The Strand Magazine, Vol. 07, Issue 41, May, 1894 An Illustrated Monthly

The Queer Side of Things. "THE PALACE OF DEDE-VSEVEDE." It was the palace of Dede-Vsevede, radiant with splendour, looking as if it were made of fire. Plavacete entered it without encountering a single moving creature, except an old woman, half-hidden in a corner spinning. "Welcome, Plavacete! I am glad to see you here." It was, once more, his god-mother, the same who had offered him shelter in her forest cottage when he was carrying the King's treacherous message. "Tell me what brings you here, from so far off?" "The King will not have me for his son-in-law without being paid for it; so he has sent me here to fetch for him three gold hairs from the head of Dede-Vsevede." His god-mother burst into laughter, saying:— "The Dede-Vsevede? Why, I am his mother—he is the shining Sun in person! Every morning he is a child; at noon he becomes a man; at evening he withers to the likeness of a decrepit, hundred-year-old man. But I will contrive to get you three gold hairs from his head, so that you may know that I am not your god-mother for nothing. For all that, however, you cannot remain here any longer as you are. My son, the Sun, is endowed with a charitable soul; but, on returning home, he is always hungry, and it would not astonish me if, as soon as he comes back, he ordered you to be roasted for his supper. To hide you I will overturn this empty box, under which you must creep." Before obeying, Plavacete begged his god-mother to obtain from Dede-Vsevede answers to the three questions which he had promised to get from him. "I will put the questions to him, but you must carefully listen to the answers he returns." Suddenly the wind was unchained without, and, through a window on the western side of the castle, arrived the Sun—an old man with a head of gold. The old man sat down to supper. After the meal was finished, he placed his head of gold upon his mother's knees and fell asleep. As soon as she saw that he was sleeping soundly, she plucked from his head one of his gold hairs and threw it upon the floor: in falling the hair made a metallic sound, like the string of a guitar when struck. "What do you want of me, mother?" asked the old man. "Nothing, my son; I was sleeping and dreaming a strange dream." "What was it about, mother?" "I thought I saw a place—I don't know where—where there was a well supplied with water from a spring, by which sick people were cured, and even dying persons, after drinking a single mouthful of it; and more than that, corpses even were resuscitated after having been sprinkled with a few drops of this marvellous water. But for twenty years this well has remained dry: what should be done to fill it as of old?" HE PLACED HIS HEAD OF GOLD UPON HIS MOTHER'S KNEES." "The remedy is simple enough: a frog has lodged itself in the opening, and so prevents the water of the spring entering the well. Let them kill the frog, and their well will be as full of water as it used to be." When the old man was again soundly sleeping, the old woman plucked another gold hair from his head and threw it upon the floor. "What do you want of me, mother?" "Nothing, my son, nothing. While sleeping I had a strange vision. It seemed to me that the inhabitants of a city—what city I do not know—had in their garden an apple-tree, the apples of which possessed the virtue of renewing the youth of whomsoever ate of them. A single apple eaten by an old man sufficed to give back to him the strength and freshness of youth. Now, for twenty years, that tree has borne neither flower nor fruit. By what means can they bring back to it its former power?" "The means are not difficult. A viper has hidden itself amongst the roots of their tree and feeds on its sap; let them kill the viper and transplant the tree, and they will soon see it covered with fruit as it used to be." Thereupon the old man once more went off to sleep soundly. The old woman plucked from his head the third gold hair. "Why do you not let me sleep in peace, mother?" cried the old man, angrily, and trying to rise. "Lie still, my beloved son, and do not disturb yourself. I am sorry for having waked you. I was having a strange dream. Fancy! I seemed to see a boatman, on the shore of the Black Sea, complaining to a traveller that, for twenty years, nobody had come to replace him: when will that poor old man be relieved of his task?" "He is an imbecile, that is all! He has only to put his oar into the hand of the first person who wants to be rowed and jump ashore. Whoever receives the oar will replace him as boatman. But leave me in peace, mother, and do not wake me any more; for I have to be up early, first to dry the tears of the Princess, the wife of a charcoal-burner's son. The young creature passes her nights in weeping for her husband, who has been sent by the King, her father, to fetch him three gold hairs from my head." Next morning the winds were heard howling around the palace of