RigUp

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Things To Make by Archibald Williams is part of the HackerNoon Books Series. You can jump to any chapter in this book . A DEVELOPING SINK here V. A DEVELOPING SINK. Many amateur photographers are obliged to do their developing in odd corners and under conditions which render the hobby somewhat irksome if a large number of plates have to be treated. The main difficulty is to secure an adequate water supply and to dispose of the waste water. At a small expenditure of money and energy it is easy, however, to rig up a contrivance which, if it does not afford the conveniences of a properly equipped dark room, is in advance of the jug-and-basin arrangement with which one might otherwise have to be content. A strong point in favour of the subject of this chapter is that it can be moved without any trouble if the photographer has to change his quarters. The foundation, so to speak, of the developing sink is a common wooden washstand of the kind which has a circular hole in the top to hold the basin. A secondhand article of this sort can be purchased for a shilling or two. A thoroughly sound specimen should be selected, even if it is not the cheapest offered, especial attention being paid to its general rigidity and the good condition of the boards surrounding the basin shelf. [Illustration: Fig. 11.—A home-made developing sink for the darkroom.] The area of the top is generally about 20 by 15 inches; but if a stand of larger dimensions can be found, choose it by preference. The general design of the sink and its equipment is shown in Fig. 11. For the uprights, which rest on the beading of the washstand, use two boards 9 inches wide, 1/2 inch (actual) thick, and 36 inches long. The top shelf, to carry the pail or other water container, should be of 1-inch stuff; and the two lower shelves be not more than 5 inches wide and 3/4 inch thick. Space the shelves at least 11 inches apart, so that they may accommodate tall bottles. The superstructure will gain in rigidity if the intermediate shelves are screwed to the uprights, in addition to being supported on ledges as indicated; and if the back is boarded over for at least half its height, there will be no danger of sideways collapse, when a full bucket is put in position. The top of the washstand, on which the developing will be done, must be provided with a tray of lead or zinc. Lead is preferable, as lying flatter; but the jointing at the corners is more difficult than the soldering of sheet zinc, which, though more liable to chemical corrosion, is much lighter than the thinnest lead—weighing about 1-1/2 lbs. to the square foot—that could well be used. If lead is selected, the services of a plumber had better be secured, if the reader has had no experience in “wiping a joint.” A zinc tray is prepared by cutting out of a single sheet a piece of the shape shown in Fig. 12. The dimensions between the bending lines (dotted) are 1/8 inch less in both directions than those of the shelf. The turn-ups a, a, b, b, should not be less than 1-1/2 inches wide. Allow half an inch at each end of b b for the turnover c. Turn a a up first, then b b, and finally bend c c round the back of a a, to which they are soldered. A drop of solder will be needed in each corner to make it water-tight. When turning up a side use a piece of square-cornered metal or wood as mould, and make the angles as clean as possible, especially near the joints. [Illustration: FIG. 12.—Showing how the tray for sink is marked out.] A drain hole, an inch or so in diameter, is cut in the centre of the tray. To prevent the hands being injured by the tray, the front should be covered by a 1/2-inch strip of zinc doubled lengthwise, or be made a bit deeper than 1-1/2 inches in the first instance and turned over on itself. Before the tray is put in position the basin hole must be filled in, except for an opening to take the waste pipe. The plug is pad-sawed out of wood of the same thickness as the top, to which it is attached by crossbars on the under side. The whole of the woodwork, or at least those parts which are most likely to get wetted, should then be given a coat or two of paint. A waste pipe, somewhat larger than the drain hole and 3 inches long, having been firmly soldered to the tray, beat the edges of the hole down into the pipe. Then prepare a wooden collar to fit the pipe outside, and drill a hole on the centre line to take a carpenter’s screw. If the edges of the tray are supported on slats 3/16 to 1/4 inch thick, and its centre is kept in contact with the wood by the collar pressing against the underside of the shelf, any water will naturally gravitate to the centre and escape by the waste pipe. This automatic clearance of “slops” is a very desirable feature of a developing sink. To prevent water splashing on to the sides of the stand and working down between tray and wood, tack pieces of American cloth on the sides with their edges overlapping the tray edges by an inch or so. A small two-handled bath is the most convenient receptacle for the waste water. It should hold at least a quarter as much again as the water tank, so as to avoid any danger of overfilling. A piece of old cycle tyre tubing, tied to the waste pipe and long enough to reach below the edge of the bath, will prevent splashing—which, when chemicals are being poured away, might prove disastrous to light-coloured clothes. The supply pipe has a siphon-piece of “compo” tubing at the top, to draw off the water when the tube has been filled by suction, and a small tap at the bottom. This tap, when not in use, should be held back out of the way by a wire hook attached to the lowest of the upper shelves. A piece of linoleum should be cut to fit the bath-shelf and protect the drawer below. About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Archibald Williams (2005). Things To Make. Urbana, Illinois: Project Gutenberg. Retrieved https://www.gutenberg.org/cache/epub/14664/pg14664-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at , located at . www.gutenberg.org https://www.gutenberg.org/policy/license.html

