The Project Gutenberg eBook, Punch, or the London Charivari, Vol. 103, October 29, 1892, by Various, Edited by F. C. Burnand 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.net Title: Punch, or the London Charivari, Vol. 103, October 29, 1892 Author: Various Release Date: April 12, 2005 [eBook #15605] Language: English Character set encoding: ISO-646-US (US-ASCII) ***START OF THE PROJECT GUTENBERG EBOOK PUNCH, OR THE LONDON CHARIVARI, VOL. 103, OCTOBER 29, 1892*** E-text prepared by Malcolm Farmer, William Flis, and the Project Gutenberg Online Distributed Proofreading Team Note: Project Gutenberg also has an HTML version of this file which includes the original illustrations. See 15605-h.htm or 15605-h.zip: (http://www.gutenberg.net/dirs/1/5/6/0/15605/15605-h/15605-h.htm) or (http://www.gutenberg.net/dirs/1/5/6/0/15605/15605-h.zip) PUNCH, OR THE LONDON CHARIVARI VOL. 103 OCTOBER 29, 1892 IMPRESSIONS OF "IL TROVATORE." (_BY A MATTER-OF-FACT PHILISTINE AT COVENT GARDEN._) ACT I. SCENE 2.--_Leonora's_ confidant evidently alive to the responsibilities of her position. Watch her, for example, when her Mistress is about to confide to her ear the dawn of her passion for _Manrico_. She walks _Leonora_ gently down to the footlights, launches her into her solo, like a boat, and stands aside on the left, a little behind, with an air of apprehension, lest she should come to grief over the next high note, and a hand in readiness to support her elbow in case she should suddenly collapse. Then, feeling partially reassured, she goes round to inspect her from the right, where she remains until her superior has completed her confidences, and it is time to lead her away. Operatic confidant sympathetic--but a more modern heroine might find one "get on her nerves," perhaps. _Manrico_ a very robust type of Troubadour--but oughtn't a Troubadour to carry about a guitar, or a lute, or something? If _Manrico_ has one, he invariably leaves it outside. Probably doesn't see why, with so many competent musicians in the orchestra, he should take the trouble of playing his own accompaniments. And why does the Curtain invariably come down as soon as swords are drawn? Tantalising to have all the duels and fighting done during the _entr'actes._ [Illustration: Manrico, a rather full-blown "Ghost in Hamlet."] ACT II. SCENE 1.--_Azucena_ insists on telling _Manrico_ a long and rather improbable story of how, in a fit of absorption, she once burnt her own son in mistake for the _Conte di Luna's, Manrico_ listens, as a matter of filial duty--because, after all, she is his mother--but he is clearly of opinion that these painful family reminiscences are far better forgotten. Perhaps he suspects that her anguish may be due to a severe fit of indigestion--the symptoms of which are almost indistinguishable from those of operatic remorse. At all events, he does not find his parent a cheerful companion, and, as soon as he finds a decent excuse for escape, takes it. SCENE 2.--The Cloisters of a Convent. _Enter_ the _Conte di Luna_, with followers, to abduct _Leonora_. The followers range themselves against a wall in the background, until the Count has finished "_Il Balen_." If their opinion was asked, they would probably be in favour of his making rather less noise about it, if he really means business--but of course it is not _their_ place to interfere. _Leonora_ enters to take the veil, with procession of nuns, preceded by four female acolytes--or are they pages?--in white tights, carrying tapers. The Count and his followers are evidently a little taken aback--an abduction not quite so simple an affair as they expected. While they are working themselves up to it, _Manrico_ appears, as the stage-direction says, "like a phantom." In a helmet, with a horsehair tail, and a large white cloak, he does look extremely like the _Ghost_ in _Hamlet_, and which is, perhaps, why the Count, under the impression that he is an apparition from some other Opera, allows him to Walk off with _Leonora_ under his very nose. Swords are drawn--with the usual result of bringing down the Curtain. [Illustration: "Azucena," or, "My pretty Chain!"] ACT III. SCENE 1.--Soldiers discovered carousing, as wildly as is possible on four gilded cruets, and a dozen goblets. _Azucena_ is brought before the Count, and manacled. Operatic handcuffs--a most humane contrivance--with long links, to permit of the freest facilities for entreaty and imprecation. Soldiers, who have been called to arms, but stayed, from a natural curiosity to hear what the _Conte di Luna_ had to say to the Gipsy, go off, as she is led away to prison, with a sense that they have seen all there _is_ to be seen, and a vague recollection that there is some fighting to be done somewhere. SCENE 2.--_Leonora_, and _Manrico_ are about to be married; everything prepared--four apathetic bridesmaids, and the four acolytes in tights--who have possibly been kindly lent by the Convent for the occasion--in a vacuous row at the back of the scene. Fancy _Manrico_ has forgotten to give them the usual initial brooches, and they feel the wedding is a poky affair, and take no interest in it. _Leonora_ herself is in low spirits--seems to miss the confidant, and to be oppressed with a misgiving that the wedding is not destined to come off. Misgivings on the stage are never thrown away--the wedding _is_ interrupted immediately by a crowd of men, in small sugar-loaf caps, who carry the bridegroom off to fight--whereupon, of course, the Curtain falls. [Illustration: Luna and the Star of the Evening.] ACT IV. SCENE 1.--_Leonora_ listening outside the tower in which _Manrico_ is being tortured, after having been taken prisoner in a combat during the _entr'acte_. Here a confidant might have comforted her considerably by representing that they couldn't be torturing the poor Troubadour so _very_ seriously so long as he is able to take part in a duet--but unfortunately _Leonora_ seems to have discharged the confidant after the Second Act--an error of judgment on her part, for she is certainly incapable of taking care of herself. A cool-headed, sensible confidant, for instance, would have taken care that the bargain with the _Conte di Luna_ was conceived and carried out in a more business-like spirit. "Now _do_ be careful," she would have said. "Make sure that the Count keeps _his_ word before you break _yours_. Don't go and see _Manrico_ yourself--it _can_ do no good, and will only harrow you! If you really _must_ go, don't take a quick poison first--or you'll die in his dungeon, and spoil the whole thing!" Which is just what _Leonora_--like the impulsive operatic heroine she is--proceeds to do, and is cruelly misunderstood by _Manrico_, in consequence, besides hastening his doom by disappointing the Count, whose irritation was only natural, and pardonable, under the circumstances. Don't quite see myself why the Count should be so horrified on learning that the person he has just had executed was his long-lost brother. It is not as if they had ever been friendly, or were at all likely to become so, considering their previous relations. Depend upon it, when he has time to think the matter over calmly, he will recognise that things are better as they are, and that Fate has solved his domestic difficulties in the only possible manner. A Troubadour Brother, with a revengeful and quite unpresentable gipsy foster-mother, would have proved very trying persons to live with. * * * * * "A CHIEL'S AMANG YE MAKING NOTES."