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

The Love of Monsieur

Gibbs, George, 1870-1942 · Project Gutenberg
Project Gutenberg · Books · License: Public Domain
Open Source ↗
adventure-storiesfrenchgreat-britainlove-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.

CHAPTER XVI MAROONED CHAPTER XVI MAROONED Jacquard conducted Mistress Barbara aft to the cabin until the boat could be prepared. And Monsieur silently followed, his eyes dim with tears at the loss of this friend to whose helpful skill both he and Mistress Barbara owed their lives. When they were safe within, Jacquard blurted forth: “It was the best I could do, monsieur, the very best I could do. The danger is not yet past. There is no safety for you or madame upon the same ship with Yan Gratz.” Bras-de-Fer silently wrung his hands. “It is a desperate journey for a lady tried already to the point of breaking, Jacquard. If they would but land us—” “Ah, monsieur. It were madness to try them again. Have you not seen their temper?” “No, no, monsieur, I am strong!” cried Barbara. “See! I am strong. Let us leave this dreadful charnel-ship. If I must die, let it be alone upon the broad ocean. That at least is clean of evil intent.” “Nay, madame,” continued the Frenchman. “If they would but sail us—” “No, no. Let us go at once. I can meet death bravely if need be, but not here.” “Monsieur, it will not be so bad,” broke in Jacquard. “The sea has gone down, and, although a long swell is running, it is low and smooth. A fair breeze draws from the west. The pinnace is stanch. The day is young. By the morrow you should raise the palms of Guanahani above the sea. I shall see you well provided with food, water, and weapons. Upon San Salvador are friendly Caribs, and in due course—” “ Mon ami ,” said Bras-de-Fer at last, “you are right. Were it not for madame, perhaps, I should yet make some small effort to establish myself upon the Sally . They have beaten me, but I am grieving little. I have no stomach for this life, my friend. The letting of blood in any but honest warfare sickens me and turns me to water. I leave the dogs without regret. But you, you and my gallant Cornbury.” He paused a moment, his hand to his brow, then raised his head with a glad smile. “Jacquard, will you not come with us? If we get safe ashore I can perhaps give you a service which will requite you.” But Jacquard was wagging his head. “No, no, monsieur. It is too late. I am too old a bird. Would ye clip the eagle’s wings? Would ye pen the old falcon in a gilded humming-bird cage? I’ve chosen to fly broadly, and broadly I’ll fly till some stray bullet ends my flapping. And now make ready, madame. A warm cloak against the night air, a pillow—for boat-thwarts are none too soft; and when ye are ready I shall be at the door.” And he vanished, his bullet head, with its round wool cap, scraping at the door-jamb as he passed. When he had gone, Barbara sank upon the bench at the table. Had it not been for the strong arms of Bras-de-Fer she must have fallen to the deck. Tired nature, overwrought nerves, rebellious, refused to obey. “But a little while, Barbara, dear, and we will be alone. Courage, brave one! Courage! We will soon gain the shore. Then, a ship—and—life!” “Ah, monsieur, I am weary. So weary that I fear for this journey in the open boat. God grant we may reach its ending.” Her head fell forward upon his breast and she breathed heavily as one in a deep sleep. He laid her gently so that her arms rested upon the table. Then he quickly prepared a package of articles which would be most necessary for her. Jewels there were and a packet of his own money. He found a flask of eau-de-vie , and when he had aroused her he gently forced her to drink a half-tumbler of it mixed with water. Presently Jacquard and Barthier came with the papers for him to sign. When this was done they all went upon the deck. The Spanish prize lay at a distance of several cables’ lengths, and, from a movement among the spars, was getting under way in charge of the prize crew. Alongside, at the starboard gangway, rode the pinnace. It looked so small, so masterless and helpless, by the side of the larger vessels in that infinity of ocean, that Mistress Barbara shivered as she looked down into it. But one glance around the decks to where the prostrate figures had lain reconciled her to her lot. Between Bras-de-Fer and Jacquard there was but one hearty hand-shake. The very lack of more effusive demonstration between them meant more than many words could have done. And as monsieur passed over the gangway