diff options
Diffstat (limited to 'old/52104-h')
24 files changed, 0 insertions, 4363 deletions
diff --git a/old/52104-h/52104-h.htm b/old/52104-h/52104-h.htm deleted file mode 100644 index a9047bc..0000000 --- a/old/52104-h/52104-h.htm +++ /dev/null @@ -1,4363 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - The Project Gutenberg eBook of The Girl's Own Paper, Vol. XX. No. 992, by Various. - </title> - <link rel="coverpage" href="images/cover.jpg" /> - <style type="text/css"> - -body { - margin-left: 10%; - margin-right: 10%; -} - - h1,h2,h3,h4,h5,h6 { - text-align: center; /* all headings centered */ - clear: both; -} - - -p { - margin-top: .51em; - text-align: justify; - margin-bottom: .49em; -} - -.noindent { - text-indent: 0em; -} - -ul {list-style-type: none;} - -.ph3{ - text-align: center; - font-size: large; - font-weight: bold; -} -.w125{ - width: 125px; -} -.w175{ - width: 175px; -} -.w200{ - width: 200px; -} - -.w250{ - width: 250px; -} -.w275{ - width: 275px; -} - -.w300{ - width: 300px; -} - -.w400{ - width: 400px; -} - -.w450{ - width: 450px; -} - -.w500{ - width: 500px; -} - - -.w600{ - width: 600px; -} -hr { - width: 33%; - margin-top: 2em; - margin-bottom: 2em; - margin-left: auto; - margin-right: auto; - clear: both; -} - -hr.tb {width: 25%; margin-left: 37.5%; margin-right: 37.5%;} -hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;} -hr.full {width: 95%; margin-left: 2.5%; margin-right: 2.5%;} - -table { - margin-left: auto; - margin-right: auto; -} - -.pagenum { /* uncomment the next line for invisible page numbers */ - /* visibility: hidden; */ - position: absolute; - left: 92%; - font-size: smaller; - text-align: right; -} /* page numbers */ - -.smalltext{ - font-size: small; -} - -.upper-case {text-transform: uppercase;} - -.blockquot { - margin-left: 1em; - text-indent: -1em; -} - -.center {text-align: center;} - -.right {text-align: right;} - -.smcap {font-variant: small-caps;} - -.lowercase {text-transform: lowercase;} - -.ml2 {margin-left: 2em;} -.ml4 {margin-left: 4em;} - -.faux { - font-size: 0.1em; - visibility: hidden; -} - - -.caption {font-weight: bold;} - -/* Images */ -.figcenter { - margin: auto; - text-align: center; -} - -img.drop-cap -{ - float: left; - margin: 0 0.5em 0 0; -} - -p.drop-cap:first-letter -{ - color: transparent; - visibility: hidden; - margin-left: -0.9em; -} - -/* Poetry */ -.poem { - margin-left:10%; - margin-right:10%; - text-align: left; -} - -.poem br {display: none;} - -.poem .stanza {margin: 1em 0em 1em 0em;} - - - .poem span.i0 {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;} - .poem span.i18 {display: block; margin-left: 9em; padding-left: 3em; text-indent: -3em;} - .poem span.i2 {display: block; margin-left: 1em; padding-left: 3em; text-indent: -3em;} - - -@media handheld -{ - - lowercase {text-transform: uppercase} - - img.drop-cap - { - display: none; - } - - p.drop-cap:first-letter - { - color: inherit; - visibility: visible; - margin-left: 0; - } -} - - - </style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of The Girl's Own Paper, Vol. XX, No. 992, -December 31, 1898, by Various - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - - - -Title: The Girl's Own Paper, Vol. XX, No. 992, December 31, 1898 - -Author: Various - -Release Date: May 19, 2016 [EBook #52104] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE GIRL'S OWN PAPER *** - - - - -Produced by Susan Skinner, Chris Curnow, Pamela Patten and -the Online Distributed Proofreading Team at -http://www.pgdp.net - - - - - - -</pre> - -<h1 class='faux'>THE GIRL'S OWN -PAPER</h1> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_209" id="Page_209">{209}</a></span></p> - -<div class="figcenter w600"> -<img src="images/header.jpg" width="600" height="202" alt="The Girl's Own Paper." /> -</div> - -<hr class="full" /> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="" width="100%"> -<tbody><tr><td align="left"><span class="smcap">Vol. XX.—No. 992.]</span></td><td align="center">DECEMBER 31, 1898.</td><td align="right"><span class="smcap">[Price One Penny.</span></td></tr> -</tbody></table></div> - -<hr class="full" /> - -<p class="center">[Transcriber's Note: This Table of Contents was not present in the original.]</p> - -<p class="center"> -<!-- Autogenerated TOC. Modify or delete as required. --> - -<a href="#OLD_ENGLISH_COTTAGE_HOMES">OLD ENGLISH COTTAGE HOMES.</a><br /> -<a href="#ABOUT_PEGGY_SAVILLE">ABOUT PEGGY SAVILLE.</a><br /> -<a href="#GIRLS_AS_I_HAVE_KNOWN_THEM">GIRLS AS I HAVE KNOWN THEM.</a><br /> -<a href="#OUR_HERO">"OUR HERO."</a><br /> -<a href="#FROCKS_FOR_TO-MORROW">FROCKS FOR TO-MORROW.</a><br /> -<a href="#OUR_PROSPECTUS_PUZZLE_REPORT">OUR PROSPECTUS PUZZLE REPORT.</a><br /> -<a href="#IN_THE_TWILIGHT_SIDE_BY_SIDE">IN THE TWILIGHT SIDE BY SIDE.</a><br /> -<a href="#SISTER_WARWICK_A_STORY_OF_INFLUENCE">"SISTER WARWICK": A STORY OF INFLUENCE.</a><br /> -<a href="#GUS">GUS.</a><br /> -<a href="#ANSWERS_TO_CORRESPONDENTS">ANSWERS TO CORRESPONDENTS.</a><br /> -<a href="#OUR_PUZZLE_POEMS">OUR PUZZLE POEMS.</a><br /> -<a href="#OUR_SUPPLEMENT_STORY">OUR SUPPLEMENT STORY COMPETITION.</a><br /> - -<!-- End Autogenerated TOC. --> - -</p> - - - -<hr class="chap" /><div> -<h2><a name="OLD_ENGLISH_COTTAGE_HOMES" id="OLD_ENGLISH_COTTAGE_HOMES">OLD ENGLISH COTTAGE HOMES;</a><br /> -<span class="smalltext">OR,<br /></span> -VILLAGE ARCHITECTURE OF BYGONE TIMES.</h2> - - -<div class="figcenter w500"> -<img src="images/i_209.jpg" width="500" height="353" alt="" /> -<div class="caption">AT CLARE, SUFFOLK.</div> -</div> - -<p class='smalltext'><i>All rights reserved.</i>]</p> - - -<h3>PART III.</h3> - -<p><span class="smcap">We</span> have already pointed out the simplicity -of outline observable in old English cottages, -and the absence of exaggeration and that disagreeable -fussiness brought about by too -much striving after the picturesque. It must -not, however, from this be concluded that -ancient village buildings are always plain and -do not at times possess elegant ornamentation -and graceful details.</p> - -<p>The general outline, however, is always -simple and quiet, for, as will be seen by the -examples we give (two of the most elaborate -cottages in England), the roof lines are very -little broken up or varied.</p> - -<p>The first of these buildings is at Clare in -Suffolk, and the second is at Newport in -Essex, the latter being one of the richest -counties in England for cottage architecture, -many of its villages retaining quite a mediæval -aspect down to the present time.</p> - -<p>We will now say a few words upon the -methods of applying ornamental detail to -cottages adopted in mediæval times, and we -shall commence with those structures erected -in "Post-and-pan" construction. We trust -that our readers have not forgotten what -is meant by the ugly-sounding expression -"Post-and-pan," and regret that we are quite -unable to discover or invent some more -elegant name for this description of building. -Some years back a number of architects and<span class="pagenum"><a name="Page_210" id="Page_210">{210}</a></span> -archæologists were examined before a parliamentary -commission. The commission objected -to the words "Post-and-pan" being -used in their report, and suggested to the -witnesses that they should find some more -scientific expression for this kind of work! -It was found, however, impossible to invent -any one which conveyed the idea so concisely -and satisfactorily, so the old-fashioned name -"Post-and-pan" received parliamentary sanction! -This being the case, our girls need not -scruple to use it, and may it not, after all, be -as valuable for the formation of the lips as -the "prunes" and "prism" of Little Dorritt?</p> - -<p>There are several ways of applying ornamentation -to "Post-and-pan" buildings. The -first is to add mouldings, tracery or carving, -to the doorways, windows, cornices, corbels -and other constructive parts of the building.</p> - -<p>The second is to arrange the "posts" in -patterns by introducing curved beams amongst -them, or other woodwork, forming a kind of -tracery pattern.</p> - -<p>The third is to adorn the "pans" (panels) -either with stamped plaster-work called "pargeting," -or with coloured plaster-work, or -wood-carving.</p> - -<p>The first of these methods is seen in the -beautiful example which we have sketched at -Newport in Essex: here it will be noticed -that the bow window of the upper storey is -adorned with wood tracery, and its corbel -richly carved with figure subjects, all executed -in oak. The "spurs," as they are called, -which carry the projection of the upper storey, -are richly moulded and rest upon elegant little -colonnettes. The pans are filled in with -brickwork laid in herring-bone patterns. The -centre of the building is recessed back, but -in order to preserve the severe and simple -lines of the roof, the latter does not follow -the line of the recess, but is supported upon -an arched beam, from the centre of which -projects a lifting-crane, a treatment quite -peculiar to the home counties and the south -of England.</p> - -<p>Of course this building is far more elaborate -than most cottages, and the tradition of the -place accounts for this by the supposition -that it was formerly the dwelling of a farm -bailiff to the Abbot of Westminster.</p> - -<p>The beautiful little village of Newport has -several examples of interesting domestic work -and a very noble church.</p> - -<p>The building which we illustrate dates from -the 15th century, and is still in excellent repair -though not in any way restored.</p> - -<p>The very elaborate cottage represented -in our first sketch is an excellent example -of pargeting, the surface of the pans being -covered by a rich kind of shawl-pattern -executed in hard plaster, like the Newport -example. The constructive portions of the -building are elaborately treated. We are -unable to account for the amount of -elaboration bestowed on this cottage, but as -it is close to the church, which is a very handsome -building and liberally endowed with -chantries, it is very probable that this may -have been the dwelling of one of the chantry -priests.</p> - -<p>Clare was an important place in the Middle -Ages and possessed a castle, remains of which -are still to be seen. Richard Strongbow, the -Conqueror of Ireland, is said to have lived -in it.</p> - -<p>The Manor of Clare in later times belonged -to Edmund Mortimer, Earl of March. There -was also a priory here, built in 1248 by -Richard, Earl of Gloucester.</p> - -<p>A very curious poem exists in the form of -a dialogue, "betwixt a secular askyng and a -frere answering at the grave of Dame Johan -of Acris" (of Clare). It is a quaint example -of Old English and begins in rather a curious -manner.</p> - -<p>Q. "What man lyeth here, sey me, Sir -Frere?"</p> - -<p>A. "No man."</p> - -<p>Q. "What ellis?"</p> - -<p>A. "It is a woman."</p> - -<p>Then follows her pedigree all in rhyme, -from which it appears that she was a daughter -of King Edward I., and the remarkable circumstance -is stated, that she was borne of her -"moder"!</p> - -<p>As the poem is about three pages long and -all pretty much like the sample we have given, -we will not inflict it upon our readers.</p> - -<p class='right'> -<span class="smcap">H. W. Brewer.</span> -</p> - -<div class="figcenter w400"> -<img src="images/i_210.jpg" width="400" height="416" alt="" /> -<div class="caption">AT NEWPORT, ESSEX.</div> -</div> - -<hr class="chap" /></div><div> - -<p><span class="pagenum"><a name="Page_211" id="Page_211">{211}</a></span></p> - - - - -<h2><a name="ABOUT_PEGGY_SAVILLE" id="ABOUT_PEGGY_SAVILLE">ABOUT PEGGY SAVILLE.</a></h2> - -<p class='ph3'><span class="smcap">By</span> JESSIE MANSERGH (Mrs. G. de Horne Vaizey), Author of "Sisters Three," etc.</p> - - -<h3>CHAPTER XIII.</h3> - -<div> -<img class="drop-cap" src="images/i_211.jpg" width="125" height="294" alt="" /> -</div> - -<p class="drop-cap"><span class="upper-case">Peggy</span> felt weak and -shaken for some -days after her -fright, and was -thankful to stay -quietly indoors and -busy herself with -her new task. The -gas fire could be -turned on in her -room whenever she -desired, and at -every spare moment -she ran upstairs, -locked her -door behind her, -and began to write. -Robert insisted -that the work -should be kept -secret, and that -not a word should -be said about the competition downstairs, -for he was sensitive about the remarks -of his companions, and anxious to keep -a possible failure to himself. All the -work had to be done upstairs therefore, -and the frequent absence of the partners -from the schoolroom, though much -regretted, did not seem at all inexplicable -to the others. It was understood -that Peggy and Robert had some -interest in common, but as winter advanced -this was no unusual occurrence -in a house where Christmas was a -carnival, and surprises of an elaborate -nature were planned by every member of -the household. It was taken for granted -that the work had some connection with -Christmas, and inquiries were discreetly -avoided.</p> - -<p>With an old calendar before her as a -model for the lettering, Peggy did her -work neatly and well, and the gilt -"arabesques" had an artistic flourish -which was quite professional. When -Robert was shown the first half-dozen -sheets he whistled with surprise, and exclaimed, -"Good old Mariquita!" a burst -of approval before which Peggy glowed -with delight. It had been agreed that, -after printing the first ten days of -January, Peggy should go on to the -first ten of February, and so on throughout -the year, so that Rob should be able -to use what quotations had already been -found under each heading, and should -not be detained until the whole thirty -or thirty-one had been chosen.</p> - -<p>The partners were most fastidious in -their selection at the beginning of their -work, but when half the time had passed -and not one-third of the necessary -number of quotations had been found, -alarm seized upon the camp, and it was -realised that a little more latitude must -be shown.</p> - -<p>"We shall have to use up all the old -ones which we struck off the list," said -Rob disconsolately. "I'm sorry; but I -never realised before that three hundred -and sixty-five was such an outrageously -large number. And we shall have to -get books of extracts and read them -through from beginning to end. Nearly -two hundred more to find; a hundred -and fifty, say, when we have used up -those old ones! It will take us all our -time!"</p> - -<p>"I'll get up at six every morning and -read by my fire," said Peggy firmly. -"If it's necessary I'll get up at five, and -if I can't find bits to suit all the stupid -old things, I'll—I'll write some myself! -There! Why shouldn't I? I often -make up things in my head, and you -wouldn't believe how fine they are. I -think of them days afterwards, and -ask myself,'Now where did I read -that?' and then it comes back to me. -'Dear me; I made it up myself!' If -we get very short, Rob, there wouldn't -be any harm in writing a few sentences -and signing them 'Saville,' would -there?"</p> - -<p>"Not if they were good enough," said -Rob, trying to suppress the laugh which -would have hurt Peggy's feelings, and -looking with twinkling eyes at the little -figure by his side, so comically unprofessional, -with her lace collar, dainty -little feet, and pigtail of dark brown hair. -"You mustn't get up too early in the -morning and overtire yourself. I can't -allow that!" he added firmly. "You -have looked like a little white ghost the -last few days, and your face is about -the size of my hand. You must get -some colour into your cheeks before the -holidays, or that beloved Arthur will -think we have been ill-treating you when -he comes down."</p> - -<p>Peggy gave a sharp little sigh and -relapsed into silence. It was the rarest -thing in the world to hear her allude to -any of her own people. When a letter -arrived, and Mrs. Asplin asked questions -concerning father, mother, or brother, -she answered readily enough, but she -never offered information, or voluntarily -carried on the conversation. Friends -less sympathetic might have imagined -that she was so happy in her new home -that she had no care beyond it, but no -one in the Vicarage made that mistake. -When the square Indian letter was -handed to her across the breakfast table, -the flush of delight on the pale cheeks -brought a reflected smile to every face, -and more than one pair of eyes watched -her tenderly as she sat hugging the -precious letter, waiting until the moment -should come when she could rush -upstairs and devour its contents in her -own room. Once it had happened that -mail day had arrived and brought no -letter, and that had been a melancholy -occasion. Mrs. Asplin had looked at -one envelope after another, had read -the addresses twice, thrice, even four -times over before she summoned courage -to tell of its absence.</p> - -<p>"There is no letter for you to-day, -Peggy!" Her voice was full of commiseration -as she spoke, but Peggy sat -in silence, her face stiffened, her head -thrown back with an assumption of calm -indifference. "There must have been -some delay in the mail. You will have -two letters next week, dearie, instead -of one."</p> - -<p>"Probably," said Peggy. Mellicent -was staring at her with big, round eyes; -the Vicar peered over the rim of his -spectacles; Esther passed the marmalade -with eager solicitude; her friends -were all full of sympathy, but there -was a "Touch-me-if-you-dare!" atmosphere -about Peggy that day which -silenced the words on their lip. It was -evident that she preferred to be left -alone, and though her eyes were red -when she came down to lunch, she held -her chin so high, and joined in the -conversation with such an elegant flow -of language, that no one dare comment -on the fact. Two days later the letter -arrived and all was sunshine again; but -in spite of her cheery spirits, her friends -realised that Peggy's heart was not in -the vicarage, and that there were moments -when the loneliness of her position -pressed on her, and when she longed -intensely for someone of her very own, -whose place could not be taken by even -the kindest of friends.