Produced by Robert Rowe, Charles Franks and the Online Distributed Proofreading Team. HTML version by Al Haines ECLECTIC SCHOOL READINGS: STORIES FROM LIFE A BOOK FOR YOUNG PEOPLE BY ORISON SWETT MARDEN AUTHOR OF "ARCHITECTS OF FATE," "RUSHING TO THE FRONT," "WINNING OUT," ETC, AND EDITOR OF "SUCCESS" PREFACE To make a life, as well as to make a living, is one of the supreme objects for which we must all struggle. The sooner we realize what this means, the greater and more worthy will be the life which we shall make. In putting together the brief life stories and incidents from great lives which make up the pages of this little volume, the writer's object has been to show young people that, no matter how humble their birth or circumstances, they may make lives that will be held up as examples to future generations, even as these stories show how boys, handicapped by poverty and the most discouraging surroundings, yet succeeded so that they are held up as models to the boys of to-day. No boy or girl can learn too early in life the value of time and the opportunities within reach of the humblest children of the twentieth century to enable them to make of themselves noble men and women. The stories here presented do not claim to be more than mere outlines of the subjects chosen, enough to show what brave souls in the past, souls animated by loyalty to God and to their best selves, were able to accomplish in spite of obstacles of which the more fortunately born youths of to-day can have no conception. It should never be forgotten, however, in the strivings of ambition, that, while every one should endeavor to raise himself to his highest power and to attain to as exalted and honorable a position as his abilities entitle him to, his first object should be to make a noble life. The author wishes to acknowledge the assistance of Miss Margaret Connolly in the preparation of this volume. O.S.M. CONTENTS TO-DAY "THE MILL BOY OF THE SLASHES" THE GREEK SLAVE WHO WON THE OLIVE CROWN TURNING POINTS IN THE LIFE OF A HERO: I. THE FIRST TURNING POINT II. A BORN LEADER III. "FARRAGUT IS THE MAN" HE AIMED HIGH AND HIT THE MARK THE EVOLUTION OF A VIOLINIST THE LESSON OF THE TEAKETTLE HOW THE ART OF PRINTING WAS DISCOVERED SEA FEVER AND WHAT IT LED TO GLADSTONE FOUND TIME TO BE KIND A TRIBUNE OF THE PEOPLE THE MIGHT OF PATIENCE THE INSPIRATION OF GAMBETTA ANDREW JACKSON: THE BOY WHO "NEVER WOULD GIVE UP" SIR HUMPHRY DAVY'S GREATEST DISCOVERY, MICHAEL FARADAY THE TRIUMPH OF CANOVA FRANKLIN'S LESSON ON TIME VALUE FROM STORE BOY TO MILLIONAIRE "I WILL PAINT OR DIE!" THE CALL THAT SPEAKS IN THE BLOOD WASHINGTON'S YOUTHFUL HEROISM A COW HIS CAPITAL THE BOY WHO SAID "I MUST" THE HIDDEN TREASURE LOVE TAMED THE LION "THERE IS ROOM ENOUGH AT THE TOP" THE UPLIFT OF A SLAVE BOY'S IDEAL "TO THE FIRST ROBIN" THE "WIZARD" AS AN EDITOR HOW GOOD FORTUNE CAME TO PIERRE "IF I REST, I RUST" A BOY WHO KNEW NOT FEAR HOW STANLEY FOUND LIVINGSTONE THE NESTOR OF AMERICAN JOURNALISTS THE MAN WITH AN IDEA "BERNARD OF THE TUILERIES" HOW THE "LEARNED BLACKSMITH" FOUND TIME THE LEGEND OF WILLIAM TELL "WESTWARD HO!" THREE GREAT AMERICAN SONGS AND THEIR AUTHORS I. THE STAR-SPANGLED BANNER II. AMERICA III. THE BATTLE HYMN OF THE REPUBLIC TRAINING FOR GREATNESS THE MARBLE WAITETH STORIES FROM LIFE TO-DAY For the structure that we raise, Time is with materials filled; Our to-days and yesterdays Are the blocks with which we build. Longfellow. To-day! To-day! It is ours, with all its magic possibilities of being and doing. Yesterday, with its mistakes, misdeeds, lost opportunities, and failures, is gone forever. With the morrow we are not immediately concerned. It is but a promise yet to be fulfilled. Hidden behind the veil of the future, it may dimly beckon us, but it is yet a shadowy, unsubstantial vision, one that we, perhaps, never may realize. But to-day, the Here, the Now, that dawned upon us with the first hour of the morn, is a reality, a precious possession upon the right use of which may depend all our future of happiness and success, or of misery and failure; for "This day we fashion Destiny, our web of Fate we spin." Lest he should forget that Time's wings are swift and noiseless, and so rapidly bear our to-days to the Land of Yesterday, John Ruskin, philosopher, philanthropist, and tireless worker though he was, kept constantly before his eyes on his study table a large, handsome block of chalcedony, on which was graven the single word "To-day." Every moment of this noble life was enriched by the right use of each passing moment. A successful merchant, whose name is well-known throughout our country, very tersely sums up the means by which true success may be attained. "It is just this," he says: "Do your best every day, whatever you have in hand." This simple rule, if followed in sunshine and in storm, in days of sadness as well as days of gladness, will rear for the builder a Palace Beautiful more precious than pearls of great price, more enduring than time. "THE MILL BOY OF THE SLASHES" A picturesque, as well as pathetic figure, was Henry Clay, the little "Mill Boy of the Slashes," as he rode along on the old family horse to Mrs. Darricott's mill. Blue-eyed, rosy-cheeked, and bare-footed, clothed in coarse shirt and trousers, and a time-worn straw hat, he sat erect on the bare back of the horse, holding, with firm hand, the rope which did duty as a bridle. In front of him lay the precious sack, containing the grist which was to be ground into meal or flour, to feed the hungry mouths of the seven little boys and girls who, with the widowed mother, made up the Clay family. It required a good deal of grist to feed so large a family, especially when hoecake was the staple food, and it was because of his frequent trips to the mill, across the swampy