Dede-Vsevede, and instead of an old man, a beautiful child, with hair of gold, awoke on the old woman's knees: it was the divine Sun, who, after taking leave of his mother, flew out of the eastern window of his palace. The old woman hastened to turn over the box, and said to Plavacete:— "See! here are the three gold hairs, and you already know the three answers given by Dede-Vsevede. Now hasten away, and Heaven be with you on your way. You will never see me again, for you will never again have need of me." Plavacete gratefully thanked her and departed. On reaching the city of the dried-up well, and questioned by the King as to what good news he was the bearer of, he replied:— "Have your well carefully cleared out; then kill the frog which obstructs the incoming of the marvellous water from the spring, and you will see it flow as freely as ever." The King followed the direction of Plavacete, and, delighted to see his well once more filled, made him a present of twelve horses as white as swans, to which he added as much gold and silver as they could carry. On arriving at the second city and questioned by the King as to the news he brought, he replied:— "The news I bring you is excellent; none could be better, in fact. You have but to dig up your apple-tree and transplant it, after killing the reptile which has been living amongst its roots; that done, your tree will produce you apples as it formerly did." Indeed, no sooner was the tree transplanted than it became covered with flowers, as if a shower of roses had fallen upon it. The King, filled with joy, made him a present of twelve horses as black as ravens, and loaded them with as much riches as they could bear. Continuing his journey to the shore of the Black Sea, he found the boatman, who inquired whether he had learnt for him when the time of his deliverance would come. Plavacete first made him convey him and his horses on to the opposite shore: that done, he advised the boatman to hand his oar to the first traveller who required his services, so that he might be definitely released from his duty. The King, Plavacete's father-in-law, could not at first believe his eyes on seeing him the possessor of the three gold hairs plucked from the head of Dede-Vsevede. As to the young wife, she shed hot tears, not of sadness, but of joy, at seeing her beloved back again in safety, and she said to him:— "How were you able, dear husband, to acquire so many magnificent horses laden with riches?" He replied:— "All has been purchased with heaviness of heart, with the ready money of pains and labours, and services rendered by me. For example, to one King I pointed out the means by which he was able to repossess himself of the Apples of Youth; to another, I showed the secret of re-opening the spring whence flows the water which gives health and life." "Apples of Youth! Water of Life!" interrupted the King, addressing Plavacete. "I will go in search of those treasures myself! What happiness! After eating one of those rejuvenating apples, I shall return restored to youth! Then I will drink a few drops of the water of immortality—and I shall live for ever!" Without delaying a moment, the King set off in search of those two objects—and down to the present day has never been heard of again. The Queer Side of Things. M R . HAY. I have the most severe misgiving about a crucial point of this story; it involves an announcement which may cause the modern reader to throw aside the narrative as a preposterous absurdity. Ah! if I only had to deal with the reader of the Dark Ages, who would swallow anything! Absolute fear incites me to keep this announcement to myself until nearing the end of the tale, and then to break the awkward fact very gently—glossing it over as much as possible; but native outspokenness, assisted by the fact that such a course would spoil the story, persuades me to make the risky announcement at once, and chance the consequences. Very well, then—Andrew P. Hay was a Centaur—a Centaur . He had descended from the pure blood of the old Greek Centaurs. The race, when the belief in the Greek mythology had waned before the spreading light of Christianity, finding the fact of its existence no longer accepted with the old unquestioning faith, and too proud to longer impose its presence on a society sceptical of its reality, retired to a remote island to carry on its existence unseen by mankind; and there its successive generations had appeared and died, until—a few years before the present date—the last survivor paced, with downcast hoof, [2] the deserted paddocks of his sires. [3] [2] "Downcast hoof," though an unusual, is a good phrase. [3] "Sires" is a well-chosen word in this connection. The loneliness of his condition began to prey upon his mind. He had but a single companion in the secluded upland valleys of that deserted island where his forefathers had lived during so many centuries; this companion was his servant, or valet—he also being the sole survivor of his race, the race