George Robert Aberigh-Mackay

Summary

George Robert Aberigh-Mackay Twenty-one Days in India (1881)

They croon to baby some old-world katabaukalesis; while beauty, born of murmuring sound, passes into Baby's eyes. The squirrel sits chirruping familiarly on the edge of the verandah with his tail in the air and some uncracked pericarp in his uplifted hands, the kite circles aloft and whistles a shrill and mournful note, the sparrows chatter, the crow clears his throat, the minas scream discordantly, and Baby's soft, receptive nature thus absorbs an Indian language. Very soon Baby will think from right to left, and will lisp in the luxuriant bloom of Oriental hyperbole.
Source: Wikisource

George Robert Aberigh-Mackay Twenty-one Days in India (1881)

Through this refracting medium the people of India see their rulers. The chuprassie paints his master in colours drawn from his own black heart. Every lie he tells, every insinuation he throws out, every demand he makes, is endorsed with his master's name. He is the arch-slanderer of our name in India.
There is no city in India, no mofussil-station, no little settlement of officials far-up country, in which the chuprassie does not find sworn brothers and confederates. The cut-cherry clerks and the police are with him everywhere; higher native officials are often on his side.
Source: Wikisource

George Robert Aberigh-Mackay Twenty-one Days in India (1881)

He led her slowly up to the quiet hill-tops of thought where the air is still and clear, and he gave her to drink of the magic fountains of music. Their hearts beat one delicious measure. Her gentle nature was plastic under the poet's touch, wrought in an instant to perfect harmony with love, or tears, or laughter. To read aloud to her in the evening after the day's work was over, and to see her stirred by every breath of the thought-storm, was to enjoy an exquisite interpretation of the poet's motive, like an impression bold and sharp from the matrix of the poet's mind.
Source: Wikisource

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