--Sir ARTHUR SULLIVAN sat next to Sir HENRY HAWKINS during part of the recent sensational trial at the Ancient Bailey, making, of course not taking, notes. Sir HENRY occasionally conversed with the Knight of Music. Did the latter hum, _sotto voce_, "_And a good Judge too!_" with other selections from _Trial by Jury_? Everyone glad Sir ARTHUR is so well. Perhaps after this he will return to Real Eccentric Gilbertian Opera, and go away for "change of air." The "Carte" is at the door, ready to take him, but his original "Gee Gee" has gone to America. * * * * * [Illustration: "HONI SOIT QUI MAL Y PENSE!" "This Garter, brighter from the knee Of him who uttered nothing--important."] _"Mister" Rosebery, loquitur_:-- A Star and Garter! Here's a go! Well, well, no doubt 'twas to be worn meant; And, as mere personal adornment, It does look smartish, dontcher know! All personal adornment's vain, Held Dr. WATTS, holds dear McDOUGALL; For dowdy dress and habits frugal Befit the Democratic strain. And I'm a Democrat--of course! The BENJAMIN FRANKLIN of the Peerage! And yet--ah! truly 'tis a queer age-- Decoration has _some_ force! I wonder what the L.C.C. Will say to this! That I should spurn it? JOHN BURNS may swear I ought to burn it. Still--it looks natty round my knee. I need not wear it when I sit Among the broadcloth'd heirs of BUMBLE! But Foreign Minister too humble Were butt of diplomatic wit. Battersea's pride my pride may scourge. Well--he may find he's caught a Tartar. A robe--a coronet--a garter!-- Materials for a new "PRIDE'S PURGE"! The keen-eyed Democratic lynx May watch me with alert suspicion, As but a half-disguised patrician, But--shame to him who evil thinks! [_Left posturing complacently._ * * * * * [Illustration: SOMETHING LIKE A MOUNT. _Sportsman_ (_with gun_). "HILLO, ALGIE, BEEN CUB-HUNTING? HOW DOES THE YOUNG 'UN GO?" _Algie_. "SPLENDIDLY, OLD FELLOW, SPLENDIDLY! NEVER CARRIED SO WELL IN MY LIFE! GOT CLEAN AWAY WITH ME AS SOON AS THEY FOUND,--COULDN'T HOLD HIM A BIT--BOLD AS A LION, NOTHING STOPS HIM,--WENT SLICK THROUGH A FLIGHT O' FAIR-HOLED POSTS AND RAILS, SMASHED A GATE INTO MATCHWOOD,--TWENTY MINUTES STRAIGHT AS THE CROW FLIES THROUGH AND OVER EVERYTHING,--AND, HANG ME, IF HE WOULDN'T HAVE BEEN GOING YET, IF HE HADN'T PUT HIS FOOT INTO A RABBIT-HOLE CROSSING CRUMPLER COMMON, AND COME A REGULAR CROWNER. DON'T KNOW WHERE THE DEUCE THE HOUNDS WENT TO! HAD A GLORIOUS GALLOP, THOUGH, ALL TO MYSELF!"] * * * * * THE COUNTY-COUNCILLOR'S DIARY. (_A FEW YEARS HENCE._) _Monday_.--To-day's meeting of the Council rather stormy. The Council's Clerk of the Works, who superintends the fifty thousand builders, bricklayers, &c., who are now employed directly by us, reports that, unless the concessions demanded by the men are granted, they will all go out on strike to-morrow. The concessions are--Free beer three times a-day; half-holiday every other day at full day's wages; and a month's trip to the Riviera in winter, paid for out of the rates. Clerk of the Works (appointed, on elective principle, by the men themselves) describes these demands as "highly moderate and reasonable." Council unable to agree with him. After sitting for six hours, amid frightful uproar, Council breaks up, without coming to any decision. _Tuesday_.--Workmen _have_ struck! Awkward, as they have just pulled down north side of Strand, to make room for double lines of electric tramways in centre of roadway, and whole street in an awful litter. Begin to wish we had not "Abolished the Contractor" quite so hastily. _Wednesday_.--Another meeting of Council. Quite unanimous to go on resisting men's demands. Clerk of Works reports that the Council's scavengers, plumbers, carters, lamp-lighters, and turncocks, are all threatening to strike, in sympathy with bricklayers. In consequence of evident enjoyment with which Clerk makes this announcement, proposal to decrease his salary from that of a Lord Chancellor to that of a Puisne Judge, carried _nem. con_. In spite of attacks on Council in the Press, satisfactory that it knows how to keep up its dignity at this crisis. _Thursday_.--Matters getting serious. A deep fall of snow has occurred, and Council's men refuse to clear it away, or let others do the work! In addition, Strand tradesmen come in body to Spring Gardens to say that "nobody can get near their shops, and they are being rapidly ruined." Hastily-convened meeting of the Council. Proposal to ask our old Contractor to rebuild Strand and clear snow away. Our old Contractor declines to tender for the job! He says, "Council has abolished the Middleman, and had better get on without him, if it can!" Rude, but forcible. _Friday_.--Council heroically decides to do the work itself. Am told off by Chairman to help remove old bricks on the Strand site. Have first to dig snow away to get at bricks. Intense amusement of hostile crowd, from whom we are protected by a cordon of police. Bark my shins badly against wheel of cart. Chairman--who has been extremely energetic in running up and down a ladder with a hod of mortar over his shoulder, which he thinks is bricklaying--falls from ladder and is taken off to Charing Cross Hospital; amid shower of brickbats. Crowd wants to know "which is McDOUGALL." When they find out, pelt him with snowballs. BURNS--who has stuck loyally to Council--fiercely denounced as a "blackleg" by crowd. Amusing at any other time. Home in evening dead tired, under police escort. Find all my front windows smashed! After all--_was_ it wise to abolish the Contractor? _Saturday_.--Whole County Council, protected by several regiments from Aldershot, a park of Artillery, and all the City Police (Council's own Police being out on strike, in sympathy with bricklayers), manage with great difficulty to fill ten carts with rubbish, and then adjourn to Spring Gardens. Refreshments and free sticking-plaster handed round before Meeting takes place. Meeting unanimously decides to re-establish old Middleman system! Sir JOHN LUBBOCK humorously suggests that it is, at any rate, better than the "muddle-man" system which we have tried and found wanting. Bonus of L5,000 out of rates, enthusiastically voted to any Contractor who will tender for job of clearing snow and widening Strand. _Later_.