region called the "Slashes," that Henry was dubbed by the neighbors "The Mill Boy of the Slashes." The lad was ambitious, however, and, very early in life, made up his mind that he would win for himself a more imposing title. He never dreamed of winning world-wide renown as an orator, or of exchanging his boyish sobriquet for "The Orator of Ashland." But he who forms high ideals in youth usually far outstrips his first ambition, and Henry had "hitched his wagon to a star." This awkward country boy, who was so bashful, and so lacking in self-confidence that he hardly dared recite before his class in the log schoolhouse, DETERMINED TO BECOME AN ORATOR. Henry Clay, the brilliant lawyer and statesman, the American Demosthenes who could sway multitudes by his matchless oratory, once said, "In order to succeed a man must have a purpose fixed, then let his motto be VICTORY OR DEATH." When Henry Clay, the poor country boy, son of an unknown Baptist minister, made up his mind to become an orator, he acted on this principle. No discouragement or obstacle was allowed to swerve him from his purpose. Since the death of his father, when the boy was but five years old, he had carried grist to the mill, chopped wood, followed the plow barefooted, clerked in a country store,--did everything that a loving son and brother could do to help win a subsistence for the family. In the midst of poverty, hard work, and the most pitilessly unfavorable conditions, the youth clung to his resolve. He learned what he could at the country schoolhouse, during the time the duties of the farm permitted him to attend school. He committed speeches to memory, and recited them aloud, sometimes in the forest, sometimes while working in the cornfield, and frequently in a barn with a horse and an ox for his audience. In his fifteenth year he left the grocery store where he had been clerking to take a position in the office of the clerk of the High Court of Chancery. There he became interested in law, and by reading and study began at once to supplement the scanty education of his childhood. To such good purpose did he use his opportunities that in 1797, when only twenty years old, he was licensed by the judges of the court of appeals to practice law. When he moved from Richmond to Lexington, Kentucky, the same year to begin practice for himself, he had no influential friends, no patrons, and not even the means to pay his board. Referring to this time years afterward, he said, "I remember how comfortable I thought I should be if I could make one hundred pounds Virginia money (less than five hundred dollars) per year; and with what delight I received the first fifteen-shilling fee." Contrary to his expectations, the young lawyer had "immediately rushed into a lucrative practice." At the age of twenty-seven he was elected to the Kentucky legislature. Two years later he was sent to the United States Senate to fill out the remainder of the term of a senator who had withdrawn. In 1811 he was elected to Congress, and made Speaker of the national House of Representatives. He was afterward elected to the United States Senate in the regular way. Both in Congress and in the Senate Clay always worked for what he believed to be the best interests of his country. Ambition, which so often causes men to turn aside from the paths of truth and honor, had no power to tempt him to do wrong. He was ambitious to be president, but would not sacrifice any of his convictions for the sake of being elected. Although he was nominated by his party three times, he never became president. It was when warned by a friend that if he persisted in a certain course of political conduct he would injure his prospects of being elected, that he made his famous statement, "I would rather be right than be president." Clay has been described by one of his biographers as "a brilliant orator, an honest man, a charming gentleman, an ardent patriot, and a leader whose popularity was equaled only by that of Andrew Jackson." Although born in a state in which wealth and ancient ancestry were highly rated, he was never ashamed of his birth or poverty. Once when taunted by the aristocratic John Randolph with his lowly origin, he proudly exclaimed, "I was born to no proud paternal estate. I inherited only infancy, ignorance, and indigence." He was born in Hanover County, Virginia, on April 12, 1777, and died in Washington, June 29, 1852. With only the humble inheritance which he claimed--"infancy, ignorance, and indigence"--Henry Clay made himself a name that wealth and a long line of ancestry could never bestow. THE GREEK SLAVE WHO WON THE OLIVE CROWN The teeming life of the streets has vanished; the voices of the children have died away into silence; the artisan has dropped his tools, the artist has laid aside his brush, the sculptor his chisel. Night has spread her wings over the scene. The queen city of Greece is wrapped in slumber. But, in the midst of that hushed life, there is one who sleeps not, a worshiper at the shrine of art, who feels neither fatigue nor hardship, and fears not death itself in the pursuit of his object. With the fire of genius burning in his dark eyes, a youth works with feverish haste on a group of wondrous beauty. But why is this master artist at work, in secret, in a cellar where the sun never shone, the daylight never entered? I will tell you. Creon, the inspired worker, the son of genius, is a slave, and the penalty of pursuing his art is death. When the Athenian law debarring all but freemen from the exercise of art was enacted, Creon was at work trying to realize in marble the vision his soul had created. The beautiful group was growing into life under his magic touch when the cruel edict struck the chisel from his fingers. "O ye gods!" groans the stricken