Huck Finn Controversy

http://www.cc.com/video-clips/9ez59y/the-daily-show-with-jon-stewart-mark-twain-controversy

The War Prayer

The War Prayer

The War Prayer

AGENDA:


 ESSENTIAL QUESTION:

How does Mark Twain critique society?


Satire :  

SATIRE DEFINITION

Satire is a technique employed by writers to expose and criticize foolishness and corruption of an individual or a society by using humor, irony, exaggeration or ridicule. It intends to improve humanity by criticizing its follies and foibles. A writer in a satire uses fictional characters, which stand for real people, to expose and condemn their corruption.
A writer may point a satire toward a person, a country or even the entire world. Usually, a satire is a comical piece of writing which makes fun of an individual or a society to expose its stupidity and shortcomings. In addition, he hopes that those he criticizes will improve their characters by overcoming their weaknesses.

SATIRE AND IRONY

Satire and irony are interlinked. Irony is the difference between what is said or done and what is actually meant. Therefore, writers frequently employ satire to point at the dishonesty and silliness of individuals and society and criticize them by ridiculing them.

EXAMPLES OF SATIRE IN EVERYDAY LIFE

Most political cartoons which we witness every day in newspapers and magazines are examples of satire. These cartoons criticize some recent actions of political figures in a comical way.
Some shows on television are satire examples like The Daily Show, The Colbert Report, and The Larry Sanders Show. These shows claim to target what they think are stupid political and social viewpoints.
Let us see a sample of Stephen Colbert’s social satire:

“If this is going to be a Christian nation that doesn’t help the poor, either we have to pretend that Jesus was just as selfish as we are, or we’ve got to acknowledge that He commanded us to love the poor and serve the needy without condition and then admit that we just don’t want to do it.”

SATIRE EXAMPLES IN LITERATURE

Example #1

There are numerous examples of satire in Mark Twain’s Huckleberry Finn. He uses satire as a tool to share his ideas and opinion on slavery, human nature and many other issues that afflicted American society at that time.
Below are a few citations from the novel that demonstrate satire:

• “What’s the use you learning to do right, when it’s troublesome to do right and isn’t no trouble to do wrong, and the wages is just the same?” (Chap 16)
• “There warn’t anybody at the church, except maybe a hog or two, for there warn’t any lock on the door, and hogs likes a puncheon floor in summer-time because it’s cool. If you notice, most folks don’t go to church only when they’ve got to; but a hog is different.” (Chap 18)
• “The pitifulest thing out is a mob; that’s what an army is–a mob; they don’t fight with courage that’s born in them, but with courage that’s borrowed from their mass, and from their officers. But a mob without any man at the head of it is beneath pitifulness.” (chap 22)

Example #2

Alexander Pope’s The Rape of the Lock is an example of poetic satire in which he has satirized the upper middle class of eighteenth century England. It exposes the vanity of young fashionable ladies and gentlemen and the frivolity of their actions. For example, Pope says about Belinda after losing her lock of hair:

“Whether the nymph shall break Diana’s law,
Or some frail china jar receive a flaw,
Or stain her honor, or her new brocade”

The line mocks at the values of the fashionable class of that age. The trivial things were thought of as equal to significant things. For Belinda, the loss of her virtue becomes equal to a China jar being cracked.

Example #3

Jonathan Swift’s Gulliver Travels is one of the finest satirical works in English Literature. Swift relentlessly satirizes politics, religion, and Western Culture. Criticizing party politics in England, Swift writes,

“that for above seventy Moons past there have been two struggling Parties in this Empire, under the Names of Tramecksan and Slamecksan from the high and low Heels on their shoes, by which they distinguish themselves.”

During Swift’s times, two rival political parties, the Whigs and the Tories, dominated the English political scene. Similarly, “The Kingdom of Lilliput” is dominated by two parties distinguished by the size of the heels of their boots. By the trivial disputes between the two Lilliputian parties”, Swift satirizes the minor disputes of the two English parties of his period.

FUNCTION OF SATIRE

The role of satire is to ridicule or criticize those vices in the society, which the writer considers a threat to civilization. The writer considers it his obligation to expose these vices for the betterment of humanity. Therefore, the function of satire is not to make others laugh at persons or ideas they make fun of. It intends to warn the public and to change their opinions about the prevailing corruption/conditions in society.

