1886 “At the Sign of the Ship”

The opening lines, topics, and poems printed in Lang’s 1886 “At the Sign of the Ship” articles in Longman’s Magazine are listed below. If you prefer to read Lang’s prose rather than a bald list of topics, selected quotations from the 1886 “Ship” are available here.

January 1886 [Signed ANDREW LANG.]

Opening poem:


What Men collect, what Men debate,
What Bain has bought, or Christie sold,
Whatever serves to illustrate
The Fashions of the Days of Old,
How Cambridge pulled, how Oxford bowled,
Wild Lore of races white or black,
Of these shall many a tale be told
In this our Stall of Bric-à-brac!

Strange wrecks from rarest Books that Fate
Hath hardly saved from Moth and Mould;
Quaint traces of manners, old or late,
Of Cloth of Frieze, and Cloth of Gold,
Faint echoes that the Ages cold
To our warm Age send ringing back,
We gather all, we all enfold
In this our Stall of Bric-à-brac.

Tales of the Church, and of the State,
Of how men prayed—and how they polled—
We tell; and talk of Flies and Bait,
And ancient Missals golden-scrolled;
And here, perchance, shall songs be trolled—
Of holidays, when work is slack—
We shall do everything—but scold
In this our Stall of Bric-à-brac


Then come, ye merry Buyers bold,
What is’t ye seek, what is’t ye lack
We’ve many wares, and manifold,
In this our Stall of Bric-à-brac!


  • Ballade Introductory (317)
  • The origin of the word Boss (318)
  • Arm-pitting (cutting off a dead man’s extremities and slinging them under his arms with “a cord fastened round the neck”) (318–19)
  • “The Paradise of Progress” [a poem by May Kendall] (319–20)
  • Where is the body of Molière? (320–21)
  • Whether the American phrase “’to give a person away,’ to ‘give yourself away,’ meaning to reveal your own or another’s secret” is of provincial English origin (as an introduction to how to tell a story) (321)
  • How to find a plot for a novel, discussed in light of M. Boisgobey’s La Voilette Bleue and its absurd duel in Notre Dame: “He seems first to imagine a striking and highly improbable situation. Then he ‘writes up to it.’” (321–22)
  • Collaborations in literature (321–22)
  • Cravats (323–24)
  • “At the Sign of the Lyre” by Austin Dobson (324)
  • Whether John Chalkhill, the author of Thealma and Clearchus was a real person or Izaak Walton, who wrote the preface to the poem (324–25)
  • Water of Time for Passion of the Heart [a recipe in A Queen’s Delight, 1668] and “the poetry of cookery books” (325)

Poems printed in full:[1]

  • Ballade Introductory
  • “The Paradise of Progress” [a poem by May Kendall]
  • “At the Sign of the Lyre” by Austin Dobson (324)

[1] Here and elsewhere, I give attribution when Lang does. If no attribution is given, I usually assume the poem is by Lang himself.

See Selected Quotations from Lang’s 1886 “At the Sign of the Ship.”

February 1886 [Signed A. LANG]

Opening line: “The great recent event for lovers of letters, among so many great events for politicians and patriots, has been the publication of Lord Tennyson’s Tiresias.” (439)


  • The publication of Lord Tennyson’s Tiresias (439)
  • “Ballade for the Laureate” (440)
  • Lang’s reaction to Dr. Jekyll and Mr. Hyde and the novella’s basis in a dream (and the probability of other writers also having dream experiences that affected their writing) (441–42)
  • Bibliophile Jacob (Paul Lacroix)’s books coming to auction and being worth very little: “his collection was, indeed, only an assortment of literary tools . . . he had scarcely any of the rich and rare books which he deserved” (442–43)
  • The moral unworthiness of so many of the ‘English Worthies,’ according to the editor of that series (443–44)
  • Why do people throw rice at weddings? (444)
  • On the scholarly but tedious habit of writing words from other languages accurately in English [Qur’ân instead of Koran, sipâhî instead of sepoy, etc.] (444–45)
  • Mark Twain’s fiftieth birthday, “his latest book, ‘Huckleberry Finn’ shows “his genius is still young” (445)
  • “For Mark Twain” [a poem] (445–46)
  • Solar myths (Lang describes an interesting new myth about the sun that Max Müller could have used as evidence—even though Lang does not agree with Müller) (446–47)
  • A bargain at Christie’s: “a full-length portrait of a little Princess of the Valois Court—a child of four or five” for five pounds (447)
  • Thealma and Clearchus [revisited from last month] (447)
  • The term “Mugwump” and its different uses in America and England and original comes from “the Algonkin ‘Mugquomp,’ a great man, a leader’” (447–48)

Poems printed in full:
“Ballade for the Laureate” [“an accommodated paraphrase” of M. Theodore de Banville’s Poem]
“For Mark Twain” (445–46)

March 1886 [No signature. Nor are any subscriptions to “The Donna” listed at the bottom of the “Ship” article, as they usually are.]

