the present it is enough to know that it furnished for all Christendom the name by which it designates the author of evil. To the Parsee follower of Zarathustra the name of the Devil has very nearly the same signification as to the Christian; yet, as Grimm has shown, it is nothing else than a corruption of deva, the Sanskrit name for God. When Zarathustra overthrew the primeval Aryan nature-worship in Bactria, this name met the same evil fate which in early Christian times overtook the word demon, and from a symbol of reverence became henceforth a symbol of detestation. 98 But throughout the rest of the Aryan world it achieved a nobler career, producing the Greek theos, the Lithuanian diewas, the Latin deus, and hence the modern French Dieu, all meaning God.

 If we trace back this remarkable word to its primitive source in that once lost but now partially recovered mother-tongue from which all our Aryan languages are descended, we find a root div or dyu, meaning "to shine."
 From the first-mentioned form comes deva, with its numerous progeny of good and evil appellatives; from the latter is derived the name of Dyaus, with its brethren, Zeus and Jupiter. In Sanskrit dyu, as a noun, means "sky" and "day"; and there are many passages in the Rig-Veda where the character of the god Dyaus, as the personification of the sky or the brightness of the ethereal heavens, is unmistakably apparent. This key unlocks for us one of the secrets of Greek mythology. So long as there was for Zeus no better etymology than that which assigned it to the root zen, "to live," 99 there was little hope of understanding the nature of Zeus. But when we learn that Zeus is identical with Dyaus, the bright sky, we are enabled to understand Horace's expression, "sub Jove frigido," and the prayer of the Athenians, "Rain, rain, dear Zeus, on the land of the Athenians, and on the fields." 100 Such expressions as these were retained by the Greeks and Romans long after they had forgotten that their supreme deity was once the sky. Yet even the Brahman, from whose mind the physical significance of the god's name never wholly disappeared, could speak of him as Father Dyaus, the great Pitri, or ancestor of gods and men; and in this reverential name Dyaus pitar may be seen the exact equivalent of the Roman's Jupiter, or Jove the Father. The same root can be followed into Old German, where Zio is the god of day; and into Anglo-Saxon, where Tiwsdaeg, or the day of Zeus, is the ancestral form of Tuesday.

 Thus we again reach the same results which were obtained from the examination of the name Bhaga. These various names for the supreme Aryan god, which without the help afforded by the Vedas could never have been interpreted, are seen to have been originally applied to the sun-illumined firmament. Countless other examples, when similarly analyzed, show that the earliest Aryan conception of a Divine Power, nourishing man and sustaining the universe, was suggested by the light of the mighty Sun; who, as modern science has shown, is the originator of all life and motion upon the globe, and whom the ancients delighted to believe the source, not only of "the golden light," 101 but of everything that is bright, joy-giving, and pure. Nevertheless, in accepting this conclusion as well established by linguistic science, we must be on our guard against an error into which writers on mythology are very liable to fall. Neither sky nor sun nor light of day, neither Zeus nor Apollo, neither Dyaus nor Indra, was ever worshipped by the ancient Aryan in anything like a monotheistic sense. To interpret Zeus or Jupiter as originally the supreme Aryan god, and to regard classic paganism as one of the degraded remnants of a primeval monotheism, is to sin against the canons of a sound inductive philosophy. Philology itself teaches us that this could not have been so. Father Dyaus was originally the bright sky and nothing more.
 Although his name became generalized, in the classic languages, into deus, or God, it is quite certain that in early days, before the Aryan separation, it had acquired no such exalted significance. It was only in Greece and Rome—or, we may say, among the still united Italo-Hellenic tribes—that Jupiter-Zeus attained a pre-eminence over all other deities. The people of Iran quite rejected him, the Teutons preferred Thor and Odin, and in India he was superseded, first by Indra, afterwards by Brahma and Vishnu. We need not, therefore, look for a single supreme divinity among the old Aryans; nor may we expect to find any sense, active or dormant, of monotheism in the primitive intelligence of uncivilized men. 102 The whole fabric of comparative mythology, as at present constituted, and as described above, in the first of these papers, rests upon the postulate that the earliest religion was pure fetichism.

 In the unsystematic nature-worship of the old Aryans the gods are presented to us only as vague powers, with their nature and attributes dimly defined, and their relations to each other fluctuating and often contradictory. There is no theogony, no regular subordination of one deity to another. The same pair of divinities appear now as father and daughter, now as brother and sister, now as husband and wife; and again they quite lose their personality, and are represented as mere natural phenomena. As Muller observes, "The poets of the Veda indulged freely in theogonic speculations without being frightened by any contradictions. They knew of Indra as the greatest of gods, they knew of Agni as the god of gods, they knew of Varuna as the ruler of all; but they were by no means startled at the idea that their Indra had a mother, or that their Agni [Latin ignis] was born like a babe from the friction of two fire-sticks, or that Varuna and his brother Mitra were nursed in the lap of Aditi." 103 Thus we have seen Bhaga, the daylight, represented as the offspring, of Aditi, the boundless Orient; but he had several brothers, and among them were Mitra, the sun, Varuna, the overarching firmament, and Vivasvat, the vivifying sun. Manifestly we have here but so many different names for what is at bottom one and the same conception. The common element which, in Dyaus and Varuna, in Bhaga and Indra, was made an object of worship, is the brightness, warmth, and life of day, as contrasted with the darkness, cold, and seeming death of the night-time. And this common element was personified in as many different ways as the unrestrained fancy of the ancient worshipper saw fit to devise. 104 Thus we begin to see why a few simple objects, like the sun, the sky, the dawn, and the night, should be represented in mythology by such a host of gods, goddesses, and heroes. For at one time the Sun is represented as the conqueror of hydras and dragons who hide away from men the golden treasures of light and warmth, and at another time he is represented as a weary voyager traversing the sky-sea amid many perils, with the steadfast purpose of returning to his western home and his twilight bride; hence the different conceptions of Herakles, Bellerophon, and Odysseus. Now he is represented as the son of the Dawn, and again, with equal propriety, as the son of the Night, and the fickle lover of the Dawn; hence we have, on the one hand, stories of a virgin mother who dies in giving birth to a hero, and, on the other hand, stories of a beautiful maiden who is forsaken and perhaps cruelly slain by her treacherous lover. Indeed, the Sun's adventures with so many dawn-maidens have given him quite a bad character, and the legends are numerous in which he appears as the prototype of Don Juan. Yet again his separation from the bride of his youth is described as due to no fault of his own, but to a resistless decree of fate, which hur


up the heat of life.

Shak.
 Freeze, n. The act of congealing, or the state of being congealed.
 [Colloq.]

 Freez"er (?), n. One who, or that which, cools or freezes, as a refrigerator, or the tub and can used in the process of freezing ice cream.

 Freez"ing, a. Tending to freeze; for freezing; hence, cold or distant in manner. -- Frrez"ing*ly, adv.
Freezing machine. See Ice machine, under Ice. -- Freezing mixture, a mixture (of salt and snow or of chemical salts) for producing intense cold. -- Freezing point, that degree of a thermometer at which a fluid begins to freeze; -- applied particularly to water, whose freezing point is at 32° Fahr., and at 0° Centigrade.

 Frei"es*le'ben*ite (?), n. [Named after the German chemist Freiesleben.]
 A sulphide of antimony, lead, and silver, occuring in monoclinic crystals.

 Freight (frt), n. [F. fret, OHG. frht merit, reward.
 See Fraught, n.] 1. That with which anything is fraught or laden for transportation; lading; cargo, especially of a ship, or a car on a railroad, etc.; as, a freight of cotton; a full freight.

 2. (Law) (a) The sum paid by a party hiring a ship or part of a ship for the use of what is thus hired. (b) The price paid a common carrier for the carriage of goods. Wharton.
3. Freight transportation, or freight line.

 Freight (frt), a. Employed in the transportation of freight; having to do with freight; as, a freight car.

Freight agent, a person employed by a transportation company to receive, forward, or deliver goods. -- Freight car. See under Car.
 -- Freight train, a railroad train made up of freight cars; -- called in England goods train.

 Freight, v. t. [imp. & p. p. Freighted; p. pr. & vb. n. Freighting.] [Cf. F. freter.] To load with goods, as a ship, or vehicle of any kind, for transporting them from one place to another; to furnish with freight; as, to freight a ship; to freight a car.

 Freight"age (-j; 48), n. 1. Charge for transportation; expense of carriage.

2. The transportation of freight.

3. Freight; cargo; lading. Milton.

 Freight"er (?), n. 1. One who loads a ship, or one who charters and loads a ship.

2. One employed in receiving and forwarding freight.

3. One for whom freight is transported.

4. A vessel used mainly to carry freight.

 Freight"less, a. Destitute of freight.

 Frel"te (?), n. Frailty. [Obs.] Chaucer.
 { Fremd (?), Frem"ed (?) } a. [OE., from AS. fremede, fremde; akin to G. fremd.] Strange; foreign. [Old Eng. & Scot.] Chaucer.
 Fren (frn), n. [OE. frenne, contr. fr. forrene foreign. See Foreign, a.] A stranger. [Obs.] Spenser.
 French (frnch), a. [AS. frencisc, LL. franciscus, from L. Francus a Frank: cf. OF. franceis, franchois, françois, F. français. See Frank, a., and cf.
 Frankish.] Of or pertaining to France or its inhabitants.

French bean (Bot.), the common kidney bean (Phaseolus vulgaris). -- French berry (Bot.), the berry of a species of buckthorn (Rhamnus catharticus), which affords a saffron, green or purple pigment. -- French casement (Arch.)
 See French window, under Window. -- French chalk (Min.), a variety of granular talc; -- used for drawing lines on cloth, etc. See under Chalk. -- French cowslip (Bot.) The Primula Auricula. See Bear's- ear. -- French fake (Naut.), a mode of coiling a rope by running it backward and forward in parallel bends, so that it may run freely. -- French honeysuckle (Bot.)
 a plant of the genus Hedysarum (H. coronarium); -- called also garland honeysuckle. -- French horn, a metallic wind instrument, consisting of a long tube twisted into circular folds and gradually expanding from the mouthpiece to the end at which the sound issues; -- called in France cor de chasse. -- French leave, an informal, hasty, or secret departure; esp., the leaving a place without paying one's debts. -- French pie [French (here used in sense of "foreign") + pie a magpie (in allusion to its black and white color)] (Zoöl.), the European great spotted woodpecker (Dryobstes major); -- called also wood pie. -- French polish. (a) A preparation for the surface of woodwork, consisting of gums dissolved in alcohol, either shellac alone, or shellac with other gums added. (b) The glossy surface produced by the application of the above. -- French purple, a dyestuff obtained from lichens and used for coloring woolen and silken fabrics, without the aid of mordants. Ure. -- French red rouge. -- French rice, amelcorn. -- French roof (Arch.), a modified form of mansard roof having a nearly flat deck for the upper slope. - - French tub, a dyer's mixture of protochloride of tin and logwood; -- called also plum tub. Ure. -- French window.
 See under Window.

 French, n. 1. The language spoken in France.

2. Collectively, the people of France.

 French"i*fy (?), v. t. [imp. & p. p. Frenchified (?); p. pr. & vb. n. Frenchifying.] [French + -fy.] To make French; to infect or imbue with the manners or tastes of the French; to Gallicize. Burke.
 French"ism (?), n. A French mode or characteristic; an idiom peculiar to the French language. Earle.
 French"man (?), n.; pl. Frenchmen (&?;). A native or one of the people of France.

 Fre*net"ic (?), a. [See Frantic, a.] Distracted; mad; frantic; phrenetic. Milton.
 Fre*net"ic*al (?), a. Frenetic; frantic; frenzied. -- Frenet"ic*al*ly, adv.
 Fre"num (?), n.; pl. E. Frenums (#), L. Frena (#). [L., a bridle.] 1. (Zoöl.) A cheek stripe of color.

