ture to the cloth, through which it passes and How BANDANA HANDKERCHIEFS ARE MADE. All bandana handkerchiefs, which used to be imported from India in considerable quantities in the end of the last and the beginning of the present century, and were an essential part of the equipment of the man of fashion, were long a puzzle to the printers and dyers of Great Britain. They were of silk, and bore white spots on a uniformly dyed red ground. The spots were produced by tying up the cloth at those parts so tightly, that when the handkerchief was dipped into the dye the latter could not penetrate the protected parts. When the cloth was dyed, and the tyings loosed, the white spots revealed themselves. Many attempts were made in Great Britain to imitate this product of Indian industry, but with little success until about 1811, when M. Koechlin invented the "discharge process" of figuring dyed cloth. This beautiful discovery was at once adopted by Messrs. Monteith & Co., of Glasgow, and so successfully worked as to produce goods exceeding in beauty the famous bandanas of India. Several other Glasgow firms turned their attention to the A QUAINT EPITAPH.-This epitaph is to production of bandanas, and the city and its neighborhood has since enjoyed almost a mo- be found in Edwinstowe Churchyard, on the nopoly of this branch of manufacture. The edge of Sherwood Forest. Time has permitted cloth intended for bandanas is dyed of a uni- the venerable stone to sink too low to leave form color-most commonly red or blue-the last words visible : and a dozen pieces are laid one over another and wound upon a roller. This roller is placed on bearings behind a press of peculiar construction. The press consists of a bed-plate mounted on hydraulic gear and an upper plate or "platen." The printing, if we may so call it, is done by means of two stout plates of lead fixed to the upper and lower plates of the press respectively. If the design is, to consist of, say, white spots in the colored ground, the exposed surfaces of the lead plates have cut into them a series of depressions corresponding to to the size and number of the spots desired. These have to be accurately placed, so that when the two plates are brought together the depressions of the one shall fall exactly over those in the other. All being ready, the pressman takes hold of the end of the twelve-fold web of cloth and lays it on the lower plate. The plates are then brought together with a It will pressure of two or three hundred tons. be noted that now the whole body of the cloth is tightly pinched except those parts which come between the depressions in the plates. Communicating with each of these depressions are openings through the upper plate, When the presand channels leading thereto. sure is fully on, a tap is opened and a stream of bleaching liquid flows along the channels in the upper plate and finds its way by the aper Attend This awful Monitor to Man's Security. Who after having brav'd At 39, in Vital Plenitude, To the minutia of his Element, As did the Partner of his fleeting Breath, Of youthful 28; but just immersed Anxious to meet his lov'd, expecting Bride, Together, in one unpropitious Night, And this earth Them shall retain Spectator For EIGHT DOLLARS, remitted directly to the Publishers, the LIVING AGE will be punctually forwarded for a year, free of postage. Remittances should be made by bank draft or check, or by post-office money-order, if possible. If neither of these can be procured, the money should be sent in a registered letter. All postmasters are obliged to register letters when requested to do so. Drafts, checks and money-orders should be made payable to the order of LITTELL & Co. Single Numbers of THE LIVING AGE, 18 cents. THE SCAPEGOAT. The puppet examines itself and admires; SHE lived in the hovel alone, the beautiful The wire-puller knows not the trick of the child. Alas, that it should have been so ! wires. This paradox funny unquestioned must go ; But her father died of the drink, and the sons For science asserts it, and "science must went wild, And where was the girl to go? Her brothers left her alone in the lonely hut. Ah! it was dreary at night When the wind whistled right through the door that never would shut, And sent her sobbing with fright. know." And therefore forsake we the Ruler whose eye She never had slept alone; for the stifling As though the most virtuous work we had room Held her, brothers, father-all. closed. 'Twould be folly to feel any sorrow or shame, Ah! better their violence, better their threats, Since our dear little Atom bears ever the than the gloom That now hung close as a pall! blame. 'Tis the Atom that steals; 'tis the Atom that slays; When the hard day's washing was done, it was 'Tis the Atom that slanders, and dupes, and sweeter to stand Hearkening praises and vows, betrays; 'Tis the Atom, in short, that must answer for all, To feel her cold fingers kept warm in a shel- While we, driven helpless, do nothing at all. Oh, wonderful doctrine! How soothing To the would-be assassin, seducer, or cheat, Who conscience and scruples far flinging away, Determines the Atom alone to obey. But what about him who, though poor and distressed, 'Mid troubles and trials is striving his best, Himself to forget and his neighbor to love? In steadfast reliance on aid from above, To him our philosophers surely might leave The one single comfort he here can receive: Through his darkness and gloom pierces one sunny ray: Is it human, the heart that would take this away? Spectator. HUGH MACCOLL. From The Contemporary Review. GOETHE. I. GOETHE seems to be rising once more above the horizon. He is the youngest of the world's great authors; the latest who has laid a claim, that seems in a fair way of being allowed, to a place above the rank of merely national authors. The books that belong to the whole world alike are few, and even of these some have owed their universal acceptance to an accident. Fewer still are the authors who have so written that their personal character, their way of thinking and feeling, becomes a matter of perpetual interest, not only in their own country and age, but in every country where men study and in every age. Goethe appears to belong to this very small group. If he is not yet formally canonized, he has long been a Bienheureux. If little more than half a century has passed since his death, the first part of "Faust" has been before the world three-quarters of a century; and of his first brilliant appearance in authorship the centenary is several years behind us. When we consider not only the period through which his fascination has lasted, but also the reactions it has surmounted and the vitality it exhibits, we may see our way to conclude that his fame is now as secure as any literary fame can be, and that it will only yield to some deep-working revolution of thought which, perhaps, it would be rash to pronounce impossible- some twilight of the gods, in which not only Goethe but also Shakespeare