The Colour of Life, by Alice Meynell Transcribed from the 1897 John Lane edition by David Price, email _EMAIL_ THE COLOUR OF LIFE Contents: The Colour of Life A Point Of Biography Cloud Winds of the World The Honours of Mortality At Monastery Gates Rushes and Reeds Eleonora Duse Donkey Races Grass A Woman in Grey Symmetry and Incident The Illusion of Historic Time Eyes THE COLOUR OF LIFE Red has been praised for its nobility as the colour of life.
But the true colour of life is not red. Red is the colour of violence, or of life broken open, edited, and published. Or if red is indeed the colour of life, it is so only on condition that it is not seen.
Once fully visible, red is the colour of life violated, and in the act of betrayal and of waste. Red is the secret of life, and not the manifestation thereof. It is one of the things the value of which is secrecy, one of the talents that are to be hidden in a napkin.
The true colour of life is the colour of the body, the colour of the covered red, the implicit and not explicit red of the living heart and the pulses. It is the modest colour of the unpublished blood.
So bright, so light, so soft, so mingled, the gentle colour of life is outdone by all the colours of the world. Its very beauty is that it is white, but less white than milk; brown, but less brown than earth; red, but less red than sunset or dawn. It is lucid, but less lucid than the colour of lilies. It has the hint of gold that is in all fine colour; but in our latitudes the hint is almost elusive. Under Sicilian skies, indeed, it is deeper than old ivory; but under the misty blue of the English zenith, and the warm grey of the London horizon, it is as delicately flushed as the paler wild roses, out to their utmost, flat as stars, in the hedges of the end of June.
For months together London does not see the colour of life in any mass. The human face does not give much of it, what with features, and beards, and the shadow of the top-hat and chapeau melon of man, and of the veils of woman. Besides, the colour of the face is subject to a thousand injuries and accidents. The popular face of the Londoner has soon lost its gold, its white, and the delicacy of its red and brown. We miss little beauty by the fact that it is never seen freely in great numbers out-of-doors. You get it in some quantity when all the heads of a great indoor meeting are turned at once upon a speaker; but it is only in the open air, needless to say, that the colour of life is in perfection, in the open air, "clothed with the sun," whether the sunshine be golden and direct, or dazzlingly diffused in grey.
The little figure of the London boy it is that has restored to the landscape the human colour of life. He is allowed to come out of all his ignominies, and to take the late colour of the midsummer north-west evening, on the borders of the Serpentine. At the stroke of eight he sheds the slough of nameless colours—all allied to the hues of dust, soot, and fog, which are the colours the world has chosen for its boys—and he makes, in his hundreds, a bright and delicate flush between the grey-blue water and the grey-blue sky.
Clothed now with the sun, he is crowned by-and-by with twelve stars as he goes to bathe, and the reflection of an early moon is under his feet.
So little stands between a gamin and all the dignities of Nature.
They are so quickly restored. There seems to be nothing to do, but only a little thing to undo. It is like the art of Eleonora Duse. The last and most finished action of her intellect, passion, and knowledge is, as it were, the flicking away of some insignificant thing mistaken for art by other actors, some little obstacle to the way and liberty of Nature.
All the squalor is gone in a moment, kicked off with the second boot, and the child goes shouting to complete the landscape with the lacking colour of life. You are inclined to wonder that, even undressed, he still shouts with a Cockney accent. You half expect pure vowels and elastic syllables from his restoration, his spring, his slenderness, his brightness, and his glow. Old ivory and wild rose in the deepening midsummer sun, he gives his colours to his world again.
It is easy to replace man, and it will take no great time, where Nature has lapsed, to replace Nature. It is always to do, by the happily easy way of doing nothing. The grass is always ready to grow in the streets—and no streets could ask for a more charming finish than your green grass. The gasometer even must fall to pieces unless it is renewed; but the grass renews itself. There is nothing so remediable as the work of modern man—"a thought which is also," as Mr Pecksniff said, "very soothing." And by remediable I mean, of course, destructible. As the bathing child shuffles off his garments—they are few, and one brace suffices him—so the land might always, in reasonable time, shuffle off its yellow brick and purple slate, and all the things that collect about railway stations. A single night almost clears the air of London.
But if the colour of life looks so well in the rather sham scenery of Hyde Park, it looks brilliant and grave indeed on a real sea-coast.
To have once seen it there should be enough to make a colourist.
O memorable little picture! The sun was gaining colour as it neared setting, and it set not over the sea, but over the land. The sea had the dark and rather stern, but not cold, blue of that aspect—the dark and not the opal tints. The sky was also deep. Everything was very definite, without mystery, and exceedingly simple. The most luminous thing was the shining white of an edge of foam, which did not cease to be white because it was a little golden and a little rosy in the sunshine. It was still the whitest thing imaginable.
And the next most luminous thing was the little child, also invested with the sun and the colour of life.
In the case of women, it is of the living and unpublished blood that the violent world has professed to be delicate and ashamed. See the curious history of the political rights of woman under the Revolution.
On the scaffold she enjoyed an ungrudged share in the fortunes of party.
Political life might be denied her, but that seems a trifle when you consider how generously she was permitted political death. She was to spin and cook for her citizen in the obscurity of her living hours; but to the hour of her death was granted a part in the largest interests, social, national, international. The blood wherewith she should, according to Robespierre, have blushed to be seen or heard in the tribune, was exposed in the public sight unsheltered by her veins.
Against this there was no modesty. Of all privacies, the last and the innermost—the privacy of death—was never allowed to put obstacles in the way of public action for a public cause.
Women might be, and were, duly suppressed when, by the mouth of Olympe de Gouges, they claimed a "right to concur in the choice of representatives for the formation of the laws"; but in her person, too, they were liberally allowed to bear political responsibility to the Republic.
Olympe de Gouges was guillotined. Robespierre thus made her public and complete amends.
A POINT OF BIOGRAPHY There is hardly a writer now—of the third class probably not one—who has not something sharp and sad to say about the cruelty of Nature; not one who is able to attempt May in the woods without a modern reference to the manifold death and destruction with which the air, the branches, the mosses are said to be full.
But no one has paused in the course of these phrases to take notice of the curious and conspicuous fact of the suppression of death and of the dead throughout this landscape of manifest life. Where are they—all the dying, all the dead, of the populous woods?
Where do they hide their little last hours, where are they buried?
Where is the violence concealed? Under what gay custom and decent habit? You may see, it is true,


The Underdogs by Mariano Azuela Mariano Azuela, the first of the "novelists of the Revolution," was born in Lagos de Moreno, Jalisco, Mexico, in 1873. He studied medicine in Guadalajara and returned to Lagos in 1909, where he began the practice of his profession. He began his writing career early; in 1896 he published Impressions of a Student in a weekly of Mexico City. This was followed by numerous sketches and short stories, and in 1911 by his first novel, Andres Perez, maderista.
Like most of the young Liberals, he supported Francisco I. Madero's uprising, which overthrew the dictatorship of Porfirio Diaz, and in 1911 was made Director of Education of the State of Jalisco. After Madero's assassination, he joined the army of Pancho Villa as doctor, and his knowledge of the Revolution was acquired at firsthand. When the counterrevolutionary forces of Victoriano Huerta were temporarily triumphant, he emigrated to El Paso, Texas, where in 1915 he wrote The Underdogs (Los de abajo), which did not receive general recognition until 1924, when it was hailed as the novel of the Revolution.
But Azuela was fundamentally a moralist, and his disappointment with the Revolution soon began to manifest itself. He had fought for a better Mexico; but he saw that while the Revolution had corrected certain injustices, it had given rise to others equally deplorable.
When he saw the self-servers and the unprincipled turning his hopes for the redemption of the under-privileged of his country into a ladder to serve their own ends, his disillusionment was deep and often bitter.
His later novels are marred at times by a savage sarcasm.
During his later years, and until his death in 1952, he lived in Mexico City writing and practicing his profession among the poor.
The Underdogs by Mariano Azuela A Novel of the Mexican Revolution Translated by E. Munguia, Jr.
Original Title: LOS DE ABAJO PART ONE I II III IV V VI VII VIII IX X XI XII XIII XIV XV XVI XVII XVIII XIX XX XXI PART TWO I II III IV V VI VII VIII IX X XI XII XIII XIV PART III I II III IV V VI VII PART ONE "How beautiful the revolution!
 Even in its most barbarous aspect it is beautiful," Solis said with deep feeling.
I "That's no animal, I tell you! Listen to the dog barking! It must be a human being."
The woman stared into the darkness of the sierra.
"What if they're soldiers?" said a man, who sat Indian-fashion, eating, a coarse earthenware plate in his right hand, three folded tortillas in the other.
The woman made no answer, all her senses directed outside the hut. The beat of horses' hoofs rang in the quarry nearby. The dog barked again, louder and more angrily.
"Well, Demetrio, I think you had better hide, all the same."
Stolidly, the man finished eating; next he reached for a cantaro and gulped down the water in it; then he stood up.
"Your rifle is under the mat," she whispered.
A tallow candle illumined the small room. In one corner stood a plow, a yoke, a goad, and other agricultural implements. Ropes hung from the roof, securing an old adobe mold, used as a bed; on it a child slept, covered with gray rags.
Demetrio buckled his cartridge belt about his waist and picked up his rifle. He was tall and well built, with a sanguine face and beardless chin; he wore shirt and trousers of white cloth, a broad Mexican hat and leather sandals.
With slow, measured step, he left the room, vanishing into the impenetrable darkness of the night.
The dog, excited to the point of madness, had jumped over the corral fence.
Suddenly a shot rang out. The dog moaned, then barked no more. Some men on horseback rode up, shouting and sweating; two of them dismounted, while the other hung back to watch the horses.
"Hey, there, woman: we want food! Give us eggs, milk, beans, anything you've got! We're starving!"
"Curse the sierra! It would take the Devil himself not to lose his way!"
"Guess again, Sergeant! Even the Devil would go astray if he were as drunk as you are."
The first speaker wore chevrons on his arm, the other red stripes on his shoulders.
"Whose place is this, old woman? Or is it an empty house? God's truth, which is it?"
"Of course it's not empty. How about the light and that child there?
Look here, confound it, we want to eat, and damn quick tool Are you coming out or are we going to make you?"
"You swine! Both of you! You've gone and killed my dog, that's what you've done! What harm did he ever do you? What did you have against him?"
The woman reentered the house, dragging the dog behind her, very white and fat, with lifeless eyes and flabby body.
"Look at those cheeks, Sergeant! Don't get riled, light of my life: I swear I'll turn your home into a dovecot, see?"
"By God!" he said, breaking off into song: "Don't look so haughty, dear, Banish all fears, Kiss me and melt to me, I'll drink up your tears!"
His alcoholic tenor trailed off into the night.
"Tell me what they call this ranch, woman?" the sergeant asked.
"Limon," the woman replied curtly, carrying wood to the fire and fanning the coals.
"So we're in Limon, eh, the famous Demetrio Macias' country, eh? Do you hear that, Lieutenant? We're in Limon."
"Limon? What the hell do I care? If I'm bound for hell, Sergeant, I might as well go there now. I don't mind, now that I've found as good a remount as this! Look at the cheeks on the darling, look at them!
There's a pair of ripe red apples for a fellow to bite into!"
"I'll wager you know Macias the bandit, lady? I was in the pen with him at Escobedo, once."
"Bring me a bottle of tequila, Sergeant: I've decided to spend the night with this charming lady.... What's that? The colonel?... Why in God's name talk about the colonel now? He can go straight to hell, for all I care. And if he doesn't like it, it's all right with me. Come on, Sergeant, tell the corporal outside to unsaddle the horses and feed them. I'll stay here all night. Here, my girl, you let the sergeant fry the eggs and warm up the tortillas; you come here to me. See this wallet full of nice new bills? They're all for you, darling. Sure, I want you to have them. Figure it out for yourself. I'm drunk, see: I've a bit of a load on and that's why I'm kind of hoarse, you might call it. I left half my gullet down Guadalajara way, and I've been spitting the other half out all the way up here. Oh well, who cares? But I want you to have that money, see, dearie? Hey, Sergeant, where's my bottle?
Now, little girl, come here and pour yourself a drink. You won't,


and water turkey. The Asiatic species (A. melanogaster) is native of Southern Asia and the East Indies. Two other species inhabit Africa and Australia respectively.