of hippopaides, or stable boys; from time immemorial the bondmen of the Centaurs and their faithful attendants. The loneliness was becoming unbearable: concealed behind some crag of the mountains, the two would stand the whole day long watching for the smoke of the steamers which passed, hull down, to and from Constantinople and Smyrna. No vessel ever touched at their island. "Raiboskeles," said Philippos Chortophagos (that was the Centaur's name, excusable in a Greek), "this won't do! I can't stand it any longer. Shall we hurl ourselves from yonder pinnacle, you seated on my back, to fathomless doom, and end it?" "No, my lord!" said the boy, "I'm scratched for that event anyway; and what's more, you won't go to the post either if I can stop it! Think, my lord—what would your stable-companions, now passed away, have said about a fixture like that?" And the boy's eyes filled with tears as he mechanically took from his pocket a small curry-comb and drew it caressingly over the silky hide, while a low continuous hissing sound from between his lips testified to the depth of his sorrow. He was a good lad, tinged with the archaic stable-slang of Thessaly, fostered by constant reading of the Rhodochroon Hen , the ancient sporting-paper of the Centaurs. For a few moments Chortophagos gazed fixedly out to sea; then he said:— "Raiboskeles, I cannot stay here. I shall go mad in this solitude. Let us leave this island and go among men. I know what you are about to say—they will not believe in my existence. I shall be forced to suffer the affront of being looked upon as a figment of superstition, of having my impossibility cast in my teeth—I wager that is what is on your tongue?" "No takers!" said the boy, emphatically. "Nevertheless, I prefer even that to the loneliness of this place. Besides, I might perhaps manage to conceal the difference in my form from those of men." The stable-valet shook his head doubtfully. "Too much handicapped!" he murmured. "I might adopt a false name!" cried the Centaur, with a sudden inspiration. The idea took the stable-valet unawares. "Ah! there's something in that tip!" he said, half persuaded. "I will—I'll find one at once: and that'll break the neck of the whole difficulty! I have it—I'll call myself Hay—Andrew P. Hay. See?—Hay retains enough of my ancestral name; the Philip I'll retain as a reminder of my duty toward my race; while the Andrew will assert the manhood of part of me—eh?" "Ye—es," said Raiboskeles, reflecting, "I think I'll befriend that dodge at commanding prices." This Rhodochroon Hen phraseology was oppressive at times; but his heart was in the right place. "Let us hail a steamer somehow," cried the Centaur (whom we will henceforth call Andrew P. Hay). The valet stood for a moment plunged in thought, smacking his bare leg with an olive-twig; then he said:— "You'll have to travel as a gee. Half a sec!" "HE SLIPPED IT OVER THE HEAD OF HIS MASTER." With incredible dexterity he plaited reeds from an adjacent stream into the form of a horse's head-and-neck cover; then respectfully slipped it over the human head and torso of his master. The part where the horse's nose should have been he had packed with grass: the head of Andrew P. Hay filled up the crown; while his human body made a fair show, beneath the covering, of being a horse's neck. The breadth where the man's shoulders came the valet subsequently explained by stating that he had placed a collar of osiers there to keep off the rub of the covering. There seemed an indignity about it which Mr. Hay found it hard to bear; but he got over it. Then the valet made a great fire of dry wood and grasses on a pinnacle; and the great column of smoke attracted the attention of a passing coaster, which bore down on the island to find out the reason of it. Bowes (that being the new name which Mr. Hay had found for his stable-valet) stood on the shore holding his charge with a halter of twisted grasses. The captain was surprised, but agreed to take them aboard, provided the horse could swim to the vessel, which could not get in: so Mr. Hay, with Bowes on his back, promptly took to the water, and was hoisted aboard in a sling from the davits. "That's a very remarkable animal!" said the Greek captain to Bowes. His dialect was atrocious. Bowes could not understand a word; but signs did just as well. Mr. Andrew P. Hay had decided to go to London. He knew a fair amount of English; for several years before a box from a wrecked vessel had been cast ashore on the island, and it had happened to contain some useful books and papers—a text of Homer, interlined with Mr. Gladstone's translation into English, several Greek-English primers, a Liddell and Scott's lexicon, some Ollendorffs, a Lindley Murray, Webster's American Dictionary, several issues of the Times , and a rhyming dictionary. Thus had A. P. Hay been enabled to learn the English language. The journey to England was full of unpleasantness. There were difficulties, too, about meals; the