The Project Gutenberg EBook of The Nursery, May 1873, Vol. XIII., by Various
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
Title: The Nursery, May 1873, Vol. XIII.
A Monthly Magazine for Youngest People
Author: Various
Release Date: January 31, 2008 [EBook #24478]
Language: English
Character set encoding: ISO-8859-1
*** START OF THIS PROJECT GUTENBERG EBOOK THE NURSERY, MAY 1873 ***
Produced by Emmy, Juliet Sutherland and the Online
Distributed Proofreading Team at http://www.pgdp.net
| IN PROSE. | |
| PAGE. | |
| Mabel's Cow | 129 |
| Harry and the Big Pop-Corner | 131 |
| What Dempsey is proud of | 134 |
| What Mamie did | 136 |
| Snip's Story | 139 |
| The Brindled Cow | 142 |
| Naming the Kitten | 144 |
| Little Gilbert | 146 |
| What Birdie saw in Town | 148 |
| Prince and Tip | 151 |
| The Napoleon Violets | 153 |
| The Life of a Sparrow | 154 |
| Little Mischief | 158 |
IN VERSE. | |
| Jenny and Timothy Wren | 135 |
| Baby in the High Chair | 140 |
| Guess | 150 |
| Mistress Mouse | 152 |
| The Kitten (with music) | 160 |
MABEL'S COW.
Her family live in a wild but beautiful part of New Hampshire, where it is very cold in winter, and pretty warm in summer. There are only two small houses within a mile of her father's. He keeps cows, and makes nice butter from the cream.
Not long ago he bought a cow at a great bargain, as he thought; for she was a fine-looking young cow, and the price he paid for her was only twenty-five dollars.
But, before he had got through the first milking of her, he began to think she was dear at any price. She would kick over the pail, make vicious plunges, and try to hook him. Indeed, he grew afraid of her, she was so violent.
He took down a heavy whip, and was about to strike her in great anger, when his little daughter Mabel caught his arm, and said, "She will never be good for any thing if you strike her. Let me try to manage her."
And, before Mr. Brittan could prevent her, Mabel had her arm round the cow's neck, and was calling her all the sweet pet names she could think of.
"All that is very well," said her father; "but just you try to milk her: that's all. No, you sha'n't venture. It would be as much as your life is worth."
"I am very sure she will let me milk her," said Mabel. "Do not forbid my trying. She looks at me out of her big eyes as if she thought me her friend."
So Mabel took the tin pail, and sat down on the little low[131] milking-stool; and soon, to her father's astonishment, she finished milking, the cow having stood all the while as quiet as a lamb.
It was found that the cow had been badly treated by the man who had owned her, and who had been in the habit of milking her. Being a high-spirited beast, she then gave him so much trouble, that he was soon glad to be rid of her.
She would now let no one touch her but Mabel: so Mr. Brittan finally said that the cow should be Mabel's cow, and that all the butter which the cow yielded should be hers. But Mabel is a generous girl; and so she shares the money she earns. Her mother, her sister Emily, and her brothers Oliver and Frank, all get a part of it.
Mabel has given the cow a name; and the cow will come to her when she calls her by name. The name is a very pretty one for a cow, I think. It is Dido.
Little Harold was delighted, one winter morning, to hear that he could go to his grandpapa's with his mother, for a few days. He had often been there in summer, when the grass was green, and flowers were blooming around the old homestead; but this was his first winter visit.
A pleasant ride of forty miles by the railway, then a short ride in an old-fashioned stage-sleigh, and the sober old horses, with their jingling bells, stopped before grandpa's pleasant home.
Harry ran up to the door, shouting, "We've come, grandpa! We've come!" The door opened; the little fellow[132] rushed into his grandpa's arms; and golden curls and thin gray locks were mingled for an instant. Then the young arms were thrown around dear Aunt Susie; and such a welcome was given as little boys love to have.
Harry then trotted off to the kitchen to find his friend Patty, the cook. In a few minutes he came running back, exclaiming, "O mamma! do come and see what a big pop-corner Patty has in the kitchen."
"Corn-popper, I suppose you mean," said his mamma, laughing, as she and Aunt Susie followed him to the kitchen. There, hanging behind the stove, was a large brass pan, as bright as gold: it had a cover full of holes, and a long handle. This was what Harry took for a corn-popper.