2. (Zoöl.) The wryneck.

 Snake"fish' (?), n. (Zoöl.) (a) The band fish.
 (b) The lizard fish.

 Snake"head' (?), n. 1. A loose, bent-up end of one of the strap rails, or flat rails, formerly used on American railroads. It was sometimes so bent by the passage of a train as to slip over a wheel and pierce the bottom of a car.

2. (Bot.) (a) The turtlehead. (b) The Guinea-hen flower. See Snake's-head, and under Guinea.

 Snake"neck' (?), n. (Zoöl.) The snakebird, 1.

 Snake"root' (?), n. (Bot.) Any one of several plants of different genera and species, most of which are (or were formerly) reputed to be efficacious as remedies for the bites of serpents; also, the roots of any of these.

 The Virginia snakeroot is Aristolochia Serpentaria; black snakeroot is Sanicula, esp. S. Marilandica, also Cimicifuga racemosa; Seneca snakeroot is Polygala Senega; button snakeroot is Liatris, also Eryngium; white snakeroot is Eupatorium ageratoides. The name is also applied to some others besides these.

 Snake's"-head' (?), n. (Bot.) The Guinea-hen flower; -- so called in England because its spotted petals resemble the scales of a snake's head. Dr. Prior.
Snake's-head iris (Bot.), an iridaceous plant (Hermodactylus tuberosus) of the Mediterranean region. The flowers slightly resemble a serpent's open mouth.

 Snake"stone' (?), n. 1. A kind of hone slate or whetstone obtained in Scotland.

2. (Paleon.) An ammonite; -- so called from its form, which resembles that of a coiled snake.

 Snake's-tongue' (?), n. (Bot.) Same as Adder's-tongue.

 Snake"weed' (?), n. (Bot.) (a) A kind of knotweed (Polygonum Bistorta). (b) The Virginia snakeroot. See Snakeroot.

 Snake"wood' (?), n. (Bot.) (a) An East Indian climbing plant (Strychnos colubrina) having a bitter taste, and supposed to be a remedy for the bite of the hooded serpent. (b) An East Indian climbing shrub (Ophioxylon serpentinum) which has the roots and stems twisted so as to resemble serpents. (c) Same as Trumpetwood. (d) A tropical American shrub (Plumieria rubra) which has very fragrant red blossoms. (e) Same as Letterwood.

 Snak"ish (?), a. Having the qualities or characteristics of a snake; snaky.

 Snak"y (?), a. 1. Of or pertaining to a snake or snakes; resembling a snake; serpentine; winding.

 The red light playing upon its gilt and carving gave it an appearance of snaky life.

L. Wallace.
2. Sly; cunning; insinuating; deceitful.

 So to the coast of Jordan he directs His easy steps, girded with snaky wiles.

Milton.
3. Covered with serpents; having serpents; as, a snaky rod or wand. Dryden.
 That snaky-headed, Gorgon shield.

Milton.
 Snap (?), v. t. [imp. & p. p. Snapped (?); p. pr.
 & vb. n. Snapping.] [LG. or D. snappen to snap up, to snatch; akin to G. schnappen, MHG. snaben, Dan. snappe, and to D. snavel beak, bill. Cf. Neb, Snaffle, n.] 1.
 To break at once; to break short, as substances that are brittle.

 Breaks the doors open, snaps the locks.

Prior.
2. To strike, to hit, or to shut, with a sharp sound.

3. To bite or seize suddenly, especially with the teeth.

 He, by playing too often at the mouth of death, has been snapped by it at last.

South.
4. To break upon suddenly with sharp, angry words; to treat snappishly; -- usually with up. Granville.
5. To crack; to cause to make a sharp, cracking noise; as, to snap a whip.

 MacMorian snapped his fingers repeatedly.

Sir W. Scott.
6. To project with a snap.

To snap back (Football), to roll the ball back with the foot; -- done only by the center rush, who thus delivers the ball to the quarter back on his own side when both sides are ranged in line. -- To snap off. (a) To break suddenly. (b) To bite off suddenly.

 Snap, v. i. 1. To break short, or at once; to part asunder suddenly; as, a mast snaps; a needle snaps.

 But this weapon will snap short, unfaithful to the hand that employs it.

Burke.
2. To give forth, or produce, a sharp, cracking noise; to crack; as, blazing firewood snaps.

3. To make an effort to bite; to aim to seize with the teeth; to catch eagerly (at anything); -- often with at; as, a dog snapsat a passenger; a fish snaps at the bait.

4. To utter sharp, harsh, angry words; -- often with at; as, to snap at a child.

5. To miss fire; as, the gun snapped.

 Snap, n. [Cf. D. snap a snatching. See Snap, v. t.]
 1. A sudden breaking or rupture of any substance.

2. A sudden, eager bite; a sudden seizing, or effort to seize, as with the teeth.

3. A sudden, sharp motion or blow, as with the finger sprung from the thumb, or the thumb from the finger.

4. A sharp, abrupt sound, as that made by the crack of a whip; as, the snap of the trigger of a gun.

5. A greedy fellow. L'Estrange.
6. That which is, or may be, snapped up; something bitten off, seized, or obtained by a single quick movement; hence, a bite, morsel, or fragment; a scrap.

 He's a nimble fellow, And alike skilled in every liberal science, As having certain snaps of all.

B. Jonson.
7. A sudden severe interval or spell; -- applied to the weather; as, a cold snap. Lowell.
8. A small catch or fastening held or closed by means of a spring, or one which closes with a snapping sound, as the catch of a bracelet, necklace, clasp of a book, etc.

9. (Zoöl.) A snap beetle.

10. A thin, crisp cake, usually small, and flavored with ginger; -- used chiefly in the plural.

11. Briskness; vigor; energy; decision. [Colloq.]

12. Any circumstance out of which money may be made or an advantage gained. [Slang] Snap back (Football), the act of snapping back the ball. -- Snap beetle, or Snap bug (Zoöl.), any beetle of the family Elateridæ, which, when laid on its back, is able to leap to a considerable height by means of a thoracic spring; -- called also snapping beetle. -- Snap flask (Molding), a flask for small work, having its sides separable and held together by latches, so that the flask may be removed from around the sand mold. -- Snap judgment, a judgment formed on the instant without deliberation. -- Snap lock, a lock shutting with a catch or snap. -- Snap riveting, riveting in which the rivets have snapheads formed by a die or swaging tool. -- Snap shot, a quick offhand shot, without deliberately taking aim.

 Snap"drag'on (?),


the loss of half the nutrition. Suppose a lettuce has a half life of 48 hours, two days after harvest only 50 percent of the original nutrition remains. After two more days, half the remaining half is gone and only 25 percent is left. After two more days half of that 25 percent is lost. Thus six days after harvest and a lettuce contains only bout 12 percent of its original nutrition.
A two day half-life is only hypothetical. Those types of produce I classify as very perishable probably do have a half-life of from 36 to 48 hours. Moderately perishable produce has a half life of about 72 hours; durable types of produce have half lives of 96 hours or longer.
Vegetable Storage Potential Very Perishable Moderately Perishable Durable lettuce zucchini apple spinach eggplant squash Chinese cabbage sweet peppers oranges kale broccoli cabbage endive cauliflower carrot peaches apricots lemons parsley beets The half life of produce can be lengthened by lowering its temperature. For that reason, sophisticated produce growers usually use hydrocooling.
This process dumps a just-cut vegetable into icy water within minutes of being harvested, lowering core temperature to a few degrees above freezing almost immediately. When cut vegetables are crated up at field temperatures, and stacks of those crates are put in a cooler, it can take the inside of the stack 24 hours, or longer, to become chilled. Home gardeners should also practice hydrocooling. Fill your sink with cold water and wash/soak your harvest until it is thoroughly chilled before draining and refrigerating it. Or, harvest your garden early in the morning when temperatures are lowest.
 Still, when you buy produce in the store it may have been sitting at room temperature for hours or possibly days.
 The bottom line here: fresh is equally as important as unsprayed or organically grown!
The Real Truth About Salt And Sugar First, let me remind certain food religionists: salt is salt is salt is salt and sugar is sugar is sugar. There are no good forms of salt and no good forms of sugar. Salt from a mine and salt from the sea both have the same harmful effect; white sugar, natural brown sugar, honey, molasses, corn syrup, maple syrup, whatever sweet have you. All are sugars and all have the similar harmful effects.
I know of no harmless salt substitute that really tastes salty. Nutrisweet is basically harmless to most people and can be used as a very satisfactory replacement for sugars.
(A few people are unable to tolerate nutrisweet, causing the anti-chemicalists to circulate much anti-nutrisweet propaganda, but you should carefully consider this thought before dismissing nutrisweet--there is almost no food substance that some people are not allergic to or unable to digest. The fact that nutrisweet is made in a chemical vat and the fact that some cannot handle nutrisweet does not make it "of the devil."
 And its not all black and white with the other items either.
Sea salt does have certain redeeming qualities not found in mined salt and under certain very special conditions, eating small quantities of salt may be acceptable.
Similarly, some forms of sugar are not quite as harmful as other forms, though all are harmful.
 The primary health problem caused by table salt is not that it contributes to high blood pressure in people with poor kidneys, though it does that. It is not that eating salt ruins the kidneys; salt probably does not do that.
The real problem with salt is that sodium chloride is an adrenal stimulant, triggering the release of adrenal hormones, especially natural steroids that resist inflammation.
When these hormones are at high levels in the blood, the person often feels very good, has a sense of well-being. Thus salt is a drug! And like many drugs of its type, salt is a habituating drug. However, we are so used to whipping our adrenals with salt that we don't notice it. What we do notice is that we think we like the taste of salted food and consider that food tastes flat without it. But take away a person's salt shaker and they become very uncomfortable. That's because the addict isn't getting their regular dose.
 What's wrong with repetitive adrenal whipping is that adrenal fortitude is variable; many people's adrenals eventually fail to respond to the prod of salt and the body begins to suffer from a lack of adrenal hormones. Often those inheriting weak adrenals manifest semi-failure in childhood. The consequence is that ordinary, irritating substances begin causing severe irritation. The person becomes allergic to pollen, dust, foods, animal danders, etc. We see asthma, hay fever, sinusitis, etc. Though one can then discover specific allergens and try to remove them from the environment or diet, often this case can be solved far more easily by complete withdrawal from all salt. This rests the adrenals and they may recover their full function; almost certainly their function will improve. The asthma, allergies and etc., gradually vanish.
 Most of us don't need to eat salt as a nutrient. There's enough sodium in one dill pickle to run a human body for a year. There's enough natural sodium in many types of vegetables to supply normal needs without using table salt.
Perhaps athletes or other hard working people in the tropics eating deficient food grown on leached-out depleted soils, people that sweat buckets day after day may need a little extra sodium. Perhaps. Not having practiced in the humid tropics myself, I have no definitive answer about this.
 Unfortunately, the average American is entirely addicted to salt and thinks food tastes lousy without it. To please the average consumer, almost all prepared foods contain far too much salt for someone suffering from exhausted adrenals. Interestingly, Canadians do not like their foods nearly as salty as Americans, and prepared foods like soups and the like in cans and packages that look just like the ones in American supermarkets (though with French on the back panel) have to be reformulated for our northern neighbors. I've observed that Canadians are generally healthier than Americans in many respects.
 We would all be far better off consuming no salt at all.
Those with allergies or asthma should completely eliminate it for a month or two and discover if that simple step doesn't pretty much cure them. The trouble is that bakery bread is routinely two percent salt by weight. Cheese is equally salted or even more so. Canned and frozen prepared food products are all heavily salted. Restaurant meals are always highly salted in the kitchen. If you want to avoid salt you almost have to prepare everything yourself, bake your own bread, abstain from cheese (though there are unsalted cheeses but even I don't like the flavor of these), and abstain from restaurants. My family has managed to eliminate all salt from our own kitchen except for that in cheese, and we eat cheese rather moderately.
 Sugar is a high-caloric non-food with enormous liabilities.
First, from the viewpoint of the universal formula for health, no form of non-artificial sweetener carries enough nutrients with it to justify the number of calories it contains, not even malt extract. White refined sugar contains absolutely no nutrients at all; the "good" or "natural" sweets also carry so little nutrition as to be next to useless. Sweets are so far over on the bad end of the Health = Nutrition / Calories scale that for this reason alone they should be avoided.
 However, healthy people can usually afford a small amount of sin; why not make it sweets? In small quantity, sugars are probably the easiest indiscretion to digest and the least damaging to the organ systems. Although, speaking of sin, as Edgar Guest, the peoples' poet, once so wisely quipped, (and my husband agrees) "Candy is dandy, but liquor is quicker." Sugar is a powerful drug!
People who abuse sweets set up a cycle of addiction that can be very hard to break.
It starts when the body tries to regulate blood sugar. Kicked up to high levels by eating sugar, the pancreas releases insulin. But that is not the end of the chain reaction. Insulin regulates blood sugar levels but also raises brain levels of an amino acid called tryptophan. Tryptophan is the raw material the brain uses to manufacture a neurotransmitter called serotonin. And serotonin plays a huge role in regulating mood. Higher brain levels of serotonin create a feeling of well-being. Eating sugar gives a person a chemical jolt of happiness. Heavy hits of high-glycemic index starch foods are also rapidly converted to sugar. So don't give your kids sweets! Or huge


