Gleanings from the Harvest-Fields of Literature: A Melange of Excerpta
General
Gleanings from the Harvest-Fields of Literature: A Melange of Excerpta
Literary curiosa; Literature -- Dictionaries
In the hands of a Swift, even so trivial an instance might be made to
point a moral on the facility with which, alike in theology and
politics—from Athanasian creed to Cincinnati or Philadelphia
platform—men comfortably interpret to their own diverse likings some
doctrine that “begins with an _R_ and ends with an _e_,” and swallow it
with great unanimity and enthusiasm.
THE HANDWRITING ON THE WALL.
During the war of the Rebellion, a merchant of Milwaukee, who is an
excellent hand at sketching, drew most admirably on the wall of his
store a negro’s head, and underneath it wrote, in a manner worthy of the
Delphic oracle, “Dis-Union for eber.” Whether the sentence meant loyalty
to the Union or not, was the puzzling question which the gentleman
himself never answered, invariably stating to the inquirers, “Read it
for yourselves, gentlemen.” So from that day to this, as the saying
goes, “no one knows how dat darkey stood on de war question.”
Another question is puzzling the young ladies who attend a Western
Female College. It seems that one of them discovered that some person
had written on the outer wall of the college, “Young women should set
good examples; for young men _will_ follow them.” The question that is
now perplexing the heads of several of the young ladies of the college
is, whether the writer meant what he or she (the handwriting was rather
masculine) wrote, in a moral sense or in an ironical one.
HOW FRENCH ACTRESSES AVOID GIVING THEIR AGE.
A servant robbed Mlle. Mars of her diamonds one evening while she was at
the theatre. Arrested, he was put upon trial, and witnesses were
summoned to bear testimony to his guilt. Among these was Mlle. Mars. She
was greatly annoyed at this, as, according to the rules of French
practice, the witness, after being sworn, gives his age. Now the age of
Mlle. Mars was an impenetrable mystery, for it was a theme she never
alluded to, and she possessed the art of arresting time’s flight, or at
least of repairing its ravages so effectually that her face never
revealed acquaintance with more than twenty years. She was for some days
evidently depressed; then, all at once, her spirits rose as buoyant as
ever. This puzzled the court—for people in her eminent position always
have a court; parasites are plenty in Paris—they did not know whether
she had determined frankly to confess her age, or whether she had hit
upon some means of eluding this thorny point of practice.
Public-domain text, read in full here on John Shaqi.
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