are better than his men and labras. Using ink, a pointed stick, and paper, the artist shows an unwonted freedom of execution. Nothing like this occurs in Australian scratches with a sharp stone on hard wood. Probably no other member of his dying race ever illustrated a book.
ANDREW LANG.
1. DINEWAN THE EMU, AND GOOMBLEGUBBON THE BUSTARD Dinewan the emu, being the largest bird, was acknowledged as king by the other birds. The Goomblegubbons, the bustards, were jealous of the Dinewans. Particularly was Goomblegubbon, the mother, jealous of the Diriewan mother. She would watch with envy the high flight of the Dinewans, and their swift running. And she always fancied that the Dinewan mother flaunted her superiority in her face, for whenever Dinewan alighted near Goomblegubbon, after a long, high flight, she would flap her big wings and begin booing in her pride, not the loud booing of the male bird, but a little, triumphant, satisfied booing noise of her own, which never failed to irritate Goomblegubbon when she heard it.
Goomblegubbon used to wonder how she could put an end to Dinewan's supremacy. She decided that she would only be able to do so by injuring her wings and checking her power of flight. But the question that troubled her was how to effect this end. She knew she would gain nothing by having a quarrel with Dinewan and fighting her, for no Goomblegubbon would stand any chance against a Dinewan, There was evidently nothing to be gained by an open fight. She would have to effect her end by cunning.
One day, when Goomblegubbon saw in the distance Dinewan coming towards her, she squatted down and doubled in her wings in such a way as to look as if she had none. After Dinewan had been talking to her for some time, Goomblegubbon said: "Why do you not imitate me and do without wings? Every bird flies. The Dinewans, to be the king of birds, should do without wings. When all the birds see that I can do without wings, they will think I am the cleverest bird and they will make a Goomblegubbon king."
"But you have wings," said Dinewan.
"No, I have no wings." And indeed she looked as if her words were true, so well were her wings hidden, as she squatted in the grass. Dinewan went away after awhile, and thought much of what she had heard. She talked it all over with her mate, who was as disturbed as she was. They made up their minds that it would never do to let the Goomblegubbons reign in their stead, even if they had to lose their wings to save their kingship.
At length they decided on the sacrifice of their wings. The Dinewan mother showed the example by persuading her mate to cut off hers with a combo or stone tomahawk, and then she did the same to his. As soon as the operations were over, the Dinewan mother lost no time in letting Goomblegubbon know what they had done. She ran swiftly down to the plain on which she had left Goomblegubbon, and, finding her still squatting there, she said: "See, I have followed your example. I have now no wings. They are cut off."
"Ha! ha! ha!" laughed Goomblegubbon, jumping up and dancing round with joy at the success of her plot. As she danced round, she spread out her wings, flapped them, and said: "I have taken you in, old stumpy wings.
I have my wings yet. You are fine birds, you Dinewans, to be chosen kings, when you are so easily taken in. Ha! ha! ha!" And, laughing derisively, Goomblegubbon flapped her wings right in front of Dinewan, who rushed towards her to chastise her treachery. But Goomblegubbon flew away, and, alas! the now wingless Dinewan could not follow her.
Brooding over her wrongs, Dinewan walked away, vowing she would be revenged. But how? That was the question which she and her mate failed to answer for some time. At length the Dinewan mother thought of a plan and prepared at once to execute it. She hid all her young Dinewans but two, under a big salt bush. Then she walked off to Goomblegubbons' plain with the two young ones following her. As she walked off the morilla ridge, where her home was, on to the plain, she saw Goomblegubbon out feeding with her twelve young ones.
After exchanging a few remarks in a friendly manner with Goomblegubbon, she said to her, "Why do you not imitate me and only have two children?
Twelve are too many to feed. If you keep so many they will never grow big birds like the Dinewans. The food that would make big birds of two would only starve twelve." Goomblegubbon said nothing, but she thought it might be so. It was impossible to deny that the young Dinewans were much bigger than the young Goomblegubbons, and, discontentedly, Goomblegubbon walked away, wondering whether the smallness of her young ones was owing to the number of them being so much greater than that of the Dinewans. It would be grand, she thought, to grow as big as the Dinewans. But she remembered the trick she had played on Dinewan, and she thought that perhaps she was being fooled in her turn. She looked back to where the Dinewans fed, and as she saw how much bigger the two young ones were than any of hers, once more mad envy of Dinewan possessed her. She determined she would not be outdone. Rather would she kill all her young ones but two. She said, "The Dinewans shall not be the king birds of the plains. The Goomblegubbons shall replace them.
They shall grow as big as the Dinewans, and shall keep their wings and fly, which now the Dinewans cannot do." And straightway Goomblegubbon killed all her young ones but two. Then back she came to where the Dinewans were still feeding. When Dinewan saw her coming and noticed she had only two young ones with her, she called out: "Where are all your young ones?"
Goomblegubbon answered, "I have killed them, and have only two left.
Those will have plenty to eat now, and will soon grow as big as your young ones."
"You cruel mother to kill your children. You greedy mother. Why, I have twelve children and I find food for them all. I would not kill one for anything, not even if by so doing I could get back my wings. There is plenty for all. Look at the emu bush how it covers itself with berries to feed my big family. See how the grasshoppers come hopping round, so that we can catch them and fatten on them."
"But you have only two children."
"I have twelve. I will go and bring them to show you." Dinewan ran off to her salt bush where she had hidden her ten young ones. Soon she was to be seen coming back. Running with her neck stretched forward, her head thrown back with pride, and the feathers of her boobootella swinging as she ran, booming out the while her queer throat noise, the Dinewan song of joy, the pretty, soft-looking little ones with their zebra-striped skins, running beside her whistling their baby Dinewan note. When Dinewan reached the place where Goomblegubbon was, she stopped her booing and said in a solemn tone, "Now you see my words are true, I have twelve young ones, as I said. You can gaze at my loved ones and think of your poor murdered children. And while you do so I will tell you the fate of your descendants for ever. By trickery and deceit you lost the Dinewans their wings, and now for evermore, as long as a Dinewan has no wings, so long shall a Goomblegubbon lay only two eggs and have only two young ones. We are quits now. You have your wings and I my


eteers and Twenty Years After, and the son in The Vicomte de Bragelonne, though they were, in reality, the same man. He was named Governor of Aigues-Mortes in 1660 and was banished there a few years later following a court scandal. Although a favorite of Louis XIV, he got entangled in a plot by Olympe Mancini (then the Comtesse de Soissons) to avenge her sister, Marie, whom the king had abandoned in favor of his political marriage to Maria-Theresa of Spain. He remained in AiguesMortes for 17 years.
Much of the information for these biographies was taken from the David Coward's editions of the D'Artagnan Romances, published by Oxford World's Classics. Additional material came from the Fireblade Coffeehouse's web page on Alexandre Dumas at _URL_ The quote from Robert Louis Stevenson comes from his A Gossip on a Novel of Dumas's from Memories and Portraits.


IN FLANDERS FIELDS by John McCrae [Canadian Poet, _PHONE_] WITH AND ESSAY IN CHARACTER by Sir Andrew Macphail [This text is taken from the New York edition of 1919.]

 John McCrae, physician, soldier, and poet, died in France a Lieutenant-Colonel with the Canadian forces.

 The poem which gives this collection of his lovely verse its name has been extensively reprinted, and received with unusual enthusiasm.

 The volume contains, as well, a striking essay in character by his friend, Sir Andrew Macphail.

 {Although the poem itself is included shortly, this next section is included for completeness, and to show John McCrae's punctuation — also to show that I'm not the only one who forgets lines. — A. L.}

 IN FLANDERS FIELDS {From a} Facsimile of an autograph copy of the poem "In Flanders Fields" This was probably written from memory as "grow" is used in place of "blow" in the first line.

CONTENTS Contents With Dates of Origin In Flanders Fields The Anxious Dead The Warrior Isandlwana The Unconquered Dead The Captain The Song of the Derelict Quebec Then and Now Unsolved The Hope of My Heart Penance Slumber Songs The Oldest Drama Recompense Mine Host Equality Anarchy Disarmament The Dead Master The Harvest of the Sea The Dying of Pere Pierre Eventide Upon Watts' Picture "Sic Transit" A Song of Comfort The Pilgrims The Shadow of the Cross The Night Cometh In Due Season JOHN MCCRAE I. In Flanders Fields II. With the Guns Here ends the account of his part in this memorable battle, And here follow some general observations upon the experience: A few strokes will complete the picture: And here is one last note to his mother: At this time the Canadian division was moving south to take its share in This phase of the war lasted two months precisely, III. The Brand of War IV. Going to the Wars V. South Africa The next entry is from South Africa: The next letter is from the Lines of Communication: Three weeks later he writes: With Ian Hamilton's column near Balmoral.
 At Lyndenburg: VI. Children and Animals VII. The Old Land and the New VIII. The Civil Years IX. Dead in His Prime Contents In Flanders Fields The Anxious Dead The Warrior Isandlwana The Unconquered Dead The Captain The Song of the Derelict Quebec Then and Now Unsolved The Hope of My Heart Penance Slumber Songs The Oldest Drama Recompense Mine Host Equality Anarchy Disarmament The Dead Master The Harvest of the Sea The Dying of Pere Pierre Eventide Upon Watts' Picture "Sic Transit" A Song of Comfort The Pilgrims The Shadow of the Cross The Night Cometh In Due Season JOHN MCCRAE An Essay in Character by Sir Andrew Macphail I. In Flanders Fields "In Flanders Fields", the piece of verse from which this little book takes its title, first appeared in 'Punch' in the issue of December 8th, 1915.
 At the time I was living in Flanders at a convent in front of Locre, in shelter of Kemmel Hill, which lies seven miles south and slightly west of Ypres. The piece bore no signature, but it was unmistakably from the hand of John McCrae.

 From this convent of women which was the headquarters of the 6th Canadian Field Ambulance, I wrote to John McCrae, who was then at Boulogne, accusing him of the authorship, and furnished him with evidence. From memory—since at the front one carries one book only—I quoted to him another piece of his own verse, entitled "The Night Cometh": It will be observed at once by reference to the text that in form the two poems are identical. They contain the same number of lines and feet as surely as all sonnets do. Each travels upon two rhymes with the members of a broken couplet in widely separated refrain. To the casual reader this much is obvious, but there are many subtleties in the verse which made the authorship inevitable. It was a form upon which he had worked for years, and made his own. When the moment arrived the medium was ready. No other medium could have so well conveyed the thought.

 This familiarity with his verse was not a matter of accident. For many years I was editor of the 'University Magazine', and those who are curious about such things may discover that one half of the poems contained in this little book were first published upon its pages. This magazine had its origin in McGill University, Montreal, in the year 1902. Four years later its borders were enlarged to the wider term, and it strove to express an educated opinion upon questions immediately concerning Canada, and to treat freely in a literary way all matters which have to do with politics, industry, philosophy, science, and art.

 To this magazine during those years John McCrae contributed all his verse.
 It was therefore not unseemly that I should have written to him, when "In Flanders Fields" appeared in 'Punch'. Amongst his papers I find my poor letter, and many others of which something more might be made if one were concerned merely with the literary side of his life rather than with his life itself. Two references will be enough. Early in 1905 he offered "The Pilgrims" for publication. I notified him of the place assigned to it in the magazine, and added a few words of appreciation, and after all these years it has come back to me.

 The letter is dated February 9th, 1905, and reads: "I place the poem next to my own buffoonery. It is the real stuff of poetry. How did you make it?
 What have you to do with medicine? I was charmed with it: the thought high, the image perfect, the expression complete; not too reticent, not too full. Videntes autem stellam gavisi sunt gaudio magno valde. In our own tongue,—'slainte filidh'." To his mother he wrote, "the Latin is translatable as,'seeing the star they rejoiced with exceeding gladness'."
 For the benefit of those whose education has proceeded no further than the Latin, it may be explained that the two last words mean, "Hail to the poet".

