The Project Gutenberg EBook of The Nursery, No. 107, November, 1875, Vol.
XVIII., by Various
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
Title: The Nursery, No. 107, November, 1875, Vol. XVIII.
A Monthly Magazine for Youngest Readers
Author: Various
Release Date: August 13, 2005 [EBook #16524]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK THE NURSERY, NO. 107 ***
Produced by Juliet Sutherland, Janet Blenkinship and the
Online Distributed Proofreading Team at https://www.pgdp.net
No. 107.
NOVEMBER, 1875.
Vol. XVIII.
THE
NURSERY
_A Monthly Magazine_
FOR YOUNGEST READERS.
BOSTON:
JOHN L. SHOREY, 36 BROMFIELD STREET.
AMERICAN NEWS CO., 119 NASSAU ST., NEW YORK.
NEW-ENGLAND NEWS CO., 41 COURT ST., BOSTON.
CENTRAL NEWS CO., PHILADELPHIA.
WESTERN NEWS CO., CHICAGO.
$1.60 a Year, in advance.
A single copy, 15 cents.
Entered according to Act of Congress, in the year 1875,
by JOHN L. SHOREY, in the Office of the
Librarian of Congress at Washington.
CONTENTS OF NUMBER ONE HUNDRED AND SEVEN.
* * * * *
PAGE.
FLORA'S LOOKING-GLASS By _Anna Livingston_ 129
CHINESE SCENES By _C.E.C._ 132
MINOS By _Elizabeth Sill_ 134
GRANDMA'S GARDEN By _M.A.C._ 136
GREAT-AUNT PATIENCE AND HER LITTLE LION By _Mamma_ 138
CROSSING THE BROOK 141
NELLIE'S LITTLE BROTHER By _Mary Atkinson_ 142
ANNIE'S WISH By _George Bennett_ 144
A DRAWING LESSON 145
GRANDPA'S PIGS By _Homer_ 146
CAPTAIN BOB By _Emily Carter_ 149
PAPA CAN'T FIND ME By _George Cooper_ 151
THE SOLDIER-DOG By _Pinky_ 152
THE SURPRISE By _Ida Fay_ 153
LITTLE PEDRO By _Cousin Emily_ 154
THE PARROT'S LAMENT By _Jane Oliver_ 156
WHAT THE DOVE LOST By _Aunt Emmie_ 157
THE CHICKEN AND THE DOG By _Uncle Charles_ 158
GIRLS AND BOYS (_Music by T. Crampton_) 160
* * * * *
EDITOR'S PORTFOLIO.
... Now is the time for Canvassers to begin their operations for 1876.
Now is the time for our friends to show their good will. We count all
our subscribers as our friends; and all of them may do us a service by
renewing their subscriptions immediately. A blank form for that purpose
is furnished herewith, and there is plenty of room on it to add the
names of a few new subscribers. We hope that every old subscriber will
try to send us at least one new one.
... On the last page of our cover will be found the advertisement of
"THE NURSERY PRIMER," the most charming book for children, considering
its cheapness, that has yet been put upon the market. Look at it, see
the beautiful and apt engravings, one or more on every page, and you
will want at least a dozen copies to distribute among your little
friends at Christmas.
... We call attention, also, to the advertisement of "THE EASY BOOK" and
"THE BEAUTIFUL BOOK." No more useful or delightful books for beginners
in reading have appeared. These, with "The Nursery Primer." form a cheap
but elegant library for childhood.
... _Progress, improvement_, will be our motto in the future as they
have been in the past. "The Nursery," we can assure our readers, is
younger and more full of life than ever, notwithstanding its nine years.
... Unaccepted articles will be returned to the writers _if stamps are
sent with them_ to pay return postage. Manuscripts not so accompanied
will not be preserved, and subsequent requests for their return cannot
be complied with.
* * * * *
[Illustration: Hand] ~New Subscribers for 1876, whose names and money
are sent us before December next, will receive the last two numbers of
1875 FREE.~
* * * * *
[Illustration: Hand] ~We want a special agent in every town in the
United States. Persons disposed to act in that capacity, are invited to
communicate with the publisher.~
SPECIAL NOTICE TO SUBSCRIBERS.
The number of the Magazine with which your subscription _expires_ is
indicated by the number annexed to the address on the printed label.
When no such number appears, it will be understood that the subscription
ends with the current year. Please to look at the printed label. If the
number upon it is ~108~, or if _no_ number appears there, you will know
that your subscription ends with this year (1875). In that case you are
earnestly requested to send the renewal to us _immediately_, so that
your address may remain on our printed list, and you may continue to
receive the Magazine without any interruption. Remember that the amount
to be remitted is ~$1.60~, and that you will receive the Magazine
postpaid. To save you the trouble of writing a letter, we annex a blank
form that may be used in making the remittance.
_JOHN L. SHOREY, 36 Bromfield St., Boston, Mass._
_Enclosed please find $1.60 for renewal of subscription to "THE
NURSERY," to begin with the number for, ................... 1876, to be
sent to the following address_:--
-------------------------------+-------------------------------
NAME OF SUBSCRIBER. | RESIDENCE.
-------------------------------+-------------------------------
|
|
-------------------------------+-------------------------------
|
|
-------------------------------+-------------------------------
[Illustration: FLORA'S LOOKING-GLASS.]
FLORA'S LOOKING-GLASS.
On the edge of a thick wood dwelt a little girl whose name was Flora.
She was an orphan, and lived with an old woman who got her living by
gathering herbs.
Every morning, Flora had to go almost a quarter of a mile to a clear
spring in the wood, and fill the kettles with fresh water. She had a
sort of yoke, on which the kettles were hung as she carried them.