to can vegetables as to can fruits. Some authorities say it is easier. At any rate, it is more useful.
In the cold-pack method of canning, sterilization does away with the danger of spoilage by fermentation or "working." Sterilization consists in raising the temperature of the filled jar or can to a germ-killing point and holding it there until bacterial life is destroyed.
The word "container" is used to designate either the tin can or the glass jar.
Single-period cold-pack canning, as distinguished from old-fashioned preserving, offers a saving in time, labor, and expense, and satisfactory results. As the foodstuffs are placed in the containers before sterilization, they are cold and may be handled quickly and easily. Then the sterilization period is frequently short. This is time-saving. Finally, no rich preservatives, such as thick syrups or heavily spiced solutions, are required. Fruits may be put up in thin syrups. Vegetables require only salt for flavoring and water to fill the container.
Another advantage of this method is that it is practicable to put up food in small quantities. It pays to put up even a single container.
Thus, when there is a small surplus of some garden crop, or something left over from the order from the grocer's, one can take the short time necessary to place this food in a container and store it for future use. This is true household efficiency—the kind which, if practiced on a national scale, will conserve our war food supply and will, after the war, cut heavily into the high cost of living.
There are five principal methods of canning: (1) the cold-pack, single-period method; (2) the intermittent, or fractional sterilization method; (3) the cold-water method; (4) the open kettle or hot-pack method; and (5) the vacuum-seal method. Of these the one worked out on scientific lines by leading experts and used by many commercial canners is so much the best method for home canning, because of its simplicity and effectiveness, that it is recommended by the National Emergency Food Commission and the details are explained in their manual.
The cold-water method can be used effectively in putting up rhubarb, green gooseberries, and a few other sour berry fruits. The process is simple. The fruit is first prepared and washed and then blanched, and finally packed practically raw in containers, which are next filled with cold water and then sealed. Some sour fruits packed in this way will keep indefinitely.
A serviceable outfit may be made of materials found in any household. All that is necessary is a vessel to hold the jars or cans—such as a wash boiler or a large tin pail. This should have a tight-fitting cover. Provide a false bottom of wood or a wire rack to allow for free circulation of water under the containers.
While suburban gardeners with large surplus of vegetables find it desirable to use tin cans, being more easily handled for commercial purposes, most of us find glass jars the more satisfactory and economical containers for canned vegetables and fruits. This is especially true when there is a shortage of tin cans. All types of jars that seal perfectly may be used. Use may be made of those to which one is accustomed or which may be already on hand. The rubbers must be sound but the glass jars may be used indefinitely. Glass jars are adapted for use in any of the cold-pack canning outfits. Be sure that no jar is defective.
For use in the storing of products which are already sterilized, such as jellies, jams, and preserves, and the bottling of fruit juices, housewives may practice effective thrift by saving all jars in which they receive dried beef, bacon, peanut butter, and other products and bottles that have contained olives, catsup, and kindred goods.
Blanching is important with most vegetables and many fruits. It consists of plunging them into boiling water for a short time.
Spinach and other greens should be blanched in steam. To do this, place them in an ordinary steamer or suspend them in a tightly closed vessel above an inch or two of boiling water.
Blanching should be followed by the cold dip, plunging into cold water after removal from the hot water. Cold dipping hardens the pulp and preserves the original color, enhancing the appearance.
Blanching cleanses the articles and removes excess acids and strong flavors and odors. It also causes shrinkage, so that a larger quantity may be packed in a container. After blanching and cold dipping, surface moisture should be removed by placing the vegetables or fruits between two towels or by exposure to the sun.
All this is so simple and the directions so easily followed that the average 12-year-old may successfully can vegetables or fruits. The steps and the precautions are: 1. Select sound vegetables and fruits. (If possible can them the same day they are picked.) Wash, clean, and prepare them.
2. Have ready, on the stove, a can or pail of boiling water.
3. Place the vegetables or fruits in cheesecloth, or in some other porous receptacle—a wire basket is excellent—for dipping and blanching them in the boiling water.
4. Put them whole into the boiling water. The Commission gives a time-table for blanching. After the water begins to boil, begin to count the blanching time; this varies from one to twenty minutes, according to the vegetable or fruit.
5. When the blanching is complete, remove the vegetables or fruits from the boiling water and plunge them a number of times into cold water, to harden the pulp and check the flow of coloring matter. Do not leave them in cold water.
6. The containers must be thoroughly clean. It is not necessary to sterilize them in steam or boiling water before filling them, as in the cold-pack process both the insides of containers and the contents are sterilized. The jars should be heated before being filled, in order to avoid breakage.
7. Pack the product into the containers, leaving about a quarter of an inch of space at the top.
8. With vegetables add one level teaspoonful of salt to each quart container and fill with boiling water. With fruits use syrups.
9. With glass jars always use a good rubber. Test the rubber by stretching or turning inside out. Fit on the rubber and put the lid in place. If the container has a screw top do not screw up as hard as possible, but use only the thumb and little finger in tightening it. This makes it possible for the steam to escape and prevents breakage. If a glass top jar is used, snap the top bail only, leaving the lower bail loose during sterilization. Tin cans should be completely sealed.
10. Place the filled and capped containers on the rack in the sterilizer. If the homemade or commercial hot-water bath outfit is used, enough water should be in the boiler to come at least one inch above the tops of the containers, and the water, in boiling out, should never be allowed to drop to the level of these tops. Begin to count processing time when the water begins to boil.
At the end of the sterilizing period remove the containers from the sterilizer. Fasten covers on tightly at once, turn the containers upside down to test for leakage, leave in this position until cold, and then store in a cool, dry place. Be sure that no draft is allowed to blow on glass jars, as it may cause breakage.
11. If jars are to be stored where there is strong light, wrap them in paper, preferably brown, as light will fade the color of products canned in glass jars, and sometimes deteriorate the food value.
That's the whole trick.
CHAPTER XXVII RETAIL COOPERATION COOPERATION in buying supplies at wholesale, in standardizing and shipping crops, in keeping grain in elevators, and fruit and some meats and poultry in cold storage has reached a high development among the farmers largely in the Northwest, much ahead of us "city folks."
There are more than five thousand active Farmers' Cooperation Associations in the United States. Minnesota alone has over six hundred cooperative creameries, some of which have a laundry annex.
The associations have six hundred and sixty thousand members and do a business of nearly a thousand dollars a year for each member.
These are the people that we call "hayseeds"; if we could plant some more such "seeds," it would be a good job. But in cooperative retail domestic supply we are far


sil*ism (?), n. 1. The science or state of fossils. Coleridge.
2. The state of being extremely antiquated in views and opinions.

 Fos"sil*ist, n. One who is versed in the science of fossils; a paleontologist. Joseph Black.
 Fos'sil*i*za"tion (?), n. [Cf. F. fossilisation.] The process of converting, or of being converted, into a fossil.

 Fos"sil*ize (?), v. t. [imp. & p. p. Fossilized (?); p. pr. & vb. n. Fossilizing (?).] [Cf. F. fossiliser.] 1.
 To convert into a fossil; to petrify; as, to fossilize bones or wood.

2. To cause to become antiquated, rigid, or fixed, as by fossilization; to mummify; to deaden.

 Ten layers of birthdays on a woman's head Are apt to fossilize her girlish mirth.

Mrs. Browning.
 Fos"sil*ize, v. i. 1. To become fossil.

2. To become antiquated, rigid, or fixed, beyond the influence of change or progress.

 Fos"sil*ized (?), a. Converted into a fossil; antiquated; firmly fixed in views or opinions.

 A fossilized sample of confused provincialism.

Earle.
 ||Fos*so"res (?), n. pl. [NL., fr. L. fossor&?; digger, fr. fodere to dig.] (Zoöl.) A group of hymenopterous insects including the sand wasps. They excavate cells in earth, where they deposit their eggs, with the bodies of other insects for the food of the young when hatched. [Written also Fossoria.]

 ||Fos*so"ri*a (?), n. pl. [NL.] (Zoöl.) See Fossores.

 Fos*so"ri*al (?), a. [L. fossor a digger.] Fitted for digging, adapted for burrowing or digging; as, a fossorial foot; a fossorial animal.

 Fos*so"ri*ous (?), a. (Zoöl.) Adapted for digging; -- said of the legs of certain insects.

 Fos"su*late (?), a. [L. fossula little ditch, dim. of fossa.
 See Fosse.] Having, or surrounded by, long, narrow depressions or furrows.

 Fos"ter (?), v. t. [imp. & p. p. Fostered (?), p. pr.
 & vb. n. Fostering.] [OE. fostren, fr. AS. fster, fstor, food, nourishment, fr. fda food. √75. See Food.] 1. To feed; to nourish; to support; to bring up.

 Some say that ravens foster forlorn children.

Shak.
2. To cherish; to promote the growth of; to encourage; to sustain and promote; as, to foster genius.

 Fos"ter, v. i. To be nourished or trained up together. [Obs.] Spenser.
 Fos"ter, a. [AS. fster, fstor, nourishment. See Foster, v. t.] Relating to nourishment; affording, receiving, or sharing nourishment or nurture; -- applied to father, mother, child, brother, etc., to indicate that the person so called stands in the relation of parent, child, brother, etc., as regards sustenance and nurture, but not by tie of blood.

