The Project Gutenberg EBook of Punch, or the London Charivari, Volume 103, December 3, 1892, 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, Volume 103, December 3, 1892 Author: Various Editor: Francis Burnand Release Date: July 11, 2005 [EBook #16263] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK PUNCH, OR THE LONDON *** Produced by Malcolm Farmer, William Flis, and the Online Distributed Proofreading Team at https://www.pgdp.net PUNCH, OR THE LONDON CHARIVARI. VOL. 103. December 3, 1892. THE MAN WHO WOULD. III.--THE MAN WHO WOULD GET ON. "I dreamed," said the Scotch Professor, "that I was struggling for dear life with a monstrous reptile, whose scaly coils wound about my body, while the extremity of his own was lost in the distance. At last I managed to shake myself free, and setting my foot on his neck, I was preparing to cut his throat, when the animal looked up at me with an appealing expression, and said, 'At least you might give me a testimonial!'" This professional nightmare (for the labours of a Scotch instructor consist, to a great extent, in writing testimonials, or in evading requests for them), suggested to one of his audience the history of SAUNDERS MCGREGOR, the Man who would Get on. In boyhood, SAUNDERS obtained an exhibition, or bursary, to the University of St. Mungo's. This success implied no high degree of scholarship, for the benefice was only open to persons of the surname of MCGREGOR, and the Christian-name of SAUNDERS. The provident parents of our hero, having accidentally become aware of this circumstance, had their offspring christened SAUNDERS, and thus secured, from the very first, an opening for the young man. [Illustration] At St. Mungo's, SAUNDERS was mainly notable for a generous view of life, which enabled him to look on the goods of others as practically common among Christians. A pipe of his own he somehow possessed, but tobacco and lights he invariably borrowed, also golf-balls, postage-stamps, railway fares, books, caps, gowns, and similar trifles; while his nature was so social, that he invariably dropped in to supper with one or other of his companions. The accident of being left alone for a few moments in the study of our Examiner, where SAUNDERS deftly possessed himself of a set of examination-papers, enabled him to take his degree with an ease and brilliance which very considerably astonished his instructors. By adroitly using his good fortune, SAUNDERS accumulated a pile of most egregious testimonials, and these he regarded as the mainspring of success in life. He had early discovered in himself a singular capacity for drawing salaries, and as he had unbounded conceit and unqualified ignorance, he conceived himself to be fit for any post in life to which a salary is attached. He had also really great gifts as a _crampon_, or hanger-on, and neglected no opportunity, while he made many, of securing useful acquaintances. Thus it was the custom of his college to elect, at stated periods, a man of eminence as Rector. SAUNDERS at once constituted himself secretary of a committee, and, without consulting his associates, wrote invitations to eminent politicians, poets, painters, actors, editors, clergymen, and other people much in the public eye. In these effusions he poured forth the innocent enthusiasm of his heart, expressing an admiration which might seem excessive to all but its objects. They, with the guilelessness of mature age and conscious merit, were touched by SAUNDERS'S expressions of esteem, which they set down to hero-worship, and a fervent study of Mr. CARLYLE'S works. Only one of the persons addressed, unluckily, could be elected; but SAUNDERS added their responses to his pile of testimonials, and frequently gave them good epistolary reason to remember his existence and his devotion. His earliest object was to become secretary to somebody or something, the Prime Minister, the Minister for Foreign Affairs, the Society for the Protection of Aborigines, or Ancient Monuments, or even as Secretary to the Carlton Club, SAUNDERS felt he could do his talents justice in any of these positions. If anything was to be had, SAUNDERS was the boy to ask for it; nay more, to ask other people to ask. Private Secretaryships to Ministers, or societies, or great Clubs, are not invariably given to the first applicant who comes along, even if he appeals to testimonials in the Junior Mathematical Class from Professor MCGLASHAN of St. Mungo's. But SAUNDERS was not daunted. He would write to one notable, informing him that his grandmother had been at a parish school with the notable's great uncle--on which ground of acquaintanceship he would ask that the notable should at once get him a post as Secretary of a Geological Society, or as Inspector of Manufactories, or of Salmon Fisheries, or to a Commission on the Trade of Knife-grinding. Another notable he would tell that he had once been pointed out to him in a railway station, therefore he was emboldened to ask his correspondent to ask his Publisher, to get at the Editor of the _Times_, and recommend him, SAUNDERS, as Musical Critic, or Sub-editor, or Society Reporter. Nor did SAUNDERS neglect Professorships, and vacant Chairs. His testimonials went in for all of them. He was equally ready and qualified to be Professor of Greek, Metaphysics, Etruscan, Chemistry, or the Use of the Globes, while Biblical criticism and Natural Religion, prompted his wildest yearnings. Though ignorant of foreign languages, he was prepared to be a correspondent anywhere, and though he was purely unlearned in all matters, he proposed to edit Dictionaries and Encyclopædias, of course with the assistance of a large and competent staff. His proofs of capacity for a series of occupations that would have staggered a CRICHTON, was always attested by his old College testimonials, for SAUNDERS was of opinion that the courteous _obiter dictum_ of a Professor was an Open Sesame to all the golden gates of the world. Meanwhile, he supported existence by teaching the elements of the classic languages, with which he had the most distant acquaintance, to little boys, at a Day School. But one of these pupils came home, one afternoon, in tears, having been beaten on the palms of the hands with a leathern strap, in addition to the task of writing out the verb [Greek: tuptô]. This punishment was inflicted because, in accordance with SAUNDERS'S instructions, he had represented the Cyclops of Euripides as "sweeping the stars with a rake." The original words of the Athenian poet do not bear this remarkable construction, so SAUNDERS was dismissed from the only work which he had ever made even a pretence of doing. He has not the energy, nor the lungs necessary for the profession of an agitator; he has not the grammar required in a penny-a-liner, he cannot cut hair, and his manners unfit him for the occupation of a shop-assistant, so that little is left open to SAUNDERS but the industry of the Blackmailer. The office of Secretary to a Missionary in a Leper settlement, on an island of Tierra Del Fuego, is, however, vacant; and, if the many important personages with whom SAUNDERS has corresponded will only make a united effort, it is possible that the Man who would Get on may at last be got off, and relieve society from the burden of his solicitations. May the comparative failure in life of SAUNDERS MCGREGOR act as a warning to those who think that they shall be heard, by men, for their much asking! P.S.