The pool formed by the spring was so smooth and clear, that Flora could
see herself in it; and some one who found her looking in it, one bright
morning, called the pool "Flora's Looking-Glass."
As Flora grew up, some of the neighbors tried to make her leave the old
woman, and come and live with them; but Flora said, "No: she has been
kind to me when there was no one to care for me, and I will not forsake
her now."
So she kept on in her humble lot; and the old woman taught her the names
of all the herbs and wild flowers that grew in the wood; and Flora
became quite skilful in the art of selecting herbs, and extracting their
essences.
There was one scarce herb that grew on the border of "Flora's
Looking-Glass." It was used in a famous mixture prepared by the old
woman; and, when the latter was about to die, she said to Flora, "Here
is a recipe for a medicine which will, some day, have a great sale. Take
it, and do with it as I have done."
Flora took the recipe, and the old woman died. But poor Flora was so
kind and generous a girl, that she gave the medicine away freely to all
the sick people; nor did she try to keep the recipe a secret.
So, though she was not made rich by it, she was made happy; and, as
weeks passed on, a man who was a doctor, and had known her father, came
to her, and said, "Come and live with me and my wife and daughters, and
I will send you to school, and see that you are well taught."
"But how can I pay you for it all?" asked Flora.
"The recipe will more than pay me," said the good doctor. "You shall
have a share in what I earn from it; and you shall help me make the
extract."
Flora now goes to school in winter; but in midsummer she pays frequent
visits to "Flora's Looking-Glass," and thinks of the kind old lady who
taught her so much about herbs and flowers.
ANNA LIVINGSTON.
[Illustration: A SHOT AT AN EAGLE.]
CHINESE SCENES.
I have two little girls here in China, who are constant readers of "The
Nursery." They think I can tell you little readers at home of some
pretty sights they see here. They have asked me so often to do so, that,
now they are tucked away for the night, I will try to please them.
In landing at Hong Kong, after a long voyage, it looks very odd to see
the water covered with small boats, or _sampans_, as the Chinese call
them. In each boat lives a family. It is their house and home; and they
seldom go off of it.
They get their living by carrying people to the ships, and by fishing.
They have a place in the bottom of the boat, where they sleep at night;
and, in cold weather, they shut themselves up in it to keep from
freezing. I went out in one of these boats a few days ago. The water was
very rough; and I was quite astonished, after being out some time, to
see a pair of bright eyes shining from below, through a small crack,
nearly under my feet.
Coming back, it was not quite so rough; and the owner of the bright
eyes--a little girl four years old, with a baby strapped on her
back--came "up topside," as they call up above. When the baby was fussy,
the girl would dance a little; and so the baby was put to sleep in this
peculiar fashion.
It is a very common sight to see a boatwoman rowing the boat, with her
baby strapped on her back. The child likes the motion, and is very
quiet. It must be very hard for the mother; but the Chinese women have
to endure more hardships than that, as I shall show you in future
numbers of "The Nursery."
In cold weather, these people must suffer very much, they are so poorly
clad. They put all the clothing they have on the upper part of their
body; and their legs and feet are hardly covered at all. Fortunately for
them, it is not very cold in this part of China.
[Illustration]
In Canton, there are many more boats than here; for the floating
population there is the largest in the world. I have seen as many as ten
children in one boat. The small ones have ropes tied around them: so, if
they fall into the water, they can be picked up easily.
A little fire in a small earthen vessel is all that these strange people
have to cook their food by. The poorer ones have nothing but rice to
eat, and consider themselves very fortunate if they get plenty of that.
Those better off have a great variety of food; and some of it looks
quite tempting; but the greater part is horrible to look at, and much
worse to smell.
All the men and boys have their hair braided in long cues. The women
have theirs done up in various styles; each province in China having its
own fashion. Neither women nor men can dress their own hair. The poorest
beggars in the street have their hair done up by a barber.
For the men there are street barbers, who shave heads on low seats by
the roadside; but, for the higher classes and the women, a barber goes
to their houses. The women's hair is made very stiff and shiny by a
paste prepared from a wood which resembles the slippery-elm. It takes at
least an hour to do up a Chinese woman's hair.
C.E.C.
HONG KONG, CHINA.
MINOS.
I read, the other day, an account, taken from an English paper, of a
wonderful little dog, called Minos. He knows more arithmetic than many
children. At an exhibition given of him by his mistress, he picked out
from a set of numbered cards any figure which the company chose to call
for. When six was called, for instance, he would bring it; and then, if
some one said, "Tell him to add twelve to it."--"Add twelve, Minos,"
said his mistress. Minos looked at her, trotted over to the cards, and
brought the one with eighteen on it.
Only once was he puzzled. A gentleman in the audience called out, "Tell
him to give the half of twenty-seven." Poor Minos looked quite
bewildered for a moment; but he was not to be baffled so. He ran off,
and brought back the card with the figure on it. Was not that clever?
He has photographs of famous persons, all of which he knows by name, and
will bring any one of them when told to. He can spell too; for when a
French lady in the company wrote the word "_esprit_," and handed it to
him, he first looked at it very hard, and then brought the letters, one
by one, and placed them in the right order.
When Minos was born, he was very sickly and feeble; and his mother would
not take care of him, and even tried to kill him. But little Marie
Slager, daughter of the lady who has him now, took him and brought him
up herself.
[Illustration]
From that time he was her doll, her playfellow, her baby. She treated
him so much like a child, that he really seemed to understand all that
was said to him. She even taught him to play a little tune on the piano.
Almost all performing animals are treated so cruelly while they are
being trained, and go through with their tricks in so much fear, that it
is quite sad to see them. But the best thing about Minos's wonderful
performances is, that they were all taught him by love and gentleness.
