The Project Gutenberg EBook of One Touch of Nature, by Benjamin Webster
This eBook is for the use of anyone anywhere in the United States and most
other parts of the world at no cost and with almost no restrictions
whatsoever. You may copy it, give it away or re-use it under the terms of
the Project Gutenberg License included with this eBook or online at
www.gutenberg.org. If you are not located in the United States, you'll have
to check the laws of the country where you are located before using this ebook.
Title: One Touch of Nature
A Petite Drama, In One Act
Author: Benjamin Webster
Release Date: February 15, 2017 [EBook #54172]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK ONE TOUCH OF NATURE ***
Produced by Paul Haxo with special thanks to the University
of California, Davis.
ONE TOUCH OF NATURE,
A PETITE DRAMA,
_In One Act_,
BY
BENJAMIN WEBSTER, ESQ.
AS FIRST PERFORMED AT THE
THEATRE ROYAL, NEW ADELPHI,
ON SATURDAY, AUGUST 6TH, 1859.
CORRECTLY PRINTED FROM THE PROMPTER'S COPY, WITH THE CAST OF
CHARACTERS, SCENIC ARRANGEMENT, SIDES OF ENTRANCE AND EXIT, AND
RELATIVE POSITIONS OF THE DRAMATIS PERSONÆ.
WEBSTER AND CO., 411, STRAND; W. S. JOHNSON, "NASSAU STEAM PRESS,"
60, ST. MARTIN'S LANE; MESSRS. PIPER AND CO., PATERNOSTER ROW; VICKERS
AND BERGER, HOLYWELL STREET; ALLEN, WARWICK LANE; JOHN HEYWOOD,
MANCHESTER; WISEHEART, SUFFOLK STREET, DUBLIN; SUTHERLAND AND CO.,
EDINBURGH; PETRIDGE, BOSTON, U.S.; AND ALL BOOKSELLERS.
"Nassau Steam Press"--W. S. Johnson, 60, St. Martin's Lane,
Charing Cross, W.C.
_Dramatis Personæ._
MR. WILLIAM PENN HOLDER. Old black body }
coat, plaid vest, black trousers, gray } MR. BENJAMIN WEBSTER.
gaiters, black shoes, gray bald wig, gray }
hat with crape }
MR. BEAUMONT FLETCHER (_a Barrister and }
Dramatic Author_). Black frock coat, fancy } MR. BILLINGTON.
waistcoat }
MR. BELGRAVE. Light blue long great coat, } MR. W. H. EBURNE.
plaid trousers }
JONES (_Porter, &c., to the Adelphi }
Chambers_). Livery coat (dark), white } MR. MORELAND.
vest, black trousers }
MISS CONSTANCE BELMOUR. Modern fancy dress } MISS HENRIETTA SIMMS.
_Time of Representation, 45 minutes._
EXPLANATION OF THE STAGE DIRECTIONS.
L. means first entrance, left. R. first entrance, right. S. E. L.
second entrance, left. S. E. R. second entrance, right. U. E. L. upper
entrance, left. U. E. R. upper entrance, right. C. centre. L. C. left
centre. R. C. right centre. T. E. L. third entrance, left. T. E. R.
third entrance, right. Observing you are supposed to face the
audience.
ONE TOUCH OF NATURE.
ACT I.
SCENE I.--_Mr. Beaumont Fletcher's chambers in the Adelphi, handsomely
furnished, doors R., L., and C. JONES discovered._
JONES (_writing_). To address the lady's-maid of a marchioness is no
trifling affair, especially in the present march of intellect, when
the maids know more than the mistresses. One's obliged not only to
mind one's stops, but one's grammar. I have been nearly three-quarters
of an hour now trying to round a period--I, who French-polish the
boots of a dramatic author. Ought I to put "I was smitten," or "I was
struck with your charms?"--it's very embarrassing--I must consult Mr.
Fletcher. In my letter I must inclose the order he promised to procure
for me; but if, with the order, I cannot conclude my letter----
_Enter FLETCHER, C. door._
FLE. The devil take the theatre, and all the actresses into the
bargain!
JONES. Has the rehearsal been unsatisfactory, sir?
FLE. This Miss Constance Belmour! this Miss Constance Belmour!
JONES. Sir!
FLE. Is it talent or is it temper?
JONES. Sir!
FLE. She was execrable.
JONES. Did you think, sir--
FLE. Hey! what? What do you say?
JONES. I was going to ask, sir, if you thought of the order?
FLE. What order?
JONES. The order, sir, that I asked you for this morning, for the
lady's-maid of a marchioness, whom I met at Cremorne. I suppose you
forgot it, sir?
FLE. Oh! I had other matters to attend to.
JONES. Of course, sir; of course. Then I'll go myself, sir--in your
name, sir, I'm sure to get it sir, as you write in the newspapers.
Only, sir, if you should want me, sir, you will please to recollect
that I am obliged to go out.
FLE. Not one word of her part--not one, and the piece is to come out
on Wednesday. It's enough to drive one mad.
JONES. I have always said, sir, that you have never been done justice
to, sir; yet you will persist in writing for these second-rate
theatres. If I was you, sir, I would not write again till government
built a legitimate theatre for scenery.
FLE. That's your opinion, is it?
JONES. Yes, sir, and it's the opinion of Miss Penelope, too.
FLE. And who's Miss Penelope?
JONES. The lady's-maid I mentioned just now, sir. When I told her your
profession, sir, she immediately asked if you _authorised_ the
legitimate drama.
FLE. And you replied----
JONES. I blushed, sir, and answered that you did not, but that you
intended to do so.
FLE. You did right, Jones. In future I will write only blank verse,
and you shall blush no more.
JONES. If you will permit, sir, I will give you a subject.
FLE. Well, let us see what it is.
JONES. Would it not be something new and original to work up a servant
whose sentiments are above his situation?
[_Bell rings._
FLE. Some one rang.
JONES. I'll attend to it, sir.
FLE. Go, then. (_aside_) What a life! what a life!
JONES. (_returning_) Oh, sir!
FLE. Still here?