youth, "why have ye deserted me, now, when my task is almost completed? I have thrown my soul, my very life, into this block of marble, and now--" Cleone, the beautiful dark-haired sister of the sculptor, felt the blow as keenly as her brother, to whom she was utterly devoted. "O immortal Athene! my goddess, my patron, at whose shrine I have daily laid my offerings, be now my friend, the friend of my brother!" she prayed. Then, with the light of a new-born resolve shining in her eyes, she turned to her brother, saying:-- "The thought of your brain shall live. Let us go to the cellar beneath our house. It is dark, but I will bring you light and food, and no one will discover our secret. You can there continue your work; the gods will be our allies." It is the golden age of Pericles, the most brilliant epoch of Grecian art and dramatic literature. The scene is one of the most memorable that has ever been enacted within the proud city of Athens. In the Agora, the public assembly or market place, are gathered together the wisdom and wit, the genius and beauty, the glory and power, of all Greece. Enthroned in regal state sits Pericles, president of the assembly, soldier, statesman, orator, ruler, and "sole master of Athens." By his side sits his beautiful partner, the learned and queenly Aspasia. Phidias, one of the greatest sculptors, if not the greatest the world has known, who "formed a new style characterized by sublimity and ideal beauty," is there. Near him is Sophocles, the greatest of the tragic poets. Yonder we catch a glimpse of a face and form that offers the most striking contrast to the manly beauty of the poet, but whose wisdom and virtue have brought Athens to his feet. It is the "father of philosophy," Socrates. With his arm linked in that of the philosopher, we see--but why prolong the list? All Greece has been bidden to Athens to view the works of art. The works of the great masters are there. On every side paintings and statues, marvelous in detail, exquisite in finish, challenge the admiration of the crowd and the criticism of the rival artists and connoisseurs who throng the place. But even in the midst of masterpieces, one group of statuary so far surpasses all the others that it rivets the attention of the vast assembly. "Who is the sculptor of this group?" demands Pericles. Envious artists look from one to the other with questioning eyes, but the question remains unanswered. No triumphant sculptor comes forward to claim the wondrous creation as the work of his brain and hand. Heralds, in thunder tones, repeat, "Who is the sculptor of this group?" No one can tell. It is a mystery. Is it the work of the gods? or--and, with bated breath, the question passes from lip to lip, "Can it have been fashioned by the hand of a slave?" Suddenly a disturbance arises at the edge of the crowd. Loud voices are heard, and anon the trembling tones of a woman. Pushing their way through the concourse, two officers drag a shrinking girl, with dark, frightened eyes, to the feet of Pericles. "This woman," they cry, "knows the sculptor; we are sure of this; but she will not tell his name." Neither threats nor pleading can unlock the lips of the brave girl. Not even when informed that the penalty of her conduct was death would she divulge her secret. "The law," says Pericles, "is imperative. Take the maid to the dungeon." Creon, who, with his sister, had been among the first to find his way to the Agora that morning, rushed forward, and, flinging himself at the ruler's feet, cried "O Pericles! forgive and save the maid. She is my sister. I am the culprit. The group is the work of my hands, the hands of a slave." An intense silence fell upon the multitude, and then went up a mighty shout,--"To the dungeon, to the dungeon with the slave." "As I live, no!" said Pericles, rising. "Not to the dungeon, but to my side bring the youth. The highest purpose of the law should be the development of the beautiful. The gods decide by that group that there is something higher in Greece than an unjust law. To the sculptor who fashioned it give the victor's crown." And then, amid the applause of all the people, Aspasia placed the crown of olives on the youth's brow, and tenderly kissed the devoted sister who had been the right hand of genius. TURNING POINTS IN THE LIFE OF A HERO I. THE FIRST TURNING POINT David Farragut was acting as cabin boy to his father, who was on his way to New Orleans with the infant navy of the United States. The boy thought he had the qualities that make a man. "I could swear like an old salt," he says, "could drink as stiff a glass of grog as if I had doubled Cape Horn, and could smoke like a locomotive. I was great at cards, and was fond of gambling in every shape. At the close of dinner one day," he continues, "my father turned everybody out of the cabin, locked the door, and said to me, 'David, what do you mean to be?' "'I mean to follow the sea,' I said. "'Follow the sea!' exclaimed father, 'yes, be a poor, miserable, drunken sailor before the mast, kicked and cuffed about the world, and die in some fever hospital in a foreign clime!' "'No, father,' I replied, 'I will tread the quarterdeck, and command as you do.' "'No, David; no boy ever trod the quarterdeck with such principles as you have and such habits as you exhibit. You will have to change your whole course of life if you ever become a man.' "My father left me and went on deck. I was stunned by the rebuke, and overwhelmed with mortification. 'A poor, miserable, drunken sailor before the mast, kicked and cuffed about the world, and die in some fever hospital!' 