Druid</td>
-    <td>Henry H. Dixon</td>
-  </tr>
-  <tr>
-    <td>The Governor</td>
-    <td>Henry Morford</td>
-  </tr>
-  <tr>
-    <td>The Traveller</td>
-    <td>Isaac Stary</td>
-  </tr>
-  <tr>
-    <td>Theodore Taylor</td>
-    <td>J. C. Hotten</td>
-  </tr>
-  <tr>
-    <td>Thomas Ingoldsby</td>
-    <td>Rev. R. H. Barham</td>
-  </tr>
-  <tr>
-    <td>Thomas Little</td>
-    <td>Thomas Moore</td>
-  </tr>
-  <tr>
-    <td>Thomas Rowley</td>
-    <td>Thomas Chatterton</td>
-  </tr>
-  <tr>
-    <td>Timon Fieldmouse</td>
-    <td>William B. Rands</td>
-  </tr>
-  <tr>
-    <td>Timothy Tickler</td>
-    <td>Robert Syme</td>
-  </tr>
-  <tr>
-    <td>Timothy Titcomb</td>
-    <td>Dr. J. G. Holland</td>
-  </tr>
-  <tr>
-    <td>Tom Brown</td>
-    <td>Thomas Hughes</td>
-  </tr>
-  <tr>
-    <td>Tom Folio</td>
-    <td>Joseph E. Babson</td>
-  </tr>
-  <tr>
-    <td>Tom Hawkins</td>
-    <td>Theodore W. A. Buckley</td>
-  </tr>
-  <tr>
-    <td>Trinculo</td>
-    <td>John A. Cockerill</td>
-  </tr>
-  <tr>
-    <td>Tristram Merton</td>
-    <td>Thomas B. Macaulay</td>
-  </tr>
-  <tr>
-    <td>Two Brothers</td>
-    <td>A. and C. Tennyson</td>
-  </tr>
-  <tr>
-    <td>Ubique</td>
-    <td>Parker Gilmore</td>
-  </tr>
-  <tr>
-    <td>Una Mary</td>
-    <td>A. Ford</td>
-  </tr>
-  <tr>
-    <td>Uncle Hardy</td>
-    <td>William Senior</td>
-  </tr>
-  <tr>
-    <td>Uncle John</td>
-    <td>Elisha Noyce</td>
-  </tr>
-  <tr>
-    <td>Uncle Philip</td>
-    <td>Rev. Dr. F. L. Hawks</td>
-  </tr>
-  <tr>
-    <td>Uncle Toby</td>
-    <td>Rev. Tobias H. Miller</td>
-  </tr>
-  <tr>
-    <td>Veteran Observer</td>
-    <td>E. D. Mansfield</td>
-  </tr>
-  <tr>
-    <td>Vigilant</td>
-    <td>John Corlett</td>
-  </tr>
-  <tr>
-    <td>Vivian</td>
-    <td>George H. Lewes</td>
-  </tr>
-  <tr>
-    <td>Vivian Joyeux</td>
-    <td>W. M. Praed</td>
-  </tr>
-  <tr>
-    <td>Walter Maynard</td>
-    <td>William Beale</td>
-  </tr>
-  <tr>
-    <td>Warhawk</td>
-    <td>William Palmer</td>
-  </tr>
-  <tr>
-    <td>Warrington</td>
-    <td>W. P. Robinson</td>
-  </tr>
-  <tr>
-    <td>Warwick</td>
-    <td>F. O. Otterson</td>
-  </tr>
-  <tr>
-    <td>Waters</td>
-    <td>William H. Russell</td>
-  </tr>
-  <tr>
-    <td>What’s His Name</td>
-    <td>E. C. Massey</td>
-  </tr>
-  <tr>
-    <td>Wilibald, Alexis</td>
-    <td>William Hæring</td>
-  </tr>
-  <tr>
-    <td>Wizard</td>
-    <td>John Corlett</td>
-  </tr>
-</table>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-
-<p><span class="pagenum"><a id="Page_113"></a>[113]</span></p>
-
-<h2 class="nobreak" id="PART_II">PART II.<br />
-<span class="smcap">Readings and Recitations<br />
-from the<br />
-Most Celebrated Authors</span></h2>
-
-<p class="center">COMPRISING</p>
-
-<p class="center">THRILLING BATTLE SCENES AND VICTORIES; BEAUTIFUL DESCRIPTIONS; SOUL-STIRRING
-DEEDS OF HEROISM; WITTY AND HUMOROUS SELECTIONS; PATHETIC
-PIECES; FAMOUS ORATIONS; RECITATIONS FOR CHILDREN; READINGS
-WITH ACCOMPANIMENTS OF MUSIC; DRILLS; LESSON
-TALKS, ETC.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h3>HOW TO READ AND RECITE.</h3>
-
-<div>
-<img class="dropcap" src="images/dropcap-g.jpg" width="125" height="100" alt="" />
-</div>
-
-<p class="dropcap">Good readers and reciters are extremely
-rare, and it is because sufficient
-time and study are not devoted
-to the art of elocution. Not one
-educated man in ten can read a paragraph
-in a newspaper so effectively that to listen to
-him is a pleasure, and not a pain.</p>
-
-<p>Many persons are unable so to express the
-words as to convey their meaning. They
-pervert the sense of the sentence by emphasizing
-in the wrong place, or deprive it of all
-sense by a monotonous gabble, giving no
-emphasis to any words they utter. They
-neglect the “stops,” as they are called; they
-make harsh music with their voices; they
-hiss, or croak, or splutter, or mutter—everything
-but speak the words set down for them
-as they would have talked them to you in
-conversation.</p>
-
-<p>Why should this be? Why should correct
-reading be rare, pleasant reading rarer still,
-and good reading found only in one person
-in ten thousand? Let me urge you with
-all earnestness to become an accomplished
-reader and reciter. This is something to be
-coveted, and it is worth your while to acquire
-it, though it cost you much time and labor.
-Attend to the rules here furnished.</p>
-
-<h4>Cultivation of the Voice.</h4>
-
-<p>Accustom yourself to reading and reciting
-aloud. Some of our greatest orators have
-made it a practice to do this in the open air,
-throwing out the voice with full volume, calling
-with prolonged vowel sounds to some
-object in the distance, and thus strengthening
-the throat and lungs. Every day you should
-practice breathings; by which I mean that
-you should take in a full breath, expand the
-lungs to their full capacity, and then emit
-the breath slowly, and again suddenly with
-explosive force. A good, flexible voice is
-the first thing to be considered.</p>
-
-<h4>Distinct Enunciation.</h4>
-
-<p>When you hear a person read or speak
-you are always pleased if the full quantity is
-given to each syllable of every word. Only<span class="pagenum"><a id="Page_114"></a>[114]</span>
-in this way can the correct meaning of the
-sentence be conveyed. People who are partially
-deaf will tell you that they are not
-always able to hear those who speak the
-loudest, but those who speak the most distinctly.
-Do not recite to persons who are
-nearest to you, but rather glance at those
-who are farthest away, and measure the
-amount of volume required to make them
-hear.</p>
-
-<h4>Emphasis.</h4>
-
-<p>Some word or words in every sentence
-are more important, and require greater
-emphasis than others. You must get at
-the exact meaning of the sentence, and be
-governed by this. The finest effects can be
-produced by making words emphatic where
-the meaning demands it. Look well to this.</p>
-
-<h4>Pauses.</h4>
-
-<p>Avoid a sing-song, monotonous style of
-delivery. Break the flow where it is required;
-you will always notice how skillfully a
-trained elocutionist observes the proper
-pauses. Have such command of yourself
-that you do not need to hurry on with your
-recitation at the same pace from beginning
-to end. The pause enables the hearer to
-take in the meaning of the words, and is
-therefore always to be observed.</p>
-
-<h4>Gestures.</h4>
-
-<p>Speak with your whole body, not merely
-with your tongue and lips. It is permissible
-to even stamp with your foot when the sense
-calls for it. Speak with your eyes, with your
-facial expression, with your fingers, with
-your clenched fist, with your arm, with the
-pose of your body, with all the varying attitudes
-needful to express what you have to
-say with the greatest effect.</p>
-
-<p>Stand, as a rule, with one foot slightly in
-advance of the other, the weight of the body
-resting upon the foot farther back. Do not
-be tied to one position; hold yourself at
-liberty to change your position and move
-about. Do not hold your elbows close to
-your body, as if your arms were strapped to
-your sides. Make the gesture in point of
-time slightly in advance of the word or
-words it is to illustrate.</p>
-
-<h4>The Magnetic Speaker.</h4>
-
-<p>It has always been said that the poet is
-born, but the orator is made. This is not
-wholly correct, for the more magnetism you
-were born with, the better speaker you will
-become. Still, the indefinable thing called
-magnetism is something that can be cultivated;
-at least you can learn how to show
-it, and permit it to exert its wonderful influence
-over your hearers.</p>
-
-<p>Put yourself into your recitations in such
-a way that the thoughts and sentiments you
-express shall, for the time being, be your
-own. Every nerve and muscle of your body,
-every thought and emotion of your mind, in
-short, your whole being should be enlisted.
-You should become transformed, taking on
-the character required by the reading or
-recitation, and making it your own.</p>
-
-<p>Persons who can thus lose themselves in
-what they are saying, and throw into their
-recitations all the force and magnetism of
-which they are capable, are sure to meet
-with success.</p>
-
-<h4>Self-Command.</h4>
-
-<p>Young persons naturally feel embarrassed
-when they face an audience. Some of our
-greatest orators have known what this is, and
-were compelled to labor hard to overcome it.
-Practice alone will give you confidence, unless
-you possess it already, and this is true of only
-a few young persons.</p>
-
-<p>Do your utmost to control yourself. Let
-your will come into play; strong will, governing
-every emotion of the mind and movement
-of the body, is absolutely essential. Do
-not be brazen, but self-confident.</p>
-
-<p><span class="pagenum"><a id="Page_115"></a>[115]</span></p>
-
-<h4><span class="smcap">Typical Gestures to be Used in Reading and Reciting.</span></h4>
-
-<div class="figcenter" style="width: 700px;">
-
-<div class="figmulti" style="width: 300px;" id="gesture1">
-<img src="images/gestures-fig1.jpg" width="100" height="300" alt="" />
-<p class="caption">Fig. 1.—Malediction.</p>
-<p class="caption">Traitors! I would call down the wrath of Heaven on them.</p>
-</div>
-
-<div class="figmulti" style="width: 300px;" id="gesture2">
-<img src="images/gestures-fig2.jpg" width="225" height="300" alt="" />
-<p class="caption">Fig. 2.—Designating.</p>
-<p class="caption">Scorn points his slow, unmoving finger.</p>
-</div>
-
-</div>
-
-<div class="figcenter" style="width: 700px;">
-
-<div class="figmulti" style="width: 300px;" id="gesture3">
-<img src="images/gestures-fig3.jpg" width="160" height="300" alt="" />
-<p class="caption">Fig. 3.—Silence.</p>
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">There was silence deep as death,</div>
-    <div class="verse indent0">And the boldest held his breath.</div>
-  </div>
-</div>
-</div>
-</div>
-
-<div class="figmulti" style="width: 300px;" id="gesture4">
-<img src="images/gestures-fig4.jpg" width="190" height="300" alt="" />
-<p class="caption">Fig. 4.—Repulsion.</p>
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Back to thy punishment, false fugitive,</div>
-    <div class="verse indent0">And to thy speed add wings!</div>
-  </div>
-</div>
-</div>
-</div>
-
-</div>
-
-<p><span class="pagenum"><a id="Page_116"></a>[116]</span></p>
-
-<div class="figcenter" style="width: 700px;">
-
-<div class="figmulti" style="width: 300px;" id="gesture5">
-<img src="images/gestures-fig5.jpg" width="200" height="300" alt="" />
-<p class="caption">Fig. 5.—Declaring.</p>
-<p class="caption">I speak the truth, and dare to speak it.</p>
-</div>
-
-<div class="figmulti" style="width: 300px;" id="gesture6">
-<img src="images/gestures-fig6.jpg" width="200" height="300" alt="" />
-<p class="caption">Fig. 6.—Announcing.</p>
-<p class="caption">We proclaim the liberty that God gave when He gave us life.</p>
-</div>
-
-</div>
-
-<div class="figcenter" style="width: 700px;">
-
-<div class="figmulti" style="width: 300px;" id="gesture7">
-<img src="images/gestures-fig7.jpg" width="200" height="300" alt="" />
-<p class="caption">Fig. 7.—Discerning.</p>
-<p class="caption">A sail, ho! A dim speck on the horizon.</p>
-</div>
-
-<div class="figmulti" style="width: 300px;" id="gesture8">
-<img src="images/gestures-fig8.jpg" width="225" height="250" alt="" />
-<p class="caption">Fig. 8.—Invocation.</p>
-<p class="caption">Angels and ministers of grace, defend us!</p>
-</div>
-
-</div>
-
-<p><span class="pagenum"><a id="Page_117"></a>[117]</span></p>
-
-<div class="figcenter" style="width: 700px;">
-
-<div class="figmulti" style="width: 300px;" id="gesture9">
-<img src="images/gestures-fig9.jpg" width="200" height="300" alt="" />
-<p class="caption">Fig. 9.—Presenting or Receiving.</p>
-<p class="caption">Welcome the coming, speed the going guest.</p>
-</div>
-
-<div class="figmulti" style="width: 300px;" id="gesture10">
-<img src="images/gestures-fig10.jpg" width="175" height="300" alt="" />
-<p class="caption">Fig. 10.—Horror.</p>
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Methought I heard a voice cry, “Sleep no more!</div>
-    <div class="verse indent0">Macbeth, does murder sleep?”</div>
-  </div>
-</div>
-</div>
-</div>
-
-</div>
-
-<div class="figcenter" style="width: 700px;">
-
-<div class="figmulti" style="width: 300px;" id="gesture11">
-<img src="images/gestures-fig11.jpg" width="150" height="300" alt="" />
-<p class="caption">Fig. 11.—Exaltation.</p>
-<p class="caption">Washington is in the clear upper sky.</p>
-</div>
-
-<div class="figmulti" style="width: 300px;" id="gesture12">
-<img src="images/gestures-fig12.jpg" width="175" height="300" alt="" />
-<p class="caption">Fig. 12—Secrecy.</p>
-<p class="caption">Be mute, be secret as the grave.</p>
-</div>
-
-</div>
-
-<p><span class="pagenum"><a id="Page_118"></a>[118]</span></p>
-
-<div class="figcenter" style="width: 700px;">
-
-<div class="figmulti" style="width: 300px;" id="gesture13">
-<img src="images/gestures-fig13.jpg" width="160" height="300" alt="" />
-<p class="caption">Fig. 13.—Wonderment.</p>
-<p class="caption">While the dance was the merriest, the door opened and there stood the parson!</p>
-</div>
-
-<div class="figmulti" style="width: 300px;" id="gesture14">
-<img src="images/gestures-fig14.jpg" width="115" height="300" alt="" />
-<p class="caption">Fig. 14.—Indecision.</p>
-<p class="caption">Shall I take back my promise? ’Twill but expose me to contempt.</p>
-</div>
-
-</div>
-
-<div class="figcenter" style="width: 700px;">
-
-<div class="figmulti" style="width: 300px;" id="gesture15">
-<img src="images/gestures-fig15.jpg" width="115" height="300" alt="" />
-<p class="caption">Fig. 15.—Grief.</p>
-<p class="caption">O, that by weeping I could heal my sorrow!</p>
-</div>
-
-<div class="figmulti" style="width: 300px;" id="gesture16">
-<img src="images/gestures-fig16.jpg" width="150" height="300" alt="" />
-<p class="caption">Fig. 16.—Gladness.</p>
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">No pen, no tongue can summon power</div>
-    <div class="verse indent0">To tell the transports of that hour.</div>
-  </div>
-</div>
-</div>
-</div>
-
-</div>
-
-<p><span class="pagenum"><a id="Page_119"></a>[119]</span></p>
-
-<div class="figcenter" style="width: 700px;">
-
-<div class="figmulti" style="width: 300px;" id="gesture17">
-<img src="images/gestures-fig17.jpg" width="150" height="300" alt="" />
-<p class="caption">Fig. 17.—Signalling.</p>
-<p class="caption">There stood Count Wagstaff, beckoning.</p>
-</div>
-
-<div class="figmulti" style="width: 300px;" id="gesture18">
-<img src="images/gestures-fig18.jpg" width="190" height="300" alt="" />
-<p class="caption">Fig. 18.—Tender Rejection.</p>
-<p class="caption">It has come at last; I must say, No.</p>
-</div>
-
-</div>
-
-<div class="figcenter" style="width: 700px;">
-
-<div class="figmulti" style="width: 300px;" id="gesture19">
-<img src="images/gestures-fig19.jpg" width="125" height="300" alt="" />
-<p class="caption">Fig. 19.—Protecting—Soothing.</p>
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Boy! Harold! safely rest,</div>
-    <div class="verse indent0">Enjoy the honey-dew of slumber.</div>
-  </div>
-</div>
-</div>
-</div>
-
-<div class="figmulti" style="width: 300px;" id="gesture20">
-<img src="images/gestures-fig20.jpg" width="150" height="300" alt="" />
-<p class="caption">Fig. 20.—Anguish.</p>
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">My cup with agony is filled,</div>
-    <div class="verse indent0">From nettles sharp as death distilled.</div>
-  </div>
-</div>
-</div>
-</div>
-
-</div>
-
-<p><span class="pagenum"><a id="Page_120"></a>[120]</span></p>
-
-<div class="figcenter" style="width: 700px;">
-
-<div class="figmulti" style="width: 300px;" id="gesture21">
-<img src="images/gestures-fig21.jpg" width="160" height="300" alt="" />
-<p class="caption">Fig. 21.—Awe—Appeal.</p>
-<p class="caption">Spirits of the just made perfect, from your empyrean heights look down!</p>
-</div>
-
-<div class="figmulti" style="width: 300px;" id="gesture22">
-<img src="images/gestures-fig22.jpg" width="100" height="300" alt="" />
-<p class="caption">Fig. 22.—Meditation.</p>
-<p class="caption">A lonely man, wending his slow way along and lost in deepest thought.</p>
-</div>
-
-</div>
-
-<div class="figcenter" style="width: 700px;">
-
-<div class="figmulti" style="width: 300px;" id="gesture23">
-<img src="images/gestures-fig23.jpg" width="100" height="300" alt="" />
-<p class="caption">Fig. 23.—Defiance.</p>
-<p class="caption">Defy the devil; consider he is the enemy of mankind.</p>
-</div>
-
-<div class="figmulti" style="width: 300px;" id="gesture24">
-<img src="images/gestures-fig24.jpg" width="175" height="300" alt="" />
-<p class="caption">Fig. 24.—Denying—Rejecting.</p>
-<p class="caption">Yes, if this were my last breath I would deny these infamous charges.</p>
-</div>
-
-</div>
-
-<p><span class="pagenum"><a id="Page_121"></a>[121]</span></p>
-
-<div class="figcenter" style="width: 700px;">
-
-<div class="figmulti" style="width: 300px;" id="gesture25">
-<img src="images/gestures-fig25.jpg" width="250" height="300" alt="" />
-<p class="caption">Fig. 25.—Dispersion.</p>
-<p class="caption">Spain’s proud Armada was scattered to the winds.</p>
-</div>
-
-<div class="figmulti" style="width: 300px;" id="gesture26">
-<img src="images/gestures-fig26.jpg" width="125" height="300" alt="" />
-<p class="caption">Fig. 26.—Remorse.</p>
-<p class="caption">A thoughtless, wicked deed; it stings sharper than a serpent’s tooth.</p>
-</div>
-
-</div>
-
-<div class="figcenter" style="width: 700px;">
-
-<div class="figmulti" style="width: 300px;" id="gesture27">
-<img src="images/gestures-fig27.jpg" width="200" height="300" alt="" />
-<p class="caption">Fig. 27.—Accusation.</p>
-<p class="caption">And Nathan said to David, Thou art the man.</p>
-</div>
-
-<div class="figmulti" style="width: 300px;" id="gesture28">
-<img src="images/gestures-fig28.jpg" width="160" height="300" alt="" />
-<p class="caption">Fig. 28.—Revealing.</p>
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">The way she kept it was, of course,</div>
-    <div class="verse indent0">To tell it all and make it worse.</div>
-  </div>
-</div>
-</div>
-</div>
-
-</div>
-
-<p><span class="pagenum"><a id="Page_122"></a>[122]</span></p>
-
-<div class="figcenter" style="width: 500px;" id="gesture29">
-<img src="images/gestures-fig29.jpg" width="500" height="700" alt="" />
-<p class="caption">Fig. 29.—Correct Positions of the Hands.</p>
-<p class="caption">1. Simple affirmation. 2. Emphatic declaration. 3. Apathy or
-prostration. 4. Energetic appeal. 5. Negation or denial. 6. Violent
-repulsion. 7. Indexing or cautioning. 8. Determination or anger.
-9. Supplication. 10. Gentle entreaty. 11. Carelessness. 12. Argumentation.
-13. Earnest entreaty. 14. Resignation.</p>
-</div>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-
-<p><span class="pagenum"><a id="Page_123"></a>[123]</span></p>
-
-<h3 class="nobreak" id="Recitations_with_Lesson_Talks"><span class="smcap">Recitations with Lesson Talks.</span></h3>
-
-<p class="center">SHOWING BY EXAMPLES HOW TO READ AND RECITE.</p>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-</div>
-
-<h4>THE SONG OF OUR SOLDIERS AT SANTIAGO.</h4>
-
-<p>When the destruction of Admiral Cervera’s fleet became known before
-Santiago, the American soldiers cheered wildly, and, with one accord,
-through miles of trenches, began singing “The Star Spangled Banner.” You
-should preface the recitation with the foregoing statement.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">Singing “The Star Spangled Banner”</div>
-    <div class="verse indent2">In the very jaws of death!</div>
-    <div class="verse indent0">Singing our glorious anthem,</div>
-    <div class="verse indent2">Some with their latest breath!</div>
-    <div class="verse indent0">The strains of that solemn music</div>
-    <div class="verse indent2">Through the spirit will ever roll,</div>
-    <div class="verse indent0">Thrilling with martial ardor</div>
-    <div class="verse indent2">The depths of each patriot soul.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">2. Hearing the hum of the bullets!</div>
-    <div class="verse indent2">Eager to charge the foe!</div>
-    <div class="verse indent0">Biding the call to battle,</div>
-    <div class="verse indent2">Where crimson heart streams flow!</div>
-    <div class="verse indent0">Thinking of home and dear ones,</div>
-    <div class="verse indent2">Of mother, of child, of wife,</div>
-    <div class="verse indent0">They sang “The Star Spangled Banner”</div>
-    <div class="verse indent2">On that field of deadly strife.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">3. They sang with the voices of heroes,</div>
-    <div class="verse indent2">In the face of the Spanish guns,</div>
-    <div class="verse indent0">As they leaned on their loaded rifles,</div>
-    <div class="verse indent2">With the courage that never runs,</div>
-    <div class="verse indent0">They sang to our glorious emblem,</div>
-    <div class="verse indent2">Upraised on that war-worn sod,</div>
-    <div class="verse indent0">As the saints in the old arena</div>
-    <div class="verse indent2">Sang a song of praise to God.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">David Graham Adee.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>LESSON TALK.</h5>
-
-<p>This selection is inspiring. It is brimful of the
-glow of patriotism. To deliver it, therefore, in a
-dull, listless, indifferent manner would suppress the
-natural sentiment of the piece and rob it of the effect
-it would otherwise produce. Be <i>alive</i>; not wooden
-and nerveless. If you were standing in a crowd and
-a brass band should come along and strike up the
-“Star Spangled Banner,” you would instantly see
-the change that would come over the assembled
-throng. Every heart would be moved, every face
-would be filled with expression, every nerve would
-seem to tingle.</p>
-
-<p>When you are to deliver a selection of this kind,
-come before your audience with your body straightened
-to its full height, your shoulders thrown back,
-and your head erect. For the time being you are a
-patriot, and are saying some grand things about the
-Stars and Stripes and about our brave heroes who
-have carried “Old Glory” to victory on so many
-battlefields.</p>
-
-<p>Your manner must indicate that you appreciate
-their heroism, that you are ready to extol it, and that
-you expect your hearers to share the emotions of
-your own breast. You should know what tones of
-voice your are to employ in expressing most effectively
-the sentiments of the piece, what gestures should
-be used and what words are to be emphasized.</p>
-
-<p>1. Taking now the first verse, you should let the
-tones of your voice out full and clear on the first
-line, lowering your voice on the second line; then
-letting your voice ring out again on the third line,
-and again subduing it on the fourth. Here is a fine
-opportunity for contrast between strong tones and
-tones subdued and suggestive of death. It would
-not be amiss to give the words “their latest breath”
-in a whisper. Prolong the sound on the word “roll.”<span class="pagenum"><a id="Page_124"></a>[124]</span>
-The word “thrilling” should be expressed with
-energetic impulse, and the voice lowered, yet round
-and full, on the last line.</p>
-
-<p>2. With hands elevated as high as the shoulders
-and palms turned outward, expressive of wonder and
-almost alarm, deliver the first line of the second
-verse. Suddenly change to confidence and courage
-in the next three lines. Express nothing here that
-could suggest timidity, but rather the opposite.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“Thinking of home and dear ones,</div>
-    <div class="verse indent2">Of mother, of child, of wife,”</div>
-  </div>
-</div>
-</div>
-
-<p class="noindent">should be spoken in a thoughtful mood, with head
-dropped on breast; then lift it as you speak the two
-lines that follow, the last of which refers to the field
-of battle and should be designated, as in <a href="#gesture2">Figure 2 of
-Typical Gestures</a>, found in the preceding pages.</p>
-
-<p>3. At the beginning of verse three, elevate your
-voice and prolong the tones. The words “never
-runs” are emphatic; put stress on them. On the
-fifth and sixth lines of this verse use the gesture for
-Exaltation, <a href="#gesture11">Figure 11 of Typical Gestures</a>—arm lifted
-as high as the head and palm opened upward, giving
-the arm at the same time a circular motion. The last
-two lines should be delivered with hands clasped, palm
-to palm, in front of the breast, and eyes turned upward.</p>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>THE VICTOR OF MARENGO.</h4>
-
-<div>
-<img class="dropcap" src="images/dropcap-n.jpg" width="140" height="110" alt="" />
-</div>
-
-<p class="dropcap">Napoleon was sitting in his tent;
-before him lay a map of Italy. He
-took four pins and stuck them
-up; measured, moved the pins, and measured
-again. “Now,” said he, “that is right; I
-will capture him there!” “Who, sir?” said
-an officer. “Milas, the old fox of Austria.
-He will retire from Genoa, pass Turin, and
-fall back on Alexandria. I shall cross the
-Po, meet him on the plains of Laconia, and
-conquer him there,” and the finger of the
-child of destiny pointed to Marengo.</p>
-
-<p>2. Two months later the memorable campaign
-of 1800 began. The 20th of May saw
-Napoleon on the heights of St. Bernard. The
-22d, Lannes, with the army of Genoa, held
-Padua. So far, all had been well with Napoleon.
-He had compelled the Austrians to
-take the position he desired; reduced the
-army from one hundred and twenty thousand
-to forty thousand men; dispatched Murat
-to the right, and June 14th moved forward
-to consummate his masterly plan.</p>
-
-<p>3. But God threatened to overthrow his
-scheme! A little rain had fallen in the Alps,
-and the Po could not be crossed in time.
-The battle was begun. Milas, pushed to
-the wall, resolved to cut his way out; and
-Napoleon reached the field to see Lannes
-beaten—Champeaux dead—Desaix still
-charging old Milas, with his Austrian phalanx
-at Marengo, till the consular guard gave
-way, and the well-planned victory was a terrible
-defeat. Just as the day was lost, Desaix,
-the boy General, sweeping across the field at
-the head of his cavalry, halted on the eminence
-where stood Napoleon.</p>
-
-<p>4. There was in the corps a drummer-boy,
-a gamin whom Desaix had picked up in the
-streets of Paris. He had followed the
-victorious eagle of France in the campaigns
-of Egypt and Germany. As the columns
-halted, Napoleon shouted to him: “Beat a
-retreat!” The boy did not stir. “Gamin,
-beat a retreat!” The boy stopped, grasped
-his drum-sticks, and said: “Sir, I do not
-know how to beat a retreat; Desaix never
-taught me that; but I can beat a charge,—Oh!
-I can beat a charge that will make the
-dead fall into line. I beat that charge at the
-Pyramid: I beat that charge at Mount Tabor:
-I beat it again at the bridge of Lodi. May
-I beat it here?”</p>
-
-<p>5. Napoleon turned to Desaix, and said:
-“We are beaten; what shall we do?” “Do?
-Beat them! It is only three o’clock, and
-there is time enough to win a victory yet.
-Up! the charge! beat the old charge of<span class="pagenum"><a id="Page_125"></a>[125]</span>
-Mount Tabor and Lodi!” A moment later
-the corps, following the sword-gleam of Desaix,
-and keeping step with the furious roll
-of the gamin’s drum, swept down on the
-host of Austrians. They drove the first line
-back on the second—both on the third, and
-there they died. Desaix fell at the first
-volley, but the line never faltered, and as the
-smoke cleared away the gamin was seen in
-front of his line marching right on, and still
-beating the furious charge.</p>
-
-<p>6. Over the dead and wounded, over breastworks
-and fallen foe, over cannon belching
-forth their fire of death, he led the way to
-victory, and the fifteen days in Italy were
-ended. To-day men point to Marengo in
-wonder. They admire the power and foresight
-that so skillfully handled the battle
-but they forget that a General only thirty
-years of age made a victory of a defeat. They
-forget that a gamin of Paris put to shame
-“the child of destiny.”</p>
-
-<h5>LESSON TALK.</h5>
-
-<p>A story or a narrative like this should be read in a
-more easy, conversational manner than is demanded
-for selections more tragic or oratorical. Yet a great
-variety of expression can be introduced into this
-piece, and without it, the reading will be tame.</p>
-
-<p>1. In the first part of this verse spread your hands
-forward, then outward with the palms downward, to
-indicate the map of Italy which is lying before the
-great general. In a tone of triumph, accompanied
-with firmness and decision, Napoleon says, “I will
-capture him there.” Use the gesture for defiance,
-<a href="#gesture23">Figure 23, in Typical Gestures</a>. Your body must be
-immediately relaxed as you ask the question, “Who,
-sir?” Let the answer be given with utterance somewhat
-rapid, still indicating firmness and decision.</p>
-
-<p>2. This verse is easy narrative and should be recited
-as you would tell it to a friend in conversation.
-The words “masterly plan” in the last line are
-emphatic.</p>
-
-<p>3. In the first line of this verse use the gesture
-shown in <a href="#gesture24">Figure 24 of Typical Gestures</a>, indicating
-that Napoleon’s scheme was rejected by God and
-brought to nought. The style of narrative here is
-very concise and the sentences should follow one
-another in quick succession. “Milas, pushed to the
-wall,” should be expressed by <a href="#gesture4">Figure 4 of Typical
-Gestures</a>. When you come to the words “the well-planned
-victory was a terrible defeat,” stretch forth
-your right arm as in <a href="#gesture6">Figure 6 of Typical Gestures</a>,
-dropping it to your side heavily on the last word.
-Point to the boy general sweeping across the field
-and to the eminence where Napoleon stood. Champeaux
-is pronounced <i>Shon-po</i>; Desaix is pronounced
-<i>De-say</i>.</p>
-
-<p>4. Here you drop again into easy narrative until
-you come to the words, “Beat a retreat!” These
-are to be shouted as if you were the officer on the
-battlefield giving the command. Put intense expression
-into the boy’s appeal, as he states that he does
-not know how to beat a retreat, and pleads to be permitted
-to beat a charge. There is opportunity here
-for grand effect as you deliver these lines.</p>
-
-<p>5 and 6. Use the gesture for Defiance on the
-words, “Up! the charge!” You are ordering an
-advance, resolved to win the victory. The remainder
-of this verse and the following is narrative and demands
-quite a different rendering from the words of
-command in other parts of the selection. If you
-recite it in such a way as to express the full meaning
-it will captivate your hearers.</p>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>THE WEDDING FEE.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">One morning, fifty years ago—</div>
-    <div class="verse indent4">When apple-trees were white with snow</div>
-    <div class="verse indent4">Of fragrant blossoms, and the air</div>
-    <div class="verse indent4">Was spellbound with the perfume rare—</div>
-    <div class="verse indent4">Upon a farm horse, large and lean,</div>
-    <div class="verse indent6">And lazy with its double load,</div>
-    <div class="verse indent4">A sun-brown youth and maid were seen</div>
-    <div class="verse indent6">Jogging along the winding road</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">2.  Blue were the arches of the skies,</div>
-    <div class="verse indent4">But bluer were that maiden’s eyes!</div>
-    <div class="verse indent4">The dewdrops on the grass were bright,</div>
-    <div class="verse indent4">But brighter was the loving light</div>
-    <div class="verse indent4">That sparkled ’neath each long-fringed lid,</div>
-    <div class="verse indent4">Where those bright eyes of blue were hid;</div>
-    <div class="verse indent4">Adown the shoulders, brown and bare,</div>
-    <div class="verse indent4">Rolled the soft waves of golden hair.</div><span class="pagenum"><a id="Page_126"></a>[126]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">3.  So on they ride, until among</div>
-    <div class="verse indent4">The new born leaves with dew-drops hung,</div>
-    <div class="verse indent4">The parsonage, arrayed in white,</div>
-    <div class="verse indent4">Peers out—a more than welcome sight.</div>
-    <div class="verse indent6">Then with a cloud upon his face,</div>
-    <div class="verse indent4">“What shall we do?” he turned to say,</div>
-    <div class="verse indent4">“Should he refuse to take his pay</div>
-    <div class="verse indent6">From what is in the pillow case?”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">4.  And glancing down his eyes surveyed</div>
-    <div class="verse indent4">The pillow case before him laid,</div>
-    <div class="verse indent4">Whose contents reaching to its hem,</div>
-    <div class="verse indent4">Might purchase endless joys for them.</div>
-    <div class="verse indent4">The maiden answers: “Let us wait;</div>
-    <div class="verse indent6">To borrow trouble where’s the need?”</div>
-    <div class="verse indent4">Then at the parson’s squeaking gate</div>
-    <div class="verse indent6">Halted the more than willing steed.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">5.  Down from his horse the bridegroom sprung;</div>
-    <div class="verse indent4">The latchless gate behind him swung.</div>
-    <div class="verse indent4">The knocker of that startled door,</div>
-    <div class="verse indent4">Struck as it never was before,</div>
-    <div class="verse indent6">Brought the whole household, pale with fright,</div>
-    <div class="verse indent4">And there with blushes on his cheek,</div>
-    <div class="verse indent4">So bashful he could hardly speak,</div>
-    <div class="verse indent6">The parson met their wondering sight.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">6.  The groom goes in, his errand tells,</div>
-    <div class="verse indent6">And as the parson nods, he leans</div>
-    <div class="verse indent4">Far out across the window-sill and yells—</div>
-    <div class="verse indent6">“Come in. He says he’ll take the beans!”</div>
-    <div class="verse indent4">Oh! how she jumped! With one glad bound</div>
-    <div class="verse indent4">She and the bean-bag reached the ground.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">7.  Then, clasping with each dimpled arm</div>
-    <div class="verse indent4">The precious products of the farm,</div>
-    <div class="verse indent4">She bears it through the open door,</div>
-    <div class="verse indent4">And down upon the parlor floor</div>
-    <div class="verse indent4">Dumps the best beans vines ever bore.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">8.  Ah! happy were their songs that day,</div>
-    <div class="verse indent4">When man and wife they rode away;</div>
-    <div class="verse indent4">But happier this chorus still</div>
-    <div class="verse indent6">Which echoed through those woodland scenes:</div>
-    <div class="verse indent4">“God bless the priest of Whittensville!</div>
-    <div class="verse indent6">God bless the man who took the beans.”</div>
-  </div>
-</div>
-</div>
-
-<h5>LESSON TALK.</h5>
-
-<p>The quiet humor of this piece stands in strong
-contrast to selections of a tragic character, and if it
-is recited in an easy pleasant way, it is sure to be
-appreciated by all who hear it. Adapt your voice
-and manner, therefore, to the style of narrative.</p>
-
-<p>1. With the right hand extended designate the
-farm horse, large and lean. Drawl out the word
-lazy in the next line, and continue this slow utterance
-to the end of the verse.</p>
-
-<p>2. The sentiment changes in the next verse and
-requires more animation. In the first line make the
-gesture shown in <a href="#gesture21">Figure 21 of Typical Gestures</a>, in
-the beginning of Part II. of this volume. Become
-more animated as you describe the maiden’s eyes
-and the soft waves of her golden hair.</p>
-
-<p>3. The young couple reach the parsonage and
-your manner should suggest theirs; they have come
-on very important business. Express the embarrassment
-of the young man as he asks the question:
-“What shall we do?” etc. Give a half look of surprise
-as you refer to the contents of the pillow-case.</p>
-
-<p>4. In a half tone of rebuke the maiden answers,
-“Let us wait,” saying encouragingly that there is no
-need to borrow trouble. She evidently believes the
-parson will be quite willing to take the fee.</p>
-
-<p>5. Let your utterance become more rapid as you
-picture the bridegroom springing from the horse.
-With uplifted, clenched hand knock on the door,
-and then portray the half fright of the parson as he
-answers the knock.</p>
-
-<p>6. Here is an opportunity for a genuine touch of humor.
-Cry out as the young man would to the maiden
-by the gate, “Come in; he says he’ll take the beans!”
-She jumps to the ground. Make the gesture of
-<a href="#gesture16">Figure 16 in Typical Gestures</a>.</p>
-
-<p>7. Act out the effort of carrying the pillow-case
-through the open door and throwing it upon the parlor
-floor. Do not let your facial expression be too
-serious. You should know how to smile without
-looking silly.</p>
-
-<p>8. Here again in the first line make the gesture in
-<a href="#gesture16">Figure 16</a>, and with elevated pitch and joyous expression
-picture the young couple as they ride away.
-With fervent tones and uplifted hands recite the last
-two lines of the piece. A good recital for a parlor
-entertainment.</p>
-
-<p><span class="pagenum"><a id="Page_127"></a>[127]</span></p>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>THE STATUE IN CLAY.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-m.jpg" width="140" height="100" alt="" /></div>
-    <div class="dropcapline">“Make me a statue,” said the King,</div>
-    <div class="verse indent6">“Of marble white as snow;</div>
-    <div class="verse indent4">It must be pure enough to stand</div>
-    <div class="verse indent4">Before my throne, at my right hand;</div>
-    <div class="verse indent6">The niche is waiting. Go!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">2.  The sculptor heard the King’s command</div>
-    <div class="verse indent6">And went upon his way;</div>
-    <div class="verse indent4">He had no marble, but he meant,</div>
-    <div class="verse indent4">With willing mind and high intent,</div>
-    <div class="verse indent6">To mould his thoughts in clay.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">3.  Day after day he wrought in clay,</div>
-    <div class="verse indent6">But knew not what he wrought;</div>
-    <div class="verse indent4">He sought the help of heart and brain,</div>
-    <div class="verse indent4">But could not make the riddle plain;</div>
-    <div class="verse indent6">It lay beyond his thought.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">4.  To-day the statue seemed to grow,</div>
-    <div class="verse indent6">To-morrow it stood still,</div>
-    <div class="verse indent4">The third day all went well again;</div>
-    <div class="verse indent4">Thus year by year, in joy and pain,</div>
-    <div class="verse indent6">He served his master’s will.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">5.  At last his life-long work was done;</div>
-    <div class="verse indent6">It was a fateful day;</div>
-    <div class="verse indent4">He took the statue to the King,</div>
-    <div class="verse indent4">And trembled like a guilty thing,</div>
-    <div class="verse indent6">Because it was but clay.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">6.  “Where is my statue?” asked the King,</div>
-    <div class="verse indent6">“Here, Lord,” the Sculptor said:</div>
-    <div class="verse indent4">“But I commanded marble.” “True,</div>
-    <div class="verse indent4">I had not that, what could I do</div>
-    <div class="verse indent6">But mould in clay instead?”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">7.  “Thou shalt not unrewarded go</div>
-    <div class="verse indent6">Since thou hast done thy best,</div>
-    <div class="verse indent4">Thy statue shall acceptance win,</div>
-    <div class="verse indent4">It shall be as it should have been,</div>
-    <div class="verse indent6">For I will do the rest.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">8.  He touched the statue, and it changed.</div>
-    <div class="verse indent6">The clay falls off, and lo!</div>
-    <div class="verse indent4">The marble shape before him stands,</div>
-    <div class="verse indent4">The perfect work of heavenly hands,</div>
-    <div class="verse indent6">An angel, pure as snow.</div>
-  </div>
-</div>
-</div>
-
-<h5>LESSON TALK.</h5>
-
-<p>The beautiful lesson taught in this selection is apparent
-to every one. In reciting it you have, therefore,
-the advantage of presenting a reading that commends
-itself to all hearers, the sentiment of which is
-admirable. The piece will speak for itself, and there is
-a vast difference between a reading of this description
-and one that has nothing specially to commend it.</p>
-
-<p>And here let me say something concerning your
-choice of recitations. First of all, they should be
-adapted to your range of capacity. It is simply grotesque
-for one to whom only tragedy is natural to attempt
-to recite humorous pieces. On the other hand,
-it is a great mistake for one who is expert in nothing
-but humorous selections to attempt to recite tragedy.</p>
-
-<p>The error with many readers lies in attempting to
-do that for which they are not naturally fitted. The
-selections in this volume are so diversified that you
-ought to be able to find what is especially suited to
-your ability.</p>
-
-<p>Nothing is inserted here simply because it is good
-poetry or good prose. There are thousands of readings
-and recitations, so called, that do not afford the
-elocutionist any opportunity to display his powers.
-They are a dull monotony from beginning to end.
-They fill the pages of the book, but nobody wants
-them. Every recitation in this volume has been
-chosen because it has some special merit and is
-adapted to call out the powers of the reader.</p>
-
-<p>1. Taking now the recitation before us you have
-in the first verse the King’s command, which you
-should deliver in a tone of authority, extending the
-right hand on the fourth line.</p>
-
-<p>And this affords me an opportunity to say that your
-gestures should never be thrust forward or sideways
-in an angular manner, but with something approaching
-a curve. Do not make gestures as though you were
-a prize-fighter and were thrusting at an imaginary foe.
-Remember that the line of beauty is always the curve.</p>
-
-<p>2. This verse is narrative and requires a different
-expression from the one preceding it. Extend your
-right hand on the second line in which it is stated
-that the sculptor went upon his way, curving your arm
-outward and then letting it fall gently by your side.</p>
-
-<p>3. In this verse the sculptor is in perplexity. He
-is trying to study out the riddle, and to express this
-you should use <a href="#gesture22">Figure 22 of Typical Gestures</a>.</p>
-
-<p><span class="pagenum"><a id="Page_128"></a>[128]</span></p>
-
-<p>4 and 5. These verses are also narrative, the only
-thing to be noted being the trembling timidity of the
-sculptor in the last part of the 5th verse. This
-should be indicated by the tones of your voice and
-general manner.</p>
-
-<p>6. This is dialogue, and while the inflexions required
-are those of ordinary conversation, do not let
-your manner be too tame.</p>
-
-<p>7. Make the announcement contained in this verse
-with evident satisfaction. The last line is emphatic
-and should be spoken with full volume.</p>
-
-<p>8. Make a pause after the word statue in the first
-line and recite the remainder of this line in a tone of
-surprise. In the second line make the gesture in
-<a href="#gesture13">Figure 13 of Typical Gestures</a>. Let your facial expression
-indicate satisfaction.</p>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>THE PUZZLED BOY.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">“Well—whose boy am I, any way?</div>
-    <div class="verse indent4">I fell down cellar yesterday,</div>
-    <div class="verse indent4">And gave my head an awful bump</div>
-    <div class="verse indent4">(If you had only seen the lump!)</div>
-    <div class="verse indent4">And Mamma called me when I cried,</div>
-    <div class="verse indent4">And hugged me close up to her side,</div>
-    <div class="verse indent4">And said: ‘I’ll kiss and make it well,</div>
-    <div class="verse indent4">Mamma’s own boy; how hard he fell.’</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">2.  “When Papa took me out to play</div>
-    <div class="verse indent4">Where all the men were making hay,</div>
-    <div class="verse indent4">He put me on old Dobbin’s back;</div>
-    <div class="verse indent4">And when they gave the whip a crack,</div>
-    <div class="verse indent4">And off he threw me, Papa said,</div>
-    <div class="verse indent4">(When I got up and rubbed my head,</div>
-    <div class="verse indent4">And shut my lips, and winked my eyes)</div>
-    <div class="verse indent4">‘Papa’s brave boy. He never cries!’</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">3.  “And when I go to Grandma’s—well,</div>
-    <div class="verse indent4">You’d be surprised if I could tell</div>
-    <div class="verse indent4">Of all the pies and ginger-cakes</div>
-    <div class="verse indent4">And doughnuts that she always makes,</div>
-    <div class="verse indent4">And all the jam and tarts and such,</div>
-    <div class="verse indent4">And <i>never</i> says, ‘Don’t take too much;</div>
-    <div class="verse indent4">Because,’ she says, ‘he must enjoy</div>
-    <div class="verse indent4">His visit, for he’s Grandma’s boy!’</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">4.  “And Grandpa says: ‘I’ll give him soon</div>
-    <div class="verse indent4">A little pony for his own,</div>
-    <div class="verse indent4">He’ll learn to ride it well, I know,</div>
-    <div class="verse indent4">Because he’s Grandpa’s boy. Ho! ho!’</div>
-    <div class="verse indent4">And plenty other people say;</div>
-    <div class="verse indent4">‘Well, how are you, my boy, to-day?’</div>
-    <div class="verse indent4">Now, can you tell me, if you try,</div>
-    <div class="verse indent4">How many little boys <i>am I</i>?”</div>
-  </div>
-</div>
-</div>
-
-<h5>LESSON TALK.</h5>
-
-<p>This selection is in a lighter vein than the others
-that have gone before. It is adapted to a boy eight
-or ten years old. While the humor is not of a boisterous
-character, the piece is very pleasing when recited
-by a boy who knows how to take in the situation
-and can put on a look of natural surprise.</p>
-
-<p>Recitations by little people are always interesting
-to older persons. The young should be taught to recite
-in public. While this need not make them bold,
-it does give them confidence, which is very desirable
-for them to have.</p>
-
-<p>Moreover, it helps them to become graceful in manner
-if they are properly trained, and takes away the
-awkwardness which makes many young persons appear
-to a disadvantage. Added to all this the cultivation
-of the memory derived from learning recitations,
-and learning them so thoroughly that they cannot be
-forgotten through any temporary embarrassment, and
-you will readily see that the noble art of elocution is
-an essential part of every young person’s education.</p>
-
-<p>The selection before us is not a difficult one to recite.
-In the first verse emphasis should be placed
-on the word “am,” and the question should be asked
-in a tone of surprise. Put your hand to your head in
-speaking of that “awful bump.”</p>
-
-<p>In the next verse lift your right hand with a sudden
-motion and use any gesture with which you can
-best indicate the cracking of the whip. When you
-come to the words “off he threw me,” use the gesture
-in <a href="#gesture24">Figure 24 of Typical Gestures</a>. Emphasize
-the word “he” in the last line.</p>
-
-<p>In verse three open your eyes in half wonder and
-put on an expressive smile as you speak of grandma’s
-pies, cakes, doughnuts, tarts, etc. Make it plain that
-you enjoy your visit to grandma’s.</p>
-
-<p>With elevated voice and accents of delight refer
-to the gift of the little pony in the last verse. Speak
-the first “ho!” rather quickly; then prolong the
-sound on the second “ho!” In the last line the
-words “am I?” are emphatic. You are puzzled to
-know how many little boys you are. Pause a moment
-and look as if expecting an answer.</p>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-
-<h3 class="nobreak" id="Recitations_with_Music"><span class="smcap">Recitations with Music.</span></h3>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-</div>
-
-<p>Nothing renders a recitation more acceptable
-to any audience than snatches
-of music, some of the words being sung,
-if the reader has a voice for singing.
-The change from reciting to singing should
-be made easily, and you should be fully
-confident that you can carry through the
-part to be expressed by the notes of
-music, and sing the words effectively.</p>
-
-<p>This will require practice, but will repay
-you for the time spent in preparation. Selections
-for song and recital combined are here
-presented, which cannot fail to captivate your
-audience if they are skillfully rendered.</p>
-
-<div class="figcenter-line" style="width: 300px;">
-<img src="images/line11.jpg" width="300" height="15" alt="" />
-</div>
-
-<h4>TWICKENHAM FERRY.</h4>
-
-<p class="center">The words to be sung, or that should receive the prolonged sound
-indicated by the notes, are printed in italics. Remember you are calling
-to some one in the distance.</p>
-
-<p><span class="pagenum"><a id="Page_129"></a>[129]</span></p>
-
-<div class="figcenter" style="width: 700px;">
-<img src="images/music1.jpg" width="700" height="115" alt="[sheet music]" />
-</div>
-
-<p><span class="pagenum"><a id="Page_130"></a>[130]</span></p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline"><i>“O-hoi ye-ho, Ho-ye-ho, Who’s for the ferry?</i></div>
-    <div class="verse indent2">The briars in bud, the sun is going down,</div>
-    <div class="verse indent0">And I’ll row ye so quick and I’ll row ye so steady,</div>
-    <div class="verse indent2">And ’tis but a penny to Twickenham Town.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The ferryman’s slim and the ferryman’s young,</div>
-    <div class="verse indent0">And he’s just a soft twang in the turn of his tongue,</div>
-    <div class="verse indent2">And he’s fresh as a pippin and brown as a berry,</div>
-    <div class="verse indent0">And ’tis but a penny to Twickenham Town.</div>
-    <div class="verse indent2"><i>O-hoi ye-ho, Ho-ye-ho, Ho-ye-ho, Ho.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">2.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“<i>O-hoi ye-ho, Ho-ye-ho, I’m for the ferry</i>,</div>
-    <div class="verse indent2">The briars in bud, the sun going down,</div>
-    <div class="verse indent0">And it’s late as it is, and I haven’t a penny,</div>
-    <div class="verse indent2">And how shall I get me to Twickenham Town?”</div>
-    <div class="verse indent0">She’d a rose in her bonnet, and oh! she look’d sweet</div>
-    <div class="verse indent0">As the little pink flower that grows in the wheat,</div>
-    <div class="verse indent2">With her cheeks like a rose and her lips like a cherry,</div>
-    <div class="verse indent0">“And sure and you’re welcome to Twickenham Town.”</div>
-    <div class="verse indent2"><i>O-hoi ye-ho, Ho-ye-ho, Ho-ye-ho, Ho.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">3.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>O-hoi ye-ho, Ho, you’re too late for the ferry</i>,</div>
-    <div class="verse indent2">The briars in bud, the sun going down,</div>
-    <div class="verse indent0">And he’s not rowing quick and he’s not rowing steady,</div>
-    <div class="verse indent2">You’d think ’twas a journey to Twickenham Town.</div>
-    <div class="verse indent0">“<i>O hoi, and O ho</i>,” you may call as you will,</div>
-    <div class="verse indent0">The moon is a rising on Peterham Hill,</div>
-    <div class="verse indent2">And with love like a rose in the stern of the wherry,</div>
-    <div class="verse indent0">There’s danger in crossing to Twickenham Town.</div>
-    <div class="verse indent2"><i>O-hoi ye-ho, Ho-ye-ho, Ho-ye-ho, Ho.</i></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter" style="width: 700px;">
-<img src="images/music2.jpg" width="700" height="100" alt="[sheet music]" />
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>GRANDMOTHER’S CHAIR.</h4>
-
-<p class="center">The words to be sung are printed in italics.</p>
-
-<div class="figcenter" style="width: 700px;">
-<img src="images/music3.jpg" width="700" height="175" alt="[sheet music]" />
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-m.jpg" width="140" height="100" alt="" /></div>
-    <div class="dropcapline">My grandmother she, at the age of eighty-three,</div>
-    <div class="verse indent2">One day in May was taken ill and died;</div>
-    <div class="verse indent0">And after she was dead, the will of course was read,</div>
-    <div class="verse indent2">By a lawyer as we all stood by his side.</div>
-    <div class="verse indent0">Five hundred dollars to my brother did she leave,</div>
-    <div class="verse indent2">The same unto my sister, I declare;</div>
-    <div class="verse indent0">But when it came to me, the lawyer said, “I see</div>
-    <div class="verse indent2">She has left to you her old arm chair.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>And how they tittered, how they chaffed,</i></div>
-    <div class="verse indent0"><i>How my brother and sister laughed,</i></div>
-    <div class="verse indent0"><i>When they heard the lawyer declare</i></div>
-    <div class="verse indent0"><i>Granny had only left to me her old arm chair.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I thought it hardly fair, still I said I did not care,</div>
-    <div class="verse indent2">And in the evening took the chair away;</div>
-    <div class="verse indent0">The neighbors they me chaffed, my brother at me laughed,</div>
-    <div class="verse indent2">And said it will be useful, John, some day:</div>
-    <div class="verse indent0">When you settle down in life, find some girl to be your wife,</div>
-    <div class="verse indent2">You’ll find it very handy, I declare;</div>
-    <div class="verse indent0">On a cold and frosty night, when the fire is burning bright,</div>
-    <div class="verse indent2">You can then sit in your old arm chair.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">What my brother said was true, for in a year or two,</div>
-    <div class="verse indent2">Strange to say, I settled down in married life;</div>
-    <div class="verse indent0">I first a girl did court, and then the ring I bought,</div>
-    <div class="verse indent2">Took her to the church, and when she was my wife,</div>
-    <div class="verse indent0">The girl and I were just as happy as could be,</div>
-    <div class="verse indent2">For when my work was over, I declare,</div>
-    <div class="verse indent0">I ne’er abroad would roam, but each night would stay at home,</div>
-    <div class="verse indent2">And be seated in my old arm chair.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">One night the chair fell down; when I picked it up I found</div><span class="pagenum"><a id="Page_131"></a>[131]</span>
-    <div class="verse indent2">The seat had fallen out upon the floor;</div>
-    <div class="verse indent0">And there to my surprise I saw before my eyes,</div>
-    <div class="verse indent2">Ten thousand dollars tucked away, or more.</div>
-    <div class="verse indent0">When my brother heard of this, the fellow, I confess,</div>
-    <div class="verse indent2">Went nearly mad with rage, and tore his hair;</div>
-    <div class="verse indent0">But I only laughed at him, then said unto him, “Jem,</div>
-    <div class="verse indent2">Don’t you wish you had the old arm chair?”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">John Read.</span></div>
-  </div>
-</div>
-</div>
-
-<p class="center">[<i>Repeat words with music.</i>]</p>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>PUT YOUR SHOULDER TO THE WHEEL.</h4>
-
-<p class="center">The words to be sung are in italics.</p>
-
-<div class="figcenter" style="width: 700px;">
-<img src="images/music4.jpg" width="700" height="250" alt="[sheet music]" />
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">Some people you’ve met in your time, no doubt,</div>
-    <div class="verse indent2">Who never look happy or gay;</div>
-    <div class="verse indent0">I’ll tell you the way to get jolly and stout,</div>
-    <div class="verse indent2">If you’ll listen awhile to my lay.</div>
-    <div class="verse indent0">I’ve come here to tell you a bit of my mind,</div>
-    <div class="verse indent2">And please with the same, if I can;</div>
-    <div class="verse indent0">Advice is my song, you will certainly find,</div>
-    <div class="verse indent2">And a motto for every man.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>So we will sing, and banish melancholy;</i></div>
-    <div class="verse indent2"><i>Trouble may come, we’ll do the best we can</i></div>
-    <div class="verse indent0"><i>To drive care away, for grieving is a folly;</i></div>
-    <div class="verse indent2"><i>Put your shoulder to the wheel is a motto for ev’ry man.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">We cannot all fight in this battle of life,</div>
-    <div class="verse indent2">The weak must go to the wall;</div>
-    <div class="verse indent0">So do to each other the thing that is right,</div>
-    <div class="verse indent2">For there’s room in this world for us all.</div>
-    <div class="verse indent0">“Credit refuse,” if you’ve money to pay,</div>
-    <div class="verse indent2">You’ll find it the wiser plan;</div>
-    <div class="verse indent0">And “a dollar laid by for a rainy day,”</div>
-    <div class="verse indent2">Is a motto for every man.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">A coward gives in at the first repulse;</div>
-    <div class="verse indent2">A brave man struggles again,</div>
-    <div class="verse indent0">With a resolute eye and a bounding pulse,</div>
-    <div class="verse indent2">To battle his way amongst men;</div>
-    <div class="verse indent0">For he knows he has only one chance in his time</div>
-    <div class="verse indent2">To better himself, if he can;</div>
-    <div class="verse indent0">“So make your hay while the sun doth shine,”</div>
-    <div class="verse indent2">That’s a motto for every man.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Harry Clifton.</span></div>
-  </div>
-</div>
-</div>
-
-<p class="center">[<i>Repeat the part to be sung.</i>]</p>
-
-<p><span class="pagenum"><a id="Page_132"></a>[132]</span></p>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>A BRIGHTER DAY IS COMING.</h4>
-
-<p class="center">The words in italics are to be sung.</p>
-
-<div class="figcenter" style="width: 700px;">
-<img src="images/music5.jpg" width="700" height="250" alt="[sheet music]" />
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">“Tired,” ah, yes, so tired, dear, the day has been very long,</div>
-    <div class="verse indent0">But shadowy gloaming draweth near, ’tis time for the even song.</div>
-    <div class="verse indent0">I’m ready to go to rest at last, ready to say, “Good night;”</div>
-    <div class="verse indent0">The sunset glory darkens fast, to-morrow will bring me light.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Sing once again, “Abide with me” that sweetest evening hymn,</i></div>
-    <div class="verse indent0"><i>And now “Good night,” I cannot see, the light has grown so dim.</i></div>
-    <div class="verse indent0"><i>“Tired” ah, yes, so tired, dear, I shall soundly sleep to-night,</i></div>
-    <div class="verse indent0"><i>With never a dream, and never a fear, to wake in the morning’s light.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">It has seemed so long since morning tide, and I have been left so lone,</div>
-    <div class="verse indent0">Young, smiling faces thronged my side when the early sunlight shone,</div>
-    <div class="verse indent0">But they grew tired long ago, and I saw them sink to rest,</div>
-    <div class="verse indent0">With folded hands and brows of snow, on the green earth’s mother breast.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Helen Burnside.</span></div>
-  </div>
-</div>
-</div>
-
-<p class="center">[<i>Repeat the words with music.</i>]</p>
-
-<div class="figcenter-line" style="width: 215px;">
-<img src="images/line8.jpg" width="215" height="30" alt="" />
-</div>
-
-<h4>KATY’S LOVE LETTER.</h4>
-
-<p class="center">Sing the words printed in italics.</p>
-
-<div class="figcenter" style="width: 700px;">
-<img src="images/music6.jpg" width="700" height="100" alt="[sheet music]" />
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">Och, girls dear, did you ever hear, I wrote my love a letter.</div>
-    <div class="verse indent0">And although he cannot read, sure I thought ’twas all the better;</div>
-    <div class="verse indent0">For why should he be puzzled with hard spelling in the matter,</div>
-    <div class="verse indent0">When the meaning was so plain that I love him faithfully?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent10"><i>I love him faithfully,</i></div>
-    <div class="verse indent0"><i>And he knows it, oh, he knows it, without one word from me.</i></div><span class="pagenum"><a id="Page_133"></a>[133]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I wrote it, and I folded it, and put a seal upon it;</div>
-    <div class="verse indent0">’Twas a seal almost as big as the crown of my best bonnet;</div>
-    <div class="verse indent0">For I would not have the Postmaster make his remarks upon it,</div>
-    <div class="verse indent0">As I said inside the letter that I loved him faithfully,</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent10"><i>I love him faithfully,</i></div>
-    <div class="verse indent0"><i>And he knows it, oh, he knows it! without one word from me.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">My heart was full, but when I wrote, I dared not put the half in,</div>
-    <div class="verse indent0">The neighbors know I love him, and they’re mighty fond of chaffing;</div>
-    <div class="verse indent0">And I dared not write his name outside, for fear they would be laughing,</div>
-    <div class="verse indent0">So I wrote, “From little Kate to one whom she loves faithfully.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent10"><i>I love him faithfully,</i></div>
-    <div class="verse indent0"><i>And he knows it, oh, he knows it! without one word from me.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Now, girls, would you believe it, that Postman, so consaited,</div>
-    <div class="verse indent0">No answer will he bring me, so long as I have waited;</div>
-    <div class="verse indent0">But maybe there isn’t one for the raison that I stated,</div>
-    <div class="verse indent0">That my love can neither read nor write, but he loves me faithfully.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent10"><i>He loves me faithfully,</i></div>
-    <div class="verse indent0"><i>And I know where’er my love is, that he is true to me.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Lady Dufferin.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>DOST THOU LOVE ME, SISTER RUTH?</h4>
-
-<p class="center">A COMIC DUET.</p>
-
-<p>The persons who present this recital should appear in Quaker costume and
-stand near each other, face to face. It can be made very amusing. The
-change from reciting to singing adds greatly to the effect. Sing the
-words in italics, and make appropriate gestures.</p>
-
-<div class="figcenter" style="width: 700px;">
-<img src="images/music7.jpg" width="700" height="225" alt="[sheet music]" />
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">1. <span class="smcap">Simon.</span>—Dost thou love me, Sister Ruth?</div>
-    <div class="verse indent16">Say, say, say!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4"><span class="smcap">Ruth.</span>—As I fain would speak the truth,</div>
-    <div class="verse indent16">Yea, yea, yea.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2"><span class="smcap">Simon.</span>—<i>Long my heart hath yearned for thee,</i></div>
-    <div class="verse indent16"><i>Pretty Sister Ruth;</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4"><span class="smcap">Ruth.</span>—<i>That has been the case with me,</i></div>
-    <div class="verse indent16"><i>Dear engaging youth.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2">2. <span class="smcap">Simon.</span>—Wilt thou promise to be mine,</div>
-    <div class="verse indent16">Maiden fair?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4"><span class="smcap">Ruth.</span>—Take my hand, my heart is thine,</div>
-    <div class="verse indent16">There, there, there. [<i>Salutes her.</i>]</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2"><span class="smcap">Simon.</span>—<i>Let us thus the bargain seal.</i></div>
-    <div class="verse indent16"><i>O, dear me, heigh-ho!</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4"><span class="smcap">Ruth.</span>—<i>Lauk! how very odd I feel!</i></div>
-    <div class="verse indent16"><i>O, dear me, heigh-ho!</i></div><span class="pagenum"><a id="Page_134"></a>[134]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2">3. <span class="smcap">Simon.</span>—Love like ours can never cloy,</div>
-    <div class="verse indent16">Humph! humph! humph!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4"><span class="smcap">Ruth.</span>—While no jealous fears annoy,</div>
-    <div class="verse indent16">Humph! humph! humph!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2"><span class="smcap">Simon.</span>—<i>O, how blessed we both should be,</i></div>
-    <div class="verse indent16"><i>Hey down, ho down, hey!</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4"><span class="smcap">Ruth.</span>—<i>I could almost dance with glee,</i></div>
-    <div class="verse indent16"><i>Hey down, ho down, hey!</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">John Parry.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>TWO LITTLE ROGUES.</h4>
-
-<div class="figcenter" style="width: 700px;">
-<img src="images/music8.jpg" width="700" height="300" alt="[sheet music]" />
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">Says Sammy to Dick,</div>
-    <div class="verse indent0">“Come, hurry! come quick!</div>
-    <div class="verse indent0">And we’ll do, and we’ll do, and</div>
-    <div class="verse indent0">we’ll do!</div>
-    <div class="verse indent0">Our mammy’s away,</div>
-    <div class="verse indent0">She’s gone for to stay,</div>
-    <div class="verse indent2">And we’ll make a great hullabaloo!</div>
-    <div class="verse indent0"><i>Ri too! ri loo! loo! loo! loo! loo!</i></div>
-    <div class="verse indent2"><i>We’ll make a great hullabaloo!</i>”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Says Dick to Sam,</div>
-    <div class="verse indent0">“All weddy I am</div>
-    <div class="verse indent2">To do, and to do, and to do,</div>
-    <div class="verse indent0">But how doesth it go?</div>
-    <div class="verse indent0">I so ’ittle to know,</div>
-    <div class="verse indent2">That, what be a hullabawoo?</div>
-    <div class="verse indent0"><i>Ri too! ri loo! woo! woo! woo! woo!</i></div>
-    <div class="verse indent2"><i>Thay, what be a hullabawoo?</i>”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Oh, slammings and bangings,</div>
-    <div class="verse indent0">And whingings and whangings;</div>
-    <div class="verse indent2">And very bad mischief we’ll do!</div>
-    <div class="verse indent0">We’ll clatter and shout,</div>
-    <div class="verse indent0">And knock things about,</div>
-    <div class="verse indent2">And that’s what’s a hullabaloo!</div>
-    <div class="verse indent0"><i>Ri too! ri loo! loo! loo! loo! loo!</i></div>
-    <div class="verse indent2"><i>And that’s what’s a hullabaloo!</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Slide down the front stairs!</div>
-    <div class="verse indent0">Tip over the chairs!</div>
-    <div class="verse indent2">Now into the pantry break through!</div>
-    <div class="verse indent0">Pull down all the tin-ware,</div>
-    <div class="verse indent0">And pretty things in there!</div>
-    <div class="verse indent2">All aboard for a hullabaloo!</div>
-    <div class="verse indent0"><i>Ri too! ri loo! loo! loo! loo! loo!</i></div>
-    <div class="verse indent2"><i>All aboard for a hullabaloo!</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Now roll up the table,</div>
-    <div class="verse indent0">Far up as you are able,</div>
-    <div class="verse indent2">Chairs, sofa, big easy-chair too!</div>
-    <div class="verse indent0">Put the lamps and the vases</div>
-    <div class="verse indent0">In funny old places.</div>
-    <div class="verse indent2">How’s this for a hullabaloo?</div>
-    <div class="verse indent0"><i>Ri too! ri loo! loo! loo! loo! loo!</i></div>
-    <div class="verse indent2"><i>How’s this for a hullabaloo?</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Let the dishes and pans</div>
-    <div class="verse indent0">Be the womans and mans;</div>
-    <div class="verse indent2">Everybody keep still in their pew;</div>
-    <div class="verse indent0">Mammy’s gown I’ll get next,</div>
-    <div class="verse indent0">And preach you a text.</div>
-    <div class="verse indent2">Dick! hush with your hullabaloo!</div>
-    <div class="verse indent0"><i>Ri too! ri loo! loo! loo! loo! loo!</i></div>
-    <div class="verse indent2"><i>Dicky! hush with your hullabaloo!</i>”</div><span class="pagenum"><a id="Page_135"></a>[135]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">As the preacher in gown</div>
-    <div class="verse indent0">Climbed up and looked down,</div>
-    <div class="verse indent2">His queer congregation to view,</div>
-    <div class="verse indent0">Said Dicky to Sammy,</div>
-    <div class="verse indent0">“Oh, dere comes our mammy!</div>
-    <div class="verse indent0">She’ll ’pank for dis hullubawoo!</div>
-    <div class="verse indent0"><i>Ri too! ri loo! woo! woo! woo! woo!</i></div>
-    <div class="verse indent2"><i>She’ll ’pank for dis hullabawoo!</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“O mammy! O mammy!”</div>
-    <div class="verse indent0">Cried Dicky and Sammy,</div>
-    <div class="verse indent2">“We’ll never again, certain true!”</div>
-    <div class="verse indent0">But with firm step she trod</div>
-    <div class="verse indent0">To take down the rod—</div>
-    <div class="verse indent2">Oh, then came a hullabaloo!</div>
-    <div class="verse indent0"><i>Bo hoo! bo hoo! woo! woo! woo! woo!</i></div>
-    <div class="verse indent2"><i>Oh, then came a hullabaloo!</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Mrs. A. M. Diaz.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>ARKANSAW PETE’S ADVENTURE;</h4>
-
-<p class="center"><span class="smcap">Arkansaw Pete</span>, a frontier-backwoodsman, who sings the solo.
-<span class="smcap">Chorus</span>, three lively city gentlemen.</p>
-
-<div class="figcenter" style="width: 700px;">
-<img src="images/music9.jpg" width="700" height="750" alt="[sheet music]" />
-</div>
-
-<div class="figcenter" style="width: 700px;">
-<img src="images/music10.jpg" width="700" height="175" alt="[sheet music]" />
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">1.  Now ladies and gents, who here I see,</div>
-    <div class="verse indent16">Snap-poo!</div>
-    <div class="verse indent4">I pray you listen unto me,</div>
-    <div class="verse indent16">Snap-poo!</div>
-    <div class="verse indent4">And I’ll relate what came to pass</div>
-    <div class="verse indent4">when I lived down in Ar-kan-sas,</div>
-    <div class="verse indent8">Snap-poo! Snap-Peter!</div>
-    <div class="verse indent8">Fi-lan-thi-go-shee-ter!</div>
-    <div class="verse indent16">Snap-poo!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">2.  While riding home one Saturday night,</div>
-    <div class="verse indent16">Snap-poo!</div>
-    <div class="verse indent4">I passed Miss Smith’s and thought I’d light,</div>
-    <div class="verse indent16">Snap-poo!</div>
-    <div class="verse indent4">So I hitch’d my hoss and in did go,</div>
-    <div class="verse indent4">Just for to spend an hour or so.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><span class="smcap">Chorus</span> (<i>marching up and down,<br />and snapping fingers at <span class="smcap">Pete</span></i>).</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent8">Snap-poo! Snap-Peter!</div>
-    <div class="verse indent8">Fi-lan-thi-go-shee-ter!</div>
-    <div class="verse indent16">Snap-poo! (<i>Repeat chorus.</i>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">3.  When to the door I had safely got,</div>
-    <div class="verse indent16">Snap-poo!</div>
-    <div class="verse indent4">She came and pok’d her sweet head out,</div>
-    <div class="verse indent16">Snap-poo!</div>
-    <div class="verse indent4">Said she right out, “Why, Mister Pete!</div>
-    <div class="verse indent4">Oh, do walk in and have a seat!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">(<span class="smcap">Chorus.</span>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">4.  With easy step and a jolly heart,</div>
-    <div class="verse indent16">Snap-poo!</div>
-    <div class="verse indent4">I bounded in just like a dart,</div>
-    <div class="verse indent16">Snap-poo!</div>
-    <div class="verse indent4">And, oh, you may bet, I felt all hunk</div>
-    <div class="verse indent4">When into a chair by her I sunk.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">(<span class="smcap">Chorus.</span>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">5.  Our chairs got closer as we two rock’d,</div>
-    <div class="verse indent16">Snap-poo!</div>
-    <div class="verse indent4">My throat swell’d up till I most chok’d,</div>
-    <div class="verse indent16">Snap-poo!</div>
-    <div class="verse indent4">At length they struck, and came to a stop—</div>
-    <div class="verse indent4">Now, now, thinks I,’s the time to “pop!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">(<span class="smcap">Chorus.</span>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">6.  I tried to look in her love-lit eyes,</div>
-    <div class="verse indent16">Snap-poo!</div>
-    <div class="verse indent4">They were clear and blue as summer skies,</div>
-    <div class="verse indent16">Snap-poo!</div>
-    <div class="verse indent4">Not a word could I speak—alas! poor Pete!</div>
-    <div class="verse indent4">Though she look’d good enough to eat.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">(<span class="smcap">Chorus.</span>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">7.  I look’d at her, and she look’d at me,</div>
-    <div class="verse indent16">Snap-poo!</div>
-    <div class="verse indent4">I heard my heart say pee-dee-dee,</div>
-    <div class="verse indent16">Snap-poo!</div>
-    <div class="verse indent4">I twisted my chair, and cross’d my feet—</div>
-    <div class="verse indent4">I’d never seen anything half so sweet.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">(<span class="smcap">Chorus.</span>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">8.  My tongue grew thick, and my eyes stuck out,</div>
-    <div class="verse indent16">Snap-poo!</div>
-    <div class="verse indent4">My hands flew nervously about,</div>
-    <div class="verse indent16">Snap-poo!</div>
-    <div class="verse indent4">And, before I could their motion check,</div>
-    <div class="verse indent4">They grabb’d that gal right ’round the neck!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">(<span class="smcap">Chorus.</span>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">9.  She haul’d away with her pretty fist,</div>
-    <div class="verse indent16">Snap-poo!</div>
-    <div class="verse indent4">She gave my jaw an awful twist,</div>
-    <div class="verse indent16">Snap-poo!</div>
-    <div class="verse indent4">It seem’d an hour before I spoke—</div>
-    <div class="verse indent4">I thought by gum, my head was broke!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">(<span class="smcap">Chorus.</span>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">10. The racket we made brought her ma-ma,</div>
-    <div class="verse indent16">Snap-poo!</div>
-    <div class="verse indent4">Who straightway call’d her great pa-pa,</div>
-    <div class="verse indent16">Snap-poo!</div>
-    <div class="verse indent4">He kicked me out—and, you bet, I fled</div>
-    <div class="verse indent4">That gal won’t do, thinks I, to wed!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">(<span class="smcap">Chorus.</span>)</div>
-  </div>
-</div>
-</div>
-
-<p><span class="pagenum"><a id="Page_136"></a>[136]</span></p>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-
-<p><span class="pagenum"><a id="Page_137"></a>[137]</span></p>
-
-<h3 class="nobreak" id="Patriotic_Recitations"><span class="smcap">Patriotic Recitations.</span></h3>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-</div>
-
-<h4>THE BEAT OF THE DRUM AT DAYBREAK.</h4>
-
-<p>Speak the words in italics with full, earnest tones of command. Then
-change easily to a manner suited to animated description. An excellent
-selection for one who can make these changes effectively.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">The morning is cheery, my boys, arouse!</div>
-    <div class="verse indent2">The dew shines bright on the chestnut boughs,</div>
-    <div class="verse indent2">And the sleepy mist on the river lies,</div>
-    <div class="verse indent0">Though the east is flushing with crimson dyes.</div>
-    <div class="verse indent2"><i>Awake! awake! awake!</i></div>
-    <div class="verse indent2">O’er field and wood and brake,</div>
-    <div class="verse indent2">With glories newly born,</div>
-    <div class="verse indent2">Comes on the blushing morn.</div>
-    <div class="verse indent6"><i>Awake! awake!</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">You have dreamed of your homes and your friends all night;</div>
-    <div class="verse indent0">You have basked in your sweethearts’ smiles so bright:</div>
-    <div class="verse indent0">Come, part with them all for a while again—</div>
-    <div class="verse indent0">Be lovers in dreams; when awake, be men.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2"><i>Turn out! turn out! turn out!</i></div>
-    <div class="verse indent4">You have dreamed full long I know,</div>
-    <div class="verse indent2"><i>Turn out! turn out! turn out!</i></div>
-    <div class="verse indent4">The east is all aglow.</div>
-    <div class="verse indent6"><i>Turn out! turn out!</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">From every valley and hill there come</div>
-    <div class="verse indent0">The clamoring voices of fife and drum;</div>
-    <div class="verse indent0">And out on the fresh, cool morning air</div>
-    <div class="verse indent0">The soldiers are swarming everywhere.</div>
-    <div class="verse indent2"><i>Fall in! fall in! fall in!</i></div>
-    <div class="verse indent4">Every man in his place.</div>
-    <div class="verse indent2"><i>Fall in! fall in! fall in!</i></div>
-    <div class="verse indent4">Each with a cheerful face.</div>
-    <div class="verse indent6"><i>Fall in! fall in!</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Michael O’Connor.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>THE CAVALRY CHARGE.</h4>
-
-<p>Admirably suited to rapid utterance, vivid description and full tones on
-an elevated key. Hurrah in the last lines as you would if you saw the
-enemy routed on the field of battle.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">With bray of the trumpet</div>
-    <div class="verse indent2">And roll of the drum,</div>
-    <div class="verse indent0">And keen ring of bugles,</div>
-    <div class="verse indent2">The cavalry come,</div>
-    <div class="verse indent0">Sharp clank the steel scabbards,</div>
-    <div class="verse indent2">The bridle-chains ring,</div>
-    <div class="verse indent0">And foam from red nostrils</div>
-    <div class="verse indent2">The wild chargers fling.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Tramp! tramp! o’er the green sward</div>
-    <div class="verse indent2">That quivers below,</div>
-    <div class="verse indent0">Scarce held by the curb-bit,</div>
-    <div class="verse indent2">The fierce horses go!</div>
-    <div class="verse indent0">And the grim-visaged colonel,</div>
-    <div class="verse indent2">With ear-rending shout,</div>
-    <div class="verse indent0">Peals forth to the squadrons,</div>
-    <div class="verse indent2">The order—“Trot out.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">One hand on the sabre,</div>
-    <div class="verse indent2">And one on the rein,</div>
-    <div class="verse indent0">The troopers move forward</div>
-    <div class="verse indent2">In line on the plain.</div>
-    <div class="verse indent0">As rings the word “Gallop!”</div>
-    <div class="verse indent2">The steel scabbards clank,</div>
-    <div class="verse indent0">And each rowel is pressed</div>
-    <div class="verse indent2">To a horse’s hot flank:</div>
-    <div class="verse indent0">And swift is their rush</div>
-    <div class="verse indent2">As the wild torrent’s flow,</div>
-    <div class="verse indent0">When it pours from the crag</div>
-    <div class="verse indent2">On the valley below.</div><span class="pagenum"><a id="Page_138"></a>[138]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Charge!” thunders the leader.</div>
-    <div class="verse indent2">Like shaft from the bow</div>
-    <div class="verse indent0">Each mad horse is hurled</div>
-    <div class="verse indent2">On the wavering foe.</div>
-    <div class="verse indent0">A thousand bright sabres</div>
-    <div class="verse indent2">Are gleaming in air;</div>
-    <div class="verse indent0">A thousand dark horses</div>
-    <div class="verse indent2">Are dashed on the square.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Resistless and reckless</div>
-    <div class="verse indent2">Of aught may betide,</div>
-    <div class="verse indent0">Like demons, not mortals,</div>
-    <div class="verse indent2">The wild troopers ride.</div>
-    <div class="verse indent0">Cut right! and cut left!</div>
-    <div class="verse indent2">For the parry who needs?</div>
-    <div class="verse indent0">The bayonets shiver</div>
-    <div class="verse indent2">Like wind-shattered reeds!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Vain—vain the red volley</div>
-    <div class="verse indent2">That bursts from the square—</div>
-    <div class="verse indent0">The random-shot bullets</div>
-    <div class="verse indent2">Are wasted in air.</div>
-    <div class="verse indent0">Triumphant, remorseless,</div>
-    <div class="verse indent2">Unerring as death,—</div>
-    <div class="verse indent0">No sabre that’s stainless</div>
-    <div class="verse indent2">Returns to its sheath.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The wounds that are dealt</div>
-    <div class="verse indent2">By that murderous steel</div>
-    <div class="verse indent0">Will never yield case</div>
-    <div class="verse indent2">For the surgeons to heal</div>
-    <div class="verse indent0">Hurrah! they are broken—</div>
-    <div class="verse indent2">Hurrah! boys, they fly—</div>
-    <div class="verse indent0">None linger save those</div>
-    <div class="verse indent2">Who but linger to die.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>THE GREAT NAVAL BATTLE OF SANTIAGO.</h4>
-
-<p>Hold your body erect, but not awkwardly stiff, let every nerve be
-tense, your voice full and round, and let your manner indicate that you
-have a grand story to relate, as you recite Admiral Schley’s thrilling
-description of the great naval battle at Santiago. You are depicting the
-scene as though you were there and yourself won the brilliant victory.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-o.jpg" width="80" height="100" alt="" />
-</div>
-
-<p class="dropcap">One hour before the Spaniards appeared
-my quartermaster on the
-Brooklyn reported to me that Cervera’s
-fleet was coaling up. This was just
-what I expected, and we prepared everything
-for a hot reception. Away over the hills
-great clouds of smoke could be faintly seen
-rising up to the sky. A little later and the
-smoke began to move towards the mouth of
-the harbor. The black cloud wound in and
-out along the narrow channel, and every eye
-on board the vessels in our fleet strained
-with expectation.</p>
-
-<p>The sailor boys were silent for a full hour
-and the grim old vessels lay back like tigers
-waiting to pounce upon their prey. Suddenly
-the whole Spanish fleet shot out of the
-mouth of the channel. It was the grandest
-spectacle I ever witnessed. The flames were
-pouring out of the funnels, and as it left the
-channel the fleet opened fire with every gun
-on board. Their guns were worked as rapidly
-as possible, and shells were raining
-around like hail.</p>
-
-<p>It was a grand charge. My first impression
-was that of a lot of maddened bulls,
-goaded to desperation, dashing at their tormentors.
-The storm of projectiles and shells
-was the hottest imaginable. I wondered
-where they all came from. Just as the vessels
-swung around the Brooklyn opened up
-with three shells, and almost simultaneously
-the rest of the fleet fired. Our volley was a
-terrible shock to the Spaniards, and so surprised
-them that they must have been badly
-rattled.</p>
-
-<p>When our fleet swung around and gave
-chase, we not only had to face the fire from
-the vessels, but were bothered by a cross-fire
-from the forts on either side, which
-opened on our fleet as soon as the Spaniards
-shot out of the harbor. The engagement<span class="pagenum"><a id="Page_139"></a>[139]</span>
-lasted three hours, but I hardly knew
-what time was. I remember crashing holes
-through the Spanish Admiral’s flagship, the
-Maria Teresa, and giving chase to the Colon.</p>
-
-<p>I was on the bridge of the Brooklyn
-during the whole engagement, and at times
-the smoke was so dense that I could not see
-three yards ahead of me. The shells from
-the enemy’s fleet were whistling around and
-bursting everywhere, except where they
-could do some damage. I seemed to be the
-only thing on the vessel not protected by
-heavy armor, and oh! how I would have
-liked to get behind some of that armor!</p>
-
-<p>I don’t know how I kept my head, but I
-do know that I surprised myself by seeing
-and knowing all that was going on, and I
-could hear my voice giving orders to do just
-what my head thought was right, while my
-heart was trying to get beneath the shelter of
-the armored deck. How do I account for
-such a victory with so little loss? That
-would mean how do I account for the rain
-of Spanish shell not doing more execution?
-They fought nobly and desperately, but they
-were not a match for our Yankee officers
-and sailors.</p>
-
-<p>I was proud of the boys in our fleet during
-that engagement. They knew just what
-their guns could do, and not one shot was
-wasted. Their conduct was wonderful. It
-was inspiring. It was magnificent. Men
-who can stand behind big guns and face a
-black storm of shells and projectiles as coolly
-as though nothing was occurring; men who
-could laugh because a shell had missed hitting
-them; men who could bet one another
-on shots and lay odds in the midst of the
-horrible crashing; men who could not
-realize that they were in danger—such men
-are wonders, and we have a whole navy of
-wonders.</p>
-
-<p class="right"><span class="smcap">Admiral W. S. Schley.</span></p>
-
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>HOBSON’S DARING DEED.</h4>
-
-<p>Let your tones of voice be strong and bold, not boisterous, and give to
-the most spirited lines full force. You are depicting a daring deed, and
-it must not be done in a weak, timid, hesitating way, but with strong
-utterance and emphasis. The sinking of the steam collier Merrimac was a
-famous exploit.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">Thunder peal and roar and rattle of the ships in line of battle,</div>
-    <div class="verse indent2">Rumbling noise of steel volcanoes hurling metal from the shore,</div>
-    <div class="verse indent0">Drowned the sound of quiet speaking and the creaking, creaking, creaking</div>
-    <div class="verse indent2">Of the steering-gear that turned her toward the narrow harbor door.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">On the hulk was calm and quiet, deeper for the shoreward riot;</div>
-    <div class="verse indent2">Dumb they watched the fountain streaming; mute they heard the waters hiss,</div>
-    <div class="verse indent0">Till one laughed and murmured, “Surely it was worth while rising early</div>
-    <div class="verse indent2">For a fireworks exhibition of such character as this.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Down the channel the propeller drove her as they tried to shell her</div>
-    <div class="verse indent2">From the dizzy heights of Morro and Socapa parapet;</div>
-    <div class="verse indent0">She was torn and she was battered, and her upper works were shattered</div>
-    <div class="verse indent2">By the bursting of the missiles that in air above her met.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Parallels of belching cannon marked the winding course she ran on,</div>
-    <div class="verse indent2">And they flashed through morning darkness like a giant’s flaming teeth;</div>
-    <div class="verse indent0">Waters steaming, boiling, churning; rows of muzzles at each turning;</div>
-    <div class="verse indent2">Mines like geysers spouting after and before her and beneath.</div><span class="pagenum"><a id="Page_140"></a>[140]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Not a man was there who faltered; not a theory was altered</div>
-    <div class="verse indent2">Of the detailed plan agreed on—not a doubt was there expressed;</div>
-    <div class="verse indent0">This was not a time for changing, deviating, re-arranging;</div>
-    <div class="verse indent2">Let the great God help the wounded, and their courage save the rest.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And they won. But greater glory than the winning is the story</div>
-    <div class="verse indent2">Of the foeman’s friendly greeting of that valiant captive band;</div>
-    <div class="verse indent0">Speech of his they understood not, talk to him in words they could not;</div>
-    <div class="verse indent2">But their courage spoke a language that all men might understand.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>GENERAL WHEELER AT SANTIAGO.</h4>
-
-<p>“Fighting Joe,” as he was familiarly called, was one of the most
-conspicuous and heroic figures in the battles fought around Santiago.
-Recite this tribute to the hero with feeling, and show by looks, tone
-and gestures that you appreciate the patriotism and valor of the famous
-commander of cavalry.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">Into the thick of the fight he went, pallid and sick and wan,</div>
-    <div class="verse indent0">Borne in an ambulance to the front, a ghostly wisp of a man;</div>
-    <div class="verse indent0">But the fighting soul of a fighting man, approved in the long ago,</div>
-    <div class="verse indent0">Went to the front in that ambulance, and the body of Fighting Joe.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Out from the front they were coming back, smitten of Spanish shells—</div>
-    <div class="verse indent0">Wounded boys from the Vermont Hills and the Alabama dells;</div>
-    <div class="verse indent0">“Put them into this ambulance; I’ll ride to the front,” he said,</div>
-    <div class="verse indent0">And he climbed to the saddle and rode right on, that little old ex-Confed.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">From end to end of the long blue ranks rose up the ringing cheers,</div>
-    <div class="verse indent0">And many a powder-blackened face was furrowed with sudden tears,</div>
-    <div class="verse indent0">As with flashing eyes and gleaming sword, and hair and beard of snow,</div>
-    <div class="verse indent0">Into the hell of shot and shell rode little old Fighting Joe!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Sick with fever and racked with pain, he could not stay away,</div>
-    <div class="verse indent0">For he heard the song of the yester-years in the deep-mouthed cannon’s bay—</div>
-    <div class="verse indent0">He heard in the calling song of the guns there was work for him to do,</div>
-    <div class="verse indent0">Where his country’s best blood splashed and flowed ’round the old Red, White and Blue.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Fevered body and hero heart! This Union’s heart to you</div>
-    <div class="verse indent0">Beats out in love and reverence—and to each dear boy in blue</div>
-    <div class="verse indent0">Who stood or fell ’mid the shot and shell, and cheered in the face of the foe,</div>
-    <div class="verse indent0">As, wan and white, to the heart of the fight rode little old Fighting Joe!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">James Lindsay Gordon.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>THE FLAG GOES BY.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-h.jpg" width="130" height="110" alt="" /></div>
-    <div class="dropcapline">Hats off!</div>
-    <div class="verse indent0">Along the street there comes</div>
-    <div class="verse indent0">A blare of bugles, a ruffle of drums,</div>
-    <div class="verse indent0">A flash of color beneath the sky:</div>
-    <div class="verse indent4">Hats off!</div>
-    <div class="verse indent0">The flag is passing by!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Blue and crimson and white it shines</div>
-    <div class="verse indent0">Over the steel-tipped, ordered lines,</div>
-    <div class="verse indent4">Hats off!</div>
-    <div class="verse indent0">The colors before us fly!</div>
-    <div class="verse indent0">But more than the flag is passing by,</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Sea-fights and land-fights grim and great</div>
-    <div class="verse indent0">Fought to make and to save the state;</div>
-    <div class="verse indent0">Cheers of victory on dying lips;</div><span class="pagenum"><a id="Page_141"></a>[141]</span>
-    <div class="verse indent0">Weary marches and sinking ships;</div>
-    <div class="verse indent0">Days of plenty and years of peace</div>
-    <div class="verse indent0">March of a strong land’s swift increase;</div>
-    <div class="verse indent0">Equal justice, right and law,</div>
-    <div class="verse indent0">Stately honor and reverend awe;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Sign of a nation great and strong,</div>
-    <div class="verse indent0">To ward her people from foreign wrong;</div>
-    <div class="verse indent0">Pride and glory and honor, all</div>
-    <div class="verse indent0">Live in the colors to stand or fall.</div>
-    <div class="verse indent6">Hats off!</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 275px;">
-<img src="images/line10.jpg" width="275" height="30" alt="" />
-</div>
-
-<h4>IN MANILA BAY.</h4>
-
-<p>A graphic description of the great naval battle of Manila and Admiral
-Dewey’s overwhelming victory. Unless this recital is delivered in an
-animated, exultant manner, and with great oratorical force, the grand
-power of the description will be weakened, if not entirely lost. Put your
-whole soul into it.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">On the broad Manila Bay</div>
-    <div class="verse indent0">The Spanish cruisers lay,</div>
-    <div class="verse indent2">In the shelter of their forts upon the shore;</div>
-    <div class="verse indent0">And they dared their foes to sail</div>
-    <div class="verse indent0">Through the crashing iron hail</div>
-    <div class="verse indent2">Which the guns from decks and battlements would pour.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">All the harbor ways were missed,</div>
-    <div class="verse indent0">And along the channel blind</div>
-    <div class="verse indent2">Slept the wild torpedoes, dreaming dreams of wrath.</div>
-    <div class="verse indent0">Yea! the fiery hates of hell</div>
-    <div class="verse indent0">Lay beneath the ocean’s swell,</div>
-    <div class="verse indent2">Like a thousand demons ambushed in the path.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Breasting fierce Pacific gales,</div>
-    <div class="verse indent0">Lo! a little squadron sails,</div>
-    <div class="verse indent2">And the Stars and Stripes are floating from its spars.</div>
-    <div class="verse indent0">It is friendless and alone,</div>
-    <div class="verse indent0">Aids and allies it has none,</div>
-    <div class="verse indent2">But a dauntless chorus sings its dauntless tars:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“We’re ten thousand miles from home;</div>
-    <div class="verse indent0">Ocean’s wastes and wave and foam</div>
-    <div class="verse indent2">Shut us from the land we love so far away.</div>
-    <div class="verse indent0">We have ne’er a friendly port</div>
-    <div class="verse indent0">For retreat as last resort,</div>
-    <div class="verse indent2">But we’ll beard the ships of Spain in their own bay.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“They have mines beneath the sea,</div>
-    <div class="verse indent0">They have forts upon their lee,</div>
-    <div class="verse indent2">They have everything to aid them in the fray;</div>
-    <div class="verse indent0">But we’ll brave their hidden mines,</div>
-    <div class="verse indent0">And we’ll face their blazing lines;</div>
-    <div class="verse indent2">Yes! We’ll beard the ships of Spain in their own bay.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“If we’re worsted in the fight,</div>
-    <div class="verse indent0">We shall perish in the right—</div>
-    <div class="verse indent2">No hand will wipe the dews of death away.</div>
-    <div class="verse indent0">The wounded none will tend,</div>
-    <div class="verse indent0">For we’ve not a single friend;</div>
-    <div class="verse indent2">But we’ll beard the ships of Spain in their own bay.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“No ironclads we sail,</div>
-    <div class="verse indent0">Only cruisers light and frail,</div>
-    <div class="verse indent2">With no armor plates to turn the shells away.</div>
-    <div class="verse indent0">All the battleships now steer</div>
-    <div class="verse indent0">In another hemisphere,</div>
-    <div class="verse indent2">But we’ll beard the ships of Spain in their own bay.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Ho! Remember now the Maine!</div>
-    <div class="verse indent0">Up! And smite the ships of Spain!</div>
-    <div class="verse indent2">Let them not forget for years this first of May!</div>
-    <div class="verse indent0">Though hell blaze up from beneath,</div>
-    <div class="verse indent0">Forward through the cannon’s breath,</div>
-    <div class="verse indent2">When Dewey leads into Manila Bay.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There, half-way round the world,</div>
-    <div class="verse indent0">Swift and straight the shots were hurled,</div>
-    <div class="verse indent2">And a handful of bold sailors won the day.</div>
-    <div class="verse indent0">Never since earth was begun</div>
-    <div class="verse indent0">Has a braver deed been done</div>
-    <div class="verse indent2">Than when Dewey sailed into Manila Bay.</div><span class="pagenum"><a id="Page_142"></a>[142]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">God made for him a path</div>
-    <div class="verse indent0">Through the mad torpedoes’ wrath,</div>
-    <div class="verse indent2">From their slumbers never wakened into play.</div>
-    <div class="verse indent0">When dawn smote the east with gold,</div>
-    <div class="verse indent0">Spaniards started to behold</div>
-    <div class="verse indent2">Dewey and his gallant fleet within their bay.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then from forts and warships first</div>
-    <div class="verse indent0">Iron maledictions burst,</div>
-    <div class="verse indent2">And the guns with tongues of flame began to pray;</div>
-    <div class="verse indent0">Like demons out of hell</div>
-    <div class="verse indent0">The batteries roar and yell,</div>
-    <div class="verse indent2">While Dewey answers back across the bay.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">O Gods! it was a sight,</div>
-    <div class="verse indent0">Till the smoke, as black as night,</div>
-    <div class="verse indent2">Hid the fire-belching ships from light of day.</div>
-    <div class="verse indent0">When it lifted from the tide,</div>
-    <div class="verse indent0">Smitten low was Spanish pride,</div>
-    <div class="verse indent2">And Dewey was the master of their bay.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Where the awful conflict roared,</div>
-    <div class="verse indent0">And red blood in torrents poured,</div>
-    <div class="verse indent2">There the Stars and Stripes are waving high to-day.</div>
-    <div class="verse indent0">Dewey! Hero strong and grand!</div>
-    <div class="verse indent0">Shout his name through every land!</div>
-    <div class="verse indent2">For he sunk the ships of Spain in their own bay.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Charles Wadsworth, Jr.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>MY SOLDIER BOY.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">When night comes on, when morning breaks, they rise,</div>
-    <div class="verse indent2">Those earnest prayers by faithful lips oft said,</div>
-    <div class="verse indent0">And pierce the blue which shrouds the inner skies:</div>
-    <div class="verse indent2">“God guard my boy; God grant he is not dead!”</div>
-    <div class="verse indent0">“My soldier boy—where is he camped to-night?”</div>
-    <div class="verse indent0">“God guard him waking, sleeping or in fight!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Far, far away where tropic suns cast down</div>
-    <div class="verse indent2">Their scorching rays, where sultry damp airs rise</div>
-    <div class="verse indent0">And haunting breath of sickness holds its own,</div>
-    <div class="verse indent2">A homesick boy, sore wounded, suffering lies.</div>
-    <div class="verse indent0">“Mother! Mother!” is his ceaseless cry.</div>
-    <div class="verse indent0">“Come, mother, come, and see me ere I die!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Where is war’s glory? Ask the trumpet’s blare,</div>
-    <div class="verse indent2">The marching columns run to bitter strife;</div>
-    <div class="verse indent0">Ask of the raw recruit who knows as yet</div>
-    <div class="verse indent2">Naught of its horrors, naught of its loss of life;</div>
-    <div class="verse indent0">Ask not the mother; weeping for her son,</div>
-    <div class="verse indent0">She knows the heart-aches following victories won.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>THE YANKEES IN BATTLE.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-f.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">For courage and dash there is no parallel
-in history to this action of the
-Spanish Admiral. He came, as he
-knew, to absolute destruction. There was
-one single hope. That was that the Spanish
-ship Cristobal Colon would steam faster than
-the American ship Brooklyn. The spectacle
-of two torpedo-boat destroyers, paper shells
-at best, deliberately steaming out in broad
-daylight in the face of the fire of battleships
-can only be described in one way. It was
-Spanish, and it was ordered by the Spanish
-General Blanco. The same may be said of
-the entire movement.</p>
-
-<p>In contrast to the Spanish fashion was the
-cool, deliberate Yankee work. The American
-squadron was without sentiment apparently.
-The ships went at their Spanish
-opponents and literally tore them to pieces.
-Admiral Cervera was taken aboard the Iowa
-from the Gloucester, which had rescued him,
-and he was received with a full Admiral’s
-guard. The crew of the Iowa crowded aft
-over the turrets, half naked and black with<span class="pagenum"><a id="Page_143"></a>[143]</span>
-powder, as Cervera stepped over the side
-bareheaded. The crew cheered vociferously.
-The Admiral submitted to the fortunes of
-war with a grace that proclaimed him a
-thoroughbred.</p>
-
-<p>The officers of the Spanish ship Vizcaya
-said they simply could not hold their crews
-at the guns on account of the rapid fire
-poured upon them. The decks were flooded
-with water from the fire hose, and the blood
-from the wounded made this a dark red.
-Fragments of bodies floated in this along
-the gun deck. Every instant the crack of
-exploding shells told of new havoc.</p>
-
-<p>The torpedo boat Ericsson was sent by
-the flagship to the help of the Iowa in the
-rescue of the Vizcaya’s crew. Her men saw
-a terrible sight. The flames, leaping out
-from the huge shot holes in the Vizcaya’s
-sides, licked up the decks, sizzling the flesh
-of the wounded who were lying there
-shrieking for help. Between the frequent explosions
-there came awful cries and groans
-from the men pinned in below. This carnage
-was chiefly due to the rapidity of the
-American fire.</p>
-
-<p>From two 6-pounders 400 shells were fired
-in fifty minutes. Up in the tops the marines
-banged away with 1-pounders, too excited
-to step back to duck as the shells
-whistled over them. One gunner of a secondary
-battery under a 12-inch gun was
-blinded by smoke and saltpetre from the
-turret, and his crew were driven off, but
-sticking a wet handkerchief over his face,
-with holes cut for his eyes, he stuck to his
-gun.</p>
-
-<p>Finally, as the 6-pounders were so close
-to the 8-inch turret as to make it impossible
-to stay there with safety, the men were
-ordered away before the big gun was fired,
-but they refused to leave. When the 3-inch
-gun was fired, the concussion blew two
-men of the smaller gun’s crew ten feet
-from their guns and threw them to the
-deck as deaf as posts. Back they went
-again, however, and were again blown away,
-and finally had to be dragged away from
-their stations. Such bravery and such dogged
-determination under the heavy fire were
-of frequent occurrence on all the ships engaged.</p>
-
-<p class="right"><span class="smcap">Captain R. D. Evans.</span></p>
-
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>THE BANNER BETSEY MADE.</h4>
-
-<p>The first American flag, including the thirteen stars and stripes, was
-made by Mrs. Betsey Ross, a Quaker lady of Philadelphia. Recite these
-lines in an easy, conversational manner, yet with animation. In this and
-similar recitations never let your voice sink down into your throat, as
-if you were just ready to faint away. Your delivery should never be dull,
-least of all in patriotic pieces.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">We have nicknamed it “Old Glory”</div>
-    <div class="verse indent2">As it floats upon the breeze,</div>
-    <div class="verse indent0">Rich in legend, song and story</div>
-    <div class="verse indent2">On the land and on the seas;</div>
-    <div class="verse indent0">Far above the shining river,</div>
-    <div class="verse indent2">Over mountain, glen and glade</div>
-    <div class="verse indent0">With a fame that lives forever</div>
-    <div class="verse indent2">Streams the banner Betsey made.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Once it went from her, its maker,</div>
-    <div class="verse indent2">To the glory of the wars,</div>
-    <div class="verse indent0">Once the modest little Quaker</div>
-    <div class="verse indent2">Deftly studded it with stars;</div>
-    <div class="verse indent0">And her fingers, swiftly flying</div>
-    <div class="verse indent2">Through the sunshine and the shade,</div>
-    <div class="verse indent0">Welded colors bright, undying,</div>
-    <div class="verse indent2">In the banner Betsey made.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">When at last her needle rested</div>
-    <div class="verse indent2">And her cherished work was done</div>
-    <div class="verse indent0">Went the banner, love invested,</div>
-    <div class="verse indent2">To the camps of Washington;</div><span class="pagenum"><a id="Page_144"></a>[144]</span>
-    <div class="verse indent0">And the glorious continentals</div>
-    <div class="verse indent2">In the morning light arrayed</div>
-    <div class="verse indent0">Stood in ragged regimentals</div>
-    <div class="verse indent2">’Neath the banner Betsey made.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">How they cheered it and its maker,</div>
-    <div class="verse indent2">They the gallant sons of Mars,</div>
-    <div class="verse indent0">How they blessed the little Quaker</div>
-    <div class="verse indent2">And her flag of stripes and stars;</div>
-    <div class="verse indent0">’Neath its folds, the foemen scorning,</div>
-    <div class="verse indent2">Glinted bayonets and blade,</div>
-    <div class="verse indent0">And the breezes of the morning</div>
-    <div class="verse indent2">Kissed the banner Betsey made.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Years have passed, but still in glory</div>
-    <div class="verse indent2">With a pride we love to see,</div>
-    <div class="verse indent0">Laureled with a nation’s glory</div>
-    <div class="verse indent2">Waves the emblem of the free;</div>
-    <div class="verse indent0">From the rugged pines of Northland</div>
-    <div class="verse indent2">To the deep’ning everglade,</div>
-    <div class="verse indent0">In the sunny heart of Southland</div>
-    <div class="verse indent2">Floats the banner Betsey made.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">A protector all have found it</div>
-    <div class="verse indent2">And beneath it stands no slave,</div>
-    <div class="verse indent0">Freemen brave have died around it</div>
-    <div class="verse indent2">On the land and on the wave;</div>
-    <div class="verse indent0">In the foremost front of battle</div>
-    <div class="verse indent2">Borne by heroes not afraid,</div>
-    <div class="verse indent0">’Mid the musket’s rapid rattle,</div>
-    <div class="verse indent2">Soared the banner Betsey made.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Now she sleeps whose fingers flying</div>
-    <div class="verse indent2">With a heart to freedom true</div>
-    <div class="verse indent0">Mingled colors bright, undying—</div>
-    <div class="verse indent2">Fashioned stars and field of blue;</div>
-    <div class="verse indent0">It will lack for no defenders</div>
-    <div class="verse indent2">When the nation’s foes invade,</div>
-    <div class="verse indent0">For our country rose to splendor</div>
-    <div class="verse indent2">’Neath the banner Betsey made.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">T. C. Harbaugh.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>OUR FLAG.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-n.jpg" width="140" height="110" alt="" /></div>
-    <div class="dropcapline">Now can the world once more the glory see</div>
-    <div class="verse indent0">Of this our flag, emblem of liberty.</div>
-    <div class="verse indent0">Now can the tyrant quake with direst fear</div>
-    <div class="verse indent0">As o’er his land our banners shall appear.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">No selfish aim shall lead our flag astray,</div>
-    <div class="verse indent0">No base desire shall point our banner’s way;</div>
-    <div class="verse indent0">Each star has told a tale of noble deed,</div>
-    <div class="verse indent0">Each stripe shall mean from strife a nation free.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Our glorious past when first with thirteen stars</div>
-    <div class="verse indent0">On field of blue with white and bright red bars,</div>
-    <div class="verse indent0">Our flag led on in battle’s fierce array,</div>
-    <div class="verse indent0">And freed the land from mighty Britain’s sway.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And since this time when first it was unfurled,</div>
-    <div class="verse indent0">Our flag has proved the noblest in the world.</div>
-    <div class="verse indent0">From Cuba’s shore out to Manila Bay</div>
-    <div class="verse indent0">Its mighty folds protecting fly to-day.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Beneath this flag with patriotic pride</div>
-    <div class="verse indent0">For freedom’s cause great men have gladly died</div>
-    <div class="verse indent0">Our noblest sons beneath its folds so free</div>
-    <div class="verse indent0">In conflict died for Cuba’s liberty.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Float on, dear flag, our nation’s greatest joy,</div>
-    <div class="verse indent0">Thy starry folds no despot shall destroy;</div>
-    <div class="verse indent0">Stretch out thy arms till war forever cease,</div>
-    <div class="verse indent0">And all the world is universal peace.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Chas. F. Alsop.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>THAT STARRY FLAG OF OURS.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-u.jpg" width="140" height="110" alt="" /></div>
-    <div class="dropcapline">Unfurl the starry banner,</div>
-    <div class="verse indent2">Till with loving eyes we view</div>
-    <div class="verse indent0">The stars and stripes we honor</div>
-    <div class="verse indent2">And the folds of azure blue</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">’Tis the pride of all our nation</div>
-    <div class="verse indent2">And the emblem of its powers—</div>
-    <div class="verse indent0">The gem of all creation</div>
-    <div class="verse indent2">Is that starry flag of ours.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then raise aloft “Old Glory,”</div>
-    <div class="verse indent2">And its colors bright surround,</div>
-    <div class="verse indent0">In battle fierce and gory,</div>
-    <div class="verse indent2">Or in peace with honor bound.</div><span class="pagenum"><a id="Page_145"></a>[145]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Let it float from spire and steeple,</div>
-    <div class="verse indent2">And from house-tops, masts and towers,</div>
-    <div class="verse indent0">For the banner of the people</div>
-    <div class="verse indent2">Is that starry flag of ours.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Now, behold it, bright and peerless,</div>
-    <div class="verse indent2">In the light of freedom’s sky;</div>
-    <div class="verse indent0">See its colors floating, fearless</div>
-    <div class="verse indent2">As the eagle soaring high.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And amid the cannon’s rattle</div>
-    <div class="verse indent2">And the bullets’ deadly showers,</div>
-    <div class="verse indent0">Ten million men will battle</div>
-    <div class="verse indent2">For that starry flag of ours.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>THE NEGRO SOLDIER.</h4>
-
-<p>In reciting this piece give stress and emphasis to the words, “the Tenth
-at La Quasina.” You are praising the valor of this regiment, and should
-not do it in a doubtful or hesitating manner.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">We used to think the negro didn’t count for very much—</div>
-    <div class="verse indent0">Light-fingered in the melon patch, and chicken yard, and such;</div>
-    <div class="verse indent0">Much mixed in point of morals and absurd in point of dress,</div>
-    <div class="verse indent0">The butt of droll cartoonists and the target of the press;</div>
-    <div class="verse indent0">But we’ve got to reconstruct our views on color, more or less,</div>
-    <div class="verse indent6">Now we know about the Tenth at La Quasina!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">When a rain of shot was falling, with a song upon his lips,</div>
-    <div class="verse indent0">In the horror where such gallant lives went out in death’s eclipse,</div>
-    <div class="verse indent0">Face to face with Spanish bullets, on the slope of San Juan,</div>
-    <div class="verse indent0">The negro soldier showed himself another type of man;</div>
-    <div class="verse indent0">Read the story of his courage, coldly, carelessly, who can—</div>
-    <div class="verse indent6">The story of the Tenth at La Quasina!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">We have heaped the Cuban soil above their bodies, black and white—</div>
-    <div class="verse indent0">The strangely sorted comrades of that grand and glorious fight—</div>
-    <div class="verse indent0">And many a fair-skinned volunteer goes whole and sound to-day</div>
-    <div class="verse indent0">For the succor of the colored troops, the battle records say,</div>
-    <div class="verse indent0">And the feud is done forever, of the blue coat and the gray—</div>
-    <div class="verse indent6">All honor to the Tenth at La Quasina!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">B. M. Channing.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 275px;">
-<img src="images/line10.jpg" width="275" height="30" alt="" />
-</div>
-
-<h4>DEEDS OF VALOR AT SANTIAGO.</h4>
-
-<p>To be delivered with full, ringing tones. You are an exultant patriot,
-picturing the glorious deeds of our American army. This selection affords
-opportunity for very effective gestures.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">Who cries that the days of daring are those that are faded far,</div>
-    <div class="verse indent0">That never a light burns planet-bright to be hailed as the hero’s star?</div>
-    <div class="verse indent0">Let the deeds of the dead be laureled, the brave of the elder years,</div>
-    <div class="verse indent0">But a song, we say, for the men of to-day who have proved themselves their peers!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">High in the vault of the tropic sky is the garish eye of the sun,</div>
-    <div class="verse indent0">And down with its crown of guns a-frown looks the hill-top to be won;</div>
-    <div class="verse indent0">There is the trench where the Spaniard lurks, his hold and his hiding-place,</div>
-    <div class="verse indent0">And he who would cross the space between must meet death face to face.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The black mouths belch and thunder, and the shrapnel shrieks and flies;</div>
-    <div class="verse indent0">Where are the fain and the fearless, the lads with the dauntless eyes?</div><span class="pagenum"><a id="Page_146"></a>[146]</span>
-    <div class="verse indent0">Will the moment find them wanting! Nay, but with valor stirred!</div>
-    <div class="verse indent0">Like the leashed hound on the coursing-ground they wait but the warning word.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Charge!” and the line moves forward, moves with a shout and a swing,</div>
-    <div class="verse indent0">While sharper far than the cactus-thorn is the spiteful bullet’s sting.</div>
-    <div class="verse indent0">Now they are out in the open, and now they are breasting the slope,</div>
-    <div class="verse indent0">While into the eyes of death they gaze as into the eyes of hope.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Never they wait nor waver, but on they clamber and on,</div>
-    <div class="verse indent0">With “Up with the flag of the stripes and stars, and down with the flag of the Don!”</div>
-    <div class="verse indent0">What should they bear through the shot-rent air but rout to the ranks of Spain,</div>
-    <div class="verse indent0">For the blood that throbs in their hearts is the blood of the boys of Anthony Wayne!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">See, they have taken the trenches! Where are the foemen? Gone!</div>
-    <div class="verse indent0">And now “Old Glory” waves in the breeze from the heights of San Juan!</div>
-    <div class="verse indent0">And so, while the dead are laureled, the brave of the elder years,</div>
-    <div class="verse indent0">A song, we say, for the men of to-day who have proved themselves their peers!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Clinton Scollard.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>A RACE FOR DEAR LIFE.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">The battleships Brooklyn, Oregon and
-Texas pushed ahead after the Spanish
-ships Colon and Almirante Oquendo,
-which were now running the race of their
-lives along the coast. When Admiral Cervera’s
-flagship, the Almirante Oquendo, suddenly
-headed in shore, she had the Brooklyn
-and Oregon abeam and the Texas astern.
-The Brooklyn and Oregon pushed on after
-the Cristobal Colon, which was making fine
-time, and which looked as if she might escape,
-leaving the Texas to finish the Almirante
-Oquendo. This work did not take
-long. The Spanish ship was already burning.
-Just as the Texas got abeam of her
-she was shaken by a loud and mighty explosion.</p>
-
-<p>The crew of the Texas started to cheer.
-“Don’t cheer, because the poor devils are
-dying!” called Captain Philip, and the Texas
-left the Almirante Oquendo to her fate to
-join in the chase of the Cristobal Colon.</p>
-
-<p>That ship, in desperation, was ploughing
-the waters at a rate that caused the fast
-Brooklyn trouble. The Oregon made great
-speed for a battleship, and the Texas made
-the effort of her life. Never since her trial
-trip had she made such time. The Brooklyn
-might have proved a match to the Cristobal
-Colon in speed, but was not supposed to be
-her match in strength.</p>
-
-<p>It would never do to allow even one of the
-Spanish ships to get away. Straight into the
-west the strongest chase of modern times
-took place. The Brooklyn headed the pursuers.
-She stood well out from the shore
-in order to try to cut off the Cristobal Colon
-at a point jutting out into the sea far ahead.
-The Oregon kept a middle course about a
-mile from the cruiser. The Desperate Don
-ran close along the shore, and now and then
-he threw a shell of defiance. The old Texas
-kept well up in the chase under forced
-draught for over two hours.</p>
-
-<p>The fleet Spaniard led the Americans a
-merry chase, but she had no chance. The
-Brooklyn gradually forged ahead, so that
-the escape of the Cristobal Colon was cut off.
-The Oregon was abeam of the Colon then,
-and the gallant Don gave it up. He headed
-for the shore, and five minutes later down
-came the Spanish flag. None of our ships<span class="pagenum"><a id="Page_147"></a>[147]</span>
-were then within a mile of her, but her escape
-was cut off. The Texas, Oregon and
-Brooklyn closed in on her, and stopped their
-engines a few hundred yards away.</p>
-
-<p>With the capture of the Cristobal Colon
-the battle was ended, and there was great
-rejoicing on all our ships. Meantime the
-New York, with Admiral Sampson on
-board, and the Vixen were coming up on
-the run. Commodore Schley signalled to
-Admiral Sampson: “We have won a great
-victory.”</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>PATRIOTISM OF AMERICAN WOMEN.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">The maid who binds her warrior’s sash</div>
-    <div class="verse indent2">With smile that well her pain dissembles,</div>
-    <div class="verse indent0">The while beneath her drooping lash</div>
-    <div class="verse indent2">One starry tear-drop hangs and trembles,</div>
-    <div class="verse indent0">Though heaven alone records the tear,</div>
-    <div class="verse indent2">And fame shall never know her story,</div>
-    <div class="verse indent0">Her heart has shed a drop as dear</div>
-    <div class="verse indent2">As e’er bedewed the field of glory!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The wife who girds her husband’s sword,</div>
-    <div class="verse indent2">Mid little ones who weep or wonder,</div>
-    <div class="verse indent0">And bravely speaks the cheering word,</div>
-    <div class="verse indent2">What though her heart be rent asunder,</div>
-    <div class="verse indent0">Doomed nightly in her dreams to hear</div>
-    <div class="verse indent2">The bolts of death around him rattle,</div>
-    <div class="verse indent0">Hath shed as sacred blood as e’er</div>
-    <div class="verse indent2">Was poured upon the field of battle!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The mother who conceals her grief</div>
-    <div class="verse indent2">While to her breast her son she presses,</div>
-    <div class="verse indent0">Then breathes a few brave words and brief,</div>
-    <div class="verse indent2">Kissing the patriot brow she blesses,</div>
-    <div class="verse indent0">With no one but her secret God</div>
-    <div class="verse indent2">To know the pain that weighs upon her</div>
-    <div class="verse indent0">Sheds holy blood as e’er the sod</div>
-    <div class="verse indent2">Received on Freedom’s field of honor!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Thomas Buchanan Read.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>OUR COUNTRY’S CALL.</h4>
-
-<p>There is a strain of gladness, a tone of rejoicing in this selection,
-which requires a spirited delivery and full volume of voice. Patriotic
-emotions should always be expressed in an exultant, joyous manner by
-voice, attitude and gestures.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">The clouds grew dark as the people paused,</div>
-    <div class="verse indent2">A people of peace and toil,</div>
-    <div class="verse indent0">And there came a cry from all the sky:</div>
-    <div class="verse indent2">“Come, children of mart and soil,</div>
-    <div class="verse indent0">Your mother needs you—hear her voice;</div>
-    <div class="verse indent2">Though she has not a son to spare,</div>
-    <div class="verse indent0">She has spoken the word that ye all have heard,</div>
-    <div class="verse indent2">Come, answer ye everywhere!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">They need no urging to stir them on.</div>
-    <div class="verse indent2">They yearn for no battle cry;</div>
-    <div class="verse indent0">At the word that their country calls for men</div>
-    <div class="verse indent0">They throw down hammer and scythe and pen,</div>
-    <div class="verse indent2">And are ready to serve and die!</div>
-    <div class="verse indent0">From the North, from the South, from East, from West,</div>
-    <div class="verse indent2">Hear the thrill of the rumbling drum!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Under one flag they march along,</div>
-    <div class="verse indent0">With their voices swelling a single song,</div>
-    <div class="verse indent2">Here they come, they come, they come!</div>
-    <div class="verse indent0">List! the North men cheer the men from the South</div>
-    <div class="verse indent2">And the South returns the cheer;</div>
-    <div class="verse indent0">There is no question of East or West,</div>
-    <div class="verse indent0">For hearts are a-tune in every breast,</div>
-    <div class="verse indent2">’Tis a nation answering here.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">It is elbow to elbow and knee to knee,</div>
-    <div class="verse indent2">One land for each and for all,</div>
-    <div class="verse indent0">And the veterans’ eyes see their children rise</div>
-    <div class="verse indent2">To answer their country’s call.</div>
-    <div class="verse indent0">They have not forgotten—God grant not so!</div>
-    <div class="verse indent2">(Ah, we know of the graves on the hill.)</div>
-    <div class="verse indent0">But these eager feet make the old hearts beat,</div>
-    <div class="verse indent2">And the old eyes dim and fill!</div><span class="pagenum"><a id="Page_148"></a>[148]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The Past sweeps out, and the Present comes—</div>
-    <div class="verse indent2">A Present that all have wrought!</div>
-    <div class="verse indent0">And the sons of these sires, at the same campfires,</div>
-    <div class="verse indent2">Cheer one flag where their fathers fought!</div>
-    <div class="verse indent0">Yes, we know of the graves on the Southern hills</div>
-    <div class="verse indent2">That are filled with the Blue and the Gray.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">We know how they fought and how they died,</div>
-    <div class="verse indent0">We honor them both there side by side,</div>
-    <div class="verse indent2">And they’re brothers again to-day.</div>
-    <div class="verse indent0">Brothers again—thank God on high!</div>
-    <div class="verse indent2">(Here’s a hand-clasp all around.)</div>
-    <div class="verse indent0">The sons of one race now take their place</div>
-    <div class="verse indent2">On one common and holy ground.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Richard Barry.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>THE STORY OF SEVENTY-SIX.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">What heroes from the woodland sprung,</div>
-    <div class="verse indent2">When, through the fresh awakened land,</div>
-    <div class="verse indent0">The thrilling cry of freedom rung,</div>
-    <div class="verse indent0">And to the work of warfare strung</div>
-    <div class="verse indent2">The yeoman’s iron hand!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Hills flung the cry to hills around,</div>
-    <div class="verse indent2">And ocean-mart replied to mart,</div>
-    <div class="verse indent0">And streams, whose springs were yet unfound,</div>
-    <div class="verse indent0">Pealed far away the startling sound</div>
-    <div class="verse indent2">Into the forest’s heart.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then marched the brave from rocky steep,</div>
-    <div class="verse indent2">From mountain river swift and cold;</div>
-    <div class="verse indent0">The borders of the stormy deep,</div>
-    <div class="verse indent0">The vales where gathered waters sleep,</div>
-    <div class="verse indent2">Sent up the strong and bold—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">As if the very earth again</div>
-    <div class="verse indent2">Grew quick with God’s creating breath,</div>
-    <div class="verse indent0">And, from the sods of grove and glen,</div>
-    <div class="verse indent0">Rose ranks of lion-hearted men</div>
-    <div class="verse indent2">To battle to the death.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The wife, whose babe first smiled that day,</div>
-    <div class="verse indent2">The fair fond bride of yestereve,</div>
-    <div class="verse indent0">And aged sire and matron gray,</div>
-    <div class="verse indent0">Saw the loved warriors haste away,</div>
-    <div class="verse indent2">And deemed it sin to grieve.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Already had the strife begun;</div>
-    <div class="verse indent2">Already blood on Concord’s plain</div>
-    <div class="verse indent0">Along the springing grass had run,</div>
-    <div class="verse indent0">And blood had flowed at Lexington,</div>
-    <div class="verse indent2">Like brooks of April rain.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">That death-stain on the vernal sward</div>
-    <div class="verse indent2">Hallowed to freedom all the shore;</div>
-    <div class="verse indent0">In fragments fell the yoke abhorred—</div>
-    <div class="verse indent0">The footstep of a foreign lord</div>
-    <div class="verse indent2">Profaned the soil no more.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">W. C. Bryant.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>THE ROLL CALL.</h4>
-
-<p>Speak the names of persons in this recitation, exactly as you would if
-you were the orderly calling the roll, or the private in the ranks who is
-answering. The general character of the selection is pathetic; recite it
-with subdued and tender force.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-c.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">“Corporal Green!” the orderly cried;</div>
-    <div class="verse indent2">“Here!” was the answer, loud and clear,</div>
-    <div class="verse indent2">From the lips of a soldier who stood near,</div>
-    <div class="verse indent0">And “Here!” was the word the next replied.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Cyrus Drew!”—then a silence fell—</div>
-    <div class="verse indent2">This time no answer followed the call;</div>
-    <div class="verse indent2">Only his rear man had seen him fall,</div>
-    <div class="verse indent0">Killed or wounded he could not tell.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There they stood in the falling light,</div>
-    <div class="verse indent2">These men of battle, with grave, dark looks,</div>
-    <div class="verse indent2">As plain to be read as open books,</div>
-    <div class="verse indent0">While slowly gathered the shades of night.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The fern on the hill-side was splashed with blood,</div>
-    <div class="verse indent2">And down in the corn where the poppies grew,</div><span class="pagenum"><a id="Page_149"></a>[149]</span>
-    <div class="verse indent2">Were redder stains than the poppies knew;</div>
-    <div class="verse indent0">And crimson dyed was the river’s flood.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">For the foe had crossed from the other side,</div>
-    <div class="verse indent2">That day in the face of a murderous fire,</div>
-    <div class="verse indent2">That swept them down in its terrible ire;</div>
-    <div class="verse indent0">And their life-blood went to color the tide.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Herbert Kline!” At the call, there came</div>
-    <div class="verse indent2">Two stalwart soldiers into the line,</div>
-    <div class="verse indent2">Bearing between them this Herbert Kline,</div>
-    <div class="verse indent0">Wounded and bleeding to answer his name.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Ezra Kerr!”—and a voice answered “Here!”</div>
-    <div class="verse indent2">“Hiram Kerr!”—but no man replied.</div>
-    <div class="verse indent2">They were brothers, these two, the sad wind sighed,</div>
-    <div class="verse indent0">And a shudder crept through the cornfield near.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Ephraim Deane!”—then a soldier spoke;</div>
-    <div class="verse indent2">“Deane carried our Regiment’s colors,” he said;</div>
-    <div class="verse indent2">“Where our Ensign was shot, I left him dead,</div>
-    <div class="verse indent0">Just after the enemy wavered and broke.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Close to the roadside his body lies.</div>
-    <div class="verse indent2">I paused a moment and gave him a drink.</div>
-    <div class="verse indent2">He murmured his mother’s name I think,</div>
-    <div class="verse indent0">And death came with it and closed his eyes.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">’Twas a victory; yes, but it cost us dear—</div>
-    <div class="verse indent2">For that company’s roll, when called at night,</div>
-    <div class="verse indent2">Of <span class="smcap">a hundred</span> men who went into the fight</div>
-    <div class="verse indent0">The number was few that answered “Here!”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>THE BATTLE-FIELD.</h4>
-
-<p>This striking poem is an American classic. Two lines alone, if there were
-no others, are enough to give it immortal fame:</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“Truth crushed to earth, shall rise again;</div>
-    <div class="verse indent0">The eternal years of God are hers.”</div>
-  </div>
-</div>
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">Once this soft turf, this rivulet’s sands,</div>
-    <div class="verse indent2">Were trampled by a hurrying crowd,</div>
-    <div class="verse indent0">And fiery hearts and armed hands</div>
-    <div class="verse indent2">Encountered in the battle cloud.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Ah! never shall the land forget</div>
-    <div class="verse indent2">How gushed the life-blood of her brave,</div>
-    <div class="verse indent0">Gushed, warm with hope and courage yet,</div>
-    <div class="verse indent2">Upon the soil they sought to save.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Now all is calm, and fresh, and still,</div>
-    <div class="verse indent2">Alone the chirp of flitting bird,</div>
-    <div class="verse indent0">And talk of children on the hill,</div>
-    <div class="verse indent2">And bell of wandering kine are heard.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Soon rested those who fought; but thou</div>
-    <div class="verse indent2">Who mightiest in the harder strife</div>
-    <div class="verse indent0">For truths which men receive not now,</div>
-    <div class="verse indent2">Thy warfare only ends with life.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">A friendless warfare! lingering long</div>
-    <div class="verse indent2">Through weary day and weary year.</div>
-    <div class="verse indent0">A wild and many-weaponed throng</div>
-    <div class="verse indent2">Hang on thy front, and flank, and rear.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Yet nerve thy spirit to the proof,</div>
-    <div class="verse indent2">And blench not at thy chosen lot.</div>
-    <div class="verse indent0">The timid good may stand aloof,</div>
-    <div class="verse indent2">The sage may front—yet faint thou not.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Nor heed the shaft too surely cast,</div>
-    <div class="verse indent2">The foul and hissing bolt of scorn;</div>
-    <div class="verse indent0">For with thy side shall dwell, at last,</div>
-    <div class="verse indent2">The victory of endurance born.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Truth, crushed to earth, shall rise again;</div>
-    <div class="verse indent2">The eternal years of God are hers;</div>
-    <div class="verse indent0">But Error, wounded, writes with pain,</div>
-    <div class="verse indent2">And dies among his worshippers.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Yea, though thou lie upon the dust,</div>
-    <div class="verse indent2">When they who helped thee flee in fear,</div>
-    <div class="verse indent0">Die full of hope and manly trust,</div>
-    <div class="verse indent2">Like those who fell in battle here.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Another hand thy sword shall wield,</div>
-    <div class="verse indent2">Another hand the standard wave,</div>
-    <div class="verse indent0">Till from the trumpet’s mouth is pealed</div>
-    <div class="verse indent2">The blast of triumph o’er thy grave.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">W. C. Bryant.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 215px;">
-<img src="images/line8.jpg" width="215" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_150"></a>[150]</span></p>
-
-<h4>THE SINKING OF THE MERRIMAC.</h4>
-
-<p>The sinking of the ship Merrimac at the mouth of Santiago harbor, by
-Lieutenant Hobson, was one of the most daring exploits on record. It is
-here told in his own words. Although this selection is simple narrative,
-you should recite it in a spirited manner, with strong tones of voice,
-and show by your demeanor and expression that you are relating an event
-worthy of admiration.</p>
-
-<p>The figures printed in the text refer you to the corresponding numbers
-in “Typical Gestures,” near the beginning of Part II. of this volume.
-Use other gestures that are appropriate, not in a stiff awkward way, but
-gracefully, making them appear, not forced, but natural.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-i.jpg" width="50" height="100" alt="" />
-</div>
-
-<p class="dropcap">I did not miss the entrance to the harbor,
-I turned east until I got my
-bearings and then made<span class="fnanchor"><a href="#gesture6">6</a></span> for it, straight
-in. Then came the firing. It was grand,<span class="fnanchor"><a href="#gesture11">11</a></span>
-flashing out first from one side of the harbor
-and then from the other, from those big guns<span class="fnanchor"><a href="#gesture2">2</a></span>
-on the hills, the Spanish ship Vizcaya, lying
-inside the harbor, joining in.</p>
-
-<p>Troops from Santiago had rushed down
-when the news of the Merrimac’s coming
-was telegraphed and soon lined the foot of
-the cliff, firing wildly across and killing each
-other with the cross fire. The Merrimac’s
-steering gear broke as she got to Estrella
-Point. Only three of the torpedoes on her
-side exploded when I touched the button.
-A huge submarine mine caught her full amidships,
-hurling the water high in the air and
-tearing<span class="fnanchor"><a href="#gesture25">25</a></span> a great rent in the Merrimac’s side.</p>
-
-<p>Her stern ran upon Estrella Point. Chiefly
-owing to the work done by the mine she
-began to sink slowly. At that time she was
-across the channel, but before she settled the
-tide drifted her around. We were all aft,
-lying on the deck. Shells<span class="fnanchor"><a href="#gesture13">13</a></span> and bullets
-whistled around. Six-inch shells from the
-Vizcaya came tearing into the Merrimac,
-crashing into wood and iron and passing
-clear through while the plunging shots from
-the fort broke through her decks.</p>
-
-<p>“Not a man<span class="fnanchor"><a href="#gesture3">3</a></span> must move,” I said, and it was
-only owing to the splendid discipline of the men
-that we all were not killed, as the shells rained
-over us and minutes became hours of suspense.
-The men’s mouths grew parched, but we must
-lie there till daylight, I told them. Now and
-again one or the other of the men lying
-with his face glued to the deck and wondering
-whether the next shell would not come our
-way would say: “Hadn’t<span class="fnanchor"><a href="#gesture3">3</a></span> we better drop off
-now, sir?” but I said: “Wait<span class="fnanchor"><a href="#gesture12">12</a></span> till daylight.”</p>
-
-<p>It would have been impossible to get the
-catamaran or raft anywhere but to the shore,
-where the soldiers stood shooting, and I
-hoped that by daylight we might be recognized
-and saved. The grand old Merrimac
-kept sinking. I wanted to go forward and
-see the damage done there, where nearly all
-the fire was directed, but one man said that
-if I rose it would draw all the fire on the rest.
-So I lay motionless. It was splendid<span class="fnanchor"><a href="#gesture11">11</a></span> the way
-these men behaved. The fire<span class="fnanchor"><a href="#gesture6">6</a></span> of the soldiers,
-the batteries and the Vizcaya was awful.</p>
-
-<p>When the water came up on the Merrimac’s
-decks the raft floated amid the wreckage, but
-she was still made fast to the boom, and we
-caught hold<span class="fnanchor"><a href="#gesture23">23</a></span> of the edge and clung on, our
-heads only being above water. One man
-thought we were safer right<span class="fnanchor"><a href="#gesture6">6</a></span> there; it was
-quite light; the firing had ceased, except
-that on the launch which followed to rescue
-us, and I feared<span class="fnanchor"><a href="#gesture20">20</a></span> Ensign Powell and his
-men had been killed.</p>
-
-<p>A Spanish launch<span class="fnanchor"><a href="#gesture2">2</a></span> came toward the Merrimac.
-We agreed to capture her and run.
-Just as she came close the Spaniards saw us,
-and a half-dozen marines jumped up and
-pointed<span class="fnanchor"><a href="#gesture2">2</a></span> their rifles at our heads. “Is there
-any officer in that boat to receive a surrender
-of prisoners of war?” I shouted. An old man
-leaned out under the awning and held out<span class="fnanchor"><a href="#gesture6">6</a></span> his
-hand. It was the Spanish Admiral Cervera.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 275px;">
-<img src="images/line10.jpg" width="275" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_151"></a>[151]</span></p>
-
-<h4>THE STARS AND STRIPES.</h4>
-
-<p>The following glowing tributes to our American Flag afford excellent
-selections for any patriotic occasion. They make suitable recitations for
-children at celebrations on the Fourth of July, Washington’s birthday,
-etc.</p>
-
-<h5>NOTHING BUT FLAGS.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-n.jpg" width="140" height="110" alt="" /></div>
-    <div class="dropcapline">Nothing but flags! but simple flags!</div>
-    <div class="verse indent0">Tattered and torn, and hanging in rags;</div>
-    <div class="verse indent0">And we walk beneath them with careless tread,</div>
-    <div class="verse indent0">Nor think of the hosts of the mighty dead</div>
-    <div class="verse indent0">Who have marched beneath them in days gone by</div>
-    <div class="verse indent0">With a burning cheek and a kindling eye,</div>
-    <div class="verse indent0">And have bathed their folds with their young life’s tide,</div>
-    <div class="verse indent0">And dying blessed them, and blessing died.</div>
-  </div>
-</div>
-</div>
-
-<h5>OUR BANNER.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Hail to our banner brave</div>
-    <div class="verse indent0">All o’er the land and wave</div>
-    <div class="verse indent4">To-day unfurled.</div>
-    <div class="verse indent0">No folds to us so fair</div>
-    <div class="verse indent0">Thrown on the summer air;</div>
-    <div class="verse indent0">None with thee compare</div>
-    <div class="verse indent4">In all the world.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">W. P. Tilden.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>STAINED BY THE BLOOD OF HEROES.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Around the globe, through every clime,</div>
-    <div class="verse indent2">Where commerce wafts or man hath trod,</div>
-    <div class="verse indent0">It floats aloft, unstained with crime,</div>
-    <div class="verse indent2">But hallowed by heroic blood.</div>
-  </div>
-</div>
-</div>
-
-<h5>THE TATTERED ENSIGN.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">We seek not strife, but when our outraged laws</div>
-    <div class="verse indent0">Cry for protection in so just a cause,</div>
-    <div class="verse indent0">Ay, tear her tattered ensign down!</div>
-    <div class="verse indent2">Long has it waved on high,</div>
-    <div class="verse indent0">And many an eye has danced to see</div>
-    <div class="verse indent2">That banner in the sky.</div>
-    <div class="verse indent0">Nail to the mast her holy flag,</div>
-    <div class="verse indent2">Set every threadbare sail,</div>
-    <div class="verse indent0">And give her to the God of storms,</div>
-    <div class="verse indent2">The lightning and the gale!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Oliver Wendell Holmes.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>THE FLAG OF OUR UNION.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">The union of lakes, the union of lands,</div>
-    <div class="verse indent2">The union of States none can sever;</div>
-    <div class="verse indent0">The union of hearts, the union of hands,</div>
-    <div class="verse indent2">And the flag of our Union forever.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">George P. Morris.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>FLAG OF THE FREE.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">When freedom from her mountain height</div>
-    <div class="verse indent2">Unfurled her standard to the air,</div>
-    <div class="verse indent0">She tore the azure robe of night</div>
-    <div class="verse indent2">And set the stars of glory there.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">She mingled with its gorgeous dyes</div>
-    <div class="verse indent0">The milky baldric of the skies,</div>
-    <div class="verse indent0">And striped its pure, celestial white</div>
-    <div class="verse indent0">With streakings of the morning light.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Flag of the free hearts’ hope and home!</div>
-    <div class="verse indent2">By angel hands to valor given!</div>
-    <div class="verse indent0">Thy stars have lit the welkin dome,</div>
-    <div class="verse indent2">And all thy hues were born in heaven.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Forever float that standard sheet,</div>
-    <div class="verse indent2">Where breathes the foe, but falls before us,</div>
-    <div class="verse indent0">With freedom’s soil beneath our feet,</div>
-    <div class="verse indent2">And freedom’s banner streaming o’er us.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Joseph Rodman Drake.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>STAND BY THE FLAG.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Stand by the flag! on land and ocean billow;</div>
-    <div class="verse indent2">By it your fathers stood, unmoved and true;</div>
-    <div class="verse indent0">Living, defended; dying, from their pillow,</div>
-    <div class="verse indent2">With their last blessing, passed it on to you.</div>
-    <div class="verse indent0">The lines that divide us are written in water,</div>
-    <div class="verse indent0">The love that unite us is cut deep as rock.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent6">Thus by friendship’s ties united,</div>
-    <div class="verse indent8">We will change the bloody past</div>
-    <div class="verse indent6">Into golden links of union,</div>
-    <div class="verse indent8">Blending all in love at last.</div><span class="pagenum"><a id="Page_152"></a>[152]</span>
-    <div class="verse indent6">Thus beneath the one broad banner,</div>
-    <div class="verse indent8">Flag of the true, the brave, the free,</div>
-    <div class="verse indent6">We will build anew the Union,</div>
-    <div class="verse indent8">Fortress of our Liberty.</div>
-  </div>
-</div>
-</div>
-
-<h5>FREEDOM’S STANDARD.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">God bless our star-gemmed banner;</div>
-    <div class="verse indent2">Shake its folds out to the breeze;</div>
-    <div class="verse indent0">From church, from fort, from house-top,</div>
-    <div class="verse indent2">Over the city, on the seas;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The die is cast, the storm at last</div>
-    <div class="verse indent2">Has broken in its might;</div>
-    <div class="verse indent0">Unfurl the starry banner,</div>
-    <div class="verse indent2">And may God defend the right.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then bless our banner, God of hosts!</div>
-    <div class="verse indent2">Watch o’er each starry fold;</div>
-    <div class="verse indent0">’Tis Freedom’s standard, tried and proved</div>
-    <div class="verse indent2">On many a field of old;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And Thou, who long has blessed us,</div>
-    <div class="verse indent2">Now bless us yet again,</div>
-    <div class="verse indent0">And crown our cause with victory,</div>
-    <div class="verse indent2">And keep our flag from stain.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>RODNEY’S RIDE.</h4>
-
-<p>On the third day of July, 1776, Cæsar Rodney rode on horseback from St.
-James’s Neck, below Dover, Delaware, to Philadelphia, in a driving rain
-storm, for the purpose of voting for the Declaration of Independence.</p>
-
-<p>This is an excellent reading for quick changes of voice and manner. To
-render it well will prove that you have genuine dramatic ability. You
-should study this selection carefully and practice it until you are the
-complete master of it. It requires a great deal of life and spirit, with
-changes of voice from the low tone to the loud call. For the most part
-your utterance should be rapid, yet distinct.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">In that soft mid-land where the breezes bear</div>
-    <div class="verse indent0">The North and South on the genial air,</div>
-    <div class="verse indent0">Through the county of Kent, on affairs of State,</div>
-    <div class="verse indent0">Rode Cæsar Rodney, the delegate.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Burly and big, and bold and bluff,</div>
-    <div class="verse indent0">In his three-cornered hat and coat of snuff,</div>
-    <div class="verse indent0">A foe to King George and the English State,</div>
-    <div class="verse indent0">Was Cæsar Rodney, the delegate.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Into Dover village he rode apace,</div>
-    <div class="verse indent0">And his kinsfolk knew from his anxious face,</div>
-    <div class="verse indent0">It was matter grave that brought him there,</div>
-    <div class="verse indent0">To the counties three upon the Delaware.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Money and men we must have,” he said,</div>
-    <div class="verse indent0">“Or the Congress fails and our cause is dead,</div>
-    <div class="verse indent0">Give us both and the King shall not work his will,</div>
-    <div class="verse indent0">We are men, since the blood of Bunker Hill.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Comes a rider swift on a panting bay;</div>
-    <div class="verse indent0">“Ho, Rodney, ho! you must save the day,</div>
-    <div class="verse indent0">For the Congress halts at a deed so great,</div>
-    <div class="verse indent0">And your vote alone may decide its fate.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Answered Rodney then: “I will ride with speed;</div>
-    <div class="verse indent0">It is Liberty’s stress; it is Freedom’s need.”</div>
-    <div class="verse indent0">“When stands it?” “To-night.” “Not a moment to spare,</div>
-    <div class="verse indent0">But ride like the wind from the Delaware.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Ho, saddle the black! I’ve but half a day,</div>
-    <div class="verse indent0">And the Congress sits eighty miles away—</div>
-    <div class="verse indent0">But I’ll be in time, if God grants me grace,</div>
-    <div class="verse indent0">To shake my fist in King George’s face.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He is up; he is off! and the black horse flies</div>
-    <div class="verse indent0">On the northward road ere the “God-speed” dies,</div>
-    <div class="verse indent0">It is gallop and spur, as the leagues they clear,</div>
-    <div class="verse indent0">And the clustering mile-stones move a-rear.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">It is two of the clock; and the fleet hoofs fling</div>
-    <div class="verse indent0">The Fieldsboro’ dust with a clang and a cling,</div>
-    <div class="verse indent0">It is three; and he gallops with slack rein where</div>
-    <div class="verse indent0">The road winds down to the Delaware.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Four; and he spurs into New Castle town,</div>
-    <div class="verse indent0">From his panting steed he gets him down—</div>
-    <div class="verse indent0">“A fresh one quick! and not a moment’s wait!”</div>
-    <div class="verse indent0">And off speeds Rodney, the delegate.</div><span class="pagenum"><a id="Page_153"></a>[153]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">It is five; and the beams of the western sun</div>
-    <div class="verse indent0">Tinge the spires of Wilmington, gold and dun;</div>
-    <div class="verse indent0">Six; and the dust of Chester street</div>
-    <div class="verse indent0">Flies back in a cloud from his courser’s feet.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">It is seven; the horse-boat, broad of beam,</div>
-    <div class="verse indent0">At the Schuylkill ferry crawls over the stream—</div>
-    <div class="verse indent0">And at seven fifteen by the Rittenhouse clock,</div>
-    <div class="verse indent0">He flings his rein to the tavern jock.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The Congress is met; the debate’s begun,</div>
-    <div class="verse indent0">And Liberty lags for the vote of one—</div>
-    <div class="verse indent0">When into the hall, not a moment late,</div>
-    <div class="verse indent0">Walks Cæsar Rodney, the delegate.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Not a moment late! and that half day’s ride</div>
-    <div class="verse indent0">Forwards the world with a mighty stride;</div>
-    <div class="verse indent0">For the act was passed; ere the midnight stroke</div>
-    <div class="verse indent0">O’er the Quaker City its echoes woke.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">At Tyranny’s feet was the gauntlet flung;</div>
-    <div class="verse indent0">“We are free!” all the bells through the colonies rung,</div>
-    <div class="verse indent0">And the sons of the free may recall with pride,</div>
-    <div class="verse indent0">The day of Delegate Rodney’s ride.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>A SPOOL OF THREAD.</h4>
-
-<p>The last battle of the Civil War was at Brazos, Texas, May 13, 1865,
-resulting in the surrender of the Texan army. Recite this in a
-conversational tone, as you would tell any story.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">Well, yes, I’ve lived in Texas, since the spring of ’61;</div>
-    <div class="verse indent0">And I’ll relate the story, though I fear, sir, when ’tis done,</div>
-    <div class="verse indent0">’Twill be little worth your hearing, it was such a simple thing,</div>
-    <div class="verse indent0">Unheralded in verses that the grander poets sing.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There had come a guest unbidden, at the opening of the year,</div>
-    <div class="verse indent0">To find a lodgment in our hearts, and the tenant’s name was fear;</div>
-    <div class="verse indent0">For secession’s drawing mandate was a call for men and arms,</div>
-    <div class="verse indent0">And each recurring eventide but brought us fresh alarms.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">They had notified the General that he must yield to fate,</div>
-    <div class="verse indent0">And all the muniments of war surrender to the State,</div>
-    <div class="verse indent0">But he sent from San Antonio an order to the sea</div>
-    <div class="verse indent0">To convey on board the steamer all the fort’s artillery.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Right royal was his purpose, but the foe divined his plan,</div>
-    <div class="verse indent0">And the wily Texans set a guard to intercept the man</div>
-    <div class="verse indent0">Detailed to bear the message; they placed their watch with care</div>
-    <div class="verse indent0">That neither scout nor citizen should pass it unaware.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Well, this was rather awkward, sir, as doubtless you will say,</div>
-    <div class="verse indent0">But the Major who was chief of staff resolved to have his way,</div>
-    <div class="verse indent0">Despite the watchful provost guard; so he asked his wife to send,</div>
-    <div class="verse indent0">With a little box of knick-knacks, a letter to her friend;</div>
-    <div class="verse indent0">And the missive held one sentence I remember to this day:</div>
-    <div class="verse indent0">“The thread is for your neighbor, Mr. French, across the way.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He dispatched a youthful courier. Of course, as you will know,</div>
-    <div class="verse indent0">The Texans searched him thoroughly and ordered him to show</div>
-    <div class="verse indent0">The contents of the letter. They read it o’er and o’er,</div>
-    <div class="verse indent0">But failed to find the message they had hindered once before.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">So it reached the English lady, and she wondered at the word,</div><span class="pagenum"><a id="Page_154"></a>[154]</span>
-    <div class="verse indent0">But gave the thread to Major French, explaining that she heard</div>
-    <div class="verse indent0">He wished a spool of cotton. And great was his surprise</div>
-    <div class="verse indent0">At such a trifle sent, unasked, through leagues of hostile spies.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“There’s some hidden purpose, doubtless, in the curious gift,” he said.</div>
-    <div class="verse indent0">Then he tore away the label, and inside the spool of thread</div>
-    <div class="verse indent0">Was Major Nichols’ order, bidding him convey to sea</div>
-    <div class="verse indent0">All the arms and ammunition from Fort Duncan’s battery.</div>
-    <div class="verse indent0">“Down to Brazon speed your horses,” thus the Major’s letter ran,</div>
-    <div class="verse indent0">“Shift equipments and munitions, and embark them if you can.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Yes, the transfer was effected, for the ships lay close at hand,</div>
-    <div class="verse indent0">Ere the Texans guessed their purpose they had vanished from the land.</div>
-    <div class="verse indent0">Do I know it for a fact, sir? ’Tis no story that I’ve read—</div>
-    <div class="verse indent0">I was but a boy in war time, and I carried him the thread.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Sophie E. Eastman.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>THE YOUNG PATRIOT, ABRAHAM LINCOLN.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-o.jpg" width="80" height="100" alt="" />
-</div>
-
-<p class="dropcap">One Fourth of July, when Abraham
-Lincoln was a boy, he heard an oration
-by old ’Squire Godfrey. As in
-the olden days, the ’Squire’s oration
-was full of Washington; inspiring in the heart
-of young Lincoln an enthusiasm that sent him
-home burning with a desire to know more of
-the great man who heretofore had seemed
-more of a dream than a reality. Learning
-that a man some six miles up the creek
-owned a copy of Washington’s life, Abraham
-did not rest that night until he had footed
-the whole distance and begged the loan of
-the book.</p>
-
-<p>“Sartin, sartin,” said the owner. “The book
-is fairly well worn, but no leaves are missin’,
-and a lad keen enough to read as to walk six
-miles to get a book, ought to be encouraged.”</p>
-
-<p>It was a much-worn copy of Weem’s “Life
-of Washington,” and Abe, thanking the
-stranger for his kindness, walked back under
-the stars, stopping every little while to catch
-a glimpse of the features of the “Father of
-his Country” as shown in the frontispiece.</p>
-
-<p>After reaching home, tired as he was, he
-could not close his eyes until, by the light
-of a pine knot, he had found out all that was
-recorded regarding the boyhood of the man
-who had so suddenly sprung into prominence
-in his mind. In that busy harvest season he
-had no time to read or study during the day,
-but every night, long after the other members
-of the family were sleeping peacefully, Abe
-lay, stretched upon the floor with his book
-on the hearth, reading, reading, reading, the
-pine knot in the fireplace furnishing all the
-light he needed, the fire within burning with
-such intense heat as to kindle a blaze that
-grew and increased until it placed him in the
-highest seat of his countrymen.</p>
-
-<p>What a marvelous insight into the human
-heart did Abraham Lincoln get between the
-covers of that wonderful book. The little
-cabin grew to be a paradise as he learned
-from the printed pages the story of one great
-man’s life. The barefooted boy in buckskin
-breeches, so shrunken that they reached only
-halfway between the knee and ankle, actually
-asked himself whether there might not be
-some place—great and honorable, awaiting
-him in the future.</p>
-
-<p>Before this treasured “Life of Washington”
-was returned to its owner, it met with
-such a mishap as almost to ruin it. The<span class="pagenum"><a id="Page_155"></a>[155]</span>
-book, which was lying on a board upheld by
-two pegs, was soaked by the rain that dashed
-between the logs one night, when a storm
-beat with unusual force against the north
-end of the cabin. Abraham was heartbroken
-over the catastrophe, and sadly carried the
-book back to its owner, offering to work to
-pay for the damage done. The man consented,
-and the borrower worked for three
-days at seventy-five cents a day, and thus
-himself became the possessor of the old,
-faded, stained book—a book that had more
-to do with shaping his life, perhaps, than any
-one other thing.</p>
-
-<p>Abe had not expected to take the book
-back with him, but merely to pay for the
-damage done, and was surprised when the
-man handed it to him when starting. He
-was very grateful, however, and when he
-gave expression to his feelings the old man
-said, patting him on the shoulder: “You
-have earned it, my boy, and are welcome to
-it. It’s a mighty fine thing to have a head
-for books, just as fine to have a heart for
-honesty, and if you keep agoin’ as you have
-started, maybe some day you’ll git to be
-President yourself. President Abraham Lincoln!
-That would sound fust rate, fust rate,
-now, wouldn’t it, sonny?”</p>
-
-<p>“It’s not a very handsome name, to be
-sure,” Abe replied, looking as though he
-thought such an event possible, away off, in
-the future. “No, it’s not a very very handsome
-name, but I guess it’s about as handsome
-as its owner,” he added, glancing at the
-reflection of his homely features in the little
-old-fashioned, cracked mirror hanging opposite
-where he sat.</p>
-
-<p>“Handsome is that handsome does,” said
-the old farmer, nodding his gray head in an
-approving style. “Yes, indeedy; handsome
-deeds make handsome men. We hain’t a
-nation of royal idiots, with one generation
-of kings passin’ away to make room for another.
-No, sir-ee. In this free country of
-ourn, the rich and poor stand equal chances,
-and a boy without money is just as likely to
-work up to the Presidential chair as the one
-who inherits from his parents lands and stocks
-and money and influence. It’s brains that
-counts in this land of liberty, and Abraham
-Lincoln has just as much right to sit in the
-highest seat in the land as Washington’s
-son himself, if he had had a son, which he
-hadn’t.”</p>
-
-<p>Who knows but the future War President
-of this great Republic received his first aspirations
-from this kindly neighbor’s words?</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>COLUMBIA.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-c.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">Columbia, Columbia, to glory arise;</div>
-    <div class="verse indent0">The queen of the world, and the child of the skies;</div>
-    <div class="verse indent0">Thy genius commands thee; with rapture behold,</div>
-    <div class="verse indent0">While ages on ages thy splendors unfold.</div>
-    <div class="verse indent0">Thy reign is the last and the noblest of time,</div>
-    <div class="verse indent0">Most fruitful thy soil, most inviting thy clime;</div>
-    <div class="verse indent0">Let the crimes of the east ne’er encrimson thy name,</div>
-    <div class="verse indent0">Be freedom, and science, and virtue, thy fame.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">To conquest and slaughter let Europe aspire,</div>
-    <div class="verse indent0">Whelm nations in blood, and wrap cities in fire;</div>
-    <div class="verse indent0">Thy heroes the rights of mankind shall defend,</div>
-    <div class="verse indent0">And triumph pursue them, and glory attend.</div>
-    <div class="verse indent0">A world is thy realm—for a world be thy laws—</div>
-    <div class="verse indent0">Enlarged as thine empire, and just as thy cause;</div>
-    <div class="verse indent0">On freedom’s broad basis thy empire shall rise,</div>
-    <div class="verse indent0">Extend with the main, and dissolve with the skies.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Thy fleets to all regions thy power shall display,</div>
-    <div class="verse indent0">The nations admire, and the ocean obey;</div><span class="pagenum"><a id="Page_156"></a>[156]</span>
-    <div class="verse indent0">Each shore to thy glory its tribute unfold,</div>
-    <div class="verse indent0">And the east and the south yield their spices and gold.</div>
-    <div class="verse indent0">As the day-spring, unbounded, thy splendor shall flow,</div>
-    <div class="verse indent0">And earth’s little kingdoms before thee shall bow,</div>
-    <div class="verse indent0">While the ensigns of union, in triumph unfurled,</div>
-    <div class="verse indent0">Hush the tumult of war, and give peace to the world.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Thus, as down a lone valley, with cedars o’erspread,</div>
-    <div class="verse indent0">From war’s dread confusion, I pensively strayed,</div>
-    <div class="verse indent0">The gloom from the face of fair heaven retired;</div>
-    <div class="verse indent0">The winds ceased to murmur; the thunder expired;</div>
-    <div class="verse indent0">Perfumes, as of Eden, flowed sweetly along,</div>
-    <div class="verse indent0">And a voice, as of angels, enchantingly sung,</div>
-    <div class="verse indent0">“Columbia, Columbia, to glory arise;</div>
-    <div class="verse indent0">The queen of the world, and the child of the skies.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Joel Barlow.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 275px;">
-<img src="images/line10.jpg" width="275" height="30" alt="" />
-</div>
-
-<h4>CAPTAIN MOLLY AT MONMOUTH.</h4>
-
-<p>One of the famous battles of the Revolution was that of Monmouth, New
-Jersey, which was fought on the 28th of June, 1778. General Washington
-was in command on the American side, and General Sir Henry Clinton was
-commander-in-chief of the British forces. The British troops met with
-a decisive defeat. The wife of an Irish gunner on the American side
-who went by the name of Molly had followed her husband to the battle.
-During the engagement he was shot down. With the most undaunted heroism
-Molly rushed forward and took his place at the gun and remained there
-throughout the thickest of the fight. In reciting this graphic account of
-her courageous deed you should show great spirit and animation, pointing
-her out as she takes her husband’s place, and in glowing manner describe
-her patriotism.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">On the bloody field of Monmouth flashed the guns of Greene and Wayne;</div>
-    <div class="verse indent0">Fiercely roared the tide of battle; thick the sward was heaped with slain.</div>
-    <div class="verse indent0">Foremost, facing death and danger, Hessian horse and grenadier,</div>
-    <div class="verse indent0">In the vanguard, fiercely fighting, stood an Irish cannoneer.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Loudly roared his iron cannon, mingling ever in the strife,</div>
-    <div class="verse indent0">And beside him, firm and daring, stood his faithful Irish wife;</div>
-    <div class="verse indent0">Of her bold contempt of danger, Greene and Lee’s brigade could tell,</div>
-    <div class="verse indent0">Every one knew “Captain Molly,” and the army loved her well.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Surged the roar of battle round them; swiftly flew the iron hail;</div>
-    <div class="verse indent0">Forward dashed a thousand bayonets that lone battery to assail;</div>
-    <div class="verse indent0">From the foeman’s foremost columns swept a furious fusilade,</div>
-    <div class="verse indent0">Mowing down the massed battalions in the ranks of Greene’s brigade.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Faster and faster worked the gunner, soiled with powder, blood and dust;</div>
-    <div class="verse indent0">English bayonets shone before him, shot and shell around him burst;</div>
-    <div class="verse indent0">Still he fought with reckless daring, stood and manned her long and well,</div>
-    <div class="verse indent0">Till at last the gallant fellow dead beside his cannon fell.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">With a bitter cry of sorrow, and a dark and angry frown,</div>
-    <div class="verse indent0">Looked that band of gallant patriots at their gunner stricken down.</div>
-    <div class="verse indent0">“Fall back, comrades! It is folly thus to strive against the foe.”</div>
-    <div class="verse indent0">“Not so!” cried Irish Molly, “we can strike another blow!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Quickly leaped she to the cannon in her fallen husband’s place,</div>
-    <div class="verse indent0">Sponged and rammed it fast and steady, fired it in the foeman’s face.</div>
-    <div class="verse indent0">Flashed another ringing volley, roared another from the gun;</div>
-    <div class="verse indent0">“Boys, hurrah!” cried gallant Molly, “for the flag of Washington!”</div><span class="pagenum"><a id="Page_157"></a>[157]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Greene’s brigade, though shorn and shattered, slain and bleeding half their men,</div>
-    <div class="verse indent0">When they heard that Irish slogan, turned and charged the foe again;</div>
-    <div class="verse indent0">Knox and Wayne and Morgan rally, to the front they forward wheel,</div>
-    <div class="verse indent0">And before their rushing onset Clinton’s English columns reel.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Still the cannon’s voice in anger rolled and rattled o’er the plain,</div>
-    <div class="verse indent0">Till they lay in swarms around it mingled heaps of Hessian slain.</div>
-    <div class="verse indent0">“Forward! charge them with the bayonet!” ’twas the voice of Washington;</div>
-    <div class="verse indent0">And there burst a fiery greeting from the Irishwoman’s gun.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Monckton falls; against his columns leap the troops of Wayne and Lee,</div>
-    <div class="verse indent0">And before their reeking bayonets Clinton’s red battalions flee;</div>
-    <div class="verse indent0">Morgan’s rifles, fiercely flashing, thin the foe’s retreating ranks,</div>
-    <div class="verse indent0">And behind them, onward dashing, Ogden hovers on their flanks.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Fast they fly, those boasting Britons, who in all their glory came,</div>
-    <div class="verse indent0">With their brutal Hessian hirelings to wipe out our country’s name.</div>
-    <div class="verse indent0">Proudly floats the starry banner; Monmouth’s glorious field is won;</div>
-    <div class="verse indent0">And, in triumph, Irish Molly stands besides her smoking gun.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">William Collins.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>DOUGLAS TO THE POPULACE OF STIRLING.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-h.jpg" width="130" height="110" alt="" /></div>
-    <div class="dropcapline">Hear, gentle friends! ere yet, for me,</div>
-    <div class="verse indent0">Ye break the bands of fealty.</div>
-    <div class="verse indent0">My life, my honor, and my cause,</div>
-    <div class="verse indent0">I tender free to Scotland’s laws.</div>
-    <div class="verse indent0">Are these so weak as must require</div>
-    <div class="verse indent0">The aid of your misguided ire?</div>
-    <div class="verse indent0">Or, if I suffer causeless wrong,</div>
-    <div class="verse indent0">Is then my selfish rage so strong,</div>
-    <div class="verse indent0">My sense of public weal so low,</div>
-    <div class="verse indent0">That, for mean vengeance on a foe,</div>
-    <div class="verse indent0">Those cords of love I should unbind</div>
-    <div class="verse indent0">Which knit my country and my kind?</div>
-    <div class="verse indent0">Oh no! believe, in yonder tower</div>
-    <div class="verse indent0">It will not soothe my captive hour,</div>
-    <div class="verse indent0">To know those spears our foes should dread</div>
-    <div class="verse indent0">For me in kindred gore are red;</div>
-    <div class="verse indent0">To know, in fruitless brawl begun,</div>
-    <div class="verse indent0">For me, that mother wails her son;</div>
-    <div class="verse indent0">For me that widow’s mate expires,</div>
-    <div class="verse indent0">For me, that orphans weep their sires,</div>
-    <div class="verse indent0">That patriots mourn insulted laws,</div>
-    <div class="verse indent0">And curse the Douglas for the cause.</div>
-    <div class="verse indent0">O let your patience ward such ill,</div>
-    <div class="verse indent0">And keep your right to love me still.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Sir Walter Scott.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>OUR COUNTRY.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">Our country!—’tis a glorious land!</div>
-    <div class="verse indent2">With broad arms stretched from shore to shore,</div>
-    <div class="verse indent0">The proud Pacific chafes her strand,</div>
-    <div class="verse indent2">She hears the dark Atlantic roar;</div>
-    <div class="verse indent0">And, nurtured on her ample breast,</div>
-    <div class="verse indent2">How many a goodly prospect lies</div>
-    <div class="verse indent0">In Nature’s wildest grandeur drest,</div>
-    <div class="verse indent2">Enamelled with her loveliest dyes.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Rich prairies, decked with flowers of gold,</div>
-    <div class="verse indent2">Like sunlit oceans roll afar;</div>
-    <div class="verse indent0">Broad lakes her azure heavens behold,</div>
-    <div class="verse indent2">Reflecting clear each trembling star,</div>
-    <div class="verse indent0">And mighty rivers, mountain-born,</div>
-    <div class="verse indent2">Go sweeping onward dark and deep,</div>
-    <div class="verse indent0">Through forests where the bounding fawn</div>
-    <div class="verse indent2">Beneath their sheltering branches leap.</div><span class="pagenum"><a id="Page_158"></a>[158]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And, cradled mid her clustering hills,</div>
-    <div class="verse indent2">Sweet vales in dreamlike beauty hide,</div>
-    <div class="verse indent0">Where love the air with music fills;</div>
-    <div class="verse indent2">And calm content and peace abide;</div>
-    <div class="verse indent0">For plenty here her fulness pours</div>
-    <div class="verse indent2">In rich profusion o’er the land,</div>
-    <div class="verse indent0">And sent to seize her generous stores,</div>
-    <div class="verse indent2">There prowls no tyrant’s hireling band.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Great God! we thank thee for this home—</div>
-    <div class="verse indent2">This bounteous birthland of the free;</div>
-    <div class="verse indent0">Where wanderers from afar may come,</div>
-    <div class="verse indent2">And breathe the air of liberty!—</div>
-    <div class="verse indent0">Still may her flowers untrampled spring,</div>
-    <div class="verse indent2">Her harvests wave, her cities rise;</div>
-    <div class="verse indent0">And yet, till Time shall fold his wing,</div>
-    <div class="verse indent2">Remain Earth’s loveliest paradise!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">W. G. Peabodie.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>M’ILRATH OF MALATE.</h4>
-
-<p>Acting Sergeant J. A. McIlrath, Battery H, Third Artillery, Regulars;
-enlisted from New York; fifteen years’ service. The heroism of our brave
-Regulars in the War with Spain was the theme of universal admiration.
-Throw plenty of life and fire into this reading, and avoid a sing-song
-tone.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-y.jpg" width="125" height="100" alt="" /></div>
-    <div class="dropcapline">Yes, yes, my boy, there’s no mistake,</div>
-    <div class="verse indent2">You put the contract through!</div>
-    <div class="verse indent0">You lads with Shafter, I’ll allow,</div>
-    <div class="verse indent2">Were heroes, tried and true;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But don’t forget the men who fought</div>
-    <div class="verse indent2">About Manila Bay,</div>
-    <div class="verse indent0">And don’t forget brave McIlrath</div>
-    <div class="verse indent2">Who died at Malaté.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The night was black, save where the forks</div>
-    <div class="verse indent2">Of tropic lightning ran,</div>
-    <div class="verse indent0">When, with a long deep thunder-roar,</div>
-    <div class="verse indent2">The typhoon storm began.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then, suddenly above the din,</div>
-    <div class="verse indent2">We heard the steady bay</div>
-    <div class="verse indent0">Of volleys from the trenches where</div>
-    <div class="verse indent2">The Pennsylvanians lay.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The Tenth, we thought, could hold their own</div>
-    <div class="verse indent2">Against the feigned attack,</div>
-    <div class="verse indent0">And, if the Spaniards dared advance,</div>
-    <div class="verse indent2">Would pay them doubly back.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But soon we marked the volleys sink</div>
-    <div class="verse indent2">Into a scattered fire—</div>
-    <div class="verse indent0">And, now we heard the Spanish gun</div>
-    <div class="verse indent2">Boom nigher yet and nigher!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then, like a ghost, a courier</div>
-    <div class="verse indent2">Seemed past our picket tossed</div>
-    <div class="verse indent0">With wild hair streaming in his face—</div>
-    <div class="verse indent2">“We’re lost—we’re lost—we’re lost.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Front, front—in God’s name—front!” he cried:</div>
-    <div class="verse indent2">“Our ammunition’s gone!”</div>
-    <div class="verse indent0">He turned a face of dazed dismay—</div>
-    <div class="verse indent2">And through the night sped on!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Men, follow me!” cried McIlrath,</div>
-    <div class="verse indent2">Our acting Sergeant then;</div>
-    <div class="verse indent0">And when he gave the word he knew</div>
-    <div class="verse indent2">He gave the word to men!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Twenty there—not one man more—</div>
-    <div class="verse indent2">But down the sunken road</div>
-    <div class="verse indent0">We dragged the guns of Battery H,</div>
-    <div class="verse indent2">Nor even stopped to load!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Sudden, from the darkness poured</div>
-    <div class="verse indent2">A storm of Mauser hail—</div>
-    <div class="verse indent0">But not a man there thought to pause,</div>
-    <div class="verse indent2">Nor any man to quail!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Ahead, the Pennsylvanians’ guns</div>
-    <div class="verse indent2">In scattered firing broke;</div>
-    <div class="verse indent0">The Spanish trenches, red with flame,</div>
-    <div class="verse indent2">In fiercer volleys spoke!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Down with a rush our twenty came—</div>
-    <div class="verse indent2">The open field we passed—</div>
-    <div class="verse indent0">And in among the hard-pressed Tenth</div>
-    <div class="verse indent2">We set our feet at last!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Up, with a leap, sprang McIlrath,</div>
-    <div class="verse indent2">Mud-spattered, worn and wet,</div>
-    <div class="verse indent0">And, in an instant, there he stood</div>
-    <div class="verse indent2">High on the parapet!</div><span class="pagenum"><a id="Page_159"></a>[159]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Steady, boys! we’ve got ’em now—</div>
-    <div class="verse indent2">Only a minute late!</div>
-    <div class="verse indent0">It’s all right, lads—we’ve got ’em whipped.</div>
-    <div class="verse indent2">Just give ’em volleys straight!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then, up and down the parapet</div>
-    <div class="verse indent2">With head erect he went,</div>
-    <div class="verse indent0">As cool as when he sat with us</div>
-    <div class="verse indent2">Beside our evening tent!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Not one of us, close sheltered there</div>
-    <div class="verse indent2">Down in the trench’s pen,</div>
-    <div class="verse indent0">But felt that he would rather die</div>
-    <div class="verse indent2">Than shame or grieve him then!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The fire, so close to being quenched</div>
-    <div class="verse indent2">In panic and defeat,</div>
-    <div class="verse indent0">Leaped forth, by rapid volleys sped,</div>
-    <div class="verse indent2">In one long deadly sheet!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">A cheer went up along the line</div>
-    <div class="verse indent2">As breaks the thunder-call—</div>
-    <div class="verse indent0">But, as it rose, great God! we saw</div>
-    <div class="verse indent2">Our gallant Sergeant fall!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He sank into our outstretched arms</div>
-    <div class="verse indent2">Dead—but immortal grown;</div>
-    <div class="verse indent0">And Glory brightened where he fell,</div>
-    <div class="verse indent2">And valor claimed her own!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">John Jerome Rooney.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>AFTER THE BATTLE.</h4>
-
-<p>If you should read or recite this tragic selection in a dull monotone,
-as most persons read poetry, the effect would be ludicrous. The brave
-captain is dying. With gasping utterance, signs of weakness and appealing
-looks, his words should be delivered. Some of the sentences should be
-whispered. Do not attempt to recite this piece until you have mastered it
-and can render it with telling effect. It demands the trained powers of a
-competent elocutionist.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-b.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">“Brave captain! canst thou speak?</div>
-    <div class="verse indent2">What is it thou dost see?</div>
-    <div class="verse indent0">A wondrous glory lingers on thy face,</div>
-    <div class="verse indent2">The night is past; I’ve watched the night with thee.</div>
-    <div class="verse indent6">Knowest thou the place?”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2">“<i>The place?</i> ’Tis San Juan, comrade.</div>
-    <div class="verse indent2">Is the battle over?</div>
-    <div class="verse indent0">The victory—the victory—is it won?</div>
-    <div class="verse indent2">My wound is mortal; I know I cannot recover—</div>
-    <div class="verse indent6">The battle for me is done!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“I never thought it would come to this!</div>
-    <div class="verse indent2">Does it rain?</div>
-    <div class="verse indent0">The musketry! Give me a drink; ah, that is glorious!</div>
-    <div class="verse indent2">Now if it were not for this pain—this pain—</div>
-    <div class="verse indent6">Didst thou say victorious?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“It would not be strange, would it, if I do wander?</div>
-    <div class="verse indent2">A man can’t remember with a bullet in his brain.</div>
-    <div class="verse indent0">I wish when at home I had been a little fonder—</div>
-    <div class="verse indent6">Shall I ever be well again?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“It can make no difference whether I go from here or there.</div>
-    <div class="verse indent2">Thou’lt write to father and tell him when I am dead?—</div>
-    <div class="verse indent0">The eye that sees the sparrow fall numbers every hair</div>
-    <div class="verse indent8">Even of this poor head.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Tarry awhile, comrade, the battle can wait for thee;</div>
-    <div class="verse indent2">I will try to keep thee but a few brief moments longer;</div>
-    <div class="verse indent0">Thou’lt say good-bye to the friends at home for me?—</div>
-    <div class="verse indent8">If only I were a little stronger!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“I must not think of it. Thou art sorry for me?</div>
-    <div class="verse indent2">The glory—is it the glory?—makes me blind;</div>
-    <div class="verse indent0">Strange, for the light, comrade, the light I cannot see—</div>
-    <div class="verse indent8">Thou hast been very kind!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“I do not think I have done so very much evil—</div>
-    <div class="verse indent0">I did not mean it. ‘I lay me down to sleep,</div><span class="pagenum"><a id="Page_160"></a>[160]</span>
-    <div class="verse indent0">I pray the Lord my soul’—just a little rude and uncivil—</div>
-    <div class="verse indent8">Comrade, why dost thou weep?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Oh! if human pity is so gentle and tender—</div>
-    <div class="verse indent2">Good-night, good friends! ‘I lay me down to sleep!’—</div>
-    <div class="verse indent0">Who from a Heavenly Father’s love needs a defender?</div>
-    <div class="verse indent8">‘My soul to keep!’</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“‘If I should die before I wake’—comrade, tell mother,</div>
-    <div class="verse indent2">Remember—‘I pray the Lord my soul to take!’</div>
-    <div class="verse indent0">My musket thou’lt carry back to my little brother</div>
-    <div class="verse indent8">For my dear sake!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Attention, company! Reverse arms! Very well, men; my thanks.</div>
-    <div class="verse indent2">Where am I? Do I wander, comrade,—wander again?—</div>
-    <div class="verse indent0">Parade is over. Company E, break ranks! break ranks!</div>
-    <div class="verse indent8">I know it is the pain.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Give me thy strong hand; fain would I cling, comrade to thee;</div>
-    <div class="verse indent2">I feel a chill air blown from a far-off shore;</div>
-    <div class="verse indent0">My sight revives; Death stands and looks at me.</div>
-    <div class="verse indent8">What waits he for?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Keep back my ebbing pulse till I be bolder grown;</div>
-    <div class="verse indent2">I would know something of the Silent Land;</div>
-    <div class="verse indent0">It’s hard to struggle to the front alone—</div>
-    <div class="verse indent8">Comrade, thy hand.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“The <i>reveille</i> calls! be strong, my soul, and peaceful;</div>
-    <div class="verse indent2">The Eternal City bursts upon my sight!</div>
-    <div class="verse indent0">The ringing air with ravishing melody is full—</div>
-    <div class="verse indent8">I’ve won the fight!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Nay, comrade, let me go; hold not my hand so steadfast;</div>
-    <div class="verse indent2">I am commissioned—under marching orders—</div>
-    <div class="verse indent0">I know the Future—let the Past be past—</div>
-    <div class="verse indent8"><i>I cross the borders</i>.”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 275px;">
-<img src="images/line10.jpg" width="275" height="30" alt="" />
-</div>
-
-<h4>THE GREAT NAVAL BATTLE OF MANILA.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" />
-</div>
-
-<p class="dropcap">With the United States Flag Flying
-at all their mastheads, our ships
-moved to the attack in line ahead,
-with a speed of eight knots, first passing in
-front of Manila, where the action was begun
-by three batteries mounting guns powerful
-enough to send a shell over us at a distance of
-five miles. The Concord’s guns boomed out a
-reply to these batteries with two shots. No
-more were fired, because Admiral Dewey could
-not engage with these batteries without sending
-death and destruction into the crowded city.</p>
-
-<p>As we neared Cavite two very powerful
-submarine mines were exploded ahead of the
-flagship. The Spaniards had misjudged our
-position. Immense volumes of water were
-thrown high in air by these destroyers, but
-no harm was done to our ships.</p>
-
-<p>Admiral Dewey had fought with Farragut
-at New Orleans and Mobile Bay, where he
-had his first experience with torpedoes. Not
-knowing how many more mines there might
-be ahead, he still kept on without faltering.
-No other mines exploded, however, and it is
-believed that the Spaniards had only these
-two in place.</p>
-
-<p>Only a few minutes later the shore battery
-at Cavite Point sent over the flagship a shot
-that nearly hit the battery in Manila, but
-soon the guns got a better range, and the
-shells began to strike near us, or burst close
-aboard from both the batteries and the Spanish
-vessels. The heat was intense. Men
-stripped off all clothing except their trousers.</p>
-
-<p>As the Admiral’s flagship, the Olympia,
-drew nearer all was as silent on board as if
-the ship had been empty, except for the
-whirr of blowers and the throb of the engines.<span class="pagenum"><a id="Page_161"></a>[161]</span>
-Suddenly a shell burst directly over
-us. From the boatswain’s mate at the after
-5-inch gun came a hoarse cry. “Remember
-the Maine!” arose from the throats of five
-hundred men at the guns. This watchword
-was caught up in turrets and fire-rooms,
-wherever seaman or fireman stood at his post.</p>
-
-<p>“Remember the Maine!” had rung out for
-defiance and revenge. Its utterance seemed
-unpremeditated, but was evidently in every
-man’s mind, and, now that the moment had
-come to make adequate reply to the murder
-of the Maine’s crew, every man shouted what
-was in his heart.</p>
-
-<p>The Olympia was now ready to begin the
-fight. “You may fire when ready, Captain
-Gridley,” said the Admiral, and at nineteen
-minutes of six o’clock, at a distance of 5,500
-yards, the starboard 8-inch gun in the forward
-turret roared forth a compliment to the
-Spanish forts. Presently similar guns from
-the Baltimore and the Boston sent 250-pound
-shells hurtling toward the Spanish ships Castilla
-and the Reina Christina for accuracy.
