more vividly the special and unexpected disturbances which are suddenly sprung upon the restless listener. There are a thousand pokerish noises that no one can account for, which excite the nerves to acute watchfulness.

It is still early, and one is beginning to be lulled by the frogs and the crickets, when the faint rattle of a drum is heard,—just a few preliminary taps. But the soul takes alarm, and well it may, for a roll follows, and then a rub-a-dub-dub, and the farmer's boy who is handling the sticks and pounding the distended skin in a neighboring horse-shed begins to pour out his patriotism in that unending repetition of rub-a-dub-dub which is supposed to represent love of country in the young. When the boy is tired out and quits the field, the faithful watch-dog opens out upon the stilly night. He is the guardian of his master's slumbers. The howls of the faithful creature are answered by barks and yelps from all the farmhouses for a mile around, and exceedingly poor barking it usually is, until all the serenity of the night is torn to shreds. This is, however, only the opening of the orchestra. The cocks wake up if there is the faintest moonshine and begin an antiphonal service between responsive barn-yards. It is not the clear clarion of chanticleer that is heard in the morn of English poetry, but a harsh chorus of cracked voices, hoarse and abortive attempts, squawks of young experimenters, and some indescribable thing besides, for I believe even the hens crow in these days. Distracting as all this is, however, happy is the man who does not hear a goat lamenting in the night. The goat is the most exasperating of the animal creation. He cries like a deserted baby, but he does it without any regularity. One can accustom himself to any expression of suffering that is regular. The annoyance of the goat is in the dreadful waiting for the uncertain sound of the next wavering bleat. It is the fearful expectation of that, mingled with the faint hope that the last was the last, that aggravates the tossing listener until he has murder in his heart. He longs for daylight, hoping that the voices of the night will then cease, and that sleep will come with the blessed morning. But he has forgotten the birds, who at the first streak of gray in the east have assembled in the trees near his chamber-window, and keep up for an hour the most rasping dissonance,—an orchestra in which each artist is tuning his instrument, setting it in a different key and to play a different tune: each bird recalls a different tune, and none sings "Annie Laurie,"—to pervert Bayard Taylor's song.

Give us the quiet of a city on the night before a journey. As we mounted skyward in our hotel, and went to bed in a serene altitude, we congratulated ourselves upon a reposeful night. It began well. But as we sank into the first doze, we were startled by a sudden crash. Was it an earthquake, or another fire? Were the neighboring buildings all tumbling in upon us, or had a bomb fallen into the neighboring crockery-store? It was the suddenness of the onset that startled us, for we soon perceived that it began with the clash of cymbals, the pounding of drums, and the blaring of dreadful brass. It was somebody's idea of music. It opened without warning. The men composing the band of brass must have stolen silently into the alley about the sleeping hotel, and burst into the clamor of a rattling quickstep, on purpose. The horrible sound thus suddenly let loose had no chance of escape; it bounded back from wall to wall, like the clapping of boards in a tunnel, rattling windows and stunning all cars, in a vain attempt to get out over the roofs. But such music does not go up. What could have been the intention of this assault we could not conjecture. It was a time of profound peace through the country; we had ordered no spontaneous serenade, if it was a serenade. Perhaps the Boston bands have that habit of going into an alley and disciplining their nerves by letting out a tune too big for the alley, and taking the shock of its reverberation. It may be well enough for the band, but many a poor sinner in the hotel that night must have thought the judgment day had sprung upon him. Perhaps the band had some remorse, for by and by it leaked out of the alley, in humble, apologetic retreat, as if somebody had thrown something at it from the sixth-story window, softly breathing as it retired the notes of "Fair Harvard."

The band had scarcely departed for some other haunt of slumber and weariness, when the notes of singing floated up that prolific alley, like the sweet tenor voice of one bewailing the prohibitory movement; and for an hour or more a succession of young bacchanals, who were evidently wandering about in search of the Maine Law, lifted up their voices in song. Boston seems to be full of good singers; but they will ruin their voices by this night exercise, and so the city will cease to be attractive to travelers who would like to sleep there. But this entertainment did not last the night out.

It stopped just before the hotel porter began to come around to rouse the travelers who had said the night before that they wanted to be awakened. In all well-regulated hotels this process begins at two o'clock and keeps up till seven. If the porter is at all faithful, he wakes up everybody in the house; if he is a shirk, he only rouses the wrong people. We treated the pounding of the porter on our door with silent contempt. At the next door he had better luck. Pound, pound. An angry voice, "What do you want?"

"Time to take the train, sir."

"Not going to take any train."

"Ain't your name Smith?"

"Yes."

"Well, Smith"—

"I left no order to be called." (Indistinct grumbling from Smith's room.)

Porter is heard shuffling slowly off down the passage. In a little while he returns to Smith's door, evidently not satisfied in his mind. Rap, rap, rap!

"Well, what now?"

"What's your initials? A. T.; clear out!"

And the porter shambles away again in his slippers, grumbling something about a mistake. The idea of waking a man up in the middle of the night to ask him his "initials" was ridiculous enough to banish sleep for another hour. A person named Smith, when he travels, should leave his initials outside the door with his boots.

Refreshed by this reposeful night, and eager to exchange the stagnation of the shore for the tumult of the ocean, we departed next morning for Baddeck by the most direct route. This we found, by diligent study of fascinating prospectuses of travel, to be by the boats of the International Steamship Company; and when, at eight o'clock in the morning, we stepped aboard one of them from Commercial Wharf, we felt that half our journey and the most perplexing part of it was accomplished. We had put ourselves upon a great line of travel, and had only to resign ourselves to its flow in order to reach the desired haven. The agent at the wharf assured us that it was not necessary to buy through tickets to Baddeck,—he spoke of it as if it were as easy a place to find as Swampscott,—it was a conspicuous name on the cards of the company, we should go right on from St. John without difficulty. The easy familiarity of this official with Baddeck, in short, made us ashamed to exhibit any anxiety about its situation or the means of approach to it. Subsequent experience led us to believe that the only man in the world, out of Baddeck, who knew anything about it lives in Boston, and sells tickets to it, or rather towards it.

There is no moment of delight in any pilgrimage like the beginning of it, when the traveler is settled simply as to his destination, and commits himself to his unknown fate and all the anticipations of adventure before him. We experienced this pleasure as we ascended to the deck of the steamboat and snuffed the fresh air of Boston Harbor. What a beautiful harbor it is, everybody says, with its irregularly indented shores and its islands. Being strangers, we want to know the names of the islands, and to have Fort Warren, which has a national reputation,