--High Court disallows our "precept" for the L5,000 bonus--says we must pay it out of our own pockets! Wish I had never stood for London County Council! * * * * * ROBERT'S COMPANIONS. NO. 2. Another of our speshal lot is good old SAM, with his wunderfool memmery. He won't tell not nobody his age. But he acshally swears as he remembers the time when there wasn't not no Cabs, nor no Homnybusses nor no Hallways, nor no Steam Botes, nor no Perlice, in all Lundon! And when there was grate droves of Cattel and Sheep druv thro' the streets, and people used to have to put up bars at their doors to keep 'em out. And menny and menny a time has he seen a reel live Bullock march into his Master's Counting 'Ouse, with his two wild horns a sticking out, and as it was to narrer for him to turn hisself round, he used to have to be backed out tale foremost, with a fierce dog a barking at his nose. [Illustration] Ah, them must have been rayther rum times, them must! How the peepel got about he don't seem quite to remember; but he says, as how as amost all on 'em lived at their warious shops and warehouses, and so mostly walked. There was, it seems, a few ramshackel old coaches, called Ackney Coaches--coz, they was all maid at Ackney, I suppose--all drorn by two ramshackel old Osses, and with werry shabby old drivers with wisps of stror round their shabby old hats. Then some brite Genus went and inwented Cabs, and they soon cut out the Ackney Coaches, which all went back to Ackney, and was never seen no more. And then, sum ewen briter Genus went and inwented Homnybusses, and they rayther estonished the Cabs, and what the next brite Genus will inwent in that line, I don't know, and SAM don't know, and I don't suppose as nobody else don't. But the most wunderfullest thing of all must have bin the having of no Perlice! For SAM, acshally declares, that before Perlice was inwented by Sir ROBERT PEEL--therefore wulgarly called Bobbys and Peelers--the only pertecters as London had at night was a lot of werry old men, all crissened CHARLEY, who used to sit in little boxes, such as the Solgers has at the QUEEN's Pallaces, with a little lantern hanging up in front, and when the Church Clocks all struck the hour, they all used to git out of their boxes and wark up and down the streets a calling out, "Parst Three o'Clock!" or "Parst Five o'Clock!" as it mite happen to be, and then go back to their little boxes, and hang up their lanterns, and quietly go to sleep! Ah, them must have been werry nice times for Messrs. DICK TUPPIN, JACK SHEPHARD, BILL SIKES, and Cumpny, unlimited. But, SAM says, as they made up for it by hanging ewery body as stole amost anythink, such as a sheep, or a fi-pound note, or a gold watch, and that on Mondays, which was Hanging Days, he has offen and offen stood at the hend of the Hold Baley and seen sum five or six pore retches, with white nite caps on, all a hanging together! and he says it all so serously that we are forced to bleeve him. Then there's old slowcoach Jo, the tea-totaller. We all likes to work with him, and for a werry good reeson. But he's rayther a comical feller is Jo. He says, when peeple cums to know all the true fax of the case, they'll willingly pay dubble price for tea-total Waiters. And he reelly is such a poor simple fellow that I werrily bleeves as he bleeves hisself when he says it. I carn't think what he means by it; but BROWN says as it's a perfeckly shameful attack on the charackter of all us Waiters as ain't such fools as to be Tea-totallers, and that we really ort all of us to cut him. But no--I'm in favour of Free Trade in Waiters as in Wine, and I shoud think that, in this pertickler case, his hobstinacy brings its own punishment. For what can be a creweller life for a poor Waiter to lead, than to be constantly surrounded by harf emty bottels of most bewtifool Wines, of all kinds, so as to suit the most fastidgeous Waiter's taste, and not ellowd to taste ewen one glass of 'em! I thinks as I've heard of sum unfortnit hindiwidial, in holden times, as used to be seated down hevrey day to a werry scrumpshus dinner, but, whatever he fixt his mind upon, the Doctor woudn't allow him to taste it, not by no means. His name, I think, was SANKY PANSER, some relashun of MOODY and SANKY, I sposes. His master's name was DAN QUICKSHOT, ony another name, I bleeves, for BUFFALO BILL. But that was nothink of a case to wun as my son WILLIAM told us of the other day. It seems as there was, wunce upon a time, a Greshian Gent, by the name of TANTLUS, who, becoz he was found out in helping hisself to sum werry speshal brand of Neckter, was condemned to stand up to his neck in water for ewer so many years; and altho he was so dredfool thusty that he would have drunk a lot of ewen that cold, thin stuff, he wasn't allowed not to taste a drop; and, not only that, but there was a lot of most bewtifool frute a hanging jest above his pore hed, and whenever he tried jest to pluck a bit of it, the crewel wind blowed it away out of his reach. Hence the prowerb, "You be blowed!" In course I don't pertend to know how these things was manidged in former times, but I werry much douts whether ewen a Greshian Gent's constitushun coud posserbly have stood it for ewer so menny years! ROBERT. * * * * * CARON AND CHARON. (_AFTER DIPPING INTO MAJOR LE CARON'S "RECOLLECTIONS."_) MAJOR LE CARON! Major! True, a greater Or more accomplished spy who ever knew? And so original! In fact, the _pater_ Of all deception yields the palm to You! Courageous, honest, crafty, how you met Wile with wile wilier! And then, forsooth, You so transformed yourself to suit each set, That it is praise to say, "you lied like truth!" And in an honest cause! Renown'd Ulysses, That craftiest hero yields to you in guile. You touch the gold! You're not the man who misses A chance! You caught the wariest with your smile! "CARON!" The "h" is dropped, or we could fix (And so we can if Greek the name we make) You as the ancient Ferryman of Styx, Punting the Ghosts across the Stygian lake. The simile is nearly perfect, note, For you, with your Conspirators afloat, Were, as you've shown us, all in the same boat. * * * * * AT IT AGAIN! The following correspondence and extracts have been sent to _Mr. Punch_ for publication:-- I.--_Koniglich-Kaiserlicher Ober-Hof-Rath Doctor Hermann Dummwitz von Hammelfleisch to The Emperor-King William the Second._ MOST GRACIOUS IMPERIAL MAJESTY, I have the honour to announce to your Majesty, that my spouse, the beautiful and accomplished clergyman-daughter, ANNA ANSELMA, whom, by your Majesty's ever-to-be-with-gratitude-remembered permission, I last year to the altar led, is now of good hope, and will shortly, if all should go well, add one to your Majesty's loyal and submissive subjects. I make this announcement in accordance with your Majesty's Hochzeit's Decree, Section 6. And I remain, &c. &c. &c., DUMMWITZ VON HAMMELFLEISCH. II.