The Project Gutenberg EBook of My Treasure, by Thomas W. Handford 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: My Treasure Author: Thomas W. Handford Illustrator: Kate Greenaway Release Date: May 1, 2011 [EBook #36005] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK MY TREASURE *** Produced by Chuck Greif, The Baldwin Library of Historical Children\'s Literature in the Department of Special Collections at the University of Florida\'s George A. Smathers Libraries and the Online Distributed Proofreading Team at http://www.pgdp.net
EDITED BY
T H O M A S W. H A N D F O R D,
("ELMO.")
————
CHICAGO AND NEW YORK.
BELFORD, CLARKE & CO.
1888.
COPYRIGHT,
Belford, Clarke & Co.
1887.
—————
PAGE | |
A Queer Play-House | 50 |
A Reckless Ride | 8 |
At the Shore | 82 |
Baby Ralph's Letter | 64 |
Bell and her Pet Dog | 42 |
Belle and her Brothers | 95 |
Betty and Polly | 33 |
Brave Hal | 80 |
Dolly Knits, then Hides | 70, 71 |
Dot's New Friend | 78 |
Frankie Minds Mamma | 58 |
Going to Bed | 18 |
Going to Boston | 67 |
Hattie and the Butterfly | 72 |
Jane and Rob | 46, 47 |
Little May's Pet | 36 |
Little Mother Hubbard | 84 |
May and her Papa | 41 |
Meg and Little Bell | 32 |
Milk for Baby's Supper | 30 |
Moll and Jane's Picnic | 94 |
Mr. Fox is Sure | 68 |
New Eyes | 86 |
Old Charlie Runs | 90 |
Only a Bird | 54 |
Our Little Hand-Organ Man | 66 |
Playing at Soldiers | 20, 21 |
Polly and her Dead Bird | 93 |
Poor Joe | 60 |
Rebie's New Home | 48 |
Rose and the Little Beggar | 88 |
Sick Molly | 62 |
The Disobedient Mouse | 22, 23 |
The Fishing-Boat Nancy | 10 |
The Gypsy Camp | 74 |
The Pet Rabbit | 39 |
The Shark | 26 |
The Three Kittens | 44, 45 |
The Two Stags | 38 |
Tom, Grace and Lou | 37 |
Walter's Butterflies | 76 |
What a Kiss Did | 56 |
Who is to Blame? | 52 |
—————
—————
PAGE | |
Baby Boy | 28 |
Bertie and Rover | 24 |
Cowslips | 16 |
Doll and I | 40 |
"Fly Little Bird Away" | 34, 35 |
May Day | 19 |
My Treasure | 7 |
"Out of the Wild Northeast | 92 |
Tad and the Lobster | 31 |
The Blacksmith | 15 |
The Disobedient Mouse | 22, 23 |
The Little Rill | 12 |
The Robin | 14 |
—————
Jumbo Broken Loose | Frontispiece. |
PAGE | |
A Queer Play-House | 51 |
A Reckless Ride | 9 |
At the Shore | 83 |
Baby Boy | 28 |
Baby Ralph's Letter | 65 |
Bell and her Pet Dog | 43 |
Belle and her Brothers | 95 |
Bertie and Rover | 25 |
Betty and Polly | 33 |
Brave Hal | 81 |
Cowslips | 17 |
Doll and I | 40 |
Dolly Knits, then Hides | 70, 71 |
Dot's New Friend | 79 |
"Fly Little Bird Away" | 34, 35 |
Frankie Minds Mamma | 59 |
Going to Bed | 18 |
Going to Boston | 67 |
Hattie and the Butterfly | 73 |
Jack and Jill | 29 |
Jane and Rob | 46, 47 |
Little May's Pet | 36 |
Little Mother Hubbard | 85 |
May Day | 19 |
May and her Papa | 41 |
Meg and Little Bell | 32 |
Milk for Baby's Supper | 30 |
Moll and Jane's Picnic | 94 |
Mr. Fox is Sure | 69 |
My Treasure | 7 |
New Eyes | 87 |
Old Charlie Runs | 90 |
Only a Bird | 55 |
Our Little Hand-Organ Man | 66 |
"Out of the Wild Northeast" | 91 |
Playing at Soldiers | 20, 21 |
Polly and her Dead Bird | 93 |
Poor Joe | 61 |
Rebie's New Home | 49 |
Rose and the Little Beggar | 89 |
Sick Molly | 63 |
Solid Comfort | 91 |
Tad and the Lobster | 31 |
The Blacksmith | 15 |
The Disobedient Mouse | 22, 23 |
The Fishing-Boat Nancy | 11 |
The Gipsy Camp | 75 |
The Little Rill | 13 |
The Pet Rabbit | 39 |
The Shark | 27 |
The Three Kittens | 44, 45 |
The Two Stags | 38 |
Tom, Grace and Lou | 37 |
Walter's Butterflies | 77 |
What a Kiss Did | 57 |
Who is to Blame? | 53 |
————
ECKLESS Ina, she was called, because she did so many reckless things. But her name was Ina Bradford. She had no brothers, so she used to tell her father that she would be his boy. And it was no trial to Ina do boy's work.
Dish-washing she particularly disliked. And as to sewing—why, she had rather go ragged any time than sew up the rents in her dress.
The one thing that Ina enjoyed more than anything else in the world, was riding on horseback. Her father kept several horses. And he was perfectly willing she should use any of the farm horses whenever she liked. But Black Jupiter she must never touch. He was a large, high-spirited horse, very unsafe for a young girl. But oh! how Ina longed to get on Jupiter's back.