</p> - -<p>Like most undemonstrative people, -Peggy dearly loved to be appreciated, -and to receive marks of favour from -those around. Half the zest with which -she entered into her new labour was -owing to the fact that Robert had -chosen her from all the rest to be his -partner. She was aglow with satisfaction -in this fact, and with pleasure in -the work itself, and the only cloud which -darkened her horizon at the present -moment was caused by those incidental -references to the fair Rosalind, which -fell so often from her companion's lips.</p> - -<p>"Everything," said Peggy impatiently -to herself, "everything ends in Rosalind! -Whatever we are talking about, -that stupid girl's name is bound to be -introduced! I asked Mellicent if she -would have a scone at tea this afternoon, -and she said something about Rosalind -in reply—Rosalind liked scones, or she -didn't like scones, or some ridiculous -nonsense of the sort! Who wants to -know what Rosalind likes? I don't! -I'm sick of the name! And Mrs. Asplin -is as silly as the rest! The girls must -have new dresses because Rosalind is -coming, and they will be asked to tea at -the Larches! If their green dresses are -good enough for us, why won't they do -for Rosalind, I should like to know? -Rob is the only sensible one. I asked -him if she were really such a marvellous -creature, and he said she was an affected -goose! He ought to know better than -anyone else! Curls indeed! One would -think it was something extraordinary to -have curls! My hair would curl too, if -I chose to make it, but I don't; I prefer -to have it straight! If she is the -'Honourable Rosalind,' I am Mariquita -Saville, and I'm not going to be -patronised by anybody, so there!" and<span class="pagenum"><a name="Page_212" id="Page_212">{212}</a></span> -Peggy tossed her head, and glared at -the reflection in the glass in a lofty and -scornful manner, as though it were the -offending party who had had the -audacity to assume superiority.</p> - -<p>Robert was one with Peggy in hoping -that his people would not leave town -until such time as the calendar should -be despatched on its travels, for when -they were installed at the Larches he -was expected to be at home each week -from Saturday until Monday, and the -loss of that long holiday afternoon -would interfere seriously with the work -on hand. He had seen so little of his -people for the last few years, that he -would be expected to be sociable during -the short time that he was with them, -and could hardly shut himself up in his -room for hours at a time. Despair then -settled down upon both partners when a -letter arrived to say that the Darcy -family were coming down even earlier -than had been expected, and summoning -Robert to join them at the earliest -possible moment.</p> - -<p>"This is awful!" cried the lad, -ruffling his hair with a big, restless -hand. "I know what it means—not -only Saturdays off, but two or three -nights during the week into the bargain! -Between you and me, Mariquita, the -governor is coming down here to economise -and intends to stay much longer -than usual. Hector has been getting -into debt again; he's the eldest, you -know—the one in the Life Guards. It's -a lot too bad, for he has had it all his -own way so far, and when he runs up bills -like this, everyone has to suffer for it. -Mother hates the country for more than -a few weeks at a time, and will be -wretched if she is kept here all through -the winter. I know how it will be, she -will keep asking people down, and -getting up all sorts of entertainments to -relieve the dulness. It's all very well in -its way, but just now when I need every -minute——"</p> - -<p>"Shall you give up trying for the -prize?" asked Peggy faintly, and Rob -threw back his head with emphatic -disclaimer.</p> - -<p>"I never give up a thing when I have -made up my mind to do it! There are -ten days still, and a great deal can be -done in ten days. I'll take a couple of -books upstairs with me every night and -see if I can find something fresh. There -is one good thing about it, I shall have -a fresh stock of books to choose from -at the Larches. It is the last step that -costs in this case. It was easy enough -to fix off the first hundred, but the last -is a teaser!"</p> - -<p>On Saturday morning a dog-cart came -over to convey Robert to the Larches, -and the atmosphere of the vicarage -seemed charged with expectation and -excitement. The Darcys had arrived; -to-morrow they would appear at church; -on Monday they would probably drive -over with Rob and pay a call. These -were all important facts in a quiet -country life, and seemed to afford -unlimited satisfaction to every member -of the household. Peggy grew so tired -of the name of Darcy that she retired -to her room at eight o'clock, and was -busy at work over the September batch -of cards, when a knock came to the -door, and she had to cover them over -with the blotting paper to admit Mellicent -in her dressing-gown, with her hair -arranged for the night in an extraordinary -number of little plaited pig-tails.</p> - -<p>"Will you fasten the ends for me, -Peggy, please?" she requested. "When -I do it, the threads fall off, and the ends -come loose. I want it to be specially -nice for to-morrow!"</p> - -<p>"But it will look simply awful, Mellicent, -if you leave it like this. It will be -frizzed out almost on a level with your -head. Let me do it up in just two tight -plaits, it will be far, far nicer," urged -Peggy, lifting one little tail after another, -and counting their number in dismay. -But no, Mellicent would not be persuaded. -The extra plaits were a tribute -to Rosalind, a mark of attention to her -on her arrival with which she would -suffer no interference, and as a consequence -of her stubbornness, she marched -to church next morning disfigured by -a mop of untidy, tangled hair instead of -the usual glossy locks.</p> - -<p>Peggy preserved a demeanour of -stately calm, as she waited for the -arrival of the Darcy family, but even -she felt a tremor of excitement when the -verger hobbled up to the square pew -and stood holding the door open in his -hand. The heads of the villagers turned -with one consent to the doorway; only -one person in the church disdained to -move her position, but she heard the -clatter of horses' hoofs from without, and -presently the little procession passed -the vicarage pew, and she could indulge -her curiosity without sacrifice to pride. -First of all came Lord Darcy, a thin, oldish -man, with a face that looked tired and -kind, and faintly amused by the amount -of attention which his entrance had -attracted. Then his wife, a tall, fair -woman, with a beautiful profile, and an -air of languid discontent who floated -past with rustling silken skirts, leaving -an impression of elegance and luxury, -which made Mrs. Asplin sigh and -Mellicent draw in her breath with a -gasp of rapture. Then followed Robert -with his shaggy head, scowling more -fiercely than ever in his disgust at -finding himself an object of attention, -and last of all a girlish figure in a grey -dress, with a collar of soft, fluffy chinchilla, -and a velvet hat with drooping -brim, beneath which could be seen a -glimpse of a face pink and white as -the blossoms of spring, and a mass of -shining, golden hair. Peggy shut her -lips with a snap, and the iron entered -into her soul. It was no use pretending -any longer! This was Rosalind, and she -was fairer, sweeter, a hundred times -more beautiful than she had ever -imagined!</p> - -<p class='center'>(<i>To be continued.</i>)</p> - - -<hr class="chap" /></div><div> - -<h2><a name="GIRLS_AS_I_HAVE_KNOWN_THEM" id="GIRLS_AS_I_HAVE_KNOWN_THEM">GIRLS AS I HAVE KNOWN THEM.</a></h2> - -<p class='ph3'><span class="smcap">By</span> ELSA D'ESTERRE-KEELING, Author of "Old Maids and Young."</p> - - -<h3>PART III.</h3> - -<p class='ph3'>THE VULGAR GIRL.</p> - -<p><span class="smcap">As</span> translated by Cowley, -Horace is made to say—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">"Hence, ye profane, I hate ye all,<br /></span> -<span class="i0">Both the great vulgar and the small!"<br /></span> -</div></div> - -<div class="figcenter w125"> -<img src="images/i_212a.jpg" width="125" height="293" alt="" /> -<div class="caption">The -small -vulgar</div> -</div> - -<p>There will be no attempt -made in this paper to deal with -the great vulgar, but some -attempt will be made in it to -deal with the small, being the -category to which, it may be -assumed, belongs the average -vulgar girl.</p> - -<p>It is of course impossible within the limits -of a short essay to indicate more than a few of -the leading characteristics of this girl. She it -is who not only wants to monopolise the -conversation, but who wants to confine it to -one subject. She should remember the quaint -counsel, "The honourablest part of talk is to -give the occasion, and again to moderate, and -pass to something else." Moreover in -conversation she too often follows the rule laid -down by a French author for those about to -write love-letters:</p> - -<p>"Begin without knowing what you are -going to say, and end without knowing what -you have said."</p> - -<p>If at the end of a conversation she sometimes -knew what she had said, the vulgar girl, -who is not necessarily a callous girl, would feel -very unhappy.</p> - -<p>Her tendency to talk indiscreetly has -doubtless its origin in the precipitancy which -causes her to break in upon the speech of -others. There is a lesson which she might -learn from a certain polite echo. This echo -may be heard opposite to Mugdock Castle in -Scotland. It will repeat any sentence of six -syllables in the exact tone in which it is uttered—waiting -till the sentence is finished.</p> - -<p>Another result of the lack of deliberation -which characterises the vulgar girl is seen in -the fact that the latest book, the latest play, -the latest picture, is to her Thingimy by -Thingimbob. That nomenclature is somewhat -vague, and is moreover out of date, but it still -commends itself to the vulgar -girl, as does the soubriquet <i>The -Bard</i> for Shakespeare.</p> - -<p>Her singular phraseology, -which she conceives to set her -at an advantage, in reality sometimes -sets the vulgar girl at a -disadvantage. Of Tennyson -she said the other day—</p> - -<p>"I don't pretend to understand -him any more than -Browning, but then he tootles -on prettily, and that's what I -like in poetry."</p> - -<div class="figcenter w125"> -<img src="images/i_212b.jpg" width="125" height="259" alt="" /> -</div> - -<p><span class="pagenum"><a name="Page_213" id="Page_213">{213}</a></span></p> - -<p>A main difference between Browning and -Tennyson was here correctly set forth, but the -phrasing was in questionable taste. "Tootles" -is a good word, but to say that Tennyson -"tootles on prettily," is to understate his -merits. It shall here be pointed out in passing -that "I don't pretend" is a favourite form of -asseveration with the vulgar girl, and is one -which she should try to vary, if only because -it inferentially asserts that other people do -pretend.</p> - -<p>The vulgar girl is "by way of being" (her -own phrase) witty. One part of her wit is to -say "muchly" for much, and another part of -it is to say "free gratis" for free of charge.</p> - -<p>Flippancy as a substitute for wit so often -evokes mirth that the vulgar girl as would-be -wit not incomprehensibly -largely indulges in it. I -sat beside her once during -a performance of Beethoven's -Septett, one of the -loveliest things in music, -with here and there a -heart-delighting gaiety in -it. During the fifth movement -of it she whispered -to me—</p> - -<p>"Isn't it like 'The Bogie Man'?"</p> - -<div class="figcenter w125"> -<img src="images/i_213a.jpg" width="125" height="167" alt="" /> -</div> - -<p>The levity in what follows was even more -remarkable. The speaker was a young bride.</p> - -<p>"I didn't feel a -bit nervous at my -wedding," she -said. "You see, -I have been used -to private theatricals."</p> - -<p>A girl like that -mistakes gaiety of -head for gaiety of -heart.</p> - -<div class="figcenter w200"> -<img src="images/i_213b.jpg" width="200" height="204" alt="" /> -<div class="caption">Her -first -appearance in a -new -role</div> -</div> - -<p>As a sample of -vulgar girl-wit at -its crudest, I give the following, in which a -girl spoke of a lady—</p> - -<p>"She couldn't turn white, -but she went the colour of an -unripe tomato."</p> - -<div class="figcenter w125"> -<img src="images/i_213c.jpg" width="125" height="114" alt="" /> -<div class="caption">Upset -by -Tomato -sauce</div> -</div> - -<p>The vulgar girl who is "by -way of being" witty is not "by -way of being" sentimental, and -is rather addicted to signing her -letters "Your's," which word she believes to be -rightly written as above, with an apostrophe. -This girl, for the rest, is generally good-natured, -and her vein of censure is more often -odd than terrible. Thus she said the other -day of a dentist—</p> - -<p>"He is a horrible little snob, but that -doesn't matter when -he gets into your -mouth."</p> - -<div class="figcenter w175"> -<img src="images/i_213d.jpg" width="175" height="128" alt="" /> -<div class="caption">An -old -Fairy Tale</div> -</div> - -<p>As often as not -the vulgar girl has -both sense and sensibility. -Of the latter -fact she is profoundly -ashamed, and has -been known to say of a book that has deeply -agitated her—</p> - -<p>"I got to feel quite eye-in-water over it."</p> - -<p>She affects to care, only for the gaieties of -life, but knows something of its gravities, and -has often a bit of heroine in her. The worst -thing about her is her speech. "Jolly" is -her favourite adverb. She is jolly glad when -she is not jolly mad, and she will soon describe -herself as jolly sad. She uses the verb -"mashed" hideously; where her prototype -of twenty years ago said "swell" she says -"swagger;" and she does not stick at saying -"beastly." For the rest, she has always -some pet word of the hour. Thus "dotty" -is an adjective now much in favour with her. -Thereby hangs a tale. The vulgar girl sometimes -knows Italian, and it was she who -translated a line from a famous lady's epitaph—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">"<i>Vergine magnanime, dotta, divina.</i>"<br /></span> -</div><div class="stanza"> -<span class="i0">"A virgin magnanimous, dotty, divine."<br /></span> -</div></div> - -<p>On the other hand there are vulgar girls -who do not know Latin, and one of them has -been known to say "effluvia" for "smell," -the Latin for "smell" being "effluvium."</p> - -<p>The pronunciation of her own language is -by some thought to offer insuperable difficulties -to the English vulgar girl, who pronounces the -"t" in "often" but does not pronounce it in -"Westminster," whose favourite colour, she -has been heard to aver, is "terrar cottar," -who plays an instrument which she calls "the -varlin," who says "to<i>wards</i>" and "inter<i>est</i>ing," -who pronounces "ate" "et," and -whose vocabulary has been known to include -the words "pantomine," "Feb'uary" and -"sec'etary." So far is this list from exhausting -the faults of pronunciation of the said -vulgar girl, that it must be added that she -gives to no one vowel its proper sound, while -among the consonants "h" initial and "g" -final stumble her. She is particularly careless -regarding the latter consonant when the -form which her vulgarity takes is that of -would-be "smartness."</p> - -<p>Very abominable to this -girl is grammar, which is -all but invariably set at -defiance by her. Thus, -even when she does not -say "it were," as did Mrs. -Cluppins, she favours such -phrasing as "those sort of," -"very pleased," "different -to" and "between you -and I."</p> - -<div class="figcenter w125"> -<img src="images/i_213e.jpg" width="125" height="207" alt="" /> -<div class="caption">A -model</div> -</div> - -<p>Her predilection for abbreviations -is another -marked feature of the vulgar -girl. To "'bus" she has lately added "biz," -and "spec" has found her approval.</p> - -<p>The pity of it!</p> - -<p>Just as she has always a favourite word, she -has mostly a favourite phrase. In one instance -known to me it is "You know what I mean," -and everyone knows what she means, as well -everyone may.</p> - -<p>Take this assertion—</p> - -<p>"It's one of those schools where they sleep -in carbuncles—you know what I mean."</p> - -<p>Of course everyone knows what she means.</p> - -<div class="figcenter w250"> -<img src="images/i_213f.jpg" width="250" height="267" alt="" /> -<div class="caption">not -omnivorous</div> -</div> - -<p>Or take this—</p> - -<p>"I can't be in six or seven places at one; -I'm not omnivorous—you know what I mean."</p> - -<div class="figcenter w125"> -<img src="images/i_213g.jpg" width="125" height="138" alt="" /> -<div class="caption">An -extreme -view</div> -</div> - -<p>Of course everyone knows what she means.</p> - -<p>They call her Mrs. Malaprop; but, in point -of fact, her case is a notable improvement -upon that of Sheridan's heroine, the ignorance -of that lady having been of a shade by just so -much deeper that it left her unwitting of the -fact that she was wrong. The girl here in -view has a shrewd suspicion that she is wrong, -but pays her hearers the compliment of -assuming that they will understand her. In -only one instance, so far as has come to my -knowledge, has she ever overtaxed her listener's -powers of comprehension. She spoke of a -living novelist.</p> - -<p>"I can't bear his books," she said. -"They're so very <i>femme de chambre</i>—you -know what I mean."</p> - -<p>Not only did the person addressed not -know what she meant, but he will not now -be induced to believe that she meant "<i>fin de -siècle</i>," and unconsciously used what, it seems -to some of us, was a very happy substitute -for this rather hackneyed phrase.</p> - -<p>I have in the foregoing dwelt more particularly -on what is to me the most striking fact -in connection with the vulgar girl, the base -uses to which she puts her native speech; that -my account of her may not, however, be -wholly inadequate, I have also conferred with -persons whose views on manners and deportment, -as frequently expressed by them, have -led me to believe that they may be better able -than I am to point out what, from the social -standpoint, constitutes a vulgar girl. Of the -many <i>data</i> supplied me, I give below a few.