FUN AND FROLIC
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: Fun And Frolic
Author: Various
Release Date: February 29, 2004 [eBook #11374]
Language: English
Character set encoding: US-ASCII
***START OF THE PROJECT GUTENBERG EBOOK FUN AND FROLIC***
|
|
FUN AND FROLIC
PROFUSELY ILLUSTRATED.EDITED BYE. T. ROE |
GRANDMAMMA WONDERS IF SHE CAN'T MEND IT. |
Elsie Dean was four years old when she was invited to her first party. It was Dollie Blossom's fifth birthday, and Dollie's mamma had arranged for a little party in honor of the event. Of course Elsie's mamma was perfectly willing she should go to the party, for the Blossoms were very nice people, and Mrs. Dean was always glad for an occasion of enjoyment for her little daughter. But alas, on the day before the party was to occur, Elsie went to a picnic, and was so unfortunate as to tear her dress—the only one she had which her mamma thought was suitable for her to wear to the party. "I am afraid you cannot go to the party, my dear, for now you have nothing fit to wear," said Mrs. Dean to Elsie. The little girl's eyes filled with tears, and her Grandmamma seemed to feel almost as bad about it as Elsie. But she did not wish to make the little girl feel any worse over her disappointment, so she made light of it and told her that there would probably be another birthday party soon, and by that time she would surely have a suitable dress to wear. Elsie was finally comforted, and went to bed in good spirits after kissing mamma and grandmamma good night.
What was Elsie's surprise next morning, to find that her picnic dress had been mended "good as new." She did not need to ask who did it, for she felt certain that it was grandmamma's work, and so it proved. Grandmamma remembered that she herself was a little girl once, and that blessed memory brought her into close sympathy with the grief and joy of her little granddaughter. And so Elsie, thanks to her grandmamma's tact and tenderness, went to Dolly Blossom's birthday party.
GOING TO BED. |
T. HOOD.
POLLY PLAYING OFF A TRICK ON PUSS. |
A lady who lived in New York City owned a pet parrot and a large house cat. The parrot was just as full of mischief as could be. One day the cat and parrot had a quarrel. I think the cat had upset Polly's food, or something of that kind. However, they seemed all right again. An hour or so after Polly was on her stand, she called out in a tone of extreme affection, "Pussy! Pussy! come here, Pussy." Pussy went and looked up innocently enough; Polly with her beak seized her tin of food and tipped its contents all over the cat, and then chuckled as poor Puss ran away half frightened to death.
SHIPWRECK ON THE AUCKLAND ISLANDS. |
J. T. FIELDS
FUN FOR THE KITTENS. |
PAINTING TOMMY'S FACE. |
Tommy Green was a little boy only eight years old when his parents sent him to "boarding school," where he was thrown into the company of boys older than himself. It is strange how most all boys enjoy teasing those who are younger than themselves.
At Tommy's boarding school all the boys slept in one large room, on cots conveniently arranged. Tommy was a heavy sleeper. One morning he awoke with a strange feeling of stiffness about his face, and no sooner did he sit up in bed than a laugh rang around the whole room.
"What are you laughing at?", he asked, but the boys only laughed the harder at his confusion. At last one little boy named Frankie Jones cried out "Tommy, it's your face."
Tommy rushed to a looking-glass, and found on his forehead and on each cheek an enormous dab of red paint.
"Halloo, Green?" shouted one of the boys, "You're red now, ain't you?"
Tommy was greatly teased for a while, but kept his temper, and it was not very long before he was joining with his school-mates to tease some other small boy in a similar manner.
Such things are provoking, but it is best to treat them good-naturedly, as Tommy did, and not lose one's temper.
EGYPTIAN SAVING HIS CAT. |
Pussy has always been a favorite in the East, but the country where she was held in the highest estimation, and treated with the greatest respect, was Egypt.
The fondness of the Egyptians for their cats is shown in some of their ancient paintings where the cat is frequently seen by the side of its master whilst he entertains company. When a cat died the whole household shaved off their eyebrows in token of mourning; and its body was sent to the embalmers, and there made into a mummy, and afterwards buried, with great lamentations, in the cat-sepulchre adjoining the town.
Heredotus, the Greek historian, who had himself spent some time in Egypt, and witnessed the customs of the natives, tells us that when a house caught fire the only care of the Egyptians was to save the lives of the cats, utterly regardless of the destruction of their property.
