1881-02-05; Clare County Press

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VOLUME III.
'■    CLARE, MICHIGAN, SATl
■'HTlo
183d© felimtjo
*  H I. ALWAI1), TaMIsfet
AT, FEBRUARY 6, IS
Dl .*
"v:tfc
:,,JE3E§ra£.
^•«
BS EATHEB 22AH.
"Hy fejt are -wearied, and dy hsjida are &&&*•
Sffy som oppressed;
^fi with desire havel long desired
Best-—only rest
Tia hard to toil, -wfien toil is ahnobt vate,
XnDarjsn'ways; . .
*£& hard to so^r, ancfcnever garner grain
" In harvest days.'
*Sk& burden of my days-is hard to bear,
Bnt <3ed knows be§t;
And Ihave prayed—but vain has: tosea mygrsyeE—
Forrest—sweet rest
Tio hard to pTaht in Spring, and never reap
The-autumn yield;        *
T&s hard to till, and when 'tis tilled fs> tres^
.    O'er jfrnitless field.
&ssd so I cry, aweafc and human ery,
So heart oppressed; ..     .
" - a.nd so I sigh, a weak and human sigh,
.    • .     S?or resfc-^rest.    '■  «
£Sy nsmyhas -wound'across the-desert yaaro,
, And cares inf est
fJSy.path * and through the ScKring of &o&ts&a
Ipineforresk       -     "
Twas always so; when, still a child I lata
t   \: On mother's breast'
My wearied little head, e'en then I prayed ' <
As now, for rest.
-&si$.i tan restless still; 'tvsIE soon be o'er,
For, down the -west,
iife'o son ia setting, and I see the shore
';.'.'-        Wherel shall rest   ;
'   Ipirltgiiai,
A . Many of the peculiar effects produced
isgon fee stage, imitating moonlight,
sunlight, thunder, wind, rain and other
Statural phenomena, are a puzzle to those
outside of fee business. How such realistic representations of those things as
sir© often witnessed upon fee stage can
b© made is a question feat often enters
fee mind of fee spectator, and is seldom
answered in a satisfactory manner. It
ss always fee ambition of scene painters
.and stage carpenters to devise improved
methods of imitating these things, and
hence fee stage may be said to try to
holcl fee mirror up to nature in a ma*
ierigl, as weU as a moral sense. Authors, in writing plays,"are always on
th©- lookout.for an. opportunity to pro-
due© ""a telling effect. The amount of
work bestowed upch their production in
a theater is simply astonishing to those
unacquainted with feat mysterious realm
fchown as " behind th© scenes,."
Thdnder is a. common'stag© effect,
ss.il is used wife great." advantage in
ancny- plays. Ia former Says it was
•scS-cced hy shaking a large piece- of
sbso'xbon hone? immedsataly afjov© tb©
ive fe© dull
!"w ayo hecrd in storms.' A
cciririvanc© for thia purpose was soon
invented. A heavy box frame is made,
s,nd over it is tightly drawn a calf skin.
Upon this fee prompter operates wife a
stick, one end of which is padded and
covered with chamois skin, A,flash of
lightning^ produced with- magnesium,
imd a sharp crack of the sheet-iron, followed by a long decreasing rbU upon
the "thunder drum," produces an effect
which is startlingly reaHstic. Traveling companies are eompeUedfo be satisfied with fee sheet-iron alone; and fee
tragedian who enters a theater provided
wife a complete thunder apparatus always is happy to think that his battle
wife the elements in "King,Lear" w*U
be worth fighting.
The raan machine in large theaters is
a fixture placed high in fee " fiies." A
cylinder in made of " half-inch " wood.
Itis usuaUy five feet in circumference,
and four feet in length. Upon the inside are placed rows of small wooden
teeth. _ A lot of dried peas is placed in
the cylinder, aropebeltisrunround one
-end of it and down to fee prompter's
desk, and is it ready for a drenching
shower. By turning fee cylinder, the
peas roll down between fee teeth, and
fee noise produced * by feem makes a
good imitation of rain failing upon a
roof. A sudden ptiH of the rope, accompanied by a gust on the "wind machine," gives the sound of fee sweep of
a blast of wind during a storm. Traveling companies often meet wife theaters where there is no wind machine.