 To the inexperienced there is something portentous about an appearance in print and something mysterious about the business of an editor. A legend has already grown up around the publication of "In Flanders Fields" in 'Punch'. The truth


. of derelinquere to forsake wholly, to abandon; de- + relinquere to leave.
 See Relinquish.] 1. Given up or forsaken by the natural owner or guardian; left and abandoned; as, derelict lands.

 The affections which these exposed or derelict children bear to their mothers, have no grounds of nature or assiduity but civility and opinion.

Jer. Taylor.
2. Lost; adrift; hence, wanting; careless; neglectful; unfaithful.

 They easily prevailed, so as to seize upon the vacant, unoccupied, and derelict minds of his [Chatham's] friends; and instantly they turned the vessel wholly out of the course of his policy.

Burke.
 A government which is either unable or unwilling to redress such wrongs is derelict to its highest duties.

J. Buchanan.
 Der"e*lict, n. (Law) (a) A thing voluntary abandoned or willfully cast away by its proper owner, especially a ship abandoned at sea. (b) A tract of land left dry by the sea, and fit for cultivation or use.

 Der'e*lic"tion (?), n. [L. derelictio.] 1. The act of leaving with an intention not to reclaim or resume; an utter forsaking abandonment.

 Cession or dereliction, actual or tacit, of other powers.

Burke.
2. A neglect or omission as if by willful abandonment.

 A total dereliction of military duties.

Sir W. Scott.
3. The state of being left or abandoned.

4. (Law) A retiring of the sea, occasioning a change of high-water mark, whereby land is gained.

 De're*li"gion*ize (?), v. t. To make irreligious; to turn from religion. [R.]

 He would dereligionize men beyond all others.

De Quincey.
 Dere"ling (?), n. Darling. [Obs.] Chaucer.
 Dere"ling (?), n. Darling. [Obs.] Chaucer.
 Derf (?), a. [Icel. djafr.] Strong; powerful; fierce. [Obs.]
 -- Derf"ly, adv. [Obs.]

 De*ride" (?), v. t. [imp. & p. p. Derided; p. pr.
 & vb. n. Deriding.] [L. deridere, derisum; de- + rid&?;re to laugh. See Ridicule.] To laugh at with contempt; to laugh to scorn; to turn to ridicule or make sport of; to mock; to scoff at.

 And the Pharisees, also,... derided him.

Luke xvi. 14.
 Sport that wrinkled Care derides. And Laughter holding both his sides.

Milton.
Syn. -- To mock; laugh at; ridicule; insult; taunt; jeer; banter; rally. -- To Deride, Ridicule, Mock, Taunt. A man may ridicule without any unkindness of feeling; his object may be to correct; as, to ridicule the follies of the age. He who derides is actuated by a severe a contemptuous spirit; as, to deride one for his religious principles. To mock is stronger, and denotes open and scornful derision; as, to mock at sin. To taunt is to reproach with the keenest insult; as, to taunt one for his misfortunes. Ridicule consists more in words than in actions; derision and mockery evince themselves in actions as well as words; taunts are always expressed in words of extreme bitterness.

 De*rid"er (?), n. One who derides, or laughs at, another in contempt; a mocker; a scoffer.

 De*rid"ing*ly, adv. By way of derision or mockery.

 De*ri"sion (?), n. [L. derisio: cf. F. dérision.
 See Deride.] 1. The act of deriding, or the state of being derided; mockery; scornful or contemptuous treatment which holds one up to ridicule.

 He that sitteth in the heavens shall laugh; the Lord shall have them in derision.

Ps. ii. 4.
 Satan beheld their plight, And to his mates thus in derision called.

Milton.
2. An object of derision or scorn; a laughing-stock.

 I was a derision to all my people.

Lam. iii. 14.
Syn. -- Scorn; mockery; contempt; insult; ridicule.

 De*ri"sive (?), a. Expressing, serving for, or characterized by, derision. "Derisive taunts." Pope. -- De*ri"sive*ly, adv.
 -- De*ri"sive*ness, n. De*ri"so*ry (?), a. [L. derisorius: cf. F. dérisoire.]
 Derisive; mocking. Shaftesbury.
 De*riv"a*ble (?), a. [From Derive.] That can be derived; obtainable by transmission; capable of being known by inference, as from premises or data; capable of being traced, as from a radical; as, income is derivable from various sources.

 All honor derivable upon me.

South.
 The exquisite pleasure derivable from the true and beautiful relations of domestic life.

H. G. Bell.
 The argument derivable from the doxologies.

J. H. Newman.
 De*riv"a*bly, adv. By derivation.

 De*riv"al (?), n. Derivation. [R.]

 The derival of e from a. Earle.
 Der"i*vate (?), a. [L. derivatus, p. p. of derivare.
 See Derive.] Derived; derivative. [R.] H. Taylor. -- n. A thing derived; a derivative. [R.]

 Der"i*vate (?), v. t. To derive. [Obs.] Huloet.
 Der'i*va"tion (?), n. [L. derivatio: cf. F. dérivation.
 See Derive.] 1. A leading or drawing off of water from a stream or source. [Obs.] T. Burnet.
2. The act of receiving anything from a source; the act of procuring an effect from a cause, means, or condition, as profits from capital, conclusions or opinions from evidence.

 As touching traditional communication,... I do not doubt but many of those truths have had the help of that derivation.

Sir M. Hale.
3. The act of tracing origin or descent, as in grammar or genealogy; as, the derivation of a word from an Aryan root.

4. The state or method of being derived; the relation of origin when established or asserted.

5. That from which a thing is derived.

6. That which is derived; a derivative; a deduction.

 From the Euphrates into an artificial derivation of that river.

Gibbon.
7. (Math.) The operation of deducing one function from another according to some fixed law, called the law of derivation, as the operation of differentiation or of integration.

8. (Med.) A drawing of humors or fluids from one part of the body to another, to relieve or lessen a morbid process.

 Der'i*va"tion*al (?), a. Relating to derivation. Earle.
 De*riv"a*tive (?), a. [L. derivativus: cf. F. dérivatif.]
 Obtained by derivation; derived; not radical, original, or fundamental; originating, deduced, or formed from something else; secondary; as, a derivative conveyance; a derivative word.

Derivative circulation, a modification of the circulation found in some parts of the body, in which the arteries empty directly into the veins without the interposition of capillaries. Flint.
 -- De*r


parallel to a great circle passing through the poles of the earth. Math. Dict. -- Polar distance, the angular distance of any point on a sphere from one of its poles, particularly of a heavenly body from the north pole of the heavens. -- Polar equation of a line or surface, an equation which expresses the relation between the polar coördinates of every point of the line or surface. -- Polar forces (Physics), forces that are developed and act in pairs, with opposite tendencies or properties in the two elements, as magnetism, electricity, etc. -- Polar hare (Zoöl.), a large hare of Arctic America (Lepus arcticus), which turns pure white in winter. It is probably a variety of the common European hare (L. timidus). -- Polar lights, the aurora borealis or australis. -- Polar, or Polaric, opposition or contrast (Logic), an opposition or contrast made by the existence of two opposite conceptions which are the extremes in a species, as white and black in colors; hence, as great an opposition or contrast as possible. -- Polar projection. See under Projection. -- Polar spherical triangle (Spherics), a spherical triangle whose three angular points are poles of the sides of a given triangle. See 4th Pole, 2. -- Polar whale (Zoöl.), the right whale, or bowhead. See Whale.

 Po"lar (?), n. (Conic Sections) The right line drawn through the two points of contact of the two tangents drawn from a given point to a given conic section. The given point is called the pole of the line. If the given point lies within the curve so that the two tangents become imaginary, there is still a real polar line which does not meet the curve, but which possesses other properties of the polar. Thus the focus and directrix are pole and polar. There are also poles and polar curves to curves of higher degree than the second, and poles and polar planes to surfaces of the second degree.

 Pol"ar*chy (?), n. See Polyarchy.

 Po*lar"ic (?), a. See Polar. [R.]

 Po"lar*i*ly (?), adv. In a polary manner; with polarity. [R.] Sir T. Browne.
 Po'lar*im"e*ter (?), n. [Polar + -meter.] (Opt.)
 An instrument for determining the amount of polarization of light, or the proportion of polarized light, in a partially polarized ray.

 Po'lar*im"e*try (?), n. (Opt.) The art or process of measuring the polarization of light.

 ||Po*la"ris (?), n. [NL. See Polar.] (Astron.) The polestar.
 See North star, under North.

 Po*lar"i*scope (?), n. [Polar + -scope.] (Opt.)
 An instrument consisting essentially of a polarizer and an analyzer, used for polarizing light, and analyzing its properties.

 Po*lar'i*scop"ic (?), a. (Opt.) Of or pertaining to the polariscope; obtained by the use of a polariscope; as, polariscopic observations.

 Po'lar*is"co*py (?), n. (Opt.) The art or rocess of making observations with the polariscope.

 Po'lar*is"tic (?), a. Pertaining to, or exhibiting, poles; having a polar arrangement or disposition; arising from, or dependent upon, the possession of poles or polar characteristics; as, polaristic antagonism.

 Po*lar"i*ty (?), n. [Cf. F. polarité.] 1. (Physics) That quality or condition of a body in virtue of which it exhibits opposite, or contrasted, properties or powers, in opposite, or contrasted, parts or directions; or a condition giving rise to a contrast of properties corresponding to a contrast of positions, as, for example, attraction and repulsion in the opposite parts of a magnet, the dissimilar phenomena corresponding to the different sides of a polarized ray of light, etc.

2. (Geom.) A property of the conic sections by virtue of which a given point determines a corresponding right line and a given right line determines a corresponding point. See Polar, n. Po"lar*i'za*ble (?), a. Susceptible of polarization.

 Po'lar*i*za"tion (?), n. [Cf. F. polarisation.]

1. The act of polarizing; the state of being polarized, or of having polarity.

2. (Opt.) A peculiar affection or condition of the rays of light or heat, in consequence of which they exhibit different properties in different directions.

 If a beam of light, which has been reflected from a plate of unsilvered glass at an angle of about 56°, be received upon a second plate of glass similar to the former, and at the same angle of incidence, the light will be readily reflected when the two planes of incidence are parallel to each other, but will not be reflected when the two planes of incidence are perpendicular to each other. The light has, therefore, acquired new properties by reflection from the first plate of glass, and is called polarized light, while the modification which the light has experienced by this reflection is called polarization. The plane in which the beam of light is reflected from the first mirror is called the plane of polarization. The angle of polarization is the angle at which a beam of light must be reflected, in order that the polarization may be the most complete. The term polarization was derived from the theory of emission, and it was conceived that each luminous molecule has two poles analogous to the poles of a magnet; but this view is not now held.
 According to the undulatory theory, ordinary light is produced by vibrations transverse or perpendicular to the direction of the ray, and distributed as to show no distinction as to any particular direction. But when, by any means, these, vibrations are made to take place in one plane, the light is said to be plane polarized. If only a portion of the vibrations lie in one plane the ray is said to be partially polarized.
 Light may be polarized by several methods other than by reflection, as by refraction through most crystalline media, or by being transmitted obliquely through several plates of glass with parallel faces. If a beam of polarized light be transmitted through a crystal of quartz in the direction of its axis, the plane of polarization will be changed by an angle proportional to the thickness of the crystal. This phenomenon is called rotatory polarization. A beam of light reflected from a metallic surface, or from glass surfaces under certain peculiar conditions, acquires properties still more complex, its vibrations being no longer rectilinear, but circular, or elliptical. This phenomenon is called circular or elliptical polarization.

