The Project Gutenberg EBook of Punch, or the London Charivari, Vol. 105 December 16, 1893, 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/license Title: Punch, or the London Charivari, Vol. 105 December 16, 1893 Author: Various Editor: F. C.(Francis Cowley) Burnand Release Date: July 11, 2012 [EBook #40204] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK PUNCH, OF THE LONDON OF CHARIVARI, VOL. 105 DECEMBER 16, 1893 *** Produced by Malcolm Farmer, Lesley Halamek and the Online Distributed Proofreading Team at http://www.pgdp.net * * * * * Punch, or the London Charivari Volume 105, December 16, 1893. _edited by Sir Francis Burnand_ * * * * * SEASONABLE SONNET. (_By a Vegetarian._) Yes, Christmas overtakes us yet once more. The Cattle Show has vanished in the mists Of time and Islington, but re-exists In piecemeal splendour at the store. Here, nightly, big boys blue are to the fore With knives and choppers in their greasy fists; And now, methinks, the wight who never lists Yet hears the brass band on the proud first floor. High over all rings "What d'ye buy, buy, buy?" The meat is decked with gay rosette and bow, While gas-jets beckon all the world and wife. A cheerful scene? A ghastly one, say I, Where mutilated corpses hang arow, And in the midst of death we are in life. * * * * * AS THEY LIKED IT.--We read of the recent success at Palmer's Theatre, New York, of _As You Like It_, with all the parts played by women. Of course, everybody knows that this was a complete reversal of the practice of the stage in SHAKSPEARE'S own day, when the buskin was on the other leg, so to speak; but we are not told if the passage "Doublet and hose ought to show itself courageous to petticoat" was transposed to "Petticoat ought to show itself courageous to doublet and hose." * * * * * THIS SETTLED IT.--"He may be irritable," observed Mrs. R., "but remember the old saying that 'Irritation is the sincerest form of flattery.'" * * * * * [Illustration: ALL IN THE DAY'S WORK. _Critic._ "HOW'S THE _BOOK_ GOING, OLD MAN?" _Author._ "OH--ALL RIGHT, I FANCY. THE PRESS HAS NOTICED IT ALREADY. YESTERDAY'S _ROSELEAVES_ HAILS ME AS THE COMING _THACKERAY_!" _Critic._ "AH, _I_ WROTE THAT!" _Author._ "DID YOU REALLY? HOW CAN I THANK YOU? ON THE OTHER HAND, THIS WEEK'S _KNACKER_ SAYS THAT I'VE BEEN FORTUNATELY ARRESTED BY MADNESS ON THE ROAD TO IDIOTCY!" _Critic._ "AH, I WROTE THAT TOO!"] * * * * * A PLEA FOR PLEADINGS. DEAR MR. PUNCH,--Last week I begged for a chance for the Briefless, and the only reply has been, that by a few strokes of the pen the Judges have ruined and undone the Junior Bar. On a day which will be known henceforth in the Temple as Bad Friday, we read the new Rules, by which in future it will be possible to have an action--_without pleadings!_ Statement of Claim, Defence, Reply, Rejoinder--all disappear into a beggarly "Summons for Directions," that can be drawn by a solicitor's office-boy. Of course, amongst the silks, the change will, no doubt, be popular. These learned gentlemen can with a light heart and a heavy pocket welcome the change, which will get rid of the pleadings which it is merely a nuisance to read. But what is to become of us whose business it is to draw them? It may possibly be said that this new arrangement will save the pockets of the clients, but what have the Judges to do with that? Does anyone imagine litigation to be anything more than a pastime, at which those who play ought to be content to pay? In a hard winter, when the wolf is consistently at our door, to take the bread out of our mouths in this way, is a proceeding which (_pace_ Mr. GLADSTONE) takes the cake. I am sure Mr. GOSCHEN will welcome such an expression. In any case I appeal, Sir, through you, from the Judges to an enlightened paying public. Yours faithfully, L. ERNED COUNSEL. 102, _Temple Gardens, E.C.,_ _Dec. 6._ * * * * * CAUSE AND EFFECT.--A razor and a _tabula rasa_. * * * * * JOHN TYNDALL. BORN AUG. 21, 1820. DIED DEC. 4, 1893. HONEST JOHN TYNDALL, then, has played his part! Scientist brain, and patriotic heart Both still in the last sleep, that sadly came, Without reproach to love, or loss to fame. Rest, Son of Science, certain of your meed! Of bitter moan for you there is small need; But England bows in silent sympathy With her whose love, chance-wounded, all may see Steadfast in suffering undeserved as sore. _Punch_ speaks for all true hearts the kingdom o'er When mingling tribute to JOHN TYNDALL'S life With hushed compassion for his bowed but blameless wife * * * * * A FEMININE TRIUMPH.--SHEE, Q.C., appointed Judge of the Court of Record at Salford. Naturally SHEE likes being courted. Pity it wasn't in Wales, as then they would Welshly-and-grammatically speak of "appearing before SHEE" as "appearing before _Her_." This is clearly an example of the "_SHEE who must be obeyed_." * * * * * Murch Praised! ["Mr. JEROME MURCH, seven times Mayor of Bath, &c., and for thirty years chairman of, &c., has just published a volume, entitled _Bath Celebrities_."] _Go to Bath, via_ book upon lap;-- No Bath bungler is here, but a rare man. You are certain to like this Bath chap; And there never was such a Bath chairman. * * * * * UNIVERSITY INTELLIGENCE.--The Oxford undergraduate who was caught red-(paint)-handed, and sent down for a year, forgot, no doubt, that _he_ had to be well read, not the town; but a year in the country will no doubt make him as fresh as the paint itself. Curiously enough, very popular still in his College, which shows no inclination to cut the painter! * * * * * "SOMETHING LIKE A HUNTING RUN."--In the _Pall Mall_ last Thursday was the account of a grand run with "the Barlow Hounds." Of course _Sandford_ and _Merton_ were on ponies, and out with "their beloved tutor's" pack. Mr. BARLOW, of course, is both "Master" and "Whipper-in." * * * * * THE TOPER'S TOAST.--"_Pot_-luck!" * * * * * TRIP-LETS. [Miss YOUNG writes from North Merton Vicarage to say that her turkeys have taken to step-dancing. "First two young 'toms' bowed politely to one another, then passed on with stately tread, skipped into the air twice in the most ludicrous manner, turned, and repeated the performance."--_See Daily Graphic, December 7._] The lion, fleas, and kangaroo, Baboon, and shaving baby too, Have all had shows--here's something new! Terpsichore and _Turveydrop_ Have taught the turkeycock to hop, To bow politely, skip and flop. Like Cheshire cat, I would have grinned, To see the fowl of Western Ind Disport itself like LETTY LIND! Enough of barn-and serpent-dance! We'll give the poultry-yard a chance-- With _pas de deux_-"_toms_" let us prance! * * * * * CHARITY'S CRUX.