POLICE PROTECTION FOR PIANISTS!!
Made necessary by the antics of the Padded-roomski Devotees at St. James's hall, who rush at, try to embrace, and deck with Roses, a certain Master whenever he appears.
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. 105, November 11, 1893
Author: Various
Editor: Sir F. C. Burnand
Release Date: April 10, 2012 [eBook #39420]
Language: English
Character set encoding: ISO-8859-1
***START OF THE PROJECT GUTENBERG EBOOK PUNCH, OR THE LONDON CHARIVARI, VOL. 105, NOVEMBER 11, 1893***
Made necessary by the antics of the Padded-roomski Devotees at St. James's hall, who rush at, try to embrace, and deck with Roses, a certain Master whenever he appears.
What a question to ask! If the colour be blue,
A batch of our London Minervas will do:
For each one will dye—the allusion is shocking—
Our town and its streets with the tint of her stocking.
Our pessimist frauds and the Ibsensite pack
Will groan as they thickly bedaub it in black.
Asiatic Sir Edwin, the Poet of Light,
He will wipe out their work, and arrange it in white.
Then the Company-gulls will arrive on the scene,
And, presto, the colour of London is green.
And a rare crew of "Johnnies" will stay out of bed
Till the daylight appears, while they paint the town red.
In fact—and you'll thank me for giving the hint—
Painting London is merely a question of tint.
Mrs. R. cannot call to mind where the original picture of "The Waterloo Blanket" is to be seen.
["Lord Brassey never goes on a cruise, however short, without taking with him a very costly barrel-organ. He plays on it regularly for some time every evening, as he finds it a congenial form of exercise and amusement."—The World.]
Grinder, when serenely grinding
On your yacht the Hundredth Psalm,
Tell me, are you truly finding
In this work congenial charm?
"Music hath" (an old quotation)
"Charms to soothe the savage breast,"
Think how you might lull some nation
Into dilettante rest.
Grinder, gentle-hearted Grinder,
Try the savage who has spurned
Culture, for he might grow kinder,
Soothed by barrel deftly turned.
Matabele Lobengula
(Accent on penultimate)
Might be made by music, you'll a-
gree, a model potentate.
Orpheus like, you might so charm him
That a mere Mashona child's
Hand could easily disarm him
In those equatorial wilds.
He would cease to wear his skimpy
Kilts that leave his legs half bare,
He would soon disband his impi;
Culture then would be his care.
Suits of dittos clothe this whopper;
Patent leather boots be got;
You might lead him—"smash, my topper!"—
Even to a chimney-pot.
He would have a daily paper,
Standard authors sold in parts,
Shops of tailor, hatter, draper,
An Academy of Arts.
He would teach, by plays, the loyal
Folk on marsh or fertile plain,
Opening a Theatre Royal,
Where they've only Reeds and Grain.
And, till death made him a Morgue 'un,
Wagner, Brahms and Greig no doubt
He would doat on—then your organ
Might be ruthlessly chucked out.
O barristers' wigs from far and wide
You gather anew!
The Strand, like meadow with daisies pied,
Is dotted with you.
You crowd the courts, so stuffy, so small,
So awkwardly placed;
You don't go into the Central Hall—
Magnificent waste!
That thing of beauty was meant to be
For ever a joy,
Just built to accommodate, as we see,
One messenger boy.
Proud emblem he of the empire's might,
That thus, for a whim,
Spent pounds in thousands with such delight
Just to shelter him.
The courts are draughty, the courts are dark,
The passages small,
And witness, client, solicitor, clerk,
Are squeezed in them all.
Those lancet windows on winding stairs
Don't help one to see;
A falling Commissioner even swears
Without any fee.
Still though we stumble and though we're squeezed,
We all recollect
That deserted Hall, and we're truly pleased
With it's fine effect.
The vacant acre of paving there
Should never annoy,
It has one occupant, we 're aware—
That messenger boy.
Here we suffer grief and pain,
Here we part to meet again:
No field, no copse, no moor!
O! it will be jawful,
Jawful, jawful, jawful!
O! isn't it awful?
Autumn Meet's an awful bore!
All who hate the "Lords," you know,
Swear this misery below,
We owe to peers above!
O! that, &c.
We'll be lammed by Labouchere,
Who the Afric strife will swear
Is due to Rhodes's rule.
O! won't he be jawful, &c.
Ashmead, too, will strive to prove
Freedom, prestige, all we love
We'll lose to gain no more,
Through Gladstone the jawful, &c.
O! how weary we shall be,
Ere the two Big Bills, or three,
Are passed and Peer-wards gone!
O! Weg will be jawful, &c.
Then the Rads will shout with joy,
And the short Recess employ,
In larrupping the Lords!
O! won't they be jawful?—
Awful, awful, awful!
It shouldn't be lawful
Autumn Meets to summon more!
The Whirligig of Time.—Wat Tyler is avenged—upon wicked Walworth, and unfair history. A namesake of his is to be Lord Mayor of London! All we want now is, that the Right Hon. Mr. John Cade (of Birmingham?) should be made Prime Minister.
["The jury, in giving their verdict, strongly censured the gross ignorance of the accused, and regretted that there was no law to prevent them from practising surgery."]
Mr. Punch sings, sotto voce:—
Begone, Dulcamara,
I prythee begone from me!
Begone, Dulcamara,
Thou and I will never agree!
Agree? By all good powers, no! no more than oil and water!
