CHAPTER IIN A LONDON SCHOOLROOM ‘It’s no good,’ sighed Barbara, looking disconsolately round the room; ‘we shall never get straight in time. Don’t you think we had better leave it, and let Auntie Anna see us as we really are? She will only be disappointed afterwards, if we begin by being tidy; and I don’t like disappointing people, do you?’ There was a shout of laughter when she finished... more...

PREFACE. (To be read before the lectures, although it in no way relates to them.) The reader from whom I expect something must possess three qualities: he must be calm and must read without haste; he must not be ever interposing his own personality and his own special "culture"; and he must not expect as the ultimate results of his study of these pages that he will be presented with a set of... more...

CHAPTER I THE GENESIS OF PRAGMATISMThere is a curious impression to-day in the world of thought that Pragmatism is the most audacious of philosophic novelties, the most anarchical transvaluation of all respectable traditions. Sometimes it is pictured as an insurgence of emotion against logic, sometimes as an assault of theology upon the integrity of Pure Reason. One day it is described as the reckless... more...

CHAPTER 1. THE POMPILI. (This essay should be read in conjunction with that on the Black-bellied Tarantula. Cf. "The Life of the Spider," by J. Henri Fabre, translated by Alexander Teixeira de Mattos: chapter 1.—Translator's Note.) The Ammophila's caterpillar (Cf. "The Hunting Wasps," by J. Henri Fabre, translated by Alexander Teixeira de Mattos: chapters 13 and 18 to 20;... more...

CHAPTER I. At the open window, which looked out into the little flower-garden, stood the blind daughter of the village sacristan, refreshing herself in the cool breeze that swept across her hot cheeks; her delicate, half-developed form trembled, her cold little hands lay folded in each other upon the window-sill. The sun had already set, and the night-flowers were beginning to scent the air. Further... more...

INTRODUCTION TO EIDOLON. Hazlitt says, one cannot "make an allegory go on all fours," it must to a certain degree be obscure and shadowy, like the images which the traveller in the desert sees mirrored on the heavens, wherein he can trace but a dreamy resemblance to the reality beneath. It therefore seems to me advisable to give a solution of the "Eidolon," the symbol, which follows,... more...

CHAPTER I THE BROKEN WIRE Winter had begun and snow blew about the lonely telegraph shack where Jim Dearham studied an old French romance. He read rather by way of mental discipline than for enjoyment, and partly with the object of keeping himself awake. Life is primitive in the British Columbian bush and Jim sometimes felt he must fight against the insidious influence of the wilds. Although he had... more...

CHAPTER I. ALL ABOUT THE FLAG. "Rodney Gray, I am ashamed of you; and if you were not my cousin, I should be tempted to thrash you within an inch of your life." "Never mind the relationship. After listening to the sentiments you have been preaching in this academy for the last three months, I am more ashamed of it than you can possibly be. You're a Yankee at heart, and a traitor to... more...

n considering the work of one of the greatest of the masters of the Renaissance, we have to go further back than the disputed question as to who was the first teacher of Pietro di Cristofano Vannucci—surnamed by his contemporaries "il Perugino," the Perugian—and to inquire into the more interesting story of his predecessors in that wonderful School of Umbria, on which his art puts, in a... more...

CHAPTER I - INTRODUCTORY. The history of the tale of terror is as old as the history of man. Myths were created in the early days of the race to account for sunrise and sunset, storm-winds and thunder, the origin of the earth and of mankind. The tales men told in the face of these mysteries were naturally inspired by awe and fear. The universal myth of a great flood is perhaps the earliest tale of... more...