A DEVELOPING SINK

On the path of business and life, opportunities come about that can lead us in all sorts of directions. It is up to us to decide which path to take, and sometimes, you have to take risks and venture into the unknown in order to truly find the proper path for you. For example, Ashley Scorpio left an accomplished career as a political aide in Canadian Parliament to work in startups, and now she is a top executive at one. The decentralized artificial intelligence application, Effect.AI, made the decision to migrate off the NEO blockchain and move their operations to EOS instead. Investor Geoff Lewis evaluates up and coming technology companies for his job and figures out which ones will be successful and cause the most disruption for the better. Vera Kopp already had a veteran career as an actress and model, but saw the power of influencers and used her experience to start a platform that would help amplify them. Ben Braverman has been an executive at several startups that have been acquired and is now part of one of the fastest growing companies in the United States, Flexport. Learn more about all of these decision-makers in this week’s Everipedia Internet Culture Roundup! A picture of Ashley Scorpio Ashley Scorpio This past week, the Everipedia office was lucky enough to have Ashley Scorpio to come and visit. The political aide turned digital strategist spent seven years on Parliament Hill in Canada’s capital of Ottawa, working in positions for the Prime Minister, the Secretary of State for Foreign Affairs and International Trade, the Parliamentary Secretary for International Trade, and others. It was during this time that Scorpio gained experience in digital strategy, which would later transfer her skills over to the world of startups in late 2015. Currently, Scorpio is the Chief Marketing Officer at the blockchain startup Hypernet. Geoff Lewis pictured on Twitter Geoff Lewis Geoff Lewis is a seasoned investor who has seen a number of projects rise and fall. The mantra of his newest fund, Bedrock Capital, is “in search of narrative violations” which shows the contrarian nature of his investment strategy. Having previously been a partner at Peter Thiel’s Founder’s Fund, there might be a chance that he picked it up from there. Lewis has been a lead investor in a number of companies including Lyft, Wish, Tilray, Nubank, RigUp, and the Lambda School. As his venture capital career progresses, we will see how he helps lay the foundation for successful investments at Bedrock. Vera Kopp pictured on Twitter Vera Kopp From modeling to business, Kopp has grown to understand the power of influencers in today’s day and age. She is the founder of inCast, an influencer marketing platform. The Brazilian-native/Los Angeles-resident works with celebrities on marketing campaigns in both her native country and the United States and has over 20,000 influencers and 1,400 clients/brands who have utilized the platform. Kopp has become a role model for women who want to become involved in startups, so it is no surprise that she is a Board Member of Girls in Tech in Brazil. Previously, she was a model being represented by Ford Models and appeared in a number of commercials and infomercials as an actress. You would think with all of that in her track record that she would have a Wikipedia page but I guess not! Effect.AI Logo Effect.AI Effect.AI is a decentralized artificial intelligence platform that was one of the most popular dapps on NEO. I say “was” because that is no longer the case because the dapp is migrating to EOS. Citing reasons such as spam, limited throughput, and other problems, the Effect.AI team has been looking to move for some time and was also considering other blockchains such as Ethereum, Komodo, and Tezos. They ultimately settled on EOS due to its technical capabilities and community. The migration is set to happen in April and as migrations between blockchains become easier, so will the race to attract dapps to them as well. Ben Braverman pictured on Linkedin Ben Braverman Ben Braverman is an executive of one of the fastest growing companies in the United States. As the Chief Revenue Officer of Flexport, Braverman helped lead the company to generate $441 million in revenue in 2018. Braverman knows what it takes to keep growth going having previously lead URX as their Head of Growth and Heyzap as their Director of Sales to be acquired by different firms. Recently, Flexport raised $1 billion from SoftBank’s Vision Fund, valuing the company at $3.2 billion. Braverman is originally from Cincinnati and graduated with a Bachelor’s Degree in Philosophy from Vassar College.