Opening line: “One of Henri Murger’s heroes hired a man to waken him every morning, tell him what the weather was like, and ‘what Government we are living under.’ Without being a prophet, no man can tell what Government we shall be under when this talk is published, but it is certain that Lord Salisbury wished to do something for International Copyright. Matters cannot be much worse than they are” (551)


  • International Copyright with America: Lang indignant with a critic in The Nation who accuses British romancers of ”getting money under false pretences”; compares to pirate complaining about low quality of goods on the ship he plunders (551–52)
  • An American author’s idea of giving authors royalties from stamps sold and affixed to books a “Protected Author’s Copyright, with Free Trade Competition” (552–53)
  • “Mark Twain’s endeavours to prove that cheap foreign books are bad for American manners and American morals” (553)
  • Starting from Longman’s readers charity to dock workers, Lang asks whether it is better to linger on the docks, hungry, or emigrate to Oceana. (553–54) [Longman’s had sponsored a food cart, the “Donna,” for poor dock workers, since 1883. The names of donors, and the amounts, were printed in the magazine.]
  • Writers on bibliography shouldn’t be forced to answer inquiries about old worthless books: the British Museum’s Brunet’s “Manuel” or Willems’s “Les Elzevier” is a better resource for finding the book’s value (or lack thereof) (554)
  • “Commendatory Verses for the Catalogue of Mr. Coombes, of New York . . . . lines . . . supposed to have been found on the fly-leaf of Florio’s ‘Montaigne,’ in the Rowfant Library” (554–55)
  • Mr. Locker’s Catalogue to be published, the Rowfant Catalogue—Lang will discuss these later (555)
  • “The Rowfant Books. Ballade en Guise de Rondeau.” (555–56)
  • Croaking Trout (discussion started after reading “the volume on Salmon and Trout, in the Badminton Library (i.102)” (556–57)
  • Wax reproduction of the bust of Lille in Mr. Obach’s galleries (557)
  • “The Lille Bust” (557)

April 1886 [Signed ANDREW LANG.]

Opening Lines: “Since the Redistribution of Property was made by the mob on pantomime first principles, since watches were thrown at carriage windows, and bronzes employed to break china, and boots caste at bottles, and bottles hurled at jewellers, the general interest in the Social Question has by no means diminished. The remedy of emigration has been proposed, and it should be plain to anyone not biased by class-hatred that emigration has always been the one natural and manly cure for overcrowding” (658)


  • Emigration the solution to poverty, but emigrants can’t be sent out untrained (658)
  • In the past colonies were sent out ready-made, founded a city; Lang thinks these were on the whole successful (658–59)
  • “the idealist’s sketch of feasible emigration”: capable skilled laborers, equipment, medical men, “a few men of energy, property, and position,” “a practicable site, hard by a river, and with a good title, would need to be procured from one or the other of the colonies” (659)
  • “Ballade of the Southern Cross” (659–60)
  • Oxford Society for Psychical Research has dissolved; Lang would like the parent Society for Psychical Research to investigate “the psychical condition of converts,” and discusses the visions of “early Christian catechumens” (660)
  • Are these visions ‘purely subjective’? Lang gives examples across time and space, comparing St. Anthony’s visions with Indian Puranas, Aztec ascetic, and Zulus, South American Indians, and Wesley house spirit-rapping.
  • Recommends “Kalee’s Shrine” (Grant Allen and Miss May Cotes” “I have received so much enjoyment from a little shilling story, ‘Kalee’s Shrine,’ that a small but friendly puff thereof seems the proper expression of a grateful nature” (662–63)
  • Mr. Howell’s in Harper’s requests “a meteorologico-literary Bureau” to forecast trends in literature (663)
  • “Ballade of Truisms” (663–64)
  • “A Legend” (poem of a woman who “beckled” [‘tap[ped] hurriedly with cruches,’ or a stick, like the blind man, Pew, in ‘Treasure Island.’”]: a “legend, which I found in a place where no one is likely to meet it, in the back numbers of a periodical absolutely unread during its brief, fitful, but unflinchingly Tory existence” (664–65)