--This does not apply to women. We have just been informed that Mr. SAUNDERS MCGREGOR, M.A., is about to lead to the altar the only and orphan daughter of the late ALISTER MCFUNGUS, Esq., of Castle Fungus, Dreepdaily, N.B., the eminent introducer of remarkably improved processes in the manufacture of Heel-ball. * * * * * "ONE DOWN, T'OTHER COME ON!"--Mr. HORACE SEDGER has a _Prima Donna_ supply always on tap. After two of them have retired from the principal part in _Incognita_, the lively Miss AIDA JENOURE--("'Aid 'em JENOURE,' she ought to be called," quoth Mr. WAGGSTAFF)--comes to the rescue, and "on we goes again" with an excellent _danseuse_, too, thoroughly in earnest, as her name implies, which sounds like Miss Sin-cere and is written Miss ST. CYR. * * * * * [Illustration: THE FIGHT FOR THE STANDARD.] * * * * * [Illustration: A MERE DETAIL. _Friend of the Family._ "WEEL, MRS. M'GLASGIE, AND HOW'S YOUR DAUGHTER DOIN', THE ONE THAT WAS MARRIED A WHILE AGO?" _Mrs. M'Glasgie._ "OH, VARRA WEEL, THANK YE, MR. BROWN, VARRA WEEL, INDEED! SHE CANNA ABIDE HER MAN. BUT THEN, YE KEN, THERE'S AYE A SOMETHING!!"] * * * * * THE FIGHT FOR THE STANDARD. (_MODERN MONETARY VERSION._) 'Twas the gallant Golden Knight downed his visor for the fight. All true champions delight in hard tussles. With his yellow Standard reared at his back, no foe he feared, And his gaze all comers queered, There at Brussels. Like _Sir Kenneth_, only more so, he expanded his fine torso. His Standard--bold he swore so--flying proudly, Still supreme should flow and flaunt, its defenders none should daunt. 'Twas a very valiant vaunt. Shouted loudly. Now the Silver Knight had sworn--that the Standard so long borne By the Aureate One, in scorn irreducible Should not solitary wave. He'd squabosh that champion brave, Or would find a torrid grave-- In some crucible! Such cremation he would dare if that Standard he might bear To the dust, and upraise there one more Silvery. For this Argent Knight, though pale, was right sure he could not fail, He was proud of his white mail, And his skill--very! So here, Gentles, you behold that brave Knight in mail of Gold, Sworn his Standard to uphold high and aureate; And that blusterous battle-bout, twixt those champions stern and stout, Will inspire, I have no doubt, Our next Laureate! Yank Knights-Errant may evince interest grave; that Indian Prince Will alternate swell and wince as they struggle; The young Scottish Knight BALFOUR (who looks callow more than dour) Hopes the Silver Knight may score, By some juggle. But in spite of Yank and Scot, and the Bimetallic lot, They who're fly to what is what, back the Gold 'un. And did _I_ bet--for fun--ere this Standard fight is done, I should plank my ten to one On the Old 'Un! * * * * * SUN-SPOTS. Fog, haze, smoke or cloud, almost daily enshroud The Metropolis--place we should shun-- And day after day the reports briefly say, "Bright sunshine at Westminster--none," Yes, none! O Sol, not a ray; no, not one! _The Times_ says that lots, quite a fine group of spots, Are discernible now on the sun; Have these stopped heat or light, so that weather-wise write, "Bright sunshine at Westminster--none?" Yes, none! O Sol, what have you been and done? Have these sun-spots increased? We know London, at least, Is a spot unconnected with sun; All day long we burn gas, the report is, alas! "Bright sunshine at Westminster--none," Yes, none! O Sol, you old son of a gun! * * * * * LADY GAY'S SELECTION. _Mount Street, Berkeley Square._ DEAR MR. PUNCH, I am proud of being the "selection" referred to above, though, as a matter of fact it was _I_ who "selected" GAY from the numerous sweet young things submitted for my approval during the Season when I was considered "_the_ parti"!--but on this point I maintain a noble silence! In spite of the old Welsh proverb, "Oh, wad some Gay the giftie gie us," &c. &c., I was a bit puzzled on reading GAY's letters, at the similarity of names, but thought it only a coincidence, until she was so upset by the one she read when abroad, that she confessed everything, and asked my advice!--It's very strange how all these clever women, when they get into a fix, apply for assistance to weak "_man_!" eh? Now that flat-racing is over, we are "resting on our oars" for a time--(that is literally true, for the country has been mostly under water lately!)--but we shall shortly have a cut-in at steeplechasing, when GAY will doubtless have some new experiences to relate; meanwhile, allow me to subscribe myself--(I like to subscribe to everything good)--Yours explanatorily, (Lord) ARTHUR FLEETWOOD. * * * * * ALL ROUND THE FAIR. NO. III. IN THE "FINE ART" EXHIBITION. _Rustic Art Patrons discovered applying their eyes to peepholes, through which a motley collection of coloured lithographs of the Crimean Campaign, faded stereoscopic-views, Scriptural engravings, and daubed woodcuts from the "Illustrated Police News," is arranged for their inspection._ _First Art Patron_ (_waiting for his turn at the first peephole_). Look alive theer, GE-ARGE, ain't ye done squintin' at 'un yet? _Ge-arge_ (_a local humorist_). 'Tis a rare old novelty, BEN, th' latest from London, and naw mistake 'bout it! _Ben_ (_with disappointment, as he succeeds to the peephole_). Why, 'tain't on'y ADAM an' EVE afoor th' Fall! that ain't so partickler noo, as _I_ can see--Lar dear, they're a settin' nekked on a live lion, and a nursin' o' rabbits! (_At the next hole_ ADAM _and_ EVE _are represented "After the Fall," overwhelmed with confusion, while the lion is stalking off scandalised, with a fine expression of lofty moral indignation._) 'Ere they are _agen_! that theer lion thinks he's played sofy to 'en long 'nough, seemin'ly! _Ge-arge_ (_from a further peephole_). I say, BEN, 'ere's Mrs. PEARCEY a murderin' Mrs. 