--Charity begins at home, we are told. Perhaps. But at present, confused by rival claims and conflicting counsels, Charity seems to be "all abroad." * * * * * [Illustration: CHANGE OF PARTNERS. PRESIDENT CLEVELAND ASKS FOR "JUST ONE TURN" WITH MISS FREE TRADE.] * * * * * [Illustration: "NEXT HER HEART!" _Young Muddleigh, who has been out buying underwear for his personal use, purchases at the same establishment some flowers for his ladyelove--leaving a Note to be enclosed. Imagine Young Muddleigh's horror, on returning to dress, to discover that the underwear had been sent with the Note, and the Flowers to him! Muddleigh discovered, repeating slowly to himself the contents of the Note_:--"PLEASE WEAR THESE THIS EVENING, FOR MY SAKE!"] * * * * * A CHANGE OF PARTNERS. ["The world should be open to our national ingenuity and enterprise. This cannot be while Federal legislation, through the imposition of a high tariff, forbids to American manufacturers as cheap materials as those used by their competitors.... A measure has been prepared ... embodying tariff reform on the lines herein suggested."--_President Cleveland's Message to Congress_.] GROVER CLEVELAND _sings_:-- (AIR--"_Are you coming to the dancing?_") Oh! there's only one girl in the world for whom I care a dime, And I mean to be her partner--if you'll only give me time. It is nice to see her smiling and a-calling from way over, "Are you coming to the dancing, Mister GROVER, GROVER, GROVER?" _Chorus_--Are you coming, are you coming, Are you coming to the dancing, Mr. GROVER, GROVER, GROVER? And I say, I guess I'm coming, Miss Free Trade, dear--as your lover! "Come, GROVER, come!" my love will say; "just one turn in the dance, And _we_'ll show all competitors they have but little chance. That's why I love you GROVER, 'cause you're limber in your feet And defy the other fellows, to compete, pete, pete!" _Chorus_--Are you coming, &c. Miss Protection, my old partner's a bit _passee, entre nous_, Yet I mustn't all forsake her; she's exacting and a shrew; And to leave her quite a "Wallflower," and entirely in the shade, Would mean ructions; yet I _must_ try just one turn with dear Free Trade! _Chorus_--Are you coming, &c. So I'll kiss her little finger, and invite her to the waltz; Though the other turns her nose up (temper's one of her worst faults). But I say, "I cannot help it, dear; you're danced quite off your feet, And a rest will do you good, dear, I repeat, peat, peat!" _Chorus_--Are you coming, &c. "The ball-room should be open to a dancer's enterprise. I _must_ try a change of partners; your high-tariff step so tries. It's so stiff, and so exhausting, and a little Freedom's sweet; Whilst _I_ take one turn with Free Trade. _You_ can take a seat, seat, seat!" _Chorus_--Are you coming, &c. "Oh! she's been and asked her mother, and her mother's said she might. So sit down and don't show tantrums, for they make you look a fright." _May_ I ask you for just one turn, Free Trade, before this dance is over? And she answers "With much pleasure, Mister GROVER, GROVER, GROVER!" _Chorus_--Are you coming, are you coming, Are you coming for one turn, my dear, before this dance is over? And she smiles--and I'm her partner--and hope soon to be her lover! * * * * * "VARIETY! VA-RI-E-TY!" "The Kilanyi Troupe" at the Palace Theatre of Varieties, with their strikingly realistic _Tableaux Vivants_, might well change their name _pro tem._ to "The Kill-any-other Troupe" that might be venturing in the same line. Of course, they are a great attraction, and would be still greater, were the Show varied from night to night, altogether omitting No. 6 in the present programme, and, in view of the popularity of "A tale of the tide," the humour of which is perceptible to everyone on account of the waggery in the tail, by substituting two or three comic for the simply classic _poses_. Mr. CHARLES MORTON, trading on his acquired store of operatic knowledge, might give us a statuette of _Les Deux Gendarmes_, who could just vary their attitudes according to the movement of OFFENBACH'S celebrated duett. After a short interval of patriotic song about NELSON and "doing duty" there is a capital French clown, or clown of some nationality, whose fun is genuine, and whose imitations, animal and orchestral, are excellent and really amusing. This is a case in which, if a real bassoon or a real hen intruded itself, either would be hissed, and the false honestly preferred to the real. Altogether, except that the ballet which plays the people out, and does play them out effectually, is old-fashioned, it is an excellent evening's entertainment. The County Council ought to come in their thousands, and, like the little dog who was so pleased to see the cow jumping over the moon, they would "laugh to see such sport." * * * * * UNDER THE ROSE. (_A Story in Scenes._) SCENE XIX.--_The Drawing-room._ Mrs. TOOVEY _is still regarding_ Mr. JANNAWAY, _after the manner of an elderly bird in the presence of a young and somewhat inexperienced serpent_. _Mr. Toovey_ (_coming to the rescue_). Excuse me, young Sir, but I don't think you quite realise who that lady _is_. (_With mild self-assertion._) She is my wife, Sir, my Wife! And she is not _accustomed_ to being hunted all over Upper Tooting, or anywhere else! _Mr. Jannaway_ (_to himself_). I've got this dear lady on toast. _I_ can see! But I mustn't do anything ungentlemanly or I may get the sack if the governor gets to hear of it. (_Aloud._) If I'm mistaken I'm ready to apologise; but the lady bears such a really remarkable likeness to a Mrs. TOMKINSON JONES, residing (so she gave me to understand) at The Laburnums, Upper Tooting, that---- _Mrs. Toovey_ (_finding her voice_). I do _not_ reside at Upper Tooting! _Mr. Jann._ (_in silky tones_). Precisely _so_, Madam. No more does Mrs.