Bubastis was the sacred city of cats, and there was the temple of the goddess Pasht, whose statue appeared with the head of a cat. There the cats reveled in luxury, for they were looked upon as living representatives of the divinity. The punishment for killing any sacred animal was death; but woe to the luckless person who even accidentally killed a cat? for he was set upon by the infuriated people, and torn to pieces without trial.
"ARE YOU FRIEND OR FOE?" |
LUCY LARCOM.
"SCRAMBLE" ON THE TOP OF THE WALL. |
Doctor Schroeder was a quaint old German physician, who lived in a fine old-fashioned house near a public play-ground. Connected with the doctor's premises was an extensive peach orchard, and, sad to say, naughty boys would sometimes climb over the orchard wall and pilfer his peaches. To guard against this practice the doctor had the top of his wall adorned with a row of very ugly iron spikes. Not far from Doctor Schroeder's place lived a family known as "the Jones's". One member of the family was a small boy nicknamed "Scramble;" so named, I presume, from the fact that he was all the time scrambling over other people's fences and into other people's fruit trees.
One day "Scramble" got caught on the spikes on top of Doctor Schroeder's wall, and in spite of all his efforts to get loose, the spikes held him fast until he was discovered and taken down by the quaint old doctor, almost frightened out of his wits. That is, "Scramble" was frightened, not the doctor, But to "Scramble's" great surprise and greater relief, the old German did not punish him with the terrible cane he held in his hand, but took him into the orchard and told him to take his pick of the finest fruit on the place.
"Scramble" felt greatly abashed over this unexpected kind treatment, and never again had the heart to pilfer peaches from old Doctor Schroeder.
GOATS KNOCKING AT THE DOOR. |
Goats sometimes do very clever tricks, which almost prove them to be capable of reasoning.
A goat and her kids frequented a square in which I once lived, and were often fed by the servants and myself. Now and again I heard a thumping at the hall door, which arose from the buttings of the goat when the food was not forthcoming, and the mother's example was followed by her two little kids. After a while this grew monotonous, and no attention was paid to their knocking! but one day the area bell—used by the delivery men and callers generally, the wire of which passed by the side of one of the railings—was sounded. The cook answered the bell, but no one was there save the goat and kids, with their heads bent down towards the kitchen window. It was at first thought that some mischievous boy had rung the bell for them, but they were watched, and the old goat was seen to hook one of her horns into the wire and pull it. This is too much like reason to be ascribed to mere instinct.
KING LEAR. |
Poor old King Lear, who in ancient times reigned in Britain, having in his old age turned over all his possessions to his two older daughters, Goneril and Regan, who professed to love him more than did their younger sister Cordelia, was by them cruelly deprived of his crown and turned out of his palace. None dared to give him shelter for fear of the anger of the two wicked queens. And though he had become blind, he was forced to wander over the land he once ruled, his only guide being an old and faithful servant. At last, in his misery and despair, he thought he would go to his youngest daughter, who had become queen of France, and see if she would take pity on him. So he crossed over to France. When Cordelia heard of her father's woeful plight, and of her sisters' cruelty to him, she wept for sorrow, and at once sent him everything needful for his comfort. She and her husband then set out to meet him, surrounded by their soldiers and followers, and brought him in great state to the palace, and honored him as a king in their land.
The King of France soon gathered an army and invaded Britain. The two ungrateful daughters and their husbands were killed, King Lear was restored to his throne, and when he died Cordelia succeeded him in the kingdom.
ANCIENT BRITISH SOLDIER AND MASTIFF. |
When the Romans invaded Britain they found that the natives had a breed of large fierce dogs, who would fight bravely for their masters; these animals they called pugnaces, or fighting dogs, and from them the modern English mastiff is descended.
Soon after the conquest of the island some of the British mastiffs were sent to Rome, where their sagacity, strength and courage excited so much admiration, that an imperial officer was appointed to reside in Britain for the express purpose of selecting the finest dogs to fight with other animals for the amusement of the vast crowds assembled in the Colosseum. The strongest dogs previously known to the Romans were the Molossian dogs of Epirus, which in their native country were trained by their masters to fight in battle, but when they were matched against the British mastiffs they were thoroughly beaten. The dogs of Britain were then pitted against various wild beasts; and it was said that three of them were a match for a bear and four for a lion. And so famous were they for courage, that the Gauls imported them, and trained them for war, and used them in their battles.