A sufficiently-good one, however, is
.easily produced. A common child's
hoop is obtained, and a sheet of brown
paper is pasted on it after fee manner of
& circus-rider's baUoon. A handful of
bird-shot is placed upon fee paper.
The "machine " is canted from one side
tothe other, and the shot roUs around
the paper, producing a fairly-good rain
©ffect.
Wind is an item feat is very useful in
heightening the effect of stage storms.
Itis often dispensed with in theaters
where strict attention is not paicl to details, but not without a loss- of" "realism." It has, moreover, a great influ-
©nc© over the feelings of spectators.
The wind maehine is constructed in this
manner. A heavy, frame is made, in
wiiich is set a cylinder provided with
paddles, and resembling very much the
stern-wheels seen- on Ohio river tow-
boats. Across the top of this cylinder
is stretched as tightly as possible apiece
i>£ heavy grps-grain silk. This silk remains stationary while fee wheel is
turned by a crank. The rapid passage
of fee paddles across fee surface of fee
silk produces the noise of wind. Often
traveling companies are in theaters
where there is no wind machine. Then
ihe property" man groans audibly and
proceeds to do what, in theatrical parlance, is called "faking" the wind. He
selects a heavy piece of gas hose, caUed
by stage men "flexible," and, finding a
quiet corner where there is sufficient
Bpace to swing a cat without danger-r-to
fee cat—he whirls it around his head
with fee greatest possible rapidity. This
method produces very satisfactory results
—to every one but "th© property man.
He is a long-suffering person; but fee
extraction of wind from i * flexible" earases
mm. to find life tedious.
Every one has heard the startling crash
feat is produced when th© hero kicks
the villain through a four-inch oaken
door. One would think that not only
fee door but fee viUain must be completely shattered. This noise is produced by fee crash machine, one of the
oldest implements of imitation still
used on fee stage. It is similar to fee
wind machine in construction. A wheel
with paddles set at an angle of about
forty-five degrees to fee radii is fee main
part of the machine. Upon fee top of
fee wheel one end Of a stout piece of
wood is pressed down by fastening fee
other end fo a portion of fee frame-work.
When the wheel is turned, fee slats
passing under the stationary j>iece produce a rattlihg crash. The principle of
the machine is illustrated by fee smaU
boy who xnh»'% stick along a paling
fence and is gratified by introducing
into the world an additional morsel of
hubbub.       ..,.-   .
There is nothing feat can be so weU
counterfeited on the stage as moonlight
scenery.     And yet there  is  nothing
which requires more work.   The artist
begins fee task by painting a moonlight
scene.   In dayHght such a scene is a
ghastly sight.   It is done in cold grays
and greens, in which Prussian blue and
burnt umber play, an important part;
and fee Hghts, are  put in  wife white
sHghtiy  tinges-wife,  emerald green.
The strong moonHght of fee foreground
is produced by a calcittm light thrown
through a  green  glass,.   Th©  fainter
hght upon the scenery at the back of
the stage is obtained from " green mediums"—a row of argand burners wife
green chimneys.   These are placed upon'
the stage just ih front of "fee main scene,
and are "masked in" from fee view of
fee audience by a" ground piece."   A
row of   them is often suspended from
the "flies," in order to Hght fee top of
the scene.   This upper tow is masked
in by" "sky bonders."  T*h)is  a  soft
green Hght is thrownover fee entire distance,while its boutc© does not meet
the view of the spectator.'   A usual feature of stage moonlight'scenes is water,
because it affords • an  opportunity  for
the   introduction    of' 3he ' "ripple"
charmingly    natural,    stage    ef-
The main scene in a moonHght
is always- painted on a "drop"—
is, a seene made like fee curtain
let down between the. acts, ' The position of fee moon being determined, immediately under .it, beginning at the
h-zjlA.Q-i, a ntsiaber orl small* i^re^ulf"'..:
—a •
feet.