--hem--TOMKINSON JONES! _Charles._ And is _that_ the only point of resemblance between your friend Mrs. JONES and my Aunt, eh? _Mr. Jann._ That's a matter of opinion, Sir. I've my own. But neither the lady nor yet myself are particularly likely to forget our meeting. It was only last Saturday evening, too! _Mr. Toov._ Why, then you must have met Mrs. TOOVEY at the Zenana Mission Conference? _Mr. Jann._ Well that isn't the name _I_ know it by; but if the lady prefers it, why---- _Mrs. Toov._ (_hoarsely_). I--I deny having ever met the young man before, anywhere; that is, I--I don't remember doing so. Take him away! _Mr. Jann._ I should be most averse, of course, to contradicting a lady, and I can only conclude that she is so much in the 'abit of fetching unoffending strangers what I may venture to term, if you'll permit the vulgarity, a slap in the jaw, that such a trifling circumstance makes no impression on her. It did on _me_! _Mr. Toov._ (_outraged_). Young man! are you endeavouring to suggest that my wife goes about--er--administering "slaps in the jaw" to perfect strangers at Zenana meetings? _Mr. Jann._ Pardon me, I said nothing whatever about any--er--Pyjama meetings. I don't know what may go on _there_, I'm sure. The incident _I_ alluded to occurred at the Eldorado music-hall. _Mrs. Toov._ (_to herself_). There; it's out at last! What _have_ I done to deserve this? _Charles_ (_to himself_). The Eldorado! Why, THEA _said_----What _can_ Aunt have been up to? She's got herself into the very deuce of a hole! [CURPHEW _and_ ALTHEA _exchange significant glances_. _Mr. Toov._ At the Eldorado? Now, do you know that's very singular--that really is very singular indeed! You're the _second_ person who fancied Mrs. TOOVEY was there last Saturday evening! So that you see there _must_ have been a lady there most extraordinarily like my wife! _Mrs. Toov._ (_to herself_). Dear, good, simple Pa; _he_ believes in me! After all, I've only to deny everything; he can't _prove_ I was there! (_Aloud._) Yes, Sir, and on a mere resemblance like that you have the audacity to bring these shameful charges against me--_me_! All you have succeeded in establishing is that you were in the music-hall yourself, and I doubt whether your employer would approve of a clerk of his spending his time in such places, if it came to his ears! _Mr. Jann._ It's very kind of you to concern yourself on my account, Madam; but there's no occasion. It was Mr. LARKINS himself gave me the ticket; so I'm not at all uneasy. [Illustration: "Why, Cornelia, my love, so you've _found_ your spectacles!"] _Mr. Toov._ Why, dear me, that must have been the ticket Mr. CURPHEW--I should say, Mr. WALTER WILDFIRE--sent me. I remember I left it with Mr. LARKINS in case he could find a use for it. So you were in _my_ box; quite a coincidence, really! _Mr. Jann._ As you say, Sir, and not the only one neither, seeing that---- _Mrs. Toov._ Pa, isn't it time this young man finished the business he came about, and went away? I am not accustomed to seeing my drawing-room made use of as an office! _Mr. Toov._ (_snatching up the transfer_). By all means, my love. (_To_ Mr. J.) Er, I really think we should be more comfortable in the study. There--there's a bigger inkstand. [_He leads the way to the door._ _Mr. Jann._ (_following_). As _you_ please, Sir. (_Turning at the door._) I must say I think I've been most cruelly misunderstood. If I've been anxious for the pleasure of meeting Mrs. TOMKINSON JONES again, any revengeful motives or lowness of that description was far from my thoughts, my sole object being to restore a piece of property which the lady, whoever she may have been, left behind her, and which, as I 'appen to have brought it with me, would, if recognised, settle any question of identity on the spot. But that can wait for the present. Business first, pleasure afterwards! [_He goes out. A silence. Presently a succession of violent sniffs proceed from behind "The Quiver." All rise in concern._ _Charles._ I say, Aunt, you're not going to give way _now_, are you? That fellow hasn't frightened you? _Alth._ (_kneeling down and embracing_ Mrs. T.). Dearest mamma, _don't_ you think you'd better tell us all about it? It was _you_ who slapped that horrid little man's face--now, _wasn't_ it? And serve him right! _Mrs. T._ (_in a burst_). I took him for your father! Oh, what have I _said_? I never meant to admit anything! And what must you all think of me? _Curph._ No one who has had the benefit of your opinions of music-halls or their entertainers, can possibly imagine you went to one with any idea of _amusing_ yourself, Mrs. TOOVEY. _Mrs. Toov._ (_without heeding him_). And Pa, what will _he_ say? When I think of all the wicked stories I've had to tell that poor dear man! And after he once finds them out, there's an end of all his respect for me, all my influence over him, all my power in this house--_everything_! Why, for anything _I_ can tell, Pa may actually believe I went to that detestable place on what (_to_ CURPHEW) I suppose your friends would call the--the (_utterly breaking down_) Tee-hiddle-dy-hi! _Charles_ (_after a highly suspicious fit of choking_). Don't think there's any danger of that, Aunt; but look here, how if I went into the study and kicked that little cad out, eh? _Mrs. Toov._ And have the whole affair in the police reports! _You_'re a pretty solicitor, CHARLES! But Pa _knows_ by now, and oh, what in the _world_ am I to do? _Charles._ Well, my dear Aunt, it sounds an immoral suggestion, but, as you seem to have given Uncle a--hem--slightly picturesque version of your doings last Saturday, hadn't you better _stick_ to it? _Mrs. Toov._ What's the use? Didn't you hear that wretch say he'd found something in the box? It's my spectacles, CHARLES; a pair in a Rob Roy tartan case, which Pa gave me himself, and couldn't _help_ recognising! I remember now, I left them there, and----(_The door opens._) They're coming back! _Mr. Toov._ (_entering_). That's really a very honest young fellow, my love, nothing will satisfy him but bringing in the article he's found, and seeing whether it belongs to you or not. _Mrs. Toov._ (_breathlessly_). And have _you_ seen it, Pa--have you _seen_ it? _Mr. Toov._ Not yet, dear love, not yet. He's getting it out of his great coat in the hall. _Curph._ (_starting up from behind_ ALTHEA). I think, if you will allow me, _I_'ll go and speak to him first. It strikes me that I may know the lady who was in that box, and I'm naturally anxious to avoid any---- [_He goes out._ END OF SCENE XIX. SCENE XX.