The Project Gutenberg eBook of The Philistine: a periodical of protest (Vol. II, No. 4, March 1896), by Various This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: The Philistine: a periodical of protest (Vol. II, No. 4, March 1896) Author: Various Release Date: May 5, 2023 [eBook #70707] Language: English Produced by: hekula03 and the Online Distributed Proofreading Team at https://www.pgdp.net (This book was produced from images made available by the HathiTrust Digital Library.) *** START OF THE PROJECT GUTENBERG EBOOK THE PHILISTINE: A PERIODICAL OF PROTEST (VOL. II, NO. 4, MARCH 1896) *** The Philistine A Periodical of Protest. _Some hae meat that canna eat, and some na meat that want it;_ _But we hae meat and we can eat, so let the Lord be thankit!_ [Illustration: Vol. II. No. 4.] Printed Every Little While for The Society of The Philistines and Published by Them Monthly. Subscription, One Dollar Yearly Single Copies, 10 Cents. March, 1896. THE SOCIETY OF THE PHILISTINES. (International.) An association of Book Lovers and Folks who Write. Organized to further Good-Fellowship among men and women who believe in allowing the widest liberty to Individuality in Art. ARTICLE XII. SEC. 2. The annual dues shall be one dollar. This shall entitle the member to all the documents issued by the Society, together with one copy of the PHILISTINE magazine, monthly, for one year. Truthful manuscript seeking the Discerning Reader should be addressed to the Scrivener (assistant to the Datary); funds, forwarded for the matter of subscriptions, to the Bursar. Address The Philistine, East Aurora, N. Y. THE PHILISTINE is published monthly at $1 a year, 10 cents a single copy. Subscriptions may be left with newsdealers or sent direct to the publishers. The trade supplied by the AMERICAN NEWS COMPANY and its branches. Foreign agencies, BRENTANO’S, 37 Avenue de l’Opera, Paris; G. P. PUTNAM’S SONS, 24 Bedford street, Strand, London. THE PHILISTINE. CONTENTS FOR MARCH, 1896. A Great Mistake, Stephen Crane The Model of a Statesman, Charles M. Skinner The Filling of the Joneses, William McIntosh Paul Knew, Frederic Almy A Complaint of Some Editors, Neith Boyce Wind of the West, John Northern Hilliard The Port of Ships, Joaquin Miller A Buccaneer Toast, Eugene Richard White Notes. Subscriptions can begin with the current number only. A very limited quantity of back numbers can be supplied. Vol. 1, No. 1, 75 cents. Nos. 2, 3, 4 and 5 at 25 cents each. Mr. Collin’s PHILISTINE poster in three printings will be mailed to any address on receipt of 25 cents by the publishers. A few signed and numbered copies on Japan vellum remain at $1.00 each. _Entered at the Postoffice at East Aurora, New York, for transmission as mail matter of the second class._ _COPYRIGHT, 1896, by B. C. Hubbard._ _The Bibelot._ MDCCCXCVI Those authors and subjects that many readers are glad to come at in a brief way, (and who may be thereby quickened to direct their studies anew to the sometimes surface hidden beauties of literature,) will continue to find ample presentation in _The Bibelot_ for 1896. The typework that has made so many friends among bookmen, will also be fully sustained; in a word, _The Bibelot_ still proposes to remain something quite by itself, and out of the highway and beaten track of every-day book-making. Subscriptions for 1896 at the regular price, 50 cents in advance, postpaid, are taken for the complete year only. After March 1, the rate will be 75 cents, which will, on completion of Volume II, be advanced to $1.00 net. It is desirable that RENEWALS FOR 1896 should be forwarded Mr. Mosher _early_ that no vexatious delays may occur in mailing. All subscriptions must begin with January and end with December of each year. THOMAS B. MOSHER, Publisher. Portland, Maine. [Illustration: MODERN ART Edited by J. M. BOWLES.] Quarterly. Illustrated. “If Europe be the home of Art, America can at least lay claim to the most artistically compiled publication devoted to the subject that we know of. This is _Modern Art_.”—_Galignani Messenger (Paris)._ “The most artistic of American art periodicals. A work of art itself.”—_Chicago Tribune._ _Fifty Cents a Number. Two Dollars a Year. Single Copies (back numbers) 50 Cents in Stamps. Illustrated Sample Page Free._ Arthur W. Dow has designed a new poster for _Modern Art_. It is exquisite in its quiet harmony and purely decorative character, with breadth and simplicity in line and mass, and shows the capacity of pure landscape for decorative purposes.—_The Boston Herald._ _Price, 25 Cents in Stamps, Sent Free to New Subscribers to Modern Art._ L. Prang & Company, Publishers. 286 ROXBURY STREET, BOSTON. The _Fly Leaf_ is distinctive among all the Bibelots.—_Footlights_, Philadelphia. THE FLY LEAF. A Pamphlet Periodical of the Modern, conducted by Walter Blackburn Harte and an able corps of “Les Jeunes,” who believe in the future of American Authorship and Literature. Overcrowded market? Yes—with Poor Stuff! But there is room enough in the Literary Show for a Periodical of LITERATURE. The Most Periodicals are only PRINT. The _Fly Leaf_ is filled with Wit and Personality, Humor and Fantasy, Thought and Quips. It is a Bibelot of real unadulterated Literature—one of the THREE TRUMPS in Bibelot Literature every lover of robust, masculine Ideas and Stuff wants to read. The _Fly Leaf_ is the most unexpected and amusing Bundle of Surprises. It gives QUALITY, not QUANTITY, and it does not aim to be Cheap, but Clever. It interests all who are smart enough to recognize “a good thing” at sight. It is written with Individuality and a Freed Lance, but is not trivial nor decadent. There is a proper admixture of Worldly Wisdom and Common Sense. It is a delightfully keen little swashbuckler.—_The Echo_, Chicago. He (the editor) has the wit and impudence of Falstaff.—_The Post_, Hartford, Conn. It is time that American authorship had a champion before the people of this country.—_The Standard_, Syracuse. For Sale by all Booksellers. Sample copies cost 5 cents, or three for 10 cents. Current number 10 cents single copy. $1 a year in advance. THE FLY LEAF, 269 St. Botolph Street, Boston, Mass. THE PHILISTINE. NO. 4. March, 1896. VOL. 2. A BUCCANEER TOAST. To the Fiend of the Seven Seas, To the Print of the Dead Man’s Thumb; To a Curse at Death with a dying breath, Here’s Death in a Draught of Rum! _Here’s to Hell, toss it off in a quaff, lads,_ _Drink the health of the Devil and laugh, lads,_ _Pledge the tale of the Wheat and the Chaff, lads,_ _Here’s to Hell!