Internet Culture Roundup #9: Making The Right Decision

By Kris Coward, Chief Scientist at Shyft Network Are decentralized systems inherently vulnerable to 51% attacks? The recent successful 51% attack against the Ethereum Classic (ETC) network showcases the limits of decentralization and flaws in the current processes of securing digital assets and hints at the ways these risks can be mitigated. The Ethereum Classic 51% attack (and what it means) The state of the market, also known as ‘crypto winter’ has had a chilling effect on the industry. In addition to bringing down the prices and eroding margins, the market affected the hash rate required to mine the more secure, POW-based tokens. Since Ethereum mining infrastructure can also be used to mine ETC, it ended up presenting a particularly attractive target for potential attackers. And so it got attacked. Since ETC exists because of the DAO hack, there’s a certain poetic irony to it being targeted. The DAO (“Decentralized Autonomous Organization”) was groundbreaking but ultimately a flawed attempt to found an entirely new model of totally decentralized governance, and it was built on Ethereum. When a hacker successfully compromised The DAO due to security flaws, the Ethereum community had a choice: roll back the chain to make investors whole again, or accept that the theft occurred and respect the sanctity of the ledger. ETC was the result of the latter camp forking off. We’ve now seen two fairly cutting-edge networks brought down at least in part by the same principle: “the more decentralized a technology is, the better and freer it is.” Ultimately, that freedom comes with an expensive set of risks that might not be worth the price of admission. The internet is a dangerous place — and everyone knows it The same principle applies to conventional proof-of-work based cryptocurrency; ETC is no exception. There’s no requirement to raise 51% hash power to successfully perform a “51% attack”. Related attacks have been demonstrated using as little as 25% of a POW network’s collective hash power to successfully subvert enough blocks to confirm invalid blocks (note that while these attacks are technically feasible, they’re generally not considered economically viable). The relatively recent advent of rentable computing power via services like NiceHash makes 51% attacks even easier — no more need to rig up an expensive fraud engine at home or the office. any There’s a perfect storm effect at work here: more and more users who either don’t know how to secure their data online or don’t have faith in the tools at their disposal; malicious actors online with increasingly sophisticated and inexpensive means to subvert even sophisticated networks, and an increasingly networked world in which more and more services are coming online. Information security is a serious concern For both the crypto world and the broader online ecosystem, current solutions are simply not good enough. The security apparatuses and conventions are not keeping pace. The importance of data security and privacy means we need to think beyond “decentralized everything” and come up with solutions flexible enough to solve for many diverse use cases. Just recently, the World Economic Forum released research that the percentage of users who take active measures to protect themselves online is dismal, even while the vast majority acknowledge that information security is a serious concern. showing It’s clear that people need better tools to protect and manage their data. We’ve seen more major data breaches, including the compromise of personal data for essentially the . Last March, a breach in India’s ID database exposed biometric information on over . Another had their personal information made available to hackers thanks to lax security infrastructure at Marriott hotels. That’s just three major incidents. New major headlines keep coming with distressing regularity. entire German political class 1.1 billion citizens half a billion Some centralization required A more comprehensive solution for both crypto users and average internet users has to be some sort of compromise point between centralization and decentralization. In a blockchain context, this means networks that have element of authority — whether it’s singular or federated — to be able to, for example, efficiently roll back blocks affected by an attack, or at least to increase the block confirmation threshold. some For example, through an attestation flow that leverages trusted entities, a blockchain network would allow users to to their token ownership without exposing their specific identity to the blockchain and introducing further risk. In case of theft or loss of access to private keys, users could then issue a “stop” order to the network to ensure that no funds can be moved until they’re sure the coast is clear. attest Relying on existing roadmaps and Improvement Protocols alone won’t suffice. We need to ensure that cryptography and technology that is built to leverage it, like blockchain, can work for everyone. Usability matters: How cryptography can be made accessible for everyone For blockchain technology to deliver on its potential, it should be able to reproduce some of the basic usability elements and conveniences people have come to expect from technology, while still leveraging the advantages offered by cryptographic keypair architecture and distributed systems. In other words, lost keys shouldn’t lead to panic and forever-lost funds; attestations on the network should have revocability elements, and there’s a need for a more centralized middle layer to manage keys and attestations. In other words, we can’t expect users to be their own banks, and perhaps not everything needs to be decentralized all of the time. Security mechanisms and systems that make it easy for regular people to manage and protect their data could be the key to mass adoption. ======================================== Kris Coward is the Chief Scientist of Shyft Network. His journey began in the 90s as a teenage hacker, followed by extensive experience in academia and the corporate world. At Shyft, he combines his technical skills with a keen interest in cryptography, security, and privacy. Learn more at Shyft.Network or talk to us on Telegram .

