Various - "Myths and Legends of All Nations"

Jessie Graham Flower - "Grace Harlowe's Overland Riders in the Great North Woods"

James M. Beck - "The Case of Edith Cavell"

Jules Verne - "Cinq Semaines En Ballon"

Annual Bibliography of Commonwealth Literature 2007
This paper argues that discourses of love in Ghanaian market literature for youth offer a view into complex negotiations of agency and empowerment. Drawing on Deborah Durham's notion of youth as "social `shifters'" and Francis Nyamnjoh's conception of the "interconnectedness" of agency, I take Ghanaian market literature as one specific case of how African literature for youth foregrounds questions of continuity and change as African societies enter into increasingly complex global relations. In this literature for youth, received notions of love, often constructed out of impressions from American pop and hip hop music, carry new notions of agency that compete with existing "domesticated" forms. Authors like Ike Tandoh and Evelyn Tay employ discourses of love to offer youth alternative avenues for empowerment in a context of socio-economic disenfranchizement. In a creative process of "straddling", this writing both reveals and reproduces the contradictions that obtain in youth configurations of agency.

Young Americans Abroad

V >> Various >> Young Americans Abroad




I wish, Charley, you could go with me into a door south of the transept,
over which, in oddly-shaped letters, are the words "MEDIAEVAL
COURT." The very name reminds one of Popery, Puseyism, and Pugin.
This mediaeval court absolutely dazzles one's eyes with its splendors.
Auriferous draperies line the walls; from the ceiling hang gold and
silver lamps--such lamps as are to be seen in Romish chapels before the
statues of the Virgin; huge candlesticks, in which are placed enormous
candles; Gothic canopies and richly-carved stalls; images of he and she
saints of every degree; crucifixes and crosiers; copes and mitres;
embroideries, of richest character, are all here--things which the
mother of harlots prizes as the chosen instruments by which she
deceives the nations. And truly beautiful are many of these things as
works of art; but it is only as works of art that any Christian can
admire them. As I gazed on the rich tissues and golden insignia, I
mourned for poor corrupt human nature, to which alone such gewgaws could
be acceptable. How would Paul or Peter have stared, had they been
required to don such glittering pontificals as are here to be seen!
While I feel great respect for Pugin's ability as an architect and
designer, I have profound pity for those who are deluded by these
gorgeous symbols of a gloomy, cruel, and heartless creed.

There is a large golden cage, not altogether unlike a parrot's; and
there is a press, indeed. What calls such attention from the multitude?
I join the gazers, and see what at first appears to be three pieces of
irregularly-shaped glass, white and glittering; one large piece, about
the size of a walnut, and two others a little larger than marbles. What
renders that bit of glass so attractive? Glass! no; it is "a gem of
purest ray serene"--a diamond--the diamond of diamonds--the largest in
the world. In short, it is the Kohinoor; or, as the Orientals poetically
called it, "the mountain of light." Its estimated value is two millions
sterling--enough to buy the Crystal Palace itself, nine times over. The
history of this precious gem is romantically curious. It belonged to
Runjeet Sindjb and is now an English trophy.

Let us enter that partially-darkened chamber, and stand before a painted
glass window, the production of Bertini, of Milan. I can't describe this
extraordinary production. It is illustrative of Dante, and, for
brilliancy of color and harmony of combination, it is not surpassed by
the much-vaunted specimens of past ages.

"From the sublime to the ridiculous," said Burke, "there is but a step;"
and at not much greater distance from this Dantean window is a German
toy stand. It is amusing to observe a big, "Tenbroek" sort of son of
Allemagne, arranging tiny children's toys. The contrast between the
German giant and the petty fabrics he is setting off to the best
advantage, provokes a smile.