_ To the Dead in the Dismal Sea, To the Bleaching Bones on the Beach, To a hate-born stroke of the Valiant Folk And the Tunes that the Sea can teach! _Here’s the Sea, for her grey clutch has got ye,_ _May her salt kisses poison and rot ye,_ _By the Soul of the Beast who begot ye,_ _Here’s the sea!_ To a slash at the Heart of a Don, To the Port that never may be, Drink deep to the Ghosts of the Spanish Hosts, Who loom in the Mists of the Sea! _Here’s to Hell, toss it off in a quaff, lads,_ _Drink the health of the Devil and laugh, lads,_ _Pledge the tale of the Wheat and the Chaff, lads,_ _Here’s to Hell!_ EUGENE R. WHITE. A GREAT MISTAKE. An Italian kept a fruit stand on a corner where he had good aim at the people who came down from the elevated station and at those who went along two thronged streets. He sat most of the day in a backless chair that was placed strategically. There was a babe living hard by, up five flights of stairs, who regarded this Italian as a tremendous being. The babe had investigated this fruit stand. It had thrilled him as few things he had met with in his travels had thrilled him. The sweets of the world laid there in dazzling rows, tumbled in luxurious heaps. When he gazed at this Italian seated amid such splendid treasure, his lower lip hung low and his eyes raised to the vendor’s face were filled with deep respect, worship, as if he saw omnipotence. The babe came often to this corner. He hovered about the stand and watched each detail of the business. He was fascinated by the tranquility of the vendor, the majesty of power and possession. At times, he was so engrossed in his contemplation that people, hurrying, had to use care to avoid bumping him down. He had never ventured very near to the stand. It was his habit to hang warily about the curb. Even there he resembled a babe who looks unbidden at a feast of gods. One day, however, as the baby was thus staring, the vendor arose and going along the front of the stand, began to polish oranges with a red pocket-handkerchief. The breathless spectator moved across the sidewalk until his small face almost touched the vendor’s sleeve. His fingers were gripped in a fold of his dress. At last, the Italian finished with the oranges and returned to his chair. He drew a newspaper printed in his language from behind a bunch of bananas. He settled himself in a comfortable position and began to glare savagely at the print. The babe was left face to face with the massed joys of the world. For a time he was a simple worshipper at this golden shrine. Then tumultuous desires began to shake him. His dreams were of conquest. His lips moved. Presently into his head there came a little plan. He sidled nearer, throwing swift and cunning glances at the Italian. He strove to maintain his conventional manner, but the whole plot was written upon his countenance. At last he had come near enough to touch the fruit. From the tattered skirt came slowly his small dirty hand. His eyes were still fixed upon the vendor. His features were set, save for the under lip, which had a faint fluttering movement. The hand went forward. Elevated trains thundered to the station and the stairway poured people upon the sidewalks. There was a deep sea roar from feet and wheels going ceaselessly. None seemed to perceive the babe engaged in the great venture. The Italian turned his paper. Sudden panic smote the babe. His hand dropped and he gave vent to a cry of dismay. He remained for a moment staring at the vendor. There was evidently a great debate in his mind. His infant intellect had defined the Italian. The latter was undoubtedly a man who would eat babes that provoked him. And the alarm in him when the vendor had turned his newspaper brought vividly before him the consequences if he were detected. But at this moment, the vendor gave a blissful grunt and tilting his chair against a wall, closed his eyes. His paper dropped unheeded. The babe ceased his scrutiny and again raised his hand. It was moved with supreme caution toward the fruit. The fingers were bent, claw-like, in the manner of great heart-shaking greed. Once he stopped and chattered convulsively because the vendor moved in his sleep. The babe with his eyes still upon the Italian again put forth his hand and the rapacious fingers closed over a round bulb. And it was written that the Italian should at this moment open his eyes. He glared at the babe a fierce question. Thereupon the babe thrust the round bulb behind him and with a face expressive of the deepest guilt, began a wild but elaborate series of gestures declaring his innocence. The Italian howled. He sprang to his feet, and with three steps overtook the babe. He whirled him fiercely and took from the little fingers a lemon. STEPHEN CRANE. WIND OF THE WEST. The wind tonight is cool and free, The wind tonight is Westerly; Sweeping in from the plains afar, Sweet and faint—yet wild as are All scents and odors blent In the Occident. My thoughts tonight are far and free, My thoughts tonight are Westerly; Sweeping out to the plains afar, Where roses grow and grasses are Carpets that spread so cool and sweet For my naked feet. My heart tonight is wild and free, My heart tonight is Westerly; But I’m living again those old, glad days, Roaming at pleasure the grassy ways,— Only a herder riding the swales Of the prairie trails. JOHN NORTHERN HILLIARD. PAUL KNEW. An article in a late number of THE PHILISTINE names Organized Charity as _The Kind that Paul Forgot_. Such an aspersion on a saint’s memory is itself uncharitable. If Paul knew his Bible he did not forget the injunction of the Old Testament: “I was a Father to the poor, and the cause which I knew not I searched out;” and Paul said himself to the Thessalonians: “If any man will not work neither shall he eat.” These precepts state two root principles of charity organization—information before reformation, and a flat denial of alms to the indolent. To deny their truth would imply a “Philistinism” of the obnoxious kind that Matthew Arnold had in mind when he said: “Philistine gives the notion of something particularly stiff-necked and perverse in its resistance to light.” Even Paul, by the way, was once such a Philistine, but we read that as he journeyed towards Damascus a great light shone around him and he became a new man. “When letters of appeal to the newspapers are sent to a board of review,” our critic says, “impulse will be put in cold storage.” Possibly, but it would no longer be easier for people to work the newspapers than to work themselves. “Catalogue poverty,” he says, “quiz it, register it, dub it Case One; let hunger wait for