Ruthless Rhymes for Heartless Homes
Қосымшада ыңғайлырақҚосымшаны жүктеуге арналған QRRuStore · Samsung Galaxy Store
Huawei AppGallery · Xiaomi GetApps

автордың кітабын онлайн тегін оқу  Ruthless Rhymes for Heartless Homes

Project Gutenberg's Ruthless Rhymes for Heartless Homes, by Col. D. Streamer

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: Ruthless Rhymes for Heartless Homes

Author: Col. D. Streamer

Release Date: January 24, 2011 [EBook #35051]

[Last updated: September 21, 2011]

Language: English

*** START OF THIS PROJECT GUTENBERG EBOOK RUTHLESS RHYMES--HEARTLESS HOMES ***

Produced by Mark C. Orton and the Online Distributed

Proofreading Team at http://www.pgdp.net (This book was

produced from scanned images of public domain material

from the Google Print project.)

Ruthless Rhymes for Heartless Homes

By

Col. D. Streamer (Harry Graham)

"I was unlucky with my wives,
So are the most of married men;
Undoubtedly they lost their lives,—"

RUTHLESS
RHYMES for
Heartless Homes

By Col. D. Streamer

New York

R. H. RUSSELL

1902

Copyright, 1901, by Robert Howard Russell

Second impression, December, 1902

Dedicated to P. P.

("Qui connait son sourire a connu le parfait.")

I   NEED no Comments of the Press,

No critic's cursory caress,

No paragraphs my book to bless

With praise, or ban with curses,

So long as You, for whom I write,

Whose single notice I invite,

Are still sufficiently polite

To smile upon my verses.

If You should seek for Ruthless Rhymes

(In memory of Western climes),

And, for the sake of olden times,

Obtain this new edition,

You must not be surprised a bit,

Nor even deem the act unfit,

That I have dedicated it

To You, without permission.

P. T. O.[1]

And if You chance to ask me why,

It is sufficient, I reply,

That You are You, and I am I,—

To put the matter briefly.

That I should dedicate to You

Can only interest us two;

The fact remains, then, that I do,

Because I want to—chiefly.

And if these verses can beguile

From those grey eyes of yours a smile,

You will have made it well worth while

To seek your approbation;

No further meed

Of praise they need,

But must succeed,

And do indeed,

If they but lead

You on to read

Beyond the Dedication.

1901.                       H. G.

Author's Preface

WITH guilty, conscience-stricken tears

I offer up these rhymes of mine

To children of maturer years

(From Seventeen to Ninety-nine).

A special solace may they be

In days of second infancy.

The frenzied mother who observes

This volume in her offspring's hand,

And trembles for the darling's nerves,

Must please to clearly understand,

If baby suffers by-and-bye

The Artist is to blame, not I!

But should the little brat survive,

And fatten on the Ruthless Rhyme,

To raise a Heartless Home and thrive

Through a successful life of crime,

The Artist hopes that you will see

That I am to be thanked, not he!

P. T. O.[1]

Fond parent, you whose children are

Of tender age (from two to eight),

Pray keep this little volume far

From reach of such, and relegate

My verses to an upper shelf,—

Where you may study them yourself.

FOOTNOTE:

[1] Transcriber's Note: P.T.O. means please turn over. This is retained in the text although the instruction is not necessary.

"He had such good cigars."

Uncle Joe

AN Angel bore dear Uncle Joe

To rest beyond the stars.

I miss him, oh! I miss him so,—

He had such good cigars.

Impetuous Samuel

SAM had spirits naught could check,

And to-day, at breakfast, he

Broke his baby sister's neck,

So he shan't have jam for tea!

Inconsiderate Hannah

NAUGHTY little Hannah said

She could make her grandma whistle,

So, that night, inside her bed

Placed some nettles and a thistle.

Though dear grandma quite infirm is,

Heartless Hannah watched her settle,

With her poor old epidermis

Resting up against a nettle.

