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Chapter 9: The Creative Side
Copyright © 2019 Pearson Education, Inc. 172
Chapter 9
The Creative Side
CHAPTER CONTENT
KEY OBJECTIVES
1. Describe the role of creativity in integrated marketing communication.
2. Explain creative thinking and you get the Big Idea.
3. Identify key message strategy approaches.
4. Define issues affecting the management of creative strategy and its implementation.
CHAPTER OVERVIEW
Effective marketing communication is successful because the right media deliver the
right message to the right target audience at the right time. Like two hands clapping,
media and message must work together to create effective communication. This chapter
concentrates on how the message is created. It opens with a discussion of the role of
creativity in IMC, explaining how the art and science of marketing communication come
together to develop a creative strategy. Focus is placed on the importance of Big Ideas
and ROI. Suggestions are given for increasing creative potential on both the individual
and group level. Next the creative brief, message objectives, and message strategies are
explored. The chapter closes by providing an overview of management issues impacting
creative strategy and its implementation.
CHAPTER OUTLINE
WHAT IS THE ROLE OF CREATIVITY IN IMC?
 Creativity can be defined as the generation of fresh ideas and solutions to current
problems or challenges. This definition sounds simple but creativity is complex and
multifaceted, especially in the digital age. Creativity is all around us. You don’t have
to be an artist to be creative. The ability to think like a problem solver and the
courage to take risks and try something new are requisite skills for creativity.
 Principle: Creative strategy solves problems and problem solving demands creative
thinking. Both Big Ideas and Big Plans call for creative thinking.
 “Creative work must communicate a truth about the brand that moves the
organization toward a key goal,’ according to Meg Lauerman. We often talk about
‘creatives’ as the people who design ads. All agencies have copywriters and art
directors who are responsible for developing the creative concept and crafting the
execution of the idea. They often work in teams, are sometimes hired as teams, and
may work together for years.

 The creative director manages the creative process, plays an important role in
focusing the strategy of ads, and makes sure the creative concept is strategically on
target. The role of the creative director is evolving rapidly as these team leaders need
to be familiar with user experience design (UX), which involves the interactive
conversation about the brand.
 Anyone in the IMC process can generate fresh ideas and solutions. Those designing
multiplatform campaigns also demonstrate creative ways to connect content with
audiences. In the world of interactive media, the consumer is also often invited to
participate in the creative activity. The ability to generate fresh ideas and solutions
sometimes results in the creation of a new business, as well as new products, as
demonstrated in the Inside Story featured in this chapter about Urban Decay
Cosmetics.
The Art and Science of IMC
 The art and science of marketing communication come together in the phrase creative
strategy. A winning marketing communication idea must be both creative and
strategic. The message plan is a rational analysis of a problem and what is needed to
solve that problem. This logic is built on fresh insight that comes from research.
 Professor Mark Stuhfaut identified significant elements of creativity in advertising,
which begin with novelty but include appropriateness as well as authenticity and
relevance. Creative strategy goes beyond coming up with a novel idea; rather, it is
about generating an idea that solves a communication problem in an original way.
 The twenty-first century has created a huge challenge for brand communication
creatives who have to develop breakthrough messages that will not get lost in today’s
media explosion. As explained in the Matter of Practice feature, we’re in a second
creative revolution that challenges creative thinkers to reimagine the way they work.
CREATIVE THINKING: HOW DO YOU DO IT?
 All aspects of IMC are creative idea businesses. An idea is a thought or a concept in
the mind. It’s formed by mentally combining pieces and fragments of thoughts into
something that contains a nugget of meaning. Advertising creatives sometimes use
the term concepting to refer to the process of coming up with a new idea. Big Ideas
are also called creative concepts.
 Principle: When advertising gives consumers permission to believe in a product, it
establishes the platform for conviction.
 To understand what creativity is, it may be helpful to understand what it is not.
What’s the opposite of creative? What’s the opposite of creative? In advertising,
clichés are the most obvious examples of generic, non-original, non-novel ideas. To
help you understand how creative people think about strategy and advertising ideas,
consider the twelve tips offered by Professor Tom Groth in the Practical Tips box
featured in this chapter.

What’s the Big Idea?
 What we call a Big Idea or creative concept becomes a point of focus for
communicating the message strategy. Big Ideas can be risky because they are
different and, by definition, untested. So risky is good for edgy Big Ideas, but how far
on the edge is a difficult question. Testing ideas is a good idea to reduce the chances
of taking unnecessary risks.
 Where do Big Ideas come from? James Webb Young, a founder of the Young &
Rubicam agency, explained in his classic book that an idea is a new or unexpected
combination of thoughts. He claims that “the ability to make new combinations is
heightened by an ability to see relationships.” An idea, then, is a thought that comes
from placing two previously unrelated concepts together.
The ROI of Creativity
 A Big Idea is more than just a new thought because in advertising it also has to
accomplish something—it has a functional dimension. According to the DDB agency,
an effective ad is relevant, original, and has impact—which is referred to as ROI of
creativity. According to DDB’s philosophy, ideas have to be relevant and mean
something to the target audience. Original means one of a kind – an advertising idea
is creative when it is novel, fresh, unexpected and unusual. To be effective, the idea
must also have impact, which means it makes an impression on the audience.
 The essence of a creative idea is that no one else has thought of it. Thus, the first rule
is to avoid doing what everyone else is doing. In an industry that prides itself on
creativity, copycat advertising—that is, using an idea that someone else has
originated—is a concern.
 Principle: An idea can be creative for you if you have not thought of it before, but to
be truly creative, it has to be one that no one else has thought of before.
 We know that many ads just wash over the audience. An idea with impact, however,
breaks through the clutter, gets attention, and sticks in memory. A breakthrough ad
has stopping power and that comes from an intriguing idea—a Big Idea that is
important and relevant to consumers.
The Creative Leap
 Divergent thinking is used to describe a style of thinking that jumps around
exploring multiple possibilities rather than using rational thinking to arrive at the
“right” or logical conclusion. The heart of creative thinking, divergent thinking, uses
exploration (playfulness) to search for alternatives. Another term for divergent
thinking is right-brain thinking, which is intuitive, holistic, artistic, and emotionally
expressive thinking in contrast to left-brain thinking, which is logical, linear
(inductive or deductive), and orderly.

 How can you become a more creative thinker? First, think about the problem as
something that involves a mind-shift. Instead of seeing the obvious, a creative idea
looks at a problem in a different way, from a different angle. That’s called thinking
outside the box. Second, put the strategy language behind you. Finding the brilliant
creative concept entails what advertising giant Otto Kleppner called the creative
leap—a process of jumping from boring business language in a strategy statement to
an original idea. This Big Idea transforms the strategy into something unexpected,
original, and interesting.
 Since the creative leap means moving away from the safety of a predictable strategy
statement to an unusual idea that has not been tried before, this leap is a creative risk.
Dialing up Your Creativity
 Creative advertising people may be weird and unconventional, but they can’t be
totally eccentric. They still must be purpose driven, meaning they are focused on
creating effective advertising that’s on strategy. Figure 9.1 contains a mini-test to
evaluate your own creative potential.
 Coming up with a great idea that is also on strategy is an emotional high. Advertising
creatives describe it as “one of the biggest emotional roller coasters in the business
world.” According to Ingvi Logason, owner of an award-winning agency in Iceland,
“Inspiration for my ideas can almost always be traced to things I have done,
experienced, seen, heard, or read. In a creative world it is important to try new things
and live life like a discoverer.’’
 Logason’s discoverer is why we say that curiosity is the most important characteristic
of creativity. Research has found that most people can sharpen their skills and
develop their creative potential by understanding and strengthening certain personal
characteristics. Research also indicates that creative people tend to be independent,
assertive, self-sufficient, persistent, self-disciplined, curious, and possess a high
tolerance for ambiguity. They are also risk takers with powerful egos that are
internally driven. Here are a few of the key characteristics of creative people who do
well in advertising:
 Problem solving. Creative problem solvers are alert, watchful, and observant, and
reach conclusions through intuition rather than through logic.
 Playful. Creative people have fun with ideas; they have a mental playfulness that
allows them to make novel associations.
 The ability to visualize. Most of the information we accumulate comes through
sight, so the ability to manipulate visual images is crucial for good copywriters, as
well as designers.

 Open to new experiences. Over the course of a lifetime, openness to experience
may give you many more adventures from which to draw. Those experiences
would, in turn, give a novelist more characters to write about, a painter more
scenes to paint, and the creative team more angles from which to tackle an
advertising problem.
 Conceptual thinking. It’s easy to see how people who are open to experience
might develop innovative advertisements and commercials because they are more
imaginative.
The Creative Process: How to Get an Idea
 Only in cartoons do light bulbs appear above our heads from out of nowhere when a
good idea strikes. In reality, most people who are good at thinking up new ideas will
tell you that it is hard work. The unusual, unexpected, novel idea rarely comes
easily—and that’s as true in science and medicine as it is in advertising.
 The classic approach to the creative process is portrayed by the following series of
steps:
 Step 1: Immersion. Read, research, and learn everything you can about the
problem.
 Step 2: Ideation. Look at the problem from every angle; develop ideas; generate
as many alternatives as possible.
 Step 3: Brainfag. Don’t give up if, and when you hit a blank wall.
 Step 4: Incubation. Try to put your conscious mind to rest to let your
subconscious take over.
 Step 5: Illumination. Embrace the unexpected moment when the idea comes,
often when your mind is relaxed and you’re doing something else.
 Step 6: Evaluation. Does it work? Is it on strategy?
 A structured creative exercise from Professor Linda Correll, who developed Creative
Aerobics, offers a method to help unleash your creative potential. This four-step idea-
generating process opens new doors and windows for ideas to enter your mind. The
four steps are:
 Coming up with facts about your product,
 Creating new names for your product,
 Finding similarities among dissimilar objects, and
 Creating new definitions for product-related nouns.
 Another specialized approach to creative problem solving involves design thinking,
which stimulates innovation and solves complex problems through collaboration.

