The Project Gutenberg eBook of Punch, Or the London Charivari Volume 107, November 24, 1894 This ebook is for the use of anyone anywhere in the United States and most other parts of the world 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. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: Punch, Or the London Charivari Volume 107, November 24, 1894 Author: Various Release date: September 8, 2014 [eBook #46810] Language: English Credits: Produced by Punch, or the London Charivari, Malcolm Farmer, Wayne Hammond and the Online Distributed Proofreading Team at http://www.pgdp.net *** START OF THE PROJECT GUTENBERG EBOOK PUNCH, OR THE LONDON CHARIVARI VOLUME 107, NOVEMBER 24, 1894 *** Produced by Punch, or the London Charivari, Malcolm Farmer, Wayne Hammond and the Online Distributed Proofreading Team at http://www.pgdp.net Punch, Or the London Charivari Volume 107, November 24, 1894 _edited by Sir Francis Burnand_ THE HAYMARKET HEROINE. [Illustration: A THRILLING MOMENT; OR, GO IN AND WYNN. THE REV. STEPHEN WYNN STARTLED BY A WOMAN WITH A GOOD MANY TAILS ABOUT HER!] Says Mrs. PATRICK CAMPBELL, "Wasn't I a quite first ranker, eh? As A. PINERO'S--_the_ PINERO'S--_Second Mrs. Tanqueray?_ We know that reputations great have often been, and _are_ made, By such a part, but not by Mister ARTHUR JONES'S barmaid. Though _then_ there was a chance when both the men began to gamble; Yet--no--I never cared for it," quoth Mrs. PATRICK CAMPBELL. "When at the T. R. H. I feared, and so did Mr. TREE, That HADDON CHAMBERS hadn't an apartment fit for me. _Kate Cloud_ is rather hazy; but they said 'there will for _you_ be "_bus_,"' (Theatrical for 'business')--which seems to me _in nubibus_. For I'm a shady heroine of squalor not romance, For passion and emotion I have barely got a chance. I'm in a yacht both first and last, and what becomes of _me_ } I am not very certain, and no more is Mr. TREE, } As at the finish both of us are thoroughly at sea. } For the villain there's CHARLES CARTWRIGHT, and, speaking for myself, I Preferred him when, more villainous, he was at the Adelphi. They talk a deal of Pat-mos (a name that sounds like two), A mixture of Hibernian that's 'Pat' with 'Moss,' He-_brew_, This coupled too with _John-a-Dreams_,--of course there's no offence Intended, yet it _has_ a smack of some irreve_rence_. The play's successful to a point, the critics say 'no doubt of it,' But were I Mister TREE I would cut thirty minutes out of it. I finish with no postscript, I commenced with no preamble, And sign myself devotedly, your PAULA PATRICK CAMPBELL." [Illustration: UNDER A CLOUD; OR, AN OXFORD (COMPACT) MIXTURE. HAROLD and HUBERT were two pretty men, Puzzled by plot when the clock strikes ten. Up jumps HAROLD, "A cloud in the sky!" "Comrade!" cries HUBERT, "how's _that_ for high?"] * * * * * NEW AND OLD. (_By One who prefers the Old._) Soft hair that ripples like a lake What time the water-lilies wake, Fair rosy cheeks and eyes of blue, Clear windows that the soul sees through, A moving grace, a brow of snow: Such were the girls we used to know. But now we tremble as we spy Woman's advancing majesty: The flashing eyes, the brows that knit, The ready tongue all themes to fit, The heavy stride--the hose in hue Unlike her eyes and deeply blue. Gone are the locks of golden brown That hung on gleaming shoulders down: Close-cropped as never Roundhead knave In sternest times aspired to shave, Not MILTON'S self, however blind, To toy with such had felt inclined. O monstrous growth of modern times, Not thine the lilt of lover's rhymes, Whom some grim don perchance may wed, Who scorns the heart and sues the head: Farewell for ever and a day, Miss ARAMINTA JONES, B.A.! * * * * * [Illustration: A TASTE TO BE ACQUIRED. _Sporting Farmer (to young Pupil from provincial town, who has just made his first effort to ride over a Fence)._ "NOW THEN, JUMP ON AGAIN! BETTER LUCK NEXT TIME! YOU'LL LIKE IT AFTER A BIT!" _Pupil (still seeing stars)._ "SHALL I, SIR? SEEMS TO ME AS MUCH LIKE A RAILWAY COLLISION AS ANYTHING!"] * * * * * "THE FOURTH R." 'Twas "The Three R's" they promised us, but now They're merged in a bad fourth--Religious (?) Row! ["The so-called 'compromise' of 1871 was based on the assumption that, when all the differences of our English Christendom were struck out, there would be found the beating heart of 'a common Christianity' sending a quickening life through all its members.... Believing it not impossible for 'all who profess and call themselves Christians' to reconcile themselves to these two forms, elementary and supplementary, I earnestly commend them for peaceful co-existence to the conflicting parties of School Board electors and members."--_Dr. James Martineau's Letter to the "Times" of November 14._] O wise and gentle teacher, whose appeal Is to the common heart, whilst general anger Distracts and darkens all our commonweal, And schools and churches ring with noisy clangour; Would they but heed thy loving call, though late, How would the prospect brighten! Zeal fanatic With disingenuous dodges of debate, Insidious cant, assumption autocratic, Secular spleen, short-sighted super-thrift,-- All are at furious odds, wild-warring, windy, Intent, 'twould seem, to whelm a glorious gift In the loud whirlpool of sectarian shindy! "The beating heart"? It seems a mingled maze Of beating hands, and bludgeons wildly waving. How send "a quickening life" through this dull craze Of deadly, deadening rancour rudely raving? What _is_ their task, these teachers of the untaught, These would-be lighteners of our mental blindness? What is the lesson the child-crowds have caught From these tumultuous foes of human-kindness? They told us, in quaint diction, the Three R's Should renovate the land, refine the people; Break down at last low-birth's invidious bars. Alas! What rings from school-tower and church-steeple? Not the harmonious heaven-aspiring sound Of blessing-bearing bells, but furious clashing Of cracked creed-tocsins, spreading wrath around, Love's efforts thwarting, wisdom's high hopes dashing. Where be the "Three R's" now? Sectarian schism Has cloven up the compromise, and ended In Ugly Rush! See rampant Rileyism Shaking its standard at the door, attended Close by the Nonconformist banner-bearer,-- "Religion without Dogma!" blazoned boldly,-- Denouncing the first "R" as child-ensnarer Into a fold whereon _his_ creed looks coldly, Whilst hating hotly one who hotly hates His shibboleth as vague and vain and vapid. Next, vigorous be-rater of the Rates, Whose rise he vows is ruinously rapid, Unsympathetic Gallio of the Shop Pence-saving soul and strenuous till-protector, The third R rages. Stop, mad zealots, stop! Lest all the toil of Board and School Inspector, Teacher and taught, end in one fourth R--ROW! A vulgar term, my masters, unscholastic; But--the great lesson ye are teaching _now_, To the young mind, and to the conscience plastic, Of gutter-waifs and children of the slum. They have "long ears," _these_ "little pitchers," verily. Think you without joint bidding they will come Whom their old teacher, Vice, employs so merrily? _His_ creed is one, _his_ doctrine's not obscure, _His_ tests and formularies do not vary, _His_ "standards" stand, and his "results" are sure, And of "school-places" _he_ is never chary. Oh self-elected shepherds, with your crooks, Fighting, while round your folds the wolves are creeping!