-The Spaniards seemed encouraged to fire
-faster, knowing exactly our distance, while we
-had to guess theirs. Their ship and shore
-guns were making things hot for us.</p>
-
-<p>The piercing scream of shot was varied
-often by the bursting of time fuse shells,
-fragments of which would lash the water like
-shrapnel or cut our hull and rigging. One
-large shell that was coming straight at the
-Olympia’s forward bridge fortunately fell
-within less than one hundred feet away. One
-fragment cut the rigging exactly over the
-heads of some of the officers. Another struck
-the bridge gratings in line with it. A third
-passed just under Dewey and gouged a hole in
-the deck. Incidents like these were plentiful.</p>
-
-<p>“Capture and destroy Spanish squadron,”
-were Dewey’s orders. Never were instructions
-more effectually carried out. Within
-seven hours after arriving on the scene of
-action nothing remained to be done. The
-Admiral closed the day by anchoring off the
-city of Manila and sending word to the Governor
-General that if a shot was fired from the
-city at the fleet he would lay Manila in ashes.</p>
-
-<p>What was Dewey’s achievement? He
-steamed into Manila Bay at the dead hour of
-the night, through the narrower of the two
-channels, and as soon as there was daylight
-enough to grope his way about he put his
-ships in line of battle and brought on an engagement,
-the greatest in many respects in
-ancient or modern warfare. The results are
-known the world over—every ship in the
-Spanish fleet destroyed, the harbor Dewey’s
-own, his own ships safe from the shore batteries,
-owing to the strategic position he occupied,
-and Manila his whenever he cared to take it.</p>
-
-<p>Henceforth, so long as ships sail and flags
-wave, high on the scroll that bears the names
-of the world’s greatest naval heroes will be
-written that of George Dewey.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>THE SINKING OF THE SHIPS.</h4>
-
-<p>This is an excellent selection for any one who can put dramatic force
-into its recital. Picture to your imagination the “Sinking of the
-Ships,” and then describe it to your hearers as though the actual scene
-were before you. You have command in these words, “Now, sailors, stand
-by,” etc.; rapid utterance in these words, “And the Oregon flew,” etc.;
-subdued tenderness in the words, “Giving mercy to all,” etc. In short,
-the whole piece affords an excellent opportunity for intense dramatic
-description.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-d.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">Dark, dark is the night; not a star in the sky,</div>
-    <div class="verse indent0">And the Maine rides serenely; what danger is nigh?</div>
-    <div class="verse indent0">Our nation’s at peace with the Kingdom of Spain,</div>
-    <div class="verse indent0">So calmly they rest in the battleship Maine.</div>
-    <div class="verse indent0">But, hark to that roar! See, the water is red!</div>
-    <div class="verse indent0">And the sailor sleeps now with the slime for his bed.</div><span class="pagenum"><a id="Page_162"></a>[162]</span>
-    <div class="verse indent0">Havana then shook, like the leaves of the trees,</div>
-    <div class="verse indent0">When the tornado rides on the breast of the breeze;</div>
-    <div class="verse indent0">Then people sprang up from their beds in the gloom,</div>
-    <div class="verse indent0">As they’ll spring from their graves at the thunder of doom;</div>
-    <div class="verse indent0">And they rushed through the streets, in their terror and fear,</div>
-    <div class="verse indent0">Crying out as they ran, “Have the rebels come here?”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Oh, see how the flame lights the shores of the bay,</div>
-    <div class="verse indent0">Like the red rising sun at the coming of day;</div>
-    <div class="verse indent0">’Tis a ship in a blaze! ’Tis the battleship Maine!</div>
-    <div class="verse indent0">What means this to us and the Kingdom of Spain?</div>
-    <div class="verse indent0">The eagle will come at that loud sounding roar,</div>
-    <div class="verse indent0">And our flag will fly free over Cuba no more.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Dark, dark is the night on the face of the deep,</div>
-    <div class="verse indent0">In the forts all is still; are the soldiers asleep?</div>
-    <div class="verse indent0">Oh, see how that ship glides along through the night;</div>
-    <div class="verse indent0">’Tis the ghost of the Maine—she has come to the fight;</div>
-    <div class="verse indent0">A flash, and a roar, and a cry of despair;</div>
-    <div class="verse indent0">The eagle has come, for brave Dewey is there.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Oh, Spaniards, come out, for the daylight has fled,</div>
-    <div class="verse indent0">And look on those ships—look with terror and dread;</div>
-    <div class="verse indent0">The eagle has come, and he swoops to his prey;</div>
-    <div class="verse indent0">Oh, fly, Spaniards, fly, to that creek in the bay!</div>
-    <div class="verse indent0">The eagle has come—“Remember the Maine!”</div>
-    <div class="verse indent0">And the water is red with the blood of the slain.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">They rest for a time—now they sail in again!</div>
-    <div class="verse indent0">Oh, woe, doom and woe, to the kingdom of Spain.</div>
-    <div class="verse indent0">Their ships are ablaze, they are battered and rent,</div>
-    <div class="verse indent0">By the death-dealing shells which our sailors have sent.</div>
-    <div class="verse indent0">Not a man have we lost; yet the battle is o’er,</div>
-    <div class="verse indent0">And their ships ride the bay of Manila no more.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Dark, silent and dark, on the face of the deep,</div>
-    <div class="verse indent0">A ship glides in there; are the Spaniards asleep?</div>
-    <div class="verse indent0">The channel is mined! Oh, rash sailors beware!</div>
-    <div class="verse indent0">Or that death dealing fiend will spring up from his lair;</div>
-    <div class="verse indent0">He will tear you, and rend you, with wild fiendish roar,</div>
-    <div class="verse indent0">And cast you afar on the bay and the shore!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">They laugh at the danger; what care they for death?</div>
-    <div class="verse indent0">’Tis only a shock and the ceasing of breath;</div>
-    <div class="verse indent0">Their souls to their Maker, their forms to the wave,</div>
-    <div class="verse indent0">What nation has sons like the home of the brave?</div>
-    <div class="verse indent0">That ship they would steer to the pit of despair,</div>
-    <div class="verse indent0">If duty cried “Onward!” and glory were there.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The shore is ablaze, but the channel they gain;</div>
-    <div class="verse indent0">A word of command, and the rattle of chain;</div>
-    <div class="verse indent0">A flash—and the Merrimac’s sunk in the bay,</div>
-    <div class="verse indent0">And the Spaniard must leave in the light of the day.</div>
-    <div class="verse indent0">Santiago and Hobson remembered shall be,</div>
-    <div class="verse indent0">While waves the proud flag of the brave and the free.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The Spaniards sail out—what a glorious sight!</div>
-    <div class="verse indent0">Now, sailors, stand by and prepare for the fight;</div>
-    <div class="verse indent0">O, Glo’ster, in there, pelt the Dons as they fly,</div>
-    <div class="verse indent0">Make us glorious news for the Fourth of July!</div>
-    <div class="verse indent0">And Wainwright remembered the Maine with a roar,</div>
-    <div class="verse indent0">And that shell-battered hulk is a terror no more.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then Schley and the Brooklyn were right in the way,</div>
-    <div class="verse indent0">But Sampson had gone to see Shafter, they say;</div>
-    <div class="verse indent0">And the Oregon flew like a fury from hell,</div>
-    <div class="verse indent0">Spreading wreckage and death with the might of her shell;</div>
-    <div class="verse indent0">Then Evans stood out, like a chivalrous knight,</div>
-    <div class="verse indent0">Giving mercy to all at the end of the fight.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The Colon still flies, but a shell cleaves the air,</div>
-    <div class="verse indent0">Its number is fatal—a cry of despair—</div>
-    <div class="verse indent0">She turns to the shore, she bursts into flame,</div>
-    <div class="verse indent0">And down comes the flag of the kingdom of Spain;</div>
-    <div class="verse indent0">Men float all around, the battle is done,</div>
-    <div class="verse indent0">And their ships are all sunk for the sinking of one.</div><span class="pagenum"><a id="Page_163"></a>[163]</span>
-    <div class="verse indent0">Not ours is the hand that would strike in the night,</div>
-    <div class="verse indent0">With the fiendish intention to mangle and slay;</div>
-    <div class="verse indent0">We strike at obstruction to freedom and right,</div>
-    <div class="verse indent0">And strike when we strike in the light of the day.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">W. B. Collison.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>PERRY’S CELEBRATED VICTORY ON LAKE ERIE.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-p.jpg" width="100" height="100" alt="" />
-</div>
-
-<p class="dropcap">Perry’s famous battle on Lake Erie
-raised the spirits of the Americans.
-The British had six ships, with
-sixty-three guns. The Americans
-had nine ships, with fifty-four guns, and the
-American ships were much smaller than the
-English. At this time Perry, the American
-commander, was but twenty-six years of age.
-His flagship was the Lawrence. The ship’s
-watchword was the last charge of the Chesapeake’s
-dying Commander—“Don’t give up
-the ship.” The battle was witnessed by
-thousands of people on shore.</p>
-
-<p>At first the advantage seemed to be with
-the English. Perry’s flagship was riddled
-by English shots, her guns were dismounted
-and the battle seemed lost. At the supreme
-crisis Perry embarked in a small boat with
-some of his officers, and under the fire of
-many cannon passed to the Niagara, another
-ship of the fleet, of which he took command.</p>
-
-<p>After he had left the Lawrence she hauled
-down her flag and surrendered, but the other
-American ships carried on the battle with
-such fierce impetuosity that the English
-battle-ship in turn surrendered, the Lawrence
-was retaken and all the English ships yielded
-with the exception of one, which took flight.
-The Americans pursued her, took her and
-came back with the entire British squadron.
-In the Capitol at Washington is a historical
-picture showing this famous victory.</p>
-
-<p>In Perry’s great battle on Lake Erie was
-shown the true stuff of which American
-sailors are made. Perry was young, bold
-and dashing, but withal, he had the coolness
-and intrepidity of the veteran. History
-records few braver acts than his passage in
-an open boat from one ship to another under
-the galling fire of the enemy.</p>
-
-<p>The grand achievements of the American
-navy are brilliant chapters in our country’s
-history. When the time comes for daring
-deeds, our gallant tars are equal to the occasion.
-Coolness in battle, splendid discipline,
-perfect marksmanship and a patriotism that
-glories in the victory of the Stars and Stripes,
-combine to place the officers and men of our
-navy in the front rank of the world’s greatest
-heroes.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>THE CAPTURE OF QUEBEC.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-g.jpg" width="125" height="100" alt="" />
-</div>
-
-<p class="dropcap">General Wolfe, the English
-commander, saw that he must take
-Quebec by his own efforts or not
-at all. He attempted several diversions
-above the city in the hope of drawing Montcalm,
-the French commander, from his intrenchments
-into the open field, but Montcalm
-merely sent De Bougainville with fifteen
-hundred men to watch the shore above Quebec
-and prevent a landing. Wolfe fell into
-a fever, caused by his anxiety, and his
-despatches to his government created the
-gravest uneasiness in England for the success
-of his enterprise.</p>
-
-<p>Though ill, Wolfe examined the river with
-eagle eyes to detect some place at which a<span class="pagenum"><a id="Page_164"></a>[164]</span>
-landing could be attempted. His energy
-was rewarded by his discovery of the cove
-which now bears his name. From the shore
-at the head of this cove a steep and difficult
-pathway, along which two men could scarcely
-march abreast, wound up to the summit of
-the heights and was guarded by a small force
-of Canadians.</p>
-
-<p>Wolfe at once resolved to effect a landing
-here and ascend the heights by this path.
-The greatest secrecy was necessary to the
-success of the undertaking, and in order to
-deceive the French as to his real design,
-Captain Cook, afterwards famous as a great
-navigator, was sent to take soundings and
-place buoys opposite Montcalm’s camp, as if
-that were to be the real point of attack. The
-morning of the thirteenth of September was
-chosen for the movement, and the day and
-night of the twelfth were spent in preparations
-for it.</p>
-
-<p>At one o’clock on the morning of the thirteenth
-a force of about five thousand men
-under Wolfe, with Monckton and Murray, set
-off in boats from the fleet, which had ascended
-the river several days before, and dropped
-down to the point designated for the landing.
-Each officer was thoroughly informed
-of the duties required of him, and each
-shared the resolution of the gallant young
-commander, to conquer or to die. As the
-boats floated down the stream, in the clear,
-cool starlight, Wolfe spoke to his officers of
-the poet Gray, and of his “Elegy in a
-Country Churchyard.” “I would prefer,”
-said he, “being the author of that poem to
-the glory of beating the French to-morrow.”
-Then in a musing voice he repeated the
-lines:</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“The boast of heraldry, the pomp of power,</div>
-    <div class="verse indent2">And all that beauty, all that wealth e’er gave,</div>
-    <div class="verse indent0">Await alike the inexorable hour;</div>
-    <div class="verse indent2">The paths of glory lead but to the grave.”</div>
-  </div>
-</div>
-</div>
-
-<p>In a short while the landing-place was
-reached, and the fleet, following silently,
-took position to cover the landing if necessary.
-Wolfe and his immediate command
-leaped ashore and secured the pathway.
-The light infantry, who were carried by the
-tide a little below the path, climbed up the
-side of the heights, sustaining themselves by
-clinging to the roots and shrubs which lined
-the precipitous face of the hill. They
-reached the summit and drove off the picket-guard
-after a light skirmish. The rest of
-the troops ascended in safety by the pathway.
-Having gained the heights, Wolfe
-moved forward rapidly to clear the forest,
-and by daybreak his army was drawn up on
-the Heights of Abraham, in the rear of the
-city.</p>
-
-<p>Montcalm was speedily informed of the
-presence of the English. “It can be but a
-small party come to burn a few houses and
-retire,” he answered incredulously. A brief
-examination satisfied him of his danger, and
-he exclaimed in amazement: “Then they
-have at last got to the weak side of this
-miserable garrison. We must give battle
-and crush them before mid-day.”</p>
-
-<p>He at once despatched a messenger for De
-Bougainville, who was fifteen miles up the
-river, and marched from his camp opposite
-the city to the Heights of Abraham to drive
-the English from them. The opposing forces
-were about equal in numbers, though the
-English troops were superior to their adversaries
-in discipline, steadiness and determination.</p>
-
-<p>The battle began about ten o’clock and
-was stubbornly contested. It was at length
-decided in favor of the English. Wolfe
-though wounded several times, continued to
-direct his army until, as he was leading
-them to a final charge, he received a
-musket ball in the breast. He tottered and
-called to an officer near him: “Support me;
-let not my brave fellows see me drop.” He<span class="pagenum"><a id="Page_165"></a>[165]</span>
-was borne tenderly to the rear, and water
-was brought him to quench his thirst.</p>
-
-<p>At this moment the officer upon whom he
-was leaning cried out: “They run! they
-run!” “Who run?” asked the dying hero,
-eagerly. “The French,” said the officer,
-“give way everywhere.” “What,” said
-Wolfe, summoning up his remaining strength,
-“do they run already? Go, one of you, to
-Colonel Burton; bid him march Webb’s
-regiment with all speed to Charles River to
-cut off the fugitives.” Then a smile of contentment
-overspreading his pale features, he
-murmured: “Now, God be praised, I die
-happy,” and expired. He had done his
-whole duty, and with his life had purchased
-an empire for his country.</p>
-
-<p class="right"><span class="smcap">James D. McCabe.</span></p>
-
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>LITTLE JEAN.</h4>
-
-<p class="center"><i>At the battle of the Pyramids, July 21st, <span class="allsmcap">A.D.</span> 1798.</i></p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-b.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">Burning sands, and isles of palm, and the Mamelukes’ fierce array,</div>
-    <div class="verse indent0">Under the solemn Pyramids, Napoleon saw that day;</div>
-    <div class="verse indent0">“Comrades,” he cried, “from those old heights, Fame watches the deeds you do,</div>
-    <div class="verse indent0">The eyes of forty centuries are fixed this day on you!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">They answered him with ringing shouts, they were eager for the fray,</div>
-    <div class="verse indent0">Napoleon held their central square, in front was bold Desaix;</div>
-    <div class="verse indent0">They gave one glance to the Pyramids, one glance to the rich Cairo,</div>
-    <div class="verse indent0">And then they poured a rain of fire upon their charging foe.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Only a little drummer boy, from the column of Dufarge,</div>
-    <div class="verse indent0">Tottered to where the “Forty-third” stood waiting for their “charge,”</div>
-    <div class="verse indent0">Bleeding—but beating still his call—he said, with tear-dimmed eye:</div>
-    <div class="verse indent0">“I’m but a baby, Forty-third, so teach me how to die!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then Regnier gnawed his long gray beard, and Joubert turned away,</div>
-    <div class="verse indent0">The lad had been the pet of all, they knew not what to say;</div>
-    <div class="verse indent0">“I will not shame you, ‘Forty-third,’ though I am but a child!”</div>
-    <div class="verse indent0">Then Regnier stooped and kissed his face, and shouted loud and wild:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Forward! Why are we waiting here? Shall Mamelukes stop our way?</div>
-    <div class="verse indent0">Come, little Jean, and beat the ‘charge,’ and ours shall be the day;</div>
-    <div class="verse indent0">And we will show thee how to die, good boy! good boy! Be brave!</div>
-    <div class="verse indent0">It is not every ‘nine years’ old’ can fill a soldier’s grave!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">It was as though a spirit spoke, the men to battle flew;</div>
-    <div class="verse indent0">Yet each in passing, cried aloud: “My little Jean, Adieu!”</div>
-    <div class="verse indent0">“Adieu, brave Forty-third, Adieu!” Then proudly beat his drum—</div>
-    <div class="verse indent0">“You’ve showed me how a soldier dies—and little Jean will come!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">They found him ’mid the slain next day, amid the brave who fell,</div>
-    <div class="verse indent0">Said Regnier, proudly, “My brave Jean, thou learned thy lesson well!”</div>
-    <div class="verse indent0">They hung the medal round his neck, and crossed his childish hands,</div>
-    <div class="verse indent0">And dug for him a little grave in Egypt’s lonely sands.</div>
-    <div class="verse indent0">But, still, the corps his memory keep, and name with flashing eye,</div>
-    <div class="verse indent0">The hero whom the “Forty-third,” in Egypt, taught to die.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Lillie E. Barr.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_166"></a>[166]</span></p>
-
-<h4>THE DEFEAT OF GENERAL BRADDOCK.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" />
-</div>
-
-<p class="dropcap">Washington, who, at this time,
-was a subordinate officer, was well
-convinced that the French and Indians
-were informed of the movements of the
-army and would seek to interfere with it
-before its arrival at Fort Duquesne, which
-was only ten miles distant, and urged Braddock
-to throw in advance the Virginia Rangers,
-three hundred strong, as they were experienced
-Indian fighters.</p>
-
-<p>Braddock angrily rebuked his aide, and as
-if to make the rebuke more pointed, ordered
-the Virginia troops and other provincials to
-take position in the rear of the regulars.</p>
-
-<p>In the meantime the French at Fort Duquesne
-had been informed by their scouts of
-Braddock’s movements, and had resolved to
-ambuscade him on his march. Early on the
-morning of the ninth a force of about two
-hundred and thirty French and Canadians
-and six hundred and thirty-seven Indians,
-under De Beaujeu, the commandant at Fort
-Duquesne, was despatched with orders to
-occupy a designated spot and attack the enemy
-upon their approach. Before reaching
-it, about two o’clock in the afternoon, they
-encountered the advanced force of the English
-army, under Lieutenant-Colonel Thomas
-Gage, and at once attacked them with spirit.</p>
-
-<p>The English army at this moment was
-moving along a narrow road, about twelve
-feet in width, with scarcely a scout thrown
-out in advance or upon the flanks. The engineer
-who was locating the road was the
-first to discover the enemy, and called out:
-“French and Indians!” Instantly a heavy
-fire was opened upon Gage’s force, and his
-indecision allowed the French and Indians to
-seize a commanding ridge, from which they
-maintained their attack with spirit.</p>
-
-<p>The regulars were quickly thrown into
-confusion by the heavy fire and the fierce
-yells of the Indians, who could nowhere be
-seen, and their losses were so severe and sudden
-that they became panic-stricken.</p>
-
-<p>The only semblance of resistance maintained
-by the English was by the Virginia
-Rangers, whom Braddock had insulted at the
-beginning of the day’s march. Immediately
-upon the commencement of the battle, they
-had adopted the tactics of the Indians, and
-had thrown themselves behind trees, from
-which shelter they were rapidly picking off
-the Indians. Washington entreated Braddock
-to follow the example of the Virginians,
-but he refused, and stubbornly endeavored
-to form them in platoons under the fatal
-fire that was being poured upon them by
-their hidden assailants. Thus through his
-obstinacy many useful lives were lost.</p>
-
-<p>The officers did not share the panic of the
-men, but behaved with the greatest gallantry.
-They were the especial marks of the Indian
-sharpshooters, and many of them were killed
-or wounded. Two of Braddock’s aides were
-seriously wounded, and their duties devolved
-upon Washington in addition to his own.
-He passed repeatedly over the field, carrying
-the orders of the commander and encouraging
-the men. When sent to bring up the
-artillery, he found it surrounded by Indians,
-its commander, Sir Peter Halket, killed, and
-the men standing helpless from fear.</p>
-
-<p>Springing from his horse, he appealed to
-the men to save the guns, pointed a field-piece
-and discharged it at the savages and
-entreated the gunners to rally. He could
-accomplish nothing by either his words or
-example. The men deserted the guns and
-fled. In a letter to his brother, Washington
-wrote: “I had four bullets through my coat,
-two horses shot under me, yet escaped unhurt,
-though death was levelling my companions
-on every side around me.”</p>
-
-<p class="right"><span class="smcap">James D. McCabe.</span></p>
-
-</div>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-
-<p><span class="pagenum"><a id="Page_167"></a>[167]</span></p>
-
-<h3 class="nobreak" id="Descriptive_and_Dramatic_Recitations"><span class="smcap">Descriptive and Dramatic Recitations</span></h3>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-</div>
-
-<h4>QUICK! MAN THE LIFE-BOAT!</h4>
-
-<p>This selection demands great vivacity and intense dramatic expression.
-Each reference to the life-boat requires rapid utterance, elevated pitch
-and strong tones of command. Point to the life-boat; you are to see it,
-and make your audience see it. They will see it in imagination if you do;
-that is, if you speak and act as if you stood on the shore and actually
-saw the life-boat hurrying to the rescue.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-q.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">Quick! man the life-boat! See yon bark</div>
-    <div class="verse indent2">That drives before the blast?</div>
-    <div class="verse indent0">There’s a rock ahead, the fog is dark,</div>
-    <div class="verse indent2">And the storm comes thick and fast.</div>
-    <div class="verse indent0">Can human power, in such an hour,</div>
-    <div class="verse indent2">Avert the doom that’s o’er her?</div>
-    <div class="verse indent0">Her mainmast’s gone, but she still drives on</div>
-    <div class="verse indent2">To the fatal reef before.</div>
-    <div class="verse indent6">The life-boat! Man the life-boat!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Quick! man the life-boat! hark! the gun</div>
-    <div class="verse indent2">Booms through the vapory air;</div>
-    <div class="verse indent0">And see! the signal flags are on,</div>
-    <div class="verse indent2">And speak the ship’s despair.</div>
-    <div class="verse indent0">That forked flash, that pealing crash,</div>
-    <div class="verse indent2">Seemed from the wave to sweep her:</div>
-    <div class="verse indent0">She’s on the rock, with a terrible shock—</div>
-    <div class="verse indent2">And the wail comes louder and deeper,</div>
-    <div class="verse indent6">The life-boat! Man the life-boat!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Quick! man the life-boat! See—the crew</div>
-    <div class="verse indent2">Gaze on their watery grave:</div>
-    <div class="verse indent0">Already, some, a gallant few,</div>
-    <div class="verse indent2">Are battling with the wave;</div>
-    <div class="verse indent0">And one there stands, and wrings his hand</div>
-    <div class="verse indent2">As thoughts of home come o’er him;</div>
-    <div class="verse indent0">For his wife and child, through the tempest wild,</div>
-    <div class="verse indent2">He sees on the heights before him.</div>
-    <div class="verse indent6">The life-boat! Man the life-boat!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Speed, speed the life-boat! Off she goes!</div>
-    <div class="verse indent2">And, as they pulled the oar,</div>
-    <div class="verse indent0">From shore and ship a cheer arose,</div>
-    <div class="verse indent2">That startled ship and shore.</div>
-    <div class="verse indent0">Life-saving ark! yon fated bark</div>
-    <div class="verse indent2">Has human lives within her;</div>
-    <div class="verse indent0">And dearer than gold is the wealth untold,</div>
-    <div class="verse indent2">Thou’lt save if thou canst win her.</div>
-    <div class="verse indent6">On, life-boat! Speed thee, life-boat!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Hurrah! the life-boat dashes on,</div>
-    <div class="verse indent2">Though darkly the reef may frown;</div>
-    <div class="verse indent0">The rock is there—the ship is gone</div>
-    <div class="verse indent2">Full twenty fathoms down.</div>
-    <div class="verse indent0">But cheered by hope, the seamen cope</div>
-    <div class="verse indent2">With the billows single-handed;</div>
-    <div class="verse indent0">They are all in the boat!—hurrah! they’re afloat;</div>
-    <div class="verse indent2">And now they are safely landed</div>
-    <div class="verse indent6">By the life-boat! Cheer the life-boat!</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>BEAUTIFUL HANDS.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" /></div>
-    <div class="dropcapline">As I remember the first fair touch</div>
-    <div class="verse indent0">Of those beautiful hands that I love so much,</div>
-    <div class="verse indent0">I seem to thrill as I then was thrilled</div>
-    <div class="verse indent0">Kissing the glove that I found unfilled—</div>
-    <div class="verse indent0">When I met your gaze and the queenly bow</div>
-    <div class="verse indent0">As you said to me laughingly, “Keep it now!”</div>
-    <div class="verse indent0">And dazed and alone in a dream I stand</div>
-    <div class="verse indent0">Kissing the ghost of your beautiful hand.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">When first I loved in the long ago,</div>
-    <div class="verse indent0">And held your hand as I told you so—</div>
-    <div class="verse indent0">Pressed and caressed it and gave it a kiss,</div>
-    <div class="verse indent0">And said, “I could die for a hand like this!”</div><span class="pagenum"><a id="Page_168"></a>[168]</span>
-    <div class="verse indent0">Little I dreamed love’s fullness yet</div>
-    <div class="verse indent0">Had I to ripen when eyes were wet,</div>
-    <div class="verse indent0">And prayers were vain in their wild demands</div>
-    <div class="verse indent0">For one warm touch of your beautiful hands.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Beautiful hands! O, beautiful hands!</div>
-    <div class="verse indent0">Could you reach out of the alien lands</div>
-    <div class="verse indent0">Where you are lingering, and give me to-night</div>
-    <div class="verse indent0">Only a touch—were it ever so light—</div>
-    <div class="verse indent0">My heart were soothed, and my weary brain</div>
-    <div class="verse indent0">Would lull itself into rest again;</div>
-    <div class="verse indent0">For there is no solace the world commands</div>
-    <div class="verse indent0">Like the caress of your beautiful hands.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">James Whitcomb Riley.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>THE BURNING SHIP.</h4>
-
-<p>The general character of this selection is intensely dramatic. It is a
-most excellent piece for any one who has the ability and training to
-do it full justice. The emotions of agony, horror and exultation are
-here, and should be made prominent. Let the cry of “Fire!” ring out in
-startling tones, and let your whole manner correspond with the danger and
-the excitement of the scene. The rate throughout should be rapid.</p>
-
-<p>The figures in the text refer you to the corresponding numbers of Typical
-Gestures, at the beginning of Part II of this volume. Insert other
-gestures of your own.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">The storm o’er the ocean flew furious and fast,</div>
-    <div class="verse indent0">And the waves rose in foam at the voice of the blast,</div>
-    <div class="verse indent0">And heavily<span class="fnanchor"><a href="#gesture2">2</a></span> labored the gale-beaten ship,</div>
-    <div class="verse indent0">Like a stout-hearted swimmer, the spray at his lip;</div>
-    <div class="verse indent0">And dark<span class="fnanchor"><a href="#gesture21">21</a></span> was the sky o’er the mariner’s path,</div>
-    <div class="verse indent0">Save when the wild lightning illumined in wrath,</div>
-    <div class="verse indent0">A young mother knelt in the cabin below,</div>
-    <div class="verse indent0">And pressing her babe to her bosom of snow,</div>
-    <div class="verse indent0">She prayed to her God,<span class="fnanchor"><a href="#gesture20">20</a></span> ’mid the hurricane wild,</div>
-    <div class="verse indent0">“O Father, have mercy, look down on my child!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">It passed—the fierce whirlwind careered on its way,</div>
-    <div class="verse indent0">And the ship like an arrow<span class="fnanchor"><a href="#gesture25">25</a></span> divided the spray;</div>
-    <div class="verse indent0">Her sails glimmered white in the beams of the moon,</div>
-    <div class="verse indent0">And the wind up aloft seemed to whistle a tune—to whistle a tune.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There was joy<span class="fnanchor"><a href="#gesture16">16</a></span> in the ship as she furrowed the foam,</div>
-    <div class="verse indent0">For fond hearts within her were dreaming of home.</div>
-    <div class="verse indent0">The young mother pressed her fond babe to her breast,</div>
-    <div class="verse indent0">And the husband sat cheerily down by her side,</div>
-    <div class="verse indent0">And looked with delight on the face of his bride.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Oh,<span class="fnanchor"><a href="#gesture16">16</a></span> happy,” said he, “when our roaming is o’er,</div>
-    <div class="verse indent0">We’ll dwell in our cottage that stands by the shore.</div>
-    <div class="verse indent0">Already in fancy its roof I descry,</div>
-    <div class="verse indent0">And the smoke of its hearth curling up to the sky;</div>
-    <div class="verse indent0">Its garden so green, and its vine-covered wall;</div>
-    <div class="verse indent0">The kind friends<span class="fnanchor"><a href="#gesture9">9</a></span> awaiting to welcome us all,</div>
-    <div class="verse indent0">And the children that sport by the old oaken tree.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Ah gently the ship glided over the sea!</div>
-    <div class="verse indent0">Hark!<span class="fnanchor"><a href="#gesture13">13</a></span> what was that? Hark! Hark to the shout!</div>
-    <div class="verse indent0">“Fire!”<span class="fnanchor"><a href="#gesture10">10</a></span> Then a tramp and a rout, and a tumult of voices uprose on the air;—</div>
-    <div class="verse indent0">And the mother knelt<span class="fnanchor"><a href="#gesture8">8</a></span> down, and the half-spoken prayer,</div>
-    <div class="verse indent0">That she offered to God in her agony wild,</div>
-    <div class="verse indent0">Was, “Father, have mercy, look down on my child!”</div>
-    <div class="verse indent0">She flew to her husband,<span class="fnanchor"><a href="#gesture1">1</a></span> she clung to his side,</div>
-    <div class="verse indent0">Oh there was her refuge whate’er might betide.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Fire!”<span class="fnanchor"><a href="#gesture10">10</a></span> “Fire!” It was raging above and below—</div>
-    <div class="verse indent0">And the cheeks of the sailors grew pale at the sight,</div>
-    <div class="verse indent0">And their eyes glistened wild in the glare of the light,</div>
-    <div class="verse indent0">’Twas vain o’er the ravage the waters to drip;</div>
-    <div class="verse indent0">The pitiless flame was the lord of the ship,</div><span class="pagenum"><a id="Page_169"></a>[169]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And the smoke in thick wreaths mounted higher and higher.</div>
-    <div class="verse indent0">“O God,<span class="fnanchor"><a href="#gesture20">20</a></span> it is fearful to perish by fire.”</div>
-    <div class="verse indent0">Alone with destruction, alone on the sea,</div>
-    <div class="verse indent0">“Great Father of mercy, our hope is in thee.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Sad at heart and resigned, yet undaunted and brave,</div>
-    <div class="verse indent0">They lowered the boat,<span class="fnanchor"><a href="#gesture2">2</a></span> a mere speck on the wave.</div>
-    <div class="verse indent0">First entered the mother, enfolding her child:</div>
-    <div class="verse indent0">It knew she caressed it, looked<span class="fnanchor"><a href="#gesture16">16</a></span> upward and smiled.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Cold, cold was the night as they drifted away,</div>
-    <div class="verse indent0">And mistily dawned o’er the pathway the day—</div>
-    <div class="verse indent0">And they prayed for the light, and at noontide about,</div>
-    <div class="verse indent0">The sun<span class="fnanchor"><a href="#gesture16">16</a></span> o’er the waters shone joyously out.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Ho! a sail!<span class="fnanchor"><a href="#gesture7">7</a></span> Ho! a sail!” cried the man at the lee,</div>
-    <div class="verse indent0">“Ho! a sail!”<span class="fnanchor"><a href="#gesture7">7</a></span> and they turned their glad eyes o’er the sea.</div>
-    <div class="verse indent0">“They see us, they see us,<span class="fnanchor"><a href="#gesture21">21</a></span> the signal is waved!</div>
-    <div class="verse indent0">They bear down upon us, they bear down upon us: Huzza! we are saved.”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>THE UNKNOWN SPEAKER.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-i.jpg" width="50" height="100" alt="" />
-</div>
-
-<p class="dropcap">It is the Fourth day of July, 1776.</p>
-
-<p>In the old State House in the city of
-Philadelphia are gathered half a hundred
-men to strike from their limbs the shackles of
-British despotism. There is silence in the
-hall—every face is turned toward the door
-where the committee of three, who have been
-out all night penning a parchment, are soon
-to enter. The door opens, the committee
-appears. The tall man with the sharp features,
-the bold brow, and the sand-hued hair,
-holding the parchment in his hand, is a Virginia
-farmer, Thomas Jefferson. That stout-built
-man with stern look and flashing eye,
-is a Boston man, one John Adams. And
-that calm-faced man with hair drooping in
-thick curls to his shoulders, that is the Philadelphia
-printer, Benjamin Franklin.</p>
-
-<p>The three advance to the table.</p>
-
-<p>The parchment is laid there.</p>
-
-<p>Shall it be signed or not? A fierce debate
-ensues, Jefferson speaks a few bold words.
-Adams pours out his whole soul. The deep-toned
-voice of Lee is heard, swelling in
-syllables of thunder like music. But still
-there is doubt, and one pale-faced man whispers
-something about axes, scaffolds and a
-gibbet.</p>
-
-<p>“Gibbet?” echoed a fierce, bold voice
-through the hall. “Gibbet? They may
-stretch our necks on all the gibbets in the
-land; they may turn every rock into a scaffold;
-every tree into a gallows; every home
-into a grave, and yet the words of that parchment
-there can never die! They may pour
-our blood on a thousand scaffolds, and yet
-from every drop that dyes the axe a new
-champion of freedom will spring into birth.
-The British King may blot out the stars of
-God from the sky, but he cannot blot out
-His words written on that parchment there.
-The works of God may perish. His words
-never!</p>
-
-<p>“The words of this declaration will live
-in the world long after our bones are dust.
-To the mechanic in his workshop they will
-speak hope; to the slave in the mines, freedom;
-but to the coward-kings, these words
-will speak in tones of warning they cannot
-choose but hear.</p>
-
-<p>“They will be terrible as the flaming syllables
-on Belshazzar’s wall! They will speak
-in language startling as the trump of the
-Archangel, saying: ‘You have trampled on
-mankind long enough! At last the voice of
-human woe has pierced the ear of God, and<span class="pagenum"><a id="Page_170"></a>[170]</span>
-called His judgment down! You have
-waded to thrones through rivers of blood;
-you have trampled on the necks of millions
-of fellow-beings. Now kings, now purple
-hangmen, for <i>you</i> come the days of axes and
-gibbets and scaffolds.’</p>
-
-<p>“Such is the message of that declaration
-to mankind, to the kings of earth. And
-shall we falter now? And shall we start
-back appalled when our feet touch the very
-threshold of Freedom?</p>
-
-<p>“Sign that parchment! Sign, if the next
-moment the gibbet’s rope is about your
-neck! Sign, if the next minute this hall
-rings with the clash of the falling axes!
-Sign by all your hopes in life or death as
-men, as husbands, as fathers, brothers, sign
-your names to the parchment, or be accursed
-forever!</p>
-
-<p>“Sign, and not only for yourselves, but for
-all ages, for that parchment will be the textbook
-of freedom—the Bible of the rights of
-men forever. Nay, do not start and whisper
-with surprise! It is truth, your own hearts
-witness it; God proclaims it. Look at this
-strange history of a band of exiles and outcasts,
-suddenly transformed into a people—a
-handful of men weak in arms—but mighty
-in God-like faith; nay, look at your recent
-achievements, your Bunker Hill, your Lexington,
-and then tell me, if you can, that God
-has not given America to be free!</p>
-
-<p>“It is not given to our poor human intellect
-to climb to the skies, and to pierce the
-councils of the Almighty One. But methinks
-I stand among the awful clouds which
-veil the brightness of Jehovah’s throne.</p>
-
-<p>“Methinks I see the recording angel come
-trembling up to that throne to speak his
-dread message. ‘Father, the old world is
-baptized in blood. Father, look with one
-glance of thine eternal eye, and behold evermore
-that terrible sight, man trodden beneath
-the oppressor’s feet, nations lost in blood,
-murder and superstition walking hand in
-hand over the graves of their victims, and
-not a single voice to whisper hope to
-man!’</p>
-
-<p>“He stands there, the angel, trembling
-with the record of human guilt. But hark!
-The voice of Jehovah speaks out from the
-awful cloud: ‘Let there be light again!
-Tell my people, the poor and oppressed, to
-go out from the old world, from oppression
-and blood, and build my altar in the
-new!’</p>
-
-<p>“As I live, my friends, I believe that to be
-His voice! Yes, were my soul trembling on
-the verge of eternity, were this hand freezing
-in death, were this voice choking in the last
-struggle, I would still with the last impulse
-of that soul, with the last wave of that hand,
-with the last gasp of that voice, implore
-you to remember this truth—God has given
-America to be free! Yes, as I sank into the
-gloomy shadows of the grave, with my last
-faint whisper I would beg you to sign that
-parchment for the sake of the millions whose
-very breath is now hushed in intense expectation
-as they look up to you for the awful
-words, ‘You are free!’”</p>
-
-<p>The unknown speaker fell exhausted in his
-seat; but the work was done.</p>
-
-<p>A wild murmur runs through the hall.
-“Sign!” There is no doubt now. Look
-how they rush forward! Stout-hearted John
-Hancock has scarcely time to sign his bold
-name before the pen is grasped by another—another
-and another. Look how the names
-blaze on the parchment! Adams and Lee,
-Jefferson and Carroll, Franklin and Sherman.</p>
-
-<p>And now the parchment is signed.</p>
-
-<p>Now, old man in the steeple, now bare your
-arm and let the bell speak! Hark to the
-music of that bell! Is there not a poetry in
-that sound, a poetry more sublime than that
-of Shakespeare and Milton? Is there not a
-music in that sound that reminds you of those<span class="pagenum"><a id="Page_171"></a>[171]</span>
-sublime tones which broke from angel lips
-when the news of the child Jesus burst on
-the hill-tops of Bethlehem? For the tones
-of that bell now come pealing, pealing, pealing,
-“Independence now and Independence
-forever.”</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 275px;">
-<img src="images/line10.jpg" width="275" height="30" alt="" />
-</div>
-
-<h4>CHILD LOST.</h4>
-
-<p>It used to be a custom to have a man go through the town ringing a
-bell and “crying” any thing was lost. You should imitate the crier, at
-the same time swinging your hand as if ringing a bell. This selection
-requires a great variety in the manner, pitch of the voice and gestures
-of the reader.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-n.jpg" width="140" height="110" alt="" /></div>
-    <div class="dropcapline">“Nine,” by the Cathedral clock!</div>
-    <div class="verse indent2">Chill the air with rising damps;</div>
-    <div class="verse indent0">Drearily from block to block</div>
-    <div class="verse indent2">In the gloom the bellman tramps—</div>
-    <div class="verse indent6">“Child lost! Child lost!</div>
-    <div class="verse indent8">Blue eyes, curly hair,</div>
-    <div class="verse indent6">Pink dress—child lost!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Something in the doleful strain</div>
-    <div class="verse indent2">Makes the dullest listener start;</div>
-    <div class="verse indent0">And a sympathetic pain</div>
-    <div class="verse indent2">Shoot to every feeling heart.</div>
-    <div class="verse indent0">Anxious fathers homeward haste,</div>
-    <div class="verse indent2">Musing with paternal pride</div>
-    <div class="verse indent0">Of their daughters, happy-faced,</div>
-    <div class="verse indent2">Silken-haired and sparkling-eyed.</div>
-    <div class="verse indent0">Many a tender mother sees</div>
-    <div class="verse indent2">Younglings playing round her chair,</div>
-    <div class="verse indent0">Thinking, “If ’twere one of these,</div>
-    <div class="verse indent2">How could I the anguish bear?”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Ten,” the old Cathedral sounds;</div>
-    <div class="verse indent2">Dark and gloomy are the streets;</div>
-    <div class="verse indent0">Still the bellman goes his rounds,</div>
-    <div class="verse indent2">Still his doleful cry repeats—</div>
-    <div class="verse indent6">“Oh, yes! oh, yes!</div>
-    <div class="verse indent8">Child lost! Blue eyes,</div>
-    <div class="verse indent6">Curly hair, pink dress—</div>
-    <div class="verse indent8">Child lost! Child lost!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Can’t my little one be found?</div>
-    <div class="verse indent2">Are there any tidings, friend?”</div>
-    <div class="verse indent0">Cries the mother, “Is she drowned?</div>
-    <div class="verse indent2">Is she stolen? God forfend!</div>
-    <div class="verse indent0">Search the commons, search the parks,</div>
-    <div class="verse indent2">Search the doorway and the halls,</div>
-    <div class="verse indent0">Search the alleys, foul and dark,</div>
-    <div class="verse indent2">Search the empty market stalls.</div>
-    <div class="verse indent0">Here is gold and silver—see!</div>
-    <div class="verse indent2">Take it all and welcome, man;</div>
-    <div class="verse indent0">Only bring my child to me,</div>
-    <div class="verse indent2">Let me have my child again.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Hark! the old Cathedral bell</div>
-    <div class="verse indent2">Peals “eleven,” and it sounds</div>
-    <div class="verse indent0">To the mother like a knell;</div>
-    <div class="verse indent2">Still the bellman goes his rounds.</div>
-    <div class="verse indent6">“Child lost! Child lost!</div>
-    <div class="verse indent8">Blue eyes, curly hair,</div>
-    <div class="verse indent6">Pink dress—child lost!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Half aroused from dreams of peace,</div>
-    <div class="verse indent2">Many hear the lonesome call,</div>
-    <div class="verse indent0">Then into their beds of ease</div>
-    <div class="verse indent2">Into deeper slumber fall;</div>
-    <div class="verse indent0">But the anxious mother cries,</div>
-    <div class="verse indent2">“Oh, my darling’s curly hair!</div>
-    <div class="verse indent0">Oh, her sweetly-smiling eyes!</div>
-    <div class="verse indent2">Have you sought her everywhere?</div>
-    <div class="verse indent0">Long and agonizing dread</div>
-    <div class="verse indent2">Chills my heart and drives me wild—</div>
-    <div class="verse indent0">What if Minnie should be dead?</div>
-    <div class="verse indent2">God, in mercy, find my child!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Twelve” by the Cathedral clock;</div>
-    <div class="verse indent2">Dimly shine the midnight lamps;</div>
-    <div class="verse indent0">Drearily from block to block,</div>
-    <div class="verse indent2">In the rain the bellman tramps.</div>
-    <div class="verse indent6">“Child lost! Child lost!</div>
-    <div class="verse indent8">Blue eyes, curly hair,</div>
-    <div class="verse indent6">Pink dress—child lost!”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_172"></a>[172]</span></p>
-
-<h4>THE CAPTAIN AND THE FIREMAN.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">Spin us a yarn of the sea, old man,</div>
-    <div class="verse indent2">About some captain bold,</div>
-    <div class="verse indent0">Who steered his ship and made her slip</div>
-    <div class="verse indent2">When the sea and the thunder rolled;</div>
-    <div class="verse indent0">Some tale that will stir the blood, you know,</div>
-    <div class="verse indent2">Like the pirate tales of old.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“It was the old ‘tramp’ Malabar,</div>
-    <div class="verse indent2">With coal for Singapore;</div>
-    <div class="verse indent0">‘The captain stood upon the bridge’</div>
-    <div class="verse indent2">And loud the wind did roar,</div>
-    <div class="verse indent0">And far upon the starboard bow</div>
-    <div class="verse indent2">We saw the stormy shore.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“The night came down as black as pitch;</div>
-    <div class="verse indent2">More loud the wind did blow;</div>
-    <div class="verse indent0">The waves made wreck around the deck</div>
-    <div class="verse indent2">And washed us to and fro;</div>
-    <div class="verse indent0">But half the crew, though wild it blew,</div>
-    <div class="verse indent2">Were sleeping down below.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“‘The captain stood upon the bridge,’</div>
-    <div class="verse indent2">And I was at the wheel;</div>
-    <div class="verse indent0">The waves were piling all around,</div>
-    <div class="verse indent2">Which made the old ‘tank’ reel,</div>
-    <div class="verse indent0">When—smash! there came an awful crash</div>
-    <div class="verse indent2">That shook the ribs of steel.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“‘We’ve struck a wreck!’ ‘Stand by the pumps!’</div>
-    <div class="verse indent2">Her plates were gaping wide;</div>
-    <div class="verse indent0">And out her blood streamed in the flood,</div>
-    <div class="verse indent2">The wreck had bruised her side;</div>
-    <div class="verse indent0">Her coal poured out—her inky blood—</div>
-    <div class="verse indent2">And stained the foaming tide.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“‘The captain stood upon the bridge,’</div>
-    <div class="verse indent2">The firemen down below;</div>
-    <div class="verse indent0">He saw and knew what he could do,</div>
-    <div class="verse indent2">While they but heard the blow.</div>
-    <div class="verse indent0">The bravest man is he that stands</div>
-    <div class="verse indent2">Against an unseen foe.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“‘All hands on deck!’ was now the cry,</div>
-    <div class="verse indent2">‘For we are sinking fast;</div>
-    <div class="verse indent0">Our boats were stove by that last wave—</div>
-    <div class="verse indent2">This night will be our last;</div>
-    <div class="verse indent0">There’s not a plank on board the tank,</div>
-    <div class="verse indent2">She’s steel, from keel to mast.’</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“‘The captain stood upon the bridge;’</div>
-    <div class="verse indent2">All hands were now on deck;</div>
-    <div class="verse indent0">The waves went down, the sun came up,</div>
-    <div class="verse indent2">We saw the drifting wreck,</div>
-    <div class="verse indent0">And there, upon the starboard bow,</div>
-    <div class="verse indent2">The land—a distant speck.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“‘Who’ll go below and fire her up?”</div>
-    <div class="verse indent2">The captain loud did roar.</div>
-    <div class="verse indent0">‘We’re dumping coal with every roll,</div>
-    <div class="verse indent2">But, see! the storm is o’er;</div>
-    <div class="verse indent0">And I will stand upon the bridge,</div>
-    <div class="verse indent2">And guide her to the shore.’</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“‘I’ll go for one,’ said old ‘Tramp Jim,’</div>
-    <div class="verse indent2">‘And shovel in the coal.</div>
-    <div class="verse indent0">I’ll go,’ said Jim, all black and grim,</div>
-    <div class="verse indent2">‘Though death be down that hole;</div>
-    <div class="verse indent0">I’ve heard a man who dies for men</div>
-    <div class="verse indent2">Is sure to save his soul.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“‘So turn the steam into that mill,</div>
-    <div class="verse indent2">And let it spin around,</div>
-    <div class="verse indent0">And I will feed the old thing coal</div>
-    <div class="verse indent2">Till you be hard aground;</div>
-    <div class="verse indent0">I’ll go alone, there’s none to moan,</div>
-    <div class="verse indent2">If old ‘Tramp Jim’ be drowned!’</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“He went below and fired her up,</div>
-    <div class="verse indent2">The steam began to roar;</div>
-    <div class="verse indent0">‘The captain stood upon the bridge’</div>
-    <div class="verse indent2">And steered her for the shore;</div>
-    <div class="verse indent0">The ship was sinking by the bow,</div>
-    <div class="verse indent2">Her race was nearly o’er.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“The water rose around poor Jim,</div>
-    <div class="verse indent2">Down in the fire-room there.</div>
-    <div class="verse indent0">‘I’ll shovel in the coal,’ he gasped,</div>
-    <div class="verse indent2">‘’Till the water wets me hair—</div>
-    <div class="verse indent0">The Lord must take me as I am,</div>
-    <div class="verse indent2">I have no time for prayer.’</div><span class="pagenum"><a id="Page_173"></a>[173]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“‘The captain stood upon the bridge.’</div>
-    <div class="verse indent2">(Oh, hang that phrase, I say!</div>
-    <div class="verse indent0">‘The firemen bravely stood below,’</div>
-    <div class="verse indent2">Suits more this time of day,)</div>
-    <div class="verse indent0">Old Jim kept shovelling in the coal,</div>
-    <div class="verse indent2">Though it was time to pray.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“And every soul was saved, my lads,</div>
-    <div class="verse indent2">Why do I speak it low?</div>
-    <div class="verse indent0">The Lord took Jim, all black and grim,</div>
-    <div class="verse indent2">And made him white as snow.</div>
-    <div class="verse indent0">Some say, ‘the captain on the bridge,’</div>
-    <div class="verse indent2">But I say, ‘Jim below!’”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">W. B. Collison.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>THE FACE ON THE FLOOR.</h4>
-
-<p>This is one of many recitations in this volume that have proved their
-popularity by actual test. “The Face on the Floor,” when well recited,
-holds the hearers spell-bound.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">’Twas a balmy summer evening, and a goodly crowd was there</div>
-    <div class="verse indent0">That well nigh filled Joe’s barroom on the corner of the square,</div>
-    <div class="verse indent0">And as songs and witty stories came through the open door;</div>
-    <div class="verse indent0">A vagabond crept slowly in and posed upon the floor.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Where did it come from?” some one said;</div>
-    <div class="verse indent0">“The wind has blown it in.”</div>
-    <div class="verse indent0">“What does it want?” another cried, “Some whiskey, beer or gin?”</div>
-    <div class="verse indent0">“Here, Toby, seek him, if your stomach’s equal to the work,</div>
-    <div class="verse indent0">I wouldn’t touch him with a fork, he’s as filthy as a Turk.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">This badinage the poor wretch took with stoical good grace,</div>
-    <div class="verse indent0">In fact, he smiled as if he thought he’d struck the proper place;</div>
-    <div class="verse indent0">“Come, boys, I know there’s kindly hearts among so good a crowd;</div>
-    <div class="verse indent0">To be in such good company would make a deacon proud.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Give me a drink! That’s what I want, I’m out of funds, you know,</div>
-    <div class="verse indent0">When I had cash to treat the gang, this hand was never slow;</div>
-    <div class="verse indent0">What? You laugh as if you thought this pocket never held a sou;</div>
-    <div class="verse indent0">I once was fixed as well, my boys, as any one of you.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“There, thanks, that braced me nicely, God bless you, one and all,</div>
-    <div class="verse indent0">Next time I pass this good saloon I’ll make another call;</div>
-    <div class="verse indent0">Give you a song? No, I can’t do that, my singing days are past,</div>
-    <div class="verse indent0">My voice is cracked, my throat’s worn out and my lungs are going fast.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Say, give me another whiskey and I’ll tell you what I’ll do—</div>
-    <div class="verse indent0">I’ll tell you a funny story, and a fact, I promise, too;</div>
-    <div class="verse indent0">That I was ever a decent man, not one of you would think,</div>
-    <div class="verse indent0">But I was, some four or five years back, say, give us another drink.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Fill her up, Joe, I want to put some life into my frame—</div>
-    <div class="verse indent0">Such little drinks to a bum like me are miserably tame;</div>
-    <div class="verse indent0">Five fingers—there, that’s the scheme—and corking whiskey, too,</div>
-    <div class="verse indent0">Well, boys, here’s luck, and landlord, my best regards to you.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“You’ve treated me pretty kindly and I’d like to tell you how</div>
-    <div class="verse indent0">I came to be the dirty sot you see before you now;</div>
-    <div class="verse indent0">As I told you, once I was a man, with muscle, frame and health,</div>
-    <div class="verse indent0">And, but for a blunder, ought to have made considerable wealth.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“I was a painter—not one that daubed on bricks and wood.</div><span class="pagenum"><a id="Page_174"></a>[174]</span>
-    <div class="verse indent0">But an artist, and, for my age, was rated pretty good;</div>
-    <div class="verse indent0">I worked hard at my canvas, and was bidding fair to rise;</div>
-    <div class="verse indent0">For gradually I saw the star of fame before my eyes.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“I made a picture, perhaps you’ve seen, ’tis called the Chase of Fame;</div>
-    <div class="verse indent0">It brought me fifteen hundred pounds, and added to my name;</div>
-    <div class="verse indent0">And then, I met a woman—now comes the funny part—</div>
-    <div class="verse indent0">With eyes that petrified my brain, and sunk into my heart.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Why don’t you laugh? ’Tis funny that the vagabond you see</div>
-    <div class="verse indent0">Could ever love a woman and expect her love for me;</div>
-    <div class="verse indent0">But ’twas so, and for a month or two her smile was freely given;</div>
-    <div class="verse indent0">And when her loving lips touched mine, it carried me to heaven.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Boys, did you ever see a girl for whom your soul you’d give,</div>
-    <div class="verse indent0">With a form like the Milo Venus, too beautiful to live,</div>
-    <div class="verse indent0">With eyes that would beat the Kohinoor and a wealth of chestnut hair?</div>
-    <div class="verse indent0">If so, ’twas she, for there never was another half so fair.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“I was working on a portrait one afternoon in May,</div>
-    <div class="verse indent0">Of a fair-haired boy, a friend of mine who lived across the way,</div>
-    <div class="verse indent0">And Madeline admired it, and much to my surprise,</div>
-    <div class="verse indent0">Said that she’d like to know the man that had such dreamy eyes.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“It didn’t take long to know him, and before the month had flown;</div>
-    <div class="verse indent0">My friend had stole my darling, and I was left alone;</div>
-    <div class="verse indent0">And ere a year of misery had passed above my head,</div>
-    <div class="verse indent0">The jewel I had treasured so had tarnished and was dead.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“That’s why I took to drink, boys. Why, I never saw you smile,</div>
-    <div class="verse indent0">I thought you’d be amused and laughing all the while;</div>
-    <div class="verse indent0">Why, what’s the matter, friend? There’s a teardrop in your eye,</div>
-    <div class="verse indent0">Come, laugh like me, ’tis only babes and women that should cry.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Say, boys, if you’ll give me another whiskey, I’ll be glad,</div>
-    <div class="verse indent0">And I’ll draw right here, the picture of the face that drove me mad;</div>
-    <div class="verse indent0">Give me that piece of chalk with which you mark the base-ball score—</div>
-    <div class="verse indent0">And you shall see the lovely Madeline upon the bar-room floor.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Another drink, and with chalk in hand, the vagabond began</div>
-    <div class="verse indent0">To sketch a face that well might buy the soul of any man,</div>
-    <div class="verse indent0">Then, as he placed another lock upon the shapely head,</div>
-    <div class="verse indent0">With a fearful shriek he leaped and fell across the picture—<i>dead</i>.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">H. Antoine D’Arcy.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>THE ENGINEER’S STORY.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-h.jpg" width="130" height="110" alt="" /></div>
-    <div class="dropcapline">Han’som, stranger? Yes, she’s purty an’ ez peart ez she can be.</div>
-    <div class="verse indent0">Clever? Wy! she ain’t no chicken, but she’s good enough fur me.</div>
-    <div class="verse indent0">What’s her name? ’Tis kind o’ common, yit I ain’t ashamed to tell,</div>
-    <div class="verse indent0">She’s ole “Fiddler” Filkin’s daughter, an’ her dad he calls her “Nell.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I wuz drivin’ on the “Central” jist about a year ago</div>
-    <div class="verse indent0">On the run from Winnemucca up to Reno in Washoe.</div>
-    <div class="verse indent0">There’s no end o’ skeery places. ’Taint a road fur one who dreams,</div>
-    <div class="verse indent0">With its curves an’ awful tres’les over rocks an’ mountain streams.</div><span class="pagenum"><a id="Page_175"></a>[175]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">’Twuz an afternoon in August, we hed got behind an hour</div>
-    <div class="verse indent0">An’ wuz tearin’ up the mountain like a summer thunder-shower,</div>
-    <div class="verse indent0">Round the bends an’ by the hedges ’bout ez fast ez we could go,</div>
-    <div class="verse indent0">With the mountain-peaks above us an’ the river down below.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Ez we come nigh to a tres’le ’cros’t a holler, deep an’ wild,</div>
-    <div class="verse indent0">Suddenly I saw a baby, ’twuz the stationkeeper’s child,</div>
-    <div class="verse indent0">Toddlin’ right along the timbers with a bold and fearless tread</div>
-    <div class="verse indent0">Right afore the locomotive, not a hundred rods ahead.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I jist jumped an’ grabbed the throttle an’ I fa’rly held my breath,</div>
-    <div class="verse indent0">Fur I felt I couldn’t stop her till the child wuz crushed to death,</div>
-    <div class="verse indent0">When a woman sprang afore me like a sudden streak o’ light,</div>
-    <div class="verse indent0">Caught the boy and twixt the timbers in a second sank from sight.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I jist whis’l’d all the brakes on. An’ we worked with might an’ main</div>
-    <div class="verse indent0">Till the fire flew from the drivers, but we couldn’t stop the train,</div>
-    <div class="verse indent0">An’ it rumbled on above her. How she screamed ez we rolled by</div>
-    <div class="verse indent0">An’ the river roared below us—I shall hear her till I die!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then we stop’t; the sun was shinin’; I ran back along the ridge</div>
-    <div class="verse indent0">An’ I found her—dead? No! livin’! She wuz hangin’ to the bridge</div>
-    <div class="verse indent0">Wher she drop’t down thro’ the cross-ties with one arm about a sill</div>
-    <div class="verse indent0">An’ the other round the baby, who wuz yellin’ fur to kill!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">So we saved ’em. She wuz gritty. She’s ez peart ez she kin be—</div>
-    <div class="verse indent0">Now we’re married; she’s no chicken, but she’s good enough fur me,</div>
-    <div class="verse indent0">An’ ef eny ask who owns her, wy! I ain’t ashamed to tell—</div>
-    <div class="verse indent0">She’s my wife. Ther’ ain’t none better than ole Filkin’s daughter “Nell.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Eugene J. Hall.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>JIM.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-h.jpg" width="130" height="110" alt="" /></div>
-    <div class="dropcapline">He was jes’ a plain, ever’-day, all-round kind of a jour.,</div>
-    <div class="verse indent6">Consumpted lookin’—but la!</div>
-    <div class="verse indent0">The jokeyest, wittyest, story-tellin’, song-singin’, laughin’est, jolliest</div>
-    <div class="verse indent2">Feller you ever saw!</div>
-    <div class="verse indent0">Worked at jes’ coarse work, but you kin bet he was fine enough in his talk,</div>
-    <div class="verse indent6">And his feelin’s, too!</div>
-    <div class="verse indent0">Lordy! ef he was on’y back on his bench again to-day, a carryin’ on</div>
-    <div class="verse indent6">Like he ust to do!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Any shop-mate’ll tell you they never was on top o’dirt</div>
-    <div class="verse indent6">A better feller’n Jim!</div>
-    <div class="verse indent0">You want a favor, and couldn’t git it anywheres else—</div>
-    <div class="verse indent6">You could git it o’ him!</div>
-    <div class="verse indent0">Most free-heartedest man thataway in the world, I guess!</div>
-    <div class="verse indent6">Give ever’ nickel he’s worth—</div>
-    <div class="verse indent0">And, ef you’d a-wanted it, and named it to him, and it was his,</div>
-    <div class="verse indent6">He’d a-give you the earth!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Allus a-reachin’ out, Jim was and a-helpin’ some</div>
-    <div class="verse indent6">Poor feller onto his feet—</div>
-    <div class="verse indent0">He’d a-never a-keered how hungry he was his se’f.</div>
-    <div class="verse indent6">So’s the feller got somepin to eat!</div>
-    <div class="verse indent0">Didn’t make no difference at all to him how he was dressed,</div>
-    <div class="verse indent6">He used to say to me:</div>
-    <div class="verse indent0">“You tog out a tramp purty comfortable in winter-time,</div>
-    <div class="verse indent6">And he’ll git along!” says he.</div><span class="pagenum"><a id="Page_176"></a>[176]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Jim didn’t have, nor never could git ahead, so overly much</div>
-    <div class="verse indent6">O’ this world’s goods at a time—</div>
-    <div class="verse indent0">’Fore now I’ve saw him, more’n onc’t lend a dollar and ha’f to</div>
-    <div class="verse indent6">Turn ’round and borry a dime!</div>
-    <div class="verse indent0">Mebby laugh and joke about hisse’f fer awhile—then jerk his coat,</div>
-    <div class="verse indent6">And kind o’ square his chin,</div>
-    <div class="verse indent0">Tie his apern, and squat hisse’f on his old shoe bench</div>
-    <div class="verse indent6">And go peggin’ agin.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Patientest feller, too, I reckon, at every jes’ naturally</div>
-    <div class="verse indent6">Coughed hisse’f to death!</div>
-    <div class="verse indent0">Long enough after his voice was lost he’d laugh and say,</div>
-    <div class="verse indent6">He could git ever’thing but his breath—</div>
-    <div class="verse indent0">“You fellers,” he’d sort o’ twinkle his eyes and say,</div>
-    <div class="verse indent6">“Is pilin’ onto me</div>
-    <div class="verse indent0">A mighty big debt for that air little weak-chested ghost o’ mine to pack</div>
-    <div class="verse indent6">Through all eternity!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Now there was a man ’at jes’ ’peared like to me,</div>
-    <div class="verse indent6">’At ortn’t a-never died!</div>
-    <div class="verse indent0">“But death hain’t a-showin’ no favors,” the old boss said,</div>
-    <div class="verse indent6">“On’y to Jim,” and cried:</div>
-    <div class="verse indent0">And Wigger, ’at put up the best sewed work in the shop,</div>
-    <div class="verse indent6">Er the whole blamed neighborhood,</div>
-    <div class="verse indent0">He says, “When God made Jim, I bet you He didn’t do anything else that day,</div>
-    <div class="verse indent6">But jes’ set around and feel good.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">James Whitcomb Riley.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>QUEEN VASHTI’S LAMENT.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">Is this all the love that he bore me, my husband, to publish my face</div>
-    <div class="verse indent0">To the nobles of Media and Persia, whose hearts are besotted and base?</div>
-    <div class="verse indent0">Did he think me a slave, me, Vashti, the Beautiful, me, Queen of queens,</div>
-    <div class="verse indent0">To summon me thus for a show to the midst of his bacchanal scenes?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I stand like an image of brass, I, Vashti, in sight of such men!</div>
-    <div class="verse indent0">No, sooner, a thousand times sooner, the mouth of the lioness’ den,</div>
-    <div class="verse indent0">When she’s fiercest with hunger and love for the hungry young lions that tear</div>
-    <div class="verse indent0">Her teats with sharp, innocent teeth, I would enter, far rather than here!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Did he love me, or is he, too, though the King, but a brute like the rest!</div>
-    <div class="verse indent0">I have seen him in wine, and I fancied ’twas then that he loved me the best;</div>
-    <div class="verse indent0">Though I think I would rather have one sweet, passionate word from the heart</div>
-    <div class="verse indent0">Than a year of caresses that may with the wine that creates them depart.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But ever before, in his wine, toward me he showed honor and grace;</div>
-    <div class="verse indent0">He was King, I was Queen, and those nobles, he made them remember their place.</div>
-    <div class="verse indent0">But now all is changed; I am vile, they are honored, they push me aside,</div>
-    <div class="verse indent0">A butt for Memucan and Shethar and Meres, gone mad in their pride!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Shall I faint, shall I pine, shall I sicken and die for the loss of his love?</div>
-    <div class="verse indent0">Not I; I am queen of myself, though the stars fall from heaven above.</div>
-    <div class="verse indent0">The stars! ha! the torment is there, for my light is put out by a star,</div>
-    <div class="verse indent0">That has dazzled the eyes of the King and his court and his captains of war.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He was lonely, they say, and he looked, as he sat like a ghost at his wine,</div>
-    <div class="verse indent0">On the couch by his side, where, of yore his Beautiful used to recline.</div>
-    <div class="verse indent0">But the King is a slave to his pride, to his oath and the laws of the Medes,</div>
-    <div class="verse indent0">And he cannot call Vashti again though his poor heart is wounded and bleeds.</div><span class="pagenum"><a id="Page_177"></a>[177]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">So they sought through the land for a wife, while the King thought of me all the while—</div>
-    <div class="verse indent0">I can see him, this moment, with eyes that are lost for the loss of a smile,</div>
-    <div class="verse indent0">Gazing dreamily on while each maiden is temptingly passed in review,</div>
-    <div class="verse indent0">While the love in his heart is awake with the thought of a face that he knew!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then she came when his heart was grown weary with loving the dream of the past!</div>
-    <div class="verse indent0">She is fair—I could curse her for that, if I thought that this passion would last!</div>
-    <div class="verse indent0">But e’en if it last, all the love is for me, and, through good and through ill,</div>
-    <div class="verse indent0">The King shall remember his Vashti, shall think of his Beautiful still.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Oh! the day is a weary burden, the night is a restless strife,—</div>
-    <div class="verse indent0">I am sick to the very heart of my soul, with this life—this death in life!</div>
-    <div class="verse indent0">Oh! that the glorious, changeless sun would draw me up in his might,</div>
-    <div class="verse indent0">And quench my dreariness in the flood of his everlasting light!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">What is it? Oft as I lie awake and my pillow is wet with tears,</div>
-    <div class="verse indent0">There comes—it came to me just now—a flash, then disappears;</div>
-    <div class="verse indent0">A flash of thought that makes this life a re-enacted scene,</div>
-    <div class="verse indent0">That makes me dream what was, will be, and what is now, has been.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And I, when age on age has rolled, shall sit on the royal throne,</div>
-    <div class="verse indent0">And the King shall love his Vashti, his Beautiful, his own,</div>
-    <div class="verse indent0">And for the joy of what has been and what again will be,</div>
-    <div class="verse indent0">I’ll try to bear this awful weight of lonely misery!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The star! Queen Esther! blazing light that burns into my soul!</div>
-    <div class="verse indent0">The star! the star! Oh! flickering light of life beyond control!</div>
-    <div class="verse indent0">O King! remember Vashti, thy Beautiful, thy own,</div>
-    <div class="verse indent0">Who loved thee and shall love thee still, when Esther’s light has flown!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">John Reade.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>THE SKELETON’S STORY.</h4>
-
-<p>It will require all the dramatic power of which you are capable to recite
-this selection and do it full justice. Be wide-awake, quick in tone and
-gesture, shouting at one time, whispering at another, speaking with your
-whole body. The emotions of fear and horror are especially prominent.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-i.jpg" width="50" height="100" alt="" />
-</div>
-
-<p class="dropcap">It is two miles ahead to the foot-hills—two
-miles of parched turf and rocky
-space. To the right—the left—behind,
-is the rolling prairie. This broad valley
-strikes the Sierra Nevadas and stops as
-if a wall had been built across it.</p>
-
-<p>Ride closer! What is this on the grass?
-A skull here—a rib there—bones scattered
-about as the wild beasts left them after the
-horrible feast. The clean-picked skull grins
-and stares—every bone and scattered lock
-of hair has its story of a tragedy. And what
-besides these relics? More bones—not
-scattered, but lying in heaps—a vertebra
-with ribs attached—a fleshless skull bleaching
-under the summer sun. Wolves! Yes.
-Count the heaps of bones and you will
-find nearly a score. Open boats are picked
-up at sea with neither life nor sign to
-betray their secret. Skeletons are found
-upon the prairie, but they tell a plain story
-to those who halt beside them. Let us
-listen:</p>
-
-<p>Away off to the right you can see treetops.
-Away off to the left you can see the
-same sight. The skeleton is in line between
-the two points. He left one grove to ride
-to the other. To ride! Certainly; a mile<span class="pagenum"><a id="Page_178"></a>[178]</span>
-away is the skeleton of a horse or mule. The
-beast fell and was left there.</p>
-
-<p>It is months since that ride, and the trail
-has been obliterated. Were it otherwise,
-and you took it up from the spot where the
-skeleton horse now lies, you would find the last
-three or four miles made at a tremendous pace.</p>
-
-<p>“Step! step! step!”</p>
-
-<p>What is it? Darkness has gathered over
-mountain and prairie as the hunter jogs along
-over the broken ground. Overhead the
-countless stars look down upon him—around
-him is the pall of night. There was a patter
-of footsteps on the dry grass. He halts and
-peers around him, but the darkness is too deep
-for him to discover any cause for alarm.</p>
-
-<p>“Patter! patter! patter!”</p>
-
-<p>There it is again! It is not fifty yards
-from where he last halted. The steps are
-too light for those of an Indian.</p>
-
-<p>“Wolves!” whispers the hunter, as a
-howl suddenly breaks upon his ear.</p>
-
-<p>Wolves! The gaunt, grizzly wolves of the
-foot-hills—thin and poor and hungry and savage—the
-legs tireless—the mouth full of teeth
-which can crack the shoulder-bone of a buffalo.
-He can see their dark forms flitting from point
-to point—the patter of their feet upon the
-parched grass proves that he is surrounded.</p>
-
-<p>Now the race begins. A line of wolves
-spread out to the right and left, and gallops
-after—tongues out—eyes flashing—great
-flakes of foam flying back to blotch stone
-and grass and leave a trail to be followed by
-the cowardly coyotes.</p>
-
-<p>Men ride thus only when life is the stake. A
-horse puts forth such speed only when terror
-follows close behind and causes every nerve to
-tighten like a wire drawn until the scratch of
-a finger makes it chord with a wail of despair.
-The line is there—aye! it is gaining! Inch by
-inch it creeps up, and the red eye takes on a
-more savage gleam as the hunter cries out to
-his horse and opens fire from his revolvers.
-A wolf falls on the right—a second on the
-left. Does the wind cease blowing because it
-meets a forest! The fall of one man in a mad
-mob increases the determination of the rest.</p>
-
-<p>With a cry so full of the despair that wells
-up from the heart of the strong man when
-he gives up his struggle for life that the
-hunter almost believes a companion rides
-beside him, the horse staggers—recovers—plunges
-forward—falls to the earth. It was
-a glorious struggle; but he has lost.</p>
-
-<p>There is a confused heap of snarling, fighting,
-maddened beasts, and the line rushes
-forward again. Saddle, bridle, and blanket
-are in shreds—the horse a skeleton. And
-now the chase is after the hunter. He has
-half a mile the start, and as he runs the veins
-stand out, the muscles tighten, and he wonders
-at his own speed. Behind him are the
-gaunt bodies and the tireless legs. Closer,
-closer, and now he is going to face fate like
-a brave man should. He has halted. In an
-instant a circle is formed about him—a circle
-of red eyes, foaming mouths, and yellow
-fangs which are to meet in his flesh.</p>
-
-<p>There is an interval—a breathing spell.
-He looks up at the stars—out upon the night.
-It is his last hour, but there is no quaking—no
-crying out to the night to send him aid.
-As the wolves rest, a flash blinds their eyes—a
-second—a third—and a fourth, and they
-give before the man they had looked upon
-as their certain prey. But it is only for a
-moment. He sees them gathering for the
-rush, and firing his remaining bullets among
-them he seizes his long rifle by the barrel
-and braces to meet the shock. Even a savage
-would have admired the heroic fight he
-made for life. He sounds the war-cry and
-whirls his weapon around him, and wolf
-after wolf falls disabled. He feels a strange
-exultation over the desperate combat, and as
-the pack give way before his mighty blows a
-gleam of hope springs up in his heart.</p>
-
-<p><span class="pagenum"><a id="Page_179"></a>[179]</span></p>
-
-<p>It is only for a moment; then the circle
-narrows. Each disabled beast is replaced
-by three which hunger for blood. There is
-a rush—a swirl—and the cry of despair is
-drowned in the chorus of snarls as the pack
-fight over the feast.</p>
-
-<p>The gray of morning—the sunlight of noonday—the
-stars of evening will look down
-upon grinning skull and whitening bones,
-and the wolf will return to crunch them
-again. Men will not bury them. They will
-look down upon them as we look, and ride
-away with a feeling that ’tis but another dark
-secret of the wonderful prairie.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>THE LADY AND THE EARL.</h4>
-
-<p>The figures in the text of this piece indicate the gestures to be made,
-as shown in Typical Gestures, at the beginning of Part II. of this volume.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I saw her in the festive halls, in scenes of pride and<span class="fnanchor"><a href="#gesture16">16</a></span> glee,</div>
-    <div class="verse indent0">’Mongst many beautiful and fair, but none so fair as she;</div>
-    <div class="verse indent0">Hers was the most attractive<span class="fnanchor"><a href="#gesture2">2</a></span> form that mingled in the scene,</div>
-    <div class="verse indent0">And all who saw her said she moved a goddess and a queen.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The diamond blazed in her dark hair and bound her polished brow,</div>
-    <div class="verse indent0">And precious gems were clasped around her swan-like neck of snow;</div>
-    <div class="verse indent0">And Indian looms had lent their stores to form her sumptuous dress,</div>
-    <div class="verse indent0">And art with nature joined to grace her passing loveliness.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I looked upon her and I said, who<span class="fnanchor"><a href="#gesture6">6</a></span> is so blessed as she?</div>
-    <div class="verse indent0">A creature she all light and life, all beauty and all glee;</div>
-    <div class="verse indent0">Sure,<span class="fnanchor"><a href="#gesture5">5</a></span> sweet content blooms on her cheek and on her brow a pearl,</div>
-    <div class="verse indent0">And she was<span class="fnanchor"><a href="#gesture1">1</a></span> young and innocent, the Lady of the Earl.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But as I looked more carefully, I saw that radiant smile</div>
-    <div class="verse indent0">Was but assumed in mockery, the unthinking to beguile.</div>
-    <div class="verse indent0">Thus have I seen a summer rose in all its beauty bloom,</div>
-    <div class="verse indent0">When it has<span class="fnanchor"><a href="#gesture24">24</a></span> shed its sweetness o’er a cold and lonely tomb.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">She struck the harp, and when they praised her skill she turned aside,</div>
-    <div class="verse indent0">A rebel tear of conscious woe<span class="fnanchor"><a href="#gesture20">20</a></span> and memory to hide;</div>
-    <div class="verse indent0">But when she raised her head she looked so<span class="fnanchor"><a href="#gesture13">13</a></span> lovely, so serene,</div>
-    <div class="verse indent0">To gaze in her proud eyes you’d think a tear had seldom been.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The humblest maid in rural life can<span class="fnanchor"><a href="#gesture5">5</a></span> boast a happier fate</div>
-    <div class="verse indent0">Than she, the beautiful and good, in all her rank and state;</div>
-    <div class="verse indent0">For she was sacrificed,<span class="fnanchor"><a href="#gesture20">20</a></span> alas! to cold and selfish pride</div>
-    <div class="verse indent0">When her young lips had breathed the vow to be a soldier’s bride.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Of late I viewed her move along,<span class="fnanchor"><a href="#gesture2">2</a></span> the idol of the crowd;</div>
-    <div class="verse indent0">A few short months elapsed, and then,<span class="fnanchor"><a href="#gesture12">12</a></span> I kissed her in her shroud!</div>
-    <div class="verse indent0">And o’er her splendid monument I saw the hatchment wave,</div>
-    <div class="verse indent0">But there was one proud heart<span class="fnanchor"><a href="#gesture5">5</a></span> which did more honor to her grave.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">A warrior dropped his plumed head upon her place of rest,</div>
-    <div class="verse indent0">And with his feverish lips the name of Ephilinda pressed;</div>
-    <div class="verse indent0">Then breathed a prayer, and checked the groan of parting pain,</div>
-    <div class="verse indent0">And as he left the tomb he said,<span class="fnanchor"><a href="#gesture11">11</a></span> “Yet we shall meet again.”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_180"></a>[180]</span></p>
-
-<h4>MY VESPER SONG.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-f.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">Filled with weariness and pain,</div>
-    <div class="verse indent2">Scarcely strong enough to pray,</div>
-    <div class="verse indent0">In this twilight hour I sit,</div>
-    <div class="verse indent2">Sit and sing my doubts away.</div>
-    <div class="verse indent0">O’er my broken purposes,</div>
-    <div class="verse indent2">Ere the coming shadows roll,</div>
-    <div class="verse indent0">Let me build a bridge of song:</div>
-    <div class="verse indent2">“Jesus, lover of my soul.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Let me to Thy bosom fly!”</div>
-    <div class="verse indent2">How the words my thoughts repeat:</div>
-    <div class="verse indent0">To Thy bosom, Lord, I come,</div>
-    <div class="verse indent2">Though unfit to kiss Thy feet.</div>
-    <div class="verse indent0">Once I gathered sheaves for Thee,</div>
-    <div class="verse indent2">Dreaming I could hold them fast:</div>
-    <div class="verse indent0">Now I can but faintly sing,</div>
-    <div class="verse indent2">“Oh! receive my soul at last.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I am weary of my fears,</div>
-    <div class="verse indent2">Like a child when night comes on:</div>
-    <div class="verse indent0">In the shadow, Lord, I sing,</div>
-    <div class="verse indent2">“Leave, oh, leave me not alone.”</div>
-    <div class="verse indent0">Through the tears I still must shed,</div>
-    <div class="verse indent2">Through the evil yet to be,</div>
-    <div class="verse indent0">Though I falter while I sing,</div>
-    <div class="verse indent2">“Still support and comfort me.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“All my trust on Thee is stayed;”</div>
-    <div class="verse indent2">Does the rhythm of the song</div>
-    <div class="verse indent0">Softly falling on my heart,</div>
-    <div class="verse indent2">Make its pulses firm and strong?</div>
-    <div class="verse indent0">Or is this Thy perfect peace,</div>
-    <div class="verse indent2">Now descending while I sing,</div>
-    <div class="verse indent0">That my soul may sleep to-night</div>
-    <div class="verse indent2">“’Neath the shadow of Thy wing?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Thou of life the fountain art;”</div>
-    <div class="verse indent2">If I slumber on Thy breast,</div>
-    <div class="verse indent0">If I sing myself to sleep,</div>
-    <div class="verse indent2">Sleep and death alike are rest.</div>
-    <div class="verse indent0">Not impatiently I sing,</div>
-    <div class="verse indent2">Though I lift my hands and cry</div>
-    <div class="verse indent0">“Jesus, lover of my soul,</div>
-    <div class="verse indent2">Let me to Thy bosom fly.”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>THE VOLUNTEER ORGANIST.</h4>
-
-<p>With distinct enunciation give the dialect in this piece, and assume the
-character of a countryman who is telling this story. Guard against being
-vulgar or too commonplace.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">The gret big church wuz crowded full uv broadcloth an’ of silk,</div>
-    <div class="verse indent0">An’ satins rich as cream thet grows on our ol’ brindle’s milk;</div>
-    <div class="verse indent0">Shined boots, biled shirts, stiff dickeys, an’ stove-pipe hats were there,</div>
-    <div class="verse indent0">An’ dudes ’ith trouserloons so tight they couldn’t kneel down in prayer.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The elder in his poolpit high said, as he slowly riz:</div>
-    <div class="verse indent0">“Our organist is kep’ to hum, laid up ’ith roomatiz,</div>
-    <div class="verse indent0">An’ as we hev no substitoot, as brother Moore ain’t here,</div>
-    <div class="verse indent0">Will some ’un in the congregation be so kind ’s to volunteer?”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">An’ then a red-nosed, blear-eyed tramp, of low-toned, rowdy style,</div>
-    <div class="verse indent0">Give an interductory hiccup, an’ then swaggered up the aisle.</div>
-    <div class="verse indent0">Then thro’ that holy atmosphere there crep’ a sense er sin,</div>
-    <div class="verse indent0">An’ thro’ thet air of sanctity the odor uv ol’ gin.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then Deacon Purington he yelled, his teeth all set on edge:</div>
-    <div class="verse indent0">“This man perfanes the house er God! W’y, this is sacrilege!”</div>
-    <div class="verse indent0">The tramp didn’ hear a word he said, but slouched ’ith stumblin’ feet,</div>
-    <div class="verse indent0">An’ stalked an’ swaggered up the steps, an’ gained the organ seat.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He then went pawin’ thro’ the keys, an’ soon there rose a strain</div>
-    <div class="verse indent0">Thet seemed to jest bulge out the heart, an’ ’lectrify the brain;</div><span class="pagenum"><a id="Page_181"></a>[181]</span>
-    <div class="verse indent0">An’ then he slapped down on the thing ’ith hands an’ head an’ knees,</div>
-    <div class="verse indent0">He slam-dashed his hull body down kerflop upon the keys.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The organ roared, the music flood went sweepin’ high an’ dry,</div>
-    <div class="verse indent0">It swelled into the rafters, an’ bulged out into the sky;</div>
-    <div class="verse indent0">The ol’ church shook and staggered, an’ seemed to reel an’ sway,</div>
-    <div class="verse indent0">An’ the elder shouted “Glory!” an’ I yelled out “Hooray!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">An’ then he tried a tender strain thet melted in our ears,</div>
-    <div class="verse indent0">Thet brought up blessed memories and drenched ’em down ’ith tears;</div>
-    <div class="verse indent0">An’ we dreamed uv ol’ time kitchens, ’ith Tabby on the mat,</div>
-    <div class="verse indent0">Tu home an’ luv an’ baby days, an’ mother, an’ all that!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">An’ then he struck a streak uv hope—a song from souls forgiven—</div>
-    <div class="verse indent0">Thet burst from prison bars uv sin, an’ stormed the gates uv heaven;</div>
-    <div class="verse indent0">The morning stars together sung—no soul wuz left alone—</div>
-    <div class="verse indent0">We felt the universe wuz safe, an’ God was on His throne!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">An’ then a wail of deep despair an’ darkness come again,</div>
-    <div class="verse indent0">An’ long, black crape hung on the doors uv all the homes uv men;</div>
-    <div class="verse indent0">No luv, no light, no joy, no hope, no songs of glad delight,</div>
-    <div class="verse indent0">An’ then—the tramp, he swaggered down an’ reeled out into the night!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But we knew he’d tol’ his story, tho’ he never spoke a word,</div>
-    <div class="verse indent0">An’ it was the saddest story thet our ears had ever heard;</div>
-    <div class="verse indent0">He hed tol’ his own life history, an’ no eye was dry thet day,</div>
-    <div class="verse indent0">W’en the elder rose an’ simply said: “My brethren, let us pray.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">S. W. Foss.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>COMIN’ THRO’ THE RYE.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">If a body meet a body</div>
-    <div class="verse indent2">Comin’ thro’ the rye,</div>
-    <div class="verse indent0">If a body kiss a body,</div>
-    <div class="verse indent2">Need a body cry?</div>
-    <div class="verse indent0">Ev’ry lassie has her laddie,</div>
-    <div class="verse indent2">Nane they say ha’e I,</div>
-    <div class="verse indent0">Yet all the lads they smile at me</div>
-    <div class="verse indent2">When comin’ thro’ the rye.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">If a body meet a body,</div>
-    <div class="verse indent2">Comin’ frae the town;</div>
-    <div class="verse indent0">If a body meet a body,</div>
-    <div class="verse indent2">Need a body frown?</div>
-    <div class="verse indent0">Ev’ry lassie has her laddie,</div>
-    <div class="verse indent2">Nane they say ha’e I,</div>
-    <div class="verse indent0">Yet all the lads they smile at me</div>
-    <div class="verse indent2">When comin’ thro’ the rye.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Amang the train there is a swain,</div>
-    <div class="verse indent2">I dearly love mysel’,</div>
-    <div class="verse indent0">But what’s his name, or where’s his hame</div>
-    <div class="verse indent2">I dinna choose to tell.</div>
-    <div class="verse indent0">Ev’ry lassie has her laddie,</div>
-    <div class="verse indent2">Nane they say ha’e I,</div>
-    <div class="verse indent0">Yet all the lads they smile at me</div>
-    <div class="verse indent2">When comin’ thro’ the rye.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Robert Burns.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>JOAN OF ARC.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">Twas in the days of chivalry, when steel-clad warriors swore</div>
-    <div class="verse indent0">To bear their ladies’ favors amidst the battle’s roar,</div>
-    <div class="verse indent0">To right the wrongs of injured maids, the lance in rest to lay,</div>
-    <div class="verse indent0">And nobly fall in honor’s cause or triumph in the fray.</div><span class="pagenum"><a id="Page_182"></a>[182]</span>
-    <div class="verse indent0">But not to-day a lance is couched, no waving plume is there,</div>
-    <div class="verse indent0">No war-horse sniffs the trumpet’s breath, no banner woos the air;</div>
-    <div class="verse indent0">No crowding chiefs the tilt-yard throng to quench the thirst of fame,</div>
-    <div class="verse indent0">Though chiefs are met, intent to leave their names eternal shame!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">A still and solemn silence reigned, deep darkness veiled the skies,</div>
-    <div class="verse indent0">And Nature, shuddering, shook to see the impious sacrifice!</div>
-    <div class="verse indent0">Full in the centre of the lists a dreadful pile is reared,</div>
-    <div class="verse indent0">Awaiting one whose noble soul death’s terrors never feared,</div>
-    <div class="verse indent0">Gaul’s young Minerva, who had led her countrymen to fame,</div>
-    <div class="verse indent0">And foremost in the battle rent that conquered country’s chain;</div>
-    <div class="verse indent0">Who, when the sun of fame had set that on its armies shone,</div>
-    <div class="verse indent0">Its broken ranks in order set, inspired and led them on;</div>
-    <div class="verse indent0">The low-born maid that, clad in steel, restored a fallen king,</div>
-    <div class="verse indent0">Who taught the vanquished o’er their foes triumphal songs to sing;</div>
-    <div class="verse indent0">Whose banner in the battle’s front the badge of conquest streamed,</div>
-    <div class="verse indent0">And built again a tottering throne, a forfeit crown redeemed!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But when her glorious deeds were done, Fate sent a darker day,</div>
-    <div class="verse indent0">The blaze of brightness faded in murkiest clouds away;</div>
-    <div class="verse indent0">And France stood looking idly on, nor dared to strike a blow,</div>
-    <div class="verse indent0">Her guardian angel’s life to save, but gave it to the foe!</div>
-    <div class="verse indent0">Ungrateful France her saviour’s fate beheld with careless smile,</div>
-    <div class="verse indent0">While Superstition, hiding hate and vengeance, fired the pile!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">What holy horror of her crime is looked by yonder priest,</div>
-    <div class="verse indent0">Like that grim bird that hovers nigh, and scents the funeral feast!</div>
-    <div class="verse indent0">Is this the maiden’s triumph, won in battle’s dreadful scenes,</div>
-    <div class="verse indent0">Whose banner so triumphant flew before thy walls, Orleans!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Hark to the trumpet’s solemn sound! Low roll the muffled drums</div>
-    <div class="verse indent0">As slowly through the silent throng the sad procession comes;</div>
-    <div class="verse indent0">Wrapp’d in the garments of the grave, the corselet laid aside,</div>
-    <div class="verse indent0">Still with Bellona’s step she treads, through all her woes descried.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">As beautiful her features now as when inspired she spoke</div>
-    <div class="verse indent0">Those oracles that slumbering France to life and action woke:</div>
-    <div class="verse indent0">The majesty yet haunts her looks, that late so dreadful beamed</div>
-    <div class="verse indent0">In war, when o’er her burnished arms the long rich tresses streamed,</div>
-    <div class="verse indent0">She gazes on the ghastly pile, tho’ pale as marble stone;</div>
-    <div class="verse indent0">’Twas not with fear, for from her lips escaped no sigh nor groan;</div>
-    <div class="verse indent0">But she, her country’s saviour, thus to render up her breath—</div>
-    <div class="verse indent0">That was a pang far worse than all the bitterness of death!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">’Twas done; the blazing pile is fired, the flames have wrapped her round;</div>
-    <div class="verse indent0">The owlet shrieked, and circling flew with dull, foreboding sound;</div>
-    <div class="verse indent0">Fate shuddered at the ghastly sight, and smiled a ghostly smile;</div>
-    <div class="verse indent0">And fame and honor spread their wings above the funeral pile.</div>
-    <div class="verse indent0">But, phœnix-like, her spirit rose from out the burning flame,</div>
-    <div class="verse indent0">More beautiful and bright by far than in her days of fame.</div>
-    <div class="verse indent0">Peace to her spirit! Let us give her memory to renown,</div>
-    <div class="verse indent0">Nor on her faults or failings dwell, but draw the curtain down.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Clare S. McKinley.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_183"></a>[183]</span></p>
-
-<h4>THE VULTURE OF THE ALPS.</h4>
-
-<p>This selection is narrative, yet it is narrative intensely dramatic.
-Imagine the feelings of a parent who sees the “youngest of his babes”
-torn away from his embrace by a vulture and carried away in mid-air. Let
-your tones, attitudes and gestures all be strong. Picture the flight of a
-mountain eagle with uplifted arm, and depict with an expression of agony
-the grief of the parent.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I’ve been among the mighty Alps, and wandered through their vales,</div>
-    <div class="verse indent0">And heard the honest mountaineers relate their dismal tales,</div>
-    <div class="verse indent0">As round the cottage blazing hearth, when their daily work was o’er,</div>
-    <div class="verse indent0">They spake of those who disappeared, and ne’er were heard of more.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And there I from a shepherd heard a narrative of fear,</div>
-    <div class="verse indent0">A tale to rend a mortal heart, which mothers might not hear:</div>
-    <div class="verse indent0">The tears were standing in his eyes, his voice was tremulous.</div>
-    <div class="verse indent0">But, wiping all those tears away he told his story thus:—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“It is among these barren cliffs the ravenous vulture dwells,</div>
-    <div class="verse indent0">Who never fattens on the prey which from afar he smells;</div>
-    <div class="verse indent0">But, patient, watching hour on hour upon a lofty rock,</div>
-    <div class="verse indent0">He singles out some truant lamb, a victim, from the flock.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“One cloudless Sabbath summer morn, the sun was rising high,</div>
-    <div class="verse indent0">When from my children on the green, I heard a fearful cry,</div>
-    <div class="verse indent0">As if some awful deed were done, a shriek of grief and pain,</div>
-    <div class="verse indent0">A cry, I humbly trust in God, I ne’er may hear again.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“I hurried out to learn the cause; but, overwhelmed with fright,</div>
-    <div class="verse indent0">The children never ceased to shriek, and from my frenzied sight</div>
-    <div class="verse indent0">I missed the youngest of my babes, the darling of my care,</div>
-    <div class="verse indent0">But something caught my searching eyes, slow sailing through the air.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Oh! what an awful spectacle to meet a father’s eye!</div>
-    <div class="verse indent0">His infant made a vulture’s prey, with terror to descry!</div>
-    <div class="verse indent0">And know, with agonizing breast, and with a maniac rave,</div>
-    <div class="verse indent0">That earthly power could not avail, that innocent to save!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“My infant stretched his little hands imploringly to me,</div>
-    <div class="verse indent0">And struggled with the ravenous bird, all vainly to get free,</div>
-    <div class="verse indent0">At intervals, I heard his cries, as loud he shrieked and screamed:</div>
-    <div class="verse indent0">Until, upon the azure sky, a lessening spot he seemed.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“The vulture flapped his sail-like wings, though heavily he flew,</div>
-    <div class="verse indent0">A mote upon the sun’s broad face he seemed unto my view:</div>
-    <div class="verse indent0">But once I thought I saw him stoop, as if he would alight;</div>
-    <div class="verse indent0">’Twas only a delusive thought, for all had vanished quite.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“All search was vain, and years had passed; that child was ne’er forgot,</div>
-    <div class="verse indent0">When once a daring hunter climbed unto a lofty spot,</div>
-    <div class="verse indent0">From whence, upon a rugged crag the chamois never reached,</div>
-    <div class="verse indent0">He saw an infant’s fleshless bones the elements had bleached!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“I clambered up that rugged cliff; I could not stay away;</div>
-    <div class="verse indent0">I knew they were my infant’s bones thus hastening to decay;</div>
-    <div class="verse indent0">A tattered garment yet remained, though torn to many a shred,</div>
-    <div class="verse indent0">The crimson cap he wore that morn was still upon the head.”</div><span class="pagenum"><a id="Page_184"></a>[184]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">That dreary spot is pointed out to travelers passing by,</div>
-    <div class="verse indent0">Who often stand, and, musing, gaze, nor go without a sigh.</div>
-    <div class="verse indent0">And as I journeyed, the next morn, along my sunny way,</div>
-    <div class="verse indent0">The precipice was shown to me, whereon the infant lay.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>THE OLD-FASHIONED GIRL.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">There’s an old-fashioned girl in an old-fashioned street,</div>
-    <div class="verse indent0">Dressed in old-fashioned clothes from her head to her feet,</div>
-    <div class="verse indent0">And she spends all her time in the old-fashioned way,</div>
-    <div class="verse indent0">Of caring for poor people’s children all day.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">She never has been to cotillion or ball,</div>
-    <div class="verse indent0">And she knows not the styles of the spring or the fall.</div>
-    <div class="verse indent0">Two hundred a year will suffice for her needs,</div>
-    <div class="verse indent0">And an old-fashioned Bible is all that she reads.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And she has an old-fashioned heart that is true</div>
-    <div class="verse indent0">To a fellow who died in an old coat of blue,</div>
-    <div class="verse indent0">With its buttons all brass—who is waiting above</div>
-    <div class="verse indent0">For the woman who loved him with old-fashioned love.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Tom Hall.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>NATHAN HALE, THE MARTYR SPY.</h4>
-
-<p>After the disastrous defeat of the Americans on Long Island, Washington
-desired information respecting the British position and movements.
-Captain Nathan Hale, but twenty-one years old, volunteered to procure the
-information. He was taken and hanged as a spy the day after his capture,
-September 22, 1776. His patriotic devotion, and the brutal treatment he
-received at the hands of his captors, have suggested the following. Put
-your whole soul into this piece, especially Hale’s last speech. It rises
-to the sublime.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">’Twas in the year that gave the nation birth;</div>
-    <div class="verse indent0">A time when men esteemed the common good</div>
-    <div class="verse indent0">As greater weal than private gain. A battle fierce</div>
-    <div class="verse indent0">And obstinate had laid a thousand patriots low,</div>
-    <div class="verse indent0">And filled the people’s hearts with gloom.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">Pursued like hunted deer,</div>
-    <div class="verse indent0">The crippled army fled; and, yet, amid</div>
-    <div class="verse indent0">Disaster and defeat, the Nation’s chosen chief</div>
-    <div class="verse indent0">Resolved his losses to retrieve. But not</div>
-    <div class="verse indent0">With armies disciplined and trained by years</div>
-    <div class="verse indent0">Of martial service, could he, this Fabian chief,</div>
-    <div class="verse indent0">Now hope to check the hosts of Howe’s victorious legions—</div>
-    <div class="verse indent0">These had he not.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">In stratagem the shrewder general</div>
-    <div class="verse indent0">Ofttimes o’ercomes his strong antagonist.</div>
-    <div class="verse indent0">To Washington a knowledge of the plans,</div>
-    <div class="verse indent0">Position, strength of England’s force,</div>
-    <div class="verse indent0">Must compensate for lack of numbers.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">He casts about for one who’d take his life</div>
-    <div class="verse indent0">In hand. Lo! he stands before the chief. In face,</div>
-    <div class="verse indent0">A boy—in form, a man on whom the eye could rest</div>
-    <div class="verse indent0">In search of God’s perfected handiwork.</div>
-    <div class="verse indent0">In culture, grace and speech, reflecting all</div>
-    <div class="verse indent0">A mother’s love could lavish on an only son.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">The chieftain’s keen discerning eye</div>
-    <div class="verse indent0">Appraised the youth at his full worth, and saw</div>
-    <div class="verse indent0">In him those blending qualities that make</div>
-    <div class="verse indent0">The hero and the sage. He fain would save</div>
-    <div class="verse indent0">For nobler deeds a man whose presence marked</div>
-    <div class="verse indent0">A spirit born to lead.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">“Young man,” he said with kindly air,</div>
-    <div class="verse indent0">“Your country and commander feel grateful that</div><span class="pagenum"><a id="Page_185"></a>[185]</span>
-    <div class="verse indent0">Such talents are offered in this darkening hour.</div>
-    <div class="verse indent0">Have you in reaching this resolve considered well</div>
-    <div class="verse indent0">Your fitness, courage, strength—the act, the risk,</div>
-    <div class="verse indent0">You undertake?”</div>
-    <div class="verse indent0">The young man said: “The hour demands a duty rare—</div>
-    <div class="verse indent0">Perhaps a sacrifice. If God and training in</div>
-    <div class="verse indent0">The schools have given me capacities</div>
-    <div class="verse indent0">This duty to perform, the danger of the enterprise</div>
-    <div class="verse indent0">Should not deter me from the act</div>
-    <div class="verse indent0">Whose issue makes our country free. In times</div>
-    <div class="verse indent0">Like these a Nation’s life sometimes upon</div>
-    <div class="verse indent0">A single life depends. If mine be deemed</div>
-    <div class="verse indent0">A fitting sacrifice, God grant a quick</div>
-    <div class="verse indent0">Deliverance”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">“Enough, go then, at once,” the great</div>
-    <div class="verse indent0">Commander said. “May Heaven’s guardian angels give</div>
-    <div class="verse indent0">You safe return. Adieu.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">Disguised with care, the hopeful captain crossed</div>
-    <div class="verse indent0">The bay, and moved through British camp</div>
-    <div class="verse indent0">Without discovery by troops or refugees.</div>
-    <div class="verse indent0">The enemy’s full strength, in men, in stores,</div>
-    <div class="verse indent0">Munitions, guns—all military accoutrements</div>
-    <div class="verse indent0">Were noted with exact precision; while</div>
-    <div class="verse indent0">With graphic sketch, each trench and parapet,</div>
-    <div class="verse indent0">Casemated battery, magazine and every point</div>
-    <div class="verse indent0">Strategic, was drawn with artist’s skill.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">The task complete, the spy with heart</div>
-    <div class="verse indent0">Elate, now sought an exit through the lines.</div>
-    <div class="verse indent0">Well might he feel a soldier’s pride. An hour hence</div>
-    <div class="verse indent0">A waiting steed would bear him to his friends.</div>
-    <div class="verse indent0">His plans he’d lay before his honored chief;</div>
-    <div class="verse indent0">His single hand might turn the tide of war,</div>
-    <div class="verse indent0">His country yet be free.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">“Halt!” a British musket leveled at</div>
-    <div class="verse indent0">His head dimmed all the visions of his soul.</div>
-    <div class="verse indent0">A dash—an aimless shot; the spy bore down</div>
-    <div class="verse indent0">Upon the picket with a blow that else</div>
-    <div class="verse indent0">Had freed him from his clutch, but for a score</div>
-    <div class="verse indent0">Of troopers stationed near. In vain the struggle fierce</div>
-    <div class="verse indent0">And desperate—in vain demands to be released.</div>
-    <div class="verse indent0">A tory relative, for safety quartered in</div>
-    <div class="verse indent0">The British camp, would prove his truckling loyalty</div>
-    <div class="verse indent0">With kinsman’s blood, a word—a look—</div>
-    <div class="verse indent0">A motion of the head, and he who’d dared</div>
-    <div class="verse indent0">So much in freedom’s name was free no more.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">Before Lord Howe the captive youth</div>
-    <div class="verse indent0">Was led. “Base dog!” the haughty general said,</div>
-    <div class="verse indent0">“Ignoble son of loyal sires! you’ve played the spy</div>
-    <div class="verse indent0">Quite well I ween. The cunning skill wherewith</div>
-    <div class="verse indent0">You wrought these plans and charts might well adorn</div>
-    <div class="verse indent0">An honest man; but in a rebel’s hands they’re vile</div>
-    <div class="verse indent0">And mischievous. If ought may palliate</div>
-    <div class="verse indent0">A traitor’s act, attempted in his sovereign’s camp,</div>
-    <div class="verse indent0">I bid you speak ere I pronounce your sentence.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">With tone and mien that hushed</div>
-    <div class="verse indent0">The buzzing noise of idle lackeys in the hall,</div>
-    <div class="verse indent0">The patriot thus replied: “You know my name—</div>
-    <div class="verse indent0">My rank;—my treach’rous kinsman made</div>
-    <div class="verse indent0">My purpose plain. I’ve nothing further of myself</div>
-    <div class="verse indent0">To tell beyond the charge of traitor to deny.</div>
-    <div class="verse indent0">The brand of spy I do accept without reproach;</div>
-    <div class="verse indent0">But never since I’ve known the base ingratitude</div>
-    <div class="verse indent0">Of king to loyal subjects of his realm</div>
-    <div class="verse indent0">Has British rule been aught to me than barbarous</div>
-    <div class="verse indent0">Despotism which God and man abhor, and none</div>
-    <div class="verse indent0">But dastards fear to overthrow.</div>
-    <div class="verse indent0">For tyrant loyalty your lordship represents</div>
-    <div class="verse indent0">I never breathed a loyal breath; and he</div>
-    <div class="verse indent0">Who calls me traitor seeks a pretext for a crime</div>
-    <div class="verse indent0">His trembling soul might well condemn.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">“I’ll hear no more such prating cant,”</div>
-    <div class="verse indent0">Said Howe, “your crime’s enough to hang a dozen men.</div>
-    <div class="verse indent0">Before to-morrow’s sun goes down you’ll swing</div>
-    <div class="verse indent0">’Twixt earth and heaven, that your countrymen</div>
-    <div class="verse indent0">May know a British camp is dangerous ground</div>
-    <div class="verse indent0">For prowling spies. Away!”</div><span class="pagenum"><a id="Page_186"></a>[186]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">Securely bound upon a cart, amid</div>
-    <div class="verse indent0">A speechless crowd, he stands beneath a strong</div>
-    <div class="verse indent0">Projecting limb, to which a rope with noose attached,</div>
-    <div class="verse indent0">Portends a tragic scene. He casts his eyes</div>
-    <div class="verse indent0">Upon the surging multitude. Clearly now</div>
-    <div class="verse indent0">His tones ring out as victors shout in triumph:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">“Men, I do not die in vain,</div>
-    <div class="verse indent0">My humble death upon this tree will light anew</div>
-    <div class="verse indent0">The Torch of liberty. A hundred hands to one</div>
-    <div class="verse indent0">Before will strike for country, home and God,</div>
-    <div class="verse indent0">And fill our ranks with men of faith in His</div>
-    <div class="verse indent0">Eternal plan to make this people free.</div>
-    <div class="verse indent0">A million prayers go up this day to free</div>
-    <div class="verse indent0">The land from blighting curse of tyrant’s rule.</div>
-    <div class="verse indent0">Oppression’s wrongs have reached Jehovah’s throne;</div>
-    <div class="verse indent0">The God of vengeance smites the foe! This land,—</div>
-    <div class="verse indent0">This glorious land,—is free—is free!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">“My friends, farewell! In dying thus</div>
-    <div class="verse indent0">I feel but one regret; it is the one poor life</div>
-    <div class="verse indent0">I have to give in Freedom’s cause.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">I. H. Brown.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>THE FUTURE.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">When Earth’s last picture is painted, and the tubes are twisted and dried,</div>
-    <div class="verse indent0">When the oldest colors have faded, and the youngest critic has died,</div>
-    <div class="verse indent0">We shall rest, and, faith, we shall need it—lie down for an æon or two,</div>
-    <div class="verse indent0">Till the Master of all Good Workmen shall set us to work anew!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And those that were good shall be happy; they shall sit in a golden chair;</div>
-    <div class="verse indent0">They shall splash at a ten-league canvas with brushes of comets’ hair;</div>
-    <div class="verse indent0">They shall find real saints to draw from—Magdalene, Peter and Paul;</div>
-    <div class="verse indent0">They shall work for an age at a sitting and never be tired at all!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And only the Master shall praise us, and only the Master shall blame!</div>
-    <div class="verse indent0">And no one shall work for money, and no one shall work for fame;</div>
-    <div class="verse indent0">But each for the joy of the working, and each, in his separate star,</div>
-    <div class="verse indent0">Shall draw the Thing as he sees it for the God of Things as They Are!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Rudyard Kipling.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>THE POWER OF HABIT.</h4>
-
-<p>Adapted to the development of transition in pitch, and a very spirited
-utterance. When you are able to deliver this as Mr. Gough did, you may
-consider yourself a graduate in the art of elocution.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-i.jpg" width="50" height="100" alt="" />
-</div>
-
-<p class="dropcap">I remember once riding from Buffalo
-to the Niagara Falls. I said to a gentleman,
-“What river is that, sir?”</p>
-
-<p>“That,” said he, “is Niagara River.”</p>
-
-<p>“Well, it is a beautiful stream,” said I;
-“bright and fair and glassy. How far off are
-the rapids?”</p>
-
-<p>“Only a mile or two,” was the reply.</p>
-
-<p>“Is it <i>possible</i> that only a mile from us we
-shall find the water in the turbulence which
-it must show near the Falls?”</p>
-
-<p>“You will find it so, sir.” And so I found
-it; and the first sight of Niagara I shall never
-forget.</p>
-
-<p>Now, launch your bark on that Niagara
-River; it is bright, smooth, beautiful and
-glassy. There is a ripple at the bow;
-the silver wake you leave behind adds to
-your enjoyment. Down the stream you
-glide, oars, sails, and helm in proper trim,
-and you set out on your pleasure excursion.</p>
-
-<p><span class="pagenum"><a id="Page_187"></a>[187]</span></p>
-
-<p>Suddenly some one cries out from the
-bank, “Young men, ahoy!”</p>
-
-<p>“What is it?”</p>
-
-<p>“The rapids are below you!”</p>
-
-<p>“Ha! ha! we have heard of the rapids;
-but we are not such fools as to get there. If
-we go too fast, then we shall up with the
-helm, and steer to the shore; we will set the
-mast in the socket, hoist the sail, and speed
-to the land. Then on, boys; don’t be
-alarmed, there is no danger.”</p>
-
-<p>“Young men, ahoy there!”</p>
-
-<p>“What is it?”</p>
-
-<p>“The rapids are below you!”</p>
-
-<p>“Ha! ha! we will laugh and quaff; all
-things delight us. What care we for the
-future? No man ever saw it. Sufficient for
-the day is the evil thereof. We will enjoy
-life while we may, will catch pleasure as it
-flies. This is enjoyment; time enough to
-steer out of danger when we are sailing
-swiftly with the current.”</p>
-
-<p>“Young men, ahoy!”</p>
-
-<p>“What is it?”</p>
-
-<p>“Beware! beware! The rapids are below
-you!”</p>
-
-<p>“Now you see the water foaming all
-around. See how fast you pass that point!
-Up with the helm! Now turn! Pull hard!
-Quick! quick! quick! pull for your lives!
-pull till the blood starts from your nostrils,
-and the veins stand like whip cords upon your
-brow! Set the mast in the socket! hoist the
-sail! Ah! ah! it is too late! Shrieking,
-blaspheming, over they go.”</p>
-
-<p>Thousands go over the rapids of intemperance
-every year, through the power of habit,
-crying all the while, “When I find out that
-it is injuring me, I will give it up!”</p>
-
-<p class="right"><span class="smcap">John B. Gough.</span></p>
-
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>DIED ON DUTY.</h4>
-
-<p>The following lines were written by a comrade, on the death of Engineer
-Billy Ruffin, who lost his life by an accident that occurred on the
-Illinois Central Railroad, in Mississippi.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-b.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">Bill Ruffin to some wouldn’t rank very high, being only an engineer;</div>
-    <div class="verse indent0">But he opened the throttle with a steady grip, and didn’t know nothin’ like fear;</div>
-    <div class="verse indent0">For doin’ his duty and doin’ it right, he was known all along the line,</div>
-    <div class="verse indent0">And with him in the box of 258, you might figger “you’d be thar on time.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Bill was comin’ down the run, one Monday night, a pullin’ of No. 3,</div>
-    <div class="verse indent0">Just jogging along at a 30 gait, and a darker night you never see.</div>
-    <div class="verse indent0">They had struck the trestle twenty rod north of old Tallahatchie bridge,</div>
-    <div class="verse indent0">Where the water backs up under the track, with here and there a ridge.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Bill had come down that run a hundred times, and supposed that all was right;</div>
-    <div class="verse indent0">But the devil’s own had been at work, and loosened a rail that night;</div>
-    <div class="verse indent0">When, gods of mercy! what a shock and crash! then all so quiet and still.</div>
-    <div class="verse indent0">And old 258 lay dead in the pond, and the train piled up on the fill.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The crew showed up one by one, looking all white and chill,</div>
-    <div class="verse indent0">Anxious to see if all were on deck, but whar on airth wuz Bill?</div>
-    <div class="verse indent0">But it wasn’t long before they knew, for there in the pond was the tank,</div>
-    <div class="verse indent0">Stickin’ clus to her engine pard, and holdin’ Bill down by the shank.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">When the boys saw what orter be done, they went to work with a vim,</div>
-    <div class="verse indent0">But willin’ hands doin’ all they would, couldn’t rize tons offen him;</div><span class="pagenum"><a id="Page_188"></a>[188]</span>
-    <div class="verse indent0">Bill stood thar, brave man that he was, as the hours went slowly by,</div>
-    <div class="verse indent0">Seemin’ to feel, if the rest wur scared, he was perfectly willin’ to die.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Just before daylight looked over the trees, they brought poor Bill to the fire,</div>
-    <div class="verse indent0">And done the best they could for him in a place that was all mud and mire;</div>
-    <div class="verse indent0">But they done no good, ’twant no use; he had seen his last of wrecks;</div>
-    <div class="verse indent0">And thar by the fire that lit up his brave face, poor Bill passed in his checks.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">When they raised old 258 again, the story she did tell</div>
-    <div class="verse indent0">Was that the hero in her cab had done his duty well;</div>
-    <div class="verse indent0">They found her lever thrown hard, her throttle open wide,</div>
-    <div class="verse indent0">Her air applied so close and hard that every wheel must slide.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Thar’s a wife and two kids down the line, whose sole dependence wuz Bill,</div>
-    <div class="verse indent0">Who little thought when he came home he’d be brought cold and still;</div>
-    <div class="verse indent0">But tell them, tho’ Bill was rough by natur’ and somewhat so by name,</div>
-    <div class="verse indent0">That thar’s a better land for men like him, and he died clear grit just the same.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>MY FRIEND THE CRICKET AND I.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-m.jpg" width="140" height="100" alt="" /></div>
-    <div class="dropcapline">My friend the Cricket and I</div>
-    <div class="verse indent2">Once sat by the fireside talking;</div>
-    <div class="verse indent0">“This life,” I said, “is such weary work;”</div>
-    <div class="verse indent2">Chirped Cricket, “You’re always croaking.”</div>
-    <div class="verse indent0">“It’s rowing against baith wind an’ tide,</div>
-    <div class="verse indent2">And a’ for the smallest earning.”</div>
-    <div class="verse indent0">“Ah! weel,” the merry Cricket replied,</div>
-    <div class="verse indent2">“But the tide will soon be turning.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“And then,” I answered, “dark clouds may rise,</div>
-    <div class="verse indent2">And winds with the waters flowing.”</div>
-    <div class="verse indent0">“Weel! keep a bit sunshine in your heart,</div>
-    <div class="verse indent2">It’s a wonderfu’ help in rowing.”</div>
-    <div class="verse indent0">“But many a boat goes down at sea:”</div>
-    <div class="verse indent2">“O! friend, but you’re unco trying,</div>
-    <div class="verse indent0">Pray how many more come into port,</div>
-    <div class="verse indent2">With a’ their colors flying?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Would ye idly drift with changing tides,</div>
-    <div class="verse indent2">Till lost in a sea of sorrow?”</div>
-    <div class="verse indent0">“Ah! no, good Cricket, I’ll take the oars</div>
-    <div class="verse indent2">And cheerfully row to-morrow.”</div>
-    <div class="verse indent0">“I would! I would! Yes, I would!” he chirped,</div>
-    <div class="verse indent0">While I watched the bright fire burning,</div>
-    <div class="verse indent2">“I would! I would! Yes, I’d try again,</div>
-    <div class="verse indent0">For the tide must have a turning.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">So all the night long through the drowsy hours</div>
-    <div class="verse indent2">I heard, like a cheerful humming—</div>
-    <div class="verse indent0">“I would! I would! Yes, I’d try again,</div>
-    <div class="verse indent2">Ye never ken what is coming.”</div>
-    <div class="verse indent0">So I tried again:—now the wind sets fair,</div>
-    <div class="verse indent2">And the tide is shoreward turning,</div>
-    <div class="verse indent0">And Cricket and I chirp pleasantly</div>
-    <div class="verse indent2">While the fire is brightly burning.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Lillie E. Barr.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>THE SNOW STORM.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" /></div>
-    <div class="dropcapline">A farmer came from the village plain,</div>
-    <div class="verse indent0">But he lost the traveled way;</div>
-    <div class="verse indent0">And for hours he trod with might and main</div>
-    <div class="verse indent2">A path for his horse and sleigh;</div>
-    <div class="verse indent0">But colder still the cold winds blew,</div>
-    <div class="verse indent0">And deeper still the deep drifts grew,</div>
-    <div class="verse indent0">And his mare, a beautiful Morgan brown,</div>
-    <div class="verse indent0">At last in her struggles, floundered down,</div>
-    <div class="verse indent2">Where a log in a hollow lay.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">In vain, with a neigh and a frenzied snort,</div>
-    <div class="verse indent2">She plunged in the drifting snow,</div>
-    <div class="verse indent0">While her master urged, till his breath grew short,</div><span class="pagenum"><a id="Page_189"></a>[189]</span>
-    <div class="verse indent2">With a word and a gentle blow.</div>
-    <div class="verse indent0">But the snow was deep, and the tugs were tight;</div>
-    <div class="verse indent0">His hands were numb and had lost their might;</div>
-    <div class="verse indent0">So he wallowed back to his half-filled sleigh,</div>
-    <div class="verse indent0">And strove to shelter himself till day,</div>
-    <div class="verse indent2">With his coat and the buffalo.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He has given the last faint jerk of the rein,</div>
-    <div class="verse indent2">To rouse up his dying steed;</div>
-    <div class="verse indent0">And the poor dog howls to the blast in vain</div>
-    <div class="verse indent2">For help in his master’s need.</div>
-    <div class="verse indent0">For a while he strives with a wistful cry</div>
-    <div class="verse indent0">To catch a glance from his drowsy eye,</div>
-    <div class="verse indent0">And wags his tail if the rude winds flap</div>
-    <div class="verse indent0">The skirt of the buffalo over his lap,</div>
-    <div class="verse indent2">And whines when he takes no heed.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The wind goes down and the storm is o’er,</div>
-    <div class="verse indent2">’Tis the hour of midnight, past;</div>
-    <div class="verse indent0">The old trees writhe and bend no more</div>
-    <div class="verse indent2">In the whirl of the rushing blast.</div>
-    <div class="verse indent0">The silent moon with her peaceful light</div>
-    <div class="verse indent0">Looks down on the hills with snow all white,</div>
-    <div class="verse indent0">And the giant shadow of Camel’s Hump,</div>
-    <div class="verse indent0">The blasted pine and the ghostly stump</div>
-    <div class="verse indent2">Afar on the plain are cast.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But cold and dead by the hidden log</div>
-    <div class="verse indent2">Are they who came from the town:</div>
-    <div class="verse indent0">The man in his sleigh, and his faithful dog,</div>
-    <div class="verse indent2">And his beautiful Morgan brown—</div>
-    <div class="verse indent0">In the wide snow-desert, far and grand,</div>
-    <div class="verse indent0">With his cap on his head and the reins in his hand—</div>
-    <div class="verse indent0">The dog with his nose on his master’s feet,</div>
-    <div class="verse indent0">And the mare half seen through the crusted sleet</div>
-    <div class="verse indent2">Where she lay when she floundered down.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>PARRHASIUS AND THE CAPTIVE.</h4>
-
-<p>This is a picture of inordinate ambition. It should be represented by
-a voice of cold indifference to human suffering. The flame of selfish
-passion is wild and frenzied.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-p.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">Parrhasius stood, gazing forgetfully</div>
-    <div class="verse indent0">Upon his canvas. There Prometheus lay,</div>
-    <div class="verse indent0">Chained to the cold rocks of Mount Caucasus—</div>
-    <div class="verse indent0">The vulture at his vitals, and the links</div>
-    <div class="verse indent0">Of the lame Lemnian festering in his flesh;</div>
-    <div class="verse indent0">And as the painter’s mind felt through the dim,</div>
-    <div class="verse indent0">Rapt mystery, and pluck’d the shadows forth</div>
-    <div class="verse indent0">With its far-reaching fancy, and with form</div>
-    <div class="verse indent0">And color clad them, his fine, earnest eye</div>
-    <div class="verse indent0">Flashed with a passionate fire, and the quick curl</div>
-    <div class="verse indent0">Of his thin nostril, and his quivering lip,</div>
-    <div class="verse indent0">Were like the winged god’s, breathing from his flight.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent6">“Bring me the captive now!</div>
-    <div class="verse indent0">My hand feels skillful, and the shadows lift</div>
-    <div class="verse indent0">From my waked spirit airily and swift,</div>
-    <div class="verse indent6">And I could paint the bow</div>
-    <div class="verse indent0">Upon the bended heavens—around me play</div>
-    <div class="verse indent0">Colors of such divinity to-day.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent6">“Ha! bind him on his back!</div>
-    <div class="verse indent0">Look!—as Prometheus in my picture here!</div>
-    <div class="verse indent0">Quick—or he faints!—stand with the cordial near!</div>
-    <div class="verse indent6">Now—bend him to the rack!</div>
-    <div class="verse indent0">Press down the poisoned links into his flesh!</div>
-    <div class="verse indent0">And tear agape that healing wound afresh!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent6">“So—let him writhe! How long</div>
-    <div class="verse indent0">Will he live thus? Quick, my good pencil, now!</div>
-    <div class="verse indent0">What a fine agony works upon his brow!</div>
-    <div class="verse indent6">Ha! gray-haired, and so strong!</div>
-    <div class="verse indent0">How fearfully he stifles that short moan!</div>
-    <div class="verse indent0">Gods! if I could but paint a dying groan!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent6">“‘Pity’ thee! So I do!</div>
-    <div class="verse indent0">I pity the dumb victim at the altar—</div>
-    <div class="verse indent0">But does the robed priest for his <i>pity</i> falter?</div>
-    <div class="verse indent6">I’d rack thee, though I knew</div>
-    <div class="verse indent0">A thousand lives were perishing in thine—</div>
-    <div class="verse indent0">What were ten thousand to a fame like mine?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent6">“‘Hereafter!’ Ay—<i>hereafter</i>!</div>
-    <div class="verse indent0">A whip to keep a coward to his track!</div>
-    <div class="verse indent0">What gave Death ever from his kingdom back</div>
-    <div class="verse indent6">To check the skeptic’s laughter?</div><span class="pagenum"><a id="Page_190"></a>[190]</span>
-    <div class="verse indent0">Come from the grave to-morrow with that story</div>
-    <div class="verse indent0">And I may take some softer path to glory.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent6">“No, no, old man! we die</div>
-    <div class="verse indent0">Even as the flowers, and we shall breathe away</div>
-    <div class="verse indent0">Our life upon the chance wind, even as they!</div>
-    <div class="verse indent6">Strain well thy fainting eye—</div>
-    <div class="verse indent0">For when that bloodshot quivering is o’er,</div>
-    <div class="verse indent0">The light of heaven will never reach thee more.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent6">“Yet there’s a deathless <i>name</i>!</div>
-    <div class="verse indent0">A spirit that the smothering vault shall spurn,</div>
-    <div class="verse indent0">And like a steadfast planet mount and burn—</div>
-    <div class="verse indent6">And though its crown of flame</div>
-    <div class="verse indent0">Consumed my brain to ashes as it shone,</div>
-    <div class="verse indent0">By all the fiery stars! I’d bind it on!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent6">“Ay—though it bid me rifle</div>
-    <div class="verse indent0">My heart’s last fount for its insatiate thirst—</div>
-    <div class="verse indent0">Though every life-strung nerve be maddened first—</div>
-    <div class="verse indent6">Though it should bid me stifle</div>
-    <div class="verse indent0">The yearning in my throat for my sweet child,</div>
-    <div class="verse indent0">And taunt its mother till my brain went wild—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent6">“All—I would do it all—</div>
-    <div class="verse indent0">Sooner than die, lie a dull worm, to rot—</div>
-    <div class="verse indent0">Thrust foully into earth to be forgot!</div>
-    <div class="verse indent6">O heavens!—but I appall</div>
-    <div class="verse indent0">Your heart, old man! forgive——ha! on your lives</div>
-    <div class="verse indent0">Let him not faint!—rack him till he revives!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent6">“Vain—vain—give o’er! His eye</div>
-    <div class="verse indent0">Glazes apace. He does not feel you now—</div>
-    <div class="verse indent0">Stand back! I’ll paint the death dew on his brow!</div>
-    <div class="verse indent6">Gods! if he do not die</div>
-    <div class="verse indent0">But for <i>one</i> moment—one—till I eclipse</div>
-    <div class="verse indent0">Conception with the scorn of those cold lips!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent6">“Shivering! Hark! he mutters</div>
-    <div class="verse indent0">Brokenly now—that was a difficult breath—</div>
-    <div class="verse indent0">Another? Wilt thou never come, O Death!</div>
-    <div class="verse indent6">Look! how his temple flutters!</div>
-    <div class="verse indent0">Is his heart still? Aha! lift up his head!</div>
-    <div class="verse indent0">He shudders—gasps—Jove help him!—so—he’s dead.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">How like a mounting devil in the heart</div>
-    <div class="verse indent4">Rules the unreined <i>ambition</i>! Let it once</div>
-    <div class="verse indent4">But play the monarch, and its haughty brow</div>
-    <div class="verse indent4">Glows with a beauty that bewilders thought</div>
-    <div class="verse indent4">And unthrones peace forever. Putting on</div>
-    <div class="verse indent4">The very pomp of Lucifer, it turns</div>
-    <div class="verse indent4">The heart to ashes, and with not a spring</div>
-    <div class="verse indent4">Left in the bosom for the spirit’s lip,</div>
-    <div class="verse indent4">We look upon our splendor and forget</div>
-    <div class="verse indent4">The thirst of which we perish!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">N. P. Willis.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>THE NINETY-THIRD OFF CAPE VERD.</h4>
-
-<p>The figures refer you to the Typical Gestures at the beginning of Part
-II. of this volume. Use other gestures of your own. A good recital for
-animated description.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">It is night upon the ocean</div>
-    <div class="verse indent2">Near old Afric’s shore;</div>
-    <div class="verse indent0">Loud the wind wails o’er the water,</div>
-    <div class="verse indent2">Loud the waters roar.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Dark o’erhead<span class="fnanchor"><a href="#gesture21">21</a></span> the storm-clouds gather,</div>
-    <div class="verse indent2">Huge waves mountains form,</div>
-    <div class="verse indent0">As a stout<span class="fnanchor"><a href="#gesture2">2</a></span> old ship comes struggling</div>
-    <div class="verse indent2">On against the storm.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Hark!<span class="fnanchor"><a href="#gesture3">3</a></span> e’en now across the billows</div>
-    <div class="verse indent2">On the wind there floats,</div>
-    <div class="verse indent0">Sharp and shrill, the boatswain’s whistle</div>
-    <div class="verse indent2">Sounding,<span class="fnanchor"><a href="#gesture5">5</a></span> “Man the boats!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">At the sound, from cabin doorways,</div>
-    <div class="verse indent2">Rushing out headlong,</div>
-    <div class="verse indent0">Pours a weeping,<span class="fnanchor"><a href="#gesture10">10</a></span> shrieking, shuddering,</div>
-    <div class="verse indent2">Terror-stricken throng.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Men, and women with their children,</div>
-    <div class="verse indent2">Weak and pale from fright,</div>
-    <div class="verse indent0">Praying,<span class="fnanchor"><a href="#gesture20">20</a></span> cursing, hurry onward</div>
-    <div class="verse indent2">Out into the night.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But the lightning’s<span class="fnanchor"><a href="#gesture21">21</a></span> frequent flashes</div>
-    <div class="verse indent2">By their ghastly sheen,</div>
-    <div class="verse indent0">Further forward in the vessel,</div>
-    <div class="verse indent2">Show another scene.</div><span class="pagenum"><a id="Page_191"></a>[191]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">From the crowd of trembling women,</div>
-    <div class="verse indent2">And of trembling men,</div>
-    <div class="verse indent0">See!<span class="fnanchor"><a href="#gesture2">2</a></span> a soldier presses forward,</div>
-    <div class="verse indent2">Takes his place, and then—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Fall in!”<span class="fnanchor"><a href="#gesture5">5</a></span> Then comes the roll-call.</div>
-    <div class="verse indent2">Every man is at his post,</div>
-    <div class="verse indent0">Although now they hear the breakers</div>
-    <div class="verse indent2">Roaring on the coast.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Present arms!”<span class="fnanchor"><a href="#gesture5">5</a></span> And till the life-boats</div>
-    <div class="verse indent2">With their precious freight</div>
-    <div class="verse indent0">Have been lowered safely downward</div>
-    <div class="verse indent2">Thus they stand and wait.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And then, as the staunch old vessel</div>
-    <div class="verse indent2">Slowly sinks at last,</div>
-    <div class="verse indent0">Louder than the ocean’s roaring,</div>
-    <div class="verse indent2">Louder than the blast,</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">O’er the wildly raging water,</div>
-    <div class="verse indent2">Echoing far and near,</div>
-    <div class="verse indent0">Hear<span class="fnanchor"><a href="#gesture11">11</a></span> the soldiers’ dying volley,</div>
-    <div class="verse indent2">Hear their dying cheer.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>A FELON’S CELL.</h4>
-
-<p>An intensely dramatic reading, requiring rapid changes of voice and gesture.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I’m going to a felon’s cell,</div>
-    <div class="verse indent2">To stay there till I die;</div>
-    <div class="verse indent0">They say my hands are stained with blood,</div>
-    <div class="verse indent2">But they who say it—lie.</div>
-    <div class="verse indent0">The court declared I murdered one</div>
-    <div class="verse indent2">I would have died to save;</div>
-    <div class="verse indent0">I know who did the awful deed,</div>
-    <div class="verse indent2">I saw, but could not save.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I saw the knife gleam in his hand,</div>
-    <div class="verse indent2">I heard the victim’s shriek;</div>
-    <div class="verse indent0">My feet seem chained, I tried to run,</div>
-    <div class="verse indent2">But terror made me weak.</div>
-    <div class="verse indent0">Reeling, at length I reached the spot</div>
-    <div class="verse indent2">Too late—a quivering sigh—</div>
-    <div class="verse indent0">The pale moon only watched with me</div>
-    <div class="verse indent2">To see a sweet girl die.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The reeking blade lay at my feet,</div>
-    <div class="verse indent2">The murderer had fled;</div>
-    <div class="verse indent0">I stooped to raise the prostrate form,</div>
-    <div class="verse indent2">To lift the sunny head</div>
-    <div class="verse indent0">Of her I loved, from out the pool</div>
-    <div class="verse indent2">Her own sweet blood had made;</div>
-    <div class="verse indent0">That knife was fairly in my way,</div>
-    <div class="verse indent2">I raised the murderous blade.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Unmindful of all else, beside</div>
-    <div class="verse indent2">That lovely, bleeding corse,</div>
-    <div class="verse indent0">Unheeding the approaching steps</div>
-    <div class="verse indent2">Of traveler and horse,</div>
-    <div class="verse indent0">I raised the knife; it caught the gleam</div>
-    <div class="verse indent2">Of the full moon’s bright glare,</div>
-    <div class="verse indent0">One instant, and the next strong arms</div>
-    <div class="verse indent2">Pinioned mine firmly there.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">They led me forth, mute with a woe</div>
-    <div class="verse indent2">Too deep for word or sign;</div>
-    <div class="verse indent0">The knife within my hand the court</div>
-    <div class="verse indent2">Identified as mine.</div>
-    <div class="verse indent0">My name was graven on the hilt,—</div>
-    <div class="verse indent2">The letters told a lie;</div>
-    <div class="verse indent0">They doomed me to a felon’s cell</div>
-    <div class="verse indent2">To stay there till I die.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And yet, I did not do the deed;</div>
-    <div class="verse indent2">The moon, if she could speak,</div>
-    <div class="verse indent0">Would lift this anguish from my brow,</div>
-    <div class="verse indent2">This shame from off my cheek.</div>
-    <div class="verse indent0">I was not born with gold or lands</div>
-    <div class="verse indent2">Nor was I born a slave,</div>
-    <div class="verse indent0">My hands are free from blood,—and yet</div>
-    <div class="verse indent2">I’ll fill a felon’s grave.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And I, who last year played at ball</div>
-    <div class="verse indent2">Upon the village green,</div>
-    <div class="verse indent0">A stripling, on whose lips the sign</div>
-    <div class="verse indent2">Of manhood scarce is seen,</div>
-    <div class="verse indent0">Whose greatest crime (if crime it be)</div>
-    <div class="verse indent2">Was loving her too well,</div>
-    <div class="verse indent0">Must leave this beautiful, glad world</div>
-    <div class="verse indent2">For a dark prison cell.</div><span class="pagenum"><a id="Page_192"></a>[192]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I had just begun to learn to live</div>
-    <div class="verse indent2">Since I laid by my books,</div>
-    <div class="verse indent0">And I had grown so strangely fond</div>
-    <div class="verse indent2">Of forest, spring, and brook,</div>
-    <div class="verse indent0">I read a lesson in each drop</div>
-    <div class="verse indent2">That trickled through the grass,</div>
-    <div class="verse indent0">And found a sermon in the flow</div>
-    <div class="verse indent2">Of wavelets, as they pass.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Dear woodland haunts! I leave your shade;</div>
-    <div class="verse indent2">No more at noon’s high hour</div>
-    <div class="verse indent0">I’ll list the sound of insect life,</div>
-    <div class="verse indent2">Or scent the sweet wild flower.</div>
-    <div class="verse indent0">Dear mossy banks, by murmuring streams,</div>
-    <div class="verse indent2">’Tis hard to say good-bye!</div>
-    <div class="verse indent0">To leave you for a felon’s cell,</div>
-    <div class="verse indent2">Where I must stay and die.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Farewell all joy and happiness!</div>
-    <div class="verse indent2">Farewell all earthly bliss!</div>
-    <div class="verse indent0">All human ties must severed be,—</div>
-    <div class="verse indent2">Aye, even a mother’s kiss</div>
-    <div class="verse indent0">Must fail me now; in this my need</div>
-    <div class="verse indent2">O God! to Thee I cry!</div>
-    <div class="verse indent0">Oh! take me now, ere yet I find</div>
-    <div class="verse indent2">A grave wherein to lie.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Mother, you here! Mother, the boy</div>
-    <div class="verse indent2">You call your poet child</div>
-    <div class="verse indent0">Is innocent! His hands are clean,</div>
-    <div class="verse indent2">His heart is undefiled.</div>
-    <div class="verse indent0">Oh! tell me, mother, am I weak</div>
-    <div class="verse indent2">To shrink at thought of pain?</div>
-    <div class="verse indent0">To shudder at the sound of bolt,</div>
-    <div class="verse indent2">Grow cold at clank of chain?</div>
-    <div class="verse indent0">Oh! tell me, is it weakness now</div>
-    <div class="verse indent2">To weep upon your breast,—</div>
-    <div class="verse indent0">That faithful pillow, where so oft</div>
-    <div class="verse indent2">You’ve soothed me to my rest!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Hark! ’tis an officer’s firm tread,</div>
-    <div class="verse indent2">O God! Mother, good-bye!</div>
-    <div class="verse indent0">They’ve come to bear me to my cell</div>
-    <div class="verse indent2">Where I must stay and die.</div>
-    <div class="verse indent0">They’re coming now, I will be strong,</div>
-    <div class="verse indent2">No, no, it cannot be.</div>
-    <div class="verse indent0">My giddy brain whirls round in pain,</div>
-    <div class="verse indent2">Your face I cannot see.</div>
-    <div class="verse indent0">But I remember when a child</div>
-    <div class="verse indent2">I shrank at thought of pain,</div>
-    <div class="verse indent0">But, oh, it is a fearful thing</div>
-    <div class="verse indent2">To have this aching brain.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Pardon! heard I the sound aright?</div>
-    <div class="verse indent2">Mine comes from yonder sky;</div>
-    <div class="verse indent0">Hold me! don’t let them take me forth</div>
-    <div class="verse indent2">To suffer till I die!</div>
-    <div class="verse indent0">Pardon! pardon! came the sound,</div>
-    <div class="verse indent2">And horsemen galloped fast,</div>
-    <div class="verse indent0">But ’twas too late; the dying man</div>
-    <div class="verse indent2">Was soon to breathe his last.</div>
-    <div class="verse indent0">The crime’s confessed, the guilt made known</div>
-    <div class="verse indent2">Quick, lead the guiltless forth.</div>
-    <div class="verse indent0">“Then I am free! mother, your hand,</div>
-    <div class="verse indent2">Now whisper your good-bye,</div>
-    <div class="verse indent0">I’m going where there are no cells</div>
-    <div class="verse indent2">To suffer in and die!”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>THE BATTLE OF WATERLOO.</h4>
-
-<p>This soul-stirring account of the historic battle where thrones and
-empires were staked, is from the pen of the great French author whose
-famous descriptions are unsurpassed by those of any other writer. In
-reciting this piece every nerve must be tense, and soul and body must be
-animated by the imaginary sight of the contending armies. Your utterance
-should be somewhat rapid, the tones of your voice round and full, the
-words of command given as a general would give them on the field of
-battle, and you must picture to your hearers the thrilling scene in such
-a way that it may appear to be almost a reality. Otherwise, this very
-graphic description will fall flat, and the verdict of your audience will
-be that you were not equal to the occasion.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">The sky had been overcast all day. All
-at once, at this very moment—it was
-eight o’clock at night—the clouds in
-the horizon broke, and through the elms of
-the Nivelles road streamed the sinister red
-light of the setting sun.</p>
-
-<p><span class="pagenum"><a id="Page_193"></a>[193]</span></p>
-
-<p>Arrangements were speedily made for the
-final effort. Each battalion was commanded
-by a general. When the tall caps of the
-Grenadiers of the Guard with their large
-eagle plates appeared, symmetrical, drawn
-up in line, calm in the smoke of that conflict,
-the enemy felt respect for France. They
-thought they saw twenty victories entering
-upon the field of battle with wings extended,
-and those who were conquerors thinking
-themselves conquered recoiled; but Wellington
-cried: “Up, Guards, and at them!”</p>
-
-<p>The red regiment of English Guards, lying
-behind the hedges, rose up; a shower of
-grape riddled the tricolored flag. All hurled
-themselves forward, and the final carnage
-began. The Imperial Guard felt the army
-slipping away around them in the gloom
-and the vast overthrow of the rout. There
-were no weak souls or cowards there. The
-privates of that band were as heroic as their
-general. Not a man flinched from the suicide.</p>
-
-<p>The army fell back rapidly from all sides
-at once. A disbanding army is a thaw. The
-whole bends, cracks, snaps, floats, rolls, falls,
-crashes, hurries, plunges. Ney borrows a
-horse, leaps upon him, and, without hat,
-cravat, or sword, plants himself in the Brussels
-road, arresting at once the English and the
-French. He endeavors to hold the army;
-he calls them back, he reproaches them, he
-grapples with the rout. He is swept away.
-The soldiers flee from him, crying, “Long
-live Ney!” Durutte’s two regiments come
-and go, frightened and tossed between the
-sabres of the Uhlans and the fire of the brigades
-of Kempt. Rout is the worst of all
-conflicts; friends slay each other in their
-flight; squadrons and battalions are crushed
-and dispersed against each other, enormous
-foam of the battle.</p>
-
-<p>Napoleon gallops among the fugitives,
-harangues them, urges, threatens, entreats.
-The mouths which in the morning were crying
-“Long live the Emperor,” are now
-agape. He is hardly recognized. The Prussian
-cavalry, just come up, spring forward,
-fling themselves upon the enemy, sabre, cut,
-hack, kill, exterminate. Teams rush off; the
-guns are left to the care of themselves; the
-soldiers of the train unhitch the caissons and
-take the horses to escape; wagons upset,
-with their four wheels in the air, block up
-the road, and are accessories of massacre.</p>
-
-<p>They crush and they crowd; they trample
-upon the living and the dead. Arms are
-broken. A multitude fills roads, paths
-bridges, plains, hills, valleys, woods, choked
-up by this flight of forty thousand men. Cries
-despair; knapsacks and muskets cast into
-the rye; passages forced at the point of
-the sword; no more comrades, no more
-officers, no more generals; an inexpressible
-dismay. Lions become kids. Such was this
-flight.</p>
-
-<p>A few squares of the Guard, immovable in
-the flow of the rout as rocks in running
-water, held out until night. Night approaching
-and death also, they awaited this double
-shadow, and yielded unfaltering to its embrace.
-At every discharge the square grew
-less, but returned the fire. It replied to
-grape by bullets, narrowing in its four walls
-continually. Afar off, the fugitives, stopping
-for a moment out of breath, heard in the
-darkness this dismal thunder decreasing.</p>
-
-<p>When this legion was reduced to a handful,
-when their flag was reduced to a shred,
-when their muskets, exhausted of ammunition,
-were reduced to nothing but clubs, when
-the pile of corpses was larger than the group
-of the living, there spread among the conquerors
-a sort of sacred terror about these
-sublime martyrs, and the English artillery,
-stopping to take breath, was silent. It was
-a kind of respite. These combatants had
-about them a swarm of spectres, the outlines
-of men on horseback, the black profile of the<span class="pagenum"><a id="Page_194"></a>[194]</span>
-cannons, the white sky seen through the
-wheels and gun-carriages. The colossal
-death’s head, which heroes always see in the
-smoke of the battle, was advancing upon
-them and glaring at them.</p>
-
-<p>They could hear in the gloom of the
-twilight the loading of the pieces. The
-lighted matches, like tigers’ eyes in the
-night, made a circle about their heads. All
-the linstocks of the English batteries approached
-the guns, when, touched by their
-heroism, holding the death-moment suspended
-over these men, an English general
-cried to them:</p>
-
-<p>“Brave Frenchmen, surrender!”</p>
-
-<p>The word “Never!” fierce and desperate
-came rolling back.</p>
-
-<p>To this word the English general replied,
-“Fire!”</p>
-
-<p>The batteries flamed, the hill trembled;
-from all those brazen throats went forth a
-final vomiting of grape, terrific. A vast
-smoke, dusky white in the light of the rising
-moon, rolled out, and when the smoke was
-dissipated, there was nothing left. That formidable
-remnant was annihilated—the Guard
-was dead! The four walls of the living redoubt
-had fallen. Hardly could a quivering
-be distinguished here and there among the
-corpses; and thus the French legions expired.</p>
-
-<p class="right"><span class="smcap">Victor Hugo.</span></p>
-
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>A PIN.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">Oh, I know a certain woman who is reckoned with the good,</div>
-    <div class="verse indent0">But she fills me with more terror than a raging lion could.</div>
-    <div class="verse indent0">The little chills run up and down my spine whene’er we meet,</div>
-    <div class="verse indent0">Though she seems a gentle creature, and she’s very trim and neat.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And she has a thousand virtues, and not one acknowledged sin,</div>
-    <div class="verse indent0">But she is the sort of person you could liken to a pin.</div>
-    <div class="verse indent0">And she pricks you, and she sticks you in a way that can’t be said—</div>
-    <div class="verse indent0">When you ask for what has hurt you, why you cannot find the head.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But she fills you with discomfort and exasperating pain—</div>
-    <div class="verse indent0">If anybody asks you why, you really can’t explain.</div>
-    <div class="verse indent0">A pin is such a tiny thing—of that there is no doubt—</div>
-    <div class="verse indent0">Yet when it’s sticking in your flesh, you’re wretched till it’s out.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">She is wonderfully observing—when she meets a pretty girl</div>
-    <div class="verse indent0">She is always sure to tell her if her “bang” is out of curl.</div>
-    <div class="verse indent0">And she is so sympathetic to her friend, who’s much admired,</div>
-    <div class="verse indent0">She is often heard remarking: “Dear, you look so worn and tired!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And she is a careful critic; for on yesterday she eyed</div>
-    <div class="verse indent0">The new dress I was airing with a woman’s natural pride,</div>
-    <div class="verse indent0">And she said: “Oh, how becoming!” and then softly added to it,</div>
-    <div class="verse indent0">“It is really a misfortune that the basque is such a fit.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then she said: “If you had heard me yestereve,</div>
-    <div class="verse indent0">I’m sure, my friend,</div>
-    <div class="verse indent0">You would say I am a champion who knows how to defend.”</div>
-    <div class="verse indent0">And she left me with the feeling—most unpleasant, I aver—</div>
-    <div class="verse indent0">That the whole world would despise me if it had not been for her.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Whenever I encounter her, in such a nameless way,</div>
-    <div class="verse indent0">She gives me the impression I am at my worst that day.</div><span class="pagenum"><a id="Page_195"></a>[195]</span>
-    <div class="verse indent0">And the hat that was imported (and that cost me half a sonnet),</div>
-    <div class="verse indent0">With just one glance from her round eye, becomes a Bowery bonnet.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">She is always bright and smiling, sharp and shining for a thrust—</div>
-    <div class="verse indent0">Use does not seem to blunt her point, nor does she gather rust—</div>
-    <div class="verse indent0">Oh! I wish some hapless specimen of mankind would begin</div>
-    <div class="verse indent0">To tidy up the world for me, by picking up this pin.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Ella Wheeler Wilcox.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>A RELENTING MOB.</h4>
-
-<p>Translated from the French of Victor Hugo.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">The mob was fierce and furious. They cried:</div>
-    <div class="verse indent0">“Kill him!” the while they pressed from every side</div>
-    <div class="verse indent0">Around a man, haughty, unmoved and brave,</div>
-    <div class="verse indent0">Too pitiless himself to pity crave.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Down with the wretch!” on all sides rose the cry.</div>
-    <div class="verse indent0">The captive found it natural to die,</div>
-    <div class="verse indent0">The game is lost—he’s on the weaker side,</div>
-    <div class="verse indent0">Life, too, is lost, and so must fate decide.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">From out his home they dragged him to the street,</div>
-    <div class="verse indent0">With fiercely clenching hands and hurrying feet,</div>
-    <div class="verse indent0">And shouts of “Death to him!” The crimson stain</div>
-    <div class="verse indent0">Of recent carnage on his garb showed plain.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">This man was one of those who blindly slay</div>
-    <div class="verse indent0">At a king’s bidding. He’d shoot men all day,</div>
-    <div class="verse indent0">Killing he knew not whom, scarce knew why,</div>
-    <div class="verse indent0">Now marching forth impassible to die,</div>
-    <div class="verse indent0">Incapable of mercy or of fear,</div>
-    <div class="verse indent0">Letting his powder-blackened hands appear.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">A woman clutched his collar with a frown,</div>
-    <div class="verse indent0">“He’s a policeman—he has shot us down!”</div>
-    <div class="verse indent0">“That’s true,” the man said. “Kill him!”</div>
-    <div class="verse indent4">“Shoot him!” “Kill!”</div>
-    <div class="verse indent0">“No, at the Arsenal”—“The Bastile!”—</div>
-    <div class="verse indent4">“Where you will,”</div>
-    <div class="verse indent0">The captive answered. And with fiercest breath,</div>
-    <div class="verse indent0">Loading their guns his captors still cried</div>
-    <div class="verse indent4">“Death!”</div>
-    <div class="verse indent0">“We’ll shoot him like a wolf!” “A wolf am I?</div>
-    <div class="verse indent0">Then you’re the dogs,” he calmly made reply.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Hark, he insults us!” And from every side</div>
-    <div class="verse indent0">Clenched fists were shaken, angry voices cried,</div>
-    <div class="verse indent0">Ferocious threats were muttered, deep and low.</div>
-    <div class="verse indent0">With gall upon his lips, gloom on his brow,</div>
-    <div class="verse indent0">And in his eyes a gleam of baffled hate,</div>
-    <div class="verse indent0">He went, pursued by howlings, to his fate.</div>
-    <div class="verse indent0">Treading with wearied and supreme disdain</div>
-    <div class="verse indent0">’Midst the forms of dead men he perchance had slain.</div>
-    <div class="verse indent0">Dread is that human storm, an angry crowd:</div>
-    <div class="verse indent0">He braved its wrath with head erect and proud.</div>
-    <div class="verse indent0">He was not taken, but walled in with foes,</div>
-    <div class="verse indent0">He hated them with hate the vanquished knows,</div>
-    <div class="verse indent0">He would have shot them all had he the power.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Kill him—he’s fired upon us for an hour!”</div>
-    <div class="verse indent0">“Down with the murderer—down with the spy!”</div>
-    <div class="verse indent0">And suddenly a small voice made reply,</div>
-    <div class="verse indent0">“No—no, he is my father!” And a ray</div>
-    <div class="verse indent0">Like a sunbeam seemed to light the day.</div>
-    <div class="verse indent0">A child appeared, a boy with golden hair,</div>
-    <div class="verse indent0">His arms upraised in menace or in prayer.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">All shouted, “Shoot the bandit, fell the spy!”</div>
-    <div class="verse indent0">The little fellow clasped him with a cry</div>
-    <div class="verse indent0">Of “Papa, papa, they’ll not hurt you now!”</div>
-    <div class="verse indent0">The light baptismal shone upon his brow.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">From out the captive’s home had come the child.</div>
-    <div class="verse indent0">Meanwhile the shrieks of “Kill him—Death!” rose wild.</div>
-    <div class="verse indent0">The cannon to the tocsin’s voice replied,</div>
-    <div class="verse indent0">Sinister men thronged close on every side,</div><span class="pagenum"><a id="Page_196"></a>[196]</span>
-    <div class="verse indent0">And in the street ferocious shouts increased</div>
-    <div class="verse indent0">Of “Slay each spy—each minister—each priest—</div>
-    <div class="verse indent0">We’ll kill them all!” The little boy replied:</div>
-    <div class="verse indent0">“I tell you this is papa.” One girl cried</div>
-    <div class="verse indent0">“A pretty fellow—see his curly head!”</div>
-    <div class="verse indent0">“How old are you, my boy?” another said.</div>
-    <div class="verse indent0">“Do not kill papa!” only he replies.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">A soulful lustre lights his streaming eyes,</div>
-    <div class="verse indent0">Some glances from his gaze are turned away,</div>
-    <div class="verse indent0">And the rude hands less fiercely grasp their prey.</div>
-    <div class="verse indent0">Then one of the most pitiless says, “Go—</div>
-    <div class="verse indent0">Get you back home, boy.” “Where—why?” “Don’t you know?</div>
-    <div class="verse indent0">Go to your mother.” Then the father said,</div>
-    <div class="verse indent0">“He has no mother.” “What—his mother’s dead?</div>
-    <div class="verse indent0">Then you are all he has.” “That matters not,”</div>
-    <div class="verse indent0">The captive answers, losing not a jot</div>
-    <div class="verse indent0">Of his composure as he closely pressed</div>
-    <div class="verse indent0">The little hands to warm them in his breast.</div>
-    <div class="verse indent0">And says, “Our neighbor, Catherine you know,</div>
-    <div class="verse indent0">Go to her.” “You’ll come too?” “Not yet.” “No, no.</div>
-    <div class="verse indent0">Then I’ll not leave you.” “Why?” “These men, I fear,</div>
-    <div class="verse indent0">Will hurt you, papa, when I am not here.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The father to the chieftain of the band</div>
-    <div class="verse indent0">Says softly, “Loose your grasp and take my hand,</div>
-    <div class="verse indent0">I’ll tell the child to-morrow we shall meet,</div>
-    <div class="verse indent0">Then you can shoot me in the nearest street,</div>
-    <div class="verse indent0">Or farther off, just as you like.” “’Tis well!”</div>
-    <div class="verse indent0">The words from those rough lips reluctant fell.</div>
-    <div class="verse indent0">And, half unclasped, the hands less fierce appear.</div>
-    <div class="verse indent0">The father says, “You see, we’re all friends here,</div>
-    <div class="verse indent0">I’m going with these gentlemen to walk;</div>
-    <div class="verse indent0">Go home. Be good. I have no time to talk.”</div>
-    <div class="verse indent0">The little fellow, reassured and gay,</div>
-    <div class="verse indent0">Kisses his father and then runs away.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Now he is gone and we are at our ease,</div>
-    <div class="verse indent0">And you can kill me where and how you please,”</div>
-    <div class="verse indent0">The father says, “Where is it I must go?”</div>
-    <div class="verse indent0">Then through the crowd a long thrill seems to flow,</div>
-    <div class="verse indent0">The lips, so late with cruel wrath afoam,</div>
-    <div class="verse indent0">Relentingly and roughly cry, “Go home!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Lucy H. Hooper.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>THE BLACK HORSE AND HIS RIDER.</h4>
-
-<p>Slow utterance, rapid utterance, loud tones, subdued tones, quick changes
-and intense dramatic force are all required in this reading. Lose
-yourself in your recitation. Never be self-conscious.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-i.jpg" width="50" height="100" alt="" />
-</div>
-
-<p class="dropcap">It was the 7th of October, 1777. Horatio
-Gates stood before his tent gazing
-steadfastly upon the two armies now
-arrayed in order of battle. It was a clear,
-bracing day, mellow with the richness of
-Autumn. The sky was cloudless; the foliage
-of the wood scarce tinged with purple and
-gold; the buckwheat in yonder fields frostened
-into snowy ripeness. But the tread of
-legions shook the ground; from every bush
-shot the glimmer of the rifle barrel; on
-every hillside blazed the sharpened bayonet.
-Gates was sad and thoughtful, as he watched
-the evolutions of the two armies.</p>
-
-<p>But all at once, a smoke arose, a thunder
-shook the ground, and a chorus of shouts
-and groans yelled along the darkened air.
-The play of death had begun. The two
-flags, this of the stars, that of the red cross,
-tossed amid the smoke of battle, while the
-sky was clouded with leaden folds, and the
-earth throbbed with the pulsations of a
-mighty heart. Suddenly, Gates and his officers
-were startled. Along the height on
-which they stood, came a rider, upon a black
-horse, rushing toward the distant battle.</p>
-
-<p>There was something in the appearance of
-this horse and his rider, that struck them<span class="pagenum"><a id="Page_197"></a>[197]</span>
-with surprise. Look! he draws his sword,
-the sharp blade quivers through the air—he
-points to the distant battle, and lo! he is
-gone; gone through those clouds, while his
-shout echoes over the plains. Wherever the
-fight is the thickest, there through intervals
-of cannon smoke, you may see riding madly
-forward that strange soldier, mounted on his
-steed black as death. Look at him, as with
-face red with British blood he waves his
-sword and shouts to his legions. Now you
-may see him fighting in that cannon’s glare,
-and the next moment he is away off yonder,
-leading the forlorn hope up that steep cliff.</p>
-
-<p>Is it not a magnificent sight, to see that
-strange soldier and that noble black horse
-dashing like a meteor, down the long columns
-of battle? Let us look for a moment
-into those dense war-clouds. Over this thick
-hedge bursts a band of American militia-men,
-their rude farmer coats stained with blood,
-while scattering their arms by the way, they
-flee before that company of redcoat hirelings,
-who come rushing forward, their solid front
-of bayonets gleaming in the battle light.</p>
-
-<p>In this moment of their flight, a horse
-comes crashing over the plains. The unknown
-rider reins his steed back on his
-haunches, right in the path of a broad-shouldered
-militia-man. “Now, cowards!
-advance another step and I’ll strike you to
-the heart!” shouts the unknown, extending
-a pistol in either hand. “What! are you
-Americans, men, and fly before British soldiers?
-Back again, and face them once
-more, or I myself will ride you down.”</p>
-
-<p>This appeal was not without its effect.
-The militia-man turns; his comrades, as if
-by one impulse, follow his example. In one
-line, but thirty men in all, they confront
-thirty sharp bayonets. The British advance.</p>
-
-<p>“Now upon the rebels, charge!” shouts the
-red-coat officer. They spring forward at the
-same bound. Look! their bayonets almost
-touch the muzzles of their rifles. At this
-moment the voice of the unknown rider was
-heard: “Now let them have it! Fire!” A
-sound is heard, a smoke is seen, twenty
-Britons are down, some writhing in death,
-some crawling along the soil, and some
-speechless as stone. The remaining ten start
-back. “Club your rifles and charge them
-home!” shouts the unknown.</p>
-
-<p>That black horse springs forward, followed
-by the militia-men. Then a confused conflict—a
-cry for quarter, and a vision of twenty
-farmers grouped around the rider of the
-black horse, greeting him with cheers. Thus
-it was all the day long. Wherever that black
-horse and his rider went, there followed
-victory. At last, toward the setting of the
-sun, the crisis of the conflict came. That
-fortress yonder, on Bemiss’ Heights, must be
-won, or the American cause is lost! That
-cliff is too steep—that death is too certain.
-The officers cannot persuade the men to advance.
-The Americans have lost the field.
-Even Morgan, that iron man among iron
-men, leans on his rifle and despairs of the
-field.</p>
-
-<p>But look yonder! In this moment when
-all is dismay and horror, here crashing on,
-comes the black horse and his rider. That
-rider bends upon his steed, his frenzied face
-covered with sweat and dust and blood; he
-lays his hand upon that brave rifleman’s
-shoulder, and as though living fire had been
-poured into his veins, he seized his rifle and
-started toward the rock. And now look!
-now hold your breath, as that black steed
-crashes up that steep cliff. That steed quivers!
-he totters! he falls! No! No! Still
-on, still up the cliff, still on toward the fortress.</p>
-
-<p>The rider turns his face and shouts, “Come
-on, men of Quebec! come on!” That call
-is needless. Already the bold riflemen are
-on the rock. Now British cannon pour<span class="pagenum"><a id="Page_198"></a>[198]</span>
-your fires, and lay your dead in tens and
-twenties on the rock. Now, red-coat hirelings,
-shout your battle-cry if you can! For
-look! there, in the gate of the fortress, as
-the smoke clears away, stands the Black
-Horse and his rider. That steed falls dead,
-pierced by an hundred balls; but his rider,
-as the British cry for quarter, lifts up his
-voice and shouts afar to Horatio Gates waiting
-yonder in his tent, “Saratoga is won!”</p>
-
-<p>As that cry goes up to heaven, he falls
-with his leg shattered by a cannon ball.
-Who was the rider of the black horse? Do
-you not guess his name? Then bend down
-and gaze on that shattered limb, and you will
-see that it bears the marks of a former wound.
-That wound was received in the storming of
-Quebec. That rider of the Black Horse
-was Benedict Arnold.</p>
-
-<p class="right"><span class="smcap">Charles Sheppard.</span></p>
-
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>THE UNFINISHED LETTER.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse right">“<span class="smcap">Near Deadwood.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“<span class="smcap">Dear Jenny</span>—</div>
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">“We reached here this morning,</div>
-    <div class="verse indent2">Tom Baker, Ned Leonard and I,</div>
-    <div class="verse indent0">So you see that, in spite of your warning,</div>
-    <div class="verse indent2">The end of our journey is nigh.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“The redskins—’tis scarce worth a mention,</div>
-    <div class="verse indent2">Don’t worry about me, I pray—</div>
-    <div class="verse indent0">Have shown us no little attention—</div>
-    <div class="verse indent2">Confound them?—along on our way.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Poor Ned’s got a ball in the shoulder—</div>
-    <div class="verse indent2">Another one just grazed my side—</div>
-    <div class="verse indent0">But pshaw! ere we’re half a day older</div>
-    <div class="verse indent2">We’ll be at the end of our ride.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“We’ve camped here for breakfast. Tom’s splitting</div>
-    <div class="verse indent2">Some kindling wood, off of the pines,</div>
-    <div class="verse indent0">And astride a dead cedar I’m sitting</div>
-    <div class="verse indent2">To hastily pen you these lines.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“A courier from Deadwood—we met him</div>
-    <div class="verse indent2">Just now with a mail for the States,</div>
-    <div class="verse indent0">(Ah, Jenny! I’ll never forget him)—</div>
-    <div class="verse indent2">For this most obligingly waits.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“He says, too, the miners are earning</div>
-    <div class="verse indent2">Ten dollars a day, every man.</div>
-    <div class="verse indent0">Halloa! here comes Tom—he’s returning,</div>
-    <div class="verse indent2">And running as fast as he can.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“It’s nothing, I guess; he is only</div>
-    <div class="verse indent2">At one of his practical—” Bang!</div>
-    <div class="verse indent0">And sharp through that solitude lonely</div>
-    <div class="verse indent2">The crack of Sioux rifle shots rang.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And as the dire volley came blended</div>
-    <div class="verse indent2">With echo from canyon and pass,</div>
-    <div class="verse indent0">The letter to Jenny was ended—</div>
-    <div class="verse indent2">Its writer lay dead on the grass.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>LEGEND OF THE ORGAN-BUILDER.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-d.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">Day by day the Organ-builder in his lonely chamber wrought;</div>
-    <div class="verse indent0">Day by day the soft air trembled to the music of his thought;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Till at last the work was ended; and no organ-voice so grand</div>
-    <div class="verse indent0">Ever yet had soared responsive to the master’s magic hand.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Ay, so rarely was it builded that whenever groom and bride,</div>
-    <div class="verse indent0">Who, in God’s sight were well-pleasing, in the church stood side by side,</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Without touch or breath the organ of itself began to play,</div>
-    <div class="verse indent0">And the very airs of heaven through the soft gloom seemed to stray.</div><span class="pagenum"><a id="Page_199"></a>[199]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He was young, the Organ-builder, and o’er all the land his fame</div>
-    <div class="verse indent0">Ran with fleet and eager footsteps, like a swiftly rushing flame.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">All the maidens heard the story; all the maidens blushed and smiled,</div>
-    <div class="verse indent0">By his youth and wondrous beauty and his great renown beguiled.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">So he sought and won the fairest, and the wedding-day was set:</div>
-    <div class="verse indent0">Happy day—the brightest jewel in the glad year’s coronet!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But when they the portal entered, he forgot his lovely bride—</div>
-    <div class="verse indent0">Forgot his love, forgot his God, and his heart swelled high with pride.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Ah!” thought he; “how great a master am I! When the organ plays,</div>
-    <div class="verse indent0">How the vast cathedral-arches will re-echo with my praise!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Up the aisle the gay procession moved. The altar shone afar,</div>
-    <div class="verse indent0">With every candle gleaming through soft shadows like a star.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But he listened, listened, listened, with no thought of love or prayer,</div>
-    <div class="verse indent0">For the swelling notes of triumph from his organ standing there.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">All was silent. Nothing heard he save the priest’s low monotone,</div>
-    <div class="verse indent0">And the bride’s robe trailing softly o’er the floor of fretted stone.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then his lips grew white with anger. Surely God was pleased with him</div>
-    <div class="verse indent0">Who had built the wondrous organ for His temple vast and dim!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Whose the fault, then? Hers—the maiden standing meekly at his side!</div>
-    <div class="verse indent0">Flamed his jealous rage, maintaining she was false to him—his bride.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Vain were all her protestations, vain her innocence and truth;</div>
-    <div class="verse indent0">On that very night he left her to her anguish and her ruth.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">For he wandered to a country wherein no man knew his name;</div>
-    <div class="verse indent0">For ten weary years he dwelt there, nursing still his wrath and shame.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then his haughty heart grew softer, and he thought by night and day</div>
-    <div class="verse indent0">Of the bride he had deserted, till he hardly dared to pray;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Thought of her, a spotless maiden, fair and beautiful and good;</div>
-    <div class="verse indent0">Thought of his relentless anger, that had cursed her womanhood;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Till his yearning grief and penitence at last were all complete,</div>
-    <div class="verse indent0">And he longed, with bitter longing, just to fall down at her feet.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Ah! how throbbed his heart when, after many a weary day and night,</div>
-    <div class="verse indent0">Rose his native towers before him, with the sunset glow alight!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Through the gates into the city on he pressed with eager tread;</div>
-    <div class="verse indent0">There he met a long procession—mourners following the dead.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Now why weep ye so, good people? and whom bury ye to-day?</div>
-    <div class="verse indent0">Why do yonder sorrowing maidens scatter flowers along the way?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Has some saint gone up to heaven?” “Yes,” they answered, weeping sore;</div>
-    <div class="verse indent0">“For the Organ-builder’s saintly wife our eyes shall see no more;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“And because her days were given to the service of God’s poor,</div>
-    <div class="verse indent0">From His church we mean to bury her. See! yonder is the door.”</div><span class="pagenum"><a id="Page_200"></a>[200]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">No one knew him; no one wondered when he cried out, white with pain;</div>
-    <div class="verse indent0">No one questioned when, with pallid lips, he poured his tears like rain.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“’Tis some one whom she has comforted, who mourns with us,” they said,</div>
-    <div class="verse indent0">As he made his way unchallenged, and bore the coffin’s head;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Bore it through the open portal, bore it up the echoing aisle,</div>
-    <div class="verse indent0">Let it down before the altar, where the lights burned clear the while;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">When, oh, hark! the wondrous organ of itself began to play</div>
-    <div class="verse indent0">Strains of rare, unearthly sweetness never heard until that day!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">All the vaulted arches rang with the music sweet and clear!</div>
-    <div class="verse indent0">All the air was filled with glory, as of angels hovering near;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And ere yet the strain was ended, he who bore the coffin’s head,</div>
-    <div class="verse indent0">With the smile of one forgiven, gently sank beside it—dead.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">They who raised the body knew him, and they laid him by his bride;</div>
-    <div class="verse indent0">Down the aisle and o’er the threshold they were carried, side by side;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">While the organ played a dirge that no man ever heard before,</div>
-    <div class="verse indent0">And then softly sank to silence—silence kept for evermore.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Julia C. R. Dorr.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>CAUGHT IN THE QUICKSAND.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-i.jpg" width="50" height="100" alt="" />
-</div>
-
-<p class="dropcap">It sometimes happens that a man, traveler
-or fisherman, walking on the beach at
-low tide, far from the bank, suddenly
-notices that for several minutes he has been
-walking with some difficulty. The strand
-beneath his feet is like pitch; his soles stick
-in it; it is sand no longer; it is glue.</p>
-
-<p>The beach is perfectly dry, but at every
-step he takes, as soon as he lift his foot, the
-print which it leaves fills with water. The
-eye, however, has noticed no change; the
-immense strand is smooth and tranquil; all
-the sand has the same appearance; nothing
-distinguishes the surface which is solid from
-that which is no longer so; the joyous little
-crowd of sandflies continue to leap tumultuously
-over the wayfarer’s feet. The man
-pursues his way, goes forward, inclines to the
-land, endeavors to get nearer the upland.</p>
-
-<p>He is not anxious. Anxious about what?
-Only he feels, somehow, as if the weight of
-his feet increases with every step he takes.
-Suddenly he sinks in.</p>
-
-<p>He sinks in two or three inches. Decidedly
-he is not on the right road; he stops to
-take his bearings; now he looks at his feet.
-They have disappeared. The sand covers
-them. He draws them out of the sand; he
-will retrace his steps. He turns back, he
-sinks in deeper. The sand comes up to his
-ankles; he pulls himself out and throws himself
-to the left; the sand half leg deep. He
-throws himself to the right; the sand comes
-up to his shins.</p>
-
-<p>Then he recognizes with unspeakable terror
-that he is caught in the quicksand, and
-that he has beneath him the terrible medium
-in which man can no more walk than the fish
-can swim. He throws off his load, if he has
-one, lightens himself as a ship in distress; it
-is already too late; the sand is above his
-knees. He calls, he waves his hat or his
-handkerchief; the sand gains on him more
-and more. If the beach is deserted, if the
-land is too far off, if there is no help in sight,
-it is all over.</p>
-
-<p><span class="pagenum"><a id="Page_201"></a>[201]</span></p>
-
-<p>He is condemned to that appalling burial,
-long, infallible, implacable and impossible to
-slacken or to hasten, which endures for hours,
-which seizes you erect, free and in full health,
-and which draws you by the feet; which, at
-every effort that you attempt, at every shout
-you utter, drags you a little deeper, sinking
-you slowly into the earth while you look
-upon the horizon, the sails of the ships upon
-the sea, the birds flying and singing, the sunshine
-and the sky. The victim attempts to
-sit down, to lie down, to creep; every movement
-he makes inters him; he straightens
-up, he sinks in; he feels that he is being
-swallowed. He howls, implores, cries to the
-clouds, despairs.</p>
-
-<p>Behold him waist deep in the sand. The
-sand reaches his breast; he is now only a
-bust. He raises his arms, utters furious
-groans, clutches the beach with his nails,
-would hold by that straw, leans upon his
-elbows, to pull himself out of this soft sheath;
-sobs frenziedly; the sand rises; the sand
-reaches his shoulders; the sand reaches his
-neck; the face alone is visible now.</p>
-
-<p>The mouth cries, the sand fills it—silence.
-The eyes still gaze—the sand shuts them;
-night. Now the forehead decreases, a little
-hair flutters above the sand; a hand come to
-the surface of the beach, moves, and shakes,
-disappears. It is the earth-drowning man.
-The earth filled with the ocean becomes a
-trap. It presents itself like a plain, and opens
-like a wave.</p>
-
-<p class="right"><span class="smcap">Victor Hugo.</span></p>
-
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>THE LITTLE QUAKER SINNER.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" /></div>
-    <div class="dropcapline">A little Quaker maiden, with dimpled cheek and chin,</div>
-    <div class="verse indent0">Before an ancient mirror stood, and viewed her from within</div>
-    <div class="verse indent0">She wore a gown of sober gray, a cap demure and prim,</div>
-    <div class="verse indent0">With only simple fold and hem, yet dainty, neat and trim.</div>
-    <div class="verse indent0">Her bonnet, too, was gray and stiff; its only line of grace</div>
-    <div class="verse indent0">Was in the lace, so soft and white, shirred round her rosy face.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Quoth she: “Oh, how I hate this hat! I hate this gown and cape!</div>
-    <div class="verse indent0">I do wish all my clothes were not of such outlandish shape!</div>
-    <div class="verse indent0">The children passing by to school have ribbons on their hair;</div>
-    <div class="verse indent0">The little girl next door wears blue; oh, dear, if I could dare,</div>
-    <div class="verse indent0">I know what I should like to do!”—(The words were whispered low,</div>
-    <div class="verse indent0">Lest such tremendous heresy should reach her aunts below.)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Calmly reading in the parlor sat the good aunts Faith and Peace,</div>
-    <div class="verse indent0">Little dreaming how rebellious throbbed the heart of their young niece.</div>
-    <div class="verse indent0">All their prudent, humble teaching willfully she cast aside,</div>
-    <div class="verse indent0">And, her mind now fully conquered by vanity and pride,</div>
-    <div class="verse indent0">She, with trembling heart and fingers, on a hassock sat her down,</div>
-    <div class="verse indent0">And this little Quaker sinner sewed a tuck into her gown!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Little Patience, art thou ready? Fifth day meeting time has come,</div>
-    <div class="verse indent0">Mercy Jones and Goodman Elder with his wife have left their home.”</div>
-    <div class="verse indent0">’Twas Aunt Faith’s sweet voice that called her, and the naughty little maid—</div>
-    <div class="verse indent0">Gliding down the dark old stairway—hoped their notice to evade,</div>
-    <div class="verse indent0">Keeping shyly in their shadow as they went out at the door,</div>
-    <div class="verse indent0">Ah! never little Quakeress a guiltier conscience bore!</div><span class="pagenum"><a id="Page_202"></a>[202]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Dear Aunt Faith walked looking upward; all her thoughts were pure and holy;</div>
-    <div class="verse indent0">And Aunt Peace walked gazing downward, with a humble mind and lowly.</div>
-    <div class="verse indent0">But “tuck—tuck!” chirped the sparrows, at the little maiden’s side;</div>
-    <div class="verse indent0">And, in passing Farmer Watson’s, where the barn-door opened wide,</div>
-    <div class="verse indent0">Every sound that issued from it, every grunt and every cluck,</div>
-    <div class="verse indent0">Was to her affrighted fancy like “a tuck!” “a tuck!” “a tuck!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">In meeting, Goodman Elder spoke of pride and vanity,</div>
-    <div class="verse indent0">While all the Friends seemed looking round that dreadful tuck to see.</div>
-    <div class="verse indent0">How it swelled in its proportions, till it seemed to fill the air,</div>
-    <div class="verse indent0">And the heart of little Patience grew heavier with her care.</div>
-    <div class="verse indent0">O, the glad relief to her, when, prayers and exhortations ended,</div>
-    <div class="verse indent0">Behind her two good aunties her homeward way she wended!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The pomps and vanities of life she’d seized with eager arms,</div>
-    <div class="verse indent0">And deeply she had tasted of the world’s alluring charms—</div>
-    <div class="verse indent0">Yea, to the dregs had drained them, and only this to find:</div>
-    <div class="verse indent0">All was vanity of spirit and vexation of the mind.</div>
-    <div class="verse indent0">So, repentant, saddened, humbled on her hassock she sat down,</div>
-    <div class="verse indent0">And this little Quaker sinner ripped the tuck out of her gown!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Lucy L. Montgomery.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>THE TELL-TALE HEART.</h4>
-
-<p>The emotions of horror and dismay are vividly brought out in this
-selection, which is characteristic of some of the writings of Edgar A.
-Poe. He had a morbid fancy for the weird, the gruesome and startling, all
-of which appear in this ghastly description from his pen. The piece is
-an excellent one of its kind. It requires the ability of a tragedian to
-properly deliver it.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" />
-</div>
-
-<p class="dropcap">With a loud yell I threw open the
-lantern and leaped into the room.
-He shrieked once—once only. In
-an instant I dragged him to the floor, and
-pulled the heavy bed over him. I then
-smiled gayly to find the deed so far done.
-But for many minutes the heart beat on with
-a muffled sound. This, however, did not
-vex me; it would not be heard through the
-wall. At length it ceased. The old man
-was dead. I removed the bed and examined
-the corpse. I placed my hand upon the
-heart and held it there many minutes. There
-was no pulsation. He was stone dead. His
-eye would trouble me no more.</p>
-
-<p>If you still think me mad, you will think
-so no longer when I describe the wise precautions
-I took for the concealment of the
-body. The night waned, and I worked hastily,
-but in silence. First of all I dismembered
-the corpse.</p>
-
-<p>I then took up three planks from the
-flooring of the chamber and deposited all
-between the scantlings. I then replaced the
-boards so cleverly, so cunningly, that no
-human eye—not even his—could have detected
-anything wrong.</p>
-
-<p>When I had made an end of these labors
-it was four o’clock—still dark as midnight.
-As the bell sounded the hour, there came a
-knocking at the street door. I went down
-to open it with a light heart—for what had
-I now to fear? Then entered three men
-who introduced themselves, with perfect
-suavity, as officers of the police. A shriek
-had been heard by a neighbor during the
-night; suspicion of foul play had been
-aroused; information had been lodged at the<span class="pagenum"><a id="Page_203"></a>[203]</span>
-police office, and they (the officers) had been
-deputed to search the premises.</p>
-
-<p>I smiled—for what had I to fear? I bade
-the gentlemen welcome. The shriek, I said,
-was my own in a dream. The old man, I
-mentioned, was absent in the country. I
-took my visitors all over the house. I bade
-them search—search well. I led them at
-length to his chamber. I showed them his
-treasures, secure, undisturbed. In the enthusiasm
-of my confidence I brought chairs
-into the room, and desired them here to rest
-from their fatigues, while I myself, in the
-wild audacity of my perfect triumph, placed
-my own seat upon the very spot beneath
-which reposed the corpse of the victim.</p>
-
-<p>The officers were satisfied. My manner
-had convinced them. I was singularly at
-ease. But ere long I felt myself getting pale
-and wished them gone. My head ached,
-and I fancied a ringing in my ears; but still
-they sat and still chatted. The ringing became
-more distinct; it continued and gained
-definitiveness—until at length I found that
-the noise was not within my ears.</p>
-
-<p>No doubt I now grew very pale; but I
-talked more fluently and with a heightened
-voice. Yet the sound increased—and what
-could I do. It was a low, dull, quick sound—much
-such a sound as a watch makes
-when enveloped in cotton. I gasped for
-breath—and yet the officers heard it not. I
-talked more quickly—more vehemently; but
-the noise steadily increased. I arose and
-argued about trifles, in a high key and with
-violent gesticulations; but the noise steadily
-increased. Why would they not be gone? I
-paced the floor to and fro with heavy strides,
-as if excited to fury by the observations of the
-men—but the noise steadily increased. O
-God! what could I do? I foamed—I raved—I
-swore! I swung the chair upon which I had
-been sitting, and grated it upon the boards,
-but the noise arose over all and continually
-increased. It grew louder—louder—louder.
-And still the men chatted pleasantly and
-smiled. Was it possible they heard not?</p>
-
-<p>They heard!—they suspected!—they knew!—they
-were making a mockery of my horror!
-this I thought, and this I think. But
-anything was better than this agony! Anything
-was more tolerable than this derision!
-I can bear those hypocritical smiles no
-longer! I felt that I must scream or die!—and
-now—again!—hark! louder! louder!
-louder! louder!</p>
-
-<p>“Villains!” I shrieked, “dissemble no
-more! I admit the deed—tear up the planks!
-here! here! it is the beating of his hideous
-heart!”</p>
-
-<p class="right"><span class="smcap">Edgar Allan Poe.</span></p>
-
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>THE LITTLE MATCH-GIRL.</h4>
-
-<p class="center">A CHRISTMAS STORY.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-i.jpg" width="50" height="100" alt="" />
-</div>
-
-<p class="dropcap">It was terribly cold; it snowed and was
-already almost dark and evening coming
-on—the last evening of the year.
-In the cold and gloom a little girl, bareheaded
-and barefooted, was walking through the
-streets. When she left her own house she
-certainly had slippers on, slippers, but of
-what use were they? They were very big
-slippers, and her mother had used them until
-then. So big were they the little maid lost
-them as she slipped across the road, where
-two carriages were rattling by terribly fast.
-One slipper was not to be found again, and
-a boy had seized the other and ran away
-with it. So now the little girl went with
-naked feet, which were quite red and blue
-with the cold. In an old apron she carried
-a number of matches and a bundle of them<span class="pagenum"><a id="Page_204"></a>[204]</span>
-in her hand. No one had bought anything
-of her all day, and no one had given her a
-farthing.</p>
-
-<p>Shivering with cold and hunger she crept
-along, a picture of misery, poor little girl!
-The snowflakes covered her long, fair hair,
-which fell in pretty curls over her neck, but
-she did not think of that now. In all the
-windows lights were shining and there was a
-glorious smell of roast goose, for it was
-Christmas Eve. Yes, she thought of that!</p>
-
-<p>In a corner formed by two houses, one of
-which projected beyond the other, she sat
-down, cowering. She had drawn up her
-little feet, but she was still colder, and she
-did not dare go home, for she had sold no
-matches, and did not therefore have a farthing
-of money. From her father she would
-certainly receive a beating, and, besides, it
-was cold at home, for they had nothing over
-them but a roof, through which the wind
-whistled, though the largest rents had been
-stopped with straw and rags.</p>
-
-<p>Her hands were almost benumbed with
-the cold. Ah! a match might do her good
-if she could only draw one from the bundle
-and rub it against the wall and warm her
-hands at it. She draws one out. R-r-atch!
-How it sputtered and burned! It was a
-warm, bright flame, like a candle, when she
-held her hands over it; it was a wonderful
-little light! It really seemed to the child as
-if she sat before a great polished stove with
-bright brass feet and a brass cover. How
-the fire burned! How comfortable it was!
-but the little flame went out, the stove vanished,
-and she had only the remains of the
-burnt match in her hand.</p>
-
-<p>A second one was rubbed against the wall.
-It burned up, and when the light fell upon
-the wall it became transparent, like a thin
-veil, and she could see through it into the
-room. On the table a snow-white cloth was
-spread; upon it stood a shining dinner service;
-the roast goose smoked gloriously,
-stuffed with apples and dried plums. And
-what was still more splendid to behold, the
-goose hopped down from the dish and waddled
-along the floor, with a knife and fork in
-its breast, to the little girl.</p>
-
-<p>Then the match went out, and only the
-thick, damp, cold wall was before her. She
-lighted another match. Then she was sitting
-under a beautiful Christmas tree; it was
-greater and more ornamented than the one
-she had seen through the glass door at the rich
-merchant’s. Thousands of candles burned
-upon its green branches and lighted up the
-pictures in the room. The girl stretched
-forth her hand toward them; then the match
-went out. The Christmas lights mounted
-higher. She saw them now as stars in the
-sky; one of them fell down, forming a long
-line of fire.</p>
-
-<p>“Now some one is dying,” thought the
-little girl, for her old grandmother, the only
-person who had loved her and who was now
-dead, had told her that when a star fell down
-a soul mounted up to God.</p>
-
-<p>She rubbed another match against the
-wall; it became bright again, and in the
-brightness the old grandmother stood clear
-and shining, mild and lovely.</p>
-
-<p>“Grandmother!” cried the child, “oh!
