A man stands between two women who wear restricted skirts that reveal their feet; they do not appear to be wearing bustles. He has a shocked expression as they both press leaflets to his chest. The valentine mocks women's involvement in politics and connects it with immodest and flirtatious behavior. Bustles were not in vogue between 1876 and 1883, as they were before and after those years., Text: You talk so much of what you'll do / When women have their proper show; / That for your country, in your zeal, / You would the men caress and feel; / Excuse me, if I here portray / A female politician's way., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The Proclamation is an advertisement for R. Magee's valentines and consists of the text. Inscribed: Apl 1872., Text: PROCLMATION! /RICHARD MAGEE, /No. 316 Chestnut St. / REMEMBER 316 CHESTNUT STREET / Call at the Headquarters Neat, / Of R. MAGEE, on Chestnut Street, / And purchase there, at Love's High Court, / Valentines of every Sort; / Valentines all Hearts to Move, / Valentines on happy Love; / Valentines of every Hue, / Valentines all Fresh and New; / Valentines for Friends who Roam, / Valentines for Friends at Home; / Valentines with Pictures Rare, / To please the Men and Charm the Fair; / Valentines on Fashion, Queer, / Valentines all Hearts to Cheer; / Valentines of each Device, / Valentines at every Price; / Valentines both Small and Large, / And directed Free of Charge. / All of which, quick, Call and See, / At the Famed Store of R. MAGEE. / [Signed.] CUPID. / Valentines at all Prices, Valentines Direct, / Valentines Delivered Free of Charge, / At R. MAGGE'S 316 Chestnut Street., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman bends forward towards a crowd of women, in the "Grecian Bend" created by wearing fashionable restrictive gowns and bustles. Behind her are signs that read " The Original Grecian Bend for State Millener" and "The Pink of Fashion, Mme. Lecreme." The Grecian Bend style of bustle became popular after 1869. New York city directories for 1867-72 list Fisher and Denison at the same address, noting that Denison lived in Maryland., Text: You're all aflame with woman's right, / And hope thereby to see strange sights; / No place too bold for such a trump-- / You'd even go so far as mount the stump. / If you thus cast all social laws aside, / You'll never be a happy bride., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman wears a tapered, bustled, ruffled skirt that forces her to bend forward in the Grecian Bend. She holds a small parasol and wears a hat. The valentine mocks the recipient for thinking her fashionable dress is attractive to men. The Grecian Bend style of bustle became popular after 1869., Text: A slave to Fashion's tyrant laws, / You court each silly fop's applause; / Did you but know what I can see, / How shocked, I fancy, you would be. / You will, I hope, leave off this style, / Your dress provokes a pitying smile., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman wears a dress with furbelows and a bustle. The valentine suggests that she is not a beauty, but attracts male attention when she is the only woman out at night. Bustles became popular after 1869., Text: O! you are the handsomest---all the beaux swear / That for beauty you top the heap; / I think you so too when you're taking the air, And all the rest are asleep., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman in gown with a bustle holds an umbrella and bouquet of flowers. "Three-balls" is slang for a pawnbroker. Bustles became popular after 1869., Text: A Mantilla from your shoulder falls / Just redeemed from the three-balls; / In the street you make a dash, / 'Tis strange how you obtain the cash. / You're too lazy, and fear to work / You dirty, nasty little flirt; / Stay at home-- not gad the street, / And speak to every loafer you meet., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman wearing a dress with a bustle stands in front of a chest. Over it hangs a sign that says "Election Laws," and she holds a piece of paper over a pot, presumably to vote. A carriage is visible through the doorway. Bustles became popular after 1869., Text: Since, in this progressive age, / Woman's Suffrage is all the rage, / You strive in this to take the lead, / As if 'twere a case of vital need; / When you thus seek among the men to roam, / We're apt to think there's something wrong-- at home., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman bends forward in the Grecian Bend caused by fashionable bustles and restrictive skirts. She holds up her skirt revealing her ankles and petticoats. The Grecian bend style of bustle became popular after 1869., Text: Thou languishing young lady-bird, / Thou Angel quite untainted; / With ruby lips, and well formed hips, / Pray tell me, -- are you painted? / You're uglier than the Gorgon / That frightened folks to stone, / The Grecian Bend don't help you, / So ugly have you grown., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman wears a gown with a tiered, tapered skirt over a Grecian Bend style of bustle. The Grecian Bend became popular after 1869., Text: "Pray, what's the matter," said a friend to me, / "With that young woman that I see?" / I stopped and looked