-- Pedagogues wrangling o'er your lesson-books, Whilst your wrath rages human love sits weeping! If of "a common Christianity" Ye were but practical and patient teachers, In Education's task ye might _agree_. Now sense is asking "Who shall teach our teachers?" [Illustration: "THE FOURTH R;" OR, THE "RELIGIOUS"(?) ROW AT THE SCHOOLBOARD. _Quite Un-sectarian Girl._ "OH, MY! WHAT A JOLLY ROW!" _Equally Un-sectarian Boy._ "AIN'T IT! I 'OPE THEY'LL KEEP IT UP, AND WE SHAN'T 'HAVE TO LEARN NOTHINK!"] * * * * * LYRE AND LANCET. (_A Story in Scenes._) PART XXI.--THE FEELINGS OF A MOTHER. SCENE XXXI.--_The Morning Room._ TIME--_Sunday morning; just after breakfast._ _Captain Thicknesse_ (_outside, to_ TREDWELL). Dogcart round, eh? everything in? All right--shan't be a minute. (_Entering._) Hallo, PILLINER, you all alone here? (_He looks round disconcertedly._) Don't happen to have seen Lady MAISIE about? _Pilliner._ Let me see--she _was_ here a little while ago, I fancy.... Why? Do you want her? _Capt. Thick._ No--only to say good-bye and that. I'm just off. _Pill._ Off? To-day! You don't mean to tell me your chief is such an inconsiderate old ruffian as to expect you to travel back to your TOMMIES on the Sabbath! You could wait till to-morrow if you _wanted_ to. Come now! _Capt. Thick._ Perhaps--only, you see, I _don't_ want to. _Pill._ Well, tastes differ. A cross-country journey in a slow train, with unlimited opportunities of studying the Company's bye-laws and traffic arrangements at several admirably ventilated junctions, is not my own idea of the best way to spend a cheery Sunday, that's all. _Capt. Thick._ (_gloomily_). Daresay it will be about as cheery as stoppin' on here, if it comes to that. _Pill._ I admit we were most of us a wee bit chippy at breakfast. The Bard conversed--but he seemed to diffuse a gloom somehow. Shut you up once or twice in a manner that might almost be described as d--d offensive. _Capt. Thick._ Don't know what you all saw in what he said that was so amusin'. Confounded rude _I_ thought it! _Pill._ Don't think anyone _was_ amused--unless it was Lady MAISIE. By the way, he might perhaps have selected a happier topic to hold forth to Sir RUPERT on than the scandalous indifference of large landowners to the condition of the rural labourer. Poor dear old boy, he stood it wonderfully, considering. Pity the Countess breakfasted upstairs; she'd have enjoyed herself. However, he had a very good audience in little Lady MAISIE. _Capt. Thick._ I do hate a chap that jaws at breakfast.... _Where_ did you say she was? _Lady Maisie's voice_ (_outside, in Conservatory_). Yes, you really ought to see the Orangery and the Elizabethan Garden, Mr. BLAIR. If you will be on the terrace in about five minutes, I could take you round myself. I must go and see if I can get the keys first. _Pill._ If you want to say good-bye, old fellow, now's your chance! _Capt. Thick._ It--it don't matter. She's engaged. And, look here, you needn't mention that I was askin' for her. _Pill._ Of course, old fellow, if you'd rather not. (_He glances at him._) But I say, my dear old chap, if _that_'s how it is with you, I don't quite see the sense of chucking it up _already_, don't you know. No earthly affair of mine, I know; still, if I _could_ manage to stay on, I would, if I were _you_. _Capt. Thick._ Hang it all, PILLINER, do you suppose _I_ don't know when the game's up! If it was any _good_ stayin' on---- And besides, I've said good-bye to Lady C., and all that. No, it's too late now. _Tredwell_ (_at the door_). Excuse me, Sir, but if you're going by the 10.40, you haven't any too much time. _Pill._ (_to himself, after_ Captain THICKNESSE _has hurried out_). Poor old chap, he does seem hard hit! Pity he's not Lady MAISIE'S sort. Though what she can see in that long-haired beggar----! Wonder when VIVIAN SPELWANE intends to come down; never knew her miss breakfast before.... What's that rustling?... Women! I'll be off, or they'll nail me for church before I know it. [_He disappears hastily in the direction of the Smoking Room as_ Lady CANTIRE and Mrs. CHATTERIS _enter_. _Lady Cantire._ Nonsense, my dear, no walk at all; the church is only just across the park. My brother RUPERT always goes, and it pleases him to see the Wyvern pew as full as possible. I seldom feel equal to going myself, because I find the necessity of allowing pulpit inaccuracy to pass without a protest gets too much on my nerves; but my daughter will accompany you. You'll have just time to run up and get your things on. _Mrs. Chatteris_ (_with arch significance_). I don't _fancy_ I shall have the pleasure of your daughter's society this morning. I just met her going to get the garden keys; I think she has promised to show the grounds to----Well, I needn't mention _whom_. Oh dear me, I hope I'm not being indiscreet _again!_ _Lady Cant._ I make a point of never interfering with my daughter's proceedings, and you can easily understand how natural it is that such old friends as they have always been---- _Mrs. Chatt._ Really? I _thought_ they seemed to take a great pleasure in one another's society. It's quite romantic. But I must rush up and get my bonnet on if I'm to go to church. (_To herself, as she goes out._) So she _was_ "Lady Grisoline," after all! If I was her mother---- But dear Lady CANTIRE is so advanced about things. _Lady Cant._ (_to herself_). Darling MAISIE! He'll be Lord DUNDERHEAD before very long. How sensible and sweet of her! And I was quite uneasy about them last night at dinner; they scarcely seemed to be talking to each other at all. But there's a great deal more in dear MAISIE than one would imagine. _Sir Rupert_ (_outside_). We're rather proud of our church, Mr. UNDERSHELL--fine old monuments and brasses, if you care about that sort of thing. Some of us will be walking over to service presently, if you would like to---- _Undershell_ (_outside--to himself_). And lose my _tête-à-tête_ with Lady MAISIE! Not exactly! (_Aloud._) I am afraid, Sir RUPERT, that I cannot conscientiously---- _Sir Rup._ (_hastily_). Oh, very well, very well; do exactly as you like about it, of course. I only thought----(_To himself._) Now that _other_ young chap would have gone! _Lady Cant._ RUPERT, who is that you are talking to out there? I don't recognise his voice, somehow. _Sir Rup._ (_entering with_ UNDERSHELL). Ha, ROHESIA, you've come down, then? slept well, I hope. I was talking to a gentleman whose acquaintance I know you will be very happy to make--at last. This is the genuine celebrity _this_ time. (_To_ UNDERSHELL.) Let me make you known to my sister, Lady CANTIRE, Mr. UNDERSHELL. (_As_ Lady CANTIRE _glares interrogatively._) Mr. CLARION BLAIR, ROHESIA, author of hum--ha--_Andromache_. _Lady Cant._ I thought we were given to understand last night that Mr. SPURRELL--Mr. BLAIR--you must pardon me, but it's really so very confusing--that the writer of the--ah--volume in question had already left Wyvern. _Sir Rup._ Well, my dear, you see he is still here--er--fortunately for us. If you'll excuse me, I'll leave Mr. BLAIR to entertain you; got to speak to TREDWELL about something. [_He hurries out._ _Und._ (_to himself_). This must be Lady MAISIE'S mamma. Better be civil to her, I suppose, but I can't stay here and entertain her long! (_Aloud._) Lady CANTIRE, I--er--have an appointment for which I am already a little late; but before I go, I should like to tell you how much pleasure it has given me to know that my poor verse has won your approval; appreciation from---- _Lady Cant._ I'm afraid you must have been misinformed, Mr.