SPEECH ON ACCIDENT INSURANCE CHAPTER V. [Scene-A Roman Cafe.] One of a group of American gentlemen reads and translates from the weekly edition of 'Il Slangwhanger di Roma' as follows: WONDERFUL DISCOVERY—Some six months ago Signor John Smitthe, an American gentleman now some years a resident of Rome, purchased for a trifle a small piece of ground in the Campagna, just beyond the tomb of the Scipio family, from the owner, a bankrupt relative of the Princess Borghese. Mr. Smitthe afterward went to the Minister of the Public Records and had the piece of ground transferred to a poor American artist named George Arnold, explaining that he did it as payment and satisfaction for pecuniary damage accidentally done by him long since upon property belonging to Signor Arnold, and further observed that he would make additional satisfaction by improving the ground for Signor A., at his own charge and cost. Four weeks ago, while making some necessary excavations upon the property, Signor Smitthe unearthed the most remarkable ancient statue that has ever bees added to the opulent art treasures of Rome. It was an exquisite figure of a woman, and though sadly stained by the soil and the mold of ages, no eye can look unmoved upon its ravishing beauty. The nose, the left leg from the knee down, an ear, and also the toes of the right foot and two fingers of one of the hands were gone, but otherwise the noble figure was in a remarkable state of preservation. The government at once took military possession of the statue, and appointed a commission of art-critics, antiquaries, and cardinal princes of the church to assess its value and determine the remuneration that must go to the owner of the ground in which it was found. The whole affair was kept a profound secret until last night. In the mean time the commission sat with closed doors and deliberated. Last night they decided unanimously that the statue is a Venus, and the work of some unknown but sublimely gifted artist of the third century before Christ. They consider it the most faultless work of art the world has any knowledge of. At midnight they held a final conference and, decided that the Venus was worth the enormous sum of ten million francs! In accordance with Roman law and Roman usage, the government being half-owner in all works of art found in the Campagna, the State has naught to do but pay five million francs to Mr. Arnold and take permanent possession of the beautiful statue. This morning the Venus will be removed to the Capitol, there to remain, and at noon the commission will wait upon Signor Arnold with His Holiness the Pope's order upon the Treasury for the princely sum of five million francs is gold! Chorus of Voices.—"Luck! It's no name for it!" Another Voice.—"Gentlemen, I propose that we immediately form an American joint-stock company for the purchase of lands and excavations of statues here, with proper connections in Wall Street to bull and bear the stock." All.—"Agreed." CHAPTER VI. [Scene—The Roman Capitol Ten Years Later.] "Dearest Mary, this is the most celebrated statue in the world. This is the renowned 'Capitoline Venus' you've heard so much about. Here she is with her little blemishes 'restored' (that is, patched) by the most noted Roman artists—and the mere fact that they did the humble patching of so noble a creation will make their names illustrious while the world stands. How strange it seems this place! The day before I last stood here, ten happy years ago, I wasn't a rich man bless your soul, I hadn't a cent. And yet I had a good deal to do with making Rome mistress of this grandest work of ancient art the world contains." "The worshiped, the illustrious Capitoline Venus—and what a sum she is valued at! Ten millions of francs!" "Yes—now she is." "And oh, Georgy, how divinely beautiful she is!" "Ah, yes but nothing to what she was before that blessed John Smith broke her leg and battered her nose. Ingenious Smith!—gifted Smith!—noble Smith! Author of all our bliss! Hark! Do you know what that wheeze means? Mary, that cub has got the whooping-cough. Will you never learn to take care of the children!" THE END The Capitoline Venus is still in the Capitol at Rome, and is still the most charming and most illustrious work of ancient art the world can boast of. But if ever it shall be your fortune to stand before it and go into the customary ecstasies over it, don't permit this true and secret history of its origin to mar your bliss—and when you read about a gigantic Petrified man being dug up near Syracuse, in the State of New York, or near any other place, keep your own counsel—and if the Barnum that buried him there offers to sell to you at an enormous sum, don't you buy. Send him to the Pope! [NOTE.