--_William the Second to K.K.O.H.R.D.H.D. von Hammelfleisch._ HERR DOCTOR, I have received your letter. In accordance with Section 7 of my Hochzeit's Decree, I graciously give permission for the birth of the child referred to in your communication. I beg, at the same time, to point out that, by my Supplementary Decree (Proportions of Sexes), issued last week, it is necessary that the child should be a boy. Communicate this at once to the Frau K.E. Ober-Hof-Rathin Doctorin A.A. VON HAMMELFLEISCH. (Signed) WILLIAM I. ET R. III.--_K.K.O.H.R.D. von Hammelfleisch to the Emperor-King, William the Second._ MOST IMPERIAL MAJESTY, Your with-satisfaction-received letter has been to my wife communicated. She desires me to assure you that she is your Imperial Majesty's obedient subject, (Signed) D. VON H. IV.--_Extract from the "Reich's Anzeiger."_ "Frau ANNA ANSELMA VON HAMMELFLEISCH, having last week given birth to a girl in contravention of his Imperial Majesty's Supplementary Decree (No. 10. Proportions of Sexes), it is our painful duty to announce that the Herr Doctor DUMMWITZ VON HAMMELFLEISCH has been dismissed from his post as K.K. Ober-Hof-Rath, and will immediately be prosecuted for the crime of _lese Majeste_." V.--_Extract from the "Reich's Anzeiger," a month later_ "The prisoner, HAMMELFLEISCH, was yesterday condemned to twenty years' solitary confinement in the fortress of Spandau. The wretched man acknowledged the justice of his sentence, and begged others to take warning by his fate." * * * * * LADY GAY'S SELECTIONS. _Mount Street, Grosvenor Square._ DEAR MR. PUNCH,--Most delightful weather favoured us last week at Gatwick and Sandown, and most of the horses I mentioned as worth following either finished nowhere or were not there at all, which I think is a fair average record for a Turf prophet! I heard at Sandown that sweeping reforms are to be expected in Turf matters next Season, but I will not harp too much on this string, as more able pens than mine have undertaken it--though how a "pen" can harp on a string I don't quite see--or _hear_, it should be. I certainly think _Brandy_ would have won the Gatwick Handicap, but I suppose the bottle is getting low, and is being reserved in case the Cambridgeshire is run on a cold day! And that brings me to the consideration of this great race. I do not propose to analyse the form of all the horses, but will devote my attention to a few of the likely ones--who should feel complimented thereat (I suppose a horse; can feel a compliment just as well as it can a whip)--from which might spring the winner. First and foremost, then, _La Fleche_ has, in my opinion, enough weight to carry, even if the jockey is included, as I believe is the case--and I was told by Sir CHARLEY WHITELEY, that to win the Newmarket Oaks she had to be "bustled up"--a fashion which I thought had quite gone out!--anyhow, many people think she is "not the same mare she was"--though how they can have changed her I don't quite understand, but it would not surprise me to find _Windgall_ the best of the Baron's on the day. There are several horses spoken of as "rods in pickle," but as a rule, these animals stop at "rods" and never get to "poles" much less "perches!" Should Sir JAS. MILLER win the race, the town may resound with many a merry _Joedel_, but this is trying weather for voices, though I believe he is running untried, but certainly trying! There was some doubt as to the starting of a great favourite, owing to a report that the owner had been "forestalled"--an excuse which always sounds very weak to me, as surely if outsiders can back a horse at a long price, the owner should also be able to do so, and thus put backers "in the cart"--where _some_ of them would present a picture which might lead people to think the "cart" was on its way to Tyburn! There appears to be considerable doubt as to whether _Buccaneer_ has eaten anything lately or not, so I must discard him; but I think if he were given a sherry and bitters at once he might recover his appetite and win, as he is known to be a "glutton" for work! JEWITT's best will take some beating, when we know which it is, which we shall do shortly, as no stable is more ready than this to let everyone into the secret of their "good things;", so if some _Whisperer_, should tell you that his _Suspender_ is broken, it is on the cards that the _Pensioner_ may still be able to walk home in safety! But enough of this (as your readers will doubtless say!)--and let us come to the point as the knife said to the pencil--so I will conclude by recommending a "maximum" on my choice, and as it is a foreign one, I must necessarily break out into foreign poetry--(just as easy to--), Yours devotedly, LADY GAY. CAMBRIDGESHIRE SELECTION. Le type le plus "noir" dans le monde, Le nomme, on dit, Le Chouan! Mais, roule au dessous de l'onde, Devient "Blanc" comme _Kairouan_! * * * * * TO ASTRAEA. (_WHO WOULD HAVE ME SHOW HER MY HAND._) [Illustration] Too pretty Palmist, oh, refrain, Nor thus my Destinies importune To bare the map of trite and plain Misfortune. Methinks, that I, sweet sorceress, Whose weird persuasions fascinate us, Can read my stars without express Afflatus. "_I'm o'er ambitious_"--more than true; To fail, the lot of clever men 'tis. Who's _not_ a genius in his two- And-twenties. (_Your_ two-and-twenties bide above, While mine--I'm in the sere and yellow-- But I was once the model of A fellow.) "_My line of head is vague; now quite_ _Down in the depths, now past the skyline"--_ Hard lines! The line that sways a kite Is my line. "_My line of heart is insecure_--" Let "_x_" be hearts; to render scarce "_x_," Let "I"-s divide it; _eyes_ are your Unfair sex. "_My love will ne'er endure_:" you wrong My passion: sooth, it will, if you're it: Yet stay: to wed?--I couldn't long Endure it. "_My line of life is slurred and queer_." It always was--a hankey-pankey Of glories missed--a fine career, But _manque_. So there, forbear to spell my fate; I've saved you that sibylline trouble; You could but this true estimate Redouble. Still, if you clasp my hand, and plead, And, pouting, claim your second-sight, it May chance that though you may not read, You'll _write_ it. * * * * * WAS, IS, AND WILL BE. (_THREE PERIODS OF BIOGRAPHY._) PAST (_Historical_).