More Misrepresentative Men

By Harry Graham

The Project Gutenberg EBook of More Misrepresentative Men, by Harry Graham

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: More Misrepresentative Men

Author: Harry Graham

Illustrator: Malcolm Strauss

Release Date: July 19, 2011 [EBook #36782]

Language: English


*** START OF THIS PROJECT GUTENBERG EBOOK MORE MISREPRESENTATIVE MEN ***




Produced by Mark C. Orton, Matthew Wheaton and the Online
Distributed Proofreading Team at https://www.pgdp.net (This
book was produced from scanned images of public domain
material from the Google Print project.)









    MORE MISREPRESENTATIVE MEN

    By HARRY GRAHAM


    _Author of
    "Ruthless Rhymes for Heartless Homes,"
    "Misrepresentative Men,"
    "Ballads of the Boer War,"
    "Verse and Worse," etc., etc._

    PICTURES BY
    MALCOLM STRAUSS


    NEW YORK
    FOX, DUFFIELD & COMPANY
    MCMV

    COPYRIGHT, 1905, BY
    FOX, DUFFIELD & COMPANY

    Published in September, 1905

    To
    E. B.




    _Contents_


    AUTHOR'S FOREWORD

    PUBLISHER'S PREFACE

    ROBERT BURNS

    WILLIAM WALDORF ASTOR

    HENRY VIII

    ALTON B. PARKER

    EUCLID

    J. M. BARRIE

    OMAR KHAYYAM

    ANDREW CARNEGIE

    KING COPHETUA

    JOSEPH F. SMITH

    SHERLOCK HOLMES

    AFTWORD




_Authors Foreword_

(_To the Publisher_)


    When honest men are all in bed,
        We poets at our desks are toiling,
    To earn a modicum of bread,
            And keep the pot a-boiling;
    We weld together, bit by bit,
    The fabric of our laboured wit.

    We see with eyes of frank dismay
      The coming of this Autumn season,
    When bards are driven to display
        Their feast of rhyme and reason;
    With hectic brain and loosened collar,
    We chase the too-elusive dollar.

    While Publishers, in search of grist,
      Despise our masterly inaction,
    And shake their faces in our fist,
          Demanding satisfaction,
    We view with vague or vacant mind
    The grim agreements we have signed.

    For though a willing public gives
      Its timely share of cash assistance,
    The author (like the dentist) lives
          A hand-to-mouth existence;
    And Publishers, those modern Circes,
    Make pig's-ear purses of his verses.

    Behold! How ill, how thin and pale,
      The features of the furtive jester!
    Compelled by contracts to curtail
                His moments of siesta!
    A true White Knight is he to-day
    (_Nuit Blanche_, as Stevenson would say).

    Ah, surely he has laboured well,
      Constructing this immortal sequel,--
    A work which no one could excel,
              And very few can equal,--
    A volume which, I dare to say,
    Is epoch-making, in its way.

    When other poets' work is not,
      These verses shall retain their label;
    When Herford is a thing forgot,
              And Ade an ancient fable;
    When Goops no longer give a sign
    Of Burgess's empurpled kine.

    My Publishers, I love you so!
      Your well-secreted virtues viewing;
    Who never let your right hand know
          Whom your left hand is doing;
    Who hold me firmly in your grip,
    And crack your cheque-book, like a whip!

    My Publishers, make no mistake,
      You have in me an _avis rara_,
    So write a princely cheque, and make
              It payable to bearer;
    I love you, as I said before,
    But oh! I love your money more!




_Publisher's Preface_

(_To the Author_)


    Voracious Author, gorged with gold,
      Your grasping greed shall not avail!
    In vain you venture to unfold
              Your false prehensile tale!
    I view in scorn (unmixed with awe)
    The width of your capacious maw.

    On me the onus has to fall
      Of your malevolent effusions;
    'Tis I who bear the brunt of all
            Your libellous allusions;
    To bolster up your turgid verse,
    I jeopardise my very purse!

    You do not hesitate to fleece
      The Publisher you scorn to thank,
    And when you manage to decrease
              His balance at the bank,
    Your face is lighted up with greed,
    And you are lantern-jawed indeed!

    Yet will I still heap coals of fire,
      Until your coiffure is imbedded,
    And you at last, perchance, shall tire
          Of growing so hot-headed,
    And realise that being funny
    Is not a mere affair of money.

    And so, in honour of your pow'rs,
      A fragrant bouquet will I pick,
    Of rare exotics, blossoms, flow'rs
              Of speech and rhetoric;
    I'll add a thistle, if I may,
    And, round the whole, a wreath of bay.

    The blossoms for your button-hole,
      To mark your affluent condition,
    Exotics to inspire your soul
              To further composition.
    Come, set the bays upon your brow!
       *       *       *       *       *
    Well, eat the thistle, anyhow!




_Robert Burns_


    The jingling rhymes of Dr. Watts
      Excite the reader's just impatience,
    He wearies of Sir Walter Scott's
      Melodious verbal collocations,
    And with advancing years he learns
    To love the simpler style of Burns.

    Too much the careworn critic knows
      Of that obscure robustious diction,
    Which like a form of fungus grows
      Amid the Kailyard school of fiction;
    In Crockett's cryptic caves one sighs
    For Burns's clear and spacious skies.

    Tho' no aspersions need be cast
      On Barrie's wealth of wit fantastic,
    Creator of that unsurpass'd
      If most minute ecclesiastic;
    Yet even here the eye discerns
    No master-hand like that of Burns.

