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"Squaw-man, isn't he?" Brewster asked.

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It was the usual tale of woe that Geronimo had to tell, much the same that the old buck had recited to[Pg 298] Cairness in the spring of the last year. His particular grievance was the request for his hanging, which he had been told had been put in the papers, and his fear of three White-men who he believed were to arrest him. "I don't want that any more. When a man tries to do right, such stories ought not to be put in the newspapers. What is the matter with you that you do not speak to me? It would be better if you would look with a pleasant face. I should be more satisfied if you would talk to me once in a while." The interpreter translated stolidly. "Why don't you look at me and smile at me? I am the same man. I have the same feet, legs, and hands, and the Sun looks down on me a complete man." There was no doubt about that, at any rate, and perhaps it was not an unmixed good fortune.
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TWO:My! My! she called, coming closer. What is this I hear from Jeff?

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FORE:Still more have "The Seasons" and "The Castle of Indolence" of James Thomson retained, and are likely to retain, the public favour. "The Seasons" is a treasury of the life and imagery of the country, animated by a true love of Nature and of God, and abounding in passages of fire, healthy feeling, and strong sense, often of sublime conceptions, in a somewhat stiff and vicious style. "The Castle of Indolence" is a model of metrical harmony and luxurious fancy, in the Spenserian stanza. Another poet of the same time and countryScotlandis Allan Ramsay, who, in his native dialect, has painted the manners and sung the rural loves of Scotland in his "Gentle Shepherd" and his rustic lyrics. Till Burns, no Scottish poet so completely embodied the spirit, feelings, and popular life of his country. Amongst a host of verse-makers, then deemed poets, but who were merely imitators of imitators, we must except Gray, with his nervous lyrics, and, above all, his ever-popular "Elegy in a Country Churchyard." Gray also has a genuine vein of wit and merriment in his verse. Collins was a poet who under happier conditions might have done the greatest things. Parnell's "Hermit," Blair's "Grave," Shenstone's "School Mistress," Akenside's "Imagination," can yet charm some readers, and there are others in great numbers whose works yet figure in collections of the poets, or whose individual poems are selected in anthologies, as Smith, King, Sprat Bishop of Rochester, Duke, Montague Earl of Halifax, Nicholas Rowe, Dyerauthor of the "Fleece," "Grongar Hill," and "Ruins of Rome,"Sheffield, Duke of Buckinghamshire, Fenton, Somervilleauthor of "The Chase," "Field Sports," etc.,Hammondauthor of "Love Elegies,"Lord Lyttelton, Mallet, Mickleauthor of the ballads of "Cumnor Hall," "There's Nae Luck about the House," and translator of the "Lusiad" of Camoens,Shaw, Harte, West, Cawthorne, Lloyd, Gilbert Cooper, Graingerauthor of "The Sugar Cane," and the once popular ballad of "Bryan and Pereene,"Dodsley, poet and bookseller, Boyseauthor of "The Deity," a poem, etc.,Smollettmore remarkable as a novelist and historian,Michael Bruce, Walsh, Falconerauthor of "The Shipwreck,"Yalden, Pattison, Aaron Hill, Broome, Pittthe translator of Virgil,John Philipsauthor of "Cider," a poem, "The Splendid Shilling," etc.,West, and others. In fact, this age produced poets enough to have constituted the rhythmical literature of a nation, had they had as much genius as they had learning.What seems to us the reactionary attitude of the spiritu357alist school was dictated by the circumstances of its origin. A product of the great classical revival, its cause was necessarily linked with the civilisation of ancient Greece, and of that civilisation the worship of the old gods seemed to form an integral element. One need only think of the Italian Renaissance, with its predilection for the old mythology, to understand how much stronger and more passionate this feeling must have been among those to whom Greek literature still spoke in a living language, whose eyes, wherever they turned, still rested on the monuments, unrivalled, undesecrated, unfallen, unfaded, of Greek religious art. Nor was polytheism what some have imagined it to have been at this period, merely a tradition, an association, a dream, drawing shadowy sustenance from the human works and human thoughts which it had once inspired. To Plotinus and Proclus, as formerly to Socrates and Plato and Aristotle, the luminaries of day and night blazed down from heaven as animated and immortal witnesses of its truth. It was not simply that the heavens declared the glory of God; to the pious beholder, they were visibly inhabited by glorious gods, and their constellated fires were, as Plotinus said, a scripture in which the secrets of destiny might be read. The same philosopher scornfully asks the Gnostics, who, in this respect, were indistinguishable from the Christians, whether they were so infatuated as to call the worst men their brothers, while refusing that title to the sun; and at a much later period, notwithstanding the heavy penalties attached to it, the worship of the heavenly bodies continued to be practised by the profoundest thinkers and scholars of the Neo-Platonic school.529 Moreover, polytheism, by the very weakness and unfixity of its dogmas, gave a much wider scope to independent speculation than could be permitted within the limits of the358 Catholic Church, just because Catholicism itself constituted a philosophical system in which all the great problems of existence were provided with definite and authoritative solutions.

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274"What!" ejaculated the general. He was moved altogether from his imperturbable calm.
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