Centaur having conceived a growing distaste for hay and beans. The coaster had landed them at Otranto, where Bowes promptly engaged a private stable for his master. But now occurred the first difficulty—they had no money. The captain of the coaster had yet to be paid. But Bowes contrived to obtain, on credit, a suit of clothes in place of his tunic of woven grasses. "There's only one way out of this, sir," said Bowes, after a spell of thought; "I shall have to sell you!" "I fail to catch your meaning," said Mr. Hay, loftily pawing the ground. "Sell me ?" "That's it, sir; that's the only plan I can back for a place. You ought to fetch a good round sum, sir. Why, sir, look at you—there you stand, 17.1, deep in the girth, lovely clean houghs and pasterns, sir—look at 'em yourself if you ain't satisfied—sound wind, well planted, born flier, grand action. Look at your pedigree, that's enough! No vice—lady could hunt you, sir—oh, I'm not saying it to flatter you, sir! As for selling you—don't you see," said Bowes, placing his finger to his nose, "that's just a bit of practice, that's all. We shall have to sharp 'em. Let me alone to see to that." "Well, Bowes," said the master, "I have every confidence in you, although I do not quite grasp your plan. I must only request that you will do no act calculated to lessen our self-respect or——" "Get us warned off the course?" said Bowes. "Oh, that'll be all square." "But you forget that no one will buy me without seeing my head! If I show that, all is lost!" Bowes merely winked, and went out. Otranto was a most unpromising place for selling a fine horse; but Bowes made inquiries, and discovered that a rich Englishman, much given to horses—a gentleman-jockey—whose yacht was cruising in those parts, happened to be in the town. So Bowes fetched out Mr. Hay, mounted him, and caracoled him all over the place where a horse could manage to go; and presently he caught the eye of the gentleman-jockey. The latter had never seen such a picture of a horse in his life, and yearned to own Mr. Hay. Bowes explained that he wasn't for sale; that, in fact, he was half sold already to an American millionaire. (Bowes had picked up a considerable smattering of English from his master, you see.) "Look here," said the gentleman-jockey, "I must have him. On his back I could win every steeplechase in the kingdom. I'll give you £1,000 for him." "Down?" said Bowes. "Yes," replied the other. "I'll put off to my yacht and fetch it." In an hour the £1,000 in gold and Italian paper was in Bowes's possession. Bowes had explained how it would be unwise to unwrap Mr. Hay's head and neck then, as a cold wind was blowing, and the horse had caught a slight cold on his voyage. The jockey was so overcome by the magnificence of the visible parts of Mr. Hay, and so convinced of the wonderful bargain he had made, that he was content to take the head and neck for granted rather than let him go to the American millionaire; so Mr. Hay was put back in the stable for the night, and one of the yacht's crew left there to see to his safety. Shortly after dark Bowes picked the lock and crept in. Silently he placed a newly-acquired saddle on Mr. Hay's back. "I'LL GIVE YOU £1,000 FOR HIM." "What now?" whispered Andrew P. Hay. "We must be off at once and cover as many miles as we can before daylight," whispered Bowes. "But," objected Mr. Hay, "this is immoral!" All the refined morality of the ancient Centaurs welled up in him. "Pooh!" whispered Bowes. "Meaning no offence, sir; but it's got to be done!" At this moment the sailor woke and rose to see what was going on. Now, gentleman and man of honour as Mr. Hay was down to the waist, the instinct of battle and self-preservation in his equine portion instantly gained the ascendency in those moments when action was called for; and it was with feelings of the most unfeigned horror and regret that he felt himself backing toward the unhappy sailor and taking up a favourable position for an effective kick. "Bowes!" he said, in an agony of apprehension. "Quick! Don't you see what I'm doing? For Heaven's sake give me a cut over the quarters! Here—pull my head up, so that I can't lash out!" But it was too late; the equine nature situated in the hind-quarters had prevailed: there was an end of the sailor: Andrew P. Hay hid his face in his hands with a bitter sob, and suffered himself to be led out and mounted in silence. "You won't mind my presumption in wearing spurs, sir?" he said, apologetically. "We might want 'em when you get tired." Andrew P. Hay hardly heard the remark; his thoughts were absorbed by the regrettable incident of the sailor; at a touch of the spur he broke mechanically into a gallop, which he continued unbrokenly far into the night. Suddenly he pulled up. "Bowes," he said, "I'm famishing ——. I must have a meal; I've eaten nothing since the day before yesterday!" "All right, sir," replied Bowes, as he prepared to strap on a nose-bag filled with chaff and locust beans; "you