The Project Gutenberg EBook of Punch or the London Charivari, Vol. 108,
March  23, 1895, by Various

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org


Title: Punch or the London Charivari, Vol. 108, March  23, 1895

Author: Various

Release Date: April 29, 2014 [EBook #45529]

Language: English

Character set encoding: ISO-8859-1

*** START OF THIS PROJECT GUTENBERG EBOOK PUNCH OR THE LONDON ***




Produced by Punch, or the London Charivari, Malcolm Farmer
and the Online Distributed Proofreading Team at
http://www.pgdp.net






PUNCH,
OR THE LONDON CHARIVARI.

Vol. 108.


March 23 1895.


[Pg 133]

TO A BAD SHILLING.

I confess, "when first I saw your
Face," I swore—
One or two mild objurgations,
Nothing more.
When and where I got you I can
Not divine,
All I do know is the fact that
You are mine.
Yes, I was an unsuspecting
Sort of muff,
Everybody else suspects you
Fast enough.
Bus-conductors, shopmen, cabbies,
Booking-clerks
All decline you, sometimes adding
Rude remarks:
You have danced on sundry counters,
And advice
Not to "try it on" 's been given me
Once or twice.
Were you not a paltry "bob," but
Half-a-crown,
You might be of use and save a
Nimble "brown":
For you'd find yourself right quickly
In the slot,
Were you of the right dimensions—
But you're not.
I'm beginning to assume a
Hang-dog air,
For I feel my conduct's hardly
"On the square."
Now I leave church early (though I
Get there late),
Lest I may be moved to put you
In the plate!
That last spark of decent feeling
I possess,
But my character you've ruined,
More or less:
So it's time, old pewter shilling,
We should part,
Which—I lose at least a cab-fare—
Breaks my heart.

There! I've thrown you in the river,
And at last
I can thank my stars devoutly,
You are "passed"!
Moral.
"Change upon the counter should be
Strictly eyed;
Afterwards mistakes can not be
Rectified."

PRIOR CLAIMS
PRIOR CLAIMS.

Harold. "Yes, Auntie Connie, I do love you very much; but I love Mamma best." (Apologetically.) "You see I met her first!"


THE NEW HEN.

(A Fable.)

A New Hen wandering disconsolately in a country farmyard once made the acquaintance of a cock of the old school, when both fell into some discourse concerning the changes of the modes.

"Ah," said the former, arrogantly addressing the latter, "times are indeed a good deal altered since you were a cockerel, and all for the better, thank goodness! Time was, and not so very long ago either, when I was expected to do nothing save lay eggs and breed chickens: now, however, my mistress must know better than to expect such degrading offices of me, for I will neither lay the one nor breed the other."

The old cock was about to offer some remarks in ridicule of these sentiments, when the housewife came into the yard, and, snatching up the New Hen, wrung her neck, remarking to herself as she did so, that a fowl that could neither lay eggs nor rear chickens, had obviously no place in the economy of nature.


New Reading.—"A bull in a china shop" may be Latin-Americanised with a considerable amount of truth as "The 'bos' of the show."


THE MENU À LA MODE.

Come, Damon, since again we've met
We'll feast right royally to-night,
The groaning table shall be set
With every seasonable delight!
The luscious bivalve ... I forgot,
The oyster is an arch-deceiver,
And makes its eater's certain lot
A bad attack of typhoid fever.
With soup then, be it thick or clear,
The banquet fitly may commence—
Alas, on second thoughts, I fear
With soup as well we must dispense.
The doctors urge that, in effect.
Soup simply kills the thoughtless glutton,
It's full of germs. I recollect
They say the same of beef and mutton.
Yes, each variety of meat,
As you remark, is much the same,
And we're forbidden now to eat
Fish, oysters, poultry, joint or game.
But though a Nemesis each brings,
The punishment, the doctors tell, is
As nothing to the awful things
Awaiting all who toy with jellies.
"Cheese—that is not condemned with these?"
Yet ample evidence we find
To make us, Damon, look on cheese
As simply poison to mankind;
While those who may desire to pass
Immediately o'er Charon's ferry,
Have but to take a daily glass
Of claret, hock, champagne or sherry.
And therefore, Damon, you and I,
Who fain would live a year at least,
Reluctantly must modify
The scope of our projected feast;
A charcoal biscuit we will share,
Water (distilled, of course,) we'll swallow,
Since this appears the only fare
On which destruction will not follow!

SHAKSPEARE REVISED BY AN ALDERMAN.

"May I ask," said the worthy Alderman Davies, and he might have added, "I ask because 'Davies sum, non Œdipus'"—but he didn't, and it was a chance lost, "what salary you [the witness under examination] received for this conduct of yours while secretary?" To which witness answered, "£500 a year, and a bonus of £200." Whereupon the Alderman remarked, "Then all I can say is, you could have got many honest men to do the work for much less."

Quite so, Mr. Alderman, true for you; but if a man will act honestly for a sovereign, what might not the addition of ten shillings do? It ought to make him more honest comparatively, while another ten shillings would make him superlatively honest. But how if there were an obligation attached to the increase? Just a trifling deviation out of the straight course to begin with, to oblige a patron?

Let honesty be the drug in the market, and the rare herb dishonesty will be at a premium. It is gratifying to be assured, on aldermanic authority, that Shakspeare was wrong, and that in future for Hamlet's well-known dictum, "For to be honest as this world goes is to be as one man picked out of ten thousand," we must read "For to be dishonest as this world goes is to be as one man picked out of ten thousand."

Happy Alderman Davies! In what paradisiacal pastures must he have moved and breathed and earned his livelihood!


CIRCLING THE SQUARE.