    The works of Campbell and the rest
      Exhale a sanctimonious odour,
    Their vintage is but Schnapps, at best,
      Their Scotch is simply Scotch-and-sodour!
    They cannot hope, like Burns, to win
    That "touch which makes the whole world kin."

    Tho' some may sing of Neil Munro,
      And virtues in Maclaren see,
    Or want but little here below,
      And want that little Lang, maybe;
    Each renegade at length returns,
    To praise the peerless pow'rs of Burns.

    His verse, as all the world declares,
      And Tennyson himself confesses,
    The radiance of the dewdrop shares,
      The berry's perfect shape possesses;
    And even William Wordsworth praises
    The magic of his faultless phrases.

    But he, whose books bedeck our shelves,
      Whose lofty genius we adore so,
    Was only human, like ourselves,--
      Perhaps, indeed, a trifle more so!
    And joined a thirst that nought could quench
    To morals which were frankly French.

    And ev'ry night he made his way,
      With boon companions, bent on frolic,
    To inns of ill-repute, where lay
      Refreshments--chiefly alcoholic!
    (But I decline to raise your gorges,
    Describing these nocturnal orgies.)

    Of love-affairs he knew no end,
      So long and ardently he flirted,
    And e'en the least suspicious friend
      Would feel a trifle disconcerted,
    When Burns was sitting with his "_sposa_,"
    "As thick as thieves on Vallombrosa!"

    A Cockney Chiel who found him thus,
      And showed some conjugal alarm,
    When Burns implored him not to fuss,
      Enquiring calmly, "Where's the harm?"
    Replied at once, with perfect taste,
    "The _h_arm is round my consort's waist!"

    "A poor thing but my own," said he,
      His fair but fickle bride denoting,
    And she, with scathing repartee,
      Assented, wilfully misquoting,
    (Tho' carefully brought up, like Jonah),
    "A poorer thing--and yet my owner!"

    The most bucolic hearts were burnt
      By Burns' amatory glances;
    The most suburban spinsters learnt
      To welcome his abrupt advances;
    When Burns was on his knee, 'twas said,
    They wished that _they_ were there instead!

    They loved him from the first, in spite
      Of angry parents' interference;
    They deemed his courtship so polite,
      So captivating his appearance;
    So great his charm, so apt his wit,
    In local parlance, Burns was IT!

    The rustic maids from far and wide,
      Encouraged his unwise flirtations;
    For love of Burns they moped and sighed,
      And, while their nearest male relations
    Were up in arms, the sad thing is
    That they themselves were up in his!

    His crest a mug, with open lid,
      The kind in vogue with ancient Druids,--
    Inscribed "Amari Aliquid,"
      (Which means "I'm very fond of fluids!"),
    On either side, as meet supporters,
    The village blacksmith's lovely daughters.

    "Men were deceivers ever!" True,
      As Shakespeare says (Hey Nonny! Nonny!),
    But one should always keep in view
      That "_tout comprendr' c'est tout pardonny_";
    In judging poets it suffices
    To scan their verses, not their vices.
       .      .      .      .      .      .
    The poets of the present time
      Attempt their feeble imitations;
    Are economical of rhyme,
      And lavish with reiterations;
    The while a patient public swallows
    A "Border Ballad" much as follows:--

    _Jamie lad, I lo'e ye weel,
    Jamie lad, I lo'e nae ither,
    Jamie lad, I lo'e ye weel,
                  Like a mither._

    _Jamie's ganging doon the burn,
    Jamie's ganging doon, whateffer,
    Jamie's ganging doon the burn,
                  To Strathpeffer!_

    _Jamie's comin' hame to dee,
    Jamie's comin' hame, I'm thinkin',
    Jamie's comin' hame to dee,
                  Dee o' drinkin'!_

    _Hech! Jamie! Losh! Jamie!
      Dinna greet sae sair!
    Gin ye canna, winna, shanna
      See yer lassie mair!
              Wha' hoo!
              Wha' hae!
            Strathpeffer!_

    I give you now, as antidote,
      Some lines which I myself indited.
    Carnegie, when he read them, wrote
      To say that he was quite delighted;
    Their pathos cut him to the quick,
    Their humour almost made him sick.

    _The queys are moopin' i' the mirk,
    An' gin ye thole ahin' the kirk,
    I'll gar ye tocher hame fra' work,
        Sae straught an' primsie;
    In vain the lavrock leaves the snaw,
    The sonsie cowslips blithely blaw,
    The elbucks wheep adoon the shaw,
        Or warl a whimsy.
    The cootie muircocks crousely craw,
    The maukins tak' their fud fu' braw,
    I gie their wames a random paw,
          For a' they're skilpy;
    For wha' sae glaikit, gleg an' din,
    To but the ben, or loup the linn,
    Or scraw aboon the tirlin'-pin
          Sae frae an' gilpie?_

    _Och, snood the sporran roun' ma lap,
    The cairngorm clap in ilka cap,
            Och, hand me o'er
            Ma lang claymore,
    Twa, bannocks an' a bap,
          Wha hoo!
    Twa bannocks an' a bap!_
       .      .      .      .      .      .
    O fellow Scotsman, near and far,
      Renowned for health and good digestion,
    For all that makes you what you are,--
      (But are you really? That's the question)--
    Be grateful, while the world endures,
    That Burns was countryman of yours.