--a--BLAIR. There are so many serious publications claiming attention in these days of literary over-production that I have long made it a rule to read no literature of a lighter order that has not been before the world for at least ten years. I may be mistaken, but I infer from your appearance that your own work must be of a considerably more recent date. _Und._ (_to himself_). If she imagines she's going to snub Me----! (_Aloud._) Then I was evidently mistaken in gathering from some expressions in your daughter's letter that---- _Lady Cant._ Entirely. You are probably thinking of some totally different person, as my daughter has never mentioned having written to you, and is not in the habit of conducting _any_ correspondence without my full knowledge and approval. I think you said you had some appointment; if so, pray don't consider yourself under any necessity to remain. _Und._ You are very good; I will not. (_To himself, as he retires._) Awful old lady, that! I quite thought she would know all about that letter, or I should never have---- However, I said nothing to compromise anyone, luckily! _Lady Culverin_ (_entering_). Good morning, ROHESIA. So glad you felt equal to coming down. I was almost afraid--after _last night_, you know. _Lady Cant._ (_offering a cold cheekbone for salutation_). I am in my usual health, thank you, ALBINIA. As to last night, if you _must_ ask a literary Socialist down here, you might at least see that he is received with common courtesy. You may, for anything _you_ can tell, have advanced the Social Revolution ten years in a single evening! _Lady Culv._ My _dear_ ROHESIA! If you remember, it was you yourself who----! _Lady Cant._ (_closing her eyes_). I am in no condition to _argue_ about it, ALBINIA. The slightest exercise of your own common sense would have shown you----But there, no great harm has been done, fortunately, so let us say no more about it. I have something more agreeable to talk about. I've every reason to hope that MAISIE and dear GERALD THICKNESSE---- _Lady Culv._ (_astonished_). MAISIE? But I thought GERALD THICKNESSE spoke as if----! _Lady Cant._ Very possibly, my dear. I have always refrained from giving him any encouragement, and I wouldn't put any pressure upon dear MAISIE for the world--still, I have my feelings as a mother, and I can't deny that, with such prospects as he has now, it _is_ gratifying for me to think that they may be coming to an understanding together at this very moment; she is showing him the grounds; which I always think are the great charm of Wyvern, so _secluded_! _Lady Culv._ (_puzzled_). Together! At this very moment! But--but surely GERALD has _gone_? _Lady Cant._ Gone! What nonsense, ALBINIA! Where in the world should he have gone to? _Lady Culv._ He _was_ leaving by the 10.40, I know. For Aldershot. I ordered the cart for him, and he said good-bye after breakfast. He seemed so dreadfully down, poor fellow, that I quite fancied from what he said that MAISIE must have---- _Lady Cant._ Impossible, my dear, quite impossible! I tell you he is _here_. Why, only a few minutes ago, Mrs. CHATTERIS was telling me---- Ah, here she is to speak for herself. (_To_ Mrs. CHATTERIS, _who appears, arrayed for public service._) Mrs. CHATTERIS, did I, or did I _not_, understand you to say just now that my daughter MAISIE----? _Mrs. Chatt._ (_alarmed_). But, _dear_ Lady CANTIRE, I had no idea you would disapprove. Indeed you seemed----And really, though she certainly takes an interest in him, I'm sure--_almost_ sure--there can be nothing serious--at present. _Lady Cant._ Thank you, my dear, I merely wished for an answer to my question. And you see, ALBINIA, that GERALD THICKNESSE can hardly have gone yet, since he is walking about the grounds with MAISIE. _Mrs. Chatt._ Captain THICKNESSE? But he _has_ gone, Lady CANTIRE! I saw him start. I didn't mean _him_. _Lady Cant._ Indeed? then I shall be obliged if you will say who it is you _did_ mean. _Mrs. Chatt._ Why, only her old friend and admirer--that little poet man, Mr. BLAIR. _Lady Cant._ (_to herself_). And I actually _sent_ him to her! (_Rising in majestic wrath._) ALBINIA, whatever comes of this, remember I shall hold _you_ entirely responsible! [_She sweeps out of the room; the other two ladies look after her, and then at one another, in silent consternation._ [Illustration: "I'll be off, or they'll nail me for church!"] * * * * * THE WHIMS OF AMPHITRYON. Isn't our good friend of the _P. M. G._ a little extravagant with his culinary raptures? However, we will not be outdone. If he rhapsodises the "Magnificent Mushroom," we have discovered a still more exalting theme, which, taking "whelk" as pronounced, we will call THE WITCHERY OF THE WHELK. Would you learn the divinest glory of a goddess among molluscs? Would you note the gastronomic charms of a succulent sea-nymph? Ostracise, then, from your table the blue-point impostor that foists his bearded banality on the faithful elect. Let the cult of that lusty Titan, the Limpet, sink awhile into the limbo of outworn idolatries. Forbear, if you are wise, to hymn the stern masculinity of the Mussel, gregarious demi-god but taciturn, hermetically sealed within the wilful valves of a sulky self-effacement. And let that other fakir of the sea-marge, the fantastic and Pharisaic Scallop, ply his Eleusinian rites, unrevered by the devout and metaphor-mixing epicure. Rather let it be ours to celebrate, though baldest prose were all-insufficient, the allurements of a pandemic Aphrodite, the seductive Whitechapel Whelk, and the coy grace of her sister, the wanton Winkle of Rosherville. Let us take the first--assume that the siren is yours, then consider how fitliest she shall be dressed. And here it shall be seen whether you have true chivalry and romance in your soul, or whether you grovel in mere sensual _gourmandise_. What says Master BILL NUPKINS, master-cook to the Blue Pig chop-house in Skittle-alley? Is there not an idyllic flavour of Cocaigne, a very fervour of simplicity about his spelling