and down into the vessel there was little in his demeanor to show the sting of his defeat at the hands of these devils of the sea, whom he had sought, and unsuccessfully, to bring into the domain of a proper humanity. A scornful laugh broke from among the men as he disappeared over the side, and Yan Gratz, waving a pistol, piped obscene threats and criticism from the quarter-deck. But presently, when Mistress Barbara had been slung over the side in a whip from the main-yard, Jacquard disappeared from the rail, and the falsetto of the Dutchman was no longer heard. The mast in the pinnace had been stepped, and the sail, strong and serviceable, but none too large, flapped impatiently in the breeze. And so when Barbara was seated, white and dark-eyed, showing with a painful effort a last haughty disdain to the rascals at the portholes and bulwarks, Bras-de-Fer shipped his tiller and hauled his sheet aft to the wind. The little vessel bounced in a sprightly, joyous fashion, the brown sail bulged stanchly, and in a moment a patch of green water, ever growing wider, flashed and trembled between the pinnace and the Saucy Sally . Among the row of dark heads along the rail Bras-de-Fer looked for only one, and to him he presently turned and raised his hat in salute. Jacquard replied; and then his long arms went flying and his hoarse voice cried aloud the orders to set the vessel upon her course. Presently the yards flew around, the vessel squared away, and the Saucy Sally was but a memory. A vessel nameless, without identity, was sailing away from them upon the sea, and they were alone. Barbara looked no more. She had seated herself upon the gratings at the bottom of the craft, her arms resting upon the stern thwart. But now that all immediate danger had passed and she sat safe and at peace, the wonderful spirit and courage to which she had nerved herself in a moment failed her. Her head fell forward upon her arms and she sank inert and prone at the feet of the Frenchman. Scarce realizing what had happened, yet fearful that some dreadful fate had intervened to take his love from him, he dropped the tiller and fell upon his knees by her side, his mind shaken by the agony of the moment; for her face had taken a kind of waxen, leaden color more terrifying than mere pallor, and the lips, save for a faint-blue tinge, became under his very eyes of the same deathly hue. He dashed handful after handful of the sea-water into her face and rubbed her chill arms and hands. He poured a draught of the rum between her cold lips. But she moved not. Beseech her as he might, there was no response to his petitions. He sought the pulse; he could feel nothing. The breath had ceased. Oh, God! Had the cup of happiness been placed at their lips only to sip? Was it to be poured out before his very eyes? He cried aloud in his agony and raised the face to his own, kissing it again and again, as if by the warmth of his own passion he could awaken it to life. “My love! my love!” he cried. “Come back to me! Come back to me again! Open thine eyes! Breathe but my name! Come back to me, my love!” He had waited an eternity. At last, as he put his ear to her breast, a sound, ever so faint, but still a sound, told him that the heart was pulsing anew. He forced a generous draught of the rum through her lips and madly renewed his efforts to arouse the blood. Several moments more he struggled in pitiful suspense, and then a gentle color flowed under the marble skin, a touch of pink rose to the blue lips, the eyelids quivered a moment and then opened. He hauled the sail to shield her from the glare of the sun, and held a cup of fresh water to her lips. She looked at him, but no words came from her lips. Instead, she breathed a sigh and with a faint smile relinquished herself and fell back peacefully into his arms. Once or twice she opened her eyes in an effort to speak, but each time he soothed her and bade her rest. He was but a man, and it needed a gentler hand to cope with such an emergency; but now that the danger was past he felt instinctively that nature would seek in her own ways to restore, and he let her lie quiet, pillowed in the curve of his arm against his breast. And so, presently, her breathing was regular, and she slept. He could not know how long it had been since they left the Sally , but by the sun he saw that there was yet an hour or two of the day. The ships were become mere dull blotches upon the sky, and from his position the lower tier of guns seemed just at the line of the sea. Time was precious, for the land lay a full day’s sail, even