—The above sketch was written at the time the famous swindle of the "Petrified Giant" was the sensation of the day in the United States] SPEECH ON ACCIDENT INSURANCE DELIVERED IN HARTFORD, AT A DINNER TO CORNELIUS WALFORD, OF LONDON GENTLEMEN: I am glad, indeed, to assist in welcoming the distinguished guest of this occasion to a city whose fame as an insurance center has extended to all lands, and given us the name of being a quadruple band of brothers working sweetly hand in hand—the Colt's Arms Company making the destruction of our race easy and convenient, our life insurance citizens paying for the victims when they pass away, Mr. Batterson perpetuating their memory with his stately monuments, and our fire-insurance comrades taking care of their hereafter. I am glad to assist in welcoming our guest first, because he is an Englishman, and I owe a heavy debt of hospitality to certain of his fellow-countrymen; and secondly, because he is in sympathy with insurance and has been the means of making may other men cast their sympathies in the same direction. Certainly there is no nobler field for human effort than the insurance line of business—especially accident insurance. Ever since I have been a director in an accident-insurance company I have felt that I am a better man. Life has seemed more precious. Accidents have assumed a kindlier aspect. Distressing special providences have lost half their horror. I look upon a cripple now with affectionate interest—as an advertisement. I do not seem to care for poetry any more. I do not care for politics—even agriculture does not excite me. But to me now there is a charm about a railway collision that is unspeakable. There is nothing more beneficent than accident insurance. I have seen an entire family lifted out of poverty and into affluence by the simple boon of a broken leg. I have had people come to me on crutches, with tears in their eyes, to bless this beneficent institution. In all my experience of life, I have seen nothing so seraphic as the look that comes into a freshly mutilated man's face when he feels in his vest pocket with his remaining hand and finds his accident ticket all right. And I have seen nothing so sad as the look that came into another splintered customer's face when he found he couldn't collect on a wooden leg. I will remark here, by way of advertisement, that that noble charity which we have named the HARTFORD ACCIDENT INSURANCE COMPANY—[The speaker is a director of the company named.]—is an institution which is peculiarly to be depended upon. A man is bound to prosper who gives it his custom. No man can take out a policy in it and not get crippled before the year is out. Now there was one indigent man who had been disappointed so often with other companies that he had grown disheartened, his appetite left him, he ceased to smile—life was but a weariness. Three weeks ago I got him to insure with us, and now he is the brightest, happiest spirit in this land has a good steady income and a stylish suit of new bandages every day, and travels around on a shutter. I will say, in conclusion, that my share of the welcome to our guest is none the less hearty because I talk so much nonsense, and I know that I can say the same for the rest of the speakers. JOHN CHINAMAN IN NEW YORK As I passed along by one of those monster American tea stores in New York, I found a Chinaman sitting before it acting in the capacity of a sign. Everybody that passed by gave him a steady stare as long as their heads would twist over their shoulders without dislocating their necks, and a group had stopped to stare deliberately. Is it not a shame that we, who prate so much about civilization and humanity, are content to degrade a fellow-being to such an office as this? Is it not time for reflection when we find ourselves willing to see in such a being matter for frivolous curiosity instead of regret and grave reflection? Here was a poor creature whom hard fortune had exiled from his natural home beyond the seas, and whose troubles ought to have touched these idle strangers that thronged about him; but did it? Apparently not. Men calling themselves the superior race, the race of culture and of gentle blood, scanned his quaint Chinese hat, with peaked roof and ball on top, and his long queue dangling down his back; his short silken blouse, curiously frogged and figured (and, like the rest of his raiment, rusty, dilapidated, and awkwardly put on); his blue cotton, tight-legged pants, tied close around the ankles; and his clumsy blunt-toed shoes with thick cork soles; and having so scanned him from head to foot, cracked some unseemly joke about his outlandish attire or his melancholy face, and passed on. In my heart I pitied the friendless Mongol. I wondered what was passing behind his sad face, and what distant scene his vacant eye was dreaming of. Were his thoughts with his heart, ten thousand miles away, beyond the billowy wastes of the Pacific? among the ricefields and the plumy palms of China? under the shadows of remembered mountain peaks, or in groves of bloomy shrubs and strange forest trees unknown to climes like ours? And now and then, rippling among his visions and his dreams, did he hear familiar laughter and half-forgotten voices, and did he catch fitful glimpses of the friendly faces of a bygone time? A cruel fate it is, I said, that is befallen