Chapter VIII: Part 8

Without deigning to look at the assemblage a second time, Monsieur the Marquis leaned back in his seat, and was just being driven away with the air of a gentleman who had accidentally broke some common thing, and had paid for it, and could afford to pay for it; when his case was suddenly disturbed by a coin flying into his carriage, and ringing on its floor.

"Hold!" said Monsieur the Marquis. "Hold the horses! Who threw that?"

He looked to the spot where Defarge the vendor of wine had stood a moment before; but the wretched father was grovelling on his face on the pavement in that spot, and the figure that stood beside him was the figure of a dark stout woman, knitting.

"You dogs!" said the Marquis, but smoothly, and with an unchanged front, except as to the spots on his nose; "I would ride over any of you very willingly, and exterminate you from the earth. If I knew which rascal threw at the carriage, and if that brigand were sufficiently near it, he should be crushed under the wheels."

So cowed was their condition, and so long and hard their experience of what such a man could do to them, within the law and beyond it, that not a voice or a hand, or even an eye was raised. Among the men, not one. But the woman who stood knitting looked up steadily, and looked the Marquis in the face. It was not for his dignity to notice it; his contemptuous eyes passed over her, and over all the other rats; and he leaned back in his seat again, and gave the word "Go on!"

--CHARLES DICKENS.

[Footnote: What things are contrasted in the story? Does the incident seem probable from what you know of the period? Can you give any instances from history or fiction to show the attitude of the French aristocracy before the Revolution? Do you know what happened to the Marquis in the "Tale of Two Cities"? Compare the condition of the people in this episode with those in a "Leaf in the Storm."]

THE COMMANDER OF THE FAITHFUL

These events are succeeded by a few moments of silent waiting. Then suddenly the long lines of soldiers vibrate under a thrill of religious awe; the band, with its great basses and its drums, strikes up a deafening, mournful air. The fifty little black slaves run, run as if their lives were at stake, deploying [Footnote: Deploying: unfolding, opening out.] from their base like the sticks of a fan, resembling bees swarming, or a flock of birds. And yonder, in the shadowy light of the ogive, [Footnote: Ogive: the arch which crosses a Gothic vault diagonally.] upon which all eyes are turned, there appears a tall, brown-faced mannikin, all veiled in white muslin, mounted on a splendid white horse led in hand by four slaves; over his head is held an umbrella of antique form, such an one as must have protected the Queen of Sheba, [Footnote: Queen of Sheba: the queen who came to test the wisdom of Solomon.] and two gigantic negroes, one in pink, the other in blue, wave fly-flaps around the person of the sovereign.

While the strange mannikin, or mummy, almost shapeless, but majestic notwithstanding in his robes of snowy white, is advancing towards us, the music, as if exasperated to madness, wails louder and louder and in a shriller key; it strikes up a slow and distressful religious air, the time of which is accentuated by a frightful beating of the bass-drums. The mannikin's horse rears wildly, restrained with difficulty by the four black slaves, and this music, so mournful and so strange to us, affects our nerves with an indescribable agonizing sensation.

Here, at last, drawn up close beside us, stands this last authentic descendant of Mahomet, crossed with Nubian blood. His attire, of the finest mousseline-de-laine, is of immaculate whiteness. His charger, too, is entirely white, his great stirrups are of gold, and his saddle and equipments are of a very pale green silk, lightly embroidered in a still paler shade of green. The slaves who hold his horse, the one who carries the great red umbrella, and the two--the pink and blue ones--who shake napkins in the monarch's face to drive away imaginary flies, are all herculean negroes whose countenances are wrinkled into fierce smiles; they are all old men, and their gray or white beards contrast with the blackness of their features. This ceremonial of a bygone age harmonizes with the wailing music, and could not suit better the huge walls around us, which rear their crumbling summits high in the air.

This man, who thus presents himself before us with the surroundings which I have described, is the last faithful exponent of a religion, a civilization that is about to die. He is the personification, in fact, of ancient Islam. [Footnote: Islam: the religion of the Mohammedans.] What result can we expect to obtain from an embassy to such a man, who, together with his people, spends his life torpid and motionless among ancient dreams of humanity that have almost disappeared from the surface of the earth? There is not a single point on which we can understand each other; the distance between us is nearly that which would separate us from a caliph [Footnote: Caliph: the head of the Moslem state and defender of the faith.] of Cordova [Footnote: Cordova: a city of Spain. It is famous for its manufactures of leather and silverware. It contains many Moorish antiquities, and is celebrated for its cathedral--once a mosque.] or Bagdad [Footnote: Bagdad: a city of Mesopotamia on the Tigris. It was formerly a city of great importance, and was a celebrated centre of Arabic learning and civilization.] who should come to life again after a slumber of a thousand years. What do we wish to obtain from him, and why have we brought him forth from his impenetrable palace?

