diff options
| -rw-r--r-- | .gitattributes | 3 | ||||
| -rw-r--r-- | 10572-0.txt | 445 | ||||
| -rw-r--r-- | 10572-h.zip | bin | 0 -> 558958 bytes | |||
| -rw-r--r-- | 10572-h/032.jpg | bin | 0 -> 95611 bytes | |||
| -rw-r--r-- | 10572-h/033.jpg | bin | 0 -> 158662 bytes | |||
| -rw-r--r-- | 10572-h/10572-h.htm | 986 | ||||
| -rw-r--r-- | 10572-h/cover.jpg | bin | 0 -> 142703 bytes | |||
| -rw-r--r-- | 10572-h/frontis.jpg | bin | 0 -> 102857 bytes | |||
| -rw-r--r-- | 10572-h/title.jpg | bin | 0 -> 45414 bytes | |||
| -rw-r--r-- | 10572.txt | 864 | ||||
| -rw-r--r-- | 10572.zip | bin | 0 -> 16012 bytes | |||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 | ||||
| -rw-r--r-- | old/10572-h.zip | bin | 0 -> 558958 bytes | |||
| -rw-r--r-- | old/10572-h/032.jpg | bin | 0 -> 95611 bytes | |||
| -rw-r--r-- | old/10572-h/033.jpg | bin | 0 -> 158662 bytes | |||
| -rw-r--r-- | old/10572-h/10572-h.htm | 986 | ||||
| -rw-r--r-- | old/10572-h/cover.jpg | bin | 0 -> 142703 bytes | |||
| -rw-r--r-- | old/10572-h/frontis.jpg | bin | 0 -> 102857 bytes | |||
| -rw-r--r-- | old/10572-h/title.jpg | bin | 0 -> 45414 bytes | |||
| -rw-r--r-- | old/10572.txt | 864 | ||||
| -rw-r--r-- | old/10572.zip | bin | 0 -> 16012 bytes |
22 files changed, 4161 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/10572-0.txt b/10572-0.txt new file mode 100644 index 0000000..0c4fafb --- /dev/null +++ b/10572-0.txt @@ -0,0 +1,445 @@ +*** START OF THE PROJECT GUTENBERG EBOOK 10572 *** + +SHIP'S COMPANY + +By W.W. Jacobs + + + +"MANNERS MAKYTH MAN" + + +The night-watchman appeared to be out of sorts. His movements were even +slower than usual, and, when he sat, the soap-box seemed to be unable to +give satisfaction. His face bore an expression of deep melancholy, but a +smouldering gleam in his eye betokened feelings deeply moved. + +"Play-acting I don't hold with," he burst out, with sudden ferocity. +"Never did. I don't say I ain't been to a theayter once or twice in my +life, but I always come away with the idea that anybody could act if they +liked to try. It's a kid's game, a silly kid's game, dressing up and +pretending to be somebody else." + +He cut off a piece of tobacco and, stowing it in his left cheek, sat +chewing, with his lack-lustre eyes fixed on the wharves across the river. +The offensive antics of a lighterman in mid-stream, who nearly fell +overboard in his efforts to attract his attention, he ignored. + +"I might ha' known it, too," he said, after a long silence. "If I'd only +stopped to think, instead o' being in such a hurry to do good to others, +I should ha' been all right, and the pack o' monkey-faced swabs on the +<i>Lizzie and Annie</i> wot calls themselves sailor-men would 'ave had to 'ave +got something else to laugh about. They've told it in every pub for 'arf +a mile round, and last night, when I went into the Town of Margate to get +a drink, three chaps climbed over the partition to 'ave a look at me. + +"It all began with young Ted Sawyer, the mate o' the <i>Lizzie and Annie</i>. +He calls himself a mate, but if it wasn't for 'aving the skipper for a +brother-in-law 'e'd be called something else, very quick. Two or three +times we've 'ad words over one thing and another, and the last time I +called 'im something that I can see now was a mistake. It was one o' +these 'ere clever things that a man don't forget, let alone a lop-sided +monkey like 'im. + +"That was when they was up time afore last, and when they made fast 'ere +last week I could see as he 'adn't forgotten it. For one thing he +pretended not to see me, and, arter I 'ad told him wot I'd do to him if +'e ran into me agin, he said 'e thought I was a sack o' potatoes taking a +airing on a pair of legs wot somebody 'ad throwed away. Nasty tongue +'e's got; not clever, but nasty. + +"Arter that I took no notice of 'im, and, o' course, that annoyed 'im +more than anything. All I could do I done, and 'e was ringing the +gate-bell that night from five minutes to twelve till ha'-past afore I +heard it. Many a night-watchman gets a name for going to sleep when +'e's only getting a bit of 'is own back. + +"We stood there talking for over 'arf-an-hour arter I 'ad let'im in. +Leastways, he did. And whenever I see as he was getting tired I just +said, 'H'sh!' and 'e'd start agin as fresh as ever. He tumbled to it at +last, and went aboard shaking 'is little fist at me and telling me wot +he'd do to me if it wasn't for the lor. + +"I kept by the gate as soon as I came on dooty next evening, just to give +'im a little smile as 'e went out. There is nothing more aggravating +than a smile when it is properly done; but there was no signs o' my lord, +and, arter practising it on a carman by mistake, I 'ad to go inside for a +bit and wait till he 'ad gorn. + +"The coast was clear by the time I went back, and I 'ad just stepped +outside with my back up agin the gate-post to 'ave a pipe, when I see a +boy coming along with a bag. Good-looking lad of about fifteen 'e was, +nicely dressed in a serge suit, and he no sooner gets up to me than 'e +puts down the bag and looks up at me with a timid sort o' little smile. + +"'Good evening, cap'n,' he ses. + +"He wasn't the fust that has made that mistake; older people than 'im +have done it. + +"'Good evening, my lad,' I ses. + +"'I s'pose,' he ses, in a trembling voice, 'I suppose you ain't looking +out for a cabin-boy, sir?' + +"'Cabin-boy?' I ses. 'No, I ain't.' + +"'I've run away from 'ome to go to sea,' he ses, and I'm afraid of being +pursued. Can I come inside?' + +"Afore I could say 'No' he 'ad come, bag and all; and afore I could say +anything else he 'ad nipped into the office and stood there with his 'and +on his chest panting. + +"'I know I can trust you,' he ses; 'I can see it by your face." + +"'Wot 'ave you run away from 'ome for?' I ses. 'Have they been +ill-treating of you?' + +"'Ill-treating me?' he ses, with a laugh. 'Not much. Why, I expect my +father is running about all over the place offering rewards for me. He +wouldn't lose me for a thousand pounds.' + +"I pricked up my ears at that; I don't deny it. Anybody would. Besides, +I knew it would be doing him a kindness to hand 'im back to 'is father. +And then I did a bit o' thinking to see 'ow it was to be done. + +"'Sit down,' I ses, putting three or four ledgers on the floor behind one +of the desks. 'Sit down, and let's talk it over.' + +"We talked away for ever so long, but, do all I would, I couldn't +persuade 'im. His 'ead was stuffed full of coral islands and smugglers +and pirates and foreign ports. He said 'e wanted to see the world, and +flying-fish. + +"'I love the blue billers,' he ses; 'the heaving blue billers is wot I +want.' + +"I tried to explain to 'im who would be doing the heaving, but 'e +wouldn't listen to me. He sat on them ledgers like a little wooden +image, looking up at me and shaking his 'ead, and when I told 'im of +storms and shipwrecks he just smacked 'is lips and his blue eyes shone +with joy. Arter a time I saw it was no good trying to persuade 'im, and +I pretended to give way. + +"'I think I can get you a ship with a friend o' mine,' I ses; 'but, mind, +I've got to relieve your pore father's mind--I must let 'im know wot's +become of you.' + +"'Not before I've sailed,' he ses, very quick. + +"'Certingly not,' I ses. 