Read Ebook: The Great English Short-Story Writers Volume 1 by Brown John Contributor Defoe Daniel Contributor Dickens Charles Contributor Hardy Thomas Contributor Harte Bret Contributor Hawthorne Nathaniel Contributor Hogg James Contributor Irving Washington Contributor James Henry Contributor Poe Edgar Allan Contrib

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CHAP.

INDEX

The Evolution of the Short-Story

The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."

It bears the mark of its origin, for even to-day it is true that the more it creates the illusion of the speaking-voice, causing the reader to listen and to see, so that he forgets the printed page, the better does it accomplish its literary purpose. It is probably an instinctive appreciation of this fact which has led so many latter-day writers to narrate their short-stories in dialect. In a story which is communicated by the living voice our attention is held primarily not by the excellent deposition of adjectives and poise of style, but by the striding progress of the plot; it is the plot, and action in the plot, alone which we remember when the combination of words which conveyed and made the story real to us has been lost to mind. "Crusoe recoiling from the foot-print, Achilles shouting over against the Trojans, Ulysses bending the great bow, Christian running with his fingers in his ears; these are each culminating moments, and each has been printed on the mind's eye for ever."

"Alexander was a prince of great power, and a disciple of Aristotle, who instructed him in every branch of learning. The Queen of the North, having heard of his proficiency, nourished her daughter from the cradle upon a certain kind of deadly poison; and when she grew up, she was considered so beautiful, that the sight of her alone affected many to madness. The queen sent her to Alexander to espouse. He had no sooner beheld her than he became violently enamoured, and with much eagerness desired to possess her; but Aristotle, observing his weakness, said: 'Do not touch her, for if you do, you will certainly perish. She has been nurtured upon the most deleterious food, which I will prove to you immediately. Here is a malefactor who is already condemned to death. He shall be united to her, and you shall soon see the truth of what I advance.'

"Accordingly the culprit was brought without delay to the girl; and scarcely had he touched her lips, before his whole frame was impregnated with poison, and he expired. Alexander, glad at his escape from such imminent destruction, bestowed all thanks on his instructor, and returned the girl to her mother."

After which follows the monkish application of the moral, as long as the entire story: Alexander being made to stand for a good Christian; the Queen of the North for "a superfluity of the things of life, which sometimes destroys the spirit, and generally the body"; the Poison Maid for luxury and gluttony, "which feed men with delicacies that are poison to the soul"; Aristotle for conscience and reason, which reprove and oppose any union which would undo the soul; and the malefactor for the evil man, disobedient unto his God.

In the Bible we have many admirable specimens of the short-story. Jotham's parable of the trees of the wood choosing a king is as good an instance of the nature-fable, touched with fine irony and humor, as could be found. The Hebrew prophet himself was often a story-teller. Thus, when Nathan would bring home the nature of his guilt to David, he does it by a story of the most dramatic character, which loses nothing, and indeed gains all its terrific impact, by being strongly impregnated with moral passion. Many such instances will occur to the student of the Bible. In the absence of a written or printed literature the story-teller had a distinct vocation, as he still has among the peoples of the East. Every visitor to Tangier has seen in the market-place the professional story-teller, surrounded from morn till night with his groups of attentive listeners, whose kindling eyes, whose faces moved by every emotion of wonder, anger, tenderness, and sympathy, whose murmured applause and absorbed silence, are the witnesses and the reward of his art. Through such a scene we recover the atmosphere of the Arabian Nights, and indeed look back into almost limitless antiquity. Possibly, could we follow the story which is thus related, we might discover that this also drew its elemental incidents from sources as old as the times of Jotham and Nathan.

"The method of instructing by fables is a practice of remote antiquity; and has always been attended with very considerable benefit. Its great popularity encouraged the monks to adopt this medium, not only for the sake of illustrating their discourses, but of making a more durable impression upon the minds of their illiterate auditors. An abstract argument, or logical deduction , would operate but faintly upon intellects rendered even more obtuse by the rude nature of their customary employments; while, on the other hand, an apposite story would arouse attention and stimulate that blind and unenquiring devotion which is so remarkably characteristic of the Middle Ages."

