Today's Stichomancy for W. C. Fields

weaned, by the secretary-general of the enterprise, who freed his mind of its swaddling-clothes, showed him the dark holes of the business, taught him its dialect, took the mechanism apart bit by bit, dissected for his instruction the particular public he was expected to gull, crammed him with phrases, fed him with impromptu replies, provisioned him with unanswerable arguments, and, so to speak, sharpened the file of the tongue which was about to operate upon the life of France.

The puppet amply rewarded the pains bestowed upon him. The heads of the company boasted of the illustrious Gaudissart, showed him such attention and proclaimed the great talents of this perambulating prospectus so loudly in the sphere of exalted banking and commercial

ecclesiastic succumbs, like King Herod, to the fascination of a dancer.

It is not usually known in England that a young French naval officer, unaware that Dr. Strauss was composing an opera on the theme of Salome, wrote another music drama to accompany Wilde's text. The exclusive musical rights having been already secured by Dr. Strauss, Lieutenant Marriotte's work cannot be performed regularly. One presentation, however, was permitted at Lyons, the composer's native town, where I am told it made an extraordinary impression. In order to give English readers some faint idea of the world-wide effect of Wilde's drama, my friend Mr. Walter Ledger has

Although often annoyed, and sometimes outraged, by this prejudice against color, I am indebted to it for many passages of quiet amusement. A half-cured subject of it is sometimes driven into awkward straits, especially if he happens to get a genuine specimen of the race into his house. <311 AMUSING SCENE>

In the summer of 1843, I was traveling and lecturing, in company with William A. White, Esq., through the state of Indiana. Anti- slavery friends were not very abundant in Indiana, at that time, and beds were not more plentiful than friends. We often slept out, in preference to sleeping in the houses, at some points. At

My Bondage and My Freedom

gauntlet, which protects the shoulder, arm, and elbow, with the hand engaged in holding the reins, being so constructed as to extend and contract; in addition to which it covers the gap left by the corselet under the armpit. The case is different with the right hand, which the horseman must needs raise to discharge a javelin or strike a blow. Here, accordingly, any part of the corselet which would hinder action out to be removed; in place of which the corselet ought to have some extra flaps[6] at the joints, which as the outstretched arm is raised unfold, and as the arm descends close tight again. The arm itself,[7] it seems to us, will better be protected by a piece like a greave stretched over it than bound up with the corselet. Again, the part

On Horsemanship