Suddenly she reached the thistle!

My! you should have heard her whistle!

.         .         .         .         .         .         .

A successful plan was Hannah's,

But I cannot praise her manners.

Aunt Eliza

IN the drinking-well

(Which the plumber built her)

Aunt Eliza fell,—

We must buy a filter.

Self-Sacrifice

FATHER, chancing to chastise

His indignant daughter Sue,

Said, "I hope you realize

That this hurts me more than you."

Susan straightway ceased to roar.

"If that's really true," said she,

"I can stand a good deal more;

Pray go on, and don't mind me."

La Course Interrompue

I.

JEAN qui allait a Dijon

(Il montait en bicyclette)

Rencontra un gros lion

Qui se faisait la toilette.

II.

Voila Jean qui tombe a terre

Et le lion le digère!

.                 .                 .                 .                 .

Mon Dieu! Que c'est embêtant!

Il me devait quatre francs.

"John had on some clothes of mine;

I can almost see them shrinking

Washed repeatedly in brine."

John

JOHN, across the broad Atlantic,

Tried to navigate a barque,

But he met an unromantic

And extremely hungry shark.

John (I blame his childhood's teachers)

Thought to treat this as a lark,

Ignorant of how these creatures

Do delight to bite a barque.

Said "This animal's a bore!" and,

With a scornful sort of grin,

Handled an adjacent oar and

Chucked it underneath the chin.

At this unexpected juncture

Which he had not reckoned on,

Mr. Shark he made a puncture

In the barque—and then in John.

Sad am I, and sore at thinking
John had on some clothes of mine;
I can almost see them shrinking,
Washed repeatedly in brine.

I shall never cease regretting
That I lent my hat to him,
For I fear a thorough wetting
Cannot well improve the brim.

Oh! to know a shark is browsing,
Boldly, blandly on my boots!
Coldly, cruelly carousing
On the choicest of my suits!

Creatures I regard with loathing
Who can calmly take their fill
Of one's Jæger underclothing:—
Down, my aching heart, be still!

The Fond Father

OF Baby I was very fond,

She'd won her father's heart;

So, when she fell into the pond,

It gave me quite a start.

Necessity

LATE last night I slew my wife,

Stretched her on the parquet flooring;

I was loath to take her life,

But I had to stop her snoring.

Unselfishness

ALL those who see my children say,

"What sweet, what kind, what charming elves!"

They are so thoughtful, too, for they

Are always thinking of themselves.

It must be ages since I ceased

To wonder which I liked the least.

Such is their generosity,

That, when the roof began to fall,

They would not share the risk with me,

But said, "No, father, take it all!"

Yet I should love them more, I know,

If I did not dislike them so.

Scorching John

JOHN, who rode his Dunlop tire

O'er the head of sweet Maria,

When she writhed in frightful pain,

Had to blow it out again.

Misfortunes Never Come Singly

MAKING toast at the fireside,

Nurse fell in the grate and died;

And, what makes it ten times worse,

All the toast was burned with nurse.

The Perils of Obesity

YESTERDAY my gun exploded

When I thought it wasn't loaded;

Near my wife I pressed the trigger,

Chipped a fragment off her figure;

'Course I'm sorry, and all that,

But she shouldn't be so fat.

"Now, although the room grows chilly,
I haven't the heart to poke poor Billy."

Tender-Heartedness

BILLY, in one of his nice new sashes,

Fell in the fire and was burnt to ashes;

Now, although the room grows chilly,

I haven't the heart to poke poor Billy.

Jim; or, the Deferred Luncheon Party

WHEN the line he tried to cross,

The express ran into Jim;

Bitterly I mourn his loss—

I was to have lunched with him.

Appreciation

AUNTIE, did you feel no pain

Falling from that apple tree?

Will you do it, please, again?

'Cos my friend here didn't see.