For to the conscious humbug honest wrath should give no quarter;
And if Punch's ready bâton lays its thwacks on any backs
With special zest, it is on those of charlatans and quacks.
Quack! Quack! Quack! Oh the pestilential pack!
If there is a loathsome chorus, it is Quack! Quack! Quack!
[pg 219]But the Quacks are having high old times in these peculiar days,
And gulls mistake their horrid din, 'twould seem, for pleasant lays.
We are quacked into distraction by unchastened power of Jaw,
Assisted by Advertisement and unrestrained by Law.
Dulcamara up to date is no longer poor or petty,
The pompous, brainless charlatan pictured by Donizetti,
He outshines, out-talks, out-thumps, out-cheats, out-swaggers, and out-dresses,
With his nauseous, noxious nostrums, and his nasty, mucky messes.
Quack! Quack! Quack! He may quack the donkeys dead,
Their coin out of their purses and their eyes out of their head,
Their brains into sheer softening, their bodies to the grave,
But he flourishes unpunished. Is there nothing then to save
The noodles from his ignorance and knavery and bounce?
No law to lay him by the heels, no hangman's whip to trounce,
No pillory to gibbet the false fortune-piling pack
Who poison, maim, and madden with their Quack! Quack! Quack?
Dulcamara stands defiant, while his drum the live air fills
With praise of his appliances, his potions, and his pills.
With sham science for his shield, venal literature and art
For his touts and advertisers, he can bravely play his part.
The comic man will clown for him, if adequately paid,
And the poet and the painter puff his wares and push his trade.
He's proudly testimonialised; folly or purchased cunning
Crack up his nastiest nostrums, keep his worst deceptions running.
He will bleed you and blackmail you, if you're weak as well as wealthy,
Impoverish and drench you, aye, do aught—save leave you healthy.
For 'tis quack, quack, quack! and 'tis drum, drum, drum!
And Dulcamara—when not worse—is safe to prove a hum!
Quack! Quack! Quack! It is time that cry to quelch
By Law—or else to treat the quacks like sorry rogues who "welsh";
And if Dulcamara's really safe, until the Law they alter,
Why honest men must see to it, nor in their purpose falter
Till rascals of "gross ignorance," in foul gregarious pack,
Can no longer safely victimise with quack, quack, quack!
The Hope and Pride of the Family (just home from the Grand Tour). "Oh, really, you know, the Men one meets in some of those places out West! I said to myself every night, 'Well, thank heaven I haven't Shot anybody!'"
Fond and Nervous Mother. "You mean, thank Heaven nobody Shot you, don't you, dear?"
The Speaker, at Warwick, said that "the bicyclists of the day are debilitating and degenerating the human race by the way in which they stoop over their work." The wheelmen would probably retort that, like Goldsmith's sprightly heroine, they "stoop to conquer." And we are not yet all wheelmen. Still, the Speaker has hit a blot in the contemporary Cyclomania. Few things are more unlovely than the "Bicyclist's Bend." Record-cutting would be purchased dearly at the cost of making men look like camels; and if success on the cinderpath or the road involved giving humanity at large "the hump," one would stigmatise the Cycle Race as the Inhuman Race. Let us hope the Speaker's sharp words will make our stooping cyclists "sit up"—in other than the slangy sense of the phrase.
We're told a cormorant sits, and doth not tire,
For a whole month, perched upon Newark spire!
Vinny Bourne's jackdaw's beaten, it is clear.
Yet there are cormorants who, year after year,
Perch in the Church. But these omnivorous people
Favour the pulpit mostly, not the steeple.
Thrivers upon fat livings find, no doubt,
Cormorant within is cosier than without.
Cream of the Cream.—"London Society proper"—we are informed by Lady Charles Beresford—consists of no more than thirty or forty families! And how about London Society improper? Is that equally sparse and exclusive? And—terrible thought!—crucial question!—is it possible that the two orders overlap at all? That there are any "noble swells" who belong to both?
The Government's Public Policy in South Africa (according To Mr. Sydney Buxton).—Not "Carrington's Entire"!
Scene XIII.—"Behind" at the Eldorado. Time—about 10 P.M.; the Stage at the back of the Scene-cloth is in partial darkness; in the centre, a pile of lumber and properties. Bare whitewashed brick walls; at one side, two canvas cabins for the Lady-Artistes to change their costumes; near them a deal table, with a jug and glasses. At one of the wings, behind the proscenium, a shelf and small mirror, at which the Comedians can arrange their make-up, and a frame, in which a placard, with each Artiste's number, is inserted before his or her entrance. A "turn" has just been concluded, and the Stage is clear.
The Stage-Manager (bustling up to Footman, in crimson plush breeches). Now then, look alive, there, can't you, they're getting impatient in front. Why don't you change the number?
Footman (with aggrieved dignity). Because, Sir, Mr. Alf Redbeak ought to come on, by rights, and, not 'aving chosen to appear yet, I think you'll see yourself, on reflection, as it would be totally——
Stage-M. Well, don't argue about it; here's Miss Lushboy ready to go on, put her number up!
Footm. I always understood it was the regulation 'ere that no number was to be put up until the band-parts were passed into the orchestra; which Miss Lushboy's music most certainly has not been handed in yet, and, that bein' so——
Stage-M. You can spare a good yard off that tongue of yours, you can; put Miss Lushboy's number up, and——Ah, here comes Mr. Redbeak; never mind.
