Things as They Are; other pre-1931 works

Christmas, 1909.

_WHEN first "Things as they are" trod the untrodden way, it walked as a small child walks when for the first time it ventures forth upon young, uncertain feet. It has to walk; it does not know why: it only knows there is no choice about it. But there is an eager looking for an outstretched hand, and an instant gratefulness always, for even a finger. A whole hand given without reserve is something never forgotten._

_It was only a child after all, and it had not anticipated having to find its way alone among strangers. It had thought of nothing further than a very short walk among familiar faces. If it had understood beforehand how far it would have to walk, I doubt if it would have had the courage to start; for it was not naturally brave. But once on its way it could not turn back; and thanks to those kindly outstretched hands, it grew a little less afraid, and it went on._

Then another small wayfarer followed. It also was very easily discouraged; an unfriendly push would have knocked it over at once. But nobody seemed to want to push so unpretentious a thing, so it gained courage and went on.

And now a more grown-up looking traveller (though indeed its looks belie it) has started on its way; more diffident, if the truth must be told, than even its predecessors. For it thought within itself—Perhaps there will be no welcoming hands held out this time; hands may grow tired of such kind offices. But it has not been so. And now the sense of gratefulness cannot longer be repressed.

All of which means that I want to thank sincerely those kings of the Book World—Reviewers—and those dwellers in that world who are my Readers, for their insight and the sympathy to which I owe so much.

_Once I read of a soldier who wrote a letter home from the midst of a battle, on a crumpled piece of paper laid upon a cannon ball. His home people he knew would overlook the appearance of the paper and the lack of various things expected in a letter written in a quiet room upon a study table. And he knew he could trust them not to bring too fine a criticism to bear upon the unstudied words hot from the battle's heart._

I have thought sometimes that these books were not unlike that soldier's letter; and those who read them seem to me very like his home people, for they have been so generous in the kindness of their welcome.

Amy Wilson-Carmichael. Dohnavur, Tinnevelly District S. India.

Feb. 19, 1912.

THE photographs (except two) were taken by Mr. Penn, of Ootacamund, whose work is known to all who care to possess good photographs of the South Indian hills. The babies were a new experience to him, and something of a trial, I fear, after the mountains, which can be trusted to sit still.

The book has been written for lovers of children. Those who find such young life tiresome will find the story dull, and the kindest thing it can ask of them is not to read it at all.

From that same pool, afterwards gathered by permission and given to us.]

NEAR an ancient temple in Southern India is a large calm, beautiful pool, enclosed by stone walls, broken here and there by wide spaces fitted with steps leading down to the water's edge; and almost within reach of the hand of one standing on the lowest step are pink Lotus lilies floating serenely on the quiet water or standing up from it in a certain proud loveliness all their own.

We were travelling to the neighbouring town when we came upon this pool. We could not pass it with only a glance, so we stopped our bullock-carts and unpacked ourselves—we were four or five to a cart—and we climbed down the broken, time-worn steps and gazed and gazed till the beauty entered into us.

Who can describe that harmony of colour, a Lotus-pool in blossom in clear shining after rain! The grey old walls, the brown water, the dark green of the Lotus leaves, the delicate pink of the flowers; overhead, infinite crystalline blue; and beyond the old walls, palms.

With us was a young Indian friend. "I will gather some of the lilies for you," he said, with the quick Indian desire to give pleasure; but some one interposed: "They must not be gathered by us. The pool belongs to the Temple."

It was as if a stone had been flung straight at a mirror. There was a sense of crash and the shattering of some bright image. The Lotus-pool was a Temple pool; its flowers are Temple flowers. The little buds that float and open on the water, lifting young innocent faces up to the light as it smiles down upon them and fills them through with almost a tremor of joyousness, these Lotus buds are sacred things—sacred to whom?

For a single moment that thought had its way, but only for a moment. It flashed and was gone, for the thought was a false thought: it could not stand against this—"All souls are Mine."