which goes straight to the gizzard of the whelk-worshipper? Listen to his wise counsel on whelks _à la_ Shoreditch:-- "Tyke three 'aputh of whilks, 'Erne By sort fer choice, and chuck 'em wiv a saveloy and a kipper into a sorcepan, if you can nick one from a juggins. Bile 'em till they're green, and add 'arf a glorss of unsweetened, tho it's a pity to wyste it. If toimes is 'ard, the kids and the missus can 'ave the rinsings, or go wivout. Taike my tip, and don't you be a bloomin' mug. You can blyme well stick to the juggins' sorcepan. You may, I dessay, raise arf a dollar on it." There speaks the true _gourmet_, with single-hearted straight-forward egotism, worthy of a City alderman, in all the glory of a civic banquet. To none but an artist in guttlery would that touch of genius about the kids and the missus occur. Again, disdain not the sweetly subtle recipes and romantic fancies that you may gather during your sojourn at Colney Hatch. For there, far from the dull Philistinism of house-dinners and fried-fish shops, with all wild Mænad orgies may your divinity be adored. Learn but one magic formula, and you shall see the wizard-working of your incantation, as, like an enchantress herself bewitched, she assumes you an ensorceled, faery shape. Here, mark you, is this potent spell, culled from the inspired lips of a frenzied _chef_. _To Make Whelk Fritters._--Take one ripe whelk, draw and truss it until you are black in the face, tie up the forequarter with chickweed, sit down, and smoke a pipe; parboil anything you like for a few hours, or don't, if you don't care to; rub the _purée_ through a tammy (I don't know what this is); flavour with elbow-grease, egg-_faisandé_, mud-salad, and _bêtes noire_; dredge the gallimaufrey, and hold your nose; write some letters; the _vol-au-vent_ will then explode; wrap the pieces in an old sock, and bury for six weeks; take the 2.13 train to town, and have your hair cut, or pay some calls; then start again with another whelk, and proceed as before; but it is better to buy the fritters ready-made." Is not this a lesson in devotion and perseverance? Rejoice greatly, and work out your sybaritic salvation. And now that you have food for pious reflection, after a space you shall, to your exceeding great advantage, be further instructed in the liturgy of the Winkle. [Illustration: "ALL IS NOT GOLD," &c. _Gentleman (in waiting for his Wife, at "Great Annual Sale," to Head of Department)._ "YOU MUST DO AN ENORMOUS BUSINESS ON DAYS LIKE THIS." _Head of Department._ "NOT SO MUCH AS YOU MIGHT FANCY. THE GREAT MAJORITY OF THE PEOPLE HERE TO-DAY ARE _SHOPPING_--NOT BUYING!"] * * * * * [Illustration: THE WORST OF HAVING "A DAY." _Edith._ "HERE COME THOSE DREADFUL BORES, THE BRONDESBURY-BROWNS! HOW _TACTLESS_ OF THEM, TO COME AND SEE US ON THE ONLY DAY IN THE WEEK WE'RE _AT HOME_!"] * * * * * "NOBODY LOOKING!" ["We will not evacuate Madagascar ... we will pursue the advantages we have gained ... Madagascar will become a flourishing French Colony. (_Cheers._) ... Our freedom of action is complete. There can be no foreign interference."--_M. Hanotaux on the French Expedition to Madagascar._] _Lupus, on the prowl, loquitur:_-- Oh, those Malagasy muttons! They are homicidal beasts, Very dangerous, and desperate, and spiteful. Yet, taken young, they furnish quite the toothsomest of feasts, And my hunger for a meal is getting frightful. My "attitude towards them" is--oh! well, the usual one Of the Wolf toward the Lamb the wide world over; The "attitude" of the imprisoned Bear toward the Bun, And I'm _free_--as free as song's romantic Rover! Yes, I'm free, though not "afloat." There's a feeling in my throat That my foes might call omnivorous voracity, But it is a noble hunger; on nobility I doat; And black baa-lambs are so given to--pugnacity. So full of ill-will, too, in all circumstances! Yes, They turn nasty at the thought of being eaten up! But omelettes still need eggs, as they ever will, I guess, And the eggs have to be broken and well beaten up! You can't tie lambs to treaties, that's the worst of the false things, Though _you_ supply the treaty and the tether. They bolt from my Protectorate as though the brutes had wings, And they will _not_ trust a Wolf as a bell-wether! It is very, very vexing! In such quiet times as these, When "the elements of peace" are fairly uppermost, They ought to be so willing to do _anything_ to please. (_Gn-a-r-r!_ Do I want "redress," now, or my supper most?) All the world is doing homage to that peaceful creature, Bruin, Who is almost as unmilitant as _I_ am; Yet these Malagasy muttons would the _entente_ simply ruin. They're as fierce as the ferocious sheep of Siam. At the lovely "words of concord and of peace" they simply--_bleat_, A sound that fills the Dove--and me--with terror! They think, because he's gentle, that the Wolf they'll kill and eat. The Wolf must try to show them they're in error. A "policy of division and of discord" must inspire The world with horror and with apprehension. Of "watching o'er my interests and my honour," I shan't tire, And I think there's little fear of--intervention. All the other brutes are busy at their several little games, Inspired by various--peaceful--emulations! These rivalries--of peace--will not set the world in flames, Or "compromise" relations between nations. So I think while no one's looking, I may drop down on these sheep With moral and magnanimous severity. Ah! there's a black-faced baa-lamb! On her track I'll slowly creep, I can go with boldness, though "without temerity." A peaceful time like this is my time to make a pounce; The dogs are all asleep, there's no one looking. Ah! there's nothing like a blend of magnanimity and bounce. _Yum-yum!_ 'Tis a choice morsel, scarce needs cooking; She comes this way, amusingly unmindful of her fate. Aha! my Hova lambkin, I shall have you, I shall eat you up! There's no one will object, until too late, There's no one near will trouble take to save you! [_Prowls on._ [Illustration: "NOBODY LOOKING!" FRENCH WOLF (_to himself_). "AHA! THE SHEEP-DOGS ARE ASLEEP! I SHALL EAT YOU, MY LITTLE DEAR!" "Our freedom of action is complete. There can be no foreign interference."--_Speech of M. Hanotaux._] * * * * * QUEER QUERIES. THE L. C. C. AGAIN.--Is it possible that the Government is about to back up the London County Council in another attack on one of our time-hallowed institutions? I see that Mr. ASQUITH told a deputation that "one of the first acts of a Local Authority, if it had the power, would be to abolish the Ring." What on earth has a Local Authority to do with the mode in which marriages are celebrated? Englishmen should rise in their thousands to defend the wedding-ring, symbolising as it does the sanctity of the nuptial tie, and should hurl from power a Government which is about to hand us over, fingers and souls, to a tyrannical set of County Council busybodies. Mr. ASQUITH went on to talk rather disconnectedly, it seems to me, about gambling; perhaps he holds the cheap modern view that "Marriage is a Lottery." But I want to know why a Home Secretary meddles with subjects of this sort? And how long is this conspiracy between a Radical Ministry and the L. C. C. to be allowed to continue? NOT TO BE CAUGHT NAPPING. * * * * * MORE SHE-NOTES. (_By_ IOPNA, _Author of "A Yellow Plaster."