3. (Elec.) An effect produced upon the plates of a voltaic battery, or the electrodes in an electrolytic cell, by the deposition upon them of the gases liberated by the action of the current. It is chiefly due to the hydrogen, and results in an increase of the resistance, and the setting up of an opposing electromotive force, both of which tend materially to weaken the current of the battery, or that passing through the cell.

 Po"lar*ize (?), v. t. [imp. & p. p. Polarized (?); p. pr. & vb. n. Polarizing (?).] [Cf. F. polariser.] To communicate polarity to.

 Po"lar*i'zer (?), n. (Physics) That which polarizes; especially, the part of a polariscope which receives and polarizes the light. It is usually a reflecting plate, or a plate of some crystal, as tourmaline, or a doubly refracting crystal.

 Po"lar*y (?), a. Tending to a pole; having a direction toward a pole. [R.] Sir T


The Story of the Glittering Plain, by William Morris Transcribed from the 1913 Longmans, Green and Co. edition by David Price, email _EMAIL_ THE STORY OF THE GLITTERING PLAIN WHICH HAS BEEN ALSO CALLED THE LAND OF LIVING MEN OR THE ACRE OF THE UNDYING WRITTEN BY WILLIAM MORRIS pocket edition LONGMANS, GREEN AND CO.
39 paternoster row, london new york, bombay, and calcutta 1913 BIBLIOGRAPHICAL NOTE First printed in the English Illustrated Magazine, Vol.
VII, 1890.
First Edition in book form, 200 copies printed at the Kelmscott Press in the Golden Type, quarto, April 1891, Reeves and Turner, with six copies on vellum.
Printed at the Kelmscott Press in the Troy Type, with wood-engravings from designs by Walter Crane, 250 copies and seven on vellum, January 1894.
Printed September 1891, in imperial 16mo.
Transferred to Longmans, Green and Co., June 1896.
Reprinted February 1898 and August 1904.
Included in Volume XIV of the Collected Works of William Morris, July 1912.
Included in Longmans' Pocket Library, November 1913.
CHAPTER I: OF THOSE THREE WHO CAME TO THE HOUSE OF THE RAVEN It has been told that there was once a young man of free kindred and whose name was Hallblithe: he was fair, strong, and not untried in battle; he was of the House of the Raven of old time.
This man loved an exceeding fair damsel called the Hostage, who was of the House of the Rose, wherein it was right and due that the men of the Raven should wed.
She loved him no less, and no man of the kindred gainsaid their love, and they were to be wedded on Midsummer Night.
But one day of early spring, when the days were yet short and the nights long, Hallblithe sat before the porch of the house smoothing an ash stave for his spear, and he heard the sound of horse-hoofs drawing nigh, and he looked up and saw folk riding toward the house, and so presently they rode through the garth gate; and there was no man but he about the house, so he rose up and went to meet them, and he saw that they were but three in company: they had weapons with them, and their horses were of the best; but they were no fellowship for a man to be afraid of; for two of them were old and feeble, and the third was dark and sad, and drooping of aspect: it seemed as if they had ridden far and fast, for their spurs were bloody and their horses all a-sweat.
Hallblithe hailed them kindly and said: "Ye are way-worn, and maybe ye have to ride further; so light down and come into the house, and take bite and sup, and hay and corn also for your horses; and then if ye needs must ride on your way, depart when ye are rested; or else if ye may, then abide here night-long, and go your ways to-morrow, and meantime that which is ours shall be yours, and all shall be free to you." Then spake the oldest of the elders in a high piping voice and said: "Young man, we thank thee; but though the days of the springtide are waxing, the hours of our lives are waning; nor may we abide unless thou canst truly tell us that this is the Land of the Glittering Plain: and if that be so, then delay not, lead us to thy lord, and perhaps he will make us content." Spake he who was somewhat less stricken in years than the first: "Thanks have thou! but we need something more than meat and drink, to wit the Land of Living Men. And Oh! but the time presses." Spake the sad and sorry carle: "We seek the Land where the days are many: so many that he who hath forgotten how to laugh, may learn the craft again, and forget the days of Sorrow." Then they all three cried aloud and said: "Is this the Land? Is this the Land?" But Hallblithe wondered, and he laughed and said: "Wayfarers, look under the sun down the plain which lieth betwixt the mountains and the sea, and ye shall behold the meadows all gleaming with the spring lilies; yet do we not call this the Glittering Plain, but Cleveland by the Sea. Here men die when their hour comes, nor know I if the days of their life be long enough for the forgetting of sorrow; for I am young and not yet a yokefellow of sorrow; but this I know, that they are long enough for the doing of deeds that shall not die.
And as for Lord, I know not this word, for here dwell we, the sons of the Raven, in good fellowship, with our wives that we have wedded, and our mothers who have borne us, and our sisters who serve us. Again I bid you light down off your horses, and eat and drink, and be merry; and depart when ye will, to seek what land ye will." They scarce looked on him, but cried out together mournfully: "This is not the Land! This is not the Land!" No more than that they said, but turned about their horses and rode out through the garth gate, and went clattering up the road that led to the pass of the mountains. But Hallblithe hearkened wondering, till the sound of their horse-hoofs died away, and then turned back to his work: and it was then two hours after high-noon.
CHAPTER II: EVIL TIDINGS COME TO HAND AT CLEVELAND Not long had he worked ere he heard the sound of horsehoofs once more, and he looked not up, but said to himself, "It is but the lads bringing back the teams from the acres, and riding fast and driving hard for joy of heart and in wantonness of youth." But the sound grew nearer and he looked up and saw over the turf wall of the garth the flutter of white raiment; and he said: "Nay, it is the maidens coming back from the sea-shore and the gathering of wrack." So he set himself the harder to his work, and laughed, all alone as he was, and said: "She is with them: now I will not look up again till they have ridden into the garth, and she has come from among them, and leapt off her horse, and cast her arms about my neck as her wont is; and it will rejoice her then to mock me with hard words and kind voice and longing heart; and I shall long for her and kiss her, and sweet shall the coming days seem to us: and the daughters of our folk shall look on and be kind and blithe with us." Therewith rode the maidens into the garth, but he heard no sound of laughter or merriment amongst them, which was contrary to their wont; and his heart fell, and it was as if instead of the maidens' laughter the voices of those wayfarers came back upon the wind crying out, "Is this the Land? Is this the Land?" Then he looked up hastily, and saw the maidens drawing near, ten of the House of the Raven, and three of the House of the Rose; and he beheld them that their faces were pale and woe-begone, and their raiment rent, and there was no joy in them. Hallblithe stood aghast while one who had gotten off her horse (and she was the daughter of his own mother) ran past him into the hall, looking not at him, as if she durst not: and another rode off swiftly to the horse-stalls. But the others, leaving their horses, drew round about him, and for a while none durst utter a word; and he stood gazing at them, with the spoke-shave in his hand, he also silent; for he saw that the Hostage was not with them, and he knew that now he was the yokefellow of sorrow.
At last he spoke gently and in a kind voice, and said: "Tell me, sisters, what evil hath befallen us, even if it be the death of a dear friend, and the thing that may not be amended." Then spoke a fair woman of the Rose, whose name was Brightling, and said: "Hallblithe, it is not of death that we have to tell, but of sundering, which may yet be amended. We were on the sand of the sea nigh the Ship-st


-- Golden Legend, a hagiology (the "Aurea Legenda") written by James de Voragine, Archbishop of Genoa, in the 13th century, translated and printed by Caxton in 1483, and partially paraphrased by Longfellow in a poem thus entitled. -- Golden marcasite tin. [Obs.]
 -- Golden mean, the way of wisdom and safety between extremes; sufficiency without excess; moderation.

 Angels guard him in the golden mean.

Pope.
 -- Golden mole (Zoöl), one of several South African Insectivora of the family Chrysochloridæ, resembling moles in form and habits. The fur is tinted with green, purple, and gold. -- Golden number (Chronol.), a number showing the year of the lunar or Metonic cycle. It is reckoned from 1 to 19, and is so called from having formerly been written in the calendar in gold. -- Golden oriole. (Zoöl.)
 See Oriole. -- Golden pheasant. See under Pheasant. -- Golden pippin, a kind of apple, of a bright yellow color. -- Golden plover (Zoöl.), one of several species of plovers, of the genus Charadrius, esp. the European (C. apricarius, or pluvialis; -- called also yellow, black-breasted, hill, ∧ whistling, plover. The common American species (C. dominicus) is also called frostbird, and bullhead.
 -- Golden robin. (Zoöl.) See Baltimore oriole, in Vocab. -- Golden rose (R. C. Ch.), a gold or gilded rose blessed by the pope on the fourth Sunday in Lent, and sent to some church or person in recognition of special services rendered to the Holy See. -- Golden rule. (a) The rule of doing as we would have others do to us. Cf. Luke vi. 31. (b) The rule of proportion, or rule of three. -- Golden samphire (Bot.), a composite plant (Inula crithmoides), found on the seashore of Europe. -- Golden saxifrage (Bot.), a low herb with yellow flowers (Chrysosplenium oppositifolium), blossoming in wet places in early spring. - - Golden seal (Bot.), a perennial ranunculaceous herb (Hydrastis Canadensis), with a thick knotted rootstock and large rounded leaves.
 -- Golden sulphide, or sulphuret, of antimony (Chem.), the pentasulphide of antimony, a golden or orange yellow powder. -- Golden warbler (Zoöl.), a common American wood warbler (Dendroica æstiva); -- called also blue-eyed yellow warbler, garden warbler, and summer yellow bird. -- Golden wasp (Zoöl.), a brightcolored hymenopterous insect, of the family Chrysididæ.
 The colors are golden, blue, and green. -- Golden wedding. See under Wedding.

 Gold"en-eye' (?), n. (Zoöl.) A duck (Glaucionetta clangula), found in Northern Europe, Asia, and America. The American variety (var. Americana) is larger. Called whistler, garrot, gowdy, pied widgeon, whiteside, curre, and doucker.
 Barrow's golden-eye of America (G. Islandica) is less common.

 God"en*ly, adv. In golden terms or a golden manner; splendidly; delightfully. [Obs.] Shak.
 Gold"en-rod' (?), n. (Bot.) A tall herb (Solidago Virga-aurea), bearing yellow flowers in a graceful elongated cluster.
 The name is common to all the species of the genus Solidago.

Golden-rod tree (Bot.), a shrub (Bosea Yervamora), a native of the Canary Isles.

 Gold"finch' (?), n. [AS. goldfinc. See Gold, and Finch.] (Zoöl.)
(a) A beautiful brightcolored European finch (Carduelis elegans). The name refers to the large patch of yellow on the wings.
 The front of the head and throat are bright red; the nape, with part of the wings and tail, black; -- called also goldspink, goldie, fool's coat, drawbird, draw-water, thistle finch, and sweet William. (b) The yellowhammer. (c) A small American finch (Spinus tristis); the thistle bird.

 The name is also applied to other yellow finches, esp. to several additional American species of Spinus.

 Gold"fin'ny (?), n. (Zoöl.) One of two or more species of European labroid fishes (Crenilabrus melops, and Ctenolabrus rupestris); -- called also goldsinny, and goldney.

 Gold"fish' (?), n. (Zoöl.) (a) A small domesticated cyprinoid fish (Carassius auratus); -- so named from its color. It is a native of China, and is said to have been introduced into Europe in 1691. It is often kept as an ornament, in small ponds or glass globes. Many varieties are known. Called also golden fish, and golden carp. See Telescope fish, under Telescope. (b) A California marine fish of an orange or red color; the garibaldi.

 Gold"-ham'mer (?), n. The yellowhammer.

 Gold"ie (?), n. [From Gold.] (Zoöl.) (a) The European goldfinch. (b) The yellowhammer.

 Gold"i*locks' (?), n. Same as Goldylocks.