view
that
•.__-:. cOTC-'ii- Oil th3 hHQ'S. with muslin
cad painted over on fee front to match
fee rest of the water. Behind these
holes is placed an endless towel, about
eight feet in length, running around two
cylinders, one at fee top and one at the
bottom. The lower cylinder has a cr-ink
by /which the towel is turned. In this
ifow^lis cut a number of holes similar
to those in fee drop. A strong gas-
burner is placed between the two sides
of fee towel. When, .the machine is
turned the flashing of fee light from the
passing holes hi the towel through fee
stationary ones in the drop produce a
fine ripple. It is always better to turn
the towel so that the holes pass upward,
as feat helps to make fee mimic wavelets seem to dance up toward the
sky. Instead of a towel a large tin cylinder has been * used, but it is cumbersome and noisy. It is necessary to turn
this towel wife great steadiness; otherwise the ripples wUl go by fits and
starts, and entirely lose their natural appearance. Stars are easily put into the
sky. Each twinkling orb consists of a
spangle hung upon a pin bent into a
double hook. The sHghtest motion x>f
the drop causes these stars to shake and
the flashing of the Hght upon them produces the twinkle.
One ofthe most beautiful effects produced upon fee stage is the change from
day to night, or from night to day.    Of
these the former is the more striking,
and a description of it wiU serve to explain the principle of both.   In order to
produce fee proper effect, the back drop
is made nearly double fee height of fee
usual scenes.    The upper half of it is
psiinied to represent a sunset sky, and
the lower hali to represent moonlight.
It is hung so that fee upper half alone
Is visible.   The scenery of the distance
is then painted upon a separate piece,
which is "profiled;" feat is, fee irregular liae of fee horizon made -by trees,
mountains or houses is sharply' cut out
with a circular saw. This piece is placed
immediately in front of the sky drop.   A
few feet further in front is hung what is
known as a cut gauze drop.    This has
sides and top of canvas painted as fee
ease requires, while fee center is fiUed
with fine gauze which lends an aerial effect to the distance.   Bed   "mediums"
are employed to give a soft, sunset glow
to the scene.   At the proper moment,
the back drop is. very slowly and steadily
hauled up, while the reffmedlums afe
slowly turned off and green ones turned
on.    The moon is made in thought half
of   the  sky-drop,   andv risoavs^jh it.
When it rises above fee distant horizon,
the "grajgh  mediums are turned on to
then* full power, and the green calcium
Hght is brought into play.   The effect
of this change, when carefully managed,
is always very beautiful, and is sure to
draw forth applause from an audience.
'Moonrise, in a seene where ihere is no
change from dayHght to darkness, is often produced with a muslin drop and a
" moonbox."   The muslin drop is painted to represent the sky, fee clouds being
painted on strips of canvas cut in the
required shape and sewn on.   The moon
is made wife a box on one side of whieh
a circular hole is cut.   Over this hole is
X^asted  a piece  of white muslin.     A
couple of wires serve to draw thc moon
upward.   Of course the white illuminated circle shows plainly through the muslin sky, but disappears when passing behind the canvas clouds.   By having an
other piece of muslin .painted red and J
imperceptibly fading to white, placed at |
the back of fee drop^ Ih© moon's path,.?
fee orb of night canfe made to appear *
red at fee horizon, and gradually change j
to pale yeUow as it sails slowly upward, j
Floating clouds are easily imitated by 1
hanging in front of fee sky drop a gauze j
drop upon which are sewn muslin or ;
canvas clouds, and moving th© whol© j
slowly. '   ' )
WB5TEB, SfHiES,
An ocean of heaving waters is made ia >
this way:   Each bounding wave is cut'
out separately.   Tne first row is set up ■
wife a distance of three or four feet be-,
tween eaeh biUow j and the second row
is set so as to show.in the openings left
by fee first.    SmaU boys furnish the.=
motive power.   The waves are' rocked
back and forth, not from side" to side j
and the effect is very good.   The noise '
of water rolling upon a beach is weU imitated in a simple manner.   A box of
Hght wood is lined with tin.   By putting
two or three ounces of bird-shot into this
and causing it to-soli around, the desired.,
sound is produced.