'But you must give me 'is name and address, +and, arter the Blue Shark--that's the name of your ship--is clear of the +land, I'll send 'im a letter with no name to it, saying where you ave +gorn.' + +"He didn't seem to like it at fust, and said 'e would write 'imself, but +arter I 'ad pointed out that 'e might forget and that I was responsible, +'e gave way and told me that 'is father was named Mr. Watson, and he kept +a big draper's shop in the Commercial Road. + +"We talked a bit arter that, just to stop 'is suspicions, and then I told +'im to stay where 'e was on the floor, out of sight of the window, while +I went to see my friend the captain. + +"I stood outside for a moment trying to make up my mind wot to do. +O'course, I 'ad no business, strictly speaking, to leave the wharf, but, +on the other 'and, there was a father's 'art to relieve. I edged along +bit by bit while I was thinking, and then, arter looking back once or +twice to make sure that the boy wasn't watching me, I set off for the +Commercial Road as hard as I could go. + +"I'm not so young as I was. It was a warm evening, and I 'adn't got even +a bus fare on me. I 'ad to walk all the way, and, by the time I got +there, I was 'arf melted. It was a tidy-sized shop, with three or four +nice-looking gals behind the counter, and things like babies' high chairs +for the customers to sit onlong in the leg and ridikerlously small in the +seat. I went up to one of the gals and told Per I wanted to see Mr. +Watson. + +"'On private business,' I ses. 'Very important.' + +"She looked at me for a moment, and then she went away and fetched a +tall, bald-headed man with grey side-whiskers and a large nose. + +"'Wot d'you want?" he ses, coming up to me. + +I want a word with you in private,' I ses. + +"'This is private enough for me,' he ses. 'Say wot you 'ave to say, and +be quick about it.' + +"I drawed myself up a bit and looked at him. 'P'r'aps you ain't missed +'im yet,' I ses. + +"'Missed 'im?' he ses, with a growl. 'Missed who?' + +"'Your-son. Your blue-eyed son,' I ses, looking 'im straight in the eye. + +"'Look here!' he ses, spluttering. 'You be off. 'Ow dare you come here +with your games? Wot d'ye mean by it?' + +"'I mean,' I ses, getting a bit out o' temper, 'that your boy has run +away to go to sea, and I've come to take you to 'im.' + +"He seemed so upset that I thought 'e was going to 'ave a fit at fust, +and it seemed only natural, too. Then I see that the best-looking girl +and another was having a fit, although trying 'ard not to. + +"'If you don't get out o' my shop,' he ses at last, 'I'll 'ave you locked +up.' + +"'Very good!' I ses, in a quiet way. 'Very good; but, mark my words, +if he's drownded you'll never forgive yourself as long as you live for +letting your temper get the better of you--you'll never know a good +night's rest agin. Besides, wot about 'is mother?' + +"One o' them silly gals went off agin just like a damp firework, and Mr. +Watson, arter nearly choking 'imself with temper, shoved me out o' the +way and marched out o' the shop. I didn't know wot to make of 'im at +fust, and then one o' the gals told me that 'e was a bachelor and 'adn't +got no son, and that somebody 'ad been taking advantage of what she +called my innercence to pull my leg. + +"'You toddle off 'ome,' she ses, 'before Mr. Watson comes back.' + +"'It's a shame to let 'im come out alone,' ses one o' the other gals. +'Where do you live, gran'pa?' + +"I see then that I 'ad been done, and I was just walking out o' the shop, +pretending to be deaf, when Mr. Watson come back with a silly young +policeman wot asked me wot I meant by it. He told me to get off 'ome +quick, and actually put his 'and on my shoulder, but it 'ud take more +than a thing like that to push me, and, arter trying his 'ardest, he +could only rock me a bit. + +"I went at last because I wanted to see that boy agin, and the young +policeman follered me quite a long way, shaking his silly 'ead at me and +telling me to be careful. + +"I got a ride part o' the way from Commercial Road to Aldgate by getting +on the wrong bus, but it wasn't much good, and I was quite tired by the +time I got back to the wharf. I waited outside for a minute or two to +get my wind back agin, and then I went in-boiling. + +"You might ha' knocked me down with a feather, as the saying is, and I +just stood inside the office speechless. The boy 'ad disappeared and +sitting on the floor where I 'ad left 'im was a very nice-looking gal of +about eighteen, with short 'air, and a white blouse. + +"'Good evening, sir,' she ses, jumping up and giving me a pretty little +frightened look. 'I'm so sorry that my brother has been deceiving you. +He's a bad, wicked, ungrateful boy. The idea of telling you that Mr. +Watson was 'is father! Have you been there? I do 'ope you're not +tired.' + +"'Where is he?' I ses. + +"'He's gorn,' she ses, shaking her 'ead. 'I begged and prayed of 'im to +stop, but 'e wouldn't. He said 'e thought you might be offended with +'im. "Give my love to old Roley-Poley, and tell him I don't trust 'im," +he ses.' + +"She stood there looking so scared that I didn't know wot to say. By and +by she took out 'er little pocket-'ankercher and began to cry-- + +"'Oh, get 'im back,' she ses. 'Don't let it be said I follered 'im 'ere +all the way for nothing. Have another try. For my sake!' + +"''Ow can I get 'im back when I don't know where he's gorn?' I ses. + +"'He-he's gorn to 'is godfather,' she ses, dabbing her eyes. 'I promised +'im not to tell anybody; but I don't know wot to do for the best.' + +"'Well, p'r'aps his godfather will 'old on to 'im,' I ses. + +"'He won't tell 'im anything about going to sea,' she ses, shaking 'er +little head. 'He's just gorn to try and bo--bo-borrow some money to go +away with.' + +"She bust out sobbing, and it was all I could do to get the godfather's +address out of 'er. When I think of the trouble I took to get it I come +over quite faint. At last she told me, between 'er sobs, that 'is name +was Mr. Kiddem, and that he lived at 27, Bridge Street. + +"'He's one o' the kindest-'arted and most generous men that ever lived,' +she ses; 'that's why my brother Harry 'as gone to 'im. And you needn't +mind taking anything 'e likes to give you; he's rolling in money.' + +"I took it a bit easier going to Bridge Street, but the evening seemed +'otter than ever, and by the time I got to the 'ouse I was pretty near +done up. A nice, tidy-looking woman opened the door, but she was a' most +stone deaf, and I 'ad to shout the name pretty near a dozen times afore +she 'eard it. + +"'He don't live 'ere,' she ses. + +"''As he moved?' I ses. 'Or wot?' + +"She shook her 'cad, and, arter telling me to wait, went in and fetched +her 'usband. + +"'Never 'eard of him,' he ses, 'and we've been 'ere seventeen years. Are +you sure it was twenty-seven?' + +"'Sartain,' I ses. + +"'Well, he don't live 'ere,' he ses. 'Why not try thirty-seven and +forty-seven?' + +"I tried'em: thirty-seven was empty, and a pasty-faced chap at forty- +seven nearly made 'imself ill over the name of 'Kiddem.' It 'adn't +struck me before, but it's a hard matter to deceive me, and all in a +flash it come over me that I 'ad been done agin, and that the gal was as +bad as 'er brother. + +"I was so done up I could 'ardly crawl back, and my 'ead was all in a +maze. Three or four times I stopped and tried to think, but couldn't, +but at last I got back and dragged myself into the office. + +"As I 'arf expected, it was empty. There was no sign of either the gal +or the boy; and I dropped into a chair and tried to think wot it all +meant. Then, 'appening to look out of the winder, I see somebody running +up and down the jetty. + +"I couldn't see plain owing to the things in the way, but as soon as I +got outside and saw who it was I nearly dropped. It was the boy, and he +was running up and down wringing his 'ands and crying like a wild thing, +and, instead o' running away as soon as 'e saw me, he rushed right up to +me and threw 'is grubby little paws round my neck. + +"'Save her!' 'e ses. 'Save 'er! Help! Help!' + +"'Look 'ere,' I ses, shoving 'im off. + +"'She fell overboard,' he ses, dancing about. 