'That's my fate, is it? I'll change my life, and _I_ WILL CHANGE IT AT ONCE. I will never utter another oath, never drink another drop of intoxicating liquor, never gamble,' and, as God is my witness," said the admiral, solemnly, "I have kept these three vows to this hour." II. A BORN LEADER The event which proved David Glasgow Farragut's qualities as a leader happened before he was thirteen. He was with his adopted father, Captain Porter, on board the Essex, when war was declared with England in 1812. A number of prizes were captured by the Essex, and David was ordered by Captain Porter to take one of the captured vessels, with her commander as navigator, to Valparaiso. Although inwardly quailing before the violent-tempered old captain of the prize ship, of whom, as he afterward confessed, he was really "a little afraid," the boy assumed the command with a fearless air. On giving his first order, that the "main topsail be filled away," the trouble began. The old captain, furious at hearing a command given aboard his vessel by a boy not yet in his teens, replied to the order, with an oath, that he would shoot any one who dared touch a rope without his orders. Having delivered this mandate, he rushed below for his pistols. The situation was critical. If the young commander hesitated for a moment, or showed the least sign of submitting to be bullied, his authority would instantly have fallen from him. Boy as he was, David realized this, and, calling one of the crew to him, explained what had taken place, and repeated his order. With a hearty "Aye, aye, sir!" the sailor flew to the ropes, while the plucky midshipman called down to the captain that "if he came on deck with his pistols, he would be thrown overboard." David's victory was complete. During the remainder of the voyage none dared dispute his authority. Indeed his coolness and promptitude had won for him the lasting admiration of the crew. III. "FARRAGUT IS THE MAN" The great turning point which placed Farragut at the head of the American navy was reached in 1861, when Virginia seceded from the Union, and he had to choose between the cause of the North and that of the South. He dearly loved his native South, and said, "God forbid that I should have to raise my hand against her," but he determined, come what would, to "stick to the flag." So it came about that when, in order to secure the control of the Mississippi, the national government resolved upon the capture of New Orleans, Farragut was chosen to lead the undertaking. Several officers, noted for their loyalty, good judgment, and daring, were suggested, but the Secretary of the Navy said, "Farragut is the man." The opportunity for which all his previous noble life and brilliant services had been a preparation came to him when he was sixty-one years old. The command laid upon him was "the certain capture of the city of New Orleans." "The department and the country," so ran his instructions, "require of you success. ... If successful, you open the way to the sea for the great West, never again to be closed. The rebellion will be riven in the center, and the flag, to which you have been so faithful, will recover its supremacy in every state." On January 9, 1862, Farragut was appointed to the command of the western gulf blockading squadron. "On February 2," says the National Cyclopedia of American Biograph, "he sailed on the steam sloop Hartford from Hampton Roads, arriving at the appointed rendezvous, Ship Island, in sixteen days. His fleet, consisting of six war steamers, sixteen gunboats, twenty-one mortar vessels, under the command of Commodore David D. Porter, and five supply ships, was the largest that had ever sailed under the American flag. Yet the task assigned him, the passing of the forts below New Orleans, the capture of the city, and the opening of the Mississippi River through its entire length was one of difficulty unprecedented in the history of naval warfare." Danger or death had no terror for the brave sailor. Before setting out on his hazardous enterprise, he said: "If I die in the attempt, it will only be what every officer has to expect. He who dies in doing his duty to his country, and at peace with his God, has played the drama of life to the best advantage." The hero did not die. He fought and won the great battle, and thus executed the command laid upon him,--"the certain capture of the city of New Orleans." The victory was accomplished with the loss of but one ship, and 184 men killed and wounded,--"a feat in naval warfare," says his son and biographer, "which has no precedent, and which is still without a parallel, except the one furnished by Farragut himself, two years later, at Mobile." HE AIMED HIGH AND HIT THE MARK "Without vision the people perish" Without a high ideal an individual never climbs. Keep your eyes on the mountain top, and, though you may stumble and fall many times in the ascent, though great bowlders, dense forests, and roaring torrents may often bar the way, look right on, never losing sight of the light which shines away up in the clear atmosphere of the mountain peak, and you will ultimately reach your goal. When the late Horace Maynard, LL.D., entered Amherst College, he exposed himself to the ridicule and jibing questions of his fellow-students by placing over the door of his room a large square of white cardboard on which was inscribed in bold outlines the single letter "V." Disregarding comment and question, the young man applied himself to his work, ever keeping in mind the height to which he wished to climb, the first step toward which was signified by the mysterious "V." Four years later, after receiving the compliments of professors and students on the way he had acquitted himself as valedictorian of his class, young Maynard called the attention of his fellow-graduates to the letter over his door. Then a light broke in upon them, and they cried out, "Is it possible that you had the valedictory in mind when you put that 'V' over