"Oh! that is a warming-pan," said his mother. "A what kind of a pan?" said Harry with great surprise. "What do you mean, mamma?"
"Well, Harry, if you can be quiet a minute, I will tell you. When your Aunt Susie and I were little girls, and your uncles little boys, grandpapa's house was not warmed all over, as it is now. Furnaces were not used in those days; and the bed-rooms up stairs were very cold.
"So, on the coldest nights of winter, grandma would have this pan filled with hot coals, and the beds all nicely warmed. Sometimes the boys would have great frolics; for dear grandmamma would have their bed so very warm, that, as soon as they had jumped in, out they would come, saying they were burned.
"But they would spring back again, and cuddle down, and laugh, and tell stories, and sing, until grandpapa would have to come to the foot of the stairs, and call out, 'Boys, boys, I must have less noise!'"
"Well," said Harry after hearing this story, "I should like to try it, and see how my little uncles felt so long ago.[133] Will you warm my bed to-night, Patty?"—"Oh, yes! indeed I will. Master Harry," said Patty.
Harry wanted to go to bed earlier than usual that night; and, before seven o'clock, he ran to the kitchen to ask Patty to put the coals in the pan. Patty took a shovel, and first put in some hot ashes. "What is that for?" said Harry.
"So the sheets will not be burned," said Patty. Then she put in some glowing coals, and told Harry that the warming-pan was ready.
Harry called his mamma; and they went up to the square front-room. Patty gave the cold sheets a good warming while mamma was unbuttoning the little shoes and clothes; and, when Harry had got on his night-gown, he said, "Now for a good jump,—one, two, three, four, and away!"
Then he sprang into the warm nest; and such a shout as the little fellow gave made even grandpa start from his rocking-chair. "Oh, goody! oh, how jolly! oh, how splen[134]did!" said Harry. "I thought grandpapa's house was splendid in the summer; but it is a great deal splendider in the winter.
"But, mamma," continued he, "won't I have a nice story to tell Charlie and Susie when I get home, about this big pop-corner?"
"What are you proudest of?" said Mattie to Bertie. "I'm proudest of my new red-top boots," said Bertie. "I'm proudest of my new black hat," said Clay. Mattie was proudest of her muff and boa. Little Bell was proudest of her wax doll.
But Dempsey had the queerest pride of all. He had no boots or mittens; and his clothes were coarse and worn. What had he to be proud of? This is what he said, "I'm proudest of my papa's wooden leg." The other little people were too polite to laugh at him; but they looked at him with wonder.
"Let me tell you," said he, "why I'm proud of my papa's wooden leg. One time when there was a war, and men were wanted to help fight the battles, my papa took his gun, and went into the army. And when there was a great battle, and men were shot down all around him, my papa stood beside the man that held the flag. And, when the man was killed, my papa would not let the flag fall, but took it in his own hands. Then the soldiers on the other side fired at the flag with a big cannon; and the ball took off my papa's leg. He was sick a long time; but he got a letter from his commander that said he was a brave man, and had done his[135] duty nobly. This is why I am proud of my papa's wooden leg."
Mattie and Bertie and Clay and Bell all thought that this was a pretty story; and Clay said, "Dempsey is right. He has something more to be proud of than any of us."
Mamie is a little girl five years old, with bright black eyes, and rosy red cheeks.
She is very fond of "The Nursery," as are a great many other Mamies.[137]
Now, which Mamie is this story about? They are all wondering, but cannot tell certainly, till they have heard it read.
Well, one cold winter's day, this little Mamie came to her mother with a very urgent request. What do you suppose it was? To go out coasting? No.
To go to visit her little friend Nellie? No.
To take a sleigh-ride with her papa? Wrong again.
Ah! you can never guess, and I will tell you.
It was this: "O mamma! do put on my things, and let me go out and get exscribers for 'The Nursery.'"
Mamma shook her head; though she could not help laugh[138]ing at the little girl's mistake, for she meant subscribers. It is a hard word; but this little Mamie knew the meaning well.