_) CHAPTER I. "_Virginibus puerisque_," said Miss CONSTANTIA DEMNING; "and it's by a _man_!" "By a _man_!" echoed the awe-struck ATHANASIA. "And to think that in spite of all our pioneering and efforts to confine her studies to the New Woman Series our niece may even now have tasted of the tree and be bursting out into throbbing nerve-centres and palpable possibilities. Compare we two with her! Have you noted her restless craving after Philistine delights such as man-worship and a literary style? Thank Heaven, she never got that from _us_ or _our_ books." The speakers were a pair of old Purgatorial Twins, not without alleviations, designed by Nature to multiply. But aloofness, coupled in harness with anæmia, had nipped the wilding shoots in the bud and won hands down at the distance. True, in the scraggy past, there had been a male creature, less curate than Cupid, that each of them had saved her soul alive in the memory of. But the cares of celibacy, cruel-heavy as a portmanteau-metaphor, now weighed on their shoulders; they could not crush them with a burial-spade like complete natures; they stamped their faces (the cares did the twins' faces) with their ponderous crow's feet. Still, at times, like spring-cleanings, came spring-hankerings. A whiff of yellow tulip on the breeze, and they would drink in the sunlight and the flowers and the beasts and the fishes and the dew and the early worm. Even now as they peered into this book of forbidden sentiment at the words--"The presence of the two lovers is so enchanting to each other that it seems it must be the best thing possible for everybody else"--from some faded, twilit cellar of the past came the bleating lyre-bird of carnal reverie; but the astuter of the two scented tangibly the cloven hoof, and coming to her better self with a strangled "Oh!" she cast the book into the stove of the Queen Anne parlour, so suggestive of their own aloofness, void as it was of dog or waste-paper basket, or English grammar, or any such humanizing influence. At that moment a pair of swift, Pagan feet sounded in the passage. CHAPTER II. When MARGERINE entered there was the usual family aloofness in her face, but also a new element of alleviation. Always plastic as the compound from which she derived her name she had now reached five feet seven and a half inches, and from the crest of her unutterably pullulating womanhood could afford to look down impersonally on her maiden aunts as they struggled in the trough like square pegs in a round hole. The spectacle of burning leather was in her nostrils, and the vile smell of it gave her an insight into the situation. Plunging her Aunt's best silver-plated sugar-tongs into the flames, she rescued her shrivelled treasure, waved it above the coming tempest like a brand, and faced them, rigid with wrath, half-seas-over with the glamour of things. An odd, earnest, ineffable look jumped into her eyes, changing their grey to pitch-black, with patches of ethereal blue, where the soul shone through. To their dying day the twins never forgot the smell, or ceased from the pain of their incapacity to grasp the fresh, unmellowed point of view. Points of view are the very dickens. At last she got less rigid, and became nasty in soft, sweet, labial gutturals, like the whoop of a bull-frog on the sleepy pool just above the dam. "Is this well-born and well-bred in you, I ask?" There was a defiant abasement in her tone. "Of course you can't help it. You never loved! Pooh!" The two elder Miss DEMNINGS crushed the fledgling secret of the late curate into its nest, and vituperated till they fell short of matter, being but poorly winded. "Unregenerate--abandoned--viper--alleviator! Pass from our twin presence!" MARGERINE moved toward the door; then, by a quaint habit that was a third nature to her (she had two others), she stood there absently, ajar and aloof. Her air of distinction came right out through her wretched frock. Then she went to the drawing-room, singeing her Pagan cheek with the smouldering volume, her young, expansive brain hot with the thought that there were no other copies in the village. "Unless he sends for another from town I shall never be able to keep up my unreasoning, palpitating ecstasy. I must have some ventilation for my inevitableness, or burst." She rang for fresh tea. The crumpets were crystal-cold. She tasted one, and had a qualm, as if her sympathies were getting enlarged. For a moment she wondered what a headache such as she had read about in books could be like. The next, she was down by the trout-stream, familiar in all she-notes, and lay there gurgling with gutturals. The peculiarity of CHAMOIS HYDE was that he could not bear making other people--college dons, for instance--ridiculous. About himself it did not so much matter. Oxford had succeeded Eton, and hard on the heels of a good degree had come a cropper in the hunting-field, a nurse, a complicated kiss, a proposal, marriage, disillusionment, in the order named. A poorer, singler man, with the same prancing tip-toe spirit, would have lost all sense of decency, and written a book. But being rich, and, by profession, married, he also was on his way to the usual trout-stream. Which was a thousand pities, and comes into the next chapter. * * * * * [Illustration: "ALL'S WELL!" _Cockney Volunteer_ (_on Sentry go_). "HALT! WHO GOES THERE?" _Rustic._ "IT'S ALL ROIGHT, MAN. OI COOMS ALONG 'ERE EV'RY MAARNIN'!"] * * * * * [Illustration] PROVERB FOR CHAPERONS. Flirts of a feather spoon together; Amorous pairs flock on the stairs. * * * * * JAP AND CHIN.--"What a curious metamorphosis!" writes to us our esteemed contributor-at-a-distance, HERR VON SAGEFRIED. "Herr John Chinaman is suing for peace! so that the Chinese party becomes the real _Chap-on-knees_!" * * * * * COMMENT BY A LABOUCHERIAN.--Resolutions cannot be made with ROSEBERY. * * * * * THE NEW MAN.--Woman. * * * * * [Illustration: _Minister._ "OH DEAR, NO, JAMES. THERE'LL BE NO NECESSITY FOR WHISKY IN HEAVEN." _Parishioner (dubiously)._ "NECESSITY OR NO NECESSITY, I MAUN SAY I AYE LIKE TO SEE IT ON THE TABLE!"] * * * * * THE CHRONICLES OF A RURAL PARISH. II.