One day when her father had gone away Ina resolved to try. She put bridle and saddle on without trouble. But the moment Black Jupiter felt her weight on his back, he started on a run up the street. At first Ina thought it great fun, but by and by her arms ached so she could scarcely hold the bridle. And when Jupiter jumped at the cackling of a goose, Ina would have fallen if a strong, brave boy had not caught the bridle. Ina did not care to ride Black Jupiter again.
Here is the fish-ing boat Nan-cy. But where is the fish-er-man? Oh! he has gone up the beach to his house to see his wife and his lit-tle daugh-ter. He was in a great hur-ry, for he did not wait to take down his sails, but on-ly made the boat fast to an old pile.
The rea-son of his haste was that his lit-tle daugh-ter Bess is quite ill. He had to go to sea this morn-ing, for he is a poor man, and must work ev-er-y day, but when he left Bess was in a fe-ver. All day long he has been ve-ry anx-ious. But now good news is wait-ing him. At four o'clock the fe-ver left her, and she is much bet-ter, and is wait-ing for her pa-pa to come in. How glad he will be! But he can-not stop long now, on-ly just to give her a kiss, for the boat must be ta-ken care of, and the fish that he has caught must be sent to mar-ket; so back he will go, but he will work now with a light-er heart, for his fear is gone.
Drop by drop the lit-tle rill
Feeds the lim-pid stream be-low,
Gleam-ing, spark-ling down the hill,
Till it joins the riv-er's flow.
———
Drop by drop the whole night long;
Drop by drop the long night through,
Sing-ing low and soft its song;
Leaps the rill, in meas-ure true.
———
Drop by drop like gems of light,
Danc-ing where the sun-beams play,
Grows the stream-let clear and bright,
Where the sweet ferns line the way.
———
Like a mol-ten sil-ver tide
Led by fai-ries, here and there;
Now by rug-ged moun-tain side;
Now by pas-ture green and fair.
LIT-TLE rob-in, wild bird,
Sing-ing sweet and blithe,
Care-less of Time's hour glass
And his crook-ed scythe,
Prod-i-gal of pleas-ure
In a harm-less way,
Greet-ing in the sun-shine
This thy hol-i-day.
When the or-phan chil-dren
Wan-dered in the wood,
We shall stillre-mem-ber
Thou wert kind and good;
As their cheeks grew pa-ler,
And with tears were wet,
Thou didst sprin-kle o'er them
Man-y a vi-o-let.
Cheer us in the au-tumn,
When the rains be-gin,
While the gay flow-ers with-er,
And the woods grow thin.
CLANG, cling, clang, cling!
Bel-lows, you must roar; and, an-vil, you must ring;
Ham-mer, you and I must work, for ding, dong, ding!
Must dress my Kate and ba-by, and bread for us must bring.
Yel-low, yel-low cow-slip,
Grow-ing in the grass,
Thou dost bloom so bright-ly,
Thou dost smell so sweet-ly,
That the ve-ry cat-tle
Light-ly o'er thee pass.
———
Yel-low, yel-low cow-slip,
Chil-dren gath-er thee
In the ear-ly sum-mer,
In the dew-y morn-ing,
When his nest be-side thee,
Leaves the lark so free.
———
Yel-low, yel-low cow-slip,
Shin-ing in the sun,
When the tall grass mead-ows
Yield un-to the mow-ers,
Then thy life is end-ed,
Pen-sive lit-tle one.
May and Kate and Lou and wee Tom-my have been sit-ting by the fire in the nur-se-ry for the last hour look-ing through their books. But now the books have all been put on the shelf and nurse has made them ready for bed. Mam-ma has come up, as she al-ways does, to hear their pray-ers and have a short chat with them af-ter they are tuck-ed up in their cribs. The chat has to be short, for these lit-tle peo-ple fall a-sleep in no time.
One day, all
in the sweet
spring weath-er,
Two lit-tle folk
went out to-geth-er.
Oh the bright May-day!
Sun was shin-ing,
birds were
sing-ing,
Flow-ers bloom-ing,
May-bells ring-ing!
Oh the glad May-day!
So they two went forth a May-ing,
Laugh-ing, dan-cing, sing-ing, say-ing
"Oh the bright May-day!
What care we for moth-er's warn-ing?
Who would bide at home this morn-ing?
Oh the glad May-day!"
"SHOUL-DER arms!" said Dick. "For-ward, march!" If you had been in the room next to the hall where the chil-dren were play-ing that rain-y day, you would have thought that an ar-my was march-ing back and forth, they made such a noise. Then, all at once, the noise stopped. "The ar-my will lie down, and go to sleep for the night," said Dick.
The ar-my lay down to play sleep, and in a twin-kling it fell in-to a real sleep. Ev-er-y man was in the land of Nod. Jane, who had been out to the barn for a bas-ket of ap-ples, was so sur-prised at the sight, that three great red ones fell out on the floor be-fore she could catch them. Just at that mo-ment the boys' eyes o-pened, and they had the ap-ples in less than no time.
SAD is the tale
I have to tell,
Of what a lit-tle
mouse be-fell.
"My darl-ing child,"
His moth-er said,
"There are two things
That you must dread.
One is the mon-ster
called a cat;
And one a trap.
Ne'er go
near that,
No mat-ter how the cheese may smell:
You'll rue the day. Mark
my words well."
And mous-ey lis-tened to her say.
Had he but heed-ed! Well-a-day!
That ver-y night he smelled some cheese.
Quoth he, "What o-dors sweet are these?
I'll go and see: per-chance the cook
Has dropped a bit. Here's for a look!"
A-las! a-las! dear chil-dren all,
He dis-o-beyed. Be-hold his fall.
He saw the trap, with bits of cheese.
"I'll on-ly take just one of these,—
A sin-gle one, not an-y more."
Click went the spring; down fell the door!
How sleek looks puss-y! How well fed!