Brainstorming
 As part of the creative process, some agencies use a thinking technique known as
brainstorming in which a group of 6 to 10 people work together to come up with
ideas. One person’s idea stimulates someone else’s, and the combined power of the
group associations stimulates far more ideas than any one person could think of alone.
The group becomes an idea factory.
 The secret to brainstorming is to remain positive and defer judgment. Negative thinking
during a brainstorming session can destroy the informal atmosphere necessary to
achieve a novel idea. To stimulate group creativity against a deadline, some agencies
have special processes or locations for brainstorming sessions with no distractions or
disruptions.
 The following list builds on our previous discussion of creative thinking. It can also
be used as an outline for a brainstorming session. To create an original and
unexpected idea, use the following techniques:
 What if? To twist the commonplace, ask a crazy “what if” question— for
example, what if wild animals could talk?
 An unexpected association. In free association you think of a word and then
describe everything that comes into your mind when you imagine that word.
 Dramatize the obvious. Sometimes the most creative idea is also the most
obvious.
 Catchy phrasing. Isuzu used “The 205-Horsepower Primal Scream” for its
Rodeo headline.
 An unexpected twist. A road crew usually refers to people who work on a road
project, but for the Road Crew campaign, the phrase was twisted to refer to limo
drivers who give rides to people who have had too much to drink.
 Play on words. For example, under the headline “Happy Camper,” an ad for
cheese showed a picture of a packed sports utility vehicle with a huge wedge of
cheese lashed to the rooftop.
 Analogy and metaphor. Used to see new patterns or relationships, metaphors
and analogies by definition set up juxtapositions. Harley-Davidson compared
the legendary sound of its motorcycles to the taste of a thick, juicy steak.
 Familiar and strange. Put the familiar in an unexpected situation: UPS showed
a tiny model of its familiar brown truck moving through a computer cord.

 A twisted cliché. They may have been great ideas the first time they were used,
but phrases such as “the road to success” become trite when overused. But they
can regain their power if twisted into a new context. The “Happy Camper” line
was twisted by relating it to an SUV.
 Twist the obvious. Avoid the predictable, such as a picture of a Cadillac on Wall
Street or in front of a mansion. Instead, use an SUV on Wall Street (“fast
tracker”) or a basketball hoop in front of a mansion (“slam dunk”).
 Exaggeration. Take a common situation and exaggerate it until it becomes
funny.
 To prevent unoriginal ideas, avoid or work around the following:
 The look-alike. Avoid copycat advertising that uses somebody else’s great idea.
Hundreds of ads for escape products (resorts, travel, liquor, foods) have used the
headline “Paradise Found.” It’s a play on “Paradise Lost” but still overused.
 The tasteless. In an attempt to be cute, a Subaru ad used the headline, “Put it
where the sun don’t shine.” An attempted twist on a cliché, but it doesn’t work.
WHAT ARE SOME KEY MESSAGE STRATEGY APPROACHES?
 This section helps transform creative thinking into action. It starts with a creative
brief that identifies the most appropriate strategy to accomplish the goals of the
organization, product, or idea.
The Creative Brief
 The creative brief (or creative platform, worksheet, or blueprint) is the document
prepared by the account planner to summarize the basic marketing and advertising
strategy described in chapter 8. It gives direction to creative team members as they
search for a creative concept or Big Idea. We make a distinction between creative
strategy and creative execution.
 Creative strategy, or message strategy, is what the advertisement says. Execution is
how it is said. The following outline summarizes the key points in a typical brief:
 A problem that can be solved by communication.
 The target audience and key insights into their attitudes and behavior.
 The brand position and other branding decisions, such as personality and image.
 Communication objectives which specify the desired response to the message by
the target audience.

 A proposition or selling idea that will motivate the target to respond.
 Media considerations about where and when the message should be delivered.
 Creative direction that provides suggestions on how to stimulate the desired
consumer response.
 Although a creative brief is terminology generally associated with advertising, public
relations has a counterpart called a Public Relations Plan. A Public Relations Plan is
similar to the creative brief.
 The creative brief and public relations plan explain the thinking behind the creative
ideas that emerge from the analysis of these elements. They may also touch on such
execution or stylistic direction as the ad’s tone of voice.
 Different agencies use different formats, but most combine these basic advertising
strategy decisions. The point is that advertising planning—even planning for the
creative side—involves a structured, logical approach to analysis. Some agencies,
however, may focus on more intuitive, emotional message effects.
Message Objectives
 What do you want the message to accomplish? What message objectives would you
specify? Below is a review of some of common advertising objectives that relate to
the Facets Model of Effects.
 See/hear - create attention, awareness, interest, recognition
 Feel - touch emotions and create feelings
 Think/learn/understand - deliver information, aid understanding, and create recall
 Connect - establish brand identity and associations, transform a product into a
brand with distinctive personality and image
 Believe - change attitudes, create conviction and preference, stimulate trust
 Act - stimulate trial, purchase, repurchase or some other form of action, such as
visiting a store or website
Targeting
 The target decision is particularly important in planning a message strategy. It is
essential to understand what moves this group.
Branding and Positioning
 The demands of the brand are also important considerations. Brand positions and
brand images are created through message strategies and brought to life through
advertising executions. Finding the right position is difficult enough, but figuring out
how to communicate that position in an attention-getting message that is consistent
across multiple executions and various media further heightens the challenge.

 Brand communication creates symbols and cues that make brands distinctive, such as
characters, colors, slogans, and taglines, as well as brand personality cues. Today’s
new-age characters are ironic and even a little self-deprecating and they speak to the
ad resistance of today’s consumers with irony and inner conflict.
 Advertising and other forms of marketing communication are critical to creating what
brand guru Kevin Keller calls brand salience, that is, the brand is visible and has a
presence in the marketplace, consumers are aware of it, and the brand is important to
its target market.
 In addition to brand salience – measured by top-of-mind awareness – another
objective for branding and positioning campaigns is to create trust. We buy familiar
brands because we’ve used them before and we trust them to deliver on their
promises.
Translating Communication Objectives into Message Strategies
 Once you have identified communication objectives, how do you translate them into
strategies? Remember, there is no one right way to do brand communication. In most
cases there are a number of ways to achieve a communication objective. Planners
search for the best message design – the approach that makes the most sense given
the brand’s marketing situation and the target audience’s needs and interests.
Choosing the Strategic Approach That Fits
What you want to say forms the foundation for the message design. How you say it is the
strategic part. First, let’s review some simple ways to express a strategic approach—head
or heart and hard or soft sell. Then we’ll look at some more complex models that get a
little deeper into the complexities of message strategy.
Head and Heart
 In the Facets Model of Effects, the cognitive objectives generally speak to the head
and the affective objectives are more likely to speak to the heart. However,
sometimes a strategy is designed to inform the mind as it touches the emotions.
 Another way to refer to head and heart strategies are hard- and soft-sell approaches.
A hard sell is an informational message that is designed to touch the mind and create
a response based on logic. The assumption is that the target audience wants
information and will make a rational product decision.
 A soft sell uses emotional appeals or images to create a response based on attitudes,
moods, and feelings. The assumption with soft-sell strategies is that the target
audience has little interest in an information search and will respond more favorably
to a message that touches their emotions or presents an attractive brand image. A soft-
sell strategy can be used for hard products.

 However, there are examples of ads designed to stir emotions that did not work
because they were too manipulative or raised inappropriate emotions. It is possible to
manipulate emotions in a way that viewers and listeners resent. But sometimes high
emotion works.
Systems of Strategies
 Head or heart, hard sell or soft sell—these terms all refer to some basic, simple ideas
about message strategy. Creative strategy, however, is often more complex. Frazer’s
Six Creative Strategies and Taylor’s Strategy Wheel offer more complex approaches.
 Professor Charles Frazer proposed a set of six creative strategies that address various
types of message situations. Although not comprehensive, these terms are useful to
identify some common approaches to strategy. They are preemptive, unique selling
proposition, brand image, positioning, resonance, and affective/anomalous.
 A description of each strategy and its uses is detailed in a table in the textbook. The
preemptive strategy shows up in competitive advertising where one competitor tries
to build a position or lay a claim before others enter the market. We saw an example
of this when the coffee wars between Starbucks and McDonald’s erupted after
McDonald’s introduced its McCafé line of fancy coffees at lower prices.
 Professor Ron Taylor developed a model that divides strategies into the transmission
view, which is similar to the more rational “head” strategies, and the ritual view,
which is similar to the more feeling-based “heart” strategies. He then divides each
into three segments: rational, acute need, and routine on the transmission side and
ego, social, and sensory on the ritual side. In the A Matter of Principle feature in this
chapter, Professor Taylor explains his model in detail.
Strategic Formats
Even though advertising is a search for a new and novel way to express some basic truth,
there are also some tried and true approaches that have worked over the years. These tried
and true approaches are outlined below.
Lectures and Dramas
 Most advertising messages use a combination of lecture and drama to reach the head
or the heart of the consumer. A lecture is a serious instruction given verbally. The
speaker presents evidence and uses a technique such as an argument to persuade the
audience. Lectures are relatively inexpensive to produce, and are compact and
efficient. The phrase talking head is used to refer to an announcer who delivers a
lecture about a product.
 Drama relies on the viewer to make inferences about the brand. Usually the drama is
in the story that the reader has to construct around the cues in the ad. Through
dramas, advertisers tell stories about their products; the characters speak to each
other, not to the audience.