'Oh, my pore sister! +Quick! Quick! I can't swim!' + +"He ran to the side and pointed at the water, which was just about at +'arf-tide. Then 'e caught 'old of me agin. + +"'Make 'aste,' he ses, giving me a shove behind. 'Jump in. Wot are you +waiting for?' + +"I stood there for a moment 'arf dazed, looking down at the water. Then +I pulled down a life-belt from the wall 'ere and threw it in, and, arter +another moment's thought, ran back to the <i>Lizzie and Annie,</i> wot was in +the inside berth, and gave them a hail. I've always 'ad a good voice, +and in a flash the skipper and Ted Sawyer came tumbling up out of the +cabin and the 'ands out of the fo'c'sle. + +"'Gal overboard!' I ses, shouting. + +"The skipper just asked where, and then 'im and the mate and a couple of +'ands tumbled into their boat and pulled under the jetty for all they was +worth. Me and the boy ran back and stood with the others, watching. + +"'Point out the exact spot,' ses the skipper. + +"The boy pointed, and the skipper stood up in the boat and felt round +with a boat-hook. Twice 'e said he thought 'e touched something, but it +turned out as 'e was mistaken. His face got longer and longer and 'e +shook his 'ead, and said he was afraid it was no good. + +"'Don't stand cryin' 'ere,' he ses to the boy, kindly. 'Jem, run round +for the Thames police, and get them and the drags. Take the boy with +you. It'll occupy 'is mind.' + +"He 'ad another go with the boat-hook arter they 'ad gone; then 'e gave +it up, and sat in the boat waiting. + +"'This'll be a bad job for you, watchman,' he ses, shaking his 'ead. +'Where was you when it 'appened?' + +"'He's been missing all the evening,' ses the cook, wot was standing +beside me. 'If he'd been doing 'is dooty, the pore gal wouldn't 'ave +been drownded. Wot was she doing on the wharf?' + +"'Skylarkin', I s'pose,' ses the mate. 'It's a wonder there ain't more +drownded. Wot can you expect when the watchman is sitting in a pub all +the evening?' + +"The cook said I ought to be 'ung, and a young ordinary seaman wot was +standing beside 'im said he would sooner I was boiled. I believe they +'ad words about it, but I was feeling too upset to take much notice. + +"'Looking miserable won't bring 'er back to life agin,' ses the skipper, +looking up at me and shaking his 'ead. 'You'd better go down to my cabin +and get yourself a drop o' whisky; there's a bottle on the table. You'll +want all your wits about you when the police come. And wotever you do +don't say nothing to criminate yourself.' + +"'We'll do the criminating for 'im all right,' ses the cook. + +"'If I was the pore gal I'd haunt 'im,' ses the ordinary seaman; 'every +night of 'is life I'd stand afore 'im dripping with water and moaning.' + +"'P'r'aps she will,' ses the cook; 'let's 'ope so, at any rate.' + +"I didn't answer 'em; I was too dead-beat. Besides which, I've got a +'orror of ghosts, and the idea of being on the wharf alone of a night +arter such a thing was a'most too much for me. I went on board the +<i>Lizzie and Annie,</i> and down in the cabin I found a bottle o' whisky, as +the skipper 'ad said. I sat down on the locker and 'ad a glass, and then +I sat worrying and wondering wot was to be the end of it all. + +"The whisky warmed me up a bit, and I 'ad just taken up the bottle to +'elp myself agin when I 'eard a faint sort o' sound in the skipper's +state-room. I put the bottle down and listened, but everything seemed +deathly still. I took it up agin, and 'ad just poured out a drop o' +whisky when I distinctly 'eard a hissing noise and then a little moan. + +"For a moment I sat turned to stone. Then I put the bottle down quiet, +and 'ad just got up to go when the door of the state-room opened, and I +saw the drownded gal, with 'er little face and hair all wet and dripping, +standing before me. + +"Ted Sawyer 'as been telling everybody that I came up the companion-way +like a fog-horn that 'ad lost its ma; I wonder how he'd 'ave come up if +he'd 'ad the evening I had 'ad? + +"They were all on the jetty as I got there and tumbled into the skipper's +arms, and all asking at once wot was the matter. When I got my breath +back a bit and told 'em, they laughed. All except the cook, and 'e said +it was only wot I might expect. Then, like a man in a dream, I see the +gal come out of the companion and walk slowly to the side. + +"'Look!' I ses. 'Look. There she is!' + +"'You're dreaming,' ses the skipper, 'there's nothing there.' + +"They all said the same, even when the gal stepped on to the side and +climbed on to the wharf. She came along towards me with 'er arms held +close to 'er sides, and making the most 'orrible faces at me, and it took +five of'em all their time to 'old me. The wharf and everything seemed to +me to spin round and round. Then she came straight up to me and patted +me on the cheek. + +"'Pore old gentleman,' she ses. 'Wot a shame it is, Ted! It's too bad.' + +"They let go o' me then, and stamped up and down the jetty laughing fit +to kill themselves. If they 'ad only known wot a exhibition they was +making of themselves, and 'ow I pitied them, they wouldn't ha' done it. +And by and by Ted wiped his eyes and put his arm round the gal's waist +and ses-- + +"'This is my intended, Miss Florrie Price,' he ses. 'Ain't she a little +wonder? Wot d'ye think of 'er?' + +"'I'll keep my own opinion,' I ses. 'I ain't got nothing to say against +gals, but if I only lay my hands on that young brother of 'ers' + +"They went off agin then, worse than ever; and at last the cook came and +put 'is skinny arm round my neck and started spluttering in my ear. I +shoved 'im off hard, because I see it all then; and I should ha' seen it +afore only I didn't 'ave time to think. I don't bear no malice, and all +I can say is that I don't wish 'er any harder punishment than to be +married to Ted Sawyer." + + + + + +End of the Project Gutenberg EBook of Manners Makyth Man, by W.W. Jacobs + +*** END OF THE PROJECT GUTENBERG EBOOK 10572 *** diff --git a/10572-h.zip b/10572-h.zip Binary files differnew file mode 100644 index 0000000..c228aed --- /dev/null +++ b/10572-h.zip diff --git a/10572-h/032.jpg b/10572-h/032.jpg Binary files differnew file mode 100644 index 0000000..4855d82 --- /dev/null +++ b/10572-h/032.jpg diff --git a/10572-h/033.jpg b/10572-h/033.jpg Binary files differnew file mode 100644 index 0000000..956f7e2 --- /dev/null +++ b/10572-h/033.jpg diff --git a/10572-h/10572-h.htm b/10572-h/10572-h.htm new file mode 100644 index 0000000..07d6a86 --- /dev/null +++ b/10572-h/10572-h.htm @@ -0,0 +1,986 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html> +<head> +<title>Ship's Company, Book 12</title> +<meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1"> +<style type="text/css"> +<!-- +body {margin:10%; text-align:justify} +img {border: 0;} +blockquote {font-size:14pt} +P {font-size:14pt} +--> +</style> +</head> +<body> + + +<pre> + +The Project Gutenberg EBook of Manners Makyth Man, by W.W. Jacobs + +This eBook is for the use of anyone anywhere 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 + + +Title: Manners Makyth Man + Ship's Company, Part 12. + +Author: W.W. Jacobs + +Release Date: January 1, 2004 [EBook #10572] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK MANNERS MAKYTH MAN *** + + + + +Produced by David Widger + + + + + +</pre> + + + + +<br><br> +<center> +<img alt="cover.jpg (139K)" src="cover.jpg" height="899" width="752"> +</center> +<br><br> + + + + +<br><br> +<center> +<img alt="title.jpg (44K)" src="title.jpg" height="736" width="486"> +</center> +<br><br> + + +<br><br> +<center> +<img alt="frontis.jpg (100K)" src="frontis.jpg" height="743" width="494"> +</center> +<br><br> +<br><br><br><br> + +<center> +<h2>BOOK 12</h2> +</center> +<br><br><br><br> + +<center> +<h2>ILLUSTRATIONS</h2> + +<h4>FROM DRAWINGS BY WILL OWEN</h4></center> +<br> + +<center> +<table summary=""> +<tr><td> + + + + +<p><a href="#032">"'Gal overboard!' I ses, shouting"</a><br> +<a href="#033">"Arter trying his 'ardest, he could only rock me a bit"</a></p> + + + + + + +</td></tr> +</table> +</center> + +<br><br> +<br><br> + + + + + + +<br><br> + +<a name="c12"></a> +<br><br> +<center> +<h1> +"MANNERS MAKYTH MAN" +</h1> +</center> +<br> + +<p>The night-watchman appeared to be out of sorts. His movements were even +slower than usual, and, when he sat, the soap-box seemed to be unable to +give satisfaction. His face bore an expression of deep melancholy, but a +smouldering gleam in his eye betokened feelings deeply moved.