Standing awhile at the corner crossing,
Watching a van as it lumbers past,
Something impels me to turn and saunter
Down to the Square, where I met you last.
Down to the Square with its formal garden
Slowly I pace—yet I scarce know why;
Somehow I never have since been near it,
Things have all changed since last July!
There is the gate, where you fumbled sadly
Turning the key—though I lent my aid—
There are the paths, where we strolled in sunshine,
There is our seat in the chestnut shade.
Borders all empty, and paths uncared for,
Bleak, bare branches, and murky sky—
This is the "garden I love" no longer,
How it has changed since last July!
All that we spoke of, or left unspoken,
All that our tongues or our eyes could say
Comes to me now, as the Square I circle,
Clear as events but of yesterday.
Vain to remember, to care still vainer,
You have been married a month, and I—
I'm a misogynist—just at present,
How we have changed since last July!

[Pg 134]


FULL SPEED AHEAD
"FULL SPEED AHEAD!"

Britannia (to Lord Spencer).

To "hear old Triton blow his wreathèd horn,"
My Spencer, in this clear determined manner,
Is spirit-gladdening; showing you were born
To back my power and upbear my banner!

[Pg 135]


"FULL SPEED AHEAD!"

["The essential thing is that the party now in office has loyally followed the example of the party in opposition, and, 'neglecting party considerations, and provincial interests, has,' as the Civil Lord claimed for it, 'risen to the full height of its Imperial responsibilities.'"—The "Times" on the Navy Estimates.]

Britannia (cheerily). To "hear old Triton blow his wreathèd horn,"
My Spencer, in this clear determined manner,
Is spirit-gladdening; showing you were born
To back my power and upbear my banner!
Triton-Spencer. You do me proud, Ma'am!
Rootle-tootle-too!
Foghorns not in it, eh? As for those sirens!—
Aha! Ulysses made a great to-do,
But by the blue brine that your coast environs
Our marine music beats'em out of sight!
Britannia. Especially now you blare so well together
You rival conch-performers. Ah! that's right.
Now I'm prepared for any sort of weather!
Triton-Spencer sings:—
Britannia's Sea-Lady-in-Chief,
Rootle-toot!
And I'm her First Lord, and a ripper.
Our chumminess passes belief,
Rootle-toot!
Lor! When she appointed me skipper
Some fancied I'd dawdle—at least, so they said—
Now they see that my motto is—Full Speed Ahead!
Georgie Hamilton there with his glass,
Rootle-toot!
Would spy out the flaws if there were any:
Eddard Reed wouldn't let blunders pass,
Rootle-toot!
They're critical coves, and won't spare any.
But bless'em, their scrutiny I do not dread.
My motto, you see, Ma'am, is—Full Speed Ahead!
Of course, that won't do in a fog,
Rootle-toot!
But I think there's a clear course afore us!
Give way to old-fashioned jig-jog?
Rootle-toot!
Nay, not by the mothers who bore us!
With a sharpish look-out, but without stint or dread,
We blow up our horn, Ma'am, for—Full Speed Ahead!
Old Nep may regard us with glee,
Rootle-toot!
Amphitrite may shout an "Ahoy," Ma'am.
If you're still on for Killing the Sea,—
Rootle-toot!
To back you in that I'm the bhoy, Ma'am.
By my heart ('tis true blue), by my beard (it is red),
My motto, Britannia, is—Full Speed Ahead!
Britannia. Bravo, my ruddy-bearded, brave old Triton!
Nep shouts approval from his deep-sea grotto.
Friends need not fear for me, foes shall not frighten,
While you, and all my sons, stick to that motto!

A Parliamentary Paradox.—Sir Ellis Ashmead-Bartlett (alias "Silomio") begs the Government to suppress the Boers.


Convalescent.—After "a bout" of influenza, the best thing for the patient is to be "about again."


A FIN-DE-SIÈCLISM
A FIN-DE-SIÈCLISM!

LENT.

Sunday Visitor. "Is Mrs. Brown at Home?"

Servant. "No, Sir. Mrs. Brown is playing Lawn-Tennis next door."

Sunday Visitor. "Are the Young Ladies at Home?"

Servant. "No, Sir; they are at Church!"


MY PARTNER.

You would not guess which one I mean,
Sweet girl in white, sweet girl in green.
Perhaps not either, do you think
O even sweeter girl in pink?
It's just as well I should not tell
Which seemed the belle, sweet girl in pink.
So, safely vague, I simply say
Her face was fair, her laugh was gay.
A lively dance with her would cure
The worst of human ills, I'm sure.
Her pretty face would soon replace
The saddest ease with health I'm sure.
A cripple, if he had the chance,
Would try undoubtedly to dance;
The dullest fool, the saddest cur,
Might both be charmed to dance with her;
And here's a tip, don't let it slip,
To cure la grippe just dance with her.
The other two might like me less
If I described the charmer's dress;
I will not name a single stitch
To show which of them may be which;
Pink, white or green, each one has seen
That I must mean she may bewitch.

[Pg 136]


THE ORIGINAL ARYAN TO THE PROFESSOR.

I Am the Ancient Aryan,
And you have done me wrong—
I did not come from Hindostan,
I've been here all along.
I never travelled from the East
In huge successive waves.
You'll find your ancestors deceased
Inside your own old caves.
There my remains may now be sought,
Mixed up with mastodons,
Which very long with flints I fought
Before I fought with bronze.
In simple skins I wrapped me round,
Ere mats I learned to make;
I dug my dwellings in the ground,
Or reared them on a lake.
I had no pen—I'm sure of this,
Although you say I penned
All manner of theologies
In Sanskrit and in Zend!
My nature you've misunderstood.
When first I sojourned here,
I worshipped chunks of stone or wood,
My rites were rather queer!
The more my little ways you scan
The less you'll care to praise
And bless the dear old Aryan
Of Neolithic days.
They've mixed me up, till I declare
I hardly can report
Whether I first was tall and fair
Or I was dark and short.
But on two things I take my stand,
Through all their noise and strife,
I didn't come from Asia; and
I had no Higher Life!