Read and discuss The War Prayer.
https://www.youtube.com/watch?v=IRVod4PwQHs

http://www.youtube.com/watch?v=sVYIRbmxHpc

 

 

On Lies and Slavery:

http://www.youtube.com/watch?v=fnF-7bqyKuo

Vocabulary Huck Finn

Vocabulary Huck Finn

Vocabulary Huck Finn

Vocabulary for The Adventures of Huckleberry Finn Chapters I- VII

1.     big-bug (noun) - an important person

2.     bullyrag (verb)- browbeat, harass

3.     delirium tremens (verb)- violent hallucinations caused by excessive drinking

4.     pungle (verb) - pay up

5.     raspy (adjective) - harsh, irritating

6.     skiff (noun)- a small, light rowboat

7.     slouch (noun)- a soft, wide-brimmed hat

8.     ingots (Noun)- a piece of metal formed from a mold.

9.     sumter (noun) - a pack animal

10.  temperance (adjective)- self-control, especially in drinking

Vocabulary for The Adventures of Huckleberry Finn Chapters VIII - XVI

1.     chucklehead (adjective)- fool, blockhead

2.     contrived (verb)- planned, devised

3.     corn-pone - a cheap kind of corn bread

4.     crawfish (verb)- to back out

5.     dolphin (dauphin) (noun) - the eldest son of a king

6.     fan-tods (adjective)- a state of nervousness or fear

7.     haggled (verb)- cut in a clumsy or awkward way

8.     pilot-house (noun)- a compartment on a steamboat in which the pilot works

9.     rapscallions - rascals, scoundrels

10.  wigwam - a hut built for shelter

VOCABULARY FOR THE ADVENTURES OF HUCKLEBERRY FINN CHAPTERS XVII- XXX

1.     disposition - desire, inclination

2.     doxolojer (doxology) - a hymn of praise to God

3.     frowsy-headed - unkempt or sloppy looking

4.     greenhorns - unsophisticated people

5.     histrionic - theatrical

6.     obsequies - funeral rites

7.     phrenology - examining the shape of a person's head to tell his fortune

8.     pommel - a bump at the front of a saddle

9.     pulpit - a high table or lectern used for preaching

10.  slouch - a lazy or incompetent person

 

Vocabulary for The Adventures of Huckleberry Finn Chapters XXXI – Chapter the Last

1.     bogus (adjective)- false, fake

2.     brickbat (noun)- any small, hard object used for throwing

3.     desperadoes (noun)- bandits, criminals

4.     fox-fire (adjective)- a glow from decaying wood

5.     mortification (adjective)- death of a body part

6.     owdacious (audacious) (adjective)- bold, impertinent

7.     pettish (adjective)- fretful

8.     powderhorn (adjective)- a flask for holding gunpowder

9.     rascality (adjective)- mischief, wickedness

10.  stealthy (adjective)- secret, hidden

Peer Edit Essays "Fenimore Cooper's Literary Offenses"

AGENDA:

Review Realism
https://prezi.com/sxdeimd3sn62/american-realism/


Background comments on Twain's Essay:

In 1895, Mark Twain published his acerbic criticism of James Fenimore Cooper. In his essay The Literary Offenses of Fenimore Cooper, Twain asserted Cooper's popular Deerslayer, a Leatherstocking tale, committed 114 "offenses against literary art out of a possible 115." Generally, Twain's biting mockery of Cooper's characterization, plot, and setting is considered by contemporary critics as unnecessary and unfounded.
In Mark Twain as Critic, Sydney Krause asserts:

The sulfurous grumblings over Cooper is hardly the work of a judicious person, of a respectable citizen like Sam Clemens, who after the debacle of 1892, had made it an appoint of honor to pay his creditors one hundred cents on the dollar; rather, it belongs to a hoodwinking persona who puts up a good front but is not always entitled to the horror he exhibits and is not the unsuspecting reader he pretends to be. (128)

John McWilliams in The Last of the Mohicans: Civil Savagery and Savage Civility also agrees that Twain's attack is unjustified. He states:

Hilarious though Twain's essay is, it is valid only within its own narrow and sometimes misapplied criteria. Whether Twain is attacking Cooper's diction or Hawkeye's tracking feats, his strategy is to charge Cooper with one small inaccuracy, reconstruct the surrounding narrative or sentence around it, and then produce the whole as evidence that Cooper's kind of English would prevent anyone from seeing reality. (36)

