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Volume LVIL F^outhern'eis^obde^ 1 ''^*^^^1919* [consolidated 18-2. Milledgeville, Ga., July 13, 1886.
Number 1.
ADDRESS
Before the Literary Societies
—OF THE—
M. G. M. & A. COLLEGE,
AT MILLEDGEVILLE, GA., BY
WM. H. FLEMING, Esq.
)
Middle Georgia Military and
Agricultural College,
Milledgeville, Ga., July 6th, 1886.)
Mr. Wm. H. Fleming:
Sir:—Appreciating very highly the
chaste and thoughtful address you de
livered before our Societies last even
ing, we earnestly ask a copy of it for
publication. With much respect,
(Chas. Minor, Phi Sigma Soc.
[lorn. J. T. Minor, Alpha Zeta ^
(Aurie Brantley, Ennoian
Oconee House, >
Milledgeville, Ga., July 6th, 1880.>
Miss Aurie Brantley, Mr. Charles
Minor, Mr. J. T. Minor, Presi
dents Literary Societies:.
Your note of this morning request
ing a copy of my address for publica
tion, has been received. I.thank you
for your words of commendation, and
will gladly comply with your request.
I have the honor to remain yours
sincerely, TT „
Wm. H. Fleming.
wen mg.
mtu some
served to
resolution
A D D R E S S.
jAdies and Gentlemen:
1 am sorely temflted this
3 break a resolution for:
ears ago and faithfully ob
he present time. That
^as never to begin an address by
raking excuses to the audience for
he imperfections of what I might
Lave to say. Such a course always
eemed to me, in the rashness of
r outli, to be in bad taste, or at least
n questionable taste, and it certain-
y did not accord with my views of
ourage and self-reliance.
In that connection, I often think of
he heroic conduct of a lady friend of
uine whose husband, with a heart
ull of love to his fellow-men, but
vith a bead singularly regardless of the
•equirements and details of domestic
Ltfairs, invited a dozen of liis brother
awyers to dine with him one day
vithout giving his charming wife a
moment's notice of his hospitable in-
entions. That woman, that noble
voman, that! saintly woman, uttered
10 crv of despair, and gave expression
;o no feeling of complaint. With a
,firming grace, she invited the twelve
xiencls to partake of the /somewhat
;canty meal prepared for only herself
md lier thoughtless lord. It was a
:ase of long division and short pro-
jortion. Iso one at»that table, on
hat occasion suffered from the effects
)f over-eating. The dishes, one after
mother were exhausted, but still no
vord of apology or excuse escaped
;he lips of the martyr hostess. On
die contrary, her manners were as
jdembarrassed and as queenly as
:hough she were dispensing the favors
M a roval banquet. Finally ms her
quests were about to depart, she said
in a most significant torle: “Gentle
men, you dined to-day with Mr. Jones.
You must all return* to-morrow, and
line with Mrs. Jones.” They did so,
?md to their intense delight found
what a difference there is between
dining with a man, and'dining with
bis wife.
I have a high regard for Alexander
and Hannibal, and Ctesar, and Napo
leon. and Washington, and Welling
ton and others of their kind, but la
dies and gentlemen, I admire, nay
more. I am ready to bow r dow n and
worship that woman, ^lie was great
er than them all.
Now, I ain grievously tempted to
ask vou to indulgently consider that
since I was informed* that I was to
have the high honor of entertaining
you at a literary feast this evening, I
have been imrnersed, I might truth
fully say submerged, in business af
fairs of a peculiarly absorbing nature.
But inspired by the example of that
heroic woman, I beg you to under
stand that I make no apology and
offer no excuse for either the quanti
ty or the quality of what I shall place
before you. And if you leave this hall
anhungered and athirst, I shall have
to take the liberty of asking you to
come at some other time and “dine
with Mrs. Jones,”—not that I am a
married man. Alas! no. Far from it.
To change the figure of speech, 1
invite vou, this evening, to turn aside
from the dusty highway Qf our ordi
nary discussions about public ques
tions, and education, and ambition,
and the present, past and future,
and woman, and girls, and love,
and such other like common-place
themes, and to wander leisurely
with me along a pleasant by-path
that winds through green pastures
and beside still waters. We cannot
but be refreshed by the sweet, pure
air around us and enchanted by the
varied scenes of beauty and grandeur
spread out before us in such blended
harmony that “the harp of Orpheus
was not more charming.”