His brown, parchment-like face in its setting of white muslin, has regular and noble features; dull, expressionless eyes, the whites of which appear beneath the balls that are half concealed by the drooping lashes; his expression is that of exceeding melancholy, a supreme lassitude, a supreme ennui. He has an appearance of benignity, and is really kindhearted, according to what they say who know him. (If the people of Fez [Footnote: Fez: a city in northern Morocco.] are to be believed, he is even too much so--he does not chop off as many heads as he ought to for the holy cause of Islam.) But this kindheartedness, no doubt, is relative in degree, as was often the case with ourselves in the middle ages; a mildness which is not over-sensitive in the face of shedding blood when there is a necessity for it, nor in face of an array of human heads set up in a row over the fine gateway at the entrance to the palace. Assuredly he is not cruel; he could not be so with that gentle, sad expression. He punishes with severity sometimes, as his divine authority gives him the right to do, but it is said that he finds a still keener pleasure in pardoning. He is a priest and a warrior, and carries each of these characters perhaps to excess; feeling as deeply as a prophet the responsibility of his heavenly mission, chaste in the midst of his seraglio, [Footnote: Seraglio: a harem.] strict in his attention to onerous [Footnote: Onerous: burdensome.] religious observances, and hereditarily very much of a fanatic--he aims to form himself upon Mahomet [Footnote: Mahomet (Mohammed): the founder of Mohammedanism. Born about 570 in Mecca(?) and died in 632.] as perfectly as may be: all this, moreover, is legible in his eyes, upon his fine countenance, in the upright majesty of his bearing. He is a man whom we can neither understand nor judge in the times we live in, but he is surely a great man, a man of mark.

--PIERKE LOTI (adapted).

[Footnote: What things in the description would tell you that the scene was Oriental? What observations does the author make on the difference between East and West? As a spectator, what things would you find most interesting in the scene? Do you know why the author calls the Sultan's palace impenetrable? Why does the author think that his interview with the Sultan may be useless?]

WALT WHITMAN

I first heard of him among the sufferers on the Peninsula [Footnote: Peninsula: that part of Virginia between the York and James rivers.] after a battle there. Subsequently I saw him, time and again, in the Washington hospitals, or wending his way there, with basket or haversack [Footnote: Haversack: a bag in which a soldier carried his rations when on a march.] on his arm, and the strength of beneficence suffusing his face. His devotion surpassed the devotion of woman. It would take a volume to tell of his kindness, tenderness, and thoughtfulness.

Never shall I forget one night when I accompanied him on his rounds through a hospital filled with those wounded young Americans whose heroism he has sung in deathless numbers. There were three rows of cots, and each cot bore its man. When he appeared, in passing along, there was a smile of affection and welcome on every face, however wan, and his presence seemed to light up the place as it might be lighted by the presence of the God of Love. From cot to cot they called him, often in tremulous tones or in whispers; they embraced him; they touched his hand; they gazed at him. To one he gave a few words of cheer; for another he wrote a letter home; to others he gave an orange, a few comfits, [Footnote: Comfits: sweetmeats.] a cigar, a pipe and tobacco, a sheet of paper or a postage-stamp, all of which and many other things were in his capacious haversack. From another he would receive a dying message for mother, wife, or sweetheart; for another he would promise to go an errand; [Footnote: To go an errand. What is the usual form?] to another, some special friend very low, he would give a manly farewell kiss. He did things for them no nurse or doctor could do, and he seemed to leave a benediction [Footnote: Benediction: blessing.] at every cot as he passed along. The lights had gleamed for hours in the hospital that night before he left it, and, as he took his way towards the door, you could hear the voices of many a stricken hero calling, "Walt, Walt, Walt! come again! come again!"

He carried among them no sentimentalism nor moralizing; spoke not to any man of his "sins," but gave something good to eat, a buoying [Footnote: Buoying: enlivening, cheering.] word, or trifling gift and a look. He appeared with ruddy face, clean dress, with a flower or a green sprig in the lapel of his coat. Crossing the fields in summer, he would gather a great bunch of dandelion blossoms, and red and while clover, to bring and scatter on the cots, as reminders of out-door air and sunshine.