"O mamma! please do; for you know I love it. And Jennie and Katie and Bessie will love it too, if they only know about it; and, besides, I can get a present, if I send some new names to 'The Nursery' man."
Little Mamie was so urgent in her request, that her mother asked papa what he thought about it.
Papa said, "Oh, let her try if she wants to: it will do no harm." How the black eyes danced! and the little feet could hardly keep still, while mamma dressed her up very warmly, till she was just about as large one way as the other.
"Now, mamma, for my muff; and, oh! I must have a 'Nursery' to show." So, with a "Nursery" sticking out of one end of the little muff, this Mamie started on her errand. All the way along to Bessie's house, she kept saying, subscribe, subscribe, so that she might not make another mistake in the word.
She was gone but an hour, and returned with the names of six children, who were to be made glad each month by the visits of Mamie's friend.
Mamie was full of glee, and could hardly eat any supper, so anxious was she for her papa to send the names to Boston.
Well, they were all sent; and the six little friends have been made glad by receiving each a "Nursery" of her own; and next month they will be glad again, and so on for a whole year.
Did Mamie get a present? Oh, yes! She got a present from "The Nursery" man, which she values very highly.
Now, can you tell which little Mamie this is?
My name is Snip. You can read it on my collar: though why my master put it there I can't tell; for everybody knows me, and almost everybody is my friend. People stop in the street to pat me; the little children love to have me play with them, because I never snarl and bite; and the butcher round the corner saves me a bone every day. I think butchers are very nice men.
Every morning I go down street to get the newspaper for my master. The bookseller always has it rolled up, waiting for me, and puts it in my mouth; and back I trot as fast as my legs will go. To-day I had a hard time of it; for, just as I got nicely started for home, some bad boys who were playing in the road saw me, and thought it would be fine fun to catch me, and take my paper away.
They ran after me, hooting and yelling; and I was so frightened, that I trembled all over. But I could run faster[140] than they; and they soon gave up the chase. That was not the end, though; for one of them threw a stone after me, which hit me on one of my paws, and so I came home limping. But do you suppose I let the newspaper drop? Not a bit of it.
I have been barking at this door a long time; and yet nobody comes to open it. I wonder where my master is, that he doesn't hear me. Perhaps he is asleep. I am very hungry for my dinner; and I should like to get into the house, and lie down in my corner by the kitchen-fire.
I can push open the garden-gate with my nose; but this door won't move a bit when I put my paws on it. I wonder why dogs can't open doors as well as gates. I am going to bark again. Bow-wow-wow! There! Didn't you hear a footstep? Yes: there comes some one to let me in.
"What shall be the kitten's name?" asked Rachel of her younger sister, who stood holding up her apron, and begging to take the little pet.
"It is my kitten," pleaded Alice; "and I ought to have it."
"The old cat evidently thinks it is her kitten. Hark! Hear her mew! 'Mine, mine, mine,' she seems to say."
"Oh!" said Alice, "I can soon quiet the old cat with a saucer of milk. Come, give me the kitten; that's a good Rachel!"
"Well, I will give it to you on one condition."
"Name it: perhaps I can grant it."
"The condition is, that you give the kitten a name,—a name that I shall approve of."
"Oh! that I can do right off. We will call her Arabella."
"Nonsense! that is too long and grand a name for a kitten. It will do very well for a proud lady-doll from Paris, but not for this little scratcher."
"How would you like the name of Betsy?"
"Not at all. I think it a homely sort of name."
"Well, will any of these do?—Pet, Muff, Tabby, Tit, Tip-top, Scamper, Nap, Mop, Pop, Grab?"
"I think you must have got those from some story-book."
"You guessed right that time," said Alice. "Name the kitten yourself, if none of my names will satisfy you. Put her in my lap, and I will get some cream, and let her lap it."
"Lappit, did you say? That's a new name, and a good one!" cried Rachel. "You have hit upon a name at last. We will call the kitten Lappit. Now hold up your apron, and I will put Lappit in your lap."
Alice laughed at her sister's play upon the word; and, taking the kitten in her apron, she ran off into the garden, followed by the old cat.
NAMING THE KITTEN.
Many years ago a little boy, named Gilbert, lived in a small town in New Brunswick, on the banks of the St. John River. The river is deep and swift; and Gilbert's papa had often warned him not to go too near the brink.