</p> + +<p>"Play-acting I don't hold with," he burst out, with sudden ferocity. +"Never did. I don't say I ain't been to a theayter once or twice in my +life, but I always come away with the idea that anybody could act if they +liked to try. It's a kid's game, a silly kid's game, dressing up and +pretending to be somebody else."</p> + +<p>He cut off a piece of tobacco and, stowing it in his left cheek, sat +chewing, with his lack-lustre eyes fixed on the wharves across the river. +The offensive antics of a lighterman in mid-stream, who nearly fell +overboard in his efforts to attract his attention, he ignored.</p> + +<p>"I might ha' known it, too," he said, after a long silence. "If I'd only +stopped to think, instead o' being in such a hurry to do good to others, +I should ha' been all right, and the pack o' monkey-faced swabs on the +<i>Lizzie and Annie</i> wot calls themselves sailor-men would 'ave had to 'ave +got something else to laugh about. They've told it in every pub for 'arf +a mile round, and last night, when I went into the Town of Margate to get +a drink, three chaps climbed over the partition to 'ave a look at me.</p> + +<p>"It all began with young Ted Sawyer, the mate o' the <i>Lizzie and Annie</i>. +He calls himself a mate, but if it wasn't for 'aving the skipper for a +brother-in-law 'e'd be called something else, very quick. Two or three +times we've 'ad words over one thing and another, and the last time I +called 'im something that I can see now was a mistake. It was one o' +these 'ere clever things that a man don't forget, let alone a lop-sided +monkey like 'im.</p> + +<p>"That was when they was up time afore last, and when they made fast 'ere +last week I could see as he 'adn't forgotten it. For one thing he +pretended not to see me, and, arter I 'ad told him wot I'd do to him if +'e ran into me agin, he said 'e thought I was a sack o' potatoes taking a +airing on a pair of legs wot somebody 'ad throwed away. Nasty tongue +'e's got; not clever, but nasty.</p> + +<p>"Arter that I took no notice of 'im, and, o' course, that annoyed 'im +more than anything. All I could do I done, and 'e was ringing the +gate-bell that night from five minutes to twelve till ha'-past afore I +heard it. Many a night-watchman gets a name for going to sleep when +'e's only getting a bit of 'is own back.</p> + +<p>"We stood there talking for over 'arf-an-hour arter I 'ad let'im in. +Leastways, he did. And whenever I see as he was getting tired I just +said, 'H'sh!' and 'e'd start agin as fresh as ever. He tumbled to it at +last, and went aboard shaking 'is little fist at me and telling me wot +he'd do to me if it wasn't for the lor.</p> + +<p>"I kept by the gate as soon as I came on dooty next evening, just to give +'im a little smile as 'e went out. There is nothing more aggravating +than a smile when it is properly done; but there was no signs o' my lord, +and, arter practising it on a carman by mistake, I 'ad to go inside for a +bit and wait till he 'ad gorn.</p> + +<p>"The coast was clear by the time I went back, and I 'ad just stepped +outside with my back up agin the gate-post to 'ave a pipe, when I see a +boy coming along with a bag. Good-looking lad of about fifteen 'e was, +nicely dressed in a serge suit, and he no sooner gets up to me than 'e +puts down the bag and looks up at me with a timid sort o' little smile.</p> + +<p>"'Good evening, cap'n,' he ses.</p> + +<p>"He wasn't the fust that has made that mistake; older people than 'im +have done it.</p> + +<p>"'Good evening, my lad,' I ses.</p> + +<p>"'I s'pose,' he ses, in a trembling voice, 'I suppose you ain't looking +out for a cabin-boy, sir?'</p> + +<p>"'Cabin-boy?' I ses. 'No, I ain't.'</p> + +<p>"'I've run away from 'ome to go to sea,' he ses, and I'm afraid of being +pursued. Can I come inside?'</p> + +<p>"Afore I could say 'No' he 'ad come, bag and all; and afore I could say +anything else he 'ad nipped into the office and stood there with his 'and +on his chest panting.</p> + +<p>"'I know I can trust you,' he ses; 'I can see it by your face."</p> + +<p>"'Wot 'ave you run away from 'ome for?' I ses. 'Have they been +ill-treating of you?'</p> + +<p>"'Ill-treating me?' he ses, with a laugh. 'Not much. Why, I expect my +father is running about all over the place offering rewards for me. He +wouldn't lose me for a thousand pounds.'</p> + +<p>"I pricked up my ears at that; I don't deny it. Anybody would. Besides, +I knew it would be doing him a kindness to hand 'im back to 'is father. +And then I did a bit o' thinking to see 'ow it was to be done.</p> + +<p>"'Sit down,' I ses, putting three or four ledgers on the floor behind one +of the desks. 'Sit down, and let's talk it over.'</p> + +<p>"We talked away for ever so long, but, do all I would, I couldn't +persuade 'im. His 'ead was stuffed full of coral islands and smugglers +and pirates and foreign ports. He said 'e wanted to see the world, and +flying-fish.</p> + +<p>"'I love the blue billers,' he ses; 'the heaving blue billers is wot I +want.'</p> + +<p>"I tried to explain to 'im who would be doing the heaving, but 'e +wouldn't listen to me. He sat on them ledgers like a little wooden +image, looking up at me and shaking his 'ead, and when I told 'im of +storms and shipwrecks he just smacked 'is lips and his blue eyes shone +with joy. Arter a time I saw it was no good trying to persuade 'im, and +I pretended to give way.</p> + +<p>"'I think I can get you a ship with a friend o' mine,' I ses; 'but, mind, +I've got to relieve your pore father's mind—I must let 'im know wot's +become of you.'</p> + +<p>"'Not before I've sailed,' he ses, very quick.</p> + +<p>"'Certingly not,' I ses. 'But you must give me 'is name and address, +and, arter the Blue Shark—that's the name of your ship—is clear of the +land, I'll send 'im a letter with no name to it, saying where you ave +gorn.'</p> + +<p>"He didn't seem to like it at fust, and said 'e would write 'imself, but +arter I 'ad pointed out that 'e might forget and that I was responsible, +'e gave way and told me that 'is father was named Mr. Watson, and he kept +a big draper's shop in the Commercial Road.</p> + +<p>"We talked a bit arter that, just to stop 'is suspicions, and then I told +'im to stay where 'e was on the floor, out of sight of the window, while +I went to see my friend the captain.</p> + +<p>"I stood outside for a moment trying to make up my mind wot to do. +O'course, I 'ad no business, strictly speaking, to leave the wharf, but, +on the other 'and, there was a father's 'art to relieve. I edged along +bit by bit while I was thinking, and then, arter looking back once or +twice to make sure that the boy wasn't watching me, I set off for the +Commercial Road as hard as I could go.