'OGG down this 'un--we're a-gittin' _along_! _Ben_ (_puzzled_). They must ha' skipped out a deal. I'm on'y at "CAIN killin' ABEL!" _Female Patron_ (_to Proprietor_). 'Ere, Master, I can't see nothen' down 'ere--'tis all dark like! _Proprietor._ Let _me_ 'ave a look! You shud put your 'ands so, each side o' your eyes, and--(_He looks._) 'Um, it is _rayther_--but what else do yer _expeck_? It's a "View o' Paris by Night," ain't it--_that_'s all right! OUTSIDE "PROFESSOR PUGMAN'S SPARRING SALOON." _The Professor_ (_on a little platform, with a pair of Pupils_). Now then, all you as are lovers o' the Noble and Manly Art o' Self-Defence, step inside and see it illusterated in a scientific an' fust-class manner! This (_introducing first Pupil, who rubs his nose with dignity_) is 'OPPER of 'Olloway, the becoming nine-stun Champion. This hother's BATTERS o' Bermondsey, open to fight any lad in England at eight-stun four. Is there anyone among you willing to 'ave a round or two with either on 'em fur a drink an' admission free?--if so, now's his time to step forward--there's no waiting, mind yer? _Joe_ (_to Melia_). I b'lieve as 'ow I could tackle the little 'un--I used to box above a bit. _Melia._ Don't ye now, JOE; you'll on'y go and git yourself 'urt or summat! _Joe._ _I_ shan't git 'urt. 'Ere, Master, I'm game fur to put on the gloves wi' _'im_. _Prof._ Git inside with yer then! (_To Crowd._) Now then for the Great Glove Contest--Just goin' inside to begin--Mind, there's _no_ waitin'! _Joe._ 'Ere, MELIA, come along in, and look arter my 'at an' coat. _Melia._ I dussen't, JOE! I can't abear to see no fightin', I'll bide 'ere till ye come out. [_JOE enters the tent, followed by the Pupils and a few Connoisseurs._ _Prof._ (_looking into the interior of tent through a slit in the canvas_). Theer they are! Oh my, what a pictur'! They're puttin' on the gloves now, make 'aste if you're goin' in! (_The Crowd hesitate._) 'Ere! (_To the Champions._) Step outside once more and show yourselves! [_The Champions appear, re-mount the platform, and are introduced all over again._ _Melia_ (_intercepting her swain_). JOE, 'ow are ye gittin' on? You don't look none the worse so fur; is it neelly over? _Joe_ (_gruffly_). Neelly over! why, we ain't _begun_ yet--nor likely to wi' all this bloomin' palaverin'! _Melia._ I do wish 'twas over--Kip a good 'art, JOE; don't let 'un go knockin' ye about! _Joe_ (_with a slight decrease of confidence_). Theer's a way to talk! I doan't reckon as 'ow he'll _kill_ me, not in three rounds, I doan't, but if I'd a-know'd there'd be all this messin' about fust, I'd a-- [_He goes inside gloomily._ [Illustration: "Theer they are! Oh my, what a pictur'!"] INSIDE THE SPARRING SALOON. _The Spectators are waiting patiently around the ropes; the Professor is still on the platform, expatiating on the coming contest. JOE has found a friend whom he has entrusted with his hat and coat._ _Joe_ (_to the Friend_). Jest kip a heye on these 'ere, will ye! [_He hands him a huge pair of highlows._ _Prof._ (_calling in_). Fur the larst time, come outside and show yerselves, all on yer! _The Friend._ You got to go out agin, JOE, better putt on yer coat an' 'at, not to ketch cold! _Joe._ Ah, and I'll 'ave to 'ave they bo-oots on agen, too. (_He gets into his things in a great flurry, and hastens outside._) 'Tis enough to take th' 'art out of a man, thet 'tis! [_More exhortations from Proprietor, until the last Spectator has been induced to enter the Saloon, whereupon the Champions return, and the hangings at the entrance are finally drawn._ _Prof._ (_acting as Timekeeper_). Now then, all ready? (_To JOE._) In you go--What are yer waitin' for? Never mind about takin' orf yer boots! Gentlemen, BATTERS o' Bermondsey is agoin' to fight three rounds with a volunteer, one o' your own men. Whatever you see between 'em (_solemnly_), pass no remarks! Time! [_JOE and "BATTERS o' Bermondsey" walk round each other and make a fumbling attempt to shake hands, after which JOE, while preparing to deliver a blow with extreme caution and deliberation, is surprised by a smart smack on his cheek, which makes him stagger; he recovers himself and prances down on BATTERS with a windmill action._ _Batters_ (_limping into his corner_). 'Ere, I say, ole man--moind my tows--foight at yer right _end_! _Joe_ (_apologetically_). I didn't mean nothing unfair-like--I _warnted_ fur to take off them 'ere boots--but I warn't let! _Batters._ I'll _let_ ye--fur 'taint no corpet slippers as you've got on, ole feller, I tell yer strite! [_JOE removes the offending boots._ _Spectators_ (_during the second round, which is fought with more spirit than science on JOE'S part_). Ah, JOE ain't no match for 'un--he let un _'ave_ it then, didn't he? My word! but it's "Go 'ome an' tell yer Mother, an' ax yer Uncle 'ow ye be" with 'un, pretty near every time! _Prof._ (_with affected rapture_). Oh dear! Oh lor! _What_ doins! Time! you two, afore ye _kill_ one another! Now, Gentlemen, a good clap, to encourage 'em. I think you'll agree as the Volunteer is showin' you good sport; and, if you think him deservin' of a drink, p'raps one o' you will oblige with the loan of a 'at, which he'll now take round. (_The hat is procured, and offered to_ JOE, _who, however, prefers that the collection should be made by deputy._) Don't _forgit_ 'im, Gentlemen! (_Coppers pour into the hat, and the last round is fought;_ B. of B. _ducking_ JOE'S _blows with great agility, and planting his own freely in various parts of_ JOE'S _anatomy._) _Spectators._ 'E'll be knocked out in a minnit, 'e will! Don't sim to git near 'un no 'ow. Look a' _that_--and _thar_ agin! Ah, JOE got one in that time--but the tother's the better man--'e don't touch 'un without _'ittin'_ of 'un--d'ye see? Time! Ah, and time it _was_ time, too--fur _'im_! _Prof._ (_to JOE, as he sits blinking, and blowing his nose with vigour_). That was a jolly good fight--tho' rough. You've some notion o' sparrin'--we'd soon make a boxer o' _you_. 