    And hand-in-hand, in alien land,
      Foregather with your fellow cronies,
    To masticate the haggis (cann'd)
      At Scottish Conversaziones,
    Where, flushed with wine and Auld Lang Syne,
    You worship at your country's shrine!




_William Waldorf Astor_


    How blest a thing it is to die
      For Country's sake, as bards have sung!
    How sweet "pro patria mori,"
      (To quote the vulgar Latin tongue);
    And yet to him the palm we give
    Who for his fatherland can _live_.

    Historians have explained to us,
      In terms that never can grow cold,
    How well the bold Horatius
      Played bridge in the brave days of old;
    And we can read of hosts of others,
    From Spartan boys to Roman mothers.

    But nowhere has the student got,
      From poet, pedagogue, or pastor,
    The picture of a patriot
      So truly typical as Astor;
    And none has ever shown a greater
    Affection for his Alma Mater.

    With loyalty to Fatherland
      His heart inflexible as starch is,
    Whene'er he hears upon a band
      The too prolific Sousa's marches;
    And from his eyes a tear he wipes,
    Each time he sees the Stars and Stripes.

    Tho' others roam across the foam
      To European health resorts,
    The fact that "there's no place like home"
      Is foremost in our hero's thoughts;
    And all in vain have people tried
    To lure him from his "ain fireside."

    Let tourists travel near or far,
      By wayward breezes widely blown,
    _He_ stops at the Astoria,
      "A poor thing" (Shakespeare), "but his own;"
    And nothing that his friends may do
    Can drag him from Fifth Avenue.

    The Western heiress is content
      To scale, as a prospective bride,
    The bare six-story tenement
      Where foreign pauper peers reside;
    But men like Astor all disparage
    The so-called Morgan-attic marriage.

    The rich Chicago millionaire
      May buy a mansion in Belgravia,
    Have footmen there with powdered hair
      And frigidly correct behaviour;
    But marble stairs and plate of gold
    Leave Astor absolutely cold.

    The lofty ducal residence,
      That fronts some Surrey riverside,
    Would wound his socialistic sense,
      And pain his patriotic pride;
    He would not change for Castles Highland
    His cabbage-patch on Coney Island.

    A statue in some Roman street,
      A palace of Venetian gilding,
    Appear to him not half so sweet
      As any modern Vanderbuilding;
    He views, without an envious throe,
    The wolf that suckled Romeo!

    Roast beef, or frogs, or sauerkraut,
      Their mead of praise from some may win;
    Our hero cannot do without
      Peanuts and clams and terrapin;
    Away from home, his soul would lack
    The cocktail and the canvasback.

    Not his to walk the crowded Strand;
      'Mid busy London's jar and hum.
    On quiet Broadway he would stand,
      Saying "Americanus sum!"
    His smile so tranquil, so seraphic,--
    Small wonder that it stops the traffic!

    Who would not be a man like he,
      (This lapse of grammar pray forgive,)
    So simply satisfied to be,
      Contented with his lot to live,--
    Whether or not it be, I wot,
    A little lot,--or quite a lot?

    Content with any kind of fare,
      With any tiny piece of earth,
    So long as he can find it there
      Within the land that gave him birth;
    Content with simple beans and pork,
    If he may eat them in New York!

    O persons who have made your pile,
      And spend it far across the seas,
    Like landlords of the Em'rald Isle,
      Denounced notorious absentees,
    I pray you imitate the Master,
    And stay at home like Mr. Astor!

    But if you go abroad at all,
      And leave your fatherland behind you,
    Without an effort to recall
      The sentimental ties that bind you,
    I should be grateful if you could
    Contrive to stay away for good!




_Henry VIII_


    With Stevenson we must agree,
      Who found the world so full of things,
    That all should be, or so said he,
      As happy as a host of Kings;
    Yet few so fortunate as not
    To envy Bluff King Henry's lot.

    A polished monarch, through and through,
      Tho' somewhat lacking in religion,
    Who joined a courtly manner to
      The figure of a pouter pigeon;
    And was, at time of feast or revel
    A ... well ... a perfect little devil!

    But tho' his vices, I'm afraid,
      Are hard for modern minds to swallow,
    Two lofty virtues he displayed,
      Which we should do our best to follow:--
    A passion for domestic life,
    A cult for what is called The Wife.

    He sought his spouses, North and South.
      Six times (to make a misquotation)
    He managed, at the Canon's mouth,
      To win a bubble reputation;
    And ev'ry time, from last to first,
    His matrimonial bubble burst!

    Six times, with wide, self-conscious smile
      And well-blacked, button boots, he entered
    The Abbey's bust-congested aisle,
      With ev'ry eye upon him centred;
    Six times he heard, and not alone,
    The march of Mr. Mendelssohn.

    Six sep'rate times (or three times twice),
      In order to complete the marriage,
    'Mid painful show'rs of boots and rice,
      He sought the shelter of his carriage;
    Six times the bride, beneath her veil,
    Looked "beautiful, but somewhat pale."

    Within the limits of one reign,
      Six females of undaunted bearing,
    Two Annes, three Kath'rines, and a Jane,
      Enjoyed the privilege of sharing
    A conjugal career so chequer'd
    It almost constitutes a record!

    Yet sometimes it occurs to me
      That Henry missed his true vocation;
    A husband by profession he,
      A widower by occupation;
    And, honestly, it seems a pity
    He didn't live in Salt Lake City.

