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 'Ay, sir, and, to do them justice, they had need, for the poor's sake, to keep good friends with the squire. How else are they to get a farthing for schools, or coal-subscriptions, or lying-in societies, or lending libraries, or penny clubs? If they spoke their minds to the great ones, sir, how could they keep the parish together?'

'You seem to see both sides of a question, certainly. But what a miserable state of things, that the labouring man should require all these societies, and charities, and helps from the rich!—that an industrious freeman cannot live without alms!'

'So I have thought this long time,' quietly answered Tregarva.

'But Miss Honoria,—she is not afraid to tell her father the truth?'

'Suppose, sir, when Adam and Eve were in the garden, that all the devils had come up and played their fiends' tricks before them,—do you think they'd have seen any shame in it?'

'I really cannot tell,' said Lancelot, smiling.

'Then I can, sir. They'd have seen no more harm in it than there was harm already in themselves; and that was none. A man's eyes can only see what they've learnt to see.'

Lancelot started: it was a favourite dictum of his in Carlyle's works.

'Where did you get that thought, my friend?'

'By seeing, sir.'

'But what has that to do with Miss Honoria?'

'She is an angel of holiness herself, sir; and,


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Page:NATIONAL INTELLIGENCE SURVEY 18; CZECHOSLOVAKIA; TRANSPORTATION AND TELECOMMUNICATIONS CIA-RDP01-00707R000200110013-9.pdf/19

 APPROVED FOR RELEASE: 2009/06/16: CIA-RDP01-00707R000200110013-9

Conventional tow; 2,195-h.p. tug pulling two 600-ton barges.

Modern pusher tow; 2,135-h.p. towboat pushing a 800-ton dumb barge.

'''FIGURE 7. Elbe river tows (U/OU)'''

minutes and the variation in lift is from 5.0 to 26 feet. On the Vltava and Lateralni Kanal most locks are parallel and double chambered; there are no locks on the Danube. Of the estimated 100 bridge crossings, all are fixed-span structures. Most bridges are of steel construction, and none impose restrictive underbridge horizontal or vertical clearances for craft normally operating. A safety gate on the Lateralni Kanal facilitates draining the route for yearly maintenance and winter protection; it imposes no horizontal or depth restrictions. The waterways have six major ports and about 65 smaller ports and landings. The major ports are as follows: Decin, Usti nad Labem, and Melnik on the Elbe, handling mostly coal and other bulk materials; Prague on the Vltava, primarily a general-cargo power, and Komarno and Bratislava on the Danube, both handling large amounts of construction materials, scrap, petroleum and petroleum products, and manufactured items. The major ports have extensive riverside and basin wharfage adequately served by fixed and mobile cargo-transfer equipment, ample open- and covered-storage facilities, and good rail and road clearances. The combined turnovers at the two Danubian ports account for nearly 55% of the total turnover at the six major ports; Komarno and Bratislava each handle approximately 2.8 million short tons annually. On the other hand, the three major and four smaller installations on the Elbe account for over 60% of the total berthage available at the significant Czechoslovak inland ports.

The cargo fleet comprises an estimated 319 dumb barges having a capacity of 285,000 short tons and about 83 self-propelled barges having a capacity of 55,300 short tons and an aggregate horsepower of 39,700. An estimated 80 tugs provide a total of about 49,300 horsepower. In addition, there are two river-seagoing vessels, each 1,274 d.w.t., that are inventories by the Czechoslovak Danube Navigation Co. (CSPD). One of these vessels, the Lednice, lies in the blocked-off Suez Canal as a result of the Arab-Israeli war in 1967; the second vessel, the Bojnice, is operating out of Bratislava. The total number of units and total horsepower are fairly evenly distributed between the two nationalized shipping companies, but about 55% of the barge capacity is inventoried by the CSPD due to the introduction of 1,500-ton pusher units. The majority of dumb barges are 600- to 1,000-ton carriers, the most common carrier of the CSPD being the 1,000-ton unit while the 800-ton unit is the most common inventoried by the Elbe-Oder Navigation Co. (CSPLO).

Self-propelled vessels in both fleets tend to be of the same carrying capacity as the dumb barges, i.e. the most common unit in the CSPD is the 1,000-ton vessel, while most common in the CSPLO is the 800-ton craft. Modern hydrofoils are employed in regular international service on the Danube and in local tourist service between Decin and Usti-nad-Labem on the Elbe. The passenger fleet has a total seating capacity of about 2,500, fairly evenly distributed between the Danube and the Elbe fleets. Czechoslovak shipyards are collectively a very prominent builder of waterway craft (Figure 8) and special equipment among the Eastern European countries, but most of their production is exported.

13

APPROVED FOR RELEASE: 2009/06/16: CIA-RDP01-00707R000200110013-9

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


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Page:CTRL0000034605 - Transcribed Interview of Angela McCallum, (December 8, 2021).pdf/105

105 I appreciate that. And I was going to ask what State point of contact meant. So you're saying that even though it says State point of contact, and for you, for example, on this document it says you're for Georgia, in reality it didn't really play out that way and you all were helping out each other in the different States.

Right, and it really didn't play out that way. Also, because we talked about earlier, you know, we were all making calls into one State at one given time. You know, it wasn't like we were splitting up and doing it like that, so—

That makes sense.

And when it says—and you might not know this since you're not familiar with the first page, but it says State, I think, point of contact. Do you know what that refers to?

I think those are names of people who were working in the States at that time. I'm not—not entirely sure, you know, what their involvement was there. Like I said, we didn't use this first page at all, so—

For, like, Georgia, which—where it says you're the point of contact, understanding your testimony that that's—you know, you all were helping each other out, do you recall a Cooper at all being involved from the Trump campaign in Georgia?

The name Cooper doesn't ring a bell to me, no.

For Michigan, there's a Shawn Flynn. Do you recognize that name?

Yes. Shawn also was a contractor for the National Republican Senatorial Committee, so I met Shawn when I was in Georgia.

Okay. And—

And I believe he was the State director for election day operations in Michigan. I can't confirm that for Jesse or Jefferson though. I don't know who they are.

And for Shawn Flynn, when you said he's the State director for election day


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Page:CTRL0000034605 - Transcribed Interview of Angela McCallum, (December 8, 2021).pdf/103

103 Okay. I think that's it.

Before we go back into the documents, I'd pause.

Ms. Lofgren, do you have any questions?

Ms. No, I'm fine. Thank you.

Okay. Okay. Great.

 * BY

Great.

Ms. McCallum, I'm going to turn to the document behind tab 19. It's a pretty lengthy spreadsheet that you produced to us with the Bates 1528.

Uh-huh.

Do you see that? And you can take some time to look at it. I'm not going to ask you about all the specifics, but if you want to just look through it and refresh your recollection as to the document.

And I'll say that this was how it was produced, unfortunately, to us. It was in a PDF format, so that's why it's hard to follow, which is also why we're not going to get too specific, because it is hard to follow where certain rows fall in connection with others.

I'm just taking a moment to review. Sorry.

No, that's fine. Absolutely. Take the time that you need.

(Pause.)

Okay.

So my first question is, we've been talking about what seemed to be like a spreadsheet that listed different elected officials and you had assignments and you would call the elected officials you were assigned to.

Is this the spreadsheet that you were referring to or some version of the spreadsheet that you were referring to earlier in your testimony?


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Page:Tales from Shakespeare - Lamb C and M, Rackham A (1908).djvu/180

 mined to put to death both Banquo and his son, to make void the predictions of the weird sisters, which in their own case had been so remarkably brought to pass.

For this purpose they made a great supper, to which they invited all the chief thanes; and, among the rest, with marks of particular respect, Banquo and his son Fleance were invited. The way by which Banquo was to pass to the palace at night was beset by murderers appointed by Macbeth, who stabbed Banquo; but in the scuffle Fleance escaped. From that Fleance descended a race of monarchs who afterwards filled the Scottish throne, ending with James the Sixth of Scotland and the First of England, under whom the two crowns of England and Scotland were united.

At supper, the queen, whose manners were in the highest degree affable and royal, played the hostess with a gracefulness and attention which conciliated every one present, and Macbeth discoursed freely with his thanes and nobles, saying, that all that was honourable in the country was under his roof, if he had but his good friend Banquo present, whom yet he hoped he should rather have to chide for neglect, than to lament for any mischance. Just at these words the ghost of Banquo, whom he had caused to be murdered, entered the room and placed himself on the chair which Macbeth was about to occupy. Though Macbeth was a bold man, and one that could have faced the devil without trembling, at this horrible sight his cheeks turned white with fear, and he stood quite unmanned with his eyes fixed upon the ghost. His queen and all the nobles, who saw nothing, but perceived him gazing (as they thought) upon an empty chair, took it for a fit of distraction; and she reproached him, whispering that it was but the same fancy which made him see the dagger in


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 the air, when he was about to kill Duncan. But Macbeth continued to see the ghost, and gave no heed to all they could say, while he addressed it with distracted words, yet so significant, that his queen, fearing the dreadful secret would be disclosed, in great haste dismissed the guests, excusing the infirmity of Macbeth as a disorder he was often troubled with.

To such dreadful fancies Macbeth was subject. His queen and he had their sleeps afflicted with terrible dreams, and the blood of Banquo troubled them not more than the escape of Fleance, whom now they looked upon as father to a line of kings who should keep their posterity out of the throne. With these miserable thoughts they found no peace, and Macbeth determined once more to seek out the weird sisters, and know from them the worst.

