Coding Art The Four Steps to Creative

Programming with the Processing

Language 1st Edition Yu Zhang Mathias
Funk
Visit to download the full and correct content document:
https://textbookfull.com/product/coding-art-the-four-steps-to-creative-programming-wit
h-the-processing-language-1st-edition-yu-zhang-mathias-funk/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...

Coding Art: The Four Steps to Creative Programming with

the Processing Language Yu Zhang

https://textbookfull.com/product/coding-art-the-four-steps-to-
creative-programming-with-the-processing-language-yu-zhang/

Coding Art A Guide to Unlocking Your Creativity with

the Processing Language and p5 js in Four Simple Steps
2nd Edition Mathias Funk

https://textbookfull.com/product/coding-art-a-guide-to-unlocking-
your-creativity-with-the-processing-language-and-p5-js-in-four-
simple-steps-2nd-edition-mathias-funk/

Learn Python Visually Creative Coding with Processing

py 1st Edition Tristan Bunn

https://textbookfull.com/product/learn-python-visually-creative-
coding-with-processing-py-1st-edition-tristan-bunn/

Natural Language Processing for Electronic Design

Automation Mathias Soeken

https://textbookfull.com/product/natural-language-processing-for-
electronic-design-automation-mathias-soeken/
Programming 101: The How and Why of Programming
Revealed Using the Processing Programming Language 1st
Edition Jeanine Meyer

https://textbookfull.com/product/programming-101-the-how-and-why-
of-programming-revealed-using-the-processing-programming-
language-1st-edition-jeanine-meyer/

The Art of Coding: The Language of Drawing, Graphics,

and Animation Mohammad Majid Al-Rifaie

https://textbookfull.com/product/the-art-of-coding-the-language-
of-drawing-graphics-and-animation-mohammad-majid-al-rifaie/

Coding For Beginners or How to Program Programs with

Programming 1st Edition Roger Engelbert

https://textbookfull.com/product/coding-for-beginners-or-how-to-
program-programs-with-programming-1st-edition-roger-engelbert/

Security in Network Coding 1st Edition Peng Zhang

https://textbookfull.com/product/security-in-network-coding-1st-
edition-peng-zhang/

Generative Art with JavaScript and SVG: Utilizing

Scalable Vector Graphics and Algorithms for Creative
Coding and Design (Design Thinking) 1st Edition David
Matthew
https://textbookfull.com/product/generative-art-with-javascript-
and-svg-utilizing-scalable-vector-graphics-and-algorithms-for-
creative-coding-and-design-design-thinking-1st-edition-david-
Design Thinking

This design focused series publishes books aimed at helping Designers,

Design Researchers, Developers, and Storytellers understand what’s
happening on the leading edge of creativity. Today’s designers are being
asked to invent new paradigms and approaches every day – they need
the freshest thinking and techniques. This series challenges creative
minds to design bigger.
More information about this series at https://​www.​springer.​com/​
series/​15933
Yu Zhang and Mathias Funk

Coding Art
The Four Steps to Creative Programming with the
Processing Language
1st ed.
Yu Zhang
Eindhoven, The Netherlands

Mathias Funk
Eindhoven, The Netherlands

Any source code or other supplementary material referenced by the

author in this book is available to readers on GitHub via the book’s
product page, located at www.​apress.​com/​978-1-4842-6263-4. For
more detailed information, please visit http://​www.​apress.​com/​
source-code.

Design Thinking
ISBN 978-1-4842-6263-4 e-ISBN 978-1-4842-6264-1
https://doi.org/10.1007/978-1-4842-6264-1

© Yu Zhang, Mathias Funk 2021

This work is subject to copyright. All rights are reserved by the

Publisher, whether the whole or part of the material is concerned,
specifically the rights of translation, reprinting, reuse of illustrations,
recitation, broadcasting, reproduction on microfilms or in any other
physical way, and transmission or information storage and retrieval,
electronic adaptation, computer software, or by similar or dissimilar
methodology now known or hereafter developed.

The use of general descriptive names, registered names, trademarks,

service marks, etc. in this publication does not imply, even in the
absence of a specific statement, that such names are exempt from the
relevant protective laws and regulations and therefore free for general
use.

The publisher, the authors and the editors are safe to assume that the
advice and information in this book are believed to be true and accurate
at the date of publication. Neither the publisher nor the authors or the
editors give a warranty, expressed or implied, with respect to the
material contained herein or for any errors or omissions that may have
been made. The publisher remains neutral with regard to jurisdictional
claims in published maps and institutional affiliations.