One day, when the little fellow was about six years old, he went with his papa down to the river; and, while his papa stopped to talk with a friend, Gilbert wandered along the shore.
He took with him his fishing-rod, and thought it would be fine fun to catch a fish all by himself: so he went close to the edge of the water, and dropped in his line.
After waiting a few minutes without getting a bite, he thought he would walk out on a raft that he saw close by, and try his luck in a new spot. He crept along till he reached the outer edge of the raft; but then, as he threw out his line, his little bare feet slipped, and over he went, plump into the river. A splash, a scream, and down he went.
At the time of this story, there were a good many Indians in New Brunswick; and a party of them were in camp in the woods near the river. They were harmless, peaceable Indians, and very friendly to the boys of the neighborhood, who liked to visit their tents, and see them weave baskets, and make bows and arrows, and scarlet slippers, and other pretty things.
Luckily for Gilbert, an Indian boy happened to be fishing near the raft, and saw him slip off into the water. Although the Indian boy was not much older than Gilbert, he was larger and stronger, and he knew how to swim. In[147] an instant he plunged into the river, seized the poor little drowning boy, and brought him to the land safe and sound.
His papa took him in his arms, all wet and dripping, and, after thanking the brave Indian boy for his noble deed, hurried home, scolding Gilbert by the way for disobedience. Poor little Gilbert was very miserable. It was not at all nice to be wet and frightened and scolded all at once; and, worse than all, he feared he would be punished when he got home.
So, when his papa carried him into the kitchen, it was a great comfort to the little fellow to see his good grandmother sitting by the fire. She was very fond of Gilbert; and, when she saw what a plight he was in, she begged his papa not to punish the dear child this time, saying she was sure he had been punished enough already by his fright and his ducking.
His papa was so happy to have his little boy alive and safe, that it was easy to forgive him; and in a little while[148] Gilbert was dressed in dry clothes, and sat down on his little stool before the fire to eat a red apple which his grandmother had brought him.
That night, when little Gilbert said his prayer, he put in at the end, "God bless the brave Indian boy who saved my life!"
"Birdie," you must know, is a little girl three and a half years old. Her real name is Maud; but "Birdie" is her pet name.
One day she went to the city in the horse-cars with her mamma. They waited on the corner of the street till a car came in sight; then Birdie held up her little fat finger, and the conductor saw it, and stopped the car.
After they were seated, the conductor called out, "Fares, ladies!" And Maud said to him, "Here is mamma's ticket; and won't you please leave us at grandpa's house?" He smiled, and nodded his head, and Birdie felt satisfied; for she thought he must know, of course, where grandpa lived.
When they reached town, mamma took her into a store where birds are kept for sale; and Birdie saw, to her great delight, hundreds of canary-birds, and a good many bright-colored parrots. It was very funny indeed to hear them all singing and chattering together.
There were two beautiful birds in a large cage, taking their morning bath. They would jump down into their little bath-tub, dip their heads in the water, and then plunge in all over; then they would perch on the side of the tub, shake the bright drops from their feathers, and seem to be enjoying themselves as much as Birdie herself does when mamma puts her into her bath-tub.[149]
Then there were some squirrels in a cage that went round and round; and Birdie thought she should never get tired of looking at them, with their bushy tails and bright black eyes. She saw them crack some nuts with their little sharp teeth.
There were also a great many goldfishes in a little pond; and Birdie watched them darting through the water, and thought how nice it would be to have some of them at home.
One thing more Birdie saw, which pleased her very much. On the corner of the street stood a man with a basket on his arm; and in it were four or five little black-and-white puppies ("baby-dogs" Birdie called them), all cuddled up in a heap, and looking very comfortable in their wicker-carriage.
The little girl took good care to point out all the sights to Daisy, her doll, whom she carried in her arms, and who always has to take an airing when her little mistress does.
Prince is a small shaggy dog, of a light-brown color. Tip is also a small dog, but is black, and has short, smooth hair. They are very fond of each other, and frolic together like two kittens.
Prince is always making acquaintances. He has several places in the neighborhood where he makes himself at home. He is always welcome, and he knows it: so he comes and goes as he pleases. Even when his master ties him, he cannot be kept from visiting his friends.