Remember this, boys, when you are trying to teach Dash or Carlo to fetch
and carry, or draw your wagon: there is no teacher so good as love.
ELIZABETH SILL.
[Illustration]
GRANDMA'S GARDEN.
This is the way; here is the gate,
This little creaking wicket;
Here robin calls his truant mate
From out the lilac-thicket.
The walks are bordered all with box,--
Oh! come this way a minute;
The snowball-bush, beyond the phlox,
Has chippy's nest hid in it.
Look at this mound of blooming pinks,
This balm, these mountain daisies;
And can you guess what grandma thinks
The sweetest thing she raises?
You're wrong, it's not the violet,
Nor yet this pure white lily:
It is this straggling mignonette,--
I know you think it silly,--
But hear my story; then, perhaps,
You'll freely grant me pardon.
(See how the spiders set their traps
All over grandma's garden.)
Long since I had a little friend,
Dear as your darling sister,
And she from over sea, did send
This token, ere Death kissed her:
'Twas in a box, a tiny slip,
With word just how to set it:
And now I kiss its fragrant tip,--
You see I can't forget it.
[Illustration]
Well, here I get thyme, sage, and mint,
Sweet marjoram and savory;
(Cook says they always give a hint
Of summer, rich and flavory);
Here's caraway--take, if you will:
Fennel and coriander
Hang over beds of daffodil,
And myrtles close meander.
What's next to come, one may not know--
But then I like surprises:
Just here, where tender roses blow,
A tiger-lily rises.
Here cock's-comb flaunts, and columbine
Stands shaded by sweetbrier,
And marigolds and poppies shine
Like beds of glowing fire.
A group of honest sunflowers tall
Keep sentry in yon corner;
And close beside them on the wall,
The peacock, strutting scorner,
Spreads out his rainbow plumes alone,
Or stoops to pick a berry,
Where briers climb the mossy stone
Beneath those clumps of cherry.
Now we'll turn back: you've seen but few
Of my old-fashioned beauties,
But take away a nosegay new
To cheer you at your duties;
Take pansies and forget-me-nots;
Pluck pinks, bluebells, and roses,
And tell me if you know a spot
Where flourish fairer posies.
Grandma herself no lovelier ground
This side of paradise has found.
M.A.C.
[Illustration]
GREAT-AUNT PATIENCE AND HER LITTLE LION.
"What relation is she to me?" said black-eyed Fred, as he heard his
mother say that her Aunt Patience was coming to visit them.
"She is your _great_-aunt," said mamma; "and I want you and Bertie to be
very polite to her."
The little boys had heard their mamma say that Aunt Patience was "a lady
of the old school," and that she was afraid the children would trouble
her, as they were not quite so still as the little boys and girls used
to be forty or fifty years ago.
So Fred and Bertie stood somewhat in awe of this Great-Aunt Patience;
and when the dear old lady arrived, and papa and mamma went to the cars
to meet her, the two boys were watching rather timidly for the carriage,
at the parlor-windows.
As she came up the steps, leaning on papa's arm, little Bertie
exclaimed, "Oh, see, Freddie! she is not _great_ at all: she is as
little as a girl."
"Yes, and she laughs too," said Fred; "and her eyes are as blue as
mamma's, and her hair as white as a snowdrift."
Just then, the driver took off a strange-looking thing from the
carriage, and brought it up the steps. It was an old-fashioned trunk,
covered with stiff, reddish-brown hair. The boys had never seen a hair
trunk, and it seemed to them, at the first glance, more like some kind
of an animal than a trunk.
Before they had a chance to examine it, their mamma called them to come
and kiss their aunt, which they did very politely, as they had been
directed. But her sweet face won their hearts at once; and Bertie
exclaimed, "Oh, you are not a _big_ Patience: you are a _little_ good
Patience, I know; and I am not a bit afraid of you!"
[Illustration]
"Bless your little heart, dear! what has mamma been telling you to make
you afraid of me?" said auntie with a merry laugh.
As soon as they could get away, the boys ran up stairs to see what the
driver had carried to their aunt's room. Fred discovered what it was as
soon as he opened the door; but Bertie, who was not yet four years old,
was greatly puzzled. "What can it be?" said he, keeping a safe distance
away from it.
Now, Fred liked to play tricks upon his little brother sometimes: so he
said, with pretended alarm, "Why, perhaps it is a young lion."
After this startling suggestion, Bertie did not wait an instant. He ran
as fast as his legs would carry him, screaming, "O mamma! there is a
young lion up stairs. O papa! do get your pistol, and shoot him." The
poor child was really in a great fright; and all the family ran at once
to see what could be the matter.
They met naughty Fred, laughing, but looking rather guilty. "Why, it is
only great Patience's trunk," said he. "Bertie thinks it is a lion."
Papa told Fred he did very wrong to frighten the boy so; but they all
had a good laugh at poor Bertie's mistake. Bertie was soon induced to
take a nearer look at his frightful little lion; and, when Aunt Patience
took out from it two or three quarts of chestnuts, it lost all its
terrors. The boys were allowed to play in the room as much as they
pleased; and the innocent hair trunk was made to do duty as a wolf, a
bear, a tiger, and various other wild beasts.
"I wish you would stay here a hundred years!" said little Bertie to his
aunt, one day. "I wish she would stay for ever and ever, and longer
too!" said Fred. "What do you go back to your old school for?" said
Bertie. "My school!" said Aunt Patience. "I have not any school, and
never had any."--"Why," exclaimed the little boy, "my mamma said you
were a lady of the old school!"
Then mamma and auntie had a merry laugh; and the boys were informed that
mamma only meant that Aunt Patience was a very polite lady of the olden
time.