Poor mous-ey's moth-er weeps in bed.
"O Ro-ver! I love you,"
Young Mas-ter Ber-tie said.
To prove his words were true,
He hugged the dog's rough head.
———
Ro-ver knew not one half
His lit-tle mas-ter said;
But when he heard him laugh,
He quick-ly raised his head.
———
He loved to run a-bout
A-mong the lambs and sheep,
Which lay in groups a-bout,
Ap-pa-rent-ly a-sleep.
———
He'd leap a five-barred gate,
And then, with con-scious pride,
For Bertie's com-ing wait
Up-on the oth-er side.
What great fish is this? It is a shark. He is fast now, and the men will soon have him up on the ship's deck, where they will make an end of him.
Sharks are ve-ry fierce. They are so large, too, that they can eat up a man with-out a-ny trou-ble. In some parts of the world peo-ple nev-er dare go in bath-ing, be-cause of them. You can see in the pic-ture what great teeth they have. This fel-low has been at ma-ny a bad piece of work, I have no doubt; but now all his pranks are at an end. He has fol-lowed the ship mile af-ter mile to pick up a-ny scraps that were thrown o-ver, and they have tast-ed so well, that when he saw a great piece of pork come splash in-to the wa-ter, he swal-lowed it down with-out stopping to think that there might be a hook in it. Then all at once he found that he was fast. Strug-gle as hard as he could, it was of no use; he was held fast.
"Ho! mas-ter ba-by boy.
Where are you go-ing?
Dark are the win-try skies:
Soon 'twill be snow-ing.
Back to the nur-se-ry,
Where the fire's
glow-ing."
———
"I doe back"—
stamps his foot.
"No! I are doe-ing
Down to my busi-ness.
A big boy I'm drow-ing.
Just where my pa-pa does,
Dat's where I'm doe-ing."
"WHAT a sweet lit-tle lamb!" said May. "No: it is a wolf. I must run: he will eat me."
"PLEASE, Mrs. Wright, moth-er would like to bor-row a cup of milk for ba-by's sup-per. Our cow has strayed a-way, and Tom has gone to find her."—"Of course she shall have it, Tom," said Mrs. Wright. "How is ba-by?"
Tom's lit-tle ba-by sis-ter had been ver-y ill, and they had all been a-fraid that she would not live. But now she was much bet-ter. Tom told Mrs. Wright this, and then ran home.
MEG and her lit-tle sis-ter Bell went for a walk in the mea-dow. A cow came down to the brook to drink. Bell was pick-ing some flow-ers, and did not see her un-til she was close up-on her. Then she gave a loud cry, and ran to Meg, and clutched tight hold of her dress.
Meg soon set her fears to rest; and the cow looked on with wide o-pened eyes, as much as to say, "What a fool-ish child this is! I give her milk ev-er-y day."
BET-TY came to make a call on Pol-ly. So Pol-ly got out all her toys, and put them on the floor in a great heap, and they each sat down be-side them. Bet-ty liked best of all a stuffed rab-bit that squeaked when you squeezed it; and she tucked it un-der her arm, and took it all a-bout from room to room with her.
Pol-ly at last, when she saw how much she liked it, gave it to her for her ver-y own; and Bet-ty went home hap-py, with the rabbit on her arms.
"Come in, puss," said lit-tle May, "and you shall have a nice cup of milk for your break-fast. And I will put a fresh rib-bon on your neck, too." Puss walked in at once, for he was ve-ry hun-gry. For more than an hour she had been watch-ing at a mouse-hole, but the mouse would not come out and be caught. So at last she had grown tired of wait-ing.
TOM and Grace and Lou had been down to the brook the day be-fore, and had caught three frogs. They got one of pa-pa's old ci-gar box-es, and lined it with leaves, and cut small holes in it, that the air might pass in and out.
The next morn-ing they o-pened the box, and put them on the grass: they looked ver-y ill. "Let's take them back to the brook," said Lou. As soon as the frogs saw the wa-ter, they jumped, and were seen no more.
HERE we are out in the wild woods. What a pret-ty lit-tle glade it is, with a spring of fresh wa-ter in it! But see, there are two stags here, fight-ing as if they were bit-ter foes. Their great wide-spread ant-lers are locked in-to each oth-er's. It some-times hap-pens in these fights that the ant-lers get so fast-ened to-geth-er that the stags can-not get them a-part. Then they both die. This will show you how quar-rels of-ten have ve-ry sad ends.
TOM and Grace hur-ried through their break-fast, and ran out to feed their pet rab-bit. Grace did not ev-en wait to put on her hat. But, when they came to the hutch, there was no rab-bit there.
"We must tell John to look for him," said Grace. "There he is! Let's run." So they ran down the path to meet the gar-den-er's boy. John said that he would look just as soon as he took the bas-ket of let-tuce to the cook.
PA-PA and mam-ma will soon have sup-per; for I see Jane bring-ing it in on a tray. But, un-til they do, May is to ride a cock-horse on her pa-pa's knee. Pa-pa goes to town to business ev-er-y day, and, when he comes back, May and her sis-ter Fan run to meet him. They take his hat, and bring his slip-pers, and put him in the big chair in front of the fire; and then they climb up in-to his lap, and play with him. He rath-er seems to like it.
This dog's name is Puck, and a ve-ry wide-a-wake dog he is, as you may see from the pic-ture. His mis-tress is a lit-tle girl named Bell, and he is ve-ry fond of her. At night he sleeps coiled up at the foot of her bed. Some-times when she wakes she finds him ly-ing on the pillow, with his head close to her cheek, and one ve-ry cold night he man-aged to get in bed un-der the clothes. He is a ve-ry clever dog. If you tell him to beg, he will sit on his hind paws and wave his fore paws in the air. If he is thirs-ty, he will bring his cup for you to fill it with wa-ter for him.
