Preface: About the Author

William Gilmore Simms was actually also known as Frank Cooper. 

He looked a bit like this: 
Image Copyright: © Archive Photos/Getty Images
He was born on April 17, 1806 in Charleston, South Carolina to William Gilmore Simms and Harriet Ann Augusta Simms. But then his mother died in childbirth in the winter of 1807, just when his father's mercantile business failed, so Simms was taken in by his grandmother while his father moved to Mississippi to begin anew as a planter. His father invited him to come help manage the cotton plantation when he turned 18, and though he did find the place intriguing, he ultimately chose to return to and remain in South Carolina, despite his father's exclamation: "Charleston! I know it only as a place of tombs!" This state loyalty of his manifested in his later writings.

In the years 1825 and 1826, he worked with friends on a weekly journal called Album. He also served as an editor to a number of Charleston periodicals while simultaneously publishing small poetry volumes. So, all in all, he was pretty established in the literary scene at quite an early age.

He also married one Anne Malcolm Giles in the year 1826. But in 1832 she died, and the lonely widower finally left Charleston for Hingham, Massachusetts where he published his fifth book of poetry, Atlantis. Soon after, when he had made his way to New York, he met William Cullen Bryant, who just loved one of Simms' longer poems in Atlantis. There, Simms established himself as the Southern writer among other New York writers, editors, and publishers. From there he output many famous works, including a drama called "Martin Faber" (1833), followed by three novels that grew quickly in popularity in the north, "Guy Rivers" (1834), "The Yemassee" (1835), and "The Partisan" (1835).

He returned around 1835 to Charleston only to find that the success of his southern stories in the north had not made its way down. He nonetheless settled and married one Chevillette Roach. He did continue to write, producing a few more novels, poems, pamphlets, and essays, all the while keeping contact with his new northern literary friends who helped promote his work there.

Unfortunately, he found that his fiction novels still weren't such great hits. He turned then, around the 1840s, to more political and historical things like biographies, for example. But he also advocated quite staunchly for acknowledgement of the Southern voice in American literature.


Incidentally, during this time he dabbled in politics for a bit, serving very briefly in the South Carolina state legislature. By the 50s, he was back into novel writing, and turned out some fabulously successful ones, including "Woodcraft" (1854), "The Forayers" (1855), "Eutaw" (1956), and "The Cassique of Kiawah" (1859). However, his political involvement did not end with his aforementioned term. In the 50s Simms penned a number of vehemently pro-slavery pieces. In the 1852 edition of the Southern Quarterly he described the institution of slavery as "an especially wisely devised institution of heaven." He also co-published a piece called The Pro-Slavery Argument, as Maintained by the Most Distinguished Writers of the Southern States. 


His life was pretty much downhill from there. His plantations fell into debt, which the war only exacerbated. Several of his children passed away, and his home burned down, taking his personal library with it. Then his wife died, shortly after which his home was burned again, this time by Union troops, after just having it rebuilt. After that, he had no choice but to write just to get by, turning out works such as a series of Appalachian novels, "The Cub of the Panther" (1869) and "Voltmeier" (1869). He passed away on June 11, 1870 at his home in Charleston.



Sources:

Literature Online Biography. " Simms, William Gilmore, 1806-1870." Chadwyck-Healey (A Bell & Howell Information and Learning Company). 
http://gateway.proquest.com.resources.library.brandeis.edu/openurl?ctx_ver=Z39.88-2003&xri:pqil:res_ver=0.2&res_id=xri:lion&rft_id=xri:lion:ft:ref:BIO001949:0&rft.accountid=9703 (Accessed November 29, 2016).

Hubbell, Jay B. The South in American Literature: 1607-1900. Durham, North Carolina: Duke University Press, 1954.


Trent, William P. William Gilmore Simms. New York, New York: Haskell House of Publishers, 1968.

About the Text


"Dreams and Dreaming" was originally published by Key & Biddle in 1833 in Philadelphia in a book called The Book of My Lady: A Mélange by William Gilmore Simms. As its title suggests, the book is a collection of various texts of which there is no obvious sequence of plot or character study. Though there are motifs throughout the book with respect to writing style and content, many sketches are anomalies. While 27 of the 30 sketches are written almost entirely in prose, three are exclusively poetry: “The Red-Cross Knight,” (1) “The Young Sioux,” (2) and “Cleopatra” (3). The narration, as well, stays relatively consistent in the first person, with a few exceptions like “The Venetian Bridal” (4) which is written in the third person, and “Dreams and Dreaming” (5) which is written in part in the second person.