your door?" "Assuredly I had," was the emphatic reply. On he climbed, from height to height, becoming successively professor of mathematics in the University of Tennessee, lawyer, member of Congress, attorney-general of Tennessee, United States minister to Constantinople, and, finally, postmaster-general. Honorable ambition is the leaven that raises the whole mass of mankind. Ideals, visions, are the stepping-stones by which we rise to higher things. "Still, through our paltry stir and strife, Glows down the wished ideal, And longing molds in clay what life Carves in the marble real; "To let the new life in, we know, Desire must ope the portal,-- Perhaps the longing to be so Helps make the soul immortal." THE EVOLUTION OF A VIOLINIST He was a famous artist whom kings and queens and emperors delighted to honor. The emperor of all the Russias had sent him an affectionate letter, written by his own hand; the empress, a magnificent emerald ring set with diamonds; the king of his own beloved Norway, who had listened reverently, standing with uncovered head, while he, the king of violinists, played before him, had bestowed upon him the Order of Vasa; the king of Copenhagen presented him with a gold snuffbox, encrusted with diamonds; while, at a public dinner given him by the students of Christiana, he was crowned with a laurel wreath. Not all the thousands who thronged to hear him in London could gain entrance to the concert hall, and in Liverpool he received four thousand dollars for one evening's performance. Yet the homage of the great ones of the earth, the princely gifts bestowed upon him, the admiration of the thousands who hung entranced on every note breathed by his magic violin, gave less delight than the boy of fourteen experienced when he received from an old man, whose heart his playing had gladdened, the present of four pairs of doves, with a card suspended by a blue ribbon round the neck of one, bearing his own name, "Ole Bull." The soul of little Ole Bull had always been attuned to melody, from the time when, a toddling boy of four, he had kissed with passionate delight the little yellow violin given him by his uncle. How happy he was, as he wandered alone through the meadows, listening with the inner ear of heaven-born genius to the great song of nature. The bluebells, the buttercups, and the blades of grass sang to him in low, sweet tones, unheard by duller ears. How he thrilled with delight when he touched the strings of the little red violin, purchased for him when he was eight years old. His father destined him for the church, and, feeling that music should form part of the education of a clergyman, he consented to the mother's proposition that the boy should take lessons on the violin. Ole could not sleep for joy, that first night of ownership; and, when the house was wrapped in slumber, he got up and stole on tiptoe to the room where his treasure lay. The bow seemed to beckon to him, the pretty pearl screws to smile at him out of their red setting. "I pinched the strings just a little," he said. "It smiled at me ever more and more. I took up the bow and looked at it. It said to me it would be pleasant to try it across the strings. So I did try it just a very, very little, and it did sing to me so sweetly. At first I did play very soft. But presently I did begin a capriccio, which I like very much, and it did go ever louder and louder; and I forgot that it was midnight and that everybody was asleep. Presently I hear something crack; and the next minute I feel my father's whip across my shoulders. My little red violin dropped on the floor, and was broken. I weep much for it, but it did no good. They did have a doctor to it next day, but it never recovered its health." He was given another violin, however, and, when only ten, he would wander into the fields and woods, and spend hours playing his own improvisations, echoing the song of the birds, the murmur of the brook, the thunder of the waterfall, the soughing of the wind among the trees, the roar of the storm. But childhood's days are short. The years fly by. The little Ole is eighteen, a student in the University of Christiana, preparing for the ministry. His brother students beg him to play for a charitable association. He remembers his father's request that he yield not to his passion for music, but being urged for "sweet charity's sake," he consents. The youth's struggle between the soul's imperative demand and the equally imperative parental dictate was pathetic. Meanwhile the position of musical director of the Philharmonic and Dramatic Societies becoming vacant, Ole was appointed to the office; and, seeing that it was useless to contend longer against the genius of his son, the disappointed father allowed him to accept the directorship. When fairly launched on a musical career, his trials and disappointments began. Wishing to assure himself whether he had genius or not, he traveled five hundred miles to see and hear the celebrated Louis Spohr, who received the tremulous youth coldly, and gave him no encouragement. No matter, he would go to the city of art. In Paris he heard Berlioz and other great musicians. Entranced he listened, in his high seat at the top of the house, to the exquisite notes of Malibran. His soul feasted on music, but his money was fast dwindling away, and the body could not be sustained by sweet sounds. But the poor unknown violinist, who was only another atom in the surging life of the great city, could earn nothing. He was on the verge of starvation, but he would not go back to Christiana. He must still struggle and study. He became ill of brain fever, and was tenderly nursed back to life by the granddaughter of his kind landlady, pretty little Felicie Villeminot, who afterward became his wife. He had drained