One o'clock struck! and then two!! and then three!!! And still I was sitting there in the midst of an immense solitude, my whole body aching with weariness, my heart aching with a sense of forlornness and degradation. That I, who had been so petted at home, whose comfort had been studied by everybody in the house, who had never been required to do anything but cultivate my mind, should have to pass all those hours of the night in watching a loaf of bread—which mightn't turn out bread after all!
Such thoughts maddened me, till I laid down my head on the table and sobbed aloud. It was then that somehow the idea of Benvenuto Cellini [Footnote: Benvenuto Cellini: a famous Italian sculptor and worker in gold and silver. Born in 1500(?) died in 1571. His autobiography is one of the most famous of Italian classics. The Perseus of Cellini stands in the Loggia dei Lanzi in Florence, and represents the helmeted hero holding up the severed head of Medusa.] sitting up all night watching his Perseus in the furnace came into my head, and suddenly I asked myself: "After all, in the sight of the upper Powers, what is the mighty difference between a statue of Perseus and a loaf of bread, so that each be the thing that one's hand has found to do? The man's determined will, his energy, his patience, his resource were the really admirable things of which his statue of Perseus was the mere chance expression. If he had been a woman, living at Craigenputtock with a dyspeptic husband, sixteen miles from a baker, and he a bad one, all these qualities would have come out more fitly in a good loaf of bread!"
I cannot express what consolation this germ of an idea spread over my uncongenial life during the years we lived at that savage place, where my two immediate predecessors had gone mad, and a third had taken to drink.
—JANE WELSH CARLYLE.
[Footnote: Does the opening paragraph give you any hint as to the source of this extract? What traits of character does the writer show? Can you show the evidence of Scotch Covenanter inheritance in the writer's philosophy? Do you imagine that the writer learned to make bread? Why? In what does the humor of the account lie?]
A YOUTHFUL ACTOR
My dramatic career was brought to a close by an unfortunate circumstance. We were playing the drama of "William Tell, the Hero of Switzerland." Of course I was William Tell, in spite of Fred Langdon, who wanted to act that character himself. I wouldn't let him, so he withdrew from the company, taking the only bow and arrow we had. I made a cross-bow out of a piece of whalebone, and did very well without him. We had reached that exciting scene where Gessler, the Austrian tyrant, commands Tell to shoot the apple from his son's head. Pepper Whitcomb, who played all the juvenile and women parts, was my son. To guard against mischance, a piece of pasteboard was fastened by a handkerchief over the upper portion of Whitcomb's face, while the arrow to be used was sewed up in a strip of flannel. I was a capital marksman, and the big apple, only two yards distant, turned its russet cheek fairly towards me.
I can see poor little Pepper now, as he stood without flinching, waiting for me to perform my great feat. I raised the cross-bow amid the breathless silence of the crowded audience,—consisting of seven boys and three girls, exclusive of Kitty Collins, who insisted on paying her way in with a clothes-pin. I raised the cross-bow, I repeat. Twang! went the whipcord; but, alas! instead of hitting the apple, the arrow flew right into Pepper Whitcomb's mouth, which happened to be open at the time, and destroyed my aim.
I shall never be able to banish that awful moment from my memory. Pepper's roar, expressive of astonishment, indignation, and pain, is still ringing in my ears. I looked upon him as a corpse, and, glancing not far into the dreary future, pictured myself led forth to execution in the presence of the very same spectators then assembled.
Luckily poor Pepper was not seriously hurt.