But the ethical treatment of the short-story, as exemplified in these monkish fables, handicapped its progress and circumscribed its field of endeavor. Morality necessitated the twisting of incidents, so that they might harmonize with the sermonic summing-up that was in view. Life is not always moral; it is more often perplexing, boisterous, unjust, and flippant. The wicked dwell in prosperity. "There are no pangs in their death; their strength is firm. They are not in trouble as other men; neither are they plagued as other men. They have more than heart could wish." But the art of the teller of tales "is occupied, and bound to be occupied not so much in making stories true as in making them typical."

The ethical method of handling fiction falls between two stools; it not only fails in portraying that which is true for the individual, but it incurs the graver error of ceasing to be true to the race, i.e., typical.

It would be interesting, had we space, to follow Shakespeare in his borrowings, noticing what he adopts and incorporates in his work as artistically true, and what he rejects. Like a water-color landscape-painter, he pauses above the box of crude materials which others have made, takes a dab here and a dab there with his brush, rarely takes all of one color, blends them, eyes the result judicially, and flashes in the combination with swiftness and certainty of touch.

The Emperor Manelay has set forth to the Holy Land, leaving his empress and kingdom in his brother's care. No sooner has he gone than the regent commences to make love to his brother's wife. She rejects him scornfully. Angered by her indignation, he leads her into a forest and hangs her by the hair upon a tree, leaving her there to starve. As good-fortune will have it, on the third day a noble earl comes by, and, finding her in that condition, releases her, takes her home with him, and makes her governess to his only daughter. A feeling of shame causes her to conceal her noble rank, and so it comes about that the earl's steward aspires to her affection. Her steadfast refusal of all his advances turns his love to hatred, so that he plans to bring about her downfall. Then comes the passage which Shakespeare seized upon as vital: "It befell upon a night that the earl's chamber door was forgotten and left unshut, which the steward had anon perceived; and when they were all asleep he went and espied the light of the lamp where the empress and the young maid lay together, and with that he drew out his knife and cut the throat of the earl's daughter and put the knife into the empress's hand, she being asleep, and nothing knowing thereof, to the intent that when the earl awakened he should think that she had cut his daughter's throat, and so would she be put to a shameful death for his mischievous deed."

These tales, as told by their monkish compiler, lack "that harmony of values and brilliant unity of interest that results when art comes in"--they are splendid jewels badly cut.

Now the beast-fable, as handled by Aesop, falls short of being high art by reason of its overwhelming fantasy, which annihilates all chance of its possibility. The best short-stories represent a struggle between fantasy and fact. And the mediaeval monkish tale fails by reason of the discursiveness and huddling together of incidents, without regard to their dramatic values, which the moral application necessitates. In a word, both are deficient in technique--the concealed art which, when it has combined its materials so that they may accomplish their most impressive effect, causes the total result to command our credulity because it seems typical of human experience.

The technique of the English prose short-story had a tardy evolution. That there were any definite laws, such as obtain in poetry, by which it must abide was not generally realized until Edgar Allan Poe formulated them in his criticism of Nathaniel Hawthorne.

These laws, and the technique which they formulate, were first discovered and worked out for the short-story in the medium of poetry. The ballad and narrative poem must be, by reason of their highly artificial form, comparatively short, possessing totality, immediateness, compression, verisimilitude, and finality. The old ballad which commemorates the battle of Otterbourne, fought on August 10, 1388, is a fine example of the short-story method. Its opening stanza speaks the last word in immediateness of narration:

"It felle abowght the Lamasse tyde, When husbands wynn ther haye, The dowghtye Dowglasse bowynd hym to ryde In England to take a praye."

He argues from this that "prose seemed to the Greeks, and even to the Latins who followed in their footsteps, as fit only for pedestrian purposes." It is more probable that, as regards prose-fiction, they did not realize that they were called upon to explain the omission of the tenth muse. Her exclusion was based on no reasoned principle, but was due to a sensuous art-instinct: the Greeks felt that the unnatural limitations of the poetic medium were more in keeping with the unnatural brevity of a story which must be short. The exquisite prose tales which have been handed down to us belong to the age of their decadence as a nation; in their great period their tellers of brief tales unconsciously cast their rendering in the poetic mould. In natures of the highest genius the most arduous is instinctively the favorite task.

So much for our contention that the laws and technique of the prose short-story, as formulated by Poe, were first instinctively discovered and worked out in the medium of poetry.

