his chair and stood with hands outstretched toward his mother. "You are a boy, a child you must have your life arranged for you. You are not to idle away your time in foolish playing: you have to work."

"Oh, I will work. I shall do better as a musician: I shall indeed, uncle!" "You know nothing about it."

66

Only let me wait, only let me try for this scholarship, and then I will go to Herr Klette. I will do anything."

"Do you think men of business can wait about on boys like you? I have come down for the purpose: you must go to-morrow."

"It is only a few days, " said his mother, timidly.

Her brother turned sharply upon her. "Do you want him to be a burden upon you all your days,-on me, I mean? I tell you, if you encourage him in this nonsense, I will throw you all over, and you may try to do without me. It's for the boy's good. He will thank me one of these days." Karl tried to speak, but he could not make a sound: he was choking with emotion.

"You hear what I say, Karl,—either you come with me to Herr Klette tomorrow, or I shall give up helping your mother altogether."

"O Karl, Karl, your uncle means it all for your good," his mother cried. Karl could say nothing. He looked at his uncle and his mother, and with a sort of inarticulate cry, he rushed from the room. He shut himself in his own room and locked the door. His mother came up after tea and called to him, but he would not let her come in. The night fell and the stars came out, and the moon rose full and beautiful in the blue heavens. Karl opened his window, and looked at the moon and stars, halfwondering how they could be so calm and lovely when his misery was so great. Then he got his violin, and tried to play, but the music was more than he could bear. He huddled the violin away, and burst into sobs. It was very hard for him. His mother was watching outside, and when she heard him begin to play she got close to the door, and when he ceased she tapped softly, and Karl let

her in.

"I will go with uncle to-morrow," he said, trying to speak cheerily ; and then he hid his face on his mother's shoulder, and finished his sobs there.

Herr Klette lived on the other side of

the city. They had a long walk, and his uncle took Karl into a shop and bought him some dinner. But Karl could not eat, though he felt it was kindly meant. He was too miserable to

eat.

They had to wait a long while, but at last they were shown into a small room where Herr Klette was writing. He spoke to Karl's uncle apart, and then called Karl to him. He put his hand on his shoulder and drew him to the light.

“Hallo! why, its my musical young friend," he exclaimed. Karl recognised him instantly. It was the brown-faced gentleman he had spoken to on the college steps after the concert. "Why have you given up the scholarship?"

"That was out of the question," broke in his uncle. "A musician is no use at all, Herr Klette."

66

Oh, this mustn't be," exclaimed Herr Klette. "Why, your nephew will be famous one of these days. I have heard about his playing from his master. He is safe to win the scholarship. Why, he is born to be a musician."

He drew Karl's uncle aside, and talked to him for some time. Presently, he came back to Karl. "You are going to try for the scholarship, my boy; and if you fail, well then we will see about apprenticeship. Your uncle did not know what a valuable chance you were nearly missing."

And Karl went home unapprenticed. Next week, the competition was held, and he was given the first place.

He is now one of the most promising musicians in Germany.

THE SPEED OF THE WING.

A writer in Fraser's Magazine says: "The speed at which some wings are driven is enormous. It is occasionally so great as to emit a drumming sound. To this source the buzz of the fly, the drone of the bee, and the boom of the beetle are to be referred. When a grouse, partridge, or pheasant suddenly springs into the air, the sound produced by the whirring of its wings greatly resemble that produced by the contact of steel with the rapidly revolv ing stone of the knife-grinder. It has been estimated that the common fly moves its wings three hundred and eighty times per second, i.e., nineteen thousand eight hundred times per minute, and that the butterfly moves its

wings nine times per second, or five hundred and forty times per minute. These movements represent an incredibly high speed even at the roots of the wings, but the speed is enormously increased at the tips of the wings, from the fact that the tips rotate upon the roots as centres. In reality, and as it has been already indicated, the speed at the tips of the wings increases in proportion as the tips are removed from the axis of rotation and in proportion as the wings are long. This is explained on the principle well understood in mechanics. If a rod or wing hinged at one point be made to vibrate, the free end of the rod or wing always passes through a very much greater space in a given time than the part nearer to the root of the wing. The progressive increase in the spread of the wings in proportion as the wings become larger, explains why the wings of bats and birds are not driven at the extravagant speed of insect wings, and how the large and long wings of large bats and birds are driven more leisurely than the small and short wings of small bats and birds.