Let us join the throng rushing into the suite of rooms furnished by the
upholsterers of Vienna. These rooms are indeed magnificent, and must
afford a high treat to the lovers of wood carving. There is a bookcase,
which is almost a miracle of art; the flowers seem to wave, and the
leaves to tremble, so nearly do they approach the perfection of nature.
Then there is, it is said by judges, the most superb bed in the world;
it is literally covered with carvings of the most costly and delicate
description. Since the time of the famous Grinling Gibbons, the English
carver, nothing has been seen like it. These Austrian rooms are among
the great guns of the show, and will repay repeated visits.

Here stands the glorious Amazon of Kiss, of Berlin. This group, of
colossal proportions, represents a female on horseback, in the act of
launching a javelin at a tiger which has sprung on the fore quarter of
her affrighted steed. This is a wonderful work of art, and places its
author in the first rank of sculptors. Nothing can surpass the lifelike
character of the Amazon's horse and the ferocious beast. As a tribute to
the genius of Kiss, a grand banquet is to be given to him by the
sculptors and artists of England. Well does he deserve such an honor.

Close by the Amazon is a colossal lion in bronze. This is the softest
piece of casting I ever saw; the catlike motion of the paw is perfectly
lifelike. I turn back again to that Amazon. I could gaze on the agony of
that horse for hours, and think I should continue to discover new
beauties.

The Crusader, a colossal equestrian statue of Godfrey of Bouillon, is
also very imposing. The entire floor is covered in the centre of the
avenue, from east to west, with beautiful statues, models, &c.

We ascended to one of the galleries for the purpose of taking a bird's
eye view of the gay, busy scene; and a most splendid scene was thrown
open to our gaze. Far as the eye could reach, the building was alive
with gayly-dressed people, who, amidst statues, and trophies, and trees,
and fountains, wandered as in the groves of some enchanted land. As I
strolled onwards, I came to where a tiny fountain sent up its silvery
jet of _eau de Cologne_, and an assistant of Jean Marie Farina, from a
little golden spoon, poured on my handkerchief, unasked, the odoriferous
essence. Then we lingered to witness two of the noblest cakes, the sight
of which ever gladdened the heart of a bride. Gunter, the great pastry
cook, was the architect of the one which was a triumph of taste. The
other was adorned with Cupid and Psyche-like emblems. Then came wax
flowers, beaded artfully with glass, so as to appear spangled with
dewdrops. Then we inspected Cashmere shawls, on which I saw many a lady
cast looks, of admiration, and, I almost fancied, of covetousness.

Down again, and we are beneath the transept. Beautiful, head, far higher
than the tops of the huge elm-trees, is a crystal arch which spans this
intersecting space. Around are marble statues, which gleam lustrously
amid the foliage of tropical plants, which, shielded from the chilling
air without, seem to be quite at home here. And in the midst up rises
Osler's crystal fountain--a splendid affair, twenty-seven feet in
height, and consisting of four tons of cut glass. So exquisitely is it
arranged that no metal, either of joint or pipe, can be seen. It is "one
entire and perfect chrysolite." From its lofty summit issues forth a
dome of water, which separates, and falls in prismatic showers into a
spacious basin beneath. There are three other fountains, but this is the
monarch of all. On either side of this beautiful production of a
Birmingham manufacturer are two equestrian statues of the queen and
Prince Albert, about which I cannot speak in admiration. Groups of
figures line the sides of the transept, and there is a Puck which I
would like all friends to look at. O, he is alive with fun, and there
marble speaks and laughs.

We have been greatly delighted with the English room of sculpture. There
is a fine portrait statue of Flaxman, from the chisel of Franks; a very
clever statue of John Wesley; but if I were to chronicle all the
sculptures here, I may as well write a catalogue at once. But before I
quit the subject of marble, let me just allude to the Italian gallery.
There the specimens are indeed exquisite, and remind us that the genius
of art yet loves to linger in the "land of the cypress and myrtle"--in
that beautiful country

"Where the poet's eye and painter's hand
Are most divine."