2. (Anat.) Same as Frænum.

 Fren"zi*cal (frn"z*kal), a. Frantic. [Obs.] Orrery.
 Fren"zied (?), p. p. & a. Affected with frenzy; frantic; maddened. -- Fren"zied*ly, adv.
 The people frenzied by centuries of oppression.

Buckle.
 Up starting with a frenzied look.

Sir W. Scott.
 Fren"zy (-z), n.; pl. Frenzies (-zz). [OE. frenesie, fransey, F. frénésie, L. phrenesis, fr.
 Gr. fre'nhsis for freni^tis disease of the mind, phrenitis, fr. frhn mind.
 Cf. Frantic, Phrenitis.] Any violent agitation of the mind approaching to distraction; violent and temporary derangement of the mental faculties; madness;


A MORTAL ANTIPATHY By Oliver Wendell Holmes CONTENTS PREFACE. INTRODUCTION. THE NEW PORTFOLIO: FIRST OPENING.
 A MORTAL ANTIPATHY.
 I. GETTING READY. II. THE BOAT-RACE. III. THE WHITE CANOE. IV. THE YOUNG SOLITARY V. THE ENIGMA STUDIED. VI. STILL AT FAULT. VII. A RECORD OF ANTIPATHIES VIII. THE PANSOPHIAN SOCIETY. IX. THE SOCIETY AND ITS NEW SECRETARY. X. A NEW ARRIVAL. XI. THE INTERVIEWER ATTACKS THE SPHINX. XII. MISS VINCENT AS A MEDICAL STUDENT. XIII. DR. BUTTS READS A PAPER. XIV. MISS VINCENT'S STARTLING DISCOVERY.
 XV. DR. BUTTS CALLS ON EUTHYMIA.
 XVI. MISS VINCENT WRITES A LETTER. XVII. Dr. BUTTS'S PATIENT. XVIII. MAURICE KIRKWOOD'S STORY OF HIS LIFE. XIX.
 THE REPORT OF THE BIOLOGICAL COMMITTEE. XX. DR. BUTTS REFLECTS. XXI. AN INTIMATE CONVERSATION. XXII. EUTHYMIA. XXIII. THE MEETING OF MAURICE AND EUTHYMIA. XXIV. THE INEVITABLE. POSTSCRIPT: AFTER-GLIMPSES. MISS LURIDA VINCENT TO MRS. EUTHYMIA KIRKWOOD. DR. BUTTS TO MRS. EUTHYMIA KIRKWOOD.
 DR. BUTTS TO MRS. BUTTS.

 PREFACE.

 "A MORTAL ANTIPATHY" was a truly hazardous experiment. A very wise and very distinguished physician who is as much at home in literature as he is in science and the practice of medicine, wrote to me in referring to this story: "I should have been afraid of my subject." He did not explain himself, but I can easily understand that he felt the improbability of the physiological or pathological occurrence on which the story is founded to be so great that the narrative could hardly be rendered plausible. I felt the difficulty for myself as well as for my readers, and it was only by recalling for our consideration a series of extraordinary but well-authenticated facts of somewhat similar character that I could hope to gain any serious attention to so strange a narrative.

 I need not recur to these wonderful stories. There is, however, one, not to be found on record elsewhere, to which I would especially call the reader's attention. It is that of the middle-aged man, who assured me that he could never pass a tall hall clock without an indefinable terror. While an infant in arms the heavy weight of one of these tall clocks had fallen with a loud crash and produced an impression on his nervous system which he had never got over.

 The lasting effect of a shock received by the sense of sight or that of hearing is conceivable enough.

 But there is another sense, the nerves of which are in close relation with the higher organs of consciousness. The strength of the associations connected with the function of the first pair of nerves, the olfactory, is familiar to most persons in their own experience and as related by others.
 Now we know that every human being, as well as every other living organism, carries its own distinguishing atmosphere. If a man's friend does not know it, his dog does, and can track him anywhere by it. This personal peculiarity varies with the age and conditions of the individual.
 It may be agreeable or otherwise, a source of attraction or repulsion, but its influence is not less real, though far less obvious and less dominant, than in the lower animals. It was an atmospheric impression of this nature which associated itself with a terrible shock experienced by the infant which became the subject of this story. The impression could not be outgrown, but it might possibly be broken up by some sudden change in the nervous system effected by a cause as potent as the one which had produced the disordered condition.

 This is the best key that I can furnish to a story which must have puzzled some, repelled others, and failed to interest many who did not suspect the true cause of the mysterious antipathy.

 BEVERLY FARMS, MASS., August, 1891. O. W. H. A MORTAL ANTIPATHY.

 FIRST OPENING OF THE NEW PORTFOLIO.

 INTRODUCTION.

 "And why the New Portfolio, I would ask?" Pray, do you remember, when there was an accession to the nursery in which you have a special interest, whether the new-comer was commonly spoken of as a baby? Was it not, on the contrary, invariably, under all conditions, in all companies, by the whole household, spoken of as the baby? And was the small receptacle provided for it commonly spoken of as a cradle; or was it not always called the cradle, as if there were no other in existence?

 Now this New Portfolio is the cradle in which I am to rock my new-born thoughts, and from which I am to lift them carefully and show them to callers, namely, to the whole family of readers belonging to my list of intimates, and such other friends as may drop in by accident. And so it shall have the definite article, and not be lost in the mob of its fellows as a portfolio.

 There are a few personal and incidental matters of which I wish to say something before reaching the contents of the Portfolio, whatever these may be. I have had other portfolios before this,—two, more especially, and the first thing I beg leave to introduce relates to these.

 Do not throw this volume down, or turn to another page, when I tell you that the earliest of them, that of which I now am about to speak, was opened more than fifty years ago. This is a very dangerous confession, for fifty years make everything hopelessly old-fashioned, without giving it the charm of real antiquity. If I could say a hundred years, now, my readers would accept all I had to tell them with a curious interest; but fifty years ago,—there are too many talkative old people who know all about that time, and at best half a century is a half-baked bit of ware. A coin-fancier would say that your fifty-year-old facts have just enough of antiquity to spot them with rust, and not enough to give them—the delicate and durable patina which is time's exquisite enamel.

 When the first Portfolio was opened the coin of the realm bore for its legend,—or might have borne if the more devout hero-worshippers could have had their way,—Andreas Jackson, Populi Gratia, Imp.
 Caesar. Aug. Div., Max., etc., etc. I never happened to see any gold or silver with that legend, but the truth is I was not very familiarly acquainted with the precious metals at that period of my career, and, there might have been a good deal of such coin in circulation without my handling it, or knowing much about it.

 Permit me to indulge in a few reminiscences of that far-off time.

 In those days the Athenaeum Picture Gallery was a principal centre of attraction to young Boston people and their visitors. Many of us got our first ideas of art, to say nothing of our first lessons in the comparatively innocent flirtations of our city's primitive period, in that agreeable resort of amateurs and artists.

 How the pictures on those walls in Pearl Street do keep their places in the mind's gallery! Trumbull's Sortie of Gibraltar, with red enough in it for one of our sunset after-glows; and Neagle's full-length portrait of the blacksmith in his shirt-sleeves; and Copley's long-waistcoated gentlemen and satin-clad ladies,—they


Adventures among Books, by Andrew Lang Transcribed from the 1912 Longmans, Green and Co. edition by David Price, email _EMAIL_ ADVENTURES AMONG BOOKS by Andrew Lang Contents: Preface Adventures Among Books Recollections of Robert Louis Stevenson Rab's Friend Oliver Wendell Holmes Mr. Morris's Poems Mrs. Radcliffe's Novels A Scottish Romanticist of 1830 The Confessions of Saint Augustine Smollett Nathaniel Hawthorne The Paradise of Poets Paris and Helen Enchanted Cigarettes Stories and Story-telling The Supernatural in Fiction An Old Scottish Psychical Researcher The Boy PREFACE Of the Essays in this volume "Adventures among Books," and "Rab's Friend," appeared in Scribner's Magazine; and "Recollections of Robert Louis Stevenson" (to the best of the author's memory) in The North American Review. The Essay on "Smollett" was in the Anglo-Saxon, which has ceased to appear; and the shorter papers, such as "The Confessions of Saint Augustine," in a periodical styled Wit and Wisdom. For "The Poems of William Morris" the author has to thank the Editor of Longman's Magazine; for "The Boy," and "Mrs. Radcliffe's Novels," the Proprietors of The Cornhill Magazine; for "Enchanted Cigarettes," and possibly for "The Supernatural in Fiction," the Proprietors of The Idler. The portrait, after Sir William Richmond, R.A., was done about the time when most of the Essays were written—and that was not yesterday.
CHAPTER I: ADVENTURES AMONG BOOKS I In an age of reminiscences, is there room for the confessions of a veteran, who remembers a great deal about books and very little about people? I have often wondered that a Biographia Literaria has so seldom been attempted—a biography or autobiography of a man in his relations with other minds. Coleridge, to be sure, gave this name to a work of his, but he wandered from his apparent purpose into a world of alien disquisitions. The following pages are frankly bookish, and to the bookish only do they appeal. The habit of reading has been praised as a virtue, and has been denounced as a vice.
In no case, if we except the perpetual study of newspapers (which cannot fairly be called reading), is the vice, or the virtue, common.
It is more innocent than opium-eating, though, like opium-eating, it unlocks to us artificial paradises. I try to say what I have found in books, what distractions from the world, what teaching (not much), and what consolations.
In beginning an autobiographia literaria, an account of how, and in what order, books have appealed to a mind, which books have ever above all things delighted, the author must pray to be pardoned for the sin of egotism. There is no other mind, naturally, of which the author knows so much as of his own. On n'a que soi, as the poor girl says in one of M. Paul Bourget's novels.
In literature, as in love, one can only speak for himself. This author did not, like Fulke Greville, retire into the convent of literature from the strife of the world, rather he was born to be, from the first, a dweller in the cloister of a library. Among the poems which I remember best out of early boyhood is Lucy Ashton's song, in the "Bride of Lammermoor":— "Look not thou on beauty's charming, Sit thou still when kings are arming, Taste not when the wine-cup glistens, Speak not when the people listens, Stop thine ear against the singer, From the red gold keep thy finger, Vacant heart, and hand, and eye, Easy live and quiet die." The rhymes, unlearned, clung to my memory; they would sing themselves to me on the way to school, or cricket-field, and, about the age of ten, probably without quite understanding them, I had chosen them for a kind of motto in life, a tune to murmur along the fallentis semita vitæ. This seems a queer idea for a small boy, but it must be confessed.
"It takes all sorts to make a world," some are soldiers from the cradle, some merchants, some orators; nothing but a love of books was the gift given to me by the fairies. It was probably derived from forebears on both sides of my family, one a great reader, the other a considerable collector of books which remained with us and were all tried, persevered with, or abandoned in turn, by a student who has not blanched before the Epigoniad.
About the age of four I learned to read by a simple process.
I had heard the elegy of Cock Robin till I knew it by rote, and I picked out the letters and words which compose that classic till I could read it for myself. Earlier than that, "Robinson Crusoe" had been read aloud to me, in an abbreviated form, no doubt. I remember the pictures of Robinson finding the footstep in the sand, and a dance of cannibals, and the parrot. But, somehow, I have never read "Robinson" since: it is a pleasure to come.
The first books which vividly impressed me were, naturally, fairy tales, and chap-books about Robert Bruce, William Wallace, and Rob Roy.
At that time these little tracts could be bought for a penny apiece.
I can still see Bruce in full armour, and Wallace in a kilt, discoursing across a burn, and Rob Roy slipping from the soldier's horse into the stream. They did not then awaken a precocious patriotism; a boy of five is more at home in Fairyland than in his own country.
The sudden appearance of the White Cat as a queen after her head was cut off, the fiendish malice of the Yellow Dwarf, the strange cake of crocodile eggs and millet seed which the mother of the Princess Frutilla made for the Fairy of the Desert—these things, all fresh and astonishing, but certainly to be credited, are my first memories of romance.
One story of a White Serpent, with a woodcut of that mysterious reptile, I neglected to secure, probably for want of a penny, and I have regretted it ever since. One never sees those chap books now. "The White Serpent," in spite of all research, remains introuvable.
It was a lost chance, and Fortune does not forgive. Nobody ever interfered with these, or indeed with any other studies of ours at that time, as long as they were not prosecuted on Sundays. "The fightingest parts of the Bible," and the Apocrypha, and stories like that of the Witch of Endor, were sabbatical literature, read in a huge old illustrated Bible. How I advanced from the fairy tales to Shakespeare, what stages there were on the way—for there must have been stages—is a thing that memory cannot recover.
A nursery legend tells that I was wont to arrange six open books on six chairs, and go from one to the others, perusing them by turns.
No doubt this was what people call "desultory reading," but I did not hear the criticism till later, and then too often for my comfort. Memory holds a picture, more vivid than most, of a small boy reading the "Midsummer Night's Dream" by firelight, in a room where candles were lit, and some one touched the piano, and a young man and a girl were playing chess. The Shakespeare was a volume of Kenny Meadows' edition; there are fairies in it, and the fairies seemed to come out of Shakespeare's dream into the music and the firelight. At that moment I think that I was happy; it seemed an enchanted glimpse of eternity in Paradise; nothing resembling it remains with me, out of all the years.
We went from the border to the south of England, when the number of my years was six, and in England we found another paradise, a circulating library with brown, greasy, ill-printed, odd volumes of Shakespeare and of the "Arabian Nights." How their stained pages come before the eyes again—the pleasure and the puzzle of them!
What did the lady in the Geni's glass box want with the Merchants?
what meant all these conversations between the Fat Knight and Ford, in the "Merry Wives"? It was delightful, but in parts it was difficult. Fragments of "The Tempest," and of other plays, remain stranded in my memory from these readings