    For there he could have put in force
      His plural marriage views, unbaffled;
    Nor had recourse to dull divorce,
      Nor sought the service of the scaffold;
    Nor looked for peace, nor found release,
    In any partner's predecease.

    Had Henry been alive to-day,
      He might have hired a timely motor,
    And sent each wife in turn to stay
      Within the confines of Dakota;
    That State whose rigid marriage-law,
    Is eulogised by Bernard Shaw.

    But Henry's simple days are done,
      And, in the present generation,
    A wife is seldom woo'd and won
      By prospects of decapitation.
    For nowadays when Woman weds,
    It is the _Men_ who lose their heads!




_Alton B. Parker_


    Those Roman Fathers, long ago,
      Established a sublime tradition,
    Who gave the Man Behind the Hoe
      His proud proconsular position;
    When Cincinnatus left his hens,
    And beat his ploughshares into pens.

    His modern prototype we see,
      Descended from some humble attic,
    The Presidential nominee
      Of those whose views are Democratic;
    From Millionaire to Billiard Marker
    They plumped their votes for Central Parker.

    A member of the sterner sex,
      Possessing neither wealth nor beauty,
    But gifted with a really ex--
      --Traordinary sense of Duty;
    In Honour's list I place him first,--
    With Cæsar's Wife and Mr. Hearst.

    From childhood's day this son of toil,
      Since first he laid aside his rattle,
    Was wont to cultivate the soil,
      Or milk his father's kindly cattle;
    To groom the pigs, drive crows away,
    Or teach the bantams how to lay.

    This sprightly lad, his parents' pet,
      With tastes essentially bucolic,
    Eschewed the straightcut cigarette,
      And shunned refreshments alcoholic;
    His simple pleasure 'twas to plumb
    The deep-laid joys of chewing gum.

    As local pedagogue he next
      Attained to years of indiscretion,
    To preach the Solomonian text
      So popular with that profession,
    Which honours whom (and what) it teaches
    More in th' observance than the breeches.

    The sprightly Parker soon one sees,
      Head of a legal institution,
    Enjoying huge retaining fees
      As counsel for the prosecution.
    (Advice to lawyers, _meum non est_,--
    Get on, get honour, then get honest!)

    Behold him, then, like comet, shoot
      Beyond the bounds of birth or station,
    And gain, as jurist of repute,
      A continental reputation.
    (Don't mix him with that "Triple Star"
    Which lights a more unworthy "bar.")

    A proud position now is his,
      A judge, arrayed in moral ermine,
    As from the Bench he sentences
      His fellow-man, and other vermin,
    And does his duty to his neighbour,
    By giving him six months' hard labour.

    On knotty questions of finance
      He bears aloft the golden standard,
    For he whose motto is "Advance!"
      To baser coin has never pandered.
    No eulogist of War is he,
    "Retrenchment!" is his _dernier cri_.

    But tho', to his convictions true,
      With strength like concentrated Eno,
    He did his very utmost to
      Emancipate the Filipino,
    A fickle public chose Another,
    Who called the Coloured Coon his Brother.




_Euclid_


    When Egypt was a first-class Pow'r--
      When Ptolemy was King, that is,
    Whose benefices used to show'r
      On all the local charities,
    And by his liberal subscriptions
    Was always spoiling the Egyptians--

    The Alexandrine School enjoyed
      A proud and primary position
    For training scholars not devoid
      Of geometric erudition;
    Where arithmetical fanatics
    Could even _live_ in (mathem)-attics.

    The best informed Historians name
      This Institution the possessor
    Of one who occupied with fame
      The post of principal Professor,
    Who had a more expansive brain
    Than any man--before Hall Caine.

    No complex sums of huge amounts
      Perplexed his algebraic knowledge;
    With ease he balanced the accounts
      Of his (at times insolvent) College;
    He was, without the least romance,
    A very Blondin of Finance.

    In pencil, on his shirt-cuff, he,
      Without a moment's hesitation,
    Elucidated easily
      The most elab'rate calculation
    (His washing got, I needn't mention,
    The local laundry's best attention).

    Behind a manner mild as mouse,
      Blue-spectacled and inoffensive,
    He hid a judgment and a _nous_
      As overwhelming as extensive,
    And cloaked a soul immune from wrong
    Beneath an ample ong-bong-pong.

    To rows of conscientious youths,
      Whom 'twas his duty to take care of,
    He loved to prove the truth of truths
      Which they already were aware of;
    They learnt to look politely bored,
    Where modern students would have snored.

    To show that Two and Two make Four,
      That All is greater than a Portion,
    Requires no dialectic lore,
      Nor any cerebral contortion;
    The public's faith in facts was steady,
    Before the days of Mrs. Eddy.

    But what was hard to overlook
      (From which Society still suffers)
    Was all the trouble Euclid took
      To teach the game of Bridge to duffers.
    Insisting, when he got a quorum,
    On "_Pons_" (he called it) "_Asinorum_."

    The guileless methods of his game
      Provoked his partner's strongest strictures;
    He hardly knew the cards by name,
      But realised that some had pictures;
    Exhausting ev'rybody's patience
    By his perpetual revocations.

    For weary hours, in deep concern,
      O'er dummy's hand he loved to linger,
    Denoting ev'ry card in turn,
      With timid indecisive finger;
    And stopped to say, at each delay,
    "I really don't know _what_ to play!"

    He sought, at any cost, to win
      His ev'ry suit in turn unguarding;
    He trumped his partner's "best card in,"
      His own egregiously discarding;
    Remarking sadly, when in doubt,
    "I quite forgot the King was out!"

