Faces in the Fire, and Other Fancies
ds, the tide being out, and had amused myself with the shells and the seaweed that had been left lying about by the receding waters. There is always a peculiar charm about such a
idout chances? Ye've alw
'twill take in its head t
bits of boards that come
er the shine o' the wet;
them whiles when ye've st
oment. They always look down upon me as I write. I often catch myself leaning back in my chair, staring up at them, and trying to read their secret. Who were they, I wonder, these two bony companions of mine? Two Maoris finishing, among the lonely dunes, their last fierce fatal feud? Two travellers, hopelessly lost, who threw themselves down here to die? A couple of sailors, whose ship had struck the cruel reefs out yonder, and whose bodies were tossed up here by the pitiless waves? A pair of lovers trapped by the treacherous tide? I cannot tell. What a tantaliz
e annals of history. It is the battle-field on which the land fought the sea. It is a rocky and precipitous coast. Sometimes I like to walk along the top of the cliff, and look down upon the pile of massive boulders that lie tumbled in picturesque and bewildering confusion about the beach below. Or, at low tide, I like to make my way among those monstrous piles of broken rock that lie, higgledy-piggledy, all along the shore. What a fight it was, day and night,
n. There are, of course superficial variations of tone and tint and temper; but, as compared with the kaleidoscopic changes that overtake the land, the ocean is eternally and everywhere the same. It, and not the rocks, is the symbol of immutability. 'Look at the sea!' exclaims Max Pemberton, in Red Morn. 'How I love it! I like to think that those great rolling waves will go leaping by a thousand years from now. There is never any ch
lk cliff; down this tumbles into the water; and Neptune sets his great waves to work to tidy up the mess.' No man can know the veriest rudiments of geology without recognizing that it is the land, and not the sea, that is constantly changing. We may visit some historic battle-field to-day, and, finding it a network of bustling streets and crowded alleys, may hopelessly fail to r
ictory that rose from his heart when he said it. 'The waters wear the stones,' he exclaimed, 'and Thou washest away the things which grow out of the dust of the earth.' It is the death-knell of the material. It is the triumph of the eternal. A little child looks upon the great granite cliffs, and it seems impossible that the lapping waves
arn. Study was a drudgery, and he was tempted to give up. The huge obstacles against which he, like the waves at the base of the cliff, was beating out his life seemed adamantine. So he ran away from school. But in the heat of the day he sat down to rest beside a little spring that trickled over a rock. He noticed that the water fell in drops, and only one drop at a time; yet those drops had worn away a
fe that conquer us. 'The moving wate
ers at their p
on round earth
some forces is very great. The voices that sway us with a regal authority are soft and tender voices, the voices of those whose genial goodness compels us to love them. The imperial tones to which we capitulate unconditionally are very rarely stern official tones. Who does not remember how, in The Rosary, the Hon. Jane Champion asks Garth Dalmain why he does not marry? And Garth tells her of old Margery, his childhood's friend and nurse, now his housekeeper and general mender and tender-old Margery, with her black satin apron, lawn kerchief, and lavender ribbons. 'No doubt, Miss Champion, it will s
eeth of a creature whose head did not reach beyond his great knuckled knees!' How was it done? 'There is a patience in the wild,' Jack London says, 'a patience dogged, tireless, persistent as life itself'; and it was by means of this patience that Buck brought down his stately antlered prey. 'Night and day, Buck never left him, never gave him a moment's rest, never permitted him to browse on the leaves of the trees or the shoots of the young birch or willow. Nor did he give the old bull one single op