-take me with you! I know you will go
-when the match is burned out. You will
-vanish like the warm fire, the warm food,
-and the great, glorious Christmas tree!”</p>
-
-<p>And she hastily rubbed the whole bundle
-of matches, for she wished to hold her grandmother
-fast. And the matches burned with
-such a glow that it became brighter than in
-the middle of the day; grandmother had
-never been so large or so beautiful. She
-took the child in her arms and both flew in
-brightness and joy above the earth, very,
-very high; and up there was neither cold
-nor hunger nor care—they were with God.</p>
-
-<p><span class="pagenum"><a id="Page_205"></a>[205]</span></p>
-
-<p>But in the corner, leaning against the wall,
-sat the poor girl with red cheeks and smiling
-mouth, frozen to death. “She wanted to
-warm herself,” the people said. No one
-imagined what a beautiful thing she had
-seen and in what glory she had gone in
-with her grandmother on that Christmas
-night.</p>
-
-<p class="right"><span class="smcap">Hans Christian Andersen.</span></p>
-
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>THE MONK’S VISION.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I read a legend of a monk who painted,</div>
-    <div class="verse indent2">In an old convent cell in days bygone,</div>
-    <div class="verse indent0">Pictures of martyrs and of virgins sainted,</div>
-    <div class="verse indent2">And the sweet Christ-face with the crown of thorn.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Poor daubs not fit to be a chapel’s treasure—</div>
-    <div class="verse indent2">Full many a taunting word upon them fell;</div>
-    <div class="verse indent0">But the good abbot let him, for his pleasure,</div>
-    <div class="verse indent2">Adorn with them his solitary cell.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">One night the poor monk mused: “Could I but render</div>
-    <div class="verse indent2">Honor to Christ as other painters do—</div>
-    <div class="verse indent0">Were but my skill as great as is the tender</div>
-    <div class="verse indent2">Love that inspires me when His cross I view!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“But no; ’tis vain I toil and strive in sorrow;</div>
-    <div class="verse indent2">What man so scorns, still less can He admire;</div>
-    <div class="verse indent0">My life’s work is all valueless; to-morrow</div>
-    <div class="verse indent2">I’ll cast my ill-wrought pictures in the fire.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He raised his eyes within his cell—O wonder!</div>
-    <div class="verse indent2">There stood a visitor; thorn-crowned was He,</div>
-    <div class="verse indent0">And a sweet voice the silence rent asunder:</div>
-    <div class="verse indent2">“I scorn no work that’s done for love of me.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And round the walls the paintings shone resplendent</div>
-    <div class="verse indent2">With lights and colors to this world unknown,</div>
-    <div class="verse indent0">A perfect beauty, and a hue transcendent,</div>
-    <div class="verse indent2">That never yet on mortal canvas shone.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There is a meaning in this strange old story;</div>
-    <div class="verse indent2">Let none dare judge his brother’s worth or need;</div>
-    <div class="verse indent0">The pure intent gives to the act its glory,</div>
-    <div class="verse indent2">The noblest purpose makes the grandest deed.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>THE BOAT RACE</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">The Algonquins rowed up and down a
-few times before the spectators. They
-appeared in perfect training, mettlesome
-as colts, steady as draught horses, deep
-breathed as oxen, disciplined to work together
-as symmetrically as a single sculler
-pulls his pair of oars.</p>
-
-<p>Five minutes passed, and all eyes were
-strained to the south, looking for the Atalanta.
-A clumb of trees hid the edge of the
-lake along which the Corinna’s boat was
-stealing toward the starting point. Presently
-the long shell swept into view, with its
-blooming rowers. How steadily the Atalanta
-came on! No rocking, no splashing,
-no apparent strain; the bow oar turning to
-look ahead every now and then, and watching
-her course, which seemed to be straight
-as an arrow, the beat of the strokes as true
-and regular as the pulse of the healthiest
-rower among them all.</p>
-
-<p>If the sight of the other boat and its crew
-of young men was beautiful, how lovely was
-the look of this: eight young girls—all in
-the flush of youth, all in vigorous health;
-every muscle taught its duty; each rower
-alert not to be a tenth of a second out of
-time, or let her oar dally with the water so
-as to lose an ounce of its propelling virtue;
-every eye kindling with the hope of victory.
-Each of the boats was cheered as it came in
-sight, but the cheers for the Atalanta were<span class="pagenum"><a id="Page_206"></a>[206]</span>
-naturally the loudest, as the gallantry of one
-sex and the clear, high voices of the other
-gave it his and vigor.</p>
-
-<p>“Take your places!” shouted the umpire,
-five minutes before the half-hour. The two
-boats felt their way slowly and cautiously to
-their positions. After a little backing and
-filling they got into line, and sat motionless,
-the bodies of the rowers bent forward, their
-arms outstretched, their oars in the water,
-waiting for the word. “Go!” shouted the
-umpire. Away sprang the Atalanta, and far
-behind her leaped the Algonquin, her oars
-bending like long Indian bows as their blades
-flashed through the water.</p>
-
-<p>“A stern chase is a long chase,” especially
-when one craft is a great distance behind the
-other. It looked as if it would be impossible
-for the rear boat to overcome the odds against
-it. Of course, the Algonquin kept gaining,
-but could it possibly gain enough? As the
-boats got farther and farther away, it became
-difficult to determine what change there was
-in the interval between them.</p>
-
-<p>But when they came to rounding the stake
-it was easier to guess at the amount of space
-which had been gained. Something like half
-the distance—four lengths as nearly as could
-be estimated—had been made up in rowing
-the first three-quarters of a mile. Could the
-Algonquins do a little better than this in the
-second half of the race-course they would be
-sure of winning.</p>
-
-<p>The boats had turned the stake and were
-coming in rapidly. Every minute the University
-boat was getting nearer the other.</p>
-
-<p>“Go it, ’Quins!” shouted the students.</p>
-
-<p>“Pull away, ’Lantas!” screamed the girls,
-who were crowding down to the edge of the
-water.</p>
-
-<p>Nearer, nearer—the rear boat is pressing
-the other more and more closely—a few
-more strokes and they will be even. It looks
-desperate for the Atalantas. The bow oar of
-the Algonquin turns his head. He sees the
-little coxswain leaning forward at every
-stroke, as if her trivial weight were of such
-mighty consequence—but a few ounces might
-turn the scale of victory. As he turned he
-got a glimpse of the stroke oar of the Atalanta;
-what a flash of loveliness it was!
-Her face was like the reddest of June roses,
-with the heat and the strain and passion of
-expected triumph.</p>
-
-<p>The upper button of her close-fitting flannel
-suit had strangled her as her bosom
-heaved with exertion, and it had given way
-before the fierce clutch she made at it. The
-bow oar was a staunch and steady rower,
-but he was human. The blade of his oar
-lingered in the water; a little more and he
-would have caught a crab, and perhaps lost
-the race by his momentary bewilderment.</p>
-
-<p>The boat, which seemed as if it had all the
-life and nervousness of a three-year-old colt,
-felt the slight check, and all her men bent
-more vigorously to their oars. The Atalanta
-saw the movement, and made a spurt to keep
-their lead and gain upon it if they could. It
-was no use. The strong arms of the young
-men were too much for the young maidens;
-only a few lengths remained to be rowed, and
-they would certainly pass the Atalanta before
-she could reach the line.</p>
-
-<p>The little coxswain saw that it was all up
-with the girls’ crew if she could not save
-them by some strategic device. As she
-stooped she lifted the handkerchief at her
-feet and took from it a flaming bouquet.
-“Look!” she cried, and flung it just forward
-of the track of the Algonquin.</p>
-
-<p>The captain of the University boat turned
-his head, and there was the lovely vision
-which had, a moment before, bewitched him.
-The owner of all that loveliness must, he
-thought, have flung the bouquet. It was a
-challenge; how could he be such a coward
-as to decline accepting it? He was sure he<span class="pagenum"><a id="Page_207"></a>[207]</span>
-could win the race now, and he would sweep
-past the line in triumph with the great bunch
-of flowers at the stern of his boat, proud as
-Van Tromp in the British Channel with the
-broom at his masthead.</p>
-
-<p>He turned the boat’s head a little by backing
-water, and came up with the floating
-flowers, near enough to reach them. He
-stooped and snatched them up, with the loss
-perhaps of a second, no more. He felt sure
-of his victory.</p>
-
-<p>The bow of the Algonquin passes the
-stern of the Atalanta! The bow of the Algonquin
-is on a level with the middle of the
-Atalanta—three more lengths and the college
-crew will pass the girls!</p>
-
-<p>“Hurrah for the ’Quins!” The Algonquin
-ranges up alongside of the Atalanta!</p>
-
-<p>“Through with her!” shouts the captain
-of the Algonquin.</p>
-
-<p>“Now, girls!” shrieks the captain of the
-Atalanta.</p>
-
-<p>They near the line, every rower straining
-desperately, almost madly. Crack goes the
-oar of the Atalanta’s captain, and up flash its
-splintered fragments as the stem of her boat
-springs past the line, eighteen inches at least
-ahead of the Algonquin.</p>
-
-<p>“Hooraw for the ’Lantas! Hooraw for
-the girls! Hooraw for the Institoot!” shout
-a hundred voices.</p>
-
-<p>And there is loud laughing and cheering
-all round.</p>
-
-<p>The pretty little captain had not studied
-her classical dictionary for nothing. “I
-have paid off an old ‘score,’” she said. “Set
-down my damask roses against the golden
-apples of Hippomenes!” It was that one
-second lost in snatching up the bouquet
-which gave the race to the Atalantas!</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>PHILLIPS OF PELHAMVILLE.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">Short is the story I say, if you will</div>
-    <div class="verse indent0">Hear it, of Phillips of Pelhamville:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">An engineer for many a day</div>
-    <div class="verse indent0">Over miles and miles of the double way.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He was out that day, running sharp, for he knew</div>
-    <div class="verse indent0">He must shunt ahead for a train overdue,</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The South Express coming on behind</div>
-    <div class="verse indent0">With the swing and rush of a mighty wind.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">No need to say in this verse of mine</div>
-    <div class="verse indent0">How accidents happen along the line.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">A rail lying wide to the gauge ahead,</div>
-    <div class="verse indent0">A signal clear when it should be red;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">An axle breaking, the tire of a wheel</div>
-    <div class="verse indent0">Snapping off at a hidden flaw in the steel.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Enough. There were wagons piled up in the air,</div>
-    <div class="verse indent0">As if some giant had tossed them there.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Rails broken and bent like a willow wand,</div>
-    <div class="verse indent0">And sleepers torn up through the ballast and sand.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The hiss of the steam was heard, as it rushed</div>
-    <div class="verse indent0">Through the safety-valves; the engine crushed</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Deep into the slope, like a monster driven</div>
-    <div class="verse indent0">To hide itself from the eye of heaven.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But where was Phillips? From underneath</div>
-    <div class="verse indent0">The tender wheels, with their grip of death,</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">They drew him, scalded by steam, and burned</div>
-    <div class="verse indent0">By the engine fires as it overturned.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">They laid him gently upon the slope,</div>
-    <div class="verse indent0">Then knelt beside him with little of hope.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Though dying, he was the only one</div>
-    <div class="verse indent0">Of them all that knew what ought to be done;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">For his fading eye grew quick with a fear,</div>
-    <div class="verse indent0">As if of some danger approaching near.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And it sought—not the wreck of his train that lay</div>
-    <div class="verse indent0">Over the six and the four feet away—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But down the track, for there hung on his mind</div>
-    <div class="verse indent0">The South Express coming up behind.</div><span class="pagenum"><a id="Page_208"></a>[208]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And he half arose with a stifled groan,</div>
-    <div class="verse indent0">While his voice had the same old ring in its tone:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Signal the South Express!” he said,</div>
-    <div class="verse indent0">Then fell back in the arms of his fireman, dead.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Short, as you see, is this story of mine,</div>
-    <div class="verse indent0">And of one more hero of the line.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">For hero he was, though before his name</div>
-    <div class="verse indent0">Goes forth no trumpet-blast of fame.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Yet true to his duty, as steel to steel,</div>
-    <div class="verse indent0">Was Phillips the driver of Pelhamville.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Alexander Anderson.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>POOR LITTLE JIM.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">The cottage was a thatched one, the outside old and mean,</div>
-    <div class="verse indent0">But all within that little cot was wondrous neat and clean;</div>
-    <div class="verse indent0">The night was dark and stormy, the wind was howling wild,</div>
-    <div class="verse indent0">As a patient mother sat beside the death-bed of her child:</div>
-    <div class="verse indent0">A little worn-out creature, his once bright eyes grown dim:</div>
-    <div class="verse indent0">It was a collier’s wife and child, they called him little Jim.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And oh! to see the briny tears fast hurrying down her cheek,</div>
-    <div class="verse indent0">As she offered up the prayer, in thought, she was afraid to speak,</div>
-    <div class="verse indent0">Lest she might waken one she loved far better than her life;</div>
-    <div class="verse indent0">For she had all a mother’s heart, had that poor collier’s wife.</div>
-    <div class="verse indent0">With hands uplifted, see, she kneels beside the sufferer’s bed,</div>
-    <div class="verse indent0">And prays that He would spare her boy, and take herself instead.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">She gets her answer from the child: soft fall the words from him:</div>
-    <div class="verse indent0">“Mother, the angels do so smile, and beckon little Jim,</div>
-    <div class="verse indent0">I have no pain, dear mother, now, but oh! I am so dry,</div>
-    <div class="verse indent0">Just moisten poor Jim’s lips again, and, mother, don’t you cry.”</div>
-    <div class="verse indent0">With gentle, trembling haste she held the liquid to his lip;</div>
-    <div class="verse indent0">He smiled to thank her as he took each little, tiny sip;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Tell father, when he comes from work, I said good-night to him,</div>
-    <div class="verse indent0">And, mother, now I’ll go to sleep.” Alas! poor little Jim!</div>
-    <div class="verse indent0">She knew that he was dying; that the child she loved so dear</div>
-    <div class="verse indent0">Had uttered the last words she might ever hope to hear:</div>
-    <div class="verse indent0">The cottage door is opened, the collier’s step is heard,</div>
-    <div class="verse indent0">The father and the mother meet, yet neither speak a word.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He felt that all was over, he knew his child was dead,</div>
-    <div class="verse indent0">He took the candle in his hand and walked toward the bed;</div>
-    <div class="verse indent0">His quivering lips gave token of the grief he’d fain conceal,</div>
-    <div class="verse indent0">And see, his wife has joined him—the stricken couple kneel:</div>
-    <div class="verse indent0">With hearts bowed down by sadness, they humbly ask of Him,</div>
-    <div class="verse indent0">In heaven once more to meet again their own poor little Jim.</div>
-  </div>
-</div>
-</div>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-
-<p><span class="pagenum"><a id="Page_209"></a>[209]</span></p>
-
-<h3 class="nobreak" id="Orations_by_Famous_Orators"><span class="smcap">Orations by Famous Orators.</span></h3>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-</div>
-
-<p>An oration, strictly speaking, is an elaborate
-discourse delivered on some special
-occasion, and in a somewhat formal and dignified
-manner. As this class of recitations
-stands by itself and is quite different from
-the other selections contained in this volume,
-I have grouped together here a number of
-Famous Orations, all of which have given
-their authors celebrity. These are well
-suited for public delivery by those who prefer
-this kind of recitation and have the oratorical
-ability required for reciting them.</p>
-
-<div class="figcenter-line" style="width: 300px;">
-<img src="images/line11.jpg" width="300" height="15" alt="" />
-</div>
-
-<h4>TRUE MORAL COURAGE.</h4>
-
-<p class="center">BY HENRY CLAY.</p>
-
-<p>When reference is made to America’s greatest orators it is customary to
-mention the name of Henry Clay among the very first. He was frequently
-called “The Mill Boy of the Slashes,” from the fact that he was a poor
-boy and was born in a district in Virginia called “the Slashes.” Mr. Clay
-was tall and slender and had a voice of wonderful range and sympathy, was
-remarkably easy and graceful in manner, and few orators who ever lived
-possessed such persuasive power.</p>
-
-<p>The opening part of this fine selection should be delivered in a rather
-quiet, slightly satirical tone; but in the later passages the speaker
-should grow warm and enthusiastic, and voice and gesture should express a
-full appreciation of the lofty sentiments he is uttering.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">There is a sort of courage, which, I
-frankly confess it, I do not possess—a
-boldness to which I dare not aspire,
-a valor which I cannot covet. I cannot lay
-myself down in the way of the welfare and
-happiness of my country. That, I cannot—I
-have not the courage to do. I cannot interpose
-the power with which I may be invested—a
-power conferred, not for my personal
-benefit, nor for my aggrandizement,
-but for my country’s good—to check her
-onward march to greatness and glory. I
-have not courage enough. I am too cowardly
-for that.</p>
-
-<p>I would not, I dare not, in the exercise of
-such a threat, lie down, and place my body
-across the path that leads my country to
-prosperity and happiness. This is a sort of
-courage widely different from that which a
-man may display in his private conduct and
-personal relations. Personal or private courage
-is totally distinct from that higher and
-nobler courage which prompts the patriot to
-offer himself a voluntary sacrifice to his
-country’s good.</p>
-
-<p>Apprehensions of the imputation of the
-want of firmness sometimes impel us to perform
-rash and inconsiderate acts. It is the
-greatest courage to be able to bear the imputation
-of the want of courage.</p>
-
-<p>But pride, vanity, egotism, so unamiable
-and offensive in private life, are vices which
-partake of the character of crimes in the
-conduct of public affairs. The unfortunate
-victim of these passions cannot see beyond
-the little, petty, contemptible circle of his
-own personal interests. All his thoughts are
-withdrawn from his country, and concentrated
-on his consistency, his firmness, himself.</p>
-
-<p>The high, the exalted, the sublime emotions
-of a patriotism which, soaring toward<span class="pagenum"><a id="Page_210"></a>[210]</span>
-heaven, rises far above all mean, low, or
-selfish things, and is absorbed by one soul-transporting
-thought of the good and the
-glory of one’s country, are never felt in his
-impenetrable bosom. That patriotism which,
-catching its inspiration of the immortal God,
-and, leaving at an immeasurable distance below
-all lesser, groveling, personal interests
-and feelings, animates and prompts to deeds
-of self-sacrifice, of valor, of devotion, and of
-death itself—that is public virtue; that is the
-noblest, the sublimest of all public virtues!</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>THE STRUGGLE FOR LIBERTY.</h4>
-
-<p class="center">BY JOSIAH QUINCY.</p>
-
-<p>An American orator and patriot, born in Massachusetts in 1744, Mr.
-Quincy, by his fervid and convincing eloquence, was one of the most
-powerful champions of the popular cause of independence.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-b.jpg" width="100" height="100" alt="" />
-</div>
-
-<p class="dropcap">Be not deceived, my countrymen.
-Believe not these venal hirelings,
-when they would cajole you by
-their subtleties into submission, or
-frighten you by their vaporings into compliance.
-When they strive to flatter you by
-the terms “moderation and prudence,” tell
-them that calmness and deliberation are to
-guide the judgment; courage and intrepidity
-command the action. When they endeavor
-to make us “perceive our inability to oppose
-our mother country,” let us boldly answer—In
-defence of our civil and religious rights,
-we dare oppose the world; with the God of
-armies on our side, even the God who fought
-our fathers’ battles, we fear not the hour of
-trial, though the hosts of our enemies should
-cover the field like locusts. If this be enthusiasm,
-we will live and die enthusiasts.</p>
-
-<p>Blandishments will not fascinate us, nor
-will threats of a “halter” intimidate. For,
-under God, we are determined, that wheresoever,
-whensoever, or howsoever we shall be
-called to make our exit, we will die freemen.
-Well do we know that all the regalia of this
-world can not dignify the death of a villain,
-nor diminish the ignominy with which a
-slave shall quit existence.</p>
-
-<p>Neither can it taint the unblemished honor
-of a son of freedom though he should make
-his departure on the already prepared gibbet,
-or be dragged to the newly-erected scaffold
-for execution. With the plaudits of his country,
-and what is more, the plaudits of his conscience,
-he will go off the stage. The history
-of his life, his children shall venerate. The virtues
-of their sires shall excite their emulation.</p>
-
-<p>Is the debt we owe posterity paid? Answer
-me, thou coward, who hidest thyself in
-the hour of trial! If there is no reward in
-this life, no prize of glory in the next, capable
-of animating thy dastard soul, think and
-tremble, thou miscreant! at the whips and
-stripes thy master shall lash thee with on earth—and
-the flames and scorpions thy second
-master shall torment thee with hereafter!</p>
-
-<p>Oh my countrymen! what will our children
-say, when they read the history of these
-times, should they find that we tamely gave
-way, without one noble struggle for the most
-invaluable of earthly blessings! As they
-drag the galling chain, will they not execrate
-us? If we have any respect for things
-sacred, any regard to the dearest treasure on
-earth; if we have one tender sentiment for
-posterity; if we would not be despised by
-the world; let us, in the most open, solemn
-manner, and with determined fortitude, swear—we
-will die if we cannot live freemen. While
-we have equity, justice, and God on our side,
-tyranny, spiritual or temporal, shall never ride
-triumphant in a land inhabited by Englishmen.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_211"></a>[211]</span></p>
-
-<h4>CENTENNIAL ORATION.</h4>
-
-<p class="center">BY HENRY ARMITT BROWN.</p>
-
-<p>From the oration delivered upon the occasion of the Centennial
-Anniversary of the meeting of the first Colonial Congress in Carpenters’
-Hall, Philadelphia. This oration is the masterpiece of a young orator
-who died when but little past the age of thirty, having already gained a
-wide celebrity for scholarly attainments and commanding eloquence. It is
-remarkable for boldness of thought and fervor of expression.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">The conditions of life are always changing,
-and the experience of the fathers
-is rarely the experience of the sons.
-The temptations which are trying us are not
-the temptations which beset their footsteps,
-nor the dangers which threaten our pathway
-the dangers which surrounded them. These
-men were few in number; we are many.
-They were poor, but we are rich. They were
-weak, but we are strong. What is it, countrymen,
-that we need to-day? Wealth? Behold
-it in your hands. Power? God hath
-given it you. Liberty? It is your birthright.
-Peace? It dwells amongst you.</p>
-
-<p>You have a Government founded in the
-hearts of men, built by the people for the
-common good. You have a land flowing
-with milk and honey; your homes are happy,
-your workshops busy, your barns are full.
-The school, the railway, the telegraph, the
-printing press, have welded you together into
-one. Descend those mines that honeycomb
-the hills! Behold that commerce whitening
-every sea! Stand by your gates and see that
-multitude pour through them from the corners
-of the earth, grafting the qualities of
-older stocks upon one stem; mingling the
-blood of many races in a common stream,
-and swelling the rich volume of our English
-speech with varied music from an hundred
-tongues.</p>
-
-<p>You have a long and glorious history, a
-past glittering with heroic deeds, an ancestry
-full of lofty and imperishable examples. You
-have passed through danger, endured privation,
-been acquainted with sorrow, been tried
-by suffering. You have journeyed in safety
-through the wilderness and crossed in triumph
-the Red Sea of civil strife, and the
-foot of Him who led you hath not faltered
-nor the light of His countenance been turned
-away.</p>
-
-<p>It is a question for us now, not of the
-founding of a new government, but of the
-preservation of one already old; not of the
-formation of an independent power, but of
-the purification of a nation’s life; not of the
-conquest of a foreign foe, but of the subjection
-of ourselves. The capacity of man to
-rule himself is to be proven in the days to
-come, not by the greatness of his wealth;
-not by his valor in the field; not by the extent
-of his dominion, nor by the splendor of
-his genius.</p>
-
-<p>The dangers of to-day come from within.
-The worship of self, the love of power, the
-lust for gold, the weakening of faith, the decay
-of public virtue, the lack of private worth—these
-are the perils which threaten our
-future; these are the enemies we have to
-fear; these are the traitors which infest the
-camp; and the danger was far less when
-Catiline knocked with his army at the gates
-of Rome, than when he sat smiling in the
-Senate House. We see them daily face to
-face; in the walk of virtue; in the road to
-wealth; in the path to honor; on the way to
-happiness. There is no peace between them
-and our safety. Nor can we avoid them and
-turn back. It is not enough to rest upon the
-past. No man or nation can stand still. We
-must mount upward or go down. We must
-grow worse or better. It is the Eternal
-Law—we cannot change it.</p>
-
-<p><span class="pagenum"><a id="Page_212"></a>[212]</span></p>
-
-<p>My countrymen: this anniversary has gone
-by forever, and my task is done. While I
-have spoken, the hour has passed from us;
-the hand has moved upon the dial, and the
-old century is dead. The American Union
-hath endured an hundred years! Here, on
-this threshold of the future, the voice of
-humanity shall not plead to us in vain.
-There shall be darkness in the days to come;
-danger for our courage; temptation for our
-virtue; doubt for our faith; suffering for
-our fortitude. A thousand shall fall before
-us, and tens of thousands at our right
-hand. The years shall pass beneath our
-feet, and century follow century in quick
-succession. The generations of men shall
-come and go; the greatness of yesterday
-shall be forgotten; to-day and the glories of
-this noon shall vanish before to-morrow’s
-sun; but America shall not perish, but endure
-while the spirit of our fathers animates their
-sons.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>SPEECH OF SHREWSBURY BEFORE QUEEN ELIZABETH.</h4>
-
-<p class="center">BY FREDERIC VON SCHILLER.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-g.jpg" width="125" height="100" alt="" />
-</div>
-
-<p class="dropcap">God whose most wondrous hand has
-four times protected you, and who
-to-day gave the feeble arm of gray
-hairs strength to turn aside the stroke of a
-madman, should inspire confidence. I will not
-now speak in the name of justice: this is not
-the time. In such a tumult, you cannot
-hear her still small voice. Consider this
-only: you are fearful now of the living Mary;
-but I say it is not the living you have to
-fear. <i>Tremble at the dead—the beheaded.</i>
-She will rise from the grave a fiend of dissension.
-She will awaken the spirit of revenge
-in your kingdom, and wean the hearts
-of your subjects from you. At present she
-is an object of dread to the British; but
-when she is no more, they will revenge her.</p>
-
-<p>No longer will she then be regarded as
-the enemy of their faith; her mournful fate
-will cause her to appear as the grand-daughter
-of their king, the victim of man’s hatred,
-and woman’s jealousy. Soon will you see
-the change appear! Drive through London
-after the bloody deed has been done; show
-yourself to the people, who now surround
-you with joyful acclamations: then will you
-see another England, another people! No
-longer will you then walk forth encircled by
-the radiance of heavenly justice which now
-binds every heart to you. Dread the frightful
-name of tyrant which will precede you
-through shuddering hearts, and resound
-through every street where you pass. You
-have done the last irrevocable deed. What
-head stands fast when this sacred one has
-fallen?</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>THE PROSPECTS OF THE REPUBLIC.</h4>
-
-<p class="center">BY EDWARD EVERETT.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">This, then, is the theatre on which the
-intellect of America is to appear, and
-such the motives to its exertion, such
-the mass to be influenced by its energies,
-such the crowd to witness its efforts, such the
-glory to crown its success. If I err in this
-happy vision of my country’s fortunes, I
-thank God for an error so animating. If this
-be false may I never know the truth. Never
-may you, my friends, be under any other<span class="pagenum"><a id="Page_213"></a>[213]</span>
-feeling than that a great, a growing, an immeasurably
-expanding country is calling upon
-you for your best services.</p>
-
-<p>The most powerful motives call on us
-for those efforts which our common country
-demands of all her children. Most of
-us are of that class who owe whatever of
-knowledge has shone into our minds, to
-the free and popular institutions of our
-native land. There are few of us, who may
-not be permitted to boast, that we have
-been reared in an honest poverty or a frugal
-competence, and owe everything to those
-means of education which are equally open
-to all.</p>
-
-<p>We are summoned to new energy and zeal
-by the high nature of the experiment we are
-appointed in Providence to make, and the
-grandeur of the theatre on which it is to be
-performed. When the Old World afforded
-no longer any hope, it pleased Heaven to
-open this last refuge of humanity. The attempt
-has begun, and is going on, far from
-foreign corruption, on the broadest scale, and
-under the most benignant prospects; and it
-certainly rests with us to solve the great
-problem in human society, to settle, and that
-forever, that momentous question—whether
-mankind can be trusted with a purely popular
-system?</p>
-
-<p>One might almost think, without extravagance,
-that the departed wise and good of all
-places and times are looking down from their
-happy seats to witness what shall now be
-done by us; that they who lavished their
-treasures and their blood of old, who labored
-and suffered, who spake and wrote, who
-fought and perished, in the one great cause
-of freedom and truth, are now hanging from
-their orbs on high, over the last solemn experiment
-of humanity.</p>
-
-<p>As I have wandered over the spots, once
-the scene of their labors, and mused among
-the prostrate columns of their senate houses
-and forums, I have seemed almost to hear a
-voice from the tombs of departed ages; from
-the sepulchers of the nations, which died before
-the sight. They exhort us, they adjure
-us, to be faithful to our trust.</p>
-
-<p>They implore us, by the long trials of
-struggling humanity, by the blessed memory
-of the departed; by the dear faith, which has
-been plighted by pure hands, to the holy
-cause of truth and man; by the awful secrets
-of the prison houses, where the sons of freedom
-have been immured; by the noble heads
-which have been brought to the block; by
-the wrecks of time, by the eloquent ruins of
-nations, they conjure us not to quench the
-light which is rising on the world. Greece
-cries to us, by the convulsed lips of her poisoned,
-dying Demosthenes; and Rome pleads
-with us, in the mute persuasion of her mangled
-Tully.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>THE PEOPLE ALWAYS CONQUER.</h4>
-
-<p class="center">BY EDWARD EVERETT.</p>
-
-<p>As a finished scholar and eloquent speaker, Mr. Everett gained the
-highest distinction. His silvery tones and flowery periods held
-multitudes spellbound. His orations were always prepared with the
-greatest care, delivered from memory, and are models of elevated thought
-and sentiment and brilliant diction. He was the finished orator, noted
-for the classic beauty of his writings.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" />
-</div>
-
-<p class="dropcap">Sir, in the efforts of the people—of
-the people struggling for their
-rights—moving, not in organized,
-disciplined masses, but in their spontaneous
-action, man for man, and heart for heart—there
-is something glorious. They can then<span class="pagenum"><a id="Page_214"></a>[214]</span>
-move forward without orders, act together
-without combination, and brave the flaming
-lines of battle without entrenchments to
-cover or walls to shield them.</p>
-
-<p>No dissolute camp has worn off from the
-feelings of the youthful soldier the freshness
-of that home, where his mother and his sisters
-sit waiting, with tearful eyes and aching
-hearts, to hear good news from the wars; no
-long service in the ranks of a conqueror has
-turned the veteran’s heart into marble.
-Their valor springs not from recklessness,
-from habit, from indifference to the preservation
-of a life knit by no pledges to the life of
-others; but in the strength and spirit of the
-cause alone, they act, they contend, they
-bleed. In this they conquer.</p>
-
-<p>The people always conquer. They always
-<i>must</i> conquer. Armies may be defeated,
-kings may be overthrown, and new dynasties
-imposed, by foreign arms, on an ignorant
-and slavish race, that cares not in what
-language the covenant of their subjection
-runs, nor in whose name the deed of their
-barter and sale is made out.</p>
-
-<p>But the people never invade; and, when
-they rise against the invader, are never subdued.
-If they are driven from the plains,
-they fly to the mountains. Steep rocks and
-everlasting hills are their castles; the tangled,
-pathless thicket their palisado; and nature,
-God, is their ally! Now he overwhelms the
-hosts of their enemies beneath his drifting
-mountains of sand; now he buries them beneath
-a falling atmosphere of polar snows;
-He lets loose his tempest on their fleets;
-He puts a folly into their counsels, a madness
-into the hearts of their leaders; He
-never gave, and never will give, a final triumph
-over a virtuous and gallant people, resolved
-to be free.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“For Freedom’s battle once begun,</div>
-    <div class="verse indent0">Bequeathed from bleeding sire to son</div>
-    <div class="verse indent0">Though baffled oft, is ever won.”</div>
-  </div>
-</div>
-</div>
-
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>TO THE SURVIVORS OF BUNKER HILL.</h4>
-
-<p class="center">BY DANIEL WEBSTER.</p>
-
-<p>One of the towering names in American statesmanship is that of Daniel
-Webster, “the great defender of the Constitution.” Mr. Webster was
-not more remarkable for intellectual power than he was for masterly
-eloquence. His triumphs in Senatorial debate and on great public
-occasions are historic. In person he was large and brawny, with a
-swarthy complexion, massive head, and always conveyed the impression of
-strength, and, at times, even of majesty. His orations are masterpieces
-of patriotic fervor and scholarly culture.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-v.jpg" width="110" height="100" alt="" />
-</div>
-
-<p class="dropcap">Venerable men: you have come
-down to us from a former generation.
-Heaven has bounteously lengthened
-out your lives that you might behold this
-joyous day. You are now where you stood
-fifty years ago, this very hour, with your
-brothers and your neighbors, shoulder to
-shoulder, in the strife of your country. Behold
-how altered! The same heavens are
-indeed over your heads; the same ocean
-rolls at your feet; but all else, how changed!
-You hear now no roar of hostile cannon, you
-see no mixed volumes of smoke and flame
-rising from burning Charlestown.</p>
-
-<p>The ground strewed with the dead and
-the dying; the impetuous charge; the steady
-and successful repulse; the loud call to repeated
-assault; the summoning of all that is
-manly to repeated resistance; a thousand
-bosoms freely and fearlessly bared in an instant
-to whatever of terror there may be in
-war and death;—all these you have witnessed,<span class="pagenum"><a id="Page_215"></a>[215]</span>
-but you witness them no more. All
-is peace. The heights of yonder metropolis,
-its towers and roofs, which you then saw
-filled with wives and children and countrymen
-in distress and terror, and looking with
-unutterable emotions for the issue of the
-combat, have presented you to-day with the
-sight of its whole happy population, come
-out to welcome and greet you with a universal
-jubilee.</p>
-
-<p>Yonder proud ships, by a felicity of position
-appropriately lying at the foot of this
-mount, and seeming fondly to cling around
-it, are not means of annoyance to you, but
-your country’s own means of distinction and
-defence. All is peace; and God has granted
-you this sight of your country’s happiness,
-ere you slumber in the grave for ever. He
-has allowed you to behold and partake the
-reward of your patriotic toils; and he has
-allowed us, your sons and countrymen, to
-meet you here, and in the name of the present
-generation, in the name of your country,
-in the name of liberty, to thank you!</p>
-
-<p>But, alas! you are not all here! Time and
-the sword have thinned your ranks. Prescott,
-Putnam, Stark, Brooks, Read, Pomeroy,
-Bridge! our eyes seek for you in vain amidst
-this broken band. You are gathered to your
-fathers, and live only to your country in her
-grateful remembrance and your own bright
-example. But let us not too much grieve
-that you have met the common fate of men.
-You lived at least long enough to know that
-your work had been nobly and successfully
-accomplished. You lived to see your country’s
-independence established and to sheathe
-your swords from war. On the light of liberty
-you saw arise the light of Peace, like</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent4">“another morn,</div>
-    <div class="verse indent0">Risen on mid-noon;”—</div>
-  </div>
-</div>
-</div>
-
-<p class="noindent">and the sky on which you closed your eyes
-was cloudless.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>SOUTH CAROLINA AND MASSACHUSETTS.</h4>
-
-<p class="center">BY DANIEL WEBSTER.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">The eulogium pronounced on the character
-of the State of South Carolina
-by the honorable gentleman, for her
-revolutionary and other merits, meets my
-hearty concurrence. I shall not acknowledge
-that the honorable member goes before me
-in regard for whatever of distinguished talent,
-or distinguished character, South Carolina
-has produced. I claim part of the honor;
-I partake in the pride of her great names. I
-claim them for countrymen, one and all. The
-Laurenses, Rutledges, the Pinckneys, the
-Sumters, the Marions—Americans all—whose
-fame is no more to be hemmed in by
-state lines, than their talents and patriotism
-were capable of being circumscribed within
-the same narrow limits.</p>
-
-<p>In their day and generation, they served
-and honored the country, the whole country,
-and their renown is of the treasures of the
-whole country. Him whose honored name
-the gentleman bears himself—does he suppose
-me less capable of gratitude for his patriotism,
-or sympathy for his sufferings, than
-if his eyes had first opened upon the light in
-Massachusetts instead of South Carolina?
-Sir, does he suppose it in his power to exhibit
-a Carolina name so bright as to produce
-envy in my bosom? No, sir—increased
-gratification and delight, rather. Sir, I thank
-God, that if I am gifted with little of the spirit
-which is said to be able to raise mortals to
-the skies, I have yet none, as I trust, of that
-other spirit which would drag angels down.</p>
-
-<p><span class="pagenum"><a id="Page_216"></a>[216]</span></p>
-
-<p>When I shall be found, sir, in my place
-here in the Senate, or elsewhere, to sneer at
-public merit, because it happened to spring
-up beyond the limits of my own State and
-neighborhood; when I refuse, for any such
-cause, or for any cause, the homage due to
-American talent, to elevated patriotism, to
-sincere devotion to liberty and the country;
-or if I see an uncommon endowment of
-heaven—if I see extraordinary capacity and
-virtue in any son of the South—and if, moved
-by local prejudice, or gangrened by State
-jealousy, I get up here to abate the tithe of a
-hair, from his just character and just fame,
-may my tongue cleave to the roof of my
-mouth!</p>
-
-<p>I shall enter on no encomium upon Massachusetts—she
-needs none. There she is—behold
-her and judge for yourselves. There
-is her history—the world knows it by heart.
-The past, at least, is secure. There is Boston
-and Concord, and Lexington, and Bunker’s
-Hill; and there they will remain forever.
-The bones of her sons, fallen in the great
-struggle for independence, now lie mingled
-with the soil of every State, from New England
-to Georgia; and there they will lie forever.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>EULOGIUM ON SOUTH CAROLINA.</h4>
-
-<p class="center">BY ROBERT T. HAYNE.</p>
-
-<p>This distinguished American orator was born in the parish of Saint Paul,
-South Carolina. His eminent ability soon secured for him a seat in the
-United States Senate. The following is from one of his orations delivered
-in the celebrated controversy between himself and Daniel Webster. It is
-a glowing defense of his native state, and is memorable in the annals of
-forensic eloquence.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-i.jpg" width="50" height="100" alt="" />
-</div>
-
-<p class="dropcap">If there be one State in the Union, and I
-say it not in a boastful spirit, that may
-challenge comparison with any other
-for a uniform, zealous, ardent, and uncalculating
-devotion to the Union, that State is
-South Carolina. From the very commencement
-of the Revolution, up to this hour,
-there is no sacrifice, however great, she has
-not cheerfully made, no service she has ever
-hesitated to perform. She has adhered to
-you in your prosperity; but in your adversity
-she has clung to you with more than filial
-affection.</p>
-
-<p>No matter what was the condition of her
-domestic affairs, though deprived of her resources,
-divided by parties, or surrounded
-by difficulties, the call of the country has
-been to her as the voice of God. Domestic
-discord ceased at the sound; every man
-became reconciled to his brethren, and the
-sons of Carolina were all seen crowding together
-to the temple, bringing their gifts to
-the altar of their common country.</p>
-
-<p>What was the conduct of the South during
-the Revolution? I honor New England
-for her conduct in that glorious struggle.
-But, great as is the praise which belongs to
-her, I think at least equal honor is due to
-the South. They espoused the quarrel of
-their brethren with a generous zeal which
-did not suffer them to stop to calculate their
-interest in the dispute. Favorites of the
-mother country, possessed of neither ships
-nor seamen to create a commercial rivalship,
-they might have found, in their situation, a
-guarantee that their trade would be forever
-fostered and protected by Great Britain.
-But trampling on all considerations, either of
-interest or safety, they rushed into the conflict,
-and, fighting for principle, perilled all
-in the sacred cause of freedom.</p>
-
-<p>Never was there exhibited in the history<span class="pagenum"><a id="Page_217"></a>[217]</span>
-of the world higher examples of noble daring,
-dreadful suffering, and heroic endurance
-than by the Whigs of Carolina during the
-Revolution! The whole State, from the
-mountains to the sea, was overrun by an
-overwhelming force of the enemy. The
-fruits of industry perished on the spot where
-they were produced, or were consumed by
-the foe.</p>
-
-<p>The “plains of Carolina” drank up the
-most precious blood of her citizens. Black
-and smoking ruins marked the places which
-had been the habitations of her children.
-Driven from their homes into the gloomy
-and almost impenetrable swamps, even there
-the spirit of liberty survived, and South Carolina,
-sustained by the example of her Sumters
-and her Marions, proved, by her conduct,
-that, though her soil might be overrun,
-the spirit of her people was invincible.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>THE CHARACTER OF WASHINGTON.</h4>
-
-<p class="center">BY WENDELL PHILLIPS.</p>
-
-<p>It has been said of Mr. Phillips that in his public addresses he was
-“a gentleman talking,” so easy and graceful was his manner. “The
-golden-mouthed Phillips” was also an appropriate title. Considered simply
-as an orator, perhaps our country has never produced his superior.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-i.jpg" width="50" height="100" alt="" />
-</div>
-
-<p class="dropcap">It matters very little what spot may have
-been the birthplace of Washington. No
-people can claim, no country can appropriate
-him. The boon of Providence to
-the human race, his fame is eternity, and his
-residence creation. Though it was the defeat
-of our arms, and the disgrace of our
-policy, I almost bless the convulsion in which
-he had his origin. If the heavens thundered,
-and the earth rocked, yet, when the storm
-had passed, how pure was the climate that it
-cleared; how bright, in the brow of the
-firmament, was the planet which it revealed
-to us!</p>
-
-<p>In the production of Washington, it does
-really appear as if Nature was endeavoring
-to improve upon herself, and that all the virtues
-of the ancient world were but so many
-studies preparatory to the patriot of the new.
-Individual instances, no doubt, there were,
-splendid exemplifications of some singular
-qualification; Cæsar was merciful, Scipio was
-continent, Hannibal was patient; but it was
-reserved for Washington to bind them all in
-one, and, like the lovely masterpiece of the
-Grecian artist, to exhibit, in one glow of associated
-beauty, the pride of every model,
-and the perfection of every master.</p>
-
-<p>As a general, he marshalled the peasant
-into a veteran, and supplied by discipline the
-absence of experience; as a statesman, he
-enlarged the policy of the cabinet into the
-most comprehensive system of general advantage;
-and such was the wisdom of his
-views, and the philosophy of his counsels,
-that to the soldier, and the statesman he almost
-added the character of the sage! A
-conqueror, he was untainted with the crime
-of blood; a revolutionist, he was free from
-any stain of treason; for aggression commenced
-the contest, and his country called
-him to the command.</p>
-
-<p>Liberty unsheathed his sword, necessity
-stained, victory returned it. If he had paused
-here, history might have doubted what station
-to assign him; whether at the head of
-her citizens or her soldiers, her heroes or
-her patriots. But the last glorious act crowns
-his career, and banishes all hesitation.</p>
-
-<p>Who, like Washington, after having emancipated
-a hemisphere, resigned its crown,
-and preferred the retirement of domestic life<span class="pagenum"><a id="Page_218"></a>[218]</span>
-to the adoration of a land he might almost
-be said to have created?</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“How shall we rank thee upon Glory’s page,</div>
-    <div class="verse indent0">Thou more than soldier, and just less than sage?</div>
-    <div class="verse indent0">All thou hast been reflects less fame on thee,</div>
-    <div class="verse indent0">Far less, than all thou hast forborne to be!”</div>
-  </div>
-</div>
-</div>
-
-<p>Such, sir, is the testimony of one not to be
-accused of partiality in his estimate of America.
-Happy, proud America! The lightnings
-of heaven yielded to your philosophy!
-The temptations of earth could not seduce
-your patriotism.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>NATIONAL MONUMENT TO WASHINGTON.</h4>
-
-<p class="center">BY ROBERT C. WINTHROP.</p>
-
-<p>One of “Boston’s hundred orators” is the author of this eloquent oration,
-which was delivered at the laying of the corner-stone of Washington’s
-monument, that imposing shaft which is one of the greatest objects of
-interest at our national capital. Scarcely any finer tribute was ever
-paid to the Father of his Country. It should be delivered with full
-volume of voice and sustained energy.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-f.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">Fellow-citizens, let us seize this
-occasion to renew to each other our
-vows of allegiance and devotion to
-the American Union, and let us recognize
-in our common title to the name and the
-fame of Washington, and in our common
-veneration for his example and his advice,
-the all-sufficient centripetal power, which
-shall hold the thick clustering stars of our
-confederacy in one glorious constellation forever!
-Let the column which we are about
-to construct be at once a pledge and an
-emblem of perpetual union!</p>
-
-<p>Let the foundations be laid, let the superstructure
-be built up and cemented, let each
-stone be raised and riveted in a spirit of
-national brotherhood! And may the earliest
-ray of the rising sun—till that sun shall set
-to rise no more—draw forth from it daily, as
-from the fabled statue of antiquity, a strain
-of national harmony, which shall strike a responsive
-chord in every heart throughout
-the republic!</p>
-
-<p>Proceed, then, fellow-citizens, with the work
-for which you have assembled. Lay the
-corner-stone of a monument which shall adequately
-bespeak the gratitude of the whole
-American people to the illustrious father of
-his country! Build it to the skies; you can
-not outreach the loftiness of his principles!
-Found it upon the massive and eternal rock;
-you can not make it more enduring than his
-fame! Construct it of the peerless Parian
-marble; you cannot make it purer than his
-life! Exhaust upon it the rules and principles
-of ancient and of modern art; you cannot
-make it more proportionate than his character.</p>
-
-<p>But let not your homage to his memory
-end here. Think not to transfer to a tablet
-or a column the tribute which is due from
-yourselves. Just honor to Washington can
-only be rendered by observing his precepts
-and imitating his example. He has built his
-own monument. We, and those who come
-after us, in successive generations, are its
-appointed, its privileged guardians.</p>
-
-<p>The wide-spread republic is the future
-monument to Washington. Maintain its independence.
-Uphold its constitution. Preserve
-its union. Defend its liberty. Let it
-stand before the world in all its original
-strength and beauty, securing peace, order,
-equality, and freedom, to all within its boundaries,
-and shedding light and hope and joy
-upon the pathway of human liberty throughout
-the world—and Washington needs no
-other monument. Other structures may testify
-our veneration for him; this, alone can
-adequately illustrate his service to mankind.</p>
-
-<p>Nor does he need even this. The republic<span class="pagenum"><a id="Page_219"></a>[219]</span>
-may perish; the wide arch of our ranged Union
-may fall; star by star its glories may expire;
-stone by stone its columns and its capitol may
-moulder and crumble; all other names which
-adorn its annals may be forgotten; but as
-long as human hearts shall anywhere pant, or
-human tongues anywhere plead, for a true, rational,
-constitutional liberty, those hearts shall
-enshrine the memory, and those tongues
-prolong the fame, of George Washington.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>THE NEW WOMAN.</h4>
-
-<p class="center">BY FRANCES E. WILLARD.</p>
-
-<p>Although it is not customary to include women among orators, an exception
-must be made in the case of Miss Willard. Few men have ever possessed her
-command over popular audiences. Her eloquence drew multitudes to listen
-to her burning appeals in behalf of the reforms of the day, among whom
-were always many who protested that they “never liked to hear a woman
-talk in public.”</p>
-
-<p>Miss Willard’s remarkable gifts, her zeal and earnestness, and her
-devotion to her cause, gave her a world-wide reputation. This extract
-from one of her eloquent public addresses is bright in thought, wholesome
-in sentiment, and is a model of effective speech.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-l.jpg" width="130" height="110" alt="" />
-</div>
-
-<p class="dropcap">Let us be grateful that our horizon is
-widening. We women have learned
-to reason from effect to cause. It
-is considered a fine sign of a thinker to be
-able to reason from cause to effect. But we,
-in fourteen years’ march, have learned to go
-from the drunkard in the gutter, who was
-the object lesson we first saw, back to the
-children, as you will hear to-night; back to
-the idea of preventive, educational, evangelistic,
-social, and legal work for temperance;
-back to the basis of the saloon itself.</p>
-
-<p>We have found that the liquor traffic is
-joined hand in hand with the very sources of
-the National Government. And we have come
-to the place where we want prohibition, first,
-last, and all the time. While the brewer talks
-about his “vested interests,” I lend my voice
-to the motherhood of the nation that has
-gone down into the valley of unutterable pain
-and in the shadow of death, with the dews
-of eternity upon the mother’s brow, given
-birth and being to the sons who are the
-“vested interests” of America’s homes.</p>
-
-<p>We offset the demand of the brewer and
-distiller, that you shall protect their ill-gotten
-gains, with the thought of these most sacred
-treasures, dear to the hearts that you, our
-brothers, honor—dear to the hearts that you
-love best. I bring to you this thought, to-night,
-that you shall vote to represent us, and
-hasten the time when we can represent ourselves.</p>
-
-<p>I believe that we are going out into this
-work, being schooled and inspired for greater
-things than we have dreamed, and that the
-army of women will prove the grandest sisterhood
-the world has ever known. As I
-have seen the love and kindness and good-will
-of women who differed so widely from
-us politically and religiously, and yet have
-found away down in the depths of their
-hearts the utmost love and affection, I have
-said, what kind of a world will this be when
-all women are as fond of each other as we
-strong-minded women are?</p>
-
-<p>Home is the citadel of everything that is
-good and pure on earth; nothing must enter
-there to defile, neither anything which loveth
-or maketh a lie. And it shall be found that
-all society needed to make it altogether
-homelike was the home-folks; that all government
-needed to make it altogether pure
-from the fumes of tobacco and the debasing
-effects of strong drink, was the home-folks;
-that wherever you put a woman who has the<span class="pagenum"><a id="Page_220"></a>[220]</span>
-atmosphere or home about her, she brings
-in the good time of pleasant and friendly
-relationship, and points with the finger of
-hope and the eye of faith always to something
-better—always it is better farther on.</p>
-
-<p>As I look around and see the heavy cloud
-of apathy under which so many still are
-stifled, who take no interest in these things,
-I just think they do not half mean the hard
-words that they sometimes speak to us, or
-they wouldn’t if they knew; and, after awhile,
-they will have the same views I have, spell
-them with a capital V, and all be harmonious,
-like Barnum’s happy family, a splendid menagerie
-of the whole human race—clear-eyed,
-kind and victorious!</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>AN APPEAL FOR LIBERTY.</h4>
-
-<p class="center">BY JOSEPH STORY.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-i.jpg" width="50" height="100" alt="" />
-</div>
-
-<p class="dropcap">I call upon you, fathers, by the shades
-of your ancestors—by the dear ashes
-which repose in this precious soil—by
-all you are, and all you hope to be—resist
-every object of disunion, resist every encroachment
-upon your liberties, resist every
-attempt to fetter your consciences, or smother
-your public schools, or extinguish your system
-of public instruction.</p>
-
-<p>I call upon you, mothers, by that which
-never fails in woman, the love of your offspring;
-teach them, as they climb your
-knees, or lean on your bosoms, the blessings
-of liberty. Swear them at the altar, as with
-their baptismal vows, to be true to their
-country, and never to forget or forsake her.</p>
-
-<p>I call upon you, young men, to remember
-whose sons you are; whose inheritance you
-possess. Life can never be too short, which
-brings nothing but disgrace and oppression.
-Death never comes too soon, if necessary
-in defence of the liberties of your
-country.</p>
-
-<p>I call upon you, old men, for your counsels,
-and your prayers, and your benedictions.
-May not your gray hairs go down in sorrow
-to the grave, with the recollection that you
-have lived in vain. May not your last sun
-sink in the west upon a nation of slaves.</p>
-
-<p>No; I read in the destiny of my country far
-better hopes, far brighter visions. We, who are
-now assembled here, must soon be gathered
-to the congregation of other days. The time
-of our departure is at hand, to make way
-for our children upon the theatre of life. May
-God speed them and theirs. May he who,
-at the distance of another century, shall stand
-here to celebrate this day, still look round
-upon a free, happy, and virtuous people. May
-he have reason to exult as we do. May he,
-with all the enthusiasm of truth as well as of
-poetry, exclaim, that here is still his country.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>THE TRUE SOURCE OF REFORM.</h4>
-
-<p class="center">BY EDWIN H. CHAPIN.</p>
-
-<p>As a pulpit orator and lecturer Mr. Chapin was widely known and popular.
-His style was ornate and finished, and when to this was added his grand
-voice and magnetic delivery, his audiences could not resist the charm of
-his eloquence. His opinions placed him in the front ranks of reformers.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">The great element of reform is not born
-of human wisdom, it does not draw
-its life from human organizations. I
-find it only in Christianity. “Thy kingdom
-come!” There is a sublime and pregnant
-burden in this prayer. It is the aspiration<span class="pagenum"><a id="Page_221"></a>[221]</span>
-of every soul that goes forth in the spirit of
-Reform. For what is the significance of
-this prayer? It is a petition that all holy
-influences would penetrate and subdue and
-dwell in the heart of man, until he shall
-think, and speak, and do good, from the very
-necessity of his being.</p>
-
-<p>So would the institutions of error and
-wrong crumble and pass away. So would
-sin die out from the earth; and the human
-soul living in harmony with the Divine
-will, this earth would become like heaven.
-It is too late for the reformers to sneer
-at Christianity—it is foolishness for them
-to reject it. In it are enshrined our faith
-in human progress—our confidence in reform.
-It is indissolubly connected with
-all that is hopeful, spiritual, capable, in
-man.</p>
-
-<p>That men have misunderstood it, and
-perverted it, is true. But it is also true that
-the noblest efforts for human melioration
-have come out of it—have been based upon
-it. Is it not so? Come, ye remembered
-ones, who sleep the sleep of the just—who
-took your conduct from the line of Christian
-philosophy—come from your tombs, and
-answer!</p>
-
-<p>Come, Howard, from the gloom of the
-prison and the taint of the lazar-house, and
-show us what philanthropy can do when
-imbued with the spirit of Jesus. Come,
-Eliot, from the thick forest where the red
-man listens to the Word of Life;—Come,
-Penn, from thy sweet counsel and weaponless
-victory—and show us what Christian
-zeal and Christian love can accomplish with
-the rudest barbarians or the fiercest hearts.
-Come, Raikes, from thy labors with the
-ignorant and the poor, and show us with
-what an eye this faith regards the lowest
-and least of our race; and how diligently it
-labors, not for the body, not for the rank,
-but for the plastic soul that is to course the
-ages of immortality.</p>
-
-<p>And ye, who are a great number—ye
-nameless ones—who have done good in
-your narrow spheres, content to forego
-renown on earth, and seeking your reward
-in the record on high—come and tell us
-how kindly a spirit, how lofty a purpose, or
-how strong a courage the religion ye professed
-can breathe into the poor, the humble,
-and the weak. Go forth, then, Spirit of
-Christianity, to thy great work of Reform.
-The past bears witness to thee in the blood
-of thy martyrs, and the ashes of thy saints
-and heroes; the present is hopeful because
-of thee; the future shall acknowledge thy
-omnipotence.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>APPEAL TO YOUNG MEN.</h4>
-
-<p class="center">BY LYMAN BEECHER.</p>
-
-<p>A rather small wiry man with strong face, compact fibre, quick motions,
-great earnestness and pulpit ability of the highest order—this was Lyman
-Beecher. He made himself especially prominent in the early days of the
-temperance reformation. The selection here given is one of many similar
-utterances and is full of force and fire.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-c.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">Could I call around me in one vast
-assembly the temperate young men
-of our land, I would say,—Hopes
-of the nation, blessed be ye of
-the Lord now in the dew of your youth.
-But look well to your footsteps; for vipers,
-and scorpions, and adders surround your
-way.</p>
-
-<p>Look at the generation who have just preceded
-you: the morning of their life was<span class="pagenum"><a id="Page_222"></a>[222]</span>
-cloudless, and it dawned as brightly as
-your own; but behold them bitten, swollen,
-enfeebled, inflamed, debauched, idle,
-poor, irreligious, and vicious, with halting
-step dragging onward to meet an
-early grave! Their bright prospects are
-clouded, and their sun is set never to rise.
-No house of their own receives them,
-while from poorer to poorer tenements
-they descend, and to harder and harder
-fare, as improvidence dries up their resources.</p>
-
-<p>And now, who are those that wait on their
-footsteps with muffled faces and sable garments?
-That is a father—and that is a
-mother—whose gray hairs are coming with
-sorrow to the grave. That is a sister, weeping
-over evils which she cannot arrest;
-and there is the broken-hearted wife; and
-there are the children, hapless innocents,
-for whom their father has provided the inheritance
-only of dishonor, and nakedness
-and woe.</p>
-
-<p>And is this, beloved young men, the
-history of your course? In this scene of
-desolation, do you behold the image of
-your future selves? Is this the poverty
-and disease which, as an armed man, shall
-take hold on you? And are your fathers,
-and mothers, and sisters, and wives, and
-children, to succeed to those who now move
-on in this mournful procession, weeping
-as they go? Yes: bright as your morning
-now opens, and high as your hopes
-beat, this is your noon, and your night,
-unless you shun those habits of intemperance
-which have thus early made theirs a
-day of clouds, and of thick darkness. If
-you frequent places of evening resort for
-social drinking; if you set out with drinking,
-daily, a little, temperately, prudently, it is
-yourselves which, as in a glass, you behold.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>THE PILGRIMS.</h4>
-
-<p class="center">BY CHAUNCEY M. DEPEW.</p>
-
-<p>Mr. Depew is considered one of the foremost of our American orators, and
-it is enough to say he has risen to this distinction in a land noted
-for the eloquence of its public men. He is an excellent extemporaneous
-speaker, is graceful and easy in manner, fluent in utterance, and has a
-touch of humor that renders him popular. His tribute to the Pilgrims is
-worthy of a theme so inspiring.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">They were practical statesmen, these
-Pilgrims. They wasted no time theorizing
-upon methods, but went straight
-at the mark. They solved the Indian problem
-with shot-guns, and it was not General
-Sherman, but Miles Standish, who originated
-the axiom that the only good Indians are the
-dead ones. They were bound by neither
-customs nor traditions, nor committals to
-this or that policy. The only question with
-them was, Does it work? The success of
-their Indian experiment led them to try
-similar methods with witches, Quakers and
-Baptists.</p>
-
-<p>Their failure taught them the difference
-between mind and matter. A dead savage
-was another wolf under ground, but one of
-themselves persecuted or killed for conscience
-sake sowed the seed of discontent and disbelief.
-The effort to wall in a creed and wall
-out liberty was at once abandoned, and to-day
-New England has more religions and
-not less religion, but less bigotry, than any
-other community in the world.</p>
-
-<p>In an age when dynamite was unknown,
-the Pilgrim invented in the cabin of the Mayflower
-the most powerful of explosives. The
-declaration of the equality of all men before<span class="pagenum"><a id="Page_223"></a>[223]</span>
-the law has rocked thrones and consolidated
-classes. It separated the colonies from Great
-Britain and created the United States. It
-pulverized the chains of the slaves and gave
-manhood suffrage. It devolved upon the
-individual the functions of government and
-made the people the sole source of power.
-It substituted the cap of liberty for the royal
-crown in France, and by a bloodless revolution
-has added to the constellation of American
-republics, the star of Brazil.</p>
-
-<p>But with the ever-varying conditions incident
-to free government, the Puritan’s talent
-as a political mathematician will never rust.
-Problems of the utmost importance press
-upon him for solution. When, in the effort
-to regulate the liquor traffic, he has advanced
-beyond the temper of the times and the sentiment
-of the people in the attempt to enact
-or enforce prohibition, and either been disastrously
-defeated or the flagrant evasions of
-the statutes have brought the law into contempt,
-he does not despair, but tries to find
-the error in his calculation.</p>
-
-<p>If gubernatorial objections block the way
-of high license he will bombard the executive
-judgment and conscience by a proposition to
-tax. The destruction of homes, the ruin of
-the young, the increase of pauperism and
-crime, the added burdens upon the taxpayers
-by the evils of intemperance, appeal with
-resistless force to his training and traditions.
-As the power of the saloon increases the
-difficulties of the task, he becomes more and
-more certain that some time or other and in
-some way or other he will do that sum too.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>PATRIOTISM A REALITY.</h4>
-
-<p class="center">BY THOMAS FRANCIS MEAGHER.</p>
-
-<p>All Americans ought to feel kindly disposed toward this eloquent Irish
-patriot, for he not only risked his life in the cause of Irish liberty,
-but also in our own Civil War. This oration has a rugged strength
-and blunt earnestness quite characteristic of the man. Let it not be
-delivered in any feeble halting manner, but with all your nerve and
-energy.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" />
-</div>
-
-<p class="dropcap">Sir, the pursuit of liberty must cease
-to be a traffic. It must resume
-among us its ancient glory—be
-with us an active heroism. Once
-for all, sir, we must have an end of this
-money making in the public forum. We
-must ennoble the strife for liberty; make it a
-gallant sacrifice, not a vulgar game; rescue
-the cause of Ireland from the profanation of
-those who beg, and from the control of those
-who bribe!</p>
-
-<p>Ah! trust not those dull philosophers of
-the age, those wretched sceptics, who, to rebuke
-our enthusiasm, our folly, would persuade
-us that patriotism is but a delusion, a
-dream of youth, a wild and glittering passion;
-that it has died out in this nineteenth century;
-that it cannot exist with our advanced civilization—with
-the steam-engine and free trade!</p>
-
-<p>False—false!—The virtue that gave to
-Paganism its dazzling lustre, to Barbarism its
-redeeming trait, to Christianity its heroic
-form, is not dead. It still lives, to preserve,
-to console, to sanctify humanity. It has its
-altar in every clime—its worship and festivities.
-On the heathered hills of Scotland, the
-sword of Wallace is yet a bright tradition.
-The genius of France, in the brilliant literature
-of the day, pays its high homage to the
-piety and heroism of the young Maid of
-Orleans.</p>
-
-<p>In her new senate hall, England bids her
-sculptor place among the effigies of her
-greatest sons the images of Hampden and<span class="pagenum"><a id="Page_224"></a>[224]</span>
-of Russell. By the soft blue waters of Lake
-Lucerne stands the chapel of William Tell.
-At Innsbruck, in the black aisle of the old
-cathedral, the peasant of the Tyrol kneels
-before the statue of Andrew Hofer. In the
-great American republic—in that capital city
-which bears his name—rises the monument
-of the Father of his country.</p>
-
-<p>Sir, shall we not join in this glorious homage,
-and here in this island, consecrated by
-the blood of many a good and gallant man,
-shall we not have the faith, the duties, the
-festivities, of patriotism? You discard the
-weapons of these heroic men—do not discard
-the virtues. Elevate the national character;
-confront corruption wherever it appears;
-scourge it from the hustings; scourge it
-from the public forum; and, whilst proceeding
-with the noble task to which you have
-devoted your lives and fortunes, let this
-thought enrapture and invigorate your hearts:
-That in seeking the independence of your
-country, you have preserved her virtue—preserved
-it at once from the seductions of a
-powerful minister, and from the infidelity of
-bad citizens.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>THE GLORY OF ATHENS.</h4>
-
-<p class="center">BY LORD MACAULAY.</p>
-
-<p>As a historian Macaulay has a world-wide reputation. As a poet he takes
-high rank. As an orator his speeches are characterized by lofty thought,
-felicitious language and the most elaborate style. I would call him a
-graceful giant. The last paragraph of the following selection in which
-he predicts the final decay of England, has created an endless amount
-of comment and criticism. Concerning the beauty and grandeur of this
-selection from his writings, there can be but one opinion.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" />
-</div>
-
-<p class="dropcap">All the triumphs of truth and genius
-over prejudice and power, in every
-country and in every age, have
-been the triumphs of Athens.
-Whenever a few great minds have made a
-stand against violence and fraud, in the cause
-of liberty and reason, there has been her
-spirit in the midst of them; inspiring, encouraging,
-and consoling. It stood by the
-lonely lamp of Erasmus; by the restless bed
-of Pascal; in the tribune of Mirabeau; in
-the cell of Galileo; on the scaffold of Sidney.</p>
-
-<p>But who shall estimate her influence on
-private happiness? Who shall say how
-many thousands have been made wiser, happier,
-and better, by those pursuits in which
-she has taught mankind to engage; to how
-many the studies which took their rise from
-her have been wealth in poverty; liberty in
-bondage; health in sickness; society in solitude.
-Her power is indeed manifested at the
-bar, in the senate; in the field of battle, in
-the schools of philosophy.</p>
-
-<p>But these are not her glory. Surely it is no
-exaggeration to say, that no external advantage
-is to be compared with that purification
-of the intellectual eye, which gives us to contemplate
-the infinite wealth of the mental
-world; all the hoarded treasures of the primeval
-dynasties, all the shapeless ore of the
-yet unexplored mines.</p>
-
-<p>This is the gift of Athens to man. Her
-freedom and her power have for more than
-twenty centuries been annihilated. Her people
-have degenerated into timid slaves; her
-language, into a barbarous jargon. Her
-temples have been given up to the successive
-depredations of Romans, Turks, and Scotchmen;
-but her intellectual empire is imperishable.</p>
-
-<p>And, when those who have rivaled her
-greatness, shall have shared her fate; when<span class="pagenum"><a id="Page_225"></a>[225]</span>
-civilization and knowledge shall have fixed
-their abode in distant continents; when the
-sceptre shall have passed away from England;
-when, perhaps, travelers from distant regions
-shall in vain labor to decipher on some mouldering
-pedestal the name of our proudest
-chief; and shall see a single naked fisherman
-wash his nets in the river of the ten thousand
-masts; her influence and her glory will still
-survive, fresh in eternal youth, exempt from
-mutability and decay, immortal as the intellectual
-principle from which they derived
-their origin, and over which they exercise
-their control.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>THE IRISH CHURCH.</h4>
-
-<p class="center">BY WILLIAM E. GLADSTONE.</p>
-
-<p>No man in England, or in fact in the whole world, has gained so high
-a distinction in modern times for statesmanship and eloquence as Mr.
-Gladstone. Possessed of vast resources of brain and culture, a remarkable
-command of language, an iron will and an enthusiasm in behalf of every
-cause he espoused that was checked by no opposition, the “Grand Old Man,”
-as he was called, was the most majestic and commanding figure in English
-politics and literature for a generation. His oration on the Irish Church
-is a good specimen of his impassioned oratory.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-i.jpg" width="50" height="100" alt="" />
-</div>
-
-<p class="dropcap">If we are prudent men, I hope we shall
-endeavor as far as in us lies to make
-some provision for a contingent, a
-doubtful, and probably a dangerous future.
-If we be chivalrous men, I trust we shall endeavor
-to wipe away all those stains which
-the civilized world has for ages seen, or
-seemed to see, on the shield of England in
-her treatment of Ireland. If we be compassionate
-men, I hope we shall now, once for
-all, listen to the tale of woe which comes
-from her, and the reality of which, if not its
-justice, is testified by the continuous emigration
-of her people—that we shall endeavor
-to—</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“Pluck from her memory a rooted sorrow,</div>
-    <div class="verse indent0">And raze the written troubles from her brain.”</div>
-  </div>
-</div>
-</div>
-
-<p class="noindent">But, above all, if we be just men, we shall go
-forward in the name of truth and right, bearing
-this in mind—that, when the case is
-proved and the hour is come, justice delayed
-is justice denied.</p>
-
-<p>There are many who think that to lay
-hands upon the national Church Establishment
-of a country is a profane and unhallowed
-act. I respect that feeling. I sympathize
-with it. I sympathize with it while
-I think it my duty to overcome and repress
-it. But if it be an error, it is an error entitled
-to respect. There is something in the
-idea of a national establishment of religion,
-of a solemn appropriation of a part of the
-Commonwealth for conferring upon all who
-are ready to receive it what we know to be
-an inestimable benefit; of saving that portion
-of the inheritance from private selfishness, in
-order to extract from it, if we can, pure and
-unmixed advantages of the highest order for
-the population at large.</p>
-
-<p>There is something in this so attractive
-that it is an image that must always command
-the homage of the many. It is somewhat
-like the kingly ghost in Hamlet, of
-which one of the characters of Shakespeare
-says:—</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“We do it wrong, being so majestical,</div>
-    <div class="verse indent0">To offer it the show of violence;</div>
-    <div class="verse indent0">For it is, as the air, invulnerable,</div>
-    <div class="verse indent0">And our vain blows malicious mockery”</div>
-  </div>
-</div>
-</div>
-
-<p>But, sir, this is to view a religious establishment
-upon one side, only upon what I
-may call the ethereal side. It has likewise<span class="pagenum"><a id="Page_226"></a>[226]</span>
-a side of earth; and here I cannot do better
-than quote some lines written by the Archbishop
-of Dublin, at a time when his genius
-was devoted to the muses. He said, in
-speaking of mankind:</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“We who did our lineage high</div>
-    <div class="verse indent0">Draw from beyond the starry sky,</div>
-    <div class="verse indent0">Are yet upon the other side,</div>
-    <div class="verse indent0">To earth and to its dust allied.”</div>
-  </div>
-</div>
-</div>
-
-<p>And so the Church Establishment, regarded
-in its theory and in its aim, is beautiful
-and attractive. Yet what is it but an
-appropriation of public property, an appropriation
-of the fruits of labor and of skill to
-certain purposes, and unless these purposes
-are fulfilled, that appropriation cannot be
-justified. Therefore, Sir, I cannot but feel
-that we must set aside fears which thrust
-themselves upon the imagination, and act
-upon the sober dictates of our judgment.</p>
-
-<p>I think it has been shown that the cause
-for action is strong—not for precipitate action,
-not for action beyond our powers, but
-for such action as the opportunities of the
-times and the condition of Parliament, if
-there be but a ready will, will amply and
-easily admit of. If I am asked as to my expectations
-of the issue of this struggle, I
-begin frankly by avowing that I, for one,
-would not have entered into it unless I believed
-that the final hour was about to sound.</p>
-
-<p>And I hope that the noble lord will forgive
-me if I say that before Friday last I
-thought that the thread of the remaining life
-of the Irish Established Church was short,
-but that since Friday last, when at half-past
-four o’clock in the afternoon the noble lord
-stood at that table, I have regarded it as being
-shorter still. The issue is not in our hands.</p>
-
-<p>What we had and have to do is to consider
-well and deeply before we take the first
-step in an engagement such as this; but
-having entered into the controversy, there
-and then to acquit ourselves like men, and
-to use every effort to remove what still remains
-of the scandals and calamities in the
-relations which exist between England and
-Ireland, and use our best efforts at least to
-fill up with the cement of human concord the
-noble fabric of the British empire.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>APPEAL TO THE HUNGARIANS.</h4>
-
-<p class="center">BY LOUIS KOSSUTH.</p>
-
-<p>The eminent Hungarian orator and statesman, whose name for a whole
-generation stood for liberty, visited our country in his early manhood
-and received an ovation wherever he went. His progress was a triumphal
-march. This was due not merely to the fact that he was exerting all his
-energies to liberate his country, but his reception was a tribute to his
-brilliant genius and overpowering eloquence. Kossuth was one of the most
-remarkable orators of modern times. The following selection is a fine
-illustration of his impassioned, burning eloquence.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-o.jpg" width="80" height="100" alt="" />
-</div>
-
-<p class="dropcap">Our fatherland is in danger. Citizens
-of the fatherland! To arms! To
-arms! If we believed the country
-could be saved by ordinary means, we would
-not cry that it is in danger. If we stood at
-the head of a cowardly, childish nation,
-which, in the hour of peril, prefers defeat to
-defence, we would not sound the alarm-bell.
-But because we know that the people of our
-land compose a manly nation, determined to
-defend itself against oppression, we call out
-in the loudest voice, “Our fatherland is in
-danger!” Because we are sure that the nation
-is able to defend its hearths and homes,
-we announce the peril in all its magnitude,
-and appeal to our brethren, in the name of<span class="pagenum"><a id="Page_227"></a>[227]</span>
-God and their country, to look the danger
-boldly in the face.</p>
-
-<p>We will not smile and flatter. We say it
-plainly, that unless the nation rise, to a man,
-prepared to shed the last drop of blood, all
-our previous struggles will have been in vain.
-The noble blood that has flowed like water,
-will have been wasted. Our fatherland will be
-crushed to the earth. On the soil, where
-rest the ashes of our ancestors, the Russian
-knout will be wielded over a people reduced
-beneath the yoke of slavery.</p>
-
-<p>If we wish to shut our eyes to the danger,
-we shall thereby save no one from its power.
-If we represent the matter as it is, we make
-our country master of its own fate. If the
-breath of life is in our people, they will save
-themselves and their fatherland. But, if
-paralyzed by coward fear, they remain supine,
-all will be lost. God will help no man who
-does not help himself. We tell you that the
-Austrian Emperor sends the hordes of Russian
-barbarians for your destruction.</p>
-
-<p>People of Hungary! Would you die under
-the destroying sword of the barbarous Russians?
-If not, defend your own lives! Would
-you see the Cossacks of the distant north
-trampling under foot the dishonored bodies
-of your fathers, your wives, and your children?
-If not, defend yourselves! Do you
-wish that your fellow-countrymen should be
-dragged away to Siberia, or should fight for
-tyrants in a foreign land, or writhe in slavery
-beneath a Russian scourge? If not, defend
-yourselves! Would you see your villages in
-flames, and your harvest-fields in ruins?
-Would you die of hunger on the soil which
-you have cultivated with sweat and blood?
-If not, defend yourselves!</p>
-
-<p>This strife is not a strife between two hostile
-camps, but a war of tyranny against freedom,
-of barbarians against the collective
-might of a free nation. Therefore must the
-whole people arise with the army. If these
-millions sustain our army, we have gained
-freedom and victory for universal Europe, as
-well as for ourselves. Therefore, O strong,
-gigantic people, unite with the army, and rush
-to the conflict. Ho! every freeman! To arms!
-To arms! Thus alone is victory certain.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>THE TYRANT VERRES DENOUNCED.</h4>
-
-<p class="center">BY CICERO.</p>
-
-<p>This oration is inserted here to furnish an example of the style of the
-great Roman orator whose eloquence has been proverbial from his time
-to the present. His patriotic utterances should stir the blood of the
-reciter, and if they do this his hearers will share the inspiration.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" />
-</div>
-
-<p class="dropcap">An opinion has long prevailed, fathers,
-that, in public prosecutions, men of
-wealth, however clearly convicted,
-are always safe. This opinion, so injurious
-to your order, so detrimental to the state, it
-is now in your power to refute. A man is
-on trial before you who is rich, and he hopes
-his riches will compass his acquittal; but
-whose life and actions are his sufficient condemnation
-in the eyes of all candid men. I
-speak of Caius Verres, who, if he now receive
-not the sentence his crimes deserve, it shall
-not be through the lack of a criminal or of a
-prosecutor, but through the failure of the
-ministers of justice to do their duty.</p>
-
-<p>Passing over the shameful irregularities of
-his youth, what does the quæstorship of
-Verres exhibit but one continued scene of
-villanies? The public treasure squandered,
-a consul stripped and betrayed, an army
-deserted and reduced to want, a province
-robbed, the civil and religious rights of a<span class="pagenum"><a id="Page_228"></a>[228]</span>
-people trampled on! But his prætorship in
-Sicily has crowned his career of wickedness,
-and completed the lasting monument of his
-infamy. His decisions have violated all law,
-all precedent, all right. His extortions from
-the industrious poor have been beyond computation.
-Our most faithful allies have been
-treated as enemies. Roman citizens have,
-like slaves, been put to death with tortures.
-Men the most worthy have been condemned
-and banished without a hearing, while the
-most atrocious criminals have, with money,
-purchased exemption from the punishment
-due to their guilt.</p>
-
-<p>I ask now, Verres, what have you to
-advance against these charges? Art thou
-not the tyrant Prætor, who, at no greater
-distance than Sicily, within sight of the Italian
-coast, dared to put to an infamous
-death, on the cross, that ill-fated and innocent
-citizen, Publius Gavius Cosanus?
-And what was his offence? He had declared
-his intention of appealing to the
-justice of his country against your brutal
-persecutions!</p>
-
-<p>For this, when about to embark for home,
-he was seized, brought before you, charged
-with being a spy, scourged and tortured. In
-vain did he exclaim: “I am a Roman citizen!
-I have served under Lucius Pretius,
-who is now at Panormus, and who will attest
-my innocence!” Deaf to all remonstrance,
-remorseless, thirsting for innocent blood, you
-ordered the savage punishment to be inflicted!
-While the sacred words, “I am a
-Roman citizen,” were on his lips—words
-which, in the remotest regions, are a passport
-to protection—you ordered him to death—to
-a death upon the cross!</p>
-
-<p>O liberty! O sound once delightful to
-every Roman ear! O sacred privilege of
-Roman citizenship! once sacred—now trampled
-on! Is it come to this? Shall an inferior
-magistrate—a governor, who holds his
-whole power of the Roman people—in a
-Roman province, within sight of Italy, bind,
-scourge, torture, and put to an infamous death,
-a Roman citizen? Shall neither the cries
-of innocence expiring in agony, the tears of
-pitying spectators, the majesty of the Roman
-commonwealth, nor the fear of the justice of
-his country, restrain the merciless monster,
-who, in the confidence of his riches, strikes
-at the very root of liberty, and sets mankind
-at defiance? And shall this man escape?
-Fathers, it must not be! It must not be unless
-you would undermine the very foundations
-of social safety, strangle justice, and
-call down anarchy, massacre, and ruin on the
-commonwealth.</p>
-
-</div>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-
-<p><span class="pagenum"><a id="Page_229"></a>[229]</span></p>
-
-<h3 class="nobreak" id="Humorous_Recitations"><span class="smcap">Humorous Recitations.</span></h3>
-
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<p>A recitation that has a touch of humor,
-one that is quaint and droll, one that has
-comical situations, or one that hits off any
-popular absurdity, is sure to be well received
-by your audience. A school exhibition or an
-evening’s entertainment without something of
-this kind would be pronounced dull and dry.</p>
-
-<p>Some readers are especially adapted to recitals
-of this description. They have an innate
-sense of the ludicrous and are able to
-convey it by voice and manner. Those who
-are not favored with the very desirable gift
-of humor should confine themselves to selections
-of a graver character. The department
-of Wit and Humor here presented is large
-and complete, containing a great variety of
-readings that cannot fail to be enthusiastically
-received when properly rendered.</p>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>BILL’S IN TROUBLE!</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I’ve got a letter, parson, from my son away out West,</div>
-    <div class="verse indent0">An’ my ol’ heart is heavy as an anvil in my breast,</div>
-    <div class="verse indent0">To think the boy whose futur’ I had once so proudly planned</div>
-    <div class="verse indent0">Should wander from the path o’ right an’ come to sich an end!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Bill made a faithful promise to be keerful, an’ allowed</div>
-    <div class="verse indent0">He’d build a reputation that’d make us mighty proud,</div>
-    <div class="verse indent0">But it seems as how my counsel sort o’ faded from his mind,</div>
-    <div class="verse indent0">An’ now the boy’s in trouble o’ the very wustest kind!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">His letters came so seldom that I somehow sort o’ knowed</div>
-    <div class="verse indent0">That Billy was a-trampin’ on a mighty rocky road,</div>
-    <div class="verse indent0">But never once imagined he would bow my head in shame,</div>
-    <div class="verse indent0">An’ in the dust’d waller his ol’ daddy’s honored name.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He writes from out in Denver, an’ the story’s mighty short;</div>
-    <div class="verse indent0">I just can’t tell his mother; it’ll crush her poor ol’ heart!</div>
-    <div class="verse indent0">An’ so I reckoned, parson, you might break the news to her—</div>
-    <div class="verse indent0">Bill’s in the Legislatur, but he doesn’t say what fur.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>“’SPACIALLY JIM.”</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I wus mighty good-lookin’ when I was young,</div>
-    <div class="verse indent2">Peert an’ black-eyed an’ slim,</div>
-    <div class="verse indent0">With fellers a courtin’ me Sunday nights,</div>
-    <div class="verse indent2">’Spacially Jim.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The likeliest one of ’em all was he,</div>
-    <div class="verse indent2">Chipper an’ han’som’ an’ trim,</div>
-    <div class="verse indent0">But I tossed up my head an’ made fun o’ the crowd,</div>
-    <div class="verse indent2">’Spacially Jim!</div><span class="pagenum"><a id="Page_230"></a>[230]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I said I hadn’t no ’pinion o’ men,</div>
-    <div class="verse indent2">An’ I wouldn’t take stock in him!</div>
-    <div class="verse indent0">But they kep’ up a-comin’ in spite o’ my talk,</div>
-    <div class="verse indent2">’Spacially Jim!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I got so tired o’ havin’ ’em roun’</div>
-    <div class="verse indent2">(’Spacially Jim!)</div>
-    <div class="verse indent0">I made up my mind I’d settle down</div>
-    <div class="verse indent2">An’ take up with him.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">So we was married one Sunday in church,</div>
-    <div class="verse indent2">’Twas crowded full to the brim;</div>
-    <div class="verse indent0">’Twas the only way to get rid of ’em all,</div>
-    <div class="verse indent2">’Spacially Jim.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>THE MARRIAGE CEREMONY.</h4>
-
-<p>Be careful, in all dialect recitations, to enunciate as the piece
-requires. A good part of the humor is brought out in the accent, and you
-should study this until you are master of it.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-y.jpg" width="125" height="100" alt="" /></div>
-    <div class="dropcapline">You promise now, you goot man dere,</div>
-    <div class="verse indent2">Vot shtunds upon de floor,</div>
-    <div class="verse indent0">To take dis woman for your vrow,</div>
-    <div class="verse indent2">And luff her efermore;</div>
-    <div class="verse indent0">You’ll feed her well on sauerkraut,</div>
-    <div class="verse indent2">Beans, buttermilk and cheese,</div>
-    <div class="verse indent0">And in all dings to lend your aid</div>
-    <div class="verse indent2">Vot vill promote her ease?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent34">—Yah!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Yes, and you, good voman, too—</div>
-    <div class="verse indent2">Do you pledge your vord dis day</div>
-    <div class="verse indent0">Dat you vill take dis husband here</div>
-    <div class="verse indent2">And mit him alvays shtay?</div>
-    <div class="verse indent0">Dat you vill bet and board mit him,</div>
-    <div class="verse indent2">Vash, iron and mend his clothes;</div>
-    <div class="verse indent0">Laugh when he schmiles, veep when he sighs</div>
-    <div class="verse indent2">Und share his joys and voes?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent34">—Yah!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Vel, den, mitin these sacred halls,</div>
-    <div class="verse indent2">Mit joy and not mit grief,</div>
-    <div class="verse indent0">I do bronounce you man and vife;</div>
-    <div class="verse indent2">Von name, von home, von beef!</div>
-    <div class="verse indent0">I publish now dese sacred bonts,</div>
-    <div class="verse indent2">Dese matrimonial dies,</div>
-    <div class="verse indent0">Pefore mine Got, mine vrow, minezelf</div>
-    <div class="verse indent2">Und all dese gazing eyes.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Und now, you pridegroom standing dere,</div>
-    <div class="verse indent2">I’ll not let go yoz collar</div>
-    <div class="verse indent0">Undil you dell me one ding more,</div>
-    <div class="verse indent2">Dat ish: vere ish mine tollar?</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>BLASTED HOPES.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">We said good-bye! My lips to hers were pressed.</div>
-    <div class="verse indent2">We looked into each other’s eyes and sighed;</div>
-    <div class="verse indent0">I pressed the maiden fondly to my breast,</div>
-    <div class="verse indent2">And went my way across the foamy tide.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I stood upon the spot where Cæsar fell,</div>
-    <div class="verse indent2">I mused beside the great Napoleon’s tomb;</div>
-    <div class="verse indent0">I loitered where dark-visaged houris dwell,</div>
-    <div class="verse indent2">And saw the fabled lotus land abloom.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I heard Parisian revelers, and so</div>
-    <div class="verse indent2">Forgot the maiden who had wept for me;</div>
-    <div class="verse indent0">I saw my face reflected in the Po,</div>
-    <div class="verse indent2">And saw Italian suns sink in the sea.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Aweary of it all, at last, I turned</div>
-    <div class="verse indent2">My face back to my glorious native land;</div>
-    <div class="verse indent0">I thought of her again—my bosom burned—</div>
-    <div class="verse indent2">And joyfully I left the ancient strand.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">At last, I held her little hand again,</div>
-    <div class="verse indent2">But, oh, the seasons had kept rolling on,</div>
-    <div class="verse indent0">I did not stroke her head or kiss her then—</div>
-    <div class="verse indent2">Another had appeared while I was gone.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I’d brought her trinkets from across the sea—</div>
-    <div class="verse indent2">Ah, well! she shall not have them now, of course;</div>
-    <div class="verse indent0">Alas! the only thing that’s left for me</div>
-    <div class="verse indent2">Is to give her little boy a hobby horse!</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_231"></a>[231]</span></p>
-
-<h4>TIM MURPHY MAKES A FEW REMARKS.</h4>
-
-<p>A good specimen of the Irish brogue and wit.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-i.jpg" width="50" height="100" alt="" />
-</div>
-
-<p class="dropcap">I saw Teddy Reagan the other day; he
-told me he had been dealing in hogs.
-“Is business good?” says I. “Yis,”
-says he. “Talking about hogs, Teddy, how
-do you find yourself?” sez I. I wint to buy
-a clock the other day, to make a present to
-Mary Jane. “Will you have a Frinch clock?”
-says the jeweler. “The deuce take your
-Frinch clock,” sez I. “I want a clock that
-my sister can understand when it strikes.”
-“I have a Dutch clock,” sez he, “an’ you
-kin put that on the shtairs.” “It might run
-down if I put it there,” sez I. “Well,” sez
-he, “here’s a Yankee clock, with a lookin’-glass
-in the front, so that you can see yourself,”
-sez he. “It’s too ugly,” sez I. “Thin
-I’ll take the lookin’-glass out, an’ whin you
-look at it you’ll not find it so ugly,” sez
-he.</p>
-
-<p>I wint to Chatham Sthreet to buy a shirt,
-for the one I had on was a thrifle soiled. The
-Jew who kept the sthore looked at my bosom,
-an’ said: “So hellup me gracious! how long
-do you vear a shirt?” “Twinty-eight inches,”
-sez I. “Have you any fine shirts?” sez I.
-“Yis,” sez he. “Are they clane?” says I.
-“Yis,” sez he. “Thin you had better put
-one on,” sez I.</p>
-
-<p>You may talk about bringin’ up childer in
-the way they should go, but I believe in
-bringing them up by the hair of the head.
-Talking about bringing up childer—I hear
-my childer’s prayers every night. The other
-night I let thim up to bed without thim. I
-skipped and sthood behind the door. I heard
-the big boy say: “Give us this day our daily
-bread.” The little fellow said: “Sthrike him
-for pie, Johnny.” I have one of the most
-economical boys in the Citty of New York;
-he hasn’t spint one cint for the last two years.
-I am expecting him down from Sing Sing
-prison next week.</p>
-
-<p>Talking about boys, I have a nephew who,
-five years ago, couldn’t write a word. Last
-week he wrote his name for $10,000; he’ll
-git tin years in the pinatintiary. I can’t
-write, but I threw a brick at a policeman
-and made my mark.</p>
-
-<p>They had a fight at Tim Owen’s wake last
-week. Mary Jane was there. She says, barrin’
-herself, there was only one whole nose left in
-the party, an’ that belonged to the tay-kettle.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>PASSING OF THE HORSE.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I drove my old horse, Dobbin, full slowly toward the town,</div>
-    <div class="verse indent0">One beautiful spring morning. The rising sun looked down</div>
-    <div class="verse indent0">And saw us slowly jogging and drinking in the balm</div>
-    <div class="verse indent0">Of honeyed breath of clover fields. We lissed, in Nature’s calm,</div>
-    <div class="verse indent0">To chirping squirrel, and whistling bird, the robin and the wren;</div>
-    <div class="verse indent0">The sound of life and love and peace came o’er the fields again.</div>
-    <div class="verse indent0">’Way back behind the wagon there came a tandem bike,</div>
-    <div class="verse indent0">A pedaling ’long to beat the wind, I never saw the like.</div>
-    <div class="verse indent0">They started by—the road was wide, old Dobbin feeling good,</div>
-    <div class="verse indent0">The quiet calmness of the morn had livened up his mood,</div>
-    <div class="verse indent0">And stretching out adown the road he chased these cyclers two,</div>
-    <div class="verse indent0">And Dobbin in his younger days was distanced by but few.</div><span class="pagenum"><a id="Page_232"></a>[232]</span>
-    <div class="verse indent0">We sped along about a mile, it was a merry chase,</div>
-    <div class="verse indent0">But Dobbin gave it up at last, and, dropping from the race,</div>
-    <div class="verse indent0">He looked at me, as if to say: “Old man, I’m in disgrace.</div>
-    <div class="verse indent0">The horse is surely passing by, the bike has got his place”</div>
-    <div class="verse indent0">And all that day, while in the town, old Dobbin’s spirits fell;</div>
-    <div class="verse indent0">His stout old pride was broken sure; the reason I could tell.</div>
-    <div class="verse indent0">But when that night we trotted back from town, below the hill</div>
-    <div class="verse indent0">We met two weary cyclers who waved at us a bill</div>
-    <div class="verse indent0">That had a big V on it, and said it would be mine</div>
-    <div class="verse indent0">If I would let them ride with us and put their bike behind,</div>
-    <div class="verse indent0">And so I whistled softly; and Dobbin winked at me,</div>
-    <div class="verse indent0">“I guess the horse will stay, old man; he’s puncture proof—you see?”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>A SCHOOL-DAY.</h4>
-
-<p>Don’t overdo the whimpering and crying, but make the facial expressions
-and imitate the sobbing of one in tears. Make use of a handkerchief to
-render the imitation more effective.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-n.jpg" width="140" height="110" alt="" /></div>
-    <div class="dropcapline">“Now, John,” the district teacher says</div>
-    <div class="verse indent2">With frown that scarce can hide</div>
-    <div class="verse indent0">The dimpling smiles around her mouth,</div>
-    <div class="verse indent2">Where Cupid’s hosts abide,</div>
-    <div class="verse indent0">“What have you done to Mary Ann,</div>
-    <div class="verse indent2">That she is crying so?</div>
-    <div class="verse indent0">Don’t say ’twas ‘nothing’—don’t, I say,</div>
-    <div class="verse indent2">For, John, that can’t be so;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“For Mary Ann would never cry</div>
-    <div class="verse indent2">At nothing, I am sure;</div>
-    <div class="verse indent0">And if you’ve wounded justice, John,</div>
-    <div class="verse indent2">You know the only cure</div>
-    <div class="verse indent0">Is punishment! So, come, stand up;</div>
-    <div class="verse indent2">Transgression must abide</div>
-    <div class="verse indent0">The pain attendant on the scheme</div>
-    <div class="verse indent2">That makes it justified.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">So John steps forth with sun-burnt face,</div>
-    <div class="verse indent2">And hair all in a tumble,</div>
-    <div class="verse indent0">His laughing eyes a contrast to</div>
-    <div class="verse indent2">His drooping mouth so humble.</div>
-    <div class="verse indent0">“Now, Mary, you must tell me all—</div>
-    <div class="verse indent2">I see that John will not,</div>
-    <div class="verse indent0">And if he’s been unkind or rude,</div>
-    <div class="verse indent2">I’ll whip him on the spot.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“W—we were p—playin’ p—pris’ner’s b—base,</div>
-    <div class="verse indent2">An’ h—he is s—such a t—tease,</div>
-    <div class="verse indent0">An’ w—when I w—wasn’t l—lookin’, m—ma’am’</div>
-    <div class="verse indent2">H—he <i>k—kissed</i> me—if you please.”</div>
-    <div class="verse indent0">Upon the teacher’s face the smiles</div>
-    <div class="verse indent2">Have triumphed o’er the frown,</div>
-    <div class="verse indent0">A pleasant thought runs through her mind</div>
-    <div class="verse indent2">The stick comes harmless down.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But outraged law must be avenged!</div>
-    <div class="verse indent2">Begone, ye smiles, begone!</div>
-    <div class="verse indent0">Away, ye little dreams of love,</div>
-    <div class="verse indent2">Come on, ye frowns, come on!</div>
-    <div class="verse indent0">“I think I’ll have to whip you, John,</div>
-    <div class="verse indent2">Such conduct breaks the rule;</div>
-    <div class="verse indent0">No boy, except a naughty one,</div>
-    <div class="verse indent2">Would kiss a girl—at school.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Again the teacher’s rod is raised,</div>
-    <div class="verse indent2">A Nemesis she stands—</div>
-    <div class="verse indent0">A premium were put on sin,</div>
-    <div class="verse indent2">If punished by such hands!</div>
-    <div class="verse indent0">As when the bee explores the rose</div>
-    <div class="verse indent2">We see the petals tremble,</div>
-    <div class="verse indent0">So trembled Mary’s rosebud lips—</div>
-    <div class="verse indent2">Her heart would not dissemble.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“I wouldn’t whip him <i>very</i> hard”—</div>
-    <div class="verse indent2">The stick stops in its fall—</div>
-    <div class="verse indent0">“It wasn’t right to do it, but—</div>
-    <div class="verse indent2">It didn’t hurt at all!”</div>
-    <div class="verse indent0">“What made you cry, then, Mary Ann?”</div>
-    <div class="verse indent2">The school’s noise makes a pause,</div>
-    <div class="verse indent0">And out upon the listening air,</div>
-    <div class="verse indent2">From Mary comes—“Because!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">W. F. McSparran.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_233"></a>[233]</span></p>
-
-<h4>THE BICYCLE AND THE PUP.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">’Tis a bicycle man, over his broken wheel,</div>
-    <div class="verse indent2">That grieveth himself full sore,</div>
-    <div class="verse indent0">For the joy of its newness his heart shall feel,</div>
-    <div class="verse indent2">Alack and alas! no more.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">When the bright sun tippeth the hills with gold,</div>
-    <div class="verse indent2">That rider upriseth gay,</div>
-    <div class="verse indent0">And with hat all beribboned and heart that is bold,</div>
-    <div class="verse indent2">Pursueth his jaunty way.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He gazeth at folks in the lowly crowd</div>
-    <div class="verse indent2">With a most superior air.</div>
-    <div class="verse indent0">He thinketh ha! ha! and he smileth aloud</div>
-    <div class="verse indent2">As he masheth the maiden fair.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Oh, he masheth her much in his nice new clothes,</div>
-    <div class="verse indent2">Nor seeth the cheerful pup,</div>
-    <div class="verse indent0">Till he roots up the road with his proud, proud nose,</div>
-    <div class="verse indent2">While the little wheel tilteth up.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Oh, that youth on his knees—though he doth not pray—</div>
-    <div class="verse indent2">Is a pitiful sight to see,</div>
-    <div class="verse indent0">For his pants in their utterest part give way,</div>
-    <div class="verse indent2">While merrily laugheth she.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And that bicycle man in his heart doth feel</div>
-    <div class="verse indent2">That the worst of unsanctified jokes</div>
-    <div class="verse indent0">Is the small dog that sniffeth anon at his wheel,</div>
-    <div class="verse indent2">But getteth mixed up in the spokes.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>THE PUZZLED CENSUS TAKER.</h4>
-
-<p>Before reciting this state to your audience that “nein” is the German for
-“no.”</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-g.jpg" width="125" height="100" alt="" /></div>
-    <div class="dropcapline">“Got any boys?” the marshal said,</div>
-    <div class="verse indent2">To a lady from over the Rhine;</div>
-    <div class="verse indent0">And the lady shook her flaxen head.</div>
-    <div class="verse indent2">And civilly answered “nein!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Got any girls?” the marshal said,</div>
-    <div class="verse indent2">To that lady from over the Rhine;</div>
-    <div class="verse indent0">And again the lady shook her head,</div>
-    <div class="verse indent2">And civilly answered “nein!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“But some are dead,” the marshal said</div>
-    <div class="verse indent2">To the lady from over the Rhine;</div>
-    <div class="verse indent0">And again the lady shook her head,</div>
-    <div class="verse indent2">And civilly answered “nein!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Husband, of course?” the marshal said</div>
-    <div class="verse indent2">To the lady from over the Rhine;</div>
-    <div class="verse indent0">And again she shook her flaxen head,</div>
-    <div class="verse indent2">And civilly answered “nein!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“The duce you have!” the marshal said</div>
-    <div class="verse indent2">To the lady from over the Rhine;</div>
-    <div class="verse indent0">And again she shook her flaxen head,</div>
-    <div class="verse indent2">And civilly answered “nein!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Now what do you mean by shaking your head</div>
-    <div class="verse indent2">And always answering “nein?”</div>
-    <div class="verse indent0">“Ich kann nicht Englisch,” civilly said</div>
-    <div class="verse indent2">The lady from over the Rhine.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>IT MADE A DIFFERENCE.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-n.jpg" width="140" height="110" alt="" />
-</div>
-
-<p class="dropcap">“Now, then,” said the short and fat
-and anxious-looking man as he
-sat down in the street car and
-unfolded a map he had just
-bought of a fakir. “I want to know how
-this old thing works. Let me first find the
-Philippine Islands and Manila. Here I am,
-and here is Ca-vitt.”</p>
-
-<p>“I beg your pardon, sir,” said the man on
-his left, “but that name is pronounced Kah-vee-tay.”</p>
-
-<p>“Then why ain’t it spelled that way?”
-demanded the short and fat man. “No
-wonder Dooye has been left there a whole
-month without reinforcements when they
-mix up things that way.”</p>
-
-<p><span class="pagenum"><a id="Page_234"></a>[234]</span></p>
-
-<p>“You mean Dewey,” corrected the man
-on his right.</p>
-
-<p>“I heard it called Dooye, sir.”</p>
-
-<p>“But it isn’t right.”</p>
-
-<p>“Then why don’t this map give it right?
-Is it the plan of our map-makers to bamboozle
-the American patriot? Let us turn
-to Cuba. Ah! here is that San Jew-an they
-are talking so much about.”</p>
-
-<p>“Will you allow me to say that the name
-is pronounced San Wan?” softly observed
-the man on the left.</p>
-
-<p>“By whom, sir?”</p>
-
-<p>“By everybody.”</p>
-
-<p>“I deny it, sir!” exclaimed the fat man.
-“If J-u-a-n don’t spell ‘Juan’ then I can’t
-read. If I am wrong then why don’t this
-map set me right? Is it the idea to mix up
-the American patriot until he can’t tell
-whether he’s in Cuba or the United States?”</p>
-
-<p>“Where is that Ci-en-fue-gos I’ve read
-about?”</p>
-
-<p>“Do you wish for the correct pronunciation
-of that name?” asked a man on the
-other side of the car.</p>
-
-<p>“Haven’t I got it?”</p>
-
-<p>“Not exactly, sir.”</p>
-
-<p>“Then let her slide. The men who got
-out this map ought to be indicted for swindling.
-Maybe I’m wrong in calling it Ma-tan-zas?”</p>
-
-<p>“It is hardly correct, sir.”</p>
-
-<p>“And I’m off on Por-to Ri-co?”</p>
-
-<p>“Just a little off.”</p>
-
-<p>“That settles it, sir—that settles it!” said
-the short man as he folded up the map and
-tossed it away on the street. “I had a
-grandfather in the Revolutionary War, a
-father in the war with Mexico, and two
-brothers in the late Civil War, and I was
-going to offer my services to Uncle Sam in
-this emergency; but it’s off, sir—all off.”</p>
-
-<p>“But what difference does the pronunciation
-make?” protested the man on the right.</p>
-
-<p>“All the difference in the world, sir. My
-wife is tongue-tied and my only child has
-got a hare-lip, and if I should get killed
-neither one of them would be able to ever
-make any one understand whether I poured
-out my blood in a battle in Cuba or was run
-over by an ice-wagon in front of my own
-house!”</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>BRIDGET O’FLANNAGAN ON CHRISTIAN SCIENCE AND
-COCKROACHES.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-o.jpg" width="80" height="100" alt="" />
-</div>
-
-<p class="dropcap">Och, Mollie Moriarty, I’ve been havin’
-the quare iksparyincis since yiz hurrud
-from me, an’ if I’d known how
-it wud be whin I lift ould Oireland, I’d nivir
-have sit fut intil this coonthry befoor landin’.
-Me prisint misthriss that I had befoor the
-lasht wan is a discoiple av a new koind av
-relijun called Christian Soience. She’s been
-afthur takin’ a sooccission av coorsis av coolchur
-(I belave that’s fwhat they call it), an’
-she knows all aboot this Christian Soience.</p>
-
-<p>I’ve hurrud her talkin’ wid the other ladies
-about moind an’ matther, an’ as will as I can
-undherstand, Christian Soience manes that
-iverything is all moind an’ no matther, or all
-matther an’ nivir moind, an’ that ivery wan’s
-nobody, an’ iverything’s nothing ilse. The
-misthriss ses there’s no disase nor trooble,
-an’ no nade av physic; nivirthiliss, whin she
-dishcoovered cockroaches intil the panthry,
-she sint me out wid the money to buy an
-iksterminatin’ powdher.</p>
-
-<p>Thinks I to mesilf, “I’ll give thim roaches
-a dose av Christian Soience, or fwhat the
-ladies call an ‘absint thratemint.’” So I
-fixed the powers av me moind on the middlesoom<span class="pagenum"><a id="Page_235"></a>[235]</span>
-craythers an’ shpint the money till
-me own binifit. Afther a few days the misthriss
-goes intil the panthry, an’ foinds thim
-roaches roonin’ ’round as if they’d nivir been
-kilt at all. I throied to iksplain, but wid the
-inconsishtency av her six she wouldn’t listhin
-till a worrud, but ses I was addin’ impertinince
-to desaving’. So I’m afther lookin’
-fur a place, an’ if yiz know av any lady widout
-notions that do be bewildherin’ to me
-moind, address,</p>
-
-<div class="addressblock">
-<div class="lines">
-<p><span class="smcap">Miss Bridget O’Flannagan</span>,<br />
-Post Office, Ameriky.<br />
-<span class="smcap line">M. Bourchier.</span></p>
-
-</div>
-</div>
-
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>CONVERSATIONAL</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-h.jpg" width="130" height="110" alt="" /></div>
-    <div class="dropcapline">“How’s your father?” Came the whisper,</div>
-    <div class="verse indent2">Bashful Ned the silence breaking;</div>
-    <div class="verse indent0">“Oh, he’s nicely,” Annie murmured,</div>
-    <div class="verse indent2">Smilingly the question taking.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Conversation flagged a moment,</div>
-    <div class="verse indent2">Hopeless, Ned essayed another:</div>
-    <div class="verse indent0">“Annie, I—I,” then a coughing,</div>
-    <div class="verse indent2">And the question, “How’s your mother!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Mother? Oh, she’s doing nicely!”</div>
-    <div class="verse indent2">Fleeting fast was all forbearance,</div>
-    <div class="verse indent0">When in low, despairing accents</div>
-    <div class="verse indent2">Came the climax, “How’s your parents?”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>WANTED, A MINISTER’S WIFE.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">Wanted, a perfect lady,</div>
-    <div class="verse indent2">Delicate, gentle, refined,</div>
-    <div class="verse indent0">With every beauty of person</div>
-    <div class="verse indent2">And every endowment of mind;</div>
-    <div class="verse indent0">Fitted by early culture</div>
-    <div class="verse indent2">To move in a fashionable life.</div>
-    <div class="verse indent0">Please notice our advertisement:</div>
-    <div class="verse indent2">“Wanted, a minister’s wife.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Wanted, a thoroughbred worker,</div>
-    <div class="verse indent2">Who well to her household looks</div>
-    <div class="verse indent0">(Shall we see our money wasted</div>
-    <div class="verse indent2">By extravagant, stupid cooks?)</div>
-    <div class="verse indent0">Who cuts the daily expenses</div>
-    <div class="verse indent2">With economy as sharp as a knife,</div>
-    <div class="verse indent0">And washes and scrubs in the kitchen.</div>
-    <div class="verse indent2">“Wanted, a minister’s wife.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">A very domestic person.</div>
-    <div class="verse indent2">To “callers” she must not be “out;”</div>
-    <div class="verse indent0">It has such a bad appearance</div>
-    <div class="verse indent2">For her to be gadding about.</div>
-    <div class="verse indent0">Only to visit the parish</div>
-    <div class="verse indent2">Every day of her life,</div>
-    <div class="verse indent0">And attend the funerals and weddings.</div>
-    <div class="verse indent2">“Wanted, a minister’s wife.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Conduct the ladies’ meeting,</div>
-    <div class="verse indent2">The sewing-circle attend,</div>
-    <div class="verse indent0">And when we work for the needy,</div>
-    <div class="verse indent2">Her ready assistance to lend.</div>
-    <div class="verse indent0">To clothe the destitute children</div>
-    <div class="verse indent2">Where sorrow and want are rife;</div>
-    <div class="verse indent0">To hunt up Sunday-school scholars.</div>
-    <div class="verse indent2">“Wanted, a minister’s wife.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Careful to entertain strangers,</div>
-    <div class="verse indent2">Traveling agents, and “such;”</div>
-    <div class="verse indent0">Of this kind of “angel visits”</div>
-    <div class="verse indent2">The leaders have had so much</div>
-    <div class="verse indent0">As to prove a perfect nuisance,</div>
-    <div class="verse indent2">And “hope these plagues of their life</div>
-    <div class="verse indent0">Can soon be sent to their parson’s.”</div>
-    <div class="verse indent2">“Wanted, a minister’s wife.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">A perfect pattern of prudence</div>
-    <div class="verse indent2">To all others, spending less,</div>
-    <div class="verse indent0">But never disgracing the parish</div>
-    <div class="verse indent2">By looking shabby in dress.</div>
-    <div class="verse indent0">Playing the organ on Sunday</div>
-    <div class="verse indent2">Would aid our laudable strife</div>
-    <div class="verse indent0">To save the society’s money.</div>
-    <div class="verse indent2">“Wanted, a minister’s wife.”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 275px;">
-<img src="images/line10.jpg" width="275" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_236"></a>[236]</span></p>
-
-<h4>HOW A MARRIED MAN SEWS ON A BUTTON.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-i.jpg" width="50" height="100" alt="" />
-</div>
-
-<p class="dropcap">It is bad enough to see a bachelor sew
-on a button, but he is the embodiment
-of grace alongside a married man.
-Necessity has compelled experience in the
-case of the former, but the latter has depended
-upon some one else for this service,
-and fortunately for the sake of society, it is
-rarely he is obliged to resort to the needle himself.
-Sometimes the patient wife scalds her
-right hand, or runs a sliver under the nail of
-the index finger of that hand, and it is then the
-man clutches the needle around the neck,
-and, forgetting to tie a knot on the thread,
-commences to put on the button.</p>
-
-<p>It is always in the morning, and from five
-to twenty minutes after this he is expected
-to be down street. He lays the button on
-exactly the site of its predecessor, and pushes
-the needle through one eye, and carefully
-draws the thread after, leaving about three
-inches of it sticking up for leeway. He says
-to himself, “Well, if women don’t have the
-easiest time I ever see.”</p>
-
-<p>Then he comes back the other way and
-gets the needle through the cloth easy
-enough, and lays himself out to find the eye,
-but, in spite of a great deal of patient jabbing,
-the needle point persists in bucking against
-the solid parts of the button, and finally,
-when he loses patience, his fingers catch the
-thread, and that three inches he has left to
-hold the button slips through the eye in a
-twinkling, and the button rolls leisurely
-across the floor. He picks it up without a
-single remark, out of respect for his children,
-and makes another attempt to fasten it.</p>
-
-<p>This time, when coming back with the
-needle, he keeps both the thread and button
-from slipping, by covering them with his
-thumb; and it is out of regard for that part
-of him that he feels around for the eye in a
-very careful and judicious manner, but eventually
-losing his philosophy as the search
-becomes more and more hopeless, he falls to
-jabbing about in a loose and savage manner,
-and it is just then the needle finds the opening
-and comes up the button and part way
-through his thumb with a celerity that no
-human ingenuity can guard against. Then
-he lays down the things with a few familiar
-quotations, and presses the injured hand between
-his knees, and then holds it under the
-other arm, and finally jams it into his mouth,
-and all the while he prances and calls upon
-heaven and earth to witness that there has
-never been anything like it since the world
-was created, and howls, and whistles, and
-moans and sobs. After a while he calms
-down and puts on his pants and fastens them
-together with a stick, and goes to his business
-a changed man.</p>
-
-<p class="right"><span class="smcap">J. M. Bailey.</span></p>
-
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>THE DUTCHMAN’S SERENADE.</h4>
-
-<p>You do not need any set tune for the words to be sung. It will be more
-amusing to have none, but to extemporize as you go along. Stop singing
-when you come to the words in parenthesis and speak them. To complete the
-impersonation, you should have a violin. Do not recite German dialect
-pieces too rapidly; the words should be pronounced very distinctly.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-v.jpg" width="110" height="100" alt="" /></div>
-    <div class="dropcapline">Vake up, my schveet! Vake up, my lofe!</div>
-    <div class="verse indent0">Der moon dot can’t been seen abofe.</div>
-    <div class="verse indent0">Vake oud your eyes, und dough it’s late,</div>
-    <div class="verse indent0">I’ll make you oud a serenate.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Der shtreet dot’s kinder dampy vet,</div>
-    <div class="verse indent0">Und dhere vas no goot blace to set;</div>
-    <div class="verse indent0">My fiddle’s getting oud of dune,</div>
-    <div class="verse indent0">So blease get vakey wery soon.</div><span class="pagenum"><a id="Page_237"></a>[237]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">O my lofe! my lofely lofe!</div>
-    <div class="verse indent0">Am you avake ub dhere abofe,</div>
-    <div class="verse indent0">Feeling sad und nice to hear</div>
-    <div class="verse indent0">Schneider’s fiddle schrabin near?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Vell, anyvay, obe loose your ear,</div>
-    <div class="verse indent0">Und try to saw if you kin hear</div>
-    <div class="verse indent0">From dem bedclose vat you’m among,</div>
-    <div class="verse indent0">Der little song I’m going to sung:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><span class="smcap">Sing.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">O lady! vake! Get vake!</div>
-    <div class="verse indent2">Und hear der tale I’ll tell;</div>
-    <div class="verse indent0">O you vot’s schleebin’ sound ub dhere,</div>
-    <div class="verse indent2">I like you pooty vell!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><span class="smcap">Sing.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Your plack eyes dhem don’t shine</div>
-    <div class="verse indent2">When you’m ashleep—so vake!</div>
-    <div class="verse indent0">(Yes, hurry upp, and voke up quick,</div>
-    <div class="verse indent2">For gootness gracious sake!)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><span class="smcap">Sing.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">My schveet imbatience, lofe,</div>
-    <div class="verse indent2">I hope you vill excuse;</div>
-    <div class="verse indent0">I’m singing schveetly (dhere, py Jinks!</div>
-    <div class="verse indent2">Dhere goes a shtring proke loose!)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><span class="smcap">Sing.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">O putiful, schveet maid!</div>
-    <div class="verse indent2">O vill she ever voke?</div>
-    <div class="verse indent0">Der moon is mooning—(Jimminy! dhere</div>
-    <div class="verse indent2">Anoder shtring vent proke!)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I say, you schleeby, vake!</div>
-    <div class="verse indent2">Vake oud! Vake loose! Vake ub!</div>
-    <div class="verse indent0">Fire! Murder! Police! Vatch!</div>
-    <div class="verse indent2">O cracious! do vake ub!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Dot girl she schleebed—dot rain it rained</div>
-    <div class="verse indent2">Und I looked shtoopid like a fool,</div>
-    <div class="verse indent0">Vhen mit my fiddle I shneaked off</div>
-    <div class="verse indent2">So vet und shlobby like a mool!</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>BIDDY’S TROUBLES.</h4>
-
-<p>If this selection were recited in the costume of a housemaid, with apron,
-sunbonnet and bare arms, the effect would be intensified. Place the hands
-on the hips except when gesticulating.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-i.jpg" width="50" height="100" alt="" />
-</div>
-
-<p class="dropcap">“It’s thru for me, Katy, that I never seed
-the like of this people afore. It’s a
-time I’ve been having since coming
-to this house, twelve months agone this week
-Thursday. Yer know, honey, that my fourth
-coosin, Ann Macarthy, recommended me to
-Mrs. Whaler, and told the lady that I knew
-about genteel housework and the likes; while
-at the same time I had niver seed inter an
-American lady’s kitchen.</p>
-
-<p>“So she engaged me, and my heart was
-jist ready to burst wid grief for the story that
-Ann had told, for Mrs. Whaler was a swate-spoken
-lady, and never looked cross-like in
-her life; that I knew by her smooth, kind
-face. Well, jist the first thing she told me to
-do, after I dressed the children, was to dress
-the ducks for dinner. I stood looking at the
-lady for a couple of minutes, before I could
-make out any maneing at all to her words.</p>
-
-<p>“Thin I went searching after clothes for the
-ducks; and such a time as I had, to be sure.
-High and low I went till at last my mistress
-axed me for what I was looking; and
-I told her the clothes for the ducks, to be sure.
-Och, how she scramed and laughed, till my
-face was as rid as the sun wid shame, and she
-showed me in her kind swate way what her
-maneing was. Thin she told me how to air
-the beds; and it was a day for me, indade, when
-I could go up chamber alone and clare up the
-rooms. One day Mrs. Whaler said to me:</p>
-
-<p>“‘Biddy, an’ ye may give the baby an
-airin’, if yees will.’</p>
-
-<p>“What should I do—and it’s thru what I
-am saying this blessed minute—but go upstairs
-wid the child, and shake it, and then
-howld it out of the winder. Such a scraming
-and kicking as the baby gave—but I hild on
-the harder. Everybody thin in the strate’
-looked at me; at last misthress came up to
-see what for was so much noise.</p>
-
-<p>“‘I am thrying to air the baby,’ I said,
-‘but it kicks and scrames dridfully.’</p>
-
-<p><span class="pagenum"><a id="Page_238"></a>[238]</span></p>
-
-<p>“There was company down below; and
-whin Mrs. Whaler told them what I had been
-after doing, I thought they would scare the
-folks in the strate wid scraming.</p>
-
-<p>“And then I was told I must do up Mr.
-Whaler’s sharts one day when my mistress
-was out shopping. She told me repeatedly
-to do them up nice, for master was going
-away, so I takes the sharts and did them all
-up in some paper that I was after bringing
-from the ould country wid me, and tied some
-nice pink ribbon around the bundle.</p>
-
-<p>“‘Where are the sharts, Biddy?’ axed
-Mrs. Whaler, when she comed home.</p>
-
-<p>“‘I have been doing them up in a quair
-nice way,’ I said, bringing her the bundle.</p>
-
-<p>“‘Will you iver be done wid your graneness!’
-she axed me with a loud scrame.</p>
-
-<p>“I can’t for the life of me be tellin’ what
-their talkin’ manes. At home we call the
-likes of this fine work starching; and a deal
-of it I have done, too. Och! and may the
-blessed Vargin pity me, for I never’ll be
-cured of my graneness!”</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>THE INVENTOR’S WIFE.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">It’s easy to talk of the patience of Job. Humph! Job hed nothin’ to try him!</div>
-    <div class="verse indent0">Ef <i>he’d</i> been married to ’Bijah Brown, folks wouldn’t have dared come nigh him.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Trials, indeed! Now I’ll tell you what—ef you want to be sick of your life,</div>
-    <div class="verse indent0">Jest come and change places with me a spell—for I’m an inventor’s wife.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And sech inventions! I’m never sure, when I take up my coffee-pot,</div>
-    <div class="verse indent0">That ’Bijah hain’t been “improvin’” it, and it mayn’t go off like a shot.</div>
-    <div class="verse indent0">Why, didn’t he make me a cradle once, that would keep itself a-rockin’;</div>
-    <div class="verse indent0">And didn’t it pitch the baby out, and wasn’t his head bruised shockin’?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And there was his “Patent Peeler,” too—a wonderful thing, I’ll say;</div>
-    <div class="verse indent0">But it hed one fault—it never stopped till the apple was peeled away.</div>
-    <div class="verse indent0">As for locks, and clocks, and mowin’ machines, and reapers, and all sech trash,</div>
-    <div class="verse indent0">Why, ’Bijah’s invented heaps of em, but they don’t bring in no <i>cash</i>.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Law! that don’t worry him—not at all; he’s the aggravatin’est man—</div>
-    <div class="verse indent0">He’ll set in his little workship there, and whistle, and think, and plan.</div>
-    <div class="verse indent0">Inventin’ a jew’s-harp to go by steam, or a new-fangled powder-horn,</div>
-    <div class="verse indent0">While the children’s goin’ barefoot to school and the weeds is chokin’ our corn.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">When I’ve been forced to chop the wood, and tend to the farm beside,</div>
-    <div class="verse indent0">And look at ’Bijah a-settin there, I’ve jest dropped down and cried.</div>
-    <div class="verse indent0">We lost the hull of our turnip crop while he was inventin’ a gun;</div>
-    <div class="verse indent0">But I counted it one of my marcies when it bust before ’twas done.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">So he turned it into a “burglar alarm.” It ought to give thieves a fright—</div>
-    <div class="verse indent0">’Twould scare an honest man out of his wits, ef he sot it off at night.</div>
-    <div class="verse indent0">Sometimes I wonder ef ’Bijah’s crazy, he does such cur’ous things.</div>
-    <div class="verse indent0">Hev I told you about his bedstead yit?—’Twas full of wheels and springs;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">It had a key to wind it up, and a clock face at the head;</div>
-    <div class="verse indent0">All you did was to turn them hands, and at any hour you said,</div>
-    <div class="verse indent0">That bed got up and shook itself, and bounced you on the floor,</div>
-    <div class="verse indent0">And then shet up, jest like a box, so you couldn’t sleep any more.</div><span class="pagenum"><a id="Page_239"></a>[239]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Wa’al ’Bijah he fixed it all complete, and he sot it at half-past five,</div>
-    <div class="verse indent0">But he hadn’t more’n got into it when—dear me! sakes alive!</div>
-    <div class="verse indent0">Them wheels began to whiz and whir! I heerd a fearful snap!</div>
-    <div class="verse indent0">And there was that bedstead, with ’Bijah inside, shet up jest like a trap!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I screamed, of course, but ’twan’t no use; then I worked that hull long night</div>
-    <div class="verse indent0">A-tryin’ to open the pesky thing. At last I got in a fright;</div>
-    <div class="verse indent0">I couldn’t hear his voice inside, and I thought he might be dyin;</div>
-    <div class="verse indent0">So I took a crow-bar and smashed it in.—There was ’Bijah, peacefully lyin’,</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Inventin’ a way to git out again. That was all very well to say,</div>
-    <div class="verse indent0">But I don’t b’lieve he’d have found it out if I’d left him in all day.</div>
-    <div class="verse indent0">Now, sence I’ve told you my story, do you wonder I’m tired of life?</div>
-    <div class="verse indent0">Or think it strange I often wish I warn’t an inventor’s wife?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Mrs. E. T. Corbett.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>MISS EDITH HELPS THINGS ALONG.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-m.jpg" width="140" height="100" alt="" /></div>
-    <div class="dropcapline">“My sister’ll be down in a minute, and says you’re to wait, if you please;</div>
-    <div class="verse indent0">And says I might stay till she came, if I’d promise her never to tease,</div>
-    <div class="verse indent0">Nor speak till you spoke to me first. But that’s nonsense; for how would you know</div>
-    <div class="verse indent0">What she told me to say, if I didn’t? Don’t you really and truly think so?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“And then you’d feel strange here alone. And you wouldn’t know just where to sit;</div>
-    <div class="verse indent0">For that chair isn’t strong on its legs, and we never use it a bit:</div>
-    <div class="verse indent0">We keep it to match with the sofa; but Jack says it would be like you</div>
-    <div class="verse indent0">To flop yourself right down upon it, and knock out the very last screw.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Suppose you try! I won’t tell. You’re afraid to! Oh! you’re afraid they would think it was mean!</div>
-    <div class="verse indent0">Well, then, there’s the album: that’s pretty, if you’re sure that your fingers are clean.</div>
-    <div class="verse indent0">For sister says sometimes I daub it; but she only says that when she’s cross.</div>
-    <div class="verse indent0">There’s her picture. You know it? It’s like her; but she ain’t as good-looking, of course.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“This is <span class="smcap">me</span>. It’s the best of ’em all. Now, tell me, you’d never have thought</div>
-    <div class="verse indent0">That once I was little as that? It’s the only one that could be bought;</div>
-    <div class="verse indent0">For that was the message to pa from the photograph-man where I sat—</div>
-    <div class="verse indent0">That he wouldn’t print off any more till he first got his money for that.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“What? Maybe you’re tired of waiting. Why, often she’s longer than this.</div>
-    <div class="verse indent0">There’s all her back hair to do up, and all of her front curls to friz.</div>
-    <div class="verse indent0">But it’s nice to be sitting here talking like grown people, just you and me!</div>
-    <div class="verse indent0">Do you think you’ll be coming here often? Oh, do! But don’t come like Tom Lee—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Tom Lee, her last beau. Why, my goodness! he used to be here day and night,</div>
-    <div class="verse indent0">Till the folks thought he’d be her husband; and Jack says that gave him a fright;</div>
-    <div class="verse indent0">You won’t run away then, as he did? for you’re not a rich man, they say.</div>
-    <div class="verse indent0">Pa says you’re poor as a church-mouse. Now, are you? and how poor are they?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Ain’t you glad that you met me? Well, I am; for I know now your hair isn’t red;</div>
-    <div class="verse indent0">But what there is left of it’s mousy, and not what that naughty Jack said.</div>
-    <div class="verse indent0">But there! I must go; sister’s coming! But I wish I could wait, just to see</div>
-    <div class="verse indent0">If she ran up to you, and she kissed you in the way she used to kiss Lee.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Bret Harte.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_240"></a>[240]</span></p>
-
-<h4>THE MAN WHO HAS ALL DISEASES AT ONCE.</h4>
-
-<p>Imitate the cough. Put your hands on different parts of your body in
-describing your aches and pains. Wear a long dismal face. Bend forward
-and limp as you change your position.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-g.jpg" width="125" height="100" alt="" />
-</div>
-
-<p class="dropcap">Good Morning, Doctor; how do
-you do? I hain’t quite as well as
-I have been; but I think I’m some
-better than I was. I don’t think that last
-medicine that you gin me did me much
-good. I had a terrible time with the earache
-last night; my wife got up and drapt a
-few draps of walnut sap into it, and that relieved
-it some; but I didn’t get a wink of
-sleep till nearly daylight. For nearly a
-week, Doctor, I’ve had the worst kind of a
-narvous headache; it has been so bad sometimes
-that I thought my head would bust
-open. Oh, dear! I sometimes think that I’m
-the most afflictedest human that ever lived.</p>
-
-<p>Since this cold weather sot in, that troublesome
-cough, that I have had every winter
-for the last fifteen years, has began to pester
-me agin. (<i>Coughs.</i>) Doctor, do you think
-you can give me any thing that will relieve
-this desprit pain I have in my side?</p>
-
-<p>Then I have a crick, at times, in the back of
-my neck, so that I can’t turn my head without
-turning the hull of my body. (<i>Coughs.</i>)</p>
-
-<p>Oh, dear! What shall I do? I have consulted
-almost every doctor in the country,
-but they don’t any of them seem to understand
-my case. I have tried everything that
-I could think of; but I can’t find anything
-that does me the least good. (<i>Coughs.</i>)</p>
-
-<p>Oh, this cough—it will be the death of me
-yet! You know I had my right hip put out
-last fall at the rising of Deacon Jones’ saw-mill;
-it’s getting to be very troublesome just
-before we have a change of weather. Then
-I’ve got the sciatica in my right knee, and
-sometimes I’m so crippled up that I can
-hardly crawl round in any fashion.</p>
-
-<p>What do you think that old white mare of
-ours did while I was out plowing last week?
-Why, the weaked old critter, she kept a backing
-and backing, ontil she backed me right
-up agin the colter, and knock’d a piece of
-skin off my shin nearly so big. (<i>Coughs.</i>)</p>
-
-<p>But I had a worse misfortune than that the
-other day, Doctor. You see it was washing-day—and
-my wife wanted me to go out and
-bring in a little stove-wood—you know we lost
-our help lately, and my wife has to wash and
-tend to everything about the house herself.</p>
-
-<p>I knew it wouldn’t be safe for me to go
-out—as it was raining at the time—but I
-thought I’d risk it anyhow. So I went out,
-picked up a few chunks of stove-wood, and
-was a coming up the steps into the house,
-when my feet slipped from under me, and I
-fell down as sudden as if I’d been shot.
-Some of the wood lit upon my face, broke
-down the bridge of my nose, cut my upper
-lip, and knocked out three of my front teeth.
-I suffered dreadfully on account of it, as you
-may suppose, and my face ain’t well enough
-yet to make me fit to be seen, ’specially by
-the women folks. (<i>Coughs.</i>) Oh, dear! but
-that ain’t all, Doctor; I’ve got fifteen corns
-on my toes—and I’m afeard I’m going to
-have the “yaller janders.” (<i>Coughs.</i>)</p>
-
-<p class="right"><span class="smcap">Dr. Valentine.</span></p>
-
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>THE SCHOOL-MA’AM’S COURTING.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">When Mary Ann Dollinger got the skule daown thar on Injun Bay</div>
-    <div class="verse indent0">I was glad, fer I like ter see a gal makin’ her honest way.</div>
-    <div class="verse indent0">I heerd some talk in the village abaout her flyin’ high,</div>
-    <div class="verse indent0">Tew high fer busy farmer folks with chores ter dew ter fly.</div><span class="pagenum"><a id="Page_241"></a>[241]</span>
-    <div class="verse indent0">But I paid no sorter attention ter all the talk ontel</div>
-    <div class="verse indent0">She come in her reg’lar boardin’ raound ter visit with us a spell.</div>
-    <div class="verse indent0">My Jake an’ her had been cronies ever since they could walk,</div>
-    <div class="verse indent0">An’ it tuk me aback ter hear her kerrectin’ him in his talk.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Jake ain’t no hand at grammar, though he hain’t his beat for work;</div>
-    <div class="verse indent0">But I sez ter myself, “Look out, my gal, yer a-foolin’ with a Turk!”</div>
-    <div class="verse indent0">Jake bore it wonderful patient, an’ said in a mournful way,</div>
-    <div class="verse indent0">He p’sumed he was behindhand with the doin’s at Injun Bay.</div>
-    <div class="verse indent0">I remember once he was askin’ for some o’ my Injun buns,</div>
-    <div class="verse indent0">An’ she said he should allus say, “them air,” stid o’ “them is” the ones.</div>
-    <div class="verse indent0">Wal, Mary Ann kep’ at him stiddy mornin’ an’ evenin’ long,</div>
-    <div class="verse indent0">Tell he dassent open his mouth for fear o’ talkin’ wrong.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">One day I was pickin’ currants daown by the old quince tree,</div>
-    <div class="verse indent0">When I heerd Jake’s voice a-sayin’: “Be ye willin’ ter marry me?”</div>
-    <div class="verse indent0">An’ Mary Ann kerrectin’, “Air ye willin’, yeou sh’d say.”</div>
-    <div class="verse indent0">Our Jake he put his foot daown in a plum, decided way,</div>
-    <div class="verse indent0">“No wimmen-folks is a-goin’ ter be re-arrangin’ me.</div>
-    <div class="verse indent0">Hereafter I says ‘craps,’ ‘them is,’ ‘I calk’late,’ an’ ‘I be.’</div>
-    <div class="verse indent0">Ef folks don’t like my talk they needn’t hark ter what I say;</div>
-    <div class="verse indent0">But I ain’t a-goin’ to take no sass from folks from Injun Bay.</div>
-    <div class="verse indent0">I ask you free an’ final: Be ye goin’ ter marry me?”</div>
-    <div class="verse indent0">An’ Mary Ann sez, tremblin’, yet anxious-like, “I be.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Florence E. Pyatt.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>THE DUTCHMAN’S SNAKE.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-n.jpg" width="140" height="110" alt="" />
-</div>
-
-<p class="dropcap">Near the town of Reading, in Berks
-County, Pennsylvania, there formerly
-lived a well-to-do Dutch
-farmer named Peter Van Riper. His only
-son was a strapping lad of seventeen, also
-named Peter, and upon old Peter and young
-Peter devolved the principal cares of the old
-man’s farm, now and then assisted by an ancient
-Dutchman named Jake Sweighoffer,
-who lived in the neighborhood, and went out
-to work by the day.</p>
-
-<p>One warm day in haying time this trio
-were hard at work in a meadow near the
-farm-house, when suddenly Peter the elder
-dropped his scythe and called out:</p>
-
-<p>“Oh! mine gracious, Peter! Peter!”</p>
-
-<p>“What’s de matter, fader?” answered the
-son, straightening up and looking at his
-sire.</p>
-
-<p>“Oh! mine Peter! Peter!” again cried the
-old man, “do come here, right off! Der
-schnake pite mine leg!”</p>
-
-<p>If anything in particular could disturb the
-nerves of young Peter, it was snakes; for he
-had once been chased by a black one and
-frightened nearly out of his wits. At the
-word snake, therefore, young Van Riper fell
-back, nimbly as a wire-drawer, and called
-out in turn: “Where is der shnake, fader?”</p>
-
-<p>“Here, up mine preeches!—Oh! my! my!
-my!”</p>
-
-<p>“Vy don’t you kill him, fader?” exclaimed
-Peter, junior, keeping at a safe distance from
-his suffering sire.</p>
-
-<p>“I can’t get at der little sinner, Peter; you
-come dake off my drowsis, or he’ll kill me
-mit his pites.”</p>
-
-<p>But the fears of Peter, the younger, overcame<span class="pagenum"><a id="Page_242"></a>[242]</span>
-his filial affection, and lent strength to
-his legs, for he started off like a scared two-year-old
-toward the old man Jake, to call him
-to the assistance of his unhappy father. A
-few moments after, the two came bounding
-toward the old man, and as they passed a
-haycock where their garments had been laid
-when they began work, Jake grabbed the
-vest which he supposed belonged to his employer.
-During this time old Peter had
-managed to keep on his feet, although he
-was quaking and trembling like an aspen
-leaf in a June gale of wind.</p>
-
-<p>“Oh! come quick, Yacob!” exclaimed he,
-“he pite like sixty, here, on mine leg.”</p>
-
-<p>Old Jake was not particularly sensitive to
-fear, but few people, young or old, are free
-from alarm when a “pizenous” reptile is
-about. He seized a small pitchfork, and,
-telling the unhappy Van Riper to stand
-steady, promised to stun the reptile by a rap
-or two, even if he didn’t kill it outright. The
-frightened old man did not long hesitate between
-the risk of a broken leg or being bitten
-to death by a snake, but promptly indicated
-the place where Jake should strike.
-Whack went the pitchfork, and down tumbled
-Peter, exclaiming, “Oh! my! my! my;
-I pleeve you’ve proke mine leg! but den der
-shnake’s gone.”</p>
-
-<p>“Vere! vere’s he gone to?” says old
-Sweighoffer, looking sharply about on the
-ground he stood upon.</p>
-
-<p>“Never mind der shnake now, Yacob,”
-says Van Riper, “come and help me up, and
-I’ll go home.”</p>
-
-<p>“Here, I’ve got your shacket—put it on,”
-says Jacob, lifting up the old man, and
-slipping his arms into the armholes of the
-vest.</p>
-
-<p>The moment old Peter made the effort to
-get the garment on his shoulders, he grew
-livid in the face—his hair stood on end—he
-shivered and shook—his teeth chattered, and
-his knees knocked an accompaniment. “O
-Yacob!” exclaimed he, “help me to go home—I’m
-dead! I’m dead!”</p>
-
-<p>“Vat’s dat you say? Ish dere nodder
-shnake in your preeches?” inquired the intrepid
-Jacob.</p>
-
-<p>“Not dat—I don’t mean dat,” says the
-farmer, “but shust you look on me—I’m
-shwelt all up, pigger as an ox! my shacket
-won’t go on my pack. I’m dying mit de
-pizen. Oh! oh! oh! help me home quick.”</p>
-
-<p>The hired man came to the same conclusion;
-and with might and main he hurried
-old Peter along toward the farm-house.
-Meantime young Peter had run home, and so
-alarmed the women folks that they were in a
-high state of excitement when they saw the
-approach of the good old man and his
-assistant.</p>
-
-<p>Old man Peter was carried into the house,
-laid on a bed, and began to lament his sad
-misfortune in a most grievous manner, when
-the old lady, his frow, came forward and
-proposed to examine the bitten leg. The
-unhappy man opened his eyes and feebly
-pointed out the place of the bite. She carefully
-ripped up his pantaloons, and out fell—a
-thistle-top! and at the same time a considerable
-scratch was made visible.</p>
-
-<p>“Call dis a shnake? Bah!” says the old
-lady, holding up the thistle.</p>
-
-<p>“Oh! but I’m pizened to death, Katreen!—see,
-I’m all pizen!—mine shacket!—Oh!
-dear, mine shacket not come over mine
-pody!”</p>
-
-<p>“Haw! haw! you crazy fellow,” roars the
-frow, “dat’s not your shacket—dat’s Peter’s
-shacket! ha! ha! ha!”</p>
-
-<p>“Vat! dat Peter’s shacket?” says old
-Peter, shaking off death’s icy fetters at one
-surge, and jumping up: “Bosh! Jacob, vat
-an old fool you must be to say I vas shnake-pite!
-Go ’pout your pusiness, gals. Peter,
-give me mine pipe.”</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_243"></a>[243]</span></p>
-
-<h4>NO KISS.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-k.jpg" width="130" height="110" alt="" /></div>
-    <div class="dropcapline">“Kiss me, Will,” sang Marguerite,</div>
-    <div class="verse indent2">To a pretty little tune,</div>
-    <div class="verse indent0">Holding up her dainty mouth,</div>
-    <div class="verse indent2">Sweet as roses born in June.</div>
-    <div class="verse indent0">Will was ten years old that day,</div>
-    <div class="verse indent2">And he pulled her golden curls</div>
-    <div class="verse indent0">Teasingly, and answer made—</div>
-    <div class="verse indent2">“I’m too old—I don’t kiss girls.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Ten years pass, and Marguerite</div>
-    <div class="verse indent2">Smiles as Will kneels at her feet,</div>
-    <div class="verse indent0">Gazing fondly in her eyes,</div>
-    <div class="verse indent2">Praying, “Won’t you kiss me, sweet?”</div>
-    <div class="verse indent0">’Rite is seventeen to-day,</div>
-    <div class="verse indent2">With her birthday ring she toys</div>
-    <div class="verse indent0">For a moment, then replies:</div>
-    <div class="verse indent2">“I’m too old—I don’t kiss boys.”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>THE LISPING LOVER.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">Oh! thtay one moment, love implorth,</div>
-    <div class="verse indent2">Ere yet we break thith happy thpell!</div>
-    <div class="verse indent0">For to the thoul my thoul adorth</div>
-    <div class="verse indent2">It ith tho hard to thay farewell.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And yet how thad to be tho weak,</div>
-    <div class="verse indent2">To think forever, night or day,</div>
-    <div class="verse indent0">The thententheth my heart would thpeak</div>
-    <div class="verse indent2">Thethe lipth can never truly thay.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">How mournful, too, while thuth I kneel,</div>
-    <div class="verse indent2">With nervouthneth my blith to mar,</div>
-    <div class="verse indent0">And dream each moment that I feel</div>
-    <div class="verse indent2">The boot-toe of thy thtern papa.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Or yet to fanthy that I hear</div>
-    <div class="verse indent2">A thudden order to decamp,</div>
-    <div class="verse indent0">Ath dithagreeably thevere</div>
-    <div class="verse indent2">Ath—“Get out you infernal thcamp!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Yet recklethly I pauthe by thee,</div>
-    <div class="verse indent2">To lithp my hopeth, my fearth, my careth,</div>
-    <div class="verse indent0">Though any moment I may be</div>
-    <div class="verse indent2">Turning a thomerthet down the thtairth!</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>LARRIE O’DEE.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-n.jpg" width="140" height="110" alt="" /></div>
-    <div class="dropcapline">Now the widow McGee,</div>
-    <div class="verse indent12">And Larrie O’Dee,</div>
-    <div class="verse indent0">Had two little cottages out on the green,</div>
-    <div class="verse indent0">With just room enough for two pig-pens between.</div>
-    <div class="verse indent0">The widow was young and the widow was fair,</div>
-    <div class="verse indent0">With the brightest of eyes and the brownest of hair;</div>
-    <div class="verse indent0">And it frequently chanced, when she came in the morn</div>
-    <div class="verse indent0">With the swill for her pig, Larrie came with the corn.</div>
-    <div class="verse indent0">And some of the ears that he tossed from his hand,</div>
-    <div class="verse indent0">In the pen of the widow were certain to land.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent12">One morning said he:</div>
-    <div class="verse indent12">“Och! Misthress McGee,</div>
-    <div class="verse indent0">It’s a waste, of good lumber, this runnin’ two rigs,</div>
-    <div class="verse indent0">Wid a fancy petition betwane our two pigs!”</div>
-    <div class="verse indent0">“Indade sur, it is!” answered Widow McGee,</div>
-    <div class="verse indent0">With the sweetest of smiles upon Larrie O’Dee.</div>
-    <div class="verse indent0">“And thin, it looks kind o’ hard-hearted and mane,</div>
-    <div class="verse indent2">Kapin’ two friendly pigs so exsaidenly near</div>
-    <div class="verse indent2">That whiniver one grunts the other can hear,</div>
-    <div class="verse indent0">And yit kape a cruel petition betwane.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent12">“Shwate Widow McGee,”</div>
-    <div class="verse indent12">Answered Larrie O’Dee,</div>
-    <div class="verse indent0">“If ye fale in your heart we are mane to the pigs,</div>
-    <div class="verse indent0">Ain’t we mane to ourselves to be runnin’ two rigs?</div>
-    <div class="verse indent0">Och! it made me heart ache whin I paped through the cracks</div><span class="pagenum"><a id="Page_244"></a>[244]</span>
-    <div class="verse indent0">Of me shanty, lasht March, at yez shwingin’ yer axe;</div>
-    <div class="verse indent0">An’ a bobbin’ yer head an’ a shtompin’ yer fate,</div>
-    <div class="verse indent0">Wid yer purty white hands jisht as red as a bate,</div>
-    <div class="verse indent0">A-sphlittin’ yer kindlin’-wood out in the shtorm,</div>
-    <div class="verse indent0">When one little shtove it would kape us both warm!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent12">“Now, piggy,” said she;</div>
-    <div class="verse indent12">“Larrie’s courtin’ o’ me,</div>
-    <div class="verse indent0">Wid his dilicate tinder allusions to you,</div>
-    <div class="verse indent0">So now yez must tell me jisht what I must do;</div>
-    <div class="verse indent0">For, if I’m to say yez, shtir the swill wid yer snout;</div>
-    <div class="verse indent0">But if I’m to say no, ye must kape yer nose out.</div>
-    <div class="verse indent0">Now Larrie, for shame! to be bribin’ a pig</div>
-    <div class="verse indent0">By a-tossin’ a handful of corn in its shwig!”</div>
-    <div class="verse indent0">“Me darlint, the piggy says yes,” answered he.</div>
-    <div class="verse indent0">And that was the courtship of Larrie O’Dee.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">W. W. Fink.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>HOW PADEREWSKI PLAYS THE PIANO.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-f.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">First a soft and gentle tinkle,</div>
-    <div class="verse indent0">Gentle as the rain-drop’s sprinkle,</div>
-    <div class="verse indent8">Then a stop,</div>
-    <div class="verse indent8">Fingers drop.</div>
-    <div class="verse indent0">Now begins a merry trill,</div>
-    <div class="verse indent0">Like a cricket in a mill;</div>
-    <div class="verse indent0">Now a short, uneasy motion,</div>
-    <div class="verse indent0">Like a ripple on the ocean.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">See the fingers dance about,</div>
-    <div class="verse indent0">Hear the notes come tripping out;</div>
-    <div class="verse indent0">How they mingle in the tingle</div>
-    <div class="verse indent0">Of the everlasting jingle,</div>
-    <div class="verse indent0">Like to hailstones on a shingle,</div>
-    <div class="verse indent0">Or the ding-dong, dangle-dingle</div>
-    <div class="verse indent0">Of a sheep-bell! Double, single,</div>
-    <div class="verse indent0">Now they come in wilder gushes,</div>
-    <div class="verse indent0">Up and down the player rushes,</div>
-    <div class="verse indent0">Quick as squirrels, sweet as thrushes.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Now the keys begin to clatter</div>
-    <div class="verse indent0">Like the music of a platter</div>
-    <div class="verse indent0">When the maid is stirring batter.</div>
-    <div class="verse indent0">O’er the music comes a change,</div>
-    <div class="verse indent0">Every tone is wild and strange;</div>
-    <div class="verse indent0">Listen to the lofty tumbling,</div>
-    <div class="verse indent0">Hear the mumbling, fumbling, jumbling,</div>
-    <div class="verse indent0">Like the rumbling and the grumbling</div>
-    <div class="verse indent0">Of the thunder from its slumbering</div>
-    <div class="verse indent0">Just awaking. Now it’s taking</div>
-    <div class="verse indent0">To the quaking, like a fever-and-ague shaking;</div>
-    <div class="verse indent0">Heads are aching, something’s breaking—</div>
-    <div class="verse indent0">Goodness gracious! it is wondrous,</div>
-    <div class="verse indent0">Rolling round, above, and under us,</div>
-    <div class="verse indent0">Like old Vulcan’s stroke so thunderous.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Now ’tis louder, but the powder</div>
-    <div class="verse indent0">Will be all exploded soon;</div>
-    <div class="verse indent0">For the only way to do,</div>
-    <div class="verse indent0">When the music’s nearly through,</div>
-    <div class="verse indent0">Is to muster all your muscle for a bang,</div>
-    <div class="verse indent0">Striking twenty notes together with a clang:</div>
-    <div class="verse indent0">Hit the treble with a twang,</div>
-    <div class="verse indent0">Give the bass an awful whang,</div>
-    <div class="verse indent0">And close the whole performance</div>
-    <div class="verse indent0">With a slam—bang—whang!</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>THE FRECKLE-FACED GIRL.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-m.jpg" width="140" height="100" alt="" />
-</div>
-
-<p class="dropcap">“Ma’s up stairs changing her dress,”
-said the freckled-faced little
-girl, tying her doll’s bonnet
-strings and casting her eye about for a tidy
-large enough to serve as a shawl for that
-double-jointed young person.</p>
-
-<p>“Oh, your mother needn’t dress up for
-me,” replied the female agent of the missionary
-society, taking a self-satisfied view
-of herself in the mirror. “Run up and tell
-her to come down just as she is in her everyday
-clothes, and not stand on ceremony.”</p>
-
-<p>“Oh, but she hasn’t got on her everyday
-clothes. Ma was all dressed up in her new<span class="pagenum"><a id="Page_245"></a>[245]</span>
-brown silk dress, ’cause she expected Miss
-Dimmond to-day. Miss Dimmond always
-comes over here to show off her nice things,
-and ma doesn’t mean to get left. When ma
-saw you coming she said, ‘the dickens!’ and
-I guess she was mad about something. Ma
-said if you saw her new dress, she’d have to
-hear all about the poor heathen, who don’t
-have silk, and you’d ask her for money to
-buy hymn books to send ’em. Say, do the
-nigger ladies use hymn-book leaves to do
-their hair up on and make it frizzy? Ma
-says she guesses that’s all the good the books
-do ’em, if they ever get any books. I wish
-my doll was a heathen.”</p>
-
-<p>“Why, you wicked little girl! what do
-you want of a heathen doll?” inquired the
-missionary lady, taking a mental inventory
-of the new things in the parlor to get material
-for a homily on worldly extravagance.</p>
-
-<p>“So folks would send her lots of nice things
-to wear, and feel sorry to have her going
-about naked. Then she’d have her hair to
-frizz, and I want a doll with truly hair and
-eyes that roll up like Deacon Silderback’s
-when he says amen on Sunday. I ain’t a
-wicked girl, either, ’cause Uncle Dick—you
-know Uncle Dick, he’s been out West and
-swears awful and smokes in the house—he
-says I’m a holy terror, and he hopes I’ll be
-an angel pretty soon. Ma’ll be down in a
-minute, so you needn’t take your cloak off.
-She said she’d box my ears if I asked you to.</p>
-
-<p>“Ma’s putting on that old dress she had
-last year, ’cause she didn’t want you to
-think she was able to give much this time,
-and she needed a muff worse than the queen
-of the cannon-ball islands needed ’ligion.
-Uncle Dick says you oughter get to the
-islands, ’cause you’d be safe there, and the
-natives would be sorry they was such sinners
-anybody would send you to ’em. He
-says he never seen a heathen hungry enough
-to eat you, ’less it was a blind one, an’ you’d
-set a blind pagan’s teeth on edge so he’d
-never hanker after any more missionary.
-Uncle Dick’s awful funny, and makes ma
-and pa die laughing sometimes.”</p>
-
-<p>“Your Uncle Richard is a bad, depraved
-wretch, and ought to have remained out
-West, where his style is appreciated. He sets
-a horrid example for little girls like you.”</p>
-
-<p>“Oh, I think he’s nice. He showed me
-how to slide down the banisters, and he’s
-teaching me to whistle when ma ain’t around.
-That’s a pretty cloak you’ve got, ain’t it?
-Do you buy all your clothes with missionary
-money? Ma says you do.”</p>
-
-<p>Just then the freckle-faced little girl’s ma
-came into the parlor and kissed the missionary
-lady on the cheek and said she was delighted
-to see her, and they proceeded to
-have a real sociable chat. The little girl’s
-ma cannot understand why a person who
-professes to be so charitable as the missionary
-agent does should go right over to Miss
-Dimmond’s and say such ill-natured things
-as she did, and she thinks the missionary is
-a double-faced gossip. The little girl understands
-it better than her ma does.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>WHEN GIRLS WORE CALICO.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">There was a time, betwixt the days</div>
-    <div class="verse indent2">Of linsey woolsey, straight and prim,</div>
-    <div class="verse indent0">And these when mode, with despot ways,</div>
-    <div class="verse indent2">Leads woman captive at its whim,</div>
-    <div class="verse indent4">Yet not a hundred years ago,</div>
-    <div class="verse indent4">When girls wore simple calico.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Within the barn, by lantern light,</div>
-    <div class="verse indent2">Through many a reel, with flying feet,</div>
-    <div class="verse indent0">The boys and maidens danced at night</div>
-    <div class="verse indent2">To fiddled measures, shrilly sweet;</div>
-    <div class="verse indent4">And merry revels were they, though</div>
-    <div class="verse indent4">The girls were gowned in calico.</div><span class="pagenum"><a id="Page_246"></a>[246]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Across the flooring rough and gray</div>
-    <div class="verse indent2">The gold of scattered chaff was spread,</div>
-    <div class="verse indent0">And long festoons of clover hay</div>
-    <div class="verse indent2">That straggled from the loft o’erhead,</div>
-    <div class="verse indent4">Swung scented fringes to and fro</div>
-    <div class="verse indent4">O’er pretty girls in calico.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">They used to go a-Maying then,</div>
-    <div class="verse indent2">The blossoms of the spring to seek</div>
-    <div class="verse indent0">In sunny glade and sheltered glen,</div>
-    <div class="verse indent2">Unweighed by fashion’s latest freak;</div>
-    <div class="verse indent4">And Robin fell in love, I know,</div>
-    <div class="verse indent4">With Phyllis in her calico.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">A tuck, a frill, a bias fold,</div>
-    <div class="verse indent2">A hat curved over gipsy-wise,</div>
-    <div class="verse indent0">And beads of coral and of gold,</div>
-    <div class="verse indent2">And rosy cheeks and merry eyes,</div>
-    <div class="verse indent4">Made lassies in that long ago</div>
-    <div class="verse indent4">Look charming in their calico.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The modern knight who loves a maid</div>
-    <div class="verse indent2">Of gracious air and gentle grace,</div>
-    <div class="verse indent0">And finds her oftentimes arrayed</div>
-    <div class="verse indent2">In shining silk and priceless lace,</div>
-    <div class="verse indent4">Would love her just as well, I know,</div>
-    <div class="verse indent4">In pink and lilac calico.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Hattie Whitney.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>A WINNING COMPANY.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-e.jpg" width="140" height="110" alt="" /></div>
-    <div class="dropcapline">Ef gran’paw was a soldier now</div>
-    <div class="verse indent2">He’d show ’em what to do;</div>
-    <div class="verse indent0">You ought to come and lisen how</div>
-    <div class="verse indent2">He talks to me and Sue.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He tells us all about the days</div>
-    <div class="verse indent2">He led his gallant men,</div>
-    <div class="verse indent0">And all about the different ways</div>
-    <div class="verse indent2">He won the battles then.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">An’ ev’ry night when paw comes in</div>
-    <div class="verse indent2">An’ says the fight’s begun,</div>
-    <div class="verse indent0">He tells what they could do to win</div>
-    <div class="verse indent2">Er what they ought to done.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">An’ paw he laugh and looks at me</div>
-    <div class="verse indent2">An’ says we’d surely win it</div>
-    <div class="verse indent0">If gran’paw led a company</div>
-    <div class="verse indent2">An’ Sue an’ me was in it.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>THE BRAVEST SAILOR OF ALL.</h4>
-
-<p>This graceful tribute to the martial spirit of the little tots should be
-recited in a slightly bombastic style. The little one considers himself
-quite a hero and should be described accordingly.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I know a naval officer, the bravest fighting man;</div>
-    <div class="verse indent0">He wears a jaunty sailor suit, his cap says “Puritan.”</div>
-    <div class="verse indent0">And all day long he sails a ship between our land and Spain,</div>
-    <div class="verse indent0">And he avenges, every hour, the martyrs of the “Maine.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">His warship is six inches square, a wash-tub serves for ocean;</div>
-    <div class="verse indent0">But never yet, on any coast, was seen such dire commotion.</div>
-    <div class="verse indent0">With one skilled move his boat is sent from Cuba to midsea,</div>
-    <div class="verse indent0">And just as quickly back it comes to set Havana free.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He fights with Dewey; plants his flag upon each island’s shore,</div>
-    <div class="verse indent0">Then off with Sampson’s fleet he goes to shed the Spanish gore.</div>
-    <div class="verse indent0">He comes to guard New England’s coast, but ere his anchor falls,</div>
-    <div class="verse indent0">He hurries off in frightful speed, to shell Manila’s walls.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The Philippines so frequently have yielded to his power,</div>
-    <div class="verse indent0">There’s very little left of them, I’m certain, at this hour;</div>
-    <div class="verse indent0">And when at last he falls asleep, it is to wake again</div>
-    <div class="verse indent0">And hasten into troubled seas and go and conquer Spain.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Ella Wheeler Wilcox.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_247"></a>[247]</span></p>
-
-<h4>HOW SHE WAS CONSOLED.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">Out in the field in the red o’ the rain</div>
-    <div class="verse indent0">That crimsoned the breasts that the battle had slain,</div>
-    <div class="verse indent0">He lay in the shadow—the captain—at rest,</div>
-    <div class="verse indent0">With a lock of gold hair round a face on his breast.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Out in the darkness, all pallid and dumb,</div>
-    <div class="verse indent0">A woman waits long for the captain to come;</div>
-    <div class="verse indent0">And she kisses his portrait. O, pitiful pain!</div>
-    <div class="verse indent0">She shall kiss not the lips of the captain again!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But a woman’s a woman, though loyal and brave,</div>
-    <div class="verse indent0">Love fareth but ill in the gloom of a grave.</div>
-    <div class="verse indent0">The captain lies mute ’neath the stars and the snow,</div>
-    <div class="verse indent0">And the woman he loved—well, she’s married you know!</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>THAT HIRED GIRL.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" />
-</div>
-
-<p class="dropcap">When she came to work for the family
-on Congress street, the lady of
-the house sat down and told her
-that agents, picture-sellers, peddlers, ragmen,
-and all that class of people must be met
-at the front door and coldly repulsed, and
-Sarah said she’d repulse them if she had to
-break every broomstick in town.</p>
-
-<p>And she did. She threw the door open
-wide, bluffed right up at ’em, and when she
-got through talking, the cheekiest agent was
-only too glad to leave. It got so after a
-while that peddlers marked that house, and
-the door-bell never rang except for company.</p>
-
-<p>The other day, as the girl of the house was
-wiping off the spoons, the bell rang. She
-hastened to the door, expecting to see a lady,
-but her eyes encountered a slim man, dressed
-in black and wearing a white necktie. He
-was the new minister, and was going around
-to get acquainted with the members of his
-flock, but Sarah wasn’t expected to know
-this.</p>
-
-<p>“Ah—um—is—Mrs.—ah!”</p>
-
-<p>“Git!” exclaimed Sarah, pointing to the
-gate.</p>
-
-<p>“Beg pardon, but I would like to see—see—!”</p>
-
-<p>“Meander!” she shouted, looking around
-for a weapon; “we don’t want any flour-sifters
-here!”</p>
-
-<p>“You’re mistaken,” he replied, smiling
-blandly. “I called to—”</p>
-
-<p>“Don’t want anything to keep moths
-away—fly!” exclaimed Sarah, getting red in
-the face.</p>
-
-<p>“Is the lady in?” he inquired, trying to
-look over Sarah’s head.</p>
-
-<p>“Yes, the lady is in, and I’m in, and you
-are out!” she snapped; “and now I don’t
-want to stand here talking to a fly-trap agent
-any longer! Come lift your boots!”</p>
-
-<p>“I’m not an agent,” he said, trying to
-smile. “I’m the new—”</p>
-
-<p>“Yes, I know you—you are the new man
-with the patent flat-iron, but we don’t want any,
-and you’d better go before I call the dog!”</p>
-
-<p>“Will you give the lady my card, and say
-that I called?”</p>
-
-<p>“No, I won’t; we are bored to death with
-cards and handbills and circulars. Come, I
-can’t stand here all day.”</p>
-
-<p>“Didn’t know that I was a minister?” he
-asked, as he backed off.</p>
-
-<p>“No, nor I don’t know it now; you look
-like the man who sold the woman next door
-a ten cent chromo for two dollars.”</p>
-
-<p><span class="pagenum"><a id="Page_248"></a>[248]</span></p>
-
-<p>“But here is my card.”</p>
-
-<p>“I don’t care for cards, I tell you! If you
-leave that gate open, I will have to fling a
-flower-pot at you!”</p>
-
-<p>“I will call again,” he said, as he went
-through the gate.</p>
-
-<p>“It won’t do any good!” she shouted
-after him; “we don’t want no prepared food
-for infants—no piano music—no stuffed
-birds! I know the policeman on this beat,
-and if you come around here again, he’ll soon
-find out whether you are a confidence man
-or vagrant!”</p>
-
-<p>And she took unusual care to lock the door.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>WHAT SAMBO SAYS.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-n.jpg" width="140" height="110" alt="" /></div>
-    <div class="dropcapline">Now, in dese busy wukin’ days, dey’s changed de Scripter fashions,</div>
-    <div class="verse indent0">An’ you needn’t look to mirakuls to furnish you wid rations;</div>
-    <div class="verse indent0">Now, when you’s wantin’ loaves o’ bread, you got to go and fetch ’em,</div>
-    <div class="verse indent0">An’ ef you’s wantin’ fishes, you mus’ dig your wums an’ ketch ’em;</div>
-    <div class="verse indent0">For you kin put it down as sartin dat the time is long gone by,</div>
-    <div class="verse indent0">When sassages an’ ’taters use to rain fum out de sky!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I nebber likes de cullud man dat thinks too much o’ eatin’;</div>
-    <div class="verse indent0">But frolics froo de wukin’ days, and snoozes at de meetin’;</div>
-    <div class="verse indent0">Dat jines de Temp’ance ’Ciety, an’ keeps a gettin’ tight,</div>
-    <div class="verse indent0">An’ pulls his water-millions in de middle ob de night!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Dese milerterry nigger chaps, with muskets in deir han’s,</div>
-    <div class="verse indent0">Perradin’ froo de city to de music ob de ban’s,</div>
-    <div class="verse indent0">Had better drop deir guns, an’ go to marchin’ wid deir hoes</div>
-    <div class="verse indent0">An’ git a honest libbin’ as dey chop de cotton-rows,</div>
-    <div class="verse indent0">Or de State may put ’em arter while to drillin’ in de ditches,</div>
-    <div class="verse indent0">Wid more’n a single stripe a-runnin’ ’cross deir breeches.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Well, you think dat doin’ nuffin’ ’tall is mighty sort o’ nice,</div>
-    <div class="verse indent0">But it busted up de renters in de lubly Paradise!</div>
-    <div class="verse indent0">You see, dey bofe was human bein’s jes’ like me an’ you,</div>
-    <div class="verse indent0">An’ dey couldn’t reggerlate deirselves wid not a thing to do;</div>
-    <div class="verse indent0">Wid plenty wuk befo’ ’em, an’ a cotton crop to make,</div>
-    <div class="verse indent0">Dey’d nebber thought o’ loafin’ roun’ an’ chattin’ wid de snake.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>THE IRISH SLEIGH RIDE.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">O don’t go way until you hear</div>
-    <div class="verse indent0">A story, though it may seem queer,</div>
-    <div class="verse indent0">Of a family known both near and far</div>
-    <div class="verse indent0">By the funny name of Ump Ha Ha.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Mr. Ump Ha Ha, one day,</div>
-    <div class="verse indent0">Thought he would like to take a sleigh</div>
-    <div class="verse indent0">And ride upon the frozen snow;</div>
-    <div class="verse indent0">And Mrs. Ump Ha Ha said she would go,</div>
-    <div class="verse indent0">Taking all the family, of course,</div>
-    <div class="verse indent0">Including, too, the family horse.</div>
-    <div class="verse indent0">He was a mule, and a thin one, too;</div>
-    <div class="verse indent0">You could see his ribs where the hay stuck through.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">They hitched him up to an old-time bob.</div>
-    <div class="verse indent0">Then you ought to have seen the mob!</div>
-    <div class="verse indent0">There were Patrick, Mary Ump Ha Ha,</div>
-    <div class="verse indent6">Grace and Carrie Ump Ha Ha,</div>
-    <div class="verse indent6">Mike and Freddie Ump Ha Ha,</div>
-    <div class="verse indent6">Willie and Eddie Ump Ha Ha,</div><span class="pagenum"><a id="Page_249"></a>[249]</span>
-    <div class="verse indent6">Tim and Juley Ump Ha Ha,</div>
-    <div class="verse indent6">Rose and Peggy Ump Ha Ha,</div>
-    <div class="verse indent6">Lizzie and Mayme Ump Ha Ha,</div>
-    <div class="verse indent6">Big fat Jammie Ump Ha Ha.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Fifteen people in one sleigh</div>
-    <div class="verse indent0">Started out to spend the day.</div>
-    <div class="verse indent0">The way they packed and jammed them in,</div>
-    <div class="verse indent0">It made the family horse look thin.</div>
-    <div class="verse indent0">As luck will have it, as it will,</div>
-    <div class="verse indent0">They started from the top of a hill.</div>
-    <div class="verse indent0">The hill was slippery; down they flew.</div>
-    <div class="verse indent0">How fast they went they never knew.</div>
-    <div class="verse indent0">The time they made it can’t be beat.</div>
-    <div class="verse indent0">The old mule had no use for his feet;</div>
-    <div class="verse indent0">He went like a bird or ships on sail;</div>
-    <div class="verse indent0">He flew with his ears and steered with his tail.</div>
-    <div class="verse indent0">It was a mile to the bottom and the bottom was mud,</div>
-    <div class="verse indent0">And they went down with a sickening thud.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Mary Ump Ha Ha was dazed,</div>
-    <div class="verse indent0">Patrick Ump Ha Ha was crazed,</div>
-    <div class="verse indent0">Little Willie bumped his nose,</div>
-    <div class="verse indent0">Big fat Jammie she got froze.</div>
-    <div class="verse indent0">Fourteen doctors came at once.</div>
-    <div class="verse indent0">The old mule was buried in the ground.</div>
-    <div class="verse indent0">Did you ever see a dead mule laying around?</div>
-    <div class="verse indent0">It took four drays to get them home,</div>
-    <div class="verse indent0">And when they found they broke no bones,</div>
-    <div class="verse indent0">They all sat down and thanked their stars,</div>
-    <div class="verse indent0">And then they laughed out, Ump Ha Ha.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>JANE JONES.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-j.jpg" width="70" height="100" alt="" /></div>
-    <div class="dropcapline">Jane Jones keeps a-whisperin’ to me all the time,</div>
-    <div class="verse indent2">An’ says: “Why don’t you make it a rule</div>
-    <div class="verse indent0">To study your lessons, an’ work hard an’ learn,</div>
-    <div class="verse indent2">An’ never be absent from school?</div>
-    <div class="verse indent0">Remember the story of Elihu Burritt,</div>
-    <div class="verse indent2">How he clumb up to the top;</div>
-    <div class="verse indent0">Got all the knowledge ’at he ever had</div>
-    <div class="verse indent2">Down in the blacksmithin’ shop.”</div>
-    <div class="verse indent0">Jane Jones she honestly said it was so;</div>
-    <div class="verse indent6">Mebby he did—I dunno;</div>
-    <div class="verse indent0">’Course, what’s a-keepin’ me ’way from the top</div>
-    <div class="verse indent0">Is not never havin’ no blacksmithin’ shop.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">She said ’at Ben Franklin was awfully poor,</div>
-    <div class="verse indent2">But full o’ ambition and brains,</div>
-    <div class="verse indent0">An’ studied philosophy all ’is hull life—</div>
-    <div class="verse indent2">An’ see what he got for his pains.</div>
-    <div class="verse indent0">He brought electricity out of the sky</div>
-    <div class="verse indent2">With a kite an’ the lightnin’ an’ key,</div>
-    <div class="verse indent0">So we’re owin’ him more’n any one else</div>
-    <div class="verse indent2">For all the bright lights ’at we see.</div>
-    <div class="verse indent0">Jane Jones she actually said it was so.</div>
-    <div class="verse indent6">Mebby he did—I dunno;</div>
-    <div class="verse indent0">’Course, what’s allers been hinderin’ me</div>
-    <div class="verse indent0">In not havin’ any kite, lightnin’ or key.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Jane Jones said Columbus was out at the knees</div>
-    <div class="verse indent2">When he first thought up his big scheme;</div>
-    <div class="verse indent0">An’ all of the Spaniards an’ Italians, too,</div>
-    <div class="verse indent2">They laughed an’ just said ’twas a dream;</div>
-    <div class="verse indent0">But Queen Isabella she listened to him,</div>
-    <div class="verse indent2">An’ pawned all her jewels o’ worth,</div>
-    <div class="verse indent0">An’ bought ’im the “Santa Marier” ’n said:</div>
-    <div class="verse indent2">“Go hunt up the rest of the earth.”</div>
-    <div class="verse indent0">Jane Jones she honestly said it was so;</div>
-    <div class="verse indent6">Mebby he did—I dunno;</div>
-    <div class="verse indent0">’Course, that may all be, but you must allow</div>
-    <div class="verse indent0">They ain’t any land to discover just now.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Ben King.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>DE OLE PLANTATION MULE.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" /></div>
-    <div class="dropcapline">A werry funny feller is de ole plantation mule;</div>
-    <div class="verse indent0">An’ nobody’ll play wid him unless he is a fool.</div>
-    <div class="verse indent0">De bestest ting to do w’en you meditates about him,</div>
-    <div class="verse indent0">Is to kinder sorter calkerlate you’ll get along widout him.</div><span class="pagenum"><a id="Page_250"></a>[250]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">W’en you try to ’proach dat mule from de front endwise,</div>
-    <div class="verse indent0">He look as meek as Moses, but his looks is full ob lies;</div>
-    <div class="verse indent0">He doesn’t move a muscle, he doesn’t even wink;</div>
-    <div class="verse indent0">An’ you say his dispersition’s better’n people tink.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He stan’ so still that you s’pose he is a monument of grace;</div>
-    <div class="verse indent0">An’ you almos’ see a ’nevolent expression on his face;</div>
-    <div class="verse indent0">But dat ’nevolent expression is de mask dat’s allers worn;</div>
-    <div class="verse indent0">For ole Satan is behin’ it, jest as sure as you is born.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Den you cosset him a little, an’ you pat his other end,</div>
-    <div class="verse indent0">An’ you has a reverlation dat he ain’t so much your friend;</div>
-    <div class="verse indent0">You has made a big mistake; but before de heart repents,</div>
-    <div class="verse indent0">You is histed werry sudden to de odder side de fence.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Well, you feel like you’d been standin’ on de locomotive track</div>
-    <div class="verse indent0">An’ de engine come an’ hit you in de middle ob de back;</div>
-    <div class="verse indent0">You don’ know wat has happened, you can scarcely cotch your breff;</div>
-    <div class="verse indent0">But you tink you’ve made de ’quaintance ob a werry vi’lent deff.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>ADAM NEVER WAS A BOY.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">Of all the men the world has seen</div>
-    <div class="verse indent2">Since time his rounds began,</div>
-    <div class="verse indent0">There’s one I pity every day—</div>
-    <div class="verse indent2">Earth’s first and foremost man;</div>
-    <div class="verse indent0">And then I think what fun he missed</div>
-    <div class="verse indent2">By failing to enjoy</div>
-    <div class="verse indent0">The wild delights of youth-time, for</div>
-    <div class="verse indent2">He never was a boy.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He never stubbed his naked toe</div>
-    <div class="verse indent2">Against a root or stone;</div>
-    <div class="verse indent0">He never with a pin-hook fished</div>
-    <div class="verse indent2">Along the brook alone;</div>
-    <div class="verse indent0">He never sought the bumblebee</div>
-    <div class="verse indent2">Among the daisies coy,</div>
-    <div class="verse indent0">Nor felt its business end, because</div>
-    <div class="verse indent2">He never was a boy.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He never hookey played, nor tied</div>
-    <div class="verse indent2">The ever-ready pail,</div>
-    <div class="verse indent0">Down in the alley all alone,</div>
-    <div class="verse indent2">To trusting Fido’s tail.</div>
-    <div class="verse indent0">And when he home from swimmin’ came,</div>
-    <div class="verse indent2">His happiness to cloy,</div>
-    <div class="verse indent0">No slipper interfered, because</div>
-    <div class="verse indent2">He never was a boy.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He might refer to splendid times</div>
-    <div class="verse indent2">’Mong Eden’s bowers, yet</div>
-    <div class="verse indent0">He never acted Romeo</div>
-    <div class="verse indent2">To a six year Juliet.</div>
-    <div class="verse indent0">He never sent a valentine,</div>
-    <div class="verse indent2">Intended to annoy</div>
-    <div class="verse indent0">A good, but maiden aunt, because</div>
-    <div class="verse indent2">He never was a boy.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He never cut a kite string, no!</div>
-    <div class="verse indent2">Nor hid an Easter egg;</div>
-    <div class="verse indent0">He never ruined his pantaloons</div>
-    <div class="verse indent2">A-playing mumble-peg;</div>
-    <div class="verse indent0">He never from the attic stole,</div>
-    <div class="verse indent2">A coon-hunt to enjoy,</div>
-    <div class="verse indent0">To find “the old man” watching, for</div>
-    <div class="verse indent2">He never was a boy.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I pity him. Why should I not?</div>
-    <div class="verse indent2">I even drop a tear;</div>
-    <div class="verse indent0">He did not know how much he missed;</div>
-    <div class="verse indent2">He never will, I fear.</div>
-    <div class="verse indent0">And when the scenes of “other days”</div>
-    <div class="verse indent2">My growing mind employ,</div>
-    <div class="verse indent0">I think of him, earth’s only man</div>
-    <div class="verse indent2">Who never was a boy.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">T. C. Harbaugh.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_251"></a>[251]</span></p>
-
-<h4>A REMARKABLE CASE OF S’POSIN.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" />
-</div>
-
-<p class="dropcap">A man hobbled into the Colonel’s
-office upon crutches. Proceeding to
-a chair and making a cushion of
-some newspapers, he sat down
-very gingerly, placed a bandaged leg upon
-another chair, and said:</p>
-
-<p>“Col. Coffin, my name is Briggs. I want
-to get your opinion about a little point of
-law. Now, Colonel, s’posin’ you lived up
-the pike here a half mile, next door to a man
-named Johnson. And s’posin’ you and Johnson
-was to get into an argument about the
-human intellect, and you was to say to Johnson
-that a splendid illustration of the superiority
-of the human intellect was to be found
-in the power of the human eye to restrain the
-ferocity of a wild animal. And s’posin’ Johnson
-was to remark that that was all bosh,
-because nobody <i>could</i> hold a wild animal
-with the human eye, and you should declare
-that you could hold the savagest beast that
-was ever born if you could once fix your
-gaze on him.</p>
-
-<p>“Well, then, s’posin’ Johnson was to say
-he’d bet a hundred dollars he could bring a
-tame animal that you couldn’t hold with your
-eye, and you was to take him up on it, and
-Johnson was to ask you to come down to his
-place to settle the bet. You’d go, we’ll say,
-and Johnson’d wander round to the back of
-the house and pretty soon come front again
-with a dog bigger’n any four decent dogs
-ought to be. And then s’posin’ Johnson’d
-let go of that dog and set him on you, and
-he’d come at you like a sixteen-inch shell out
-of a howitzer, and you’d get scary about it
-and try to hold the dog with your eye and
-couldn’t.</p>
-
-<p>“And s’posin’ you’d suddenly conclude
-that maybe your kind of an eye wasn’t calculated
-to hold that kind of a dog, and you’d
-conclude to run for a plum tree in order to
-have a chance to collect your thoughts and
-to try to reflect what sort of an eye would be
-best calculated to mollify that sort of a dog.
-You ketch my idea, of course?</p>
-
-<p>“Very well, then; s’posin’ you’d take
-your eye off of that dog—Johnson, mind you,
-all the time hissing him on and laughing, and
-you’d turn and rush for the tree, and begin
-to swarm up as fast as you could. Well, sir,
-s’posin’ just as you got three feet from the
-ground Johnson’s dog would grab you by
-the leg and hold on like a vise, shaking you
-until you nearly lost your hold.</p>
-
-<p>“And s’posin’ Johnson was to stand there
-and holloa, ‘Fix your eye on him, Briggs!
-Why don’t you manifest the power of the
-human intellect?’ and so on, howling out
-ironical remarks like those; and s’posin’ he
-kept that dog on that leg until he made you
-swear to pay the bet, and then at last had to
-pry the dog off with a hot poker, bringing
-away at the same time some of your flesh in
-the dog’s mouth, so that you had to be carried
-home on a stretcher, and to hire several
-doctors to keep you from dying with lock-jaw.</p>
-
-<p>“S’posin’ this, what I want to know is,
-couldn’t you sue Johnson for damages and
-make him pay heavily for what that dog did?
-That’s what I want to get at.”</p>
-
-<p>The Colonel thought for a moment, and
-then said:</p>
-
-<p>“Well, Mr. Briggs, I don’t think I could.
-If I agreed to let Johnson set the dog at me,
-I should be a party to the transaction, and I
-could not recover.”</p>
-
-<p>“Do you mean to say that the law won’t
-make that infernal scoundrel Johnson suffer
-for letting his dog eat me up?”</p>
-
-<p>“I think not, if you state the case properly.”</p>
-
-<p>“It won’t, hey?” exclaimed Mr. Briggs,<span class="pagenum"><a id="Page_252"></a>[252]</span>
-hysterically. “Oh, very well, very well! I
-s’pose if that dog had chewed me all up it’d
-’ve been all the same to this constitutional
-republic. But hang me if I don’t have satisfaction.
-I’ll kill Johnson, poison his dog,
-and emigrate to some country where the
-rights of citizens are protected!”</p>
-
-<p>Then Mr. Briggs got on his crutches and
-hobbled out. He is still a citizen, and will
-vote at the next election.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>MY PARROT.</h4>
-
-<p>Let your face express contempt on the word “pshaw,” and make the gesture
-in <a href="#gesture24">Figure 24 of Typical Gestures</a>. Drawl out the word “yawned” in the
-third verse and give a comical wink in the fourth verse. Prolong the
-sound on “pshaw” in the last line.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I had a parrot once, an ugly bird,</div>
-    <div class="verse indent2">With the most wicked eye I ever saw,</div>
-    <div class="verse indent0">Who, though it comprehended all it heard,</div>
-    <div class="verse indent2">Would only say, “O pshaw!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I did my best to teach it goodly lore;</div>
-    <div class="verse indent2">I talked to it of medicine and law;</div>
-    <div class="verse indent0">It looked as if it knew it all before,</div>
-    <div class="verse indent2">And simply said, “O pshaw!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I sat me down upon a dry-goods box</div>
-    <div class="verse indent2">To stuff sound doctrine down its empty craw,</div>
-    <div class="verse indent0">It would have none of matters orthodox,</div>
-    <div class="verse indent2">But yawned and said, “O pshaw!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I talked to it of politics, finance;</div>
-    <div class="verse indent2">I hoped to teach the bird to say “Hurrah!”</div>
-    <div class="verse indent0">For my pet candidates when he’d a chance,</div>
-    <div class="verse indent2">He winked and chirped, “O pshaw!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I am for prohibition, warp and woof,</div>
-    <div class="verse indent2">But that bird stole hard cider through a straw,</div>
-    <div class="verse indent0">And then he teetered off at my reproof</div>
-    <div class="verse indent2">And thickly said, “O pshaw!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Enraged, I hurled a bootjack, missed my aim</div>
-    <div class="verse indent2">And plugged a passing stranger in the jaw;</div>
-    <div class="verse indent0">He wheeled to see from whence the missile came;</div>
-    <div class="verse indent2">The demon laughed “O pshaw!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I gave the creature to an old-maid aunt,</div>
-    <div class="verse indent2">And shook with parting grief its skinny claw.</div>
-    <div class="verse indent0">“He’ll serve to cheer,” she said, “my lonely hearth,</div>
-    <div class="verse indent0">For I’d not marry the best man on earth!”</div>
-    <div class="verse indent2">“O pshaw!” sneered Poll, “O psha-a-w!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Emma H. Webb.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>BAKIN AND GREENS.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-y.jpg" width="125" height="100" alt="" /></div>
-    <div class="dropcapline">Yo’ may tell me ob pastries and fine oyster patties,</div>
-    <div class="verse indent2">Of salads and crowkets an’ Boston baked beans,</div>
-    <div class="verse indent0">But dar’s nuffin so temptin’ to dis nigger’s palate</div>
-    <div class="verse indent2">As a big slice of bakin and plenty ob greens.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Jes bile ’em right down, so dey’ll melt when yo’ eat ’em;</div>
-    <div class="verse indent2">Hab a big streak ob fat an’ a small streak o’ lean;</div>
-    <div class="verse indent0">Dar’s nuffin on earf yo’ kin fix up to beat ’em,</div>
-    <div class="verse indent2">Fur de king ob all dishes am bakin and greens.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Den take some co’hnmeal and sif’ it and pat it.</div>
-    <div class="verse indent2">An’ put it in de ashes wid nuffin between;</div>
-    <div class="verse indent0">Den blow off de ashes and set right down at it,</div>
-    <div class="verse indent2">For dar’s nuffin like ashcake wid bakin and greens.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">’Twill take de ole mammies to fix ’em up greasy,</div>
-    <div class="verse indent2">Wid a lot ob good likker and dumplin’s between,</div>
-    <div class="verse indent0">Take all yo’ fine eatin’, I won’t be uneasy,</div>
-    <div class="verse indent2">If you’ll gimme dat bakin wid plenty ob greens.</div><span class="pagenum"><a id="Page_253"></a>[253]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Rich folks in dar kerrage may frow de dust on me;</div>
-    <div class="verse indent2">But how kin I envy dem men ob big means.</div>
-    <div class="verse indent0">Dey may hab de dispepsey and do’ they may scorn me,</div>
-    <div class="verse indent2">Dey can’t enjoy bakin wid a dish ob good greens.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">You may put me in rags, fill my cup up wid sorrow;</div>
-    <div class="verse indent2">Let joy be a stranger, and trouble my dreams,</div>
-    <div class="verse indent0">But I still will be smilin’, no pain kin I borrow,</div>
-    <div class="verse indent2">Ef you lebe me dat bakin wid plenty of greens.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>HUNTING A MOUSE.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-i.jpg" width="50" height="100" alt="" />
-</div>
-
-<p class="dropcap">I was dozing comfortably in my easy-chair,
-and dreaming of the good times
-which I hope are coming, when there
-fell upon my ears a most startling scream.