; superficially fair, just, or correct, but not so in reality; appearing well at first view; plausible; as, specious reasoning; a specious argument.

 Misled for a moment by the specious names of religion, liberty, and property.

Macaulay.
 In consequence of their greater command of specious expression.

J. Morley.
Syn. -- Plausible; showy; ostensible; colorable; feasible. See Plausible.

 -- Spe"xious*ly (#), adv. -- Spe"cious*ness, n. Speck (?), n. [Cf. Icel. spik blubber, AS. spic, D. spek, G. speck.] The blubber of whales or other marine mammals; also, the fat of the hippopotamus.

Speck falls (Naut.), falls or ropes rove through blocks for hoisting the blubber and bone of whales on board a whaling vessel.

 Speck, n. [OE. spekke, AS. specca; cf. LG. spaak.]
 1. A small discolored place in or on anything, or a small place of a color different from that of the main substance; a spot; a stain; a blemish; as, a speck on paper or loth; specks of decay in fruit. "Gray sand, with black specks." Anson.
2. A very small thing; a particle; a mite; as, specks of dust; he has not a speck of money.

 Many bright specks bubble up along the blue Egean.

Landor.
3. (Zoöl.) A small etheostomoid fish (Ulocentra stigmæa) common in the Eastern United States.

 Speck, v. t. [imp. & p. p. Specked (?); p. pr. & vb. n. Specking.] To cause the presence of specks upon or in, especially specks regarded as defects or blemishes; to spot; to speckle; as, paper specked by impurities in the water used in its manufacture.

 Carnation, purple, azure, or specked with gold.

Milton.
 Spec"kle (?), n. [Dim. of speck; cf. D. spikkel.] A little or spot in or anything, of a different substance or color from that of the thing itself.

 An huge great serpent, all with speckles pied.

Spebser.
 Spec"kle, v. t. [imp. & p. p. Speckled (?); p. pr.
 & vb. n. Speckling (?).] To mark with small spots of a different color from that of the rest of the surface; to variegate with spots of a different color from the ground or surface.

 Spec"kled (?), a. Marked or variegated with small spots of a different color from that of the rest of the surface.

Speckled Indians (Ethnol.), the Pintos. -- Speckled trout.
 (Zoöl.) (a) The common American brook trout. See Trout.
 (b) The rainbow trout.

 Spec"kled-bel'ly (?), n. (Zoöl.) The gadwall. [Local, U.S.]

 Spec"kled-bill" (?), n. (Zoöl.) The American white-fronted goose (Anser albifrons).

 Spec"kled*ness, n. The quality of being speckled.

 Speck'sion*eer" (?), n. The chief harpooner, who also directs in cutting up the speck, or blubber; -- so called among whalers.

 Speckt (?), n. A woodpecker. See Speight.

 Spec"ta*cle (?), n. [F., fr. L. spectaculum, fr. spectare to look at, to behold, v. intens. fr. specere. See Spy.] 1.
 Something exhibited to view; usually, something presented to view as extraordinary, or as unusual and worthy of special notice; a remarkable or noteworthy sight; a show; a pageant; a gazingstock.

 O, piteous spectacle? O, bloody times!

Shak.
2. A spy-glass; a looking-glass. [Obs.]

 Poverty a spectacle is, as thinketh me, Through which he may his very friends see.

Chaucer.
3. pl. An optical instrument consisting of two lenses set in a light frame, and worn to assist sight, to obviate some defect in the organs of vision, or to shield the eyes from bright light.

4. pl. Fig.: An aid to the intellectual sight.

 Shakespeare... needed not the spectacles of books to read nature.

Dryden.
Syn. -- Show; sight; exhibition; representation; pageant.

 Spec"ta*cled (?), a. 1. Furnished with spectacles; wearing spectacles.

 As spectacled she sits in chimney nook.

Keats.
2. (Zoöl.) Having the eyes surrounded by color markings, or patches of naked skin, resembling spectacles.

Spectacled bear (Zoöl.), a South American bear (Tremarclos ornatus) which inhabits the high mountains of Chili and Peru. It has a light-colored ring around each eye. -- Spectacled coot, or Spectacled duck (Zoöl.), the surf scoter, or surf duck. [Local, U.S.]
 -- Spectacled eider (Zoöl.) See Eider. -- Spectacled goose (Zoöl.), the gannet. -- Spectacled snake (Zoöl.), the cobra de capello.

 Spec*tac"u*lar (?), a. 1. Of or pertaining to a shows; of the nature of a show. "Spectacular sports." G. Hickes.
2. Adapted to excite wonder and admiration by a display of pomp or of scenic effects; as, a spectacular celebration of some event; a spectacular play.

3. Pertaining to spectacles, or glasses for the eyes.

 Spec"tant (?), a. [L. spectans, p. pr. of spectare to look at.] Looking forward.

 Spec*ta"tion (?), n. [L. spectatio.] Regard; aspect; appearance. Harvey.
 Spec*ta"tor (?), n. [L. spectator: cf. F. spectateur.
 See Spectacle.] One who on; one who sees or beholds; a beholder; one who is personally present at, and sees, any exhibition; as, the spectators at a show. "Devised and played to take spectators." Shak.
Syn. -- Looker-on; beholder; observer; witness.

 Spec'ta*to"ri*al (?), a. Of or pertaining to a spectator. Addison.
 Spec*ta"tor*ship (?), n. 1. The office or quality of a spectator. [R.] Addison.
2. The act of beholding. [Obs.] Shak.
 { Spec*ta"tress (?), Spec*ta"trix (?) }, n. [L. spectatrix.]
 A female beholder or looker-on. "A spectatress of the whole scene."
 Jeffrey.
 { Spec"ter, Spec"tre } (?), n. [F. spectre, fr. L. spectrum an appearance, image, specter, fr. specere to look. See Spy, and cf. Spectrum.] 1. Something preternaturally visible; an apparition; a ghost; a phantom.

 The ghosts of traitors from the bridge descend, With bold fanatic specters to rejoice.

Dryden.
2. (Zoöl.) (a) The tarsius. (b) A stick insect.

Specter bat (Zoöl.), any phyllostome bat. -- Specter candle (Zoöl.), a belemnite. -- Specter shrimp (Zoöl.), a skeleton shrimp. See under Skeleton.

 Spec'tion*eer" (?), n. Same as Specsioneer.

 Spec"tral (?), a. 1. Of or pertaining to a specter; ghosty.

 He that feels timid at the spectral form of evil is not the man to spread light.