Enter Mr. Redbeak, breathless.
Mr. Redbeak. Phew! I've had a job to get 'ere in time, I can tell you. (The Orchestra strikes up.) 'Ullo, that ain't mine. (To Footman.) What are you about? Put up my number—sharp, now!
Miss Lushboy (to Footman). Here, let me go on; I've been messing about long enough. What are you taking my number out for?
Footm. Now, look 'ere, Miss, I can't please everybody! (Indicating Stage-Manager.) You are as well aware as what I am that it's for him to give the word 'ere, not me. I'm on'y actin' under what——
Mr. Redb. It's crule, you know, that's what it is—crule. I've got to go right across London for my next turn, and——
The Stage-M. (returning). What the blazes are we waiting for now? Alf, dear boy, you should come up to time. (To Footman.) Why don't you do as you're told? You're getting too big for your boots, it strikes me! (To Miss Lushboy.) There, go on, my dear, go on.
[Miss L. bounds on to the stage, and begins her song.
Mr. Redb. (to Footman). I've got a bone to pick with you, old feller. Don't you go wool-gatherin' to-night, as you did last. I've told you till I'm tired that when you see me chuck this property piecrust into the wings you've got to throw down these fire-irons—it's a safe laugh every time it comes off, and you know 'ow important it is, and yet you forget it nine times out of ten! What's the good of me thinkin' out my business when you go and crab it for me?
Footm. (pathetically). Mr. Redbeak, Sir, you'll excuse me, but I'm on'y one man 'ere, I ain't a 'undred. Don't thank 'eaven for it, Sir, it's 'ard when a man as tries to do his best, and with all my responsibilities on him——
Mr. Redb. (impatiently). Oh, cheese it; you're not on a stool in 'Ide Park, are you? I'm only tellin' you.
Miss L. (on stage, singing chorus).
Say, boys, say, if you'd like to come. Who's for a merry old "Tiddley-um?"
Fall in behind, and we'll all get "blind," before they close the pub!
You're not jays, so you won't refuse. Join our band, for we're on the booze,
And you'll see some larks with the rollicking sparks of the Rowdy Razzle Club!
(Here she capers off, brandishing a gibus, and has a difficulty in opening the practicable door in the wing. To Footman.) There you are again! How often am I to tell you to keep that wood open for my dance off? I break my fingers over it every blessed night, and lose my encore as well!
Footm. I'm exceedingly sorry, miss, but the fact of the matter is my attention was took off at the time owing to——
Miss L. Oh, hold your jaw, do.
Footm. (to himself). I'm to hold my jaw! Oh, these hartistes, they lead me a dorg's life among 'em!
Mr. Redb. (touching Miss L.'s coat as she passes). What's that badge you're wearing? Salvation Army, Temperance, Primrose League, or what?
Miss L. No, only the colours of the Balls Pond Football Team; they presented them to me the other day. I told them I didn't play football.
Mr. Redb. You're pretty fair at the 'igh kick though, ain't you? There, there. 'Alf time. Goin' on again?
Miss L. With a cold like mine? Not likely. Just look at my tongue! (She protrudes the tip of an indigo-coloured tongue for his inspection.)
Mr. Redb. (concerned). Why, it's like one o' those Chow-chow dogs, I'm blest if it isn't! You are off colour to-night, no mistake!
Miss L. Oh, that's the remedy, not the disease—liquorice, you know.
Stage-M. Now, Alf, if you're in such a hurry, go on. Cut it as short as you like—no extra turns to-night.
Mr. Redb. No fear. Oh dear, oh dear, such a rush as it is!
[He goes on grumbling.
A Small Boy (who has been sitting patiently on a chair by the wing—to Stage-Manager). If you please, Sir, will Mr. Wildfire want me to-night?
Miss L. Want you, indeed, you silly kid! What would Mr. Wildfire want a shrimp like you for?
The Boy. If he's going to do the Sandwich Man 'ere to-night, he'll want me, I know. Why, it all depends on me, that song does. (To Stage-M.) Is he going to do the Sandwich Man to-night, Sir?
Stage-M. Oh, don't bother me; wait till he comes and you'll find out. (To Miss L.) I suppose you've heard he's talking of not renewing his engagement after to-night—giving up the halls altogether!
Miss L. And no great loss either! I don't see anything particular about his songs myself. As for all that gas about his raising the tone of the halls, it's sickening. Anyone would suppose we lowered it!
Miss Cissie Cinders (coming out of a dressing-cabin, in a battered old velvet hat and broken feathers, with her face smudged). Who's that you're talking about? Wildfire? Ah, my dear, this 'Igh Art and Littery rot'll be the ruin of the 'alls—him and his articles in the swell magazines, praising us all up—he can keep his praises to himself—I don't want 'em! I've never set up to refine the public myself, or else I could fake it easy enough!
[She passes on to stage.
Mr. Gus. Tadman (Variety Vocalist). We could all do it, come to that. But there, he won't last, you'll see. Why, look at the 'it I made with my "Rorty Naughty Nell"! That was a good song if you like, and well-written, mind yer. But lor, it's clean forgotten now. I 'ear Wildfire's bringing out a play to-night at the Hilarity, it'll serve him right if it gets the bird, going back on his own profession like that! (To Miss Cinders, who has just sung.) House cold to-night?
[pg 221]
"It's like singing to a lot of 'ap'ny ices!"
