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l it not to any. J.L.S. * * * * * A GENTLEMAN. To tell the reader exactly what class of persons was meant to be designated by the word _gentleman_, is a difficult task. The last time we heard it, was on visiting a stable to look at a horse, when, inquiring for the coachman, his stable-keeper replied, "He has just stepped to the public-house along with another gentleman." The following is the negro's definition of a _gentleman_:--"_Massa make de black man workee--make de horse workee--make de ox workee--make every ting workee, only de hog: he, de hog, no workee; he eat, he drink, he walk about, he go to sleep when he please, he liff like a GENTLEMAN_." * * * * * "VERY BAD." Why are washer-women, busily engaged, like Adam and Eve in Paradise? Because they are _so-apy_ (so happy). Why is a widower, going to be married, like Eau de Cologne? Because he is _re-wiving_. Why is a vine like a soldier? Because it is listed and trained, has _ten-drills_, and shoots. Why is a sailor, when at sea, not a sailor? Because he's _a-board_. Why is a city gentleman, taken poorly in Grosvenor-square, like a recluse? Because he is _sick-westward_ (sequestered.) Why is it better for a man to have two losses than one? Because the first is a loss, and the second is _a-gain_. "If Britannia rules the waves," said a qualmish writing-master, going to Margate last week in a storm, "I wish she'd rule 'em _straighter_."-- _Lit. Gaz._ * * * * * _Printed and Published by J. LIMBIRD, 143, Strand, (near Somerset House,) London; sold by ERNEST FLEISCHER, 626, New Market, Leipsic; and by all Newsmen and Booksellers._ ***END OF THE PROJECT GUTENBERG EBOOK THE MIRROR OF LITERATURE, AMUSEMENT, AND INSTRUCTION, VOL. 12, ISSUE 331, SEPTEMBER 13, 1828*** ******* This file should be named 11320.txt or 11320.zip ******* This and all associated files of various formats will be found in: http://www.gutenberg.net/1/1/3/2/11320 Updated editions will replace the previous one--the old editions will be renamed. Creating the works from public domain print editions means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use p
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