F. W. Robertson.
2. (Opt.) Of


1. Some y are not-x, or, Some not-x are y.
2. No not-x are not-y, or, No not-y are not-x.
3. No not-y are x.
4. No not-x exist. i.e. No Things are not-x.
5. No y exist. i.e. No houses are two-storied.
6. Some x' exist. i.e. Some houses are not built of brick.
7. No x are y'. Or, no y' are x. i.e. No houses, built of brick, are other than two-storied. Or, no houses, that are not two-storied, are built of brick.
8. All x' are y'. i.e. All houses, that are not built of brick, are not two-storied.
9. Some x are y, and some are y'. i.e. Some fat boys are active, and some are not.
10. All y' are x'. i.e. All lazy boys are thin.
11. All x are y', and all y' are x. i.e. All fat boys are lazy, and all lazy ones are fat.
12. All y are x, and all x' are y. i.e. All active boys are fat, and all thin ones are lazy.
13. No x exist, and no y' exist. i.e. No cats have green eyes, and none have bad tempers.
14. Some x are y', and some x' are y. Or some y are x', and some y' are x. i.e. Some green-eyed cats are bad-tempered, and some, that have not green eyes, are good-tempered.
Or, some good-tempered cats have not green eyes, and some bad-tempered ones have green eyes.
15. Some x are y, and no x' are y'. Or, some y are x, and no y' are x'. i.e. Some green-eyed cats are good-tempered, and none, that are not green-eyed, are bad-tempered. Or, some good-tempered cats have green eyes, and none, that are bad-tempered, have not green eyes.
16. All x are y', and all x' are y. Or, all y are x', and all y' are x. i.e. All green-eyed cats are bad-tempered and all, that have not green eyes, are good-tempered. Or, all good-tempered ones have eyes that are not green, and all bad-tempered ones have green eyes.
6. Larger Diagram.
Propositions represented.
__________ 20. We had better take "persons" as Universe. We may choose "myself" as 'Middle Term', in which case the Premisses will take the form Or we may choose "he" as 'Middle Term', in which case the Premisses will take the form The latter form seems best, as the interest of the anecdote clearly depends on HIS stupidity--not on what happened to ME. Let us then make m = "he"; x = "persons whom I sent, &c."; and y = "persons who brought, &c."
7. Both Diagrams employed.
N.B. These are not legitimate Premisses, since the Conclusion is really part of the second Premiss, so that the first Premiss is superfluous. This may be shown, in letters, thus:-- "All xm are y" contains "Some xm are y", which contains "Some x are y". Or, in words, "All rainy days are tiresome" contains "Some rainy days are tiresome", which contains "Some rainy periods are tiresome".
Moreover, the first Premiss, besides being superfluous, is actually contained in the second; since it is equivalent to "Some rainy days exist", which, as we know, is implied in the Proposition "All rainy days are tiresome".
Altogether, a most unsatisfactory Pair of Premisses!
 [See remarks on No. 7, p 60.]
 There is 'no information' for the smaller Diagram; so no Conclusion can be drawn.
 There is 'no information' for the smaller Diagram; so no Conclusion can be drawn.
 i.e. Some things, that are not battles, may escape notice.
 [See remarks on No. 7, p. 60.]
CHAPTER IV.
HIT OR MISS.
__________ 1. Pain is wearisome; No pain is eagerly wished for.
2. No bald person needs a hair-brush; No lizards have hair.
3. All thoughtless people do mischief; No thoughtful person forgets a promise.
4. I do not like John; Some of my friends like John.
5. No potatoes are pine-apples; All pine-apples are nice.
6. No pins are ambitious; No needles are pins.
7. All my friends have colds; No one can sing who has a cold.
8. All these dishes are well-cooked; Some dishes are unwholesome if not well-cooked.
9. No medicine is nice; Senna is a medicine.
10. Some oysters are silent; No silent creatures are amusing.
11. All wise men walk on their feet; All unwise men walk on their hands.
12. "Mind your own business; This quarrel is no business of yours."
13. No bridges are made of sugar; Some bridges are picturesque.
14. No riddles interest me that can be solved; All these riddles are insoluble.
15. John is industrious; All industrious people are happy.
16. No frogs write books; Some people use ink in writing books.
17. No pokers are soft; All pillows are soft.
18. No antelope is ungraceful; Graceful animals delight the eye.
19. Some uncles are ungenerous; All merchants are generous.
20. No unhappy people chuckle; No happy people groan.
21. Audible music causes vibration in the air; Inaudible music is not worth paying for.
22. He gave me five pounds; I was delighted.
23. No old Jews are fat millers; All my friends are old millers.
24. Flour is good for food; Oatmeal is a kind of flour.
25. Some dreams are terrible; No lambs are terrible.
26. No rich man begs in the street; All who are not rich should keep accounts.
27. No thieves are honest; Some dishonest people are found out.
28. All wasps are unfriendly; All puppies are friendly.
29. All improbable stories are doubted; None of these stories are probable.
30. "He told me you had gone away." "He never says one word of truth."
31. His songs never last an hour; A song, that lasts an hour, is tedious.
32. No bride-cakes are wholesome; Unwholesome food should be avoided.
33. No old misers are cheerful; Some old misers are thin.
34. All ducks waddle; Nothing that waddles is graceful.
35. No Professors are ignorant; Some ignorant people are conceited.
36. Toothache is never pleasant; Warmth is never unpleasant.
37. Bores are terrible; You are a bore.
38. Some mountains are insurmountable; All stiles can be surmounted.
39. No Frenchmen like plumpudding; All Englishmen like plumpudding.
40. No idlers win fame; Some painters are not idle.
41. No lobsters are unreasonable; No reasonable creatures expect impossibilities.
42. No kind deed is unlawful; What is lawful may be done without fear.
43. No fossils can be crossed in love; Any oyster may be crossed in love.
44. "This is beyond endurance!" "Well, nothing beyond endurance has ever happened to me."
45. All uneducated men are shallow; All these students are educated.
46. All my cousins are unjust; No judges are unjust.
47. No country, that has been


of the same kind; as, a plurality of worlds; the plurality of a verb.

2. The greater number; a majority; also, the greatest of several numbers; in elections, the excess of the votes given for one candidate over those given for another, or for any other, candidate. When there are more than two candidates, the one who receives the plurality of votes may have less than a majority. See Majority.

 Take the plurality of the world, and they are neither wise nor good.

L'Estrange.
3. (Eccl.) See Plurality of benefices, below.

Plurality of benefices (Eccl.), the possession by one clergyman of more than one benefice or living. Each benefice thus held is called a plurality. [Eng.]

 Plu'ral*i*za"tion (?), n. The act of pluralizing. H. Spencer.
 Plu"ral*ize (?), v. t. [imp. & p. p. Pluralized (?); p. pr. & vb. n. Pluralizing (?).] 1. To make plural by using the plural termination; to attribute plurality to; to express in the plural form.

2. To multiply; to make manifold. [R.]

 Plu"ral*ize, v. i. 1. To take a plural; to assume a plural form; as, a noun pluralizes. Earle.
2. (Eccl.) To hold more than one benefice at the same time.
 [Eng.]

 Plu"ral*i'zer (?), n. (Eccl.) A pluralist. [R.]

 Plu"ral*ly, adv. In a plural manner or sense.

 Plu"ri- (?). [See Plus.] A combining form from L. plus, pluris, more, many; as pluriliteral.

 ||Plu"ri*es (?), n. [So called from L. pluries many times, often, which occurs in the first clause.] (Law) A writ issued in the third place, after two former writs have been disregarded. Mozley & W. Plu'ri*fa"ri*ous (?), a. [L. plurifarius, fr. L. plus, pluris, many. Cf. Bifarious.] Of many kinds or fashions; multifarious.

 Plu'ri*fo"li*o*late (?), a. [Pluri- + foliolate.] (Bot.)
 Having several or many leaflets.

 Plu'ri*lit"er*al (?), a. [Pluri- + literal.]
 Consisting of more letters than three. - - n. A pluriliteral word.

 Plu'ri*loc"u*lar (?), a. [Pluri- + locular.] Having several cells or loculi; specifically (Bot.), having several divisions containing seeds; as, the lemon and the orange are plurilocular fruits.

Plurilocular sporangia (Bot.), manycelled sporangia, each cell containing a single spore, as in many algæ.

 Plu*rip"a*rous (?), a. [Pluri- + L. parere to bring forth.] Producing several young at a birth; as, a pluriparous animal.

 Plu'ri*par"tite (?), a. [Pluri- + partite.] (Bot.)
 Deeply divided into several portions.

 Plu'ri*pres"ence (?), n. [Pluri- + presence.]
 Presence in more places than one. [R.] Johnson.
 Plu"ri*sy (?), n. [L. plus, pluris, more.]
 Superabundance; excess; plethora. [Obs.] Shak.
 Plus (?), a. [L., more; akin to Gr. &?;, &?;, and E. full.
 See Full, a., and cf. Più, Pleonasm.]

1. (Math.) More, required to be added; positive, as distinguished from negative; -- opposed to minus.

2. Hence, in a literary sense, additional; real; actual.

 Success goes invariably with a certain plus or positive power.

Emerson.
Plus sign (Math.), the sign (+) which denotes addition, or a positive quantity.

 Plush (?), n. [F. pluche, peluche (cf. It. peluzzo), fr. L. pilus hair. See pile hair, and cf. Peruke.] A textile fabric with a nap or shag on one side, longer and softer than the nap of velvet.
 Cowper.
 Plush"y (?), a. Like plush; soft and shaggy. H. Kingsley.
 Plu"tar*chy (?), n. [Gr. &?; wealth + -archy.]
 Plutocracy; the rule of wealth. [R.]

 Plu"te*al (?), a. (Zoöl.) Of or pertaining to a pluteus.

 ||Plu"te*us (?), n.; pl. L. Plutei (#), E. Pluteuses (#). [L., a shed.] (Zoöl.) The free-swimming larva of sea urchins and ophiurans, having several long stiff processes inclosing calcareous rods.

 Plu"to (?), n. [L., fr. Gr. &?;.] (Class. Myth.) The son of Saturn and Rhea, brother of Jupiter and Neptune; the dark and gloomy god of the Lower World.

Pluto monkey (Zoöl.), a longtailed African monkey (Cercopithecus pluto), having side whiskers. The general color is black, more or less grizzled; the frontal band is white.

 Plu*toc"ra*cy (?), n. [Gr. &?;; &?; wealth + &?; to be strong, to rule, fr.&?; strength: cf. F. plutocratie.] A form of government in which the supreme power is lodged in the hands of the wealthy classes; government by the rich; also, a controlling or influential class of rich men.

 Plu"to*crat (?), n. One whose wealth gives him power or influence; one of the plutocracy.

 Plu'to*crat"ic (?), a. Of or pertaining to plutocracy; as, plutocratic ideas. Bagehot.
 Plu*tol"o*gy (?), n. [Gr. &?; wealth + -logy.] The science which treats of wealth.

 Plu*to"ni*an (?), a. [L. Plutonius, Gr. &?;: cf. F. plutonien.]
 Plutonic. Poe.
 Plu*to"ni*an (?), n. (Geol.) A Plutonist.

 Plu*ton"ic (?), a. [Cf. F. plutonique. See Pluto.] 1.
 Of or pertaining to Pluto; Plutonian; hence, pertaining to the interior of the earth; subterranean.

2. Of, pertaining to, or designating, the system of the Plutonists; igneous; as, the Plutonic theory.

Plutonic action (Geol.), the influence of volcanic heat and other subterranean forces under pressure. -- Plutonic rocks (Geol.), granite, porphyry, and some other igneous rocks, supposed to have consolidated from a melted state at a great depth from the surface. Cf. Intrusive rocks, under Intrusive. -- Plutonic theory. (Geol.) See Plutonism.

 Plu"to*nism (?), n. [Cf. F. plutonisme.] The theory, early advanced in geology, that the successive rocks of the earth\'b6s crust were formed by igneous fusion; -- opposed to the Neptunian theory.

 Plu"to*nist (?), n. [Cf. F. plutoniste.] One who adopts the geological theory of igneous fusion;


black.

3. The hue or color characteristic of good health and spirits; ruddy complexion.

 Give color to my pale cheek. Shak.
4. That which is used to give color; a paint; a pigment; as, oil colors or water colors.

5. That which covers or hides the real character of anything; semblance; excuse; disguise; appearance.

 They had let down the boat into the sea, under color as though they would have cast anchors out of the foreship. Acts xxvii.
 30.
 That he should die is worthy policy; But yet we want a color for his death. Shak.
6. Shade or variety of character; kind; species.

 Boys and women are for the most part cattle of this color.
Shak.
7. A distinguishing badge, as a flag or similar symbol (usually in the plural); as, the colors or color of a ship or regiment; the colors of a race horse (that is, of the cap and jacket worn by the jockey).

 In the United States each regiment of infantry and artillery has two colors, one national and one regimental. Farrow.
8. (Law) An apparent right; as where the defendant in trespass gave to the plaintiff an appearance of title, by stating his title specially, thus removing the cause from the jury to the court. Blackstone.
Color is express when it is averred in the pleading, and implied when it is implied in the pleading.

Body color. See under Body. -- Color blindness, total or partial inability to distinguish or recognize colors. See Daltonism. -- Complementary color, one of two colors so related to each other that when blended together they produce white light; -- so called because each color makes up to the other what it lacks to make it white. Artificial or pigment colors, when mixed, produce effects differing from those of the primary colors, in consequence of partial absorption. -- Of color (as persons, races, etc.), not of the white race; -- commonly meaning, esp. in the United States, of negro blood, pure or mixed. -- Primary colors, those developed from the solar beam by the prism, viz., red, orange, yellow, green, blue, indigo, and violet, which are reduced by some authors to three, -- red, green, and violet-blue. These three are sometimes called fundamental colors. -- Subjective or Accidental color, a false or spurious color seen in some instances, owing to the persistence of the luminous impression upon the retina, and a gradual change of its character, as where a wheel perfectly white, and with a circumference regularly subdivided, is made to revolve rapidly over a dark object, the teeth of the wheel appear to the eye of different shades of color varying with the rapidity of rotation. See Accidental colors, under Accidental.

 Col"or (?), v. t. [imp. & p. p. Colored (?); p. pr.
 & vb. n. Coloring.] [F. colorer.] 1. To change or alter the hue or tint of, by dyeing, staining, painting, etc.; to dye; to tinge; to paint; to stain.

