FORE:If Cairness had not slipped and gone sprawling down[Pg 232] at that moment, the fourth bullet would have brought him up short. It sung over him, instead, and splashed against a stone, and when he got to his feet again the eyes had come out from their hiding-place. They were in the head of a very young buck. He had sprung to the top of his rock and was dancing about with defiant hilarity, waving his hands and the Winchester, and grimacing tantalizingly. "Yaw! ya!" he screeched. Cairness discharged his revolver, but the boy whooped once more and was down, dodging around the stone. Cairness dodged after him, wrath in his heart and also a vow to switch the little devil when he should get him. But he did not seem to be getting him.��Let��s see if Mr. Everdail won��t listen to us about that, now.��

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THREE:That was evidently how it was to go into the papers. The officer knew it well enough, but he explained with due solemnity that he was acting under instructions, and was not to follow Indians into the hills. "I am only to camp here to protect the citizens of the valley against possible raids."Sandy, Dick and Larry had left the room by the time he completed his sentence.

TWO:Morning and afternoon Jeff took him up.

TWO:Henry Purcell (b. 1658; d. 1695) produced the bulk of his works in William's reign. He composed the music to "The Tempest," "Dioclesian," "King Arthur," "Don Quixote," "Bonduca," and "Orpheus Britannicus." Many parts of these, and his sonatas, anthems, catches, rounds, glees, etc., are as much enjoyed now as in his own day. The music to Davenant's "Circe," by Banister, of Shadwell's "Psyche," by Lock, and of Dryden's "Albion and Albanius," by Grabut, had increased in England the liking for the lyrical drama; but Purcell's compositions wonderfully strengthened it, and from "King Arthur" may properly be dated the introduction of the English opera. Gay's "Beggar's Opera," six-and-thirty years after, however, was the first complete and avowed opera, and this did not establish that kind of entertainment in England. The wonderful success of this production, which was performed for sixty-two nights (not consecutive), was chiefly derived from the wit and satire of the composition itself, the abundance of popular airs introduced, and the party feeling which it gratified. The airs were selected and adapted by Dr. Pepusch, a German, who settled in London, and became celebrated there. He also furnished the overture, and wrote accompaniments to the airs. Eleven years after, Milton's "Comus" was adapted to the stage by the Rev. Dr. Dalton, with music by Dr. Arne, who afterwards composed the music for "Artaxerxes," and thence derived a high reputation.

THREE:She rose to her feet, standing slender and erect, the roused fawn on one side and the naked savage on the other. And they faced each other, disconcerted, caught mute in the reverberation, indefinite, quivering, of a chord which had been struck somewhere in the depths of that Nature to which we are willing enough to grant the power of causing the string of an instrument to pulse to the singing of its own note, but whose laws of sympathetic vibration we would fain deny beyond material things.��Yes,�� he said. ��And you suspect me. I know you have, ever since the start of this business��

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