He sought them in a cave upon the heath, where they, who knew by foresight of his coming, were engaged in preparing their dreadful charms, by which they conjured up infernal spirits to reveal to them futurity. Their horrid ingredients were toads, bats, and serpents, the eye of a newt, and the tongue of a dog, the leg of a lizard, and the wing of the night-owl, the scale of a dragon, the tooth of a wolf, the maw of the ravenous salt-sea shark, the mummy of a witch, the root of the poisonous hemlock (this to have effect must be digged in the dark), the gall of a goat, and the liver of a Jew, with slips of the yew tree that roots itself in graves, and the finger of a dead child: all these were set on to boil in a great kettle, or cauldron, which, as fast as it grew too hot, was cooled with a baboon's blood: to these they poured in the blood of a sow that had eaten her young, and they threw into the flame the grease that had sweaten from a murderer's gibbet. By these charms they bound the infernal spirits to answer their questions.


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 It was demanded of Macbeth, whether he would have his doubts resolved by them, or by their masters, the spirits. He, nothing daunted by the dreadful ceremonies which he saw, boldly answered, "Where are they? let me see them." And they called the spirits, which were three. And the first arose in the likeness of an armed head, and he called Macbeth by name, and bid him beware of the thane of Fife; for which caution Macbeth thanked him; for Macbeth had entertained a jealousy of Macduff, the thane of Fife.

And the second spirit arose in the likeness of a bloody child, and he called Macbeth by name, and bid him have no fear, but laugh to scorn the power of man, for none of woman born should have power to hurt him; and he advised him to be bloody, bold, and resolute. "Then live, Macduff!" cried the king; "what need I fear of thee? but yet I will make assurance doubly sure. Thou shalt not live; that I may tell pale-hearted Fear it lies, and sleep in spite of thunder."

That spirit being dismissed, a third arose in the form of a child crowned, with a tree in his hand. He called Macbeth by name, and comforted him against conspiracies, saying, that he should never be vanquished, until the wood of Birnam to Dunsinane Hill should come against him. "Sweet bodements! good!" cried Macbeth; "who can unfix the forest, and move it from its earth-bound roots? I see I shall live the usual period of man's life, and not be cut off by a violent death. But my heart throbs to know one thing. Tell me, if your art can tell so much, if Banquo's issue shall ever reign in this kingdom?" Here the cauldron sank into the ground, and a noise of music was heard, and eight shadows, like kings, passed by Macbeth, and Banquo last, who bore a glass which showed the figures of many more,


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 and Banquo all bloody smiled upon Macbeth, and pointed to them; by which Macbeth knew that these were the posterity of Banquo, who should reign after him in Scotland; and the witches, with a sound of soft music, and with dancing, making a show of duty and welcome to Macbeth, vanished. And from this time the thoughts of Macbeth were all bloody and dreadful.

The first thing he heard when he got out of the witches' cave, was that Macduff, thane of Fife, had fled to England, to join the army which was forming against him under Malcolm, the eldest son of the late king, with intent to displace Macbeth, and set Malcolm, the right heir, upon the throne. Macbeth, stung with rage, set upon the castle of Macduff, and put his wife and children, whom the thane had left behind, to the sword, and extended the slaughter to all who claimed the least relationship to Macduff.

These and such-like deeds alienated the minds of all his chief nobility from him. Such as could, fled to join with Malcolm and Macduff, who were now! approaching with a powerful army, which they ha raised in England; and the rest secretly wished success to their arms, though for fear of Macbeth they could take no active part. His recruits went on slowly. Everybody hated the tyrant; nobody loved or honoured him; but all suspected him, and he began to envy the condition of Duncan, whom he had murdered, who slept soundly in his grave, against whom treason had done its worst: steel nor poison, domestic malice nor foreign levies, could hurt him any longer.

While these things were acting, the queen, who had been the sole partner in his wickedness, in whose bosom he could sometimes seek a momentary repose from those terrible dreams which afflicted them both nightly, died, it is supposed, by her own hands, unable


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 to bear the remorse of guilt, and public hate; by which event he was left alone, without a soul to love or care for him, or a friend to whom he could confide his wicked purposes.

He grew careless of life, and wished for death; but the near approach of Malcolm's army roused in him what remained of his ancient courage, and he determined to die (as he expressed it) "with armour on his back." Besides this, the hollow promises of the witches had filled him with a false confidence, and he remembered the sayings of the spirits, that none of woman born was to hurt him, and that he was never to be vanquished till Birnam wood should come to Dunsinane, which he thought could never be. So he shut himself up in his castle, whose impregnable strength was such as defied a siege: here he sullenly waited the approach of Malcolm. When, upon a day, there came a messenger to him, pale and shaking with fear, almost unable to report that which he had seen; for he averred, that as he stood upon his watch on the hill, he looked towards Birnam, and to his thinking the wood began to move! "Liar and slave!" cried Macbeth; "if thou speakest false, thou shalt hang alive upon the next tree, till famine end thee. If thy tale be true, I care not if thou dost as much by me:" for Macbeth now began to faint in resolution, and to doubt the equivocal speeches of the spirits. He was not to fear till Birnam wood should come to Dunsinane; and now a wood did move! "However," said he, "if this which he avouches be true, let us arm and out. There is no flying hence, nor staying here. I begin to be weary of the sun, and wish my life at an end." With these desperate speeches he sallied forth upon the besiegers, who had now come up to the castle.

The strange appearance which had given the messenger an idea of a wood moving is easily solved.


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 When the besieging army marched through the wood of Birnam, Malcolm, like a skilful general, instructed his soldiers to hew down every one a bough and bear it before him, by way of concealing the true numbers of his host. This marching of the soldiers with boughs had at a distance the appearance which had frightened the messenger. Thus were the words of the spirit brought to pass, in a sense different from that in which Macbeth had understood them, and one great hold of his confidence was gone.

And now a severe skirmishing took place, in which Macbeth, though feebly supported by those who called themselves his friends, but in reality hated the tyrant and inclined to the party of Malcolm and Macduff, yet fought with the extreme of rage, and valour, cutting to pieces all who were opposed to him, till he came to where Macduff was fighting. Seeing Macduff, and remembering the caution of the spirit who had counselled him to avoid Macduff, above all men, he would have turned, but Macduff, who had been seeking him through the whole fight, opposed his turning, and a fierce contest ensued Macduff giving him many foul reproaches for the murder of his wife and children. Macbeth, whose soul was charged enough with blood of that family already, would still have declined the combat; but Macduff still urged him to it, calling him tyrant, murderer, hell-hound, and villain.

Then Macbeth remembered the words of the spirit, how none of woman born should hurt him; and smiling confidently he said to Macduff, "Thou losest thy labour, Macduff. As easily thou mayest impress the air with thy sword, as make me vulnerable. I bear a charmed life, which must not yield to one of woman born."

"Despair thy charm," said Macduff, "and let that lying spirit whom thou hast served, tell thee, that


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 Macduff was never born of woman, never as the ordinary manner of men is to be born, but was untimely taken from his mother."

"Accursed be the tongue which tells me so," said the trembling Macbeth, who felt his last hold of confidence give way; "and let never man in future believe the lying equivocations of witches and juggling spirits, who deceive us in words which have double senses, and while they keep their promise literally, disappoint our hopes with a different meaning. I will not fight with thee."

"Then live!" said the scornful Macduff; "we will have a show of thee, as men show monsters, and a painted board, on which shall be written, 'Here men may see the tyrant!

"Never," said Macbeth, whose courage returned with despair; "I will not live to kiss the ground before young Malcolm's feet, and to be baited with the curses of the rabble. Though Birnam wood be come to Dunsinane, and thou opposed to me, who wast never born of woman, yet will I try the last." With these frantic words he threw himself upon Macduff, who, after a severe struggle, in the end overcame him, and cutting off his head, made a present of it to the young and lawful king, Malcolm; who took upon him the government which, by the machinations of the usurper, he had so long been deprived of, and ascended the throne of Duncan the Meek, amid the acclamations of the nobles and the people.


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Page:CTRL0000034605 - Transcribed Interview of Angela McCallum, (December 8, 2021).pdf/106

106 operations, that's for the Trump campaign?

For the Trump campaign for the State of Michigan.

And you're not sure who Jesse Law or Jefferson Thompson—Thomas, excuse me—are?

No, I don't know who Jesse Law or Jefferson Thomas are.

For Pennsylvania there's a blank. Do you have any idea why that would be blank?

No. I mean, I'd like to go back and say that this wasn't a spreadsheet that was ever used, so I don't know what's on here.

Understood. And do you recall while you were making the phone calls, is this the spreadsheet or some version of it that you were making your notes on that we discussed earlier after you were able to make contact or maybe left a voicemail with an elected official?

To the best of my knowledge, yes. You know, I don't—yes.

And when you made these calls, and understanding it was a lot and it's been a long time, do you recall any of the elected officials that you called asking for, for example, evidence of alleged election fraud or voter fraud?

Can you repeat the question?

Yes. When you were making the phone calls to the elected officials in at least five of the States, because you don't recall Wisconsin, do you recall any of the elected officials that you were able to actually talk to ask you for further evidence or further information about alleged election fraud that was taking place in their respective State?

I don't remember any, you know, specific calls, you know, no one representative or senator comes to mind.


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 E. L. began its wide-spread activity, was the year of recovery from the 1920–21 depression; 1923 was the peak year of the boom; 1924 witnessed a decided downward trend but, on the average, kept very close to the previous year.

It would be a mistake, however, to draw the conventional conclusions regarding the condition of the labor movement on the basis of the general industrial prosperity. It is usual to look for organizational extensions of the trade unions, and some sort of progress in the way of higher wages and better working conditions, during periods of prosperity; while the times of industrial depression have ordinarily been marked by stagnation or decline in the trade union movement. This has not been the case during the period with which we are dealing.

During the three years the American Federation of Labor lost more than a million members, declining from around 4,000,000 to 2,865,979; unions independent of the A, F. of L. followed much the same course.