an investigation, and if a bar sinister appears anywhere, deny food and shelter.” The last sentence could never have been written if its author had made some preliminary inquiries such as modern charity requires. The invariable rule of true charity is to relieve urgent distress instantly, and to forgive errors seventy times seven even, with a sympathy which never grows callous, if there is still a chance of helping. Paradoxical as it may seem, money is not a panacea for poverty. If drink has made a man poor, money will feed not him but his drunkenness. If improvidence is his fault, free lodging, free food, free clothes, or even work found ready-made, will only foster his improvidence. There are so-called charitable institutions which spend huge sums in gathering about them colonies of thriftless, indolent loafers, whose only hope of regeneration lies in the very spur of hunger which devoted men and women are laboring night and day to remove. It is “moral murder” to teach the poor that drunkenness, indolence and improvidence will be toled along and that a “poor face” will draw doles. To interfere lightly with the severe laws of Nature is to assume a grave responsibility. “Suppose the Father of us all did administer His beneficence on such a plan?” says our critic. Are we sure he does not? Pauperism is a disease, and requires more skilled treatment and less amateur dosing. Only the most unregenerate complain of the hospitals because they catalogue sickness, register it, quiz it, dub it Case One, or even let suffering wait for an investigation, and refuse to administer soothing drugs which, _like alms_, give a temporary relief without curing, and are apt to create an appetite which is more harmful than the pain which they relieve. The Moses has not yet appeared who shall lead the suffering masses out of the bondage of poverty, and we know not even which road he will go, but perhaps the smoothest way and the nearest way is not the one which will prevent backsliding. “And it came to pass that God led them out, not through the way of the Philistines, although that was near; for God said, Lest peradventure they return to Egypt, but God led the people about through the way of the wilderness of the Red Sea.” FREDERIC ALMY. THE PORT OF SHIPS. In a recent critical article on American letters in the London _Atheneum_ is this sentence: “In point of power, workmanship and feeling among all poems written by Americans we are inclined to give first place to the _Port of Ships_ of Joaquin Miller.” [This is high praise, and whether deserved or not I leave to my readers to determine.—EDITOR.] Behind him lay the gray Azores, Behind the Gates of Hercules; Before him not the ghost of shores, Before him only shoreless seas. The good mate said: “Now must we pray, For lo! the very stars are gone. Brave Adm’ral speak—what shall I say?” “Why, say, ‘Sail on! Sail on! and on!’” “My men grow mutinous day by day; My men grow ghastly, wan and weak.” The stout mate thought of home; a spray Of salt wave washed his swarthy cheek. “What shall I say, brave Adm’ral, say, If we sight naught but seas at dawn?” “Why you shall say, at break of day, ‘Sail on! Sail on! Sail on! and on!’” They sailed, and sailed, as winds might blow, Until at last the blanched mate said: “Why, now not even God would know Should I and all my men fall dead. These very winds forget their way, For God from these dread seas is gone. Now speak, brave Adm’ral; speak, and say—” He said: “Sail on! Sail on! and on!” They sailed! They sailed! Then spake the mate: “This mad sea shows its teeth to-night; He curls his lip, he lies in wait With lifted teeth, as if to bite! Brave Adm’ral, say but one good word— What shall we do when hope is gone?” The words leaped as a leaping sword: “Sail on! Sail on! Sail on! and on!” JOAQUIN MILLER. THE FILLING OF THE JONESES. Sunset hour at the meridian of Paradise Flats: but no sunset was visible. It was the worse end of a bad December day. Out doors, all was one color, and the rain froze as it fell. Before the big tenement stood a Russian sleigh, with an impatient pair of clipped chestnuts. A Roman sentinel in furs sat on the box, and his liveried mate groped in the dark hall for the habitat of John Jones, who had been “recommended.” John Jones lived there, but there was no evidence of it on the first floor. This tenement was not provided with a hall directory and a battery of bells. Poverty makes residence uncertain from month to month. Many a good man has been returned “not found” or “a fake,” because he had to try elsewhere when the rent came due. On the fifth floor, a room that looked back over a net of railroads held John Jones’s treasures. Three little girls were keeping the stove warm. There was some coal in it, but the way it acted was proof that warmth is not always provoked by poking. The fire had a hungry look like the children, and like them, moreover, evinced an anxious desire to go out, cheerless as it was beyond the ineffective screen of the walls. The footman’s knock created a flutter in the little group. Who would knock at that door? “It’s a p’liceman,” suggested little four-year-old Kit. The coal in the stove and a grape basketful more had been picked up on the tracks. Hand-in-hand they lined up at the door and eight-year-old Annie opened it. Kit and the two-year-old pulled hard on the line when the towering footman entered. “Does John Jones live here?” “Yes,” said the eldest girl. “John Jones, who registered at the Work and Aid Bureau?” “I think so,” said the girl, cautiously. “Sure!” put in the four-year-old. “Where is he?” “He’s out looking for some work, sir.” John was a mechanic until over-production or under-distribution or something else turned everything upside down. Now he was looking for work of any kind—and not finding it. “Where’s your mother?” “She’s sick in bed, sir,” said Annie. “Say, mister! Do you know what we’ve got?” piped the four-year-old. “We’ve got a new baby, and it’s a boy!” A grunt of disgust was the lackey’s only answer. Well, what then? If John Jones had work, or a little money in the bank, it would be no reproach to him that the miracle of life had been wrought once more over in the corner of that room, and that there was one more mouth to feed. But this wasn’t business. “Can you write?” the footman said to the girl. “Yes, sir, a little,” she said. “Write your name here,” he said, producing a receipt book. The girl made a scratch where he indicated, with some tremor. Then he handed her a large package which he had held in his gloved hand. “This is for your father,” he said; “don’t