this bronzed wanderer. In order that the group of idlers might be touched at least by the words of the poor fellow, since the appeal of his pauper dress and his dreary exile was lost upon them, I touched him on the shoulder and said: "Cheer up—don't be downhearted. It is not America that treats you in this way, it is merely one citizen, whose greed of gain has eaten the humanity out of his heart. America has a broader hospitality for the exiled and oppressed. America and Americans are always ready to help the unfortunate. Money shall be raised—you shall go back to China you shall see your friends again. What wages do they pay you here?" "Divil a cint but four dollars a week and find meself; but it's aisy, barrin' the troublesome furrin clothes that's so expinsive." The exile remains at his post. The New York tea merchants who need picturesque signs are not likely to run out of Chinamen. HOW I EDITED AN AGRICULTURAL PAPER [Written abort 1870.] I did not take temporary editorship of an agricultural paper without misgivings. Neither would a landsman take command of a ship without misgivings. But I was in circumstances that made the salary an object. The regular editor of the paper was going off for a holiday, and I accepted the terms he offered, and took his place. The sensation of being at work again was luxurious, and I wrought all the week with unflagging pleasure. We went to press, and I waited a day with some solicitude to see whether my effort was going to attract any notice. As I left the office, toward sundown, a group of men and boys at the foot of the stairs dispersed with one impulse, and gave me passageway, and I heard one or two of them say: "That's him!" I was naturally pleased by this incident. The next morning I found a similar group at the foot of the stairs, and scattering couples and individuals standing here and there in the street and over the way, watching me with interest. The group separated and fell back as I approached, and I heard a man say, "Look at his eye!" I pretended not to observe the notice I was attracting, but secretly I was pleased with it, and was purposing to write an account of it to my aunt. I went up the short flight of stairs, and heard cheery voices and a ringing laugh as I drew near the door, which I opened, and caught a glimpse of two young rural-looking men, whose faces blanched and lengthened when they saw me, and then they both plunged through the window with a great crash. I was surprised. In about half an hour an old gentleman, with a flowing beard and a fine but rather austere face, entered, and sat down at my invitation. He seemed to have something on his mind. He took off his hat and set it on the floor, and got out of it a red silk handkerchief and a copy of our paper. He put the paper on his lap, and while he polished his spectacles with his handkerchief he said, "Are you the new editor?" I said I was. "Have you ever edited an agricultural paper before?" "No," I said; "this is my first attempt." "Very likely. Have you had any experience in agriculture practically?" "No; I believe I have not." "Some instinct told me so," said the old gentleman, putting on his spectacles, and looking over them at me with asperity, while he folded his paper into a convenient shape. "I wish to read you what must have made me have that instinct. It was this editorial. Listen, and see if it was you that wrote it: "'Turnips should never be pulled, it injures them. It is much better to send a boy up and let him shake the tree.' "Now, what do you think of that? for I really suppose you wrote it?" "Think of it? Why, I think it is good. I think it is sense. I have no doubt that every year millions and millions of bushels of turnips are spoiled in this township alone by being pulled in a half-ripe condition, when, if they had sent a boy up to shake the tree—" "Shake your grandmother! Turnips don't grow on trees!" "Oh, they don't, don't they? Well, who said they did? The language was intended to be figurative, wholly figurative. Anybody that knows anything will know that I meant that the boy should shake the vine." Then this old person got up and tore his paper all into small shreds, and stamped on them, and broke several things with his cane, and said I did not know as much as a cow; and then went—out and banged the door after him, and, in short, acted in such a way that I fancied he was displeased about something. But not knowing what the trouble was, I could not be any help to him. Pretty soon after this a long, cadaverous creature, with lanky locks hanging down to his shoulders, and a week's stubble bristling from the hills and valleys of his face, darted within the door, and halted, motionless, with finger on lip, and head and body bent in listening attitude. No sound was heard. Still he listened. No sound. Then he turned the key in the door, and came elaborately tiptoeing toward me till he was within long reaching distance of me, when he stopped and, after scanning my face with intense interest for a while, drew a folded copy of our paper from