'Ere's _your_ share of the collection--sevenpence ap'ny. We give _you_ the extry ap'ny, bein' a stranger. Would you feel inclined to fight six rounds, later on like, with another of our lads, fur ten bob, now? _Joe_ (_making a futile attempt to untie his glove with his teeth_). Much obliged, Master, but I've 'ad about enough spree a'ready to do me fur a bit. _Prof._ Are there any two friends in 'ere as 'ud like to fight a round or two? [_Two Rustics step forward valiantly--a tall dark man and a little red-haired one--and, after the usual preliminaries, square up at a safe distance._ _Spectators_ (_to the tall man_). Why don't ye step _up_ to 'un, JIM? Use yer right 'and a bit! (_To the short one._) Let out on 'un, TOM! [_TOM, thus exhorted, lands an unexpected blow on JIM'S eye._ _Jim_ (_suddenly ducking under the rope in great dudgeon_). 'Twas a cowardly blow! I didn' stan' up to be 'it in th' fa-ace i' that way; I've 'ad enoof of it! _Tom._ Come back and fight it out! (_Soothingly._) Why, ye come at me like a thunderin' great _lion_, ye did! _Jim_ (_putting on his hat and coat, sulkily_). Loi-on or noan, I ain't gawin' to hev naw moor on it, I tell 'ee. [_Groans from_ Spectators. _Prof._ Don't be 'ard on 'im, Gents; it ain't 'is fault if he's on'y bin used to box with bolsters, and as he ain't goin' to finish 'is rounds, it's all over for this time, and I 'ope you're all satisfied with what you've seen. _A Malcontent._ _I_ ain't. I carl it a bloomin' swindle. I come 'ere to see some _sparrin'_, _I_ did! _Prof._ Step inside the ropes then, and _I'll_ soon show yer some! (_This invitation is hastily declined._) Well, then, go outside quiet, d'jear me? or else you'll do it upside down, like ole JOHN BROWN, in 'arf a sec., I can tell yer! [_The Malcontent departs meekly, and reserves any further observations until he is out of hearing._ _Melia_ (_to JOE_). Lor, I wish now I'd been there to see ye; I do 'ope ye weren't too _rough_ with 'un, though, JOE. What shall we do next?--'ave a turn on the swings, or the swishback circus, or the giddy-go-round--or what? (JOE _shakes his head._) _Why_ won't ye, JOE? _Joe_ (_driven to candour_). Why?--'cause it 'ud be throwin' away money, seein' I've got 'em all goin' on inside o' me at once as 'tis, if ye _want_ to know! I feel a deal more like settin' down quiet a bit, I do, if I cud find a place. _Melia_ (_with an inspiration_). Then let's go and 'ave our likenesses took! [_She cannot understand why JOE should be so needlessly incensed at so innocent and opportune a suggestion._ * * * * * THE "BEST EVIDENCE"--HOW NOT TO GET IT. Have been summoned to attend as a Witness in the trial of the six roughs who first drugged and then savagely ill-treated a foolishly convivial citizen in Whitechapel. Don't know if it was wise of me to tell the Police that I could identify the men. Since my evidence before the Magistrate came out, I have had thirty-seven threatening letters, my front windows have been broken several times over, and a valuable dog poisoned. Still, evidently a patriotic duty to "assist the course of Justice;" and no doubt I shall be compensated. So this is the "Central Criminal Court," is it? Should hardly have believed it possible. Outside mean and dirty. Interior, meaner and much dirtier. Speak to Usher. Usher most polite. Glad, that at any rate, they _do_ know how to treat important Witnesses. Am assured I shall have a seat "close to the Judge." Produce my witness-summons. Demeanour of Usher suddenly changes. I shall have to go to the "Witnesses' Waiting-room in the old Court." Where's that? _He_ doesn't know. I'd better ask a Policeman. It now flashes across me that Usher mistook me for a wealthy, and probably generous spectator, and thought when I was fumbling in my pocket for my summons, I was looking for half-a-crown for _him_! Depressing. Policeman leaves me in a dark, draughty passage, with a bench on each side. "But where is the waiting-room?" I ask an attendant. "_This_ is the waiting-room," he replies. More like the Black Hole. _Was_ it wise of me to give information to the Police? _Two Days later._--They crammed _forty_ Witnesses into that passage! No seats for half of them. We had one chair, and Usher took it away "as a lady wanted it in Court." Lady no doubt a spectator--did _she_ hunt in her pocket for half-a-crown? Anyhow, after two days in the passage, I have just given my evidence in Court, with fearful cold on my lungs, owing to the draught. Very hoarse. Ordered by Judge, sternly, to "speak up." Conscious that I looked a wretched object. Jury regarded me with evident suspicion. Severely cross-examined. Mentioned to Judge about my windows being smashed, &c.; could I receive anything for it? "Oh, dear no," replied the Judge; "we never reward Witnesses." Amusement in Court--at my expense. In fact, the course of Justice generally seems to be altogether at my expense. Home in a cab and a fever. Find ten more threatening letters, and an infernal machine under area-steps. Go to bed. Doctor says I am in for pneumonia and bronchitis, he thinks. Tells me I am thoroughly run down, and asks me, "What I've been doing to reduce myself to this state?" I reply that, "I have been assisting the course of Justice." Doctor shrugs his shoulders, and I hear him distinctly mutter, "More fool you!" I agree with Doctor, cordially. Am quite certain now that it _was_ unwise to tell Police that I could identify those criminals. If this is the way in which Witnesses are treated, let Justice in future assist itself! * * * * * OUR BOOKING-OFFICE. My Baronite has been reading _Mona Maclean, Medical Student_. (BLACKWOOD.) "It is," he tells me, "a Novel with a purpose--no recommendation for a novel, more especially when the purpose selected is that of demonstrating the indispensability of women-doctors." Happily GRAHAM TRAVERS, as the author (being evidently a woman) calls herself, is lured from her fell design. There is a chapter or two of talk among the girls in the dissecting-room and the chemical laboratory, with much about the "spheno-maxillary fossa," the "dorsalis pedis," and the general whereabouts of "Scarpa's triangle." But these can be skipped, and the reader may get into the company of _Mona Maclean_ when she is less erudite, and more womanly. When not dissecting the "plantar arch," _Mona_ is a bright, fearless, clever girl, with a breezy manner, refreshing to all admitted to her company. The episode of her shopkeeping experience is admirably told, and affords the author abundant and varied opportunity of exercising her gift of drawing character. _Mona Maclean_ is, apparently, a first effort at novel-writing. The workmanship improves up to the end of the third volume; and Miss TRAVERS' next book will be better still. [Illustration: Affection's Offering--from Alfred the Second to Dear George the first.] To Mr. J. FISHER UNWIN comes the happy thought of issuing, in a neatly-packed box, the whole twenty volumes of the Pseudonym Library--and a very acceptable Christmas-Box it will make. The volumes, with their odd, oblong shape, are delightful to hold; the type is good, and the excellence of the literary matter is remarkably well kept up over the already long series. Mr. UNWIN promises fresh volumes, introducing to the British public Finnish and Danish authors, or Danish first, and the others to Finnish. See how these Poets love one another! How touching is the dedication of ALFRED AUSTIN'S latest volume to GEORGE MEREDITH! May both live long and prosper, is the hearty wish of their friend, THE BARON DE BOOK-WORMS. * * * * * THE ROYAL ROAD TO COMFORT.