THE HIGHER LIFE.. "
~ ‘ , _ ' L._..__._—_
“Oh. no. ' " said fair Miss Carrie,
‘ i shall never. never marry,
F 01 l heave a steelclad bosom and a dessicated
!-> ' atur
So to Leove I bid defiance,
Cast my lot with men of science.
A 11d devdte my life entirely to philosophy
and art. "
' ,‘sz 11:11 in. Spencer. Kant and Plato
I shall mud to find ,the way t0
' ' 5 Reach the estoeiic whichness of the meta
aph ysic why:
And With Schopenhauer and Homer
And the Rubiyat of Omar
All too swiftly I shall find the precioul
K moments slipping by! ”
Bnt' 1n spite of her intention
I but think it right to mention
She has given Kant and Plato and the reel
of them the shake.
Fm this lofty-minded creature
“'ed an Anabaptist preacher
And she spends her days in darning sockl
’ “’1. and frying tough old steak!
‘ a..—Ellis Parker Butlei.
1
kp-
‘MILLIE AND MOLLIE.
“I’ ve come to ask you for the hand of
your daughter,” sai’d young Bromley,
stumbling to the seat offered him by
the girl’s father. .
5“ "Which one?” asked old Dimmock;
the coal merchant, laying down the
newspaper which he had been reading,
and eyeing the young man curiously
Ҥometimes I think it is Mollie, and
again I am sure it is Millie,” replied
young Bromley, genuinely perplexed.
The old coal merchant looked sym-
pathetic.
“You can’t have both,” Said he, after
an awkward pause.
“They’re splendid1girls, good enough
for anybody!” exclaimed the young
man. ‘ .
“Well, I rather think!” said the old
man, proudly.
“I could be happy- with either oi
them,” wenton young Bromley.
“I’m disposed to think,” observed
old Dimmock, “that you have been
happy with both of them.”
“So they’ve told me more than
once,” said Bromley, with the pleas-
ant l‘ight of recollection in his eyes.
“Well, can’t you make up your mind
which girl you want to marry?"
The old. coal merchant looked at the
young man,with the fresh color and '
the loyal blue eyes as if he would like
to have him for a son—in-law.
Young Bromley did not answer for a
;m01ncnt,'and then he said, slowly,—
“Which do you think sounds the
'better—é‘Millie Bromley’ or ‘Mollie
B1 omley‘” Sometimes I‘ve looked at 11
i-.1 that way.’
“I don’t think there’s much to:
cheese,“ returned the old coal ' mer-
chant, weighing the question 'with
every desire to be fair.
“You knew,” continued the young
man, “there have been times when I’ve
gone to bed perfectly charmed with the
:name ‘Millie Bromley,’ and in ,the
nnorning ‘Mollie Bromley’ has caught
my fancy. Millie, Mollie; Mollie, Mil-
lie—it"s an awful puzzle.”
WEE K Ly- 1V 0 it W A111.
,“Of course, you’ve” proposed to one 01
the girls?" inquired their father. '
“Oh, yes, indeed, 1” said young Brom.
ley.
“Then that is the girl you want to
marry,” exclaimed‘the old man, tri-'
umphantly. “Why, it’s simple enough
after. all. You’ve taken quite a load
off my mind. Which one is it?”
“It was Millie—I think,” answered
‘young Bromley, hesitatingly.
“Think! Don’ t you know?”
The young man flushed and looked
leproachfuily at the coal merchant.
"Mr. Dimmock, ” said he, “I’ll put 1!
to you as man to man: Wh' ch is Millie
and which is Mollie?”
’ “‘Don’t cross-examine-me, sir,” re-
joined the old man. “If you want tc
marry one of the girls, it’s your busi-
ness to find out. ” ‘
“Heaven knows,” cried young Brain;
Iey in anguish. “I want to marry
either Millie or Mollie and have her
all to myself. It’s trying enough for
a fellow to be over head and ears in
love with one girl, but when there are
two of them, it’s more than flesh and
blood can stand.”
“There, there, my boy,” said the coal ‘ th
meichant, soothingly, “don't take on
so, ‘Either girl'is your with my bless»
ing, but I want to keep one for myself
Let me see if I can help you.”
And going to the open French win.
dow he called,-—- '
“Millie, Mollie! Mollie Millie!”
3 their father,
1
l
“Yes, papa, we’re coming”... sounded f
two sweet, well-bred voices from the
shrubbery.
There was a tripping of light feet
along the stone walk under the grape
vine, and Millie and Mollie blOomed
into the mom.
“How do you do, Mr. Bromley,” they
said together, with the same intona-
tion and the same merry glint in their
eyes.
Millie had auburn hair and brown
eyes; so had Mollie. Millie had a Cu~
pid's bow of a mouth, little teeth like
pearls, and a dimple, and so had Mol-
lie. Millie’s arms, as seen through her
' muslin sleeves, were round and white;
so were Mollie’s.
From the waist to tips of their little
feet the figures of Millie and Mollie
wens the same line for line”, and
both were dressed in white muslin,
mill lilac bows behind their white
necks and lilac sashes at their waists,
lilac. stockings without a wrinkle, and
rash were white satin shoes. Their
hair was loose over their fair brows
and was in aided down their backs, oi
just the same length, and tied at the
end with lilac ribbons.