When practicable, he came to the long and crowded wards of the maimed, the feeble, and the dying, only after preparations as for a festival--strengthened by a good meal, rest, the bath and fresh under-clothes. He entered with a huge haversack slung over his shoulder full of appropriate articles, with parcels under his arms, and protuberant [Footnote: Protuberant: bulging.] pockets. He would sometimes come in summer with a good-sized basket filled with oranges, and would go round for hours paring and dividing them among the feverish and thirsty.

Walt Whitman was of the people, the common people, and always gave out their quality and atmosphere. His commonness, his nearness, as of the things you have always known,--the day, the sky, the soil, your own parents,--were in no way veiled, or kept in abeyance, by his culture or poetic gifts. He was redolent of the human and the familiar. Though capable, on occasions, of great pride and hauteur, yet his habitual mood and presence was that of simple, average, healthful humanity,--the virtue and flavor of sailors, soldiers, laborers, travelers, or people who live with real things in the open air. His commonness rose into the uncommon, the extraordinary, but without any hint of the exclusive or specially favored. He was indeed "no sentimentalist, no stander above men and women or apart from them."

The spirit that animates every page of his book, and that it always effuses, [Footnote: Effuses: sheds, pours out.] is the spirit of common, universal humanity,--humanity apart from creed, schools, conventions, from all special privileges and refinements, as it is in and of itself in its relations to the whole system of things, in contradistinction to the literature of culture which effuses the spirit of the select and exclusive.

His life was the same. Walt Whitman never stood apart from or above any human being. The common people--workingmen, the poor, the illiterate, the outcast--saw themselves in him, and he saw himself in them: the attraction was mutual. He was always content with common, unadorned humanity.

--JOHN BURROUGHS (adapted).

[Footnote: What picture do you get of Whitman in this account? What qualities of Whitman's do you think most endeared him to the soldiers? Was Whitman's carefulness about his personal appearance an evidence of egotism or altruism? Compare this estimate of Whitman with the "Appreciation of Lincoln." Are there any points of likeness?]

HEROISM IN HOUSEKEEPING

So many talents are wasted, so many enthusiasms turned to smoke, so many lives spoiled for want of a little patience and endurance, for want of understanding and laying to heart the meaning of THE PRESENT--for want of recognizing that it is not the greatness or littleness of the duty nearest hand, but the spirit in which one does it, which makes one's doing noble or mean! I can't think how people who have any natural ambition, and any sense of power in them, escape going mad in a world like this, without the recognition of that. I know I was very near mad when I found it out for myself (as one has to find out for oneself everything that is to be of any real practical use to one).

Shall I tell you how it came into my head? Perhaps it may be of comfort to you in similar moments of fatigue and disgust. I had gone with my husband to live on a little estate of peat-bog, that had descended to me all the way down from John Welsh, the Covenanter, [Footnote: Covenanter: one who defends the "Solemn League and Covenant" made to preserve the reformed religion in Scotland.] who married a daughter of John Knox. [Footnote: John Knox: a celebrated Scottish reformer, statesman, and writer. Born 1505, died in 1572.] That didn't, I'm ashamed to say, make me feel Craigenputtock [Footnote: Craigenputtock: a town fifteen miles from Dumfries. Here much of Carlyle's best work was done.] a whit less of a peat-bog and a most dreary, untoward place to live at. In fact, it was sixteen miles distant on every side from all the conveniences of life, shops, and even post-office. Further, we were very poor, and further and worst, being an only child, and brought up to great prospects, I was sublimely ignorant of every branch of useful knowledge, though a capital Latin scholar and very fair mathematician.

It behooved me in these astonishing circumstances to learn to sew. Husbands, I was shocked to find, wore their stockings into holes, and were always losing buttons, and I was expected to "look to all that"; also it behooved me to learn to cook! no capable servant choosing to live at such an out-of-the-way place, and my husband having bad digestion, which complicated my difficulties dreadfully. The bread, above all, brought from Dumfries, [Footnote: Dumfries: a town in southern Scotland.] "soured on his stomach" and it was plainly my duty as a Christian wife to bake at home.

So I sent for Cobbett's "Cottage Economy," and fell to work at a loaf of bread. But, knowing nothing about the process of fermentation or the heat of ovens, it came to pass that my loaf got put into the oven at the time that myself ought to have been put into bed; and I remained the only person not asleep in a house in the middle of a desert.