open it until he comes,” and the vision of furry magnificence faded from sight. John Jones, coming up the narrow stair, was almost crowded down again by the swelling cape of the man who was looking for him, passing down. Of course neither knew the other. A moment later the father with a heavy countenance entered the back room and asked in an anxious whisper how mamma was. Before the elder girl could answer the younger cried out, “O Papa! there was a splendid man here for you and he brought you somefing nice.” The square package was a problem to the man. So large and so light. When it was opened the puzzle was no less. It was a picture—a beautiful woman’s head, with a pensive, tender look that might have been the Sphynx’s own schoolmarm stare for all it meant to him. As he looked for an explanatory mark somewhere a card dropped to the floor. This is what he read on it: John Jones, Esq.: DEAR SIR—At the last meeting of the Society for Ameliorating the Condition of the Poor the following resolution was unanimously adopted: WHEREAS, The refining influence of art is almost wholly lost to the poorer classes by reason of their lack of means and time to enjoy the exhibitions open to others, and WHEREAS, The degradation of poverty is to be cured not alone by teaching self-dependence by means of a labor test for applicants for relief but also by making the poorest conversant, so far as may be, with the works of the great masters of Literature, Music and Art; therefore be it _Resolved_, That each member of this Society shall be one of a committee to loan works of art to the poor and pledges himself or herself to place each week in the house of some poor family a picture or sculpture to be studied by such family, to be loaned such family for one week, in the hope of arousing in its members a love of the beautiful. ELEANOR GOULD MARTIN, Secretary. All this but the address line was printed. Below a form was filled in as follows: Names, _John Jones_. Residence, _Paradise Flats_. Picture, _Psyche, by Smith_. Owner, _Jane Hodges McVickar_. Date of Loan, _December 16, 1895_. Picture to be called for, _December 23, 1895_. “Papa,” said four-year-old Kit, as the card fell from the nerveless hand of John Jones, “I fought it was somefing good to eat.” * * * * * The Latest Revision tells after this fashion what followed the Trial in the Wilderness: “And when he had fasted forty days and forty nights he was afterward an-hungered.... And behold, angels came and patronized him.” WILLIAM MCINTOSH. A COMPLAINT OF SOME EDITORS. Yes, most potent seignors, a complaint! Persuade me not; I will make a star chamber matter of it. Which of us—humble and much enduring devotees of the Muse—having somehow got our song or sonnet accepted and in the course of years published, has not waxed wroth to find it mischievously meddled with, the trail of the editor’s blue pencil over all its printed lines? In prose editorial interference is exasperating enough. But in verse, where a comma misplaced, arbitrarily inserted or omitted, may change the whole meaning or effect of a pet phrase! And when the editor comes to manipulating words instead of punctuation marks, and juggling with rhymes even and with titles, what is to be said? What the author commonly says cannot be printed here. I once knew a poetaster who wrote a handful of little rhymes which he called rather happily after his own notion, “Songs of a Year,” and which in due time appeared in print. The editor, however, had thought “The Four Seasons” a more taking title. The poetaster disagreed with him, but it was too late. Another effort of this same unfortunate he protested tearfully that he could not recognize in its printed form except by the strawberry mark, that is, the signature; and he said he wished the editor had revised that, too, while he was about it. What is an editor? Is he omniscient? We know better. Are all the articles in his magazine supposed to bear the imprint of his ideas and style? When Mr. Howells, at an alleged salary of fifteen thousand a year, edited the _Cosmopolitan_ and wrote most of it himself—well, you remember. If the editor knows to a comma how he wants his poetry written, let him write it himself, as Mr. Gilder mostly does. If he thinks he can improve on the poetical style of his contributor and wants to put in his time that way, let him write and propose collaboration, or at least submit to the poor mortal of an author a plan of the contemplated improvements. But to go ahead on his own hook and change the whole complexion of the thing perhaps, and then send it out over the original signature? It is not honest. The author relinquishes for a time the child of his brain, fondly expecting to get it back again in beautiful new clothes of type. What he does get is a changeling with dyed hair and a clothespin on its nose. Is he grateful? Hardly. When the editor accepts a drawing for his magazine does he proceed to work it over, put in a few more shadows, touch up the high lights and perhaps alter the arrangement of the model’s back hair? Not as a rule. A magazine is not a school for drawing, nor is it a literary kindergarten. An editor is not a pedagogue. If he thinks a thing good enough to print, let him print it honestly as it was made; if not, let him return it with thanks and encourage the author to send it somewhere else. That author, if he is worth his Attic salt, would rather have his verses printed in the Podunk _Thinker_ as he wrote them than in the _Century_ with R. W. Gilder’s emendations. NEITH BOYCE. THE MODEL OF A STATESMAN. When Abiel Whitworth went to the assessor’s office to get fifty per cent. taken from the taxable value of his house and lot, he stepped jauntily into the room. Then he shuddered. “I want to see the assessor,” he faltered. Now, the man who had lifted his head when he stepped on the rug before the official desk filled him with a vague alarm. He was of only medium size, not well put together: he had a curling black mustache, a heavy, monkey-like face, a miraculously clean shave, a political diamond in his shirt, new clothes and an air of brutal leisure that reminded one of a sphinx, or an alderman. But it was the shining, glassy, far seeing eye, with its lashes turned back, that startled Mr. Whitworth. It was so cold, so empty of expression, so thoroughly uncanny, that it scared him. After a long, searching look, in which he did not seem to breathe, the assessor bent his head and resumed the study of a paper that lay on the desk before him. Mr. Whitworth waited; a clock ticked and buzzed somewhere in the room, emphasizing