I ask your attention to an analysis
and discussion of the character of Iago
as portrayed by Shakespeare in the
play of Othello.
I may assume, of course, that the
audience is familiar wfitli the general
features of the drama, and if aught
that I may say, by way of criticism,
shall induce any student of this noble
institution or any member of this cul
tured audience to apply himself more
dilligently to master the contents of
tii&t greatest of all books, except tiie
Bible, I shall f^el that my effort has
not been in vain.
IAGO.
Dramatic writing differs radically
from narrative, descriptive and dis-
coursive writing. The historian tells
us what w'as done and how it was
done. The essayist and philosopher
analyze the doings of men, and theo
rize and moralize about them. But
the dramatist puts the .actors them
selves before us in their own proper
persons, and produces his effects at
first hand from nature; These actors
look at us, and vj-e see them with our
eyes. They spet|k to us, and we hear
them with *our ears. There is no in
tervening medium to dull and darken
the life-like reality of the ideal crea
tion. The critic tells us about love, its
first manifestations, its curious growth,
its Mraifge inconsistencies, its sweet
tendernesses, its tantalizing refusals,
its chaste concessions, and its heroic
fidelity. The dramatist shows us Ro
meo and Juliet. The one gives us a
dlfcriptiori of a picture. The other
gives us the picture itself.
To create a definite character in the
mind ; to make that character at all
times and under all circumstances
speak and act in harmony with itself;
to. giye appropriate expression to
every passion, whether swelling or
subsiding,' whether taking entire pos
session of the breast and sweeping all
obstacles before it or dividing its sway
with some rival and conflicting pas
sion, as love and jealousy; to touch
among the thousand chords of the
heart just that particular chord which
gives forth the note that Vibrates true
to nature ; to do all this requires not
only a creative imagination, a keen
perception and an unlimited power of
expression, but a sensibility so varied
and delicate as to enable the author
to feel in his own breast the passions
he attempts to portray. None but the
highest genius is equal to such a task.
For genius is intellect warmed and
inspired by the sensibilities.
Shakespeare could, no doubt, have
written essays, reviews, critiques, etc.,
but in no realm could liis genius have
shone so brilliantly as in the drama
with its severe requirements. So
that we are indebted to the stage for
Shakespeare as we have him. Let us
not be unmindful of that fact when
tempted to place an unqualified con
demnation on the stage. The *vhole
world of letters, religious as well as
secular, ’draws power and inspiration
from the works of this master mind.
If the modern stage could only give
us a Shakespeare to interpret and
crystalize the best thought and senti
ment of our civilization, how readily
we could pardon much of the evil it
has done!
In no play perhaps has Shakespeare
shown his wonderful power of charac
terization more strikingly than in the
play of Othello. Certain it is, that in
creating Iago, he performed the diffi
cult task of drawing the fnost consum
mate villain in all literature. In com
pleteness Qf detail and perfection, of
finish he outranks Richard III. There
has been a great deal said and writ
ten about Iago, but let us free our
minds from every preconceived opin
ion of this villain, and examine him
critically for ourselves just as Shakes
peare represents him. We w ill thus
be assured that while the subject is
old, our conclusions will have to some
extent the merit of freshness and orig
inality.
Lord Bacon, in his famous essay on
Truth, says that men lie “from a nat
ural though corrupt love of the lie
itself.” Lord Bacon is high authority,
but this observation strikes wide of
the mark. This is the rationale of the
process: the mind receives its first
impressions through the senses of see
ing, hearing, tasting, touching and
smelling. The reports made by the
senses from the outer world to jthe
inner mind are truthful, except when
the senses which are the media of
transmission are diseased. Speech is
one form of giving expression to the
effects produced by these reports, and
is, in its inception, naturally truthful.
Rather should Lord Bacon have said
that men lie with a purpose to deceive.