Among the gems of marble is one which I told, you was the only possible
rival of Powers's Greek Slave. This lovely production is "the Veiled
Vesta." It represents a young and exquisitely-formed girl, kneeling and
offering her oblation of the sacred fire. Her face is veiled; but every
feature is distinctly visible, as it were, through the folds which cover
her face. So wonderfully is the veil-like appearance produced, that
myself and others were almost inclined to believe that some trick of art
had been practised, and a film of gauze actually hung over the features.
It was not so, however; the hard marble, finely managed, alone caused
the deception. Raffael Monti, of Milan, is the illustrious artist of
"the Veiled Vesta."

One of the most interesting machines in the whole exhibition is the
envelope machine of Messrs. De la Rue & Co., of London. In its
operations it more resembles the efforts of human intellect than any
thing I have seen before in machinery. It occupies but a small space,
and is worked by a little boy. In a second, and as if by magic, a blank
piece of paper is folded, gummed, and stamped, and, in fact, converted
into a perfect envelope. As soon as finished, a pair of steel fingers
picks it up, lays it aside, and pushes it out of the way in the most
orderly manner possible. These envelopes, so made, are given to all who
choose to accept them. Opposite to this machine is the stand of
Gillott, of steel pen celebrity. Here are pens of all sizes, and of
various materials. One monster pen might fit a Brobdignagian fist, for
it is two feet long, and has a nib one quarter of an inch broad; and
there are others so small that no one but a Liliputian lady could use
them. Between these extremes are others of various dimensions, arranged
in a very tasteful manner. Something must be got out of this branch of
business, for it is only a month or two since Mr. Gillott purchased an
estate for ninety thousand pounds sterling. Here, too, is a novelty--the
model of St. Stephen's Church, Bolton, Lancashire. The model and the
church itself are both composed of terra cotta. This material was also
employed in the construction of the principal fittings, such as the
screen, pews, organ gallery, pulpit, &c. This is a new adaptation of
terra cotta. The spire severely tests its capabilities, as it is of open
Gothic, or tracery work.

A large model of Liverpool is beautifully constructed to scale, and must
be the result of immense labor. It is twenty-five feet long, and
exhibits at a glance a bird's eye view of the town, the docks, the River
Mersey, and the adjacent places. Hundreds of miniature vessels, amongst
them the Great Britain, crowd the docks; fleets of merchantmen are seen
on the Mersey, sailing to and from the port; and in the busy streets,
so minutely delineated that any particular house may be distinguished,
numerous vehicles are seen, and hundreds, too, of pygmy men and women
are observed walking in the public ways. In short; it is Liverpool in a
glass case, and no mean exhibition in itself.

The Thames Plate Glass Company exhibit the largest plate of glass in the
world; its dimensions are eighteen feet eight inches by ten feet. There
is not a blemish on its brilliant surface, and it is as "true" as
possible. It is placed in such a position that it reflects the whole
length of the main avenue of the Crystal Palace, and the effect produced
is superb. A Catholic bookseller from Belgium makes quite a display of
his editions of devotional works for every country under heaven; and
there, too, are the effigies of Cardinal Boromeo, Thomas a Becket, and
the late Archbishop of Paris, all arrayed in full pontificals. Their
crosiers are very richly jewelled. If the apostles of Christ could
revisit the earth, they would never fancy that these were their
successors in the work and patience of the gospel.