--General SIMEON SNOOKES was one of the greatest Commanders that ever figured in an European war. His defence of Herren-Bayoz, in 1796, will be long remembered by those of his grateful countrymen who feared that the Corsican upstart would get the upper hand in the semi-fraternal struggle in the Portugo-Hispanian Peninsula. A service nearly as important was performed when SNOOKES (then a Colonel), led the forlorn hope that gave PEGGE WELL BEY (the Turkish conqueror) into the grasping hands of the British Government. Yet still another victory was scored when Captain SNOOKES forced the gates of Ram and Mar, and brought the proud Earls of the Five Free Ports to their knees and their senses. That he should have received the freedom of the City of London was as it should have been, and it must have been gratifying to his sorrowing friends and relatives that Royalty itself should have been represented at his obsequies. His fame as a victorious General will never fade, and although his private life may have been uninteresting, his connection with the noble family of DE SCROGGYNS will for ever gain for him the respect of his fellow-countrymen. PRESENT (_Anecdotal_).--General SNOOKES--better known in the last century as "SIMPLE SIMON"--was a most interesting personage. Of his military career it is unnecessary to speak, as it was extremely commonplace, and void of incident. He was a _petit maitre_--and numerous tales are told of his gallantry. On one occasion, meeting Lady BESSIE FRIZZYHEAD; on the Green at Turnham, he called attention to the fairness of the sunset. "Quite like cream, Lady BESSIE," said the old _beau_, taking a pinch of snuff. "Whipped, you mean," replied the malicious maiden, with a smile. "SIMPLE SIMON" simpered, but never forgave the liberty. At another time the General was speaking to the late Duke of York, when that illustrious personage commanded the British Army. "I say, SIMMY," exclaimed H.R.H., "if the French invade us, you must look after Number One." "You mean, Sir," was the prompt answer, "Number One Hundred and One!" The King, hearing this anecdote a little later, made "SIMPLE SIMON" his extra Equerry. But perhaps the best story of all was that told of his interview with Dean SWIFT. "I propose listening to your Reverence on Sunday," said the simple one. "Oh, indeed!" replied the sarcastic ecclesiastic. "Then we shall have a case of a _Gulliver_ come to judgment!" Many other good stories are told of this General, whose career was rather in the drawing-room than in the field of glory. He died in 1825, and was buried in Westminster Abbey. At his funeral there was a large assemblage of the best-known people of the day, and amongst them the Editor of the _National Defender. "Sic transit gloria_," said some-one. "_Mundi_!" added the journalist. FUTURE (_Conjectural_).--SNOOKES, SIMEON. No one knows who this person was, but it is shrewdly conjectured that he may have had some official connection (possibly as a Government contractor) with one of the ancient wars. As his monument is defaced, and there are no records of his family, it is useless to attempt to make his biography any fuller. * * * * * [Illustration: STUDIES IN CONTINENTAL PERSPECTIVE. A DUET FOR TENOR AND BASS.] * * * * * "SQUARED!" A SONG OF A SETTLEMENT. AIR--"_The Death of Nelson_." RECITATIVE. Near NELSON's monument, with gloom opprest, The rowdy mourns a Question, now at rest. But ASQUITH's laurels shall not fade with years, Whose canny settlement the public cheers. AIR. 'Twas in Trafalgar's Square, We heard the spouters blare, Each rough rejoicing then. They scorned churl WARREN's yoke, Of order made a joke, And claimed the Rights of Men. But ASQUITH came, the cool and brave, And poured oil on the troubled wave. His speech was just a beauty! Along each line this meaning ran:-- "England respects true Rights of Man, But means enforcing Duty." No more rude mobs may roar, A nuisance and a bore, Where'er BURNS lead the way. As victory is this claimed By spouts, by cool sense tamed? All right! Let them hooray! But dearly is their conquest bought, 'Twas scarce for this mad GRAHAM fought 'Tis _fair_, though--there's its beauty. All just claims met by this shrewd plan, The speechifying Rights of Man, Plus the Policeman's duty. ASQUITH's clear, certain sound, Will spread dismay around; _Some_ circles. "We believed! ASQUITH was on _our_ side," The roughs will say. "He's tried, And we--well, we're deceived. If we're _permitted_ in this Square To muster there, why should we care? The game has lost its beauty! Licence unfettered is _our_ plan. Who cares a cuss for Rights of Man, Checked by that bugbear Duty?" * * * * * PRESENTED AT COURT. MR. PUNCH, SIR, I am indignant--disgusted! I went last night to see a new piece, called _The Guardsman_, at the Court Theatre, the plot of which, reminded me--'tis merely a coincidence--of _Incognita_, now going strong in St. Martin's Lane. The coincident being that a certain young man won't marry an uncertain young lady whom they want him to marry, because he is in love with quite another young lady (as he thinks) who (the _incognita_) turns out to be the very lady whom he is required to wed. However, that's not what I'm writing about. I leave criticism to your "professional gent." Well, Sir, it was very amusing, and very well acted. But from a military point of view, shameful, Sir!--shameful! The people about me were laughing, and said that the lines were good; that, take it all round, it ought to be a success; that it was most amusing. But how could I appreciate anything when I found a Captain in the Guards, on the Queen's Birthday, walking about in plain leather boots! It was as bad, in my mind, as when Mr. CHARLES WARNER, in the piece called _In the Ranks_, appeared as a private in the same distinguished Regiment in patent leathers! And what was the Captain doing, Sir, in mess uniform at his uncle's chambers, when he was supposed to be on guard at the Tower? At least so I understood him to be, but I may have been wrong. At any rate, an odd sort of place to dine at, if he was not on duty, and if he were, he should not have left his post. Moreover, where was his scarf, as orderly officer? But perhaps he was not on duty, and had dropped in upon the mess (in the height of the Season!) in a friendly sort of way. Well, that might explain matters a bit, but not to my entire satisfaction. And my wife tells me that it is rather late to make alterations in a Court dress the day before the Drawing-Room. And she says, too, that she has never been hustled and crushed when she has gone to Buckingham Palace. And if it comes to that, Sir, I have accompanied her, and can vouch for the strict accuracy of the statement. But these are minor matters. What I _cannot_ stand are _The Guardsman's_ boots! Yours more in anger than in sorrow, AN OLD SOLDIER. _Mars Lodge, Cutsaddleborough_, _Tomatkinshire_. * * * * * RHYMES FOR THE TIMES. If I were a missionary On the plains of Uganda, I'd leave that position airy Ere, at dawn, anew 'gan day. * * * * * QUESTION FOR A DICKENSIAN EXAMINATION PAPER.