Time for new security models in crypto

Hateful Meme Detection: Leveraging PVLMs for Zero-shot VQA Probing

A Roadmap for User Empowerment in the Dark Pattern Landscape

I am not in the habit of seeing the Household Words regularly; but a friend

THE DAWN OF A GALA DAY.

Sylvie and Bruno by Lewis Carroll, is part of the HackerNoon Books Series. You can jump to any chapter in this book . THE THREE BADGERS here CHAPTER XVII. THE THREE BADGERS Still more dreamily I found myself following this imperious voice into a room where the Earl, his daughter, and Arthur, were seated. “So you're come at last!” said Lady Muriel, in a tone of playful reproach. “I was delayed,” I stammered. Though what it was that had delayed me I should have been puzzled to explain! Luckily no questions were asked. The carriage was ordered round, the hamper, containing our contribution to the Picnic, was duly stowed away, and we set forth. There was no need for me to maintain the conversation. Lady Muriel and Arthur were evidently on those most delightful of terms, where one has no need to check thought after thought, as it rises to the lips, with the fear 'this will not be appreciated—this will give' offence—this will sound too serious—this will sound flippant': like very old friends, in fullest sympathy, their talk rippled on. “Why shouldn't we desert the Picnic and go in some other direction?” she suddenly suggested. “A party of four is surely self-sufficing? And as for food, our hamper—” “Why shouldn't we? What a genuine lady's argument!” laughed Arthur. “A lady never knows on which side the onus probandi—the burden of proving—lies!” “Do men always know?” she asked with a pretty assumption of meek docility. “With one exception—the only one I can think of Dr. Watts, who has asked the senseless question, 'Why should I deprive my neighbour
    Of his goods against his will?' Fancy that as an argument for Honesty! His position seems to be 'I'm only honest because I see no reason to steal.' And the thief's answer is of course complete and crushing. 'I deprive my neighbour of his goods because I want them myself. And I do it against his will because there's no chance of getting him to consent to it!'” “I can give you one other exception,” I said: “an argument I heard only to-day—-and not by a lady. 'Why shouldn't I walk on my own forehead?'” “What a curious subject for speculation!” said Lady Muriel, turning to me, with eyes brimming over with laughter. “May we know who propounded the question? And did he walk on his own forehead?” “I ca'n't remember who it was that said it!” I faltered. “Nor where I heard it!” “Whoever it was, I hope we shall meet him at the Picnic!” said Lady Muriel. “It's a far more interesting question than 'Isn't this a picturesque ruin?' Aren't those autumn-tints lovely?' I shall have to answer those two questions ten times, at least, this afternoon!” “That's one of the miseries of Society!” said Arthur. “Why ca'n't people let one enjoy the beauties of Nature without having to say so every minute? Why should Life be one long Catechism?” “It's just as bad at a picture-gallery,” the Earl remarked. “I went to the R.A. last May, with a conceited young artist: and he did torment me! I wouldn't have minded his criticizing the pictures himself: but I had to agree with him—or else to argue the point, which would have been worse!” “It was depreciatory criticism, of course?” said Arthur. “I don't see the 'of course' at all.” “Why, did you ever know a conceited man dare to praise a picture? The one thing he dreads (next to not being noticed) is to be proved fallible! If you once praise a picture, your character for infallibility hangs by a thread. Suppose it's a figure-picture, and you venture to say 'draws well.' Somebody measures it, and finds one of the proportions an eighth of an inch wrong. You are disposed of as a critic! 'Did you say he draws well?' your friends enquire sarcastically, while you hang your head and blush. No. The only safe course, if any one says 'draws well,' is to shrug your shoulders. 'Draws well?' you repeat thoughtfully. 