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goblins. The gross persuasion of ancient worshippers, that the god actually ate their oblations, seems still to linger in the generally received tradition that any gift but that of food, clothes for example, offends and banishes the fairy guest.-Cornhill Magazine.

CAXTON'S BOOKS.-The divine art of printing, as it has been called, was invented about the year 1457. Fourteen years later, Caxton introduced it into England. It is significant that the art which was to contribute so largely to the Reformation, to the advancement of knowledge, and to the progress of civilization, should have found its first English home in Westminster Abbey. Caxton's printing-office was in what was called the Ambry, which is a corruption of Almonry or Eleemosynary, the house in which the alms of the Abbey were distributed. A meeting of the workmen in a printing-office is still called a "chapel." Caxton's first printed book was the "Recuyel of the Historye of Troy," which he had translated out of the French. The translation was begun at Bruges, continued at Ghent, and finished in the "Holy City" of Cologne. It was undertaken because "every man is bounden by the commandment and counsel of the wise man to eschew sloth and idleness, which is moder and nourisher of vyces, and ought to put himself into virtuous occupacion and besyness." With Caxton all true wisdom was divine, and all work that tended to human progress was work done for God. Even the history of the wars of Troy he classed among the Scriptures which St. Paul says are profitable for doctrine, reproof, correction, and instruction in righteousness, taking the apostle to refer to every kind of writing. The lesson to be drawn from the "ruyne irreparable of that cytye, that neuer syn was reedefyed," is that it may be an "ensample to al men duryng the world, how dreadfull and jeopardous it is to begin a warre, and what harmes, losses, and death folloueth." The broad principle that all writings are profitable for edification led Caxton to print many purely secular books in the truly Christian spirit that what was done for the good of man was divine work. The "Chronicles of England" are "printed by the sufferaunce of God." In the "Life of Charles the Great" the printer intends not only to publish nothing which may be blamed, but only what is for "the helth and saluacion of every person." In the prologue to the book on the "Order of Knighthood," Caxton has these words: "O ye knyghts of Englond, where is the custome and usuage of noble chyualry that was used in the dayes? What do ye now but go to the baynes and play at dyse? And some, not well advysed, use not honest and good rule

ageyn all ordre of knyghthode, leue this, leue it, and rede the noble volumes of St. Graal of Lancelot, of Galaad, of Trystram, of Perse Forest, of Percyval, of Gawayn, and many mo, ther shall ye see manhode, curtosye and gentylness." The life of Godfrey of Boulogne is printed because "The hye couragyous faytes and ualyaunt acts of noble, illustrious, and vertuous personnes ben digne to be recounted, put in memorye and wreton to th ende that they may be gyuen to them name immortal, souerayn laude and preysyng. And also for to moeue and t enflawme the hertes of the redars and hierers for t eschew and flee werkes vycious, dishonest, and vytuperable, and for tempryse and accomplysshe enterpryses honnestes and werkes of gloryous meryte to lyue in remembraunce perpetuel." Even Chaucer's Canterbury Tales" are taken for "good and vertuous," and such as may "prouffyte unto the helth of our sowles," and for this reason, among other deeds of mercy, we are to "remember the sowle of the sayd Gefferey Chaucer."-Sunday Magazine.

66

THE GRAND VIZIER.-The Grand Vizier's court is open on Friday, Saturday, Monday, and Wednesday. It does not rise until night comes, or the causes are ended. Sundays and Tuesdays are set apart for the Sultan's divan. Here, too, the Vizier presides, but right over his head is a semicircular gallery, about half the size of a hogshead, and barred very closely with gilded bars. In this ear of Dionysius the Sultan sits, or may sit, and hear every cause tried. A particular dress is required of all who attend this divan. When the Sultan calls a general council of all his great officers, it is known as "the divan of feet," because all stand during the consultations. When the assessors have given sentence, the Vizier, if he approves, confirms it with the word sah (certain). If he does not agree with the sentence, he hears the cause again. The assessors, however, maintain most earnestly their own opinion; for if a judge has been once found guilty of injustice, he cannot keep his place or find another. When the Vizier has any communication to make to his master, he writes a letter, called talchysh, the High Chancellor being the penman, and the Vizier dictating. The letter being wrapped up, tied, and sealed, is placed in the hands of a high functionary called Talchyshchi, who hastens, letter in hand, to the palace, where he waits until the Sultan's answer is ready. Should the response be unfavorable, it is a very bad sign for the Vizier, whose honor and dignity may be considered in peril. The authority also of the Vizier is considered as sinking if the Sultan does any thing without consulting him; and the ominous words are heard at