 The rays, to speak properly, are not colored; in them there is nothing else than a certain power and disposition to stir up a sensation of this or that color. Sir I. Newton.
2. To change or alter, as if by dyeing or painting; to give a false appearance to; usually, to give a specious appearance to; to cause to appear attractive; to make plausible; to palliate or excuse; as, the facts were colored by his prejudices.

 He colors the falsehood of Æneas by an express command from Jupiter to forsake the queen. Dryden.
3. To hide. [Obs.]

 That by his fellowship he color might Both his estate and love from skill of any wight. Spenser.
 Col"or, v. i. To acquire color; to turn red, especially in the face; to blush.

 Col"or*a*ble (?), a. Specious; plausible; having an appearance of right or justice. "Colorable pretense for infidelity." Bp.
 Stillingfleet.
 -- Col"or*a*ble*ness, n. -- Col"or*a*bly, adv.
Colorable and subtle crimes, that seldom are taken within the walk of human justice. Hooker.
 Col'o*ra"do bee"tle (?). (Zoöl.) A yellowish beetle (Doryphora decemlineata), with ten longitudinal, black, dorsal stripes. It has migrated eastwards from its original habitat in Colorado, and is very destructive to the potato plant; -- called also potato beetle and potato bug. See Potato beetle.

 Col'o*ra"do group (?). (Geol.) A subdivision of the cretaceous formation of western North America, especially developed in Colorado and the upper Missouri region.

 Col'o*ra"do*ite (?), n. (Min.) Mercury telluride, an iron-black metallic mineral, found in Colorado.

 Col"or*ate (?), a. [L. coloratus, p. p. of colorare to color.] Colored. [Obs.] Ray.
 Col'or*a"tion (?), n. The act or art of coloring; the state of being colored. Bacon.
 The females... resemble each other in their general type of coloration.
Darwin.
 Col"or*a*ture (?; 135), n. [Cf. G. coloratur, fr. LL. coloratura.]
 (Mus.) Vocal music colored, as it were, by florid ornaments, runs, or rapid passages.

 Col"or-blind (?), a. Affected with color blindness. See Color blindness, under Color, n. Col"ored (?), a. 1. Having color; tinged; dyed; painted; stained.

 The lime rod, colored as the glede. Chaucer.
 The colored rainbow arched wide. Spenser.
2. Specious; plausible; adorned so as to appear well; as, a highly colored description. Sir G. C. Lewis.
 His colored crime with craft to cloke. Spenser.
3. Of some other color than black or white.

4. (Ethnol.) Of some other color than white; specifically applied to negroes or persons having negro blood; as, a colored man; the colored people.

5. (Bot.) Of some other color than green.

Colored, meaning, as applied to foliage, of some other color than green. Gray.
 In botany, green is not regarded as a color, but white is. Wood.
 Col'or*if"ic (?; 277), a. [L. color color + facere to make: cf. F. colorifique.] Capable of communicating color or tint to other bodies.

 Col'or*im"e*ter (?), n. [Color + -meter: cf. F. colorimètre.]
 An instrument for measuring the depth of the color of anything, especially of a liquid, by comparison with a standard liquid.

 Col"or*ing (?), n. 1. The act of applying color to; also, that which produces color.

2. Change of appearance as by addition of color; appearance; show; disguise; misrepresentation.

 Tell the whole story without coloring or gloss. Compton Reade.
Dead coloring. See under Dead.

 Col"or*ist (?), n. [Cf. F. coloriste.] One who colors; an artist who excels in the use of colors; one to whom coloring is of prime importance.

 Titian, Paul Veronese, Van Dyck, and the rest of the good colorists.
Dryden.
 Col"or*less, a. 1. Without color; not distinguished by any hue; transparent; as, colorless water.

2. Free from any manifestation of partial or peculiar sentiment or feeling; not disclosing likes, dislikes, prejudice, etc.; as, colorless music; a colorless style; definitions should be color


THE GOODNESS OF ST. ROCQUE AND OTHER STORIES By ALICE DUNBAR To My best Comrade My Husband CONTENTS THE GOODNESS OF SAINT ROCQUE TONY'S WIFE THE FISHERMAN OF PASS CHRISTIAN M'SIEU FORTIER'S VIOLIN BY THE BAYOU ST. JOHN WHEN THE BAYOU OVERFLOWS MR. BAPTISTE A CARNIVAL JANGLE LITTLE MISS SOPHIE SISTER JOSEPHA THE PRALINE WOMAN ODALIE LA JUANITA TITEE THE GOODNESS OF SAINT ROCQUE Manuela was tall and slender and graceful, and once you knew her the lithe form could never be mistaken. She walked with the easy spring that comes from a perfectly arched foot. To-day she swept swiftly down Marais Street, casting a quick glance here and there from under her heavy veil as if she feared she was being followed. If you had peered under the veil, you would have seen that Manuela's dark eyes were swollen and discoloured about the lids, as though they had known a sleepless, tearful night. There had been a picnic the day before, and as merry a crowd of giddy, chattering Creole girls and boys as ever you could see boarded the ramshackle dummy-train that puffed its way wheezily out wide Elysian Fields Street, around the lily-covered bayous, to Milneburg-on-the-Lake. Now, a picnic at Milneburg is a thing to be remembered for ever. One charters a rickety-looking, weather-beaten dancing-pavilion, built over the water, and after storing the children—for your true Creole never leaves the small folks at home—and the baskets and mothers downstairs, the young folks go up-stairs and dance to the tune of the best band you ever heard. For what can equal the music of a violin, a guitar, a cornet, and a bass viol to trip the quadrille to at a picnic?
Then one can fish in the lake and go bathing under the prim bath-houses, so severely separated sexually, and go rowing on the lake in a trim boat, followed by the shrill warnings of anxious mamans. And in the evening one comes home, hat crowned with cool gray Spanish moss, hands burdened with fantastic latanier baskets woven by the brown bayou boys, hand in hand with your dearest one, tired but happy.
At this particular picnic, however, there had been bitterness of spirit. Theophile was Manuela's own especial property, and Theophile had proven false. He had not danced a single waltz or quadrille with Manuela, but had deserted her for Claralie, blonde and petite. It was Claralie whom Theophile had rowed out on the lake; it was Claralie whom Theophile had gallantly led to dinner; it was Claralie's hat that he wreathed with Spanish moss, and Claralie whom he escorted home after the jolly singing ride in town on the little dummy-train.
Not that Manuela lacked partners or admirers. Dear no! she was too graceful and beautiful for that. There had been more than enough for her. But Manuela loved Theophile, you see, and no one could take his place. Still, she had tossed her head and let her silvery laughter ring out in the dance, as though she were the happiest of mortals, and had tripped home with Henri, leaning on his arm, and looking up into his eyes as though she adored him.
This morning she showed the traces of a sleepless night and an aching heart as she walked down Marais Street. Across wide St. Rocque Avenue she hastened. "Two blocks to the river and one below—" she repeated to herself breathlessly. Then she stood on the corner gazing about her, until with a final summoning of a desperate courage she dived through a small wicket gate into a garden of weed-choked flowers.
There was a hoarse, rusty little bell on the gate that gave querulous tongue as she pushed it open. The house that sat back in the yard was little and old and weather-beaten. Its one-story frame had once been painted, but that was a memory remote and traditional. A straggling morning-glory strove to conceal its time-ravaged face. The little walk of broken bits of brick was reddened carefully, and the one little step was scrupulously yellow-washed, which denoted that the occupants were cleanly as well as religious.
Manuela's timid knock was answered by a harsh "Entrez."
It was a small sombre room within, with a bare yellow-washed floor and ragged curtains at the little window. In a corner was a diminutive altar draped with threadbare lace. The red glow of the taper lighted a cheap print of St. Joseph and a brazen crucifix. The human element in the room was furnished by a little, wizened yellow woman, who, black-robed, turbaned, and stern, sat before an uncertain table whereon were greasy cards.
Manuela paused, her eyes blinking at the semi-obscurity within. The Wizened One called in croaking tones: "An' fo' w'y you come here? Assiez-la, ma'amzelle."
Timidly Manuela sat at the table facing the owner of the voice.
"I want," she began faintly; but the Mistress of the Cards understood: she had had much experience. The cards were shuffled in her long grimy talons and stacked before Manuela.
"Now you cut dem in t'ree part, so—un, deux, trois, bien! You mek' you' weesh wid all you' heart, bien! Yaas, I see, I see!"
Breathlessly did Manuela learn that her lover was true, but "dat light gal, yaas, she mek' nouvena in St. Rocque fo' hees love."
"I give you one lil' charm, yaas," said the Wizened One when the seance was over, and Manuela, all white and nervous, leaned back in the rickety chair. "I give you one lil' charm fo' to ween him back, yaas.
You wear h'it 'roun' you' wais', an' he come back. Den you mek prayer at St. Rocque an' burn can'le. Den you come back an' tell me, yaas.
Cinquante sous, ma'amzelle. Merci. Good luck go wid you."
Readjusting her veil, Manuela passed out the little wicket gate, treading on air. Again the sun shone, and the breath of the swamps came as healthful sea-breeze unto her nostrils. She fairly flew in the direction of St. Rocque.
There were quite a number of persons entering the white gates of the cemetery, for this was Friday, when all those who wish good luck pray to the saint, and wash their steps promptly at twelve o'clock with a wondrous mixture to guard the house. Manuela bought a candle from the keeper of the little lodge at the entrance, and pausing one instant by the great sun-dial to see if the heavens and the hour were propitious, glided into the tiny chapel, dim and stifling with heavy air from myriad wish-candles blazing on the wide table before the altar-rail.
She said her prayer and lighting her candle placed it with the others.
Mon Dieu! how brightly the sun seemed to shine now, she thought, pausing at the door on her way out. Her small finger-tips, still bedewed with holy water, rested caressingly on a gamin's head. The ivy which enfolds the quaint chapel never seemed so green; the shrines which serve as the Way of the Cross never seemed so artistic; the baby graves, even, seemed cheerful.
Theophile called Sunday. Manuela's heart leaped. He had been spending his Sundays with Claralie. His stay was short and he was plainly bored. But Manuela knelt to thank the good St. Rocque that night, and fondled the charm about her slim waist. There came a box of bonbons during the week, with a decorative card all roses and fringe


shortest way to a point or end; as, a direct line; direct means.

 What is direct to, what slides by, the question.

Locke.
2. Straightforward; not of crooked ways, or swerving from truth and openness; sincere; outspoken.

 Be even and direct with me.

Shak.
3. Immediate; express; plain; unambiguous.

 He nowhere, that I know, says it in direct words.

Locke.
 A direct and avowed interference with elections.

Hallam.
4. In the line of descent; not collateral; as, a descendant in the direct line.

5. (Astron.) In the direction of the general planetary motion, or from west to east; in the order of the signs; not retrograde; -- said of the motion of a celestial body.

Direct action. (Mach.) See Directacting. -- Direct discourse (Gram.), the language of any one quoted without change in its form; as, he said "I can not come;" -- correlative to indirect discourse, in which there is change of form; as, he said that he could not come. They are often called respectively by their Latin names, oratio directa, and oratio obliqua. -- Direct evidence (Law), evidence which is positive or not inferential; -- opposed to circumstantial, or indirect, evidence. -- This distinction, however, is merely formal, since there is no direct evidence that is not circumstantial, or dependent on circumstances for its credibility. Wharton. -- Direct examination (Law), the first examination of a witness in the orderly course, upon the merits. Abbott. -- Direct fire (Mil.), fire, the direction of which is perpendicular to the line of troops or to the parapet aimed at. -- Direct process (Metal.), one which yields metal in working condition by a single process from the ore. Knight.
 -- Direct tax, a tax assessed directly on lands, etc., and polls, distinguished from taxes on merchandise, or customs, and from excise.