THE TIP OBLIQUE
THE TIP OBLIQUE.

Verger (to over-generous Visitor). "I beg your pardon, Sir. No Gratuities—er—at present. But—er—the Dean will have passed in Two Minutes, Sir!"


THE HIGHER CRITICISM.

SceneAuthor at his desk, with Newspaper Cuttings before him.

Author.
"The Critics' comments I'll peruse,
And I will profit by;
I'll find out what they most abuse,
And strive to rectify!"
First Critic.
"His work unequal as we read,
We think upon the whole
This author almost would succeed
If nearer to his goal."
Second Critic.
"His serious pages suit us well,
Revealing thought and heart;
But he is quite unbearable
When trying to be smart!"
Third Critic.
"Some sprightly pages from his pen
With pleasure we have read;
But if he moralises, then
He's heavier than lead!"
Fourth Critic.
"We by the eye of faith can see—
It isn't from his books—
He is not such a fool as he
Invariably looks."
Fifth Critic.
"This author's pages needs must thrill
A sympathetic mind,—
Of subtle knowledge, tender skill,
Deep pathos, wit refined."
Sixth Critic.
"A mass of folly more intense
Experience can't recall.
We tried to find one shred of sense.
There is not one at all!"
[Exit Author, tearing his hair.

THE SONG OF THE SLUGGARD.

["A medical contemporary (The British Medical Journal) asserts that 'The desire to rise early, except in those trained from youth to outdoor pursuits, is commonly a sign, not of strength of character and vigour of body, but of advancing age.'"—Daily Telegraph.]

'Twas the voice of the sluggard, I heard him hooray
As he turned in his bed at the dawning of day;
"At last early rising—that fraud—is found out!
Henceforth prigs will leave me alone, I've no doubt!
"They've preached at me ever since Solomon's time,
And no doubt before it, in prose and in rhyme.
Yet truth will prevail, and now Science hath said
That for early morning there's no place like bed!
"With their early to bed and their early to rise,
They've tortured the good, and tormented the wise.
In sermons, and spelling-books, proverbs and tracts,
And now they just find they've mistaken the facts!
"It's just like those moralists! Talk stilted bosh
For an æon or two, and then find it won't wash!
Lord! how they have stuck up their noses, the prigs,
And compared us to sloths and to somnolent pigs.
"What price now the ant, and that huge bore the bee?
Whilst our old foe, the lark, proves pure fiddle-de-dee.
Their healthy, and wealthy, and wise, and what not,
Is exploded at last; it is all tommy-rot!
"A man's not a black-beetle, to find it a lark
To go crawling about chilly rooms in the dark;
And if you must rise in the gloom and the cold,
The fact only proves that you're foolish or old!
"No more, then, need man feel constrained in the least
To turn out like an insect, a bird, or a beast;
For Medical Science has spoken, and said
That the sluggard is right, and there's no place like bed!"
[Curls up, and snores with a clear conscience.

THE DRAMATIC COMMON SENSER-SHIP.

Last week the name of Mr. Redford as newly-appointed Licenser of Plays was announced. This is just to the late Licenser's assistant and deputy. But if the office is to be continued, why should it not be thrown open to competitive examination? A paper of such questions as the following would secure a learned Theban for the office:—

1. Who was the Licenser of Plays in the time of Shakspeare?

2. Translate passages (given) from (α) French dramatists, (β) Italian, (γ) German, (δ) Spanish, (ε) Norwegian, (ζ) Russian, (ἑ) Japanese.

3. Translate passages (given) from the works of English dramatists into the above-mentioned languages.

4. Give your opinion on the following "situations" and "plots," and say whether you consider it in the interests of public morality that they should be licensed for performance or not.

5. State your reasons for such opinions.

6. Is it your opinion that an officer of the Licensing (Play) Department should be in attendance every night at every theatre (a stall being kept for him by the manager on pain of fine or forfeiture of licence) to note if any change or any introduction be made in the dialogue or in any part or portion of the play already licensed? And if not, why not?

7. Would it be, or not, advisable in your opinion that every author, or all the authors when collaborating, should read their own pieces aloud to the Licenser, giving as much action and dramatic illustration as space will allow? And that the low comedians and eccentric comedians, male and female, with songs and dances, should attend, and show (a) what steps they propose taking in the new piece, (b) what words, (c) winks, (d) becks, and (e) wreathed smiles they intend giving in order to point an innuendo or adorn an apparently harmless joke?

8. Do you think that, as an assistant judge on such occasions, one or more experts (at so much an hour) should be present?

9. (a) In your opinion should not every play be seen by the Licenser, duly acted, with the costumes, before a licence can be granted? (b) and then that the licence be granted only on the condition that no alteration in word or action be made at any time, and under no pretence whatever, during the run, on pain of forfeiture of licence?

The above suggestions will serve as a foundation for some future Licensing Exam.-paper.

[Pg 137]


COURTLY QUADRUPEDS.

(To the Editor of the "Sp-ct-tor.")

Sir,—I am sure you will be glad to have another veracious story about Animal Etiquette. During the recent frost we hung a bone up in the garden for the starving birds to peck at, and one of our dogs—a collie—was mean enough to steal it. Next day we noticed him limping, and were surprised to find a great gash across one of his paws. I at once understood what had happened. Our other dogs had evidently thought stealing the bone under the circumstances was very bad form, and the collie had been cut by them!

Yours sympathetically,
Parish Pump.

