to get rid of as these rural visitors. They come in glibly, use up all the serviceable rhymes, day, ray, beauty, duty, skies, eyes, other, brother, mountain, fountain, and the like; and so they go on until you think it is time for the wind-up, and the wind-up won’t come on any terms. So they lie about until you get sick of the sight of them, and end by thrusting some cold scrap of a final couplet upon them, and turning them out of doors. I suspect a good many “impromptus” could tell just such a story as the above.—Here turning to our landlady, I used an illustration which pleased the company much at the time, and has since been highly commanded. “Madam,” I said, “you can pour three gills and three quarters of honey from that pint jug, if it is full, in less than one minute; but, Madam, you could not empty that last quarter of a gill, though you were turned into a marble Hebe, and held the vessel upside down for a thousand years.”

dernier

 

One gets tired to death of the old, old rhymes, such as you see in that copy of verses,—which I don’t mean to abuse, or to praise either. I always feel as if I were a cobbler, putting new top-leathers to an old pair of boot-soles and bodies, when I am fitting sentiments to these venerable jingles.

. . . . youth

. . . . . morning

. . . . . truth

. . . . . warning

Nine tenths of the “Juvenile Poems” written spring out of the above musical and suggestive coincidences.

“Yes?” said our landlady’s daughter.

I did not address the following remark to her, and I trust, from her limited range of reading, she will never see it; I said it softly to my next neighbour.

When a young female wears a flat circular side—curl, gummed on each temple,—when she walks with a male, not arm in arm, but his arm against the back of hers,—and when she says “Yes?” with the note of interrogation, you are generally safe in asking her what wages she gets, and who the “feller” was you saw her with.

“What were you whispering?” said the daughter 

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