Miss Cinders (in a temper). Cold, it's like singing to a lot of 'ap'ny ices! I used to have the choruses all sung for me when I brought out that song first; and now they've let me go off without a 'and! We shall see whether they'll rise to Wildfire to-night. Ah, here he is. Actually coming up to speak to us; there's an honour!
Miss Betsy Beno (to Wildfire, as he passes the table where she is sitting waiting for her turn). 'Ere, Watty, old man, stop and 'ave a drop along of me. Do—there's plenty 'ere! (as Wildfire excuses himself laughingly). Well, I'm sure—refusing to drink when a lady goes out of her way to ask him—he hasn't the manners of a pig! And I draw my sixty quid a week the same as he does!
Mr. Tadman. Well, dear boy, how's the play getting on? Not a frost, I hope?
Wildfire. No; I just looked in on my way from the Val. here, and they seemed to think it was all right; but I couldn't stay till the finish. They're going to send round and let me know. (To the Small Boy, who has approached anxiously.) Oh, there you are, youngster! Yes, I shall want you—for the last time, you know.
The Boy. Why, you—you ain't going to take the part away from me, Sir, when I created it, too!
Wildf. (patting his shoulder kindly). I'm giving up singing altogether—that's why. Never mind; I'll see it makes no difference to you, so don't you distress yourself. We'll find you something or other to do.
The Boy (with a gulp). If I ain't going to be with you any more, I—I don't care what 'appens, Sir. I'd as soon throw up the perfession myself, I would!
[He turns away into a dark corner.
Wildf. (to himself, as he goes to the wing). Nice boy that; didn't think he'd care so much; must keep an eye on him. Flattery must be over now. I wish I could have stayed to see it out; it was going magnificently; but there were some rather risky scenes ahead. Still, I believe it's a success; and, if it is, I shall have done with all this for ever after to-night. I can go to Althea and tell her, without—— By Jove! wasn't it to-night that Old Toovey was to be in front? I wonder what he'll think of it. (He looks at himself in the mirror.) He'll have some difficulty in recognising me in this get up. Well, I shall know on Monday. (He goes on, and sings; then rushes back to the wing to change his costume, with the assistance of his dresser.) Yes, the coat, now, dresser, please. (To himself, as he paints some lines on his face.) I couldn't see anyone at all like old Toovey. Very odd! They must have sent him the box, I suppose. Well, it doesn't matter; if he didn't think it necessary to come, so much the better. (Aloud.) Wigpaste, please. Now the boards. All right—I'm ready. (To the Boy.) Now, youngster, look out for your cue.
[He goes on.
The Limelight Man (up in the flies—to himself). What's wrong with Mr. Wildfire? He as nearly broke down just now as——and I can't keep the limelight on him nohow to-night! He can't have been drinking—he ain't that sort. But he do look bad—it's as much as ever he can do to go through with it; somethink's given him a turn.
Wildfire (to himself, as he goes back to the wing, unsteadily). She's here—and, what's worse, she's recognised me! She must have, or she would never have looked like that. If I could only have told her first; but, to discover it like this,—she'll think I meant to—— (He pitches away his boards in a fury.) Well, I've done for myself—it's all over! (To his dresser.) A note, eh?
[He opens it, and reads the contents mechanically; Mr. Tadman and one or two other artistes come up with curiosity on seeing his expression.
Tadm. Why, Wildfire, old man, what's this? Play gone wrong? Never mind, dear boy, we can't have everything. But what's the report, eh?
Wildf. (impatiently). Oh, I don't know. What does it matter now? (He lets the note fall.) There, you can read it if you want to know.
[He walks away.
Tadm. (with complacency). Poor chap, he's hard hit! But I could have told him it wasn't to be expected that—— (He picks up the note, and reads it with a falling jaw.) Hullo! What's the meaning of this? It says the piece is a tremendous go—safe for a long run—had to raise the rag again and again. Why, he'll make his fortune over this alone; and yet, look at him! (Pointing to Wildfire, who has seated himself on the pile of lumber, in utter dejection.) And all those fools in front clapping and stamping for him to come on again. What more does the feller want, I wonder!
End of Scene XIII.
Union is (Logical) Weakness.—The Congregational Union lays it down as a law, "that the rights of humanity must take precedence of those of property." We fear this admirable maxim (like equally admirable Charity) might be made to cover a multitude of sins, from petty larceny to anarchism. Would it be consonant with the "rights of humanity," for, say, a Congregational Unionist to object to a poor tramp stealing his best umbrella on a wet day?
Well, here we are just about gitting to the bend of our Citty Year, when we changes our raining Sovverain, altho he is but twelve munse old, and takes on a new one, for better or wuss as the case may be, and in this case I most suttenly thinks that it would be werry differcult indeed to change for a better, for it tisn't not only me and all my tribe, as Shylock calls us, but all the many hundreds, if not thowsends, as has had a share of the Rite Honnerabel the Lord Mare's noble ospitality, must all agree that a more liberaller, or hospitaler, or hopen artider Gent never entered the honored Manshun House than him who to ewerybody's regret is a going next week for to leave it!
Why, I ardly expecs to be beleeved when I says as we have sumtimes had as many as three or fore grand Bankwets in one week, and the Lord Mare woud get up as usual the nex morning as if he thort nothink of it! No more he did, no not ewen when the King of Denmark himself came and dined with him at Gildall, and explained to him all about the unfortnet death of Prince Hamlet!