The boys constantly forgot to call her "auntie," but remembered the
title of "great," and the precious old lady was just as well pleased to
have them call her "Great Patience."
When she bade them good-by, they both cried, though Fred was very
private about his tears; and both boys declared that the best visitors
they ever had were "Great Patience and her little red lion."
MAMMA.
[Illustration]
CROSSING THE BROOK.
Over the stepping-stones, one foot and then another;
And here we are safe on dry land, little brother.
[Illustration]
NELLIE'S LITTLE BROTHER.
When Nellie was quite young, she lost her dear mother; and two sad years
passed by for the little girl. She used to go and look at her mother's
portrait, and wonder whether she could see Nellie, though Nellie could
not see her.
But, at last, her father gave her a new mother, who was so kind and
good, that Nellie loved her very much; though she never could forget her
first dear mother. One happy day, Nellie learned that a little brother
had been born. How glad she was then!
Some weeks passed by before Nellie was allowed to take the little fellow
in her arms; but, when she was permitted to do this, it seemed to her
that she had never felt such delight before. When he would put up his
tiny hands, and feel of her face, she was ready to weep with joy.
But one night the nurse was ill; and there was nobody to take care of
the baby. Nellie begged so hard to be allowed to sit up and attend to
it, that she was at last permitted to do so. She passed two hours,
watching baby as he slept, and thinking of the nice times she would
have with him when he grew up.
At last he awoke; and then Nellie gave him some milk from the porringer,
and tried to rock him to sleep again. But the little fellow wanted a
frolic: so she had to take him in her arms, and walk about the room with
him.
She walked and walked till it got to be twelve o'clock; and then she
stood in the faint lamplight, before the portrait of her own mother, and
it seemed as if the sweet face were trying to speak to her.
But Nellie was so very sleepy, that she hardly knew what she was about.
She walked, like one in a dream,--from the bed to the cradle, and from
the cradle to the bed,--and all at once baby seemed quiet, and she was
walking no longer.
At last she started up, and found she had been lying on the bed. The
faint light of the early dawn was coming through the eastern
window-panes. Where was baby? Oh! what had Nellie done with him? She
jumped from the bed, ran here and there, but could not find him.
At last she looked in the cradle, and there he was, lying snugly asleep.
Without knowing what she had done, she had put him in the cradle, and
had covered him up, and then, without undressing herself, had gone and
lain down on the bed. "Oh, you darling, you darling!" cried Nellie; but
the tears came to her eyes, and she could say no more.
MARY ATKINSON.
[Illustration]
ANNIE'S WISH.
"I wish I were a fairy,--
A fairy kind and good,
I'd have a splendid palace
Beside a waving wood.
And there my fairy minstrels
Their golden harps should play;
And little fairy birdies
Should carol all the day.
"A hundred fairy minions
On my commands should wait;
And want and pain should never
Be known on my estate.
I'd send my fairy heralds,
To solace, soothe, and aid;
And love and joy and pleasure
Each dwelling should pervade."
"But, ah! you're not a fairy,
Dear little Sister Ann;
So pray now be contented,
And do the best you can.
To parents, friends, and teachers,
Be docile, true, and fond,
And you will work more wonders
Than with a fairy's wand."
GEO. BENNETT.
[Illustration: Outline Drawing by MR. HARRISON WEIR, as a drawing lesson.]
[Illustration]
GRANDPA'S PIGS.
Mamma says that I am only
a little boy; but I think I am
quite big. I shall be six years
old next May.
Last summer, mamma took
me to grandpa's, to stay a few
weeks. When we got to the
house, I asked grandpa if I
might go with him every day
to feed the pigs. He said,
"Yes."
So the next morning I went.
There were four large pigs, and
six little ones; and, when the
food was put into the trough,
they were all so eager to get it,
that they kept tumbling over
one another.
One morning, there was not
a pig in the pen. We hunted
everywhere, but could not find
them. At last, grandpa said,
"They must be in the turnip-
garden." Sure enough, there
they were.
The moment they saw us,
they scampered; but, after a
while, we got them all back in
the pen. Then grandpa said
he wanted to know how they
got out: so we hid in the barn.
By and by, an old pig peeped
around, to see if anybody was
watching. As he saw no one,
he grunted, as much as to say,
"All right," and started for a
large hole beneath the fence.
But, before he could get out,
grandpa nailed a plank over
the hole.
I wanted a pig to take home
with me; but grandpa said it
would not live in the city.
HOMER.
[Illustration]
[Illustration]
CAPTAIN BOB.
At the hotel near the seaside, where I staid last summer, there was a
little fellow who was known to the guests as Captain Bob. He was from
the West, where he had never seen a large sheet of water. But, at his
first sight of old Ocean, he gave him his heart.
Old Ocean seemed to return the tender liking; for he was very kind to
Captain Bob, who was nearly all day at the seaside, running some sort of
risk. There was nobody to prevent his going in to swim as often as he
chose.
Nobody had taught Captain Bob to swim. How he learned he could not
explain. He was always ready to venture into a boat. He took to sculling
and rowing quite as naturally as a duck takes to swimming.
One morning, we were all made sad by the report that Captain Bob was
missing. He had not been seen since noon the previous day. Messengers
were sent in every direction to make inquiries after the captain.
Several persons said, that, the last they had seen of him, he was
standing by the big post on the wharf, with a little boat in his hand
that an old sailor had made for him.
Two days were at an end, and still there was no news of Captain Bob. His
parents and friends were greatly distressed. But, on the morning of the
third day, there was a shout from some of the gentlemen on the piazza;
and, on hastening to find out what was the matter, whom should I see but
Captain Bob, borne on the shoulders of two young men, and waving his cap
over his head.
