Project Gutenberg's Harper's Young People, July 11, 1882, by Various
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'll have
to check the laws of the country where you are located before using this ebook.
Title: Harper's Young People, July 11, 1882
An Illustrated Weekly
Author: Various
Release Date: December 12, 2018 [EBook #58457]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK HARPER'S YOUNG PEOPLE, JULY 11, 1882 ***
Produced by Annie R. McGuire
[Illustration: HARPER'S YOUNG PEOPLE]
* * * * *
VOL. III.--NO. 141. PUBLISHED BY HARPER & BROTHERS, NEW YORK. PRICE FOUR
CENTS.
Tuesday, July 11, 1882. Copyright, 1882, by HARPER & BROTHERS. $1.50 per
Year, in Advance.
* * * * *
[Illustration: SEARCHING FOR THE BURGLAR.]
MR. STUBBS'S BROTHER.[1]
[1] Begun in No. 127, HARPER'S YOUNG PEOPLE.
BY JAMES OTIS.
CHAPTER XV.
STEALING DUCKS.
Toby coaxed and scolded, and scolded and coaxed, but all to no purpose.
The monkey would clamber down over the end of the tent as if he were
about to allow himself to be made a prisoner, and then, just as Toby
would make ready to catch the rope, he would spring upon the ridge-pole
again, chattering with joy at the disappointment he had caused.
The visitors fairly roared with delight, and even the proprietors, whose
borrowed property was being destroyed, could not help laughing at times,
although there was not one of them who would not have enjoyed punishing
Mr. Stubbs's brother very severely.
"He'll break the whole show up if we don't get him off," said Bob, as
the monkey tore a larger hole than he had yet made, and the crowd
encouraged him in his mischievous work by their wild cheers.
"I know it; but how can we get him down?" asked Toby, in perplexity,
knowing that it would not be safe for any one of them to climb upon the
decayed canvas, even if there were a chance that the monkey would allow
himself to be caught after his pursuer got there.
"Get a long pole, an' scrape him off," suggested Joe; but Toby shook his
head, for he knew that to "scrape" a monkey from such a place would be
an impossibility.
Bob had an idea that if he had a rope long enough to make a lasso, he
could get it around the animal's neck and pull him down; but just as he
set out to find the rope, Mr. Stubbs's brother settled the matter
himself.
He had torn one hole fully five inches long, and commenced on another a
short distance from the first, when the thin fabric gave way, the two
rents were made one, and down came Mr. Monkey, only saved from falling
to the ground by his chin catching on the edges of the cloth.
There he hung, his little round head just showing above the canvas, with
a bewildered and at the same time discouraged look on his face.
Toby knew that it would be but a moment before the monkey would get his
paws out from under the canvas, and thus extricate himself from his
uncomfortable position. Running quickly inside the tent, he seized Mr.
Stubbs's brother by his long tail, pulling him completely through, and
the mischievous pet was again a prisoner.
It was a great disappointment to the boys on the outside when this
portion of the circus was hidden from view; but it was equally as great
a relief to the partners that the destruction of their tent was at last
averted.
After the excitement had nearly subsided, and Toby was reading his pet a
lesson on the sin of destructiveness, Reddy arrived with the materials
for making his circus poster--a sheet of brown paper, a bottle of ink,
and a brush made by chewing the end of a pine stick.
He began his work at once. It was a long task, but was at last
accomplished, and when the partners went to their respective homes that
night, the following placard adorned one side of the tent:
[Illustration]
On arriving at the house, Toby secured Mr. Stubbs's brother so that he
could not liberate himself, after which he ran into the house to inquire
for Abner.
The news this time was more encouraging, for the sick boy had awakened
thoroughly refreshed after his long sleep, and had asked how the work on
the tent was getting on. Aunt Olive thought Toby could see him, and
after promising that he would not remain very long, or allow Abner to
talk much, he went upstairs.
The crippled boy was lying in the bed bolstered up with pillows, looking
out of the window that commanded a view of the tent, and evidently
puzzled to know whether the large sheet of brown paper which he saw on
one side was there as an ornament, or to serve some useful purpose.
Toby explained to him that it was the poster Reddy had made, and then
told him all that had been done that day toward getting ready for the
great exhibition which was to dazzle the good people of Guilford, as
well as to bring in a rich reward, in the way of money, to the managers.
Abner was so interested in the matter, and seemed so bright and cheerful
when he was talking about it, that Toby's fears regarding his illness
were entirely dispelled. He came to the conclusion that Abner had simply
been tired, as Aunt Olive had said, and that he would be better than
ever by morning.
This belief was strengthened by the doctor, who came while Toby was
still with his friend, and who, in answer to a question, said, cheerily:
"Of course he'll be all right; he may not be quite smart enough to go
out to-morrow, but before the week is ended I'll guarantee that you'll
have hard work to keep him in the house."
Toby's heart was light again as he attended to his evening's work; and
when he met Joe, on his way to the pasture, he laid plans for the coming
exhibition with a greater zest than he had displayed since the matter
was first spoken of.
Now that the tent was up, and Abner on the sure and rapid road to
recovery, Toby thought it quite time that Mr. Stubbs's brother should be
taught to take some part in the performance. Joe was of the same
opinion, and they decided to commence the education of the monkey that
very night, giving him two or three lessons each day until he should be
thoroughly trained.
The cows were not exactly hurried on the way home that night; but they
were not allowed to loiter by the road-side when they saw particularly
tempting tufts of grass, and as soon as they were in the barn Mr.
Stubbs's brother was taken to the tent.
He was in anything rather than a good condition for training, for he
evidently remembered his frolic of the afternoon, and was anxious to
repeat it. Toby thought he could be made to leap through hoops as a
beginning of his circus education, and all the energies of the boys were
bent to the accomplishment of this.
But the monkey was either remarkably stupid or just then determined to
take no part in the show, for although Joe held the hoops until his arms
ached, and Toby coaxed and scolded until he was hoarse, Mr. Stubbs's
brother could not be persuaded even to attempt a leap.
"It's no use to try any more to-night," said Toby, impatiently, when it
was nearly dark inside the tent, and his pet was showing signs of anger.
"We'll commence the first thing in the mornin', an' I guess he'll do
it."
"I'd whip him if I was you," said Joe, who was thoroughly tired, and
angry at the monkey's obstinacy. "If you would give him a good
switchin', he'd know he'd got to do it."
"I wouldn't whip him if he never did anything," said Toby, as he hugged
his pet tightly, almost as if he feared Joe might attempt, as one of the
partners in the enterprise, to whip the unwilling performer.
"'Tain't my monkey, so I ain't got nothin' to say about it," and Joe was
impatient now; "but if he was mine, I'll bet he'd do what I told him
to."
It seemed almost as if Mr. Stubbs's brother knew what had been said
about him, for he nestled close to Toby, hiding his face on the boy's
neck in a way that would have prevented his master from whipping him
even if he had been disposed so to do.
"We'll put him in the shed, and I guess he'll be good enough
to-morrow," said Toby, cheerfully; and then, after fastening the flag in
the front of the tent in such a way that the wind would be kept out, if
nothing more, he and Joe walked toward the house, discussing the
question of the kind of tickets they should use at the show.
While they were yet some distance from the wood-shed in which Mr.
Stubbs's brother was lodged, Aunt Olive called Toby to come quickly to
the house.
"You put him in the wood-shed, an' fasten him in snug," said Toby, as he
handed the monkey to Joe, and started for the house at full speed.
Now Joe knew perfectly well where Mr. Stubbs's brother was kept; but as
he had never seen him put away for the night, he was uncertain whether
he should be tied there, or simply shut in. It hardly seemed to him that
Toby would leave the monkey tied up by the neck all night, so he set him
comfortably on a bench, and carefully shut the door.
Toby had been called to go to the druggist's for some medicine, and he
came out of the house in such haste, calling to Joe to follow him, that
nothing more was thought of the insecurely prisoned monkey.
When Toby returned it was so late that Uncle Daniel advised him to go to
bed if he had any desire to be "healthy, wealthy, and wise," and he
obeyed at once.
Positive that Abner was on the road to recovery, sure that all his work
had been done, and with nothing to trouble him, it was not very long
that Toby lay awake after he was once in bed.
It seemed to him that he had been sleeping a long while, when he was
awakened by the sound as of some one hunting around in his room; and
before he had time to call out, the candle was lighted, showing that the
intruder was Uncle Daniel, only partially dressed, and in a high state
of excitement.
"What is it? What's the matter?" asked Toby, in alarm, thinking at once
of Abner, and fearing that something had happened to him.
"Hush!" said Uncle Daniel, warningly; "don't make a noise, for some one
is trying to get into the hen-house, an' I am going to make an example
of him. I suppose it's one of the tramps who went by here to-day, an' I
want to find that gun I saw in here yesterday."
There was such a weapon in Toby's room, or at least what had once been a
gun was there, for a hired man whom Uncle Daniel had employed left it
there. It had been an army musket, and appeared to have been used as a
collection of materials to repair other guns with, for the entire lock,
ramrod, and at least four inches of the stock had been taken away,
leaving it a mere wreck of a gun.
"It's up there in the corner behind the wash-stand," said Toby, coming
out of the bed as quickly as if he had tumbled out, and alarmed at the
thought of burglars. "It ain't no good, Uncle Dan'l, for there's only a
little of it left."
"It will do as well for me as a better one," said Uncle Daniel, grimly.
"I don't want to shoot anybody, only to give them a severe fright, and
perhaps capture them."
"Then what'll you do with 'em?" asked Toby in a whisper, almost as much
alarmed by Uncle Daniel's savage way of speaking as by the thought of
the burglars.
"I don't know, Toby boy--I don't know. The tramps do trouble me greatly,
an' I'd like to make an example of these; but I suppose they must be
hungry, or else they wouldn't try to get into the hen-house. I guess if
we catch one we'll give him a good breakfast, and try to persuade him to
go to work like an honest man."
Uncle Daniel's anger usually had some such peaceful ending, as Toby
knew; but he did look blood-thirsty as he stood there in his shirt
sleeves, with one stocking on, and his night-cap covering one ear and
but a small portion of his head, while he handled the invalid gun
recklessly.
By the time he was ready to go in search of the supposed chicken thief,
Aunt Olive, looking thoroughly frightened, came into the room with his
other stocking and his boots in her hand, insisting that he should put
them on before he ventured out.
It must have been a very tame burglar who would have continued at his
work after the lights had warned him that the inmates of the house were
aroused; but Toby did not think of that. He saw that Aunt Olive had
armed herself with the fire-shovel, that Uncle Daniel kept a firm hold
of the gun even while he was trying to put his boots on, and he was
frightened by the warlike preparations.
Toby put on his trousers and shoes as quickly as possible, and when
Uncle Daniel was ready to start, he stationed himself directly behind
Aunt Olive--a position which he thought would afford him a fair view of
what was going on, and at the same time be safe.