should the breeze continue to favor them, and he could not tell how long it would blow thus steadily. Fearful of awakening Barbara and yet anxious to take advantage of every favorable opportunity, he reached for the sheet and tiller and set the little vessel upon her course. She heeled gladly to the wind, and the coursing of the water beneath her long keel made a sound grateful to his ears. He had taken the Sally’s position upon the charts before leaving, and steered a course which should surely fetch a sight of the land upon the morrow. If the breeze held and the night were clear, he could steer by the stars. He blessed the habits of his training, in which he had studied the heavens in his night watches, wherever he might be. There was no sign of any disturbance of the elements. The heavy swell now and then shook the wind out of his tiny sail, but not a cloud flecked the sky above him, and the sea which glittered and sprang playfully at the sides of the pinnace seemed to beckon to him gladly in hopeful augury for the hours to come. The apprehensions that he had felt were dissipated in the mellow glow of the southern sun. Had he been alone, this voyage in an open boat over an unknown sea would have filled him with delight. But the slender figure at his side, which lay pale and silent in the shadow of the gunwale, filled him with vague alarms. On, on into the void, the tiny vessel crept. The sun sank low in the sky and dropped, a red ball, behind the disk of sea. The dusk swept up over the ocean like the shadow of a storm, and night drew a purplish curtain across the smiling heaven. The stars twinkled into sudden life, and night fell, clear, warm, spangled, while the soft, stealthy seas crept alongside and leaped and fawned at the shearing prow of the pinnace. An arching moon arose and sailed, a silver boat, high into the heavens. But Bras-de-Fer moved not and Barbara still slept. Continually his keen eyes swept the dark rim of the horizon for a blur of sail or the sign of any portentous movement of the elements. He knew the horrors of this southern ocean, and the catlike purring of the silken seas did not deceive him; for in the swaying deep he could feel the great rhythmical pulse of the heart of the sea, which spoke a continuous, sullen, ominous threat of resistless might, ready at the turn of a mood to rise, engulf, and devour. By midnight the wind fell, and with the flapping of the idle sail Barbara awoke. She lay for some moments, her eyes winking at the swinging stars, then pushed the cloak aside, lifted her head, and looked wide-eyed around and into the face of Bras-de-Fer. “I have slept?” she asked, bewildered—“I have slept in this boat?” He bent forward over her eager delight. “The clock around, Barbara, dear. You were so weary, so weary, I have let you rest.” “Ah, yes, I remember. The Saucy Sally —” “An evil dream, a nightmare. See; we are borne upon a fairy sea. All the world is at peace. This infinity of beauty is ours—it is for us alone.” She shuddered a little and drew closer to him. “Oh, it is so vast, so inscrutable, this treacherous, pitiless water! Have we come nearer to the land?” “Fifteen leagues at least. The wind has failed us but this half-hour. After you have eaten and drunk you shall sleep again, and when you awake I promise you land under the very lid of the eye.” “And you—have you not slept?” “Madame, I am a very owl of birds. But I have the hunger of a lynx.” Then while she took the helm he set before her the food which Jacquard had provided. There were sea-biscuit, boucan, preserved fruits from the store of the San Isidro , and a pannikin of rum-and-water. It was not until she ate that she discovered how hungry she was; Bras-de-Fer had eaten nothing for eight-and-forty hours. And so like two children they sat and supped hungrily. When the meal was done, Bras-de-Fer arranged the bread-bags and the pillow so that she might sleep in greater comfort, but she would not have it so. “No, no,” she insisted, “I am well again and strong. If you do not sleep I shall not.” And so resolute was her tone that he forbore to press her further. But sleep was the furthest from his own eyes. He felt not even the faintest touch of weariness. She leaned back upon his arm again, and so, hand in hand, they sat in their little vessel, mute and spellbound at the completeness of their happiness, which even the presence of grim danger was powerless to steal away from them. The air was sweet and balmy and brushed their cheeks like the breath from an angel’s wing. The first pungent aromatic odor of the land