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CHAPTER I THE THREE GUARDSMEN At a few minutes past three o'clock on a particularly warm afternoon in late September of last year three boys removed themselves and their luggage from the top of a Fifth Avenue stage in New York City and set forth eastward along Forty-second Street. Although decidedly dissimilar in looks and slightly dissimilar in build, they showed, nevertheless, a certain uniformity of carriage and action and, to a lesser degree, of attire. There was nothing strange in that, however, since, for the last two years, at least, they had spent nine months of the twelve in the same place, at the same pursuits and under the same discipline. The likeness of attire was less in material and color than in a certain tasteful avoidance of the extremes. Joe Myers and Martin Proctor wore blue serge and Bob Newhall a brownish-gray tweed, and in no case was the coat snugged in to the figure or adorned with a belt in conformity to the dictums of the Rochester school of sartorial art. Joe and Bob wore gray-and-gold ribbons about their straw hats, Martin a plain black. Each of the three carried a brown leather suitcase, and, had you looked closely, you would have discovered on each bag, amongst numerous other labels, a gray triangle bearing two A's in gold snuggled together in a pyramid-shaped monogram. At Grand Central Station they crossed the street, showing a superb indifference to the traffic. The driver of a pumpkin-hued taxi-cab, whose countenance and manner of driving suggested that he had cut many notches in his steering-wheel, yielded to a momentary weakness and jammed on his emergency brake, thereby allowing the three boys to step calmly and unhurriedly from his path. They seemed not to have observed their danger, and yet, having gained the sidewalk unharmed, one of them turned and rewarded the taxi man with a grave wink which threw the latter into a state of apoplectic anger. "Guess," observed Bob with a chuckle, "we spoiled his entire day!" "Don't worry," responded Martin. "He'll kill enough to make up for losing us!" Inside the station, they turned their steps toward the right and set their bags down near one of the ticket windows. "You get them, Joe," said Bob. "Here's mine." He proffered a five-dollar bill, but Joe waved it aside.
This book is about harmonic functions in Euclidean space. This new edition contains a completely rewritten chapter on spherical harmonics, a new section on extensions of Bochers Theorem, new exercises and proofs, as well as revisions throughout to improve the text. A unique software package supplements the text for readers who wish to explore harmonic function theory on a computer.
Tom is a sixteen-year-old street tough, left to fend for himself by his worthless father, Bill Slade, after wealthy landowner John Temple evicts them. Tom scorns the Boy Scout movement, as does Temple and his effeminate son Wilfred. Because of his interest in Temple's daughter Mary, Tom gets a job and joins the Scouts after seeing that they are as strong and tough as he. On a camping trip, Tom sees his father and a gang of tramps attempt to rob Temple's home. The Scouts frightened them, and when they attempt another robbery, Slade is slightly wounded and Temple's servant is shot. Although the Scouts use a wireless to summon medical help, Temple remains steadfast in his oposition to them. After he and Wilfred get lost on a fishing trip, Mrs. Temple asks the Scouts to search for them. Temple meets Slade, and they fight until they both fall unconscious. After the Scouts rescue them, Temple relents in his opposition, Wilfred joins, and Slate decides to get a job.
In 'Woodcraft Boys at Sunset Island', editors Lillian Elizabeth Roy and May Folwell Hoisington present a compelling anthology that explores the intricate dance of youth, adventure, and the timeless call of nature. This collection, steeped in the early 20th-century ethos, brings together narratives that vary widely in stylefrom the earnest and introspective to the buoyantly adventurousshowcasing the richness of outdoor experience through the eyes of its young protagonists. This anthology stands out not just for its thematic coherence but for the remarkable way it captures the spirit of an era when engagement with the natural world was both a rite of passage and a foundational aspect of character development. The contributing authors, Roy and Hoisington themselves, are not merely curators of this collection but are instrumental in shaping its thematic direction. Their works embody the principles of the Woodcraft movement, which emphasized a return to nature and the development of self-reliance and personal growth through outdoor skills and conservation ethics. This movement, reflective of broader cultural and literary undercurrents of their time, finds a resonant echo in the varied tales of adventure and self-discovery that populate this anthology. The authors' deep engagement with these themes offers readers a nuanced exploration of youth's relationship with nature, imbued with the historical and cultural contexts of the early 1900s. 'Woodcraft Boys at Sunset Island' is an invaluable resource for anyone interested in the intersection of youth literature, environmental education, and historical cultural movements. The anthology provides a unique lens through which to explore the values and challenges of a bygone era, inviting readers to reflect on the continuous relevance of these themes in todays world. For educators, scholars, and enthusiasts of early 20th-century literature, this collection offers a rich tapestry of stories that not only entertain but also educate and inspire, fostering a deeper appreciation for the transformative power of nature in shaping young lives.