One o'clock struck! and then two!! and then three!!! And still I was sitting there in the midst of an immense solitude, my whole body aching with weariness, my heart aching with a sense of forlornness and degradation. That I, who had been so petted at home, whose comfort had been studied by everybody in the house, who had never been required to do anything but cultivate my mind, should have to pass all those hours of the night in watching a loaf of bread--which mightn't turn out bread after all!

Such thoughts maddened me, till I laid down my head on the table and sobbed aloud. It was then that somehow the idea of Benvenuto Cellini [Footnote: Benvenuto Cellini: a famous Italian sculptor and worker in gold and silver. Born in 1500(?) died in 1571. His autobiography is one of the most famous of Italian classics. The Perseus of Cellini stands in the Loggia dei Lanzi in Florence, and represents the helmeted hero holding up the severed head of Medusa.] sitting up all night watching his Perseus in the furnace came into my head, and suddenly I asked myself: "After all, in the sight of the upper Powers, what is the mighty difference between a statue of Perseus and a loaf of bread, so that each be the thing that one's hand has found to do? The man's determined will, his energy, his patience, his resource were the really admirable things of which his statue of Perseus was the mere chance expression. If he had been a woman, living at Craigenputtock with a dyspeptic husband, sixteen miles from a baker, and he a bad one, all these qualities would have come out more fitly in a good loaf of bread!"

I cannot express what consolation this germ of an idea spread over my uncongenial life during the years we lived at that savage place, where my two immediate predecessors had gone mad, and a third had taken to drink.

--JANE WELSH CARLYLE.

[Footnote: Does the opening paragraph give you any hint as to the source of this extract? What traits of character does the writer show? Can you show the evidence of Scotch Covenanter inheritance in the writer's philosophy? Do you imagine that the writer learned to make bread? Why? In what does the humor of the account lie?]

A YOUTHFUL ACTOR

My dramatic career was brought to a close by an unfortunate circumstance. We were playing the drama of "William Tell, the Hero of Switzerland." Of course I was William Tell, in spite of Fred Langdon, who wanted to act that character himself. I wouldn't let him, so he withdrew from the company, taking the only bow and arrow we had. I made a cross-bow out of a piece of whalebone, and did very well without him. We had reached that exciting scene where Gessler, the Austrian tyrant, commands Tell to shoot the apple from his son's head. Pepper Whitcomb, who played all the juvenile and women parts, was my son. To guard against mischance, a piece of pasteboard was fastened by a handkerchief over the upper portion of Whitcomb's face, while the arrow to be used was sewed up in a strip of flannel. I was a capital marksman, and the big apple, only two yards distant, turned its russet cheek fairly towards me.

I can see poor little Pepper now, as he stood without flinching, waiting for me to perform my great feat. I raised the cross-bow amid the breathless silence of the crowded audience,--consisting of seven boys and three girls, exclusive of Kitty Collins, who insisted on paying her way in with a clothes-pin. I raised the cross-bow, I repeat. Twang! went the whipcord; but, alas! instead of hitting the apple, the arrow flew right into Pepper Whitcomb's mouth, which happened to be open at the time, and destroyed my aim.

I shall never be able to banish that awful moment from my memory. Pepper's roar, expressive of astonishment, indignation, and pain, is still ringing in my ears. I looked upon him as a corpse, and, glancing not far into the dreary future, pictured myself led forth to execution in the presence of the very same spectators then assembled.

Luckily poor Pepper was not seriously hurt.

--T. B. ALDRICH.

[Footnote: Would you imagine, from this extract, that the book from which it was taken would be interesting? Why? Notice the easy conversational way of telling the incident. What is gained by this? Do you sympathize with Pepper or the author? Why?]

WAR

What, speaking in quite unofficial language, is the net purpose and upshot of war? To my own knowledge, for example, there dwell and toil in the British village of Dumdrudge [Footnote: Dumdrudge: a fictitious name.] usually some five hundred souls. From these there are successfully selected, during the French war, say thirty able-bodied men. Dumdrudge, at her own expense, has suckled and nursed them. She has, not without difficulty and sorrow, fed them up to manhood, and even trained them to crafts, so that one can weave, another build, another hammer, and the weakest can stand under thirty stone avoirdupois. Nevertheless, amid much weeping and swearing, they are selected; all dressed in red; and shipped away at the public charges some two thousand miles, or say only to the south of Spain; and fed there until wanted. And now to that same spot in the south of Spain, are thirty similar French artisans, from a French Dumdrudge, in like manner wending. At length, after infinite effort, the two parties come into actual juxtaposition; and thirty stands fronting thirty, each with a gun in his hand. Straightway the word "Fire!" is given, and they blow the souls out of one another. And in place of sixty brisk useful craftsmen, the world has sixty dead carcasses, which it must bury and anew shed tears for. Had these men any quarrel? Busy as the Devil is, not the smallest! They lived far enough apart, were the entirest strangers, nay, in so wide a universe, there was even unconsciously, by commerce, some mutual helpfulness between them. How then? Simpleton' their Governors had fallen out, and instead of shooting one another, had the cunning to make these poor blockheads shoot.