I do hear as we are to have such a Lord Mare's Sho as we ain't offen had, including, above all things that nobody coudn't have emagined, nothink less than a reel copy of the grand New Tower Bridge, and if that won't be a site for the estonished Multitood praps somebody will kindly tell me what woud be.
There was a tork of asking all the Roossian Sailors, who has been a having sitch a jolly time of it in France, to run over and jine the Sho first and the Bankwet arterwards, but it was werry doutful whether ewen all the Haldermen, much less all the Common Counselmen, coud have chatted away with them in their own native tung, so the idear was given up in favour of Fire engines and Fire men.
I've seen a goodish many Lord Mare's Shos in my time, and hopes to see a few more, in spite of the gellous growls of another body of gents as shall be nameless, but it woud suttenly be a grand joke to see the gellous body elluded to coming out in a London County show of their own, amid the skoffs and jiers and larfter of the emused Metrolopus!
["A scheme for making a waterway between Switerland and the Adriatic is to be submitted to the Federal Government at no very distant date."—Westminster Gazette.]
British Minister, Bern, to Lord Rosebery, London.—A Mr. Jones, who says he's a British subject, went up Pilatus to get view. Didn't get it. Also complains of overcharge for candles at his hotel. Have demanded immediate satisfaction from Swiss Government. Please send Mediterranean Squadron to Locarno.
Lord Rosebery, London, to British Minister, Bern.—Can't spare the Squadron. Won't a gunboat do? You may speak strongly to Swiss Government. Tell them insult to Jones is insult to England. Meanwhile, wire best route for fleet to get up to Bern, if necessary. Don't see it on map.
Brit. Min., B., to Lord R.—Owing to Mediterranean Squadron not having appeared at Locarno, Swiss Government very aggressive. Passenger steamers on Lakes of Geneva, Thun, and Lucerne being converted into a fleet. Special new corps d'armée formed from Chamounix guides and patriotic hotel waiters. Man (whose name was Robinson) mistaken for Jones, and mobbed in streets last night. Some kind of Naval Demonstration absolutely necessary. Put ships on rail at Locarno, send 'em through Gothard Tunnel, and there you are!
Lord R. to Brit. Min., B.—British Government recognises gravity of the Jones incident. What do you advise? Aren't the Alps in the way?
Brit. Min., B., to Lord R.—Didn't like to suggest details. Send ironclads. Ram something. Why not bombard Alps. Gunboat moored at Devil's Bridge might shell Andermatt. Leave it to you.
Lord R. to Brit. Min., B.—Sorry to say, European complications have now arisen from Jones incident. Swiss Government has offered its fleet to Russia and France. Triple Alliance tottering. Can't you get Swiss Government to apologise to Jones, and end business?
Brit. Min. to Lord R.—Business is ended. Jones not a British subject after all, but a Swede, who's travelled in America! Recall gunboat.
"Ullo, Mary, what's this? Name of the 'Ouse?" "No, Mr. Ignorance; it's a Latin word, and means 'Please to Wipe your Feet!'"
["What struck the Tzar ... in the recent festivities, was the feeling of fraternity which seemed to pervade the multitude.... The feeling of concord and fraternity appears to survive the last echoes of the festivities ... The word now most frequently heard is 'Amnesty.' This, indeed, is the fittest coping-stone to prolonged festivities characterised by universal concord."—Times' Paris Correspondent.]
President. "Prolonged feshtivitish!" Thash good, that ish!
Very prolonged, ole f'ler, an' awf'ly feshtive!
Tzar. Yesh, tha' what shtruck me! (Aside.) But I really wish
He wouldn't gush. Romanoff pride turns reshtive!
President. Sho glad it shtruck you sho! An' nurrer thing
You mush ha' notish'd. Feeling of fraternity
All over shop! I shay, may friendship's wing
Ne'er moult a feather, not to all eternity.
Tzar. I echosh tha' fine Shwiveller shentiment
Entirely! (Aside.) I must not appear too sober.
President. Now Fransh ish shatishfied—an' world content!
Republic won't forget thish last October!
Feelingsh of concord, cetra, will survive
Last echosh of feshtivitish—for ever!
Tzar. Oh, coursh! Asshure you I am quite alive
To reshiproshity—shan't forget it—never!
President. Thash ri' ole f'ler! Our resh—hic!—proshity—
Not like the comic Yankee's, all one shide?
Tzar. Certainly not! Shorry to say good-bye!
But though our bodiesh part, our soulsh are tied.
President. Precishly! We're both tight—mean tied—in knotsh.
The champagne, an' the speeches, an' the kisshes
Have bound our bosomsh, and combined our lotsh!
Tzar. Quite sho! (Aside.) I'll watch a chance to hint my wishes.
President. We've had a jolly time, and now, ole f'ler,
Ash "coping-shtone" to all this talk and toddy,
As shequel to thish patr'otic stir,
I'm going to amneshty—yesh, everybody!
Wha' shay, dear Romanoff, will you do same?
Jush show, y' know, that thersh no animoshity!
Tzar (aside). Oh, that is the Republic's little game?
Russia can't stand that form of reciprocity!
(Aloud.) All ri', ole f'ler, you jush leave that to Me!
Mosh noble notion, that shame "coping-shtone!"
By way, ole f'ler, talking of amneshty—
Could you just 'blige me with a trifling Loan?