"Now be careful of that gun, Dan'l, an' don't go so far that they can
hurt you, for there's no telling what they will do if they find out you
mean to catch them;" and Aunt Olive looked quite as badly frightened as
did Toby.
"There, there, Olive, don't be alarmed," said Uncle Daniel, soothingly.
"They will probably run as soon as they see the gun, and that will end
it. I only hope that I can catch one," and Uncle Daniel went down the
stairs as determined and savage-looking a man as ever started in search
of a supposed chicken thief.
Aunt Olive insisted on carrying the candle, though Uncle Daniel urged
that it would not be possible for him to surprise the burglars if she
held this light as a warning; but she had no idea of allowing him to go
out where there was every probability that he would be in danger, unless
she could see what was going on.
[TO BE CONTINUED.]
WOLFGANG AMADEUS MOZART.
BY MRS. JOHN LILLIE.
In the month of May, 1765, an advertisement appeared in London
announcing that a concert would be given at Hickford's Rooms, Brewer
Street, Golden Square, "for the benefit of Miss Mozart, aged thirteen,
and Master Mozart, of eight years of age, prodigies of nature, a concert
of music, with all the overtures[2] of this little boy's own
composition."
[2] Overture, strictly speaking, means a prelude to some longer work,
but the term has also come to be applied to pieces of concert music
which illustrate some special idea.
Suppose one had been able to go to that concert in May, 1765. It would
have been a charming sight. I am sure there was a great deal of jostling
about of Sedan-chairs and footmen; and in the spring twilight--they gave
concerts earlier then than now--the gorgeously dressed ladies and
gentlemen must have looked very much like a picture. Let us follow them
into the "rooms."
We find ourselves in a large well-lighted hall, with chairs and benches,
and a big platform containing some instruments and a good harpsichord.
Then out comes old Papa Mozart, a dignified gentleman from Salzburg,
leading a child by each hand, one a charmingly pretty little girl in the
quaint dress we are reviving to-day; the other, a boy of eight, of the
most striking grace and beauty, and dressed like a little court
gentleman, that is, with knee-breeches, silken hose, shoe-buckles, a
little satin coat with lace ruffles, and a little sword at his side.
The little boy makes his bow to the enthusiastic audience; he sits down
to the piano, and forthwith begins one of his own sweet, child-like, yet
harmonious compositions. Then Nannerl plays. Presently the two young
prodigies vanish, the fine audience move away, the lights are out, and
the boy's London fame has begun. As we go through dingy Golden Square
to-day, a hundred and fifteen years later, we think of all the music he
left for us to hear and feel and play between that night when he played
"his own little compositions," and the day of his early death, in 1791,
at the age of thirty-five years.
[Illustration: WOLFGANG AMADEUS MOZART.]
Wolfgang Amadeus Mozart was born at Salzburg in 1756. His father had
possessed musical talent, but in him it was genius. At three years of
age he learned to play; before he was five he had composed a great many
little melodies, which his father wrote down for him. I remember seeing
in the studio of an English artist in London,[3] himself the son of a
great musician, a picture representing the baby Mozart, a charming
little figure, leading a visionary choir of angels. It seemed to me the
very embodiment of what Mozart must have been as a child--beautiful,
fascinating, angelic, and a musician to his very soul.
[3] Felix Moscheles.
His sister Anna, or "Nannerl," as she was called, also played
marvellously, and when the children were very young their father started
with them on a concert tour, during which they played in London.
Everywhere they went they were fêted and caressed in a way which would
have spoiled even Mozart's sweet, sunny nature, but for his father's
watchful care.
Innumerable presents were made them, some of rich jewelry. This their
father insisted upon keeping in a box, only allowing them to take it out
on rare occasions and enjoy looking at it for a little while.
It was during that London visit that the father fell ill. They were in
lodgings in Chelsea, which was then an open country with blooming
gardens and green lanes. The little Mozarts had to keep very quiet
during this illness of their father's. The harpsichord was closed, and
the children took to running about the pretty suburban place, no doubt
enjoying the rest from practicing. But it was during this enforced
idleness that Mozart composed his first symphony (Opus 15). He was then
in his tenth year. Think of the amount of scientific knowledge as well
as the genius the boy must have possessed! Soon after, they gave more
concerts, playing among other things duets for four hands on the
harpsichord, which was then (in 1765) a great novelty.
During the latter part of the London visit a series of entertainments
were given at home, where for two shillings and sixpence people could
come and "test the youthful prodigies at the harpsichord." They were
lodging in a quaint old inn down in the part of London known as
Cornhill, and there they delighted hundreds of admiring and curious
visitors.
Passing from this time of sunny though precocious childhood to a boyhood
in which he worked indefatigably, we find Mozart in Italy, studying,
composing, performing, and writing the most delightful letters home,
chiefly to his dear Nannerl, who was by this time more devoted to
domestic duties than music.
One of the most interesting experiences of the Mozarts took place in
1775. The Elector of Bavaria had invited Mozart to write an opera for
the Carnival, and so when the work was completed--_La Tinta
Giardiniera_--the father and son, with pretty Nannerl, set off for
Munich, where court life was then very gay.
In the old market-place of Munich lived a very respectable widow, and
Nannerl was lodged there, the father and son having to go nearer to the
court. It must have been a delightful visit. Nannerl was all excitement
about the opera, and her brother darted in and out half a dozen times a
day to report progress. Finally the grand night came. The opera-house
was crowded to excess; the court was there in full splendor, and Mozart,
the youthful maestro, fine, in a new suit of lace and satin, sat by his
father's side, with Nannerl, waiting not a little timidly, no doubt, for
the performance to begin. The success was tremendous. The boy--for he
was scarcely more in years--became the object of the wildest enthusiasm,
and from that hour his musical fame was established.
But we must not feel that all Mozart's days were so cloudless and so
joyful. Times of anxiety and heart-sickness were not wanting in his
short and busy life. The little family circle was so centred in Mozart
that when he started out on a second tour, and the father could not
accompany him, the mother left her household duties to Nannerl and set
forth with her son. An adoring fondness for his parents was one of the
most lovely traits in Mozart's beautiful nature. On this trip he wrote
home with pride how careful he was of his mother, and she, good woman,
watched him tenderly, giving up everything to his pleasure and profit.
He spent the winter in Mannheim, where his letters show how very busily
he was employed. He writes that he rose early, "dressed quickly," and
after breakfast composed until twelve; then wrote until half past one,
when he dined. At three he began to give lessons, which continued until
supper-time; after which he read, unless he was among his friends. Of
course he had a large circle wherever he was, but in Mannheim during
this winter he formed friendships which shadowed all his life.
The Weber family were there--brilliant musicians, agreeable, and witty.
There were five daughters, and Mozart straightway fell in love with the
eldest, Aloysia--a beautiful girl, who was studying for the stage. She
was well pleased with the young composer's attentions, and he went to
Paris half, or, as he considered it, wholly engaged. That was a sad
visit to Paris. His mother, wishing to economize for her son's sake,
took rooms in a cold, poor quarter of the town, and there fell ill with
a fatal disorder. Poor Mozart wrote home the most pathetic letters. We
can fancy how he tried to save her, but it was in vain. The careful,
tender, self-sacrificing mother faded from his life, her last thoughts
being to commend this beloved son to God's keeping.
Full of sadness, the poor young fellow hastened to Mannheim, where he
hoped Aloysia Weber would console him. She had gone to Munich, and
thither he followed her. There the true selfishness of the Weber family
was shown to him. They had become prosperous, and Mozart, although
famous, was far from being rich, so that the family of his betrothed
received him coldly. Aloysia herself scarcely listened to the first
words he said. He had entered the Weber parlor full of hope and anxiety
to see his future wife and tell her the story of his sorrow. He must
have looked noble and manly, with the tenderness of his grief in his
handsome face, but Aloysia turned aside coldly--there were others there,
to whom she talked. Mozart hesitated a moment, and then seating himself
at the piano, sang in his rich clear voice: "Ich lasse das Mädchen das
nicht will" (I leave the maiden who leaves me). And before the evening
was over, the engagement was at an end.
We could wish that his intimacy with the Webers had also ended, but
later he renewed acquaintance with them, and in spite of much opposition
from his anxious father and Nannerl, he married Constanza, Aloysia's
younger sister. With her he tried to be happy, but even in his tenderest
letters we see that she was ill-tempered, cold, and selfish. But
Mozart's nature was so uniformly sweet that it took a great deal to make
him positively wretched, and unkind he could not be.
When he was in the midst of many worries, one summer, he used to ride
out every morning for exercise, and leaving his wife sleeping, he never
failed to pin a little note to her pillow, that she might find it on
awaking. It was always a sweet word of love and care for her, and it is
hard to think Constanza was not worthy of it.
There is so much to tell of Mozart, I wish that we might linger an hour
more over his sweet story. His successes were so many that it is hard to
think of him as so often in trouble about money.
In 1791 his beautiful opera of _The Magic Flute_ was produced with
tremendous success at Vienna. Constanza came on to hear it, and was
thoroughly frightened by Mozart's altered looks. He was ashy pale, worn,
and thin. She seems to have been full of a really tender feeling for him
then. He was writing his famous mass, the "Requiem," and continued it
even after he took to his bed, and while Constanza sat beside him
watching with tears the feeble hand at work, he told her that his heart
and soul were full of thoughts of the dear Lord who had died for him.
_The Magic Flute_ was drawing crowded houses, while Mozart lay dying not
far off. In the evenings he would time the performance, saying to
Constanza and her sister Sophie, and some musical friends always with
him, "Now they are singing this or that part."
The day before his death he read over the score of the Requiem, and
asked the friends near him to try and sing it with him. They did so,
Mozart coming in with his part in a sweet faint voice. Suddenly, at the
Lacrimosa, he burst into tears, and laid down the score for the last
time. That evening he murmured to Constanza, "Oh, that I could once more
hear my _Magic Flute_!"
Constanza glanced at Roser, a musician who was with them, and, blinded
by his tears, Roser sat down to the piano, and sang one of Mozart's
favorite airs. It was almost the last sound his closing ears received.
The next morning, Sunday, December 5, 1791, at the age of thirty-five,
Mozart died.[4]
[4] Nannerl survived her brother many years. Constanza Mozart died in
this century, having in 1809 married a second time.
He left behind him so many works that I hardly know which to speak of
first. His operas, _Don Giovanni_, _Figaro_, and _The Magic Flute_ are
known and prized all the world over; but besides there are the masses,
the sonatas, the symphonies, and the quartettes. In the sonatas
especially the young pianist may find the greatest advantage. As
_reading_ they are admirable, and for practice with four hands I know of
nothing better, unless it be some of Haydn's quartettes.
[Illustration: STRATEGY.]
HAVING FUN WITH A WOODCHUCK.
BY ALLAN FORMAN.
Jack and I made up our minds to catch a woodchuck. We were spending the
summer down on the east end of Long Island, and judging from the number
of cauliflowers eaten by them, the woodchucks were abundant; so we
determined to catch one.