    Alert opponents always knew,
      By what the look upon his face was,
    When safety lay in leading through,
      And where, of course, the fatal ace was;
    Assuring the complete successes
    Of bold but hazardous "finesses."

    But nowadays we find no trace,
      From distant Assouan to Cairo,
    To mark the place where dwelt a race
      Mistaught by so absurd a tyro;
    And nothing but occult inscriptions
    Recall the sports of past Egyptians.

    Yes, "_autre temps_" and "_autre moeurs_,"
      "_Où sont_ indeed _les neiges d'antan_?"
    The modern native much prefers
      Debauching in some _café chantant_,
    Nor ever shows the least ambition
    To solve a single Proposition.

    O Euclid, luckiest of men!
      You knew no English interloper;
    For Allah's Garden was not then
      The pleasure-ground of Alleh Sloper,
    Nor (broth-like) had your country's looks
    Been spoilt by an excess of "Cooks."

    The Nile to your untutored ears
      Discoursed in dull but tender tones;
    Not yours the modern Dahabeahs,
      Supplied with strident gramophones,
    Imploring, in a loud refrain,
    Bill Bailey to come home again.

    Your cars, the older-fashioned sort,
      And drawn, perhaps, by alligators,
    Were not the modern Juggernaut-
      Child-dog-and-space-obliterators,
    Those "stormy petrols" of the land
    Which deal decease on either hand.

    No European tourist wags
      Defiled the desert's dusky face
    With orange peel and paper bags,
      Those emblems of a cultured race;
    Or cut the noble name of Jones,
    On tombs which held a monarch's bones.

    O Euclid! Could you see to-day
      The sunny clime you once frequented,
    And note the way we moderns play
      The game you thoughtfully invented,
    The knowledge of your guilt would force yer
    To feelings of internal nausea!




_J. M. Barrie_


    The briny tears unbidden start,
      At mention of my hero's name!
    Was ever set so huge a heart
      Within so small a frame?
    So much of tenderness and grace
    Confined in such a slender space?

    (O tiniest of tiny men!
      So wise, so whimsical, so witty!
    Whose magic little fairy-pen
      Is steeped in human pity;
    Whose humour plays so quaint a tune,
    From Peter Pan to Pantaloon!)

    So wide a sympathy has he,
      Such kindliness without an end,
    That children clamber on his knee,
      And claim him as a friend;
    They somehow know he understands,
    And doesn't mind their sticky hands.

    And so they swarm about his neck,
      With energy that nothing wearies,
    Assured that he will never check
      Their ceaseless flow of queries,
    And grateful, with a warm affection,
    For his avuncular protection.

    And when his watch he opens wide,
      Or beats them all at blowing bubbles,
    They tell him how the dormouse died,
      And all their tiny troubles;
    And drag him, if he seems deprest,
    To see the baby squirrel's nest.

    For hidden treasure he can dig,
      Pursue the Indians in the wood,
    Feed the prolific guinea-pig
      With inappropriate food;
    Do all the things that mattered so
    In happy days of long ago.

    All this he can achieve, and more!
      For, 'neath the magic of his brain,
    The young are younger than before,
      The old grow young again,
    To dream of Beauty and of Truth
    For hearts that win eternal youth.

    Fat apoplectic men I know,
      With well-developed Little Marys,
    Look almost human when they show
      Their faith in Barrie's fairies;
    Their blank lethargic faces lighten
    In admiration of his Crichton.

    To lovers who, with fingers cold,
      Attempt to fan some dying ember,
    He brings the happy days of old,
      And bids their hearts remember;
    Recalling in romantic fashion
    The tenderness of earlier passion.

    And modern matrons who can find
      So little leisure for the Nurs'ry,
    Whose interest in babykind
      Is eminently curs'ry,
    New views on Motherhood acquire
    From Alice-sitting-by-the-Fire!

    While men of every sort and kind,
      At times of sunshine or of trouble,
    In Sentimental Tommy find
      Their own amazing double;
    To each in turn the mem'ry comes
    Of some belov'd forgotten Thrums.

    To Barrie's literary art
      That strong poetic sense is clinging
    Which hears, in ev'ry human heart,
      A "late lark" faintly singing,
    A bird that bears upon its wing
    The promise of perpetual Spring.

    Materialists may labour much
      At problems for the modern stage;
    His simpler methods reach and touch
      The Young of ev'ry age;
    And first and second childhood meet
    On common ground at Barrie's feet!




_Omar Khayyam_


    Though many a great Philosopher
      Has earned the Epicure's diploma,
    Not one of them, as I aver,
      So much deserved the prize as Omar;
    For he, without the least misgiving,
    Combined High Thinking and High Living.

    He lived in Persia, long ago,
      Upon a somewhat slender pittance;
    And Persia is, as you may know,
      The home of Shahs and fubsy kittens,
    (A quite consistent _habitat_,
    Since "Shah," of course, is French for "cat.")

    He lived--as I was saying, when
      You interrupted, impolitely--
    Not loosely, like his fellow-men,
      But, _vicê versâ_, rather tightly;
    And drank his share, so runs the story,
    And other people's, _con amore_.

    A great Astronomer, no doubt,
      He often found some Constellation
    Which others could not see without
      Profuse internal irrigation;
    And snakes he saw, and crimson mice,
    Until his colleagues rang for ice.

