Conceptio › Archive › Project Gutenberg
Project Gutenberg public full text Public Domain

Coffee and Repartee

Bangs, John Kendrick, 1862-1922 · Project Gutenberg
Project Gutenberg · Books · License: Public Domain
Open Source ↗
boardinghousesconversationhumorous-stories
Conceptio Open Archive

Analyze & explore related research in Conceptio

Connect this record directly into your research workflow or AI agent. Explore citations across open repositories, query full text, and export structured proof bundles.

XI "'WE WOOED THE SELF-SAME MAID'" "I agree with the Bibliomaniac," said the School-master. "It is too short. People want greater quantity." "Well, here is quantity for you," said the Idiot. "Quantity as she is not wanted by nine comic papers I wot of. This poem is called: "THE TURNING OF THE WORM. "'How hard my fate perhaps you'll gather in, My dearest reader, when I tell you that I entered into this fair world a twin— The one was spare enough, the other fat. "'I was, of course, the lean one of the two, The homelier as well, and consequently In ecstasy o'er Jim my parents flew, And good of me was spoken accident'ly. "'As boys, we went to school, and Jim, of course, Was e'er his teacher's favorite, and ranked Among the lads renowned for moral force, Whilst I was every day right soundly spanked. [Pg 96] "'Jim had an angel face, but there he stopped. I never knew a lad who'd sin so oft And look so like a branch of heaven lopped From off the parent trunk that grows aloft. "'I seemed an imp—indeed 'twas often said That I resembled much Beelzebub. My face was freckled and my hair was red— The kind of looking boy that men call scrub. "'Kind deeds, however, were my constant thought; In everything I did the best I could; I said my prayers thrice daily, and I sought In all my ways to do the right and good. "'On Saturdays I'd do my Monday's sums, While Jim would spend the day in search of fun; He'd sneak away and steal the neighbors' plums, And, strange to say, to earth was never run. "'Whilst I, when study-time was haply through, Would seek my brother in the neighbor's orchard; Would find the neighbor there with anger blue, And as the thieving culprit would be tortured. "'The sums I'd done he'd steal, this lad forsaken, Then change my work, so that a paltry four Would be my mark, whilst he had overtaken The maximum and all the prizes bore. "'In later years we loved the self-same maid; We sent her little presents, sweets, bouquets, For which, alas! 'twas I that always paid; And Jim the maid now honors and obeys. "'We entered politics—in different roles, And for a minor office each did run. [Pg 97] 'Twas I was left—left badly at the polls, Because of fishy things that Jim had done. "'When Jim went into business and failed, I signed his notes and freed him from the strife Which bankruptcy and ruin hath entailed On them that lead a queer financial life. "'Then, penniless, I learned that Jim had set Aside before his failure—hard to tell!— A half a million dollars on his pet— His Mrs. Jim—the former lovely Nell. "'That wearied me of Jim. It may be right For one to bear another's cross, but I Quite fail to see it in its proper light, If that's the rule man should be guided by. "'And since a fate perverse has had the wit To mix us up so that the one's deserts Upon the shoulders of the other sit, No matter how the other one it hurts, "'I am resolved to take some mortal's life; Just when, or where, or how, I do not reck, So long as law will end this horrid strife And twist my dear twin brother's sinful neck.'" "There," said the Idiot, putting down the manuscript. "How's that?" "I don't like it," said Mr. Whitechoker. "It is immoral and vindictive. You should accept the hardships of life, no matter how [Pg 99] [Pg 98] unjust. The conclusion of your poem horrifies me, sir. I—" "Have you tried your hand at dialect poetry?" asked the Doctor. "Yes; once," said the Idiot. "I sent it to the Great Western Weekly . Oh yes. Here it is. Sent back with thanks. It's an octette written in cigar-box dialect." "In wh-a-at?" asked the Poet. "Cigar-box dialect. Here it is: "'O Manuel garcia alonzo, Colorado especial H. Clay, Invincible flora alphonzo, Cigarette panatella el rey, Victoria Reina selectas— O twofer madura grandé— O conchas oscuro perfectas, You drive all my sorrows away.'" "Ingenious, but vicious," said the School-master, who does not smoke. "Again thanks. How is this for a