JONES. "I'm struck with your charms"--is it refined English?
FLE. (_bell rings_) Attend to the bell.
JONES. (_returning_) Is it more refined--"I am smitten with your
charms?" (_bell rings violently._)
FLE. Devil take it, they'll pull the bell down.
JONES. I'm going, sir! (_aside._) Shall I put smitten or struck? I
must toss up for it, heads or tails.
[_Exit door, C._
FLE. If I allow this woman to play the part, she'll ruin the piece.
_Enter BELGRAVE, C._
BEL. Good morning. Do you take me for a man that can be easily imposed
on? No; can't humbug me!
FLE. What do you mean? (_coldly_) I'm delighted to see you.
BEL. This explains the promptitude with which I was admitted.
FLE. (_satirically_) By-the-bye, you have come most opportunely. I
have to thank you for persuading me to confide an important character
to Miss Constance Belmour--that was a grand idea of yours.
BEL. Capital, was it not?
FLE. (_satirically_) I was charmed with her at rehearsal just now.
Luckily I can undo what is done. I mean to take the part away from
her.
BEL. A brilliant idea that, I must confess, and any one but me would
let you follow your bent.
FLE. What do you say?
BEL. It is useless to disguise matters. I know all. Can't humbug me.
FLE. What do you know?
BEL. All! (_showing bouquet._) Here is your bouquet, returned like a
dishonest bill--no effects.
FLE. My bouquet?
BEL. Do you deny that you sent these flowers to Constance?
FLE. I'm in a nice humour to send her flowers. I am going to write to
her.
BEL. To anyone else you please, but not to her; this rage is all
moonshine. Can't humbug me!
FLE. Moonshine is it?
BEL. You are in love with Constance, and you would have us believe you
intend taking this part from her and lose by the change.
FLE. I will soon prove that.
BEL. I am not a man to be easily imposed on. Can't humbug me!
FLE. This is folly. It was not I who sent the bouquet.
BEL. Not you?
FLE. On my honour!
BEL. Then I will find out if I go to every flower-shop in London.
FLE. Do, my good fellow, do.
BEL. I will, depend on it. I will not rest until I have discovered the
truth. I will know who sent this bouquet. Adieu. I am not a man to be
easily imposed on. Can't humbug me!
[_Exit C._
FLE. Now there goes a man determined to make himself miserable. To win
Constance from him would be no very difficult task. The day before
yesterday I spoke to her, she was not at all coy, and when I took her
hand in mine----it is true that this act of sensibility has borne its
fruits. Till then her rehearsing was very so so. But since she
imagined I was fascinated by her coquetry, she has not rehearsed at
all. Love is evidently no friend of mine. Once a man gets his legs
entangled in the steel traps of a crinoline it's all over with him. So
I'll pluck up resolution, and inform this popular lady that I will
relieve her from the part. (_Writes._) "My dear young lady." Hum! It
is rather difficult to write disagreeably to a woman whose hand you
have pressed in yours but two days since. "My dear." (_A rap at door
C._) Come in. (_Rap repeated._) Come in.
_Enter HOLDER with manuscript C._
HOL. (_at door_) It's me, sir.
FLE. Oh! good day, Mr. Holder.
HOL. Do I disturb you?
FLE. No. Come in.
HOL. Here is your manuscript. I have copied it all but the last scene,
which you did not give me.
FLE. Here it is. I had some corrections to make.
HOL. Shall I take it home with me and finish it?
FLE. No, no. Copy it here; it will not take ten minutes.
[_He looks over the MS._
HOL. Is it readable?
FLE. It is beautifully clear.
HOL. You flatter me. I know it is only good feeling induces you to
give me your manuscripts to copy.
FLE. No, Mr. Holder, no.
HOL. But for you I should have starved.
FLE. Starved! Die of hunger in wealthy London!
HOL. It is true, though; that day when you found me almost fainting
near the stage-door of the theatre.
FLE. Ah! what the devil were you doing there?
HOL. I was waiting.
FLE. Waiting? For what?
HOL. (_quickly_). Nothing. I expected nothing. I, I came there by
accident, because I had not strength to go any further. Ah! sir, I
wish I was enabled to prove to you that I am not ungrateful.
FLE. Do not mention it.
HOL. But I will mention it. Why yesterday I received through you a
guinea for copying a comedy--a guinea, sir, a whole guinea. I have not
been so rich for many a day.
FLE. (_laughing._) Which you doubtless invested in stocks.
HOL. No sir, roses.
FLE. Roses! and you spoke of starving.
HOL. It was for another, and I may never have the means again.
Self-denial was, in this instance, a pleasure to me.
FLE. Well, well, privately as politically, I suppose you have a right
to do what you like with your own.
HOL. Ah! if you only knew--no matter. Your piece is very pretty.
FLE. You like it?
HOL. Yes; perhaps I am presuming in giving an opinion.
FLE. Not at all. I rather like it.
HOL. It's very pretty. There is one part in particular that affected
me to tears.
FLE. Which was that?
HOL. The scene where the father finds his daughter.
FLE. (_aside_). The very part that Miss Constance Belmour absolutely
murders.
HOL. It's fine, very fine! The father speaks as a father should; I, if
I found myself in a similar situation, I feel I should express myself
exactly as you have written.
FLE. The eulogium pleases me infinitely.
HOL. I have read that scene over at least ten times. I know it by
heart.
FLE. Indeed!
HOL. Let me see--"My child! my child! come to my arms. It is you alone
can efface the sufferings of twenty years!"
FLE. That's it; that's just what I mean.
HOL. That scene requires to be well acted.
FLE. Does it not?
HOL. Well acted by the man, and well acted by the lady, in particular.
FLE. (_aside_) He's quite right.
HOL. The lady has but one word to say, but one exclamation: "My
father!" but the success entirely depends upon the manner of her
giving it.
FLE. You are right, and I shall hesitate no longer. (_Writes._) "My
dear Miss Belmour,--It is quite impossible"----
HOL. Miss Belmour! Did you say Miss Constance Belmour?
FLE. Yes, I cast her this part--I am writing to relieve her of it.