Poems printed in full:

  • “Ballade of the Southern Cross” (659–60)
  • “Ballade of Truisms” (663–64), printed “by the author’s permission, some lines by a poet retired from business, and abandoned to prose” (663)
  • “A Legend” (665) from “the back numbers of a periodical absolutely unread during its brief, fitful, but unflinchingly Tory existence” (664)

May 1886

[No signature, in this case, perhaps because the page is very cramped, with hardly any space between the ending poem, the list of contributors to “The ‘Donna’” for dockworkers, and the “Notice to Correspondents.”]

Opening Line: In an age so vexed by the problem of poverty, and so expert in the Historic Method, it seems strange that no one writes a History of Property, and examines the remedies proposed in the past.” (105)


  • The history of property, with “the remedies proposed or attempted in the past” unwritten (105)
  • Aristotle thought all remedies had ‘been tried, not once, but many times’, “three acres, with or without a cow,” “repartition of landed property . . . a favourite party cry in ancient Greece, and we all know how those advanced Liberals, the Gracchi, fared and failed in Rome” (105)
  • Recommends Members of Parliament take a look at Jowett’s translation of “the ancient anti-communist” Aristotle’s Politics and what he had “to say for himself, and against Comrade Plato” (105). Lang agrees with Aristotle and disagrees with Comrade Karl Marx, and Comrade Champion, and all the Comrades” (106)
  • Jowett shows that Aristotle was “not the mere brutal economic Philistine, who bluffly remarks that equality is impossible, and that all experiments in that direction must be put down by force. He ‘deigns to think about the miserable earnings of the poor; he sympathises with them in their indignation at the extortions which are practiced on them; he is aware how much harm may be done them by indiscriminate charity. . . he would give them, not doles, but the means of stocking a shop or purchasing a small farm.’” (106).
  • Lang not impressed with Aristotle’s remedies for getting the money to provide property for the poor [from the public revenues, from ‘sending the poor into their dependent towns, where they grow rich,’ from getting ‘property confiscated in the Law Courts, in order to please the people’”]: “It is manifest that Aristotle was a great deal more clever at criticising the social theories of other people than at inventing reforms of his own which will hold water” (107)
  • Recommends The History of the Chichimecs, which “contain[s] an account of Mexican dealings with Poverty and Property before the invasion of Cortes” (107)
  • Lang details anecdotes from the above about King Netzahualcoyotzin’s dealings with the poor. “It will be observed that this monarch, though he had an excellent heart, was no more successful than Aristotle in devising any practical means of coping with poverty. His experiments seem worth metnioning, as Ixtlilochitl is an authro not very widely read by students of economical questions (107–108).
  • “Most people of letters” are reading “Mrs. Humphrey Wards’s most admirable translation” or the original of M. Amiel of Geneva’s Diary. Amiel “a failure who was ‘in comfortable circumstances’” (108).
  • “Failure” (Poem by May Kendall), recommends self-centered poet who is obsessed with the grandeur of his/her failure go to Whitechapel where s/he “will not meet / One happy or one careless face . . . . . “They live their wasted lives, and die, / Nor much their destiny bewail, / While you to all the world must cry: / ‘Alas, but see how I can fail!” (109)
  • Lang argues for some environmental protection, though it is “an interference with the ancient license of free fishing,” as, otherwise “the poachers will soon leave no trout at all” (111). Recommends Angling Associations among working men, “with an almost nominal subscription, say half-a-crown a year.” Speaks against those who dislike the preserving of trout streams.

Poems printed in full:
“Failure,” signed M.K. [May Kendall] (109–10)
“April on Tweed.” (112)

June 1886 [Signed ANDREW LANG.]

Opening line: “‘What does the People think?’ It is a question of the very highest importance in our new Democracy, though perhaps ‘What ought the People to think?’ and ‘How are they to be brought to think it?’ are questions more important still” (218).