the cup of poverty and disappointment to the dregs, but the tide was about to turn. He was invited to play at a concert presided over by the Duke of Montebello, and this led to other profitable engagements. But the great opportunity of his life came to him in Bologna. The people had thronged to the opera house to hear Malibran. She had disappointed them, and they were in no mood to be lenient to the unknown violinist who had the temerity to try to fill her place. He came on the stage. He bowed. He grew pale under the cold gaze of the thousands of unsympathetic eyes turned upon him. But the touch of his beloved violin gave him confidence. Lovingly, tenderly, he drew the bow across the strings. The coldly critical eyes no longer gazed at him. The unsympathetic audience melted away. He and his violin were one and alone. In the hands of the great magician the instrument was more than human. It talked; it laughed; it wept; it controlled the moods of men as the wind controls the sea. The audience scarcely breathed. Criticism was disarmed. Malibran was forgotten. The people were under the spell of the enchanter. Orpheus had come again. But suddenly the music ceased. The spell was broken. With a shock the audience returned to earth, and Ole Bull, restored to consciousness of his whereabouts by the storm of applause which shook the house, found himself famous forever. His triumph was complete, but his work was not over, for the price of fame is ceaseless endeavor. But the turning point had been passed. He had seized the great opportunity for which his life had been a preparation, and it had placed him on the roll of the immortals. THE LESSON OF THE TEAKETTLE The teakettle was singing merrily over the fire; the good aunt was bustling round, on housewifely cares intent, and her little nephew sat dreamily gazing into the glowing blaze on the kitchen hearth. Presently the teakettle ceased singing, and a column of steam came rushing from its pipe. The boy started to his feet, raised the lid from the kettle, and peered in at the bubbling, boiling water, with a look of intense interest. Then he rushed off for a teacup, and, holding it over the steam, eagerly watched the latter as it condensed and formed into tiny drops of water on the inside of the cup. Returning from an upper room, whither her duties had called her, the thrifty aunt was shocked to find her nephew engaged in so profitless an occupation, and soundly scolded him for what she called his trifling. The good lady little dreamed that James Watt was even then unconsciously studying the germ of the science by which he "transformed the steam engine from a mere toy into the most wonderful instrument which human industry has ever had at its command." This studious little Scottish lad, who, because too frail to go to school, had been taught at home, was very different from other boys. When only six or seven years old, he would lie for hours on the hearth, in the little cottage at Greenock, near Glasgow, where he was born in 1736, drawing geometrical figures with pieces of colored chalk. He loved, too, to gaze at the stars, and longed to solve their mysteries. But his favorite pastime was to burrow among the ropes and sails and tackles in his father's store, trying to find out how they were made and what purposes they served. In spite of his limited advantages and frail health, at fifteen he was the wonder of the public school, which he had attended for two years. His favorite studies were mathematics and natural philosophy. He had also made good progress in chemistry, physiology, mineralogy, and botany, and, at the same time, had learned carpentry and acquired some skill as a worker in metals. So studious and ambitious a youth scarcely needed the spur of poverty to induce him to make the most of his talents. The spur was there, however, and, at the age of eighteen, though delicate in health, he was obliged to go out and battle with the world. Having first spent some time in Glasgow, learning how to make mathematical instruments, he determined to go to London, there to perfect himself in his trade. Working early and late, and suffering frequently from cold and hunger, he broke down under the unequal strain, and was obliged to return to his parents for a time until health was regained. Always struggling against great odds, he returned to Glasgow when his trade was mastered, and began to make mathematical instruments, for which, however, he found little sale. Then, to help eke out a living, he began to make and mend other instruments,--fiddles, guitars, and flutes,--and finally built an organ,--a very superior one, too,--with several additions of his own invention. A commonplace incident enough it seemed, in the routine of his daily occupation, when, one morning, a model of Newcomen's engine was brought to him for repair, yet it marked the turning point in his career, which ultimately led from poverty and struggle to fame and affluence. Watt's practiced eye at once perceived the defects in the Newcomen engine, which, although the best then in existence could not do much better or quicker work than horses. Filled with enthusiasm over the plans which he had conceived for the construction of a really powerful engine, he immediately set to work, and spent two months in an old cellar, working on a model. "My whole thoughts are bent on this machine," he wrote to a friend. "I can think of nothing else." So absorbed had he become in his new work that the old business of making and mending instruments had declined. This was all the more unfortunate as he was no longer struggling for himself alone. He had fallen in love with, and married, his cousin, Margaret Miller, who brought him the greatest happiness of his life. The neglect of the only practical means of support he had