A lie is not so much an end as it is a
means to accomplish an end. For ex
ample, statements made to us by oth
ers are often the premises from which
we draw'our conclusions and by which
we shape our actions. If the premises
are false, the conclusions are likewise
false, and the actions consequent
thereon are necessarily misdirected.
By habitual practice, lying may be
come and often does become a sort of
second nature, but depend upon it,
lying is an acquired accomplishment,
and the original object of lying is de
ception. . .
Shakespeare was too good a judge
of human nature to represent liis
arch-liar as acting without motive
other than that implied in this Bacon
ian theory of the “corrupt love of the.
lie itself.” Iago speaks the truth ex
cept when a lie answers his purpose
better. He was too shrewd to do
otherwise. An indiscriminate liar is
no artist—he is a fool. If he seldom
speaks the truth, no one will believe
him, and he is w ithout foundation to
build on. He must so act in general
as to inspire confidence in order that
when the particular critical moment
arrives his lies may be accepted as
truths. fi ne skillful hypocrite will ap
pear open, frank, seemingly a little
blunt and entirely candid. If to
these traits he can add a gracious fa
miliarity and a sympathetic interest
in the affairs of his victims, he may
justly claim to be cm artist in his pro
fession. Such was “honest' 5 Iago.
He lias popular manners, pretends
the warmest interest in Roderigo, is
the trusted bosom friend of Othello,
volunteers kindly aid to Cassio; jests
with Desdemona in the hey-day of
her happiness, replying when she
archly asks his opinion of her,
“O gentle lady, do not put me to it,
For I am nothing, if not critical. *
And Avhen, her ypung heart wrung
by its first great sorrow at the cruel
charges of Othello taken from Iago's
own lips, Desdemona with the sweet
est and purest innocence asks
“Am I that name, Iago?”
this patronizing hypocrite says sooth
ingly,
“Do not weep! Do not weep! Alas, the
day”’
In fact, Iago has something pleas
ant to say to every one except Emilia,
liis wife. It w’as hardly possible for
him to*play successfully a double role
with her. The fact is she saw top
much of him. The man who wears a
wig usually takes it off at night.
His wife, if not blinded by love ought
to see a man, just as he is. And Emilia
does not appear to have lavished an
unusual degree of alfection on Iago,
though even slie did not know the
full extent of his villainy until his di
abolical schemes hail wrought out
their ruin.
By nature Iago was intense in his
dislikes, but cold, self-poised, intellec
tual, calculating, intriguing, greedy,
ambitious, supremely selfish, and
above all utterly unscrupulous.
These elements of his character were
carefully concealed under an exterior
of pleasant popular manners, an ap
parent loyalty to friends, and an un
selfish interest in all their affairs.
What an excellent politician he would
have made! Had he lived in the
present day, he would assuredly have
been conspicuous in what is known
as the “Commercial School” of States
men. His first injunction to Roderigo
was “Put money in *tliy purse.”
Nine times he repeats the sage advice,
“Put money in thy purse.” He had
an eye to business.
Had Iago exhibited himself in his real
character, or even as he is sometimes
represented on the stage, he could
not possibly have duped every one
with whom he came in contact. His
was the refinement of all hypocrisy.
Without one pang of conscience, he
coolly invents and assiduously instills
into the mind of Othello the* foulest
slander against “thesweetest innocent
that ere did lift up eye.*’ But observe
how exquisitely he moralizes in the
very next breath:
“Good name in man or woman, dear my loid,
Is the.immediate jewel of their souls:
Who steals my purse, steals trash; ‘ti- some
thin?, nothin?;
•Rwas mine, 7 ti> his, and has been slave to thou
sands :
Hut lie that filches from me mj good name,
Robs me of that which not enriches him,
And muhes me poor indeed."