The British mastiff is no longer trained to fight in battle, but his character for sagacity and fidelity as well as courage, is as high as it was in the days of the Romans.
"NOW FOR IT! OVER WITH YOU!" |
Some minutes before sunrise we went aboard our boat and took our places for a long pull up the lakes. There were two sets of rowlocks, with oars to match. Fred took one pair and Farr the other. Spot lay down on Farr's coat behind his master. I took the stern seat and steering oar. Scott had the bow seat and a paddle.
"All ready!" cried Fred, cheerily. "Give way! one, two, three, and away we go!"
By the time we were fairly out on the lake there was quite a "sea."
We made for Birch Island. The swells threw us about amazingly. There is much strength and friskiness in these fresh-water surges. Those were wild moments. Fred, Farr and Scott were pulling with might and main. The spray flew over us; the spatters drenched us. I expected every moment that we should be swamped. And as we drew near the island our case seemed not much improved. The waves broke against it fiercely.
"It won't do to let her run on there!" exclaimed Farr. "It will swamp her."
"Yes," said Fred; "but it is not deep water. Sit still and pull till I give the word, then jump out, everybody, and ease her ashore.
"Now for it! Over with you!" he shouted, a moment afterwards.
We leaped out, and carried the boat by main strength high upon the land.
FRITZ COVERING UP HIS FOOD. |
Fritz is a beautiful light-blue grey cat. He is the especial pet of his master's little daughter, and therefore has many privileges about the house not usually accorded to cats. Among these special privileges is that of having his food in the dining-room. Fritz has many peculiarities, the chief being that he thinks that he is covering up the food that remains after he has eaten all he wishes, a habit of wild cats which is well known.
He stands over the plate which contains the remains of his repast and scratches perfectly imaginary dust or mould over it.
This he does all round the plate, and after a curious look at it to see that it is all right, and it is covered up, he walks leisurely away. How strange it is that these traces of a wild state are so often to be seen in animals which have been domesticated for long generations! Fritz had no need to cover up his food, even if the dirt or mould were there for the purpose, for he is sure of getting plenty more when he wants it. It was simply from the force of habit, a habit not his own, but his ancestors, that he went through the motions.
What a forcible illustration of the power of habit!
NAUGHTY WILLIE. |
NED REFUSING TO DRINK WITH THE MINERS. |
When Ned Bently was a boy of about fifteen years of age he lost both of his parents by yellow fever, in New Orleans. The only remaining relative he had was a bachelor uncle, living in the mining regions of California. Ned worked his way on board a ship, as a sailor boy, to San Francisco, and finally arrived at the diggings where his uncle was engaged in mining. In those early days of California mine digging the miners were generally a very rough class of men. So it happened that soon after Ned's arrival a great gruff "digger" offered to treat Ned to a drink of liquor, and became very angry because he refused to touch it.
Ned scarcely shut his eyes all that night, for he was dreadfully afraid that the miners might yet force him to drink of that which he had been taught was certain ruin to body and soul. But to Ned's great surprise and joy, next morning the very man who the night before had offered to treat him took a bold stand in his defense against the other miners' attempts to force him to drink.
"The lad's about right," said the gruff old digger. "If he can live out here without drinkin' liquor, he'll be able to buy and sell the whole of ye by'n'by." And so it proved, for Ned held fast to his resolution not to drink, and became one of the wealthiest mine owners in California.
DR. JOHNSON AND HIS CAT. |
Many have a dislike to cats; but when boys say they hate cats, it is to be feared that they mostly do so that they may have an excuse for hunting and ill-treating them. In some cases, however, there is a natural antipathy which those who possess it cannot help, though it seems very foolish and unreasonable.
James Boswell tells us that he was "unluckily one of those who have an antipathy to a cat," so that he was uneasy when in a room with one. It certainly was rather unlucky, for he was writing the life of Dr. Johnson, and wishing to be as much in his company as possible was frequently at his house. Now the Doctor had a favorite tomcat whom he called "Hodge," and Boswell relates how he "suffered from the presence of this same Hodge."
He says, "I recollect him one day scrambling up Dr. Johnson's breast, apparently with much satisfaction, while my friend, smiling and half whistling, rubbed down his back and pulled him by the tail, and when I observed that he was a fine cat, saying, 'Why, yes, Sir, but I have had cats whom I liked better than this,' and then, as if perceiving Hodge to be out of countenance, he added! 'But he's a very fine cat; a very fine cat, indeed.'"