Sir,—I find that even kittens have a code of etiquette, and understand the niceties of social rank. The other day our kitten was on the table, when a winged creature which I took for a fly settled just in front of it. Pussy immediately gracefully retreated backwards till, on arriving at the edge, she slid to the ground. At first I put down her behaviour to fright, but it was nothing of the sort. It was a pure act of courtesy. The supposed fly was a lady-bird! Our intelligent little animal had shown her instinctive respect for title and sex, which was naturally very gratifying to an ardent

Primrose Leaguer.

Sir,—Our terrier killed a rat yesterday. To-day we saw him, for no obvious reason, approach the rat-hole again. We all agreed that he must be paying a visit of condolence to the bereaved relatives!

Country Cuss.


CLASSICAL CAB STRIKE AT ATHENS
CLASSICAL CAB STRIKE AT ATHENS.

["Tourists and foreigners ... in Athens have been put to great inconvenience on account of the cab strike."—Standard, March 14.]


"The Proposed Commons Preservation Bill."—Seeing this heading to an article, an eminently well-informed Conservative politician, whose zeal was in excess of his knowledge, exclaimed, "Ah! I thought it would come to this! The Ultra-Radicals are not going straight for the abolition of the Upper House, but have decided on undermining it, by doing away with the Lower One to begin with. Fancy its being necessary for the Commons to bring in a Bill for their own self-preservation!!"


VADE MECUM FOR A CERTAIN COURT OFFICIAL.

Question. Your duty, I believe, is to protect the public from receiving impressions—from your point of view—of a pernicious character?

Answer. Certainly; and this I accomplish by reading and rejecting what I think the public should avoid.

Q. How long has the office been in existence?

A. About a century or so.

Q. How did the public get on before your office came into existence?

A. Fairly well, especially in the days of Shakspeare.

Q. Had the Bard of Avon to obtain a licence for the production of his plays?

A. No; they were then practically edited by the public.

Q. Could not the public edit plays in the reign of Queen Victoria with the intelligence displayed in the days of "Good Queen Bess"?

A. It is impossible to say, as the question has not been tested by experiment.

Q. You say that your duty is to preserve the purity of the public taste; was that also the object of the earlier of your predecessors?

A. Seemingly not, as the office was called into existence to serve as a bar to the dissemination of opinions of an entirely political character.

Q. But that is not now the raison d'être of the appointment?

A. Oh, no; for nowadays, thanks to the newspapers, politics enjoys free trade.

Q. But still, the right of interference exists?

A. Yes, but it is only used to prevent a performer from "making up" as a Cabinet Minister, to the annoyance of the right hon. gentleman favoured with the attention.

Q. Is there any rule to guide the use of the official blue pencil?

A. None in particular. That emblem of concrete authority may be diligently used for a decade, and then be laid aside for a quarter of a century.

Q. Then there is no policy in the office?

A. None to speak of. What was wrong in 1875 may be right in 1895, and may be wrong again at the commencement of the next century.

Q. But purely such an office has not gained the entire applause of the London Press?

A. On the contrary, the all but universal condemnation.

Q. And yet when the office became vacant there were many journalistic applicants?

A. Because journalists accept the situation of the hour, and make the best of it.

Q. Is it possible that the candidates who have failed may find their objection to the existence of the office stronger than ever?

A. It is not only possible, but probable.

Q. And thus any non-journalist who accepts the appointment may not have a very pleasant time of it?

A. So it would appear to the casual observer.


MY INFLUENZA.

Monday.—This is the day I promised to go with my aunt to the first meeting of that new Society for the Propagation of Female Suffrage amongst the Turks. Wish I'd never promised. Don't see how I can escape. Why, yes, good idea—the influenza! I'll have it. Almost fancy I have a slight pain in my back, which would certainly be a symptom. I will decide that I have a pain in my back. Send note, saying, in uncertain weather caution is necessary; fear that I'm attacked by the prevailing epidemic; wish every success to the good cause, and so forth. Then, relieved in my mind, down to the club, and forget all about the old lady.

Tuesday.—Shall have a melancholy time this evening. Mrs. Pogson's At Home, with recitations. Oh lord! Daren't offend old Pogson by refusing. It would not be so bad if there were not the five Miss Pogsons. Of all the awful, middle-aged young women——! Ha, by Jove! Never thought of it. Of course. The influenza. Telegraph at once. Deeply regret, illness, and so forth. I really have a slight pain in my back. Wonder what it is. Put on my thickest coat when I go out.

Wednesday.—Awful joke this influenza. Shall escape old Blodgett's dinner to-night. Should have been bored to death. Now sixpenny telegram settles it all. The only thing is I really have a pain in my back. Reminds me of boy crying "Wolf" in the fable. Shall stay in this evening, and keep warm by the fire.

Thursday.—Do not feel much worse, but pain still there. Shall not venture out. Can therefore, quite truthfully, excuse my absence from Boreham's matinée. Good enough fellow, Boreham, but can't write a tragedy at all. So shall escape the awful infliction of his mixed imitation of Ibsen and Shelley. The worst of it is that, with this beastly pain in my back, I begin to think my influenza is no sham at all. Stop in all day in warm room. In the evening feel headache, as well as pain in back. Fear the worst.

Friday.—No doubt about it. In bed. Must see the doctor. Letter from Gadsby. Wants me to go to the theatre to-night. Jolly party. Supper after at his house. Little dance to finish with. Jolly, lively fellow Gadsby. Knows lots of pretty actresses, and has all sorts of larks. Would have been good fun. And here am I in bed! Hang the influenza! But cannot risk anything. Get Jones fetched—Jones, M.D., my old chum. Tell him how I feel, and say I have the influenza. "Bosh!" says he, "you've been sitting in a draught somewhere, and got a little lumbago in your back. It's nothing. And you've stuck in a hot room till you've got a headache for want of fresh air. Get up and go out as soon as you can." Feel better already. Show him Gadsby's letter. "The very thing," says he; "I'm going. We'll go together. With that influenza of yours, you oughtn't to go out without someone to watch the case."