shall have a bran-mash as soon as ever we reach——" "Take away this stuff!" said Mr. Hay, impatiently. "Do you hear? I've taken a dislike to hay and beans and bran-mashes; they're undignified food for a gentleman to eat, and I've done with them. I want a biftek aux pommes frites!" "Can't get it here, sir," said Bowes, touching his cap. "Oh; why, I've got some sandwiches and a bottle of Marsala in the bag. But, if I may make so bold, the beans would have more stay in 'em——" "For the equine portion, no doubt. Confound my equine portion, Bowes! It's in disgrace; I'm disgusted with it, and I'll starve it!" "Let's wait till we get home, sir, for that—if I might make bold to advise. It's just the hossey parts you require on the road." "Hum! there's something in that," said Mr. Hay; "well, give me the disgusting nose-bag; and when I've finished the confounded beans I will have a sandwich and a glass of Marsala to remove the taste.... This Marsala is a coarse wine, Bowes; was this the best thing you could get?" They set off again at a gallop; and Mr. Hay soon perceived the wisdom of having temporarily refreshed his horse-part. But his aversion of, and anger against, it grew steadily. As he galloped he continued to brood upon the unjustifiable deed it had so lately committed; and he speculated with an oppressing anxiety on the acts it might commit in the future; realizing, as he did, that he had no control over that portion of him. In spite of mountains, and the necessity for occasional rest, they reached Naples in two days. Here Bowes, having changed to a new and horsey suit of clothes, and provided Mr. Hay with new and handsome horse-clothing (so that they were unrecognisable), engaged a horse-box to Calais. No mere horse could have covered the distance in the time; so they had eluded pursuit. They reached London at last, and Bowes took a secluded villa, with stable, in St. John's Wood. The stable was merely a necessary artifice. With a sigh of relief Andrew P. Hay threw himself down on the hearthrug in the drawing-room; but the bitterness of association with that hateful horse-part was always with him. His dislike of it had grown to a positive loathing. His conduct when that part of him was in question was really most unreasonable. He would snatch up Bowes's riding-whip—the poker—anything, and belabour that horse-portion until it lashed out at the tables and chairs and smashed them to atoms. These scenes were most painful to Bowes. "LASHED OUT AT THE TABLES AND CHAIRS." Andrew P. Hay was possessed of remarkable aptitude, and, as the £1,000 so fraudulently acquired by Bowes was fast running out, it became necessary to cast about for employment. Now, his knowledge of the archaic Greek tongue, history, and antiquities, gained from direct tradition, was considerable; and he wrote to the authorities of the British Museum, the Society of Antiquaries, the Kernoozers' Club, and various other learned bodies, offering himself as correspondent and referee at a reasonable salary. After some correspondence his services were eagerly accepted; and for a time all worked well. Dr. Schliemann considered him invaluable, and much light was thrown upon the question of early Greek inscriptions, and the true site of Troy, and of the Garden of the Hesperides; while much interesting tittle-tattle, from authentic sources, added to the knowledge of the private character and daily life of Ajax, Achilles, the Muses, Hercules, and others. All this had been communicated by letter; but one calamitous day a learned official from the British Museum called, and, before it could be prevented, had penetrated to the presence of Mr. Hay. The meeting was most painful. Mr. Hay, attired in a loose morning coat and white waistcoat, was writing a paper on the differences between the Sapphic and Pindaric harps; while his equine part was fraying out the carpet with its hoofs and flicking away flies with its tail. Mr. Hay made a desperate effort to conceal the equine portion with the tails of his coat, but in vain. The official was deeply shocked and pained. "A—a—ahem! A Centaur, I believe?" he gasped. Prevarication was useless. Andrew P. Hay bowed stiffly, and motioned the visitor to a chair. "I—I must confess that I—er—hardly anticipated this—er ——. I was under the impression that we had been dealing with an ordinary human being if you'll excuse my saying so: but, forgive me—I fear the authorities to whom I am answerable will hardly approve of my obtaining information from a—er—a fabulous monster." "A what , sir?" cried A. P. Hay: and he felt that equine part beginning to edge round for a kick, while his ears were lying back close to his head—the only equine idiosyncrasy of his human part; but one which distressed him greatly. He shouted for Bowes to catch hold of his head; he seized the poker and hammered at his flanks; but all in vain—those terrible hind-legs lashed out: and the official of the British Museum was no more. It was a terrible affair: everything came