reached their nostrils, mingled delicately with the salt of the sea. In silence they watched the planets burn and glow red like molten iron against the star-bepowdered sky, across which the placid moon sailed down upon its promised course. Flying stars vied with each other in the brightness of their illuminations in their honor. And presently, shaming them into darkness, a giant meteor shot like a flaming brand across the spacious sky, spurning and burying in its splendid pathway a myriad of the lesser embers; which, when it was done, peeped forth again timidly upon the velvet night, ashamed of their small share in its glory. All of this they saw reflected doubly on an ocean of gray satin, which sent the bright reflections in wriggling rays like so many snakes of fire to mingle and play amid the glow of the caressing surges, which gushed languidly at their very feet. To have spoken would have been to break the spell which bound them to the infinite. And so they sat enthroned in these wonderful dominions of which for the nonce they were prince and princess. “Thou art content?” he asked at last. She did not answer him at once. When she did, it was softly and with eyes which sought the distant horizon away from him. “If to be content means to breathe freely, deeply, the pure air of heaven, to thank God for the present, to care not what evil has been or what evil may be, to be engulfed in quiet delight, to be swathed in peace, then, monsieur, I am content.” He flushed warmly, and the arm about her tightened. He sought her lips with his own. She did not resist him. And so before the high, effulgent altar of God’s heaven, with the surges for choristers, the stars for candles, and the voices of the sentient night for company, he plighted her his troth. It was then that she swept away the only shadow that remained upon their love. With head bowed, in deep contrition he told her of his madness that first night upon the Saucy Sally , when he had wildly railed at fate, at all things, and promised to wreak upon her he knew not what dire vengeance. “Our accounts are balanced, then,” she smiled. “We shall begin anew. For I, too, have many times denied you in my heart and on my lips. And I know that I have loved you always.” “ Adorée! ” he whispered. It was Barbara, as if to belie her own happiness, who first broke the spell of witchery that had fallen upon them. Her eyes, which had aimlessly sought the horizon, stopped and dilated as she fixed her gaze upon one spot which trembled and swam in the light. Bras-de-Fer started up, straining his eyes to where she pointed. “Look!” she cried. “Is it—” There, her rigging and sails clearly drawn in lines of ice, a phantom of the thing that she was, hung a vessel. She had crept up on some flaw of wind, her sail in the shadow, and now upon another tack had thrown her white canvases to the reflection of the sky. “It is no phantom,” cried monsieur, in delight. “A ship, Barbara, chérie ! By her build a man-of-war, not two leagues distant.” “Will she have seen us, do you think?” “If she has not, it will be but a matter of moments.” He ran forward to where the provisions and weapons had been put under a piece of pitched canvas. He drew forth a musket, and loaded it with an extra charge of powder. Barbara put her fingers to her ears as the gun roared forth its salute. The silent night was split and riven asunder by the mighty echoes; the robe of enchantment fell, the prince and princess were prince and princess no longer. Barbara sighed. Their throne was but a rugged boat and themselves but castaways wildly seeking a refuge. The dream of an hour was over. But none the less she helped monsieur load the muskets, and cried gladly when a flash and a puff of smoke came from the side of the stranger, and the low reverberation of the echoes of the shot told her that they were rescued. The ship came slowly down. ’Twas evident she brought the wind with her, for about the pinnace all was a dead calm. Barbara’s qualms that she, too, might be a boucanier were speedily set at rest; for as she came nearer they discovered that she sat tall upon the water, and the glint of her ordnance along her larboard streaks proclaimed her trade. No sign of her nationality she gave until she had come within long earshot. Then a round, honest English voice rang heartily: “Ahoy the boat! Who are ye? Whence d’ye come?” To this Bras-de-Fer replied that they were castaways, marooned, and in sore need of help. The ship, they learned, was his Majesty’s Royal Maid , war brig of his excellency the governor of Jamaica. “See, madame,” he