  • What the people think [aside: asking omnibus drivers not the best way to find out] about the pictures of the year (218)
  • Discusses Mr. Reid, the habit of painters of either seeing the world “through coloured glass or in a tinted mirror” [the latter common among the French, as Ruskin criticized], dislikes the portrait of Joan of Arc, “Mr. Orchardson, again, sees more yellow than the general public is privileged to behold in nature, just as Turner did near the close of his career. Mr Pettie sees things red, more or less, and Mr. Herbert . . . finds them dove colour. Lionardo saw things black, and Rembrant saw them brown, and several painters see more grass-green, a most unpaintable hue, than seems strictly natural” (219). Praises Mr. Corbett, Mr. Farquharson, Mr. Carter, Mr. Shannon, Mr. Britten, Mr. Menpes, Mis Anna Alma-Tadema. Sculpture “has revived”: Mr. Gilbert and Mr. Onsolw Ford praised.
  • Literature not flourishing as well as painting and sculpture; barren and platitude-full, perhaps one exception “Galeazzo: A Venetian Episode” by Percy G. Pinkerton , almost all poems about Venice, which “seems poor matter for poems, and yet there is great charm and skill in Mr. Pinkerton’s landscapes in rhyme,” two examples quoted, compared to also-admired nature sketches in “Miss Mary Robinson’s tiny volume, ‘An Italian Garden’” (219–20)
  • Criticism follows a recipe which “complain[s] of the work under review, because it is not something else, in which case, ah then, it would be excellent” (220–21)
  • Convinced by Mr. Halford, the “author of ‘Floating Flies, and how to Dress them’” had convinced Lang that “no mortal can ever be a dry fly-fisher” (221)
  • Lang’s misfortune in buying “The Angler’s Delight,’ with the title-page of the Hackney River, and the title-page of the Hackney River without the treatise on that subject. . . . Has any reader of LONGMAN’S MAGAZINE got the Hackney River tract, with the title-page of ‘The Angler’s Delight’? If so, a perfect copy may be made out of these scattered fragments, and we can toss for its possession. My copy is marked ‘Unique with this title. £8 15.’ Unique indeed, but none the more desirable” (222)
  • Pawnee Bill’s remarks on Osages: “According to Pawnee Bill . . . they think their dead cannot rest quietly unless a scalp is laid on the grave.” (221)
  • Will not offer his own verse in an article in which he’s criticized the current state of modern poetry, but will quote some of Tennyson’s previously unpublished work, “The Talking Oak” (223)
  • Mr. Locker’s catalogue and “the number of relics of men of letters which it contains”: “Even the crowd of Shaksperian quartos, valuable and interesting as they are, can hardly rival the manuscript corrections by authors dead and gone”; some of the books contain handwritten verse, corrections, marginalia. Some are unique copies of otherwise lost editions.
  • Bookworms, like people, prefer dark-colored end papers (at least in Peru) “and the worm is likely to benefit by the coincidence between his tastes and those of men and women” (224)

July 1886 [Signed ANDREW LANG.]

Opening lines: “LONGMAN’S MAGAZINE this month contains a detached page, an advertisement, if you please, or a request, or an appeal. Everyone who has read ‘All Sorts and Conditions of Men’ is asked to try to make that pretty dream come through the Gate of Horn, instead of the Ivory Gate. Not many novels ‘with a purpose’ do anything toward achieving their unæstethic aim, but Mr. Besant’s novel ahs already gone very near to endowing East London with a Palace of Pleasure. That was what his heroine succeeded in doing in the romance; that, we hope, is what will be accomplished in reality” (330).


  • “Thanks to the Beumont Fund, and to the exertions of many rich people, and of still more self-denying people who are far from rich,” funds obtained to really begin the East London Palace of Pleasure described in Walter Besant’s novel; Lang enlarges on the value of these scheme. (330–31)
  • Lang agrees with an angler who believes Regent’s Park, Hyde Park, and Battersea Park should be stocked with fish: “There may be difficulties not obvious to him who merely glances at the topic; but if such difficulties are not insuperable, the cheap delight of nations might be greatly increased without any revolutionary legislation” (331–32)
  • M. Zola on la crosse in a novel that Lang purposely leaves nameless (332–33)
  • the old owners of our books
  • “Ghosts in the Library” (333–35)
  • Dr. Brinsley Nicholson’s new edition of Reginald Scot’s Discovery of Witchcraft (1584), recommended (335–36)

Poems printed in full:

  • “Ghosts in the Library” (333–35)