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 Political advertising is a challenge, in terms of how much information versus how
much drama is appropriate. In particular the issue of negative advertising, which
arouses emotions as well as counterarguments, is a topic of research, debate, and
criticism. Although the impact of negative political advertising remains debatable,
in the context of the plethora of news outlets, talk show pundits, candidate surrogates,
and so forth, it sometimes seems as if the whole media environment, not just political
advertising, is filled with untruths and negativity. It is worth wondering what effect
this negativity has on our society and our responsibility as communicators.
Psychological Appeals
 The psychological appeal of the product to the consumer is also used to describe a
message that primarily appeals to the heart. An appeal connects with some emotion
that makes the product particularly attractive or interesting, such as security, esteem,
sex, and sensory pleasure. Although emotion is at the base of most appeals, in some
situations, appeals can also have a logical dimension. Appeals generally pinpoint the
anticipated response of the audience to the product and the message.
Selling Premises
 A selling premise states the logic behind the sales offer. A premise is a proposition
on which an argument is based or a conclusion is drawn. To have a practical effect on
customers, managers must identify the product’s features or attributes in terms of
those that are most important to the target audience. A claim is a product-focused
strategy that is based on a prediction about how the product will perform.
 Here is a summary of rational customer-focused selling premises:
 Benefit. The benefit emphasizes what the product can do for the user by
translating the product feature or attribute into something that benefits the
consumer.
 Promise. A promise is a benefit statement that looks to the future and predicts
that something good will happen if you use the product.
 Reason why. A type of benefit statement that gives you the reason why you
should buy something, although the reason sometimes is implied or assumed.
 Unique selling proposition (USP). A USP is a benefit statement that is both
unique to the product and important to the user. The USP is a promise that
consumers will get this unique benefit by using this product only.
 Most selling premises demand facts, proof, or explanations to support the sales
message. The proof, or substantiation, needed to make a claim believable, is called
support. In many cases, this calls for research findings. With claims, and particularly
with comparisons, the proof is subject to challenge by a competitor as well as
industry review boards.

Other Message Approaches
 In addition to the basic categories of selling premises, some common message
formulas emphasize different types of effects. The planner uses these terms as a way
to give direction to the creative team and to shape the executions. Here are some of
them:
 A straightforward factual or informational message conveys information without
any gimmicks, emotions, or special effects.
 A demonstration focuses on how to use the product or what it can do for you.
 A comparison is a contrast of two or more products to show the advertiser’s
brand superiority. The comparison can be either direct or indirect.
 In a problem solution format, also known as product-as-hero, the message begins
with a problem and the product is the solution. A variation is the problem
avoidance message format, in which the product helps avoid a problem.
 Advertisers use humor as a creative strategy because it is attention-getting and
they hope that people will transfer the warm feelings they have as they are being
entertained to the product.
 The slice-of-life format is an elaborate version of a problem solution staged in the
form of a drama in which “typical people” talk about a common problem and
resolve it.
 In the spokesperson or endorser format, the ad features celebrities, created
characters, experts we respect, or someone “just like us” whose advice we might
seek out to speak on behalf of the product to build credibility. A recent FTC rule
makes endorsers as well as advertisers liable for false or unsubstantiated claims,
so spokespersons have to be very careful about what they say about products they
advertise.
 Teasers are mystery ads that don’t identify the product or don’t deliver enough
information to make sense, but they are designed to arouse curiosity. These are
often used to launch a new product.
 The use of celebrities as spokespersons, endorsers, or brand symbols is an
important strategy because it associates the brand positively – or negatively – with
a famous person and qualities that make that person a celebrity. Prior to Michael
Jackson’s $5 million contract with Pepsi in 1984, celebrities were often reluctant
to appear for a brand because they feared it might tarnish their image. More
recently, advertisers have worried about celebrities they have signed who tarnish
the brand’s image.

 Another aspect of celebrity effectiveness is their appeal or influence. There are a
number of ways to measure a celebrity’s appeal or influence, such as the E score,
the Q score, and the Davie Brown Index. These scores are not just related to
conventional celebrities. In social media, anyone who attracts a lot of followers
can be identified as an ‘influencer.’ Klout and PeerIndex are rating services for
social media.
Matching Messages to Objectives
What types of messages deliver which objectives? The Facets Model can be helpful in
thinking through objectives and their related strategies.
 Messages that get attention. To be effective, an advertisement needs to get exposure
through the media buy and get attention through the message. Getting consumers’
attention requires stopping power. Creative advertising breaks through the old
patterns of seeing and saying things—the unexpectedness of the new idea creates
stopping power. Intrusiveness is particularly important in cluttered markets, and
curiosity is particularly important for teaser strategies.
 Messages that create interest. Keeping attention reflects the ad’s pulling power. An
interesting thought keeps reader or viewer attention and pulls them through to the end
of the message. Ads that open with questions or dubious statements are designed to
create curiosity.
 Messages that resonate. Ads that amplify the emotional impact of a message by
engaging a consumer in a personal connection with a brand are said to resonate with
the target audience.
 Messages that create believability. Advertising sometimes uses a credibility strategy
to intensify the believability of a message. Using data to support or prove a claim is
critical.
 Messages that are remembered. Not only do messages have to stop (get attention)
and pull (create interest); they also have to stick (in memory), which is another
important part of the perceptual process. Most advertisements are carefully designed
to ensure that these memory traces are easy to recall.
 Repetition is used in both media and message strategy to ensure memorability. Jingles
are valuable memorability devices because the music allows the advertiser to repeat a
phrase or product name without boring the audience. Clever phrases are useful not
only because they grab attention, but also because they can be repeated to intensify
memorability.
 Brand communication uses slogans for brands and campaigns, such as “Get Met. It
Pays” (MetLife) or Nike’s slogan “Just Do It.” Taglines are used at the end of an ad
to summarize the point of the ad’s message in a highly memorable way. Many print

and interactive ads and most television commercials feature a key visual, a vivid
image that the advertiser hopes will linger in the viewer’s mind. Color may be a
memory cue, as with Wrigley’s Doublemint Gum.
 Messages that touch emotions. Emotional appeals create feeling-based responses
such as love, fear, anxiety, envy, sexual attraction, happiness and joy, sorrow, safety
and security, pride, pleasure, embarrassment, and nostalgia. Appetite appeal uses
mouth-watering food shots to elicit feelings of hunger and craving, like the photo in
the Quaker Trail Mix Bar print ad. A more general emotional goal is to deliver a
message that people like in order to create liking for the brand.
 Messages that inform. Companies often use news announcements to provide
information about new products, to tout reformulated products, or even let consumers
know about new uses for old products. The news angle, which is often delivered by
publicity stories, is information focused. Comparison ads are often heavy on
information and used to explain a product’s point of difference and competitive
advantage.
 Messages that teach. People learn through instruction so some advertisements are
designed to teach, such as demonstrations that show how something works or how to
solve a problem. Educational messages are sometimes designed to explain something.
Learning is also strengthened through repetition, which is why repetition is such an
important media objective.
 Messages that persuade. Persuasive messages are designed to affect attitudes and
create belief. Endorsements by celebrities or experts are used to intensify conviction.
Conviction is often built on strong, rational arguments that use such techniques as test
results, before-and-after visuals, testimonials by users and experts, and
demonstrations to prove something. Celebrities, product placements, and other
credibility techniques are used to give the consumer permission to believe a claim or
selling premise.
 Messages that create brand associations. The transformative power of branding,
where the brand takes on a distinctive character and meaning, is one of marketing
communication’s most important functions. Image advertising is used to create a
representation of a brand, an image in a consumer’s mind through symbolism.
Advertising’s role is to provide the cues that make these meanings and experiences
come together in a coherent brand image.
 Messages that drive action. Even harder to accomplish than conviction is a change in
behavior. It often happens that people believe one thing and do another. Sales
promotion, for example, works in tandem with advertising to stimulate immediate
action using sampling, coupons, and free gifts as incentives for action.

 Most ads end with a signature of some kind that serves to identify the company or
brand, but it also serves as a call to action and gives direction to the consumer about
how to respond, such as a toll-free number, a website URL, or an email address.
 Ultimately, advertisers want loyal customers who purchase and repurchase the
product as a matter of habit or preference. Reminder advertising, as well as
distributing coupons or introducing a continuity program, is designed to keep the
brand name in front of customers to encourage their repeat business.
WHAT ISSUES AFFECT THE MANAGEMENT OF CREATIVE STRATEGY
AND ITS IMPLEMENTATION?
Next, let’s look at three management issues that affect the formulation of creative
strategies: extension, adaptation, and evaluation.
Extension: An Idea with Legs
 One characteristic of a Big Idea is that it gives legs to a campaign. By that we mean
that the idea is strong enough to serve as an umbrella concept for a variety of
executions in different media talking to different audiences. It can be endlessly
extended. Extendibility is a strength of the Chick-fil-A, Geico, and Frontier Airlines’
talking-animal campaigns.
Adaptation: Taking an Idea Global
 The opportunity for standardizing the campaign across multiple markets exists only if
the objectives and strategic position are essentially the same. Otherwise a creative
strategy may call for a little tweaking of the message for a local market or even major
revision if there is a great deal of cultural and market difference.
 In a case in which core targeting and positioning strategies remain the same in
different markets, it might be possible for the central creative idea to be universal
across markets. Although the implementation of this idea may vary from market to
market, the creative concept is sound across all types of consumers. Even if the
campaign theme, slogan, or visual elements are the same across markets, it is usually
desirable to adapt the creative execution to the local market.
Evaluation: The Go/No-Go Decision
 How do you decide if the creative idea is strong enough to justify the expense of
creating a campaign based on it? Whether local or global, an important part of
managing creative work is evaluation, which happens at several stages in the creative
process. Everyone can learn to be more critical about the brand messages that they
see. The first question to ask is, Is it on strategy?