[Pg 138]


THE "SEXO-MANIA
THE "SEXO-MANIA."

"We think Lips that have Gone Astray the foulest novel that ever yet defiled the English tongue; and that in absolute filth its Author can give any modern French writer six and beat him hollow!"—The Parthenon.

Fair Author (to her Publisher, pointing to above Opinion of the Press quoted in his advertisement of her Novel). "And pray, Mr. Shardson, what do you mean by inserting this hideous Notice?"

Publisher. "My dear Miss Fitzmorse, you must remember that we've paid you a large Price for your Book, and brought it out at great Expense—and we naturally wish to Sell it!"


THE EASY CHAIR;

Or, Mr. Speaker's Valediction.

["According to present arrangements the Speaker will deliver his valedictory address on the eve of the adjournment for the Easter recess."

The Times.]

Air—"The Cane-bottom'd Chair."

Ah-h-h-h!!! Farewell to the Chair, to the Mace, to the Bar!
To tedious twaddle and purposeless jar!—
Away from the House, and its toils, and its cares,
I hope to sit snug in my snuggest of chairs.
To mount that old Chair was my pride, to be sure;
But—the House got ill-mannered, its air grew impure:
And the sights I have seen there on many a day
Were worthy a lot of young Yahoos at play.
Ah! yet that old Chamber had corners and nooks,
Which seemed haunted by friendly, familiar old spooks.
The Gossetts, O'Gormans, and Gladstones! All ends!
But escaping old bothers means missing old friends.
Old chums, like old china, though possibly cracked,
With rickety tempers, and wits broken-backed,
Old memory treasures. And when shall men see
Such champions as Dizzy and W. G.?
No better divan need young Abbas require
Than this snug Easy Chair well drawn up to the fire.
Off robes! Wig avaunt! Now I'm cosy!—And yet,
If there's something to gladden, there's much to regret.
Why is it one clings to some genial old scamp?
Why is it one sticks to a worn-out old gamp?
Why is it, despite my relief, I feel drawn
To that hard high-backed Chair I so long sat upon?
Long, long through the hours, and the night, and the chimes
Have I sat, yawned and ached in the tiresome old times,
When faction and fog filled the House, and for me
The Chamber was pitiless pur-ga-to-ree!
Now comfort and quiet will gladden my rest,
And tedium no longer will torture my breast,
For that finest of Seats ever padded with hair
I am going to exchange for my own Easy Chair!
If Chairs had but speech it would whisper alarms
To him who's next clasped in its stuffy old arms.
How long there I languished, and lolled in despair—
Till I wished myself wood like the rest of "the Chair!"
A decade and more since I first filled the place!*
There's many a form and there's many a face
Have vanished since I donned the wig of grey hair,
And sat and looked stately, at ease in that Chair.
Men say I have honoured that Chair ever since,
With the poise of a judge and the mien of a prince.
Perhaps! But I'm weary, and glad, I declare,
To make now a change to my own Easy Chair.
When the candles burn low, and the company's gone,
In the silence of night I shall sit here alone,
Or with you, Mr. Punch, many-memoried pair,
And muse on old days in that high Speaker's Chair!
Eh? What, Mr. Punch? Read me last night's debate?
Oho! Order! Order!! I'm drowsy, 'tis late.
For Ayes and for Noes, Punch, no more need I care;
I may take forty winks in my own Easy Chair!
I may take forty winks in my own Easy Chair!

* Mr. Arthur Wellesley Peel was elected Speaker at the opening of the Session of 1884, upon the retirement of Sir Henry Brand.


Ancient Custom.—"A quaint practice exists" at the Episcopal Palace, Fulham, "of waking up the domestics by means of a long pole." "Stirring them up," apparently, as the keepers do the beasts at the Zoo. The Sun reminds us of the existence of "rousing staves" for waking sleepers in church. About Regatta time riparian dwellers are frequently disturbed in their slumbers by "rousing staves," which, however, are sung by jolly young watermen, canoeists and house-boaters.

[Pg 139]


RETIREMENT; OR, THE EASY CHAIR
RETIREMENT; OR, THE EASY CHAIR.

Mr. P. "WOULD YOU LIKE ME TO READ YOU LAST NIGHT'S DEBATE, SIR?"

Rt. Hon. Arthur Welleslee Peel (drowsily). "ORDER! ORDER!!"

["The original arrangement that Mr. Peel shall retire on the eve of the Easter holidays still holds good."—Times, March 16.

[Pg 140]
[Pg 141]


Well, how did the New Play go off last night

"Well, how did the New Play go off last night?"

"Oh, there was a Sleep-walking Scene in the Third Act that was rather effective."

"À la Lady Macbeth, eh?"

"Well—not exactly. It was the Audience that got up in its Sleep and walked out!"


TO A FLIRTGIRL.

A Poem of Platitude.

Yes, girls will be girls, and flirts will be flirts,
And coquette to the end of the chapter!
"There's safety in numbers," the proverb asserts,
And I'm sure that no saw could he apter.
The safety, I fear, is that Dick will fight shy,
When he hears that you're flirting with Harry;
And Harry will think, when you've Tom in your eye,
That you're safer to flirt with than marry!
Nay, then you don't rest till you've Jack at your feet,
Till he finds that he's Willy for rival;
The odds are that both, like the rest, will retreat,
And at last there'll be no one's survival.
For flirting's a game that is risky to play,
At least from the standpoint of wedlock;
When each is afraid your affection will stray
To some other, the end is a deadlock!

