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pen town with a persistence that would seem petty in its spitefulness if we could be sure that the shots strike near what they are aimed at. So long as the Boers do not violate any laws of civilised warfare nobody has a right to blame them for trying the methods that may seem most likely to bring about the fall of Ladysmith. They have, however, simply wrecked a few houses, disfigured pretty gardens, mutilated public buildings, destroyed private property, and disabled by death or wounds a small percentage of our troops, without producing the smallest effect on the material defences, or weakening the garrison's powers of endurance in any appreciable degree. Such a bombardment day after day for seven weeks would doubtless get on the nerves if we allowed ourselves to think about it too much; but happily the civilians--men and women--who resolved to "stick it out" here rather than accept from their country's enemies the questionable benefits of a comparatively peaceful existence under the white flag at Intombi Spruit have shown a fortitude and cheerfulness that win respect from every soldier. Shelters are provided for them and their children, but they do not always take advantage of these, even when a bugle or whistle from the look-out post warns them that a shell is coming. Ladies still go their daily round of shopping just as they did in the early days of bombardment, indeed more regularly, and with a cool disregard of danger that brave men might envy. Though more than 5000 shells have been thrown within our defensive lines, and a vast number of these into the town itself, only one woman has been wounded so far, and not a single child hit. For all this we have every reason to be thankful. When the sun goes down people who have taken shelter elsewhere during the day return to their homes, and have pleasant social gatherings, from which thoughts of Boer artillery are banished by innocent mirth and music. Walking along the lampless streets, at an hour when camps are silent, one is often attracted by the notes of fresh, young voices, where soft lights glow through open casements, or the singers sit under the vine-traceried verandah of a "stoup," accompanying the melody with guitar or banjo. Occasionally stentorian lungs roar unmelodious music-hall choruses that jar by contrast with sweeter strains, but sentiment prevails, and who can wonder if there are sometimes tears in the voices that sing "Swanee River" and "Home, Sweet H
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