Wages advanced slightly during the first part of the period, but declined in the latter part, wiping out the gains. Exceptions to this are more than compensated for in the industries where wages were hardest hit.

Working conditions declined sharply in this period. While some improvement is noted, for example, in the steel industry due to the partial introduction of the 8-hour day, in others the gains of years of organization and effort were wiped out. Thus in the railroad shops, the unions have been almost destroyed by the unsuccessful strike of 1922, wages have declined, working rules have been altered against the interests of the workers. In the mining industry, the three-year agreement signed by the union had only the effect of restraining strike action by the miners, but has not prevented the mine owners from wiping out the working rules that were supposed to protect the miners. Accumulations of grievances of this kind have been so great that, in the anthracite fields,


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 Rh true. The old novel filled the mind of the school-girl with a thousand thoughts that had no place in life—with ten thousand pictures she could never see. It taught that some time she would meet a prince in disguise to whom she would freely give her hand and heart. So she went out upon the road to find this prince, and the more disguised he was the more certain did she feel that he was the prince for whom she sought. The realist paints the passions and affections as they are. Both man and woman can see their beauty and their terror, their true position, and the relation that they bear to all the rest of life. He would not beguile the girl into the belief that her identity should be destroyed and merged for the sake of this feeling, which not once in ten thousand times could realize the promises the novel made; but he would leave her as an individual to make the most she can, and all she can, of life, with all the hopes and chance of conquest, which men have taken for themselves. Neither would the realist cry out blindly against these deep passions, which have moved men and women in the past, and which must continue fierce and, strong as long as life exists. He is taught by the scientist that the fiercest heat may be transformed to light, and is taught by life that from the strongest pas-


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 22 sions are sometimes born the sweetest and purest souls.

In these days of creeds and theories, of preachers in the pulpit and of preachers out, we are told that all novels should have a moral and be written to serve some end. So we have novels on religion, war, marriage, divorce, socialism, theosophy, woman's rights, and other topics without end. It is not enough that the preachers and lecturers shall tell us how to think and act; the novelist must try his hand at preaching, too. He starts out with a theory, and every scene and incident must be bent to make it plain that the author believes certain things. The doings of the men and women in the book are secondary to the views the author holds. The theories may be true, but the poor characters that must adjust their lives to these ideal states are sadly warped and twisted out of shape. The realist would teach a lesson, too, but he would not violate a single fact for all the theories in the world—for a theory could not be true if it did violence to life. He paints his picture so true and perfect that all men who look upon it know it is a likeness of the world that they have seen; they know that these are men and women and little children, that they meet upon the streets; they see the conditions of


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Page:CTRL0000034605 - Transcribed Interview of Angela McCallum, (December 8, 2021).pdf/107

107 To answer your question generally, yes, and like I told you, I didn't have any background that I was given with the script, and I wasn't, you know, prepped to answer questions like that. So I would just take note of it and move on.

And take note in the spreadsheet and then someone else would deal with it, presumably a superior, like maybe Michael Brown?

Maybe. I don't know if anyone ever followed up on any of those.

Okay. Thankyou. Let's —I want you to turn to tab 10 and the document behind that. It's two pages, beginning with Bates, I think it's 606. You can take some time to review the communication.

(Pause.)

Okay.

So my first question is, do you recognize what or do you recall what application you made this—you had this communication with?

Google Voice.

Okay. And do you recall this specific communication that we're looking at in tab 10?

Specifically, no, I don't really have a lot of memory of it.

So my question was, it seems to me, and you can tell me if you remember this or not, that you might have called this individual and they couldn't talk so they just texted you right back.

Uh-huh.

Does that seem accurate?

Yeah, that seems accurate. From reading this, that's also what I would assume happened.

And after reviewing the document, based on the context, do you believe this


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 Rh their lives and the moral of the picture sinks deep into their minds.

There are so-called scientists that make a theory and then gather facts to prove their theory true; the real scientist patiently and impartially gathers facts, and then forms a theory to explain and harmonize these facts. All life bears a moral, and the true artist must teach a lesson with his every fact. Some contend that the moral teacher must not tell the truth; the realist holds that there can be no moral teaching like the truth. The world has grown tired of preachers and sermons; to-day it asks for facts. It has grown tired of fairies and angels, and asks for flesh and blood. It looks on life as it exists, both its beauty and its horrors, its joys and its sorrows, it wishes to see it all; not the prince and the millionaire alone, but the laborer and the beggar, the master and the slave. We see the beautiful and the ugly, and with it know what the world is and what it ought to be; and the true picture, which the author saw and painted, stirs the heart to holier feelings and to grander thoughts.

It is from the realities of life that the highest idealists are born. The philosopher may reason with unerring logic, and show us where the world is wrong. The economist may tell us of the progress and the poverty that go hand in


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 24 hand; but these are theories, and the abstract cannot suffer pain. Dickens went out into the streets of the great city and found poor little Joe sweeping the crossing with his broom. All around was the luxury and the elegance, which the rich have ever appointed to themselves; great mansions, fine carriages, beautiful dresses, but in all the great city of houses. and homes poor little Joe could find no place to lay his head. His home was in the street, and every time he halted for a moment in the throng the policeman touched him with his club and bade him "Move on." At last, ragged, wretched, almost dead with "moving on," he sank down upon the cold stone steps of a magnificent building erected for "The Propagation of the Gospel in Foreign Parts." As we think of wretched, ragged Joe in the midst of all this luxury and wealth, we see the tens of thousands of other waifs in the great cities of the world, and we condemn the so-called civilization of the earth that builds the mansions of the rich and great upon the rags and miseries of the poor.

The true realist cannot worship at the shrine of power, nor prostitute his gifts for gold. With an artist's eye he sees the world exactly as it is, and tells the story faithful unto life. He feels for every heart that beats, else he could not paint them as he does. It takes a soul to warm


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 Rh a statue into life and make living flesh and coursing blood, and each true picture that he paints or draws makes the world a better place in which to live.

The artists of the realistic school have a sense so fine that they cannot help but catch the inspiration that is filling all the world's best minds with the hope of greater justice and more equal social life. With the vision of the seer they see the coming dawn, when true equality shall reign upon the earth; the time when democracy shall no more be confined to constitutions and to laws, but will be a part of human life. The greatest artists of the world to-day are telling facts and painting scenes that cause humanity to stop and think and ask why one should be a master and another be a serf; why a portion of the world should toil and spin, should wear away its strength and life, that the rest should live in idleness and ease.

The old-time artists thought they served humanity by painting saints and madonnas and angels from the myths they conjured in their brains. They painted war with long lines of soldiers dressed in uniforms and looking plump and gay; and a battle scene was always drawn from the side of the victorious camp, with the ensign proudly planting his bright colors on the rampart of the foe. One or two were dying,


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108 concerns the State of Georgia?

Yes.

Now, just look at—

Just because it says Georgia voters.

So if you look at your response, and you can look, I think, page two—or, excuse me, Bates 807, has your full text. "Absolutely. Thank you so much for standing up for Georgia voters!"

Yes, so I would assume that it is about Georgia.

So in that text message, you say, "Please look out for further contact from the campaign or Senate/House leadership on how to help correct this attempted fraud."

So my question is, do you recall what you were referring to when you said "this attempted fraud"?

That's the same language that's used in the script, so I would direct you back to my answer on that.

So what you recall is you were just using language that had been provided to you in the script for, say, the State of Georgia.

Correct.

Okay. And do you recall if you ever followed up—and I believe if you look to the first page, which is Bates 606, it's Senator Summers. Do you recall if you ever talked on the phone with Ms.—with Senator Summers?

I don't recall, no.

Okay. Do you recall if you had any further communications outside of the communications that we're looking at here?

No, I don't recall.

Okay. Go to tab 12. The first page is Bates 597, which is what I was going


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 26 but always in their comrades' arms, and listening to the shouts of victory that filled the air, and thinking of the righteous cause for which they fought and died. In the last moments they dreamed of pleasant burial yards at home, and of graves kept green by loving, grateful friends; and a smile of joy shone on their wasted faces that was so sweet it seemed a hardship not to die in war. They painted peace as a white winged dove settling down upon a cold and fading earth. Between the two it was plain which choice a boy would make, and thus art served the state and king.

But Verestchagin painted war; he painted war so true to life that as we look upon the scene we long for peace. He painted war as war has ever been, and as war will ever be—a horrible and ghastly scene, where men, drunk with blind frenzy, which rulers say is patriotic pride, and made mad by drums and fifes and smoke and shot and shell and flowing blood, seek to maim and wound and kill, because a ruler gives the word. He paints a battlefield, a field of life and death, a field of carnage and of blood; and who are these that fight like fiends and devils driven to despair? What cause is this that makes these men forget that they are men, and vie with beasts to show their cruel thirst for blood? They shout of home and native land,


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 Rh put they have no homes, and the owners of their native land exist upon their toil and blood. The nobles and princes for whom this fight is waged are far away upon a hill beyond the reach of shot and shell, and from this spot they watch their slaves pour out their blood to satisfy their rulers' pride and lust of power. What is the enemy they fight? Men like themselves, who blindly go to death at another king’s command; slaves, who have no land, who freely give their toil or blood, whichever one their rulers may demand. These fighting soldiers have no cause for strife, but their rulers live by kindling in their hearts a love of native land—a love that makes them hate their brother laborers of other lands, and dumbly march to death to satisfy a king's caprice. But let us look once more after the battle has been fought. Here we see the wreck and ruin of the strife; the field is silent now, given to the dead, the beast of prey and night. A young soldier lies upon the ground; the snow is falling fast around his form; the lonely mountain peaks rise up on every side; the wreck of war is all about. His uniform is soiled and stained, a spot of red is seen upon his breast. It is not the color that his country wove upon his coat to catch his eye and bait him to his death: it is hard and jagged and cold. It is his life's blood, which leaked out


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 28 through a hole that followed the point of a sabre to his heart. His form is stiff and cold for he is dead. The cruel wound and icy air have done their work. The government that took his life taught this poor boy to love his native land; as a child he dreamed of scenes of glory and of power and the great, wide world just waiting to fall captive to his magic strength. He dreamed of war and strife, of victory and fame; if he should die kind hands would smooth his brow, and loving hearts would keep his grave and memory green, because he died in war. But no human eye is there at last, as the mist of night and mist of death shut out the lonely mountains from his sight. The snow is all around and the air above is gray with falling flakes, which soon will hide him from the world; and when the summer time shall come again none can tell his bleaching bones from all the rest. The only life upon the scene is the buzzard slowly circling in the air above his head, waiting to make sure that death has come. The bird looks down upon the boy into the eyes through which he first looked out upon the great wide world and which his mother fondly kissed; upon these eyes the buzzard will commence his meal.