It is true Iago does draw aside his
cloak of hypocrisy, and give Roderigo
a glance at his real self when he says :
‘ For when my outward action doth demonstrate
The native act and figure of my heart f
In compliment extern, *tis net long after
But I will wear my heart upon my sleeve
For daws to peck at; I am not what I am. 7 ’
But this was not a blunder for Iago
knew his man. He made no such, dis
closure to Cassio or Othello. Roderi
go was a harmless fellow. He did not
have much sense; for as appears from
the play, he was one of those
“wealthy, curled darlings of the na
tion,” alias dudes, whom Desdemona
had wisely rejected. Shakespeare
does not misread human nature
when he represents this true, genuine
woman, this lovely, tender flower of a
girl as instinctively turning away with
ill-concealed contempt from that femi
nine form of the masculine gender, and
bestowing the unstinted love of her
heart upon one whose every act and
word bore the stamp of a virile man
hood, even though his complexion
was darkened by the shadowed livery
of the burnished sun. The motives
which influenced Iago's actions were
several in number and different in
kind.
First, there was his jealousy of Cas
sio who had been promoted over
him (a slight that always keenly
wounds the pride of a soldier) to the
rank second in command under Othel
lo—a position of honor and power
in the state dearly coveted by Iago
and for which, he tells us, “three great
ones of the city” made personal suit to
Othelio in his behalf. He at once re
solves to displace his successful com
petitor. How shall he proceed? Op
portunity is not long wanting to the
unscrupulous. The vessel had just ar
rived at port. Cassio is there to wel
come Desdemona. Iago is also pres
ent. Take care Cassio, ardent, rash
young man, how you hold and press
the hand of the fair Desdemona! A
pair of cruel eyes are fixed on you
now, and a voice as merciless and cold
as the echo from an iceburg, whispers,
“w ith as little a web as that will I en
snare as great a fly as Cassio.” J
But before the spider envelops the
fly in this little web of love’s impru
dent display, occasion furnishes an
other means of ensnaring him. Iago
persuades Roderigo that Desdemona
must soon tire of the Moor (“for” says
he, “what delight shall she have to
look on the devil?”) but informs him
that Cassio stands next in her affec
tions. Iago is full of resources, and
it is not long before he makes oppor
tunity to put Roderigo at work on liis
new found rival. He goes to the hall
of the castle where the soldiers are
preparing for the night-watch, and
equal to every emergency, he joins
with all his soul in their convivialities.
He sings, for his friends, drinks with
liis friends, makes his friends drunk,
but never gets drunk himself. How
sad, and yet how true it is, that the
chivalrous, the magnanimous, thesoci-
ableand the lovable are so often the eas
iest victims of the wine-cup!—made 60
in part by their very virtues in the
absence of the necessary strength of
character to hold their impulses in
check. Iago haa no such virtues to
put him iu peril. The truth is he
was too mean and selfish to get drunk,
“is it true. O God in Heaven.
That the strongest suffer most,
That the noblest wander farthest
And most hopelessly are lost;
That the highest type of nature
Is capacity for pain.
That the sadness of the singer
Makes the sweetness of the strain
When the generous open-hearted Cas
sio, “w’ho hath,'’ as Iago admits, ”a
daily beauty in his life that makes me
ugly,” was stung with remorse, upon
recovering from the drunken spree
into which he had been so unwilling
ly but craftily led, and exclaimed in
his anguish, “O, thou invisible spirit
of wine, if thou hast no name to be
known by, let us call thee devil!” Iago
inw’ardly rejoiced that he had com
passed his ruin by Having him remov
ed from the coveted post of honor,
and adroitly turns the subject of con
versation. Cassio is dismissed in dis
grace. One point is gained.
Another motive which influenced
Iago, or rather one which he tried to
persuade himself existed, was his own
weakness for Desdemona. He knew
that Cassio loved her, and that Othel
lo loved her, and in soliloquizing, he
says, “Now I do love her too.” But
in justice to himself, he immediately
qualifies this speech ; for hypocrite as
he is, he cannot practice such decep
tion on himself, and to pretend it to
Desdemona was not a part of his
scheme. If it had been, undoubtedly
he would have essayed the role of
lover, and played it to perfection.
Iago's love! The idea! The devil
would laugh at such an incongruity.
A man of his make-up is no more ca
pable of the divine passion of love
with its absorbing worship of another
and its noble forgetfulness of self than
the frozen regions of the arctic zone
are capable of giving out the warmth
and sunshine of a tropical isle.
When the weak-minded Roderigo,
in a fit of mawkish sentimentality,
forgets his manhood and talks of
drowning himself from disappointed
love, Iago exclaims. "Drown thyself?