It was for a long time a wonder to us how he got untied; but we kept watch one day, and found that Tip, with his paws and mouth, loosened the knot, so that Prince could slip his head out; and then the two dogs scampered off in great glee. Prince, or Pinny, as we call him, plays some funny tricks. When we tell him to shake hands, he stands up on his hind-feet, and gives first his right, and then his left paw.
Sometimes we say to him, "Now, Pinny, play sick." Then he lies down, droops his head, and puts on a woe-begone look. We run around him, saying, "Poor Pinny!" and he all the while seems to enjoy the joke. As soon as we say, "Up Pinny, all well," he jumps up, shakes himself, and gives a knowing look, which seems to say, "Didn't I do that well?"
When we tell him to play beggar, he sits up on his haunches, raises his fore-paws, and whines dolefully.
When we hear a noise, and say, "See if anybody's coming, Pinny!" he goes to the door, and listens: if any one is coming, he barks loudly; if not, he comes quietly back.[152]
Sometimes the two dogs play horses. Their master takes a rope a few feet long, and ties one end around Pinny's neck, and the other around Tip's. Then, when the word is given, they set off and gallop up the road abreast, like two ponies. When their master whistles, they turn round, and come back.
Sometimes they are harnessed to a little wagon; and the children take turns in having a ride. The dogs seem to enjoy it as much as the children. They are impatient to start; but they wait for each other to be harnessed: they are not in quite such a hurry as the dog in the following picture.
There are three profiles of famous persons to be found among the outlines of this picture, which was drawn as long ago as the year 1815. One of the profiles is of Napoleon Bonaparte, a great soldier, who made himself emperor of France; another profile is of his wife, Marie Louise; and another of his son, Napoleon Francis Charles Joseph Bonaparte, styled King of Rome, and by his father proclaimed Emperor of the French, under the title of Napoleon II., in the year 1815, when he was only about four years old.
Owing to the defeats and disappointments of his father,[154] the child Napoleon never actually became either King of Rome, or Emperor of France. He died in the year 1832, in Austria, where his grandfather was emperor.
Now, which of our readers will be able to discover the three portraits hidden in this symbolical bunch of violets?
"Oh, dear! What a big word is this! What does Uncle Charles mean by symbolical?" I fancy some of my little friends will exclaim. Well, then, a symbol is merely a sign, or mark, by which one knows a thing. When you see an umbrella in a man's hand, it is a symbol, or sign, that he expects a shower. So the profiles in this bunch of violets make it symbolical; that is, suggestive of a family group, who, it was hoped, would be renewed like the violets, and once more fill a large space in the history of France.
I am a very old sparrow, but not so old that I cannot still relish a cherry, a grape, or a nice fat worm. I am about to write a short history of my life, for the instruction of my children, grandchildren, and great-grandchildren.
My parents, after having reared a numerous family, decided to seek a new home. One lovely day in spring, they came to a pretty village which pleased them, and alighted on a cherry-tree to consult together. "Here we will remain," said my father. "Look at the cherry-trees and the grape-vines. We have found the right place at last."[155]
After looking carefully about for some time, they chose for their home a new house with a projecting roof, before which stood three large cherry-trees in full bloom. My mother, with the help of my father, built a nest high up under the roof of the house, and lined it with soft feathers. She laid four eggs, but hatched out only one little sparrow; and I was that lucky one.
My parents fed me constantly with tender worms; and it is no wonder that the feathers began to grow on my naked little body, or that my father soon thought me able to fly. So one fine day I stood on the edge of the nest, fluttered my wings, and flew out of my father's house. With many fears and a beating heart I at last alighted on an acacia-tree. While I sat there, I saw many large birds walking about, and also a cat, against whom my mother had already warned me; and, directly over my head, I heard the scream of a hawk.
In my fright, I cried out bitterly; but when the cat ran away, and the hawk flew into the woods near by, I grew calm again. My cry soon brought my mother to my side; and my father came, bringing a delicious worm to comfort me.
