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(Excerpt from Peter Faber's Misfortunes: And Other Sketche...)
Excerpt from Peter Faber's Misfortunes: And Other Sketches Still, however, this is a world of' violent contrasts, and of painful? Incongruities. Someof us may laug'h but while we laugh, let us be assured of it) that there are others who are Weeping. It is pleasant all. Abouriyou here, within your brief horizon,.but the distance. May be short to scenes most sadly different. Smiles are on your brow, as you jostle through the street, yet your elbow touches him whose heart is torn with grief. Is there a merry-making in your family - are friends in congregation there with-mirth, and dance, and song? How strange to think that it is-scarce a step to the couch of suffering or the chamber of despair. The air is tremulous, perchance, with sighsand groans; and though our joyous strains overwhelm all sorrow's breathing's, yet the sorrow still exists even when we hear it not. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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(This is a reproduction of a book published before 1923. T...)
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Peter Ploddy, And Other Oddities Joseph Clay Neal Carey & Hart, 1844 American literature; Short stories
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(Excerpt from Peter Faber's Misfortunes: And Other Sketche...)
Excerpt from Peter Faber's Misfortunes: And Other Sketches Still, however, this is a world of' violent contrasts, and of painful? Incongruities. Someof us may laug'h but while we laugh, let us be assured of it) that there are others who are Weeping. It is pleasant all. Abouriyou here, within your brief horizon,.but the distance. May be short to scenes most sadly different. Smiles are on your brow, as you jostle through the street, yet your elbow touches him whose heart is torn with grief. Is there a merry-making in your family - are friends in congregation there with-mirth, and dance, and song? How strange to think that it is-scarce a step to the couch of suffering or the chamber of despair. The air is tremulous, perchance, with sighsand groans; and though our joyous strains overwhelm all sorrow's breathing's, yet the sorrow still exists even when we hear it not. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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(This book was originally published prior to 1923, and rep...)
This book was originally published prior to 1923, and represents a reproduction of an important historical work, maintaining the same format as the original work. While some publishers have opted to apply OCR (optical character recognition) technology to the process, we believe this leads to sub-optimal results (frequent typographical errors, strange characters and confusing formatting) and does not adequately preserve the historical character of the original artifact. We believe this work is culturally important in its original archival form. While we strive to adequately clean and digitally enhance the original work, there are occasionally instances where imperfections such as blurred or missing pages, poor pictures or errant marks may have been introduced due to either the quality of the original work or the scanning process itself. Despite these occasional imperfections, we have brought it back into print as part of our ongoing global book preservation commitment, providing customers with access to the best possible historical reprints. We appreciate your understanding of these occasional imperfections, and sincerely hope you enjoy seeing the book in a format as close as possible to that intended by the original publisher.
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( This work has been selected by scholars as being cultur...)
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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(This work has been selected by scholars as being cultural...)
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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(This book was originally published prior to 1923, and rep...)
This book was originally published prior to 1923, and represents a reproduction of an important historical work, maintaining the same format as the original work. While some publishers have opted to apply OCR (optical character recognition) technology to the process, we believe this leads to sub-optimal results (frequent typographical errors, strange characters and confusing formatting) and does not adequately preserve the historical character of the original artifact. We believe this work is culturally important in its original archival form. While we strive to adequately clean and digitally enhance the original work, there are occasionally instances where imperfections such as blurred or missing pages, poor pictures or errant marks may have been introduced due to either the quality of the original work or the scanning process itself. Despite these occasional imperfections, we have brought it back into print as part of our ongoing global book preservation commitment, providing customers with access to the best possible historical reprints. We appreciate your understanding of these occasional imperfections, and sincerely hope you enjoy seeing the book in a format as close as possible to that intended by the original publisher.
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Joseph Clay Neal was born on February 3, 1807 in Greenland, New Hampshire, United States. He was the only son of the Reverend James A. Neal and Christina (Palmer) Neal. The father had been principal of a school for girls in Philadelphia, but was compelled by failing health to live in the country, where he served as a Congregational minister. Upon his death in 1809 his widow returned to Philadelphia, and there her son grew to manhood.
After the discovery of the anthracite coal fields near Pottsville, he spent some time in that vicinity, but returned to Philadelphia in 1831 to engage in newspaper work. The Pennsylvanian, a Democratic daily newspaper established in 1832, attracted him, and he soon became its editor.
In 1836, with Morton McMichael and Louis A. Godey, he established the Saturday News and Literary Gazette, later Neal's Saturday Gazette and Lady's Literary Museum, of which he was editor until his death.
In 1841-42 he visited Europe and Africa in the interest of his health.
His first humorous sketches, published under the title of "City Worthies, " appeared in the Pennsylvanian. The "worthies" that he depicted were the idlers, the spendthrifts, the pretenders to fashion, and generally those who were the victims of the minor follies and difficulties of city life.
In 1838 Neal published eighteen of them in Charcoal Sketches: or Scenes in a Metropolis, with illustrations by David Claypoole Johnston. They passed through six editions in four years and were reprinted in the second volume of The Pic Nic Papers, edited by Charles Dickens. Another collection, In Town and About, followed in 1843, and Peter Ploddy, and Other Oddities came in 1844. After Neal's death his widow published Charcoal Sketches: Second Series (1848). Another posthumous volume, The Misfortunes of Peter Faber, and Other Sketches, appeared in 1856, and as late as 1865 forty-six of his sketches were reprinted in Charcoal Sketches: Three Books Complete in One.
An abundant geniality is the pervading quality in his mildly satirical portraits. Their similarity to the early work of Dickens is obvious, but unlike Dickens, Neal coined no memorable phrases and created no memorable characters.
His humor lacked substance and originality. His popularity, considerable in his day, waned as the Civil War approached, and in the generation that followed him--the generation of Artemus Ward, Josh Billings, Petroleum V. Nasby, and Mark Twain--his fame was eclipsed by a more vigorous and original humor, American in background and spirit.
(This book was originally published prior to 1923, and rep...)
(This book was originally published prior to 1923, and rep...)
(Excerpt from Peter Faber's Misfortunes: And Other Sketche...)
(Excerpt from Peter Faber's Misfortunes: And Other Sketche...)
( This work has been selected by scholars as being cultur...)
( This work has been selected by scholars as being cultur...)
(This work has been selected by scholars as being cultural...)
(This is a reproduction of a book published before 1923. T...)
As a political writer at a time when violent partisanship gave rise to vituperation and abuse, Neal was distinguished for his mild, urbane, and courteous attitude towards his political opponents. He met them with argument, or turned aside their shafts with pleasant irony and grotesque humor. But it was not as a political writer that he was best known.
He married Emily Bradley of Hudson, New York in December 1846.