--"_Here's Pip--Ask Pip. Pip's our mutual friend_." In which of DICKENS's Novels does this occur? * * * * * [Illustration: "SQUARED!" FIRST CITIZEN. "WOT! 'ALLOWED' TO MEET IN TRAFALGAR SQUARE ON SATURDAYS, SUNDAYS, AND BANK 'OLIDAYS, ARE WE!!" SECOND CITIZEN. "THEN WE JUST WON'T GO!! HE-HEH!!"] * * * * * THE BATTLE OF THE BARDS; _OR, THE LISTS FOR THE LAURELS._ FYTTE THE SECOND. "Wire in, my warblers!" PUNCHIUS cried. "To 'wire,' Though slangy, sounds appropriate to the Lyre." Then forth there toddled with the mincing gait Of some fair "Tottering Lily," him, the great New Bard of Buddha! Grave, and grey of crest. 'Tis he illumes the nubibustic West With the true "_Light of Asia_"--or, at least, Such simulacrum of the effulgent East As shineth from a homemade Chinese lantern. No HAFIZ he, or SAADI, yet he _can_ turn Authentic Sanscrit to--Telegraphese, And make the Muse a moon-faced Japanese. Leaderesque love of gentle gush and "Caps.," Is blent in him with fondness for the Japs. "Wah! wah! futtee!--wah! wah, gooroo!" he cried, And twanged his tinkling orient lyre with pride. THE MOANING OF THE BARDS. No moaning of the _bards_! A pleasant quip! No manufactured gloom to dim that far light! Of dirge's luxury deprive my lip? So suns might say there shall be no more starlight! Lamping is _not_ required at day's full noon, Lanterns _are_ out of place in dawn's fair flush-light; But when dark night sets in, and there's no moon, There is a chance for stars, or even a rushlight. No moaning of the bards? That were hard lines For minor line-spinners, imperial TENNYSON! Owls only have their chance when day declines, That's why the night-birds crown thee with prompt benison. LEWIS has wailed and warbled--twiddlingly: ALFRED has--rootley-tootlely--wailed and warbled; WILLIAM's young Muse hath wept--then why not Me, Whose brow, not less than theirs, with woe is marbled? ROBERT and AUSTIN (DOBSON) took their turns; There is some talk, too, of Sir THEODORE MARTIN. Seeing _my_ lips, too, thrill, _my_ heart, too, burns, Why the great contest should I take no part in! May be I do not carry guns enough To epically glorify King ARTHUR, But I have penned some reams of rhythmic stuff Concerning (please admire the rhyme!) SIDDARTHA. (That, as an "assonance," is quite as good As "_sang_ it," and "_began_ it.") Ornamental And Eastern Mythos draws me; but I'm good At "Poems National and Non-Oriental." I love the Hindoos, I adore the Japs; I'm fond of scraps of Oriental lingo; Yet I'm a patriot, and have hymned, perhaps, As much as most, my native god, great Jingo! I think a Muse with twinkly almond orbs, Would--as a change--in England prove most fetching; Is it not plain Jap Art our Art ahsorbs! Why not in singing, then, as well as sketching? I'm sure my "GEISHA" is as good a girl As _Vivien_, or _Faustine_, or e'en _Dolores_. Is she more frail, less fair, that perfect pearl Of Singing Girls, Xipangu's great'st of glories? Knocks her nice little flat nose on the floor, In Japanese politeness, my "Half Jewel." ALGERNON's nymphs, in song or in _amour_ Are always coarse and generally cruel. "_Pearls of the Faith_," is a most pious work, Although AL-MUTAHALI is the stringer. But only he who hates "The Unspeakable Turk," On _that_ account would blame the Christian singer! "Lotus and Jewel!" Doesn't that sound nice? My mild Jap Muse _may_ be a roguey-poguey; But there's no stimulus to pleasant vice About a holy Brahman or chaste Yogi. "Land of the Rising Sun," delightful "Third Kingdom of Merry Dreams," of you I'm amorous. Must _that_ exclude me from the Wreath? Absurd! I'm prettily pious, and I'm gently glamorous. My Knighthood proves that I am quite O.K., My dear _D.T._ will answer for my morals; I'm steeped in Sanscrit lore, and so must say I can't see why I should not wear the laurels! "Quite so," said _Punch_. "I like your rhyme--and cheek; Still, there be others yet to hear--next week!" * * * * * [Illustration: AN ILL-DIGESTED LESSON. _The Governess_. "And now, what is a Parable, Effie?" _Effie_ (_who has got rather muddled_). "A Parable? Oh, of course, a Parable is a Heavenly story with an Earthly meaning!"] * * * * * APOLOGIA ARRYGATENSIS.--"'ARRY in Arrygate" was so much sought after everywhere that it was thought _Mr. Punch_ could not possibly supply the great demand for this article with sufficient celerity and dispatch. Hence it happened that the _Harrogate Advertiser_ enthusiastically reproduced the entire article as published in _Mr. Punch's_ pages, without saying "with your leave, or by your leave," to the Proprietors representing _Mr. Punch_. So, _Mr. Punch_, always kindly and courteous, was compelled in this instance to "know the reason why." Whereupon _The Harrogate Advertiser_ acknowledged that it did not "harrogate to itself" any sort of right to republish wholesale without acknowledgment anything that has appeared in _Mr. Punch's_ pages, and at once handsomely apologised for this instance of priggishness quite unprecedented in the _Harrogate Advertiser's_ columns (_Vide Harrogate Advertiser_, October 15). _Box_ and _Cox_ are satisfied. _Causa flnita est. Vive_ 'ARRY! Likewise 'Arrygate! And, know, all men, by these presents, that _Mr. P._ is quite wide-awake. * * * * * ANECDOTAGE.--Said the Old Parliamentary Hand, entering Christ Church, "I prefer _this_ House to the other!" It was _the_ success of the visit. * * * * * [Illustration: A COOL HAND. _Irrepressible Pupil_. "Poor Stuff, Sir, this Virgil. Don't you think so?" _Suffering Coach_ (_who can scarcely believe his ears_). "Poor Stuff, Sir! Virgil--poor Stuff! _What do you mean_?" _Irrepressible Pupil_ (_unmoved_). "Seems to me, Sir, it's merely a Literal Translation of some of the best English Cribs!"] * * * * * LES ENFANTS TERRIBLES! ["It is to be sincerely hoped that there is no truth in the rumour that a paper for children will shortly make its appearance, entirely written and illustrated by children under fifteen years of age."