his bosom, and said: "There, you wrote that. Read it to me—quick! Relieve me. I suffer." I read as follows; and as the sentences fell from my lips I could see the relief come, I could see the drawn muscles relax, and the anxiety go out of the face, and rest and peace steal over the features like the merciful moonlight over a desolate landscape: The guano is a fine bird, but great care is necessary in rearing it. It should not be imported earlier than June or later than September. In the winter it should be kept in a warm place, where it can hatch out its young. It is evident that we are to have a backward season for grain. Therefore it will be well for the farmer to begin setting out his corn-stalks and planting his buckwheat cakes in July instead of August.
Concerning the pumpkin. This berry is a favorite with the natives of the interior of New England, who prefer it to the gooseberry for the making of fruit-cake, and who likewise give it the preference over the raspberry for feeding cows, as being more filling and fully as satisfying. The pumpkin is the only esculent of the orange family that will thrive in the North, except the gourd and one or two varieties of the squash. But the custom of planting it in the front yard with the shrubbery is fast going out of vogue, for it is now generally conceded that, the pumpkin as a shade tree is a failure. Now, as the warm weather approaches, and the ganders begin to spawn— The excited listener sprang toward me to shake hands, and said: "There, there—that will do. I know I am all right now, because you have read it just as I did, word, for word. But, stranger, when I first read it this morning, I said to myself, I never, never believed it before, notwithstanding my friends kept me under watch so strict, but now I believe I am crazy; and with that I fetched a howl that you might have heard two miles, and started out to kill somebody—because, you know, I knew it would come to that sooner or later, and so I might as well begin. I read one of them paragraphs over again, so as to be certain, and then I burned my house down and started. I have crippled several people, and have got one fellow up a tree, where I can get him if I want him. But I thought I would call in here as I passed along and make the thing perfectly certain; and now it is certain, and I tell you it is lucky for the chap that is in the tree. I should have killed him sure, as I went back. Good-by, sir, good-by; you have taken a great load off my mind. My reason has stood the strain of one of your agricultural articles, and I know that nothing can ever unseat it now. Good-by, sir." I felt a little uncomfortable about the cripplings and arsons this person had been entertaining himself with, for I could not help feeling remotely accessory to them. But these thoughts were quickly banished, for the regular editor walked in! [I thought to myself, Now if you had gone to Egypt as I recommended you to, I might have had a chance to get my hand in; but you wouldn't do it, and here you are. I sort of expected you.] The editor was looking sad and perplexed and dejected. He surveyed the wreck which that old rioter and those two young farmers had made, and then said "This is a sad business—a very sad business. There is the mucilage-bottle broken, and six panes of glass, and a spittoon, and two candlesticks. But that is not the worst. The reputation of the paper is injured—and permanently, I fear. True, there never was such a call for the paper before, and it never sold such a large edition or soared to such celebrity; but does one want to be famous for lunacy, and prosper upon the infirmities of his mind? My friend, as I am an honest man, the street out here is full of people, and others are roosting on the fences, waiting to get a glimpse of you, because they think you are crazy. And well they might after reading your editorials. They are a disgrace to journalism. Why, what put it into your head that you could edit a paper of this nature? You do not seem to know the first rudiments of agriculture. You speak of a furrow and a harrow as being the same thing; you talk of the moulting season for cows; and you recommend the domestication of the pole-cat on account of its playfulness and its excellence as a ratter! Your remark that clams will lie quiet if music be played to them was superfluous—entirely superfluous. Nothing disturbs clams. Clams always lie quiet. Clams care nothing whatever about music. Ah, heavens and earth, friend! if you had made the acquiring of ignorance the study of your life, you could not have graduated with higher honor than you could to-day. I never saw anything like it. Your observation that the horse-chestnut as an article of commerce is steadily gaining in favor is simply calculated to destroy this journal. I want you to throw up your situation and go. I want no more holiday—I could not enjoy it if I had it. Certainly not with you in my chair. I would always stand in dread of what you might be going to recommend next. It makes me lose all patience every time I think