--_A few minutes later._ _Mrs. Toov._ (_to herself, in a fever_). Why doesn't he come back? What are those two plotting together? Oh, if Mr. WILDFIRE imagines he will get a hold over me, so as to obtain my consent to---- I'd sooner tell Pa everything! (_To_ CURPHEW, _who reenters, smiling_.) W--where is--the other? _Curph._ The other? Oh, _he_'s gone. I made myself known to him; and you would have been surprised, my dear Mrs. TOOVEY, at the immense effect my professional name had upon him. When he realised I was WALTER WILDFIRE he was willing to do anything for me, and so I easily got him to entrust his find to me. _Mr. Toov._ (_inquisitively_). And what is it--a fan, or a glove? There would be no harm in showing it to _us_, eh? _Curph._ Well, really, it's so very unlikely to compromise anybody that I almost think I _might_. Yes, there can't be any objection. [_He takes something out of his pocket, and presents it to_ Mr. T. _Mr. Toov._ (_mystified_). Why, it's only a hairpin! What a scrupulously honest young man that is, to be sure! _Mrs. Toov._ (_relieved_). Only a hairpin? (_Then, uneasily, to_ CURPH., _in an undertone_.) Where is--you know what? Have you kept it to use for your own advantage? _Curph._ (_in the same tone_). I am a very bad man, I know; but I don't blackmail. You will find it behind the card-basket in the hall. [Mrs. T. _goes out_; ALTH. _draws_ CURPH. _aside_. _Alth._ CLARENCE, I--I _must_ know; how did you come to have a--a hairpin? where did it come _from_? (_As he softly touches the back of her head._) Oh! it was _mine_, then? _What_ a goose I am? _Mr. Toov._ (_as_ Mrs. T. _returns_). Why, CORNELIA, my love, so you've _found_ your spectacles! Now where did you leave them _this_ time, my dear, eh? _Mrs. Toov._ Where I shall not leave them _again_ in a hurry, THEOPHILUS! _Mr. Toov._ Don't you be too sure of that, my love. By the way, Mr. CURPHEW, that lady of your acquaintance--_you_ know, the one who made all this disturbance at the Eldorado--is she at all _like_ Mrs. TOOVEY, now? _Curph._ (_after reflection_). Well, really, there _is_ a resemblance--at a distance! _Mr. Toov._ (_peevishly_). Then it's annoying--very annoying; because it might compromise my poor dear wife, you know. I--I wish you could give her a quiet hint to--to avoid such places in future! _Curph._ Do you know, Sir, I really think it will be _quite_ unnecessary. [PH[OE]BE _enters to announce dinner_. _Mr. Toov._ Dinner, eh? Yes, yes, dinner, to be sure. Mr. CURPHEW, will you take in my dau----(_correcting himself_)--oh, but, dear me, I was quite forgetting that--h'm!---- _Curph._ ----that Mrs. TOOVEY has been expressing an ardent impatience to close your doors on me for ever? _Mrs. Toov._ (_not over graciously_). That was before---- I mean that--considering the manner in which we all of us seem to have been more or less mixed up with the music-hall of late--we can't afford to be too particular. If Mr. WILDFIRE chooses to stay, he will find as warm a welcome as--(_with a gulp_)--he can _expect_! _Curph._ Many thanks, but I'm sure you see that I can't stay here on sufferance. If I do stay it must be as---- _Mrs. T._ As one of the family! (_She chokes._) That--that's understood, of course. (_To herself._) They know too much! _Mr. T._ (_to_ Mrs. T., _chirpily, as the others precede them in to dinner_). Do you know, my love, I'd no more idea you would ever have---- Well, well, it might have been worse, I daresay. But we must never let it get out about the _music-hall_, eh? _Mrs. T._ Well, Pa, _I_'m not very likely to allude to it! THE END. * * * * * "CRYSTAL-GAZING."--The Crystal Palace Company should adapt some of Mr. ANDREW LANG'S article on "Superstition" in this month's _Fortnightly_. Far more entertaining is the Sydenham building than any amount of "Crystal-gazing," and the directors have only to say (we make them a Christmas present of the suggestion), quoting from the article above-mentioned, "it is an ascertained fact that a certain proportion of men and women, educated, healthy," &c., &c., can obtain curious information, combined with amusement, by looking into the Crystal ... Palace. * * * * * EXAMPLE OF "BURNING WORDS."--Lighting the dining-room fire with the torn pages of an old book. * * * * * [Illustration: OUR COSTLY CLIMATE. "HULLO? OFF OUT OF TOWN SOMEWHERE?" "OFF TO CAIRO, MY BOY!" "CAIRO? WHY, ONLY THE OTHER DAY YOU TOLD ME YOU WERE AS POOR AS A CHURCH MOUSE!" "THAT'S JUST IT. I'VE SPENT FIVE YEARS' INCOME ON CLOTHING ALREADY THIS WINTER, AND I'M NOT WARM YET; AND I'VE CALCULATED THAT IT'LL TAKE SEVEN YEARS' INCOME MORE BEFORE I CAN KEEP THE COLD OUT. SO I'M OFF TO CAIRO TO STOP AT THE BEST HOTEL--IT'S FAR CHEAPER!"] * * * * * POISON IN THE PUMP. [A medical writer in the _Gentleman's Magazine_ says, "more people are killed by drinking water than are killed by drinking alcohol."] Think of that, teetotal folks, heed not WILFRED LAWSON'S jokes And his gay, impromptu poems which he reads when on the stump, Here's a doctor says that you will indubitably do Quite a foolish thing in swearing by your sweetly sober pump. Surely that should give you pause when you advocate your cause, With your button-hole adorned with tiny scrap of sky-blue silk; There's not half the danger in whisky, brandy, rum, or gin, As in typhoid-bearing water or in diphtheritic milk. We're not all gin-sodden sots, though we do not empty lots Of those enigmatic bottles, which to you are always dear, Filled with liquor, washy, sweet, aerated. Such a treat Is your execrable lemonade, your beastly ginger-beer! Other people do not rave from the cradle to the grave. The Frenchman takes his _petit verre_, his _Bordeaux_ or his _bock_; The German's limpid beer or his _Rheinwein_ none need fear. Even you would not be overcome by claret, say, or hock. Then if you are truly wise, you will cease to close your eyes To the fact that moderation is convincing, and should be In your words, as in our drink. Then we might more kindly think Of your thickly, sickly cocoa, and your nerve-exciting tea. * * * * * "EUREKA! EUREKA!"--His wife had heard the word. Had been told it was Greek: but what it meant she did not know. One night he came home from a bachelor smoking-party. "Oh," she exclaimed. "You absolutely reek of tobacco. _You reeker!_" Then it broke upon her like an ancient light that she was talking Greek without knowing it! * * * * * [Illustration: THE FESTIVE SEASON. _Precocious Infant._ "HELP YOURSELF, AND PASS THE BOTTLE!"] * * * * * THE CHAMPION SHAVER; _Or, A Task against Time_. _Largo al factotum!