sonnet?" said the Idiot: "'When to the sessions of sweet silent thought I summon up remembrance of things past, I sigh the lack of many a thing I sought, And with old woes new wail my dear time's waste: Then can I drown an eye, unused to flow, For precious friends hid in death's dateless night, [Pg 100] And weep afresh love's long since cancel'd woe, And moan the expense of many a vanish'd sight: Then can I grieve at grievances foregone, And heavily from woe to woe tell o'er The sad account of fore-bemoaned moan, Which I now pay as if not paid before. But if the while I think of thee, dear friend! All losses are restored and sorrows end.'" "It is bosh!" said the School-master. The Poet smiled quietly. "Perfect bosh!" repeated the School-master. "And only shows how in weak hands so beautiful a thing as the sonnet can be made ridiculous." "What's wrong with it?" asked the Idiot. "It doesn't contain any thought—or if it does, no one can tell what the thought is. Your rhymes are atrocious. Your phraseology is ridiculous. The whole thing is bad. You'll never get anybody to print it." "I do not intend to try," said the Idiot, meekly. "You are wise," said the School-master, "to take my advice for once." "No, it is not your advice that restrains me," said the Idiot, dryly. "It is the fact that this sonnet has already been printed." [Pg 101] "In the name of Letters, where?" cried the School-master. "In the collected works of William Shakespeare," replied the Idiot, quietly. The Poet laughed; Mrs. Smithers's eyes filled with tears; and the School-master for once had absolutely nothing to say. [Pg 102] XI "Do you believe, Mr. Whitechoker," said the Idiot, taking his place at the table, and holding his plate up to the light, apparently to see whether or not it was immaculate, whereat the landlady sniffed contemptuously—"do you believe that the love of money is the root of all evil?" "HOLDING HIS PLATE UP TO THE LIGHT" "I have always been of that impression," returned Mr. Whitechoker, pleasantly. "In fact, I am sure of it," he added. "There is no evil thing in this world, sir, that cannot be traced back to a point where greed is found to be its main-spring and the source of its strength." "Then how do you reconcile this with the scriptural story of the forbidden fruit? Do you think the apples referred to were figures of speech, the true import of which was that Adam and Eve had their eyes on the original surplus?" "Well, of course, there you begin to [Pg 103] —ah—you seem to me to be going back to the—er—the—ah—" "Original root of all evil," prompted the Idiot, calmly. "Precisely," returned Mr. Whitechoker, with a sigh of relief. "Mrs. Smithers, I think I'll have a dash of hot-water in my coffee this morning." Then, with a nervous glance towards the Idiot, he added, addressing the Bibliomaniac, "I think it looks like rain." "Referring to the coffee, Mr. Whitechoker?" queried the Idiot, not disposed to let go of his victim quite so easily. "Ah—I don't quite follow you," replied the Minister, with some annoyance. "You said something looked like rain, and I asked you if the thing you referred to was the coffee, for I was disposed to agree with you," said the Idiot. "I am sure," put in Mrs. Smithers, "that a gentleman of Mr. Whitechoker's refinement would not make any such insinuation, sir. He is not the man to quarrel with what is set before him." "I ask your pardon, madam," returned the Idiot, politely. "I hope that I am not [Pg 104] [Pg 105] the man to quarrel with my food, either. Indeed, I make it a rule to avoid unpleasantness of all sorts, particularly with the weak, under which category we find your coffee. I simply wish to know to what Mr. Whitechoker refers when he says 'it looks like rain.'" "I mean, of course," said the Minister, with as much calmness as he could command—and that was not much—"I mean the day. The day looks as if it might be rainy." "Any one with a modicum of brain knows what you meant, Mr. Whitechoker," volunteered the School-master. "Certainly," observed the Idiot, scraping the butter from his toast; "but to those who have more than a modicum of brains my reverend friend's remark was not entirely clear. If I am talking of cotton, and a gentleman chooses to state that it looks like snow, I know exactly what he means. He doesn't mean that the day looks like snow, however; he refers to the cotton. Mr. Whitechoker, talking about coffee, chooses to