--A DREAM. The rival Steamboats were on the alert. It was a misty night, and it was a difficult matter to make out the lights of Calais Harbour. "We shall catch him yet," said the Captain of the Blue Vessel. "He will not escape us," observed the C.O. of the Red. Suddenly the Blue started at full steam ahead, and was lost to sight in Calais harbour. She was quickly followed by the Red, moving with equal expedition. The vessels reached the quay nearly at the same time. Then there was confusion and sounds of military music. Evidently the Illustrious Personage had embarked. Then the mist cleared away. "He is safe on board," said the Captain of the Blue Vessel, and his Mate indulged in a short laugh of triumph. "It does not matter," observed the Commanding Officer of the Red; "the Blue may have his person, but _we_ have his luggage!" And then the cheers were renewed again and again, and the Illustrious Personage came to the conclusion that English enterprise was not without its disadvantages! * * * * * [Illustration: WHAT OUR ARTIST HAS TO PUT UP WITH. HE TRAVELS ALL OVER ENGLAND IN SEARCH OF A BACKGROUND FOR HIS "_VIVIAN BEGUILING MERLIN IN THE FOREST OF BROCELIANDE_,"--A HOPELESS QUEST!] * * * * * BOGEY OR BENEFACTOR? _Timid Ratepayer loquitur:--_ O lor! O dear! What have we here? What a nondescript, huge NID-NODDY! None know, I'm sure, what _I_ have to endure. It's enough to frighten a body! They are always up to some queer new game, and a giving me some fresh master; But this one is a _crux_ from the sole of his foot to the crown of his comical castor. He looks as big as all out-of-doors, and e'en BUMBLE was hardly as bumptious. He'd make my London a Paradise, which is a prospect that's perfectly scrumptious. But oh! he _is_ big, with the funniest rig; a Titan who, if he _should_ tumble, Might squelch me as flat as an opera-hat, and make me regret old BUMBLE. Noodledom ruled me for many long years; this means, I am told, a new Era; But bad as a Booby may be as a Boss, what about a colossal Chimæra? I don't say he's that, but with body of goat, dragon's tail, and the head of a lion, A creature were hardly more "mixed" than _this_ monster, whose rule for the time I must try on. A complex, conglomerate, Jack-of-all-Trades! Well, I trust he'll be master of some of them! _Largo al factotum_! He's game for all tasks, and--I wish I was sure what would come of them. Most representative? Palpable that! And his plans most sublime (so he says) are; But he looks just as motley a nondescript as the image of Nebuchadnezzar. The elephant who can root up a huge oak, or handle a needle or pin, is Less marvellous much, and it may be, of course, that the folks who distrust him are ninnies. I hope so, I'm sure. There are evils to cure, and of room for improvement there's plenty; And all must admit that, whatever his faults, he cannot be called _far niente_. He _does_ look a bit of a Bogey, but then he _may_ prove just a big Benefactor, And if he should work on the cheap, kill Corruption, and kick out the knavish Contractor, Without piling Pelion on Ossa (of rates) on my back, till my legs with the "tottle" limp, I _shall_ "learn to love him" as Giant Beneficent, not a big, blundering Bottle-Imp! * * * * * OPERA-GOER'S DIARY.--_Otello_ (the Grand Otello Company, Limited) was the feature last week. GIANINI a stout _Otello_, much and Moor. MELBA a charming _Desdemona_, but not a great part for her. DUFRICHE as _Iago_, good, but not good enough for _him_. Sir DRURIOLANUS gives _Carmen_ at Windsor Castle, before the QUEEN! Aha! Where now is LAGO Factotum and His Special Patronaged Royal Box at the Olympic? DRURIOLANUS Victor, with all the honours. * * * * * AT A RINK. Round and round, and to and fro At a rink, Pretty girls, with cheeks that glow Rosy pink; Graceful, gleeful, gliding, go, Whilst they link Arms together, like the flow Past its brink Of a river's eddy--so Duffers think They can glide. See one start slow, Shyly shrink, Fearful lest his end be woe, Sheepish slink, Skates on unaccustomed toe Strangely clink, Hot and thirsty he will grow, Long for drink; All around amusement show, Laugh and wink, But they look as black as crow, Or as ink, If he fall against them. Oh, In a twink On the floor, not soft but low, See him sink! Whilst he murmurs gently, "Blow This old rink!" * * * * * LOGICAL AND ENGINE-IOUS.--Why object (though we do) to Advertisements of all sorts along our Railway lines? Surely, wherever the Locomotive goes, there is the very place for puffing. * * * * * [Illustration: BOGEY OR BENEFACTOR? L.C.C. "HA, HA! YOU MUST LEARN TO LOVE ME!"] * * * * * [Illustration: QUITE UNPARDONABLE. _Assistant_ (_in his most insinuating manner_). "IN YOUR CASE, MADAM, I SHOULD CERTAINLY CONSIDER _FAST_ COLOURS MOST SUITABLE." RESULT!] * * * * * CONVERSATIONAL HINTS FOR YOUNG SHOOTERS. THE SMOKING-ROOM. (_WITH WHICH IS INCORPORATED "ANECDOTES."