Foster babe, or child, an infant of child nursed by a woman not its mother, or bred by a man not its father. -- Foster brother, Foster sister, one who is, or has been, nursed at the same breast, or brought up by the same nurse as another, but is not of the same parentage. -- Foster dam, one who takes the place of a mother; a nurse. Dryden. -- Foster earth, earth by which a plant is nourished, though not its native soil. J. Philips. -- Foster father, a man who takes the place of a father in caring for a child.
 Bacon. -- Foster land. (a) Land allotted for the maintenance of any one. [Obs.] (b) One's adopted country. -- Foster lean [foster + AS. læn a loan See Loan.], remuneration fixed for the rearing of a foster child; also, the jointure of a wife. [Obs.] Wharton. -- Foster mother, a woman who takes a mother's place in the nurture and care of a child; a nurse. -- Foster nurse, a nurse; a nourisher. [R.] Shak. -- Foster parent, a foster mother or foster father. -- Foster son, a male foster child.

 Fos"ter, n. A forester. [Obs.] Spenser.
 Fos"ter*age (?; 48), n. The care of a foster child; the charge of nursing. Sir W. Raleigh.
 Fos"ter*er (?), n. One who, or that which, fosters.

 Fos"ter*ling, n. [AS. fstorling.] A foster child.

 Fos"ter*ment (?), n. Food; nourishment. [Obs.]

 Fos"tress (?), n. [For fosteress.] A woman who feeds and cherishes; a nurse. B. Jonson.
 Foth"er (?), n. [OE. fother, foder, AS. f&?;er a cartload; akin to G. fuder a cartload, a unit of measure, OHG. fuodar, D. voeder, and perh. to E. fathom, or cf. Skr. ptr vessel, dish. Cf. Fodder a fother.] 1. A wagonload; a load of any sort. [Obs.]

 Of dung full many a fother.

Chaucer.
2. See Fodder, a unit of weight.

 Foth"er, v. t. [imp. & p. p. Fothered (?); p. pr.
 & vb. n. Fothering.] [Cf. Fodder food, and G. füttern, futtern, to cover within or without, to line. √75.] To stop (a leak in a ship at sea) by drawing under its bottom a thrummed sail, so that the pressure of the water may force it into the crack. Totten.
 Fo"tive (?), a. [L. fovere, fotum, to keep warm, to cherish.] Nourishing. [Obs.] T. Carew (1633).
 Fot"mal (?), n. (Com.) Seventy pounds of lead.

 { ||Fou'gade" (?), ||Fou'gasse" (?) }, n. (Mil.) A small mine, in the form of a well sunk from the surface of the ground, charged with explosive and projectiles. It is made in a position likely to be occupied by the enemy.

 Fought (?), imp. & p. p. of Fight.

 Fought"en (?), p. p. of Fight. [Archaic] Foul (foul), n. [See Fowl.] A bird. [Obs.] Chaucer.
 Foul (foul), a. [Compar. Fouler (-r); superl. Foulest.]
 [OE. foul, ful, AS. fl; akin to D. vuil, G. faul rotten, OHG. fl, Icel. fl foul, fetid; Dan. fuul, Sw.
 ful foul, Goth. fls fetid, Lith. puti to be putrid, L. putere to stink, be putrid, pus pus, Gr. py'on pus, to cause to rot, Skr. py to stink. √82. Cf. Defile to foul, File to foul, Filth, Pus


He thought it carried something of argument in it. Watts.
 It carries too great an imputation of ignorance. Lacke.
9. To bear (one's self); to behave, to conduct or demean; -- with the reflexive pronouns.

 He carried himself so insolently in the house, and out of the house, to all persons, that he became odious. Clarendon.
10. To bear the charges or burden of holding or having, as stocks, merchandise, etc., from one time to another; as, a merchant is carrying a large stock; a farm carries a mortgage; a broker carries stock for a customer; to carry a life insurance.

Carry arms (Mil. Drill), a command of the Manual of Arms directing the soldier to hold his piece in the right hand, the barrel resting against the hollow of the shoulder in a nearly perpendicular position. In this position the soldier is said to stand, and the musket to be held, at carry. -- To carry all before one, to overcome all obstacles; to have uninterrupted success. -- To carry arms (a) To bear weapons. (b) To serve as a soldier. -- To carry away.
 (a) (Naut.) to break off; to lose; as, to carry away a fore-topmast. (b) To take possession of the mind; to charm; to delude; as, to be carried by music, or by temptation. -- To carry coals, to bear indignities tamely, a phrase used by early dramatists, perhaps from the mean nature of the occupation. Halliwell.
 -- To carry coals to Newcastle, to take things to a place where they already abound; to lose one's labor. - - To carry off (a) To remove to a distance. (b) To bear away as from the power or grasp of others. (c) To remove from life; as, the plague carried off thousands. -- To carry on (a) To carry farther; to advance, or help forward; to continue; as, to carry on a design. (b) To manage, conduct, or prosecute; as, to carry on husbandry or trade. -- To carry out. (a) To bear from within. (b) To put into execution; to bring to a successful issue. (c) To sustain to the end; to continue to the end. -- To carry through. (a) To convey through the midst of. (b) To support to the end; to sustain, or keep from falling, or being subdued. "Grace will carry us... through all difficulties." Hammond. (c) To complete; to bring to a successful issue; to succeed. -- To carry up, to convey or extend in an upward course or direction; to build. -- To carry weight. (a) To be handicapped; to have an extra burden, as when one rides or runs. "He carries weight, he rides a race" Cowper.
(b) To have influence.

 Car"ry, v. i. 1. To act as a bearer; to convey anything; as, to fetch and carry.

2. To have propulsive power; to propel; as, a gun or mortar carries well.

3. To hold the head; -- said of a horse; as, to carry well i. e., to hold the head high, with arching neck.

4. (Hunting) To have earth or frost stick to the feet when running, as a hare. Johnson.
To carry on, to behave in a wild, rude, or romping manner. [Colloq.]

 Car"ry (?), n.; pl. Carries (#). A tract of land, over which boats or goods are carried between two bodies of navigable water; a carrying place; a portage. [U.S.]

 Car"ry*all' (?), n. [Corrupted fr. cariole.] A light covered carriage, having four wheels and seats for four or more persons, usually drawn by one horse.

 Car"ry*ing, n. The act or business of transporting from one place to another.

Carrying place, a carry; a portage. -- Carrying trade, the business of transporting goods, etc., from one place or country to another by water or land; freighting.

 We are rivals with them in... the carrying trade. Jay.
 Car"ryk (?), n. A carack. [Obs.] Chaucer.
 Car"ry*tale' (?), n. A talebearer. [R.] Shak.
 Carse (?), n. [Of Celtic origin; cf. W. cars bog, fen. carsen reed, Armor. kars, korsen, bog plant, reed.] Low, fertile land; a river valley. [Scot.] Jomieson.
 Cart (?), n. [AS. cræt; cf. W. cart, Ir. & Gael. cairt, or Icel. kartr. Cf. Car.] 1. A common name for various kinds of vehicles, as a Scythian dwelling on wheels, or a chariot. "Phœbus' cart." Shak.
2. A two-wheeled vehicle for the ordinary purposes of husbandry, or for transporting bulky and heavy articles.

 Packing all his goods in one poor cart. Dryden.
3. A light business wagon used by bakers, grocerymen, butchers, etc.

4. An open two-wheeled pleasure carriage.

Cart horse, a horse which draws a cart; a horse bred or used for drawing heavy loads. -- Cart load, or Cartload, as much as will fill or load a cart. In excavating and carting sand, gravel, earth, etc., one third of a cubic yard of the material before it is loosened is estimated to be a cart load. -- Cart rope, a stout rope for fastening a load on a cart; any strong rope. -- To put (or get or set) the cart before the horse, to invert the order of related facts or ideas, as by putting an effect for a cause.

 Cart, v. t. [imp. & p. p. Carted; p. pr. & vb. n.
 Carting.] 1. To carry or convey in a cart.

2. To expose in a cart by way of punishment.

 She chuckled when a bawd was carted. Prior.
 Cart, v. i. To carry burdens in a cart; to follow the business of a carter.

 Cart"age (?), n. 1. The act of carrying in a cart.

2. The price paid for carting.

 Cart"bote' (?), n. [Cart + bote.] (Old Eng. Law.)
 Wood to which a tenant is entitled for making and repairing carts and other instruments of husbandry.

 ||Carte (?), n. [F. See 1st Card.] 1. Bill of fare.

2. Short for Carte de visite.

 { Carte. ||Quarte (?), } n. [F. quarte, prop., a fourth. Cf.
 Quart.] (Fencing) A position in thrusting or parrying, with the inside of the hand turned upward and the point of the weapon toward the adversary's right breast.

 ||Carte' blanche" (?). [F., fr. OF. carte paper + -blanc, blanche, white. See 1st Card.] A blank paper, with a person's signature, etc., at the bottom, given to another person, with permission to superscribe what conditions he pleases. Hence: Unconditional terms; unlimited authority.

 ||Carte" de vi*site' (?), pl. Cartes de visite (&?;).
 [F.] 1. A visiting card.

2. A photographic picture of the size formerly in use for a visiting card.

 Car*tel" (?), n. [F., fr. LL. cartellus a little paper, dim.
 fr. L. charta. See 1st Card.]

1. (Mil.) An agreement between belligerents for the exchange of prisoners. Wilhelm.
2. A letter of defiance or challenge; a challenge to single combat.
 [Obs


LEVIATHAN By Thomas Hobbes 1651 LEVIATHAN OR THE MATTER,FORME, & POWER OF A COMMON-WEALTH ECCLESIASTICAL AND CIVILL Thomas Hobbes of Malmesbury Printed for Andrew Crooke, at the Green Dragon in St. Paul's Churchyard, 1651.

 Hobbes used capitals and italics very extensively, for emphasis, for proper names, for quotations, and sometimes, it seems, just because.

 The original has very extensive margin notes, which are used to show where he introduces the definitions of words and concepts, to give in short the subject that a paragraph or section is dealing with, and to give references to his quotations, largely but not exclusively biblical.
 To some degree, these margin notes seem to have been intended to serve in place of an index, the original having none. They are all in italics.

 He also used italics for words in other languages than English, and there are a number of Greek words, in the Greek alphabet, in the text.

 To deal with these within the limits of plain vanilla ASCII, I have done the following in this E-text.

 I have restricted my use of full capitalization to those places where Hobbes used it, except in the chapter headings, which I have fully capitalized, where Hobbes used a mixture of full capitalization and italics.

 Where it is clear that the italics are to indicate the text is quoting, I have introduced quotation marks. Within quotation marks I have retained the capitalization that Hobbes used.

 Where italics seem to be used for emphasis, or for proper names, or just because, I have capitalized the initial letter of the words. This has the disadvantage that they are not then distinguished from those that Hobbes capitalized in plain text, but the extent of his italics would make the text very ugly if I was to use an underscore or slash.

 Where the margin notes are either to introduce the paragraph subject, or to show where he introduces word definitions, I have included them as headers to the paragraph, again with all words having initial capitals, and on a shortened line.

 For margin references to quotes, I have included them in the text, in brackets immediately next to the quotation. Where Hobbes included references in the main text, I have left them as he put them, except to change his square brackets to round.

 For the Greek alphabet, I have simply substituted the nearest ordinary letters that I can, and I have used initial capitals for foreign language words.

 Neither Thomas Hobbes nor his typesetters seem to have had many inhibitions about spelling and punctuation. I have tried to reproduce both exactly, with the exception of the introduction of quotation marks.

 In preparing the text, I have found that it has much more meaning if I read it with sub-vocalization, or aloud, rather than trying to read silently. Hobbes' use of emphasis and his eccentric punctuation and construction seem then to work.

 TO MY MOST HONOR'D FRIEND Mr. FRANCIS GODOLPHIN of GODOLPHIN HONOR'D SIR.