Farmer Brown, to whom we applied for advice, told us to "grab him by the
tail as he went into his hole." This sounded so easy that we decided to
try it at once. We found, however, after two or three days of patient
waiting, that the woodchuck absolutely refused to go into his hole while
we were within grabbing distance.
We then set steel-traps in the burrows, but with no effect. We wandered
around the fields armed with an old musket, and succeeded only in
wasting a large quantity of powder and lead. We tried to drown one out,
and after blistering our hands by carrying pails of water, were told
that "a woodchuck hasn't lived in that burrer for two years." We were
disappointed, but not discouraged.
"Let's set the rabbit trap," said Jack one morning as we were planning
for the day's campaign.
So we carried the rabbit trap, which was a great box with a swinging
door, up to the hedge back of the barn, and set it. Farmer Brown laughed
at us, and said,
"Ef you see a 'chuck, put for the nearest hole; ef you git thar before
him you can stop him from goin' in."
This plan seemed so much more exciting than any other, that we spent
that afternoon and the next day looking for a stray woodchuck. Toward
evening our patience was rewarded by the sight of a woodchuck in the
middle of a field. Jack and I had by that time learned the location of
the holes as well as the owners themselves, and we both started for a
burrow in the hedge.
The woodchuck saw us, and made for the same burrow. He hadn't so far to
go, and was evidently in a great hurry. Jack managed to arrive just in
time to throw his hat in the mouth of the hole, thinking to bar the
progress of the woodchuck. Vain hope! On came the woodchuck, and dived
into the burrow, carrying Jack's hat with him. I just reached the spot
in time to see the brown stump of a tail vanish, and hear Jack exclaim,
"I wonder what he is going to do with my hat?"
The loss of Jack's hat cast a damper upon our hunting for the afternoon,
and it was not until after supper that we thought of the rabbit trap.
When we reached it, it was sprung, and there was a sound of scratching
inside that showed plainly something was trying to escape. We carried
the trap carefully down to the barn, and opened it, so as to let our
prize into a large barrel.
Our happiness was complete: it was a large woodchuck. What had tempted
him to go into the trap I am sure I can't tell. Probably he was a victim
of his own curiosity. At any rate, we had him safe and sound in the
barrel, and after we had covered it with a board we went to our beds
very much elated over our success.
The next morning we rose early, and went to the barn to see our prize.
There he was in the barrel, his little eyes gleaming with rage, and
signifying his disapproval of our proceedings by a series of short,
sharp barks. Suddenly a brilliant idea struck me.
"Let's shut the doors; then let him out on the floor, and have some fun
with him," I said.
Jack agreed, and we soon had every door and window but one securely
fastened. This window was, fortunately for me, overlooked in our haste
to have our fun.
We turned the barrel over, and out sprang a very angry woodchuck. He
started directly for Jack, and that youth, with an agility which I had
never given him credit for, scrambled into the oats bin. The animal then
turned his undivided attention to me, and I dashed around the barn, the
woodchuck in pursuit.
Every nail in the barn seemed to stand out and take a hold upon some
portion of my clothing, and it was rapidly being reduced to fragments.
Jack jumped out of the bin to assist me, but only succeeded in making
the confusion worse. With a jump, the woodchuck fastened his teeth on
Jack's arm. Luckily he only bit through the sleeve of his loose blue
flannel shirt. Thoroughly frightened, Jack grasped a rope which hung
from one of the rafters, and swung himself out of reach.
At that moment I spied the open window, and in a second more I was out.
Jack was hanging on the rope with a tenacious grip, and the woodchuck
was trotting around trying to find an avenue of escape. I ran to the
door and threw it open. A dark form whizzed past me, and Jack dropped
from the rope. We had had enough woodchuck for one summer.
"What on airth hev you boys been a-doin'?" inquired Farmer Brown as we
entered the house.
"Been having some fun with a woodchuck," replied Jack, a little
sheepishly.
Farmer Brown laughed, and remarked, as he took a second look at our torn
clothes and flushed faces,
"Wa'al, I don' know, but it kinder looks as ef the woodchuck had been
a-hevin' fun with you."
And when I think the matter over, I am rather inclined to be of the same
opinion.
THE WANDERING SUNBEAM.
BY E. M. TRAQUAIR.
A little wandering sunbeam
Came sliding down the sky;
To seek another home below,
It left its home on high.
On baby Mary's head it lit--
Our gentle little one;
Her eyes grew blue as heaven's hue,
Her ringlets like the sun.
Its home it made with her; and since,
Though quiet as a mouse,
Her smile is like the day: she is
Our sunbeam in the house.
FOURTH OF JULY AT BEAVER BROOK.
BY ADA CARLETON STODDARD.
"Not a fire-cracker," Mr. Marden had said, looking around on his
half-dozen boys--"not a single fire-cracker, nor pin-wheel, nor rocket
this year, boys. You come pritty nigh burnin' up the hull town last
Fourth, an' I don't want to run no more sech risks. Enj'y yourselves as
well's you can other ways 'n that. Now mind!"
That was how and why--because of this interdiction of everything that
goes to make a Fourth of July different from a fourth of August or any
other day--the boys happened to think of going up the river fishing.
They were down on the river-bank, lying at full length on the green
grass, when Jed Harden said, meditatively, tossing a pebble into the
water, "There'll be no fun staying here, boys, 'thout we can fire off
things."
Bud Rose laughed. He could never be serious. "It's because we fired off
Jennings's barn last Fourth that everybody's so down on our celebrating
this year," said he. "I wonder how the old thing got afire, anyhow?"
"Easy enough," rejoined Jed; "there was a heap of straw all round it,
and I don't s'pose we were over 'n' above careful. The old shanty wasn't
worth ten cents, but it came near burning up everybody else's
buildings."
"So it did. After all, I don't blame folks much. There ain't such a
sight of fun in snapping crackers, anyhow."
"But what shall we do?"
Charley Stevens looked up then. All this time he had not spoken, but lay
gazing out on the river. "I move we go fishing up on Beaver Brook,"
said he. "Start before daylight, and stay till after dark."
"Second the motion. Hooray!"
All was animation now. The boys sat bolt-upright. Charley laughed.
"Moved and seconded that we, the stirring youth of Brayton, celebrate
to-morrow by going fishing. All who favor this will please say--"
"Ay!"
"The motion is unanimously carried," said Charley, shaking back his
hair.
I think it was myself. So would you if you could have heard that roaring
assent. There was no half-way work with the Brayton boys. They were all
on hand the next morning, with their lunch baskets, not exactly before
daylight, but sufficiently early; and they could not resist the
temptation to give several prolonged whoops as they shoved the old scow
out from shore.
"That'll let 'em know we're 'round," laughed Charley Stevens. "There,
boys, back up. I've left my pails."
"What pails?"
"Why," said Charley, "I promised to save some of the smallest fish, if
they weren't hooked too much, for Laurie's aquarium, and I brought along
a couple of pails to keep 'em alive in. There they are on the bank.
Backwater."
"Nonsense!"
But Charley was firm; and Jed and Bud and Vet, who were taking the first
turn at the paddles, pulled a rod or two back to the shore, not without
a little grumbling, and brought away the pails. Afterward they all had
very good reason to remember and be thankful for this. Then they pulled
steadily away up the river, through the light fog which the rays of the
morning sun had not yet scattered, trolling their lines, and catching a
few fish by the way.
"I would have brought a frying-pan," said Dean Marden, pulling in a
speckled trout, "but father said 'twouldn't do to make a fire this
weather. Everything's dry as tinder."
"And Beaver Brook isn't more'n two miles from the village, through the
woods," said Charley, meditatively. "Wind blows right that way, too."
"It's four miles by the river, if it's an inch," said Vet Adams; for the
river certainly made a wide detour.
"It's crooked as a ram's horn," declared Jeff Gammon, wiping the
perspiration from his face. "A fellow has to pull all the way round
Robin Hood's barn to get anywhere."
Charley laughed. "We're almost to the mouth of the brook now," said he.
"There's the old pine."
And in a few minutes the scow, propelled by three pairs of stout arms,
swept grandly around the point of land and into Beaver Brook, on one
side, just as a light birch-bark canoe, holding two men, shot out on the
other side.
"Indians!" exclaimed Charley, in a tone of great disgust. "There's a
camp of 'em down the river somewhere. We won't get any fish here, boys."
Charley was right. They fished for half an hour, waiting patiently for a
nibble, which they did not get.
"We'll have to go further up the brook," said Charley; and accordingly
the old scow was once more set in motion.
How pleasant it was! They ran along in the shade of the willows that
skirted the brook, their paddles dipping lazily, and their fishing-lines
trailing in the deep still water. It was very warm in the sun, but there
was a smart breeze blowing, and a prospect of showers later on.
Suddenly Charley felt a jerk on his line that, taking him unawares,
nearly pulled him off his seat.
"Gracious! boys, hold on," he said, in an excited whisper. "I've got a
ten-pounder."
It was not half of that, nor had Charley got his fish; but the paddles
were quickly and quietly shipped. Charley pulled in a nice trout, and
Bud Rose another.
"Ain't they beauties!"
"We're right in a school of 'em," said Bud, rebaiting his hook. "I say,
fellows, ain't this a long chalk better'n fire-works?"
For no matter how many times a country boy may have been a-fishing, nor
how many fish he may have caught, the sport must always be exciting.
An exclamation of alarm from one of their number, as Bud finished
speaking, startled the boys; and they were a good deal more startled,
and not a little provoked, to see Charley catch up one of the heavy
paddles and plunge it into the water with a long sweeping stroke, the
impetus of which sent the scow forward a dozen feet.
"Now look here!"
"Boys," cried Charley, flushed and anxious in a minute, "we may have the
fire-works yet. See there!"
Around a bend in the stream a thin blue line of smoke was seen curling
up through the trees, and even as the boys gazed, it appeared to
increase in volume and density.
"The Indians must have left it!" exclaimed Charley, hurriedly. "Boys--"
There was no need nor time for words. Instantly the two remaining
paddles were seized, and the scow was headed up and around the bend. It
came to them all in a flash how strong the wind was blowing from the
west; that the woods of Dunn Township, altogether proprietors' land,
adjoined Brayton, extending to the top of the hill that overlooked the
village; and each boy's heart turned pale at the prospect.
"It's all black growth, too," groaned Charley, "and full of old dry
tops, where they've been lumbering year after year--just a regular
tinder-box. This wind'll carry fire from it a mile anyway. Pull, boys,
pull!"
And they pulled. But the fire was getting under good headway when they
reached the spot. The smoke was rolling up blacker and thicker, and
through it the boys could see the red flickering tongues of flame.
"Take the pails--your hats--anything that'll hold water," cried Charley,
"and wet your jackets--wet yourselves all over."
[Illustration: "PAILFUL AFTER PAILFUL OF WATER WAS DASHED UPON THE
FIRE."]