Eire scenes are sometimes dangerous; ■
but with proper care they may be rendered comparatively safe".    That they ■
are not so hazardous  as  is  generaUy
supposed by feeuninitiated beholder may
be learned from fee following descrip-,
tion:  One  of  fee most  f^iHar fire
scenes  is  that whieh occurs in  the
" Streets of  ISTew York?". in which  a
three-story house burns down, the roof .
caving in, fee shutters falling, and the -
waUs breaking wife a wonderful appear^ •
ance of realism.   The house is painteu.
on three separate pieces, the top one of '
which is swung from the flies; this cori>?.
stitutes thereof.   Upon't*h© second fe**"
painted half fee waU, and it is joined to
the bottom piece in an irregular zig-zag ,
line. The simple dropping in succession '
oi 'fees© pieces; to the stag© produces fee
falling of roof and wall.   The fire itseK
is'represented by chemical red fire'and
powdered lycopodium Used separately;,
fee former to git© a -red glow^and thc
latter to represent flames.
- kabined with satin \ a third, gold
.daison'; a fourth, pale pink broci
ters, whieh are
to
The shut
faU, are fastened fr.
the  scene  wife  a preparation caUe-;
" quick-match."   This is made of 'p:.i/-
der, alcohol and a lamp wick.   The win
dow frames and sashes are mad© of slier
iron.   They are- covered wife oalic:
soaked  in alcohol or naphtha.   Irkc-
sashes and frames are not 1'astenedi 3'"
canvas scene at all, but are p&cacL r
dis'H'"'?'? r-r^"."*"-"' ""   - -v-   "^'" -        ., ...,-'-"
*«_o_i kji. h:Ja i -,i_
^^t-
the oakum, and, in a moment, the fire
runs around fee sash and nothing is ap:
parently left but fee blackened; and.
charred wood. Steam is used to represent the smoke that issues from the crannies in the waUs of the burning budding ; and an occasional crash, foUowed
by fee ignition of a Httle powder to produce-a sudden puff of smoke, gives fee
spectator an idea of a falling rafter. Behind fee entire scene is placed a very
large endless towel upon which is painted a mass of flames. This is kept in
constant upward motion; and, when
viewed through an Open window in fee
house, gives a good idea of fee supposed
raging furnace within. Add to these
things a real fire-engine on the stage, a
host of yelling supernumeraries in discarded firemen's uniforms, and the spectator is easily fiHed with a sense of tremendous danger. Nevertheless fee only
flames upon, fee stage are those arising
from the burning of lycopodium in a
"flash torch j" and they are only allowed to blaze up for a second or two at
a time. Eires in theaters, resulting from
a fire scene, are usuaUy caused by carelessness in handling the powder which
is used to produce puffs of smoke.
Ancient Likenesses of Christ.
An English work, entitled "The Likeness of  Christ,"  written by the  late
Thomas Heaphy. and • edited by Wyke
BayHss, is one of the most valuable
archaeological pubHcations of    recent
times.     The    full-page    illustrations,
which   are    executed in  colors,   facsimile, are twelve in number.   Three of
these are of fee deepest interest by far,
for they give what hitherto the English
public has never yet had  set  before
them, representations of (1) the picture
preserved in fee sacristy of St. Peter's,
at Borne; (2) that in the Church of St.
Silvestro, in the same city, and (3) that
in the Ghurch of St.  Bartolomeo,  at
Genoa.   The  first   of  these,   roughly
painted with transparent rude pigments
on unprepared cloth, is never "shown to
visitors at Borne, being seen only by the
Pope and two of the Sacred Conclave
after they have just received the holy
communion.   The wonder, therefore, is
how Mr. Heaphy, presumably a Protestant,  obtained  permission  to   copy it.
This copy seems   aU  but perfect,  so
nobly and touchingly does it render fee
Divine Eace of Him who was fairer than
fee children of men, and yet, above aU
his human brothers, " a man of sorrows
and acquainted with grief." ' The authenticated   history    of    this   picture
reaches back to the  second  century,
while the concentrated thought and feeling which it displays  "almost force on
us the conviction feat he that produced
it must have seen that which he depict
ed."   The second and third representations are executed much in the same
manner upon coarse linen, and are types
of a class numerous in Italy and in the
East.   The Genoese example purports
to be the likeness painted by St. Luke
for Agbarus, of Edessa. and there appears to be a considerable amount of
evidence to identify it with fee portrait
mentioned by Eusebius as preserved at
that place.   There can. be no question
as to the antiquity of fees© pictures.