Mollie’s bows and Mollie tied Millie’s.
“Well, papa?”
“’511, ‘not to both, you know, Mr.
Dimmock, " in‘terjected young --Brom
, ley.
“He asked me to be his wife,” said
Millie, demurely.
5 ‘He told «me that he couldn’t live
without me,” said Mollie, mischiev-
ously
“How is this?" said the old man.
turning to young Bromley with a sew
vere look.
The young man blushed furiously
and lifted his hands in protest.
“I’m sure ” he stammered, “one of
you is mistaken. I asked you, Millie,
to be my wife in the summer house—
and—and—I kissed you. .That was be-
fore supper, and later in the evening,
when we sat on the front steps, I said
that I couldn’t. live unseat you and
that we must get married.”
“Before we go any further,” inter-
rupted the old coal merchant, “which
is Millie and which is Mollie. When
your dear mother was alive she could
tell the difference sometimes, but I
don’ t know to this day. ”
“Oh, how dull you a1e,papa!” said
e girls in duet.
spoke up ydilug Bromley. ,
“Why, Mr.- Bromley,” said she,
am Mollie.”
“Very 3654 now let's get (iii, ” said
“where were we? Oh,
yes, young Bromley says that he asked
you to be his wife, Millie, and declared
he couldn’t do without you.”
“I beg your pardon, papa," said Mol-
lie, he told me that he couldn’t live
without me.”
“Well let’s'get our bearings, contin-
ued the old coal merchant. “Brom-
' ley, you asked Millie to marry you
“Young Bromlcy tells me,” began old I
Mr. Dimmock, after he had taken
draughts of their fresh young beauty
by looking first at one end then at the
other, and then dwelling upon the fea-
tures of both with. one eye sweep, "thal
he proposed to you last night.”
MARCH.
down iii the summer house, and you
kissed her! That’s correct, isn’t it?”
“There’s no doubt abdut‘that, sir,”
said Bromley, -:uger1y.
“And after topper when you sat to-
gether on 11:2 stoop you told Mollie
that you couldn’t live without her?”
“That 1' deny, si_r. Oh, I beg your
pardon, Mollie, you needn’t look so an-
gry. I meant no offence.”
“Did you kiss Mollie?” went on the
old man, relentlessly.
“No, sir. I—”
“Yes, you did, Mr. Bromley,” flared
upl Mollie.
“Iadmit,” said the young man,
struggling with his emotions, “that I
kissed her when I said I could not live
without her, but it wasn’t Mollie.”
“Oh, Mollie!” said Millie, “110w
could you?” ’
“Now, Millie, do be reasonable,”
Millie tied! sald Mollie.
Old Mr. Dimmock looked mystified.
“It seems to me,” he said, with a
show of impatience, “that if I were in
love with one of those girls I could
tell the difference between them. So
far as I can make out, young man, you
have asked Millie to be your wife, and
have tried to make Mollie believe that ,
you could not live without her. Now.
UNTER DEN DOFPELTBN notes
1. F. WAGNER, Op. 159.
)—
Ilium/z.
>—
“I think that is Millie on the right,”
.., 1~~
.‘ >‘
r,
to any one who does not know l‘Iillie:
and Mollie your conduct would appear
to be perfidious. "Ofeourse, as between.
you and Mollie, I must belie Je Mollie
for the girl certainly knows whether .
you kissed her. ”
The old man eyed both his daughters
hard. Millie was biting her nether lip
and so was Mo,llie but Mollie was try-
ing to keep from laughing.
Old Mr. Dimmock had an idea. ,
“I would like. to clear up this thing
to your satisfaction, and my own,
Bromley, ” said he. “Let me. ask you
whether Mollie kissed you when you
told her you 0011111. not 11M Without
her?”
The young man got very red in the
face.
“You mean Millie, of cou1se,” he re-
plied, with embarrassment. “Perhaps
she wouldn’t mind my saying that she
did kiss me in the summer house. But
she didn’t kiss me on the stoop. I
kissed her. ”
“How is that, Millie, Mollie?” asked
theil father.
“Papa," said 'Mollie, decidedly. “I
could not keep Mr. Bromley from kiss-
ing the, but I assure you'I didn’t kiss
Ihim."
Mollie looked her father straight in
the eye and then she shot an indignant
shaft at Bromley.
Millie hung her head and her face
was as red as a poppy.
“I think,” said the old man, dryly,
“that it’s plain I’ll keep Mollie, and
we’ll have that marriage before you
make another mistake, young man.”
The Gatholics.
The proselytinlg influences of the
Catholic church, say’s a: writer, are felt
in places where other" denominations
have never been heardEx of. I have
been in lumber camps in the deep
woods of Maine and Canada, and,seen
the priest going his rounds, converting
and making collections. No matter
how small the pay nor how great the
discomforts of life, the lumberman
gives his mite willingly. At the Falls
of‘the 'Montmorenci is a big lumber
mill, where many hands are employed.