HOL. Take the part from her? from Constance--christened during the run
of the _Love Chase._
FLE. Your "Father!" has decided me.
HOL. My "Father!" decided you? In opposition to Knowles's most
beautiful creation? You shall write no such thing.
FLE. What!
HOL. Take this part from her, give it to another, and humiliate her.
You must not write. Why would you take it from her?
FLE. Because she'll murder it.
HOL. Murder it! poor child! The part contains sentiments she is a
stranger to. She does not appear to feel sufficiently strong the
expression, "My father!" Who knows? perhaps she has never known a
father, or a father's love.
FLE. You seem quite affected.
HOL. You will not write? If you take this part from her I shall hate
you--to know that you caused her pain through what I have said. It
would drive me mad--it would kill me!
FLE. What did you say?
HOL. Pay no attention to what I say--my head is a little shaky.
Promise me, only promise me, you will not take this part from her. She
will play it admirably--beautifully.
FLE. Oh!----well, there. (_tears up letter._)
HOL. Bless you! Bless--don't mind me--I'm an old fool. Explain it to
her. If I could speak to her, I----explain to her what you wish.
She'll play it to perfection. She has intelligence--you have not
observed it. Ah! you don't know her--she's a genius.
FLE. You speak of Miss Belmour? (_knock and bell._)
HOL. Hush! some one's called. It is she!
FLE. How do you know?
HOL. It is she, I tell you. I am not mistaken--it is she!
FLE. Well, this is the most singular--
_Enter CONSTANCE, door C._
HOL. (_to FLETCHER_) I was right, you see.
CON. Good morning, my dear Mr. Fletcher. What nice chambers you have
here--only a little high.
FLE. (_coldly_) You here, Miss Belmour!
CON. Oh, dear! what a refrigerating reception.
FLE. I was writing to you--
CON. To tell me--
FLE. That I should not require you in my piece.
HOL. (_aside to FLETCHER_) Oh, sir!
CON. Very amiable of you, very amiable, indeed. (_Seeing pieces of the
letter, and picking up one._) "Belmour--it is quite impossible"--why
did you tear up the letter?
FLE. Because I was entreated to allow you to retain the character.
CON. By whom?
FLE. Mr. Holder.
CON. Mr.----I remember your face somewhere, sir.
HOL. (_subdued and quite overpowered._) At the theatre, probably.
CON. If I am not mistaken, I have often seen you as I entered the
theatre.
HOL. Possibly! possibly!
CON. What ails you? are you ill?
HOL. No, oh dear no; it's only a----I was not prepared----it is the
first time you have spoken to me.
CON. And that produces such an effect on you?
HOL. Yes. I don't know how it is--but it is nothing.
CON. Poor man!
[_She is about to take out her purse, but on a look from HOLDER, she
arrests her hand._
HOL. (_to FLETCHER aside._) You see? She would not insult me by
offering me money.
FLE. Will you finish copying the last leaf?
HOL. Ah! yes, directly--conclude it's done.
FLE. There is some mystery about you----
CON. (_R., taking of her bonnet and shawl._) Will you be kind enough
to assist me, Mr. Fletcher. What an ungallant man you are.
FLE. I beg your pardon.
CON. As I came here, I met Fitzcharles in her brougham with her
father.
FLE. Was the father on the box?
CON. No, inside.
FLE. You astound me.
CON. Perhaps it's his birthday.
HOL. Oh! Lord!
FLE. (_to HOLDER._) Can't you make it out?
HOL. I'd come to the tag, sir; the tag!
FLE. (_aside._) I can't make _him_ out.
HOL. Your conversation distracts me.
FLE. Then copy it in my study. (_pointing to door R._)
HOL. No, I shall be more at home in the hall. (_going._)
CON. (_to HOLDER._) Adieu, my good friend. I shall make it a point of
speaking to you whenever I see you now. I wish you to get accustomed
to my voice.
HOL. (_aside._) Ah! Ah! she has not insulted me by offering me money.
[_Exit, C._
CON. What and who is this Mr. Holder?
FLE. A copyist; he is often here. You have produced a singular effect
upon him.
CON. Then I am to understand that but for the intercession of this
good creature I should have received by post, stamped at its full
value, the gracious compliment.
FLE. On second thoughts I might not have sent my letter.
CON. The fact is that you are like Macbeth, "Letting, I dare not, wait
upon I would." My dear sir, between ourselves, you want it here
(_touching her forehead_); you do indeed!
FLE. Confess, now, that you rehearsed to-day on purpose to turn the
whole piece into ridicule.
CON. Well, and if I did--the piece deserves it? A father--a
daughter--the old story, old as the world.
FLE. What matters, if the situations are new.
CON. It's a dramatised police affair.
FLE. What signifies if the manager is bound over to keep the piece.
CON. Well said! Capital! Now don't put itself out of temper. I freely
admit that the story is very touching, but if I do not feel it, what
would you have? It is a sentiment I have never experienced, and,
therefore, cannot comprehend.
FLE. (_aside_) Holder's right.
CON. At any rate I shall _look_ the character to the life, and that's
_everything_ now-a-days. I shall have a simple white robe. Oh! I have
been very studious about my dress.
FLE. And you don't know a word of your part yet.
CON. Ah! that's because I have not studied that.
FLE. That reason's conclusive.
CON. Besides, I was out of temper. Some one sent me a bouquet this
morning, and Belgrave has been making such a fuss about it.
FLE. He came to me, pretending that I had sent you the bouquet.
CON. And it was not you.
FLE. Certainly not.
CON. Decidedly, that Belgrave is insupportable.
FLE. He quitted me, swearing that he would find out who sent it, if he
searched every flower-shop in London.
CON. And he is not a man to be imposed upon--at least, that's his
monomania. I was very curious to know who sent this bouquet, and he
charged himself with satisfying my curiosity. I fear he will have only
his trouble for his pains.
FLE. Why are you so anxious to know?
CON. Because in the present day the man who sends a bouquet
anonymously, and does not inform you what it cost, is a rare specimen
of the _genus homo_ worth knowing.