Other documents randomly have
different content

OF MODERN CRITICS.--REYNOLDS AND RUSKIN.--HOW
FAR POPULAR TASTE IS WORTH ANY THING.--
CONCLUDING REMARKS OF A MISCELLANEOUS
DESCRIPTION.
CHAPTER
XXXVIII.
ITALIAN TRAVEL, ROADS, INNS.--A GRAND
BREAKDOWN.--AN ARMY OF BEGGARS.--SIX MEN
HUNTING UP A CARRIAGE WHEEL; AND PLANS OF THE
SENATOR FOR THE GOOD OF ITALY. ILLUSTRATIONS.
Travelling In Italy.--The Senator's Escort.
CHAPTER
XXXIX.
TRIUMPHANT PROGRESS OF DICK.--GENDARMES
FOILED.--THE DODGE CLUB IS ATTACKED BY BRIGANDS,
AND EVERY MAN OF IT COVERS HIMSELF WITH GLORY.-
-SCREAM OF THE AMERICAN EAGLE! ILLUSTRATIONS.
Dick In His Glory.--Pietro.--The Barricade.
CHAPTER
XL.
PLEASANT MEDIATIONS ABOUT THE WONDERS OF
TOBACCO; AND THREE PLEASANT ANECDOTES BY AN
ITALIAN BRIGAND.
CHAPTER
XLI.
FINAL ATTACK OF REINFORCEMENTS OF BRIGANDS.--
THE DODGE CLUB DEFIES THEM AND REPELS THEM.--
HOW TO MAKE A BARRICADE.--FRATERNIZATION OF
AMERICAN EAGLE AND GALLIC COCK.--THERE'S
NOTHING LIKE LEATHER. ILLUSTRATIONS. An
International Affair.
CHAPTER
XLII.
FLORENCE.--DESPERATION OF BUTTONS, OF MR.
FIGGS, AND OF THE DOCTOR. ILLUSTRATIONS.
Florence From San Miniato.--Pitti Palace.--Fountain Of
Neptune, Palazzo Vecchio.--The Duomo.--The Campanile.-
-Trozzi Palace. --Buttons Melancholy.
CHAPTER
XLIII.
THE SENATOR ENTRAPPED.--THE WILES AND WITCHERY
OF A QUEEN OF SOCIETY. --HIS FATE DESTINED TO BE,
AS HE THINKS, ITALIAN COUNTESSES. --SENTIMENTAL
CONVERSATION.--POETRY.--BEAUTY.--MOONLIGHT.--
RAPTURE. --DISTRACTION.--BLISS! ILLUSTRATIONS. La
Cica.

CHAPTER
XLIV.
"MORERE DIAGORA, NON ENIM IN COELUM
ADSCENSURUS ES."--THE APOTHEOSIS OF THE
SENATOR (NOTHING LESS--IT WAS A MOMENT IN
WHICH A MAN MIGHT WISH TO DIE--THOUGH, OF
COURSE, THE SENATOR DIDN'T DIE). ILLUSTRATIONS.
Solferino!--The Senator Speaks.
CHAPTER
XLV.
THE PRIVATE OPINION OF THE DOCTOR ABOUT
FOREIGN TRAVEL.--BUTTONS STILL MEETS WITH
AFFLICTIONS. ILLUSTRATIONS. A Grease Spot.--
Farewell, Figgs!
CHAPTER
XLVI.
A MEMORABLE DRIVE.--NIGHT.--THE BRIGANDS ONCE
MORE.--GARIBALDI'S NAME.--THE FIRE.--THE IRON
BAR.--THE MAN FROM THE GRANITE STATE AND HIS
TWO BOYS. ILLUSTRATIONS. In The Coach.--A Free
Fight.--Don't Speak.
CHAPTER
XLVII.
BAD BRUISES, BUT GOOD MUSES.--THE HONORABLE
SCABS OF DICK.--A KNOWLEDGE OF BONES.
CHAPTER
XLVIII.
SUFFERING AND SENTIMENT AT BOLOGNA.--
MOONSHINE.--BEST BALM FOR WOUNDS.
ILLUSTRATIONS. Used Up.
CHAPTER
XLIX.
CROSSING INTO THE ENEMY'S COUNTRY.--
CONSTERNATION OF THE CUSTOM-HOUSE OFFICERS.
ILLUSTRATIONS. Buttons In Bliss.
CHAPTER
L.
VENICE AND ITS PECULIAR GLORY.--THE DODGE CLUB
COME TO GRIEF AT LAST. --UP A TREE.--IN A NET, ETC.
ILLUSTRATIONS. Dick's Luggage.--Arrested.--Silence!
CHAPTER
LI.
THE AMERICAN EAGLE AND THE AUSTRIAN DOUBLE-
HEADED DITTO. ILLUSTRATIONS. Don't Try It On With
Me.
CHAPTER
LII.
THE SENATOR STILL ENGAGED IN FACING DOWN THE
AUSTRIAN.--THE AMERICAN CONSUL.--UNEXPECTED RE-
APPEARANCE OF FORGOTTEN THINGS.--COLLAPSE OF
THE COURT. ILLUSTRATIONS. Watts Mis-spelled.

CHAPTER
LIII.
A MYSTERIOUS FLIGHT.--DESPAIR OF BUTTONS.--
PURSUIT.--HISTORIC GROUND, AND HISTORIC CITIES.
ILLUSTRATIONS. Formalities.
CHAPTER
LIV.
DICK MEETS AN OLD FRIEND.--THE EMOTIONAL
NATURE OF THE ITALIAN. --THE SENATOR OVERCOME
AND DUMBFOUNDED. ILLUSTRATIONS. The Count Ugo.
CHAPTER
LV.
IN WHICH BUTTONS WRITES A LETTER; AND IN WHICH
THE CLUB LOSES AN IMPORTANT MEMBER.--SMALL BY
DEGREES AND BEAUTIFULLY LESS.
CHAPTER
LVI.
THE FAITHFUL ONE!--DARTS, DISTRACTION, LOVE'S
VOWS, OVERPOWERING SCENE AT THE MEETING OF
TWO FOND ONES.--COMPLETE BREAK-DOWN OF THE
HISTORIAN. ILLUSTRATIONS. The Door.
CHAPTER
LVII.
THE DODGE CLUB IN PARIS ONCE MORE.--BUTTONS'S
"JOLLY GOOD HEALTH."
A CASTLE IN SPAIN

By James De Mille
1883
CONTENTS
CHAPTER I.
HOW A PARTY OF TRAVELLERS SET OUT ON A
JOURNEY.
CHAPTER II.
HOW MR. ASHBY MEETS WITH A VERY DEAR AND
VERY LOVELY YOUNG FRIEND.
CHAPTER
III.
HOW ASHBY MEETS WITH ANOTHER FRIEND, AND
HOW HE TAKES HIM INTO HIS
CHAPTER IV.
HOW THE RAILWAY TRAIN COMES TO A SUDDEN
STOP.
CHAPTER V.
HOW THE WHOLE PARTY COME TO GRIEF, AND ARE
CARRIED AWAY CAPTIVE.
CHAPTER VI.
HOW HARRY AND KATIE MANAGE TO ENJOY
THEMSELVES IN THEIR CAPTIVE
CHAPTER
VII.
IN WHICH HARRY BECOMES CONFIDENTIAL, AND
TELLS A VERY REMARKABLE
CHAPTER
VIII.
HOW THE SPANISH PRIEST MEETS WITH A
STRANGE ADVENTURE.
CHAPTER IX.
IN WHICH THE PRIEST SEES A VISION, AND GOES
IN SEARCH OF A BREAKFAST.
CHAPTER X. HOW THE PRIEST BEARDS A LION IN HIS DEN.
CHAPTER XI.
HOW THE FIRST PRIEST VANISHES, AND ANOTHER
PRIEST APPEARS UPON THE

CHAPTER
XII.
HOW BROOKE AND TALBOT TAKE TO FLIGHT.
CHAPTER
XIII.
BROOKE AND TALBOT MAKE SEVERAL NEW
ACQUAINTANCES.
CHAPTER
XIV.
HOW THE ANXIOUS RUSSELL SEEKS TO CONCEAL A
TREASURE.
CHAPTER XV. IN WHICH RUSSELL UNDERGOES AN EXAMINATION.
CHAPTER
XVI.
HOW RUSSELL HAS AN INTERVIEW WITH A MERRY
MONARCH.
CHAPTER
XVII.
HOW HARRY FINDS HIMSELF VERY MUCH
OVERESTIMATED, AND AFTERWARD LIGHTS
CHAPTER
XVIII.
IN WHICH HARRY YIELDS TO AN UNCONTROLLABLE
IMPULSE, AND RISKS HIS
CHAPTER
XIX.
IN WHICH DOLORES INDULGES IN SOME
REMINISCENCES OF THE PAST.
CHAPTER
XX.
IN WHICH "HIS MAJESTY" EXHIBITS THE EMOTIONS
OF A ROYAL BOSOM, AND
CHAPTER
XXI.
IN WHICH BROOKE AND TALBOT BEGIN TO GROW
VERY WELL ACQUAINTED.
CHAPTER
XXII.
HOW TALBOT HAS LIFE AND FREEDOM OFFERED,
AND HOW SHE DECLINES THE
CHAPTER
XXIII.
IN WHICH BROOKE AND TALBOT EXCHANGE
CONFIDENCES.
CHAPTER
XXIV.
IN WHICH BROOKE AND TALBOT STAND FACE TO
FACE WITH DEATH.
CHAPTER
XXV.
IN WHICH BROOKE SINGS AND TALKS IN A LIGHT
AND TRIFLING MANNER.
CHAPTER
XXVI.
HOW MR. ASHBY MEETS WITH A GREAT SURPRISE
AND A VERY GREAT
CHAPTER
XXVII.
HOW MR. ASHBY AND MISS DOLORES GARCIA
CARRY ON A VERY INTERESTING
CHAPTER
XXVIII.
IN WHICH "HIS MAJESTY" FALLS IN LOVE.