Distributed to the book trade worldwide by Springer Science+Business

Media New York, 1 NY Plaza, New York, NY 10004. Phone 1-800-
SPRINGER, fax (201) 348-4505, e-mail orders-ny@springer-sbm.com,
or visit www.springeronline.com. Apress Media, LLC is a California LLC
and the sole member (owner) is Springer Science + Business Media
Finance Inc (SSBM Finance Inc). SSBM Finance Inc is a Delaware
corporation.
Acknowledgments
We started this book in October 2018 and went through the process of
writing for several months, ending with an intensive summer writing
retreat at Tenjinyama Art Studio in Sapporo. We are grateful for the
hospitality and kindness of Mami Odai and her team, and we will
always remember these weeks on the hill with the wind rushing
through the dark trees.
From October 2019, we sent out the manuscript to reviewers, and
we would like to acknowledge their hard work and sincerely thank
them for great feedback and suggestions, warm-hearted
encouragement, and praise: Loe Feijs (Eindhoven University of
Technology), Jia Han (Sony Shanghai Creative Center), Garyfalia Pitsaki
(3quarters.design), Bart Hengeveld (Eindhoven University of
Technology), Joep Elderman (BMD Studio), Ansgar Silies (independent
artist), and Rung-Huei Liang (National Taiwan University of Science and
Technology). Without you, the book would not have been as clear and
rich. We also thank the great team at Apress, Natalie and Jessica, and
especially Bin Yu for his excellent technical review. Finally, we deeply
appreciate the support from friends and family for this project.
Table of Contents
Chapter 1:​Introduction
1.​1 Coding art
1.​2 Motivation
1.​2.​1 How to talk with a “machine”
1.​2.​2 Practice a practice
1.​2.​3 Do it and own it
1.​3 How to read this book
1.​3.​1 Calling all creatives
1.​3.​2 Four steps, one example, one zoom
1.​3.​3 Getting ready
Part I: Creative coding
Chapter 2:​Idea to visuals
2.​1 Visual elements
2.​1.​1 Shapes
2.​1.​2 Shaping up in Processing
2.​1.​3 Colors, transparency, and filters
2.​1.​4 Working with form and texture
2.​2 Canvas secrets
2.​2.​1 Scaling visual elements
2.​2.​2 Resetting or restoring the canvas
2.​2.​3 Rotation and translation
2.​3 Animation:​From frames to motion
2.​3.​1 Animation basics
2.​3.​2 Simple movement
2.​3.​3 Rhythm in motion
 2.​4 Interaction as input for animation
2.​4.​1 Combining mouse presses and movement
2.​5 Summary
Chapter 3:​Composition and structure
3.​1 Data and code structure
3.​1.​1 Creating many things
3.​1.​2 Controlling many things
3.​2 Visual structure
3.​2.​1 Composition and alignment
3.​2.​2 Composing with layers
3.​2.​3 Controlling layers
3.​3 Summary
Chapter 4:​Refinement and depth
4.​1 Randomness and noise
4.​1.​1 Working with randomness
4.​1.​2 Controlling randomness
4.​1.​3 Selecting and making choices with randomness
4.​1.​4 Working with noise
4.​2 MemoryDot
4.​2.​1 Smoothing
4.​2.​2 Smoothly working with many things
4.​3 Using computed values
4.​3.​1 Computing values with functions
4.​3.​2 Interpolation
4.​3.​3 Interpolation with functions
4.​4 Interactivity
 4.​4.​1 Mouse interaction
4.​4.​2 Keyboard interaction
4.​4.​3 Other input
4.​5 Summary
Chapter 5:​Completion and production
5.​1 Making things big for print
5.​1.​1 High-resolution rendering
5.​1.​2 Migrating to scalable version
5.​1.​3 Rendering snapshots of dynamic work
5.​2 A backstage for control
5.​2.​1 Tweak mode in Processing
5.​2.​2 Centralizing control with variables
5.​2.​3 “Backstaging” with the keyboard
5.​3 More stable and less risky code
5.​3.​1 The right things in the right place
5.​3.​2 Avoiding resource bloat
5.​3.​3 Code structure
5.​3.​4 Don’t reinvent the wheel
5.​4 Testing before deployment
5.​4.​1 Depending on dependencies
5.​4.​2 Anticipating differences
5.​4.​3 Preparing for unattended operation
5.​5 Moving to mobile
5.​5.​1 Structure of mobile Processing content
5.​5.​2 From Processing to p5.​js
5.​5.​3 Fine-tuning the presentation
 5.​5.​4 How to spot errors?​
5.​5.​5 Deploying for mobile use
5.​6 Summary
Part II: An example: MOUNTROTHKO
Chapter 6:​Inspiration
6.​1 Context and starting point
6.​2 Concept and artwork
Chapter 7:​From idea to completion
7.​1 Idea to visuals
7.​2 Composition and structure
7.​2.​1 Composition:​The fog
7.​2.​2 Composition:​Creating the mountains
7.​2.​3 Structure:​Creating the particles
7.​3 Refinement and depth
7.​3.​1 Refinement:​Reshaping the particles
7.​3.​2 Depth:​Adding interaction
7.​4 Completion and production
7.​4.​1 Completion:​Installation in space
7.​4.​2 Production in print
7.​5 Summary
Part III: Coding practice
Chapter 8:​Dealing with problems
8.​1 Helping yourself
8.​1.​1 Error messages or nothing happens
8.​1.​2 Working with copy–paste
8.​1.​3 Reference documentation
 8.​1.​4 Searching for symptoms
8.​2 Getting help from others
8.​2.​1 Finding help
8.​2.​2 Asking the right questions right
8.​2.​3 Minimal working example
8.​3 Working with experts
8.​3.​1 How can experts help you?​
8.​3.​2 How to manage a project with experts?​
Chapter 9:​Learning path
9.​1 Going deeper into Processing
9.​1.​1 Challenges to pick
9.​1.​2 Building your own tool set
9.​1.​3 Sharing your tool set with others
9.​2 Different technologies
9.​2.​1 Enhancing Processing
9.​2.​2 Assessing feasibility
9.​2.​3 Moving away from Processing
Chapter 10:​Creative processes
10.​1 Two types of ideation
10.​1.​1 Concept-based ideation
10.​1.​2 Material-based ideation
10.​2 Using abstraction layers
10.​2.​1 First loop:​Behavior to output
10.​2.​2 Second loop:​Adding data
10.​2.​3 Third loop:​Adding input and interaction
10.​2.​4 Fourth loop:​Adding a backstage
 10.​2.​5 Creative processes with layers
Conclusion
Epilogue
References
Index
About the Authors
Yu Zhang
An artist by training, Yu Zhang finished her PhD in 2017 on the theory
and artistic practice of interactive technologies for public, large-scale
installations. She approaches visual art with mixed reality installations
and projections, sensor-based interactives, and computational arts. She
roots her artistic intent in the symbolism of Asian traditions and
transforms the artistic unpacking of drama and cultural signifiers into
experiences of interactivity and connectivity that ultimately bridge
artistic expression and audience experience. She uses systems design
toolkit, to realize a complex multifaceted experience playing with the
spatiotemporal context of the audience’s interaction with the
installations when digital and physical converge. Starting from
interactivity, she constructs layers of different connections between
artist, artwork, audience, and the environment to express how far such
connectivity can impact and reshape the structure and relations of
objects, space, and time within a dynamic audience experience. Apart
from her artistic research and practice, Yu’s teaching experiences cover
over ten years and a broad space including traditional classrooms and
design-led project-based learning activities.

Mathias Funk
is Associate Professor in the Future Everyday group in the Department
of Industrial Design at the Eindhoven University of Technology (TU/e).
He has a background in Computer Science and a PhD in Electrical
Engineering (from Eindhoven University of Technology). His research
interests include complex systems design, remote data collection,
systems for musical expression, and design tools such as domain-
specific languages and integrated development environments. In the
past, he has worked in research positions at ATR Japan, RWTH Aachen,
and he has been Visiting Researcher at Philips Consumer Lifestyle, the
Netherlands. He is also the co-founder of UXsuite, a high-tech spin-off
from Eindhoven University of Technology. He has years of experience in
software architecture and design, engineering of distributed systems,
and web technologies. Further areas of interest and practice are
domain-specific languages and code generation, sound and video
processing systems, and data and information visualization approaches.
He has been involved extensively in the business side of innovation, the
transfer of research to commercial products, and he loves to think
about a design’s real-world impact. As a teacher, he teaches various
technology-oriented courses in the Industrial Design curriculum about
designing with data and visualization approaches, systems design, and
technologies for connected products and systems. He is regularly
invited to give international workshops on large-scale interactive
systems, group music improvisation interfaces, and expressive
(musical) interaction. He has been an active musician for years and is
very interested in the intersection of music, art, and design in
particular.
About the Technical Reviewer
Bin Yu
received his MS in biomedical engineering from Northeastern
University, Shenyang, China, in 2012, and his PhD in industrial design
from the Eindhoven University of Technology, in 2018. He is currently a
Data Designer at Philips Design, the Netherlands, and specializes in
both human–computer interaction and data visualization.
© Yu Zhang, Mathias Funk 2021
Y. Zhang, M. Funk, Coding Art, Design Thinking
https://doi.org/10.1007/978-1-4842-6264-1_1