_ Shave all the world, one per minute! _Figaro_ beaten, _Poll Sweedlepipe_ plainly not in it! WICK of King's Road, Chelsea's champion chin-scraper, out of it! ROMOLA'S garrulous razor-man whipped, there's no doubt of it! Rustic's rough stubble, or working-man's wiry chin-bristle, Mown from his gills in a twinkling, as clean as a whistle. Even a bristly Hibernian boar he would gaily Tackle, and trim him as smooth as that downy young _Bailey_. Grand Old Tonsorial Hand with the soft-soap and lather; Knight of the Razor, of hand-sweep redoubtable--rather! PAT--or SHAGPAT-HODGE or BLUEBEARD, blue-gill'd British Workman, Muscovite hairy, or whiskered, moustache-twisting Turkman: Downy-cheeked boy, or big, wire-brushy Don Whiskerando!-- All one to him! All that sharp steel and soap-lather _can_ do Here is a Barber will buckle to, blade-armed, instanter, Challenge competitive rivals, and win in a canter. Neat NELLY WICK (thirteen men in ten minutes) is rather A good 'un to mow, to say naught of her champion father; But this Grand Old Shaver would shave,--against time, too, yes, trust us!-- _Elephas Primigenius_ (the Mammoth), or _Brontops Robustus!_ Truly a Tonsor Titanic to chin-needs to minister! Yet are there some who declare his dexterity sinister; Say that 'tis not without reason this bland badger-waver. And stirrer of soap-suds, is called--well, an Artful Old Shaver. Like most of his craft he the Gift of the Gab shares stupendously. And takes by the nose and belathers, with soft-soap, tremendously. They call him for custom from all sorts and sizes a cadger, And swear that he badgers the Mob to submit to his badger. Be that as it may--and his rivals do rail at him viciously-- _If_ you require "a clean shave," rattled off expeditiously, Lather that's fragrant and frothy, and steel that slides slickly, Sit down in his chair, and he'll polish you off pretty quickly. He's had two tough customers lately; a workman stiff-stubbled (He looks at his gills in the glass with a glance slightly troubled), And him the young yokel whose beard's like a big bed of thistles, Who flops in the chair and demands to be shorn of his bristles. To shave--against time--such a shag-beard as is this young rustic, Is hard, and the chance of success seems a bit nubibustic. But list! The old Champion Shaver is courteously glosing! "Bit bristly, my friend, but I'll leave you clean-mown before closing!" * * * * * HIGHLY PROBABLE. (_A Conversation Tapped on its way through the Telephone._) I say, how are you this morning? Still rather weak. But the weather here is lovely, and I am enjoying myself immensely. I think I have discovered a new system. Never mind about the tables. Thought you had gone to Nice. No, Monte Carlo. It's more healthy, and they say that if you have success you should clear your expenses easily. Yes, but I did not want to talk about that. You know there's been more outrages in Dublin? They have spread from Paris. Have they? Get some Johnnie on the spot to look after them. But I told the House that although you were in the South of France, you were in telegraphic touch with your colleagues. What did you do that for? My doctor will be awfully angry. I dare say. But what are you going to do about this dynamite scare? Leave it to ROSEBERY; he's equal to anything and everybody. Yes, as a rule; but not just now. He's on leave. Bad cold. Well, let ASQUITH have a shot. He is a rising young man. But he's away, too; and so is HARCOURT, SPENCER, RIPON, and the others. They all say they can do nothing further. Sorry. Can I help it? Impossible to govern Ireland from Monte Carlo. Not if you give your mind to it. But, of course, if you will go in for systems, you haven't much chance. Well, frankly, I can't manage it. You must get some one else. Sorry I can't. Then what will you do? Why, manage it myself. After all, if I have twice the years of you fellows I have four times the energy. As I am doing all the other work of the Ministry, I may as well make a complete job of it. I will do it myself! [Illustration: "THE CHAMPION SHAVER!" MR. G. "YOU'RE A BIT BRISTLY, SIR, BUT I THINK WE SHALL POLISH YOU OFF BEFORE CLOSING TIME!!"] OUR BOOKING-OFFICE. "The ever-advancing _Woman_," observes one of the Baronesses, "has quite come forward this Christmas, daintily attired." Wonderful money-prizes are to be won by the lucky person who guesses the author of "Bid Me not Go," which is the Christmas story of the enterprising _Gentlewoman_. "As for Christmas Cards being Christmassy," quoth a young Baron brusquely, "why it's all WALKER!" The Baron was about to rebuke the scion of his noble house, but discovered, on application, that the youth had been alluding to the Christmas Card publisher of that name, whose designs are not peculiarly Christmassy, but what the Baroness terms "so dainty!" S. HILDESHEIMER & Co.'s clever and amusing Christmas Cards will be much appreciated by young people. Three books full of stories, to suit all ages. HUTCHINSON'S House. _Fifty-two Stories for Children_, _Fifty-two Stories for Girlhood and Youth_, and _Fifty-two Stories for Boyhood and Youth_. Just a story a week, will last the year. Collected by ALFRED H. MILES. You won't find a better if you go for Miles. _Valdmer, the Viking_, by HUME NISBET, was a wonderful Dane, who, after invading England in the Tenth Century, took a trip from Thanet (having invented Ramsgate and Margate) all round America, and thought nothing of it. Those who read this will probably think something of it. _The Hoyden_, written by Mrs. HUNGERFORD, and published by HEINEMANN, is the story of a rather frivolous nineteenth-century tomboy; "but," quoth the Baroness, "though it does not come within measurable distance of _The O'Connors of Ballinahinch_, it is pleasant light reading." _Mr. Gladstone's Life; Told by Himself_, is an alluring title, which, in spite of the volume being issued by so respectable a house as KEGAN PAUL'S, savours of a flam. But it is genuine enough. Every word in the little volume has been spoken or written by Mr. GLADSTONE. Mr. LEECH, whilst modestly disclaiming any imposition of responsibility upon the PREMIER, has ingeniously linked passages from speeches or letters published under his name during the past sixty years. The result is a really fascinating work. Mr. GLADSTONE has always been prone to drop into autobiography. Nothing, my Baronite tells me, was more delightful than the speeches he used to deliver in the House of Commons on Friday and Tuesday nights. Some chance reference to CANNING, PEEL, or PALMERSTON brought up a flood of recollections, and Mr. G. used to chat of old times with the entranced House. In a pleasant little book called _Essays on Idleness_, the authoress, AGNES REPPLIER, speaking of her cat, observes, "It were ignoble to wish myself in her place, and yet how charming to be able to settle down to a nap, _sans peur et sans reproche_, at ten o'clock in the morning." Surely instead of "_sans peur_" she should have written "_sans purr_," as far more applicable to a cat asleep. "HERE is a work that I prize indeed!" quoth the Baron, surveying with unmixed pleasure two handsome volumes, readable from every point of view of type, handiness, and matter that is of substance and spirit, being a re-issue of the immortal _Autocrat of the Breakfast Table_, by OLIVER WENDELL HOLMES. "Mind you," he continues, tenderly regarding them, "though this I admit is an _edition de luxe_, yet do I far and away prefer the simple volume without illustrations. Why illustrations? Why try to impose on us, as by artistic authority, the faces, forms, and the situations that we would infinitely prefer to idealise? Without the faculty of imagination no one can enjoy this work, pictures or no pictures: possessed of the faculty, what need of the illustrations, save so far as they may carry out our own notions of the author's meaning? If they do not, then we quarrel with them. But many thanks for these two volumes, brought out by Messrs. GAY AND BIRD (delightful association of adjective and substantive, as we have had afortime occasion to remark); for among all hooks, whether at this Christmas Season, when they come in quite with a Charles-Lamblike and Washington-Irvingesque flavour, or at any other time, these be most welcome to the constant lover of old Literary Friends. YULETIDEIAN BARON DE BOOK-WORMS." * * * * * [Illustration: A CONDUCTOR OF HEAT.] * * * * * A GAME OF CHANCE. (_From an Imaginative French Source._) War had broken out between France and Great Britain. In the Mediterranean--owing to several French ironclads having got through into the Black Sea and being unable to get out again--the French fleet was shut up in Toulon harbour by a powerful English squadron. It was just at this time that some curious events were taking place in the neighbouring seaside resort of Sablettes-les-Bains, recently purchased by an English company, which was running the place as a kind of compromise between Boulogne and Monte Carlo. "_Messieurs, faites vos jeux!_"--was heard the monotonous refrain of the burly "Croupier," who, with face rather pale, and a preoccupied air, was presiding over one of the numerous games of "_Petits-Chevaux_," combined with "_Rouge et Noir_" which were proceeding in the gorgeously-upholstered and magnificently-lighted "_Salle des Papas Perdus_" of the "_Cercle des Etrangers_" of this Paradise of the Middle Sea. Suddenly the Croupier sprang from his seat, threw off his loose outer coat, and displayed the well-known uniform of an Officer in Her Majesty's Royal Shropshire Yeomanry Carabineers. All the other Croupiers did the same. Astonishment and dismay were depicted on the countenances of the players. "Gentlemen," said the Croupier, "I am sorry to say you are all my prisoners. Resist, and you will be shot without mercy!" "But I had just staked twenty thousand Louis on the black!" ejaculated a bewildered Gaul. "You have lost your stake, Monsieur," replied the Croupier, with politeness. "It is red, not black;" and, in a moment, all the English visitors who thronged the rooms had also thrown off _their_ overcoats, and the hall was filled with red-coats. "Treachery! _Perfide Alb_----" the Gaul shouted; but ere he could rise from his seat to give the alarm to the Toulon garrison, as he had fully intended doing, a hundred swords (made in Birmingham) had passed simultaneously through his body. Their stakes fell from the trembling hands of the players. "Then are we to understand," asked another Frenchman, who had somewhat recovered from the first shock of surprise, "that the English Government has suppressed Sablettes-les-Bains because it disapproves of the game of _Petits-Chevaux_?" "Not at all," replied the Croupier-Officer. "It is a military _coup-de-main_, that's all. The English company running this place, was, of course, in the pay of the British War Office. By a prearranged system of signals we have been making known everything that is going on at Toulon to the British Admiral out at sea. You may perhaps have noticed what an extremely large orchestra took part in last night's free classical concert; they were English marines disguised as musicians. And the gardens attached to the Casino, which rival those of Monte Carlo, what do you think those grassy slopes crowned with olives and orange-trees are in reality? Why, the artfully-contrived glacis of the impregnable fortress inside which you are now standing, and which I have the honour to command!" Just then the booming of cannon was heard outside. "It is our guns playing on the defences of Toulon!" exclaimed the Officer. "Toulon is ours!" And the treacherous Britons, having cleared the tables of the five-franc pieces still remaining on them, proceeded, with the aid of the Germans and Italians, to the dismemberment of France. * * * * * Nautical Economy. ["It is no use our building ships without the men to man them."--_Times' Correspondent._] PROVERB suggested by the above:--"Do not spoil the ship for a pound of tar." * * * * * NOVEL PROCEEDING.--New Issue, _Japhet in Search of Something Farther_. By MARRIOTT. * * * * * LAW AND JUSTICE _v._ DUTY "DONE." (_An Imaginary Conversation._) SCENE--_Opposite the Griffin_. TIME--_The present day_. _Enter two well-known personages._ _Justice._ Welcome, Sister. We sometimes are severed, but when we do meet the right prevails. _Law._ Certainly, Sister--to a great extent. And what is the cause of our present communion? _Justice._ I have to call your attention, Sister, to many great works of mercy recently performed by wielders of the pen--in fact some of my servants. _Law._ Your servants are noted for their good works. _Justice._ You are very kind. Well, these good servants have defended the poor, protected the weak, and denounced hypocrites. _Law._ Very right indeed. But how did they manage it without my assistance? _Justice._ You have a short memory. It was with your aid that they brought these good things about. Surely you have not forgotten them? _Law._ Well, since I have been combined with Equity I have been doing so much excellent work that I have neither time nor inclination for the recording of