Few things have impressed me more than the exquisite carvings and
elaborate work of the cabinet ware; and I must, Charley, try to describe
one piece of furniture which excites universal praise. It is a cabinet
made by John Stevens, of Taunton. It was prepared at great cost, and is
the gem of the carved work in the exhibition. The wood of which it was
composed was a walnut-tree, which, not long ago, flourished near
Taunton. In order that you may not suppose, I praise every thing too
highly, and without sufficient ground for admiration, I shall give you a
particular description of this incomparable piece of furniture. It
represents, in four beautifully carved male figures, executed after the
style of Gibbons, the periods of Youth, Manhood, Maturity, and Old Age,
whilst other four (female) figures, beautifully brought up in good
relief, are representative of the Passions. Here there was an
opportunity for displaying some fine needlework; and Miss Kingsbury, a
lady of the town, who has received from the hand of royalty a reward for
her talents, has turned the opportunity to good account, and produced
some appropriate work, displaying a skill truly astonishing. This is not
the least attractive portion of the cabinet, and, as we shall again,
have to advert to it in its order, we leave it for the present. The
carved figure of the Youth represents him at twenty years of age. The
countenance is finely wrought, and marks the innocency and candor of the
young heart; the open brow, the love-lighted eye, all exemplifying
characteristics of that period of life, untrammelled with care or
anxious thought. In his hair, well brought out from the solid wood, is
intertwined the violet, the primrose, and the cow-slip, emblematical of
the season--being the spring time of life. In the right hand of the
figure is attached a portion of a festoon of carved flowers, which
connects it with the other four figures. The left hand is extended,
pointing to Manhood. This figure denotes the period when forty summers
have ripened the man, and brought the noblest work of God to that stage
of his more powerful intellect, his keener judgment, stronger frame, and
more lasting energy. These characteristics are most admirably depicted.
In his locks are carved the rose, the lily, the pink, and the carnation,
the strawberry and the gooseberry--emblematical of the summer time of
life. In the right hand the figure receives the festoon of flowers from
Youth, and in the left it supports the frame of the cabinet. The festoon
is carried on to Maturity, which represents the time when sixty years
bring him to the period of decline. Its right hand assists, with the
left of that of Manhood, in supporting the cabinet. Encircling his brow
are corn ears and wine cups, together with barley, wheat, grapes, and
hops, the whole of which are most elaborately and finely chiselled. The
hand of Maturity points downward to Old Age. The furrowed brow, the
sunken cheek, the dim and glassy eye observable in this figure, conveys
the mournful intelligence that the sand of life is fast approaching its
last little grain. The bent form and the thoughtful brow tell that
Time, the consumer of all things, has also ravaged a once erect and
powerful frame. The contemplation of this figure, beautifully executed
as it is, intuitively inculcates a serious consideration of the value
and blessings of a temperate; and well-spent life; it induces a
thoughtful reflection that a life of goodness alone insures an end of
peace. The holly, the mistletoe, the ivy, the acorn shell, the leafless
branch, and the fruitless vine encircle the brow-fit emblems of the
period which marks an exchange of time for eternity. All the figures are
rendered complete by a carved lion's foot, at the bottom of each, and
above the feet is a connecting frame, to make that portion of the stand
perfect. Between the figures of Spring and Summer are carved flowers and
fruit in great profusion, emblematical of the seasons, and forming a
fine piece of work; it represents the all-important fact that time
flies, by an hourglass borne on the wings of a splendidly-carved eagle,
and suspending from the bird's beak are the letters, curiously wrought,
forming TEMPUS FUGIT. This rests on a globe, representative of
the earth, which is half sunk in a shell of water, overflowing the wheel
of time, and shedding on fruit and flowers its refreshing dew. The space
between the figures of Autumn and Winter is filled with carvings of the
chrysanthemum, holly, ivy, and autumn fruit, intertwined with
consummate skill and taste. The garland, or festoon, which is carried
through, and sustained, as before stated, by each of the four figures,
is composed of every flower indigenous to this part of the land, and
introduced emblematically to the time in which they severally bloom.

Above the figures, and resting on their heads, is a stand or frame to
receive the top part, containing the drawers, doors, &c., and is
constructed in a peculiar manner on the bevel, that the eye may easily
rest on some beautiful lines from Thomson's Seasons. Over the head of
Youth, in this frame, is a basket of strawberries, cherries,
raspberries, and early fruit, surrounded with leaf work, enclosing a
panel of needlework, covered with bent plate glass, and the motto,--

"------ Chief, lovely Spring,
In these and thy soft scenes the smiling God is seen."