All souls are His, all flowers. An alien power has possessed them, counted them his for so many generations, that we have almost acquiesced in the shameful confiscation. But neither souls nor flowers are his who did not make them. They were never truly his. They belong to the Lord of all the earth, the Creator, the Redeemer. The little Lotus buds are His—His and not another's. The children of the temples of South India are His—His and not another's.

So now we go forth with the Owner Himself to claim His own possession. There is hope in the thought, and confidence and the purest inspiration. And, stirred to the very depths, as we are and must be many a time when we see the tender Lotus buds gathered by a hand that has no right to them, and crushed underfoot; bewildered and sore troubled, as the heart cannot help being sometimes, when the mystery of the apparent victory of evil over good is overwhelming: even so there will be always a hush, a rest, a repose of spirit, as we stand by the Lotus-pools of life and seek in His Name to gather His flowers.

BALA is nearly four. There are so many much younger things in the nursery, that Bala feels almost grown up: four will be quite grown up; it will be nice to be four. Bala takes life seriously, she has always done so; she thinks it would be monotonous to have too many frivolous babies. But Bala's eyes can sparkle as no other eyes ever do; and her mirth is something by itself, like a little hidden fountain in the heart of a wood, with the sweetness of surprise in it and very pure delight.

When Bala came to us first she was between one and two, an age when most babies have a good deal to say. Bala said nothing. She was like a book with all its leaves uncut; and some who saw her, forgetting that uncut books are sometimes interesting, concluded she was dull. "Quite a prosaic child," they said; but Bala did not care. There are some babies, like some grown-up people, who show all they have to show upon first acquaintance and to all. Others cover the depths within, and open only to their own. Bala is one of these; and even with her own she has seasons of reserve.

Her first remark, however, shown rather than said, was not romantic. She was too old for a bottle, and she seemed to feel sore over this. But she noted the time the infants were fed, and followed the nurses about while they were preparing the meal; and when they sat down to give it, each to her respective baby, Bala would choose the one of most uncertain appetite, and sit down beside it and wait. There was an expression on her face at such times which suggested a hymn, set it humming in one's head in fact, in spite of all efforts to escape it. More than once we have caught ourselves singing it, and pulled up sharply: "Even me! Even me! Let some droppings fall on me."

Taken on the bank of the Red Lake, near Dohnavur.]

Most of our family remind us very early that they trace their descent to the mother of us all. Bala, on the contrary, was good: so we almost forgot she was human, and began to expect too much of her; but she got tired of this after a while, and one day suddenly sinned. The surprise acted like "hypo," and fixed the photograph.

The place was the old nursery, which has one uncomfortably dark corner in it. Something had offended Bala; she marched straight into that corner and stamped. We can see her—poor little girl—as she rumpled her curls with both her hands, and flashed on the world a withering glance. "Scorn to be scorned by those I scorn" was written large all over the indignant little face.

After this shock we were prepared for anything, but nothing special happened; only when the demands made upon her are unreasonable, then Bala retires into herself and turns upon all foolish insistence a face that is a blank. If this point is passed, the dark eyes can flash. But such revealings are rare.

When Bala was something under three, she was very tender-hearted. One evening, after the first rains had flooded the pools and revived the mosquitoes, the nursery wall was the scene of many executions; and Bala could not bear it. "Sittie, don't kill the poor puchies!" she said pitifully; and Sittie, much touched, stopped to comfort and explain. The other babies were delighting in the slaughter, pointing out with glee each detested "puchie"; but Bala is not like the other babies. Later, the ferocious instinct common to most young animals asserted itself in a relish for the horrible, which rather contradicted the mosquito incident. Bala visibly gloats over the gory head of Goliath, and intensely admires David as he operates upon it. Her favourite part of the story about his encounter with the lion is the suggestive sentence, "I caught him by the beard"; and Bala loves to show you exactly how he did it. But then that is different from seeing it done; and after all it is only a story, and it happened long ago.