 { Gold"in (?), Gold"ing (?), } n. (Bot.) [From the golden color of the blossoms.] A conspicuous yellow flower, commonly the corn marigold (Chrysanthemum segetum). [This word is variously corrupted into gouland, gools, gowan, etc.]

 Gold"less (?), a. Destitute of gold.

 Gold"ney (?), n. (Zoöl.) See Gilthead.

 Gold"seed' (?), n. (Bot.) Dog's-tail grass.

 Gold"sin'ny (?), n. (Zoöl.) See Goldfinny.

 Gold"smith' (?), n. [AS. goldsmi&?;. See Gold., and Smith.] 1.
 An artisan who manufactures vessels and ornaments, etc., of gold.

2. A banker. [Obs.]

 The goldsmiths of London formerly received money on deposit because they were prepared to keep it safely.

Goldsmith beetle (Zoöl.), a large, bright yellow, American beetle (Cotalpa lanigera), of the family Scarabæidæ Gold"tit' (?), n. (Zoöl.) See Verdin.

 Gold"y*locks' (?), n. (Bot.) A plant of several species of the genus Chrysocoma; -- so called from the tufts of yellow flowers which terminate the stems; also, the Ranunculus auricomus, a kind of buttercup.

 Go"let (?), n. The gullet. [Obs.] Chaucer.
 Go"let, n. (Zoöl.) A California trout. See Malma.

 Golf (?), n. [D. kolf club or bat, also a Dutch game played in an inclosed area with clubs and balls; akin to G. kolben club, but end, Icel. k&?;lfr tongue of a bell. bolt, Sw. kolf bolt, dart, but end, Dan. kolv bolt, arrow. Cf. Club, Globe.] A game played with a small ball and a bat or club crooked at the lower end.
 He who drives the ball into each of a series of small holes in the ground and brings it into the last hole with the fewest strokes is the winner.
 [Scot.] Strutt.


A ROMANCE OF YOUTH By Francois Coppee With a Preface by JOSE DE HEREDIA, of the French Academy CONTENTS FRANCOIS COPPEE A ROMANCE OF YOUTH BOOK 1. CHAPTER I. ON THE BALCONY CHAPTER II. SAD CHANGES CHAPTER III. PAPA AND MAMMA GERARD CHAPTER IV. THE DEMON ABSINTHE BOOK 2. CHAPTER V. AMEDEE MAKES FRIENDS CHAPTER VI. DREAMS OF LOVE CHAPTER VII. A GENTLE COUNSELLOR CHAPTER VIII. BUTTERFLIES AND GRASSHOPPERS CHAPTER IX. THORNS OF JEALOUSY CHAPTER X. A BUDDING POET BOOK 3. CHAPTER XI. SUCCESS CHAPTER XII. SOCIAL TRIUMPHS CHAPTER XIII. A SERPENT AT THE FIRESIDE BOOK 4. CHAPTER XIV. TOO LATE! CHAPTER XV. REPARATION CHAPTER XVI. IN TIME OF WAR CHAPTER XVII. "WHEN YOUTH, THE DREAM, DEPARTS" FRANCOIS COPPEE FRANCOIS EDOUARD JOACHIM COPPEE was born in Paris, January 12, 1842. His father was a minor 'employe' in the French War Office; and, as the family consisted of six the parents, three daughters, and a son (the subject of this essay)—the early years of the poet were not spent in great luxury. After the father's death, the young man himself entered the governmental office with its monotonous work. In the evening he studied hard at St. Genevieve Library. He made rhymes, had them even printed (Le Reliquaire, 1866); but the public remained indifferent until 1869, when his comedy in verse, 'Le Passant', appeared. From this period dates the reputation of Coppee—he woke up one morning a "celebrated man." Like many of his countrymen, he is a poet, a dramatist, a novelist, and a writer of fiction. He was elected to the French Academy in 1884. Smooth shaven, of placid figure, with pensive eyes, the hair brushed back regularly, the head of an artist, Coppee can be seen any day looking over the display of the Parisian secondhand booksellers on the Quai Malaquais; at home on the writing-desk, a page of carefully prepared manuscript, yet sometimes covered by cigarette-ashes; upon the wall, sketches by Jules Lefebvre and Jules Breton; a little in the distance, the gaunt form of his attentive sister and companion, Annette, occupied with household cares, ever fearful of disturbing him. Within this tranquil domicile can be heard the noise of the Parisian faubourg with its thousand different dins; the bustle of the street; the clatter of a factory; the voice of the workshop; the cries of the pedlers intermingled with the chimes of the bells of a near-by convent-a confusing buzzing noise, which the author, however, seems to enjoy; for Coppee is Parisian by birth, Parisian by education, a Parisian of the Parisians.

 If as a poet we contemplate him, Coppee belongs to the group commonly called "Parnassiens"—not the Romantic School, the sentimental lyric effusion of Lamartine, Hugo, or De Musset! When the poetical lute was laid aside by the triad of 1830, it was taken up by men of quite different stamp, of even opposed tendencies. Observation of exterior matters was now greatly adhered to in poetry; it became especially descriptive and scientific; the aim of every poet was now to render most exactly, even minutely, the impressions received, or faithfully to translate into artistic language a thesis of philosophy, a discovery of science. With such a poetical doctrine, you will easily understand the importance which the "naturalistic form" henceforth assumed.

 Coppee, however, is not only a maker of verses, he is an artist and a poet. Every poem seems to have sprung from a genuine inspiration. When he sings, it is because he has something to sing about, and the result is that his poetry is nearly always interesting. Moreover, he respects the limits of his art; for while his friend and contemporary, M. Sully-Prudhomme, goes astray habitually into philosophical speculation, and his immortal senior, Victor Hugo, often declaims, if one may venture to say so, in a manner which is tedious, Coppee sticks rigorously to what may be called the proper regions of poetry.

 Francois Coppee is not one of those superb high priests disdainful of the throng: he is the poet of the "humble," and in his work, 'Les Humbles', he paints with a sincere emotion his profound sympathy for the sorrows, the miseries, and the sacrifices of the meek. Again, in his 'Grave des Forgerons, Le Naufrage, and L'Epave', all poems of great extension and universal reputation, he treats of simple existences, of unknown unfortunates, and of sacrifices which the daily papers do not record. The coloring and designing are precise, even if the tone be somewhat sombre, and nobody will deny that Coppee most fully possesses the technique of French poetry.

 But Francois Coppee is known to fame as a prosewriter, too. His 'Contes en prose' and his 'Vingt Contes Nouveaux' are gracefully and artistically told; scarcely one of the 'contes' fails to have a moral motive. The stories are short and naturally slight; some, indeed, incline rather to the essay than to the story, but each has that enthralling interest which justifies its existence. Coppee possesses preeminently the gift of presenting concrete fact rather than abstraction. A sketch, for instance, is the first tale written by him, 'Une Idylle pendant le Seige' (1875). In a novel we require strong characterization, great grasp of character, and the novelist should show us the human heart and intellect in full play and activity. In 1875 appeared also 'Olivier', followed by 'L'Exilee (1876); Recits et Elegies (1878); Vingt Contes Nouveaux (1883); and Toute une Jeunesse', mainly an autobiography, crowned by acclaim by the Academy. 'Le Coupable' was published in 1897. Finally, in 1898, appeared 'La Bonne Souffrance'. In the last-mentioned work it would seem that the poet, just recovering from a severe malady, has returned to the dogmas of the Catholic Church, wherefrom he, like so many of his contemporaries, had become estranged when a youth. The poems of 1902, 'Dans la Priere et dans la Lutte', tend to confirm the correctness of this view.

 Thanks to the juvenile Sarah Bernhardt, Coppee became, as before mentioned, like Byron, celebrated in one night. This happened through the performance of 'Le Passant'.

 As interludes to the plays there are "occasional" theatrical pieces, written for the fiftieth anniversary of the performance of 'Hernani' or the two-hundredth anniversary of the foundation of the "Comedie Francaise." This is a wide field, indeed, which M. Coppee has cultivated to various purposes.

 Take Coppee's works in their sum and totality, and the world-decree is that he is an artist, and an admirable one. He plays upon his instrument with all power and grace. But he is no mere virtuoso. There is something in him beyond the executant. Of Malibran, Alfred de Musset says, most beautifully, that she had that "voice of the heart which alone has power


all the work with one scull. This scull he puts down through the water till it touches the bed of the ocean, and then he shoves.

 "Deep-sea punting" would be the technical term for the method, we presume.

 In this way do they toil—or rather, to speak correctly, does the one man toil—through the awful night, until with joy they see before them the light-house rocks.

 The light-house keeper comes out with a lantern. The boat is run in among the breakers and all are saved.

 And then the band plays.

 THE END.


f. F. intromission. See Intromit.]

1. The act of sending in or of putting in; insertion. South.
2. The act of letting go in; admission.

3. (Scots Law) An intermeddling with the affairs of another, either on legal grounds or without authority.

 In'tro*mit" (?), v. t. [imp. & p. p. Intromitted; p. pr. & vb. n. Intromitting.] [L. intromittere, intromissum; introwithin + mittere to send.]

1. To send in or put in; to insert or introduce. Greenhill.
2. To allow to pass in; to admit.

 Glass in the window intromits light, without cold.

Holder.
 In'tro*mit", v. i. (Scots Law) To intermeddle with the effects or goods of another.

 In'tro*mit"tent (?), a. [L. intromittens, p. pr.]

1. Throwing, or allowing to pass, into or within.

2. (Zoöl.) Used in copulation; -- said of the external reproductive organs of the males of many animals, and sometimes of those of the females.

 In'tro*mit"ter (?), n. One who intromits.

 In'tro*pres"sion (?), n. Pressure acting within. [R.]

 In'tro*re*cep"tion (?), n. The act of admitting into or within. Hammond.
 In*trorse" (?), a. [L. introrsus inward, contr. from introversus.
 See Introvert.] (Bot.) Turning or facing inward, or toward the axis of the part to which it belongs. Gray.
 In'tro*spect" (?), v. t. [L. introspectus, p. p. introspicere to look into; intro within + specere to look. See Spy.] To look into or within; to view the inside of. Bailey.
 In'tro*spec"tion (?), n. [Cf. F. introspection.] A view of the inside or interior; a looking inward; specifically, the act or process of self-examination, or inspection of one's own thoughts and feelings; the cognition which the mind has of its own acts and states; self-consciousness; reflection.

 I was forced to make an introspection into my own mind.

Dryden.
 In'tro*spec"tion*ist, n. (Metaph.) One given to the introspective method of examining the phenomena of the soul.

 In'tro*spec"tive (?), a. [Cf. F. introspectif.]

1. Inspecting within; seeing inwardly; capable of, or exercising, inspection; self-conscious.

2. Involving the act or results of conscious knowledge of physical phenomena; -- contrasted with associational. J. S. Mill.
 In'tro*sume" (?), v. t. [Pref. intro- + L. sumere to take.] To draw in; to swallow. [Obs.] Evelyn.
 In'tro*sus*cep"tion (?), n. 1. The act or process of receiving within.

 The person is corrupted by the introsusception of a nature which becomes evil thereby.

Coleridge.
2. (Med.) Same as Intussusception.

 In'tro*ven"ient (?), a. [L. introveniens, p. pr. of introvenire to come in; intro within + venire to come.] Coming in together; entering; commingling. [R.] Sir T. Browne.
 In'tro*ver"sion (?), n. [See Introvert.] The act of introverting, or the state of being introverted; the act of turning the mind inward. Berkeley.
 In'tro*vert" (?), v. t. [imp. & p. p. Introverted; p. pr. & vb. n. Introverting.] [Pref. intro- + L. vertere, versum, to turn.]