</p> + +<p>"I'm not so young as I was. It was a warm evening, and I 'adn't got even +a bus fare on me. I 'ad to walk all the way, and, by the time I got +there, I was 'arf melted. It was a tidy-sized shop, with three or four +nice-looking gals behind the counter, and things like babies' high chairs +for the customers to sit onlong in the leg and ridikerlously small in the +seat. I went up to one of the gals and told Per I wanted to see Mr. +Watson.</p> + +<p>"'On private business,' I ses. 'Very important.'</p> + +<p>"She looked at me for a moment, and then she went away and fetched a +tall, bald-headed man with grey side-whiskers and a large nose.</p> + +<p>"'Wot d'you want?" he ses, coming up to me.</p> + +<p>I want a word with you in private,' I ses.</p> + +<p>"'This is private enough for me,' he ses. 'Say wot you 'ave to say, and +be quick about it.'</p> + +<p>"I drawed myself up a bit and looked at him. 'P'r'aps you ain't missed +'im yet,' I ses.</p> + +<p>"'Missed 'im?' he ses, with a growl. 'Missed who?'</p> + +<p>"'Your-son. Your blue-eyed son,' I ses, looking 'im straight in the eye.</p> + +<p>"'Look here!' he ses, spluttering. 'You be off. 'Ow dare you come here +with your games? Wot d'ye mean by it?'</p> + +<p>"'I mean,' I ses, getting a bit out o' temper, 'that your boy has run +away to go to sea, and I've come to take you to 'im.'</p> + +<p>"He seemed so upset that I thought 'e was going to 'ave a fit at fust, +and it seemed only natural, too. Then I see that the best-looking girl +and another was having a fit, although trying 'ard not to.</p> + +<p>"'If you don't get out o' my shop,' he ses at last, 'I'll 'ave you locked +up.'</p> + +<p>"'Very good!' I ses, in a quiet way. 'Very good; but, mark my words, +if he's drownded you'll never forgive yourself as long as you live for +letting your temper get the better of you—you'll never know a good +night's rest agin. Besides, wot about 'is mother?'</p> + +<p>"One o' them silly gals went off agin just like a damp firework, and Mr. +Watson, arter nearly choking 'imself with temper, shoved me out o' the +way and marched out o' the shop. I didn't know wot to make of 'im at +fust, and then one o' the gals told me that 'e was a bachelor and 'adn't +got no son, and that somebody 'ad been taking advantage of what she +called my innercence to pull my leg.</p> + +<p>"'You toddle off 'ome,' she ses, 'before Mr. Watson comes back.'</p> + +<p>"'It's a shame to let 'im come out alone,' ses one o' the other gals. +'Where do you live, gran'pa?'</p> + +<p>"I see then that I 'ad been done, and I was just walking out o' the shop, +pretending to be deaf, when Mr. Watson come back with a silly young +policeman wot asked me wot I meant by it. He told me to get off 'ome +quick, and actually put his 'and on my shoulder, but it 'ud take more +than a thing like that to push me, and, arter trying his 'ardest, he +could only rock me a bit.</p> + + +<a name="033"></a> +<br><br> +<center> +<img alt="033.jpg (154K)" src="033.jpg" height="546" width="782"> +</center> +<br><br> + + + +<p>"I went at last because I wanted to see that boy agin, and the young +policeman follered me quite a long way, shaking his silly 'ead at me and +telling me to be careful.</p> + +<p>"I got a ride part o' the way from Commercial Road to Aldgate by getting +on the wrong bus, but it wasn't much good, and I was quite tired by the +time I got back to the wharf. I waited outside for a minute or two to +get my wind back agin, and then I went in-boiling.</p> + +<p>"You might ha' knocked me down with a feather, as the saying is, and I +just stood inside the office speechless. The boy 'ad disappeared and +sitting on the floor where I 'ad left 'im was a very nice-looking gal of +about eighteen, with short 'air, and a white blouse.</p> + +<p>"'Good evening, sir,' she ses, jumping up and giving me a pretty little +frightened look. 'I'm so sorry that my brother has been deceiving you. +He's a bad, wicked, ungrateful boy. The idea of telling you that Mr. +Watson was 'is father! Have you been there? I do 'ope you're not +tired.'</p> + +<p>"'Where is he?' I ses.</p> + +<p>"'He's gorn,' she ses, shaking her 'ead. 'I begged and prayed of 'im to +stop, but 'e wouldn't. He said 'e thought you might be offended with +'im. "Give my love to old Roley-Poley, and tell him I don't trust 'im," +he ses.'</p> + +<p>"She stood there looking so scared that I didn't know wot to say. By and +by she took out 'er little pocket-'ankercher and began to cry—</p> + +<p>"'Oh, get 'im back,' she ses. 'Don't let it be said I follered 'im 'ere +all the way for nothing. Have another try. For my sake!'</p> + +<p>"''Ow can I get 'im back when I don't know where he's gorn?' I ses.</p> + +<p>"'He-he's gorn to 'is godfather,' she ses, dabbing her eyes. 'I promised +'im not to tell anybody; but I don't know wot to do for the best.'</p> + +<p>"'Well, p'r'aps his godfather will 'old on to 'im,' I ses.</p> + +<p>"'He won't tell 'im anything about going to sea,' she ses, shaking 'er +little head. 'He's just gorn to try and bo—bo-borrow some money to go +away with.'</p> + +<p>"She bust out sobbing, and it was all I could do to get the godfather's +address out of 'er. When I think of the trouble I took to get it I come +over quite faint. At last she told me, between 'er sobs, that 'is name +was Mr. Kiddem, and that he lived at 27, Bridge Street.</p> + +<p>"'He's one o' the kindest-'arted and most generous men that ever lived,' +she ses; 'that's why my brother Harry 'as gone to 'im. And you needn't +mind taking anything 'e likes to give you; he's rolling in money.'</p> + +<p>"I took it a bit easier going to Bridge Street, but the evening seemed +'otter than ever, and by the time I got to the 'ouse I was pretty near +done up. A nice, tidy-looking woman opened the door, but she was a' most +stone deaf, and I 'ad to shout the name pretty near a dozen times afore +she 'eard it.</p> + +<p>"'He don't live 'ere,' she ses.</p> + +<p>"''As he moved?' I ses. 'Or wot?'</p> + +<p>"She shook her 'cad, and, arter telling me to wait, went in and fetched +her 'usband.</p> + +<p>"'Never 'eard of him,' he ses, 'and we've been 'ere seventeen years. Are +you sure it was twenty-seven?'</p> + +<p>"'Sartain,' I ses.</p> + +<p>"'Well, he don't live 'ere,' he ses. 'Why not try thirty-seven and +forty-seven?'</p> + +<p>"I tried'em: thirty-seven was empty, and a pasty-faced chap at forty- +seven nearly made 'imself ill over the name of 'Kiddem.' It 'adn't +struck me before, but it's a hard matter to deceive me, and all in a +flash it come over me that I 'ad been done agin, and that the gal was as +bad as 'er brother.</p> + +<p>"I was so done up I could 'ardly crawl back, and my 'ead was all in a +maze. Three or four times I stopped and tried to think, but couldn't, +but at last I got back and dragged myself into the office.</p> + +<p>"As I 'arf expected, it was empty. There was no sign of either the gal +or the boy; and I dropped into a chair and tried to think wot it all +meant. Then, 'appening to look out of the winder, I see somebody running +up and down the jetty.</p> + +<p>"I couldn't see plain owing to the things in the way, but as soon as I +got outside and saw who it was I nearly dropped. It was the boy, and he +was running up and down wringing his 'ands and crying like a wild thing, +and, instead o' running away as soon as 'e saw me, he rushed right up to +me and threw 'is grubby little paws round my neck.</p> + +<p>"'Save her!' 'e ses. 'Save 'er! Help! Help!'</p> + +<p>"'Look 'ere,' I ses, shoving 'im off.</p> + +<p>"'She fell overboard,' he ses, dancing about. 'Oh, my pore sister! +Quick! Quick! I can't swim!'</p> + +<p>"He ran to the side and pointed at the water, which was just about at +'arf-tide. Then 'e caught 'old of me agin.</p> + +<p>"'Make 'aste,' he ses, giving me a shove behind. 'Jump in. Wot are you +waiting for?'