state that it looks like rain, which it undoubtedly does. I, realizing [Pg 106] that, as Mrs. Smithers says, it is not the gentleman's habit to attack too violently the food which is set before him, manifest some surprise, and, giving the gentleman the benefit of the doubt, afford him an opportunity to set himself right." "Change the subject," said the Bibliomaniac, curtly. "With pleasure," answered the Idiot, filling his glass with cream. "We'll change the subject, or the object, or anything you choose. We'll have another breakfast, or another variety of biscuits frappé —anything, in short, to keep peace at the table. Tell me, Mr. Pedagog," he added, "is the use of the word 'it,' in the sentence 'it looks like rain,' perfectly correct?" "I don't know why it is not," returned the School-master, uneasily. He was not at all desirous of parleying with the Idiot. "And is it correct to suppose that 'it' refers to the day—is the day supposed to look like rain?—or do we simply use 'it' to express a condition which confronts us?" "It refers to the latter, of course." "Then the full text of Mr. Whitechoker's remark is, I suppose, that 'the rainy condi [Pg 107] tion of the atmosphere which confronts us looks like rain?'" "Oh, I suppose so," sighed the School-master, wearily. "Rather an unnecessary sort of statement that!" continued the Idiot. "It's something like asserting that a man looks like himself, or, as in the case of a child's primer— "'I BELIEVE YOU'D BLOW OUT THE GAS IN YOUR BED-ROOM'" "'See the cat?' "'Yes, I see the cat.' "'What is the cat?' "'The cat is a cat. Scat cat!'" At this even Mrs. Smithers smiled. "I don't agree with Mr. Pedagog," put in the Bibliomaniac, after a pause. Here the School-master shook his head warningly at the Bibliomaniac, as if to indicate that he was not in good form. "So I observe," remarked the Idiot. "You have upset him completely. See how Mr. Pedagog trembles?" he added, addressing the genial gentleman who occasionally imbibed. "I don't mean that way," sneered the Bibliomaniac, bound to set Mr. Whitechoker straight. "I mean that the word 'it,' as em [Pg 109] [Pg 108] ployed in that sentence, stands for day. The day looks like rain." "Did you ever see a day?" queried the Idiot. "Certainly I have," returned the Bibliomaniac. "What does it look like?" was the calmly put question. The Bibliomaniac's impatience was here almost too great for safety, and the manner in which his face colored aroused considerable interest in the breast of the Doctor, who was a good deal of a specialist in apoplexy. "Was it a whole day you saw, or only a half-day?" persisted the Idiot. "You may think you are very funny," retorted the Bibliomaniac. "I think you are—" "Now don't get angry," returned the Idiot. "There are two or three things I do not know, and I'm anxious to learn. I'd like to know how a day looks to one to whom it is a visible object. If it is visible, is it tangible? and, if so, how does it feel?" "The visible is always tangible," asserted the School-master, recklessly. [Pg 110] "How about a red-hot stove, or manifest indignation, or a view from a mountain-top, or, as in the case of the young man in the novel who 'suddenly waked,' and, 'looking anxiously about him, saw no one?'" returned the Idiot, imperturbably. "Tut!" ejaculated the Bibliomaniac. "If I had brains like yours, I'd blow them out." "Yes, I think you would," observed the Idiot, folding up his napkin. "You're just the man to do a thing like that. I believe you'd blow out the gas in your bedroom if there wasn't a sign over it requesting you not to." And filling his match-box from the landlady's mantel supply, the Idiot hurried from the room, and soon after left the house. [Pg 111] XII "If my father hadn't met with reverses—" the Idiot began. "Did you really have a father?" interrupted the School-master. "I thought you were one of these self-made Idiots. How terrible it must be for a man to think that he is responsible for you!" "Yes," rejoined the Idiot; "my father finds it rather hard to stand up under his responsibility for me; but he is a brave old gentleman, and he manages to bear the burden very well with the aid of my mother—for I have a mother, too, Mr. Pedagog. A womanly mother she is, too, with all the natural follies, such as fondness for and belief in her boy. Why, it would soften your heart to see how she looks on me. She thinks I am the most everlastingly brilliant