1. Introduction
Yu Zhang1 and Mathias Funk1
(1) Eindhoven, The Netherlands

The art world is interwoven with technology and actually quite

innovative and playful. From cave paintings to the use of perspective,
novel colors, and lighting, to printing techniques and direct inclusion of
machines and code, there are examples of how art broke ground and
changed its shape forever. Already before the beginning of the twenty-
first century, artists used code and programmed machines to generate
art or even be part of it.
There are so many examples of technology in art. It is also
interesting to see the path of how it has grown in the past 70 years.
Famous examples are, for instance, of earlier pioneers in Computer Art
like Georg Nees, Michael Noll, Vera Molná r, and Frieder Nake who
brought the use of pseudo-randomness and algorithm about fractals
and recursion in code drawing. The young generation of artists like
Casey Reas, who is well-known for developing the Processing software,
extend artistic ideas through the programming language. Some artists
like Jared Tarbell introduce real data into art creation and connect the
complexity with the data availability. It is remarkable that for most of
their works, computer artists open the source code to the public, so we
can learn from them.
In this book, we want to make the point that the use of modern
technology and machines in creative work does not contradict “creative
expression.” Instead, if used well, technology can help creatives take
steps in new directions, think of new ideas, and ultimately discover
their ideal form of expression.
© Yu Zhang, Mathias Funk 2021
Y. Zhang, M. Funk, Coding Art, Design Thinking
https://doi.org/10.1007/978-1-4842-6264-1_2

2. Idea to visuals
Yu Zhang1 and Mathias Funk1
(1) Eindhoven, The Netherlands

In this first part of the book, we will go through four process steps and
show for each step how coding becomes a meaningful part of our
creative process. In step 1, IDEA TO VISUALS, we take a bottom-up
approach and start directly with visuals and code. Our entry point to
this approach is to use code directly from the ideation stage of the
creative process. More specifically, instead of making mood boards,
sketching, writing, searching the web, or talking to experts, we suggest
that you just start Processing and give it a spin. First, we look at how we
can express our ideas using Processing and a few lines of code. Yes, we
start really simple.

2.1 Visual elements

For many artists, even if visual elements in their work are coded, the
standards for effectiveness in their work are still based on either
cognitive or aesthetic goals [12, 18, 20]. When we analyze any
drawings, paintings, sculptures, or designs, it is similar – we examine
and decompose them to see how they are put together to create the
overall effect of the work. Lines, colors, shapes, scale, form, and textures
are the general fundamental components of aesthetics and cognition
for both art and design and for coding art as well.
Processing can draw a wide range of different forms that result from
variation and combination of simple shapes. When you take an example
from the Processing reference, try to change the numbers in the
example to explore how the shape changes and responds to different
numbers.
The first two examples show that you can hit play in Processing as
often as you want and see how your work is evolving over time.
Sometimes, it is good to look at the results, just after changing a single
value. By moving fast between the code and the canvas, you will also
learn faster and get a better understanding of how the code influences
the drawing of shapes and how you can control precisely what is drawn
on the canvas. At the same time, by going through two detailed
examples, we want to give you a feeling for how important the
Processing reference is as well.
We recommend having a browser window open with the Processing
reference web page, so you can quickly jump into an explanation
without losing momentum in creating with Processing. First shapes
coming up, you have Processing started up and ready?

2.1.1 Shapes
Every visual element in Processing follows one of two patterns: (1) first
specifying position, then size, and then shape or (2) specifying the
points on which the shape is drawn. We will come back to this in a few
pages. By carefully looking through these examples about simple visual
elements, you will understand the similarities in the code for ellipse
and rectangle and also the similarities for line, point, curve, polygon,
and triangle.
Let’s start with a simple example based on the “ellipse” shape. Open
Processing and type in the following three lines of code to draw a
simple circle:

First drawing: a simple ellipse with a black border

// Draw a simple ellipse

noFill();
stroke(0, 0, 0);
ellipse(56, 46, 55, 55);

// Try copying and pasting the code several

times
Another random document with
no related content on Scribd:
 This was not quite so kind—so says I to him, “Maybe sae, for many
a one thinks ye could not hold a candle to Mr Blowster the
Cameronian, that whiles preaches at Lugton.”
This was a stramp on his corny toe. “Na, na,” answered Mr Wiggie,
rather nettled; “let us drop that subject. I preach like my neighbours.
Some of them may be worse, and others better; just as some of your
own trade may make clothes worse, and some better, than yourself.”
My corruption was raised. “I deny that,” said I, in a brisk manner,
which I was sorry for after—“I deny that, Mr Wiggie,” says I to him;
“I’ll make a pair of breeches with the face of clay.”
But this was only a passing breeze, during the which, howsoever, I
happened to swallow my thimble, which accidentally slipped off my
middle finger, causing both me and the company general alarm, as
there were great fears that it might mortify in the stomach; but it did
not; and neither word nor wittens of it have been seen or heard tell of
from that to this day. So, in two or three minutes, we had some few
good songs, and a round of Scotch proverbs, when the clock chapped
eleven. We were all getting, I must confess, a thought noisy; Johnny
Soutter having broken a dram-glass, and Willie Fegs couped a bottle
on the bit table-cloth: all noisy, I say, except Deacon Paunch, douce
man, who had fallen into a pleasant slumber; so, when the minister
rose to take his hat, they all rose except the deacon, whom we shook
by the arms for some time, but in vain, to waken him. His round, oily
face, good creature, was just as if it had been cut out of a big turnip,
it was so fat, fozey, and soft; but at last, after some ado, we
succeeded, and he looked about him with a wild stare, opening his
two red eyes, like Pandore oysters, asking what had happened; and
we got him hoized up on his legs, tying the blue shawl round his bull-
neck again.
Our company had not got well out of the door, and I was priding
myself in my heart about being landlord to such a goodly turn out,
when Nanse took me by the arm, and said, “Come, and see such an
unearthly sight.” This startled me, and I hesitated; but at long and
last I went in with her, a thought alarmed at what had happened, and
—my gracious! there, on the easy-chair, was our bonny tortoise-shell
cat, Tommy, with the red morocco collar about its neck, bruised as
flat as a flounder, and as dead as a mawk!
 The deacon had sat down upon it without thinking; and the poor
animal, that our neighbours’ bairns used to play with, and be so fond
of, was crushed out of life without a cheep. The thing, doubtless, was
not intended, but it gave Nanse and me a very sore heart.
 THE MINISTER’S WIDOW.

By Professor Wilson.