reduced Watt and his family to the direst poverty. More than once his health failed, and often the brave spirit was almost broken, as when he exclaimed in heaviness of heart, "Of all the things in the world, there is nothing so foolish as inventing." Five years had passed since the model of the Newcomen engine had been sent to him for repair before he succeeded in securing a patent on his own invention. Yet five more long years of bitter drudgery, clutched in the grip of poverty, debt, and sickness, did the brave inventor, sustained by the love and help of his noble wife, toil through. On his thirty-fifth birthday he said, "To-day I enter the thirty-fifth year of my life, and I think I have hardly yet done thirty-five pence worth of good in the world; but I cannot help it." Poor Watt! He had traveled with bleeding feet along the same thorny path trod by the great inventors and benefactors of all ages. But, in spite of all obstacles, he persevered; and, after ten years of inconceivable labor and hardship, during which his beautiful wife died, he had a glorious triumph. His perfected steam engine was the wonder of the age. Sir James Mackintosh placed him "at the head of all inventors in all ages and nations." "I look upon him," said the poet Wordsworth, "considering both the magnitude and the universality of his genius, as, perhaps, the most extraordinary man that this country ever produced." Wealthy beyond his desires,--for he cared not for wealth,--crowned with the laurel wreath of fame, honored by the civilized world as one of its greatest benefactors, the struggle over, the triumph achieved, on August 19, 1819, he lay down to rest. HOW THE ART OF PRINTING WAS DISCOVERED "Look, Grandfather; see what the letters have done!" exclaimed a delighted boy, as he picked up the piece of parchment in which Grandfather Coster had carried the bark letters cut from the trees in the grove, for the instruction and amusement of his little grandsons. "See what the letters have done!" echoed the old man. "Bless me, what does the child mean?" and his eyes twinkled with pleasure, as he noted the astonishment and pleasure visible on the little face. "Let me see what it is that pleases thee so, Laurence," and he eagerly took the parchment from the boy's hand. "Bless my soul!" cried the old man, after gazing spellbound upon it for some seconds. The track of the mysterious footprint in the sand excited no more surprise in the mind of Robinson Crusoe than Grandfather Coster felt at the sight which met his eyes. There, distinctly impressed upon the parchment, was a clear imprint of the bark letters; though, of course, they were reversed or turned about. But you twentieth-century young folks who have your fill of story books, picture books, and reading matter of all kinds, are wondering, perhaps, what all this talk about bark letters and parchment and imprint of letters means. To understand it, you must carry your imagination away back more than five centuries--quite a long journey of the mind, even for "grown-ups"--to a time when there were no printed books, and when very, very few of the rich and noble, and scarcely any of the so-called common people, could read. In those far-off days there were no public libraries, and no books except rare and expensive volumes, written by hand, mainly by monks in their quiet monasteries, on parchment or vellum. In the quaint, drowsy, picturesque town of Haarlem, in Holland, with its narrow, irregular, grass-grown streets and many-gabled houses, the projecting upper stories of which almost meet, one particular house, which seems even older than any of the others, is pointed out to visitors as one of the most interesting sights of the ancient place. It was in this house that Laurence Coster, the father of the art of printing, the man--at least so runs the legend--who made it possible for the poorest and humblest to enjoy the inestimable luxury of books and reading, lived and loved and dreamed more than five hundred years ago. Coster was warden of the little church which stood near his home, and his days flowed peacefully on, in a quiet, uneventful way, occupied with the duties of his office, and reading and study, for he was one of those who had mastered the art of reading. A diligent student, he had conned over and over, until he knew them by heart, the few manuscript volumes owned by the little church of which he was warden. A lover of solitude, as well as student and dreamer, the church warden's favorite resort, when his duties left him at leisure, was a dense grove not far from the town. Thither he went when he wished to be free from all distraction, to think and dream over many things which would appear nonsensical to his sober, practical-minded neighbors. There he indulged in day dreams and poetic fancies; and once, when in a sentimental mood, he carved the initials of the lady of his love on one of the trees. In time a fair young wife and children came, bringing new brightness and joy to the serious-minded warden. With ever increasing interests, he passed on from youth to middle life, and from middle life to old age. Then his son married, and again the patter of little feet filled the old home and made music in the ears of Grandfather Coster, whom the baby grandchildren almost worshiped. To amuse the children, and to impart to them whatever knowledge he himself possessed, became the delight of his old age. Then the habit acquired in youth of carving letters in the bark of the trees served a very useful purpose in furthering his object. He still loved to take solitary walks, and many a quiet summer afternoon the familiar figure of the venerable churchwarden, in his seedy black cloak and sugar-loaf hat, might be seen wending its way along the banks of the River Spaaren to his favorite