 Di*rect" (?), v. t. [imp. & p. p. Directed; p. pr.
 & vb. n. Directing.] 1. To arrange in a direct or straight line, as against a mark, or towards a goal; to point; to aim; as, to direct an arrow or a piece of ordnance.

2. To point out or show to (any one), as the direct or right course or way; to guide, as by pointing out the way; as, he directed me to the left-hand road.

 The Lord direct your into the love of God.

2 Thess. iii. 5.
 The next points to which I will direct your attention.

Lubbock.
3. To determine the direction or course of; to cause to go on in a particular manner; to order in the way to a certain end; to regulate; to govern; as, to direct the affairs of a nation or the movements of an army.

 I will direct their work in truth.

Is. lxi. 8.
4. To point out to with authority; to instruct as a superior; to order; as, he directed them to go.

 I 'll first direct my men what they shall do.

Shak.
5. To put a direction or address upon; to mark with the name and residence of the person to whom anything is sent; to superscribe; as, to direct a letter.

Syn. -- To guide; lead; conduct; dispose; manage; regulate; order; instruct; command.

 Di*rect" (?), v. i. To give direction; to point out a course; to act as guide.

 Wisdom is profitable to direct.

Eccl. x. 10.
 Di*rect", n. (Mus.) A character, thus [&?;], placed at the end of a staff on the line or space of the first note of the next staff, to apprise the performer of its situation. Moore (Encyc. of Music).
 Di*rect"-act'ing (?), a. (Mach.) Acting directly, as one part upon another, without the intervention of other working parts.

Direct-acting steam engine, one in which motion is transmitted to the crank without the intervention of a beam or lever; -- also called direct-action steam engine. -- Direct-acting steam pump, one in which the steam piston rod is directly connected with the pump rod; -- also called direct-action steam pump.

 Di*rect"er (?), n. One who directs; a director.

Directer plane (Geom.), the plane to which all right-lined elements in a warped surface are parallel.

 Di*rec"tion (?), n. [L. directio: cf. F. direction.]
 1. The act of directing, of aiming, regulating, guiding, or ordering; guidance; management; superintendence; administration; as, the direction o&?; public affairs or of a bank.

 I do commit his youth To your direction.

Shak.
 All nature is but art, unknown to thee; ll chance, direction, which thou canst not see.

Pope.
2. That which is imposed by directing; a guiding or authoritative instruction; prescription; order; command; as, he grave directions to the servants.

 The princes digged the well... by the direction of the law giver.

Numb. xxi. 18.
3. The name and residence of a person to whom any thing is sent, written upon the thing sent; superscription; address; as, the direction of a letter.

4. The line or course upon which anything is moving or aimed to move, or in which anything is lying or pointing; aim; line or point of tendency; direct line or course; as, the ship sailed in a southeasterly direction.

5. The body of managers of a corporation or enterprise; board of directors.

6. (Gun.) The pointing of a piece with reference to an imaginary vertical axis; -- distinguished from elevation. The direction is given when the plane of sight passes through the object. Wilhelm.
Syn. -- Administration; guidance; management; superintendence; oversight; government; order; command; guide; clew. Direction, Control, Command, Order. These words, as here compared, have reference to the exercise of power over the actions of others. Control is negative, denoting power to restrain; command is positive, implying a right to enforce obedience; directions are commands containing instructions how to act. Order conveys more prominently the idea of authority than the word direction. A shipmaster has the command of his vessel; he gives orders or directions to the seamen as to the mode of sailing it; and exercises a due control over the passengers.

 Di*rect"ive (?), a. [LL. directivus: cf. F. directif.]
 1. Having power to direct; tending to direct, guide, or govern; showing the way. Hooker.
 The precepts directive of our practice in relation to God.

Barrow.
2. Able to be directed; manageable. [Obs.]

 Swords and bows Directive by the limbs.

Shak.
 Di*rect"ly, adv. 1. In a direct manner; in a straight line or course. "To run directly on." Shak.
 Indirectly and directly too Thou hast contrived against the very life Of the defendant.

Shak.
2. In a straightforward way; without anything intervening; not by secondary, but by direct, means.

3. Without circumlocution or ambiguity; absolutely; in express terms.

 No man hath hitherto been so impious as plainly and directly to condemn prayer.

Hooker.
4. Exactly; just.

 Stand you directly in Antonius' way.

Shak.
5. Straightforwardly; honestly.

 I have dealt most directly in thy affair.

Shak.
6. Manifestly; openly. [Obs.]

 Desdemona is directly in love with him.


ion. -- House flag, a flag denoting the commercial house to which a merchant vessel belongs. -- House fly (Zoöl.), a common fly (esp. Musca domestica), which infests houses both in Europe and America. Its larva is a maggot which lives in decaying substances or excrement, about sink drains, etc. -- House of God, a temple or church. -- House of ill fame. See Ill fame under Ill, a. -- House martin (Zoöl.), a common European swallow (Hirundo urbica). It has feathered feet, and builds its nests of mud against the walls of buildings. Called also house swallow, and window martin. -- House mouse (Zoöl.), the common mouse (Mus musculus). -- House physician, the resident medical adviser of a hospital or other public institution. -- House snake (Zoöl.), the milk snake. -- House sparrow (Zoöl.), the common European sparrow (Passer domesticus). It has recently been introduced into America, where it has become very abundant, esp. in cities. Called also thatch sparrow. -- House spider (Zoöl.), any spider which habitually lives in houses. Among the most common species are Theridium tepidariorum and Tegenaria domestica. -- House surgeon, the resident surgeon of a hospital. -- House wren (Zoöl.), the common wren of the Eastern United States (Troglodytes aëdon).
 It is common about houses and in gardens, and is noted for its vivacity, and loud musical notes. See Wren. -- Religious house, a monastery or convent. -- The White House, the official residence of the President of the United States; -- hence, colloquially, the office of President. -- To bring down the house. See under Bring. -- To keep house, to maintain an independent domestic establishment. -- To keep open house, to entertain friends at all times.

Syn. -- Dwelling; residence; abode. See Tenement.

 House (?), v. t. [imp. & p. p. Housed (?); p. pr.
 & vb. n. Housing.] [AS. h&?;sian.] 1. To take or put into a house; to shelter under a roof; to cover from the inclemencies of the weather; to protect by covering; as, to house one's family in a comfortable home; to house farming utensils; to house cattle.

 At length have housed me in a humble shed.

Young.
House your choicest carnations, or rather set them under a penthouse.

Evelyn.
2. To drive to a shelter. Shak.
3. To admit to residence; to harbor.

 Palladius wished him to house all the Helots.

Sir P. Sidney.
4. To deposit and cover, as in the grave. Sandys.
5. (Naut.) To stow in a safe place; to take down and make safe; as, to house the upper spars.

 House, v. i. 1. To take shelter or lodging; to abide to dwell; to lodge.

 You shall not house with me.

Shak.
2. (Astrol.) To have a position in one of the houses. See House, n., 8. "Where Saturn houses." Dryden.
 House"bote' (?), n. [House + bote.] (Law) Wood allowed to a tenant for repairing the house and for fuel. This latter is often called firebote. See Bote.

 House"break'er (?), n. One who is guilty of the crime of housebreaking.

 House"break'ing, n. The act of breaking open and entering, with a felonious purpose, the dwelling house of another, whether done by day or night. See Burglary, and To break a house, under Break.

 House"build'er (?), n. One whose business is to build houses; a housewright.

 House"carl' (?), n. [OE. huscarle. See House, and Carl.] (Eng.
 Archæol.) A household servant; also, one of the bodyguard of King Canute.

 House"hold' (?), n. 1. Those who dwell under the same roof and compose a family.

 And calls, without affecting airs, His household twice a day to prayers.

Swift.
2. A line of ancestory; a race or house. [Obs.] Shak.
 House"hold', a. Belonging to the house and family; domestic; as, household furniture; household affairs.

Household bread, bread made in the house for common use; hence, bread that is not of the finest quality. [Obs.] -- Household gods (Rom. Antiq.), the gods presiding over the house and family; the Lares and Penates; hence, all objects endeared by association with home.
 -- Household troops, troops appointed to attend and guard the sovereign or his residence.

 House"hold'er (?), n. The master or head of a family; one who occupies a house with his family.

 Towns in which almost every householder was an English Protestant.

Macaulay.
Compound householder. See Compound, a.
 House"keep'er (?), n. 1. One who occupies a house with his family; a householder; the master or mistress of a family. Locke.
2. One who does, or oversees, the work of keeping house; as, his wife is a good housekeeper; often, a woman hired to superintend the servants of a household and manage the ordinary domestic affairs.

3. One who exercises hospitality, or has a plentiful and hospitable household. [Obs.] Sir H. Wotton.
4. One who keeps or stays much at home. [R.]

 You are manifest housekeeper.

Shak.
5. A house dog. [Obs.] Shak.
 House"keep'ing, n. 1. The state of occupying a dwelling house as a householder.

2. Care of domestic concerns; management of a house and home affairs.

3. Hospitality; a liberal and hospitable table; a supply of provisions. [Obs.]

 Tell me, softly and hastily, what's in the pantry? Small housekeeping enough, said Phœbe.

Sir W. Scott.
 House"keep'ing, a. Domestic; used in a family; as, housekeeping commodities.

 Hou"sel (?), n. [OE. housel, husel, AS. hsel; akin to Icel. hsl, Goth. hunsl a sacrifice.] The eucharist.
 [Archaic] Rom. of R. Tennyson.
 Hou"sel, v. t. [AS. hslian.] To administer the eucharist to.
 [Archaic] Chaucer.
 House"leek' (?), n. [House + leek.] (Bot.) A succulent plant of the genus Sempervivum (S. tectorum), originally a native of subalpine Europe, but now found very generally on old walls and roofs. It is very tenacious of life under drought and heat; -- called also ayegreen.

 House"less, a. Destitute of the shelter of a house; shelterless; homeless; as, a houseless wanderer.

 House"less*ness, n. The state of being houseless.

 House"line' (?), n. (Naut.) A small line of three strands used for seizing; -- called also housing. Totten.
 House"ling' (?), a. Same as Housling.

 House"maid' (?), n. A female servant employed to do housework, esp.
 to take care of the rooms.

Housemaid's knee (Med.), a swelling over the knee, due to an enlargement of the bursa in the front of the kneepan; -- so called because frequently occurring in servant girls who work upon their knees.

