Literary eye-witness account, however, need not be devoid of all expression of personal feeling. It is only necessary that the writer make clear to his reader which are thoughts and feelings and which are facts. Indeed, the best effect of such a narration will often come from the contrast. The artist lets us into his own state of mind, describes perhaps more or less minutely the stage-setting of his little occurrence--especially if any part is necessary to complete understanding later--portrays in general the types of people who were or might have been concerned, and then drops from his pen one by one the facts cold, clear-cut, unembellished, orderly in sequence, with their participants graphically and cleanly outlined, and thus gains his effect. He is as precise as a lawyer, but he has been also as crafty, in the good sense of the word. He has prepared us to appreciate his facts. If he interprets to us afterwards, he does so in a reflective and an apparently hesitating way that seems to leave us in full possession of our own opinions, which will prove to be in reality only corroborative of his. It will be good practice for you to attempt to give an eye-witness account of some occurrence. If two or three of your friends were present at the same happening, you may enjoy comparing reports. There will probably be more than one incident to relate; if there is, you must be careful to have sequence and coherence in all that you say. You should anticipate and answer any questions one would naturally ask of an oral reporter. Stop when you have finished. Doubtless you have noticed the unpleasant habit many narrators have of starting over again and repeating all or part of the tale. The temptation does not so readily come to a writer, of course, as to a speaker--unless the writer is paid by the word. Your readers will not resent interpretation even if it be philosophical, if it be not mixed with the narration and be only honest and of the pragmatic school--interrogative and not dogmatic. Indeed, mankind likes philosophy when it seems to come as an inevitable though tentative summing-up of our almost bewilderingly multiple phenomena. =Story of the Revolution in the Portuguese Capital= Cherbourg, October 8.--On board the Royal Mail Steam Packet liner _Asturias_, which arrived from Lisbon this morning, were a number of passengers who witnessed the fighting in the Portuguese capital on Wednesday, among them M. Octave Castaigne, a lawyer, of Tournai, who was among the passengers by the _Asturias_ who ventured to land at Lisbon on Wednesday. "On Tuesday evening," said M. Castaigne, "we were informed by a wireless message that the revolution had broken out in Portugal. From far out at sea was heard the thunder of the cannon and as we entered the Tagus the crackle of rifle fire. On our arrival before Lisbon we noticed that the cruisers _Sao Rafael_ and _Adamastor_, which were flying the Republican flag, were still firing on the town.