_) Let us imagine, if you please, that the toils and trampings of the day are over. You are staying at a comfortable country-house with friends whom you like. You have had a good day at your host's pheasants and his rabbits. Your shooting has been fairly accurate, not ostentatiously brilliant, but on the whole satisfactory. You have followed out the hints given in my previous Chapters, and are consequently looked upon as a pleasant fellow, with plenty to say for himself. After tea, in the drawing-room, you have had an hour or two for the writing of letters, which you have of course not written, for the reading of the morning papers from London which you have skimmed with a faint interest, and for the forty or eighty or one hundred and twenty winks in an armchair in front of the fire, which are by no means the least pleasant and comforting incident in the day's programme. You have dressed for dinner in good time; you have tied your white tie successfully "in once;" you have taken in a charming girl (ROSE LARKING, let us say) to dinner. The dinner itself has been good, the drawing-room interlude after dinner has been pleasantly varied with music, and the ladies have, with the tact for which they are sometimes distinguished, retired early to bed-rooms, where it is believed they spend hours in the combing of their beautiful hair, and the interchange of gossip. You are in high spirits. You think, indeed you are sure (and again, on thinking it well over, not quite so sure), that the adorable ROSE looked kindly upon you as she said good-night, and allowed her pretty little hand to linger in your own while you assured her that to-morrow you would get for her the pinion-feather of a woodcock, or die in the attempt. You are now arrayed in your smoking-coat (the black with the red silk-facings), and your velvet slippers with your initials worked in gold--a birthday present from your sister. All the rest are, each after his own fashion, similarly attired, and the whole male party is gathered together in the smoking-room. There you sit and smoke and chat until the witching hour of night, when everybody yawns and grave men, as well as gay, go up to their beds. Now, since you are an unassuming youngster, and anxious to learn, you ask me probably, how you are to bear yourself in this important assembly, what you are to speak about, and how? The chief thing, I answer, is _not to be a bore_. It is so easy _not_ to be a bore if only you give a little thought to it. Nobody wants to be a bore. I cannot imagine any man consciously incurring the execration of his fellow-men. And yet there exist innumerable bores scattered through the length and breadth of our happy country, and carrying on their dismal business with an almost malignant persistency. Longwindedness, pomposity, the exaggeration of petty trivialities, the irresistible desire to magnify one's own wretched little achievements, to pose as the little hero of insignificant adventures, and to relate them to the whole world in every dull detail, regardless of the right of other men to get an occasional word in edgewise--these are the true marks of the genuine bore. He must know that you take no interest in him or his story. Even if you did, his manner of telling it would flatten you, yet he fascinates you with that glassy stare, that self-conscious and self-admiring smirk, and distils his tale into your ears at the very moment when you are burning to talk over old College-days with CHALMERS, or to discuss an article in the _Field_ with SHABRACK. I remember once finding myself, by some freak of mocking destiny, in a house in which _two_ bores had established fortified camps. On the first night, we all became so dazed with intolerable dulness, that our powers of resistance faded away to the vanishing point. Both bores sallied out from their ramparts, laid our little possessions waste, and led, each his tale of captives back with him, gagged, bound, and incapable of struggle. So next day, when the accustomed train Of things grew round our sense again, we agreed together, those of us, I mean, who had suffered on the previous night, that something must be done. What it was to be we could not at first decide. We should have preferred "something lingering, with boiling oil in it," but at last we decided on the brilliant suggestion of SHABRACK, who was of the party, that we should endeavour by some means or other to bring the two bores, as it were, face to face in a kind of boring-competition in the smoking-room that very night, to engage them in warfare against one another and ourselves to sit by and watch them mutually extinguishing one another; a result that, we were certain, could not fail to be brought about, owing to the deadly nature of the weapons with which each was provided. Both the bores, I may observe, shot execrably during the day. In the evening, after a short preliminary skirmish, from which SHABRACK the hussar extricated us with but little loss, that which we desired came to pass. It was a terrible spectacle. In a moment both these magnificent animals, their bristles erect, and all their tusks flashing fiercely in the lamp-light, were locked in the death-grapple. Every detail of the memorable struggle is indelibly burnt into my brain. Even at this distance of time, I can remember how we all looked on, silent, awestruck, fascinated, as the dreadful fight proceeded to its inevitable close. For the benefit of others, let me attempt to describe it in the appropriate language of the Ring. GREAT FIGHT BETWEEN THE KENTISH PROSER AND THE HAMPSHIRE DULLARD. _Round I._--Both men advanced, confident, but cautious. After sparring for an opening, the Proser landed lightly on the jaw with,--"When the Duke of DASHBURY did me the honour to ask me to his Grace's noble deer-forest." He ducked to avoid the return, but the Hampshire Champion would not be denied, and placed two heavy fish-stories fair in the bread-basket. The Proser swung round a vicious right-hander anecdote about a stag shot at 250 yards, but the blow fell short, and he was fairly staggered by two in succession ("the tree-climbing rabbit," and "the Marquis of DULLFIELD'S gaiters"), delivered straight on the mouth. First blood for the Dullard. After some hard exchanges they closed, and fell, the Dullard underneath. _Round II._--Both blowing a good deal. The Proser put up his Dukes, and let fly with both of them, one after another, at the Dullard's conk, drawing claret profusely. Nothing daunted, the Dullard watched his opportunity, and delivered a first-class Royal Prince on the Proser's right eye, half closing that optic. The men now closed, but broke away again almost directly. Some smart fibbing, in which neither could claim an advantage, ensued. The round was brought to a close by some rapid exchanges, after which the Proser went down. Betting 6 to 4 on the Dullard. _Round III., and last._--Proser's right peeper badly swollen, the Dullard gory, and a bit groggy, but still smiling. Proser opened with a ricochet, which did great execution, but was countered heavily when he attempted to repeat the trick, the Dullard all but knocking him off his legs with a fifty-pound salmon. After some slight exchanges they began a