The first time Bell ev-er saw her dog was in the street. He had lost his mas-ter, and came to her for help. She could not find his home for him, so she took him home with her, and there he has lived ev-er since. Now he has for-got-ten his old mas-ter en-tire-ly, and cares for on-ly Bell.
"MEW-MEW!" said two lit-tle wee black kit-tens. Grace stooped down, and picked one of them up. "Mew!" it said, and then tried to play with the neck-lace she had on. The oth-er kit-ten did not like this at all. She pulled at Grace's dress with her small black paw. So then she was tak-en up too, and both soon snug-gled down in Grace's lap, and went fast a-sleep. But where was the mam-ma cat all this time? She had gone back to the barn, where all her kit-tens were born, to bring an-oth-er one to the house, to show her mis-tress what a fine fam-i-ly she had. She had hard work to get in; for John, the man, had closed the doors. She walked a-round the barn, and at the back she found a win-dow o-pen. Ned, the don-key, had his head out of it; but she scram-bled in be-side him, and took up an-oth-er kit-ten in her mouth, and ran back to the house a-gain.
When she reached it, she found that Jane had closed the front-door.
She mewed as loud as she could; but it was some time be-fore an-y one heard her, and o-pened it. But at last she reached her mis-tress safe-ly with her third child. She her-self was white, and so was one of the kit-tens. The other two were as black as coals.
KATE was ver-y un-hap-py. She had left her best doll in the path in front of the house the night be-fore; and some one had stepped on it in the dark, and it was crushed in-to bits.
So Kate was cry-ing; for poor Ar-a-min-ta Jane was her pride and joy. Just then her broth-er Rob came in. "Why, you poor lit-tle girl!" he said. "I am so sor-ry! If you will come out with me, I will show you how to play crick-et; and you shall use my new bat." Kate cheered up ver-y much at this, and ran to put on her hat. Rob was so kind to her that she had a ver-y good time, and for-got all a-bout Ar-a-min-ta Jane in the fun of the game.
————
S she coming to-night, mamma?" asked Marion.
"Yes, dear, I think so. We shall know very soon now. Papa will be here in about ten minutes."
Marion and Elvie Reade ran to the window. They were very anxious to see this little cousin who was coming home with papa.
"Rebie'll be our new sister; won't she?" said Elvie.
"Yes. And papa said we must be real kind to her, for she hasn't any papa or mamma now."
"Yes, we will. I guess—Oh! there's papa, now. And—oh! Marion! Rebie's crying. Let's go kiss her."
Out ran the two little girls, while mamma stood in the doorway with little Ernest, and aunt Maria stood on the steps.
Little Rebie couldn't help crying, yet she liked her new home for all that. But her cousins kissed her so lovingly, that Rebie soon smiled through her tears.
And when baby Ernest said, "Ernie love oo, tousin Rebie," she laughed a soft little laugh. Then they thought Rebie wouldn't feel lonely any more.
"I think your papa most as good as my papa," Rebie whispered to Elvie after they had gone to bed that night. Elvie thought him a little better, but she was too polite to say so.
————
ARRY and little Violet thought it the very best play-house in the world. And I don't think Gyp would have enjoyed any other half so well. It was papa's big boat.
They could sit in it and see mamma when she came to the door of the little house near by, where they lived. And they could watch papa as he went out in his small boat, or dory, as he called it. Harry could see him far out on the water by standing up on the side of the boat. Little Violet was afraid to climb up so high.
Sometimes Harry and Violet took their dinner and ate it in the boat. Then Gyp always shared it with them. He would sit beside them in the boat, or perhaps lie on the sand and wait for Harry to throw him his share bit by bit.
The children liked to make Gyp speak for his dinner. But best of all, they liked to toss it up, and see Gyp spring and catch it in his mouth.
One day, when they were playing near the water, Violet's sun-bonnet blew off, and a wave washed it out beyond her reach. Then Gyp was ready to help his little mistress. He swam out, seized it in his mouth, and soon laid it at Violet's feet. She was so glad she hugged him, wet as he was. And he repaid her, by shaking himself and sprinkling her all over.
————
OOR little Carlos stood thinking. He did not know what to do. He wanted to tell the truth, yet he didn't like to have mamma blame him for breaking Sylvia's doll. And he didn't think he was all to blame either. The butterfly and Dandy both helped, he thought.
This was the way it happened. A beautiful large butterfly came through the open window into the dining-room, then flitted out into the hall. Carlos and his dog Dandy gave chase. Once, in his eagerness, he stumbled over Dandy. And in trying to escape a fall he knocked the doll to the floor. There was the body in one place, the head in another. Why did Sylvia leave it right in his way?
At last Carlos decided to do the best thing—go and tell mamma all about it.
Mamma listened patiently. Then she told Carlos that it would have been better not to try to catch the butterfly. The pretty thing would die if he caught it and shut it up.
Mamma told Carlos that Sylvia was partly to blame for leaving her doll in such a place. But Carlos must be more careful next time.
Carlos felt very happy as he ran out of doors with Dandy. And he thought it the nicest way in the world, to go and tell mamma everything.
————
AN you see the old man behind his rows of cages? In them are many poor little birds. They cannot fly about in the pure sweet air. The old man sells them. That is the way he earns his money.
Then why does he look so displeased? The young man, with the empty cage in his hand, has just bought a bird and laid the money on the counter.
The young man loves birds so well that he bought one on purpose to set it free.
The old man is wishing he could get the bird and sell it again. He thinks it foolish to throw away money. And he tells the young man so.
"Not thrown away, my friend," says the young man. "It is well spent if it gives pleasure even to the smallest creature."