FLE. You have a rare wit beyond a doubt, and you would be perfect if
you would study the part in my piece.
CON. Ungrateful monster! Now can you guess why I have come here?
FLE. No.
CON. To go over the part with you seriously.
FLE. Is it possible?
CON. At the theatre, instead of rehearsing we were saying disagreeable
things to each other; as that did not appear to me to advantage the
piece, I thought an hour with you in good earnest would not be thrown
away.
FLE. You're an angel.
CON. That's an incontrovertible fact, for what everybody says must be
true; but since you intend this character for another----
FLE. I!
CON. Have you not told me so to my face? and (_sings_)
"My face is my fortune, sir, she said."
FLE. A moment of irritation--I was not serious.
CON. Did you intend to give the part to Fitzcharles? They say you are
smitten in that quarter. She'll listen to you. She delights in
literary men--but they are _not_ the wise men who _know_ themselves to
be fools.
FLE. I did not intend to give the part to Fitzcharles, I am not
smitten with her, and you know that well.
CON. Well, now, we must attend particularly to the scene when the
father and daughter recognize each other. I candidly confess that at
present I have no idea of it. When I exclaim "My father!" I always
feel inclined to laugh.
FLE. Then that would damn the piece.
CON. Hush! Let us hope that I shall find it no laughing matter on the
day of representation.
FLE. Most fervently, I hope so.
CON. Ah! you must send some one for my part; I have left it at home.
FLE. You go to the rehearsal without your part, and you don't know a
word of it.
CON. But I have the credit of knowing it, for I spoke to my cue.
FLE. Not without a prompter; I'll send for it. Jones! Jones! Where is
he? Jones! Jones!
_Enter HOLDER, C._
HOL. Jones is gone out, sir.
FLE. There now!
HOL. He's gone to the theatre for the order you promised him.
FLE. Devil take him! and the order too.
CON. You have yourself to blame--you should not break your promises.
You should not "palter with him in a _double_ sense," when the order
was doubtless for two.
HOL. As I have finished copying, if I can be of any service--
CON. Yes; it's a great service you can render me with very little
trouble.
HOL. A service--to you!
CON. It is to go to my house, and ask my servant to give you my part.
HOL. I fly.
CON. Where are you going to fly?
HOL. To your house.
CON. Without knowing the address.
HOL. Oh, I know it--Norfolk Street, No. 90--close by.
CON. You know my address?
HOL. Yes, at the theatre--heard it accidentally--the prompter told the
call-boy, the call-boy told the messenger--and I fly.
[_Exit C._
CON. What a strange man! I recollect seeing him often about the
theatre. How very singular.
FLE. When you spoke to him just now, I thought he would have fallen.
CON. I perceived it.
FLE. Perhaps he has fallen--in love with you.
CON. Absurd!
FLE. Has it never crossed your mind when the curtain fell, to think
that among those who had seen and applauded you, many perhaps loved
you who never would be enabled to declare their love----
CON. "But let concealment like a worm in the bud," &c. Yes, such a
vain idea has flitted through my brain.
FLE. Without the slightest impression?
CON. Yes, a momentary pleasure.
FLE. You are a very woman to your fingers' ends.
CON. Beware of them. But come to business. It will be awkward
rehearsing without Melfort, who plays the father.
FLE. I'll send for him.
CON. Melfort stands upon his dignity. He's a fettered lion. Send for
him. You had better go for him yourself.
FLE. Where shall I find him?
CON. At the theatre until four.
FLE. (_looking at his watch._) And it's five minutes past.
CON. You have no time to lose.
FLE. It will not take five minutes to go to the theatre, and they
allow ten for the variation of clocks.
CON. Do it, "nor leave the task to me."
[_He is running off, C., when he knocks against BELGRAVE, who seizes
him by the collar._
BEL. A word, if you please.
FLE. Presently, my friend; I'm in a hurry.
BEL. Do you still persist in saying that you did not send the bouquet?
No humbug.
FLE. I do, I do, I do! there, now let me go.
BEL. But you did send it; I am certain of it. I have proofs.
FLE. I shall be curious to know them, presently.
BEL. I will show you at once, if you'll listen.
FLE. Impossible!
BEL. Do you think to escape me thus? I am not a man----
FLE. Unhand me, I say.
[_disengages himself, and exits, C._
BEL. Well, that's one way of cutting short an explanation. For whom do
they take me? (_to CONSTANCE._) You here, madame?
CON. Have you not perceived me?
BEL. You here! What are you doing with Mr. Fletcher?
CON. Rehearsing my new part.
BEL. Rehearsing! what, the part he but now vowed you should not act?
At any rate, you ought at least, both of you, to recollect that I am
not a man to be _easily_ imposed upon. Can't humbug me! something
remains behind.
CON. Then leave it in the hall. You have already made yourself
perfectly ridiculous this morning, and very little more will render
you perfectly insupportable.
BEL. That's very easily said, madame, very easily said, but when my
mind--
CON. Your mind!
BEL. Yes, madame, my mind. I beg leave to respectfully assert that I
have a mind, and when the suspicions of that mind are appeased, then,
madame, and not till then--
CON. What an excellent tragedian you would have made.
BEL. Tragedian? humbug! I have my hand full of proofs--this bouquet--
CON. Pansies for thought--Love lies a-bleeding. Have you been walking
London with this bouquet?
BEL. Yes, madame, I have, and have ended by finding out what I sought
to know.
CON. And what is the great discovery you have made? One would almost
imagine it were perpetual motion.
BEL. Mr. Fletcher sent you this bunch of flowers.
CON. The race is not to the swift. You have discovered nothing.
Fletcher did not send me those flowers.
BEL. I beg your pardon; this bouquet was purchased in Regent-street
this morning at 10.45 A.M. The man who bought it was old, and dressed
in a drab hat and black coat. They gave me an exact description of
him, and I recognised him immediately--the copyist who is always at
Fletcher's elbow, and who is literally his right hand.
CON. The copyist purchased it?
BEL. Of course. I'm not a man to be imposed on! Can't humbug me!