That the wing is driven more slowly in proportion to its length is proved by experiment, and by observing the flight of large and small birds of the same genus. Thus, large gulls flap their wings much more slowly than small

gulls; the configuration and relative size of the wings to the body being the same in both. This is a hopeful feature in the construction of flying machines, as there can be no doubt that comparatively very slow movements will suffice for driving the long powerful wings required to elevate and propel flying machines. The speed of the wing is partly regulated by its amplitude. Thus, if the wing be broad as well as long, the beats are necessarily reduced in frequency. This is especially true of the heron, which is one of the most picturesque and at the same time one of the slowest-flying birds we have. I have timed the heron on several occasions, and find that in ordinary flights its wings make exactly sixty up strokes and sixty down strokes,-that is, one hundred and twenty beats per minute. In the pterodactyl, the great extinct saurian, the wing was enormously elongated, and in this particular instance probably from fifty to sixty beats of the wing per minute sufficed for flight. Fifty or sixty pulsations of the wing per minute do not involve much wear and tear of the working parts; and I am strongly of opinion that artificial flight, if once achieved, will become a comparatively safe means of locomotion, as far as the machinery required is concerned."

Scott's Marmion; with Introduction and Notes. By T. C. L. ARMSTRONG, M.A., LL.B., Toronto. Canada Publishing Company, 1882.

ORE than any other of our English Classical Poets, Scott requires the aid of copious notes, so as to make clear the constantly recurring allusions to history and local folk-lore, traditions and scenery; and in none of Scott's poems is this more apparent than in the case of the beautiful chef d'oeuvre so happily selected as the subject for the forthcoming Intermediate Examination of our

A

Ontario Educational Department. poem like the 'Paradise Lost,' or one of Shakespeare's dramas, an idyl like the 'Deserted Village,' explains itself, and is best without other comment than that supplied as occasion requires by an intelligent teacher. But in a poem like Marmion,' it is impossible to follow the spirit of the verse without at every step understanding the historical and local allusions. These are matters which the student ought to search out for himself, his history and geography in hand, with the aid of elucidatory annotation. His teacher will supply, what no notes

can give adequately, the appreciation of the poetical form and matter. Mr. Armstrong seems to our judgment to have been singularly successful in meeting this requirement. His notes are full, pertinent, and just sufficiently copious to guide the student who is willing to take the trouble of thoroughly working out the subject, without rendering superfluous the healthy exercise of individual effort.

Mr.

Not the least useful part of Mr. Armstrong's work is contained in the Preface, which those who propose to themselves the calling of teacher, would do well to read again and again. Armstrong says that in studying an English Classic in schools three points are to be considered; First, as we understand him, a thorough knowledge of the work itself, that is of the story, the dramatis persona, the local and historical surroundings, the various allusions and side scenes; and these are well and we may fairly say, exhaustively, treated in Mr. Armstrong's notes. The Second category will include a knowledge of the principles of rhetoric and literary criticism,' and the proper estimation of literary merit; while the Third will rise to a general view of the conditions of correct art.

The first of these, as we have said, Mr. Armstrong has sufficiently provided for in his notes to Marmion'; The two latter must of course be left in large measure to the student's own power of appreciating and assimilating poetry, aided by the guiding judgment of his teacher. But Mr. Armstrong has given an important aid in his essay on Scott and his period, justly considering that to form a proper estimate of a great writer, we must take into account his literary environment. A sufficient account of Scott's contemporaries is put before the student, although we may not always agree with Mr. Armstrong's ex cathedra statements, as for instance, when at page 7 he tells us that Thomas Moore is scarcely a natural poet,' whatever that may mean, and that he 'resembles the previous age (sic) in his flash and glitter.' Lord Byron in his

inimitable letters values one of the Irish Melodies as worth an epic.' Does any language contain a lyric more perfect than the last Rose of Summer'?