The Boot War.—"In consequence of the strike," observed Mrs. R., "I am afraid a great many hardworking men will be left with boots on their hands."


CHECK!

"We air governed too much."—Artemus Ward.

No! The old spirit is not dead,
Though long it, trance-like, slept,
While Peter Putright reared his head,
And venom'd vigil kept.
Their despot yearnings retrograde
Our tyrants label "Progress";
In specious robes of light array'd
They hide a horrid Ogress;
And many simple souls and true
By guile seduced to err,
Or fondly trusting something new,
Fell down and worshipp'd her.
And o'er their prostrate senses roll'd
A monstrous idol car,
Whose priests, in frenzy uncontroll'd,
Still know not where they are.
The doughtier freeman of the past
With wrath such bondage sees;
Who freedom won with pike and gun
From nobler foes than these.
Some bygone champions' pow'r benign
Our waning strength restores;
They forced from kings what we'd resign
To County Councillors.
The heirs of those who won our right
Inherit such a soul
They'd starkly fight by day and night,
But quite neglect to poll.
And so, in Law and Order's day
The brazen crew intrudes,
And London nigh becomes the prey
Of pedants, prigs, and prudes.
But lo! the slip 'twixt cup and lip
Has made their glory dimmer;
Down, down goes the dictatorship
Of Stiggins and of Trimmer.
And threaten'd London joys to find
The Incubus o'erthrown,
The gang whose mandate 'tis to mind
All business but their own.
With "shoulders to the wheel" alway,
The grannies in a batch
Can suck such comfort as they may
From eggs they must not hatch.

A Suggestion for Improving the Stage.M. Coquelin for having played truant—not an absolutely new part for him—from the House of Molière has been condemned by the Court of Appeal to pay five hundred francs every time he performs away from the Comédie Française. This may, or may not, be hard on M. Coquelin, an artist whose absence from the stage would be much deplored: but could not there be, in England, some Court of Public Appeal, empowered to condemn an actor or two, not artists like M. Coquelin, in similar penalties for appearing at all? Great opportunity for a new court and new procedure. Witnesses for prosecution from stalls, dress circle, gallery, pit, upper boxes. Witnesses to be heard in defence of course also; and let the best evidence win.


A Good Bank Note.—After the recent meeting of the gentlemen who manage the affairs of The Old Lady of Threadneedle Street, the Bank of England may now be considered not as a bank which may be of sand or mud, but as a rock, and as firm. The Baring Straits having been safely passed, the look-out man cries, "All's well that ends well!"


The Highly-rouged Lady's Claim To Literary Distinction.—That she is well-read.

[Pg 142]


ANIMAL SPIRITS
"ANIMAL SPIRITS."

No. VIII.After the Influenza.


LETTERS FROM THE SHADES.

Have just perused report of Commission on Library Wall-flowers. Appears that enterprising book-shop, resort of fashionable world for past century, has sent round urgent whip to Representative Men of Letters (and also Mr. Le Gallienne) asking for short list of best neglected books. Find that answers cover fairly wide ground, from Homer to New English Dictionary. Feeling that it might please general public to have some expression of opinion from various defunct authors described with faint praise as undeservedly neglected, and finding it inconvenient to arrange personal interview, by reason of distance and other difficulties, have sent out circular requesting that they would interview themselves on the subject and kindly let me have result. Some answered evasively through secretaries. Subj in small assortment from letters of those who responded frankly:—

Homer obliges with a few Hexameters.

Lo! in the hollows of Hades I hear the lamenting of Lubbock,
Bart., who declares that Homerus (or somebody else of the same name,
One or the other, or both, or perhaps a collection of poets)—
Lubbock, I say, who declares that the sale of my poems is paltry,
Says he is sorry to see me reduced to the state of a wall-flower!
But as a matter of fact I have got an immense circulation,
Chiefly in Oxford and Cambridge and Eton and other palæstræ.
Sophocles pushes me close, but Pindar is out of the running,
Being a bit too stiff, though the cost is defrayed by the parents.
As for the rest, I consider Herodotus very deserving;
Quaintly enough at this moment I see he is writing about me,
Writing to say he considers Homerus exceedingly clever.
Who, by the way, is a Mr. Le Gallienne? He, as they tell me,
Prattles a lot on his private affairs for the good of the public.

Herodotus forwards a trifling Brochure.

To me for my part it appears that of the other poets, both those before and after, no one, as the saying is, can hold a two-penny torch to Homerus. He, in the language of the Far-Western people, whips cosmos. But of those that write things not to be mentioned, no Then Man dwelling in the nether world can surpass the Now Woman. So at least they that are over the book-market tell me; but them I cannot easily believe. Further, to speak of such as collect history, but, being unworthy indeed of neglect do yet escape the notice of those that appoint to office, I give the front row to Mr. Oscar Browning.

Shakspeare sends an occasional Sonnet.

Had I survived my well-contented age
And lived to see the bettering of the times,
And witnessed Henry Arthur on the stage,
Or read the latest confidential rhymes;
Small marvel were it that my tragic art
Should lapse among a race of larger build;
Or that the sonnet-echoes of my heart
Should fail before the booming Bodley guild.
Yet have I lovers still, a faithful few;
And here I take occasion for observing
How greatly I have been indebted to
The Cambridge Locals and to Mr. Irving.
Post-script.—The Temple Shakspeare for the pocket
Is selling now; I know of none to knock it.

Lord Verulam kindly quotes himself.

You shall not ask better from me than that I should distil you these two extracts from my Standard Essays, amended to date.

1. Of Studies.—Reading, and namely of the kitchen ware of Autolycus, maketh a full man; reviewing maketh a puffy man; and my New Organ, now old and strangely unpopular, maketh an harmonious man.