</p> + +<p>"I stood there for a moment 'arf dazed, looking down at the water. Then +I pulled down a life-belt from the wall 'ere and threw it in, and, arter +another moment's thought, ran back to the <i>Lizzie and Annie,</i> wot was in +the inside berth, and gave them a hail. I've always 'ad a good voice, +and in a flash the skipper and Ted Sawyer came tumbling up out of the +cabin and the 'ands out of the fo'c'sle.</p> + +<p>"'Gal overboard!' I ses, shouting.</p> + +<a name="032"></a> +<br><br> +<center> +<img alt="032.jpg (93K)" src="032.jpg" height="663" width="562"> +</center> +<br><br> + + +<p>"The skipper just asked where, and then 'im and the mate and a couple of +'ands tumbled into their boat and pulled under the jetty for all they was +worth. Me and the boy ran back and stood with the others, watching.</p> + +<p>"'Point out the exact spot,' ses the skipper.</p> + +<p>"The boy pointed, and the skipper stood up in the boat and felt round +with a boat-hook. Twice 'e said he thought 'e touched something, but it +turned out as 'e was mistaken. His face got longer and longer and 'e +shook his 'ead, and said he was afraid it was no good.</p> + +<p>"'Don't stand cryin' 'ere,' he ses to the boy, kindly. 'Jem, run round +for the Thames police, and get them and the drags. Take the boy with +you. It'll occupy 'is mind.'</p> + +<p>"He 'ad another go with the boat-hook arter they 'ad gone; then 'e gave +it up, and sat in the boat waiting.</p> + +<p>"'This'll be a bad job for you, watchman,' he ses, shaking his 'ead. +'Where was you when it 'appened?'</p> + +<p>"'He's been missing all the evening,' ses the cook, wot was standing +beside me. 'If he'd been doing 'is dooty, the pore gal wouldn't 'ave +been drownded. Wot was she doing on the wharf?'</p> + +<p>"'Skylarkin', I s'pose,' ses the mate. 'It's a wonder there ain't more +drownded. Wot can you expect when the watchman is sitting in a pub all +the evening?'</p> + +<p>"The cook said I ought to be 'ung, and a young ordinary seaman wot was +standing beside 'im said he would sooner I was boiled. I believe they +'ad words about it, but I was feeling too upset to take much notice.</p> + +<p>"'Looking miserable won't bring 'er back to life agin,' ses the skipper, +looking up at me and shaking his 'ead. 'You'd better go down to my cabin +and get yourself a drop o' whisky; there's a bottle on the table. You'll +want all your wits about you when the police come. And wotever you do +don't say nothing to criminate yourself.'</p> + +<p>"'We'll do the criminating for 'im all right,' ses the cook.</p> + +<p>"'If I was the pore gal I'd haunt 'im,' ses the ordinary seaman; 'every +night of 'is life I'd stand afore 'im dripping with water and moaning.'</p> + +<p>"'P'r'aps she will,' ses the cook; 'let's 'ope so, at any rate.'</p> + +<p>"I didn't answer 'em; I was too dead-beat. Besides which, I've got a +'orror of ghosts, and the idea of being on the wharf alone of a night +arter such a thing was a'most too much for me. I went on board the +<i>Lizzie and Annie,</i> and down in the cabin I found a bottle o' whisky, as +the skipper 'ad said. I sat down on the locker and 'ad a glass, and then +I sat worrying and wondering wot was to be the end of it all.</p> + +<p>"The whisky warmed me up a bit, and I 'ad just taken up the bottle to +'elp myself agin when I 'eard a faint sort o' sound in the skipper's +state-room. I put the bottle down and listened, but everything seemed +deathly still. I took it up agin, and 'ad just poured out a drop o' +whisky when I distinctly 'eard a hissing noise and then a little moan.</p> + +<p>"For a moment I sat turned to stone. Then I put the bottle down quiet, +and 'ad just got up to go when the door of the state-room opened, and I +saw the drownded gal, with 'er little face and hair all wet and dripping, +standing before me.</p> + +<p>"Ted Sawyer 'as been telling everybody that I came up the companion-way +like a fog-horn that 'ad lost its ma; I wonder how he'd 'ave come up if +he'd 'ad the evening I had 'ad?</p> + +<p>"They were all on the jetty as I got there and tumbled into the skipper's +arms, and all asking at once wot was the matter. When I got my breath +back a bit and told 'em, they laughed. All except the cook, and 'e said +it was only wot I might expect. Then, like a man in a dream, I see the +gal come out of the companion and walk slowly to the side.</p> + +<p>"'Look!' I ses. 'Look. There she is!'</p> + +<p>"'You're dreaming,' ses the skipper, 'there's nothing there.'</p> + +<p>"They all said the same, even when the gal stepped on to the side and +climbed on to the wharf. She came along towards me with 'er arms held +close to 'er sides, and making the most 'orrible faces at me, and it took +five of'em all their time to 'old me. The wharf and everything seemed to +me to spin round and round. Then she came straight up to me and patted +me on the cheek.</p> + +<p>"'Pore old gentleman,' she ses. 'Wot a shame it is, Ted! It's too bad.'</p> + +<p>"They let go o' me then, and stamped up and down the jetty laughing fit +to kill themselves. If they 'ad only known wot a exhibition they was +making of themselves, and 'ow I pitied them, they wouldn't ha' done it. +And by and by Ted wiped his eyes and put his arm round the gal's waist +and ses—</p> + +<p>"'This is my intended, Miss Florrie Price,' he ses. 'Ain't she a little +wonder? Wot d'ye think of 'er?'</p> + +<p>"'I'll keep my own opinion,' I ses. 'I ain't got nothing to say against +gals, but if I only lay my hands on that young brother of 'ers'</p> + +<p>"They went off agin then, worse than ever; and at last the cook came and +put 'is skinny arm round my neck and started spluttering in my ear. I +shoved 'im off hard, because I see it all then; and I should ha' seen it +afore only I didn't 'ave time to think. I don't bear no malice, and all +I can say is that I don't wish 'er any harder punishment than to be +married to Ted Sawyer."</p> + + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Manners Makyth Man, by W.W. Jacobs + +*** END OF THIS PROJECT GUTENBERG EBOOK MANNERS MAKYTH MAN *** + +***** This file should be named 10572-h.htm or 10572-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/0/5/7/10572/ + +Produced by David Widger + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions 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-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. 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-tm 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-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +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-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm 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-tm 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-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm 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-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain 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-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm 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-tm 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-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside 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-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm 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 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 + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (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-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm 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-tm 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-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +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-tm 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-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (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-tm +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-tm 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-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm 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-tm + 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-tm 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-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm 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 +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm 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-tm trademark, and any other party distributing a Project +Gutenberg-tm 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 F3. 