of your discussing oyster-beds under the head of 'Landscape Gardening.' I want you to go. Nothing on earth could persuade me to take another holiday. Oh! why didn't you tell me you didn't know anything about agriculture?" "Tell you, you corn-stalk, you cabbage, you son of a cauliflower? It's the first time I ever heard such an unfeeling remark. I tell you I have been in the editorial business going on fourteen years, and it is the first time I ever heard of a man's having to know anything in order to edit a newspaper. You turnip! Who write the dramatic critiques for the second-rate papers? Why, a parcel of promoted shoemakers and apprentice apothecaries, who know just as much about good acting as I do about good farming and no more. Who review the books? People who never wrote one. Who do up the heavy leaders on finance? Parties who have had the largest opportunities for knowing nothing about it. Who criticize the Indian campaigns? Gentlemen who do not know a war-whoop from a wigwam, and who never have had to run a foot-race with a tomahawk, or pluck arrows out of the several members of their families to build the evening camp-fire with. Who write the temperance appeals, and clamor about the flowing bowl? Folks who will never draw another sober breath till they do it in the grave. Who edit the agricultural papers, you—yam? Men, as a general thing, who fail in the poetry line, yellow-colored novel line, sensation, drama line, city-editor line, and finally fall back on agriculture as a temporary reprieve from the poorhouse. You try to tell me anything about the newspaper business! Sir, I have been through it from Alpha to Omaha, and I tell you that the less a man knows the bigger the noise he makes and the higher the salary he commands. Heaven knows if I had but been ignorant instead of cultivated, and impudent instead of diffident, I could have made a name for myself in this cold, selfish world. I take my leave, sir. Since I have been treated as you have treated me, I am perfectly willing to go. But I have done my duty. I have fulfilled my contract as far as I was permitted to do it. I said I could make your paper of interest to all classes—and I have. I said I could run your circulation up to twenty thousand copies, and if I had had two more weeks I'd have done it. And I'd have given you the best class of readers that ever an agricultural paper had—not a farmer in it, nor a solitary individual who could tell a watermelon-tree from a peach-vine to save his life. You are the loser by this rupture, not me, Pie-plant. Adios." I then left. THE PETRIFIED MAN Now, to show how really hard it is to foist a moral or a truth upon an unsuspecting public through a burlesque without entirely and absurdly missing one's mark, I will here set down two experiences of my own in this thing. In the fall of 1862, in Nevada and California, the people got to running wild about extraordinary petrifactions and other natural marvels. One could scarcely pick up a paper without finding in it one or two glorified discoveries of this kind. The mania was becoming a little ridiculous. I was a brand-new local editor in Virginia City, and I felt called upon to destroy this growing evil; we all have our benignant, fatherly moods at one time or another, I suppose. I chose to kill the petrifaction mania with a delicate, a very delicate satire. But maybe it was altogether too delicate, for nobody ever perceived the satire part of it at all. I put my scheme in the shape of the discovery of a remarkably petrified man. I had had a temporary falling out with Mr.——, the new coroner and justice of the peace of Humboldt, and thought I might as well touch him up a little at the same time and make him ridiculous, and thus combine pleasure with business. So I told, in patient, belief-compelling detail, all about the finding of a petrified-man at Gravelly Ford (exactly a hundred and twenty miles, over a breakneck mountain trail from where —— lived); how all the savants of the immediate neighborhood had been to examine it (it was notorious that there was not a living creature within fifty miles of there, except a few starving Indians; some crippled grasshoppers, and four or five buzzards out of meat and too feeble to get away); how those savants all pronounced the petrified man to have been in a state of complete petrifaction for over ten generations; and then, with a seriousness that I ought to have been ashamed to assume, I stated that as soon as Mr.——heard the news he summoned a jury, mounted his mule, and posted off, with noble reverence for official duty, on that awful five days' journey, through alkali, sage brush, peril of body, and imminent starvation, to hold an inquest on this man that had been dead and turned to everlasting stone for more than three hundred years! And then, my hand being "in," so to speak, I went on, with the same unflinching gravity, to state that the jury returned a verdict that deceased came to his death from protracted exposure. This only moved me to higher flights of imagination, and I said that the jury, with that charity so characteristic of pioneers, then dug a grave, and were about to give the petrified man Christian burial, when they found that for ages a limestone sediment had been trickling down the face of the stone against which he was sitting, and this stuff had run under him and cemented him fast to the "bed-rock"; that the jury (they were all silver-miners) canvassed the difficulty a moment, and then got out their powder and fuse, and proceeded to drill a hole under him, in order to blast him from his position, when Mr.