Baby

BABY in the caldron fell,—

See the grief on Mother's brow;

Mother loved her darling well,—

Darling's quite hard-boiled by now.

"Darling's quite hard-boiled by now."

Nurse's Mistake

NURSE, who peppered baby's face

(She mistook it for a muffin),

Held her tongue and kept her place,

"Laying low and sayin' nuffin'";

Mother, seeing baby blinded,

Said, "Oh, nurse, how absent-minded!"

The Stern Parent

FATHER heard his Children scream,

So he threw them in the stream,

Saying, as he drowned the third,

"Children should be seen, not heard!"

"Bluebeard"

YES, I am Bluebeard, and my name

Is one that children cannot stand;

Yet once I used to be so tame

I'd eat out of a person's hand;

So gentle was I wont to be

A Curate might have played with me.

People accord me little praise,

Yet I am not the least alarming;

I can recall, in bygone days,

A maid once said she thought me charming.

She was my friend,—no more I vow,—

And—she's in an asylum now.

Girls used to clamour for my hand,

Girls I refused in simple dozens;

I said I'd be their brother, and

They promised they would be my cousins.
(One, I accepted,—more or less—
But I've forgotten her address.)

They worried me like anything
By their proposals ev'ry day,
Until at last I had to ring
The bell, and have them cleared away;
(I often pondered on the cost
Of getting them completely lost.)

To share my somewhat lofty rank
Was what they panted for, like mad;
You see my balance at the bank
Was not so small, and, I may add,
A Castle, Gothic and immense,
Is my Official Residence.

It overlooks a many a mile
Of park, of gardens and domains;
I'm staying now in lodgings, while
They're doing up the—well—the drains,—
For they began to give offence
At my Official Residence.

And, when I entertain at home,
I hardly ever fail to please,
The "upper tens" alone may come
To join in my "recherché" teas;
I am a King in ev'ry sense
At my Official Residence.

My dances, on a parquet floor,
My royal dinners, which consist
Of fifteen courses, sometimes more,
Are things that are not lightly missed;
In fact I do not spare expense
At my Official Residence.

My hospitality to those
Whom I invite to come and stay
Is famed; my wine like water flows,
Exactly like, some people say,
But this is mere impertinence
At my Official Residence.

When through the streets I walk about
My subjects stand and kiss their hands,
Raise a refined metallic shout,
Wave flags and warble tunes on bands,
While bunting hangs on ev'ry front,—
With my commands to let it bunt.

When I come home again, of course,
Retainers are employed to cheer,
My paid domestics get quite hoarse
Acclaiming me, and you can hear
The welkin ringing to the sky,—
Aye, aye, and let it welk, say I!

And yet, in spite of this, there are
Some persons who, at diff'rent times,
—(Because I am so popular)—
Accuse me of most awful crimes;
A girl once said I was a flirt!
Oh my! how the expression hurt!

I never flirted in the least,
Never for very long, I mean,—
Ask any lady (now deceased)
Who partner of my life has been;—
Oh well, of course, sometimes, perhaps,
I meet a girl, like other chaps.

And, if I like her very much,
And if she cares for me a bit,
Where is the harm of look or touch
If neither of us mentions it?
It isn't right, I don't suppose,
But no one's hurt if no one knows!

And, if I placed my hand below
Her chin and raised her face an inch,
And then proceeded—well, you know,—
(Excuse the vulgarism)—to clinch;
It would be wrong without a doubt,
That is, if anyone found out.

But then, remember, Life is short
And Woman's Arts are very long,
And sometimes when one didn't ought
One knowingly commits a wrong;
Well—speaking for myself, of course,
I almost always feel remorse.

One should not break one's self too fast
Of little habits of this sort,
Which may be definitely classed
With gambling or a taste for port;
They should be slowly dropped, until
The Heart is subject to the Will.

I knew a man on Seventh Street
Who, at a very slight expense,
By persevering, was complete-
Ly cured of total abstinence;
An altered life he has begun
And takes a horn with anyone.