CHAPTER
XXIX.
HOW HARRY PAYS ANOTHER VISIT, AND MEETS
WITH A STRANGE ADVENTURE.
CHAPTER
XXX.
HOW SEVERAL OF OUR FRIENDS FIND THEMSELVES
IN A MOST EXTRAORDINARY
CHAPTER
XXXI.
IN WHICH THE WHOLE PARTY FIND THEMSELVES IS
A HAUNTED CASTLE.
CHAPTER
XXXII.
IN WHICH HARRY MAKES AN UNPLEASANT
DISCOVERY.
CHAPTER
XXXIII.
IN WHICH THERE IS A VERY PRETTY QUARREL.
CHAPTER
XXXIV.
HOW THE VIRTUOUS RUSSELL FINDS A FRIEND IN
NEED.
CHAPTER
XXXV.
IN WHICH TWO FUGITIVES HAVE A STARTLING
ADVENTURE, NOT WITHOUT PERIL.
CHAPTER
XXXVI.
HOW DANGERS THICKEN AROUND THE DESPAIRING
RUSSELL.
CHAPTER
XXXVII.
IN WHICH RUSSELL MAKES NEW FRIENDS, AND
TALBOT SEES NEW PERILS.
CHAPTER
XXXVIII.
IN WHICH, AFTER A SERIES OF SURPRISES, "HIS
MAJESTY" GETS THE
CHAPTER
XXXIX.
HOW LOPEZ AGAIN MEETS WITH KATIE, AND HOW
KATIE SHOWS NO JOY AT HER
CHAPTER XL.
IN WHICH THERE SEEMS SOME CHANCE OF A
TRIANGULAR DUEL.
CHAPTER
XLI.
HOW THE UNHAPPY RUSSELL FINDS THE DANGER
OF PLAYING WITH EDGE-TOOLS.
CHAPTER
XLII.
IN WHICH DOLORES REAPPEARS IN THE ACT OF
MAKING A RECONNOITRE.
CHAPTER
XLIII.
HOW KATIE FEELS DEJECTED, AND HOW LOPEZ
FEELS DISAPPOINTED.
CHAPTER
XLIV.
HOW LOPEZ HAS ANOTHER CONVERSATION WITH
KATIE, AND FEELS PUZZLED.

CHAPTER
XLV.
IN WHICH HARRY ASKS A FAVOR, AND LOPEZ
BEGINS TO SEE A LITTLE LIGHT.
CHAPTER
XLVI.
IN WHICH LOPEZ MAKES A FRESH ASSAULT, AND
KATIE BREAKS DOWN UTTERLY.
CHAPTER
XLVII.
IN WHICH LOPEZ USES HIS ADVANTAGE TO THE
UTTERMOST, AND KATIE SINKS INTO
CHAPTER
XLVIII.
HOW LOPEZ GOES TO SEE THE PRIEST ABOUT HIS
MARRIAGE.
CHAPTER
XLIX.
HOW LOPEZ INVITES HARRY TO HIS WEDDING,
AND HOW HARRY MAKES A DISTURBANCE.
CHAPTER L.
HOW LOPEZ INVITES THE PRIEST TO MARRY HIM,
AND HOW THE PRIEST MAKES A DISTURBANCE.
CHAPTER LI.
IN WHICH AN INTERRUPTION OCCURS IN A
MARRIAGE CEREMONY.
CHAPTER
LII.
IN WHICH TALBOT TAKES OFF HER DISGUISE.
CHAPTER
LIII.
WHICH TELLS OF A REUNION OF VERY DEAR OLD
FRIENDS.
CHAPTER
LIV.
IN WHICH A NUMBER OF PEOPLE FIND THEMSELVES
IN A VERY EMBARRASSING
CHAPTER LV.
HOW HARRY AND KATIE DISCUSS THE SITUATION,
AND ASHBY TELLS DOLORES HER
CHAPTER
LVI.
IN WHICH THERE IS A TERRIBLE CALAMITY.
CHAPTER
LVII.
IN WHICH BROOKE AND TALBOT PREPARE TO BID
EACH OTHER AN ETERNAL FAREWELL.
CHAPTER
LVIII.
IN WHICH SOME OLD FRIENDS REAPPEAR.
CHAPTER
LIX.
HOW A SURPRISE-PARTY IS VERY MUCH
SURPRISED.
CHAPTER LX. IN WHICH THE KING COMES TO CLAIM HIS OWN.
CHAPTER
LXI.
IN WHICH THERE IS AN END OF MY STORY.

THE END.
THE LILY AND THE CROSS
A Tale of Acadia

By Prof. James De Mille
1874
CONTENTS
CHAPTER I. A VOICE OUT OF THE DEEP.
CHAPTER II. A MEETING IN MID OCEAN.
CHAPTER III. NEW FRIENDS.
CHAPTER IV. MIMI AND MARGOT.
CHAPTER V. A STRANGE REVELATION.
CHAPTER VI. A FRENCH FRIGATE.
CHAPTER VII. CAUGHT IN A TRAP.
CHAPTER VIII. UNDER ARREST.
CHAPTER IX. GRAND PRE.
CHAPTER X. ALONE IN THE WORLD.
CHAPTER XI. A FRIEND IN NEED.
CHAPTER XII. THE PARSON AMONG THE PHILISTINES.
CHAPTER XIII. A STROKE FOE LIBERTY.
CHAPTER XIV. MANOEUVRES OF ZAC.
CHAPTER XV. FLIGHT.
CHAPTER XVI. REUNION.
CHAPTER XVII. AMONG FRIENDS.
CHAPTER XVIII. LOUISBOURG.
CHAPTER XIX. THE CAPTIVE AND THE CAPTORS.
CHAPTER XX. EXAMINATIONS.

CHAPTER XXI. A RAY OF LIGHT.
CHAPTER XXII. ESCAPE.
CHAPTER XXIII. PURSUIT.
CHAPTER XXIV. ZAC AND MARGOT.
CHAPTER XXV. THE COURT MARTIAL.
CHAPTER XXVI. NEWS FROM HOME.
THE “B. O. W. C.”
A Book For Boys

Illustrated
1871
THE SIX VOLUMES OF THE “B. O. W. C”
SERIES.
1. THE “B. O. W. C.”
2. THE BOYS OF GRAND PRÉ SCHOOL.
3. LOST IN THE FOG.
4. FIRE IN THE WOODS.
5. PICKED UP ADRIFT.
6. THE TREASURE OF THE SEAS.
CONTENTS
THE “B. O. W. C."
I.
The "B. O. W. C.," with their History, Mystery, and Wonderful
Doings; and how an aged African became elevated to the
Dignity of "Grand Panjandrum."
II.
Grand Pré and Minas Basin.-An astonishing Procession.-
Encampment of Brigands.-Break-up of Encampment and
Flight of the Inmates.

III.
Another extraordinary Procession.-An eccentric Crew.-A
flighty Shipper.-Wonderful Attachment of Captain, Corbet to
his Offspring.-Stealing a Stone Fence, and raising the Black
Flag.
IV.
Blomidon.-Tides and Fogs.-Songs and Seasickness.-The Five
Islands, and a Race up a Précipice.
V.
Exploring a desert Island.-Tumbling over a Cliff.-Peril of
Bruce.-A mad Row over the waves.-Adrift in the Fog.
VI.
Up Anchor and after them.-Blast of the Foghorn.-A long
Search amid Mists, and Darkness, and Storms.
VII.
Lost in the Fog.-At the Mercy of the Tide.-The last Rock.-
Wanderings on a lonely Shore.-A great Discovery.-A new
Mode of Cooking.
VIII.
Blue Sky.-Building a House.-The Signal Staff.-A fatal Disgust.-
Mournful Forebodings.
IX.
Exploring.-A wild Walk.-On the Lookout for Prey.-What is it?-
Is it a wild Goose?-Tremendous Sensation, the Explorers
being as much astounded as Robinson Crusoe was when he
discovered the human Footprints in the Sand.
X.
New Attempts at Cookery.-Phil on the Lookout.-A Sail! A
Sail!-The Signal of the red Shirt.-The Home of the
O'Raffertys.
XI.
Pratt's Cove.-A Dinner Party.-The faithless Cook and
Steward.-Songs.-Sudden and startling Interruption.-Stealing
a Wood-pile.-Overwhelming Piece of Intelligence.
XII.
On the Track again.-Fishing for a Duck.-Asking for Bread, and
getting Stones.-Pat shines as Cook.
XIII.
Adrift.-Skilful Navigators.-Breakers ahead.-A narrow Scratch.-
Stuck in the Mud.
XIV.
In Mud and Water.-A Sea Monster.-A terrific Fight.-Wonderful
Pluck of the "B. O. W. C."-Swallowing a Sculpin.-The Trophy.-
Waiting for Deliverance.

XV.
Scratching for Clams.-How not to eat them.-Fearful
Consequences of Folly.-A formidable Medicine Chest.-
Prevention better than Cure.
XVI.
New Hopes and Plans.-A Sail!-A bitter Disappointment.-A
hazardous Adventure, and a Fright.-Quilts for Togas.-Another
tremendous Casualty.
XVII.
On the briny Deep, and on the muddy Shore.-The
Fisherman's Boat.-Reappearance of old Friends.-
Remonstrances, Explanations, and Confessions.
XVIII.
Wanderings about the Beach.-Science and Sport.-Back
Home.-Frightful Tale of Poison.-A Visit to the Afflicted.
XIX.
Complaints of a disappointed Savant.-The humble Confession
of Pat.-A buried Treasure, and a great Search after it by
Torchlight'.
XX.
How to waken a Sleeper.-Off Home.-A weary Way.-Baffled
like the Flying Dutchman.-Corbet pines for his Bobby.-"The
Wind at last! Hurrah!"
XXI
Blomidon, insulted, avenges himself.-A Victim devotes
himself to appease his Wrath.-Original Views of Captain
Corbet with regard to the Archaeology and the Science of
Navigation.
XXII.
Being jolly under creditable Circumstances.-Songs, Medleys,
Choruses, Cheers, Laughter, Speeches, Responses.-The Mud
again.-Hard and fast.-What'll you do now, my Boy?
XXIII.
A wild Undertaking.-A Race for Life.-The lost Boot.-The
Quicksands.-The Isle of Safety.-The Mud Gulch.-Crossing the
Abyss of Mud.-Bruce's Doldrum.-Two forlorn Figures.-
Rapturous Welcome.-Speech by the Grand Panjandrum.