man she ever knew—excepting father, of course, who has always been a hero of heroes in her eyes, because he never rails at misfortune, never [Pg 112] [Pg 113] spoke an unkind word to her in his life, and just lives gently along and waiting for the end of all things." "Do you think it is right in you to deceive your mother in this way—making her think you a young Napoleon of intellect when you know you are an Idiot?" observed the Bibliomaniac, with a twinkle in his eye. "Why certainly I do," returned the Idiot, calmly. "It's my place to make the old folks happy if I can; and if thinking me nineteen different kinds of a genius is going to fill my mother's heart with happiness, I'm going to let her think it. What's the use of destroying other people's idols even if we do know them to be hollow mockeries? Do you think you do a praiseworthy act, for instance, when you kick over the heathen's stone gods and leave him without any at all? You may not have noticed it, but I have—that it is easier to pull down an idol than it is to rear an ideal. I have had idols shattered myself, and I haven't found that the pedestals they used to occupy have been rented since. They are there yet and empty—standing as monuments to what once seemed good to me—and I'm no happier nor [Pg 114] no better for being disillusioned. So it is with my mother. I let her go on and think me perfect. It does her good, and it does me good because it makes me try to live up to that idea of hers as to what I am. If she had the same opinion of me that we all have she'd be the most miserable woman in the world." "We don't all think so badly of you," said the Doctor, rather softened by the Idiot's remarks. "'HIS FAIRY STORIES WERE TOLD HIM IN WORDS OF TEN SYLLABLES'" "No," put in the Bibliomaniac. "You are all right. You breathe normally, and you have nice blue eyes. You are graceful and pleasant to look upon, and if you'd been born dumb we'd esteem you very highly. It is only your manners and your theories that we don't like; but even in these we are disposed to believe that you are a well-meaning child." "That is precisely the way to put it," assented the School-master. "You are harmless even when most annoying. For my own part, I think the most objectionable feature about you is that you suffer from that unfortunately not uncommon malady, extreme youth. You are young for your age, and if [Pg 115] you only wouldn't talk, I think we should get on famously together." "You overwhelm me with your compliments," said the Idiot. "I am sorry I am so young, but I cannot be brought to believe that that is my own fault. One must live to attain age, and how the deuce can one live when one boards?" As no one ventured to reply to this question, the force of which very evidently, however, was fully appreciated by Mrs. Smithers, the Idiot continued: "Youth is thrust upon us in our infancy, and must be endured until such a time as Fate permits us to account ourselves cured. It swoops down upon us when we have neither the strength nor the brains to resent it. Of course there are some superior persons in this world who never were young. Mr. Pedagog, I doubt not, was ushered into this world with all three sets of teeth cut, and not wailing as most infants are, but discussing the most abstruse philosophical problems. His fairy stories were told him, if ever, in words of ten syllables; and his father's first remark to him was doubtless an inquiry as to his opinion on the subject of [Pg 116] [Pg 117] Latin and Greek in our colleges. It's all right to be this kind of a baby if you like that sort of thing. For my part, I rejoice to think that there was once a day when I thought my father a mean-spirited assassin, because he wouldn't tie a string to the moon and let me make it rise and set as suited my sweet will. Babies of Mr. Pedagog's sort are fortunately like angel's visits, few and far between. In spite of his stand in the matter, though, I can't help thinking there was a great deal of truth in a rhyme a friend of mine got off on Youth. It fits the case. He said: "'Youth is a state of being we attain In early years; to some 'tis but a crime— And, like the mumps, most agèd men complain, It can't be caught, alas! a second time."' "Your rhymes are interesting, and your reasoning, as usual, is faulty," said the School-master. "I passed a very pleasant childhood, though it was a childhood devoted, as you have insinuated, to