The morning news. [volume] (Savannah, Ga.) 1887-1900, 1895-08-25

" nile the waves so fresh and Tree
Toss my ships upon the sea.
And I know not which are lost.
Buried deeply in the sand;
Neither know 1 which will land
Worn and altered, tempest-toss'd-
kine-though dear has been the cost.
Sailing, sailing. year by year
Some whose value was but small
Now are priced before them all,
Now have grown to be most dear
To my heart Of hearts most dear.
Some on which counted most, <
Deeply laden, went to sea;
But they come not back to me
So I fear me they are lost,
Stranded on some alien coast -.
Could 1 stretch a saving hand
To the ones hold most dear.
] would keep it back in fear;
] would wait for them to land.
Standing, watching on the strant :
For my ships are not all mine;
One by one they came to me,
Sailing slowly Ger the sea;
One by one, in rain or shine,
Find I which are His, which mine
So I know that must wait
Humbly still and patiently
For my ships to come from sea-
One by one, or soon, or late,
Sailing through the Golden Gate.
1t was on one of the broad shaded
streets of Manchester y-the-sea that 1
studied one Of the star specimens of her
kind yesterday afternoon. says a writer in
the New York World. The girl was a
Georgian, think. 1t is only the southern
girls who wear white muslin to perfec-
out, and the SAVIOR faire that comes of
generations of muslin wearing ances-
tresses comes into play grapdly in these
days of the revival of traditions of blue
blooded grandmammas who found favor
in the eyes of Washington or Lafayette
gowned in hlmy white with bright ribbons.
This southern maid. if southern she was,
wore a frock of white dotted Swiss, with
a skirt so wide that every breeze caught
it and flung out its folds like white ban
aer, shimmering and shining back the
smile of the sun. Half inch tucks. edged
with narrow Valenciennes, circled it above
the deep hem and added to the old time
effect. which is the main charm of these
very, new gowns. The bodice was made
with blouse, of course, with a tucked
yoke above it and narrow blue ribbons run
in between the tuckings. The sleeves were
enormous lego -muttons, with blue bows
on the shoulders and blue Wristbands
The stock collar was pale blue. and so
was the sash.
One really expects to hear the average
woman emit a groan, says a writer in
the New York Press. When she either
sits down or rises from her seat, be-
cause the necessary movements are
made so ungracefully, To RISE she
heaWeS herself forward on the chair,
put her hands on her knees, leans for
ward as if stif1y hinged at the hips.
pushes her shoulders up, makes a pause
with red face, and then by main force
begins to straighten the knees and so
push up, still supported in jack-knife
fashion by the grip of the hands. Last
ly, she begins to straighten up the shoul-
ders and by this time may be considered
up
An exaggeration? Let us hope so, but
watch out and you will find that in many
cases it is not. AS to sitting down, such
a woman comes close to the chair,
leans forward to be again singularly
jack-knifed, and with her hands on her
limbs above the knees, she increases the
sharpness of the angle, while at the
same time she brings herself nearer the
chair and overhangs the seat Of it, Then
comes the agonized pause and 'let go"
that, slumps her into the chair and which
one feels sure will jolt out of her some
cultural of relief.
rInstead of this dreadful jerky, on-the-
Neutrality-suspicious. performance, a woman
should gracefully bend from a standing to
a sitting posture, should melt, not coll
lapse, into the EMBEDDING arms of the chair
From being a figure of steadily and light
ly balanced poise on her pretty feet she
should relax and curve into posture of
graceful restfulness. When she rises her
body should seem to be gradually reused,
and then slowly, evenly, without crook or
jerk, should float into erectness. This is
how the graceful woman does 1t. She
stands not too near the chair, one foot
goes back a little till the limb touches the
seat of the chair at the edge and the other
toe is never lost sight of as it peeps from
under the edge of the gown.
Now the back foot takes all the weight
that knee bends and the body is held erect
all the time, though it sways backward
little as the weight shifts. The body is
lowered slowly and steadily, the front
foot slipping outward and adding steadi-
ness. When the figure reaches the seat of
the chair it relaxes gracefully and the
sweeping motion is continued in the sink
ing back of the shoulders till the body is
supported by the back of the chair, when
the head, prettily poised till now, COM
pletes the motion by dropping back and
little to one side. Let the hands fall
idly and the whole figure is in repose.
Watch her as she rises. Head starts
first, shoulders forward next, till the
body is upright on the hips, then on the
back foot the weight is lifted slowly and
evenly in continuance of the motion to
erectness in the chair. The other foot
slips back as the figure rises, till, when
complete erectness is resumed, the weight
rests evenly on both feet. While few
women do these things as badly as in the
Dreadful example here quoted, few do it
Just right, and there's a chance for i'm
provement with nearly all. So practice
1t few times, trying with a high chair
hrst and then with lower and lower ones.
with practice and persistence you will
be able to drop on TO a cushion on the
moor with a move that shall be one I'M
broken blending OF grace on grace, from
upright to reclining ease, and so back
again. You VIII get crooks and things in
your knees and back. but you will be the
more graceful in all motions from the