In his brief abstract of the Life of Scott, Mr. Armstrong has mainly relied on quotations from the biography by

Hutton in English Men of Letters.' Now, we submit, that Canadian writers, even in editing a School Manual, ought to aim at something more ambitious than a mere compilation of what others have written; though when, as in Mr. Armstrong's case, this is done honourably, with full acknowledgment of the debt, it is a very different thing from the clumsy piracies we have had occasion elsewhere to notice on the part of a certain book-making ring in connection with our Provincial Educational System. Mr. Armstrong's edition of Marmion is a very useful one for its purpose, and is evidently the work of a thoroughly practical teacher, even though the literary form might be improved, and national Canadian ambition might suggest a bolder effort at original criticism.

6

Mes Vers, par J. A. BELANGER, Outaouais; A. Bureau, imprimeur, 1882.

We are glad to see that the success of M. Louis Frechette and other writers of Lower Canada has encouraged a French poet in our own province to publish a volume of such merit as the one before us. M. Belanger is a writer of some humour and much command of the graceful and melodious rhythms to which the forms of French lyric poetry so easily lend themselves. The first part of 'Mes Vers' consists of poems plus frivoles que sérieux,' embracing society verses, epigrams, and anecdotes, often told with great point and spirit. As a good example of this we quote the 'Vengeance de Rachel,' which is a characteristic story of the great tragedienne who never forgot the struggles of her early days.

VENGEANCE DE RACHEL. Rachel, dès ses débuts faits au Conservatoire, Alla solliciter les leçons de Provost, Artiste de talent-dont l'art déclamatoire Sur celui de prédire assurément prévaut.L'artiste, la voyant malingre, étiolée, En souriant lui dit quelques mots persiffleurs, Et, d'un air paternel, poursuit à la volée: -Croyez-moi, mon enfant, allez vendre des fleurs..'

La Rachel se vengea d'une facon mignonne Du dédain de l'artiste. Elle avait mis un soir Tout le talent possible à jouer Hermione: Rappelée, applaudie, alors on put la voir Ramasser promptement des bouquets sur la

scène,

En remplir sa tunique et s'enfuir sans parler, Au grand étonnement d'une salle fort pleine..

Puis elle entre à l'orchestre: on la voit étaler Sous les yeux de Provost son soyeux éventaire, En disant avec grâce et tombant à genoux : ---J'ai suivi, vous voyez, votre avis salutaire ; Je vends des fleurs, monsieur, m'en achèterezvous ?

It is hardly fair to a French poet to attempt a presentation of his verse in an English dress, yet for the sake of those readers of the CANADIAN MONTHLY, if any there be, who do not read the French language with ease, we attempt a version of one of Mr. Belanger's playful jeux d'esprit.

A SWEET PENANCE.

About to wed, a certain wight
Went to confession, as was right,
Relating from a contrite breast
How many times he had transgressed
To his good parish priest, who knew
The world and human nature too.
Confession done, the penitent
Arose, but paused before he went,
Observing to his ghostly father
By some mistake, as he could gather,
No penance had been mentioned yet:
Replied the priest, But you forget,
You are about to marry, so

In peace, my son, depart and go!'

The second part of the book is classified into poems 'plus sérieux que frivoles,' under which are some charming verses descriptive and amatory. Of the former a good specimen is Le Chemin des Amoureux,' describing 'The Lovers' Walk,' that beautiful path on the brow of Parliament Hill, Ottawa, of which we have a pretty pictorial illustration in the frontispiece to Picturesque Canada.' Being a poet, as a matter of course Mr. Belanger must write love verses, and Mesdemoiselles Emma, Alzida, Adele et compagnie have no reason to complain, but we prefer the verses addressed to his wife and children. Among the religious poems at the end of the volume is a pleasing hymn to the Virgin, composed for their use, and breathing a spirit of true devotion as well as of domestic affection. We quote part of the poem 'To My Wife,' as literally rendered as possible, and in the exact metre of the original. We hope that all the wives of French-Canadian poets are as religious as M. Belanger recommends them to be.