I have told how the ignorant once called Bala prosaic. Bala knows nothing of poetry, but is full of the little seeds of that strange and wonderful plant; and the time to get to know her is when the evening sky is a golden blaze, or glows with that mystic glory which wakens something within us and makes it stir and speak.

"God has not lighted His fire to-night," she said wistfully one evening when the West was colourless; but when that fire is lighted she stands and gazes satisfied. "What does God do when His fire goes out?" was a question on one such evening, as the mountains darkened in the passing of the after-glow; and then: "Why does He not light it every night?"

"Amma! I have looked into Heaven!" she said suddenly to me after a long silence. "I have seen quite in, and I know what it is like." "What is it like? Can you tell me?" and the child's voice answered dreamily: "It was shining, very shining." Then with animation, in broken but vivid Tamil: "Oh, it was beautiful! all a garden like our garden, only bigger, and there were flowers and flowers and flowers!"—here words failed to describe the number, and a comprehensive sweep of the hand served instead. "And our dolls can walk there. They never can down here, poor things! And Jesus plays with our babies there" (the dear little sisters who have gone to the nursery out of sight, but are unforgotten by the children). "He plays with Indraneela—lovely games."

"What games, Bala?" I asked, wondering greatly what she would say. There was a long, thoughtful pause, and Bala looked at me with grave, contented eyes:—

"New games," she said simply.

Bala's opposite is Chellalu. We never made any mistake about her. We never thought her good. Not that she is impossibly bad. She was created for play and for laughter, and very happy babies are not often very wicked; but she is so irrepressible, so hopelessly given up to fun, that her kindergarten teacher, Rukma, smiles a rueful smile at the mention of her name. For to Chellalu the most unreasonable thing you can ask is implicit obedience, which unfortunately is preferred by us to any amount of fun. She will learn to obey, we are not afraid about that; but more than any of our children, her attitude towards this demand has been one of protest and surprise. She thinks it unfair of grown-up people to take advantage of their size in the arbitrary way they do. And when, disgusted with life's dispensations, she condescends to expostulate, her "Ba-a-a-a" is a thing to affright. But this is the wrong side of Chellalu, and not for ever in evidence. The right side is not so depressing.

It is a brilliant morning in late November. The world, all washed and cooled by the rains, has not had time to get hot and tired, and the air has that crystal quality which is the charm of this season in South India. Every wrinkle on the brown trunks of the trees in the compound, every twig and leaf, stands out with a special distinctness of its own, and the mountains in the distance glisten as if made of precious stones.

Suddenly, all unconscious of affinity or contrast, a little person in scarlet comes dancing into the picture, which opens to receive her, for she belongs to it. Her hands are full of Gloriosa lilies, fiery red, terra-cotta, yellow, delicate old-rose and green—such a mingling of colour, but nothing discordant—and the child, waving her spoils above her head, sings at the top of her voice something intended to be the chorus of a kindergarten song:—

Oh, the delight of the glorious light! The joy of the shining blue! Beautiful flowers! wonderful flowers! Oh, I should like to be you!

"But, Chellalu, where did you get them?" for the lilies in the garden are supposed to be safe from attack. Chellalu looks up with frank, brown eyes. "For you!" she says briefly in Tamil; but there is a wealth of forgiveness in the tone as she offers her armful of flowers. Chellalu wonders at grown-up hearts which can harbour unworthy suspicions about blameless little children. As if she would have picked them!

"But, Chellalu, where did you get them?" and still looking grieved and surprised and forgiving, Chellalu explains that yesterday evening the elder sisters went for a walk in the fields, and brought home so many lilies, that after all just claims were met there were still some over—an expressive gesture shows the heap—so Chellalu thought of her Ammal (mother) and went and picked out the best for her. Then by way of emphasis the story is attempted in English: "Very good? Yesh. Naughty? No. Kindergarten room want flowers? No. I" (patting herself approvingly) "very good; yesh." With Chellalu, speech is a mere adjunct to conversation, a sort of footnote to a page of illustration. The illustration is the thing that speaks. So now both Tamil and English are illuminated by vivid gesture of hands, feet, the whole body indeed; curls and even eyelashes play their part, and the final impression produced upon her questioner is one of complete contrition for ever having so misjudged a thing so virtuous.

