Project Gutenberg's The Nursery, October 1873, Vol. XIV. No. 4, 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, October 1873, Vol. XIV. No. 4 Author: Various Release Date: March 29, 2008 [EBook #24941] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK NURSERY, OCT. 1873, VOL.XIV NO.4 *** Produced by Emmy, Juliet Sutherland and the Online Distributed Proofreading Team at https://www.pgdp.net Music by Linda Cantoni.
IN PROSE. | |
PAGE. | |
Threading the Needle | 97 |
The Butter Song | 100 |
Our Pony | 103 |
Nelly's Kitten | 105 |
A Morning Ride | 108 |
Perils of the Sea | 112 |
In Honor of Rosa's Birthday | 114 |
Walter's Disappointment | 116 |
The Tide coming in | 119 |
Letter to George | 122 |
Peepy's Pet | 124 |
IN VERSE. | |
PAGE. | |
The Singing Mouse | 101 |
A Funny Little Grandma | 107 |
Old Trim | 110 |
Our One-Year-Old | 115 |
The Boasting Boy | 117 |
Cakes and Pies | 118 |
Sunrise | 121 |
Song of the Monkey (with music) | 128 |
"I left her five minutes ago, trying to thread a needle," replied Anna.
"She is a long while about it," said Mrs. Ludlow. "Send her to me."
When Lucy entered the room, her mother asked her what she had been about; and Lucy replied, "I have been teaching myself to thread a needle."
"But you have been a long time about it," said mother.
"I will tell you why," continued Lucy. "When I went to walk with papa yesterday, he saw me get over a stone-wall, which I did rather clumsily: so he said, 'A thing that is worth doing at all is worth doing well. Let me teach you how to get over a wall quickly and gracefully.'"
"So he gave you a lesson in getting over walls, did he?"
"Yes, mother: he kept me at it at least half an hour; and now I can get over a wall as quickly and well as any boy."
"But what has getting over walls to do with threading a needle?"
"Only this: I thought I would apply papa's rule, and learn to do well what I was trying to do. So I have been threading and unthreading the needle, till now I can thread it easily."
"You have done well to heed your father's advice," said Mrs. Ludlow. "If you do not see the importance of it now, you will see it often in your life as you grow older."
It was not many months before Lucy comprehended how wise her father had been in training his little girl. She was gathering violets in a field one day, when she heard a[99] trampling sound, and, looking round, saw a fierce bull plunging and twisting himself about, and all the time drawing nearer and nearer to her. Suddenly he made a rush towards her in a straight line.
Not far off was a high stone-wall. It would once have seemed to Lucy a hopeless attempt to try to get over it before the bull could reach her; but now she felt confident she could do it: and she did it bravely. Confidence in her ability to do it kept off all fear; and she did not even tremble.
The bull came up, and roared lustily when he found she had escaped, and was on the other side of the wall. But Lucy turned to him, and said, "Keep your temper, old fellow! This child's father taught her how to get over a stone-wall in double-quick time. You must learn to scale a wall yourself, if you hope to catch her."
"Boo-oo-oo!" roared the bull, prancing up and down, but not knowing how to get over.
"Why, what a sweet humor you are in to-day, sir!" said Lucy, walking away, and arranging her bunch of violets for Cousin Susan as she went.
When I was a little boy, I often helped my mother when she was making butter.
I liked to stand in the cool spring-house, and churn for a little while; but I liked better to look out of the window, and watch the ducks swimming in the creek, or the little shiners and sunfish darting back and forth through the clear bright water.
Sometimes I would forget all about my work, and stand watching the insects, ducks, and fishes, until some one would call me, and tell me to go to work again.
One day I wanted to churn very fast; for my mother had told me that I might take a swim in the creek when my work was done.
So I sang a little song that our German girl Bertha had taught me. She called it the "Butter Song;" and here it is:—
I thought then, as Bertha told me, that if I sang that song a hundred and eleven times, and didn't stop churning once while singing it, the butter would soon be made. I believe so yet; but I think now, that the steady work had more to do with it than the song had.