details. Well, and your _proteges_, were they successful? _Justice._ Certainly; they won all along the line. Never was the power of the Press manifested to better advantage. _Law._ Surely they were not in actions for libel? _Justice._ Yes; and although they did much good, were practically mulcted in costs. _Law._ Costs! That is in my department! _Justice._ And not in mine. Costs in such a matter have nothing to do with Justice! _Law._ But (as you say) are inseparably connected with Law! [_They part hurriedly._ * * * * * [Illustration: THINGS ONE WOULD RATHER HAVE EXPRESSED DIFFERENTLY.] _She._ "AND YOU'LL HAVE TO MAKE A SPEECH AFTER DINNER, WON'T YOU?" _He._ "OH--I SHALL JUST HAVE TO TALK A LITTLE NONSENSE TO THEM, YOU KNOW!" _She._ "AH--AND NOBODY'S BETTER QUALIFIED TO DO THAT THAN YOURSELF!" * * * * * THE STOUT SINGER'S SMILE. O buxom maiden, blithe and gay, With movements light and airy, Some five-and-twenty stone you weigh, Fair, fat and forty fairy! A fairy of the music-halls, Some men might call you ripping; In tights, and satin coat and smalls, You enter, gaily skipping. It is not that which brings me joy, Nor face, nor form entrances, It is your smile, so very coy, Your bashful, girlish glances. Some twenty years ago, no doubt, You were a slender maiden, But now, so long you have been "out," With weight of years you're laden. So when you sing of love-sick grief, And smile so very sweetly, I, too, behind my handkerchief, Smile quite unseen, discreetly. The more you sing the more you smile, Stout charmer, winsome, winning, Dressed like _Lord Fauntleroy_--meanwhile, Like Cheshire Cat I'm grinning. Then comes the end; you curtsy low, With looks to heaven soaring; You are extremely funny so, I'm positively roaring. They clap, they shout, they thump the floor, These "gents" serenely smoking, You kiss your hand, smile yet once more, And leave me simply choking. * * * * * ESSENCE OF PARLIAMENT. EXTRACTED FROM THE DIARY OF TOBY, M.P. _House of Commons, Monday evening, December 4._--Slight coolness sprung up between Major RASCH and Members in immediate neighbourhood. STANLEY LEIGHTON observed an insect of unfamiliar appearance disporting itself on the Major's back. Closer inspection revealed presence of others, one carefully pricking its way through his bristling hair. In these days, when microbes are a little too familiar in their habit, this curious phenomenon led to some uneasiness. "Dear me," said Major RASCH, when his attention was delicately called to matter; "some of 'em must have got out. Only locusts, dear boy; needn't be frightened; put down question to HERBERT GARDNER as to importation of Russian hay which is swarming with locusts. GRAND YOUNG GARDNER absent; engaged in cultivating the influenza microbe; HERBERT GLADSTONE undertaken to answer question. I know these young Ministers; sure to pooh-pooh question. So, being an old soldier, prepared counter-movement; got handful of locusts; clapped 'em into box; brought 'em down, intending to hand box over to HERBERT. They seem, however, to have anticipated proceedings. Prized lid off box, and swarmed all about; looking for wild honey, I suppose. Hope they won't catch SPEAKER'S eye. Lend us a hand to net a few before they attack HANBURY." If Session goes on much longer will get itself counted out. Members falling around us like leaves in wintry weather. PRINCE ARTHUR not yet back; GRANDOLPH off to sunnier climes; JOHN MORLEY, out too soon after approach to convalescence, gone to break the bank at Monte Carlo; not likely to be seen here again this side of Christmas. And now BOBBY SPENCER down; fallen on the field of battle. Came into lobby just now at usual brisk pace; made his way to Whip's room; drooped on threshhold. Happily nothing serious; only a passing faint; but eloquent of strain upon Members in these times. For BOBBY, of course, the weight is exceptionally heavy. _Nous autres_ come and go; make holiday when we can get a pair; as often as we have the heart to do so meet with light negative BOBBY'S touching appeal, "You dine here to-night?" But for him, always on the spot, his young head full of State cares, his manly bosom enfolding innumerable State secrets, it is different. Now the long pending blow suddenly falls, and BOBBY, not without reminiscence of the elder PITT in an earlier Parliament, fails at his post--"Young LYCIDAS and hath not left his peer." Yet once more, O ye laurels, and once more, Ye myrtles brown, with ivy never sere, I come to pluck your berries harsh and crude, And with forced fingers rude Shatter your leaves before the mellowing year. Bitter constraint, and sad occasion dear Compels me to disturb your season due: For LYCIDAS is down, down ere his prime. "'Compels,'" said the Member for Sark, nothing if not critical. "Wouldn't you write 'compel'?" * * * * * [Illustration: THE PARLIAMENTARY BILLIARD TOURNAMENT. "A LONG BREAK."] * * * * * "Yes, I should; but MILTON didn't; and, on the whole, I prefer his style." _Business done._--Pegging away at Parish Councils Bill. _Tuesday._--Since Parish Councils Bill went into Committee, Mr. G. has been silent in I don't know how many languages. It is highest compliment to Minister in charge of a Bill that his Leader should find it possible not only to refrain from taking part in debate, but habitually to absent himself through long periods of a sitting. HENRY FOWLER has earned this distinction. His management of intricate measure has been excellent; conciliating Opposition without causing revolt in sensitive ranks on own side. His Parliamentary position distinctly advanced. To-night Mr. G. drawn into fray. It was JOKIM who did it. At opening of sitting FOWLER resisted Amendment by STRACHEY making it permissible to transfer parochial trusts to management of Parish Council. After nearly two hours' debate, RIGBY put up to say that Amendment on same lines standing further down, in name of the contumacious COBB, would be accepted. "A put-up job!" cried GOSCHEN, sternly eyeing the irreproachable RIGBY. [Illustration: "A put-up job!"] This too much for Mr. G. Sat bolt upright from recumbent position in which he had listened to debate. His eyes blazed; a Jovelike frown clouded his brow; his hands moved restlessly, as, leaning a little forward in attitude to spring, he waited till the unconscious JOKIM, blinking at other side of table, should sit down. Spoke for only ten minutes; his energy supernal; his voice, long unused, magnificent. "A put-up job!" he