murmured as the ship drew near. “’Tis manifest you are my destiny. While you have frowned, Dame Fortune would have none of me. And now she is benignity itself.” He paused, sighing. “And yet I could almost wish she had not smiled so soon.” Her hand under cover of the cloak sought his. “Insatiable man, can you not be content?” “It was too, too sweet an enchantment to be so soon ended.” “Nay,” she whispered. “It is but just begun.” THE END “ The Books You Like to Read at the Price You Like to Pay ” There Are Two Sides to Everything — —including the wrapper which covers every Grosset & Dunlap book. When you feel in the mood for a good romance, refer to the carefully selected list of modern fiction comprising most of the successes by prominent writers of the day which is printed on the back of every Grosset & Dunlap book wrapper. You will find more than five hundred titles to choose from—books for every mood and every taste and every pocketbook. Don’t forget the other side, but in case the wrapper is lost, write to the publishers for a complete catalog. There is a Grosset & Dunlap Book for every mood and for every taste THE NOVELS OF TEMPLE BAILEY May be had wherever books are sold. Ask for Grosset & Dunlap’s list. “Although my ancestry is all of New England, I was born in the old town of Petersburg, Virginia. I went later to Richmond and finally at the age of five to Washington, D. C., returning to Richmond for a few years in a girl’s school, which was picturesquely quartered in General Lee’s mansion.” PEACOCK FEATHERS The eternal conflict between wealth and love. Jerry, the idealist who is poor, loves Mimi, a beautiful, spoiled society girl. THE DIM LANTERN The romance of little Jane Barnes who is loved by two men. THE GAY COCKADE Unusual short stories where Miss Bailey shows her keen knowledge of character and environment, and how romance comes to different people. THE TRUMPETER SWAN Randy Paine comes back from France to the monotony of every-day affairs. But the girl he loves shows him the beauty in the common-place. THE TIN SOLDIER A man who wishes to serve his country, but is bound by a tie he cannot in honor break—that’s Derry. A girl who loves him, shares his humiliation and helps him to win—that’s Jean. Their love is the story. MISTRESS ANNE A girl in Maryland teaches school, and believes that work is worthy service. Two men come to the little community; one is weak, the other strong, and both need Anne. CONTRARY MARY An old-fashioned love story that is nevertheless modern. GLORY OF YOUTH A novel that deals with a question, old and yet ever new—how far should an engagement of marriage bind two persons who discover they no longer love. Grosset & Dunlap,      Publishers,      New York MARGARET PEDLER’S NOVELS May be had wherever books are sold. Ask for Grosset & Dunlap’s list. RED ASHES A gripping story of a doctor who failed in a crucial operation—and had only himself to blame. Could the woman he loved forgive him? THE BARBARIAN LOVER A love story based on the creed that the only important things between birth and death are the courage to face life and the love to sweeten it. THE MOON OUT OF REACH Nan Davenant’s problem is one that many a girl has faced—her own happiness or her father’s bond. THE HOUSE OF DREAMS-COME-TRUE How a man and a woman fulfilled a gypsy’s strange prophecy. THE HERMIT OF FAR END How love made its way into a walled-in house and a walled-in heart. THE LAMP OF FATE The story of a woman who tried to take all and give nothing. THE SPLENDID FOLLY Do you believe that husbands and wives should have no secrets from each other? THE VISION OF DESIRE An absorbing romance written with all that sense of feminine tenderness that has given the novels of Margaret Pedler their universal appeal. GROSSET & DUNLAP,      Publishers,      NEW YORK THE NOVELS OF GRACE LIVINGSTON HILL (MRS. LUTZ) May be had wherever books are sold. Ask for Grosset & Dunlap’s list. BEST MAN, THE CITY OF FIRE, THE CLOUDY JEWEL DAWN OF THE MORNING ENCHANTED BARN, THE EXIT BETTY FINDING OF JASPER HOLT, THE GIRL FROM MONTANA, THE LO, MICHAEL! MAN OF THE DESERT, THE MARCIA SCHUYLER MIRANDA MYSTERY OF MARY, THE OBSESSION OF VICTORIA GRACEN, THE PHOEBE DEANE RED SIGNAL, THE SEARCH, THE STORY OF A WHIM, THE TOMORROW ABOUT THIS TIME TRYST, THE VOICE IN THE WILDERNESS, A WITNESS, THE Ask for Complete free list of G. & D. Popular Copyrighted Fiction GROSSET & DUNLAP,      Publishers,      NEW YORK RUBY M. AYRES’ NOVELS May be had wherever books are sold. Ask for Grosset & Dunlap’s list. THE LITTL’ST LOVER CANDLE LIGHT THE