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• WFo murders the innocents ? Mr. SLASHAWAY, who writes for the Ocean Magazine, says the teachers murder them. Mrs. Prim, who picks the mote out of other people's eyes, says the same. Mr. TRADEWELL, who comes home at night with the headache, and does not like to be troubled with the children's lessons, iterates the same grave charge. And all lazy boys and girls offer themselves as the living witnesses that they expect to die of hard study.
• We protest :
"Who sends the children to bed with stomachs over-loaded with indigestible food ? Not the teacher. Who allows SUSAN JANE to go out in wet weather with cloth-shoes and pasteboard soles ? Not the teacher. Who allows the little child, in cold weather, to go with its lower extremities half-bare, or but thinly clad, because it is fashionable ? Not the teacher. Who allows John and Mary, before they have reached their 'teens,' to go to the ball,' or party, and dance until the cock crows! Not the teacher. Who compels the children, several in number perhaps, to sleep in a little, close, unventilated bed-room? Not the teacher. Who builds the school-house 'tight as a drum,' without any possibility of ventilation ? Not the teacher. Who frets and scolds if my child does not get along as fast as some other child does ? Not the teacher. Who inquires, not how thoroughly 'my child' is progressing, but how far ? Not the teacher. Who murders the innocents ?'
The following brace of ballads are from the ever-welcome HATTIE, our gay and fair Wisconsin-ner she who dashed whilom so boldly into the war. Soyez le bien-venue !
So sweet and sacred unto me,
My lips shall kissless be.
• One kiss was given in childhood's hour,
By one who never gave another;
That last kiss of my mother.
For years my wild heart reeled in bliss
When my lips felt young love's first kiss.
• The last kiss of the sacred three
Had all the wo which e'er can move
Upon the dead lips of my love.
And felt the kiss of burning love,
In kissing should they think to move.
A wondrous face that never beauty bad,
Nobody loves her, and her face is sad.
She found just one bright silver thread had crept:
Poor woman, she drew out the thread and wept.
Owing to the frightful press of matter' in this number of KNICK, we have requested the author of the following lyric to please wait awhile.' His reply is prompt, painful, and expressed with interjective adjectives, informing us that unless we publish it at once, he shall send it to our rival the CONTINENTAL, and pitch into the Editor of KNICK severely. “There is no alternative;' and albeit we care less about obliging him than any other man who writes for us, he shall still have the satisfaction of seeing his piece' in print:
BY CHARLES GODFREY LELAND.
I KNOW where miners seek their gold,
Where heavens kiss the mountain's brow;
Where in this wide world bidest thou?
Night blesses me. The heart grows sweet,
In silence 'neath dark violet skies;
And whose and where those starry eyes ?
Soul of the Eagle! If I knew
That thou but tread'st life's soil or sands!
Hath heard thee sing in silent lands?
Unbounded one, could I but feel
Thou liv'st — though in the Infinite
And worship in the perfumed night.
Moon-queen and Love-star. Ye behold
All tender mysteries - all things fair-
Through all Earth's beauty — was she there?
The tenderest dream this heart bath known,
My life - my death — LAIDION !
Yes, while the rivers laughing run
To meet in love the foaming sea,
I know from them that thou must be.
I know where misers seek their gold,
Where heavens kiss the mountain's brow;
Where in this wide world bidest thou ?
ARMAND RICHELIEU AS EDWIN FORREST.— In asserting that at a performance at Niblo's, which I once witnessed, Cardinal Richelieu was made to perform the part of Edwin FORREST, the subscriber is anxious to avoid compromitting himself in any way in behalf of Spiritual Manifestations, and simply desires to assert that the Great American Tragedian and Dramatic Gymnast rises superior to the fallacy that an actor should identify himself with the part personated, and substitutes therefor the artistic position that the character should be assimilated to the actor. It cannot be denied that in this light FORREST'S * Richelieu,' or rather RICHELIEU's FORREST is a Great Success. The most admirable attribute of this style of dramatic personation lies in its complete disarmament of carping critics. Thus, readily as those pensters might assume that Mr. FORREST had failed in presenting the 'Richelieu' of history, they would hesitate in criticising any peculiarities presented under the hypothesis that the Cardinal's characteristics must be subordinated to and modified by those of his personator. For in giving strict adherence to matters of record in regard to the customs of the Cardinal, imagination would not only be denied its play, but some of the finest minor points in the personation would be lost, through lack of authority therefor. For instance, in RICHELIEU'S FORREST We (the audience) are made acquainted with the fact, attainable nowhere else, that at the period represented in Bolwer's play, it was the custom of the Cardinal to accompany his assumption of a sitting posture, with a vocal effort between a grunt and a groan, performed in 808tenuto, its duration governed by the lapse of time between the first bend and the final landing d posteriori on the straight-backed arm-chair, which it is well known was the sedentary preference of all magnates previous to the seventeenth century. The equally curious fact is beside made manifest that RICHELIEU's FORREST was subject to the habit of indulging in frequently creating unfulfilled expectations of expectoration in by-standers by multiplied efforts at throat-clearing, which are followed by no results, not even modifications of the huskiness of voice preceding them. It is also curious to learn that the Cardinal (as FORREST) would have been in the habit of accompanying his attempts at deceiving those with whom he had dealings by nods, shrugs, and facial contortions, which would have aroused the suspicions of any others than the notoriously simple-minded courtiers and soldiers of his period. Space forbids extending a notice of this novel and highly
artistic performance, which we therefore close with self-gratulation that to the * Richelieu' of JAMES, BULWER, and Dumas, America has added the 'Richelieu' of FORREST; none of these having the slightest connection with the ‘Richelieu' of Fact, who, no doubt was a very common-place personage, and never could have originated the bigh-sounding phrase announcing the superiority of stationery over weapons of war.
Lite Season 6.
BY MINNIE FRY.
* They say the bright moon-shine
It is a mystery:
An image of my babyhood for me,
And join their radiant eternity.
I know not-'t was God's will -
Was calm as Even songsters' latest trill,
When living fountains have not fed the rill.
Remains one season more
Which love shall bear unto the purple shore,
Life shall grow up in glory evermore.'
As we write the Tax-Bill is being Congressed. Anent which a friend sends us these, to wit :'
*DEAR KNICKERBOCKERUS: Some gay youth, male or female undoubtedly, has given the world the following ameliorations of the Tax-Bill in these items:
•Snuff-boxes are to pay tax of $1 per year.
"To shoot marbles, $1. If China alleys' are used in the game, a further tax of 40 cents.
*To play euchre, $1.50. If the two bowers are held, a further tax of 60 cents. *Hurdy-gurdies are to pay a tax of $1 a tune.
Mocking-birds, 75 cents.
* To sneeze in the public highway, 15 cents. If accompanied with unusual noise, 28 cents.
License to peddle fire-wood, $2 per month.
Every person taking an affidavit shall be assessed 25 cents.
Ordinary cursing and swearing, to pay five cents an oath, and swearing to be meaBured by a curseometer to be furnished by the Secretary of the Treasury.'
• Let me add the following:
For joining the Curb-Stone Christian Association, and waiting at the door to see the ladies come out,' $10.
*For 'chor-ing spruce-gum,' 1 cent.
'For noticing with whom any or every body walks, where they go, etc., for each indulgence, $50.
'For recording any thing not strictly your own business, $50.
For the boorish carelessness of calling at office or other place and not leaving your name, $10.