CON. And that proves that Mr. Fletcher sent me these flowers.
BEL. Unless we are to believe that this poor fellow amuses himself in
purchasing bouquets worth a sovereign each out of twopence a length.
CON. You have a lively imagination, and make marvellous jumps at
conclusions. Has it never entered the cavity of your head that in
London there may be two men who wear a drab hat and black coat?
BEL. Possibly! possibly! (_Enter HOLDER, C._) But talk of the old
gentleman, &c.; we can know from himself.
HOL. Here is your part, madame.
BEL. (_to HOLDER_) Do you know this bouquet?
HOL. The one I purchased this morning.
BEL. (_to CONSTANCE_) Proof positive!
CON. Well, if Mr. Fletcher did send the flowers, what then?
HOL. It was not Mr. Fletcher who commissioned me to purchase this
bouquet.
BEL. Who then?
HOL. Eh! Who?
BEL. Yes--no humbug!
HOL. (_confused and hesitating_) Oh! it was--hum!
CON. (_aside_) Can Fletcher have divined?
BEL. (_to HOLDER_) Well--go on--Ah! Fletcher is not a man to put his
light under a bushel. Fletcher is a man of imagination--a dramatic
author--an original genius; not a translator of unconsidered trifles.
CON. What a fuss about a few roses.
BEL. _Rose d'amour_, madame. A Fletcher by any other name--I mean, any
other rose is as sweet. Never mind. I don't understand the language of
flowers--no, all humbug--but this I know. There are men who resign
themselves to the part you require them to act, madame. There are
others who refuse to play second to any one, and who, when once they
perceive their position ridiculous, cease to remonstrate, and
respectfully offer to cancel the engagement.
CON. Delightful! Why did you not say so before? What a world of words
it would have saved. "Stand not on the order of going, but go at
once."
BEL. Very good, madame, very good. An angel's face, but a--
CON. Oh, mercy!
BEL. You have no heart (_throws bouquet on floor_). Adieu!
[_Exit C._
CON. This bouquet--you purchased it, and sent it to me?
HOL. Yes.
CON. These are flowers of great price.
HOL. Yesterday, at the theatre, I was standing behind one of the
wings, and--and--I heard you say you loved them.
CON. Oh! (_aside._) Decidedly I have made a conquest here.
HOL. Don't be angry, I entreat of you; nor don't laugh at me.
CON. I am neither angry with you, nor in the mood to laugh at you. But
what would you have me say to you?
HOL. Ah! Cons--madame!
CON. You are doubtless very unhappy. I feel for you; your sufferings
touch me nearly.
HOL. (_making a step towards her; he stops._) My chi----
CON. You must leave London, and when you see me no more you will
forget me.
HOL. You are right. I will go far, far away--but first--
CON. In truth it is the only advice I can give you--see me no
more--go.
HOL. I will go--but--
CON. It must be! Adieu!
HOL. Adieu!
CON. Stay! the bouquet you have purchased for me, give it me--at least
I may keep that.
HOL. (_picking up the bouquet, and giving it to her._) Ah!
thanks--thanks!
CON. Poor man!
[_Exits door, R._
HOL. To part without embracing her. I would have given the world for
one embrace, and have called her my----; but no, it's impossible! I
will go at once--if I look on her again, my courage will fail me; and
yet, I cannot leave her thus--one embrace, one kiss, and I depart
forever. Ah! Constance! Constance! my dear Constance! (_falls on his
knees, and covers the shawl of CONSTANCE with kisses._)
_Enter FLETCHER, C._
FLE. Come, that's all right--Melfort's promised to come. (_sees
HOLDER._) Hollo!
HOL. Constance! my own Constance!
FLE. What are you doing there?
HOL. Some one here! Oh! it's you, sir? I should not like to have been
surprised by any one but you.
FLE. What's the matter with you, Mr. Holder?
HOL. You think me a little cracked, I dare say. You shall know all. I
can confide in you. You are good.
FLE. Speak out, man, for really I cannot comprehend.
HOL. When I have told you, you will understand that I cannot go
without one embrace. You will assist me to find a way. After that, I
swear, by all that's good, I will leave the place for ever.
FLE. Well! proceed.
HOL. My story is not long: Twenty years ago I was a tailor in Long
Acre. I was not a fashionable tailor, but still I did a good trade,
and made money. I met a young girl--she was pretty--very pretty. She
lived alone with her father, an old chorus-singer, who was always
drunk, at least he was never sober--and consequently Martha was very
unhappy. I proposed marriage to her, and she accepted. For three years
I was the happiest of men. I was passionately fond of my wife. I had a
daughter whom I adored. My happiness was too great to last. About this
time a young man often came to me, and ordered a variety of clothes
which he never wore. On one occasion I observed him speak to my wife
in a manner I thought rather strange. I mentioned it to Martha, and
she said I must be mad. I loved her--and was silenced. Some few days
after, this young man came again. I hear whisperings, then bursts of
laughter. This time I asserted my position as a man and a husband.
Martha replied in most unblushing terms. Next day I went out. When I
returned, my house was empty, my home deserted. Martha had eloped with
this young man, and taken my child with her.
FLE. The wretch!
HOL. Little by little my wounded pride effaced the image of Martha,
but another memory clung to me; my daughter, the child I had danced on
my knee, that I taught to lisp my name, this babe whose smile was
sunshine to me, whose first word was like an angel's whisper to my
ear, she was lost to me for ever.
FLE. Poor fellow! poor fellow!
HOL. Fifteen years dragged its weary time away, when one day I
received a letter without an address--it was from Martha. She had
doubtless written it on her deathbed. Her seducer, after having taken
her to France and Italy, and dissipated time amidst their pleasures,
had abandoned her. She dared not return to me. "Pardon me," said she,
"I have been bitterly punished. As for your daughter--"
FLE. Well, your daughter?
HOL. It was the greatest blow of all, but it must be told. "As for
your daughter, I know not where she is, but you will easily recognize
her if you recall my form and features. Such as I was when you first
saw and loved me, such is your child to-day--the same face, the same
look, the same voice." I uttered a cry of joy. My child lives--I shall
see her once again.