-It was the voice of my Maria Ann in agony.
-The voice came from the kitchen, and to the
-kitchen I rushed. The idolized form of my
-Maria was perched on a chair, and she was
-flourishing an iron spoon in all directions
-and shouting “shoo,” in a general manner,
-at everything in the room. To my anxious
-inquiries as to what was the matter, she
-screamed, “O Joshua! a mouse, shoo—wha—shoo—a
-great—ya—shoo—horrid mouse,
-and—she—ew—it ran right out of the cupboard—shoo—go
-way—O Lord—Joshua—shoo—kill
-it, oh, my—shoo.”</p>
-
-<p>All that fuss, you see, about one little
-harmless mouse. Some women are so afraid
-of mice. Maria is. I got the poker and set
-myself to poke that mouse, and my wife
-jumped down and ran off into another room.
-I found the mouse in a corner under the
-sink. The first time I hit it I didn’t poke it
-any on account of getting the poker all
-tangled up in a lot of dishes in the sink; and
-I did not hit it any more because the mouse
-would not stay still. It ran right toward
-me, and I naturally jumped, as anybody
-would; but I am not afraid of mice, and when
-the horrid thing ran up inside the leg of my
-pantaloons, I yelled to Maria because I was
-afraid it would gnaw a hole in my garment.</p>
-
-<p>I did not lose my presence of mind for an
-instant. I caught the mouse just as it was
-clambering over my knee, and by pressing
-firmly on the outside of the cloth, I kept the
-animal a prisoner on the inside. I kept
-jumping around with all my might to confuse
-it, so that it would not think about biting,
-and I yelled so that the mice would not
-hear its squeaks and come to its assistance.
-A man can’t handle many mice at once to
-advantage. Besides, I’m not so spry as I was
-before I had that spine in my back and had
-to wear plasters.</p>
-
-<p>Maria was white as a sheet when she came
-into the kitchen and asked what she should
-do—as though I could hold the mouse and
-plan a campaign at the same time. I told
-her to think of something, and she thought
-she would throw things at the intruder; but
-as there was no earthly chance for her to hit
-the mouse, while every shot took effect on
-me, I told her to stop, after she had tried two
-flat-irons and the coal-scuttle. She paused
-for breath; but I kept bobbing around.
-Somehow I felt no inclination to sit down
-anywhere. “O Joshua,” she cried, “I wish
-you had not killed the cat.”</p>
-
-<p>Then she got the tea-kettle and wanted to
-scald the mouse. I objected to that process,
-except as a last resort. Then she got some
-cheese to coax the mouse down, but I did
-not dare to let go, for fear it would run up.
-Matters were getting desperate. I told her
-to think of something else, and I kept jumping.
-Just as I was ready to faint with exhaustion,
-I tripped over an iron, lost my
-hold, and the mouse fell to the floor, very<span class="pagenum"><a id="Page_254"></a>[254]</span>
-dead. I had no idea a mouse could be
-squeezed to death so easy.</p>
-
-<p>That was not the end of the trouble, for
-before I had recovered my breath a fireman
-broke in one of the front windows, and a
-whole company followed him through, and
-they dragged hose around, and mussed
-things all over the house, and then the foreman
-wanted to thrash me because the house
-was not on fire, and I had hardly got him
-pacified before a policeman came in and arrested
-me. Some one had run down and
-told him I was drunk and was killing Maria.
-It was all Maria and I could do, by combining
-our eloquence, to prevent him from
-marching me off in disgrace, but we finally
-got matters quieted and the house clear.</p>
-
-<p>Now when mice run out of the cupboard
-I go outdoors, and let Maria “shoo” them
-back again. I can kill a mouse, but the fun
-don’t pay for the trouble.</p>
-
-<p class="right"><span class="smcap">Joshua Jenkins.</span></p>
-
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>THE VILLAGE SEWING SOCIETY.</h4>
-
-<p>This is a very amusing recitation when correctly rendered. The gossips
-make the most disparaging remarks about their neighbors, but are very
-pleasant to their faces. The words in parentheses should be spoken
-‘aside’ in an undertone. A recital for one who can imitate different
-female voices.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-m.jpg" width="140" height="100" alt="" /></div>
-    <div class="dropcapline">“Mis’ Jones is late agin to-day:</div>
-    <div class="verse indent2">I’d be ashamed now ef ’twas me.</div>
-    <div class="verse indent0">Don’t tell it, but I’ve heerd folks say</div>
-    <div class="verse indent2">She only comes to get her tea.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Law me! she needn’t want it <i>here</i>,</div>
-    <div class="verse indent2">The deacon’s folks ain’t much on eatin’:</div>
-    <div class="verse indent0">They haven’t made a pie this year!</div>
-    <div class="verse indent2">Of course, ’twon’t do to be repeatin’;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“But old Mis’ Jenkins says it’s true</div>
-    <div class="verse indent2">(You know she lives just ’cross the way,</div>
-    <div class="verse indent0">And sees most everything they do.)</div>
-    <div class="verse indent2">She says she saw ’em t’other day—”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Hush, here comes Hannah! How d’ye do?</div>
-    <div class="verse indent2">Why, what a pretty dress you’ve got!”</div>
-    <div class="verse indent0">(“Her old merino made up new:</div>
-    <div class="verse indent2"><i>I</i> know it by that faded spot.”)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Jest look! there’s Dr. Stebbins’ wife”—</div>
-    <div class="verse indent2">“A bran-new dress and bunnit!—well—</div>
-    <div class="verse indent0">They say she leads him <i>such</i> a life!</div>
-    <div class="verse indent2">But, there! I promised not to tell.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“What’s that, Mis’ Brown? ‘<i>All friends</i>,’ of course;</div>
-    <div class="verse indent2">And you can see with your own eyes,</div>
-    <div class="verse indent0">That <i>that</i> gray mare’s the better horse,</div>
-    <div class="verse indent2">Though gossipin’ I do dispise.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Poor Mary Allen’s lost her beau”—</div>
-    <div class="verse indent2">“It serves her right, conceited thing!</div>
-    <div class="verse indent0">She’s flirted awfully, I know.</div>
-    <div class="verse indent2">Say have you heard she kept his ring?”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Listen! the clock is striking six.</div>
-    <div class="verse indent2">Thank goodness! then it’s time for tea.”</div>
-    <div class="verse indent0">“Now ain’t that too much! Abby Mix</div>
-    <div class="verse indent2">Has folded up her work! Just see!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Why <i>can’t</i> she wait until she’s told?</div>
-    <div class="verse indent2">Yes, thank you, deacon, here we come.”</div>
-    <div class="verse indent0">(“I hope the biscuits won’t be cold:</div>
-    <div class="verse indent2">No coffee? Wish I was tu hum!”)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Do tell, Mis’ Ellis! <i>Did</i> you make</div>
-    <div class="verse indent2">This cheese? the best I ever saw.</div>
-    <div class="verse indent0">Such jumbles too (no jelly cake):</div>
-    <div class="verse indent2">I’m quite ashamed to take one more.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Good-by: we’ve had a first-rate time,</div>
-    <div class="verse indent2">And first-rate tea, I must declare.</div>
-    <div class="verse indent0">Mis’ Ellis’ things are always prime.</div>
-    <div class="verse indent2">(Well, next week’s meetin’ won’t be <i>there</i>!”)</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_255"></a>[255]</span></p>
-
-<h4>SIGNS AND OMENS.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" />
-</div>
-
-<p class="dropcap">An old gentleman, whose style was
-Germanized, was asked what he
-thought of signs and omens.</p>
-
-<p>“Vell, I don’t dinks mooch of
-dem dings, und I don’t pelieve averydings;
-but I dells you somedimes dere is somedings
-ash dose dings. Now de oder night I sit and
-reads mine newspaper, und my frau she speak
-und say—</p>
-
-<p>“‘Fritz, de dog ish howling!’</p>
-
-<p>“Vell, I don’ dinks mooch of dem dings,
-und I goes on und reads mine paper, und
-mine frau she says—</p>
-
-<p>“‘Fritz, dere is somedings pad is happen,—der
-dog ish howling!’</p>
-
-<p>“Und den I gets hop mit mineself und look
-out troo de wines on de porch, und de moon
-was shinin’, und mine leetle dog he shoomp
-right up und down like averydings, und he
-park at de moon, dat was shine so bright as
-never vas. Und ash I hauled mine het in de
-winder, de old voman she say—</p>
-
-<p>“‘Mind, Fritz, I dells you dere ish someding
-pad ish happen. De dog ish howling.’</p>
-
-<p>“Vell, I goes to ped, und I shleeps, und all
-night long ven I vakes up dere vas dat dog
-howling outside, und ven I dream I hear dat
-howling vorsher ash never. Und in de morning
-I kits up und kits mine breakfast, und mine
-frau she looks at me und say, werry solemn—</p>
-
-<p>“‘Fritz, dere is somedings pad ish happen.
-De dog vas howl all night.’</p>
-
-<p>“Und shoost den de newspaper came in,
-und I opens him und by shings, vot you dinks;
-dere vas a man’s vife cracked his skull in
-Philadelphia!”</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>THE GHOST.</h4>
-
-<p>Sing to the tune of Yankee Doodle the words designated.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">’Tis about twenty years since Abel Law,</div>
-    <div class="verse indent0">A short, round-favored, merry</div>
-    <div class="verse indent0">Old soldier of the Revolutionary War,</div>
-    <div class="verse indent0">Was wedded to</div>
-    <div class="verse indent0">A most abominable shrew.</div>
-    <div class="verse indent0">The temper, sir, of Shakespeare’s Catharine</div>
-    <div class="verse indent0">Could no more be compared with hers,</div>
-    <div class="verse indent0">Than mine</div>
-    <div class="verse indent0">With Lucifer’s.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2">Her eyes were like a weasel’s; she had a harsh</div>
-    <div class="verse indent0">Face, like a cranberry marsh.</div>
-    <div class="verse indent0">All spread</div>
-    <div class="verse indent0">With spots of white and red;</div>
-    <div class="verse indent0">Hair of the color of a wisp of straw,</div>
-    <div class="verse indent0">And a disposition like a cross-cut saw.</div>
-    <div class="verse indent0">The appellation of this lovely dame</div>
-    <div class="verse indent0">Was Nancy; don’t forget the name.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2">Her brother David was a tall,</div>
-    <div class="verse indent0">Good-looking chap, and that was all;</div>
-    <div class="verse indent0">One of your great, big nothings, as we say</div>
-    <div class="verse indent0">Here in Rhode Island, picking up old jokes</div>
-    <div class="verse indent0">And cracking them on other folks.</div>
-    <div class="verse indent0">Well, David undertook one night to play</div>
-    <div class="verse indent0">The Ghost, and frighten Abel, who,</div>
-    <div class="verse indent0">He knew,</div>
-    <div class="verse indent0">Would be returning from a journey through</div>
-    <div class="verse indent0">A grove of forest wood</div>
-    <div class="verse indent0">That stood</div>
-    <div class="verse indent0">Below</div>
-    <div class="verse indent0">The house some distance—half a mile, or so.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2">With a long taper</div>
-    <div class="verse indent0">Cap of white paper,</div>
-    <div class="verse indent0">Just made to cover</div>
-    <div class="verse indent0">A wig, nearly as large over</div>
-    <div class="verse indent0">As a corn-basket, and a sheet</div>
-    <div class="verse indent0">With both ends made to meet</div>
-    <div class="verse indent0">Across his breast,</div>
-    <div class="verse indent0">(The way in which ghosts are always dressed,)</div>
-    <div class="verse indent0">He took</div><span class="pagenum"><a id="Page_256"></a>[256]</span>
-    <div class="verse indent0">His station near</div>
-    <div class="verse indent0">A huge oak-tree,</div>
-    <div class="verse indent0">Whence he could overlook</div>
-    <div class="verse indent0">The road and see</div>
-    <div class="verse indent0">Whatever might appear.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2">It happened that about an hour before, friend Abel</div>
-    <div class="verse indent0">Had left the table</div>
-    <div class="verse indent0">Of an inn, where he had made a halt,</div>
-    <div class="verse indent0">With horse and wagon,</div>
-    <div class="verse indent0">To taste a flagon,</div>
-    <div class="verse indent0">Of malt</div>
-    <div class="verse indent0">Liquor, and so forth, which, being done.</div>
-    <div class="verse indent0">He went on,</div>
-    <div class="verse indent0">Caring no more for twenty ghosts,</div>
-    <div class="verse indent0">Than if they were so many posts.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2">David was nearly tired of waiting;</div>
-    <div class="verse indent0">His patience was abating;</div>
-    <div class="verse indent0">At length, he heard the careless tones</div>
-    <div class="verse indent0">Of his kinsman’s voice,</div>
-    <div class="verse indent0">And then the noise</div>
-    <div class="verse indent0">Of wagon-wheels among the stones.</div>
-    <div class="verse indent0">Abel was quite elated, and was roaring</div>
-    <div class="verse indent0">With all his might, and pouring</div>
-    <div class="verse indent0">Out, in great confusion,</div>
-    <div class="verse indent0">Scraps of old songs made in “the Revolution.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2">His head was full of Bunker Hill and Trenton</div>
-    <div class="verse indent0">And jovially he went on,</div>
-    <div class="verse indent0">Scaring the whip-po’-wills among the trees</div>
-    <div class="verse indent0">With rhymes like these:—[<i>Sings.</i>]</div>
-    <div class="verse indent6">“See the Yankees</div>
-    <div class="verse indent8">Leave the hill,</div>
-    <div class="verse indent10">With baggernetts declining,</div>
-    <div class="verse indent8">With lopped-down hats</div>
-    <div class="verse indent8">And rusty guns,</div>
-    <div class="verse indent10">And leather aprons shining.”</div>
-    <div class="verse indent0">“See the Yankees—Whoa! Why, what is that?”</div>
-    <div class="verse indent0">Said Abel, staring like a cat,</div>
-    <div class="verse indent0">As, slowly on, the fearful figure strode</div>
-    <div class="verse indent0">Into the middle of the road.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2">“My conscience! what a suit of clothes!</div>
-    <div class="verse indent0">Some crazy fellow, I suppose.</div>
-    <div class="verse indent0">Hallo! friend, what’s your name? By the powers of gin,</div>
-    <div class="verse indent0">That’s a strange dress to travel in.”</div>
-    <div class="verse indent0">“Be silent, Abel; for I now have come</div>
-    <div class="verse indent0">To read your doom;</div>
-    <div class="verse indent0">Then hearken, while your fate I now declare.</div>
-    <div class="verse indent0">I am a spirit”—“I suppose you are;</div>
-    <div class="verse indent0">But you’ll not hurt me, and I’ll tell you why:</div>
-    <div class="verse indent0">Here is a fact which you cannot deny;—</div>
-    <div class="verse indent0">All spirits must be either good</div>
-    <div class="verse indent0">Or bad—that’s understood—</div>
-    <div class="verse indent0">And be you good or evil, I am sure</div>
-    <div class="verse indent0">That I’m secure.</div>
-    <div class="verse indent0">If a good spirit, I am safe. If evil—</div>
-    <div class="verse indent0">And I don’t know but you may be the Devil—</div>
-    <div class="verse indent0">If that’s the case, you’ll recollect, I fancy,</div>
-    <div class="verse indent0">That I am married to your sister Nancy!”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>A BIG MISTAKE.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-r.jpg" width="130" height="110" alt="" />
-</div>
-
-<p class="dropcap">Recently our church had a new
-minister. He is a nice, good, sociable
-gentleman; but coming
-from a distant State, of course he
-was totally unacquainted with our people.
-Therefore it happened that during his pastoral
-calls, he made several ludicrous blunders.
-One as follows: The other evening
-he called upon Mrs. Haddon. She had just
-lost her husband, and she naturally supposed
-that his visit was relative to the sad occurrence.
-So, after a few common-places had
-been exchanged, she was not surprised to
-hear him remark:</p>
-
-<p>“It was a sad bereavement, was it not,
-Mrs. Haddon?”</p>
-
-<p>“Yes,” faltered the widow.</p>
-
-<p>“Totally unexpected?”</p>
-
-<p>“Oh, yes; I never dreamed of it.”</p>
-
-<p>“He died in the barn, I suppose.”</p>
-
-<p>“Oh, no; in the house.”</p>
-
-<p>“Ah, well, I suppose you must have
-thought a great deal of him?”</p>
-
-<p>“Of course, sir.”</p>
-
-<p><span class="pagenum"><a id="Page_257"></a>[257]</span></p>
-
-<p>This was with vim. The minister looked
-rather surprised, crossed his legs and renewed
-the conversation.</p>
-
-<p>“Blind staggers was the disease, I believe.”</p>
-
-<p>“No, sir,” snapped the widow. “Apoplexy.”</p>
-
-<p>“Indeed; you must have fed him too
-much.”</p>
-
-<p>“He was quite capable of feeding himself,
-sir.”</p>
-
-<p>“Very intelligent he must have been.
-Died hard?”</p>
-
-<p>“He did.”</p>
-
-<p>“You had to hit him on the head with an
-axe to put him out of his misery, I am
-told.”</p>
-
-<p>Mrs. Haddon’s eyes snapped fire.</p>
-
-<p>“Whoever told you that did not speak
-the truth,” she haughtily uttered. “James
-died naturally.”</p>
-
-<p>“Yes,” continued the minister, in a perplexed
-tone. “He kicked the side of the
-barn down in his last agonies, didn’t he?”</p>
-
-<p>“No, sir; he did not.”</p>
-
-<p>“Well, I have been misinformed, I suppose.
-How old was he?”</p>
-
-<p>“Thirty-five.”</p>
-
-<p>“He did not do much active work. Perhaps
-you are better without him, for you can
-easily supply his place with a better one.”</p>
-
-<p>“<i>Never!</i> sir, will I find such a good one
-as he.”</p>
-
-<p>“Oh, yes you will; he had the heaves
-bad, you know.”</p>
-
-<p>“Nothing of the kind, sir.”</p>
-
-<p>“Why, I recollect I saw him one day,
-with you on his back, and I distinctly recollect
-that he had the heaves, and walked as if
-he had the spring-halt.”</p>
-
-<p>Mrs. H.’s eyes snapped fire, and she stared
-at the reverend visitor as if she imagined he
-was crazy.</p>
-
-<p>“He could not have had the spring-halt,
-for he had a cork-leg,” she replied.</p>
-
-<p>“A cork-leg—remarkable; but really,
-didn’t he have a dangerous trick of suddenly
-stopping and kicking the wagon all to
-pieces?”</p>
-
-<p>“Never, sir; he was not mad.”</p>
-
-<p>“Probably not. But there were some good
-points about him.”</p>
-
-<p>“I should think so.”</p>
-
-<p>“The way in which he carried his ears, for
-example.”</p>
-
-<p>“Nobody ever noticed that particular
-merit,” said the widow, with much asperity,
-“he was warm-hearted, generous and frank.”</p>
-
-<p>“Good qualities,” answered the minister.
-“How long did it take him to go a mile?”</p>
-
-<p>“About fifteen minutes.”</p>
-
-<p>“Not much of a goer. Wasn’t his hair
-apt to fly?”</p>
-
-<p>“He didn’t have any hair, he was bald-headed.”</p>
-
-<p>“Quite a curiosity.”</p>
-
-<p>“No, sir; no more of a curiosity than you
-are.”</p>
-
-<p>The minister shifted uneasily, and got red
-in the face; but he returned to the attack.</p>
-
-<p>“Did you use the whip much on him?”</p>
-
-<p>“Never, sir.”</p>
-
-<p>“Went right along without it, eh?”</p>
-
-<p>“Yes.”</p>
-
-<p>“He must have been a good sort of a
-<i>brute</i>!”</p>
-
-<p>The widow sat down and cried.</p>
-
-<p>“The idea of your coming here and insulting
-me,” she sobbed. “If my husband
-had lived you would not have done it. Your
-remarks in reference to the poor dead man
-have been a series of insults, and I won’t
-stand it.”</p>
-
-<p>He colored, and looked dumfounded.</p>
-
-<p>“Ain’t you Mrs. Blinkers?” at last he
-stammered, “and has not your gray horse
-just died?”</p>
-
-<p>“No! no!” she cried. “I never owned a
-horse, but my husband died a week ago.”</p>
-
-<p>Ten minutes later that minister came out<span class="pagenum"><a id="Page_258"></a>[258]</span>
-of that house with the reddest face ever seen
-on mortal man.</p>
-
-<p>“And to think,” he groaned, as he strode
-home, “that I was talking horse to that
-woman all the time—and she was talking
-husband.”</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>THE DUEL.</h4>
-
-<p>Imitate the “bow-wow” of the dog and the “me-ow” of the cat: at least, so
-deliver the words as to convey the idea of the barking and the mewing.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">The gingham dog and the calico cat</div>
-    <div class="verse indent0">Side by side on the table sat;</div>
-    <div class="verse indent0">’Twas half-past twelve, and what do you think,</div>
-    <div class="verse indent0">Neither of them had slept a wink!</div>
-    <div class="verse indent2">And the old Dutch clock and the Chinese plate</div>
-    <div class="verse indent2">Seemed to know, as sure as fate,</div>
-    <div class="verse indent0">There was going to be an awful spat.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2">(I wasn’t there—I simply state</div>
-    <div class="verse indent2">What was told to me by the Chinese plate.)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The gingham dog went “bow-wow-wow!”</div>
-    <div class="verse indent0">And the calico cat replied “me-ow?”</div>
-    <div class="verse indent0">And the air was streaked for an hour or so</div>
-    <div class="verse indent0">With fragments of gingham and calico.</div>
-    <div class="verse indent2">While the old Dutch clock in the chimney-place</div>
-    <div class="verse indent2">Up with its hands before its face,</div>
-    <div class="verse indent0">For it always dreaded a family row!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2">(Now mind, I’m simply telling you</div>
-    <div class="verse indent2">What the old Dutch clock declares is true.)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The Chinese plate looked very blue</div>
-    <div class="verse indent0">And wailed: “Oh, dear what shall we do?”</div>
-    <div class="verse indent0">But the gingham dog and the calico cat</div>
-    <div class="verse indent0">Wallowed this way and tumbled that,</div>
-    <div class="verse indent2">And utilized every tooth and claw</div>
-    <div class="verse indent2">In the awfulest way you ever saw—</div>
-    <div class="verse indent0">And, oh! how the gingham and calico flew!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2">(Don’t think that I exaggerate</div>
-    <div class="verse indent2">I got my news from the Chinese plate.)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Next morning where the two had sat</div>
-    <div class="verse indent0">They found no trace of the dog or cat;</div>
-    <div class="verse indent0">And some folks think unto this day</div>
-    <div class="verse indent0">That burglars stole that pair away;</div>
-    <div class="verse indent2">But the truth about that cat and pup</div>
-    <div class="verse indent2">Is that they ate each other up—</div>
-    <div class="verse indent0">Now, what do you think of that?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2">(The old Dutch clock, it told me so,</div>
-    <div class="verse indent2">And that is how I came to know.)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Eugene Field.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>PLAYING JOKES ON A GUIDE.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-e.jpg" width="140" height="110" alt="" />
-</div>
-
-<p class="dropcap">European guides know about enough
-English to tangle every thing up so
-that a man can make neither head
-nor tail of it. They know their story by
-heart—the history of every statue, painting,
-cathedral, or other wonder they show you.
-They know it and tell it as a parrot would;
-and if you interrupt, and throw them off the
-track, they have to go back and begin over
-again. All their lives long, they are employed
-in showing strange things to foreigners
-and listening to their bursts of admiration.</p>
-
-<p>After we discovered this, we never went
-into ecstasies any more, we never admired
-anything, we never showed any but impassible
-faces and stupid indifference in the presence
-of the sublimest wonders a guide had
-to display. We had found their weak point.
-We made some of those people savage, at
-times, but we never lost our serenity.</p>
-
-<p>The doctor asked the questions generally,
-because he can keep his countenance, and
-look more like an inspired idiot, and throw
-more imbecility into the tone of his voice<span class="pagenum"><a id="Page_259"></a>[259]</span>
-than any man that lives. It comes natural
-to him.</p>
-
-<p>The guides in Genoa are delighted to secure
-an American party, because Americans
-so much wonder, and deal so much in sentiment
-and emotion before any relic of Columbus.
-Our guide there fidgeted about as if
-he had swallowed a spring mattress. He was
-full of animation—full of impatience. He
-said:</p>
-
-<p>“Come wis me, genteelmen!—come! I
-show you ze letter writing by Christopher
-Colombo!—write it himself!—write it wis
-his own hand!—come!”</p>
-
-<p>He took us to the municipal palace. After
-much impressive fumbling of keys and opening
-of locks, the stained and aged document
-was spread before us. The guide’s eyes
-sparkled. He danced about us and tapped
-the parchment with his finger.</p>
-
-<p>“What I tell you, genteelmen! Is it not
-so? See! handwriting Christopher Colombo!—write
-it himself!”</p>
-
-<p>We looked indifferent, unconcerned. The
-doctor examined the document very deliberately,
-during a painful pause. Then he said,
-without any show of interest,</p>
-
-<p>“Ah—what—what did you say was the
-name of the party who wrote this?”</p>
-
-<p>“Christopher Colombo! ze great Christopher
-Colombo!”</p>
-
-<p>Another deliberate examination.</p>
-
-<p>“Ah—did he write it himself, or—or how?”</p>
-
-<p>“He write it himself!—Christopher Colombo!
-he’s own handwriting, write by himself!”</p>
-
-<p>Then the doctor laid the document down,
-and said,</p>
-
-<p>“Why, I have seen boys in America only
-fourteen years old that could write better
-than that.”</p>
-
-<p>“But zis is ze great Christo—”</p>
-
-<p>“I don’t care who it is! It’s the worst
-writing I ever saw. Now you mustn’t think
-you can impose on us because we are strangers.
-We are not fools, by a good deal. If
-you have got any specimens of penmanship of
-real merit, trot them out!—and if you haven’t,
-drive on!”</p>
-
-<p>We drove on. The guide was considerably
-shaken up, but he made one more venture.
-He had something which he thought would
-overcome us. He said,</p>
-
-<p>“Ah, genteelmen, you come wis me! I
-show you beautiful, oh, magnificent bust
-Christopher Colombo—splendid, grand, magnificent!”</p>
-
-<p>He brought us before the beautiful bust—for
-it <i>was</i> beautiful—and sprang back and
-struck an attitude:</p>
-
-<p>“Ah, look, genteelmen!—beautiful, grand—bust
-Christopher Colombo!—beautiful bust,
-beautiful pedestal!”</p>
-
-<p>The doctor put up his eye-glass—procured
-for such occasions:</p>
-
-<p>“Ah—what did you say this gentleman’s
-name was?”</p>
-
-<p>“Christopher Colombo! ze great Christopher
-Colombo!”</p>
-
-<p>“Christopher Colombo—the great Christopher
-Colombo. Well, what did <i>he</i> do?”</p>
-
-<p>“Discover America!—discover America,
-oh, ze devil!”</p>
-
-<p>“Discover America? No—that statement
-will hardly wash. We are just from America
-ourselves. We heard nothing about it.
-Christopher Colombo—pleasant name—is—is
-he dead?”</p>
-
-<p>“Oh, corpo di Baccho!—three hundred
-year!”</p>
-
-<p>“What did he die of?”</p>
-
-<p>“I do not know. I cannot tell.”</p>
-
-<p>“Small-pox, think?”</p>
-
-<p>“I do not know, genteelmen—I do not
-know <i>what</i> he died of.”</p>
-
-<p>“Measles, likely?”</p>
-
-<p>“Maybe—maybe. I do <i>not</i> know—I think
-he die of something.”</p>
-
-<p><span class="pagenum"><a id="Page_260"></a>[260]</span></p>
-
-<p>“Parents living?”</p>
-
-<p>“Im-possible!”</p>
-
-<p>“Ah—which is the bust and which is the
-pedestal?”</p>
-
-<p>“Santa Maria!—<i>zis</i> ze bust!—<i>zis</i> ze pedestal!”</p>
-
-<p>“Ah, I see, I see—happy combination—very
-happy combination indeed. Is—is this
-the first time this gentleman was ever on a
-bust?”</p>
-
-<p>That joke was lost on the foreigner; guides
-cannot master the subtleties of the American
-joke.</p>
-
-<p>We have made it interesting for this Roman
-guide. Yesterday we spent three or four
-hours in the Vatican again, that wonderful
-world of curiosities. We came very near
-expressing interest sometimes, even admiration.
-It was hard to keep from it. We succeeded,
-though. Nobody else ever did, in
-the Vatican museums. The guide was bewildered,
-nonplussed. He walked his legs
-off, nearly, hunting up extraordinary things,
-and exhausted all his ingenuity on us, but it
-was a failure; we never showed any interest
-in anything. He had reserved what he considered
-to be his greatest wonder till the last—a
-royal Egyptian mummy, the best preserved
-in the world, perhaps. He took us
-there. He felt so sure, this time, that some
-of his old enthusiasm came back to him:</p>
-
-<p>“See, genteelmen!—Mummy! Mummy!”</p>
-
-<p>The eye-glass came up as calmly, as deliberately
-as ever.</p>
-
-<p>“Ah—what did I understand you to say
-the gentleman’s name was?”</p>
-
-<p>“Name?—he got no name!—Mummy!—’Gyptian
-mummy!”</p>
-
-<p>“Yes, yes. Born here?”</p>
-
-<p>“No. <i>’Gyptian</i> mummy.”</p>
-
-<p>“Ah, just so. Frenchman, I presume?”</p>
-
-<p>“No!—<i>not</i> Frenchman, not Roman!—born
-in Egypta!”</p>
-
-<p>“Born in Egypta. Never heard of Egypta
-before. Foreign locality, likely. Mummy—mummy.
-How calm he is, how self-possessed!
-Is—ah—is he dead?”</p>
-
-<p>“Oh, <i>sacre bleu</i>! been dead three thousan’
-year!”</p>
-
-<p>The doctor turned on him, savagely:</p>
-
-<p>“Here, now, what do you mean by such
-conduct as this? Playing us for Chinamen
-because we are strangers and trying to learn!
-Trying to impose your vile second-hand carcasses
-on <i>us</i>! Thunder and lightning! I’ve
-a notion to—to—if you’ve got a nice <i>fresh</i>
-corpse, fetch him out!—or, by George, we’ll
-brain you!”</p>
-
-<p class="right"><span class="smcap">Mark Twain.</span></p>
-
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>A PARODY.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">The boy stood on the backyard fence, whence all but him had fled;</div>
-    <div class="verse indent0">The flames that lit his father’s barn shone just above the shed.</div>
-    <div class="verse indent0">One bunch of crackers in his hand, two others in his hat,</div>
-    <div class="verse indent0">With piteous accents loud he cried, “I never thought of that!”</div>
-    <div class="verse indent0">A bunch of crackers to the tail of one small dog he’d tied;</div>
-    <div class="verse indent0">The dog in anguish sought the barn, and ’mid its ruins died.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The sparks flew wide and red and hot, they lit upon that brat;</div>
-    <div class="verse indent0">They fired the crackers in his hand, and e’en those in his hat.</div>
-    <div class="verse indent0">Then came a burst of rattling sound—the boy! Where was he gone?</div>
-    <div class="verse indent0">Ask of the winds that far around strewed bits of meat and bone,</div>
-    <div class="verse indent0">And scraps of clothes, and balls, and tops, and nails, and hooks and yarn—</div>
-    <div class="verse indent0">The relics of that dreadful boy that burned his father’s barn.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_261"></a>[261]</span></p>
-
-<h4>MAN’S DEVOTION.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-j.jpg" width="70" height="100" alt="" /></div>
-    <div class="dropcapline">Jake Boggles was a country youth,</div>
-    <div class="verse indent0">Who paid his debts and told the truth.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He labored hard, and seemed content</div>
-    <div class="verse indent0">With life, no matter how it went,</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">’Till with a girl named Sally Skreels</div>
-    <div class="verse indent0">He fell in love head over heels.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Now Sally’s father wasn’t worth</div>
-    <div class="verse indent0">A dollar or a foot of earth,</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And Jake’s paternal parent owed</div>
-    <div class="verse indent0">Most every other man he knowed;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But Jake, who had a valiant heart,</div>
-    <div class="verse indent0">Vowed that he’d work and get a start,</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And with the help of Sally, dear,</div>
-    <div class="verse indent0">He’d own a farm within a year.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Now Sally, who was cold</div>
-    <div class="verse indent0">And pretty—that is, pretty old,</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Pretended that for her dear Jacob</div>
-    <div class="verse indent0">The heaviest cross she’d gladly take up;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But, really, she cared no more</div>
-    <div class="verse indent0">For Jake than for the shoes he wore.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">An old maid’s matrimonial chances</div>
-    <div class="verse indent0">Grow very slim as time advances,</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And this explains why Sally Skreels</div>
-    <div class="verse indent0">Proposed to share Jake’s bed and meals.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">They married. Time fled on apace—</div>
-    <div class="verse indent0">Jake rented old Bill Scroggins’ place</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And went to work resolved to make</div>
-    <div class="verse indent0">A fortune for his Sally’s sake.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Poor soul, he toiled with all his might,</div>
-    <div class="verse indent0">From early morn till late at night;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But, ah! no kind, approving word</div>
-    <div class="verse indent0">From Sally’s lips was ever heard.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">She lay around, chewed wax and sung</div>
-    <div class="verse indent0">Love songs she’d learned when she was young;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Read old love letters she had got</div>
-    <div class="verse indent0">From boobies, long since gone to pot;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Yawned o’er a scrap book filled with bosh</div>
-    <div class="verse indent0">Collected by her Cousin Josh;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Trimmed her old hat in various ways</div>
-    <div class="verse indent0">With all the gew-gaws she could raise.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">In fact, she proved herself to be</div>
-    <div class="verse indent0">A slip-shod lump of frivolity.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Poor Jake, he worked and ate cold meals,</div>
-    <div class="verse indent0">Wore socks with neither toes nor heels,</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Washed his own clothes when Sunday came</div>
-    <div class="verse indent0">And sewed fresh buttons on the same.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Got breakfast while his Sally slept,</div>
-    <div class="verse indent0">Washed up the dishes, dusted, swept—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There’s no use talking, Jacob strove</div>
-    <div class="verse indent0">To prove how perfect was his love.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">One day Sal ate too many beans,</div>
-    <div class="verse indent0">Grew sick and went to other scenes.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">From that day forth Jake seldom spoke,</div>
-    <div class="verse indent0">Or smiled, or worked—his heart was broke.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">In the poor-house now he sits and grieves,</div>
-    <div class="verse indent0">And wipes his eyes on his threadbare sleeves.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><span class="smcap">Moral.</span>—I’ve told you this to let you see</div>
-    <div class="verse indent8">What an all-fired fool a man can be.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Parmenas Hill.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>AUNT POLLY’S “GEORGE WASHINGTON.”</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-g.jpg" width="125" height="100" alt="" />
-</div>
-
-<p class="dropcap">“George Washin’ton!”</p>
-
-<p>From down the hill the answer
-floated up, muffled by the distance.</p>
-
-<p>“Ma’m?”</p>
-
-<p>“Come heah, sah!”</p>
-
-<p>Aunt Polly folded her arms and leaned
-against the doorway and waited for the appearance
-of her son and heir above the edge
-of the hill on which her cabin stood.</p>
-
-<p>“George Washin’ton,” she said, “you sartainly<span class="pagenum"><a id="Page_262"></a>[262]</span>
-is de laziest nigger I eber see. How,
-long, sah, does you s’pose you was a-comin’
-up dat hill? You don’ no? I don’ nether;
-’twas so long I los’ all count. You’ll bring
-yore mudder’s gray har in sorrer to de grabe
-yet, wid yore pokin’ and slowness, see if you
-don’. Heah I is waitin’ and a’waitin’ on you
-for to go down to ole Mass’ Cunningham’s
-wid dose tings. Take ’em to de young city
-man boardin’ dar, and tell him dese is his
-clean close dat yore old mudder washed, and
-dat dey comes to fifty cents. And if you let
-de grass grow under yore feet, George Washin’ton,
-or spiles dese close, or loses dat fifty
-cents, I’ll break yore bones, chile, when you
-comes home. You heah dat?”</p>
-
-<p>George Washington rested his basket on
-his hip and jogged along. Meditations as to
-what his mother might have for supper on
-the strength of the fifty cents brightened his
-visage and accelerated his steps. His fancy
-revelled in visions of white biscuit and crisp
-bacon floating in its own grease. He was
-gravely weighing the relative merits of spring
-chicken fried and more elderly chicken
-stewed, when—</p>
-
-<p>There was only one muddy place on
-George Washington’s route to town; that
-was down at the foot of the hill, by the railroad
-track. Why should his feet slip from
-under him, and he go sliding into the mud
-right there? It was too bad. It did not
-hurt him, but those shirts and shining collars,
-alas! Some of them tumbled out, and he
-lifted them up all spattered and soiled.</p>
-
-<p>He sat down and contemplated the situation
-with an expression of speechless solemnity.
-He was afraid to go back, and he was
-afraid to go on, but he would rather face the
-“city man” than his mother; and with a
-sigh that nearly burst the twine string that
-did duty as a suspender, he lifted the linen
-into its place and trudged on.</p>
-
-<p>The young folks at “Mass’ Cunningham’s”
-sent him to the boarder’s room, with many a
-jest on his slowness, and he shook in his
-ragged clothes when the young man lifted
-the things from the basket to put them
-away.</p>
-
-<p>He exclaimed in anger at their soiled appearance,
-and, of course, immediately bundled
-them back into the basket.</p>
-
-<p>“Here, George,” he said, “take these
-back to your mother to wash, and don’t you
-dare, you little vagabond! ever bring such
-looking things to me again.”</p>
-
-<p>Slowly the namesake of our illustrious
-countryman climbed the hill toward home;
-slowly he entered and set down his basket.
-The rapidity with which he emerged from
-the door, about three minutes later, might
-have led a stranger to believe that it was a
-different boy. But it was not. It was the
-same George.</p>
-
-<p>The next afternoon came around, and
-George Washington again departed on his
-errand. No thoughts of supper or good
-things ran rife in his brain to-day. He attended
-strictly to business. His mother,
-standing in the door-way, called after him:
-“Be keerful, George Washin’ton, ’bout de
-train. I heer’d it at de upper junction jess
-now. It’ll be long trectly.”</p>
-
-<p>George Washington nodded and disappeared.
-He crossed the muddy place in safety,
-and breathed more freely. He was turning toward
-town, when something on the railroad
-track caught his eye. There lay the big
-rock that had been on the hill above ever
-since he could remember; it was right in the
-track. He wondered how the coming train
-would get over it.</p>
-
-<p>Across on the other side, the hill sloped
-down to a deep ravine. What if the big
-rock pushed the train off! His heart gave a
-great jump. He had heard them talk of an
-accident once, where many people were
-killed. He thought of running to tell somebody,<span class="pagenum"><a id="Page_263"></a>[263]</span>
-but it was a good way to the next
-house, and just then he heard the train faintly;
-it was too late for that. Just above, in
-the direction that the train was coming, was
-a sharp curve. It could not stop if it came
-tearing round that, and on the other side of
-the bend was a very high trestle that made
-him sick to look at.</p>
-
-<p>The slow, dull boy stood and trembled.</p>
-
-<p>In a moment more he had set his basket carefully
-in the bush, and ran around the curve.
-At the edge of the trestle he paused, and then
-dropping on his hands and knees, crept as fast
-as he could over the dizzy height to the other
-side. He staggered to his feet, and ran on.</p>
-
-<p>When the train dashed in sight, the engineer
-spied a small object on the track,
-pointing frantically behind him. The child
-ran away from the track, but continued to
-wave and point and shout “Stop!”</p>
-
-<p>The train whistled and slackened. George
-Washington, hatless and breathless, was
-jerked into the engine, where he gasped, “Big
-rock on de track round de curve.” The train
-was moved slowly over the trestle and stopped
-in the curve, and there, indeed, was the rock
-that might have hurled them all down to death,
-but for that ridiculous-looking little boy.</p>
-
-<p>Meanwhile in the cabin, Aunt Polly was
-restless, and concluded to go down to the
-foot of the hill, and wait for George Washington.
-Behold, then, as she appeared down
-the path, the sight that met her gaze.</p>
-
-<p>“What’s dis boy bin a-doin’! I’se his
-mother. I is. What’s dis mean?”</p>
-
-<p>On this identical train was the president of
-the road.</p>
-
-<p>“Why, auntie,” he said, “you have a boy
-to be proud of. He crept over the high
-trestle and warned the train, and maybe
-saved all our lives. He is a hero.”</p>
-
-<p>Aunt Polly was dazed.</p>
-
-<p>“A hearo,” she said; “dat’s a big t’ing for
-a little black nigger. George Washin’ton,
-whar’s dat basket?”</p>
-
-<p>“In de bushes, mammy; I’se gwine for to
-get it.”</p>
-
-<p>The train was nearly ready to be off. The
-president called Aunt Polly aside, and she
-came back with a beaming face, and five ten-dollar
-bills clutched in her hands.</p>
-
-<p>Aunt Polly caught George in her arms.</p>
-
-<p>“Dey sed you was a hearo, George Washin’ton,
-but you is yore mammy’s own boy,
-and you shall hab chicken for yore supper
-dis berry night, and a whole poun’ cake to-morrow,
-yes, you shall!”</p>
-
-<p>And when George Washington returned
-the gentleman his washing, he, like his namesake,
-was a hero.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>MINE VAMILY.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-d.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">Dimpled scheeks, mit eyes off plue,</div>
-    <div class="verse indent0">Mout’ like it was mois’d mit dew,</div>
-    <div class="verse indent0">Und leedle teeth shust peekin’ droo—</div>
-    <div class="verse indent2">Dot’s der baby.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Curly hed und full of glee.</div>
-    <div class="verse indent0">Drowsers all oudt at der knee—</div>
-    <div class="verse indent0">He vas peen playin’ horss, you see—</div>
-    <div class="verse indent2">Dot’s leedle Otto.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Von hunderd seexty in der shade,</div>
-    <div class="verse indent0">Der oder day ven she was veighed—</div>
-    <div class="verse indent0">She beats me soon, I vas afraid—</div>
-    <div class="verse indent2">Dot’s mine Gretchen.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Bare-footed hed, und pooty stoudt,</div>
-    <div class="verse indent0">Mit grooked legs dot vill bend oudt,</div>
-    <div class="verse indent0">Fond off his beer und sauer-kraut—</div>
-    <div class="verse indent2">Dot’s me himself.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Von schmall young baby, full of fun,</div>
-    <div class="verse indent0">Von leedle, pright-eyed, roguish son,</div>
-    <div class="verse indent0">Von frau to greet vhen vork was done—</div>
-    <div class="verse indent2">Dot’s mine vamily.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Yawcob Strauss.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_264"></a>[264]</span></p>
-
-<h4>AT THE GARDEN GATE.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">They lingered at the garden gate,</div>
-    <div class="verse indent2">The moon was full above;</div>
-    <div class="verse indent0">He took her darling hand in his,</div>
-    <div class="verse indent2">The trembling little dove,</div>
-    <div class="verse indent0">And pressed it to his fervent lips,</div>
-    <div class="verse indent2">And softly told his love.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">About her waist he placed his arm,</div>
-    <div class="verse indent2">He called her all his own;</div>
-    <div class="verse indent0">His heart, he said, it ever beat</div>
-    <div class="verse indent2">For her, and her alone;</div>
-    <div class="verse indent0">And he was happier than a king</div>
-    <div class="verse indent2">Upon a golden throne.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Come weal, come woe,” in ardent tone</div>
-    <div class="verse indent2">This youth continued he,</div>
-    <div class="verse indent0">“As is the needle to the pole,</div>
-    <div class="verse indent2">So I will constant be;</div>
-    <div class="verse indent0">No power on earth shall tear thee, love,</div>
-    <div class="verse indent2">Away, I swear, from me!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">From out the chamber window popped</div>
-    <div class="verse indent2">A grizzly night-capped head;</div>
-    <div class="verse indent0">A hoarse voice yelled: “You, Susan Jane,</div>
-    <div class="verse indent2">Come in and go to bed!”</div>
-    <div class="verse indent0">And that was all—it was enough;</div>
-    <div class="verse indent2">The young man wildly fled.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>THE MINISTER’S CALL.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">The Rev. Mr. Mulkittle having successfully
-organized a church fair, was a
-very happy man. It had been hinted
-that the congregation were a “little short”
-on raising the reverend gentleman’s salary,
-hence the proceeds of the fair would more
-than supply the deficiency.</p>
-
-<p>The good man, after retiring from a profitable
-afternoon’s work, during which he
-had assured dyspeptics that potato salad
-would not hurt them, seated himself by the
-library fire, when the “youngest” entered.</p>
-
-<p>“Where have you been, pa?”</p>
-
-<p>“To the fair.”</p>
-
-<p>“What fair?”</p>
-
-<p>“Our church fair.”</p>
-
-<p>“Did they have it out to the fair
-grounds?”</p>
-
-<p>“No.”</p>
-
-<p>“Where then?”</p>
-
-<p>“Down town in our church.”</p>
-
-<p>“Did they have horses and cows?”</p>
-
-<p>“Oh, no! they didn’t show anything.”</p>
-
-<p>“Well, what did they do?”</p>
-
-<p>“Oh, they sold toys and something for
-people to eat.”</p>
-
-<p>“Did they sell it to the poor?”</p>
-
-<p>“They sold it to anybody who had money.”</p>
-
-<p>“Oh, papa! it was the feast of the passover,
-wasn’t it?”</p>
-
-<p>Mr. Mulkittle took up a newspaper and
-began to read.</p>
-
-<p>“Do you want me to be a preacher, pa?”</p>
-
-<p>“Yes, if the Lord calls you.”</p>
-
-<p>“Did the Lord call you?”</p>
-
-<p>“Yes.”</p>
-
-<p>“What did He say?”</p>
-
-<p>“Told me to go and preach the gospel to
-every living creature.”</p>
-
-<p>“Didn’t tell you to preach to niggers, did
-He?”</p>
-
-<p>“That’ll do now.”</p>
-
-<p>“You thought the Lord had called you
-again the other day, did you?”</p>
-
-<p>“I don’t know what you are talking about,”
-said the minister.</p>
-
-<p>“Don’t you know the other day you told
-ma you had a call to go to some place, and
-you would go if you could get two hundred
-dollars more. Wouldn’t the Lord give you
-the two hundred dollars?”</p>
-
-<p>“Didn’t I tell you to hush, sir?” said the
-minister, throwing down his paper and glaring
-at his son.</p>
-
-<p><span class="pagenum"><a id="Page_265"></a>[265]</span></p>
-
-<p>“No, sir; you told me to behave myself.”</p>
-
-<p>“Well, see that you do.”</p>
-
-<p>“I wish you’d tell me—”</p>
-
-<p>“Tell you what?”</p>
-
-<p>“’Bout the call.”</p>
-
-<p>“Well, a church in another town wanted
-me to come there and preach.”</p>
-
-<p>“Why didn’t you go?”</p>
-
-<p>“Couldn’t afford it. They didn’t pay
-enough money.”</p>
-
-<p>“Call wasn’t loud enough, was it?”</p>
-
-<p>“Well, hardly,” asserted Mr. Mulkittle,
-with a smile. “It wasn’t loud enough to be
-very interesting.”</p>
-
-<p>“If it had been louder, would you went?”</p>
-
-<p>“I should have gone if they had offered
-me more money.”</p>
-
-<p>“It wasn’t the Lord that called you that
-time then, was it?”</p>
-
-<p>“I think not.”</p>
-
-<p>“How much money did the Lord offer
-you?”</p>
-
-<p>“Do you see that door?”</p>
-
-<p>“No sir; which door?”</p>
-
-<p>“That one.”</p>
-
-<p>“Yes, sir.”</p>
-
-<p>“Well, go out and shut it.”</p>
-
-<p>“I want to stay in here.”</p>
-
-<p>“You cannot.”</p>
-
-<p>“Why?”</p>
-
-<p>“Because you are too foolishly inquisitive.”</p>
-
-<p>“What’s foolish ’quisitive?”</p>
-
-<p>“Asking so many questions.”</p>
-
-<p>“How many must I ask?”</p>
-
-<p>“None.”</p>
-
-<p>“Then I couldn’t talk, could I?”</p>
-
-<p>“It would be better for you, if you couldn’t
-talk so much.”</p>
-
-<p>“How much must I talk?”</p>
-
-<p>“Here, I’ll give you ten cents now, if
-you’ll go away and hush.”</p>
-
-<p>“Call ain’t strong enough,” said the boy,
-shaking his head.</p>
-
-<p>“Well, here’s a quarter,” said the preacher,
-smiling.</p>
-
-<p>“Call is strong enough; I’ll go.”</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>LED BY A CALF.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">One day through the primeval wood</div>
-    <div class="verse indent0">A calf walked home, as good as calves should,</div>
-    <div class="verse indent0">But made a trail all bent askew,</div>
-    <div class="verse indent0">A crooked trail, as all calves do.</div>
-    <div class="verse indent0">Since then two hundred years have fled,</div>
-    <div class="verse indent0">And, I infer, the calf is dead.</div>
-    <div class="verse indent0">But still he left behind his trail,</div>
-    <div class="verse indent0">And thereby hangs a mortal tale.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The trail was taken up next day</div>
-    <div class="verse indent0">By a lone dog that passed that way,</div>
-    <div class="verse indent0">And then a wise bell-wether sheep</div>
-    <div class="verse indent0">Pursued the trail o’er vale and steep,</div>
-    <div class="verse indent0">And drew the flock behind him, too,</div>
-    <div class="verse indent0">As good bell-wethers always do.</div>
-    <div class="verse indent0">And from that day, o’er hill and glade,</div>
-    <div class="verse indent0">Through those old woods a path was made.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And many men wound in and out,</div>
-    <div class="verse indent0">And dodged and turned and bent about,</div>
-    <div class="verse indent0">And uttered words of righteous wrath,</div>
-    <div class="verse indent0">Because ’twas such a crooked path;</div>
-    <div class="verse indent0">But still they followed—do not laugh—</div>
-    <div class="verse indent0">The first migration of that calf,</div>
-    <div class="verse indent0">And through the winding woodway stalked</div>
-    <div class="verse indent0">Because he wabbled when he walked.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">This forest path became a lane,</div>
-    <div class="verse indent0">That bent and turned and turned again;</div>
-    <div class="verse indent0">This crooked lane became a road,</div>
-    <div class="verse indent0">Where many a poor horse, with his load,</div>
-    <div class="verse indent0">Toiled on beneath the burning sun,</div>
-    <div class="verse indent0">And traveled some three miles in one.</div>
-    <div class="verse indent0">And thus a century and a half</div>
-    <div class="verse indent0">They trod the footsteps of that calf.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The years passed on in swiftness fleet,</div><span class="pagenum"><a id="Page_266"></a>[266]</span>
-    <div class="verse indent0">The road became a village street.</div>
-    <div class="verse indent0">And this, before men were aware,</div>
-    <div class="verse indent0">A city’s crowded thoroughfare,</div>
-    <div class="verse indent0">And soon the central street was this</div>
-    <div class="verse indent0">Of a renowned metropolis.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And men two centuries and a half</div>
-    <div class="verse indent0">Trod in the footsteps of that calf;</div>
-    <div class="verse indent0">Each day a hundred thousand rout</div>
-    <div class="verse indent0">Followed the zigzag calf about;</div>
-    <div class="verse indent0">And o’er his crooked journey went</div>
-    <div class="verse indent0">The traffic of a continent.</div>
-    <div class="verse indent0">A hundred thousand men were led</div>
-    <div class="verse indent0">By one calf near three centuries dead.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>TOM GOLDY’S LITTLE JOKE.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">Tom Goldy was a ladies’ man,</div>
-    <div class="verse indent2">And popular among them, very—</div>
-    <div class="verse indent0">The reason why? Because he was</div>
-    <div class="verse indent2">A maker of confectionery.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Tom’s peppermints and caramels</div>
-    <div class="verse indent2">Were always fresh and handy;</div>
-    <div class="verse indent0">And so he entertained his guests</div>
-    <div class="verse indent2">With packages of candy.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Tom gave a grand reception once—</div>
-    <div class="verse indent2">It was a sweet occasion—</div>
-    <div class="verse indent0">The ladies took his caramels</div>
-    <div class="verse indent2">And needed no persuasion.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And when he freely passed around</div>
-    <div class="verse indent2">His most delicious fare,</div>
-    <div class="verse indent0">To all the damsels there that night</div>
-    <div class="verse indent2">He gave an equal share.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But one, and she a gossip, too,</div>
-    <div class="verse indent2">Was singled out for honor,</div>
-    <div class="verse indent0">By having twice what others had</div>
-    <div class="verse indent2">Of sweets bestowed upon her.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Twice what you gave us.” One and all</div>
-    <div class="verse indent2">Against Tom laid this charge;</div>
-    <div class="verse indent0">Tom slyly winked and said, “Why not?</div>
-    <div class="verse indent2">Her mouth is twice as large.”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>HOW HEZEKIAH STOLE THE SPOONS.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-i.jpg" width="50" height="100" alt="" />
-</div>
-
-<p class="dropcap">In a quiet little Ohio village, many years
-ago, was a tavern where the stages
-always changed, and the passengers
-expected to get breakfast. The landlord of
-the said hotel was noted for his tricks upon
-travelers, who were allowed to get fairly
-seated at the table, when the driver would
-blow his horn (after taking his “horn”), and
-sing out, “Stage ready, gentlemen!”—whereupon
-the passengers were obliged to hurry
-out to take their seats, leaving a scarcely
-tasted breakfast behind them, for which, however,
-they had to pay over fifty cents! One
-day, when the stage was approaching the
-house of this obliging landlord, a passenger
-said that he had often heard of the landlord’s
-trick, and he was afraid they would not be
-able to eat any breakfast.</p>
-
-<p>“What!—how? No breakfast!” exclaimed
-the rest.</p>
-
-<p>“Exactly so gents, and you may as well
-keep your seats and tin.”</p>
-
-<p>“Don’t they expect passengers to breakfast?”</p>
-
-<p>“Oh! yes! they expect you to it, but not
-to eat it. I am under the impression that
-there is an understanding between the landlord
-and the driver that for sundry and
-various drinks, etc., the latter starts before
-you can scarcely commence eating.”</p>
-
-<p>“What on airth are you all talking about?
-Ef you calkelate I’m going to pay four and
-ninepence for my breakfast, and not get the
-valee on’t you’re mistaken,” said a voice from
-a back seat, the owner of which was one
-Hezekiah Spaulding—though “tew hum”<span class="pagenum"><a id="Page_267"></a>[267]</span>
-they call him “Hez” for short. “I’m goin’
-to get my breakfast here, and not pay nary
-red cent till I do.”</p>
-
-<p>“Then you’ll be left.”</p>
-
-<p>“Not as you knows on, I guess I won’t.”</p>
-
-<p>“Well, we’ll see,” said the other, as the
-stage drove up to the door and the landlord
-ready “to do the hospitable,” says—</p>
-
-<p>“Breakfast just ready, gents! Take a
-wash, gents? Here’s water, basins, towels,
-and soap.”</p>
-
-<p>After performing the ablutions, they all
-proceeded to the dining-room, and commenced
-a fierce onslaught upon the edibles,
-though Hez took his time. Scarcely had
-they tasted their coffee when they heard the
-unwelcome sound of the horn, and the driver
-exclaim, “Stage ready!” Up rise eight
-grumbling passengers, pay their fifty cents,
-and take their seats.</p>
-
-<p>“All on board, gents?” inquires the host.</p>
-
-<p>“One missing,” said they.</p>
-
-<p>Proceeding to the dining-room the host
-finds Hez very coolly helping himself to an
-immense piece of steak, the size of a horse’s
-hip.</p>
-
-<p>“You’ll be left, sir! Stage going to
-start.”</p>
-
-<p>“Wall, I hain’t got nothin’ agin it,” drawls
-out Hez.</p>
-
-<p>“Can’t wait, sir—better take your seat.”</p>
-
-<p>“I’ll be blowed ef I do, nother, till I’ve
-got my breakfast! I paid for it, and I am
-goin’ to get the valee on’t it; and ef you calkelate
-I hain’t you are mistaken.”</p>
-
-<p>So the stage did start, and left Hez, who
-continued his attack upon the edibles. Biscuit,
-coffee, etc., disappeared before the eyes
-of the astonished landlord.</p>
-
-<p>“Say, squire, them there cakes is ’bout eat—fetch
-on another grist on ’em. You” (to
-the waiter), “’nother cup of that ere coffee.
-Pass them eggs. Raise your own pork,
-squire? This is ’mazin’ nice ham. Land
-’bout here tolerable cheap, squire? Hain’t
-much maple timber in these parts, hev
-ye? Dew right smart trade, squire, I calkelate?”
-And thus Hez kept quizzing
-the landlord until he had made a hearty
-meal.</p>
-
-<p>“Say, squire, now I’m ’bout to conclude
-paying my devowers to this ere table, but
-just give us a bowl of bread and milk to top
-off with; I’d be much obleeged tew ye.”</p>
-
-<p>So out go the landlord and waiter for the
-bowl, milk, and bread, and set them before
-him.</p>
-
-<p>“Spoon, tew, ef you please.”</p>
-
-<p>But no spoon could be found. Landlord
-was sure he had plenty of silver ones lying
-on the table when the stage stopped.</p>
-
-<p>“Say, dew ye? dew ye think them passengers
-is goin’ to pay ye for a breakfuss
-and not git no compensashun?”</p>
-
-<p>“Ah! what? Do you think any of the
-passengers took them?”</p>
-
-<p>“Dew I think? No, I don’t think, but
-I’m sartin. Ef they are all as green as yew
-bout here I’m going to locate immediately
-and tew wonst.”</p>
-
-<p>The landlord rushes out to the stable, and
-starts a man off after the stage, which had
-gone about three miles. The man overtakes
-and says something to the driver in a low
-tone. He immediately turns back, and on
-arriving at the hotel Hez comes out, takes
-his seat, and says:</p>
-
-<p>“How are yew, gents? I’m glad to see
-yew.”</p>
-
-<p>“Can you point out the man you think
-has the spoons?” asked the landlord.</p>
-
-<p>“P’int him out? Sartenly I ken. Say,
-squire, I paid yew four and ninepence for a
-breakfuss, and I calkelate I got the valee
-on’t it! You’ll find them spoons in the coffee-pot.”</p>
-
-<p>“Go ahead! All aboard, driver.”</p>
-
-<p>The landlord stared.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_268"></a>[268]</span></p>
-
-<h4>TWO KINDS OF POLLIWOGS.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">Wiggle, waggle, how they go,</div>
-    <div class="verse indent2">Through the sunny waters,</div>
-    <div class="verse indent0">Swimming high and swimming low,</div>
-    <div class="verse indent2">Froggie’s sons and daughters.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">What a wondrous little tail</div>
-    <div class="verse indent2">Each black polly carries,</div>
-    <div class="verse indent0">Helm and oar at once, and sail,</div>
-    <div class="verse indent2">That for wind ne’er tarries.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Lazy little elves! at morn</div>
-    <div class="verse indent2">Never in a hurry,</div>
-    <div class="verse indent0">In the brook where they were born</div>
-    <div class="verse indent2">Business did not worry.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">When the sun goes in they sink</div>
-    <div class="verse indent2">To their muddy pillow.</div>
-    <div class="verse indent0">There they lie and eat and drink</div>
-    <div class="verse indent2">Of soft mud their fill, oh.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">When has passed the gloomy cloud,</div>
-    <div class="verse indent2">And the storm is over,</div>
-    <div class="verse indent0">Up they come, a jolly crowd,</div>
-    <div class="verse indent2">From their oozy cover.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Wiggle, waggle, how they go!</div>
-    <div class="verse indent2">Knowing nothing better,</div>
-    <div class="verse indent0">Yet they are destined to outgrow</div>
-    <div class="verse indent2">Each his dusky fetter.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Watch! they now are changing fast,</div>
-    <div class="verse indent2">Some unduly cherish</div>
-    <div class="verse indent0">The dark skin whose use is past,</div>
-    <div class="verse indent2">So they sink and perish.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Others, of their new-birth pain</div>
-    <div class="verse indent2">Bitterly complaining,</div>
-    <div class="verse indent0">Would forego their unknown gain,</div>
-    <div class="verse indent2">Polliwogs remaining.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There are other folk, to-day,</div>
-    <div class="verse indent2">Who, with slight endeavor,</div>
-    <div class="verse indent0">“Give it up,” and so they stay</div>
-    <div class="verse indent2">Polliwogs forever.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Augusta Moore.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>THE BEST SEWING-MACHINE.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-g.jpg" width="125" height="100" alt="" /></div>
-    <div class="dropcapline">“Got one? Don’t say so! Which did you get?</div>
-    <div class="verse indent0">One of the kind to open and shut?</div>
-    <div class="verse indent0">Own it or hire it? How much did you pay?</div>
-    <div class="verse indent0">Does it go with a crank or a treadle? S-a-y.</div>
-    <div class="verse indent0">I’m a single man, and somewhat green;</div>
-    <div class="verse indent0">Tell me about your sewing-machine.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Listen, my boy, and hear all about it:</div>
-    <div class="verse indent0">I don’t know what I could do without it;</div>
-    <div class="verse indent0">I’ve owned one now for more than a year,</div>
-    <div class="verse indent0">And like it so well that I call it ‘my dear;’</div>
-    <div class="verse indent0">’Tis the cleverest thing that ever was seen,</div>
-    <div class="verse indent0">This wonderful family sewing-machine.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“It’s none of your angular Wheeler things,</div>
-    <div class="verse indent0">With steel-shod back and cast-iron wings;</div>
-    <div class="verse indent0">Its work would bother a hundred of his,</div>
-    <div class="verse indent0">And worth a thousand! Indeed it is;</div>
-    <div class="verse indent0">And has a way—you need not stare—</div>
-    <div class="verse indent0">Of combing and braiding its own back hair!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Mine is one of the kind to love,</div>
-    <div class="verse indent0">And wears a shawl and a soft kid glove;</div>
-    <div class="verse indent0">Has the merriest eyes and the daintiest foot,</div>
-    <div class="verse indent0">And sports the charmingest gaiter-boot,</div>
-    <div class="verse indent0">And a bonnet with feathers, and ribbons, and loops,</div>
-    <div class="verse indent0">With any infinite number of hoops.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“None of your patent machines for me,</div>
-    <div class="verse indent0">Unless Dame Nature’s the patentee;</div>
-    <div class="verse indent0">I like the sort that can laugh and talk,</div>
-    <div class="verse indent0">And take my arm for an evening walk;</div>
-    <div class="verse indent0">That will do whatever the owner may choose,</div>
-    <div class="verse indent0">With the slightest perceptible turn of the screws;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“One that can dance, and—possibly—flirt;</div>
-    <div class="verse indent0">And make a pudding as well as a shirt;</div>
-    <div class="verse indent0">One that can sing without dropping a stitch,</div>
-    <div class="verse indent0">And play the housewife, lady, or witch;</div>
-    <div class="verse indent0">Ready to give the sagest advice,</div>
-    <div class="verse indent0">Or to do up your collars and things so nice.</div><span class="pagenum"><a id="Page_269"></a>[269]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“What do you think of my machine?</div>
-    <div class="verse indent0">A’n’t it the best that ever was seen?</div>
-    <div class="verse indent0">’Tisn’t a clumsy, mechanical toy,</div>
-    <div class="verse indent0">But flesh and blood! Hear that, my boy?</div>
-    <div class="verse indent0">With a turn for gossip and household affairs,</div>
-    <div class="verse indent0">Which include, you know, the sewing of tears.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Tut, tut, don’t talk. I see it all—</div>
-    <div class="verse indent0">You needn’t keep winking so hard at the wall:</div>
-    <div class="verse indent0">I know what your fidgety fumblings mean;</div>
-    <div class="verse indent0">You would like, yourself, a sewing-machine!</div>
-    <div class="verse indent0">Well, get one, then—of the same design—</div>
-    <div class="verse indent0">There are plenty left where I got mine!”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>HOW THEY SAID GOOD-NIGHT.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">They have had a long evening together
-(three whole hours), but it doesn’t
-seem more than five minutes to them.
-Still, the inexorable clock is announcing the
-hour of eleven in the most forcible and uncompromising
-manner. He knows that he
-ought to go, because he must be at the store
-at seven in the morning; she fully realizes
-that his immediate departure is necessary, for
-has not her father threatened that he will
-come down and “give that young Simpkins a
-piece of his mind if he don’t leave by eleven
-o’clock in the future?” They both understand
-that the fatal hour has come, yet how
-they hate to part!</p>
-
-<p>“Well, I suppose I <i>must</i> be going,” he
-says, with a long, regretful sigh.</p>
-
-<p>“Yes, I suppose you must,” she rejoins.</p>
-
-<p>Then they gaze into each other’s eyes;
-then she pillows her head upon his bosom;
-then their lips meet, and he mentally swears
-that if he can get his salary raised to eighteen
-dollars a week he will make her Mrs. G. W.
-Simpkins without further agonizing delay.</p>
-
-<p>The clock looks on with a cynical expression
-on its face. It is doing its duty, and if
-old man Smith comes down stairs and destroys
-the peace of mind of this loving couple,
-it will not be its fault.</p>
-
-<p>He asks her if she will not be happy when
-the time comes that they will never, never
-have to part, and she murmurs an affirmative
-response. Then follow more kissing and
-embracing. If G. W. Simpkins were told
-now that he would ever come home to her at
-2 <span class="allsmcap">A.M.</span> with fabulous tales of accidents by
-flood and field, and on the Elevated Railroad,
-would he believe it? No; a smile of incredulity
-and scorn would wreathe his lips,
-and he would forthwith clasp her to his
-breast.</p>
-
-<p>He knows that other men do such things,
-but he is not that sort of man. Beside, he
-will have the immense advantage over all
-others of his sex in possessing the only absolutely
-perfect specimen of femininity extant.
-He thinks that he will never be happy anywhere
-away from her side, and he tells her
-so, and she believes him.</p>
-
-<p>The clock does not announce the quarter-hour,
-because it is not built that way, but,
-nevertheless, it is now 11.15. They do not
-imagine that it is later than 11.02. He asks
-her if she ever loved any one else, and she
-says “No;” and then he reminds her of a
-certain Tom Johnson with whom she used to
-go to the theatre, at which she becomes angry
-and says that he (G. W. Simpkins) is a “real
-mean thing.” Then G. W. S. arises with an
-air of dignity, and says that he is much
-obliged to her for her flattering opinion; and
-she says that he is quite welcome.</p>
-
-<p>Just then a heavy foot-fall is heard upstairs.
-She glances at the clock, and perceives to
-her dismay that it is 11.20. She had expected
-to have a nice little quarrel, followed
-by the usual reconciliation, but there is no
-time for that now. She throws her arms<span class="pagenum"><a id="Page_270"></a>[270]</span>
-around his neck, and whispers in great agitation
-that she believes pa is coming. G. W.
-S. quakes inwardly, for her pa is about four
-sizes larger than himself, and of a cruel, vindictive
-nature. But he assumes an air of
-bravado, and darkly hints at the extreme
-probability that the room in which they stand
-will be the scene of a sanguinary conflict in
-the immediate future, should any one venture
-to cross his path. Then she begs him to remember
-that papa, notwithstanding his faults,
-is still her father. At this he magnanimously
-promises to spare the old man.</p>
-
-<p>But the footstep is heard no more; papa
-does not appear. G. W. S. puts on his overcoat.
-Then the couple stand by the door
-and settle the Tom Johnson matter. She
-says she never cared for Tom Johnson, and
-he says he knows it and that he (G. W. S.,
-you understand) is a brute, and that she is an
-angel, and that he will never again refer to the
-aforesaid Tom Johnson. He will, though, the
-very next time they meet, just as he has every
-time they have met for the last two months.</p>
-
-<p>While they are talking the clock strikes
-the half hour, but they don’t hear it. The
-Johnson business disposed of, they discuss
-their future prospects, vow eternal fidelity,
-compare themselves to all the famous lovers
-of history (to none of whom they bear the
-slightest resemblance), make an appointment
-for Wednesday evening (on which occasion
-G. W. S. will have the extreme felicity
-of spending two-thirds of his week’s
-salary for theatre tickets and a supper at the
-Brunswick), and indulge in the usual osculation.</p>
-
-<p>Suddenly the clock begins to strike twelve,
-and at the same moment a hoarse masculine
-cough is heard in the room overhead. The
-fatal moment has really and truly arrived this
-time. One more kiss, one more embrace,
-and they part—he to go home and oversleep
-in the morning, and be docked fifty cents at
-the store; she to receive the reproaches of
-an irate parent, who hasn’t been young for
-such a long time himself that he has forgotten
-all about it.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>JOSIAR’S COURTING.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I never kin forgit the day</div>
-    <div class="verse indent2">That we went out a walkin’</div>
-    <div class="verse indent0">And sot down on the river bank,</div>
-    <div class="verse indent2">And kept on hours a-talkin’;</div>
-    <div class="verse indent0">He twisted up my apron string,</div>
-    <div class="verse indent2">An’ folded it together,</div>
-    <div class="verse indent0">An’ said he thought for harvest-time</div>
-    <div class="verse indent2">’Twas cur’us kind o’ weather.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The sun went down as we sot there—</div>
-    <div class="verse indent2">Josiar seemed uneasy,</div>
-    <div class="verse indent0">An’ mother, she began to call:</div>
-    <div class="verse indent2">“Loweezy! Come, Loweezy!”</div>
-    <div class="verse indent0">An’ then Josiar spoke right up,</div>
-    <div class="verse indent2">As I wos just a startin’</div>
-    <div class="verse indent0">An’ said, “Loweezy, what’s the use</div>
-    <div class="verse indent2">Of us two ever partin?”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">It kind o’ took me by surprise,</div>
-    <div class="verse indent2">An’ yet I knew ’twas comin’—</div>
-    <div class="verse indent0">I’d heard it all the summer long</div>
-    <div class="verse indent2">In every wild bee’s hummin’;</div>
-    <div class="verse indent0">I meant to hide my love from him,</div>
-    <div class="verse indent2">But seems as if he knew it;</div>
-    <div class="verse indent0">I’d studied out the way I’d act,</div>
-    <div class="verse indent2">But la! I couldn’t do it.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">It darker grew as we sot there,</div>
-    <div class="verse indent2">But Josiar seemed quite easy,</div>
-    <div class="verse indent0">And mother had to call again,</div>
-    <div class="verse indent2">“Loweezy! Come, Loweezy!”</div>
-  </div>
-</div>
-</div>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-
-<p><span class="pagenum"><a id="Page_271"></a>[271]</span></p>
-
-<h3 class="nobreak" id="Pathetic_Recitations"><span class="smcap">Pathetic Recitations.</span></h3>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-</div>
-
-<p>It is a common saying that the public
-speaker who can draw both smiles and tears
-from his audience is the highest type of orator.
-The same is true of the reciter. If you
-would awaken pathetic emotions in the hearts
-of your hearers, you must have recitations
-suited to this purpose, tender in sentiment
-and full of feeling. A charming collection
-of such pieces is here furnished.</p>
-
-<p>Put yourself fully into the spirit of each
-selection. Do not deliver a pathetic recitation
-in a cold, unfeeling manner. Look well
-to the tones of your voice and facial expression.
-If you feel the words you are uttering,
-the subtle influence cannot fail to move those
-who hear you. You cannot put on an appearance
-of feeling; give reality to all the
-emotions your words express.</p>
-
-<div class="figcenter-line" style="width: 300px;">
-<img src="images/line11.jpg" width="300" height="15" alt="" />
-</div>
-
-<h4>PLAY SOFTLY, BOYS.</h4>
-
-<p>Observe the Irish brogue in this selection.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I’m thinkin’ av the goolden head</div>
-    <div class="verse indent2">I nestled to my breast;</div>
-    <div class="verse indent0">They’re telling me, “He’s betther off.”</div>
-    <div class="verse indent2">And sayin’, “God knows best.”</div>
-    <div class="verse indent0">But, oh, my heart is breakin’</div>
-    <div class="verse indent2">And the wild, wild waves at play</div>
-    <div class="verse indent0">Where the goolden head is buried low,</div>
-    <div class="verse indent2">Close to Manila Bay.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I’m thinkin’ av the roguish eyes</div>
-    <div class="verse indent2">Of tender Irish gray;</div>
-    <div class="verse indent0">They’re tellin’ me, “He’s betther off,”</div>
-    <div class="verse indent2">And, “I’ll thank God some day.”</div>
-    <div class="verse indent0">But, oh, my heart is breakin’</div>
-    <div class="verse indent2">And the wild, wild waves at play,</div>
-    <div class="verse indent0">And my baby’s eyes all closed in death</div>
-    <div class="verse indent2">Close to Manila Bay.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I’m thinkin’ av the little hands</div>
-    <div class="verse indent2">That’s fastened ’round my heart;</div>
-    <div class="verse indent0">They’re tellin’ me, “Have courage,</div>
-    <div class="verse indent2">Sure, life’s to meet and part.”</div>
-    <div class="verse indent0">But, oh, my heart is breakin’</div>
-    <div class="verse indent2">And the wild, wild waves at play,</div>
-    <div class="verse indent0">And my baby’s hands so stiff and cold</div>
-    <div class="verse indent2">Close to Manila Bay.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I’m thinkin’ av the noble boy</div>
-    <div class="verse indent2">That kissed my tears away;</div>
-    <div class="verse indent0">They’re tellin’ me, “How brave he was,</div>
-    <div class="verse indent2">And foremost in the fray!”</div>
-    <div class="verse indent0">But, oh, my heart is breakin’</div>
-    <div class="verse indent2">And the wild, wild waves at play,</div>
-    <div class="verse indent0">And my baby and my soldier dead—</div>
-    <div class="verse indent2">Close to Manila Bay.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Play softly, boys, I know you will,</div>
-    <div class="verse indent2">Remembering he’s away—</div>
-    <div class="verse indent0">My boy, who proudly marched with ye</div>
-    <div class="verse indent2">On last St. Patrick’s Day.</div>
-    <div class="verse indent0">Play softly, boys, I know ye will,</div>
-    <div class="verse indent2">And the wild, wild waves at play,</div>
-    <div class="verse indent0">And your comrade lying lonely,</div>
-    <div class="verse indent2">Close to Manila Bay.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Play softly, boys, I know ye will,</div>
-    <div class="verse indent2">And hush this pain to rest—</div>
-    <div class="verse indent0">And soothe the bitter agony</div>
-    <div class="verse indent2">That’s tearin’ at my breast.</div>
-    <div class="verse indent0">How can ye march at all, at all,</div>
-    <div class="verse indent2">And the wild, wild waves at play,</div>
-    <div class="verse indent0">And the boy who loved ye lying cold—</div>
-    <div class="verse indent2">Close to Manila Bay?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Teresa Beatrice O’Hare.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_272"></a>[272]</span></p>
-
-<h4>IN THE BAGGAGE COACH AHEAD.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">On a dark stormy night, as the train rattled on,</div>
-    <div class="verse indent2">All the passengers had gone to bed,</div>
-    <div class="verse indent0">Except one young man with a babe on his arm,</div>
-    <div class="verse indent2">Who sat there with a bowed-down head.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The innocent one commenced crying just then,</div>
-    <div class="verse indent2">As though its poor heart would break.</div>
-    <div class="verse indent0">One angry man said, “Make that child stop its noise,</div>
-    <div class="verse indent2">For you’re keeping all of us awake.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Put it out,” said another; “don’t keep it in here,</div>
-    <div class="verse indent2">We’ve paid for our berths and want rest.”</div>
-    <div class="verse indent0">But never a word said the man with the child,</div>
-    <div class="verse indent2">As he fondled it close to his breast.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Where is its mother? Go, take it to her—”</div>
-    <div class="verse indent2">This a lady then softly said.</div>
-    <div class="verse indent0">“I wish that I could,” was the man’s sad reply,</div>
-    <div class="verse indent2">“But she’s dead in the coach ahead.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Every eye filled with tears when his story he told,</div>
-    <div class="verse indent2">Of a wife who was faithful and true.</div>
-    <div class="verse indent0">He told how he’s saved up his earnings for years</div>
-    <div class="verse indent2">Just to build up a home for two.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">How, when Heaven had sent them this sweet little babe,</div>
-    <div class="verse indent2">Their young happy lives were blessed.</div>
-    <div class="verse indent0">In tears he broke down when he mentioned her name,</div>
-    <div class="verse indent2">And in tears tried to tell them the rest.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Every woman arose to assist with the child;</div>
-    <div class="verse indent2">There were mothers and wives on that train,</div>
-    <div class="verse indent0">And soon was the little one sleeping in peace,</div>
-    <div class="verse indent2">With no thoughts of sorrow and pain.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Next morn’ at a station he bade all good-bye.</div>
-    <div class="verse indent2">“God bless you,” he softly said.</div>
-    <div class="verse indent0">Each one had a story to tell in their home</div>
-    <div class="verse indent2">Of the baggage coach ahead.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">While the train rolled onward a husband sat in tears,</div>
-    <div class="verse indent0">Thinking of the happiness of just a few short years,</div>
-    <div class="verse indent0">For baby’s face brings pictures of a cherished hope that’s dead;</div>
-    <div class="verse indent0">But baby’s cries can’t wake her in the baggage coach ahead.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>THE MISSING ONE.</h4>
-
-<p>The deep pathos of these lines should be expressed by a trembling
-utterance. Put tears in your voice, if you can do this difficult thing.
-All the life and spirit are taken out of the old man as he thinks of the
-regiment returning without his son, whose desolate grave is somewhere on
-the Cuban shore.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I don’t think I’ll go into town to see the boys come back;</div>
-    <div class="verse indent0">My bein’ there would do no good in all that jam and pack;</div>
-    <div class="verse indent0">There’ll be enough to welcome them—to cheer them when they come</div>
-    <div class="verse indent0">A-marchin’ bravely to the time that’s beat upon the drum—</div>
-    <div class="verse indent0">They’ll never miss me in the crowd—not one of ’em will care</div>
-    <div class="verse indent0">If, when the cheers are ringin’ loud, I’m not among them there.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I went to see them march away—I hollered with the rest,</div>
-    <div class="verse indent0">And didn’t they look fine, that day, a-marchin’ four abreast,</div>
-    <div class="verse indent0">With my boy James up near the front, as handsome as could be,</div>
-    <div class="verse indent0">And wavin’ back a fond farewell to mother and to me!</div>
-    <div class="verse indent0">I vow my old knees trimbled so, when they had all got by,</div>
-    <div class="verse indent0">I had to jist set down upon the curbstone there and cry.</div><span class="pagenum"><a id="Page_273"></a>[273]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And now they’re comin’ home again! The record that they won</div>
-    <div class="verse indent0">Was sich as shows we still have men, when men’s work’s to be done!</div>
-    <div class="verse indent0">There wasn’t one of ’em that flinched, each feller stood the test—</div>
-    <div class="verse indent0">Wherever they were sent they sailed right in and done their best!</div>
-    <div class="verse indent0">They didn’t go away to play—they knowed what was in store—</div>
-    <div class="verse indent0">But there’s a grave somewhere to-day, down on the Cuban shore!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I guess that I’ll not go to town to see the boys come in;</div>
-    <div class="verse indent0">I don’t jist feel like mixin’ up in all that crush and din!</div>
-    <div class="verse indent0">There’ll be enough to welcome them—to cheer them when they come</div>
-    <div class="verse indent0">A-marchin’ bravely to the time that’s beat upon the drum,</div>
-    <div class="verse indent0">And the boys’ll never notice—not a one of ’em will care,</div>
-    <div class="verse indent0">For the soldier that would miss me ain’t a goin’ to be there!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">S. E. Kiser.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>IN MEMORIAM.</h4>
-
-<p>It was a strange coincidence, and a fitting end for a noble old seaman
-who had given his life to the service of his country, that Rear-Admiral
-W. A. Kirkland, U. S. N., and once commandant at Mare Island, should
-die the day peace was declared between our country and Spain. In strong
-tones give the command, “Cease firing!” Point to “the red flames,” “the
-gray smoke-shrouded hills,” “the weary troops,” “the armored squadron,”
-etc. On the first two lines of the last verse use <a href="#gesture11">Figure 11 of Typical
-Gestures</a>.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-c.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">“Cease firing!” Lo, the bugles call—</div>
-    <div class="verse indent2">“Cease!” and the red flame dies away.</div>
-    <div class="verse indent2">The thunders sleep; along the gray</div>
-    <div class="verse indent0">Smoke-shrouded hills the echoes fall.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Cease firing!” Close the columns fold</div>
-    <div class="verse indent2">Their shattered wings; the weary troops</div>
-    <div class="verse indent2">Now stand at ease; the ensign droops;</div>
-    <div class="verse indent0">The heated chargers’ flanks turn cold.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Cease firing!” Down, with point reversed,</div>
-    <div class="verse indent2">The reeking, crimson sabre drips;</div>
-    <div class="verse indent2">Cool grow the fevered cannon’s lips—</div>
-    <div class="verse indent0">Their wreathing vapors far dispersed.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Cease firing!” From the sponson’s rim</div>
-    <div class="verse indent2">The mute, black muzzles frown across</div>
-    <div class="verse indent2">The sea, where swelling surges toss</div>
-    <div class="verse indent0">The armored squadrons, silent, grim.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Cease firing!” Look, white banners show</div>
-    <div class="verse indent2">Along the groves where heroes sleep—</div>
-    <div class="verse indent2">Above the graves where men lie deep—</div>
-    <div class="verse indent0">In pure, soft flutterings of snow.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Cease firing!” Glorious and sweet</div>
-    <div class="verse indent2">For country ’tis to die—and comes</div>
-    <div class="verse indent2">The Peace—and bugles blow and drums</div>
-    <div class="verse indent0">Are sounding out the Last Retreat.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Thomas R. Gregory, U. S. N.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>THE DYING NEWSBOY.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">In an attic bare and cheerless, Jim, the news-boy, dying lay,</div>
-    <div class="verse indent0">On a rough but clean straw pallet, at the fading of the day;</div>
-    <div class="verse indent0">Scant the furniture about him, but bright flowers were in the room,</div>
-    <div class="verse indent0">Crimson phloxes, waxen lilies, roses laden with perfume.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">On a table by the bedside, open at a well-worn page,</div>
-    <div class="verse indent0">Where the mother had been reading, lay a Bible stained by age.</div>
-    <div class="verse indent0">Now he could not hear the verses; he was flighty, and she wept</div>
-    <div class="verse indent0">With her arms around her youngest, who close to her side had crept.</div><span class="pagenum"><a id="Page_274"></a>[274]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Blacking boots and selling papers, in all weathers day by day,</div>
-    <div class="verse indent0">Brought upon poor Jim consumption, which was eating life away.</div>
-    <div class="verse indent0">And this cry came with his anguish for each breath a struggle cost,</div>
-    <div class="verse indent0">“’Ere’s the morning <i>Sun</i> and <i>’Erald</i>—latest news of steamship lost.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Papers, mister? Morning papers?” Then the cry fell to a moan,</div>
-    <div class="verse indent0">Which was changed a moment later to another frenzied tone:</div>
-    <div class="verse indent0">“Black yer boots, sir? Just a nickel! Shine ’em like an evening star.</div>
-    <div class="verse indent0">It grows late, Jack! Night is coming. Evening papers, here they are!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Soon a mission teacher entered, and approached the humble bed;</div>
-    <div class="verse indent0">Then poor Jim’s mind cleared an instant, with his cool hand on his head.</div>
-    <div class="verse indent0">“Teacher,” cried he, “I remember what you said the other day,</div>
-    <div class="verse indent0">Ma’s been reading of the Saviour, and through Him I see my way.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“He is with me! Jack, I charge you of our mother take good care</div>
-    <div class="verse indent0">When Jim’s gone! Hark! boots or papers, which will I be over there?</div>
-    <div class="verse indent0">Black yer boots, sir? Shine ’em right up! Papers! Read God’s book instead,</div>
-    <div class="verse indent0">Better’n papers that to die on! Jack——” one gasp, and Jim was dead!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Mrs. Emily Thornton.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>“COALS OF FIRE.”</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">The coffin was a plain one—no flowers
-on its top, no lining of rose-white
-satin for the pale brow, no smooth
-ribbons about the coarse shroud. The brown
-hair was laid decently back, but there was no
-crimped cap, with its neat tie beneath the
-chin. “I want to see my mother,” sobbed a
-poor child, as the city undertaker screwed
-down the top. “You can’t: get out of the
-way, boy! Why don’t somebody take the
-brat away?” “Only let me see her for one
-minute,” cried the hapless orphan, clutching
-the side of the charity box. And as he
-gazed into that rough face tears streamed
-down the cheek on which no childish bloom
-every lingered. Oh, it was pitiful to hear
-him cry, “Only once! let me see my mother
-only once!”</p>
-
-<p>Brutally, the hard-hearted monster struck
-the boy away, so that he reeled with the
-blow. For a moment the boy stood panting
-with grief and rage, his blue eyes expanded,
-his lips sprang apart; a fire glittered through
-his tears as he raised his puny arm, and with
-a most unchildish accent screamed, “When
-I am a man I’ll kill you for that!” A coffin
-and a heap of earth was between the mother
-and the poor forsaken child; a monument
-stronger than granite built in his boy-heart
-to the memory of a heartless deed.</p>
-
-<p>The court house was crowded to suffocation.
-“Does any one appear as this man’s
-counsel?” asked the judge. There was
-silence when he finished, until, with lips
-tightly pressed together, a look of strange
-recognition blended with haughty reserve
-upon his handsome features, a young man, a
-stranger, stepped forward to plead for the
-erring and the friendless. The splendor of
-his genius entranced, convinced. The man
-who could not find a friend was acquitted.</p>
-
-<p>“May God bless you, sir! I cannot.” “I
-want no thanks,” replied the stranger, with
-icy coldness. “I—I believe you are unknown
-to me.” “Man, I will refresh your memory.
-Twenty years ago you struck a broken-hearted
-boy away from his poor mother’s
-coffin; I was that poor, miserable boy.”<span class="pagenum"><a id="Page_275"></a>[275]</span>
-“Have you rescued me, then, to take my
-life?” “No! I have a sweeter revenge: I
-have saved the life of a man whose brutal
-deed has rankled in my breast for twenty
-years. Go, and remember the tears of a
-friendless child.”</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>DIRGE OF THE DRUMS.</h4>
-
-<p>The effect produced by this selection will depend very much upon the
-manner in which you speak the constantly repeated word, “Dead!” It should
-be spoken with subdued force, rather slowly, and in a low tone. Show
-intense emotion, but not in a boisterous manner.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-d.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">Dead! Dead! Dead!</div>
-    <div class="verse indent0">To the solemn beat of the last retreat</div>
-    <div class="verse indent2">That falls like lead,</div>
-    <div class="verse indent0">Bear the hero now to his honored rest</div>
-    <div class="verse indent0">With the badge of courage upon his breast,</div>
-    <div class="verse indent0">While the sun sinks down in the gleaming West—</div>
-    <div class="verse indent2">Dead! Dead! Dead!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2">Dead! Dead! Mourn the dead!</div>
-    <div class="verse indent0">While the mournful notes of the bugles float</div>
-    <div class="verse indent2">Across his bed,</div>
-    <div class="verse indent0">And the guns shall toll on the vibrant air</div>
-    <div class="verse indent0">The knell of the victor lying there—</div>
-    <div class="verse indent0">’Tis a fitting sound for a soldier’s prayer—</div>
-    <div class="verse indent2">Dead! Dead! Dead!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2">Dead! Dead! Dead!</div>
-    <div class="verse indent0">To the muffled beat of the lone retreat</div>
-    <div class="verse indent2">And speeding lead,</div>
-    <div class="verse indent0">Lay the hero low to his well-earned rest,</div>
-    <div class="verse indent0">In the land he loved, on her mother breast,</div>
-    <div class="verse indent0">While the sunlight dies in the darkening West—</div>
-    <div class="verse indent2">Dead! Dead! Dead!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Ralph Alton.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>THE OLD DOG’S DEATH POSTPONED.</h4>
-
-<p>Any one at all familiar with farm life knows that when the old dog
-becomes blind, toothless and helpless it is the sad but humane duty
-of the farmer to put an end to his sufferings; it is generally done
-by taking him off to the woods and shooting him. Although the new dog
-quickly wins his place in our affections, the old is not soon forgotten,
-and more than one story begins: “You remember how old Fide.” Give strong
-expression in the last verse to the old man’s sudden change of purpose.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-c.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">Come along old chap, yer time’s ’bout up,</div>
-    <div class="verse indent0">We got another brindle pup;</div>
-    <div class="verse indent0">I ’lows it’s tough an’ mighty hard,</div>
-    <div class="verse indent0">But a toothless dog’s no good on guard,</div>
-    <div class="verse indent0">So trot along right after me,</div>
-    <div class="verse indent0">An’ I’ll put yeh out o’ your misery.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Now, quit yer waggin’ that stumpy tail—</div>
-    <div class="verse indent0">We ain’t a-goin’ fer rabbit er quail;</div>
-    <div class="verse indent0">’Sides, you couldn’t pint a bird no more,</div>
-    <div class="verse indent0">Yer old an’ blind an’ stiff an’ sore,</div>
-    <div class="verse indent0">An’ that’s why I loaded the gun to-day</div>
-    <div class="verse indent0">Yer a-gittin’ cross an’ in the way.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I been thinkin’ it over; ’taint no fun.</div>
-    <div class="verse indent0">I don’t like to do it, but it’s got to be done;</div>
-    <div class="verse indent0">Got sort of a notion, you know, too,</div>
-    <div class="verse indent0">The kind of a job we’re goin’ to do,</div>
-    <div class="verse indent0">Else why would yeh hang back that-a-way,</div>
-    <div class="verse indent0">Yeh ain’t ez young ez yeh once wuz, hey!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Frisky dog in them days, I note,</div>
-    <div class="verse indent0">When yeh nailed the sneakthief by the throat;</div>
-    <div class="verse indent0">Can’t do that now, an’ there ain’t no need</div>
-    <div class="verse indent0">A-keepin’ a dog that don’t earn his feed.</div>
-    <div class="verse indent0">So yeh got to make way for the brindle pup;</div>
-    <div class="verse indent0">Come along, old chap, yer time’s ’bout up.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">We’ll travel along at an easy jog—</div>
-    <div class="verse indent0">Course, you don’t know, bein’ only a dog;</div>
-    <div class="verse indent0">But I can mind when you wuz sprier,</div>
-    <div class="verse indent0">’Wakin’ us up when the barn caught fire—</div><span class="pagenum"><a id="Page_276"></a>[276]</span>
-    <div class="verse indent0">It don’t seem possible, yet I know</div>
-    <div class="verse indent0">That wuz close onto fifteen years ago.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">My, but yer hair wuz long an’ thick</div>
-    <div class="verse indent0">When yeh pulled little Sally out o’ the crick;</div>
-    <div class="verse indent0">An’ it came in handy that night in the storm,</div>
-    <div class="verse indent0">We coddled to keep each other warm.</div>
-    <div class="verse indent0">Purty good dog, I’ll admit—but, say,</div>
-    <div class="verse indent0">What’s the use o’ talkin’ yeh had yer day.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I’m hopin’ the children won’t hear the crack,</div>
-    <div class="verse indent0">Er what’ll I say when I get back?</div>
-    <div class="verse indent0">They’d be askin’ questions, I know their talk,</div>
-    <div class="verse indent0">An’ I’d have to lie ’bout a chicken hawk;</div>
-    <div class="verse indent0">But the sound won’t carry beyond this hill,</div>
-    <div class="verse indent0">All done in a minute—don’t bark, stand still.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There, that’ll do; steady, quit lickin’ my hand,</div>
-    <div class="verse indent0">What’s wrong with this gun, I can’t understand;</div>
-    <div class="verse indent0">I’m jest ez shaky ez I can be—</div>
-    <div class="verse indent0">Must be the agey’s the matter with me.</div>
-    <div class="verse indent0">An’ that stitch in the back—what! gitten’ old too—</div>
-    <div class="verse indent0">The—dinner—bell’s—ringin’—fer—me—an’ you.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Charles E. Baer.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>THE FALLEN HERO.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-h.jpg" width="130" height="110" alt="" /></div>
-    <div class="dropcapline">He went to the war in the morning—</div>
-    <div class="verse indent2">The roll of the drums could be heard.</div>
-    <div class="verse indent0">But he paused at the gate with his mother</div>
-    <div class="verse indent2">For a kiss and a comforting word.</div>
-    <div class="verse indent0">He was full of the dreams and ambitions</div>
-    <div class="verse indent2">That youth is so ready to weave,</div>
-    <div class="verse indent0">And proud of the clank of his sabre</div>
-    <div class="verse indent2">And the chevrons of gold on his sleeve.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He came from the war in the evening—</div>
-    <div class="verse indent2">The meadows were sprinkled with snow,</div>
-    <div class="verse indent0">The drums and the bugles were silent,</div>
-    <div class="verse indent2">And the steps of the soldier were slow.</div>
-    <div class="verse indent0">He was wrapped in the flag of his country</div>
-    <div class="verse indent2">When they laid him away in the mould,</div>
-    <div class="verse indent0">With the glittering stars of a captain</div>
-    <div class="verse indent2">Replacing the chevrons of gold.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">With the heroes who slept on the hillside</div>
-    <div class="verse indent2">He lies with a flag at his head,</div>
-    <div class="verse indent0">But, blind with the years of her weeping,</div>
-    <div class="verse indent2">His mother yet mourns for her dead.</div>
-    <div class="verse indent0">The soldiers who fall in the battle</div>
-    <div class="verse indent2">May feel but a moment of pain,</div>
-    <div class="verse indent0">But the women who wait in the homesteads</div>
-    <div class="verse indent2">Must dwell with the ghosts of the slain.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Minna Irving.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>THE SOLDIER’S WIFE.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-h.jpg" width="130" height="110" alt="" /></div>
-    <div class="dropcapline">He offered himself for the land he loved,</div>
-    <div class="verse indent2">But what shall we say for her?</div>
-    <div class="verse indent0">He gave to his country a soldier’s life;</div>
-    <div class="verse indent0">’Twas dearer by far to the soldier’s wife,</div>
-    <div class="verse indent2">All honor to-day to her!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He went to the war while his blood was hot,</div>
-    <div class="verse indent2">But what shall we say of her?</div>
-    <div class="verse indent0">He saw himself through the battle’s flame</div>
-    <div class="verse indent0">A hero’s reward on the scroll of fame:</div>
-    <div class="verse indent2">What honor is due to her?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He offered himself, but his wife did more,</div>
-    <div class="verse indent2">All honor to-day to her!</div>
-    <div class="verse indent0">For dearer than life was the gift she gave</div>
-    <div class="verse indent0">In giving the life she would die to save;</div>
-    <div class="verse indent2">What honor is due to her?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He gave up his life at his country’s call,</div>
-    <div class="verse indent2">But what shall we say of her?</div>
-    <div class="verse indent0">He offered himself as a sacrifice,</div>
-    <div class="verse indent0">But she is the one who pays the price,</div>
-    <div class="verse indent2">All honor we owe to her.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Elliott Flower.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_277"></a>[277]</span></p>
-
-<h4>“BREAK THE NEWS GENTLY.”</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">There on the ground he lay, a fireman so brave,</div>
-    <div class="verse indent0">He’d risked his life, he’d fallen, a little child to save;</div>
-    <div class="verse indent0">Life’s stream was ebbing fast away, his comrades all stood by,</div>
-    <div class="verse indent0">And listened to his dying words, while tears bedimmed each eye:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Break the news to mother gently, tell her how her brave son died,</div>
-    <div class="verse indent0">Tell her that he did his duty, as in life he ever tried;</div>
-    <div class="verse indent0">Treat her kindly, boys, a friend be to her when I’m dead and gone.</div>
-    <div class="verse indent0">Break the news to mother gently, do not let her weep or mourn.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There in her home she rests, that mother old and gray,</div>
-    <div class="verse indent0">She lost a son, but others—they took his place that day;</div>
-    <div class="verse indent0">And nobly do they care for her and honor her gray head,</div>
-    <div class="verse indent0">In mem’ry of their comrade and the last words that he said:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Break the news to mother gently, tell her how her brave son died,</div>
-    <div class="verse indent0">Tell her that he did his duty, as in life he ever tried;</div>
-    <div class="verse indent0">Treat her kindly, boys, a friend be to her when I’m dead and gone.</div>
-    <div class="verse indent0">Break the news to mother gently, do not let her weep or mourn.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There on the wall it hangs, within the engine-room,</div>
-    <div class="verse indent0">The picture of the bravest lad that ever faced his doom;</div>
-    <div class="verse indent0">And, as they point it out and speak the virtues of the dead,</div>
-    <div class="verse indent0">They tell about that awful night and the last words that he said:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Break the news to mother gently, tell her how her brave son died,</div>
-    <div class="verse indent0">Tell her that he did his duty, as in life he ever tried;</div>
-    <div class="verse indent0">Treat her kindly, boys, a friend be to her when I’m dead and gone.</div>
-    <div class="verse indent0">Break the news to mother gently, do not let her weep or mourn.”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>ON THE OTHER TRAIN.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">“There, Simmons, you blockhead!
-Why didn’t you trot that old woman
-aboard her train? She’ll have to
-wait now until the 1.05 <span class="allsmcap">A.M.</span>”</p>
-
-<p>“You didn’t tell me.”</p>
-
-<p>“Yes, I did tell you. ’Twas only your
-confounded stupid carelessness.”</p>
-
-<p>“She——”</p>
-
-<p>“<i>She!</i> You fool! What else could you
-expect of her! Probably she hasn’t any wit;
-besides, she isn’t bound on a very jolly
-journey—got a pass up the road to the poor-house.
-I’ll go and tell her, and if you forget
-her to-night, see if I don’t make mince-meat
-of you!” and our worthy ticket-agent
-shook his fist menacingly at his subordinate.</p>
-
-<p>“You’ve missed your train, marm,” he remarked,
-coming forward to a queer-looking
-bundle in the corner.</p>
-
-<p>A trembling hand raised the faded black
-veil, and revealed the sweetest old face I
-ever saw.</p>
-
-<p>“Never mind,” said a quivering voice.</p>
-
-<p>“’Tis only three o’clock now; you’ll have
-to wait until the night train, which doesn’t
-go up until 1.05.”</p>
-
-<p>“Very well, sir; I can wait.”</p>
-
-<p>“Wouldn’t you like to go to some hotel?
-Simmons will show you the way.”</p>
-
-<p><span class="pagenum"><a id="Page_278"></a>[278]</span></p>
-
-<p>“No, thank you, sir. One place is as
-good as another to me. Besides, I haven’t
-any money.”</p>
-
-<p>“Very well,” said the agent, turning away
-indifferently. “Simmons will tell you when
-it’s time.”</p>
-
-<p>All the afternoon she sat there so quiet
-that I thought sometimes she must be asleep,
-but when I looked more closely I could see
-every once in a while a great tear rolling
-down her cheek, which she would wipe away
-hastily with her cotton handkerchief.</p>
-
-<p>The depot was crowded and all was bustle
-and hurry until the 9.50 train going east
-came due; then every passenger left except
-the old lady. It is very rare indeed that
-any one takes the night express, and almost
-always, after I have struck ten, the depot
-becomes silent and empty.</p>
-
-<p>The ticket agent put on his great coat, and
-bidding Simmons keep his wits about him
-for once in his life, departed for home.</p>
-
-<p>But he had no sooner gone than that functionary
-stretched himself out upon the table,
-as usual, and began to snore vociferously.
-Then it was I witnessed such a sight as
-I never had before and never expect to
-again.</p>
-
-<p>The fire had gone down—it was a cold
-night, and the wind howled dismally outside.
-The lamps grew dim and flared, casting
-weird shadows upon the wall. By and by I
-heard a smothered sob from the corner, then
-another. I looked in that direction. She
-had risen from her seat, and oh! the look of
-agony on the poor, pinched face.</p>
-
-<p>“I can’t believe it,” she sobbed, wringing
-her thin, white hands. “Oh! I can’t believe
-it! My babies! my babies! how often
-have I held them in my arms and kissed
-them; and how often they used to say back
-to me, ‘Ise love you, mamma;’ and now,
-O God! they’ve turned against me. Where
-am I going? To the poor-house! No! no!
-no! I cannot! I will not! Oh, the disgrace!”</p>
-
-<p>And sinking upon her knees, she sobbed
-out in prayer: “O God! spare me this and
-take me home! O God, spare me this disgrace;
-spare me!”</p>
-
-<p>The wind rose higher, and swept through
-the crevices icy cold. How it moaned and
-seemed to sob like something human that is
-hurt. I began to shake, but the kneeling
-figure never stirred. The thin shawl had
-dropped from her shoulders unheeded. Simmons
-turned over and drew his heavy blanket
-more closely around him.</p>
-
-<p>Oh, how cold! Only one lamp remained,
-burning dimly; the other two had gone out for
-want of oil. I could hardly see, it was so dark.</p>
-
-<p>At last she became quieter, and ceased to
-moan. Then I grew drowsy, and kind of
-lost the run of things after I had struck
-twelve, when some one entered the depot
-with a bright light. I started up. It was
-the brightest light I ever saw, and seemed to
-fill the room full of glory. I could see ’twas
-a man. He walked to the kneeling figure
-and touched her upon the shoulder. She
-started up and turned her face wildly around.
-I heard him say:</p>
-
-<p>“’Tis train time, ma’am. Come!”</p>
-
-<p>A look of joy came over her face.</p>
-
-<p>“I’m ready,” she whispered.</p>
-
-<p>“Then give me your pass, ma’am.”</p>
-
-<p>She reached him a worn old book, which
-he took and from it read aloud:</p>
-
-<p>“Come unto me all ye that labor and are
-heavy laden, and I will give you rest.”</p>
-
-<p>“That’s the pass over our road, ma’am.
-Are you ready?”</p>
-
-<p>The light died away and darkness fell in
-its place. My hand touched the stroke of
-one. Simmons awoke with a start, and
-snatched his lantern. The whistles sounded
-down brakes; the train was due. He ran to
-the corner and shook the old woman.</p>
-
-<p><span class="pagenum"><a id="Page_279"></a>[279]</span></p>
-
-<p>“Wake up, marm; ’tis train time.”</p>
-
-<p>But she never heeded. He gave one look
-at the white, set face, and dropping his lantern,
-fled.</p>
-
-<p>The up-train halted, the conductor shouted
-“All aboard,” but no one made a move that
-way.</p>
-
-<p>The next morning, when the ticket agent
-came, he found her frozen to death. They
-whispered among themselves, and the coroner
-made out the verdict “apoplexy,” and it
-was in some way hushed up.</p>
-
-<p>They laid her out in the depot, and advertised
-for her friends, but no one came. So,
-after the second day they buried her.</p>
-
-<p>The last look on the sweet old face, lit up
-with a smile so unearthly, I keep with me
-yet; and when I think of the occurrence of that
-night, I know that she went out on the other
-train, that never stopped at the poor-house.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>SOME TWENTY YEARS AGO.</h4>
-
-<p>It were well worth while to insert this wonderfully beautiful and
-pathetic selection here to preserve it in enduring type, but it has the
-additional merit of being a most excellent piece for recitation. The
-author’s assumed name was “James Pipes, of Pipesville.” His real name you
-may see below the lines.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I’ve wandered to the village, Tom; I’ve sat beneath the tree</div>
-    <div class="verse indent0">Upon the school house playground that sheltered you and me;</div>
-    <div class="verse indent0">But none were there to greet me, Tom; and few were left to know,</div>
-    <div class="verse indent0">Who played with us upon the green, some twenty years ago.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The grass is just as green, Tom; bare-footed boys at play</div>
-    <div class="verse indent0">Were sporting, just as we did then, with spirits just as gay.</div>
-    <div class="verse indent0">But the “master” sleeps upon the hill, which coated o’er with snow,</div>
-    <div class="verse indent0">Afforded us a sliding place, some twenty years ago.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The old school house is altered now, the benches are replaced</div>
-    <div class="verse indent0">By new ones, very like the same our penknives once defaced;</div>
-    <div class="verse indent0">But the same old bricks are in the wall; the bell swings to and fro;</div>
-    <div class="verse indent0">It’s music just the same, dear Tom, ’twas twenty years ago.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The boys were playing some old game beneath that same old tree;</div>
-    <div class="verse indent0">I have forgot the name just now—you’ve played the same with me</div>
-    <div class="verse indent0">On that same spot; ’twas played with knives, by throwing so and so;</div>
-    <div class="verse indent0">The loser had a task to do—these twenty years ago.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The river’s running just as still; the willows on its side</div>
-    <div class="verse indent0">Are larger than they were, Tom; the stream appears less wide;</div>
-    <div class="verse indent0">But the grape-vine swing is ruined now, where once we played the beau,</div>
-    <div class="verse indent0">And swung our sweethearts—pretty girls—just twenty years ago.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The spring that bubbled ’neath the hill close by the spreading beach</div>
-    <div class="verse indent0">Is very low—’twas then so high that we could scarcely reach;</div>
-    <div class="verse indent0">And kneeling down to get a drink, dear Tom, I started so,</div>
-    <div class="verse indent0">To see how sadly I am changed, since twenty years ago.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Near by that spring, upon an elm, you know I cut your name;</div>
-    <div class="verse indent0">Your sweetheart’s just beneath it, Tom, and you did mine the same;</div>
-    <div class="verse indent0">Some heartless wretch has peeled the bark; ’twas dying sure but slow,</div>
-    <div class="verse indent0">Just as she died, whose name you cut, some twenty years ago.</div><span class="pagenum"><a id="Page_280"></a>[280]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">My lids have long been dry, Tom, but tears came to my eyes;</div>
-    <div class="verse indent0">I thought of her I loved so well, those early broken ties;</div>
-    <div class="verse indent0">I visited the old church yard, and took some flowers to strow</div>
-    <div class="verse indent0">Upon the graves of those we loved, some twenty years ago.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Some are in the church-yard laid, some sleep beneath the sea;</div>
-    <div class="verse indent0">But few are left of our old class, excepting you and me;</div>
-    <div class="verse indent0">And when our time shall come, Tom, and we are called to go,</div>
-    <div class="verse indent0">I hope they’ll lay us where we played, just twenty years ago.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Stephen Marsell.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>ONLY A SOLDIER.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-u.jpg" width="140" height="110" alt="" /></div>
-    <div class="dropcapline">Unarmed and unattended walks the Czar,</div>
-    <div class="verse indent2">Through Moscow’s busy street one winter’s day.</div>
-    <div class="verse indent0">The crowd uncover as his face they see—</div>
-    <div class="verse indent2">“God greet the Czar!” they say.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Along his path there moved a funeral,</div>
-    <div class="verse indent2">Gray spectacle of poverty and woe,</div>
-    <div class="verse indent0">A wretched sledge, dragged by one weary man,</div>
-    <div class="verse indent2">Slowly across the snow.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And on the sledge, blown by the winter wind,</div>
-    <div class="verse indent2">Lay a poor coffin, very rude and bare,</div>
-    <div class="verse indent0">And he who drew it bent before his load,</div>
-    <div class="verse indent2">With dull and sullen air.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The Emperor stopped and beckoned on the man;</div>
-    <div class="verse indent2">“Who is’t thou bearest to the grave?” he said.</div>
-    <div class="verse indent0">“Only a soldier, sire!” the short reply,</div>
-    <div class="verse indent2">“Only a soldier, dead.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Only a soldier!” musing, said the Czar;</div>
-    <div class="verse indent2">“Only a Russian, who was poor and brave.</div>
-    <div class="verse indent0">Move on. I follow. Such a one goes not</div>
-    <div class="verse indent2">Unhonored to his grave.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He bent his head, and silent raised his cap;</div>
-    <div class="verse indent2">The Czar of all the Russias, pacing slow,</div>
-    <div class="verse indent0">Following the coffin, as again it went</div>
-    <div class="verse indent2">Slowly across the snow.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The passers of the street, all wondering,</div>
-    <div class="verse indent2">Looked on that sight, then followed silently;</div>
-    <div class="verse indent0">Peasant and prince, the artisan and clerk,</div>
-    <div class="verse indent2">All in one company.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Still, at they went the crowd grew ever more,</div>
-    <div class="verse indent2">Till thousands stood around the friendless grave,</div>
-    <div class="verse indent0">Led by that princely heart, who royal, true,</div>
-    <div class="verse indent2">Honored the poor and brave.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>THE PILGRIM FATHERS.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">The pilgrim fathers—where are they?</div>
-    <div class="verse indent2">The waves that brought them o’er</div>
-    <div class="verse indent0">Still roll in the bay, and throw their spray,</div>
-    <div class="verse indent2">As they break along the shore;</div>
-    <div class="verse indent0">Still roll in the bay, as they rolled that day</div>
-    <div class="verse indent2">When the Mayflower moored below,</div>
-    <div class="verse indent0">When the sea around was black with storms,</div>
-    <div class="verse indent2">And white the shore with snow.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The pilgrim fathers are at rest:</div>
-    <div class="verse indent2">When summer’s throned on high,</div>
-    <div class="verse indent0">And the world’s warm breast is in verdure dressed.</div>
-    <div class="verse indent2">Go stand on the hill where they lie:</div>
-    <div class="verse indent0">The earliest ray of the golden day</div>
-    <div class="verse indent2">On that hallowed spot is cast,</div>
-    <div class="verse indent0">And the evening sun, as he leaves the world,</div>
-    <div class="verse indent2">Looks kindly on that spot last.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The land is holy where they fought,</div>
-    <div class="verse indent2">And holy where they fell;</div>
-    <div class="verse indent0">For by their blood that land was bought,</div>
-    <div class="verse indent2">The land they loved so well,</div><span class="pagenum"><a id="Page_281"></a>[281]</span>
-    <div class="verse indent0">Then glory to that valiant band,</div>
-    <div class="verse indent0">The honored saviours of the land!</div>
-    <div class="verse indent0">Oh! few and weak their numbers were—</div>
-    <div class="verse indent2">A handful of brave men;</div>
-    <div class="verse indent0">But to their God they gave their prayer,</div>
-    <div class="verse indent2">And rushed to battle then.</div>
-    <div class="verse indent0">The God of battles heard their cry,</div>
-    <div class="verse indent0">And sent them the victory.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">They left the ploughshare in the mould,</div>
-    <div class="verse indent0">Their flocks and herds without a fold,</div>
-    <div class="verse indent0">The sickle in the unshorn grain,</div>
-    <div class="verse indent0">The corn half garnered on the plain,</div>
-    <div class="verse indent0">And mustered, in their simple dress,</div>
-    <div class="verse indent0">For wrongs to seek a stern redress;</div>
-    <div class="verse indent0">To right those wrongs, come weal, come woe</div>
-    <div class="verse indent0">To perish, or o’ercome their foe.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And where are ye, O fearless men,</div>
-    <div class="verse indent2">And where are ye to-day?</div>
-    <div class="verse indent0">I call: the hills reply again,</div>
-    <div class="verse indent2">That ye have passed away;</div>
-    <div class="verse indent0">That on old Bunker’s lonely height,</div>
-    <div class="verse indent2">In Trenton, and in Monmouth ground,</div>
-    <div class="verse indent0">The grass grows green, the harvest bright,</div>
-    <div class="verse indent2">Above each soldier’s mound.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The bugle’s wild and warlike blast</div>
-    <div class="verse indent2">Shall muster them no more;</div>
-    <div class="verse indent0">An army now might thunder past,</div>
-    <div class="verse indent2">And they not heed its roar.</div>
-    <div class="verse indent0">The starry flag, ’neath which they fought</div>
-    <div class="verse indent2">In many a bloody fray,</div>
-    <div class="verse indent0">From their old graves shall rouse them not,</div>
-    <div class="verse indent2">For they have passed away.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>MASTER JOHNNY’S NEXT-DOOR NEIGHBOR.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">It was Spring the first time that I saw her, for her papa and mamma moved in</div>
-    <div class="verse indent0">Next door just as skating was over and marbles about to begin,</div>
-    <div class="verse indent0">For the fence in our back-yard was broken, and I saw, as I peeped through the slat,</div>
-    <div class="verse indent0">There were ‘Johnny Jump-ups’ all around her, and I knew it was Spring just by that.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“I never knew whether she saw me—for she didn’t say nothing to me,</div>
-    <div class="verse indent0">But ‘Ma! here’s a slat in the fence broke, and the boy that is next door can see.’</div>
-    <div class="verse indent0">But the next day I climbed on our wood-shed, as you know Mamma says I’ve a right,</div>
-    <div class="verse indent0">And she calls out, ‘Well, peekin is manners!’ and I answered her, ‘Sass is perlite!’</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“But I wasn’t a bit mad; no, Papa; and to prove it, the very next day,</div>
-    <div class="verse indent0">When she ran past our fence, in the morning I happened to get in her way,</div>
-    <div class="verse indent0">For you know I am ‘chunked’ and clumsy, as she says are all boys of my size,</div>
-    <div class="verse indent0">And she nearly upset me, she did, Pa, and laughed till tears came in her eyes.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“And then we were friends, from that moment, for I knew that she told Kitty Sage—</div>
-    <div class="verse indent0">And she wasn’t a girl that would flatter—‘that she thought I was tall for my age,’</div>
-    <div class="verse indent0">And I gave her four apples that evening, and took her to ride on my sled,</div>
-    <div class="verse indent0">And—‘What am I telling you this for?’ Why, Papa, my neighbor is <i>dead</i>!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“You don’t hear one half I am saying—I really do think it’s too bad!</div>
-    <div class="verse indent0">Why, you might have seen crape on her door-knob, and noticed to-day I’ve been sad;</div>
-    <div class="verse indent0">And they’ve got her a coffin of rosewood, and they say they have dressed her in white,</div>
-    <div class="verse indent0">And I’ve never once looked through the fence, Pa, since she died—at eleven last night.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“And Ma says its decent and proper, as I was her neighbor and friend,</div>
-    <div class="verse indent0">That I should go there to the funeral, and she thinks that <i>you</i> ought to attend;</div>
-    <div class="verse indent0">But I am so clumsy and awkward, I know I shall be in the way,</div>
-    <div class="verse indent0">And suppose they should speak to me, Papa, I wouldn’t know just what to say.</div><span class="pagenum"><a id="Page_282"></a>[282]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“So I think I will get up quite early, I know I sleep late, but I know</div>
-    <div class="verse indent0">I’ll be sure to wake up if our Bridget pulls the string that I’ll tie to my toe,</div>
-    <div class="verse indent0">And I’ll crawl through the fence and I’ll gather the ‘Johnny Jump-ups’ as they grew</div>
-    <div class="verse indent0">Round her feet the first day that I saw her, and, Papa, I’ll give them to you.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“For you’re a big man, and you know, Pa, can come and go just where you choose,</div>
-    <div class="verse indent0">And you’ll take the flowers into her and surely they’ll never refuse;</div>
-    <div class="verse indent0">But, Papa, don’t <i>say</i> they’re from Johnny; <i>they</i> won’t understand, don’t you see;</div>
-    <div class="verse indent0">But just lay them down on her bosom, and, Papa, <i>she’ll</i> know they’re from me.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Bret Harte.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>STONEWALL JACKSON’S DEATH.</h4>
-
-<p>Gen. Joseph Hooker, in command of the Army of the Potomac lying opposite
-Fredericksburg, Md., crossed the Rappahannock River early in May, 1863,
-and fought the severe battle of Chancellorsville, in which was killed the
-famous Southern general, Thomas J. Jackson, commonly known as Stonewall
-Jackson. He received this name at the first battle of Bull Run. Defeat
-seemed imminent, and one of the Confederate generals exclaimed: “Here
-stands Jackson like a stone wall, and here let us conquer or die!” Gen.
-Jackson’s last words were: “Let us cross over the river, and lie down
-under the trees.”</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">The lightning flashed across the heaven, the distant thunder rolled,</div>
-    <div class="verse indent0">And, swayed by gusts of angry winds, the far-off church bell tolled,</div>
-    <div class="verse indent0">The billows crashed against the rocks that kiss the ocean’s foam,</div>
-    <div class="verse indent0">And eager pilots trimmed their sails and turned their skiffs for home.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">As darkness fell upon the earth, and we were gathered round</div>
-    <div class="verse indent0">Our blazing hearth, and listening to the storm’s terrific sound,</div>
-    <div class="verse indent0">We all looked up to Uncle Tom, who sat beside the fire,</div>
-    <div class="verse indent0">A-dreaming of the bygone days, and of disaster dire.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">For memory brought us back again to times of darkest woe,</div>
-    <div class="verse indent0">When, strong in hand and light in heart, he fought the Northern foe.</div>
-    <div class="verse indent0">He often spoke of ’46—the fight on Mexic’s plain—</div>
-    <div class="verse indent0">How Buena Vista heights were reached while bullets fell like rain.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">How Shields had gained Chapultepec, how Santa Anna fled,</div>
-    <div class="verse indent0">And how the Sisters labored even where the bullets sped;</div>
-    <div class="verse indent0">And oft he spoke of later times, but always with a sigh,</div>
-    <div class="verse indent0">When South and North rose up to fight <i>en masse</i> for cause or die.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And as beside the fire he sat and piped his meerschaum well,</div>
-    <div class="verse indent0">We asked, to pass the time away, that he a tale should tell.</div>
-    <div class="verse indent0">He paused a moment, then he laid his good old pipe aside,</div>
-    <div class="verse indent0">And said, “I’ll tell you boys, to-night, how Stonewall Jackson died.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“We were retreating from the foe, for Fredericksburg was lost,</div>
-    <div class="verse indent0">And on our flank, still threatening, appeared the Union host;</div>
-    <div class="verse indent0">Down by the Rappahannock, in our dismal tents we lay,</div>
-    <div class="verse indent0">And the lightest heart was heavy with our grave defeat that day.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“For ’tis better for a soldier like Montgomery to die,</div>
-    <div class="verse indent0">Than live to see his comrades from a hated foeman fly;</div>
-    <div class="verse indent0">But reverses often come upon defenders of the right,</div>
-    <div class="verse indent0">And justice seldom conquers, boys, when nations go to fight.</div><span class="pagenum"><a id="Page_283"></a>[283]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“With heavy hearts we laid us down, but, mind you, not to sleep,</div>
-    <div class="verse indent0">Nor did we turn aside to sing, or turn aside to weep,</div>
-    <div class="verse indent0">But as we pondered o’er our griefs, a sudden moan was heard,</div>
-    <div class="verse indent0">Far louder than the willow’s moan, when by the wind ’tis stirred.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“It woke the camp from reverie, it woke the camp to fear;</div>
-    <div class="verse indent0">And louder, louder grew the wail, most dreadful then to hear.</div>
-    <div class="verse indent0">And nearer came the weeping crowd, and something stiff and still</div>
-    <div class="verse indent0">Was borne, we knew not what it was, but followed with a will.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“At last within our Gen’ral’s tent the precious load was laid,</div>
-    <div class="verse indent0">And then a pallid soldier turned unto us all, and said:</div>
-    <div class="verse indent0">‘We thought it hard, my comrades brave, to lose the field to-day;</div>
-    <div class="verse indent0">But harder will our struggle be, to labor in the fray;</div>
-    <div class="verse indent0">For he is gone, our gallant chief, who could our hopes restore,</div>
-    <div class="verse indent0">And rout and ruin is our fate, since Stonewall is no more.’</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“I cannot tell you how we felt, or how we acted then,</div>
-    <div class="verse indent0">For words are weak to tell a tale when grief has mastered men;</div>
-    <div class="verse indent0">But this I know, I pulled the cloth from off brave Jackson’s face,</div>
-    <div class="verse indent0">And almost jumped with joy to see him gaze around the place.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“But, boys, it was a fleeting dream, a vacant stare he cast;</div>
-    <div class="verse indent0">He did not see the canvas shaken by the sudden blast;</div>
-    <div class="verse indent0">He did not see us weeping as we staunched the flowing blood,</div>
-    <div class="verse indent0">But again in battle fighting, he was where the foemen stood.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“‘Order Gen’ral Hill to action!’ loud he cried, as he was wont;</div>
-    <div class="verse indent0">And then he quickly added: ‘Bring the infantry to front!’</div>
-    <div class="verse indent0">As he saw the corps pass by him—as it were—in duty’s call,</div>
-    <div class="verse indent0">Suddenly he shouted: ‘Drive them! charge upon them, one and all!’</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Then he turned aside, and, smiling, said with voice of one in ease:</div>
-    <div class="verse indent0">‘Let us cross the foaming river; let us rest beneath the trees.’</div>
-    <div class="verse indent0">Then we waited, boys, and watched him, but no other word he said;</div>
-    <div class="verse indent0">For adown the foaming river had our leader’s spirit sped.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Paul M. Russell.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>THE STORY OF NELL.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-y.jpg" width="125" height="100" alt="" /></div>
-    <div class="dropcapline">You’re a kind woman, Nan! Ay, kind and true!</div>
-    <div class="verse indent2">God will be good to faithful folk like you!</div>
-    <div class="verse indent0">You knew my Ned?</div>
-    <div class="verse indent2">A better, kinder lad never drew breath.</div>
-    <div class="verse indent0">We loved each other true, and we were wed</div>
-    <div class="verse indent2">In church, like some who took him to his death;</div>
-    <div class="verse indent0">A lad as gentle as a lamb, but lost</div>
-    <div class="verse indent2">His senses when he took a drop too much.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Drink did it all—drink made him mad when crossed—</div>
-    <div class="verse indent2">He was a poor man, and they’re hard on such</div>
-    <div class="verse indent0">O Nan! that night! that night!</div>
-    <div class="verse indent2">When I was sitting in this very chair,</div>
-    <div class="verse indent0">Watching and waiting in the candle-light,</div>
-    <div class="verse indent2">And heard his foot come creaking up the stair,</div>
-    <div class="verse indent0">And turned and saw him standing yonder, white</div>
-    <div class="verse indent2">And wild, with staring eyes and rumpled hair!</div>
-    <div class="verse indent0">And when I caught his arm and called in fright,</div><span class="pagenum"><a id="Page_284"></a>[284]</span>
-    <div class="verse indent2">He pushed me, swore, and to the door he passed</div>
-    <div class="verse indent2">To lock and bar it fast.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then down he drops just like a lump of lead,</div>
-    <div class="verse indent2">Holding his brow, shaking, and growing whiter,</div>
-    <div class="verse indent2">And—Nan—just then the light seemed growing brighter,</div>
-    <div class="verse indent0">And I could see the hands that held his head,</div>
-    <div class="verse indent0">All red! all bloody red!</div>
-    <div class="verse indent0">What could I do but scream? He groaned to hear,</div>
-    <div class="verse indent2">Jumped to his feet, and gripped me by the wrist;</div>
-    <div class="verse indent2">“Be still, or I shall kill thee, Nell!” he hissed.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And I was still for fear.</div>
-    <div class="verse indent0">“They’re after me—I’ve knifed a man!” he said,</div>
-    <div class="verse indent0">“Be still!—the drink—drink did it!—he is dead!”</div>
-    <div class="verse indent0">Then we grew still, dead still. I couldn’t weep;</div>
-    <div class="verse indent0">All I could do was cling to Ned and hark,</div>
-    <div class="verse indent0">And Ned was cold, cold, cold, as if asleep,</div>
-    <div class="verse indent0">But breathing hard and deep.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The candle flickered out—the room grew dark</div>
-    <div class="verse indent0">And—Nan!—although my heart was true and tried—</div>
-    <div class="verse indent0">When all grew cold and dim,</div>
-    <div class="verse indent0">I shuddered—not for fear of them outside,</div>
-    <div class="verse indent0">But just afraid to be alone with him.</div>
-    <div class="verse indent0">“Ned! Ned!” I whispered—and he moaned and shook,</div>
-    <div class="verse indent0">But did not heed or look!</div>
-    <div class="verse indent0">“Ned! Ned! speak, lad! tell me it is not true!”</div>
-    <div class="verse indent0">At that he raised his head and looked so wild;</div>
-    <div class="verse indent0">Then, with a stare that froze my blood, he threw</div>
-    <div class="verse indent0">His arms around me, crying like a child,</div>
-    <div class="verse indent0">And held me close—and not a word was spoken,</div>
-    <div class="verse indent0">While I clung tighter to his heart and pressed him,</div>
-    <div class="verse indent0">And did not fear him, though my heart was broken,</div>
-    <div class="verse indent0">But kissed his poor stained hands, and cried, and blessed him!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then, Nan, the dreadful daylight, coming cold</div>
-    <div class="verse indent0">With sound of falling rain—</div>
-    <div class="verse indent0">When I could see his face, and it looked old,</div>
-    <div class="verse indent0">Like the pinched face of one that dies in pain;</div>
-    <div class="verse indent0">Well, though we heard folk stirring in the sun,</div>
-    <div class="verse indent0">We never thought to hide away or run,</div>
-    <div class="verse indent0">Until we heard those voices in the street,</div>
-    <div class="verse indent0">That hurrying of feet,</div>
-    <div class="verse indent0">And Ned leaped up, and knew that they had come.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Run, Ned!” I cried, but he was deaf and dumb;</div>
-    <div class="verse indent0">“Hide, Ned!” I screamed, and held him; “Hide thee, man!”</div>
-    <div class="verse indent0">He stared with blood-shot eyes and hearkened, Nan!</div>
-    <div class="verse indent0">And all the rest is like a dream—the sound</div>
-    <div class="verse indent0">Of knocking at the door—</div>
-    <div class="verse indent0">A rush of men—a struggle on the ground—</div>
-    <div class="verse indent0">A mist—a tramp—a roar;</div>
-    <div class="verse indent0">For when I got my senses back again,</div>
-    <div class="verse indent0">The room was empty, and my head went round!</div>
-    <div class="verse indent0">God help him? God <i>will</i> help him! Ay, no fear!</div>
-    <div class="verse indent0">It was the drink, not Ned—he meant no wrong</div>
-    <div class="verse indent0">So kind! So good!—and I am useless here,</div>
-    <div class="verse indent0">Now he is lost that loved me true and long.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">That night before he died,</div>
-    <div class="verse indent0">I didn’t cry—my heart was hard and dried;</div>
-    <div class="verse indent0">But when the clocks went “one,” I took my shawl</div>
-    <div class="verse indent0">To cover up my face, and stole away,</div>
-    <div class="verse indent0">And walked along the silent streets, where all</div>
-    <div class="verse indent0">Looked cold and still and gray.</div>
-    <div class="verse indent0">Some men and lads went by,</div>
-    <div class="verse indent0">And turning round, I gazed, and watched ’em go,</div>
-    <div class="verse indent0">Then felt that they were going to see him die,</div>
-    <div class="verse indent0">And drew my shawl more tight, and followed slow.</div>
-    <div class="verse indent0">More people passed me, a country cart with hay</div>
-    <div class="verse indent0">Stopped close beside me, and two or three</div>
-    <div class="verse indent0">Talked about <i>it</i>! I moaned, and crept away!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Next came a hollow sound I knew full well,</div>
-    <div class="verse indent0">For something gripped me round the heart—and then</div>
-    <div class="verse indent0">There came the solemn tolling of a bell!</div>
-    <div class="verse indent0">O God! O God! how could I sit close by,</div>
-    <div class="verse indent0">And neither scream nor cry?</div><span class="pagenum"><a id="Page_285"></a>[285]</span>
-    <div class="verse indent0">As if I had been stone, all hard and cold,</div>
-    <div class="verse indent0">I listened, listened, listened, still and dumb,</div>
-    <div class="verse indent0">While the folk murmured, and the death-bell tolled,</div>
-    <div class="verse indent0">And the day brightened, and his time had come.</div>
-    <div class="verse indent0">All else was silent but the knell</div>
-    <div class="verse indent0">Of the slow bell!</div>
-    <div class="verse indent0">And I could only wait, and wait, and wait,</div>
-    <div class="verse indent0">And what I waited for I couldn’t tell—</div>
-    <div class="verse indent0">At last there came a groaning deep and great—</div>
-    <div class="verse indent0">St. Paul’s struck “eight”—</div>
-    <div class="verse indent0">I screamed, and seemed to turn to fire and fell!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">God bless him, alive or dead!</div>
-    <div class="verse indent0">He never meant no wrong, was kind and true.</div>
-    <div class="verse indent0">They’re wrought their fill of spite upon his head</div>
-    <div class="verse indent0">Why didn’t they be kind, and take me too?</div>
-    <div class="verse indent0">And there’s the dear old things he used to wear,</div>
-    <div class="verse indent0">And there’s a lock of hair.</div>
-    <div class="verse indent0">And Ned, my Ned! is fast asleep, and cannot hear me call.</div>
-    <div class="verse indent0">God bless you, Nan, for all you’ve done and said!</div>
-    <div class="verse indent0">But don’t mind me, my heart is broke, that’s all!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Robert Buchanan.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>LITTLE NAN.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">The wide gates swung open,</div>
-    <div class="verse indent0">The music softly sounded,</div>
-    <div class="verse indent2">And loving hands were heaping the soldiers’ graves with flowers;</div>
-    <div class="verse indent0">With pansies, pinks, and roses,</div>
-    <div class="verse indent0">And pure, gold-hearted lilies,</div>
-    <div class="verse indent2">The fairest, sweetest blossoms that grace the spring-time bowers.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">When down the walk came tripping</div>
-    <div class="verse indent0">A wee, bare-headed girlie,</div>
-    <div class="verse indent2">Her eyes were filled with wonder, her face was grave and sweet;</div>
-    <div class="verse indent0">Her small brown hands were crowded</div>
-    <div class="verse indent0">With dandelions yellow—</div>
-    <div class="verse indent2">The gallant, merry blossoms that children love to greet.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">O, many smiled to see her,</div>
-    <div class="verse indent0">That dimple-cheeked wee baby,</div>
-    <div class="verse indent2">Pass by with quaint intentness, as on a mission bound;</div>
-    <div class="verse indent0">And, pausing oft an instant,</div>
-    <div class="verse indent0">Let fall from out her treasures</div>
-    <div class="verse indent2">A yellow dandelion upon each flower-strewn mound.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The music died in silence,</div>
-    <div class="verse indent0">A robin ceased its singing;</div>
-    <div class="verse indent2">And in the fragrant stillness a bird-like whisper grew,</div>
-    <div class="verse indent0">So sweet, so clear and solemn,</div>
-    <div class="verse indent0">That smiles gave place to tear-drops;</div>
-    <div class="verse indent2">“Nan loves ’oo darlin’ soldier; an’ here’s a f’ower for ’oo.”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>ONE OF THE LITTLE ONES.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">’Twas a crowded street, and a cry of joy</div>
-    <div class="verse indent0">Came from a ragged, barefoot boy—</div>
-    <div class="verse indent0">A cry of eager and glad surprise,</div>
-    <div class="verse indent0">And he opened wide his great black eyes</div>
-    <div class="verse indent0">As he held before him a coin of gold</div>
-    <div class="verse indent0">He had found in a heap of rubbish old</div>
-    <div class="verse indent0">By the curb stone there.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“How it sparkles!” the youngster cried,</div>
-    <div class="verse indent0">As the golden piece he eagerly eyed:</div>
-    <div class="verse indent0">“Oh, see it shine!” and he laughed aloud;</div>
-    <div class="verse indent0">Little heeding the curious crowd</div>
-    <div class="verse indent0">That gathered around, “Hurrah!” said he,</div>
-    <div class="verse indent0">“How glad my poor mother will be!</div>
-    <div class="verse indent0">I’ll buy her a brand-new Sunday hat,</div>
-    <div class="verse indent0">And a pair of shoes for Nell, at that,</div>
-    <div class="verse indent0">And baby sister shall have a dress—</div>
-    <div class="verse indent0">There’ll be enough for all, I guess;</div>
-    <div class="verse indent0">And then I’ll——”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent16">“Here,” said a surly voice</div>
-    <div class="verse indent0">“That money’s mine. You can take your choice</div>
-    <div class="verse indent0">Of giving it up or going to jail.”</div>
-    <div class="verse indent0">The youngster trembled, and then turned pale</div><span class="pagenum"><a id="Page_286"></a>[286]</span>
-    <div class="verse indent0">As he looked and saw before him stand</div>
-    <div class="verse indent0">A burly drayman with outstretched hand;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Rough and uncouth was the fellow’s face,</div>
-    <div class="verse indent0">And without a single line or trace</div>
-    <div class="verse indent0">Of the goodness that makes the world akin.</div>
-    <div class="verse indent0">“Come, be quick! or I’ll take you in,”</div>
-    <div class="verse indent0">Said he.</div>
-    <div class="verse indent6">“For shame!” said the listening crowd.</div>
-    <div class="verse indent0">The ruffian seemed for the moment cowed.</div>
-    <div class="verse indent0">“The money’s mine,” he blurted out;</div>
-    <div class="verse indent0">“I lost it yesterday hereabout.</div>
-    <div class="verse indent0">I don’t want nothin’ but what’s my own</div>
-    <div class="verse indent0">And I am going to have it.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent24">The lad alone</div>
-    <div class="verse indent0">Was silent. A tear stood in his eye,</div>
-    <div class="verse indent0">And he brushed it away; he would not cry.</div>
-    <div class="verse indent0">“Here, mister,” he answered, “take it then;</div>
-    <div class="verse indent0">If it’s yours, it’s yours; if it hadn’t been——”</div>
-    <div class="verse indent0">A sob told all he would have said,</div>
-    <div class="verse indent0">Of the hope so suddenly raised, now dead.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And then with a sigh, which volumes told,</div>
-    <div class="verse indent0">He dropped the glittering piece of gold</div>
-    <div class="verse indent0">Into the other’s hand. Once more</div>
-    <div class="verse indent0">He sighed—and his dream of wealth was o’er.</div>
-    <div class="verse indent0">But no! Humanity hath a heart</div>
-    <div class="verse indent0">Always ready to take the part</div>
-    <div class="verse indent0">Of childish sorrow, wherever found.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Let’s make up a purse”—the word went round</div>
-    <div class="verse indent0">Through the kindly crowd, and the hat was passed</div>
-    <div class="verse indent0">And the coins came falling thick and fast.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Here, sonny, take this,” said they. Behold,</div>
-    <div class="verse indent0">Full twice as much as the piece of gold</div>
-    <div class="verse indent0">He had given up was in the hand</div>
-    <div class="verse indent0">Of the urchin. He could not understand</div>
-    <div class="verse indent0">It all. The tears came thick and fast,</div>
-    <div class="verse indent0">And his grateful heart found voice at last.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But, lo! when he spoke, the crowd had gone—</div>
-    <div class="verse indent0">Left him, in gratitude, there alone.</div>
-    <div class="verse indent0">Who’ll say there is not some sweet, good-will</div>
-    <div class="verse indent0">And kindness left in this cold world still?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">G. L. Catlin.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>THE DRUNKARD’S DAUGHTER.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" />
-</div>
-
-<p class="dropcap">She was a bright and beautiful child,
-one who seemed born for a better
-career, yet one on whom the
-blight of intemperance had left its impress
-early.</p>
-
-<p>Her father was a drunkard, a worthless,
-miserable sot, whose only aim and ambition
-in life seemed to be to contrive ways and
-means of satisfying the devouring fire that
-constantly burned within him.</p>
-
-<p>Her mother had died when she was a mere
-child, leaving her to grow up a wild flower
-in the forest, uncultured and uncared for.</p>
-
-<p>Yet she was very beautiful; her form and
-face were of wondrous perfection and loveliness;
-her disposition was happy and cheerful,
-notwithstanding the abuse to which she was
-continually subjected.</p>
-
-<p>The years went by; she grew to be almost
-a woman. She could not go to school or
-church, because she had nothing respectable
-to wear; and had she gone her wicked father
-would have reviled her for her disposition to
-make something better of herself and for her
-simple piety. He sank lower and lower in
-the miserable slough of intemperance, and
-yet, when urged by well-meaning friends, to
-leave him she clung to him with an affection as
-unaccountable as it was earnest and sincere.</p>
-
-<p>“If I should leave him he would die,” she
-said. “If I stay and suffer with him here,
-some time I may save him and make him a
-worthy man.”</p>
-
-<p>Many would have given her a home, food
-and comfortable clothes, but she preferred to
-share her father’s misery rather than selfishly
-forsake him in his unhappy infirmity.</p>
-
-<p>The summer passed, the berries ripened<span class="pagenum"><a id="Page_287"></a>[287]</span>
-and disappeared from the bushes. The leaves
-turned to crimson and yellow, and fell from
-the trees. The cold November winds howled
-through the desolate hollows, while, scantily
-clad, she crouched in a corner of her inhospitable,
-unhappy home.</p>
-
-<p>She was very ill; bad treatment, poor food,
-and exposure had brought on a fatal sickness.
-Her brow burned with fever. Even her
-wretched father, selfish and inebriated as he
-was, became alarmed at her condition as he
-staggered about the room upon his return at
-a late hour from the village tavern, where he
-had spent the evening with a company of
-dissolute companions.</p>
-
-<p>“Father,” she said, “I am very sick; the
-doctor has been to see me; he left a prescription.
-Will you not go to the village and get
-it filled?”</p>
-
-<p>“They won’t trust me, child,” he said,
-gruffly.</p>
-
-<p>“But I will trust you,” she said sweetly.
-“There is a little money hidden in the old clock
-there, which I saved from picking and selling
-berries. You can take it; there is enough.”</p>
-
-<p>His eyes sparkled with a dangerous glitter.</p>
-
-<p>“Money!” he exclaimed almost fiercely.
-“I didn’t know you had money. Why didn’t
-you tell me before? Didn’t you know it
-belonged by right to me?”</p>
-
-<p>She sighed pitifully.</p>
-
-<p>He staggered to the clock, fumbled about
-for a few moments, and soon found what he
-was seeking.</p>
-
-<p>“Yes, I’ll go,” he said, excitedly. “Give
-me the prescription.”</p>
-
-<p>He snatched it from her extended hand,
-opened the door and disappeared.</p>
-
-<p>The night grew colder. The sick girl crept
-into bed and tossed and turned restlessly.
-The oil in the old lamp burned out. The
-windows rattled, a storm came, and rain and
-hail beat upon the window panes. The old
-clock struck the hour of midnight. The
-drunkard did not return.</p>
-
-<p>Poor girl, her soul became filled with apprehension
-and fear for him.</p>
-
-<p>“I must go for him,” she said. “He will
-perish, and it will be my fault.” She crawled
-out of bed, drew on her scanty apparel and
-worn shoes, threw a ragged shawl over her
-head and shoulders, and went forth into the
-darkness, heroically facing the driving storm.</p>
-
-<p>The morning came, clear, cloudless and
-beautiful. The earth was cold and frosty.
-A neighbor, going early to the village, found
-two lifeless forms lying by the roadway.
-Beside the dead man lay an empty black
-bottle. The girl’s white arms were clasped
-about his neck. Her soul had gone to intercede
-for him before the Mercy Seat on high.</p>
-
-<p class="right"><span class="smcap">Eugene J. Hall.</span></p>
-
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>THE BEAUTIFUL.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-b.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">Beautiful faces are those that wear—</div>
-    <div class="verse indent0">It matters little if dark or fair—</div>
-    <div class="verse indent0">Whole-souled honesty printed there.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Beautiful eyes are those that show,</div>
-    <div class="verse indent0">Like crystal panes, where earth fires glow,</div>
-    <div class="verse indent0">Beautiful thoughts that burn below.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Beautiful lips are those whose words</div>
-    <div class="verse indent0">Leap from the heart like song of birds,</div>
-    <div class="verse indent0">Yet whose utterance prudence girds.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Beautiful hands are those that do</div>
-    <div class="verse indent0">Work that is earnest and brave and true,</div>
-    <div class="verse indent0">Moment by moment the long day through.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Beautiful feet are those that go</div>
-    <div class="verse indent0">On kindly ministry to and fro,</div>
-    <div class="verse indent0">Down lowliest ways, if God wills it so.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Beautiful shoulders are those that bear</div>
-    <div class="verse indent0">Heavy burdens of homely cart</div>
-    <div class="verse indent0">With patience, grace and daily prayer.</div><span class="pagenum"><a id="Page_288"></a>[288]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Beautiful lives are those that bless—</div>
-    <div class="verse indent0">Silent rivers of happiness,</div>
-    <div class="verse indent0">Whose hidden fountains but few may guess.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Beautiful twilight at set of sun,</div>
-    <div class="verse indent0">Beautiful goal with race well run,</div>
-    <div class="verse indent0">Beautiful rest with work well done.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Beautiful grave where grasses creep,</div>
-    <div class="verse indent0">Where brown leaves fall, where drifts lie deep,</div>
-    <div class="verse indent0">Over worn-out hands—oh, beautiful sleep.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>TROUBLE IN THE AMEN CORNER.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">’Twas a stylish congregation, that of Theophrastus Brown,</div>
-    <div class="verse indent0">And its organ was the finest and the biggest in the town,</div>
-    <div class="verse indent0">And the chorus, all the papers favorably commented on it,</div>
-    <div class="verse indent0">For ’twas said each female member had a forty—dollar bonnet.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Now in the “amen corner” of the church sat Brother Eyer,</div>
-    <div class="verse indent0">Who persisted every Sabbath-day in singing with the choir;</div>
-    <div class="verse indent0">He was poor, but genteel-looking, and his heart as snow was white,</div>
-    <div class="verse indent0">And his old face beamed with sweetness when he sang with all his might.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">His voice was cracked and broken, age had touched his vocal chords,</div>
-    <div class="verse indent0">And nearly every Sunday he would mispronounce the words</div>
-    <div class="verse indent0">Of the hymns, and ’twas no wonder, he was old and nearly blind,</div>
-    <div class="verse indent0">And the choir rattling onward always left him far behind.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then the pastor called together in the lecture-room one day</div>
-    <div class="verse indent0">Seven influential members who subscribe more than they pay,</div>
-    <div class="verse indent0">And having asked God’s guidance in a printed prayer or two,</div>
-    <div class="verse indent0">They put their heads together to determine what to do.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">They debated, thought, suggested, till at last “dear Brother York,”</div>
-    <div class="verse indent0">Who last winter made a million on a sudden rise in pork,</div>
-    <div class="verse indent0">Rose and moved that a committee wait at once on Brother Eyer,</div>
-    <div class="verse indent0">And proceed to rake him lively for “disturbin’ of the choir.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Of course the motion carried, and one day a coach and four,</div>
-    <div class="verse indent0">With the latest style of driver, rattled up to Eyer’s door;</div>
-    <div class="verse indent0">And the sleek, well-dressed committee, Brothers Sharkey, York, and Lamb,</div>
-    <div class="verse indent0">As they crossed the humble portal took good care to miss the jam.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">They found the choir’s great trouble sitting in his old arm-chair,</div>
-    <div class="verse indent0">And the summer’s golden sunbeams lay upon his thin white hair;</div>
-    <div class="verse indent0">He was singing “Rock of Ages” in a voice both cracked and low,</div>
-    <div class="verse indent0">But the angels understood him, ’twas all he cared to know.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Said York: “We’re here, dear brother, with the vestry’s approbation,</div>
-    <div class="verse indent0">To discuss a little matter that affects the congregation;”</div>
-    <div class="verse indent0">“And the choir, too,” said Sharkey, giving Brother York a nudge,</div>
-    <div class="verse indent0">“And the choir, too!” he echoed with the graveness of a judge.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“It was the understanding when we bargained for the chorus</div>
-    <div class="verse indent0">That it was to relieve us, that is, do the singing for us;</div>
-    <div class="verse indent0">If we rupture the agreement, it is very plain, dear brother,</div>
-    <div class="verse indent0">It will leave our congregation and be gobbled by another.</div><span class="pagenum"><a id="Page_289"></a>[289]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“We don’t want any singing except that what we’ve bought!</div>
-    <div class="verse indent0">The latest tunes are all the rage; the old ones stand for naught;</div>
-    <div class="verse indent0">And so we have decided—are you listening, Brother Eyer?—</div>
-    <div class="verse indent0">That you’ll have to stop your singin’, for it flurrytates the choir.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The old man slowly raised his head, a sign that he did hear,</div>
-    <div class="verse indent0">And on his cheek the trio caught the glitter of a tear;</div>
-    <div class="verse indent0">His feeble hands pushed back the locks white as the silky snow,</div>
-    <div class="verse indent0">As he answered the committee in a voice both sweet and low;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“I’ve sung the psalms of David for nearly eighty years,</div>
-    <div class="verse indent0">They’ve been my staff and comfort and calmed life’s many fears;</div>
-    <div class="verse indent0">I’m sorry I disturb the choir, perhaps I’m doing wrong;</div>
-    <div class="verse indent0">But when my heart is filled with praise, I can’t keep back a song.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“I wonder if beyond the tide that’s breaking at my feet,</div>
-    <div class="verse indent0">In the far-off heavenly temple, where the Master I shall greet,—</div>
-    <div class="verse indent0">Yes, I wonder when I try to sing the songs of God up higher.</div>
-    <div class="verse indent0">If the angel band will church me for disturbing heaven’s choir.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">A silence filled the little room; the old man bowed his head;</div>
-    <div class="verse indent0">The carriage rattled on again, but Brother Eyer was dead!</div>
-    <div class="verse indent0">Yes, dead! his hand had raised the veil the future hangs before us,</div>
-    <div class="verse indent0">And the Master dear had called him to the everlasting chorus.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The choir missed him for awhile, but he was soon forgot,</div>
-    <div class="verse indent0">A few church-goers watched the door; the old man entered not.</div>
-    <div class="verse indent0">Far away, his voice no longer cracked, he sings his heart’s desires,</div>
-    <div class="verse indent0">Where there are no church committees and no fashionable choirs.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">C. T. Harbaugh.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>LITTLE MAG’S VICTORY.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">’Twas a hovel all wretched, forlorn and poor,</div>
-    <div class="verse indent0">With crumbling eves and a hingeless door,</div>
-    <div class="verse indent0">And windows where pitiless midnight rains</div>
-    <div class="verse indent0">Beat fiercely in through the broken panes,</div>
-    <div class="verse indent0">And tottering chimneys, and moss-grown roof,</div>
-    <div class="verse indent0">From the heart of the city far aloof,</div>
-    <div class="verse indent0">Where Nanny, a hideous, wrinkled hag,</div>
-    <div class="verse indent0">Dwelt with her grandchild, “Little Mag.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The neighbors called old Nanny a witch.</div>
-    <div class="verse indent0">The story went that she’d once been rich—</div>
-    <div class="verse indent0">Aye, rich as any lady in town—</div>
-    <div class="verse indent0">But trouble had come and dragged her down</div>
-    <div class="verse indent0">And down; then sickness, and want, and age</div>
-    <div class="verse indent0">Had filled the rest of her life’s sad page,</div>
-    <div class="verse indent0">And driven her into the slums to hide</div>
-    <div class="verse indent0">Her shame and misery till she died.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The boys, as she hobbled along the street,</div>
-    <div class="verse indent0">Her coming with yells and hoots would greet;</div>
-    <div class="verse indent0">E’en grown folks dreaded old Nan so much</div>
-    <div class="verse indent0">That they’d shun, in passing, her very touch,</div>
-    <div class="verse indent0">And a mocking word or glance would send.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Poor little Mag was her only friend:</div>
-    <div class="verse indent0">Faithful and true was the child, indeed.</div>
-    <div class="verse indent0">What did she ever care or heed</div>
-    <div class="verse indent0">For those cruel words, and those looks of scorn</div>
-    <div class="verse indent0">In patient silence they all were borne;</div>
-    <div class="verse indent0">But she prayed that God would hasten the day</div>
-    <div class="verse indent0">That would take her sorrow and care away.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Alas! that day—that longed-for boon,</div>
-    <div class="verse indent0">That ending of sorrow—came all too soon.</div>
-    <div class="verse indent0">For there came a day when a ruffian crowd,</div>
-    <div class="verse indent0">With stones, and bludgeons, and hootings loud,</div>
-    <div class="verse indent0">Surrounded old Nanny’s hovel door,</div><span class="pagenum"><a id="Page_290"></a>[290]</span>
-    <div class="verse indent0">Led on by a drunken brute, who swore,</div>
-    <div class="verse indent0">In blasphemous oaths, and in language wild,</div>
-    <div class="verse indent0">She had stolen a necklace from off his child.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Crouched in a corner, dumb with fear,</div>
-    <div class="verse indent0">The old hag sat, with her grandchild near,</div>
-    <div class="verse indent0">As the furious mob of boys and men,</div>
-    <div class="verse indent0">Yelling, entered her dingy den.</div>
-    <div class="verse indent0">“Kill her!” shouted the brutal pack.</div>
-    <div class="verse indent0">“Cowards!” screamed Little Mag. “Stand back!”</div>
-    <div class="verse indent0">As she placed her fragile form before</div>
-    <div class="verse indent0">Her poor old grandmother, on the floor,</div>
-    <div class="verse indent0">And clasped her about the neck, and pressed</div>
-    <div class="verse indent0">The thin gray hairs to her childish breast.</div>
-    <div class="verse indent0">“Cowards!” she said. “Now, do your worst.</div>
-    <div class="verse indent0">If either must die, let <i>me</i> die first!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Cowed and abashed, the crowd stood still,</div>
-    <div class="verse indent0">Awed by that child’s unaided will;</div>
-    <div class="verse indent0">One by one, in silence and shame,</div>
-    <div class="verse indent0">They all stole out by the way they came,</div>
-    <div class="verse indent0">Till the fair young child and the withered crone</div>
-    <div class="verse indent0">Were left once more in that room—alone.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But stop! What is it the child alarms?</div>
-    <div class="verse indent0"><i>Old Nan lies dead in her grandchild’s arms!</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">George L. Catlin.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>LIFE’S BATTLE.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" /></div>
-    <div class="dropcapline">Alas! I’m growing old, my hair, once thick and brown,</div>
-    <div class="verse indent0">Is now quite white and silky, and sparse about the crown;</div>
-    <div class="verse indent0">A year, that once seemed endless, now, passes like a dream,</div>
-    <div class="verse indent0">Yet my boat still rides the billows, as it floats along the stream.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">My eye, once like the eagle’s, is now much dimmed by age,</div>
-    <div class="verse indent0">And art alone enables me to read the printed page,</div>
-    <div class="verse indent0">Yet still it rests with quickened glance upon each lovely scene.</div>
-    <div class="verse indent0">As years roll by with silent pace and changes come between.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Life is full of gladness if we but make it so,</div>
-    <div class="verse indent0">There’s not a wave of sorrow but has an undertow.</div>
-    <div class="verse indent0">A stout heart and a simple faith gives victory o’er the grave,</div>
-    <div class="verse indent0">And God awaits all patiently, all powerful to save.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">’Tis not a cross to live, nor is it hard to die,</div>
-    <div class="verse indent0">If we but view the future with steadfast, fearless eye,</div>
-    <div class="verse indent0">Looking ever on the bright side, where falls the sun’s warm beam,</div>
-    <div class="verse indent0">Our boats will ride the billows as they float along the stream.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Wayne Howe Parsons.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>THE LOST KISS.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I put by the half-written poem,</div>
-    <div class="verse indent2">While the pen, idly trailed in my hand,</div>
-    <div class="verse indent0">Writes on, “Had I words to complete it,</div>
-    <div class="verse indent2">Who’d read it, or who’d understand?”</div>
-    <div class="verse indent0">But the little bare feet on the stairway,</div>
-    <div class="verse indent2">And the faint, smothered laugh in the hall,</div>
-    <div class="verse indent0">And the eerie-low lisp on the silence,</div>
-    <div class="verse indent2">Cry up to me over it all.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">So I gather it up—where was broken</div>
-    <div class="verse indent2">The tear—faded thread of my theme,</div>
-    <div class="verse indent0">Telling how, as one night I sat writing,</div>
-    <div class="verse indent2">A fairy broke in on my dream.</div>
-    <div class="verse indent0">A little inquisitive fairy</div>
-    <div class="verse indent2">My own little girl, with the gold</div>
-    <div class="verse indent0">Of the sun in her hair, and the dewy</div>
-    <div class="verse indent2">Blue eyes of the fairies of old.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">’Twas the dear little girl that I scolded—</div>
-    <div class="verse indent2">“For was it a moment like this,”</div>
-    <div class="verse indent0">I said, when she knew I was busy,</div>
-    <div class="verse indent2">“To come romping in for a kiss?</div><span class="pagenum"><a id="Page_291"></a>[291]</span>
-    <div class="verse indent0">Come rowdying up from her mother</div>
-    <div class="verse indent2">And clamoring there at my knee</div>
-    <div class="verse indent0">For ‘One ’ittle kiss for my dolly</div>
-    <div class="verse indent2">And one ’ittle uzzer for me?’”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">God pity the heart that repelled her</div>
-    <div class="verse indent2">And the cold hand that turned her away!</div>
-    <div class="verse indent0">And take from the lips that denied her</div>
-    <div class="verse indent2">This answerless prayer of to-day!</div>
-    <div class="verse indent0">Take, Lord, from my mem’ry forever</div>
-    <div class="verse indent2">That pitiful sob of despair,</div>
-    <div class="verse indent0">And the patter and trip of the little bare feet</div>
-    <div class="verse indent2">And the one piercing cry on the stair!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I put by the half-written poem,</div>
-    <div class="verse indent2">While the pen, idly trailed in my hand,</div>
-    <div class="verse indent0">Writes on, “Had I words to complete it,</div>
-    <div class="verse indent2">Who’d read it, or who’d understand?”</div>
-    <div class="verse indent0">But the little bare feet on the stairway,</div>
-    <div class="verse indent2">And the faint, smothered laugh in the hall,</div>
-    <div class="verse indent0">And the eerie-low lisp on the silence,</div>
-    <div class="verse indent2">Cry up to me over all.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">James Whitcomb Riley.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>EXECUTION OF MARY, QUEEN OF SCOTS.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">The Queen arrived in the hall of death.
-Pale but unflinching she contemplated
-the dismal preparations. There lay
-the block and the axe. There stood the executioner
-and his assistant. All were clothed
-in mourning. On the floor was scattered the
-sawdust which was to soak her blood, and in a
-dark corner lay the bier. It was nine o’clock
-when the Queen appeared in the funereal hall.
-Fletcher, Dean of Peterborough, and certain
-privileged persons, to the number of more
-than two hundred, were assembled. The
-hall was hung with black cloth; the scaffold,
-which was elevated about two feet and a half
-above the ground, was covered with black
-frieze of Lancaster; the arm-chair in which
-Mary was to sit, the footstool on which she
-was to kneel, the block on which her head
-was to be laid, were covered with black velvet.</p>
-
-<p>The Queen was clothed in mourning like
-the hall and as the ensign of punishment.
-Her black velvet robe, with its high collar
-and hanging sleeves, was bordered with ermine.
-Her mantle, lined with marten sable,
-was of satin, with pearl buttons and a long
-train. A chain of sweet-smelling beads, to
-which was attached a scapulary, and beneath
-that a golden cross, fell upon her bosom.
-Two rosaries were suspended to her girdle,
-and a long veil of white lace, which in some
-measure softened this costume of a widow
-and of a condemned criminal, was thrown
-around her.</p>
-
-<p>Arrived on the scaffold, Mary seated herself
-in the chair provided for her, with her
-face toward the spectators. The Dean of
-Peterborough, in ecclesiastical costume, sat
-on the right of the Queen, with a black velvet
-footstool before him. The Earls of Kent
-and Shrewsbury were seated, like him, on the
-right, but upon larger chairs. On the other
-side of the Queen stood the Sheriff, Andrews,
-with white wand. In front of Mary were
-seen the executioner and his assistant, distinguishable
-by their vestments of black velvet
-with red crape round the left arm. Behind
-the Queen’s chair, ranged by the wall, wept
-her attendants and maidens.</p>
-
-<p>In the body of the hall, the nobles and
-citizens from the neighboring counties were
-guarded by musketeers. Beyond the balustrade
-was the bar of the tribunal. The sentence
-was read; the Queen protested against
-it in the name of royalty and of innocence,
-but accepted death for the sake of the faith.
-She then knelt before the block and the
-executioner proceeded to remove her veil.
-She repelled him by a gesture, and turning
-toward the Earls with a blush on her forehead,
-“I am not accustomed,” she said, “to<span class="pagenum"><a id="Page_292"></a>[292]</span>
-be undressed before so numerous a company,
-and by the hands of such grooms of the
-chamber.”</p>
-
-<p>She then called Jane Kennedy and Elizabeth
-Curle, who took off her mantle, her veil,
-her chains, cross and scapulary. On their
-touching her robe, the Queen told them to
-unloosen the corsage and fold down the
-ermine collar, so as to leave her neck bare
-for the axe. Her maidens weepingly yielded
-her these last services. Melvil and the three
-other attendants wept and lamented, and
-Mary placed her finger on her lips to signify
-that they should be silent. She then arranged
-the handkerchief embroidered with thistles of
-gold with which her eyes had been covered
-by Jane Kennedy.</p>
-
-<p>Thrice she kissed the crucifix, each time
-repeating, “Lord, into Thy hands I commend
-my spirit.” She knelt anew and leant her
-head on that block which was already scored
-with deep marks, and in this solemn attitude
-she again recited some verses from the Psalms.
-The executioner interrupted her at the third
-verse by a blow of the axe, but its trembling
-stroke only grazed her neck; she groaned
-slightly, and the second blow separated the
-head from the body.</p>
-
-<p class="right"><span class="smcap">Lamartine.</span></p>
-
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>OVER THE RANGE.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-h.jpg" width="130" height="110" alt="" /></div>
-    <div class="dropcapline">Half-sleeping, by the fire I sit,</div>
-    <div class="verse indent2">I start and wake, it is so strange</div>
-    <div class="verse indent0">To find myself alone, and Tom</div>
-    <div class="verse indent2">Across the Range.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">We brought him in with heavy feet</div>
-    <div class="verse indent2">And eased him down; from eye to eye,</div>
-    <div class="verse indent0">Though no one spoke, there passed a fear</div>
-    <div class="verse indent2">That Tom must die.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He rallied when the sun was low,</div>
-    <div class="verse indent2">And spoke; I thought the words were strange;</div>
-    <div class="verse indent0">“It’s almost night, and I must go</div>
-    <div class="verse indent2">Across the Range.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“What, Tom?” He smiled and nodded: “Yes,</div>
-    <div class="verse indent2">They’ve struck it rich there, Jim, you know,</div>
-    <div class="verse indent0">The parson told us; you’ll come soon;</div>
-    <div class="verse indent2">Now Tom must go.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I brought his sweetheart’s pictured face:</div>
-    <div class="verse indent2">Again that smile, so sad and strange,</div>
-    <div class="verse indent0">“Tell her,” said he, “that Tom has gone</div>
-    <div class="verse indent2">Across the Range.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The last night lingered on the hill.</div>
-    <div class="verse indent2">“There’s a pass, somewhere,” then he said,</div>
-    <div class="verse indent0">And lip, and eye, and hand were still;</div>
-    <div class="verse indent2">And Tom was dead.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Half-sleeping, by the fire I sit:</div>
-    <div class="verse indent2">I start and wake, it is so strange</div>
-    <div class="verse indent0">To find myself alone, and Tom</div>
-    <div class="verse indent2">Across the Range.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">J. Harrison Mills.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>THE STORY OF CRAZY NELL.</h4>
-
-<p class="center">FOUNDED ON FACT.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-c.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">“Come, Rosy, come!” I heard the voice and looked</div>
-    <div class="verse indent2">Out on the road that passed my window wide,</div>
-    <div class="verse indent0">And saw a woman and a fair-haired child</div>
-    <div class="verse indent2">That knelt and picked the daisies at the side.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The child ran quickly with its gathered prize,</div>
-    <div class="verse indent2">And, laughing, held it high above its head;</div>
-    <div class="verse indent0">A light glowed bright within the woman’s eyes,</div>
-    <div class="verse indent2">And in that light a mother’s love I read.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">She took the little hand, and both passed on;</div>
-    <div class="verse indent2">The prattle of the child I still could hear,</div>
-    <div class="verse indent0">Mixed with the woman’s fond, caressing tone,</div>
-    <div class="verse indent2">That came in loving words upon my ear.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Come, Rosy, come!” Years, many years had gone,</div><span class="pagenum"><a id="Page_293"></a>[293]</span>
-    <div class="verse indent2">But yet had left the recollection of that scene—</div>
-    <div class="verse indent0">The woman and the fair-haired child that knelt</div>
-    <div class="verse indent2">And picked the daisies on the roadside green.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I looked. The old familiar road was there—</div>
-    <div class="verse indent2">A woman, wan and stooping, stood there too;</div>
-    <div class="verse indent0">And beckoned slowly, and with vacant stare</div>
-    <div class="verse indent2">That fixed itself back where the daisies grew.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Come, Rosy, come!” I saw no fair-haired child</div>
-    <div class="verse indent2">Run from the daisies with its gathered prize;</div>
-    <div class="verse indent0">“Come, Rosy, come!” I heard no merry laugh</div>
-    <div class="verse indent2">To light the love-glow in the mother’s eyes.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Come, Rosy, come!” She turned, and down the road</div>
-    <div class="verse indent2">The plaintive voice grew fainter on my ear;</div>
-    <div class="verse indent0">Caressing tones—not mixed with prattle now,</div>
-    <div class="verse indent2">But full of loving words—I still could hear.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I, wondering, asked a gossip at my door;</div>
-    <div class="verse indent2">He told the story—all there was to tell:</div>
-    <div class="verse indent0">A little mound the village churchyard bore;</div>
-    <div class="verse indent2">And this, he said, is only Crazy Nell.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Joseph Whitton.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>LITTLE SALLIE’S WISH.</h4>
-
-<p>The following poem was written from <i>facts</i>, concerning a sweet
-little girl who lived in New York. When Summer came her parents took a
-cottage in the country, where the scene described was enacted.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I have seen the first robin of Spring, mother dear,</div>
-    <div class="verse indent2">And have heard the brown darling sing;</div>
-    <div class="verse indent0">You said, “Hear it and wish, and ’twill surely come true,”</div>
-    <div class="verse indent2">So I’ve wished such a beautiful thing.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I thought I would like to ask something for you,</div>
-    <div class="verse indent2">But couldn’t think what there could be</div>
-    <div class="verse indent0">That you’d want, while you had all these beautiful things;</div>
-    <div class="verse indent2">Besides you have papa and me.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">So I wished for a ladder, so long that ’twould stand</div>
-    <div class="verse indent2">One end by our own cottage door,</div>
-    <div class="verse indent0">And the other go up past the moon and the stars,</div>
-    <div class="verse indent2">And lean against heaven’s white floor.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then I’d get you to put on my pretty white dress,</div>
-    <div class="verse indent2">With my sash and my darling new shoes;</div>
-    <div class="verse indent0">And I’d find some white roses to take up to God,</div>
-    <div class="verse indent2">The most beautiful ones I could choose.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And you, dear papa, would sit on the ground,</div>
-    <div class="verse indent2">And kiss me, and tell me “good-bye;”</div>
-    <div class="verse indent0">Then I’d go up the ladder, far out of your sight,</div>
-    <div class="verse indent2">Till I came to the door in the sky.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I wonder if God keeps the door fastened tight?</div>
-    <div class="verse indent2">If but one little crack I could see,</div>
-    <div class="verse indent0">I would whisper, “Please, God, let this little girl in,</div>
-    <div class="verse indent2">She’s as weary and tired as can be.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“She came all alone from the earth to the sky,</div>
-    <div class="verse indent2">For she’s always been wanting to see</div>
-    <div class="verse indent0">The gardens of heaven, with their robins and flowers;</div>
-    <div class="verse indent2">Please, God, is there room there for me?”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And then when the angels had opened the door,</div>
-    <div class="verse indent2">God would say, “Bring the little child here.”</div>
-    <div class="verse indent0">But He’d speak it so softly, I’d not be afraid,</div>
-    <div class="verse indent2">And He’d smile just like you, mother dear.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He would put His kind arms round your dear little girl,</div>
-    <div class="verse indent2">And I’d ask Him to send down for you,</div>
-    <div class="verse indent0">And papa, and cousin, and all that I love—</div>
-    <div class="verse indent2">Oh, dear, don’t you wish ’twould come true?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The next Spring time, when the robins came home,</div>
-    <div class="verse indent2">They sang over grasses and flowers,</div>
-    <div class="verse indent0">That grew where the foot of the long ladder stood,</div>
-    <div class="verse indent2">Whose top reached the heavenly bowers.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And the parents had dressed the pale, still child</div>
-    <div class="verse indent2">For her flight to the Summer land,</div>
-    <div class="verse indent0">In a fair white robe, with one snow-white rose</div>
-    <div class="verse indent2">Folded tight in her pulseless hand.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And now at the foot of the ladder they sit,</div>
-    <div class="verse indent2">Looking upward with quiet tears,</div>
-    <div class="verse indent0">Till the beckoning hand and the fluttering robe</div>
-    <div class="verse indent2">Of the child at the top re-appears.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 275px;">
-<img src="images/line10.jpg" width="275" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_294"></a>[294]</span></p>
-
-<h4>DROWNED AMONG THE LILIES.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-h.jpg" width="130" height="110" alt="" /></div>
-    <div class="dropcapline">How the reeds and rushes quiver</div>
-    <div class="verse indent0">On the low banks of the river,</div>
-    <div class="verse indent0">And the leaning willows shiver</div>
-    <div class="verse indent2">In a strange and deep affright,</div>
-    <div class="verse indent0">And the water moans and murmurs</div>
-    <div class="verse indent0">As it eddies round the lilies,</div>
-    <div class="verse indent0">Like a human soul in sorrow,</div>
-    <div class="verse indent2">Over something hid from sight.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">How the shadows haunt the edges</div>
-    <div class="verse indent0">Of the river, where the sedges</div>
-    <div class="verse indent0">To the lilies whisper ever</div>
-    <div class="verse indent2">Of some strange and awful deed!</div>
-    <div class="verse indent0">How the sunshine, timid, frightened,</div>
-    <div class="verse indent0">Dares not touch the spot it brightened</div>
-    <div class="verse indent0">Yesterday, among the shadows</div>
-    <div class="verse indent2">Of the lily and the reed.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">What is that that floats and shimmers</div>
-    <div class="verse indent0">Where the water gleams and glimmers,</div>
-    <div class="verse indent0">In and out among the rushes,</div>
-    <div class="verse indent2">Growing thick, and tall, and green?</div>
-    <div class="verse indent0">Something yellow, long and shining</div>
-    <div class="verse indent0">Something wondrous fair and silken,</div>
-    <div class="verse indent0">Like a woman’s golden tresses,</div>
-    <div class="verse indent2">With a broken flower between.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">What is that, so white and slender,</div>
-    <div class="verse indent0">Hidden, almost, by the splendor</div>
-    <div class="verse indent0">Of a great white water lily,</div>
-    <div class="verse indent2">Floating on the river there?</div>
-    <div class="verse indent0">’Tis a hand stretched up toward Heaven,</div>
-    <div class="verse indent0">As, when we would be forgiven,</div>
-    <div class="verse indent0">We reach out our hands, imploring,</div>
-    <div class="verse indent2">In an agony of prayer.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Tremble, reeds, and moan and shiver,</div>
-    <div class="verse indent0">At your feet, in the still river,</div>
-    <div class="verse indent0">Lies a woman, done forever,</div>
-    <div class="verse indent2">With life’s mockery and woe.</div>
-    <div class="verse indent0">God alone can know the sorrow,</div>
-    <div class="verse indent0">All the bitterness and heartache,</div>
-    <div class="verse indent0">Ended in the moaning river</div>
-    <div class="verse indent2">Where the water lilies blow.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Eben E. Rexford.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<h4>THE FATE OF CHARLOTTE CORDAY.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">The sunny land of France with streams of noblest blood was dyed,</div>
-    <div class="verse indent0">Nor could a monarch’s royal veins suffice the insatiate tide;</div>
-    <div class="verse indent0">And youth and beauty knelt in vain, and mercy ceased to shine,</div>
-    <div class="verse indent0">And Nature’s holiest ties were loosed beneath the guillotine.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Wild war and rapine, hate and blood, and terror ruled supreme,</div>
-    <div class="verse indent0">Till all who loved its vine-clad vales had ceased of peace to dream;</div>
-    <div class="verse indent0">But there was one whose lover’s blood wrote vengeance in her soul,</div>
-    <div class="verse indent0">Whom zeal for France and blighted hopes had bound in fast control.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Dark “Discord’s demon,” fierce Marat, his country’s fellest foe,</div>
-    <div class="verse indent0">Belzance’s executioner, the fount of war and woe;</div>
-    <div class="verse indent0">Demon alike in mind and face, he dreamt not of his fall,</div>
-    <div class="verse indent0">Yet him the noble maiden doomed to vengeance and to Gaul.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">O! had an artist seen them there as face to face they stand;</div>
-    <div class="verse indent0">The noblest and the meanest mind in all that bleeding land;</div>
-    <div class="verse indent0">The loveliest and most hideous forms that pencil could portray—</div>
-    <div class="verse indent0">A picture might on canvas live that would not pass away.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Point out the foes of France,” he said, “and ere to-morrow shine,</div>
-    <div class="verse indent0">The blood, now warm within their veins, shall stain the guillotine.”</div>
-    <div class="verse indent0">“The guillotine!” the maid exclaimed, the steel a moment gleams,</div><span class="pagenum"><a id="Page_295"></a>[295]</span>
-    <div class="verse indent0">A moment more ’tis in his heart; adieu to all his dreams!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Before her judges Charlotte stands, undaunted, undismayed,</div>
-    <div class="verse indent0">While eyes that never wept are wet with pity for the maid,</div>
-    <div class="verse indent0">Unstained as beautiful she stands before the judgment seat,</div>
-    <div class="verse indent0">Resigned to fate, her heart is calm while others wildly beat!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Alas! too sure her doom is read in those stern faces, while</div>
-    <div class="verse indent0">Fear from her looks affrighted fled, where shone Minerva’s smile;</div>
-    <div class="verse indent0">Hope she had none, or, if perchance she had, that hope was gone,</div>
-    <div class="verse indent0">Yet in its stead ’twas not despair but brightest triumph shone!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“What was the cause?” “His crimes,” she said, her bleeding country’s foe,</div>
-    <div class="verse indent0">Inspired her hand, impelled the steel, and laid the tyrant low;</div>
-    <div class="verse indent0">Though well she knew her blood would flow for him she caused to bleed,</div>
-    <div class="verse indent0">Yet what was death?—The crowning wreath that graced the noble deed!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Her doom is passed, a lovely smile dawns slowly o’er her face,</div>
-    <div class="verse indent0">And adds another beauty to her calm majestic grace;</div>
-    <div class="verse indent0">She does not weep, she does not shrink, her features are not pale,</div>
-    <div class="verse indent0">The firmness that inspired her hand forbids her heart to fail!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">’Tis morn; before the Tuilleries the dawn is breaking gray,</div>
-    <div class="verse indent0">And thousands through the busy streets in haste pursue their way;</div>
-    <div class="verse indent0">What means the bustle and the throng, the scene is nothing new—</div>
-    <div class="verse indent0">A fair young lady, doomed to die, each day the same they view.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Before that home of bygone kings a gloomy scaffold stands,</div>
-    <div class="verse indent0">Upreared in Freedom’s injured name to manacle her hands;</div>
-    <div class="verse indent0">Some crowd to worship, some insult, the martyr in her doom,</div>
-    <div class="verse indent0">But over friends and foes a cloud is cast of sombre gloom.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">She stands upon the fatal spot angelically fair,</div>
-    <div class="verse indent0">The roses of her cheek concealed beneath her flowing hair;</div>
-    <div class="verse indent0">“Greater than Brutus,” she displays no sign of fear or dread,</div>
-    <div class="verse indent0">But in a moment will be still and silent with the dead.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Her neck is bared, the fatal knife descends, and all is o’er,</div>
-    <div class="verse indent0">The martyred heroine of France—of freedom dreams no more;</div>
-    <div class="verse indent0">The insults of the wretched throng she hears no longer now,</div>
-    <div class="verse indent0">But Death, man’s universal friend, sits on her pallid brow!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">In life, fear never blanched her cheek; but now ’tis calm and pale,</div>
-    <div class="verse indent0">Love and her country asked revenge, and both her fate bewail;</div>
-    <div class="verse indent0">She fell, more glorious in her fall than chief or crowned queen,</div>
-    <div class="verse indent0">A martyr in a noble cause, without a fault to screen!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Clare S. McKinley.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>THE LITTLE VOYAGER.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">Three little children in a boat</div>
-    <div class="verse indent2">On seas of opal splendor;</div>
-    <div class="verse indent0">The willing waves their treasure float</div>
-    <div class="verse indent2">To rhythm low and tender;</div>
-    <div class="verse indent0">Over their heads the skies are blue—</div>
-    <div class="verse indent0">Where are the darlings sailing to?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">They do not know—we do not know,</div>
-    <div class="verse indent2">Who watch their pretty motions;</div>
-    <div class="verse indent0">Safe moored within the harbor, though</div>
-    <div class="verse indent2">They sail untraveled oceans;</div>
-    <div class="verse indent0">They rock and sway and shut their eyes;</div>
-    <div class="verse indent0">“No land in sight!” the helmsman cries!</div><span class="pagenum"><a id="Page_296"></a>[296]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Oh, little children have you heard</div>
-    <div class="verse indent2">Of ships that sail for pleasure;</div>
-    <div class="verse indent0">And never wind or wave hath word</div>
-    <div class="verse indent2">Of all their vanished treasure?</div>
-    <div class="verse indent0">They were as blithe and gay as you</div>
-    <div class="verse indent0">And sailed away as fearless, too!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then from the pleasure-freighted crew</div>
-    <div class="verse indent2">One spake—a little maiden,</div>
-    <div class="verse indent0">With sunny hair, and eyes of blue,</div>
-    <div class="verse indent2">And lashes fair, dew-laden,</div>
-    <div class="verse indent0">Her wise head gave a thoughtful nod—!</div>
-    <div class="verse indent0">“Perhaps—they sailed—away to God!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Mrs. M. L. Bayne.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>THE DREAM OF ALDARIN.</h4>
-
-<p>This selection won a gold medal at a Commencement of the Mt. Vernon
-Institute of Elocution in Philadelphia. It is a remarkable embodiment of
-tragedy and pathos.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" />
-</div>
-
-<p class="dropcap">A chamber with a low, dark ceiling,
-supported by massive rafters of oak;
-floors and walls of dark stone, unrelieved
-by wainscot or plaster—bare,
-rugged, and destitute.</p>
-
-<p>A dim, smoking light, burning in a vessel
-of iron, threw its red and murky beams over
-the fearful contents of a table. It was piled
-high with the unsightly forms of the dead.