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 MERCHANTIBILITY 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-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm 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-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm 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, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm 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-tm 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 web page at https://www.pglaf.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. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. 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 principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread 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 https://pglaf.org + +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 including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + +Each eBook is in a subdirectory of the same number as the eBook's +eBook number, often in several formats including plain vanilla ASCII, +compressed (zipped), HTML and others. + +Corrected EDITIONS of our eBooks replace the old file and take over +the old filename and etext number. The replaced older file is renamed. +VERSIONS based on separate sources are treated as new eBooks receiving +new filenames and etext numbers. + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +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. + +EBooks posted prior to November 2003, with eBook numbers BELOW #10000, +are filed in directories based on their release date. If you want to +download any of these eBooks directly, rather than using the regular +search system you may utilize the following addresses and just +download by the etext year. + + https://www.gutenberg.org/etext06 + + (Or /etext 05, 04, 03, 02, 01, 00, 99, + 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90) + +EBooks posted since November 2003, with etext numbers OVER #10000, are +filed in a different way. The year of a release date is no longer part +of the directory path. The path is based on the etext number (which is +identical to the filename). The path to the file is made up of single +digits corresponding to all but the last digit in the filename. For +example an eBook of filename 10234 would be found at: + + https://www.gutenberg.org/1/0/2/3/10234 + +or filename 24689 would be found at: + https://www.gutenberg.org/2/4/6/8/24689 + +An alternative method of locating eBooks: + https://www.gutenberg.org/GUTINDEX.ALL + + + + +</pre> + +</body> +</html> diff --git a/10572-h/cover.jpg b/10572-h/cover.jpg Binary files differnew file mode 100644 index 0000000..cd71de6 --- /dev/null +++ b/10572-h/cover.jpg diff --git a/10572-h/frontis.jpg b/10572-h/frontis.jpg Binary files differnew file mode 100644 index 0000000..6259d1a --- /dev/null +++ b/10572-h/frontis.jpg diff --git a/10572-h/title.jpg b/10572-h/title.jpg Binary files differnew file mode 100644 index 0000000..e2b7ee1 --- /dev/null +++ b/10572-h/title.jpg diff --git a/10572.txt b/10572.txt new file mode 100644 index 0000000..188da52 --- /dev/null +++ b/10572.txt @@ -0,0 +1,864 @@ +The Project Gutenberg EBook of Manners Makyth Man, by W.W. Jacobs + +This eBook is for the use of anyone anywhere 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 + + +Title: Manners Makyth Man + Ship's Company, Part 12. + +Author: W.W. Jacobs + +Release Date: January 1, 2004 [EBook #10572] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK MANNERS MAKYTH MAN *** + + + + +Produced by David Widger + + + + +SHIP'S COMPANY + +By W.W. Jacobs + + + +"MANNERS MAKYTH MAN" + + +The night-watchman appeared to be out of sorts. His movements were even +slower than usual, and, when he sat, the soap-box seemed to be unable to +give satisfaction. His face bore an expression of deep melancholy, but a +smouldering gleam in his eye betokened feelings deeply moved. + +"Play-acting I don't hold with," he burst out, with sudden ferocity. +"Never did. I don't say I ain't been to a theayter once or twice in my +life, but I always come away with the idea that anybody could act if they +liked to try. It's a kid's game, a silly kid's game, dressing up and +pretending to be somebody else." + +He cut off a piece of tobacco and, stowing it in his left cheek, sat +chewing, with his lack-lustre eyes fixed on the wharves across the river. +The offensive antics of a lighterman in mid-stream, who nearly fell +overboard in his efforts to attract his attention, he ignored. + +"I might ha' known it, too," he said, after a long silence. "If I'd only +stopped to think, instead o' being in such a hurry to do good to others, +I should ha' been all right, and the pack o' monkey-faced swabs on the +<i>Lizzie and Annie</i> wot calls themselves sailor-men would 'ave had to 'ave +got something else to laugh about. They've told it in every pub for 'arf +a mile round, and last night, when I went into the Town of Margate to get +a drink, three chaps climbed over the partition to 'ave a look at me. + +"It all began with young Ted Sawyer, the mate o' the <i>Lizzie and Annie</i>. +He calls himself a mate, but if it wasn't for 'aving the skipper for a +brother-in-law 'e'd be called something else, very quick. Two or three +times we've 'ad words over one thing and another, and the last time I +called 'im something that I can see now was a mistake. It was one o' +these 'ere clever things that a man don't forget, let alone a lop-sided +monkey like 'im. + +"That was when they was up time afore last, and when they made fast 'ere +last week I could see as he 'adn't forgotten it. For one thing he +pretended not to see me, and, arter I 'ad told him wot I'd do to him if +'e ran into me agin, he said 'e thought I was a sack o' potatoes taking a +airing on a pair of legs wot somebody 'ad throwed away. Nasty tongue +'e's got; not clever, but nasty. + +"Arter that I took no notice of 'im, and, o' course, that annoyed 'im +more than anything. All I could do I done, and 'e was ringing the +gate-bell that night from five minutes to twelve till ha'-past afore I +heard it. Many a night-watchman gets a name for going to sleep when +'e's only getting a bit of 'is own back. + +"We stood there talking for over 'arf-an-hour arter I 'ad let'im in. +Leastways, he did. And whenever I see as he was getting tired I just +said, 'H'sh!' and 'e'd start agin as fresh as ever. He tumbled to it at +last, and went aboard shaking 'is little fist at me and telling me wot +he'd do to me if it wasn't for the lor. + +"I kept by the gate as soon as I came on dooty next evening, just to give +'im a little smile as 'e went out. There is nothing more aggravating +than a smile when it is properly done; but there was no signs o' my lord, +and, arter practising it on a carman by mistake, I 'ad to go inside for a +bit and wait till he 'ad gorn. + +"The coast was clear by the time I went back, and I 'ad just stepped +outside with my back up agin the gate-post to 'ave a pipe, when I see a +boy coming along with a bag. Good-looking lad of about fifteen 'e was, +nicely dressed in a serge suit, and he no sooner gets up to me than 'e +puts down the bag and looks up at me with a timid sort o' little smile. + +"'Good evening, cap'n,' he ses. + +"He wasn't the fust that has made that mistake; older people than 'im +have done it. + +"'Good evening, my lad,' I ses. + +"'I s'pose,' he ses, in a trembling voice, 'I suppose you ain't looking +out for a cabin-boy, sir?' + +"'Cabin-boy?' I ses. 