He was obeyed. Pailful after pailful of water was dashed upon the fire,
which had been built beside an old dry pine stub; and they were really
subduing it, when a sudden tempestuous flurry of wind scattered the
burning embers in all directions; and presently, before the boys were
able fairly to realize that the mischief had been done, a dozen tiny
puffs of smoke started up around. In reality everything was dry as
tinder.
"We've got to fight it--fight it hard, boys," said Charley, between his
gritted teeth. "I'd like to wring the necks of those Indians."
Well, and how they battled the fire that scorching July day! They
stamped it out; they smothered it with earth; they dashed water over it;
they stifled it with their wet jackets, blistering faces, hands, and
feet without for a moment minding the pain. More than once they were
sure they had conquered, and made the woods ring with a shout of
triumph, only to see, almost before the echoes died away, another puff
of smoke starting up, and another. Their throats were parched, and
rattled when they tried to speak, and their eyes were smarting and
inflamed with the smoke.
"It's no use, boys; we _can't_ do it," one or another would say; and
then they would fall to work with greater vigor than before, if that
were possible.
It was no boys' play, I can tell you. For two long hours they fought the
flames, with blistering hands and faces begrimed with smoke and cinders.
And when they saw the fire was gaining inch by inch, they worked still.
"We'll do all we can," panted Charley. "Oh, boys, why _won't_ it rain!
The thunder-clouds all go round. Oh, boys!"
As he spoke, a long fiery tongue lapped at the foot of a dry tree, and
the flames went up, up, to the top, with a hissing, rushing roar which
turned the boys' hearts sick with dread.
"It's gone," said Charley. "We can't do any more."
But at the same moment came a growl of distant thunder. A dense, black
cloud was growing in the west. Through it there darted a vivid gleam of
light.
"Thunder and lightning!" yelled Bud. "Up, boys, and at it again! We'll
have plenty of help before long."
So it proved. The cloud swept over the sky with surprising rapidity, and
in a very short time the rain fell in sheets. And out in the storm, the
thunder crashing, and the lightning playing about them, stood ten
smoke-blackened, drenched boys, with little rivers of rain wearing
channels down their sooty faces, hurrahing with might and main. If a few
tears of thankfulness and relief mingled with the rivers of rain, I do
not think any boy need have been at all ashamed of them.
"Well," said Charley, "we've had our Fourth-of-July fire-works with a
vengeance." This was when the rain had nearly ceased falling, and the
boys had embarked for home.
"We've had the fire anyhow," laughed Bud, plying his paddle leisurely.
"And I'm sure we've had the work."
"You don't suppose 'twill start up again?", asked Jed Marden, looking
behind a little anxiously, as the old scow moved slowly down the stream.
"No," answered Charley, and he drew a deep breath of relief; "it can't
after such a soaking. But 'twas a close shave, I tell you, boys."
So the towns-people thought when they heard the story.
"'Twas a fust-rate day's work for us," said Mr. Marden at the corner
grocery next morning. "Nothin' on earth would ha' saved the place ef the
fire'd come through there. It's somethin' to brag about. I'm proud o'
the boys--I am so."
"They've paid up for burning Jennings's old barn," said Mr. Stevens,
carefully weighing out four ounces of tea.
"So they hev," assented Mr. Marden.
And so the good folks of Brayton have each and every one of them
resolved that next year the boys shall have such a Fourth-of-July
celebration as Brayton has never yet seen.
THE BABIES' PROCESSION.
BY W. A. ROGERS.
The gay parade of little folk shown in our picture takes place every
Fourth of July at Dayton, Ohio--a pretty town on the banks of the Miami
River.
It originated, we believe, in the brain of a patriotic little
nurse-maid, who, with two or three companions; on a Fourth of July some
years ago, trimmed their carriages with flags and streamers, and gayly
tripped around the block in Indian file. The babies were delighted, and
the nurse-maids flattered at the attention they received on every hand,
and not one little boy on the entire route so far forgot himself as to
fire a cracker under the babies' carriages or throw a torpedo at their
protectors.
Every year, with one exception, the little procession has wended its way
along the sidewalk, with constantly increasing numbers, the pioneer
babies taking the lead.
But on a hot summer day one year, when the little carriages were almost
ready, and busy hands were putting on their holiday attire, one of the
three children fell ill and passed away. Its empty carriage told so
mournful a story that the other nurses sadly put by the flags and
trimmings, and the flowers and wreaths drooped and withered.
The next year, when the flowers were blooming over the silent little
pioneer, all the baby carriages in town were put in commission at least
a week before the Fourth. Every scrap of nickel plate was burnished to
the highest degree of polish, and lingering roses on the later bushes
were carefully guarded to preserve them to grace the occasion.
In the cool of the evening, when the small boys were about tired of
exploding mines, disfiguring their faces, and making that awful din
incident to the day, and were beginning to count up their sky-rockets,
pin-wheels, and red lights, the gay procession moved down the broad
flagged walk.
At the head was the pretty nurse who had originated the affair, pushing
before her a wicker carriage trimmed with roses, and gay with flags and
emblems and gilded stars, from the wheels to the lace-trimmed canopy.
Nestling in its gorgeous carriage was a somewhat bewildered but very
happy baby. A tiny boy, as guard of honor, accompanied each little
carriage, carrying in his hand a wand to charm away stray fire-crackers
from their path.
Porticoes and balconies were crowded with the babies' friends as the
procession passed by and faded into a pretty recollection of silvery
laughter, waving flags, crowing babies, and happy nurse-maids and
children.
[Illustration: THE BABIES' FOURTH-OF-JULY PROCESSION.]
HOW JOHNNIE WENT TO SCHOOL.
BY MARY A. PORTERFIELD.
Little John worked in a barrel factory in the thriving town of E----, in
Pennsylvania.
Piling staves or rolling barrels all day long is not very enjoyable
work, but Johnnie did not grumble: no, indeed, he was too happy to get
even the hardest and dullest work to do. He wanted to go to school, and
his aunt had said if he could save money enough to buy books and
clothes, he might go. He was delighted with this permission, and
clattered down-stairs, three steps at a time, to hunt up Pat, his friend
and confidant, who would double his happiness by sharing it.
Pat was a newsboy on the railroad, a cheery, good-natured Irish lad,
whose mother had died years ago, when he was but a blue-eyed baby. The
new mother that came into the little whitewashed cabin by the railroad
was too busy with her pigs, her garden, and her own little ones to pay
much attention to Pat at first; though by-and-by she thought there was
no room for him in the little home. Poor Pat! he had a hard time finding
any place where there was room for him. At last Johnnie persuaded his
aunt to let the forsaken Irish boy share his bed. They had been firm
friends, sharing their boyish griefs and joys with the complete sympathy
of childhood; they were brothers in heart, if not in name.
Johnnie and Pat were industrious, contented, and happy. During the day
they worked on the cars and in the factory, but in the evening the kind
aunt taught them the common-school studies. Both boys eagerly longed for
the time when they could enjoy fuller advantages for education.
Pat saw his way but dimly, but Johnnie's happiness seemed near at hand.
It was a touching sight to see the two boys once or twice a week bring
out their store of savings. No miser ever thrilled at the sight and
touch of heaps of gold as those two boys at their paltry handful of
silver and copper.
It was about a month before school began, and yet Johnnie had not saved
quite the desired amount.
One evening he came rushing home waving his hat and dinner pail to his
aunt, who stood in the doorway.
"Oh, auntie, I have enough now," he shouted joyfully.
Her motion for silence and the look on her face lowered his glad voice.
"What is the matter? Are you ill? Has anything happened to Pat?" he
hurriedly asked.
"Come in and sit down, and I will tell you," she replied.
A strange sickening odor of some drug filled the house; there was an
unusual stir in the front room. Johnnie's heart sank within him. He
listened with terror-stricken face to the terrible news. An accident on
the road; Pat was hurt; they were amputating his arm; they feared he
would die.
His face grew whiter and whiter as each detail of the horror grew upon
his mind. He buried his face in his hands, and sat motionless a long,
long time.
After a time he went softly into the house, into the room where Pat lay
still unconscious.
"Pat, dear Pat," he sobbed, laying his wet face against the one
colorless hand.
Here he remained until he heard the doctor's step in the hall, when he
withdrew to the shadow of the curtain, dreading yet longing to hear his
words. How his heart leaped with joy to know that Pat might live, though
a cripple. His dear, dashing, frolicksome Pat a cripple!
All night long Johnnie sat with his eyes on the pallid young face. He
was trying to think out some plan for helping him. A firm, happy look
dawned on his grave, thoughtful face. He seemed to have solved a part of
his hard problem.
Toward morning Pat opened his eyes and looked around in a dazed sort of
way. He tried to rise, but was too weak. Slowly he recalled the
accident, the pain, and the darkness. What came then? Looking around in
a helpless, wistful manner, he saw Johnnie's big eyes shining on him
through falling tears. He moved his left hand around to find the right
one. Alas! it was gone. Turning his face to the wall, the hot tears
slipped quickly down from his closed eyes.
It was a long day for the boys, Johnnie at his toilsome labor in the
factory, and Pat at home thinking, thinking, thinking, trying to find
some gleam of brightness, some way of self-help in the future.
Going home that night Johnnie bought an orange and a picture for his
friend. He endeavored to be more than usually cheerful in his manner
that evening. Pat was trying too, but it was such a faint smile that he
gave that Johnnie had hard work to keep back the tears.
"But I did," he triumphantly said to his aunt. "I never mean to make Pat
feel badly any more if I can help it. Oh, auntie"--this very
eagerly--"may I let Pat take my money and go to school? I can wait a
little longer, and Pat will help me in the evenings."
His aunt touched his sunshiny head tenderly. "You know best, my dear
boy. It is your money. Use it to satisfy your own heart."
It was some time before Pat was well again, but after the first few
days' struggle he never murmured. He seemed to accept and make the best
of his circumstances. Every evening Johnnie remembered to bring him some
token of his love--a banana, a paper, a bunch of gay flowers, or a box
of bonbons; for his money was now all for Pat--his dear helpless Pat.
At last the eventful day arrived when Pat was to be up and dressed.
Johnnie started home with more than usual speed, eager to see and
congratulate him.
He had frequently noticed boys playing near and on a small tank used for
mixing paint. They used to stir this, and inhale the fumes, which gave
them a kind of half-dizzy but pleasant kind of feeling. It was rather a
dangerous play, and Johnnie usually coaxed the boys away, and endeavored
to persuade them not to return. As he was passing the tank this evening
he saw two little boys leaning over it, and just at that moment one of
them fell face downward into the tank; the other little boy sank down
upon the steps, too much stupefied to render any assistance. Dropping
his pail, Johnnie sprang up the steps, and into the tank. There was only
a small quantity of liquid in it, but quite enough to cover the
unconscious boy. Johnnie lifted him up, and called loudly for help. It
soon came, for there were others who had seen the boy fall, though too
far away to render the assistance that Johnnie did. For some time it was
feared that the little victim would not revive.