Drown cats and blind puppies!” “Ere
I would drown myself for the love of
a guinea-hen, I would change my hu
manity with a baboon." There is
good advice in these words, advice
wkicfl no strong character needs.
But the manner of administering the
dose shows that the medicine is pre- j
scribed by a doctor who never suffer
ed from the disease. “He jests at
scars who never felt a wound.” Iago
is utterly devoid of any genuine chiv-
alric regard for women. This is his
opinion of them:
“You are pictures out of doors.
Bells iu your parlors, wild cats in your kitchens,
Saints in your injuries, devils being offended. 7 '
picion with which he intends to abuse
the ear of Othello. The innocent Des
demona had never harmed Iago, but
by sacrificing her good name, he can
advance his own interests, and he
never scruples about the means he
employs. The extremities to which
he will go are limited only by his ne
cessities. Would that the world had
less of his kind to-day!
One of the finest scenes in the play,
one which could have been conceived
and executed only by genius, is that
in which Iago first insinuates his foul
suspicion in the mind of Othello.
Desdemona and. Cassio are engaged
in a very innocent conversation, and
as Othello and Iago approach. Cassio
departs. Iago cunningly feigning to
have seen or heard something which
escaped the notice of the Moor, whis
pers, “Ha! I like not that.” “What
dost thou say?” asks Othello. “Noth
ing, my lord*; or if—I know not what.”
From * this slight spark the tinder
catches fire. Iago fans it with a few
more breaths, and soon the flames
have spread beyond all control. “Tri
fles light as air are to the jealous con
firmation strong as proofs from Holy
Writ.”
Up to this point, it is doubtful if
Iago had deliberately meditated tak
ing the life of any one, because it had
not been necessary for him to do so.
Indeed, he tells us
“Though in the trade of war, I have slain men
Yet do I hold it the very pith bf conscience
To do no contrived murder.”
But now he has kindled a fire he can
not quench. His own life is in immi
nent peril. Othello in the height of
his passion seems for a moment to
doubt the truth of Iago's accusation
of Desdemona, and turning upon him,
takes him by the throat and exclaims:
“Villain, be sure you prove my love untrue.
Be sure of it: give me the ocular proof,
Or by the worth of mine.eternal soul.
Thou hadst better have been born a dog
Than answer my waked wrath. 77
It is too late now’ Iago, to retrace
your steps or falter in your course.
Vou have sown the wind. Take care
that you do not reap the whirlwind.
Besides the motives of revenge that
first moved you, you are now whip
ped on by fear for your own life. Well
may you fall on your knees and in the
sight of Heaven swear:
I And this from a man of twenty-
j eight and married!
A third motive of Iago was to re
venge himself on Othello who it seems
had wronged him in two ways. First
and foremost, because he had not
promoted him to the vacant lieuten-
antcy; and secondly, (though this
seems to have been more of an after
consideration) because, as Iago says, it
was “thought abroad” the Moor and
Mrs. Iago had not been 4 as distant in
their relations as propriety demand
ed. If Iago really believed this ru
mor, it does not appear to have offend
ed to any alarming extent his delicate
sensibilities; nor to have made him
less solicitous to continue his service
under the Moor. Doubtless he did
fear that for such a thin^ to be
“thought abroad” might injure his
position and prospects, and probably,
his self-pride was seriously wounded, o t
for he says aloud to himself, “the | G f the web his brains and hands had
“Witness you ever burning lights above!
You elements that clip us round about'
Witness, that here Iago doth give up
The execution of his wit. hands, heart,
To wronger Othello's service: let him command.
And to obev shall be in me remorse,
What bloody work soever. 77
To invent the lie about Cassio's
talking in his sleep and in his dreams
caressing Desdemona ; to seize upon
the fatal clue of the handkerchief, a
tender keepsake dear to Othello's
heart ; to cunningly contrive that
Othello overhearing Cassio speaking
in coarse jest of the woman Bianca,
shall believe he is speaking of Desde
mona ; to urge on Othello to his terri
ble deed of murder, aye, even to sug
gesting the manner of the killing.