    Omar, who owned a length of throat
      As dry as the proverbial "drummer,"
    And quite believed that (let me quote)
      "One swallow does not make a summer,"
    Supplied a model to society
    Of frank, persistent insobriety.
       *       *       *       *       *
    Ah, fill the cup with nectar sweet,
      Until, when indisposed for more,
    Your puzzled, inadhesive feet
      Elude the smooth revolving floor.
    What matter doubts, despair or sorrow?
    To-day is Yesterday To-morrow!

    Oblivion in the bottle win,
      Let finger-bowls with vodka foam,
    And seek the Open Port within
      Some dignified Inebriates' Home;
    Assuming there, with kingly air,
    A crown of vine-leaves in your hair!

    A book of verse (my own, for choice),
      A slice of cake, some ice-cream soda,
    A lady with a tuneful voice,
      Beside me in some dim pagoda!
    A cellar--if I had the key,--
    Would be a Paradise to me!

    In cosy seat, with lots to eat,
      And bottles of Lafitte to fracture
    (And, by-the-bye, the word La-feet
      Recalls the mode of manufacture)--
    I contemplate, at easy distance,
    The troublous problems of existence.

    For even if it could be mine
      To change Creation's partial scheme,
    To mould it to a fresh design,
      More nearly that of which I dream,
    Most probably, my weak endeavour
    Would make more mess of it than ever!

    So let us stock our cellar shelves
      With balm to lubricate the throttle;
    For "Heav'n helps those who help themselves,"
      So help yourself, and pass the bottle!
       .      .      .      .      .      .
    What! Would you quarrel with my moral?
    (Waiter! Leshavanotherborrel!)




_Andrew Carnegie_


    In Caledonia, stern and wild,
      Whence scholars, statesmen, bards have sprung,
    Where ev'ry little barefoot child
      Correctly lisps his mother-tongue,
    And lingual solecisms betoken
    That Scotch is drunk, as well as spoken,
    There dwells a man of iron nerve,
      A millionaire without a peer,
    Possessing that supreme reserve
      Which stamps the caste of Vere de Vere,
    And marks him out to human ken
    As one of Nature's noblemen.

    Like other self-made persons, he
      Is surely much to be excused,
    Since they have had no choice, you see,
      Of the material to be used;
    But when his noiseless fabric grew,
    He builded better than he knew.

    A democrat, whose views are frank,
      To him Success alone is vital;
    He deems the wealthy cabman's "rank"
      As good as any other title;
    To him the post of postman betters
    The trade of other Men of Letters.

    The relative who seeks to wed
      Some nice but indigent patrician,
    He urges to select instead
      A coachman of assured position,
    Since safety-matches, you'll agree,
    Strike only on the box, says he.

    At Skibo Castle, by the sea,
      A splendid palace he has built,
    Equipped with all the luxury
      Of plush, of looking-glass, and gilt;
    A style which Ruskin much enjoyed,
    And christened "Early German Lloyd."

    With milking-stools and ribbon'd screens
      The floor is covered, well I know;
    The walls are thick with tambourines,
      Hand-painted many years ago;
    Ah, how much taste our forbears had!
    And nearly all of it was bad.

    Each flow'r-embroidered boudoir suite,
      Each "cosy corner" set apart,
    Was modelled in the Regent Street
      Emporium of suburban art.
    "O Liberty!" (I quote with shame)
    "The crimes committed in thy name!"

    But tho' his mansion now contains
      A swimming-bath, a barrel-organ,
    Electric light, and even drains,
      As good as those of Mr. Morgan,
    There was a time when Andrew C.
    Was not obsessed by l. s. d.

    Across the seas he made his pile,
      In Pittsburg, where, I've understood,
    You have to exercise some guile
      To do the very slightest good;
    But he kept doing good by stealth,
    And doubtless blushed to find it wealth.

    And now his private hobby 'tis
      To meet a starving people's need
    By making gifts of libraries
      To those who never learnt to read;
    Rich mental banquets he provides
    For folks with famishing insides.

    In Education's hallowed name
      He pours his opulent libations;
    His vast deserted Halls of Fame
      Increase the gaiety of nations.
    But still the slums are plague-infested,
    The hospitals remain congested.
       .      .      .      .      .      .
    Carnegie, should your kindly eye
      This foolish book of verses meet,
    Please order an immense supply,
      To make your libraries complete,
    And register its author's name
    Within your princely Halls of Fame!




_King Cophetua_


    To sing of King Cophetua
      I am indeed unwilling,
    For none of his adventures are
      Particularly thrilling;
    Nor, as I hardly need to mention,
    Am I addicted to invention.

    The story of his roving eye,
      You must already know it,
    Since it has been narrated by
      Lord Tennyson, the poet;
    I could a moving tale unfold,
    But it has been so often told.

    But since I wish my friends to see
      My early education,
    If Tennyson will pardon me
      A somewhat free translation,
    I'll try if something can't be sung
    In someone else's mother-tongue.