The dwelling of the minister’s widow stood within a few miles of

the beautiful village of Castle-Holm, about a hundred low-roofed
houses that had taken the name of the parish of which they were the
little romantic capital. Two small regular rows of cottages faced each
other, on the gentle acclivity of a hill, separated by a broomy
common of rich pasturage, through which hurried a translucent
loch-born rivulet, with here and there its shelves and waterfalls
overhung by the alder or weeping birch. Each straw-roofed abode,
snug and merry as a beehive, had behind it a few roods of garden
ground; so that, in spring, the village was covered with a fragrant
cloud of blossoms on the pear, apple, and plum trees; and in autumn
was brightened with golden fruitage. In the heart of the village stood
the manse, and in it had she who was now a widow passed twenty
years of privacy and peace. On the death of her husband, she had
retired with her family—three boys—to the pleasant cottage which
they now inhabited. It belonged to the old lady of the castle, who was
patroness of the parish, and who accepted from the minister’s widow
of a mere trifle as a nominal rent. On approaching the village,
strangers always fixed upon Sunnyside for the manse itself, for an air
of serenity and retirement brooded over it, as it looked out from
below its sheltering elms, and the farmyard with its corn-stack,
marking the homestead of the agricultural tenant, was there wanting.
A neat gravel-walk winded away, without a weed, from the white gate
by the roadside, through lilacs and laburnums; and the unruffled and
unbroken order of all the breathing things that grew around, told
that a quiet and probably small family lived within those beautiful
boundaries.
 The change from the manse to Sunnyside had been with the widow
a change from happiness to resignation. Her husband had died of a
consumption; and for nearly a year she had known that his death was
inevitable. Both of them had lived in the spirit of that Christianity
which he had preached; and therefore the last year they passed
together, in spite of the many bitter tears which she who was to be
the survivor shed when none were by to see, was perhaps on the
whole the best deserving of the name of happiness of the twenty that
had passed over their earthly union. To the dying man Death had lost
all his terrors. He sat beside his wife, with his bright hollow eyes and
emaciated frame, among the balmy shades of his garden, and spoke
with fervour of the many tender mercies God had vouchsafed to
them here, and of the promises made to all who believed in the
Gospel. They did not sit together to persuade, to convince, or to
uphold each other’s faith, for they believed in the things that were
unseen, just as they believed in the beautiful blossomed arbour that
then contained them in its shading silence. Accordingly, when the
hour was at hand in which he was to render up his spirit into the
hand of God, he was like a grateful and wearied man falling into a
sleep. His widow closed his eyes with her own hands, nor was her
soul then disquieted within her. In a few days she heard the bell
tolling, and from her sheltered window looked out, and followed the
funeral with streaming eyes, but an unweeping heart. With a calm
countenance and humble voice she left and bade farewell to the
sweet manse, where she had so long been happy; and as her three
beautiful boys, with faces dimmed by natural grief, but brightened by
natural gladness, glided before her steps, she shut the gate of her
new dwelling with an undisturbed soul, and moved her lips in silent
thanksgiving to the God of the fatherless and the widow.
Her three boys, each one year older than the other, grew in
strength and beauty, the pride and flower of the parish. In school
they were quiet and composed; but in play-hours they bounded in
their glee together like young deer, and led the sportful flock in all
their excursions through wood or over moor. They resembled, in
features and in voice, both of their gentle parents; but nature had
moulded to quite another character their joyful and impetuous souls.
When sitting or walking with their mother, they subdued their spirits
down to suit her equable and gentle contentment, and behaved
towards her with a delicacy and thoughtfulness which made her
heart to sing for joy. So, too, did they sit in the kirk on Sabbath, and
during all that day the fountain of their joy seemed to subside and to
lie still. They knew to stand solemnly with their mother, now and
then on the calm summer evenings, beside their father’s grave. They
remembered well his pale kind face—his feeble walk—his bending
frame—his hand laid in blessing on their young heads—and the last
time they ever heard him speak. The glad boys had not forgotten
their father; and that they proved by their piety unto her whom most
on earth had their father loved. But their veins were filled with youth,
health, and the electricity of joy; and they carried without and within
the house such countenances as at any time coming upon their
mother’s eyes on a sudden, were like a torch held up in the dim
melancholy of a mist, diffusing cheerfulness and elevation.
Years passed on. Although the youngest was but a boy, the eldest
stood on the verge of manhood, for he had entered his seventeenth
year, and was bold, straight, and tall, with a voice deepening in its
tone, a graver expression round the gladness of his eyes, and a sullen
mass of coal-black hair hanging over the smooth whiteness of his
open forehead. But why describe the three beautiful brothers? They
knew that there was a world lying at a distance that called upon them
to leave the fields, and woods, and streams, and lochs of Castle-
Holm; and, born and bred in peace as they had been, their restless
hearts were yet all on fire, and they burned to join a life of danger,
strife, and tumult. No doubt it gave their mother a sad heart to think
that all her three boys, who she knew loved her so tenderly, could
leave her alone, and rush into the far-off world. But who shall curb
nature? Who ought to try to curb it when its bent is strong? She
reasoned a while, and tried to dissuade; but it was in vain. Then she
applied to her friends; and the widow of the minister of Castle-Holm,
retired as his life had been, was not without friends of rank and
power. In one year her three boys had their wish;—in one year they
left Sunnyside, one after the other; William to India, Edward to
Spain, and Harry to a man-of-war.
Still was the widow happy. The house that so often used to be
ringing with joy, was now indeed too, too silent; and that utter
noiselessness sometimes made her heart sick, when sitting by herself
in the solitary room. But by nature she was a gentle, meek, resigned,
and happy being; and had she even been otherwise, the sorrow she
had suffered, and the spirit of religion which her whole life had
instilled, must have reconciled her to what was now her lot. Great
cause had she to be glad. Far away as India was, and seemingly more
remote in her imagination, loving letters came from her son there in
almost every ship that sailed for Britain; and if at times something
delayed them, she came to believe in the necessity of such delays,
and, without quaking, waited till the blessed letter did in truth
appear. Of Edward, in Spain, she often heard—though for him she
suffered more than for the others. Not that she loved him better, for,
like three stars, each possessed alike the calm heaven of her heart;
but he was with Wellington, and the regiment in which he served
seemed to be conspicuous in all skirmishes, and in every battle.
Henry, her youngest boy, who left her before he had finished his
fourteenth year, she often heard from; his ship sometimes put into
port; and once, to the terror and consternation of her loving and
yearning heart, the young midshipman stood before her, with a
laughing voice, on the floor of the parlour, and rushed into her arms.
He had got leave of absence for a fortnight; and proudly, although
sadly too, did she look on her dear boy when he was sitting in the
kirk with his uniform on, and his war-weapons by his side—a fearless
and beautiful stripling, on whom many an eye was insensibly turned
even during service. And, to be sure, when the congregation were
dismissed, and the young sailor came smiling out into the
churchyard, never was there such a shaking of hands seen before.
The old men blessed the gallant boy; many of the mothers looked at
him not without tears; and the young maidens, who had heard that
he had been in a bloody engagement, and once nearly shipwrecked,
gazed upon him with unconscious blushes, and bosoms that beat
with innocent emotion. A blessed week it was indeed that he was
then with his mother; and never before had Sunnyside seemed so
well to deserve its name.
To love, to fear, and to obey God, was the rule of this widow’s life;
and the time was near at hand when she was to be called upon to
practise it in every silent, secret, darkest corner and recess of her
afflicted spirit. Her eldest son, William, fell in storming a fort in
India, as he led the forlorn-hope. He was killed dead in a moment,
and fell into the trench with all his lofty plumes. Edward was found
dead at Talavera, with the colours of his regiment tied round his
body. And the ship in which Henry was on board, that never would
have struck her flag to any human power sailing on the sea, was
driven by a storm on a reef of rocks, went to pieces during the night,
and of eight hundred men, not fifty were saved. Of that number
Henry was not; but his body was found next day on the sand, along
with those of many of the crew, and buried, as it deserved, with all
honours, and in a place where few but sailors slept.
In one month—one little month—did the tidings of the three
deaths reach Sunnyside. A government letter informed her of
William’s death in India, and added, that, on account of the
distinguished character of the young soldier, a small pension would
be settled on his mother. Had she been starving of want instead of
blessed with competence, that word would have had then no
meaning to her ear. Yet true it is, that a human—an earthly—pride
cannot be utterly extinguished, even by severest anguish, in a
mother’s heart, yea, even although her best hopes are garnered up in
heaven; and the weeping widow could not help feeling it now, when,
with the black wax below her eyes, she read how her dead boy had
not fallen in the service of an ungrateful state. A few days afterwards
a letter came from himself, written in the highest spirits and
tenderest affection. His mother looked at every word—every letter—
every dash of the pen;—and still one thought—one thought only, was
in her soul;—“the living hand that traced these lines—where, what is
it now?” But this was the first blow only; ere the new moon was
visible, the widow knew that she was altogether childless.
It was in a winter hurricane that her youngest boy had perished;
and the names of those whose health had hitherto been remembered
