INTRODUCTION. Dedications and Prefaces, which are prefix'd to most Books, being regarded by few Readers, I think it best for my present Purpose briefly to mention in an Introduction, what I would have known concerning the Occasion, Nature, and Use of this Treatise, before I enter upon the main Work it self. When I considered the great Benefit that arises to the Publick, from the large Colony of... more...

CHAPTER I. It is a busy, talking world. —ROWE. "I think I shall enjoy the fortnight we are to spend here, papa; it seems such a very pleasant place," Elsie remarked, in a tone of great satisfaction. "I am glad you are pleased with it, daughter," returned Mr. Dinsmore, opening the morning paper, which John had just brought up. They—Mr. Dinsmore and Elsie, Rose and Edward... more...

INTRODUCTION I. ON CORREGGIO'S CHARACTER AS AN ARTIST. The art of Correggio was very justly summed up by his first biographer, Vasari. After pointing out that in the matter of drawing and composition the artist would scarcely have won a reputation, the writer goes on to say: "To Correggio belongs the great praise of having attained the highest point of perfection in coloring, whether his works... more...

INTRODUCTION. After the publication of his "Table Talk" and other poems in March, 1782, William Cowper, in his quiet retirement at Olney, under Mrs. Unwin's care, found a new friend in Lady Austen. She was a baronet's widow who had a sister married to a clergyman near Olney, with whom Cowper was slightly acquainted. In the summer of 1781, when his first volume was being printed,... more...

THE RIDERS. I dare say ’tis a wild, foolish, dangerous thing; but I do it, nevertheless! As for my reasons, they are the strongest. First, I wish to do it. Second, you’ve all opposed my doing it. So there’s an end of the matter!” It was, of course, a woman that spoke,—moreover, a young one. And she added: “Drat the wind! Can’t we ride faster? ’Twill be dark before we reach the... more...

CHAPTER I. WHAT A LETTER FROM A TRAMP STEAMER DID. "I say, what's gone wrong now, Maurice, old fel?" The speaker, a roughly clad boy of about fifteen or over, caught hold of his companion's sleeve and looked sympathetically in his face. The lad whom he called Maurice was better dressed, and he seemed to carry with him a certain air of refinement that was lacking in his friend, who was... more...

THE LAST GUN AT SNAKE RIVER. What had been in the cool gray of that summer morning a dewy country lane, marked only by a few wagon tracks that never encroached upon its grassy border, and indented only by the faint footprints of a crossing fox or coon, was now, before high noon, already crushed, beaten down, and trampled out of all semblance of its former graciousness. The heavy springless jolt of... more...

THE EYE: ITS PRIMARY IDEA. I do not remember to have remarked that any writer notices how uniformly, in almost all languages, the same primary idea has been attached to the eye. This universal consent is the more remarkable, inasmuch as the connexion in question, though of course most appropriate and significant in itself, hardly seems to indicate the most prominent characteristic, or what we should... more...

CHAPTER I THE FIRST WAYFARER AND THE SECOND WAYFARER MEET AND PART ON THE HIGHWAY A solitary figure trudged along the narrow road that wound its serpentinous way through the dismal, forbidding depths of the forest: a man who, though weary and footsore, lagged not in his swift, resolute advance. Night was coming on, and with it the no uncertain prospects of storm. Through the foliage that overhung the... more...

CHAPTER I A PROPHECY “You’re cold-blooded as a fish, Roberts, colder. You’re—There is no adequate simile.” The man addressed said nothing. “You degrade every consideration in life, emotional and other, to a dollar-and-cents basis. Sentiment, ambition, common judgment of right and wrong, all gravitate to the same level. You have a single standard of measurement that you apply to all alike,... more...