Apuleius was an unconventional cosmopolitan in that ancient world which he so vividly portrays; he was a barbarian by birth, a Greek by education, and wrote his book in the Romans' language. In his use of luminous slang for literary purposes he was Rudyard Kipling's prototype.

"He would twist the vulgar words of every-day into quaint unheard-of meanings, nor did he deny shelter to those loafers and footpads of speech which inspire the grammarian with horror. On every page you encounter a proverb, a catchword, a literary allusion, a flagrant redundancy. One quality only was distasteful to him--the commonplace."

In the intense and visual quality of the atmosphere with which he pervades his narrative he has no equal among the writers of English prose-fiction until Sir Walter Scott appears. "Apuleius has enveloped his world of marvels in a heavy air of witchery and romance. You wander with Lucius across the hills and through the dales of Thessaly. With all the delight of a fresh curiosity you approach its far-seen towns. You journey at midnight under the stars, listening in terror for the howling of the wolves or the stealthy ambush. At other whiles you sit in the robbers' cave and hear the ancient legends of Greece retold. The spring comes on, and 'the little birds chirp and sing their steven melodiously.' Secret raids, ravished brides, valiant rescues, the gayest intrigues--these are the diverse matters of this many-colored book."

But as a short-story writer he shares the failing of all his English brothers in that art, until James Hogg, the Ettrick Shepherd, penned his tales--namely, that his short-stories do not stand apart, as things total in themselves, but are woven into a larger narrative by whose proportions they are dwarfed, so that their true completeness is disguised. "He cares not how he loiters by the way; he is always ready to beguile his reader with a Milesian story--one of those quaint and witty interludes which have travelled the world over and become part, not merely of every literature, but of every life." It is to three of these chance loiterings of this Kipling of Rome in its decadence that we owe the famous stories alluded to above.

The blighting influence of constitutional strife and intestine war which followed in the Stuarts' reigns turned the serious artist's thoughts aside to grave and prophetic forms of literary utterance, while writers of the frivolous sort devoted their talent to a lighter and less sincere art than that of the short-story--namely, court-poetry. It was an age of extremes which bred despair and religious fervor in men of the Puritan party, as represented by Bunyan and Milton, and conscious artificiality and mock heroics in those of the Cavalier faction, as represented by Herrick and the Earl of Rochester.

This masterpiece of Defoe is before its time by a hundred years; nothing can be found in the realm of the English prose short-story to approach it in symmetry until the Ettrick Shepherd commenced to write.

The impression created by the old technique, such as it was, when contrasted with the new, when legitimately handled, is the difference between reading a play and seeing it staged.

As regards immediateness of narration, Laurence Sterne may, perhaps, be pointed out as an example. But he is not immediate in the true sense; he is abrupt, and this too frequently for his own sly purposes--which have nothing to do with either technique or the short-story.

Most of the English short-stories, previous to those written by James Hogg, are either prefaced with a biography of their main characters or else the biography is made to do service as though it were a plot--nothing is left to the imagination. Even in the next century, when the short-story had come to be recognized in America, through the example set by Hawthorne and Poe, as a distinct species of literary art, the productions of British writers were too often nothing more than compressed novels. In fact, it is true to say that there is more of short-story technique in the short-story essays of Goldsmith and Lamb than can be found in many of the brief tales of Dickens and Anthony Trollope, which in their day passed muster unchallenged as short-stories.

As this history of the evolution of the English short-story commenced with a poet, Chaucer, who wrote all save two of his short-stories in poetry, so it fittingly closes with a poet, the Ettrick Shepherd, who wrote most of his short-stories in prose. It remained for yet another poet, Edgar Allan Poe, who may never have heard the name or have read a line from the writings of James Hogg, to bring to perfection the task on which he had spent his labor.

THE APPARITION OF MRS. VEAL

This thing is so rare in all its circumstances, and on so good authority, that my reading and conversation have not given me anything like it. It is fit to gratify the most ingenious and serious inquirer. Mrs. Bargrave is the person to whom Mrs. Veal appeared after her death; she is my intimate friend, and I can avouch for her reputation for these fifteen or sixteen years, on my own knowledge; and I can confirm the good character she had from her youth to the time of my acquaintance. Though, since this relation, she is calumniated by some people that are friends to the brother of Mrs. Veal who appeared, who think the relation of this appearance to be a reflection, and endeavor what they can to blast Mrs. Bargrave's reputation and to laugh the story out of countenance. But by the circumstances thereof, and the cheerful disposition of Mrs. Bargrave, notwithstanding the ill usage of a very wicked husband, there is not yet the least sign of dejection in her face; nor did I ever hear her let fall a desponding or murmuring expression; nay, not when actually under her husband's barbarity, which I have been a witness to, and several other persons of undoubted reputation.