the silence: then he gulped and repeated, “I want to see Mr. Flannery, the assessor.” Some seconds elapsed this time before the man at the desk raised his head again and transfixed him with another stare: then he resumed his reading. The man was wrong, in some way. Was he mad? He might be a vampire, or a ghoul, for he did not look or act like a human being. Mr. Whitworth became quite chilly in his blood. “I don’t believe I want to see the assessor,” he said, huskily, and was about to turn away and run, when a solitary clerk, who had been toiling over a ledger in the back of the room, hastened forward and said, “Beg pardon, sir, but I was in the middle of a calculation and wanted to finish it. Can I do anything for you?” “I wanted to see Mr. Flannery.” “This represents Mr. Flannery,” said the clerk, “and represents him remarkably well, in more than one way. He is, if I may so call him, the official Mr. Flannery.” “I don’t understand.” “I dare say not. We don’t let everybody know about it.” And, calmly lifting Mr. Flannery’s head from his shoulders, the clerk reached down his neck and adjusted something inside of him. The sound of the clock stopped, and Mr. Flannery did not lift his head again after it was replaced. Mr. Whitworth gasped. “You see, sir,” added the clerk, “Mr. Flannery was appointed by Mayor Rourke, at the request of Boss McManus. It was supposed that he could read and write, for he has been quite successful in managing primary elections, and has made a good lot of money in the saloon business. But he can’t read and he is busy, so what was the use in his coming to the office? He had this wax figure of himself made to sit at this desk, and there is a spring attachment that works whenever anyone stands on that rug. The figure, you see, lifts its head once in twenty seconds, and that is all that Flannery does when he is here. The taxpayers have been kicking so hard about absentees that the boss and others have been stirring the office holders up and Flannery thinks it’s only right to make this much of a concession. Very few find out that it is not Flannery, except that he swears more. If you want to see the sure enough Flannery go down to his saloon on Columbus avenue. He comes here every second Saturday—he is very good about that—to get his pay.” “Seems to me you are giving him away pretty freely.” “Well, to tell the truth, I’m hoping to get his job myself, under the new mayor.” * * * * * In which Narrative an Allegory may perhaps be discovered without a Powerful Mind or a Microscope. CHARLES M. SKINNER. SIDE TALKS WITH THE PHILISTINES. The drama is queer. Life’s queer, for that matter, but queerness does most abound when Mr. Mansfield gives up elevating the stage and begins hoisting the lecture platform—or doesn’t, whichever is the latest news. Mansfield can earn some hundreds a week acting; wants to make it thousands, managing; fails, naturally, not having a spreadeagle mustache and sufficient capacity for the tender passion; abuses people for not supporting Art. Mansfield reminds the irreverent reader of Jno. Glimmer Screed, bewailing in the _Forum_ that he can only make five thousand dollars a year by his puissant pen and that his children must eat breadless butter or butterless bread, or other incomplete dietary, and live in a flat. These considerations suggest a legislative enactment of the “be and hereby is” sort, assessing upon the taxpayers the cost of paying fifty thousand dollars a year each to all people who are so lacking in the sense of humor as to suppose it makes any difference whether they eat bread or snow. * * * * * The drama isn’t queerer than literature. Laureate Austin, mere mention of whose name has been known to split a horse’s sides, dedicates _England’s Darling_ to the Princess of Wales by permission. No knowing whether the darling is the Princess or the Laureate without reading the verses, and that’s too much trouble. * * * * * Mr. Moulting Storrs Bigelow has lost the tail feathers of his prestige in the insurance business, which than his requires cheek even more adamantine. * * * * * Mr. Richard Harding Davis is being congratulated upon his “manly words about the Monroe doctrine,” wherewith the fifteen dollar a week hired-man-of-intellect in the Harper factory saved his fifteen thousand dollars a year article upon Venezuela from being quite so idiotic as it might have been. Dr. Conan Doyle prescribes peace with Great Britain to Uncle Sam, with a canny view to the sale of sedative Tales, uninterrupted by blockades. B’rer Crockett also loves the Americans. So does Sarah Grand. So would Screed and Beau Brummell Mansfield, if—— * * * * * The way to get rich is to sell paper, not like the newspaper publisher, who sometimes makes a hit buying tree paper at two cents a pound and selling it at the rate of one hundred fakes for five cents; that’s an uncertain business and requires a disciplined conscience, not to speak of capital, which is more rare. No, sell paper of the kind recommended by the Bucyrus _Authors’ Journal_ or the Dutch Flats _Cable Railway to Parnassus_. Here is the whole snap: 1. PERSONAL INTELLIGENCE: “Du Maurier is to receive fifty thousand dollars and a paid up accident policy for _The Martian_.” 2. HELPS FOR YOUNG AUTHORS: “Write only on one side of the paper. Use good cream paper, unruled, seven by ten. Mr. Gilder always writes his sonnets with violet ink. Keep a written record of all manuscripts sent out, etc.” 3. ADVERTISEMENTS. +---------------------------------------------+ | JONES & BROWN, | | WRITERS SUPPLIES, | | VIOLET, RED AND BLACK INKS. | | | | Paper, cream and white, 7×10, and other | | standard sizes. Manuscript records, rulers, | | pens, etc. Send for catalogue. | | Mail Orders Promptly Filled. | +---------------------------------------------+ Wherefore hath Mr. Screed written himself down an ass. Yea, a wild ass. If he values money more than doing what he wants to do, let him sell seven by ten paper, violet ink and manuscript records, and let us have Peace. * * * * * Mr. Sothern makes an announcement. For production next year he has accepted _An Enemy to the King_, and thus tosses into the arena Mr. R. N. Stephens, of Philadelphia, who made the play. Mr. Stephens has a past. Having endured for some years as a dramatic editor the honeyed wheedlings of theatrical advance agents, he crouched for a spring last year while painstaking audiences beheld his dramatic works, _The White Rat_, _The Sidewalks of New York_, _Girl Wanted_ and others, and then he began working out swift and cosmopolitan vengeance as an agent on all the