at every festal Christmas, throughout all the parish, from the castle
to the humblest hut, were now either suppressed within the heart, or
pronounced with a low voice and a sigh. During three months,
Sunnyside looked almost as if uninhabited. Yet the smoke from one
chimney told that the childless widow was sitting alone at her
fireside; and when her only servant was spoken to at church, or on
the village-green, and asked how her mistress was bearing these
dispensations, the answer was, that her health seemed little, if at all
impaired, and that she talked of coming to divine service in a few
weeks, if her strength would permit. She had been seen through the
leafless hedge standing at the parlour window, and had motioned
with her hand to a neighbour, who in passing, had uncovered his
head. Her weekly bounty to several poor and bedridden persons had
never suffered but one week’s intermission. It was always sent to
them on Saturday night; and it was on a Saturday night that all the
parish had been thrown into tears, with the news that Henry’s ship
had been wrecked, and the brave boy drowned. On that evening she
had forgotten the poor.
But now the Spring had put forth her tender buds and blossoms—
had strewn the black ground under the shrubs with flowers, and was
bringing up the soft, tender, and beautiful green over the awakening
face of the earth. There was a revival of the spirit of life and gladness
over the garden, and the one encircling field of Sunnyside; and so
likewise, under the grace of God, was there a revival of the soul that
had been sorrowing within its concealment. On the first sweet dewy
Sabbath of May, the widow was seen closing behind her the little
white gate, which for some months her hand had not touched. She
gave a gracious, but mournful smile, to all her friends, as she passed
on through the midst of them along with the minister who had joined
her on entering the churchyard; and although it was observed that
she turned pale as she sat down in her pew, with the Bibles and
Psalm-books that had belonged to her sons lying before her, as they
themselves had enjoined when they went away, yet her face
brightened even as her heart began to burn within her at the simple
music of the psalm. The prayers of the congregation had some
months before been requested for her, as a person in great distress;
and, during service, the young minister, according to her desire, now
said a few simple words, that intimated to the congregation that the
childless widow was, through his lips, returning thanks to Almighty
God, for that He had not forsaken her in her trouble, but sent
resignation and peace.
From that day she was seen, as before, in her house, in her garden,
along the many pleasant walks all about the village; and in the
summer evenings, though not so often as formerly, in the dwellings
of her friends, both high and low. From her presence a more gentle
manner seemed to be breathed over the rude, and a more heartfelt
delicacy over the refined. Few had suffered as she had suffered; all
her losses were such as could be understood, felt, and wept over by
all hearts; and all boisterousness or levity of joy would have seemed
an outrage on her, who, sad and melancholy herself, yet wished all
around her happy, and often lighted up her countenance with a
grateful smile at the sight of that pleasure which she could not but
observe to be softened, sobered, and subdued for her sake.
Such was the account of her, her sorrow, and her resignation,
which I received on the first visit I paid to a family near Castle-Holm,
after the final consummation of her grief. Well-known to me had all
the dear boys been; their father and mine had been labourers in the
same vineyard; and as I had always been a welcome visitor, when a
boy, at the manse of Castle-Holm, so had I been, when a man, at
Sunnyside. Last time I had been there, it was during the holidays,
and I had accompanied the three boys on their fishing excursions to
the lochs in the moor; and in the evenings pursued with them their
humble and useful studies. So I could not leave Castle-Holm without
visiting Sunnyside, although my heart misgave me, and I wished I
could have delayed it till another summer.
I sent word that I was coming to see her, and I found her sitting in
that well-known little parlour where I had partaken the pleasure of
so many merry evenings with those whose laughter was now
extinguished. We sat for awhile together speaking of ordinary topics,
and then utterly silent. But the restraint she had imposed upon
herself she either thought unnecessary any longer, or felt it to be
impossible; and rising up, went to a little desk, from which she
brought forth three miniatures, and laid them down upon the table
before us, saying, “Behold the faces of my three dead boys!”
So bright, breathing, and alive did they appear, that for a moment
I felt impelled to speak to them, and to whisper their names. She
beheld my emotion, and said unto me, “Oh! could you believe that
they are all dead? Does not that smile on Willie’s face seem as if it
were immortal? do not Edward’s sparkling eyes look so bright as if
the mists of death could never have overshadowed them? and think—
oh! think, that ever Henry’s golden hair should have been dragged in
the brine, and filled full—full, I doubt not, of the soiling sand!”
I put the senseless images one by one to my lips, and kissed their
foreheads—for dearly had I loved these three brothers; and then I
shut them up and removed them to another part of the room. I
wished to speak, but I could not; and, looking on the face of her who
was before me, I knew that her grief would find utterance, and that
not until she had unburdened her heart could it be restored to
repose.
“They would tell you, sir, that I bear my trials well; but it is not so.
Many, many unresigned and ungrateful tears has my God to forgive
in me, a poor, weak, and repining worm. Almost every day, almost
every night, do I weep before these silent and beautiful phantoms;
and when I wipe away the breath and mist of tears from their faces,
there are they, smiling continually upon me! Oh! death is a shocking
thought, when it is linked in love with creatures so young as these!
More insupportable is gushing tenderness, than even dry despair;
and, methinks, I could bear to live without them, and never to see
them more, if I could only cease to pity them! But that can never be.
It is for them I weep, not for myself. If they were to be restored to
life, would I not lie down with thankfulness into the grave? William
and Edward were struck down, and died, as they thought, in glory
and triumph. Death to them was merciful. But who can know,
although they may try to dream of it in horror, what the youngest of
them, my sweet Harry, suffered, through that long dark howling
night of snow, when the ship was going to pieces on the rocks!”
That last dismal thought held her for a while silent; and some tears
stood in drops on her eyelashes, but seemed again to be absorbed.
Her heart appeared unable to cling to the horrors of the shipwreck,
although it coveted them; and her thoughts reverted to other objects.
“I walk often into the rooms where they used to sleep, and look on
their beds till I think I see their faces lying with shut eyes on their
pillows. Early in the morning do I often think I hear them singing; I
awaken from troubled unrest, as if the knock of their sportive hands
were at my door summoning me to rise. All their stated hours of
study and of play, when they went to school and returned from it,
when they came into meals, when they said their prayers, when they
went leaping at night to bed as lightsomely, after all the day’s fatigue,
as if they had just risen—oh! Sir, at all these times, and many, and
many a time besides these, do I think of them whom you loved.”
While thus she kept indulging the passion of her grief, she
observed the tears I could no longer conceal; and the sight of my
sorrow seemed to give, for a time, a loftier character to hers, as if my
weakness made her aware of her own, and she had become conscious
of the character of her vain lamentations. “Yet, why should I so
bitterly weep? Pain had not troubled them—passion had not
disturbed them—vice had not polluted them. May I not say, ‘My
children are in heaven with their father?’—and ought I not, therefore,
to dry up all these foolish tears now and for evermore?”
Composure was suddenly shed over her countenance, like gentle
sunlight over a cheerless day, and she looked around the room as if
searching for some pleasant objects that eluded her sight. “See,” said
she, “yonder are all their books, arranged just as Henry arranged
them on his unexpected visit. Alas! too many of them are about the
troubles and battles of the sea! But it matters not now. You are
looking at that drawing. It was done by himself—that is the ship he
was so proud of, sailing in sunshine and a pleasant breeze. Another
ship, indeed, was she soon after, when she lay upon the reef! But as
for the books, I take them out of their places, and dust them, and
return them to their places, every week. I used to read to my boys,
sitting round my knees, out of many of these books, before they
could read themselves; but now I never peruse them, for their
cheerful stories are not for me. But there is one Book I do read, and
without it I should long ago have been dead. The more the heart
suffers, the more does it understand that Book. Never do I read a
single chapter, without feeling assured of something more awful in
our nature than I felt before. My own heart misgives me; my own
soul betrays me; all my comforts desert me in a panic; but never yet
once did I read one whole page of the New Testament that I did not
know that the eye of God is on all His creatures, and on me like the
rest, though my husband and all my sons are dead, and I may have
many years yet to live alone on the earth.”
After this we walked out into the little avenue, now dark with the
deep rich shadows of summer beauty. We looked at that beauty, and
spoke of the surpassing brightness of the weather during all June,
and advancing July. It is not in nature always to be sad; and the
remembrance of all her melancholy and even miserable confessions
was now like an uncertain echo, as I beheld a placid smile on her
face, a smile of such perfect resignation, that it might not falsely be
called a smile of joy. We stood at the little white gate; and, with a
gentle voice, that perfectly accorded with that expression, she bade
God bless me; and then with composed steps, and now and then
turning up, as she walked along, the massy flower-branches of the
laburnum, as, bent with their load of beauty, they trailed upon the
ground, she disappeared into that retirement which, notwithstanding
all I had seen and heard, I could not but think deserved almost to be
called happy, in a world which even the most thoughtless know is a
world of sorrow.
 THE BATTLE OF THE BREEKS:
A PASSAGE IN THE LIFE OF WILLIAM
M‘GEE, WEAVER IN HAMILTON.