--CARLYLE.

[Footnote: Does Carlyle write from the usual military standpoint? Does war seem glorious or heroic from this point of view? Is ridicule an effective weapon against wrongs? Do you know of any abuses or wrongs that have been abolished by being shown up as ridiculous? Do you think it likely that the militaristic type of mind can have much sense of humor?]

COON-HUNTING

'Coon-Hunting [Footnote: Coon: raccoon, an animal allied to the bears but much smaller. Its body is gray, varied with black and white, and it has a long full tail banded with black and gray.] is one of the truly American sports of the chase, though its devotees have found difficulty in persuading folks to take their sport seriously. It is, in truth, a comical aspect of hunting, and is scarcely less wanting in dignity than a 'possum [Footnote: Possum: opposum; this animal carries its young in a pouch, like the kangaroo.] chase, which confessedly has none at all. If 'coon-hunting be regarded, as a step higher than that, it loses the advantage at the end, for a fat 'possum is certainly better eating than a 'coon, however rotund. The chase, nevertheless, calls for endurance, since an old 'coon may run four or five miles after he has been started, zigzagging hither and yon, circling round and round trees, leaving a track calculated to make a dog dizzy, swimming streams, and running along the tops of logs and snake-fences, [Footnote: Snake-fence (same as a worm-fence): a zigzag fence of rails which cross at the ends.] hiding his trail with the craftiness of a fox.

The hunt is always organized late at night. Nobody ever heard of a real 'coon-hunt by daylight. The animals are moving about then, leaving trails that, starting at the edge of the woods, lead into the fastnesses where they take refuge. Such trails would grow "cold" before noonday.

There are dogs called 'coon-dogs, but of no particular breed or pedigree. A local pack will consist of Rag, Tag, and Bobtail, with all of Bobtail's friends and connections. One of them is known to be best and takes the lead. They call him the trailer. The rest rush yelping after, and as fast as possible follow the hunters, with torches or lanterns or by moonlight, carrying axes and hatchets, guns, and antidotes for snake-bite in flat, black bottles. Trailer's motley crew catch a sniff of the trail and disappear in the darkness of the brushy woods, baying, barking, yelping, squealing, each after its kind. After them go the whooping hunters, following by ear as the dogs do by nose, for none can use the sense of sight.

Finally a chorus of eager barking in a different tone from what has thus far been heard announces to experienced ears that the dogs have some game at bay. The hunters dispute as to what it is as they crash and stagger on through the gloom, each swearing he knows by his cur's voice what sort of an animal he has in view. Arrived at the scene of the clamor, the dogs are found in frantic excitement around the foot of a tree, in whose shadowy foliage something is supposed to be hidden. Will it be a 'coon, or will it turn out a 'possum, a wild-cat, or mayhap an owl?

First of all a fire is lighted, and its upreaching blaze sends fitful rays of yellow light far among the overhanging branches. Now there may be discerned a hollow near the summit of the trunk, and as dead branches are heaped upon the fire, sharp eyes may detect a triangular head peering out of what was once, perhaps, the front door of a woodpecker's home, and the glints of green are reported to be the glare of a raccoon's eyes.

The nimblest man in the party is sent up the tree, and given a stick wherewith to frighten or poke or pry the cornered animal out of his castle. Compelled to leave the hole, it creeps out upon a limb, and squatting down, snarls at the stranger, who tries to shake loose its hold. But this is a vain attempt. A raccoon can cling like a burr. Try to drag your pet 'coon off the top of a fence, and if he chooses to resist, you may pull him limb from limb before he will let go. So they take the severer method of chopping the branches, until the poor little beast has none left to clutch in falling, and comes down a heap of fur and teeth and claws into the midst of the dogs. Instantly there follows a scrimmage, where often an honest bark is changed in the middle to a yelp of pain, until many a time the melee changes to a ring of hurt and angry but vanquished curs around a 'coon lying on his back, with bloody teeth and claws ready to try it again; and then he is shot by the hunters, merciless to the last. More often the whole tree must be cut down, and the brave 'coon falls with it, and is dashed out among his enemies to fight for his life at the end of his fall.