FLE. Why, this is stranger than fiction.
HOL. I traversed the town in the hope of meeting her--resorted to
every public place. I was repulsed from every door--my inquiries were
laughed at; but jeers and insults could not stay me. I peered into
each coach and cab, watched at the door of every ball, waited by the
entrance of all the theatres--everywhere. I stared in every woman's
face that passed. One day I heard a voice, the voice of Martha: a
woman appeared--the form of Martha. "Constance," said some one. The
woman turned--the face of Martha. Constance--it was the name of my
child!
FLE. She!
HOL. Yes, I saw her again next day. Not a day passes without my seeing
her.
FLE. And you have not thrown yourself in her arms? You have not made
yourself known to her?
HOL. No.
FLE. Why not?
HOL. How might she have received my burst of affection? A word effaces
not fifteen years of indifference. The love of a father and child is
not an instinct. I can endure being unknown to her, console myself by
looking on her and loving her in secret; but to say to her, "I am your
father," and not be loved--
FLE. She would soon learn to love you.
HOL. If I had been a stranger to her for fifteen years, and they said
to me, "Here is your daughter," that would not suffice to make me love
her. Now, thank heaven, I have nothing to reproach her with, poor
child! To forgive is to merit forgiveness. Besides, I am poor, old,
and without resources. When I shall have told her that I was her
father, what would she have done? Offered me bread as a duty. There
are those who would have eat of such bread. Would she have placed me
beside her in her carriage, or with her groom on the box?
FLE. What then do you desire?
HOL. To depart. She has advised me to do so; only before my departure
I would enfold her in my arms--press one kiss of affection on her
cheek.
_Enter JONES, C._
JONES. A letter, sir.
FLE. Oh! you are returned at last.
JONES. I only went to the theatre--I told you, sir, what for.
FLE. Does it take an hour to go there?
JONES. On my way back I called on Miss Penelope, sir, and informed her
that in future, sir, you had promised to stick to blank verse.
FLE. Give me the letter.
JONES. Here it is, sir.
FLE. It's from Melfort! "My dear fellow, you must excuse my coming to
your house--remember I have a character to lose, and were I to
rehearse with a girl of seventeen anywhere but in the theatre, the
world would _affiché_ me to her." A vain ass!
[_Crushes up the letter._
JONES. I'm very fond of _dialect_ with _les Dames_. Is the piece
French, sir?
FLE. Go to the devil!
JONES. Perhaps, sir, I could adopt it to my style sufficiently----
FLE. Will you go?
JONES. I'm going, sir. (_aside_) I am studying "French without a
master," that I may read the English drama in the original.
[_Exit, L._
FLE. So there's an end of our intended private rehearsal.
HOL. If I simply express to her my desire to press her to my heart,
she would laugh at me. Heaven's will be done! Would I could find some
way--can you not help me?
FLE. Did you not say but now that you knew by heart the scene in my
piece where the father discovers his daughter?
HOL. Yes, sir.
FLE. Capital! You shall embrace your daughter.
HOL. Indeed! How--when--where?
FLE. Here--now.
HOL. I shall embrace her--she will permit me to do so, and yet she
shall not know?
FLE. She shall know nothing.
_Enter CONSTANCE._
CON. Well! will Melfort come?
FLE. He has written to me to say he cannot.
CON. Then the rehearsal is a _fiasco?_
FLE. Decidedly, unless you rehearse without him.
CON. Will you rehearse the father?
FLE. No. I must see you; listen to you; if need be, prompt you.
CON. Who will do the father, then? (_Seeing HOLDER._) You here still,
sir?
FLE. I requested Mr. Holder to remain. He knows the scene by heart at
which you boggled to-day.
HOL. (_aside._) Ah! I understand!
CON. The scene of recognition--you know it by heart?
HOL. Yes, through copying it, it fixed itself in my memory.
CON. What a memory! I have been studying that scene more than an hour,
and I do not feel myself master of it yet.
FLE. Now, if you please, we'll go through it with Mr. Holder.
HOL. (_aside to FLETCHER._) God bless you!
CON. With Mr. Holder?
HOL. You object?
CON. Well, really, it's the oddest circumstance----
HOL. (_aside to FLETCHER._) Bless you!
FLE. Listen. (_To HOLDER._) Control your feelings.
CON. What's our position? Oh! you there, sir--I here--presently you
cross me. By-the-bye, Fletcher, all is over between Belgrave and I.
Oh! it's such a happy release.
FLE. Come, begin.
CON. I am ready.
HOL. We--we commence the scene after the young girl's story?
FLE. Precisely.
HOL. (_rehearsing._) "When you arrive in London repeat that to me
again; the servant who accompanied you, brought you to an old lady?
CON. "Yes.
HOL. "The lady at first received you unkindly, is it not so? Soon she
would not part with you?
CON. "Yes; but how know you that?
HOL. "I know it"----
CON. You are quite affected. You are perfect to a letter, and rehearse
it charmingly--much better than Melfort. You ought to have been an
actor.
HOL. I could not act all parts like this!
FLE. Go on! You do it much better, much better! Go on!
HOL. "Five years passed, when one day this old lady called you to her.
'This is your home,' said she--'the moment has arrived when I must
depart.'
CON. "Her very words!
HOL. "And she quitted you--she exhibited no sign of affection for
you--she only announced to you, that a man would shortly present
himself to you. This man--
CON. "Was he to whom I offered my daily vows, though to me he was
unknown. 'That man,' said she, 'is your father.'"
HOL. "I am he.
CON. "You?
HOL. "Yes--I--I!" my child! Yes, at last, my child. Yes, 'tis I--'tis
I--
CON. Stay--that's not it--you forget--there's nothing of that kind in
the manuscript.
FLE. No--
HOL. What is it, then?
FLE. (_reading._) "My child--my child! Yes--I--your father! Not a
minute during the twenty long years which have separated us, have I
ceased to think of the day when I should be enabled to press you to my
heart."