remaining dramatic editors. One afternoon before that, however, Mr. George Marion, the veteran though happy stage director for Messrs. Davis and Keogh, contractors, sat in their Herald Square Factory smoking the most dynamic cigar ever taxed. “What are you doing, George?” piped a voice. “Oh, I’m not very busy,” replied Mr. Marion, apprehensively. “Well, you go over to Pittsburg and tell John Kernell we’ll have a new play ready for him tomorrow;” and turning around, the voice, though twisted, remarked, “Stevens, you write Kernell a play and send it to him tonight. Call it _The Irish Alderman_.” Mr. Stephens has written eighty plays in a single week. His nights he spends with Sherlock Holmes, and in his dreams he converses with the White Robed Mahatmas. His brain food is scrapple, and he draws his strength from Johann Malt’s street car poster. Mr. Sothern’s courage must proceed from the gods. * * * * * Mr. Daniel Frohman, the theatrical manager, to distinguish himself from whom Mr. Charles Frohman bills his name with an emphatic score under the “Charles,” has achieved for the drama something dignified enough to be called an episode. He saw what Mr. Beerbohm Tree, Mr. George Alexander, Mr. Richard Mansfield and others denied—that Mr. Anthony Hope’s novel, _The Prisoner of Zenda_, needed very little mending to make a play of the first class. For this lonely act Mr. Frohman richly deserves a monument in Fourth avenue opposite his templar Lyceum. A Daniel certainly came to judgment. _Zenda_ on the stage is great. Mr. Edward Rose, who made the play, has not attempted to clear up the moats and castles and bridges, which in an infantry novel I never could understand, but he has made very human beings and used a precious lot of Mr. Hope’s dialogue. _Zenda_ has a bad ending. There is no question about that. I can just imagine my friend, Mr. Adv. W. Bok, sitting through the martyr separation of Rassendyll and Flavia and scuffling away thinking “Ugh, how mean!” People that croak over Mercutio’s untimely taking off are of the same ilk; and they wish _A Tale of Two Cities_ ended happily. Mean, are these nobilities. Rupert in the play, scornful-merry, thinks it is the meanest ending possible; and chained he goes laughing away, taunting Rassendyll with being the biggest of fools for giving up love and a kingdom for honor’s sake. Fritz thinks not, though. Manfully he strides up to Rassendyll, a great chunk of grief on his palate, and taking the unwounded hand, shakes it fiercely and silently, as if his allegiance were bound with that clasp, and when he let go he would be a traitor forever. And when he goes away, old Sapt comes; and he thinks not, like Fritz. He grips the “lad’s” hand while a tear falls on the bloody bandage Rassendyll wears, and a magnet somewhere somehow snaps his loyal old knee to the floor in reverence for this “lad” that ought to be king if he isn’t. Flavia? She thinks not, too. She is not to die, like Camille, but is doomed to a more horrible tragedy: she must live on. She speaks the brave, spirit-crushing word that decrees the parting, and Rassendyll goes away, too. The red badge of courage is on his rag-slung arm, and there is a royal Vestal flame in his agonizing heart. “Is love the only thing?” The tear-blinded eyes of many a spectator of Mr. Sothern and Miss Kimball’s sweet and pathetic performance testify that the average man or woman thinks, yes. I don’t know. * * * * * In a late number of the Paris edition of the New York _Herald_ I find this: “According to the new etymology a Philistine is one who believes in health, good cheer and manly self reliance as opposed to languid, mawkish sentimentality—that sure breeder of refined vice and degeneracy.” I really could not put the matter better than this myself. * * * * * My, My, My! but the “Note” that took the Five Dollar Prize was rotten! * * * * * In the American reprint of “Without Prejudice” sixty errors occur; the proof reading was left to Miss Mayme, who came up from the bindery: the Only Lynx-Eyed being on a journey. * * * * * My correspondents still continue to chew about the statement that this world is Hell and we are now being punished for sins committed in a former life. One woman writes me that if this world is surely Hell then there must be many devils here. “This being so, who are they?” she asks. I can only answer this in the words of a great poet who on being asked who the Decadents were, replied testily: “The others—always the others.” * * * * * The reason that it is called “Children’s Department” is because it is conducted by papa’s little boy. * * * * * I call the attention of Gunner Antonio Kumstalk to the fact that while the _Youth’s Companion_ and the _Ladies’ Boklet_ furnish the pictures for Art and Underwear, the Boston _Commonwealth_ still supplies the text. * * * * * Law is now being successfully taught by correspondence. In fact the most brilliant legal lights of the future will probably be men who never went to school a day in their lives—simply hit the principles of Blackstone by correspondence while working on a farm. Journalism, too, is taught by correspondence and also in night schools. Twenty first-class lessons can be had for five dollars, with promise of position as Managing Editor to all who run the course and are glorified—that is graduated. * * * * * I am informed that the reason young Mr. Bumball of Chicago is often spoken of by his father as Issachar is fully explained in verse 14 of Chapter xlix of Genesis. * * * * * My good friend Walter Hippeau Merriam writes me from New York: “As a Philistine in good standing, with dues paid to 1901, I wish to exert my prerogative to protest. In your February issue you allow Mr. Macpherson Wiltbank to put forth some very startling “facts” concerning a musician named Chopin. The musician was not fertile enough in matters of revenge to ever originate that story of _The Little White Black Bird_. It was the work of an obscure poet named De Musset and can be found in his _Contes_, (Charpentier Librarie Editeur, 39 Rue de l’Universite, Paris, 1854.) If the Datary has not fined Mr. Wiltbank twenty-five skekels for trifling with truth, please see that it is done at once.” * * * * * The _New Cycle_ has changed its name. Being essentially feminine, and this being leap year beside, of course it had a perfect right to do so. The move I understand was made to circumvent the joker who had a way of saying _Wheels_. Neith Boyce did not like this, for she said it was twitting on facts. She even threatened to resign if the name was not changed and a prettier cover used. The