1. To turn or bend inward. "Introverted toes." Cowper.
2. To look within; to introspect. Lew Wallace.
 In*trude" (?), v. i. [L. intrudere, intrusum; pref.
 inin + trudere to thrust, akin to E. threat. See Threat.] To thrust one's self in; to come or go in without invitation, permission, or welcome; to encroach; to trespass; as, to intrude on families at unseasonable hours; to intrude on the lands of another.

 Thy wit wants edge And manners, to intrude where I am graced.

Shak.
 Some thoughts rise and intrude upon us, while we shun them; others fly from us, when we would hold them.

I. Watts.
 In*trude", v. t. [imp. & p. p. Intruded; p. pr. & vb. n. Intruding.]

1. To thrust or force (something) in or upon; especially, to force (one's self) in without leave or welcome; as, to intrude one's presence into a conference; to intrude one's opinions upon another.

2. To enter by force; to invade. [Obs.]

 Why should the worm intrude the maiden bud?

Shak.
3. (Geol.) The cause to enter or force a way, as into the crevices of rocks.

Syn. -- To obtrude; encroach; infringe; intrench; trespass. See Obtrude.

 In*trud"ed (?), p. a. (Geol.) Same as Intrusive.

 In*trud"er (?), n. One who intrudes; one who thrusts himself in, or enters without right, or without leave or welcome; a trespasser.

 They were all strangers and intruders.

Locke.
 In*trud"ress (?), n. A female intruder.

 In*trunk" (?), v. t. To inclose as in a trunk; to incase. [R.] Ford.
 In*tru"sion (?), n. [Cf. F. intrusion. See Intrude.]

1. The act of intruding, or of forcing in; especially, the forcing (one's self) into a place without right or welcome; encroachment.

 Why this intrusion? Were not my orders that I should be private?

Addison.
2. (Geol.) The penetrating of one rock, while in a plastic or metal state, into the cavities of another.

3. (Law) The entry of a stranger, after a particular estate or freehold is determined, before the person who holds in remainder or reversion has taken possession.

4. (Scotch Ch.) The settlement of a minister over a congregation without their consent.

 In*tru"sion*al (?), a. Of or pertaining to intrusion.

 In*tru"sion*ist, n. One who intrudes; especially, one who favors the appointment of a clergyman to a parish, by a patron, against the wishes of the parishioners.

 In*tru"sive (?), a. Apt to intrude; characterized by intrusion; entering without right or welcome.

Intrusive rocks (Geol.), rocks which have been forced, while in a plastic or melted state, into the cavities or between the cracks or layers of other rocks. The term is sometimes used as equivalent to plutonic rocks. It is then contrasted with effusive or volcanic rocks.

 -- In*tru"sive*ly, adv. -- In*tru"sive*ness, n. In*trust" (?), v. t. [imp. & p. p. Intrusted, p. pr.
 & vb. n. Intrusting.] To deliver (something) to another in trust; to deliver to (another) something in trust; to commit or surrender (something) to another with a certain confidence regarding his care, use, or disposal of it; as, to intrust a servant


to be left behind. Others use stones instead of leaves. Similarly in the Babar Archipelago tired people will strike themselves with stones, believing that they thus transfer to the stones the weariness which they felt in their own bodies. They then throw away the stones in places which are specially set apart for the purpose.
A like belief and practice in many distant parts of the world have given rise to those cairns or heaps of sticks and leaves which travellers often observe beside the path, and to which every passing native adds his contribution in the shape of a stone, or stick, or leaf. Thus in the Solomon and Banks' Islands the natives are wont to throw sticks, stones, or leaves upon a heap at a place of steep descent, or where a difficult path begins, saying, "There goes my fatigue." The act is not a religious rite, for the thing thrown on the heap is not an offering to spiritual powers, and the words which accompany the act are not a prayer. It is nothing but a magical ceremony for getting rid of fatigue, which the simple savage fancies he can embody in a stick, leaf, or stone, and so cast it from him.
2. The Transference to Animals ANIMALS are often employed as a vehicle for carrying away or transferring the evil. When a Moor has a headache he will sometimes take a lamb or a goat and beat it till it falls down, believing that the headache will thus be transferred to the animal. In Morocco most wealthy Moors keep a wild boar in their stables, in order that the jinn and evil spirits may be diverted from the horses and enter into the boar. Amongst the Caffres of South Africa, when other remedies have failed, "natives sometimes adopt the custom of taking a goat into the presence of a sick man, and confess the sins of the kraal over the animal. Sometimes a few drops of blood from the sick man are allowed to fall on the head of the goat, which is turned out into an uninhabited part of the veldt. The sickness is supposed to be transferred to the animal, and to become lost in the desert." In Arabia, when the plague is raging, the people will sometimes lead a camel through all the quarters of the town in order that the animal may take the pestilence on itself. Then they strangle it in a sacred place and imagine that they have rid themselves of the camel and of the plague at one blow. It is said that when smallpox is raging the savages of Formosa will drive the demon of disease into a sow, then cut off the animal's ears and burn them or it, believing that in this way they rid themselves of the plague.
Amongst the Malagasy the vehicle for carrying away evils is called a faditra. "The faditra is anything selected by the sikidy [divining board] for the purpose of taking away any hurtful evils or diseases that might prove injurious to an individual's happiness, peace, or prosperity. The faditra may be either ashes, cut money, a sheep, a pumpkin, or anything else the sikidy may choose to direct. After the particular article is appointed, the priest counts upon it all the evils that may prove injurious to the person for whom it is made, and which he then charges the faditra to take away for ever. If the faditra be ashes, it is blown, to be carried away by the wind. If it be cut money, it is thrown to the bottom of deep water, or where it can never be found. If it be a sheep, it is carried away to a distance on the shoulders of a man, who runs with all his might, mumbling as he goes, as if in the greatest rage against the faditra, for the evils it is bearing away. If it be a pumpkin, it is carried on the shoulders to a little distance, and there dashed upon the ground with every appearance of fury and indignation." A Malagasy was informed by a diviner that he was doomed to a bloody death, but that possibly he might avert his fate by performing a certain rite.
Carrying a small vessel full of blood upon his head, he was to mount upon the back of a bullock; while thus mounted, he was to spill the blood upon the bullock's head, and then send the animal away into the wilderness, whence it might never return.
The Bataks of Sumatra have a ceremony which they call "making the curse to fly away." When a woman is childless, a sacrifice is offered to the gods of three grasshoppers, representing a head of cattle, a buffalo, and a horse. Then a swallow is set free, with a prayer that the curse may fall upon the bird and fly away with it. "The entrance into a house of an animal which does not generally seek to share the abode of man is regarded by the Malays as ominous of misfortune. If a wild bird flies into a house, it must be carefully caught and smeared with oil, and must then be released in the open air, a formula being recited in which it is bidden to fly away with all the ill-luck and misfortunes of the occupier." In antiquity Greek women seem to have done the same with swallows which they caught in the house: they poured oil on them and let them fly away, apparently for the purpose of removing ill-luck from the household.
The Huzuls of the Carpathians imagine that they can transfer freckles to the first swallow they see in spring by washing their face in flowing water and saying, "Swallow, swallow, take my freckles, and give me rosy cheeks." Among the Badagas of the Neilgherry Hills in Southern India, when a death has taken place, the sins of the deceased are laid upon a buffalo calf. For this purpose the people gather round the corpse and carry it outside of the village. There an elder of the tribe, standing at the head of the corpse, recites or chants a long list of sins such as any Badaga may commit, and the people repeat the last word of each line after him. The confession of sins is thrice repeated. "By a conventional mode of expression, the sum total of sins a man may do is said to be thirteen hundred.
Admitting that the deceased has committed them all, the performer cries aloud, 'Stay not their flight to God's pure feet.' As he closes, the whole assembly chants aloud 'Stay not their flight.' Again the performer enters into details, and cries, 'He killed the crawling snake. It is a sin.' In a moment the last word is caught up, and all the people cry 'It is a sin.' As they shout, the performer lays his hand upon the calf. The sin is transferred to the calf.
Thus the whole catalogue is gone through in this impressive way.
But this is not enough. As the last shout 'Let all be well' dies away, the performer gives place to another, and again confession is made, and all the people shout 'It is a sin.' A third time it is done. Then, still in solemn silence, the calf is let loose. Like the Jewish scapegoat, it may never be used for secular work." At a Badaga funeral witnessed by the Rev. A. C. Clayton the buffalo calf was led thrice round the bier, and the dead man's hand was laid on its head. "By this act, the calf was supposed to receive all the sins of the deceased.
It was then driven away to a great distance, that it might contaminate no one, and it was said that it would never be sold, but looked on as a dedicated sacred animal." The idea of this ceremony is, that the sins of the deceased enter the calf, or that the task of his absolution is laid on it. They say that the calf very soon disappears, and that it is never heard of." 3. The Transference to Men AGAIN, men sometimes play the part of scapegoat by diverting to themselves the evils that threaten others. When a Cingalese is dangerously ill, and the physicians can do nothing, a devil-dancer is called in, who by making offerings to the devils, and dancing in the masks appropriate to them, conjures these demons of disease, one after the other, out of the sick man's body and into his own. Having thus successfully extracted the cause of the malady, the artful dancer lies down on a bier, and shamming


, Method of Law, 141 et seq.

 294 (return) 294/1 Ellis v. Clark, 110 Mass. 389.

 294/2 Fitch v. Snedaker, 38 N. Y. 248, criticising Williaws v. Carwardine, 4 Barn. & Ad. 621, where, however, it does not appear that the plaintiff did not know of the offer of a reward, but merely that the jury found that she was in fact actuated by other motives, a finding wholly beside the mark.

 296 (return) 296/1 Y.B. 29 Ed. III. 25, 26.

 296/2 19 R. II., Fitzh. Abr. Dett, pl. 166.

 296/3 Hunt v. Bate, Dyer, 272, A.D. 1568.

 297 (return) 297/1 See Barker v. Halifax, Cro. Eliz. 741; S.C. 3 Dyer, 272 a, n. 32.

 297/2 Sidenham v. Worlington, 2 Leonard, 224; Bosden v. Thinne, Yelv. 40; Lampleigh v. Brathwait, Hobart, 105; Langdell, Cas. on Contr. (2d ed.), ch. 2, Section 11, Summary, Sections 90 et seq. See above, Lecture VII. p.
 286.

 297/3 Pollock, Contr. (lst ed.), p. 6.

 298 (return) 298/1 Canham v. Barry, 15 C.B. 597, 619; Jones v. How, 9 C.B. 1, 9; Com.
 Dig. Condition, D. 2; I Roll. Abr. 420 (D), pl. 1; Y.B. 22 Ed. IV. 26, pl.
 6.

 301 (return) 301/1 Gee v. Lancashire & Yorkshire Railway Co., 6 H. & N. 211, 218, Bramwell, B. Cf. Hydraulic Engineering Co. v. McHaffie, 4 Q.B.D. 670, 674, 676.

 301/2 British Columbia Saw-Mill Co. v. Nettleship, L.R. 3 C.P. 499, 509, Willes, J.; Horne v. Midland Railway Co., L.R. 7 C.P. 583, 591; S.C., L.R.
 8 C.P. 131.

 302 (return) 302/1 British Columbia Saw-Mill Co. v. Nettleship, L.R. 3 C.P. 499, 509.

 304 (return) 304/1 Cheale v. Kenward, 3 DeG. & J. 27.

 304/2 Langdell, Contr., Sections 89, 28.

 305 (return) 305/1 Langdell, Contr., Section 57.

 305/2 Ibid., Sections 14, 15.

 306 (return) 306/1 But see Langdell, Contr., Sections 14, 15.

 309 (return) 309/1 Raffles v. Wichelhaus, 2 H. & C. 906. Cf. Kyle v. Kavanagh, 103 Mass. 356, 357.