(Fingers and toes curled in grieved surprise.)

"Did you think I would have done it?"]

But Chellalu wastes no sympathy upon herself. She is accustomed to be believed; and perfectly happy in her mind, casts a keen glance round, for who knows what new delights may be somewhere within reach! "Ah!"—the deep-breathed sigh of content—is always a danger signal where this innocent child is concerned. I turn in time to avert disaster, and Chellalu, finding life dull with me, departs.

Then the little scarlet figure with its crown of careless curls scampers across the sunny space, and dives into the shadow of a tree. There it stays. Something arresting has happened—some skurry of squirrel up the trunk, or dart of lizard, or hurried scramble of insect, under cover out of reach of those terrible eyes. Or better still, something is "playing dead," and the child, fascinated, is waiting for it to resurrect. And then the song about the lilies begins again, only it is all a jumble this time; for Chellalu sings just as it comes, untrammelled by thoughts about sequence or sense, and when she forgets the words she calmly makes them up. And I cannot help thinking that Chellalu is very like her song; here is an intelligible bit, a line or two in order, then a cheerful tumble up, and an irresponsible conclusion. The tune too seems in character—"Speed, bonnie boat, like a bird on the wing"; the swinging old Jacobite air had fitted itself to a nursery song about the brave fire-lilies, and something in its abandon to the happy mood of the moment seems to express the child.

It is not easy to express her. "If you had to describe Chellalu, how would you do it?" I asked my colleague this morning, hoping for illumination. "I would not attempt it! Who would?" she answered helpfully.

"Chellalu! Oh, you need ten pairs of eyes and ten pairs of hands, and even then you could never be sure you had her"—this was her nurse's earliest description. She was six months old then, she is three and three-quarters now; but she is what she was, "only more so."

Before Chellalu had a single tooth she had developed mother-ways, and would comfort distressed babies by thrusting into their open mouths whatever was most convenient. At first this was her own small thumb, which she had once found good herself; but she soon discovered that infants can bite, and after that she offered rattle-handles. Later, she used to stagger from one hammock to another and swing them. And often, before she understood the perfect art of balance, she would find herself, to her surprise, on the floor, as the hammock in its rebound knocked her over. She felt this ungrateful of the baby inside; but she seemed to reflect that it was young and knew no better, for she never retaliated, but picked herself up and began again. These hammocks, which are our South Indian cradles, are long strips of white cotton hung from the roof, and they make delightful swings. Chellalu learned this early, and her nurse's life was a burden to her because of the discovery.

"She could walk before she could stand"—this is another nursery description, and truer than it sounds. Certainly no one ever saw Chellalu learning to walk. She was a baby one day, rapid in unexpected motion, but only on all fours; the next day—or so it seems, looking back—she was everywhere on her two feet. "Now there will be no place where she won't be!" groaned the family, the first time she was seen walking about with an air of having done it all her life. And appalling visions rose of Chellalu standing on the wall of the well looking down, or sitting in the bucket left by some careless water-drawer just on the edge of the wall, or trying to descend by the rope.

Before this date such diversions as the classic Pattycake had been much in favour. Chellalu's Attai (the word here and hereafter signifies Mrs. Walker, "Mother's elder sister") had taught it to her; and whenever and wherever Chellalu saw her Attai, she immediately began to perform "Prick it and nick it" with great enthusiasm. But after she could walk, Chellalu would have nothing more to do with such childish things. "Show us Edward Rajah!" the older children would say; and instead of standing up with a regal dignity and crowning her curls with the appropriate gesture, Chellalu would merely look surprised. They had forgotten. She was not a baby now. Such trifles are for babies.