manager swore he would never be dictated by a woman, and swearing he would never consent, consented—changing the name (but not its nature) and getting that pretty cover. Phosphorus in editorial rooms is at a premium, and _The Lotos_ (that’s the new name) cannot afford to lose Neith Boyce. * * * * * _The Cosmopolitan_ (not the magazine composed merely of printers’ ink) contains on page 425 of its February, 1896, issue a poem (?) by one Gustav Kobbe, entitled _Obediah Folger_. In _Hundred Choice Selections_, 1872, No. 5, under the title _The Nantucket Skipper_, and in _American Union Speaker_, 1865, as _The Alarmed Skipper_, is the identical story now published by John Brisben Walker as something new! Nothing about it is new except the word combinations. The only possible excuse that I can see is that both the plagiarist-author and his publisher have never been in Boston and never heard of that eminent author and publisher, James T. Fields, (1817-1881), who composed the first poem on this idea. * * * * * It was well enough for Shakespeare to ask “What’s in a name?” seeing that he never realized what his own would stand for in the scroll of time; but do our modern writers who are not satisfied with one, but insist on forcing three and sometimes more names apiece upon public observation, take the same modest view of the significance of a cognomen? Not when there are three or more together, evidently. In short, and let us remember that “brevity is the soul of wit,” the natural inference is that they hold their signature as of more consequence than the screed that follows it. And perhaps they are right in this, though in some cases that is only a left-handed compliment. * * * * * The Revolutionary condition of Literature in America: Old Men sitting in shade on door steps; sometime smoking, always talking: of paper battles won in many magazines; of thrusts with pen; parries with pencil; ink bespattered veterans o’ercome, all in wordy warfare; of merry meetings turned to stern alarums; a so-long manuscript at so-much a page. Then Boys come by detached from Philistinic Hosts: make mud balls; revile; jeer; hiding behind bibelots. These two Factions, the Old and Young; the Senile and the Callow, the Wornout and the Willing: this is all there is to Literature in America. So saith that paper which with rare satire calls itself _Truth_. * * * * * Mr. John Langdon Heaton, who writes good poetry (and bad), suggests that the use of the fig leaf in these notes is “indelicate.” * * * * * Backed by the sanity of keen observation and good sense, the stories of “Octave Thanet” come out of the West like young Lochinvar. Recently from Miss French came a note of commendation enclosing the first stanza of a Philistine Hymn. Hearing that great things are in the air, I hasten to print these lines lest they be grabbed by greedy publishers: I’m glad I am a Philistine, I wouldn’t be no other, For half the Art that poses now Is nerves and mud and Bother! I like a clean and decent tale About a friend and brother. Neurotic dames and wandering flames If I can skip, I ’druther. I’m glad, etc., etc. * * * * * The esteemed _Whims_ of New York begins a new series. It will be followed rapidly by _Jims_, _Skims_, _Limbs_ and _Pims_. We already have had _Chips_, _Dips_, _Skips_ and _Pips_. I learn that Grandmother _Chip-Munk_ is exceedingly proud of her interesting brood and is still laying eggs. * * * * * And the flood continues. I wonder what the definite aim of all the periodicals may be? At any rate I wish them all success, and hope they may “try to do which,” as the French say, “is that which it is that which it is what.” High aims are good things, we are told, and doubtless, like the mariners, we should steer our courses by the stars. Still there is good game which lies close to the earth if we knew how to hunt for it—and there’s the fun of hunting anyway, game or not. * * * * * Colonel Frank L. Stanton, able poet, of Atlanta, Georgia, is whirling his wheels too rapidly. Seventeen yards of poetry a day, seven days in the week, is too much for all concerned. The Colonel started with foam, and already is running to emptyings, namely: Sleep, my little curl-head, sleep! Here beside your nest I keep. Mother’s hung your Christmas stocking, Mother’s hand your cradle’s rocking— Sleep, my little curl-head, sleep! The office boy can rhyme you in that style till the cows come home. Little Journeys SERIES FOR 1896 Little Journeys to the Homes of American Authors. The papers below specified were, with the exception of that contributed by the editor, Mr. Hubbard, originally issued by the late G. P. Putnam, in 1853, in a book entitled _Homes of American Authors_. It is now nearly half a century since this series (which won for itself at the time a very noteworthy prestige) was brought before the public; and the present publishers feel that no apology is needed in presenting to a new generation of American readers papers of such distinctive biographical interest and literary value. No. 1, Emerson, by Geo. W. Curtis. ” 2, Bryant, by Caroline M. Kirkland. ” 3, Prescott, by Geo. S. Hillard. ” 4, Lowell, by Charles F. Briggs. ” 5, Simms, by Wm. Cullen Bryant. ” 6, Walt Whitman, by Elbert Hubbard. ” 7, Hawthorne, by Geo. Wm. Curtis. ” 8, Audubon, by Parke Godwin. ” 9, Irving, by H. T. Tuckerman. ” 10, Longfellow, by Geo. Wm. Curtis. ” 11, Everett, by Geo. S. Hillard. ” 12, Bancroft, by Geo. W. Greene. The above papers will form the series of _Little Journeys_ for the year 1896. They will be issued monthly, beginning January, 1896, in the same general style as the series of 1895, at 50 cents a year, and single copies will be sold for 5 cents, postage paid. G. P. PUTNAM’S SONS, NEW YORK AND LONDON THE CONSERVATOR Printed Monthly in Philadelphia. HORACE L. TRAUBEL, Editor. ANNUAL SUBSCRIPTION PRICE ONE DOLLAR. All communications intended for the Editor should be addressed to HORACE L. TRAUBEL, CAMDEN, NEW JERSEY. The attention of persons interested in Walt Whitman is directed to _The Conservator_, in which, along with the presentation of other views, affecting freedom, democracy, ethics, solidarity, there appear special studies treating of the significance of Walt Whitman’s appearance in history, written in part by men whose personal relations to Whitman, often whose genius, give their utterances great importance and offer special reasons why readers of books and lovers of man cannot afford to ignore or neglect their contributions. Grouped here following are some names of recent writers aiding in this synthesis. John Burroughs, Richard Maurice