Hodge was well taken care of, and did not have to catch rats for a living, for the Doctor was in the habit of treating him to oysters.
|
Most small boys are fond of April-fooling people. How often on the first day of April have we seen the small boy wrapping up a piece of wood or brick in the shape of a parcel bought at the store, carelessly place it on the sidewalk as if dropped by a passer-by, and then hide himself near by and wait for some one to be "fooled" by it.
Dick and Frank Slemmons, one April-fool's day, concluded to get up an April-fool on a grander scale than usual. They procured an old pair of pants, a shirt, pair of boots, gloves, a dunce's cap, and a "false-face" or mask. They took these articles to their father's barn, and by stuffing them with straw and putting a few extra touches of paint on the mask, they made a hideous looking Guy. To the back of this figure, near the shoulders, the boys fastened a string, and when it began to grow dark they carried it out into the yard and placed it in a sitting posture on the front fence, to fool people who were passing by. Holding to the string they hid themselves behind the fence intending when any one passed to let the figure fall forward as if it were about to drop from the fence. But they failed to fool anybody, for the first one to come along was Mike, their father's hostler, who at once discovered the boys, and, saying "Ah! see the little laddie-bucks over the fince!" he grabbed the guy and took it along with him.
So the boys themselves were the only ones April fooled.
IN A STORM ON THE SEA. |
Little David Loomis, only eight years old, was permitted by his father, Captain Loomis, to accompany him on a whaling expedition. While out at sea the body of a dead whale was discovered at some distance from the boat, floating in the water. Several of the crew manned one of the smaller boats and rowed away over the glassy sea to secure the carcase. David was allowed to go with them. Before the boat reached the floating whale, however, a fearful squall suddenly arose; the wind screamed and whistled round their little boat; the waves, lashed to sudden fury, hissed and foamed, breaking over them like a deluge, whilst a terrible peel of thunder broke right overhead. David was scared almost out of his senses. He had never before seen such a storm. But he sat still, as one of the crew had told him to do, looking out, oh! how eagerly, for some signs of his father's vessel. Nothing was to be seen, however, but a wild waste of heaving, tumbling billows, over which the boat seemed actually to fly. Suddenly the clouds lifted, the wind ceased, and all was as calm as before the storm. Nothing was to be seen of the dead whale, and the crew was content to let it float where it would, while they rowed in search of their vessel. Ere long they were safe and sound on board with Captain Loomis. David could not help repeating from a poem he had recited at school, the words: "Isn't God upon the ocean, just the same as on the land?"
THE JAGUAR WAITING FOR HIS PREY. |
The jaguar, or American tiger, as he is sometimes called, is a native of South America. He is beautifully spotted with rings containing smaller spots on a deeper ground tint. He is a ferocious and destructive beast, inhabits the forests, and seeks his prey by watching, or by openly seizing cattle or horses in the enclosures. His depredations among the herds of horses which graze on the prairies of Paraguay are vast and terrible. Swift as lightning he darts upon his prey, overthrows it by weight, or breaks its neck by a blow of his paw. His strength is so great, he can easily drag off a full-sized horse. He is an expert climber, and the prints of his claws have been seen on the bark at the top of trees fifty feet in height and without branches. He sometimes feeds on monkeys, but they are generally too active for him; having the power to swing themselves from branch to branch with wonderful swiftness, they are soon beyond his reach. After horses, oxen and sheep are his favorite prey, and his devastations among them are often very extensive. On account of this, efforts are constantly made to destroy him. He is hunted with dogs, which run him to bay, or force him to seek safety in a tree, where he is kept till the approach of the hunters, who shoot him, or disable him with their long spears.
DOG CHILDREN OF THE REGIMENT. |
Big dogs, little dogs; black dogs, white dogs—all sizes and sorts of dogs are now carefully trained for use in the military service of France and Germany as messengers, scouts, and sentinels.
These "dog-children of the regiment" are not chosen from any special breed of dogs, because that would at once cause then to be recognized, and so become a target for the foe whenever seen.
