The many bees include Sipsyrup who is vain, and Honeyball who is lazy. They argue and complain, and their behavior yielded unfortunate results. There is another story happening outside the beehive: the young girl Polly whose vanity about her clothes leads to the mysterious disappearance of Johnny, her brother. The moral as stated at the end of the story is "However young, however weak, dear children, you may be, know that the youngest, the weakest, have some power here to give either pleasure or pain." Also contained in this book is the short story "Hold Fast" by A.L.O.E., which has the theme of salvation by Christ alone.
Charlotte Maria Tucker (1821-93) was a prolific writer for adults and children who used the pseudonym A.L.O.E. (A Lady of England). Late in life she spent a period as a volunteer missionary in India where she died. Her father was twice elected chairman of the East India Company and she had a secular upbringing in London, her first writings being poems and plays to amuse the family. In 1847 she took charge of the education of her brother's three children and her earliest published work The Claremont Tales (1852) was, she said, "originally composed for young children under my charge". Her work as a children's writer was imbued with her Evangelical religious beliefs and most of her stories were allegories with a clear moral which were rendered with a degree of realism. Much of her output of over 150 titles appeared first in magazines before being collected into books and she often devoted the proceeds from her writing to missionary or charity work. Her realistic portrayals of the poor were undoubtedly drawn from her experience as a workhouse visitor. In 1875, aged 54 and having taught herself Hindustani, she set out for India where she worked as a self-supporting volunteer missionary to Amritsar, Punjab, through the Indian Female Normal School and Instruction Society. Three years later she moved to nearby Batala where she worked in a boys' school and as a teacher of Christian beliefs to native women. Many of her stories are set in India and some were translated into Indian languages. This work, which includes six illustrations and a facsimile of the title page of the 1870 American edition, was first published in Britain in 1867.
The fruits of the Spirit: love, joy, peace, etc. are exemplified throughout the book, one to a chapter. Angus Tarlton was a sixteen year old boy who was a prideful, disagreeable person that had lost his enthusiasm for life because of a crippling accident. The story shows how he learned to be a comfort and companion to others. He was able to accomplish a brave, heroic deed which exemplified many fruits of the Spirit. Also contained in this book is the short story “Don’t Be Too Sure” by A.L.O.E., which is about trusting in God’s Providence instead of your own plans and abilities.
The Crown of Success" by Charlotte Maria Tucker, also known as A.L.O.E. (A Lady of England), is a children's book that tells the story of a character's pursuit of success. Through this engaging narrative, Tucker imparts valuable life lessons and moral teachings to young readers. The central theme of the book revolves around the journey towards achieving success, emphasizing essential values such as determination, hard work, and perseverance. As readers follow the protagonist's endeavors, they are encouraged to embrace these virtues in their own lives. While the specific plot and characters may vary from one of A.L.O.E.'s works to another, her storytelling consistently serves as a source of inspiration for young readers. Through relatable characters and relatable challenges, the book aims to motivate children to pursue their goals and make virtuous choices. "The Crown of Success" is part of A.L.O.E.'s broader body of work, which encompasses various children's stories and novels. Her writing is known for its ability to convey positive messages, instill moral values, and encourage young readers to strive for excellence in all aspects of life. As with her other works, this book contributes to the enduring legacy of children's literature, providing both entertainment and edification for generations of readers.
The effect produced upon the general mind by the appearance of Charlotte Brontë in literature, and afterwards by the record of her life when that was over, is one which it is nowadays somewhat difficult to understand. Had the age been deficient in the art of fiction, or had it followed any long level of mediocrity in that art, we could have comprehended this more easily. But Charlotte Brontë appeared in the full flush of a period more richly endowed than any other we know of in that special branch of literature, so richly endowed, indeed, that the novel had taken quite fictitious importance, and the names of Dickens and Thackeray ranked almost higher than those of any living writers except perhaps Tennyson, then young and on his promotion too. Anthony Trollope and Charles Reade who, though in their day extremely popular, have never had justice from a public which now seems almost to have forgotten them, formed a powerful second rank to these two great names. It is a great addition to the value of the distinction gained by the new comer that it was acquired in an age so rich in the qualities of the imagination. But this only increases the wonder of a triumph which had no artificial means to heighten it, nothing but genius on the part of a writer possessing little experience or knowledge of the world, and no sort of social training or adventitious aid. The genius was indeed unmistakable, and possessed in a very high degree the power of expressing itself in the most vivid and actual pictures of life. But the life of which it had command was seldom attractive, often narrow, local, and of a kind which meant keen personal satire more than any broader view of human existence. A group of commonplace clergymen, intense against their little parochial background as only the most real art of portraiture, intensified by individual scorn and dislike, could have made them: the circle of limited interests, small emulations, keen little spites and rancours, filling the atmosphere of a great boarding school, the BrusselsPensionnat des filles—these were the two spheres chiefly portrayed: but portrayed with an absolute untempered force which knew neither charity, softness, nor even impartiality, but burned upon the paper and made everything round dim in the contrast. I imagine it was this extraordinary naked force which was the great cause of a success, never perhaps like the numerical successes in literature of the present day, when edition follows edition, and thousand thousand, of the books which are the favourites of the public: but one which has lived and lasted through nearly half a century, and is even now potent enough to carry on a little literature of its own, book after book following each other not so much to justify as to reproclaim and echo to all the winds the fame originally won. No one else of the century, I think, has called forth this persevering and lasting homage.
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