court, "Semeri yere urdi"-the trappings are thrown to the ground. Viziers are frequently deposed, but not put to death, except for a real or pretended unfaithfulness, or disobedience to the Sultan. If such a thing ever happens, the Sultan sends the Vizier a letter couched in this style: "Whereas for such things thou deservest to die, it is our pleasure that after having performed the abdest (that is, the washing of feet, head, and hands), and made the accustomed namaz, or prayers, thou deliver thy head to this our messenger, Capuchi Bashi." However able a Vizier may be to resist this mandate, such a thing is unknown; for, if he did so, he would be accounted an infidel and perish everlastingly. A Vizier's fall is ever near, especially with credulous Sultans and designing enemies. One was deposed merely because he amused himself with hawking. Such a simple relaxation from incessant care and business was made to appear like inattention to work, and the Vizier found a day or two after a rival over his head. The post is never long vacant. Once, and once only, was it unoccupied for forty days. But this was so strange that it is specially mentioned, like 'the twins of Sultan Ahmed the Second, which were such raræ aves that for eight days the nation was delirious with joy. Churchman's Shilling Magazine.

MOTHER GOOSE.-This, it seems, is no fanciful name got up to please children. There was a real Mrs. Goose, or as she was familiarly called, Mother Goose, who signalised herself by her literature for the nursery. Her maiden name was Elizabeth Foster. She was born at Charlestown, where she resided until her marriage with Isaac Goose, when she became step-mother to ten children. As if that was not a sufficient family to look after, she by-and-by added six children of her own to the number, making 'sixteen "goslings" in all. It was rather a heavy handful, and we do not wonder that she poured out her feelings in the celebrated linesThere was an old woman who lived in a shoe,

She had so many children she didn't know what to do. To entertain her young flock, Mrs. Goose was in the habit of telling little stories in prose and verse, and singing songs, which were highly relished. Though tasked, she spent on the whole an agreeable existence. Her children having grown up, she was very much at her ease. Her daughter Elizabeth became the wife of Thomas Fleet, a printer in a small way in Boston. With this daughter, Mrs. Goose, now a widow, went to live, and had the satisfaction of singing her old songs to an infant grandson. Now begins the literary history of Mother Goose. Fleet, the son-in

law, was a shrewd fellow, and, as a printer, he thought he might turn the penny by noting down granny's nursery songs, and selling them in a cheap and attractive form. They were issued in a book under the title, "Songs for the Nursery; or Mother Goose's Melodies for Children. Printed by T. Fleet, at his Printing House, Pudding Lane, 1719. Price two coppers." This title-page also bore a large cut of a veritable goose, with wide open mouth, shewing that the proverbial irreverence of sons-in-law is not a thing of recent origin. We are told that old Mother Goose did not resent the pictorial illustration, but took it just as sweetly as she had taken all the other trials of life. Possessing her soul in patience, and gladdening the hearts of grandchildren, she lived until 1757, dying at the advanced age of ninety-two. There, then, as we are assured, is the true history of Mother Goose. How the little books which she originated have spread over the world, need not be specified.

EHEU, FUGACES!

I.

THE old clock hangs on the sun-kissed wall-
Tick, tock! Tick, tock!

The pulsing seconds to minutes call;
Tick, tock! Morn!

A maiden sits at the mirror there,
And smiles as she braids her golden hair;
O, in the light, but her face is fair!

Tick, tock! Tick, tock!

From over the sea the good ship brings
The lover of whom the maiden sings;
From the orange tree the first leaf springs;
Tick, tock! Tick, tock!

11.

The old clock hangs on the flower-decked wall-
Tick, tock! Tick, tock!

The golden hours the days enthrall;
Tick, tock! Noon!

The lover's pride and his love are blest-
The maiden is folded to his breast;
On her brow the holy blossoms rest:

Tick, tock! Tick, tock!

O, thrice-thrice long-may the sweet bells chime,
Thrilling flame through all triumphant time! ***
Still to my heart beats that measured rhyme-
Tick, tock! Tick, tock!

III.

The old clock hangs on the gray, dim wall-
Tick, tock! Tick, tock!
The drear years into Eternity fall;
Tick, tock! Night!

The thread that yon spider draws with care
Across the gleam of the mirror there,
Seems like the ghost of a golden hair:
Tick, tock! Tick, tock!

The sweet bells chime for those who may wed-
The neroli-snow crowns many a head-
But tree and maiden and lover are dead:
Tick, tock! Tick, tock!

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