and calmly said, / "The wits have surely left her head, / But where they're gone there's no telling / Unless you judge by large swelling.", Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman wears a dress with a bustle and a hat with a small veil. The woman leans forward in the Grecian Bend, caused by fashionable restrictive, bustled gowns. The Grecian Bend style of bustle became popular after 1869., Text: You're not so bad looking as some I know, / You're not so ill mannered as others I know, / And you generally make a respectable show; / But you're deficient in brains, I'm sorry to say, / Because you dress in such a ridiculous way, / And consider the Bend such a gorgeous array., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman with a long, shaded nose looks in the mirror on a bureau. She wears a dress with a bustle. The image in the mirror has less shading and exaggeration, suggesting that the woman's admiration of herself is deluded. Bustles became popular after 1869., Text: There was never a woman old fashion or ugly, / But what thought she possessed every beauty and grace, / And you're no exception, but as none else can see them, / You're compelled to admire yourself in the glass., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman wears a tiered skirt of ruffles of decreasing size that tapers at the ankles. The style of skirt caused women to lean forward in a Grecian Bend; the Grecian Bend style of bustle became popular after 1869., Text: Dear, simpering, fascinating Miss, / It struck me that you looked like this / When last I met you on the street, / In skirt with Grecian Bend replete; / The sight which you present / Would throw the warmest lover off the scent., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman stands in profile. She wears a bonnet and a dress with a bustle. The valentine criticizes the recipient's artifice and pretensions. Bustles became popular after 1869., Text: No husband you will get, though fair, / To meet your expectations, / Unless you cease to put on airs, / And leave off affectation., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The valentine depicts a woman in a booth labeled "Vote the Ladies Union Ticket." The woman inside of the booth reaches out to a hesitant man. The text and image criticize woman's rights advocates for not recognizing their proper places and suggests that such women are not desirable sexually or socially. The woman appears to be wearing a bustle; bustles became popular after 1869., Text: Among the women who in history brightest have shone / Are those who have left the men's affairs alone, / Who in their homes have found their proper places, / And sought not in crowds to show their faces; / We see you seek a different line-- / You are too bold to be my Valentine., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman wears a dress with a narrow skirt and train and neither a crinoline nor a bustle. "Rag and tag" refers to the damage done to the trains of the skirts from walking in the streets. Crinolines were out of fashion in the late 1860s, and then bustles were in vogue. Bustles went out of fashion between 1876 and 1883., Text: Devoid of useless crinoline. / She moves majestic as a queen, / In sweeping robe and drooping bonnet / With many a rag and tag upon it., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The valentine depicts a well-dressed white man gesturing to a seated African American man whose head, feet, and buttocks are disproportionately large. The "burs" suggest the seated man does field work, and his trousers are ragged., Text: O, massa Abolitionist! you're mighty fond of jokes, / And play em on de darkey as well as on white folks / But all your mighty promises dey neber come to pass, / And every we take your chair de burs stick in / our ---- trouserloons., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A soldier smokes a pipe. He holds a gun and rucksack. The valentine mocks his appearance and unwarrented vanity. L. Prang & Co. first appeared in the Boston city directory in 1863., Text: You don't look handsome in your regimentals, / Although your doubtless think you're very fine. / You'll ne'er belong unto the sentimentals, / And ne'er can hope to be my valentine., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Confederate soldier runs away from bullets and cannonballs. He has a fearful expression. L. Prang & Co. first appeared in the Boston city directory in 1863., Text: You doubtless think that prudence is a virtue, / And therefore dangerous favors you decline. / Run swiftly when you fear that aught will hurt you. / But never hope to be my Valentine., "12", Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
"That human face divine" refers to Milton's "Paradise Lost." The title refers to the Second Battle of Bull Run, which occurred August 28 and 30, 1862.The valentine shows a Union soldier running from cannon balls. He wears a blue coat and red trousers and cap. He carries a sack on his back., Text: His eye-balls glare--- / Oh! what a stare / Is on that human face divine; / He runs! he's running back to me-- / Oh! Hurry up! my Valentine., Provenance: McAllister, John A. (John Allister), 1822-1896, collector., Provenance: Milton, John, 1608-1674. Paradise lost.