“Do it not with poison, strangle her
in her bed;” to place Roderigo and
Cassio at daggers points, and with his
own hand cut Cassio from behind; to
thrust his blade into the heart of the
wounded and helpless Roderigo whose
treasure he had stolen, and finally, to
imbrue his hands in the life-blood of
his own wife, who while not pure her
self, stoutly and nobly maintained the
innocence and purity of Desdemona ;
all these were the swift workings and
desperate efforts of an unscrupulous
mind embittered by dogged revenge
and sharpened by the consciousness
of its own danger in the event of fail
ure.
However moderate may have been
Iago's first intentions, one step in
crime necessitated another, and at
last with the blood of Roderigo, Emi
lia and Desdemona on his soul, he
finds himself, as happily most villains
do, caught in the too-complex meshes
thought thereof doth, like a poison
ous mineral, gnaw at my inwards."
But not for one instant did a noble
indignation get the better of his base,
calculating policy for self-advance
ment.
What a contrast in this respect be
tween Iago and Othello. The one be
lieves that an unspeakable wreng has
been done him. The other only sus
pects it. The one slavishly submits.
The other is roused with a lordly in
dignation. The very poison with
which he expects to run the noble-
hearted Moor to almost instant mad
ness has for weeks and months coursed
harmlessly through the base, cold
blood of Iago! The dagger which is
spun to ensnare others. But even
this extremity, Iago preserves his cool
self-control. * He takes the chances of
want of evidence to convict him and
is discreetly silent. Like a murderer
just from consultation with a shrewd
criminal lawyer, he replies to the first
question asked him: “From this time
forth, I never will speak a word."
The exclamation »of the astounded
Lodovico, “What, not to pray?” elic
its no response. And when the cli
max is reached, and Othello, wild with
anguish at the wrong done hi? inno
cent, loving wife, plunges his dagger
in his own breast, falls upon Desde
mona, and smothers her, this time
with kisses, Iago still maintains his
to pierce the heart of Othello, could ; gullen silence even in the face of this
not penetrate the cuticle of Iago! .It
was a master stroke of the dramatist
to make Iago use that weapon a-
gainst Othello. Could a mean soul
make a more humiliating confession
of its meanness?
When Iago began his scheming, he
did not have all his plans worked out
in detail. They were developed as
opportunity afforded. Nor did he see
to what extreme measures he would
be led. His first step was to gratify his
hate of Othello by aiding Roderigo to
supplant him in the affections qf Des
demona—making heavy drafts withal.
upon the purse and credulity of Rode-•. What a relief to the mind, my
ri^o drafts which were always honor- friends, to know that such a creature
ef f * The next step was to make ! never existed; that while the traits of
use of Cassio to torture Othello with ! his character were in themselves
iealousv. And how agonizing that drawn true to nature yet no one man,
torture*! for “to be wroth with one ! Judas perhaps excepted, ever com-
we love doth work like madness on the bined all his yillianies; and that Iago
brain.” A further advance was to an-! is in fact, the creation of Shakes-
tter Othello with Cassio so as to secure : peare's genius,
his dismissal, and thus accomplish a 1 The object of tliq dr
double purpose. But when this is
done, he is not through with Cassio.
He must make him seek a re-instate
ment, through 'the intercession of
terrible reproach:
“O. Spartan dog.
More fell than anguish, hanger or the p«a.
Look on the tragic loading of tbi* bed.
As Iago is borne from the final scene
to suffer the torture that awaits him,
we cannot but feel that he desqlrves,
it all; that avenging fate should, in
the language of Emilia
“Putin every honest hand a whip,
To lash the rascal naked through the world,”
For in him we behold the most con
summate hypocrite and villian that has
disgraced mankind since the suicide
of Judas Iscariot.
relief to the
moment upon these scenes taken on
ly too faithfully from real life. You
see that innocence suffered unjustly,
that virtue and fidelity were denied
in this world their fair deserts. But
be not dismaved. They have their
reward. God Himself hath said it.
Look again. You see that envy and
malice and hypocrisy and lying and
every form of evil and injustice were
finally overtaken with punishment,
and so it will continue to be as inevi
tably as effect follows after cause.