Simms also seemed to restrict the setting of the sketches to America, and, more specifically, very few southern states. Moreover, many of the texts center historical Native American narratives within the states thereof. Among others, he cites the Catawbas tribe of South Carolina in “Haiglar. A Story of the Catawa” (6), the Yamassee and Huspahs tribes of South Carolina in “The Children of the Sun (7), and the Pawnee and Omaha tribes of Missouri in “Missouri, The Captive of the Pawnee” (8).

As far as direct connections to “Dreams and Dreaming” go, when looking at the sketch in conjunction with the others, there only seem to be a few tangible allusions. Shakespeare's Queen Mab makes an appearance in both the opening of “Dreams and Dreaming” and in the earlier sketch “The Death of the Fairy” (9). The idea of sleep itself is also repeated in “A Story of the Sea” which ends with the phrase “I should have gone to bed” (10).

In order to prepare a reprint of “Dreams and Dreaming” we first created a website on blogspot.com and found scanned images of the original book. Then, in order to contextualize the text, we created both an About the Author page, in which we provided a summary of William Gilmore Simms’ life, this About the Text page, in which we gave a deeper insight into the book as a whole in its relation to the sketch, and a Glossary, in which we attempted to make the original language of the sketch more accessible. Finally, we created a Critical Introduction page in order to provide a close reading of important passages and ideas within the sketch itself. 

(1) Simms, William Gillmore. The Book of My Lady: A Melange. Philadelphia: Key & Biddle, 1833. Print, 150
(2) Simms, William Gillmore. The Book of My Lady: A Melange. Philadelphia: Key & Biddle, 1833. Print, 212
(3) Simms, William Gillmore. The Book of My Lady: A Melange. Philadelphia: Key & Biddle, 1833. Print, 300
(4) Simms, William Gillmore. The Book of My Lady: A Melange. Philadelphia: Key & Biddle, 1833. Print, 76
(5) Simms, William Gillmore. The Book of My Lady: A Melange. Philadelphia: Key & Biddle, 1833. Print, 326
(6) Simms, William Gillmore. The Book of My Lady: A Melange. Philadelphia: Key & Biddle, 1833. Print, 126
(7) Simms, William Gillmore. The Book of My Lady: A Melange. Philadelphia: Key & Biddle, 1833. Print, 189
(8) Simms, William Gillmore. The Book of My Lady: A Melange. Philadelphia: Key & Biddle, 1833. Print, 155
(9) Simms, William Gillmore. The Book of My Lady: A Melange. Philadelphia: Key & Biddle, 1833. Print, 102
(10) Simms, William Gillmore. The Book of My Lady: A Melange. Philadelphia: Key & Biddle, 1833. Print, 121

Editors' Notes: Due to technical difficulties in inserting the footnotes from this section onto this program, we resorted to makeshift footnotes in their place. Also, due to further technical difficulties, this section looks slightly different from the others. We apologize for the incorrect structure and varying appearance.

A Critical Introduction

William Gilmore Simms identifies himself as a dreamer, wherein dreams are the master and he is victim to their will. Through his prose, Dreams and Dreaming, Simms explores his relationship with the act of dreaming and the meaning behind his dreams and attempts to explain them. He rotates through a variety of means throughout his verses from the aspect of instinct to mathematics and everything in between. 

Simms begins with a series of unspecified third-person subjects, a study of humankind who experiences dreams. “To the mere man of the world, dreams may be considered rather troublesome matters” (326). The use of the adjective ‘mere’ acts in a degrading manner, suggesting that Simms looks down on this group of people. Simms does not consider himself to be part of that category. He identifies another category “the man who lives upon dreams…such are your poor-devil poets—the scurvy tribe” (326). These men’s decisions are solely guided by their dreams, but this choice is under their control. The use of the word ‘poor’ may hint that Simms is sympathetic, but even that sympathy is accompanied by a dash of judgment as it is hyphenated with the word devil. This suggests that although these men rely their curiosity, that curiosity is demonized. The claims that these men are poets could be a commentary about artistic indulgence, these men choose to become poets to write about dreams because they are appealing subject matter, and Simms believes these people are worthless. This seems oddly ironic, as the topic of Simms’s work is that which he criticizes; however, he offers a third category, men who have no choice but to live as slave to their dreams. The difference between the second and third type of men is the second type has a choice and belittle a human condition by using it to their benefit. Simms admits that he may fit into the third category; he has no choice but to write about this obsession. 