Have you ever heard of singing mice? There are such creatures, you must know, or you will not believe what my verses will tell you. Yes, indeed: it was only the other day that I heard of one that was kept in a little cage, like those used for squirrels, and sang so delightfully that her owner used to have her by his bedside to charm him to sleep. She was a wood-mouse. Wood-mice are the best singers. Whether the one about which you shall hear came from the woods or not, I cannot say; nor how she happened to be in my friend C.'s house: but there she certainly was; and this is the story of what she did there. I call it,
We have a pony whose name is Duke. He was very skittish when we first had him. There are four of us children who ride him,—Mamie, Winnie, Arthur, and myself. We have another little sister, Florence; but she is not old enough to ride, being only five years old.
Winnie is a nice little rider. Duke was Mamie's birthday present. We were all very much pleased when he came. We danced round him, and clapped our hands. Mamma wanted to surprise us: so, while we were at dinner, she had the pony brought up and put in the barn.[104]
After dinner we went out to play; and Winnie saw the whip and the saddles, and then she suspected something. So she began looking around in the stalls. There she found the pony, and then came running in to mamma to ask if it was really ours. Mamma said, Yes.
Then we were very much pleased, and said we would ride him. Winnie rode him up to the house first; then Mamie wanted to ride, so she got on the boys' saddle. Duke would not stand still for her; and, when she got on, he went galloping down to the barn. Her hat flew off, and she was very much frightened. She kept calling out, "Stop him!" but he would not stop until he reached the barn. Duke was frightened too, because we shouted at him.
Mamie is thirteen, but is more afraid to ride than Winnie, who is only seven. Mamie asks if boys always ride better than girls. I say, "No! Look at Winnie." Once we tied Duke to the swing; and then he got his nose pulled by getting the rope twisted round it. Sometimes we have a good frolic with him in the pasture. He never kicks us.
Mamie loves to feed Duke; but she wants Arthur to hold him carefully by the bridle while she does it. As for Winnie, she loves to gallop over the hills and far away. Sometimes she lets me ride behind her. Duke seems to love the bold Winnie, and will do whatever she tells him to.
Nelly's kitten was the handsomest kitten that ever was. So her little mistress thought. Nelly made a great pet of her, and brought her up with great care; and, when she had become a well-grown cat, Nelly gave her the name of "Pussy Gray."
One morning while Nelly was being dressed, her sister told her there was something nice down stairs, and asked her to guess what it was. "I guess it's pickled limes," said Nelly; for she dearly loved pickled limes. But her sister said "No."—"Then I guess it's kittens," said Nelly; and so it was.[106]
Out in the back-room, in a barrel of shavings, were two little bunches of fur; and, when Nelly took them out and put them on the floor, they looked as though they were all legs and mouths. Their eyes were shut tight, and their little pink mouths were wide open.
But, in a week or two, the eyes came open, and the little kitties saw their feet and tails for the first time. Then they stood upon their feet, and played with their tails till they found their mother had one that was bigger and longer; and then they played with their mother's tail whenever she forgot to tuck it away and put her paw on it.
The kittens were always in somebody's way. When Nelly's mamma sat down in the big rocking-chair for a little rest, the first time she rocked back, "Mew, mew, mew!" would be heard, and away would scamper a little kit.
When Nelly's sister walked across the room in the dark, she was sure to hit her foot against a little soft ball, and "Oh, dear! there's one of the kittens," she would say.
If mamma went out to work in the kitchen, there would be a scampering from under her feet; and the kittens would be right before her. If she went to the closet to get any thing, she was sure to knock one of the kits over as she came out. When she was making pies, something would come up her dress; and, before she could stop it, there would be a kitten on her shoulder ready to fall into the pie.
One day, after mamma had stepped on kittens, and fallen over kittens, till her patience was all gone, she said she believed she must have the kittens drowned, they were so much in the way. Pussy Gray, their mother, was in the room, and heard what was said. She at once went out of the door, calling the kittens after her.
That night they didn't come back, nor the next day, nor the next; and, now that they were really gone, mamma[107] began to feel badly. So she searched all through the garden, calling "Kitty, kitty;" but though she looked down the cellar-stairs, and under the back-doorsteps, and everywhere she could think of, no kitten came.