"'Twas only a bird," insists the old man.
"But God made the birds. And not one falls to the ground without his notice. I think we shall have to give an account of the way we treat his birds."
"Well, I wish I had that one again."
"And I wish I could open all these cages."
————
ABY Bell thought she could do just as she pleased everywhere, and with everybody. And she generally did. She even trotted into Mrs. Burnett's, a sad, lonely woman, who lived all alone by herself in the next house.
One day she came pattering into the room where Mrs. Burnett sat. She clung to her dress. She looked up lovingly into the sad face. Then she lisped forth,—
"Miss Nett, Baby Bell tiss you."
Then she put up her sweet lips to give a kiss. Who could resist such a baby? Not even Mrs. Burnett. She took the child on her lap, and covered her face with kisses and tears. Baby Bell looked on wonderingly.
When papa came for her she said, "Miss Nett tryin', Baby Bell tiss her lots."
Mrs. Burnett explained. "I lost a baby just her age. I felt since that I had no one to love me. But Baby Bell loves me, I am sure. I hope she will come often."
"As often as you and she wish," said papa.
"Baby Bell tum ev'y day—tum see Miss Nett. Baby Bell love Miss Nett," added the baby, looking back over papa's shoulder.
————
NCLE SOL was going to take a party of boys out in his boat. All had scrambled in but one little fellow, the smallest of the party.
"Tumble in, Frankie," said Uncle Sol. But still Frankie hesitated.
"Don't you want to go?" asked the old sailor.
"Yes, sir," answered Frankie, slowly, "but mamma doesn't like to have me go on the water."
"Why?"
"She's afraid since papa was drowned."
"Don't go, then, my boy. Don't worry your mother. She's had trouble enough already;" and Uncle Sol began to push the boat out into the water.
"Pooh! Come on!" shouted Horace, the tallest boy in the boat. "Your mother'll never know. We'll keep dark."
"Don't you go to learnin' Frankie any bad ways," said Uncle Sol, sternly. "Boys never come to much in the world unless they mind their mother. I've always noticed that."
Horace sat down rather ashamed of his bold words. And little Frankie looked at Uncle Sol gratefully, saying, "I know mama'll be glad to have me come home:" and with a happy laugh he ran away from the boat.
————
OU may put on your coat now, Hugh, and take these things to Mrs. Larry. You have barely time before school, you must hurry."
"Must I go this morning, mother, why can't I go to-night, or this noon?"
"There'll not be time at noon. And before night Joe may want some of these things. You may do, however, just as you think you would like to have Joe do, if he was in your place and you in his. Poor Joe needs better food than his mother is able to buy. You wouldn't have him suffer for the sake of skating, would you?"
Hugh thought a minute. At last he said, "I know if I was in Joe's place, I should want somebody to bring me a heap of things. Guess I'll go, mother."
His mother smiled to hear him whistle as he ran from the yard. Just before school he rushed in.
"Say, mother, can I buy Joe some oranges? He's white—he's white as your ruffled apron. I've fifty cents. I'll spend half for Joe."
Hugh's mother kissed him before she said yes. And her eyes filled with glad tears as he ran out whistling more merrily than before.
————
UESS I'll hurry home," said the rough miner when some of his mates urged him to go to the saloon, "Molly'll miss me."
Nothing seemed so pleasant at night as to see his little Molly standing in the doorway to greet him when he came home. But to-night she was not in her usual place.
"Where's Molly?" he quickly asked, entering the kitchen. Before his wife could speak, he saw Molly in her mother's arms with her eyes closed.
"What is it?" he asked, in a hushed voice.
"I—don't—know," sobbed the poor mother. "She complained—of being tired. And she wanted—me to hold her. I've held her—nearly all day. I'm so glad—you've come, Jake. Do run for the doctor."
"Yes, I will;" and without another word he hurried to the village.
"Will she live?" were his first words after the doctor entered the house.
"I hope so," was the cheery answer. "Put her feet in warm water as soon as possible. And here is a powder for her. I'll come over in the morning. Think she'll be better then."
To the miner's great delight, Molly's blue eyes opened the next morning. But if he had gone to the saloon, it might have been different.
————
OLDEN-HAIRED, blue-eyed, sweet-mouthed Baby Ralph lay, a cunning little white heap, in his willow cradle.
While he slept, papa and mamma came softly into the room—dropped the lightest and sweetest of kisses on the dear baby face, then stole quietly out and away to the big city. Did Baby Ralph like this? You will hardly think so when you read his letter. Here it is:
"MY OWN PAPA AND MAMMA,—Does you want to hear 'bout me? You thinked I didn't know you runned way off and left your little baby boy all 'lone. But I did. And I waked up and cried—and cried. And Auntie May looked sober—and grandma looked sober—and grandpa whistled—and I cried hard. Then Auntie May put something in my bottle. 'Twas good, and I didn't cry. But Auntie May bringed water, and put some on my face, and I didn't like it. And I cried awful—so awful Auntie May stopped. Wish you's here, 'cause I don't feel good. If my papa and my mamma's here I'd feel gooder—wouldn't fuss any bit. Wish you's here, I do, to kiss your own
BABY RALPH."
Did this bring Baby Ralph's papa and mamma? Yes, indeed. And they took him and Auntie May back to the big city.
————
EARER and nearer the sitting-room door came the patter of little feet. And this queer song was heard over and over:
"Herbie—is—organ-hand man!"
Then in pranced our little three-year-old Herbie, his eyes bright, his right hand going round and round to imitate the hand-organ man. Under his left arm was a cricket.
"Look here!" said papa, laughing heartily, "you've got the cart before the horse. It's hand-organ, not organ-hand." "Herbie—is—organ-hand-man!"