 309/2 Cf. Cocker v. Crompton, 1 B. & C. 489.

 310 (return) 310/1 Smith v. Hughes, L.R. 6 Q.B.597.

 310/2 See Gardner v. Lane, 12 Allen, 39; S.C. 9 Allen, 492, 98 Mass. 517.

 311 (return) 311/1 Goddard v. Monitor Ins. Co., 108 Mass. 56.

 313 (return) 313/1 See Cundy v. Lindsay, 3 App. Cas. 459, 469. Cf. Reg. v. Middleton, L.R. 2 C.C. 38, 55 et seq., 62 et seq.; Reg. v. Davies, Dearsly, C.C. 640; Rex v. Mucklow, 1 Moody, O.C. 160; Reg. v. Jacobs, 12 Cox, 151.

 313/2 "Praesentia corporis tollit errorem nominis." Cf. Byles, J., in Way v. Hearne, 32 L. J. N.S.C.P. 34, 40. But cf. the conflicting opinions in Reg. v. Middleton, L.R. 2 C.C. 38, 45, 57. It would seem that a proper name or other identification of an object or person as specific may have the same effect as an actual identification by the senses, because it refers to such an identification, although in a less direct way.

 316 (return) 316/1 Brown v. Foster, 113 Mass. 136.

 316/2 Leake, Dig. Contr. 13, 14, 637; Hunt v. Livermore, 5 Pick. 395, 397; Langd. Contr. (2d ed.), Section 36.

 316/3 Leake, Dig. Contr. 638; Braunstein v. Accidental Death Ins. Co., 1 B. & S. 782.

 316/4 But cf. Langd. Contr. (2d ed.), Section 29.

 318 (return) 318/1 Langd. Contr. (2d ed.), Section 29.

 318/2 Bullen & Leake, Prec. of Plead. (3d ed.), 147, "Conditions Precedent."

 319 (return) 319/1 Cf. Cort v. Ambergate, Nottingham & Boston & Eastern Junction Railway Co., 17 Q.B.127.

 320 (return) 320/1 Goodman v. Pocock, 15 Q.B.576 (1850).

 325 (return) 325/1 Fisher v. Mellen, 103 Mass. 503.

 325/2 Supra, p. 136.

 327 (return) 327/1 Langd. Contr. (2d ed.), Section 33.

 328 (return) 328/1 See the explanation of Dimech v. Corlett, 12 Moo. P.C. 199, in Behn v. Burness, 3 B. & S. 751, 760.

 329 (return) 329/1 Behn v. Burness, 3 B. & S. 751.

 329/2 Langd. Contr. (2d ed.), Section 28, p. 1000.

 329/3 See Lecture VIII.

 330 (return) 330/1 Kennedy v. Panama, &c. Mail Co., L.R. 2 Q.B.580, 588; Lyon v. Bertram, 20 How. 149, 153. Cf. Windscheid, Pand., Section 76, nn. 6, 9.

 330/2 Windscheid, Pand., Section 76(4). See, generally, Ibid., nn. 6, 7; Section 78, pp. 206, 207; Section 82, pp. 216 et seq.

 331 (return) 331/1 Cr. Ihering, Geist d. Roem. Rechts, Section 48, III. p. 116 (Fr.
 transl.).

 331/2 See, however, the language of Crompton, J. in S.C., I B. & S.
 877. Cf. Kent, Comm. (12th ed.), 479, n. 1, A (c).

 331/3 Behn v. Burness, 3 B. & S. 751, 755, 756.

 334 (return) 334/1 Cf


estuff, of artificial production.

 Chrys'el*e*phan"tine (?), a. [Gr. chryso's gold + &?; made of ivory, fr. &?; ivory, elephant.] Composed of, or adorned with, gold and ivory.

 The chryselephantine statues of the Greeks were built up with inferior materials, veneered, as it were, with ivory for the flesh, and gold decorated with color for the hair and garments.

 Chry"sene (?), n. [Gr. chryso's gold.] (Chem.) One of the higher aromatic hydrocarbons of coal tar, allied to naphthalene and anthracene. It is a white crystalline substance, C18H12, of strong blue fluorescence, but generally colored yellow by impurities.

 Chrys"o*ber'yl (?), n. [L. chrysoberyllus, Gr. &?;; chryso's gold + &?; beryl.] (Min.) A mineral, found in crystals, of a yellow to green or brown color, and consisting of aluminia and glucina. It is very hard, and is often used as a gem.

 Chrys"o*chlore (?), n. [Gr. chryso's gold + chlwro's light green: cf. F. chrysochlore.] (Zoöl.) A South African mole of the genus Chrysochloris; the golden mole, the fur of which reflects brilliant metallic hues of green and gold.

 Chrys"o*col'la (?), n. [L., fr. Gr. chryso'kolla gold solder; chryso's gold + &?; glue.] (Min.) A hydrous silicate of copper, occurring massive, of a blue or greenish blue color.

 Chrys"o*gen (?), n. [Gr. chryso's gold + -gen.] (Chem.)
 A yellow crystalline substance extracted from crude anthracene.

 Chry*sog"ra*phy (?), n. [Gr. &?;; chryso's gold + &?; to write.] 1. The art of writing in letters of gold.

2. A writing executed in letters of gold.

 Chrys*o"ï*dine (?), n. [Gr. chryso's gold + -oid + -ine.]
 (Chem.) An artificial, yellow, crystalline dye, C6H5N2.C6H3 (NH2)2. Also, one of a group of dyestuffs resembling chrysoïdine proper.

 Chrys"o*lite (?), n. [L. chrysolithos, Gr. &?;; chryso's gold + &?; stone: cf. F. chrysolithe.] (Min.) A mineral, composed of silica, magnesia, and iron, of a yellow to green color. It is common in certain volcanic rocks; -- called also olivine and peridot.
 Sometimes used as a gem. The name was also early used for yellow varieties of tourmaline and topaz.

 Chry*sol"o*gy (?), n. [Gr. chryso's gold + -logy.] That branch of political economy which relates to the production of wealth.

 ||Chrys*o"pa (?), n. [NL., from Gr. chryso's gold + &?;, &?;, eye, face.] (Zoöl.) A genus of neuropterous insects. See Lacewing.

 Chrys"o*phane (?), n. [Gr. chryso's gold + &?; to show.] (Chem.)
 A glucoside extracted from rhubarb as a bitter, yellow, crystalline powder, and yielding chrysophanic acid on decomposition.

 Chrys'o*phan"ic (?), a. Pertaining to, or derived from, or resembling, chrysophane.

Chrysophanic acid (Chem.), a yellow crystalline substance extracted from rhubarb, yellow dock, sienna, chrysarobin, etc., and shown to be a derivative of an anthracene. It is used in the treatment of skin diseases; -- called also rhein, rheic acid, rhubarbarin, etc.

 Chrys"o*prase (?), n. [OE. crisopace, OF. crisoprace, F. chrysoprase, L. chrysoprasus, fr. Gr. &?;; chryso's gold + &?; leek.] (Min.) An apple-green variety of chalcedony, colored by nickel. It has a dull flinty luster, and is sometimes used in jewelry.

 ||Chry*sop"ra*sus (?), n. [L.] See Chrysoprase. Rev. xxi. 20.
 Chrys"o*sperm (?), n. [Gr. chryso's gold + &?; seed.] The seed of gold; a means of creating gold. [Obs.] B. Jonson.
 Chrys"o*type (?), n. [Gr. chryso's gold + -type.] 1.
 A photographic picture taken upon paper prepared by the use of a sensitive salt of iron and developed by the application of chloride of gold. Abney.
2. 2process, invented by Sir J.Herschel.

 Chthon"ic (?), a. [Gr. &?;, &?;, the earth.] Pertaining to the earth; earthy; as, chthonic religions.

 [The] chthonic character of the wife of Zeus. Max Müller.
 { ||Chthon'o*pha"gi*a (?), Chtho*noph"a*gy (?), } n. [NL. chthonophagia; Gr. &?;, &?;, earth + &?; to eat.] A disease characterized by an irresistible desire to eat earth, observed in some parts of the southern United States, the West Indies, etc.

 Chub (?), n. [This word seems to signify a large or thick fish. Cf.
 Sw. kubb a short and thick piece of wood, and perh. F. chabot chub.] (Zoöl.) A species to fresh-water fish of the Cyprinidæ or Carp family. The common European species is Leuciscus cephalus; the cheven. In America the name is applied to various fishes of the same family, of the genera Semotilus, Squalius, Ceratichthys, etc., and locally to several very different fishes, as the tautog, black bass, etc.

Chub mackerel (Zoöl.), a species of mackerel (Scomber colias) in some years found in abundance on the Atlantic coast, but absent in others; -- called also bull mackerel, thimble-eye, and bigeye mackerel. -- Chub sucker (Zoöl.), a fresh-water fish of the United States (Erimyzon sucetta); -- called also creekfish.

 Chub"bed (?), a. Chubby. [R.] H. Brooke.
 Chub"bed*ness, n. The state of being chubby.

 Chub"by (?), a. Like a chub; plump, short, and thick. "Chubby faces." I. Taylor.
 Chub"-faced' (?), a. Having a plump, short face.

 Chuck (chk), v. i. [imp. & p. p. Chucked (chkt); p. pr. & vb. n. Chucking.] [Imitative of the sound.] 1. To make a noise resembling that of a hen when she calls her chickens; to cluck.

2. To chuckle; to laugh. [R.] Marston.
 Chuck, v. t. To call, as a hen her chickens. Dryden.
 Chuck, n. 1. The chuck or call of a hen.

2. A sudden, small noise.

3. A word of endearment; -- corrupted from chick. "Pray, chuck, come hither." Shak.
 Chuck, v. t. [imp.


Gr. & Rom.
 Antiq.) A sign or memorial of a victory raised on the field of battle, or, in case of a naval victory, on the nearest land. Sometimes trophies were erected in the chief city of the conquered people.

 A trophy consisted originally of some of the armor, weapons, etc., of the defeated enemy fixed to the trunk of a tree or to a post erected on an elevated site, with an inscription, and a dedication to a divinity. The Romans often erected their trophies in the Capitol.

2. The representation of such a memorial, as on a medal; esp. (Arch.), an ornament representing a group of arms and military weapons, offensive and defensive.

3. Anything taken from an enemy and preserved as a memorial of victory, as arms, flags, standards, etc.

 Around the posts hung helmets, darts, and spears, And captive chariots, axes, shields, and bars, And broken beaks of ships, the trophies of their wars.

Dryden.
4. Any evidence or memorial of victory or conquest; as, every redeemed soul is a trophy of grace.

Trophy money, a duty paid formerly in England, annually, by housekeepers, toward providing harness, drums, colors, and the like, for the militia.

 Trop"ic (?), a. [Atropine + -ic.] (Chem.) Of, pertaining to, or designating, an acid obtained from atropine and certain other alkaloids, as a white crystalline substance slightly soluble in water.

 Trop"ic, n. [F. tropique, L. tropicus of or belonging to a turn, i. e., of the sun, Gr. &?; of the solstice, &?; (sc. &?;) the tropic or solstice, fr. &?; to turn. See Trope.] 1.
(Astron.) One of the two small circles of the celestial sphere, situated on each side of the equator, at a distance of 23° 28, and parallel to it, which the sun just reaches at its greatest declination north or south, and from which it turns again toward the equator, the northern circle being called the Tropic of Cancer, and the southern the Tropic of Capricorn, from the names of the two signs at which they touch the ecliptic.

2. (Geog.) (a) One of the two parallels of terrestrial latitude corresponding to the celestial tropics, and called by the same names. (b) pl. The region lying between these parallels of latitude, or near them on either side.

 The brilliant flowers of the tropics bloom from the windows of the greenhouse and the saloon.