 House"mate' (?), n. One who


The Culprit Fay, by Joseph Rodman Drake Transcribed from the 1836 George Dearborn edition by David Price, email _EMAIL_ the CULPRIT FAY, and OTHER POEMS by joseph rodman drake.
Cro' Nest, from above West Point, on the Hudson River New York: george dearborn, publisher.
1836.
[Entered according to the Act of Congress of the United States of America, October 31, 1835, by George Dearborn, in the Clerk's Office of the Southern District of New-York.]
SCATCHERD AND ADAMS, PRINTERS, No. 38 Gold-street.
To her father's friend, FITZ-GREENE HALLECK, these poems are respectfully inscribed, by the author's daughter.
Index.
The Culprit Fay To a Friend Leon Niagara Song Song Lines written in a Lady's Album Lines to a Lady Lines on leaving New Rochelle Hope Fragment To --- Lines To Eva To a Lady with a Violet Bronx Song To Sarah The American Flag THE CULPRIT FAY.
"My visual orbs are purged from film, and lo!
 "Instead of Anster's turnip-bearing vales "I see old fairy land's miraculous show!
 "Her trees of tinsel kissed by freakish gales, "Her Ouphs that, cloaked in leaf-gold, skim the breeze, "And fairies, swarming—" Tennant's Anster Fair.
I.
'Tis the middle watch of a summer's night— The earth is dark, but the heavens are bright; Nought is seen in the vault on high But the moon, and the stars, and the cloudless sky, And the flood which rolls its milky hue, A river of light on the welkin blue.
The moon looks down on old Cronest, She mellows the shades on his shaggy breast, And seems his huge gray form to throw In a sliver cone on the wave below; His sides are broken by spots of shade, By the walnut bough and the cedar made, And through their clustering branches dark Glimmers and dies the fire-fly's spark— Like starry twinkles that momently break Through the rifts of the gathering tempest's rack.
II.
The stars are on the moving stream, And fling, as its ripples gently flow, A burnished length of wavy beam In an eel-like, spiral line below; The winds are whist, and the owl is still, The bat in the shelvy rock is hid, And nought is heard on the lonely hill But the cricket's chirp, and the answer shrill Of the gauze-winged katy-did; And the plaint of the wailing whip-poor-will, Who moans unseen, and ceaseless sings, Ever a note of wail and wo, Till morning spreads her rosy wings, And earth and sky in her glances glow.
III.
'Tis the hour of fairy ban and spell: The wood-tick has kept the minutes well; He has counted them all with click and stroke, Deep in the heart of the mountain oak, And he has awakened the sentry elve Who sleeps with him in the haunted tree, To bid him ring the hour of twelve, And call the fays to their revelry; Twelve small strokes on his tinkling bell— ('Twas made of the white snail's pearly shell:—) "Midnight comes, and all is well!
Hither, hither, wing your way!
'Tis the dawn of the fairy day." IV.
They come from beds of lichen green, They creep from the mullen's velvet screen; Some on the backs of beetles fly From the silver tops of moon-touched trees, Where they swung in their cobweb hammocks high, And rock'd about in the evening breeze; Some from the hum-bird's downy nest— They had driven him out by elfin power, And pillowed on plumes of his rainbow breast, Had slumbered there till the charmed hour; Some had lain in the scoop of the rock, With glittering ising-stars inlaid; And some had opened the four-o'clock, And stole within its purple shade.
 And now they throng the moonlight glade, Above—below—on every side, Their little minim forms arrayed In the tricksy pomp of fairy pride!
V. They come not now to print the lea, In freak and dance around the tree, Or at the mushroom board to sup, And drink the dew from the buttercup;— A scene of sorrow waits them now, For an Ouphe has broken his vestal vow; He has loved an earthly maid, And left for her his woodland shade; He has lain upon her lip of dew, And sunned him in her eye of blue, Fann'd her cheek with his wing of air, Played in the ringlets of her hair, And, nestling on her snowy breast, Forgot the lily-king's behest.
For this the shadowy tribes of air To the elfin court must haste away:— And now they stand expectant there, To hear the doom of the Culprit Fay.
VI.
The throne was reared upon the grass Of spice-wood and of sassafras; On pillars of mottled tortoise-shell Hung the burnished canopy— And o'er it gorgeous curtains fell Of the tulip's crimson drapery.
The monarch sat on his judgment-seat, On his brow the crown imperial shone, The prisoner Fay was at his feet, And his peers were ranged around the throne.
He waved his sceptre in the air, He looked around and calmly spoke; His brow was grave and his eye severe, But his voice in a softened accent broke: VII.
"Fairy! Fairy! list and mark, Thou hast broke thine elfin chain, Thy flame-wood lamp is quenched and dark, And thy wings are dyed with a deadly stain— Thou hast sullied thine elfin purity In the glance of a mortal maiden's eye, Thou hast scorned our dread decree, And thou shouldst pay the forfeit high, But well I know her sinless mind Is pure as the angel forms above, Gentle and meek, and chaste and kind, Such as a spirit well might love; Fairy! had she spot or taint, Bitter had been thy punishment.
Tied to the hornet's shardy wings; Tossed on the pricks of nettles' stings; Or seven long ages doomed to dwell With the lazy worm in the walnut-shell; Or every night to writhe and bleed Beneath the tread of the centipede; Or bound in a cobweb dungeon dim, Your jailer a spider huge and grim, Amid the carrion bodies to lie, Of the worm, and the bug, and the murdered fly: These it had been your lot to bear, Had a stain been found on the earthly fair.
Now list, and mark our mild decree— Fairy, this your doom must be: VIII.
"Thou shalt seek the beach of sand Where the water bounds the elfin land, Thou shalt watch the oozy brine Till the sturgeon leaps in the bright moonshine, Then dart the glistening arch below, And catch a drop from his silver bow.
The water-sprites will wield their arms And dash around, with roar and rave, And vain are the woodland spirits' charms, They are the imps that rule the wave.
Yet trust thee in thy single might, If thy heart be pure and thy spirit right, Thou shalt win the warlock fight.
IX.
"If the spray-bead gem be won, The stain of thy wing is washed away, But another errand must be done Ere thy crime be lost for aye; Thy flame-wood lamp is quenched and dark, Thou must re-illume its spark.
Mount thy steed and spur him high To the heaven's blue canopy; And when thou seest a shooting star, Follow it fast, and follow it far— The last faint spark of its burning train Shall light the elfin lamp again.
Thou hast heard our sentence, Fay; Hence! to the water-side, away!" X. The goblin marked his monarch well; He spake not, but he bowed him low, Then plucked a crimson colen-bell, And turned him round in act to go.
The way is long, he cannot fly, His soiled wing has lost its power


Newfoundland. Grabb. J. Q. Adams.
5. A ditcher; a drain digger. [Prov. Eng.]

6. The stone bench on which masons cut or square their work. Weale.
 Bank"er*ess (&?;), n. A female banker. Thackeray.
 Bank"ing, n. The business of a bank or of a banker.

Banking house, an establishment or office in which, or a firm by whom, banking is done.

 Bank" note' (&?;). 1. A promissory note issued by a bank or banking company, payable to bearer on demand.

 In the United States popularly called a bank bill.

2. Formerly, a promissory note made by a banker, or banking company, payable to a specified person at a fixed date; a bank bill. See Bank bill, 2. [Obs.]

3. A promissory note payable at a bank.

 Bank"rupt (&?;), n. [F. banqueroute, fr. It. bancarotta bankruptcy; banca bank (fr. OHG. banch, G. bank, bench) + rotta broken, fr. L. ruptus, p. p. of rumpere to break. At Florence, it is said, the bankrupt had his bench ( i.e., money table) broken. See 1st Bank, and Rupture, n.] 1. (Old Eng. Low) A trader who secretes himself, or does certain other acts tending to defraud his creditors. Blackstone.
2. A trader who becomes unable to pay his debts; an insolvent trader; popularly, any person who is unable to pay his debts; an insolvent person. M&?;Culloch.
3. (Law) A person who, in accordance with the terms of a law relating to bankruptcy, has been judicially declared to be unable to meet his liabilities.

 In England, until the year 1861 none but a "trader" could be made a bankrupt; a non-trader failing to meet his liabilities being an "insolvent". But this distinction was abolished by the Bankruptcy Act of 1861. The laws of 1841 and 1867 of the United States relating to bankruptcy applied this designation bankrupt to others besides those engaged in trade.

 Bank"rupt, a. 1. Being a bankrupt or in a condition of bankruptcy; unable to pay, or legally discharged from paying, one's debts; as, a bankrupt merchant.

2. Depleted of money; not having the means of meeting pecuniary liabilities; as, a bankrupt treasury.

3. Relating to bankrupts and bankruptcy.

4. Destitute of, or wholly wanting (something once possessed, or something one should possess). "Bankrupt in gratitude." Sheridan.
Bankrupt law, a law by which the property of a person who is unable or unwilling to pay his debts may be taken and distributed to his creditors, and by which a person who has made a full surrender of his property, and is free from fraud, may be discharged from the legal obligation of his debts. See Insolvent, a. Bank"rupt, v. t. [imp. & p. p. Bankrupted; p. pr.
 & vb. n. Bankrupting.] To make bankrupt; to bring financial ruin upon; to impoverish.

 Bank"rupt*cy (&?;), n.; pl. Bankruptcies(&?;).
 1. The state of being actually or legally bankrupt.

2. The act or process of becoming a bankrupt.

3. Complete loss; -- followed by of.

 Bank"side' (&?;), n. The slope of a bank, especially of the bank of a steam.

 Bank"-sid'ed (&?;), a. (Naut.) Having sides inclining inwards, as a ship; -- opposed to wallsided.

 Bank" swal"low (&?;). See under 1st Bank, n.
 ||Ban"li*eue' (&?;), n. [F., fr. LL. bannum leucae, banleuca; bannum jurisdiction + leuca league.] The territory without the walls, but within the legal limits, of a town or city. Brande & C. Ban"ner (&?;), n. [OE. banere, OF. baniere, F. bannière, bandière, fr. LL. baniera, banderia, fr. bandum banner, fr. OHG. bant band, strip of cloth; cf. bindan to bind, Goth. bandwa, bandwo, a sign. See Band, n.] 1.
 A kind of flag attached to a spear or pike by a crosspiece, and used by a chief as his standard in battle.

 Hang out our banners on the outward walls. Shak.
2. A large piece of silk or other cloth, with a device or motto, extended on a crosspiece, and borne in a procession, or suspended in some conspicuous place.

3. Any flag or standard; as, the star-spangled banner.

Banner fish (Zoöl.), a large fish of the genus Histiophorus, of the Swordfish family, having a broad bannerlike dorsal fin; the sailfish. One species (H. Americanus) inhabits the North Atlantic.

 Ban"nered (&?;), a. Furnished with, or bearing, banners. "A bannered host." Milton.
 Ban"ner*et (&?;), n. [OE. baneret, OF. baneret, F. banneret; properly a dim. of OF. baniere. See Banner.]

1. Originally, a knight who led his vassals into the field under his own banner; -- commonly used as a title of rank.

2. A title of rank, conferred for heroic deeds, and hence, an order of knighthood; also, the person bearing such title or rank.

 The usual mode of conferring the rank on the field of battle was by cutting or tearing off the point of the pennon or pointed flag on the spear of the candidate, thereby making it a banner.

3. A civil officer in some Swiss cantons.

4. A small banner. Shak.
 Ban"ner*ol (&?;), n. A banderole; esp. a banner displayed at a funeral procession and set over the tomb. See Banderole.

 Ban*ni"tion (&?;), n. [LL. bannitio. See Banish.] The act of expulsion. [Obs.] Abp. Laud.
 Ban"nock (&?;), n. [Gael. bonnach.] A kind of cake or bread, in shape flat and roundish, commonly made of oatmeal or barley meal and baked on an iron plate, or griddle; -- used in Scotland and the northern counties of England. Jamieson.
Bannock fluke, the turbot. [Scot.]

 Banns (&?;), n. pl. [See Ban.] Notice of a proposed marriage, proclaimed in a church, or other place prescribed by law, in order that any person may object, if he knows of just cause why the marriage should not take place.

 Ban"quet (b"kwt), n. [F., a feast, prop. a dim. of banc bench; cf. It. banchetto, dim. of banco a bench, counter.
 See Bank a bench, and cf. Banquette.] 1. A feast; a sumptuous entertainment of eating and drinking; often, a complimentary or ceremonious feast, followed by speeches.

2. A dessert; a course of sweetmeats; a sweetmeat or sweetmeats.
 [Obs.]

 We'll dine in the great room, but let the music And banquet be prepared here. Massinger.
 Ban"quet, v. t. [imp. & p. p. Banqueted; p. pr. & vb. n. Banqueting.] To treat with a banquet or sumptuous entertainment of food; to feast.

 Just in time to banquet The illustrious company assembled


. quiddité.] 1. The essence, nature, or distinctive peculiarity, of a thing; that which answers the question, Quid est? or, What is it? " The degree of nullity and quiddity." Bacon.
 The quiddity or characteristic difference of poetry as distinguished from prose.