serious rather than to flippant pursuits. I wasn't particularly fond of tag and hide-and-seek, nor do I think that even as an infant I ever cried for the moon." [Pg 118] "'I THOUGHT MY FATHER A MEAN-SPIRITED ASSASSIN'" "It would have expanded your chest if you had, Mr. Pedagog," observed the Idiot, quietly. "So it would, but I never found myself short-winded, sir," retorted the School-master, with some acerbity. "That is evident; but go on," said the Idiot. "You never passed a childish youth nor a youthful childhood, and therefore what?" "Therefore, in my present condition, I am normally contented. I have no youthful follies to look back upon, no indiscretions to regret; I never knowingly told a lie, and—" "All of which proves that you never were young," put in the Idiot; "and you will excuse me if I say it, but my father is the model for me rather than so exalted a personage as yourself. He is still young, though turned seventy, and I don't believe on his own account there ever was a boy who played hookey more, who prevaricated oftener, who purloined others' fruits with greater frequency than he. He was guilty of every crime in the calendar of youth; and if there is one thing that delights him more than another, it is to sit on a winter's night [Pg 119] before the crackling log and tell us yarns about his youthful follies and his boyhood indiscretions." "But is he normally a happy man?" queried the School-master. "No." "Ah!" "No. He's an ab normally happy man, because he's got his follies and indiscretions to look back upon and not forward to." "Ahem!" said Mrs. Smithers. "Dear me!" ejaculated Mr. Whitechoker. Mr. Pedagog said nothing, and the breakfast-room was soon deserted. [Pg 120] XIII There was an air of suppressed excitement about Mrs. Smithers and Mr. Pedagog as they sat down to breakfast. Something had happened, but just what that something was no one as yet knew, although the genial old gentleman had a sort of notion as to what it was. "Pedagog has been good-natured enough for an engaged man for nearly a week now," he whispered to the Idiot, who had asked him what he supposed was up, "and I have a half idea that Mrs. S. has at last brought him to the point of proposing." "'MRS. S. BROUGHT HIM TO THE POINT OF PROPOSING'" "It's the other way, I imagine," returned the Idiot. "You don't really think she has rejected him, do you?" queried the genial old gentleman. "Oh no; not by a great deal. I mean that I think it very likely that he has brought her to the point. This is leap-year, you know," said the Idiot. [Pg 121] "Well, if I were a betting man, which I haven't been since night before last, I'd lay you a wager that they're engaged," said the old gentleman. "I'm glad you've given up betting," rejoined the Idiot, "because I'm sure I'd take the bet if you offered it—and then I believe I'd lose." "We are to have Philadelphia spring chickens this morning, gentlemen," said Mrs. Smithers, beaming upon all at the table. "It's a special treat." "Which we all appreciate, my dear Mrs. Smithers," observed the Idiot, with a courteous bow to his landlady. "And, by the way, why is it that Philadelphia spring chickens do not appear until autumn, do you suppose? Is it because Philadelphia spring doesn't come around until it is autumn everywhere else?" "No, I think not," said the Doctor. "I think it is because Philadelphia spring chickens are not sufficiently hardened to be able to stand the strain of exportation much before September, or else Philadelphia people do not get so sated with such delicacies as to permit any of the crop to go into other [Pg 122] [Pg 123] than Philadelphia markets before that period. For my part, I simply love them." "So do I," said the Idiot; "and if Mrs. Smithers will pardon me for expressing a preference for any especial part of the pièce de résistance , I will state to her that if, in helping me, she will give me two drumsticks, a pair of second joints, and plenty of the white meat, I shall be very happy." "You ought to have said so yesterday," said the School-master, with a surprisingly genial laugh. "Then Mrs. Smithers could have prepared an individual chicken for you." "That would be too much," returned the Idiot, "and I should really hesitate to eat too much spring chicken. I never did it in my life, and don't know what the effect would be. Would it be harmful, Doctor?" "I really do not know how it would be," answered the