    "Cophetua and the Beggar Maid!"
      So runs the story's title
    (An explanation, I'm afraid,
      Is absolutely vital),
    Express'd, as I need hardly mench:
    In 4 a.m. (or early) French:--

    _Les bras posés sur la poitrine
    Lui fait l'apparence divine,--
    Enfin elle a très bonne mine,--
          Elle arrive, ne portant pas
          De sabots, ni même de bas,
          Pieds-nus, au roi Cophetua._

    _Le roi lors, couronne sur tête,
    Vêtu de ses robes de fête,
    Va la rencontrer, et l'arrête.
          On dit, "Tiens, il y en a de quoi!"
          "Je ferais ça si c'était moi!"
          Il saits s'amuser donc, ce roi!_

    _Ainsi qu'la lune brille aux cieux,
    Cette enfant luit de mieux en mieux,
    Quand même ses habits soient vieux.
          En voilà un qui loue ses yeux,
          Un autre admire ses cheveux,
          Et tout le monde est amoureux._

    _Car on n'a jamais vu là-bas
    Un charme tel que celui-là
    Alors le bon Cophetua
          Jure, "La pauvre mendiante,
          Si séduisante, si charmante,
          Sera ma femme,--ou bien ma tante!"_




_Joseph F. Smith_


    Though, to the ordinary mind,
      The weight of marriage ties is such
    That many mere, male, mortals find
      One wife enough,--if not too much;
    I see no no reason to abuse
    A person holding other views.

    Though most of us, at any rate,
      Have not acquired the plural habits,
    Which we are apt to delegate
      To Eastern potentates,--or rabbits;
    We should regard with open mind
    The more uxoriously inclined.

    In Salt Lake City dwells a man
      Who deems monogamy a myth;
    (One of that too prolific clan
      Which glories in the name of Smith);
    A "Prophet, Seer, and Revelator,"
    With the appearance of a waiter.

    This hoary patriarch contrives
      To thrive in manner most bewild'rin',
    With close on half a dozen wives,
      And nearly half a hundred children;
    And views with unaffrighted eyes
    The burden of domestic ties.

    To him all spouses seem the same--
      Each one a model of the Graces;
    He knows his children all by name,
      But cannot recollect their faces;
    A minor point, since, I suppose,
    Each one has got its popper's nose!

    They are denied to me and you:
      Such old-world luxuries as his,
    When, after work, he hastens to
      The bosoms of his families
    (Each offspring joining with the others
    In, "What is Home without five Mothers?").

    Such strange surroundings would retard
      Most ordinary men's digestions;
    Five ladies all conversing hard,
      And fifty children asking questions!
    Besides (the tragic final straw),
    Five se-pa-rate mamas-in-law!

    What difficulties there must be
      To find a telescopic mansion;
    For each successive family
      The space sufficient for expansion.
    ("But that," said Kipling, in his glory--
    "But that is quite another storey!")

    The sailor who, from lack of thought,
      Or else a too diffuse affection,
    Has, for a wife in ev'ry port,
      An unappeasing predilection,
    Would designate as "simply great!"
    The mode of life in Utah State.

    The gay Lothario, too, who makes
      His mad but meaningless advances
    To more than one fair maid, and takes
      A large variety of chances,
    Need have no fear, in such a place,
    Of any breach-of-promise case.

    With Mormons of the latter-day
      I have no slightest cause for quarrel;
    Nor do I doubt at all that they
      Are quite exceptionally moral;
    Their President has told us so,
    And he, if anyone, should know.

    But tho' of folks in Utah State,
      But 2 percent lead plural lives,
    Perhaps the other 98
      Are just--their children and their wives!
    O stern, ascetic congregation,
    Resisting all--except temptation!

    Well, I, for one, can see no harm,
      Unless for trouble one were looking,
    In having wives on either arm,
      And one downstairs--to do the cooking.
    A touching scene; with nought to dim it.
    But fifty children!--That's the limit!

    Some middle course would I explore;
      Incur a merely dual bond;
    One wife, brunette, to scrub the floor,
      And one for outdoor use, a blonde;
    Thus happily could I exist,
    A moral Mormonogamist!




_Sherlock Holmes_


    The French "filou" may raise his "bock,"
      The "Green-goods man" his cocktail, when
    He toast Gaboriau's Le Coq,
      Or Pinkerton's discreet young men;
    But beer in British bumpers foams
    Around the name of Sherlock Holmes!

    Come, boon companions, all of you
      Who (woodcock-like) exist by suction,
    Uplift your teeming tankards to
      The great Professor of Deduction!
    Who is he? You shall shortly see
    If (Watson-like) you "follow me."

    In London (on the left-hand side
      As you go in), stands Baker Street,
    Exhibited with proper pride
      By all policemen on the beat,
    As housing one whose predilection
    Is private criminal detection.

    The malefactor's apt disguise
      Presents to him an easy task;
    His placid, penetrating eyes
      Can pierce the most secretive mask;
    And felons ask a deal too much
    Who fancy to elude his clutch.

    No slender or exiguous clew
      Too paltry for his needs is found;
    No knot too stubborn to undo,
      No prey too swift to run to ground;
    No road too difficult to travel,
    No skein too tangled to unravel.

    For Holmes the ash of a cigar,
      A gnat impinging on his eye,
    Possess a meaning subtler far
      Than humbler mortals can descry.
    A primrose at the river's brim
    No simple primrose is to him!

    To Holmes a battered Brahma key,
      Combined with blurred articulation,
    Displays a man's capacity
      For infinite ingurgitation;
    Obliquity of moral vision
    Betrays the civic politician.

    I had an uncle, who possessed
      A marked resemblance to a bloater,
    Whom Sherlock, by deduction, guessed
      To be the victim of a motor;
    Whereas, his wife (or so he swore)
    Had merely shut him in the door!

    My brother's nose, whose hectic hue
      Recalled the sun-kissed autumn leaf,
    Though friends attributed it to
      Some secret or domestic grief,
    Revealed to Holmes his deep potations,
    And _not_ the loss of loved relations!