Dear Mr. B-ch-n-n,—Our famous Third Page rather dull lately. Couldn't you enliven it up by one of your characteristic letters—say on "The Profession of Literature"? Say all the old things about its degrading effect on those who follow it, including yourself—the public loves to see a vivisection in public—and be sure to spice it well with distinguished names, such as Sw-nb-rn-, R-ss-tt-, etc. Any depreciatory anecdotes would be very telling, and serve to evoke indignant free replies from those who wouldn't guess they were jumping to a prepared bait. I shall count on you for a column.
P.S.—Of course you will be insulted at the usual rate.—Ed.
Fowler was longish, Long was even longer,
More was much less so, Stanhope little stronger;
But Heneage even when brief's sublime
He's not for Hene-age, but for all (our) time!
What a relief after such thrice-skimmed milk
To get truth's cream from Rollit and from Dilke!
The Latest "Glass of Fashion."—The dress fashioned of spun-glass, as a royal robe for the Princess Eulalia of Spain, and exhibited at the Chicago World's Fair.
M. Carnot. "WELL, OLE F'LER, WE'VE ALL HAD JOLLY GOOD TIME—AN' I'M GOING T' AMNESTY EV'RYB'Y!! YOU—DO—SAME!!"
Tzar. "LEAVE THAT T' ME. BY TH' WAY—COULD YOU 'BLIGE ME—TRIFLIN' LOAN?"
Tom's uncle by his will
Left Tom in greatest glory.
There was a codicil—
"But that's another story."
Phil wooed a fair one, Kate;
She met him con amore.
The damages were great—
"But that's another story."
Hugh's rent (for an address!)
Was far and wide in ore.
His suite now costs him less—
"But that's another story."
Of readers not a few
Deem Rider Haggard gory.
We have Macbeth, it's true—
"But that's another story."
One Joseph was enrolled—
Though now a sort of Tory—
A Williamite of old—
"But that's another story."
Some maids would make it known
They'll wait till locks are hoary,
But wed for love alone—
"But that's another 'story.'"
That pair of gloves you wore when first we met
Were what you called, I think, a "pair of loves."
You won them from your cousin on a bet—
That pair of gloves.
Now as to colour, this or that shade proves
A shade expensive, runs you into debt.
Tan's universal, while a tint of dove's
Particularly nice for evening. Yet
Black with white stitching most my fancy moves,
And such were yours. I never can forget
That pair of gloves.
The Vicar. "Dear, dear, Mrs. Prickles, I regret to hear that Mrs. Brown has treated you so shamefully. I should counsel you to heap Coals of Fire on her head——"
Mrs. P. "Ah, Sir—that's wot I would do, as soon as look at 'er: but I can't afford it at One-an'-ninepence a 'Underdweight!"
Sir Henry Loch may hold the key
In Africa, but all must see
That Rhodes the handle hath fast grip on,
Shouts "Let her rip!"—despite Lord Ripon.
Cut is poor Lobengula's comb,
'Tis said that all roads lead to Rome.
The new Ring that old saw explodes;
Where'er we roam we're led to—Rhodes.
Whether or no this Great Panjandrum
(Who handles well the pen, sword, and drum)
Is the true friend of Civilisation,
And puts her laws in operation;
At least he can maintain with pride,
He has her Maxims on his side.
[The Fabian Society, in the Fortnightly Review, has "launched a manifesto, which proposes that the Government shall be attacked by extreme Radicals because it has only met them half way."]
Strange that a "Fabian policy," up-to-date,
Should be so obviously not to wait!
Sure the Society's name is chosen ill!
Rupert the title-rôle might fitlier fill.
The Fabian Manifesto frightens no man;
But just conceive the great, but cautious, Roman
Heading a restive, Radical "Ugly Rush"!
Though Patience suffers in the Modern Crush,
Perchance the Socialistic perorator
Might learn a lesson from the great Cunctator!
Yes, Scrooge was an altered man! He was genial and amiable, and altogether an estimable being. Scrooge's nephew was delighted with the change. He could scarcely believe his ears and eyes.
"And don't you really interfere with the theatres, Sir?" asked Scrooge's nephew. "At one time you were always telling them to take down this, and put up that, and making the lives of the managers burdens to them. Don't you interfere any longer?"
"Of course not, my lad," replied Scrooge, heartily. "Why should I? This is the pleasantest world imaginable, and it would be less charming without its playhouses."
"Right you are, Sir," returned Scrooge's nephew; "but I suppose you look in occasionally at the halls to supervise the entertainments?"
"I look in to enjoy them, my boy!" cried Scrooge, with a ringing laugh, that could be heard for furlongs. "What do they want with my supervision?"
"I am sure I don't know, uncle; but I thought it was a way you had. And then you are going to strip the hoardings of the posters, aren't you?"
"I strip the hoardings of the posters! Why should I? The hoardings look a precious sight better covered with pictures than left to dirt and decay. I interfere with the hoardings! I never heard of such a thing! What put that into your head?"
"Well, it used to be an old way of yours," returned Scrooge's nephew. "Why, uncle, don't you remember? You used to be interfering with and ordering about everything. Taking up the road and closing the thoroughfare. Bothering the costermongers and the retail shopkeepers and the small householders. In fact, making yourself a general nuisance in all directions. Why, uncle, you have entirely changed your nature!"
"Not at all," said Scrooge. "I am not changed, but my office is. Do you not know that I have ceased to be a member of the London County Council?"
"No, this is the first time I have heard of it! Why, that accounts for everything! It explains why you are a pleasant, good-natured old gentleman in lieu of a curmudgeon and a brute. It explains everything."