Bob's story was this: A mackerel-schooner was anchored off shore; and
Bob had persuaded the sailor, who had given him the toy-boat, to take
him on board. The sailor had done this, not suspecting what was to
happen. A school of mackerel had been seen; and, as the breeze was fair,
the skipper spread all sail, and was soon five miles off shore.
The mackerel were so plenty that the fishermen made the most of their
luck, and did not return to the shore near the hotel till the third day.
"Did you have a good time, captain?" I asked.
"A _good_ time!" exclaimed Captain Bob. "It was the jolliest time I ever
had. You should have seen me pull in the fish."
After this adventure, Captain Bob was more of a hero than ever among the
people of the hotel.
EMILY CARTER.
[Illustration]
"PAPA CAN'T FIND ME."
No little steps do I hear in the hall;
Only a sweet silver laugh, that is all.
No dimpled arms round my neck hold me tight;
I've but a glimpse of two eyes very bright.
Two little hands a wee face try to screen:
Baby is hiding, that's plain to be seen.
"Where is my precious I've missed so all day?"
"Papa can't find me!" the pretty lips say.
"Dear me! I wonder where baby can be!"
Then I go by, and pretend not to see.
"Not in the parlor, and not on the stairs?
Then I must peep under sofas and chairs."
The dear little rogue is now laughing outright,
Two little arms round my neck clasp me tight.
Home will indeed be sad, weary, and lone,
When papa can't find you, my darling, my own.
GEORGE COOPER.
THE SOLDIER-DOG.
I have been reading in "The Nursery" the story about Mellie Hoyt and his
dog Major. My papa often tells me about another good old dog, named
Major. He was a soldier-dog, that papa knew when he went to the war.
Major was a kind dog to all his friends; but he would bark at strangers,
and sometimes he would bite them. He once tried to bite a steam-engine
as it came whistling by; but the engine knocked him off the track, and
almost killed him. He had never seen a steam-engine before, and he knew
better than to attack one after that. But he was not afraid of any thing
else.
When the soldiers went out to battle, Major would go with them, and bark
and growl all the time. Once, in a battle way down in Louisiana, Major
began to bark and growl as usual, and to stand up on his hind-legs. Then
he ran around, saying, "_Ki-yi, ki-yi_." By and by he saw a cowardly
soldier, who was running away; and he seized that soldier by the leg,
and would not let him go for a long time. He wanted him to go back and
fight.
Soon after this, Major began to jump up in the air, trying to bite the
bullets that whistled over his head. When a bullet struck the ground, he
would run and try to dig it out with his paws. At last he placed himself
right in front of an advancing line of soldiers, as much as to say,
"Don't come any further!" He seemed to think that he could drive them
back all alone.
By and by a bullet hit Major as he was jumping about; and he dropped
down dead. The soldiers all felt sad, and some of them cried. They
missed him like one of their comrades, and they had many to mourn for in
that dreadful battle. I hope there never will be another war.
PINKY.
PORTLAND, ME.
[Illustration]
THE SURPRISE.
"Whose hands are over your eyes? Guess quick."
"Old Mother Hubbard's?"
"Wrong: guess again."
"The good fairy's, Teenty Tawnty?"
"There are no fairies in this part of the country, and you know it.
Guess again."
"Well, I guess it is the old woman that lived in a shoe."
"She is not in these parts. I will give you one more chance. Who is it?"
"I think it must be little Miss Muffit,--the one who was frightened by a
spider."
"Nonsense! One would think you had read nothing but 'Mother Goose's
Melodies.'"
"Can it be Tom, Tom, the piper's son?"
"No, I never stole a pig in my life. Now give the right name this time,
or prepare to have your ears pulled."
"Oh, that would never do! I think it must be my cousin, Jenny Mason, who
is hiding the daylight from me."
"Right! Right at last! One kiss, and you may go."
IDA FAY.
[Illustration]
LITTLE PEDRO.
Pedro is a little Italian boy, who lives in Chicago. When I first knew
him, he was roaming about from house to house, playing on the fiddle,
and singing.
Sometimes kind persons gave him money, and then he always looked happy.
But many times he got nothing for his music, and then he was very sad;
for he lived with a cruel master, who always beat him when he came home
at night without a good round sum.
One day last spring, he had worked very hard; but people were so busy
moving, or cleaning house, that, when night came, he had very little
money. He felt very tired: so he went home with what he had.
But his cruel master, without stopping to hear a word from the little
fellow, gave him a whipping, and sent him out again. He came to my gate,
long after I had gone to bed, and played and sang two or three songs;
but he did not sing very well, for he was too tired and sleepy.
Just across the street, in an unfinished building, the carpenters had
left a large pile of shavings. Pedro saw this by the moonlight, as he
went along; and he thought he would step in and lie down to rest. His
head had hardly touched the pillow of shavings before he was asleep.
He dreamed about his pleasant home far away in Italy. He thought he was
with his little sisters, and he saw his dear mother smile as she gave
him his supper; but, just as he was going to eat, some sudden noise
awoke him.
He was frightened to find it was daylight, and that the sun was high in
the sky. In the doorway stood a kind gentleman looking at him. Pedro
sprang up, and took his fiddle; but the gentleman stopped him as he was
going out, and asked if that pile of shavings was all the bed he had. He
spoke so kindly, that Pedro told him his story.
The gentleman felt so sorry for him, and was so pleased with his sweet,
sad face, that he took him to his own home, and gave him a nice warm
breakfast; and, being in want of an errand-boy, he concluded to let
Pedro have the place.
Pedro has lived happily in his new home ever since; and, though he still
likes to play on his fiddle, he has no wish to return to his old
wandering mode of life.