</p> - -<p>The vulgar girl is "arch."</p> - -<p>The vulgar girl is "coy."</p> - -<p>The vulgar girl loves "chaff."</p> - -<p>The vulgar girl has sidelong -looks.</p> - -<p>The vulgar girl calls milk -"cream" and bacon "ham."</p> - -<p>The vulgar girl shouts or -whispers.</p> - -<p>The vulgar girl thinks all -other girls vulgar.</p> - -<p>The vulgar girl has never -been told, or has been told in vain, to sit up -and put her knees together.</p> - -<p>The vulgar girl is the girl of whom the -vulgar boy says that she is "not half a bad -sort."</p> - -<p class='center'>(<i>To be continued.</i>)</p> - -<div class="figcenter w300"> -<img src="images/i_213h.jpg" width="300" height="258" alt="" /> -</div> - -<hr class="chap" /></div><div> - -<p><span class="pagenum"><a name="Page_214" id="Page_214">{214}</a></span></p> - - - - -<h2><a name="OUR_HERO" id="OUR_HERO">"OUR HERO."</a></h2> - -<p class='ph3'>A TALE OF THE FRANCO-ENGLISH WAR NINETY YEARS AGO.</p> - -<p class='ph3'><span class="smcap">By</span> AGNES GIBERNE, Author of "Sun, Moon and Stars," "The Girl at the Dower House," etc.</p> - - -<h3>CHAPTER XIV.</h3> - -<p class='ph3'>IN A FORTIFIED -TOWN.</p> - -<div> -<img class="drop-cap" src="images/i_214.jpg" width="125" height="229" alt="" /> -</div> - -<p class="drop-cap"><span class="upper-case">It</span> was growing -dark when at -length they -drove through -the gates into -Verdun.</p> - -<p>No one then -said a needless -word, not -even Roy. The -sense of banishment -and of captivity pressed -upon them all with a new -force, at the sight of this -fortified town, with its -massive encircling walls, -its iron gates, its pervading -gendarmerie. If any lack of -realisation of their true position had -helped them hitherto, it had small -chance of surviving this hour.</p> - -<p>At the gate they had to pause, a -gendarme coming to the coach door. -He said something to Denham, which -made Colonel Baron ask sharply—</p> - -<p>"Eh, what's that?"</p> - -<p>"We are to go first to the citadel. -Not necessary for Mrs. Baron and Roy. -You and I might walk it, sir, and send -them on."</p> - -<p>"No, no," Mrs. Baron interposed; -"I cannot go on alone. We will keep -together."</p> - -<p>"A pity," murmured Ivor; and Colonel -Baron looked doubtfully from him to his -wife.</p> - -<p>"I am not going to do it," she -repeated, with her manner of graceful -determination; and then, earnestly, -"Do not ask it of me—pray do not!" -No more could be said, and the man was -ordered to drive on.</p> - -<p>Verdun at that date lay in the then -French province of Lorraine, the then -French department of the Meuse, upon -which river it was built. Distant from -Paris somewhere about one hundred and -fifty miles, it was also within about fifty -miles, in different directions, of two -towns which have since become vividly -historic, Sédan and Metz. The river -thereabouts follows a tortuous course, -and the lower part of Verdun stood -mainly on little islands in the Meuse, -while the upper part led to the French -citadel, which crowned a rocky summit.</p> - -<p>The valley, containing the town, ran -north-west and south-east, being surrounded -by hills.</p> - -<p>On reaching the citadel Mrs. Baron -and Roy were desired by the Colonel to -remain in the coach, while he and -Denham disappeared within, there to be -carefully examined and closely questioned, -and having again to give their -parole. After which they came out, the -Colonel saying shortly—</p> - -<p>"That business is done! Tell them -where to go, Den. They seem determined -to know us again."</p> - -<p>"Were they civil?" his wife asked.</p> - -<p>"No end of a fuss, my dear. As if -the word of an English gentleman were -not sufficient. Close description of us -both written in the register."</p> - -<p>Once more they drove on, Roy gazing -from side to side, noting the small -insignificant shops, and exclaiming at -occasional peeps of the river with an -interest which never quite failed him. -The others were for the most part silent. -Mrs. Baron's eyes were dim, the Colonel -was pre-occupied, and Ivor, usually the -most observant of men, seemed to see -nothing.</p> - -<p>Presently they stopped before the gateway -of a large old house or small private -"hôtel," with an untidy little courtyard. -An old Frenchman, in quaint dress, -grey-haired, with an imposing pig-tail, -came to meet them, bowing profoundly -to the gentlemen, and still more profoundly -to Mrs. Baron.</p> - -<p>"C'est, sans doute, Monsieur le -Colonel—et Madame——"</p> - -<p>Colonel Baron's particular gift did not -lie in the direction of foreign languages. -He never could talk French, and probably -he never would, no matter how -many years he might be compelled to -live in France.</p> - -<p>"Oui, monsieur. Bon jour. C'est -nous qui sont viendrai," he responded, -feeling it incumbent on him to say something, -as he descended from the old -coach. "J'espère que vous êtes bien. -Je suis bien aise que nous sommes haut—pas -bas—pas près de le rivière. Bother -their grammar, Denham; you can do -it better than I. Just say what's -suitable."</p> - -<p>Denham obeyed, and the next object -which dawned upon Roy's perceptions -was the sad and gentle face of Lucille -de St. Roques. He seized her hand -vehemently.</p> - -<p>"I say, mademoiselle, it's nice to -find you here. Isn't it, Den? Mamma, -this is Mademoiselle de St. Roques. -Papa, you know she helped to nurse -me after I'd had small-pox. Are we -going to live upstairs, mademoiselle? -Is that what it's to be? The whole -upstairs, all to ourselves? What fun! -Which way is it? Oh, I see! This -way, mamma. Those poor horses do -look tired, just half-starved, and so -skinny. Is there a stable for them? -Are we to have tea? Dinner! that's -right. We didn't get half a dinner to-day, -and I'm famished. What a droll -old staircase? Do look out of this -window, mamma."</p> - -<p>Roy's flow of spirits helped them all. -The Colonel and his wife gratefully -expressed their thanks to the French -girl for her past kindness to their boy, -both being much attracted by her -face and her pretty manner as she led -the way upstairs to the first floor. There -stood Madame Courant, a fat and -smiling little Frenchwoman, ready to -bestow unlimited welcomes upon the -unfortunate foreigners.</p> - -<p>Lucille had exchanged bows with -Ivor at first, and then had a few words -with him, scanning his face as she -talked, with rather troubled glances. -There was, however, small leisure at -first for any quiet conversation. The -rooms had to be inspected, and they -were found to be not at all bad as to -size, though meagrely furnished. Lucille -had set her heart on making everything -wear as far as possible an English look, -using her childish recollections of a home -across the Channel; and if she was less -successful than she had hoped, nobody -betrayed the fact. It was clear to them -all how hard she had worked to render -the place comfortable.</p> - -<p>"But it has been no trouble—non, -vraiment—not at all," she assured them, -with her pensive smile, when they -apologised.</p> - -<p>While sincerely anxious to help, full -of sympathy for their position, and most -desirous to cheer them up, she plainly -feared to be guilty of intrusion, and very -soon she took herself off with Madame -Courant to the ground floor. A somewhat -clumsy but well-intentioned maiden -had been deputed to wait upon the -upstairs party—probably had been hired -for the purpose, since Madame Courant -did most of her own house-work—and -dinner was laid in the smaller salon in -readiness for their arrival.</p> - -<p>On the whole that first meal might be -reckoned a success. Madame Courant -was no mean cook; and though not -much could be said as to the actual -waiting, from an English point of view, -that was a minor matter, compared with -the comfort of finding clean and cosy -quarters, not to speak of a kind reception. -Roy did his best to supply all -deficiencies in the conversational line, -and his efforts were seconded, though -not vigorously, by Denham.</p> - -<p>When, however, dinner was at an end, -and they had moved into the larger -salon, which was to be their drawing-room—when -a long evening lay before -them, and there was nothing that had -to be done, beyond a certain amount of -unpacking and arranging, which no one -felt disposed to begin upon at once—then -a change came. Then the shadow -of their captivity descended heavily -upon them all, even upon the valiant -Roy; and for once the spirit of cheerfulness -and of keeping up seemed to -vanish.</p> - -<p>For a quarter of an hour they all -remained together, no one speaking. -No one was able to speak. They had -nothing whatever to say. And presently, -when this had gone on a little -while, Mrs. Baron made a move, retreating -into her own bedroom, avowedly -to "see to a few things," but in reality,<span class="pagenum"><a name="Page_215" id="Page_215">{215}</a></span> -as they all knew, to indulge in a breakdown—her -husband, after a brief hesitation, -going thither also. Denham had -flagged completely, retreating to a shady -corner near the big fireplace, where he -could scarcely be seen; and for Ivor to -flag meant the flagging of everybody. -As for Roy—but that he would have -been ashamed, counting himself already -almost a man, he could at this stage have -flung himself on the ground and cried -like a little child for very home-sickness.</p> - -<p>He wanted Molly—oh, most awfully! -He wanted her this evening more than -he had ever wanted anything or anybody -in his whole life. The craving that -took possession of him for Molly's face, -Molly's voice, Molly's companionship—the -passionate desire to have dear little -Molly once more by his side—was a pain -never to be forgotten.</p> - -<p>Roy did not know how to bear himself -under it. He had nothing to do, nothing -with which to pass the time. He stood -at the window, looking out upon the -darkness, trying desperately to be cool -and stoical, as one five minutes crawled -by after another. Denham never moved, -never spoke a word. Roy could just make -out his dark outline, as motionless as a -carved image, a few yards distant. If -only Denham would have talked, if -something would have happened, if -somebody would have come in, it would -have been easier to keep going. But -nobody came, nothing happened, and -Denham did not stir.</p> - -<p>Roy drummed with his fingers on the -window-sill. He could hear shrill voices -out in the street, not far off, and the -sound of some tuneless instrument. One -of the two candles was gone with Mrs. -Baron, leaving the room dim. He tried -to listen, tried not to think. And just -when he counted himself victorious, there -was a queer little catch of his breath -which sounded suspicious. Roy drummed -again angrily, hoping that Denham had -not heard. He might be asleep, he was so -still. But, after a slight break, he said—</p> - -<p>"Come here."</p> - -<p>Roy unwillingly obeyed. He would -have liked to refuse, but he looked upon -Ivor as in some sort his commanding -officer, so of course he had no choice.</p> - -<p>"They're making no end of a row out -there," he remarked in a tone of profound -indifference, as he lounged nearer. -"Can't think what it's all for. Just -listen."</p> - -<p>"Yes; I wish they would stop."</p> - -<p>"Don't know what's it's all about. -Something or other—going on. I -shouldn't wonder—if they're quarrelling."</p> - -<p>That odd little catch again.</p> - -<p>"Feel very bad this evening, Roy?"</p> - -<p>The question took Roy by surprise, -and a lump in his throat prevented an -immediate reply.</p> - -<p>Denham understood.</p> - -<p>"Never mind," he said. "It's the -same with all of us, you know. And -there's one comfort for you—that Molly -wants you at least as much as you want -her. Some people would give a good -deal for that certainty."</p> - -<p>Roy tried to explain matters away.</p> - -<p>"I didn't say——"</p> - -<p>"My dear boy, there's no need for you -to say anything; I know well enough. -Don't you see?"</p> - -<p>Denham's chair shook as Roy leant -against it, but no further sound came. -He fought his battle courageously, and -Denham waited.</p> - -<p>"We shall all feel better to-morrow," -the latter presently remarked. "It's a -strange place, and things look uncomfortable -to-night—can't well do otherwise. -Suppose you and I have a game -of chess. Better than to sit brooding -over what can't be cured. My little -travelling set is somewhere about, I -believe."</p> - -<p>"O yes." Roy's voice told of -instant relief. "You gave it to me to -take care of. Don't you mind a game, -really? I should like that. Will you -give me your queen?"</p> - -<p>"No; not to-day. I'm not at my -best. We'll try on even terms. Get out -the pieces."</p> - -<p>Roy obeyed with alacrity, and whatever -the move meant to Denham, it -served to lift Roy out of his unwonted fit -of misery. He was soon deeply absorbed -in the mimic fight, and for once he found -himself on the way to win an easy -victory. Roy became exultant—till the -honour and glory of success were impaired -by the casual discovery that Ivor -could not tell a knight from a bishop -except by feeling. Roy stared wonderingly -into the spare bronzed face.</p> - -<p>"Why, Den!"</p> - -<p>"All right; this is my bishop."</p> - -<p>"I say, you didn't take that for a -knight?"</p> - -<p>"I believe I was under the delusion -for a moment."</p> - -<p>"But why? There, now it's your -turn. Oh, I say!—you're going to move -my king."</p> - -<p>Denham laughed slightly.</p> - -<p>"I am rather a futile opponent, seemingly. -Never mind. Now it is your -turn."</p> - -<p>"What's the matter? Can't you -see?"</p> - -<p>"Not well; just a headache. Go on; -you'll soon end the game at this rate."</p> - -<p>Roy showed himself capable of heroism. -Though he had never yet beaten -Denham in full fight, without having -some of his adversary's best pieces -presented to him, though the desire -of his heart was for a victory, and -though he was on the high road to -administering checkmate, one more -glance decided him. He swept his arm -over the board.</p> - -<p>Denham half smiled, and made no -protest.</p> - -<p>"You are a kind fellow," he said, as -he went back to his former retreat; and -Roy dropped on the floor to pick up the -scattered pieces.</p> - -<p>"Why didn't you tell me? You'd no -business to play. Can't I do anything -for you?"</p> - -<p>"Yes, if you don't mind"—after a -moment's racking of his brain to think -of anything that might keep the boy -occupied. "I wish you would unpack -my valise—just the things that I shall -want to-night."</p> - -<p>Roy was delighted and went off at full -speed. In the passage he found himself -face to face with Lucille, and all but -rushed into her arms. Lucille drew -back.</p> - -<p>"I say! Oh, I beg your pardon, -mademoiselle. I'm going to unpack for -Den. He's just floored; can't even play -chess. It's all this horrid beastly bother, -having to come to Verdun, you know. -He never used to be like that. Den was -always up to anything. What have you -got there?" as she held up one hand. -"A letter!"</p> - -<p>"It is medicine for Monsieur le Capitaine—from -England," Lucille said, -with a look of heartfelt pleasure.</p> - -<p>"It really is from England! Won't -he be glad? Where did you get it -from? You shall give it to him yourself. -Yes; I declare you shall."</p> - -<p>Roy flung open the salon door, and -announced, "Here's Mademoiselle de -St. Roques. Den, she's got something -for you! Guess what it is. Come in, -Mademoiselle."</p> - -<p>Ivor stood up, not grateful to Roy at -this moment.</p> - -<p>"Pray take a seat," he urged.</p> - -<p>"It's a letter—a letter—a letter from -England," cried the boy.</p> - -<p>"You have brought this from the -post?" asked Denham, as he received -from her hand a folded and sealed -packet.</p> - -<p>"Non, it is not that. The letter -arrives from M. de Bertrand. It was -send to him from England under cover, -and he waited till he should learn your -address and have opportunity to send it -with safety. When I wrote to him that -you all were ordered to Verdun, then he -sent the letter to me by one travelling -this way. It is but now arrived. I -am glad!" Lucille added, under her -breath.</p> - -<p>Denham bent nearer to the candle, -trying with drawn brows to make out -the handwriting. As he did so, a -curious light crept over his face. Lucille -thought she could read its meaning.</p> - -<p>"You are very good, mademoiselle. -I am much indebted to you and to M. de -Bertrand," he said.</p> - -<p>"Den, I do believe it's Polly's -writing!" exclaimed Roy.</p> - -<p>Denham glanced towards him.</p> - -<p>"Yes; it is from Polly."</p> - -<p class='center'>(<i>To be continued.</i>)</p> - -<div class="figcenter w275"> -<img src="images/i_215.jpg" width="275" height="103" alt="" /> -</div> - -<hr class="chap" /></div><div> - -<p><span class="pagenum"><a name="Page_216" id="Page_216">{216}</a></span></p> - - - - -<h2><a name="FROCKS_FOR_TO-MORROW" id="FROCKS_FOR_TO-MORROW">FROCKS FOR TO-MORROW.</a></h2> - -<p class='ph3'><span class="smcap">By</span> "THE LADY DRESSMAKER."</p> - - -<div class="figcenter w500"> -<img src="images/i_216.jpg" width="500" height="531" alt="" /> -<div class="caption">EVENING DRESSES FOR CHRISTMAS FESTIVITIES.