The second page and third pages (327-328) are centered on Simms’s personal relationship to dreams, and his fervid attempts to make sense of them. By the fourth page (329), the subject has changed to ‘you’ to place the reader in the experience and encourage them to consider their own relationship to dreams and dream’s imperious nature. To fully engage the reader by the fourth page (330), Simms reverses the role once again to lead the reader through a dream-like sequence, placing them in the world of a dream. An interesting transformation occurs within the transition between explanation and dream. While Simms’s is attempting to explain how dreams control him, it turns into a dream itself. The dream becomes “an insolent monster, who, with fiendish grin of an ogre, holds you in this predicament”(330). Simms draws on fantastical imagery of ogres and monsters to merge the reality and dream worlds, conjuring the sense that they are inseparable in his mind. Although not explicit within the story, the style could be easily explained through the metaphor of sentence structure. The action is centered on the ‘you’ as the object and the dream is the subject, the implementer of the various actions. 

At end of the story, Simms recounts a tale of Jim Taylor, whose work was published, but “here all comparison ends, through the liberality of reader and publisher, was soon put beyond all farther necessity to dream” (334). The use of the word ‘liberality’ suggests that the publishing team and audience took freedom with interpretations of the book. This anecdote differs from his experience, because his experience is ongoing and not even writing about it and going through a publishing process could distract him from it. This is a direct comment to the readers, a plea for them not to change the meaning of his piece, or ignore his struggle. 

This particular prose is an outlier to the rest of Simms’s works; it is a personal anecdote, a reckoning of the human condition. The story relies on the universality of dreams. This reliability is not found in the story Simms leads readers through, but on the characteristic unexpected nature of dreams. The use of prose is particularly fitting considering its limbo-like structure mirrors the element mystery that often accompanies dreaming. Simms uses prose as an ambiguous, rant-line, poetical structure. His writing is not like a traditional story complete with plot or developed characters. Its form is in a state of the unknown, quite like Simms’s relationships to his dreams.

By dragging readers tirelessly through a dream world, Simms is able to imitate the sense of unknown, along with the desirability, the heartbreak. Simms writing is simultaneously a cry for help to be rescued from his obsession, but at the same time ultimately evokes a twisted desire to return to the place of the unknown, of dreams, where our decisions are not ours to make.
Source: Simms, William Gillmore. "Dreams and Dreaming" in The Book of My Lady: A Melange, 326-334. Philadelphia: Key & Biddle, 1833.

Glossary

For your convenience, definitions of some unfamiliar, specialized, or regional terms that might confuse you:

Queen Mab (pronunciation: "Mayv") - a fairy in Shakespeare's Romeo and Juliet; this is actually where the quote in the epigraph is from.

Surfeit (n.) - an excessive amount of something; here it probably refers to an illness caused or regarded as being caused by excessive eating or drinking.

Sans-culotte (n.) -  an extreme republican or revolutionary; it is also French for, literally, "without breeches," breeches being trousers, which sort of makes sense in context.

Sis (exclamation) - used to express disappointment, disgust, or contempt.

Ad libitum (adv./adj.) - spoken or performed without previous preparation.

Chop-house (n.) - a restaurant specializing in chopped meats. 

Tesselated (v.) - decorated with geometric patterns. 

Talismanic (n.) - a object said to have possessed protective powers.

Andalusia (n.) - a region in Spain bordering the Mediterranean and Atlantic.

Parthian (adj.) - relating to Parthia, which now lies in east Turkey to east Iran.

Passamonte and Morgante (n.) - two giants featured in the works of Pulci, an Italian poet.

Seville (n.) - the capital city of Andalusia. 

Phillippi (n.) - a city in ancient Macedonia.

Source: New Oxford American Dictionary. 2nd ed. Edited by Erin McKean. New York: Oxford University Press, 2005.

About the Contributors

Everything you see on this webpage before you has been diligently compiled by the following Brandeis University students of the Fall 2016 English 40B class The Birth of the Short Story: Gods, Ghosts, Lunatics:

Amanda Ehrmann ('18),

who worked tirelessly, through multiple mornings and nights, to compose the above critical introduction and contribute to the glossary, and also chose which story in The Book of My Lady: A Mélange we should re-create;

Julia Robinson-Rosendorff ('19),

who sedulously composed the above About the Text section and kindly provided the illustrations below;

Leah Scher ('20),

who found The Book of My Lady: A Mélange, meticulously pasted the text into the A Copy of the Text section, and weaved together, with heavy abuse of the thesaurus, the above preface and glossary. She also took care of all the technological aspects of this project, from setting up the blog to uploading all of its contents.