hammer-and-tongs game, in which Proser scored heavily. Dullard, however, pulled himself together for a final rush. They met in the middle of the ring, and both fell heavily. As neither was able to rise, the fight was drawn. Both men were heavily damaged, and were carried away with their jaws broken. There you have the story. The actual result was that these two ponderous bores all but did one another to death. So exhausted were they by the terrible conflict, that our comfort was not again disturbed by them during this particular visit. We were lucky, though at first we scarcely saw it, in getting two evenly matched ironclad bores together. If we had had only one, the matter would have been far more difficult. * * * * * [Illustration: THE SERPENT'S TOOTH. "DIDN'T I SEND 'IM TO HETON AN' HOXFORD? DIDN'T I SEND 'IM INTO THE HARMY, ALONG O' SOME O' THE BIGGEST NOBS IN ALL HENGLAND, WITH AN ALLOWANCE FIT FOR A YOUNG HEARL? AND WHAT'S THE HUPSHOT OF IT ALL? WHY, HE GIVES DINNERS TO DOOKS AND ROYAL 'IGHNESSES, AN' DON'T EVEN HARSK 'IS PORE OLD FATHER TO MEET 'EM. 'IGHNESSES, INDEED! I COULD BUY UP THE 'OLE BLESSED LOT! AND, _WHAT'S MORE, I WOULDN'T MIND TELLIN' 'EM SO TO THEIR FACES, FOR TWO PINS!--AH! JUST AS SOON AS LOOK AT 'EM--AND 'E KNOWS IT!_"] * * * * * UNDECIDED. Goosey, Goose, Uganda, With whom will you wander, With the English, with the French? Or with King MWANGA? * * * * * ADVICE GRATIS (_by a Bill Poster_).--"Invest all your savings in hoardings." * * * * * THE COMPLIMENT OF COIN. (_AN EXTRACT FROM MR. PUNCH'S PURELY IMAGINARY CONVERSATIONS._) SCENE--_Interior of a Palace._ Emperor _and_ Empress _discovered discussing the former's tour in foreign parts._ _Emperor_ (_finishing a good story_). So after I had made a hearty meal off the bread-and-milk, I gave the old woman a note for five thousand thalers, and told her to buy a three-sous portrait of myself so that she might see the Sovereign that she had saved from starvation. Ha! ha! ha! Wasn't it amusing? _Empress_ (_smiling_). Very, dear; but wasn't it a little expensive? Surely you could have got the bread-and-milk for a smaller sum? _Emperor._ Of course I could! But then, don't you see, it made me popular. It's in all the papers, and reads splendidly! _Empress._ Yes, of course, dear. By the way, I found this volume (_producing book bound in velvet with real gold clasps_) in your overcoat. May I peep into it? _Emperor_ (_doubtfully_). I don't think you will find it particularly interesting. I have just jotted down my petty cash disbursements. _Empress_ (_opening book and glancing at contents_). Dear me! Why the total amounts to £15,000! I see it's put in English money. _Emperor._ Yes, it saves trouble. When I am travelling I get rather confused with all coinage save that of Mother's Fatherland. _Empress._ But surely £15,000 is a lot to expend upon extras? _Emperor._ Depends on the view you take of things. I had a lot of things to buy. _Empress._ But surely _this_ must be wrong? Shoeblack fifty guineas! _Emperor_ (_lightly_). No, I think that's all right. You see, the fellow, after he had cleaned my boots, suddenly recognised me, called me Sire, and sang the "_Wacht am Rhein_." I couldn't, after that, give him less. _Empress._ Well, you know best, dear; but I should have thought you could have got your boots cleaned for rather less! _Emperor._ Possibly; but I should have lost the story. And you know it reads so well. _Empress._ And here's another rather big item. £800 for a London cabman! _Emperor._ I consider _that_ the cheapest item in the lot. He wanted more! _Empress._ And here are several items of seventy pounds apiece. What were _they_ for? _Emperor._ Oh, nothing in particular. Little girl picked up my handkerchief, and a little boy asked me for a kite. Was obliged to give them each a bundle of tenners. It would have been so mean if I had given them less. But there, I told you you wouldn't find the book at all interesting. If you will pass it to me, I will lock it up. _Empress._ Oh, certainly, dear. (_Gives up volume._) And now, darling, I am going to ask you a favour. You never saw such a pet of a coronet as they have at Von ----'s. Now I want you to buy it for me particularly. _Emperor_ (_embarrassed_). Certainly, dear--but you know, we are not too well off. _Empress._ Oh, but it is simply charming. Rubies round the edge, and a cross of brilliants and emeralds. And, really, _so_ cheap. They only want £100,000 for it! _Emperor._ Very nice indeed; but just at this moment it would be a little inconvenient to produce so large a sum. _Empress._ Large sum! Why, the rubies alone are worth all the money. _Emperor._ Yes, I know, dear. And now I must hurry away; duty, my love, comes before pleasure. See you soon. [_Exit hurriedly, to attend a review. In the meanwhile, Coronet remains in the jeweller's shop-window. Curtain_. * * * * * [Illustration: THE FESTIVE SEASON. A SCOTCH NIGHT.] * * * * * AN EVENING FROM HOME. There used to appear daily--and it may be appearing daily now, for aught I know, only, speaking on oath, I haven't lately noticed it--a question addressed by Everybody in General, or by Nobody in Particular to Everybody Else, which took this form: "Where shall we dine to-day?" I forget what the answer was, but, as a rule, the domesticated man, with a good cook in his own kitchen, could answer it offhand by saying to himself, "'_Where_ shall we dine to-day?' Why, at home, of course--where better?--and catch me moving out afterwards." But, if he were contemplating the unpleasant certainty of having post-prandially to leave his hearth and home in order to visit some theatre, opera, or concert, then it might occur to him that he could do the thing well, and give his party a novel treat, if, in French fashion, he took them somewhere to dine, previous to doing their play. Thus it occurred to Yours truly, Y TI-BULLUS BIBULUS, a day or two ago, when, dressed in his classical evening Togaryii in a _Currus Pulcher_ (with a _Cursor_ alongside anticipating _denarii_, and risking the sharp rebuke of a probable _Cursor_ inside the vehicle) he was passing the Oxford Music Hall, and a brightly decorated Restauration caught his observant eye. Was it new, or was it a Restauration restored? Its name, in large letters, "FRASCATI." This seemed at once to lend itself to a familiar jingle, and I found myself humming,-- Oh, did you never hear of Frascati? 