and Dante should fall from heaven. If great authors are to be compared to stars, we may say of them that in the earlier stages of their immortality they do not take their place as fixed stars, but disappear and reappear with periodicity like comets or like planets. Goethe has indeed passed out of this stage in his own country, where the reaction which Börne and Heine represented was never very serious, and where the latest cry is that the tide of admiration cannot be resisted; and that it is as vain now to exclaim impatiently "Goethe und kein Ende!" as it was for Goethe himself to exclaim "Shakespeare und kein Ende!" at the beginning of the century. But his European fame is less settled than his national fame, and so the reappearance of Goethe before our public at the present time is a sign worth noting. It marks a new stage in his posthumous career. His English prophet, Carlyle, is gone; the generation that listened to Carlyle and studied Goethe under his advice is passing away. "Another race hath been, and other palms are won." And now we ask again, "Was it all true that Carlyle told us? Need we still study this foreign Goethe?" It might be some relief to be told that the fashion is past and need not be revived. For it is not much in our habits to study foreign literature. There is actually only one foreign poet who has influenced us at all profoundly or lastingly, that is Dante. Are we bound to concede this very exceptional honor to Goethe also? Some obvious considerations might tempt us to hold ourselves excused. Carlyle used to hold up Goethe as a light in religion and philosophy; a guardian who marched before us as a pillar of fire to show the way out of the scepticism of the eighteenth century into faith and serenity. But is not this a view difficult to admit or to understand now that the eighteenth century, with its Voltaires and Fredericks and French revolutions, has receded so far into the distance; now that so many new forms of scepticism have appeared, and so many new ways of dealing with scepticism have been suggested? And if the nimbus of prophecy has faded from about his head, if we look at him again without prepossessions, as Scott or Coleridge looked at him in his own lifetime, and see in him only a distinguished lite erary man, the author of certain plays, novels, songs and epigrams, of certain fragments of autobiography, criticism, and description, does any ground remain for paying him a homage different, not merely in degree but in kind, from that which we render to other great literary men who have adorned the nineteenth century such men, for instance, as Scott or Cole. ridge themselves, or as Byron, or as Victor Hugo? Assuredly there is no danger that the author of "Faust" will not take to But and novels wthout stint, finishes whatever he begins, scarcely ever fails to satisfy both himself and the whole world; and though he had a life shorter by twenty years, has left behind him a far greater mass of literature which is still amusing. rank with the highest of these men. do his works justify us in raising him far beyond that rank, into the small first class of the select spirits of all time? Why rank him, for instance, with Shakespeare? It may be fair, perhaps, to say that "Faust" would deserve rank, and even Against such objections as these what high rank, among the Shakespearian is Goethe's case? First then, it may be dramas; but then "Faust" stands alone admitted that Goethe, though he produced among Goethe's works. What other com- a great deal, was not one of those artists positions of the first class can he produce? | whose career is one easy and continuous Is it "Hermann und Dorothea"? That, triumph. The truth is that his circumno doubt, is very pretty and perfect. stances did not admit of this. Artists "Iphigenie" is very noble, "Tasso "very are like generals, of whom some find an refined, "Götz" very spirited, but "Eg- army ready-made, and therefore win a mont" is somewhat disappointing, and succession of victories, while others are almost all the other plays are unimpor- reduced to prove their genius by the skil tant, when they are not, like "Stella," ful use of insufficient means. An artist is absurd. The pathos of "Werther" is no more to be estimated by counting his obsolete; and is not "Wilhelm Meister" successful works, than a general simply dull in a good many parts, nay, perhaps by counting his victories. But was not everywhere except where it is redeemed Goethe one of the most fortunate of artby the exquisite invention of Mignon, or ists? Had he not long life, easy circumby the vivacity of the disreputable Philine? stances, and most generous patronage? Do not even Germans sometimes acknowl- Nay, in one respect he was among the edge that they cannot read the "Elective much-tried artists who correspond to such Affinities"? And who can make any generals as Washington or William III., thing of the second part of "Faust," or generals to whom victory is difficult, bethe second part of "Meister"? When cause they have to make the armies they we praise Shakespeare, we are not obliged fight with. to make so many abatements. Among It is often affirmed that a great poet is his plays very few can be called failures, the outgrowth and flower of a great age, and a dozen at least are undoubted mas- and this is true of a certain class of great terpieces. But can Goethe hold his own poets. They live in the midst of great even against Scott in abundance of imagi. men, and within the rumor of great deeds; nation? To produce his few master- they use a language which has been gradpieces how much effort was bestowed? ually moulded to poetic purposes by poets What a task of self-culture did he impose who have been their precursors and whose upon himself? How many large designs fame they absorb. Appearing at the right did he conceive and abandon? What has moment, they reap the harvest which has become of his Cæsar," of his "Mo- been sown by others. Subjects are waithammed," of his "Prometheus," of his ing for them, style and manner have been "Ahasuerus," of his great religious epic, prepared, and a public full of sympathy "Die Geheimnisse," of his national epic and congeniality welcomes them. Such on "Bernhard of Saxe-Weimar," of his poets are not like William III. or Washepic on "Wilhelm Tell," of his great tri-ington, but rather like Frederick, who logy of plays illustrative of the French inherited an unrivalled army created by Revolution? Of the trilogy we have a his father, or like Napoleon, who wielded single play, "Die Natürliche Tochter," of all the prodigious military force created some of the other works more or less and trained by the Revolution. Both considerable fragments, of some not a Shakespeare and Scott may be said to trace remains. Meanwhile Scott, taking belong to this class. The first is the life easily and making no parade of effort, normal product of the Elizabethan age, pours out his poems, ballads, romances, which has filled his imagination with its |