 Your most worthy Brother Mr SIDNEY GODOLPHIN, when he lived, was pleas'd to think my studies something, and otherwise to oblige me, as you know, with reall testimonies of his good opinion, great in themselves, and the greater for the worthinesse of his person. For there is not any vertue that disposeth a man, either to the service of God, or to the service of his Country, to Civill Society, or private Friendship, that did not manifestly appear in his conversation, not as acquired by necessity, or affected upon occasion, but inhaerent, and shining in a generous constitution of his nature. Therefore in honour and gratitude to him, and with devotion to your selfe, I humbly Dedicate unto you this my discourse of Common-wealth. I know not how the world will receive it, nor how it may reflect on those that shall seem to favour it. For in a way beset with those that contend on one side for too great Liberty, and on the other side for too much Authority, 'tis hard to passe between the points of both unwounded. But yet, me thinks, the endeavour to advance the Civill Power, should not be by the Civill Power condemned; nor private men, by reprehending it, declare they think that Power too great. Besides, I speak not of the men, but (in the Abstract) of the Seat of Power, (like to those simple and unpartiall creatures in the Roman Capitol, that with their noyse defended those within it, not because they were they, but there) offending none, I think, but those without, or such within (if there be any such) as favour them. That which perhaps may most offend, are certain Texts of Holy Scripture, alledged by me to other purpose than ordinarily they use to be by others. But I have done it with due submission, and also (in order to my Subject) necessarily; for they are the Outworks of the Enemy, from whence they impugne the Civill Power. If notwithstanding this, you find my labour generally decryed, you may be pleased to excuse your selfe, and say that I am a man that love my own opinions, and think all true I say, that I honoured your Brother, and honour you, and have presum'd on that, to assume the Title (without your knowledge) of being, as I am, Sir, Your most humble, and most obedient servant, Thomas Hobbes.

 Paris APRILL 15/25 1651.

Contents THE INTRODUCTION PART I. OF MAN CHAPTER I. OF SENSE CHAPTER II. OF IMAGINATION Memory Dreams Apparitions Or Visions Understanding CHAPTER III. OF THE CONSEQUENCE OR TRAYNE OF IMAGINATIONS Trayne Of Thoughts Unguided Trayne Of Thoughts Regulated Remembrance Prudence Signes Conjecture Of The Time Past CHAPTER IV. OF SPEECH Originall Of Speech The Use Of Speech Abuses Of Speech Names Proper & Common Universall Subject To Names Use Of Names Positive Negative Names With Their Uses Words Insignificant Understanding Inconstant Names CHAPTER V. OF REASON, AND SCIENCE.
 Reason What It Is Reason Defined Right Reason Where The Use Of Reason Of Error And Absurdity Causes Of Absurditie Science Prudence & Sapience, With Their Difference Signes Of Science CHAPTER VI. OF THE INTERIOUR BEGINNINGS OF VOLUNTARY MOTIONS COMMONLY CALLED THE PASSIONS, AND THE SPEECHES BY WHICH THEY ARE EXPRESSED.
 Motion Vitall And Animal Endeavour; Appetite; Desire; Hunger; Thirst; Aversion Contempt Good Evill Pulchrum Turpe; Delightfull Profitable; Unpleasant Unprofitable Delight Displeasure Pleasure Offence Pleasures Of Sense; Pleasures Of The Mind; Joy Paine Griefe The Will Formes Of Speech, In Passion Good And Evill Apparent Felicity Praise Magnification CHAPTER VII. OF THE ENDS OR RESOLUTIONS OF DISCOURSE Judgement, or Sentence Final; Doubt Science Opinion Conscience Beliefe Faith CHAPTER VIII.


Transcribed from the 1913 Methuen and Co. edition by David Price, email _EMAIL_ LORD ARTHUR SAVILE'S CRIME THE PORTRAIT OF Mr. W. H. AND OTHER STORIES BY OSCAR WILDE METHUEN & CO. LTD.
36 ESSEX STREET W.C.
LONDON Tenth Edition First Published— Lord Arthur Savile's Crime, The Canterville Ghost, The Sphinx without a Secret, and the Model Millionaire 1887 Issued in Collected Form 1891 The Portrait of Mr. W. H.

1889 First Issued by Methuen and Co.
(Limited Edition on Handmade Paper and Japanese Vellum) March 1908 Third Edition (F'cap. 8vo 5s.
net) September 1908 Fourth Edition (5s. net) October 1909 Fifth Edition (5s. net) March 1911 Sixth and Seventh Editions (F'cap. 8vo 1s. net) April 1912 Eighth Edition (1s. net) September 1912 Ninth Edition (1s.net) May 1913 Tenth Edition (5s. net) 1913 CONTENTS PAGE LORD ARTHUR SAVILE'S CRIME 3 THE CANTERVILLE GHOST 65 THE SPHINX WITHOUT A SECRET 121 THE MODEL MILLIONAIRE 133 THE PORTRAIT OF MR. W. H.
145 p. 3LORD ARTHUR SAVILE'S CRIME A STUDY OF DUTY CHAPTER I It was Lady Windermere's last reception before Easter, and Bentinck House was even more crowded than usual. Six Cabinet Ministers had come on from the Speaker's Levée in their stars and ribands, all the pretty women wore their smartest dresses, and at the end of the picture-gallery stood the Princess Sophia of Carlsrühe, a heavy Tartar-looking lady, with tiny black eyes and wonderful emeralds, talking bad French at the top of her voice, and laughing immoderately at everything that was said to her.
It was certainly a wonderful medley of people. Gorgeous peeresses chatted affably to violent Radicals, popular preachers brushed coat-tails with eminent sceptics, a perfect bevy of bishops kept following a stout prima-donna from room to room, on the staircase stood several Royal Academicians, disguised as artists, and it was said that at one time the supper-room was absolutely crammed with geniuses. In fact, it was one of Lady Windermere's best nights, and the Princess stayed till nearly half-past eleven.
As soon as she had gone, Lady Windermere returned to the picture-gallery, where a celebrated political economist was solemnly explaining the scientific theory of music to an indignant virtuoso from Hungary, and began to talk to the Duchess of Paisley. She looked wonderfully beautiful with her grand ivory throat, her large blue forget-me-not eyes, and her heavy coils of golden hair. Or pur they were—not that pale straw colour that nowadays usurps the gracious name of gold, but such gold as is woven into sunbeams or hidden in strange amber; and they gave to her face something of the frame of a saint, with not a little of the fascination of a sinner. She was a curious psychological study. Early in life she had discovered the important truth that nothing looks so like innocence as an indiscretion; and by a series of reckless escapades, half of them quite harmless, she had acquired all the privileges of a personality. She had more than once changed her husband; indeed, Debrett credits her with three marriages; but as she had never changed her lover, the world had long ago ceased to talk scandal about her. She was now forty years of age, childless, and with that inordinate passion for pleasure which is the secret of remaining young.
Suddenly she looked eagerly round the room, and said, in her clear contralto voice, 'Where is my cheiromantist?' 'Your what, Gladys?' exclaimed the Duchess, giving an involuntary start.
'My cheiromantist, Duchess; I can't live without him at present.' 'Dear Gladys! you are always so original,' murmured the Duchess, trying to remember what a cheiromantist really was, and hoping it was not the same as a cheiropodist.
'He comes to see my hand twice a week regularly,' continued Lady Windermere, 'and is most interesting about it.' 'Good heavens!' said the Duchess to herself, 'he is a sort of cheiropodist after all. How very dreadful. I hope he is a foreigner at any rate. It wouldn't be quite so bad then.' 'I must certainly introduce him to you.' 'Introduce him!' cried the Duchess; 'you don't mean to say he is here?' and she began looking about for a small tortoise-shell fan and a very tattered lace shawl, so as to be ready to go at a moment's notice.
'Of course he is here; I would not dream of giving a party without him. He tells me I have a pure psychic hand, and that if my thumb had been the least little bit shorter, I should have been a confirmed pessimist, and gone into a convent.' 'Oh, I see!' said the Duchess, feeling very much relieved; 'he tells fortunes, I suppose?' 'And misfortunes, too,' answered Lady Windermere, 'any amount of them. Next year, for instance, I am in great danger, both by land and sea, so I am going to live in a balloon, and draw up my dinner in a basket every evening.
It is all written down on my little finger, or on the palm of my hand, I forget which.' 'But surely that is tempting Providence, Gladys.' 'My dear Duchess, surely Providence can resist temptation by this time. I think every one should have their hands told once a month, so as to know what not to do. Of course, one does it all the same, but it is so pleasant to be warned. Now if some one doesn't go and fetch Mr. Podgers at once, I shall have to go myself.' 'Let me go, Lady Windermere,' said a tall handsome young man, who was standing by, listening to the conversation with an amused smile.
'Thanks so much, Lord Arthur; but I am afraid you wouldn't recognise him.' 'If he is as wonderful as you say, Lady Windermere, I couldn't well miss him. Tell me what he is like, and I'll bring him to you at once.' 'Well, he is not a bit like a cheiromantist. I mean he is not mysterious, or esoteric, or romantic-looking. He is a little, stout man, with a funny, bald head, and great gold-rimmed spectacles; something between a family doctor and a country attorney. I'm really very sorry, but it is not my fault. People are so annoying. All my pianists look exactly like poets, and all my poets look exactly like pianists; and I remember last season asking a most dreadful conspirator to dinner, a man who had blown up ever so many people, and always wore a coat of mail, and carried a dagger up his shirt-sleeve; and do you know that when he came he looked just like a nice old clergyman, and cracked jokes all the evening? Of course, he was very amusing, and all that, but I was awfully disappointed; and when I asked him about the coat of mail, he only laughed, and said it was far too cold to wear in England. Ah, here is Mr. Podgers!
Now, Mr. Podgers, I want you to tell the Duchess of Paisley's hand. Duchess, you must take your glove off. No, not the left hand, the other.' 'Dear Gladys, I really don't think it is quite right,' said the Duchess, feebly unbuttoning a rather soiled kid glove.
'Nothing interesting ever is,' said Lady Windermere: 'on a fait le monde ainsi. But


THE MAN AGAINST THE SKY A Book of Poems by Edwin Arlington Robinson [Note on text: Italicized words or phrases are capitalized. Lines longer than 78 characters are broken and the continuation is indented two spaces. Some obvious errors may have been corrected.]

 Several of the poems included in this book are reprinted from American periodicals, as follows: "The Gift of God", "Old King Cole", "Another Dark Lady", and "The Unforgiven"; "Flammonde" and "The Poor Relation"; "The Clinging Vine"; "Eros Turannos" and "Bokardo"; "The Voice of Age"; "Cassandra"; "The Burning Book"; "Theophilus"; "Ben Jonson Entertains a Man from Stratford".

CONTENTS THE MAN AGAINST THE SKY Flammonde The Gift of God The Clinging Vine Cassandra John Gorham Stafford's Cabin Hillcrest Old King Cole Ben Jonson Entertains a Man from Stratford Eros Turannos Old Trails The Unforgiven Theophilus Veteran Sirens Siege Perilous Another Dark Lady The Voice of Age The Dark House The Poor Relation The Burning Book Fragment Lisette and Eileen Llewellyn and the Tree Bewick Finzer Bokardo The Man against the Sky Notes on the etext: About the author: Edwin Arlington Robinson, _PHONE_.

 THE MAN AGAINST THE SKY Flammonde The Gift of God The Clinging Vine Cassandra John Gorham Stafford's Cabin Hillcrest Old King Cole Ben Jonson Entertains a Man from Stratford Eros Turannos Old Trails The Unforgiven Theophilus Veteran Sirens Siege Perilous Another Dark Lady The Voice of Age The Dark House The Poor Relation The Burning Book Fragment Lisette and Eileen Llewellyn and the Tree Bewick Finzer Bokardo The Man against the Sky [End of text.]