Then follows the carved figure representing Summer. Over the head of it
is a basket, containing currants, strawberries, gooseberries, apples,
pears, peaches, and other fruits, enriched with leaf work, the lily and
the rose completing the centre. Between the Summer and Autumn baskets
and a panel are the following mottoes, each season having one:--

"Child of the sun! refulgent Summer comes,
In pride of youth;
While Autumn, nodding o'or the yellow plain,
Comes jovial on."

Then follows the Autumn basket, containing grapes, pears, filberts, &c.,
surrounded with leaf work. The panel of needlework next appears for
Winter, with these lines:--

"See! Winter comes to rule the varied year,
Sullen and sad;"

and over the head of the Winter figure is placed a basket of walnuts,
medlars, &c. Here is the frame of the cabinet, which contains about
eighty drawers in fine walnut wood, enriched with fuschia drops in
silver, and coral beads for drop handles; the wood work is relieved with
silvered plate glass; also small doors with plate glass for needlework,
in wild flowers. This completes the interior of the frame.

The exterior represents three carved doors, in fine relief: over Spring
and Summer is the convolvulus, entwined round the frame; then follows
the centre door, in fine relief--the grape vine, full of fruit, being
very prominent. The door over Autumn and Winter is enriched with
carvings of barley and hop vine. Between each of these doors are
pilasters, forming four female figures, holding in their hands the
emblems of the seasons, and a newly-invented glass dome head, in an
elegant form, for the protection of knitted flowers in Berlin wool. The
wood work is tastefully arranged, springing from each group of flowers
over the heads of the female figures, with mouldings to receive the
bent plate glass, and is enriched with fine carvings of fruit and
flowers. At the extreme top of this glass dome stands a beautiful figure
of Peace, with extended wings, bending over the globe, holding in one
hand the olive branch, and with the other pointing to the Deity.

Having thus given a description of the carvings of this splendid
cabinet, let me turn your attention to the enrichments in needlework,
worked on black velvet, from nature, by Miss Kingsbury. The mottoes in
frame for the different seasons are worked in floss silk of various
colors; the inside doors--five in number--with wild flowers; and in
front are rich specimens of raised embroidery, extending to the inside,
and protected with plate glass. Miss Kingsbury is a young lady of
Taunton, who has made this kind of work her peculiar forte.

Above the doors, also, are knitted flowers in Berlin wools, which fill
the dome head, and are protected with bent plate glass. Almost every
flower, as they bloom, are to be distinguished in these rich bouquets,
with which the honeysuckle and passion flower are beautifully entwined.

Now, what think you of such a cabinet as this? Well, Charley, there are
scores and scores of objects as much deserving a full description as
this.

The department of machinery and steam power is entirely beyond my
ability to speak of in proper terms. I have little mechanical genius,
and I never am more out of my element than When surrounded by fly
wheels, cylinders, and walking beams.

If our friend Ike had been here, lie would have been perfectly at home;
and his pleasure and profit in this department would have surpassed any
I could experience. I have only glanced at a few of the wonderful things
in this wonderful place, and yet I have far exceeded the bounds of an
ordinary letter.

Yours affectionately,

J.O.C.




Letter 17.


LONDON.