On pay day I saw a priest go to the
cashier’s office and receive dozens of
small envelopes, signing his name for
each in a large book. Afterward the
men were paid ed. The proprietor in—
.formed me that each laborer gave so
much a week out of his wages, and
the priest was authorized to collect
it in that way. I learned that this is
the custom all over Canada—n—Ncw
‘York' Press,
'1
No Cause for Dispute.
Miss Vanderwhack—Now, will yyou
listen to me while I tell you the plain
truth, Chollie.
Chollie Fiveoclock -— I’m all ears,
Miss Vanderwhack.
Miss Vanderwhach —- That’s just
what I was going to say, only I was
going to put it differently—Town
’l‘nnics.
_....'. \
Trio.
A 7 11'1"? 1r.
'anxious to issue the notes and certifi;
VARIEGA’I‘ED MONEY.
NEW BILLS WITH A COLOR FOR EACH
DENOMINATION. a __....~
.._'_— / ‘
A Sialleme to Prevent “ Raising " by Coun-
terfeiters, and Mistakes by Careless
Men Invented by an Olonn Merchant——
Soon to be Put in Circulation. ‘I
New paper money, printed in diner—
ent colors,:will soon. be in circulation.
Some of the designs have, already been
prepared, and others. are: being ex-
ecuted at the _ Bureau of Engraving.
All of them Will undergo criticism and
more or less alteration before final ac-
ceptance. President McKinley has ex-
piessed his approval of the idea in a
general, way, and Secretary Gage is
cates as quickly as possible. Being
a banker himself. he fully appreciates
the defects of the currency now in the
hands of the people. It may be artis-
tic, but. the various denominations are
not easily distinguishable from each
other, and even the numerals on them
are obscure and hard to make out.
This makes ecunting troublesome, and
a person has to look sharp it he would
avoid givinga 85 note for asl. 1-1.11.
l
W<
H: w. MARCUS.
Secretary Gage is of the opinion that
every-day usefulness is of more impor-
tance in the currency of the nation
than high art. Pretty pictures of re-
cumbent ladies and naked boys are
well enough in their way, but they out
no particular ice, so to speak, in con-
nection with hard and vulgar cash.
The most important point in a piece
of paper money 'is that it shall be
easily recognized. Its denomination
must be apparent at a glance, and its
kind also, whether treasury note, bank
note or certificate. Of course, safety
against counterfeiting is not to be lost
sight of. It is believed that all of
these requirements are met by the new
designs. Anybody who has a handful
of these bills will be able to separate
them in an instant into their different
classes, so as to count them‘offhand
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and without scrutiny.
time, the greater simplicity of their
patterns will render them actually
more difficult to imitate successfully..
The very elaborateness of the notes
(now in circulation confuses the eye.
For illustrations, take the $1 bill.
.The designs for this denomination are I
already. finished, and are ‘very hand-
some." There are’only two,» one for the '
face and one for the back, because all 1
$1 bills will: have the same patterns,
whether certificates, bank notes or .
treasury notes. When you see a bill
with a big spread eagle in the middle
of the face, you will recognize it as a
$1, without even looking at the large
numeral beneath. How, then, are, you
to understand what kind of a $1 bill,
it is? The answer is, simply by'the
color in which the big numeral of de-
nomination, the treasury seal and the ‘
If it _
number of the bill are printed.
is a treasury note, these will be in refit"
if a. silver certificate, they will be in
green; if a bank note, they will be
in blue. There will be no other dif-
ferences, except that each kind of bill
will have its own legend.
do not want to stop and read the le-
gend 1n order to find out whether a bill
is a bank note or a certificate.
do not have to do so, inasmuch as the
color shows that. '
The fiber paper is to be retained in
.he new currency. It is deemed an
extra safeguard against counterfeiting
1But people ‘
At the same
They ' .
though c1lminals have found several '
ways of getting over the difliculty. One
of these methods is to wash the ink
from “one dollar bills With chemicals
and print the designs of higher do: '
nominations on the paper thus obtaiiia '
ed Another is to imitate the appear-
ance of the fibers by printing blank
paper with plates engraved with ir~
regularcurliqueues, rubbed over with
red; ink. The paper thus treated is
then used for printing the counterfeit
designs upon. As far back as 1869
the treasury printed its notes on paper
which had a single band of fibers, in-
stead of two bands as now. Thersingle
band was placed on the left of denom-
inations under $20 and on t e right
hand end of higher denominations, the
object being to prevent raising. The
trouble was that people could hardly-
be educated up to the idea.
It is considered by the treasury ex-
perts that a bill is handsomer for not
being engraved all over. That is the
idea, at all events, which is to be car-
ried out in. the new money. Tmy
say that a few scattered designs, very
elaborately {executed in the highest
style of art, are most difficult to coun-
terfeit successfully. The notes of the
Bank of England are” astonishingly
simple, having nothing on them but
some rather plain lettering, the water
marking of the paper being relied on
chiefly as a protection against imita-
tion. One of the queerest pieces of
money in the world is an Irish note for
£1. It has the words “One pound”
printed across it in big letters.
— a IA
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Norwalk Chronicler