Not all the world is beautiful, and not all of life is good. The true artist has no right to


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 Rh choose the lovely spots alone and make us think that this is life. He must bring the world before our eyes and make us read and learn. AS he loves the pure and noble, he must show the false and bad. As he yearns for true equality, he must paint the master and the slave. He must tell the truth, and tell it all; must tell it o'er and o'er again, till the deafest ear will listen and the dullest mind will think. He must not swerve to please the world by painting only pleasant sights and telling only lovely tales. He must think, and paint, and write, and work, until the world shall learn so much and grow so good that the true will all be beautiful and all the real be ideal.


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find in the International Socialist Review every month the most important facts on the progress of the socialist movement and the economic developments that are remolding ideas and institutions. The Review applies Marx's historical method to the things that are happening now. Its contributors write from many different points of view; its editors criticise the conflicting opinions from the point of view of the revolutionary working class.

For eight years the Review has been called the ablest socialist periodical in America. The growth of a new school of American writers, together with the help of some of the strongest socialist writers in Europe, has now made it also the most enjoyable periodical for any clear-headed socialist. Monthly, 10 cents a copy, $1.00 a year.


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Portal:The Sun Dial Press

Published

 * Mistress Madcap (1925), reprint 1937
 * Milady at Arms (1927), reprint 1937

title: Portal:The Sun Dial Press


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Rh it must be true in the sense that Mallarmé's fauns are true, must be a beautiful possibility created in the mind of the artist. I have consistently objected that Mr Frank does not qualify on condition one; life as he presents it is assiduously culled, the volitional element of the artist is over-emphasized. Or, to borrow from a colleague, M. Cowley, I should say that he has stacked the cards. However, if we admit this cheating, take it as a basis of our calculations, we must next inquire as to whether Mr Frank cheats dextrously; we shall not ask if he is false, but if he is superbly false. On the whole, I think he is not, for the two books under consideration are not finally beautiful. They lack just that element of cold carving, that bloodless autopsy of the emotions, which allows Mallarmé so near an approach to perfection.

True, these books have many passages of thick beauty such as Mallarmé probably never dreamed of. When Mr Frank, for instance, undresses one of his women, and opens his throat and sings thereat, the song is full and lovely. Or when, as in Rahab but the situation must be explained more fully: Mrs Luve is a procuress, but a procuress with her Bible and her refinements, a procuress who needs a great deal of explanation. Mr Frank takes us through a book to explain her, and at the end we do accept his attitude—we believe that she is a delicate woman whose denigration has an almost Christlike significance. We see her, then, in the midst of her set, politicians, gamblers, crooks, whores. We hear their vulgarly minute conversation, note their unenlightened envelopment in the immediate moment; whereupon, of a sudden, the author gives a projection of each character, or, technically speaking, draws out the song of each character, the lyric surrender to a grand communion of passions. That is, they sit in the room, each aware of his apartness from the others; but each has a purer attitude within him somewhere, a naive burst of confidence which is suppressed: it is this naive burst which Mr Frank gives in his lyrical projections of the characters present. Here passion has justified itself by the discovery of an excellent subterfuge; it is Waldo Frank at his best.

On the whole, however, I must confess that the author's intensity is too direct, lies too far beyond the subterfuge. Mr Frank is as serious as Buddha, which is a dangerous thing to be in an age which could produce Ulysses. If we have to choose between an artist who is passionless and clever, and an artist who is tumultuous and non-

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452 clever, it is a sad pair to choose from, but the former would be nearer to art. Mr Frank, as I have noted above, can be clever, but as a rule he is too precipitant. As a result, his works lack edges; one catches an abundance of rich overtones, but they obscure the note itself. What, for instance, is the structural significance of the City Block cycle? What is the inevitable centre about which it revolves? It should force itself upon us from the complexion of the work. Structure is not so priestly a thing that only the elect can glimpse it. Structure 1s the first principle of a work, not the last.

As to Rahab, the case is simpler. One does, on finishing it, get a definite retrospect. The author starts with Mrs Luve, a procuress; then he goes back to the beginning, and gives us Mrs Luve's career; ending upon Mrs Luve, exactly where the book began, we now have this procuress with all the qualifications and subtilizations of 250 pages. She emerges, somehow, stationary, like a fireplug on a busy street, like a boat anchored in a fog. There is nothing priestly about this; it is, in fact, startlingly simple. The book is undoubtedly Mr Frank's best piece of work up to date. It is the logical culmination of The Dark Mother, representing directly that type of writing which the former book was feeling for. That is, Mr Frank has found the manner which best carries his burden The same is true of certain stories in City Block taken as isolated units. In stories like Under the Dome and John the Baptist Mr Frank has made just as accurate a junction between the burden and the expression thereof. That is, so far as the untrammeled, direct giving of himself is concerned, the author has attained it. These works go the whole extent of Croceanism: the expression is immediate and full.

But expression is not all of art; the rest is elegance. Mr Frank has done a valiant task in his fight against the inhibitory baggage which American art has had to lug. His work on this score is as significant as that of Van Wyck Brooks. But both men, under the urge of their evangelism, tend to make the emphasis on expression too exclusive. It is an excellent corrective which becomes in turn a defect if carried too far.

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HESE two volumes of letters, obviously designed to supplement the great Prothero and Coleridge edition of Byron published by John Murray from 1898 to 1904, complete, presumably, all the world's available records of that poet. Already, in 1914, death had released these documents from the curious claims of personal reticence; a further delay of eight years carries us over the war and, conveniently enough, almost to the gates of those centenary stirrings of 1924, when Byron, as Keats and Shelley, will become the property of those proud fools who inherit the ages.

Interlarded with letters from various correspondents, by far the most interesting of whom is Shelley, these long and jealously guarded manuscripts flutter down to earth as the last tattered shreds of tinsel from some gay-starred rocket. For many the main question always is the fate of the stick. These persons will be disappointed. Byronites who hoped for some counterblast adequate to the excavations of our own Mrs Harriet Beecher Stowe in 1869, and Ralph Lovelace's Astarte in 1905, will be cruelly vexed at finding almost nothing. More particularly Americans, if ever they be led so far afield as the hate and scandal following Byron's marriage, may happen on a curious parallel to the moral activities of Mrs Stowe in Mark Twain's vitriolic outpourings in praise of Harriet Westbrook. But even in clean Yankee hands these spades rarely turn up anything to excuse the stench of tombs. If Murray found evidence, he chose to suppress it. For his house these books are a last séance with the ghost of Byron.

But there remains a second and more genuine disappointment. Actually, few of these letters seem to justify the long-lived mystery with which Lady Dorchester enveloped them. Readers will inevitably compare them with those already published years ago. One wonders what has been gained to offset the inconvenience of having the correspondence printed out of its natural order. From five hundred letters written chiefly to Hobhouse, Kinnaird, and Lady Mel-

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454 bourne over a period of sixteen years, Murray has combed two volumes which are supplemental, but not invaluable. By far the best are those addressed to Lady Melbourne, who was, it will be remembered, at once the mother-in-law of Lady Caroline Lamb and the aunt of the future Lady Byron, a strategic, if delicate position. To her the bard sent a running commentary on the courtship, the wedding, and the "treacle moon," his one definite objection to the actual ceremony being cushions "stuffed with peach stones." Incidentally, whoever is sufficiently curious to consult in Appendix C two letters containing Miss Milbanke's opinion of Byron's poetry, will require no sexual details for explanation of why Lord and Lady Byron failed to get on.

Yet lovers of Byron may relish all the chatter and cross references of these books. With them, possibly, his memory lies in trust, for among latter-day poets the tendency of Byron is decidedly bearish. Our own damp-handed priggishness of art and intellect recoils not only from the huge grasp of this vulgarly self-conscious man, but also from the indolent grand manner of his verse. Poets out for a Sunday swim, cool-tongued critics, cautious despite the bigotry of youth, artists-in-general, all shudder before this shouting, splashing nakedness, this salt-water splutter. Our own heroes go down to the sea, circumspectly. Indecent Byron was—personally and mentally: he snatched at fame as he snatched at Newstead Abbey, eagerly and without poise. Aesthetically, mentally, and morally, he is thought a bit of a joke.

Tragically enough, for us, our fathers thought so too. Carlyle, for instance, devoted a considerable portion of his career to writing down this man he dubbed a "surly dandy." "Close"—he concludes in his imposing pulpit manner—"close thy Byron, open thy Goethe." Whoever does so will be a trifle confused as to what to do next, once confronted with Goethe's opinion of Byron:

"A character of such eminence has never existed, and probably will never come again. The beauty of Cain is such as we shall not see a second time in the world." "Byron is the burning bush."