COUSIN EMILY.
[Illustration]
[Illustration]
THE PARROT'S LAMENT.
Swinging in a gilded cage,
Petted like a baby's doll,
Thus I spend my dull old age,
And you call me "Poll."
But in youth I roved at will
Through the wild woods of Brazil.
When you ask me, "What's o'clock?"
Or repeat some foolish rhyme,
And I try your speech to mock,
I recall the time
When I raised my voice so shrill
In the wild woods of Brazil.
Sporting with my comrades there,
How I flew from bough to bough!
Then I was as free as air:
I'm a captive now.
Oh that I were roaming still
Through the wild woods of Brazil!
JANE OLIVER.
[Illustration]
WHAT THE DOVE LOST.
Uncle Tom was walking slowly down the street, one sunny day, when he saw
a boy put his hand into a paper bag, take out a lemon, and throw it at a
plump gray pigeon that was trying to pick up some crumbs which had been
thrown out.
Poor little pigeon! He had been fluttering, off and on, over the
crumbs,--now scared away by a fast trotting-horse, now flying to a
door-post to get rid of some rapid walker,--and had only just alighted
to pick up his breakfast, when he was struck right in the back by the
bullet-like lemon.
Uncle Tom ran as quickly as he could, and took the panting little thing
up in his hand very gently. Just then the horse-car came along; and
uncle jumped into it, saying to himself, "I'll take this pigeon out to
little Emily. How she will dance and skip when she sees it!"
The car went on and on, ever so far away from Boston, and by and by was
half-way across a bridge. The pigeon had lain nestled under Uncle Tom's
coat; and the warmth seemed to make it feel better. First it put one
round bright eye out, then the other, and took a peep at the people
sitting near it.
Then, I think, its back must have ceased aching; for it grew lively, and
stirred around. Uncle Tom felt it moving, and was afraid that it would
presently try to get away: so he held it as close as he could without
hurting it.
But just as he thought how safe he had it, and how tame it would be when
it had lived with its little mistress a while, it popped its head out
again.
It popped so far out this time, that there was nothing to take hold of
but its tail-feathers. Uncle Tom clutched those firmly; but, to his
great astonishment, the pigeon gave another spring, and pulled itself
away, leaving all its beautiful tail-feathers behind it.
Away it flew, down the car, over the heads of the people, out of the
door, past the head of the conductor (who did not know that he had such
a strange passenger), and out over the water, back to Boston.
Uncle Tom was left with only a handful of dark-gray feathers to take
home with him; and little Emily had no pet pigeon, after all.
AUNT EMMIE.
THE CHICKEN AND THE DOG.
Tantalus, as the old Greek fable tells us, was King of Lydia. Being
invited by Jupiter to his table, he heard secrets which he afterwards
divulged. To divulge a secret is to make it vulgar, or common, by
telling it.
Poor Tantalus was punished rather severely for his offence; but he had
sinned in betraying confidence. Sent to the lower world, he was placed
in the middle of a lake, the waters of which rolled away from him as
often as he tried to drink of them.
Over his head, moreover, hung branches of fruit, which drew away, in
like manner, from his grasp, whenever he put forth his hand to reach
them. And so, though all the time thirsty and hungry, he could not, in
the midst of plenty, satisfy his desires.
Therefore we call it to tantalize a person to offer him a thing he longs
for, and then to draw it away from him.
[Illustration]
In the picture, a little chicken is looking up at a spider which sits
over her in the midst of its web. She watches it, hoping that it will
come so near to her little bill, that she can peck at it, and swallow
it.
But the spider is on its guard. To and fro it swings, letting itself
down a little bit, but never so far as to be in any danger; and then,
just as the enemy prepares to snap at it, it climbs nimbly into its
secure network.
The second Tantalus of our picture, the little dog, has, also, small
prospects of reaching the object on which his heart is set. At some
distance from him on the ground lies a bone, which he longs to get; but
the chain which fastens him, prevents his going near enough to seize it.
Both the dog and the chicken are _tantalized_, you see.
Let us keep down our desires, try to reach only what is fairly ours, be
content with little, and never betray confidence. Then shall we avoid
the fate of Tantalus.
UNCLE CHARLES.
[Illustration: Musical Score]
GIRLS & BOYS
T. CRAMPTON
1. In all the land by field and town,
The boys and girls go up and down.
In all the land the girls and boys
Wherever they go they make a noise.
They play at cricket, tops and games,
With balls that carry various names;
They whirl the skipping rope, and drive
The hoop till it appears alive.
2. They thread the needle in the ring;
They play at tea and visiting;
Or woman poor from Sandyland,
whose talk is hard to understand.
Their lungs and limbs they freely use,
They never mope or have the blues;
And it is always half their joys
In all their play to make a noise.
3. They play at Hopscotch, marbles, dumps.
And Fly the garter; oh! what jumps!
From Tipcat quick away I fly
For fear they'll hit me in the eye.
In winter on the ice they go,
And keep the pot a-boiling so,
And tho' they shout and make a noise,
Somehow, _I like these girls and boys_.
[Illustration: COLGATE & CO. NEW YORK]
VIOLET TOILET WATER.
CASHMERE BOUQUET EXTRACT.
CASHMERE BOUQUET Toilet Soap.
* * * * *
~BOYS AND GIRLS~. Send 10 cents and stamp,
and receive 25 beautiful ~Decalomania~,
the height of parlor amusement, with full
instructions, new and novel, or send stamp for sample
to E.W. HOWARD & CO. P.O. Box 143, Chicago.
* * * * *
~HOW~ TO CANVASS. To make Frames, Easels,
Passe, Picture Books, etc. Send two stamps
for book and designs. J. JAY GOULD, Boston, Mass.