Maud is spending her vacation among the woods and mountains of Maine, where she went with her father and mother about two weeks ago.
One very pleasant morning papa said, "I think we had better take a ride this morning." So Maud was called in to get ready; and Hannah, the good white horse, was harnessed into the buggy.
The buggy had but one seat: so mamma found a nice box, and folded her shawl and put on it; and that made a good place for the little girl, between her father and mother; and they all started on their ride.
They went along a shady road near the river, and soon they saw some geese. Several of them were swimming in the water, and one or two were on the bank. One of these[109] had a sort of frame around its neck, and was standing on one leg.
Maud said, "Why, see that poor goose! It has only one leg; and they have put that frame on so it can walk better." But a few minutes after she looked again, and the goose was standing very comfortably on both feet. So it really had two, but had been curling up one of them quite out of sight.
After riding some time, they came to a ferry,—a place for crossing the Androscoggin River; and papa drove through a pleasant field down to the bank of the river. Here they saw a man cutting grass, and asked him about the ferry-boat. He came up and took a horn that hung on a post, and blew a blast, which the ferry-boy on the other side of the river heard.
When the boy heard it, he began to unfasten his boat, and pull it over; and Maud and her father and mother waited, sitting in the buggy, until the boy brought his boat close to the shore, so that they could drive on to it easily.
Then papa said, "Are you all ready?" and the boy answered, "Yes, sir;" and Hannah walked on the boat and stood perfectly still, while the boy kept pulling a strong rope, until he drew the boat, with the horse and buggy and people, safely over to the other side. Then they drove up the bank of the river, and came to a gate, which a little girl opened.
Next they came to a very pleasant wood,—so pleasant that papa stopped Hannah in the shade, and said she might rest a little; and[110] mamma and Maud got out of the buggy, and picked the young boxberry-leaves, and the red berries, and pulled long vines of evergreen, and gathered moss.
When papa thought it was time to go, he said, "All aboard!" and they got in, and he drove on. They had not gone far when Maud asked if she might drive. So papa handed her the reins; and Hannah seemed to go on just as well as ever.
After Maud had been driving a little while, her father said he thought she had better give the reins to him. This she did, and they went to the village, stopped at the post-office, and then drove swiftly home in season for dinner.
Edwin had a present of a ship, sent to him from England; and he named it, after the giver, "The Uncle George." It was a splendid ship. It had three masts, as a ship ought to have, and was rigged in complete style.
One fine day last month, Edwin took his ship down to the Frog Pond on Boston Common, and set her afloat. On the opposite side of the pond he saw four boys sailing their boats, and a tall boy carrying a sloop, and followed by his small brother.
A sloop, you know, has but one mast. None of these boys had a ship with three masts, like "The Uncle George." Edwin felt a little proud when he saw his good ship catch the wind in her sails, and go plunging up and down over the pond.
But, dear me, think of the risks of ship-owners! Consider, too, that Edwin's ship was not insured. What, then, was his dismay, when, as she got into the middle of the Atlantic Ocean (for so Edwin called the pond), a flaw of wind threw her on her beam-ends, and sent her masts down under water till she foundered, sank, and disappeared.
There was a shout from the owners of vessels on the other side of the Atlantic Ocean. "What a pity!" exclaimed the boy with a dog.
"What's her name?" asked the tall boy.
"The Uncle George!" shouted back Edwin.
"Any insurance on her?" inquired a boy waving his hat.
"What do you mean by insurance?" asked Edwin.
"Go and look in your dictionary," said the boy with his hat off.
Then the tall boy repeated these lines:—
Edwin was half disposed to cry; but then he thought that crying was no way to get out of trouble. He took a survey of the Atlantic Ocean, and wondered how deep it was where his ship wend down.
Then taking off his shoes and stockings, and rolling up his pantaloons, he waded in, and succeeded, with the aid of a long stick, in saving "The Uncle George."
"Hurrah! Well done, little one!" shouted a boy on the other side. The tall boy again launched into poetry, and cried out,—
Charles.—Am I right madam? is not this Miss Rosa's birthday?
Mary.—Yes, sir. My little girl is two years old to-day.
