Genre Fantasy. Page - 26

ing at thewindow where the merrymaking was, and called to him to come in; and hecould not withstand the temptation, but went in, and forgot the goldenbird and his country in the same manner.

Time passed on again, and the youngest son too wished to set out intothe wide world to seek for the golden bird; but his father would notlisten to it for a long while, for he was very fond of his son, andwas afraid that some ill luck might happen to him also, and preventhis coming back. However, at last it was agreed he should go, for hewould not rest at home; and as he came to the wood, he met the fox,and heard the same good counsel. But he was thankful to the fox, anddid not attempt his life as his brothers had done; so the fox said,'Sit upon my tail, and you will travel faster.' So he sat down, andthe fox began to run, and away they went over stock and stone so quickthat their hair whistled in the wind.

When they came to the village, the son followed the fox's counsel, andwithout looking about him w

I cannot tell; but conclude theywere all lost. For my own part, I swam as fortune directed me, andwas pushed forward by wind and tide. I often let my legs drop, andcould feel no bottom; but when I was almost gone, and able tostruggle no longer, I found myself within my depth; and by thistime the storm was much abated. The declivity was so small, that Iwalked near a mile before I got to the shore, which I conjecturedwas about eight o'clock in the evening. I then advanced forwardnear half a mile, but could not discover any sign of houses orinhabitants; at least I was in so weak a condition, that I did notobserve them. I was extremely tired, and with that, and the heatof the weather, and about half a pint of brandy that I drank as Ileft the ship, I found myself much inclined to sleep. I lay downon the grass, which was very short and soft, where I slept sounderthan ever I remembered to have done in my life, and, as I reckoned,about nine hours; for when I awaked, it was just day-light. Iatte

very dress might serve as a pall for your coffin.

And I felt life rising within me like a subterranean lake, expanding and overflowing; my blood leaped fiercely through my arteries; my long-restrained youth suddenly burst into active being, like the aloe which blooms but once in a hundred years, and then bursts into blossom with a clap of thunder.

What could I do in order to see Clarimonde once more? I had no pretext to offer for desiring to leave the seminary, not knowing any person in the city. I would not even be able to remain there but a short time, and was only waiting my assignment to the curacy which I must thereafter occupy. I tried to remove the bars of the window; but it was at a fearful height from the ground, and I found that as I had no ladder it would be useless to think of escaping thus. And, furthermore, I could descend thence only by night in any event, and afterward how should I be able to find my way through the inextricable labyrinth of streets? All these difficulties, which

hed the capital of China, bent on Aladdin's ruin. As he passed through the town he heard people talking everywhere about a marvelous palace. "Forgive my ignorance," he asked, "what is the palace you speak of?" Have you not heard of Prince Aladdin's palace," was the reply, "the greatest wonder in the world? I will direct you if you have a mind to see it." The magician thanked him who spoke, and having seen the palace knew that it had been raised by the Genie of the Lamp, and became half mad with rage. He determined to get hold of the lamp, and again plunge Aladdin into the deepest poverty.

Unluckily, Aladdin had gone a-hunting for eight days, which gave the magician plenty of time. He bought a dozen lamps, put them into a basket, and went to the palace, crying: "New lamps for old!" followed by a jeering crowd. The Princess, sitting in the hall of four-and-twenty windows, sent a slave to find out what the noise was about, who came back laughing, so that the Princess scolded her. "Madam," replied the slav

a skeleton frame. His eyes are so deep that you can hardly see the fixed pupils. You just see two big black holes, as in a dead man's skull. His skin, which is stretched across his bones like a drumhead, is not white, but a nasty yellow. His nose is so little worth talking about that you can't see it side-face; and THE ABSENCE of that nose is a horrible thing TO LOOK AT. All the hair he has is three or four long dark locks on his forehead and behind his ears."