 From the original advertisements: By the same author Captain Craig, A Book of Poems "There are few poets writing in English to-day whose work is so permeated by individual charm as is Mr. Robinson's. Always one feels the presence of a man behind the poet—a man who knows life and people and things and writes of them clearly, with a subtle poetic insight that is not visible in the work of any other living writer."—'Brooklyn Daily Eagle'.

 "The 'Book of Annandale', a splendid poem included in this collection, is one of the most moving emotional narratives found in modern poetry."
 —'Review of Reviews'.

 "... His handling of Greek themes reveals him as a lyrical poet of inimitable charm and skill."—'Reedy's Mirror'.

 "A poem that must endure; if things that deserve long life get it."— 'N. Y. Evening Sun'.

 "Wherever you hear people who know speak of American poets... they assume that you take the genius and place of Edwin Arlington Robinson as granted.... A man with something to say that has value and beauty. His thought is deep and his ideas are high and stimulating."—'Boston Transcript'.

 By the same author——————— The Porcupine: A Drama in Three Acts Cloth, 12mo, $1.25 Edwin Arlington Robinson's comedy "Van Zorn" proved him to be one of the most accomplished of the younger generation of American dramatists. Of this play the 'Boston Transcript' said, "It is an effective presentation of modern life in New York City, in which a poet shows his skill of playwrighting... he brings to the American drama to-day a thing it sadly lacks, and that is character." In manner and technique Mr. Robinson's new play, "The Porcupine", recalls some of the work of Ibsen. Written adroitly and with the literary cleverness exhibited in "Van Zorn", it tells a story of a domestic entanglement in a dramatic fashion well calculated to hold the reader's attention.

 "Contains all of the qualities that are said to be conspicuously lacking in American Drama."—'N. Y. Evening Sun'.

 Van Zorn: A Comedy in Three Acts Cloth, 12mo, $1.25 Mr. Robinson is known as the leader of present-day American poets. In this delightful play he tells with a biting humor the story of the salvation of a soul. By clever arrangement of incident and skillful characterization he arouses strongly the reader's curiosity, and the suspense is admirably sustained. The dialogue is bright, and the construction of the plot shows the work of one well versed in the technique of the drama.

 Notes on the etext: About the author: Edwin Arlington Robinson, _PHONE_.

 From the Biographical Notes of "The Second Book of Modern Verse" (1919, 1920), edited by Jessie B. Rittenhouse: Robinson, Edwin Arlington. Born at Head Tide, Maine, Dec. 22, 1869.
 Educated at Harvard University. Mr. Robinson is a psychological poet of great subtlety; his poems are usually studies of types and he has given us a remarkable series of portraits. He is recognized as one of the finest and most distinguished poets of our time. His successive volumes are: "Children of the Night", 1897; "Captain Craig", 1902; "The Town Down the River", 1910; "The Man against the Sky", 1916; "Merlin", 1917; and "Launcelot", 1920. The last-named volume was awarded a prize of five hundred dollars, given by The Lyric Society for the best book manuscript offered to it in 1919. In addition to his work in poetry, Mr. Robinson has written two prose plays, "Van Zorn", and "The Porcupine".

 In "American Poetry Since 1900", Louis Untermeyer notes, "his name was known only to a few of the literati until Theodore Roosevelt... acclaimed and aided him." Rittenhouse's Biographical Notes (above quoted) contain this entry immediately before Edwin Arlington Robinson's: "Robinson, Corinne Roosevelt.... Mrs. Robinson, who is a sister to Col. Theodore Roosevelt,... has written several volumes of verse...." It is always interesting to see the coincidence of events in history, and it is worth asking if this was not even a causal relationship.—A. L.


CYRANO DE BERGERAC A Play in Five Acts CONTENTS CYRANO DE BERGERAC Dramatis personae Act I. Scene 1.I.
Scene 1.II.
Scene 1.III.
Scene 1.IV.
Scene 1.V.
Scene 1.VI.
Scene 1.VII.
Act II.
Scene 2.I.
Scene 2.II.
Scene 2.III.
Scene 2.IV.
Scene 2.V.
Scene 2.VI.
Scene 2.VII.
Scene 2.VIII.
Scene 2.IX.
Scene 2.X.
Scene 2.XI.
Act III.
Scene 3.I.
Scene 3.II.
Scene 3.III.
Scene 3.IV.
Scene 3.V.
Scene 3.VI.
Scene 3.VII.
Scene 3.VIII.
Scene 3.IX.
Scene 3.X.
Scene 3.XI.
Scene 3.XII.
ACT IV.
Scene 4.I.
Scene 4.II.
Scene 4.III.
Scene 4.IV.
Scene 4.V.
Scene 4.VI.
Scene 4.VII.
Scene 4.VIII.
Scene 4.IX.
Scene 4.X.
Act V. Scene 5.I.
Scene 5.II.
Scene 5.III.
Scene 5.IV.
Scene 5.V.
Scene 5.VI.
Cyrano de Bergerac Edmond Rostand This etext was prepared by Sue Asscher CYRANO DE BERGERAC A Play in Five Acts by Edmond Rostand Translated from the French by Gladys Thomas and Mary F. Guillemard Dramatis personae CYRANO DE BERGERAC CHRISTIAN DE NEUVILLETTE COUNT DE GUICHE RAGUENEAU LE BRET CARBON DE CASTEL-JALOUX THE CADETS LIGNIERE DE VALVERT A MARQUIS SECOND MARQUIS THIRD MARQUIS MONTFLEURY BELLEROSE JODELET CUIGY BRISSAILLE THE DOORKEEPER A LACKEY A SECOND LACKEY A BORE A MUSKETEER ANOTHER A SPANISH OFFICER A PORTER A BURGHER HIS SON A PICKPOCKET A SPECTATOR A GUARDSMAN BERTRAND THE FIFER A MONK TWO MUSICIANS THE POETS THE PASTRY COOKS ROXANE SISTER MARTHA LISE THE BUFFET-GIRL MOTHER MARGUERITE THE DUENNA SISTER CLAIRE AN ACTRESS THE PAGES THE SHOP-GIRL The crowd, troopers, burghers (male and female), marquises, musketeers, pickpockets, pastry-cooks, poets, Gascons cadets, actors (male and female), violinists, pages, children, soldiers, Spaniards, spectators (male and female), precieuses, nuns, etc.
Act I. A Representation at the Hotel de Bourgogne.
The hall of the Hotel de Bourgogne, in 1640. A sort of tennis-court arranged and decorated for a theatrical performance.
The hall is oblong and seen obliquely, so that one of its sides forms the back of the right foreground, and meeting the left background makes an angle with the stage, which is partly visible.
On both sides of the stage are benches. The curtain is composed of two tapestries which can be drawn aside. Above a harlequin's mantle are the royal arms. There are broad steps from the stage to the hall; on either side of these steps are the places for the violinists. Footlights.
Two rows, one over the other, of side galleries: the highest divided into boxes. No seats in the pit of the hall, which is the real stage of the theater; at the back of the pit, i.e., on the right foreground, some benches forming steps, and underneath, a staircase which leads to the upper seats. An improvised buffet ornamented with little lusters, vases, glasses, plates of tarts, cakes, bottles, etc.
The entrance to the theater is in the center of the background, under the gallery of the boxes. A large door, half open to let in the spectators. On the panels of this door, in different corners, and over the buffet, red placards bearing the words, 'La Clorise.'
At the rising of the curtain the hall is in semi-darkness, and still empty. The lusters are lowered in the middle of the pit ready to be lighted.
Scene 1.I.
The public, arriving by degrees. Troopers, burghers, lackeys, pages, a pickpocket, the doorkeeper, etc., followed by the marquises. Cuigy, Brissaille, the buffet-girl, the violinists, etc.
(A confusion of loud voices is heard outside the door. A trooper enters hastily.)
THE DOORKEEPER (following him): Hollo! You there! Your money!
THE TROOPER: I enter gratis.
THE DOORKEEPER: Why?
THE TROOPER: Why? I am of the King's Household Cavalry, 'faith!
THE DOORKEEPER (to another trooper who enters): And you?
SECOND TROOPER: I pay nothing.
THE DOORKEEPER: How so?
SECOND TROOPER: I am a musketeer.
FIRST TROOPER (to the second): The play will not begin till two. The pit is empty. Come, a bout with the foils to pass the time.
(They fence with the foils they have brought.)
A LACKEY (entering): Pst...Flanquin...!
ANOTHER (already there): Champagne?...
THE FIRST (showing him cards and dice which he takes from his doublet): See, here be cards and dice.
(He seats himself on the floor): Let's play.
THE SECOND (doing the same): Good; I am with you, villain!
FIRST LACKEY (taking from his pocket a candle-end, which he lights, and sticks on the floor): I made free to provide myself with light at my master's expense!
A GUARDSMAN (to a shop-girl who advances): 'Twas prettily done to come before the lights were lit!
(He takes her round the waist.)
ONE OF THE FENCERS (receiving a thrust): A hit!
ONE OF THE CARD-PLAYERS: Clubs!
THE GUARDSMAN (following the girl): A kiss!
THE SHOP-GIRL (struggling to free herself): They're looking!
THE GUARDSMAN (drawing her to a dark corner): No fear! No one can see!
A MAN (sitting on the ground with others, who have brought their provisions): By coming early, one can eat in comfort.
A BURGHER (conducting his son): Let us sit here, son.
A CARD-PLAYER: Triple ace!
A MAN (taking a bottle from under his cloak, and also seating himself on the floor): A tippler may well quaff his Burgundy (he drinks): in the Burgundy Hotel!
THE BURGHER (to his son): 'Faith! A man might think he had fallen in a bad house here!
(He points with his cane to the drunkard): What with topers!
(One of the fencers in breaking off, jostles him): brawlers!
(He stumbles into the midst of the card-players): gamblers!
THE GUARDSMAN (behind him, still teasing the shop-girl): Come, one kiss!
THE BURGHER (hurriedly pulling his son away): By all the holies! And this, my boy, is the theater where they played Rotrou erewhile.
THE YOUNG MAN: Ay, and Corneille!
A TROOP OF PAGES (hand-in-hand, enter dancing the farandole, and singing):


Mountain ash. See Roman tree, and under Mountain.

2. The tough, elastic wood of the ash tree.

Ash is used adjectively, or as the first part of a compound term; as, ash bud, ash wood, ash tree, etc.

 Ash, n., sing. of Ashes.

Ash is rarely used in the singular except in connection with chemical or geological products; as, soda ash, coal which yields a red ash, etc., or as a qualifying or combining word; as, ash bin, ash heap, ash hole, ash pan, ash pit, ash-grey, ash-colored, pearlash, potash.

Bone ash, burnt powered; bone earth. -- Volcanic ash. See under Ashes.

 Ash, v. t. To strew or sprinkle with ashes. Howell.
 A*shame (&?;), v. t. [Pref. a- + shame: cf. AS.
 scamian to shame (where - is the same as Goth. us-, G. er-, and orig. meant out), gescamian, gesceamian, to shame.] To shame. [R.] Barrow.
 A*shamed" (&?;), a. [Orig. a p. p. of ashame, v. t.]
 Affected by shame; abashed or confused by guilt, or a conviction or consciousness of some wrong action or impropriety. "I am ashamed to beg." Wyclif.
 All that forsake thee shall be ashamed. Jer. xvii. 13.
 I began to be ashamed of sitting idle. Johnson.
 Enough to make us ashamed of our species. Macaulay.
 An ashamed person can hardly endure to meet the gaze of those present. Darwin.
Ashamed seldom precedes the noun or pronoun it qualifies. By a Hebraism, it is sometimes used in the Bible to mean disappointed, or defeated.

 A*sham"ed*ly (&?;), adv. Bashfully. [R.]

