24 Apr 1878
Page 1
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This newspaper page contains 13 articles. Subscribers can read the full text of each article.
Newspaper
Freeport Journal
Location
Freeport, Illinois, United States of America
Date
Apr 24, 1878
Page
1
A fragmentary poem narrates a dreary scene where a writer seeks credit opposite a title debit for two dollars more. The speaker, startled by a intruder, recalls a comic chase and the chorus of boys cheering. The tone mimics a quirky parliamentary verse or comic street-ballad from a bygone era.
An eighteen year old heiress learns her family finances are ruined after her mother's death. With her suitor Mr Smallwood, a grave, trusted adviser, she marries him for security. A charismatic suitor Paul Diverell tests their marriage, but truth and fidelity prevail as the husband reveals his love and the couple rekindle trust.
A fragment from a Springfield Journal column recounts letters by Aunt Becca lampooning Illinois auditor James Shields in 1842. It reveals Miss Mary Todd as the essayist behind Lost Townships satire, the duel that never happened, and public reaction to the humorous scandal. The item ends with a mock instruction exercise about composing and reading satirical papers.
Peter Henderson describes a winter method in the Agriculturist for propaga tion of geraniums using unripened shoots left to hang by bark. Cutting forms a callus in eight to twelve days, then is potted. roots appear in another eight to twelve days with less shading and watering. He reports propagating about 10 000 tricolor plants last fall with under one percent loss versus fifty percent with common methods, and notes applicability to abutilon begonia carnation cactus lantana oleander using young shoots.
A Detroit Free Press correspondent describes two children’s parlor games Gifts and Consequences. In Gifts players sit in a row while one girl whispers a bizarre gift to each, followed by another whispering the instructed action. After all participate, each explains their gift and command. In Consequences, players split letter paper into two strips and record actions, yielding humorous results for adults and kids alike.
A tale of a Scotch elder in New York who clung to the old Psalms while the church moved to Psalms and Hymns in Metre. It recounts his stubborn stand, the choir’s response, and his eventual shift to modern hymnody, with broader notes on shade trees and city planting guidance from Washington DC.
Ingersoll argues for equal rights for women and opposes male dominance in the home. He extols marriage as sacred but criticizes aristocratic attitudes, promotes a democratic family, and favors simple, loving domestic life over power or wealth. He emphasizes happiness through love and mutual respect.
The sermon speaks of Christ as the true clothing that covers nakedness and imperfection. Believers are urged to put on the white robe of faith, appearing before God beautified with Christ's comeliness and found in Him, with their own flaws hidden or exchanged for heavenly beauty.
The passage recalls how songs from a mother’s singing and old hymns awaken childhood memories. In busy days and urban life, simple melodies return, reviving scenes of schoolyards, parks, and family moments that lift spirits and inspire courage for work and home. Cultivate singing in the family.
The piece laments how extended families drift apart as members grow older and busy, with letters becoming rare. It urges sons to write home, noting the heartache caused by neglect and the joy a simple message can bring to loved ones left behind.
A Wisconsin reader notes how early Boston births influence self-awareness. A ten year old girl waters a lawn in a Wet city. A gate dialogue with a curious exchange shows Mrs W and Mr M names, with a polite clerk-like reply as the girl continues watering flowers.
A coulier lad returns home to dinner and questions his mother about the beef kept among the dairy. Provident explains the origin, while the mother remarks on his modern acquaintance and Dutch parlance.
A brief fragment cites Sonia with Happiness as the union of ows with God, reflecting a Pascalian meditative token on faith and inner unity. The line suggests a philosophical or rhetorical context rather than a narrative event or report.
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