Some time after, Mr. Veal's friends got him a place in the custom-house at Dover, which occasioned Mrs. Veal, by little and little, to fall off from her intimacy with Mrs. Bargrave, though there was never any such thing as a quarrel; but an indifferency came on by degrees, till at last Mrs. Bargrave had not seen her in two years and a half, though above a twelvemonth of the time Mrs. Bargrave hath been absent from Dover, and this last half-year has been in Canterbury about two months of the time, dwelling in a house of her own.

In this house, on the eighth of September, one thousand seven hundred and five, she was sitting alone in the forenoon, thinking over her unfortunate life, and arguing herself into a due resignation to Providence, though her condition seemed hard: "And," said she, "I have been provided for hitherto, and doubt not but I shall be still, and am well satisfied that my afflictions shall end when it is most fit for me." And then took up her sewing work, which she had no sooner done but she hears a knocking at the door; she went to see who was there, and this proved to be Mrs. Veal, her old friend, who was in a riding-habit. At that moment of time the clock struck twelve at noon.

After this discourse, which the apparition put in much finer words than Mrs. Bargrave said she could pretend to, and as much more than she can remember--for it cannot be thought that an hour and three quarters' conversation could all be retained, though the main of it she thinks she does--she said to Mrs. Bargrave she would have her write a letter to her brother, and tell him she would have him give rings to such and such; and that there was a purse of gold in her cabinet, and that she would have two broad pieces given to her cousin Watson.

Talking at this rate, Mrs. Bargrave thought that a fit was coming upon her, and so placed herself on a chair just before her knees, to keep her from falling to the ground, if her fits should occasion it; for the elbow-chair, she thought, would keep her from falling on either side. And to divert Mrs. Veal, as she thought, took hold of her gown-sleeve several times, and commended it. Mrs. Veal told her it was a scoured silk, and newly made up. But, for all this, Mrs. Veal persisted in her request, and told Mrs. Bargrave she must not deny her. And she would have her tell her brother all their conversation when she had the opportunity. "Dear Mrs. Veal," says Mrs. Bargrave, "this seems so impertinent that I cannot tell how to comply with it; and what a mortifying story will our conversation be to a young gentleman. Why," says Mrs. Bargrave, "it is much better, methinks, to do it yourself." "No," says Mrs. Veal; "though it seems impertinent to you now, you will see more reasons for it hereafter." Mrs. Bargrave, then, to satisfy her importunity, was going to fetch a pen and ink, but Mrs. Veal said, "Let it alone now, but do it when I am gone; but you must be sure to do it"; which was one of the last things she enjoined her at parting, and so she promised her.

Then Mrs. Veal asked for Mrs. Bargrave's daughter. She said she was not at home. "But if you have a mind to see her," says Mrs. Bargrave, "I'll send for her." "Do," says Mrs. Veal; on which she left her, and went to a neighbor's to see her; and by the time Mrs. Bargrave was returning, Mrs. Veal was got without the door in the street, in the face of the beast-market, on a Saturday , and stood ready to part as soon as Mrs. Bargrave came to her. She asked her why she was in such haste. She said she must be going, though perhaps she might not go her journey till Monday; and told Mrs. Bargrave she hoped she should see her again at her cousin Watson's before she went whither she was going. Then she said she would take her leave of her, and walked from Mrs. Bargrave, in her view, till a turning interrupted the sight of her, which was three-quarters after one in the afternoon.