August 1886  [Signed ANDREW LANG]

Opening line: “Mr. Stevenson’s new book [Kidnapped][1]—which these eyes have been privileged to see in proof—is in some ways his best.” (454)


  • Stevenson’s Kidnapped (454–55)
  • The future of the British novel [a cool topic for a hot month] (and the fact that novel writing is not very remunerative for authors)
  • Authors in France have more success; novels are cheaper and in one volume; Mudie’s circulating library “is at the bottom of our English woes” (456) (455–57)
  • Novels also often don’t sell because “as a rule, novels are not very well worth buying” (457)
  • The author who succeeds once is in a very unenviable position because of so many voices around him predicting his future failure or accusing him of plagiarism. [Lang genders this author as male and, from the dates, appears to be thinking of Haggard, though Haggard is not mentioned by name.] (457–58)
  • Many charges brought against Molière, much gossip about him printed and reprinted; Lang discusses the preface by Donneau de Vise in La Cocue Imaginaire (458–59)
  • “How long may a human being live in perfect possession of his faculties and powers for good or evil?”

[1] first published serially in Young Folks (May–July 1886)

September 1886 [Signed ANDREW LANG]

Opening line: “The ‘History of Buns’ is still to be written.” (565)


  • The History and Etymology of buns; M. Gaidoz’s treatise on sacred buns and cakes and how alphabet cakes used in education
  • On nations’ habits of describing citizens of other nations in less than complimentary terms (sayings, myths, and other examples given)
  • A 1793 treaty with ‘The Six Nations of North America’ which “traces the title back, as will be observed, to Adam” (567–68)
  • Lang’s inability to find out information about Miss Benedetta Ramus, whose mezzotint proof recently sold at Sotheby’s (569)
  • “To Lady Day (née Benedetta Ramus” (569)
  • Then notes that he did find out something out about Sir John Day, from “a kind antiquary” (570–71)
  • superstitions of the stage (571–72)

Poems printed in full:

“To Lady Day (née Benedetta Ramus” (569)

October 1886 [Signed ANDREW LANG.]

Opening line: “I have always envied the writers who begin their essays by telling the public where, and in what circumstances, they are writing.” (672)


  • Lang writing while “lying, in a very uncomfortable attitude, on a pebbly seashore, surrounded by flints which would have been of untold value to Mr. Grant Allen’s palæolithic acquaintances” (672).
  • The function of the art critic (Lang argues that critics need not be painters, and that there is actually a danger in artists/authors also being critics but that amateurs can be good critics (672–73)
  • Newspaper art criticism a “notice” rather than a criticism (674)
  • Vers de Société (675)
  • The “Anglo-Indian species” of Vers de Société: “a quaint and amusing example,” the anonymous ‘Departmental Ditties’ [Kipling] (675–76) [The Kipling Society calls this the first known review of Kipling’s work.]
  • “In Spring-time,” a poem by the above author (676)
  • “Shameful Death,” Lang’s ‘respectful perversion of Mr. William Morris’s poem” of the same name [about trout] (677–78)
  • “The idea of fishing in the parks, which was started, I think, ‘At the Sign of the Ship has flourished into leading articles, and has even been talked about in Parliament itself” (678)

Poems printed in full:

  • “In Spring-time,” a poem by the anonymous author of “Departmental Ditties” [later discovered to be Kipling] (676­)

November 1886 [Signed ANDREW LANG.]

Opening lines: “Is there, or was there ever, any such thing as genius? This question has provoked a comfortable little discussion among American men of letters. Mr. W. D. Howells appears to think that there is no such thing as genus, or at least that there is none at present” (105)