These military dogs are chosen on account of the promise they give of "individual merit," and their education is begun as early as possible. All are trained to silence—a most difficult lesson, and only learnt by long and patient teaching. In fact, it is at all times difficult to insure obedience when music strickes up, for the training poodles, fox-terriers, and collies are sorely tempted to give vocal accompaniment. Dogs selected for this service are thoroughly children of the regiment. They are never allowed to associate with civilians, or to let any man wearing an unknown uniform approach them. They must not attack strangers, but are to keep at a respectful distance from all such. Thus their fidelity as letter-carriers is secured.
When on sentry duty they are taught to warn their human companions of the approach of any strangers within three hundred yards. Each dog has his regimental number on his collar.
"TAKE HENCE THE INFIDEL," SAID OMAR |
At the conquest of Susa, Harmozan, a Persian prince, the satrap of Ahwaz, was taken prisoner by the Arabs. When about to be taken before Omar, the Commander of the Faithful, he arranged himself in his most gorgeous apparel, wearing a crown on his head, and his embroidered silk robe being confined by a splendid jeweled girdle. When his conductors brought him to the mosque he saw Omar stretched on the ground, taking a mid-day sleep. When he awoke he asked their business, and they replied, "We bring you here the king of Ahwaz."
"Take hence the infidel," said Omar, averting his gaze. "Strip him of his robes, and array him in the garb of El Islam."
This was done, and when Harmozan was again brought into the presence of Omar he wore the striped garments of the Arabs. After conversing a while he complained of being thirsty; but when a cup of water was brought he expressed a fear that he might be killed while drinking it.
"Be of good courage," said Omar! "your life shall be safe till you have drunk this water."
Harmozan instantly dashed the cup on the ground, claiming fulfillment of the Caliphs word. Omar declared that this conduct deserved punishment as deceitful, but out of regard for his word he pardoned the Persian, who became a convert to the faith of El Islam.
THE LION SITS DOWN ON THE HUNTER. |
Some hunters near the Cape of Good Hope went in search of a lion which had carried off a number of cattle from the neighborhood.
They discovered him in a thicket or jungle, and at once proceeded to pepper him with slugs and bullets. Regardless of the shower of balls the lion bounded forward, and in an instant turned the chase upon them. All took to their horses or their heels. One huge fellow, not nimble enough to mount his horse in time, was left in the rear, and was speedily run down by the rampant lion. He had the prudence to fling himself flat on the ground and lie quiet as a log. The lion sniffed at him, scratched him with his paw, and then quietly sat down upon his body. His routed companions, collecting in a band, took courage at length to face about; and, seeing the lion on the prostrate body of the hunter, they imagined that their comrade was killed, and began to concert measures for avenging him. After a short pause, however, the lion resigned of his own accord his seat of triumph, relieved his panting capture, and retreated towards the mountains. The party, on coming up, found their friend shaking his ears, unharmed, except what he had suffered from a very ungentlemanly piece of conduct on the part of the lion.
PURSUED BY NORTH AMERICAN INDIANS. |
Two young men who had been attached to an exploring party, out West, but had unwisely strayed away from their companions, were leisurely riding along the prairie, trying to track the footsteps of their friends, when they saw on the brow of a hill in their rear about a dozen Indian warriors, who were rapidly approaching them. There was not a moment to lose. The white men were unarmed, save for their hunting-knives, while the lances of the red men gleamed in the light of the afternoon sun. Putting spurs to their horses the two young men tried to escape by flight, but the derisive cries of the enemy showed that the distance was rapidly lessening between them. Nothing could have saved them had it not been that, just at the most critical moment, they reached a "windrow," a strip of ground upon which a storm had hurled down the trunks of trees in wild confusion. Hastily abandoning their horses to their fate, the two friends got in among the thick fallen timber, where they concealed themselves, and listened breathlessly while the Indians with shouts pursued, and attempted to capture the coveted animals. But they did not succeed. A cloud of dust heralded the approach of a party of men, who with shouts and cries galloped into the midst of them.
It was the exploring party, whose opportune appearance saved their companions' lives.
"ALONG THE MOUNTAIN GLADE" |
A QUEER FISH. |
Little May's father is a fisherman. One day he brought home the funniest fish May ever saw. She was a little bit frightened and didn't know whether to laugh or cry. Her papa took her up in his lap, put an arm around her waist and held her fast with one hand while he kept a tight hold on the fish with the other.
"See, May," he said, "what a queer fish this is. Would you think it followed the same kind of business that papa does for a living?"
"Oh, papa!" said May; "that horrid thing a fisherman?—surely you are joking."