--THE PUBLIC MEETING. I promised last week that the third chapter should be devoted to my meeting, and a WINKINS'S word is as good as his bond, in point of fact, if anything a trifle better. But I think I ought first to mention that since the account of my interview with Mrs. LETHAM HAVITT and Mrs. ARBLE MARCH appeared in print, I have been subjected to the annoyance of receiving an anonymous letter. I should be the last to suggest that either of these ladies, for whom my admiration is equalled only by my respectful awe, had anything to do with this missive, but here is what it contained. "It is easy to jeer at Woman, but be warned in time. Her day will come. Already, married or single, she may vote, already County Councils tremble at her word. Treat Woman with respect, _or it will be the worse for you_." These last words were written in red ink. I confess I'm not easily frightened, but I don't like this kind of thing. And all my wife says is that it serves me right for getting mixed up in these public affairs at my time of life, and that I ought to know better. "You're not fitted for it, TIMOTHY," she says, "and you'll only be made a fool for your pains." I am very fond of my wife, but I wished she wasn't a prophetess. It is time to come to the meeting. It was held in the Voluntary Schoolroom, granted to me by the Vicar, on the express condition that I should be strictly non-political. The room was crammed with persons, men and women, married and single. The Vicar brought his daughters, two charming girls. BLACK BOB and his mates were there, in solid rows, whilst Mrs. HAVITT and Mrs. MARCH both turned up, attended by body-guards--the one of Women Liberals, the other of Primrose Leaguers. When the Chairman rose at half-past seven it is no exaggeration to say that the scene was striking and impressive. Then, two minutes later, I rose, and commenced my _magnum opus_ of oratory. I had fifty-two pages of notes, I drank six glasses of water, and twenty-three people left before I had done, which was not until an hour and five minutes had elapsed. I don't for a moment complain that twenty-three left; my complaint is that the number was so few. My peroration, to which I had devoted days of care, somehow hardly had the effect I had hoped for. "This is indeed a memorable year," I said; "a year of truly rural significance. It remains with you to show that you are prepared to rise to the height of the occasion. If you do this, if you grasp firmly the benefits which this Act offers you, then when next New Year's Day the gladsome bells ring out once again to tell a listening world that one year is dead and that another lives, they will sound all the clearer, all the more joyous, because they ring in a year in which Mudford will have a Parish Council." Then I sat down, amidst subdued applause, which, I admit, disappointed me. The Vicar's daughters never even took the trouble to applaud at all, and both seemed to have something to confide to their handkerchiefs. Black BOB whispered to his neighbour, "Laying it on thick to-night, isn't he?" I wonder what he meant. After this commenced a torrent of questions, forty-six in all before they were done. May I never live to have such another experience! All the points I had evaded, because I had not understood them, came up with hardly a single exception. One man asked, "Can the Parish Council remove the parson?"--a most embarrassing question, which evoked roars of laughter from the audience, and a look of indignation from the Vicar. And the awful conundrums!--most of which I had to content myself with giving up. Here is one. "Supposing only eight people come to the Parish Meeting, and a Parish Council of seven has to be elected, and suppose seven of the eight are nominated for election, and the seven are elected chairmen of the Meeting in succession, and have all to retire because they are candidates for the Council, and suppose the eighth man cannot read or write, and when he's proposed as chairman, goes home, how will the Parish Council be elected?" I simply said I would consult my lawyer, and, if necessary, take counsel's opinion. Of course there was a vote of thanks, and of course it was carried. When I got home, my wife, who had declined to go, asked me how it had all gone off. "My dear MARIA," was all I said; "you are quite right. A man at my time of life ought never to start taking part in public affairs." * * * * * THE DOOM OF THE MINOR POETS. When Minor Poets grew so rife, They found a Minor Poet's life Was very little fun The Spirit of the Age they prayed They might be melted down, and made Into a Major one. Each had a very little spark Of genius, that in the dark Might clearly be discerned. But in a universal glare! Who could perceive a rushlight, where By myriads they burned? The Spirit heard the prayer they urged, That all their merits might be merged In one enduring Fame: "Yet, ere you all are whelmed and gone, You," she declared, "must fix upon The Major Poet's name." Up rose a mighty clamour then, For SMITH proposed the cognomen Of SMITH, in ardent tones. "More suitable for high renown," Cried BROWN, "appears the name of BROWN." JONES advocated JONES. Expecting yet some verdict clear, The Spirit waited half a year, Then spread her wings and fled, But ere she fled, pronounced this curse: "You all shall read each other's verse Till all of you are dead!" Some, overburdened by the doom, Sank speedily into the tomb. In padded cells and lone There wander others, who abuse All day the volumes they peruse, But never ope their own! * * * * * [Illustration: THINGS THAT ARE SAID. "NOW, MAJOR DO YOUR VERY BEST TO COME TO US ON TUESDAY. I SHALL EXPECT YOU. BUT IF YOU _CAN'T_ COME, OF COURSE I SHALL NOT BE DISAPPOINTED!"] * * * * * CROSSED! (_To a Girl at a Distance._) Why must you go four thousand miles away? It throws our correspondence out of gear! I cannot cable to you ev'ry day-- It's much too public, and it's rather dear! You write for sympathy--I sympathise; You get my answer ten days after date, And then, with spirits sky-high, you despise My poor attempts your sorrow to abate! Meanwhile, to my hilarious last-but-one Here comes your late but similar reply; But now _my_ turn at dumps has just begun-- I can't enjoy your triumphs while I sigh! And so our moods go see-saw, up and down, Our letters cross, perversely cold or fond! There's only one redress--come back to town, And then we'll _meet_, and cease to correspond! * * * * * THE MUSIC WITH A FUTURE. (_An Imaginary Sketch of How Things can not Possibly be Done._) SCENE--_The Composing Room of an_ Illustrious Musician. _The_ Illustrious Musician _discovered deep in thought in front of a Piano._ _Illustrious Musician_ (_picking out the notes with one finger_). "Dumty dumty, dumty dum dum." No, that isn't it! I am sure I had it just now. (_Tries again._) "Dumty dumty, dumty dum dum." No, that's not it either! I must try it again--oh, of course, with Herr VON BANGEMNÖT. Now to summon him. (_Blows trumpet_). That ought to bring my _aide-de-camp_. [_Flourish of trumpets, drums; doors thrown open, and enter a Regiment of Infantry, with its full complement of officers._ _Colonel_ (_saluting_). Your Majesty required assistance? _I. M._ (_considering_). Yes, I knew I wanted something. Oh, to be sure. Will you please send Herr VON BANGEMNÖT to me at once. _Colonel_ (_saluting_). Yes, your Majesty. (_To troops._) Right about turn. [_Flourish of trumpets, drums. The Regiment retires. Enter_ Herr VON BANGEMNÖT. _Herr Von Bangemnöt_ (_making obeisance_). Your Majesty required my