Twain's intention, through his "sulfurous grumblings," is not simply to convince the reader of Cooper's inaccuracy; more so, he is defending his notions of literary and historical appropriateness. Twain, revolting against the entire Romantic tradition, used Cooper as a metonym for the literary characteristics Twain had fought so hard to eradicate. Krause comments that Twain's essay was;

more than a caveat against the pitfalls of romantic fiction; it was a plea for readers to accept the verdict of history that old-style romanticism--at best an exotic movement with a code of feeling engendered by a cult of sensibility, to which America opposed the cult of experience--that this brand of die-hard romanticism was a literary dead letter in post-Civil War America. (134)

Who is James Fenimore Cooper?
https://en.wikipedia.org/wiki/James_Fenimore_Cooper 

• Twain lists what Cooper's offenses are
• Twain says what Cooper should have done instead

Mark Twain "Fenimore Cooper's Literary Offenses"

AGENDA:

Handout: American Literature Realism, Naturalism, and Romanticism

ROMANTICISM vs. REALISM

Romanticism 1820-1865	Realism 1865 - 1914
Characters may be “larger than life” -- e.g. Rip Van Winkle, Ichabod Crane, Brom Bones, Natty Bumppo, Ralph Hepdurn, Bartleby	Characters resemble ordinary people -- e.g. Huck Finn, Editha, Frederick Winterbourne, Daisy Miller, Sylvia, Louisa, Edna Pontellier
Plot contains unusual events, mystery, or high adventure -- e.g. Poe's stories, Melville’s Typee	Plot is developed with ordinary events and circumstances
Ending is often happy	Ending might be unhappy
The language is often “literary” (inflated, formal, etc.)	Writer uses ordinary speech and dialect -- common vernacular (the everyday language spoken by a people)
Settings often made up; if actual settings are used, the focus is on the exotic, strange, mysterious -- e.g. Melville’s Marquesas islands (S. Pacific), Cooper’s woods and frontier, Poe's gothic chambers	Settings actually exist or have actual prototypes
Writer is interested in history or legend -- e.g. Irving, Poe	Writer is interested in recent or contemporary life

• 
  

Handout: Annotate and write essay for homework:
"Fenimore Cooper's Literary Offenses"


Is Google Making Us Stupid?


http://www.theatlantic.com/magazine/archive/2008/07/is-google-making-us-stupid/306868/

Huckleberry Finn

AGENDA:

Over break, read to Ch. 10 in Huckleberry Finn

Quiz on vocabulary and readings

Go over SATIRE

View Ken Burns' Mark Twain (PBS)

Satire and Mark Twain

Satire 

ESSENTIAL QUESTION:

What are the two types of satire?

Definitions

Satire--Literary art of diminishing a subject by making it ridiculous and evoking toward it attitudes of amusement, contempt, scorn or indignation.  Takes its form from the genre it spoofs.

Horatian satire--After the Roman satirist Horace:  Satire in which the voice is indulgent, tolerant, amused, and witty.  The speaker holds up to gentle ridicule the absurdities and follies of human beings, aiming at producing in the reader not the anger of a Juvenal, but a wry smile.

Juvenalian satire--After the Roman satirist Juvenal:  Formal satire in which the speaker attacks vice and error with contempt and indignation  Juvenalian satire in its realism and its harshness is in strong contrast to Horatian satire.

Burlesque-- A form of comedy characterized by ridiculous exaggeration and distortion.A serious subject may be treated frivolously or a frivolous subject seriously.  The essential quality that makes for burlesque is the discrepancy between subject matter and style.  That is, a style ordinarily dignified may be used for nonsensical matter, or a style very nonsensical may be used to ridicule a weighty subject.

Parody--A composition that imitates the serious manner and characteristic features of a particular work, or the distinctive style of its maker, and applies the imitation to a lowly or comically inappropriate subject.  Often a parody is more powerful in its influence on affairs of current importance--politics for instance--than its original composition.  It is a variety of burlesque.
Irony--Saying one thing and meaning another.



