| soully when 'tis thime took o'er home, gin. We cannot say aye | 1 |
| to aye. We cannot smile noes from noes. Still. One cannot help | 2 |
| noticing that rather more than half of the lines run north-south | 3 |
| in the Nemzes and Bukarahast directions while the others go | 4 |
| west-east in search from Maliziies with Bulgarad for, tiny tot | 5 |
| though it looks when schtschupnistling alongside other incuna- | 6 |
| bula,it has its cardinal points for all that. These ruled barriers | 7 |
| along which the traced words, run, march, halt, walk, stumble | 8 |
| at doubtful points, stumble up again in comparative safety seem | 9 |
| to have been drawn first of all in a pretty checker with lamp- | 10 |
| black and blackthorn. Such crossing is antechristian of course, | 11 |
| but the use of the homeborn shillelagh as an aid to calligraphy | 12 |
| shows a distinct advance from savagery to barbarism. It is | 13 |
| seriously believed by some that the intention may have been | 14 |
| geodetic, or, in the view of the cannier, domestic economical. | 15 |
| But by writing thithaways end to end and turning, turning and | 16 |
| end to end hithaways writing and with lines of litters slittering | 17 |
| up and louds of latters slettering down, the old semetomyplace | 18 |
| and jupetbackagain from tham Let Rise till Hum Lit. Sleep, | 19 |
| where in the waste is the wisdom? | 20 |
| Another point, in addition to the original sand, pounce pow- | 21 |
| der, drunkard paper or soft rag used (any vet or inhanger in | 22 |
| ous sot's social can see the seen for seemself, a wee ftofty od | 23 |
| room, the cheery spluttered on the one karrig, a darka disheen | 24 |
| of voos from Dalbania, any gotsquantity of racky, a portogal | 25 |
| and some buk setting out on the sofer, you remember the | 26 |
| sort of softball sucker motru used to tell us when we were all | 27 |
| biribiyas or nippies and messas) it has acquired accretions of | 28 |
| terricious matter whilst loitering in the past. The teatimestained | 29 |
| terminal (say not the tag, mummer, or our show's a failure!) is a | 30 |
| cosy little brown study all to oneself and, whether it be thumb- | 31 |
| print, mademark or just a poor trait of the artless, its importance | 32 |
| in establishing the identities in the writer complexus (for if the | 33 |
| hand was one, the minds of active and agitated were more than | 34 |
| so) will be best appreciated by never forgetting that both before | 35 |
| and after the battle of the Boyne it was a habit not to sign letters | 36 |