--_St. James's Gazette, October 12th._] Why, churlish critic, do you hope sincerely The rumour, which you mention, is untrue? Mere prejudice makes you regard severely The cause of liberty which we pursue. We are, _The Prattler_ will establish clearly, Quite competent to edit a review; The age of greatest wisdom will be seen To be decidedly below fifteen. _We_ never showed, as we need hardly mention, That fabled ignorance about the stars, From earliest days we spoke about 'declension,' And argued on the atmosphere of Mars; While parents we put up with, more attention We paid towards another kind of "pars."; Full soon was lit the journalistic flame,-- We lisped in leaders, for the leaders came. That foolish custom, which, at present smothers Our youthful genius, we shall supersede. Here are some papers which, with many others, Will make _The Prattler_ eminent indeed;-- A series on "The Management of Mothers," Will meet, we hope, a long-experienced need; Elsewhere we'll note, in some attractive way, The latest long-clothes fashion of the day. Instruction in the art of window-breaking, And modes to tame a fiery governess, Descriptions of perambulator-making-- No need on details to lay further stress, You'll own our journalistic undertaking, Must prove an unequivocal success; While you, who uttered this untimely sneer, Will blush, apologise, and disappear! * * * * * MY FIRST BRIEF. [Illustration] When you, my first brief, were delivered, Every fibre in me quivered With delight. I seemed to see Myself admitted a Q.C.; Piles of briefs upon the table, More work to do than I was able; Clients scrambling for advice, Then LORD CHANCELLOR in a trice. I seized my virgin pencil blue, Marked and perused you through and through. The story brief, instructions short, Defendant in a County Court, It needed not an ounce of sense To see that you had no defence. But, erudite in English law, I fashioned bricks without the straw. Around my chamber-floor I sped. Harangued the book-case on each head; DEMOSTHENES and CICERO On hearing me had cried a go. Then I must own that I was nettled-- Out of Court the case was settled. All my points were left unmade, And the fee is left unpaid. * * * * * POLITE LEARNING. [Professor LOMBROSO writes in the _Revue des Revues_ that all women are liars. Mr. VICTOR HORSLEY writes in the _Times_ that one of Miss COBBE's statements is a lie.] Shameful, shocking, rude Professor! CRICHTON BROWNE--your predecessor In attacks, would-be suppressor Of the higher Education--once compared them To the Pantaloon, and scared them, But he was polite, and spared them Words like "liar." Lie, indeed! There is a middle Course--say "fib" or "tarradiddle," "Not quite true," "A sort of riddle Facts to smother." We, who love the fair romancer-- Be she talker, singer, dancer, What you will, she's sweet--we answer, "You're another!" As for you, rough Mr. HORSLEY, Arguing so very coarsely, May I say yours is a worse lie,-- Rhyming badly? You, so skilled in vivisection, Could cut up Miss COBBE's objection, With your tongue in some subjection, Not thus madly. Why, LOMBROSO would despise you, Though he is so rude. These "lies" you Freely write make folks surmise you An impostor, Not the lady. You've not "licked" her. (Slang to suit you) though you're VICTOR. Since you stoop to contradict her Like a coster. * * * * * [Illustration: MR. PUNCH'S SHOOTING-PARTY.] * * * * * SONGS OUT OF SEASON.--MY CARETAKER. [Illustration] A mysterious thing For our commonplace day, Is the lady I sing In the following lay. While I'm shooting the grouse, Or enjoying the sea, She takes care of my house For a nominal fee. For ten shillings a-week Does this wonderful woman Undertake, so to speak, An existence inhuman. Like their dwellings the rabbits Deep in darkling retreats, This weird widow inhabits Subterranean seats. What with humour "contrary," Or ironic despair, She denominates "airey"-- From its absence of air! It would give _me_ the blues Household gods to uphold With a _Lloyd's Weekly News_ Of some fifty days old. In a Stygian gloom, Far from sun and ozone, She sits locked in her room, Uncompanioned, alone. At a knock, at a call How she shivers and starts! She's "that nervous"--and "Hall Of 'er fambly 'as 'earts." Not till gloaming obscure Cools hot London at last, Hies she forth to procure Her ideal repast. "_A red 'erring, an inion, Just of dripping a bite_" --This is not my opinion, Hers _verbatim_ I cite. But I fancy, though loth to Thus detract from her merits, (And I've her solemn oath too!) That she's "partial to sperrits." For once suddenly coming (She supposed me away) I was struck by her humming "_Ta-ra-ra Boom de Ay!_" And not humming it only; Also _dancing_ the same,-- This bereaved, honest, lonely Deferential dame! "_Ta-ra-ra Boom de Ay!_" In my desolate hall; I, though prone to be gay, Didn't like it at all. "Which," she said, "it was Fits-- The Sint Biteus"--her fling!-- Yes! The Caretaker, it's A mysterious thing. * * * * * CONVERSATIONAL HINTS FOR YOUNG SHOOTERS. (_BY MR. PUNCH'S OWN GROUSE IN THE GUN-ROOM._) LUNCH (CONTINUED). How well I remember a certain day in the by-gone years, when for the first time a great truth suddenly burst upon me in all its glory. The morning's sport had been unsuccessful. We were all fairly tired, and some of us, in spite of the moderate temperature, were perspiring freely. For we had been walking up late partridges most of the morning, with just an occasional shot here and there at pheasants in covert. Now, late partridges are perhaps the least amenable of created things. They cherish a perfectly ridiculous conviction that nature, in endowing them with life, intended that they should preserve it, and consequently they hold it to be their one aim and object to fly, whirring and cheeping, out of sight, long before even an enthusiastic shot could have a chance of proving to them how beautifully a bird can be missed. For some reason or other, our host had refused or had been unable to drive the birds. One result was that we had tramped and tramped and tramped, getting only rare shots, and doing but little execution. Another result was, that the place was simply littered with lost tempers, and we sat down to lunch very much out of conceit with ourselves, our guns, our cartridges, the keepers, the dogs, and everything else. The pleasant array of plates and glasses, and the savoury odours of the meats mitigated, but did not dispel the frowns. Then suddenly there dropped down amongst us, as it were from the sky, the Great Woodcock Saga. In a moment the events of the morning were forgotten, brows cleared, tempers were picked up, and an eager hilarity reigned over the company, while the adventures of the wonderful bird were pursued from tree to tree, from clump to clump, through all the zig-zags of his marvellous flight, until he finally vanished triumphantly into the unknown. Now the Great Woodcock Saga is brought about in this way:--First of all suppose that a woodcock has shown himself somewhere or other during the morning. If he was seen it follows, as the day follows the night, (1), that _everybody_ shot at him at the most fantastic distances without regard to the lives and limbs of the rest of the party; (2), that (in most cases) everybody missed him; (3), that everybody, though having, according to his own version, been especially careful himself, has been placed in imminent peril by the recklessness of the rest; (4), that everybody threw himself flat on his face to avoid