There are three main types of satire: Horatian, Juvenalian, and Menippean. While each type is distinct from the other in some factors, any satire may contain elements of all three. Horatian satire gently mocks, Juvenal aims to destroy and to provoke, and Menippean spreads its mental barbs at a wide number of targets. These types should not be confused with the different satirical devices, such as wit, sarcasm, and irony.
Horatian satire is the gentlest of the types of satire. It does not aim to find evil in things; instead, it is done from an affectionate, almost loving point of view. The emphasis is put on humor and on making fun of human dysfunction. While the subject of the fun can be social vices, it is usually an individual's follies that are teased. A key element of Horatian satire, unlike most other types, is that the audience is also laughing at themselves as well as at the subject of the mockery.
A good example of Horatian satire is the works of Jane Austen. Her novels, such as Pride and Prejudice, are mild mockeries of the Gothic novels produced by other female writers of her age. In Pride and Prejudice, she turns her Horatian satire on people and how they are viewed by the rest of society. This includes the noble landowner in Mr. Darcy, the priest in William Collins, and soldiers such as George Wickham.

Juvenal satire is the harshest type of satire, and it does not hold back in its barbed lacerations of its targets. Social vices, individuals, companies, and organizations can be the targets. The purpose of such invectives is to provoke an angry reaction from the audience aimed at the subject. As a result of this intention, the humor is put into the background and biting social criticism and polarized opinion come to the forefront.
William Golding's Lord of the Flies is a good example of Juvenalian satire. The object of mockery is people's need for power and rules, and it also mocks the lengths which people go to in order to obtain power and how this lust changes them. It is also an unsentimental look at the relationships between boys and how awful they can be.
Menippean satire is named after Menippus, and most closely resembles Juvenal's ideas on satire; however, it lacks the focus of a primary target. Rather than a single target, it takes a scattergun approach that aims poisonous prongs at multiple targets. As well as not sustaining narrative and being more rhapsodic, Menippean satire is also more mental. That said, this type of humor is typically baser at the same time.
While primary examples of the types of satire as produced by Horace and Juvenal themselves survive, the same cannot be said of Menippus. A good example of Menippean satire is Lewis Carroll's Alice in Wonderland. The whole novel is a random collection of satires about people Carroll knew or knew of and of Oxford itself, both as a city and as a lifestyle.

More about satire:

Satire can be described as the literary art of diminishing or derogating a subject by making it ridiculous and evoking toward it attitudes of amusement, contempt, scorn, or indignation. It differs from the comic in that comedy evokes laughter mainly as an end in itself, while satire "derides"; that is, it uses laughter as a weapon, and against a butt existing outside the work itself. That butt may be an individual (in "personal satire"), or a type of person, a class, an institution, a nation, or even (as in Rochester's "A Satyr against Mankind," 1675, and much of Swift's Gulliver's Travels, 1726, especially Book IV) the whole human race. The distinction between the comic and the satiric, however, is a sharp one only at its extremes. Shakespeare's Falstaff is a comic creation, presented without derision for our unmitigated enjoyment; the puritanical Malvolio in Shakespeare's Twelfth Night is for the most part comic but has aspects of satire directed against the type of the fatuous and hypocritical Puritan; Jonson'sVolpone (1607) clearly satirizes the type of man whose cleverness—or stupidity—is put at the service of his cupidity; and Dryden's MacFlecknoe (1682), while representing a permanent type of the pretentious poetaster, ridiculed specifically the living author Shadwell.
Satire has usually been justified by those who practice it as a corrective of human vice and folly; Pope remarked that "those who are ashamed of nothing else are so of being ridiculous." Its frequent claim (not always borne out in the practice) has been to ridicule the failing rather than the individual, and to limit its ridicule to corrigible faults, excluding those for which a person is not responsible. As Swift said, speaking of himself in his ironic "Verses on the Death of Dr. Swift" (1739):

Yet malice never was his aim;
He lashed the vice, but spared the name. . . .
His satire points at no defect,
But what all mortals may correct. . . .
He spared a hump, or crooked nose,
Whose owners set not up for beaux.