* * * * *
[Illustration]
~AGENTS WANTED.~
Men or women. $34 a week. Proof
furnished. Business pleasant and honorable
with no risks. A 16 page circular
and Valuable Samples free. A postal-card
on which to send your address
costs but one cent. Write at once to
F.M. REED, 8th st., NEW YORK
* * * * *
~NOTICE.~
Any of the following articles will be sent by mail, postpaid
on receipt of the price named:--
[Illustration]
PRICE
~Fret, or Jig-Saw~, for fancy wood-carving.
With 50 designs, 6 saw-blades, Impression-paper,
&c. ~$1.25~
~Fuller's Jig-Saw Attachment~ by the aid
of which the use of the Saw is greatly
facilitated. (See advertisement on another
page) ~1.50~
~Hollywood Designs~ for Amateur Wood-Carvers,
ready for cutting, twenty patterns
in a box, for ~.75~
~New Spelling Blocks~ ~1.00~
~Picture Cubes~, For the Playroom ~1.50~
~Initial Note-Paper and Envelopes~ ~.50~
" " " ~.75~
" " " ~1.00~
" " " ~1.50~
~Boys and Girls Writing-Desk~ ~1.00~
~The Kindergarten Alphabet and Building Blocks~, Painted:
Roman Alphabets, large and small letters, numerals, and animals ~.75~
" " " " ~1.00~
" " " " ~1.50~
~Crandall's Acrobat or Circus Blocks~, with which hundreds of queer,
fantastic figures may be formed by any child ~1.15~
~Table-Croquet~. This can be used on any table--making a Croquet-Board, at
trifling expense ~1.50~
~Game of Bible Characters and Events~ ~.50~
~Dissected Map of the United States~ 1.00~
Books will be sent at publishers' prices.
JOHN L. SHOREY,
Publisher of "The Nursery."
36 Bromfield Street, Boston, Mass.
~THE NURSERY.~
PREMIUM-LIST FOR 1876.
For ~three~ new subscribers, at $1.60 each, we will give any one of the
following articles: a heavily gold-plated pencil-case, a rubber
pencil-case with gold tips, silver fruit-knife, a pen-knife, a beautiful
wallet, any book worth $1.50. For ~five~, at $1.60 each, any one of the
following: globe microscope, silver fruit-knife, silver napkin-ring,
book or books worth $2.50. For ~six~, at $1.60 each, we will give any
one of the following: a silver fruit-knife (marked), silver napkin-ring,
pen-knives, scissors, backgammon board, note-paper and envelopes stamped
with initials, books worth $3.00. For ~ten~, at 1.60 each, select any
one of the following: morocco travelling-bag, stereoscope with six
views, silver napkin-ring, compound microscope, lady's work-box,
sheet-music or books worth $5.00. For ~twenty~, at $1.60 each, select
any one of the following: a fine croquet-set, a powerful opera-glass, a
toilet-case, Webster's Dictionary (unabridged), sheet-music or books
worth $10.00.
---> ~Any other articles equally easy to transport may be selected as
premiums, their value being in proportion to the number of subscribers
sent. Thus, we will give for three new subscribers, at $1.60 each, a
premium worth $1.50; for four, a premium worth $2.00; for five, a
premium worth $2.50; and so on.~
BOOKS for premiums may be selected from any publisher's catalogue: and
we can always supply them at catalogue prices. Under this offer,
subscriptions to any periodical or newspaper are included.
* * * * *
~SPECIAL OFFERS.~
~BOOKS.~--For ~two~ new subscribers, at $1.60 each, we will give any
_half-yearly_ volume of THE NURSERY; for ~three~, any _yearly_ volume:
for ~two~, Oxford's Junior Speaker; for ~two~, The Easy Book; for ~two~,
The Beautiful Book; for ~three~, Oxford's Senior Speaker; for ~three~,
Sargent's Original Dialogues; for ~three~, an elegant edition of
Shakspeare, complete in one volume, full cloth, extra gilt, and
gilt-edge; or any one of the standard British Poets, in the same style.
~GLOBES.~--For ~two~ new subscribers, we will give a beautiful Globe
three inches in diameter; for ~three~, a Globe four inches in diameter;
for ~five~, a Globe six inches in diameter, ~PRANG'S CHROMOS~ will be
given as premiums at publisher's prices. Send stamp for a catalogue.
~GAMES, &c.~--For ~two~ new subscribers, we will give any one of the
following: ~The Checkered Game of Life~, ~Alphabet and Building-Blocks~,
~Dissected Maps, &c. &c.~ For ~three~ new subscribers, any one of the
following: ~Japanese Backgammon or Kakeba~, ~Alphabet and Building
Blocks~ (extra). ~Croquet~, ~Chivalrie~, and any other of the popular
games of the day may be obtained on the most favorable terms, by working
for "The Nursery." Send stamp to us for descriptive circular.
~MARSHALL'S ENGRAVED PORTRAITS OF LINCOLN AND GRANT.~
Either of these large and superbly executed steel engravings will be
sent, postpaid, as a premium for three new subscribers at $1.60 each.
*.* Do not wait to make up the whole list before sending. Send the
subscriptions as you get them, stating that they are to go to your
credit for a premium; and, when your list is completed, select your
premium, and it will be forthcoming.