MAN WITHOUT A HEART THE ROMANCE OF A ROGUE THE MATHERSON MARRIAGE RICHARD CHATTERTON A BACHELOR HUSBAND THE SCAR THE MARRIAGE OF BARRY WICKLOW THE UPHILL ROAD WINDS OF THE WORLD THE SECOND HONEYMOON THE PHANTOM LOVER GROSSET & DUNLAP,      Publishers,      NEW YORK THE NOVELS OF GRACE LIVINGSTON HILL (MRS. LUTZ) May be had wherever books are sold. Ask for Grosset & Dunlap’s list. BEST MAN, THE CLOUDY JEWEL DAWN OF THE MORNING ENCHANTED BARN, THE EXIT BETTY FINDING OF JASPER HOLT, THE GIRL FROM MONTANA, THE LO, MICHAEL! MAN OF THE DESERT, THE MARCIA SCHUYLER MIRANDA MYSTERY OF MARY, THE OBSESSION OF VICTORIA GRACEN, THE PHOEBE DEANE RED SIGNAL, THE SEARCH, THE TRYST, THE VOICE IN THE WILDERNESS, A WITNESS, THE Ask for Complete free list of G. & D. Popular Copyrighted Fiction Grosset & Dunlap,      Publishers,      New York BOOTH TARKINGTON’S NOVELS May be had wherever books are sold. Ask for Grosset & Dunlap’s list. THE MIDLANDER THE FASCINATING STRANGER GENTLE JULIA ALICE ADAMS RAMSEY MILHOLLAND THE GUEST OF QUESNAY THE TWO VAN REVELS THE MAGNIFICENT AMBERSONS MONSIEUR BEAUCAIRE SEVENTEEN PENROD PENROD AND SAM THE TURMOIL THE GENTLEMAN FROM INDIANA THE FLIRT GROSSET & DUNLAP,      Publishers,      NEW YORK JAMES OLIVER CURWOOD’S STORIES OF ADVENTURE May be had wherever books are sold. Ask for Grosset & Dunlap’s list. THE COUNTRY BEYOND THE FLAMING FOREST THE VALLEY OF SILENT MEN THE RIVER’S END THE GOLDEN SNARE NOMADS OF THE NORTH KAZAN BAREE, SON OF KAZAN THE COURAGE OF CAPTAIN PLUM THE DANGER TRAIL THE HUNTED WOMAN THE FLOWER OF THE NORTH THE GRIZZLY KING ISOBEL THE WOLF HUNTERS THE GOLD HUNTERS THE COURAGE OF MARGE O’DOONE BACK TO GOD’S COUNTRY Ask for Complete free list of G. & D. Popular Copyrighted Fiction GROSSET & DUNLAP,      Publishers,      NEW YORK ZANE GREY’S NOVELS May be had wherever books are sold. Ask for Grosset and Dunlap’s list. THE CALL OF THE CANYON WANDERER OF THE WASTELAND TO THE LAST MAN THE MYSTERIOUS RIDER THE MAN OF THE FOREST THE DESERT OF WHEAT THE U. P. TRAIL WILDFIRE THE BORDER LEGION THE RAINBOW TRAIL THE HERITAGE OF THE DESERT RIDERS OF THE PURPLE SAGE THE LIGHT OF WESTERN STARS THE LAST OF THE PLAINSMEN THE LONE STAR RANGER DESERT GOLD BETTY ZANE THE DAY OF THE BEAST LAST OF THE GREAT SCOUTS The life story of “Buffalo Bill” by his sister Helen Cody Wetmore, with Foreword and conclusion by Zane Grey. ZANE GREY’S BOOKS FOR BOYS KEN WARD IN THE JUNGLE THE YOUNG LION HUNTER THE YOUNG FORESTER THE YOUNG PITCHER THE SHORT STOP THE RED-HEADED OUTFIELD AND OTHER BASEBALL STORIES GROSSET & DUNLAP,      Publishers,      NEW YORK KATHLEEN NORRIS’ STORIES May be had wherever books are sold. Ask for Grosset & Dunlap’s list. SISTERS. Frontispiece by Frank Street. The California Redwoods furnish the background for this beautiful story of sisterly devotion and sacrifice. POOR, DEAR, MARGARET KIRBY. Frontispiece by George Gibbs. A collection of delightful stories, including “Bridging the Years” and “The Tide-Marsh.” This story is now shown in moving pictures. JOSSELYN’S WIFE. Frontispiece by C. Allan Gilbert. The story of a beautiful woman who fought a bitter fight for happiness and love. MARTIE, THE UNCONQUERED. Illustrated by Charles E. Chambers. The triumph of a dauntless spirit over adverse conditions. THE HEART OF RACHAEL. Frontispiece by Charles E. Chambers. An interesting story of divorce and the problems that come with a second marriage. THE STORY OF JULIA PAGE. Frontispiece by C. Allan Gilbert. A sympathetic portrayal of the quest of a normal girl, obscure and lonely, for the happiness of life. SATURDAY’S CHILD. Frontispiece by F. Graham Cootes. Can a girl, born in rather sordid conditions, lift herself through sheer determination to the better things for which her soul hungered? MOTHER. Illustrated by F. C. Yohn. A story of the big mother heart that beats in the background of every girl’s life, and some dreams which came true. Ask for Complete free list of G. & D. Popular Copyrighted Fiction Grosset & Dunlap,      Publishers,      New York Transcriber’s Notes: Punctuation and spelling inaccuracies were silently corrected. Archaic and variable spelling has been preserved. Variations in hyphenation and compound words have been preserved. The Author’s em-dash style has been retained. Two slightly different advertisement book lists for author Grace Livingston Hill were both retained. *** END OF THE PROJECT GUTENBERG EBOOK THE LOVE OF MONSIEUR *** 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 54865 · SHA-256 ca80d4077f9f9769
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