Satire occurs as an incidental element in many works whose overall mode is not satiric—in a certain character, or situation, or interpolated passage of ironic commentary on some aspect of the human condition or of contemporary society. But in many literary achievements, verse or prose, the attempt to diminish a subject by ridicule is the organizing principle of the whole, and these works constitute the formal genre of "satires." In discussing such writings the following distinctions are useful.
(1) Critics make a broad division between formal (or "direct") satire and indirect satire. In formal satire the satiric voice speaks out in the first person; this "I" may address either the reader (as in Pope's Moral Essays, 1731-35; for example, Epistle II, "Of the characters of Women") or else a character within the work itself, who is called the adversarius and whose major function is to elicit and guide the satiric speaker's comments. (In Pope's "Epistle to Dr. Arbuth-not," 1735, Arbuthnot serves as adversarius.) Two types of formal satire are commonly distinguished, taking their names from the great Roman satirists Horace and Juvenal. The types are defined by the character of the persona whom the author presents as the first-person satiric speaker, and by the attitude and tone that such a persona manifests toward the subject matter and the readers of the work.
In Horatian satire the character of the speaker is that of an urbane, witty, and tolerant man of the world, who is moved more often to wry amusement than to indignation at the spectacle of human folly, pretentiousness, and hypocrisy, and who uses a relaxed and informal language to evoke from readers a smile at human follies and absurdities—sometimes including his own. Pope's Moral Essays and other formal satires for the most part sustain an Horatian stance.
In Juvenalian satire the character of the speaker is that of a serious moralist who uses a dignified and public style of utterance to decry modes of vice and error which are no less dangerous because they are ridiculous, and who undertakes to evoke from readers contempt, moral indignation, or an unillusioned sadness at the aberrations of humanity. Samuel Johnson's "London" (1738) and "The Vanity of Human Wishes" (1749) are distinguished instances of Juvenalian satire,

(2) Indirect satire is cast in another literary form than that of direct address. The most common indirect form is that of a fictional narrative, in which the objects of the satire are characters who make themselves and their opinions ridiculous by what they think, say, and do, and are sometimes made even more ridiculous by the author's comments and narrative style.
One type of indirect satire is Menippean satire, named for its Greek originator, the philosophical Cynic Menippus. It is sometimes called Varronian satire, after a Roman imitator, Varro; while Northrop Frye, in Anatomy of Criticism, pp. 308-12, suggests an alternative name, the anatomy, after a major English instance of the type, Burton's Anatomy of Melancholy (1621). Such satires are written in prose—though often with interpolated passages of verse—and constitute a miscellaneous form often held together by a loosely constructed narrative. Their major feature, however, is a series of extended dialogues and debates (often conducted at a banquet or party) in which a group of loquacious eccentrics, pedants, literary people, and representatives of various professions or philosophical points of view serve to make ludicrous the attitudes and viewpoints they typify by the arguments they urge in their support. Examples are Rabelais' Gargantua and Pantagruel (1564), Voltaire's Candide (1759), Thomas Love Peacock's Nightmare Abbey (1818) and other satiric fiction, and Huxley's Point Counter Point (1928), in which, as in Peacock, the central satiric scenes are discussions during a weekend at a country manor. Frye also classifies Lewis Carroll's two books about Alice in wonderland as "perfect Menippean satires."

Irony/Satire

en.wikipedia.org/wiki/Satire#Horatian_vs_Juvenalian

Horatian vs Juvenalian

"Le satire e l'epistole di Q. Orazio Flacco", printed in 1814.

Satirical literature can commonly be categorized as either Horatian or Juvenalian,^[15] although the two are not entirely mutually exclusive.
Horatian satire, named for the Roman satirist, Horace (65 BCE – 8 BCE), playfully criticizes some social vice through gentle, mild, and light-hearted humour. It directs wit, exaggeration, and self-deprecating humour toward what it identifies as folly, rather than evil.^{[citation needed]}Horatian satire's sympathetic tone is common in modern society.^{[citation needed]}Examples of Horatian satire include:

• Daniel Defoe's The True-Born Englishman
• Alexander Pope's The Rape of the Lock
• C.S. Lewis' The Screwtape Letters
• Matt Groening's The Simpsons
• Rick Mercer's The Rick Mercer Report
• The Ig Nobel Prizes.
• Have I Got News For You

Juvenalian satire, named after the Roman satirist Juvenal (late 1st century - early 2nd century CE), is a type of satire that is more contemptuous and abrasive than the Horatian. Juvenalian satire addresses social evil through scorn, outrage, and savage ridicule. This form is often pessimistic, characterized by irony, sarcasm, moral indignation and personal invective, with less emphasis on humour. Strongly polarized political satire is often Juvenalian.
Examples of Juvenalian satire:

• Joseph Hall's Virgidemiarum
• Jonathan Swift's A Modest Proposal and The Predictions for the Ensuing Year (written as Isaac Bickerstaff).
• Samuel Johnson's London
• George Orwell's Nineteen Eighty-Four and Animal Farm
• Bret Easton Ellis's American Psycho
• Ray Bradbury’s Fahrenheit 451
• William Golding's Lord of the Flies
• Stanley Kubrick's Dr Strangelove or: How I Learned to Stop Worrying and Love the Bomb
• Aldous Huxley's Brave New World
• Anthony Burgess' A Clockwork Orange
• Chris Morris's "Brasseye" & "The Day Today"
• Joseph Heller's Catch-22
• William Burroughs' Naked Lunch
• Jon Stewart's The Daily Show with Jon Stewart
• Stephen Colbert's performance at the 2006 White House Correspondents Dinner
• Trey Parker & Matt Stone's South Park
• Douglas Adams' Hitchhiker's Guide to the Galaxy^{[citation needed]}
• Julian Barnes' England, England

Compare and contrast Twain's "Advice to Youth" with the essay below.  Which one uses Horatian satire and which one Juvenalian?  Cite passages that support your argument.

Only a Nigger

By Mark Twain

Buffalo Express (Aug. 26, 1869).

 
 

---

This short satirical essay was published in the Buffalo Expresswhile Mark Twain was co-owner and editor of that newspaper. It appeared unsigned but has been attributed to Mark Twain in Philip S. Foner's Mark Twain: Social Critic (New York: International Publishers, 1958), and is included in Mark Twain at the Buffalo Express, ed. Joseph B. McCullough and Janice McIntire-Strasburg (Dekalb: Northern Illinois University Press, 1999), which is the source of the text presented here.

"Only a Nigger" is important within Mark Twain's writings as an early protest against lynching, a subject he addressed most powerfully in Adventures of Huckleberry Finn (1885) and "The United States of Lyncherdom" (1901), and for its self-conscious use of the word "nigger." Objections to the repeated use of that word in Huckleberry Finn are commonly raised by those who would like to see the book removed from school reading lists today. In this essay, written seven years before he began work on Huckleberry Finn, Twain clearly uses the word to signify the racist dehumanization of African Americans by Southern whites. Twain's satirical use of the word here provides a background for understanding his similar use of the word in chapter 32 of Huckleberry Finn, when Aunt Sally asks if anyone was hurt in a steamboat accident. Huck replies, "No'm. Killed a nigger." In the novel, Mark Twain let Huck speak as a young boy raised in a slaveholding community. In "Only a Nigger," he uses the words negroes and negro, and consistently puts "nigger" in quotes to indicate that it is the dehumanizing word used by the Southerners whose mob law he is criticizing in the essay.

---

A dispatch from Memphis mentions that, of two negroes lately sentenced to death for murder in that vicinity, one named Woods has just confessed to having ravished a young lady during the war, for which deed another negro was hung at the time by an avenging mob, the evidence that doomed the guiltless wretch being a hat which Woods now relates that he stole from its owner and left behind, for the purpose of misleading. Ah, well! Too bad, to be sure! A little blunder in the administration of justice by Southern mob-law; but nothing to speak of. Only "a nigger" killed by mistake -- that is all. Of course, every high toned gentleman whose chivalric impulses were so unfortunately misled in this affair, by the cunning of the miscreant Woods, is as sorry about it as a high toned gentleman can be expected to be sorry about the unlucky fate of "a nigger." But mistakes will happen, even in the conduct of the best regulated and most high toned mobs, and surely there is no good reason why Southern gentlemen should worry themselves with useless regrets, so long as only an innocent "nigger" is hanged, or roasted or knouted to death, now and then. What if the blunder of lynching the wrong man does happen once in four or five cases! Is that any fair argument against the cultivation and indulgence of those fine chivalric passions and that noble Southern spirit which will not brook the slow and cold formalities of regular law, when outraged white womanhood appeals for vengeance? Perish the thought so unworthy of a Southern soul! Leave it to the sentimentalism and humanitarianism of a cold-blooded Yankee civilization! What are the lives of a few "niggers" in comparison with the preservation of the impetuous instincts of a proud and fiery race? Keep ready the halter, therefore, oh chivalry of Memphis! Keep the lash knotted; keep the brand and the faggots in waiting, for prompt work with the next "nigger" who may be suspected of any damnable crime! Wreak a swift vengeance upon him, for the satisfaction of the noble impulses that animate knightly hearts, and then leave time and accident to discover, if they will, whether he was guilty or no.