Bucke, Oscar Lovell Triggs, Hamlin Garland, Daniel G. Brinton, Thomas B. Harned, Kelley Miller, Isaac Hull Platt, Miss Charlotte Porter, Miss Helen A. Clarke, Miss Helena Born, Edward Payson Jackson, Edgar Fawcett, Laurens Maynard, Francis Howard Williams, William Sloane Kennedy, John Herbert Clifford, Wayland Hyatt Smith, Horace L. Traubel. THE AMERICAN. The Leading Exponent of Bimetallism and Protection in the United States. A national weekly journal, Truthful, Fearless and Aggressive in the discussion of Public Affairs and other events of general interest, in which those who are literary, as well as those who desire to be fully informed on current events of Public Importance will find what they want. WHARTON BARKER, Editor. _The American_ is fighting the battle of the masses against those who would fix the gold standard permanently upon the country; holding that the supreme duty of the American People is to conserve, protect and fortify the interests of the United States. $2.00 per annum. Sample copies free. $3.00 for $2.00. JUST THINK OF IT! For $2, the regular price of subscription, we will send _The American_ and any one of these well-known periodicals: To Date. Munsey’s. Cosmopolitan. The Black Cat. McClure’s. Peterson’s. Book Buyer. Godey’s. Romance. American Sentinel. Farm Journal. American Agriculturist. Rural New Yorker. Art in Advertising. Ladies’ Home Journal. Sunday School Times. American Gardening. National Temperance Advocate. American Woman’s Magazine. The name of the subscriber must be one not now on our list. Mention this advertisement. THE AMERICAN, No. 119 SOUTH FOURTH St., PHILADELPHIA. 52 CENTS FOR 52 NUMBERS FOR 52 WEEKS. _FOOTLIGHTS_, that weekly illustrated paper published in Philadelphia, (pity, isn’t it?) is a clean (moderately so) paper, chock full of such uninteresting topics as interviews with actor and actress (bless ’em); book gossip, news from Paris and London, (dear, old Lunnon), woman’s chatter, verse and lots more of idiocy that only spoils white paper. It sells for five cents a copy, or $2.00 a year. It has a big circulation (and that’s no joke) and to make that circulation bigger yet we will mail you the paper for the cost of postage—52 cents for 52 numbers for 52 weeks. Send the 52 any old way you want, but for Heaven’s sake address your letter right, so no other paper gets it but FOOTLIGHTS, Philadelphia, Pa. The Roycroft Printing Shop announces for immediate delivery an exquisite edition of the Song of Songs: which is Solomon’s; being a Reprint of the text together with a Study by Mr. Elbert Hubbard. In this edition a most peculiar and pleasant effect is wrought by casting the Song into dramatic form. The Study is sincere, but not serious, and has been declared by several Learned Persons, to whom the proofsheets have been submitted, to be a Work of Art. The Volume is thought a seemly and precious gift from any Wife to any Husband. The book is printed by hand, with rubrications and a specially designed title page after the manner of the Venetian, on Ruisdael handmade paper. The type was cast to the order of the Roycroft Shop, and is cut after one of the earliest Roman faces. Probably no more beautiful type for book printing was ever made, and for reasons known to lovers of books, this publication will mark an era in the art of printing in America. _Only six hundred copies, bound in antique boards, have been made and are offered for sale at two dollars each, net. There are also twelve copies printed on Japan vellum throughout, but which are all sold at five dollars each. Every copy is numbered and signed by Mr. Hubbard. The type has been distributed and no further edition will be printed._ THE ROYCROFT PRINTING SHOP East Aurora, New York. * * * * * [Illustration] Although Mr. Gladstone is a very busy man he has found time to write me with his own hand saying that the PHILISTINE has supplied him several quiet smiles. *** END OF THE PROJECT GUTENBERG EBOOK THE PHILISTINE: A PERIODICAL OF PROTEST (VOL. II, NO. 4, MARCH 1896) *** Updated editions will replace the previous one--the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away--you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ 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™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ 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™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ 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™ 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™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ 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™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ 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™ 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™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than 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™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ 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™ 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™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 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™ 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™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ 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™ 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™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ 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™ 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™ 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™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ 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™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you “AS-IS”, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ 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™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ 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™'s goals and ensuring that the Project Gutenberg™ 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™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation's EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state's laws. The Foundation's business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation's website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate Section 5. General Information About Project Gutenberg™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org This website includes information about Project Gutenberg™, 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.