Trailing Byron throughout Europe, one can pick up flowers like these almost anywhere, for critics and brides throw their bouquets backward.

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Rh Yet to forget Byron of Cain and Don Juan for the mummer of Childe Harold and The Giaour is merely to be almost incomprehensibly stupid. All this romantic verse was scarcely more than patched hand-me-downs from Walter Scott. Byron the satirist and scoffer, the reader of the gospels, makes good food, even nowadays. What matter if a somewhat boisterous ghost did haunt Howells in Venice? Without being unnecessarily irreverent towards the whirligig of time, wise men should credit most of its revenges to the entirely conventional hatred of the young for the old. Then, too, in our great school of comparative criticism, the aptest praise of Rabelais, for instance, has always been a sneer at Milton.

Human emotion, however, is something more intricate. With Byron himself the most poignant of all experiences seems to have been his constantly recurring sensation of the impersonal passing of time. This consciousness makes for three things: history, egotism, and one kind of poetry. Those of us who lack it may have compensations, but have missed one part of life. For us Byron is the stick of a spent rocket primarily, perhaps, because no lusty, live age can properly appreciate any methods but its own. Instinctively, we divide our poetic grandfathers into two groups: those who died in British beds, and those who did not. This, it might be argued, is the only sensitive discrimination. Of the latter, Byron still has much to answer for: although he seriously looked to England as "the star of the future," as did Shelley, for recompense he pleased his vanity scribbling Don Juan and armed his body-servants with gilt helmets. As evidence of the persistence of this person after a century, we are oftered two fat volumes.

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Rh during the long embrace. They had breathed deeply. Had the breath blown out of their lungs poisoned the air others had to breathe? As to the woman, who was called his wife—she had wanted no such embraces, or, had she wanted them, had been unable to take or give. A notion came to him. "If you love in a loveless world you face others with the sin of not loving," he thought.

The streets lined with houses in which people lived were dark. It was past eleven o'clock, but there was no need to hurry home. When he got into bed he could not sleep. "It would be better just to walk about for an hour yet," he decided and when he came to the corner that led into his own street did not turn, but kept on, going far out to the edge of town and back. His feet made a sharp sound on the stone sidewalks. Sometimes he met a man homeward-bound and as they passed the man looked at him with surprise and something like distrust in his eyes. He walked past and then turned to look back. "What are you doing abroad? Why aren't you at home and in bed with your wife?" the man seemed to be asking.

What was the man really thinking? Was there much thinking going on in all the dark houses along the street or did people simply go into them to eat and sleep as he had always gone into his own house? In fancy he got a quick vision of many people lying in beds stuck high in the air. The walls of the houses had receded.

Once, during the year before, there had been a fire in a house on his own street and the walls of the house had fallen down. When the fire was put out one walked past in the street and there, laid bare to the public gaze, were two upstairs rooms in which people had lived for many years. Everything was a little burned and charred, but quite intact. In each room there was a bed, one or two chairs, a square piece of furniture with drawers in which shirts or dresses could be kept, and at the side of the room a closet for other clothes.

The house had quite burned out below and the stairway had been destroyed. When the fire broke out the people must have fled from the room like frightened and disturbed insects. One of the rooms had been occupied by a man and woman. There was a dress lying on the floor and a pair of half burned trousers flung over the back of a chair, while in the second room, evidently occupied by a woman, there were no signs of male attire. The place had made John Webster think of his own married life. "It is as it might have been with us had my wife and I not quit sleeping together. That might have

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94 outline portraits. We imply no censure in saying that it is a woman's book, in noting the obvious fact that the men, with one exception, appear in but shadowy characterization. In the subtlety of her analysis, the writer reminds us not a little of Mrs. Clifford, while in her successful use of the epigram she suggests the brilliant Englishwoman who chooses to sign her very feminine books with the assertively masculine name of "John Oliver Hobbes," Miss Bell is, we understand, a new-comer in the field of letters. It may safely be said that she has already won her spurs, and that her present performance justifies a lively expectation of excellent things to come. We hope that a rather forbidding title will not deter possible readers from making speedy ac- quaintance with a book possessing so distinct a charm.

In "Old Kaskaskia " Mrs. Catherwood has given us another of her delicate outline pictures of life in the Old Northwest. The story is placed in the early days of the present century, and in the town that was soon to become the first capital of a great commonwealth. It has for its culminating episode a great rising of the Mississippi in which half Kaskaskia was submerged, and which extricates the tangled threads of romance woven by the author's art, breaking some of them off, and uniting those that remain into more symmetrical patterns. The contrasted French and English types of character are delineated with a subtle feeling for their essential differences, while Mrs. Catherwood's restrained and exquisite style gives literary charm to every page of her work. One cannot help wishing that the author would, for once, work upon a larger canvas than any she has yet sought to cover. The field she has chosen is almost her own, and its romantic possibilities are considerable.

"Toppleton's Client" is an extravaganza that ranges all the way from dry Stocktonian humor to roaring farce. The central idea is that of the exchange of souls between bodies, and we may easily imagine the opportunities it offers a writer intent only upon the possible humorous complications. The "client" is an exiled spirit whose body is occupied by a usurping fiend, and who engages Toppleton (a lawyer whose chief work of reference is the "Comic Blackstone") to possess him once more of the bodily estate that he has lost. But the fiend is too sharp for the lawyer, and, preferring Toppleton's corporeal tenement to that in which he has been fraudulently dwelling, effects a substitution, and leaves Toppleton helpless, either to protect the rights of his client or to re-establish his own. The extravaganza is overdone, here and there, and its theory will not bear close scrutiny, but it is, as a whole, entertaining.

Of Mr. Kipling's "Many Inventions," many turn out to be variations upon the old familiar ones, and one gets a little tired even of Mulvaney and Ortheris and all the rest of the tribe of Atkins. But the volume contains one piece (which no one can forget who read it in the English review where it first appeared) which we are inclined to rank as the cleverest thing and perhaps the most finely imaginative that the author has ever done in prose. It is that romance of metempsychosis that he has chosen to style "The Finest Story in the World." The quotation-marks of this title are Mr. Kipling's, not ours, but we should be almost content to drop them, letting the name stand as a description of the author's own work, not of the work of his imaginary hero. It was a true stroke of genius to reincarnate, in a cockney banker's clerk, one of the men who sailed with Thorfin Karlsefne, and to bestow upon him reminiscent flashes of his past lives. The other stories in the book are of unequal value; one can hardly escape being fascinated by Mulvaney's adventure with "My Lord the Elephant," or finding in "A Conference of the Powers" a lesson at least worth the pondering. Mr. Kipling both introduces and closes his new collection of tales by some spirited verses.

Mr. Brander Matthews has long before this shown himself an adept in the art of the short story, and his new volume is, as a matter of course, vivacious and entertaining. The characters that he knows best are those supplied by his own New York environment of club and society life, although he reaches out, not without success, on one occasion to the wilds of British Guiana, and, on another, back to Augustan Rome. There are five stories altogether, two of which are distinctly romantic, one mildly satirical, one essentially humorous, and one a combination of all three of these qualities. We leave his readers to classify the five in accordance with our suggested scheme.

Mrs. Deland is a new-comer among the tellers of short stories, but it is clear that she has mastered more than the rudiments of the art. Her work comes close to that of Miss Sarah Orne Jewett, not only in its choice of village scene and people, but also in its observation of the minuter humors of life, and in the delicacy of its treatment. Humor in any broader sense is lacking the writer, and the pathos of her humble tragedies seems to need some such relief as would be afforded by an occasional breeze blown from the brighter parts of life. She might profitably study "Octave Thanet," for example, with a view of making up for this defect. "Mr. Tommy Dove" and "A Fourth-class Appointment" are decidedly the best of the five stories, the latter being as effective a sermon on behalf of civil service reform as one often hears from a pulpit of any sort. If such stories could be multiplied, they might prove the very best way of striking the national conscience with shame for the "system" that has so cankered the vital organs of our political life.

In passing from the volume just mentioned to the new series of Mr. Sullivan's "Day and Night Stories," we go all the way from realism to romance, and find that, after all, romance is more sat-


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Wikisource:Scriptorium/Archives/2023-10

Question at Template talk:Engine
At Template talk:Engine there is a question to Inductiveload, who has been inactive recently, so could somebody else competent have a look at it? -- Jan Kameníček (talk) 20:23, 9 October 2023 (UTC)

 * Seems to be resolved now. Thanks! Bovlb (talk) 17:58, 13 October 2023 (UTC)
 * This section was archived on a request by: Bovlb (talk) 17:58, 13 October 2023 (UTC)

Index:Constantinople by Brodribb.djvu
I need help with 2 pages in this index: 198 and 199. Both pages have an inheritance tree structure that I haven't been able to transcribe. If someone can complete those, it would be great. Ciridae (talk) 03:45, 19 October 2023 (UTC)
 * Ciridae: Does it look good? TE(æ)A,ea. (talk) 14:45, 19 October 2023 (UTC)
 * Yes, it does. Thank you! Ciridae (talk) 16:21, 19 October 2023 (UTC)

 * This section was archived on a request by: Ciridae (talk) 16:21, 19 October 2023 (UTC)

Tech News: 2023-40
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Index:The_Novels_of_Ivan_Turgenev_(volume_VII).djvu
Okay which edition does Commons ACTUALLY have uploaded, because the page layout seemed to bear very little relation to what is on the listed source at Commons (namely a list of illustrations.) ?ShakespeareFan00 (talk) 21:58, 6 October 2023 (UTC)

 * Now resolved, but it would be nice if contributors checked that the source listed on Commons, conformed with the edition actually uploaded ShakespeareFan00 (talk) 22:07, 6 October 2023 (UTC)

Using AutoWikiBrowser to cleanup a 2100-page work
I've been cleaning up The Urantia Book, 1st Edition. It's over 2100 pages and is a stalled out 10-year-old effort. I've tried using AutoWikiBrowser for a few hundred pages. I've been very slow, tested in the sandbox a lot, and each edit with AWB is a 100% interactive, manual review by me. This saves a lot of time and hugely reduces my error rate. I've also learned a lot through this.