  • whether genius exists, as discussed by two American critics, Mr. W.D. Howells and E.C. Stedman (the latter in the New Princeton Review); Stedman believes in genius, but “Mr. Howell’s doctrine appears to be that what we commonly call genius . . . is merely a higher degree of industrious intelligence” (105)
  • There’s no way to determine the answer because people of taste will differ as to whether something is an example of genius.
  • “Dr. Johnson, the old dictator, is probably at the bottom of this heresy about genius and its non-existence” (106)
  • It would be foolish to try to persuade ordinary people they could become geniuses by enough industry, perhaps this generation doesn’t have convincing enough examples of genius, but Lang doesn’t think we should trust Johnson, since he failed to see signs of genius in Milton’s Lycidas or his sonnets
  • Lang responds to seeing a highland eviction, complete with the burning of a cottage, by commenting on the impractical spirit of the Celt, as well as discussing the supposed second sight of the pony, according to the Highlander who was carrying Lang’s “rod and creel (empty).” Lang here does not claim the Celtic spirit for himself, using “we” and “our race” to refer to himself/non-Celtic peoples.
  • “Tired of Towns” [a poem on wishing Heaven to be the country rather than the city of the New Jerusalem] (109–10)
  • translations for Roman inscriptions on leaden plate in Bath (110)
  • “Legend of the Crossing-Sweeper” by M. K.[May Kendall], in which one may see, “the psychology of the Bold Bad Boy . . . . who seems to combine cynicism with sentiment, and to be not unread in Bret Harte” (111–12)

Poems printed in full:
“Tired of Towns” (109–10)
“Legend of the Crossing-Sweeper” by M.K.[May Kendall]

December 1886 [Signed ANDREW LANG.]

Opening lines: “In omnibus rebus requiem quaesivi, sed non inveni, nisi in noexkins ond boexkins. ‘In all things have I sought peace and found her not, save in nooks and books,’ said Thomas à Kempis, according to his biography in the Elzevir edition of the De Imitatione Christi. Only in books and corners is peace to be found in our day, among wars and rumours of wars political and social; yes, and even literary.” (216)


  • “a reviewer who is not a specialist in Restoration literature (most of which appears rather trashy) may have his humble ideas about the Ethics of Reviewing” (216).
  • Log-Rolling: “I don’t believe in the conspiracy”; notes that people will become friends after admiring one another’s work and that poets like Keats and Tennyson were reviewed by their friends (216–17)
  • Hard if one cannot favorably criticise the work of a friend or required to censure that friend (rather than be silent) if the friend writes a bad work: “all ill-doing does not deserve ‘exposure,’ still less exposure by a friend” (217–18)
  • “one should never criticise a personal enemy, in the field of the arts or letters” (218–19)
  • Sees “many reasons why [the critic should no more trounce a friend than an enemy. Is it not plain that if all reviews were signed, this talk of ‘log-rolling’ would be deprived of any justification?’ (219)
  • “Education’s Martyr” by M. K. [May Kendall] (220–21)
  • English conversations, as represented in “a queer little book, the Ollendorf, or Baedeker’s conversation book of Queen Elizabeth’s time. The volume is entitled ‘Familiar Dialogues. For the instruction of them that be desirous to learne to speake English, and perfectly to pronounce the same” [1586]” (221)
  • Representative Poems of Living Poets, English and American, edited by Miss Gilder: Tennyson, Mr. Browning, and Arnold included, but Swinburne, William Morris, Lewis Morris, Frederick and Ernest Myers, George Meredith all absent from the volume, which contains “eighteen British Minstrels, and sixty-two (62) American poets (222)
  • Lang surprised by the poems of Tennyson that were chosen; lists his favorites and compares to selection (“Ballad of the Revenge,” “Boadicea,” “Come down, oh Maid,” and the “Daisy.” Lang prefers “The Lotos-Eaters,” “Ulysses,” “Mariana,” the lines to Catullus, “Rizpah,” “Tears, idle Tears,” and all the other songs in the Princess, “Sir Galahad—but one must stop somewhere, if there is to be room for all the other poets” (222). Lang is surprised that Tennyson gets fourteen pages and “an unexpected selection” while “Mr. Boker . . . has forty pages all to himself” (222).
  • Lang finds a line by Mr. Aldrich too close to a line in In Memoriam (223)
  • “The Mary Jane and the Belle Hélène” (four stanzas of a ballad) (223, 224)
  • M. Longpérier Grimoard thinks it’s a bad habit to “write one’s name on the fly-leaf or even the title-page of one’s books”; Lang disagrees, saying often now, in used books “the inscription is now the chief merit of the book. Racine had this vile habit, and who would not like to pick up a volume on which he had indulged it?” (224)

Poems printed in full:
“Education’s Martyr” by M. K. [May Kendall] (220)

  • See Selected Quotations from Lang’s 1886 “At the Sign of the Ship.”
  • See the 1887 “At the Sign of the Ship” summaries.
  • Return to the “At the Sign of the Ship” Table of Contents.
  • Return to the list of all the periodicals to which Lang is known to have contributed.