I knew another man whose wife
Was an invet'rate suicide,
She daily strove to take her life
And (naturally) nearly died;
But some such system she essayed,
And now she's eighty in the shade.

Ah, the new leaves I try to turn,
But, like so many men in town,
I seem, as with regret I learn,
Merely to turn the corner down;
A habit which I fear, alack!
Makes it more easy to turn back.

I have been criticised a lot;
I venture to enquire what for;
Because, forsooth, I have not got
The instincts of a bachelor!
Just hear my story, you will find
How grossly I have been maligned.

I was unlucky with my wives,
So are the most of married men;
Undoubtedly they lost their lives,—
Of course, but even so, what then?
I loved them dearly, understand,
And I can love, to beat the band.

My first was little Emmeline,
More beautiful than day was she;
Her proud, aristocratic mien
Was what at once attracted me.
I naturally did not know
That I should soon dislike her so.

But there it was! And you'll infer
I had not very long to wait
Before my red-hot love for her
Turned to unutterable hate.
So, when this state of things I found,
I naturally had her drowned.

My next was Sarah, sweet but shy,
And quite inordinately meek;
Yes, even now I wonder why
I had her hanged within the week.
Perhaps I felt a bit upset,
Or else she bored me, I forget.

Then came Evangeline, my third,
And, when I chanced to be away,
She, so I subsequently heard,
Was wont (I deeply grieve to say)
With my small retinue to flirt.
I strangled her. I hope it hurt.

Isabel was, I think, my next,—
(That is, if I remember right)—
And I was really very vexed
To find her hair come off at night;
To falsehood I could not connive,
And so I had her boiled alive.

Then came Sophia, I believe,
Her coiffure was at least her own,
Alas! she fancied to deceive
Her friends by altering its tone.
She dyed her locks a flaming red!
I suffocated her in bed.

Susannah Maud was number six;
But she did not survive a day;
Poor Sue, she had no parlour tricks
And hardly anything to say.
A little strychnine in her tea
Finished her off, and I was free.

Yet I did not despair, and soon!
In spite of failures, started off
Upon my seventh honeymoon
With Jane; but could not stand her cough.
'Twas chronic. Kindness was in vain.
I pushed her underneath the train.

Well, after her, I married Kate.
A most unpleasant woman. Oh!
I caught her at the garden gate
Kissing a man I didn't know;
And, as that didn't suit me quite,
I blew her up with dynamite.

Most married men, so sorely tried
As this, would have been rather bored.
Not I, but chose another bride
And married Ruth. Alas! she snored!
I served her just the same as Kate,
And so she joined the other eight.

My last was Grace; I am not clear,
I think she didn't like me much;
She used to scream when I came near,
And shuddered at my lightest touch.
She seemed to wish to keep aloof,
And so I threw her off the roof.

This is the point I wish to make:—
From all the wives for whom I grieve,
Whose lives I had perforce to take,
Not one complaint did I receive;
And no expense was spared to please
My spouses at their obsequies.

My habits, I would have you know,
Are perfect, as they've always been;
You ask if I am good, and go
To church, and keep my fingers clean?
I do, I mean to say I am,
I have the morals of a lamb.

In my domains there is no sin,
Virtue is rampant all the time,
Since I so thoughtfully brought in
A bill which legalizes crime;
Committing things that are not wrong
Must pall before so very long.

And if what you imagine vice
Is not considered so at all,
Crime doesn't seem the least bit nice,
There's no temptation then to fall;
For half the charm of things we do
Is knowing that we oughtn't to.

Believe me, then, I am not bad,
Though in my youth I had to trek
Because I happened to have had
Some difficulties with a cheque.
What forgery in some might be
Is absentmindedness in me!

I know that I was much abused,
No doubt when I was young and rash,
But I should not have been accused
Of misappropriating cash.
I may have sneaked a silver dish;—
Well, you may search me if you wish!

