withdrawing from a thicket, and muttering to himself, "There ain't no
speckerlation there." And when the way became altogether
inscrutable,--"Waal, this is a reg'lar random scoot of a rigmarole."
As some one remarked, "The dictionary in his hands is like clay in
the hands of the potter." "A petrifaction was a kind of a hard-wood
chemical git-up."

There is no conceit, we are apt to say, like that born of isolation
from the world, and there are no such conceited people as those who
have lived all their lives in the woods. Phelps was, however,
unsophisticated in his until the advent of strangers into his life,
who brought in literature and various other disturbing influences. I
am sorry to say that the effect has been to take off something of the
bloom of his simplicity, and to elevate him into an oracle. I
suppose this is inevitable as soon as one goes into print; and Phelps
has gone into print in the local papers. He has been bitten with the
literary "git up." Justly regarding most of the Adirondack
literature as a "perfect fizzle," he has himself projected a work,
and written much on the natural history of his region. Long ago he
made a large map of the mountain country; and, until recent surveys,
it was the only one that could lay any claim to accuracy. His
history is no doubt original in form, and unconventional in
expression. Like most of the writers of the seventeenth century, and
the court ladies and gentlemen of the eighteenth century, he is an
independent speller. Writing of his work on the Adirondacks, he
says, "If I should ever live to get this wonderful thing written, I
expect it will show one thing, if no more; and that is, that every
thing has an opposite. I expect to show in this that literature has
an opposite, if I do not show any thing els. We could not enjoy the
blessings and happiness of riteousness if we did not know innicuty