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316 tragedy. On it the gull lands, and, having dragged the carcase some way up, flings his head into the air, and exults with a wild, vociferous cry, in which his mate, who has now joined him, takes part. Then there is more feasting; but in spite of the community of feeling which this duet implies, the second gull is not allowed to partake of the good cheer, but must wait till the provider of it has finished. Should she approach too near, such intrusion is vigorously repelled. Well, thank God for the touch of poetry, whenever it appears! There is something picturesquely wild, as well as savage, in the latter part of this sea-scene—the gull's te deum, flung out to sea and sky; but anything more horrid, more ignobly, sordidly vile than what has preceded it, it would be hard to imagine. A kittiwake in its first full plumage, which differs much from the parents', is a very pretty bird, dove-like and innocent-looking. To see it savagely shaken and flung about, a huge hooked implement fastened in its slender throat, and that soft little head towzled, bitten on, mumbled, the wings all the while flapping in helpless and quite futile efforts to escape, is sickening. It is not the worst scene in nature certainly—serious deliberation amongst enlightened statesmen can produce things a good deal more horrible—but it is bad enough, bad enough. It looks like the negation of God, but a much better case can be made out for its being the affirmation, so here is the consolatory reflection for which optimists are never at a loss. "There's comfort yet," as Macbeth says.