His eyes only shone the brighter as he persisted in his funny mistake.
————
HERE let's go to-day?" asked Elsie, as the three children ran out of doors.
"Guess we'll go to Boston," answered Abe. And little Andy echoed, "Boston—Boston to-day."
So all three ran to the trunk of a large tree, lying on the ground. Tip, their dog, followed. They never went anywhere without Tip.
Andy held the whip, so he sat nearest the horse and drove. Careful Abe sat next. He had to hold Andy for fear of a fall. Elsie had nothing else to do so she held her hat up on a stick. "So folks'll see we're comin'," she told Abe.
————
OXES are very sly. If they want a tender chicken for dinner, they don't walk into the poultry yard in broad daylight. Our Mr. Fox knows better than that. He waits till all is still at night. Then he steals across the yard, and peeps into the hen-house.
All is quiet, so he steps in. Now he stops a moment to listen. He wants to be sure that the big dog asleep near the house isn't after him. He hears nothing, so he looks around for the hens.
There they are, asleep on a high roost. Can he get them? His eyes shine. His mouth waters. He must have one somehow.
He is careful not to make a bit of noise—the sly fellow.
Mr. Fox is sure he can get one now. He reaches up till his black nose nearly touches the rooster's long tail-feathers.
He is all ready for a spring, when a rush and a loud barking is heard. The dog has scented the fox. So, instead of getting a nice, fat chicken for dinner, Mr. Fox has to run for his life. And the dog is close behind. So close that Mr. Fox fears that he himself may make a dinner for the dog. But he reaches his hole safely.
————
UNNING little Dolly often gets into mischief. She thinks she can do just what grandma and mamma do. One day grandma fell asleep and her knitting dropped to the floor.
Dolly soon spied it, and the spectacles, too. She picked both up and climbed into a big chair. Before beginning to knit she thought of something else.
"Dess Dolly'll put on drandma's tean tap."
So she got the clean cap from the table, and climbed into the big chair again. After putting on cap and spectacles, Dolly tried to knit. But she only pulled the needles out, and tangled the yarn. And grandma was stirring, too. What would she say to Dolly when she woke up?
Dolly was afraid grandma wouldn't like it, so she slipped from the chair and hid behind the clock.
"Where's my work?" asked grandma. "Has Dolly been here?"
"Dolly's done 'way," answered a voice behind the clock.
————
ITTLE Hattie Vaughn was playing in the back yard, when she saw a beautiful butterfly light on a clover blossom just outside the gate. She wished she could catch it. So she opened the gate and walked softly the butterfly.
Her hand was almost on it, when the butterfly rose lightly in the air and sailed away toward the woods.
Hattie watched it. Soon it settled down on a wild lily the other side of a rail fence. Hattie crawled through the fence and came close to the pretty butterfly again.
But just as her hand came near, away it flew further into the woods. Hattie followed. By and by she lost sight of the butterfly. She was tired, and wanted to go home. But she did not know the way. She was lost. She began to cry, and cried herself to sleep.
Brother Dick found her sleeping under a large tree. Dick and his father had been looking for Hattie some time. He sat down beside her and thought he would not wake her till his father came. But the moment his father spoke, Hattie opened her eyes. She was not afraid with her father and Dick near.
————
HE camp was not near the village. It was near the woods. The Gypsies chose the place because they could get plenty of dry brush to burn. And there was a brook near by where they could get good water. Some of the village children thought at first that it would be fine sport to live so: never to go to school—never to learn lessons—never to dress up clean—always run about as they pleased and where they pleased.
But after the Gypsies had been there a long time, they thought differently. They saw the dirty, ragged children carrying big kettles of water from the brook, or large bundles of brush from the woods. They learned that the women and children did all the work. Perhaps the men stole many of the things they had to eat. And one day when two or three boys ventured into the camp, they saw, in one of the tents, a poor, sick child lying on the bare ground. No one was near it.
They went to their pleasant, comfortable homes, feeling that it was better to have a good father and mother to care for them, even if they did send them to school and require them to learn lessons.
————
UNTIE," said Walter, "is't naughty to catch butterflies?"
"I think if I was a little boy, I'd rather see them flying about in the sunshine, than shut up in a box or under a glass."
"But is't wicked to kill them?" persisted Walter.
"I think if a little boy caught and killed them because he enjoyed seeing them suffer, it would be very wrong. God made all the birds and insects to be happy. He don't want us to treat them cruelly."
"But, auntie, there's a great big house in Boston, not far from papa's house, and it's most full of dead birds, and spiders, and bugs, and butterflies, and everything.
"Yes, Walter, I have been there. But the men who caught the birds and insects did not kill them just for the sake of killing something. They wished to learn all about the birds and insects in different countries."
"But, auntie," said Walter eagerly, "I saw some ladies when I was out yesterday, with birds stuck in their hats. Guess they's wicked."
"Yes, Walter, it's wrong, I think, to kill the pretty little birds to wear as ornaments. We should let them live as long as they will."
————
OT didn't care for such playthings as little girls generally liked. She wanted to play out of doors with the boys. And poor little Dot's mother didn't care where she played, if she was only out of her way so she could get her washing along.
She was a poor washerwoman, and had to work very hard to get something for her three children to eat. So Dot had full liberty to go and come as she pleased. And it pleased her to play with her brothers. They generally went out near the water.
One day Dot was digging in the sand with Ivan's little shovel. "Le's have that," said Ivan. "I want to use it now."
"No. Dot wants it," replied the child stoutly.
"Well, you can't have it. So hand it along."
"Dot will have it," was her answer. Then she disappeared behind a large boat. Ivan ran after her, and, like Dot, came near running against a lady who sat on the sand with a book in her lap. She was talking to Dot.
"Le's have my shovel," interrupted Ivan.
