tion would disappear, and effort merge in the most delightful of all exertions of power. also go on for eternity? I can see no reason in the world for this notion that God feels for those who fall even more One point strikes me in the original | love than for those who rise; and Christ's paper by which these criticisms are sug- assertion that there is more joy in heaven gested, as inconsistent with what is, I over one sinner that repenteth, than over believe, the perfectly sound doctrine of ninety and nine just persons who need no moral continuity between this life and the repentance, tends just the other way. next. It is assumed, as everybody seems The reason for the joy is the wonder of to assume nowadays, that even a down- the escape, - the wonder that one who ward path must end in an upward path had thrown away a great deal of his own sooner or later. Speaking of the result power to approach God, should yet rightly of temptation, the "little Pilgrim" in use what remains to him, and reverse the effect asks one who knows more of the current of his own actions. This is wonnext world than herself, whether those derful enough to create joy in heaven. who fall through temptation will eventu- But surely every downward step renders ally win the day? and the reply is, "They the chance of re-ascending less than bewill win the day in the end, but sometimes, fore, and the presumption that a re-ascent when it was being lost, I have seen in his may in time become simply impossible, face a something, I cannot tell-more and even dreadful, to the character emlove than before. Something that seemed barked in the downward path, greater. I to say, My child, my child; would that I cannot but think that the law of continuity could do it for thee, my child!"" And points to a time at which, for believers in so, too, I find another powerful and spir- God, the character which steadily imitual writer, Mrs. Oliphant, in her literary proves will be placed beyond temptation, history of England between 1790 and because within the overpowering influence 1825, saying of Cowper's evangelical of God's love; while the character which teachers, "It did not occur to them that steadily degrades, may reach a point at God's loving and large comprehension of which the mere thought of God is a our confused ways and works must be thought not simply of misery, but of infinot less, but infinitely more indulgent nite repulsion. than that of any man." Why infinitely From Temple Bar. A LA MODE IN 1800. AT the beginning of this century ladies took kindly to turbans surmounted with ostrich feathers and bodies literally with out a waist, the girdle coming directly under the arms. Lord Winchester told the late Charles Mayne Young that, years ago, at a large party at Lady Her.ford's a lady of high fashion entered the room in the latest cut from Paris, the gown being rather high in front and extraordinarily low at the back, so as to expose the blade bones. Unlike our ancestors, the Saxons, who for centuries retained one fashion, our fashions change almost as constantly as the weather, and as milliners even in France - have not the faculty of invention, we find ourselves copying the left-off garments of a past generation. "There is nothing new but the forgotten." What, for instance, can be more absurd than much of the fashion of the present day? Take a queen's drawing-room or a levee. See that titled lady with tall plumes bobbing up and down like a magnified ostrich. What possible connection can From Chambers' Journal. ICE-MAKING IN INDIA. there be between feathers and a woman's | conduct you down-stairs." Said Miss With these great appliances, block-ice is now available in districts where it could not formerly be had at from one and onehalf to two annas per ser. To return to the old process-it depended entirely on the production of cold by evaporation, as also on sufficient cold weather and the presence of the dry west wind; the east wind being absolutely fatal to the production of ice. The essentials for the process are: 1. Exposed and treeless ice-fields, which are partitioned off into four to five feet squares, in which two to three inches of straw are laid down. 2. Myriads of flat, porous earthen saucers, six to eight inches in diameter. 3. An unlimited supply of water. 4. An army of coolies and water-carriers. 