A white man kneels before a racistly depicted African- American man. The African-American man stands on a pedestal and has wings. "Contraband" here means "slave," and the sender rejects the recipient because of his sympathy for slaves. L. Prang & Co. first appeared in the Boston city directory in 1863., Text: You love the contrabands too much / To have love left for me, / And therefore you my Valentine / Can never hope to be., "18", Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A cavalry soldier rides a horse with his feet out of the stirrups. He carries a large sword. L. Prang & Co. first appeared in the Boston city directory in 1863., Text: You think yourself both bold and brave, of course, / Whene'er you safely gallop down your line; / Yourself as jaded as your wretched horse, / Who'd have a scarecrow for a Valentine?, "11.", Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A man in a sailor's clothing stands by a pile of cannon balls and holds a sword. One meaning of "splice" is to marry, and the sender rejects the recipient. L. Prang & Co. first appeared in the Boston city directory in 1863., Text: My friend, I vow that I'm not over nice, / Yet in a lover I want something fine; / So you and I can never hope to splice, / For you shall never be my Valentine., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A man pours liquor out of a bottle which is positioned near his groin. The valentine suggests that the recipient's passion is for drinking and not for women. L. Prang & Co. first appeared in the Boston city directory in 1863., Text: Tis evident you're far to [i.e. too] fond of liquor / To have a passion for aught else than wine / I doubt if it or you can run the quicker. / I'll have no tippler for a Valentine., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The soldier stands in front of a cannon and wears a gray Confederate uniform. Vanity and inaction effeminize him. L. Prang & Co. first appeared in the Boston city directory for 1863., Text: As you stand there so quietly, in repose, / No doubt you think that you are very fine. / You'd rather slaughter ladies' hearts than foes. / I'd hate to love so vain a Valentine., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The valentine depicts a man in a sailor's uniform holding a glass in one hand and a "greenback," or a paper dollar bill, in the other. The sender rejects the recipient because of his promiscuity and drinking, which it connects with his love of money, specifically paper currency., Text: Loves nothing as well as a good greenback / Except it be his grog: / And the first he'll waste on the sauciest back, / On the second get drunk as a hog / Alack, Jolly Jack! / Why can't you leave off both women and wine? / Then I'd give you a kiss full of true love's bliss, / And ever call you my own Valentine., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Union soldier rests on crutches, has his left arm in a sling, and is missing his right hand and left leg. His rucksack is on the crutches. Chickahominy is a Virginia river near where the Battle of Gaines' Mill took place. The border shows cupids and hearts; one cupid shoots a heart out of a thimble cannon labeled "Love"; another cupid travels with a heart in a hot-air balloon; and another cupid hammers at a cracked heart below a heart on a fishhook labeled "Caught.", Text: Come up to the bar, old boy-- / Come up to the bar and drink: / Did you leave your leg and arms / On Chickahominy's brink? / There's lots of your sort around-- / Young heroes in a war grown old-- / And out on the niggardly hound / Who'd leave them "out in the cold.", Variant of Valentine 12.29 and Valentine 12.30., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Union soldier rests on crutches, has his left arm in a sling, and is missing his right hand and left leg. His rucksack is on the crutches. Chickahominy is a Virginia river near where the Battle of Gaines' Mill took place. The valentine has an embossed border., Text: Come up to the bar, old boy-- / Come up to the bar and drink: / Did you leave your leg and arms / On Chickahominy's brink? / There's lots of your sort around-- / Young heroes in a war grown old-- / And out on the niggardly hound / Who'd leave them "out in the cold.", Variant of Valentine 12.30 and Valentine 12.31., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Union soldier rests on crutches, has his left arm in a sling, and is missing his right hand and left leg. His rucksack is on the crutches. Chickahominy is a Virginia river near where the Battle of Gaines' Mill took place. The border features matches, a heart-shaped beet, and cherubs playing tennis and tug o' war. The label on the matchbox reads "Red-headed matches go off easy," and the beet is marked "D.B." [i.e. "dead beat" or "dead beet"]., Text: Come up to the bar, old boy-- / Come up to the bar and drink: / Did you leave your leg and arms / On Chickahominy's brink? / There's lots of your sort around-- / Young heroes in a war grown old-- / And out on the niggardly hound / Who'd leave them "out in the cold.", Variant of Valentine 12.29 and Valentine 12.31., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Union soldier runs from a bullet. He carries an empty sword sheath. He has a long white beard, many wrinkles, and open mouth. The term "Zoo Zoo" refers to the Zouave regiments in the Civil War., Text: Behold your coward self from bullets flying, / No fear that you in battle will be dying; / Your large mouth open, and teeth clattering with fear, / As the spent shots come whistling through the air. / Such cowardice friend Zoo Zoo, is a very sure