"Give it to him, dear, and I will get you another," said the lady. Dot was charmed by the gentle voice, and gave up the shovel without a word. Dot saw the lady many times after that.
————
ERE I am, all right, little mother! I'll save you all," said brave Hal, as his head appeared at the window. He had been out to see how deep the water was.
They were all alone in the old house by the river. Father was away, and the water was rising fast. What should they do? All depended on little Hal.
"I'll take Annie first, she's so afraid. And you hold baby till I get the rest over."
It was but a short distance to higher ground, but he had to step carefully. So it seemed a long time to the waiting mother before she saw him again.
"Jamie this time, 'cause he's lame," Hal said when his wet face appeared. "Then he can see to the little ones."
It was some trouble to get lame Jamie on Hal's back. But at last he too was safe beside little Annie. Then Jesse and Lida were carried by the same willing though tired arms.
"Now, mother, let me take the baby, and you follow me." The little mother's face was pale, but she followed her brave boy, and soon they were all safe. Even then it was some trouble to guide the little party through the storm and darkness to the nearest neighbor. But Hal was brave to the end.
————
VERY one of us are here, Aunt Kate. Are you ready?"
"Yes, Lizzie, all ready. Just as soon as the boat comes we will start. Where are the other girls?"
"Out with Dan."
"It's very kind of Azzie to amuse her little cousins so much. Agnes and Dan would be lonely here without her, I fear. And Amy had rather stay with Sister Azzie than any one else. That shows that Azzie is a good sister. I'm afraid my niece, Lizzie, is the least bit selfish. She doesn't like to help amuse her cousins very well."
Lizzie pouted a little. She preferred to talk with Aunt Kate. But she wanted to please her aunt, so she resolved to follow her kind advice.
They had a pleasant sail in the boat. And it was delightful eating lunch on the cliff which overlooked the bay. But best of all to Lizzie, was the story which Aunt Kate told while they sat on the grass after lunch. And Aunt Kate did not forget to say an encouraging word to Lizzie for doing her part so well through the day.
————
'M in here, Ruby," said Chester to his little sister, when he heard her call his name. "Well, what now? You look like a little old woman."
"Pomp and I are going to take a walk."
"If you were only dressed in old clothes, and Pomp was poor instead of sleek and fat, you would do for a Mother Hubbard. I guess if your cupboard was almost bare, however, you'd share your last crust with Pomp; wouldn't you, sis?"
"Of course, Chester, when Pomp saved my life when I was a baby."
"Why, Ruby, you seem only a big baby to me now. Or else you are the real Mother Hubbard come to life again in a new style. Which is it—which shall I call you, my big baby or my little Mother Hubbard?"
"Mother Hubbard, for I ain't a baby."
"Mother Hubbard it shall be then. Remember this, Ruby, when I'm miles away. I hear the stage now. So give me a kiss before I go."
Ruby gave her brother many kisses, and then stood and waved her handkerchief till he was out of sight. And then she sat down and cried a little and talked a good deal to her old friend Pomp.
————
NLY see my dolly's eyes," said Dell to her twin sister Dora. "Wish we could get some new ones put it. Let's go and ask Mr. Thomas."
"Yes, we will. We'll go right off now." So Dora and Dell took their dolls and went over to see Mr. Thomas. His paints and brushes we all out of doors when pleasant. When a rainy day came they were under cover. But they were not in a shop then. They were under a great boat.
It was a pleasant day when Dora and Dell took their dolls to be mended. So they found Mr. Thomas sitting out of doors in his shirt sleeves. He was an old sailor. He liked to be where he could see the water all the time.
Mr. Thomas liked children, especially little girls, so he was very willing to mend their dolls.
"What color do you want the eyes?" asked Mr. Thomas, after fixing in some round beads.
"Blue," answered Dell.
"Mine blue, too," added Dora. "We always have everything just alike."
"There, now they can see just as well as ever."
"Thank you ever so much!" exclaimed both girls at once.
————
OSE was out in the garden with mamma. Rose ran here and there, gathering the prettiest flowers to make into a bouquet for her. Rose thought her mamma the loveliest and best mamma in the world. Nothing was too good for her.
"O Mamma!" she cried breathlessly, running up after a long absence, "there's a poor girl—outside the fence—over by the rustic chair. She looks as though she wanted—something. She won't speak—Oh! come and see here, mamma!"
"Poor child! Perhaps she is hungry," said mamma, rising quickly.
They found the child still looking wistfully through the fence. "Would you like something to eat?" asked mamma kindly.
The bareheaded and barefooted little girl looked up into the sweet face a moment, then said timidly, "Please, lady, give me some flowers."
"I'll give her mine," whispered Rose.
With a hurried, "Thanks, lady," she took the flowers and ran swiftly away before another question could be asked.
"I wish I knew where she lived," said Rose.
"I will inquire. We may be able to help her."
————
EE old Charlie run. Do you suppose he is afraid of the children or the constables? You see old Charlie gets into mischief sometimes when papa is away. He gets into the garden where there are a few young fruit trees. Old Charlie likes apples and pears. So papa told Neddie he must watch, and if old Charlie got into the garden he must drive him out.
One day old Charlie thought he wouldn't mind such a little boy. Then Neddie asked Bess and little Effie to help. Each took a cornstalk. How old Charlie ran when he saw them coming.
OUT of the wild north-east
The snow comes fly-ing;
O-ver our chim-ney tops
The wind goes sigh-ing.
Up, lag-gard birds, a-way,
On swift wings go-ing,
To where, on south-ern hills,
A-far from win-ter's chills,
Soft winds are blow-ing.
