Library of the best American literature: Containing the lives of our authors in story form, their portraits, their homes, and their personal traits, how they worked and what they wrote; choice selections from eminent writers, embracing great American poets and novelists, foremost women in American letters, distinguished critics and essayists, our national humorists, noted journalists and magazine contributors, popular writers for young people, great orators and public lecturers
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Library of the best American literature: Containing the lives of our authors in story form, their portraits, their homes, and their personal traits, how they worked and what they wrote; choice selections from eminent writers, embracing great American poets and novelists, foremost women in American letters, distinguished critics and essayists, our national humorists, noted journalists and magazine contributors, popular writers for young people, great orators and public lecturers
American literature
So I left her. But, after I had gone a few blocks, the impulse seized
me to return by a cross street, and see if she were still there. Tears
sprang to my eyes as I first caught sight of the upright little figure,
standing in the same spot, still pointing with the rhythmic finger to
the blues and reds and yellows, and half chanting under her breath,
as before, “I choose _that_ color.” “I choose _that_ color.” “I choose
_that_ color.”
I went quietly on my way, without disturbing her again. But I said in
my heart, “Little Messenger, Interpreter, Teacher! I will remember you
all my life.”
Why should days ever be dark, life ever be colorless? There is
always sun; there are always blue and scarlet and yellow and purple.
We cannot reach them, perhaps, but we can see them, if it is only
“through a glass,” and “darkly,”――still we can see them. We can
“choose” our colors. It rains, perhaps; and we are standing in the
cold. Never mind. If we look earnestly enough at the brightness which
is on the other side of the glass, we shall forget the wet and not
feel the cold. And now and then a passer-by, who has rolled himself up
in furs to keep out the cold, but shivers nevertheless,――who has money
in his purse to buy many colors, if he likes, but, nevertheless, goes
grumbling because some colors are too dear for him,――such a passer-by,
chancing to hear our voice, and see the atmosphere of our content,
may learn a wondrous secret,――that pennilessness is not poverty, and
ownership is not possession; that to be without is not always to lack,
and to reach is not to attain; that sunlight is for all eyes that look
up, and color for those who “choose.”
Illustration: (‡ decoration)
Illustration: (‡ decoration)
FRANCES HODGSON BURNETT.
FAMOUS AUTHOR OF “LITTLE LORD FAUNTLEROY.”
IF Mrs. Burnett were not a native of England, she might be called a
typical American woman. As all Americans, however, are descended at
very few removes from foreign ancestors, it may, nevertheless, be
said of the young English girl, who crossed the ocean with her widowed
mother at the age of sixteen, that she has shown all the pluck, energy
and perseverance usually thought of as belonging to Americans. She
settled with her mother and sisters on a Tennessee farm; but soon
began to write short stories, the first of which was published in a
Philadelphia magazine in 1867. Her first story to achieve popularity
was “That Lass o’ Lowrie’s,” published in “Scribner’s Magazine” in
1877. It is a story of a daughter of a miner, the father a vicious
character, whose neglect and abuse render all the more remarkable
the virtue and real refinement of the daughter. Mrs. Burnett delights
in heroes and heroines whose characters contrast strongly with their
circumstances, and in some of her stories, especially in “A Lady of
Quality,” published in 1895, she even verges on the sensational.
Public-domain text, read in full here on John Shaqi.
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