The Eastern publishers, hseye contributed nearly 4,000 volumes for a pubHc
Horary at the new settlement at Bugby,
Tenn. ,
j jLiucy Carter, a Hei? York fashion
'. writes ** as foUows regarding the
styles;
jiions which  prevail in January
'heir own during.the remainder of
later, and the *Kfew Year's costume
jortant, therefore, not only as in-
,ive of what is styHsh at fee present
r.but of what is to come.   By far
'greater" number ox  dressy toflets
made  with   trimmed skirts   and
rues, and, the use of magnificent
Lides having proved unfavorable to
li dres?es for evening wear, most of
handsomer  costumes are  devised
strains.   They are not of unusual
jib, and are a compromise between
square and round train, partaking of
; ii?Jrare of both, since they would be
.r.i'e but that the comers are rounded
Bi©eves are generaUy to the elbow,
i fee corsage is cut high around the
.oat, square or heart-shaped, the lafr-
•: style being sometimes allowed to
liie close about fee neck and opened
low,,   These leading ideas-   are, of
.use, so variously combined and modi-
1 by fee slriUful modiste feat there is
. sameness, but continual variety^ for
long  a  number of  Hew Year cps-
raes gotten up for leaders of society
r Lord & Taylor it was only on a close
aroination   that   certain   prevailing
itures were to be remarked. A superb
Jram© was of black velvet, on which,
intervals, were placed, in applique
>ie, bouquets and sprays of siUt-em-
?pidered flowers in gay natural colors.
ia effect was lovely.'. Another e^quis-
3 costume was of heHotrope brocade
aiid
brocade,
;ith satin and crystal passamenterie;
! ;.. fifth, pure white.   AH the brocades
\;ere very large in pattern; for you mnst
"amember that smaU-figured brocades
r.'© not-now  used—at least for very
Ir-essy wear.   Opera cloaks wer© never
- o gorgeous, &n$ are really resplendent
' i-eaiions qf rich brocade, wrought in
-■ii'y  large,, wide,  open flowers.'   The
>-ig dolmaaor visite is fee fashionable
h ape for these elegant garments.
-   :    -.'." PLUSH COim&BS
: ?-? decided novelties and give "astyHsh
A'Ap, to dresses, being aU the more be-
rniag, psrhaps, hecausethereis a wide
.. V;- ;e ao to choice in the way, of color.
- 'zZs oi plush  can   be added at the
■AZi.   (j::  course there  should be a
"    ' -"VVV ^'z'AAr^lrA^^^^--
^it»sh,"'and a. cuff of Hneh or' lace below
the plush at the end of" the. sleeve.
Street costumes are often added to by
large coUars or evepi capes of plush, and
here, too, the plush cuff' may give
warmth about the wrist. The "severe
winter has also brought fur" capes into
much demand, and fur cuffs to match
are now sometimes worn. The conventional fur muff ought of course to be
u^ed. when for is on other parts of the
costume, but charmingly coquettish
fancies are now seen as substitutes. They are made of plush
• or heavy cloth cut into some pretty-
shape, wadded, bound on the edges, tied
with ribbon and sometimes edged with
wide white lace. Others are finished
wife gold braid, artificial flowers or embroidery. If ingenious, you can devise
one for yourseif, but the pattern-house's
bring out models, and of these fee prettiest I have noticed is the Olga. Sara
Bernhardt has left- behind her a rage for
rufflings about the neck. They never
were iu such demand nor carried to
quite such extremes. Crepe Use is
much used, probably because so becoming, yet lace comes in for a fuU
share of popularity. It is impossible to
give special description, but in aU kinds
the Sidenburg favorite brands are most
sought alter because most fashionable
and the best made.
INDEPENDENT BASQUES
of cloth or velvet, to be worn wife different skirts, have a jaunty finish given
them by additions of gilt braid and me-
broidery. Three rows of braid around
the edges, and embroidery on the coUar,
cuffs and pockets. One sees at a glance
how pretty these must be, and they
afford a change from basques of brocade.
Another new and pleasing ornamentation for a corsage is to have eoUar and
cuffs of colored satin, red, blue, gold,
garnet, etc., finished with gilt embroidery. Tliis, of course, is more suitable
for a costume than an independent, and
the coUar and cuffs of satin take the
place of any other trimming on fee corsage. A touch of gilt embroidery, or of
satin and "embroidery can be added on
fee skirt, but is not essential.