Charles.—So I understood; and I have brought her a birthday present. Here it is,—the largest rose I could find in all the land. Do me the honor to accept it.
Mary.—With pleasure, sir, I accept it for Rosa; but, if I may trust my eyes, this is a sunflower, not a rose.
Charles.—Excuse me madam, in Doll-land they told me it was a rose.
Mary.—Ah! they sometimes forget names in Doll-land.[115] I am obliged to you, sir, all the same. You are very polite.
Charles.—I ought to be polite, madam; for my sister Helen goes to dancing-school. I will bid you good-morning, madam.
Mary.—Good-morning, sir. Call again some fine day.
Charles.—I shall call without waiting for a fine day, madam. It is always a fine day when I am with you.
"Here is the last white rose in my garden," said Laura to her brother Walter; "and you shall have it if you will be a good boy."
"I don't want a white rose," said Walter; "and, if I can't go with Jim Bacon and the other fellows on the pond, I'll not be a good boy: I'll make myself as disagreeable as I can."
"Why, Walter, what a threat!" said Laura, laughing; "but you are a good deal like the minister's dog Bunkum, who barks terribly, but never bites."[117]
"See what I get for being a good boy!" replied Walter. "The first time a chance for a little fun comes along, then it's, 'O Walter! you and the other boys are too young to be trusted alone on the water.'"
Hardly had Walter given utterance to these words, when there were cries from the roadside near by; and men and women were seen running towards the pond. What could be the matter?
It soon was made known what the matter was. The little fellows in the boat had upset it; and five of them were floundering about in the water. Fortunately no life was lost. All were saved, but not until all were wet through to the skin.
"Now, Walter," said Laura, "are you going to fret, and make yourself disagreeable, because you did not get a ducking with the other boys?"
"Sister," said Walter, with a smile, "I think I will accept that beautiful white rose you offered me just now."
Julia and Rose were on a visit to their uncle, who lived near the seaside. They came from Ohio, and did not know about the ebb and flow of the tide of the ocean. They ran down on the sandy beach, and seated themselves on a rock.
Their cousin Rodney was not far off, engaged in fishing for perch. All at once there was a loud cry from Julia, the[120] elder of the two sisters. The water had crept up all round the rock on which they sat, thus forming an island of it; and they did not know what to make of it.
"The water has changed its place," shouted Rose.
Rodney was alarmed, and began to blame himself for neglecting, in his eagerness to catch a few fish, the little girls under his charge.
He took off his shoes and stockings, rolled up his pantaloons, and ran into the water over the sandy bottom to the rock. Taking Rose in his arms, he told Julia to follow.
"But I shall wet my nice boots," said Julia.
"Then, wait on the rock," said Rodney, "while I carry Rose, and set her down on dry land. I will then come for you, and carry you pickback to the shore."
"No, Cousin Rodney," said Julia: "I think I will not ride pickback. I should be too heavy a load. I must not mind wetting my boots and stockings."
"Then, place your hand on my shoulder, and come along," said Rodney. "The tide is gaming on us very fast."
"I don't know what you mean by the tide," said Julia.
"Why, cousin," said Rodney, "you must know that the tides are the rise and fall of the waters of the ocean. It will be high tide an hour from now; then the water will cover all these rocks you see around us. After that, the water will sink and go back till we can see the rocks again, and walk a long way on the sand; then it will be low tide. But we must not stay here talking: the water will soon be too deep for us."
So Rodney took Rose in his arms, and Julia placed her left hand on his right shoulder; and in this way they went through the water to the dry part of the beach.
"We must look out for this sly tide the next time," said little Rose as she ran to tell papa of their adventure.
SUNRISE.
Come and see the sunrise,
Emily Carter.Children, come and see; Wake from slumber early, Wake, and come with me. Where the high rock towers, We will take our stand, And behold the sunshine Kindling all the land. You shall hear the birdies Sing their morning lay; You shall feel the freshness Of the new-born day; You shall see the flowers Opening to the beams, Flooding all the tree-tops, Flashing on the streams. |
There was a little girl who was called Peepy; but why she was called so I do not know: perhaps it was because, when a baby, she used to peep from behind a curtain or a door, and cry, "Peep-O!"