</div> -</div> - -<p><span class="smcap">The</span> winter is always distinguished by a -rather dowdy style of dress, especially in -town, where, for at least three months of the -year, the days are so dark and the light so -poor at best that everyone says, "It really -cannot matter what one puts on in such -sombre weather as this." Such is the sentiment -expressed by the general public, but, of -course, does not apply to those who, having -carriages at their disposal, can blossom out -like the lilies of King Solomon, and be -carried over the mud and through the gloom -without let or hindrance. It is only on sunny -days during the winter and at Church Parade -in Hyde Park that one sees the brighter side -of winter dress. Otherwise it only blooms in -the shops, at the dressmakers', and at the -endless afternoon teas which constitute the -main amusement during the winter. One -must have at least one nice walking-dress for -the winter, in spite of the gloom, for these -last-named festive occasions, and one generally -needs a cape or mantle as well to wear -in turn with our costume or with it as we -may require. Besides this, most women have -a certain amount of "wearing out" to do of -clothes that must put in a second winter. -Those wise people who have established a -kind of rule for themselves in the purchase of -dress get a handsome cape or mantle one -year and a handsome gown the next, the -latter becoming less visible and important the -second year when worn under the new mantle. -Both of these should come from first-rate -shops, in order to get the full value out of -them. Then there are the people who wait -for the sales to supply themselves with winter -clothes, and say they manage to finish out the -last year's stock by this means in the still -darker and shorter days before Christmas. I -always consider the wearing out of one's -winter things a grievous bother which falls -most heavily on the shoulders of those who -are very careful wearers of their garments. I -know people who really are never able to -wear out their clothes, and become quite -dispirited at the constant sight of them. I -know one lady who is able to clothe several -others poorer than herself because she takes -such good care of what she wears, and things -are hardly worn in appearance when she has -them repaired and brushed up.</p> - -<p>The class which has the most difficulty in -clothing themselves so as to present a respectable -appearance is composed of these very<span class="pagenum"><a name="Page_217" id="Page_217">{217}</a></span> -poor ladies, who are governesses, lady-helps, -or companions, and no doubt my readers will -have noticed the moving appeals issued by -many of the societies and agencies which are -interested in procuring work for them. As -we are always anxious to find out good works -for our women and girls, we commend to -them this one, as one of the most blessed both -to giver and receiver.</p> - -<p>The return to fashion of dresses made from -the same material entirely instead of those -which have been so long in wear, which -consisted of a blouse, more or less handsome, -and a skirt, has brought in a necessity for -mantles and capes, and so these are really the -most fashionable of the out-of-door garments -for the winter months. There is no fear, -however, of the skirt and jacket disappearing -from amongst us, for they have been found -too useful to lose their place in our esteem; -and the winter jackets are, some of them, very -pretty and tight-fitting, with large buttons, -and generally of three-quarter length, though -there are many quite short ones, but which -seem more used for cycling or golf than for -real walking or driving.</p> - -<div class="figcenter w400"> -<img src="images/i_217a.jpg" width="400" height="562" alt="" /> -<div class="caption">TWO WINTER GOWNS.</div> -</div> - -<p>One of these costumes with a tight-fitting -coat is shown in our illustration of "a gown -with braid and fur," which is a very handsome -example of the walking-gowns of the winter. -The skirt is made with the fashionable tightness, -the much-worn shaped flounce, and the -braiding is carried down the front on either -side in a graceful arabesque design, which is -wider and fuller in detail at the top near the -waist. The points are braided in the same -manner, and the tops of the sleeves. The -fronts have revers of mink fur. The dress -itself is in dark blue cloth, and the braiding -is in black. The hat is of blue velvet, with -white and green wings, and blue and green -velvet trimmings. This admixture of blue -and green seems more popular than ever this -winter, and I have frequently seen a blue hat -with a bright green velvet choux bow placed -in a conspicuous position in front.</p> - -<p>The choux and the Louis XII. or true -lovers' knot are the two fashionable bows of -the season, for hats and bonnets as well as for -dress. The first-named seems ubiquitous in -evening dress, where black velvet also appears -to be most popular as a trimming.</p> - -<div class="figcenter w250"> -<img src="images/i_217b.jpg" width="250" height="458" alt="" /> -<div class="caption">GOWN WITH BRAID AND FUR.</div> -</div> - -<p>Both velvet and velveteen are much worn, -and are suited to the fashions of the day, and -the velveteen blouse retains its popularity, -but is more dressy and fanciful than it was. -In some cases velvet is used for the coat-shaped -bodices, with short square tails that -are much seen, and these have almost invariably -fancy vests or yokes. In most instances, -too, these are of finely tucked silk muslin, -which, in cream or white, is quite the most -popular material for them, in spite of its -perishable nature and apparent unseasonableness.</p> - -<p>So far as materials are concerned, everything -that is clinging and soft is sought after, and -even the rustling silks that lined our skirts -and gave us such a feeling of opulence have -been relinquished in favour of something more -clinging. Cashmere and nuns' veiling are used -for the lining of day dresses, and China silks -for evening ones. For slight people this -clinging effect is sometimes trying, but where -stout people are concerned the matter becomes -worse, and we shall hear of all kinds of cures -for obesity in order to wear the new skirts.</p> - -<p>Of course, as is usual at this season, many -evening dresses for small Christmas festivities -are simple, and our illustration shows three of -these, which are inexpensive and pretty. The -first seated figure to the right wears a pink -silk muslin, plain for wearing over the accordion-kilted -skirt, and having a small black -leaf-like pattern on it for the pointed overskirt; -a ruching of rose-coloured silk goes -round the latter part of the bodice and sleeves, -and the back is finished with a wide band and -bow with ends of rose colour. This can, of -course, be carried out in any hue, but in white -or cream-colour it is very pretty, and there are -such numbers of fancy gauzes and nets that a -pretty choice can be made which would be -more inexpensive than the model we present.</p> - -<p>The centre figure wears a dress of <i>mousseline-de-soie</i> -of a pale shade of Parma violet, -which is trimmed with narrow ribbons, drawn<span class="pagenum"><a name="Page_218" id="Page_218">{218}</a></span> -up to form small ruches. These are of a -slightly darker violet. The small Eton jacket -is of the same shade of violet velvet or satin, -with bands of velvet and paste buckles. The -standing-up figure wears a dress of jet-embroidered -net, with bands of <i>passementerie</i> on -the front of the bodice. The evening wrap is -of a soft yellow brocade, which is lined with -a pale violet, and trimmed with flounces of -lace and silk. The collar is edged with white -fur, and a bow of chiffon ornaments the neck -at the back. In giving these dresses I should -observe that, although they seem costly, they -can be copied in less expensive materials. -Nuns' veiling, China silk, velveteen, taffetas, -Russian net, and Brussels net are all in -fashion, and all are comparatively so moderate -in price as to be attainable by those who have -slender purses. This season we also have the -embroidered net skirts that were introduced -last year, with the improvement that this -season the bodice-piece is sold as well. So -we have not to make troublesome inquiries -and huntings for the material to decorate -them. There seems to be a tendency likewise -to return to the use of a three-quarter length -sleeve, which fits the arm smoothly as far as -the elbow and terminates in a frill. The long -net and chiffon sleeves are still worn, and I -notice that there are some very pretty high -net bodices without sleeves, or, at least, with -a few folds of satin, which answer the purpose. -These will be a novelty if they should -be adopted, and will be charming for the -evening with all thin materials.</p> - -<p>The illustration of two winter gowns shows -one of the new skirts and a bodice fastened at -the back. The skirt is also fastened there in the -newest fashion; the trimming consists of rows -of fine black braid, the dress being of fine -cloth, of a <i>pervenche</i> blue. The bodice is -trimmed with points of velvet, of a darker -shade of blue, and the same is used for the -bows at the back. The second dress is one of -those tucked throughout. It is of a soft satin -cloth, of a pale shade of grey. The revers -are braided, and there is a front of dark-grey -velvet and a high collar, with the lining -braided, like the revers. I hope you will -notice that this skirt opens on one side, usually -the left, and it is finished by a row of tiny -buttons, or by a small ruching of ribbon.</p> - -<p>A great deal of this ribbon ruching is seen, -as well as much piping. Silk braids, very -fine and very narrow, in black and white, -form a feature of this year's decorations, -and silver braids as well. Crystal buttons -are more liked than paste or steel ones, -and there is a craze for old lace and for -mixing fur with it. Black and white are in as -much favour as this mixture has always found -during the last four years, and the two are -constantly mixed in trimmings.</p> - -<p>I think I mentioned in my last that the hair -was worn low on the neck—certainly far lower -than has been the custom for some little time. -But I do not find that the knot of hair is quite -so low just now. Evidently the idea has not -quite "caught on," as the slang phrase has it, -and most of the well-dressed heads I have -lately seen have had the coil of hair at the -back of the head midway down. Perhaps, -later on, we shall see more of the low hair -dressing than we do now.</p> - -<p>Truly the swing of the pendulum has quite -carried us away from the neat and ever-becoming -black stockings, and the new ones -are a study in colour and design. I think the -tartan ones will be worn, and will look well; -but I cannot say I like the others; nevertheless, -that may be because one has grown used to a -lack of colour for so long.</p> - -<p>So far as boots and shoes are concerned, -the most fashionable people wear the American -ones with their extremely pointed toes and -narrow feet, but it is open to the sensible to -wear something more comfortable if they do -not mind a loss of style, for we cannot be -really smart unless our poor feet be pinched -and pointed to the last degree.</p> - -<hr class="chap" /></div><div> - - -<h2><a name="OUR_PROSPECTUS_PUZZLE_REPORT" id="OUR_PROSPECTUS_PUZZLE_REPORT">OUR PROSPECTUS PUZZLE REPORT.</a></h2> - - -<h3>SOLUTION.</h3> - -<p class='ph3'>ANOTHER NAUGHT.</p> - -<p class='ph3'><span class="smcap">A Roundel.</span></p> - -<div class="poem"><div class="stanza"> -<span class="i0">Time hastens onwards to the day<br /></span> -<span class="i2">When our good, trusty printer ought<br /></span> -<span class="i0">Upon our numbers to display<br /></span> -<span class="i18">Another naught.<br /></span> -</div><div class="stanza"> -<span class="i2">Oh! how tremendous is the thought:—<br /></span> -<span class="i0">A thousand weeks have passed away<br /></span> -<span class="i2">Since out our magazine was brought!<br /></span> -</div><div class="stanza"> -<span class="i0">We love our work, it is but play;<br /></span> -<span class="i2">"<i>Bon Voyage</i>" to the bark high-fraught;<br /></span> -<span class="i0">And printer, sing as you in-lay<br /></span> -<span class="i18">Another naught.<br /></span> -</div></div> - - -<h4><span class="smcap">Prize Winners.</span></h4> - -<p class='center'><i>Ten Shillings Each.</i></p> - - -<ul><li>J. Hunt, 42, Francis Road, Birmingham.</li> -<li>A. Phillips, 15, South Hill Park, Hampstead.</li> -<li>Emily M. Wood, Woodbank, Southport.</li> -</ul> - - -<p class='center'><i>Five Shillings Each.</i></p> - - -<ul><li>Margaret Baggallay, 3, Clarence Lawn, Dover.</li> -<li>Marie Behrendt, Scanthorpe, Doncaster.</li> -<li>Lily Belling, Wribbenhall, Bewdley.</li> -<li>Miss H. M. Brown, Longformacus, Duns, N.B.</li> -<li>Charlotte D. Cole, 7, High Street, Beckenham.</li> -<li>M. A. C. Crabb, Ipplepen, Alexandra Road, Hemel Hempstead.</li> -<li>Agnes Dewhurst, 32, Lethbridge Road, Southport.</li> -<li>Miss M. Hodgkinson, 2, Feversham Terrace, York.</li> -<li>Benjamin Marcroft, High Legh, Grosvenor Drive, New Brighton.</li> -<li>Nellie Meikle, 2, Newsham Drive, Liverpool.</li> -<li>Henzell G. Robson, 7, Oxford Terrace, Gateshead-on-Tyne.</li> -<li>F. A. Powell, 75, Hythe Road, Swindon.</li> -<li>Anne Sifton, 230, Goldhawk Road, Shepherd's Bush.</li> -<li>M. Stuart, The Shrubbery, Grove Park, Kent.</li> -<li>Ellen C. Tarrant, 2, Palace Grove, Bromley.</li> -<li>Violet C. Todd, Ford, Cornhill-on-Tweed.</li> -</ul> - - -<p class='center'><i>Very Highly Commended.</i></p> - -<p>Mrs. Acheson, Eliza Acworth, Lottie R. -Biddle, E. J. Cameron, Mrs. J. Cumming, -May Merrall, E. C. Milne, Lilla Patterson, -Constance Taylor, Connie E. Thompson, -Daisy Tyler, Martha Wood.</p> - - -<p class='center'><i>For Artistic Execution.</i></p> - -<p>Maud Abbott.</p> - - -<p class='center'><i>Highly Commended.</i></p> - -<p>Annie A. Arnott, Fanny Ashby, Ethel M. -Atkins, Margaret Bailey, Eva M. Benson, -R. S. Benson, E. K. Berry, Mary A. Blagg, -Nancy Bolingbroke, M. S. Bourne, May -Burlinsay, Annie J. Cather, Mabel E. Davis, -Mrs. Deane, Edward R. Duffield, Alice M. -Feurer, Emily Francis, Mrs. W. H. Gotch, -Mrs. Grubbe, Edith E. Grundy, A. Hughes, -George L. Ingram, Annie G. Luck, C. Y. -MacGibbon, E. Mastin, Jessie Middlemiss, -Mrs. Nicholls, Percy J. Powell, Alice M. -Price, Gertrude Saffery, A. C. Sharp, Isabel -Snell, Norah M. Sullivan, A. C. T., Phyllis -Toker, Ann Toplis, Florence Whitlock, Mrs. -Wigglesworth, E. Wilson.</p> - - -<p class='center'><i>Honourable Mention.</i></p> - -<p>S. Ballard, Mary I. Chislett, Helen M. -Coulthard, Mrs. H. Keel, K. H. Ingram, -E. M. Le Mottée, Charlotte Hayward, -Florence Hayward, Ethel C. Hobbs, Edith L. -Howse, Annette E. Jackson, Alice E. Johnson, -Fred Lindley, Ethel C. McMaster, Elsa P. -Neel, Charles Parr, Elizabeth A. Reynolds, -Annie Saunders, Dorothy Smith, Ellen R. -Smith, Gertrude Smith, May Tutte, Anna -Walker, J. Walker, Julia Waltenberg, John -R. Whyberd, G. Watherston.</p> - -<hr class="tb" /> - - -<h3>EXAMINERS' REPORT.</h3> - -<p>The insatiability of an editor who is clamouring -daily for our words of wisdom compels us -to be very brief. This is all the more to be -regretted because with such a subject to -handle we could have risen to great literary -heights. But to work!</p> - -<p>The title was not "Another aught," the -reason being that aught is not synonymous -with naught. The difference between the two -is considerable, "aught" signifying anything, -"naught" nothing. The importance of this -pleasing fact is often overlooked, especially by -schoolchildren, who frequently speak of a -cipher as "an aught," or, as they in their -childish wisdom spell it "ought."</p> - -<p>In many solutions the final letter of -"onwards" was omitted. Doubtless, "onward" -is grammatically just as good, but as -the "s" was in the puzzle it was a pity not to -transfer it to the solution.</p> - -<p>The beginning of the third line seems to -have caused trouble. Those who failed to -find the true solution generally gave "On our -three figures," or "On our first numbers." -Both readings are good interpretations of the -text, but the first is meaningless and the -second is incorrect. With "On all our -numbers "—adopted by a few solvers—we -have little fault to find.</p> - -<p>Many competitors kindly pointed out that -the minus sign in line 6 ought to have been -the sign of division. Let us examine their -contention closely. Two weeks divided by -two yields one week and the beginning of the -line would run "A thousand one week." -Two weeks minus two yields weeks, clearly, -and we need pursue the instruction no further. -Some of the readings at this point were remarkable, -<i>e.g.</i>, "A thousand days"; "Twelve -thousand days": "A thousand years," and -"A million weeks."</p> - -<p>We have always been accustomed to regard -<span class="smcap">The Girl's Own Paper</span> with much veneration, -but the idea of its having first seen the -light something like fourteen thousand years -before Adam is somewhat startling.</p> - -<p>In the next line, "G. O. P." often took the -place of "magazine." Our dislike of such -irritating abbreviations did not prevent us -from doing justice to the reading which is -rhythmically correct.</p> - -<p>The number of solvers who wrote "barque" -for "bark" was amazing. The latter was in -the puzzle and signifies any small vessel. The -former was not in the puzzle and defines a -vessel of a particular rig. And there is really -no need for more.</p> - -<hr class="chap" /></div><div> - -<p><span class="pagenum"><a name="Page_219" id="Page_219">{219}</a></span></p> - - - - -<h2><a name="IN_THE_TWILIGHT_SIDE_BY_SIDE" id="IN_THE_TWILIGHT_SIDE_BY_SIDE">IN THE TWILIGHT SIDE BY SIDE.</a></h2> - - -<p class='ph3'><span class="smcap">By</span> RUTH LAMB.</p> - - -<h3>PART III.</h3> - -<p class='ph3'>HOW TO GROW OLD.</p> - -<div class="blockquot"> - -<p class='center'>"They shall still bring forth fruit in old -age" (Psalm xcii. 14).</p></div> - -<hr class='tb' /> - -<div> -<img class="drop-cap" src="images/i_219.jpg" width="250" height="329" alt="" /> -</div> - -<p class="drop-cap"><span class="upper-case">When</span> I was a child -a dear old lady, -who had been asking -questions about my -lessons, laid her -gentle hand on my -head and said, "I see you love -school, my child. 'Learn -young, learn fair.'"</p> - -<p>You, dear girl friends, will be at no loss to -understand the teaching of the proverb. It -says, in few words, that those lessons which -are early imprinted on our minds are likely to -have an abiding place in our memories and a -lasting influence over our lives.</p> - -<p>There is one lesson amongst many which we -ought to be constantly learning from the time -that we can understand anything. It is, how -to grow old.</p> - -<p>Do I see some of you smiling at each other, -as if old age were such a far-away subject that -it ought not to be introduced to my great -gathering of girls? Why, if I could have -spoken to you as children, one by one, I -would have asked, "Are you learning how to -grow old?"