Principal Grant has been doing battle during the last month as the champion of the Presbyterian Church of Canada before the Private Bills Committee. The 'teterrima causa belli' was the claim of a minute minority of Presbyterian congregations who, dissenting from the movement for corporate union of the churches, seem to have taken position as a separate church, while preserving a discreet silence as to the actual strength of their congregations and ministers. They have now set up a claim to church property, which Principal Grant has shown to be altogether unsupported by their numbers and influence. The English Privy Council Court, as is not unusual in the ecclesiastical proceedings of that body, has shown a tendency to sacrifice the equity of popular rights to the vested interests of a few. Had Canada her own law-making power, uncontrolled by foreign tribunals, and had the state rights of Ontario been better defined, no further appeal to the Ottawa Parliament would have been needed, in a case where it was clear as day that the Canada Presbyterian Church represents, on every ground of equity and common sense, the Presbyterians of Canada. Principal Grant has fought 'the wild beasts at Ephesus,' especially Mr. McMaster, that young lion of the Law Courts, with a readiness of debate which proves that he has found a foeman not unworthy of his steel. Yet minorities have their rights, and though we think such a small and recalcitrant minority is opposed to all principles of national and ecclesiastical progress, we should wish to see what rights they have not altogether ignored.

ESSRS. MACMILLAN, of Lon

Μ' don, have brought out in pamph

6

let form Mr. Goldwin Smith's address at Bright on The Conduct of England to Ireland,' in which he advocates a modified form of Home Rule, while preserving the legislative unity of Ireland with England. Mr. Smith says a good word for the Gladstone Government and the Land Act, and expresses hopefulness in the return of order and prosperity to the Green Isle.

The Annual Report for 1881 of the Commissioner of Agriculture and Arts for the Province of Ontario, is a bluebook that merits attention. Encouraged, no doubt, by the interest taken by the farming community of Ontario in the Report of the Agricultural Commission of 1880, the present blue-book takes up the consideration of topics of the most vital character in connection with the agricultural interests of the Province. Besides the analysis of Reports of Agricultural and Horticultural Societies for the past year, and that of the Judges on the Prize Farm in Ontario, there are a number of important Essays on Forestry, the best means of preserving the timber wealth of Canada, the varieties of trees best suited for planting, and the means of restoring fertility to partially wornout land, &c.-matters of the greatest value to our farmers and of the highest concern to the well-being of the country. Then follow the Report of the Ontario Veterinary College, Reports of meetings. of the Fruit Growers' Association of Ontario, papers on the most profitable varieties of fruits, nut-bearing trees, vegetables, &c., together with important papers read before the Entomological Society of the Province, on insects injurious to vegetation, fungi-eaters, apple tree borers, parasites, and other noxious insects. The Report concludes with statistics and other information respecting the Guelph Agricultural College, with some valuable matter respecting farm stock, feed, dairy products, manures, &c., and an appendix discussing the value, history, scope and system of

Agricultural Statistics with a view to enlighten the public on the duties and aims of the Bureau of Statistics just organized by the Ontario Government. The blue-book, as a whole, is exceedingly useful, and justifies its bulky proportions and the expense incurred in its publication. It has been prepared under the direction of the Commissioner, the Hon. S. C. Wood, M.P.P.

From the Provincial Treasurer's Department we have also the Report for 1881 of Mr. J. Howard Hunter, M. A., as Inspector of Insurance for Ontario, which contains details of the Fire and Life Insurance Companies, organized as mutual or joint stock concerns, doing business in the Province, together with an analytical digest of Insurance Law. The volume, we note, contains the recent judgment of the English Privy Council on test cases which affect the Ontario Policy Act and Provincial jurisdiction in matters of Insurance. To this Mr. Hun ter has prefixed a critique, explanatory of the matter in dispute, and illustrating the legal points in the judgments which sustain the legislative authority of the Province over the law of insurance, and the practical effects of the Privy Council decisions. This critique will be of much value not only to the legal profession and to insurance companies, but to the great public of policy-holders.

Prof. Henry Morley has written a compend of English Literature in the Reign of Victoria,' for the 2,000th volume of the Tauchnitz collection of British authors.

The first instalment of Mr. Froude's biography of Thomas Carlyle, forming a history of the first forty years of his life, has just been published by Messrs. Longman. The same firm have nearly ready the third and fourth volumes, from 1760 to 1774, of Mr. Lecky's History of England in the Eighteenth Century,' and two volumes of the 'Selected Speeches of Lord Beaconsfield,' edited with introductions and notes, by T. E. Kebbel, M. A.