--ERNEST INGERSOLL (adapted).

[Footnote: What does the phrase "the trails would grow cold" mean? What sense would you find most active if you were on the coon-hunt? Does the author write as an enthusiastic hunter? What impresses you most in the account: the fun or the cruelty of hunting? Does the author succeed in giving you an idea of the excitement of coon-hunting? Would the account have any added interest if it were told in the first person?]

SIGHT IN SAVAGES

In Patagonia [Footnote: Patagonia: the southern part of Argentine Republic.] I added something to my small stock of private facts concerning eyes--their appearance, color, and expression--and vision, subjects which have had a mild attraction for me as long as I can remember. When, as a boy, I mixed with the gauchos [Footnote: Gauchos: these people are of Spanish-American descent. They are the native inhabitants of the pampas, and live chiefly by cattle-raising.] of the pampas, [Footnote: Pampas: vast plains in the southern part of South America, chiefly in the Argentine Republic.] there was one among them who greatly awed me by his appearance and character. He was distinguished among his fellows by his tallness, the thickness of his eyebrows and the great length of his crow-black beard, the form and length of his "facon," or knife, which was nothing but a sword worn knife-wise, and the ballads he composed, in which were recounted, in a harsh tuneless voice to the strum-strum of a guitar, the hand-to-hand combats he had had with others of his class--fighters and desperadoes--and in which he had always been the victor, for his adversaries had all been slain to a man. But his eyes, his most wonderful feature, impressed me more than anything else; for one was black and the other dark blue. All other strange and extranatural things in nature, of which I had personal knowledge, as, for instance, mushrooms growing in rings, and the shrinking of the sensitive plant when touched, and Will-o'-the-wisps, and crowing hens, and the murderous attack of social birds and beasts on one of their fellows, seemed less strange and wonderful than the fact that this man's eyes did not correspond, but were the eyes of two men, as if there had been two natures and souls in one body. My astonishment was, perhaps, not unaccountable, when we reflect that the eye is to us the window of the mind or soul, that it expresses the soul, and is, as it were, the soul itself materialized.

Some person lately published in England a book entitled "Soul-Shapes," treating not only of the shapes of souls but also of their color. The letter-press of this work interests me less than the colored plates adorning it. Passing over the mixed and vari-colored souls, which resemble, in the illustrations, colored maps in an atlas, we come to the blue soul, for which the author has a very special regard. Its blue is like that of the commonest type of blue eye. This curious fancy of a blue soul probably originated in the close association of eye and soul in the mind. It is worthy of note that while the mixed and other colored souls seem very much out of shape, like an old felt hat or a stranded jelly fish, the pure colored blue soul is round, like an iris, and only wanted a pupil to be made an eye.

Here again I recall an incident of my boyhood, and am not sure that it was not this that first gave me an interest in the subject.

One summer day, at home, I was attentively listening, out of doors, to a conversation between two men, both past middle life and about the same age, one an educated Englishman, wearing spectacles, the other a native, who was very impressive in his manner, and was holding forth in a loud authoritative voice on a variety of subjects. All at once he fixed his eyes on the spectacles worn by the other, and, bursting into a laugh, cried out, "Why do you always wear those eye-hiding glasses straddled across your nose? Are they supposed to make a man look handsomer or wiser than his fellows, or do you, a sensible person, really believe that you can see better than another man because of them? If so, then all I can say is that it is a fable, a delusion; no man can believe such a thing."

He was only expressing the feeling that all persons of his class, whose lives are passed in the semi-barbarous conditions of the gauchos on the pampas, experience at the sight of such artificial helps to vision as spectacles. They look through a pane of glass, and it makes the view no clearer, but rather dimmer--how can the two diminutive circular panes carried before the eyes produce any other effect? Besides, their sight as a rule is good when they are young, and as they progress in life they are not conscious of decadence in it; from infancy to old age the world looks, they imagine, the same; the grass as green, the sky as blue as ever, and the scarlet verbenas in the grass just as scarlet. The man lives in his sight; it is his life; he speaks of the loss of it as a calamity great as the loss of reason. To see spectacles amuses and irritates him at the same time; he has the monkey's impulse to snatch the idle things from his fellow's nose; for not only is it useless to the wearer, and a sham, but it is annoying to others, who do not like to look at a man and not properly see his eyes and the thought that is in them.