Therefore be not deceived. They
have their reward. God himself hath
said it.
Let us then while avoiding and dis
daining the weakness and inaction of
mawkish sentimentality, put on the
field armour of the soldier, and resolve
to live and die faithful to our best,
our strongest, our highest, our noblest
sentiments, and with one voice ex
claim:
Eternal Truth! An humble votary
at thy shrine would I come. Strength
en my heart to bear, if need be, mar
tyrdom for thy cause!
The English Elections.
The news of the 3rd seems to be un
favorable to the success of Mr. Glad
stone’s policy of Home Rule for the
Irish. The Irish vote, in England,
has not worked the wonders promised
by Mr. T. P. O'Connor. The pollings,
on the second instant, showed but
two places favorable to the Liberals
leaving the others unaltered. This
shows, if not a great defection on the
part of the Irish a singular indiffer
ence. Further information from
Scotland indicates a strong feeling in
favor of Mr. Gladstone's policy. The
Gladstonians look to the provincial
Polls. None of them had been report
ed as yet. If they do not go with
Gladstone his defeat would seem to be
certain. Gladstone calls upon Wales
with much earnestness.
In every land and clime, the merit
of St. Jacabs Oil as the only conquer
or of pain, are being acknowledged by
the press and people.
Personal.
Hon. T. J. Simmons, judge of the
Macon circuit, Col. L. F. Livingston,
president of the state agricultural
society, Hon. F. S. Johnson, mayor
pro-teinof Macon, Col. Lee Jordan,
of Dougherty county, Hon. H. S.
Feagin, of Houston county, and a host
of other gentlemen of like character
and high standing in the state, cheer
fully endorse Hall’s Georgia Chill
Remedy as a certain and permanent
cure for chills and fever. As a tonic
it has no equal. Those suffering
from headache or periodical neuralgia
will find immediate relief from its use.
No medicine ever introduced has met
with such an immense sale in so short
a time as Hall's Georgia Chill Reme
dy.
In addition to the above named
parties many of our own citizens
have used this Chill Remedy and in
dorse it as a certain cure. For sale by
John M. Clark, Druggist, Milledge
ville, Ga.
It is worth remembering that no
body enjoys the nicest surroundings
if in bad health. There are miserable
people about to-day with ode foot in
tfye grave, to whom a bottle of Par
ker’s Tonic would do more good than
all the doctors and medicines they
have ever used. 52 I111.
New Advertisements.
D J.BEU.LV &.C.O.
PRINTERS ROLLERS
324ancS 326 Pearl St. t New York.
SEND FOR CIRCULAR.
HOP MORE WHITEWASHING
NOT WHEN
PLASTIC PAINT
Can be had so cheap. SeDd for pamphlet and
color card, and learn its merits.
MAXWELL, HAZLETT & CO.
100 McElderry 7 B Wharf. Baltimore, Md.. and
006 Washington Are., Philadelphia, Pa.
Parker’s Tonic
A Pare Family Medicine that Nerer Intoxicates.
If you are a lawyer, minister or business man
exhausted by mental strain or anxious c* res do
not take intoxicating stimulants, but use
Parser's Toxic.
BI8COX A CO.,
163 William Street. New York.
Sold by all Druggists In large bottles at One Dol
lar.
k Desdemona, and thus confirm the sus-
amatist was to
show’ to wfiiat unfathomable depths
of crime the intellect will go when
divorced from the ennobling influence
of the moral sense,
Mv voung friends, look back for a
Newspaper Advertising
—SSSSu* dt CO.,
21 Park Place and 21-26 Murray Si, New York.
Make lowest rates on all newspapers^ in the
U. S., and Canada. Established 180,.
SPECIAL OFFER. £££ "28£
tisement one month in our selected lis. of 2_ ■
Dallies and Weeklies, covering the L. S., fer
$260. Circulation 6,930,202 copies per month.
V Send for Catalogue- Parties contemplating
a line of advertising, large or small, are reques
ted to send for estimate of cost.
We will insert a one mc.i adv t one month, j
POPULARLOGALLIS 7
of 1 130 Daily and Weekly newspapers for
No patent list papers are included.
July 7th, 18S6.