So, now you see me, more or less,
As I would figure in your thoughts;
A trifle given to excess
And prone perhaps to vice of sorts;
When tempted, rather apt to fall,
But still—a good chap after all!


The Cat

(Advice to the Young)

MY children, you should imitate

The harmless, necessary cat,

Who eats whatever's on his plate,

And doesn't even leave the fat;

Who never stays in bed too late,

Or does immoral things like that;

Instead of saying "Shan't!" or "Bosh!"

He'll sit and wash, and wash, and wash!

When shadows fall and lights grow dim

He sits beneath the kitchen stair;

Regardless as to life and limb,

A simple couch he chooses there;

And if you tumble over him,

He simply loves to hear you swear.

And, while bad language you prefer,

He'll sit and purr, and purr, and purr!

The Cat.

The Children's "Don't"

DON'T tell Papa his nose is red

As any rosebud or geranium,

Forbear to eye his hairless head

Or criticise his cootlike cranium;

'Tis years of sorrow and of care

Have made his head come through his hair.

Don't give your endless guinea-pig

(Wherein that animal may build a

Sufficient nest) the Sunday wig

Of poor, dear, dull, deaf Aunt Matilda.

Oh, don't tie strings across her path,

Or empty beetles in her bath!

Don't ask your uncle why he's fat;

Avoid upon his toe-joints treading;
Don't hide a hedgehog in his hat,
Or bury bushes in his bedding.
He will not see the slightest sport
In pepper put into his port!

Don't pull away the cherished chair
On which Mamma intended sitting,
Nor yet prepare her session there
By setting on the seat her knitting;
Pause ere you hurt her spine, I pray—
That is a game that two can play.

My children, never, never steal!
To know their offspring is a thief
Will often make a father feel
Annoyed and cause a mother grief;
So never steal, but, when you do,
Be sure there's no one watching you.


"Don't hide a hedgehog in his hat."

Perhaps you have a turn for what

Is known as "misappropriation,"

Attractions this has doubtless got

For persons of a certain station,

But prevalent 'twill never be

Among the aristocracy.

Of course, suppose you want a thing

(The owner's absent), and you borrow

A ruby ring; you mean to bring

Your friend his trinket back to-morrow

Meanwhile you have the stones reset,

Lest he forget! Lest he forget!

And if some rude detective's hand

Should find beneath your cloak a roll

Of muslin, or a cruet-stand

That's labelled "Hotel Metropole,"

With kindly smile you hand them back,

A harmless Kleptomaniac!

.                 .                 .                 .                 .

Don't tell a lie! Some men I've known

Commit the most appalling acts,

Because they happen to be prone

To an economy of facts;

And if to lie is bad, no doubt

'Tis even worse to get found out!

.                 .                 .                 .                 .

Don't take the life of any one,

However horrid he may be;

That sort of thing is never done,

Not in the best society,

Where even parricide is thought

A most unfilial kind of sport.

Among the "Upper Ten" to-day,

It is considered want of tact

To slay one's kith and kin, and may

Be classed as an "unfriendly act."

Oh, yes, of course I know that this

Is merely public prejudice.

"Or empty beetles in her bath!"

But ever since the world began,

Howe'er well meant his motives are,

The man who slays his fellow man

Is never really popular,

Whether he sins from love of crime,

Or merely just to pass the time.

Envoi

SPEED, Ruthless Rhymes; throughout the land

Disperse yourselves with patient zeal!

Go, perch upon the Critic's hand,

Just after he has had a meal.

But should he still unkindly be,

Unperch and hasten back to me.

And, wheresoever you may roam,

Remember the secluded shelf

(Where, sitting in his Heartless Home,

The author chortles to himself),

There, in the distant by-and-bye,

You still may flutter back—to die.