-Prostrate among these mangled bodies, his
-arms flung carelessly on either side, slept and
-dreamed Aldarin—Aldarin, the Fratricide.</p>
-
-<p>He hung on the verge of a rock, a rock of
-melting bitumen, that burned his hands to
-masses of crisped and blackened flesh. The
-rock projected over a gulf, to which the cataracts
-of earth might compare as the rivulet
-to the vast ocean. It was the Cataract of
-Hell. He looked below. God of Heaven,
-what a sight! Fiery waves, convulsed and
-foaming, with innumerable whirlpools crimsoned
-by bubbles of flame. Each whirlpool
-swallowing millions of the lost. Each bubble
-bearing on its surface the face of a soul, lost
-and lost forever.</p>
-
-<p>Born on by the waves, they raised their
-hands and cast their burning eyes to the
-skies, and shrieked the eternal death-wail of
-the lost.</p>
-
-<p>Over this scene, awful and vast, towered a
-figure of ebony blackness, his darkened brow
-concealed in the clouds, his extended arms
-grasping the infinitude of the cataract, his feet
-resting upon islands of bitumen far in the
-gulf below. The eyes of the figure were
-fixed upon Aldarin, as he clung with the nervous
-clasp of despair to the rock, and their
-gaze curdled his heated blood.</p>
-
-<p>He was losing his grasp; sliding and sliding
-from the rock, his feet hung over the
-gulf. There was no hope for him. He must
-fall—fall—and fall forever. But lo! a stairway,
-built of white marble, wide, roomy and
-secure, seemed to spring from the very rock
-to which he clung, winding upward from the
-abyss, till it was lost in the distance far, far
-above. He beheld two figures slowly descending—the
-figure of a warrior and the
-form of a dark-eyed woman.</p>
-
-<p>He knew those figures; he knew them
-well. They were his victims! Her face, his
-wife’s! beautiful as when he first wooed her in
-the gardens of Palestine; but there was
-blood on her vestments, near the heart, and
-his lip was spotted with one drop of that
-thick, red blood. “This,” he muttered, “this,
-indeed, is hell, and yet I must call for aid—call
-to them!” How the thought writhed
-like a serpent round his very heart.</p>
-
-<p>He drew himself along the rugged rock,
-clutching the red-hot ore in the action. He
-wanted but a single inch, a little inch and he
-might grasp the marble of the stairway.
-Another and a desperate effort. His fingers<span class="pagenum"><a id="Page_297"></a>[297]</span>
-clutched it, but his strength was gone. He
-could not hold it in his grasp. With an eye
-of horrible intensity he looked above. “Thou
-wilt save me, Ilmerine, my wife. Thou wilt
-drag me up to thee.” She stooped. She
-clutched his blackened fingers and placed
-them around the marble. His grasp was
-tight and desperate. “Julian, O Julian!
-grasp this hand. Aid me, O Julian! my
-brother!” The warrior stooped, laid hold on
-his hand and drawing it toward the casement,
-wound it around another piece of marble.</p>
-
-<p>But again his strength fails. “Julian, my
-brother; Ilmerine, my wife, seize me! Drag
-me from this rock of terror! Save me! O
-save me!” She stooped. She unwound
-finger after finger. She looked at his horror-stricken
-face and pointed to the red wound in
-her heart. He looked toward the other face.
-“Thou, Julian, reach me thy hand. Thy
-hand, or I perish!” The warrior slowly
-reached forth his hand from beneath the
-folds of his cloak. He held before the eyes
-of the doomed a goblet of gold. It shone
-and glimmered through the foul air like the
-beacon fire of hell.</p>
-
-<p>“Take it away! ’Tis the death bowl!”
-shrieked Aldarin’s livid lips. “I murdered
-thee. Thou canst not save.” He drew back
-from the maddening sight. He lost his hold,
-he slid from the rock, he fell.</p>
-
-<p>Above, beneath, around, all was fire, horror,
-death; and still he fell. “Forever and forever,”
-rose the shrieks of the lost. All hell
-groaned aloud, “Ever, ever. Forever and
-forever,” and his own soul muttered back,
-“This—this—is—hell!”</p>
-
-<p class="right"><span class="smcap">George Lippard.</span></p>
-
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>IN THE MINING TOWN.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">“Tis the last time, darling,” he gently said,</div>
-    <div class="verse indent0">As he kissed her lips like the cherries red,</div>
-    <div class="verse indent0">While a fond look shone in his eyes of brown.</div>
-    <div class="verse indent0">“My own is the prettiest girl in town!</div>
-    <div class="verse indent0">To-morrow the bell from the tower will ring</div>
-    <div class="verse indent0">A joyful peal. Was there ever a king</div>
-    <div class="verse indent0">So truly blessed, on his royal throne,</div>
-    <div class="verse indent0">As I shall be when I claim my own?”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">’Twas a fond farewell, ’twas a sweet good-by,</div>
-    <div class="verse indent0">But she watched him go with a troubled sigh.</div>
-    <div class="verse indent0">So, into the basket that swayed and swung</div>
-    <div class="verse indent0">O’er the yawning abyss, he lightly sprung.</div>
-    <div class="verse indent0">And the joy of her heart seemed turned to woe</div>
-    <div class="verse indent0">As they lowered him into the depths below.</div>
-    <div class="verse indent0">Her sweet young face, with its tresses brown,</div>
-    <div class="verse indent0">Was the fairest face in the mining town.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Lo! the morning came; but the marriage-bell,</div>
-    <div class="verse indent0">High up in the tower, rang a mournful knell</div>
-    <div class="verse indent0">For the true heart buried ’neath earth and stone,</div>
-    <div class="verse indent0">Far down in the heart of the mine, alone.</div>
-    <div class="verse indent0">A sorrowful peal on their wedding-day,</div>
-    <div class="verse indent0">For the breaking heart and the heart of clay,</div>
-    <div class="verse indent0">And the face that looked from the tresses brown,</div>
-    <div class="verse indent0">Was the saddest face in the mining town.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Thus time rolled along on its weary way,</div>
-    <div class="verse indent0">Until fifty years, with their shadows gray,</div>
-    <div class="verse indent0">Had darkened the light of her sweet eyes’ glow,</div>
-    <div class="verse indent0">And had turned the brown of her hair to snow.</div>
-    <div class="verse indent0">Oh! never the kiss from a husband’s lips,</div>
-    <div class="verse indent0">Or the clasp of a child’s sweet finger-tips,</div>
-    <div class="verse indent0">Had lifted one moment the shadows brown</div>
-    <div class="verse indent0">From the saddest heart in the mining town.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Far down in the depths of the mine, one day,</div>
-    <div class="verse indent0">In the loosened earth they were digging away.</div>
-    <div class="verse indent0">They discovered a face, so young, so fair;</div>
-    <div class="verse indent0">From the smiling lip to the bright brown hair</div>
-    <div class="verse indent0">Untouched by the finger of Time’s decay.</div>
-    <div class="verse indent0">When they drew him up to the light of day,</div>
-    <div class="verse indent0">The wondering people gathered ’round</div>
-    <div class="verse indent0">To gaze at the man thus strangely found.</div><span class="pagenum"><a id="Page_298"></a>[298]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then a woman came from among the crowd,</div>
-    <div class="verse indent0">With her long white hair and her slight form bowed.</div>
-    <div class="verse indent0">She silently knelt by the form of clay,</div>
-    <div class="verse indent0">And kissed the lips that were cold and gray.</div>
-    <div class="verse indent0">Then, the sad old face, with its snowy hair</div>
-    <div class="verse indent0">On his youthful bosom lay pillowed there.</div>
-    <div class="verse indent0">He had found her at last, his waiting bride,</div>
-    <div class="verse indent0">And the people buried them side by side.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Rose Hartwick Thorpe.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>TOMMY’S PRAYER.</h4>
-
-<p>This beautiful poem is full of the pathos and suffering of poverty. It
-should be delivered with expression and feeling. Although lengthy the
-interest is sustained throughout.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">In a dark and dismal alley where the sunshine never came,</div>
-    <div class="verse indent0">Dwelt a little lad named Tommy, sickly, delicate and lame;</div>
-    <div class="verse indent0">He had never yet been healthy, but had lain since he was born,</div>
-    <div class="verse indent0">Dragging out his weak existence well nigh hopeless and forlorn.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He was six, was little Tommy, ’twas just five years ago</div>
-    <div class="verse indent0">Since his drunken mother dropped him, and the babe was crippled so.</div>
-    <div class="verse indent0">He had never known the comfort of a mother’s tender care,</div>
-    <div class="verse indent0">But her cruel blows and curses made his pain still worse to bear.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There he lay within the cellar from the morning till the night,</div>
-    <div class="verse indent0">Starved, neglected, cursed, ill-treated, naught to make his dull life bright;</div>
-    <div class="verse indent0">Not a single friend to love him, not a living thing to love—</div>
-    <div class="verse indent0">For he knew not of a Saviour, or a heaven up above.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">’Twas a quiet summer evening; and the alley, too, was still;</div>
-    <div class="verse indent0">Tommy’s little heart was sinking, and he felt so lonely, till,</div>
-    <div class="verse indent0">Floating up the quiet alley, wafted inwards from the street,</div>
-    <div class="verse indent0">Came the sound of some one singing, sounding, oh! so clear and sweet.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Eagerly did Tommy listen as the singing nearer came—</div>
-    <div class="verse indent0">Oh! that he could see the singer! How he wished he wasn’t lame.</div>
-    <div class="verse indent0">Then he called and shouted loudly, till the singer heard the sound,</div>
-    <div class="verse indent0">And on noting whence it issued, soon the little cripple found.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">’Twas a maiden, rough and rugged, hair unkempt and naked feet,</div>
-    <div class="verse indent0">All her garments torn and ragged, her appearance far from neat;</div>
-    <div class="verse indent0">“So yer called me,” said the maiden, “wonder wot yer wants o’ me;</div>
-    <div class="verse indent0">Most folks call me Singing Jessie; wot may your name chance to be?”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“My name’s Tommy; I’m a cripple, and I want to hear you sing,</div>
-    <div class="verse indent0">For it makes me feel so happy—sing me something, anything.”</div>
-    <div class="verse indent0">Jessie laughed, and answered, smiling, “I can’t stay here very long,</div>
-    <div class="verse indent0">But I’ll sing a hymn to please you, wot I calls the ‘Glory song’”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then she sang to him of Heaven, pearly gates and streets of gold,</div>
-    <div class="verse indent0">Where the happy angel children are not starved or nipped with cold;</div>
-    <div class="verse indent0">But where happiness and gladness never can decrease or end,</div>
-    <div class="verse indent0">And where kind and loving Jesus is their Sovereign and their Friend.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Oh! how Tommy’s eyes did glisten as he drank in every word</div>
-    <div class="verse indent0">As it fell from “Singing Jessie”—was it true, what he had heard?</div><span class="pagenum"><a id="Page_299"></a>[299]</span>
-    <div class="verse indent0">And so anxiously he asked her: “Is there really such a place?”</div>
-    <div class="verse indent0">And a tear began to trickle down his pallid little face.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Tommy, you’re a little heathen; why, it’s up beyond the sky,</div>
-    <div class="verse indent0">And if yer will love the Saviour, yer shall go there when yer die.”</div>
-    <div class="verse indent0">“Then,” said Tommy; “tell me, Jessie, how can I the Saviour love,</div>
-    <div class="verse indent0">When I’m down in this ’ere cellar, and he’s up in Heaven above?”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">So the little ragged maiden who had heard at Sunday-school</div>
-    <div class="verse indent0">All about the way to Heaven, and the Christian’s golden rule,</div>
-    <div class="verse indent0">Taught the little cripple Tommy how to love and how to pray,</div>
-    <div class="verse indent0">Then she sang a “Song of Jesus,” kissed his cheek and went away.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Tommy lay within the cellar which had grown so dark and cold,</div>
-    <div class="verse indent0">Thinking all about the children in the streets of shining gold;</div>
-    <div class="verse indent0">And he heeded not the darkness of that damp and chilly room,</div>
-    <div class="verse indent0">For the joy in Tommy’s bosom could disperse the deepest gloom.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Oh! if I could only see it,” thought the cripple, as he lay.</div>
-    <div class="verse indent0">“Jessie said that Jesus listens and I think I’ll try and pray;”</div>
-    <div class="verse indent0">So he put his hands together, and he closed his little eyes,</div>
-    <div class="verse indent0">And in accents weak, yet earnest, sent this message to the skies:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Gentle Jesus, please forgive me, as I didn’t know afore,</div>
-    <div class="verse indent0">That yer cared for little cripples who is weak and very poor,</div>
-    <div class="verse indent0">And I never heard of Heaven till that Jessie came to-day</div>
-    <div class="verse indent0">And told me all about it, so I wants to try and pray.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“You can see me, can’t yer, Jesus? Jessie told me that yer could,</div>
-    <div class="verse indent0">And I somehow must believe it, for it seems so prime and good;</div>
-    <div class="verse indent0">And she told me if I loved you, I should see yer when I die,</div>
-    <div class="verse indent0">In the bright and happy heaven that is up beyond the sky.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Lord, I’m only just a cripple, and I’m no use here below,</div>
-    <div class="verse indent0">For I heard my mother whisper she’d be glad if I could go;</div>
-    <div class="verse indent0">And I’m cold and hungry sometimes; and I feel so lonely, too,</div>
-    <div class="verse indent0">Can’t yer take me, gentle Jesus, up to Heaven along o’ you?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Oh! I’d be so good and patient, and I’d never cry or fret;</div>
-    <div class="verse indent0">And yer kindness to me, Jesus, I would surely not forget;</div>
-    <div class="verse indent0">I would love you all I know of, and would never make a noise—</div>
-    <div class="verse indent0">Can’t you find me just a corner, where I’ll watch the other boys?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Oh! I think yer’ll do it, Jesus, something seems to tell me so,</div>
-    <div class="verse indent0">For I feel so glad and happy, and I do so want to go;</div>
-    <div class="verse indent0">How I long to see yer, Jesus, and the children all so bright!</div>
-    <div class="verse indent0">Come and fetch me, won’t yer, Jesus? Come and fetch me home to-night!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Tommy ceased his supplication, he had told his soul’s desire,</div>
-    <div class="verse indent0">And he waited for the answer till his head began to tire;</div>
-    <div class="verse indent0">Then he turned towards his corner, and lay huddled in a heap,</div>
-    <div class="verse indent0">Closed his little eyes so gently, and was quickly fast asleep.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Oh, I wish that every scoffer could have seen his little face</div>
-    <div class="verse indent0">As he lay there in the corner, in that damp and noisome place;</div><span class="pagenum"><a id="Page_300"></a>[300]</span>
-    <div class="verse indent0">For his countenance was shining like an angel’s, fair and bright,</div>
-    <div class="verse indent0">And it seemed to fill the cellar with a holy, heavenly light.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He had only heard of Jesus from a ragged singing girl,</div>
-    <div class="verse indent0">He might well have wondered, pondered, till his brain began to whirl;</div>
-    <div class="verse indent0">But he took it as she told it, and believed it then and there,</div>
-    <div class="verse indent0">Simply trusting in the Saviour, and His kind and tender care.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">In the morning, when the mother came to wake her crippled boy,</div>
-    <div class="verse indent0">She discovered that his features wore a look of sweetest joy,</div>
-    <div class="verse indent0">And she shook him somewhat roughly, but the cripple’s face was cold—</div>
-    <div class="verse indent0">He had gone to join the children in the streets of shining gold.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Tommy’s prayer had soon been answered, and the Angel Death had come</div>
-    <div class="verse indent0">To remove him from his cellar, to His bright and heavenly home</div>
-    <div class="verse indent0">Where sweet comfort, joy and gladness never can decrease or end,</div>
-    <div class="verse indent0">And where Jesus reigns eternally, his Sovereign and his Friend.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">I. F. Nichols.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>ROBBY AND RUTH.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-r.jpg" width="130" height="110" alt="" /></div>
-    <div class="dropcapline">Robby and Ruth strolled out one day,</div>
-    <div class="verse indent2">Over the meadows, beyond the town;</div>
-    <div class="verse indent0">The robins sang, and the fields looked gay,</div>
-    <div class="verse indent2">And the orchards dropped their blossoms down:</div>
-    <div class="verse indent0">But they took no thought of song or flower,</div>
-    <div class="verse indent0">For this, to them, was love’s sweet hour;</div>
-    <div class="verse indent8">And love’s hour is fleet,</div>
-    <div class="verse indent8">And swift love’s feet,</div>
-    <div class="verse indent0">When a lad and a winsome lassie meet!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Robby and Ruth in the church were wed,</div>
-    <div class="verse indent2">Ere the orchard apples began to fall;</div>
-    <div class="verse indent0">“Till death shall part,” were the words they said,</div>
-    <div class="verse indent2">And love’s pure sunlight hallowed all.</div>
-    <div class="verse indent0">Ah! never a bride more sweet and fair</div>
-    <div class="verse indent0">Wore orange-blooms in her sunny hair!</div>
-    <div class="verse indent8">The maiden sung,</div>
-    <div class="verse indent8">And the joy-bells rung</div>
-    <div class="verse indent0">And echoed the orchards and groves among.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Robby and Ruth kept house together,</div>
-    <div class="verse indent2">Till both were old and bent and gray,</div>
-    <div class="verse indent0">And little they cared for outside weather,</div>
-    <div class="verse indent2">For home’s sweet light gilded all their way;</div>
-    <div class="verse indent0">And many a precious nestling came</div>
-    <div class="verse indent0">To be called by the dear old household name;</div>
-    <div class="verse indent8">And the love that blessed</div>
-    <div class="verse indent8">When first confessed</div>
-    <div class="verse indent0">Remained in their hearts a constant guest.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Robby and Ruth grew weary at last—</div>
-    <div class="verse indent2">Bobby went first the shining way;</div>
-    <div class="verse indent0">And when the earth on <i>his</i> grave was cast,</div>
-    <div class="verse indent2">The faithful Ruth could no longer stay;</div>
-    <div class="verse indent0">And daisy ne’er blossomed or wild-rose grew</div>
-    <div class="verse indent0">O’er hearts more tender, leal and true!</div>
-    <div class="verse indent8">Love’s vows were sweet</div>
-    <div class="verse indent8">When they sat at Love’s feet,</div>
-    <div class="verse indent0">And Heaven makes love itself complete.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Louisa S. Upham.</span></div>
-  </div>
-</div>
-</div>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-
-<p><span class="pagenum"><a id="Page_301"></a>[301]</span></p>
-
-<h3 class="nobreak" id="Recitations_for_Children"><span class="smcap">Recitations for Children.</span></h3>
-
-<div class="figcenter-line" style="width: 250px;">
-<img src="images/line12.jpg" width="250" height="30" alt="" />
-</div>
-
-</div>
-
-<p>The perplexing question of obtaining
-something suitable for the “little tots” to
-recite, is solved by the choice collection of
-pieces here presented. The pathetic, the
-humorous, the beautiful, in short, every variety
-of recitation for the young people, may
-be found in the following pages, including
-drills and motion recitals, and selections for
-special occasions, all of which are entertaining
-and admirably suited to the little folks.</p>
-
-<div class="figcenter-line" style="width: 300px;">
-<img src="images/line11.jpg" width="300" height="15" alt="" />
-</div>
-
-<h4>TWO LITTLE MAIDENS</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" /></div>
-    <div class="dropcapline">A sorry little maiden</div>
-    <div class="verse indent2">Is Miss Fuss-and-Feather,</div>
-    <div class="verse indent0">Crying for the golden moon,</div>
-    <div class="verse indent2">Grumbling at the weather;</div>
-    <div class="verse indent0">The sun will fade her gown,</div>
-    <div class="verse indent2">The rain will spoil her bonnet,</div>
-    <div class="verse indent0">If she ventures out,</div>
-    <div class="verse indent2">And lets it fall upon it.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">A merry little maiden</div>
-    <div class="verse indent2">Is Miss Rags-and-Tatters,</div>
-    <div class="verse indent0">Chatting of the twinkling stars</div>
-    <div class="verse indent2">And many other matters;</div>
-    <div class="verse indent0">Dancing in the sunshine,</div>
-    <div class="verse indent2">Pattering through the rain,</div>
-    <div class="verse indent0">Her clothes never cause her</div>
-    <div class="verse indent2">A single thought or pain.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Agnes Carr.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 250px;">
-<img src="images/line13.jpg" width="250" height="30" alt="" />
-</div>
-
-<h4>THE WAY TO SUCCEED.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-d.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">Drive the nail aright, boys,</div>
-    <div class="verse indent2">Hit it on the head;</div>
-    <div class="verse indent0">Strike with all your might, boys,</div>
-    <div class="verse indent2">While the iron’s red.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">When you’ve work to do, boys,</div>
-    <div class="verse indent2">Do it with a will;</div>
-    <div class="verse indent0">They who reach the top, boys,</div>
-    <div class="verse indent2">First must climb the hill.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Standing at the foot, boys,</div>
-    <div class="verse indent2">Gazing at the sky,</div>
-    <div class="verse indent0">How can you ever get up, boys,</div>
-    <div class="verse indent2">If you never try?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Though you stumble oft, boys,</div>
-    <div class="verse indent2">Never be downcast;</div>
-    <div class="verse indent0">Try, and try again, boys—</div>
-    <div class="verse indent2">You’ll succeed at last.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>WHEN PA BEGINS TO SHAVE.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">When Sunday mornin’ comes around</div>
-    <div class="verse indent2">My pa hangs up his strop,</div>
-    <div class="verse indent0">An’ takes his razor out an’ makes</div>
-    <div class="verse indent2">It go c’flop! c’flop!</div>
-    <div class="verse indent0">An’ then he gits his mug an’ brush</div>
-    <div class="verse indent2">An’ yells t’ me, “Behave!”</div>
-    <div class="verse indent0">I tell y’u, things is mighty still—</div>
-    <div class="verse indent2">When pa begins t’ shave.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then pa he stirs his brush around</div>
-    <div class="verse indent2">An’ makes th’ soapsuds fly;</div>
-    <div class="verse indent0">An’ sometimes, when he stirs too hard,</div>
-    <div class="verse indent2">He gits some in his eye.</div>
-    <div class="verse indent0">I tell y’u, but it’s funny then</div>
-    <div class="verse indent2">To see pa stamp and rave;</div>
-    <div class="verse indent0">But y’u mustn’t git ketched laffin’—</div>
-    <div class="verse indent2">When pa begins t’ shave.</div><span class="pagenum"><a id="Page_302"></a>[302]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Th’ hired hand he dassent talk,</div>
-    <div class="verse indent2">An’ even ma’s afeard,</div>
-    <div class="verse indent0">An’ y’u can hear th’ razor click</div>
-    <div class="verse indent2">A-cuttin’ through pa’s beard!</div>
-    <div class="verse indent0">An’ then my Uncle Bill he laffs</div>
-    <div class="verse indent2">An’ says: “Gosh! John, you’re brave,”</div>
-    <div class="verse indent0">An’ pa he swears, an’ ma jest smiles—</div>
-    <div class="verse indent2">When pa begins t’ shave.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">When pa gits done a-shavin’ of</div>
-    <div class="verse indent2">His face, he turns around,</div>
-    <div class="verse indent0">And Uncle Bill says: “Why, John,</div>
-    <div class="verse indent2">Yu’r chin looks like plowed ground!”</div>
-    <div class="verse indent0">An’ then he laffs—jest laffs an’ laffs,</div>
-    <div class="verse indent2">But I got t’ behave,</div>
-    <div class="verse indent0">Cos things’s apt to happen quick—</div>
-    <div class="verse indent2">When pa begins t’ shave.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Harry Douglass Robbins.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 215px;">
-<img src="images/line8.jpg" width="215" height="30" alt="" />
-</div>
-
-<h4>A BOY’S VIEW.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-g.jpg" width="125" height="100" alt="" />
-</div>
-
-<p class="dropcap">Girl is very nice! Everybody who
-has not the misfortune to be girl
-will allow this. Nice girl will allow
-it also as far as itself is concerned. Strange girl
-is objectionable in the eyes of girl generally.</p>
-
-<p>Powder improves girl sometimes, but it
-seldom finds this out until it is suggested to
-it by one of experience.</p>
-
-<p>Healthy girl costs its parents less money
-for doctors’ bills, but persons who write
-romantic tales for circulating libraries choose
-unhealthy and pasty faced girl to write about—the
-swooning kind preferred.</p>
-
-<p>If I were not boy I think I should like to
-be girl. It’s best fun to be boy when there’s
-plenty of girl about.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>MAMMY’S CHURNING SONG.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">Set still, honey, let ole Mammy tell yer ’bout de churn,</div>
-    <div class="verse indent0">Wid de cream en clabber dashin’,</div>
-    <div class="verse indent0">En de buttermilk er-splashin’.</div>
-    <div class="verse indent0">Dis de chune hit am er-singin’ ’fore hit ’gin ter turn:</div>
-    <div class="verse indent0">Jiggery, jiggery, jiggery, jum,</div>
-    <div class="verse indent0">Bum-bum-bum,</div>
-    <div class="verse indent0">But-ter-come,</div>
-    <div class="verse indent0">Massa give old nigger some.</div>
-  </div>
-</div>
-</div>
-
-<div class="blockquote">
-
-<p>Jump down, honey, en fotch me dat rag fum
-de table, fer ter wipe off dis hyah led. Tole yer
-so, dat milk gwine ter splatter up hyah ’reckly!
-Dar now, dat’s er good chile, git back in mer
-lap.</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Now de cream, en milk, en clabber’s churnin’ up so fas’,</div>
-    <div class="verse indent6">Hyah hit splatterin’ en er-splutterin’,</div>
-    <div class="verse indent6">En er-mixin’, en er-mutterin’,</div>
-    <div class="verse indent0">In de churn en roun’ de dasher, singin’ ter de las’;</div>
-    <div class="verse indent6">Jiggery, jiggery, jiggery, jum,</div>
-    <div class="verse indent10">Bum-bum-bum,</div>
-    <div class="verse indent10">But-ter-come,</div>
-    <div class="verse indent6">Massa gib old nigger some.</div>
-  </div>
-</div>
-</div>
-
-<div class="blockquote">
-
-<p>Uh-er! Teck kyah, honey, keep dem fingers
-way fum dar! Butter mos’ come now: set still
-jis’ er leetle w’ile longer.</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Sooen de lumps ob butter ’ll be er-floatin’ on de top—</div>
-    <div class="verse indent6">Now de ole churn’s fa’rly hummin’,</div>
-    <div class="verse indent6">Tell yer wot, de butter comin’—</div>
-    <div class="verse indent0">Done come! Mammy’s arm so ti-yerd, now she’s gwine ter stop.</div>
-    <div class="verse indent6">Jiggery, jiggery, jiggery, jum,</div>
-    <div class="verse indent10">Bum-bum-bum,</div>
-    <div class="verse indent10">But-ter-come,</div>
-    <div class="verse indent6">Mammy ’ll gib de baby some.</div>
-  </div>
-</div>
-</div>
-
-<div class="blockquote">
-
-<p>Dar now! [<i>removing the top and giving the
-dasher a circular motion</i>] jis’ peep in dar en see
-de lumps ob yaller butter er-huddlin’ tergedder.
-Now run fotch yer leetle blue mug, en Mammy
-’ll gib yer some nice sweet buttermilk right outen
-dis hyah churn.</p>
-
-<p class="right"><span class="smcap">Edward A. Oldham.</span></p>
-
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_303"></a>[303]</span></p>
-
-<h4>THE TWENTY FROGS!</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">Twenty froggies went to school,</div>
-    <div class="verse indent0">Down beside a rushy pool;</div>
-    <div class="verse indent0">Twenty little coats of green,</div>
-    <div class="verse indent0">Twenty vests all white and clean.</div>
-    <div class="verse indent0">“We must be in time,” said they;</div>
-    <div class="verse indent0">“First we study, then we play;</div>
-    <div class="verse indent0">That is how we keep the rule</div>
-    <div class="verse indent0">When we froggies go to school.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Master Bullfrog, grave and stern,</div>
-    <div class="verse indent0">Called the classes in their turn;</div>
-    <div class="verse indent0">Taught them how to nobly strive,</div>
-    <div class="verse indent0">Likewise how to leap and dive.</div>
-    <div class="verse indent0">From his seat upon the log,</div>
-    <div class="verse indent0">Taught them how to say “Ker-chug,”</div>
-    <div class="verse indent0">Also how to dodge a blow</div>
-    <div class="verse indent0">From the sticks which bad boys throw.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Twenty froggies grew up fast;</div>
-    <div class="verse indent0">Bullfrogs they became at last;</div>
-    <div class="verse indent0">Not one dunce among the lot,</div>
-    <div class="verse indent0">Not one lesson they forgot;</div>
-    <div class="verse indent0">Polished in a high degree,</div>
-    <div class="verse indent0">As each froggie ought to be;</div>
-    <div class="verse indent0">Now they sit on other logs,</div>
-    <div class="verse indent0">Teaching other little frogs.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 215px;">
-<img src="images/line8.jpg" width="215" height="30" alt="" />
-</div>
-
-<h4>ONLY A BIRD.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">Only a bird! and a vagrant boy</div>
-    <div class="verse indent2">Fits a pebble with a boyish skill</div>
-    <div class="verse indent0">Into the fold of a supple sling.</div>
-    <div class="verse indent2">“Watch me hit him. I can an’ I will.”</div>
-    <div class="verse indent0">Whirr! and a silence chill and sad</div>
-    <div class="verse indent2">Falls like a pall on the vibrant air,</div>
-    <div class="verse indent0">From a birchen tree, whence a shower of song</div>
-    <div class="verse indent2">Has fallen in ripples everywhere.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Only a bird! and the tiny throat</div>
-    <div class="verse indent2">With quaver and trill and whistle of flute,</div>
-    <div class="verse indent0">Bruised and bleeding and silent lies</div>
-    <div class="verse indent2">There at his feet. Its chords are mute.</div>
-    <div class="verse indent0">And the boy, with a loud and boisterous laugh,</div>
-    <div class="verse indent2">Proud of his prowess and brutal skill,</div>
-    <div class="verse indent0">Throws it aside with a careless toss—</div>
-    <div class="verse indent2">“Only a bird! it was made to kill.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Only a bird! yet far away</div>
-    <div class="verse indent2">Little ones clamor and cry for food—</div>
-    <div class="verse indent0">Clamor and cry, and the chill of night</div>
-    <div class="verse indent2">Settles over the orphan brood.</div>
-    <div class="verse indent0">Weaker and fainter the moaning call</div>
-    <div class="verse indent2">For a brooding breast that shall never come.</div>
-    <div class="verse indent0">Morning breaks o’er a lonely nest,</div>
-    <div class="verse indent2">Songless and lifeless; mute and dumb.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Mary Morrison.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 250px;">
-<img src="images/line13.jpg" width="250" height="30" alt="" />
-</div>
-
-<h4>THE WAY TO DO IT.</h4>
-
-<p>Teach the child to make all the gestures and facial expressions. This is
-a captivating recital for any “little tot” who can do it well, and this
-will require patient practice.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I’ll tell you how I speak a piece:</div>
-    <div class="verse indent2">First, I make my bow;</div>
-    <div class="verse indent0">Then I bring my words out clear</div>
-    <div class="verse indent2">And plain as I know how.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Next, I throw my hands up—so!</div>
-    <div class="verse indent2">Then I lift my eyes:</div>
-    <div class="verse indent0">That’s to let my hearers know</div>
-    <div class="verse indent2">Something doth surprise.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Next, I grin and show my teeth,</div>
-    <div class="verse indent2">Nearly every one,</div>
-    <div class="verse indent0">Shake my shoulders, hold my sides:</div>
-    <div class="verse indent2">That’s the sign of fun.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Next, I start, and knit my brows,</div>
-    <div class="verse indent2">Hold my head erect:</div>
-    <div class="verse indent0">Something’s wrong, you see, and I</div>
-    <div class="verse indent2">Decidedly object.</div><span class="pagenum"><a id="Page_304"></a>[304]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then I wabble at my knees,</div>
-    <div class="verse indent2">Clutch at shadows near,</div>
-    <div class="verse indent0">Tremble well from top to toe:</div>
-    <div class="verse indent2">That’s the sign of fear.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Now I start, and with a leap,</div>
-    <div class="verse indent2">Seize an airy dagger.</div>
-    <div class="verse indent0">“Wretch!” I cry: that’s tragedy</div>
-    <div class="verse indent2">Every soul to stagger.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then I let my voice grow faint,</div>
-    <div class="verse indent2">Gasp, and hold my breath,</div>
-    <div class="verse indent0">Tumble down and plunge about:</div>
-    <div class="verse indent2">That’s a villain’s death.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Quickly then I come to life,</div>
-    <div class="verse indent2">Perfectly restored;</div>
-    <div class="verse indent0">With a bow my speech is done.</div>
-    <div class="verse indent2">Now you’ll please applaud.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Mary Mapes Dodge.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 250px;">
-<img src="images/line13.jpg" width="250" height="30" alt="" />
-</div>
-
-<h4>WE MUST ALL SCRATCH.</h4>
-
-<p>For five little children and one older, a girl, who takes the part of the
-mother. They stand in a row and each steps forward and recites the verse.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">Said the first little chicken,</div>
-    <div class="verse indent2">With a queer little squirm,</div>
-    <div class="verse indent0">“I wish I could find</div>
-    <div class="verse indent2">A fat little worm.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Said the next little chicken,</div>
-    <div class="verse indent2">With an odd little shrug,</div>
-    <div class="verse indent0">“I wish I could find</div>
-    <div class="verse indent2">A fat little bug,”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Said the third little chicken,</div>
-    <div class="verse indent2">With a sharp little squeal,</div>
-    <div class="verse indent0">“I wish I could find</div>
-    <div class="verse indent2">Some nice yellow meal.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Said the fourth little chicken,</div>
-    <div class="verse indent2">With a small sigh of grief,</div>
-    <div class="verse indent0">“I wish I could find</div>
-    <div class="verse indent2">A green little leaf.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Said the fifth little chicken,</div>
-    <div class="verse indent2">With a faint little moan,</div>
-    <div class="verse indent0">“I wish I could find</div>
-    <div class="verse indent2">A wee gravel stone.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Now, see here,” said the mother,</div>
-    <div class="verse indent2">From the green garden patch,</div>
-    <div class="verse indent0">“If you want any breakfast,</div>
-    <div class="verse indent2">Just come here and scratch.”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 250px;">
-<img src="images/line13.jpg" width="250" height="30" alt="" />
-</div>
-
-<h4>KITTY AT SCHOOL.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-c.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">Come, Kitty dear, I’ll tell you what</div>
-    <div class="verse indent2">We’ll do this rainy day;</div>
-    <div class="verse indent0">Just you and I, all by ourselves,</div>
-    <div class="verse indent2">At keeping <i>school</i>, will play.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The teacher, Kitty, I will be;</div>
-    <div class="verse indent2">And <i>you</i> shall be the class;</div>
-    <div class="verse indent0">And you must close attention give,</div>
-    <div class="verse indent2">If you expect to pass.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Now, Kitty, “C-A-T” spells <i>cat</i>.</div>
-    <div class="verse indent2">Stop playing with your tail!</div>
-    <div class="verse indent0">You are so heedless, I am sure</div>
-    <div class="verse indent2">In spelling you will fail.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“C-A” oh, Kitty! <i>do</i> sit still!</div>
-    <div class="verse indent2">You must not chase that fly!</div>
-    <div class="verse indent0">You’ll never learn a single word,</div>
-    <div class="verse indent2">You do not even try.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I’ll tell you what my teacher says</div>
-    <div class="verse indent2">To me most ev’ry day—</div>
-    <div class="verse indent0">She says that girls can never learn</div>
-    <div class="verse indent2">While they are full of play.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">So try again—another word;</div>
-    <div class="verse indent2">“L-A-C-E” spells “<i>lace</i>.”</div>
-    <div class="verse indent0">Why, Kitty, it is not polite</div>
-    <div class="verse indent2">In school to wash your face!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">You are a naughty, naughty puss,</div>
-    <div class="verse indent2">And keep you in I should;</div>
-    <div class="verse indent0">But then, I love you, dear, so much</div>
-    <div class="verse indent2">I don’t see how I could!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">O, see! the sun shines bright again!</div>
-    <div class="verse indent2">We’ll run out doors and play;</div>
-    <div class="verse indent0">We’ll leave our school and lessons for</div>
-    <div class="verse indent2">Another rainy day.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Kate Ulmer.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 250px;">
-<img src="images/line13.jpg" width="250" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_305"></a>[305]</span></p>
-
-<h4>A FELLOW’S MOTHER.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" /></div>
-    <div class="dropcapline">“A fellow’s mother,” said Fred the wise,</div>
-    <div class="verse indent0">With his rosy cheeks and his merry eyes,</div>
-    <div class="verse indent0">“Knows what to do if a fellow gets hurt</div>
-    <div class="verse indent0">By a thump, or a bruise, or a fall in the dirt.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“A fellow’s mother has bags and strings,</div>
-    <div class="verse indent0">Rags and buttons, and lots of things;</div>
-    <div class="verse indent0">No matter how busy she is, she’ll stop</div>
-    <div class="verse indent0">To see how well you can spin your top.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“She does not care—not much, I mean—</div>
-    <div class="verse indent0">If a fellow’s face is not always clean;</div>
-    <div class="verse indent0">And if your trousers are torn at the knee</div>
-    <div class="verse indent0">She can put in a patch that you’d never see.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“A fellow’s mother is never mad,</div>
-    <div class="verse indent0">But only sorry if you are bad,</div>
-    <div class="verse indent0">And I’ll tell you this, if you’re only true,</div>
-    <div class="verse indent0">She’ll always forgive whate’er you do.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“I’m sure of this,” said Fred the wise,</div>
-    <div class="verse indent0">With a manly look in his laughing eyes,</div>
-    <div class="verse indent0">“I’ll mind my mother, quick, every day,</div>
-    <div class="verse indent0">A fellow’s a baby that don’t obey.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">M. E. Sangster.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>THE STORY KATIE TOLD.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-n.jpg" width="140" height="110" alt="" />
-</div>
-
-<p class="dropcap">Now, stay right still and listen, kitty-cat,
-and I’ll tell you a story.</p>
-
-<p>Once there was a girl.</p>
-
-<p>She was a pretty good little girl,
-and minded her papa ’n’ mamma everything
-they said, only sometimes she didn’t, and then
-she was naughty; but she was always sorry,
-and said she wouldn’t do so any more, and
-her mamma’d forgive her.</p>
-
-<p>She was going to hang up her stocking.</p>
-
-<p>“You’ll have to be pretty good, ’lest
-’twon’t be filled,” said her mamma.</p>
-
-<p>“’Less maybe there’ll be a big bunch of
-sticks in it,” said her papa.</p>
-
-<p>Do you think that’s a nice way to talk,
-kitty-cat? I don’t.</p>
-
-<p>So the little girl was good as she could be,
-’less she was bigger, and didn’t cry and slap
-her little sister hardly any at all, and always
-minded her mamma when she came where
-the chimney was, ’specially much.</p>
-
-<p>So she hung up her stocking.</p>
-
-<p>And in the night she got awake, and
-wanted it to come morning; but in the
-morning she didn’t get awake till ’twas all
-sunshiny out doors.</p>
-
-<p>Then she ran quick as she could to look at
-her stocking where she’d hung it; and true’s
-you live, kitty-cat, there wasn’t the leastest
-thing in it—not the leastest bit of a scrimp!</p>
-
-<p>Oh, the little girl felt dreadfully! How’d
-you feel, s’pose it had been you, kitty-cat?</p>
-
-<p>She ’menced to cry, the little girl did, and
-she kept going harder ’n harder, till by’mby
-she screeched orfly, and her mamma came
-running to see what the matter was.</p>
-
-<p>“Mercy me!” said her mamma. “Look
-over by the window ’fore you do that any
-more, Kathie.”</p>
-
-<p>That little girl’s name was Kathie too,
-kitty-cat, just the same’s mine.</p>
-
-<p>So she looked over by the window, the
-way her mamma said, and—oh! there was
-the loveliest dolly’s house you ever saw in
-all your born life.</p>
-
-<p>It had curtains to pull to the sides when
-you wanted to play, and pull in front when
-you didn’t.</p>
-
-<p>There was a bed-room, kitty-cat, and a
-dinner-room, and a kitchen, and a parlor, and
-they all had carpets on.</p>
-
-<p>And there was the sweetest dolly in the
-parlor, all dressed up in blue silk! Oh,
-dear! And a penano, to play real little<span class="pagenum"><a id="Page_306"></a>[306]</span>
-tunes on, and a rocking-chair, and—O kitty-cat!
-I can’t begin to tell you half about it.</p>
-
-<p>I can’t about the bed-room, either, and the
-dinner-room.</p>
-
-<p>But the kitchen was the very bestest of
-all. There was a stove—a teeny tonty mite
-of a one, kitty-cat,—with dishes just zactly
-like mamma’s, only littler, of course, and
-fry-pans and everything; and spoons to
-stir with, and a rolling-pin, and two little cutters-out,
-and the darlingest baker-sheet ever
-you saw!</p>
-
-<p>And the first thing that little girl did was
-to make some teenty mites of cookies, ’cause
-her mamma let her; and if you’ll come right
-down stairs, kitty-cat, I’ll give you one.</p>
-
-<p>’Cause I was that little girl, kitty-cat, all
-the time.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 215px;">
-<img src="images/line8.jpg" width="215" height="30" alt="" />
-</div>
-
-<h4>A LITTLE ROGUE.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-g.jpg" width="125" height="100" alt="" /></div>
-    <div class="dropcapline">Grandma was nodding, I rather think;</div>
-    <div class="verse indent0">Harry was sly and quick as a wink;</div>
-    <div class="verse indent0">He climbed in the back of her great arm-chair,</div>
-    <div class="verse indent0">And nestled himself very snugly there;</div>
-    <div class="verse indent0">Grandma’s dark locks were mingled with white,</div>
-    <div class="verse indent0">And quick this fact came to his sight;</div>
-    <div class="verse indent0">A sharp twinge soon she felt at her hair,</div>
-    <div class="verse indent0">And woke with a start, to find Harry there.</div>
-    <div class="verse indent0">“Why, what are you doing, my child?” she said;</div>
-    <div class="verse indent0">He answered, “I’se pulling a basting fread?”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>MATTIE’S WANTS AND WISHES.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I wants a piece of cal’co</div>
-    <div class="verse indent2">To make my doll a dess;</div>
-    <div class="verse indent0">I doesn’t want a big piece;</div>
-    <div class="verse indent2">A yard’ll do, I guess.</div>
-    <div class="verse indent0">I wish you’d fred my needle,</div>
-    <div class="verse indent2">And find my fimble, too—</div>
-    <div class="verse indent0">I has such heaps o’ sewin’</div>
-    <div class="verse indent2">I don’t know what to do.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I wants my Maud a bonnet;</div>
-    <div class="verse indent2">She hasn’t none at all;</div>
-    <div class="verse indent0">And Fred must have a jacket;</div>
-    <div class="verse indent2">His ozzer one’s too small.</div>
-    <div class="verse indent0">I wants to go to grandma’s;</div>
-    <div class="verse indent2">You promised me I might.</div>
-    <div class="verse indent0">I know she’d like to see me;</div>
-    <div class="verse indent2">I wants to go to-night.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">She lets me wipe the dishes,</div>
-    <div class="verse indent2">And see in grandpa’s watch—</div>
-    <div class="verse indent0">I wish I’d free, four pennies</div>
-    <div class="verse indent2">To buy some butter-scotch.</div>
-    <div class="verse indent0">My Hepsy tored her apron</div>
-    <div class="verse indent2">A tum’lin’ down the stair,</div>
-    <div class="verse indent0">And Cæsar’s lost his pantloons.</div>
-    <div class="verse indent2">And needs anozzer pair.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I wants some newer mittens—</div>
-    <div class="verse indent2">I wish you’d knit me some,</div>
-    <div class="verse indent0">’Cause most my fingers freezes,</div>
-    <div class="verse indent2">They leaks so in the fum.</div>
-    <div class="verse indent0">I wored ’em out last summer,</div>
-    <div class="verse indent2">A pullin’ George’s sled;</div>
-    <div class="verse indent0">I wish you wouldn’t laugh so—</div>
-    <div class="verse indent2">It hurts me in my head.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I wish I had a cookie;</div>
-    <div class="verse indent2">I’m hungry’s I can be.</div>
-    <div class="verse indent0">If you hasn’t pretty large ones,</div>
-    <div class="verse indent2">You’d better bring me free.</div>
-    <div class="verse indent0">I wish I had a p’ano—</div>
-    <div class="verse indent2">Won’t you buy me one to keep?</div>
-    <div class="verse indent0">O, dear! I feels so tired,</div>
-    <div class="verse indent2">I wants to go to sleep.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Grace Gordon.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_307"></a>[307]</span></p>
-
-<h4>WON’T AND WILL.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">Sha’n’t and Won’t were two little brothers,</div>
-    <div class="verse indent2">Angry, and sullen, and gruff;</div>
-    <div class="verse indent0">Try and Will are dear little sisters,</div>
-    <div class="verse indent2">One can scarcely love them enough.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Sha’n’t and Won’t looked down on their noses,</div>
-    <div class="verse indent2">Their faces were dismal to see;</div>
-    <div class="verse indent0">Try and Will are brighter than roses</div>
-    <div class="verse indent2">In June, and as blithe as a bee.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Sha’n’t and Won’t are backward and stupid,</div>
-    <div class="verse indent2">Little, indeed, did they know;</div>
-    <div class="verse indent0">Try and Will learn something new daily,</div>
-    <div class="verse indent2">And seldom are heedless or slow.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Sha’n’t and Won’t loved nothing, no, nothing,</div>
-    <div class="verse indent2">So much as to have their own way;</div>
-    <div class="verse indent0">Try and Will give up to their elders,</div>
-    <div class="verse indent2">And try to please others at play.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Sha’n’t and Won’t came to terrible trouble:</div>
-    <div class="verse indent2">Their story is awful to tell;</div>
-    <div class="verse indent0">Try and Will are in the schoolroom,</div>
-    <div class="verse indent2">Learning to read and spell.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 250px;">
-<img src="images/line13.jpg" width="250" height="30" alt="" />
-</div>
-
-<h4>WILLIE’S BREECHES.</h4>
-
-<p>The boy’s garments should suit the description contained in the piece.
-In reciting the last two lines he should point to his head, stretch out
-his hands to show them, look down at his feet, and then catch hold of his
-pants and spread them out on the sides, putting on at the same time a
-look of pride.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I’m just a little boy, you know,</div>
-    <div class="verse indent2">And hardly can remember,</div>
-    <div class="verse indent0">When people ask how old I am,</div>
-    <div class="verse indent2">To tell ’em four last ’vember.</div>
-    <div class="verse indent0">And yet for all I am so small,</div>
-    <div class="verse indent2">I made so many stitches</div>
-    <div class="verse indent0">For mamma’s fingers, that she put</div>
-    <div class="verse indent2">Her little boy in breeches.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">You may be sure that I was glad;</div>
-    <div class="verse indent2">I marched right up and kissed her,</div>
-    <div class="verse indent0">Then gave my bibs and petticoats,</div>
-    <div class="verse indent2">And all, to baby sister.</div>
-    <div class="verse indent0">I never whine, now I’m so fine,</div>
-    <div class="verse indent2">And don’t get into messes;</div>
-    <div class="verse indent0">For mamma says, if I am bad,</div>
-    <div class="verse indent2">She’ll put me back in dresses!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There’s buttons up and down my legs,</div>
-    <div class="verse indent2">And buttons on my jacket;</div>
-    <div class="verse indent0">I’d count ’em all, but baby makes</div>
-    <div class="verse indent2">Just now, an awful racket.</div>
-    <div class="verse indent0">She’s sitting there, behind the chair,</div>
-    <div class="verse indent2">With blocks, and dolls, and kitty,</div>
-    <div class="verse indent0">A playing “go to gran’ma’s house,”</div>
-    <div class="verse indent2">Alone, ’n that’s a pity.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I think I’ll go and help her some,</div>
-    <div class="verse indent2">I’m sure it would amuse me;</div>
-    <div class="verse indent0">So I won’t bother any more</div>
-    <div class="verse indent2">To talk—if you’ll excuse me.</div>
-    <div class="verse indent0">But first I’ll stand before the glass,</div>
-    <div class="verse indent2">From top to toe it reaches;</div>
-    <div class="verse indent0">Now look! there’s head, and hands, and feet,</div>
-    <div class="verse indent2">But all the rest is breeches!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Etta G. Salsbury.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>LITTLE DORA’S SOLILOQUY.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I tan’t see what our baby boy is dood for anyway:</div>
-    <div class="verse indent0">He don’t know how to walk or talk, he don’t know how to play;</div>
-    <div class="verse indent0">He tears up ev’ry single zing he posser-bil-ly tan,</div>
-    <div class="verse indent0">An’ even tried to break, one day, my mamma’s bestest fan.</div>
-    <div class="verse indent0">He’s al’ays tumblin’ ’bout ze floor, an’ gives us awful scares,</div>
-    <div class="verse indent0">An’ when he goes to bed at night, he never says his prayers.</div><span class="pagenum"><a id="Page_308"></a>[308]</span>
-    <div class="verse indent0">On Sunday, too, he musses up my go-to-meetin’ clothes,</div>
-    <div class="verse indent0">An’ once I foun’ him hard at work a-pinc’in’ Dolly’s nose;</div>
-    <div class="verse indent0">An’ ze uzzer day zat naughty boy (now what you s’pose you zink?)</div>
-    <div class="verse indent0">Upset a dreat big bottle of my papa’s writin’ ink;</div>
-    <div class="verse indent0">An’, ’stead of kyin’ dood an’ hard, as course he ought to done,</div>
-    <div class="verse indent0">He laughed and kicked his head ’most off, as zough he zought ’twas fun.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He even tries to reach up high, an’ pull zings off ze shelf,</div>
-    <div class="verse indent0">An’ he’s al’ays wantin’ you, of course, jus’ when you wants you’self.</div>
-    <div class="verse indent0">I rather dess, I really do, from how he pulls my turls,</div>
-    <div class="verse indent0">Zey all was made a-purpose for to ’noy us little dirls;</div>
-    <div class="verse indent0">An’ I wish zere wasn’t no such zing as naughty baby boys</div>
-    <div class="verse indent0">Why—why, zat’s him a-kyin’ now; he makes a drefful noise,</div>
-    <div class="verse indent0">I dess I better run and see, for if he has—boo-hoo!—</div>
-    <div class="verse indent0">Felled down ze stairs and killed his-self, whatever s-s-s’all I do!</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>THE SQUIRREL’S LESSON.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">Two little squirrels, out in the sun,</div>
-    <div class="verse indent0">One gathered nuts, and the other had none;</div>
-    <div class="verse indent0">“Time enough yet,” his constant refrain;</div>
-    <div class="verse indent0">“Summer is still just on the wane.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Listen, my child, while I tell you his fate:</div>
-    <div class="verse indent0">He roused him at last, but he roused him too late;</div>
-    <div class="verse indent0">Down fell the snow from a pitiless cloud,</div>
-    <div class="verse indent0">And gave little squirrel a spotless white shroud.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Two little boys in a school-room were placed,</div>
-    <div class="verse indent0">One always perfect, the other disgraced;</div>
-    <div class="verse indent0">“Time though yet for my learning,” he said;</div>
-    <div class="verse indent0">“I will climb, by and by, from the foot to the head.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Listen, my darling; their locks are turned gray;</div>
-    <div class="verse indent0">One as a Governor sitteth to-day;</div>
-    <div class="verse indent0">The other, a pauper, looks out at the door</div>
-    <div class="verse indent0">Of the almshouse, and idles his days as of yore.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Two kinds of people we meet every day;</div>
-    <div class="verse indent0">One is at work, the other at play,</div>
-    <div class="verse indent0">Living uncared for, dying unknown—</div>
-    <div class="verse indent0">The busiest hive hath ever a drone.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 215px;">
-<img src="images/line8.jpg" width="215" height="30" alt="" />
-</div>
-
-<h4>LITTLE KITTY.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">Once there was a little kitty,</div>
-    <div class="verse indent2">Whiter than snow;</div>
-    <div class="verse indent0">In the barn she used to frolic,</div>
-    <div class="verse indent2">Long time ago;</div>
-    <div class="verse indent0">In the barn a little mousie</div>
-    <div class="verse indent2">Ran to and fro;</div>
-    <div class="verse indent0">For she heard the kitty coming,</div>
-    <div class="verse indent2">Long time ago.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Two black eyes had little kitty,</div>
-    <div class="verse indent2">Black as a sloe;</div>
-    <div class="verse indent0">And they spied the little mousie,</div>
-    <div class="verse indent2">Long time ago.</div>
-    <div class="verse indent0">Nine pearl teeth had little kitty,</div>
-    <div class="verse indent2">All in a row;</div>
-    <div class="verse indent0">And they bit the little mousie,</div>
-    <div class="verse indent2">Long time ago.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">When the teeth bit little mousie,</div>
-    <div class="verse indent2">Little mousie cried, “Oh!”</div>
-    <div class="verse indent0">But she got away from kitty,</div>
-    <div class="verse indent2">Long time ago.</div>
-    <div class="verse indent0">Kitty White so shyly comes,</div>
-    <div class="verse indent2">To catch the mousie Gray;</div>
-    <div class="verse indent0">But mousie hears her softly step</div>
-    <div class="verse indent2">And quickly runs away.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 250px;">
-<img src="images/line12.jpg" width="250" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_309"></a>[309]</span></p>
-
-<h4>LABOR SONG.</h4>
-
-<p>This is a charming exercise for boys and girls. Each should be dressed in
-the costume of the character to be represented, and, as far as possible,
-should go through the motions called for by the part. The properties can
-all be placed on the stage before the performance begins. Each character
-comes in alone, those who have already entered remaining until the close.
-All unite in singing the chorus, after each performer has spoken or sung
-(according to choice) the part he or she is to act. Music suitable for
-this selection is herewith furnished. Come in promptly and avoid long
-pauses.</p>
-
-<div class="figcenter" style="width: 700px;">
-<img src="images/music11.jpg" width="700" height="600" alt="[sheet music]" />
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse center"><span class="smcap">The Farmer</span> (<i>with scythe and dressed like a farmer</i>.)</div>
-  </div>
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I’m glad I am a husbandman,</div>
-    <div class="verse indent2">My acres broad to till,</div>
-    <div class="verse indent0">And in the Autumn of the year</div>
-    <div class="verse indent2">My many barns to fill.</div>
-    <div class="verse indent0">How happy is the farmer’s life,</div>
-    <div class="verse indent2">’Tis one of peace and joy,</div>
-    <div class="verse indent0">To reap and sow, and plow and mow,</div>
-    <div class="verse indent2">And thus the time employ.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><span class="smcap">Chorus.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2">How happy is the laborer,</div>
-    <div class="verse indent4">For when the day is o’er,</div>
-    <div class="verse indent2">The evening shadows gather round,</div>
-    <div class="verse indent4">That he may work no more;</div>
-    <div class="verse indent2">How happy is the laborer,</div>
-    <div class="verse indent4">His heart is light and gay,</div>
-    <div class="verse indent2">And merrily his song rings out,</div>
-    <div class="verse indent4">Throughout the livelong day.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><span class="smcap">The Farmer’s Wife</span> (<i>kneading bread</i>).</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I’m glad I am a farmer’s wife,</div>
-    <div class="verse indent2">The wheaten bread to knead,</div>
-    <div class="verse indent0">And when the men come home from work</div>
-    <div class="verse indent2">Their hungry mouths to feed.</div>
-    <div class="verse indent0">I keep my house in perfect trim,</div>
-    <div class="verse indent2">I sweep and dust and bake,</div>
-    <div class="verse indent0">And when the busy day is done,</div>
-    <div class="verse indent2">Sweet is the rest I take.—<span class="smcap">Chorus.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><span class="smcap">The Farmer’s Girl</span> (<i>with broom and milk pail</i>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I’m glad I am a farmer’s girl,</div><span class="pagenum"><a id="Page_310"></a>[310]</span>
-    <div class="verse indent2">I love the farmer’s life,</div>
-    <div class="verse indent0">And if I ever wed at all,</div>
-    <div class="verse indent2">I’ll be a farmer’s wife.</div>
-    <div class="verse indent0">My milking pails make music sweet,</div>
-    <div class="verse indent2">I’m happy all the day,</div>
-    <div class="verse indent0">Work gives my cheek the glow of health,</div>
-    <div class="verse indent2">And drives dull care away.—<span class="smcap">Chorus.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><span class="smcap">The Farmer’s Boy</span> (<i>with rake</i>).</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I’m glad I am a farmer’s boy,</div>
-    <div class="verse indent2">To plant and rake and hoe—</div>
-    <div class="verse indent0">I get upon old Dobbin’s back,</div>
-    <div class="verse indent2">And don’t I make him go?</div>
-    <div class="verse indent0">I shout and make the welkin ring,</div>
-    <div class="verse indent2">I sing my merry song,</div>
-    <div class="verse indent0">And, roaming through the fields and woods,</div>
-    <div class="verse indent2">I’m jolly all day long. [<i>Boy whistles Chorus.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><span class="smcap">Dairy Maid</span> (<i>with churn</i>.)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I’m glad I am a dairy maid,</div>
-    <div class="verse indent2">My butter is so yellow;</div>
-    <div class="verse indent0">I know the lad that catches me</div>
-    <div class="verse indent2">Will be a lucky fellow.</div>
-    <div class="verse indent0">I’m glad I am a dairy maid,</div>
-    <div class="verse indent2">My heart is light and gay,</div>
-    <div class="verse indent0">And with my milk and cream and churn,</div>
-    <div class="verse indent2">I’m happy all the day.—<span class="smcap">Chorus.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><span class="smcap">Washerwoman</span> (<i>with tub and washboard</i>).</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I’m glad I am a washerwoman,</div>
-    <div class="verse indent2">Ye know me by my look,</div>
-    <div class="verse indent0">I’ll wash and starch your snowy clothes,</div>
-    <div class="verse indent2">And fold them like a book;</div>
-    <div class="verse indent0">Then sind me in your orders quick</div>
-    <div class="verse indent2">For I’ve no time for fooling;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">(<i>Spoken</i>).</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I’ll do thim to the best of my ability,</div>
-    <div class="verse indent2">Ontirely sure.—<span class="smcap">Chorus.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><span class="smcap">The Shoemaker</span> (<i>shoe, last and hammer</i>).</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I’m glad I am a shoemaker,</div>
-    <div class="verse indent2">With hammer, last and shoe;</div>
-    <div class="verse indent0">Without the slippers that I make,</div>
-    <div class="verse indent2">What would the ladies do?</div>
-    <div class="verse indent0">I cut the leather, fit the last—</div>
-    <div class="verse indent2">To me, my work is play—</div>
-    <div class="verse indent0">From morn to night, with heart so light,</div>
-    <div class="verse indent2">I sing and peg away.—<span class="smcap">Chorus.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><span class="smcap">The Blacksmith</span> (<i>with anvil and hammer</i>).</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I’m glad I am a blacksmith,</div>
-    <div class="verse indent2">A noble horse to shoe,</div>
-    <div class="verse indent0">I hold within my lap his hoof,</div>
-    <div class="verse indent2">And whack the shoe-nail through;</div>
-    <div class="verse indent0">I swing the hammer and I know</div>
-    <div class="verse indent2">Just how to make a hit,</div>
-    <div class="verse indent0">And indigestion, if you please,</div>
-    <div class="verse indent2">Don’t trouble me a bit.—<span class="smcap">Chorus.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><span class="smcap">The School-Teacher</span> (<i>with slate, hook and rule;<br />three or four children to take part of scholars</i>).</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I’m glad I am a school-teacher,</div>
-    <div class="verse indent2">With slate and book and rule,</div>
-    <div class="verse indent0">To teach the young idea to shoot,</div>
-    <div class="verse indent2">And extirpate the fool.</div>
-    <div class="verse indent0">The heights of knowledge I point out,</div>
-    <div class="verse indent2">And upward lead the way,</div>
-    <div class="verse indent0">And with my pupils pressing on,</div>
-    <div class="verse indent2">I’m happy every day.—<span class="smcap">Chorus.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>WHAT BABY SAID.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-i.jpg" width="50" height="100" alt="" />
-</div>
-
-<p class="dropcap">I am here. And if this is what they call
-the world, I don’t think much of it.
-It’s a very flannelly world and smells
-of paregoric awfully. It’s a dreadful light
-world, too, and makes me blink, I tell you.
-And I don’t know what to do with my hands;
-I think I’ll dig my fists in my eyes. No, I
-won’t. I’ll scratch at the corner of my
-blanket and chew it up, and then I’ll holler;
-whatever happens, I’ll holler. And the more
-paregoric they give me, the louder I’ll yell.
-That old nurse puts the spoon in the corner
-of my mouth, sidewise like, and keeps tasting
-my milk herself all the while. She spilt
-snuff in it last night, and when I hollered she
-trotted me. That comes of being a two-days-old<span class="pagenum"><a id="Page_311"></a>[311]</span>
-baby. Never mind; when I’m a
-man, I’ll pay her back good.</p>
-
-<p>There’s a pin sticking in me now, and if I
-say a word about it, I’ll be trotted or fed;
-and I would rather have catnip-tea. I heard
-folks say, “Hush! don’t wake up Emeline’s
-baby;” and I suppose that pretty, white-faced
-woman on the pillow is Emeline.</p>
-
-<p>No, I was mistaken; for a chap was in
-here just now and wanted to see Bob’s baby
-and looked at me and said I was a funny
-little toad, and looked just like Bob. He
-smelt of cigars. I wonder who else I belong
-to! Yes, there’s another one—that’s
-“Gamma.” “It was Gamma’s baby, so it
-was.” I declare, I don’t know who I belong
-to; but I’ll holler, and maybe I’ll find out.
-There comes snuffy with catnip tea. I’m
-going to sleep. I wonder why my hands
-won’t go where I want them to!</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>ONE LITTLE ACT.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I saw a man, with tottering steps,</div>
-    <div class="verse indent2">Come down a graveled walk, one day;</div>
-    <div class="verse indent0">The honored frost of many years</div>
-    <div class="verse indent2">Upon his scattered thin locks lay.</div>
-    <div class="verse indent0">With trembling hands he strove to raise</div>
-    <div class="verse indent2">The latch that held the little gate,</div>
-    <div class="verse indent0">When rosy lips looked up and smiled,—</div>
-    <div class="verse indent2">A silvery child-voice said, “Please wait.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">A little girl oped wide the gate,</div>
-    <div class="verse indent2">And held it till he passed quite through,</div>
-    <div class="verse indent0">Then closed it, raising to his face</div>
-    <div class="verse indent2">Her modest eyes of winsome blue.</div>
-    <div class="verse indent0">“May Heaven bless you, little one,”</div>
-    <div class="verse indent2">The old man said, with tear-wet eyes;</div>
-    <div class="verse indent0">“Such deeds of kindness to the old</div>
-    <div class="verse indent2">Will be rewarded in the skies.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">’Twas such a little thing to do—</div>
-    <div class="verse indent2">A moment’s time it took—no more;</div>
-    <div class="verse indent0">And then the dancing, graceful feet</div>
-    <div class="verse indent2">Had vanished through the school-room door.</div>
-    <div class="verse indent0">And yet I’m sure the angels smiled,</div>
-    <div class="verse indent2">And penned it down in words of gold;</div>
-    <div class="verse indent0">’Tis such a blessed thing to see</div>
-    <div class="verse indent2">The young so thoughtful of the old.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>THE LITTLE ORATOR.</h4>
-
-<p>Lines written for Edward Everett, when a child.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-p.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">Pray, how should I, a little lad,</div>
-    <div class="verse indent2">In speaking make a figure?</div>
-    <div class="verse indent0">You’re only joking, I’m afraid—</div>
-    <div class="verse indent2">Do wait till I am bigger.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But, since you wish to hear my part,</div>
-    <div class="verse indent2">And urge me to begin it,</div>
-    <div class="verse indent0">I’ll strive for praise, with all my heart,</div>
-    <div class="verse indent2">Though small the hope to win it.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I’ll tell a tale how Farmer John</div>
-    <div class="verse indent2">A little roan colt bred, sir,</div>
-    <div class="verse indent0">And every night and every morn</div>
-    <div class="verse indent2">He watered and he fed, sir.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Said Neighbor Joe to Farmer John,</div>
-    <div class="verse indent2">“Aren’t you a silly dolt, sir,</div>
-    <div class="verse indent0">To spend such time and care upon</div>
-    <div class="verse indent2">A little useless colt, sir?”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Said Farmer John to Neighbor Joe,</div>
-    <div class="verse indent2">“I bring my little roan up,</div>
-    <div class="verse indent0">Not for the good he now can do,</div>
-    <div class="verse indent2">But will do when he’s grown up.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The moral you can well espy,</div>
-    <div class="verse indent2">To keep the tale from spoiling;</div>
-    <div class="verse indent0">The little colt, you think, is I—</div>
-    <div class="verse indent2">I know it by your smiling.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And now, my friends, please to excuse</div>
-    <div class="verse indent2">My lisping and my stammers;</div>
-    <div class="verse indent0">I, for this once, have done my best,</div>
-    <div class="verse indent2">And so—I’ll make my manners.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Thaddeus Mason Harris.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 250px;">
-<img src="images/line13.jpg" width="250" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_312"></a>[312]</span></p>
-
-<h4>A GENTLEMAN.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I knew him for a gentleman</div>
-    <div class="verse indent2">By signs that never fail;</div>
-    <div class="verse indent0">His coat was rough and rather worn,</div>
-    <div class="verse indent2">His cheeks were thin and pale—</div>
-    <div class="verse indent0">A lad who had his way to make,</div>
-    <div class="verse indent2">With little time for play;</div>
-    <div class="verse indent0">I knew him for a gentleman</div>
-    <div class="verse indent2">By certain signs to-day.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He met his mother on the street;</div>
-    <div class="verse indent2">Off came his little cap.</div>
-    <div class="verse indent0">My door was shut; he waited there</div>
-    <div class="verse indent2">Until I heard his rap.</div>
-    <div class="verse indent0">He took the bundle from my hand,</div>
-    <div class="verse indent2">And when I dropped my pen,</div>
-    <div class="verse indent0">He sprang to pick it up for me—</div>
-    <div class="verse indent2">This gentleman of ten.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He does not push and crowd along;</div>
-    <div class="verse indent2">His voice is gently pitched;</div>
-    <div class="verse indent0">He does not fling his books about</div>
-    <div class="verse indent2">As if he were bewitched,</div>
-    <div class="verse indent0">He stands aside to let you pass;</div>
-    <div class="verse indent2">He always shuts the door;</div>
-    <div class="verse indent0">He runs on errands willingly</div>
-    <div class="verse indent2">To forge and mill and store.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He thinks of you before himself,</div>
-    <div class="verse indent2">He serves you if he can;</div>
-    <div class="verse indent0">For, in whatever company,</div>
-    <div class="verse indent2">The manners make the man.</div>
-    <div class="verse indent0">At ten or forty, ’tis the same;</div>
-    <div class="verse indent2">The manner tells the tale,</div>
-    <div class="verse indent0">And I discern the gentleman</div>
-    <div class="verse indent2">By signs that never fail.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Margaret E. Sangster.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 215px;">
-<img src="images/line8.jpg" width="215" height="30" alt="" />
-</div>
-
-<h4>BABIES AND KITTENS.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">There were two kittens, a black and a gray,</div>
-    <div class="verse indent2">And grandma said with a frown:</div>
-    <div class="verse indent0">“It never will do to keep them both,</div>
-    <div class="verse indent2">The black one we had better drown.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Don’t cry, my dear,” to tiny Bess,</div>
-    <div class="verse indent2">“One kitten is enough to keep,</div>
-    <div class="verse indent0">Now run to nurse, for ’tis growing late</div>
-    <div class="verse indent2">And time you were fast asleep.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The morning dawned, and rosy and sweet,</div>
-    <div class="verse indent2">Came little Bess from her nap,</div>
-    <div class="verse indent0">The nurse said, “Go in mamma’s room,</div>
-    <div class="verse indent2">And look in grandma’s lap.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Come here,” said grandma, with a smile,</div>
-    <div class="verse indent2">From the rocking-chair, where she sat,</div>
-    <div class="verse indent0">“God has sent you two little sisters,</div>
-    <div class="verse indent2">What do you think of that?”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Bess looked at the babies a moment,</div>
-    <div class="verse indent2">With their wee heads, yellow and brown,</div>
-    <div class="verse indent0">And then to grandma soberly said:</div>
-    <div class="verse indent2">“Which one are you going to drown?”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">L. M. Hadley.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 250px;">
-<img src="images/line13.jpg" width="250" height="30" alt="" />
-</div>
-
-<h4>A DISSATISFIED CHICKEN.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">There was a little chicken that was shut up in a shell,</div>
-    <div class="verse indent0">He thought to himself, “I’m sure I cannot tell</div>
-    <div class="verse indent0">What I am walled in here for—a shocking coop I find,</div>
-    <div class="verse indent0">Unfitted for a chicken with an enterprising mind.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He went out in the barnyard one lovely morn in May,</div>
-    <div class="verse indent0">Each hen he found spring-cleaning in the only proper way;</div>
-    <div class="verse indent0">“This yard is much too narrow—a shocking coop I find,</div>
-    <div class="verse indent0">Unfitted for a chicken with an enterprising mind.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He crept up to the gateway and slipped betwixt a crack,</div>
-    <div class="verse indent0">The world stretched wide before him, and just as widely back;</div><span class="pagenum"><a id="Page_313"></a>[313]</span>
-    <div class="verse indent0">“This world is much too narrow—a shocking coop I find,</div>
-    <div class="verse indent0">Unfitted for a chicken with an enterprising mind.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“I should like to have ideals, I should like to tread the stars,</div>
-    <div class="verse indent0">To get the unattainable, and free my soul from bars;</div>
-    <div class="verse indent0">I should like to leave this dark earth, and some other dwelling find</div>
-    <div class="verse indent0">More fitted for a chicken with an enterprising mind.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“There’s a place where ducks and pleasure boats go sailing to and fro,</div>
-    <div class="verse indent0">There’s one world on the surface and another world below.”</div>
-    <div class="verse indent0">The little waves crept nearer and, on the brink inclined,</div>
-    <div class="verse indent0">They swallowed up the chicken with an enterprising mind.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">A. G. Waters.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>THE LITTLE TORMENT.</h4>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-m.jpg" width="140" height="100" alt="" />
-</div>
-
-<p class="dropcap">My name’s Jack. I’m eight years
-old. I’ve a sister Arathusa, and
-she calls me a little torment.
-I’ll tell you why: You know
-Arathusa has got a beau, and he comes to see
-her every night, and they turn the gas ’way,
-’way down ’till you can’t hardly see. I like
-to stay in the room with the gas on full
-blaze, but Arathusa skites me out of the
-room every night.</p>
-
-<p>I checked her once, you better believe.
-You know she went to the door to let Alphonso
-in, and I crawled under the sofa.
-Then they came in, and it got awful dark,
-and they sat down on the sofa, and I couldn’t
-hear nothing but smack! smack! smack!
-Then I reached out and jerked Arathusa’s
-foot. Then she jumped and said, “Oh,
-mercy, what’s that?” and Alphonso said
-she was a “timid little creature.” “Oh, Alphonso,
-I’m happy by your side, but when I
-think of your going away it almost breaks
-my heart.”</p>
-
-<p>Then I snickered right out, I couldn’t help
-it, and Arathusa got up, went and peeked
-through the keyhole and said, “I do believe
-that’s Jack, nasty little torment, he’s always
-where he isn’t wanted.” Do you know this
-made me mad, and I crawled out from under
-the sofa and stood up before her and said,
-“You think you are smart because you have
-got a beau. I guess I know what you’ve been
-doing; you’ve been sitting on Alphonso’s lap,
-and letting him kiss you like you let Bill Jones
-kiss you. You ought to be ashamed of yourself.
-If it hadn’t been for that old false front
-of yours, Pa would have let me have a bicycle
-like Tom Clifford’s. You needn’t be grinding
-them false teeth of yours at me, I ain’t a-going
-out of here. I ain’t so green as I look. I
-guess I know a thing or two. I don’t care if
-you are 28 years old, you ain’t no boss of me!”</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>THE REASON WHY.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" /></div>
-    <div class="dropcapline">A Boston master said, one day,</div>
-    <div class="verse indent0">“Boys, tell me, if you can, I pray,</div>
-    <div class="verse indent0">Why Washington’s birthday should shine</div>
-    <div class="verse indent0">In to-day’s history, more than mine?”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">At once such stillness in the hall</div>
-    <div class="verse indent0">You might have heard a feather fall;</div>
-    <div class="verse indent0">Exclaims a boy not three feet high,</div>
-    <div class="verse indent0">“Because <i>he</i> never told a lie!”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 215px;">
-<img src="images/line8.jpg" width="215" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_314"></a>[314]</span></p>
-
-<h4>A CHILD’S REASONING.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">She was ironing dolly’s new gown,</div>
-    <div class="verse indent2">Maid Marian, four years old,</div>
-    <div class="verse indent0">With her brows puckered down</div>
-    <div class="verse indent0">In a painstaking frown</div>
-    <div class="verse indent2">Under her tresses of gold.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">’Twas Sunday, and nurse coming in</div>
-    <div class="verse indent2">Exclaimed in a tone of surprise:</div>
-    <div class="verse indent0">“Don’t you know it’s a sin</div>
-    <div class="verse indent0">Any work to begin</div>
-    <div class="verse indent2">On the day that the Lord sanctifies?”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then, lifting her face like a rose,</div>
-    <div class="verse indent2">Thus answered this wise little tot:</div>
-    <div class="verse indent0">“Now, don’t you suppose</div>
-    <div class="verse indent0">The good Lord He knows</div>
-    <div class="verse indent2">This little iron ain’t hot?”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 250px;">
-<img src="images/line13.jpg" width="250" height="30" alt="" />
-</div>
-
-<h4>A SWELL DINNER.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" /></div>
-    <div class="dropcapline">A plain, grave man once grew quite celebrated;</div>
-    <div class="verse indent2">Dame Grundy met him with her blandest smile,</div>
-    <div class="verse indent0">And Mrs. Shoddy, finding him much feted,</div>
-    <div class="verse indent2">Gave him a dinner in her swellest style.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Her dining-table was a blaze of glory;</div>
-    <div class="verse indent2">Soft light from many colored candles fell</div>
-    <div class="verse indent0">Upon the young, the middle aged, and hoary—</div>
-    <div class="verse indent2">On beauty and on those who “made up” well.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Her china was a miracle of beauty—</div>
-    <div class="verse indent2">No service like it ever had been sold,</div>
-    <div class="verse indent0">And, being unsmuggled, with the price and duty,</div>
-    <div class="verse indent2">Was nearly worth its weight in gold.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The flowers were wonderful—I think that maybe</div>
-    <div class="verse indent2">Only another world has flowers more fair;</div>
-    <div class="verse indent0">Each rose was big enough to brain a baby,</div>
-    <div class="verse indent2">And there were several bushels of them there.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The serving was the acme of perfection;</div>
-    <div class="verse indent2">Waiters were many, silent, deft, and fleet;</div>
-    <div class="verse indent0">Their manners seemed a reverent affection</div>
-    <div class="verse indent2">And oh! what stacks of things there were to eat!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And yet the man, for all this honor singled,</div>
-    <div class="verse indent2">Would have exchanged it with the greatest joy</div>
-    <div class="verse indent0">For one plain meal of pork and cabbage mingled,</div>
-    <div class="verse indent2">Cooked by his mother when he was a boy.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 250px;">
-<img src="images/line13.jpg" width="250" height="30" alt="" />
-</div>
-
-<h4>LITTLE JACK.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-h.jpg" width="130" height="110" alt="" /></div>
-    <div class="dropcapline">He wore a pair of tattered pants,</div>
-    <div class="verse indent2">A ragged roundabout,</div>
-    <div class="verse indent0">And through the torn crown of his hat</div>
-    <div class="verse indent2">A lock of hair stuck out;</div>
-    <div class="verse indent0">He had no shoes upon his feet,</div>
-    <div class="verse indent2">No shirt upon his back;</div>
-    <div class="verse indent0">His home was on the friendless street,</div>
-    <div class="verse indent2">His name was “Little Jack.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">One day a toddling baby-boy</div>
-    <div class="verse indent2">With head of curly hair</div>
-    <div class="verse indent0">Escaped his loving mother’s eyes,</div>
-    <div class="verse indent2">Who, busy with her care,</div>
-    <div class="verse indent0">Forgot the little one, that crept</div>
-    <div class="verse indent2">Upon the railroad near</div>
-    <div class="verse indent0">To play with the bright pebbles there,</div>
-    <div class="verse indent2">Without a thought of fear.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But see! around the curve there comes</div>
-    <div class="verse indent2">A swiftly flying train—</div>
-    <div class="verse indent0">It rattles, roars! the whistle shrieks</div>
-    <div class="verse indent2">With all its might and main;</div>
-    <div class="verse indent0">The mother sees her child, but stands</div>
-    <div class="verse indent2">Transfixed with sudden fright!</div>
-    <div class="verse indent0">The baby clasps his little hands</div>
-    <div class="verse indent2">And laughs with low delight.</div><span class="pagenum"><a id="Page_315"></a>[315]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Look! look! a tattered figure flies</div>
-    <div class="verse indent2">Adown the railroad track!</div>
-    <div class="verse indent0">His hat is gone, his feet are bare!</div>
-    <div class="verse indent2">’Tis ragged “Little Jack!”</div>
-    <div class="verse indent0">He grasps the child, and from the track</div>
-    <div class="verse indent2">The babe is safely tossed—</div>
-    <div class="verse indent0">A slip! a cry! the train rolls by—</div>
-    <div class="verse indent2">Brave “Little Jack” is lost.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">They found his mangled body there,</div>
-    <div class="verse indent2">Just where he slipped and fell,</div>
-    <div class="verse indent0">And strong men wept who never cared</div>
-    <div class="verse indent2">For him when he was well.</div>
-    <div class="verse indent0">If there be starry crowns in heaven</div>
-    <div class="verse indent2">For little ones to wear,</div>
-    <div class="verse indent0">The star in “Little Jack’s” shall shine</div>
-    <div class="verse indent2">As bright as any there!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Eugene J. Hall.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>A STORY OF AN APPLE.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-l.jpg" width="130" height="110" alt="" /></div>
-    <div class="dropcapline">Little Tommy and Peter and Archy and Bob</div>
-    <div class="verse indent2">Were walking one day, when they found</div>
-    <div class="verse indent0">An apple; ’twas mellow and rosy and red,</div>
-    <div class="verse indent2">And lying alone on the ground.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Said Tommy: “I’ll have it.” Said Peter: “’Tis mine.”</div>
-    <div class="verse indent2">Said Archy: “I’ve got it; so there!”</div>
-    <div class="verse indent0">Said Bobby: “Now let us divide in four parts,</div>
-    <div class="verse indent2">And each of us boys have a share.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“No, no!” shouted Tommy, “I’ll have it myself.”</div>
-    <div class="verse indent2">Said Peter: “I want it, I say.”</div>
-    <div class="verse indent0">Said Archy: “I’ve got it, and I’ll have it all;</div>
-    <div class="verse indent2">I won’t give a morsel away.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then Tommy, he snatched it, and Peter, he fought,</div>
-    <div class="verse indent2">(’Tis sad and distressing to tell!)</div>
-    <div class="verse indent0">And Archy held on with his might and his main,</div>
-    <div class="verse indent2">Till out of his fingers it fell.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Away from the quarrelsome urchins it flew,</div>
-    <div class="verse indent2">And then down a green little hill</div>
-    <div class="verse indent0">That apple it rolled, and it rolled, and it rolled</div>
-    <div class="verse indent2">As if it would never be still.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">A lazy old brindle was nipping the grass</div>
-    <div class="verse indent2">And switching her tail at the flies,</div>
-    <div class="verse indent0">When all of a sudden the apple rolled down</div>
-    <div class="verse indent2">And stopped just in front of her eyes.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">She gave but a bite and a swallow or two—</div>
-    <div class="verse indent2">That apple was seen nevermore!</div>
-    <div class="verse indent0">“I wish,” whimpered Archy and Peter and Tom,</div>
-    <div class="verse indent0">“We’d kept it and cut it in four.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Sydney Dayre.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>IDLE BEN.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">Idle Ben was a naughty boy;</div>
-    <div class="verse indent2">(If you please, this story’s true;)</div>
-    <div class="verse indent0">He caused his teachers great annoy,</div>
-    <div class="verse indent2">And his worthy parents, too.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Idle Ben, in a boastful way,</div>
-    <div class="verse indent2">To his anxious parents told,</div>
-    <div class="verse indent0">That, while he was young, he thought he’d play,</div>
-    <div class="verse indent2">And he’d learn when he grew old.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Ah, Ben!” said his mother, and dropped a tear,</div>
-    <div class="verse indent2">“You’ll be sorry for this by-and-by.”</div>
-    <div class="verse indent0">Says Ben, “To me, that’s not very clear,</div>
-    <div class="verse indent2">But at any rate I’ll try.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">So Idle Ben, he refused to learn,</div>
-    <div class="verse indent2">Thinking that he could wait;</div>
-    <div class="verse indent0">But, when he had his living to earn,</div>
-    <div class="verse indent2">He found it was just too late.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Little girls, little boys, don’t delay your work;</div>
-    <div class="verse indent2">Some day you’ll be women and men:</div>
-    <div class="verse indent0">Whenever your task you’re inclined to shirk,</div>
-    <div class="verse indent2">Take warning by Idle Ben.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 250px;">
-<img src="images/line13.jpg" width="250" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_316"></a>[316]</span></p>
-
-<h4>BABY ALICE’S RAIN.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">The drouth had been long—oh, very long—</div>
-    <div class="verse indent2">The whole long month of blithesome May;</div>
-    <div class="verse indent0">The rain-clouds seemed to have wandered wrong,</div>
-    <div class="verse indent2">From the pinched, brown land so far away:</div>
-    <div class="verse indent0">Leaves fell; and the blue-birds hushed their song,</div>
-    <div class="verse indent2">As field and forest grew dim and gray.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then one night the clouds had gathered: the wind</div>
-    <div class="verse indent2">Came in from the east; but it needed trust</div>
-    <div class="verse indent0">To believe that the soft rain lurked behind,</div>
-    <div class="verse indent2">To cool the fierce heat and to lay the dust:</div>
-    <div class="verse indent0">So soon we forget that God is kind!</div>
-    <div class="verse indent2">So easily cease to hope and to trust!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But it rained at morning: oh, welcome fall</div>
-    <div class="verse indent2">Of the drops from heaven, that had such need!</div>
-    <div class="verse indent0">Those drops that have fallen alike on all,</div>
-    <div class="verse indent2">Of the kindly thought and the cruel deed,</div>
-    <div class="verse indent0">Since the plant of life was so tiny and small</div>
-    <div class="verse indent2">When the Mighty Hand had just dropped the seed.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Did we wonder, to see it come at last—</div>
-    <div class="verse indent2">This coveted blessing?—wee Alice did not,</div>
-    <div class="verse indent0">As quick to the window all dimpled she passed,</div>
-    <div class="verse indent2">Springing up in glee from her little cot,</div>
-    <div class="verse indent0">And bearing a love so holy and vast</div>
-    <div class="verse indent2">In such limited space—dear baby tot!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Look, mamma! look, papa!—oh yes, it yanes!</div>
-    <div class="verse indent2">“I tought dere ood be some ’ittle showers!</div>
-    <div class="verse indent0">“Detoration Day—Dod take such pains!</div>
-    <div class="verse indent2">“Don’t ’u see Dod’s waterin’ de soldiers’ f’owers?”</div>
-    <div class="verse indent0">Oh, lips of the children!—there’s something remains</div>
-    <div class="verse indent2">Yet, of Eden’s prime, in this world of ours.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">John Hay Furness.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>GIVE US LITTLE BOYS A CHANCE.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-h.jpg" width="130" height="110" alt="" /></div>
-    <div class="dropcapline">Here we are! don’t leave us out,</div>
-    <div class="verse indent2">Just because we’re little boys!</div>
-    <div class="verse indent0">Though we’re not so bold and stout,</div>
-    <div class="verse indent2">In the world we’ll make a noise.</div>
-    <div class="verse indent0">You are many a year ahead,</div>
-    <div class="verse indent2">But we’ll step by step advance;</div>
-    <div class="verse indent0">All the world’s before <i>you</i> spread—</div>
-    <div class="verse indent2">Give us little boys a chance!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Never slight us in our play;</div>
-    <div class="verse indent2">You were once as small as we;</div>
-    <div class="verse indent0">We’ll be big, like you, some day,</div>
-    <div class="verse indent2">Then perhaps <i>our</i> power you’ll see.</div>
-    <div class="verse indent0">We will meet you, when we’re grown</div>
-    <div class="verse indent2">With a brave and fearless glance;</div>
-    <div class="verse indent0">Don’t think all this world’s <i>your</i> own—</div>
-    <div class="verse indent2">Give us little boys a chance!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Little hands will soon be strong</div>
-    <div class="verse indent2">For the work that they must do;</div>
-    <div class="verse indent0">Little lips will sing their song</div>
-    <div class="verse indent2">When these early days are through.</div>
-    <div class="verse indent0">So, you big folks, if we’re small,</div>
-    <div class="verse indent2">On our toes you needn’t dance;</div>
-    <div class="verse indent0">There is room enough for all—</div>
-    <div class="verse indent2">Give us little boys a chance!</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 250px;">
-<img src="images/line13.jpg" width="250" height="30" alt="" />
-</div>
-
-<h4>PUSS IN THE OVEN.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">While sitting at our breakfast rather late</div>
-    <div class="verse indent0">One winter’s morn a little after eight,</div>
-    <div class="verse indent4">We heard a noise;</div>
-    <div class="verse indent0">But from the shuffling of feet and legs,</div>
-    <div class="verse indent0">Of drinking coffee and of eating eggs,</div>
-    <div class="verse indent12">We girls and boys</div>
-    <div class="verse indent0">Thought little of it, but looked at one another;</div>
-    <div class="verse indent0">Fred looked at Polly—Polly at her brother.</div>
-    <div class="verse indent0">Just then we heard a feeble cry, so wee,</div>
-    <div class="verse indent0">Where could it come from—and what could it be?</div>
-    <div class="verse indent0">“It’s puss,” cried one, “she must be in the ‘aery.’”</div><span class="pagenum"><a id="Page_317"></a>[317]</span>
-    <div class="verse indent0">And so we went with footsteps soft and wary.</div>
-    <div class="verse indent0">But, no; Puss in the aery was not found,</div>
-    <div class="verse indent0">And once again we heard the plaintive sound,</div>
-    <div class="verse indent8">“M-e-o-w, M-e-w,”</div>
-    <div class="verse indent8">What could we do?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">We looked again and Clara searched the house;</div>
-    <div class="verse indent0">Was pussy in the coal-hole, with a mouse?</div>
-    <div class="verse indent8">“M-e-w, M-e-o-w,”</div>
-    <div class="verse indent8">Much louder now.</div>
-    <div class="verse indent0">“She’s in the cupboard,” so, we search the shelves,</div>
-    <div class="verse indent0">But find no pussy. Have some fairy elves</div>
-    <div class="verse indent0">Been imitating puss? But once again</div>
-    <div class="verse indent0">Poor pussy gives a cry as if in pain;</div>
-    <div class="verse indent0">The drawers are searched; in every little nook</div>
-    <div class="verse indent0">Where puss could hide we take a hasty look.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent8">“M-e-w, M-e-o-w,”</div>
-    <div class="verse indent8">Still louder now,</div>
-    <div class="verse indent0">We all look frightened, so while one declares</div>
-    <div class="verse indent0">That pussy’s hidden underneath the stairs;</div>
-    <div class="verse indent0">And while we stood upon the kitchen rug,</div>
-    <div class="verse indent0">Wondering where pussy was so nice and snug,</div>
-    <div class="verse indent0">The oven door was opened just a bit</div>
-    <div class="verse indent0">To warm some toast, <i>when out jumped little Kit</i>!</div>
-    <div class="verse indent0">And as she shook her furry brindled form,</div>
-    <div class="verse indent0">She seemed to say, “My bed was rather warm.”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 215px;">
-<img src="images/line8.jpg" width="215" height="30" alt="" />
-</div>
-
-<h4>WHAT WAS IT?</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-g.jpg" width="125" height="100" alt="" /></div>
-    <div class="dropcapline">Guess what he had in his pocket.</div>
-    <div class="verse indent2">Marbles and tops and sundry toys</div>
-    <div class="verse indent2">Such as always belong to boys,</div>
-    <div class="verse indent2">A bitter apple, a leathern ball?—</div>
-    <div class="verse indent2">Not at all.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">What did he have in his pocket?</div>
-    <div class="verse indent2">A bubble-pipe, and a rusty screw,</div>
-    <div class="verse indent2">A brassy watch-key, broken in two.</div>
-    <div class="verse indent2">A fish-hook in a tangle of string?—</div>
-    <div class="verse indent2">No such thing.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">What did he have in his pocket?</div>
-    <div class="verse indent2">Ginger-bread crumbs, a whistle he made,</div>
-    <div class="verse indent2">Buttons, a knife with a broken blade,</div>
-    <div class="verse indent2">A nail or two and a rubber gun?—</div>
-    <div class="verse indent2">Neither one.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">What <i>did</i> he have in his pocket?</div>
-    <div class="verse indent2">Before he knew it slyly crept</div>
-    <div class="verse indent2">Under the treasures carefully kept,</div>
-    <div class="verse indent2">And away they all of them quickly stole—</div>
-    <div class="verse indent2">’Twas a hole!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Sidney Dayre.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 250px;">
-<img src="images/line13.jpg" width="250" height="30" alt="" />
-</div>
-
-<h4>THE COBBLER’S SECRET.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" /></div>
-    <div class="dropcapline">A waggish cobbler once in Rome,</div>
-    <div class="verse indent2">Put forth this proclamation,</div>
-    <div class="verse indent0">That he was willing to disclose</div>
-    <div class="verse indent2">For due consideration,</div>
-    <div class="verse indent0">A secret which the cobbling world</div>
-    <div class="verse indent2">Could ill afford to lose;</div>
-    <div class="verse indent0">The way to make in one short day</div>
-    <div class="verse indent2">A hundred pairs of shoes.</div>
-    <div class="verse indent0">From every quarter soon there came</div>
-    <div class="verse indent2">A crowd of eager fellows;</div>
-    <div class="verse indent0">Tanners, cobblers, bootmen, shoemen,</div>
-    <div class="verse indent2">Jolly leather sellers,</div>
-    <div class="verse indent0">All redolent of beef and smoke,</div>
-    <div class="verse indent2">And cobbler’s wax and hides;</div>
-    <div class="verse indent0">Each fellow paid his thirty pence</div>
-    <div class="verse indent2">And called it cheap besides.</div>
-    <div class="verse indent0">Silence! The cobbler enters</div>
-    <div class="verse indent2">And casts around his eyes,</div>
-    <div class="verse indent0">Then curls his lips—the rogue!—then frowns</div>
-    <div class="verse indent2">And looks most wondrous wise;</div>
-    <div class="verse indent0">“My friends,” he says, “’tis simple quite,</div>
-    <div class="verse indent2">The plan that I propose;</div>
-    <div class="verse indent0">And every man of you, I think,</div>
-    <div class="verse indent2">Might learn it if he chose.</div>
-    <div class="verse indent0">A good sharp knife is all you need</div>
-    <div class="verse indent2">In carrying out my plan;</div>
-    <div class="verse indent0">So easy is it none can fail</div>
-    <div class="verse indent2">Let him be child or man,</div>
-    <div class="verse indent0">To make a hundred pairs of shoes,</div>
-    <div class="verse indent2">Just go back to your shops,</div>
-    <div class="verse indent0">And take a hundred pairs of boots</div>
-    <div class="verse indent2">And cut off all their tops!”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 225px;">
-<img src="images/line9.jpg" width="225" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_318"></a>[318]</span></p>
-
-<h4>A SAD CASE.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I’m a poor little kitty,</div>
-    <div class="verse indent2">And alas! when born, so pretty,</div>
-    <div class="verse indent0">That the morning I was found,</div>
-    <div class="verse indent0">Instead of being drowned,</div>
-    <div class="verse indent2">I was saved to be the toy</div>
-    <div class="verse indent2">Of a dreadful baby-boy,</div>
-    <div class="verse indent0">Who pinches and who pokes me,</div>
-    <div class="verse indent0">Holds me by my throat and chokes me,</div>
-    <div class="verse indent2">And when I could vainly try</div>
-    <div class="verse indent2">From his cruel clutch to fly,</div>
-    <div class="verse indent0">Grabs my tail, and pulls so hard</div>
-    <div class="verse indent0">That some day, upon my word!</div>
-    <div class="verse indent2">I am sure ’twill broken be,</div>
-    <div class="verse indent2">And then everybody’ll see</div>
-    <div class="verse indent14">Such a looking Kitty!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2">That baby has no pity!</div>
-    <div class="verse indent2">Thinks I’m “only a kitty”—</div>
-    <div class="verse indent0">I won’t stand it, nor would you!</div>
-    <div class="verse indent0">’Tis no use to cry out m-e-w!</div>
-    <div class="verse indent2">Listen! Some day I shall scratch,</div>
-    <div class="verse indent2">And he’ll find he’s met his match;</div>
-    <div class="verse indent0">That within my little paws</div>
-    <div class="verse indent0">There are ever so many claws!</div>
-    <div class="verse indent2">And it won’t be very long,</div>
-    <div class="verse indent2">If this sort of thing goes on,</div>
-    <div class="verse indent0">Till there’ll be a kitten row</div>
-    <div class="verse indent0">Such as has not been till now;</div>
-    <div class="verse indent2">Then, my lad, there will be found,</div>
-    <div class="verse indent2">Left upon that battle-ground,</div>
-    <div class="verse indent16">Such a looking Baby!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Clara D. Bates.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 215px;">
-<img src="images/line8.jpg" width="215" height="30" alt="" />
-</div>
-
-<h4>THE HEIR APPARENT.</h4>
-
-<p>A small boy who can adopt the air and demeanor of the “afflicted parent”
-will make this soliloquy very amusing.</p>
-
-<div class="blockquote">
-
-<div>
-<img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" />
-</div>
-
-<p class="dropcap">A Baby! Yes—a baby—a real, definite,
-unquestionable baby! <i>What of it?</i>
-do you ask. Well, that’s queer.
-Don’t know what a baby is? I’m
-sorry for you. My advice is—go and get one.</p>
-
-<p>Heigho! I’m weighted down with my responsibility.
-Solferino in color—no hair on
-its head—kicks—yowls—mews—whines-sneezes—squints—makes
-up mouths—it’s a
-singular circumstance—<i>that</i> baby is, and—but
-never mind.</p>
-
-<p>Cross? I guess that’s a beginning of the
-truth, so far as <i>it’s</i> concerned, but, why did
-it happen along just at the moment when
-muslin, linen and white flannel were the
-highest they had been since Adam built a
-hen-house for Mrs. Eve’s chickens? when
-the doctors charge two dollars a squint, four
-dollars a grunt, and, on account of the
-scarcity in the country, take what is left in
-a man’s pocket, no discount for cash, and
-send bill for balance, Jan. 1st? Queer, isn’t
-it? (<i>A pause.</i>)</p>
-
-<p>A queer little thing is that baby; a speck
-of a nose like a wart, head as bald as a
-squash, and no place to hitch a waterfall; a
-mouth just situated to come the gum-game
-and chew milk. Oh! you should hear her
-sing. I have stuffed my fur cap down its
-throat, given it the smoothing-iron to play
-with; but that little red lump that looks as
-if it couldn’t hold blood enough to keep a
-musketo from fainting, persists to swallow
-its fists, and the other day they dropped
-down its throat, to the crook in its elbows.
-<i>That</i> stopped its music, and I was happy for
-one and a half minutes.</p>
-
-<p>It is a pleasant thing to have a baby in the
-house—one of your achy kind. Think of
-the pleasures of a father in his night costume,
-trembling in the midnight hour, with
-his warm feet upon a square yard of oilcloth,
-dropping paregoric in a teaspoon, by moonlight,
-the nurse thumping at the door, and
-the wife of your bosom crying “hurray,” and
-the baby yelling till the fresco drops from<span class="pagenum"><a id="Page_319"></a>[319]</span>
-the ceiling. It’s a nice time to think of
-dress coats, pants, ties, and white kids.</p>
-
-<p>Its mother says the darling is troubled
-with—oh, don’t mention it. I have got to
-get up in the cold and shiver while the milk
-warms—it uses the bottle. I tried to stop
-its growth the other night; it was no go.
-I rocked so hard that I missed stays, and
-sent it slap clear across the room, upsetting
-the flower-stand. It didn’t make any noise
-then! Oh, no! I was a happy man. Oh,
-yes. (<i>A pause.</i>) That baby’s mother says
-only wait until it gets bleached (it’s been
-vaccinated) and old enough to crawl about
-and feed on pins. Yes, I’m going to wait.
-Won’t it be delightful?</p>
-
-<p>John, run for the doctor; it’s fallen into
-the slop pail; it’s choking with a peach-skin;
-or it has fallen down stairs; or has swallowed
-the tack-hammer; or shows signs of the
-mumps, croup, whooping cough, small pox,
-cholera infantum, or some other curious
-thing to let the doctor take the money laid
-by for my winter’s donation to the poor.</p>
-
-<p>Shampooing, curling my hair, wearing nice
-clothes, going to parties? Oh, no more of
-that! No—more—of—that. A baby—oh!
-I’m an old fellow now. Adieu, vain world!</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>AN EGG A CHICKEN.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" /></div>
-    <div class="dropcapline">“An egg a chicken! Don’t tell me!</div>
-    <div class="verse indent0">For didn’t I break an egg to see?</div>
-    <div class="verse indent0">There was nothing inside but a yellow ball,</div>
-    <div class="verse indent0">With a bit of mucillage round it all—</div>
-    <div class="verse indent12">Neither beak nor bill,</div>
-    <div class="verse indent12">Nor toe nor quill,</div>
-    <div class="verse indent12">Not even a feather</div>
-    <div class="verse indent12">To hold it together;</div>
-    <div class="verse indent0">Not a sign of life could any one see.</div>
-    <div class="verse indent0">An egg a chicken? You can’t fool me!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“An egg a chicken! Didn’t I pick</div>
-    <div class="verse indent0">Up the very shell that had held the chick—</div>
-    <div class="verse indent0">So they said?—and didn’t I work half a day</div>
-    <div class="verse indent0">To pack him in where he couldn’t stay?</div>
-    <div class="verse indent12">Let me try as I please,</div>
-    <div class="verse indent12">With squeeze upon squeeze,</div>
-    <div class="verse indent12">There is scarce space to meet</div>
-    <div class="verse indent12">His head and his feet.</div>
-    <div class="verse indent0">No room for any of the rest of him—so</div>
-    <div class="verse indent0">That egg never held that chicken I know.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Mamma heard the logic of her little man,</div>
-    <div class="verse indent0">Felt his trouble, and helped him, as mothers can!</div>
-    <div class="verse indent0">Took an egg from the nest—it was smooth and round:</div>
-    <div class="verse indent0">“Now, my boy, can you tell me what makes this sound?”</div>
-    <div class="verse indent12">Faint and low, tap, tap;</div>
-    <div class="verse indent12">Soft and slow, rap, rap;</div>
-    <div class="verse indent12">Sharp and quick,</div>
-    <div class="verse indent12">Like a prisoner’s pick.</div>
-    <div class="verse indent0">“Hear it peep, inside there!” cried Tom, with a shout;</div>
-    <div class="verse indent0">“How did it get in, and how can it get out?”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Tom was eager to help—he could break the shell.</div>
-    <div class="verse indent0">Mamma smiled and said, “All’s well that ends well.</div>
-    <div class="verse indent0">Be patient awhile yet my boy.” Click, click,</div>
-    <div class="verse indent0">And out popped the bill of a dear little chick.</div>
-    <div class="verse indent12">No room had it lacked.</div>
-    <div class="verse indent12">Though snug it was packed,</div>
-    <div class="verse indent12">There it was, all complete,</div>
-    <div class="verse indent12">From its head to its feet.</div>
-    <div class="verse indent0">The softest of down and the brightest of eyes,</div>
-    <div class="verse indent0">And so big—why, the shell wasn’t half its size.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Tom gave a long whistle, “Mamma, now I see</div>
-    <div class="verse indent0">That an egg is a chicken—though the how beats me,</div>
-    <div class="verse indent0">An egg isn’t a chicken, that I know and declare;</div>
-    <div class="verse indent0">Yet an egg isn’t a chicken—see the proof of it there.</div>
-    <div class="verse indent12">Nobody can tell</div>
-    <div class="verse indent12">How it came in that shell;</div>
-    <div class="verse indent12">Once out all in vain</div>
-    <div class="verse indent12">Would I pack it again.</div>
-    <div class="verse indent0">I think ’tis a miracle, mamma mine,</div>
-    <div class="verse indent0">As much as that of the water and wine.”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_320"></a>[320]</span></p>
-
-<h4>ONE OF GOD’S LITTLE HEROES.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">The patter of feet was on the stair,</div>
-    <div class="verse indent0">As the Editor turned in his sanctum chair,</div>
-    <div class="verse indent0">And said—for weary the day had been—</div>
-    <div class="verse indent0">“Don’t let another intruder in.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But scarce had he uttered the words, before</div>
-    <div class="verse indent0">A face peered in at the half-closed door,</div>
-    <div class="verse indent0">And a child sobbed out—“Sir, mother said</div>
-    <div class="verse indent0">I should come and tell you that Dan is dead.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“And pray who is ‘Dan’?” The streaming eyes</div>
-    <div class="verse indent0">Looked questioning up, with a strange surprise:</div>
-    <div class="verse indent0">“Not know him?—Why, sir, all day he sold</div>
-    <div class="verse indent0">The papers you print, through wet and cold.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“The newsboys say that they could not tell</div>
-    <div class="verse indent0">The reason his stock went off so well:</div>
-    <div class="verse indent0">I knew!—with a voice so weak and low,</div>
-    <div class="verse indent0">Could any one bear to say him ‘No?’</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“And the money he made, whatever it be,</div>
-    <div class="verse indent0">He carried straight home to mother and me:</div>
-    <div class="verse indent0">No matter about his rags, he said,</div>
-    <div class="verse indent0">If only he kept us clothed and fed.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“And he did it, sir—trudging through rain and cold,</div>
-    <div class="verse indent0">Nor stopped till the last of his sheets was sold;</div>
-    <div class="verse indent0">But he’s dead—he’s dead! and we miss him so!</div>
-    <div class="verse indent0">And mother—she thought you might like to know!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">In the paper, next morning, as “leader,” ran</div>
-    <div class="verse indent0">A paragraph thus: “The newsboy Dan,</div>
-    <div class="verse indent0">One of God’s little heroes, who</div>
-    <div class="verse indent0">Did nobly the duty he had to do—</div>
-    <div class="verse indent0">For mother and sister earning bread,</div>
-    <div class="verse indent0">By patient endurance and toil—is dead.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Margaret J. Preston.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>WHAT THE COWS WERE DOING.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-l.jpg" width="130" height="110" alt="" /></div>
-    <div class="dropcapline">Little Rosie, walking slowly</div>
-    <div class="verse indent2">Past the verdant meadow, sees</div>
-    <div class="verse indent0">Many cows, and some are standing,</div>
-    <div class="verse indent2">Others lying ’neath the trees.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">In the road stands little Rosie,</div>
-    <div class="verse indent2">Caring not for dust or mud,</div>
-    <div class="verse indent0">While her eyes are bent upon them</div>
-    <div class="verse indent2">As they calmly chew their cud.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Great surprise her face expresses,</div>
-    <div class="verse indent2">For awhile her lips are dumb;</div>
-    <div class="verse indent0">Then she cries out, “Mamma! Mamma!</div>
-    <div class="verse indent2">All the cows are chewing gum!”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 250px;">
-<img src="images/line13.jpg" width="250" height="30" alt="" />
-</div>
-
-<h4>MAMMA’S HELP.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-y.jpg" width="125" height="100" alt="" /></div>
-    <div class="dropcapline">“Yes, Bridget has gone to the city,</div>
-    <div class="verse indent2">And papa is sick, as you see,</div>
-    <div class="verse indent0">And mamma has no one to help her</div>
-    <div class="verse indent2">But two-year old Lawrence and me.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“You’d like to know what I am good for,</div>
-    <div class="verse indent2">’Cept to make work and tumble things down;</div>
-    <div class="verse indent0">I guess there aren’t no little girlies</div>
-    <div class="verse indent2">At your house at home, Dr. Brown.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“I’ve brushed all the crumbs from the table,</div>
-    <div class="verse indent2">And dusted the sofa and chairs,</div>
-    <div class="verse indent0">I’ve polished the hearthstone and fender,</div>
-    <div class="verse indent2">And swept off the area stairs.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“I’ve wiped all the silver and china,</div>
-    <div class="verse indent2">And just dropped one piece on the floor,</div>
-    <div class="verse indent0">Yes, Doctor, it broke in the middle,</div>
-    <div class="verse indent2">But I ’spect it was cracked before.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“And the steps that I saved precious mamma!</div>
-    <div class="verse indent2">You’d be s’prised, Doctor Brown, if you knew.</div>
-    <div class="verse indent0">She says if it wasn’t for Bessie</div>
-    <div class="verse indent2">She couldn’t exist the day through!</div><span class="pagenum"><a id="Page_321"></a>[321]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“It’s ‘Bessie, bring papa some water!’</div>
-    <div class="verse indent2">And ‘Bessie dear, run to the door!’</div>
-    <div class="verse indent0">And ‘Bessie love, pick up the playthings</div>
-    <div class="verse indent2">The baby has dropped on the floor!’</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Yes, Doctor, I’m ’siderably tired,</div>
-    <div class="verse indent2">I’ve been on my feet all the day;</div>
-    <div class="verse indent0">Good-bye! well, perhaps I will help you</div>
-    <div class="verse indent2">When your old Bridget ‘goes off to stay!’”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 315px;">
-<img src="images/line4.jpg" width="315" height="30" alt="" />
-</div>
-
-<h4>HOW TWO BIRDIES KEPT HOUSE.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">The morning was sunshiny, lovely, and clear,</div>
-    <div class="verse indent0">And two little wrens were both hovering near,</div>
-    <div class="verse indent0">Chirping and warbling with wonderful zest,</div>
-    <div class="verse indent0">Looking for some place to build them a nest.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">They searched the veranda, examined the trees,</div>
-    <div class="verse indent0">But never a place could they find that would please;</div>
-    <div class="verse indent0">Till Mabel, whose eyes were as blue as the sky,</div>
-    <div class="verse indent0">And very observing, their trouble did spy.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then, quick as the thought darted through her wee head,</div>
-    <div class="verse indent0">“I’ll help you, dear birdies,” she lispingly said;</div>
-    <div class="verse indent0">“You just wait a minute, I’ll give you my shoe;</div>
-    <div class="verse indent0">’Twill make you a nice nest—as good as if new.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">With much toil and trouble she undid the knot,</div>
-    <div class="verse indent0">Took off the small shoe, and picked out a spot</div>
-    <div class="verse indent0">Behind a large pillar: there tucked it away;</div>
-    <div class="verse indent0">And soon she forgot it in innocent play.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But the wrens chirped, “Why, here’s a nest ready-made,</div>
-    <div class="verse indent0">In the very best place, too, and quite in the shade!”</div>
-    <div class="verse indent0">They went to work quickly, without more ado,</div>
-    <div class="verse indent0">To keep house like the woman “that lived in a shoe.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">When evening shades came, at the close of the day,</div>
-    <div class="verse indent0">And dear little Mable was tired of play,</div>
-    <div class="verse indent0">She thought of the birdies, and went off alone,</div>
-    <div class="verse indent0">To see, if she could, what the birdies had done,</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">With heads under their wings the wrens were asleep;</div>
-    <div class="verse indent0">Side by side, in the shoe, they were cuddled down deep,</div>
-    <div class="verse indent0">Then, clapping her hands, Mable said, “Keep my shoe;</div>
-    <div class="verse indent0">My new ones I’ll wear, and this one’s for you.”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>WHY HE WOULDN’T DIE.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-l.jpg" width="130" height="110" alt="" /></div>
-    <div class="dropcapline">Listen, my boy, and you shall know</div>
-    <div class="verse indent0">A thing that happened a long time ago,</div>
-    <div class="verse indent0">When I was a boy not as large as you,</div>
-    <div class="verse indent0">And the youngest of all the children, too.</div>
-    <div class="verse indent0">I laugh even now as I think it o’er,</div>
-    <div class="verse indent0">And the more I think I laugh the more.</div>
-    <div class="verse indent0">’Twas the chilly eve of an autumn day;</div>
-    <div class="verse indent0">We were all in the kitchen, cheery and gay;</div>
-    <div class="verse indent0">The fire burned bright on the old brick hearth,</div>
-    <div class="verse indent0">And its cheerful light gave zest to our mirth.</div>
-    <div class="verse indent0">My elder sister, addressing me,</div>
-    <div class="verse indent0">“To-morrow’s Thanksgiving, you know,” said she;</div>
-    <div class="verse indent0">“We must kill the chickens to-night, you see.</div>
-    <div class="verse indent0">Now light the lantern and come with me;</div>
-    <div class="verse indent0">I will wring their necks until they are dead,</div>
-    <div class="verse indent0">And have them all dressed ere we go to bed.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">My sister, unused to sights of blood,</div>
-    <div class="verse indent0">And, pale with excitement, trembling stood;</div>
-    <div class="verse indent0">But summoning courage, she laid her plans,</div>
-    <div class="verse indent0">And seized the old rooster with both her hands,</div>
-    <div class="verse indent0">And, with triumph written all over her face,</div>
-    <div class="verse indent0">Her victim bore to the open space.</div>
-    <div class="verse indent0">Then she wrung and wrung with might and main,</div>
-    <div class="verse indent0">And wrung and twisted and wrung again,</div><span class="pagenum"><a id="Page_322"></a>[322]</span>
-    <div class="verse indent0">’Till, sure that the spark of life had fled,</div>
-    <div class="verse indent0">She threw him down on the ground for dead.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But the rooster would not consent to die,</div>
-    <div class="verse indent0">And be made up into chicken-pie,</div>
-    <div class="verse indent0">So he sprang away with a cackle and bound,</div>
-    <div class="verse indent0">Almost as soon as he touched the ground,</div>
-    <div class="verse indent0">And hiding away from the candle’s light,</div>
-    <div class="verse indent0">Escaped the slaughter of that dark night.</div>
-    <div class="verse indent0">My sister, thus brought to sudden stand,</div>
-    <div class="verse indent0">And looking at what she held in her hand,</div>
-    <div class="verse indent0">Soon saw why the rooster was not dead—</div>
-    <div class="verse indent0">She had wrung off his tail instead of his head!</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 250px;">
-<img src="images/line13.jpg" width="250" height="30" alt="" />
-</div>
-
-<h4>THE SICK DOLLY.</h4>
-
-<p>It needs a cute little girl who can make appropriate gestures to recite
-this piece.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-m.jpg" width="140" height="100" alt="" /></div>
-    <div class="dropcapline">My dolly is very sick!</div>
-    <div class="verse indent2">I don’t know what to do;</div>
-    <div class="verse indent0">Her little forehead it scowls quite horrid,</div>
-    <div class="verse indent2">Her lips are turning blue.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">She’s got a dreadful pain,</div>
-    <div class="verse indent2">I know it from her face;</div>
-    <div class="verse indent0">I’ll fetch a pellet and make her smell it,</div>
-    <div class="verse indent2">From mamma’s medicine-case.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There, there, my child, lie still;</div>
-    <div class="verse indent2">That’s sure to do you good.</div>
-    <div class="verse indent0">Now don’t be ugly, I’ll wrap you snugly</div>
-    <div class="verse indent2">All in your scarlet hood.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I know what made her sick!</div>
-    <div class="verse indent2">She’s had too much to eat!</div>
-    <div class="verse indent0">A piece of cheese, six blackberries</div>
-    <div class="verse indent2">And a little bit of meat!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">That’s too much for a doll,</div>
-    <div class="verse indent2">(Hush, Baby dear, don’t cry!)</div>
-    <div class="verse indent0">All those blackberries, besides stewed cherries,</div>
-    <div class="verse indent2">And huckleberry pie.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I ought to be ashamed</div>
-    <div class="verse indent2">(That’s just what mamma said)</div>
-    <div class="verse indent0">To let my dolly commit such folly,</div>
-    <div class="verse indent2">And get a pain in her head.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Some gruel would do her good;</div>
-    <div class="verse indent2">What fun ’twill be to make it!</div>
-    <div class="verse indent0">Just flour and water, and then, my daughter,</div>
-    <div class="verse indent2">You’ll have to wake and take it!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I’d like to be a cook!</div>
-    <div class="verse indent2">How nice the gruel <i>does</i> smell!</div>
-    <div class="verse indent0">Oh, there it goes all over her nose!</div>
-    <div class="verse indent2">Now dolly has got well.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 250px;">
-<img src="images/line13.jpg" width="250" height="30" alt="" />
-</div>
-
-<h4>DAYS OF THE WEEK.</h4>
-
-<p>For seven little boys and girls. Teacher or some large boy or girl should
-speak.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">The days of the week once talking together</div>
-    <div class="verse indent0">About their housekeeping, their friends and the weather,</div>
-    <div class="verse indent0">Agreed in their talk it would be a nice thing</div>
-    <div class="verse indent0">For all to march, and dance, and sing;</div>
-    <div class="verse indent0">So they all stood up in a very straight row,</div>
-    <div class="verse indent0">And this is the way they decided to go:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">(<i>Let seven children stand up, and as day of week is<br />
-    called, take places, each one equipped with<br />
-    the things the speaker mentions.</i>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">First came little Sunday, so sweet and good,</div>
-    <div class="verse indent0">With a book in her hand, at the head she stood.</div>
-    <div class="verse indent0">Monday skipped in with soap and a tub,</div>
-    <div class="verse indent0">Scrubbing away with a rub-a-dub-dub;</div>
-    <div class="verse indent0">With board and iron comes Tuesday bright,</div>
-    <div class="verse indent0">Talking to Monday in great delight.</div>
-    <div class="verse indent0">Then Wednesday—the dear little cook—came in,</div>
-    <div class="verse indent0">Riding cock horse on his rolling-pin.</div>
-    <div class="verse indent0">Thursday followed, with broom and brush,</div>
-    <div class="verse indent0">Her hair in a towel, and she in a rush.</div><span class="pagenum"><a id="Page_323"></a>[323]</span>
-    <div class="verse indent0">Friday appeared, gayly tripping along;</div>
-    <div class="verse indent0">He scoured the knives and then he was gone.</div>
-    <div class="verse indent0">Saturday last, with a great big tub,</div>
-    <div class="verse indent0">Into which we all jump for a very good rub.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">(<i>The children march and sing to the tune of<br />
-    “Good Morning, Merry Sunshine.”</i>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Children of the week are we,</div>
-    <div class="verse indent0">Happy, busy, full of glee.</div>
-    <div class="verse indent0">Often do we come this way,</div>
-    <div class="verse indent0">And you meet us every day.</div>
-    <div class="verse indent0">Hand in hand we trip along,</div>
-    <div class="verse indent0">Singing, as we go, a song.</div>
-    <div class="verse indent0">Each one may a duty bring,</div>
-    <div class="verse indent0">Though it be a little thing.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">(<i>All bow, and, taking up the articles, retire from<br />
-    the stage in order, Sunday, Monday etc.</i>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Mary Ely Page.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 250px;">
-<img src="images/line13.jpg" width="250" height="30" alt="" />
-</div>
-
-<h4>POPPING CORN.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" /></div>
-    <div class="dropcapline">And there they sat, a popping corn,</div>
-    <div class="verse indent2">John Styles and Susan Cutter—</div>
-    <div class="verse indent0">John Styles as fat as any ox</div>
-    <div class="verse indent2">And Susan fat as butter.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And there they sat and shelled the corn,</div>
-    <div class="verse indent2">And raked and stirred the fire,</div>
-    <div class="verse indent0">And talked of different kinds of care</div>
-    <div class="verse indent2">And hitched their chairs up nigher.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then Susan she the popper shook,</div>
-    <div class="verse indent2">Then John he shook the popper,</div>
-    <div class="verse indent0">Till both their faces grew as red</div>
-    <div class="verse indent2">As saucepans made of copper.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And then they shelled, and popped and ate,</div>
-    <div class="verse indent2">All kinds of fun a-poking,</div>
-    <div class="verse indent0">While he haw-hawed at her remarks,</div>
-    <div class="verse indent2">And she laughed at his joking.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And still they popped, and still they ate—</div>
-    <div class="verse indent2">John’s mouth was like a hopper—</div>
-    <div class="verse indent0">And stirred the fire and sprinkled salt,</div>
-    <div class="verse indent2">And shook and shook the popper.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The clock struck nine—the clock struck ten,</div>
-    <div class="verse indent2">And still the corn kept popping;</div>
-    <div class="verse indent0">It struck eleven, and then struck twelve,</div>
-    <div class="verse indent2">And still no signs of stopping.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And John he ate, and Sue she thought—</div>
-    <div class="verse indent2">The corn did pop and patter—</div>
-    <div class="verse indent0">Till John cried out, “The corn’s afire!</div>
-    <div class="verse indent2">Why, Susan, what’s the matter?”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Said she, “John Styles, it’s one o’clock;</div>
-    <div class="verse indent2">You’ll die of indigestion;</div>
-    <div class="verse indent0">I’m sick of all this popping corn—</div>
-    <div class="verse indent2">Why don’t you pop the question?”</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<h4>HOW THE FARMER WORKS.</h4>
-
-<p class="center sm90">For Several Boys.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">This is the way the happy farmer<span class="fnanchor">(1)</span></div>
-    <div class="verse indent2">Plows his piece of ground,</div>
-    <div class="verse indent0">That from the little seeds he sows</div>
-    <div class="verse indent2">A large crop may abound.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">This is the way he sows the seed,<span class="fnanchor">(2)</span></div>
-    <div class="verse indent2">Dropping with careful hand,</div>
-    <div class="verse indent0">In all the furrows well prepared</div>
-    <div class="verse indent2">Upon the fertile land.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">This is the way he cuts the grain<span class="fnanchor">(3)</span></div>
-    <div class="verse indent2">When bending with its weight;</div>
-    <div class="verse indent0">And thus he bundles it in sheaves,<span class="fnanchor">(4)</span></div>
-    <div class="verse indent2">Working long and late.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And then the grain he threshes thus,<span class="fnanchor">(5)</span></div>
-    <div class="verse indent2">And stores away to keep;</div>
-    <div class="verse indent0">And thus he stands contentedly<span class="fnanchor">(6)</span></div>
-    <div class="verse indent2">And views the plenteous heap.</div>
-  </div>
-</div>
-</div>
-
-<div class="blockquote">
-
-<p>1. Arms extended forward as though holding a plow. 2. A motion as of
-taking seed out of a bag or basket, and scattering with the right hand.
-3. Motion as of cutting with a scythe. 4. Arms curved and extended forward.
-5. Hands as though grasping a flail. Strike with some force. 6. Erect position
-arms folded, or hands on the hips.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_324"></a>[324]</span></p>
-
-<h4>THE BIRDS’ PICNIC.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">The birds gave a picnic, the morning was fine,</div>
-    <div class="verse indent0">They all came in couples, to chat and to dine;</div>
-    <div class="verse indent0">Miss Robin, Miss Wren and the two Misses Jay,</div>
-    <div class="verse indent0">Were dressed in a manner decidedly gay.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And Bluebird, who looks like a handful of sky,</div>
-    <div class="verse indent0">Dropped in with her spouse as the morning wore by;</div>
-    <div class="verse indent0">The yellow-birds, too, wee bundles of sun,</div>
-    <div class="verse indent0">With brave chickadees, came along to the fun.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Miss Phœbe was there, in her prim suit of brown;</div>
-    <div class="verse indent0">In fact, all the birds in the fair leafy town.</div>
-    <div class="verse indent0">The neighbors, of course, were politely invited;</div>
-    <div class="verse indent0">Not even the ants and the crickets were slighted.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The grasshoppers came, some in gray, some in green,</div>
-    <div class="verse indent0">And covered with dust, hardly fit to be seen:</div>
-    <div class="verse indent0">Miss Miller flew in, with her gown white as milk;</div>
-    <div class="verse indent0">And Lady Bug flourished a new crimson silk.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The bees turned out lively, the young and the old,</div>
-    <div class="verse indent0">And proud as could be, in their spencers of gold.</div>
-    <div class="verse indent0">But Miss Caterpillar, how funny of her,</div>
-    <div class="verse indent0">She hurried along in her mantle of fur.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There were big bugs in plenty, and gnats great and small—</div>
-    <div class="verse indent0">A very hard matter to mention them all.</div>
-    <div class="verse indent0">And what did they do? Why, they sported and sang,</div>
-    <div class="verse indent0">Till all the green wood with their melody rang.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Whoe’er gave a picnic so grand and so gay?</div>
-    <div class="verse indent0">They hadn’t a shower, I’m happy to say.</div>
-    <div class="verse indent0">And when the sun fell, like a cherry-ripe red,</div>
-    <div class="verse indent0">The fire-flies lighted them all home to bed.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>A VERY SMART DOG.</h4>
-
-<p class="center sm90">For a boy eight or ten years old.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I have a pretty little dog, he’s just about so high,<span class="fnanchor">(1)</span></div>
-    <div class="verse indent0">And sometimes you would think he knew as much as you<span class="fnanchor">(2)</span> or I;<span class="fnanchor">(3)</span></div>
-    <div class="verse indent0">When e’er a letter I would write, he jumps around in glee,<span class="fnanchor">(4)</span></div>
-    <div class="verse indent0">For then he knows that he can take it to the mail for me,<span class="fnanchor">(5)</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I hold a stick out in my hands,<span class="fnanchor">(6)</span> o’er it he jumps in joy—</div>
-    <div class="verse indent0">He shoulders<span class="fnanchor">(7)</span> arms as soberly as any soldier boy—</div>
-    <div class="verse indent0">He jumps on table, box<span class="fnanchor">(8)</span> or chair, which e’er I tell him to.</div>
-    <div class="verse indent0">I think he is the smartest dog—now, really do not you?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">My little dog will sit up straight<span class="fnanchor">(9)</span> and open wide his eyes,</div>
-    <div class="verse indent0">And hold his pretty paws just so,<span class="fnanchor">(10)</span> and look so very wise.</div>
-    <div class="verse indent0">If e’er to him I crossly speak<span class="fnanchor">(11)</span> I very soon regret,</div>
-    <div class="verse indent0">And just as soon my little dog my anger will forget.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He says bow-wow-wow-wow-wow-wow,</div>
-    <div class="verse indent0">No word but this alone,</div>
-    <div class="verse indent0">And yet he is the smartest dog that ever I have known.</div>
-  </div>
-</div>
-</div>
-
-<p><span class="pagenum"><a id="Page_325"></a>[325]</span></p>
-
-<p>At place marked 1 hold right hand out, palm downwards, as if measuring
-height. At place marked 2, point to audience. At 3, the reciter points
-to himself. At 4, downward motion of hand. At 5, point to right. At 6,
-hold out both hands, as if holding stick. At 7, double up right arm, with
-hand in front of shoulder. At 8, point to left. At 9, hold head up very
-straight. At 10, cross hands on breast. At 11, hold out right hand, with
-finger pointed, as if in command.</p>
-
-<div class="figcenter-line" style="width: 215px;">
-<img src="images/line8.jpg" width="215" height="30" alt="" />
-</div>
-
-<h4>OPPORTUNITY.</h4>
-
-<p class="center">ADDRESSED TO THE BOYS OF AMERICA.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" /></div>
-    <div class="dropcapline">A judgeship is vacant, the ermine awaits</div>
-    <div class="verse indent2">The shoulder of youth, brave, honest and true,</div>
-    <div class="verse indent0">Some one will be standing by fame’s open gates,</div>
-    <div class="verse indent2">I wonder, my boys, will it be one of you?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The president’s chair of a great railroad maze,</div>
-    <div class="verse indent2">Is empty to-day, for death claimed his due,</div>
-    <div class="verse indent0">The directors are choosing a man for his place,</div>
-    <div class="verse indent2">I wonder, my boys—Will it be one of you?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">A pulpit is waiting for some one to fill,</div>
-    <div class="verse indent2">Of eloquent men there are only a few,</div>
-    <div class="verse indent0">The man who can fill it must have power to thrill;</div>
-    <div class="verse indent2">The best will be chosen—Will it be one of you?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The great men about us will pass to their rest,</div>
-    <div class="verse indent2">The places be filled by the boys who pursue</div>
-    <div class="verse indent0">The search for the highest, the noblest—the best,</div>
-    <div class="verse indent2">I wonder who’ll fill them; I hope ’twill be you.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>THE LITTLE LEAVES’ JOURNEY.</h4>
-
-<p class="center sm90">A motion exercise for six little girls.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">Some little leaves one autumn day</div>
-    <div class="verse indent2">From maple<span class="fnanchor">(1)</span> branches high,</div>
-    <div class="verse indent0">Looked down<span class="fnanchor">(2)</span> upon the lovely world</div>
-    <div class="verse indent2">And upward<span class="fnanchor">(3)</span> at the sky;</div>
-    <div class="verse indent0">Then each one sighed, “Had I<span class="fnanchor">(4)</span> but wings,</div>
-    <div class="verse indent2"><span class="fnanchor">(5)</span>Away, away I’d fly.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">At last the wind<span class="fnanchor">(6)</span> aweary grew</div>
-    <div class="verse indent2">Of hearing them complain,</div>
-    <div class="verse indent0">He<span class="fnanchor">(7)</span> shook the sturdy maple boughs</div>
-    <div class="verse indent2">With all his might and main;</div>
-    <div class="verse indent0">He shook<span class="fnanchor">(8)</span> the little leaflets all,</div>
-    <div class="verse indent2">And down<span class="fnanchor">(9)</span> they fell like rain.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">They huddled<span class="fnanchor">(10)</span> close in little heaps</div>
-    <div class="verse indent2">To keep all snug and warm,</div>
-    <div class="verse indent0">When Nature<span class="fnanchor">(11)</span> came, a tender nurse,</div>
-    <div class="verse indent2">With bed<span class="fnanchor">(12)</span> clothes on her arm;</div>
-    <div class="verse indent0">She tucked<span class="fnanchor">(13)</span> them ’neath soft snowy folds</div>
-    <div class="verse indent2">And hid<span class="fnanchor">(14)</span> them from the storm.</div>
-  </div>
-</div>
-</div>
-
-<div class="blockquote">
-
-<p>1. Motion upward with right hand. 2. Look downward. 3. Look upward. 4.
-Wave hands back and forth. 5. Extend right arm. 6. Close eyes, faces
-expressive of weariness. 7. Double the hands up, moving them quickly
-backwards and forwards. 8. Same as 7. 9. Move hands downward. 10. Put
-palms of hands together. 11. Look toward right. 12. Extend right arm,
-looking at same. 13. Downward motion with right hand. 14. Motion toward
-the north.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>THE BROOM DRILL.</h4>
-
-<p>Marches and drills by the little folks are always very attractive
-and entertaining. The preparation for these benefits young people by
-requiring them to move the body quickly and gracefully, assuming an erect
-attitude, then other positions at the word of command. Such exercises
-also aid in forming a habit of strict attention.</p>
-
-<p>The Broom Drill is one of the most entertaining, and can readily be
-learned. It should be practiced until it can be performed promptly and
-without any mistakes. Twelve or sixteen girls—in fact, any even number,
-according to the size of the stage—may take part in it.</p>
-
-<p>All should be dressed alike, in blouse waist of Turkey red chintz,
-sleeves and collar trimmed with white braid; skirt made of white cheese
-cloth, trimmed above the hem with band of red chintz, four or five inches
-wide; a red cap completes the costume.</p>
-
-<p><span class="pagenum"><a id="Page_326"></a>[326]</span></p>
-
-<p>During the marching there should be music, and the notes of the piano
-should be struck sharply. Any good march will answer for the music. The
-following exercises conform very nearly to the “Manual of Arms” used
-in the army. The cuts will be found very serviceable in showing the
-different positions.</p>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/drill-fig0.jpg" width="500" height="325" alt="" />
-</div>
-
-<p>Standing in rank near the front
-side of the stage, the teacher gives
-the command to “present arms,”
-“carry arms,” “trail arms,” etc. Each command
-consists of two words: the first is to
-indicate what the pupil is to do, and on the
-second word the movement is made, all acting
-in concert.</p>
-
-<p>The following exercises are suitable for
-this drill, and always prove very entertaining
-to the audience.</p>
-
-<p><i>Carry</i>—<span class="smcap">Arms!</span>—The broom is held in the
-right hand, handle upward, with the hand
-clasping the handle where it joins the brush.
-The left hand hangs at the side. (Fig. 1.)</p>
-
-<div class="figcenter" style="width: 100px;" id="fig1">
-<img src="images/drill-fig1.jpg" width="100" height="300" alt="" />
-<p class="caption"><span class="smcap">Fig. 1.</span></p>
-</div>
-
-<p><i>Present</i>—<span class="smcap">Arms!</span>—Place the broom with the
-right hand in front of the centre of the body,
-clasping the handle with the left hand above<span class="pagenum"><a id="Page_327"></a>[327]</span>
-the right. Hold the broom perfectly perpendicular.
-(Fig. 2.)</p>
-
-<div class="figcenter" style="width: 100px;" id="fig2">
-<img src="images/drill-fig2.jpg" width="100" height="300" alt="" />
-<p class="caption"><span class="smcap">Fig. 2.</span></p>
-</div>
-
-<p><i>Order</i>—<span class="smcap">Arms!</span>—Let go the handle with
-the left hand, and carry the broom to the side
-with the right hand; then drop the broom to
-the floor. (Fig. 3.)</p>
-
-<div class="figcenter" style="width: 110px;" id="fig3">
-<img src="images/drill-fig3.jpg" width="110" height="300" alt="" />
-<p class="caption"><span class="smcap">Fig. 3.</span></p>
-</div>
-
-<p><i>In place</i>—<span class="smcap">Rest!</span>—Grasp the handle with
-both hands, the left above the right, and place
-both hands in front of the lower part of the
-breast. (Fig. 4.)</p>
-
-<div class="figcenter" style="width: 110px;" id="fig4">
-<img src="images/drill-fig4.jpg" width="110" height="300" alt="" />
-<p class="caption"><span class="smcap">Fig. 4.</span></p>
-</div>
-
-<p><i>Trail</i>—<span class="smcap">Arms!</span>—Grasp the handle with the
-right hand and incline it forward, the broom
-behind, resting on the floor. (Fig. 5.)</p>
-
-<div class="figcenter" style="width: 100px;" id="fig5">
-<img src="images/drill-fig5.jpg" width="100" height="300" alt="" />
-<p class="caption"><span class="smcap">Fig. 5.</span></p>
-</div>
-
-<p><i>Attention</i>—<span class="smcap">Charge!</span>—Half face to the
-right, carrying the heel six inches to the rear
-and three inches to the right of the left, turning
-the toes of both feet slightly inward; at
-the same time drop the stick into the left
-hand, elbow against the body, point of stick
-at the height of the chin; right hand grasping
-the stick just above the brush and supporting
-it firmly against the right hip. (Fig. 6.)</p>
-
-<div class="figcenter" style="width: 200px;" id="fig6">
-<img src="images/drill-fig6.jpg" width="200" height="300" alt="" />
-<p class="caption"><span class="smcap">Fig. 6.</span></p>
-</div>
-
-<p><i>Port</i>—<span class="smcap">Arms!</span>—Raise and throw the broom
-diagonally across the body; grasp it smartly
-with both hands, the right, palm down at the
-base of the stick; the left, palm up, thumb
-clasping stick; handle sloping to the left and
-crossing opposite the middle of left shoulder;
-right forearm horizontal; forearms and handle
-near the body. (Fig. 7.)</p>
-
-<div class="figcenter" style="width: 150px;" id="fig7">
-<img src="images/drill-fig7.jpg" width="150" height="300" alt="" />
-<p class="caption"><span class="smcap">Fig. 7.</span></p>
-</div>
-
-<p><i>Secure</i>—<span class="smcap">Arms!</span>—Advance the broom
-slightly with the right hand, turn the handle
-to the front with the left hand. At the same
-time change the position of the right hand,
-placing it further up the handle, drop the
-handle to the front, placing the broom where
-joined with the handle, under the right arm.
-(Fig. 8.)</p>
-
-<div class="figcenter" style="width: 150px;" id="fig8">
-<img src="images/drill-fig8.jpg" width="150" height="300" alt="" />
-<p class="caption"><span class="smcap">Fig. 8.</span></p>
-</div>
-
-<p><i>Reverse</i>—<span class="smcap">Arms!</span>—Lift the broom vertically
-with the right hand, clasp the stick with the
-left hand; then, with the right hand grasp
-the handle near the brush. Reverse the
-broom, the handle dropping to the front, the
-broom passing between the breast and right
-forearm. Press the handle under the arm with
-the left hand until the right elbow can hold it
-in place against the body; pass left hand behind
-the back and clasp the stick. (Fig. 9.)</p>
-
-<div class="figcenter" style="width: 200px;" id="fig9">
-<img src="images/drill-fig9.jpg" width="200" height="300" alt="" />
-<p class="caption"><span class="smcap">Fig. 9.</span></p>
-</div>
-
-<p><i>Inspection</i>—<span class="smcap">Arms!</span>—This is executed from
-the “carry arms” position. Lift the broom
-quickly with the right hand, bringing it in
-front of the centre of the body; then grasp
-the handle with the left hand, placed near
-the chin, and hold it. (Fig. 10.)</p>
-
-<div class="figcenter" style="width: 115px;" id="fig10">
-<img src="images/drill-fig10.jpg" width="115" height="350" alt="" />
-<p class="caption"><span class="smcap">Fig. 10.</span></p>
-</div>
-
-<p><span class="pagenum"><a id="Page_328"></a>[328]</span></p>
-
-<h5>MOVEMENTS OF ATTACK AND
-DEFENSE.</h5>
-
-<p>These can be executed only with open
-ranks, the pupils being placed seven or eight
-feet apart. To so place them, the teacher
-will give the order—</p>
-
-<p><i>Right (or Left) open Ranks</i>—<span class="smcap">March!</span>—The
-pupils face to the right or left, according to
-the order given, except the one at the extreme
-end of the line. The others march,
-the last of the file halting at every four or
-five steps from the one in the rear, until all
-are the same distance apart. They then face
-front. To close the rank, turn to the right
-or left and march toward the pupil standing
-at the end until halted by the one ahead.
-Then face front.</p>
-
-<p><i>Attention</i>—<span class="smcap">Guard!</span>—At the command
-<i>guard</i>, half face to the right, carry back and
-place the right foot about twice its length to
-the rear and nearly the same distance to the
-right, the feet at little less than a right angle,
-the right toe pointing squarely to the right,
-both knees bent slightly, weight of the body
-held equally on both legs; at the same time
-throw the end of the stick to the front, at
-the height of the chin, grasping it lightly
-with both hands, the right just above the
-brush, the left a few inches higher; the right
-hand in line with the left hip and both arms
-held free from the body and without constraint.
-(Fig. 11.)</p>
-
-<p><i>Being at the Guard</i>—<span class="smcap">Advance!</span>—Move the
-left foot quickly forward, twice its length;
-follow with the right foot the same distance.</p>
-
-<div class="figcenter" style="width: 250px;" id="fig11">
-<img src="images/drill-fig11.jpg" width="250" height="300" alt="" />
-<p class="caption"><span class="smcap">Fig. 11.</span></p>
-</div>
-
-<p><span class="smcap">Retire!</span>—Move the right foot quickly to
-the rear, twice its length; follow with the
-left foot the same distance.</p>
-
-<p><i>Front</i>—<span class="smcap">Pass!</span>—Advance the right foot
-quickly, fifteen inches in front of the left,
-keeping right toe squarely to the right; advance
-the left foot to its relative position in
-front.</p>
-
-<p><i>Rear</i>—<span class="smcap">Pass!</span>—Carry the left foot quickly
-fifteen inches to the rear of the right; place
-the right foot in its relative position in rear,
-keeping the right toe squarely to the right.</p>
-
-<p><i>Right</i>—<span class="smcap">Volt!</span>—Face to the right, turning
-on the ball of the left foot, at the same time<span class="pagenum"><a id="Page_329"></a>[329]</span>
-carry the right foot quickly to its position in
-rear.</p>
-
-<p><i>Left</i>—<span class="smcap">Volt!</span>—Face to the left, turning on
-the ball of the left foot, at the same time
-carry the right foot quickly to its position in
-rear.</p>
-
-<p><i>Right rear and left rear volts</i> are similarly
-executed, facing about on the ball of the left
-foot.</p>
-
-<p><i>Quarte</i>—<span class="smcap">Parry!</span>—Hold the broom in front
-of the left shoulder with the right hand,
-handle upward, the fingers of the left hand
-on the handle, the left elbow touching the
-right wrist. (Fig. 12.)</p>
-
-<div class="figcenter" style="width: 100px;" id="fig12">
-<img src="images/drill-fig12.jpg" width="100" height="350" alt="" />
-<p class="caption"><span class="smcap">Fig. 12.</span></p>
-</div>
-
-<p><i>Seconde</i>—<span class="smcap">Parry!</span>—Move the point of the
-broom-handle quickly to the left, describing
-a semi-circle from left to right, the left elbow
-in front of the body, the flat of the broom
-under the right forearm, the right elbow two
-or three inches higher than the right shoulder.
-(Fig. 13.)</p>
-
-<div class="figcenter" style="width: 115px;" id="fig13">
-<img src="images/drill-fig13.jpg" width="115" height="300" alt="" />
-<p class="caption"><span class="smcap">Fig. 13.</span></p>
-</div>
-
-<p><i>Prime</i>—<span class="smcap">Parry.</span>—Carry the broom to the<span class="pagenum"><a id="Page_330"></a>[330]</span>
-left, covering the left shoulder, the handle
-downward, the left forearm behind the handle,
-the right arm in front of and above the
-eyes. (Fig. 14.)</p>
-
-<div class="figcenter" style="width: 125px;" id="fig14">
-<img src="images/drill-fig14.jpg" width="125" height="350" alt="" />
-<p class="caption"><span class="smcap">Fig. 14.</span></p>
-</div>
-
-<h5>THRUSTS.</h5>
-
-<p><span class="smcap">To Thrust in Tierce.</span>—Straighten the
-right leg, extend both arms, keeping point
-of handle at height of the breast, broom at
-right side of head. (Fig. 15.)</p>
-
-<div class="figcenter" style="width: 275px;" id="fig15">
-<img src="images/drill-fig15.jpg" width="275" height="300" alt="" />
-<p class="caption"><span class="smcap">Fig. 15.</span></p>
-</div>
-
-<p><span class="smcap">Thrust in Quarte.</span>—The same as tierce,
-but with the broom on the left side of the
-head.</p>
-
-<h5>LUNGES.</h5>
-
-<p>The lunges are the same as the thrusts,
-except that the left foot is extended farther
-in front. (Fig. 16.)</p>
-
-<div class="figcenter" style="width: 325px;" id="fig16">
-<img src="images/drill-fig16.jpg" width="325" height="300" alt="" />
-<p class="caption"><span class="smcap">Fig. 16.</span></p>
-</div>
-
-<p><i>Broom to Front</i>—<span class="smcap">One!</span>—Raise handle
-nearly straight up and down, drop it into
-the hollow of the right shoulder.—<span class="smcap">Two!</span>—Strike
-quickly by pushing the broom forward,
-the handle always resting on the right
-shoulder. (Fig. 17.)</p>
-
-<div class="figcenter" style="width: 275px;" id="fig17">
-<img src="images/drill-fig17.jpg" width="275" height="300" alt="" />
-<p class="caption"><span class="smcap">Fig. 17.</span></p>
-</div>
-
-<p><i>Right Short</i>—<span class="smcap">Thrust!</span>—<span class="smcap">One!</span>—Hold the
-broom with the right hand to the rear,
-left hand by the right breast, the point of the
-handle opposite the centre of the body.—<span class="smcap">Two!</span>—Thrust
-forward. (Fig. 18.)</p>
-
-<div class="figcenter" style="width: 225px;" id="fig18">
-<img src="images/drill-fig18.jpg" width="225" height="300" alt="" />
-<p class="caption"><span class="smcap">Fig. 18.</span></p>
-</div>
-
-<p><i>High Prime</i>—<span class="smcap">Parry!</span>—Raise the broom<span class="pagenum"><a id="Page_331"></a>[331]</span>
-with both hands in front of and higher than
-the head. Hold the handle firmly with
-the right hand, the broom being to the
-right; turn the knuckles of the left hand
-to the front, and let other end of broom
-handle rest on the thumb and forefinger.
-(Fig. 19.)</p>
-
-<div class="figcenter" style="width: 225px;" id="fig19">
-<img src="images/drill-fig19.jpg" width="225" height="300" alt="" />
-<p class="caption"><span class="smcap">Fig. 19.</span></p>
-</div>
-
-<p><span class="smcap">To Guard when Kneeling.</span>—Bring the
-toe of the left foot square in front, plant the
-right foot to the rear, kneel on the right
-knee, bending the left, hold the broom at an
-angle of 45 degrees, pointing directly to the
-front, the right hand pressed firmly against
-the side, the left hand holding the point of
-handle upward. (Fig. 20.)</p>
-
-<div class="figcenter" style="width: 250px;" id="fig20">
-<img src="images/drill-fig20.jpg" width="250" height="250" alt="" />
-<p class="caption"><span class="smcap">Fig. 20.</span></p>
-</div>
-
-<h5>THE MARCH.</h5>
-
-<p>There should be music while the pupils are coming
-upon the stage and leaving. Any spirited march
-will answer.</p>
-
-<p>Girls enter from right and left sides of
-stage at the back, eight on each side, and
-march in single files according to the diagram
-furnished below.</p>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/march.jpg" width="500" height="225" alt="" />
-</div>
-
-<p>When they meet at C F, separate and
-march to L F and R F, then up sides of stage
-to back, then across back to C B. When they
-meet at C B, form couples and march in
-twos forward on centre line. At C F first
-couple turn to R F, second to L F, third to
-R F, fourth to L F, etc. March up sides to
-back, and when couples meet at C B march in
-fours to C F. First four turn to R F, second
-four to L F, etc. March up sides to back.</p>
-
-<p>When the fours meet at C B, form eights
-and march toward front and halt for drill.
-During the march they “carry brooms” in
-the right hand, the stick resting against the
-right shoulder and nearly vertical, the arm
-hanging at nearly its full length near the
-body, the hand grasping the handle of the
-broom just above the sweep (the brush part),
-which rests flat against the side of skirt.
-The thumb and forefinger must be in front.</p>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-
-<p><span class="pagenum"><a id="Page_332"></a>[332]</span></p>
-
-<h3 class="nobreak" id="Recitations_for_the_Sunday-school"><span class="smcap">Recitations for the Sunday-school.</span></h3>
-
-</div>
-
-<div class="figcenter-line" style="width: 375px;">
-<img src="images/line5.jpg" width="375" height="30" alt="" />
-</div>
-
-<p>It is so difficult to obtain really good selections to be recited at
-Sunday-school anniversaries and similar occasions, that those here
-presented will be much appreciated. They have the merit of containing
-good sentiments and are therefore appropriate. The best lessons for young
-and old are often conveyed in simple language.</p>
-
-<div class="figcenter-line" style="width: 300px;">
-<img src="images/line11.jpg" width="300" height="15" alt="" />
-</div>
-
-<h4>LITTLE SERVANTS.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">Oh, what can little hands do</div>
-    <div class="verse indent2">To please the King of heaven?</div>
-    <div class="verse indent0">The little hands some work may try</div>
-    <div class="verse indent0">To help the poor in misery;—</div>
-    <div class="verse indent2">Such grace to mine be given.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Oh, what can little lips do</div>
-    <div class="verse indent2">To please the King of heaven?</div>
-    <div class="verse indent0">The little lips can praise and pray,</div>
-    <div class="verse indent0">And gentle words of kindness say:—</div>
-    <div class="verse indent2">Such grace to mine be given.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Oh, what can little eyes do</div>
-    <div class="verse indent2">To please the King of heaven?</div>
-    <div class="verse indent0">The little eyes can upward look,</div>
-    <div class="verse indent0">Can learn to read God’s holy book;—</div>
-    <div class="verse indent2">Such grace to mine be given.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Oh, what can little hearts do</div>
-    <div class="verse indent2">To please the King of heaven?</div>
-    <div class="verse indent0">The hearts, if God his Spirit send,</div>
-    <div class="verse indent0">Can love and trust the children’s Friend;—</div>
-    <div class="verse indent2">Such grace to mine be given.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">When hearts, eyes, lips and hands unite</div>
-    <div class="verse indent2">To please the King of heaven,</div>
-    <div class="verse indent0">And serve the Saviour with delight,</div>
-    <div class="verse indent0">They are most precious in his sight;—</div>
-    <div class="verse indent2">Such grace to mine be given.</div>
-  </div>
-</div>
-</div>
-
-<h4>WILLIE AND THE BIRDS.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">A little black-eyed boy of five</div>
-    <div class="verse indent2">Thus spake to his mamma:</div>
-    <div class="verse indent0">“Do look at all the pretty birds;</div>
-    <div class="verse indent2">How beautiful they are!</div>
-    <div class="verse indent0">How smooth and glossy are their wings;</div>
-    <div class="verse indent2">How beautiful their hue;</div>
-    <div class="verse indent0">Besides, mamma, I really think</div>
-    <div class="verse indent2">That they are <i>pious</i>, too!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Why so, my dear?” the mother said,</div>
-    <div class="verse indent2">And scarce suppressed a smile;</div>
-    <div class="verse indent0">The answer showed a thoughtful head,</div>
-    <div class="verse indent2">A heart quite free from guile:</div>
-    <div class="verse indent0">“Because, when each one bows his head,</div>
-    <div class="verse indent2">His tiny bill to wet,</div>
-    <div class="verse indent0">To lift a thankful glance above</div>
-    <div class="verse indent2">He never does forget;</div>
-    <div class="verse indent0">And so, mamma, it seems to me</div>
-    <div class="verse indent2">That very pious they must be.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Dear child, I would a lesson learn</div>
-    <div class="verse indent2">From this sweet thought of thine,</div>
-    <div class="verse indent0">And heavenward, with a glad heart, turn</div>
-    <div class="verse indent2">These earth-bound eyes of mine;</div>
-    <div class="verse indent0">Perfected praise, indeed is given,</div>
-    <div class="verse indent2">By babes below, to God in heaven,</div>
-  </div>
-</div>
-</div>
-
-<h4>A CHILD’S PRAYER.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Lord, teach a little child to pray,</div>
-    <div class="verse indent2">And oh! accept my prayer;</div>
-    <div class="verse indent0">Thou canst hear all the words I say,</div>
-    <div class="verse indent2">For Thou art everywhere.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">A little sparrow cannot fall</div>
-    <div class="verse indent2">Unnoticed, Lord by Thee;</div>
-    <div class="verse indent0">And though I am so young and small,</div>
-    <div class="verse indent2">Thou dost take care of me.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Teach me to do whate’er is right,</div>
-    <div class="verse indent2">And when I sin, forgive;</div>
-    <div class="verse indent0">And make it still my chief delight</div>
-    <div class="verse indent2">To serve Thee while I live.</div>
-  </div>
-</div>
-</div>
-
-<h4>GOD LOVES ME.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">God cares for every little child</div>
-    <div class="verse indent2">That on this great earth liveth;</div>
-    <div class="verse indent0">He gives them homes and food and clothes,</div>
-    <div class="verse indent2">And more than these God giveth;—</div><span class="pagenum"><a id="Page_333"></a>[333]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He gives them all their loving friends;</div>
-    <div class="verse indent2">He gives each child its mother;</div>
-    <div class="verse indent0">He gives them all the happiness</div>
-    <div class="verse indent2">Of loving one another.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He makes the earth all beautiful;</div>
-    <div class="verse indent2">He gives us eyes to see;</div>
-    <div class="verse indent0">And touch and hearing, taste and smell,</div>
-    <div class="verse indent2">He gives them all to me.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And, better still, he gives his word,</div>
-    <div class="verse indent2">Which tells how God’s dear Son</div>
-    <div class="verse indent0">Gathered the children in his arms</div>
-    <div class="verse indent2">And loves them—every one.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">What can a little child give God?</div>
-    <div class="verse indent2">From his bright heavens above</div>
-    <div class="verse indent0">The great God smiles, and reaches down</div>
-    <div class="verse indent2">To take his children’s love.</div>
-  </div>
-</div>
-</div>
-
-<h4>THE UNFINISHED PRAYER.</h4>
-
-<p>This beautiful poem is admirably adapted for a
-church entertainment when spoken by a little girl.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“Now I lay”—say it, darling;</div>
-    <div class="verse indent2">“Lay me,” lisped the tiny lips</div>
-    <div class="verse indent0">Of my daughter, kneeling, bending</div>
-    <div class="verse indent2">O’er her folded finger tips.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Down to sleep”—“to sleep,” she murmured</div>
-    <div class="verse indent2">And the curly head dropped low;</div>
-    <div class="verse indent0">“I pray the Lord”—I gently added,</div>
-    <div class="verse indent2">“You can say it all, I know.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Pray the Lord”—the words came faintly,</div>
-    <div class="verse indent2">Fainter still—“my soul to keep;”</div>
-    <div class="verse indent0">When the tired head fairly nodded,</div>
-    <div class="verse indent2">And the child was fast asleep.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But the dewy eyes half opened,</div>
-    <div class="verse indent2">When I clasped her to my breast,</div>
-    <div class="verse indent0">And the dear voice softly whispered,</div>
-    <div class="verse indent2">“Mamma, God knows all the rest.”</div>
-  </div>
-</div>
-</div>
-
-<h4>DEEDS OF KINDNESS.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Suppose the little cowslip</div>
-    <div class="verse indent2">Should hang its little cup,</div>
-    <div class="verse indent0">And say, “I’m such a tiny flower,</div>
-    <div class="verse indent2">I’d better not grow up.”</div>
-    <div class="verse indent0">How many a weary traveler</div>
-    <div class="verse indent2">Would miss its fragrant smell!</div>
-    <div class="verse indent0">How many a little child would grieve</div>
-    <div class="verse indent2">To lose it from the dell!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Suppose the glistening dew-drops</div>
-    <div class="verse indent2">Upon the grass should say,</div>
-    <div class="verse indent0">“What can a little dew-drop do?</div>
-    <div class="verse indent2">I’d better roll away.”</div>
-    <div class="verse indent0">The blade on which it rested,</div>
-    <div class="verse indent2">Before the day was done,</div>
-    <div class="verse indent0">Without a drop to moisten it</div>
-    <div class="verse indent2">Would wither in the sun.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Suppose the little breezes,</div>
-    <div class="verse indent2">Upon a summer’s day,</div>
-    <div class="verse indent0">Should think themselves too small to cool</div>
-    <div class="verse indent2">The traveler on his way;</div>
-    <div class="verse indent0">Who would not miss the smallest</div>
-    <div class="verse indent2">And softest ones that blow,</div>
-    <div class="verse indent0">And think they made a great mistake</div>
-    <div class="verse indent2">If they were talking so?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">How many deeds of kindness</div>
-    <div class="verse indent2">A little child may do,</div>
-    <div class="verse indent0">Although it has so little strength,</div>
-    <div class="verse indent2">And little wisdom too!</div>
-    <div class="verse indent0">It needs a loving spirit,</div>
-    <div class="verse indent2">Much more than strength, to prove</div>
-    <div class="verse indent0">How many things a child may do</div>
-    <div class="verse indent2">For others by its love.</div>
-  </div>
-</div>
-</div>
-
-<h4>A LOT OF DON’TS.</h4>
-
-<div class="blockquote">
-
-<p>I believe, if there is one word that grown-up
-folks are more fond of using to us little
-folks, than any other word in the big dictionary,
-it is the word D-o-n-t.</p>
-
-<p>It is all the time “Don’t do this,” and
-“Don’t do that,” and “Don’t do the other,”
-until I am sometimes afraid there will be
-nothing left that we can do.</p>
-
-<p>Why, for years and years and years, ever
-since I was a tiny little tot, this word “Don’t”
-has been my torment. It’s “Lizzie, don’t
-make a noise, you disturb me,” and “Lizzie,
-don’t eat so much candy, it will make you
-sick,” and “Lizzie, don’t be so idle,” and
-“Don’t talk so much,” and “Don’t soil
-your clothes,” and “Don’t” everything else.
-One day I thought I’d count how many
-times I was told not to do things! Just
-think! I counted twenty-three “don’ts,” and<span class="pagenum"><a id="Page_334"></a>[334]</span>
-I think I missed two or three little ones besides.</p>
-
-<p>But now it is my turn. I have got a chance
-to talk, and I’m going to tell some of the big
-people when to Don’t! That is what my
-piece is about. First, I shall tell the papas
-and mammas—Don’t scold the children, just
-because you have been at a party the night
-before, and so feel cross and tired. Second,
-Don’t fret and make wrinkles in your faces
-over things that cannot be helped. I think
-fretting spoils big folks just as much as it
-does us little people. Third, Don’t forget
-where you put your scissors, and then say you
-s’pose the children have taken them. Oh!
-I could tell you ever so many “don’ts,” but
-I think I’ll only say one more, and that is—Don’t
-think I mean to be saucy, because all
-these don’ts are in my piece, and I had to
-say them.</p>
-
-<p class="right"><span class="smcap">E. C. Rook.</span></p>
-
-</div>
-
-<h4>LITTLE WILLIE AND THE APPLE.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Little Willie stood under an apple tree old,</div>
-    <div class="verse indent0">The fruit was all shining with crimson and gold,</div>
-    <div class="verse indent0">Hanging temptingly low—how he longed for a bite,</div>
-    <div class="verse indent0">Though he knew if he took one it wouldn’t be right.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Said he, “I don’t see why my father should say,</div>
-    <div class="verse indent0">‘Don’t touch the old apple tree, Willie, to-day;’</div>
-    <div class="verse indent0">I shouldn’t have thought, now they’re hanging so low,</div>
-    <div class="verse indent0">When I asked for just one, he would answer me, ‘No.’</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“He would never find out if I took but just one,</div>
-    <div class="verse indent0">And they do look so good, shining out in the sun,</div>
-    <div class="verse indent0">There are hundreds and hundreds, and he wouldn’t miss</div>
-    <div class="verse indent0">So paltry a little red apple as this.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He stretched forth his hand, but a low mournful strain</div>
-    <div class="verse indent0">Came wandering dreamily over his brain;</div>
-    <div class="verse indent0">In his bosom a beautiful harp had long laid,</div>
-    <div class="verse indent0">Which the angel of conscience quite frequently played:—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And he sang, “Little Willie, beware, O beware!</div>
-    <div class="verse indent0">Your father is gone, but your Maker is there.</div>
-    <div class="verse indent0">How sad you would feel, if you heard the Lord say,</div>
-    <div class="verse indent0">‘This dear little boy stole an apple to-day.’”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then Willie turned round, and, as still as a mouse,</div>
-    <div class="verse indent0">Crept slowly and carefully into the house.</div>
-    <div class="verse indent0">In his own little chamber he knelt down to pray</div>
-    <div class="verse indent0">That the Lord would forgive him, and please not to say,</div>
-    <div class="verse indent0">“Little Willie almost stole an apple to-day.”</div>
-  </div>
-</div>
-</div>
-
-<h4>THE CHILD’S PRAYER.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">The curtains drawn across the light</div>
-    <div class="verse indent2">Made darkness in the room,</div>
-    <div class="verse indent0">And in our watching eyes and hearts</div>
-    <div class="verse indent2">Fear wrought an answering gloom.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Grief-wrung, we heard from lips we loved</div>
-    <div class="verse indent2">The moanings of distress,</div>
-    <div class="verse indent0">And vainly strove to stifle pain</div>
-    <div class="verse indent2">With helpless tenderness.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">We scarcely marked the three-years boy</div>
-    <div class="verse indent2">Who stood beside the bed,</div>
-    <div class="verse indent0">From whose wet cheeks and quivering lips</div>
-    <div class="verse indent2">The frightened dimples fled.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Till all at once, with eager hope,</div>
-    <div class="verse indent2">A thrill in every word,</div>
-    <div class="verse indent0">Our darling cried, “I guess I’ll speak</div>
-    <div class="verse indent2">About it to the Lord!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He sank upon his bended knee,</div>
-    <div class="verse indent2">And clasped his hands in prayer,</div>
-    <div class="verse indent0">While, like a glory, from his brow</div>
-    <div class="verse indent2">Streamed back his golden hair.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“O Lord!” he said, “dear grandma’s sick;</div>
-    <div class="verse indent2">We don’t know what to do!</div>
-    <div class="verse indent0">If I could only make her well,</div>
-    <div class="verse indent2">I’m sure I would. Won’t you?”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">He rose; o’er all his childish face</div>
-    <div class="verse indent2">A subtle radiance shone,</div><span class="pagenum"><a id="Page_335"></a>[335]</span>
-    <div class="verse indent0">As one who on the mount of faith</div>
-    <div class="verse indent2">Had talked with God alone.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">We gazed each in the other’s eyes,</div>
-    <div class="verse indent2">We almost held our breath</div>
-    <div class="verse indent0">Before the fearless confidence</div>
-    <div class="verse indent2">That shamed our tardy faith.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But, when our yearning glances sought</div>
-    <div class="verse indent2">The sufferer’s face again,</div>
-    <div class="verse indent0">A look of growing ease and rest</div>
-    <div class="verse indent2">Replaced the lines of pain.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Quick as his trusting prayer to raise,</div>
-    <div class="verse indent2">Its answer to discern,</div>
-    <div class="verse indent0">The child climbed up to reach her lips,</div>
-    <div class="verse indent2">Which kissed him in return.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Grandma”—the ringing accents struck</div>
-    <div class="verse indent2">A new, triumphant chord—</div>
-    <div class="verse indent0">“I <i>knew</i> you would be better soon,</div>
-    <div class="verse indent2">Because I asked the Lord!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Mary A. P. Humphrey.</span></div>
-  </div>
-</div>
-</div>
-
-<h4>“MAYN’T I BE A BOY?”</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“Mayn’t I be a boy?” said our Mary,</div>
-    <div class="verse indent2">The tears in her great eyes blue;</div>
-    <div class="verse indent0">“I’m only a wee little lassie—</div>
-    <div class="verse indent2">There’s nothing a woman can do.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“’Tis so; I heard Cousin John say so—</div>
-    <div class="verse indent2">He’s home from a great college, too—</div>
-    <div class="verse indent0">He said so just now in the parlor;</div>
-    <div class="verse indent2">‘There’s nothing a <i>woman</i> can do.’”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“My wee little lassie, my darling,”</div>
-    <div class="verse indent2">Said I, putting back her soft hair,</div>
-    <div class="verse indent0">“I want you, my dear little maiden,</div>
-    <div class="verse indent2">To smooth away all mother’s care.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Who is it, when pa comes home weary,</div>
-    <div class="verse indent2">That runs for his slippers and gown?</div>
-    <div class="verse indent0">What eyes does he watch for at morning,</div>
-    <div class="verse indent2">Looking out from their lashes of brown?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“And can you do nothing, my darling,</div>
-    <div class="verse indent2">What was it that pa said last night?</div>
-    <div class="verse indent0">‘My own little sunbeam is coming,</div>
-    <div class="verse indent2">I know, for the room is so bright.’</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“And there is a secret, my Mary—</div>
-    <div class="verse indent2">Perhaps you will learn it some day—</div>
-    <div class="verse indent0">The hand that is willing and loving</div>
-    <div class="verse indent2">Will do the most work on the way.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“And the work that is sweetest and dearest—</div>
-    <div class="verse indent2">The great work that so many ne’er do—</div>
-    <div class="verse indent0">The work of making folks happy</div>
-    <div class="verse indent2">Can be done by a lassie like you.”</div>
-  </div>
-</div>
-</div>
-
-<h4>GIVE YOUR BEST.</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">See the rivers flowing</div>
-    <div class="verse indent2">Downward to the sea,</div>
-    <div class="verse indent0">Pouring all their treasures</div>
-    <div class="verse indent2">Bountiful and free!</div>
-    <div class="verse indent0">Yet, to help their giving,</div>
-    <div class="verse indent2">Hidden springs arise;</div>
-    <div class="verse indent0">Or, if need be, showers</div>
-    <div class="verse indent2">Feed them from the skies.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Watch the princely flowers</div>
-    <div class="verse indent2">Their rich fragrance spread;</div>
-    <div class="verse indent0">Load the air with perfumes</div>
-    <div class="verse indent2">From their beauty shed;</div>
-    <div class="verse indent0">Yet their lavish spending</div>
-    <div class="verse indent2">Leaves them not in dearth,</div>
-    <div class="verse indent0">With fresh life replenished</div>
-    <div class="verse indent2">By their mother earth.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Give thy heart’s best treasures;</div>
-    <div class="verse indent2">From fair Nature learn;</div>
-    <div class="verse indent0">Give thy love, and ask not,</div>
-    <div class="verse indent2">Wait not, a return.</div>
-    <div class="verse indent0">And the more thou spendest</div>
-    <div class="verse indent2">From thy little store,</div>
-    <div class="verse indent0">With a double bounty</div>
-    <div class="verse indent2">God will give thee more.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Adelaide A. Proctor.</span></div>
-  </div>
-</div>
-</div>
-
-<h4>THE BIRDS.</h4>
-
-<p>For six children and an older scholar, who takes the
-part of teacher, and recites the “Response.” Stand
-in a row and step forward as you recite your lines.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse center">HUMMING-BIRD.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I wish I were a humming-bird,</div>
-    <div class="verse indent2">A tiny little thing,</div>
-    <div class="verse indent0">With feathers light and airy,</div>
-    <div class="verse indent2">And a brilliant rainbow wing;</div>
-    <div class="verse indent0">Fleet as a sound, I’d fly, I’d fly,</div>
-    <div class="verse indent2">Away from fear and harm,</div>
-    <div class="verse indent0">Over the flowers and through the air,</div>
-    <div class="verse indent2">Inhaling heavenly balm.</div><span class="pagenum"><a id="Page_336"></a>[336]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse center">LARK.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I’d rather be a lark to rise,</div>
-    <div class="verse indent2">When the sleep of night is done;</div>
-    <div class="verse indent0">And higher, higher through the skies</div>
-    <div class="verse indent2">Soar to the morning sun;</div>
-    <div class="verse indent0">And clearer, sweeter, as I rise,</div>
-    <div class="verse indent2">With rapture I would sing,</div>
-    <div class="verse indent0">While diadems from heaven’s own light</div>
-    <div class="verse indent2">Would sparkle on my wings.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">NIGHTINGALE.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I’d like to be a nightingale;</div>
-    <div class="verse indent2">She sings the sweetest song;</div>
-    <div class="verse indent0">The daylight gone, her voice is heard</div>
-    <div class="verse indent2">In tune the whole night long.</div>
-    <div class="verse indent0">The stars look down from heaven’s dome,</div>
-    <div class="verse indent2">The pale moon rolls along;</div>
-    <div class="verse indent0">And maybe angels live up there,</div>
-    <div class="verse indent2">And listen to her song.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">EAGLE.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Of all the birds that sing so sweet,</div>
-    <div class="verse indent2">Or roam the air so free,</div>
-    <div class="verse indent0">With pinions firm, and proud, and strong,</div>
-    <div class="verse indent2">The eagle I would be;</div>
-    <div class="verse indent0">On some high mount whose rugged peaks</div>
-    <div class="verse indent2">Beyond the clouds do rest,</div>
-    <div class="verse indent0">There, in the blaze of day, I’d find</div>
-    <div class="verse indent2">My shelter and my rest.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">DOVE.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The humming-bird’s a pretty thing.</div>
-    <div class="verse indent2">The lark flies very high,</div>
-    <div class="verse indent0">The eagle’s very proud and strong,</div>
-    <div class="verse indent2">The nightingale sings lullaby;</div>
-    <div class="verse indent0">But, as I want a nature</div>
-    <div class="verse indent2">That every one can love,</div>
-    <div class="verse indent0">And would be gentle, mild, and sweet,</div>
-    <div class="verse indent2">I think I’ll be a dove.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">CHICKADEE.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I’ll tell you what I want to be—</div>
-    <div class="verse indent0">A little, merry, chickadee;</div>
-    <div class="verse indent0">In the storm and in the snow</div>
-    <div class="verse indent0">When the cold winds fiercely blow,</div>
-    <div class="verse indent0">Not to mind the wintry blast,</div>
-    <div class="verse indent0">Nor how long the storm may last,</div>
-    <div class="verse indent0">Active, merry, blithe and free,</div>
-    <div class="verse indent0">This’s the bird I’d like to be.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">RESPONSE.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I do not want to be a bird,</div>
-    <div class="verse indent2">And really had not you</div>
-    <div class="verse indent0">Much rather be like all the birds,</div>
-    <div class="verse indent2">And yet be children too?</div>
-    <div class="verse indent0">The humming-bird, from bloom to bloom</div>
-    <div class="verse indent2">Inhales the heavenly balm;</div>
-    <div class="verse indent0">So we from all may gather good,</div>
-    <div class="verse indent2">And still reject the harm.</div>
-    <div class="verse indent0">And, like the lark, our minds arise,</div>
-    <div class="verse indent2">By inspirations given,</div>
-    <div class="verse indent0">To bathe our souls, as she her wings,</div>
-    <div class="verse indent2">In the pure light of heaven.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The nightingale sings all the night,</div>
-    <div class="verse indent2">In sweet, harmonious lays;</div>
-    <div class="verse indent0">So, in the night of sorrow, we</div>
-    <div class="verse indent2">Should sing our Maker’s praise.</div>
-    <div class="verse indent0">The eagle, firm, and proud, and strong,</div>
-    <div class="verse indent2">On his own strength relying,</div>
-    <div class="verse indent0">Soars through the storm, the lightning’s glare</div>
-    <div class="verse indent2">And thunders bold defying.</div>
-    <div class="verse indent0">Till far above the clouds and storm,</div>
-    <div class="verse indent2">High on some mountain crest,</div>
-    <div class="verse indent0">He finds the sun’s clear light at last,</div>
-    <div class="verse indent2">And there he goes to rest.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Be ours a spirit firm and true,</div>
-    <div class="verse indent2">Bold in the cause of right,</div>
-    <div class="verse indent0">Ever steadily onward moving,</div>
-    <div class="verse indent2">And upward to the light;</div>
-    <div class="verse indent0">But still as gentle as the dove,</div>
-    <div class="verse indent2">As loving and as true;</div>
-    <div class="verse indent0">Every word and act be kindness,</div>
-    <div class="verse indent2">All life’s journey through;</div>
-    <div class="verse indent0">Always thankful, happy, free;</div>
-    <div class="verse indent2">Though life’s tempests fiercely blow;</div>
-    <div class="verse indent0">Cheerful as a chickadee</div>
-    <div class="verse indent2">Flying through the wintry snow.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Myra A. Shattuck.</span></div>
-  </div>
-</div>
-</div>
-
-<h4>“COME UNTO ME.”</h4>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">As children once to Christ were brought</div>
-    <div class="verse indent2">That he might bless them there,</div>
-    <div class="verse indent0">So now we little children ought</div>
-    <div class="verse indent2">To seek the Lord by prayer.</div><span class="pagenum"><a id="Page_337"></a>[337]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And as so many years ago</div>
-    <div class="verse indent2">Poor babes his pity drew,</div>
-    <div class="verse indent0">I’m sure he will not let me go</div>
-    <div class="verse indent2">Without a blessing too.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then while, this favor to implore,</div>
-    <div class="verse indent2">My little hands are spread,</div>
-    <div class="verse indent0">Do thou thy sacred blessing pour,</div>
-    <div class="verse indent2">Dear Jesus, on my head.</div>
-  </div>
-</div>
-</div>
-
-<h4>THERE IS A TEETOTALER.</h4>
-
-<p>This piece should be spoken by a spirited boy, and
-as he goes upon the stage, some one should cry out,
-“There’s a teetotaler!”</p>
-
-<div class="blockquote">
-
-<p>Yes, sir, here <i>is</i> a teetotaler, from the crown
-of his head to the tips of his toes. I’ve got
-on teetotal boots, too, that never will walk in
-the way of a drunkard. The other day a
-man asked me about our White Ribbon
-Army. He wanted to know what use there
-is in making so many promises. I told him
-the use was in <i>keeping</i> the promises more
-than in <i>making</i> them.</p>
-
-<p>The boys which belong to our Army have
-something to do besides loafing at the corners
-of the streets, and smoking the stumps
-of cigars they pick out of the gutters. It
-makes me sick to think of it!</p>
-
-<p>Some boys are dreadfully afraid of losing
-their liberty, so they won’t sign our pledge.
-I saw four or five of them the other day.
-They had been off, somewhere, having what
-they call a jolly time; and they were so
-drunk they couldn’t walk straight. They
-lifted their feet higher than a sober boy
-would to go upstairs, and I watched them
-till one fell down and bumped his nose.</p>
-
-<p>Thinks I to myself, there’s liberty for you,
-but it’s just such liberty as I don’t want. I
-would rather walk straight than crooked, I
-would rather stand up than fall down, and I
-would rather go to a party with my sisters,
-and some other pretty girls, than hide away
-with a lot of rough fellows, to guzzle beer
-and whisky.</p>
-
-<p>There are plenty of other reasons why I
-am a teetotaler. When I grow up, I would
-rather be a <i>man</i> than a walking wine-cask or
-rum-barrel; I would rather live in a <i>good</i>
-house than a <i>poor</i> one, and I would rather be
-loved and respected than despised and hated.</p>
-
-<p>Now, if these are not reasons enough for
-being a teetotaler, I will give you some more
-the next time we meet.</p>
-
-</div>
-
-<h4>AN APPEAL FOR BENEFICENCE.</h4>
-
-<p class="center sm90"><i>For a small boy.</i></p>
-
-<div class="blockquote">
-
-<p>The boy that spoke first to-night said you
-were all welcome. I shan’t take it back.
-You <i>are</i> welcome. You’re welcome to see
-and hear; but you’re just twice as welcome
-to <i>give</i>. We love to look at you, and we’re
-<i>willing</i> you should look at us. We’re glad
-to have you hear <i>us</i>; but we want to hear
-<i>you</i>. You haven’t any speeches ready? All
-right! We don’t want to hear those. We
-can make those ourselves—as you’ve seen.</p>
-
-<p>What we do want to hear is the rustling
-of Greenbacks and the clinking of Silver, as
-the ushers pass the boxes round. That’s a
-kind of music that we appreciate, for it gets us
-our library-books, our papers, our banners,
-and everything else that a Sunday-School
-needs; and then it’s a kind of music that we
-can’t make ourselves, and everybody prizes
-what he can’t do himself. We do our best now.
-This school has given ⸺ dollars for benevolent
-objects, during the past year. Isn’t such
-a school worth helping? We mean to do better
-by-and-by, when <i>we</i> get hold of the money-bags.
-Just now, <i>you</i> must do the giving.</p>
-
-</div>
-
-<h4>ADDRESS OF WELCOME TO A NEW PASTOR.</h4>
-
-<p class="center sm90">To be spoken by a small girl.</p>
-
-<div class="blockquote">
-
-<p><span class="smcap">Dear Pastor</span>:—The old folks have asked
-you to come and be their pastor, and we
-children want to know if you won’t come
-and be ours too. I am sure little folks need
-a pastor just as much as big ones do. I<span class="pagenum"><a id="Page_338"></a>[338]</span>
-think they do more, because big folks ought
-to be able to take care of themselves.</p>
-
-<p>We think the Sunday-school belongs especially
-to us, as we are allowed to say more
-there than we are in church, so we would
-like you to come into the Sunday-school and
-work with us there, and we will gladly pay
-you with our love and sunny smiles. (We
-can’t give you our pennies because they have
-to go across the ocean to the poor heathen.)
-If you could only come around through our
-classes every week and help us just a little by
-a word of good cheer, I am sure we would feel
-that you belonged to us and we to you.</p>
-
-<p>I know pastors have an awful lot to do,
-and they say it is real hard work to preach,
-but if you could say just a little less to the
-old folks, and a little more to the young
-folks, we will help you build up the church
-and make it a big success. So, I hope, dear
-pastor, you will let us call you our own, and
-when you come among us you may be sure
-we will love you and welcome you as the
-children’s friend.</p>
-
-</div>
-
-<h4>ADDRESS OF WELCOME TO A NEW
-SUPERINTENDENT.</h4>
-
-<p class="center sm90">To be spoken by a small boy.</p>
-
-<div class="blockquote">
-
-<p><span class="smcap">Dear Mr. Blank</span>:—I am sent out here
-to-day to tell you how glad we are that you
-are to be our new superintendent. I welcome
-you in the name of the school, and do it most
-heartily. Boys know a good thing when
-they see it—if they didn’t Farmer Jones
-wouldn’t have to put up sticky fly-paper on
-his peach trees—just to catch flies, of course.
-So, when we were told that you had been
-chosen for our new superintendent, we said
-“that’s all right.”</p>
-
-<p>There must be an engineer to every train
-if it is to be run properly, at the same time a
-great deal depends on the train and how it is
-made up. Now, I believe there is good
-stuff in our Sunday-school. We would
-make a good train if guided by a good engineer.