This season, indeed, it is hard
to misplace gilt trimmings. In aU
sorts of forms they intrude themselves everywhere; and much as they are
liked for costumes are more prominent
in millinery. But gilt or silver braids
should never be jrat on brocades where
a variety of colors are blended, although
we do see tinsel threads running through
brocades. Metal trimmings are better
adapted to plain goods, and in general
are so employed. Enormous bows of
s%tin ribbon are now attached on the
left side of the corsage just abova the
waist line, instead of tlie mammoth
bouquets of flowers which were once in
vogue, and fee fact that aU symmetry is
destroyed by their use does not seem to
interfere with their popularity.
ages of introducing faeiHties of transportation is the temptation to cut short
time and distance by the habitual use of
steam cars and hors.e cars even
in fee daily transit. from the'
dwelling to fee office. A sedentary
occupation begets an almost unconquerable aversion to regular exercise," and
fee result of jielding to the indisposition
is feat fee mental powers, kept at a
sudden tension for years, wfll soike
day suddenly relax and leave their
abuser either lifeless or a helpless para*
lytic. To Hterarf and professional men
lis1, vigorous and "regular exercise especially needfitl,fand. the example of its
effects in. a hale old age wiU. suggest
themselves to every one. The exercise
neededto keep the mind in tone and
fee. physical force unabated, up to the
four score years and ten, is not a daily
spin behind a fast-stepping horse, but
fee long, swinging gait wHch puts fee
walker over a country road at the rate of
four or five miles an hour, and sends the
blood pulsing wife invigorating Hfe to
every portion of the systeiii. Two hours
such exercise a day, so far from being a
waste of time, is. a positive economy,sup-
plyihg the nervous fore© for more and
better work in ten hours than fee man
of street cars and cariiages ban get out
oftwelve.
, Course ©£ Inae Lm6a
She came tripping from fee church
door, her face flushed with emotion by
fee just-uttered discourse, and her eyes
bright wife .loving expectation. He
shivered on the curbstone, where for an
hour he had shivered impatiently, wife
a burning heart palpitating in his throat,
and frozen fingers in his poekets. They
linked arms and started for the residence of her.parents.
After    a   few   moments'  hesitating
silence, he said: * *      "     -
. ** Jane, we have known, each other
long. You must know how I feel; You
must have seen that clear down at fee
bottom—-Ov Moses 1"
He had slipped down on fe© ice with
so much force thait his spins was driven,
up into his hat, and his" Hat was tipped
over his nose, but she was a tenderhearted girl.. She did not laugh, but
she carefuUy helped him to his feei, and
said:
"You were saying, John, when you
slipped, that the foundation—O, goodness I"    .      ^     .
^ She sHpped herself'that time,"and saw
""Httio.-' stats *,.coSfi.ti-;uG\^a: 'i0.diihc3-be2oro:
her eyes, but he*puUed her up in haste, -
and went on:
"Yes j just as I said, olear down at
the bottom of my heart is a fervent love,
on which I buUd my hope. That love
has helped me to stand face—thunder.! "
He was down again, but scrambled
up before she could stoop to help him,
and she said, breathlessly:
" Yes, yes, John. You remember you
just said a love feat helped you stand
and face thunder. And that you founded your hopes on—this pesky ice I"
There she sat. John grasped fee
loose part of her sacque between fee
shoulders and raised her to her feet, as
one would lift a kitten from a pafl of
water by fee back of fee neck. Then
he said, with increased earnestness:
"Of course, darling, and I have longed
for an opportunity to teU my love, and
to hear those whispers—whoop !"
Somehow John's feet had. sHpped
from under him, and he.came down like
a capital T, with his head andfeet pointing skyward. She twined her taper fingers in his curling locks and raised bim
to fee stature of a man, set his hat firmly over his eyes witlv both hands, and
cried, in breathless haste:
"I understand, and let me assure you,
John, that if itis in my power to Hghten
your, cares and make brighter your jour-
ney'feroughHfe to—Jerusalem!"