'Draws well? Humph!' That's the way to become a great critic!” Thus airily chatting, after a pleasant drive through a few miles of beautiful scenery, we reached the rendezvous—a ruined castle—where the rest of the picnic-party were already assembled. We spent an hour or two in sauntering about the ruins: gathering at last, by common consent, into a few random groups, seated on the side of a mound, which commanded a good view of the old castle and its surroundings. The momentary silence, that ensued, was promptly taken possession of or, more correctly, taken into custody—by a Voice; a voice so smooth, so monotonous, so sonorous, that one felt, with a shudder, that any other conversation was precluded, and that, unless some desperate remedy were adopted, we were fated to listen to a Lecture, of which no man could foresee the end! The speaker was a broadly-built man, whose large, flat, pale face was bounded on the North by a fringe of hair, on the East and West by a fringe of whisker, and on the South by a fringe of beard—the whole constituting a uniform halo of stubbly whitey-brown bristles. His features were so entirely destitute of expression that I could not help saying to myself—helplessly, as if in the clutches of a night-mare—“they are only penciled in: no final touches as yet!” And he had a way of ending every sentence with a sudden smile, which spread like a ripple over that vast blank surface, and was gone in a moment, leaving behind it such absolute solemnity that I felt impelled to murmur “it was not he: it was somebody else that smiled!” “Do you observe?” (such was the phrase with which the wretch began each sentence) “Do you observe the way in which that broken arch, at the very top of the ruin, stands out against the clear sky? It is placed exactly right: and there is exactly enough of it. A little more, or a little less, and all would be utterly spoiled!” {Image...A lecture, on art} “Oh gifted architect!” murmured Arthur, inaudibly to all but Lady Muriel and myself. “Foreseeing the exact effect his work would have, when in ruins, centuries after his death!” “And do you observe, where those trees slope down the hill,” (indicating them with a sweep of the hand, and with all the patronising air of the man who has himself arranged the landscape), “how the mists rising from the river fill up exactly those intervals where we need indistinctness, for artistic effect? Here, in the foreground, a few clear touches are not amiss: but a back-ground without mist, you know! It is simply barbarous! Yes, we need indistinctness!” The orator looked so pointedly at me as he uttered these words, that I felt bound to reply, by murmuring something to the effect that I hardly felt the need myself—and that I enjoyed looking at a thing, better, when I could see it. “Quite so!” the great man sharply took me up. “From your point of view, that is correctly put. But for anyone who has a soul for Art, such a view is preposterous. Nature is one thing. Art is another. Nature shows us the world as it is. But Art—as a Latin author tells us—Art, you know the words have escaped my memory—” “Ars est celare Naturam,” Arthur interposed with a delightful promptitude. “Quite so!” the orator replied with an air of relief. “I thank you! Ars est celare Naturam but that isn't it.” And, for a few peaceful moments, the orator brooded, frowningly, over the quotation. The welcome opportunity was seized, and another voice struck into the silence. “What a lovely old ruin it is!” cried a young lady in spectacles, the very embodiment of the March of Mind, looking at Lady Muriel, as the proper recipient of all really original remarks. “And don't you admire those autumn-tints on the trees? I do, intensely!” Lady Muriel shot a meaning glance at me; but replied with admirable gravity. “Oh yes indeed, indeed! So true!” “And isn't strange,” said the young lady, passing with startling suddenness from Sentiment to Science, “that the mere impact of certain coloured rays upon the Retina should give us such exquisite pleasure?” “You have studied Physiology, then?” a certain young Doctor courteously enquired. “Oh, yes! Isn't it a sweet Science?” Arthur slightly smiled. “It seems a paradox, does it not,” he went on, “that the image formed on the Retina should be inverted?” “It is puzzling,” she candidly admitted. “Why is it we do not see things upside-down?” “You have never heard the Theory, then, that the Brain also is inverted?” “No indeed! What a beautiful fact! But how is it proved?” “Thus,” replied Arthur, with all the