HOL. I beg your pardon; I was mistaken. "Yes, your father! Not a
minute during the twenty long years which----" What comes next?
FLE. "During the twenty long years which have separated us have I
ceased to think----"
HOL. "Not a minute during the twenty long years which----" No father,
on finding his daughter, would make use of such an expression.
FLE. Why, just now you said--
HOL. Here is a man who has not seen his daughter for twenty years--who
seeks her--who finds her--sees her--speaks to her--and you put in the
mouth of this man a long rigmarole. He could not speak it. Impossible!
tears--sobs--that's all. My child, here, come to my heart--let me gaze
on you--do not speak. My child, how sweet that name. Come, your
father, 'tis I. Not a word--you know not--you cannot know--my child!
my child! ah! (_FLETCHER writing_).
CON. You are faint?
HOL. No; it's nothing--nothing. That's more like what I should feel.
CON. It's put me out completely. I don't remember a word now.
HOL. (_writing._) He's right. His ideas are more natural than mine.
"One touch of nature----"
CON. (_to HOLDER._) You are crying.
HOL. Likely; it's the character of the father. Let us finish the
scene, will you.
CON. What a splendid actor you would have made!
HOL. Let us finish the scene.
CON. "You say you are my father."
HOL. "You doubt it! Happily I can invoke remembrances that will give
confidence to your heart."--(_To FLETCHER._) Here is another passage
which must be altered.--"Do you not recall your days of childhood? A
cottage surrounded with large trees--the high road passing before the
door----
CON. "Yes--yes!
HOL. "On this road, in the distance, a man who, waving his
handkerchief, shouted, 'I am here.'
CON. "I remember well.
HOL. "He crossed the threshold--pressed you in his arms, and, kissing
you again and again, he danced for joy. Can you still doubt?
CON. "My father!"
FLE. That's not it, Belmour; not it at all--you never give sufficient
force to that word.
CON. Eh! well then, let some one else do it.
FLE. Be patient--be patient. You can do it to perfection, I am sure,
because you have it here and here (_touching his head and heart_). Why
not work yourself up to the notion that this young girl who has not
heard speak of her father for twenty years, and who suddenly finds
herself face to face with him, is yourself.
CON. What do you say?
HOL. Imagine yourself the girl you are representing.
CON. There is something in your words and manner--
HOL. Try again. This time you will feel the words. "He pressed you in
his arms, he kissed you again and again, he danced for joy. Can you
still doubt?
CON. "My father!"
FLE. That's not up to the mark yet.
CON. I know it is not, but I shall never do it better.
HOL. (_to FLETCHER._) I suspect the fault rests with yourself. The
remembrances you invoke in this scene are very vague. A road, a man on
a road; there is nothing to lead up. Who knows, now if we were to
change some words?
CON. Ah! yes; cut out, "My father!"
FLE. Cut out "My father!" You had better cut me out. Why that is the
great point of the piece.
HOL. No, no; change the details.
FLE. To what? to what?
HOL. Allow me. (_To CONSTANCE._) Recall to your memory my child,
bethink you will--a large room--a man seated on a
table--cross-legged--who sometimes crept towards you with his head
moving up and down, like a monkey, to make you laugh.
CON. Ah!
HOL. Do you remember? By the side of this man a large pair of
scissors, called shears, with which you always wanted to play--and the
man scolded you gently--very gently--told you not to touch them.
CON. Surely that was--go on--
HOL. And one day when you cut yourself with these shears, your blood
flowed, you remember?
CON. Yes--
HOL. You cried--the man jumped from the table pale with fright, but
when he saw it was nothing, he pretended to laugh, and beat the
scissors very hard to console you--my child, my child--that man, do
you remember him?
CON. My father. (_She falls in his arms. They embrace and kiss each
other with strong feeling._)
HOL. She said it right then! You heard. Said it finely, eh? suiting
the word to the action, the action to the word. She may keep the part
now.
FLE. And are you still bent on departing?
HOL. Departing! What do you mean, departing?
FLE. Why, just now, you talked of--
HOL. Ah! just now--just now she had not said, "My father."
CON. And do I indeed embrace my father, that best protector from the
world's assaults. Oh! I have often dream'd of this, but the bright
reality, with its vivid flashes of childhood's memories, seem to endow
me with a new existence of filial love and pleasure.
HOL. You hear, you hear, did I not tell you she was a genius. My good
genius! One touch of nature has restored a child to a father's heart.
"One touch of nature makes the whole world kin."
_____
"Nassau Steam Press"--W. S. Johnson, 60, St. Martin's Lane,
Charing Cross, W.C.
Transcriber's Note
This transcription is based on the text printed, presumably soon after
the first production in 1859, by Webster and Co. as number 199 of
_Webster's Acting National Drama_ series. This text was made available
as a microcopy by the University of California, Davis. However,
because of the imperfections of the microcopy, the transcription was
checked against a copy of an American Samuel French edition, number
287 of _French's Minor Drama, The Acting Edition_ series. Scans of
this copy have been made available through the Internet Archive:
https://archive.org/details/WebsterOneTouchofNature
The Samuel French edition is essentially a reprint of the Webster
edition with minor changes to punctuation.
The 1902 edition published in Philadelphia by the Penn Publishing
Company was also reviewed, but because of textual changes this edition
was not used. Some of these changes corrected the grammar of the
original. For example, Holder enters saying "It's me, sir" in the
Webster and French editions, but says "It's I, sir" in the Penn. Some
of the changes attempted to make the language more acceptable to
American sensibilities. For example, in the Webster and French
editions, Fletcher enters saying, "The devil take the theatre, and all
the actresses into the bargain!" In the Penn edition, he enters
saying, "The mischief with the theatre, and all the actresses into the
bargain!" Similar changes were made throughout the text.
In general, this transcription attempts to retain the formatting,
punctuation, and spelling of the source text. Stage directions were
punctuated three different ways: with parentheses without a period,
with a period within the parentheses, and with a period immediately
following the closing parenthesis. No attempt was made to make the
punctuation of stage directions consistent.
The following changes were made to the text:
--Title page: Inserted a period after "AND ALL BOOKSELLERS" for
consistency.
