The other party lingers awhile looking up wistfully at the unresponsive windows of the sleeping-cars, behind which are the happy circus-actors. Perhaps the show-boy that stands up on top of his daddy's head will look out. If he should raise the window and smile at you, and get to talking with you maybe he would introduce you to his pa, and tell him that you would like to go with the show, and his pa would be a nice sort of a man, and he'd say: “Why, yes. I guess we can fix that all right.” And there you'd be. Or if it didn't come out like that, why, maybe the boy would be another “Little Arthur, the Boy Circus-rider,” like it told about in he Ladies' Repository. It seems there was a man, and one day he went by where there was a circus, and in a quiet secluded, vine-clad nook only a few steps from the main tent, he heard somebody sigh, oh, so sadly and so pitifully! Come to find out, it was Little Arthur, the Boy Circus-rider. He had large sensitive violet eyes, and a wealth of clustering ringlets, and he was very, very unhappy. So the man took from his pocket a Bible that he happened to have with him, and he read from it to Little Arthur, which cheered him up right away, because up to that moment he had only heard of the Bible. (Think of that!) And that night at the show, what do you s'pose? Little Arthur fell off the horse and hurt himself. And this man was at the show and he went back in the dressing-room, and held Little Arthur's hand. And the clown was crying, and the actors were crying, for they all loved Little Arthur in their rude, untutored way. And Little Arthur opened his large sensitive violet eyes, and saw the man, and said off the text that the man taught him that afternoon. And then he died. It was a sad story, but it made you wish it had been you that happened to have a Bible in your pocket as you passed the secluded, vine-clad nook only a few paces from the main tent, and had heard Little Arthur sigh so pitifully. It was those sensitive eyes we looked for in the sleeping-car windows, and all in vain. I think I saw the wealth of clustering ringlets, or at least the makings of it. I am almost positive I saw curl-papers as the curtain was drawn aside a moment. But whether a boy stands gazing at the sleepers, or runs over to the lots, there is something pathetic about it, something almost terrible. It is the death of an ideal. I can't conceive of a boy coming down to the depot to see the circus train come in another time. Hitherto, the show has been to him the ne plus ultra of romance. It comes in the night from 'way off yonder; it goes in the night to 'way off yonder. It is all splendor, all deeds of high emprise. It stands to reason then, that the closer you get to it, the closer you get to pure romance. And it isn't that way at all.