2. Of Gardens.—Very delightful for sweetness is the Wallflower; likewise the Bonny Briar-Patch. But of those flowers such as the Aster and the Carnation, of which the perfume is such that they are best trodden upon and bruised, there is yet another that you shall take heed of. It is the Sweet Earl Lavender. You shall pass by a whole alley of them and find nothing of their sweetness: they are like precocious odours, most desirable when incensed or crushed.


Sortes Shakspearianæ.

Shakspeare in the Commons—

"God speed the Parliament! Who shall be the Speaker?"
Henry the Sixth, Part I., Act iii., Sc. 2.


A Forgotten Melody.—A once popular negro song that might come in as a chorus if Mr. Bannerman does not accept the Speakership, is to the tune of "Old Bob Ridley, O!" and could be evidently neatly adapted to "O White Ridley, O!"

[Pg 143]


SITTING ON HIM
SITTING ON HIM.

Mr. Slowman Sopht. "Oh come, I say, Miss Mawy, you on Foot? Why, if Hounds run, a Fellah'll never see you again all day!"

Miss Mary. "Dear, dear, how trying it is! Because, you know, when I ride and Hounds run, I never seem to see You again all day!"


AWFUL REVELATIONS!

[Mr. Leslie Stephen, speaking at Toynbee Hall the other day, stated that the members of the Athenæum had deserted the classics for the pages of Punch and the latest French novel.]

SceneThe Library of a well-known Club, where are discovered a few Bishops, Judges, M.P.'s, and other persons "distinguished in literature or art."

Academician (chuckling over Marcel Prévost's latest audacity, to M.P., who is puzzling out the "Journal du prince" in Daudet's "La Petite Paroisse"). I say, old man, lend me your pocket dictionary for a moment, will you?

M.P. Certainly; only it doesn't give half the words. (Sighs, aside.) Why didn't I learn more French at Eton! These mœurs conjugales beat me every now and then at the most interesting point!

A Professor of Metaphysics (who has concealed J. H. Rosny's "Renouveau" behind a file of the "Times," and is sitting on Lavedan's "Les Marionettes," to himself). I really cannot go home till I have cleared up the relations between Chagny and Madame d'Argonne!

A Judge (caught reading "Le Mariage de Chiffon" by a Bishop, apologetically). Ah, I find my French gets rusty without systematic daily practice. Why, would you believe it, I found yesterday I had forgotten what en goguettes meant!

Bishop. Ahem, I believe it is a synonym for en ribote, with nearly the vulgar connotation of gris or soul—tipsy, you know! (Hastily, to Waiter, aware that he has displayed a rather too close acquaintance with Gallic slang.) Kindly fetch me to-day's number of Punch.

Waiter. They are all engaged, my Lord.

Bishop. Then let me look at last week's issue again.

Head Master of Public School (dubiously). Dare I be seen with Madame Chrysanthème? (Noticing that all the quiet corners are occupied with students of French literature.) No—another time!

Leading Novelist. Here's Leslie Stephen been betraying us! He says, what is only too true, that we've abandoned the standard authors, including myself, for Punch!

Cabinet Minister (as a deus ex machinâ). Well, Mr. Punch IS a classic. To read him is a liberal education!

[They do so, with a general sigh of relief.


ESSENCE OF PARLIAMENT.

EXTRACTED FROM THE DIARY OF TOBY, M.P.

House of Commons, Monday Night, March 11.—A great cloud fallen over House to-day. Soon the stately presence that fills the Chair will step forth, never to return. The sonorous voice that can still the storm in its angriest mood will no more resound through the hushed Chamber. The best Speaker the House of Commons in its long history has known, will be merged in the mediocrity of the House of Lords. A hard succession of blows to fall on an assembly. First Mr. G., then Grandolph, and now Arthur Peel, three men of wholly varied type, each unique, in his way reaching the highest level.

Suppose we shall get along somehow, though for all concerned in business of House, in maintaining its usefulness and supporting its dignity, the future without Peel in the Chair not to be regarded without foreboding. He has every quality and gift that go to make the ideal Speaker. A noble presence, a fine voice, a courtly manner, a resolute will, a full knowledge of the forms of the House, a keen though decently suppressed sense of humour—a scholar and a gentleman. These things are seen and recognised from outside. Only those who live and work in the House of Commons know how marvellous is the combination, how infinite in its magnitude the loss impending.

Tuesday.—Talk to-night all about successor to the Speaker. A dozen names mentioned; general conclusion that whoever may be selected, he's not to be envied. The Member for Sark, turning up to-night for first time this Session, brings strange news. Has been on the Riviera, daily expecting influenza. Saw Mr. G. yesterday; the talk at Cap Martin, as here, all about the soon-to-be emptied Chair, and who is to fill it. Sark tells me he is quite certain Mr. G. is thinking of coming forward as candidate; is (so Sark says, and he is a most reliable person) evidently eating out his heart in voluntary retirement. Now he's got his Psalter out, doesn't know what to do next.

"I asked him," Sark says, "whether there was any precedent for an ex-Prime Minister, however young in years and untamed in energy, becoming Speaker."

"Not exactly," he said; "but there is the case of a Speaker who[Pg 144] became Prime Minister. Addington, you will remember, Speaker in 1789, was Premier at the turn of the century. It was said of him, by the way, that he never quite overcame the force of old habits. When engaged with the Cabinet in consideration of foreign affairs he had difficulty in refraining from saying 'The French to the right, the Austrians to the left.' Don't see why the case shouldn't be taken the other way about, and an ex-Premier become Speaker. Fancy I may take it that I have some qualifications for the post. Know the House pretty intimately; have been familiar with it for some years. Am told I never looked so picturesque as when, on public occasions, I wore official gown of Chancellor of Exchequer. Think the Speaker's dress would suit me. But that a mere trifle. What I hanker after, at my time of life, at the close of a career not absolutely free from hard work, is some post not too arduous. Seems to me the Speakership would be the very thing; just enough to do, and not too much."

disguised in Speaker's wig and gown

Mr. G. (disguised in Speaker's wig and gown). "Rather fancy the costume would suit me down to the ground!"