</p> - -<p>You ought to be, for the moment you -began to live you started on the path that -leads to old age. From that path none of us -can turn aside and, perhaps without thinking -much of the inevitable ending, we pursue our -course thereon steadily and uninterruptedly. -We may start on many other paths—those of -duty, work, mental culture, etc.—and we may -take up certain pursuits and relinquish them -at our will, but the one onward journey is -continuous. We travel by night and by day. -Sleeping or waking, resting or working, we -are ever progressing towards old age, whether -we live to reach it or not.</p> - -<p>It is often said that every age has its special -beauty, and yet I daresay many of you have -never dreamed of associating the idea of beauty -with old age. You are apt to claim it as the -special prerogative of youth. Yet I believe -that old age may be—and I assert that it -ought to be in certain senses—the most -beautiful of all, despite the white hair, the -tremulous hand, the feeble step which seeks -support from the strong arm of the young, -and the wrinkles on brows that were once -as smooth and fair as the fairest amongst -yours.</p> - -<p>The young often shrink from the very -thought of being old. One hears the girl in -her teens whisper to her companion, as she -glances at a third who is not out of her -twenties, "She is getting to look quite old -already. She might be five-and-thirty."</p> - -<p>The tone is half pitying, half disparaging, -as if the object of the remark were somehow -in fault because a few more years had passed -over her young head than over the speaker's.</p> - -<p>Listen again to words from the lips of a -girl who is just "sweet seventeen." (Alas -that seventeen does not always deserve the -adjective!) She has just stigmatised a friend -of thirty as "a cross old thing." And for -what? She has only been trying to bring her -good common sense and sound judgment to -bear upon the other's wilfulness. She is -anxious to save her from doing a foolish thing -on which her childish will is stubbornly set -and which is certain to be followed by remorse -and trouble.</p> - -<p>"Sweet seventeen" purses her pretty lips -and tosses her foolish head whilst saying, "As -if I were going to be ordered about by her! -Cross old thing!" And she goes on her -wilful way and pays for it.</p> - -<p>Still we must acknowledge that a dozen -extra years do not always bring proportionate -wisdom, any more than does the seventeenth -birthday invariably carry sweetness in its train. -We have to learn to grow old in such wise -that each year's passage means also progress -in everything that is best.</p> - -<p>It seems very strange—does it not?—that -whilst everyone desires long life, so many -dislike to look forward to old age in connection -with themselves. Or, if they do, it is not so -much in a frank and natural manner as in a -secret and stealthy fashion. If they speak of -it at all, they speak as of something which -may be near to others, but is still far, far away -from themselves. Such people would never -tell you that they are learning how to grow -old—striving each day after some knowledge -which will tend towards the attainment of a -really beautiful and lovable old age.</p> - -<p>The need for such a study is ignored by so -many up to and beyond middle age, that one -wonders little at its being ignored by the -young. Yet other questions occupy their -earnest attention in connection with increasing -years.</p> - -<p>How to ward off the semblance of old age, -for the reality cannot be deferred. How to -look young in spite of it. How to conceal -the number of the years that have passed over -their heads. How best to utilise art so as to -simulate the complexion of youth and to hide -the marks of time on their features.</p> - -<p>Time is readily given in order to solve such -questions to the exclusion of those higher -lessons, attention to which would make old -age the most beautiful and lovely of all.</p> - -<p>Girls, dear girls! you are generally keen -observers of externals, and especially so in -matters of female dress and adornment. If -one of you has been at a social gathering, -whether amongst humble workers or leaders -in society, what is usually the first question -asked by sisters or acquaintances on her -return? Is it not about the dresses worn? -You inquire how such a one looked, or if -another again wore a dress which is too well -known on account of its age. You want to -hear all about novelties in the fashioning of -new garments, and whether they were of a -mode likely to be becoming to yourselves. It -may be you give a little laugh as you say that -such a girl would be sure to look dowdy, or -inquire if the good taste of another was as -conspicuous as usual.</p> - -<p>I am inclined to doubt whether you were as -anxious to know how your friend was impressed -by the words and conduct of those with whom -she had been associating, or whether she had, -during this little season of social enjoyment, -received impressions likely to influence her for -good. We ought to be learners in every place, -but not merely in regard to externals.</p> - -<p>Now I want to ask you a question. I have -given you credit for being keen observers. -Tell me, can you imagine a picture more truly -pitiable and contemptible than that of a -woman on whose face is the stamp of age, but -who imagines that she has succeeded in hiding -it by paint and powder?</p> - -<p>One who hugs the thought that she has -rendered her wrinkles invisible, or that her -dyed hair, with its tell-tale line of grey near -the roots, or the cunningly arranged golden -hued substitute for whitened locks, deceives -anyone but herself? All such shams make -the old look older still. They add to the -appearance of age instead of taking from it, -and they rob old age of much of the beauty -which is as real as that which pertains to the -youth it tries to simulate. I am alluding to -externals first because everyone sees them.</p> - -<p>I have no doubt that you have all discovered -my liking for proverbial expressions. My -native county is rich in these pithy sayings -which convey so much meaning in few words. -The subject of our present talk brings to mind -one of these proverbs, which was often quoted -in my hearing when I was a girl. I recall one -occasion especially. A ruddy farmer turned to -look after an elderly woman who had just -passed him. She was girlishly dressed, and -she strove to trip along in youthful fashion, -feeling evidently well satisfied with herself, -and claiming admiration by every gesture.</p> - -<p>What had our countryman to say about -her appearance? He jogged his neighbour's -elbow, and quoted the proverb, as he indicated -the retreating figure with a jerk of his -thumb: "Old ewe dressed lamb fashion."</p> - -<p>"Aye," said his friend, "and it's no good. -Age will show in spite of paint and finery. -She was turned twenty when I was twelve, and -I'm over fifty-three to-day. Why, deary me! -There's always somebody that remembers."</p> - -<p>These added words were as true as the -proverb itself. There is always someone, -amongst our many acquaintances and kinsfolk, -who has a good memory for dates, and who -can refer to the number of Life's milestones we -have passed with unerring accuracy.</p> - -<p>I asked you if there could be anything -more pitiable and contemptible than the sight -of an elderly woman trying to defy time and -age by such means as I have named?</p> - -<p>I will answer my own question, "Yes, there -is. The sight of a girl who, possessing youth, -health, and the share of good looks and -attractiveness which must accompany these -two things, is ever striving to improve Nature's -handiwork by the use of unnatural means." -Believe me, my dear girl friends, the sight of -a young face disfigured by artificial colouring -and unnaturally whitened by powder, of -blackened eyebrows and eyelashes, together -with similar shams, excites in my mind a -feeling of true motherly regret. I love girls -too well to say hard things or to speak of -contempt for such practices; though they -ought to be contemptible in the eyes of all -pure and right-minded girls.</p> - -<p>One associates the use of them with small -minds and natures whose chief end and aim -are to gratify personal vanity and attract -admiration, instead of striving to win respect -by the exercise of far nobler powers. Can -any girl be so self-deceived as to think she -will win honest affection by such means?<span class="pagenum"><a name="Page_220" id="Page_220">{220}</a></span> -She may win it in spite of them, but it will be -because the one who gives it is able to discover -something better and more deserving of -love beneath this miserable upper crust of -deception.</p> - -<p>One is always ready to recognise, with -gratitude, even a mistaken attempt made by -the young with a view of giving pleasure to -others. But I am sure that self-pleasing and -the gratification of vanity are, in nearly every -case, the incentives to such displays as I have -condemned.</p> - -<p>In looking round me, I have been struck -with the fact that some of the girls who use -paint, powder, and what are, I am informed, -known under the general name of "make-ups," -are just those to whom Nature has -been specially liberal in the gift of beauty.</p> - -<p>Beauty, when joined to vanity, has an -insatiable longing to add to its attractions. -It is more than conscious of all that it has, -but it is never satisfied, because it craves to -combine, in its own person, the attractions of -every style which is, from time to time, -commended in its hearing. Hence all these -useless and foolish efforts to improve on -Nature's handiwork.</p> - -<p>Do not misunderstand me so far as to think -I condemn the use of many little toilet accessories, -which add greatly both to comfort and -health. It would be insulting to the good -sense of my girls, if I were to specify what -things are lawful and useful, and what are -contemptible and to be avoided.</p> - -<p>You would smile, in pitying fashion, at the -sight of an old lady, whose grey locks having -become too scanty to cover her head, had -thought fit to crown her wrinkled face with a -wig and fringe of golden hair. But if the -addition matched what remained of her own -growth, I hope you would be glad to think -that art had done something on behalf of -comfort and comeliness for old age, as well as -for youth. Depend on it the natural colour -of your hair is that which agrees best with your -features and complexion, and if there is anything -really wrong with the latter, it will be -better for you to consult your doctor than a -manufacturer of cosmetics.</p> - -<p>I am glad to think I have not known many -girls whose vanity led them to spoil their -appearance in the manner I hope you join me -in condemning, but we have all seen plenty of -such. I picture two, however, both rather -exceptionally attractive. One had beautiful, -glossy, dark hair, with eyes to match, and a -complexion like a blush rose.</p> - -<p>I did not see her for some time, and when -we met I was horrified at the change. A mop -of yellow, frizzled hair surmounted a face -whence the blush-rose tint had fled, or been -hidden under glaringly false red and white. -All the dainty charm of the face was gone, -and I am fain to confess that I went a little -out of my way to avoid a closer meeting with -my changed acquaintance. Happily I can tell -of a pleasant sequel in this case. Some good -influence has been brought to bear, or perhaps -the girl's innate good sense has overcome her -vanity, and she has found out that such shams -are unworthy of a self-respecting girl.</p> - -<p>She has given fair play to Nature, and that -just in time to save the blush-rose complexion -from ruin, and to be once more her bonny -self.</p> - -<p>The second girl possessed remarkable beauty -especially of complexion, and her vanity and -greed of admiration were in proportion to it. -These impelled her to be ever experimenting -on herself to produce greater perfection, with -the result that whilst still a girl she looked -many years older than her age, and I hear, -though I do not see her now, that she is daily -becoming less attractive, though no less vain -than of old.</p> - -<p>Quite apart from the harm done to personal -appearance by these foolish practices, but of -far greater importance, is the moral injury they -cause. One might call the exhibition of paint -an acted falsehood, because it is an attempt -to make ourselves appear what we are not.</p> - -<p>But such devices are too transparent to -deceive. If begun, they become more and -more injurious and difficult to discontinue, -and those who practise them live in an -atmosphere of anxiety and disappointment. -Age comes, despite all efforts to delay its -progress, and it leaves footprints which baffle -art to disguise or obliterate.</p> - -<p>Doubtless you have all heard this expression -used in relation to someone you know—"She -knows how to grow old gracefully." You -understand it to picture one who accepts age -as the natural and inevitable sequence of -youth; who is above the paltry vanity which -would hide it—or, rather, try to hide it—yet -who neglects nothing which can help to make -it externally attractive, and especially to the -young. For, if age is to have its full -legitimate influence over youth, it must be -beautiful in itself, both without and within.</p> - -<p>I will not ask you, my dear ones, to look -again at that pitiable picture of Vanity battling -with Age, despite the certainty of defeat and -disappointment. But be assured of this—that -the girl who starts on the same lines will reach -the same goal; but it will not be that of a -beautiful and lovable old age.</p> - -<p>Do not imagine that I undervalue externals. -I would have you all be habitually careful -about them. Let your complexion be kept at -its best by scrupulous cleanliness. If your -hair is beautiful and abundant, take pains to -dress it in the fashion that best sets off such -good looks as you possess. If you are less -favoured in this respect, give the more care -and pains so as to make the best of what you -have.</p> - -<p>Exercise good taste in your dress, whilst -carefully keeping your expenditure within your -means. The girl who dresses quietly and -becomingly will not make herself conspicuous -in later years by the use of glaring colours or -fantastic garments.</p> - -<p>Try to be graceful and quiet in your movements, -and scrupulous in avoiding all little ways -and habits likely to be disturbing, unpleasant, -or offensive to others. And do not be -offended if a well-meaning friend ventures to -point out a tendency to any growing habit of -the kind, knowing that if once established it -will be almost impossible for you to overcome -it. Bear in mind that such a warning can be -only intended for your benefit and to help -you on your way towards growing old -gracefully.</p> - -<p>Study to modulate your voices so that the -sound of them may fall pleasantly, even -musically, on the ear. Shrill, harsh, and loud -youthful voices become something too terrible -when they accompany age.</p> - -<p>I wonder if any of you have heard our dear -Queen speak? I regret to say that I have -not, but friends have told me that they never -heard a voice which equalled hers for its -melodious tone, perfect clearness, and faultless -enunciation.</p> - -<p>Try to avoid affectation in gesture and -movement, and any form of facial contortion. -Habit makes all these painful to witness, and -age exaggerates them. Sometimes a habit of -knitting the brows is contracted early in life, -with the result that the forehead is furrowed -and a forbidding expression given to the face -which permanently spoils it. Age intensifies -what is forbidding and disagreeable, but shows -to the greatest advantage all that is most -lastingly attractive in us, just as the flower -fulfils the promise of the bud.</p> - -<p>In this lesson on "How to grow old" I -have confined myself to externals. It is time -for us to part, but when we meet again we -will study the subject from the highest -standpoint.</p> - -<p>Before then a new year will have dawned -on us. Let me suggest as a fitting motto for -it, "I will go in the strength of the Lord -God." May it prove a very happy one to you -all.</p> - -<p class='center'>(<i>To be continued.</i>)</p> - - - -<hr class="chap" /></div><div> - - -<h2><a name="SISTER_WARWICK_A_STORY_OF_INFLUENCE" id="SISTER_WARWICK_A_STORY_OF_INFLUENCE">"SISTER WARWICK": A STORY OF INFLUENCE.</a></h2> - -<p class='ph3'><span class="smcap">By</span> H. MARY WILSON, Author of "In Warwick Ward," "In Monmouth Ward," "Miss Elsie," etc.</p> - - -<h3>CHAPTER IV.</h3> - -<p><span class="smcap">Granny 20</span> was in one of her most garrulous -moods, but who was there to listen? She tried -to catch a nurse or probationer as they hurried -by the end of the bed, with a "Listen to me -now, nurse." But a smile and a nod and a -"By-and-by, Granny," was all she got for -her pains.</p> - -<p>Her nearest bed-fellows were too sleepy -for anything, and she had to content herself -with murmuring to an imaginary audience -until Sister had a moment's leisure, and came -to her bedside.</p> - -<p>"I was saying, Sister, that Mrs. 21 there -is one with me. We both rue our wedding-day! -And we thought—bless yer!—we -thought, when we stood up so proud and -made our vows, that we was the luckiest -women in the world."</p> - -<p>"And it all turned out badly, Granny?"</p> - -<p>"Oh, well! It might have been wuss for -some of us. I won't say it mightn't; but me -was in too much of a hurry—that was the -mischief. Why, bless yer! Mrs. 21 there says -she wasn't more'n sixteen when she took a -'usband! And me? I was only just turned -eighteen. We didn't know no better. We -were took by a 'andsome face."</p> - -<p>"Well, Granny, I cannot err on the side of -marrying too young, whatever I do."</p> - -<p>"Sister! You ain't never thinking of matrimoany? -Don't 'ee, dear! Don't 'ee! Just -take the advice of a old woman what <i>knows</i>. -This is what I say. If a man comes to you -and seems true enough, don't trust him! No, -not if trust was to sparkle like a diamond -from the end of every hair on his head, don't -trust him!"