Lastly, we would like to thank Blogspot for their easy-to-navigate program, in stark contrast to Google Sites. 

If you have any inquiries regarding our project, or difficulty navigating the webpage, don't hesitate to shoot any one of us an e-mail!

Illustrations

See how the story looked when it was originally published:



Source: http://etext.virginia.edu/eaf-pageturner/#355/327/SMALL
Source: http://etext.virginia.edu/eaf-pageturner/#355/328/SMALL

Source: http://etext.virginia.edu/eaf-pageturner/#355/329/SMALL
Source: http://etext.virginia.edu/eaf-pageturner/#355/330/SMALL


Source: http://etext.virginia.edu/eaf-pageturner/#355/331/SMALL

Source: http://etext.virginia.edu/eaf-pageturner/#355/332/SMALL

Source: http://etext.virginia.edu/eaf-pageturner/#355/333/SMALL

Source: http://etext.virginia.edu/eaf-pageturner/#355/334/SMALL

Source: http://etext.virginia.edu/eaf-pageturner/#355/335/SMALL


Dreams and Dreaming was originally part of a larger collection titled "The Book of My Lady: A Melange" published in 1833. It contained various other prose sketches, stories, and poems.

A Copy of the Text

(Because sometimes it's irksome to read from pictures! We get you.)

DREAMS AND DREAMING

"Oh! then I see Queen Mab hath been with you--- 
She is the Fancy's midwife"

To a mere man of the world, dreams may be considered rather troublesome matters. His speculations, if a merchant, sometimes depend upon them, but fortunately, to no very great extent. If betrayed into error by them once, it is rarely the case that he does not get wiser thereon---the warning, serving well, as all matters of experience, to keep him out of farther experiments of a similar description: and, taking the experience which he gets by them into consideration, they may be said to have been rather beneficial to him than otherwise. Not so with the man who lives upon dreams---whose life is made up to them---whom they put to sleep in the day---particularly at lunch or mealtime--- and whom they assist to waken up at night, for the purpose of building castles which afford no shelter. Such are your poor-devil poets---the scurvy tribe. To one of these, they prove an active principle of misgovernment. They are agencies, passive it may be, but controlling, directing, and exercising, all of those, on which he depends for his very existence. I know some men who live upon dreams, not as a matter of choice, but of necessity, in a double sense. I don't know but I may be one of that description myself. I certainly dream myself, sometimes, out of an appetite, and, vice versa; particularly when my chop-house bears upon its tesselated but repelling front, the talismanic and awful characters, "no credit," done in the most legible, and not to be mistaken, Roman characters---a not unfrequent event, and, for the remedy of which, my experience in the fine arts---although, of late, a professcur in the school of Jeremy Diddler---has, as yet, found nothing. Dreams, on occasions such as these, may be held rather pleasant than otherwise. They, at least, with a due sense of retributive justice, contribute somewhat to silence the appetite they have helped to provoke. With their aid, I can then calculate, to a nicety, the relative distance between a doubt and a negative---the value of a possibility, and the number of these necessary to the formation of a single probability. Hunger and thirst, have you ever remarked, beget an admirable metaphysical propensity; and dreams are not apt to lessen, to any great extent, the organ of speculation. This idea, by the way, is not original. There is a Spanish proverb, from Andalusia, which says, 

"When the cook's out o' the way, 
The preacher comes in play!" 

or something equivalent---I cannot lay my hands on the original. It is curious, however, to observe, that a supper and no supper, in ninety-nine cases out of the hundred, are productive of the same effect. The omission and commission both bring night-mare. We sleep indeed, but, 

"In that sleep, what dreams do come!" 