'Tis not far from Rome, eh my hearty? The place looks so fine, I will there go and dine, And I'll bring with me all of my party! [Illustration: "Our Hamp-phitryon."] Horatian inspiration! I like to find out a new dining-place. Years ago, by the merest accident sailing north, I discovered the Holborn, and, since then, how many have not blessed the Columbus Holbornius? I do not ask how many _have_ done so. "That is another story." Since then, the taste for dining domestically away from home has come considerably into fashion. The Ladies like it, and the Law allows it. (Quotation from _Merchant of Venice_ adapted to occasion--Restaurant edition--_Portia_ for two.) It is a cheerful change, it assists the circulation of coin, it is an aid to the solution of the problems of Bimetallism, it rejuvenesces the home-fire-sider, it developes ideas, restores the balance of temper; and, if only the dinner be good, everybody goes away delighted,--guests are satisfied, the host is pleased, the waiter smiles on the tipper, the tipper on the manager, the manager on the proprietor, and all is Joy and Junketing! Judge my surprise, when to me, TIBULLUS, entering Frascati, and as _Cicerone_, informing my friends (all eager and hungry, and therefore unwilling to dispute) how Frascati was the ancient Tusculum, a well-known face appears welcoming us with smiles. It is Signor HAMPI, better known as Mr. HAMP of Holborn. "Salve!" quoth I, as TIBULLUS. "The same to you, Sir," responds HAMPIUS. "Now," said my friend WAGSTAFFIUS, without whom no party is complete, "Now we shall be Hamp-ly satisfied." The arrangement of the Frascati is a novelty; it is all so open and, though there are plenty of staffers about, not in the least stuffy. It would take a considerable crowd to overcrowd the place and to demoralise the troops of well-disciplined waiters, all under the eye of the ever-vigilant generalissimo of the forces, who in his white waist-coat, black tie, and frock-coat of most decided cut and uncompromising character--there is much in a frock-coat and something too in the wearing of it--is here, there, and everywhere, and only waiting till the last moment, and the right one, when the banquet is ended, to give the word of command, "Charge!"--and the charge (decidedly moderate and previously named in the _carte du jour_) is received with satisfaction and defrayed with delight. I have only one suggestion to make, and that affects the music not the meal. Let the music be adapted to the dishes; and not only should the course of time be considered as it progresses, but also the time of the course. For example,--who that has an ear for music can swallow oysters deliberately and sedately while the band is playing a mad galop? Let there be something very slow and _pianissimo_ for the _hors d'oeuvres_: something gentle and soothing for the oysters; there can be an indication of heartiness in the melody that ushers in the soup, as though giving it a warm welcome. There should be a mincing minuet-like movement for the _entrées_, a sparkling air for the champagne, and something robust for the joint. A sporting tune for the game: sweet melody for the sweets, and a grand and grateful Chorale--a kind of thanksgiving service as it were--when the last crumb and the last bit of cheese have been swept away. [Illustration: "Up I came with my little lot!!"] After this to The Pavilion, in plenty of time to hear the ubiquitous ALBERT CHEVALIER singing his celebrated coster-songs. Signor COSTA was a well-known name in the musical world some years ago; CHEVALIER Coster is about the best-known now. These ditties are uncommonly telling; the music is so catching and so really good. Then his singing of the little Nipper "on'y so 'igh, that's all," has in it that touch of nature which makes you drop the silent tear and pretend you are blowing your nose. Capital entertainment at the "Pav." Ingress and egress is not difficult, and the place doesn't become inconveniently hot. The sweet singer with the poetic name of HERBERT CAMPBELL is very funny; which indeed he would be, even if he never opened his mouth. Such a low comedian's "mug!" But of all the pretty things to be seen in its perfection here (I have seen it elsewhere, and was not so struck by it) is the Skirt Dance. It is "real elegant," graceful, and picturesque. What a change has come over the Music-hall entertainment since--since--"since even _I_ was a boy!" says the Acting Manager, Mr. EDWARD SWANBOROUGH,--evergreen in the true sense of the word. A vast improvement, no doubt of it. But, with such good amusement for the public, why on earth do the Music-Halls want to do "Dramatic Sketches"? And, if they do them, then, judging by what I saw at the "Pav," I am fain to ask again, why, in the name of SHAKSPEARE, and the musical glasses, should the theatres object? Does anyone seriously think that _Othello_ or _King Lear_ is wanted at the Music-Halls, or that SHERIDAN'S _School for Scandal_ wouldn't empty any Music-Hall of its patrons? It is the "variety" which is the charm of the Music-hall show, and if any one part of the variety show is a bit too long--longer let us say, than the time it takes to smoke one-eighth of a fair-sized cigar and to drink half a glass of something according to taste--then the audience will pretty plainly express what _they_ understand by Variety, what _they_ have paid to see, and what they mean to have for their money; and if they don't get it there, they'll go somewhere else where it will be given them. The summing-up, Gentlemen, is that, if you want a pleasant evening, you can't do better than dine at Frascati and afterwards patronise the "Pav." Such is the opinion of Y TI-BULLUS BIB. * * * * * NOTICE.--Rejected Communications or Contributions, whether MS., Printed Matter, Drawings, or Pictures of any description, will in no case be returned, not even when accompanied by a Stamped and Addressed Envelope, Cover, or Wrapper. To this rule there will be no exception. End of the Project Gutenberg EBook of Punch, or the London Charivari, Volume 103, December 3, 1892, by Various *** END OF THIS PROJECT GUTENBERG EBOOK PUNCH, OR THE LONDON *** ***** This file should be named 16263-8.txt or 16263-8.zip ***** This and all associated files of various formats will be found in: https://www.gutenberg.org/1/6/2/6/16263/ Produced by Malcolm Farmer, William Flis, and the Online Distributed Proofreading Team at https://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 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. 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. *** END: FULL LICENSE ***