——, "with that delicacy so characteristic of him, forbade them, observing that it would be little less than sacrilege to do such a thing." From beginning to end the "Petrified Man" squib was a string of roaring absurdities, albeit they were told with an unfair pretense of truth that even imposed upon me to some extent, and I was in some danger of believing in my own fraud. But I really had no desire to deceive anybody, and no expectation of doing it. I depended on the way the petrified man was sitting to explain to the public that he was a swindle. Yet I purposely mixed that up with other things, hoping to make it obscure—and I did. I would describe the position of one foot, and then say his right thumb was against the side of his nose; then talk about his other foot, and presently come back and say the fingers of his right hand were spread apart; then talk about the back of his head a little, and return and say the left thumb was hooked into the right little finger; then ramble off about something else, and by and by drift back again and remark that the fingers of the left hand were spread like those of the right. But I was too ingenious. I mixed it up rather too much; and so all that description of the attitude, as a key to the humbuggery of the article, was entirely lost, for nobody but me ever discovered and comprehended the peculiar and suggestive position of the petrified man's hands. As a satire on the petrifaction mania, or anything else, my petrified Man was a disheartening failure; for everybody received him in innocent good faith, and I was stunned to see the creature I had begotten to pull down the wonder-business with, and bring derision upon it, calmly exalted to the grand chief place in the list of the genuine marvels our Nevada had produced. I was so disappointed at the curious miscarriage of my scheme, that at first I was angry, and did not like to think about it; but by and by, when the exchanges began to come in with the Petrified Man copied and guilelessly glorified, I began to feel a soothing secret satisfaction; and as my gentleman's field of travels broadened, and by the exchanges I saw that he steadily and implacably penetrated territory after territory, state after state, and land after land, till he swept the great globe and culminated in sublime and unimpeached legitimacy in the august London Lancet, my cup was full, and I said I was glad I had done it. I think that for about eleven months, as nearly as I can remember, Mr.——'s daily mail-bag continued to be swollen by the addition of half a bushel of newspapers hailing from many climes with the Petrified Man in them, marked around with a prominent belt of ink. I sent them to him. I did it for spite, not for fun. He used to shovel them into his back yard and curse. And every day during all those months the miners, his constituents (for miners never quit joking a person when they get started), would call on him and ask if he could tell them where they could get hold of a paper with the Petrified Man in it. He could have accommodated a continent with them. I hated——-in those days, and these things pacified me and pleased me. I could not have gotten more real comfort out of him without killing him. MY BLOODY MASSACRE The other burlesque I have referred to was my fine satire upon the financial expedients of "cooking dividends," a thing which became shamefully frequent on the Pacific coast for a while. Once more, in my self-complacent simplicity I felt that the time had arrived for me to rise up and be a reformer. I put this reformatory satire, in the shape of a fearful "Massacre at Empire City." The San Francisco papers were making a great outcry about the iniquity of the Daney Silver-Mining Company, whose directors had declared a "cooked" or false dividend, for the purpose of increasing the value of their stock, so that they could sell out at a comfortable figure, and then scramble from under the tumbling concern. And while abusing the Daney, those papers did not forget to urge the public to get rid of all their silver stocks and invest in, sound and safe San Francisco stocks, such as the Spring Valley Water Company, etc. But right at this unfortunate juncture, behold the Spring Valley cooked a dividend too! And so, under the insidious mask of an invented "bloody massacre," I stole upon the public unawares with my scathing satire upon the dividend cooking system. In about half a column of imaginary human carnage I told how a citizen hard murdered his wife and nine