THE BOYS OF GRAND PRÉ
SCHOOL
The “B. O. W. C.” Series

Illustrated
1871
SERIES.
1. THE “B. O. W. C.”
3. LOST IN THE FOG.
CONTENTS
THE BOYS OF GRAND PRÉ SCHOOL
I.
The Camp in the Woods.-Weapons of War.-An Interruption.-
An old Friend.-A Mineral Bod.-Tremendous Excitement.--
Captain Corbet on the Rampage.-A Pot of Gold.
II. The Old French Orchard.-The French Acadians.-The ruined
Houses.-Captain Corbet in the Cellar.-Mysterious

Movements.-The Mineral Bod-Where is the Pot of Cold?-
Excitement.-Plans, Projects, and Proposals.
III.
A Deed of Darkness.-The Money-diggers.-The dim Forest and
the Midnight Scene.-Incantation assisted by Caesar, the Latin
Grammar, and Euclid.-Sudden, startling, and terrific
Interruption.-Flight of the "B. O. W. C."-They rally again.
IV.
The Wonders of the upper Air.-Mr. Long calls upon the Boys
for Help.-All Hands at hard Labor.-Captain Corbet on a
Fence.-The Antelope comes to Grief.-Captain Corbet in the
Grasp of the Law. Mr. Long to the Rescue.
V.
A most mysterious Sound in a most mysterious Place.-What
is it?-General Panic.-The adventurous Explorers.-They are
baffled.-Is Pat at the Bottom of it?-Bart takes his Life in his
Hand, and goes alone to encounter the Mystery of the
Garret.
VI.
The great, the famous, and the never-to-be-forgotten Trial.-
Captain Corbet hauled up before the Bar of Rhadamanthus.-
Town and Gown.-Attitude of the gallant Captain.-The
sympathizing Townsmen.-Old Zeke and his Bat.-Mr. Long's
eloquent Oration, ending in the Apotheosis of Captain
Corbet's Baby. (For meaning of above word-Apotheosis-see
Dictionary.)
VII.
The Valley of the Gasper eaux.-Invading the Enemy's
Territory.-Defiance.-Returning Home to find their own
Territory invaded.-The Camp.-The missing Ones.-Where are
they?-The Gaspereaugians?
VIII.
Bart and Solomon fall into an Ambush, and after a desperate
Resistance are made Prisoners.-Bonds and Imprisonment.-
Bruce and the Gaspereau-gians.-A Challenge, a Conflict, and
a Victory.-Immense Sensation among the Spectators.-The
Prisoners burst their Bonds.-Their Flight.-Recovery of the
Spoils of War.
IX. A Banquet begun, but suddenly interrupted.-The far-off
Boar.-Off in Search of it.-Keeping Watch at the old French

Orchard.-Another Boar, and another Chase.-Soliloquies of
Solomon.-Sudden, amazing, paralyzing, and utterly
confounding Discovery.-One deep, dark, dread Mystery
stands revealed in a familiar but absurd Form.
X.
Irrepressible Outburst of Feeling from the Grand
Panjandrum.-He enlarges upon the Dignity of his Office.-
Spades again.-Digging once more.-At the old Place, my Boy.-
Resumption of an unfinished Work.-Uncovering the Money-
hole.-The Iron Plate.-The Cover of the Iron Chest-A
Tremendous but restrained Excitement.
XI.
Farther and farther down, and sudden Revelation of the
Truth.-Rising superior to Circumstances.-The "Pot of Money,"
and other buried Treasures.-They take all these exhumed
Treasures to Dr. Porter.-Singular Reception of the excited
Visitors.
XII.
The Doctor's Proposal.-Blomidon.-The Expedition by Land.-
The Drive by Morning Twilight.-The North Mountain.-
Breakfasting amid the Splendors of Nature.-The illimitable
Prospect.-The Doctor tells the Story of the French Acadians.
XIII.
Plunging into the Depths of the primeval Forest.-Over Rock,
Bush, and Brier.-A toilsome March.-The Barrens.-Where are
we?-General Bewilderment of the Wanderers.-The Doctor has
lost his Way.-Emerging suddenly at the Edge of a giant Cliff
with the Boom of the Surf beneath
XIV.
Woods, Precipices, Mists, and Ocean Waves.-The Party
divided, and each Half departs to seek its separate Fortune.-
Pat shows how to go in a straight Line.-Pat and the
Porcupine.-In Chase after Pat.-Disappearance of Pat.-A lost
Pat.-Wanderings in Search of the Lost.
XV.
All lost-The gathering Gloom of Fog and of Night-Sudden
Discovery.-The lost One found.-A Turkey with four Legs.-A
cheerful Discussion.-Five Hours of Wandering.-When will it
end?-Once more upon the Tramp.

XVI.
Sudden and unaccountable Reunion of the two wandering
Bands.-A tremendous Circle described by Somebody.-Where
are we going? Scott's Bay, or Hall's Harbor.-Descent into the
Plain.-Twinkling Lights.-Sudden Sound of Sea Surf breaking in
the Middle of a Prairie.
XVII.
Old Bennie and Mrs. Bennie.-Old-fashioned Hospitality.-What
old Bennie was able to spread before his famished Guests.-A
Night on a Hay-mow.-A secluded Village.-A Morning Walk.-
Behind Time.-Hurrah, Boys!
XVIII.
Great Excitement.-What is it?-Pat busy among the small
Boys.-A great Supper, and a sudden Interruption.-The
Midnight Knell.-General Uproar.-Flight of the Grand
Panjandrum.-A solemn Time.-In the Dark.-Bold Explorers.-
The Cupola, and the Abyss beneath.-The Discovery.
XIX.
A puzzling Position.-How to meet the Emergency.-A strange
Suggestion.-Diamond cut Diamond, or a Donkey in a Garret.-
Surprise of Jiggins on seeing the Stranger.-The fated Moment
comes.-The Donkey confronts the Garret Noises.-The Power
of a Bray.
XX.
Full, complete, and final Revelation of the Great Garret
Mystery.-Confession of Pat-Indignation of Solomon.-His
Speech on the Occasion.-The Authorities of the School
roused.-Pat and the "B. O. W. C." are hauled up to give an
Account.
XXI.
Called to Account.-Mr. Long and the B. O. W. C.-They get a
tremendous "Wigging."-Pat to the Rescue.-Mr. Long relaxes.-
The unhidden Guest.-Captain Corhet and the irrepressible
Bobby.-Coming in Joy to depart in Tears.-The Relics again.-A
Solemn Ceremony.-A Speech, a Poem, a Procession, all
ending in a Consignment of the exhumed Treasure to its
Resting-place.
XXII.
The Boys in the Museum.-The Doctor's Lecture.-The
Acadians.-Louisbourg.-A Journey to the Wharf.-The Antelope.-
Captain Pratt.

XXIII.
Inspection of the Schooner.-Captain Pratt to the Rescue.-His
Engines and his Industry.-Up she rises!-Who'll go for Captain
Corbet?
XXIV.
Argument between Pat and Captain Corbet.-Meeting
between Captain Corbet and the Antelope.-Pat alone with
the Baby.-Corbet becomes an Exile, and vanishes into a Fog
Bank.
LOST IN THE FOG

James De Mille
1870
CONTENTS
I
Old Acquaintances gather around old Scenes.-Antelope,
ahoy!-How are you, Solomon?-Round-about Plan of a round
about Voyage.-The Doctor warns, rebukes, and remonstrates,
but, alas! in vain.-It must be done.-Beginning of a highly
eventful Voyage.
II
First Sight of a Place destined to be better known.-A Fog Mill.-
Navigation without Wind.-Fishing.-Boarding.-Under Arrest.-
Captain Corbet defiant.-The Revenue Officials frowned down.-
Corbet triumphant.
III
Solomon surpasses himself.-A Period of Joy is generally
followed by a Time of Sorrow.-Gloomy Forebodings.-The
Legend of Petticoat Jack.-Captain Corbet discourses of the
Dangers of the Deep, and puts in Practice a new and original
Mode of Navigation.
IV
In Clouds and Darkness.-A terrible Warning.-Nearly run
down.-A lively Place.-Bart encounters an old Acquaintance.-
Launched into the Deep.-Through the Country.-The Swift
Tide.-The lost Boy.
V
A Cry of Horror.-What shall we do?-Hard and fast.-Bart and
Bruce.-Gloomy Intelligence.-The Promontory.-The Bore of the
Petitcodiac.-A Night of Misery.-A mournful Waking.-Taking
Counsel.