gravity of ten Professors rolled into one. “What we call the vertex of the Brain is really its base: and what we call its base is really its vertex: it is simply a question of nomenclature.” This last polysyllable settled the matter. “How truly delightful!” the fair Scientist exclaimed with enthusiasm. “I shall ask our Physiological Lecturer why he never gave us that exquisite Theory!” “I'd give something to be present when the question is asked!” Arthur whispered to me, as, at a signal from Lady Muriel, we moved on to where the hampers had been collected, and devoted ourselves to the more substantial business of the day. We 'waited' on ourselves, as the modern barbarism (combining two good things in such a way as to secure the discomforts of both and the advantages of neither) of having a picnic with servants to wait upon you, had not yet reached this out-of-the-way region—and of course the gentlemen did not even take their places until the ladies had been duly provided with all imaginable creature-comforts. Then I supplied myself with a plate of something solid and a glass of something fluid, and found a place next to Lady Muriel. It had been left vacant—apparently for Arthur, as a distinguished stranger: but he had turned shy, and had placed himself next to the young lady in spectacles, whose high rasping voice had already cast loose upon Society such ominous phrases as “Man is a bundle of Qualities!”, “the Objective is only attainable through the Subjective!”. Arthur was bearing it bravely: but several faces wore a look of alarm, and I thought it high time to start some less metaphysical topic. “In my nursery days,” I began, “when the weather didn't suit for an out-of-doors picnic, we were allowed to have a peculiar kind, that we enjoyed hugely. The table cloth was laid under the table, instead of upon it: we sat round it on the floor: and I believe we really enjoyed that extremely uncomfortable kind of dinner more than we ever did the orthodox arrangement!” “I've no doubt of it,” Lady Muriel replied. “There's nothing a well-regulated child hates so much as regularity. I believe a really healthy boy would thoroughly enjoy Greek Grammar—if only he might stand on his head to learn it! And your carpet-dinner certainly spared you one feature of a picnic, which is to me its chief drawback.” “The chance of a shower?” I suggested. “No, the chance—or rather the certainty of live things occurring in combination with one's food! Spiders are my bugbear. Now my father has no sympathy with that sentiment—have you, dear?” For the Earl had caught the word and turned to listen. “To each his sufferings, all are men,” he replied in the sweet sad tones that seemed natural to him: “each has his pet aversion.” “But you'll never guess his!” Lady Muriel said, with that delicate silvery laugh that was music to my ears. I declined to attempt the impossible. “He doesn't like snakes!” she said, in a stage whisper. “Now, isn't that an unreasonable aversion? Fancy not liking such a dear, coaxingly, clingingly affectionate creature as a snake!” “Not like snakes!” I exclaimed. “Is such a thing possible?” “No, he doesn't like them,” she repeated with a pretty mock-gravity. “He's not afraid of them, you know. But he doesn't like them. He says they're too waggly!” I was more startled than I liked to show. There was something so uncanny in this echo of the very words I had so lately heard from that little forest-sprite, that it was only by a great effort I succeeded in saying, carelessly, “Let us banish so unpleasant a topic. Won't you sing us something, Lady Muriel? I know you do sing without music.” “The only songs I know—without music—are desperately sentimental, I'm afraid! Are your tears all ready?” “Quite ready! Quite ready!” came from all sides, and Lady Muriel—not being one of those lady-singers who think it de rigueur to decline to sing till they have been petitioned three or four times, and have pleaded failure of memory, loss of voice, and other conclusive reasons for silence—began at once:— {Image...'Three badgers on a mossy stone'} “There be three Badgers on a mossy stone,
     Beside a dark and covered way:
     Each dreams himself a monarch on his throne,
     And so they stay and stay
     Though their old Father languishes alone,
     They stay, and stay, and stay.