SOME one gave lit-tle Pol-ly a bird. It sang all day long, and made the nurs-er-y ring with its mer-ry notes. Pol-ly was so fond of it, and al-ways fed it her-self. One day when the children had come in from a walk, they found the bird dead in its cage. A wick-ed cat had killed it. The chil-dren all cried a great deal; and they bur-ied it in a small white box in the garden, and plant-ed flow-ers o-ver the grave.
MOLL and Jane had a pic-nic. They first begged the cook to give them some sand-wich-es and gin-ger-bread. Then Moll stole down stairs, and got an a-pron-ful of po-ta-toes, while Jane got some match-es. They were go-ing to roast their po-ta-toes; and this is the way they did it. They dug a shal-low hole, put them in, cov-ered them with dirt, and then built a fire a-bove them. They were ver-y good when they were cooked, I can tell you.
THE same day that Moll and Jane had their pic-nic, Belle and her two small broth-ers had one. They did not have a fire: but their cook put up a much bet-ter lunch for them, and they took it to their fa-vor-ite spot, packed in a bas-ket on their don-key's back; and, while they ate their lunch, he nib-bled the soft grass. They had a good time, and were not sent to bed without sup-per, as Moll and Jane were, for mak-ing a fire when it was for-bid-den.
BOOKS MAKE THE BEST PRESENTS.
The Largest List of Popular Standard Works Published.
129 DIFFERENT VOLUMES BY THE BEST AUTHORS.
All printed from large, clear type, on good paper, very handsomely bound in cloth, black and gold. Price per volume, 75 cents.
Belford, Clarke & Co., Publishers, CHICAGO AND NEW YORK.
THE GEM OF THE JUVENILES.
The attention devoted by authors, artists and publishers to the production of bright, pure, instructive literature for the young, is one of the most hopeful characteristics of our modern civilization." OLIVER WENDELL HOLMES.
BELFORD'S ANNUAL.
1887-8.
An American Book for American Children.
EDITED BY
THOMAS W. HANDFORD
(ELMO)
THIS BOOK IS WORTHY A PLACE IN EVERY HOUSEHOLD IN AMERICA.
Illustrated with 125 Original Drawings,
By TRUE W. WILLIAMS, PAUL JONES, KENDRICKS, VAUGHAN AND OTHERS.
With Elaborate Colored Frontispiece and Covers.
FULL OF STORIES, SKETCHES, FABLES, FAIRY TALES, POEMS, ETC, ETC.
By LOUISA M. ALCOTT, OLIVE THORNE, W. K. FOBES, P. T. BARNUM, EUGENE
FIELD, LUCY LARCOM, HENRY WARD BEECHER, ELIZABETH STUART PHELPS, W. D.
HOWELLS, L. P. TOLSTOI, ELLA WHEELER WILCOX, EVA R. GREEN, ALICE CARY,
MRS. DON, ETC., ETC., ETC., ETC.
Large quarto, 256 pages. Size 8 x 10 ¼. Bound in Illuminated Covers in
eleven colors, and in extra English cloth, with handsome gold and ink
designs.
A CHARM FOR CHRISTMAS! A TREASURE ALL THE YEAR ROUND!
FOR SALE EVERYWHERE
CHICAGO. BELFORD, CLARKE & CO. NEW YORK.
End of the Project Gutenberg EBook of My Treasure, by Thomas W. Handford *** END OF THIS PROJECT GUTENBERG EBOOK MY TREASURE *** ***** This file should be named 36005-h.htm or 36005-h.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/3/6/0/0/36005/ Produced by Chuck Greif, The Baldwin Library of Historical Children\'s Literature in the Department of Special Collections at the University of Florida\'s George A. Smathers Libraries and the Online Distributed Proofreading Team at http://www.pgdp.net Updated editions will replace the previous one--the old editions will be renamed. Creating the works from public domain print editions means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away--you may do practically ANYTHING with public domain eBooks. Redistribution is subject to the trademark license, especially commercial redistribution. *** START: FULL LICENSE *** THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg-tm mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase "Project Gutenberg"), you agree to comply with all the terms of the Full Project Gutenberg-tm License (available with this file or online at http://gutenberg.org/license). Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works 1.A. By reading or using any part of this Project Gutenberg-tm electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg-tm electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg-tm electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. "Project Gutenberg" is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg-tm electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg-tm electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg-tm electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the collection of Project Gutenberg-tm electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is in the public domain in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm works in compliance with the terms of this agreement for keeping the Project Gutenberg-tm name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg-tm work. The Foundation makes no representations concerning the copyright status of any work in any country outside the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg-tm License must appear prominently whenever any copy of a Project Gutenberg-tm work (any work on which the phrase "Project Gutenberg" appears, or with which the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org 1.E.2. If an individual Project Gutenberg-tm electronic work is derived from the public domain (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase "Project Gutenberg" associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg-tm License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg-tm. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg-tm License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg-tm work in a format other than "Plain Vanilla ASCII" or other format used in the official version posted on the official Project Gutenberg-tm web site (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original "Plain Vanilla ASCII" or other form. Any alternate format must include the full Project Gutenberg-tm License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg-tm works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg-tm electronic works provided that - You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg-tm trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, "Information about donations to the Project Gutenberg Literary Archive Foundation." - You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg-tm License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg-tm works. - You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. - You comply with all other terms of this agreement for free distribution of Project Gutenberg-tm works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and Michael Hart, the owner of the Project Gutenberg-tm trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread public domain works in creating the Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm electronic works, and the medium on which they may be stored, may contain "Defects," such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right of Replacement or Refund" described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg-tm trademark, and any other party distributing a Project Gutenberg-tm electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg-tm electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg-tm electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg-tm work, (b) alteration, modification, or additions or deletions to any Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg-tm Project Gutenberg-tm is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need, 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.