*.* _Take notice that our offers of premiums apply only to subscriptions
paid at the full price: viz., $1.60 a year. We do not offer premiums for
subscriptions supplied at club-rates. We offer no premiums for one
subscription only. We offer no premiums in money._
Address
~JOHN L. SHOREY,
36 Bromfield Street, Boston, Mass.~
~THE NURSERY.~
* * * * *
~TERMS--1876.~
~SUBSCRIPTIONS~,--$1.60 a year, in advance. Three copies for $4.30 year;
four for $5.40; five for $6.50; six for $7.60; seven for $8.70; eight
for $9.80; nine for $10.90, each additional copy for $1.20; twenty
copies for $22.00, always in advance.
~Postage is included in the above rates. All magazines are sent
postpaid.~
A SINGLE NUMBER will be mailed for 15 cents. _One sample number will be
mailed for 10 cents._
VOLUMES begin with January and July. Subscriptions may commence with any
month, but, unless the time is specified, will date from the beginning
of the current volume.
BACK NUMBERS can always be supplied. _The Magazine commenced January,
1867._
BOUND VOLUMES, each containing the numbers for six months, will be sent
by mail, postpaid, for $1.00 per volume; yearly volumes for $1.75.
COVERS, for half-yearly volume, postpaid, 35 cents; covers for yearly
volume, 40 cents.
PRICES OF BINDING.--In the regular half-yearly volume, 40 cents; in one
yearly volume (12 Nos. in one), 50 cents. If the volumes are to be
returned by mail, add 14 cents for the half-yearly, and 22 cents for the
yearly volume, to pay postage.
REMITTANCES should be made, if possible, by Bank-check or by Postal
money-order. Currency by mail is at the risk of the sender.
* * * * *
~IN CLUB WITH OTHER PERIODICALS.~
_Price_ _With Nursery_
Harper's Monthly $4.00 $4.75
Harper's Weekly 4.00 4.75
Harper's Bazar 4.00 4.75
Atlantic Monthly 4.00 4.75
Scribner's Monthly 4.00 4.75
Galaxy 4.00 4.75
Lippincott's Magazine 4.00 4.75
Appleton's Journal 4.00 4.75
Leslie's Illustrated Weekly 4.00 4.75
Leslie's Lady's Journal 4.00 4.75
Demorest's Monthly 3.10 4.25
The Living Age 8.00 9.00
St. Nicholas 3.00 4.00
Arthur's Home Magazine 2.50 3.60
Wide-Awake 2.00 3.20
Godey's Lady's Book 3.00 4.00
Hearth and Home 3.00 4.00
The Horticulturist 2.10 3.20
American Agriculturist 1.50 2.70
Ladies Floral Cabinet 1.30 2.60
Mother's Journal 2.00 3.25
The Household 1.00 2.20
The Sanitarian 3.00 4.00
Phrenological Journal 3.10 4.00
N.B.--To obtain the benefit of the above rates, it must be distinctly
understood that a copy of "The Nursery" should be ordered with _each_
magazine clubbed with it. Both Magazines must be subscribed for at the
_same time_; but they need not be to the same address. We furnish our
own Magazine, and agree to pay the subscription for the other. Beyond
this we take no responsibility. The publisher of each Magazine is
responsible for its prompt delivery; and complaints must be addressed
accordingly.
* * * * *
~NOTICE TO SUBSCRIBERS.~
The number of the Magazine with which your subscription _expires_ is
indicated by the number annexed to the address on the printed label.
When no such number appears, it will be understood that the subscription
ends with the current year. ~No notice of discontinuance need be given,
as the Magazine is never sent after the term of subscription expires.~
Subscribers will oblige us by sending their renewals promptly. State
always that your payment is for a _renewal_, when such is the fact. In
changing the direction, the _old_ as well as the _new_ address should be
given. The sending of "The Nursery" will be regarded as a sufficient
receipt. ~Any one not receiving it will please notify us immediately,
giving date of remittance.~ Address
~JOHN L. SHOREY,
36 Bromfield Street, Boston, Mass.~
"Truly a Treasure of Delight for the Little Ones."
"Not only a Primer, but a Superb Present for a Child."
~Ready Nov. 20, 1875,~
~THE NURSERY PRIMER.~
~Beautifully Bound, in Boards.~
SIXTY-FOUR PAGES OF THE SIZE OF "THE NURSERY."
Every Page Richly Illustrated.
~PRICE ONLY 30 CENTS!~
"_In cheapness and attractiveness, the greatest book ever put
into the market as a Holiday-Gift for children._"
"_The Best Book yet for Teaching Children to Read._"
"_The Choicest and Cheapest of all books for children._"
"_With such tools as this, learning to read is no longer a task_."
~EXTRACT FROM THE PREFACE.~
"We can confidently claim that no Primer or First Book for Children has
yet appeared, either in Europe or America, which, in the variety,
beauty, aptness, and interest of its illustrations, can be compared with
this. As an aid in Object-Teaching it will be found invaluable."
~Price 30 Cents. A single copy by mail for 30 Cents. Six Copies sent by
mail for $1.50.~
---> Dealers wanting a cheap, but truly elegant work for children, to
place on their counters the coming holidays, should order at once.
Address
~JOHN L. SHOREY,
36 Bromfield Street, Boston, Mass.~
End of the Project Gutenberg EBook of The Nursery, No. 107, November, 1875,
Vol. XVIII., by Various
*** END OF THIS PROJECT GUTENBERG EBOOK THE NURSERY, NO. 107 ***
***** This file should be named 16524.txt or 16524.zip *****
This and all associated files of various formats will be found in:
https://www.gutenberg.org/1/6/5/2/16524/
Produced by Juliet Sutherland, Janet Blenkinship and the
Online Distributed Proofreading Team at https://www.pgdp.net
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
https://gutenberg.org/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
1.E.2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation."
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1.F.3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at https://www.pglaf.org.
Section 3. Information about the Project Gutenberg Literary Archive
Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
https://pglaf.org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
[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.