She was a good little girl; but, when she was five years old, her mother had to go to Europe for her health, and Peepy was sent to board in the family of a farmer whose name was Miller.
One day Mr. Miller made her a present of a bright silver quarter of a dollar. Peepy had been taught to sew by Susan Miller; and so Peepy put her work-box on a chair in her little room, and sat down and made a little bag in which to keep the bright silver coin.
Then she took a walk near the grove, and saw two boys who had caught a robin, and were playing with it. They had tied a string to its legs; and, when the poor bird tried to[125] fly away, they pulled it back again, and laughed at its struggles.
At last the little robin was so tired and frightened, that it lay on the ground, panting, with its feathers ruffled, and its beak wide open, and its eyes half closed. It seemed ready to die. Then the rude, cruel boys pulled the string to make it fly again.
"Please don't be so cruel," said little Peepy. "How can you be so cruel?" And she ran to the poor bird, and took it up very gently.
"You let our bird alone!" one of the boys cried out. But Peepy still held it, and was ready to cry when she felt its little heart beating with fear.
"Do give it to me, please," said Peepy. "I will thank you for it very much." But the boys laughed at her, and told her roughly to let the bird alone. "We caught the bird, and the bird is ours," said one of them.
"Will you sell me the bird?" asked Peepy, taking her bright quarter of a dollar out of its bag, and offering it.[126]
"Ah! now you talk sensibly," said the larger of the boys. "Yes: we'll sell it."
So Peepy parted with her money, but kept the precious bird. The boys ran off, knowing they had done a mean thing, and fearing some man might come along, and inquire into it.
Peepy took the bird home; and Mrs. Miller told her she had done right, and helped her to mend an old cage into which they could put the poor little bruised bird. Soon it took food from their hands, and grew quite tame.
Peepy named it Bella, and kept it in her chamber where she could hear it sing. Bella loved Peepy, and would fly about the room, and light on her head, and play with her curls.
But as summer came on, and the weather grew warm and pleasant, Peepy thought to herself, "Bella loves me, and is grateful for all my care; but liberty is as sweet to birds as to little girls. I will not selfishly keep this bird in prison. I will take it into the grove, and set it free."[127]
So Peepy took it into the grove, and set it free; and Bella lighted on a bough, and sang the sweetest song you ever heard. It then flew singing round Peepy's head, as if to say, "Thank you! thank you a thousand times, you dear little girl!" If Bella's song could have been translated into words, I think they would have been these:—
Peepy went home rather sad with her empty cage. But what was her joy the next day, to see Bella on the window-sill! She opened the window, Bella flew in, and they had a nice frolic. Then, when the dinner-bell rang, the little bird flew off. Peepy was happy to think it had not forgotten her.
2 There cocoanuts are growing Around the palm-tree's crown: I used to climb and pick them off, And hear them—crack!—come down. There all day long the purple figs Are falling, I declare: How pleasant 'tis in monkey-land! Oh, would that I were there! | 3 On some tall tree's top branches The fleecy clouds would sail Just over me: I wish that I Were swinging by my tail! I'd swing and swing so merrily, How happy I would be! But oh! a travelling monkey's life Is very hard for me. |
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 July issue with the "No." added. The original table of contents covered the second half of 1873. The remaining text of the table of contents can be found in the rest of the year's issues.
End of the Project Gutenberg EBook of The Nursery, October 1873, Vol. XIV. No. 4, by Various *** END OF THIS PROJECT GUTENBERG EBOOK NURSERY, OCT. 1873, VOL.XIV NO.4 *** ***** This file should be named 24941-h.htm or 24941-h.zip ***** This and all associated files of various formats will be found in: https://www.gutenberg.org/2/4/9/4/24941/ Produced by Emmy, Juliet Sutherland and the Online Distributed Proofreading Team at https://www.pgdp.net Music by Linda Cantoni. 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 https://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 https://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 https://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 https://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 https://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 including checks, online payments and credit card donations. To donate, please visit: https://pglaf.org/donate Section 5. General Information About Project Gutenberg-tm electronic works. Professor Michael S. Hart was 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: https://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.