    I had a poodle, short and fat,
      Who proved a conjugal deceiver;
    Her offspring were a Maltese Cat,
      Two Dachshunds and a pink retriever!
    Her husband was a pure-bred Skye;
    And Sherlock Holmes alone knew why!

    When after-dinner speakers rise,
      To plunge in anecdotage deep,
    At once will Sherlock recognise
      Each welcome harbinger of sleep:
    That voice which torpid guests entrances,
    That immemorial voice of Chauncey's!

    Not his, suppose Hall Caine should walk
      All unannounced into the room,
    To say, like pressmen of New York,
      "Er--Mr. Shakespeare, I presoom?"
    By name "The Manxman" Holmes would hail,
    Observing that he _had no tale_.

    In vain, amid the lonely state
      Of Zion, dreariest of havens,
    Does bashful Dowie emulate
      The prophet who was fed by ravens;
    To Holmes such affluence betrays
    A prophet who is fed by _jays_!
       .      .      .      .      .      .
    With Holmes there lived a foolish man,
      To whom I briefly must allude,
    Who gloried in possessing an
      Abnormal mental hebetude;
    One could describe the grossest _bétise_
    To this (forgive the rhyme) Achates.

    'Twas Doctor Watson, human mole,
      Obtusely, painfully polite;
    Who played the unambitious rôle
      Of parasitic satellite;
    Inevitably bound to bore us,
    Like Aristophanes's Chorus.
       .      .      .      .      .      .
    But London town is sad to-day,
      And preternaturally solemn;
    The fountains murmur "Let us spray"
      To Nelson on his lonely column;
    Big Ben is mute, her clapper crack'd is,
    For Holmes has given up his practice.

    No more in silence, as the snake,
      Will he his sinuous path pursue,
    Till, like the weasel (when awake),
      Or deft, resilient kangaroo,
    He leaps upon his quivering quarry,
    Before there's time to say you're sorry.

    No more will criminals, at dawn,
      Effecting some burglarious entry,
    (While Sherlock, on the garden lawn,
      Enacts the thankless rôle of sentry),
    Discover, to their bitter cost,
    That felons who are found--are lost!

    No more on Holmes shall Watson base
      The Chronicles he proudly fabled;
    The violin and morphia-case
      Are in the passage, packed and labelled;
    And Holmes himself is at the door,
    Departing--to return no more.

    He bids farewell to Baker Street,
      Though Watson clings about his knees;
    He hastens to his country seat,
      To spend his dotage keeping bees;
    And one of them, depend upon it,
    Shall find a haven in his bonnet!

    But though in grief our heads are bowed,
      And tears upon our cheeks are shining,
    We recognise that ev'ry cloud
      Conceals somewhere a silver lining;
    And hear with deep congratulation
    Of Watson's timely termination.




_Aftword_


    Ye Critics, who with bilious eye
      Peruse my incoherent medley,
    Prepared to let your arrows fly,
      With cruel aim and purpose deadly,
    Desist a moment, ere you spoil
    The harvest of a twelvemonth's toil!

    Remember, should you scent afar
      The crusted jokes of days gone by,
    What conscious plagiarists we are:
      Molière and Seymour Hicks and I,
    For, as my bearded chestnuts prove,
    _Je prends mon bien où je le trouve!_

    My wealth of wit I never waste
      On Chestertonian paradox;
    My humour, in the best of taste,
      Like Miss Corelli's, never shocks;
    For sacred things my rev'rent awe
    Resembles that of Bernard Shaw.

    Behold how tenderly I treat
      Each victim of my pen and brain,
    And should I tread upon his feet,
      How lightly I leap off again;
    Observe with what an airy grace
    I fling my inkpot in his face!

    And those who seek at Christmas time,
      An inexpensive gift for Mother,
    Will fine this foolish book of rhyme
      As apposite as any other,
    And suitable for presentation
    To any poor or near relation.

    To those whose intellect is small,
      This work should prove a priceless treasure;
    To persons who have none at all,
      A never-ending fount of pleasure;
    A mental stimulus or tonic
    To all whose idiocy is chronic.

    And you, my Readers (never mind
      Which category you come under),
    Will, after due reflection, find
      My verse a constant source of wonder;
    'Twill make you _think_, I dare to swear--
    But _what_ you think I do not care!





End of Project Gutenberg's More Misrepresentative Men, by Harry Graham

*** END OF THIS PROJECT GUTENBERG EBOOK MORE MISREPRESENTATIVE MEN ***

***** This file should be named 36782-8.txt or 36782-8.zip *****
This and all associated files of various formats will be found in:
        https://www.gutenberg.org/3/6/7/8/36782/

Produced by Mark C. Orton, Matthew Wheaton and the Online
Distributed Proofreading Team at https://www.pgdp.net (This
book was produced from scanned images of public domain
material from the Google Print project.)


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

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



*** START: FULL LICENSE ***

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

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
https://gutenberg.org/license).


Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

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

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.

1.F.

1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 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 https://www.pglaf.org.


Section 3.  Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service.  The Foundation's EIN or federal tax identification
number is 64-6221541.  Its 501(c)(3) letter is posted at
https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
[email protected].  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at https://pglaf.org

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     [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 https://pglaf.org

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States.  U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses.  Donations are accepted in a number of other
ways including including checks, online payments and credit card
donations.  To donate, please visit: https://pglaf.org/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart was the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.


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


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

     https://www.gutenberg.org

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.