--p. 8: HOL. Shall I take it home with me and finish it.--Changed the
period to a question mark.
--p. 8: HOL. Is it readable.--Changed the period to a question mark.
--p. 9: HOL. Its fine, very fine!--For consistency, changed "Its" to
"It's".
--p. 10: FLE. Oh!----well, there (_tears up letter._)--Inserted a
period after "there".
--p. 11: FLE. Will you finish copying the last leaf.--Changed the
period to a question mark.
--p. 11: HOL. Ah! yes, directly--conclude its done.--Changed "its" to
"it's".
--p. 13: CON. But if I have the credit of knowing it, for I spoke to
my cue.--Followed the Samuel French edition and deleted "if".
--p. 16: BEL (_to CONSTANCE_) Proof positive.--For consistency,
inserted a period after the character title abbreviation "BEL", and
following the Samuel French edition changed the period to an
exclamation mark.
--p. 16: BEL. Who then.--Followed the Samuel French edition and
changed the period to a question mark.
--p. 18: As for your daughter." Followed the Samuel French edition
and changed the period to an em dash.
--p. 20: [_Enter CONSTANCE._--For consistency, deleted the opening
square bracket and in the html-based versions of this transcription
centered the stage direction for an entrance.
--p. 22: HOL. I beg your pardon; I was mistaken. "Yes, your father not
a minute--Followed the Samuel French edition and inserted an
exclamation mark after "father" and capitalized "not".
--p. 23: This time you will feel the words, "He pressed you in his
arms--Followed the Samuel French edition and changed the comma to a
period.
--p. 24: FLE. And are you still bent on departing.--Changed the period
to a question mark.
End of the Project Gutenberg EBook of One Touch of Nature, by Benjamin Webster
*** END OF THIS PROJECT GUTENBERG EBOOK ONE TOUCH OF NATURE ***
***** This file should be named 54172-8.txt or 54172-8.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/5/4/1/7/54172/
Produced by Paul Haxo with special thanks to the University
of California, Davis.
Updated editions will replace the previous one--the old editions will
be renamed.
Creating the works from print editions not protected by U.S. copyright
law means that no one owns a United States copyright in these works,
so the Foundation (and you!) can copy and distribute it in the United
States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part
of this license, apply to copying and distributing Project
Gutenberg-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 in the United States with eBooks
not protected by U.S. copyright law. Redistribution is subject to the
trademark license, especially commercial redistribution.
START: FULL LICENSE
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full
Project Gutenberg-tm License available with this file or online at
www.gutenberg.org/license.
Section 1. General Terms of Use and Redistributing Project
Gutenberg-tm electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg-tm electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg-tm electronic work and you do not agree to be bound
by the terms of this agreement, you may obtain a refund from the
person or entity to whom you paid the fee as set forth in paragraph
1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this
agreement and help preserve free future access to Project Gutenberg-tm
electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the
Foundation" or PGLAF), owns a compilation copyright in the collection
of Project Gutenberg-tm electronic works. Nearly all the individual
works in the collection are in the public domain in the United
States. If an individual work is unprotected by copyright law in the
United States and you are located in the United States, we do not
claim a right to prevent you from copying, distributing, performing,
displaying or creating derivative works based on the work as long as
all references to Project Gutenberg are removed. Of course, we hope
that you will support the Project Gutenberg-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 in the United States and
most other parts of the world at no cost and with almost no
restrictions whatsoever. You may copy it, give it away or re-use it
under the terms of the Project Gutenberg License included with this
eBook or online at www.gutenberg.org. If you are not located in the
United States, you'll have to check the laws of the country where you
are located before using this ebook.
1.E.2. If an individual Project Gutenberg-tm electronic work is
derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to anyone in
the United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase "Project
Gutenberg" associated with or appearing on the work, you must comply
either with the requirements of paragraphs 1.E.1 through 1.E.7 or
obtain permission for the use of the work and the Project Gutenberg-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 The
Project Gutenberg Trademark LLC, 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
works not protected by U.S. copyright law in creating the Project
Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
electronic works, and the medium on which they may be stored, may
contain "Defects," such as, but not limited to, incomplete, inaccurate
or corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged disk or
other medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium
with your written explanation. The person or entity that provided you
with the defective work may elect to provide a replacement copy in
lieu of a refund. If you received the work electronically, the person
or entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund. If
the second copy is also defective, you may demand a refund in writing
without further opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this agreement
violates the law of the state applicable to this agreement, the
agreement shall be interpreted to make the maximum disclaimer or
limitation permitted by the applicable state law. The invalidity or
unenforceability of any provision of this agreement shall not void the
remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in
accordance with this agreement, and any volunteers associated with the
production, promotion and distribution of Project Gutenberg-tm
electronic works, harmless from all liability, costs and expenses,
including legal fees, that arise directly or indirectly from any of
the following which you do or cause to occur: (a) distribution of this
or any Project Gutenberg-tm work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg-tm work, and (c) any
Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers. It
exists because of the efforts of hundreds of volunteers and donations
from people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help, see
Sections 3 and 4 and the Foundation information page at
www.gutenberg.org
Section 3. Information about the Project Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg Literary
Archive Foundation are tax deductible to the full extent permitted by
U.S. federal laws and your state's laws.
The Foundation's principal office is in Fairbanks, Alaska, with the
mailing address: PO Box 750175, Fairbanks, AK 99775, but its
volunteers and employees are scattered throughout numerous
locations. Its business office is located at 809 North 1500 West, Salt
Lake City, UT 84116, (801) 596-1887. Email contact links and up to
date contact information can be found at the Foundation's web site and
official page at www.gutenberg.org/contact
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
[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 www.gutenberg.org/donate
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations. To
donate, please visit: www.gutenberg.org/donate
Section 5. General Information About Project Gutenberg-tm electronic works.
Professor Michael S. Hart was the originator of the Project
Gutenberg-tm concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg-tm eBooks with only a loose network of
volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.
Most people start at our Web site which has the main PG search
facility: www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