This chief scene-shifter was a serious, sober, steady man, very slow at imagining things. His words were received with interest and amazement; and soon there were other people to say that they too had met a man in dress-clothes with a death's head on his shoulders. Sensible men who had wind of the story began by saying that Joseph Buquet had been the victim of a joke played by one of his assistants. And then, one after the other, there came a series of incidents so curious and so inexplicable that the very shrewdest people began to feel uneasy.

e end of her nose, while she counted "One, two, three" in a solemn voice. At once the cap changed to a slate, on which was written in big, white chalk marks:

"LET DOROTHY GO TO THE CITY OF EMERALDS"

The little old woman took the slate from her nose, and having read the words on it, asked, "Is your name Dorothy, my dear?"

"Yes," answered the child, looking up and drying her tears.

"Then you must go to the City of Emeralds. Perhaps Oz will help you."

"Where is this city?" asked Dorothy.

"It is exactly in the center of the country, and is ruled by Oz, the Great Wizard I told you of."

"Is he a good man?" inquired the girl anxiously.

"He is a good Wizard. Whether he is a man or not I cannot tell, for I have never seen him."

"How can I get there?" asked Dorothy.

"You must walk. It is a long journey, through a country that is sometimes pleasant and sometimes dark and terrible. However, I will use all the magic arts I know of to keep you from harm.

he truth. Let me go, you don't understand what will happen. My brothers-"

The Lord Cleric punched her. Her head flew back and a spray of blood wet the dry mud and spattered over the leaves concealing me. Face wet with tears and whimpering, she tried to crawl toward the trees and dragged up clumps of earth with her fingernails.

"You must let me go." The words sounded muffled, like she had a mouthful of something foul.

The Lord Cleric executed a neat half turn and stamped on her thigh. There was a sharp snap, like I'd picked up a twig and yanked on the ends until the fibers split apart and cracked open. The fairy's leg buckled into an unnatural shape and she screamed. The sound was guttural, a direct translation of pain to sound. I slapped a hand over my mouth to smother my own shriek. Not because of the broken bone, I'd seen and heard tons of those, but because I'd caught the Lord Clerics profile and recognized the handsome face. The Lord Cleric dragged the fairy back into the centre of th

ly analyzing the mysteries of the human mind; such tales of illusion and banter as "The Premature Burial" and "The System of Dr. Tarr and Professor Fether"; such bits of extravaganza as "The Devil in the Belfry" and "The Angel of the Odd"; such tales of adventure as "The Narrative of Arthur Gordon Pym"; such papers of keen criticism and review as won for Poe the enthusiastic admiration of Charles Dickens, although they made him many enemies among the over-puffed minor American writers so mercilessly exposed by him; such poems of beauty and melody as "The Bells," "The Haunted Palace," "Tamerlane," "The City in the Sea" and "The Raven." What delight for the jaded senses of the reader is this enchanted domain of wonder-pieces! What an atmosphere of beauty, music, color! What resources of imagination, construction, analysis and absolute art! One might almost sympathize with Sarah Helen Whitman, who, confessing to a half faith in the old superstition of the significance of anagrams, found, in the transposed letter

thought of it. It'splain enough, and helps the paradox delightfully. We cannot seeit, nor can we appreciate this machine, any more than we can thespoke of a wheel spinning, or a bullet flying through the air.If it is travelling through time fifty times or a hundred timesfaster than we are, if it gets through a minute while we getthrough a second, the impression it creates will of course beonly one-fiftieth or one-hundredth of what it would make if itwere not travelling in time. That's plain enough.' He passedhis hand through the space in which the machine had been. `Yousee?' he said, laughing.

We sat and stared at the vacant table for a minute or so. Thenthe Time Traveller asked us what we thought of it all.

`It sounds plausible enough to-night,' said the Medical Man;'but wait until to-morrow. Wait for the common sense of themorning.'

`Would you like to see the Time Machine itself?' asked the TimeTraveller. And therewith, taking the lamp in his hand, he ledthe way down