Mrs. Veal died the seventh of September, at twelve o'clock at noon, of her fits, and had not above four hours' senses before her death, in which time she received the sacrament. The next day after Mrs. Veal's appearance, being Sunday, Mrs. Bargrave was mightily indisposed with a cold and sore throat, that she could not go out that day; but on Monday morning she sends a person to Captain Watson's to know if Mrs. Veal was there. They wondered at Mrs. Bargrave's inquiry, and sent her word she was not there, nor was expected. At this answer, Mrs. Bargrave told the maid she had certainly mistook the name or made some blunder. And though she was ill, she put on her hood and went herself to Captain Watson's, though she knew none of the family, to see if Mrs. Veal was there or not. They said they wondered at her asking, for that she had not been in town; they were sure, if she had, she would have been there. Says Mrs. Bargrave, "I am sure she was with me on Saturday almost two hours." They said it was impossible, for they must have seen her if she had. In comes Captain Watson, while they were in dispute, and said that Mrs. Veal was certainly dead, and the escutcheons were making. This strangely surprised Mrs. Bargrave, when she sent to the person immediately who had the care of them, and found it true. Then she related the whole story to Captain Watson's family; and what gown she had on, and how striped; and that Mrs. Veal told her that it was scoured. Then Mrs. Watson cried out, "You have seen her indeed, for none knew but Mrs. Veal and myself that the gown was scoured." And Mrs. Watson owned that she described the gown exactly; "for," said she, "I helped her to make it up." This Mrs. Watson blazed all about the town, and avouched the demonstration of truth of Mrs. Bargrave's seeing Mrs. Veal's apparition. And Captain Watson carried two gentlemen immediately to Mrs. Bargrave's house to hear the relation from her own mouth. And when it spread so fast that gentlemen and persons of quality, the judicious and sceptical part of the world, flocked in upon her, it at last became such a task that she was forced to go out of the way; for they were in general extremely satisfied of the truth of the thing, and plainly saw that Mrs. Bargrave was no hypochondriac, for she always appears with such a cheerful air and pleasing mien that she has gained the favor and esteem of all the gentry, and it is thought a great favor if they can but get the relation from her own mouth. I should have told you before that Mrs. Veal told Mrs. Bargrave that her sister and brother-in-law were just come down from London to see her. Says Mrs. Bargrave, "How came you to order matters so strangely?" "It could not be helped," said Mrs. Veal. And her brother and sister did come to see her, and entered the town of Dover just as Mrs. Veal was expiring. Mrs. Bargrave asked her whether she would drink some tea. Says Mrs. Veal, "I do not care if I do; but I'll warrant you this mad fellow"--meaning Mrs. Bargrave's husband--"has broke all your trinkets." "But," says Mrs. Bargrave, "I'll get something to drink in for all that"; but Mrs. Veal waived it, and said, "It is no matter; let it alone"; and so it passed.

All the time I sat with Mrs. Bargrave, which was some hours, she recollected fresh sayings of Mrs. Veal. And one material thing more she told Mrs. Bargrave, that old Mr. Bretton allowed Mrs. Veal ten pounds a year, which was a secret, and unknown to Mrs. Bargrave till Mrs. Veal told her.

But Mr. Veal does what he can to stifle the matter, and said he would see Mrs. Bargrave; but yet it is certain matter of fact that he has been at Captain Watson's since the death of his sister, and yet never went near Mrs. Bargrave; and some of his friends report her to be a liar, and that she knew of Mr. Bretton's ten pounds a year. But the person who pretends to say so has the reputation to be a notorious liar among persons whom I know to be of undoubted credit. Now, Mr. Veal is more of a gentleman than to say she lies, but says a bad husband has crazed her; but she needs only present herself, and it will effectually confute that pretence. Mr. Veal says he asked his sister on her death-bed whether she had a mind to dispose of anything. And she said no. Now the things which Mrs. Veal's apparition would have disposed of were so trifling, and nothing of justice aimed at in the disposal, that the design of it appears to me to be only in order to make Mrs. Bargrave satisfy the world of the reality thereof as to what she had seen and heard, and to secure her reputation among the reasonable and understanding part of mankind. And then, again, Mr. Veal owns that there was a purse of gold; but it was not found in her cabinet, but in a comb-box. This looks improbable; for that Mrs. Watson owned that Mrs. Veal was so very careful of the key of her cabinet that she would trust nobody with it; and if so, no doubt she would not trust her gold out of it. And Mrs. Veal's often drawing her hands over her eyes, and asking Mrs. Bargrave whether her fits had not impaired her, looks to me as if she did it on purpose to remind Mrs. Bargrave of her fits, to prepare her not to think it strange that she should put her upon writing to her brother, to dispose of rings and gold, which look so much like a dying person's request; and it took accordingly with Mrs. Bargrave as the effect of her fits coming upon her, and was one of the many instances of her wonderful love to her and care of her, that she should not be affrighted, which, indeed, appears in her whole management, particularly in her coming to her in the daytime, waiving the salutation, and when she was alone; and then the manner of her parting, to prevent a second attempt to salute her.