To the mocking speech he had made, the other good humoredly replied that he had worn glasses for twenty years, that not only did they enable him to see much better than he could without them, but they had preserved his sight from further decadence. Not satisfied with defending himself against the charge of being a fantastical person for wearing glasses, he in his turn attacked the mocker. "How do you know," he said, "that your own eyesight has not degenerated with time? You can only ascertain that by trying on a number of glasses suited to a variety of sights, all in some degree defective. A score of men with defective sight may be together, and in no two will the sight be the same. You must try on spectacles, as you try on boots, until you find a pair to fit you. You may try mine, if you like; our years are the same, and it is just possible that our eyes may be in the same condition."

The gaucho laughed a loud and scornful laugh, and exclaimed that the idea was too ridiculous. "What, see better with this thing!" and he took them gingerly in his hand, and held them up to examine them, and finally put them on his nose--something in the spirit of the person who takes a newspaper twisted into the shape of an extinguisher, and puts it on his head. He looked at the other, then at me, then stared all round him with an expression of utter astonishment, and in the end burst out in loud exclamations of delight. For, strange to say, the glasses exactly suited his vision, which, unknown to him, had probably been decaying for years. "Angels of heaven, what is this I see!" he shouted. "What makes the trees look so green--they were never so green before! And so distinct--I can count their leaves! And the cart over there--why, it is red as blood!" And to satisfy himself that it had not just been freshly painted, he ran over to it and placed his hand on the wood. It proved hard to convince him that objects had once looked as distinct, and leaves as green, and the sky as blue, and red paint as red, to his natural sight, as they now did through those magical glasses. The distinctness and brightness seemed artificial and uncanny. But in the end he was convinced, and then he wanted to keep the spectacles, and pulled out his money to pay for them there and then, and was very much put out when their owner insisted on having them back. However, shortly afterwards a pair was got for him; and with these on his nose he galloped about the country, exhibiting them to all his neighbors, and boasting of the miraculous power they imparted to his eyes of seeing the world as no one else could see it.

--W.H. HUDSON.

[Footnote: What things in nature do you think most interested the writer? Do you imagine that he would be a good out-of-doors companion? Why? Was the native in the story the sort of person whom you would expect to "hold forth in an authoritative voice on a variety of subjects"? Do you know what the general attitude of the savage and semi-civilized people is toward strange things? Note the rambling, conversational style in which this sketch is written. Compare it with Stevenson, Aldrich, and Edwards. Note the delightfully whimsical quality of the humor. Can you see any likeness in this to Lamb and Hawthorne?]

THE VILLAGE SCHOOLMASTER

In this by-place of nature there abode, in a remote period of American history, that is to say, some thirty years since, a worthy wight [Footnote: Wight: a person.] of the name of Ichabod Crane; who sojourned, or as he expressed it, "tarried," in Sleepy Hollow, for the purpose of instructing the children of the vicinity. He was a native of Connecticut, a state which supplies the Union with pioneers for the mind as well as for the forest, and sends forth yearly its legions of frontier woodmen and country schoolmasters. The cognomen of Crane was not inapplicable to his person. He was tall, but exceedingly lank, with narrow shoulders, long arms and legs, hands that dangled a mile out of his sleeves, feet that might have served for shovels, and his whole frame most loosely hung together. His head was small, and flat at the top, with huge ears, large green glassy eyes, and a long snipe nose, so that it looked like a weathercock perched upon his spindle neck to tell which way the wind blew. To see him striding along the profile of a hill on a windy day, with his clothes bagging and fluttering about him, one might have mistaken him for the genius of famine descending upon the earth, or some scarecrow eloped from a cornfield.

In addition to his other vocations, he was the singing-master of the neighborhood, and picked up many bright shillings by instructing the young folks in psalmody. It was a matter of no little vanity to him on Sundays, to take his station in front of the church gallery, with a band of chosen singers, where, in his own mind, he completely carried away the palm from the parson. Certain it is his voice resounded far above all the rest of the congregation, and there are peculiar quavers still to be heard in that church, and which may even be heard half a mile off, quite to the opposite side of the mill-pond, on a still Sunday morning, which are said to be legitimately descended from the nose of Ichabod Crane. Thus, by divers little makeshifts, in that ingenious way which is commonly denominated "by hook and by crook" the worthy pedagogue got on tolerably enough, and was thought, by all who understood nothing of this labor of head-work, to have a wonderful easy life of it. The schoolmaster is generally a man of some importance in the female circle of a rural neighborhood; being considered a kind of idle gentleman-like personage, of vastly superior taste and accomplishments to the rough country swains, and, indeed, inferior in learning only to the parson. His appearance, therefore, is apt to occasion some little stir at the tea-table of a farm-house, and the addition of a supernumerary [Footnote: Supernumerary: superfluous, unnecessary.] dish of cakes or sweetmeats, or, peradventure, the parade of a silver teapot. Our man of letters, therefore, was peculiarly happy in the smiles of all the country damsels. How he would figure among them in the churchyard, between services on Sundays! gathering grapes for them from the wild vines that overrun the surrounding trees, reciting for their amusement all the epitaphs on the tombstones; or sauntering with a whole bevy of them, along the banks of the adjacent millpond, while the more bashful country bumpkins hung sheepishly back, envying his superior elegance and address.