     “There be three Herrings loitering around,
     Longing to share that mossy seat:
     Each Herring tries to sing what she has found
     That makes Life seem so sweet.
     Thus, with a grating and uncertain sound,
     They bleat, and bleat, and bleat,

     “The Mother-Herring, on the salt sea-wave,
     Sought vainly for her absent ones:
     The Father-Badger, writhing in a cave,
     Shrieked out 'Return, my sons!
     You shalt have buns,' he shrieked, 'if you'll behave!
     Yea, buns, and buns, and buns!'

     “'I fear,' said she, 'your sons have gone astray?
     My daughters left me while I slept.'
     'Yes 'm,' the Badger said: 'it's as you say.'
     'They should be better kept.'
     Thus the poor parents talked the time away,
     And wept, and wept, and wept.” Here Bruno broke off suddenly. “The Herrings' Song wants anuvver tune, Sylvie,” he said. “And I ca'n't sing it not wizout oo plays it for me!” {Image...'Three badgers, writhing in a cave'} Instantly Sylvie seated herself upon a tiny mushroom, that happened to grow in front of a daisy, as if it were the most ordinary musical instrument in the world, and played on the petals as if they were the notes of an organ. And such delicious tiny music it was! Such teeny-tiny music! Bruno held his head on one side, and listened very gravely for a few moments until he had caught the melody. Then the sweet childish voice rang out once more:— “Oh, dear beyond our dearest dreams,
     Fairer than all that fairest seems!
     To feast the rosy hours away,
     To revel in a roundelay!
     How blest would be
     A life so free—-
     Ipwergis-Pudding to consume,
     And drink the subtle Azzigoom!

     “And if in other days and hours,
     Mid other fluffs and other flowers,
     The choice were given me how to dine—-
     'Name what thou wilt: it shalt be thine!'
     Oh, then I see
     The life for me
     Ipwergis-Pudding to consume,
     And drink the subtle Azzigoom!” “Oo may leave off playing now, Sylvie. I can do the uvver tune much better wizout a compliment.” “He means 'without accompaniment,'” Sylvie whispered, smiling at my puzzled look: and she pretended to shut up the stops of the organ. “The Badgers did not care to talk to Fish:
    They did not dote on Herrings' songs:
    They never had experienced the dish
    To which that name belongs:
    And oh, to pinch their tails,' (this was their wish,)
    'With tongs, yea, tongs, and tongs!'” I ought to mention that he marked the parenthesis, in the air, with his finger. It seemed to me a very good plan. You know there's no sound to represent it—any more than there is for a question. Suppose you have said to your friend “You are better to-day,” and that you want him to understand that you are asking him a question, what can be simpler than just to make a “?”. in the air with your finger? He would understand you in a moment! {Image...'Those aged one waxed gay'} “'And are not these the Fish,' the Eldest sighed,
     'Whose Mother dwells beneath the foam'
     'They are the Fish!' the Second one replied.
     'And they have left their home!'
     'Oh wicked Fish,' the Youngest Badger cried,
     'To roam, yea, roam, and roam!'
     “Gently the Badgers trotted to the shore
     The sandy shore that fringed the bay:
     Each in his mouth a living Herring bore—
     Those aged ones waxed gay:
     Clear rang their voices through the ocean's roar,
     'Hooray, hooray, hooray!'” “So they all got safe home again,” Bruno said, after waiting a minute to see if I had anything to say: he evidently felt that some remark ought to be made. And I couldn't help wishing there were some such rule in Society, at the conclusion of a song—that the singer herself should say the right thing, and not leave it to the audience. Suppose a young lady has just been warbling ('with a grating and uncertain sound') Shelley's exquisite lyric 'I arise from dreams of thee': how much nicer it would be, instead of your having to say “Oh, thank you, thank you!” for the young lady herself to remark, as she draws on her gloves, while the impassioned words 'Oh, press it to thine own, or it will break at last!' are still ringing in your ears, “—but she wouldn't do it, you know. So it did break at last.” “And I knew it would!” she added quietly, as I started at the sudden crash of broken glass. “You've been holding it sideways for the last minute, and letting all the champagne run out! Were you asleep, I wonder? I'm so sorry my singing has such a narcotic effect!” About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Lewis Carroll (1996). Sylvie and Bruno. Urbana, Illinois: Project Gutenberg. Retrieved October 2022 https://www.gutenberg.org/cache/epub/620/pg620-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at , located at . www.gutenberg.org https://www.gutenberg.org/policy/license.html

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