ht see the king raise his eyes to heaven, and lay his hand
protestingly on his heart; if he would give twenty francs, the king
would sing the Marseillaise. If the foreigner gave five francs, they
raised a loud cheering under the king's windows, and His Majesty
appeared on the terrace, bowed, and retired. If ten francs, they
shouted still louder, and gesticulated as if they had been possessed,
when the king appeared, who then, as a sign of silent emotion, raised
his eyes to heaven and laid his hand on his heart. English visitors,
however, would sometimes spend as much as twenty francs, and then the
enthusiasm mounted to the highest pitch; no sooner did the king
appear on the terrace than the Marseillaise was struck up and roared
out frightfully, until Louis Philippe, perhaps only for the sake of
putting an end to the singing, bowed, laid his hand on his heart, and
joined in the Marseillaise. Whether, as is asserted, he beat time
with his foot, I cannot say.'"

One more quotation, and it must be our last:

"Oh the women! We must forgive them much, for they love much--and
many. Their hate is properly only love turned inside out. Sometimes
they attribute some delinquency to us, because they think they can in
this way gratify another man. When they write, they have always one
eye on the paper and the other on a man; and this is true of all
authoresses, except the Countess Hahn-Hahn, who has only one eye."

V. THE NATURAL HISTORY OF GERMAN LIFE. {141}

It is an interesting branch of psychological observation to note the
images that are habitually associated with abstract or collective
terms--what may be called the picture-writing of the mind, which it
carries on concurrently with the more subtle symbolism of language.
Perhaps the fixity or variety of these associated images would furnish a
tolerably fair test of the amount of concrete knowledge and experience
which a given word represents, in the minds of two persons who use it
with equal familiarity. The word _railways_, for example, will probably
call up, in the mind of a man who is not highly locomotive, the image
either of a "Bradshaw," or of the station with which he is most familiar,
or of an indefinite length of tram-road; he will alternate between these
three images, which represent his stock of concrete acquaintance with
railways. But suppose a man to have had successiv