"PAT-A-CAKE is a thing of the past, but the stage from the highest point of view is still distinctly attractive"; so decided Chellalu, and resolved to devote herself thenceforth to this new and engrossing pursuit. She chose the scene of her first public performance without consulting us. It was the open floor of the church, on a Sunday morning, in the midst of a large congregation. This was how it happened.

Chellalu's Attai, who in those days was unaware of all the painful surprises in store, had taken her to morning service, and allowed her to sit beside her on the mat at the back of the church. All through the first part of the service Chellalu was good; and as the sermon began, she was forgotten. In our church we sit on the floor, men on one side, women and children on the other. A broad aisle is left between, and the Iyer (Mr. Walker), refusing to be boxed up in the usual manner, walks up and down as he preaches. This interested Chellalu.

That morning the sermon was to children, and the subject was "Girdles." The East of this ancient India is the East to which the prophet spoke by parable and picture; and, following that time-worn path, the preacher pictured the parable of Jeremiah's linen girdle: the attention of the people was riveted upon him, and no one noticed what was happening on the mat at the end of the church. Only we, up at the front with all the other children, saw, without being able to stop it, the dreadful pantomime. For Chellalu, wholly absorbed and pleased with this unexpected delight, first stood on the mat and acted the girdle picture; then, growing bolder, advanced out into the open aisle, and, following the preacher's gestures, reproduced them all exactly. It was a moment of tension; but if ever a child had a good angel in attendance, Chellalu has, for something always stops her before the bitter end. I forget what stopped her then; something invisible, and so, doubtless, the angel. But we did not breathe freely till we had her safe at home.

"Whatever is he doing with that black box?"]

Chellalu's visible angel is the gentle Esli, a young convert-helper, of a meek and lowly disposition. At first sight nothing seems more unsuitable, for Chellalu needs a firm hand. But firmness without wisdom would have been disastrous; so as we had not the perfect combination, we chose the less dangerous virtue, and gave the nursery scamp to the gentlest of us all. Sometimes, to tell the whole unromantic truth, we have been afraid less Esli was spilling emotion in vain upon this graceless soul; and we have suggested an exchange of angels—but somehow it has never come to pass. Once we almost did it. For a noise past all bounds called us down to the nursery, and we found the cause of it in a huddled heap in the corner. "Chellalu! what is the matter?" Only the softest of soft sobs, heard in the silence that followed our advent, and one round shoulder heaved, and the curly head went down on the arm in an attitude of woe. Now this is not Chellalu's way at all. Soft sobbing is not in her line; and I turned to the twenty-nine children now prancing about in unholy glee, and they shouted the explanation: "Oh, she is Esli Accal! She was very exceedingly naughty. She would not come when Accal called; she raced round the room so fast that Accal could not catch her, and then she jumped out of her cumasu" (the single small garment worn), "and ran out into the garden! And Esli Accal sat down in a corner and cried. And Chellalu is Esli Accal!"

But the pet opportunity in those glad days was when some freak of manner in friend or visitor suggested a new game. We used to wish, sometimes, that these kind people understood how much pleasure they were giving to the artless babe who was studying them with such interest, while they, all unconscious of their real use, imagined probably she was thinking of nothing more serious than sweets. After an hour in the bungalow, Chellalu would wander off, apparently because she was tired of us, but really because she was full of a new and original idea, and wanted an audience. Once she puzzled the nursery community who had not been visiting the bungalow, by mincing about on pointed toes, with shoulders shrugged like a dancing master in caricature. The babies thought this a very nice game, and for weeks they played it industriously.

