[p v]
May the light of some morning skiesIn days when the sun knew how to rise,
Stay with my spirit until I go
To be the boy that I used to know.
H. C. Bunner, in “Rowen.”
[p vii]
ILLUSTRATIONS
| THACKERAY AND THE BOY | [Frontispiece] | |
| THE BOY’S MOTHER | Facing p. | [4] |
| ST. JOHN’S CHAPEL AND PARK | " | [6] |
| THE BOY’S UNCLE JOHN | " | [8] |
| THE BOY IN KILTS | " | [10] |
| THE BOY PROMOTED TO TROUSERS | " | [12] |
| “CRIED, BECAUSE HE HAD BEEN KISSED” | " | [14] |
| “GOOD-MORNING, BOYS” | " | [16] |
| PLAYING “SCHOOL” | " | [18] |
| THE BOY’S SCOTCH GRANDFATHER | " | [20] |
| THE HOUSE OF THE BOY’S GRANDFATHER—CORNEROF HUDSON AND NORTH MOORE STREETS | " | [22] |
| “ALWAYS IN THE WAY” | " | [24] |
| READY FOR A NEW-YEAR’S CALL | " | [26] |
| A NEW-YEAR’S CALL | " | [28] |
| TOM RILEY’S LIBERTY-POLE | " | [30] |
| THE BOY ALWAYS CLIMBED OVER | " | [32] |
| THE CHIEF ENGINEER | " | [34] |
| “MRS. ROBERTSON DESCENDED IN FORCE UPON THEDEVOTED BAND” | " | [36] |
| THE BOY AS VIRGINIUS | " | [38] |
| JOHNNY ROBERTSON | " | [40] |
| JANE PURDY | " | [42] |
| JOE STUART | " | [44] |
| [p viii] BOB HENDRICKS | " | [46] |
| MUSIC LESSONS | " | [48] |
| THE BOY’S FATHER | " | [56] |
| WHISKIE | " | [62] |
| PUNCH | " | [64] |
| MOP AND HIS MASTER | " | [68] |
| ROY AND HIS MASTER | " | [74] |
| ROY | " | [76] |
| “HE TRIES VERY HARD TO LOOK PLEASANT” | " | [80] |
| ROY | " | [82] |
| THE WAITING THREE | " | [84] |
| MOP | [87] | |
[p ix]
INTRODUCTORY NOTE
The papers upon which this volume is founded—published here by the courtesy of The Century Company—appeared originally in the columns of St. Nicholas. They have been reconstructed and rearranged, and not a little new matter has been added.
The portraits are all from life. That of The Boy’s Scottish grandfather, facing [page 20], is from a photograph by Sir David Brewster, taken in St. Andrews in 1846 or 1847. The subject sat in his own garden, blinking at the sun for many minutes, in front of the camera, when tradition says that his patience became exhausted and the artist permitted him to move. The Boy distinctly remembers the great interest the picture excited when it first reached this country.
Behind the tree in the extreme left of the view of The Boy’s Scottish-American grandfather’s house in New York, facing [page 22], may be seen a portion of the home of Mr. Thomas Bailey Aldrich, in 1843 or 1844, some years earlier than the period of “The [p x]
Story of a Bad Boy.” Warm and constant friends—as men—for upwards of a quarter of a century, it is rather a curious coincidence that the boys—as boys—should have been near neighbors, although they did not know each other then, nor do they remember the fact.
The histories of “A Boy I Knew” and the “Four Dogs” are absolutely true, from beginning to end; nothing has been invented; no incident has been palliated or elaborated. The author hopes that the volume may interest the boys and girls he does not know as much as it has interested him. He has read it more than once; he has laughed over it, and he has cried over it; it has appealed to him in a peculiar way. But then, he knew The Dogs, and he knew The Boy!
L. H.