assistance? _I. M._ Well, scarcely that, old Double Bass. The fact is, I've just composed a very pleasing trifle, but I can't write it down for the life of me. Would you like to hear it? _H. V. B._ Certainly, your Majesty. I shall be overjoyed. _I. M._ Well, it goes like this--"Dumty dumty, dumty dum dum." See. "Dumty dumty, dumty dum dum." Now, _you_ repeat it. _H. V. B._ (_who has been listening intently_). "Dumty dumty--dum dum." _I. M._ (_interrupting_). No, no; you've got it all wrong. See here, "Dumty dumty, dumty dum dum." _H. V. B._ (_in an ecstacy_). "Dumpty dumpty, dumpty dum dum." Perfectly charming! It is really excellent! _I. M._ (_pleased, but suspicious_). You really think it good? _H. V. B._ Good! that isn't the word for it. Excellent! first rate! capital! _I. M._ I am so glad you like it. I daresay you could write it out for me? _H. V. B._ Oh, certainly. Beautiful! Only wants a little amplification to take the musical world by storm. _I. M._ (_much pleased_). You really are exceedingly complimentary. You are indeed. I suppose it could be scored for an orchestra? _H. V. B._ I should think so. I will turn it into a march for the Cavalry. _I. M._ And for the Infantry, too? You see, there might be jealousy if you didn't. _H. V. B._ Quite so. And there should be marches for the Artillery and Engineers. Then of course we should have a version to be played by the Navy, first in fine weather and then in a storm. _I. M._ I think we ought to do as much. And of course the children should have a version suitable for their shrill voices. And it could be used as an opera, and played on the organ. All this, of course, you could manage? _H. V. B._ Certainly, you may be sure it shall become universally popular. I will score it for every conceivable instrument, and every possible audience. It shall be played or sung in hospitals, railway stations, schools, and in fact everywhere! _I. M._ It shall! But there must be one version teaching a man how to play the tune with a solitary finger. _H. V. B._ May I venture to ask by whom that last version will be used? _I. M._ Why, old Double Bass, can't you guess? Why, man alive, I shall play from it myself! [_Tableau and Curtain._ * * * * * NOVELTIES IN GASTRONOMY. Talk about the Chinese eating dogs and cats, and the partiality of the South Sea Islanders for Missionary, what price this, from the _Daily Telegraph?_-- ROAST COOK (single) WANTED, for large hotel. State age, and last reference. The cannibal advertiser evidently is a _gourmet_, for he is particular as to age, and never eats them married. Or is it that he likes them single in preference to double, as, _per contra_, one might prefer double stout to single stout. After this, we shall expect such delicacies as Boiled Butler, Sauce Maître d'Hotel, Fried Footman, garnished with Calves-foot jelly, or Pickled Pageboy with Button mushrooms. Every fashion must have some inaugurator; and who knows but that we are on the eve of cannibalism, and that the Advertiser and the _Daily Telegraph_ are its joint pioneers! * * * * * OUR BOOKING-OFFICE. Writes a Baronitess, "How quaint and simple appear the affectations of Miss JANE AUSTEN'S heroines in _Pride and Prejudice_, especially now that one's mind is confused with the vagaries of the newspaper-created but impossible 'New Woman.'" Rather different days then, when girls addressed their mothers as "Ma'am," and were afraid of getting their feet wet, which was unromantic, and bread-and-butter romance was the fashion of those times. No matter, these romantic young women knew how to dress, according to the exquisite illustrations of HUGH THOMSON. What could be expected but sentiment, when the young men also appeared so picturesquely attired. This new edition of an old work is charmingly got up and published by GEORGE ALLAN. Turning from these very early nineteenth century attractions, I find _A Battle and a Boy_ staring at me from a brilliant red binding. The colour suggests a gory fight, but there is nothing martial about it, only a Tyrolean peasant-boy in a pugilistic attitude with another boy. He is having it out before starting on his battle of life, which, taking place in the gay Tyrol, where things happen out-of-the-way, BLANCHE WILLIS HOWARD has made it more interesting than an every-day fight. [Illustration: Most Interesting.] Most young women nowadays like to be here, there, and everywhere, and so you will find them in the _Fifty-two Stories of Girl-life_, by some of our best women writers, and edited by ALFRED H. MILES. Messrs. HUTCHINSON who, publish this work, might head their advertisement with "Go for Miles--and you won't find anything better than this." Other jokes on "miles" they may discover or invent for themselves. These are mostly for our big girls, but the little ones will find a gorgeously gay _Rosebud Annual_ for 1895, quite a prize-flower, exhibited by JAMES CLARK & CO.; whilst _Rosy Mite; or, the Witch's Spell_, by VERA PETROWNA JELIBROVSKY,--this is a nice easy name to ask for!--is a most thrilling nursery tale of how a little girl, who ought to be an arithmetician after being reduced to the size of her little finger, is able to subtract much adventurous interest from among the insects and the insect-world, and is full of undivided wonders. The illustrations, by T. PYM, show how charmingly unconventional life can be in such circumstances. [Illustration: Aunï and Nephew BY OUR OWN BIRD FANCIER.] So charming, after long years of parting, to come again on _Mr. Micawber_! Of all things, he has been writing an account of _The Life and Adventures of Thomas Edison_ (CHATTO AND WINDUS). The book purports to be the joint work of W. K. L. DICKSON and ANTONIA DICKSON. But that is only his modesty. The literary style is unmistakable. "Released from the swaddling clothes of error and superstition," no one but _Mr. M._ could have written, "the inherent virility of man has reasserted itself, and to the untrammelled vision and ripened energies of the scientist the arcana of nature have been gradually disclosed." "EDISON'S literary proclivities," he adds, in a sentence that recalls struggles in the house in Windsor Terrace, City Road, where _David Copperfield_ was a lodger, "were seriously hampered by the collapse of the family fortunes, and the early necessity of gaining his own living. Despite his paucity of years, and the practical claims which life had already imposed, EDISON devoted every spare moment to the improvement of his mind, and profited to the utmost by the wise and gentle tuition of his mother." My Baronite can almost hear _Mr. Micawber's_ voice choked by a sob as he declaimed this last sentence. Fortunately (or unfortunately) _Mr. Micawber_ does not last long. After the first chapter his hand is rarely seen, he probably, the God of Day gone down upon him, having been carried to the King's Bench prison. For the rest, the book is an admirable account of one of the most marvellous lives the world has known. Much of it is told in EDISON'S own words, conveying simple records of magic achievements. The book, luxuriously printed on thick glazed paper, is adorned by innumerable sketches and portraits, illustrating the life and work of the Wizard of the Nineteenth Century. B. DE B.