Chellalu talked late—she has long ago made up for lost time—but she was never at a loss for an answer to a question which could be answered by action. "Who is in the nursery now?" we asked her one afternoon when she had escaped before the tea-bell, that trumpet of jubilee to the nursery, had rung. She smiled and sat down slowly, and then sighed. Another sigh, and she proceeded to perform her toilet. When the small hands went up to the head with an action of decorously swinging the back hair up and coiling it into a loose knot, and when a spasmodic shake suggested it must be done over again, there was no doubt as to who was in charge. No one but the excellent Pakium, one of our earlier workers, ever did things quite like this. No one else was so ponderous. No one sighed in that middle-aged manner, no one but Pakium. We never could blame Pakium for Chellalu's escape. As well blame a mature cat for the escapades of her kitten. Chellalu, watching for a clue as to her fate, would sigh again profoundly. It was never easy to return her.

We were not sorry when this phase passed into something safer for herself, though perhaps not so charming to the public. Chellalu at two and three-quarters had surgical ambitions. Medical work she considered slow. She liked operations. Her first, so far as we know, was performed upon the unwilling eye of a smaller and weaker sister. "Lie down!" she had commanded, and the patient had lain down. "Open your eyes!" At this point the victim realised what she was in for, and her howls brought deliverance; but not before Chellalu had the agitated baby's head in a firm grip between her knees, and holding the screwed-up eye wide open with one hand, was proceeding to drop in "medicine" with the other. Mercifully the medicine was water.

Thwarted in this direction, Chellalu applied herself to bandaging. She would persuade someone to lend her a finger or a toe; the owner was assured it was sore—very sore. She would then proceed to bandage it to the best of her ability. But all this was mere play. What Chellalu's soul yearned for was a real knife, or even only a needle, provided it would prick and cause red blood to flow. Oh to be allowed to operate properly, as grown-up people do! Chellalu had seen them do it—had seen thorns extracted from little bare feet, and small sores dressed; and it had deeply interested her. The difficulty was, no one would offer a limb. She walked up and down the nursery one morning with a bit of an old milk tin, very jagged and sharp and inviting, and secreted in her curls was a long, bright darning needle; but though she took so much trouble to prepare, no one would give her a chance to perform, and Chellalu was disgusted. Someone who did not know her suggested she should perform on herself. This disgusted her still more. Do doctors perform on themselves!

Chellalu's latest phase introduces the kindergarten. For an educational comrade, perceiving our defects in this direction, furnished a kindergarten for us, and gave us a kind push-off into these pleasant waters; so the little boat sails gaily, and the children at least are content.

Chellalu has never been so keen about this institution as the other babies are. "Do you like the kindergarten?" some one asked her the other day; and she answered with her usual decision: "Yesh. No." We thought she was talking at random, and tested her by questions about things which we knew she liked or disliked. But she was never caught. "Well, then, don't you like the kindergarten?" "Yesh. No." It was evident she knew what she meant, and said it exactly. Bits of it she likes, other bits she thinks might be improved. The trouble is that she has an objection to sitting in the same place for more than a minute at longest. Other babies, steady, mature things of five, are already evolving quite orderly sentences in English—the language in which the kindergarten is partly taught—and we feel they are getting on. Chellalu never stops long enough to evolve anything, and yet she seems to be doing a little. From the first week she has talked all she knew in unabashed fashion. "Good morning very much" was an early production; and it was followed by many oddments forgotten now, but comical in effect at the time, which perhaps may explain the otherwise inexplicable fact that she sometimes learns something.

One only of those early dashes into the unexplored land is remembered, because it enriched us with a new synonym. It was at afternoon tea that a sympathetic Sittie (the word means "Mother's younger sister"), knowing that Chellalu had received something thoroughly well earned, asked her in English: "What did Ammal give you this morning?" Chellalu caught at the one familiar word in this sentence (for the babies learn the names of the flowers in the garden before they are troubled with lesser matters), and she answered brightly: "Morning-glory!" So Morning-glory has become to us an alias for smacks.