After a while, however, they had the satisfaction of seeing him open his
eyes. Johnnie wanted to go home now; he knew that his aunt and Pat were
anxiously awaiting him. He was deliberating what to do, when a carriage
drove up, and a lady and gentleman hurriedly alighting, came up to the
still half-unconscious child. Johnnie heard one child cry, "Mamma!" and
saw the look of glad recognition light up the face of the other, and
then he was off with all speed for home. As he approached the house he
saw his aunt, and--yes, it was, it was--Pat standing in the doorway,
looking anxiously toward the factory. He waved his hat, and hastened
forward yet faster, stopping at the gate quite out of breath from
excitement, but looking so happy and smiling that their fears were
calmed at once.
"Oh, I am so glad to see you, Pat! Don't touch me, auntie dear; I am all
over paint and benzine. Just wait until I change my clothes and I will
tell you all about it," he said, as he disappeared upstairs.
But the great surprise and pleasure came the next day. Johnnie had gone
to work as usual, and was not expected home until evening. About noon,
however, he entered the kitchen where his aunt was working.
"Come, aunt, into the room where Pat is. I have something nice to tell
you."
But when there he could say nothing. He just put in her hand a crisp
check for two hundred dollars.
"Oh. Johnnie! now you can go to school too," shouted the delighted Pat.
"What does it mean, dear?" asked his aunt, gazing in wonder at the
check, at Johnnie, and then at the check again.
"The manager gave it to me this morning. It was his little boy who fell
into the tank yesterday. He had heard about my wanting to go to school,
and about Pat, so he gave me this. Oh, dear auntie! do you suppose
anybody was ever so happy as I am? Here is the manager's carriage too. I
am to have a half-holiday, and take you both out riding. Come, we will
have some dinner, and then go down the deep hollow road."
HOW TO LAY OUT LAWN TENNIS COURTS.
BY SHERWOOD RYSE.
In an article on lawn tennis published in YOUNG PEOPLE last summer we
pointed out how the game might be indulged in with a very small outlay
of money--how some of the implements, indeed, might be of home
manufacture and yet be serviceable. Accordingly we were obliged to limit
the court to a size which the net supplied with cheap tennis sets would
admit. As the game has now become so popular that it is likely to be, if
it is not already, the game of games, we will take our readers a little
further, and show them how to lay out a full-sized court both for single
and double games.
As the double court measures 78 feet by 36, the lawn should be not less
than 100 feet by 50, and the court should be laid out as in the
accompanying diagram.
[Illustration]
First, stake out the base line, E to F, 36 feet, with your string. Then
carry it along the line F to D, 78 feet, and in the same manner make the
line E to C, 78 feet. Then connect C, D, and if your figure is a
parallelogram, this last line should be the same length as E to F,
namely, 36 feet.
The whole area of the two courts is now marked out. Next for the
divisions.
The single courts are of the same length as the double, but only 27 feet
wide, that is 9 feet less than the double. Mark out, therefore, the
positions of G and H, which will be 4-1/2 feet from E and F
respectively; and in the same manner, and at the same distances from the
side lines, mark the positions of J and K. Then extend your string from
G to J, and from H to K.
Now for the net, which is shown by the broad line A to B, extended three
feet on each side of the boundary of the court. From the net line
measure 21 feet to N, O, P, Q respectively, and join N and O, P and Q.
These last lines are 27 feet long: divide them in half, so that the
distance from N to L, for instance, is 13-1/2 feet, and mark the line L
to M.
You will think, and rightly, that if you are to stake all these lines at
the same time with string, you will require several hundred feet of
string; but this is not necessary. Cut sixteen stakes about six inches
long, sharpened at one end and broad at the other, so that they can be
easily driven into the ground and yet not easily be trodden out of
sight. As you measure off each point you will drive a stake to mark it;
thus you will need as many stakes as there are letters in the diagram.
As the court on the one side of the net is exactly similar to that on
the other, if you grow tired of measuring and driving stakes, you may
mark the lines of the one court before completing the laying out of the
other. This you must do with "whitening" and a brush not less than two
inches wide. Each line that is to be marked must be shown by a string
stretched over it as a guide: otherwise the lines will be far from
straight. As each line is finished, the string is taken up and used to
guide the marking of the next line. Care should be taken to mark all the
lines equally distinct, and to renew them as they get worn out.
Here is a handy table of distances from point to point in the diagram.
Double court { Base line E to F = 36 feet.
{ Side line F to D = 78 feet.
{ Side line E to C = 78 feet.
{ Base line C to D = 36 feet.
Single court { Base line G to H = 27 feet.
{ Base line J to K = 27 feet.
{ Side line G to J = 78 feet.
{ Side line H to K = 78 feet.
Service court { Net to service lines = 21 feet.
{ Central line, L to M = 42 feet.
Between net posts A to B = 42 feet.
PARSEE MERCHANTS OF BOMBAY.
BY THOMAS W. KNOX.
Among all the races and religions of India there are none more curious
than the Parsees. They are sometimes called Fire-Worshippers, on account
of their reverence for the sun, and consequently of the fire that comes
from it. The founder of their religion was Zoroaster, who was supposed
to have brought fire from heaven, and placed it on their altars, and to
this day it is kept burning in their temples.
The Parsees belonged originally in Persia, and were persecuted by the
Saracens more than a thousand years ago, so that many of them embraced
the Mohammedan religion. The few that clung to the worship of the sun
were driven into the most barren parts of the country, or compelled to
leave it altogether. Many settled in the province of Guzerat in
Hindostan, bringing the sacred fire with them. They were again
persecuted by the Mohammedans, but for the last two hundred years have
enjoyed religious freedom.
It is thought that there are about two hundred thousand of them now in
India. In Bombay alone there are seventy thousand Parsees, and the rest
are principally in Guzerat and along the western coast. They are
intelligent and enterprising, pay great attention to the education of
their children, give liberally to all public charities, and their
merchants are considered the shrewdest business men in the world. More
than three-fourths of the business of Bombay is in their control, and
for this reason the place is often called "the City of the Parsees."
[Illustration: PARSEE MERCHANTS BARGAINING FOR COTTON.]
The cotton market of Bombay is an excellent place in which to study
these strange people, and in the height of the season it is often
crowded with them. They go among the bales and bags of cotton examining
the fibre, and talking busily with each other in their efforts to buy or
sell. When making a bargain they are rarely in a hurry, and it is not an
unusual sight to see a couple of them seated on a bale of cotton, each
with a sample in his hands, arguing with great earnestness over a
difference of a few cents on a transaction amounting to thousands of
dollars. From the closeness of their bargains they are sometimes called
"the Jews of the East." It has been said that the Israelites of Europe
can not compete successfully with the Parsees in matters of trade.
These people adhere to the dress of their ancestors. Their ordinary
costume consists of a white frock falling below the knee, over trousers
of the same material, and for head-coverings they wear a curiously
shaped hat of spotted muslin, without a brim. Their priests wear a hat
of the same shape, but of pure white, the rest of their dress being
similar to that of the ordinary Parsee. They take care of their poor so
thoroughly that a Parsee beggar is never seen. The men rarely accompany
their wives in public, and very few Europeans have ever seen the inside
of a Parsee house, so as to learn the domestic life of the family.
Parsee boys and girls are frequently very handsome, but their beauty
fades while they are yet young. Their parents are very fond of them, and
a father will often deny himself many things in order to spend freely on
the education or amusement of his children.
Notwithstanding their habit of driving close bargains, the Parsee
merchants have a high reputation for honesty. They may be a long time
closing a transaction, but when the word has been given, they adhere
closely to their agreements. The wealthiest men of Bombay are among the
Parsees, and they are as noted for their charities as for their great
fortunes. One of these merchants, who had gained an enormous fortune in
trade with China, devoted the closing years of his life to works of
charity. He connected the island of Bombay with the mainland by a
causeway at his own expense, he built and endowed two hospitals, and he
gave a large amount of money for the relief of British soldiers during
the Crimean war. The Queen conferred on him the honor of knighthood, and
afterward made him a baronet. Since his death his son has inherited not
only the title but the charities of his father.
The Parsees do not bury or burn their dead like the Hindoos and
Mohammedans around them, but expose the bodies to be eaten by birds. One
of their most prominent merchants explained this custom as follows:
"We consider fire sacred, and would not use it for burning the dead, as
the Hindoos do, or for any other ignoble office. The earth is the mother
of mankind, and the producer of the fruits and other things on which we
live, and the burial of the dead would be a defilement and an injury.
Cemeteries are everywhere considered unhealthy, and our mode of
sepulture is open to none of the objections that are made to cremation
or burial."
The Parsees are not by any means confined to Bombay and its vicinity;
there are several Parsee houses in Calcutta, Madras, and other cities of
India, and they can also be found in Hong-Kong, Shanghai, Yokohama, and
other cities of Asia. Some of the Bombay houses have branches in London,
and a few in New York and San Francisco, and year by year their business
is spreading throughout the world. Twelve hundred years ago they
numbered but a few thousand refugees; now they have become an
influential people, respecting the religions of others, but clinging
tenaciously to their own. The sacred fire burns in their temples, as it
has burned for centuries, and from present indications it will continue
to glow for many centuries to come.
[Illustration]
A CHERRY-TREE LESSON.
BY S. S. CONANT.
A naughty little city boy was taken to a farm,
To spend the summer holidays, away from heat and harm;
Where he could roll upon the grass, or chase the little chicks,
Or tease the piggies in the pen by poking them with sticks.
To pull the peacock's feathers out to him was lots of fun;
The geese stretched out their necks and hissed, and made him turn and
run;
He didn't dare to plague the dog, for fear that he would bite;
But he was in all sorts of scrapes from morning until night.
One day he climbed a cherry-tree that in the garden grew,
Because it was the very thing he'd been told not to do;
The cherries they were red and ripe, and tasted very sweet--
That naughty boy he swallowed them as fast as he could eat.
But when he'd eaten all he could, and scrambled down again,
He sat upon the ground, and soon began to scream with pain;
And when at last the doctor came he very grimly said,
"Give him a dose of castor-oil, and put him right to bed."
"It isn't nice," said his mamma, "to lie in bed all day;
I hope 'twill be a lesson, Tom, and teach you to obey."
Tom promised solemnly no more that cherry-tree to climb;
And his mamma was very sure he meant it--at the time.
[Illustration: OUR POST-OFFICE BOX.]
A CHEAP CANOE.
So many lads have written to Our Post-office Box asking for advice and
information as to how to build a cheap canoe, that Messrs. Harper &
Brothers have just reprinted in a circular the article on this subject
which appeared in HARPER'S YOUNG PEOPLE April 27, 1880. Messrs. Harper &
Brothers will mail the circular and working plans to any address on
receipt of a three-cent postage stamp.