Bancroft.
 Trop"ic, a. Of or pertaining to the tropics; tropical.

Tropic bird (Zoöl.), any one of three species of oceanic belonging to the genus Phaëthon, found chiefly in tropical seas. They are mostly white, and have two central tail feathers very long and slender. The yellow-billed tropic bird. Phaëthon flavirostris (called also boatswain), is found on the Atlantic coast of America, and is common at the Bermudas, where it breeds.

 Trop"ic*al (?), a. [Cf. L. tropicus of turning, Gr. &?;.
 See Tropic, n.] 1. Of or pertaining to the tropics; characteristic of, or incident to, the tropics; being within the tropics; as, tropical climate; tropical latitudes; tropical heat; tropical diseases.

2. [From Trope.] Rhetorically changed from its exact original sense; being of the nature of a trope; figurative; metaphorical. Jer.
 Taylor.
 The foundation of all parables is some analogy or similitude between the tropical or allusive part of the parable and the thing intended by it.

South.
Tropic month. See Lunar month, under Month. — Tropic year, the solar year; the period occupied by the sun in passing from one tropic or one equinox to the same again, having a mean length of 365 days, 5 hours, 48 minutes, 46.0 seconds, which is 20 minutes, 23.3 seconds shorter than the sidereal year, on account of the precession of the equinoxes.

 Trop"ic*al*ly, adv. In a tropical manner; figuratively; metaphorically.

 Trop"i*dine (?), n. [See Tropine.] (Chem.) An alkaloid, C8H13N, obtained by the chemical dehydration of tropine, as an oily liquid having a coninelike odor.

 Tro*pil"i*dene (?), n. [See Tropine.] (Chem.) A liquid hydrocarbon obtained by the dry distillation of tropine with quicklime. It is regarded as being homologous with dipropargyl.

 Tro"pine (?), n. [From Atropine.] (Chem.) A white crystalline alkaloid, C8H15NO, produced by decomposing atropine.

 Trop"ist (?), n. [Cf. F. tropiste. See Trope.] One who deals in tropes; specifically, one who avoids the literal sense of the language of Scripture by explaining it as mere tropes and figures of speech.

 { Trop'o*log"ic (?), Trop'o*log"ic*al (?), } a. [Gr. &?;: cf.
 F. tropologique. See Tropology.] Characterized by tropes; varied by tropes; tropical. Burton. — Trop'o*log"ic*al*ly, adv.
 Tro*pol"o*gize (?), v. t. To use in a tropological sense, as a word; to make a trope of. [R.]

 If... Minerva be tropologized into prudence.

Cudworth.
 Tro*pol"o*gy (?), n. [Gr. &?;; &?; a trope + &?; discourse: cf. F. tropologie.] A rhetorical mode of speech, including tropes, or changes from the original import of the word. Sir T. Browne.
 Tros"sers (?), n. pl. Trousers. [Obs.] Shak.
 Trot (?), v. i. [imp. & p. p. Trotted; p. pr. & vb. n. Trotting.] [OE. trotten, OF. troter, F. trotter; probably of Teutonic origin, and akin to E. tread; cf. OHG. trott&?;n to tread. See Tread.] 1. To proceed by a certain gait peculiar to quadrupeds; to ride or drive at a trot. See Trot, n.
2. Fig.: To run; to jog; to hurry.

 He that rises late must trot all day, and will scarcely overtake his business at night.

Franklin.
 Trot, v. t. To cause to move, as a horse or other animal, in the pace called a trot; to cause to run without galloping or cantering.

To trot out, to lead or bring out, as a horse, to show his paces; hence, to bring forward, as for exhibition. [Slang.]

 Trot, n. [F. See Trot, v. i.] 1. The pace of a horse or other quadruped, more rapid than a walk, but of various degrees of swiftness, in which one fore foot and the hind foot of the opposite side are lifted at the same time. "The limbs move diagonally in pairs in the trot."
 Stillman (The Horse in Motion).
2. Fig.: A jogging pace, as of a person hurrying.

3. One who trots; a child; a woman.

 An old trot with ne'er a tooth.

Shak.
 Troth (?), n. [A variant of truth. See Truth.] 1.
 Belief; faith; fidelity.

 Bid her alight And


the duel described actually took place in Berlin.

 St. Louis is the author's birthplace, and his home, the home of those friends whom he has known from childhood and who have always treated him with unfaltering kindness. He begs that they will believe him when he says that only such characters as he loves are reminiscent of those he has known there. The city has a large population,—large enough to include all the types that are to be found in the middle West.

 One word more. This book is written of a time when feeling ran high. It has been necessary to put strong speech into the mouths of the characters.
 The breach that threatened our country's existence is healed now. There is no side but Abraham Lincoln's side. And this side, with all reverence and patriotism, the author has tried to take.

 Abraham Lincoln loved the South as well as the North.


THE DUCHESS OF MALFI by John Webster CONTENTS INTRODUCTORY NOTE THE DUCHESS OF MALFI FOOTNOTES: INTRODUCTORY NOTE Of John Webster's life almost nothing is known. The dates _PHONE_ given for his birth and death are conjectural inferences, about which the best that can be said is that no known facts contradict them.

 The first notice of Webster so far discovered shows that he was collaborating in the production of plays for the theatrical manager, Henslowe, in 1602, and of such collaboration he seems to have done a considerable amount. Four plays exist which he wrote alone, "The White Devil," "The Duchess of Malfi," "The Devil's Law-Case," and "Appius and Virginia."

 "The Duchess of Malfi" was published in 1623, but the date of writing may have been as early as 1611. It is based on a story in Painter's "Palace of Pleasure," translated from the Italian novelist, Bandello; and it is entirely possible that it has a foundation in fact. In any case, it portrays with a terrible vividness one side of the court life of the Italian Renaissance; and its picture of the fierce quest of pleasure, the recklessness of crime, and the worldliness of the great princes of the Church finds only too ready corroboration in the annals of the time.

 Webster's tragedies come toward the close of the great series of tragedies of blood and revenge, in which "The Spanish Tragedy" and "Hamlet" are landmarks, but before decadence can fairly be said to have set in. He, indeed, loads his scene with horrors almost past the point which modern taste can bear; but the intensity of his dramatic situations, and his superb power of flashing in a single line a light into the recesses of the human heart at the crises of supreme emotion, redeems him from mere sensationalism, and places his best things in the first rank of dramatic writing.

 THE DUCHESS OF MALFI Dramatis Personae: FERDINAND [Duke of Calabria]. CARDINAL [his brother]. ANTONIO [BOLOGNA, Steward of the Household to the Duchess]. DELIO [his friend]. DANIEL DE BOSOLA [Gentleman of the Horse to the Duchess].
 [CASTRUCCIO, an old Lord]. MARQUIS OF PESCARA. [COUNT] MALATESTI. RODERIGO, ] SILVIO, ] [Lords]. GRISOLAN, ] DOCTOR. The Several Madmen.
 DUCHESS [OF MALFI]. CARIOLA [her woman]. [JULIA, Castruccio's wife, and] the Cardinal's mistress. [Old Lady].
 Ladies, Three Young Children, Two Pilgrims, Executioners, Court Officers, and Attendants.

 FOOTNOTES: 1 (return) [ Malfi. The presence-chamber in the palace of the Duchess.]

 2 (return) [ Prevent.]

 3 (return) [ The same.]

 4 (return) [ The reference is to the knightly sport of riding at the ring.]

 5 (return) [ At the expense of.]

 6 (return) [ Rolls of lint used to dress wounds.]

 7 (return) [ Surgeons.]

 8 (return) [ A small horse.]

 9 (return) [ Ballasted.]

 10 (return) [ A lively dance.]

 11 (return) [ Throws into the shade.]

 12 (return) [ At the point of.]

 13 (return) [ Coaches.]

 14 (return) [ Spy.]

 15 (return) [ Cheats.]

 16 (return) [ Spy.]

 17 (return) [ Malfi. Gallery in the Duchess' palace.]

 18 (return) [ Lustful.]

 19 (return) [ Genesis xxxi., 31-42.]

 20 (return) [ The net in which he caught Venus and Mars.]

 21 (return) [ Housekeepers.]

 22 (return) [ Produced.]

 23 (return) [ Qq. read STRANGE.]

 24 (return) [ Guess.]

 25 (return) [ The phrase used to indicate that accounts had been examined and found correct.]

 26 (return) [ Using words of present time; i.e., "I take," not "I will take."]

 27 (return) [ Knot.]

 28 (return) [ More firmly.]

 29 (return) [ Of difficult disposition.]

 30 (return) [ Malfi. An apartment in the palace of the Duchess.]

 31 (return) [ Chief part.]

 32 (return) [ Bullies (Hazlitt); lawyers (Vaughan).]

 33 (return) [ Royal journey.]

 34 (return) [ Turning a boat on its side for repairs.]

 35 (return) [ Scabbed.]

 36 (return) [ Empty.]

 37 (return) [ Face-modeling (Sampson).
 "There's a plain statement of your practises."]

 38 (return) [ Blue like those of a woman with child.]

 39 (return) [ Scurf.]

 40 (return) [ Person of highest influence.]

 41 (return) [ Hysteria.]

 42 (return) [ This year.]

 43 (return) [ Clearly.]

 44 (return) [ Youngster.]

 45 (return) [ A hall in the same palace.]

 46 (return) [ Crossness.]

 47 (return) [ Always.]

 48 (return) [ The meaner servants.]

 49 (return) [ At once.]

 50 (return) [ Cast his horoscope.]

 51 (return) [ The court of the same palace.]

 52 (return) [ Making an astrological calculation.]

 53 (return) [ Going to the root of the matter.]

 54 (return) [ Write.]

 55 (return) [ i.e., on his handkerchief.]

 56 (return) [ Addressing the lantern.]

 57 (return) [ "The rest not considered."]

 58 (return) [ A piece of news.]

 59 (return) [ Cleverly contrived.]

 60 (return) [ Rome. An apartment in the palace of the Cardinal.]

 61 (return) [ Religious recluse.]

 62 (return) [ Experienced.]

 63 (return) [ Sick.]

 64 (return) [ Medicinal.]

 65 (return) [ Strong broth.]

 66 (return) [ Another apartment in the same palace.]

 67 (return) [ The mandrake was supposed to give forth shrieks when uprooted, which drove the hearer mad.]

 68 (return) [ Unchaste.]

 69 (return) [ Supposed to be a sign of folly.]

 70 (return) [ Throw the hammer.]

 71 (return) [ Boil to shreds. (Dyce.)
 Qq, TO BOIL.]

 72 (return) [ Malfi. An apartment in the palace of the Duchess.]

 73 (return) [ Wealth.]

 74 (return) [ Lampoons.]


courage, children, have no care; "The nightingale in cage is pent, "May sing now to his heart's content." 20421m Original EPITAPH OF LA FONTAINE MADE BY HIMSELF JOHN, as he came, so went away, Consuming capital and pay, Holding superfluous riches cheap; The trick of spending time he knew, Dividing it in portions two, For idling one, and one for sleep.
 THE END.


orescence, soda glass produced a yellowish green. The composition of the glass seemed to be changed by a long-continued pelting of these particles, the phosphorescence after a time losing its initial brilliancy, caused by the glass becoming "tired," as Professor Crookes said. Thus when some opaque substance, such as iron, is placed between the cathode and the sides of the glass tube so that it casts a shadow in a certain spot on the glass for some little time, it is found on removing the opaque substance or changing its position that the area of glass at first covered by the shadow now responded to the rays in a different manner from the surrounding glass.