5. The ice-pit. This, the most important adjunct in the process, is very carefully constructed; a great pit is | Dante has been translated by Dr. Fordug, and in it rests a huge timber cone, the space between it and the sides of the pit being rammed with charcoal, chaff, or straw, as non-conductors of heat; the cone itself is lined thickly with coarse felt or blankets, and then a layer of matting; over all a straw hut, with very thick roof and walls and a very small entrance, is constructed. Now for the process. Whenever the outside thermometer reads 42°, then ice can be manufactured by evaporation. Half an inch of water is poured, over night, into the saucers by bheesties (water-carriers); then at 2 A.M., a great drum is beaten at the pit to summon the coolies, who assemble in hundreds, each armed with a scoop, with which the ice is skilfully turned out of the saucer into an attendant vessel, and well rammed into it. When full it is taken to the pit, emptied there, and again rammed down. Thus all the ice has a chance of consolidating by regelation; and in good season thousands of pounds' weight of ice may be stored, according to pit-room available. miggini. Parts of Petrarch and Tasso exist in Hebrew, and the "Dialoghi d'Amore" of "Leo Hebræus" (Judas Abrabanel) have been restored to the language of their author. From the French, Racine's "Esther," by Rapaport, is the chief work with which we are acquainted, though Eugène Sue's "Mysteries of Paris" and "Wandering Jew" have both reached several editions in Jewish forms. Turning to the language dearest to modern Jews of a scholarly mind, the masterpiece of German literature, Goethe's "Faust," has been translated by M. Letteris with such success that it has been said that the version in parts excels the original. "Hermann and Dorothea" has likewise been Hebraized. A work so interesting to Jews as "Nathan der Weise" has found an appropriate home among them in their sacred tongue. It is needless to remark that many works of modern Jewish writers in German, such as Zunz, Geiger, and Graetz, have spread among their Polish brethren in a Hebrew garb. But to come home to England. Shakespeare's "Romeo and Juliet " and "Othello now exist in the language of Shylock through the instrumentality of J. H. Salkinson, a "New Christian," who likewise rendered "Paradise Lost" accessible to those who can only read Hebrew. ONE of the most interesting facts about It is natural that a book like the "Pilmodern Jewish literature is the large num-grim's Progress," written in so Biblical a ber of works that have been translated into Hebrew within quite a recent period. It is scarcely too much to say that specimens of all the great literatures of the world now exist in modern Hebrew, which is as nearly as possible written in a purely Biblical style. The New Testament has of course been frequently translated, chiefly for conversionist purposes; but the last rendering by Professor Delitzsch, of Leipzig, now in a third edition, is a model of Hebrew and a marvel of accuracy. The Koran, too, has been partly translated, but not yet finished. The whole of the Apocrypha has been done into Hebrew by Dr. S. I. Frankel, while the voluminous works of Josephus also exist in a version by Kalman Schulmann. In Italian literature, the "Inferno" of From The Jewish Chronicle. was style, should go easily into the original 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. BUTTERCUPS. I SIT and watch my treasure laid The morning long, across the grass In chase of bird and bee; That came from Heaven to me! He plucked with such delight. The buttercups he ran to grasp, Unwitting in his baby glee, He gathered blossoms in his haste, I kneel me down beside the lad, Complete the mother's part. The gold-dust from his palm; He rests to-day within my reach, He needs no lore I cannot teach, His sleeping face is calm. And stains the grasping hand; And thou may'st gather in thine haste But soft! he wakes, my little son, All The Year Round. TO-DAY. WHY do we tune our hearts to sorrow When summer's sun is on us shining, We teach ourselves with scornful sadness The snare of doubting thoughts has caught us, They take no thought for each to-morrow, Yet still they tell the same old story OUR LATTER DAYS. E. T. F. A CLOUDY morning, and a golden eve Over a tearful day that ends in song? The dawn was grey, and dim with mist and rain; There was no sweetness in the chilly blast; Dead leaves were strewn along the dusky lane That led us to the sunset light at last. 'Tis an old tale, beloved; we may find Heart-stories all around us just the same. Speak to the sad, and tell them God is kind; Do they not tread the path through which we came ? Our youth went by in recklessness and haste, And precious things were lost as soon as gained; Yet patiently our Father saw the waste, And gathered up the fragments that remained. Taught by his love, we learnt to love aright; Led by his hand, we passed through dreary ways; And now how lovely is the mellow light |