De Quincey.
2. A trifling nicety; a cavil; a quibble.

 We laugh at the quiddities of those writers now.

Coleridge.
 Quid"dle (?), v. i. [imp. & p. p. Quiddled (?); p. pr. & vb. n. Quiddling (?).] [L. quid what.] To spend time in trifling employments, or to attend to useful subjects in an indifferent or superficial manner; to dawdle.

 { Quid"dle (?), Quid"dler (?), } n. One who wastes his energy about trifles. Emerson.
 Quid"nunc (?), n. [L., what now?] One who is curious to know everything that passes; one who knows, or pretends to know, all that is going on. "The idle stories of quidnuncs." Motley.
 Qui*esce" (?), v. i. [imp. & p. p. Quiesced (?); p. pr. & vb. n. Quiescing (?).] [L. quiescere, akin to quies rest, quiet. See Quiet, a. & n.] To be silent, as a letter; to have no sound. M. Stuart.
 { Qui*es"cence (?), Qui*es"cen*cy (?), } n. [L. quiescentia, fr. quiescens, p. pr.; cf. F. quiestence. See Quiesce.] The state or quality of being quiescent. "Quiescence, bodily and mental." H. Spencer.
 Deeds will be done; -- while be boasts his quiescence.

R. Browning.
 Qui*es"cent (?), a. [L. quiescens, -entis, p. pr. of quiescere: cf. F. quiescent. See Quiesce.] 1. Being in a state of repose; at rest; still; not moving; as, a quiescent body or fluid.

2. Not ruffed with passion; unagitated; not in action; not excited; quiet; dormant; resting.

 In times of national security, the feeling of patriotism... is so quiescent that it seems hardly to exist.

Prof. Wilson.
3. (Gram.) Not sounded; silent; as, y is quiescent in "day" and "say."

 Qui*es"cent, n. (Gram.) A silent letter. M. Stuart.
 Qui*es"cent*ly, adv. In a quiescent manner.

 Qui"et (?), a. [Compar. Quieter (?); superl. Quietest.]
 [L. quietus, p. p. pf quiescere to rest, keep quiet; akin to quies rest, and prob. to E. while, n. See While, and cf. Coy, a., Quiesce, Quietus, Quit, a., Quite, Requiem.] 1.
 In a state of rest or calm; without stir, motion, or agitation; still; as, a quiet sea; quiet air.

 They... were quiet all the night, saying, In the morning, when it is day, we shall kill him.

Judg. xvi. 2.
2. Free from noise or disturbance; hushed; still.

3. Not excited or anxious; calm; peaceful; placid; settled; as, a quiet life; a quiet conscience. " So quiet and so sweet a style." Shak.
 That son, who on the quiet state of man Such trouble brought.

Milton.
4. Not giving offense; not exciting disorder or trouble; not turbulent; gentle; mild; meek; contented.

 The ornament of a meek and quiet spirit.

1 Pet. iii. 4.
 I will sit as quiet as a lamb.

Shak.
5. Not showy; not such as to attract attention; undemonstrative; as, a quiet dress; quiet colors; a quiet movement.

Syn. -- Still; tranquil; calm; unruffled; smooth; unmolested; undisturbed; placid; peaceful; mild; peaceable; meek; contented.

 Qui"et (?), n. [L. quies, - etis. See Quiet, a.]

1. The quality or state of being quiet, or in repose; as an hour or a time of quiet.

2. Freedom from disturbance, noise, or alarm; stillness; tranquillity; peace; security.

 And join with thee, calm Peace and Quiet.

Milton.
At quiet, still; peaceful. -- In quiet, quietly. " I will depart in quiet." Shak. -- Out of quiet, disturbed; restless. [Obs.] "She is much out of quiet." Shak.
 Qui"et, v. t. [imp. & p. p. Quieted; p. pr. & vb.
 n. Quieting.] 1. To stop motion in; to still; to reduce to a state of rest, or of silence.

2. To calm; to appease; to pacify; to lull; to allay; to tranquillize; as, to quiet the passions; to quiet clamors or disorders; to quiet pain or grief.

Quiet yourselves, I pray, and be at peace.

Shak.
 Qui"et, v. i. To become still, silent, or calm; -- often with down; as, be soon quieted down.

 Qui"et*age (?), n. Quietness. [Obs.] Spenser.
 Qui"et*er (?), n. One who, or that which, quiets.

 Qui"et*ism (?), n. [Cf. F. quiétisme.] 1.
 Peace or tranquillity of mind; calmness; indifference; apathy; dispassion; indisturbance; inaction.

2. (Eccl. Hist.) The system of the Quietists, who maintained that religion consists in the withdrawal of the mind from worldly interests and anxieties and its constant employment in the passive contemplation of God and his attributes.

 Qui"et*ist, n. [Cf. F. quiétiste.] (Eccl. Hist.)
 One of a sect of mystics originated in the seventeenth century by Molinos, a Spanish priest living in Rome. See Quietism.

 Qui'et*is"tic (?), a. Of or pertaining to the Quietists, or to Quietism.

 Qui"et*ly, adv. 1. In a quiet state or manner; without motion; in a state of rest; as, to lie or sit quietly.

2. Without tumult, alarm, dispute, or disturbance; peaceably; as, to live quietly; to sleep quietly.

3. Calmly, without agitation or violent emotion; patiently; as, to submit quietly to unavoidable evils.

4. Noiselessly; silently; without remark or violent movement; in a manner to attract little or no observation; as, he quietly left the room.

 Qui"et*ness, n. The quality or state of being quiet; freedom from noise, agitation, disturbance, or excitement; stillness; tranquillity; calmness.

 I would have peace and quietness.

Shak.
 Qui"et*some (?), a. Calm; still. [Obs.] Spenser.
 Qui"e*tude, n. [L. quietudo: cf. F. quiétude.]
 Rest; repose; quiet; tranquillity. Shelley.
 Qui*e"tus (?), n. [LL. quietus quit, discharged, L., at rest, quiet, dead. See Quiet, a., and cf. Quit, a.] Final discharge or acquittance, as from debt or obligation; that


HOW TO TELL A STORY AND OTHERS by Mark Twain Contents HOW TO TELL A STORY THE WOUNDED SOLDIER.
 THE GOLDEN ARM.
 MENTAL TELEGRAPHY AGAIN THE INVALID'S STORY HOW TO TELL A STORY I do not claim that I can tell a story as it ought to be told. I only claim to know how a story ought to be told, for I have been almost daily in the company of the most expert story-tellers for many years.

 There are several kinds of stories, but only one difficult kind—the humorous. I will talk mainly about that one. The humorous story is American, the comic story is English, the witty story is French. The humorous story depends for its effect upon the manner of the telling; the comic story and the witty story upon the matter.

 The humorous story may be spun out to great length, and may wander around as much as it pleases, and arrive nowhere in particular; but the comic and witty stories must be brief and end with a point. The humorous story bubbles gently along, the others burst.

 The humorous story is strictly a work of art—high and delicate art—and only an artist can tell it; but no art is necessary in telling the comic and the witty story; anybody can do it. The art of telling a humorous story—understand, I mean by word of mouth, not print—was created in America, and has remained at home.

 The humorous story is told gravely; the teller does his best to conceal the fact that he even dimly suspects that there is anything funny about it; but the teller of the comic story tells you beforehand that it is one of the funniest things he has ever heard, then tells it with eager delight, and is the first person to laugh when he gets through. And sometimes, if he has had good success, he is so glad and happy that he will repeat the "nub" of it and glance around from face to face, collecting applause, and then repeat it again. It is a pathetic thing to see.

 Very often, of course, the rambling and disjointed humorous story finishes with a nub, point, snapper, or whatever you like to call it. Then the listener must be alert, for in many cases the teller will divert attention from that nub by dropping it in a carefully casual and indifferent way, with the pretence that he does not know it is a nub.

 Artemus Ward used that trick a good deal; then when the belated audience presently caught the joke he would look up with innocent surprise, as if wondering what they had found to laugh at. Dan Setchell used it before him, Nye and Riley and others use it to-day.

 But the teller of the comic story does not slur the nub; he shouts it at you—every time. And when he prints it, in England, France, Germany, and Italy, he italicizes it, puts some whooping exclamation-points after it, and sometimes explains it in a parenthesis. All of which is very depressing, and makes one want to renounce joking and lead a better life.

 Let me set down an instance of the comic method, using an anecdote which has been popular all over the world for twelve or fifteen hundred years.
 The teller tells it in this way: THE WOUNDED SOLDIER.

 In the course of a certain battle a soldier whose leg had been shot off appealed to another soldier who was hurrying by to carry him to the rear, informing him at the same time of the loss which he had sustained; whereupon the generous son of Mars, shouldering the unfortunate, proceeded to carry out his desire. The bullets and cannon-balls were flying in all directions, and presently one of the latter took the wounded man's head off—without, however, his deliverer being aware of it. In no-long time he was hailed by an officer, who said: "Where are you going with that carcass?" "To the rear, sir—he's lost his leg!" "His leg, forsooth?" responded the astonished officer; "you mean his head, you booby." Whereupon the soldier dispossessed himself of his burden, and stood looking down upon it in great perplexity. At length he said: "It is true, sir, just as you have said." Then after a pause he added, "But he TOLD me IT WAS HIS LEG—" Here the narrator bursts into explosion after explosion of thunderous horse-laughter, repeating that nub from time to time through his gaspings and shriekings and suffocatings.

 It takes only a minute and a half to tell that in its comic-story form; and isn't worth the telling, after all. Put into the humorous-story form it takes ten minutes, and is about the funniest thing I have ever listened to—as James Whitcomb Riley tells it.

 He tells it in the character of a dull-witted old farmer who has just heard it for the first time, thinks it is unspeakably funny, and is trying to repeat it to a neighbor. But he can't remember it; so he gets all mixed up and wanders helplessly round and round, putting in tedious details that don't belong in the tale and only retard it; taking them out conscientiously and putting in others that are just as useless; making minor mistakes now and then and stopping to correct them and explain how he came to make them; remembering things which he forgot to put in in their proper place and going back to put them in there; stopping his narrative a good while in order to try to recall the name of the soldier that was hurt, and finally remembering that the soldier's name was not mentioned, and remarking placidly that the name is of no real importance, anyway—better, of course, if one knew it, but not essential, after all—and so on, and so on, and so on.

 The teller is innocent and happy and pleased with himself, and has to stop every little while to hold himself in and keep from laughing outright; and does hold in, but his body quakes in a jelly-like way with interior chuckles; and at the end of the ten minutes the audience have laughed until they are exhausted, and the tears are running down their faces.

 The simplicity and innocence and sincerity and unconsciousness of the old farmer are perfectly simulated, and the result is a performance which is thoroughly charming and delicious. This is art and fine and beautiful, and only a master can compass it; but a machine could tell the other story.

 To string incongruities and absurdities together in a wandering and sometimes purposeless way, and seem innocently unaware that they are absurdities, is the basis of the American art, if my position is correct.
 Another feature is the slurring of the point. A third is the dropping of a studied remark apparently without knowing it, as if one were thinking aloud. The fourth and last is the pause.

 Artemus Ward dealt in numbers three and four a good deal. He would begin to tell with great animation something which he seemed to think was wonderful; then lose confidence, and after an apparently absent-minded pause add an incongruous remark in a soliloquizing way; and that was the remark intended to explode the mine—and it did.

 For instance, he would say eagerly, excitedly, "I once knew a man in New Zealand who hadn't a tooth in his head"—here his animation would die out; a silent, reflective pause would follow, then he would say dreamily, and as if to himself, "and yet that man could beat a drum better than any man I ever saw." The pause is