 Ash'an*tee" (&?;), n.; pl. Ashantees (&?;). A native or an inhabitant of Ashantee in Western Africa.

 Ash'an*tee", a. Of or pertaining to Ashantee.

 Ash"-col'ored (&?;), a. Of the color of ashes; a whitish gray or brownish gray.

 Ash"en (&?;), a. [See Ash, the tree.] Of or pertaining to the ash tree. "Ashen poles." Dryden.
 Ash"en, a. Consisting of, or resembling, ashes; of a color between brown and gray, or white and gray.

 The ashen hue of age. Sir W. Scott.
 Ash"en (&?;), n., obs. pl. for Ashes. Chaucer.
 Ash"er*y (&?;), n. 1. A depository for ashes.

2. A place where potash is made.

 Ash"es (&?;), n. pl. [OE. asche, aske, AS. asce, æsce, axe; akin to OHG. asca, G. asche, D. asch, Icel. & Sw. aska, Dan. aske, Goth. azgo.]
 1. The earthy or mineral particles of combustible substances remaining after combustion, as of wood or coal.

2. Specifically: The remains of the human body when burnt, or when "returned to dust" by natural decay.

 Their martyred blood and ashes sow. Milton.
 The coffins were broken open. The ashes were scattered to the winds. Macaulay.
3. The color of ashes; deathlike paleness.

 The lip of ashes, and the cheek of flame. Byron.
In dust and ashes, In sackcloth and ashes, with humble expression of grief or repentance; -- from the method of mourning in Eastern lands. -- Volcanic ashes, or Volcanic ash, the loose, earthy matter, or small fragments of stone or lava, ejected by volcanoes.

 Ash"-fire, n. A low fire used in chemical operations.

 Ash"-fur'nace (&?;), Ash"-ov'en (&?;), n. A furnace or oven for fritting materials for glass making.

 A*shine" (&?;), a. Shining; radiant.

 { Ash"lar, Ash"ler } (&?;), n. [OE. ascheler, achiler, OF. aiseler, fr. aiselle, dim. of ais plank, fr. L. axis, assis, plank, axle. See Axle.] 1. (Masonry) (a) Hewn or squared stone; also, masonry made of squared or hewn stone.

 Rough ashlar, a block of freestone as brought from the quarry.
 When hammer-dressed it is known as common ashlar. Knight.
(b) In the United States especially, a thin facing of squared and dressed stone upon a wall of rubble or brick. Knight.
 { Ash"lar*ing, Ash"ler*ing, } n. 1. The act of bedding ashlar in mortar.

2. Ashlar when in thin slabs and made to serve merely as a case to the body of the wall. Brande & C.
3. (Carp.) The short upright pieces between the floor beams and rafters in garrets. See Ashlar, 2.

 A*shore" (&?;), adv. [Pref. a- + shore.] On shore or on land; on the land adjacent to water; to the shore; to the land; aground (when applied to a ship); -- sometimes opposed to aboard or afloat.

 Here shall I die ashore. Shak.
 I must fetch his necessaries ashore. Shak.
 Ash"to*reth (&?;), n.; pl. Ashtaroth (&?;).
 The principal female divinity of the Phœnicians, as Baal was the principal male divinity. W. Smith.
 Ash' Wednes"day (sh' wnz"d). The first day of Lent; -- so called from a custom in the Roman Catholic church of putting ashes, on that day, upon the foreheads of penitents.

 Ash"weed' (&?;), n. (Bot.) [A corruption of ache-weed; F. ache. So named from the likeness of its leaves to those of ache (celery).] Goutweed.

 Ash"y (&?;), a. 1. Pertaining to, or composed of, ashes; filled, or strewed with, ashes.

2. Ash-colored; whitish gray; deadly pale. Shak.
Ashy pale, pale as ashes. Shak.
 A"sian (&?;), a. [L. Asianus, Gr. &?;, fr. &?;, L. Asia.] Of or pertaining to Asia; Asiatic. "Asian princes." Jer. Taylor. -- n. An Asiatic.

 A"si*arch (&?;), n. [L. Asiarcha, Gr. &?;; &?; + &?; ruler.] One of the chiefs or pontiffs of the Roman province of Asia, who had the superintendence of the public games and religious rites.
 Milner.
 A'si*at"ic (&?;), a. [L. Asiaticus, Gr. &?;.] Of or pertaining to Asia or to its inhabitants. -- n. A native, or one of the people, of Asia.

 A'si*at"i*cism (&?;), n. Something peculiar to Asia or the Asiatics.

 A*side" (&?;), adv. [Pref. a- + side.] 1.
 On, or to, one side; out of a straight line, course, or direction; at a little distance from the rest; out of the way; apart.

 Thou shalt set aside that which is full. 2 Kings iv. 4.
 But soft! but soft! aside: here comes the king. Shak.
 The flames were blown aside. Dryden.
2. Out of one's thoughts; off; away; as, to put aside gloomy


an to summon, fr. ban ban. See Ban an edict, and Finish, v. t.] 1. To condemn to exile, or compel to leave one's country, by authority of the ruling power. "We banish you our territories." Shak.
2. To drive out, as from a home or familiar place; -- used with from and out of.

 How the ancient Celtic tongue came to be banished from the Low Countries in Scotland. Blair.
3. To drive away; to compel to depart; to dispel. "Banish all offense." Shak.
Syn. -- To Banish, Exile, Expel. The idea of a coercive removal from a place is common to these terms. A man is banished when he is forced by the government of a country (be he a foreigner or a native) to leave its borders. A man is exiled when he is driven into banishment from his native country and home. Thus to exile is to banish, but to banish is not always to exile.
 To expel is to eject or banish summarily or authoritatively, and usually under circumstances of disgrace; as, to expel from a college; expelled from decent society.

 Ban"ish*er (&?;), n. One who banishes.

 Ban"ish*ment (&?;), n. [Cf. F. bannissement.] The act of banishing, or the state of being banished.

 He secured himself by the banishment of his enemies. Johnson.
 Round the wide world in banishment we roam. Dryden.
Syn. -- Expatriation; ostracism; expulsion; proscription; exile; outlawry.

 Ban"is*ter (&?;), n. [A corruption of baluster.] A baluster; (pl.) the balustrade of a staircase.

 He struggled to ascend the pulpit stairs, holding hard on the banisters.
 Sir W. Scott.
 Ban"jo (&?;), n. [Formerly also banjore and banjer; corrupted from bandore, through negro slave pronunciation.] A stringed musical instrument having a head and neck like the guitar, and its body like a tambourine. It has five strings, and is played with the fingers and hands.

 Bank (bk), n. [OE. banke; akin to E. bench, and prob.
 of Scand. origin; cf. Icel. bakki. See Bench.] 1. A mound, pile, or ridge of earth, raised above the surrounding level; hence, anything shaped like a mound or ridge of earth; as, a bank of clouds; a bank of snow.

 They cast up a bank against the city. 2 Sam. xx. 15.
2. A steep acclivity, as the slope of a hill, or the side of a ravine.

3. The margin of a watercourse; the rising ground bordering a lake, river, or sea, or forming the edge of a cutting, or other hollow.

 Tiber trembled underneath her banks. Shak.
4. An elevation, or rising ground, under the sea; a shoal, shelf, or shallow; as, the banks of Newfoundland.

5. (Mining) (a) The face of the coal at which miners are working. (b) A deposit of ore or coal, worked by excavations above water level. (c) The ground at the top of a shaft; as, ores are brought to bank.

Bank beaver (Zoöl.), the otter. [Local, U.S.] -- Bank swallow, a small American and European swallow (Clivicola riparia) that nests in a hole which it excavates in a bank.

 Bank, v. t. [imp. & p. p. Banked(bkt); p. pr. & vb. n. Banking.] 1. To raise a mound or dike about; to inclose, defend, or fortify with a bank; to embank. "Banked well with earth." Holland.
2. To heap or pile up; as, to bank sand.

3. To pass by the banks of. [Obs.] Shak.
To bank a fire, To bank up a fire, to cover the coals or embers with ashes or cinders, thus keeping the fire low but alive.

 Bank, n. [Prob. fr. F. banc. Of German origin, and akin to E. bench. See Bench.] 1. A bench, as for rowers in a galley; also, a tier of oars.

 Placed on their banks, the lusty Trojan sweep Neptune's smooth face, and cleave the yielding deep. Waller.
2. (Law) (a) The bench or seat upon which the judges sit. (b) The regular term of a court of law, or the full court sitting to hear arguments upon questions of law, as distinguished from a sitting at Nisi Prius, or a court held for jury trials. See Banc.
 Burrill.
3. (Printing) A sort of table used by printers.

4. (Music) A bench, or row of keys belonging to a keyboard, as in an organ. Knight.
 Bank, n. [F. banque, It. banca, orig. bench, table, counter, of German origin, and akin to E. bench; cf. G. bank bench, OHG. banch. See Bench, and cf. Banco, Beach.] 1. An establishment for the custody, loan, exchange, or issue, of money, and for facilitating the transmission of funds by drafts or bills of exchange; an institution incorporated for performing one or more of such functions, or the stockholders (or their representatives, the directors), acting in their corporate capacity.

2. The building or office used for banking purposes.

3. A fund from deposits or contributions, to be used in transacting business; a joint stock or capital. [Obs.]

 Let it be no bank or common stock, but every man be master of his own money. Bacon.
4. (Gaming) The sum of money or the checks which the dealer or banker has as a fund, from which to draw his stakes and pay his losses.

5. In certain games, as dominos, a fund of pieces from which the players are allowed to draw.

Bank credit, a credit by which a person who has given the required security to a bank has liberty to draw to a certain extent agreed upon. -- Bank of deposit, a bank which receives money for safe keeping. -- Bank of issue, a bank which issues its own notes payable to bearer.

 Bank, v. t. To deposit in a bank. Johnson.
 Bank, v. i. 1. To keep a bank; to carry on the business of a banker.

 2. To deposit money in a bank; to have an account with a banker.

 Bank"a*ble (bk"*b'l), a. Receivable at a bank.

 Bank" bill' (&?;). 1. In America (and formerly in England), a promissory note of a bank payable to the bearer on demand, and used as currency; a bank note.

2. In England, a note, or a bill of exchange, of a bank, payable to order, and usually at some future specified time. Such bills are negotiable, but form, in the strict sense of the term, no part of the currency.

 Bank" book' (&?;). A book kept by a depositor, in which an officer of a bank enters the debits and credits of the depositor's account with the bank.

 Bank"er (&?;), n. [See the nouns Bank and the verbs derived from them.] 1. One who conducts the business of banking; one who, individually, or as a member of a company, keeps an establishment for the deposit or loan of money, or for traffic in money, bills of exchange, etc.

2. A money changer. [Obs.]

3. The dealer, or one who keeps the bank in a gambling house.

4. A vessel employed in the cod fishery on the banks of


.] The act of dulcifying or sweetening. Boyle.
 Dul"ci*fied (?), a. Sweetened; mollified.

Dulcified spirit or spirits, a compound of alcohol with mineral acids; as, dulcified spirits of niter.

 Dul*cif"lu*ous (?), a. [L. dulcis sweet + fluere to flow.] Flowing sweetly. [R.]

 Dul"ci*fy (?), v. t. [imp. & p. p. Dulcified (?); p. pr. & vb. n. Dulcifying.] [L. dulcis sweet + -fy: cf. F. dulcifier.] 1. (Pharm.) To sweeten; to free from acidity, saltness, or acrimony. Wiseman.
2. Fig. : To mollify; to sweeten; to please.

 As she... was further dulcified by her pipe of tobacco.

Hawthorne.
 Dul*cil"o*quy (?), n. [L. dulcis sweet + loqui to speak.] A soft manner of speaking.