Doctor. "In all my wide experience I have never found a case of the kind." "It's very rarely that one gets too much spring chicken," said Mr. Whitechoker. "I haven't had any experience with patients, as my friend the Doctor has; but I have [Pg 124] lived in many boarding-houses, and I have never yet known of any one even getting enough." "Well, perhaps we shall have all we want this morning," said Mrs. Smithers. "I hope so, at any rate, for I wish this day to be a memorable one in our house. Mr. Pedagog has something to tell you. John, will you announce it now?" "Did you hear that?" whispered the Idiot. "She called him 'John.'" "Yes," said the genial old gentleman. "I didn't know Pedagog had a first name before." "Certainly, my dear—that is, my very dear Mrs. Smithers," stammered the School-master, getting red in the face. "The fact is, gentlemen—ahem!—I—er—we—er—that is, of course—er—Mrs. Smithers has er—ahem!—Mrs. Smithers has asked me to be her—I—er—I should say I have asked Mrs. Smithers to be my husb—my wife, and—er—she—" "'HOORAH!' CRIED THE IDIOT, GRASPING MR. PEDAGOG BY THE HAND" "Hoorah!" cried the Idiot, jumping up from the table and grasping Mr. Pedagog by the hand. "Hoorah! You've got in ahead of us, old man, but we are just as [Pg 125] glad when we think of your good-fortune. Your gain may be our loss—but what of that where the happiness of our dear landlady is at stake?" Mrs. Smithers glanced coyly at the Idiot and smiled. "Thank you," said the School-master. "You are welcome," said the Idiot. "Mrs. Smithers, you will also permit me to felicitate you upon this happy event. I, who have so often differed with Mr. Pedagog upon matters of human knowledge, am forced to admit that upon this occasion he has shown such eminently good sense that you are fortunate, indeed, to have won him." "Again I thank you," said the School-master. "You are a very sensible person yourself, my dear Idiot; perhaps my failure to appreciate you at times in the past has been due to your brilliant qualities, which have so dazzled me that I have been unable to see you as you really are." "Here are the chickens," said Mrs. Smithers. "Ah!" ejaculated the Idiot. "What lucky fellows we are, to be sure! I hope, Mrs. Smithers, now that Mr. Pedagog has [Pg 127] [Pg 126] cut us all out, you will at least be a sister to the rest of us, and let us live at home." "There is to be no change," said Mrs. Smithers—"at least, I hope not, except that Mr. Pedagog will take a more active part in the management of our home." "I don't envy him that," said the Idiot. "We shall be severe critics, and it will be hard work for him to manage affairs better than you did, Mrs. Smithers." "Mary, get me a larger cup for the Idiot's coffee," said Mrs. Smithers. "Let's all retire from business," suggested the Idiot, after the other guests had expressed their satisfaction with the turn affairs had taken. "Let's retire from business, and change the Smithers Home for Boarders into an Educational Institution." "For what purpose?" queried the Bibliomaniac. "Everything is so lovely now," explained the Idiot, "that I feel as though I never wanted to leave the house again, even to win a fortune. If we turn it into a college and instruct youth, we need never go outside the front door excepting for pleasure." [Pg 128] "Where will the money and the instructors come from?" asked Mr. Whitechoker. "Money? From pupils; and after we get going maybe somebody will endow us. As for instructors, I think we know enough to be instructors ourselves," replied the Idiot. "For instance: Pedagog's University. John Pedagog, President; Alonzo B. Whitechoker, Chaplain; Mrs. Smithers-Pedagog, Matron. For Professor of Belles-lettres, the Bibliomaniac, assisted by the Poet; Medical Lectures by Dr. Capsule; Chemistry taught by our genial friend who occasionally imbibes; Chair in General Information, your humble servant. Why, we would be overrun with pupils and money in less than a year." "A very good idea," returned Mr. Pedagog. "I have often thought that a nice little school could be started here to advantage, though I must confess that I had different ideas on the subject of the instructors. You, my dear Idiot, would be a great deal more useful as a Professor Emeritus." "Hm!" said the Idiot. "It sounds mighty [Pg 129] well—I've no doubt I should like it. What is a Professor Emeritus, Mr. Pedagog?" "He is a professor who is paid a salary for