* * * * *
WARM WEATHER.--Why, of course, dears. But we need the sunshine to ripen
the corn, and make the apples round and red, and paint the yellow pears,
and kiss the green grapes until they grow large and purple. Let me tell
you a secret. It isn't worth while to fan, and fan, and keep saying "Oh,
dear! I wish a breeze would come! When will this heat be over?" Neither
is it a good plan to drink a great deal of ice-water. The more you
drink, the more you will want. Try to forget the heat, and get some
pleasant thing to do, sitting in the coolest place you can find. Paint a
picture, draw some Wiggles, make a puzzle for HARPER'S YOUNG PEOPLE, or
write a letter to Our Post-office Box; help auntie dust the parlor,
gather flowers to fill the vases, read an interesting book, arrange your
specimens or stamps, or tell a story to please your little sister. If
you do something that you like to do, or that will make others happy,
the warm day will be gone before you know it.
* * * * *
FORT BAYARD, NEW MEXICO.
I am a little boy eight years old. I have taken YOUNG PEOPLE for
over a year. I like New Mexico very much. I have a little burro
(that is Mexican for donkey) that I ride or drive. My father has
three deer-hounds and one stag-hound. One of the deer-hounds is
mine; I call him Thor. The names of the rest of the hounds are
Hilda, Maida, and Jarl; Jarl is the stag-hound. Day before
yesterday Hilda was hooked by a cow, Thor had a cut in his foot,
and Jarl had a sliver in his leg two inches long. When Jarl was a
puppy, he had a bad fall from a railroad trestle. Papa was going to
shoot him, but one of the soldiers said, "Don't shoot, sir; he is
all right." We have a pointer called Roy. I have been to the Santa
Rita copper mines, and have seen the stamps that they crush the ore
with. I take German lessons from the librarian of the Twenty-third
Infantry. My mother has twelve hens--two sitting, and two with
little chickens. I have nothing more to tell about now, but I will
write again. I liked "Toby Tyler" and "Tim and Tip," and I like
"Mr. Stubbs's Brother" very much; and oh, I liked "Scrap" so much!
and "The Boys' Tea Party" was splendid. I would like to send my
love to the Postmistress.
W. SWIFT M.
The Postmistress sends you hers in return.
* * * * *
GLASSBOROUGH.
I have begun to make a collection of curiosities, and have three
butterflies, one moth, a hornets' nest, and two birds' nests; in
them are three eggs. My only pet is a kitten named Bunthorne, but I
am lamenting the loss of a horned toad from Mexico. It refused to
eat, and after three months of captivity it quietly died. They are
called by the Mexicans _el taurusita del Vergita_, meaning the
little bull of the little Virgin.
P.S.--Will you tell me the difference between a maiden and a
spinster?
H. S. W.
What a pity about the poor toad! Perhaps he pined for home.
Any unmarried woman is a maiden. A spinster is a person who spins. In
olden times the young ladies of the family used to spin and weave the
household linen, and so they were called spinsters. Really a maiden and
a spinster are the same.
* * * * *
GALLIPOLIS, OHIO.
I am a little girl twelve years old. I have been taking HARPER'S
YOUNG PEOPLE two years, and like it very much. I have been
afflicted for years, and have to walk on crutches. I have two
sisters, who are away at school; a week more and they will be at
home, and I will be happy. I have a canary-bird; his name is Pedro.
The bottom of his cage dropped out, and he flew away, and was gone
a day and night; a boy caught him, and brought him back to me. I
have a tortoise-shell cat and kitten. The old cat is named Spot,
and the kitten Hot. I will exchange twelve foreign and United
States stamps for the same number of gilt cards or glass buttons. I
have a button string of over a thousand glass buttons; I have also
six hundred cards.
MARY V. COX.
Although you have to walk on crutches, you have happy times, I am sure,
for a contented heart triumphs over all difficulties.
* * * * *
SHERBURNE FOUR CORNERS, NEW YORK.
I am a girl twelve years old, and am not very large for my age. I
have five sisters and one brother. Two of my sisters are married,
and each has a little boy. The oldest boy is four years old, and
the youngest is not two weeks old yet. My birthday was last May, on
Decoration-day. I am collecting cards, and now have 370. We have
four horses and two colts; and I have a very nice cat.
FANNIE A. H.
* * * * *
A very little girl with a very big hat,
And a dear little boy with a pail,
They were going to the beach to play in the sand,
And then off with papa for a sail.
* * * * *
LITTLE CONFECTIONERS.--Several little girls have asked me to give them
some receipts for making chocolate caramels and other candies. I hope
they will remember that in candy-making, as in other cooking, it is
necessary to be very exact in measuring the different ingredients;
neither sugar nor flavoring can be left to chance. And the little cook
must keep a sharp eye on her fire, and watch her pan and its contents,
so as to remove them at just the right moment. Sugar must be made into a
syrup by adding water to it, and boiling it until it is smooth and
thick. It is then called clarified sugar.
_Chocolate Caramels_.--Dissolve four ounces of chocolate in as
little water as possible, and add it to one pound of clarified
sugar, stirring it for a few minutes before taking it off. If you
wish a richer caramel mixture, then take half a pound of chocolate,
two cups of sugar, half a cup of milk, and a small lump of butter.
Scrape the chocolate in the milk, add it to the boiled sugar, and
stir in the butter. When your caramels are done pour them into a
flat pan or a sheet of tin which you have oiled or buttered, so
that they will not stick fast to it. When cool enough to be dented
with the finger, cut the caramels into the shape you desire with a
knife. If you do not eat your caramels on the day they are made,
keep them in a tightly closed jar.
Everton taffy is a favorite with children. It is made in this way:
_Everton Taffy_.--Melt three ounces of butter in a brass skillet,
and add one pound of brown sugar; boil the mixture over a clear
fire until the syrup, when dropped into cold water, breaks between
the teeth without sticking to them. Pour it into pans which have
been rubbed with buttered paper, and set it away to cool. If you
wish, you may add the grated rind of a lemon when the sugar is half
done.
_Plain Taffy_.--Boil a quart of molasses slowly for half an hour
over not too fierce a fire, stirring it constantly. Add to it half
a tea-spoonful of bicarbonate of soda (baking-soda). Try the candy
by dropping a spoonful in cold water. If brittle, it is done.
You may, if you wish, make molasses candy very white by pulling it in
your hands, first flouring them or buttering them, so that the candy
will not stick fast to your fingers.
Now, dear little housekeepers, although I have given you these receipts,
I do not advise you to spend a great deal of time in candy-making in
midsummer. I would rather hear that you had been riding on the hay, or
gathering apples, fishing with your brothers, or going over the hills
for blackberries. But if you do make candy, be sure to write me word
whether or not it turns out finely and tastes good.
* * * * *
WEATHERFORD, TEXAS.
I am a little boy seven years old. I have never been to school yet,
but I learn at home. I like my books very much. I had several nice
books given to me, and I have read them all but one. I have just
had a nice trip with my papa, going on the Texas and Pacific
Railroad to Colorado City. It is in Western Texas, on the Colorado
River. The river was very high, and I saw some horses swim across
it. I saw a great many prairie-dogs. They burrow in the ground, and
have a rattle-snake, an owl, and a rabbit with them. I also saw a
panther. I wanted a prairie-dog for a pet, and a gentleman promised
to send me one. I see where little Susie has told you about her
pet, a horned toad. There are a great many of them here. They do
not hop like a toad, but run almost as fast as a lizard. I catch
them, and put them in the garden to destroy the bugs. My pet is a
little rat terrier named Snip. I saw a little printing-office at
Colorado City, where a paper called the _Nut-Shell_ is printed. It
is about as large as a big sheet of writing-paper. Its editor is
Johnny Tolar, a boy about fifteen years old. I take it and HARPER'S
YOUNG PEOPLE. I wrote this letter by myself, and then got mamma to
show me the mistakes.
HOWARD L.
* * * * *
A VISIT TO FORT PICKENS.
I will first tell where Fort Pickens is. It is on Santa Rosa
Island. The island is surrounded by the Gulf of Mexico and
Pensacola Bay, and is a large uninhabited island. On the 25th of
May the Presbyterian Sabbath-school from Pensacola gave a picnic.
We left the wharf for Fort Pickens about half past nine. We had a
very nice time going over; we played games and talked all the way
over. We arrived at the Fort at about ten or half past ten o'clock.
As soon as we had landed, we went right to the Fort, where we staid
for about half an hour resting, after which we walked through the
Fort. We then went back to where our parasols and baskets were. We
got our parasols, and started with a few other girls and boys to
walk round the parapets of the forts. A few boys and girls went
over to the Gulf to gather shells, but it was so warm that I
thought it best to wait until afternoon before I went over to the
Gulf. About twelve o'clock we went into one of the large, cool
case-mates and danced and decorated our hats with ferns and wild
flowers gathered inside the Fort. At one o'clock we had dinner,
which we enjoyed very much. We had everything necessary to eat at a
picnic. After dinner we spent the time until half past two much the
same as in the morning. At half past two a crowd of ladies,
gentlemen, and children went over in a sail-boat to Barrancas to
visit the light-house. I did not go over with them for fear of
getting seasick. After I had seen the boat leave the wharf I went
back to the Fort, where I met several girls who were going over to
the Gulf. I went with them. When we got over to the Gulf we pulled
off our shoes and stockings and went in wading. When tired of that
we walked up the beach gathering shells, until we thought it time
to go back to the Fort. After a sail on the Gulf we returned to
Pensacola, and arrived there about half past six. We were very
tired.
NANNIE L. W.
* * * * *
WASHINGTON, D.C.
I am a little girl six years old. I have no brother nor sister, but
have as many as six dolls. Fanny is nearly as old as I am. Her nose
is almost flat. I keep Etta dressed all up pretty. Santa Claus has
had two big books made with my HARPER'S YOUNG PEOPLE. I hope he
won't forget to call for them again this year. I have taken them
every one. I have a blackboard; I print, and can add and take away.
I am in the Second-Reader. Mamma and I are going to Maine next
month to stay till it is real cool here. There we go out fishing.
We pick blueberries, blackberries, and cranberries. I have four
little cousins who go from here. We all have the same grandpa and
grandma. We ride on the hay, and dig clams. Papa will go down to
bring us home. Every Tuesday night he reads me the stories from
HARPER'S YOUNG PEOPLE. I like the letters very much, and everything
in them. When papa sees a letter from his little girl, he will open
his eyes. I have never been to school. I think Toby Tyler is just
as nice as any other of my friends. I am wondering if you will have
room for this in my HARPER'S YOUNG PEOPLE; it is a very long
letter.
One of your little girls, OLIVE E. B.
Thank you, dear, for printing your letter so beautifully.
* * * * *
HARTFORD, CONNECTICUT.
An amusing game which I have seen played is the following: Take
four handkerchiefs and tie them like dolls, to represent four
persons; then tie a thread to each, and put them (the threads) over
the chandelier, and give each thread to a person, who must try to
conceal himself behind a door or something else; and then, while
some one plays on the piano, those who have the threads keep them
jerking, letting the dolls hang so that they come down to the
floor. If well done, it is quite a good representation of dancing.
S.
* * * * *
LEXINGTON, KENTUCKY.