Ay, what dreams do come! You have taken a surfeit, have you? and in spite of the hourly and daily exhortations of the Journal of Health against the practice, you have eaten heartily, cormorant-like, of a heavy supper, and gone immediately to bed. Perhaps you have not taken this trouble. We will couple your supposed case with one of our own, which, unfortunately for our comfort at the time, was any thing but supposed. You have passed the night, in imagination at least. The sun looks red and bloody as he rises. A cursed weight appears resting on the hinder part of your skull, while a Parthian soldiery employs itself in hurling heated darts over and throughout the regions of the temples and the brain. These are your actual bodily undergoings. The dreams---those evils which are mental---are worst of all. If you are an imaginative man---I do not mean a scribbler of verse---nothing is more common, 
than to feel yourself held, by your thinnest and most gossamery hair, over the brink and threshold of some infernal precipice, so deep and capacious, that you may be occupied in falling, a thousand or two years, before you can, by any possibility, arrive at the bottom. Some giant---some Passamonte or Morgante, who, 

"Plucks up pines, beeches, poplar-trees and oaks, 
And flings them"--- 

holds and maintains you, by the aforesaid hair; while, with a degree of indulgence, for which you express but little gratitude, your eyes, to your infinite satisfaction, are permitted to go before your person and explore the horrible recesses and depths of the deep beneath you. There you behold, in most incongruous confusion, adders with green heads and forked tongues; basilisks, vipers, all sorts of slimy reptiles and monsters, and of wild beasts, an infinite variety; meant to afford you, possibly, a free choice in the manner of your death. You feel yourself tottering and trembling. Though in other respects, and at any other time, a lean man, you have now learned to dread your own weight and substance; and are led to entertain a wish, that you had not, during the days of the past year, been so heartily a consumer of the various excellent marketabilities of your good landlady's good table. At this time, you perceive that the gruff and insolent monster, who, with the fiendish grin of an ogre, holds you in this predicament, is exulting over your approaching fate, and playing, like a cat, with your mouse-like terrors, before you are made to feel the final pang, and consummate the dreadful catastrophe. When you are sufficiently familiar with the anticipation of the thing, you behold him leisurely taking a huge carving-knife from his breeches pocket; always, providing he be no sans culotte ---no highlander. You watch him with an eye, that calculates to a miracle, the time he occupies in the application of the wire-edge to that gossamery thing of hair, which your heart, all the time, wishes were a chain cable of ten-pound links. He cuts---you feel yourself going, going, gone. You experience a terrible and an uncomfortable shock. There are strange, uncouth, and fearful ringings in your ears---a hideous noise and clamor around, and about, and within you---a weight, as of ten thousand ton of rock upon your breast, and a corkscrew of heated iron, seething and crunching in your head. Your first thought is, that after sending you down so hastily, your vindictive and merciless tyrant has hurled the entire mass of rock down after and upon you; a conjecture which tends not very extravagantly towards increasing your comfort or quiet. You attempt to scream in your agony, but the effort dissipates in a weak and husky murmur, the sound of which dies in your throat, incapable of forcing its way through the aperture of your mouth. In vain would you move or stir---your limbs fall relaxed from the effort, as if under the spell of an enchanter. But while you are yet undetermined as to the precise occasion of your present discontent or discomposure, the sounds that stunned your ears, and shattered and distracted your nerves and understanding, suddenly ceased; the mountain rolls from your chest, and, although the pain does not exactly depart from your head, you feel, to a certain degree, relieved in that quarter.