-We can’t run ourselves and keep on
-the track, that’s sure. We are quite certain,
-to begin with, that we are on the right track,
-and we know that Mr. Blank can keep us
-there. To get to the end of our journey
-safely, though, will depend much on how well
-our train hangs together. This, boys and
-girls, is our part, and we must do our best.</p>
-
-<p>We know that love will make the wheels
-go round and charity will bind us together,
-tighter than any cord. We hope our engineer
-will be proud of his train.</p>
-
-</div>
-
-<h4>OPENING ADDRESS FOR A SUNDAY-SCHOOL EXHIBITION.</h4>
-
-<div class="blockquote">
-
-<p>I have always been told that children
-should be seen and not heard, but this is
-children’s night and we are going to be seen
-and heard too.</p>
-
-<p>We are very glad to welcome the old
-folks. There are so many here their presence
-would lead us to think they believe
-boys and girls can do something after all.
-Their eyes are on us, and I hope, children,
-that you have brought your best behavior
-with you, because this is a good time and
-place to use it. Perhaps I may be allowed
-to suggest that you keep your eye on the
-old folks, just to see that they conduct themselves
-properly.</p>
-
-<p>Boys and girls, we have a great deal to
-say that is worth hearing, and I hope you
-will speak out loud and prompt so that our
-audience will not miss any of the good
-things. We want to make this the best
-exhibition we have ever given, so that when
-our elders go home they will have a better
-impression of us than they ever had before.</p>
-
-</div>
-
-<h4>CLOSING ADDRESS FOR A SUNDAY-SCHOOL EXHIBITION.</h4>
-
-<div class="blockquote">
-
-<p>When I found that our superintendent had
-put me <i>last</i> on the programme, I felt, as boys
-often do, that it would be much nicer to be<span class="pagenum"><a id="Page_339"></a>[339]</span>
-<i>first</i>, but he said it was a good plan to keep
-the best wine till the last, so I feel all right
-about it. I know, too, that you will not
-question the superintendent’s good taste. I
-mean about <i>me</i>, not the <i>wine</i>. He wants me
-to say we are all very much obliged to you
-for coming, and we hope you have had a
-much bigger treat than you expected.</p>
-
-<p>These exhibitions mean work for the boys
-and girls, as well as for the teachers, but
-<i>work</i> does everybody good, especially boys
-who love base-ball better than Sunday-school.
-I hope our efforts have been a
-credit to ourselves and to the Sunday-school,
-of which we are all so proud.</p>
-
-</div>
-
-<h4>PRESENTATION ADDRESS TO A PASTOR.</h4>
-
-<p class="center sm90">For a young lady.</p>
-
-<div class="blockquote">
-
-<p><span class="smcap">Dear Pastor</span>:—It is our delight at this
-season of gifts and good will, to present to
-you a slight token of the esteem in which
-you are held by your Sunday School. To
-say we all love you is to repeat what you
-must already know.</p>
-
-<p>“Out of the fullness of the heart the mouth
-speaketh,” but words do not always answer
-our purpose. We like to put them into some
-tangible form, and so to-night we present you
-with this ⸺ which comes as an expression
-of our sincere love and good wishes.</p>
-
-<p>We ask you to accept this, not for its intrinsic
-value, but as a gift from loyal scholars,
-who recognize and appreciate your constant
-and untiring efforts to minister to their needs
-in every way and at all times.</p>
-
-<p>Do not thank us, dear Pastor. We are
-discharging but a mite of the indebtedness we
-owe you, and you will only add to that debt if
-you persist in returning thanks to us. You
-know how Church people abhor debts, and we
-are trying to put into practice some of your
-preaching. We hope the token will be a constant
-reminder, if that were necessary, of our
-unceasing interest in you and your work.</p>
-
-</div>
-
-<h4>A PRESENTATION ADDRESS TO A TEACHER.</h4>
-
-<div class="blockquote">
-
-<p><span class="smcap">Dear Teacher</span>:—We take this occasion
-to acknowledge publicly our deep and sincere
-appreciation of the faithful service you
-have rendered us. It is our desire to tender
-you some tangible expression of the sincere
-feeling we have for you and to impress upon
-you the love and good will felt by every
-pupil.</p>
-
-<p>I, therefore, present you this ⸺ asking
-you to associate it forever with the names
-and faces of the donors. Through your
-kind and prayerful aid many of us have
-been led into the way of truth, and will,
-therefore, gratefully remember you as long
-as we live.</p>
-
-</div>
-
-<h4>A PRESENTATION ADDRESS TO A SUPERINTENDENT.</h4>
-
-<p class="center sm90">For a young man.</p>
-
-<div class="blockquote">
-
-<p><span class="smcap">Mr. Superintendent</span>:—We are going to
-make you a present to-night, and I for one
-think you deserve it.</p>
-
-<p>Our School has the reputation of being a
-<i>live</i> one, and it is a good deal because there
-is a <i>live</i> man at the head of it. In the past
-year that you have been with us, your patience
-must have been sorely tried, for while
-most of the children are naturally good, some
-are naturally unruly. The young men and
-young women from whom we expect the best
-conduct are often, strange to say, more attentive
-to each other than to their lessons. But
-having been first a boy yourself, and perhaps
-later a beau, you have not had the heart to
-be too severe on those who are still young
-pupils in the school of experience.</p>
-
-<p>By your untiring efforts you have brought
-the Sunday School up to a standard of unusual
-excellence. For its free and vigorous
-life, we are largely indebted to you. As a
-token of that fact please accept this gift. We
-wish its intrinsic value were twice as great.
-But if it conveys, even in a slight degree, the<span class="pagenum"><a id="Page_340"></a>[340]</span>
-esteem in which you are held by all our
-scholars, young and old, it will serve the purpose
-for which it was procured.</p>
-
-</div>
-
-<h4>ADDRESS OF WELCOME AFTER ILLNESS.</h4>
-
-<p class="center sm90">To be spoken by a young lady.</p>
-
-<div class="blockquote">
-
-<p><span class="smcap">Dear Mr. Blank</span>:—I feel unable to fully
-express to you our joy at seeing you once
-more in your place in the Sunday School.
-It has been hard for us to be deprived of your
-presence, for you had made yourself invaluable
-to us, but added to the personal loss we
-felt at your absence was the greater sorrow
-that you had been called upon to pass through
-so much physical suffering.</p>
-
-<p>But, we know that God’s hand is always
-leading us, and the same wise purpose that
-causes the shadows to fall, also makes the
-sun to shine, and “the darker the shadow,
-the brighter the sunshine.” When, for a time,
-it was feared that you might not be restored
-to us, we felt we could not have it so, but
-our prayers were heard, and our thanks are
-deep and sincere that you are again in our
-midst. We pray that you may long be permitted
-to glorify Him who is the great physician,
-in the work to which you are returned.</p>
-
-</div>
-
-<h4>ADDRESS OF WELCOME AFTER ABSENCE.</h4>
-
-<p class="center sm90">To be spoken by a young man.</p>
-
-<div class="blockquote">
-
-<p><span class="smcap">Dear Pastor</span>:—I want to speak in behalf
-of the younger members of your flock and
-add our hearty welcome to that already voiced
-by our elders. We congratulate you on your
-safe return, and rejoice with you that change
-and rest have reinvigorated your physical
-health. As you come, bringing the fresh
-fruits of added experience and observation,
-you will find us all eager to benefit by what
-has enriched your store.</p>
-
-<p>Welcome home, then, to all that has suffered
-by your absence. The Church with its
-manifold offices has often felt the need of
-your strength and wisdom. Welcome to the
-Sunday-school where your words of help and
-counsel have guided us many times, and
-where your presence has been most uplifting.</p>
-
-<p>Welcome to the homes and hearts of the
-young and old alike. There is not a fireside
-in our midst that has not been cheered by
-your frequent and timely visits. In the seasons
-of joy and sorrow which must come to
-all homes alike, there has been no one to
-whom we could turn and be so sure of loving
-sympathy as yourself.</p>
-
-<p>Welcome to the privileges and responsibilities
-of your calling and to the honor of
-your old title—The Pastor who loves the
-children. We want to give fresh assurance
-of our hearty co-operation in that work which
-you are about to resume. We have learned
-in your absence how much and how great is
-that work.</p>
-
-<p>Let it be our privilege to share it with you
-and so prove by our deeds, the love we have
-for your labors.</p>
-
-<p class="right"><span class="smcap">May Hatheway.</span></p>
-
-</div>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-
-<p><span class="pagenum"><a id="Page_341"></a>[341]</span></p>
-
-<h2 class="nobreak" id="PART_III">PART III.<br />
-<span class="smcap">Programmes for Special Occasions</span></h2>
-
-<p class="center">CONTAINING</p>
-
-<p class="center">Charming Exercises for Fourth-of-July Celebrations; Washington’s Birthday;
-Christmas and Thanksgiving; Decoration Day; Public School
-Exhibitions; Arbor Day; Harvest Homes; Evening
-Entertainments, Etc., Etc.</p>
-
-<p class="center">INCLUDING A CHOICE COLLECTION OF
-DIALOGUES, TABLEAUX, SUBJECTS FOR DEBATE, ETC.</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 300px;">
-<img src="images/line11.jpg" width="300" height="15" alt="" />
-</div>
-
-<h4>PROGRAMME NO. 1 FOR FOURTH OF JULY.</h4>
-
-<p>The following programme can be varied as occasion may require by
-additional exercises or by substituting others for those here suggested.
-The platform should be decorated with flags and patriotic emblems. In
-addition to the singing of patriotic airs, there should be music by a
-band or orchestra. Each of the children should be furnished with a small
-flag. Let all the exercises be very spirited.</p>
-
-<h5>MUSIC—By the Band or Orchestra.</h5>
-
-<h5>SINGING—Tune: “America.”</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-m.jpg" width="140" height="100" alt="" /></div>
-    <div class="dropcapline">My country, ’tis of thee,</div>
-    <div class="verse indent0">Sweet land of liberty,</div>
-    <div class="verse indent2">Of thee I sing;</div>
-    <div class="verse indent0">Land where my fathers died,</div>
-    <div class="verse indent0">Land of the pilgrim’s pride,</div>
-    <div class="verse indent0">From every mountain-side</div>
-    <div class="verse indent2">Let freedom ring.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">My native country, thee—</div>
-    <div class="verse indent0">Land of the noble free—</div>
-    <div class="verse indent2">Thy name I love;</div>
-    <div class="verse indent0">I love thy rocks and rills,</div>
-    <div class="verse indent0">Thy woods and templed hills,</div>
-    <div class="verse indent0">My heart with rapture thrills</div>
-    <div class="verse indent2">Like that above.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Let music swell the breeze</div>
-    <div class="verse indent0">And ring from all the trees</div>
-    <div class="verse indent2">Sweet freedom’s song;</div>
-    <div class="verse indent0">Let mortal tongues awake;</div>
-    <div class="verse indent0">Let all that breathe partake;</div>
-    <div class="verse indent0">Let rocks their silence break—</div>
-    <div class="verse indent2">The sound prolong.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Our fathers’ God, to Thee,</div>
-    <div class="verse indent0">Author of liberty,</div>
-    <div class="verse indent2">To Thee we sing;</div>
-    <div class="verse indent0">Long may our land be bright</div>
-    <div class="verse indent0">With Freedom’s holy light;</div>
-    <div class="verse indent0">Protect us by Thy might,</div>
-    <div class="verse indent2">Great God, our King.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Samuel F. Smith.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>READING—The Declaration of Independence.</h5>
-
-<h5>RECITATION—The Fourth of July.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">To the sages who spoke, to the heroes who bled,</div>
-    <div class="verse indent2">To the day and the deed, strike the harp-strings of glory!</div>
-    <div class="verse indent0">Let the song of the ransomed remember the dead,</div>
-    <div class="verse indent2">And the tongue of the eloquent hallow the story,</div>
-    <div class="verse indent10">O’er the bones of the bold</div>
-    <div class="verse indent10">Be that story long told,</div>
-    <div class="verse indent2">And on fame’s golden tablets their triumphs enrolled</div><span class="pagenum"><a id="Page_342"></a>[342]</span>
-    <div class="verse indent0">Who on freedom’s green hills freedom’s banner unfurled,</div>
-    <div class="verse indent0">And the beacon-fire raised that gave light to the world!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">They are gone—mighty men!—and they sleep in their fame:</div>
-    <div class="verse indent2">Shall we ever forget them? Oh, never! no, never!</div>
-    <div class="verse indent0">Let our sons learn from us to embalm each great name,</div>
-    <div class="verse indent2">And the anthem send down—“Independence forever!”</div>
-    <div class="verse indent10">Wake, wake, heart and tongue!</div>
-    <div class="verse indent10">Keep the theme ever young;</div>
-    <div class="verse indent2">Let their deeds through the long line of ages be sung</div>
-    <div class="verse indent0">Who on freedom’s green hills freedom’s banner unfurled,</div>
-    <div class="verse indent0">And the beacon-fire raised that gave light to the world!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Charles Sprague.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>MUSIC—By Band or Orchestra.</h5>
-
-<h5>READING—The Vow of Washington.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent4">The sword was sheathed: in April’s sun</div>
-    <div class="verse indent4">Lay green the fields by freedom won;</div>
-    <div class="verse indent0">And severed sections, weary of debates,</div>
-    <div class="verse indent0">Joined hands at last and were United States.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">O city, sitting by the sea!</div>
-    <div class="verse indent4">How proud the day that dawned on thee,</div>
-    <div class="verse indent0">When the new era, long desired, began,</div>
-    <div class="verse indent0">And, in its need, the hour had found the man!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">One thought the cannon salvos spoke;</div>
-    <div class="verse indent4">The resonant bell-tower’s vibrant stroke,</div>
-    <div class="verse indent0">The voiceful streets, the plaudit-echoing halls,</div>
-    <div class="verse indent0">And prayer and hymn borne heavenward from St. Paul’s!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">How felt the land in every part</div>
-    <div class="verse indent4">The strong throb of a nation’s heart,</div>
-    <div class="verse indent0">As its great leader gave, with reverent awe,</div>
-    <div class="verse indent0">His pledge to union, liberty and law!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">That pledge the heavens above him heard,</div>
-    <div class="verse indent4">That vow the sleep of centuries stirred;</div>
-    <div class="verse indent0">In world-wide wonder listening peoples bent</div>
-    <div class="verse indent0">Their gaze on freedom’s great experiment.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">Could it succeed? Of honor sold</div>
-    <div class="verse indent4">And hopes deceived all history told.</div>
-    <div class="verse indent0">Above the wrecks that strewed the mournful past</div>
-    <div class="verse indent0">Was the long dream of ages true at last?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">Thank God! the people’s choice was just,</div>
-    <div class="verse indent4">The one man equal to his trust,</div>
-    <div class="verse indent0">Wise beyond lore, and without weakness good,</div>
-    <div class="verse indent0">Calm in the strength of flawless rectitude!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">His rule of justice, order, peace,</div>
-    <div class="verse indent4">Made possible the world’s release;</div>
-    <div class="verse indent0">Taught prince and serf that power is but a trust,</div>
-    <div class="verse indent0">And rule, alone, which serves the ruled, is just;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">That freedom generous is, but strong</div>
-    <div class="verse indent4">In hate of fraud and selfish wrong,</div>
-    <div class="verse indent0">Pretense that turns her holy truths to lies,</div>
-    <div class="verse indent0">And lawless license masking in her guise.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">Land of his love! with one glad voice</div>
-    <div class="verse indent4">Let thy great sisterhood rejoice;</div>
-    <div class="verse indent0">A century’s suns o’er thee have risen and set,</div>
-    <div class="verse indent0">And, God be praised, we are one nation yet.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">And still, we trust, the years to be</div>
-    <div class="verse indent4">Shall prove his hope was destiny,</div>
-    <div class="verse indent0">Leaving our flag with all its added stars</div>
-    <div class="verse indent0">Unrent by faction and unstained by wars!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">Lo! where with patient toil he nursed</div>
-    <div class="verse indent4">And trained the new-set plant at first,</div>
-    <div class="verse indent0">The widening branches of a stately tree</div>
-    <div class="verse indent0">Stretched from the sunrise to the sunset sea.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">And in its broad and sheltering shade,</div>
-    <div class="verse indent4">Sitting with none to make afraid,</div>
-    <div class="verse indent0">Were we now silent, through each mighty limb,</div>
-    <div class="verse indent0">The winds of heaven would sing the praise of him.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">Our first and best—his ashes lie</div>
-    <div class="verse indent4">Beneath his own Virginian sky.</div>
-    <div class="verse indent0">Forgive, forget, O true and just and brave,</div>
-    <div class="verse indent0">The storm that swept above thy sacred grave!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">For, ever in the awful strife</div>
-    <div class="verse indent4">And dark hours of the nation’s life,</div>
-    <div class="verse indent0">Through the fierce tumult pierced his warning word,</div>
-    <div class="verse indent0">Their father’s voice his erring children heard!</div><span class="pagenum"><a id="Page_343"></a>[343]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">The change for which he prayed and sought</div>
-    <div class="verse indent4">In that sharp agony was wrought;</div>
-    <div class="verse indent0">No partial interest draws its alien line</div>
-    <div class="verse indent0">’Twixt North and South, the cypress and the pine!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">One people now, all doubt beyond,</div>
-    <div class="verse indent4">His name shall be our Union-bond;</div>
-    <div class="verse indent0">We lift our hands to heaven, and here, and now,</div>
-    <div class="verse indent0">Take on our lips the old Centennial vow.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">For rule and trust must needs be ours;</div>
-    <div class="verse indent4">Chooser and chosen both our powers</div>
-    <div class="verse indent0">Equaled in service as in rights; the claim</div>
-    <div class="verse indent0">Of duty rests on each and all the same.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent4">Then let the sovereign millions, where</div>
-    <div class="verse indent4">Our banner floats in sun and air,</div>
-    <div class="verse indent0">From the warm palm-lands to Alaska’s cold,</div>
-    <div class="verse indent0">Repeat with us the pledge a century old!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">John Greenleaf Whittier.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>DECLAMATION—The Little Mayflower.</h5>
-
-<div>
-<img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" />
-</div>
-
-<p class="dropcap">And now—for the fulness of time is
-come—let us go up, in imagination
-to yonder hill, and look out upon
-the November scene. That single
-dark speck, just discernible through the perspective
-glass, on the waste of waters, is the
-fated vessel. The storm moans through her
-tattered canvas, as she creeps, almost sinking,
-to her anchorage in Provincetown harbor;
-and there she lies, with all her treasures, not
-of silver and gold (for of these she has none),
-but of courage, of patience, of zeal, of high
-spiritual daring.</p>
-
-<p>So often as I dwell in imagination on this
-scene; when I consider the condition of the
-Mayflower, utterly incapable, as she was, of
-living through another gale; when I survey
-the terrible front presented by our coast to
-the navigator who, unacquainted with its
-channels and roadsteads, should approach
-it in the stormy season, I dare not call
-it a mere piece of good fortune, that the
-general north and south wall of the shore
-of New England should be broken by this
-extraordinary projection of the cape, running
-out into the ocean a hundred miles,
-as if on purpose to receive and encircle the
-precious vessel.</p>
-
-<p>As I now see her, freighted with the destinies
-of a continent, barely escaped from
-the perils of the deep, approaching the shore
-precisely where the broad sweep of this
-most remarkable headland presents almost
-the only point at which, for hundreds of
-miles, she could, with any ease, have made
-a harbor, and this, perhaps, the very best on
-the seaboard, I feel my spirit raised above
-the sphere of mere natural agencies.</p>
-
-<p>I see the mountains of New England rising
-from their rocky thrones. They rush forward
-into the ocean, settling down as they
-advance; and there they range themselves,
-as a mighty bulwark around the heaven-directed
-vessel. Yes, the everlasting God
-himself stretches out the arm of his mercy
-and his power, in substantial manifestation,
-and gathers the meek company of his worshipers
-as in the hollow of his hand.</p>
-
-<p class="right"><span class="smcap">Edward Everett.</span></p>
-
-<h5>MARCH—Our Naval Cadets.</h5>
-
-<div class="blockquote">
-
-<p>(Twelve or more boys dressed in naval costume
-and carrying flags.)</p>
-
-</div>
-
-<h5>SINGING—TUNE: Columbia, the Gem of the Ocean.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">O, land of a million brave soldiers,</div>
-    <div class="verse indent2">Who severed the bonds of despair;</div>
-    <div class="verse indent0">O, land of a million true-hearted</div>
-    <div class="verse indent2">Who failed not to do and to dare!</div>
-    <div class="verse indent0">May ever thy shores gleam before us,</div>
-    <div class="verse indent2">With harvests whose wealth shall not cease,</div>
-    <div class="verse indent0">May ever in beauty bend o’er us,</div>
-    <div class="verse indent2">The wings of the white dove of peace.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">CHORUS.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Hail the glory of Freedom’s glad light!</div>
-    <div class="verse indent2">Hail the passing of Slavery’s night!</div>
-    <div class="verse indent0">Hail the triumph of Truth over Error!</div>
-    <div class="verse indent2">Hail the glory of Freedom’s glad light!</div><span class="pagenum"><a id="Page_344"></a>[344]</span>
-    <div class="verse indent0">Though hushed is the voice of the cannon</div>
-    <div class="verse indent2">Though silent the loud battle cry,</div>
-    <div class="verse indent0">There’s many to-day, who if needful,</div>
-    <div class="verse indent2">For Freedom would suffer and die.</div>
-    <div class="verse indent0">Columbia’s sons still are loyal,</div>
-    <div class="verse indent2">Columbia’s sons still are true,</div>
-    <div class="verse indent0">’Neath the emblem of Justice and Mercy</div>
-    <div class="verse indent2">The banner of red, white and blue.</div>
-  </div>
-</div>
-</div>
-
-<h5>RECITATION—To the Ladies.</h5>
-
-<p>(To be prefaced with the following statement: “In
-the year 1768, the people of Boston resolved that
-they would not import any tea, glass, paper, or other
-commodities commonly brought from Great Britain,
-until the act imposing duties upon all such articles
-should be repealed. This poetical appeal to the ladies
-of the country, to lend a ‘helping hand’ for the
-furtherance of that resolution, appeared in the Boston
-<i>News Letter</i>, anonymously.”)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-y.jpg" width="125" height="100" alt="" /></div>
-    <div class="dropcapline">Young ladies in town, and those that live round,</div>
-    <div class="verse indent2">Let a friend at this season advise you;</div>
-    <div class="verse indent0">Since money’s so scarce, and times growing worse,</div>
-    <div class="verse indent2">Strange things may soon hap and surprise you.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">First, then, throw aside your topknots of pride;</div>
-    <div class="verse indent2">Wear none but your own country linen;</div>
-    <div class="verse indent0">Of economy boast, let your pride be the most</div>
-    <div class="verse indent2">To show clothes of your own make and spinning.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">What if homespun they say is not quite so gay</div>
-    <div class="verse indent2">As brocades, yet be not in a passion,</div>
-    <div class="verse indent0">For when once it is known this is much worn in town,</div>
-    <div class="verse indent2">One and all will cry out—’Tis the fashion!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And, as one, all agree, that you’ll not married be</div>
-    <div class="verse indent2">To such as will wear London factory,</div>
-    <div class="verse indent0">But at first sight refuse, tell ’em such you will choose</div>
-    <div class="verse indent2">As encourage our own manufactory.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">No more ribbons wear, nor in rich silks appear;</div>
-    <div class="verse indent2">Love your country much better than fine things;</div>
-    <div class="verse indent0">Begin without passion, ’twill soon be the fashion</div>
-    <div class="verse indent2">To grace your smooth locks with a twine string.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Throw aside your Bohea, and your Green Hyson tea,</div>
-    <div class="verse indent2">And all things with a new-fashion duty;</div>
-    <div class="verse indent0">Procure a good store of the choice Labrador,</div>
-    <div class="verse indent2">For there’ll soon be enough here to suit you.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">These do without fear, and to all you’ll appear</div>
-    <div class="verse indent2">Fair, charming, true, lovely and clever;</div>
-    <div class="verse indent0">Though the times remain darkish, young men may be sparkish,</div>
-    <div class="verse indent2">And love you much stronger than ever.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then make yourselves easy, for no one will teaze ye,</div>
-    <div class="verse indent2">Nor tax you, if chancing to sneer</div>
-    <div class="verse indent0">At the sense-ridden tools, who think us all fools;</div>
-    <div class="verse indent2">But they’ll find the reverse far and near.</div>
-  </div>
-</div>
-</div>
-
-<h5>MUSIC—By Band or Orchestra.</h5>
-
-<h5>TABLEAU—Conquered and Conqueror.</h5>
-
-<div class="blockquote">
-
-<p>(A soldier dressed as a British redcoat is lying
-down, resting on one elbow and holding up his hand
-to ward off his foe. A soldier dressed in Continental
-uniform stands over him, pointing a bayonet at his
-breast.)</p>
-
-</div>
-
-<h5>MUSIC—By Band or Orchestra.</h5>
-
-<div class="figcenter-line" style="width: 300px;">
-<img src="images/line11.jpg" width="300" height="15" alt="" />
-</div>
-
-<h4>PROGRAMME NO. 2, FOR FOURTH OF JULY.</h4>
-
-<h5>MUSIC—By Band or Orchestra.</h5>
-
-<h5>SINGING—TUNE: America.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-g.jpg" width="125" height="100" alt="" /></div>
-    <div class="dropcapline">God bless our native land!</div>
-    <div class="verse indent0">Firm may she ever stand</div>
-    <div class="verse indent4">Through storm and night;</div>
-    <div class="verse indent0">When the wild tempests rave,</div>
-    <div class="verse indent0">Ruler of winds and wave!</div>
-    <div class="verse indent0">Do thou our country save</div>
-    <div class="verse indent4">By thy great might.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">For her our prayers shall rise</div>
-    <div class="verse indent0">To God above the skies,</div>
-    <div class="verse indent4">On him we wait;</div>
-    <div class="verse indent0">Thou who art ever nigh,</div>
-    <div class="verse indent0">Guardian with watchful eye!</div>
-    <div class="verse indent0">To thee alone we cry,</div>
-    <div class="verse indent4">God save the State.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Our fathers’ God! to thee,</div>
-    <div class="verse indent0">Author of liberty,</div>
-    <div class="verse indent4">To thee we sing;</div><span class="pagenum"><a id="Page_345"></a>[345]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Long may our land be bright</div>
-    <div class="verse indent0">With freedom’s holy light;</div>
-    <div class="verse indent0">Protect us by thy might,</div>
-    <div class="verse indent4">Great God, our King!</div>
-  </div>
-</div>
-</div>
-
-<h5>READING—Declaration of Independence.</h5>
-
-<h5>RECITATION—Our Natal Day.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">Oh, the Fourth of July!</div>
-    <div class="verse indent4">When fire-crackers fly,</div>
-    <div class="verse indent0">And urchins in petticoats tyrants defy!</div>
-    <div class="verse indent4">When all the still air</div>
-    <div class="verse indent4">Creeps away in despair,</div>
-    <div class="verse indent0">And clamor is king, be the day dark or fair!</div>
-    <div class="verse indent8">When freedom’s red flowers</div>
-    <div class="verse indent8">Fall in star-spangled showers,</div>
-    <div class="verse indent0">And liberty capers for twenty-four hours.</div>
-    <div class="verse indent8">When the morn’s ushered in</div>
-    <div class="verse indent8">By a sleep-crushing din,</div>
-    <div class="verse indent0">That tempts us to use philological sin;</div>
-    <div class="verse indent8">When the forenoon advances</div>
-    <div class="verse indent8">With large circumstances,</div>
-    <div class="verse indent0">Subjecting our lives to debatable chances;</div>
-    <div class="verse indent8">When the soldiers of peace</div>
-    <div class="verse indent8">Their attractions increase,</div>
-    <div class="verse indent0">By marching, protected with clubs of police;</div>
-    <div class="verse indent8">When the little toy gun</div>
-    <div class="verse indent8">Has its share of the fun,</div>
-    <div class="verse indent0">By teaching short-hand to the favorite son.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent8">Oh, the Fourth of July!</div>
-    <div class="verse indent8">When grand souls hover nigh!</div>
-    <div class="verse indent0">When Washington bends from the honest blue sky!</div>
-    <div class="verse indent8">When Jefferson stands—</div>
-    <div class="verse indent8">Famous scribe of all lands—</div>
-    <div class="verse indent0">The charter of heaven in his glorified hands!</div>
-    <div class="verse indent8">When his comrade—strong, high,</div>
-    <div class="verse indent8">John Adams—comes nigh,</div>
-    <div class="verse indent0">(For both went to their rest the same Fourth of July!)</div>
-    <div class="verse indent8">When Franklin—grand, droll—</div>
-    <div class="verse indent8">That could lightnings control,</div>
-    <div class="verse indent0">Comes here with his sturdy, progressive old soul;</div>
-    <div class="verse indent8">When freedom’s strong staff—</div>
-    <div class="verse indent8">Hancock—with a laugh,</div>
-    <div class="verse indent0">Writes in memory’s album his huge autograph!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent8">But let thought have its way,</div>
-    <div class="verse indent8">And give memory sway;</div>
-    <div class="verse indent0">Do we think of the cost of this glorified day?</div>
-    <div class="verse indent8">While the harvest-field waves,</div>
-    <div class="verse indent8">Do we think of those braves</div>
-    <div class="verse indent0">In the farms thickly planted with thousands of graves?</div>
-    <div class="verse indent8">How the great flag up there,</div>
-    <div class="verse indent8">Clean and pure as the air,</div>
-    <div class="verse indent0">Has been drabbled with blood-drops, and trailed in despair?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent8">Do we know what a land</div>
-    <div class="verse indent8">God hath placed in our hand,</div>
-    <div class="verse indent0">To be made into star-gems, or crushed into sand?</div>
-    <div class="verse indent8">Let us feel that our race,</div>
-    <div class="verse indent8">Doomed to no second place,</div>
-    <div class="verse indent0">Must glitter with triumph, or die in disgrace!</div>
-    <div class="verse indent8">That millions unborn,</div>
-    <div class="verse indent8">At night, noon, and morn,</div>
-    <div class="verse indent0">Will thank us with blessings, or curse us with scorn,</div>
-    <div class="verse indent8">For raising more high</div>
-    <div class="verse indent8">Freedom’s flag to the sky,</div>
-    <div class="verse indent0">Or losing forever the Fourth of July!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Will Carleton.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>SINGING—Tune: “Hold the Fort.”</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">Oh, behold in all its beauty,</div>
-    <div class="verse indent2">Freedom’s flag unfurled!</div>
-    <div class="verse indent0">Glorious flag—to us the fairest</div>
-    <div class="verse indent2">In the wide, wide world.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">CHORUS.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Proudly float, O flag of Freedom,</div>
-    <div class="verse indent2">Fair Columbia’s pride!</div>
-    <div class="verse indent0">For thy stars and stripes of beauty,</div>
-    <div class="verse indent2">Many a hero died.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Great the price of Freedom’s purchase—</div>
-    <div class="verse indent2">’Twas the price of life;</div>
-    <div class="verse indent0">Oh, the pain and loss and sorrow</div>
-    <div class="verse indent2">Ere the end of strife.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Ever mindful of the struggle,</div>
-    <div class="verse indent2">Let us all be true</div>
-    <div class="verse indent0">To the colors of our nation—</div>
-    <div class="verse indent2">Red, and white and blue.</div>
-  </div>
-</div>
-</div>
-
-<p><span class="pagenum"><a id="Page_346"></a>[346]</span></p>
-
-<h5>RECITATION—The Banner of the Sea.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-b.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">By wind and wave the sailor brave has fared</div>
-    <div class="verse indent4">To shores of every sea;</div>
-    <div class="verse indent0">But never yet have seamen met or dared</div>
-    <div class="verse indent2">Grim death for victory</div>
-    <div class="verse indent0">In braver mood than they who died</div>
-    <div class="verse indent0">On drifting decks, in Apia’s tide,</div>
-    <div class="verse indent0">While cheering every sailor’s pride,</div>
-    <div class="verse indent16">The banner of the free!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Columbia’s men were they who then went down,</div>
-    <div class="verse indent8">Not knights nor kings of old,</div>
-    <div class="verse indent0">But brighter far their laurels are than crown</div>
-    <div class="verse indent8">Or coronet of gold;</div>
-    <div class="verse indent2">Our sailor true, of any crew,</div>
-    <div class="verse indent2">Would give the last long breath he drew</div>
-    <div class="verse indent2">To cheer the old red, white and blue,</div>
-    <div class="verse indent16">The banner of the bold!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">With hearts of oak, through storm and smoke and flame,</div>
-    <div class="verse indent8">Columbia’s seamen long</div>
-    <div class="verse indent0">Have bravely fought and nobly wrought, that shame</div>
-    <div class="verse indent8">Might never dull their song;</div>
-    <div class="verse indent2">They sing the country of the free,</div>
-    <div class="verse indent2">The glory of the rolling sea,</div>
-    <div class="verse indent2">The starry flag of liberty,</div>
-    <div class="verse indent16">The banner of the strong!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">We ask but this, and not amiss the claim,</div>
-    <div class="verse indent8">A fleet to ride the wave,</div>
-    <div class="verse indent0">A navy great to crown the State with fame,</div>
-    <div class="verse indent8">Though foes or tempests rave;</div>
-    <div class="verse indent2">Then, as our fathers did of yore,</div>
-    <div class="verse indent2">We’ll sail our ships to every shore,</div>
-    <div class="verse indent2">On every ocean wind will soar</div>
-    <div class="verse indent16">The banner of the brave!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Oh! this we claim, that never shame may ride</div>
-    <div class="verse indent8">On any wave with thee,</div>
-    <div class="verse indent0">Thou Ship of State, whose timbers great abide</div>
-    <div class="verse indent8">The home of liberty!</div>
-    <div class="verse indent2">For, so, our gallant Yankee tars,</div>
-    <div class="verse indent2">Of daring deeds and honored scars,</div>
-    <div class="verse indent2">Will make the banner of the stars</div>
-    <div class="verse indent16">The banner of the sea.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Homer Green.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>MUSIC—Cornet Solo.</h5>
-
-<h5>ORATION—What America has Done for the World.</h5>
-
-<div>
-<img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" />
-</div>
-
-<p class="dropcap">What has this nation done to repay
-the world for the benefits we have
-received from others? We have
-been repeatedly told, and sometimes, too,
-in a tone of affected impartiality, that the
-highest praise which can fairly be given
-to the American mind, is that of possessing
-an enlightened selfishness; that if the philosophy
-and talents of this country, with all
-their effects, were forever swept into oblivion,
-the loss would be felt only by ourselves; and
-that if to the accuracy of this general charge,
-the labors of Franklin present an illustrious,
-it is still but a solitary, exception.</p>
-
-<p>The answer may be given, confidently and
-triumphantly. Without abandoning the fame
-of our eminent men, whom Europe has been
-slow and reluctant to honor, we would reply,
-that the intellectual power of this people has
-exerted itself in conformity to the general
-system of our institutions and manners; and
-therefore, that, for the proof of its existence
-and the measure of its force, we must look
-not so much to the works of prominent individuals,
-as to the great aggregate results;
-and if Europe has hitherto been wilfully
-blind to the value of our example and the
-exploits of our sagacity, courage, invention,
-and freedom, the blame must rest with her,
-and not with America.</p>
-
-<p>Is it nothing for the universal good of
-mankind to have carried into successful operation
-a system of self-government, uniting
-personal liberty, freedom of opinion, and
-equality of rights, with national power and
-dignity; such as had before existed only in
-the Utopian dreams of philosophers? Is it
-nothing, in moral science, to have anticipated
-in sober reality, numerous plans of reform
-in civil and criminal jurisprudence, which<span class="pagenum"><a id="Page_347"></a>[347]</span>
-are, but now, received as plausible theories
-by the politicians and economists of Europe?
-Is it nothing to have been able to call forth
-on every emergency, either in war or peace,
-a body of talented patriots always equal to
-the difficulty?</p>
-
-<p>Is it nothing to have, in less than a half-century,
-exceedingly improved the sciences
-of political economy, of law, and of medicine,
-with all their auxiliary branches; to have
-enriched human knowledge by the accumulation
-of a great mass of useful facts and
-observations, and to have augmented the
-power and the comforts of civilized man, by
-miracles of mechanical invention? Is it
-nothing to have given the world examples of
-disinterested patriotism, of political wisdom,
-of public virtue; of learning, eloquence,
-and valor, never exerted save for some
-praiseworthy end? It is sufficient to have
-briefly suggested these considerations; every
-mind would anticipate me in filling up the
-details.</p>
-
-<p>No—Land of Liberty! thy children have
-no cause to blush for thee. What though the
-arts have reared few monuments among us,
-and scarce a trace of the muse’s footstep is
-found in the paths of our forests, or along
-the banks of our rivers; yet our soil has
-been consecrated by the blood of heroes, and
-by great and holy deeds of peace. Its wide
-extent has become one vast temple and hallowed
-asylum, sanctified by the prayers and
-blessings of the persecuted of every sect, and
-the wretched of all nations.</p>
-
-<p>Land of Refuge—Land of Benedictions!
-Those prayers still arise, and they still are
-heard: “May peace be within thy walls, and
-plenteousness within thy palaces!” “May
-there be no decay, no leading into captivity,
-and no complaining in thy streets!” “May
-truth flourish out of the earth, and righteousness
-look down from Heaven!”</p>
-
-<p class="right"><span class="smcap">Gulian C. Verplanck.</span></p>
-
-<h5>MARCH—Daughters of the Revolution.</h5>
-
-<div class="blockquote">
-
-<p>(Twelve or more little girls, dressed in Continental
-costume and carrying flags. They should be drilled
-to perform a march.)</p>
-
-</div>
-
-<h5>RECITATION—Stand up for Liberty.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-y.jpg" width="125" height="100" alt="" /></div>
-    <div class="dropcapline">Ye sons of Columbia, who bravely have fought</div>
-    <div class="verse indent2">For those rights which unstained from your sires had descended.</div>
-    <div class="verse indent0">May you long taste the blessings your valor has brought,</div>
-    <div class="verse indent2">And your sons reap the soil which your fathers defended.</div>
-    <div class="verse indent0">Let our patriots destroy anarch’s pestilent worm,</div>
-    <div class="verse indent2">Lest our liberty’s growth should be checked by corrosion;</div>
-    <div class="verse indent0">Then let clouds thicken round us: we heed not the storm;</div>
-    <div class="verse indent2">Our realm feels no shock but the earth’s own explosion.</div>
-    <div class="verse indent10">Foes assail us in vain,</div>
-    <div class="verse indent10">Though their fleets bridge the main;</div>
-    <div class="verse indent2">For our altars and laws with our lives we’ll maintain;</div>
-    <div class="verse indent2">For ne’er shall the sons of Columbia be slaves,</div>
-    <div class="verse indent2">While the earth bears a plant or the sea rolls its waves.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Should the tempest of war overshadow our land,</div>
-    <div class="verse indent2">Its bolts could ne’er rend freedom’s temple asunder;</div>
-    <div class="verse indent0">For, unmoved, at its portal would Washington stand,</div>
-    <div class="verse indent2">And repulse, with his breast, the assaults of the thunder!</div>
-    <div class="verse indent10">His sword from the sleep</div>
-    <div class="verse indent10">Of its scabbard would leap,</div>
-    <div class="verse indent2">And conduct, with its point, every flash to the deep!</div>
-    <div class="verse indent2">For ne’er shall the sons of Columbia be slaves,</div>
-    <div class="verse indent2">While the earth bears a plant or the sea rolls its waves.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Let fame to the world sound America’s voice;</div>
-    <div class="verse indent2">No intrigues can her sons from their government sever;</div><span class="pagenum"><a id="Page_348"></a>[348]</span>
-    <div class="verse indent0">Her pride are her statesmen—their laws are her choice,</div>
-    <div class="verse indent2">And shall flourish till liberty slumbers forever.</div>
-    <div class="verse indent12">Then unite heart and hand,</div>
-    <div class="verse indent12">Like Leonidas’ band,</div>
-    <div class="verse indent2">And swear to the God of the ocean and land</div>
-    <div class="verse indent2">That ne’er shall the sons of Columbia be slaves,</div>
-    <div class="verse indent2">While the earth bears a plant or the sea rolls its waves.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Robert Treat Paine, Jr.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>MUSIC—By Band or Orchestra.</h5>
-
-<h5>RECITATION—Off with Your Hat as the Flag Goes By.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">Off with your hat as the flag goes by!</div>
-    <div class="verse indent2">And let the heart have its say;</div>
-    <div class="verse indent0">You’re man enough for a tear in your eye</div>
-    <div class="verse indent2">That you will not wipe away.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">You’re man enough for a thrill that goes</div>
-    <div class="verse indent2">To your very finger tips—</div>
-    <div class="verse indent0">Ay! The lump just then in your throat that rose</div>
-    <div class="verse indent2">Spoke more than your parted lips.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Lift up the boy on your shoulder high,</div>
-    <div class="verse indent2">And show him the faded shred—</div>
-    <div class="verse indent0">Those stripes would be red as the sunset sky</div>
-    <div class="verse indent2">If death could have dyed them red.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The man that bore it, with death has lain</div>
-    <div class="verse indent2">These thirty years or more—</div>
-    <div class="verse indent0">He died that the work should not be vain</div>
-    <div class="verse indent2">Of the men who bore it before.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The man that bears it is bent and old,</div>
-    <div class="verse indent2">And ragged his beard and gray;</div>
-    <div class="verse indent0">But see his proud form grow young and bold,</div>
-    <div class="verse indent2">At the tune that he hears them play.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The old tune thunders through all the air,</div>
-    <div class="verse indent2">And strikes right into the heart;</div>
-    <div class="verse indent0">If it ever calls for you, boy, be there!</div>
-    <div class="verse indent2">Be there and ready to start!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Off with your hat as the flag goes by!</div>
-    <div class="verse indent2">Uncover the youngster’s head!</div>
-    <div class="verse indent0">Teach him to hold it holy and high,</div>
-    <div class="verse indent2">For the sake of its sacred dead.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">H. C. Bunner.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>RECITATION—The Young American.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">Scion of a mighty stock!</div>
-    <div class="verse indent0">Hands of iron—hearts of oak—</div>
-    <div class="verse indent0">Follow with unflinching tread</div>
-    <div class="verse indent0">Where the noble fathers led.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Craft and subtle treachery,</div>
-    <div class="verse indent0">Gallant youth! are not for thee;</div>
-    <div class="verse indent0">Follow thou in word and deeds</div>
-    <div class="verse indent0">Where the God within thee leads!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Honesty with steady eye,</div>
-    <div class="verse indent0">Truth and pure simplicity,</div>
-    <div class="verse indent0">Love that gently winneth hearts—</div>
-    <div class="verse indent0">These shall be thy only arts:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Prudent in the council train,</div>
-    <div class="verse indent0">Dauntless on the battle-plain,</div>
-    <div class="verse indent0">Ready at the country’s need</div>
-    <div class="verse indent0">For her glorious cause to bleed!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Where the dews of night distill</div>
-    <div class="verse indent0">Upon Vernon’s holy hill;</div>
-    <div class="verse indent0">Where above it, gleaming far,</div>
-    <div class="verse indent0">Freedom lights her guiding star:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Thither turn the steady eye,</div>
-    <div class="verse indent0">Flashing with a purpose high;</div>
-    <div class="verse indent0">Thither, with devotion meet,</div>
-    <div class="verse indent0">Often turn the pilgrim feet!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Let the noble motto be,</div>
-    <div class="verse indent0">God—the country—liberty!</div>
-    <div class="verse indent0">Planted on religion’s rock,</div>
-    <div class="verse indent0">Thou shalt stand in every shock.</div>
-  </div>
-</div>
-</div>
-
-<h5>TABLEAU—Surrender of Cornwallis.</h5>
-
-<div class="blockquote">
-
-<p>(American and British soldiers in the background.
-Washington in front and Cornwallis handing him
-his sword.)</p>
-
-</div>
-
-<h5>MUSIC—By Band or Orchestra.</h5>
-
-<div class="figcenter-line" style="width: 300px;">
-<img src="images/line11.jpg" width="300" height="15" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_349"></a>[349]</span></p>
-
-<h4>PROGRAMME FOR A CHRISTMAS ENTERTAINMENT.</h4>
-
-<p>(A Christmas tree always pleases young people, and what interests them is
-sure to be appreciated by older persons. In the absence of a Christmas
-tree, loaded with decorations and gifts, the room should be trimmed with
-evergreens; in fact, such decorations are always in order at the merry
-Christmas time.)</p>
-
-<h5>SONG—Christmas Bells, Tune: “Ring the Bells of Heaven.”</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent2">Ring, O bells, in gladness,</div>
-    <div class="verse indent2">Tell of joy to-day;</div>
-    <div class="verse indent0">Ring and swing o’er all the world so wide.</div>
-    <div class="verse indent2">Banish thoughts of sadness,</div>
-    <div class="verse indent2">Drive all grief away,</div>
-    <div class="verse indent0">For it is the Merry Christmas tide.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">CHORUS.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2">Ring, O bells, from spire and swelling dome,</div>
-    <div class="verse indent2">Ring and bid the peaceful ages come;</div>
-    <div class="verse indent4">Banish thoughts of sadness,</div>
-    <div class="verse indent4">Drive all grief away,</div>
-    <div class="verse indent2">For it is the Merry Christmas Day.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2">Ring, O bells, the story</div>
-    <div class="verse indent4">From the ages far;</div>
-    <div class="verse indent0">Of the Christmas joy and song and light;</div>
-    <div class="verse indent2">How the wondrous glory</div>
-    <div class="verse indent4">Of the Christmas star</div>
-    <div class="verse indent0">Led the shepherds onward through the night!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2">Ring, O bells, in gladness</div>
-    <div class="verse indent4">Of the Saviour King;</div>
-    <div class="verse indent0">May your silver chimings never cease;</div>
-    <div class="verse indent2">Banish thoughts of sadness</div>
-    <div class="verse indent4">And all nations bring</div>
-    <div class="verse indent0">Glorious dawning of the Day of Peace.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Alice Jean Cleator.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>RELIGIOUS EXERCISES—To be Selected.</h5>
-
-<h5>RECITATION—A Letter to Santa Claus.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-b.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">Blessed old Santa Claus! king of delights!</div>
-    <div class="verse indent0">What are you doing these long winter nights?</div>
-    <div class="verse indent0">Filling your budgets with trinkets and toys—</div>
-    <div class="verse indent0">Wonderful gifts for the girls and the boys?</div>
-    <div class="verse indent0">While you are planning for everything nice,</div>
-    <div class="verse indent0">Pray let me give you a bit of advice.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Don’t take it hard, if I say in your ear,</div>
-    <div class="verse indent0">Santa, I think you were partial last year;</div>
-    <div class="verse indent0">Loading the rich folks with everything gay,</div>
-    <div class="verse indent0">Snubbing the poor ones who came in your way:</div>
-    <div class="verse indent0">Now, of all times in the year, I am sure</div>
-    <div class="verse indent0">This is the time to remember the poor.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Little red hands that are aching with cold,</div>
-    <div class="verse indent0">You should have mittens your fingers to hold;</div>
-    <div class="verse indent0">Poor little feet, with your frost-bitten toes,</div>
-    <div class="verse indent0">You should be clothed in the warmest of hose.</div>
-    <div class="verse indent0">On the dark hearth I would kindle a light,</div>
-    <div class="verse indent0">Till the sad faces were happy and bright.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Don’t you think, Santa, if all your life through,</div>
-    <div class="verse indent0">Some one had always been caring for you,</div>
-    <div class="verse indent0">Watching to guard you by night and by day,</div>
-    <div class="verse indent0">Giving you gifts you could never repay,</div>
-    <div class="verse indent0">Sometimes, at least, you would sigh to recall</div>
-    <div class="verse indent0">How many children have nothing at all?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Safe in your own quiet chamber at night,</div>
-    <div class="verse indent0">Cozy and warm in your blankets so white,</div>
-    <div class="verse indent0">Wouldn’t you think of the shivering forms</div>
-    <div class="verse indent0">Out in the cold and the wind and the storms?</div>
-    <div class="verse indent0">Wouldn’t you think of the babies who cry,</div>
-    <div class="verse indent0">Pining in hunger and cold till they die?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Blessed old Nick! I was sure, if you knew it,</div>
-    <div class="verse indent0">You would remember, and certainly do it;</div>
-    <div class="verse indent0">This year, at least, when you open your pack,</div>
-    <div class="verse indent0">Pray give a portion to all who may lack;</div>
-    <div class="verse indent0">Then if you chance to have anything over,</div>
-    <div class="verse indent0">Bring a small gift to your friend—Kitty Clover.</div>
-  </div>
-</div>
-</div>
-
-<h5>RECITATION—Christmas in all the Lands</h5>
-
-<div class="blockquote">
-
-<p>(For four children. They recite singly and then
-in concert, beginning with the words in the last
-verse, “Lo, want and sin,” etc.)</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse center">FIRST CHILD.</div>
-  </div>
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-f.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">From the wild Northland where the wolf’s long howl</div>
-    <div class="verse indent0">Stirs the depths of down in the ocean fowl,</div>
-    <div class="verse indent0">And the white bear prowls with stealthy creep</div>
-    <div class="verse indent0">To the spot where the seal lies fast asleep,</div><span class="pagenum"><a id="Page_350"></a>[350]</span>
-    <div class="verse indent0">And the sledges flash through the silence vast</div>
-    <div class="verse indent0">Like a glittering dream, now here, now past,—</div>
-    <div class="verse indent0">On this waste of sparkle and waste of snow</div>
-    <div class="verse indent0">’Neath skies aflame with a crimson glow;</div>
-    <div class="verse indent0">The feet of the Christ-child softly fall,</div>
-    <div class="verse indent0">And Christmas dawn brings cheer to all.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">SECOND CHILD.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">’Tis the homestead low in the quiet vale</div>
-    <div class="verse indent0">Where the farm-dog follows Dobbin’s trail</div>
-    <div class="verse indent0">To the pasture lot, now cold and bare,</div>
-    <div class="verse indent0">And sniffs with glee the snow-filled air.</div>
-    <div class="verse indent0">In this home of busy household joys,</div>
-    <div class="verse indent0">’Mong the rosy girls and sturdy boys,</div>
-    <div class="verse indent0">Sweet peace descends on wings of light,</div>
-    <div class="verse indent0">And all exclaim, “’Tis Christmas night,</div>
-    <div class="verse indent0">The dear Christ-child is hovering near</div>
-    <div class="verse indent0">Let each one share our Christmas cheer.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">THIRD CHILD.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">’Tis the prairies vast where cyclones sweep,</div>
-    <div class="verse indent0">And their sturdy men world-harvests reap,</div>
-    <div class="verse indent0">Where the skies are such an airy blue</div>
-    <div class="verse indent0">An angel’s robe might flutter through;</div>
-    <div class="verse indent0">And the lark flings down her music sweet</div>
-    <div class="verse indent0">A chain of song, each link complete;</div>
-    <div class="verse indent0">Then a white day comes, so bland or wild,</div>
-    <div class="verse indent0">It bears in arms the sweet Christ-child,</div>
-    <div class="verse indent0">And hearts touch heart and hands touch hand,</div>
-    <div class="verse indent0">While Christmas light illumes the land.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">FOURTH CHILD.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">’Tis the land of palms and of orange trees,</div>
-    <div class="verse indent0">Whose lamps of gold swing in the breeze,</div>
-    <div class="verse indent0">Where the pickaninny’s black eyes glow,</div>
-    <div class="verse indent0">O’er swarthy cheeks and teeth of snow,</div>
-    <div class="verse indent0">And the dusky hand is raised to bless</div>
-    <div class="verse indent0">The gift that makes his misery less;</div>
-    <div class="verse indent0">For rich and poor and young and old</div>
-    <div class="verse indent0">Stand in the charmed ring of gold</div>
-    <div class="verse indent0">Which Christmas brings. Lo, want and sin</div>
-    <div class="verse indent0">Flee from the blessed eyes of Him,</div>
-    <div class="verse indent0">The dear Christ child, who far and near</div>
-    <div class="verse indent0">Gives Christmas love and Christmas cheer.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">G. A. Brown.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>MUSIC—Cornet Solo, or Choir.</h5>
-
-<h5>READING—Santa Claus on the Train.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">On a Christmas eve an emigrant train</div>
-    <div class="verse indent2">Sped on through the blackness of night,</div>
-    <div class="verse indent0">And cleft the pitchy dark in twain</div>
-    <div class="verse indent2">With the gleam of its fierce headlight.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">In a crowded car, a noisome place,</div>
-    <div class="verse indent2">Sat a mother and her child;</div>
-    <div class="verse indent0">The woman’s face bore want’s wan trace,</div>
-    <div class="verse indent2">But the little one only smiled,</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And tugged and pulled at her mother’s dress,</div>
-    <div class="verse indent2">And her voice had a merry ring,</div>
-    <div class="verse indent0">As she lisped, “Now, mamma, come and guess</div>
-    <div class="verse indent2">What Santa Claus’ll bring.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But sadly the mother shook her head,</div>
-    <div class="verse indent2">As she thought of a happier past;</div>
-    <div class="verse indent0">“He never can catch us here,” she said</div>
-    <div class="verse indent2">“The train is going too fast.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“O, mamma, yes, he’ll come, I say,</div>
-    <div class="verse indent2">So swift are his little deer,</div>
-    <div class="verse indent0">They run all over the world to-day;—I’ll</div>
-    <div class="verse indent2">hang my stocking up here.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">She pinned her stocking to the seat,</div>
-    <div class="verse indent2">And closed her tired eyes;</div>
-    <div class="verse indent0">And soon she saw each longed-for sweet</div>
-    <div class="verse indent2">In dreamland’s paradise.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">On a seat behind the little maid</div>
-    <div class="verse indent2">A rough man sat apart,</div>
-    <div class="verse indent0">But a soft light o’er his features played,</div>
-    <div class="verse indent2">And stole into his heart.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">As the cars drew up at a busy town</div>
-    <div class="verse indent2">The rough man left the train,</div>
-    <div class="verse indent0">But scarce had from the steps jumped down</div>
-    <div class="verse indent2">Ere he was back again.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And a great big bundle of Christmas joys</div>
-    <div class="verse indent2">Bulged out from his pocket wide;</div>
-    <div class="verse indent0">He filled the stocking with sweets and toys</div>
-    <div class="verse indent2">He laid by the dreamer’s side.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">At dawn the little one woke with a shout,</div>
-    <div class="verse indent2">’Twas sweet to hear her glee;</div>
-    <div class="verse indent0">“I knowed that Santa Claus would find me out,</div>
-    <div class="verse indent2">He caught the train you see.”</div><span class="pagenum"><a id="Page_351"></a>[351]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Though some from smiling may scarce refrain,</div>
-    <div class="verse indent2">The child was surely right,</div>
-    <div class="verse indent0">The good St. Nicholas caught the train,</div>
-    <div class="verse indent2">And came aboard that night.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">For the saint is fond of masquerade</div>
-    <div class="verse indent2">And may fool the old and wise,</div>
-    <div class="verse indent0">And so he came to the little maid</div>
-    <div class="verse indent2">In an emigrant’s disguise.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And he dresses in many ways because</div>
-    <div class="verse indent2">He wishes no one to know him,</div>
-    <div class="verse indent0">For he never says, “I am Santa Claus,”</div>
-    <div class="verse indent2">But his good deeds always show him.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Henry C. Walsh.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>RECITATION—The Waifs.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" /></div>
-    <div class="dropcapline">At the break of Christmas day,</div>
-    <div class="verse indent2">Through the frosty starlight ringing,</div>
-    <div class="verse indent0">Faint and sweet and far away,</div>
-    <div class="verse indent2">Comes the sound of children, singing,</div>
-    <div class="verse indent4">Chanting, singing,</div>
-    <div class="verse indent6">“Cease to mourn,</div>
-    <div class="verse indent6">For Christ is born,</div>
-    <div class="verse indent0">Peace and joy to all men bringing!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Careless that the chill winds blow,</div>
-    <div class="verse indent2">Growing stronger, sweeter, clearer,</div>
-    <div class="verse indent0">Noiseless footfalls in the snow</div>
-    <div class="verse indent2">Bringing the happy voices nearer;</div>
-    <div class="verse indent4">Hear them singing,</div>
-    <div class="verse indent6">“Winter’s drear,</div>
-    <div class="verse indent6">But Christ is here,</div>
-    <div class="verse indent0">Mirth and gladness with him bringing!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Merry Christmas!” hear them say</div>
-    <div class="verse indent2">As the east is growing lighter;</div>
-    <div class="verse indent0">“May the joy of Christmas day</div>
-    <div class="verse indent2">Make your whole year gladder, brighter!”</div>
-    <div class="verse indent4">Join their singing,</div>
-    <div class="verse indent6">“To each home</div>
-    <div class="verse indent6">Our Christ has come,</div>
-    <div class="verse indent0">All Love’s treasures with him bringing!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Margaret Deland.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>SONG—Welcome Santa Claus. Tune: “Hold the Fort.”</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-f.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">From the cold and frosty northland;</div>
-    <div class="verse indent4">Oh so far away,</div>
-    <div class="verse indent2">Santa Claus will soon be coming</div>
-    <div class="verse indent0">In his little sleigh;</div>
-    <div class="verse indent0">Let us listen for the reindeers’</div>
-    <div class="verse indent2">Dancing, prancing feet,</div>
-    <div class="verse indent0">Let us wait old Santa’s jolly,</div>
-    <div class="verse indent2">Jolly face to greet!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Listen, don’t you hear his sleigh-bells</div>
-    <div class="verse indent2">Oh so faintly ring,</div>
-    <div class="verse indent0">Santa Claus is surely coming</div>
-    <div class="verse indent2">Many gifts to bring;</div>
-    <div class="verse indent0">In his busy little workshop</div>
-    <div class="verse indent2">Many a long, long day,</div>
-    <div class="verse indent0">Pretty presents he has made</div>
-    <div class="verse indent2">To give them all away!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Oh his sleigh-bells jingle, jingle,</div>
-    <div class="verse indent2">Very, very near;</div>
-    <div class="verse indent0">Can it be that dear old Santa’s</div>
-    <div class="verse indent2">Really almost here?</div>
-    <div class="verse indent0">Hark, they cease their silver music,</div>
-    <div class="verse indent2">Santa Claus has come!</div>
-    <div class="verse indent0">Welcome, welcome, dear old Santa,</div>
-    <div class="verse indent2">Welcome to each home!</div>
-  </div>
-</div>
-</div>
-
-<h5>ORIGINAL ADDRESS—By a Person Selected.</h5>
-
-<h5>RECITAL—Santa Claus and the Mouse.</h5>
-
-<div class="blockquote">
-
-<p>(For boy or girl, who has a stocking with a hole in
-it, and holds it up in the last verse, shows the hole
-and thrusts one or two fingers through it.)</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">One Christmas eve when Santa Claus</div>
-    <div class="verse indent2">Came to a certain house,</div>
-    <div class="verse indent0">To fill the children’s stockings there</div>
-    <div class="verse indent2">He found a little mouse.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“A merry Christmas, little friend,”</div>
-    <div class="verse indent2">Said Santa, good and kind.</div>
-    <div class="verse indent0">“The same to you, sir,” said the mouse,</div>
-    <div class="verse indent2">“I thought you wouldn’t mind</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">If I should stay awake to-night</div>
-    <div class="verse indent2">And watch you for awhile.”</div>
-    <div class="verse indent0">“You’re very welcome, little mouse,”</div>
-    <div class="verse indent2">Said Santa with a smile.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And then he filled the stockings up</div>
-    <div class="verse indent2">Before the mouse could wink.—</div>
-    <div class="verse indent0">From toe to top, from top to toe</div>
-    <div class="verse indent2">There wasn’t left a chink.</div><span class="pagenum"><a id="Page_352"></a>[352]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Now, they won’t hold another thing,”</div>
-    <div class="verse indent2">Said Santa Claus, with pride.</div>
-    <div class="verse indent0">A twinkle came in mouse’s eyes,</div>
-    <div class="verse indent2">But humbly he replied:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“It’s not polite to contradict,—</div>
-    <div class="verse indent2">Your pardon I implore,—</div>
-    <div class="verse indent0">But in the fullest stocking there</div>
-    <div class="verse indent2">I could put one thing more.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Oh, ho!” laughed Santa, “silly mouse!</div>
-    <div class="verse indent2">Don’t I know how to pack?</div>
-    <div class="verse indent0">By filling stockings all these years,</div>
-    <div class="verse indent2">I should have learned the knack.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And then he took the stocking down</div>
-    <div class="verse indent2">From where it hung so high,</div>
-    <div class="verse indent0">And said: “Now put in one thing more;</div>
-    <div class="verse indent2">I give you leave to try.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The mousie chuckled to himself,</div>
-    <div class="verse indent2">And then he softly stole</div>
-    <div class="verse indent0">Right to the stocking’s crowded toe</div>
-    <div class="verse indent2">And gnawed a little hole!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Now, if you please, good Santa Claus,</div>
-    <div class="verse indent2">I’ve put in one thing more;</div>
-    <div class="verse indent0">For you will own that little hole</div>
-    <div class="verse indent2">Was not in there before.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">How Santa Claus did laugh and laugh!</div>
-    <div class="verse indent2">And then he gayly spoke:</div>
-    <div class="verse indent0">“Well! you shall have a Christmas cheese</div>
-    <div class="verse indent2">For that nice little joke.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">If you don’t think this story true,</div>
-    <div class="verse indent2">Why I can show to you</div>
-    <div class="verse indent0">The very stocking with the hole</div>
-    <div class="verse indent2">The little mouse gnawed through!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Emilie Poulsson.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>RECITATION—What Ted Found in his Stocking.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">“I don’t care, I <i>will</i> go!</div>
-    <div class="verse indent2">So there, Mamma Mouse!</div>
-    <div class="verse indent0">The folks are all sleeping</div>
-    <div class="verse indent2">All over the house;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“The stockings are hanging—</div>
-    <div class="verse indent2">I smell the sweet bits.</div>
-    <div class="verse indent0">It’s enough to drive mousies</div>
-    <div class="verse indent2">Into wild, crazy fits!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">So when old Mrs. Mouse</div>
-    <div class="verse indent2">Went off to her bed,</div>
-    <div class="verse indent0">The little mouse watched,</div>
-    <div class="verse indent2">And popped up his head.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then smelling his way</div>
-    <div class="verse indent2">Very nicely along,</div>
-    <div class="verse indent0">He jumped into a stocking,</div>
-    <div class="verse indent2">So new and so strong.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But a string on a bundle</div>
-    <div class="verse indent2">Stuck out in a loop,</div>
-    <div class="verse indent0">And in it he tumbled,</div>
-    <div class="verse indent2">The poor silly dupe!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Oh, then what bewailings</div>
-    <div class="verse indent2">Came out of that stocking!</div>
-    <div class="verse indent0">Such moans and lamentings,</div>
-    <div class="verse indent2">It really was shocking!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“O dear! and oh dear!</div>
-    <div class="verse indent2">I wish I was home!</div>
-    <div class="verse indent0">If I’d minded mamma,</div>
-    <div class="verse indent2">And hadn’t ’a’ come!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But ’twas all of no use.</div>
-    <div class="verse indent2">The string was so tight</div>
-    <div class="verse indent0">That all he could do</div>
-    <div class="verse indent2">Was to wait for daylight.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then Ted gave a shout</div>
-    <div class="verse indent2">That awoke the whole house;</div>
-    <div class="verse indent0">For there in his stocking</div>
-    <div class="verse indent2">Was a little gray mouse!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">What became of him then</div>
-    <div class="verse indent2">The cat only can tell,</div>
-    <div class="verse indent0">But one thing I’ll say—</div>
-    <div class="verse indent2">I know very well</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">(<i>By Whole School in Concert</i>).</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">That he’ll never again on a Christmas Eve</div>
-    <div class="verse indent0">Jump into a stocking without any leave!</div>
-  </div>
-</div>
-</div>
-
-<h5>MUSIC—To be Selected.</h5>
-
-<h5>SANTA CLAUS—To be Selected.</h5>
-
-<div class="blockquote">
-
-<p>(Comes in dressed in heavy winter garments, with
-long, white beard and pockets stuffed with toys).</p>
-
-</div>
-
-<h5>DISTRIBUTION OF GIFTS.</h5>
-
-<div class="figcenter-line" style="width: 300px;">
-<img src="images/line11.jpg" width="300" height="15" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_353"></a>[353]</span></p>
-
-<h4>PROGRAMME FOR DECORATION DAY.</h4>
-
-<p class="center sm90">(Music by band or orchestra can be introduced whenever deemed appropriate).</p>
-
-<h5>SINGING—“Columbia, the Gem of the Ocean.”</h5>
-
-<h5>DECLAMATION—The Meaning of the Day.</h5>
-
-<p>All over our land, in every cemetery
-where rests members of our army of
-the dead—and we doubt if any
-burial place has not such sleepers,—people
-are gathered to-day to pay tribute
-to our soldier dead and strew flowers over
-their graves. All hearts turn as by a common
-impulse to these ceremonies. We bring
-our offerings of flowers to the soldiers, but
-it affects them not; they cannot feel the love
-and gratitude that prompt the gift. Their
-lives and deeds have wrought for themselves
-more enduring monuments than sculptured
-marble. We assure the loving soldiers that
-they are not forgotten—that their courage
-and patriotism will always be remembered as
-long as a loyal school boy or school girl may
-live. But this day means more than this, it
-means something for our nation, something
-for posterity; its belief in that grand old flag
-and what it stands for; a belief in freedom.
-It means that the boys and girls of to-day,
-the men and women of to-morrow, who share
-in this day’s ceremonies, echo the words of our
-fathers, that “this government shall be preserved,
-come what will, threaten it who may.”</p>
-
-<h5>EXERCISE.</h5>
-
-<div class="blockquote">
-
-<p>(For fifteen pupils each carrying a flag, and gesturing
-as indicated. Pupil 8 should carry a larger
-flag than the others. Seven to the left of eight should
-hold flags to left shoulder; seven to right of eight,
-should hold flags to right shoulder. When the word
-<i>North</i> is recited, the seven to the right of number
-eight raise their flags, then back to the shoulder;
-when the word <i>South</i> is recited, the seven to the left
-of number eight lift their flags, then replace to shoulders.
-Each might carry in other hand a bunch of
-flowers, and at the word <i>flowers</i>, the bouquets should
-be raised as were the flags. The pupils to the left
-could wear gray and those to the right, blue, in some
-way—in caps, sashes or bows. Number eight should
-be dressed in red, white and blue.)</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse center"><i>1st Pupil.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There is peace, there is peace in the South and the North,</div>
-    <div class="verse indent0">When the suns of the May-time shall call the blooms forth.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>2nd Pupil.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There is peace in the vale where the Tennessee runs—</div>
-    <div class="verse indent0">Where the river grass covers the long silent guns.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>3rd Pupil.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There is peace in Virginia amid the tall corn;</div>
-    <div class="verse indent0">Where Lookout’s high summit grows bright in the morn.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>4th Pupil.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There is peace where the James wanders down to the main;</div>
-    <div class="verse indent0">Where the war-torn Savannas are golden with grain.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>5th Pupil.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There is peace where the squadrons of carnage have wheeled,</div>
-    <div class="verse indent0">Fierce over Shiloh’s shell-furrowed field.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>6th Pupil.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There is peace in the soil whence the palmettoes spring;</div>
-    <div class="verse indent0">In the sad Shenandoah the harvesters sing.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>7th Pupil.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There is peace in Manassas, Antietam’s dark rills;</div>
-    <div class="verse indent0">No more throb the drum on the bare Georgian hills.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>8th Pupil.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There is peace where the warriors of Gettysburg rest;</div>
-    <div class="verse indent0">On the ramparts of Sumter the summer bird’s nest.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>9th Pupil.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There is peace where the “Father of Waters” ran red,</div>
-    <div class="verse indent0">Where the batteries of Mobile lie soundless and dead.</div><span class="pagenum"><a id="Page_354"></a>[354]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>10th Pupil.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There is peace where the rifle hangs mantled with dust,</div>
-    <div class="verse indent0">Where the once reeking saber is sheathed in its rust.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>11th Pupil.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There is peace where the war-hoofs tore up the smooth lea,</div>
-    <div class="verse indent0">Where the hoarse-noted cannon rang over the sea.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>12th Pupil.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There is peace in the North, though her soldier is yet</div>
-    <div class="verse indent0">Far away on the field where the fierce columns met.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>13th Pupil.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There is peace in the South, though her soldier is lost</div>
-    <div class="verse indent0">In the path where the lines of the foeman have crossed.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>14th Pupil.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There is peace in the land, and the “stars and the bars”</div>
-    <div class="verse indent0">Forever have merged in the “stripes and the stars.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>15th Pupil.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There is peace where the flowers cover the tombs,</div>
-    <div class="verse indent0">And the Blue and the Gray now blend with the blooms.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>All.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">God grant that this peace may forever be ours!</div>
-    <div class="verse indent0">And the Blue and the Gray alike sleep neath the flowers!</div>
-  </div>
-</div>
-</div>
-
-<div class="blockquote">
-
-<p>(These last two lines should be recited while flags
-and flowers are held in front, in prayerful attitude,
-eyes of pupils glancing upward.)</p>
-
-</div>
-
-<h5>RECITATION—Decoration Day.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">It’s lonesome—sorto’ lonesome—it’s a Sund’y day to me,</div>
-    <div class="verse indent0">It ’pears like—mor’n any day I nearly ever see!</div>
-    <div class="verse indent0">Yit, with the Stars and Stripes above, a flutterin’ in the air,</div>
-    <div class="verse indent0">On ev’ry soldier’s grave I’d love to lay a lily there.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">They say, though, Decoration Days is generally observed—</div>
-    <div class="verse indent0">Most ev’ry wheres—especially by soldier boys that served—</div>
-    <div class="verse indent0">But me and mother never went—we seldom git away—</div>
-    <div class="verse indent0">In pint of fact, we’re allus home on Decoration Day.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">They say the old boys marches through the streets in columns grand,</div>
-    <div class="verse indent0">A-follerin’ the old war tunes they’re playin’ on the band,</div>
-    <div class="verse indent0">And citizens all jinin’ in—and little children, too—</div>
-    <div class="verse indent0">All marchin’ under shelter of the old Red, White and Blue,</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">With roses! roses! roses!—ev’rybody in the town!</div>
-    <div class="verse indent0">And crowds of girls in white, just fairly loaded down!</div>
-    <div class="verse indent0">Oh! don’t the boys know it, from their camp across the hill?</div>
-    <div class="verse indent0">Don’t they see their comrades comin’ and the old flag wavin’ still?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Oh! can’t they hear the bugle and the rattle of the drum?—</div>
-    <div class="verse indent0">Ain’t they no way under heaven they can rickollect us some?</div>
-    <div class="verse indent0">Ain’t they no way we can coax ’em through the roses, just to say</div>
-    <div class="verse indent0">They know that every day on earth is their Decoration Day?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">We’ve tried that,—me and mother,—where Elias takes his rest,</div>
-    <div class="verse indent0">In the orchard, in his uniform, and hands across his breast,</div>
-    <div class="verse indent0">And the flag he died fer smilin’ and a-ripplin’ in the breeze</div>
-    <div class="verse indent0">Above his grave—and, over that—the robin in the trees.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And yet it’s lonesome—lonesome! It’s a Sund’y-day to me,</div>
-    <div class="verse indent0">It ’pears like—more’n any day—I nearly ever see—</div>
-    <div class="verse indent0">Yit, with the Stars and Stripes above, a flutterin’ in the air,</div>
-    <div class="verse indent0">On ev’ry soldier’s grave—I’d love to lay a lily there.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">James Whitcomb Riley.</span></div>
-  </div>
-</div>
-</div>
-
-<p><span class="pagenum"><a id="Page_355"></a>[355]</span></p>
-
-<h5>ACROSTIC—Memorial Day.</h5>
-
-<div class="blockquote">
-
-<p>(<i>Exercise for eleven children. Each carries standard
-on which the letters are pasted in red, white and
-blue, and turns the letter toward the audience as the
-words are recited.</i>)</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-m.jpg" width="140" height="100" alt="" /></div>
-    <div class="dropcapline">Memorial Day again has come,</div>
-    <div class="verse indent0">When throbs the music of the drum.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Each muffled accent seems to tell</div>
-    <div class="verse indent0">Of heroes who in battle fell.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Memories return to boys in blue,</div>
-    <div class="verse indent0">Of vanished comrades brave and true.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">On camping ground and battle plain</div>
-    <div class="verse indent0">Alike they met with want and pain.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Rivers of blood their courses swept,</div>
-    <div class="verse indent0">While sad Columbia mourned and wept.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">In fever swamp and prison pen</div>
-    <div class="verse indent0">Died many of her bravest men.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">All honor to the soldier bands</div>
-    <div class="verse indent0">Who followed Freedom’s stern commands.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Let each true soldier’s noble name,</div>
-    <div class="verse indent0">Glow brightly on the books of Fame.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Deeds wrought for truth can never die</div>
-    <div class="verse indent0">For they are penned in books on high.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">A nation now in reverence stands</div>
-    <div class="verse indent0">With sorrowing heart and flower-filled hands.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Years may into long ages glide,</div>
-    <div class="verse indent0">These names shall still be glorified.</div>
-  </div>
-</div>
-</div>
-
-<h5>PAPER—Origin of Memorial Day.</h5>
-
-<p>General John Murray was the
-originator of Memorial Day in the
-North. While visiting in the South
-in the winter of 1867-’68, he noticed the
-touching rite of decorating soldiers’ graves
-with flowers by the ladies. Being very much
-impressed with this custom, he instituted a
-similar one at his own home.</p>
-
-<p>On the 5th day of May, 1868, Gen. John
-A. Logan, who was then Commander-in-chief
-of the Grand Army of the Republic,
-established Decoration Day, and by a general
-order, May 30, 1868, was designated as
-a day set apart for the purpose of paying tribute
-to the memory of those brave men who
-died in defense of our country. The national
-encampment held in Washington had
-it incorporated in its rules and regulations,
-May 11, 1870. Since then, in many of the
-States, May 30th has been established as a
-holiday, and it is the universal custom to
-decorate the graves of all ex-soldiers, thus
-making it one of the most patriotic days of
-the year, wherein all classes unite in paying
-honor to our heroic dead, and feel a conscious
-pride in being able to thus show respect
-for their memory and the cause for
-which they fought.</p>
-
-<h5>SONG:—“The Star Spangled Banner.”</h5>
-
-<h5>EXERCISE.</h5>
-
-<div class="blockquote">
-
-<p>(A large urn or vase is placed on a stand decorated
-with the national colors and a bow of black ribbon.
-Around the rim of the vase a beautiful wreath should
-be placed. The stand should be at the front of the
-rostrum, so the pupils may pass behind it. The pupils
-representing the various wars should be dressed
-if possible in the costumes of that day—military costumes.
-Beside the urn, a girl representing Liberty
-should stand holding a large flag at half-mast, she
-should dress in white and wear sash of the national
-colors. After reciting, each pupil stands in rear of
-Liberty. When coming upon the stage, each pupil
-salutes the flag before reciting and stands on opposite
-side of urn while reciting. When through,
-he gracefully deposits his bouquet into the urn. At
-close of exercise the school arises and salutes the
-flag and repeats the pledge.)</p>
-
-<p><i>Liberty</i> (<i>Enters carrying flag and recites standing at
-right of urn; when through reciting casts her
-flowers into the urn.</i>)</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">“Strew with flowers the soldier’s grave,</div>
-    <div class="verse indent2">Plant each lovely thing that grows;</div>
-    <div class="verse indent0">Let the summer breezes wave</div>
-    <div class="verse indent2">The calla lily and the rose;</div>
-    <div class="verse indent0">White and red—the cause, the price!</div>
-    <div class="verse indent0">Right, upheld by sacrifice.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Let the summer’s perfumed breath,</div>
-    <div class="verse indent2">Fragrant with the sweetest flowers,</div>
-    <div class="verse indent0">Charm the sadness out of death,</div>
-    <div class="verse indent2">Glorify the mourners’ hours,</div><span class="pagenum"><a id="Page_356"></a>[356]</span>
-    <div class="verse indent4">Freighted with their prayers, arise</div>
-    <div class="verse indent4">Incense of their sacrifice.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">’Tis not valor that we praise,</div>
-    <div class="verse indent2">Thirst for glory, love of strife;</div>
-    <div class="verse indent0">Gentle hearts from quiet ways,</div>
-    <div class="verse indent2">Turned to save a nation’s life,</div>
-    <div class="verse indent4">Lest in jealous fragments torn</div>
-    <div class="verse indent4">Freedom’s land should come to scorn.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">O’er the Gray, as o’er the Blue,</div>
-    <div class="verse indent2">Nature’s bursting tears will flow;</div>
-    <div class="verse indent0">Both were brave, and both were true</div>
-    <div class="verse indent2">And fought for all they loved below.</div>
-    <div class="verse indent4">Pity! nor forbid the tear</div>
-    <div class="verse indent4">Shed above so sad a bier.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Cherish, then, the patriot fires,</div>
-    <div class="verse indent2">Honor loyalty, and trust</div>
-    <div class="verse indent0">In God that Freedom ne’er expires</div>
-    <div class="verse indent2">Where virtue guards the martyr’s dust,</div>
-    <div class="verse indent4">Who counted life as little worth,</div>
-    <div class="verse indent4">And saved the imperiled Hope of Earth.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Jno. W. Dunbar.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>OUR NATION’S PATRIOTS.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse center"><i>Revolutionary Pupil.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I had heard the muskets’ rattle of the April running battle;</div>
-    <div class="verse indent0">Lord Percey’s hunted soldiers, I can see their red coats still;</div>
-    <div class="verse indent0">But a deadly chill comes o’er me, as the day looms up before me,</div>
-    <div class="verse indent0">When a thousand men lay bleeding on the slopes of Bunker Hill.</div>
-    <div class="verse indent0">Here are lilies for the valorous, and roses for the brave;</div>
-    <div class="verse indent0">And laurel for the victor’s crown, and rue for lowly grave.</div>
-    <div class="verse indent0">There’s crimson for the blood that flowed that Freedom might be free,</div>
-    <div class="verse indent0">And golden for the hearts of gold that died for you and me;</div>
-    <div class="verse indent0">Till love no more is loving, we lift our souls and say,</div>
-    <div class="verse indent0">For liberty find loyalty we bless their names to-day!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Civil War Pupil.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Strew the fair garlands where slumber the dead,</div>
-    <div class="verse indent2">Ring out the strains like the swell of the sea,</div>
-    <div class="verse indent0">Heartfelt the tribute we lay on each bed.</div>
-    <div class="verse indent2">Sound o’er the brave the refrain of the free.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Sound the refrain of the loyal and free,</div>
-    <div class="verse indent2">Visit each sleeper and hallow each bed,</div>
-    <div class="verse indent0">Wave the starred banner from seacoast to sea</div>
-    <div class="verse indent2">Grateful the living, and honored the dead.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Cuban War Pupil (carrying Cuban Flag.)</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">New graves we crown with flowers to-day</div>
-    <div class="verse indent2">New homes shall saddened be;</div>
-    <div class="verse indent0">For loved ones sleeping far away,</div>
-    <div class="verse indent2">And some beneath the sea.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">’Twas for humanity and right</div>
-    <div class="verse indent2">Our loved boys fought and died;</div>
-    <div class="verse indent0">To lift the islands into light</div>
-    <div class="verse indent2">And break the Spanish pride.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">We’ll wrap the Bible in the Flag</div>
-    <div class="verse indent2">And back them with our might,</div>
-    <div class="verse indent0">And bear them over sea and crag,</div>
-    <div class="verse indent2">In lofty eagle’s flight;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And break the bands of heathen night,</div>
-    <div class="verse indent2">And set the islands free;</div>
-    <div class="verse indent0">Till Freedom sheds her glorious light</div>
-    <div class="verse indent2">O’er every land and sea.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Liberty (in prayerful attitude, the boys<br />standing in rear with hats lifted.)</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">O God! look down upon the land which Thou hast loved so well,</div>
-    <div class="verse indent0">And grant that in unbroken truth her children still may dwell;</div>
-    <div class="verse indent0">Nor while the grass grows on the hill, and streams flow through the vale,</div>
-    <div class="verse indent0">May they forget their fathers’ faith, or in their covenant fail!</div>
-    <div class="verse indent0">God keep the fairest, noblest land that lies beneath the sky—</div>
-    <div class="verse indent0">Our country, our whole country, whose fame shall never die.</div>
-  </div>
-</div>
-</div>
-
-<h5>PLEDGE.</h5>
-
-<p class="center sm90">(All stand; salute flag; and repeat pledge.)</p>
-
-<div>
-<img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" />
-</div>
-
-<p class="dropcap">“We pledge allegiance to our flag
-and the republic for which it
-stands—one nation, indivisible,
-with liberty and justice for all.”</p>
-
-<h5>SONG—America.</h5>
-
-<div class="figcenter-line" style="width: 300px;">
-<img src="images/line11.jpg" width="300" height="15" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_357"></a>[357]</span></p>
-
-<h4>PROGRAMME FOR WASHINGTON’S BIRTHDAY.</h4>
-
-<h5>MUSIC—“The Star-Spangled Banner.”</h5>
-
-<h5>RECITATION—Washington Enigma.</h5>
-
-<div class="blockquote">
-
-<p>To be given by ten little girls with evergreen or
-large printed letters hung around their necks by a
-black thread and adjusted to the proper height. Let
-the letter be turned as the child speaks.</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse center"><i>First Child</i>—W—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">In the wailing winds my first</div>
-    <div class="verse indent0">Speaks in faintly murmuring tones.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Second Child</i>—A—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">While my second’s cry will burst</div>
-    <div class="verse indent0">In the martyr’s latest groans.—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Third Child</i>—S—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">How the noisome serpents scare.</div>
-    <div class="verse indent0">In them finds my third a place.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Fourth Child</i>—H—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">In the homes which mothers share,</div>
-    <div class="verse indent0">Rules my fourth with gentle grace.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Fifth Child</i>—I—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Watch the Indian’s scalping knife,</div>
-    <div class="verse indent0">And my fifth shall greet your sight.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Sixth Child</i>—N—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But my sixth is brought to life</div>
-    <div class="verse indent0">In the moonless ebon night.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Seventh Child</i>—G—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">See the gambler’s greed and note</div>
-    <div class="verse indent0">How my seventh rules supreme.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Eighth Child</i>—T—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The latest presidential vote</div>
-    <div class="verse indent0">Holds secure my eighth, I deem.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Ninth Child</i>—O—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">From our sorrow, from our woe,</div>
-    <div class="verse indent0">None can drive my ninth away.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Tenth Child</i>—N—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Mark the wailing infant—lo!</div>
-    <div class="verse indent0">There my tenth holds fullest sway.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>All in Concert.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Join from first to tenth each part,</div>
-    <div class="verse indent2">And you’ll find a noble name,</div>
-    <div class="verse indent0">Written on each patriot’s heart,</div>
-    <div class="verse indent2">Glorious in our country’s fame.</div>
-  </div>
-</div>
-</div>
-
-<h5>RECITATION—Washington’s Day.</h5>
-
-<p class="center sm90">For a little boy.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">Oh! how the world remembers!</div>
-    <div class="verse indent2">It is many and many a day</div>
-    <div class="verse indent0">Since the patriot, George Washington,</div>
-    <div class="verse indent2">Grew old and passed away.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And yet to-day we are keeping</div>
-    <div class="verse indent2">In memory of his birth,</div>
-    <div class="verse indent0">And his deeds of truth and valor</div>
-    <div class="verse indent2">Are told at every hearth.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">How he fought for independence</div>
-    <div class="verse indent2">All little schoolboys know;</div>
-    <div class="verse indent0">And why he signed the declaration</div>
-    <div class="verse indent2">So many years ago.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">To be as great as Washington</div>
-    <div class="verse indent2">I could not if I would;</div>
-    <div class="verse indent0">But I’ve made up my mind that I</div>
-    <div class="verse indent2">Will try to be as good.</div>
-  </div>
-</div>
-</div>
-
-<h5>RECITATION—A Little Boy’s Hatchet Story.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">When the great and good George Washington</div>
-    <div class="verse indent2">Was a little boy like me,</div>
-    <div class="verse indent0">He took his little hatchet</div>
-    <div class="verse indent2">And chopped down a cherry tree.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And when his papa called him,</div>
-    <div class="verse indent2">He then began to cry,</div>
-    <div class="verse indent0">“I did it, oh, I did it;</div>
-    <div class="verse indent2">I cannot tell a lie!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">His papa didn’t scold at all,</div>
-    <div class="verse indent2">But said, “You noble youth,</div>
-    <div class="verse indent0">I’d gladly lose ten cherry trees</div>
-    <div class="verse indent2">To have you tell the truth!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But I myself am not quite clear;</div>
-    <div class="verse indent2">For if I took my hatchet</div>
-    <div class="verse indent0">And chopped my papa’s cherry tree,</div>
-    <div class="verse indent2">Oh, wouldn’t I just catch it!</div>
-  </div>
-</div>
-</div>
-
-<p><span class="pagenum"><a id="Page_358"></a>[358]</span></p>
-
-<h5>READING—Maxims of Washington.</h5>
-
-<p class="center sm90">Adopted by him at the age of fifteen.</p>
-
-<p>“Neither laugh, nor speak, nor listen
-when older people are talking
-together.”</p>
-
-<p>“Say not anything that will
-hurt another, either in fun or in earnest.”</p>
-
-<p>“If you say anything funny, don’t laugh
-at it yourself, but let others enjoy it.”</p>
-
-<p>“When another person speaks, listen yourself,
-and try not to disturb others.”</p>
-
-<p>“Obey and honor your father and mother.”</p>
-
-<p>“Every action in company ought to be
-with some sign of respect to those present.”</p>
-
-<p>“When you meet with one of greater
-quality than yourself, stop and retire, especially
-if it be at a door or any strait place, to
-give way for him to pass.”</p>
-
-<p>“Speak not evil of the absent, for it is
-unjust.”</p>
-
-<p>“Show not yourself glad at the misfortune
-of another, though he were your enemy.”</p>
-
-<p>“Be not curious to know the affairs of
-others; neither approach to those that speak
-in private.”</p>
-
-<p>“Undertake not what you cannot perform,
-but be careful to keep your promises.”</p>
-
-<p>“Labor to keep alive in your breast that
-little spark of celestial fire called conscience.”</p>
-
-<h5>SINGING—Tune: “My Country.”</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">Once more we celebrate</div>
-    <div class="verse indent0">Birthday of him so great,</div>
-    <div class="verse indent2">So true and brave;</div>
-    <div class="verse indent0">Who struggled not in vain</div>
-    <div class="verse indent0">Liberty to attain,</div>
-    <div class="verse indent0">Breaking a tyrant’s chain</div>
-    <div class="verse indent2">His land to save.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Bravely the patriot band</div>
-    <div class="verse indent0">Fought ’neath his sure command</div>
-    <div class="verse indent2">And freedom won;</div>
-    <div class="verse indent0">Honor those soldiers all,</div>
-    <div class="verse indent0">Who did for freedom fall,</div>
-    <div class="verse indent0">Who followed at the call</div>
-    <div class="verse indent2">Of Washington.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">While shines in heaven the sun,</div>
-    <div class="verse indent0">The name of Washington</div>
-    <div class="verse indent2">Shall glow with light;</div>
-    <div class="verse indent0">He feared no tyrant grand,</div>
-    <div class="verse indent0">But foremost in command,</div>
-    <div class="verse indent0">Did like a mountain stand</div>
-    <div class="verse indent2">For cause of right.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Alice Jean Cleator.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>ORATION—The Father of his Country.</h5>
-
-<div>
-<img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">The birthday of the “Father of his
-Country!” May it ever be freshly remembered
-by American hearts! May
-it ever re-awaken in them a filial veneration
-for his memory; ever rekindle the fires of
-patriotic regard to the country he loved so
-well; to which he gave his youthful vigor
-and his youthful energy, during the perilous
-period of the early Indian warfare; to which
-he devoted his life, in the maturity of his
-powers, in the field; to which again he offered
-the counsels of his wisdom and his experience,
-as President of the Convention that
-framed our Constitution; which he guided
-and directed while in the Chair of State, and
-for which the last prayer of his earthly supplication
-was offered up, when it came the
-moment for him so well, and so grandly, and
-I so calmly, to die. He was the first man of
-the time in which he grew. His memory is
-I first and most sacred in our love; and ever
-hereafter, till the last drop of blood shall
-freeze in the last American heart, his name
-shall be a spell of power and might.</p>
-
-<p>Yes, there is one personal, one vast felicity,
-which no man can share with him. It was
-the daily beauty and towering and matchless
-glory of his life, which enabled him to create
-his country, and, at the same time, secure an
-undying love and regard from the whole
-American people. “The first in the hearts
-of his countrymen!” Yes, first! He has
-our first and most fervent love. Undoubtedly
-there were brave and wise and good men,<span class="pagenum"><a id="Page_359"></a>[359]</span>
-before his day, in every colony. But the
-American Nation, as a Nation, I do not
-reckon to have begun before 1774. And
-the first love of that young America was
-Washington. The first word she lisped
-was his name. Her earliest breath spoke
-it. It still is her proud ejaculation; and
-it will be the last gasp of her expiring
-life!</p>
-
-<p>Yes, others of our great men have been
-appreciated—many admired by all. But him
-we love. Him we all love. About and
-around him we call up no dissentient and discordant
-and dissatisfied elements—no sectional
-prejudice nor bias,—no party, no creed,
-no dogma of politics. None of these shall
-assail him. Yes, when the storm of battle
-blows darkest and rages highest, the memory
-of Washington shall nerve every American
-arm, and cheer every American heart. It
-shall relume that Promethean fire, that sublime
-flame of patriotism, that devoted love of
-country, which his words have commended,
-which his example has consecrated. Well
-did Lord Byron write:</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“Where may the wearied eye repose</div>
-    <div class="verse indent6">When gazing on the great,</div>
-    <div class="verse indent0">Where neither guilty glory glows,</div>
-    <div class="verse indent6">Nor despicable state?—</div>
-    <div class="verse indent0">Yes—one—the first, the last, the best,</div>
-    <div class="verse indent0">The Cincinnatus of the West,</div>
-    <div class="verse indent6">Whom Envy dared not hate,</div>
-    <div class="verse indent0">Bequeathed the name of Washington,</div>
-    <div class="verse indent0">To make man blush, there was but one.”</div>
-  </div>
-</div>
-</div>
-
-<h5>RECITATION—February Twenty-second.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">In seventeen hundred thirty-two,</div>
-    <div class="verse indent2">This very month and day,</div>
-    <div class="verse indent0">Winking and blinking at the light,</div>
-    <div class="verse indent2">A little baby lay.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">No doubt they thought the little man</div>
-    <div class="verse indent2">A goodly child enough;</div>
-    <div class="verse indent0">But time has proved that he was made</div>
-    <div class="verse indent2">Of most uncommon stuff.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The little babe became a man</div>
-    <div class="verse indent2">That everybody knew</div>
-    <div class="verse indent0">Would finish well what he began,</div>
-    <div class="verse indent2">And prove both firm and true.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">So when the Revolution came,</div>
-    <div class="verse indent2">That made our nation free,</div>
-    <div class="verse indent0">They couldn’t find a better man</div>
-    <div class="verse indent2">For general, you see.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">As general, he never failed</div>
-    <div class="verse indent2">Or faltered; so they though</div>
-    <div class="verse indent0">He ought to be the President,</div>
-    <div class="verse indent2">And so I’m sure he ought.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And then he did his part so well</div>
-    <div class="verse indent2">As President—’twas plain</div>
-    <div class="verse indent0">They couldn’t do a better thing</div>
-    <div class="verse indent2">Than choose him yet again.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Through all his life they loved him well</div>
-    <div class="verse indent2">And mourned him when he died;</div>
-    <div class="verse indent0">And ever since his noble name</div>
-    <div class="verse indent2">Has been our nation’s pride.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The lesson of his life is clear,</div>
-    <div class="verse indent2">And easy quite to guess,</div>
-    <div class="verse indent0">Be firm and true, if you would make</div>
-    <div class="verse indent2">Your life a grand success.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Joy Allison.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>SONG—A True Soldier. Tune: “Hold the Fort.”</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">Though we never may be soldiers</div>
-    <div class="verse indent2">On the battle field,</div>
-    <div class="verse indent0">Though we may not carry banner,</div>
-    <div class="verse indent2">Bayonet or shield;</div>
-    <div class="verse indent0">Each can be as true and valiant</div>
-    <div class="verse indent2">Till life’s work is done,</div>
-    <div class="verse indent0">Each can be as brave a soldier</div>
-    <div class="verse indent2">As George Washington.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There are mighty hosts of evil,</div>
-    <div class="verse indent2">Armies great and strong,</div>
-    <div class="verse indent0">Each can be a little soldier</div>
-    <div class="verse indent2">Fighting all day long.</div>
-    <div class="verse indent0">Let us ever fight them bravely,</div>
-    <div class="verse indent2">Let us valiant be;</div><span class="pagenum"><a id="Page_360"></a>[360]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Fight the host of falsehood, envy,</div>
-    <div class="verse indent4">Pride and cruelty.</div>
-    <div class="verse indent0">Oh, how valiant are the soldiers</div>
-    <div class="verse indent4">Who to battle go,</div>
-    <div class="verse indent0">Yet more brave are they who struggle</div>
-    <div class="verse indent4">With an unseen foe.</div>
-    <div class="verse indent0">When the battles all are ended</div>
-    <div class="verse indent4">And the victory’s won,</div>
-    <div class="verse indent0">Each will be as true a soldier</div>
-    <div class="verse indent4">As George Washington.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Alice Jean Cleator.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>RECITAL—Washington’s Life.</h5>
-
-<div class="blockquote">
-
-<p>(Recitation for five boys; each holds in his right
-hand a card with date, lifting it during his recitation.)</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse center">1732.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">In seventeen hundred and thirty-two</div>
-    <div class="verse indent2">George Washington was born;</div>
-    <div class="verse indent0">Truth, goodness, skill, and glory high,</div>
-    <div class="verse indent2">His whole life did adorn.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">1775.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">In seventeen hundred and seventy-five</div>
-    <div class="verse indent2">The chief command he took</div>
-    <div class="verse indent0">Of all the army in the State</div>
-    <div class="verse indent2">Who ne’er his flag forsook.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">1783.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">In seventeen hundred and eighty-three,</div>
-    <div class="verse indent2">Retired to private life;</div>
-    <div class="verse indent0">He saw his much-loved country free</div>
-    <div class="verse indent2">From battle and from strife.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">1789.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">In seventeen hundred and eighty-nine,</div>
-    <div class="verse indent2">The country with one voice,</div>
-    <div class="verse indent0">Proclaimed him president, to shine,</div>
-    <div class="verse indent2">Blessed by the people’s choice.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">1799.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">In seventeen hundred and ninety-nine,</div>
-    <div class="verse indent2">The nation’s tears were shed,</div>
-    <div class="verse indent0">To see the patriot life resign,</div>
-    <div class="verse indent2">And sleep among the dead.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">ALL IN CONCERT.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">As “first in war, first in peace,”</div>
-    <div class="verse indent2">As patriot, father, friend—</div>
-    <div class="verse indent0">He will be blessed till time shall cease,</div>
-    <div class="verse indent2">And earthly life shall end.</div>
-  </div>
-</div>
-</div>
-
-<h5>SINGING—Birthday of Washington.</h5>
-
-<p class="center sm90">(May be sung to “America.”)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse center"><i>First Pupil</i>:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Welcome, thou festal morn,</div>
-    <div class="verse indent0">Never be passed in scorn</div>
-    <div class="verse indent6">Thy rising sun.</div>
-    <div class="verse indent0">Thou day forever bright</div>
-    <div class="verse indent0">With Freedom’s holy light,</div>
-    <div class="verse indent0">That gave the world the sight</div>
-    <div class="verse indent6">Of Washington.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Second Pupil</i>:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Unshaken ’mid the storm,</div>
-    <div class="verse indent0">Behold that noble form—</div>
-    <div class="verse indent6">That peerless one,</div>
-    <div class="verse indent0">With his protecting hand,</div>
-    <div class="verse indent0">Like Freedom’s angel, stand,</div>
-    <div class="verse indent0">The guardian of our land,</div>
-    <div class="verse indent6">Our Washington.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Third Pupil</i>:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Traced there in lines of light,</div>
-    <div class="verse indent0">Where all pure rays unite,</div>
-    <div class="verse indent6">Obscured by none;</div>
-    <div class="verse indent0">Brightest on history’s page,</div>
-    <div class="verse indent0">Of any clime or age,</div>
-    <div class="verse indent0">As chieftain, man or sage,</div>
-    <div class="verse indent6">Stands Washington.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Fourth Pupil</i>:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Name at which tyrants pale,</div>
-    <div class="verse indent0">And their proud legions quail,</div>
-    <div class="verse indent6">Their boasting done;</div>
-    <div class="verse indent0">While Freedom lifts her head,</div>
-    <div class="verse indent0">No longer filled with dread,</div>
-    <div class="verse indent0">Her sons to victory led</div>
-    <div class="verse indent6">By Washington.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Class in Concert</i>:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Now the true patriot see,</div>
-    <div class="verse indent0">The foremost of the free,</div>
-    <div class="verse indent6">The victory won.</div>
-    <div class="verse indent0">In Freedom’s presence bow,</div>
-    <div class="verse indent0">While sweetly smiling now</div>
-    <div class="verse indent0">She wreathes the spotless brow</div>
-    <div class="verse indent6">Of Washington.</div><span class="pagenum"><a id="Page_361"></a>[361]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then, with each coming year,</div>
-    <div class="verse indent0">Whenever shall appear</div>
-    <div class="verse indent6">That natal sun,</div>
-    <div class="verse indent0">Will we attest the worth</div>
-    <div class="verse indent0">Of one true man to earth</div>
-    <div class="verse indent0">And celebrate the birth</div>
-    <div class="verse indent6">Of Washington.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">George Howland.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>MARCH.—Boys and Girls Carrying Flags.</h5>
-
-<div class="figcenter-line" style="width: 300px;">
-<img src="images/line11.jpg" width="300" height="15" alt="" />
-</div>
-
-<h4>PROGRAMME FOR ARBOR DAY.</h4>
-
-<p>The celebration of Arbor Day has become so common that there is a demand
-for a programme of public exercises for schools and academies. The
-following can be varied by omitting pieces or substituting others. Little
-flags on palm-leaf fans tacked on well, also tufts of pine, and wreaths
-of flowers, bouquets, etc., might aid in decoration. Let the pupils take
-an active part in preparation.</p>
-
-<h5>SONG. Tune: “What a Friend We Have in Jesus.”</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">We have come with joyful greeting,</div>
-    <div class="verse indent2">Songs of gladness, voices gay,</div>
-    <div class="verse indent0">Teachers, friends, and happy children,</div>
-    <div class="verse indent2">All to welcome Arbor Day.</div>
-    <div class="verse indent0">Here we plant the trees whose branches,</div>
-    <div class="verse indent2">Warmed by breath of summer days,</div>
-    <div class="verse indent0">Nourished by the dews and showers,</div>
-    <div class="verse indent2">Soon shall wave in leafy sprays.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Let us plant throughout our borders,</div>
-    <div class="verse indent2">O’er our lands so far and wide,</div>
-    <div class="verse indent0">Treasures from the leafy forest,</div>
-    <div class="verse indent2">Vale, and hill, and mountain side;</div>
-    <div class="verse indent0">Rooted deep, oh let them flourish,</div>
-    <div class="verse indent2">Sturdy giants may they be!</div>
-    <div class="verse indent0">Emblems of the cause we cherish—</div>
-    <div class="verse indent2">Education broad and free.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Gentle winds will murmur softly,</div>
-    <div class="verse indent2">Zephyrs float on noiseless wing;</div>
-    <div class="verse indent0">’Mid their bows shall thrush and robin,</div>
-    <div class="verse indent2">Build their nests and sweetly sing.</div>
-    <div class="verse indent0">’Neath their shady arms will childhood</div>
-    <div class="verse indent2">Weary of the noontide heat,</div>
-    <div class="verse indent0">In its cool inviting shadow,</div>
-    <div class="verse indent2">Find a pleasant, safe retreat.</div>
-  </div>
-</div>
-</div>
-
-<h5>READING.</h5>
-
-<div class="blockquote">
-
-<p>Proclamation of State Governor or of School Commissioner.</p>
-
-</div>
-
-<h5>DECLAMATION.</h5>
-
-<div>
-<img class="dropcap" src="images/dropcap-a2.jpg" width="100" height="150" alt="" />
-</div>
-
-<p class="dropcap">Arbor Day is an anniversary that
-looks forward with bright hope.
-The trees which we plant to-day,
-will grow into groves and forests of the future,
-and in their silent beauty and voiceless
-green will honor the hands that so tenderly
-planted them. Beneath them the youth yet
-to be may meet in social banquet, and enjoy
-the fruitage of our labors.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“We are what wind and sun and water make us,</div>
-    <div class="verse indent0">The mountains are our sponsors, and the rills</div>
-    <div class="verse indent0">Fashion and win their nurslings with their smiles.”</div>
-  </div>
-</div>
-</div>
-
-<p>This is not a holiday; but a day especially
-set apart for the purpose of tree-planting, of
-observing more closely and studying more
-carefully the trees, flowers and gifts of the
-forest; also of cultivating a greater reverence
-and finer sense of the beautiful and sublime.</p>
-
-<p>What object can better inspire us to gain
-victory over trials than the grand old oak
-which in bold defiance to its foes while reeling
-in the wrath of the tempest is sending
-down to deeper hold its gnarled roots only
-to be better able to triumph in the next
-storm? Our poets have used their purest
-thought, their sweetest music in praise of
-the forest and the flowers. Arbor Day provides
-gracious means of a closer acquaintance
-with “God’s first temples,” and we hope that
-this day’s effort may result in much good.</p>
-
-<h5>QUOTATIONS.</h5>
-
-<div class="blockquote">
-
-<p>(Pupils stand by desks and after naming authors
-recite the quotations.)</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse center"><i>1st Pupil.</i>—Whittier said:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Give fools their gold, and knaves their power;</div>
-    <div class="verse indent2">Let fortune’s bubbles rise and fall;</div><span class="pagenum"><a id="Page_362"></a>[362]</span>
-    <div class="verse indent0">Who sows a field or trains a flower,</div>
-    <div class="verse indent2">Or plants a tree, is more than all.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>2nd Pupil.</i>—Ben Johnson wrote:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Not merely growing like a tree</div>
-    <div class="verse indent0">In bulk doth make man better be,</div>
-    <div class="verse indent0">Or standing long an oak three hundred years,</div>
-    <div class="verse indent0">To fall a log at last, dry, bald and sear.</div>
-    <div class="verse indent0">A lily of a day is fairer far in May;</div>
-    <div class="verse indent0">Although it fall and die that night,</div>
-    <div class="verse indent0">It was the plant and flower of light.</div>
-    <div class="verse indent0">In small proportions we just beauties see,</div>
-    <div class="verse indent0">And in short measure life may perfect be.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>3rd Pupil.</i>—Holmes said:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“In fact there’s nothing that keeps its youth,</div>
-    <div class="verse indent0">So far as I know, but a tree and truth.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>4th Pupil.</i>—Morris wrote:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“To me the world’s an open book</div>
-    <div class="verse indent2">Of sweet and pleasant poetry;</div>
-    <div class="verse indent0">I read it in the running book</div>
-    <div class="verse indent2">That sings its way toward the sea.</div>
-    <div class="verse indent0">It whispers in the leaves of trees,</div>
-    <div class="verse indent2">The swelling grain, the waving grass,</div>
-    <div class="verse indent0">And in the cool, fresh evening breeze,</div>
-    <div class="verse indent2">That crisps the wavelets as they pass.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“The flowers below, the stars above,</div>
-    <div class="verse indent2">In all their bloom and brightness given,</div>
-    <div class="verse indent0">Are, like the attributes of love,</div>
-    <div class="verse indent2">The poetry of earth and heaven;</div>
-    <div class="verse indent0">Thus, nature’s volume, read aright,</div>
-    <div class="verse indent2">Attunes the soul to minstrelsy,</div>
-    <div class="verse indent0">Tingeing life’s cloud with rosy light</div>
-    <div class="verse indent2">And all the world with poetry.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>5th Pupil.</i>—Longfellow said:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“If thou art worn and heart beset</div>
-    <div class="verse indent0">With sorrows that thou wouldst forget,</div>
-    <div class="verse indent0">If thou wouldst read a lesson that will keep</div>
-    <div class="verse indent0">Thy heart from fainting and thy soul from sleep,</div>
-    <div class="verse indent0">Go to the woods and hills! No tears</div>
-    <div class="verse indent0">Dim the sweet look that Nature wears.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>6th Pupil.</i>—Bryan Waller Proctor wrote:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Methinks I love all common things,</div>
-    <div class="verse indent2">The common air, the common flower,</div>
-    <div class="verse indent0">The dear, kind, common thought that springs</div>
-    <div class="verse indent2">From hearts that have no other dower,</div>
-    <div class="verse indent2">No other wealth, no other power,</div>
-    <div class="verse indent0">Save love; and will not that repay</div>
-    <div class="verse indent0">For all else fortune tears away?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“What good are fancies rare, that rack</div>
-    <div class="verse indent2">With painful thought the poet’s brain?</div>
-    <div class="verse indent0">Alas! they cannot bear us back</div>
-    <div class="verse indent2">Unto happy years again!</div>
-    <div class="verse indent2">But the white rose without a stain</div>
-    <div class="verse indent0">Bringeth times and thoughts of flowers,</div>
-    <div class="verse indent0">When youth was bounteous as the hours.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>The School.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“He who plants a tree</div>
-    <div class="verse indent2">Plants a hope.</div>
-    <div class="verse indent2">Rootlets up through fibres blindly grope;</div>
-    <div class="verse indent0">Leaves unfold into horizons free,</div>
-    <div class="verse indent4">So man’s life must climb</div>
-    <div class="verse indent4">From the clods of time</div>
-    <div class="verse indent4">Unto heavens sublime.”</div>
-  </div>
-</div>
-</div>
-
-<h5>RECITATION—What do we Plant when we Plant a Tree?</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">What do we plant when we plant the tree</div>
-    <div class="verse indent0">We plant the ships that will cross the sea</div>
-    <div class="verse indent0">We plant the mast to carry the sails,</div>
-    <div class="verse indent0">We plant the plank to withstand the gales,</div>
-    <div class="verse indent0">The keel, the keelson, the beam and knee,</div>
-    <div class="verse indent0">We plant the ship when we plant the tree.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">What do we plant when we plant the tree?</div>
-    <div class="verse indent0">We plant the houses for you and me;</div>
-    <div class="verse indent0">We plant the rafters, the shingles, the floors,</div>
-    <div class="verse indent0">We plant the studding, the lath, the doors,</div>
-    <div class="verse indent0">The beams, the siding, all parts that be,</div>
-    <div class="verse indent0">We plant the house when we plant the tree.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">What do we plant when we plant the tree?</div>
-    <div class="verse indent0">A thousand things that we daily see.</div>
-    <div class="verse indent0">We plant the spire that out-towers the crag,</div>
-    <div class="verse indent0">We plant the staff for our country’s flag;</div>
-    <div class="verse indent0">We plant the shade from the hot sun free,</div>
-    <div class="verse indent0">We plant all these when we plant the tree.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Henry Abbey.</span></div>
-  </div>
-</div>
-</div>
-
-<p><span class="pagenum"><a id="Page_363"></a>[363]</span></p>
-
-<h5>EXERCISE—Wedding of the Palm and Pine.</h5>
-
-<div class="blockquote">
-
-<p>(<span class="smcap">Characters.</span>—Uncle Sam, Miss Palm, Mr. Pine,
-and maids for Miss Palm, and servant for Mr. Pine.
-The maids carry tropical fruits, and one holds either
-a palm leaf or a peacock fan over Miss Palm, who
-wears a flowing dress made of some light cheesecloth
-or goods without starch; also over her head an ice-wool
-shawl. Her face powdered white, cheeks rosy,
-and she should be a girl having black hair and eyes.
-Approaches the stage very modestly, and is always
-very reserved. Her dress should wear flowers and
-blossoms. Mr. Pine should be stately, tall and reserved,
-and should wear tuft of pine for button-hole
-bouquet. His hair might be whitened with magnesia.
-His attendant should carry his fur coat and leggings,
-etc. Uncle Sam should be dressed in customary attire.
-Uncle Sam first enters stage, carrying a good-sized
-flag. Palm carries a palm-leaf fan on which is
-fastened on one side a small flag, and on the other
-side a wreath of leaves—myrtle or the like.)</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse center"><i>Uncle Sam</i>:</div>
-  </div>
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" /></div>
-    <div class="dropcapline">“She’s up there, Old Glory, where light wings are sped,</div>
-    <div class="verse indent0">She dazzles the nations with ripples of red;</div>
-    <div class="verse indent0">And she’ll wave for us living, or droop o’er us dead—</div>
-    <div class="verse indent6">The flag of our country forever!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">She’s up there, Old Glory, how bright the stars stream!</div>
-    <div class="verse indent0">And the stripes like red signals, of liberty gleam!</div>
-    <div class="verse indent0">And we dare for her living or dream the last dream,</div>
-    <div class="verse indent6">’Neath the flag of our country forever!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">She’s up there, Old Glory, no tyrant-dealt scars—</div>
-    <div class="verse indent0">No blur on her brightness, no stain on her stars!</div>
-    <div class="verse indent0">The brave blood of heroes hath crimsoned her bars—</div>
-    <div class="verse indent6">She’s the flag of our country forever!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">There comes from the south (<i>Miss Palm enters</i>) where the balmy breeze blows,</div>
-    <div class="verse indent0">There comes from the north (<i>Mr. Pine enters</i>) where the hardy pine grows,</div>
-    <div class="verse indent0">Warm hearts and true hearts, loyal and free,</div>
-    <div class="verse indent0">The Palm and the Pine now wedded to be.</div>
-    <div class="verse indent0">Come stand ’neath the flag, modest Palm, mighty Pine,</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">(<i>Both step to front before Uncle Sam and bow to<br />each other, and then gracefully salute the flag.</i>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The emblem so dear to brave fathers of thine,</div>
-    <div class="verse indent0">And under its bars, and its stars and its blue,</div>
-    <div class="verse indent0">Unite now and ever to dare and to do (<i>join hands</i>)</div>
-    <div class="verse indent0">What your hearts and your hands can our nation to save,</div>
-    <div class="verse indent0">And to keep the old flag o’er the free and the brave.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">(<i>Uncle Sam, placing his right hand upon the<br />joined hands of Palm and Pine, continues.</i>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">No north, no south, no east, no west,</div>
-    <div class="verse indent2">But one, united, free!</div>
-    <div class="verse indent0">The Palm and Pine, in Union blest,</div>
-    <div class="verse indent2">Now stand for liberty.</div>
-    <div class="verse indent0">From lakes to gulf, from sea to sea,</div>
-    <div class="verse indent2">May union stronger grow;</div>
-    <div class="verse indent0">Thus teach the world humanity,</div>
-    <div class="verse indent2">And might together go.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">(<i>Retire, Palm leaning on arm of Pine.</i>)</div>
-  </div>
-</div>
-</div>
-
-<h5>PAPER—Origin of Arbor Day.</h5>
-
-<p>At an annual meeting of the Nebraska
-State Board of Agriculture, held in the city
-of Lincoln, January 4, 1872, Hon. J. Sterling
-Morton introduced the following resolution
-which was unanimously adopted after a short
-debate as to the name; some desired to call
-the day “Sylvan” instead of “Arbor:”</p>
-
-<p><span class="smcap">Resolved</span>, “That Wednesday, the 10th
-day of April, 1872, be, and the same is
-hereby especially set apart and consecrated
-for tree planting in the State of Nebraska,
-and the State Board of Agriculture hereby
-name it <i>Arbor Day</i>, and urge upon the people
-of the State the vital importance of tree
-planting, and hereby offer a special premium
-of one hundred dollars to the agricultural
-society of that county in Nebraska which
-shall upon that day plant properly the largest
-number of trees; and a farm library of
-twenty-five dollars’ worth of books to that
-person, who, on that day, shall plant properly
-in Nebraska the greatest number of trees.”</p>
-
-<p><span class="pagenum"><a id="Page_364"></a>[364]</span></p>
-
-<p>The result was that over a million trees
-were planted in Nebraska on that first Arbor
-Day. A few years later, April 22, the birthday
-of Mr. Morton was set apart by the
-Governor as Arbor Day in that State, and
-now nearly all States observe Arbor Day.</p>
-
-<h5>RECITATION—Value of Our Forests.</h5>
-
-<div class="blockquote">
-
-<p>(The pupils come on the stage, one at a time, and
-recite, showing the article about which they speak
-and give motions.)</p>
-
-</div>
-
-<p><i>1st Pupil</i> (carrying a bunch of toothpicks).</p>
-
-<div>
-<img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" />
-</div>
-
-<p class="dropcap">A Toothpick is a little thing, yet it
-is reported that one factory
-uses 10,000 cords of wood annually
-in the production of these splints
-of wood.</p>
-
-<p><i>2d Pupil</i> (carrying a box of pegs).</p>
-
-<p>Shoe pegs are small affairs; yet a single
-factory sends to Europe annually 40,000
-bushels of pegs, besides what it sells in this
-country.</p>
-
-<p><i>3d Pupil.</i></p>
-
-<p>A spool is of small account when the
-thread is wound off; yet several factories use
-each from 1800 to 3500 cords of wood every
-year in making these articles. Thousands of
-acres of birch trees have been bought at one
-time by thread manufacturers, for the sole
-purpose of securing a supply of spools.</p>
-
-<p><i>4th Pupil.</i></p>
-
-<p>Who thinks much of the little friction
-match, as he uses it to light the lamp or fire,
-and then throws it away? But one factory, it
-is said, makes 60,000,000 of these little articles
-every day, and uses for this purpose
-12,000 square feet of best pine lumber.</p>
-
-<p><i>5th Pupil.</i></p>
-
-<p>Forests affect the climate of the country;
-influence the rain of a country; build up a
-wall and protect the crops; they keep the
-air pure. The leaf-mold in forests holds
-back the rains. We draw $700,000,000
-worth of products every year from the trees.
-No other crop equals this in value.</p>
-
-<p><i>All in Concert.</i></p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“The groves were God’s first temples.</div>
-    <div class="verse indent4">Ere man learned</div>
-    <div class="verse indent0">To hew the shaft and lay the architrave</div>
-    <div class="verse indent0">And spread the roof above them; ere he framed</div>
-    <div class="verse indent0">The lofty vault, to gather and roll back</div>
-    <div class="verse indent0">The sound of anthems; in the darkling wood,</div>
-    <div class="verse indent0">Amidst the cool and silence, he knelt down</div>
-    <div class="verse indent0">And offered to the Mightiest solemn thanks</div>
-    <div class="verse indent0">And supplication.”</div>
-  </div>
-</div>
-</div>
-
-<h5>SONG—Tune: “America.”</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-u.jpg" width="140" height="110" alt="" /></div>
-    <div class="dropcapline">Up from the smiling earth</div>
-    <div class="verse indent0">Comes there a voice of mirth</div>
-    <div class="verse indent4">Our hearts to cheer;</div>
-    <div class="verse indent0">Listen where the willows lean,</div>
-    <div class="verse indent0">Lovingly o’er the stream,</div>
-    <div class="verse indent0">Listen, where the pine trees dream,</div>
-    <div class="verse indent4">Springtime is here.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Let us sing merrily,</div>
-    <div class="verse indent0">Blithely and cheerily,</div>
-    <div class="verse indent4">With the new year;</div>
-    <div class="verse indent0">Join in the chorus,</div>
-    <div class="verse indent0">Loudly swelling o’er us;</div>
-    <div class="verse indent0">Joy is before us,</div>
-    <div class="verse indent4">Springtime is here.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Come, let us plant a tree</div>
-    <div class="verse indent0">Tenderly, lovingly,</div>
-    <div class="verse indent4">Some heart to cheer,</div>
-    <div class="verse indent0">Long may its branches sway,</div>
-    <div class="verse indent0">Over the dusty way</div>
-    <div class="verse indent0">With shade for sultry day,</div>
-    <div class="verse indent4">For years to be.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Edna D. Proctor.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>CONCERT RECITATION—The Trees.</h5>
-
-<div class="blockquote">
-
-<p>(By small pupils standing in aisles and in imitation
-of trees, gestures as indicated.)</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">We are trees in tiny rows</div>
-    <div class="verse indent2">Growing straight and tall;</div>
-    <div class="verse indent0">Roots we have so when it<span class="fnanchor">(1)</span> blows,</div>
-    <div class="verse indent2">None of us may fall.</div><span class="pagenum"><a id="Page_365"></a>[365]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Bending gently <span class="fnanchor">(2)</span>to and fro</div>
-    <div class="verse indent2">Then to <span class="fnanchor">(3)</span>left and right,</div>
-    <div class="verse indent0">Makes us stronger as we grow,</div>
-    <div class="verse indent2"><span class="fnanchor">(4)</span>Upward to the light.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Tiny branches spreading wide,<span class="fnanchor">(5)</span></div>
-    <div class="verse indent2">Adding grace and form,</div>
-    <div class="verse indent0">Growing firmly from our side,</div>
-    <div class="verse indent2"><span class="fnanchor">(6)</span>Hide us from the storm.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">On our branches, in the spring,</div>
-    <div class="verse indent2"><span class="fnanchor">(7)</span>Leaves in green unfold;</div>
-    <div class="verse indent0">Till the frost with cruel sting,</div>
-    <div class="verse indent2">Turns them into gold.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then our brightly tinted leaves,</div>
-    <div class="verse indent2">From our branches fall;</div>
-    <div class="verse indent0"><span class="fnanchor">(8)</span>Flutter in the autumn breeze,</div>
-    <div class="verse indent2">To October’s call.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><span class="fnanchor">(9)</span>Midst our branches squirrels run,</div>
-    <div class="verse indent2">Searching for our fruit;</div>
-    <div class="verse indent0">And the birds in summer’s sun,</div>
-    <div class="verse indent2"><span class="fnanchor">(10)</span>Flit in hot pursuit</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And at night when all is still,</div>
-    <div class="verse indent2"><span class="fnanchor">(11)</span>We have gone to sleep,</div>
-    <div class="verse indent0">Comes the owl, a mouse to kill,</div>
-    <div class="verse indent2">And <span class="fnanchor">(12)</span>hoots in a voice so deep.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">As little trees of hope we stand</div>
-    <div class="verse indent2">And promises of good;</div>
-    <div class="verse indent0">Oh, may we grow up <span class="fnanchor">(13)</span>tall and grand</div>
-    <div class="verse indent2">A deep and shady wood,</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Bear sweet and gladsome fruit of love,</div>
-    <div class="verse indent2">And shelter weary souls;</div>
-    <div class="verse indent0">And <span class="fnanchor">(14)</span>lift our crests the storm above,</div>
-    <div class="verse indent2">Where endless sunlight rolls.</div>
-  </div>
-</div>
-</div>
-
-<h6><i>Gestures for “The Trees.”</i></h6>
-
-<div class="blockquote">
-
-<p>1. Half of the number imitate the swaying of trees
-by the blowing of wind, done by bending head and
-body to right and left. 2. Hands on hips, body
-bending forward and backward. 3. Body bending
-left and right. 4. Point upward with right hands.
-5. Slowly extend arms. 6. Crouch as in hiding. 7.
-Arms extended, open hands slowly. 8. Arms extended,
-move fingers like fluttering leaves. 9. First
-imitate leaping squirrel with right hand; then with
-left; then with both hands. 10. Move hands to and
-fro with fast moving fingers. 11. Arms extended
-direct above head, fingers closed and eyes shut. 12.
-Half the number imitate the <i>hoots</i> while others recite.
-13. Move arm full length obliquely from right side,
-and direct eyes upward in same direction. 14. Lift
-both hands slowly to full length above head in front
-of body, and look up.</p>
-
-</div>
-
-<h5>MUSIC—To be Selected.</h5>
-
-<div class="figcenter-line" style="width: 175px;">
-<img src="images/line7.jpg" width="175" height="30" alt="" />
-</div>
-
-<h4>PROGRAMME FOR A HARVEST HOME.</h4>
-
-<h5>TUNE.—“Marching Through Georgia.”</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">Through the golden summertime we’ve all been sowing seeds;</div>
-    <div class="verse indent0">Oh they’ve sprung to blossoms or to tall and ugly weeds;</div>
-    <div class="verse indent0">Children have we sown the seed of wrong or kindly deeds,</div>
-    <div class="verse indent0">All through the bright days of summer.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><span class="smcap">Chorus.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The seeds we planted along life’s onward way,</div>
-    <div class="verse indent0">Are swiftly growing, growing every day;</div>
-    <div class="verse indent0">What the harvest time shall be, it is for us to say—</div>
-    <div class="verse indent8">Let us be cheerful in sowing.</div>
-  </div>
-</div>
-</div>
-
-<h5>RECITATION.—A Sermon in Rhyme</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">If you have a friend worth loving,</div>
-    <div class="verse indent2">Love him. Yes, and let him know</div>
-    <div class="verse indent0">That you love him, ere life’s evening</div>
-    <div class="verse indent2">Tinge his brow with sunset glow.</div>
-    <div class="verse indent0">Why should good words ne’er be said</div>
-    <div class="verse indent0">Of a friend till he is dead?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">If you hear a song that thrills you,</div>
-    <div class="verse indent2">Sung by any child of song,</div>
-    <div class="verse indent0">Praise it. Do not let the singer</div>
-    <div class="verse indent2">Wait deserved praises long.</div>
-    <div class="verse indent0">Why should one who thrills your heart</div>
-    <div class="verse indent0">Lack the joy you may impart?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">If a silvery laugh goes rippling</div>
-    <div class="verse indent2">Through the sunshine on his race,</div><span class="pagenum"><a id="Page_366"></a>[366]</span>
-    <div class="verse indent0">Share it. ’Tis the wise man’s saying</div>
-    <div class="verse indent2">For both joy and grief a place.</div>
-    <div class="verse indent0">There’s health and goodness in the mirth</div>
-    <div class="verse indent0">In which an honest laugh has birth.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">If your work is made more easy</div>
-    <div class="verse indent2">By a friendly helping hand,</div>
-    <div class="verse indent0">Say so. Speak out brave and truly</div>
-    <div class="verse indent2">Ere the darkness veil the land.</div>
-    <div class="verse indent0">Should a brother workman dear</div>
-    <div class="verse indent0">Falter for a word of cheer?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Scatter thus your seeds of kindness,</div>
-    <div class="verse indent2">All enriching as you go—</div>
-    <div class="verse indent0">Leave them. Trust the Harvest Giver,</div>
-    <div class="verse indent2">He will make each seed to grow.</div>
-    <div class="verse indent0">So, until its happy end</div>
-    <div class="verse indent0">Your life shall never lack a friend.</div>
-  </div>
-</div>
-</div>
-
-<h5>FARMER JOHN.</h5>
-
-<p class="center sm90">(For a man dressed in farmer’s costume.)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-h.jpg" width="130" height="110" alt="" /></div>
-    <div class="dropcapline">Home from his journey Farmer John</div>
-    <div class="verse indent2">Arrived this morning safe and sound;</div>
-    <div class="verse indent0">His black off and his old clothes on;</div>
-    <div class="verse indent0">“Now I’m myself,” says Farmer John;</div>
-    <div class="verse indent2">And he thinks, “I’ll look round.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Up leaps the dog: “Get down, you pup!</div>
-    <div class="verse indent0">Are you so glad you would eat me up?”</div>
-    <div class="verse indent0">The old cow lows at the gate to greet him,</div>
-    <div class="verse indent0">The horses prick up their ears to meet him:</div>
-    <div class="verse indent4">“Well, well, old Bay!</div>
-    <div class="verse indent4">Ha, ha, old Gray!</div>
-    <div class="verse indent0">Do you get good food when I’m away?</div>
-    <div class="verse indent4">You haven’t a rib,” says Farmer John;</div>
-    <div class="verse indent2">“The cattle are looking round and sleek;</div>
-    <div class="verse indent2">The colt is going to be a roan,</div>
-    <div class="verse indent0">And a beauty, too; how he has grown!</div>
-    <div class="verse indent2">We’ll wean the calf next week.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“I’ve found this out,” says Farmer John,</div>
-    <div class="verse indent2">“That happiness is not bought and sold,</div>
-    <div class="verse indent0">And clutched in a life of waste and hurry,</div>
-    <div class="verse indent0">In nights of pleasure and days of worry;</div>
-    <div class="verse indent2">And wealth isn’t all in gold,</div>
-    <div class="verse indent0">Mortgages, stocks, and ten per cent.,</div>
-    <div class="verse indent0">But in simple ways and sweet content;</div>
-    <div class="verse indent0">Few wants, pure hope, and noble ends,</div>
-    <div class="verse indent0">Some land to till, and a few good friends</div>
-    <div class="verse indent4">Like you, old Bay,</div>
-    <div class="verse indent4">And you, old Gray:</div>
-    <div class="verse indent0">That’s what I learned by going away.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">J. T. Trowbridge.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>RECITAL—The Husbandman.</h5>
-
-<p class="center sm90">(For boys and girls.)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse center"><i>First</i>:</div>
-  </div>
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-e.jpg" width="140" height="110" alt="" /></div>
-    <div class="dropcapline">Earth, of man the bounteous mother,</div>
-    <div class="verse indent2">Feeds him still with golden grain;</div>
-    <div class="verse indent0">He who best would aid a brother</div>
-    <div class="verse indent2">Shares with him his loaded wain.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Second</i>:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Many a power within her bosom,</div>
-    <div class="verse indent2">Noiseless hidden, works beneath;</div>
-    <div class="verse indent0">Hence are seed and leaf and blossom,</div>
-    <div class="verse indent2">Golden ear, and clustered wreath.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Third</i>:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">These to swell with strength and beauty</div>
-    <div class="verse indent2">Is the royal task of man;</div>
-    <div class="verse indent0">Man’s a king; his throne is duty,</div>
-    <div class="verse indent2">Since his work on earth began.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Fourth</i>:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Bud and harvest, bloom and vintage—</div>
-    <div class="verse indent2">These, like men, are fruits of earth;</div>
-    <div class="verse indent0">Stamped in clay, a heavenly mintage.</div>
-    <div class="verse indent2">All from dust receive their birth.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Fifth</i>:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">What the dream but vain rebelling,</div>
-    <div class="verse indent2">If from earth we sought to flee?</div>
-    <div class="verse indent0">’Tis our stored and ample dwelling;</div>
-    <div class="verse indent2">’Tis from it the skies we see.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Sixth</i>:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Wind and frost, and hour and season,</div>
-    <div class="verse indent2">Land and water, sun and shade—</div>
-    <div class="verse indent0">Work with these, as bids thy reason,</div>
-    <div class="verse indent2">For they work thy toil to aid.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>All in concert</i>:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Sow thy seed and reap in gladness!</div>
-    <div class="verse indent2">Man himself is all a seed;</div>
-    <div class="verse indent0">Hope and hardship, joy and sadness—</div>
-    <div class="verse indent2">Slow the plant to ripeness lead.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">John Sterling.</span></div>
-  </div>
-</div>
-</div>
-
-<p><span class="pagenum"><a id="Page_367"></a>[367]</span></p>
-
-<h5>ORATION—The Nobility of Labor.</h5>
-
-<p>I call upon those whom I address to
-stand up for the nobility of labor. It
-is Heaven’s great ordinance for human
-improvement. Let not that great ordinance
-be broken down. What do I say? It is
-broken down; and it has been broken down
-for ages. Let it, then, be built up again;
-here, if anywhere, on these shores of a new
-world—of a new civilization. But how, I
-may be asked, is it broken down? Do not
-men toil? it may be said. They do, indeed,
-toil; but they, too, generally do it because
-they must. Many submit to it as, in some
-sort, a degrading necessity; and they desire
-nothing so much on earth as escape from it.
-They fulfill the great law of labor in the
-letter, but break it in the spirit; fulfill it with
-the muscle, but break it with the mind.</p>
-
-<p>To some field of labor, mental or manual,
-every idler should fasten, as a chosen and
-coveted theatre of improvement. But so is
-he not impelled to do, under the teachings
-of our imperfect civilization. On the contrary,
-he sits down, folds his hands, and
-blesses himself in his idleness. This way of
-thinking is the heritage of the absurd and
-unjust feudal system, under which serfs labored,
-and gentlemen spent their lives in
-fighting and feasting. It is time that this
-opprobrium of toil were done away with.</p>
-
-<p>Ashamed to toil, art thou? Ashamed of
-thy dingy workshop and dusty labor-field;
-of thy hard hands, scarred with service
-more honorable than that of war; of thy
-soiled and weather-stained garments, on
-which Mother Nature has embroidered,
-’midst sun and rain, ’midst fire and steam,
-her own heraldic honors? Ashamed of these
-tokens and titles, and envious of the flaunting
-robes of imbecile idleness and vanity?
-It is treason to nature—it is impiety to
-Heaven—it is breaking Heaven’s great ordinance.
-<span class="smcap">Toil</span>, I repeat—<span class="smcap">toil</span>, either of the
-brain, or of the heart, or of the hand, is the
-only true manhood, the only true nobility!</p>
-
-<p class="right"><span class="smcap">Orville Dewey.</span></p>
-
-<h5>RECITATION—The Corn Song.</h5>
-
-<p class="center sm90">(For a lad who holds a tall stalk of corn in left
-hand.)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-h.jpg" width="130" height="110" alt="" /></div>
-    <div class="dropcapline">Heap high the farmer’s wintry hoard;</div>
-    <div class="verse indent2">Heap high the golden corn!</div>
-    <div class="verse indent0">No richer gift has autumn poured</div>
-    <div class="verse indent2">From her most lavish horn!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Let other lands, exulting, glean</div>
-    <div class="verse indent2">The apple from the pine,</div>
-    <div class="verse indent0">The orange from its glossy green,</div>
-    <div class="verse indent2">The cluster from the vine;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">We better love the hardy gift</div>
-    <div class="verse indent2">Our rugged vales bestow,</div>
-    <div class="verse indent0">To cheer us when the storm shall drift</div>
-    <div class="verse indent2">Our harvest-fields with snow.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Where’er the wide old kitchen hearth</div>
-    <div class="verse indent2">Sends up its smoky curls,</div>
-    <div class="verse indent0">Who will not thank the kindly earth,</div>
-    <div class="verse indent2">And bless our farmer girls?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then shame on all the proud and vain,</div>
-    <div class="verse indent2">Whose folly laughs to scorn</div>
-    <div class="verse indent0">The blessing of our hardy grain,</div>
-    <div class="verse indent2">Our wealth of golden corn!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Let earth withhold her goodly root,</div>
-    <div class="verse indent2">Let mildew blight the rye,</div>
-    <div class="verse indent0">Give to the worm the orchard’s fruit,</div>
-    <div class="verse indent2">The wheat-field to the fly.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But let the good old crop adorn</div>
-    <div class="verse indent2">The hills our fathers trod;</div>
-    <div class="verse indent0">Still let us, for his golden corn,</div>
-    <div class="verse indent2">Send up our thanks to God!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">J. G. Whittier.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>SINGING—Tune: “Rockingham.”</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-g.jpg" width="125" height="100" alt="" /></div>
-    <div class="dropcapline">Great God! our heart-felt thanks to Thee!</div>
-    <div class="verse indent2">We feel Thy presence everywhere;</div>
-    <div class="verse indent0">And pray that we may ever be</div>
-    <div class="verse indent2">The objects of Thy guardian care.</div><span class="pagenum"><a id="Page_368"></a>[368]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">We sowed!—by Thee our work was seen,</div>
-    <div class="verse indent2">And blessed; and instantly went forth</div>
-    <div class="verse indent0">Thy mandate; and in living green</div>
-    <div class="verse indent2">Soon smiled the fair and fruitful earth.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">We toiled!—and Thou didst note our toil;</div>
-    <div class="verse indent2">And gav’st the sunshine and the rain,</div>
-    <div class="verse indent0">Till ripened on the teeming soil</div>
-    <div class="verse indent2">The fragrant grass, and golden grain.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And now, we reap!—and oh, our God!</div>
-    <div class="verse indent2">From this, the earth’s unbounded floor,</div>
-    <div class="verse indent0">We send our song of thanks abroad,</div>
-    <div class="verse indent2">And pray Thee, bless our hoarded store!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">W. D. Gallagher.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 200px;">
-<img src="images/line1.jpg" width="200" height="30" alt="" />
-</div>
-
-<h4>PROGRAMME FOR LYCEUM OR PARLOR ENTERTAINMENT.</h4>
-
-<h5>MUSIC—Piano Solo.</h5>
-
-<h5>SONG—Selected by Quartette.</h5>
-
-<h5>SALUTATORY ADDRESS.</h5>
-
-<div class="blockquote">
-
-<p>(The following speech should be delivered by a
-droll boy who can keep his face straight while others
-do the laughing. He should act out the spirit of the
-piece with appropriate gestures.)</p>
-
-</div>
-
-<p>I am requested to open our performances
-by a salutatory address. It needs but
-one honest Saxon word for that—one
-homely pertinent word; but before I utter a
-pertinent word, allow me, like other great
-speakers, to indulge in a few <i>im</i>pertinent
-words.</p>
-
-<p>And first, let me ask if there is a critic
-among us; for this is a sort of family gathering.
-We allow no critics! No reporters! No
-interviewers! (Do I see a boy taking notes?
-Put him out. No! It’s a false alarm, I believe.)</p>
-
-<p>Pardon me if, with the help of my mother’s
-eye-glass (<i>lifts eye-glasses</i>), I look round on
-your phys—phys—physiognomies. (That’s
-the word, I’m very certain, for I practiced on
-it a good half hour.) Without flattery I say
-it, I like your countenances—with one exception.</p>
-
-<p>A critic! If there is anything I detest it
-is a critic. One who cannot bear a little
-nonsense, and who shakes his head at a little
-salutary (not salutatory) fun. Salutary fun?
-Did anybody hiss? Point him out. (<i>Speaker
-folds his arms, advances, fixes his eyes on some
-one in the audience, and shakes his fist at him.</i>)
-Yes, sir, I said salutary fun. Salutary! You
-needn’t put on such a grave look. Salutary!
-You needn’t sneer at that ep—ep—epithet.
-(Yes, I’m quite positive that’s the word I
-was drilled on. Epi—<i>thet</i>! That’s it.)</p>
-
-<p>But I was speaking of critics. If there is
-any one of that tribe in this assembly—any
-dear friend of Cæsar—I mean any stupid
-friend of Pompey, no, of pomposity—to him
-I say—no, to you I say—Go mark him well;
-for him no minstrel raptures swell; despite
-his titles, power and pelf, the wretch (rather
-rough on him, that!)—the wretch, concentred
-all in self, living shall forfeit fair renown, and,
-doubly dying, shall go down to the vile dust
-from whence he sprung, unwept, unhonored,
-and unsung.</p>
-
-<p>There! If any member of Congress could
-do it better, bring him on. Excuse me if I
-sop my brow. (<i>Wiping it with handkerchief.</i>)</p>
-
-<p>But enough! Let us now put by the cap
-and bells. Enough of nonsense! As a great
-philosopher, who had been frolicking, once
-said: “Hush! Let us be grave! Here
-comes a fool.” Nothing personal, sir, in
-that! Let us be grave.</p>
-
-<p>And so friends, relatives, ladies, and gentlemen,
-I shall conclude by uttering from an
-overflowing heart that one word to which I
-alluded at the beginning—that one pertinent
-Saxon word; that is—(<i>flourishes his hand as
-if about to utter it; then suddenly puts his hand
-to his forehead as if trying to remember</i>.)</p>
-
-<p><span class="pagenum"><a id="Page_369"></a>[369]</span></p>
-
-<p>Forgotten? Confusion! Not a big word
-either! Not half as big as some I have
-spoken! What—where—when—whence—what
-has become of it? Must I break down,
-after all? Must I retire in disgrace from
-public life? Never! I have it. Here it is!
-Here it is in big capitals: WELCOME!</p>
-
-<h5>RECITATION—Mrs. Piper.</h5>
-
-<div class="blockquote">
-
-<p>(Suited for a young lady. She should appear very
-innocent at the beginning, and speak in a droll, unsuspecting
-voice and manner. Toward the end she
-should exhibit an uncontrollable delight, at the same
-time manifest a disposition to conceal it.)</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-m.jpg" width="140" height="100" alt="" /></div>
-    <div class="dropcapline">Mrs. Piper was a widow—</div>
-    <div class="verse indent0">“Oh, dear me!</div>
-    <div class="verse indent0">This world is not at all,” she said, “the place it used to be!</div>
-    <div class="verse indent0">Now my good husband, he was such a good man to provide—</div>
-    <div class="verse indent0">I never had the leastest care of anything outside!</div>
-    <div class="verse indent0">But now,</div>
-    <div class="verse indent0">Why, there’s the cow,</div>
-    <div class="verse indent0">A constant care, and Brindle’s calf I used to feed when small,</div>
-    <div class="verse indent0">And those two Ayrshire heifers that we purchased in the fall—</div>
-    <div class="verse indent0">Oh, dear,</div>
-    <div class="verse indent0">My husband sleeping in the grave, it’s gloomy being here!</div>
-    <div class="verse indent0">The oxen Mr. Piper broke, and four steers two years old,</div>
-    <div class="verse indent0">The blind mare and the little colt, they all wait to be sold!</div>
-    <div class="verse indent0">For how am I to keep ’em now? and yet how shall I sell?</div>
-    <div class="verse indent0">And what’s the price they ought to bring, how can a woman tell?</div>
-    <div class="verse indent0">Now, Jacob Smith, he called last night, and stayed till nine o’clock,</div>
-    <div class="verse indent0">And talked and talked, and talked and talked, and tried to buy my stock;</div>
-    <div class="verse indent0">He said he’d pay a higher price than any man in town;</div>
-    <div class="verse indent0">He’d give his note, or, if I chose, he’d pay the money down.</div>
-    <div class="verse indent0">But, there!</div>
-    <div class="verse indent0">To let him take those creeturs off, I really do not dare!</div>
-    <div class="verse indent0">For ’tis a lying world, and men are slippery things at best;</div>
-    <div class="verse indent0">My poor, dear husband in the ground, he wasn’t like the rest!</div>
-    <div class="verse indent0">But Jacob Smith’s a different case; if I would let him, now,</div>
-    <div class="verse indent0">Perhaps he’d wrong me on the horse, or cheat me on a cow;</div>
-    <div class="verse indent0">And so</div>
-    <div class="verse indent0">I do not dare to trust him, and I mean to answer ‘No.’”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Mrs. Piper was a widow—</div>
-    <div class="verse indent0">“Oh, dear me!</div>
-    <div class="verse indent0">A single woman with a farm must fight her way,” said she.</div>
-    <div class="verse indent0">“Of everything about the land my husband always knew;</div>
-    <div class="verse indent0">I never felt, when he was here, I’d anything to do;</div>
-    <div class="verse indent0">But now, what fields to plow,</div>
-    <div class="verse indent0">And how much hay I ought to cut, and just what crops to sow,</div>
-    <div class="verse indent0">And what to tell the hired men, how can a woman know?</div>
-    <div class="verse indent0">Oh, dear!</div>
-    <div class="verse indent0">With no strong arm to lean upon, it’s lonesome being here!</div>
-    <div class="verse indent0">Now Jacob Smith, the other night, he called on me again,</div>
-    <div class="verse indent0">And talked and talked, and talked and talked, and stayed till after ten;</div>
-    <div class="verse indent0">He said he’d like to take my farm, to buy it or to lease—</div>
-    <div class="verse indent0">I do declare, I wish that man would give me any peace!</div>
-    <div class="verse indent0">For there!</div>
-    <div class="verse indent0">To trust him with my real estate I truly did not dare;</div>
-    <div class="verse indent0">For, if he buys it, on the price he’ll cheat me underhand;</div>
-    <div class="verse indent0">And, if he leases it, I know he will run out the land;</div>
-    <div class="verse indent0">And, if he takes it at the halves, both halves he’ll strike for then;</div><span class="pagenum"><a id="Page_370"></a>[370]</span>
-    <div class="verse indent0">It’s risky work when women folk have dealings with the men!</div>
-    <div class="verse indent0">And so,</div>
-    <div class="verse indent0">I do not dare to trust him, and I mean to answer ‘No.’”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Mrs. Piper was a widow—</div>
-    <div class="verse indent0">“Oh, dear me!</div>
-    <div class="verse indent0">Yet I have still some mercies left; I won’t complain,” said she.</div>
-    <div class="verse indent0">“My poor, dear husband knows, I trust, a better world than this;</div>
-    <div class="verse indent0">’Twere sinful selfishness in me to grudge him Heaven’s bliss!</div>
-    <div class="verse indent0">So now,</div>
-    <div class="verse indent0">I ought to bow</div>
-    <div class="verse indent0">Submissively to what is sent—not murmur and repine;</div>
-    <div class="verse indent0">The hand that sends our trials has, in all, some good design.</div>
-    <div class="verse indent0">Oh, dear!</div>
-    <div class="verse indent0">If we knew all, we might not want our buried lost ones here!</div>
-    <div class="verse indent0">And Jacob Smith, he called last night, but it was not to see</div>
-    <div class="verse indent0">About the cattle or the farm, but this time it was me!</div>
-    <div class="verse indent0">He said he prized me very high, and wished I’d be his wife,</div>
-    <div class="verse indent0">And if I did not he should lead a most unhappy life.</div>
-    <div class="verse indent0">He did not have a selfish thought, but gladly, for my sake,</div>
-    <div class="verse indent0">The care of all my stock and farm he would consent to take—</div>
-    <div class="verse indent0">And, there!</div>
-    <div class="verse indent0">To slight so plain a Providence I really do not dare!</div>
-    <div class="verse indent0">He’ll take the cattle off my mind, he’ll carry on the farm—</div>
-    <div class="verse indent0">I haven’t since my husband died had such a sense of calm!</div>
-    <div class="verse indent0">I think the man was sent to me—a poor, lone woman must,</div>
-    <div class="verse indent0">In such a world as this, I feel, have some one she can trust;</div>
-    <div class="verse indent0">And so,</div>
-    <div class="verse indent0">I do not feel it would be right for me to answer ‘No.’”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Marian Douglas.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>MUSIC—To be Selected.</h5>
-
-<h5>COLLOQUY—True Bravery.</h5>
-
-<p class="center sm90">(Suited to a boy and girl of twelve years.)</p>
-
-<p><i>Ralph.</i></p>
-
-<div>
-<img class="dropcap" src="images/dropcap-g.jpg" width="125" height="100" alt="" />
-</div>
-
-<p class="dropcap">Good morning, Cousin Laura! I
-have a word to say to you.</p>
-
-<p><i>Laura.</i> Only a word! It is yet
-half an hour to school-time, and I can listen.</p>
-
-<p><i>R.</i> I saw you yesterday speaking to that
-fellow Sterling—Frank Sterling.</p>
-
-<p><i>L.</i> Of course I spoke to Frank. What
-then? Is he too good to be spoken to?</p>
-
-<p><i>R.</i> Far from it. You must give up his
-acquaintance.</p>
-
-<p><i>L.</i> Indeed, Cousin Ralph! I must give
-up his acquaintance? On what compulsion
-<i>must</i> I?</p>
-
-<p><i>R.</i> If you do not wish to be cut by all the
-boys of the academy, you must cut Frank.</p>
-
-<p><i>L.</i> Cut! What do you mean by <i>cut</i>?</p>
-
-<p><i>R.</i> By cutting, I mean not recognizing an
-individual. When a boy who knows you
-passes you without speaking or bowing, he
-cuts you.</p>
-
-<p><i>L.</i> I thank you for the explanation. And
-I am to understand that I must either give
-up the acquaintance of my friend Frank, or
-submit to the terrible mortification of being
-“cut” by Mr. Ralph Burton and his companions!</p>
-
-<p><i>R.</i> Certainly. Frank is a boy of no spirit—in
-short, a coward.</p>
-
-<p><i>L.</i> How has he shown it?</p>
-
-<p><i>R.</i> Why, a dozen boys have dared him to
-fight, and he refuses to do it.</p>
-
-<p><i>L.</i> And is your test of courage a willingness
-to fight? If so, a bull-dog is the most
-courageous of gentlemen.</p>
-
-<p><i>R.</i> I am serious, Laura; you must give
-him up. Why, the other day Tom Harding
-put a chip on a fellow’s hat, and dared Frank
-Sterling to knock it off. But Sterling folded<span class="pagenum"><a id="Page_371"></a>[371]</span>
-his arms and walked off, while we all groaned
-and hissed.</p>
-
-<p><i>L.</i> You did? You groaned and hissed?
-Oh, Ralph, I did not believe you had so little
-of the true gentleman about you!</p>
-
-<p><i>R.</i> What do you mean? Come, now, I do
-not like that.</p>
-
-<p><i>L.</i> Were you at the great fire last night?</p>
-
-<p><i>R.</i> Yes; Tom Harding and I helped work
-one of the engines.</p>
-
-<p><i>L.</i> Did you see that boy go up the ladder?</p>
-
-<p><i>R.</i> Yes; wouldn’t I like to be in his shoes!
-They say the Humane Society are going to
-give him a medal; for he saved a baby’s life
-and no mistake—at the risk of his own, too;
-everybody said so; for the ladder he went
-up was all charred and weakened, and it
-broke short off before he got to the ground.</p>
-
-<p><i>L.</i> What boy was it!</p>
-
-<p><i>R.</i> Nobody could find out, but I suppose
-the morning paper will tell us all about it.</p>
-
-<p><i>L.</i> I have a copy. Here’s the account;
-“Great fire; house tenanted by poor families;
-baby left in one of the upper rooms; ladder
-much charred; firemen too heavy to go up;
-boy came forward, ran up; seized an infant;
-descended safely; gave it into arms of frantic
-mother.”</p>
-
-<p><i>R.</i> Is the boy’s name mentioned?</p>
-
-<p><i>L.</i> Ay! Here it is! Here it is! And
-who do you think he is?</p>
-
-<p><i>R.</i> Do not keep me in suspense.</p>
-
-<p><i>L.</i> Well, then, he’s the boy who was so
-afraid of knocking a chip off your hat—Frank
-Sterling—the coward, as <i>you</i> called
-him.</p>
-
-<p><i>R.</i> No! Let me see the paper for myself.
-There’s the name, sure enough, printed in
-capital letters.</p>
-
-<p><i>L.</i> But, cousin, how much more illustrious
-an achievement it would have been for him
-to have knocked a chip off your hat! Risking
-his life to save a chip of a baby was a
-small matter compared with that. Can the
-gratitude of a mother for saving her baby
-make amends for the ignominy of being cut
-by Mr. Tom Harding and Mr. Ralph Burton?</p>
-
-<p><i>R.</i> Don’t laugh at me any more, Cousin
-Laura. I see I have been stupidly in the
-wrong. Frank Sterling is no coward. I’ll
-ask his pardon this very day.</p>
-
-<p><i>L.</i> Will you? My dear Ralph, you will
-in that case show that you are not without
-courage.</p>
-
-<h5>RECITATION—Reverie in Church.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">Too early of course! How provoking!</div>
-    <div class="verse indent2">I told ma just how it would be.</div>
-    <div class="verse indent0">I might as well have on a wrapper,</div>
-    <div class="verse indent2">For there’s not a soul here yet to see.</div>
-    <div class="verse indent0">There! Sue Delaplaine’s pew is empty—</div>
-    <div class="verse indent2">I declare if it isn’t too bad!</div>
-    <div class="verse indent0">I knew my suit cost more than her’s did,</div>
-    <div class="verse indent2">And I wanted to see her look mad.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I do think that sexton’s too stupid—</div>
-    <div class="verse indent2">He’s put some one else in our pew—</div>
-    <div class="verse indent0">And the girl’s dress just kills mine completely;</div>
-    <div class="verse indent2">Now what am I going to do?</div>
-    <div class="verse indent0">The psalter, and Sue isn’t here yet!</div>
-    <div class="verse indent2">I don’t care, I think it’s a sin</div>
-    <div class="verse indent0">For people to get late to service,</div>
-    <div class="verse indent2">Just to make a great show coming in.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Oh, you’ve got here at last, my dear, have you?</div>
-    <div class="verse indent2">Well, I don’t think you need be so proud</div>
-    <div class="verse indent0">Of that bonnet if Virot did make it,</div>
-    <div class="verse indent2">It’s horrid fast-looking and loud.</div>
-    <div class="verse indent0">What a dress!—for a girl in her senses</div>
-    <div class="verse indent2">To go on the street in light blue!</div>
-    <div class="verse indent0">And those coat-sleeves—they wore them last summer—</div>
-    <div class="verse indent2">Don’t doubt, though, that she thinks they’re new.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Mrs. Gray’s polonaise was imported—</div>
-    <div class="verse indent2">So dreadful!—a minister’s wife,</div>
-    <div class="verse indent0">And thinking so much about fashion!—</div>
-    <div class="verse indent2">A pretty example of life!</div>
-    <div class="verse indent0">The altar’s dressed sweetly—I wonder</div>
-    <div class="verse indent2">Who sent those white flowers for the font!—</div>
-    <div class="verse indent0">Some girl who’s gone on the assistant—</div>
-    <div class="verse indent2">Don’t doubt it was Bessie Lamont.</div><span class="pagenum"><a id="Page_372"></a>[372]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Just look at her now, little humbug!—</div>
-    <div class="verse indent2">So devout—I suppose she don’t know</div>
-    <div class="verse indent0">That she’s bending her head too far over</div>
-    <div class="verse indent2">And the end of her switches all show.</div>
-    <div class="verse indent0">What a sight Mrs. Ward is this morning!</div>
-    <div class="verse indent2">That woman will kill me some day,</div>
-    <div class="verse indent0">With her horrible lilacs and crimsons,</div>
-    <div class="verse indent2">Why will these old things dress so gay?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And there’s Jenny Wells with Fred Tracy—</div>
-    <div class="verse indent2">She’s engaged to him now—horrid thing!</div>
-    <div class="verse indent0">Dear me! I’d keep on my glory sometimes,</div>
-    <div class="verse indent2">If I did have a solitaire ring!</div>
-    <div class="verse indent0">How can this girl next to me act so—</div>
-    <div class="verse indent2">The way that she turns round and stares,</div>
-    <div class="verse indent0">And then makes remarks about people:—</div>
-    <div class="verse indent2">She’d better be saying her prayers.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Oh, dear, what a dreadful long sermon!</div>
-    <div class="verse indent2">He must love to hear himself talk!</div>
-    <div class="verse indent0">And it’s after twelve now—how provoking!</div>
-    <div class="verse indent2">I wanted to have a nice walk.</div>
-    <div class="verse indent0">Through at last. Well, it isn’t so dreadful</div>
-    <div class="verse indent2">After all, for we won’t dine till one:</div>
-    <div class="verse indent0">How can people say church is poky!—</div>
-    <div class="verse indent2">So wicked!—I think it’s real fun.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">George A. Baker.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>ORATION—The Spanish-American War.</h5>
-
-<p>It is gratifying to all of us to know that
-this has never ceased to be a war of
-humanity. The last ship that went out
-of the harbor of Havana before war was declared
-was an American ship that had taken
-to the suffering people of Cuba the supplies
-furnished by American charity, and the first
-ship to sail into the harbor of Santiago was
-an American ship bearing food supplies to
-the suffering Cubans, and I am sure it is the
-universal prayer of American citizens that justice
-and humanity and civilization shall characterize
-the final settlement of peace, as they
-have distinguished the progress of the war.</p>
-
-<p>My countrymen, the currents of destiny flow
-through the hearts of our people. Who will
-check them, who will divert them, who will stop
-them? And the movements of men, planned
-and designed by the Master of Men, will never
-be interrupted by the American people.</p>
-
-<p>I witness with pride and satisfaction the
-cheers of the multitudes as the veterans of the
-civil war on both sides of the contest are reviewed.
-I witness with increasing pride the
-wild acclaim of the people as you watch the
-volunteers and the regulars and our naval
-reserves (the guardians of the people on land
-and sea) pass before your eyes, for I read in
-the faces and hearts of my countrymen the
-purpose to see to it that this government,
-with its free institutions, shall never perish
-from the face of the earth.</p>
-
-<p>My heart is filled with gratitude to the
-God of battles, who has so favored us, and to
-the soldiers and sailors who have won such
-victories on land and sea and have given
-such a new meaning to American valor. No
-braver soldiers or sailors ever assembled
-under any flag.</p>
-
-<p>Gentlemen, the American people are
-ready. If the Merrimac is to be sunk in
-the mouth of the Santiago harbor to prevent
-the escape of the Spanish fleet, a brave young
-hero is ready to do it and to succeed in what
-his foes have never been able to do—sink
-an American ship. All honor to the army
-and navy, without whose sacrifices we could
-not celebrate the victory. The flag of our
-country is safe in the hands of our patriots
-and heroes.</p>
-
-<p class="right"><span class="smcap">President McKinley.</span></p>
-
-<h5>MUSIC—To be Selected.</h5>
-
-<h5>RECITATION—A Cook of the Period.</h5>
-
-<p class="center sm90">(For a young lady who can give the Irish brogue.)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">The looks of yer, ma’am, rather suits me—</div>
-    <div class="verse indent2">The wages ye offer ’ill do;</div>
-    <div class="verse indent0">But thin I can’t inter yer sarvice</div>
-    <div class="verse indent2">Without a condition or two.</div>
-    <div class="verse indent0">And now, to begin, is the kitchen,</div>
-    <div class="verse indent2">Commodgeous, with plenty of light,</div>
-    <div class="verse indent0">And fit, ye know, fur entertainin’</div>
-    <div class="verse indent2">Sech fri’nds as I’m like to invite?</div><span class="pagenum"><a id="Page_373"></a>[373]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And nixt, are yous regular at male-times?</div>
-    <div class="verse indent2">Because ’taint convainyent, ye see,</div>
-    <div class="verse indent0">To wait, and if I behaves punkshul,</div>
-    <div class="verse indent2">It’s no more than yous ought to be.</div>
-    <div class="verse indent0">And thin is your gurrels good-natured?</div>
-    <div class="verse indent2">The rayson I lift my last place,</div>
-    <div class="verse indent0">The French nuss was sich a high lady,</div>
-    <div class="verse indent2">I sint a dish-cloth at her face.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And have yer the laste objection</div>
-    <div class="verse indent2">To min droppin’ in when they choose?</div>
-    <div class="verse indent0">I’ve got some enlivinin’ fust cousins</div>
-    <div class="verse indent2">That frayquently brings me the news.</div>
-    <div class="verse indent0">I must have thim trayted powlitely;</div>
-    <div class="verse indent2">I give yer fair warnin’ ma’am, now,</div>
-    <div class="verse indent0">If the airy gate be closed agin thim,</div>
-    <div class="verse indent2">You’ll find me commincin’ a row.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">These matters agrayed on between us,</div>
-    <div class="verse indent2">I’d try yer a wake, so I would.</div>
-    <div class="verse indent0">(She looks like the kind I can manage,</div>
-    <div class="verse indent2">A thin thing without any blood!)</div>
-    <div class="verse indent0">But mind, if I comes for a wake, ma’am,</div>
-    <div class="verse indent2">I comes for that time, and no liss;</div>
-    <div class="verse indent0">And so, thin, purvidin’ ye’d want me,</div>
-    <div class="verse indent2">Just give me your name and addriss.</div>
-  </div>
-</div>
-</div>
-
-<h5>SONG—Bee-hive Town. TUNE—“Marching Through Georgia.”</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-h.jpg" width="130" height="110" alt="" /></div>
-    <div class="dropcapline">Have you ever been to see the busy Bee-Hive Town,</div>
-    <div class="verse indent0">With its funny little wooden houses square and brown?</div>
-    <div class="verse indent0">Hear the bees from clover-fields come flying swiftly down</div>
-    <div class="verse indent6">All enter one little doorway.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">CHORUS.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Hurrah, hurrah, for busy Bee-Hive Town,</div>
-    <div class="verse indent0">With funny little houses square and brown;</div>
-    <div class="verse indent0">Here the bees from clover fields come flying swiftly down</div>
-    <div class="verse indent6">Bringing the sweet golden honey.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Oh, there are so many rooms with thin and waxen wall,</div>
-    <div class="verse indent0">Packed so close together that you could not count them all,</div>
-    <div class="verse indent0">Here the small bee babies sleep until they learn to crawl,</div>
-    <div class="verse indent6">And fly to find the golden honey.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Mother bee is called the queen, her children love her well,</div>
-    <div class="verse indent0">And she lives within a warm and cosy little cell;</div>
-    <div class="verse indent0">While her children search in garden, meadow-land and dell,</div>
-    <div class="verse indent6">Helpful and happy in working.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">All the merry sister bees do many a helpful thing—</div>
-    <div class="verse indent0">Tend their little sisters and the golden honey bring:</div>
-    <div class="verse indent0">But the lazy brother bees do naught but hum and sing,</div>
-    <div class="verse indent6">All through the long golden summer.</div>
-  </div>
-</div>
-</div>
-
-<div class="figcenter-line" style="width: 150px;">
-<img src="images/line6.jpg" width="150" height="30" alt="" />
-</div>
-
-<h4>PROGRAMME FOR THANKSGIVING.</h4>
-
-<p>(The room should be decorated with fruits and grains of the season,
-among them a large pumpkin, which will be appropriate to one of the
-recitations.)</p>
-
-<h5>SONG—Tune: “My Country.”</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-h.jpg" width="130" height="110" alt="" /></div>
-    <div class="dropcapline">Honor the Mayflower’s band,</div>
-    <div class="verse indent0">Who left their native land</div>
-    <div class="verse indent2">And home so bright;</div>
-    <div class="verse indent0">Honor the bravery</div>
-    <div class="verse indent0">That crossed the winter sea,</div>
-    <div class="verse indent0">For worship, fearless, free,</div>
-    <div class="verse indent2">In cause of right.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Oh, they had much to fear,</div>
-    <div class="verse indent0">Sickness and death was near</div>
-    <div class="verse indent2">To many a one;</div>
-    <div class="verse indent0">Foes did them cruel wrong,</div>
-    <div class="verse indent0">Winter was dark and long,</div>
-    <div class="verse indent0">Ere came the Springtime’s song</div>
-    <div class="verse indent2">And burst of sun.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Honor those valiant sons,</div><span class="pagenum"><a id="Page_374"></a>[374]</span>
-    <div class="verse indent0">Honor those fearless ones,</div>
-    <div class="verse indent2">The Mayflower’s band.</div>
-    <div class="verse indent0">Honor the bravery</div>
-    <div class="verse indent0">That scorned all tyranny,</div>
-    <div class="verse indent0">And crossed the stormy sea</div>
-    <div class="verse indent2">To this fair land!</div>
-  </div>
-</div>
-</div>
-
-<h5>RELIGIOUS EXERCISES—Selected.</h5>
-
-<h5>RECITATION—What I’m Thankful For.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-i.jpg" width="50" height="100" alt="" /></div>
-    <div class="dropcapline">I’m thankful that I’m six years old,</div>
-    <div class="verse indent2">And that I’ve left off dresses;</div>
-    <div class="verse indent0">And that I’ve had my curls cut off,—</div>
-    <div class="verse indent2">Some people call them tresses.</div>
-    <div class="verse indent0">Such things were never meant for boys;—</div>
-    <div class="verse indent2">Horrid dangling, tangling curls—</div>
-    <div class="verse indent0">They go quite well with dress and sash;</div>
-    <div class="verse indent2">They are just the thing for girls.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I’m thankful I have pockets four,</div>
-    <div class="verse indent2">Tho’ they’re almost too small,</div>
-    <div class="verse indent0">To hold the things I want to keep;—</div>
-    <div class="verse indent2">Some strings, knife, top and ball.</div>
-    <div class="verse indent0">I’m thankful that we’re going to have,</div>
-    <div class="verse indent2">All my folks and I,</div>
-    <div class="verse indent0">Just a jolly dinner to-day,</div>
-    <div class="verse indent2">With turkey and mince pie.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">O, one thing more, my mamma says,</div>
-    <div class="verse indent2">And what she says is true;</div>
-    <div class="verse indent0">’Tis God who gives us everything,</div>
-    <div class="verse indent2">And keeps and loves us too.</div>
-    <div class="verse indent0">And so I thank Him very much</div>
-    <div class="verse indent2">For all that I enjoy;</div>
-    <div class="verse indent0">And promise that next New Year’s day</div>
-    <div class="verse indent2">Will find a better boy.</div>
-  </div>
-</div>
-</div>
-
-<h5>RECITATION—The Pumpkin.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" /></div>
-    <div class="dropcapline">Ah! on Thanksgiving Day, when from East and from West,</div>
-    <div class="verse indent0">From North and from South come the pilgrim and guest,</div>
-    <div class="verse indent0">When the grey-haired New Englander sees round his board</div>
-    <div class="verse indent0">The old broken links of affection restored,</div>
-    <div class="verse indent0">When the care-wearied man seeks his mother once more,</div>
-    <div class="verse indent0">And the worn matron smiles where the girl smiled before,</div>
-    <div class="verse indent0">What moistens the lip, and what brightens the eye?</div>
-    <div class="verse indent0">What calls back the past, like the rich pumpkin pie?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">O, fruit loved of boyhood! the old days recalling;</div>
-    <div class="verse indent0">When wood-grapes were purpling and brown nuts were falling!</div>
-    <div class="verse indent0">When wild, ugly faces were carved in its skin,</div>
-    <div class="verse indent0">Glaring out through the dark with a candle within!</div>
-    <div class="verse indent0">When we laughed round the corn heap, with hearts all in tune,</div>
-    <div class="verse indent0">Our chair a broad pumpkin, our lantern the moon,</div>
-    <div class="verse indent0">Telling tales of the fairy who traveled like steam</div>
-    <div class="verse indent0">In a pumpkin-shell coach, with two rats for her team!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then thanks for thy present!—none sweeter or better</div>
-    <div class="verse indent0">E’er smoked from an oven or circled a platter!</div>
-    <div class="verse indent0">Fairer hands never wrought at a pastry more fine,</div>
-    <div class="verse indent0">Brighter eyes never watched o’er its baking than thine!</div>
-    <div class="verse indent0">And the prayer, which my mouth is too full to express,</div>
-    <div class="verse indent0">Swells my heart that thy shadow may never be less,</div>
-    <div class="verse indent0">That the days of thy lot may be lengthened below,</div>
-    <div class="verse indent0">And the fame of thy worth like a pumpkin-vine grow,</div>
-    <div class="verse indent0">And thy life be as sweet, and its last sunset sky</div>
-    <div class="verse indent0">Gold-tinted and fair as thine own pumpkin-pie!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">J. G. Whittier.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>SONG—Tune: “Yankee Doodle.”</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">What matters it the cold wind’s blast,</div>
-    <div class="verse indent2">What matters though ’tis snowing,</div>
-    <div class="verse indent0">Thanksgiving Day has come at last;</div>
-    <div class="verse indent2">To grandmamma’s we’re going.</div>
-    <div class="verse indent0">Wrapped in furs as warm as toast,</div>
-    <div class="verse indent2">O’er the hills we’re fleeting;</div>
-    <div class="verse indent0">To welcome friends, a merry host</div>
-    <div class="verse indent2">And grandma’s smile of greeting.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The sleigh bells jingle merrily,</div>
-    <div class="verse indent2">And though the flakes are flying,</div>
-    <div class="verse indent0">At last beyond the hills we see</div>
-    <div class="verse indent2">A little mansion lying.</div><span class="pagenum"><a id="Page_375"></a>[375]</span>
-    <div class="verse indent0">I’m sure we’ll find sweet cakes and fruit</div>
-    <div class="verse indent2">And pumpkin pies so yellow;</div>
-    <div class="verse indent0">For grandma knows just how to suit</div>
-    <div class="verse indent2">Each hungry little fellow.</div>
-  </div>
-</div>
-</div>
-
-<h5>RECITAL—Outside and In.</h5>
-
-<div class="blockquote">
-
-<p>(May be recited by three girls; No. 1 remaining
-on the platform while No. 2 recites the second part,
-and both standing while No. 3 steps between and
-repeats the closing verse.)</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-j.jpg" width="70" height="100" alt="" /></div>
-    <div class="dropcapline">Just outside the window,</div>
-    <div class="verse indent6">Through the cold night air,</div>
-    <div class="verse indent4">Snowflakes falling softly,</div>
-    <div class="verse indent6">Dropping here and there,</div>
-    <div class="verse indent4">Covering like a blanket</div>
-    <div class="verse indent6">All the ground below,</div>
-    <div class="verse indent4">Where the flowers are sleeping,</div>
-    <div class="verse indent6">Tucked in by the snow.</div>
-    <div class="verse indent4">They are dreaming sweetly,</div>
-    <div class="verse indent6">Through the winter’s night,</div>
-    <div class="verse indent4">Of the summer’s morning</div>
-    <div class="verse indent6">Coming sure and bright.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">2.  Just inside the window</div>
-    <div class="verse indent6">Firelight ruddy gleams;</div>
-    <div class="verse indent4">On the walls and ceiling</div>
-    <div class="verse indent6">Dance its merry beams.</div>
-    <div class="verse indent4">White as outside snowflakes</div>
-    <div class="verse indent6">Is the little bed;</div>
-    <div class="verse indent4">On the downy pillow</div>
-    <div class="verse indent6">Rests a curly head.</div>
-    <div class="verse indent4">Like the flowers the child is dreaming</div>
-    <div class="verse indent6">Of the long, bright hours of play</div>
-    <div class="verse indent4">Coming as the darkness melteth</div>
-    <div class="verse indent6">Into sunny day.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">3.  And above the sleepers,—</div>
-    <div class="verse indent6">Be they child or flower,—</div>
-    <div class="verse indent4">Our loving Father bendeth</div>
-    <div class="verse indent6">Watching hour by hour.</div>
-    <div class="verse indent4">’Tis his love which giveth</div>
-    <div class="verse indent6">Blessings great or small;</div>
-    <div class="verse indent4">’Tis his sun which shineth,</div>
-    <div class="verse indent6">Making day for all.</div>
-  </div>
-</div>
-</div>
-
-<h5>ORATION—The Laboring Classes.</h5>
-
-<div>
-<img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" />
-</div>
-
-<p class="dropcap">Sir, it is an insult to our laboring
-classes to compare them to the
-debased poor of Europe. Why,
-sir, we of this country do not know what
-poverty is. We have no poor in this country,
-in the sense in which that word is used abroad.
-Every laborer, even the most humble, in the
-United States, soon becomes a capitalist, and
-even, if he choose, a proprietor of land; for
-the West, with all its boundless fertility, is
-open to him.</p>
-
-<p>How can any one dare compare the mechanic
-of this land (whose inferiority, in any
-substantial particular, in intelligence, in virtue,
-in wealth, to the other classes of our society,
-I have yet to learn) with that race of outcasts,
-of which so terrific a picture is presented by
-recent writers—the poor of Europe?—a race
-among no inconsiderable portion of whom
-famine and pestilence may be said to dwell
-continually; many of whom are without
-morals, without education, without a country,
-without a God! and may be said to know
-society only by the terrors of its penal code,
-and to live in perpetual war with it. Poor
-bondmen! mocked with the name of liberty,
-that they may be sometimes tempted to
-break their chains, in order that, after a
-few days of starvation in idleness and dissipation,
-they may be driven back to their
-prison-house to take their shackles up again,
-heavier and more galling than before; severed,
-as it has been touchingly expressed,
-from nature, from the common air, and the
-light of the sun; knowing only by hearsay
-that the fields are green, that the
-birds sing, and that there is a perfume in
-flowers!</p>
-
-<p>And is it with a race whom the perverse
-institutions of Europe have thus degraded
-beneath the condition of humanity that the
-advocates, the patrons, the protectors, of our
-working-men, presume to compare them?