And it did!
Noble Philanthropist. "That Parcel seems rather heavy for you, my little Man! Let me take it!"
Small boy. "Let yer tyke my Parcel! Garn with yer. I'll call the Perlice!"
Name! Name!—No name has been announced for the new daily paper projected by Mr. Stead. In view of the plan frankly set forth in the prospectus, whereby one hundred thousand persons are to subscribe the capital, and if the venture proves a success the enterprising editor is to have the option of acquiring the property, a suitable title would be, Heads-I-Win-Tails-You-Lose. It is a little long, perhaps; but it precisely describes the relative positions, and you can't—at least some people can't—have everything.
Dramatic Recipe (from the Queen's Cookery Book).—First catch your Hare.
Scene—A conquered country. Time—The Past. Conquerors (colonists) panting after their hard work in defeating the natives. Enter an Official. The remaining members of the Colonial Band sing the National Anthem.
Official. I congratulate you upon your success. The more especially as you have gained it without the assistance of the Imperial power. (The Colonists indulge in feeble cheers.) But now my turn has arrived. In the name of the Sovereign I claim this land for England!
[Plants the British Flag. Curtain.
Scene—As before. Time—The Present. Conquerors (colonists) smoking after the pleasant toil of mowing down the natives. Enter an Official. The Colonial Band (in its entirety) takes no notice.
Official. I congratulate you upon your success. The more especially as you have gained it without the assistance of the Imperial power. (The Colonists indulge in roars of laughter.) But now my turn has arrived. In the name of the Sovereign I claim this land for England!
Colonists. No you don't! Be off! We can get on without you!
[Turns Official and his Flag out of the Country. Curtain.
[It is stated that Jabez S. Balfour is living "in a perfect fairy-land."]
I Dreamt that I dwelt in marble halls,
With orchids on every side,
A very long way from Old Bailey's walls,
Where Newton and Hobbs were tried.
I had riches too great to count; could boast
Of Jabez, an elegant name;
And I also dreamt, which charmed me most,
Argentina loved me the same.
I dreamt that my country let me go,
In an indolent sort of way,
For Scotland Yard did not seem to know
It would "want" me another day.
So they carefully closed the stable-door,
When I'd fled beyond reach of blame;
And I also dreamt, which charmed me more,
Argentina loved me the same.
I dreamt that detectives sought my hand,
But their warrants I could not see.
So their vows my swindler's heart could withstand,
Though they pledged their faith to me.
Buenos Ayres' bold, brazen face,
Never glows with the blush of shame;
Though I should be lynched in a decent place,
Argentina loves me the same.
A Great Field for Humorists Annually.—"Wit acres' Almanack."
House of Commons, Thursday, November 2.—Began work again to-day as if nothing had happened from February to September. Understood to have had a recess; so short hardly worth mentioning. Considering all circumstances, attendance marvellously large. Marjoribanks got his men together as usual, crowding benches on Ministerial side. Opposition not in quite such a hurry to wash their spears; but muster creditable. Irish camp deserted. "You see," said Justin Mccarthy, "it isn't our funeral. But the bhoys are hanging round and will turn up if wanted."
Henry Fowler moved Second Reading Parish Councils Bill. Adroit and able speech; rather hard on Walter Long; to him deputed position of spokesman on Front Opposition bench. Brought down notes of convincing speech. Fowler getting in first anticipated all his objections; met them with benevolent alacrity that disarmed hostility. What did statesmen opposite want? Anything in reason should be conceded. "Give your orders, gents, whilst the waiter's in the room."
[pg 227]
This an admirable stroke of business, but a little depressing from spectacular point of view. No more pyrotechnics; no further meetings on the floor; no more grips at close quarters. Hayes Fisher looked on moodily; Logan passed Front Opposition bench without once so much as looking at place where Carson is accustomed meekly to repose. Respectable elderly gentlemen like Francis Powell and Jeffreys took the floor. Even contumacious Cobb admitted soothing influence of the hour. Didn't want anything more than that Parish Councils should have power to take land wherever they found it, and divide it amongst the poor. As everybody agreed Bill in the main desirable, and since Fowler had promised fullest consideration of amendments in Committee, seemed natural thing to do was forthwith to read Bill second time, and fix date of Committee.
Parish Councils."No, Sir," said Stanley Leighton, "I trust the House of Commons is not yet sunk so low as that. Confess I myself feel depressed. Couldn't to-night adequately fill my favourite and popular part of The Man from Shropshire. At least I'll deliver House from disgrace of bringing debate to a close for the puerile reason that we're all agreed Second Reading shall be taken."
So he wandered on; was just warming into Man-from-Shropshire manner, when midnight sounded and Debate stood adjourned.
Business done.—Second Reading Parish Councils Bill moved.
Friday.—For middle-aged gentleman of long experience never saw man so discomposed as Jesse Collings was just now, when he let cat out of bag about future arrangements of the Unionists personal to himself. What is to be done with the Faithful One when Joseph comes into his own is favourite speculation in smoke-room. Sage of Queen Anne's Gate takes special interest in matter. Most men think Jesse should have Cabinet rank in Coalition Ministry.
"No," says the Sage, "he should be a Viceroy, either of India or Canada. Cut out for the place; and there would be no question of salary, such as, seven years ago, embittered his relations with Mr. G."