By Robert Macnish, LL.D.

I often wonder when I think of the tribulations that men bring

upon themsels, through a want of gumption and common
independence of speerit. There now was I, for nae less than eighteen
years, as henpeckit a man as ever wrocht at the loom. Maggie and
me, after the first week of our marriage, never forgathered weel
thegither. There was something unco dour and imperious about her
temper, although, I maun say, barring this drawback, she was nae
that ill in her way either,—that is to say, she had a sort of kindness
about her, and behaved in a truly mitherly way to the bairns, giein
them a’ things needfu’ in the way of feeding and claithing, so far as
our means admitted. But, oh, man, for a’ that, she was a dour wife.
There was nae pleasing her ae way or anither; and whenever I heard
the bell ringing for the kirk, it put me in mind of her tongue—aye
wag, wagging, and abusing me beyond bounds. In ae word, I was a
puir, broken-hearted man, and often wished myself in Abraham’s
bosom, awa frae the cares and miseries of this sinfu’ world.
I was just saying that folk often rin their heads into scrapes for
want of a pickle natural spunk. Let nae man tell me that gude nature
and simpleecity will get on best in this world; na—faith na. I hae had
ower muckle experience that way; and the langer I live has proved to
me that my auld maister, James Currie (him in the Quarry Loan),
wasna sae far wrang when he alleged, in his droll, gude-humoured
way, that a man should hae enough o’ the deil about him to keep the
deil frae him. That was, after a’, ane of the wisest observes I hae
heard of for a lang time. Little did I opine that I would ever be
obligated to mak use o’t in my ain particular case:—but, bide a wee,
and ye shall see how it was brocht about between me and Maggie.
It was on a wintry night when she set out to pick a quarrel wi’ Mrs
Todd, the huckster’s wife, anent the price of a pickle flour which I
had bought some days before, for making batter of, but which didna
turn out sae weel as I expeckit, considering what was paid for’t. Had
I been consulted, I would hae tell’t her to bide at hame, and no fash
her thumb about the matter, which after a’ was only an affair of
three-ha’pence farthing, and neither here nor there. But, na; Maggie
was nane o’ the kind to let sic an object stan’ by; so out she sets, wi’
her red cloak about her, and her black velvet bonnet—that she had
just that day got hame frae Miss Lorimer, the milliner—upon her
head. But I maun first tell what passed between her and me on this
wonderful occasion.
“And now, my dear,” quo’ I, looking as couthy and humble as I
could, and pu’ing my Kilmarnock nicht-cap a wee grain aff my brow
in a kind of half respectfu’ fashion, “what’s this ye’re ganging to be
about? Odds, woman, I wadna gie a pirn for a’ that has happened.
What signifies a pickle flour, scrimp worth half a groat?”
Faith, I would better hae held my tongue, for nae sooner was the
word uttered, than takin’ haud of a can, half fu’ o’ ready-made
dressing, which I was preparing to lay on a wab of blue check I was
working for Mr Andrew Treddles, the Glasgow manufacturer—I say,
taking haud of this, she let flee at my head like a cannon-ball. But
Providence was kind, and instead of knocking out my brains, as I had
every reason to expeck, it gaed bang against our ain looking-glass,
and shattered it into five hunder pieces. But I didna a’thegither
escape scaith—the dressing having flown out as the can gaed by me,
and plaistered a’ my face ower in a manner maist extraordinar to
behold. By jingo! my spirit was roused at this deadly attempt, and gin
she hadna been my wife, I wad hae thrawn about her neck, like a
tappit-hen’s. But, na—I was henpeckit, and she had sic a mastery
ower me as nae persuasions of my ain judgment could owercome.
Sae I could do naething but stan’ glowering at her like a moudiewart,
while she poured out as muckle abuse as if I had been her flunkey,
instead of her natural lord and master. Ance or twice I fand my
nieves yeuking to gie her a clour by way of balancing accounts, but
such was the power of influence she had obtained, that I durstna
cheep for my very heart’s blude. So awa she gaed on her errand,
leaving me sittin’ by the fire to mak the best of my desperate
condition.
“O, Nancy,” said I to my dochter, as she sat mending her brither’s
sark, opposite to me, “is na your mither an awfu’ woman?”
“I see naething awfu’ about her,” quo’ the cratur; “I think she servit
ye richt; and had I a man, I would just treat him in the same way, if
he daured to set his nose against onything I wanted.”
I declare to ye, when I heard this frae my ain flesh and blude, I was
perfectly dumfoundered. The bairn I had brought up on my knee—
that used, when a wee thing, to come and sit beside me at the loom,
and who was in the custom of wheeling my pirns wi’ her ain hand—
odds, man, it was desperate. I couldna say anither word, but I faund
a big tear come hap-happing ower my runkled cheeks, the first that
had wet them sin’ I was a bit laddie rinnin’ about before the schule
door. What was her mither’s abusiveness to this? A man may thole
muckle frae his wife, but, oh, the harsh words of an undutifu’ bairn
gang like arrows to his heart, and he weeps tears of real bitterness. I
wasna angry at the lassie—I was ower grieved to be angered; and for
the first time I fand that my former sufferings were only as a single
thread to a hale hank of yarn, compared to them I suffered at this
moment.
A’thegither, the thing was mair than I could stand, so rising up, I
betaks mysel to my but-an-ben neighbour, Andrew Brand. Andrew
was an uncommon sagacious chiel, and, like mysel, a weaver to his
trade. He was beuk-learned, and had read a hantle on different
subjects, so that he was naturally looked up to by the folks round
about, on account of his great lear. When onything gaed wrang about
the Leechlee Street, where we lived, we were a’ glad to consult him;
and his advice was reckoned no greatly behint that of Mr Meek, the
minister. He was a great counter, or ’rithmetishian, as he ca’d it; and
it was thocht by mony gude judges that he could handle a pen as weel
as Mr Dick, the writing-master, himsel. So, as I was saying, I stappit
ben to Andrew’s, to ask his advice, but, odds! if ye ever saw a man in
sic a desperate passion as he was in when I tauld him how I had been
used by my wife and dochter.
 “William M‘Gee,” said he, raising his voice,—it was a geyan strong
ane,—“ye’re an absolute gomeril. Oh, man, but ye’re a henpeckit
sumph! I tell ye, ye’re a gawpus and a lauching-stock, and no worth
the name of a man. Do ye hear that?”
“O ay, I hear’t very weel,” quo’ I, no that pleased at being sae
spoken to, even by Andrew Brand, who was a man I could stamach a
gude deal frae, in the way of reproof—“I hear’t a’ weel eneuch, and
am muckle obleeged to ye, nae doubt, for your consolation.”
“Hooly and fairly, William,” said he in a kinder tone, for he saw I
was a degree hurt by his speech. “Come, I was only joking ye, man,
and ye maunna tak onything amiss I hae said. But, really, William, I
speak to ye as a frien’, and tell ye that ye are submitting to a tyranny
which no man of common understanding ought to submit to. Is this
no the land of liberty? Are we no just as free as the Duke in his grand
palace down by; and has onybody a richt—tell me that, William
M‘Gee—to tyranneeze ower anither as your wife does ower you! I’ll
no tell ye what to do, but I’ll just tell ye what I would do if my wife
and dochter treated me as yours have treated you: losh, man, I would
ding their harns about, and knock their heads thegither like twa
curling-stanes. I would aye be master in my ain house.”
This was Andrew’s advice, and I thocht it sounded geyan rational,
only no very easy to be put in practice. Hoosomever, thinks I to