out. Poor Mr. Hay was arrested and taken to Bow Street, where he was locked up in the green-yard stables. The horse-part resisted violently, nearly killing three policemen, and attempting to gallop off; while Mr. Hay begged them to throw him and sit on his head, and subsequently apologized most sincerely. The gaoler was very considerate, giving him his choice of oats or the usual fare. The magistrate was greatly surprised; but, of course, sent the case for trial. At the trial, although the facts were clearly proved, the jury were divided, some bringing in a verdict of deliberate murder against Andrew Philip Hay; some considering him not guilty, but recommending the destruction of the horse-portion as a dangerous animal. The judge, animadverting in the severest terms on the conduct of the prisoner, declared that, although the jury had not been able to agree as to a verdict, society could not exonerate the perpetrator of such a deed; and exhorted the prisoner to reflect deeply upon his conduct, and make such atonement as remorse and contrition would suggest. He then proceeded to comment upon the injudiciousness of the prisoner, who (although apparently guiltless of any desire to sacrifice human life) was, nevertheless, greatly to blame for his recklessness in keeping so dangerous an animal. His Lordship asked whether prisoner would consent to have the animal destroyed. Prisoner was understood to reply that that was impossible for physical reasons which none could regret more deeply than himself. Great excitement was created at this point by prisoner kicking out the back and sides of the dock, and hurling the usher into the gallery; prisoner, however, having apologized and expressed his belief that the incident had been occasioned by a horsefly, the matter was allowed to drop. "KICKING THE USHER INTO THE GALLERY." The judge, having retired for an hour to consider his action in the matter, stated that he considered it his duty, while severely deploring the murderous proclivities of the prisoner and regretting that the disagreement of the jury prevented him passing the capital sentence, to exonerate the accused from any intention to permit the animal to do grievous bodily harm, and recommended the keeping of it under proper surveillance. Prisoner having undertaken to lash his equine-part within an inch of its life, his lordship remarked that he could not sanction any proceedings involving cruelty to the lower animals. Prisoner was then discharged. Andrew P. Hay was plunged in profound misery. The disgrace and exposure of the whole proceedings, the degradation of his self-respect, cast over him a hopeless gloom. For hours he sat on his haunches, his face hidden in his hands, while scalding tears trickled between his fingers: then he suddenly arose, and kicked the villa to fragments. At length his calmness returned, and he sat down to think the thing out. The exposure had come—why should he not turn it to good account? "Bowes!" he called. Poor Bowes dragged his bruised remains from among the ruined brickwork. "Bowes, my pride has gone. I intend to make a fortune by lecturing all over the country about Greek antiquities, and my recent trial. Pack my portmanteau, and then go round and engage halls." The lectures created a furore . The public did not care two straws about Greek antiquities; but they crushed to hear a real live Centaur lecture about a murder case. At the end of a year he had amassed wealth B.D.A. Andrew Philip, Lord Hippstable, Baron Hay, is now one of the best known and most highly respected—er—men in society. He was lately presented with a massive service of plate by the Meltonshire Hunt, in acknowledgment of his valued services as master of the hounds; he is the most famous steeplechase—ah—rider of the day; and the last five Derby winners have hailed from his stable—in fact, he entered for one Derby himself, but was disqualified on purely technical grounds; and there is some talk in well-informed circles of his probable succession to the posts of President of the Jockey Club and Equerry to the Prince of Wales. J. F. Sullivan. Off to the Station Hulloa! Who's this running? To the Trains Confound you Sir 10 minutes to wait! J.A.S Transcriber's Notes: Simple spelling, grammar, and typographical errors were silently corrected. Anachronistic and non-standard spellings retained as printed. Title page and table of contents added by transcriber. *** END OF THE PROJECT GUTENBERG EBOOK THE STRAND MAGAZINE, VOL. 07, ISSUE 41, MAY, 1894 *** 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

• The Strand Magazine: Vol. 07, Issue 37, January, 1894. An Illustrated Monthly#35830
• The Strand Magazine, Vol. 17, No. 97, January to June 1899 An Illustrated Monthly#53654
• The Strand Magazine, Vol. 07, Issue 38, February, 1894 An Illustrated Monthly#53097
• The Strand Magazine, Vol. 01, Issue 02, February 1891 An Illustrated Monthly#51160
• The Strand Magazine, Vol. 05, Issue 28, April 1893 An Illustrated Monthly#40560