But, where are you? That is the question. You look around, and the first thing you perceive---(always supposing your dreams have arisen from repletion, and a hearty supper) and the first natural object your eyes may be expected to rest upon, is your own proper person, of course. You are on the floor stretched off at length, rather quietly and composedly than otherwise, all circumstances considered. The next thing you perceive, for your eyes fail to take in all these things at once, is the large family dining-table at your side, some of the legs of which are civilly resting upon your own. By an ugly abrasion of your right nostril, from which the blood still continues freely to flow, and which you readily recognise and claim as your own, you perceive that the shin bone of the ham that rests passively before you, has, upon no very remote occasion, been cruelly familiar. A large plate, from which you remember to have eaten an hour or two agone, has quartered itself in epigrammatic angles upon the retouched lines of your face---a decanter and sundry glasses, a further survey has made out to number among the slain; some utterly and irretrievably demolished---ground to powder. Over all of these, as your senses begin to comprehend the various details, ad libitum, you behold the lean and withered form of your weather-beaten landlady, who is blind and deaf, entering the room with a dim lantern in one hand, and a broom stick in the other, adding to your enjoyments by a well sustained application of the latter domesticality to your back, head, sides, front, and so forth, accompanying the physical development with a rapid and running commentary of "sis cat," "sis cat," "sis cat," in a family tone, to which, from repeatedly having heard, not one of the whole feline tribe for a mile round, but would have treated with due and unequivocal respect. In vain do you cry out, "Mrs. Jones, it is I; Mr. --- (whatever the name may be) and not the cat. Permit me to assure you, Mrs. Jones, it is not the cat. I am your lodger, my dear madam--- you are beating your lodger and not the cat." The good old lady has a most religious respect for her organs of sight and sense of hearing, however deficient, in reality, they may be; and continues to belabour away most unmercifully, until, by a violent and extraordinary effort, you at once shake off nightmare, table, and landlady, and bruised, battered, and broom-sticked, you retreat to the quiet of your chamber, inwardly blaming your stars and cursing yourself that you were not there a full hour before. Such, in some sort at least, is the usual fortune of him who suffers from repletion. But, then comes the opposite extreme. The absence of enough, even worse than the presence of too much, begets its own degree of miserable acuteness. "A hungry man," says Butler, "is very like unto a famished wolf." He is right; the creature is a beast and a wild one. Incapable, half the time, of determining how long the domestic territory may remain unoccupied; an intelligent and cruelly speculative imagination comes in to co-operate with the vulture, the gnawings of which render you gaunt and spiritless, yet furious and savage. But there is quite too much reality, too much nature in the matter, to need or receive, for the purposes of comment, much aggravation from one's dreams. It is too certain and too homely a truth. It will not require to be computed by the rule of three. It is a horrible state of vacuity, and we'll have no more of it.

Nothing, after all, is so dreadful in dreaming, as the breaking off from sudden fright, or awakening in the very middle of your mystery. Devil take the fractions, and a fig for the figment, say I, with the Spanish barber of Seville. In the very midst of good fortune, to open your unfortunate eyes to lose that, which, with eyes shut, your active senses have been able to discern and compass. This is an enlightenment with a vengeance! The sun becomes any thing but metaphorically dark; and your only remedy and hope for the renewal of your luck, lies in your being able again to lose your sight---that is to say, to fall asleep as speedily as may be possible. We can well imagine---imagine, did we say? egad, we know, to our sorrow, the excessive labour of an effort to re-dream ourselves into fortune. Have we not beheld the buried and hidden treasures of the pre-adamites; and with the assistance of Aladdin's lamp, looked over into those glowing heaps of glittering and resplendent gems, the possession of which, could they be appreciated without, might almost compensate the most curious for every visual darkness? Frequently has it been our lot, after toiling through the day, and at midnight, sinking to our couch and chamber exhausted and prostrate, to enjoy towards morning some blessed dream of fairy land---while thousands of the tiny creatures, all in green, were busily employed in amassing its golden treasures, incomputable piles of which were at once within our grasp; wealth without limit or compass lay before us, luring us into that seductive but momentary feeling of happiness, which departed with the glittering but delusive fancy that produced it. How sweet not to have slept---not to have awakened. How many dreams of another kind are there from which it had been a pleasure, almost beyond the faculty of the choicest vision to afford, never to have awakened.

But a truce to our dreams. Queen Mab has been with us, and is with us no longer. All the fairy tribe, from the goblin of indigestion, the Gobbleton Mowbray of imagination, down to the shadowy pigmy of famine and non-consumption, have departed, and it boots us not to speculate upon the absent. Our daydreams---a species similarly troublesome, have their agencies likewise; but of them we say nothing. They have a more earthly, dollar and cent, and far less spiritual likeness. They are evokable in the shapes of bread, beef, beer, and other condiments. Of these we shall speak hereafter. We shall meet at Philippi! When Jim Taylor was carried to jail by the deputy, on some cruel suspicions which went greatly to affect his credit, he barely and briefly soliloquised, "I guessed how it would be, from what I seed last night." Jim had been troubled with dreams, and the insolvent debtor's act gave him an opportunity of rendering to his creditors a schedule of them. By this he had more than enough for the payment of all his debts. He had dreamed, like other specious gentlemen, but when his tailor refused to credit, Jim's dreams proved unavailable. A voyage of discovery, fitted out under his assignment, failed to discover the land of Nod, in which his property lay. In terra firma he was equally unfortunate, and like his part biographer, he became a notorious chronicler of the unsubstantials; wrote for the lady public, as we do; but, unlike ourself, and here all comparison ends, through the liberality of reader and publisher, was soon put beyond all farther necessity to dream.

THE END.