sign, / That you cannot have me for your own Valentine., "510", Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The German American, or Pennsylvanian Deutsch, soldier holds a pot marked "Krout" and wears a Union uniform. His cap is marked "Commissariat," and he has a long white beard., Text: Poor soldiers have mighty few thigns to be merry at, / When fed from the hands of a Dutch commissariat; / Krout for their breakfast, and their dinners, and teas, / And now and then scraps of bad Limburger cheeses. / So go, red-necked Dutchman, you ne'er can be mine, / You never were meant for a sweet Valentine., "505", Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Union calvalryman rides a donkey. He has a sword and spurs. The valentine suggests that his appearance does not match his abilities., Text: Ha, ha! don't you think you're brave? / No officer e'er looked bolder / But, all who march with you, / Think the asses head should be upon your shoulder., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Union soldier stands at attention and holds his musket and bayonet. A "regular" soldier refers to a member of the standing army. The sender rejects the recipient because of the restrictions he would place on his wife and the "regular," or boring lifestyle it would result in., Text: My love is a regular man -- / A man with a regular way; / He means to regulate me -- if he can, / When he gets his regular pay. / But I'll be no regular's wife, / No! no! not for all creation; / For who could enjoy married life, / When bound to a mere regulation., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The first line quotes from Charles Carroll Sawyer's sentimental Civil War ballad, "When this cruel war is over." The valentine shows a Union soldier lighting his cigarette from a bomb as bombs fly in the background behind him. The border features matches, a heart-shaped beet, and cherubs playing tennis and tug o' war. The label on the matchbox reads "Red-headed matches go off easy," and the beet is marked "D.B." [i.e. "dead beat" or "dead beet"]., Text: "When this cruel war is over," And our noble Volunteers / home return to live in clover / Shan't we have good times, my dears? Honor to the heroes, who by / Their brave deeds us captivate, / Thank of all the kisses ruby / That upon their coming wait!, Variant of 2.9 and 2.10., Provenance: McAllister, John A. (John Allister), 1822-1896, collector., Provenance: Sawyer, Charles Carroll, b. 1833. When this cruel war is over.
A man wears a jacket with "USA" printed on it. He stands in front of a gravestone. Another man sits at a table with a glass and decanter on it., Text: That Northern man that so much honor lacks / That he would stab his brethren in their backs, / Is worse by far than he who boldly fights / Against his country, e'en for fancied rights., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A thin man has a crane's head. He wears a blue jacket and cravat. He carries a large red syringe and has a medicine bottle in his pocket., Text: Mr. Pill with a very long Bill, / If my soldier laddie gets hurt, / If you don't cure him quick, I will tell you right slick, / You are brother-in-law to your Squirt., Variant of 2.39., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A man wears rustic attire and a wide-brimmed hat. He holds a long walking stick and stands next to a fence. The figure's posture, expression, and facial features are androgynous, and the valentine associates being "lovesick" with effeminancy., Text: Cease your sighing day and night, / Moping like a lovesick dove, / Go 'list, and serve the Right, / And prove yourself worthy of my love., Signed: Green., Provenance: McAllister, John A. (John Allister), 1822-1896, collector., Provenance: Green.
A Union military drummer carries a rucksack and a large snare drum on his side. The valentine criticizes the soldier's bad behavior before the war., Text: Folks do say, my little drummer, / That once you were a perfect bummer; / Made your living gathering junk, / And spent your money getting drunk. / If this be so, young friend of mine, / You'll never make a Valentine., "509", Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Union soldier holds a sword in his hand. His hat is decorated with two figures. Behind him is a dead body with detached legs., Text: O thou, man of fame and slaughter, You cannot have my mother's daughter; / You are the man, I most could bet, That went away from poor Jeanette. / What's the use of that long sword to you? Void of courage to run an enemy through, / Or even a bull-frog to attack a rush, Thou art no soldier, but a man of mush., Cf. Valentine 10.15., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Union soldier kneeling next to a cooking pot eats from a bowl., Text: Oh! How I love the volunteer, / Who eats his soup with conscience clear; / Who never runs-- except for meals; / who ne'er the pangs of hunger feels-- /And believes in fighting there's no good, / Unless his belly's full of food. / See him; beside that iron pot; / He longs for me to shar his let, / And I, alas, can not go., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Union officer stands at a bar and holds a large tankard of beer. The valentine criticizes military recruiters who get men drunk so that they will enlist., Text: You're not a fascinating creature, / Either in manners, form or feature, / Neither your own mug, quaint and queer, / Nor that o'erflowing mug of beer, / Would tempt me, sir, were I a gent, / To join your rowdy regiment. / Don't try with drink to catch recruits, / Our army needs good men, not brutes-- / Men who love