 Dul"ci*mer (?), n. [It. dolcemele,r Sp. dulcemele, fr. L. dulcis sweet + melos song, melody, Gr. &?;; cf.
 OF. doulcemele. See Dulcet, and Melody.] (Mus.) (a) An instrument, having stretched metallic wires which are beaten with two light hammers held in the hands of the performer. (b) An ancient musical instrument in use among the Jews. Dan. iii. 5. It is supposed to be the same with the psaltery.

 Dul*cin"e*a (?), n. [Sp., from Dulcinea del Toboso the mistress of the affections of Don Quixote.] A mistress; a sweetheart.

 I must ever have some Dulcinea in my head.

Sterne.
 Dul"ci*ness (?), n. See Dulceness. [Obs.]

 ||Dul*ci"no (?), n. (Mus.) See Dolcino.

 Dul"cite (?), n. [Cf. F. dulcite, fr. L. dulcis sweet.] (Chem.) A white, sugarlike substance, C6H8.(OH)2, occurring naturally in a manna from Madagascar, and in certain plants, and produced artificially by the reduction of galactose and lactose or milk sugar.

 Dul"ci*tude (?), n. [L. dulcitudo, fr. dulcis sweet.
 Sweetness. [R.] Cockeram.
 Dul"co*rate (?), v. t. [L. dulcoratus, p. p. of dulcorare, fr. dulcor sweetness, fr. dulcis sweet.] To sweeten; to make less acrimonious. [R.] Bacon.
 Dul'co*ra"tion (?), n. [LL. dulcoratio.] The act of sweetening. [R.] Bacon.
 Du"ledge (?), n. (Mil.) One of the dowels joining the ends of the fellies which form the circle of the wheel of a gun carriage. Wilhelm.
 ||Du*li"a (?), n. [LL., fr. Gr. &?; servitude, fr. &?; slave.] (R. C. Ch.) An inferior kind of veneration or worship, given to the angels and saints as the servants of God.

 Dull (?), a. [Compar. Duller (?); superl. Dullest.]
 [AS. dol foolish; akin to gedwelan to err, D. dol mad, dwalen to wander, err, G. toll mad, Goth. dwals foolish, stupid, cf. Gr. &?; turbid, troubled, Skr. dhvr to cause to fall. Cf. Dolt, Dwale, Dwell, Fraud.] 1. Slow of understanding; wanting readiness of apprehension; stupid; doltish; blockish. "Dull at classical learning." Thackeray.
 She is not bred so dull but she can learn.

Shak.
2. Slow in action; sluggish; unready; awkward.

 This people's heart is waxed gross, and their ears are dull of hearing.

Matt. xiii. 15.
 O, help my weak wit and sharpen my dull tongue.

Spenser.
3. Insensible; unfeeling.

 Think me not So dull a devil to forget the loss Of such a matchless wife.

 Beau. & Fl.
4. Not keen in edge or point; lacking sharpness; blunt. "Thy scythe is dull." Herbert.
5. Not bright or clear to the eye; wanting in liveliness of color or luster; not vivid; obscure; dim; as, a dull fire or lamp; a dull red or yellow; a dull mirror.

6. Heavy; gross; cloggy; insensible; spiritless; lifeless; inert.
 "The dull earth." Shak.
 As turning the logs will make a dull fire burn, so changes of study a dull brain.

 Longfellow.
7. Furnishing little delight, spirit, or variety; uninteresting; tedious; cheerless; gloomy; melancholy; depressing; as, a dull story or sermon; a dull occupation or period; hence, cloudy; overcast; as, a dull day.

 Along life's dullest, dreariest walk.

 Keble.
Syn. -- Lifeless; inanimate; dead; stupid; doltish; heavy; sluggish; sleepy; drowsy; gross; cheerless; tedious; irksome; dismal; dreary; clouded; tarnished; obtuse. See Lifeless.

 Dull, v. t. [imp. & p. p. Duller (?); p. pr. & vb. n. Dulling.] 1. To deprive of sharpness of edge or point.
 "This... dulled their swords." Bacon.
 Borrowing dulls the edge of husbandry.

Shak.
2. To make dull, stupid, or sluggish; to stupefy, as the senses, the feelings, the perceptions, and the like.

 Those [drugs] she has Will stupefy and dull the sense a while.

Shak.
 Use and custom have so dulled our eyes.

Trench.
3. To render dim or obscure; to sully; to tarnish. "Dulls the mirror." Bacon.
4. To deprive of liveliness or activity; to render heavy; to make inert; to depress; to weary; to sadden.

 Attention of mind... wasted or dulled through continuance.

Hooker.
 Dull, v. i. To become dull or stupid. Rom. of R. Dull"ard (?), n. [Dull + - ard.] A stupid person; a dunce. Shak. -- a. Stupid. Bp. Hall.
 Dull"-brained' (?), a. Stupid; doltish. Shak.
 Dull"-browed' (?), a. Having a gloomy look.

 Dull"er (?), n. One who, or that which, dulls.

 Dull"-eyed' (?), a. Having eyes wanting brightness, liveliness, or vivacity. Shak.
 Dull"head' (?), n. A blockhead; a dolt. Ascham.
 Dull"ish, a. Somewhat dull; uninteresting; tiresome. "A series of dullish verses." Prof. Wilson.
 Dull"ness, n. The state of being dull; slowness; stupidity; heaviness; drowsiness; bluntness; obtuseness; dimness; want of luster; want of vividness, or of brightness. [Written also dulness.]

 And gentle dullness ever loves a joke.

Pope.
 Dull"-sight'ed (?), a. Having poor eyesight.

 Dull"some (?), a. Dull. [R.] Gataker.
 Dull"-wit'ted (?


.

 His guide.

 The ruins on the top were, however, built after 1680, when the inhabitants of Flavona, the Spanish "Alvona," fled to the top of the mesa to escape the forays of the Navajos. The ruins were abandoned before 1705. Zuñi is partly built on the ruins of Flavona, which is still its aboriginal name. (Bandelier.)

 Pacific Railroad Reports, Whipple, Vol. III., p. 69.

 Pacific Railroad Reports, Whipple, Vol. III., p. 65.

 "Simpson's Report," p. 124.

 Dr. Loew, in "U.S. Geographical Survey West of the 100th Meridian," Vol.
 VII, p. 343.

 "Fifth An. Rep. Archæological Inst. of America," p. 61.

 Bandelier's "Papers of the Archæological Inst." p. 46.

 These facts are drawn from Mr. Bandelier's article already referred to.

 "Colorado River of the West," p. 119, et seq.
 U.S. Survey, Hayden, 1876, p. 390.

 Bandelier, "Fifth Annual Report Archæological Inst. of America," pp. 62, 68, and 65.

 "Contributions to North American Ethnology," Vol. IV, p. 172, et seq.
 Holmes.

 U.S. Survey, Hayden, 1876, p. 419.

 Rendered by Ingersoll, in N.Y. Tribune, Nov. 3, 1874.

 Bandelier, in Fifth Ann. Rep., Arch. Inst., p 79.

 U.S. Survey West of 100th M., Vol. VII, p. 358.

 "First Annual Report of Bureau of Ethnology," p. 74.

 "Fifth Annual Report Arch. Inst.," pp. 42, 78.

 Morgan: "Contribution to N. A. Ethnology," Vol. IV, p. 163.

 "Smithsonian Report," 1863, p. 313.

 Whipple, Pacific R. R. Report, Vol. III.

 Wherever reference is made to Mr. Bandelier's discoveries, it is taken from the oft-quoted Fifth Annual Report, Archæological Institute.

 Whipple, Pacific R. R. Reports, Vol. III., p. 14.

 Bartlett's "Personal Narrative." Carr's "Mounds of the Mississippi Valley." Morgan's "House and House Life," p. 218.

 Fifth Annual Report, p. 84.

 "Contributions to N. A. Ethnology," Vol. IV., p. 192.

 Bandelier's "Fifth Annual Report Arch. Inst.," p. 76.

 U.S. Survey West of 100th Meridian, Vol. VII., p. 381.

Chapter XII THE PREHISTORIC AMERICANS.1 Different views on this subject—Modern system of government— Ancient system of government—Tribal government universal in North America—The Indians not wandering Nomads—Indian houses communal in character—Indian methods of defense—Mandan villages—Indians sometimes erected mounds—Probable government of the Mound Builders—Traditions of the Mound Builders among the Iroquois—Among the Delawares—Probable fate of the Mound Builders—The Natchez Indians possibly a remnant of the Mound Builders—Their early traditions—Lines of resemblance between the Pueblo tribe and the Mound Builders—The origin of the Indians—America inhabited by Indians from a very early time— Classification of the Indian tribes—Antiquity of the Mound Builders' works.

The attempts to explain the origin of the numerous tribes found in possession of America at the time of its discovery by Europeans have been many and various. There are so many difficulties attending the solution of this problem that even at this day no theory has received that full assent from the scientific world deemed necessary for its establishment as an ascertained fact. New interest has been thrown around this question by the discoveries of late years. In our south-western territories we have clearly established the former wide extension of the village Indians, remnants of which are still to be found in the inhabited pueblos; and, as we have seen, the wide expanse of fertile soil, known as the Mississippi Valley, has undoubtedly been the home of tribes who are generally supposed to have attained a much higher stage of culture than that of the Indians—at least, of such culture as we are accustomed to ascribe, whether justly or not, to Indian tribes. It becomes an interesting question, therefore, to determine what connection, if any, existed between the Mound Builders and the Indian tribes on the one hand, and the Pueblo tribes on the other.

 As to the works of the Mound Builders, one class of critical scholars think they see in them the memorials of a vanished race, and point out many details of construction, such as peculiarities in form, in size, and position, which they think conclusively prove that the works in question could only have been produced by races or tribes far more advanced in culture than any Indians. This belief finds expression by a well-known writer in the following words: "A broad chasm is to be spanned before we can link the Mound Builders to the North American Indians. They were essentially different in their form of government, their habits, and their daily pursuits." This is substantially the opinion of a great many writers on this subject.2 But this conclusion has not been allowed to pass unchallenged. We have on record the convictions of a few careful investigators that there is no necessity for supposing that only an extinct or vanished race could have built the mounds and thrown up the embankments which we observe in the valley of the Ohio and elsewhere; that there is nothing, in fact, either in the construction of the mounds themselves or in the remains of art found in them, which we may not with safety ascribe to the ancestors of our present Indians.3 It will be seen that we may, indeed, be at a loss to know what conclusion to adopt; hence, as an aid to us in this direction, it may be well to inquire into the organization of Indian tribes and their customs and manners at the time of their discovery.

 It is not necessary to sketch their history, as this has been done many times. Moreover, it is but a dreary recital of the gradual encroachment of the Whites on the lands of the Indians, the vain endeavors of the latter to repress them, and a record of many cruel acts of savage warfare, burning villages, midnight massacre, and scenes of terrible sufferings.
 The uniform result was that the Indian tribes were steadily driven away from their ancient homes, until we now find them but a sorry remnant on scattered reservations or grouped together in the Indian Territory. Their ancient institutions are nearly broken down, and it is with difficulty that we can gain an understanding of their early condition; and yet this seems to be necessary before we are prepared to decide on the origin of the mound-building people.

 It seems necessary here to briefly describe the two great plans or systems of government, under one or the other of which mankind, as far as we know them, have always been organized, though, theoretically, there must have been a time, in the very infancy of the race, when there was either no government or something different from either of them. At the present day, in all civilized countries, government is founded upon territory and upon property. A person is described as living in such a township, county, and state.4 This seems to be a very simple and natural division, but, like every thing else, it is the result of growth—of a development. It took nearly three centuries of civilization and a succession of able men, each improving on what the other had done, to fully develop this system among the Greeks.5