This same Morning-glory is the subject of one of the kindergarten songs. For after searching through two or three hundred pages of nursery rhymes, and interviewing many proper kindergarten songs, we found few that belonged to the Indian babies' world; and so we had to make them for ourselves. These songs are about the flowers and the birds and other simple things, and are twittered by the tiniest with at least some intelligence, which at present is as much as we can wish. All the babies sing to the flowers, but it is Chellalu who gives them surprises. One day we saw her standing under a bamboo arch, covered with her favourite Morning-glory. She had two smaller babies with her, one on either side. "Amma! Look!" she called; but italics are inadequate to express the emphasis. "LOOK, Morning—glory—kissing—'chother," and she pointed with eagerness to the nestling little clusters of lilac, growing, as their pretty manner is, close to each other. Then, seizing each of the babies in a fervent and somewhat embarrassing embrace, she hugged and kissed them both; and finally wheeling round on the flowers, addressed them impressively: "For—all—loving—little—Indian—children—want— to—be—like—you."

I DO not know how they will strike the critical public, but the photos are so much better than we dared to expect, that we are grateful and almost satisfied. Of course, they are insipid as compared with the lively originals; but the difficulty was to get them of any truthful sort whatsoever, for the babies regarded the photographer—the kindest and mildest of men—with the gravest suspicion: and the moment he appeared, little faces, all animation before, would stiffen into shyness, and the light would slip out of them, and the naturalness, so that all the camera saw, and therefore all it could show, was a succession of blanks.

Then, too, when our artist friend was with us we were in the grasp of an epidemic of cholera. Morning and evening, and sometimes into the night, we were tending the sick and dying in the village; and in the interval between we had little heart for photographs. But the visit of a real photographer is a rare event in Dohnavur, and we forced ourselves to try to take advantage of it. Remembering our difficulties, we wonder we got anything at all; and we hope that stranger eyes will be kind.

"Do smile, you little Turk!"]

Often when we looked at the pretty little reversed picture in the camera, with its delicate colouring and the grace of movement, we have wished that we could send it as we saw it, all living and true. The photos were taken in the open air; underfoot was soft terra-cotta-coloured sand; overhead, the cloudless blue. In such a setting the baby pictures look their brightest, something very different from these dull copies in sepia. An Oriental scene in print always looks sorry for itself, and quite apologetic. It knows it is almost a farce, and very flat and poor.

Then there were difficulties connected with character. Our photographer was more accustomed to the dignified ways of mountains than to the extremely restless habit of children; and he never could understand why they would not sit for him as the mountains sat, and let him focus them comfortably. The babies looked at things from an opposite point of view, and strongly objected to delays and leisureliness of every description. Sometimes when the focussing process promised to be much prolonged, we put a child we did not wish to photograph in the place of one upon whom we had designs, and then at the last moment exchanged her. But the baby thus beguiled seemed to divine our purpose; and, resenting such ensnarements, would promptly wriggle out of focus. It was like trying to observe some active animalculae under a high power. The microscope is perfect, the creatures are entrapped in a drop of water on the slide; but the game is not won by any means. Sometimes, after spoiling more plates than was convenient, our artist almost gave up in despair; but he never quite gave up, and we owe what we have to his infinite patience.

Pyarie was the most troublesome of these small sitters, though she was old enough to know better. My mother was with us when she came to us, a tiny babe and very delicate. She had loved her and helped to nurse her, and so we wanted a happy photograph for her sake; but nothing was further from Pyarie's intentions, and instead of smiling, she scowled. Our first attempt was in the compound, where a bullock-bandy stood. Pyarie and Vineetha, a little girl of about the same age, were very pleased to climb over the pole and untwist the rope and play see-saw; but when the objectionable camera appeared, they stared at it with aversion, and no amount of coaxing would persuade Pyarie to smile. "Can't you do something to improve her expression?" inquired the photographer, emerging from his black hood; then someone said in desperation: "Do smile, you little Turk!" Vineetha, about whose expression we were not concerned, obediently smiled; but Pyarie looked thunderclouds, and turned her head away. She was caught before she turned, poor dear, so that photograph was a failure.