order and the laws, / Whose hearts are in their country's cause, / Whose nerves are strong, whose heads are clear, / Whose courage is not born of beer., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Union soldier reads a copy of "Hardee's Tactics," a manual popular during the Civil War. His uniform is patched, and he has sideburns and facial hair stubble. "Burnside" refers to Union General Ambrose Burnside, whose style of facial hair came to be known as sideburns., Text: Be dad, and I'm after an officer's place, / And I think I am just the bold boy, / That can show old Burnside the way to advance, / And give the whole country much joy., Provenance: McAllister, John A. (John Allister), 1822-1896, collector., Provenance: Burnside, Ambrose Everett, 1824-1881., Provenance: Hardee, William Joseph, 1815-1873. Rifle and light infantry tactics
The trooper [i.e., cavalry soldier] kneels before a young woman who is crying. He wears a blue Union uniform, and his hat and gloves lie on the ground before him. Sitting on his spurs, the trooper appears pained. The text and image suggest that the trooper has no interest in the woman's feelings, and is concerned only with his immediate physical discomfort., Text: Ah! what is the matter, my trooper so gay, / While to this young lass you are kneeling? / Your head, it is soft-- as for heart you have none, / Your butt alone seems to have feeling., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Confederate soldier kneels before a Union soldier and begs for mercy by saying "Qua-rrter." Two swords lie near him. The "neck-tie made of hemp" means a rope for hanging and suggests that recipient deserves death instead of a sentimental token., Text: To trample on "our dear Old Flag", / You rashly did attempt; / The Valentine most met for you, / Is a Neck-tie made of Hemp., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Union soldier stands behind a tree while other soldiers fight in the background. The valentine mocks the cowardice of soldiers who buy their commissions., Text: Charge boys, charge, while I stand behind a tree; / The fighting is for you, and it's left for me to see. / I suppose you will ask me how I got my position, / I hauled out my money and paid for my commission., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Union soldier holds a sword in his hand. His hat is decorated with two figures. Behind him is a dead body with detached legs., Text: O thou, man of fame and slaughter, / You cannot have my mother's daughter; / You are the man, I most could bet, / That went away from poor Jeanette. / What's the use of that long sword to you? / Void of courage to run an enemy through, / Or even a bull-frog to attack a rush, / Thou art no soldier, but a man of mush., Cf. Valentine 10.14., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A soldier stands at a bar drinking a tankard of beer. A sign behind him reads, "Wanted Recruits for the Army." The valentine mocks the recruiting officer for using alcohol to recruit unfit men., Text: Gentility, neatness and courage / In a warrior I hold to be dear / But uniform don't make the soldier / Nor a coward get courage from Beer., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The man wears a blue Union coat with tails and a top hat that he tips forward; his clothing matches Union uniforms in color but not style. He holds a large rifle with a bayonet. The sender suggests that the recipient uses false stories of military glory to attract a wife., Text: Ladies, I learned to bow this way / A dodging rebel swells; / I am a soldier brave and gay, / A favorite with the belles, / If you're for Union-- 'to a man.' / Why, we'll enlist, as soon as we can., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Union soldier plays cards with another man. The soldier holds up a bandaged finger, and behind him is a bar with a sign that reads "Lager." The text suggests that the soldier's injury is minor and he's using it as an excuse to avoid fighting., Text: Soldier, O Soldier! what brought you home so soon? / Can you spend your time not better than in a gambling saloon? / To Skedaddle for the wound that on your finger you've got, / Is the excuse of a coward, and you may go to pot.. / For sooner than be the Valentine of such a cowardly elf, / I'd go and face the enemy, were I sure to be shot myself., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Union soldier stands near a doorway and observes his wife changing his child's diaper. The valentine suggests that the realities of domestic life are shocking after military service., Text: Your time is up and you have come, / With blast of bugle -- roll of drum, / What meets your gaze? your tidy wife, / And the stern realities of life., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A large Union dragoon rides on a small horse. "Old Dobbin" was an affectionate name for horses. The valentine mocks his poor horsemanship., Text: Men don't ride, my dear friend, to the red scene of slaughter, / Just as if they were taking old Dobbin to water; / You seat in the saddle is loose and ungainly, / Turn your knees in, and don't to your stirrups trust mainly; / Like an ox-goad don't carry that good piece of steel, stir, / Nor back into the next horse's chest when you wheel sir! / I know from the country you're fresh, but with training / There will soon be no trace of the rustic remaining; / If your heart's in the cause, all the rest will come easy, / But in hopes you'll improve. / If you do, I incline, sir, / To have you -- next year-- for my true Valentine, sir., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