death; and (5), that the woodcock is not really a bird at all, but a devil. The following is suggested as an example of Woodcock-dialogue, the scene being laid at lunch:-- [Illustration] _First Sportsman_ (_pausing in his attack on a plateful of curried rabbit_). By Jupiter! that was a smartish woodcock. I never saw the beggar till he all but flew into my face, and then away he went, like a streak of greased lightning. I let him have both barrels; but I might as well have shot at a gnat. Still, I fancy I tickled him up with my left. _Second Sportsman_ (_a stout, jovial man, breaking in_). Tickled _him_ up! By gum, I thought _I_ was going to be tickled up, I tell you. Shot was flying all round me--bang! bang! all over the place. I loosed off twice at him, and then went down, to avoid punishment. Haven't a notion what became of him. _Third Sportsman_ (_choking with laughter at the recollection_). I saw you go down, old cock. First go off, I thought you were hit: but, when you got that old face of yours up, and began to holler "Wor guns!" as if you meant to bust, why I jolly soon knew there wasn't much the matter with _you_. Just look at him, you chaps. Do you think an ordinary charge of shot would go through _that_? Not likely. _Fourth Sportsman_ (_military man_). Gad, it was awful! I'd rather be bucketed about by EVELYN WOOD for a week than face another woodcock. I heard 'em shoutin', "Woodcock forward! Woodcock back! Woodcock to the right! Woodcock to the left! Mark--mark!" Gad! thinks I to myself, the bally place must be full of 'em. Just then out he came, as sly as be blowed. My old bundook went off of its own accord. I bagged the best part of an oak tree, and, after that, I scooted. Things were gettin' just a shade too warm, by gad! A reg'lar hail-storm, that's what it was. No, thank you, thinks I; not for this party--I'm off to cover. So that's all _I_ know about it. Thanks, TOMMY--do you mind handin' round that beer-jug? _First Sportsman_ (_rallying him_). Just think of that. And we're all of us taxed to keep a chap like that in comfort. Why you're _paid_ to be shot at--that's what you're _there_ for, you and your thin red line, and all that. By Jupiter! we don't get our money's worth out of you if you're going to cut and run before a poor, weak, harmless woodcock. [_Military Sportsman is heavily chaffed._ _Military Sportsman_. Oh, it's all very well for you Johnnies to gas like that--but, by Gad, you didn't seem over-anxious to stand fire yourselves. Why your teeth are chattering still, BINKS. _Binks_. Ah, but I'm only a poor civilian. _Military Sportsman_. Well, I cut and ran as a civilian. See? Did anyone shoot the bloomin' bird, after all? _The Host_. _Shoot_ him? I should think not. The last I saw of him he was sailing off quite comfortable, cocking snooks at the whole lot. Have another go of pie, JOHNNY? So that is the Great Woodcock Saga, the absolute accuracy of which every sportsman is bound to recognise. And the great truth that burst upon me is this, that if you want to restore good temper to a shattered party, you must start talking about woodcocks. If you saw a woodcock in the morning, talk about that one. If not, begin about the woodcock you saw last week, or the woodcock somebody else missed the week before. But whatever you do, always keep a woodcock for a (metaphorically) rainy day. Bring him out at lunch next time you shoot, and watch the effect. * * * * * "GRIEVANCES OF CIVIL SERVANTS."--Sir, seeing this heading in the _Times_ to a letter which I didn't stop to read, I can only say, for my part, that us servants as is really civil ought not never to have any "grievancies." Tips is the reward to "_civil_ servants."--Yours, THE BUTLER. * * * * * NOTICE.--Rejected Communications or Contributions, whether MS., Printed Matter, Drawings, or Pictures of any description, will in no case be returned, not even when accompanied by a Stamped and Addressed Envelope, Cover, or Wrapper. To this rule there will be no exception. ***END OF THE PROJECT GUTENBERG EBOOK PUNCH, OR THE LONDON CHARIVARI, VOL. 103, OCTOBER 29, 1892*** ******* This file should be named 15605.txt or 15605.zip ******* This and all associated files of various formats will be found in: http://www.gutenberg.org/dirs/1/5/6/0/15605 Updated editions will replace the previous one--the old editions will be renamed. Creating the works from public domain print editions means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away--you may do practically ANYTHING with public domain eBooks. Redistribution is subject to the trademark license, especially commercial redistribution. *** START: FULL LICENSE *** THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg-tm mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase "Project Gutenberg"), you agree to comply with all the terms of the Full Project Gutenberg-tm License (available with this file or online at http://gutenberg.net/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.net 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.net), 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 http://www.gutenberg.net/fundraising/pglaf. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation's EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state's laws. The Foundation's principal office is located at 4557 Melan Dr. S. Fairbanks, AK, 99712., but its volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email business@pglaf.org. Email contact links and up to date contact information can be found at the Foundation's web site and official page at http://www.gutenberg.net/about/contact For additional contact information: Dr. Gregory B. Newby Chief Executive and Director gbnewby@pglaf.org Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm depends upon and cannot survive without wide spread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit http://www.gutenberg.net/fundraising/donate While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a number of other ways including including checks, online payments and credit card donations. To donate, please visit: http://www.gutenberg.net/fundraising/donate Section 5. General Information About Project Gutenberg-tm electronic works. Professor Michael S. Hart is the originator of the Project Gutenberg-tm concept of a library of electronic works that could be freely shared with anyone. For thirty years, he produced and distributed Project Gutenberg-tm eBooks with only a loose network of volunteer support. Project Gutenberg-tm eBooks are often created from several printed editions, all of which are confirmed as Public Domain in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our Web site which has the main PG search facility: http://www.gutenberg.net 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.