-Sir, it is to treat them with a scorn at which
-their spirit should revolt, and does revolt.</p>
-
-<p class="right"><span class="smcap">Hugh Legare.</span></p>
-
-<p><span class="pagenum"><a id="Page_376"></a>[376]</span></p>
-
-<h5>RECITATION—A Thanksgiving.</h5>
-
-<p class="center sm90">(For six boys. They stand in a row and each
-steps forward to recite his verse).</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-f.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">For the wealth of pathless forests,</div>
-    <div class="verse indent2">Whereon no axe may fall;</div>
-    <div class="verse indent0">For the winds that haunt the branches;</div>
-    <div class="verse indent2">The young bird’s timid call;</div>
-    <div class="verse indent0">For the red leaves dropped like rubies</div>
-    <div class="verse indent2">Upon the dark green sod;</div>
-    <div class="verse indent0">For the waving of the forests</div>
-    <div class="verse indent2">I thank thee, O my God!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">For the sound of water gushing</div>
-    <div class="verse indent2">In the bubbling beads of light;</div>
-    <div class="verse indent0">For the fleets of snow-white lilies</div>
-    <div class="verse indent2">Firm anchored out of sight;</div>
-    <div class="verse indent0">For the reeds among the eddies;</div>
-    <div class="verse indent2">The crystal on the clod;</div>
-    <div class="verse indent0">For the flowing of the rivers,</div>
-    <div class="verse indent2">I thank thee, O my God!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">For the rosebud’s break of beauty</div>
-    <div class="verse indent2">Along the toiler’s way;</div>
-    <div class="verse indent0">For the violet’s eye that opens</div>
-    <div class="verse indent2">To bless the new-born day;</div>
-    <div class="verse indent0">For the bare twigs that in summer</div>
-    <div class="verse indent2">Bloom like the prophet’s rod;</div>
-    <div class="verse indent0">For the blossoming of flowers,</div>
-    <div class="verse indent2">I thank thee, O my God!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">For the lifting up of mountains,</div>
-    <div class="verse indent2">In brightness and in dread;</div>
-    <div class="verse indent0">For the peaks where snow and sunshine</div>
-    <div class="verse indent2">Alone have dared to tread;</div>
-    <div class="verse indent0">For the dark and silent gorges,</div>
-    <div class="verse indent2">Whence mighty cedars nod;</div>
-    <div class="verse indent0">For the majesty of mountains,</div>
-    <div class="verse indent2">I thank thee, O my God!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">For the splendor of the sunsets,</div>
-    <div class="verse indent2">Vast mirrored on the sea;</div>
-    <div class="verse indent0">For the gold-fringed clouds that curtain</div>
-    <div class="verse indent2">Heaven’s inner mystery;</div>
-    <div class="verse indent0">For the molten bars of twilight,</div>
-    <div class="verse indent2">Where thought leans glad yet awed;</div>
-    <div class="verse indent0">For the glory of the sunsets,</div>
-    <div class="verse indent2">I thank thee, O my God!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">For the earth and all its beauty;</div>
-    <div class="verse indent2">The sky and all its light;</div>
-    <div class="verse indent0">For the dim and soothing shadow</div>
-    <div class="verse indent2">That rest the dazzled sight;</div>
-    <div class="verse indent0">For unfading fields and prairies,</div>
-    <div class="verse indent2">Where sense in vain has trod;</div>
-    <div class="verse indent0">For the world’s exhaustless beauty,</div>
-    <div class="verse indent2">I thank thee, O my God!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Lucy Larcom.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>SONG—The Pilgrims. Tune—“Lightly Row.”</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-l.jpg" width="130" height="110" alt="" /></div>
-    <div class="dropcapline">Long ago,</div>
-    <div class="verse indent10">To our land</div>
-    <div class="verse indent0">Came the Mayflower’s little band,</div>
-    <div class="verse indent10">Long ago</div>
-    <div class="verse indent10">To our land</div>
-    <div class="verse indent0">Came the Mayflower’s band.</div>
-    <div class="verse indent2">O, they came across the sea,</div>
-    <div class="verse indent2">For the heart’s devotion free.</div>
-    <div class="verse indent10">Long ago</div>
-    <div class="verse indent10">To our land</div>
-    <div class="verse indent0">Came the Mayflower’s band.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent10">Winter, spring,</div>
-    <div class="verse indent10">Slowly passed,</div>
-    <div class="verse indent0">And the harvest came at last.</div>
-    <div class="verse indent10">Winter, spring,</div>
-    <div class="verse indent10">Slowly passed</div>
-    <div class="verse indent0">Harvest came at last.</div>
-    <div class="verse indent2">Then for all the blessings given,</div>
-    <div class="verse indent2">Thanks they rendered unto heaven,</div>
-    <div class="verse indent10">From that day</div>
-    <div class="verse indent10">Came to stay,</div>
-    <div class="verse indent0">Glad Thanksgiving Day.</div>
-  </div>
-</div>
-</div>
-
-<h5>TABLEAU—Harvest Home.</h5>
-
-<div class="blockquote">
-
-<p>(Handsome lady, representing Ceres, surrounded
-by baskets or shocks of grain, wheat, corn, etc.,
-with farmers in attitudes of gathering or binding the
-crops).</p>
-
-</div>
-
-<div class="figcenter-line" style="width: 300px;">
-<img src="images/line11.jpg" width="300" height="15" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_377"></a>[377]</span></p>
-
-<h4>PROGRAMME FOR FLOWER DAY.</h4>
-
-<h5>SONG—Tune: “My Country.”</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-l.jpg" width="130" height="110" alt="" /></div>
-    <div class="dropcapline">Let us with nature sing,</div>
-    <div class="verse indent0">And floral tributes bring,</div>
-    <div class="verse indent4">On this glad day;</div>
-    <div class="verse indent0">Violets white and blue,</div>
-    <div class="verse indent0">Daisies and lilies too,</div>
-    <div class="verse indent0">Pansies of purple hue,</div>
-    <div class="verse indent4">And roses gay.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">O’er this fair land of ours,</div>
-    <div class="verse indent0">Blossom the golden flowers</div>
-    <div class="verse indent4">In loveliness;</div>
-    <div class="verse indent0">From Maine to Washington,</div>
-    <div class="verse indent0">Wherever smiles the sun,</div>
-    <div class="verse indent0">Their fairy footsteps run</div>
-    <div class="verse indent4">To cheer and bless.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">When winter’s curtains gray,</div>
-    <div class="verse indent0">From skies are pushed away</div>
-    <div class="verse indent4">By nature’s hand;</div>
-    <div class="verse indent0">We gladly welcome you,</div>
-    <div class="verse indent0">Blossoms of red and blue,</div>
-    <div class="verse indent0">Blossoms of every hue,</div>
-    <div class="verse indent4">To our fair land.</div>
-  </div>
-</div>
-</div>
-
-<h5>RECITAL—The Poppy and Mignonette.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">Once ’tis said, gay, flaunting poppies,</div>
-    <div class="verse indent2">And the humble mignonette,</div>
-    <div class="verse indent0">Side by side grew in a garden</div>
-    <div class="verse indent2">Where one day their glances met.</div>
-    <div class="verse indent0">Cried a Poppy: “Of your presence,</div>
-    <div class="verse indent2">In this spot we have no need,</div>
-    <div class="verse indent0">You are sadly out of place,</div>
-    <div class="verse indent2">You are nothing but a weed.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Meekly bowed the Mignonette</div>
-    <div class="verse indent2">And ashamed in silence stood,</div>
-    <div class="verse indent0">When there came a gentle murmur,</div>
-    <div class="verse indent2">Like a whisper from the wood:</div>
-    <div class="verse indent0">“Henceforth, gay and flaunting poppies,</div>
-    <div class="verse indent2">Proud and stately in thy bloom,</div>
-    <div class="verse indent0">Shall be taken half thy beauty—</div>
-    <div class="verse indent2">All thy wealth of sweet perfume.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">It is thine, O mignonette,</div>
-    <div class="verse indent2">Flower of sweet and lowly grace;</div>
-    <div class="verse indent0">Thou shalt win the hearts of others,</div>
-    <div class="verse indent2">Though thou hast a humble face.”</div>
-    <div class="verse indent0">And the magic of that whisper.</div>
-    <div class="verse indent2">Holds its mystic power yet;</div>
-    <div class="verse indent0">Poppies lure us with their beauty,</div>
-    <div class="verse indent2">But we love the mignonette.</div>
-  </div>
-</div>
-</div>
-
-<h5>FLOWER QUOTATIONS.</h5>
-
-<div class="blockquote">
-
-<p>(For seven pupils, each of whom recites a verse,
-prefacing it with the name of the author.)</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse center"><i>Wordsworth wrote</i>:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent2">The rainbow comes and goes,</div>
-    <div class="verse indent0">And lovely is the rose;</div>
-    <div class="verse indent2">The moon doth with delight</div>
-    <div class="verse indent0">Look round her when the heavens are bare.</div>
-    <div class="verse indent2">Waters on a starry night,</div>
-    <div class="verse indent0">Are beautiful and fair.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Longfellow wrote</i>:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">O flower de luce, bloom on, and let the river</div>
-    <div class="verse indent2">Linger to kiss thy feet.</div>
-    <div class="verse indent0">O flower of song, bloom on, and make forever</div>
-    <div class="verse indent2">The world more fair and sweet.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Lowell wrote</i>:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The cowslip startles in meadows green,</div>
-    <div class="verse indent2">The buttercup catches the sun in its chalice,</div>
-    <div class="verse indent0">And there’s never a blade or a flower too mean,</div>
-    <div class="verse indent2">To be some happy creature’s palace.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Leigh Hunt wrote</i>:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">We are violets blue,</div>
-    <div class="verse indent2">For our sweetness found</div>
-    <div class="verse indent0">Careless in the mossy shades,</div>
-    <div class="verse indent2">Looking on the ground.</div>
-    <div class="verse indent0">Love-dropped eye-lids, and a kiss,</div>
-    <div class="verse indent0">Such our breath and blueness is.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>John Wolcott wrote</i>:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The daisies peep from every field,</div>
-    <div class="verse indent0">And violets sweet their odors yield,</div>
-    <div class="verse indent0">The purple blossom paints the thorn,</div>
-    <div class="verse indent0">And streams reflect the blush of morn</div>
-    <div class="verse indent0">Then lads and lasses, all be gay,</div>
-    <div class="verse indent0">For this is Nature’s holiday.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Horace Smith wrote</i>:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Your voiceless lips, O flowers, are living teachers,</div>
-    <div class="verse indent2">Each cup a pulpit and each leaf a book,</div>
-    <div class="verse indent0">Supplying to my fancy numerous teachers,</div>
-    <div class="verse indent2">From loveliest nook.</div><span class="pagenum"><a id="Page_378"></a>[378]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Lowell wrote</i>:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Winds wander, and dews drip earthward,</div>
-    <div class="verse indent2">Rains fall, suns rise and set,</div>
-    <div class="verse indent0">Earth whirls, and all but to prosper</div>
-    <div class="verse indent2">A poor little violet.</div>
-  </div>
-</div>
-</div>
-
-<h5>SONG—Tune: “Auld Lang Syne.”</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">When winter o’er the hills afar,</div>
-    <div class="verse indent2">Has vanished from the land,</div>
-    <div class="verse indent0">And glad and welcome signs of Spring</div>
-    <div class="verse indent2">Are seen on every hand,</div>
-    <div class="verse indent0">Then Robin in his vest of red,</div>
-    <div class="verse indent2">And sober suit of brown,</div>
-    <div class="verse indent0">From out his sunny, southern home,</div>
-    <div class="verse indent2">Flies gaily into town.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The blossoms smile to hear him sing,</div>
-    <div class="verse indent2">And see him build his nest;</div>
-    <div class="verse indent0">For of all merry summer birds</div>
-    <div class="verse indent2">Dear Robin, they love best.</div>
-    <div class="verse indent0">He chirps and twitters at his work,</div>
-    <div class="verse indent2">While skies forget to frown,</div>
-    <div class="verse indent0">And all the world is glad and gay</div>
-    <div class="verse indent2">When Robin lives in town.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The summer softly fades away</div>
-    <div class="verse indent2">Into the winter drear,</div>
-    <div class="verse indent0">Then Robin gayly sings, “good-bye,</div>
-    <div class="verse indent2">I’ll come another year.”</div>
-    <div class="verse indent0">So when the woodland trees are bare,</div>
-    <div class="verse indent2">And snowy flakes fall down;</div>
-    <div class="verse indent0">In little suit of brown and red,</div>
-    <div class="verse indent2">Dear Robin leaves the town.</div>
-  </div>
-</div>
-</div>
-
-<h5>RECITATION—Flowers.</h5>
-
-<p>How the universal heart of man blesses
-flowers! They are wreathed round
-the cradle, the marriage altar, and
-the tomb. The Persian in the far
-East delights in their perfume, and writes his
-love in nosegays; while the Indian child of
-the far West clasps his hands with glee as he
-gathers the abundant blossoms—the illuminated
-scripture of the prairies. The Cupid
-of the ancient Hindoos tipped his arrows
-with flowers, and orange buds are the bridal
-crown with us, a nation of yesterday. Flowers
-garlanded the Grecian altar, and they hang in
-votive wreaths before the Christian shrine.</p>
-
-<p>All these are appropriate uses. Flowers
-should deck the brow of the youthful bride,
-for they are in themselves a lovely type of
-marriage. They should twine round the
-tomb, for their perpetually renewed beauty is
-a symbol of the resurrection. They should
-festoon the altar, for their fragrance and their
-beauty ascend in perpetual worship before
-the Most High.</p>
-
-<p class="right"><span class="smcap">Lydia M. Child.</span></p>
-
-<h5>THE FOOLISH HAREBELL.</h5>
-
-<p class="center sm90">(For eighteen pupils, each speaking two lines.)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-a.jpg" width="125" height="110" alt="" /></div>
-    <div class="dropcapline">A harebell hung its willful head:</div>
-    <div class="verse indent0">“I am so tired, so tired! I wish I was dead.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">She hung her head in the mossy dell:</div>
-    <div class="verse indent0">“If all were over, then all were well.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The wind he heard, and was pitiful;</div>
-    <div class="verse indent0">He waved her about to make her cool.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Wind, you are rough,” said the dainty bell;</div>
-    <div class="verse indent0">“Leave me alone—I am not well.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And the wind, at the voice of the drooping dame,</div>
-    <div class="verse indent0">Sank in his heart, and ceased for shame.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“I am hot, so hot!” she sighed and said;</div>
-    <div class="verse indent0">“I am withering up; I wish I was dead.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Then the sun, he pitied her pitiful case,</div>
-    <div class="verse indent0">And drew a thick veil over his face.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Cloud, go away, and don’t be rude;</div>
-    <div class="verse indent0">I am not—I don’t see why you should.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The cloud withdrew, and the harebell cried,</div>
-    <div class="verse indent0">“I am faint, so faint! and no water beside!”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">And the dew came down its million-fold path;</div>
-    <div class="verse indent0">But she murmured, “I did not want a bath.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">A boy came by in the morning gray;</div>
-    <div class="verse indent0">He plucked the harebell, and threw it away.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The harebell shivered, and cried, “Oh! oh!</div>
-    <div class="verse indent0">I am faint, so faint! Come, dear wind, blow.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The wind blew softly, and did not speak.</div>
-    <div class="verse indent0">She thanked him kindly, but grew more weak.</div><span class="pagenum"><a id="Page_379"></a>[379]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Sun, dear sun, I am cold,” she said.</div>
-    <div class="verse indent0">He rose; but lower she drooped her head.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“O rain! I am withering; all the blue</div>
-    <div class="verse indent0">Is fading out of me;—come, please do.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The rain came down as fast as it could,</div>
-    <div class="verse indent0">But for all its will it did her no good.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">She shuddered and shriveled, and moaning said;</div>
-    <div class="verse indent0">“Thank you all kindly;” and then she was dead.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Let us hope, let us hope, when she comes next year,</div>
-    <div class="verse indent0">She’ll be simple and sweet. But I fear, I fear.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">George Macdonald.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>QUESTIONS ABOUT FLOWERS.</h5>
-
-<p class="center sm90">(To be answered by a class or the whole school.)</p>
-
-<div>
-<img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" />
-</div>
-
-<p class="dropcap">What is the favorite flower of the
-poets?</p>
-
-<p><i>Ans.</i> The daisy.</p>
-
-<p>What English poet so loved the daisy that
-he lay all one day in the field to see it open
-in the morning and close at night?</p>
-
-<p><i>Ans.</i> Chaucer.</p>
-
-<p>What violet, so called, really belongs to the
-lily family?</p>
-
-<p><i>Ans.</i> The dog-tooth violet.</p>
-
-<p>What flower was named by the Greeks
-after one of their gods?</p>
-
-<p><i>Ans.</i> The pansy, after Pan.</p>
-
-<p>About what flower was Emerson’s finest
-poem written?</p>
-
-<p><i>Ans.</i> The rhodora.</p>
-
-<p>Which of the buttercups are foreigners?</p>
-
-<p><i>Ans.</i> The tall buttercup and the common
-buttercup with bulbous base.</p>
-
-<p>Name some other imported flowers.</p>
-
-<p><i>Ans.</i> Dandelion and ox-eyed daisy.</p>
-
-<p>Name two distinctly American blossoms.</p>
-
-<p><i>Ans.</i> Indian pipe and blood-root.</p>
-
-<p>What queen adopted the daisy as her
-flower?</p>
-
-<p><i>Ans.</i> Queen Margherita of Italy.</p>
-
-<p>Name one of the most brilliant of August
-flowers.</p>
-
-<p><i>Ans.</i> The cardinal flower.</p>
-
-<p>What is one of the most difficult wild
-flowers to cultivate?</p>
-
-<p><i>Ans.</i> Trailing arbutus, which grows all
-over the United States.</p>
-
-<p>What floral poem of Wordsworth’s is
-famous?</p>
-
-<p><i>Ans.</i> Daffodils.</p>
-
-<p>What is the most beautiful plant of Autumn?</p>
-
-<p><i>Ans.</i> The golden rod.</p>
-
-<h5>RECITATION—Pansies.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">We had climbed to the top of the old Gray Peak,</div>
-    <div class="verse indent2">And viewed the valley o’er;</div>
-    <div class="verse indent0">And we started off on our homeward tramp,</div>
-    <div class="verse indent2">A good three miles or more.</div>
-    <div class="verse indent0">The road lay curved like a ribbon of gold,</div>
-    <div class="verse indent2">Around the base of the hill,</div>
-    <div class="verse indent0">And the brook gleamed out with a silver sheen,</div>
-    <div class="verse indent2">From thickets near the mill.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But the sun shone warm on the dusty road,</div>
-    <div class="verse indent2">Until by heat oppressed,</div>
-    <div class="verse indent0">We wearily stopped at a cottage gate;</div>
-    <div class="verse indent2">The matron bade us rest.</div>
-    <div class="verse indent0">How cool was the shade of the trumpet-vine,</div>
-    <div class="verse indent2">A spring ran fresh and clear?</div>
-    <div class="verse indent0">The flash and whirr of a jeweled thing,</div>
-    <div class="verse indent2">A humming-bird was near.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">We were sauntering down the garden path,</div>
-    <div class="verse indent2">Repeating kind good-byes,</div>
-    <div class="verse indent0">When suddenly now were our footsteps stayed,</div>
-    <div class="verse indent2">New beauties met our eyes.</div>
-    <div class="verse indent0">“Will you have some pansies?” the hostess asks,</div>
-    <div class="verse indent2">“O, thank you, on!” we say;</div>
-    <div class="verse indent0">But the matron is culling the purple blooms,</div>
-    <div class="verse indent2">We let her have her way.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Purple and blue and russet and gold</div>
-    <div class="verse indent2">Those fragrant rich bouquets;</div>
-    <div class="verse indent0">“Ah!” she explains, “of my violets sweet,</div>
-    <div class="verse indent2">You have not learned the ways.</div><span class="pagenum"><a id="Page_380"></a>[380]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“There is something good about pansies</div>
-    <div class="verse indent2">That’s worth your while to know;</div>
-    <div class="verse indent0">The more they are picked and given away</div>
-    <div class="verse indent2">The more they’re sure to grow.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Mary A. McClelland.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>RECITAL—Plant Song.</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap-narrow" src="images/dropcap-o.jpg" width="80" height="100" alt="" /></div>
-    <div class="dropcapline">O where do you come from, berries red,</div>
-    <div class="verse indent0">Nuts, apples and plums, that hang ripe overhead,</div>
-    <div class="verse indent0">Sweet, juicy grapes, with your rich purple hue,</div>
-    <div class="verse indent0">Saying, “Pick us and eat us; we’re growing for you?”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">O, where do you come from, bright flower and fair,</div>
-    <div class="verse indent0">That please with your colors and fragrance so rare,</div>
-    <div class="verse indent0">Glowing with sunshine or sparkling with dew?</div>
-    <div class="verse indent0">“We are blooming for dear little children like you.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Our roots are our mouths, taking food from the ground,</div>
-    <div class="verse indent0">Our leaves are our lungs, breathing air all around,</div>
-    <div class="verse indent0">Our sap, like your blood, our veins courses through—</div>
-    <div class="verse indent0">Don’t you think, little children, we’re somewhat like you?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“Your hearts are the soil, your thoughts are the seeds;</div>
-    <div class="verse indent0">Your lives may become useful plants or foul weeds;</div>
-    <div class="verse indent0">If thou think but good thoughts your lives will be true,</div>
-    <div class="verse indent0">For good women and men were once children like you.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Nellie M. Brown.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>SONG—TUNE.—“Bounding Billows.”</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">We would hail thee, joyous summer,</div>
-    <div class="verse indent2">We would welcome thee to-day,</div>
-    <div class="verse indent0">With thy skies so blue and cloudless</div>
-    <div class="verse indent2">And thy song-birds, glad and gay.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Oh, the blossoms hear thee calling,</div>
-    <div class="verse indent2">Hear thy voice that ne’er deceives,</div>
-    <div class="verse indent0">And they waken from their slumbers</div>
-    <div class="verse indent2">Far beneath the withered leaves.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Little brooks with merry laughter,</div>
-    <div class="verse indent2">Run to greet their lovely guest;</div>
-    <div class="verse indent0">For of all the happy seasons</div>
-    <div class="verse indent2">Summer dear, they love thee best.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">So we hail thee, joyous summer,</div>
-    <div class="verse indent2">We would welcome thee to-day;</div>
-    <div class="verse indent0">With thy skies so blue and cloudless,</div>
-    <div class="verse indent2">And thy song-birds, glad and gay.</div>
-  </div>
-</div>
-</div>
-
-<h5>READING—Summer-Time.</h5>
-
-<div>
-<img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" />
-</div>
-
-<p class="dropcap">They were right—those old German
-minnesingers—to sing the pleasant
-summer-time! What a time it is!
-How June stands illuminated in the calendar!
-The windows are all wide open; only
-the Venetian blinds closed. Here and there
-a long streak of sunshine streams in through
-a crevice. We hear the low sound of the
-wind among the trees; and, as it swells and
-freshens, the distant doors clap to, with a
-sudden sound. The trees are heavy with
-leaves; and the gardens full of blossoms, red
-and white. The whole atmosphere is laden
-with perfume and sunshine. The birds sing.
-The cock struts about, and crows loftily.
-Insects chirp in the grass. Yellow buttercups
-stud the green carpet like golden buttons,
-and the red blossoms of the clover like
-rubies.</p>
-
-<p>The elm-trees reach their long, pendulous
-branches almost to the ground. White
-clouds sail aloft, and vapors fret the blue sky
-with silver threads. The white village
-gleams afar against the dark hills. Through
-the meadow winds the river—careless, indolent.
-It seems to love the country, and is in
-no haste to reach the sea. The bee only is
-at work—the hot and angry bee. All things
-else are at play! he never plays, and is vexed
-that any one should.</p>
-
-<p>People drive out from town to breathe,
-and to be happy. Most of them have flowers
-in their hands; bunches of apple-blossoms,
-and still oftener lilacs. Ye denizens of the<span class="pagenum"><a id="Page_381"></a>[381]</span>
-crowded city, how pleasant to you is the
-change from the sultry streets to the open
-fields, fragrant with clover blossoms! how
-pleasant the fresh, breezy country air, dashed
-with brine from the meadows! how pleasant,
-above all, the flowers, the manifold beautiful
-flowers!</p>
-
-<p class="right"><span class="smcap">H. W. Longfellow.</span></p>
-
-<h5>SONG.—Tune.—“The Last Rose of Summer.”</h5>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">Tis the last rose of summer</div>
-    <div class="verse indent2">Left blooming alone;</div>
-    <div class="verse indent0">All her lovely companions</div>
-    <div class="verse indent2">Are faded and gone;</div>
-    <div class="verse indent0">No flower of her kindred,</div>
-    <div class="verse indent2">No rose bud is nigh,</div>
-    <div class="verse indent0">To reflect back her blushes,</div>
-    <div class="verse indent2">Or give sigh for sigh!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I’ll not leave thee, thou lone one,</div>
-    <div class="verse indent2">To pine on the stem;</div>
-    <div class="verse indent0">Since the lovely are sleeping,</div>
-    <div class="verse indent2">Go, sleep thou with them.</div>
-    <div class="verse indent0">Thus kindly I scatter</div>
-    <div class="verse indent2">Thy leaves o’er the bed</div>
-    <div class="verse indent0">Where thy mates of the garden</div>
-    <div class="verse indent2">Lie scentless and dead.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">So soon may follow,</div>
-    <div class="verse indent2">When friendships decay,</div>
-    <div class="verse indent0">And from love’s shining circle</div>
-    <div class="verse indent2">The gems drop away!</div>
-    <div class="verse indent0">When true hearts lie withered</div>
-    <div class="verse indent2">And fond ones are flown,</div>
-    <div class="verse indent0">Oh! who would inhabit</div>
-    <div class="verse indent2">This bleak world alone?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Thomas Moore.</span></div>
-  </div>
-</div>
-</div>
-
-<h5>MARCH—Honor to the Flag.</h5>
-
-<div class="blockquote">
-
-<p>(Young people march to a well known tune; each
-carries a bouquet, and, approaching a staff flying the
-Stars and Stripes, places the flowers at the base.)</p>
-
-</div>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-
-<p><span class="pagenum"><a id="Page_382"></a>[382]</span></p>
-
-<h2 class="nobreak" id="Dialogues_for_Schools_and_Lyceums"><span class="smcap">Dialogues for Schools and Lyceums.</span></h2>
-
-</div>
-
-<div class="figcenter-line" style="width: 250px;">
-<img src="images/line13.jpg" width="250" height="30" alt="" />
-</div>
-
-<h3>IN WANT OF A SERVANT.</h3>
-
-<p><i>Characters</i>:</p>
-
-<ul>
-<li><span class="smcap">Mr. Marshall and Wife.</span></li>
-<li><span class="smcap">Margaret O’Flanagan.</span></li>
-<li><span class="smcap">Katrina Van Follestein.</span></li>
-<li><span class="smcap">Snowdrop Washington.</span></li>
-<li><span class="smcap">Mrs. Bunker.</span></li>
-<li><span class="smcap">Freddie.</span></li>
-</ul>
-
-<p class="hanging tb"><i>Scene I.</i>—<i>The breakfast-room of <span class="smcap">Mr.</span> and
-<span class="smcap">Mrs. Marshall</span>. <span class="smcap">Mr. Marshall</span> enjoying
-the morning paper with his heels on the
-mantel.</i></p>
-
-<p class="tb"><i>Mrs. Marshall</i> (<i>in a complaining tone</i>.)</p>
-
-<div>
-<img class="dropcap" src="images/dropcap-o.jpg" width="80" height="100" alt="" />
-</div>
-
-<p class="dropcap">Oh, dear, Charles, how sick and tired I
-am of housework! I do envy people
-who are able to keep help. Here
-I am tied up to the little hot kitchen morning
-till night—stewing, and baking, and frying,
-and scrubbing, and washing floors, till I
-am ready to sink! One thing over and over
-again. I wonder why Hood, when he wrote
-the “Song of the Shirt,” had not kept on and
-written the “Song of the Basement Story.”</p>
-
-<p><i>Mr. M.</i> Is it so very bad, Lily? Why, I
-always thought it must be nice work to cook—and
-washing dishes is the easiest thing in
-the world. All you have to do is to pour a
-little hot water over ’em and give ’em a flirt
-over with a towel.</p>
-
-<p><i>Mrs. M.</i> That’s all you men know about
-it; it is the hardest work in the world! I
-always hated it. I remember, when I was a
-little girl, I always used to be taken with a
-headache when mother wanted me to wash
-the dishes. And then she’d dose me with
-rhubarb. Ugh! how bitter it was; but not
-half so bitter as washing dishes in boiling
-water in a hot kitchen in the middle of
-August!</p>
-
-<p><i>Mr. M.</i> (<i>meditatively taking his feet from
-the mantel</i>.) I made a lucky sale this morning,
-and saved a cool three hundred. I had
-intended giving you a new silk, but I’ll do
-better—I’ll hire you a girl. How will that
-suit?</p>
-
-<p><i>Mrs. M.</i> Oh, what a darling! I would
-kiss you if you hadn’t been smoking, and
-my collar weren’t quite so fresh. I am afraid
-I shall muss it. But you are a good soul,
-Charlie; and I shall be so happy. Do you
-really mean it?</p>
-
-<p><i>Mr. M.</i> To be sure.</p>
-
-<p><i>Mrs. M.</i> Won’t Mrs. Fitzjones die of envy?
-She puts her washing out, and she’s always
-flinging that in my face. I guess the boot
-will be on the other foot now! I wonder
-what she’ll say when she runs in of a morning
-to see what I’m cooking, and finds me in
-the parlor hem-stitching a handkerchief, and
-my <i>maid</i> attending to things in the kitchen?
-But where is a girl to be had? Will you go
-to the intelligence office?</p>
-
-<p><i>Mr. M.</i> No; I don’t approve of intelligence
-offices. I will advertise. Bring me a
-pen and ink, Lily.</p>
-
-<p><i>Mrs. M.</i> (<i>bringing the articles</i>.) You won’t
-say that to me any more, Charles. It will
-be, “Biddy, my good girl, bring me the writing
-implements.” Won’t it be nice? Just
-like a novel. They always have servants,
-you know.</p>
-
-<p><i>Mr. M.</i> What, the novels?</p>
-
-<p><i>Mrs. M.</i> No; the people in them. Are<span class="pagenum"><a id="Page_383"></a>[383]</span>
-you writing the advertisement? Be sure and
-say that no one need apply except experienced
-persons. I want no green hands about
-my kitchen.</p>
-
-<p><i>Mr. M.</i> (<i>reads from the paper what he has
-been writing</i>.) “Wanted, by a quiet family, a
-girl to do general housework. None but
-those having had experience need apply. Call
-at No. 116 B⸺ street, between the hours
-of ten and two.” How will that answer?</p>
-
-<p><i>Mrs. M.</i> Admirably! Charles, you ought
-to have been an editor. You express your
-ideas so clearly!</p>
-
-<p><i>Mr. M.</i> Thank you, my dear, thank you.
-I believe I <i>have</i> some talent for expressing
-my meaning. But I am going down town
-now, and will have this advertisement inserted
-in the <i>Herald</i>, and by to-morrow you
-can hold yourself in readiness to receive applicants.
-By-bye (<i>goes out</i>).</p>
-
-<p><i>Mrs. M.</i> (<i>alone</i>). If it isn’t the most charming
-thing! Won’t the Fitzjoneses and Mrs.
-Smith be raving? Mrs. Smith has got a bound
-girl, and Mrs. Fitzjones puts out her washing;
-but I am to have a regular servant! I shall get
-a chance to practice my music now. Dear me—how
-red my hands are! (<i>looks at them</i>) I must
-get some cold cream for them; one’s hands
-show so on the white keys of a piano. I’ll go
-and open that piano now, and dust it. It must
-be dreadfully out of tune. But I’ll have it
-tuned as soon as ever I get that girl fairly
-initiated into my way of doing work (<i>goes out</i>).</p>
-
-<p class="hanging tb"><i>Scene II.</i>—<i><span class="smcap">Mrs. Marshall</span> awaiting the coming
-of “applicants.” A furious ring at the
-front door bell.</i></p>
-
-<p><i>Mrs. M.</i> (<i>peeping through the blinds</i>). Dear
-me! I wonder who’s coming! A person
-applying for the situation of servant would
-not be likely to come to the front door. I
-can just see the edge of a blue-silk flounce,
-and a streamer of red ribbon on the bonnet.
-I’ll go and see who it is (<i>opens the door, and
-a stout Irish girl, gaudily dressed, with an eye-glass,
-and a bonnet of enormous dimensions
-pushes by her, and entering the parlor, seats
-herself in the rocking-chair</i>).</p>
-
-<p><i>Mrs. M.</i> To what am I indebted for this
-visit?</p>
-
-<p><i>Irish Girl.</i> It looks well for the like of yees
-to ask! It’s the leddy what’s wanting a
-young leddy to help in the wurrk that I’m
-after seeing.</p>
-
-<p><i>Mrs. M.</i> (<i>with dignity</i>). I am that person,
-if you please. What may I call your name?</p>
-
-<p><i>Irish Girl.</i> Me name’s Margaret O’Flanagan,
-though some people has the impudence
-to call me Peggy; but if ever the likes of it
-happens agin I’ll make the daylight shine
-into ’em where it never dramed of shining
-before. What may your name be, mum?</p>
-
-<p><i>Mrs. M.</i> My name is Marshall. I am in
-want of a servant.</p>
-
-<p><i>Margaret.</i> Sarvint, is it? Never a bit of a
-sarvint will I be for anybody! The blud of
-my forefathy would cry out against it. But
-I might have ixpected it from the appearance
-of yees. Shure, and I’d no other thought
-but ye was the chambermaid. Marshall, is
-it? Holy St. Patrick! why that was the
-name of the man that was hung in County
-Cork for the murthering of Dennis McMurphy,
-and he had a nose exactly like the one
-foreninst your face. (<i>A second ring at the door.
-<span class="smcap">Mrs. Marshall</span> ushers in a stolid-faced German
-girl, and an over-dressed colored lady.
-They take seats on the sofa.</i>)</p>
-
-<p><i>German Girl.</i> Ish dis the place mit the woman
-what wants a girl in her housework that
-was put into de paper day pefore to-morrow.</p>
-
-<p><i>Mrs. M.</i> Yes, I am the woman. What is
-your name?</p>
-
-<p><i>German Girl.</i> Katrina Van Follenstein. I
-can do leetle of most everything. I can bake
-all myself, and bile, and fry; and makes sourkrout—oh,
-sphlendid! And I sphanks the
-children as well as their own mudders.</p>
-
-<p><span class="pagenum"><a id="Page_384"></a>[384]</span></p>
-
-<p><i>Marg.</i> If ye’ll condescend to lave that dirty
-Dutchman, young leddy, I’ll be afther asking
-ye a few questions; and then if ye don’t shute
-me I can be laving. Me time is precious.
-Is them the best cheers in yer house?</p>
-
-<p><i>Mrs. M.</i> They are.</p>
-
-<p><i>Marg.</i> Holy Virgin! Why, mum, I’ve
-been used to having better cheers than them
-in me own room, and a sofy in me kitchen to
-lay me bones on when they’re took aching.
-Have ye got a wine cellar?</p>
-
-<p><i>Mrs. M.</i> (<i>indignantly</i>). No! We are temperance
-people.</p>
-
-<p><i>Marg.</i> Oh, botheration! Then ye’ll niver
-do for me, at all at all? It’s wine I must
-have every day to keep me stummach in
-tune, and if Barney O’Grath comes in of an
-evening I should die of mortification if I didn’t
-have a drop of something to trate him on.
-And about the peanny. It’s taking lessons
-I am, meself, and if it’s out of kilter, why, it
-must be fixed at once. I never could think
-of playing on a instrument that was ontuned.
-It might spile me voice.</p>
-
-<p><i>Mrs. M.</i> I want no servants in my house
-who are taking music lessons. I hire a girl
-to do my work—not to dictate to me, and
-sit in the parlor.</p>
-
-<p><i>Marg.</i> Ye don’t hire me. No mum! Not
-by a long walk. It’s not Margaret O’Flanagan
-that’ll be hosted round by an old sharp-nosed
-crayter like yerself, wid a mole on yer left
-cheek, and yer waterfall made out of other
-folks’ hair! The saints be blessed, me own
-is an illegant one—and never a dead head was
-robbed for to make it! ’Twas the tail of me
-cousin Jimmy’s red horse—rest his soul!</p>
-
-<p><i>Mrs. M.</i> (<i>pointing to the door</i>). You can
-leave the house, Miss O’Flanagan. You
-won’t suit me.</p>
-
-<p><i>Marg.</i> And you won’t shute me. I wouldn’t
-work with ye for a thousand dollars a week!
-It’s not low vulgar people that Margaret
-O’Flanagan associates with. Good-bye to
-ye! I pity the girl ye gets. May the saints
-presarve her—and not a drop of wine in the
-house! (<i><span class="smcap">Margaret</span> goes out.</i>)</p>
-
-<p><i>Mrs. M.</i> Well, Katrina, are you ready to
-answer a few questions?</p>
-
-<p><i>Katrina.</i> Yah; I is.</p>
-
-<p><i>Mrs. M.</i> Are you acquainted with general
-housework?</p>
-
-<p><i>Kat.</i> Nix; I never have seen that shinneral.
-I know Shinneral Shackson, and Shinneral
-Grant, but not that one to speak of!</p>
-
-<p><i>Mrs.</i> M. I intended to ask if you are used
-to doing work in the kitchen.</p>
-
-<p><i>Kat.</i> Yaw, I sees. Dat ish my thrade.</p>
-
-<p><i>Mrs. M.</i> Can you cook?</p>
-
-<p><i>Kat.</i> Most people, what bees shenteel,
-keeps a cook.</p>
-
-<p><i>Mrs. M.</i> I do not. I shall expect you to
-cook. Can you wash?</p>
-
-<p><i>Kat.</i> Beeples that ish in de upper-crust
-puts their washing out.</p>
-
-<p><i>Mrs. M.</i> Can you make beds, and sweep?</p>
-
-<p><i>Kat.</i> The dust of the fedders sthuffs up my
-head, what has got one leetle giutar into it.
-Most beeples keeps a chambermaid. Now,
-I wants to ask you some tings. You gits up
-in morning, and gits breakfast, of course? It
-makes mine head ache to git up early. And
-you’ll dust all the furnitures, and schrub the
-kittles, and your goot man will wash the floors
-and pump the water, and make the fires,
-and——</p>
-
-<p><i>Mrs. M.</i> We shall do no such thing. What
-an insolent wretch! You can go at once.
-I’ve no further use for you. You won’t suit.</p>
-
-<p><i>Kat.</i> (<i>retreating</i>). Mine krout! what a particular
-vomans.</p>
-
-<p><i>Colored Lady.</i> Wall, missis, specks here’s
-jest de chile for ye. What wages does you
-gib? and what is yer pollyticks?</p>
-
-<p><i>Mrs. M.</i> What is your name—what
-wages do you expect?</p>
-
-<p><i>Colored Lady.</i> My name is Snowdrop
-Washington, and I specks five dollars a week<span class="pagenum"><a id="Page_385"></a>[385]</span>
-if I do my own washing, but if it is put out
-to de washerwoman’s wid de rest of de tings,
-den I takes off a quarter. And it’s best to
-have a fair understanding now, in de beginning.
-I’m very particular about my afternoons.
-Tuesdays I studies my cataplasin
-and can’t be ’sturbed; Wednesdays I goes to
-see old Aunt Sally Gumbo, what’s got de
-spine of de back; Thursdays I allers takes a
-dose of lobeely for me stummuch, and has to
-lay abed; and Fridays I ginerally walks out
-wid Mr. Sambo Snow, a fren of mine—and
-in none of dem cases can I be ’sturbed. And
-I shall spect you to find gloves for me to do
-de work in; don’t like to sile my hands.</p>
-
-<p><i>Mrs. M.</i> I want to hire a girl to work—every
-day—and every hour in the day.</p>
-
-<p><i>Snowdrop.</i> The laws-a-massy! what a missis!
-Why, in dat case dis chile haint no
-better off dan wite trash! Ketch Snowdrop
-Washington setting in that pew! Not dis
-nigger. I wish you a berry lubly morning!
-(<i>goes out, and a woman clad in widow’s weeds,
-and a little boy enter.</i>)</p>
-
-<p><i>Woman</i> (<i>in a brisk tone</i>). Are you the person
-that wants to hire help? Dear me, don’t
-I smell onions! I detest onions! Only vulgar
-people eat ’em! Have your children had
-the measles? Because I never could think
-of taking Freddie where he might be exposed
-to that dreadful disease! Freddie, my love,
-put down that vase. If you should break
-it, you might cut yourself with the pieces.
-Have you a dog about the house, marm?</p>
-
-<p><i>Mrs. M.</i> Yes, we have.</p>
-
-<p><i>Woman in Black.</i> Good gracious! he
-must be killed then! I shouldn’t see a bit of
-comfort if Freddie was where there was a
-dog. The last words my dear lamented husband
-said to me were these: “Mrs. Bunker,
-take care of Freddie.” Bunker’s my name,
-marm. Have you a cow?</p>
-
-<p><i>Mrs. M.</i> We have not.</p>
-
-<p><i>Mrs. Bunker.</i> How unfortunate! Well, I
-suppose you can buy one. Freddie depends
-so much on his new milk; and so do I.
-How many children have you?</p>
-
-<p><i>Mrs. M.</i> Three.</p>
-
-<p><i>Mrs. B.</i> Good gracious! what a host! I hope
-none of them have bad tempers, or use profane
-language. I wouldn’t have Freddie associate
-with them for the world if they did. He’s a
-perfect cherub in temper. My darling, don’t
-pull the cat’s tail! she may scratch you.</p>
-
-<p><i>Mrs. M.</i> You need not remain any longer,
-Mrs. Bunker. I do not wish to employ a
-maid with a child.</p>
-
-<p><i>Mrs. B.</i> Good heavens! (<i>indignantly</i>).
-Whoever saw such a hard-hearted wretch!
-Object to my darling Freddie! Did I ever
-expect to live to see the day when the offspring
-of my beloved Jeremiah would be
-treated in this way? I’ll not stay another
-moment in the house with such an unfeeling
-monster! Come, Freddie. (<i>Goes out. <span class="smcap">Mrs.
-Marshall</span> closes the door and locks it.</i>)</p>
-
-<p><i>Mrs. M.</i> Gracious! if this is the way of
-having a servant, I am satisfied. I’ll do my
-own work till the end of the chapter! There’s
-another ring; but I won’t answer it—not I.
-I’ll make believe I’m not at home. Ring
-away, if it’s any satisfaction to you! It
-doesn’t hurt me.</p>
-
-<p class="right"><span class="smcap">Clara Augusta.</span></p>
-
-<h3>THE UNWELCOME GUEST.</h3>
-
-<p><i>Characters</i>:</p>
-
-<ul>
-<li><span class="smcap">Mr. Edward Simpson.</span></li>
-<li><span class="smcap">Mrs. Emeline Simpson</span>, his wife.</li>
-<li><span class="smcap">John Simpson</span>, his brother, and a guest.</li>
-<li><span class="smcap">Mr. Martin Jones.</span></li>
-<li><span class="smcap">Mrs. Eliza Jones</span>, his wife.</li>
-</ul>
-
-<p class="hanging tb">SCENE.—<i>A room in Edward Simpson’s
-house. Mr. and Mrs. Simpson discovered.</i></p>
-
-<p class="tb"><i>Mrs. S.</i></p>
-
-<div>
-<img class="dropcap" src="images/dropcap-e.jpg" width="140" height="110" alt="" />
-</div>
-
-<p class="dropcap">Edward, I may just as well say plainly
-that I think we must do something to
-get your brother off our hands.<span class="pagenum"><a id="Page_386"></a>[386]</span>
-He has been here now over two weeks, and
-he stays and stays just as if this was his
-home, and as if he hadn’t the slightest idea
-of ever going away.</p>
-
-<p><i>Mr. S.</i> You are quite right, wife; we must
-get him away. I thought it possible, when
-he came here, that he had plenty of money;
-but that idea has vanished entirely. If he
-had money, he would not go around so shabbily
-dressed. He had the audacity to hint
-to me yesterday that I might buy him a new
-coat; just as if I hadn’t enough to do to buy
-new coats for myself and my children.</p>
-
-<p><i>Mrs. S.</i> Oh! the impudence of some people!
-I am sure we have done very well in
-keeping him these two weeks, and not charging
-him a cent for his boarding. And now
-he wants a new coat, does he? I wonder he
-didn’t ask for a full suit; he certainly has
-need of it; but he needn’t expect to get it
-here. But are you <i>sure</i>, Edward, that he
-didn’t bring any money home with him?</p>
-
-<p><i>Mr. S.</i> Yes, quite sure. I didn’t say anything
-to him about it, but John was never
-the man to go in rags if he had any money
-in his pocket. He has been away for fifteen
-years, you know, and he might have made
-plenty of money in that time; but it is my
-impression, that if he did make anything,
-he spent it all before he started for home.</p>
-
-<p><i>Mrs. S.</i> Well, what are we to do with
-him?</p>
-
-<p><i>Mr. S.</i> Send him to the poor-house, I suppose.
-I don’t quite like to do that, either;
-for people <i>will</i> talk, and they will say that I
-ought to have kept him in his old days.</p>
-
-<p><i>Mrs. S.</i> Let them talk. It’s nobody’s
-business but our own, and it will all blow over
-in a week or two. Of course we can’t have
-him on our hands as long as he lives, merely
-because the neighbors will talk a little about
-our sending him to the poor-house.</p>
-
-<p><i>Mr. S.</i> No, of course not. Here he comes
-now; we must inform him of our decision.</p>
-
-<p class="center"><i>Enter <span class="smcap">John Simpson</span>, shabbily dressed.</i></p>
-
-<p><i>Mr. S.</i> John, we have been talking about
-you.</p>
-
-<p><i>John.</i> So I supposed. I thought I heard
-my name mentioned. You were considering
-that matter about the coat, were you? I
-hope you will think favorably of it.</p>
-
-<p><i>Mrs. S.</i> (<i>bridling up</i>.) No, sir; we were
-not thinking of buying you a coat, but we
-were speaking of your audacity in making
-such a request.</p>
-
-<p><i>John.</i> Ah! were you? Don’t you see I
-am old now, and dreadfully crippled with
-rheumatism? And, of course I am not able
-to work to buy myself clothes. If my brother
-will not take care of me now, who will?</p>
-
-<p><i>Mrs. S.</i> That’s just what we are going to
-talk about.</p>
-
-<p><i>Mr. S.</i> Wife, allow me to speak to John
-about the matter. (<i>To John.</i>) It may sound
-a little harsh and unpleasant, but we have
-come to the conclusion that we cannot keep
-you any longer. You know that we are not
-very well off in this world’s goods; we have
-not much house-room, and we have three
-children that demand our attention. We have
-kept you two weeks and we think we have
-done very well. We feel that you would be
-considerably in our road here, and we have
-concluded to send you to the poor-house.</p>
-
-<p><i>John.</i> The poor-house! I always did hate
-the poor-house. It must be so lonesome
-there; and then, I don’t think the boarding
-will be good. Must I go to the poor-house?</p>
-
-<p><i>Mr. S.</i> Yes, we have decided. We cannot
-keep you.</p>
-
-<p><i>John.</i> I thought, when I was away, that if
-I could only get home again, I would find
-my brother willing to take me under his
-roof, and allow me to end my days there.
-But I was mistaken. When must I go?</p>
-
-<p><i>Mr. S.</i> I will have the papers made out, and
-be ready to take you to-morrow afternoon.</p>
-
-<p><i>John.</i> Send for Eliza Jones and her husband.<span class="pagenum"><a id="Page_387"></a>[387]</span>
-They will not want to keep me either,
-I suppose—how can I expect them, when
-they are a great deal poorer than you? But
-send for them. I want to see them, and say
-good-bye, before I go away.</p>
-
-<p><i>Mrs. S.</i> Emeline, tell Parker to run across
-Jones’ for his Uncle Martin and Aunt Eliza.</p>
-
-<p class="right">[<i>Exit Mrs. S.</i></p>
-
-<p><i>John.</i> If they do not treat me well at the
-poor-house, what shall I do? Cut stick and
-run off, or sue them for breach of promise?</p>
-
-<p><i>Mr. S.</i> (<i>aside</i>.) It seems to me, he takes it
-exceedingly cool. But it is better he should
-do so, than to make a noise about it. (<i>To
-John.</i>) I think you will be well treated.
-The Superintendent is very kind to all under
-his care, and is considered a perfect gentleman.</p>
-
-<p><i>John.</i> A gentleman! I’m glad of that.
-(<i>Sarcastically.</i>) Ah! Edward, it is a great
-thing to be a <i>gentleman</i>.</p>
-
-<p><i>Mr. S.</i> I am glad you are willing to go
-without making any fuss about it. You know
-people <i>will</i> talk; and they would talk a great
-deal more, if you should be opposed to going.
-I hope you will not think unkindly of us,
-because we have concluded to take this step;
-you see that we can not well keep you here;
-and as you are getting old, and are greatly
-afflicted with rheumatism, you will be better
-attended to there than you could be here.</p>
-
-<p><i>John.</i> Yes, yes, I understand. Don’t fret
-about me, Edward. I suppose it isn’t much
-difference where I live, and where I end my
-days. But, Edward, I <i>think</i> I would not have
-treated you so. However, one hardly knows
-what one will do when one comes to the pinch.
-If I had brought home a market-basket full of
-ninety-dollar gold pieces, perhaps I would not
-have taken up so much room in your house,
-nor crowded your children so dreadfully.</p>
-
-<p class="center"><i>Enter <span class="smcap">Mrs. Simpson</span>, and <span class="smcap">Mr.</span> and <span class="smcap">Mrs.
-Jones</span>.</i></p>
-
-<p><i>Mrs. J.</i> (<i>running to John</i>.) O John, my
-brother, they want to send you to the poor-house!
-You shall not go! you shall not go!</p>
-
-<p><i>Mr. J.</i> No, John, you shall not go. While
-we have a crust of bread, you shall share it
-with us.</p>
-
-<p><i>John.</i> But I never did like to eat crusts.</p>
-
-<p><i>Mrs. S.</i> That’s him, for you! He doesn’t
-want to pay anything for his board, but he
-wants to have the best.</p>
-
-<p><i>John.</i> And he doesn’t like to eat dirt.</p>
-
-<p><i>Mrs. S.</i> Do you mean to say I am a dirty
-cook?</p>
-
-<p><i>John</i> (<i>whistles “Yankee Doodle.”</i>) Come,
-if I am to go to the poor-house, let me be off.</p>
-
-<p><i>Mrs. J.</i> You shall not go. We are poor,
-but you shall stay with us. We can find
-room for you, and we will be provided for,
-I’ll warrant, some way.</p>
-
-<p><i>Mrs. S.</i> People oughtn’t to be rash about
-taking on a load they can’t carry.</p>
-
-<p><i>Mr. S.</i> Emeline, if Martin and Eliza want
-to keep John, let them do so; don’t say a
-word. Of course, I think they have quite
-enough to do to keep their own heads above
-water; but if they want to keep John, it is
-their own business.</p>
-
-<p><i>John.</i> Yes, it is their own business; and
-if they were on the point of sinking, would
-<i>you</i> raise a finger to keep their heads above
-water? <i>No!</i> Edward.—I cannot call you
-brother,—I know you now. I leave your
-house to-day, but I do not go to the poor-house.
-I have money enough to buy and
-<i>keep</i> a hundred such little farms as yours,
-and a hundred such <i>little men</i>. I do not
-need your coats nor your cringing sympathies;
-I wanted to know what kind of a man you
-were, and <i>I know</i>. When I came home, I
-determined to find out, in some way, whether
-you or the Jones family were most deserving
-of my money. I have found that out; and I
-go with them, to make my home there.</p>
-
-<p><i>Mrs. S.</i> But we didn’t know——</p>
-
-<p><i>John.</i> Ay, I know it. You thought I was<span class="pagenum"><a id="Page_388"></a>[388]</span>
-a beggar; you thought I had no money and
-no clothes. If you had believed otherwise,
-you would have received me with open arms.
-Come (<i>to Mr. and Mrs. Jones</i>), we will go.
-I shall not forget you for your kindness. I
-will make my home with you; and if it is
-true that you have hard enough work to
-keep your heads above water it shall be so
-no longer. (<i>To Mr. and Mrs. Simpson.</i>) I
-had almost forgotten. Here are twenty dollars,
-for my two weeks’ board (<i>throwing down
-the bills</i>). You see that although I may have
-a <i>shabby appearance</i>, I am yet able to pay my
-way in the world. Good-day, Mr. and Mrs.
-Simpson.</p>
-
-<p class="right">(<i>Exit John Simpson, and Mr. and
-Mrs. Jones.</i>)</p>
-
-<p><i>Mrs. S.</i> Isn’t this dreadful! (<i>Rushes out
-at one side of the stage.</i>)</p>
-
-<p><i>Mr. S.</i> Confound the luck! (<i>Rushes out
-at the other side of the stage.</i>)</p>
-
-<p class="right">[<i>Curtain falls.</i></p>
-
-<p class="right"><span class="smcap">H. Elliot McBride.</span></p>
-
-<h3>AUNTY PUZZLED.</h3>
-
-<p><i>Characters</i>:</p>
-
-<ul>
-<li><span class="smcap">Pious Maiden Aunt and Wayward Little
-Girl, five or six years old.</span></li>
-</ul>
-
-<p class="tb"><i>Aunt.</i></p>
-
-<div>
-<img class="dropcap" src="images/dropcap-n.jpg" width="140" height="110" alt="" />
-</div>
-
-<p class="dropcap">Now, Beth, this is the Sabbath day,
-and—</p>
-
-<p><i>Niece.</i> How do you know it is?</p>
-
-<p><i>A.</i> It is wrong to play to-day,
-Beth—</p>
-
-<p><i>N.</i> Wrong to play what?</p>
-
-<p><i>A.</i> Anything.</p>
-
-<p><i>N.</i> Tain’t wrong to play Sunday-school.
-Didn’t you wish dat Carlo was me when
-you was whippin’ him, jest now, Aunt
-Dora?</p>
-
-<p><i>A.</i> Beth, I’ll tell you a beautiful story, the
-tender story of Joseph.</p>
-
-<p><i>N.</i> Joseph who?</p>
-
-<p><i>A.</i> He had no other name.</p>
-
-<p><i>N.</i> Well, dat’s funny.</p>
-
-<p><i>A.</i> Joseph was the son of a good old man,
-named Jacob—</p>
-
-<p><i>N.</i> I knows him, he saws our wood, an’
-he’s dot a wooden leg! What was his last
-name?</p>
-
-<p><i>A.</i> I don’t know, dear.</p>
-
-<p><i>N.</i> Well, dat’s ze same man. Our Jacob
-he ain’t dot no ozzer name, either: des
-Jacob, old Jacob.</p>
-
-<p><i>A.</i> This good old man had twelve sons.</p>
-
-<p><i>N.</i> Any little girls?</p>
-
-<p><i>A.</i> Only one.</p>
-
-<p><i>N.</i> Huh! I dess she was mighty sorry wiz
-such a houseful of boys an’ no little sister.</p>
-
-<p><i>A.</i> Well, Jacob loved this son very much—</p>
-
-<p><i>N.</i> How much?</p>
-
-<p><i>A.</i> Oh, ever so much; more than he could
-tell.</p>
-
-<p><i>N.</i> Ten hundred thousand bushels?</p>
-
-<p><i>A.</i> Yes, and more than that. He bought
-him a new coat—</p>
-
-<p><i>N.</i> May Crawford’s dot a new dress, dray
-and blue, an’ pearl buttons on it, an’ a new
-parasol, and I’m doing to have some new
-button shoes as twick as I can kick zese ones
-out.</p>
-
-<p><i>A.</i> His father bought him a new coat, a
-beautiful coat of many colors—</p>
-
-<p><i>N.</i> Oh, ho! des like a bed quilt.</p>
-
-<p><i>A.</i> And Joseph was very proud of this
-pretty coat—</p>
-
-<p><i>N.</i> Huh! I bet you ze boys frowed stones
-an’ hollered at him if he wored it to school!</p>
-
-<p><i>A.</i> But his brothers, all of his older brothers,
-who—</p>
-
-<p><i>N.</i> Did he wear it to school, Aunt Dora?</p>
-
-<p><i>A.</i> No, I don’t think he did.</p>
-
-<p><i>N.</i> I dess he was afraid, and kept it for a
-Sunday coat. Did he wear it to Sunday
-school?</p>
-
-<p><i>A.</i> He didn’t go to one.</p>
-
-<p><i>N.</i> Den he was a heathen.</p>
-
-<p><i>A.</i> No, Joseph wasn’t a heathen.</p>
-
-<p><i>N.</i> Den he was a bad boy.</p>
-
-<p><span class="pagenum"><a id="Page_389"></a>[389]</span></p>
-
-<p><i>A.</i> No, indeed; Joseph was a good boy—</p>
-
-<p><i>N.</i> Den why didn’t he go to Sunday-school?</p>
-
-<p><i>A.</i> No matter. But all his brothers hated
-him because his father loved him the best
-and—</p>
-
-<p><i>N.</i> I spect he always dot the biggest piece
-of pie.</p>
-
-<p><i>A.</i> And so they wanted to get rid of him,
-because—</p>
-
-<p><i>N.</i> Den why didn’t zey send him out in
-the kitchen to talk with Jenny? Dat’s what
-my ma’am does.</p>
-
-<p><i>A.</i> And they hated him all the more because
-one night, Joseph had a dream—</p>
-
-<p><i>N.</i> Oo-oo! I dreamed dot ze big Bible on
-ze parlor had five long legs and a mouf full
-of sharp teeth, an’ it climbed onto my bed
-and drowled at me ’cause I bit ze wax apple
-an’ tied gran’pa’s wig onto Carlo’s head last
-Sunday! Oh, I was so scared an’ I hollered
-an’ ma’am said she dessed I had ze nightmare.</p>
-
-<p><i>A.</i> Well, one day Joseph’s father sent him
-away to see how his brothers were getting
-along—</p>
-
-<p><i>N.</i> Why didn’t he write ’em a letter?</p>
-
-<p><i>A.</i> And when they saw Joseph coming
-they said—</p>
-
-<p><i>N.</i> Did he ride in ze cars?</p>
-
-<p><i>A.</i> No, he walked. And when his brothers
-saw him coming—</p>
-
-<p><i>N.</i> I dess they fought he was a tramp. I
-bet you Carlo would have bited his legs if
-he’d been zere.</p>
-
-<p><i>A.</i> No, they knew who he was, but they
-were bad, cruel, wicked men, and they took
-poor Joseph, who was so good, and who
-loved them all so well—</p>
-
-<p><i>N.</i> I see a boy climbing our fence! I dess
-he’s goin’ to steal our apples. Let’s go sic
-Carlo on him.</p>
-
-<p><i>A.</i> Poor Joseph, who was only a boy, just
-a little boy, who never did any one any harm;
-these great rough men seized him with fierce
-looks and angry words, and they were going
-to kill the frightened, helpless little youth,
-who cried and begged them so piteously not
-to hurt him; going to kill their own little
-brother—</p>
-
-<p><i>N.</i> Nellie Taylor has a little brother Jim,
-an’ she says she wishes somebody would
-kill him when he tears off her doll’s legs an’
-frows her kittens in ze cistern.</p>
-
-<p><i>A.</i> But Joseph’s oldest brother pitied the
-little boy when he cried—</p>
-
-<p><i>N.</i> I dess he wanted some cake; I cry
-when I want cake, an’ mamma dives me
-some.</p>
-
-<p><i>A.</i> And as he wouldn’t let them kill him,
-they found a pit—</p>
-
-<p><i>N.</i> I like peach pits, an’ I know where I
-can find a great lot of ’em now. Come along.</p>
-
-<p><i>A.</i> No, let’s finish the story first. These
-bad men put Joseph in the pit—</p>
-
-<p><i>N.</i> Why—Aunt—Dora! What is you
-talking about?</p>
-
-<p><i>A.</i> About those cruel men who put Joseph
-into the pit—</p>
-
-<p><i>N.</i> I dess you mean zey put the pit into
-Joseph.</p>
-
-<p><i>A.</i> So there the poor little boy was, all
-alone in this deep, dark hole—</p>
-
-<p><i>N.</i> Why didn’t he climb out?</p>
-
-<p><i>A.</i> Because he couldn’t. The sides of the
-pit were rough, and it was very deep, deep as
-a well—</p>
-
-<p><i>N.</i> Ding-dong-dell, cat’s in ’e well; oh
-auntie, I know a nice story, ’bout a boy that
-felled into a cistern and climbed out on a
-ladder.</p>
-
-<p><i>A.</i> Poor Joseph was sitting in this pit—</p>
-
-<p><i>N.</i> Did he have a chair?</p>
-
-<p><i>A.</i> No, he was sitting on the ground,
-wishing—</p>
-
-<p><i>N.</i> I wish I was a bumble bee an’ could
-stand on my head like a boy, an’ have all ze
-honey I could eat.</p>
-
-<p><span class="pagenum"><a id="Page_390"></a>[390]</span></p>
-
-<p><i>A.</i> But while Joseph was in the dark pit,
-frightened and crying all alone—</p>
-
-<p><i>N.</i> I bet he was afraid of ghosts!</p>
-
-<p><i>A.</i> While he was wondering if his cruel
-brothers were going to leave him in the dark
-pit, some merchants came along, and Joseph’s
-brothers took him out of the pit and
-sold him for a slave. Just think of it. Sold
-their little brother to be a slave in a country
-far away from his home, where he would
-have to work hard and where his cruel
-master would beat him; where—</p>
-
-<p><i>N.</i> What did zey get for him, Aunt Dora?</p>
-
-<p><i>A.</i> Twenty pieces of silver, and now—</p>
-
-<p><i>N.</i> Hump, dat was pitty cheap, but, I spec’
-it was all that he was worth.</p>
-
-<h3>THE POOR LITTLE RICH BOY.</h3>
-
-<p class="center">(Dialogue for two boys.)</p>
-
-<div>
-<img class="dropcap" src="images/dropcap-h.jpg" width="130" height="110" alt="" />
-</div>
-
-<p class="dropcap"><i>Harry.</i> (<i>Enters room, tossing his hat
-on table where Roy sits studying.</i>) “I
-tell you, Roy, I’m sorry for Harold
-Belmont!”</p>
-
-<p><i>Roy.</i> “Sorry for Harold Belmont! Why,
-I’d like to know? His father is the richest
-man in town. You know father has been
-working for him ever since we were born.”</p>
-
-<p><i>Harry.</i> “Yes, I know; but Harold don’t
-have half the nice times we do.”</p>
-
-<p><i>Roy.</i> “Well, I like that. Don’t he wear
-nicer clothes every day than we ever had for
-Sunday?”</p>
-
-<p><i>Harry.</i> “Yes, but they’re so nice his
-mother won’t let him roll on the grass, or
-go wading in the pond, or anything.”</p>
-
-<p><i>Roy.</i> “Well, did you ever notice what nice
-lemon pie and frosted cake he has in his
-lunch basket?”</p>
-
-<p><i>Harry.</i> “Yes, but he often wants to trade
-lunches with me.”</p>
-
-<p><i>Roy.</i> “But, Harry, he’s got a bicycle!”</p>
-
-<p><i>Harry.</i> “He told me yesterday that he
-would rather have a dog like our Rover that
-he could drive to a little wagon like ours.”</p>
-
-<p><i>Roy.</i> “But only think, Harry, of the hundreds
-and hundreds of books in his father’s
-library that he can read as much as he
-pleases! Why, if I had them, I’d be the
-happiest boy in the State. I wouldn’t waste
-a minute. I know just what books I’d read
-first—Dickens’ Child’s History of England,
-and—”</p>
-
-<p><i>Harry.</i> “O yes, Roy, but then he doesn’t
-care for books, like you, nor to be a carpenter,
-as I mean to be. He wants to be a
-farmer, and he says his father don’t mean to
-let him—wants Harold to be a banker, like
-himself; but those are not the things I was
-thinking of when I said I was sorry for him.”</p>
-
-<p><i>Roy.</i> “What was it?”</p>
-
-<p><i>Harry.</i> “Why, you know I made a little
-bird-house out of that cracker-box mother
-gave me; just a common little bird-house,
-without any paint or nice things about it,
-and set it up on a pole in the garden—”</p>
-
-<p><i>Roy.</i> “Yes, I know, and two families of
-blue-birds are living in it. What else?”</p>
-
-<p><i>Harry.</i> “Well, Harold begged his father
-to let him have a bird-house, and so Mr.
-Belmont got a man to make one—oh, a little
-beauty!—just like a little Swiss chalet, with
-porches and gables, and all painted so nicely,
-white with green trimmings and a dark brown
-roof, and the pole is striped red, white and
-blue, and they put it close to the big maple
-tree on the lawn. Oh, it was so nice I was
-almost ashamed of my poor little unpainted
-house—only the birds were building in it
-then, and it made me glad to see them so
-busy and happy. Harold was happy, too.
-He sat by the window for hours, watching
-for the birds to come to his house. But,
-Roy, none ever came! They were afraid of
-that beautiful house. I guess they thought
-it was a trap. Harold don’t sit by the window
-to watch it any more; that’s why I’m
-sorry for him.”</p>
-
-<p><i>Roy.</i> “Well, that is too bad; but I don’t<span class="pagenum"><a id="Page_391"></a>[391]</span>
-know that we can help him. You couldn’t
-give him your little house, because it isn’t
-fine enough for his father’s lawn; besides, the
-blue-birds might object to moving.”</p>
-
-<p><i>Harry.</i> “Of course; but, Roy, don’t you
-believe he’d like to come over here and watch
-our birds feed their little ones? I never get
-tired of seeing them.”</p>
-
-<p><i>Roy.</i> “He might. Let’s go and ask him.”</p>
-
-<p class="center">(<i>Both boys take their hats and pass out.</i>)</p>
-
-<p class="right"><span class="smcap">Mrs. Adrian Kraal.</span></p>
-
-<h3>COLLOQUY.</h3>
-
-<p class="center">AN ENTIRELY DIFFERENT MATTER.</p>
-
-<p class="hanging tb"><span class="smcap">Scene.</span>—<i>An office with a desk or table on
-which are an inkstand, a pile of ledgers
-and some extra sheets of paper. Mr. Pinchem,
-with gray wig and whiskers and spectacles
-sits in his office busily engaged in
-figuring up his accounts. He does not look
-up from his paper, but keeps on figuring
-while his clerk enters and takes a seat near
-the table in such a position as to both face
-the audience.</i></p>
-
-<p class="tb"><i>Clerk.</i></p>
-
-<div>
-<img class="dropcap" src="images/dropcap-m.jpg" width="140" height="100" alt="" />
-</div>
-
-<p class="dropcap">Mr. Pinchem, I—I—</p>
-
-<p><i>Mr. Pinchem.</i> Have you got those
-goods off for Kalamazoo?</p>
-
-<p><i>Clerk.</i> Yes, sir, they are off. Mr.
-Pinchem, I—</p>
-
-<p><i>Mr. P.</i> And about that order for starch?</p>
-
-<p><i>Clerk.</i> That has been attended to, sir. Mr.
-Pinchem—</p>
-
-<p><i>Mr. P.</i> And that invoice of tea?</p>
-
-<p><i>Clerk.</i> That’s all right, sir. Mr. Pinchem,
-I have—</p>
-
-<p><i>Mr. P.</i> And that cargo of sugar?</p>
-
-<p><i>Clerk.</i> Taken care of as you directed, sir.
-Mr. Pinchem, I have long—</p>
-
-<p><i>Mr. P.</i> What about Bush &amp; Bell’s consignment?</p>
-
-<p><i>Clerk.</i> Received in good order, sir. Mr.
-Pinchem, I have long wanted—</p>
-
-<p><i>Mr. P.</i> And that shipment to Buffalo?</p>
-
-<p><i>Clerk.</i> All right, sir. Mr. Pinchem, I have
-long wanted to speak to you—</p>
-
-<p><i>Mr. P.</i> Ah! speak to me? Why, I
-thought you spoke to me fifty times a day.</p>
-
-<p><i>Clerk.</i> Yes, sir, I know, but this is a
-private matter.</p>
-
-<p><i>Mr. P.</i> Private? Oh! Ah! Wait till I see
-how much we made on the last ten thousand
-pounds of soap—Six times four are twenty-four;
-six times two are twelve and two to
-carry make fourteen; six times nought are
-nothing and one to carry makes one; six
-times five are thirty; seven times four—ah!
-well go ahead, I’ll finish this afterwards.</p>
-
-<p><i>Clerk.</i> Mr. Pinchem, I have been with you
-ten long years.—</p>
-
-<p><i>Mr. P.</i> Ten, eh! Long years, eh! any
-longer than any others years? Go ahead.</p>
-
-<p><i>Clerk.</i> And I have always tried to do my
-duty.</p>
-
-<p><i>Mr. P.</i> Have, eh? Go on.</p>
-
-<p><i>Clerk.</i> And I now make bold—</p>
-
-<p><i>Mr. P.</i> Hold on! What is there bold
-about it? But never mind, I’ll hear you out.</p>
-
-<p><i>Clerk.</i> Mr. Pinchem I want to ask—ask—I
-want to ask—</p>
-
-<p><i>Mr. P.</i> Well, why don’t you ask, then? I
-don’t see why you don’t ask if you want to.</p>
-
-<p><i>Clerk.</i> Mr. Pinchem I want to ask you for—for—</p>
-
-<p><i>Mr. P.</i> You want to ask me for the hand
-of my daughter. Ah! why didn’t you speak
-right out? She’s yours, my boy, take her
-and be happy. You might have had her
-two years ago if you had mentioned it. Go
-along, now, I’m busy. Seven times six are
-forty-two, seven times five are thirty-five and
-four are thirty-nine, seven times eight—</p>
-
-<p><i>Clerk.</i> Mr. Pinchem—</p>
-
-<p><i>Mr. P.</i> What! You here yet? Well,
-what is it?</p>
-
-<p><i>Clerk.</i> I want to ask you for—</p>
-
-<p><i>Mr. P.</i> Didn’t I give her to you, you
-rascal!</p>
-
-<p><span class="pagenum"><a id="Page_392"></a>[392]</span></p>
-
-<p><i>Clerk.</i> Yes, but what I wanted to ask you
-for was not the hand of your daughter, but a
-raise of salary.</p>
-
-<p><i>Mr. P.</i> Oh! that was it, eh? Well, sir,
-that is an entirely different matter, and it requires
-time for serious thought and earnest
-deliberation. Return to your work. I’ll
-think about it, and some time next fall I’ll
-see about giving you a raise of a dollar or so
-a week. Seven times eight are fifty-six and
-three are fifty-nine—</p>
-
-<h3>THE GOSSIPS.</h3>
-
-<ul>
-<li><i>Characters.</i>—<span class="smcap">Mrs. Pry</span>, <span class="smcap">Mrs. Quick</span>, <span class="smcap">Mrs.
-Search</span>, <span class="smcap">Mrs. Gossip</span>.</li>
-</ul>
-
-<p class="hanging tb"><span class="smcap">Scene.</span>—<i>The Street. <span class="smcap">Mrs. Pry</span>, <span class="smcap">Mrs. Search</span>
-and <span class="smcap">Mrs. Quick</span>, meeting.</i></p>
-
-<p class="tb"><i>Mrs. Pry.</i></p>
-
-<div>
-<img class="dropcap" src="images/dropcap-h.jpg" width="130" height="110" alt="" />
-</div>
-
-<p class="dropcap">Have you heard any news, neighbor
-Search?</p>
-
-<p><i>Mrs. Search.</i> News? no. I am
-dying to hear some. I have not
-heard a word since last night, and it is now
-almost noon.</p>
-
-<p><i>Mrs. Quick.</i> I have heard a piece of news
-as I came along, and you will hardly believe
-it, though I received it from a person of veracity,
-who was knowing to the fact, and
-therefore could not mistake.</p>
-
-<p><i>Mrs. S.</i> Pray let us have it. I hope it is
-nothing short of an elopement.</p>
-
-<p><i>Mrs. P.</i> I hope it is a murder, or, at least,
-a suicide. We have not had any news worth
-mentioning these two months.</p>
-
-<p><i>Mrs. Q.</i> It is neither an elopement nor a
-murder, but you may think it something
-akin to the latter. The truth is, there is a
-woman down in the village, and they will
-not allow her to be buried.</p>
-
-<p><i>Mrs. S.</i> You don’t say so?</p>
-
-<p><i>Mrs. Q.</i> I do. The coroner has positively
-refused to bury her.</p>
-
-<p><i>Mrs. P.</i> Do tell! What could the poor
-creature have done to be denied Christian
-burial?</p>
-
-<p><i>Mrs. Q.</i> I do not know what the offense
-was, but they say he has his reasons, and
-buried she shall not be.</p>
-
-<p><i>Mrs. P.</i> Where is she lying? I must go
-and inquire into it. Bless me, Mrs. Search,
-how could this happen and we not hear
-of it?</p>
-
-<p><i>Mrs. S.</i> Did you hear her name, Mrs.
-Quick? That may give us a clue to the mystery.</p>
-
-<p><i>Mrs. Q.</i> I did not learn her name, though,
-if I forget not, it began with a G, or some
-such letter. But I have a little errand up
-the street, and must leave you. In the meantime
-as we know so little of the circumstances,
-it will be prudent not to repeat
-what I have told you. Good morning.
-(<i>She goes out</i>).</p>
-
-<p><i>Mrs. P.</i> Did you ever hear anything so
-strange? One of two things is certain, she
-has either killed herself or been killed, and
-is reserved for examination.</p>
-
-<p><i>Mrs. S.</i> I don’t understand it so. Mrs.
-Quick seemed to insinuate that she had been
-lying a long time, and was not to be buried
-at all. But here comes Mrs. Gossip, and
-perhaps she can tell us all about it, as she
-comes fresh from the village.</p>
-
-<p class="center"><i>Enter <span class="smcap">Mrs. Gossip</span>.</i></p>
-
-<p><i>Mrs. P.</i> Good morning, Mrs. Gossip.</p>
-
-<p><i>Mrs. Gossip.</i> Good morning, Mrs. Pry.
-How do you do, Mrs. Search?</p>
-
-<p><i>Mrs. S.</i> Pretty well, I thank you. How
-do you do?</p>
-
-<p><i>Mrs. G.</i> Indifferent, I’m much obliged to
-you. I’ve had a touch of hydrophoby, I
-believe they call it or something else.</p>
-
-<p><i>Mrs. P.</i> (<i>to <span class="smcap">Mrs. Search</span> aside</i>). No new
-complaint. She always hated cold water.
-(<i>aloud</i>) How did the dreadful disease affect
-you, Mrs. G.? What dog bit you?</p>
-
-<p><span class="pagenum"><a id="Page_393"></a>[393]</span></p>
-
-<p><i>Mrs. G.</i> Dog! what do you mean by a
-dog? The disease began with a cold in my
-head, and a sore throat, and—</p>
-
-<p><i>Mrs. S.</i> Oh, it was the influenza.</p>
-
-<p><i>Mrs. G.</i> So it was; I knew it was some
-outlandish name, and they all sound alike to
-me. For my part, I wish there <i>was</i> no
-foreign words.</p>
-
-<p><i>Mrs. P.</i> Mrs. Gossip, did you hear the
-particulars of the dreadful news in the village?</p>
-
-<p><i>Mrs. G.</i> No. What dreadful news? I
-have not heard <i>nothing</i>, good, bad, or indifferent.</p>
-
-<p><i>Mrs. P.</i> What! haven’t you heard of the
-woman in the village that they won’t bury?</p>
-
-<p><i>Mrs. G.</i> Not a word. Who is she?
-What’s her name?</p>
-
-<p><i>Mrs. S.</i> Her name begins with G, and as
-that begins your name, I hoped you would
-know something about it.</p>
-
-<p><i>Mrs. G.</i> Bless me! I never heard a syllable
-of it! Why don’t they bury the poor
-thing? I couldn’t refuse to bury even a dog.</p>
-
-<p><i>Mrs. P.</i> There is a suspicion of murder or
-suicide in the case.</p>
-
-<p><i>Mrs. G.</i> Well, they hang murderers and
-suicides, don’t they? What can be the matter?
-There is something very mysterious
-about it!</p>
-
-<p><i>Mrs. S.</i> I am dying to know all about it.
-Come, let’s all go down to the village, and
-probe the matter to the bottom. I dearly
-love to get hold of a mystery.</p>
-
-<p><i>Mrs. P.</i> I say, let us all go, and here is
-Mrs. Quick coming back. She will go with
-us, for she told us the news, and she is dying
-to learn the particulars.</p>
-
-<p class="center"><i>Re-enter <span class="smcap">Mrs. Quick</span>.</i></p>
-
-<p><i>Mrs. Quick.</i> Good morning again, ladies.</p>
-
-<p><i>All.</i> Good morning.</p>
-
-<p><i>Mrs. G.</i> What was the matter with that <i>air</i>
-woman that they won’t bury in the village?</p>
-
-<p><i>Mrs. Q.</i> Nothing is the matter with her.</p>
-
-<p><i>Mrs. G.</i> Then, in <i>marcy’s</i> name, why don’t
-they bury her?</p>
-
-<p><i>Mrs. Q.</i> I know of but one reason, but that
-is a very important one.</p>
-
-<p><i>Mrs. P.</i> We did not know you knew the
-reason they wouldn’t bury her. Why did
-you not tell us what it was?</p>
-
-<p><i>Mrs. Q.</i> You did not ask me, and, besides,
-it is somewhat of a secret.</p>
-
-<p><i>Mrs. S.</i> You need not fear our disclosing
-it. Pray let us have it.</p>
-
-<p><i>Mrs. P.</i> Pray do. I am bursting with
-curiosity.</p>
-
-<p><i>Mrs. G.</i> And I too. Mrs. Quick, you say
-there is but one reason why they will not
-bury the woman, and pray what is that?</p>
-
-<p><i>Mrs. P.</i> What is it?</p>
-
-<p><i>Mrs. S.</i> Yes, what is it?</p>
-
-<p><i>All</i> (<i>earnestly</i>). What is it?</p>
-
-<p><i>Mrs. Q.</i> <i>She is not dead!</i></p>
-
-<h3>FARMER HANKS WANTS A DIVORCE.</h3>
-
-<p class="center">(For two males and one female.)</p>
-
-<ul>
-<li><i>Characters.</i>—<span class="smcap">Lawyer Porter</span>; <span class="smcap">Farmer
-Hanks</span>; <span class="smcap">Mrs. Hanks</span>.</li>
-</ul>
-
-<p class="hanging tb"><span class="smcap">Scene.</span>—<i>Lawyer’s office. <span class="smcap">Lawyer Porter</span>
-sitting at desk writing. Knock at door.</i></p>
-
-<p class="center">(<i>Enter <span class="smcap">Farmer Hanks</span> in rustic attire, looking
-hesitatingly around.</i>)</p>
-
-<p class="tb"><i>Farmer Hanks.</i></p>
-
-<div>
-<img class="dropcap" src="images/dropcap-b.jpg" width="100" height="100" alt="" />
-</div>
-
-<p class="dropcap">Be you the divorce man?</p>
-
-<p><i>Lawyer Porter.</i> (<i>Smiling.</i>) Well,
-I don’t exactly know that my vocation
-lies particularly in that direction, but
-I have been known to undertake such cases.
-Are you in trouble?</p>
-
-<p><i>Far. H.</i> I should rather say so! It’s come
-to jest this ’ere climax that I <i>can’t</i> stand it
-nohow, not another day; an’ ef you can’t git me
-unspliced, I’ll hev to find some one who can.</p>
-
-<p><i>Law. P.</i> What are your grounds for complaint?</p>
-
-<p><span class="pagenum"><a id="Page_394"></a>[394]</span></p>
-
-<p><i>Far. H.</i> <i>Grounds!</i> Ordinary grounds
-wouldn’t hold ’em! I’ve a hull farm full!</p>
-
-<p><i>Law. P.</i> One or two are just as efficient in
-procuring a divorce as a hundred, providing
-the offence is grave enough. Your wife now,
-for instance; I suppose she hasn’t fallen in
-love with another man?</p>
-
-<p><i>Far. H.</i> Haw-haw! That’s a good ’un!
-Betsey in love with <i>another</i> feller! Wal,
-hardly, mister! Betsey isn’t no fool. You
-can bet high on <i>that</i>!</p>
-
-<p><i>Law. P.</i> Of course that was a suppositional
-case, merely. Is she a scandal-monger?</p>
-
-<p><i>Far. H.</i> Scandal-monger? Not much; ef
-ever a woman knew how to hold her tongue
-when other folks’s is a-waggin’, that’s Betsey
-every time.</p>
-
-<p><i>Law. P.</i> Cruel to her children, possibly?</p>
-
-<p><i>Far. H.</i> I swow, I’ll begin to take you fer
-the fool, mister. Our children is growed up
-an’ in homes of the’r own, years back; an’
-ez fer gran’children, ef ever an old woman
-made an idjit of herself over babies, it’s
-Betsey with them thar youngsters. She jest
-sp’iles them no end, an’ thar’s nobudy they
-sets such store by as gran’ma. You hain’t
-on the right track, by long odds.</p>
-
-<p><i>Law. P.</i> Evidently not. Suppose now, as
-my time is valuable, we reverse the case, and
-you enlighten me as to the cause of your
-unhappiness, instead of my wasting the minutes
-in making conjectures? Perhaps incompatibility
-of temper may cover the ground.</p>
-
-<p><i>Far. H.</i> In—com—what kind of temper?
-You beat me with them long words o’ yourn;
-but, mebbe you’ve struck it, this time. Thar’s
-no use talking, but Betsey’s that aggervatin’,
-she riles me so it seems like as though I’d
-bu’st! Ef she’d ever <i>say</i> a word I could
-stand it; but she’s that mum you can’t get a
-word out o’ her edgewise; you’d say, for sartain,
-thet she’d b’en born deaf, an’ without a
-tongue in her mouth.</p>
-
-<p><i>Law. H.</i> A woman and <i>dumb</i>? Ye gods!
-This is a reversal of the laws of nature with
-a vengeance! Do you mean for me to understand
-that your wife <i>never</i> speaks? How
-can she conduct her household?</p>
-
-<p><i>Far. H.</i> Oh, she’s chipper enough when
-things goes to suit; but when I’m r’iled, an’
-dyin’ to see the fur fly—to hev it out with
-some one—then she’s mummer than the side
-o’ a house; ye couldn’t git a word out o’ her
-then with a pair o’ oxen! Ef she’d only spit
-it out, too, an’ hev a good out en out settlin’
-o’ matters, ’twould clear the air like a thunder-storm;
-but thet’s exactly whar the pinch
-comes. I might r’are an’ tear, an’ pull the
-house down over our heads, fer all the good
-’twould do—thet woman would set as calm
-es a cucumber, or go about her chores, an’
-you’d never guess she knew I was within a
-hundred miles o’ her! Either she hain’t got
-an atom o’ sense in her git up, or else she’s
-too dumb to show it at sech times. It’s
-enough to drive a man into fits, an’ I can’t
-go it no longer. It’s either her or me that’s
-got to git out! I’m willin’ to do my duty to
-the letter, an’ give her a share in the old
-farm. I wouldn’t see her want for nothin’,
-fer in spite o’ her tongue—</p>
-
-<p><i>Law. P.</i> I rather think you mean her want
-of tongue!</p>
-
-<p><i>Far. H.</i> Jest so! There isn’t a kinder or
-willin’er woman in the section.</p>
-
-<p><i>Law. P.</i> Suppose, now, that we sum up:
-your wife, according to your statements, is a
-good, pure woman—</p>
-
-<p><i>Far. H.</i> That she is, lawyer! I’d like to
-hear any one say a thing against Betsey’s
-character! I’d choke the life out ov him!</p>
-
-<p><i>Law. P.</i> Fond of her children and grandchildren;
-don’t gossip; domestic in her tastes—Does
-she keep your house in order, your
-clothes mended, your wants all attended to,
-and give you your meals on time!</p>
-
-<p><i>Far. H.</i> Why, of course! Thet’s what a
-wife’s fer, isn’t she? What a question to ax!</p>
-
-<p><span class="pagenum"><a id="Page_395"></a>[395]</span></p>
-
-<p><i>Law. P.</i> You acknowledge all this. Now,
-supposing, on the contrary, that your wife
-was a shrew.</p>
-
-<p><i>Far. H.</i> (<i>Bewildered.</i>) A which?</p>
-
-<p><i>Law. P.</i> A cross, scolding woman; a
-woman who left her own fireside to gossip
-and make scandal among her neighbors; who
-neglected her home; who got your meals at
-all or no times and let you look out for yourself;
-who abused the little children around
-her; who—</p>
-
-<p><i>Far. H.</i> Stop, mister! Betsey <i>couldn’t</i> do
-none o’ them things. Why, you’d make her
-out a pretty sort o’ critter for me to hev been
-livin’ with these forty years!</p>
-
-<p><i>Law. P.</i> No, Betsey couldn’t do all or any
-of these things. From your own story you
-have a saint instead of an ordinary woman
-for a wife; a being who knows that essence of
-all true happiness—how to hold her tongue;
-who, instead of lowering herself to petty
-quarrels and commonplace bickerings, keeps
-her temper within bounds while you are purposely
-doing all you possibly can to aggravate
-her—to make her dislike you—to—</p>
-
-<p><i>Far. H.</i> (<i>Shamefacedly.</i>) Sho! You air
-trying to make out a purty strong case
-against me, ain’t you now? I never looked
-at it in jest <i>that</i> light before, an’ you can’t tell
-how a few words now an’ then would splice
-up things in general.</p>
-
-<p><i>Law. P.</i> If your wife were to come to me
-and demand a divorce, after what you have
-told me, I should be strongly tempted to take
-up her case.</p>
-
-<p><i>Far. H.</i> <i>Betsey</i> git a divorce from <i>me</i>!
-Thet’s the best yet! Well, I should as soon
-think o’ the sky falling. (<i>Knock at door,
-voice outside asking if <span class="smcap">Lawyer Porter</span> is in.</i>)
-I’ll be everlastin’ly simmered, ef thet don’t
-sound like Betsey’s voice this actual minute!
-Whar’ll I go? I don’t want to be found
-around these parts; but, what in the name o’
-conscience kin <i>she</i> want with you, now?
-(<i>Glares, at the lawyer, who takes him by the
-shoulder and leads him up to closet door or behind
-a screen.</i>)</p>
-
-<p><i>Law. P.</i> Step into this cover, and be quick
-about it. You’ll soon ascertain what your
-wife wants of me. And remember, this is a
-private interview which you are not to interrupt
-(<i><span class="smcap">Farmer Hanks</span> disappears, and the
-lawyer goes to door.</i>)</p>
-
-<p class="center">(<i>Enter <span class="smcap">Mrs Hanks</span>, hesitatingly.</i>)</p>
-
-<p><i>Law. P.</i> Good morning, madame! What
-can I do for you? Let me give you a chair.
-(<i>Seats her with back to closet or screen. <span class="smcap">Farmer
-H.</span> pokes his head out.</i>)</p>
-
-<p><i>Far. H.</i> I’ll be durned but it <i>is</i> Betsey!
-(<i>Comes half out into room, but <span class="smcap">Lawyer P.</span>
-scowls and motions him back. <span class="smcap">Mrs. Hanks</span>
-sits silent.</i>)</p>
-
-<p><i>Law. P.</i> (<i>Kindly.</i>) Well, madame, you
-want—</p>
-
-<p><i>Mrs. Hanks.</i> (<i>In a half whisper.</i>) I want,
-or I <i>guess</i> I want a bill of divorce. (<i><span class="smcap">Farmer
-Hanks’s</span> face pops out again, with an expression
-of bewilderment and horror upon it.</i>)</p>
-
-<p><i>Law. P.</i> Your husband is addicted to the
-excessive use of liquor, maybe? (<i><span class="smcap">Farmer
-H.</span> shakes his fist at the lawyer.</i>)</p>
-
-<p><i>Mrs. H.</i> Good gracious, no! Samuel
-never took too much liquor in his life, to my
-knowledge.</p>
-
-<p><i>Law. P.</i> Then, perhaps, he is violent, and
-cruel to you and the children?</p>
-
-<p><i>Mrs. H.</i> Mercy, no! Whatever made you
-think of sech a thing! Samuel wouldn’t
-hurt a fly; he’s the softest-hearted man in the
-world; it isn’t that—it’s only—only—</p>
-
-<p><i>Law.</i> P. Well, you must try to tell me
-your difficulty, or I will be unable to help
-you.</p>
-
-<p><i>Mrs. H.</i> (<i>Bursting into tears.</i>) It’s so hard
-to tell, yet it’s so hard to bear. It seems jest
-as if I’d go wild ef I had it to stand another
-day. Yet except fer this one thing Samuel’s<span class="pagenum"><a id="Page_396"></a>[396]</span>
-the best husband a woman could ask fer. He
-is perfect temperate in all his habits, liberal
-an’ open-handed as the day is long, an’ as
-kind an’ considerate as any one could wish
-fer. (<i><span class="smcap">Farmer H.</span> looks out at the lawyer exultingly.</i>)
-But—but—</p>
-
-<p><i>Law. P.</i> But what?</p>
-
-<p><i>Mrs. H.</i> Oh, those <i>dreadful</i> tantrums of
-his’n! They come on without any apparent
-reason at all, an’ he’s like to a crazy man.</p>
-
-<p><i>Law. P.</i> And you oppose him and aggravate
-him when he gets in these moods, possibly?</p>
-
-<p><i>Mrs. H.</i> (<i>Sadly.</i>) Oh, no! What good
-would <i>that</i> do? or rather, what harm wouldn’t
-it do? I jest stand them as best I may, an’
-pray the Good Power above for strength to
-hold my tongue, an’ bear the affliction which
-he has seen fit to visit me with. (<i><span class="smcap">Farmer H.</span>
-looks out again with an incredulous, shamefaced
-expression, and seems about to speak, but
-the lawyer motions him back.</i>)</p>
-
-<p><i>Law. P</i>. And you say absolutely nothing?</p>
-
-<p><i>Mrs. H.</i> I never hev given way to my
-tongue yet; ef I once <i>should</i>, or to the feelin’
-that he rouses in me at sech times, I almost
-think I should <i>strike</i> him. (<i><span class="smcap">Farmer H.</span> again
-advances, but is motioned back.</i>)</p>
-
-<p><span class="smcap">Law. P.</span> Wouldn’t that serve him right?</p>
-
-<p><i>Mrs. H.</i> (<i>Surprised.</i>) Strike Samuel? I’d
-never forgive myself ef I did. Yet, it is so
-hard; you can’t tell! It really seems as ef
-the harder I tried to hold my tongue an’ keep
-the peace, the worse he got, until sometimes
-I ’most think he’d like to <i>kill</i> me!</p>
-
-<p><i>Law. P.</i> Oh, surely not! His wicked temper
-would not, or could not, carry itself to
-such an extent against such an angel of peace.
-But, I cannot find words to express my opinion
-of such a brute. I cannot find strong
-enough terms to convey my condemnation.
-A man who will seek willfully to quarrel with
-a wife who is gentleness and meekness itself,
-to say nothing of the other cardinal virtues,
-is a selfish heartless piece of humanity, unworthy
-of the name of man, and deserves
-nothing better than the public whipping-post,
-which, unhappily—</p>
-
-<p><i>Mrs. H.</i> Stop! I will not allow you to
-speak of Samuel in such a manner! He may
-hev his little faults as all men do—</p>
-
-<p><i>Far. H.</i> (<i>Rushing out</i>). Yes, let him say
-every durned thing he kin of me, Betsey! I
-deserve it all, an’ a hundred times more—(<i>Mrs.
-Hanks gives a scream and almost sinks
-to the floor, but her husband catches her</i>)—when
-I think of what a howlin’ idjit I’ve b’en
-all these years. The whippin’-post ain’t half
-severe enough.</p>
-
-<p><i>Mrs. H.</i> Oh, you <i>never</i> was that, Samuel!</p>
-
-<p><i>Far. H.</i> Yes I was, an’ be, up to this very
-minute; but I be goin’ to make a clean
-breast of it or bu’st. Here I hev b’en thinkin’
-an’ sayin’ that you didn’t quarrel with me
-nor answer me back, because ye didn’t <i>know</i>
-enough—</p>
-
-<p><i>Mrs. H.</i> Oh, Samuel, how <i>could</i> you?</p>
-
-<p><i>Far. H.</i> An’ thet you was a perfect fool,
-with no spunk in ye, an’ here you’ve b’en
-with the spunk all bottled up, an’ never
-darin’ to let her loose for fear o’ makin’ <i>me</i>
-wuss, an’ doin’ wrong yourself! Oh! I’m
-the wickedest kind of a sinner, Betsey.
-(<i>Groans</i>). I don’t wonder you want to git a
-bill ag’inst me; an’ this here lawyer’ll be
-sure to git ye one, as he sees you deserve it
-fast enough, an’ I don’t blame neither o’ ye.</p>
-
-<p><i>Mrs. H.</i> But I don’t <i>want</i> it, Samuel. Now
-you see jest how it is, an’ that I never allowed
-to r’ile you, I’m sure ’twill all be right.
-(<i>Turning to Lawyer P</i>). An’ you won’t let
-what I’ve said turn you ag’inst him, will you?
-You can see for yourself that he never could
-hev meant it.</p>
-
-<p><i>Law. P.</i> And he never was such a man as
-he proves at this very time when he humbles
-himself to confess how wrong he has been,
-and acknowledges the true worth of his devoted<span class="pagenum"><a id="Page_397"></a>[397]</span>
-wife whom he has so long misjudged
-or misunderstood.</p>
-
-<p><i>Far. H.</i> You’re right thar, Lawyer Porter.
-I can’t find the words to tell what a blamed
-fool I’ve been; yet, ef you’ll believe it, I feel
-lighter o’ heart this blessed minute than I
-hev in a month o’ Sundays before. An’ to
-think that an hour ago I was actually hankerin’
-after a bill ag’in ye, Betsey! I don’t desarve
-ye should forgive me, like this, but I
-give ye my word o’ honor that the next time
-a tantrum strikes me I’ll hev it out down in
-the meddar with that old Jersey bull o’ mine.</p>
-
-<p class="center">(<i>Curtain falls.</i>)</p>
-
-<h3>TAKING THE CENSUS.</h3>
-
-<p><i>Characters</i>:</p>
-
-<ul>
-<li><span class="smcap">Inquisitor.</span> <i>A Patient Man, with pen, ink and a
-large sheet of paper, engaged in taking the census.</i></li>
-<li><span class="smcap">Mrs. Touchwood.</span> <i>An old lady in frilled cap and
-set-sprig apron, engaged in giving it.</i></li>
-</ul>
-
-<p class="hanging tb"><span class="smcap">Scene.</span>—<i>A house in the country. <span class="smcap">Mrs. Touchwood</span>
-at a wash-tub hard at work.</i></p>
-
-<p class="center"><i>Enter <span class="smcap">Inquisitor</span>.</i></p>
-
-<p class="tb"><i>Inquisitor.</i></p>
-
-<div>
-<img class="dropcap" src="images/dropcap-g.jpg" width="125" height="100" alt="" />
-</div>
-
-<p class="dropcap">Good morning, madam. Is the head
-of the family at home?</p>
-
-<p><i>Mrs. Touchwood.</i> Yes, sir, <i>I’m
-at home</i>.</p>
-
-<p><i>Inq.</i> Haven’t you a husband?</p>
-
-<p><i>Mrs. T.</i> Yes, sir, but he ain’t the head of
-the family, I’d have you to know.</p>
-
-<p><i>Inq.</i> How many persons have you in your
-family?</p>
-
-<p><i>Mrs. T.</i> Why, bless me, sir, what’s that to
-you? You’re mighty inquisitive, I think.</p>
-
-<p><i>Inq.</i> I’m the man that takes the census.</p>
-
-<p><i>Mrs. T.</i> If you was a man in your <i>senses</i>
-you wouldn’t ask such impertinent questions.</p>
-
-<p><i>Inq.</i> Don’t be offended, old lady, but answer
-my questions as I ask them.</p>
-
-<p><i>Mrs. T.</i> “Answer a fool according to his
-folly!”—you know what the Scripture says.
-<i>Old</i> lady, indeed!</p>
-
-<p><i>Inq.</i> Beg your pardon, madam; but I don’t
-care about hearing Scripture just at this moment
-I’m bound to go according to law and
-not according to gospel.</p>
-
-<p><i>Mrs. T.</i> I should think you went neither
-according to law nor gospel. What business
-is it to you to inquire into folks’ affairs, Mr.
-Thingumbob?</p>
-
-<p><i>Inq.</i> The law makes it my business, good
-woman, and if you don’t want to expose
-yourself to its penalties, you must answer
-my questions.</p>
-
-<p><i>Mrs. T.</i> Oh, it’s the law, is it? That alters
-the case. But I should like to know what
-the law has to do with other people’s household
-matters?</p>
-
-<p><i>Inq.</i> Why, Congress made the law, and if
-it don’t please you, you must talk to them
-about it.</p>
-
-<p><i>Mrs. T.</i> Talk to a fiddle-stick! Why, Congress
-is a fool, and you’re another.</p>
-
-<p><i>Inq.</i> Now, good lady, you’re a fine, good-looking
-woman; if you’ll give me a few civil
-answers I’ll thank you. What I wish to
-know first is, how many are there in your
-family?</p>
-
-<p><i>Mrs. T.</i> Let me see [<i>counting on her fingers</i>];
-there’s I and my husband is one——</p>
-
-<p><i>Inq.</i> Two, you mean.</p>
-
-<p><i>Mrs. T.</i> Don’t put me out, now, Mr.
-Thinkummy. There’s I and my husband is
-one——</p>
-
-<p><i>Inq.</i> Are you always one?</p>
-
-<p><i>Mrs. T.</i> What’s that to you, I should like
-to know. But I tell you, if you don’t leave
-off interrupting me I won’t say another word.</p>
-
-<p><i>Inq.</i> Well, take your own way, and be
-hanged to you.</p>
-
-<p><i>Mrs. T.</i> I will take my own way, and no
-thanks to you. [<i>Again counting her fingers.</i>]
-There’s I and my husband is one; there’s
-John, he’s two; Peter is three, Sue and Moll
-are four, and Thomas is five. And then
-there’s Mr. Jenkins and his wife and the two<span class="pagenum"><a id="Page_398"></a>[398]</span>
-children is six; and there’s Jowler, he’s
-seven.</p>
-
-<p><i>Inq.</i> Jowler! Who’s he?</p>
-
-<p><i>Mrs. T.</i> Who’s Jowler! Why, who should
-he be but the old house dog?</p>
-
-<p><i>Inq.</i> It’s the number of persons I want to
-know.</p>
-
-<p><i>Mrs. T.</i> Very well, Mr. Flippergin, ain’t
-Jowler a person? Come here, Jowler, and
-speak for yourself. I’m sure he’s as personable
-a dog as there is in the whole State.</p>
-
-<p><i>Inq.</i> He’s a very clever dog, no doubt.
-But it’s the number of human beings I want
-to know.</p>
-
-<p><i>Mrs. T.</i> Human! There ain’t a more human
-dog that ever breathed.</p>
-
-<p><i>Inq.</i> Well, but I mean the two-legged kind
-of beings.</p>
-
-<p><i>Mrs. T.</i> Oh, the two-legged, is it? Well,
-then, there’s the old rooster, he’s seven; the
-fighting-cock is eight, and the bantam is
-nine——</p>
-
-<p><i>Inq.</i> Stop, stop, good woman, I don’t want
-to know the number of your fowls.</p>
-
-<p><i>Mrs. T.</i> I’m very sorry indeed, I can’t
-please you, such a sweet gentleman as you
-are. But didn’t you tell me—’twas the two-legged
-beings——</p>
-
-<p><i>Inq.</i> True, but I didn’t mean the hens.</p>
-
-<p><i>Mrs. T.</i> Oh, now I understand you. The
-old gobbler, he’s seven, the hen turkey is
-eight; and if you’ll wait a week there’ll be a
-parcel of young ones, for the old hen turkey
-is setting on a whole snarl of eggs.</p>
-
-<p><i>Inq.</i> Blast your turkeys!</p>
-
-<p><i>Mrs. T.</i> Oh, don’t now, good Mr. Hipper-stitcher,
-I pray you don’t. They’re as honest
-turkeys as any in the country.</p>
-
-<p><i>Inq.</i> Don’t vex me any more. I’m getting
-to be angry.</p>
-
-<p><i>Mrs. T.</i> Ha! ha! ha!</p>
-
-<p><i>Inq.</i> [<i>striding about the room in a rage</i>.]
-Have a care, madam, or I shall fly out of my
-skin.</p>
-
-<p><i>Mrs T.</i> If you do, I don’t know who will
-fly in.</p>
-
-<p><i>Inq.</i> You do all you can to anger me. It’s
-the two-legged creatures who talk I have reference
-to.</p>
-
-<p><i>Mrs. T.</i> Oh, now I understand you. Well
-then, our Poll Parrot makes seven and the
-black gal eight.</p>
-
-<p><i>Inq.</i> I see you will have your own way.</p>
-
-<p><i>Mrs. T.</i> You have just found out, have
-you! You are a smart little man!</p>
-
-<p><i>Inq.</i> Have you mentioned the whole of
-your family?</p>
-
-<p><i>Mrs. T.</i> Yes, that’s the whole—except the
-wooden-headed man in front.</p>
-
-<p><i>Inq.</i> Wooden-headed?</p>
-
-<p><i>Mrs. T.</i> Yes, the schoolmaster what’s boarding
-here.</p>
-
-<p><i>Inq.</i> I suppose if he has a wooden head he
-lives without eating, and therefore must be
-a profitable boarder.</p>
-
-<p><i>Mrs. T.</i> Oh, no, sir, you are mistaken
-there. He eats like a leather judgment.</p>
-
-<p><i>Inq.</i> How many servants are there in the
-family?</p>
-
-<p><i>Mrs. T.</i> Servants! Why, there’s no servants
-but me and my husband.</p>
-
-<p><i>Inq.</i> What makes you and your husband
-servants?</p>
-
-<p><i>Mrs. T.</i> I’m a servant to hard work, and
-he is a servant to rum. He does nothing all
-day but guzzle, guzzle, guzzle; while I’m
-working, and stewing, and sweating from
-morning till night, and from night till morning.</p>
-
-<p><i>Inq.</i> How many colored persons have you?</p>
-
-<p><i>Mrs. T.</i> There’s nobody but Dinah, the
-black girl, Poll Parrot and my daughter Sue.</p>
-
-<p><i>Inq.</i> Is your daughter a colored girl?</p>
-
-<p><i>Mrs. T.</i> I guess you’d think so if you was
-to see her. She’s always out in the sun—and
-she’s tanned up as black as an Indian.</p>
-
-<p><i>Inq.</i> How many white males are there in
-your family under ten years of age?</p>
-
-<p><span class="pagenum"><a id="Page_399"></a>[399]</span></p>
-
-<p><i>Mrs. T.</i> Why, there ain’t none now; my
-husband don’t carry the mail since he’s taken
-to drink so bad. He used to carry two, but
-they wasn’t white.</p>
-
-<p><i>Inq.</i> You mistake, good woman; I meant
-male folks, not leather mails.</p>
-
-<p><i>Mrs. T.</i> Let me see; there’s none except
-little Thomas, and Mr. Jenkins’ two little
-girls.</p>
-
-<p><i>Inq.</i> Males, I said, madam, not females.</p>
-
-<p><i>Mrs. T.</i> Well, if you don’t like them, you
-may leave them off.</p>
-
-<p><i>Inq.</i> How many white males are there between
-ten and twenty?</p>
-
-<p><i>Mrs. T.</i> Why, there’s nobody but John and
-Peter, and John ran away last week.</p>
-
-<p><i>Inq.</i> How many white males are there between
-twenty and thirty?</p>
-
-<p><i>Mrs. T.</i> Let me see—there’s the wooden-headed
-man is one, Mr. Jenkins and his wife
-is two, and the black girl is three.</p>
-
-<p><i>Inq.</i> No more of your nonsense, old lady;
-I’m heartily tired of it.</p>
-
-<p><i>Mrs. T.</i> Hoity toity! Haven’t I a right
-to talk as I please in my own house?</p>
-
-<p><i>Inq.</i> You must answer the questions as I
-put them.</p>
-
-<p><i>Mrs. T.</i> “Answer a fool according to his
-folly”—you’re right, Mr. Hippogriff.</p>
-
-<p><i>Inq.</i> How many white males are there between
-thirty and forty?</p>
-
-<p><i>Mrs. T.</i> Why, there’s nobody but I and
-my husband—and he was forty-one last
-March.</p>
-
-<p><i>Inq.</i> As you count yourself among the
-males, I dare say you wear the breeches.</p>
-
-<p><i>Mrs. T.</i> Well, what if I do, Mr. Impertinence?
-Is that anything to you? Mind
-your own business, if you please.</p>
-
-<p><i>Inq.</i> Certainly—I did but speak. How
-many white males are there between forty
-and fifty?</p>
-
-<p><i>Mrs. T.</i> None.</p>
-
-<p><i>Inq.</i> How many between fifty and sixty?</p>
-
-<p><i>Mrs. T.</i> None.</p>
-
-<p><i>Inq.</i> Are there any between this and a
-hundred?</p>
-
-<p><i>Mrs. T.</i> None except the old gentleman.</p>
-
-<p><i>Inq.</i> What old gentleman? You haven’t
-mentioned any before.</p>
-
-<p><i>Mrs. T.</i> Why, gramther Grayling—I
-thought everybody knew gramther Grayling—he’s
-a hundred and two years old next
-August, if he lives so long—and I dare say
-he will, for he’s got the dry wilt, and they
-say such folks never dies.</p>
-
-<p><i>Inq.</i> Now give the number of deaf and
-dumb persons.</p>
-
-<p><i>Mrs. T.</i> Why, there is no deaf persons,
-excepting husband, and he ain’t so deaf as
-he pretends to be. When anybody axes him
-to take a drink of rum, if it’s only in a whisper,
-he can hear quick enough. But if I
-tell him to fetch an armful of wood or feed
-the pigs or tend the griddle, he’s as deaf as
-a horse-block.</p>
-
-<p><i>Inq.</i> How many dumb persons?</p>
-
-<p><i>Mrs. T.</i> Dumb! Why, there’s no dumb
-body in the house, except the wooden-headed
-man, and he never speaks unless he’s spoken
-to. To be sure, my husband wishes I was
-dumb, but he can’t make it out.</p>
-
-<p><i>Inq.</i> Are there any manufactures carried
-on here?</p>
-
-<p><i>Mrs. T.</i> None to speak on, except turnip
-sausages and tow cloth.</p>
-
-<p><i>Inq.</i> Turnip-sausages!</p>
-
-<p><i>Mrs. T.</i> Yes, turnip-sausages. Is there
-anything so wonderful in that?</p>
-
-<p><i>Inq.</i> I never heard of them before. What
-kind of machinery is used in making
-them?</p>
-
-<p><i>Mrs. T.</i> Nothing but a bread-trough, a
-chopping-knife and a sausage filler.</p>
-
-<p><i>Inq.</i> Are they made of clear turnips?</p>
-
-<p><i>Mrs. T.</i> Now you’re terrible inquisitive.
-What would you give to know?</p>
-
-<p><i>Inq.</i> I’ll give you the name of being the<span class="pagenum"><a id="Page_400"></a>[400]</span>
-most communicative and pleasant woman
-I’ve met with for the last half-hour.</p>
-
-<p><i>Mrs. T.</i> Well, now, you’re a sweet gentleman,
-and I must gratify you. You must
-know we mix with the turnip a little red
-cloth, just enough to give them a color, so
-they needn’t look as if they were made of
-clear fat meat; then we chop them up well
-together, put in a little sage, summer savory,
-and black pepper; and they make as pretty
-little delicate links as ever was set on a gentleman’s
-table; they fetch the highest price
-in the market.</p>
-
-<p><i>Inq.</i> Indeed! Have you a piano in the
-house?</p>
-
-<p><i>Mrs. T.</i> A piany! What’s that?</p>
-
-<p><i>Inq.</i> A musical instrument.</p>
-
-<p><i>Mrs. T.</i> Lor, no. But Sary Jane, down at
-the Corners, has one—you see. Sary got all
-highfalutin about the great Colushun down
-to Bosting, and down she went; an’ when
-she came back the old man got no rest until
-she had one of the big square music boxes
-with white teeth—’spose that’s what you call
-a piany.</p>
-
-<p><i>Inq.</i> You seem to know what it is, then.</p>
-
-<p><i>Mrs. T.</i> Yes, sir. Have you anything
-more to ax?</p>
-
-<p><i>Inq.</i> Nothing more. Good morning, madam.</p>
-
-<p><i>Mrs. T.</i> Stop a moment; can’t you think
-of something else? Do now, that’s a good
-man. Wouldn’t you like to know what we’re
-a-going to have for dinner; or how many
-chickens our old white hen hatched at her
-last brood; or how many—</p>
-
-<p><i>Inq.</i> Nothing more—nothing more.</p>
-
-<p>Mrs. T. Here, just look in the cupboard,
-and see how many red ants there are in the
-sugar-bowl; I haven’t time to count them
-myself.</p>
-
-<p><i>Inq.</i> Confound your ants and all your relations.</p>
-
-<p class="right">[<i>Exit in a huff.</i></p>
-
-<h3>ELDER SNIFFLES’ COURTSHIP</h3>
-
-<p><i>Characters.</i></p>
-
-<ul>
-<li><span class="smcap">Widow Bedott</span>, <span class="smcap">Elder Sniffles</span>, In Character.</li>
-</ul>
-
-<p><i>The widow retires to the grove in the rear of
-<span class="smcap">Elder Sniffles’</span> house, sits down on a log
-and sings in a plaintive voice.</i></p>
-
-<p class="tb"><i>Widow Bedott.</i></p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-w.jpg" width="150" height="110" alt="" /></div>
-    <div class="dropcapline">What peaceful hours I once enjoyed,</div>
-    <div class="verse indent2">All on a summer’s day!</div>
-    <div class="verse indent0">But O, my comfort was destroyed,</div>
-    <div class="verse indent2">When Shadrack crossed my way!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I heerd him preach—I heerd him pray—</div>
-    <div class="verse indent2">I heerd him sweetly sing;</div>
-    <div class="verse indent0">Dear suz! how I did feel that day!</div>
-    <div class="verse indent2">It was a drefful thing!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Full forty dollars would I give</div>
-    <div class="verse indent2">If we’d continnerd apart—</div>
-    <div class="verse indent0">For though he’s made my sperrit live</div>
-    <div class="verse indent2">He’s surely bust my heart!</div>
-  </div>
-</div>
-</div>
-
-<p><i>She sighs profoundly, and the <span class="smcap">Elder</span> advances
-unexpectedly.</i></p>
-
-<p><i>W. B.</i> Good gracious! is that you, Elder
-Sniffles! how you <i>did</i> scare me! Never was
-so flustrated in all the days o’ my life!
-hadn’t the remotest idee o’ meeting <i>you</i> here—would’t
-a come for forty dollars if I’d a
-s’posed you ever meander’d here. I never
-was here afore—but was settin’ by my winder
-and I cast my eyes over here, and as I observed
-the lofty trees a wavin’ in the gentle
-blast, and heerd the feathered songsters a
-wobblin’ their mellancolly music, I felt quite
-a call to come over; it’s so retired and morantic—such
-an approbriate place to marvel
-round in, ye know, when a body feels low-sperrited
-and unconsolable, as I dew to-night.
-O, d-e-a-r!</p>
-
-<p><i>E. S.</i> Most worthy Mrs. Bedott, your evident
-depression fills me with unmitigated
-sympathy. Your feelings (if I may be permitted
-to judge from the language of your
-song, which I overheard)——</p>
-
-<p><span class="pagenum"><a id="Page_401"></a>[401]</span></p>
-
-<p><i>W. B.</i> You didn’t though, Elder! the
-drefful suz! what <i>shall</i> I dew! I wouldn’t a
-had you heerd that song for no money! I
-wish I hadn’t a come! I wish to gracious I
-hadn’t a come!</p>
-
-<p><i>E. S.</i> I assure you, Mrs. Bedott, it was
-unintentional on my part, entirely unintentional,
-but my contiguity to yourself and
-your proximity to me were such as rendered
-it impossible for me to avoid hearing
-you—</p>
-
-<p><i>W. B.</i> Well, it can’t be helped now; it’s
-no use crying for spilt milk, but I wouldn’t
-have you to think I know’d <i>you</i> ever came
-here.</p>
-
-<p><i>E. S.</i> On the contrary, this grove is a
-favorite resort of mine; it affords a congenial
-retreat after the exterminating and tremendous
-mental labors of the day. I not unfrequently
-spend the declining hours of the
-evening here, buried in the most profound
-meditations. On your entrance I was occupying
-my customary seat beneath that umbrageous
-mounting ash which you perceive
-a few feet from you; indeed, had not your
-mind been much pre-occupied you could
-scarcely have avoided discovering me.</p>
-
-<p><i>W. B.</i> Oh, granf’ther grievous! I wish
-I’d staid to hum! I was born for misfortin’
-and nothin’ else! I wish to massy I’d staid
-to hum to-night! but I felt as if I’d like to
-come here once afore I leave the place. [<i>She
-weeps.</i>]</p>
-
-<p><i>E. S.</i> Ah! indeed! do you project leaving
-Scrabble Hill?</p>
-
-<p><i>W. B.</i> Yes, I dew; I calklate to go next
-week. I must hear you preach once more—<i>once</i>
-more, Elder, and then I’m gwine—somewhere—I
-don’t care where, nor I don’t care
-what becomes o’ me when I git there. [<i>She
-sobs violently.</i>]</p>
-
-<p><i>E. S.</i> O, Mrs. Bedott, you distress me beyond
-limitation—permit me to inquire the
-cause of this uncontrollable agony?</p>
-
-<p><i>W. B.</i> O, Elder Sniffles, you’re the last
-indiwidual that ought to ax such a question.
-O, I <i>shall</i> die! I shall give it up!</p>
-
-<p><i>E. S.</i> Madame, my interest in your welfare
-is intense; allow me to entreat you still
-more vehemently to unburden your mind;
-perhaps it is in my power to relieve you.</p>
-
-<p><i>W. B.</i> Relieve me! what an idee! O,
-Elder, you <i>will</i> be the death o’ me if you
-make me revulge my feelings so. An hour
-ago I felt as if I’d a died afore I’d a said what
-I hev said now, but you’ve draw’d it out o’
-me.</p>
-
-<p><i>E. S.</i> Respected madame, you have as yet
-promulgated nothing satisfactory; permit
-me——</p>
-
-<p><i>W. B.</i> O, granf’ther grievous! must I
-come to’t? Well, then, if I must, I must,
-so to begin at the beginnin’. When I fust
-heern you preach, your sarmons onsettled
-my faith; but after a spell I was convinced
-by yer argefyin’, and gin up my ’roneus notions,
-and my mind got considerably carm.
-But how could I set Sabberday after Sabberday
-under the droppin’s o’ yer voice, and not
-begin to feel a mor’n ordinary interest in the
-speaker? I indevored not tew, but I couldn’t
-help it; ’twas in vain to struggle against the
-feelin’s that prepossest my buzzom. But it’s
-all over with me now! my felicitude is at an
-end! my sittiwation is hopeless! I shall go
-back to Wiggleton next week, and never
-truble you no more.</p>
-
-<p><i>E. S.</i> Ah, Mrs. Bedott, you alarm——</p>
-
-<p><i>W. B.</i> Yes, you never’ll see no more truble
-with Prissilly. I’m agwine back to Wiggleton.
-Can’t bear to go back thar, nother, on
-account o’ the indiwidduals that I come
-away to git rid of. There’s Cappen Canoot,
-he’s always been after me ever since my husband
-died, though I hain’t never gin him no
-incurridgement—but he won’t take no for an
-answer. I dread the critter’s attentions. And
-’Squire Bailey—he’s wonderful rich—but that<span class="pagenum"><a id="Page_402"></a>[402]</span>
-ain’t no recommendation to me, and I’ve told
-him so time and agin, but I s’pose he thinks
-I’ll come round bumby. And Deacon Crosby,
-he lost his partner a spell afore I come away;
-he was very much pleased with me; he’s a
-wonderful fine man—make a fust-rate husband.
-I kind o’ hesitated when he promulgated
-his sentiments tew me, told him I’d
-think on’t till I cum back—s’pose he’ll be at
-me as soon as I git there. I hate to disappoint
-Deacon Crosby, he’s such a fine man,
-and my dezeased companion sot so much by
-him, but then I don’t feel for him as I dew
-for——. He’s a Presbyterian, tew, and I
-don’t think ’twould be right to unite my destination
-to hisen.</p>
-
-<p><i>E. S.</i> Undoubtedly in your present state
-of feeling, the uncongeniality would render a
-union——</p>
-
-<p><i>W. B.</i> O, dear, dear, dear! I can’t bear to
-go back there and indure their attentions,
-but, thank fortune, they won’t bother me long—I
-shall go into a decline, I know I shall, as
-well as I want to know it. My trubles’ll
-soon be over—undoubtedly they’ll put up a
-monnyment to my memory—I’ve got the
-description all ready for it—it says:</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Here sleeps Prissilly P. Bedott,</div>
-    <div class="verse indent2">Late relic of Hezekier,</div>
-    <div class="verse indent0">How mellancolly was her lot!</div>
-    <div class="verse indent2">How soon she did expire!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">She didn’t commit self-suicide,</div>
-    <div class="verse indent2">’Twas tribbilation killed her;</div>
-    <div class="verse indent0">O, what a pity she hadn’t a died</div>
-    <div class="verse indent2">Afore she saw the elder!</div>
-  </div>
-</div>
-</div>
-
-<p>And O, Elder, you’ll visit my grave, won’t
-ye, and shed tew or three tears over it?
-’Twould be a consolation tew me tew think
-you would.</p>
-
-<p><i>E. S.</i> In case I should ever have occasion
-to journey through that section of the country,
-and could consistently with my arrangements
-make it convenient to tarry for a short
-time at Wiggleton, I assure you it would
-afford me much pleasure to visit your grave,
-agreeably to your request.</p>
-
-<p><i>W. B.</i> O, Elder, how onfeelin’!</p>
-
-<p><i>E. S.</i> Unfeeling! did I not understand you
-correctly when I understood you to request
-me to visit your grave?</p>
-
-<p><i>W. B.</i> Yes, but I don’t see how you could
-be so carm, when I’m talkin’ about dyin’.</p>
-
-<p><i>E. S.</i> I assure you, Mrs. Bedott, I had not
-the slightest intention of manifesting a want
-of feeling in my remark. I should regard
-your demise as a most deplorable event, and
-it would afford me no small degree of satisfaction
-to prevent so melancholy a catastrophe
-were it in my power.</p>
-
-<p><i>W. B.</i> Well, I guess I’ll go hum. If Sally
-should know you was here a talkin’ with me,
-she’d make an awful fuss.</p>
-
-<p><i>E. S.</i> Indeed I see no reason to fear that
-my domestic should interfere in any of my
-proceedings.</p>
-
-<p><i>W. B.</i> O, lawful sakes! how numb you
-be, elder! I didn’t allude to Sal Blake—I
-meant Sal Hugle. She’t you’re ingaged
-tew.</p>
-
-<p><i>E. S.</i> Engaged to Miss Hugle! You alarm
-me, Mrs. Be——</p>
-
-<p><i>W. B.</i> Now don’t undertake to deny it,
-Elder; everybody says it’s a fact.</p>
-
-<p><i>E. S.</i> Well, then, it only remains for me
-to assert that everybody is laboring under an
-entire and unmitigated mistake.</p>
-
-<p><i>W. B.</i> You don’t say so, Elder! Well, I
-declare, I do feel relieved. I couldn’t endure
-the idea o’ stayin’ here to see that match go
-off. She’s so onworthy—so different from
-what your companion had ort to be—and
-so lazy—and makes such awful poitry; and
-then she hain’t worth a cent in the world.
-But I don’t want to say a word against her;
-for, if you ain’t ingaged now, mabby you
-will be. O, Elder! promise me, dew promise
-me now’t you won’t marry that critter.<span class="pagenum"><a id="Page_403"></a>[403]</span>
-’Twould be a consolation to me when I’m
-far away on my dyin’ bed to know—[<i>She
-weeps with renewed energy.</i>] O, Elder, I’m
-afeared I’m a gwine to have the highsterics.
-I’m subjick to spasmotic affections when I’m
-excited and overcome.</p>
-
-<p><i>E. S.</i> You alarm me, Mrs. Bedott! I will
-hasten to the house and bring the sal volatile,
-which may restore you.</p>
-
-<p><i>W. B.</i> For the land’s sake, Elder, don’t
-go after Sal; she can’t dew nothin’ for me.
-It’ll only make talk, for she’ll tell it all round
-the village. Jest take that ar newspaper that
-sticks out o’ yer pocket, and fan me with it
-a leetle. There, I feel quite resusticated.
-I’m obliged tew ye; guess I can manage to
-get hum now. [<i>She rises.</i>] Farwell, Elder
-Sniffles! adoo! we part to meet no more!</p>
-
-<p><i>E. S.</i> Ah, Mrs. Bedott! do not speak in
-that mournful strain; you distress me beyond
-all mitigation. [<i>He takes her hand.</i>] Pray
-reseat yourself, and allow me to prolong the
-conversation for a short period. As I before
-observed, your language distresses me beyond
-all duration.</p>
-
-<p><i>W. B.</i> Dew you actually feel distressed at
-the idee o’ partin’ with me?</p>
-
-<p><i>E. S.</i> Most indubitably, Mrs. Bedott.</p>
-
-<p><i>W. B.</i> Well, then, what’s the use o’ partin’
-at all? O, what have I said? what have I
-said?</p>
-
-<p><i>E. S.</i> Ahem—ahaw, allow me to inquire—are
-you in easy circumstances, Mrs.
-Bedott?</p>
-
-<p><i>W. B.</i> Well, not entirely yet, though I
-feel considerable easier’n what I did an hour
-ago.</p>
-
-<p><i>E. S.</i> Ahem! I imagine that you do not
-fully apprehend my meaning. I am a clergyman,
-a laborer in the vineyard of the Lord—as
-such you will readily understand I cannot be
-supposed to abound in the filthy lucre of
-this world; my remuneration is small—hence——</p>
-
-<p><i>W. B.</i> O, Elder, how can you s’pose I’d
-hesitate on account o’ your bein’ poor?
-Don’t think on’t—it only increases my opinion
-of you; money ain’t no objick to me.</p>
-
-<p><i>E. S.</i> I naturally infer from your indifference
-respecting the amount of <i>my</i> worldly
-possessions that you yourself have——</p>
-
-<p><i>W. B.</i> Don’t be oneasy, Elder, dear—don’t
-illude tew it again; depend on’t you’re
-jest as dear tew me, every bit and grain, as
-you would be if you owned all the mines in
-Ingy.</p>
-
-<p><i>E. S.</i> I will say no more about it.</p>
-
-<p><i>W. B.</i> So I s’pose we’re ingaged.</p>
-
-<p><i>E. S.</i> Undoubtedly.</p>
-
-<p><i>W. B.</i> We’re ingaged, and my tribbilation
-is at an end. [<i>Her head drops on his shoulder.</i>]
-O, Shadrack! what will Hugelina say
-when she hears on’t?</p>
-
-<p class="right"><span class="smcap">Francis M. Whitcher.</span></p>
-
-<h3>THE MATRIMONIAL ADVERTISEMENT.</h3>
-
-<ul>
-<li><i>Characters.</i>—<i><span class="smcap">Mary Cole</span>; <span class="smcap">Grandmother
-Cole</span>, who is very deaf; <span class="smcap">Jack Cole</span>; <span class="smcap">Aunt
-Martha Gordon</span>; <span class="smcap">Cyrus Gordon</span>.</i></li>
-</ul>
-
-<p class="hanging tb"><span class="smcap">Scene I.</span>—<i>The sitting-room of the <span class="smcap">Cole</span> family.
-<span class="smcap">Mary</span> reading a newspaper. <span class="smcap">Grandmother
-Cole</span> knitting. <span class="smcap">Aunt Martha</span> crocheting.
-<span class="smcap">Jack</span> playing with the balls in
-<span class="smcap">Aunt Martha’s</span> work-basket.</i></p>
-
-<p class="tb"><i>Mary Cole.</i></p>
-
-<div>
-<img class="dropcap" src="images/dropcap-o.jpg" width="80" height="100" alt="" />
-</div>
-
-<p class="dropcap">Oh, Aunt Martha! only hear this! it’s
-in the <i>Chronicle</i>. What a splendid
-chance! I declare, I’ve a great
-mind to answer it myself!</p>
-
-<p><i>Aunt M.</i> What have you got hold of now?
-You’re allez a-making some powerful diskivery
-somewheres. What now? Something
-to turn gray eyes black, and blue eyes
-gray?</p>
-
-<p><i>Mary.</i> No; it’s a matrimonial advertisement.
-What a splendid fellow this “C. G.”
-must be!</p>
-
-<p><span class="pagenum"><a id="Page_404"></a>[404]</span></p>
-
-<p><i>Aunt M.</i> Oh, shaw! A body must be
-dreadfully put to it, to advertise for a pardner
-in the newspapers. Thank goodness! I never
-got in such a strait as that ’er. The Lord
-has marcyfully kept me thus fur from having
-any dealings with the male sect, and I
-trust I shall be presarved to the end.</p>
-
-<p><i>Jack Cole.</i> Didn’t you ever have an offer,
-Aunt Mattie?</p>
-
-<p><i>Aunt M.</i> (<i>indignantly</i>.) Why, Jack Cole!
-What an idee! I’ve had more chances to
-change my condition than you’ve got fingers
-and toes. But I refused ’em all. A single
-life is the only way to be happy. But it did
-kinder hurt my feelings to send some of my
-sparks adrift—they took it so hard. There
-was Colonel Turner. He lost his wife in
-June, and the last of August he come over
-to our ’ouse, and I gave him to understand
-that he needn’t trouble himself; and he felt
-so mad that he went rite off and married the
-Widder Hopkins afore the month was out.</p>
-
-<p><i>Jack.</i> Poor fellow! How he must have
-felt! And, Aunt Mattie, I notice that Deacon
-Goodrich looks at you a great deal in meeting,
-since you’ve got that pink feather on
-your bonnet. What if he should want you
-to be a mother to his ten little ones?</p>
-
-<p><i>Aunt M.</i> (<i>simpering</i>). Law, Jack Cole!
-What a dreadful boy you be! (<i>pinches his
-ear.</i>) The deacon never thought of such a
-thing! But if it should please Providence
-to appoint to me such a fate, I should try
-and be resigned.</p>
-
-<p><i>Granny Cole.</i> Resigned? Who’s resigned?
-Not the President, has he? Well, I don’t
-blame him. I’d resign, too, if I was into his
-place. Nothing spiles a man’s character so
-quick as being President or Congress. Yer
-gran’father got in justice of the peace and
-chorus, once, and he resigned afore he was
-elected. Sed he didn’t want his repetition
-spiled.</p>
-
-<p><i>Jack.</i> Three cheers for Gran’father Cole!</p>
-
-<p><i>Granny C.</i> Cheers? What’s the matter
-with the cheers, now? Yer father had them
-bottomed last year, and this year they were
-new painted. What’s to pay with ’em now?</p>
-
-<p><i>Mary</i> (<i>impatiently</i>). Do listen, all of you,
-to this advertisement.</p>
-
-<p><i>Aunt M.</i> Mary Cole, I’m sorry your head
-is so turned with the vanities of this world.
-Advertising for a pardner in that way is
-wicked. I hadn’t orter listen to it.</p>
-
-<p><i>Mary.</i> Oh, it won’t hurt you a bit, auntie.
-(<i>reads</i>) “A gentleman of about forty, very
-fine looking; tall, slender, and fair-haired,
-with very expressive eyes, and side whiskers,
-and some property, wishes to make the acquaintance
-of a young lady with similar
-qualifications——”</p>
-
-<p><i>Jack.</i> A young lady with expressive eyes
-and side whiskers——</p>
-
-<p><i>Mary.</i> Do keep quiet, Jack Cole! (<i>reads</i>)
-“With similar qualifications as to good looks
-and amiable temper, with a view to matrimony.
-Address, with stamp to pay return
-postage—C. G., <i>Scrubtown</i>; stating when
-and where an interview may be had.” There!
-what do you think of that?</p>
-
-<p><i>Jack.</i> Deacon Goodrich to a T. “C. G.”
-stands for Calvin Goodrich.</p>
-
-<p><i>Aunt M.</i> The land of goodness! Deacon
-Goodrich, indeed! a pillar of the church!
-advertising for a wife! No, no, Jack; it can’t
-be him! He’d never stoop so low!</p>
-
-<p><i>Jack.</i> But if all the women are as hard-hearted
-as you are, and the poor man needs
-a wife. Think of his ten little olive plants!</p>
-
-<p><i>Granny C.</i> Plants? Cabbage plants? ’Taint
-time to set them out yet. Fust of August is
-plenty airly enuff to set ’em for winter. Cabbages
-never begin to head till the nights
-come cold.</p>
-
-<p><i>Jack.</i> Poor Mr. C. G.! Why don’t you
-answer it, Aunt Mattie; and tell him you’ll
-darn his stockings for him, and comb that
-fair hair of his?</p>
-
-<p><span class="pagenum"><a id="Page_405"></a>[405]</span></p>
-
-<p><i>Aunt M.</i> Jack Cole! if you don’t hold
-your tongue, I’ll comb your hair for you in
-a way you won’t like. Me answering one
-of them low advertisements! <i>Me</i>, indeed!
-I hain’t so eager to get married as some folks
-I know. Brother Cyrus and I have lived all
-our lives in maiden meditation, fancy free—the
-only sensible ones of the family of twelve
-children; and it’s my idee that we shall continner
-on in that way.</p>
-
-<p><i>Mary.</i> Why, don’t you believe that Uncle
-Cyrus would get married if he could?</p>
-
-<p><i>Aunt M.</i> Your Uncle Cyrus! I tell you,
-Mary Cole, he wouldn’t marry the best woman
-that ever trod! I’ve hearn him say so
-a hundred times.</p>
-
-<p><i>Mary.</i> Won’t you answer this advertisement,
-auntie? I’ll give you a sheet of my
-nicest gilt-edge note-paper if you will!</p>
-
-<p><i>Aunt M.</i> (<i>furiously</i>). If you weren’t so big,
-Mary Jane Cole, I’d spank you soundly! I
-vow I would! Me answer it, indeed!</p>
-
-<p class="center">(<i>Leaves the room in great indignation.</i>)</p>
-
-<p><i>Mary.</i> Look here, Jack. What’ll you bet
-she won’t reply to that notice?</p>
-
-<p><i>Jack.</i> Nonsense! Wouldn’t she blaze if
-she could hear you?</p>
-
-<p><i>Mary.</i> I’ll wager my new curled waterfall
-against your ruby pin that Aunt Mattie replies
-to Mr. “C. G.” before to-morrow night.</p>
-
-<p><i>Jack.</i> Done! I shall wear a curled waterfall
-after to-morrow.</p>
-
-<p><i>Mary.</i> No, sir! But I shall wear a ruby
-pin. Jack, who do you think “C. G.” is?</p>
-
-<p><i>Jack.</i> Really, I do not know; do you?
-Ah! I know you do, by that look in your
-eyes. Tell me, that’s a darling.</p>
-
-<p><i>Mary.</i> Not I. I don’t expose secrets to a
-fellow who tells them all over town. Besides,
-it would spoil the fun.</p>
-
-<p><i>Jack.</i> Mary, you are the dearest little sister
-in the world! Tell me, please. (<i>taking her
-hands.</i>)</p>
-
-<p><i>Mary.</i> No, sir! You don’t get that out
-of me. Take care, now. Let go of my
-hands. I’m going up stairs to keep an eye
-on Aunt Mattie. She’s gone up now to
-write an answer to “C. G.” And if there is
-any fun by-and-by, Jack, if you’re a good boy
-you shall be there to see.</p>
-
-<p><i>Granny C.</i> To sea? Going to sea? Why,
-Jack Cole! you haint twenty-one yet, and
-the sea’s a dreadful place! There’s a sarpint
-lives in it as big as the Scrubtown meeting-’us’,
-and whales that swaller folks alive,
-clothes and all! I read about one in a
-book a great while ago that swallered a man
-of the name of Jonah, and he didn’t set well
-on the critter’s stummuck, and up he come,
-lively as ever!</p>
-
-<p class="center">(<i>Curtain falls.</i>)</p>
-
-<p class="hanging tb"><span class="smcap">Scene II.</span>—<i>The garden of a deserted house, in
-the vicinity of <span class="smcap">Mr. Cole’s</span>. <span class="smcap">Mary</span> leading
-<span class="smcap">Jack</span> cautiously along a shady path.</i></p>
-
-<p><i>Mary.</i> There; we’ll squat down behind
-this lilac bush. It’s nearly the appointed
-hour. I heard Aunt Mattie soliloquizing in
-her room this morning, after this manner—“At
-eight o’clock this night I go to meet
-my destiny! In the deserted garden, under
-the old pear tree. How very romantic!”
-Hark! there she comes!</p>
-
-<p><i>Jack.</i> Well, of all the absurd things that
-ever I heard tell of! Who would have believed
-that our staid old maid aunt would
-have been guilty of answering a matrimonial
-advertisement?</p>
-
-<p><i>Mary.</i> Hush! Jack, if you make a noise
-and spoil the fun now, I’ll never forgive you.
-Keep your head still, and don’t fidget so.</p>
-
-<p><i>Aunt Mattie</i> (<i>slowly walking down the
-path—soliloquizing</i>.) Eight o’clock! It struck
-just as I started out. He ought to be here.
-Why does he tarry? If he aint punctual
-I’ll give him the mitten. I swow I will!
-Dear gracious! what a sitivation to be in!
-Me, at my time of life! though, to be shure,
-I haint so old as—as I might be. The dew’s<span class="pagenum"><a id="Page_406"></a>[406]</span>
-a-falling, and I shall get the rheumatiz in
-these thin shoes, if he don’t come quick.
-What if Jack and Mary should git hold of
-this? I never should hear the last of it!
-Never! I wouldn’t have ’em know it for a
-thousand dollars! Goodness me! What if
-it <i>should</i> be the deacon? Them children of
-his’n is dreadful youngsters; but, the Lord
-helping me, I’d try to train ’em up in the way
-they should go. Hark! is that him a-coming?
-No; it’s a toad hopping through the carrot
-bed. My soul and body! what if he should
-want to kiss me? I’ll chew a clove for fear
-he should. I wonder if it would be properous
-to let him? But then I s’pose if it’s the
-deacon I couldn’t help myself. He’s an awful
-<i>dee</i>tarmined man; and if I couldn’t help it
-I shouldn’t be to blame! Deary me! how I
-trimble! There he comes! I hear his step!
-What a tall man! ’Taint the deacon. He’s
-got a shawl on! Must be the new school-master!
-he wears a shawl! (<i>a man approaches,
-<span class="smcap">Miss Mattie</span> goes up to him cautiously.</i>) Is
-this Mr. C. G.?</p>
-
-<p><i>C. G.</i> Yes, it is; Is this Miss M. G.?</p>
-
-<p><i>Aunt M.</i> It is. Dear sir, I hope you wont
-think me bold and unmaidenly in coming
-out here all alone in the dark to meet
-you?</p>
-
-<p><i>C. G.</i> Never! Ah, the happiness of this
-moment! For forty years I have been looking
-for thee! (<i>puts his arm around her.</i>)</p>
-
-<p><i>Aunt M.</i> Oh, dear me! dont! dont! my
-dear sir! I aint used to it! and it aint exactly
-proper out here in this old garden! It’s
-a dreadful lonely spot, and if people should
-see us they might talk.</p>
-
-<p><i>C. G.</i> Let ’em talk! They’ll talk still
-more when you and I are married, I reckon.
-Lift your veil and let me see your sweet face.</p>
-
-<p><i>Aunt M.</i> Yes, if you’ll remove that hat
-and let me behold your countenance.</p>
-
-<p><i>C. G.</i> Now, then; both together. (<i><span class="smcap">Aunt
-M.</span> throws back her veil. C. G. removes his
-hat. They gaze at each other a moment in
-utter silence.</i>)</p>
-
-<p><i>Aunt M.</i> Good gracious airth! ’tis brother
-Cyrus!</p>
-
-<p><i>C. G.</i> Jubiter Ammon! ’tis sister Martha!</p>
-
-<p><i>Aunt M.</i> Oh, my soul and body, Cyrus
-Gordon! Who’d ever a-thought of you, at
-your time of life, cutting up such a caper as
-this? You old, bald-headed, gray-whiskered
-man! Forty years old! My gracious! You
-were fifty-nine last July!</p>
-
-<p><i>C. G.</i> Well, if I am, you’re two year older.
-So it’s as broad as ’tis long!</p>
-
-<p><i>Aunt M.</i> Why, I thought shure it was
-Deacon Goodrich that advertised. C. G.
-stands for Calvin Goodrich.</p>
-
-<p><i>C. G.</i> Yes; and it stands for Cyrus Gordon,
-too. And Deacon Goodrich was married
-last night to Peggy Jones.</p>
-
-<p><i>Aunt M.</i> That snub-nosed, red-haired Peggy
-Jones! He’d ort to be flayed alive!
-Married again! and his wife not hardly cold!
-Oh, the desatefulness of men! Thank Providence
-I haint tied to one of the abominable
-sect.</p>
-
-<p><i>C. G.</i> Well, Martha, we’re both in the
-same boat. If you wont tell of me, I wont
-of you. But it’s a terrible disappointment to
-me, for I sarting thought M. G. meant Marion
-Giles, the pretty milliner.</p>
-
-<p><i>Aunt M.</i> Humph! What an old goose!
-She wouldn’t look at you! I heerd her laffing
-at your swaller-tailed coat, when you
-come out of meeting last Sunday. But I’m
-ready to keep silence if you will. Gracious!
-if Jack and Mary should get wind of this,
-shouldn’t we have to take it?</p>
-
-<p><i>C. G.</i> Hark! what’s that? (<i>voice behind
-the lilac-bush sings</i>:)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“Oh, there’s many a bud the cold frost will nip,</div>
-    <div class="verse indent0">And there’s many a slip ’twixt the cup and the lip.”</div>
-  </div>
-</div>
-</div>
-
-<p><i>Aunt M.</i> That’s Jack’s voice! Goodness
-me! Let us scoot for home!</p>
-
-<p><span class="pagenum"><a id="Page_407"></a>[407]</span></p>
-
-<p><i>Jack.</i> Did he kiss you, Aunt Mattie?</p>
-
-<p><i>Mary.</i> Do you like the smell of cloves,
-Uncle Cyrus?</p>
-
-<p><i>C. G.</i> Confound you both! If I had hold
-of ye I’d let you know if I like to smell
-cloves, and birch, too.</p>
-
-<p class="center">(<i>Curtain falls.</i>)</p>
-
-<h3>MRS. MALAPROP AND CAPTAIN ABSOLUTE.</h3>
-
-<p class="center"><i>From “The Rivals.”</i></p>
-
-<p><i>Costumes.</i></p>
-
-<ul>
-<li><span class="smcap">Mrs. Malaprop</span>, <i>Crimson satin dress, trimmed
-with white lace and satin ribbon.</i></li>
-<li><span class="smcap">Captain Absolute</span>, <i>Scarlet regimental full-dress
-coat, white breeches, silk stockings and
-cocked hat.</i></li>
-</ul>
-
-<p class="center"><i>Enter <span class="smcap">Mrs. Malaprop</span>, with a letter in her
-hand, <span class="smcap">Captain Absolute</span> following.</i></p>
-
-<p class="tb"><i>Mrs. Malaprop.</i></p>
-
-<div>
-<img class="dropcap" src="images/dropcap-y.jpg" width="125" height="100" alt="" />
-</div>
-
-<p class="dropcap">Your being Sir Anthony’s son, Captain,
-would itself be a sufficient accommodation;
-but from the ingenuity of
-your appearance, I am convinced you deserve
-the character here given of you.</p>
-
-<p><i>Capt. A.</i> Permit me to say, madame, that
-as I have never yet had the pleasure of seeing
-Miss Languish, my principal inducement
-in this affair, at present, is the honor of being
-allied to Mrs. Malaprop, of whose intellectual
-accomplishments, elegant manners and unaffected
-learning no tongue is silent.</p>
-
-<p><i>Mrs. M.</i> Sir, you do me infinite honor!
-I beg, Captain, you’ll be seated. [<i>Both sit.</i>]
-Ah! few gentlemen, nowadays, know how to
-value the ineffectual qualities in a woman!
-Men have no sense now but for the worthless
-flower of beauty.</p>
-
-<p><i>Capt. A.</i> It is but too true, indeed, ma’am;
-yet I fear our ladies should share the blame;
-they think our admiration of beauty so
-great that knowledge in them would be
-superfluous. Thus, like garden trees, they
-seldom show fruit till time has robbed them
-of the more spacious blossoms: few, like
-Mrs. Malaprop and the orange tree, are rich
-in both at once.</p>
-
-<p><i>Mrs. M.</i> Sir, you overpower me with good
-breeding. [<i>Aside.</i>] He is the very pineapple
-of politeness! You are not ignorant,
-Captain, that this giddy girl has, somehow,
-contrived to fix her affections on a beggarly,
-strolling, eavesdropping ensign, whom none
-of us have seen, and nobody knows anything
-of.</p>
-
-<p><i>Capt. A.</i> Oh, I have heard the silly affair
-before. I’m not at all prejudiced against her
-on that account. But it must be very distressing,
-indeed, to you, ma’am.</p>
-
-<p><i>Mrs. M.</i> Oh, it gives me the hydrostatics
-to such a degree!—I thought she had persisted
-from corresponding with him; but,
-behold, this very day, I have interceded
-another letter from the fellow—I believe I
-have it in my pocket.</p>
-
-<p><i>Capt. A.</i> My last note! [<i>Aside.</i>]</p>
-
-<p><i>Mrs. M.</i> Ay, here it is.</p>
-
-<p><i>Capt. A.</i> Oh, the little traitress, Lucy!</p>
-
-<p><i>Mrs. M.</i> There, perhaps you may know
-the writing. [<i>Gives him the letter.</i>]</p>
-
-<p><i>Capt. A.</i> I think I have seen the hand
-before—yes, I certainly must have seen this
-hand before.</p>
-
-<p><i>Mrs. M.</i> Nay, but read it, Captain.</p>
-
-<p><i>Capt. A.</i> [<i>reads</i>.] “My soul’s idol, my
-adored Lydia!” Very tender, indeed!</p>
-
-<p><i>Mrs. M.</i> Tender! ay, and profane too,
-o’my conscience.</p>
-
-<p><i>Capt. A.</i> “I am excessively alarmed at the
-intelligence you send me, the more so as my
-new rival”——</p>
-
-<p><i>Mrs. M.</i> That’s you, sir.</p>
-
-<p><i>Capt. A.</i> “Has universally the character of
-being an accomplished gentleman and a man
-of honor.” Well, that’s handsome enough.</p>
-
-<p><i>Mrs. M.</i> Oh, the fellow has some design
-in writing so.</p>
-
-<p><span class="pagenum"><a id="Page_408"></a>[408]</span></p>
-
-<p><i>Capt. A.</i> That he had, I’ll answer for him,
-ma’am.</p>
-
-<p><i>Mrs. M.</i> But go on, sir—you’ll see presently.</p>
-
-<p><i>Capt. A.</i> “As for the old weather-beaten
-she-dragon who guards you”?—who can he
-mean by that?</p>
-
-<p><i>Mrs. M.</i> Me, sir—me—he means me there—what
-do you think now?—but go on a
-little further.</p>
-
-<p><i>Capt. A.</i> Impudent scoundrel!—“it shall
-go hard, but I will elude her vigilance! as I
-am told that the same ridiculous vanity which
-makes her dress up her coarse features and
-deck her dull chat with hard words which
-she don’t understand”——</p>
-
-<p><i>Mrs. M.</i> There, sir, an attack upon my
-language! what do you think of that?—an
-aspersion upon my parts of speech! was ever
-such a brute! Sure, if I reprehend anything
-in this world, it is the use of my oracular
-tongue, and a nice derangement of epitaphs.</p>
-
-<p><i>Capt. A.</i> He deserves to be hanged and
-quartered! let me see—“same ridiculous
-vanity”——</p>
-
-<p><i>Mrs. M.</i> You need not read it again, sir!</p>
-
-<p><i>Capt. A.</i> I beg pardon, ma’am—“does also
-lay her open to the grossest deceptions from
-flattery and pretended admiration”—an impudent
-coxcomb—“so that I have a scheme
-to see you shortly, with the old harridan’s
-consent, and even to make her a go-between
-in our interviews”—Was ever such assurance!</p>
-
-<p><i>Mrs. M.</i> Did you ever hear anything like
-it? [<i>They rise.</i>] He’ll elude my vigilance,
-will he?—yes, yes!—ha! ha! he’s very likely
-to enter these doors!—we’ll try who can run
-best!</p>
-
-<p><i>Capt. A.</i> So we will, ma’am—so we will—Ha!
-ha! ha! a conceited puppy! ha! ha!
-ha!—Well, but Mrs. Malaprop, as the girl
-seems so infatuated by this fellow, suppose
-you were to wink at her corresponding with
-him for a little time—let her even plot an
-elopement with him—then do you connive
-at her escape—while I, just in the nick, will
-have the fellow laid by the heels, and fairly
-contrive to carry her off in his stead.</p>
-
-<p><i>Mrs. M.</i> I am delighted with the scheme;
-never was anything better perpetrated.</p>
-
-<p><i>Capt. A.</i> But, pray, could I not see the
-lady for a few minutes now?—I should like
-to try her temper a little.</p>
-
-<p><i>Mrs. M.</i> Why, I don’t know—I doubt she
-is not prepared for a visit of this kind.
-There is a decorum in these matters.</p>
-
-<p><i>Capt. A.</i> O, she won’t mind me!—only
-tell her Beverley——</p>
-
-<p><i>Mrs. M.</i> Sir!</p>
-
-<p><i>Capt. A.</i> Gently, good tongue! [<i>Aside.</i>]</p>
-
-<p><i>Mrs. M.</i> What did you say of Beverley?</p>
-
-<p><i>Capt. A.</i> Oh, I was going to propose that
-you should tell her, by way of jest, that it
-was Beverley who was below—she’d come
-down fast enough then—ha! ha! ha!</p>
-
-<p><i>Mrs. M.</i> ’Twould be a trick she well deserves—besides,
-you know, the fellow tells
-her he’ll get my consent to see her—ha! ha!—Let
-him, if he can, I say again.—Lydia,
-come down here! [<i>Calling.</i>] He’ll make
-me a go-between in their interviews!—ha!
-ha! ha!—Come down, I say, Lydia!—I
-don’t wonder at your laughing—ha! ha! ha!
-his impudence is truly ridiculous.</p>
-
-<p><i>Capt. A.</i> ’Tis very ridiculous, upon my
-soul, ma’am!—ha! ha! ha!</p>
-
-<p><i>Mrs. M.</i> The little hussy won’t hear. Well,
-I’ll go and tell her at once who it is—she
-shall know that Captain Absolute is come
-to wait on her; and I’ll make her behave as
-becomes a young woman.</p>
-
-<p><i>Capt. A.</i> As you please ma’am.</p>
-
-<p><i>Mrs. M.</i> For the present, Captain, your
-servant—Ah! you’ve not done laughing
-yet, I see—elude my vigilance! yes, yes—Ha!
-ha! ha!</p>
-
-<p class="right">[<i>Exit.</i></p>
-
-<p class="right"><span class="smcap">Richard Brinsley Sheridan.</span></p>
-
-<p><span class="pagenum"><a id="Page_409"></a>[409]</span></p>
-
-<h3>WINNING A WIDOW.</h3>
-
-<p><i>Characters.</i></p>
-
-<ul>
-<li><span class="smcap">Mrs. Cummiskey</span>, <i>A Middle-aged Widow</i>.</li>
-<li><span class="smcap">Mr. Costello</span>, <i>An Old Bachelor</i>.</li>
-</ul>
-
-<p class="hanging tb"><span class="smcap">Scene.</span>—<i><span class="smcap">Mrs. C.’s</span> dwelling. Table set. <span class="smcap">Mr.
-C.</span> outside.</i></p>
-
-<p><i>Mr. C.</i> Good evenin’ to you, ma’am.</p>
-
-<p><i>Mrs. C.</i> Good evenin’ to you, Mr. Costello.</p>
-
-<p><i>Mr. C.</i> It’s fine weather we’re havin’, ma’am.</p>
-
-<p><i>Mrs. C.</i> It is that, thank God, but the winter’s
-comin’ at last, and it comes to all, both
-great and small.</p>
-
-<p><i>Mr. C.</i> Ah! but for all that it doesn’t come
-to all alike. Nowhere are you, ma’am, fat, rosy
-and good-lookin’, equally swate as a summer
-greenin’, a fall pippin or a winter russet—</p>
-
-<p><i>Mrs. C.</i> Arrah, hould your whist, now.
-Much an old bachelor like you knows about
-apples or women. But come in, Mr. Costello,
-and take a cup o’ tay with me, for I was
-only standin’ be the door lookin’ at the people
-passin’ for company sake, like, and I’m
-sure the kittle must have sung itself hoarse.
-[<i><span class="smcap">Mr. C.</span> enters and sits.</i>]</p>
-
-<p><i>Mr. C.</i> It’s very cosy ye are here, Mrs.
-Cummiskey.</p>
-
-<p><i>Mrs. C.</i> Yes. [<i>Lays the supper.</i>] It is that
-whin I do be havin’ company.</p>
-
-<p><i>Mr. C.</i> Ah! it must be lonesome for you
-with only yer cat and the cup o’ tay.</p>
-
-<p><i>Mrs. C.</i> Sure it is. But sit up to the table,
-Mr. Costello. Help yourself to this fish, and
-don’t furget the purtaties. Look at them;
-they’re splittin’ their sides wid laughin’. [<i>She
-pours tea.</i>]</p>
-
-<p><i>Mr. C.</i> I’m sensible of the comforts of a
-home, Mrs. Cummiskey, though I’ve none
-meself. Mind now, the difference between
-the taste o’ tay made and sarved that way
-and the tay they gives you in an aitin’-house.</p>
-
-<p><i>Mrs. C.</i> Sure there’s nothin’ like a little
-home of yer own. I wonder yer never got
-marrit, Mr. Costello.</p>
-
-<p><i>Mr. C.</i> I was about to make the same remark
-in rifference to yerself, ma’am.</p>
-
-<p><i>Mrs. C.</i> God help us, aren’t I a widder
-woman this seven years?</p>
-
-<p><i>Mr. C.</i> Ah, but it’s thinkin’ I was why ye
-didn’t get marrit again.</p>
-
-<p><i>Mrs. C.</i> Well, it’s sure I am [<i>thoughtfully
-setting down her teacup and raising her hand
-by way of emphasis</i>], there was no betther
-husband to any woman than him that’s dead
-and gone, heaven save an’ rest his sowl. He
-was that asy a child could do anything wid
-him, and he was as humorous as a monkey.
-You favor him very much, Mr. Costello.
-He was about your height, and complicted
-like you.</p>
-
-<p><i>Mr. C.</i> Ah!</p>
-
-<p><i>Mrs. C.</i> He often used to say to me in his
-banterin’ way, Sure, Nora, what’s the woruld
-to a man whin his wife is a widder, manin’,
-you know, that all the timptations and luxuries
-of this life can never folly a man beyant
-the grave. Sure, Nora, says he, what’s the
-woruld to a man whin his wife’s a widder?</p>
-
-<p><i>Mr. C.</i> It was a sensible sayin’ that [<i>helping
-himself to more fish</i>].</p>
-
-<p><i>Mrs. C.</i> I mind the day John died. He
-knew everything to the last, and about four
-o’clock in the afthernoon—it was seventeen
-minutes past five exactly, be the clock, that
-he died—he says to me, Nora, says he, you’ve
-been a good wife, says he, an’ I’ve been a
-good husband, says he, an’ so there’s no love
-lost atween us, says he, an’ I could give ye a
-good characthur to any place, says he, an’ I
-wish ye could do the same for me where I’m
-goin’, says he; but it’s case equal, says he,
-an’ every dog has his day, an’ some has a day
-an’ a half, says he, an’ says he, I’ll know more
-in a bit than Father Corrigan himself, says
-he, but I’ll say now, says he, that I’ve always
-been a true son of the Church, says he, so
-I’ll not bother my brains about it; an’ he
-says, says he, I lave ye in good hands, Nora<span class="pagenum"><a id="Page_410"></a>[410]</span>
-for I lave you in your hands, says he; an’ if
-at any time ye see any wan ye like betther
-nor me, marry him, says he. Ah, Nora, says
-he, for the first time spakin’ it solemn like,
-ah, Nora, what’s the woruld to a man whin
-his wife’s a widder? An’ says he, I lave fifty
-dollars for masses, and the rest I lave to yourself,
-said he, an’ I needn’t tell ye to be a good
-mother to the childer’, says he, for well ye
-know there are none. Ah, poor John! Will
-ye have another cup of tay, Mr. Costello?</p>
-
-<p><i>Mr. C.</i> It must have been very hard on
-ye [<i>passing cup</i>]. Thank ye, ma’am, no
-more.</p>
-
-<p><i>Mrs. C.</i> It was hard, but time will tell. I
-must cast about me for my own livin’; and
-so I got intil this place an’ here I am to-day.
-[<i>Both rise from the table and seat themselves
-before the fire.</i>]</p>
-
-<p><i>Mr. C.</i> Ah! an’ here we are both of us
-this evenin.’</p>
-
-<p><i>Mrs. C.</i> Here we are, sure enough.</p>
-
-<p><i>Mr. C.</i> And so I mind ye of—of him, do I?</p>
-
-<p><i>Mrs. C.</i> That ye do. Ye favor him greatly.
-Dark complicted, an’ the same plisint smile.</p>
-
-<p><i>Mr. C.</i> Now, with me sittin’ here an’ you
-sittin’ there ferninst me, ye might almost
-think ye were marrit agin. [<i>Insinuatingly.</i>]</p>
-
-<p><i>Mrs. C.</i> Ah, go away now for a taze that
-ye are. [<i>Mussing her apron by rolling the
-corners of it.</i>]</p>
-
-<p><i>Mr. C.</i> I disremember what it was ye said
-about seein’ any man you liked betther nor
-him. [<i>Moving his chair nearer to that of the
-widow.</i>]</p>
-
-<p><i>Mrs. C.</i> He said, said he [<i>smoothing her
-apron over her knees</i>], Nora, said he, if anny
-time ye see anny man ye like betther nor me,
-marry him, says he.</p>
-
-<p><i>Mr. C.</i> Did he say anything about anny
-one ye liked as good as him?</p>
-
-<p><i>Mrs. C.</i> I don’t mind that he did. [<i>Reflectively,
-folding her hands in her lap.</i>]</p>
-
-<p><i>Mr. C.</i> I suppose he left that to yerself?</p>
-
-<p><i>Mrs. C.</i> Faith, an’ I don’t know, thin.</p>
-
-<p><i>Mr. C.</i> Div ye think ye like me as well as
-ye did him? [<i>Persuasively, leaning forward
-to look into the widow’s eyes, which are cast
-down.</i>]</p>
-
-<p><i>Mrs. C.</i> Ah, go away now for a taze.
-[<i>Straightening herself and playfully slapping
-<span class="smcap">Mr. Costello</span> on the face. He moves his
-chair still nearer, and puts his arm around
-her waist.</i>]</p>
-
-<p><i>Mr. C.</i> Tell me, div ye like me as well as
-ye did him?</p>
-
-<p><i>Mrs. C.</i> I—I most—I most disremember
-now how much I liked him. [<i>Embarrassed.</i>]</p>
-
-<p><i>Mr. C.</i> Ah, now, don’t be breakin’ me
-heart. Answer me this question, Mrs. Cummiskey—Is
-your heart tender toward me?</p>
-
-<p><i>Mrs. C.</i> It is [<i>whispers</i>], an’ there, now ye
-have it.</p>
-
-<p><i>Mr. C.</i> Glory! [<i>Kisses her.</i>]</p>
-
-<p><i>Mrs. C.</i> But, James, ye haven’t told me yet
-how ye liked yer tay?</p>
-
-<p><i>Mr. C.</i> Ah, Nora, me jewel, the taste of
-that first kiss would take away the taste of
-all the tay that ever was brewed.</p>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-
-<p><span class="pagenum"><a id="Page_411"></a>[411]</span></p>
-
-<h2 class="nobreak" id="Miscellaneous_Selections"><span class="smcap">Miscellaneous Selections</span></h2>
-
-<p class="center">COMPRISING</p>
-
-<p class="center">Dramatic, Humorous and Tragic Pieces from the most Celebrated Authors,
-adapted to the use of Public Schools, Academies and Higher Institutions
-of Learning, for Public and Social Entertainments.</p>
-
-<p class="center">Wit and Wisdom Represented by a Great Variety of Entertaining Characters.</p>
-
-</div>
-
-<h3>UNCLE PETE.</h3>
-
-<p><i>Characters.</i></p>
-
-<ul>
-<li><span class="smcap">George Peyton</span>, <i>a planter</i>.</li>
-<li><span class="smcap">Uncle Pete</span>, <i>a venerable darkey, looking the
-worse for wear, with more patches than
-pantaloons</i>.</li>
-</ul>
-
-<p class="hanging tb"><span class="smcap">Scene</span>—<i>Exterior view of a planter’s cabin,
-with practicable door. <span class="smcap">George Peyton</span>
-discovered, seated on a bench, under veranda,
-reading a newspaper.</i></p>
-
-<p><i>Enter <span class="smcap">Uncle Pete</span>, a limp noticeable in his
-left leg, the knee of which is bowed outward,
-hoe on his shoulder.</i></p>
-
-<p><i>Uncle Pete.</i> (<i>Pausing as he enters, shading
-his eyes with his hand, going towards
-<span class="smcap">George Peyton</span>.</i>) Yes, dar he is; dar is
-Marse George, a sittin’ on the porch, a
-readin’ his papah. Golly, I cotch him at
-home! (<i>Advancing and calling</i>) Marse
-George, Marse George, I’s come to see you
-once mo’, once mo,’ befo’ I leabes you fo’ebber.
-Marse George, I’se gwine to de odder
-shoah; I’se far on de way to my long home,
-to dat home ober acrost de ribber, whar de
-wicked hab’ no mo’ trouble, and where water-millions
-ripen all the year! Youns has all
-bin berry kine to me heah, Marse George,
-berry kine to de ole man, but I’s gwine
-away, acrost de dark ribber. I’s gwine ober,
-an’ dar, on dat odder shoah, I’ll stan’ an’
-pick on de golden hawp among de angels,
-an’ in de company of de blest. Dar I’ll fine
-my rest; dar I’ll stan’ befo’ de throne fo’
-ebber mo’ a singin’ an’ a shoutin’ susannis to
-de Lord!</p>
-
-<p><i>George Peyton.</i> Oh, no, Uncle Pete, you’re
-all right yet—you’re good for another twenty
-years.</p>
-
-<p><i>Uncle P.</i> Berry kine o’ you to say dat,
-Marse George—berry kine—but it’s no use.
-It almos’ breaks my hawt to leab you, and to
-leab de missus and de chillun, Marse George,
-but I’s got my call—I’s all gone inside.</p>
-
-<p><i>George P.</i> Don’t talk so, Uncle Pete; you
-are still quite a hale old man.</p>
-
-<p><i>Uncle P.</i> No use talkin’, Marse George, I’s
-gwine to hebben berry soon. ’Pears like I
-can heah the singin’ on de odder shoah.
-’Pears like I can heah de voice of ol’ “Aunt
-Liza” an’ de odders dat’s gone befoah.
-You’s bin berry kine, Marse George—de
-missus an’ de chillun’s bin berry good—seems
-like all de people’s been berry good to poor
-ole Pete—poor cretur like me.</p>
-
-<p><i>George P.</i> Nonsense, Uncle Pete (<i>kindly
-and encouragingly</i>), nonsense, you are good
-for many years yet. You’ll see the sod
-placed on the graves of many younger men
-than you are, before they dig the hole for
-you. What you want just now, Uncle Pete,
-is a good square meal. Go into the kitchen
-and help yourself—fill up inside. There is
-no one at home, but I think you know the
-road. Plenty of cold victuals of all kinds in
-there.</p>
-
-<p><span class="pagenum"><a id="Page_412"></a>[412]</span></p>
-
-<p><i>Uncle P.</i> (<i>A smile illuminating his face.</i>)
-’Bleedged t’ye, Marse George, ’bleeged t’ye,
-sah, I’ll go! For de little time I has got to
-stay, I’ll not go agin natur’; but it’s no use.
-I’s all gone inside—I’s got my call. I’m one o’
-dem dat’s on de way to de golden shoah.</p>
-
-<p>(<i>Exit <span class="smcap">Uncle Pete</span> through door, his limp
-hardly noticeable. His manner showing his delight.</i>)</p>
-
-<p><i>George P.</i> Poor old Uncle Pete, he seems to
-be the victim of religious enthusiasm. I suppose
-he has been to camp-meeting, but he is a
-cunning old fox, and it must have taken a
-regular hard-shell sermon to convert the old
-sinner. He was raised on this plantation, and
-I have often heard my father say, he hadn’t a
-better negro on the place. Ever since the war,
-he has been working a little, and loafing a good
-deal, and I have no doubt he sometimes sighs to
-be a slave again at work on the old plantation.
-(<i>Starts and listens.</i>)</p>
-
-<p><i>Uncle P.</i> (<i>Singing inside</i>:)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Jay bird, jay bird, sittin’ on a limb,</div>
-    <div class="verse indent0">He winked at me, an’ I at him;</div>
-    <div class="verse indent0">Cocked my gun, an’ split his shin,</div>
-    <div class="verse indent0">An’ left the arrow a-stickin’.</div>
-  </div>
-</div>
-</div>
-
-<p><i>George P.</i> (<i>Starting up.</i>) Zounds! if that
-old thief hasn’t found my bitters bottle! Pete!
-Pete, you rascal!</p>
-
-<p><i>Uncle P.</i> (<i>Continues singing</i>:)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Snake bake a hoe cake,</div>
-    <div class="verse indent0">An’ set the frog to mind it;</div>
-    <div class="verse indent0">But the frog fell asleep,</div>
-    <div class="verse indent0">An’ the lizard come an’ find it.</div>
-  </div>
-</div>
-</div>
-
-<p><i>George P.</i> Pete! you rascal, come out of
-that.</p>
-
-<p><i>Uncle P.</i> (<i>Who does not hear the planter,
-continues singing, and dances a gentle, old-fashioned
-shuffle.</i>)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">De debbil cotch the groun’ hog</div>
-    <div class="verse indent0">A-sittin’ in de sun,</div>
-    <div class="verse indent0">An’ kick him off de back-log,</div>
-    <div class="verse indent0">Jes’ to see de fun.</div>
-  </div>
-</div>
-</div>
-
-<p><i>George P.</i> (<i>Furious.</i>) Pete; you infernal
-nigger, come out of that, I say.</p>
-
-<p><i>Uncle P.</i> (<i>Still singing and dancing.</i>)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">De ’possum up de gum tree,</div>
-    <div class="verse indent2">A-playin’ wid his toes,</div>
-    <div class="verse indent0">An’ up comes de ginny pig,</div>
-    <div class="verse indent2">Den off he goes.</div>
-  </div>
-</div>
-</div>
-
-<p><i>George P.</i> (<i>Thoroughly aroused, throwing
-down his paper.</i>) You, Pete; blast the nigger.</p>
-
-<p><i>Uncle P.</i> (<i>Continues singing</i>:)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">De weasel went to see de polecat’s wife,</div>
-    <div class="verse indent0">You nebber smelt such a row in all yer—</div>
-  </div>
-</div>
-</div>
-
-<p><i>George P.</i> (<i>Rushes in the cabin, interrupts
-the singing, and drags <span class="smcap">Pete</span> out by the ear.</i>)
-Pete! Pete, you infernal old rascal, is that the
-way you are crossing the river? Are those the
-songs they sing on the golden shore? Is this
-the way for a man to act when he has got his
-call—when he is all gone inside?</p>
-
-<p><i>Uncle P.</i> (<i>Looking as if he had been caught in
-a hen-roost.</i>) Marse George. I’s got de call,
-sah, an’ I’s gwine acrost de dark ribber soon,
-but I’s now braced up a little on de inside, an’
-de ’scursion am postponed—you see, de ’scursion
-am postponed, sah!</p>
-
-<p><i>George P.</i> (<i>Folding his arms, looking at
-Pete, as if in admiration of his impudence.</i>)
-The excursion is postponed, is it? Well, <i>this</i>
-excursion is not postponed, you old scoundrel.
-(<i>Seizes <span class="smcap">Pete</span> by the coat-collar and runs him off
-stage, L.</i>) [<span class="allsmcap">CURTAIN.</span>]</p>
-
-<h3>PAT’S EXCUSE.</h3>
-
-<p><span class="smcap">Characters</span>:</p>
-
-<ul>
-<li><span class="smcap">Nora</span>, <i>a young Irish lass</i>.</li>
-<li><span class="smcap">Pat Murphy</span>, <i>a gay deceiver</i>.</li>
-</ul>
-
-<p><i>Curtain rises.</i>—<i>Discovers <span class="smcap">Nora</span> in kitchen,
-peeling potatoes.</i></p>
-
-<p><i>Nora.</i> Och! it’s deceivin’ that all men are!
-Now I belaved Pat niver would forsake me, and
-here he’s trated me like an ould glove, and I’ll
-niver forgive him. How praties make your eyes
-water. (<i>Wipes tears away.</i>) Almost as bad as
-onions. Not that I’m cryin’; oh, no. Pat
-Murphy can’t see <i>me</i> cry. (<i>Knock without.</i>)
-There is Pat now, the rascal. I’ll lock the door.
-(<i>Hastens to lock door.</i>)</p>
-
-<p><i>Pat</i> (<i>without</i>). Arrah, Nora, and here I am.</p>
-
-<p><span class="pagenum"><a id="Page_413"></a>[413]</span></p>
-
-<p><i>Nora.</i> And there ye’ll stay, ye spalpeen.</p>
-
-<p><i>Pat</i> (<i>without</i>). Ah, come now, Nora,—ain’t
-it opening the door you are after? Sure, I’m
-dyin’ of cold.</p>
-
-<p><i>Nora.</i> Faith, you are too hard a sinner to die
-aisy—so you can take your time about it.</p>
-
-<p><i>Pat.</i> Open the door, cushla; the police will
-be takin’ me up.</p>
-
-<p><i>Nora.</i> He won’t kape you long, alanna!</p>
-
-<p><i>Pat.</i> Nora, if you let me in, I’ll tell you how
-I came to lave you at the fair last night.</p>
-
-<p><i>Nora</i> (<i>relenting</i>). Will you, for true?</p>
-
-<p><i>Pat.</i> Indade I will.</p>
-
-<p class="center">(<i>Nora unlocks door. Enter <span class="smcap">Pat</span> gayly. He
-snatches a kiss from her.</i>)</p>
-
-<p><i>Nora.</i> Be off wid ye! Now tell me how you
-happened to be wid Mary O’Dwight last night?</p>
-
-<p><i>Pat (sitting down).</i> Well, you see it happened
-this way; ye know Mike O’ Dwight is her brother,
-and he and me is blatherin’ good friends, ye
-know; and as we was going to Caltry the ither
-day, Mike says to me, says he: “Pat, what’ll
-you take fur that dog?” and I says, says I—</p>
-
-<p><i>Nora (who has been listening earnestly).</i>
-Bother you, Pat, but you are foolin’ me again.</p>
-
-<p><i>Pat (coaxingly takes her hand).</i> No—no—Nora—I’ll
-tell ye the truth this time, sure. Well,
-as I was sayin’, Mike and me is good friends;
-and Mike says, says he: “Pat, that’s a good
-dog.” “Yis,” says I, “it is.” And he says,
-says he. “Pat, it is a blatherin’ good dog.”
-“Yis,” says I; and then—and then—(<i>Scratches
-his head as if to aid his imagination.</i>)</p>
-
-<p><i>Nora</i> (<i>angrily snatching away hand</i>). There!
-I’ll not listen to another word!</p>
-
-<p class="center"><i>She Sings.</i></p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse center">(Tune—Rory O’Moore.)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Oh, Patrick Murphy, be off wid you, pray,</div>
-    <div class="verse indent0">I been watching your pranks this many a day;</div>
-    <div class="verse indent0">You’re false, and ye’re fickle, as sure as I live</div>
-    <div class="verse indent0">And your hateful desaivin’ I’ll niver forgive.</div>
-    <div class="verse indent0">Ouch! do you think I was blind yester night,</div>
-    <div class="verse indent0">When you walked so fine with Mary O’Dwight?</div>
-    <div class="verse indent0">You kissed her, you rascal, and called her your own,</div>
-    <div class="verse indent0">And left me to walk down the dark lane alone.</div>
-  </div>
-</div>
-</div>
-
-<p><i>Pat</i> (<i>taking up song</i>).</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Oh, Nora, me darlint, be off wid your airs,</div>
-    <div class="verse indent0">For nobody wants you, and nobody cares!</div>
-    <div class="verse indent0">For you do want your Patrick, for don’t you see,</div>
-    <div class="verse indent0">You could not so well love any but me.</div>
-    <div class="verse indent0">When my lips met<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">[1]</a> Miss Mary’s, now just look at me,</div>
-    <div class="verse indent0">I shut my eyes tight just this way, don’t you see?</div>
-    <div class="verse indent0">And when the kiss came, what did I do?—</div>
-    <div class="verse indent0">I shut my eyes tight, and made believe it was <i>you</i>!</div>
-  </div>
-</div>
-</div>
-
-<p><i>Nora.</i></p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Be off wid your nonsense—a word in your ear,</div>
-    <div class="verse indent0">Listen, my Patrick, be sure that you hear;</div>
-    <div class="verse indent0">Last night when Mike Duffy came here to woo,</div>
-    <div class="verse indent0">We sat in the dark, and made believe it was you—</div>
-    <div class="verse indent0">And when the kiss came, now just look at me,—</div>
-    <div class="verse indent0">I shut my eyes tight, just this way, don’t you see?</div>
-    <div class="verse indent0">And when our lips met, what did I do,</div>
-    <div class="verse indent0">But keep my eyes shut, and make belave it was you!</div>
-  </div>
-</div>
-</div>
-
-<p class="center">(<i>Nora, laughing; Pat, disconcerted.</i>)</p>
-
-<p class="center">[<span class="allsmcap">QUICK CURTAIN.</span>]</p>
-
-<div class="footnotes">
-<div class="footnote">
-<p><a id="Footnote_1" href="#FNanchor_1" class="label">[1]</a> From the asterisk they sing only the first strain of “Rory
-O’More”—omitting the minor strain, with which Nora finishes
-her first stanza.</p>
-</div>
-</div>
-
-<h3>THE DUEL.</h3>
-
-<p class="center"><i>Enter <span class="smcap">Sir Lucius O’Trigger</span> to left, with pistols,
-followed by <span class="smcap">Acres</span>.</i></p>
-
-<p><i>Acres.</i> (<i>L.</i><a id="FNanchor_2" href="#Footnote_2" class="fnanchor">[2]</a>) By my valor, then, Sir Lucius,
-forty yards is a good distance. Odds levels and
-aims!—I say it is a good distance.</p>
-
-<p><i>Sir Lucius.</i> (<i>R.</i>) Is it for muskets or small
-field-pieces? Upon my conscience Mr. Acres,
-you must leave those things to me.—Stay, now—I’ll
-show you. (<i>Measures paces along the floor.</i>)
-There, now, that is a very pretty distance—a
-pretty gentleman’s distance.</p>
-
-<p><i>Acr.</i> (<i>R.</i>) Zounds! we might as well fight
-in a sentry-box! I tell you, Sir Lucius, the
-further he is off, the cooler I shall take my aim.</p>
-
-<p><i>Sir L.</i> (<i>L.</i>) Faith! then I suppose you would
-aim at him best of all if he was out of sight!</p>
-
-<p>Acr. No, Sir Lucius; but I should think
-forty or eight-and-thirty yards—</p>
-
-<p><i>Sir L.</i> Pooh! pooh! nonsense! Three or
-four feet between the mouths of your pistols is
-as good as a mile.</p>
-
-<p><i>Acr.</i> Odds bullets, no!—by my valor! here
-is no merit in killing him so near! Do, my
-dear Sir Lucius, let me bring him down at a long
-shot:—a long shot, Sir Lucius, if you love me!</p>
-
-<p><span class="pagenum"><a id="Page_414"></a>[414]</span></p>
-
-<p><i>Sir L.</i> Well, the gentlemen’s friend and I
-must settle that. But tell me now, Mr. Acres,
-in case of an accident, is there any little will or
-commission I could execute for you?</p>
-
-<p><i>Acr.</i> I am much obliged to you, Sir Lucius—but
-I don’t understand—</p>
-
-<p><i>Sir L.</i> Why, you may think there’s no being
-shot at without a little risk; and if an unlucky
-bullet should carry a quietus with it—I say it
-will be no time then to be bothering you about
-family matters.</p>
-
-<p><i>Acr.</i> A quietus!</p>
-
-<p><i>Sir L.</i> For instance, now—if that should be
-the case—would you choose to be pickled and
-sent home?—or would it be the same to you to
-lie here in the Abbey?—I’m told there is
-very snug lying in the Abbey.</p>
-
-<p><i>Acr.</i> Pickled!—Snugly in the Abbey!—Odds
-tremors! Sir Lucius, don’t talk so!</p>
-
-<p><i>Sir L.</i> I suppose, Mr. Acres, you never were
-engaged in an affair of this kind before.</p>
-
-<p><i>Acr.</i> No, Sir Lucius, never before.</p>
-
-<p><i>Sir L.</i> Ah! that’s a pity!—there’s nothing
-like being used to a thing. Pray, now, how
-would you receive the gentlemen’s shot?</p>
-
-<p><i>Acr.</i> Odds files!—I’ve practiced that—there,
-Sir Lucius—there. (<i>Puts himself in an attitude.</i>)
-A side front, hey? I’ll make myself
-small enough: I’ll stand edgeways.</p>
-
-<p><i>Sir L.</i> Now—you’re quite out—for if you
-stand so when I take my aim—(<i>Leveling at
-him.</i>)</p>
-
-<p><i>Acr.</i> Zounds! Sir Lucius—are you sure it is
-not cocked?</p>
-
-<p><i>Sir L.</i> Never fear.</p>
-
-<p><i>Acr.</i> But—but—you don’t know—it may go
-off of its own head!</p>
-
-<p><i>Sir L.</i> Pooh! be easy. Well, now, if I hit
-you in the body, my bullet has a double chance;
-for, if it misses a vital part of your right side,
-’twill be very hard if it don’t succeed on the
-left.</p>
-
-<p><i>Acr.</i> A vital part!</p>
-
-<p><i>Sir L.</i> But, there, fix yourself so—(<i>placing
-him</i>)—let him see the broadside of your full
-front, there, now, a ball or two may pass clean
-through your body, and never do any harm at
-all.</p>
-
-<p><i>Acr.</i> Clean through me!—a ball or two clean
-through me!</p>
-
-<p><i>Sir L.</i> Ay, may they; and it is much the
-genteelest attitude into the bargain.</p>
-
-<p><i>Acr.</i> Look’ee, Sir Lucius! I’d just as lieve
-be shot in an awkward posture as a genteel one;
-so, by my valor! I will stand edgeways.</p>
-
-<p><i>Sir L.</i> (<i>Looking at his watch.</i>) Sure, they don’t
-mean to disappoint us. Ha! no, faith; I think
-I see them coming. (<i>Crosses to R.</i>)</p>
-
-<p><i>Acr.</i> (<i>L.</i>) Hey!—what!—coming!—</p>
-
-<p><i>Sir L.</i> Ay. Who are those yonder, getting
-over the stile?</p>
-
-<p><i>Acr.</i> There are two of them, indeed! Well—let
-them come—hey, Sir Lucius! we—we—we—we—won’t
-run!</p>
-
-<p><i>Sir L.</i> Run!</p>
-
-<p><i>Acr.</i> No,—I say,—we won’t run, by my
-valor!</p>
-
-<p><i>Sir L.</i> What’s the matter with you?</p>
-
-<p><i>Acr.</i> Nothing—nothing—my dear friend—my
-dear Sir Lucius! but I—I don’t feel quite
-so bold, somehow, as I did.</p>
-
-<p><i>Sir L.</i> O, fy! Consider your honor.</p>
-
-<p><i>Acr.</i> Ay—true—my honor. Do, Sir Lucius,
-edge in a word or two every now and then about
-my honor.</p>
-
-<p><i>Sir L.</i> Well, here they’re coming. (<i>Looking
-R.</i>)</p>
-
-<p><i>Acr.</i> Sir Lucius, if I wa’n’t with you, I should
-almost think I was afraid! If my valor should
-leave me!—Valor will come and go.</p>
-
-<p><i>Sir L.</i> Then pray keep it fast while you
-have it.</p>
-
-<p><i>Acr.</i> Sir Lucius, I doubt it is going!—yes—my
-valor is certainly going!—it is sneaking off!
-I feel it oozing out, as it were, at the palms of
-my hands!</p>
-
-<p><i>Sir L.</i> Your honor! your honor! Here they
-are.</p>
-
-<p><i>Acr.</i> O mercy!—now—that I was safe at
-Clod Hall! or could be shot before I was aware!
-(<i><span class="smcap">Sir Lucius</span> takes Acres by the arm, and leads
-him reluctantly off, R.</i>)</p>
-
-<p class="right"><span class="smcap">Sheridan.</span></p>
-
-<div class="footnotes">
-<div class="footnote">
-<p><a id="Footnote_2" href="#FNanchor_2" class="label">[2]</a> <i>L.</i> signifies <i>left</i>; <i>R.</i>, <i>right</i>, and <i>C.</i>, <i>centre</i> of stage.</p>
-</div>
-</div>
-
-<p><span class="pagenum"><a id="Page_415"></a>[415]</span></p>
-
-<h3>READING THE WILL.</h3>
-
-<p><span class="smcap">Characters</span>:</p>
-
-<ul>
-<li><i><span class="smcap">Swipes</span>, a brewer. <span class="smcap">Currie</span>, a saddler.
-<span class="smcap">Frank Millington</span>, and <span class="smcap">’Squire Drawl</span>.</i></li>
-</ul>
-
-<p class="center"><i>Enter <span class="smcap">Swipes</span>, R.,<a id="FNanchor_3" href="#Footnote_3" class="fnanchor">[3]</a> <span class="smcap">Currie</span>, L.</i></p>
-
-<p><i>Swipes.</i> A sober occasion this, brother Currie!
-Who would have thought the old lady was so
-near her end?</p>
-
-<p><i>Currie.</i> Ah! we must all die, brother Swipes.
-Those who live longest outlive the most.</p>
-
-<p><i>Swipes.</i> True, true; but, since we must die
-and leave our earthly possessions, it is well that
-the law takes such good care of us. Had the old
-lady her senses when she departed?</p>
-
-<p><i>Cur.</i> Perfectly, perfectly. ’Squire Drawl told
-me she read every word of her last will and testament
-aloud, and never signed her name better.</p>
-
-<p><i>Swipes.</i> Had you any hint from the ’Squire
-what disposition she made of her property?</p>
-
-<p><i>Cur.</i> Not a whisper! the ’Squire is as close
-as a miser’s purse. But one of the witnesses
-hinted to me that she has cut off her graceless
-nephew with a shilling.</p>
-
-<p><i>Swipes.</i> Has she? Good soul! Has she?
-You know I come in, then, in right of my wife.</p>
-
-<p><i>Cur.</i> And I in my <i>own</i> right; and this is, no
-doubt, the reason why we have been called to
-hear the reading of the will. ’Squire Drawl
-knows how things should be done, though he is
-as air-tight as one of your own beer-barrels,
-brother Swipes. But here comes the young reprobate.
-He must be present, as a matter of
-course, you know. (<i>Enter <span class="smcap">Frank Millington</span>,
-R.</i>) Your servant, young gentleman. So, your
-benefactress has left you, at last!</p>
-
-<p><i>Swipes.</i> It is a painful thing to part with old
-and good friends, Mr. Millington.</p>
-
-<p><i>Frank.</i> It is so, sir; but I could bear her loss
-better, had I not so often been ungrateful for her
-kindness. She was my only friend, and I knew
-not her value.</p>
-
-<p><i>Cur.</i> It is too late to repent, Master Millington.
-You will now have a chance to earn your
-own bread.</p>
-
-<p><i>Swipes.</i> Ay, ay, by the sweat of your brow,
-as better people are obliged to. You would
-make a fine brewer’s boy, if you were not too
-old.</p>
-
-<p><i>Cur.</i> Ay, or a saddler’s lackey, if held with
-a tight rein.</p>
-
-<p><i>Frank.</i> Gentlemen, your remarks imply that
-my aunt has treated me as I deserved. I am
-above your insults, and only hope you will
-bear your fortune as modestly, as I shall mine
-submissively. I shall retire. (<i>As he is going,
-R., enter <span class="smcap">’Squire Drawl</span>, R.</i>)</p>
-
-<p><i>’Squire.</i> Stop, stop, young man! We must
-have your presence. Good-morning, gentlemen:
-you are early on the ground.</p>
-
-<p><i>Cur.</i> I hope the ’Squire is well to-day.</p>
-
-<p><i>’Squire.</i> Pretty comfortable for an invalid.</p>
-
-<p><i>Swipes.</i> I trust the damp air has not affected
-your lungs.</p>
-
-<p><i>’Squire.</i> No, I believe not. You know I
-never hurry. <i>Slow and sure</i> is my maxim.