Assuming this continued to be a slow and 100% interactive just for this one work, do I need a bot account? Or do I need to make a bot request and have someone else do this? I'm new to WS, trying to be an efficient editor, but also want to play by the rules. :) Thanks! Brad606 (talk) 05:39, 9 October 2023 (UTC)

 * @Brad606: If a human is checking every edit you do not need a bot account. Xover (talk) 05:43, 9 October 2023 (UTC)
 * Makes sense. Thanks @Xover Brad606 (talk) 13:59, 9 October 2023 (UTC)

Tech News: 2023-41
 Latest tech news from the Wikimedia technical community. Please tell other users about these changes. Not all changes will affect you. Translations are available.

Recent changes
 * One new wiki has been created: a in Fon

Changes later this week
 * Octicons-sync.svg The new version of MediaWiki will be on test wikis and MediaWiki.org from . It will be on non-Wikipedia wikis and some Wikipedias from . It will be on all wikis from (calendar).
 * Starting on Wednesday, a new set of Wikipedias will get "Add a link" . This is part of the progressive deployment of this tool to more Wikipedias. The communities can configure how this feature works locally.
 * At some wikis, newcomers are suggested images from Commons to add to articles without any images. Starting on Tuesday, newcomers at these wikis will be able to add images to unillustrated article sections. The specific wikis are listed under "Images recommendations" at the Growth team deployment table. You can learn more about this feature.
 * Octicons-tools.svg In the mobile web skin (Minerva) the CSS ID  will be replaced with  . This change is to make it consistent with other skins and to improve support for gadgets and extensions in the mobile skin. A few gadgets may need to be updated; there are details and search-links in the task.

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MediaWiki message delivery 14:39, 9 October 2023 (UTC)

Opportunities open for the Affiliations Committee, Ombuds commission, and the Case Review Committee
  You can find this message translated into additional languages on Meta-wiki.

 m:Special:MyLanguage/Wikimedia Foundation Legal department/Committee appointments/Announcement/Short •

Hi everyone! The Affiliations Committee (AffCom), Ombuds commission (OC), and the Case Review Committee (CRC) are looking for new members. These volunteer groups provide important structural and oversight support for the community and movement. People are encouraged to nominate themselves or encourage others they feel would contribute to these groups to apply. There is more information about the roles of the groups, the skills needed, and the opportunity to apply on the Meta-wiki page.

On behalf of the Committee Support team,

~ Keegan (WMF) (talk) 16:41, 9 October 2023 (UTC)

Some problems in page namespace
When editing in the page namespace, since a couple of days - I don't know exactly since when -, I encounter two strange changes, which may be connected: What has happened? Who can change this back to the old situation?
 * 1) on the bottom, besides the coloured radio-buttons for "without text, not proofread, problematic, proofread, validated" (grey, pink, blue, yellow, green), there appears a text " Page status ". This looks like an error.
 * 2) when changing the button, e.g. from "not proofread" (pink) to "proofread" (yellow), and then pressing "Show preview", the button jumps back to the previous state. So that I have to click the correct radio-button again, when I publish my edits. This is extra work, and it never worked this way in the (recent) past.

Thanks in advance, --Dick Bos (talk) 18:17, 7 October 2023 (UTC)
 * Both problems appear also in the French Wikisource. Here, I can only reproduce the second problem (maybe something has changed). I just created a Phabricator task. Seudo (talk) 20:22, 7 October 2023 (UTC)
 * These bugs were from work I did on the page-quality widget. Sorry! Fixes for some parts are already done and merged and will be deployed soon, and the remaining part is now waiting review. Let me know if there are other bugs, and thanks for making the phab tasks. Sam Wilson 01:37, 8 October 2023 (UTC)
 * @Sam Wilson. All is functioning normal again (also on Dutch Wikisource) - as far as this little problem concerns. Thanks a lot for the quick repair. --Dick Bos (talk) 17:47, 11 October 2023 (UTC)
 * Great! Let me know if you find other problems. Sam Wilson 00:39, 12 October 2023 (UTC)

A Portal For Sandwich Recipes?
Under what portal category could the portal for compilations of sandwich recipes, either Portal:Sandwich recipes or simply Portal:Sandwiches, go under? -- Apisite (talk) 11:41, 8 October 2023 (UTC)

 * See Portal:Cookbooks; LC classification TX. You can include the sandwich recipe books in this portal, unless there are a substantial number of works that warrant a separate portal. Ciridae (talk) 11:38, 9 October 2023 (UTC)

 * Thanks for the reply; I added a Cookbook from my Wish-list to the Portal of Cookbooks. --Apisite (talk) 19:41, 9 October 2023 (UTC)

 * The book has been uploaded to Commons and the index page can be found here: . Happy proofreading! Ciridae (talk) 05:48, 10 October 2023 (UTC)

 * Thanks, the sandwich book was a pleasure to proofread. --Apisite (talk) 05:48, 11 October 2023 (UTC)

 * You need to add headers and footers in the pages; there are images there. Also the Table of Contents needs to be fixed, and you need to check the alignment of the text in the pages. Have a look at the help pages. Also, check out a few of the completed works from the main page for tips. Ciridae (talk) 07:40, 11 October 2023 (UTC)

 * I updated the table of contents by adapting what was done with the table of contents of the book The Tsar's Window. Now I have to sleep, at least. --Apisite (talk) 08:37, 11 October 2023 (UTC)

Tech News: 2023-42
 Latest tech news from the Wikimedia technical community. Please tell other users about these changes. Not all changes will affect you. Translations are available.

Recent changes
 * The Unified login system's edge login should now be fixed for some browsers (Chrome, Edge, Opera). This means that if you visit a new sister project wiki, you should be logged in automatically without the need to click "Log in" or reload the page. Feedback on whether it's working for you is welcome.
 * Edit notices are now available within the MobileFrontend/Minerva skin. This feature was inspired by the gadget on English Wikipedia. See more details in T316178.

Changes later this week
 * Octicons-sync.svg The new version of MediaWiki will be on test wikis and MediaWiki.org from . It will be on non-Wikipedia wikis and some Wikipedias from . It will be on all wikis from (calendar).

Future changes
 * In 3 weeks, in the Vector 2022 skin, code related to  and  that was deprecated one year ago will be removed. If you notice tools that should appear next to the "Discussion" tab are then missing, please tell the gadget's maintainers to see instructions in the Phabricator task.

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MediaWiki message delivery 23:47, 16 October 2023 (UTC)

Review and comment on the 2024 Wikimedia Foundation Board of Trustees selection rules package

 *  You can find this message translated into additional languages on Meta-wiki.
 *  m:Special:MyLanguage/wiki/Wikimedia Foundation elections/2024/Announcement/Rules package review - short •

Dear all,

Please review and comment on the Wikimedia Foundation Board of Trustees selection rules package from now until 29 October 2023. The selection rules package was based on older versions by the Elections Committee and will be used in the 2024 Board of Trustees selection. Providing your comments now will help them provide a smoother, better Board selection process. More on the Meta-wiki page.

Best,

Katie Chan Chair of the Elections Committee

01:13, 17 October 2023 (UTC)

Invitation for Wikisource Community Meeting October 2023
Hello fellow Wikisource enthusiasts!

We are the hosting this month’s Wikisource Community meeting on 28 October 2023, 7 AM UTC (check your local time). This meeting time is Eastern Hemisphere-focused and we will alternate the meeting times every month.

The first half of the meeting will be focused on non-technical updates and conversations like events, conferences, proofread-a-thons and collaborations. The second half will be focused on technical updates and conversations, such as talking about major challenges faced by Wikisource communities, similar to the ones conducted in previous Community meetings.

If you are interested in joining the meeting, kindly leave a message on sgill@wikimedia.org and we will add you to the calendar invite.

Meanwhile, feel free to check out the page on Meta-wiki and suggest any other topics for the agenda.

Regards KLawal-WMF, PMenon-WMF, Sam Wilson (WMF), and Satdeep Gill (WMF)

Sent using MediaWiki message delivery (talk) 14:11, 18 October 2023 (UTC)

Error in original TOC
Hi. I have the situation of a listing missing from an original TOC, and I want to make sure I proceed as Wikisource would want me to.

The offending title is at https://en.wikisource.org/wiki/Index:Varied_Types_(1903).djvu. The TOC on the index page reflects what the original source does. However, between the chapters Maeterlinck and Queen Victoria, there actually exists an additional omitted chapter listing in the book, which starts on page 217, where the Queen Victoria chapter is supposed to reside.

So my initial urge is to just fix it—add the missing chapter in the TOC, shift the others down, and correct any page numbers. If I do this, do I make some sort of notation about what was done? Or should I just leave everything as-is claiming this was the way the original source was published?