</p> - -<p>Hardly knowing how to contain herself -for laughter, Sister promised to be very -careful, and thanked Granny for her wise -words.</p> - -<p>"They aire wise. You may well say so," -chuckled the old lady. "Now I could tell -you——"</p> - -<p>"Another time, Granny dear—and see! -Here's nurse with your tea. A cup of tea! -There's nothing like it, is there?"</p> - -<p>"Bless yer—no!"</p> - -<p>And Nurse Hudson—what of her? Had<span class="pagenum"><a name="Page_221" id="Page_221">{221}</a></span> -the episode of yesterday's carelessness with -the words of reproof that followed been the -warning Sister Warwick hoped? The watchful -eyes could detect very little that was amiss -that day. But she was obliged to acknowledge -that the nurse's manner towards herself was -not what it should be. With her new efforts -not to repel her nurses by the stiffness of her -own manners she ignored what she could. -Later she felt glad she had done so.</p> - -<p>After tea the medicines were given out. -It was the staff-nurse's duty to-day, and -following the instructions on her chart, Hudson -went to and fro, pouring out the draughts, and -bringing them to each bed in order.</p> - -<p>Sister, seated by No. 10, watched her -silently. But when she brought the dose for -this "typhoid," she took it from her hand to -administer it herself.</p> - -<p>What instinct made her pause, before -giving it, to ask:</p> - -<p>"Is this the new medicine, nurse?"</p> - -<p>"Of course it is, Sister!" The tone was -offensive, but, ignoring it, Sister Warwick -leant forward to hold the glass to the girl's -lips. Again she paused. What was it stayed -her hand?</p> - -<p>She raised the glass, smelt it, and then put -it to her own lips and tasted the liquid, her -eyes on the chart.</p> - -<p>"This is an overdose!" she said sternly. -"Here are four times the right amount!"</p> - -<p>For she knew in a flash what the nurse had -done, and she shuddered at the thought! -Hudson had certainly, as she said, given the -fresh medicine the chart directed, but in her -heedlessness she had not looked to see if the -quantity was altered too. She had poured -out two tablespoonfuls instead of two teaspoonfuls—a -dose that would have caused -intense suffering, if nothing worse, to the -sick girl.</p> - -<p>Sister Warwick rose from her chair and -looked Nurse Hudson full in the face. Her -utter scorn and indignation at this culpable -carelessness rendered her speechless.</p> - -<p>But her glance was enough!</p> - -<p>Turning on her heel, she carried the -medicine-glass into her room, placed it in a -cupboard there, and locking it up, removed -the key.</p> - -<p>Nurse Hudson watched it all—miserable -and self-condemned—knowing what the action -meant. Now that it was done, she would -have given anything to have been more -careful. Her colour came and went. She -stood irresolute. Her better self was urging -her to go at once and with a humble apology -plead for another trial with an earnest promise -of a different course in the future. But she -could not bring herself to do that. Pride and -Selfishness had been too closely her companions -lately, excluding better impulses.</p> - -<p>No, she would not believe that Sister -Warwick meant to report her to the Matron. -Perhaps she would only ask for her removal -to another ward; there she could make a fresh -start. But she did not ask herself with what -motive.</p> - -<p>Nurse Hudson's work had always been -tarnished with the discolouring influences of -her own low aims. No wonder now that she -failed, and did not take the one step that -might have saved her nursing career.</p> - -<p>She left the ward that evening without -another word with the Sister—miserable, self-pitying, -undecided, little thinking that she -would never enter it again.</p> - -<hr class="tb" /> - -<p>"The whole affair shall be stopped at -once!" The Matron's voice was full of -decision and very stern. "I will send for -Hudson and tell her I cannot keep her here -any longer. Nor will I sign her certificate! -I am not justified, after all you tell me, in -sending her away to pass herself off as a -qualified nurse."</p> - -<p>"You take a harder view of her conduct -than I do, Matron." And Sister Warwick -then and there began to plead for the -nurse who had been such a "thorn in her -side."</p> - -<p>"You will not move me, Sister! Hudson -will go! It will seem right, from many -points of view, when you can look at it -dispassionately. I am only very thankful -that we so rarely have such a failure among -the nurses, and thankful most of all that no -worse harm has been done. We might have -had a case for the coroner."</p> - -<p>Sister Warwick knew the Matron's words -were just. She left her and went back to -her own room, sinking into her leaning-chair -with the consciousness that an upset like this -"took it out of her" far more than even an -operation involving pain and suffering to one -of her dear ward babies. And, sad at heart, -she began to think of Ellen Hudson's future, -then to search back in her own mind for -possible opportunities missed in the past -when she might have helped her more kindly. -She realised bitterly that she herself might -have done better too.</p> - -<p>She sat forward then and wrote a little note -and sent it round to the Nurses' Home, timed -to reach Nurse Hudson just after her interview -with the Matron.</p> - -<p>It was to ask her staff-nurse to come and -see her before she left. But she never came. -She passed out of Sister Warwick's life -from that hour, and her place knew her no -more.</p> - -<hr class="tb" /> - -<p>Nurse Carden's bright face and ready sympathy -were a pleasant interruption to the -Sister's mournful ruminations that evening. -She came in a little before her usual time, -and the two had a quiet chat in the "Sisters' -Room" before the night work began.</p> - -<p>Here Sister Cumberland joined them. These -three women—so different in character, so -united in aim and purpose—felt then the -sustaining power of a friendship that was -standing the wear and tear of life.</p> - -<p>Seeing how worried the elder "Sister" was -by the present, the other two drew her thoughts -back to the past and to their earlier experiences -in the ward.</p> - -<p>"Do you remember?" was the introduction -to many reminiscences Sister Cumberland -recalled that night on duty, when she fought -her fiercest fight with the craving for sleep.</p> - -<p>Nurse Carden talked of Tommie the waif -and his whimsical ways. He could not be -forgotten, for it was not many days since at -the lodge-gate of her own home she had seen -the Tommie of to-day. Such a contrast! A -sturdy, ruddy, honest country lad, loving his -life as a gardener's boy, and always ready, if -questioned, to say, "Oh, I belong to Nurse -Carden, I do! I ain't got nobody else! But -she is good to me, she is!"</p> - -<p>So the three talked until the hour struck -which took them to their various duties and -closed the second of these days my pen has -tried to describe—days chosen not because -they were remarkably different from many -others, but because they give an average picture -of the cares and anxieties, the pleasures and -interests that belong to a hospital Sister's -life; because, too, they tell of an experience -that had a lasting effect in softening Sister -Warwick's character and in extending her -influence over the nurses in her charge.</p> - -<p class='center'>[THE END.]</p> - -<hr class="chap" /></div><div> - - -<h2><a name="GUS" id="GUS">GUS.</a></h2> - - -<div> -<img class="drop-cap" src="images/i_221.jpg" width="125" height="125" alt="" /> -</div> - -<p class="drop-cap"><span class="upper-case">Ya</span> want ti knaw aboot -ma maate Gus? Set -ya doon, then, an' -ah'll tell ya all -aboot it.</p> - -<p>Me an' Gus wer -friends fra' t' first. -'E wer a shy, quiet -soort o' lad, an' t' -other chaps didn't -seem ti taake ti 'im -at first, an' it wer soort o' loansoom for a -yoong chap lodgin' aloan i' a straange plaace, -specially as 'e didn't seem ti care mooch for -t' public-'oose o' neets. Soa wun evening, as -we wer leavin' woork, ah says ti 'im, "Coom -in an' 'ave a bit o' soopper wi' ma an' ma -missus, lad."</p> - -<p>'E looked real pleased, an' said 'e would -coom, bud 'e wouldn't coom straight 'oam -wi' ma, as ah wanted 'im ti. Noa, 'e mun -gang back ti 'is lodgins an' fettle issen oop.</p> - -<p>My missus weant best pleased when sha -'eard 'e wer coming; mebbe, theer weant -ower mooch for soopper, an' sha niver were -fond o' straangers; bud 'e 'adn't been i' oor -lahtle room aboove 'alf a minute afoor ah seed -as sha'od taaken a fancy ti 'im. 'E com in -rather shy an' bashful loike, for all 'e'd maade -'issen soa graand wi' 'is Soonday coate an' -all, an' ma missus, she says—</p> - -<p>"Set ya doon an' maak yersen at whoam, -while ah get summat for ya ti eat," an' 'e set -doon reet theer by t' door, on t' edge o' 'is -cheer, an' 'adn't a woord to say for 'issen.</p> - -<p>Oor lahtle lass Polly—she wer nobbut -fooer year owd then—shoo com in an' stood -starin' at 'im wi' 'er finger i' 'er mooth, an' at -sight o' 'er 'e foond 'is tongue.</p> - -<p>"Coom 'ere, lahtle ma'ad," says 'e; "ah'm -wonnerful fond o' childer. Coom an' see -what ah've got i' ma pocket."</p> - -<p>Bud t' lahtle lass still stood beside ma, -starin' at 'im as if 'e wer summat i' a show.</p> - -<p>Gus didn't saay nowt moor, but 'e oots wi' -'is knife an' a bit o' wood and starts carvin' -summat.</p> - -<p>"Noo," says 'e, arter a bit, "what shall it -be? Shall ah maak tha a 'orse, or a coo, or -what?"</p> - -<p>T' lahtle lass foond 'er toongue at that.</p> - -<p>"A lad," says she, an' cooms a step nearer -ti see what 'e wer at.</p> - -<p>"Shoo'll be a rare wun for t' lads when -shoo's a bit bigger, ah'se warran'," says 'e, -wi' a laugh; an' 'e goes on carvin' t' bit o' -wood in a waay 'at wer wunnerful ti me. -Soon t' head an' shoolthers appeared, an' -then t' legs an' arms, an' all t' while t' tahtle -lass crept nearer an' nearer, an' by t' tahm t' -lad wer doon, shoo wer sittin' on 'is knee an' -chatterin' awaay ti 'im as if 'e wer' an owd -friend.</p> - -<p>That woon moother's 'eart, for shoo's -powerful set on t' lahtle lass, seem' shoo's t' -oanly wun wi' 'ave—an' ah reckon ah weant -far be'ind 'er i' that—an' befoor 'e left -shoo'd arst 'im ti taake 'is dinner wi' us -Soonday next. Arter that, Gus wer in an' -oot continual, an' 'e an't' lahtle lass wer as -thick as thieves. It wer pratty ti see 'er -perched o' 'is knee, wi' 'is arm roond 'er, an' -ti 'ear 'er pratty prattle, all aboot 'er dolls an' -toys an' sooch-like. 'E used ti call 'er 'is -lahtle sweet-'eart, an' saay sha mun marry 'im<span class="pagenum"><a name="Page_222" id="Page_222">{222}</a></span> -when sha wer growed a bit, an' t' lahtle lass -'ud look oop i' 'is faace, as graave as graave, -an' promise ti be 'is lahtle wife. 'Twer as -pratty a pictur as 'eart could wish to see them -thegither, an' 'e niver seemed ti tire o' 'er -coompany, or care ti talk wi' me or t' missus -when t' lahtle lass wer theer.</p> - -<p>Well tahm went on, an' t' job e'd coom -doon 'ere for wer nigh finished—layin' rails -o' new line it wer—an' 'e wer talkin' o' -leavin', for 'e weant fra' oor parts; when wun -daay—ah mind it wer t' first o' April, for -theer'd been soom foolin' amoong t' lads -earlier i' t' daay, an' t' blackthorn wer -buddin' i' t' 'edges—we wer setting on t' -railway bank eatin' oor dinners. Gus wer -moor talkative than ordinary that daay; ah -mind 'e'd been tellin' us o' t' waay they did -'arvestin' i' 'is parts—Lancashire waay—an' -'arvest-'oams, an' sooch-like, when all of a -soodden ah caught sight o' ma lahtle lass -runnin' along t' line. It did gie ma a toorn, -for t' doon traain 'ad been signalled two or -three minutes sin', an' even as ah caught -sight o' 'er, ah 'eerd it roombling along i' t' -distance.</p> - -<p>"Ma God!" ah cried. "Look theer!"</p> - -<p>Jack Wilson—'im as lives i' yon cottage -wi' t' creepers doon by t' church—shoots as -lood as 'e could, "Get oft t' line, bairn! Get -off t' line!" Bud Polly, sha didn't taak noa -'eed ti 'im.</p> - -<p>Then afoor ah 'ad got ma wits aboot ma, -or 'ad ony idea what 'e wer goin ti do, Gus -'ad joomped doon fra' t' bank, an' were -roonnin' for 'is loife doon t' line ti meet t' -lahtle lass. It wer awful to see 'im, while -every moment t' thoonder o' t' train com -nearer.</p> - -<p>"Is t' man mad?" cried Wilson. "It's -certain death." An' even as 'e spoke, t' -train com roond t' corner.</p> - -<p>Polly stood still, terrified, an' Gus ran on -reet inti t' teeth o' t' train. Ah turned -deadly sick, for ah niver thowt 'e would be i' -tahm, an' it seemed nobbut a waaste o' two -lives; bud 'e reached 'er joost afoor t' train -did. Ah seed 'im catch 'er oop an' toss 'er -on ti t' bank, an' then—then t' traan wer on -'im, an' we saw noothing moor till it 'ad past. -Then ah ran ti wheer 'e wer lyin', an' an -awful sight it wer. It 'aunts ma yet, thoo it's -nigh on ten year sin. 'E wer livin', poor -chap, an' 'e looked up at ma wi' a smile, -though t' death dews were gathering on 'is -faace.</p> - -<p>"T' lahtle lass?" 'e asked anxiously.</p> - -<p>"Saafe an' well," ah answered. "Eh, -Gus, lad, tha' shouldn't 'a doon it. Ah -reckon she weant woorth it."</p> - -<p>"Niver saay that!" 'e said. "Wheer is -sha? Ah'd like fine to bid her good-bye."</p> - -<p>Polly wer cryin' wi' fright on t' bank cloas -at 'and. Ah called 'er, bud at first sha 'ung -back, not knawin' as it wer 'er friend as lay -theer, a sickenin' sight, an' not fit for a bairn -ti see.</p> - -<p>"Niver mind, John," 'e said, sadly enough. -"It's better soa. Ah wouldn't like 'er ti -think o' ma like this." But ah went an' -fetched 'er, an' bade 'er ti thank 'im for -saavin' 'er loife.</p> - -<p>"Nay, nay," 'e said, smoilin' oop at 'er. -"Good-bye, lahtle sweet'eart. Tha'lt 'ave ti -get anoother lad noo."</p> - -<p>"Nay, ah'll waait for thee an' be thy lahtle -wife," says Polly sturdily, not un'erstan'in', -poor lahtle lass, as 'e wer dyin'.</p> - -<p>"Tha'lt 'ave ti waait till tha gets ti t' New -Jeroosalem, then," 'e answers, "if soa be as -they'll let ma in." An' at that 'e looks -serious.</p> - -<p>Ah maade 'aste ti cheer 'im oop.</p> - -<p>"Nay, lad, thoo need 'ave noa fear o' that," -ah says. "Tha mind hoo He said, 'Inasmooch -as ye 'a doon it to wun o' t' least o' these, ye -'a doon it unto Me.'"</p> - -<p>Hoo 'is faace lighted oop at that word! -Then a spasm o' agony crossed it, an' t' death -rattle began i' 'is throat.</p> - -<p>'E couldn't speak, bud 'e maade ma a sign -ti send t' lahtle lass away, an' ah bade 'er -roon 'oam ti 'er moother. Then ah knelt -doon an' raised 'im in ma arms, an' it weant -long—thank God, it weant long.</p> - -<p>Well, it's ten year sin, as ah said, an' it's -an owd story noo, an' t' grass is green on 'is -graave. T' lahtle lass keeps it rare an' gay -wi' flooers. Shoo's growin' a graat gell noo, -an' it weant be long afoor t' lads begin ti -coom aboot 'er, for shoo's growin' bonny; -bud shoo's niver forgotten Gus, an' if shoo -iver did, ah wouldn't oan 'er as ma darter, -that ah wouldn't!</p> - -<hr class="chap" /></div><div> - - -<h2><a name="ANSWERS_TO_CORRESPONDENTS" id="ANSWERS_TO_CORRESPONDENTS">ANSWERS TO CORRESPONDENTS.</a></h2> - - -<h3>MEDICAL.</h3> - -<div class="blockquot"> - -<p><span class="smcap">Freda.</span>—Of the cause of exophthalmic goître but -little is known for certain. Worry or anxiety often -precede the onset of the disease. Unlike ordinary -goître this affection is not limited in any way to -certain districts, but occurs in every part of the -country. "Is it curable, and if so, how long should -a moderate case take to cure?" Yes, many cases -do recover. When the disease is very marked, recovery -is unusual. But now that surgeons have -directed their attention to the disease there is every -reason to believe that the severer grades of the -affection may yield to operative treatment. We -can no more tell you how long an attack of exophthalmic -goître will last than we could tell you the -day of your death. Sometimes the disease disappears -in six months or a year, often it drags on -for many years. As a rule, if the symptoms develop -rapidly, the disease runs a rapid course. -Men are comparatively rarely attacked. We can, -however, call to mind a fair number of cases of -exophthalmic goître in the male sex. Unmarried -women of from twenty to thirty years of age are the -usual victims of this disease.</p> - -<p><span class="smcap">Worried.</span>—1. In all probability your sister would -get better and stronger after marriage. Of course -it depends a good deal upon the cause of her malady. -She had far better go to her family doctor and get -his advice upon the matter. We cannot take the -responsibility of giving a definite answer to your -question from such a very scanty amount of information.—2. -There are so many books on travel and -science, suitable to ordinary readers, that it is rather -difficult to choose any particular volume. One of -the best books on science for a beginner—that is, a -person who is beginning to read science—is a little -work called <i>Ants and their Ways</i>, by the Rev. -Farren White. It is a charming little volume -which will instil into anyone who reads it the habit -of observation—so all-important in science. The -book is very moderate in price. It is published by -the Religious Tract Society. If you turn to the -advertisement sheets at the back of this paper you -will see notices of a number of very good books on -both science and travel.</p> - -<p><span class="smcap">Matron.</span>—Obviously the book you want is the <i>British -Pharmacopœia</i>. This gives definite instructions -how to make up every official preparation. There -is a new edition just published. For the drugs -which are not in the <i>British Pharmacopœia</i>, Squire's -<i>Companion to the British Pharmacopœia</i> may be -consulted. You will do well to thoroughly master -the decimal measures, and to use them exclusively, -as they are now official and will alone be used in -the future. The old and confusing apothecaries' -measures are now out of date.</p> - -<p><span class="smcap">Alta.