End of the Project Gutenberg EBook of Ruthless Rhymes for Heartless Homes, by

Col. D. Streamer

*** END OF THIS PROJECT GUTENBERG EBOOK RUTHLESS RHYMES--HEARTLESS HOMES ***

***** This file should be named 35051-h.htm or 35051-h.zip *****

This and all associated files of various formats will be found in:

http://www.gutenberg.org/3/5/0/5/35051/

Produced by Mark C. Orton and the Online Distributed

Proofreading Team at http://www.pgdp.net (This book was

produced from scanned images of public domain material

from the Google Print project.)

Updated editions will replace the previous one--the old editions

will be renamed.

Creating the works from public domain print editions means that no

one owns a United States copyright in these works, so the Foundation

(and you!) can copy and distribute it in the United States without

permission and without paying copyright royalties. Special rules,

set forth in the General Terms of Use part of this license, apply to

copying and distributing Project Gutenberg-tm electronic works to

protect the PROJECT GUTENBERG-tm concept and trademark. Project

Gutenberg is a registered trademark, and may not be used if you

charge for the eBooks, unless you receive specific permission. If you

do not charge anything for copies of this eBook, complying with the

rules is very easy. You may use this eBook for nearly any purpose

such as creation of derivative works, reports, performances and

research. They may be modified and printed and given away--you may do

practically ANYTHING with public domain eBooks. Redistribution is

subject to the trademark license, especially commercial

redistribution.

*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free

distribution of electronic works, by using or distributing this work

(or any other work associated in any way with the phrase "Project

Gutenberg"), you agree to comply with all the terms of the Full Project

Gutenberg-tm License (available with this file or online at

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 1.F.3. YOU AGREE THAT THE FOUNDATION, THE

TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE

LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR

INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH

DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a

defect in this electronic work within 90 days of receiving it, you can

receive a refund of the money (if any) you paid for it by sending a

written explanation to the person you received the work from. If you

received the work on a physical medium, you must return the medium with

your written explanation. The person or entity that provided you with

the defective work may elect to provide a replacement copy in lieu of a

refund. If you received the work electronically, the person or entity

providing it to you may choose to give you a second opportunity to

receive the work electronically in lieu of a refund. If the second copy

is also defective, you may demand a refund in writing without further

opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth

in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER

WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO

WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied

warranties or the exclusion or limitation of certain types of damages.

If any disclaimer or limitation set forth in this agreement violates the

law of the state applicable to this agreement, the agreement shall be

interpreted to make the maximum disclaimer or limitation permitted by

the applicable state law. The invalidity or unenforceability of any

provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the

trademark owner, any agent or employee of the Foundation, anyone

providing copies of Project Gutenberg-tm electronic works in accordance

with this agreement, and any volunteers associated with the production,

promotion and distribution of Project Gutenberg-tm electronic works,

harmless from all liability, costs and expenses, including legal fees,

that arise directly or indirectly from any of the following which you do

or cause to occur: (a) distribution of this or any Project Gutenberg-tm

work, (b) alteration, modification, or additions or deletions to any

Project Gutenberg-tm work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of

electronic works in formats readable by the widest variety of computers

including obsolete, old, middle-aged and new computers. It exists

because of the efforts of hundreds of volunteers and donations from

people in all walks of life.

Volunteers and financial support to provide volunteers with the

assistance they need are critical to reaching Project Gutenberg-tm's

goals and ensuring that the Project Gutenberg-tm collection will

remain freely available for generations to come. In 2001, the Project

Gutenberg Literary Archive Foundation was created to provide a secure

and permanent future for Project Gutenberg-tm and future generations.

To learn more about the Project Gutenberg Literary Archive Foundation

and how your efforts and donations can help, see Sections 3 and 4

and the Foundation web page at http://www.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

http://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

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://pglaf.org

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://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: http://pglaf.org/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.

P. T. O.[1]

[1] Transcriber's Note: P.T.O. means please turn over. This is retained in the text although the instruction is not necessary.