Thank you for your time. snafu22q (talk) 18:03, 13 October 2023 (UTC)

 * What I do in this situation is transclude the printed TOC as is and add an AuxTOC for the missing items. Beeswaxcandle (talk) 04:44, 14 October 2023 (UTC)
 * Since you're using TOC begin, one alternative is to add the  class to get the green background (as defined in Template:TOC templates/styles.css)—like . For the page numbers, I would use SIC. In general, you don't want to change the original text without saying that's what you're doing, but it is good to fix these errors so readers aren't confused. —CalendulaAsteraceae (talk • contribs) 04:08, 17 October 2023 (UTC)
 * Thank you very much for your help. It turned out exactly the way I would have wanted, but I wasn't sure how to get there, and I'm not sure I understand exactly *why* it works like it does. One question I have is about the fvn tagging—I'm assuming that's what nullifies the small caps format for that small piece of text? I have other questions, but I guess I'll figure them out as I go along.
 * While I have your attention, could you see if I have transcluded the chapters correctly? By that i mean there are pages between the chapters that I didn't think should be included, but I'm really not sure. And do I let the one 'problematic' page prevent me from labelling the index as proofread (once I finish the last few pages)?
 * Again, thank you for your help. snafu22q (talk) 06:33, 21 October 2023 (UTC)

@Snafu22q: Glad I could help! Indeed, fvn removes the small caps formatting. expands to and the  class means that the row has a green background. The transclusion looks good to me. —CalendulaAsteraceae (talk • contribs) 06:59, 21 October 2023 (UTC)

'Stuppai' in Forward! by Harold Lamb
'Stuppai' in this rendition of 'Forward!' looks to be two words ('stup pai') when viewing the October 10, 1924 issue of Adventure Magazine. see page 7 column 1 paragraph 6 -- which shows a space between the p's. And confirmed in column 2, paragraph 5 of the same page. The language is stated to be Russian in the text, but Google Translate says it means 'come on' in Lithuanian. PDFs of the issue can be found at archive.org, luminist.org and elsewhere. That the word is in an italics font may have obscured this. 73.206.16.128 20:59, 18 October 2023 (UTC)
 * See Forward (Lamb) and here. Based on the spacing of other italicized phrases, I would have to disagree. TE(æ)A,ea. (talk) 21:23, 18 October 2023 (UTC)
 * I see your point, but the space appears obvious--at least to me. Of course, I might be looking for a space to be there.
 * The trouble is neither the one, nor two word version seem to have any meaning in Russian. However, the 2 word version does have a meaning in Lithuanian. And, I have since discovered both the one & two word versions have meanings in Ukrainian. 73.206.16.128 07:21, 19 October 2023 (UTC)
 * Neither "stup pai" or "stuppai" are valid Ukrainian or Russian, since those languages are written in the Cyrillic script. I'm not finding stup in Lithuanian at all. Ukrainian is pretty close to Russian, so it's likely if it has meanings in Ukrainian, it has meanings in at least dialects of Russian. If I had Cyrillic spellings, I might be able to poke at it more, but I find the whole thing mildly pointless; the question is what is written, not whether it is correct.
 * As for what is written in the Adventure Magazine, I compare it to the splash and sau bul at the top of the page, and the mon prince at the bottom of page 9, and it looks like the kerning and design of the italic p in this font leaves a little more space than would be desired in pp, but it's clearly not supposed to be two words.--Prosfilaes (talk) 17:35, 19 October 2023 (UTC)
 * I found a few old books saying that Suwarrow (i.e. Suvorov)'s favourite maxim was "Stuppai e Be" meaning "Forward and Strike", no idea what the modern transcription of that would be though. -- Beleg Âlt (talk) 21:18, 19 October 2023 (UTC)
 * stupajka in Polish is slang for policeman, but also has tsarist overtones. My references do not give an etymology. --EncycloPetey (talk) 02:31, 23 October 2023 (UTC)
 * I did a bit more digging, and I'm convinced that the word is ступай - with "Forward" being a very loose translation. -- Beleg Âlt (talk) 18:39, 23 October 2023 (UTC)

Zuleika Dobson
There are two versions, a 1911 UK version - Index:Zuleika Dobson.djvu and a 1912 US version - Index:Zuleika Dobson; (IA zuleikadobsonbee00beer).pdf. Do we want both ?

@Languageseeker - it seems that you created both. -- Beardo (talk) 16:19, 20 October 2023 (UTC)

 * I see no reason not to keep both —Beleg Tâl (talk) 16:47, 20 October 2023 (UTC)
 * Fine - I have linked the other from the author page. -- Beardo (talk) 14:04, 22 October 2023 (UTC)

Changes to templates of the same name. How are they managed?
I came across an unexpected change to the sp template. The spacing parameter became a fixed value, whereas I often used it with various spacing parameters, years ago.

I am now using the lsp template as a replacement for sp and my question is, what happened to the old templates which included this or other parameters for spacing? Were they edited by a script?  — ineuw (talk) 07:30, 23 October 2023 (UTC)

Tech News: 2023-43

 Latest tech news from the Wikimedia technical community. Please tell other users about these changes. Not all changes will affect you. Translations are available.

Recent changes
 * There is a new Language and internationalization newsletter, written quarterly. It contains updates on new feature development, improvements in various language-related technical projects, and related support work.
 * Octicons-tools.svg Source map support has been enabled on all wikis. When you open the debugger in your browser's developer tools, you should be able to see the unminified JavaScript source code.

Changes later this week
 * Octicons-sync.svg The new version of MediaWiki will be on test wikis and MediaWiki.org from . It will be on non-Wikipedia wikis and some Wikipedias from . It will be on all wikis from (calendar).

Tech news prepared by Tech News writers and posted by bot • Contribute • Translate • Get help • Give feedback • Subscribe or unsubscribe.

MediaWiki message delivery 23:16, 23 October 2023 (UTC)

Tech News: 2023-44

 Latest tech news from the Wikimedia technical community. Please tell other users about these changes. Not all changes will affect you. Translations are available.

Recent changes
 * The Structured Content team, as part of its project of improving UploadWizard on Commons, made some UX improvements to the upload step of choosing own vs not own work (T347590), as well as to the licensing step for own work (T347756).
 * The Design Systems team has released version 1.0.0 of Codex, the new design system for Wikimedia. See the full announcement about the release of Codex 1.0.0.

Changes later this week
 * Octicons-sync.svg The new version of MediaWiki will be on test wikis and MediaWiki.org from . It will be on non-Wikipedia wikis and some Wikipedias from . It will be on all wikis from (calendar).
 * Listings on category pages are sorted on each wiki for that language using a library. For a brief period on 2 November, changes to categories will not be sorted correctly for many languages. This is because the developers are upgrading to a new version of the library. They will then use a script to fix the existing categories. This will take a few hours or a few days depending on how big the wiki is. You can read more.
 * Starting November 1, the impact module (Special:Impact) will be upgraded by the Growth team. The new impact module shows newcomers more data regarding their impact on the wiki. It was tested by a few wikis during the last few months.

Future changes
 * There is a proposed plan for re-enabling the Graph Extension. You can help by reviewing this proposal and sharing what you think about it.
 * The WMF is working on making it possible for administrators to edit MediaWiki configuration directly. This is similar to previous work on Special:EditGrowthConfig. A technical RfC is running until November 08, where you can provide feedback.

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MediaWiki message delivery 23:21, 30 October 2023 (UTC)

A couple of Mormon-related documents
We have Address from Jackson County citizens regarding the Mormons - July 20 1833 and Memorandum of agreement between Mormons and Jackson County citizen committee. Both seem to come from "The Western Monitor" of August 2, 1833 which is transcribed here - http://www.sidneyrigdon.com/dbroadhu/MO/Miss1831.htm#080233 which states "Note: No copy of this issue of the Fayette Western Monitor has yet been located for transcription. The text was taken from the LDS History of the Church I, pp. 394-402. See also the Columbia, Missouri Intelligencer, of Aug. 10, 1833 for essentially the same report."

Are we happy to accept what seems to be a third-hand transcription ? Is it OK to have those two parts separate ? -- Beardo (talk) 14:10, 22 October 2023 (UTC)

 * In my understanding adding works without the original printed source is no longer accepted practice on Wikisource. It was done a lot early on, when people were just grabbing stuff from Project Gutenberg and elsewhere and putting it here. Nowadays one should import a scanned version and work off of that. In order to reproduce the articles, there'd need to be either a scan of the newspapers or a scan of The History of the Church. The latter seems to be the way to go. Arbitan (talk) 05:11, 31 October 2023 (UTC)

Popular Science Monthly, The Scientific Monthly, World's Advance...
I've written elsewhere about how the Popular Science Monthly name was acquired in September 1915 and reused for a magazine Wikipedia calls Electrician and Mechanic but was known at the time as World's Advance (Wikipedia cites several other names, apparently it went through five names in two years), while the successor to PSM The Scientific Monthly was launched the following month. Anyway, it seems to me that this leads to a little bit of difficulty for characterising these periodicals; according to the Bulletin of Bibliography January 1916 the World's Advance publisher suggested that the "new" PSM be treated as World's Advance, while the Scientific Monthly publisher suggested that the Scientific Monthly be handled alongside the "old" PSM. I figure the best way to handle this is on our end as follows: Thoughts? Arcorann (talk) 11:22, 19 October 2023 (UTC)
 * PSM up to vol 87 issue 3 stays where it is.
 * One new page for Electrician and Mechanic/World's Advance and PSM from vol 87 issue 4. (Where is the guideline for periodicals that change name?)
 * The Scientific Monthly keeps its own page, but gets added to the PSM project (or else a new project launched for TSM).