-W. * * * * * FIRST IMPRESSIONS. [Illustration: Cook's Tour de Force.] Florence is undoubtedly one of the best places in the world for studying pictures. Resolve to visit the Pitti Palace. Now I shall see something like a palace--the home of the MEDICI, adorned with all the beauty of architecture and sculpture which they loved so well! No monotonous, painted barrack like Buckingham Palace, no shabby brick house like St. James's. And now I shall see a collection of pictures worthily housed in a magnificent building! No contemptible piece of architecture like our National Gallery, where you fall over the staircase directly you go in at the door, and where, when you have recovered yourself, you find three staircases, facing you like the heads of Cerberus at another entrance, and always go up the wrong one, and have to come down again and clamber up another before you find what you want. Even then, if you seek the watercolours of the greatest English landscape painter, you must go down yet another staircase into the cellar. Ascertain the position of the Pitti Palace, and stroll gently towards it. There is plenty of time, for the daylight will last another three hours. Cross the Ponte Vecchio, and reach a large open space opposite a magnificent jail. Yes! Even the jails here are magnificent! Continue strolling on until I arrive at the open country. Ask the way to the Palace, and am told that it is about two kilomètres back along the way I have come. Curious that I should not have noticed it. Return, looking carefully right and left, but do not see it anywhere, and again arrive opposite the jail. Ask a man I meet how that prison calls itself. He informs me courteously that it is the Palazzo Pitti. That! That dismal, monotonous, gloomy, brown structure? Why, Buckingham Palace is a joy for ever compared to it, and even Wormwood Scrubbs Prison reveals unsuspected charms! Would like to sit down to recover from the shock, but as one is more likely to find a public seat in a London square than in an Italian piazza, this is impossible. Therefore, totter to the great central entrance. Perhaps the grand staircase leading to the galleries may be as attractive as the exterior is forbidding. [Illustration: DYNAMITE WITH CARE] Discover that the entrance to the galleries is by a small side door, where I leave my walking-stick, and climb a narrow, steep staircase. Then climb a narrower and steeper staircase, and finally reach a staircase so steep and narrow that it might more accurately be called a ladder. Begin to think I have mistaken the way. Perhaps I shall find myself in the attics of the Palace, and be arrested as an anarchist. Have left my stick below, and have not even a passport with which to protect myself. Step cautiously up the first rounds of the ladder, when suddenly a large body completely fills the space above, and comes slowly down. It is impossible to go on; it is impossible to remain where I am. Must therefore go down to the least narrow staircase, and wait till the obstruction has passed. Do so. Awful pause.... [What the obstruction was, "A FIRST IMPRESSIONIST" will tell us in our next.--ED.] [Transcriber's Note: Inconsistent spelling and hyphenation are as in the original.] *** END OF THE PROJECT GUTENBERG EBOOK PUNCH, OR THE LONDON CHARIVARI VOLUME 107, NOVEMBER 24, 1894 *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law 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™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. 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™ 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™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ 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™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ 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™ 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™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ 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™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law 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™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ 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™ 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™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than 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™ License must appear prominently whenever any copy of a Project Gutenberg™ 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 in the United States and most other parts of the world 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. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (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™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ 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™ 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™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 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™ 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™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (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™ 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™ 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™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ 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™ 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™ 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™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ 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 works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ 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™ trademark, and any other party distributing a Project Gutenberg™ 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™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ 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™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ 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™’s goals and ensuring that the Project Gutenberg™ 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™ 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 information page at www.gutenberg.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. 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 business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread 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 www.gutenberg.org/donate. 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: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright 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 website which has the main PG search facility: www.gutenberg.org. This website includes information about Project Gutenberg™, 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.