From his half-itinerant life, he was a kind of travelling gazette, carrying the whole budget of local gossip from house to house, so that his appearance was always greeted with satisfaction. He was, moreover, esteemed by the women as a man of great erudition, [Footnote: Erudition: learning, scholarship.] for he had read several books quite through, and was a perfect master of Cotton Mather's "History of New England Witchcraft," in which, by the way, he most firmly and potently believed.

He was, in fact, an odd mixture of small shrewdness and simple credulity. His appetite for the marvellous, and his powers of digesting it, were equally extraordinary; and both had been increased by his residence in this spellbound region. No tale was too gross or monstrous for his capacious swallow. It was often his delight, after his school was dismissed in the afternoon, to stretch himself on the rich bed of clover bordering the little brook that whimpered by his school-house, and there con over old Mather's [Footnote: Cotton Mather: an American clergyman, author, and scholar. Born in 1663, died in 1728. He took an active part in the persecutions for witchcraft.] direful tales, until the gathering dusk of the evening made the printed page a mere mist before his eyes. Then as he wended his way by swamp and stream and awful woodland, to the farm-house where he happened to be quartered, every sound of nature, at that witching hour, fluttered his excited imagination,--the moan of the whippoorwill from the hillside, the boding cry of the tree-toad, that harbinger of storm, the dreary hooting of the screech-owl, or the sudden rustling in the thicket of birds frightened from their roost. The fire-flies, too, which sparkled most vividly in the darkest places, now and then startled him, as one of uncommon brightness would stream across his path; and if by chance a huge blackhead of a beetle came winging his blundering flight against him, the poor varlet [Footnote: Varlet: rascal.] was ready to give up the ghost, with the idea that he was struck with a witch's token. His only resource on such occasions, either to drown thought or drive away evil spirits, was to sing psalm-tunes; and the good people of Sleepy-Hollow, as they sat by their doors of an evening, were often filled with awe at hearing his nasal melody, "in linked sweetness long drawn out," floating from the distant hill or along the dusky road.

Another of his sources of fearful pleasure was to pass long winter evenings with the old Dutch wives, as they sat spinning by the fire, with a row of apples roasting and spluttering along the hearth, and listen to their marvellous tales of ghosts and goblins, and haunted brooks, and haunted bridges, and haunted houses, and particularly of the headless horseman, or Galloping Hessian of the Hollow, as they sometimes called him. He would delight them equally by his anecdotes of witchcraft, and the direful omens and portentous sights and sounds in the air, which prevailed in the earlier times of Connecticut; and would frighten them wofully with speculations upon comets and shooting stars; and with the alarming fact that the world did absolutely turn round and that they were half the time topsy-turvy!

But if there was a pleasure in all this, while snugly cuddling in the chimney corner of a chamber that was all of a ruddy glow from the crackling wood fire, and where, of course, no spectre dared to show its face, it was dearly purchased by the terror of his subsequent walk homewards. What fearful shapes and shadows beset his path, amidst the dim and ghastly glare of a snowy night! With what wistful look did he eye every trembling ray of light streaming across the waste fields from some distant window! How often was he appalled by some shrub covered with snow, which like a sheeted spectre beset his very path! How often did he shrink with curdling awe at the sound of his own steps on the frosty crust beneath his feet! and dread to look over his shoulder, lest he should behold some uncouth being tramping close behind him! and how often was he thrown into complete dismay by some rushing blast, howling among the trees, in the idea that it was the galloping Hessian on one of his nightly scourings!

--WASHINGTON IRVING.

[Footnote: Is this style of writing similar to that of any other selections you have studied? Illustrate. Compare the kind of words used here with the simple diction in "A Youthful Actor," "In Brittany," "The Gold Trail." Does the author's humor seem to you unkindly? What other selections have you studied in which this sort of humor is shown? What courses of study do you imagine were given in Ichabod's school? Does Ichabod seem a real character or only a caricature?]