resort in the grove. One day, while reclining on a mossy couch beneath a spreading beech tree, amusing himself by tearing strips of bark from the tree that shaded him, and carving letters with his knife, a happy thought entered his mind. "Why can I not," he mused within himself, "cut those letters out, carry them home, and, while using them as playthings, teach the little ones how to read?" The plan worked admirably. Long practice had made the old man quite expert in fashioning the letters, and many hours of quiet happiness were spent in the grove in this pleasing occupation. One afternoon he succeeded in cutting some unusually fine specimens, and, chuckling to himself over the delight they would give the children, he wrapped them carefully, placing them side by side in an old piece of parchment which he happened to have in his pocket. The bark from which they had been cut being fresh and full of sap, and the letters being firmly pressed upon the parchment, the result was the series of "pictures" which delighted the child and gave to the world the first suggestion of a printing press. And then a mighty thought flashed across the brain of the poor, humble, unknown churchwarden, a thought the realization of which was destined not only to make him famous for all time, but to revolutionize the whole world. The first dim suggestion came to him in this form, "By having a series of letters and impressing them over and over again on parchment, cannot books be printed instead of written, and so multiplied and cheapened as to be brought within the reach of all?" The remainder of his life was given up to developing this great idea. He cut more letters from bark, and, covering the smooth surface with ink, pressed them upon parchment, thus getting a better impression, though still blurred and imperfect. He then cut letters from wood instead of bark, and managed to invent himself a better and thicker ink, which did not blur the page. Next, he cut letters from lead, and then from pewter. Every hour was absorbed in the work of making possible the art of printing. His simple-minded neighbors thought he had lost his mind, and some of the more superstitious spread the report that he was a sorcerer. But, like all other great discoverers, he heeded not annoyances or discouragements. Shutting himself away from the prying curiosity of the ignorant and superstitious, he plodded on, making steady, if slow, advance toward the realization of his dream. "One day, while old Coster was thus busily at work," says George Makepeace Towle, "a sturdy German youth, with a knapsack slung across his back, trudged into Haarlem. By some chance this youth happened to hear how the churchwarden was at work upon a wild scheme to print books instead of writing them. With beating heart, the young man repaired to Coster's house and made all haste to knock at the churchwarden's humble door." The "sturdy German youth" who knocked at Laurence Coster's door was Johann Gutenberg, the inventor of modern printing. Coster invited him to enter. Gutenberg accepted the invitation, and then stated the object of his visit. He desired to learn more about the work on which Coster was engaged. Delighted to have a visitor who was honestly interested in his work, the old man eagerly explained its details to the youth, and showed him some examples of his printing. Gutenberg was much impressed by what he saw, but still more by the possibilities which he dimly foresaw in Coster's discovery. "But we can do much better than this," he said with the enthusiasm of youth. "Your printing is even slower than the writing of the monks. From this day forth I will work upon this problem, and not rest till I have solved it." Johann Gutenberg kept his word. He never rested until he had given the art of printing to the world. But to Laurence Coster, in the first place, if legend speaks truth, we owe one of the greatest inventions that has ever blessed mankind. SEA FEVER AND WHAT IT LED TO "Jim, you've too good a head on you to be a wood chopper or a canal driver," said the captain of the canal boat for whom young Garfield had engaged to drive horses along the towpath. "Jim" had always loved books from the time when, seated on his father's knee, he had with his baby lips pronounced after him the name "Plutarch." Mr. Garfield had been reading "Plutarch's Lives," and was much astonished when, without hesitation or stammering, his little son distinctly pronounced the name of the Greek biographer. Turning to his wife, with a glow of love and pride, the fond father said, "Eliza, this boy will be a scholar some day." Perhaps the near approach of death had clarified the father's vision, but when, soon after, the sorrowing wife was left a widow, with an indebted farm and four little children to care for, she saw little chance for the fulfillment of the prophecy. Even in his babyhood the boy whose future greatness the father dimly felt had learned the lesson of self-reliance. The familiar words which so often fell from his lips--"I can do that"--enabled him to conquer difficulties before which stouter hearts than that of a little child might well have quailed. The teaching of his good mother, that "God will bless all our efforts to do the best we can," became a part of the fiber of his being. "What will He do," asked the boy one day, "when we don't do the best we can?" "He will withhold His blessing; and that is the greatest calamity that could possibly happen to us," was the reply, which made a deep impression on the mind of the questioner. In spite of almost constant toil, and very meager schooling,--only a few weeks each year,--James Garfield excelled all his companions in
{'title': 'Eclectic School Readings: Stories from Life by Orison Swett Marden', 'source': 'Project Gutenberg', 'lang': 'en'}