Once again our kind friend tried. This time he gave her a doll. Pyarie is most motherly. She is usually tender and loving with dolls, and we hoped for a sweet expression. But in this we were disappointed. She accepted the doll—a beautiful thing, with a good constitution and imperturbable temper; and she looked it straight in the face—a rag face painted—smiling as we wanted her to smile. Then she smote it, and she scolded it, and called for a stick and whacked it, and called for a bigger stick and repeated the performance. Finally she stopped, laid the doll upon the step, sat down on it, and smiled. But she was hopelessly out of focus by this time, and it was weary work getting her in. She smiled during the process in a perfectly exasperating manner, but the moment all was ready she suddenly wriggled out; and when invited to go in again, she shook her head decidedly, and pointing to the camera with its glaring glass eye, covered at that moment with its cloth, she remarked, "Naughty! Naughty!" and we had to give her up.

"Perhaps she would be happier in someone's arms," next suggested the long-suffering artist; and so one morning, just after her bath, she was caught up, sweet and smiling, and played with till the peals of merry laughter assured us of an easy victory. But the camera was no sooner seen stalking round to the nursery, than suspicions filled Pyarie's breast. That thing again! And the photograph taken under such circumstances is left to speak for itself. Why did it follow her everywhere? Life, haunted by a camera, was not worth living—in which sentiment some of us heartily concur.

Once an attempt was made when Pyarie and two other little girls were busily playing on the doorstep. Pyarie soon perceived and expressed her opinion about the fraud—for the camera's stealthy approach could not be kept from the children. "Disgusting!" she remarked in explicit young Tamil, and looked disgusted. The photograph which resulted was perfect in detail of little rounded limb and curly head, but it was lamentable as regards expression; so once more our persevering friend tried to catch her unawares. He showed us the result at breakfast in the shape of a negative which we recognised as Pyarie. He seemed very pleased. "Look at the pose!" he said. There was pose certainly, but where was the smile? Pyarie's one idea had evidently been to ward off something or someone; and our artist explained it by saying that in despair of getting her quiet for one second, he had directed his servant to climb an almost overhanging tree, and the child apparently thought he was going to tumble on the top of her, and objected. "I got another of her smiling beautifully, but the plate is cracked," we were told, after the table had admired the pose. That is a way plates have. The one you most want cracks.

Poor little Pyarie; we sometimes fear lest her "pose" should be too true of her. She takes life hardly, and often protests. "I want a birthday!"—this was only yesterday, when everyone was rejoicing over a birthday jubilation. Pyarie alone was sorrowful. She stood by her poor little lonely self, with her head thrown back and her mouth wide open, and her tears ran into her open mouth as she wailed: "Aiyo! Aiyo! (Alas! Alas!) I want a birthday!"

He said. There was pose, certainly, but where was the smile?" (Page 28.)]

But she is such a loving child, so loyal to her own and so unselfish to all younger things, that we hope for her more than we fear. And yet underneath there is a fear; and we ask those who can understand to remember this little one sometimes, for the world is not always kind to its poor little foolish Pyaries.

I am writing in the afternoon, and two little people are playing on the floor. One has a picture-book, and the other is looking eagerly as she turns the pages and questions: "What is it? What is it?" I notice it is always Pyarie who asks the question, and Vineetha who answers it: "It is a cow. It is a cat." "Why don't you let Vineetha ask you what it is?" I suggest; but Pyarie continues as before: "What is it? What is it?" varied by "What colour is it? What shape is it? Who made it?" and the mischief in her eyes (would that our artist could have caught it!) explains the game. It is decidedly better to be teacher than scholar, because suitable questions can cover all ignorance. Pyarie has not been to the kindergarten of late, and has reason to fear Vineetha is somewhat ahead of her; so she ignores my proposals, and continues her safe questions. We sometimes think we shall one night be heard talking in our sleep, and the burden of our conversation will be always—"What is it? What colour is it? What shape is it? Who made it?"