doing nothing." The whole table joined in a laugh, the Idiot included. "By Jove! Mr. Pedagog," he said, as soon as he could speak, "you are just dead right about that. That's the place of places for me. Salary and nothing to do! Oh, how I'd love it!" The rest of the breakfast was eaten in silence. The spring chickens were too good and too plentiful to admit of much waste of time in conversation. At the conclusion of the meal the Idiot rose from the table, and, after again congratulating Mr. Pedagog and his fiancée, announced that he was going to see his employer. "On Sunday?" queried Mrs. Smithers. "Yes; I want him to write me a recommendation as a man who can do nothing beautifully." "And why, pray?" asked Mr. Pedagog. "I'm going to apply to the Trustees of Columbia College the first thing to-morrow morning for an Emeritus Professorship, for [Pg 130] if anybody can do nothing and draw money for it gracefully I'm the man. Wall Street is too wearing on my nerves," he replied. And in a moment he was gone. "I like him," said Mrs. Smithers. "So do I," said Mr. Pedagog. "He isn't half the idiot he thinks he is." THE END [Pg 132] [Pg 131] By LILIAN BELL A Little Sister to the Wilderness . A Novel. New Edition. 16mo, Cloth, Ornamental, Uncut Edges and Gilt Top, $1 25. The story is a pathetic one in many ways, for it portrays so strongly human lowliness and degradation. The writer is well acquainted with the life and habits and dialect of the West Tennessee bottoms, and her story is written from the heart and with rare sympathy. The lonely dyke roads, the cheerless homes, the shabby "store," the emotional Methodist meeting, which lasts a week, having two sessions daily—all these are vividly sketched. Mag, the heroine, is a well-drawn character. Camden, the hero, is forceful and earnest. The story is valuable because it shows so forcefully the peculiar phases of the life and human character of these people. The writer has a natural and fluent style, and her dialect has the double excellence of being novel and scanty. The scenes are picturesque and diversified.— Churchman , N. Y. From a Girl's Point of View . 16mo, Cloth, Ornamental, Uncut Edges and Gilt Top, $1 25. The Under Side of Things . A Novel. With a Portrait of the Author. 16mo, Cloth, Ornamental, Uncut Edges and Gilt Top, $1 25. The Love Affairs of an Old Maid . 16mo, Cloth, Ornamental, Uncut Edges and Gilt Top, $1 25. NEW YORK AND LONDON: HARPER & BROTHERS, Publishers The above works are for sale by all booksellers, or will be sent by mail by the publishers, postage prepaid, on receipt of the price. [Pg 133] THE ODD NUMBER SERIES 16mo, Cloth, Ornamental THE GULISTAN: Being the Rose-Garden of Shaikh Sa'di. Translated by Sir Edwin Arnold . $1 00. THE NEW GOD. By Richard Voss . Translated by Mary A. Robinson . $1 25. THE GREEN BOOK. By Maurus Jókai . Translated by Mrs. Waugh . $1 50. BLACK DIAMONDS. By Maurus Jókai . Translated by Frances A. Gerard . $1 50. DOÑA PERFECTA. By B. Pérez Galdós . Translated by Mary J. Serrano . $1 00. PARISIAN POINTS OF VIEW. By Ludovic Halévy . Translated by Edith V. B. Matthews . $1 00. DAME CARE. By Hermann Sudermann . Translated by Bertha Overbeck . $1 00. TALES OF TWO COUNTRIES. By Alexander Kielland . Translated by William Archer . $1 00. TEN TALES BY FRANÇOIS COPPÉE. Translated by Walter Learned . Illustrated. $1 25. MODERN GHOSTS. By Guy de Maupassant and others. Translated. $1 00. THE HOUSE BY THE MEDLAR TREE. By Giovanni Verga . Translated by Mary A. Craig . $1 00. PASTELS IN PROSE. Translated by Stuart Merrill . Illustrated by H. W. McVickar . $1 25. MARÍA: A South American Romance. By Jorge Isaacs . Translated by Rollo Ogden . $1 00. THE ODD NUMBER. Tales by Guy de Maupassant . Translated by Jonathan Sturges . $1 00. HARPER & BROTHERS, Publishers NEW YORK AND LONDON Any of the above works will be sent by mail, postage prepaid, to any part of the United States, Canada, or Mexico, on receipt of the price. [Pg 134] *** END OF THE PROJECT GUTENBERG EBOOK COFFEE AND REPARTEE *** 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.

Related documents

Record · ID 39397 · SHA-256 046aec5fae2232c9
Retrieved via Conceptio: every document is proof-bundled with source, license, and retrieval metadata.
Bring this data into your agent: Connect via MCP or API · 20 free credits to start · no card required
Read the Docs → · View CLI source on GitHub · Conceptio Open Knowledge Archive