</span>—For the bites and stings of midges, etc., rub -a little dilute ammonia on the bite. This usually -relieves the pain instantly. It is better to put a -drop of dilute carbolic acid (about 1 in 100) upon -the bite after using the ammonia. The reason for -this is that the trouble from an insect's bite is dependent -upon two causes. In the first place the -insect actually drops poison into the bite. This, -which is usually formic acid, makes the wound -smart at once, but its effect passes off in a little -time. Ammonia neutralises this acid and so gives -instant relief. But there is a second cause of -trouble which is far more serious. The bite of a -fly has caused more deaths than you would think, -and from this reason. Flies of all kinds are given -to feed on garbage, and as they have not yet learnt -to use a toothbrush, their mouths are always swarming -with germs. Usually these germs are not of a -very virulent kind. But suppose that a midge has -been eating the carcase of an animal which has -died from peritonitis. That fly is now more deadly -than a viper, for on its tongue it has a poison which -is capable of rapid increase if it ever finds a suitable -home. If this fly bites you, you may die from -the bite. Everyone knows that often an insect -sting or bite does not ache or swell at first; but -after several hours the place becomes hot and -swollen, and if the place bitten be the hand, the -arm begins to swell and the glands in the armpit -enlarge. In this case a mild dose of microbes has -been innoculated. Ammonia will not in most cases -destroy these microbes. Therefore, we say, put a -drop of dilute carbolic acid on the place as soon as -you can. The ammonia simply relieves a little -itching (for the poison of the insect itself is rarely -dangerous), but the carbolic acid destroys organisms -which are capable of great mischief. Rubbing -the face and hands with oil of eucalyptus, or paraffin, -will sometimes prevent insects from coming -near you.</p> - -<p><span class="smcap">Lily, My Queenie.</span>—1. Is the skin round your eyebrows -scarred? Hair never grows on scars, nor -can it be made to do so by any means in our power. -If there are no scars, try a little white precipitate -ointment applied carefully to the eyebrows.—2. -Moles cannot be cured. They can be removed by -operation. If they are large and noticeable it is -better to have them removed. Otherwise leave -them severely alone.</p> - -<p><span class="smcap">Pearl.</span>—Take our advice and see a doctor at once. -Severe headache is a very common symptom, and -though it is usually caused by some trivial ailment, -it is often the only subjective sign of a serious -disease. Your attacks suggest megraine, but -they might be due to far more serious things. -Without a complete personal examination no man -living could diagnose your malady.</p> - -<p><span class="smcap">Fox.</span>—What size corsets do you wear? Tight lacing -is, or rather was, a very common cause of fatness -about the face. What age are you? It is very -common for women to get double chins and extra -plump cheeks when they have passed their thirtieth -year. Very many diseases cause fatness of the -face. Kidney disease is one of the commonest of -these. All we can advise you to do is to be careful -about your diet. Avoid farinaceous puddings and -sweets. Take plenty of exercise. No drug is of -much good in obesity of any kind. Some of the -mineral waters, especially Vichy, are sometimes -useful to stout persons.</p> - -<p><span class="smcap">A Weary and Careworn Girl.</span>—We are exceedingly -sorry that we could not answer your letter -earlier. The troubles that you have gone through -are enough to depress any girl of twice your age. -We think that all your sufferings are due to nervousness -resulting from being "run down." What -the impediment in your speech is, is not quite clear -from your letter. Probably it is far less than you -imagine, else your mother would certainly have -noticed it. The difficulty which you find in commencing -to talk is due to nervousness. As your -health improves, and as you grow older this will -tend to disappear. We will publish an article on -blushing and nervousness next month. To the last -of your questions your clergyman would be more -competent to give you an answer than ever we -could be. Go to your pastor and tell him your -troubles. He is sure to be able to comfort you in -your affliction and to help you to bear your cross -with patience for the sake of Him who laid down -His life for you.</p> - -<p><span class="smcap">Croyden.</span>—The habit of taking acids to cure indigestion -is greatly to be deprecated. Acids and -bitters are very useful in some forms of indigestion, -but they should never be taken unless ordered by a -physician. Alkalis, such as bicarbonate of soda, -are on the other hand of great value in the majority -of cases of indigestion. Indeed we will go further -than this: we have never met with a case of indigestion -from any cause which was not benefited, -sometimes only temporarily, by alkalis. We have -seen very few cases of indigestion which have been -relieved by acids. Our candid opinion is that the -habit of taking acids and bitters to cure disorders -of the stomach or loss of appetite, is a very fertile -cause of the life-long indigestion so common -nowadays.</p> - -<p><span class="smcap">Black Eyes.</span>—In an answer to "Fair Isobel," which -was published some months ago, the treatment of -blackheads was thoroughly discussed.</p> - -<p><span class="smcap">Emily Phelps.</span>—Your glasses do not suit you. Go -to an oculist and get his prescription for another -pair. Your symptoms are very common in people -who use unsuitable spectacles.</p> - -<p><span class="pagenum"><a name="Page_223" id="Page_223">{223}</a></span></p> - -<p><span class="smcap">Buttercup.</span>—Bunions are due to the pressure of -badly-fitting boots. In the human foot the great -or innermost toe bends away from the other toes. -This gives to the inner border of the foot a direction -slanting inwards towards the middle line of -the body. Most boots are made with their inner -border slanting outwards away from the middle -line so as to meet the outer border of the boots at a -more or less acute angle. We have therefore the -great toe naturally tending to depart from its -fellows, and we have the boot forcing the great toe -towards, and possibly under or over, the other toes. -The boot is an unyielding structure. The inner -border of the foot is also practically unyielding, -except at one spot, the joint of the great toe. The -first toe is therefore forced inwards and its joint -projects as an angle. The boot presses upon this -joint, a corn forms, inflammation is set up, and the -joint becomes diseased, forming a bunion. When -once a bunion has developed, it is no good talking -about its prevention. We must attempt to cure it, -and it is not so very difficult to cure it, and keep it -cured, if you fully understand how it originated. -A bunion is caused by pressure upon the joint. -The cure of the bunion consists of removing the -pressure from the joint. To do this you should -wear boots in which the inner border slopes away -from the centre of the boot. We advise you to get -a pair of boots of this shape made for yourself. If -the bunion is intractable, you may need a "post" -in the boot between the great and the second toe. -Keep your foot scrupulously clean, and take a foot-bath -every evening.</p> - -<p>J. S. N.—As your mother died from heart disease, it -is no wonder that you imagine your own symptoms -to be likewise due to heart trouble; but the symptoms -you mention are all characteristic of simple -dyspepsia; not one of them is common in heart -disease. When you say "at times my pulse beats -very fast and sometimes irregularly," we presume -that you mean that you feel your heart beating -fast or irregularly, in other words, that you have -palpitation. When the heart is beating fast or -irregularly, as it frequently does in heart disease, -it produces no symptoms which might inform the -sufferer of her state. It is only by feeling the pulse -that irregularities in its action can be detected. -We will not say that heart disease is not hereditary, -but the importance of this factor has been -greatly over-estimated. Disease of the heart is -very frequently due to rheumatic fever; and the -tendency to rheumatism is; to a certain extent, -hereditary. You will find plenty of information -about indigestion in our last year's volume.</p> - -<p><span class="smcap">Esther.</span>—We can well understand that you feel a -little nervous about your chest, when you tell us -that both your parents died of phthisis. You -know that the risk of your developing the disease -is considerable, yet it by no means follows that you -will get phthisis. By no means are you certain to -get phthisis. You must be very careful about -yourself, and the least bit of a cough or cold which -may attack you must be carefully attended to. -Indeed we advise you to call in your family doctor -the moment that you have any cough or other untoward -symptom. Certainly you would do well to -spend your winters in Switzerland.</p> - -<p><span class="smcap">Canary.</span>—1. A little dumb-bell exercise every morning -will improve the form of your back and shoulders. -The dumb-bells should be made of wood -and not weigh more than two pounds each. Heavy -bell exercise is very dangerous. It has always -been considered beautiful for women to possess -broad hips.—2. Why? Why do so many of our correspondents -call themselves "constant readers"? -Perhaps it is that they think that by using that -pseudonym they will get answered sooner, or perhaps -it is merely from lack of sufficient imagination -to think of some phrase less commonplace.</p> - -<p><span class="smcap">E. M. Walker.</span>—Cinnamon is more at home in the -pantry than in pharmacy. The only medicinal -action it possesses is that of all aromatic substances. -It is occasionally used as a stomachic, -but its chief use is for flavouring. Sometimes it is -given for diarrhœa as it is a mild astringent. Cinnamon -has no action on cancer, neither has any -drug the slightest effect upon the course of this -disease. Indeed one might put down the medicinal -action of cinnamon at zero.</p> - -<p><span class="smcap">Mabel B.</span>—It is not at all uncommon for the hair to -fall out after a severe illness. It is, however, rare -for permanent baldness to result. Usually after -combing out in large quantities for some weeks or -months the hair grows quickly and luxuriously again. -A mildly stimulating hair-wash is often useful in -these cases. Brilliantine, bay rum or rosemary -hair-washes are suitable. We much doubt whether -taking cod-liver oil would have any effect upon your -hair, but it might help to restore your strength.</p> - -<p><span class="smcap">Florrie.</span>—1. We know of no recipe which will -remove hairs from the face without doing serious -damage to the skin at the same time.—2. Try -sulphur soap for a shiny face. Do not use face -powder.</p> - -<p><span class="smcap">Helena.</span>—Read the answer to "Florrie" above. The -Laws of Libel prevent us from giving you our -opinion on the preparation which you mention. -We are allowed, however, to warn you to have -nothing to do with any patent medicine of which -you do not know the composition. It has not been -our experience that peroxide of hydrogen makes -the hair grow quickly.</p></div> - - -<h3>STUDY AND STUDIO.</h3> - -<div class="blockquot"> - -<p><span class="smcap">Irish May Flower.</span>—It is rather difficult to dispose -of such sketches as you describe. We should suggest -that you took them to any picture dealer in -your neighbourhood, and asked him to try to sell -them for you. Or you might write to the Irish -Ladies' Work Society, 47, George Street, Kingstown, -inquiring if that would be of any use to you.</p> - -<p><span class="smcap">Mabel Entwistle.</span>—We are very glad that you have -been enabled through our means "to make the -acquaintance of two extremely nice French girls." -Your writing we like very much. It is clear, definite, -and has a character of its own. If we gave any -hint for its improvement, it would be to avoid the -lapses in the middle of a word, making the writing -flow consecutively.</p> - -<p><span class="smcap">La Petite Violette.</span>—We have not forgotten you, -and are very glad you have taken up some special -study. We have placed your request in "Our -Open Letter Box."</p> - -<p><span class="smcap">Wild Rose.</span>—1. Your first quotation is from Tennyson's -<i>In Memoriam</i>, xxvii., stanza 4.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">"I hold it true, whate'er befall,<br /></span> -<span class="i2">I feel it when I sorrow most,<br /></span> -<span class="i2">'Tis better to have loved and lost,<br /></span> -<span class="i0">Than never to have loved at all."<br /></span> -</div></div> - -<p class='noindent'>2. Look through the poetry of Thomas Moore for -your second extract, and if you cannot find it there, -send it again and we will place it in "Our Open -Letter Box."</p> - -<p><span class="smcap">Catalina.</span>—1. Apply to the Church Sunday School -Institute, Serjeant's Inn, Fleet Street, E.C., or to -the Sunday School Union (undenominational), -57, Ludgate Hill, and you will receive the fullest -information. The lessons for each Sunday are set -forth in certain inexpensive books in detail, with -comments and information upon every verse. In -addition to these "lesson helps" you should read -and study books upon the Old Testament and upon -the life of our Lord, such as Farrar's <i>Life of Christ</i>. -The Religious Tract Society has published one -(<i>The Life of Jesus Christ the Saviour</i>, by Mrs. -S. Watson), which is not too ambitious, and might -help you. The net price is 3s. 9d.—2. Your writing -is good for your age, but might be improved if -the tails to your "g's," "y's," etc., were less -straggling.</p> - -<p><span class="smcap">Erin-go-bragh.</span>—1. We have inserted your request, -but (as you give a pseudonym) not your address.—2. -Your handwriting is too upright and irregular, -but there is the foundation of a good hand in it.</p> - -<p><span class="smcap">Exile of Erin.</span>—The "Fragment" you enclose is -above the average of poems submitted to us, but -your metre does not flow quite smoothly enough. -You should avoid too many monosyllables in these -long lines.</p> - -<p>L. A. T.—We should advise you to read Homer's -"Odyssey," translated by Butcher and Lang, and -if you find difficulty in understanding it, a "Primer" -on the subject as well. But we think you will -enjoy it. As for Plato, read "The Trial and Death -of Socrates," translated by Dean Church, and -consult a small history of Greece on the period -(399 <span class="smcap lowercase">B.C.</span>) Do not attempt too much at once, nor -read Plato's deeper "Dialogues" to begin with. -Your letter, which you ask us to criticise, is clearly -written, with only one mistake in spelling.</p> - -<p><span class="smcap">Miss Bealey.</span>—We undertake no communication by -post (see "Rules" in our November part and -elsewhere). You will find the "Home Reading -Union" an excellent society; apply to the Secretary, -Surrey House, Victoria Embankment. Consult -this column for amateur societies occasionally -mentioned.</p> - -<p><span class="smcap">Miss Florence E. Smith</span> calls attention to the -"Bedford Practising Society," of which she is -secretary. She will be delighted to send particulars -to any fellow reader of the <span class="smcap">Girl's Own Paper</span>. -Address to her at Winfrith, The Crescent, Bedford.</p> - -<p><span class="smcap">Hoffnung.</span>—Many thanks for your letter. By all -means try again.</p></div> - - -<h3>INTERNATIONAL CORRESPONDENCE.</h3> - -<div class="blockquot"> - -<p><span class="smcap">Mademoiselle Marguerite Gontard</span> (address -"Nikopal Mariopol Co., Mariopol, South Russia, -Engineer Prauss for M. Gontard"), wishes to be -put into communication with a young English lady, -resident in either of the continents of Asia, Africa, -America, or Australia. She desires to correspond -with her either in English or French. We thank -Mademoiselle Gontard for her pretty English -letter. She may certainly write to us in French if -she prefers to do so.</p> - -<p>"<span class="smcap">Erin-go-bragh</span>" would like to correspond with a -French girl of about her own age—twenty-one.</p> - -<p><span class="smcap">Florence</span> writes a kind letter from which we quote a -sentence. "I am wondering whether some little -girl belonging to the readers of our <span class="smcap">Girl's Own -Paper</span> would care to have an older friend to write -to; she would receive in return sympathy if in -trouble, and an interest would be taken in all she -might care to confide to one whom she could -perhaps learn to look upon in the light of an elder -sister." We regret that it is against our rules to -undertake direct postal communication; but if any -little girl sends us her address, we will insert it here -for "Florence" to see. Perhaps some lonely, or -motherless, or sad little girls might be glad to find -a friend.</p></div> - - -<h3>OUR OPEN LETTER BOX.</h3> - -<div class="blockquot"> - -<p><span class="smcap">La Petite Violette</span> wishes to find a poem with a -refrain to each verse "Belle Marquise." She saw -a quotation from it as a heading to a chapter in a -book entitled <i>Woman and the Shadow</i>.</p> - -<p><span class="smcap">Miss M. A. C. Crabb</span> and <span class="smcap">Elpis</span> answer <span class="smcap">Lennox</span> by -referring the verse she quotes—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">"Alas! how easily things go wrong,"<br /></span> -</div></div> - -<p class='noindent'>to a poem in the 19th chapter of George Macdonald's -"Phantastes: a Faerie Romance." They -agree in saying that the second verse is not by the -same pen.</p> - -<p><span class="smcap">Peterkin</span>, <span class="smcap">Gertrude Ashworth</span>, <span class="smcap">Klondyke</span>, <span class="smcap">B. D. -Ward</span>, <span class="smcap">M. E. Bates</span>, "<span class="smcap">Stick</span>," <span class="smcap">R. M. Cooke</span>, -<span class="smcap">Mabel Entwistle</span> and "<span class="smcap">The Eldest Girl</span>," inform -Ethel Rimmer that Christina Rossetti's poem -beginning—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">"When I am dead, my dearest,<br /></span> -<span class="i2">Sing no sad songs for me,"<br /></span> -</div></div> - -<p class='noindent'>has been set to music by Malcolm Lawson, and is -entitled "Hereafter," in keys E♭ and G. It appeared -in the June number of the <i>Strand Musical -Magazine</i> for 1895. "<span class="smcap">A Lover of the 'G.O.P.'