"No, my daughter," said the fisherman, "it is no joke. With that queer looking rod and line fastened to its nose it angles for other fishes. It hides amongst the sea-weed at the bottom of the sea, and the fleshy shreds attached to its nose, floating about in the water, act as natural bait, and attract the unwary little fishes in its neighborhood, but the instant one of them makes a bite at the tempting morsel it is whisked away, and the poor fish is caught in the huge mouth of the fisherman fish, and crushed up by its sharp teeth."
"Oh, papa!" said May, "what horrid big eyes it has; what a huge mouth, and such awfully sharp teeth! Ugh! Put it down, please, papa, for I really believe I am going to be frightened."
The fisherman laughed heartily, and threw the queer fish into the basket.
A PROUD MONARCH |
Theodore, Emperor of Abyssinia, was raised to the throne from a very humble position in life. He was one of the proudest of monarchs, was styled "King of Kings," and boasted a descent from King Solomon and the Queen of Sheba; a fiction devised to flatter the vanity of the royal house of Ethiopia.
When this mighty emperor gave an audience he was surrounded by several large and fierce-looking lions, and he made a great display of his command over the savage creatures; but, notwithstanding their ferocious aspect, the animals were said to be in reality as tame as dogs. Anyway, they must have made a timid ambassador feel rather nervous when first introduced to the royal presence.
The Abyssinians are very vain, and King Theodore thought himself greater than all the sovereigns in the world, and this led to his fall. Thinking he was not treated with sufficient respect by the British envoy and other Europeans, he imprisoned them all. In 1867 an expedition was fitted out under the command of General Napier. After encountering great difficulties on the march, the British troops stormed and took possession of Magdala without losing a single man; and the Emperor Theodore, seeing that all was lost, slew himself to avoid falling into the hands of the enemy. The captives were liberated, and for his services in this campaign General Napier received the title of Lord Napier of Magdala.
"WHERE DID YOU COME FROM?" |
GEORGE MACDONALD.
DEAR LITTLE BROWN-EYED BESS. |
JEANIE P. H. SIMPSON
***END OF THE PROJECT GUTENBERG EBOOK FUN AND FROLIC***
******* This file should be named 11374-h.txt or 11374-h.zip *******
This and all associated files of various formats will be found in:
https://www.gutenberg.org/1/1/3/7/11374
Updated editions will replace the previous one--the old editions will be renamed.
Creating the works from public domain print editions means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away--you may do practically ANYTHING with public domain eBooks. Redistribution is subject to the trademark license, especially commercial redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
https://gutenberg.org/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
1.E.2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation."
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1.F.3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS,' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at https://www.pglaf.org.
Section 3. Information about the Project Gutenberg Literary Archive
Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
https://pglaf.org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at https://pglaf.org
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
gbnewby@pglaf.org
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit https://pglaf.org
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including including checks, online payments and credit card
donations. To donate, please visit: https://pglaf.org/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart was the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Each eBook is in a subdirectory of the same number as the eBook's
eBook number, often in several formats including plain vanilla ASCII,
compressed (zipped), HTML and others.
Corrected EDITIONS of our eBooks replace the old file and take over
the old filename and etext number. The replaced older file is renamed.
VERSIONS based on separate sources are treated as new eBooks receiving
new filenames and etext numbers.
Most people start at our Web site which has the main PG search facility:
https://www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
EBooks posted prior to November 2003, with eBook numbers BELOW #10000,
are filed in directories based on their release date. If you want to
download any of these eBooks directly, rather than using the regular
search system you may utilize the following addresses and just
download by the etext year.
http://www.ibiblio.org/gutenberg/etext06
(Or /etext 05, 04, 03, 02, 01, 00, 99,
98, 97, 96, 95, 94, 93, 92, 92, 91 or 90)
EBooks posted since November 2003, with etext numbers OVER #10000, are
filed in a different way. The year of a release date is no longer part
of the directory path. The path is based on the etext number (which is
identical to the filename). The path to the file is made up of single
digits corresponding to all but the last digit in the filename. For
example an eBook of filename 10234 would be found at:
https://www.gutenberg.org/1/0/2/3/10234
or filename 24689 would be found at:
https://www.gutenberg.org/2/4/6/8/24689
An alternative method of locating eBooks:
https://www.gutenberg.org/GUTINDEX.ALL
*** END: FULL LICENSE ***