After my father sold his paper and was casting about for some other means of livelihood, there were occasional shadows cast by his anxieties in the bright air of my childhood. Again I doubt if any boy ever lived a gladder time than I lived in Hamilton, Butler County, Ohio: words that I write still when I try a new pen, because I learned to write them first, and love them yet. When we went to live in Dayton, where my father managed to make a sort of progressive purchase of a newspaper which he never quite paid for, our skies changed. It was after an interval of experiment in one sort and another, which amused his hopeful ingenuity, but ended in nothing, that he entered upon this long failure. The Dayton _Transcript_ when he began with it was a tri-weekly, but he made it a daily, and this mistake infected the whole enterprise. It made harder work for us all than we had known before; and the printing-office, which had been my delight, became my oppression after the brief moment of public schooling which I somehow knew. But before the change from tri-weekly to daily in our paper, I had the unstinted advantage of a school of morals as it then appeared among us. The self-sacrificing company of players who suffered for the drama through this first summer of our life in Dayton paid my father for their printing in promises which he willingly took at their face value, and in tickets which were promptly honored at the door. As nearly as I can make out, I was thus enabled to go every night to the theater, in a passion for it which remains with me ardent still. I saw such plays of Shakespeare as "Macbeth" and "Othello," then the stage favorites, and "Richard III." and evermore "Richard III." I saw such other now quite forgotten favorites as Kotzebue's "Stranger" and Sheridan Knowles's "Wife," and such moving actions of unknown origin as "Barbarossa" and "The Miser of Marseilles," with many screaming farces such as helped fill every evening full with at least three plays. There was also at that time a native drama almost as acceptable to our public everywhere as "Uncle Tom's Cabin" afterward became. It seemed as if our public would never tire of "A Glance at New York," with its horribly vulgar stage conceptions of local character, Mose the fireman and Lize his girl, and Sikesy and their other companions, which drift up before me now like wraiths from the Pit, and its events of street-fighting and I dare say heroic rescues from burning buildings by the volunteer fire companies of the day. When it appeared that the public might tire of the play, the lively fancy of the theater supplied a fresh attraction in it, and the character of Little Mose was added. How this must have been played by what awful young women eager to shine at any cost in their art, I shudder to think, and it is with "sick and scornful looks averse" that I turn from the remembrance of my own ambition to shine in that drama. My father instantly quenched the histrionic spark in me with