As I have not seen a letter from Lexington, I thought I would write
one. I have two little puppies; one is named Sport, and the other
Preston. I have a hen, and she lays eggs. I have a little brother,
and he is named Hugh. He has two kittens; one is a Maltese, and one
a common cat. I can ride a bicycle, and last year I took the
certificate at the fair for good riding.
E. SAYRE C.
* * * * *
WAUKESHA, WISCONSIN.
I am twelve years old, and have taken the YOUNG PEOPLE from the
beginning. I like it very much; I can hardly wait a week for it to
come, because the continued stories all leave off in such
interesting places.
I haven't any pets to tell you about, for they all died. I had five
cats, a mother and four little ones, and some one killed the
mother, and two little dwarfs, as I called them, had to be
drowned, because they could not live without her; then one of the
remaining two fell into the well and drowned itself, and the horse
stepped on the other one; so that is the fate of my five cats.
My mamma, papa, and little brother have all been to California, and
left me here with some friends; they were gone nearly a year, and
sometimes I felt very lonesome. My brother is ten years old, and we
have a nice big yard to play in. My brother's name is Earle, and we
both like "Mr. Stubbs's Brother" very much.
WINNIE W.
* * * * *
ADMIRER.--Newfoundland is pronounced with the accent on the first
syllable. I do not know who wrote the exercise in alliteration which you
mention. It is clever, but you could no doubt compose an equally
excellent one yourself. Whether to use plain or ornamental note-paper is
a matter to be decided by your own taste. The exquisite little butterfly
painted by yourself in the corner of your sheet is a decided addition to
the beauty of your letter. I would not waste such decorations on an
envelope, however, as that has to pass through many hands, and is less
private than the inclosure.
* * * * *
VIOLET S.--Your teacher has discovered a very pleasant way of teaching
her pupils how to write compositions. Although most schools are now
taking their summer recess, I will state her method. She takes ten words
from a lesson which the girls have recently studied, and writes them on
the blackboard, after which she gives them fifteen minutes with their
slates and pencils. At the end of fifteen minutes each is asked for her
composition.
* * * * *
The smallest black-and-tan terrier in the world is supposed to belong to
a lady in Chicago. It weighs from a pound to a pound and a half. Its
skin is like the finest silk, its eyes project like marbles, its legs
resemble lead-pencils, and its feet are the most perfect and curious
things alive. It reposes in a basket lined with gold and cardinal satin,
wears a collar studded with diamonds and emeralds, with "Baby Mine," its
pet name, on a gold plate tipped with a gold bell, and is fed from a
saucer of Dresden china.
* * * * *
BETTIE.--Keep powdered borax on your wash-stand, and use it when washing
your hands; it will make them soft and white. Lemon juice is also good
to whiten the hands. But the Postmistress does not object to a healthy
brown color in summer either on hands or face.
* * * * *
C. Y. P. R. U.
This article on the making of anagrams, which we ask you to read
carefully, was prepared by a gentleman who has had a great deal of
experience with puzzles and puzzlers. Perhaps you will try your own
skill in transposing sentences after this ingenious fashion:
MODERN ANAGRAMS.
BY KOE.
In a former issue of YOUNG PEOPLE a writer told the younger readers of
the old-fashioned amusement of making anagrams on the names of
acquaintances and public characters. The author gave several
illustrations of famous anagrams made many years ago; but there have
been some truly wonderful anagrams published in this country during the
last four or five years, and I shall endeavor to give you a few of the
most interesting ones.
There is a certain understanding among contributors to puzzle columns
that an anagram is a word, name, place, or event so transposed that it
will relate in some way to the original subject; while if merely so
transposed that it will produce other words not relative to the
original, it is called a transposition; but transpositions are usually
made of a single word, as, for instance, the following by a lady of
Toledo, Ohio, who signs herself "Mazie Lane":
"Transpose a musical anthem grand,
And find a picture by a red man's hand."
The answer is Motet--Totem.
Here is one by a young man of Boston, who signs himself "Sphinx":
"Gay, pretty flowers of the spring,
Transposed will stipulators bring."
Answer: Primroses--Promisers.
These are good examples of transpositions, as they are called, while the
word Astronomers, which is turned into moon-starers, is an excellent
example of word-anagram. One of the best, and probably only word in the
English language of which so perfect an anagram can be made, is a word I
discovered in my dictionary not long since. It is the word _stum_, and
turned into the anagram of _must_. The definition of each word is the
same--"unfermented grape juice or wine."
As the following anagrams were when published signed by their authors
with a _nom de plume_, or assumed name, I will give due credit by giving
the name of each.
A contributor who signed himself "Wilkins Micawber" sent me the
following in 1879:
"We all can say, and speak the truth,
How well we knew her in our youth."
_The door ring tided ill._
Surely every one of my readers has heard or read of this little girl
who, while on her way to her grandmother's house, met the fierce wolf in
the woods. The words in italics represent the anagram, and I am
confident some of the bright little readers would soon discover in the
above line their well-known friend Little Red Riding-hood. Is not this
an excellent anagram?
A gentleman of New Haven, Connecticut, who uses the _nom de plume_ of
"O. Possum," is the author of the following--and I fancy some of the
older members of the family would have to assist to solve it, being an
anagram of a well-known book that few of the little folks read:
_Past homes of Italy pied._
"Of days gone by, a story written
By Sir Edward Bulwer Lytton."
The answer is _The Last Days of Pompeii_.
From the landing of the Pilgrims down to the present day the history of
our country is full of grand events that afford most excellent subjects
for anagrams, and many of my friends have utilized some of them. I could
fill several pages with the anagrams I have collected, but lack of space
compels me to give only a few of the best.
A contributor who uses the _nom de plume_ of "Jim Jam" was the first to
use the event of Washington crossing the Delaware for an anagram, with
the following result:
_A hard, howling, tossing water scene._
Soon after receiving this a friend, now dead, sent me the following on
the same subject. His _nom de plume_ was "Graham":
_Lo! see rash acting with dangers won._
One "Percy Vere" also used this subject, with this result:
"Read this event on history's page--
_The cold waters swashing on in rage._"
While "Edwin Drood's" attempt resulted as follows:
_Watch a soldier hang on, steering s.w._
This was sent to me more as a joke, and the answer given as "Crossington
washing the Delaware," but both answers can be found. I will here say
that a true and perfect anagram should not contain a single letter to
represent words, as in the one given above; nor should any but proper
abbreviations be used, and these as rarely as possible.
The two following were composed by "Traddles," who, by-the-way, is
looked upon as quite an expert in this amusement:
_Horror flee! Rude war's better ended._
"The surrender of Robert Edward Lee," which also ended the war of the
rebellion.
_A French site. 'Tis blotted out, eh?_
"The destruction of the Bastile," a terrible state-prison, which was
destroyed by the people of Paris on the 15th of July, 1789.
_O! glad boy finds rich metal in clay of shoal river._
This, by "Percy Vere," is considered one of the best and most correct of
anagrams. The answer is, "The discovery of gold in California by
Marshall." This author is also the writer of the following:
_O! all in ban. March!_
Answer: Abraham Lincoln.
_Sirs, 'tis alone._
Answer: Solitariness.
The following two are so good that I am sure my readers will excuse me
for the additional time I take from their play to present them. They are
both by the same author, a gentleman of Ohio:
_Often noisy I when I enable aching wives to hem._
Answer: Invention of the sewing-machine by Elias Howe.
_Pooh! we can find ten errors; they never hit._
Answer: The weather predictions of Henry Vennor.
The above will give you all an idea of how an anagram should be made.
All are excellent specimens of American work--in fact, I am certain no
better were ever composed. The puzzle column in this paper, I am sure,
would publish some anagrams if my young readers will take the trouble to
try and make them. Let us see who will have the first one published.
Before closing I wish to give you a treat, illustrating how a word can
be twisted and twirled. It is from Maitland:
"'How much there is in a word--_monastery_,' says I. 'Why, that makes
_nasty Rome_;' and when I looked at it again, it was _more nasty_--a
very vile place, or _mean sty_.
"'_Ay, monster_,' says I, 'you are found out.'
"'What monster?' said the Pope.
"'What monster?' said I. 'Why, your own image there--_stone Mary_.'
"'That,' he replied, 'is _my one star_, my Stella Maria, my treasure, my
guide.'
"'No,' said I, 'you should say _my treason_."
"'_Yet no arms_,' said he.
"'No,' quoth I; 'quiet may suit best, as long as you have _no
mastery_--I mean _money arts_.'
"'No,' said he again, 'those are _Tory means_, and Dan, _my senator_,
will baffle them.'
"'I don't know that,' said I; 'but I think one might make _no mean
story_ out of this one word monastery.'"
* * * * *
We would call the attention of the C. Y. P. R. U. this week to Mrs.
Lillie's article "Wolfgang Amadeus Mozart," and to "Parsee Merchants of
Bombay," by Colonel Thomas W. Knox. In "How to Lay out Lawn Tennis
Courts" Sherwood Ryse offers some hints that young tennis-players will
find very useful.
* * * * *
PUZZLES FROM YOUNG CONTRIBUTORS.
No. 1.
DOUBLE ACROSTIC.
1. A pronoun. 2. A tree. 3. Another pronoun. 4. A kind of fuel. 5. A
boy's name. 6. A preposition. 7. A verb. 8. A smaller portion. Primals
and finals compose the name of a book by Louisa M. Alcott.
DOXY.
* * * * *
No. 2.
NUMERICAL ENIGMA.
I am composed of 19 letters, and am a famous navigator.
My 1, 4, 11, 12, 15, 19 is a show.
My 2, 7, 10 is an agricultural tool.
My 3, 13, 17 is to steal.
My 5, 18, 17, 16, 4, 6 is to yield.
My 8, 9, 4, 14 is a boy's nickname.
My whole is the name of a famous navigator.
R. B. B.
* * * * *
No. 3.
TWO WORD SQUARES.
1.--1. A jeweller's measure. 2. Nimble. 3. A fire-arm. 4. To grant. 5.
Prongs.
2.--1. A tree. 2. A weapon. 3. To verify. 4. A friend. 5. Pitchers.
EMPIRE CITY.
* * * * *
No. 4.
AN EASY ENIGMA.
In cat, not in dog.
In stick, not in log.
In find, not in lose.
In eats, not in chews.
My whole is a country over the sea.
Pray what is my name--can you tell me?
JOCO.
* * * * *
No. 5.
A SMALL SQUARE.
1. A domestic animal. 2. A number. 3. A swelling.
ALFRED W.
* * * * *
No. 6.
TWO CHARADES.
1.--My first is fragrant, my second is a name, and my whole is a
beautiful flower.
2.--My first is an animal, my second is part of an animal, and my whole
is a flower.
EMPIRE CITY.
* * * * *
No. 7.
WHO AM I?
I went to the Crimea;
I stopped there;
I didn't go there;
I was sent home because
I didn't go there.
* * * * *
ANSWERS TO PUZZLES IN No. 138.
No. 1.