mysel, I’ll consider about it, and gin I could only bring mysel to mak
the experiment, wha kens but I micht succeed to a miracle? On
stapping back to my ain house, the first thing I did was to tak a
thimblefu’ of whisky, by way of gieing me a pickle spunk, in case of
ony fresh rumpus wi’ the wife, and also to clear up my ideas; for I hae
fand, that after a lang spell at the loom, the thochts, as weel as the
body, are like to get stupid and dozey. So I taks a drappie, and sits
down quietly by the fireside, waiting for the return of Maggie frae
scolding Mrs Todd about the flour.
In she comes, a’ in a flurry. Her face was as red as a peony rose,
her breathing cam fast, and she lookit a’thegither like ane that has
had a sair warsle wi’ the tongue. But she was far frae being downcast.
On the contrair, she lookit as proud as a Turkey cock; and I saw wi’
the tail o’ my ee that she had gained a gran’ victory ower puir Mrs
Todd, who was a douce, quiet woman, and nae match for the like of
her in randying. So she began to stump and mak a great phrase about
the way she had outcrawed the puir body; and was a’thegither as
upset about it as if Duke Hamilton had made her keeper of his
palace. Losh! I was mad to hear’t, and twa or three times had a gude
mind to put in a word, to sic a degree was my courage raised by the
drap speerits; but aye as the words were rising to my mouth, the
thocht of the can and the dressing sent them back again, till they
stuck like a bane in my throat. Very likely I micht hae said ne’er a
word, and Andrew Brand’s advice micht hae gane for naething, had it
no been for the cratur Nancy, who was sae lifted up about her
mither’s dispute, that naething would sair her but to hae the hale
affair mentioned cut and dry.
“And did ye cast up to Mrs Todd, mither,” quo’ the little cutty,
“that she was fat?”
“Ay, that I did,” said Maggie. “I tell’t her she was like a barn-door. I
tell’t her she was like the side of a house. ‘Ye’re a sow,’ quo’ I; ‘ye get
fou every hour of the day, wi’ your lump of a gudeman!’”
But this wasna a’—for nae sooner had Maggie answered her
dochter’s first question, than the cratur was ready wi’ anither: “And,
mither, did ye cast up to her that her faither was a meeser?”
“Atweel did I, Nancy,” answered the gudewife. “I tell’t her a’ that. I
coost up to her that her faither was a meeser, and would ride to
Lunnon on a louse, and mak breeks of its skin, and candles of its
tallow.”
I could thole this nae langer. I fand the hale man working within
me, and was moved to a pitch of daring, mair like madness than
onything else. Faith, the whisky was of gude service now, and so was
Andrew Brand’s advice. I accordingly steekit my nieves wi’
desperation, threw awa my cowl, tucked up my sark sleeves,—for my
coat happened to be aff at the time,—and got up frae the three-footed
stool I had been sitting upon in the twinkling of an ee. I trumbled a’
ower, but whether it was wi’ fear, or wi’ anger, or wi’ baith put
thegither, it would be difficult to say. I was in an awfu’ passion, and
as fairce as a papist.
“And so,” said I, “ye coost up sic things to the honest woman, Mrs
Todd! O, Maggie M‘Gee, Maggie M‘Gee, are ye no ashamed of
yoursel?”
 ’Od it would hae dune your heart gude to see how she glowered at
me. She was bewildered, and lookit as if to see whether I was mysel,
and no some ither body. But her evil speerit didna lie lang asleep; it
soon broke out like a squib on the king’s birthday, and I saw that I
maun now stand firm, or be a dead man for ever.
“Has your faither been at the whisky bottle?” said she to her
dochter. “He looks as if he was the waur of drink.”
“He had a glass just before ye cam in,” answered the wicked
jimpey; and scarcely had she spoken the word, when Maggie flew
upon me like a teeger, and gied me a skelp on the cheek wi’ her open
loof, that made me turn round tapwise on the middle of the floor.
Seeing that affairs were come to this pass, I saw plainly that I maun
go on, no forgetting in sae doing my frien’ Andrew’s advice, as also
my auld master Tammas Currie’s observe, anent a man ha’eing
aneuch of the deil in his temper to keep the deil awa frae him. So I
picked up a’ the spunk I had in me, besides what I had frae the drap
whisky; and fa’ing to, I gied her sic a leathering as never woman got
in her born days. In ae word, she met wi’ her match, and roared
aloud for mercy; but this I would on nae account grant, till she
promised faithfully that, in a’ time coming, she would acknowledge
me as her lord and maister, and obey me in everything as a dutiful
wife should her husband.
As soon as this was settled, in stappit Andrew Brand. At the sight
of my wife greeting, and me sae fairce, he held up his hands wi’
astonishment.
“William M‘Gee,” quo’ he, “it’s no possible that ye’re maister in this
house!”
“It’s no only possible, but it’s true, Andrew,” was my answer; and,
taking me by the hand, he wished me joy for my speerit and success.
Sae far, sae weel; the first grand stroke was made, but there was
something yet to do. I had discharged a’ outstanding debts wi’ my
wife, and had brocht her to terms; but I had yet to reduce my bairns
to their senses, and show them that I was their lord and maister, as
weel as their mither’s. Puir things! my heart was wae for them, for
they were sairly miseducated, and held me in nae mair estimation,
than if I had been ane of my ain wabster lads. So, just wi’ a view to
their gude, I took down a pair of teuch ben-leather taws, weel burnt
at the finger-ends, and gied Nancy as mony cracks ower the bare
neck, as set her squeeling beyond a’ bounds. It was pitifu’ to see the
cratur, how she skipped about the room, and ran awa to her mither,
to escape my faitherly rage. But a’ assistance frae that quarter was at
an end now; and she was fain to fa’ down on her knees, and beg my
forgiveness, and promise to conduct hersel as became my dochter, in
a’ time coming.
Just at this moment, in comes wee Geordie, greeting for his
parritch. He kent naething of what had taken place in the house; and,
doubtless, expeckit to mak an idiot of me, his faither, as he had been
accustomed to do, almost frae his very cradle. I saw that now was the
time to thresh the corruption out of him; and brandishing the taws
ower my head, I made a stap forrit to lay hand upon him, and treat
him like the lave. He looked as if he had an inkling of what was
forthcoming, and ran whinging and craiking to his mither, who stood
wiping her een wi’ her striped apron in a corner of the room. The
terrified laddie clang to her knees, but she never offered to lend a
helping hand, sae great was the salutary terror wi’ which I had
inspired her. So I pu’d him awa frae her coats, to which he was
clinging; and, laying him ower my knee, I gied him hipsie-dipsie in
the presence of his mither, his sister, and Andrew Brand, who were
looking on.
And thus hae I, who for eighteen years was ruled by my wife, got
the upper hand; and ony man who is henpeckit as I hae been, should
just tak the same plan, and his success will be as sure as mine.
Andrew Brand aye said to me that a man should wear his ain breeks;
and I can maintain, frae present experience, that a wiser saying is no
to be found in the Proverbs of Solomon, the son of David. No that
Maggie hasna tried nows and thans to recover her lost power, but I
hae on thae occasions conduckit mysel wi’ sic firmness, that she has
at last gien it up as a bad job, and is now as obedient a wife as ye’ll
meet wi’ between this and Bothwell. The twa bairns, too, are just
wonderfully changed, and are as raisonable as can be expeckit, a’
things considered. Let men, therefore, whether gentle or simple,
follow my plan, and the word “henpeckit,” as Andrew Brand says,
will soon slip out of the dictionair.
 MY SISTER KATE.