Before many days I was able take care of myself. About this time I met with an adventure. One day I saw several of my comrades fly in through an open window. Wishing to know what they found, I also flew in, and soon was as busy as any of them eating the grains of wheat with which the floor was covered. Suddenly the window was shut, and we[156] were caught. A laughing boy put his hand over me, took me up, then cut my wings, and let me hop. He was very kind to me; but I longed for my liberty. Fortunately my wings soon grew; and one day, when the window stood open, I flew away, and found my mother again.
One sunny day in the autumn, my mother and I sat on a gate, eating some grains of wheat. A sly old cat who had hidden under a burdock which grew beside the gate, suddenly sprang up, and seized my dear mother with her sharp claws.
My mother was a very wise bird: so, instead of struggling to get away, she remained so quiet, that Mrs. Pussy soon thought she must be dead. Before long she put her down[157] upon the grass, that she might admire at her leisure the nice fat sparrow she had caught for her dinner. All at once up flew my mother, and in an instant was far beyond the reach of the cat.
Now I thought I was old enough to have a family of my own. So I chose me a little sparrow-wife; but I had to fight several battles before I could conquer all my rivals. My bravery won her heart; and I think she has been well content with her choice. We built our nest, and soon I had the pleasure of seeing in it five bluish-white, brown-and-gray-dotted eggs, and, fourteen days after, five pretty sparrows,—three sons, and two daughters.
One saucy rogue, with a golden bill, we lost. Like me, he was caught; but he never regained his liberty. A friendly little maiden was his mistress, who made him so tame, that he would eat from her hand. She gave him so many dainties, that he became too fat, and died. I saw how the little maiden dug him a grave in her garden. Bitterly weeping, she placed him therein, covered him with earth, and planted a cross of flowers on the little mound.
Our other children, one after the other, founded homes of their own, and all lived good and useful sparrow-lives. The multitude of my grandchildren I am no longer able to count.
What mischief was there for Bessie to-day? The fish in her mother's aquarium had not been benefited by the hot bath which Bessie had given them; but that was no reason, thought she, why a bath would not be a good thing for her new doll Felicia.
She had a little doll bath-tub made of tin. So she put it on a little table, and filled it from a jug of hot water which happened to be on the hearth. Then she undressed Felicia, and, holding her up, said, "Now, little lady, you are going to have a nice warm bath: so be good."[159]
Having put Felicia in the bath-tub, Bessie sat down in a chair before her, and said, "There are not many dolls, little lady, that have such a kind, loving mother as I am. You ought to be very good and grateful."
Here dolly slipped down in the bath-tub, and her nice blooming face was all soaked in the hot water. When Bessie took her out, you would hardly have known Felicia for the same doll. Her head, which was of wax, was quite ruined; and her whole body was out of shape and spoiled.
Bessie ran crying to her mother: but her mother said, "You do not deserve to have another doll."
| 2. The milk comes fresh and foaming, Fresh from the good old cow; And, after I have lapped it, I frolic—you know how. I'm petted by the children, And the mistress of the house; And sometimes, when I'm nimble, I catch a little mouse. | 3. But sometimes, when I'm naughty, I climb upon the stand, And eat the cake and chicken, Or any thing at hand; Ah! then they hide my saucer, No matter if I mew; And that's the way I'm punished For naughty things I do. |
Obvious punctuation errors repaired.
This issue was part of an omnibus. The original text for this issue did not include a title page or table of contents. This was taken from the January issue with the "No." added. The original table of contents covered the entire year of 1873. The remaining text of the table of contents can be found in the rest of the year's issues.
The remaining correction made is indicated by a dotted line under the correction. Scroll the mouse over the word and the original text will appear.
End of Project Gutenberg's The Nursery, May 1873, Vol. XIII., by Various
*** END OF THIS PROJECT GUTENBERG EBOOK THE NURSERY, MAY 1873 ***
***** This file should be named 24478-h.htm or 24478-h.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/2/4/4/7/24478/
Produced by Emmy, Juliet Sutherland and the Online
Distributed Proofreading Team at http://www.pgdp.net
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg.org/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
1.E.2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation."
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1.F.3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.pglaf.org.
Section 3. Information about the Project Gutenberg Literary Archive
Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
gbnewby@pglaf.org
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf.org
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit: http://pglaf.org/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Most people start at our Web site which has the main PG search facility:
http://www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.