-Well, since the heirs-at-law are all convened, I
-shall proceed to open the last will and testament
-of your deceased relative, according to law.</p>
-
-<p><i>Swipes.</i> (<i>While the <span class="smcap">’Squire</span> is breaking the
-seal.</i>) It is a trying scene to leave all one’s
-possessions, ’Squire, in this manner!</p>
-
-<p><i>Cur.</i> It really makes me feel melancholy
-when I look round and see everything but the
-venerable owner of these goods. Well did the
-preacher say, All is vanity!</p>
-
-<p><i>’Squire.</i> Please to be seated, gentlemen.</p>
-
-<p>(<i>All sit.—The <span class="smcap">’Squire</span> puts on his spectacles,
-and reads slowly.</i>) “Imprimis: Whereas my
-nephew, Francis Millington, by his disobedience
-and ungrateful conduct, has shown himself unworthy
-of my bounty, and incapable of managing
-my large estate, I do hereby give and bequeath
-all my houses, farms, stocks, bonds,
-moneys and property, both personal and real, to
-my dear cousins, Samuel Swipes, of Malt street,
-brewer, and Christopher Currie, of Fly Court,
-saddler.” (<i><span class="smcap">’Squire</span> takes off his spectacles to
-wipe them.</i>)</p>
-
-<p><i>Swipes.</i> (<i>Dreadfully overcome.</i>) Generous
-creature! kind soul! I always loved her.</p>
-
-<p><span class="pagenum"><a id="Page_416"></a>[416]</span></p>
-
-<p><i>Cur.</i> She <i>was</i> good, she <i>was</i> kind! She was
-in her right mind. Brother Swipes, when we
-divide, I think I will take the mansion-house.</p>
-
-<p><i>Swipes.</i> Not so fast, if you please, Mr. Currie!
-My wife has long had her eye upon that,
-and must have it. (<i>Both rise.</i>)</p>
-
-<p><i>Cur.</i> There will be two words to that bargain,
-Mr. Swipes! And, besides, I ought to
-have the first choice. Did not I lend her a new
-chaise every time she wished to ride? And who
-knows what influence——.</p>
-
-<p><i>Swipes.</i> Am I not named first in her will?
-And did I not furnish her with my best small
-beer for more than six months? And who
-knows——.</p>
-
-<p><i>Frank.</i> Gentlemen, I must leave you.</p>
-
-<p class="right">(<i>Going.</i>)</p>
-
-<p><i>’Squire.</i> (<i>Wiping his spectacles, and putting
-them on.</i>) Pray, gentlemen, keep your seats. I
-have not done yet. (<i>All sit.</i>) Let me see;
-where was I?—Ay,—“All my property, both
-personal and real, to my dear cousins, Samuel
-Swipes, of Malt street, brewer——”</p>
-
-<p><i>Swipes.</i> Yes!</p>
-
-<p><i>’Squire.</i> “And Christopher Currie, Fly Court,
-saddler——”</p>
-
-<p><i>Cur.</i> Yes!</p>
-
-<p><i>’Squire.</i> “To have and to hold in trust, for
-the sole and exclusive benefit of my nephew,
-Francis Millington, until he shall have attained
-the age of twenty-one years; by which time I
-hope he will have so far reformed his evil habits,
-as that he may safely be intrusted with the large
-fortune which I hereby bequeath to him.”</p>
-
-<p><i>Swipes.</i> What’s all this? You don’t mean
-that we are humbugged? <i>In trust!</i>—how does
-that appear? Where is it?</p>
-
-<p><i>’Squire.</i> (<i>Pointing to the parchment.</i>) There!
-In two words of as good old English as I ever
-penned.</p>
-
-<p><i>Cur.</i> Pretty well, too, Mr. ’Squire, if we
-must be sent for to be made a laughing-stock of!
-She shall pay for every ride she had out of my
-chaise, I promise you!</p>
-
-<p><i>Swipes.</i> And for every drop of my beer.
-Fine times, if two sober, hard-working citizens
-are to be brought here to be made the sport of a
-graceless profligate! But we will manage his
-property for him, Mr. Currie! We will make
-him feel that trustees are not to be trifled with!</p>
-
-<p><i>Cur.</i> That will we!</p>
-
-<p><i>’Squire.</i> Not so fast, gentlemen; for the
-instrument is dated three years ago, and the
-young gentleman must already be of age, and
-able to take care of himself. Is it not so,
-Francis?</p>
-
-<p><i>Frank.</i> It is, your worship.</p>
-
-<p><i>’Squire.</i> Then, gentlemen, having attended to
-the breaking of this seal according to law, you
-are released from any further trouble in the
-premises.</p>
-
-<p class="center">(<i>Exit <span class="smcap">Swipes</span> and <span class="smcap">Currie</span> in earnest conversation.</i>)</p>
-
-<p class="right"><span class="smcap">Sargent.</span></p>
-
-<div class="footnotes">
-<div class="footnote">
-<p><a id="Footnote_3" href="#FNanchor_3" class="label">[3]</a> <i>R.</i>, signifies <i>right</i>; <i>L.</i>, <i>left</i> and <i>C.</i>, <i>centre</i> of stage.</p>
-</div>
-</div>
-
-<h3>THE DEBTOR AND THE DUN.</h3>
-
-<p class="center"><i>Enter <span class="smcap">Remnant</span>, R.</i><a id="FNanchor_4" href="#Footnote_4" class="fnanchor">[4]</a></p>
-
-<p><i>Remnant.</i> Well, I am resolved I’ll collect my
-bill of Col. Blarney this time. He shan’t put
-me off again. This is the twentieth time, as
-I’m a sinner, that I have dunned him! His
-smooth words shan’t humbug me now. No,
-no! Richard Remnant is not such a goose as
-to be paid in fine words for fine clothes. (<i>Takes
-out a long bill and unrolls it.</i>) A pretty collection
-of items, that! Why, the interest alone
-would make a good round sum. But hark!
-He is coming. (<i>Hastily rolls up the bill and
-returns it to his pocket.</i>)</p>
-
-<p class="center"><i>Enter <span class="smcap">Col. Blarney</span>, R.</i></p>
-
-<p><i>Blarney.</i> Ah! my dear Remnant, a thousand
-welcomes! How delighted I am to see you!
-And what stupidity on the part of my people not
-to make you enter at once! True, I had given
-orders that they should admit nobody; but those
-orders did not extend to you, my dear sir, for
-to you I am always at home.</p>
-
-<p><i>Rem.</i> Much obliged, sir. (<i>Fumbling in his
-pocket for his bill.</i>)</p>
-
-<p><i>Blar.</i> (<i>calling to his servants</i>.) What, ho!<span class="pagenum"><a id="Page_417"></a>[417]</span>
-John! Martha! confound you! I will teach
-you to keep my friend Remnant kicking his
-heels in the entry! I will teach you to distinguish
-among my visitors!</p>
-
-<p><i>Rem.</i> Indeed, sir, it is no sort of consequence.</p>
-
-<p><i>Blar.</i> But it <i>is</i> consequence! To tell you—you,
-one of my best friends—that I was not in!</p>
-
-<p><i>Rem.</i> I am your humble servant, sir. (<i>Drawing forth
-bill.</i>) I just dropped in to hand you
-this little—</p>
-
-<p><i>Blar.</i> Quick, there, quick! A chair for my
-friend Remnant!</p>
-
-<p><i>Rem.</i> I am very well as I am, sir.</p>
-
-<p><i>Blar.</i> Not at all! I would have you seated.</p>
-
-<p><i>Rem.</i> It is not necessary. (<i>Servant hands a
-common chair.</i>)</p>
-
-<p><i>Blar.</i> Rascal!—not that! An arm-chair!</p>
-
-<p><i>Rem.</i> You are taking too much trouble. (<i>An
-arm-chair is placed for him.</i>)</p>
-
-<p><i>Blar.</i> No, no; you have been walking some
-distance, and require rest. Now be seated.</p>
-
-<p><i>Rem.</i> There is no need of it—I have but a
-single word to say. I have brought—</p>
-
-<p><i>Blar.</i> Be seated, I say. I will not listen to
-you till you are seated.</p>
-
-<p><i>Rem.</i> Well, sir, I will do as you wish. (<i>Sits.</i>)
-I was about to say—</p>
-
-<p><i>Blar.</i> Upon my word, friend Remnant, you
-are looking remarkably well.</p>
-
-<p><i>Rem.</i> Yes, sir, thank heaven, I am pretty
-well. I have come with this—</p>
-
-<p><i>Blar.</i> You have an admirable stock of health—lips
-fresh, skin ruddy, eyes clear and bright—really—</p>
-
-<p><i>Rem.</i> If you would be good enough to—</p>
-
-<p><i>Blar.</i> And how is Madam Remnant?</p>
-
-<p><i>Rem.</i> Quite well, sir, I am happy to say.</p>
-
-<p><i>Blar.</i> A charming woman, Mr. Remnant! A
-very superior woman.</p>
-
-<p><i>Rem.</i> She will be much obliged, sir. As I
-was saying—</p>
-
-<p><i>Blar.</i> And your daughter, Claudine, how is
-she?</p>
-
-<p><i>Rem.</i> As well as can be.</p>
-
-<p><i>Blar.</i> The beautiful little thing that she is!
-I am quite in love with her.</p>
-
-<p><i>Rem.</i> You do us too much honor, sir. I—you—</p>
-
-<p><i>Blar.</i> And little Harry—does he make as
-much noise as ever, beating that drum of his?</p>
-
-<p><i>Rem.</i> Ah, yes! He goes on the same as ever.
-But, as I was saying—</p>
-
-<p><i>Blar.</i> And your little dog, Brisk,—does he
-bark as loud as ever, and snap at the legs of
-your visitors?</p>
-
-<p><i>Rem.</i> More than ever, sir, and we don’t know
-how to cure him. He, he! But I dropped in
-to—</p>
-
-<p><i>Blar.</i> Do not be surprised if I want particular
-news of all your family, for I take the
-deepest interest in all of you.</p>
-
-<p><i>Rem.</i> We are much obliged to your honor,
-much obliged. I—</p>
-
-<p><i>Blar.</i> (<i>Giving his hand.</i>) Your hand upon it,
-Mr. Remnant. Don’t rise. Now, tell me, do
-you stand well with the people of quality?—for
-I can make interest for you among them.</p>
-
-<p><i>Rem.</i> Sir, I am your humble servant.</p>
-
-<p><i>Blar.</i> And I am yours, with all my heart.
-(<i>Shaking hands again.</i>)</p>
-
-<p><i>Rem.</i> You do me too much honor.</p>
-
-<p><i>Blar.</i> There is nothing I would not do for you.</p>
-
-<p><i>Rem.</i> Sir, you are too kind to me.</p>
-
-<p><i>Blar.</i> At least I am disinterested; be sure of
-that, Mr. Remnant.</p>
-
-<p><i>Rem.</i> Certainly I have not merited these
-favors, sir. But, sir,—</p>
-
-<p><i>Blar.</i> Now I think of it, will you stay and sup
-with me?—without ceremony, of course.</p>
-
-<p><i>Rem.</i> No, sir, I must return to my shop; I
-should have been there before this. I—</p>
-
-<p><i>Blar.</i> What ho, there! A light for Mr. Remnant!
-and tell the coachman to bring the coach
-and drive him home.</p>
-
-<p><i>Rem.</i> Indeed, sir, it is not necessary. I can
-walk well enough. But here— (<i>Offering bill.</i>)</p>
-
-<p><i>Blar.</i> O! I shall not listen to it. Walk?
-Such a night as this! I am your friend, Remnant,
-and, what is more, your debtor—your
-debtor, I say—all the world may know it.</p>
-
-<p><i>Rem.</i> Ah! sir if you could but find it convenient—</p>
-
-<p><span class="pagenum"><a id="Page_418"></a>[418]</span></p>
-
-<p><i>Blar.</i> Hark! There is the coach. One more
-embrace, my dear Remnant! (<i>Shakes hands
-again.</i>) Take care of the steps. Command
-me always; and be sure there is nothing in
-the world I would not do for you. There!
-Good-by.</p>
-
-<p class="center">(<i>Exit <span class="smcap">Remnant</span>, conducted by <span class="smcap">Col. B.</span></i>)</p>
-
-<p class="right"><span class="smcap">Altered from Molière.</span></p>
-
-<div class="footnotes">
-<div class="footnote">
-<p><a id="Footnote_4" href="#FNanchor_4" class="label">[4]</a> The initials <i>R.</i> and <i>L.</i> stand for the <i>Right</i> and <i>Left</i> of the
-stage, facing the audience.</p>
-</div>
-</div>
-
-<h3>THE DISAGREEABLE MEDDLER.</h3>
-
-<p class="center"><i>Enter <span class="smcap">Doubledot</span> and <span class="smcap">Simon</span>, L.</i><a id="FNanchor_5" href="#Footnote_5" class="fnanchor">[5]</a></p>
-
-<p><i>Doubledot.</i> Plague take Mr. Paul Pry! He is
-one of those idle, meddling fellows, who, having
-no employment themselves, are perpetually interfering
-in other people’s affairs.</p>
-
-<p><i>Simon.</i> Ay, and he’s inquisitive into all matters,
-great and small.</p>
-
-<p><i>Doub.</i> Inquisitive! Why, he makes no scruple
-of questioning you respecting your most private
-concerns. Then he will weary you to death
-with a long story about a cramp in his leg, or
-the loss of a sleeve-button, or some such idle
-matter. And so he passes his days, “dropping
-in,” as he calls it, from house to house at the
-most unreasonable times, to the annoyance of
-every family in the village. But I’ll soon get
-rid of him.</p>
-
-<p class="center"><i>Enter <span class="smcap">Pry</span>, L., with umbrella, which he places
-against the wall.</i></p>
-
-<p><i>Pry.</i> Ha! how d’ye do, Mr. Doubledot?</p>
-
-<p><i>Doub.</i> Very busy, Mr. Pry, and have scarcely
-time to say, “Pretty well, thank ye.” (<i>Turns
-from him as if writing in memorandum book.
-<span class="smcap">Simon</span> advances.</i>)</p>
-
-<p><i>Pry.</i> Ha, Simon! you here? Rather early
-in the morning to be in a public house. Been
-taking a horn, eh? Sent here with a message
-from your master, perhaps? I say, Simon,
-when this wedding takes place, I suppose your
-master will put you all into new liveries, eh?</p>
-
-<p><i>Simon.</i> Can’t say, sir.</p>
-
-<p><i>Pry.</i> Well, I think he might. (<i>Touches
-<span class="smcap">Simon’s</span> sleeve.</i>) Between ourselves, Simon,
-it won’t be before you want ’em, eh?</p>
-
-<p><i>Simon.</i> That’s master’s business, sir, and
-neither yours nor mine.</p>
-
-<p><i>Pry.</i> Mr. Simon, behave yourself, or I shall
-complain of you to the colonel. By the way,
-Simon, that’s an uncommon fine leg of mutton
-the butcher has sent to your house. It weighs
-thirteen pounds five ounces.</p>
-
-<p><i>Doub.</i> And how do you know that?</p>
-
-<p><i>Pry.</i> I asked the butcher. I say, Simon, is
-it for roasting or boiling?</p>
-
-<p><i>Simon.</i> Half and half, with the chill taken
-off. There’s your answer.</p>
-
-<p class="right">(<i>Exit <span class="smcap">Simon</span>, R.</i>)</p>
-
-<p><i>Pry.</i> That’s an uncommon ill-behaved servant!
-Well, since you say you are busy, I
-won’t interrupt you; only, as I was passing, I
-thought I might as well drop in.</p>
-
-<p><i>Doub.</i> Then you may now drop out again.
-The railway ’bus will be in presently, and—</p>
-
-<p><i>Pry.</i> No passengers by it to-day, for I have
-been to the hill to look for it.</p>
-
-<p><i>Doub.</i> Did you expect any one by it, that
-you were so anxious?</p>
-
-<p><i>Pry.</i> No; but I make it my business to see
-the coach come in every day. I can’t bear to
-be idle.</p>
-
-<p><i>Doub.</i> Useful occupation, truly!</p>
-
-<p><i>Pry.</i> Always see it go out; have done so
-these ten years.</p>
-
-<p><i>Doub.</i> (<i>Going up.</i>) Tiresome blockhead!
-Well; good morning to you.</p>
-
-<p><i>Pry.</i> Good-morning, Mr. Doubledot. Your
-tavern doesn’t appear to be very full just now.</p>
-
-<p><i>Doub.</i> No, no.</p>
-
-<p><i>Pry.</i> Ha! you are at a heavy rent? (<i>Pauses
-for an answer after each question.</i>) I’ve often
-thought of that. No supporting such an establishment
-without a deal of custom. If it’s not
-an impertinent question, don’t you find it rather
-a hard matter to make both ends meet when
-the first of the month comes round?</p>
-
-<p><i>Doub.</i> If it isn’t asking an impertinent question,
-what’s that to you?</p>
-
-<p><i>Pry.</i> O, nothing; only some folks have the
-luck of it: they have just taken in a nobleman’s
-family at the opposition house, the Green
-Dragon.</p>
-
-<p><span class="pagenum"><a id="Page_419"></a>[419]</span></p>
-
-<p><i>Doub.</i> What’s that? A nobleman at the
-Green Dragon!</p>
-
-<p><i>Pry.</i> Traveling carriage and four. Three
-servants on the dickey and an outrider, all in
-blue liveries. They dine and stop all night.
-A pretty bill there will be to-morrow, for the
-servants are not on board wages.</p>
-
-<p><i>Doub.</i> Plague take the Green Dragon! How
-did you discover that they are not on board
-wages?</p>
-
-<p><i>Pry.</i> I was curious to know, and asked one
-of them. You know I never miss any thing for
-want of asking. ’Tis no fault of mine that the
-nabob is not here, at your house.</p>
-
-<p><i>Doub.</i> Why, what had you to do with it?</p>
-
-<p><i>Pry.</i> You know I never forget my friends.
-I stopped the carriage as it was coming down
-the hill—brought it to a dead stop, and said
-that if his lordship—I took him for a lord at
-once—that if his lordship intended to make any
-stay, he couldn’t do better than to go to
-Doubledot’s.</p>
-
-<p><i>Doub.</i> Well?</p>
-
-<p><i>Pry.</i> Well,—would you believe it?—out pops
-a saffron-colored face from the carriage window,
-and says, “You’re an impudent rascal for stopping
-my carriage, and I’ll not go to Doubledot’s
-if there’s another inn to be found within ten
-miles of it!”</p>
-
-<p><i>Doub.</i> There, that comes of your confounded
-meddling! If you had not interfered I should
-have stood an equal chance with the Green
-Dragon.</p>
-
-<p><i>Pry.</i> I’m very sorry; but I did it for the best.</p>
-
-<p><i>Doub.</i> Did it for the best, indeed! Deuce
-take you! By your officious attempts to serve,
-you do more mischief in the neighborhood than
-the exciseman, the apothecary, and the attorney,
-all together.</p>
-
-<p><i>Pry.</i> Well, there’s gratitude! Now, really,
-I must go. Good-morning.</p>
-
-<p class="right">(<i>Exit <span class="smcap">Paul Pry</span>.</i>)</p>
-
-<p><i>Doub.</i> I’m rid of him at last, thank fortune!
-(<i><span class="smcap">Pry</span> re-enters.</i>) Well, what now?</p>
-
-<p><i>Pry.</i> I’ve dropped one of my gloves. Now,
-that’s very odd—here it is in my hand all the
-time!</p>
-
-<p><i>Doub.</i> Go to confusion!</p>
-
-<p class="right">(<i>Exit.</i>)</p>
-
-<p><i>Pry.</i> Come, that’s civil! If I were the least
-of a bore, now, it would be pardonable—But—Hullo!
-There’s the postman! I wonder
-whether the Parkins’s have got letters again to-day.
-They have had letters every day this
-week, and I can’t for the life of me think what
-they can—(<i>Feels hastily in his pockets.</i>) By
-the way, talking of letters, here’s one I took
-from the postman last week for the colonel’s
-daughter, Miss Eliza, and I have always forgotten
-to give it to her. I dare say it is not of
-much importance. (<i>Peeps into it—reads.</i>)
-“Likely—unexpected—affectionate.” I can’t
-make it out. No matter; I’ll contrive to take it
-to the house—though I’ve a deal to do to-day.
-(<i>Runs off and returns.</i>) Dear me! I had like
-to have gone without my umbrella.</p>
-
-<p class="center">[<span class="allsmcap">CURTAIN.</span>]</p>
-
-<p class="right"><span class="smcap">John Poole.</span></p>
-
-<div class="footnotes">
-<div class="footnote">
-<p><a id="Footnote_5" href="#FNanchor_5" class="label">[5]</a> <i>L.</i> signifies <i>left</i>; <i>R.</i>, <i>right</i>, and <i>C.</i>, <i>centre</i> of stage.</p>
-</div>
-</div>
-
-<h3>SPARTACUS AND JOVIUS.</h3>
-
-<div class="blockquote">
-
-<p class="center"><i>Enter <span class="smcap">Spartacus</span>, L.,<a id="FNanchor_6" href="#Footnote_6" class="fnanchor">[6]</a> <span class="smcap">Jovius</span>, R.</i></p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0"><i>Spartacus.</i> Speak, Roman! wherefore does thy master send</div>
-    <div class="verse indent0">Thy gray hairs to the “cut throat’s” camp?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Jovius.</i> Brave rebel—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Spart.</i> Why, that’s a better name than rogue or bondman;</div>
-    <div class="verse indent0">But in this camp I am called <i>General</i>.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Jov.</i> Brave General,—for, though a rogue and bondman,</div>
-    <div class="verse indent0">As you have said, I’ll still allow you General,</div>
-    <div class="verse indent0">As he that beats a consul surely is.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Spart.</i> Say two—two consuls; and to that e’en add</div>
-    <div class="verse indent0">A proconsul, three prætors, and some generals.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Jov.</i> Why, this is no more than true. Are you a Thracian?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Spart.</i> Ay.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Jov.</i> There is something in the air of Thrace</div>
-    <div class="verse indent0">Breeds valor up as rank as grass. ’Tis pity.</div>
-    <div class="verse indent0">You are a barbarian.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Spart.</i> Wherefore?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Jov.</i> Had you been born</div>
-    <div class="verse indent0">A Roman, you had won by this a triumph.</div><span class="pagenum"><a id="Page_420"></a>[420]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Spart.</i> I thank the gods I am barbarian;</div>
-    <div class="verse indent0">For I can better teach the grace-begot</div>
-    <div class="verse indent0">And heaven-supported masters of the earth</div>
-    <div class="verse indent0">How a mere dweller of a desert rock</div>
-    <div class="verse indent0">Can bow their crowned heads to his chariot-wheels,</div>
-    <div class="verse indent0">Their regal necks to be his stepping-blocks.</div>
-    <div class="verse indent0">But come, what is thy message?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Jov.</i> Julia, niece</div>
-    <div class="verse indent0">Of the prætor, is thy captive.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Spart.</i> Ay.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Jov.</i> For whom</div>
-    <div class="verse indent0">Is offered in exchange thy wife, Senona,</div>
-    <div class="verse indent0">And thy young boy.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Spart.</i> Tell thou the prætor, Roman,</div>
-    <div class="verse indent0">The Thracian’s wife is ransomed.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Jov.</i> How is that?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Spart.</i> Ransomed, and by the steel, from out the camp</div>
-    <div class="verse indent0">Of slaughtered Gellius! (<i>Pointing off.</i>) Behold them, Roman!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Jov.</i> (<i>Looking as <span class="smcap">Spart.</span> points.</i>) This is sorcery!</div>
-    <div class="verse indent0">But name a ransom for the general’s niece.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Spart.</i> Have I not now the prætor on the hip?</div>
-    <div class="verse indent0">He would, in his extremity, have made</div>
-    <div class="verse indent0">My wife his buckler of defence; perhaps</div>
-    <div class="verse indent0">Have doomed her to the scourge! But this is Roman.</div>
-    <div class="verse indent0">Now the barbarian is instructed. Look!</div>
-    <div class="verse indent0">I hold the prætor by the heart; and he</div>
-    <div class="verse indent0">Shall feel how tightly grip barbarian fingers.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Jov.</i> Men do not war on women. Name her ransom.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Spart.</i> Men do not war on women! Look you:</div>
-    <div class="verse indent0">One day I climbed up to the ridgy top</div>
-    <div class="verse indent0">Of the cloud-piercing Hæmus, where, among</div>
-    <div class="verse indent0">The eagles and the thunders, from that height,</div>
-    <div class="verse indent0">I looked upon the world, as far as where,</div>
-    <div class="verse indent0">Wrestling with storms, the gloomy Euxine chafed</div>
-    <div class="verse indent0">On his recoiling shores; and where dim Adria</div>
-    <div class="verse indent0">In her blue bosom quenched the fiery sphere.</div>
-    <div class="verse indent0">Between those surges lay a land, might once</div>
-    <div class="verse indent0">Have matched Elysium; but Rome had made it</div>
-    <div class="verse indent0">A Tartarus. In my green youth I looked</div>
-    <div class="verse indent0">From the same frosty peak where now I stood,</div>
-    <div class="verse indent0">And then beheld the <i>glory</i> of those lands,</div>
-    <div class="verse indent0">Where Peace was tinkling on the shepherd’s bell</div>
-    <div class="verse indent0">And singing with the reapers.</div>
-    <div class="verse indent0">Since that glad day, Rome’s conquerors had passed</div>
-    <div class="verse indent0">With withering armies there, and all was changed.</div>
-    <div class="verse indent0">Peace had departed; howling War was there,</div>
-    <div class="verse indent0">Cheered on by Roman hunters. Then, methought</div>
-    <div class="verse indent0">E’en as I looked upon the altered scene,</div>
-    <div class="verse indent0">Groans echoed through the valleys, through which ran</div>
-    <div class="verse indent0">Rivers of blood, like smoking Phlegethons;</div>
-    <div class="verse indent0">Fires flashed from burning villages, and Famine</div>
-    <div class="verse indent0">Shrieked in the empty cornfields! Women and children,</div>
-    <div class="verse indent0">Robbed of their sires and husbands, left to starve—</div>
-    <div class="verse indent0">These were the dwellers of the land! Say’st thou</div>
-    <div class="verse indent0">Rome wars not, then, on women?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Jov.</i> This is not to the matter.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Spart.</i> Now, by Jove,</div>
-    <div class="verse indent0">It is! These things do Romans. But the earth</div>
-    <div class="verse indent0">Is sick of conquerors. There is not a man,</div>
-    <div class="verse indent0">Not Roman, but is Rome’s extremest foe:</div>
-    <div class="verse indent0">And such am I; sworn from that hour I saw</div>
-    <div class="verse indent0">Those sights of horror, while the gods support me,</div>
-    <div class="verse indent0">To wreak on Rome such havoc as Rome wreaks,</div>
-    <div class="verse indent0">Carnage and devastation, woe and ruin.</div>
-    <div class="verse indent0">Why should I ransom, when I swear to slay?</div>
-    <div class="verse indent0">Begone! This is my answer!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Bird.</span></div>
-  </div>
-</div>
-</div>
-
-<div class="footnotes">
-<div class="footnote">
-<p><a id="Footnote_6" href="#FNanchor_6" class="label">[6]</a> <i>L.</i> signifies <i>left</i>; <i>R.</i>, <i>right</i>, and <i>C.</i>, <i>centre</i> of stage</p>
-</div>
-</div>
-
-<h3>THE RESOLVE OF REGULUS.—<i>Sargent.</i></h3>
-
-<p>(Regulus, a Roman consul, having been defeated
-in battle and taken prisoner by the Carthaginians,
-was detained in captivity five years, and then sent on
-an embassy to Rome to solicit peace, under a promise
-that he would return to Carthage if the proposals
-were rejected. These, it was thought, he would
-urge in order to obtain his own liberty; but he
-urged contrary and patriotic measures on his countrymen;
-and then, having carried his point, resisted
-the persuasions of his friends to remain in Rome,
-and returned to Carthage, where a martyr’s death
-awaited him. Some writers say that he was thrust into
-a cask covered over on the inside with iron spikes,
-and thus rolled down hill. The following scene presents
-Regulus just as he has made known to his friends
-in Rome his resolution to return to Carthage.)</p>
-
-<div class="blockquote">
-
-<p class="center"><i>Enter <span class="smcap">Regulus</span>, followed by <span class="smcap">Sertorius</span>.</i></p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0"><i>Sertorius.</i> Stay, Roman, in pity!—if not for thy life,</div>
-    <div class="verse indent0">For the sake of thy country, thy children, thy wife.</div><span class="pagenum"><a id="Page_421"></a>[421]</span>
-    <div class="verse indent0">Sent, not to urge war, but to lead Rome to peace,</div>
-    <div class="verse indent0">Thy captors of Carthage vouchsafed thee release.</div>
-    <div class="verse indent0">Thou return’st to encounter their anger, their rage;—</div>
-    <div class="verse indent0">No mercy expect for thy fame or thy age!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Regulus.</i> To my captors one pledge, and one only, I gave:</div>
-    <div class="verse indent0">To <span class="smcap">return</span>, though it were to walk into my grave!</div>
-    <div class="verse indent0">No hope I extended, no promise I made,</div>
-    <div class="verse indent0">Rome’s Senate and people from war to dissuade.</div>
-    <div class="verse indent0">If the vengeance of Carthage be stored for me now,</div>
-    <div class="verse indent0">I have reaped no dishonor, have broken no vow.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Sert.</i> They released thee, but dreamed not that thou wouldst fulfil</div>
-    <div class="verse indent0">A part that would leave thee a prisoner still;</div>
-    <div class="verse indent0">They hoped thy own danger would lead thee to sway</div>
-    <div class="verse indent0">The councils of Rome a far different way;</div>
-    <div class="verse indent0">Would induce thee to urge the conditions they crave,</div>
-    <div class="verse indent0">If only thy freedom, thy life-blood, to save.</div>
-    <div class="verse indent0">Thought shudders, the torment and woe to depict</div>
-    <div class="verse indent0">Thy merciless foes have the heart to inflict!</div>
-    <div class="verse indent0">Remain with us, Regulus! do not go back!</div>
-    <div class="verse indent0">No hope sheds its ray on thy death-pointing track!</div>
-    <div class="verse indent0">Keep faith with the faithless? The gods will forgive</div>
-    <div class="verse indent0">The balking of such. O, live, Regulus, live!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Reg.</i> With the consciousness fixed in the core of my heart,</div>
-    <div class="verse indent0">That I had been playing the perjurer’s part?</div>
-    <div class="verse indent0">With the stain ever glaring, the thought ever nigh,</div>
-    <div class="verse indent0">That I owe the base breath I inhale to a lie?</div>
-    <div class="verse indent0">O, never! Let Carthage infract every oath,</div>
-    <div class="verse indent0">Be false to her word and humanity both,</div>
-    <div class="verse indent0">Yet never will I in her infamy share,</div>
-    <div class="verse indent0">Or turn for a refuge to guilt from despair!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Sert.</i> O, think of the kindred and friends who await</div>
-    <div class="verse indent0">To fall on thy neck, and withhold thee from fate;</div>
-    <div class="verse indent0">O, think of the widow, the orphans to be,</div>
-    <div class="verse indent0">And let thy compassion plead softly with me.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Reg.</i> O, my friend, thou canst soften, but canst not subdue;</div>
-    <div class="verse indent0">To the faith of my soul I must ever be true.</div>
-    <div class="verse indent0">If my honor I cheapen, my conscience discrown,</div>
-    <div class="verse indent0">All the graces of life to the dust are brought down;</div>
-    <div class="verse indent0">All creation to me is a chaos once more—</div>
-    <div class="verse indent0">No heaven to hope for, no God to adore!</div>
-    <div class="verse indent0">And the love that I feel for wife, children, and friend,</div>
-    <div class="verse indent0">Has lost all its beauty, and thwarted its end.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Sert.</i> Let thy country determine.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Reg.</i> <span class="hemi8">My country? Her will,</span></div>
-    <div class="verse indent0">Were I free to obey, would be paramount still.</div>
-    <div class="verse indent0">I go to my doom for my country alone;</div>
-    <div class="verse indent0">My life is my country’s; my honor, my own!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Sert.</i> O, Regulus! think of the pangs in reserve!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Reg.</i> What menace should make me from probity swerve?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Sert.</i> Refinements of pain will these miscreants find</div>
-    <div class="verse indent0">To daunt and disable the loftiest mind.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Reg.</i> And ’tis to a Roman thy fears are addressed!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Sert.</i> Forgive me. I know thy unterrified breast.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Reg.</i> Thou know’st me but human—as weak to sustain</div>
-    <div class="verse indent0">As thyself, or another, the searchings of pain.</div>
-    <div class="verse indent0">This flesh may recoil, and the anguish they wreak</div>
-    <div class="verse indent0">Chase the strength from my knees, and the hue from my cheek;</div>
-    <div class="verse indent0">But the body alone they can vanquish and kill;</div>
-    <div class="verse indent0">The spirit immortal shall smile at them still.</div>
-    <div class="verse indent0">Then let them make ready their engines of dread,</div>
-    <div class="verse indent0">Their spike-bristling cask, and their torturing bed;</div>
-    <div class="verse indent0">Still Regulus, heaving no recreant breath,</div>
-    <div class="verse indent0">Shall greet as a friend the deliverer, Death!</div>
-    <div class="verse indent0">Their cunning in torture and taunt shall defy,</div>
-    <div class="verse indent0">And hold it in joy for his country to die.</div>
-  </div>
-</div>
-</div>
-
-<p><span class="pagenum"><a id="Page_422"></a>[422]</span></p>
-
-<h3>HOW THE MONEY GOES.</h3>
-
-<p class="center">(A temperance play.)</p>
-
-<ul>
-<li><span class="smcap">Characters.</span>—<i><span class="smcap">Man</span>, about thirty-five years old;
-his <span class="smcap">Wife</span>; <span class="smcap">Nellie</span>, his daughter, ten years old;
-<span class="smcap">Friend</span>, man about husband’s age, dressed in a
-man-of-the-world style; A. and B., two young
-men, dressed as business men, should appear about
-thirty years of age.</i></li>
-</ul>
-
-<p class="hanging tb"><span class="smcap">Scene I.</span> (<i><span class="smcap">Mr. L.</span> and his wife on the stage; <span class="smcap">Mr. L.</span>
-dressed for his work, and about to go.</i>)</p>
-
-<p><i>Mrs. L.</i> Albert, I wish you would give me
-seventy-five cents.</p>
-
-<p><i>Mr. L.</i> What do you want seventy-five cents
-for?</p>
-
-<p><i>Mrs. L.</i> I want to get some braid for my new
-dress.</p>
-
-<p><i>Mr. L.</i> I thought you had material enough on
-hand for that.</p>
-
-<p><i>Mrs. L.</i> So I thought I had; but it looks
-rather plain with no trimming at all. You know
-I was intending to trim it with that fringe; but
-it looks too gray, come to try it by the side of
-the dress.</p>
-
-<p><i>Mr. L.</i> Haven’t you something else that will
-do?</p>
-
-<p><i>Mrs. L.</i> No. But, then, braid is cheap; and
-I can make it look quite pretty with seventy-five
-cents.</p>
-
-<p><i>Mr. L.</i> Plague take these women’s fashions.
-Your endless trimmings and thing-a-ma-jigs cost
-more than the dress is worth. It is nothing but
-shell out money when a woman thinks of a new
-dress.</p>
-
-<p><i>Mrs. L.</i> I don’t have many new dresses. I
-do certainly try to be as economical as I can.</p>
-
-<p><i>Mr. L.</i> It is funny kind of economy, at all
-events. But if you must have it, I suppose you
-must.</p>
-
-<p>(<i>Takes out his purse, and counts out carefully
-seventy-five cents, and puts his purse away,
-angrily. He starts to go; but when at the
-door, he thinks he will take his umbrella, and
-goes back for it. Finds his wife in tears,
-which she tries hastily to conceal.</i>)</p>
-
-<p><i>Mr. L.</i> Good gracious! Kate, I should like
-to know if you are crying at what I said about
-the dress.</p>
-
-<p><i>Mrs. L.</i> I was not crying at what you said,
-but you were so reluctant to grant the small
-favor! I was thinking how hard I have to
-work. I am tied to the house. I have many
-little things to perplex me. Then to think—</p>
-
-<p><i>Mr. L.</i> Pshaw! What do you want to be
-foolish for.</p>
-
-<p class="right">(<i>Exit.</i>)</p>
-
-<p class="center">(<i>In the hall he was met by his little girl</i>, <span class="smcap">Lizzie</span>.)</p>
-
-<p><i>Lizzie</i> (<i>holding both his hands</i>). O, papa, give
-me fifteen cents.</p>
-
-<p><i>Mr. L.</i> What?</p>
-
-<p><i>Lizzie.</i> I want fifteen cents. <i>Please</i> give me
-fifteen cents.</p>
-
-<p><i>Mr. L.</i> What in the world do you want it for?
-Are they changing books again?</p>
-
-<p><i>Lizzie.</i> No. I want a hoop. It’s splendid
-rolling; and all the girls have one. Mr. Grant
-has some real nice ones to sell. <i>Please</i>, can’t I
-have one?</p>
-
-<p><i>Mr. L.</i> Nonsense! If you want a hoop, go
-and get one off some old barrel. I can’t afford
-to buy hoops for you to trundle about the streets.
-(<i>Throws her off.</i>)</p>
-
-<p><i>Lizzie</i> (<i>in a pleading tone</i>). Please, papa?</p>
-
-<p><i>Mr. L.</i> No, I told you!</p>
-
-<p class="center">(<i>She bursts into tears, and he goes off muttering,
-“Cry, then, and cry it out.”</i>)</p>
-
-<p class="hanging tb"><span class="smcap">Scene II.</span> (<i><span class="smcap">Albert</span> enters, his wife entering on the opposite
-side. She kisses him as a greeting.</i>)</p>
-
-<p><i>Mrs. L.</i> I am glad you are home thus early.
-How has business gone to-day?</p>
-
-<p><i>Mr. L.</i> Well, I am happy to say.</p>
-
-<p><i>Mrs. L.</i> Are you very tired?</p>
-
-<p><i>Mr. L.</i> No; why?</p>
-
-<p><i>Mrs. L.</i> I want you to go to the sewing circle
-to-night.</p>
-
-<p><i>Mr. L.</i> I can’t go; I have an engagement.</p>
-
-<p><i>Mrs. L.</i> I am sorry. You never go with me
-now. You used to go a great deal.</p>
-
-<p class="center">(<i>Just then <span class="smcap">Lizzie</span> comes in crying, dragging an old
-hoop, and rubbing her eyes.</i>)</p>
-
-<p><span class="pagenum"><a id="Page_423"></a>[423]</span></p>
-
-<p><i>Mr. L.</i> What is the matter with you, darling?</p>
-
-<p><i>Lizzie.</i> The girls have been laughing at me,
-and making fun of my hoop. They say mine is
-ugly and homely.</p>
-
-<p><i>Mr. L.</i> Never mind; perhaps we’ll have a
-new one some time.</p>
-
-<p><i>Lizzie.</i> Mayn’t I have one now? Mr. Grant
-has one left—a real pretty one.</p>
-
-<p><i>Mr. L.</i> Not now, Lizzie; not now. I’ll
-think of it.</p>
-
-<p class="center">(<i><span class="smcap">Lizzie</span> goes out crying, followed by her mother.
-A friend of <span class="smcap">Mr. L.</span> enters.</i>)</p>
-
-<p><i>Friend.</i> Hello, Albert! What’s up?</p>
-
-<p><i>Mr. L.</i> Nothing in particular. Take a chair.</p>
-
-<p><i>Friend.</i> How’s business?</p>
-
-<p><i>Mr. L.</i> Good.</p>
-
-<p><i>Friend.</i> Did you go to the club last night?</p>
-
-<p><i>Mr. L.</i> Don’t speak so loud!</p>
-
-<p><i>Friend.</i> Ha! wife don’t know—does she?
-Where does she think you go?</p>
-
-<p><i>Mr. L.</i> I don’t know. She never asks me,
-and I am glad of it. She asked me to go with
-her to-night, and I told her I was engaged.</p>
-
-<p><i>Friend.</i> Good! I shan’t ask you where, but
-take it for granted that it was with me. What
-do you say for a game of billiards?</p>
-
-<p><i>Mr. L.</i> Good! I’m in for that. (<i>They rise
-to go.</i>) Have a cigar, Tom?</p>
-
-<p><i>Friend.</i> Yes. (<i>They go out.</i>)</p>
-
-<p class="hanging tb"><span class="smcap">Scene III.</span> (<i>Two men in conversation as they come upon the
-stage.</i>)</p>
-
-<p><i>B.</i> Billiards? No, I never play billiards.</p>
-
-<p><i>A.</i> Why not?</p>
-
-<p><i>B.</i> I don’t like its tendency.</p>
-
-<p><i>A.</i> It is only a healthy pastime. I am sure it
-has no evil tendency.</p>
-
-<p><i>B.</i> I cannot assert that the game in its most
-innocent form is, of itself, an evil, to be sure.
-But, although it has the advantage of calling
-forth skill and judgment, yet it is evil when it
-excites and stimulates beyond the bounds of
-healthy recreation.</p>
-
-<p><i>A.</i> That result can scarcely follow such a
-game.</p>
-
-<p><i>B.</i> You are wrong there. The result can
-follow in two ways. First, it can lead men
-away from their business. Secondly, it leads
-those to spend money who have none to spend.
-Look at that young man just passing. He
-looks like a mechanic; and I should judge from
-his appearance that he has a family. I see by
-his face that he is kind and generous, and wants
-to do as near right as he can. I have watched
-him in the billiard saloon time after time, and
-only last night I saw him pay one dollar and
-forty cents for two hours’ recreation. He did
-it cheerfully, too, and smiled at his loss. But
-how do you suppose it is at home? Suppose
-his wife had asked him for a dollar or two for
-some household ornament, or his child, if he
-has one, for a picture-book or toy, what do you
-suppose he would have answered? This is not
-conjecture; for you and I both know plenty of
-such cases.</p>
-
-<p><i>A.</i> Upon my word, B., you speak to the
-point; for I know that young man, and what
-you have said is true. I can furnish you with
-facts. We have a club for a literary paper in
-our village, and last year he was one of the subscribers.
-This year he was obliged to discontinue.
-His wife was very anxious to take it;
-but he said he could not afford the $1.25 for it.
-And his little Lizzie, ten years old, has coaxed
-her father for fifteen cents, for a hoop, in vain.
-My Nellie told me that.</p>
-
-<p><i>B.</i> Yes; and that two hours’ recreation last
-night, would have paid for both. It is well for
-wives and children that they do not know where
-all the money goes.</p>
-
-<h3>THE SALUTATORIAN’S DIFFICULTIES.</h3>
-
-<p><span class="smcap">Characters.</span></p>
-
-<ul>
-<li><span class="smcap">Frank Clayton.</span></li>
-<li><span class="smcap">Harry Thompson.</span></li>
-<li><span class="smcap">Tommy Watkins.</span></li>
-<li><span class="smcap">Sammy Long.</span></li>
-<li><span class="smcap">Johnny Wilson.</span></li>
-<li><span class="smcap">Willie Brown.</span></li>
-</ul>
-
-<p class="hanging tb"><span class="smcap">Scene.</span>—<i>A stage. Curtain rises, and <span class="smcap">Frank
-Clayton</span> comes forward and speaks.</i></p>
-
-<p><i>Frank.</i> Ladies and gentlemen: Our performances
-are now about to commence. We have<span class="pagenum"><a id="Page_424"></a>[424]</span>
-spent some time in preparing for this exhibition,
-and we hope you will be pleased with all the
-performances that may be given. You well
-know that we have not had much practice in
-giving school exhibitions, and if you see any
-errors, we hope you will kindly forgive and
-overlook. We will endeavor to give our recitations
-correctly, and act our parts truthfully, and
-we ask you to—and we ask you to—and—and—and
-we ask that—that—</p>
-
-<p class="center">(<i>Enter <span class="smcap">Harry Thompson</span>. He comes in front of
-<span class="smcap">Frank</span> and commences to speak.</i>)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“Did you ever hear of Jehosophat Boggs,</div>
-    <div class="verse indent0">A dealer and raiser of all sorts of dogs?</div>
-    <div class="verse indent0">No? Then I’ll endeavor in doggerel verse</div>
-    <div class="verse indent0">To just the main points of the story rehearse.</div>
-    <div class="verse indent0">Boggs had a good wife—”</div>
-  </div>
-</div>
-</div>
-
-<p><i>Frank.</i> (<i>Speaking in a loud whisper.</i>) Harry,
-what did you come out here for? I’m not
-through with the introductory speech yet.</p>
-
-<p><i>Harry.</i> (<i>Turns half way round, puts his hand
-to his mouth, as if to keep the audience from hearing,
-and speaks in a loud whisper.</i>) I know you
-weren’t through, but you stuck, and I thought I
-had better come on. You know my recitation
-is second on the programme, and I didn’t want to
-have a bungle right at the commencement of the
-exhibition.</p>
-
-<p><i>Frank.</i> Go back to your place, you little
-rascal, and don’t interrupt me again. I’m
-going to speak my piece.</p>
-
-<p><i>Harry.</i> (<i>With his hand up to hide his mouth as
-before.</i>) Oh, you’re stuck and you’d better
-retire. (<i>Turns to audience and continues to speak
-his piece.</i>)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“Boggs had a good wife, the joy of his life,</div>
-    <div class="verse indent0">There was nothing between them inclining to strife.</div>
-    <div class="verse indent0">Except her dear J.’s dogmatic employment;</div>
-    <div class="verse indent0">And that, she averred, did mar her enjoyment.”</div>
-  </div>
-</div>
-</div>
-
-<p><i>Frank.</i> (<i>Whispering as before.</i>) I say, Harry,
-get from before me and let me speak my
-piece.</p>
-
-<p><i>Harry.</i> (<i>Turns, puts up his hand, and whispers
-as before.</i>) Oh, you keep shady until I get
-through. (<i>Turns to audience and speaks.</i>)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“She often had begged him to sell off his dogs,</div>
-    <div class="verse indent0">And instead to raise turkeys, spring chickens or hogs.</div>
-    <div class="verse indent0">She made him half promise at no distant day</div>
-    <div class="verse indent0">He would sell the whole lot, not excepting old Tray;</div>
-    <div class="verse indent0">And as good luck would have it,—”</div>
-  </div>
-</div>
-</div>
-
-<p><i>Frank.</i> (<i>Turning Harry by the collar and
-pulling him back.</i>) I tell you to get out of this
-until I have spoken my piece.</p>
-
-<p><i>Harry.</i> I won’t. Let me alone, I say. You
-have stuck fast, and do you want to spoil the
-exhibition? Didn’t you know enough to keep
-off the stage until I had spoken my piece?</p>
-
-<p><i>Frank.</i> (<i>Still holding him by the collar.</i>) It is
-you that are spoiling the exhibition. (<i>Leads him
-off the stage.</i>)</p>
-
-<p><i>Harry.</i> (<i>Speaking loudly as he goes out.</i>)
-I call this an outrage.</p>
-
-<p><i>Frank.</i> (<i>Returning to his place and commencing
-to speak.</i>) Ladies and gentlemen, my
-speech has been interrupted, and I will commence
-again. Our performances are now about
-to commence. We have spent some time in
-preparing for this exhibition, and we hope you
-will be pleased with all the performances that
-may be given. You know that we have not had
-much practice in giving school exhibitions, and
-if you see any errors, we hope you will kindly
-forgive and overlook. We will endeavor to
-give our recitations correctly, and act our parts
-truthfully, and we ask you to—to—and we ask
-you to—and act our parts truthfully, and we ask
-you to—and we ask you to—(<i>In a lower tone.</i>)
-I’ve forgotten it again; isn’t that too bad?
-(<i>Speaking as before.</i>) And we ask you to—to—to—</p>
-
-<p class="center">(<i>Enter <span class="smcap">Tommy Watkins</span>. He comes in front of
-<span class="smcap">Frank</span>, and commences to speak “The Ghost.”</i>)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“’Tis about twenty years since Abel Law,</div>
-    <div class="verse indent0">A short, round, favored merry</div>
-    <div class="verse indent0">Old soldier of the Revolutionary War,</div><span class="pagenum"><a id="Page_425"></a>[425]</span>
-    <div class="verse indent0">Was wedded to a most abominable shrew.</div>
-    <div class="verse indent0">The temper, sir, of Shakespeare’s Catharine</div>
-    <div class="verse indent0">Could no more be compared with hers</div>
-    <div class="verse indent0">Than mine</div>
-    <div class="verse indent0">With Lucifer’s.”</div>
-  </div>
-</div>
-</div>
-
-<p><i>Frank.</i> (<i>In a loud whisper.</i>) Tommy Watkins,
-get from before me. Don’t you see I’m speaking?
-I don’t want to be interrupted—I want
-to finish my speech.</p>
-
-<p><i>Tommy.</i> (<i>Facing the audience and speaking
-in the same tone as when reciting his speech.</i>)
-Oh, you’d better quit! You’ve stuck twice
-now, and if you don’t go off the stage the audience
-will become disgusted.</p>
-
-<p><i>Sammy Long.</i> (<i>Seated in the audience.</i>) The
-people are disgusted now with that boy’s opening
-speech. He’d better go home, memorize
-it, and speak it some time next year.</p>
-
-<p><i>Tommy.</i> There! You hear what they say out
-there in the audience. They are disgusted, and
-they think you had better leave the stage.</p>
-
-<p><i>Frank.</i> Oh, that’s nobody but Sammy Long,
-and he is displeased because we didn’t invite
-him to take part in the exhibition.</p>
-
-<p><i>Tommy.</i> Well, I’ll go ahead and speak my
-piece while you are trying to think up the words
-you have forgotten.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Her eyes were like a weasel’s; she had a harsh</div>
-    <div class="verse indent0">Face, like a cranberry marsh,</div>
-    <div class="verse indent0">All spread with spots of white and red;</div>
-    <div class="verse indent0">Hair of the color of a wisp of straw,</div>
-    <div class="verse indent0">And a disposition like a cross-cut saw.</div>
-    <div class="verse indent0">The appellation of this lovely dame</div>
-    <div class="verse indent0">Was Nancy; don’t forget the name.</div>
-  </div>
-</div>
-</div>
-
-<p><i>Frank.</i> Stop, Tommy; I can finish my speech
-now.</p>
-
-<p><i>Tommy.</i> So can I. (<i>Continues his recitation.</i>)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">His brother David was a tall,</div>
-    <div class="verse indent0">Good-looking chap, and that was all,</div>
-    <div class="verse indent0">One of your great big nothings, as they say</div>
-    <div class="verse indent0">Out in Rhode Island, picking up old jokes,</div>
-    <div class="verse indent0">And cracking them on other folks.</div>
-    <div class="verse indent0">Well, David undertook one night to play</div>
-    <div class="verse indent0">The Ghost, and frighten Abel, who,</div>
-    <div class="verse indent0">He knew,</div>
-    <div class="verse indent0">Would be returning from a journey through</div>
-    <div class="verse indent0">A grove of forest wood</div>
-    <div class="verse indent0">That stood</div>
-    <div class="verse indent0">Below</div>
-    <div class="verse indent0">The house some distance—half a mile or so.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">With a long taper</div>
-    <div class="verse indent0">Cap of white paper,</div>
-    <div class="verse indent0">Just made to cover</div>
-    <div class="verse indent0">A wig, nearly as large over</div>
-    <div class="verse indent0">As a corn-basket, and a sheet</div>
-    <div class="verse indent0">With both ends made to meet</div>
-    <div class="verse indent0">Across his breast</div>
-    <div class="verse indent0">(The way in which ghosts are always dressed),</div>
-    <div class="verse indent0">He took</div>
-    <div class="verse indent0">His station near</div>
-    <div class="verse indent0">A huge oak-tree,</div>
-    <div class="verse indent0">Whence he could overlook</div>
-    <div class="verse indent0">The road and see</div>
-    <div class="verse indent0">Whatever might appear.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">It happened that about an hour before, friend Abel</div>
-    <div class="verse indent0">Had left the table</div>
-    <div class="verse indent0">Of an inn, where he had made a halt,</div>
-    <div class="verse indent0">With horse and wagon,</div>
-    <div class="verse indent0">To taste a flagon</div>
-    <div class="verse indent0">Of malt</div>
-    <div class="verse indent0">Liquor, and so forth, which, being done,</div>
-    <div class="verse indent0">He went on,</div>
-    <div class="verse indent0">Caring no more for twenty ghosts</div>
-    <div class="verse indent0">Than if they had been so many posts.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">David was nearly tired of waiting;</div>
-    <div class="verse indent0">His patience was abating;</div>
-    <div class="verse indent0">At length, he heard the careless tones</div>
-    <div class="verse indent0">Of his kinsman’s voice,</div>
-    <div class="verse indent0">And then the noise</div>
-    <div class="verse indent0">Of wagon-wheels among the stones.</div>
-    <div class="verse indent0">Abel was quite elated, and was roaring</div>
-    <div class="verse indent0">With all his might, and pouring</div>
-    <div class="verse indent0">Out, in great confusion,</div>
-    <div class="verse indent0">Scraps of old songs made in “the Revolution.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">His head was full of Bunker Hill and Trenton;</div>
-    <div class="verse indent0">And jovially he went on.</div><span class="pagenum"><a id="Page_426"></a>[426]</span>
-    <div class="verse indent0">Scaring the whip-po’-wills among the trees</div>
-    <div class="verse indent0">With rhymes like these:</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">(<i>Sings. Air, “Yankee Doodle.”</i>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“See the Yankees</div>
-    <div class="verse indent0">Leave the hill,</div>
-    <div class="verse indent2">With baggernetts declining,</div>
-    <div class="verse indent0">With lopped-down hats</div>
-    <div class="verse indent0">And rusty guns,</div>
-    <div class="verse indent2">And leather aprons shining.”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“‘See the Yankees’—Whoa! Why, what is that?”</div>
-    <div class="verse indent0">Said Abel, staring like a cat,</div>
-    <div class="verse indent0">As, slowly, on the fearful figure strode</div>
-    <div class="verse indent0">Into the middle of the road.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">“My conscience! what a suit of clothes!</div>
-    <div class="verse indent0">Some crazy fellow, I suppose.</div>
-    <div class="verse indent0">Hallo! friend, what’s your name? by the powers of gin,</div>
-    <div class="verse indent0">That’s a strange dress to travel in.”</div>
-    <div class="verse indent0">“Be silent, Abel; for I now have come</div>
-    <div class="verse indent0">To read your doom;</div>
-    <div class="verse indent0">Then hearken, while your fate I now declare.</div>
-    <div class="verse indent0">I am a spirit—” “I suppose you are;</div>
-    <div class="verse indent0">But you’ll not hurt me, and I’ll tell you why:</div>
-    <div class="verse indent0">Here is a fact which you cannot deny;—</div>
-    <div class="verse indent0">All spirits must be either good</div>
-    <div class="verse indent0">Or bad—that’s understood—</div>
-    <div class="verse indent0">And be you good or evil, I am sure</div>
-    <div class="verse indent0">That I’m secure.</div>
-    <div class="verse indent0">If a good spirit, I am safe. If evil—</div>
-    <div class="verse indent0">And I don’t know but you may be the devil—</div>
-    <div class="verse indent0">If that’s the case, you’ll recollect, I fancy,</div>
-    <div class="verse indent0">That I am married to your sister Nancy!”</div>
-  </div>
-</div>
-</div>
-
-<p>(<i>Bows and turns to go off. To <span class="smcap">Frank</span>.</i>) Now,
-Frank, you can go ahead again until you come to
-the sticking place. I hope that, during the time
-I have generously given you by speaking my
-piece, you have been collecting your scattered
-senses, and will now be able to finish what you
-began.</p>
-
-<p class="right">(<i>Exit <span class="smcap">Tommy</span>.</i>)</p>
-
-<p><i>Frank.</i> Ladies and gentlemen, I am not at
-all pleased with this way of doing business. I
-think these boys have not treated me with
-proper respect. I was selected to give the
-opening or introductory address, and you see
-how it has been done.</p>
-
-<p><i>Sammy.</i> (<i>In the audience.</i>) We didn’t see
-very much of it. Don’t you think it would be
-well enough for you to retire and memorize your
-speech?</p>
-
-<p><i>Frank.</i> You boys out there had better keep
-silent and not create a disturbance. There is
-an officer in the house.</p>
-
-<p class="center">(<i>Enter <span class="smcap">Willie Brown</span>. He comes before <span class="smcap">Frank</span>
-and commences to speak.</i>)</p>
-
-<p>“’Twas night! The stars were shrouded in
-a veil of mist; a clouded canopy o’erhung the
-world; the vivid lightnings flashed and shook
-their fiery darts upon the earth—”</p>
-
-<p><i>Frank.</i> (<i>Speaking out.</i>) I say, Willie Brown,
-what did you come here for? I haven’t finished
-the opening speech yet.</p>
-
-<p><i>Willie.</i> What’s the use of having an opening
-speech now? The exhibition is half over.
-(<i>Continues his speech.</i>)</p>
-
-<p>“The deep-toned thunder rolled along the
-vaulted sky; the elements were in wild commotion;
-the storm-spirit howled in the air; the
-winds whistled; the hail-stones fell like leaden
-balls; the huge undulations of the ocean dashed
-upon the rock-bound shore; and torrents leaped
-from mountain tops; when the murderer sprang
-from his sleepless couch with vengeance on his
-brow—murder in his heart—and the fell instrument
-of destruction in his hand.”</p>
-
-<p><i>Frank.</i> Stop, I say. What kind of an exhibition
-will this be without an introductory
-speech? Stop, I say. We will be the laughing-stock
-of the country if we don’t open our
-exhibition with an introductory speech.</p>
-
-<p><i>Johnny.</i> (<i>In the audience.</i>) Oh, nobody cares
-for the introductory speech. Let the speech go
-and give us some dialogues and songs.</p>
-
-<p><i>Willie.</i> No dialogues and songs until I have
-finished my speech. This is my place on the
-programme. (<i>Continues his speech. <span class="smcap">Frank</span>
-comes and stands near him and they both speak at
-the same time, <span class="smcap">Willie</span> giving the concluding portion
-of his speech and <span class="smcap">Frank</span> commencing at the<span class="pagenum"><a id="Page_427"></a>[427]</span>
-first of his Opening Speech and going as far
-as he had gone before. <span class="smcap">Willie</span> should finish
-just before <span class="smcap">Frank</span> commences to stammer.</i>)</p>
-
-<p>“The storm increased; the lightnings
-flashed with brighter glare; the thunder
-growled with deeper energy; the winds
-whistled with a wilder fury; the confusion of
-the hour was congenial to his soul, and the
-stormy passions which raged in his bosom.
-He clenched his weapon with a sterner grasp.
-A demoniac smile gathered on his lip; he
-grated his teeth; raised his arm; sprang
-with a yell of triumph upon his victim, and
-relentlessly killed—a <i>mosquito</i>!” (<i>Bows
-and turns to go off. To <span class="smcap">Frank</span>.</i>) Stuck
-again, my boy? If we had waited for the
-opening speech we would not have got our
-exhibition opened for a week or ten days.</p>
-
-<p class="right">(<i>Exit <span class="smcap">Willie</span>.</i>)</p>
-
-<p><i>Johnny.</i> (<i>In the audience.</i>) Well, we haven’t
-had that introductory speech yet, and I
-guess we are not going to get it. That was
-the queerest kind of speech I ever heard. It
-began, and then balked, and then kicked up,
-and then braced its feet in front, and finally
-stopped altogether. I think we would have
-done better if we had started without any introduction,
-just as grandpa said the other day
-he thought Parson Goodwin ought to have
-begun his sermon at the conclusion and left
-out all that went before it.</p>
-
-<p><i>Frank.</i> (<i>Excitedly.</i>) Hold on there! You
-say we don’t need any speech and yet you
-are making a long one yourself. You said
-that I hitched like a balky horse, but you
-have kicked up your heels and cantered off
-as if somebody had touched off a pack of
-fire-crackers under you.</p>
-
-<p class="center">(<i>Enter <span class="smcap">Harry Thompson</span>. He comes forward
-and speaks.</i>)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">Our parts are performed and our speeches are ended,</div>
-    <div class="verse indent2">We are monarchs and courtiers and heroes no more;</div>
-    <div class="verse indent0">To a much humbler station again we’ve descended,</div>
-    <div class="verse indent2">And are now but the school-boys you’ve known us before.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Farewell then our greatness—’tis gone like a dream,</div>
-    <div class="verse indent2">’Tis gone—but remembrance will often retrace</div>
-    <div class="verse indent0">The indulgent applause which rewarded each theme,</div>
-    <div class="verse indent2">And the heart-cheering smiles that enlivened each face.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">We thank you! Our gratitude words cannot tell,</div>
-    <div class="verse indent2">But deeply we feel it—to you it belongs;</div>
-    <div class="verse indent0">With heartfelt emotion we bid you farewell,</div>
-    <div class="verse indent2">And our feelings now thank you much more than our tongues.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">We will strive to improve, since applauses thus cheer us,</div>
-    <div class="verse indent2">That our juvenile efforts may gain your kind looks;</div>
-    <div class="verse indent0">And we hope to convince you, the next time you hear us,</div>
-    <div class="verse indent2">That praise has but sharpened our relish for books.</div>
-  </div>
-</div>
-</div>
-
-<p>(<i>Bows and turns to go off.</i>) I have spoken
-the valedictory, and the exhibition is over.
-Ring down the curtain.</p>
-
-<p><i>Frank.</i> (<i>Excitedly.</i>) Stop! Hold! Don’t!
-I haven’t finished my speech yet.</p>
-
-<p><i>Johnny.</i> (<i>In the audience.</i>) You’ve given
-us enough for the present. You can finish it
-out next Christmas.</p>
-
-<p><i>Harry.</i> Ring down the curtain.</p>
-
-<p><i>Frank.</i> Stop! Don’t! Don’t! I want to
-speak my piece. (<i>A bell is rung and the curtain
-falls.</i>)</p>
-
-<p><i>Frank.</i> (<i>Drawing the curtain aside and
-looking out.</i>) Here’s a go! How are we
-going to get along without an Opening
-Speech? (<i>Disappears.</i>)</p>
-
-<p class="center">[<span class="smcap">Curtain.</span>]</p>
-
-<p><span class="pagenum"><a id="Page_428"></a>[428]</span></p>
-
-<h3>PYGMALION AND GALATEA.</h3>
-
-<p><span class="smcap">Characters.</span></p>
-
-<ul>
-<li><span class="smcap">Pygmalion</span>, <i>an Athenian sculptor</i>.</li>
-<li><span class="smcap">Galatea</span>, <i>a statue</i>.</li>
-</ul>
-
-<p><span class="smcap">Costumes.</span></p>
-
-<ul>
-<li><i><span class="smcap">Gentleman</span>, in the habit of a
-Greek artist. <span class="smcap">Lady</span>, in statuesque drapery or
-ordinary Greek costume.</i></li>
-</ul>
-
-<div class="blockquote">
-
-<p>(A noted Greek sculptor, Pygmalion, makes a most
-beautiful statue of woman. Having attained perfection
-of form he longs to breathe life into his work,
-and blames the gods that they have limited his
-power. He stands on the stage, to the left, looking
-thoughtfully up as if imploring the gods. While apparently
-uttering his complaints, Galatea, coming to
-life, calls to him from behind the curtain.)</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0"><i>Galatea</i> (<i>from behind curtain, C.</i><a id="FNanchor_7" href="#Footnote_7" class="fnanchor">[7]</a>). Pygmalion!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pygmalion</i> (<i>after a pause</i>). Who called?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> <span class="hemi17">Pygmalion!</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse right">(<i><span class="smcap">Pygmalion</span> tears away curtain and discovers <span class="smcap">Galatea</span> alive.</i>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> Ye gods! It lives!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> <span class="hemi9">Pygmalion.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi15">It speaks!</span></div>
-    <div class="verse indent0">I have my prayer! my Galatea breathes!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> Where am I? Let me speak, Pygmalion;</div>
-    <div class="verse indent0">Give me thy hand—both hands—how soft and warm!</div>
-    <div class="verse indent0">Whence came I? (<i>Descends.</i>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi7">Why, from yonder pedestal.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> That pedestal! Ah, yes, I recollect,</div>
-    <div class="verse indent0">There was a time when it was part of me.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> That time has passed forever, thou art now</div>
-    <div class="verse indent0">A living, breathing woman, excellent</div>
-    <div class="verse indent0">In every attribute of womankind.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> Where am I, then?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi7">Why, born into the world</span></div>
-    <div class="verse indent0">By miracle.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> <span class="hemi5">Is this the world?</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi14">It is.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> This room?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi5">This room is a portion of a house;</span></div>
-    <div class="verse indent0">The house stands in a grove; the grove itself</div>
-    <div class="verse indent0">Is one of many, many hundred groves</div>
-    <div class="verse indent0">In Athens.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> <span class="hemi5">And is Athens, then, the world?</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> To an Athenian—yes—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> <span class="hemi14">And I am one?</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> By birth and parentage, not by descent.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> But how came I to be?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi10">Well, let me see</span></div>
-    <div class="verse indent0">Oh! you were quarried in Pentelicus;</div>
-    <div class="verse indent0">I modelled you in clay; my artisans</div>
-    <div class="verse indent0">Then roughed you out in marble; I, in turn,</div>
-    <div class="verse indent0">Brought my artistic skill to bear on you,</div>
-    <div class="verse indent0">And made you what you are, in all but life.</div>
-    <div class="verse indent0">The gods completed what I had begun,</div>
-    <div class="verse indent0">And gave the only gift I could not give.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> Then this is life?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi9">It is.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> <span class="hemi12">And not long since</span></div>
-    <div class="verse indent0">I was a cold, dull stone. I recollect</div>
-    <div class="verse indent0">That by some means I knew that I was stone,</div>
-    <div class="verse indent0">That was the first dull gleam of consciousness;</div>
-    <div class="verse indent0">I became conscious of a chilly self,</div>
-    <div class="verse indent0">A cold immovable identity.</div>
-    <div class="verse indent0">I knew that I was stone, and knew no more;</div>
-    <div class="verse indent0">Then by an imperceptible advance,</div>
-    <div class="verse indent0">Came the dim evidence of outer things,</div>
-    <div class="verse indent0">Seen, darkly and imperfectly, yet seen;</div>
-    <div class="verse indent0">The walls surrounded me, and I alone.</div>
-    <div class="verse indent0">That pedestal—that curtain—then a voice</div>
-    <div class="verse indent0">That called on Galatea! At that word,</div>
-    <div class="verse indent0">Which seemed to shake my marble to the core.</div>
-    <div class="verse indent0">That which was dim before, came evident.</div>
-    <div class="verse indent0">Sounds that had hummed around me, indistinct,</div>
-    <div class="verse indent0">Vague, meaningless—seemed to resolve themselves</div>
-    <div class="verse indent0">Into a language I could understand;</div>
-    <div class="verse indent0">I felt my frame pervaded with a glow</div>
-    <div class="verse indent0">That seemed to thaw my marble into flesh;</div>
-    <div class="verse indent0">Its cold, hard substance throbbed with active life,</div>
-    <div class="verse indent0">My limbs grew supple, and I moved—I lived!</div>
-    <div class="verse indent0">Lived in the ecstasy of new born life;</div>
-    <div class="verse indent0">Lived in the love of him that fashioned me;</div>
-    <div class="verse indent0">Lived in a thousand tangled thoughts of hope,</div>
-    <div class="verse indent0">Love, gratitude, thoughts that resolved themselves</div>
-    <div class="verse indent0">Into one word, that word, Pygmalion!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right">(<i>Kneels to him.</i>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> I have no words to tell thee of my joy,</div>
-    <div class="verse indent0">O woman—perfect in thy loveliness.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> What is that word? Am I a woman?</div><span class="pagenum"><a id="Page_429"></a>[429]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi17">Yes.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> Art thou a woman?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi9">No, I am a man!</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> What is a man?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi8">A being strongly framed,</span></div>
-    <div class="verse indent0">To wait on woman, and protect her from</div>
-    <div class="verse indent0">All ills that strength and courage can avert;</div>
-    <div class="verse indent0">To work and toil for her, that she may rest;</div>
-    <div class="verse indent0">To weep and mourn for her, that she may laugh;</div>
-    <div class="verse indent0">To fight and die for her, that she may live!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> (<i>after a pause</i>). I’m glad I am a woman.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right">(<i>Takes his hand—he leads her down, L.</i>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi12">So am I. (<i>They sit.</i>)</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> That I escape the pains thou hast to bear?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> That I may undergo those pains for thee.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> With whom wouldst thou fight?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi15">With any man</span></div>
-    <div class="verse indent0">Whose word or deed gave Galatea pain.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> Then there are other men in this strange world?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> There are, indeed?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> <span class="hemi12">And other women?</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> (<i>taken aback</i>). <span class="hemi15">Yes;</span></div>
-    <div class="verse indent0">Though for the moment I’d forgotten it!</div>
-    <div class="verse indent0">Yes, other women.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> <span class="hemi6">And for all of these</span></div>
-    <div class="verse indent0">Men work, and toil, and mourn, and weep, and fight?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> It is man’s duty, if he’s called upon,</div>
-    <div class="verse indent0">To fight for all—he works for those he loves.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> Then by thy works I know thou lovest me?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> Indeed, I love thee. (<i>Embraces her.</i>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> <span class="hemi11">What kind of love?</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> I love thee (<i>recollecting himself and releasing her</i>) as a sculptor loves his work!</div>
-    <div class="verse indent0">(<i>Aside.</i>) There is diplomacy in that reply.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> My love is different in kind to thine:</div>
-    <div class="verse indent0">I am no sculptor, and I’ve done no work,</div>
-    <div class="verse indent0">Yet I do love thee; say—what love is mine?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> Tell me its symptoms, then I’ll answer thee.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> Its symptoms? Let me call them as they come.</div>
-    <div class="verse indent0">A sense that I am made by thee for thee.</div>
-    <div class="verse indent0">That I’ve no will that is not wholly thine,</div>
-    <div class="verse indent0">That I’ve no thought, no hope, no enterprise,</div>
-    <div class="verse indent0">That does not own thee as its sovereign;</div>
-    <div class="verse indent0">That I have life that I may live for thee,</div>
-    <div class="verse indent0">That I am thine—that thou and I are one!</div>
-    <div class="verse indent0">What kind of love is that?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi10">A kind of love</span></div>
-    <div class="verse indent0">That I shall run some risk in dealing with.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> And why, Pygmalion?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi10">Such love as thine</span></div>
-    <div class="verse indent0">A man may not receive, except, indeed,</div>
-    <div class="verse indent0">From one who is, or is to be, his wife.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> Then I will be thy wife.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi12">That may not be;</span></div>
-    <div class="verse indent0">I have a wife—the gods allow but one.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> Why did the gods then send me here to thee?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> I cannot say—unless to punish me (<i>Rises.</i>)</div>
-    <div class="verse indent0">For unreflecting and presumptuous prayer!</div>
-    <div class="verse indent0">I pray’d that thou shouldst live. I have my prayer,</div>
-    <div class="verse indent0">And now I see the fearful consequence</div>
-    <div class="verse indent0">That must attend it!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> <span class="hemi7">Yet thou lovest me? (<i>Rises.</i>)</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> Who could look on that face and stifle love?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> Then I am beautiful?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi10">Indeed thou art.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> I wish that I could look upon myself,</div>
-    <div class="verse indent0">But that’s impossible.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi8">Not so, indeed, (<i>Crosses, R.</i>)</span></div>
-    <div class="verse indent0">This mirror will reflect thy face. Behold!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right">(<i>Hands her a mirror from table, R. C.</i>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> How beautiful! I am very glad to know</div>
-    <div class="verse indent0">That both our tastes agree so perfectly;</div>
-    <div class="verse indent0">Why, my Pygmalion, I did not think</div>
-    <div class="verse indent0">That aught could be more beautiful than thou,</div>
-    <div class="verse indent0">Till I behold myself. Believe me, love,</div>
-    <div class="verse indent0">I could look in this mirror all day long.</div>
-    <div class="verse indent0">So I’m a woman.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi4">There’s no doubt of that!</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> Oh! happy maid, to be so passing fair!</div>
-    <div class="verse indent0">And happier still Pygmalion, who can gaze</div>
-    <div class="verse indent0">At will upon so beautiful a face!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> Hush! Galatea—in thine innocence</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right">(<i>Taking glass from her.</i>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Thou sayest things that others would reprove.</div><span class="pagenum"><a id="Page_430"></a>[430]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> Indeed, Pygmalion; then it is wrong</div>
-    <div class="verse indent0">To think that one is exquisitely fair?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> Well, Galatea, it’s a sentiment</div>
-    <div class="verse indent0">That every other woman shares with thee;</div>
-    <div class="verse indent0">They think it—but they keep it to themselves.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> And is thy wife as beautiful as I?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> No, Galatea; for in forming thee</div>
-    <div class="verse indent0">I took her features—lovely in themselves—</div>
-    <div class="verse indent0">And in marble made them lovelier still.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> (<i>disappointed</i>). Oh! then I am not original?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi23">Well—no—</span></div>
-    <div class="verse indent0">That is, thou hast indeed a prototype,</div>
-    <div class="verse indent0">But though in stone thou didst resemble her,</div>
-    <div class="verse indent0">In life, the difference is manifest.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> I’m very glad that I am lovelier than she.</div>
-    <div class="verse indent0">And am I better? (<i>Sits, L.</i>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi5">That I do not know.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> Then she has faults.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi10">Very few, indeed;</span></div>
-    <div class="verse indent0">Mere trivial blemishes, that serve to show</div>
-    <div class="verse indent0">That she and I are of one common kin.</div>
-    <div class="verse indent0">I love her all the better for such faults.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> (<i>after a pause</i>). Tell me some faults and I’ll commit them now.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> There is no hurry; they will come in time: (<i>Sits beside her, L.</i>)</div>
-    <div class="verse indent0">Though for that matter, it’s a grievous sin</div>
-    <div class="verse indent0">To sit as lovingly as we sit now.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> Is sin so pleasant? If to sit and talk</div>
-    <div class="verse indent0">As we are sitting, be indeed a sin,</div>
-    <div class="verse indent0">Why I could sin all day. But tell me, love,</div>
-    <div class="verse indent0">Is this great fault that I’m committing now,</div>
-    <div class="verse indent0">The kind of fault that only serves to show</div>
-    <div class="verse indent0">That thou and I are of one common kin?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> Indeed, I am very much afraid it is.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> And dost thou love me better for such fault?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> Where is the mortal that could answer “no?”</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> Why then I’m satisfied, Pygmalion;</div>
-    <div class="verse indent0">Thy wife and I can start on equal terms.</div>
-    <div class="verse indent0">She loves thee?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi4">Very much.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> <span class="hemi10">I’m glad of that.</span></div>
-    <div class="verse indent0">I like thy wife.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi5">And why?</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> (<i>surprised at the question</i>). Our tastes agree</div>
-    <div class="verse indent0">We love Pygmalion well, and what is more,</div>
-    <div class="verse indent0">Pygmalion loves us both. I like thy wife;</div>
-    <div class="verse indent0">I’m sure we shall agree.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> (<i>aside</i>). <span class="hemi4">I doubt it much.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> Is she within?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi8">No, she is not within.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> But she’ll come back?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi11">Oh! yes, she will come back.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> How pleased she’ll be to know when she returns,</div>
-    <div class="verse indent0">That there was someone here to fill her place.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> (<i>dryly</i>). Yes, I should say she’d be extremely pleased. (<i>Rises.</i>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> Why, there is something in thy voice which says</div>
-    <div class="verse indent0">That thou art jesting. Is it possible</div>
-    <div class="verse indent0">To say one thing and mean another?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi14">Yes,</span></div>
-    <div class="verse indent0">It’s sometimes done.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> <span class="hemi7">How very wonderful!</span></div>
-    <div class="verse indent0">So clever!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi2">And so very useful.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> <span class="hemi12">Yes.</span></div>
-    <div class="verse indent0">Teach me the art.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi5">The art will come in time.</span></div>
-    <div class="verse indent0">My wife will not be pleased; there—that’s the truth.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i>, I do not think that I shall like thy wife.</div>
-    <div class="verse indent0">Tell me more of her.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi7">Well—</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> <span class="hemi9">What did she say</span></div>
-    <div class="verse indent0">When she last left thee?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi9">Humph! Well, let me see:</span></div>
-    <div class="verse indent0">Oh! true, she gave thee to me as my wife—</div>
-    <div class="verse indent0">Her solitary representative;</div>
-    <div class="verse indent0">(<i>Tenderly</i>) She feared I should be lonely till she came,</div>
-    <div class="verse indent0">And counselled me, if thoughts of love should come,</div>
-    <div class="verse indent0">To speak those thoughts to thee, as I am wont</div>
-    <div class="verse indent0">To speak to her.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> <span class="hemi5">That’s right.</span></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> (<i>releasing her</i>). <span class="hemi2">But when she spoke</span></div><span class="pagenum"><a id="Page_431"></a>[431]</span>
-    <div class="verse indent0">Thou wast a stone, now thou art flesh and blood,</div>
-    <div class="verse indent0">Which makes a difference.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> <span class="hemi9">It’s a strange world;</span></div>
-    <div class="verse indent0">A woman loves her husband very much,</div>
-    <div class="verse indent0">And cannot brook that I should love him too;</div>
-    <div class="verse indent0">She fears he will be lonely till she comes,</div>
-    <div class="verse indent0">And will not let me cheer his loneliness:</div>
-    <div class="verse indent0">She bids him breathe his love to senseless stone,</div>
-    <div class="verse indent0">And when that stone is brought to life—be dumb!</div>
-    <div class="verse indent0">It’s a strange world, I cannot fathom it.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right">(<i>Crosses, R.</i>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> (<i>aside</i>). Let me be brave, and put an end to this.</div>
-    <div class="verse indent0">(<i>Aloud.</i>) Come, Galatea—till my wife returns,</div>
-    <div class="verse indent0">My sister shall provide thee with a home;</div>
-    <div class="verse indent0">Her house is close at hand.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> (<i>astonished and alarmed</i>). Send me not hence,</div>
-    <div class="verse indent0">Pygmalion—let me stay.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi8">It may not be.</span></div>
-    <div class="verse indent0">Come, Galatea, we shall meet again.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> (<i>resignedly</i>). Do with me as thou wilt, Pygmalion!</div>
-    <div class="verse indent0">But we shall meet again?—and very soon?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> Yes, very soon.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> <span class="hemi8">And when thy wife returns,</span></div>
-    <div class="verse indent0">She’ll let me stay with thee?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi11">I do not know.</span></div>
-    <div class="verse indent0">(<i>Aside.</i>) Why should I hide the truth from her?</div>
-    <div class="verse indent0">(<i>Aloud.</i>) Alas!</div>
-    <div class="verse indent0">I may not see thee then.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> <span class="hemi9">Pygmalion,</span></div>
-    <div class="verse indent0">What fearful words are these?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Pyg.</i> <span class="hemi11">The bitter truth.</span></div>
-    <div class="verse indent0">I may not love thee; I must send thee hence.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Gal.</i> Recall those words, Pygmalion, my love!</div>
-    <div class="verse indent0">Was it for this that Heaven gave me life?</div>
-    <div class="verse indent0">Pygmalion, have mercy on me; see</div>
-    <div class="verse indent0">I am thy work, thou hast created me;</div>
-    <div class="verse indent0">The gods have sent me to thee. I am thine,</div>
-    <div class="verse indent0">Thine! only and unalterably thine! (<i>Music.</i>)</div>
-    <div class="verse indent0">This is the thought with which my soul is charged.</div>
-    <div class="verse indent0">Thou tellest me of one who claims thy love,</div>
-    <div class="verse indent0">That thou hast love for her alone! Alas!</div>
-    <div class="verse indent0">I do not know these things; I only know</div>
-    <div class="verse indent0">That Heaven has sent me here to be with thee.</div>
-    <div class="verse indent0">Thou tellest me of duty to thy wife,</div>
-    <div class="verse indent0">Of vows that thou wilt love but her; alas!</div>
-    <div class="verse indent0">I do not know these things; I only know</div>
-    <div class="verse indent0">That Heaven, who sent me here, has given me</div>
-    <div class="verse indent0">One all-absorbing duty to discharge—</div>
-    <div class="verse indent0">To love thee, and to make thee love again!</div>
-  </div>
-</div>
-</div>
-
-<div class="blockquote">
-
-<p>(<i>During this speech Pygmalion has shown
-symptoms of irresolution; at its conclusion he
-takes her in his arms and embraces her passionately.</i>)</p>
-
-</div>
-
-<p class="right"><span class="smcap">W. S. Gilbert.</span></p>
-
-<div class="footnotes">
-<div class="footnote">
-<p><a id="Footnote_7" href="#FNanchor_7" class="label">[7]</a> <i>C.</i> indicates <i>centre</i>; <i>R.</i>, <i>right</i>, and <i>L.</i>, <i>left</i> of stage.</p>
-</div>
-</div>
-
-<h3>QUARREL OF BRUTUS AND CASSIUS.</h3>
-
-<p>(A dialogue for two men. From Act IV. of <i>Julius
-Cæsar</i>. Before rendering the dialogue it is presumed
-that the participants will read the whole play from a
-volume of Shakespeare, and familiarize themselves
-with the spirit of the selection. The interest will be
-enhanced by the use of proper costumes. Where
-these cannot be hired—as they generally may in
-cities and large towns—they may be easily improvised
-by observing the simple Roman dress as illustrated
-in historical works.)</p>
-
-<div class="blockquote">
-
-<p>(<i>Curtain rises, revealing <span class="smcap">Brutus</span> and <span class="smcap">Cassius</span> in
-heated conversation on the stage.</i>)</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0"><i>Cassius.</i> That you have wronged me doth appear in this;</div>
-    <div class="verse indent0">You have condemned and noted Lucius Pella</div>
-    <div class="verse indent0">For taking bribes here of Sardinians;</div>
-    <div class="verse indent0">Wherein my letters (praying on his side</div>
-    <div class="verse indent0">Because I knew the man) were slighted of.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Brutus.</i> You wronged yourself, to write in such a case.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Cas.</i> At such a time as this, it is not meet</div>
-    <div class="verse indent0">That every nice offence should bear its comment.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Bru.</i> Let me tell you, Cassius, you yourself</div>
-    <div class="verse indent0">Are much condemned to have an itching palm;</div>
-    <div class="verse indent0">To sell and mart your offices for gold,</div>
-    <div class="verse indent0">To undeservers.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Cas.</i> I an itching palm?</div>
-    <div class="verse indent0">You know that you are Brutus that speak this,</div>
-    <div class="verse indent0">Or, by the gods, this speech were else your last!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Bru.</i> The name of Cassius honors this corruption,</div>
-    <div class="verse indent0">And chastisement doth therefore hide its head.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Cas.</i> Chastisement!</div><span class="pagenum"><a id="Page_432"></a>[432]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Bru.</i> Remember March, the ides of March remember!</div>
-    <div class="verse indent0">Did not great Julius bleed for justice’ sake?</div>
-    <div class="verse indent0">What villain touched his body, that did stab,</div>
-    <div class="verse indent0">And not for justice?—What! shall one of us,</div>
-    <div class="verse indent0">That struck the foremost man of all this world,</div>
-    <div class="verse indent0">But for supporting robbers,—shall we now</div>
-    <div class="verse indent0">Contaminate our fingers with base bribes,</div>
-    <div class="verse indent0">And sell the mighty space of our large honors</div>
-    <div class="verse indent0">For so much trash as may be grasped thus?—</div>
-    <div class="verse indent0">I had rather be a dog, and bay the moon,</div>
-    <div class="verse indent0">Than such a Roman!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Cas.</i> Brutus, bay not me!</div>
-    <div class="verse indent0">I’ll not endure it. You forget yourself</div>
-    <div class="verse indent0">To hedge me in: I am a soldier, I,</div>
-    <div class="verse indent0">Older in practice, abler than yourself</div>
-    <div class="verse indent0">To make conditions.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Bru.</i> Go to! you’re not Cassius!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Cas.</i> I am.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Bru.</i> I say you are not.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Cas.</i> Urge me no more: I shall forget myself:</div>
-    <div class="verse indent0">Have mind upon your health: tempt me no further!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Bru.</i> Away, slight man!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Cas.</i> Is’t possible?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Bru.</i> Hear me, for I will speak.</div>
-    <div class="verse indent0">Must I give way and room to your rash choler?</div>
-    <div class="verse indent0">Shall I be frighted when a madman stares?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Cas.</i> Must I endure all this?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Bru.</i> All this? Ay, more! Fret till your proud heart break!</div>
-    <div class="verse indent0">Go, show your slaves how choleric you are,</div>
-    <div class="verse indent0">And make your bondmen tremble. Must I budge?</div>
-    <div class="verse indent0">Must I observe you? Must I stand and crouch</div>
-    <div class="verse indent0">Under your testy humor?</div>
-    <div class="verse indent0">You shall digest the venom of your spleen,</div>
-    <div class="verse indent0">Though it do split you; for, from this day forth,</div>
-    <div class="verse indent0">I’ll use you for my mirth,—yea, for my laughter,—</div>
-    <div class="verse indent0">When you are waspish.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Cas.</i> Is it come to this?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Bru.</i> You say you are a better soldier,</div>
-    <div class="verse indent0">Let it appear so; make your vaunting true,</div>
-    <div class="verse indent0">And it shall please me well. For mine own part,</div>
-    <div class="verse indent0">I shall be glad to learn of noble men.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Cas.</i> You wrong me every way; you wrong me, Brutus:</div>
-    <div class="verse indent0">I said an elder soldier, not a better.</div>
-    <div class="verse indent0">Did I say better?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Bru.</i> If you did, I care not.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Cas.</i> When Cæsar lived, he durst not thus have moved me.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Bru.</i> Peace, peace! you durst not so have tempted him.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Cas.</i> I durst not?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Bru.</i> No.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Cas.</i> What! durst not tempt him?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Bru.</i> For your life you durst not.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Cas.</i> Do not presume too much upon my love;</div>
-    <div class="verse indent0">I may do that I shall be sorry for.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Bru.</i> You have done that you should be sorry for.</div>
-    <div class="verse indent0">There is no terror, Cassius, in your threats;</div>
-    <div class="verse indent0">For I am armed so strong in honesty,</div>
-    <div class="verse indent0">That they pass by me as the idle wind,</div>
-    <div class="verse indent0">Which I respect not. I did send to you</div>
-    <div class="verse indent0">For certain sums of gold, which you denied me;—</div>
-    <div class="verse indent0">For I can raise no money by vile means:</div>
-    <div class="verse indent0">I had rather coin my heart,</div>
-    <div class="verse indent0">And drop my blood for drachmas, than to wring</div>
-    <div class="verse indent0">From the hard hands of peasants their vile trash</div>
-    <div class="verse indent0">By any indirection. I did send</div>
-    <div class="verse indent0">To you for gold to pay my legions;</div>
-    <div class="verse indent0">Which you denied me. Was that done like Cassius?</div>
-    <div class="verse indent0">Should I have answered Caius Cassius so?</div>
-    <div class="verse indent0">When Marcus Brutus grows so covetous,</div>
-    <div class="verse indent0">To lock such rascal counters from his friends,</div>
-    <div class="verse indent0">Be ready, gods, with all your thunderbolts,</div>
-    <div class="verse indent0">Dash him to pieces!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Cas.</i> I denied you not.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Bru.</i> You did.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Cas.</i> I did not: he was but a fool</div>
-    <div class="verse indent0">That brought my answer back. Brutus hath rived my heart,</div>
-    <div class="verse indent0">A friend should bear a friend’s infirmities;</div>
-    <div class="verse indent0">But Brutus makes mine greater than they are.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Bru.</i> I do not, till you practice them on me.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Cas.</i> You love me not.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Bru.</i> I do not like your faults.</div><span class="pagenum"><a id="Page_433"></a>[433]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Cas.</i> A friendly eye could never see such faults.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Bru.</i> A flatterer’s would not, though they do appear</div>
-    <div class="verse indent0">As huge as high Olympus.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Cas.</i> Come, Antony, and young Octavius, come!</div>
-    <div class="verse indent0">Revenge yourselves alone on Cassius;</div>
-    <div class="verse indent0">For Cassius is a-weary of the world—</div>
-    <div class="verse indent0">Hated by one he loves; braved by his brother;</div>
-    <div class="verse indent0">Checked like a bondman; all his faults observed,</div>
-    <div class="verse indent0">Set in a note-book, learned and conned by rote,</div>
-    <div class="verse indent0">To cast into my teeth. O, I could weep</div>
-    <div class="verse indent0">My spirit from my eyes!—There is my dagger,</div>
-    <div class="verse indent0">And here my naked breast; within, a heart</div>
-    <div class="verse indent0">Dearer than Plutus’ mine, richer than gold;</div>
-    <div class="verse indent0">If that thou be’st a Roman, take it forth:</div>
-    <div class="verse indent0">I, that denied thee gold, will give my heart:</div>
-    <div class="verse indent0">Strike as thou didst at Cæsar; for I know,</div>
-    <div class="verse indent0">When thou didst hate him worse, thou lovedst him better</div>
-    <div class="verse indent0">Than ever thou lovedst Cassius.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Bru.</i> Sheathe your dagger:</div>
-    <div class="verse indent0">Be angry when you will, it shall have scope:</div>
-    <div class="verse indent0">Do what you will, dishonor shall be humor.</div>
-    <div class="verse indent0">O, Cassius, you are yoked with a lamb,</div>
-    <div class="verse indent0">That carries anger as the flint bears fire;</div>
-    <div class="verse indent0">Who, much enforced, shows a hasty spark,</div>
-    <div class="verse indent0">And straight is cold again.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Cas.</i> Hath Cassius lived</div>
-    <div class="verse indent0">To be but mirth and laughter to his Brutus,</div>
-    <div class="verse indent0">When grief and blood ill-tempered vexeth him?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Bru.</i> When I spoke that, I was ill-tempered too.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Cas.</i> Do you confess so much? Give me your hand.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Bru.</i> And my heart, too.—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Cas.</i> O, Brutus!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Bru.</i> What’s the matter?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Cas.</i> Have you not love enough to bear with me,</div>
-    <div class="verse indent0">When that rash humor which my mother gave me</div>
-    <div class="verse indent0">Makes me forgetful?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Bru.</i> Yes, Cassius; and, henceforth,</div>
-    <div class="verse indent0">When you are over-earnest with your Brutus,</div>
-    <div class="verse indent0">He’ll think your mother chides, and leave you so.</div>
-  </div>
-</div>
-</div>
-
-<p class="center">[<span class="allsmcap">CURTAIN.</span>]</p>
-
-<p class="right"><span class="smcap">Shakespeare.</span></p>
-
-<p class="center"><i>TABLEAU.</i>—<span class="smcap">Friendship Restored.</span></p>
-
-<p><i>Curtain rises, revealing <span class="smcap">Brutus</span> and <span class="smcap">Cassius</span>
-with one hand laid upon the other’s shoulder,
-while the right hands firmly clasp. On the face
-of each beams the light of noble love and manly
-friendship, showing their mutual joy. The bearing
-should be dignified and manly.</i></p>
-
-<h3>SCENE BETWEEN HAMLET AND THE QUEEN.</h3>
-
-<p>(Dialogue for elderly lady and young man. From
-Act III. of the tragedy of <i>Hamlet</i>. The part of
-<span class="smcap">Hamlet</span> is a very difficult one to play, and should
-be thoroughly studied. The whole tragedy should
-be read from Shakespeare, any illustrated volume of
-which will suggest appropriate costume. The <span class="smcap">Ghost</span>
-may be impersonated by a voice, unless a suitable
-costume and staging are available.)</p>
-
-<div class="blockquote">
-
-<p>(<i>Curtain rises and reveals <span class="smcap">Hamlet</span> approaching
-his <span class="smcap">Mother</span>, who may be seated and apparently
-in much distress.</i>)</p>
-
-</div>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0"><i>Hamlet.</i> Now, mother, what’s the matter?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Queen.</i> Hamlet, thou hast thy father much offended.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Hamlet.</i> Mother, you have my father much offended.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Queen.</i> Come, come, you answer with an idle tongue.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Hamlet.</i> Go, go, you question with a wicked tongue.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Queen.</i> Why, how now, Hamlet!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Hamlet.</i> What’s the matter now?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Queen.</i> Have you forgot me?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Hamlet.</i> No, by the rood, not so.</div>
-    <div class="verse indent0">You are the queen, your husband’s brother’s wife;</div>
-    <div class="verse indent0">And—would it were not so—you are my mother.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Queen.</i> Nay, then, I’ll set those to you that can speak.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Hamlet.</i> Come, come, and sit you down you shall not budge:</div>
-    <div class="verse indent0">You go not till I set you up a glass</div>
-    <div class="verse indent0">Where you may see the inmost part of you.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Queen.</i> What wilt thou do? thou wilt not murther me?</div>
-    <div class="verse indent0">Help, help, ho!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Polonius</i> (<i>behind</i>). What, ho! help, help, help!</div><span class="pagenum"><a id="Page_434"></a>[434]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Hamlet</i> (<i>drawing</i>.) How now! a rat? Dead, for a ducat, dead!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right">(<i>Makes a pass through the arras.</i>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Polonius</i> (<i>behind</i>). O, I am slain!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right">(<i>Falls and dies.</i>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Queen.</i> O me, what hast thou done?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Hamlet.</i> Nay, I know not;</div>
-    <div class="verse indent0">Is it the king?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Queen.</i> O, what a rash and bloody deed is this!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Hamlet.</i> A bloody deed! almost as bad, good mother,</div>
-    <div class="verse indent0">As kill a king, and marry with his brother.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Queen.</i> As kill a king!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Hamlet.</i> Ay, lady, ’twas my word.—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right">(<i>Lifts up the arras and discovers Polonius.</i>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Thou wretched, rash, intruding fool, farewell!</div>
-    <div class="verse indent0">I took thee for thy better:</div>
-    <div class="verse indent0">Leave wringing of your hands: peace! sit you down,</div>
-    <div class="verse indent0">And let me wring your heart; for so I shall,</div>
-    <div class="verse indent0">If it be made of penetrable stuff,</div>
-    <div class="verse indent0">If damned custom have not braz’d it so</div>
-    <div class="verse indent0">That it is proof and bulwark against sense.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Queen.</i> What have I done, that thou darest wag thy tongue</div>
-    <div class="verse indent0">In noise so rude against me?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Hamlet.</i> Such an act</div>
-    <div class="verse indent0">That blurs the grace and blush of modesty,</div>
-    <div class="verse indent0">Calls virtue hypocrite, takes off the rose</div>
-    <div class="verse indent0">From the fair forehead of an innocent love</div>
-    <div class="verse indent0">And sets a blister there, makes marriage-vows</div>
-    <div class="verse indent0">As false as dicers’ oaths; O, such a deed</div>
-    <div class="verse indent0">As from the body of contraction plucks</div>
-    <div class="verse indent0">The very soul, and sweet religion makes</div>
-    <div class="verse indent0">A rhapsody of words: heaven’s face doth glow,</div>
-    <div class="verse indent0">Yea, this sondity and compound mass,</div>
-    <div class="verse indent0">With tristful visage, as against the doom,</div>
-    <div class="verse indent0">Is thought-sick at the act.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Queen.</i> Ay me, what act,</div>
-    <div class="verse indent0">That roars so loud and thunders in the index?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Hamlet.</i> Look here, upon this picture, and on this,</div>
-    <div class="verse indent0">The counterfeit presentment of two brothers.</div>
-    <div class="verse indent0">See what a grace was seated on this brow;</div>
-    <div class="verse indent0">Hyperion’s curls; the front of Jove himself;</div>
-    <div class="verse indent0">An eye like Mars, to threaten and command;</div>
-    <div class="verse indent0">A station like the herald Mercury</div>
-    <div class="verse indent0">New lighted on a heaven-kissing hill;</div>
-    <div class="verse indent0">A combination and a form indeed,</div>
-    <div class="verse indent0">Where every god did seem to set his seal,</div>
-    <div class="verse indent0">To give the world assurance of a man.</div>
-    <div class="verse indent0">This was your husband. Look you now, what follows:</div>
-    <div class="verse indent0">Here is your husband; like a mildew’d ear.</div>
-    <div class="verse indent0">Blasting his wholesome brother. Have you eyes?</div>
-    <div class="verse indent0">Could you on this fair mountain leave to feed,</div>
-    <div class="verse indent0">And batten on this moor? Ha! have you eyes?</div>
-    <div class="verse indent0">You cannot call it love, for at your age</div>
-    <div class="verse indent0">The hey-day in the blood is tame, it’s humble,</div>
-    <div class="verse indent0">And waits upon the judgment; and what judgment</div>
-    <div class="verse indent0">Would step from this to this?</div>
-    <div class="verse indent0">O shame! where is thy blush?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Queen.</i> O Hamlet, speak no more;</div>
-    <div class="verse indent0">Thou turns’t mine eyes into my very soul,</div>
-    <div class="verse indent0">And there I see such black and grained spots</div>
-    <div class="verse indent0">As will not leave their tinct.</div>
-    <div class="verse indent0">O, speak to me no more;</div>
-    <div class="verse indent0">These words like daggers enter in mine ears;</div>
-    <div class="verse indent0">No more, sweet Hamlet!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Hamlet.</i> A murtherer and a villain;</div>
-    <div class="verse indent0">A slave that is not twentieth part the tithe</div>
-    <div class="verse indent0">Of your precedent lord; a vice of kings;</div>
-    <div class="verse indent0">A cutpurse of the empire and the rule,</div>
-    <div class="verse indent0">That from a shelf the precious diadem stole,</div>
-    <div class="verse indent0">And put it in his pocket!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Queen.</i> No more!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Hamlet.</i> A king of shreds and patches,—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right">(<i>Enter <span class="smcap">Ghost</span>.</i>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Save me, and hover o’er me with your wings,</div>
-    <div class="verse indent0">You heavenly guards!—What would your gracious figure?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Queen.</i> Alas! he’s mad!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Hamlet.</i> Do you not come your tardy son to chide,</div>
-    <div class="verse indent0">That, laps’d in time and passion, lets go by</div>
-    <div class="verse indent0">The important acting of your dread command?</div>
-    <div class="verse indent0">O, say!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Ghost.</i> Do not forget. This visitation</div>
-    <div class="verse indent0">Is but to whet thy almost blunted purpose.</div>
-    <div class="verse indent0">But, look, amazement on thy mother sits</div><span class="pagenum"><a id="Page_435"></a>[435]</span>
-    <div class="verse indent0">O, step between her and her fighting soul:</div>
-    <div class="verse indent0">Speak to her, Hamlet.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Hamlet.</i> How is it with you, lady?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Queen.</i> Alas, how is’t with you,</div>
-    <div class="verse indent0">That you do bend your eye on vacancy</div>
-    <div class="verse indent0">And with the incorporal air do hold discourse?</div>
-    <div class="verse indent34">O gentle son,</div>
-    <div class="verse indent0">Upon the heat and flame of thy distemper</div>
-    <div class="verse indent0">Sprinkle cool patience. Whereon do you look?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Hamlet.</i> On him, on him! Look you, how pale he glares!</div>
-    <div class="verse indent0">His form and cause conjoin’d, preaching to stones,</div>
-    <div class="verse indent0">Would make them capable. Do not look upon me;</div>
-    <div class="verse indent0">Lest with this piteous action you convert</div>
-    <div class="verse indent0">My stern effects; then what I have to do</div>
-    <div class="verse indent0">Will want true color; tears perchance for blood.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Queen.</i> To whom do you speak this?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Hamlet.</i> Do you see nothing there?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Queen.</i> Nothing at all; yet all that is I see.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Hamlet.</i> Nor did you nothing hear?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Queen.</i> No, nothing but ourselves.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Hamlet.</i> Why, look you there! look, how it steals away!</div>
-    <div class="verse indent0">My father, in his habit as he liv’d!</div>
-    <div class="verse indent0">Look, where he goes, even now, out at the portal.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right">(<i>Exit <span class="smcap">Ghost</span>.</i>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Queen.</i> This is the very coinage of your brain;</div>
-    <div class="verse indent0">This bodiless creation ecstasy</div>
-    <div class="verse indent0">Is very cunning in.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Hamlet.</i> Ecstasy!</div>
-    <div class="verse indent0">My pulse, as yours, doth temperately keep time,</div>
-    <div class="verse indent0">And makes as healthful music: it is not madness</div>
-    <div class="verse indent0">That I have utter’d; bring me to the test,</div>
-    <div class="verse indent0">And I the matter will re-word, which madness</div>
-    <div class="verse indent0">Would gambol from. Mother, for love of grace,</div>
-    <div class="verse indent0">Lay not that flattering unction to your soul,</div>
-    <div class="verse indent0">That not your trespass but my madness speaks;</div>
-    <div class="verse indent0">It will but skin and film the ulcerous place,</div>
-    <div class="verse indent0">Whilst rank corruption, mining all within,</div>
-    <div class="verse indent0">Infects unseen. Confess yourself to heaven;</div>
-    <div class="verse indent0">Repent what’s past, avoid what is to come.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Queen.</i> O Hamlet, thou hast cleft my heart in twain.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0"><i>Hamlet.</i> O, throw away the worser part of it,</div>
-    <div class="verse indent0">And live the purer with the other half.</div>
-    <div class="verse indent0">For this same lord, (<i>Pointing to Polonius.</i>)</div>
-    <div class="verse indent0">I do repent;</div>
-    <div class="verse indent0">I will bestow him, and will answer well</div>
-    <div class="verse indent0">The death I gave him,—So, again, good-night.</div>
-    <div class="verse indent0">I must be cruel, only to be kind;</div>
-    <div class="verse indent0">Thus bad begins, and worse remains behind.</div>
-  </div>
-</div>
-</div>
-
-<p class="center">[<span class="allsmcap">CURTAIN.</span>]</p>
-
-<p class="right"><span class="smcap">Shakespeare.</span></p>
-
-<h3>LOCHIEL’S WARNING.</h3>
-
-<p>(This piece is frequently recited by one person,
-but is much more effective in dialogue. <span class="smcap">Lochiel</span>, a
-Highland chieftain, while on his march to join the
-Pretender, is met by one of the Highland seers, or
-prophets, who warns him to return, and not incur
-the certain ruin and disaster which await the unfortunate
-prince and his followers on the field of Culloden.
-When used as a dialogue, a blast of trumpet is
-heard. The curtain being drawn, <span class="smcap">Lochiel</span> enters,
-attired in the Highland fighting costume, and following
-him should appear in the doorway of the stage
-two or three armed Scotch soldiers to give the idea
-of a large number behind them. The <span class="smcap">Seer</span> meets
-him from the other direction, dressed in flowing
-robes, and with long white hair and beard, and,
-raising his hands in the attitude of warning, speaks
-imploringly as follows:)</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse center"><i>Seer.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-l.jpg" width="130" height="110" alt="" /></div>
-    <div class="dropcapline">Lochiel, Lochiel, beware of the day</div>
-    <div class="verse indent0">When the Lowlands shall meet thee in battle array!</div>
-    <div class="verse indent0">For a field of the dead rushes red on my sight,</div>
-    <div class="verse indent0">And the clans of Culloden are scattered in flight:</div>
-    <div class="verse indent0">They rally, they bleed, for their country and crown,—</div>
-    <div class="verse indent0">Woe, woe to the riders that trample them down!</div>
-    <div class="verse indent0">Proud Cumberland prances, insulting the slain,</div>
-    <div class="verse indent0">And their hoof-beaten bosoms are trod to the plain.</div>
-    <div class="verse indent0">But, hark! through the fast-flashing lightning of war,</div>
-    <div class="verse indent0">What steed to the desert flies frantic and far?</div>
-    <div class="verse indent0">’Tis thine, O Glenullin! whose bride shall await,</div>
-    <div class="verse indent0">Like a love-lighted watch-fire, all night at the gate.</div>
-    <div class="verse indent0">A steed comes at morning: no rider is there;</div>
-    <div class="verse indent0">But its bridle is red with the sign of despair!</div>
-    <div class="verse indent0">Weep, Albin! to death and captivity led!</div>
-    <div class="verse indent0">O! weep! but thy tears cannot number the dead!</div>
-    <div class="verse indent0">For a merciless sword on Culloden shall wave—</div>
-    <div class="verse indent0">Culloden, that reeks with the blood of the brave!</div><span class="pagenum"><a id="Page_436"></a>[436]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Lochiel.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Go preach to the coward, thou death-telling seer!</div>
-    <div class="verse indent0">Or, if gory Culloden so dreadful appear,</div>
-    <div class="verse indent0">Draw, dotard, around thy old wavering sight,</div>
-    <div class="verse indent0">This mantle, to cover the phantoms of fright!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Seer.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Ha! laugh’st thou, Lochiel, my vision to scorn?</div>
-    <div class="verse indent0">Proud bird of the mountain, thy plume shall be torn!</div>
-    <div class="verse indent0">Say, rushed the bold eagle exultingly forth,</div>
-    <div class="verse indent0">From his home in the dark-rolling clouds of the North?</div>
-    <div class="verse indent0">Lo! the death-shot of foemen out-speeding, he rode</div>
-    <div class="verse indent0">Companionless, bearing destruction abroad:</div>
-    <div class="verse indent0">But down let him stoop from his havoc on high!</div>
-    <div class="verse indent0">Ah! home let him speed, for the spoiler is nigh.</div>
-    <div class="verse indent0">Why flames the far summit? Why shoot to the blast</div>
-    <div class="verse indent0">Those embers, like stars from the firmament cast?</div>
-    <div class="verse indent0">’Tis the fire-shower of ruin, all dreadfully driven</div>
-    <div class="verse indent0">From his eyry, that beacons the darkness of Heaven.</div>
-    <div class="verse indent0">O, crested Lochiel! the peerless in might,</div>
-    <div class="verse indent0">Whose banners arise on the battlements’ height,</div>
-    <div class="verse indent0">Heaven’s fire is around thee, to blast and to burn;</div>
-    <div class="verse indent0">Return to thy dwelling! all lonely return!</div>
-    <div class="verse indent0">For the blackness of ashes shall mark where it stood,</div>
-    <div class="verse indent0">And a wild mother scream o’er her famishing brood!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Lochiel.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">False Wizard, avaunt! I have marshall’d my clan:</div>
-    <div class="verse indent0">Their swords are a thousand; their bosoms are one:</div>
-    <div class="verse indent0">They are true to the last of their blood, and their breath,</div>
-    <div class="verse indent0">And like reapers, descend to the harvest of death.</div>
-    <div class="verse indent0">Then welcome be Cumberland’s steed to the shock!</div>
-    <div class="verse indent0">Let him dash his proud foam like a wave on the rock!</div>
-    <div class="verse indent0">But woe to his kindred, and woe to his cause,</div>
-    <div class="verse indent0">When Albin her claymore indignantly draws;</div>
-    <div class="verse indent0">When her bonneted chieftains to victory crowd,</div>
-    <div class="verse indent0">Clanronald the dauntless, and Moray the proud;</div>
-    <div class="verse indent0">All plaided, and plum’d in their tartan array—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Seer.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Lochiel, Lochiel, beware of the day!</div>
-    <div class="verse indent0">For, dark and despairing, my sight I may seal,</div>
-    <div class="verse indent0">Yet man cannot cover what God would reveal:</div>
-    <div class="verse indent0">’Tis the sunset of life gives me mystical lore,</div>
-    <div class="verse indent0">And coming events cast their shadows before.</div>
-    <div class="verse indent0">I tell thee, Culloden’s dread echoes shall ring</div>
-    <div class="verse indent0">With the bloodhounds that bark for thy fugitive king.</div>
-    <div class="verse indent0">Lo! anointed by Heaven with vials of wrath,</div>
-    <div class="verse indent0">Behold where he flies on his desolate path!</div>
-    <div class="verse indent0">Now in darkness, and billows, he sweeps from my sight:</div>
-    <div class="verse indent0">Rise! Rise! ye wild tempests, and cover his flight!</div>
-    <div class="verse indent0">’Tis finish’d.—Their thunders are hush’d on the moors;</div>
-    <div class="verse indent0">Culloden is lost, and my country deplores.</div>
-    <div class="verse indent0">But where is the iron-bound prisoner! Where?</div>
-    <div class="verse indent0">For the red eye of battle is shut in despair.</div>
-    <div class="verse indent0">Say, mounts he the ocean-wave, banish’d, forlorn,</div>
-    <div class="verse indent0">Like a limb from his country, cast bleeding, and torn?</div>
-    <div class="verse indent0">Ah! no; for a darker departure is near;</div>
-    <div class="verse indent0">The war-drum is muffled, and black is the bier;</div>
-    <div class="verse indent0">His death-bell is tolling; oh! mercy, dispel</div>
-    <div class="verse indent0">Yon sight, that it freezes my spirit to tell!</div>
-    <div class="verse indent0">Life flutters, convuls’d in his quivering limbs,</div>
-    <div class="verse indent0">And his blood-streaming nostril in agony swims.</div>
-    <div class="verse indent0">Accurs’d be the fagots that blaze at his feet,</div>
-    <div class="verse indent0">Where his heart shall be thrown ere it ceases to beat,</div>
-    <div class="verse indent0">With the smoke of its ashes to poison the gale—</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center"><i>Lochiel.</i></div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Down, soothless insulter! I trust not the tale,</div>
-    <div class="verse indent0">For never shall Albin a destiny meet</div>
-    <div class="verse indent0">So black with dishonor—so foul with retreat.</div>
-    <div class="verse indent0">Tho’ his perishing ranks should be strow’d in their gore,</div>
-    <div class="verse indent0">Like ocean-weeds heap’d on the surf-beaten shore,</div>
-    <div class="verse indent0">Lochiel, untainted by flight, or by chains,</div>
-    <div class="verse indent0">While the kindling of life in his bosom remains,</div><span class="pagenum"><a id="Page_437"></a>[437]</span>
-    <div class="verse indent0">Shall victor exult, or in death be laid low,</div>
-    <div class="verse indent0">With his back to the field, and his feet to the foe!</div>
-    <div class="verse indent0">And, leaving in battle no blot on his name,</div>
-    <div class="verse indent0">Look proudly to heaven from the death-bed of fame.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Campbell.</span></div>
-  </div>
-</div>
-</div>
-
-<p class="center">[<span class="allsmcap">CURTAIN.</span>]</p>
-
-<p class="center"><i>TABLEAU.</i></p>
-
-<p><i>A very pretty tableau may be quickly formed
-behind the curtain, and at the close of applause
-from the audience the curtain be raised, showing
-<span class="smcap">Lochiel</span> standing proud and imperious, his clan
-gathered around him, and the old <span class="smcap">Seer</span> upon his
-knees, head thrown back, with hands and face
-raised imploringly.</i></p>
-
-<h3>MARY STUART, QUEEN OF SCOTLAND.</h3>
-
-<p>(Adapted from Schiller, Scene II., Act III. Arranged
-for two ladies and two gentlemen.)</p>
-
-<p><span class="smcap">Characters</span>:</p>
-
-<ul>
-<li><span class="smcap">Mary</span>, <i>Queen of Scotland</i>.</li>
-<li><span class="smcap">Elizabeth</span>, <i>Queen of England</i>.</li>
-<li><span class="smcap">Robert</span>, <i>Earl of Leicester</i>.</li>
-<li><span class="smcap">Talbot</span>, <i>a friend of Mary</i>.</li>
-</ul>
-
-<p><span class="smcap">Costumes.</span></p>
-
-<ul>
-<li><i>Elizabethan age of England and
-Scotland.</i></li>
-</ul>
-
-<p class="center"><i>Enter <span class="smcap">Mary</span> and <span class="smcap">Talbot</span>.</i></p>
-
-<p><i>Mary.</i> Talbot, Elizabeth will soon be here.
-I cannot see her. Preserve me from this hateful
-interview.</p>
-
-<p><i>Talbot.</i> Reflect a while. Recall thy courage.
-The moment is come upon which everything
-depends. Incline thyself; submit to the necessity
-of the moment. She is the stronger.
-Thou must bend before her.</p>
-
-<p><i>Mary.</i> Before her? I cannot!</p>
-
-<p><i>Tal.</i> Thou must do so. Speak to her humbly;
-invoke the greatness of her generous heart;
-dwell not too much upon thy rights. But see
-first how she bears herself towards thee. I myself
-did witness her emotion on reading thy
-letter. The tears stood in her eyes. Her heart,
-’tis sure, is not a stranger to compassion; therefore
-place more confidence in her, and prepare
-thyself for her reception.</p>
-
-<p><i>Mary.</i> (<i>Taking his hand.</i>) Thou wert ever
-my faithful friend. Oh, that I had always remained
-beneath thy kind guardianship, Talbot!
-Their care of me has indeed been harsh. Who
-attends her?</p>
-
-<p><i>Tal.</i> Leicester. You need not fear him; the
-earl doth not seek thy fall. Behold, the queen
-approaches. (<i>Retires.</i>)</p>
-
-<p class="center"><i>Enter <span class="smcap">Elizabeth</span> and <span class="smcap">Leicester</span>.</i></p>
-
-<p><i>Mary.</i> (<i>Aside.</i>) O heavens! Protect me!
-her features say she has no heart!</p>
-
-<p><i>Elizabeth.</i> (<i>To <span class="smcap">Leicester</span>.</i>) Who is this
-woman? (<i>Feigning surprise.</i>) Robert, who
-has dared to—</p>
-
-<p><i>Lei.</i> Be not angry, queen, and since heaven
-has hither directed thee, suffer pity to triumph
-in thy noble heart.</p>
-
-<p><i>Tal.</i> (<i>Advancing.</i>) Deign, royal lady, to cast
-a look of compassion on the unhappy woman
-who prostrates herself at thy feet.</p>
-
-<p class="hanging">[<i><span class="smcap">Mary</span>, having attempted to approach <span class="smcap">Elizabeth</span>,
-stops short, overcome by repugnance, her gestures
-indicating internal struggle.</i>]</p>
-
-<p><i>Eliz.</i> (<i>Haughtily.</i>) Sirs, which of you spoke
-of humility and submission? I see nothing but
-a proud lady, whom misfortune has not succeeded
-in subduing.</p>
-
-<p><i>Mary.</i> (<i>Aside.</i>) I will undergo even this last
-degree of ignominy. My soul discards its noble
-but, alas! impotent pride. I will seek to forget
-who I am, what I have suffered, and will humble
-myself before her who has caused my disgrace.
-(<i>Turns to <span class="smcap">Elizabeth</span>.</i>) Heaven, O sister, has
-declared itself on thy side, and has graced thy
-happy head with the crown of victory. (<i>Kneeling.</i>)
-I worship the Deity who hath rendered
-thee so powerful. Show thyself noble in thy
-triumph, and leave me not overwhelmed by
-shame! Open thy arms, extend in mercy to me
-thy royal hand, and raise me from my fearful fall.</p>
-
-<p><i>Eliz.</i> (<i>Drawing back.</i>) Thy place, Stuart, is
-there, and I shall ever raise my hands in gratitude
-to heaven that it has not willed that I
-should kneel at thy feet, as thou now crouchest
-in the dust at mine.</p>
-
-<p><span class="pagenum"><a id="Page_438"></a>[438]</span></p>
-
-<p><i>Mary.</i> (<i>With great emotion.</i>) Think of the
-vicissitudes of all things human! There is a
-Deity above who punisheth pride. Respect the
-Providence who now doth prostrate me at thy
-feet. Do not show thyself insensible and pitiless
-as the rock, to which the drowning man,
-with failing breath and outstretched arms, doth
-cling. My life, my entire destiny, depend upon
-my words and the power of my tears. Inspire
-my heart, teach me to move, to touch thine own.
-Thou turnest such icy looks upon me, that my
-soul doth sink within me, my grief parches my
-lips, and a cold shudder renders my entreaties
-mute. (<i>Rises.</i>)</p>
-
-<p><i>Eliz.</i> (<i>Coldly.</i>) What wouldst thou say to me?
-thou didst seek converse with me. Forgetting
-that I am an outraged sovereign, I honor thee
-with my royal presence. ’Tis in obedience to
-a generous impulse that I incur the reproach of
-having sacrificed my dignity.</p>
-
-<p><i>Mary.</i> How can I express myself? how shall
-I so choose every word that it may penetrate,
-without irritating, thy heart? God of mercy!
-aid my lips, and banish from them whatever may
-offend my sister! I cannot relate to thee my
-woes without appearing to accuse thee, and this
-is not my wish. Towards me thou hast been
-neither merciful nor just. I am thine equal,
-and yet thou hast made me a prisoner, a suppliant,
-and a fugitive. I turned to thee for aid,
-and thou, trampling on the rights of nations and
-of hospitality, hast immured me in a living tomb!
-Thou hast abandoned me to the most shameful
-need, and finally exposed me to the ignominy of
-a trial! But, no more of the past; we are now
-face to face. Display the goodness of thy heart!
-tell me the crimes of which I am accused!
-Wherefore didst thou not grant me this friendly
-audience when I so eagerly desired it? Years
-of misery would have been spared me, and this
-painful interview would not have occurred in
-this abode of gloom and horror.</p>
-
-<p><i>Eliz.</i> Accuse not fate, but thine own wayward
-soul and the unreasonable ambition of thy house.
-There was no quarrel between us until thy most
-worthy ally inspired thee with the mad and rash
-desire to claim for thyself the royal titles and
-my throne! Not satisfied with this, he then
-urged thee to make war against me, to threaten
-my crown and my life. Amidst the peace which
-reigned in my dominions, he fraudulently excited
-my subjects to revolt. But heaven doth protect
-me, and the attempt was abandoned in despair.
-The blow was aimed at my head, but ’tis on
-thine that it will fall.</p>
-
-<p><i>Mary.</i> I am in the hand of my God, but thou
-wilt not exceed thy power by committing a deed
-so atrocious?</p>
-
-<p><i>Eliz.</i> What could prevent me? Thy kinsman
-has shown monarchs how to make peace with
-their enemies! Who would be surety for thee
-if, imprudently, I were to release thee? How
-can I rely on thy pledged faith? Nought but
-my power renders me secure. No! there can be
-no friendship with a race of vipers.</p>
-
-<p><i>Mary.</i> Are these thy dark suspicions? To
-thine eyes, then, I have ever seemed a stranger
-and an enemy. If thou hadst but recognized
-me as heiress to thy throne—as is my lawful
-right—love, friendship, would have made me thy
-friend—thy sister.</p>
-
-<p><i>Eliz.</i> What affection hast thou that is not
-feigned? I declare thee heiress to my throne!
-Insidious treachery! In order, forsooth, to
-overturn the state, and—wily Armida that thou
-art—entrap within thy snares all the youthful
-spirits of my kingdom, so that during my own
-lifetime all eyes would turn towards thee—the
-new constellation!</p>
-
-<p><i>Mary.</i> Reign on in peace! I renounce all
-right to thy sceptre. The wings of my ambition
-have long drooped, and greatness has no
-longer charms for me. ’Tis thou who hast it all;
-I am now only the shade of Mary Stuart! My
-pristine ardor has been subdued by the ignominy
-of my chains. Thou hast nipped my existence
-in the bud. But pronounce those magnanimous
-words for which thou cam’st hither; for I will
-not believe that thou art come to enjoy the base
-delight of insulting thy victim! Pronounce the
-words so longed for, and say, “Mary, thou art
-free! Till now thou hast known only my power;<span class="pagenum"><a id="Page_439"></a>[439]</span>
-now know my greatness.” Woe to thee, shouldst
-thou not depart from me propitious, beneficent,
-like an invoked Deity. O sister! not for all
-England, not for all the lands the vast ocean
-embraces, would I present myself to thee with
-the inexorable aspect with which thou now regardest
-me!</p>
-
-<p><i>Eliz.</i> At length thou confessest thyself vanquished!
-Hast thou emptied thy quiver of the
-artifices it contained? Hast thou no more assassins?
-Does there not remain to thee one
-single hero to undertake in thy defence the
-duties of knight-errant? Gone, Mary, gone
-forever are those days. Thou canst no longer
-seduce a follower of mine; other causes now
-inflame men’s hearts. In vain didst thou seek a
-fourth husband among my English subjects;
-they knew too well that thou murderest thy
-husbands, as thou dost thy lovers.</p>
-
-<p><i>Mary.</i> (<i>Shuddering.</i>) O heavens! sister!
-Grant me resignation.</p>
-
-<p><i>Eliz.</i> (<i>To <span class="smcap">Leicester</span>, with contempt.</i>) Earl,
-are these the boasted features, on which no mortal
-eye could gaze with safety? Is this the beauty to
-which no other woman’s could be compared? In
-sooth, the reputation appears to have been easily
-won. To be thus celebrated as the reigning beauty
-of the universe seems merely to  infer that she has
-been universal in the distribution of her favors.</p>
-
-<p><i>Mary.</i> Ah, ’tis too much.</p>
-
-<p><i>Eliz.</i> (<i>With a smile of satisfaction.</i>) Now thou
-showest thyself in thine own form. Till now
-thou hast worn a mask.</p>
-
-<p><i>Mary.</i> (<i>With dignified pride.</i>) They were
-mere human errors that overcame my youth.
-My grandeur dazzled me. I have nought to
-conceal, nor deny my faults; my pride has ever
-disdained the base artifices of vile intriguers.
-The worst I ever did is known, and I may boast
-myself far better than my reputation. But woe
-to thee, thou malignant hypocrite, if thou ever
-lettest fall the mantle beneath which thou concealest
-thy shameless amours! Thou, the
-daughter of Anne Boleyn, hast not inherited
-virtue! The causes that brought thy sinful
-mother to the block are known to all.</p>
-
-<p><i>Tal.</i> (<i>Stepping between them.</i>) Is this, O Mary,
-thine endurance? Is this thy humility?</p>
-
-<p><i>Mary.</i> Endurance? I have endured all that
-a mortal heart can bear. Hence, abject humility!
-Insulted patience, get ye from my heart!
-And thou, my long pent-up indignation, break
-thy bonds, and burst forth from thy lair! Oh,
-thou gavest to the angry serpent his deadly
-glance; arm my tongue with poisonous stings.</p>
-
-<p><i>Tal.</i> (<i>To <span class="smcap">Elizabeth</span>.</i>) Forgive the angry
-transports which thou hast thyself provoked.</p>
-
-<p><i>Lei.</i> (<i>Inducing <span class="smcap">Elizabeth</span> to withdraw.</i>)
-Hear not the ravings of a distracted woman.
-Leave this ill—</p>
-
-<p><i>Mary.</i> The throne of England is profaned by
-a base-born—the British nation is duped by a
-vile pretender! If right did prevail, thou wouldst
-be grovelling at my feet, for ’tis I who am thy
-sovereign. (<i><span class="smcap">Elizabeth</span> retires. <span class="smcap">Leicester</span> and
-<span class="smcap">Talbot</span> follow.</i>) She departs, burning with
-rage, and with bitterness of death at heart.
-Now happy I am! I have degraded her in
-Leicester’s presence. At last! at last! After
-long years of insult and contumely, I have at
-least enjoyed a season of triumph. (<i>Sinks upon
-the floor.</i>)</p>
-
-<p class="center">[<span class="allsmcap">CURTAIN.</span>]</p>
-
-<p class="right"><span class="smcap">Schiller.</span></p>
-
-<p class="center"><i>TABLEAU.</i></p>
-
-<p><i>Curtain rises. <span class="smcap">Mary</span> reclines upon the floor,
-disheveled hair, face buried in hands, shaking
-with emotion. <span class="smcap">Elizabeth</span> stands glaring at her,
-face livid with anger, clenched fists. <span class="smcap">Leicester</span>
-is restraining her; his hand is raised as if admonishing
-her not to yield to her rage and do an act
-unbecoming a queen. <span class="smcap">Talbot</span> leans over <span class="smcap">Mary</span>,
-to whom he appears to offer words of hope and
-consolation, at the same time lifting his right hand
-imploringly to <span class="smcap">Elizabeth</span>.</i></p>
-
-<div class="figcenter-line" style="width: 250px;">
-<img src="images/line14.jpg" width="250" height="50" alt="" />
-</div>
-
-<p><span class="pagenum"><a id="Page_440"></a>[440]</span></p>
-
-<h3>A CASE OF INDIGESTION.</h3>
-
-<p class="hanging tb"><span class="smcap">Scene</span>—<i><span class="smcap">Dr. Gregory’s</span> study. A table and
-two chairs.</i></p>
-
-<p><i>Enter <span class="smcap">Patient</span> (an unhappy Scotch merchant)
-from left. <span class="smcap">Dr. Gregory</span> discovered reading
-(on right).</i></p>
-
-<p><i>Patient.</i> Good morning, Dr. Gregory! I’m
-just come into Edinburgh about some law
-business, and I thought when I was here, at
-any rate, I might just as weel take your advice,
-sir, about my trouble.</p>
-
-<p><i>Doctor.</i> Pray, sir, sit down. (<i>Patient sits
-on left.</i>) And now, my good sir, what may
-your trouble be?</p>
-
-<p><i>Pa.</i> Indeed, doctor, I’m not very sure, but
-I’m thinking it’s a kind of weakness that
-makes me dizzy at times, and a kind of pinkling
-about my stomach—I’m just na right.</p>
-
-<p><i>Dr.</i> You are from the west country, I should
-suppose, sir?</p>
-
-<p><i>Pa.</i> Yes, sir; from Glasgow.</p>
-
-<p><i>Dr.</i> Ay, pray, sir, are you a glutton?</p>
-
-<p><i>Pa.</i> Heaven forbid, sir! I am one of the
-plainest men living in the west country.</p>
-
-<p><i>Dr.</i> Then, perhaps, you are a drunkard?</p>
-
-<p><i>Pa.</i> No, Dr. Gregory, thank Heaven, no
-one can accuse me of that! I’m of the dissenting
-persuasion, doctor, and an elder, so
-you may suppose I’m na drunkard.</p>
-
-<p><i>Dr.</i> I’ll suppose no such thing till you
-tell me your mode of living. I’m so much
-puzzled with your symptoms, sir, that I should
-wish to hear in detail what you do eat and
-drink. When do you breakfast, and what do
-you take at it?</p>
-
-<p><i>Pa.</i> I breakfast at nine o’clock; take a cup
-of coffee, and one or two cups of tea, a couple
-of eggs, and a bit of ham or kippered salmon,
-or, maybe, both, if they’re good, and
-two or three rolls and butter.</p>
-
-<p><i>Dr.</i> Do you eat no honey, or jelly, or jam,
-at breakfast?</p>
-
-<p><i>Pa.</i> O, yes, sir! but I don’t count that as
-anything.</p>
-
-<p><i>Dr.</i> Come, this is a very moderate breakfast.
-What kind of a dinner do you make?</p>
-
-<p><i>Pa.</i> O, sir, I eat a very plain dinner, indeed.
-Some soup, and some fish, and a little
-plain roast or boiled; for I dinna care for
-made dishes; I think, some way, they never
-satisfy the appetite.</p>
-
-<p><i>Dr.</i> You take a little pudding, then, and
-afterwards some cheese?</p>
-
-<p><i>Pa.</i> O, yes! though I don’t care much
-about them.</p>
-
-<p><i>Dr.</i> You take a glass of ale or porter with
-your cheese?</p>
-
-<p><i>Pa.</i> Yes, one or the other; but seldom
-both.</p>
-
-<p><i>Dr.</i> You west-country people generally
-take a glass of Highland whiskey after dinner?</p>
-
-<p><i>Pa.</i> Yes, we do; it’s good for digestion.</p>
-
-<p><i>Dr.</i> Do you take any wine during dinner?</p>
-
-<p><i>Pa.</i> Yes, a glass or two of sherry; but I’m
-indifferent as to wine during dinner. I drink
-a good deal of beer.</p>
-
-<p><i>Dr.</i> What quantity of port do you drink?</p>
-
-<p><i>Pa.</i> O, very little; not above half a dozen
-glasses or so.</p>
-
-<p><i>Dr.</i> In the west country, it is impossible, I
-hear, to dine without punch?</p>
-
-<p><i>Pa.</i> Yes, sir; indeed, ’tis punch we drink
-chiefly; but, for myself, unless I happen to
-have a friend with me, I never take more
-than a couple of tumblers or so, and that’s
-moderate.</p>
-
-<p><i>Dr.</i> O, exceedingly moderate, indeed!
-You then, after this slight repast, take some
-tea and bread and butter?</p>
-
-<p><i>Pa.</i> Yes, before I go to the counting-house
-to read the evening letters.</p>
-
-<p><i>Dr.</i> And on your return you take supper,
-I suppose?</p>
-
-<p><i>Pa.</i> No, sir, I canna be said to take supper;
-just something before going to bed;—a rizzered
-haddock, or a bit of toasted cheese, or
-a half-hundred oysters, or the like o’that, and,<span class="pagenum"><a id="Page_441"></a>[441]</span>
-maybe, two-thirds of a bottle of ale; but I
-take no <i>regular</i> supper.</p>
-
-<p><i>Dr.</i> But you take a little more punch after
-that?</p>
-
-<p><i>Pa.</i> No, sir; punch does not agree with
-me at bedtime. I take a tumbler of warm
-whiskey-toddy at night; it is lighter to sleep
-on.</p>
-
-<p><i>Dr.</i> So it must be, no doubt. This, you
-say, is your everyday life; but, upon great
-occasions, you perhaps exceed a little?</p>
-
-<p><i>Pa.</i> No, sir; except when a friend or two
-dine with me, or I dine out, which, as I am a
-sober family man, does not often happen.</p>
-
-<p><i>Dr.</i> Not above twice a week?</p>
-
-<p><i>Pa.</i> No, not oftener.</p>
-
-<p><i>Dr.</i> Of course you sleep well and have a
-good appetite?</p>
-
-<p><i>Pa.</i> Yes, sir, thank Heaven, I have; indeed,
-any ill health that I have is about mealtime.</p>
-
-<p><i>Dr.</i> (<i>Rising with a severe air—the <span class="smcap">Patient</span>
-also rises.</i>) Now, sir, you are a very pretty
-fellow, indeed! You come here and tell me
-you are a moderate man; but, upon examination,
-I find, by your own showing, that
-you are a most voracious glutton. You said
-you were a sober man; yet, by your own showing,
-you are a beer-swiller, a dram-drinker, a
-wine-bibber, and a guzzler of punch. You
-tell me you eat indigestible suppers, and swill
-toddy to force sleep. I see that you chew
-tobacco. Now, sir, what human stomach can
-stand this? Go home, sir, and leave your
-present course of riotous living, and there are
-hopes that your stomach may recover its tone,
-and you be in good health, like your neighbors.</p>
-
-<p><i>Pa.</i> I’m sure, doctor, I’m very much
-obliged to you. (<i>Taking out a bundle of
-bank notes.</i>) I shall endeavor to——</p>
-
-<p><i>Dr.</i> Sir, you are not obliged to me:—put
-up your money, sir. Do you think I’ll take
-a fee for telling you what you know as well
-as myself? Though you’re no physician, sir,
-you are not altogether a fool. Go home, sir,
-and reform, or, take my word for it, your life
-is not worth half a year’s purchase.</p>
-
-<p><i>Pa.</i> Thank you, doctor, thank you. Good-day,
-doctor.</p>
-
-<p class="right">(<i>Exit on right, followed by <span class="smcap">Doctor</span>.</i>)</p>
-
-<h3>MR. CROSS AND SERVANT JOHN.</h3>
-
-<p><i>Mr. Cross.</i> Why do you keep me knocking
-all day at the door?</p>
-
-<p><i>John.</i> I was at work, sir, in the garden. As
-soon as I heard your knock, I ran to open
-the door with such haste that I fell down and
-hurt myself.</p>
-
-<p><i>Mr. C.</i> Why didn’t you leave the door
-open?</p>
-
-<p><i>John.</i> Why, sir, you scolded me yesterday
-because I did so. When the door is open,
-you scold; when it is shut, you scold. I
-should like to know what to do?</p>
-
-<p><i>Mr. C.</i> What to do? What to do, did you
-say?</p>
-
-<p><i>John.</i> I said it. Shall I leave the door
-open?</p>
-
-<p><i>Mr. C.</i> No. I tell you, no!</p>
-
-<p><i>John.</i> Shall I keep the door shut?</p>
-
-<p><i>Mr. C.</i> Shall you keep the door shut? No,
-I say.</p>
-
-<p><i>John.</i> But, sir, a door must be either open
-or——</p>
-
-<p><i>Mr. C.</i> Don’t presume to argue with me,
-fellow!</p>
-
-<p><i>John.</i> But doesn’t it hold to reason that a
-door——</p>
-
-<p><i>Mr. C.</i> Silence, I say. Hold your tongue!</p>
-
-<p><i>John.</i> And I say that a door must be either
-open or shut. Now, how will you have it?</p>
-
-<p><i>Mr. C.</i> I have told you a thousand times,
-you provoking fellow—I have told you that I
-wished it—— But what do you mean by
-cross-questioning me, sir? Have you trimmed
-the grape-vine, as I ordered you?</p>
-
-<p><i>John.</i> I did that three days ago, sir.</p>
-
-<p><span class="pagenum"><a id="Page_442"></a>[442]</span></p>
-
-<p><i>Mr. C.</i> Have you washed the carriage?
-Eh?</p>
-
-<p><i>John.</i> I washed it before breakfast, sir, as
-usual.</p>
-
-<p><i>Mr. C.</i> You haven’t watered the horses to-day!</p>
-
-<p><i>John.</i> Go and see, sir, if you can make
-them drink any more. They have had their
-fill.</p>
-
-<p><i>Mr. C.</i> Have you given them their oats?</p>
-
-<p><i>John.</i> Ask William; he saw me do it.</p>
-
-<p><i>Mr. C.</i> But you have forgotten to take the
-mare to be shod. Ah! I have you now!</p>
-
-<p><i>John.</i> I have the blacksmith’s bill here.</p>
-
-<p><i>Mr. C.</i> My letters!—Did you take them to
-the post-office? Ha! You forgot, did you?</p>
-
-<p><i>John.</i> I forgot nothing, sir. The letters
-were in the mail ten minutes after you handed
-them to me.</p>
-
-<p><i>Mr. C.</i> How often have I told you not to
-scrape on that abominable violin of yours?
-And yet this very morning——</p>
-
-<p><i>John.</i> This morning? You forget, sir. You
-broke the violin all to pieces for me last Saturday
-night.</p>
-
-<p><i>Mr. C.</i> I’m glad of it! Come, now; that
-wood which I told you to saw and put into
-the shed—why is it not done? Answer me!</p>
-
-<p><i>John.</i> The wood is all sawed, split, and
-housed, sir; besides doing that, I have watered
-all the trees in the garden, dug over
-three of the beds, and was digging another
-when you knocked.</p>
-
-<p><i>Mr. C.</i> Oh, I must get rid of this fellow!
-He will plague my life out of me. Out of my
-sight, sir! (<i>John rushes out.</i>)</p>
-
-<h3>HOW TO BREAK BAD NEWS.</h3>
-
-<p><i>Mr. H.</i> Ha, steward! how are you, my old
-boy? How do things go on at home?</p>
-
-<p><i>Steward.</i> Bad enough, your honor; the
-magpie’s dead.</p>
-
-<p><i>Mr. H.</i> Poor Mag! so he’s gone. How
-came he to die?</p>
-
-<p><i>Steward.</i> Over-ate himself, sir.</p>
-
-<p><i>Mr. H.</i> Did he, indeed? a greedy villain!
-Why, what did he get he liked so well?</p>
-
-<p><i>Steward.</i> Horse-flesh, sir; he died of eating
-horse-flesh.</p>
-
-<p><i>Mr. H.</i> How came he to get so much
-horse-flesh?</p>
-
-<p><i>Steward.</i> All your father’s horses, sir.</p>
-
-<p><i>Mr. H.</i> What! are they dead, too?</p>
-
-<p><i>Steward.</i> Ay, sir; they died of over-work.</p>
-
-<p><i>Mr. H.</i> And why were they over-worked,
-pray.</p>
-
-<p><i>Steward.</i> To carry water, sir.</p>
-
-<p><i>Mr. H.</i> To carry water! What did they
-carry water for?</p>
-
-<p><i>Steward.</i> Sure, sir, to put out the fire.</p>
-
-<p><i>Mr. H.</i> Fire! What fire?</p>
-
-<p><i>Steward.</i> Oh, sir, your father’s house is
-burned to the ground.</p>
-
-<p><i>Mr. H.</i> My father’s house! How come it
-set on fire?</p>
-
-<p><i>Steward.</i> I think, sir, it must have been the
-torches.</p>
-
-<p><i>Mr. H.</i> Torches! What torches?</p>
-
-<p><i>Steward.</i> At your mother’s funeral.</p>
-
-<p><i>Mr. H.</i> Alas! my mother dead?</p>
-
-<p><i>Steward.</i> Ah, poor lady, she never looked
-up after it!</p>
-
-<p><i>Mr. H.</i> After what?</p>
-
-<p><i>Steward.</i> The loss of your father.</p>
-
-<p><i>Mr. H.</i> My father gone, too?</p>
-
-<p><i>Steward.</i> Yes, poor man, he took to his
-bed soon as he heard of it.</p>
-
-<p><i>Mr. H.</i> Heard of what?</p>
-
-<p><i>Steward.</i> The bad news, sir, an’ please
-your honor.</p>
-
-<p><i>Mr. H.</i> What! more miseries? more bad
-news? No! you can add nothing more!</p>
-
-<p><i>Steward.</i> Yes, sir; your bank has failed,
-and your credit is lost, and you are not worth
-a dollar in the world. I made bold, sir, to
-come to wait on you about it, for I thought
-you would like to hear the news.</p>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-
-<p><span class="pagenum"><a id="Page_443"></a>[443]</span></p>
-
-<h2 class="nobreak" id="HOW_TO_DRAFT">HOW TO DRAFT<br />
-<span class="smcap">Constitution and By-Laws</span><br />
-<span class="smaller">FOR THE<br />
-ORGANIZATION AND CONDUCT OF LITERARY<br />
-SOCIETIES.</span></h2>
-
-</div>
-
-<div>
-<img class="dropcap" src="images/dropcap-a2.jpg" width="100" height="150" alt="" />
-</div>
-
-<p class="dropcap">All permanent associations formed for
-mutual benefit must have a Constitution
-by which they shall be governed.</p>
-
-<p>Where it is intended to organize a society for
-the intellectual improvement or social enjoyment
-of its members, a number of persons meet
-together and select a name for the organization.
-The next step is to appoint a committee, whose
-duty it shall be to prepare a <i>Constitution</i> and
-code of <i>By-Laws</i> for the society. These must
-be reported to the society at its next meeting,
-and must be adopted by the votes of a majority
-of that body before they can take effect.</p>
-
-<p>The Constitution consists of the rules which
-form the foundation upon which the organization
-is to rest. It should be brief and explicit.
-It should be considered and adopted section by
-section; should be recorded in a book for that
-purpose, and should be signed by all the members
-of the society.</p>
-
-<p>Amendments to the Constitution should be
-adopted in the same way, and should be signed
-by each member of the society.</p>
-
-<p>In addition to the Constitution, it is usual
-to adopt a series of minor rules, which should
-be explanatory of the principles of the Constitution.
-These are termed <i>By-Laws</i>, and should
-be recorded in the same book with the Constitution,
-and immediately after it. New by-laws
-may be added from time to time, as the necessity
-for them may arise. It is best to have as few as
-possible. They should be brief, and as clear
-that their meaning may be easily comprehended,
-and should govern the action of the body.</p>
-
-<h3>CONSTITUTION.</h3>
-
-<p>As growth and development of mind, together
-with readiness and fluency of speech, are the
-result of investigation and free discussion of
-religious, education, political, and other topics,
-the undersigned agree to form an association,
-and for its government, do hereby adopt the
-following Constitution:</p>
-
-<p><span class="smcap">Article I.</span>—The name and title of this
-organization shall be</p>
-
-<p class="center">“The Philomathian Literary Society,”</p>
-
-<p class="noindent">and its objects shall be the free discussion of any
-subject coming before the meeting for the purpose
-of diffusing knowledge among its members.</p>
-
-<p><span class="smcap">Article II.</span>—The officers of the Association
-shall consist of a President, two Vice-Presidents,
-a Corresponding Secretary, a Recording Secretary,
-a Treasurer and a Librarian, who shall be
-elected annually by ballot, on the first Monday
-in January of each year, said officers to hold
-their position until their successors are elected.</p>
-
-<p><span class="smcap">Article III.</span>—It shall be the duty of the
-President to preside at all public meetings of the
-Society. The first Vice-President shall preside
-in the absence of the President, and in case of
-the absence of both President and Vice-President,
-it shall be the duty of the second Vice-President
-to preside.</p>
-
-<p>The duty of the Secretary shall be to conduct
-the correspondence, keep the records of the
-Society, and read at each meeting a report of
-the work done at the preceding meeting.</p>
-
-<p>The Treasurer shall keep the funds of the<span class="pagenum"><a id="Page_444"></a>[444]</span>
-Society, making an annual report of all moneys
-received, disbursed, and the amount on hand.</p>
-
-<p>It shall be the duty of the Librarian to keep,
-in a careful manner, all books, records and
-manuscripts in the possession of the Society.</p>
-
-<p><span class="smcap">Article IV.</span>—There shall be appointed by the
-President, at the first meeting after his election,
-the following standing committees, to consist of
-three members each, namely: On lectures,
-library, finance, and printing, whose duties shall
-be designated by the President.</p>
-
-<p>The question for debate at the succeeding
-meeting shall be determined by a majority vote
-of the members present.</p>
-
-<p><span class="smcap">Article V.</span>—Any lady or gentleman may
-become a member of this Society by the consent
-of the majority of the members present, the
-signing of the Constitution, and the payment of
-two dollars as membership fee. It shall be the
-privilege of the Society to elect any person
-whose presence may be advantageous to the
-Society, an honorary member who shall not be
-required to pay membership fees or dues.</p>
-
-<p><span class="smcap">Article VI.</span>—This Association shall meet
-weekly, and at such other times as a majority,
-consisting of at least five members of the Association,
-shall determine. The President shall be
-authorized to call special meetings upon the
-written request of any five members of the
-Society, at which meetings one-third of the
-members shall be sufficient to constitute a
-quorum for the transaction of business.</p>
-
-<p><span class="smcap">Article VII.</span>—It shall be the duty of the
-Finance Committee to determine the amount of
-dues necessary to be collected from each member,
-and to inform the Treasurer of the amount, who
-shall promptly proceed to collect the same at
-such times as the committee may designate.</p>
-
-<p><span class="smcap">Article VIII.</span>—The parliamentary rules and
-general form of conducting public meetings, as
-shown in “Cushing’s Manual of Practice,”
-shall be the standard authority in governing the
-deliberations of this Association.</p>
-
-<p><span class="smcap">Article IX.</span>—Any member neglecting to pay
-dues, or who shall be guilty of improper conduct,
-calculated to bring this Association into
-disrepute, shall be expelled from the membership
-of the Society by a two-thirds vote of the
-members present at any regular meeting. No
-member shall be expelled, however, until he
-shall have had notice of such intention on the
-part of the Association, and has been given an
-opportunity of being heard in his own defense.</p>
-
-<p><span class="smcap">Article X.</span>—By giving written notice of
-change at any regular meeting, this Constitution
-may be altered or amended at the next stated
-meeting by vote of two-thirds of the members
-present.</p>
-
-<h3>BY-LAWS.</h3>
-
-<p><span class="smcap">Rule 1.</span>—No question shall be stated unless
-moved by two members, nor be open for consideration
-until stated by the chair. When a
-question is before the Society, no motion shall be
-received, except to lay on the table, the previous
-question, to postpone, to refer, or to amend;
-and they shall have precedence in the order in
-which they are here arranged.</p>
-
-<p><span class="smcap">Rule 2.</span>—When a member intends to speak
-on a question, he shall rise in his place, and
-respectfully address his remarks to the President,
-confine himself to the question, and avoid personality.
-Should more than one member rise to
-speak at the same time the President shall determine
-who is entitled to the floor.</p>
-
-<p><span class="smcap">Rule 3.</span>—Every member shall have the privilege
-of speaking three times on any question
-under consideration, but not oftener, unless by
-the consent of the Society (determined by vote);
-and no member shall speak more than once, until
-every member wishing to speak shall have spoken.</p>
-
-<p><span class="smcap">Rule 4.</span>—The President, while presiding,
-shall state every question coming before the
-Society; and immediately before putting it to
-vote shall ask: “Are you ready for the question?”
-Should no member rise to speak, he
-shall rise to put the question; and after he has
-risen no member shall speak upon it, unless by
-permission of the Society.</p>
-
-<p><span class="smcap">Rule 5.</span>—The affirmative and negative of the
-question having been both put and answered, the
-President declares the number of legal votes cast,
-and whether the affirmative or negative have it.</p>
-
-<p><span class="pagenum"><a id="Page_445"></a>[445]</span></p>
-
-<p><span class="smcap">Rule 6.</span>—All questions, unless otherwise fixed
-by law, shall be decided by a majority of votes.</p>
-
-<p><span class="smcap">Rule 7.</span>—After any question, except one of
-indefinite postponement, has been decided, any
-member may move a reconsideration thereof, if
-done in two weeks after the decision. A motion
-for reconsideration the second time, of the same
-question, shall not be in order at any time.</p>
-
-<p><span class="smcap">Rule 8.</span>—Any two members may call for a
-division of a question, when the same will admit
-of it.</p>
-
-<p><span class="smcap">Rule 9.</span>—The President, or any member,
-may call a member to order while speaking,
-when the debate must be suspended, and the
-member take his seat until the question of order
-is decided.</p>
-
-<p><span class="smcap">Rule 10.</span>—The President shall preserve order
-and decorum; may speak to points of order in
-preference to other members; and shall decide
-all questions of order, subject to an appeal to the
-Society by any member, on which appeal no
-person shall speak but the President and the
-member called to order.</p>
-
-<p><span class="smcap">Rule 11.</span>—No motion or proposition on a
-subject different from that under consideration
-shall be admitted under color of an amendment.</p>
-
-<p><span class="smcap">Rule 12.</span>—No addition, alteration, or amendment
-to the Constitution, By-Laws, etc., shall
-be acted upon, except in accordance with the
-Constitution.</p>
-
-<p><span class="smcap">Rule 13.</span>—No nomination shall be considered
-as made until seconded.</p>
-
-<p><span class="smcap">Rule 14.</span>—The President shall sign all proceedings
-of the meetings.</p>
-
-<p><span class="smcap">Rule 15.</span>—No member shall vote by proxy.</p>
-
-<p><span class="smcap">Rule 16.</span>—No motion shall be withdrawn by
-the mover unless the second withdraw his second.</p>
-
-<p><span class="smcap">Rule 17.</span>—No extract from any book shall be
-read consuming more than five minutes.</p>
-
-<p><span class="smcap">Rule 18.</span>—No motion for adjournment shall
-be in order until after nine o’clock.</p>
-
-<p><span class="smcap">Rule 19.</span>—Every motion shall be reduced to
-writing, should the officers of the society desire it.</p>
-
-<p><span class="smcap">Rule 20.</span>—An amendment to an amendment
-is in order, but not to amend an amendment to
-an amendment of a main question.</p>
-
-<p><span class="smcap">Rule 21.</span>—The previous question shall be put
-in this form, if seconded by a majority of the
-members present: “Shall the main question be
-put?” If decided in the affirmative, the main
-question is to be put immediately, and all further
-debate or amendment must be suspended.</p>
-
-<p><span class="smcap">Rule 22.</span>—Members not voting shall be considered
-as voting in the affirmative, unless
-excused by the Society.</p>
-
-<p><span class="smcap">Rule 23.</span>—Any member offering a protest
-against any of the proceedings of this Society
-may have the same, if, in respectful language,
-entered in full upon the minutes.</p>
-
-<p><span class="smcap">Rule 24.</span>—No subject laid on the table shall
-be taken up again on the same evening.</p>
-
-<p><span class="smcap">Rule 25.</span>—No motion shall be debatable
-until seconded.</p>
-
-<p><span class="smcap">Rule 26.</span>—Points of order are debatable to
-the Society.</p>
-
-<p><span class="smcap">Rule 27.</span>—Appeals and motions to reconsider
-or adjourn are not debatable.</p>
-
-<p><span class="smcap">Rule 28.</span>—When a very important motion or
-amendment shall be made and seconded, the
-mover thereof may be called upon to reduce the
-same to writing, and hand it in at the table,
-from which it shall be read, open to the Society
-for debate.</p>
-
-<p><span class="smcap">Rule 29.</span>—The mover of a motion shall be at
-liberty to accept any amendment thereto; but
-if an amendment be offered and not accepted,
-yet duly seconded, the Society shall pass upon it
-before voting upon the original motion.</p>
-
-<p><span class="smcap">Rule 30.</span>—Every officer, on leaving his office,
-shall give to his successor all papers, documents,
-books, or money belonging to the Society.</p>
-
-<p><span class="smcap">Rule 31.</span>—No smoking, and no refreshments
-except water, shall be allowed in the Society’s
-hall.</p>
-
-<p><span class="smcap">Rule 32.</span>—When a motion to adjourn is carried,
-no member shall leave his seat until the
-President has left his chair.</p>
-
-<p><span class="smcap">Rule 33.</span>—No alteration can be made in these
-rules of order without a four-fifth vote of the
-society, and two weeks’ notice; neither can
-they be suspended, but by a like vote, and then
-for the evening only.</p>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-
-<p><span class="pagenum"><a id="Page_446"></a>[446]</span></p>
-
-<h2 class="nobreak" id="SUGGESTED_SUBJECTS_FOR_DEBATE">SUGGESTED SUBJECTS FOR DEBATE</h2>
-
-</div>
-
-<p>1. Should there be a Board of Arbitration
-appointed by the Government for Settling Disputes
-between Employees and Employers?</p>
-
-<p>2. Is England Rising or Falling as a Nation?</p>
-
-<p><span class="smcap">Note.</span>—Compare the Elements of Modern
-with the Elements of Ancient Prosperity.</p>
-
-<p>3. Has Nature or Education the Greater Influence
-in the Formation of Character?</p>
-
-<p>4. From which does the Mind gain the more
-Knowledge, Reading or Observation?</p>
-
-<p>5. Is the Character of Queen Elizabeth deserving
-of our Admiration?</p>
-
-<p>6. Is an Advocate Justified in Defending a
-Man whom he Knows to be Guilty of the Crime
-with which he is Charged?</p>
-
-<p>7. Which does the most to Produce Crime—Poverty,
-Wealth, or Ignorance?</p>
-
-<p>8. Is a Limited Monarchy, like that of England,
-the Best Form of Government?</p>
-
-<p>9. Is not Private Virtue essentially requisite
-to Greatness of Public Character?</p>
-
-<p>10. Is Eloquence a Gift of Nature, or may it
-be Acquired?</p>
-
-<p>11. Is Genius an Innate Capacity?</p>
-
-<p>12. Is a Rude or a Refined Age the More
-Favorable to the Production of Works of Imagination?</p>
-
-<p>13. Is the Shakespearian the Augustan Age of
-English Literature?</p>
-
-<p>14. Ought Pope to Rank in the First Class of
-Poets?</p>
-
-<p>15. Has the Introduction of Machinery been
-Generally Beneficial to Mankind?</p>
-
-<p>16. Which Produce the Greater Happiness,
-the Pleasures of Hope or of Memory?</p>
-
-<p>17. Is the Existence of Parties in the State
-Favorable to the Public Welfare?</p>
-
-<p>18. Is there any Ground for Believing in the
-Ultimate Perfection and Universal Happiness of
-the Human Race?</p>
-
-<p>19. Is Co-operation more Adapted to Promote
-the Virtue and Happiness of Mankind than Competition?</p>
-
-<p>20. Was the Banishment of Napoleon to St.
-Helena a Justifiable Proceeding?</p>
-
-<p>21. Ought Persons to be Excluded from the
-Civil Offices on Account of their Religious
-Opinions?</p>
-
-<p>22. Which Exercises the Greater Influence on
-the Civilization and Happiness of the Human
-Race, the Male or the Female Mind?</p>
-
-<p>23. Which did the Most to Produce the
-French Revolution, the Tyranny of the Government,
-the Excesses of the Higher Orders, or the
-Writings of Voltaire, Montesquieu and Rousseau?</p>
-
-<p>24. Which was the Greater Poet, Byron or
-Burns?</p>
-
-<p>25. Is there Reasonable Ground for Believing
-that the Character of Richard the Third was not
-so Atrocious as is Generally Supposed?</p>
-
-<p>26. Does Happiness or Misery Preponderate
-in Life?</p>
-
-<p>27. Should the Press be Totally Free?</p>
-
-<p>28. Do Modern Geological Discoveries Agree
-with Holy Writ?</p>
-
-<p>29. Did Circumstances Justify the First French
-Revolution?</p>
-
-<p>30. Could not Arbitration be Made a Substitute
-for War?</p>
-
-<p>31. Which Character is the More to be
-Admired, that of Loyola or Luther?</p>
-
-<p>32. Are there Good Grounds for Applying
-the Term “Dark” to the Middle Ages?</p>
-
-<p>33. Which was the Greater Poet, Chatterton
-or Cowper?</p>
-
-<p>34. Are Public or Private Schools to be Preferred?</p>
-
-<p>35. Is the System of Education Pursued at
-our Universities in Accordance with the Requirements
-of the Age?</p>
-
-<p>36. Which is the More Healthful Exercise,
-Bicycle Riding or Walking?</p>
-
-<p>37. Does the Game of Foot-Ball Produce
-more Evil than Beneficial Effects?</p>
-
-<p>38. Would the Free and Unlimited Coinage of
-both Silver and Gold be better than the Single
-Gold Standard in America?</p>
-
-<p>39. Should Women be Granted the Right to
-Vote on all State and National Questions?</p>
-
-<p>40. Would Absolute Prohibition be a Benefit
-to the Country?</p>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-
-<p><span class="pagenum"><a id="Page_447"></a>[447]</span></p>
-
-<h2 class="nobreak" id="TABLEAUX">TABLEAUX FOR PUBLIC ENTERTAINMENTS.</h2>
-
-</div>
-
-<h3>JOAN OF ARC AT THE STAKE.</h3>
-
-<h4>CHARACTER AND COSTUME.</h4>
-
-<p><span class="smcap">Maiden.</span>—Loose, white robe, wing-like sleeves, displaying
-arm; hair long, loose, and flowing over
-shoulders.</p>
-
-<h4>THE TABLEAU.</h4>
-
-<p>A large post in centre of stage, around
-which are piled fagots. Fastened to the post
-by means of a chain around the waist stands
-the maiden, with eyes cast upward, and the
-whole attitude that of exaltation. A strong
-red light suddenly thrown upon the lower
-part of the picture, from both sides, will produce
-the effect of ignited wood.</p>
-
-<p>Music, if any, triumphant.</p>
-
-<h3>WINTER IN THE LAP OF SPRING.</h3>
-
-<h4>CHARACTERS AND COSTUMES.</h4>
-
-<p><span class="smcap">Winter.</span>—Black, loose dress to the feet, fur cap,
-white wig, and long white beard; dress flecked with
-bits of cotton, to represent snow; face full and florid.
-The part may be taken by a lady.</p>
-
-<p><span class="smcap">Spring.</span>—Trailing loose dress of white, sleeves
-draped so as to show arm to elbow; scarf and sash
-of pink; long, flowing, yellow hair; sprays of roses
-and other flowers gracefully fastened on the dress;
-wealth of flowers on the head.</p>
-
-<h4>THE TABLEAU.</h4>
-
-<p>Spring is seated on a chair, over which may
-be thrown a covering of white or pink, upon
-which are scattered profusely sprays of flowers.
-She holds at her side a golden sceptre.</p>
-
-<p>Winter is seated in the lap of Spring holding
-extended in his right hand a sceptre of black.</p>
-
-<h3>THERE’S NO ROSE WITHOUT A THORN.</h3>
-
-<p>The scene is a parlor.—Standing in the
-foreground is a young girl, simply dressed.
-In her left hand she has a rose, and holding
-out her right hand shows to her companion
-the scratches made by the thorns (a little
-carmine paint, put on with a fine camel’s-hair
-pencil, makes very painless scratches.) Her
-companion, a young man dressed as a mechanic’s
-apprentice (a carpenter’s, butcher’s,
-shoemaker’s or any other trade), is, with a
-look of sympathy, raising the wounded hand
-to his lips. Behind the young man stands his
-employer, with an expression of rage, raising
-a rope about to strike the apprentice. He is
-not perceived by either of the young people.</p>
-
-<p>In the background is a child, with a
-look of great glee, putting its fingers into
-a jar, marked jam, while the mother, behind
-the child, is raising her hand to box its ears.</p>
-
-<h3>A NUN AT HER DEVOTIONS.</h3>
-
-<p>It hardly needs description. A background
-of dark brown gauze, very faintly
-lighted at the upper right-hand corner; a
-dress of black serge or stuff, with black veil
-and white coif; a crucifix and rosary—these
-are the very simple materials needed. Let
-the light fall from the left-hand upper corner
-in front. Choose your nun for the beauty
-of her eyes, the regularity and refinement of
-feature, and the elegance of her hands.</p>
-
-<h3>TABLEAU WITH RECITALS.</h3>
-
-<p class="center"><i>Characters.</i></p>
-
-<p><span class="smcap">Poet.</span>—A young man with long hair and wide linen
-collar turned down over coat collar.</p>
-
-<p><span class="smcap">Statue.</span>—Personated by a young woman in white,
-with arms bare.</p>
-
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse center">(<i>The Poet speaks.</i>)</div>
-  </div>
-  <div class="stanza">
-    <div class="dropcap"><img class="dropcap" src="images/dropcap-t.jpg" width="115" height="100" alt="" /></div>
-    <div class="dropcapline">Thou holdest me, thou holdest me,</div>
-    <div class="verse indent2">O marble presence, cold and fair.</div>
-    <div class="verse indent0">I cannot draw my feet past thee</div>
-    <div class="verse indent2">Within thy niche above the stair.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">I found thee in a mossy cave—</div>
-    <div class="verse indent2">The entrance to a buried shrine;</div>
-    <div class="verse indent0">The rocks around a shudder gave</div>
-    <div class="verse indent2">As thence I bore my prize divine.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">What master wrought thee long ago—</div>
-    <div class="verse indent2">Who but Pygmalion’s scholar apt?</div>
-    <div class="verse indent0">The rose upon thy cheek of snow</div>
-    <div class="verse indent2">Ofttimes he saw in vision rapt.</div><span class="pagenum"><a id="Page_448"></a>[448]</span>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">The day upspringing in thine eye</div>
-    <div class="verse indent2">He fancied now, and now it seemed</div>
-    <div class="verse indent0">A hovering smile, a gradual sigh,</div>
-    <div class="verse indent2">Thy lips from silence dead redeemed;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">But, dying ere the moment ripe</div>
-    <div class="verse indent2">When thou should’st gather vital fire,</div>
-    <div class="verse indent0">He left thee, a half-conscious type</div>
-    <div class="verse indent2">Of Love and Love’s unvoiced desire.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Thou holdest me, thou holdest me,</div>
-    <div class="verse indent2">O marble presence, cold and fair!</div>
-    <div class="verse indent0">Now let thy prisoned soul be free,</div>
-    <div class="verse indent2">Thy breast its long-sealed fate declare.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse center">(<i>The Statue speaks.</i>)</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Thou troublest me, thou troublest me!</div>
-    <div class="verse indent2">A thousand years unused to speech,</div>
-    <div class="verse indent0">Why should the charm dissolve for thee,</div>
-    <div class="verse indent2">Or why to thee my secret teach?</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Not Paros, nor Pentelicus,</div>
-    <div class="verse indent2">E’er held me in its quarried hill;</div>
-    <div class="verse indent0">Nor master’s chisel carved me thus,</div>
-    <div class="verse indent2">With lofty thought and patient skill.</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Ah, surely, not Pygmalion’s hand</div>
-    <div class="verse indent2">Unprisoned me, through loving art—</div>
-    <div class="verse indent0">I, who in marble moveless stand,</div>
-    <div class="verse indent2">Once held quick veins and pulsing heart;</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Love, changed to hate, wrought this cold change</div>
-    <div class="verse indent2">I froze beneath his bitter eye;</div>
-    <div class="verse indent0">Love, changed to Hate—transformer strange—</div>
-    <div class="verse indent2">Forbade me live, forbade me die!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Thou troublest me, thou troublest me;</div>
-    <div class="verse indent2">No further question; go thy way!</div>
-    <div class="verse indent0">He, only, who could set me free,</div>
-    <div class="verse indent2">Hath long since crumbled back to clay!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse indent0">Thy soul in peace if thou would’st save,</div>
-    <div class="verse indent2">And give forgetfulness to mine,</div>
-    <div class="verse indent0">Restore me to that mossy cave,</div>
-    <div class="verse indent2">The entrance to a buried shrine!</div>
-  </div>
-  <div class="stanza">
-    <div class="verse right"><span class="smcap">Edith M. Thomas.</span></div>
-  </div>
-</div>
-</div>
-
-<h3>CINDERELLA’S SLIPPER.</h3>
-
-<p>(This beautiful tableau may be represented in
-three or four scenes, with fine dress effect.)</p>
-
-<h4>SCENE I.</h4>
-
-<p>Cinderella meanly clad, the sisters and Prince in
-costliest attire. One of the sisters is eagerly
-bent on forcing her foot into the slipper.</p>
-
-<p>A very large shoe, which she has just vacated,
-is on the floor beside her. The other,
-her face and attitude showing keenest disappointment,
-has just put on her shoe.
-These shoes, while nicely made, should be
-the largest that can be had. The slipper may
-be of white satin, small and handsome.</p>
-
-<h4>SCENE II.</h4>
-
-<p>Cinderella, having begged permission to
-try on the slipper, has just seated herself,
-withdrawn her shoe and placed a dainty foot
-on the cushion beside the slipper. The sisters
-give her a scornful and reproachful look.</p>
-
-<h4>SCENE III.</h4>
-
-<p>Cinderella, having put on the slipper, has
-just drawn from her pocket its mate. The
-sisters, bewildered and dumfounded, have
-thrown themselves at her feet. This scene
-makes a fitting conclusion to the performance,
-and the next two scenes should not be
-attempted unless the appliances are at hand to
-make Cinderella imagination’s richest queen.</p>
-
-<h4>SCENE IV.</h4>
-
-<p>The fairy has touched her clothes with the
-magic wand, and Cinderella has become a
-being of marvelous beauty. Her gorgeous
-splendor dazzles the eyes of the Prince. She
-helps her sisters to their feet, and shows, as
-before, no resentment for past insult.</p>
-
-<h4>SCENE V.</h4>
-
-<p>Cinderella and the Prince, arm in arm, prepare
-to leave the stage, followed by the sisters.</p>
-
-<h3>LISTENERS HEAR NO GOOD OF THEMSELVES.</h3>
-
-<p>The scene is a parlor.—In the foreground
-are two young girls, one of whom holds a miniature
-out to the other, who puts it aside, with an
-expression of angry contempt. The first girl
-is laughing heartily, and pointing her finger at
-the second, as if teasing her about the picture.</p>
-
-<p>Peeping out from behind a window-curtain
-is a young man, who, with an expression of
-perfect rage, is shaking his fist at the ladies.</p>
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus1.jpg" width="500" height="700" alt="" />
-<p class="caption">IN MANILA BAY</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus2.jpg" width="500" height="700" alt="" />
-<p class="caption">COMIN’ THRO’ THE RYE</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus3.jpg" width="500" height="700" alt="" />
-<p class="caption">REMINISCENCES OF CHARLES DICKENS</p>
-<p class="caption">1. THE BIRTHPLACE OF CHARLES DICKENS, COMMERCIAL ROAD, PORTSEA. 2. THE “DARK
-COURT” IN FLEET STREET, (JOHNSON’S COURT) WHERE DICKENS POSTED HIS FIRST SKETCH.
-3. THE HOUSE IN FURNIVAL’S INN WHERE “PICKWICK” WAS WRITTEN. 4. CHARLES
-DICKENS EDITING “HOUSEHOLD WORDS.” 5. THE CHURCH IN WHICH DICKENS WAS MARRIED,
-ST. LUKE’S, CHELSEA. 6. GAD’S HILL PLACE, ROCHESTER, THE NOVELISTS’ LAST
-HOME. 7. THE MOAT, ROCHESTER CASTLE, WHERE DICKENS DESIRED TO BE BURIED.</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus4.jpg" width="500" height="700" alt="" />
-<p class="caption">FRANCIS WILSON</p>
-<p class="caption">“It was all about a—ha! ha! and a—ho! ho! ho!—well really;<br />
-It is—he! he! he!—I never could begin to tell you.”</p>
-<p class="caption">(A Fine Study of Mirth)</p>
-</div>
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus5.jpg" width="500" height="700" alt="" />
-<p class="caption">THE DAUGHTER OF THE REGIMENT—<span class="smcap">Suggestion for a Tableau</span></p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus6.jpg" width="500" height="700" alt="" />
-<p class="caption">CHARACTERS AND COSTUMES SUGGESTED FOR CHILDREN IN
-JUVENILE ENTERTAINMENTS</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus7.jpg" width="500" height="700" alt="" />
-<p class="caption">JOSEPH JEFFERSON and BLANCHE BENDER
-in “Rip Van Winkle.”</p>
-<p class="caption">(Suggestion for Tableau.)</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus8.jpg" width="500" height="700" alt="" />
-<p class="caption">INDIAN COSTUME—<span class="smcap">Suggestion for a Tableau</span></p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus9.jpg" width="500" height="700" alt="" />
-<p class="caption">THE SICK CHILD.</p>
-<p class="caption">(Suggestion For Tableau.)</p>
-<p class="caption">“Jessie tired, mamma; good-night, papa; Jessie see you
-in the morning.”</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus10.jpg" width="500" height="700" alt="" />
-<p class="caption">AN OLD TIME TEA</p>
-<p class="caption">(Suggestion for Tableau)</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus11.jpg" width="500" height="700" alt="" />
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">CHERRY RIPE, RIPE, RIPE, I CRY,</div>
-    <div class="verse indent0">FULL AND FAIR ONES—COME AND BUY!</div>
-  </div>
-</div>
-</div>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus12.jpg" width="500" height="700" alt="" />
-<p class="caption">A STUDY IN ATTITUDES</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus13.jpg" width="500" height="700" alt="" />
-<p class="caption">THE GODDESS OF LIBERTY</p>
-<p class="caption">(Suggestion For Tableau)</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus14.jpg" width="500" height="700" alt="" />
-<p class="caption">RECITATION IN COSTUME</p>
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">WHOEVER WOULD BRING DOWN HER GAME,</div>
-    <div class="verse indent0">MUST STRING HER BOW AND TAKE SURE AIM.</div>
-  </div>
-</div>
-</div>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus15.jpg" width="500" height="700" alt="" />
-<p class="caption">A LITTLE CHILD’S PRAYER.</p>
-<p class="caption">(Suggestion For Tableau.)</p>
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“Jesus I would be like thee,</div>
-    <div class="verse indent0">Look from heaven and pity me.</div>
-    <div class="verse indent0">Though so full of sin I am,</div>
-    <div class="verse indent0">Make me now thy little lamb.”</div>
-  </div>
-</div>
-</div>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus16.jpg" width="500" height="700" alt="" />
-<p class="caption">NOBODY’S CHILD</p>
-<p class="caption">(Suggestion for Tableau)</p>
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“All day I wander to and fro</div>
-    <div class="verse indent0">Hungry and shivering and nowhere to go</div>
-    <div class="verse indent0">Oh! Why does the wind blow upon me so wild?</div>
-    <div class="verse indent0">Is it because I’m nobody’s child?”</div>
-  </div>
-</div>
-</div>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus17.jpg" width="500" height="700" alt="" />
-<p class="caption">SHE HAD SO MANY CHILDREN SHE DIDN’T KNOW
-WHAT TO DO</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus18.jpg" width="500" height="700" alt="" />
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">THEY TELL ME I MUST DO IT JUST SO,</div>
-    <div class="verse indent0">I WONDER IF THEY THINK THAT I DON’T KNOW.</div>
-  </div>
-</div>
-</div>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus19.jpg" width="500" height="700" alt="" />
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">OUR GREAT GRANDPARENTS WERE ONCE YOUNG, TOO,</div>
-    <div class="verse indent0">AND THIS IS THE WAY THEY USED TO DO.</div>
-  </div>
-</div>
-</div>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus20.jpg" width="500" height="700" alt="" />
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“I’M NOT QUITE SURE I’LL TAKE YOU FOR MY MAID;”</div>
-    <div class="verse indent0">“WELL NOBODY ASKED YOU TO,” SHE SAID.</div>
-  </div>
-</div>
-</div>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus21.jpg" width="500" height="700" alt="" />
-<p class="caption">HOW PADEREWSKI PLAYS THE PIANO</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus22.jpg" width="500" height="700" alt="" />
-<p class="caption">GENERAL WHEELER AT SANTIAGO</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus23.jpg" width="500" height="700" alt="" />
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">ALAS, HOW LIGHT A CAUSE MAY MOVE</div>
-    <div class="verse indent0">DISSENSION BETWEEN HEARTS THAT LOVE</div>
-  </div>
-</div>
-</div>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus24.jpg" width="500" height="700" alt="" />
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“Out swept the squadrons, fated three hundred</div>
-    <div class="verse indent0">Into the battle-line steady and full;”</div>
-  </div>
-</div>
-</div>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus25.jpg" width="500" height="700" alt="" />
-<p class="caption">ORIENTAL COSTUME</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus26.jpg" width="500" height="700" alt="" />
-<p class="caption">A FRENCH DANCER—SHOWING REVOLVING SKIRT</p>
-<p class="caption">PHOTO. BY MORRISON, CHICAGO</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus27.jpg" width="500" height="700" alt="" />
-<p class="caption">RECITATION IN COSTUME</p>
-<p class="caption">PHOTO. BY MORRISON, CHICAGO</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus28.jpg" width="500" height="700" alt="" />
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0"><span class="smcap">Oh, Columbia, the gem of the ocean,</span></div>
-    <div class="verse indent0"><span class="smcap">The home of the brave and the free.</span></div>
-  </div>
-</div>
-</div>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus29.jpg" width="500" height="700" alt="" />
-<p class="caption">PLEASING ENTRANCE IN A SPIRITED DIALOGUE</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus30.jpg" width="500" height="700" alt="" />
-<p class="caption">SONG OF THE FLOWER GIRL</p>
-<p class="caption">PHOTO. BY MORRISON, CHICAGO</p>
-</div>
-
-<div class="figcenter" style="width: 700px;">
-<img src="images/illus31.jpg" width="700" height="500" alt="" />
-<p class="caption">THE DANCING LESSON</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus32.jpg" width="500" height="700" alt="" />
-<p class="caption">READY FOR THE OPENING SONG</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus33.jpg" width="500" height="700" alt="" />
-<p class="caption">THE BOY THAT LAUGHS</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus34.jpg" width="500" height="700" alt="" />
-<p class="caption">THREE FISHERS WENT SAILING</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus35.jpg" width="500" height="700" alt="" />
-<p class="caption">BRYANT. IRVING. WHITTIER. COOPER.</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus36.jpg" width="500" height="700" alt="" />
-<p class="caption">BYRON. TENNYSON. SCOTT. SHELLEY.</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus37.jpg" width="500" height="700" alt="" />
-<p class="caption">EDWARD EVERETT. BRET HARTE. H. W. LONGFELLOW. J. G.
-HOLLAND. R. H. STODDARD.</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus38.jpg" width="500" height="700" alt="" />
-<p class="caption">H. B. STOWE. ALICE CARY. ELIZ. PHELPS WARD.</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus39.jpg" width="500" height="700" alt="" />
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">With her waves of golden hair</div>
-    <div class="verse indent6">Floating free,</div>
-    <div class="verse indent0">Hilda ran along the shore,</div>
-    <div class="verse indent0">Gazing oft the waters o’er;</div>
-    <div class="verse indent0">And the fishermen replied:</div>
-    <div class="verse indent0">“He will come in with the tide,”</div>
-    <div class="verse indent0">As they saw her golden hair</div>
-    <div class="verse indent6">Floating free!</div>
-  </div>
-</div>
-</div>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus40.jpg" width="500" height="700" alt="" />
-<p class="caption">THE NEW COOK.</p>
-<p class="caption">“‘Will you iver be done wid your graneness,’ she
-axed me wid a loud scrame.”</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus41.jpg" width="500" height="700" alt="" />
-<p class="caption">“DO YOU KNOW ME NOW?”</p>
-<p class="caption">PHOTO. BY MORRISON, CHICAGO</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus42.jpg" width="500" height="700" alt="" />
-<p class="caption">“I’VE PUT THE SOUL OF LAUGHTER IN MY FACE.”</p>
-<p class="caption">PHOTO. BY MORRISON, CHICAGO</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus43.jpg" width="500" height="700" alt="" />
-<p class="caption">A PASSING SALUTE</p>
-<p class="caption">PHOTO. BY MORRISON, CHICAGO</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus44.jpg" width="500" height="700" alt="" />
-<div class="poetry-container">
-<div class="poetry">
-  <div class="stanza">
-    <div class="verse indent0">“SOCIETY IS QUICK TO TRACE</div>
-    <div class="verse indent0">THE MAGIC OF A PLEASING FACE”</div>
-  </div>
-</div>
-</div>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus45.jpg" width="500" height="700" alt="" />
-<p class="caption">THE MASK REMOVED</p>
-<p class="caption">PHOTO. BY MORRISON, CHICAGO</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus46.jpg" width="500" height="700" alt="" />
-<p class="caption">NO DECEPTION, NOW!</p>
-<p class="caption">PHOTO. BY MORRISON, CHICAGO</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus47.jpg" width="500" height="700" alt="" />
-<p class="caption">A HUMOROUS RECITATION</p>
-<p class="caption">PHOTO. BY MORRISON, CHICAGO</p>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/illus48.jpg" width="500" height="700" alt="" />
-<p class="caption">RECITAL WITH HARP ACCOMPANIMENT</p>
-<p class="caption">PHOTO. BY MORRISON, CHICAGO</p>
-</div>
-
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diff --git a/old/66982-h/images/music7.jpg b/old/66982-h/images/music7.jpg
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--- a/old/66982-h/images/music7.jpg
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diff --git a/old/66982-h/images/music8.jpg b/old/66982-h/images/music8.jpg
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--- a/old/66982-h/images/music8.jpg
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diff --git a/old/66982-h/images/music9.jpg b/old/66982-h/images/music9.jpg
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--- a/old/66982-h/images/music9.jpg
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author	nfenwick <nfenwick@pglaf.org>	2025-01-22 09:25:08 -0800
committer	nfenwick <nfenwick@pglaf.org>	2025-01-22 09:25:08 -0800
commit	b8cd74a20eae4072840a115e36ed4bb2b427f853 (patch)
tree	f8ddd711e254b6f5c25120e6dae334dc732eda8f
parent	efd3e8c766532c44e8f7a97cb93178a1b9081c6f (diff)