By Andrew Picken.

There is a low road (but it is not much frequented, for it is terribly

round about) that passes at the foot of the range of hills that skirt the
long and beautiful gut or firth of the Clyde, in the west of Scotland;
and as you go along this road, either up or down, the sea or firth is
almost at your very side, the hills rising above you; and you are just
opposite to the great black and blue mountains on the other side of
the gut, that sweep in heavy masses, or jut out in bold capes, at the
mouth of the deep lochs that run up the firth into the picturesque
highlands of Argyleshire.
You may think of the scene what you please, because steam-
boating has, of late years, profaned it somewhat into commonness,
and defiled its pure air with filthy puffs of coal smoke; and because
the Comet and all her unfortunate passengers were sunk to the
bottom of this very part of the firth; and because, a little time
previous, a whole boatful of poor Highland reaper girls were all run
down in the night-time, while they were asleep, and drowned near
the Clough lighthouse hard by; but if you were to walk this road by
the seaside any summer afternoon, going towards the bathing village
of Gourock, you would say, as you looked across to the Highlands,
and up the Clyde towards the rocks of Dumbarton Castle, that there
are few scenes more truly magnificent and interesting.
There is a little village exactly opposite to you, looking across the
firth, which is called Dunoon, and contains the burying-place of the
great house of Argyle; and which, surrounded by a patch of green
cultivated land, sloping pleasantly from the sea, and cowering snugly
by itself, with its picturesque cemetery, under the great blue hills