"O, my precious, and thus it shaU be
my Hfelong pleasure to lift you from the
rude assaults of earth and surround you
wife the loving atmosphere of—Texas !"
And there they both sat together.
They had hearly reached the gate, and
Ifend in hand, and with fee bliss of
young loye's first confession, they crept
along on their knees up the front door •
steps, and were soon forgetful of feeir
bumps on fee softest cushion of the par-"
lor sofa.
^ _______ niLinsrtSo??'
*» Why don't you take your comfort Stele,
*   iknd B-jjendyour money aa you go,   '.:".
.Uor drees so plainlyas you da* ".-■"   ,r
Although yon'reuteays neat, I haw?""
Said John, and laughed a mesry Jaugfe;
*»-Why, W2Q, your pocls:et'Blil?eo MQVQ5
Pvegota duty to p&rf c&ro—
I'll work for mother -while I liyo, "'
■"AndsuchaniotheEaa-ffeha^o—    -., ;
• father be left tor to our care;
* That's mother sitting 'mid the flowers,
■ :. Withswe&feteovrtieyesanddlverySgSa
We mean to "buy that cottage home -
' By saving up^-ii; can he done—
' Brother anft I; yeg, hear me, WiU,
Before wf lads are twenigr-pnel"
What heartfelt joy-that siothor Bca,
As he, her eon, passed in ihe dcor S
XJhiA though they lived in hunibla z'zflo}
33o costly pile upon the Epor I
But love wa3 there—and should €-oa rrf!
Tt> call that son by Mia flecreo.
That mother mid her tears coda c-sy;
" He ah7£yG did Ms hsnfc formal"   '
Young men in all the wellies of life,
And hless&d v?ith motherb land end &C2;?9
Ah I v* ould that you might prise thea T70tt>
And do your duty by .them hero.
Fortune may strew your path vifli Sowoffij
-Or -wealth may not bs yours -to givo,
- But never manlier vrords than theso;
«' 111 ivOTb for mothsr y&iio I livo!?s
PITH AIID IPOIKTo
' Thb baHoonist's home is one Sight up,
Tai* soft hats supply a long-xelt want.
A jStjhobotjs article—A baby with tho
rash.
Puek wants to kaow if "th©"' Eoffej.
soothing sounds of the far-distant millss<
refers to the mill's tone.
*Masb of the" niist—prizzRng ra-ia,
Maid of tlie .mister—His sweetheart
Made" of the mystery—-Hash,
An exchange says : " Streams ali ov©:?
the country are running dry," This Id
a canard. -When a stream in' diy ii
can't run.
'•' Tu a man of fey/ words," said jPreE-
dergast. " True enough,"'-replied S'ogg,
"true enough■; hut you never. Mra ott
repeating tkem." ■
was asked how he liked ths 3Uir.sl©£	
brightened up and. exclaimed: s< The
doctor says I 'can't go to hcIicoI1 &>?■ d
week or two.   That's how I Hke ii."
smoking tsi'acx;
V^^—ift
Sedentary EaMtSo
The alarming increase of late years,
says an exchange, in fee proportion of
sudden deaths is beginning to attract
the attention of statisticians. It is largely
due^ no doubt, to more general mental
activity without a proportionate increase
in bodily exereise. The busy life of fee
age demands a constant hurry andex-
citement,- and taxes fee physical powers
to the utmost to keep up in the race for
moa©j-getMng.    One of fee disadvant
age Eealans,, -   .
These people, if we beHeve fe© early
historians so far as to allow them an historical existence, were a body of Irish
miHtia, forming a kind of standing army,
which was employed to defend the coasts
of Ireland from the invasion of foreign
foes. They were bflleted -upon the inhabitants during winter, and obliged to
maintain themselves by hunting and
fishing during summer. Each of fee
four provinces had its own band of these
warriors or champions, but Leinsterwas
fee most fortunate province in incorpor-.
ating distinguished names in the Hst of
its Penians. Fingal himself was one of
fee illustrious band, which included also the ever-memorable Ossian. "When
St. Patrick came to Ireland, Ossian narrated to fe© Apostle of Ireland fe© exploits of the valiant Fenians. The
record of their conversation, which is
stiH extant, is caUed fee Dialogue of fee
Sages; but it seems that the saint and
the bard, sage as they both were, were
sometimes on the point of quarreling.