 * There is no guideline for journals that change name as there is no standard for how the journals did it. The best guidance that we give, is to just publish them per the name of the journal, and the volumes. That way they remain true to how they are published. Then we build a portal namespace page that explains what is where and we heavily utilise redirects allow for getting people to the right place with the name variations. — billinghurst  sDrewth  14:34, 5 November 2023 (UTC)
 * That still leaves the question of how to handle the fact that Popular Science Monthly from vol 87 issue 4 is literally a different periodical (really being World's Advance). Arcorann (talk) 11:42, 6 November 2023 (UTC)

New gadget: page cleanup button
(I'm sure there's been discussion about this before, but I can't find it now; sorry if this is a rehash!) I'm wondering about converting the PageCleanUp script into a gadget. I think it'd be good to use version that doesn't do the comma-before-capitals replacement. My main reasoning is that I'm often showing people how to proofread, and I click this button in my toolbar and they want the same thing — but it's tricky to explain adding user scripts to a newbie, and a gadget would be much more approachable. What do people think? I'm sure there are lots of different ways of doing this sort of task (e.g. TemplateScript), but a simple toolbar button is a good start I think. Sam Wilson 11:15, 11 October 2023 (UTC)
 * Sounds very good to me. --Jan Kameníček (talk) 21:43, 12 October 2023 (UTC)
 * And for those of us who don't use a toolbar? Will it still be invokable from the sidebar as currently? Beeswaxcandle (talk) 04:52, 14 October 2023 (UTC)
 * The user script I'm talking of doesn't currently load in the sidebar, but definitely it can be changed to do so if there's no toolbar, good idea. would either of you be interested in making this gadget (pinging you as I think you've worked on similar things recently)? Or could I be given interface-admin rights to do so? Sam Wilson 03:44, 16 October 2023 (UTC)
 * No available time to do much Sam. I know that my cleanup script has complexity, and elements of specificity for the quirky works that I do. Given time again, I would love to be able to compartmentalise the elements of the cleanup, and turn certain ones on per work. It would be great if we could specify per index level which cleanup compartments would apply for a work. [Think that would be really helpful for setting up shared contributed works] — billinghurst  sDrewth  02:05, 7 November 2023 (UTC)
 * No worries, I figured as much! And it's a good point about the complexities of clean up scripts; it's hard to make a general-purpose one. I'm now thinking that it's probably a better use of time to come up with a way of composing sets of regexes together as you say, to form reusable compartments for this stuff (and probably still have a general cleanup one, different per language). It'll be easier to build that sort of thing in the Wikisource extension, I think, so I've made for that. Sam Wilson 05:36, 7 November 2023 (UTC)

title: Wikisource:Scriptorium/Archives/2023-10


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HERE be no use talking o' holidays this year!" said Mehitable rather bitterly, the swift—a wooden apparatus for winding yarn, fastened to the edge of the table with a thumbscrew—turning rapidly as she spoke. For this was the time of the Revolution and the American soldiers must be clad.

"I suppose not," agreed Charity, looking up from her seam with a sigh as she reached over to change the cloth in the beak of her sewing bird.

It was dusk in the big kitchen, with only the firelight leaping and flaring in its great cavern of a fireplace, where Charity, who was thirteen years old, could stand erect and where the immense back-log had been dragged into its place by one of the farm horses on a certain autumn day. Now the shadows of the two girls, sitting upon their three-legged stools at each end of the old mahogany table, danced on the mud-plastered walls behind them.

"But I really do not see why we cannot think o' them," continued Charity after awhile. "One might get much pleasure that way, Hitty."

title: Page:Mistress Madcap (1937).pdf/17


text:
Page:Mistress Madcap (1937).pdf/18

 Mehitable shook her head. "It leads on to nothing," she said sagely. "And you know our mother said we were not to plan at all, with war upon us and provender growing so scarce. 'Tis now a problem to feed us," she said."

"This dreadful war!" exclaimed Charity. She dropped her sewing. "When, think you, 'twill end, Hitty?" she asked, clasping her hands.

"Indeed, I know not, Charity. No one does!" Again Mehitable shook her head gloomily. "Already it has been a weary twenty months since the British fired upon our men at Lexington."

"And almost seventeen months since we saw John!" murmured Charity. Both girls sighed at this, for their big, handsome brother's enlistment as a surgeon under General Washington had made a sorry change in their lives. No more were sly gifts of lollipops or bits of bright ribbon forthcoming from New York, where John Condit had been studying medicine up to the time of the war, with a certain famous surgeon, Doctor Carter.

"I think I be the one to miss John most," observed Mehitable, after a long silence. She glanced up at a silhouette hanging over the chimney shelf, and two bright tears shone for an instant in her black eyes.

"Nay, sister, I do!" protested Charity quickly.

"Do what?" asked a fresh voice, as the heavy outer door behind the girls was pushed open and a comely woman of forty-five entered. "Come, Hitty, help me close the door! It has commenced to pour, and ye gale be terrible!"

title: Page:Mistress Madcap (1937).pdf/18


text:
Page:Mistress Madcap (1937).pdf/19

 It needed all the strength of mother and daughter to battle against the force of that wind. With a last howl, a last flurry of wind-swept sand across the kitchen floor, a final sputtering of the fire from the unexpected draught, the great door was swung to and the heavy, hand-wrought bolt shot.

"There!" gasped Mistress Condit, standing still to recover her breath. "Such a tramp as I've had from Mistress Briggs's! The storm seemed to drive me, sheltered though I was by ye mountain! What it must be in the open places on this night!"

She paused in the act of removing her long cardinal and stood staring into space, with the look the girls had begun to dread in her eyes. They glanced at each other uneasily; then Mehitable took the dripping garment from her and led her gently to the settle beside the fire.

"There, Mother, I know ye be thinking o' John!" she exclaimed briskly. "But I'll warrant, and you could see him, he would be sitting beside just such a fire as this!"

"Mayhap!" assented her mother, gratefully relaxing upon the warm seat for the moment. "But always I have that fear he is out and in danger! Hark, see who it is, Charity, pounding so impatiently upon you door!"

Charity ran to the door and applied her eye to its peep-hole. Tis Father!" she cried. And amidst the ensuing bustle of admitting the big, jolly-looking man of the house, the storm without was soon forgotten.

The kitchen began to fill with appetizing odors from

title: Page:Mistress Madcap (1937).pdf/19


text:
Page:Mistress Madcap (1937).pdf/20

 the iron skillets and kettles that hung by their bails from the long crane swung over the fire; Mehitable, dragging the table nearer the warmth of it, began supper preparations by spreading the red tablecloth, while Charity ran back and forth upon countless errands. Once, fetching her father's bootjack from upstairs, she came back almost weeping from the cold, her small nose like a red berry. Dropping the bootjack, she rubbed her aching hands.

"Cold, Cherry lass?" mumbled the Squire sympathetically, purple-faced as he struggled with his boot.

"Oh, Father, I do dread the thought o' bed! 'Tis bitter cold upstairs. Do you suppose there ever will be a time when people have a fireplace in every room."

Mehitable laughed loudly.

"But will there?" persisted Charity, glancing at her sister. "There be nothing funny in that, Hitty," she added with dignity.

"A fireplace in every room, indeed! Ho!"

And Mehitable redoubled her laughter. "Why, think o' the chimneys needed!"

"But in city houses there be a fireplace very often in every room," remarked Squire Condit, leaning back with a grunt of relief and sticking his stockinged feet toward the blaze.

Both girls turned to him eagerly, and Charity ran to clasp his arm, her cheeks crimsoning.

"Truly, Father." She paused for an awed moment. "Warm in every room!" she exclaimed; then, "Think o't, Hitty!"

title: Page:Mistress Madcap (1937).pdf/20


text:
Page:Mistress Madcap (1937).pdf/21

 Twould be heavenly!" sighed Mehitable. "And now it seems to me 'twas so at Cousin Eliza's great house at Trenton! Oh, Father, let us move to the city!"

"But what would become of the farm and the stock?" protested the Squire laughingly.

"Amos and Judd could care for them. Why not, Father?" urged Mehitable. Already, in imagination, she could see herself sweeping down narrow, winding city stairs into a warm firelit room, bright from the light of many sconces, the sheen of her satin ball gown reflecting their light. . . . She started.

"What, art dreaming again, Hitty?" smiled her father, pinching her round cheek.

"Supper!" announced Mistress Condit. And they, with the two farm men who had previously silently entered, drew up to partake of the hot soup and the Indian pudding, with healthy appetites.

"We will wait for the morrow to wash the dishes," said Mistress Condit when they had finished and Amos and Judd had vanished, "if you will promise to do them without grumbling, girls."

"Indeed, Mother," they both began and their mother nodded.

"And do let us roast apples and chestnuts, Mother," begged Charity, "while Father tells us about when he was a little lad in England."

"And warm some cider, too," continued Mehitable.

"All this for one evening!" protested Mistress Condit. "Nay, then, what about to-morrow night?"

Twill keep, to-morrow night will!" answered

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 Mehitable recklessly, running to the door of the lean-to where the vegetables had been stored, while Charity, a-tiptoe, took down the candle from the high chimney shelf and lighted it from the blazing logs. "May we, Mother?"

Mistress Condit laughed helplessly. "What can I do, young mischiefs!" She surrendered, and the two girls disappeared.

As soon as they were gone, Mistress Condit walked quickly over to where her husband was puffing his pipe in placid comfort.

"Samuel, I be worried!" she began in a hasty whisper.

"What now, Mary?" He looked up at her in surprise, for all the trying last months had failed to mar her serene brow.

"Well, you know Squire Briggs be most partial to the King and, like many o' our neighbors, is in constant communication with the Caldwelltown Tories. To-night, while I was there, he came in most bitter, for it seems that a sally of Americans, being in desperate straits, helped themselves in passing to several fine porkers he had intended selling to Sir Henry Clinton's commissary chief. In his rage, he unintentionally let out the information that those farms set apart by Hessian spies and Tory sympathizers as being partial to General Washington are marked with the letter R for rebel and are to be raided by the Hessian foragers sent over to New Jersey by Sir Henry for that purpose. And, Samuel"—Mistress Condit's voice faltered—"though it stormed so as I came through our gate, I saw most plainly the letter R upon the gatepost!"

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