All these conjectures beside the point. Matter has, apparently, been settled in inner councils of party, and to-night Jesse accidentally, inadvertently, lifted the veil. "I have," he said, in course of luminous speech prefaced by addressing the Speaker as "Mr. Mayor," "something to say on that subject, but I will reserve my remarks for another place." House not very full at moment. But everyone knows meaning of House of Commons phrase "another place." Sensation profound. Bordesley soon to be bereft, for Jesse Collings is going to the Lords! Henry Matthews, a local authority on the subject, says even title been fixed upon. Nothing less than territorial style will do for the ex-Mayor and Radical Alderman. Soon the Upper House will greet Lord Bordesley of Birmingham.
Quiet night, with further talk round Parish Councils Bill. Mr. G. present, seated between Squire of Malwood and John Morley. Singularly subdued in manner; takes no part in discussion; goes off to dinner in good time, and House sees him no more.
Ireland takes a back seat. Sir William on the Premier's right again."And to think," said the Squire, glancing sideways at the placid figure beside him, "that this is the man painted in red and blue by Unionist pavement-artists. Their stories of Mr. G. always remind me of a passage in a theme produced by a young gentleman invited to state what he knew of Cardinal Wolsey.
"'In the siege of Quebec,' he wrote, 'he ascended the mountains at dead of night, when his enemies were at rest, and took the town at daybreak. His home policy was conducted in a similar manner.'
"There is about that a picturesque air of circumstantiality, combined with a fanciful inaccuracy, equalled only by things one reads or hears with reference to my right hon. friend, and revered leader."
Business done.—Some papers on Parish Councils read.
The Tzar, on peace and friendship all intent,
To France his Admiral Avellan has sent.
'Twere pity if this Russian olive-branch
Portended merely General Avalanche.
Mrs. R. is astonished to hear that "Count Taaffe, the Austrian Premier, is an Irishman and a Member of the British House of Lords." She says she is sure she has heard that "Taaffe was a Welshman, Taaffe was a ——," but she must have been misinformed!!!
A Strike-ing Suggestion.—The Pitt-coalition was a brilliant idea in its day. A coalition between masters and miners—a Pit-coal-ition, in fact—would solve the strike difficulty.
The Arab dhow to the chase is gone,
Chock-full of slaves you'll discover it;
And the British cruiser is artfully done
By the French Flag flying over it!
"Flag of France!" cries the British Tar,
"The Arab hound betrays thee.
Give him his due, at Zanzibar,
And all the world shall praise thee!"
The captain and crew by the Franks were tried,
And escaped—to the wide world's wonder!
Oh glorious Flag! Is it then its pride
That the slavers hide thereunder?
Let France disdain to sully thee,
With the curst kidnapper's knavery!
Thy folds should float o'er the brave and free,
And never protect foul Slavery!
"Federation" seems aggravation,
Conciliation's dead!
While fights the "Miners' Federation,"
The Miners are unfed!
The Latest Autumn Fashions.—Parliamentary Sessions and Feather Trimmings. Both involving cruelty to bipeds "on the wing," and each "more honoured in the breach than the observance."
In Parliament assembled see them move
Their resolutions lacking rhyme and reason,
Determined all at any cost to prove
The Ulster Parliament's a Cloak to Treason!
***END OF THE PROJECT GUTENBERG EBOOK PUNCH, OR THE LONDON CHARIVARI, VOL. 105, NOVEMBER 11, 1893***
******* This file should be named 39420-h.txt or 39420-h.zip *******
This and all associated files of various formats will be found in:
http://www.gutenberg.org/3/9/4/2/39420
Updated editions will replace the previous one--the old editions will be renamed.
Creating the works from public domain print editions means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away--you may do practically ANYTHING with public domain eBooks. Redistribution is subject to the trademark license, especially commercial redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://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 MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.gutenberg.org/fundraising/pglaf.
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
[email protected]. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://www.gutenberg.org/about/contact
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
[email protected]
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://www.gutenberg.org/fundraising/pglaf
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit: http://www.gutenberg.org/fundraising/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Each eBook is in a subdirectory of the same number as the eBook's
eBook number, often in several formats including plain vanilla ASCII,
compressed (zipped), HTML and others.
Corrected EDITIONS of our eBooks replace the old file and take over
the old filename and etext number. The replaced older file is renamed.
VERSIONS based on separate sources are treated as new eBooks receiving
new filenames and etext numbers.
Most people start at our Web site which has the main PG search facility:
http://www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
EBooks posted prior to November 2003, with eBook numbers BELOW #10000,
are filed in directories based on their release date. If you want to
download any of these eBooks directly, rather than using the regular
search system you may utilize the following addresses and just
download by the etext year.
http://www.gutenberg.org/dirs/etext06/
(Or /etext 05, 04, 03, 02, 01, 00, 99,
98, 97, 96, 95, 94, 93, 92, 92, 91 or 90)
EBooks posted since November 2003, with etext numbers OVER #10000, are
filed in a different way. The year of a release date is no longer part
of the directory path. The path is based on the etext number (which is
identical to the filename). The path to the file is made up of single
digits corresponding to all but the last digit in the filename. For
example an eBook of filename 10234 would be found at:
http://www.gutenberg.org/dirs/1/0/2/3/10234
or filename 24689 would be found at:
http://www.gutenberg.org/dirs/2/4/6/8/24689
An alternative method of locating eBooks:
http://www.gutenberg.org/dirs/GUTINDEX.ALL
*** END: FULL LICENSE ***