Now, why Mr. Veal should think this relation a reflection--as it is plain he does, by his endeavoring to stifle it--I cannot imagine; because the generality believe her to be a good spirit, her discourse was so heavenly. Her two great errands were, to comfort Mrs. Bargrave in her affliction, and to ask her forgiveness for her breach of friendship, and with a pious discourse to encourage her. So that, after all, to suppose that Mrs. Bargrave could hatch such an invention as this, from Friday noon to Saturday noon--supposing that she knew of Mrs. Veal's death the very first moment--without jumbling circumstances, and without any interest, too, she must be more witty, fortunate, and wicked, too, than any indifferent person, I dare say, will allow. I asked Mrs. Bargrave several times if she was sure she felt the gown. She answered, modestly, "If my senses be to be relied on, I am sure of it." I asked her if she heard a sound when she clapped her hand upon her knee. She said she did not remember she did, but said she appeared to be as much a substance as I did who talked with her. "And I may," said she, "be as soon persuaded that your apparition is talking to me now as that I did not really see her; for I was under no manner of fear, and received her as a friend, and parted with her as such. I would not," says she, "give one farthing to make any one believe it; I have no interest in it; nothing but trouble is entailed upon me for a long time, for aught I know; and, had it not come to light by accident, it would never have been made public." But now she says she will make her own private use of it, and keep herself out of the way as much as she can; and so she has done since. She says she had a gentleman who came thirty miles to her to hear the relation; and that she had told it to a roomful of people at the time. Several particular gentlemen have had the story from Mrs. Bargrave's own mouth.

This thing has very much affected me, and I am as well satisfied as I am of the best-grounded matter of fact. And why we should dispute matter of fact, because we cannot solve things of which we can have no certain or demonstrative notions, seems strange to me; Mrs. Bargrave's authority and sincerity alone would have been undoubted in any other case.

THE MYSTERIOUS BRIDE

A great number of people nowadays are beginning broadly to insinuate that there are no such things as ghosts, or spiritual beings visible to mortal sight. Even Sir Walter Scott is turned renegade, and, with his stories made up of half-and-half, like Nathaniel Gow's toddy, is trying to throw cold water on the most certain, though most impalpable, phenomena of human nature. The bodies are daft. Heaven mend their wits! Before they had ventured to assert such things, I wish they had been where I have often been; or, in particular, where the Laird of Birkendelly was on St. Lawrence's Eve, in the year 1777, and sundry times subsequent to that.

Be it known, then, to every reader of this relation of facts that happened in my own remembrance that the road from Birkendelly to the great muckle village of Balmawhapple --that road, I say, lay between two thorn-hedges, so well kept by the Laird's hedger, so close, and so high, that a rabbit could not have escaped from the highway into any of the adjoining fields. Along this road was the Laird riding on the Eve of St. Lawrence, in a careless, indifferent manner, with his hat to one side, and his cane dancing a hornpipe before him. He was, moreover, chanting a song to himself, and I have heard people tell what song it was too. There was once a certain, or rather uncertain, bard, ycleped Robert Burns, who made a number of good songs; but this that the Laird sang was an amorous song of great antiquity, which, like all the said bard's best songs, was sung one hundred and fifty years before he was born. It began thus:

"I am the Laird of Windy-wa's, I cam nae here without a cause, An' I hae gotten forty fa's In coming o'er the knowe, joe. The night it is baith wind and weet; The morn it will be snaw and sleet; My shoon are frozen to my feet; O, rise an' let me in, joe! Let me in this ae night," etc.

This song was the Laird singing, while, at the same time, he was smudging and laughing at the catastrophe, when, ere ever aware, he beheld, a short way before him, an uncommonly elegant and beautiful girl walking in the same direction with him. "Aye," said the Laird to himself, "here is something very attractive indeed! Where the deuce can she have sprung from? She must have risen out of the earth, for I never saw her till this breath. Well, I declare I have not seen such a female figure--I wish I had such an assignation with her as the Laird of Windy-wa's had with his sweetheart."

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