Our readers may remember the version
of an ancient Ossianic poem 'which, according fo Sir Walter SGott, Hector
Mclntyre -gave to his uncle, fee antiquary. St. Patrick there complains that
his devotional meditations and psalms
are disturbed by fe© old women's tales
of Ossian; and Ossian, annoyed at the
impHed comparison of psalms to the
tales of the bare-armed Fenian, declares
in no measured terms that he should
think it no great harm to wring th©
saint's bald head from his Bhotdd^5"
A boxisH movies  in    _.o
deadly pale and threw awayfi
Said he :•" Thar's -Bomething ia ihcCar,1
cigar that's made - m&. sick."   EII ri-acrr
- what it is," said his comTjr.nioiiD ^-.-"lir
.-.-.•-..-.-       ee'l^rn^t.J:. «-?      as*--1"'..-,  ^,  .-•!:'-
A QUESTION Ol? THE. OVEB-SQ-SSa
A chicken lived; a chicken died;
*    Sis druinfiticis and his -wings were f riefi.
His feathers, by a dealer drie35fr
And, very shortly after, dyed.
Soul he had none; admitting that,
How comes it?   There upon herhaS,
His plumes—a mortal chicken's—rise
A glorious uird of paradise.
Maiden aunt to tall young nephew—.
" As I stood by you in church, Percy, 1
-could not help being struck by your
size." Percy—xt Very sorry, aunt, but
there was such an awfully pretty girl
the o.ther side the aisle I couldn't help
sighing 1"
I sah> to my Httle girl one days
"What a large forehead you have. It
is just like your father's; you could
drive a pony carriage round 'it. To
which her brother, '-5 years old,?said s
"Yes, ma, but on pa's you can see fe©
marks of fe§ wheels."
IIsbe is an inscription on a soldier ib
fee kirkyard of Dumfries:
Here lies Andrew Macpherson,
Who-was a pectSiar person,        -  -
He stood six feet two
Without his shse, - -
And was slew . ■      "
At Waterloo. -'■,'■'•■'
The Galveston boy is progressiva. Ha
was standing in a crowd of boys" oil the
sidewalk when his mother called to him
to go down town and bring her a demijohn of whisky. The boy was too busy
to go, but he called out: "Send the old
man; I've got considerable confidencQ
in him." *
He was a fine-looking man, aald h©
proudly strutted dowii fee sidewalks
with the air of proprietorship ih every
movement. "Beg pardon, "■ said % stranger, as he stepped up to him, hat ia
hand, in utmost .humility. " Do I.hav©
your permission to remain in town over
night?"
Mons. Dupont, who was a> widower,
re-married. It was in foil honeymoon^
and he made countless fender protests
tions. '' I wiH always love you," h© said
toher. "Always, always?" "As long
as I Hve."" "iaid afterward, you will
not love me in eternity ?" " But I hav©
already promised that to my firsfc wife."
Ha was a great bore, and was talking
to a crowd about the coming local election. Said he: * * Jones is a good man,
He is capable, honest, fearless and conscientious. He wiU make th© very kind
of an officer we need. He once saved
my Hfe from drowning." " Do ydureal-
ly want to see Jones elected?" said a
solemn-faced old man. "I do, indeed.
I'd do anything to see him elected."
" Then never let anybody know he saved
your Hfe." The meeting then adjourned,
A soiOiY-T&oKma German was quietly
walking down Third avenue, looking up
occasionally at an elevated-railway locomotive, and perhaps wishing h© .coulS
smoke as much as it could, when he was
familiarly approached by a man who
said, " HeHo, Joe I What are you doing
here ?" The old man looked and saids
"But I am not her© at aH," "Hot>
here?" said the man. "What do yon
mean by feat?" **VeH, now, you se®
my nam© is not Joe, and so how -eould I
b© here? You must mean som© ©fees
man."—New • Torls Mercdd.
When a boy walks with a gii?l as
though he were afraid; some one rMght
see him, th© girl is Ids sister. If. ha
walks so close to heig g& to nearly c^Qwd
her against the f ©nee, it is th© sister "'.<£
some on© else.
*s'