Chambers's Edinburgh Journal, No. 462 Volume 18, New Series, November 6, 1852   By: Various

Chambers's Edinburgh Journal, No. 462 Volume 18, New Series, November 6, 1852 is a captivating collection of essays, stories, and articles that provide a fascinating glimpse into the social and political issues of the time. The diversity of topics covered in this issue is impressive, ranging from literature and science to current events and travel. The writing is engaging and thought-provoking, offering readers a well-rounded perspective on the world around them.

One standout piece in this volume is an essay on the state of education in Scotland, which provides valuable insight into the challenges and opportunities facing the education system at the time. Another highlight is a short story that explores themes of love and loss, beautifully capturing the complexities of human emotions.

Overall, Chambers's Edinburgh Journal is a thoughtfully curated publication that continues to be relevant and engaging over a century later. It is a must-read for anyone interested in history, literature, and society, offering a unique window into the past through its rich and diverse content.

First Page:

She is neither your partner, nor ours, nor anybody else's in particular. She is in general business, of which matrimony is only a department. How she came to be concerned in so many concerns, is a mystery of nature, like the origin of the Poet or rather of black Topsy. The latter, you know, was not born at all, she never had no father nor mother, she was not made by nobody she growed ; and so it is with the managing partner, who was a managing partner from her infancy. It is handed down by tradition that she screamed lustily in the nurse's arms when anything went wrong, or as she would not have it; and this gave rise, among superficial observers, to the notion, that Missy was naturally cross. But the fact is, her screams were merely substitutes for words, like the inarticulate cries by which dumb persons express their emotions. When language came, she gave up screaming but not managing. She did not so much play, as direct the play distributing the parts to her companions, and remaining herself an abstraction... Continue reading book >>