VI
Tom adrift.-The receding Shores.-The Paddle.-The Roar of
Surf-The Fog Horn.-The Thunder of the unseen Breakers.-A
Horror of great Darkness.-Adrift in Fog and Night.
VII
Lost in the Fog.-The Shoal and its Rocks.-Is it a Reef?-The
Truth.-Hoisting Sail.-A forlorn Hope.-Wild Steering.-Where am
I?-Land, ho!
VIII
Off in Search.-Eager Outlook.-Nothing but Fog.-Speaking a
Schooner.-Pleasant Anecdotes.-Cheer up.-The Heart of Corbet.
IX
Awake once more.-Where are we?-The giant cliff.-Out to Sea.-
Anchoring and Drifting.-The Harbor.-The Search.-No Answer.-
Where's Solomon?
X
Tom ashore.-Storm at Night.-Up in the Morning.-The Cliffs and
the Beach.-A startling Discovery.-A desert Island.-A desperate
Effort.-Afloat again.
XI
Afloat again.-The rushing Water.-Down to the Bottom.-
Desperate Circumstances.-Can they be remedied?-New Hopes
and Plans.
XII
Waiting for high Water.-A Trial.-A new Discovery.-Total Failure.-
Down again.-Overboard.-A Struggle for Life.
XIII
Where's Solomon?-An anxious Search.-The Beach.-The
cavernous Cliffs.-Up the Precipice.-Along the Shore.-Back for
Boats.
XIV
Back again.-Calls and Cries.-Captain Corbet's Yell.-A
significant Sign.-The old Hat.-The return Cry.-The Boat rounds
the Point.
XV
Exploring Juan Fernandez.-The Cliffs.-The tangled
Underbrush.-The Fog Bank.-Is it coming or going?-The
Steamer.-Vain Appeals.-New Plans.
XVI
A Sign for the outer World.-A Shelter for the Outcast's Head.-
Tom's Camp and Camp-bed.-A Search after Something to
vary a too monotonous Diet.-Brilliant Success.
XVII
Solomon's solemn Tale.-A costly Lobster.-Off again.-Steam
Whistles of all Sizes.-A noisy Harbor.-Arrival Home.-No News.

XVIII
Down the Bay.-Drifting and Anchoring.-In the Dark, morally
and physically.-Eastport, the jumping-off Place.-Grand
Manan.-Wonderful Skill.-Navigating in the Fog.-A Plunge from
Darkness into Light, and from Light into Darkness.
XIX
Tom's Devices.-Rising superior to Circumstances.-Roast
Clams.-Baked Lobster.-Boiled Mussels.-Boiled Shrimps.-Roast
Eggs.-Dandelions.-Ditto, with Eggs.-Roast Dulse.-
Strawberries.-Pilot-bread.-Strawberry Cordial.
XX
New Discoveries.-The Boat.-A great Swell.-Meditations and
Plans.-A new, and wonderful, and before unheard-of
Application of Spruce Gum.-I'm afloat! I'm afloat!
XXI Scott's Bay and Old Bennie.-His two Theories.-Off to the
desert Island.-Landing.-A Picnic Ground.-Gloom and Despair
of the Explorers.-All over.-Sudden Summons.
XXII
Astounding Discovery.-The whole Party of Explorers
overwhelmed.-Meeting with the Lost.-Captain Corbet
improves the Occasion.-Conclusion.
FIRE IN THE WOODS

Illustrated
1871
SERIES.
1. THE “B. O. W. C.”
3. LOST IN THE FOG.
CONTENTS
FIRE IN THE WOODS.
I.
On a Visit.-A Fascination and a Temptation.-Secret Plans.-An
exciting Letter.-Where's old Solomon?-Arrival of an
Opportunity.-The Opportunity seized.-A hazardous
Adventure.-The Island in the Falls.

II.
The Island in the Falls.-A Discovery of a startling Kind.-The
sullen Boar.-A mad Risk.-The Struggle for Life.-On the Verge
of Ruin.-A last Effort.-Over the Falls.-Ingulfed and drawn
down by the Vortex.-Where is Pat!
III.
Bart off on an Expedition.-The Search after Solomon.-The
aged Toiler.-The Flaming Fury.-The brandished Broomstick.-
Collapse of Solomon.-Extinction of the Flaming Fury.-
Solomon vanishes.-Terrible Tidings.-An anxious Search.-
Despair.
IV.
At the Mercy of the Tide.-Ears deafened.-Eyes blinded.-A
fresh Struggle for Life.-The Roar of the Steam Whistle.-
Where are we?-Pat explores.-A desolate Abode.-The falling
Tides.-Without Food and Shelter.
V.
Flight of Solomon.-In Hiding.-Solomon is himself again.-Up
the River.-Through the Country.-A long Drive.-An Indian
Village.-An Indian Guide.-Preparing for the Expedition.
VI.
A long Drive, and a long Walk.-The wild Woods.-An
Encampment.-The blazing Fire.-Lo! the poor Indian.-The Wolf
and the Watch-dog.- The Spring of the Wild Beast.-Solomon
to the Rescue.-A Fight, and a Flight.
VII.
Passing the Night.-On Guard.-The watchful Sentinel.-Plans.-
Through the Woods.-The winding River.-Fishing.-The overcast
Sky. Arrival of Pat with startling Tidings.-A useless Search.
VIII.
The Loss of Phil.-Deep Gloom and heavy Grief.-A Night of
Terror.-The torrid Atmosphere.--The Smell of Smoke.-The
Darkness that might be felt.-Morning brings Relief.-The
Search.-The Rock and the Precipice by the River-side.-The
Track of Phil.-Following the Trail.-The Trail lost.-Persevering
Search.-The End of the Day.
IX.
Lost-Deliberations.-Trying to regain the Course.-The Smoke
of the Burning.-The stagnant Air.-Onward.-An Opening in the
Forest.-Hope and Enthusiasm.-A Rush forward.
X. The Opening.-The Sea, the Sea, the open Sea.-The Priest.-
The Promise of Help.-Pat takes a Walk, and passes a

mysterious Building.-He takes a Swim.-Return of Pat.-A
terrific Discovery.-Pat in a Panic.-The Scene of Horror.-Smoke
and Flame.-The Fire Glow by Night.
XI.
Where? O where is Phil?-The Wanderer in the Woods.-
Struggles with Difficulties that always increase.-Approach of
Night.-Gloom.-Despair.-Climbing a Tree.-No Hope.-Rallying
from the Assault.-A Midnight Meal.-Overworn Nature seeks
Repose.
XII.
The Wanderer on his winding Way.-The Bewilderment of the
Forest.-Swamps and Bogs.-? The friendly Brook.-Following
the Flow of the running Water.-A pleasant Course.-An
encouraging Discovery.-Astray once more.-He sinks to Rest.-
The last Sandwich.
XIII.
Clouds and Vapors.-The exhaustive Heat.-Thirst.-Muddy
Water.-The Pangs of Hunger.-How to fish.-The River.-The
placid Lake.-A Plunge into the Water.-The Midday Mead.-The
Pine Woods.-The rocky Cavern.-Preparing a Night's Rest.-The
Evening Repast.-Night once more.
XIV.
Bart.-An anxious Night.-Suspicions.-Reappearance of Pat.-The
Woes of Pat.-A hideous Thought.-The Leper.-Off to the
Woods.-Indian File.-The Rear Guard.-Defection of Pat.-He
makes a Circuit.-"Hyar! Hyar! You dar? Whar Mas'r Bart?"
XV.
Solomon in a Rage.-Flight of Pat.-The Explorers penetrate the
Forest.-The missing Companions.-New Fears and Anxieties.-A
baffled Search.-Onward.-The Recesses of the Forest.-An open
Space.-Halt!
XVI.
The wide open Space.-The terrific Scene.-Arrested and driven
back.-New Purposes.-The Story of the Great Fire of
Miramichi, and the Ruin wrought in one tremendous Night.
XVII.
Phil awakes.-A morning Bath and a morning Repast.-A
pleasant Discovery.-Once more upon the Move.-The rough,
impenetrable Woods.-The River.-A new Mode of Travel.-The
friendly Log.-I'm afloat, I'm afloat.-Arrested.-The secret Place
of Fire.

XVIII.
The Conflagration.-A dread Alternative.-Forward or
backward.-A bold Decision.-The Hood.-A terrible Venture.-The
red Place of Flame.-The Place of the fiery Glow.-The toppling
Tree.-A Struggle for Life.-The fiery Atmosphere.-The last
supreme Moment.
XIX.
The black Place of Desolation.-Blue Sky.-Open Heavens.-The
Glory of the Sunshine.-Green Hills.-The open Sea once more.-
Along the Road.-A strange, a very strange Encounter.-The
Wandering Leper.-Naaman the Syrian.
XX.
Fish for Breakfast.-The Cottage and the Schooner.-A familiar
Sight.-The old Boat.-Sinking in deep Waters.-An exciting and
amazing Meeting.-The Flag.-Bart on the Road.-A strange
Discovery.-A fresh Surprise.
XXI.
Where is Solomon?-The Search.-The aged Wanderer.-
Recognition.-Boating.-Fishing.-Cooking.-Swimming.-The
Preparations for the Banquet.-The savory Smell.-Solomon
dances a Breakdown, and makes a Speech.
XXII.
Away from Tracadie.-The Gulf of St. Lawrence.-The Bay de
Chaleur.-The innumerable Fishing Boats.-Along Harbor-
Shippegan.-The Acadians.-The Memories of Grand Pré.
XXIII.
The Story of an Acadian Exile.-The Country in Flames.-A
dread Discovery.-Pursuit.-Flight over the Water.-The
Bloodhound Instinct.-Red Sea Waves.
XXIV.
The American Indian in a new Light.-The false Guide.-
Solomon prepares for Vengeance.-The Indian Chief.-Full
Explanations.
PICKED UP ADRIFT

BY Prof. James De Mille,
Illustrated
1872
SERIES.
1. THE “B. O. W. C.”
3. LOST IN THE FOG.
CONTENTS
PICKED UP ADRIFT
I.
The enterprising Voyageurs.-A Parliament-Where shall we go
next?-The Islands of the Sea.-Captain Corbet's Confession.-
Once more, upon the Waters.-The lonely Isle.-The strange
Schooner.-Ashore.-A new Acquaintance.-A Disciple of
Progress.-Railroads and Telegraphs for the Magdalen Islands.