repeated in scornful tones, with sweeping gesture of the arm. Drew graphic picture of Editors of new Dictionary coming upon this phrase in Parliamentary Report citing it, as thus:-- "JOB, a put-up." (_The Right Hon. J. Goschen, M.P._) Young Bloods behind Front Opposition Bench in historic corner, whose recesses MELLOR'S glance cannot penetrate, didn't like this. "Question! Question!" they roared. "It is a very interesting question," said Mr. G., ready for a tussle with them if they insisted. Pretty to see JOKIM turn round and rebuke the Young Bloods on back Benches. He was the object of attack; on his head the vials of bubbling wrath overflowed. But JOKIM has not lived in House of Commons all these years without its traditions of high courtesy and respect due to age and position being ingrained. He was shocked to hear speech of Leader of House broken in upon with noisy cries of "Question!" and, though they came from his own camp-followers, he did not hesitate to administer sharp rebuke. _Business done._--Got into fresh tight place with Parish Councils Bill. _Thursday._--Quite lively to-night. Merriest evening since Home-Rule Bill left us. Began with SQUIRE OF MALWOOD. GORST, who is thinking of leaving his property to found almshouses for pious ex-Solicitor-Generals, is alarmed at probable operation of this Bill. His prophetic eye sees time when Parish Council of the future will step in, snap its fingers at him (the Pious Founder); will probably introduce Conscience Clause in matutinal exercises of aged ex-Solicitor-Generals. GORST draws up case on back of Orders; presents it in form of conundrum. SQUIRE OF MALWOOD hugely contemptuous. Nothing easier than to draw up trust deed in form that should obviate catastrophe foreseen by GORST'S fervid fancy. "Just as easy," he says, "as a boy drawing an animal writes over it 'This is a lion.' You draw your trust; write 'This is an Ecclesiastical Charity,' and there you are. It will be out of purview of the Act." This would have been all very well if JESSE COLLINGS had not chanced to be among audience. Members evidently carried away by SQUIRE OF MALWOOD'S sophistry. JESSE pulled them up. "Supposing," he said, looking unutterably wise, "the boy draws an animal; writes over it, 'This is a lion,' and it turns out to be an elephant. Where are you then?" House really didn't know; positively staggered. "Just like one of those questions the _Carpenter_ in 'Through the Looking Glass' used to ask _Alice_," said GEORGE CURZON. "Floors everybody." Instead of sitting down and bravely facing difficulty suggested by JESSE'S active mind, Members, catching sight of SOLICITOR-GENERAL contemplating nature from Treasury Bench, with one accord turned upon him. Cries of "RIGBY! RIGBY!" filled Chamber. Everything forgotten in excitement of this new chase. The lion lay down with the elephant, and the SQUIRE OF MALWOOD led them. PRINCE ARTHUR, back after a bout of influenza, joined in chase with boyish energy. HENRY JAMES and JOSEPH answered from opposite camp. J. G. TALBOT delivered what, judging from his manner, was a funeral sermon over departed but anonymous friend; only a sentence heard here and there amid the uproar. SOLICITOR-GENERAL sat silent, with no other sign of consciousness than an occasional benevolent shaking of the head when the cry of "RIGBY! RIGBY!" rose to stormier heights. At length PRINCE ARTHUR moved to report progress. With this pistol at his head, RIGBY rose, and proceeded in his inimitable manner to deliver an opinion on the case. When lo! the strangest thing of all happened. Members on Opposition benches, who had made themselves hoarse in clamouring for RIGBY, now when he coyly yielded to their flattering insistence on his stating his views, hurriedly left the House. But they'd had their joke, a joke two hours long. Were not going to have it spoiled by an anti-climax. [Illustration: Baiting the Solicitor-General.] _Business done._--None; but a merry night withal. _Friday._--More about Charities as affected by Parish Councils Bill. Opposition got their back up. They love the Bill more than ever; but they will not let it pass. A great deal said about charity; but there's no lovingkindness. Encouraged by hunt of last night turn again upon SOLICITOR-GENERAL. A thirst for information. PRINCE ARTHUR insinuatingly suggests that House would be happy if RIGBY would only give his views as to the precise meaning of phrase "parochial charities." RIGBY affects not to hear. Diligently makes notes on his brief with preoccupied air. JOSEPH runs in from behind and pulls the hair of his right hon. friend the SQUIRE OF MALWOOD. The SQUIRE, nothing loath, lets fly from the shoulder. Rumpus; somebody moves Closure; Chairman takes no notice; at end of two hours Committee divide. Coming back, approach identical question from slightly different point of view; talk round it for another two hours. At twelve o'clock we go home with uneasy feeling that for all practical purposes, as far as progress of Bill is concerned, we might as well have stopped there. _Business done._--None. * * * * * ERRATIC.--There was an odd-looking misprint in _Le Figaro_ for Wednesday last of an "r" for an "i," so that what was intended for "la Cour d'assises a Old Bailey" read "la Cour d'assises a Old Barley." Our friend in _Punch_, "Old BILL BARLEY," would be pleased to find himself famous in French. * * * * * THE JUDGMENT OF PARIS.--Death to dealers in death! * * * * * Transcriber's Note: Page 282: 'glosing' is an archaic word. (Glose) n. & v. See Gloze. Chaucer. (Gloze) v. i. [imp. & p. p. Glozed; p. pr. & vb. n. Glozing.] [OE. glosen, F. gloser. See gloss explanation.] 1. To flatter; to wheedle; to fawn; to talk smoothly. Chaucer. (etc., from Webster's 1913 Online Dictionary). * * * * * End of the Project Gutenberg EBook of Punch, or the London Charivari, Vol. 105 December 16, 1893, by Various *** END OF THIS PROJECT GUTENBERG EBOOK PUNCH, OF THE LONDON OF CHARIVARI, VOL. 105 DECEMBER 16, 1893 *** ***** This file should be named 40204.txt or 40204.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/4/0/2/0/40204/ Produced by Malcolm Farmer, Lesley Halamek 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/license 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 1.F.3. 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 MERCHANTABILITY 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, are 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.