</span>" -says it has been set to music by C. A. Lee, either for -a soprano or an alto voice.</p> - -<p>R. C. R. suggests to <span class="smcap">Gold Dust</span> that the poem "Tit -for Tat" is contained in "Original Poems for -Infant Minds," by Jane Taylor, her sisters and -brother. If this is the poem sought for, we may -add that the volume is published by Routledge.</p> - -<p><span class="smcap">One of the First Readers, Azie</span>, asks for the -author of a poem entitled "Maggie and the -Angels," containing two lines—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">"Maggie, are they the angels?<br /></span> -<span class="i2">And be they always there?"<br /></span> -</div></div> - -<p><span class="smcap">Perseveranza</span> would be glad to know the publishers -of a picture-book of performing frogs or cats from -which she could copy for painting on dessert -doyleys.</p> - -<p>L B. N. R. wishes to know the author of the following -lines—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">"There is a river which flows for ever,<br /></span> -<span class="i2">And the flowers that bloom on its banks<br /></span> -<span class="i0">Grow bright, as they glitter in grateful endeavour<br /></span> -<span class="i2">To vie in a perfume of thanks."<br /></span> -</div></div></div> - - -<h3>MISCELLANEOUS.</h3> - -<div class="blockquot"> - -<p><span class="smcap">Edith.</span>—The origin of the Lions as a device on the -Royal Arms we trace to William the Conqueror, -who introduced those of Normandy. These two -original Lions were supplemented by a third, -added by Henry III., it is generally supposed, for -Aquitaine.</p> - -<p><span class="smcap">Mater.</span>—To make an economical Christmas cake, -take half a pound of butter, place in a bowl, and -break five eggs over it, stirring continuously, while -a second person sifts in slowly a pound and a half -of currants (well washed, dried, and carefully -picked), three-quarters of a pound of flour, and -two ounces of citron peel chopped to moderately -small pieces. Place in a papered shape—not -buttered—several folds of paper being laid at the -bottom of the tin, and bake in moderately hot oven -during three hours.</p> - -<p><span class="smcap">Semper paratus.</span>—We answer two questions, and -you have asked nineteen! It is impossible to -describe the several Scotch tartans otherwise than -by coloured illustrations. These you will find in a -book published by W. and A. K. Johnston (Edinburgh -and London), entitled, <i>The Scottish Clans -and their Tartans</i>, now in its second (if not third) -edition. Some account of every Clan is given.</p> - -<p><span class="smcap">Anxious.</span>—Rheumatism will, no doubt, be made -worse by exposure to damp and draughts; but the -origin is in acidity, which crystallises in the joints -and muscles. You should abstain for a time from -butchers' meat, and from sweet things. Attend to -the action of the liver, which may be torpid; and -if the pain be in the arms and shoulders, you should -perform all kinds of exercises with them, and -employ friction and rubbing with suitable embrocation. -If you do not perform exercises, the joints -and sinews will become stiff.</p> - -<p>A. E. C.—<i>Noah's Ark</i>, by Darley Dale, is published -as a book by F. Warne, Bedford Street, Strand. -Price 3s. 6d.</p> - -<p><span class="smcap">Helen of Troy.</span>—You will find several families of -the name Marshall—though not necessarily related—in -Burke's <i>Landed Gentry</i>. Perhaps you can -claim your connection with one of them. The first -on the list is G. H. Marshall, of Patterdale Hall, -Westmoreland, descended from John of Yeadon -Hall, Co. York, who made a large fortune from the -mechanical improvements in a branch of the linen -manufacture. There is Marshall of Treworgley, -Cornwall; Marshall of Penwortham Hall, descended -from M. of Ardwick, near Manchester; -Marshall of Ward End House, Co. Warwick, -descended from M. of Perlethorp, Co. Nottinghamshire; -and Marshall of Broadwater, Surrey, -apparently the oldest family of that name, anciently -spelt Marchal, and long resident in that county. -None of these families have the same arms, nor -crest. The first-named (of Patterdale) has none -ascribed to them in the <i>Landed Gentry</i>. You had -better consult the second volume in some library.</p></div> - -<hr class="chap" /></div><div> - -<p><span class="pagenum"><a name="Page_224" id="Page_224">{224}</a></span></p> - - - - -<h2><a name="OUR_PUZZLE_POEMS" id="OUR_PUZZLE_POEMS">OUR PUZZLE POEMS.</a></h2> - -<p class='ph3'>A NEW DEPARTURE.</p> - - -<p><span class="smcap">We</span> are publishing Three Puzzle Poems in succession dealing with accidents and the way to meet them, and -the following is the second of the series. The lines should be carefully committed to memory for the sake of -the valuable instruction they contain.</p> - -<p>In addition to the ordinary monthly prizes <span class="smcap">Three Special Prizes</span> are offered for the best solutions of the -whole series.</p> - -<p>The first Special Prize will be <span class="smcap">Three Guineas</span>; the second Special Prize, <span class="smcap">Two Guineas</span>, and the third -Special Prize, <span class="smcap">One Guinea</span>.</p> - -<p>A careful record of mistakes will be kept, and these prizes will be awarded to those competitors who -perpetrate the fewest in all three puzzles.</p> - -<p>If a winner of one of these prizes has already received an ordinary prize in the series, the amount of the -smaller prize will be deducted. This will then be sent to the most deserving non-prize-winner in the list -relating to the puzzle for which the prize in question was awarded.</p> - - -<h3>OUR NEW PUZZLE POEM.</h3> - -<div class="figcenter w450"> -<img src="images/i_224.jpg" width="450" height="665" alt="" /> -</div> - -<p>⁂ <span class="smcap">Prizes</span> to the amount of six guineas (one of which will be reserved for competitors living abroad) -are offered for the best solutions of the above Puzzle Poem. The following conditions must be observed.</p> - -<p>1. Solutions to be written on one side of the paper only.</p> - -<p>2. Each paper to be headed with the name and address of the competitor.</p> - -<p>3. Attention must be paid to spelling, punctuation, and neatness.</p> - -<p>4. Send by post to Editor, <span class="smcap">Girl's Own Paper</span>, 56, Paternoster Row, London. "Puzzle Poem" to be -written on the top left-hand corner of the envelope.</p> - -<p>5. The last day for receiving solutions from Great Britain and Ireland will be February 17, 1899; from -Abroad, April 17, 1899.</p> - -<p>The competition is open to all without any restrictions as to sex or age.</p> - - -<hr class="chap" /> - -<h2><a name="OUR_SUPPLEMENT_STORY" id="OUR_SUPPLEMENT_STORY">OUR SUPPLEMENT STORY -COMPETITION.</a></h2> - - -<p class='ph3'>SELF OR FRIEND?</p> - -<p class='ph3'>A STORY IN MINIATURE.</p> - - -<p class='center'><span class="smcap">First Prize</span> (£2 2s.).</p> - -<p>Margaret A. Fish, 49, Foregate Street, -Worcester.</p> - - -<p class='center'><span class="smcap">Second Prize</span> (£1 1s.).</p> - -<p>Rose Cook, 2, South Cliff, Lowestoft.</p> - - -<p class='center'><span class="smcap">Third Prize</span> (10s. 6d.).</p> - -<p>Edith Ivens, Mayfield, Station Road, -Llandaff, nr. Cardiff.</p> - - -<p class='center'><span class="smcap">Very Highly Commended.</span></p> - -<p>Emily M. P. Wood, Woodbank, Southport.</p> - - -<p class='center'><span class="smcap">Honourable Mention.</span></p> - -<p>Mary Adamson, Eastbourne; Lucy H. -Chapman, Weston-super-Mare; "Conor," -Bonchurch, I.W.; Rose L. Connor, Greenock, -N.B.; "Editha," Birmingham; Kate Collins -Ensor, Atherstone; "Excelsior," North Bow, -E.; Annie F. Hepple, N. Shields; E. Marian -Jupe, Warminster; "Mignonette," New -Cross, S.E.; Edith Miller, Judd St., W.C.; -Agnes Osborne, Sidcup; Minnie Reeves, -Twyford; Lucy Richardson, York; Enid G. -St. Aubyn, Retford; Mary Adéle Venn, -West Kensington Park; L. M. Willis, -Harrogate; Mabel Wilson, Bedford Park.</p> - -<hr class="tb" /> - - -<p class='center'><span class="smcap">To the Competitors.</span></p> - -<p><span class="smcap">My dear Girls</span>,—To the prize winners and to those -of you also who failed to gain prizes, I offer my -hearty congratulations on the excellent papers you -sent in. The work of selecting the very best was -much less difficult than that of choosing a few for -"Honourable Mention," out of hundreds of really -good ones.</p> - -<p>It may interest you to know why some of you failed -to obtain a place in the list of honours. Twenty-eight -competitors were disqualified by breaking the -rule as to size of paper and space to be filled. Then -there were several charming essays on the story which -were not miniatures of it. In a considerable number -necessary parts of the outline were omitted, hence -the work was incomplete.</p> - -<p>It gave me true pleasure to note how thoroughly -most of you grasped the lesson which the story was -intended to convey.</p> - -<p>Do not be disheartened. Try again. Such good -papers cannot be called failures, and the exercise -will benefit you whether you gain prizes or not.</p> - -<p> -<span class="ml2">Your affectionate old friend,</span><br /> -<span class="smcap ml4">Ruth Lamb.</span><br /> -</p> - -<hr class="tb" /> - - -<p class='ph3'>OUR NEXT STORY COMPETITION.</p> - -<p class='ph3'>STORIES IN MINIATURE.</p> - -<p class='center'><i>Subject</i>:—"<span class="smcap">The G. O. P. Supplement for -January.</span>"</p> - - -<p class='ph3'>WHEN MY SHIP COMES HOME.</p> - -<p class='center'><span class="smcap">By</span> SARAH DOUDNEY, Author of "A Cluster -of Roses," "A Flower of Light," etc.</p> - -<p>We offer three prizes of <span class="smcap">Two Guineas</span>, -<span class="smcap">One Guinea</span>, and <span class="smcap">Half-a-Guinea</span> for the -three best papers on our "Story Supplement" -for this month. The essays are to give a brief -account of the plot and action of the story in -the Competitor's own words; in fact, each -paper should be a carefully-constructed <i>Story -in Miniature</i>, telling the reader in a few -bright words what <span class="smcap">The Girl's Own Story -Supplement</span> for the month is all about.</p> - -<p>One page of foolscap only is to be written -upon, and is to be signed by the writer, followed -by her full address, and posted to The -Editor, <span class="smcap">Girl's Own Paper</span>, in an unsealed -envelope, with the words "Stories in Miniature" -written on the left-hand top corner.</p> - -<p>The last day for receiving the papers is -January 20th; and no papers can in any case -be returned.</p> - -<p><i>Examiners</i>:—The Author of the Story -(Sarah Doudney), and the Editor of <span class="smcap">The -Girl's Own Paper</span>.</p></div> - -<hr class="full" /> - -<p>Transcriber's Note: The following changes have been made to this text.</p> - -<p>Page 218—prevenche changed to pervenche.</p> - -<p>Page 222—parafin changed to paraffin.</p> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The Girl's Own Paper, Vol. XX, No. -992, December 31, 1898, by Various - -*** END OF THIS PROJECT GUTENBERG EBOOK THE GIRL'S OWN PAPER *** - -***** This file should be named 52104-h.htm or 52104-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/2/1/0/52104/ - -Produced by Susan Skinner, Chris Curnow, Pamela Patten and -the Online Distributed Proofreading Team at -http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for the eBooks, unless you receive -specific permission. If you do not charge anything for copies of this -eBook, complying with the rules is very easy. You may use this eBook -for nearly any purpose such as creation of derivative works, reports, -performances and research. They may be modified and printed and given -away--you may do practically ANYTHING in the United States with eBooks -not protected by U.S. copyright law. Redistribution is subject to the -trademark license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country outside the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - This eBook is for the use of anyone anywhere in the United States and - most other parts of the world at no cost and with almost no - restrictions whatsoever. You may copy it, give it away or re-use it - under the terms of the Project Gutenberg License included with this - eBook or online at www.gutenberg.org. If you are not located in the - United States, you'll have to check the laws of the country where you - are located before using this ebook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm web site -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from both the Project Gutenberg Literary Archive Foundation and The -Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm -trademark. Contact the Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org Section 3. Information about the Project Gutenberg -Literary Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's principal office is in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, but its -volunteers and employees are scattered throughout numerous -locations. Its business office is located at 809 North 1500 West, Salt -Lake City, UT 84116, (801) 596-1887. Email contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -For additional contact information: - - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our Web site which has the main PG search -facility: www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - - - -</pre> - -</body> -</html> diff --git a/old/52104-h/images/cover.jpg b/old/52104-h/images/cover.jpg Binary files differdeleted file mode 100644 index a431e92..0000000 --- a/old/52104-h/images/cover.jpg +++ /dev/null diff --git a/old/52104-h/images/header.jpg b/old/52104-h/images/header.jpg Binary files differdeleted file mode 100644 index 7890287..0000000 --- a/old/52104-h/images/header.jpg +++ /dev/null diff --git a/old/52104-h/images/i_209.jpg b/old/52104-h/images/i_209.jpg Binary files differdeleted file mode 100644 index 792c6c1..0000000 --- a/old/52104-h/images/i_209.jpg +++ /dev/null diff --git a/old/52104-h/images/i_210.jpg b/old/52104-h/images/i_210.jpg Binary files differdeleted file mode 100644 index 83d33f8..0000000 --- a/old/52104-h/images/i_210.jpg +++ /dev/null diff --git a/old/52104-h/images/i_211.jpg b/old/52104-h/images/i_211.jpg Binary files differdeleted file mode 100644 index e62d0e9..0000000 --- a/old/52104-h/images/i_211.jpg +++ /dev/null diff --git a/old/52104-h/images/i_212a.jpg b/old/52104-h/images/i_212a.jpg Binary files differdeleted file mode 100644 index b2f0bf2..0000000 --- a/old/52104-h/images/i_212a.jpg +++ /dev/null diff --git a/old/52104-h/images/i_212b.jpg b/old/52104-h/images/i_212b.jpg Binary files differdeleted file mode 100644 index 5b6a6e2..0000000 --- a/old/52104-h/images/i_212b.jpg +++ /dev/null diff --git a/old/52104-h/images/i_213a.jpg b/old/52104-h/images/i_213a.jpg Binary files differdeleted file mode 100644 index a1cd6a0..0000000 --- a/old/52104-h/images/i_213a.jpg +++ /dev/null diff --git a/old/52104-h/images/i_213b.jpg b/old/52104-h/images/i_213b.jpg Binary files differdeleted file mode 100644 index 96effa0..0000000 --- a/old/52104-h/images/i_213b.jpg +++ /dev/null diff --git a/old/52104-h/images/i_213c.jpg b/old/52104-h/images/i_213c.jpg Binary files differdeleted file mode 100644 index 11e293b..0000000 --- a/old/52104-h/images/i_213c.jpg +++ /dev/null diff --git a/old/52104-h/images/i_213d.jpg b/old/52104-h/images/i_213d.jpg Binary files differdeleted file mode 100644 index bd1bf1d..0000000 --- a/old/52104-h/images/i_213d.jpg +++ /dev/null diff --git a/old/52104-h/images/i_213e.jpg b/old/52104-h/images/i_213e.jpg Binary files differdeleted file mode 100644 index 9af79e4..0000000 --- a/old/52104-h/images/i_213e.jpg +++ /dev/null diff --git a/old/52104-h/images/i_213f.jpg b/old/52104-h/images/i_213f.jpg Binary files differdeleted file mode 100644 index 1d5678c..0000000 --- a/old/52104-h/images/i_213f.jpg +++ /dev/null diff --git a/old/52104-h/images/i_213g.jpg b/old/52104-h/images/i_213g.jpg Binary files differdeleted file mode 100644 index 14c62dc..0000000 --- a/old/52104-h/images/i_213g.jpg +++ /dev/null diff --git a/old/52104-h/images/i_213h.jpg b/old/52104-h/images/i_213h.jpg Binary files differdeleted file mode 100644 index 0e080cf..0000000 --- a/old/52104-h/images/i_213h.jpg +++ /dev/null diff --git a/old/52104-h/images/i_214.jpg b/old/52104-h/images/i_214.jpg Binary files differdeleted file mode 100644 index 82563db..0000000 --- a/old/52104-h/images/i_214.jpg +++ /dev/null diff --git a/old/52104-h/images/i_215.jpg b/old/52104-h/images/i_215.jpg Binary files differdeleted file mode 100644 index aef87eb..0000000 --- a/old/52104-h/images/i_215.jpg +++ /dev/null diff --git a/old/52104-h/images/i_216.jpg b/old/52104-h/images/i_216.jpg Binary files differdeleted file mode 100644 index db74479..0000000 --- a/old/52104-h/images/i_216.jpg +++ /dev/null diff --git a/old/52104-h/images/i_217a.jpg b/old/52104-h/images/i_217a.jpg Binary files differdeleted file mode 100644 index a240b94..0000000 --- a/old/52104-h/images/i_217a.jpg +++ /dev/null diff --git a/old/52104-h/images/i_217b.jpg b/old/52104-h/images/i_217b.jpg Binary files differdeleted file mode 100644 index 797db6e..0000000 --- a/old/52104-h/images/i_217b.jpg +++ /dev/null diff --git a/old/52104-h/images/i_219.jpg b/old/52104-h/images/i_219.jpg Binary files differdeleted file mode 100644 index 1222a1d..0000000 --- a/old/52104-h/images/i_219.jpg +++ /dev/null diff --git a/old/52104-h/images/i_221.jpg b/old/52104-h/images/i_221.jpg Binary files differdeleted file mode 100644 index e19aa97..0000000 --- a/old/52104-h/images/i_221.jpg +++ /dev/null diff --git a/old/52104-h/images/i_224.jpg b/old/52104-h/images/i_224.jpg Binary files differdeleted file mode 100644 index d28e92c..0000000 --- a/old/52104-h/images/i_224.jpg +++ /dev/null |