DEAR CHARLEY:--

One evening this week we spent very pleasantly at the Royal Polytechnic
Institution for the advancement of the arts and sciences in connection
with agriculture and manufactures. There is a large theatre, where all
sorts of lectures are delivered, at various hours, upon philosophical
and other subjects. Lecturers occupy the theatre in succession, and take
up about half an hour. These are generally men of respectable abilities.
The building is full of curiosities. We saw the model of the human ear,
about one hundred and forty times larger than the natural organ. We saw
a diving bell in the great hall, which is frequently put into action,
and visitors are allowed to descend. That evening several made the
experiment. The interior of the bell is lighted by thick plate glass. A
very large number of models are to be seen, and there is much to
interest the spectator. We heard a fine lecture respecting the
experiment of Foucault, by which the diurnal rotation of the earth is
said to be rendered visible to the eye. Foucault is a young Parisian,
who, whilst engaged in some investigations with a pendulum in his
mother's cellar, made this discovery, as he claims it to be. We saw the
experiment repeated here on the same scale as it has recently been shown
at the Pantheon at Paris. A brass sphere, weighing about five pounds,
was suspended from the lofty ceiling by a piece of music wire, and made
to vibrate in one plane over a table graduated into degrees. After a few
vibrations, the direction of the pendulum appeared to be changed, as
though the table had moved round on its owns axis.

We passed an hour at the Egyptian Hall to see the opening of the
American Panorama of the Overland Route to California. It bids fair to
make a hit in London. Last Sunday, "great exhibition" sermons were
abundant in London. Exeter Hal, the largest place in London, holding
about five thousand persons, is to be used for three months for the
performance of divine service, to accommodate the strangers who crowd
the city. We all went, Sunday evening, and heard the Rev. Thomas Binney,
who has quite a reputation. The hall was as full as it could be, but we
did not think the discourse as good as it might be. It was rather
declamatory.

You no doubt remember how much our curiosity was excited by hearing that
Mr. Wyld was about to place a model of the globe, of gigantic
dimensions, in the great exhibition. Well, he was unable to obtain the
space required, and so he has erected a spacious building in Leicester
Square. This building is circular, with projecting entrances at the four
cardinal points of the compass. From the centre rises a graceful dome.
Here is placed the model of the earth, fifty-six feet in diameter. The
scale is about ten miles to an inch. The arrangement before used in the
construction of globes is reversed in this case, and the continents,
islands, and seas are seen on the _inner_ surface. This seems like
turning the world, not upside down, but inside out. The mountains and
land are elevated to a scale. The spectators travel round the globe on
winding staircases, at the distance of a few feet from the surface. I
went the other morning to the model, but was far less interested than I
expected. The rest of the party were not present, and are willing to
take my report. I heard that Mr. Wyld has spent twelve thousand pounds
upon his undertaking.

We selected a fine afternoon to visit the Zooelogical Gardens in the
Regent's Park, and, of course, had a treat. I did not think much of the
gardens as far as the horticulture was concerned; but the collection of
animals was far beyond any thing I had before witnessed. There are more
than sixteen hundred specimens. The animals are finely housed, and their
habits consulted in the arrangements of their homes. We had the pleasure
to see the young elephant, only six months old, which had just been
received. It was about the size of a donkey. A hippopotamus had recently
been added to the collection, and we were sadly vexed not to see it. It
was shut up at six o'clock, just as we reached its house. George had his
luck, and obtained a glimpse of the retiring quadruped. We have been
greatly amused with the sight of hundreds of boys about town, dressed in
blue gowns, or long coats with belts, short knee breeches, yellow
stockings, and shoes with tackles, but wear no caps or hats. In all
weathers they are bareheaded. I find that they are the boys belonging to
Christ's Hospital, a school founded by Edward VI., in 1553, and
generally known in London as the Blue Coat School. The scholars
generally range from one thousand to twelve hundred. The education, is
said to be of the best character, and many of the boys belong to
families of high respectability, and it is quite a matter of desire to
obtain scholarship here. They look very funny in their old-fashioned
rig. Each boy wears bands like a clergyman. The school is in Newgate
Street, and is a fine modern edifice in the Tudor style. The front is
flanked by towers, and has eight noble windows, which are separated by
buttresses. Over one of the galleries of the hall is a fine picture, by
Holbein, of Edward VI. granting the charter to the Hospital, as it was
then called. Some of the best scholars of England were educated here;
and we remembered particularly Coleridge and our special favorite,
Charles Lamb.

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