children, and then committed suicide. And I said slyly, at the bottom, that the sudden madness of which this melancholy massacre was the result had been brought about by his having allowed himself to be persuaded by the California papers to sell his sound and lucrative Nevada silver stocks, and buy into Spring Valley just in time to get cooked along with that company's fancy dividend, and sink every cent he had in the world. Ah, it was a deep, deep satire, and most ingeniously contrived. But I made the horrible details so carefully and conscientiously interesting that the public devoured them greedily, and wholly overlooked the following distinctly stated facts, to wit: The murderer was perfectly well known to every creature in the land as a bachelor, and consequently he could not murder his wife and nine children; he murdered them "in his splendid dressed-stone mansion just in the edge of the great pine forest between Empire City and Dutch Nick's," when even the very pickled oysters that came on our tables knew that there was not a "dressed-stone mansion" in all Nevada Territory; also that, so far from there being a "great pine forest between Empire City and Dutch Nick's," there wasn't a solitary tree within fifteen miles of either place; and, finally, it was patent and notorious that Empire City and Dutch Nick's were one and the same place, and contained only six houses anyhow, and consequently there could be no forest between them; and on top of all these absurdities I stated that this diabolical murderer, after inflicting a wound upon himself that the reader ought to have seen would kill an elephant in the twinkling of an eye, jumped on his horse and rode four miles, waving his wife's reeking scalp in the air, and thus performing entered Carson City with tremendous eclat, and dropped dead in front of the chief saloon, the envy and admiration of all beholders. Well, in all my life I never saw anything like the sensation that little satire created. It was the talk of the town, it was the talk of the territory. Most of the citizens dropped gently into it at breakfast, and they never finished their meal. There was something about those minutely faithful details that was a sufficing substitute for food. Few people that were able to read took food that morning. Dan and I (Dan was my reportorial associate) took our seats on either side of our customary table in the "Eagle Restaurant," and, as I unfolded the shred they used to call a napkin in that establishment, I saw at the next table two stalwart innocents with that sort of vegetable dandruff sprinkled about their clothing which was the sign and evidence that they were in from the Truckee with a load of hay. The one facing me had the morning paper folded to a long, narrow strip, and I knew, without any telling, that that strip represented the column that contained my pleasant financial satire. From the way he was excitedly mumbling, I saw that the heedless son of a hay-mow was skipping with all his might, in order to get to the bloody details as quickly as possible; and so he was missing the guide-boards I had set up to warn him that the whole thing was a fraud. Presently his eyes spread wide open, just as his jaws swung asunder to take in a potato approaching it on a fork; the potato halted, the face lit up redly, and the whole man was on fire with excitement. Then he broke into a disjointed checking off of the particulars—his potato cooling in mid-air meantime, and his mouth making a reach for it occasionally; but always bringing up suddenly against a new and still more direful performance of my hero. At last he looked his stunned and rigid comrade impressively in the face, and said, with an expression of concentrated awe: "Jim, he b'iled his baby, and he took the old 'oman's skelp. Cuss'd if I want any breakfast!" And he laid his lingering potato reverently down, and he and his friend departed from the restaurant empty but satisfied. He never got down to where the satire part of it began. Nobody ever did. They found the thrilling particulars sufficient. To drop in with a poor little moral at the fag-end of such a gorgeous massacre was like following the expiring sun with a candle and hope to attract the world's attention to it. The idea that anybody could ever take my massacre for a genuine occurrence never once suggested itself to me, hedged about as it was by all those telltale absurdities and impossibilities concerning the "great pine forest," the "dressed-stone mansion," etc. But I found out then, and never have forgotten since, that we never read the dull explanatory surroundings of marvelously exciting things when we have no occasion to suppose that some irresponsible scribbler is trying to defraud us; we skip all that, and hasten to revel in the blood-curdling particulars and be happy. *** END OF THE PROJECT GUTENBERG EBOOK SKETCHES NEW AND OLD, PART 5. *** 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 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. 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.