II.
A new Acquaintance,-The Islands of the Sea,-Making
Friends,-The Natives,-A Festival,-Efforts at Conversation in an
unknown Tongue, -Corbet's Baby Talk,-Experiments of Bart
and Tim,-Pat comes to Grief.-Overthrow of the French,-
Arrival of the Skipper on the Scene, -He means Business.
III.
Friendly Advice and dismal Forebodings.-Once more upon
the Waters, yet once more.-Due North.-A Calm.-The Calm
continues.-A terrible Disclosure.-Despair of Corbet.-Solomon
finds his Occupation gone.-Taking Stock.-Short Allowance.
IV.
The third Day.-A strange Sail.-Below the Horizon.-Making
Signals.-No Answer.-Weary Waiting.-Starvation stares them in
the Face.-A long Day.-Hope dying out.-A long Discussion
upon the Situation.-The last Meal.-Bruce and Bart come to a
desperate Determination.-The secret Resolve.
V.
Daybreak.-Startling Discovery.-The Boat gone.-Where are
Bruce and Bart?-Dismay.-The long Row.-The distant Ship.-
Below the Horizon.-Deep in the Water.-The shattered Sails.-
Waterlogged!-Boarding the Stranger.-Discoveries of a Kind
which are at once exciting and pleasing.
VI.
Bruce and Bart on board the deserted Ship.-New
Discoveries.-The Cook's Galley.-A sumptuous Repast.-
Observations.-A Return baffled.-Back again.-The Antelope.-
The Ripple in the Water.-Speculations.-The Sail to the Ship.-
Puzzle about the lost Ones.-Nearer and nearer.-Unexpected
and astounding Welcome!
VII.
All aboard.-A Welcome of the best Kind.-The Invitation.-The
Banquet.-Amazement of the Visitors.-The Repast.-Solomon in
his Glory.-The Manuscript found in a Bottle.-The Fate of the
Petrel.-Captain Corbet has an Idea.-He begins to brood over
it.-A Question of Salvage.-How to make one's Fortune.
VIII. Solomon in his Glory.-The Breakfast a splendid Success.-Out
of Starvation and into the Land of Plenty.-Removal of
Lodgings.-The Question of Salvage.-An important Debate.-To

go or not to go.-Dropping Anchor.-The final Departure.-
Corbet bids a fond Farewell.-Alone in the Water-logged Ship.
IX.
Corbet at the Helm.-Visions by Night.-The Vis-ion of sudden
Wealth.- Over the Waters.-The Ocean Isles.-A startling and
unwelcome Sight.-Landing of Corbet.-Corbet among the
Moun-seers.-Unpleasant Intelligence.-An unwelcome Visitor.-
A sharp Inquisition.-Corbet in a Corner.-Answers of Guile and
Simplicity.-Perplexity of Cross examiner.
X.
The Baffled Inquisitor.-Corbet's Flight by Night.-Dead
Beckoning.-His Purpose accomplished.-Once more an
unwelcome Visitor.-The warning Words.-Corbet confident.-
"Right straight back"-The stormy Water.-The gloomy Night
and the gloomier Day.-Where is the Petrel?-Despair of
Corbet.
XI.
The water-logged Ship.-Alone upon the Waters.-Jolly under
creditable Circumstances.-Old Solomon's queer Fancies.-He
dreads his Persecutor.-He prefers the Life of Crusoe.-Follow
my Leader.-Swimming in deep Waters.-An important
Meeting.-Debates.-Parties formed.-Molassesites and
Sugarites.-Desperate Struggle of Phil, and melancholy Result.
XII.
Ingenuity of Tom and Phil.-Checkers and Chess.-Speculations
as to the Future.-Melancholy Forebodings.-Where is the
Antelope?-A Change of Weather.-Solemn Preparations by
Solomon.-Making ready for the Worst.-The Place of Retreat.-
Laying in a Stock of Provisions.-Pitching a Tent.-
Reconnaissance in Force.-A midnight Alarm.-Horror of
Solomon.-A haunted Ship.-Sleepers awakened.-They go to lay
the Ghost.-Forth into the Night.
XIII.
Rushing forth at the Alarm of Solomon.-The rolling Waters.-
The flooded Decks.-Strange, uneartlily Noises.-Dread Fears.-
is the Ship breaking up?-Consolations.-Refuge in the Cabin.-A
Barricade against the Waters.-A damp Abode.-A Debate.-
Where shall we pass the Night?-Solomon on Guards-The
fourth Day.-No Antelope.-A long Watch.-The Cabin deserted.-
Sleeping on Deck.

XIV.
A strange Sleeping-place.-The Tent.-The View astern.-Rolling
Waters in Pursuit.-Morning.-Astonishing Discovery.-The solid
Land moving towards the anchored Ship.-How to account for
it.-What Land is this?-Various Theories.-Every one has a
different Opinion.-Solomon driven from the Cabin.-Drawing
nearer.-An iron-bound Coast.
XV.
A miserable Day.-Keeping their Courage up.-Solomon
unmoved.-The Cook triumphs over the Man.-A big Wave.-A
Shower-bath.-Helter-skelter.-All in a Heap.-Flight.-The
Rigging.-Solomon ventures his Life for a Ham Bone.-
Remarks.-Flight farther up.-The Mizzen-top.-The Fugitives.-
Pat ties himself to the Mast.-Remonstrances.-Pat is
obdurate.-Night, and Storm, and Darkness.
XVI.
Night, and Storm, and Darkness.-The giddy Perch.-The
trembling Ship.-The quivering Masts.-A Time of Terror.-
Silence and Despair.-A Ray of Hope.-Subsidence of Wind ami
Wave.-Descent of the Boys.-Sufferings of Pat.-In the Mizzen-
top.-Vigil of Bart.-The Sound of the Surf.-The Rift in the
Cloud.-Land near.-The white Line of Breakers.-The black Face
of Solomon.-All explained.-The Boat and the Oars.-The
friendly Cove.-Land at last.
XVII.
The Lookout over the Sea.-The missing Ship.-Where are the
Boys?-Where are the Boys?-Where are the Boys?-Where are
the Boys?-Where are the Boys?-Where are the Boys?-An
elaborate Calculation.-Dragging the Anchor.-A Chart on the
Cabin Table.-Writ in Water.-Hope.-The Antelope sails 'North
by East.-Corbet watches the Horizon.-Midday.-Despair.-Corbet
crushed!
XVIII. The venerable but very unfortunate, Corbet-The Antelope
lies to.-Emotions of her despairing Commander.-Night and
Morning.-The Fishing Schooner,-An old Acquaintance
appears, and puts the old, old Question.-Corbet
overwhelmed.-He confesses all.-Tremendous Effect on
Captain Tobias Ferguson.-His Selfcommand.-Considering the
Situation.-Wind and Tide.-Theories as to the Position of the

lost Ones.-Up Sail and after.-The last Charge to Captain
Corbet.
XIX.
The Cove.-The grassy Knoll.-The Brook.-A Reconnoitre.-The
Bed of the Brook.-Far up into the Country.-A rough Road.-
Return.-The Aroma of the strange Dinner.-Solomon again in
his Glory.-A great Surprise.-A Resolution.-Drawing of Lots.-
The fated Two.-Last Visit to the Petrel.-Final Preparations.-A
sound Sleep.-The Embarkation. -The white Sail lost to View.
XX.
Trouble and Consolation.-A fresh Proposal.-The Building of
the Camp.-Hard Work.-The triumphant Result.-Blisters and
Balsam.-A new Surprise by Solomon.-Illumination.-The rising
Wind.-They go forth to explore.-The impending Fate of the
Petrel.-Wind and Wave.-A rough Resting-place.-What will be
the Fate of the Ship?-The Headland.-The View.-Where are
our departed Friends?
XXI.
The Expedition and the Voyagers.-Speculations.-Dinner
followed by a Change of Wind.-A Squall.-Shipping a Sea.-
Nearer the Shore.-An iron-bound Coast.-Rounding the
Headland.-Startling Sight.-The Column of Smoke.-A Man on
the Beach.-The shipwrecked Stranger.-Astonishing
Disclosures.-Where are we?-The mournful Truth.-Anticosti!-
Arthur contains his Soul.-The Boys and the Boat both hauled
up.-The Expedition ends.
XXII.
Bailey's Den.-The Fire.-The blazing Beacon.-Shell Fish.-Bailey
begins his Narrative.-Astonishing Disclosure.-Mutual
Explanations. -The Story of Bailey.-The Crank Ship.-Springing
aleak.-The mutinous Crew.-A Storm.-Taking to the Boats.-The
Captain sticks to his Ship.-Driving before the Wind.-Cast
ashore.-How to kindle a Fire.-Plans for the Future.-The
Evening Repast.-The insatiable Appetite of a half starved
Man.-Asleep in Bailey's Den.
XXIII. The Denizens of Bailey's Den-Morning.-A Sail upon the
Surface of the Sea.-The Spyglass.-Exciting Discovery to the
lost Ones.-The strange Schooner.-Exchange of Signals.-The
Excitement increases.-The Schooner draws nearer.-New

Signals.-They take to the Boat.-Out to Sea.-Rough Water.-
Another Sail.-A strange Suspicion.-Old Friends.-Pleasant
Greetings.-Mrs. Corbet.-Obloquy heaped upon the Antelope
and its venerable Commander.-Away to the Rescue.
XXIV.
Out on the Headland.-The doomed Ship.-The Struggle with
the Waters.-The ravening Waves.-All over.-The last of the
Petrel.-An Interruption at Dinner.-Startling Sight.-The strange,
yet familiar Sail.-A grand and joyous Reunion.-Away from the
Isle of Desolation.-The Antelope once more.-Over the Sea to
Miramichi.-Farewell.-Captain Corbet moralizes, and
Sermonizes.

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