Nelson, Sydney, Montpelier, Lena, Hobart, Mattery, Cashmere, Brussels,
Morocco, Orange, Worms, Fear, Cologne, Sandwich Islands, Orange County,
Farewell.
No. 2.
Bennington. Hop-Scotch.
No. 3.
P
R B A T
D A Y B A L E S
R A V E N P A L F R E Y
Y E A T E R R A
N S E A
Y
No. 4.
P A N I C
A T O N E
N O V E L
I N E R T
C E L T S
* * * * *
Correct answers to puzzles have been received from Fannie T. Metzgar,
Julia Jackson, Eddie Flack, Mary Rice, May Fanning, "I. Scycle," Russel
B. Beals, Henry Aron, Eva Stevenson, Rose M. Benedict, "Sister Grace,"
"Prickly-Pear," Mary B. Lavely, Hugh Leslie, Arthur Aird, Jack Trumbull,
E. L. Jones, "Lady Clare," "Cricket," Samuel Price, Fred White, A. H.
Brown, Edgar Seeman, Richard Venino, "Neptune," Maude Motley, Eddie S.
Hequembourg, Cornelia Gateson, Charlie O. Rose, Willie Black, Griffith
Williams, Harry, Tom, and Pussy, "Eureka," Maud H. H., Willie and Emily,
Alice and Amelia, Roger Franklin, King Albert.
* * * * *
[_For Exchanges, see 2d and 3d pages of cover._]
[Illustration: "They come, the merry summer months of beauty, song, and
flowers."--WILLIAM MOTHERWELL.]
A LITTLE SCAMP.
BY JOSEPHINE POLLARD.
He's off on a tramp,
Like the little scamp
That he is, for we did not bind him;
And with hurrying feet
Up and down the street
We've followed, but can not find him.
There are gypsies about,
Who will steal him, no doubt,
And keep him in horrible places;
And changing his name,
Our darling will claim,
Who misses our fond embraces.
The dear little scamp,
What made him decamp
In this way, without any warning?
He can not speak plain,
And we've sought him in vain,
Why, ever since yesterday morning.
He was saucy and pert,
And will surely get hurt
In some of his comical capers;
And hoping to get
Our runaway pet,
We've advertised him in the papers.
We've mentioned his size,
The color of his eyes,
And his hair--'twas a beautiful yellow;
And offered reward,
All we could afford,
To whoever restores the dear fellow.
His meals he will take
Very nicely, and cake
He is almost as fond of as candy.
If he crosses your track,
Won't you please bring him back?
He's a dog, and he answers to--Dandie.
* * * * *
BARBERS' POLES.
In the records of the English Parliament for the last century we read
that Lord Thurlow, when he opposed the Surgeons' Incorporation Bill in
the House of Peers, on the 17th July, 1797, stated that by a statute
still in force, the barbers and surgeons were each to use a pole. The
barbers were to have theirs blue and white striped, with no other
appendage; but the surgeons', which were the same in other respects,
were likewise to have a gallipot and a red rag to denote the particular
nature of their vocation.
The origin of the barbers' pole is to be traced to the period when the
barbers were also surgeons, and practiced bleeding. To assist this
operation, it being necessary for the patient to grasp a staff, a stick
or a pole was always kept by the barber-surgeon, together with the
fillet or bandage he used for tying the patient's arm. When the pole was
not in use, the tape was tied to it, that they might be both together
when wanted.
On a person coming in to be bled, the tape was disengaged from the pole
and bound round the arm, and the pole was put into the person's hand.
After the operation was concluded, the tape was again tied on the pole,
and pole and tape were often hung at the door for a sign or notice to
passers-by that they might there be bled. Doubtless the competition for
custom was great, for our ancestors believed thoroughly in bleeding, and
they demanded the operation frequently. At length, instead of hanging
out the identical pole used in the operation, a pole was painted with
stripes round it, in imitation of the real pole and bandage, and thus
came the sign.
That the use of the pole in bleeding was very ancient appears from an
illumination in a missal of the time of Edward I. In other ancient
volumes there are engravings of the like practice. "Such a staff," says
Brand, who mentions these graphic illustrations, "is to this very day
put into the hand of patients undergoing phlebotomy by every village
practitioner."
[Illustration: THE CHAIRMAN. "We are here, gentlemen, to start a Crusade
against Dog-catchers, and we wish every Dog's help, both small and
great."]
End of Project Gutenberg's Harper's Young People, July 11, 1882, by Various
*** END OF THIS PROJECT GUTENBERG EBOOK HARPER'S YOUNG PEOPLE, JULY 11, 1882 ***
***** This file should be named 58457-8.txt or 58457-8.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/5/8/4/5/58457/
Produced by Annie R. McGuire
Updated editions will replace the previous one--the old editions will
be renamed.
Creating the works from print editions not protected by U.S. copyright
law means that no one owns a United States copyright in these works,
so the Foundation (and you!) can copy and distribute it in the United
States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part
of this license, apply to copying and distributing Project
Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for the eBooks, unless you receive
specific permission. If you do not charge anything for copies of this
eBook, complying with the rules is very easy. You may use this eBook
for nearly any purpose such as creation of derivative works, reports,
performances and research. They may be modified and printed and given
away--you may do practically ANYTHING in the United States with eBooks
not protected by U.S. copyright law. Redistribution is subject to the
trademark license, especially commercial redistribution.
START: FULL LICENSE
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full
Project Gutenberg-tm License available with this file or online at
www.gutenberg.org/license.
Section 1. General Terms of Use and Redistributing Project
Gutenberg-tm electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg-tm electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg-tm electronic work and you do not agree to be bound
by the terms of this agreement, you may obtain a refund from the
person or entity to whom you paid the fee as set forth in paragraph
1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this
agreement and help preserve free future access to Project Gutenberg-tm
electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the
Foundation" or PGLAF), owns a compilation copyright in the collection
of Project Gutenberg-tm electronic works. Nearly all the individual
works in the collection are in the public domain in the United
States. If an individual work is unprotected by copyright law in the
United States and you are located in the United States, we do not
claim a right to prevent you from copying, distributing, performing,
displaying or creating derivative works based on the work as long as
all references to Project Gutenberg are removed. Of course, we hope
that you will support the Project Gutenberg-tm mission of promoting
free access to electronic works by freely sharing Project Gutenberg-tm
works in compliance with the terms of this agreement for keeping the
Project Gutenberg-tm name associated with the work. You can easily
comply with the terms of this agreement by keeping this work in the
same format with its attached full Project Gutenberg-tm License when
you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are
in a constant state of change. If you are outside the United States,
check the laws of your country in addition to the terms of this
agreement before downloading, copying, displaying, performing,
distributing or creating derivative works based on this work or any
other Project Gutenberg-tm work. The Foundation makes no
representations concerning the copyright status of any work in any
country outside the United States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other
immediate access to, the full Project Gutenberg-tm License must appear
prominently whenever any copy of a Project Gutenberg-tm work (any work
on which the phrase "Project Gutenberg" appears, or with which the
phrase "Project Gutenberg" is associated) is accessed, displayed,
performed, viewed, copied or distributed:
This eBook is for the use of anyone anywhere 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'll have to check the laws of the country where you
are located before using this ebook.
1.E.2. If an individual Project Gutenberg-tm electronic work is
derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to anyone in
the United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase "Project
Gutenberg" associated with or appearing on the work, you must comply
either with the requirements of paragraphs 1.E.1 through 1.E.7 or
obtain permission for the use of the work and the Project Gutenberg-tm
trademark as set forth in paragraphs 1.E.8 or 1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg-tm License for all works
posted with the permission of the copyright holder found at the
beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including
any word processing or hypertext form. However, if you provide access
to or distribute copies of a Project Gutenberg-tm work in a format
other than "Plain Vanilla ASCII" or other format used in the official
version posted on the official Project Gutenberg-tm web site
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original "Plain
Vanilla ASCII" or other form. Any alternate format must include the
full Project Gutenberg-tm License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works
provided that
* You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is owed
to the owner of the Project Gutenberg-tm trademark, but he has
agreed to donate royalties under this paragraph to the Project
Gutenberg Literary Archive Foundation. Royalty payments must be paid
within 60 days following each date on which you prepare (or are
legally required to prepare) your periodic tax returns. Royalty
payments should be clearly marked as such and sent to the Project
Gutenberg Literary Archive Foundation at the address specified in
Section 4, "Information about donations to the Project Gutenberg
Literary Archive Foundation."
* You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or destroy all
copies of the works possessed in a physical medium and discontinue
all use of and all access to other copies of Project Gutenberg-tm
works.
* You provide, in accordance with paragraph 1.F.3, a full refund of
any money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days of
receipt of the work.
* You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project
Gutenberg-tm electronic work or group of works on different terms than
are set forth in this agreement, you must obtain permission in writing
from both the Project Gutenberg Literary Archive Foundation and The
Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm
trademark. Contact the Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
works not protected by U.S. copyright law in creating the Project
Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
electronic works, and the medium on which they may be stored, may
contain "Defects," such as, but not limited to, incomplete, inaccurate
or corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged disk or
other medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium
with your written explanation. The person or entity that provided you
with the defective work may elect to provide a replacement copy in
lieu of a refund. If you received the work electronically, the person
or entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund. If
the second copy is also defective, you may demand a refund in writing
without further opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this agreement
violates the law of the state applicable to this agreement, the
agreement shall be interpreted to make the maximum disclaimer or
limitation permitted by the applicable state law. The invalidity or
unenforceability of any provision of this agreement shall not void the
remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in
accordance with this agreement, and any volunteers associated with the
production, promotion and distribution of Project Gutenberg-tm
electronic works, harmless from all liability, costs and expenses,
including legal fees, that arise directly or indirectly from any of
the following which you do or cause to occur: (a) distribution of this
or any Project Gutenberg-tm work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg-tm work, and (c) any
Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers. It
exists because of the efforts of hundreds of volunteers and donations
from people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help, see
Sections 3 and 4 and the Foundation information page at
www.gutenberg.org
Section 3. Information about the Project Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg Literary
Archive Foundation are tax deductible to the full extent permitted by
U.S. federal laws and your state's laws.
The Foundation's principal office is in Fairbanks, Alaska, with the
mailing address: PO Box 750175, Fairbanks, AK 99775, but its
volunteers and employees are scattered throughout numerous
locations. Its business office is located at 809 North 1500 West, Salt
Lake City, UT 84116, (801) 596-1887. Email contact links and up to
date contact information can be found at the Foundation's web site and
official page at www.gutenberg.org/contact
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
[email protected]
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To SEND
DONATIONS or determine the status of compliance for any particular
state visit www.gutenberg.org/donate
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations. To
donate, please visit: www.gutenberg.org/donate
Section 5. General Information About Project Gutenberg-tm electronic works.
Professor Michael S. Hart was the originator of the Project
Gutenberg-tm concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg-tm eBooks with only a loose network of
volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.
Most people start at our Web site which has the main PG search
facility: www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
