STUDY AND STUDIO.
L. Cox.—We cannot answer any queries through the post, although we feel sympathy with you in your aims and desires. By all means carefully plan out your spare time. We should advise you to attend classes at the nearest Polytechnic or "Continuation School" for cookery, needlework, and also for as many as possible of the other subjects you mention. Read what you can as well; but you will find the influence of a teacher's mind upon your own a great advantage and help. Conviction of ignorance is the first step to improvement.
Rosalind.—1. You need not be in despair about your handwriting. If you would make shorter tails to your y's, etc., it would look far better. The only way to improve is daily to copy some model you admire, and take great pains, keeping a uniform space between your lines. Your letters might be larger and bolder with advantage.—2. Your poems show an attentive and observant eye for nature. "A Summer Evening" is the better of the two poems. "Petals loosened from the rose of dawn," in "The Golden Day," is a pretty fancy. We do not like "silver showers of dewdrops," and "golden floods of music." Be on your guard against too flowery a style.
Excelsior.—We are afraid to encourage you to depend on any kind of literary work for gaining a livelihood. Writing for the press is a profession like other professions, and needs training and practice before success can be hoped for. If you sent a specimen of your original composition, we could advise you more definitely; but there are vast numbers who wish to earn by their pen, and the competition is consequently keen.
Flora D.—1. Certainly your writing is "good enough for you to be a clerk." It is legible and neat.—2. Why do you not send in the essays you write on the stories? Very likely one might some day win a prize, and it would at any rate be a pleasure to read such clearly-written manuscript as yours.
Hetty Spier.—There is the "Crystal Palace Choir," and the "Handel Festival Choir." Address for particulars of either, the Secretary of that choir, Crystal Palace, and you will hear all particulars. These are nearer to you than any other. But if you write, enclosing a stamp, to the Secretary of any choir you see advertised as performing at a concert, you will be sure to have a reply. We can never promise an answer as quickly as you desire to have yours.
O Mimosa San.—1. We do not undertake to read character by photographs or handwriting, though we can criticise the latter.—2. We will insert your request.
Jam-Tart.—We have read your poem with much interest. The thoughts you describe are those that are wont to assail lonely hours of wakefulness at night; but we are glad you can adopt a different strain at the close. You have occasionally a felicitous turn of expression, as, for instance—
"Why bow before Life's tyrant, Care,
And meekly take his sorry fare
Unsweetened by a jest?"
We should certainly advise you to practise your pen when you feel the impulse to do so.
Lily Jones.—The two verses you enclose express a feeling we can well understand, but they are written in rather halting metre. Each line should have the same cadence as this one—
"How sweetly thou speakest to me";
but you will perceive that
"Brings a sense of happy relief"
differs in rhythm.
Inquirer.—The error we pointed out is exactly the same whether the words come together or not. You make "thou" the nominative to "doth" in the two lines you quote; and this is incorrect. You should study grammar.
Bangalore.—1. We are pleased to be able to say that the tune you send us is a charming one. Certainly it is "worth teaching to Sunday School children," and is quite good enough for publication.—2. The verses you send us are touching and unusual, considering that they were written by a child of six, seriously ill.
Frances M. Venables.—We have acknowledged your information elsewhere. You will find your quotation—
"Guard well thy thoughts, for thoughts are heard in heaven"—
in Young's Night Thoughts, Book ii., line 94.
Labore Omnia Florent.—1. Your handwriting is very good indeed. The aspect of your letter would be improved if you would not leave a margin at the end of your lines.—2. Your verses are very fairly good. There is nothing original in "Love," or "Duty." "Lines to a friend" are the best. We are a little reminded of Christina Rossetti's poem—
"Does the road wind up-hill all the way?
Yes, to the very end"—
though of course the subject is entirely different.