 The peculiar ray's, now known as the cathode rays, not only cast a shadow, but are deflected by a magnet, so that the position of the phosphorescence on the sides of the tube may be altered by the proximity of a powerful magnet. From this it would seem that the rays are composed of particles charged with negative electricity, and Professor J. J. Thomson has modified the experiment of Perrin to show that negative electricity is actually associated with the rays. There is reason for believing, therefore, that the cathode rays are rapidly moving charges of negative electricity. It is possible, also, to determine the velocity at which these particles are moving by measuring the deflection produced by the magnetic field.

 From the fact that opaque substances cast a shadow in these rays it was thought at first that all solids were absolutely opaque to them. Hertz, however, discovered that a small amount of phosphorescence occurred on the glass even when such opaque substances as gold-leaf or aluminium foil were interposed between the cathode and the sides of the tube. Shortly afterwards Lenard discovered that the cathode rays can be made to pass from the inside of a discharge tube to the outside air. For convenience these rays outside the tube have since been known as "Lenard rays."

 In the closing days of December, 1895, Professor Wilhelm Konrad Roentgen, of Wurzburg, announced that he had made the discovery of the remarkable effect arising from the cathode rays to which reference was made above. He found that if a plate covered with a phosphorescent substance is placed near a discharge tube exhausted so highly that the cathode rays produced a green phosphorescence, this plate is made to glow in a peculiar manner.
 The rays producing this glow were not the cathode rays, although apparently arising from them, and are what have since been called the Roentgen rays, or X-rays.

 Roentgen found that a shadow is thrown upon the screen by substances held between it and the exhausted tube, the character of the shadow depending upon the density of the substance. Thus metals are almost completely opaque to the rays; such substances as bone much less so, and ordinary flesh hardly so at all. If a coin were held in the hand that had been interposed between the tube and the screen the picture formed showed the coin as a black shadow; and the bones of the hand, while casting a distinct shadow, showed distinctly lighter; while the soft tissues produced scarcely any shadow at all. The value of such a discovery was obvious from the first; and was still further enhanced by the discovery made shortly that, photographic plates are affected by the rays, thus making it possible to make permanent photographic records of pictures through what we know as opaque substances.

 What adds materially to the practical value of Roentgen's discovery is the fact that the apparatus for producing the X-rays is now so simple and relatively inexpensive that it is within the reach even of amateur scientists. It consists essentially of an induction coil attached either to cells or a street-current plug for generating the electricity, a focus tube, and a phosphorescence screen. These focus tubes are made in various shapes, but perhaps the most popular are in the form of a glass globe, not unlike an ordinary small-sized water-bottle, this tube being closed and exhausted, and having the two poles (anode and cathode) sealed into the glass walls, but protruding at either end for attachment to the conducting wires from the induction coil. This tube may be mounted on a stand at a height convenient for manipulation. The phosphorescence screen is usually a plate covered with some platino-cyanide and mounted in the end of a box of convenient size, the opposite end of which is so shaped that it fits the contour of the face, shutting out the light and allowing the eyes of the observer to focalize on the screen at the end. For making observations the operator has simply to turn on the current of electricity and apply the screen to his eyes, pointing it towards the glowing tube, when the shadow of any substance interposed between the tube and the screen will appear upon the phosphorescence plate.

 The wonderful shadow pictures produced on the phosphorescence screen, or the photographic plate, would seem to come from some peculiar form of light, but the exact nature of these rays is still an open question.
 Whether the Roentgen rays are really a form of light—that is, a form of "electro-magnetic disturbance propagated through ether," is not fully determined. Numerous experiments have been undertaken to determine this, but as yet no proof has been found that the rays are a form of light, although there appears to be nothing in their properties inconsistent with their being so. For the moment most investigators are content to admit that the term X-ray virtually begs the question as to the intimate nature of the form of energy involved.

 VIII. THE CONSERVATION OF ENERGY As we have seen, it was in 1831 that Faraday opened up the field of magneto-electricity. Reversing the experiments of his predecessors, who had found that electric currents may generate magnetism, he showed that magnets have power under certain circumstances to generate electricity; he proved, indeed, the interconvertibility of electricity and magnetism. Then he showed that all bodies are more or less subject to the influence of magnetism, and that even light may be affected by magnetism as to its phenomena of polarization. He satisfied himself completely of the true identity of all the various forms of electricity, and of the convertibility of electricity and chemical action. Thus he linked together light, chemical affinity, magnetism, and electricity. And, moreover, he knew full well that no one of these can be produced in indefinite supply from another. "Nowhere," he says, "is there a pure creation or production of power without a corresponding exhaustion of something to supply it."

 When Faraday wrote those words in 1840 he was treading on the very heels of a greater generalization than any which he actually formulated; nay, he had it fairly within his reach. He saw a great truth without fully realizing its import; it was left for others, approaching the same truth along another path, to point out its full significance.

 The great generalization which Faraday so narrowly missed is the truth which since then has become familiar as the doctrine of the conservation of energy—the law that in transforming energy from one condition to another we can never secure more than an equivalent quantity; that, in short, "to create or annihilate energy is as impossible as to create or annihilate matter; and that all the phenomena of the material universe consist in transformations of energy alone." Some philosophers think this the greatest generalization ever conceived by the mind of man. Be that as it may, it is surely one of the great intellectual landmarks of the nineteenth century. It stands apart, so stupendous and so far-reaching in its implications that the generation which first saw the law developed could little appreciate it; only now, through the vista of half a century, do we begin to see it in its true proportions.

 A vast generalization such as this is never a mushroom growth, nor does it usually spring full grown from the mind of any single man. Always a number of minds are very near a truth before any one mind fully grasps it.
 Pre-eminently true is this of the doctrine of the conservation of energy.
 Not Faraday alone, but half a dozen different men had an inkling of it before it gained full expression; indeed, every man who advocated the undulatory theory of light and heat was verging towards the goal. The doctrine of Young and Fresnel was as a highway leading surely on to the wide plain of conservation. The phenomena of electro-magnetism furnished another such highway. But there was yet another road which led just as surely and even more readily to the same goal. This was the road furnished by the phenomena of heat


presence, during the paroxism of spiral bacterium (Spirochæte) in the blood. It is not usually fatal.
 Called also famine fever, and recurring fever.

 Re*late" (r?-l?t"), v. t. [imp. & p. p. Related; p. pr. & vb. n. Relating.] [F. relater to recount, LL. relatare, fr. L. relatus, used as p. p. of referre. See Elate, and cf.
 Refer.] 1. To bring back; to restore. [Obs.]

 Abate your zealous haste, till morrow next again Both light of heaven and strength of men relate.

Spenser.
2. To refer; to ascribe, as to a source. [Obs. or R.]

3. To recount; to narrate; to tell over.

 This heavy act with heavy heart relate.

Shak.
4. To ally by connection or kindred.

To relate one's self, to vent thoughts in words. [R.]

Syn. -- To tell; recite; narrate; recount; rehearse; report; detail; describe.

 Re*late", v. i. 1. To stand in some relation; to have bearing or concern; to pertain; to refer; -- with to.

 All negative or privative words relate positive ideas.

Locke.
2. To make reference; to take account. [R.& Obs.]

 Reckoning by the years of their own consecration without relating to any imperial account.

Fuller.
 Re*lat"ed (-l?t"?d), p. p. & a. 1. Allied by kindred; connected by blood or alliance, particularly by consanguinity; as, persons related in the first or second degree.

2. Standing in relation or connection; as, the electric and magnetic forcec are closely related.

3. Narrated; told.

4. (Mus.) Same as Relative, 4.

 Re*lat"ed*ness, n. The state or condition of being related; relationship; affinity. [R.] Emerson.
 Re*lat"er (-?r), n. One who relates or narrates.

 Re*la"tion (r?-l?"sh?n), n. [F. relation, L. relatio.
 See Relate.] 1. The act of relating or telling; also, that which is related; recital; account; narration; narrative; as, the relation of historical events.

 &?;&?;&?;&?;&?;&?;oet's relation doth well figure them.

Bacon.
2. The state of being related or of referring; what is apprehended as appertaining to a being or quality, by considering it in its bearing upon something else; relative quality or condition; the being such and such with regard or respect to some other thing; connection; as, the relation of experience to knowledge; the relation of master to servant.

 Any sort of connection which is perceived or imagined between two or more things, or any comparison which is made by the mind, is a relation.

I. Taylor.
3. Reference; respect; regard.

 I have been importuned to make some observations on this art in relation to its agreement with poetry.

Dryden.
4. Connection by consanguinity or affinity; kinship; relationship; as, the relation of parents and children.

Relations dear, and all the charities Of father, son, and brother, first were known.

Milton.
5. A person connected by cosanguinity or affinity; a relative; a kinsman or kinswoman.

 For me... my relation does not care a rush.

Ld. Lytton.
6. (Law) (a) The carrying back, and giving effect or operation to, an act or proceeding frrom some previous date or time, by a sort of fiction, as if it had happened or begun at that time. In such case the act is said to take effect by relation. (b) The act of a relator at whose instance a suit is begun. Wharton. Burrill.
Syn. -- Recital; rehearsal; narration; account; narrative; tale; detail; description; kindred; kinship; consanguinity; affinity; kinsman; kinswoman.

 Re*la"tion*al (r?-l?"sh?n-al), a. 1. Having relation or kindred; related.

 We might be tempted to take these two nations for relational stems.

Tooke.
2. Indicating or specifying some relation.

Relational words, as prepositions, auxiliaries, etc.

R. Morris.
 Re*la"tion*ist, n. A relative; a relation. [Obs.]

 Re*la"tion*ship, n. The state of being related by kindred, affinity, or other alliance. Mason.
 Rel"a*tive (r?l"?-t?v), a. [F. relatif, L. relativus.
 See Relate.] 1. Having relation or reference; referring; respecting; standing in connection; pertaining; as, arguments not relative to the subject.

 I'll have grounds More relative than this.

Shak.
2. Arising from relation; resulting from connection with, or reference to, something else; not absolute.

 Every thing sustains both an absolute and a relative capacity: an absolute, as it is such a thing, endued with such a nature; and a relative, as it is a part of the universe, and so stands in such a relations to the whole.

South.
3. (Gram.) Indicating or expressing relation; refering to an antecedent; as, a relative pronoun.

4. (Mus.) Characterizing or pertaining to chords and keys, which, by reason of the identify of some of their tones, admit of a natural transition from one to the other. Moore (Encyc. of Music).
Relative clause (Gram.), a clause introduced by a relative pronoun. -- Relative term, a term which implies relation to, as guardian to ward, matter to servant, husband to wife. Cf. Correlative.

 Rel"a*tive, n. One who, or that which, relates to, or is considered in its relation to, something else; a relative object or term; one of two object or term; one of two objects directly connected by any relation.
 Specifically: (a) A person connected by blood or affinity; strictly, one allied by blood; a relation; a kinsman or kinswoman.
 "Confining our care... to ourselves and relatives." Bp. Fell.
(b) (Gram.) A relative pronoun; a word which relates to, or represents, another word or phrase, called its antecedent; as, the relatives "who", "which", "that".

 Rel"a*tive*ly, adv. In a relative manner; in relation or respect to something else; not absolutely.

 Consider the absolute affections of any being as it is in itself, before you consider it relatively.

I. Watts.
 Rel"a*tive*ness, n. The state of being relative, or having relation; relativity.

 Rel'a*tiv"i*ty (-t?v"?-t?), n. The state of being relative; as, the relativity of a subject. Coleridge.
 Re*lat"or (r?-l?t"?r), n. [ L.: cf. F. relateur. See Relate.]
 1. One who relates; a relater. "The several relators of this history." Fuller.
2. (Law) A private person at whose relation, or in whose behalf, the attorney-general allows an information in the nature of a quo warranto to be filed.

 Re*lat"rix (-r?ks), n. [L.] (Law) A female relator.

 Re*lax" (r?-l?ks"), v. t. [imp. & p. p. Relaxed (-l?kst"); p. pr. & vb. n. Relaxing.] [