If it had been anyone but Sark had said this, would have listened with incredulity. But Sark most respectable man.

Business done.Robertson in excellent speech explained Navy Estimates.

Thursday.—The Silence of Silomio. No, it's not the title of a novel. You're thinking of the late Dean Maitland. This quite another story; equally tragic. Came about this way. House met to deal with Army Estimates. Cawmel-Bannerman in his place, after ten days in his bedroom with a cold. The cold must have had most amusing companion, that is if Cawmel was as pawky with it as he was to-night with the semi-military horde led by Private Hanbury, who swooped down and barred approach to Committee, These deployed in the open; placed their amendments on the paper. House knew what to expect. Never suspected Silomio in ambush.

As soon as questions over, plot disclosed. Cochrane, a harmless, perhaps necessary, man, put up to move adjournment, in order to discuss the Swazi question. That in itself a stroke of genius. Had Silomio personally moved, game would have seemed too stale. Probability is forty Members not been found to stand up in support of motion. Looks much better to have such action taken on one side of House and supported from the other; invests it with air of impartiality and unanimity. On challenge from the Speaker, Conservatives rose in body to support Cochrane's request. Having secured that object, and being on their legs, they strolled out, leaving Squire of Malwood, Sydney Buxton, and about a score of others all told, to listen to Cochrane's urgent message. Amongst them sat Frank Lockwood, with tender gleam in eyes that roamed with curious intentness about Speaker's chair.

Whilst Cochrane spoke, Silomio sat with inspired look on his face, making voluminous notes. He would come on by-and-by. Let others keep the thing going as long as possible; just when hapless Ministers thought it was over, and they might get to business, they should hear a well-known war-whoop; should discover Silomio at the table, in for a good hour's speech. Meanwhile he sat piling notes upon notes, pausing occasionally to cheer Cochrane, anon humming softly to himself

"Swaziland, my Swaziland!"

Our Artist"—Sir Frank Blockwood

"Our Artist"—Sir Frank Blockwood, Q.C., M.P.

Under Secretary for Colonies deprecated in public interest irregular discussion of question at present time. Gorst, hampered by this responsibility, made curiously halting speech. Baden-Powell spoke "as one who had been in South Africa"; Squire of Malwood more gravely repeated Sydney Buxton's warning. Now was Silomio's time. But before he could move Prince Arthur was on his feet, positively, with some commonplaces about respecting Ministerial responsibility, consenting to close the conversation!

Silomio gasped for breath; instinctively felt for his assegai; clutched at his notes dripping with the gore of Sydney Buxton. When he had partially mastered his emotion the amendment was withdrawn and opportunity had fled.

"Sic vos non vobis vellera fertis oves," said Plunket soothingly. "But never mind. You remember that in the end Virgil got his own, and Bathylius was basted." Silomio stared.

Business done.Silomio contrives a debate and others talk.

Friday Night.—Policemen in lobby much startled by incident that preceded arrival of Speaker to resume sittings at nine o'clock. The steady tramp of a column in marching order broke on the ear. Came nearer and nearer from direction of dining-room; swinging doors flung open; Colonel of the Queen's Westminster Volunteers entered. Behind him, in close order, tramped something like score of members. At word of command they took half turn to right and passed into House, as in earlier days another British column swung through the gates of Delhi.

Ten minutes later, more than half the force were observed to come out of the House, look furtively round, and dash off in various directions, some to smoking-room, some to reading-room, and some clear off the premises. But they had done their appointed work, and Howard Vincent, an old campaigner, had secured opportunity for delivering his speech on hostile tariffs and bounties.

Grave doubt at morning sitting whether House could be made for the alluring joy. Vincent took up position in lobby much as recruiting-sergeant shows himself near Trafalgar Square. Accosted all Members passing by. Offered them free rations and front seats for the lecture if they would stay. Soon picked up enough men to reduce chances of count out. Dinner, I am told, a little exciting, especially towards the end. Several Members discovered straying towards the door. But the ex-captain, of the Royal Berks Militia not to be trifled with. Kept them together past the cheese; delivered every man in the House one minute and thirty seconds before the Speaker took the Chair. If any skulked out when the Colonel was once embarked on his lecture he, of course, couldn't interfere. But they mustn't suppose their departure wasn't marked. No more free rations for them.

Business done.—By reason of Cawmell-Bannerman's great persuasiveness men and money for Army voted at morning sitting.


Seaside Mem.—The Society recently started to abolish Tide-houses will not include Bathing Machines within the scope of its operations.






End of the Project Gutenberg EBook of Punch or the London Charivari, Vol.
108, March  23, 1895, by Various

*** END OF THIS PROJECT GUTENBERG EBOOK PUNCH OR THE LONDON ***

***** This file should be named 45529-h.htm or 45529-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/4/5/5/2/45529/

Produced by Punch, or the London Charivari, Malcolm Farmer
and the Online Distributed Proofreading Team at
http://www.pgdp.net


Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties.  Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  Redistribution is
subject to the trademark license, especially commercial
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License available with this file or online at
  www.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 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation 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 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
contact links and up to date contact information can be found at the
Foundation's web site and official page at www.gutenberg.org/contact

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 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-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 forty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.

Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.

Most people start at our Web site which has the main PG search facility:

     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.