'No, I ain't.' + +"'I've run away from 'ome to go to sea,' he ses, and I'm afraid of being +pursued. Can I come inside?' + +"Afore I could say 'No' he 'ad come, bag and all; and afore I could say +anything else he 'ad nipped into the office and stood there with his 'and +on his chest panting. + +"'I know I can trust you,' he ses; 'I can see it by your face." + +"'Wot 'ave you run away from 'ome for?' I ses. 'Have they been +ill-treating of you?' + +"'Ill-treating me?' he ses, with a laugh. 'Not much. Why, I expect my +father is running about all over the place offering rewards for me. He +wouldn't lose me for a thousand pounds.' + +"I pricked up my ears at that; I don't deny it. Anybody would. Besides, +I knew it would be doing him a kindness to hand 'im back to 'is father. +And then I did a bit o' thinking to see 'ow it was to be done. + +"'Sit down,' I ses, putting three or four ledgers on the floor behind one +of the desks. 'Sit down, and let's talk it over.' + +"We talked away for ever so long, but, do all I would, I couldn't +persuade 'im. His 'ead was stuffed full of coral islands and smugglers +and pirates and foreign ports. He said 'e wanted to see the world, and +flying-fish. + +"'I love the blue billers,' he ses; 'the heaving blue billers is wot I +want.' + +"I tried to explain to 'im who would be doing the heaving, but 'e +wouldn't listen to me. He sat on them ledgers like a little wooden +image, looking up at me and shaking his 'ead, and when I told 'im of +storms and shipwrecks he just smacked 'is lips and his blue eyes shone +with joy. Arter a time I saw it was no good trying to persuade 'im, and +I pretended to give way. + +"'I think I can get you a ship with a friend o' mine,' I ses; 'but, mind, +I've got to relieve your pore father's mind--I must let 'im know wot's +become of you.' + +"'Not before I've sailed,' he ses, very quick. + +"'Certingly not,' I ses. 'But you must give me 'is name and address, +and, arter the Blue Shark--that's the name of your ship--is clear of the +land, I'll send 'im a letter with no name to it, saying where you ave +gorn.' + +"He didn't seem to like it at fust, and said 'e would write 'imself, but +arter I 'ad pointed out that 'e might forget and that I was responsible, +'e gave way and told me that 'is father was named Mr. Watson, and he kept +a big draper's shop in the Commercial Road. + +"We talked a bit arter that, just to stop 'is suspicions, and then I told +'im to stay where 'e was on the floor, out of sight of the window, while +I went to see my friend the captain. + +"I stood outside for a moment trying to make up my mind wot to do. +O'course, I 'ad no business, strictly speaking, to leave the wharf, but, +on the other 'and, there was a father's 'art to relieve. I edged along +bit by bit while I was thinking, and then, arter looking back once or +twice to make sure that the boy wasn't watching me, I set off for the +Commercial Road as hard as I could go. + +"I'm not so young as I was. It was a warm evening, and I 'adn't got even +a bus fare on me. I 'ad to walk all the way, and, by the time I got +there, I was 'arf melted. It was a tidy-sized shop, with three or four +nice-looking gals behind the counter, and things like babies' high chairs +for the customers to sit onlong in the leg and ridikerlously small in the +seat. I went up to one of the gals and told Per I wanted to see Mr. +Watson. + +"'On private business,' I ses. 'Very important.' + +"She looked at me for a moment, and then she went away and fetched a +tall, bald-headed man with grey side-whiskers and a large nose. + +"'Wot d'you want?" he ses, coming up to me. + +I want a word with you in private,' I ses. + +"'This is private enough for me,' he ses. 'Say wot you 'ave to say, and +be quick about it.' + +"I drawed myself up a bit and looked at him. 'P'r'aps you ain't missed +'im yet,' I ses. + +"'Missed 'im?' he ses, with a growl. 'Missed who?' + +"'Your-son. Your blue-eyed son,' I ses, looking 'im straight in the eye. + +"'Look here!' he ses, spluttering. 'You be off. 'Ow dare you come here +with your games? Wot d'ye mean by it?' + +"'I mean,' I ses, getting a bit out o' temper, 'that your boy has run +away to go to sea, and I've come to take you to 'im.' + +"He seemed so upset that I thought 'e was going to 'ave a fit at fust, +and it seemed only natural, too. Then I see that the best-looking girl +and another was having a fit, although trying 'ard not to. + +"'If you don't get out o' my shop,' he ses at last, 'I'll 'ave you locked +up.' + +"'Very good!' I ses, in a quiet way. 'Very good; but, mark my words, +if he's drownded you'll never forgive yourself as long as you live for +letting your temper get the better of you--you'll never know a good +night's rest agin. Besides, wot about 'is mother?' + +"One o' them silly gals went off agin just like a damp firework, and Mr. +Watson, arter nearly choking 'imself with temper, shoved me out o' the +way and marched out o' the shop. I didn't know wot to make of 'im at +fust, and then one o' the gals told me that 'e was a bachelor and 'adn't +got no son, and that somebody 'ad been taking advantage of what she +called my innercence to pull my leg. + +"'You toddle off 'ome,' she ses, 'before Mr. Watson comes back.' + +"'It's a shame to let 'im come out alone,' ses one o' the other gals. +'Where do you live, gran'pa?' + +"I see then that I 'ad been done, and I was just walking out o' the shop, +pretending to be deaf, when Mr. Watson come back with a silly young +policeman wot asked me wot I meant by it. He told me to get off 'ome +quick, and actually put his 'and on my shoulder, but it 'ud take more +than a thing like that to push me, and, arter trying his 'ardest, he +could only rock me a bit. + +"I went at last because I wanted to see that boy agin, and the young +policeman follered me quite a long way, shaking his silly 'ead at me and +telling me to be careful. + +"I got a ride part o' the way from Commercial Road to Aldgate by getting +on the wrong bus, but it wasn't much good, and I was quite tired by the +time I got back to the wharf. I waited outside for a minute or two to +get my wind back agin, and then I went in-boiling. + +"You might ha' knocked me down with a feather, as the saying is, and I +just stood inside the office speechless. The boy 'ad disappeared and +sitting on the floor where I 'ad left 'im was a very nice-looking gal of +about eighteen, with short 'air, and a white blouse. + +"'Good evening, sir,' she ses, jumping up and giving me a pretty little +frightened look. 'I'm so sorry that my brother has been deceiving you. +He's a bad, wicked, ungrateful boy. The idea of telling you that Mr. +Watson was 'is father! Have you been there? I do 'ope you're not +tired.' + +"'Where is he?' I ses. + +"'He's gorn,' she ses, shaking her 'ead. 'I begged and prayed of 'im to +stop, but 'e wouldn't. He said 'e thought you might be offended with +'im. "Give my love to old Roley-Poley, and tell him I don't trust 'im," +he ses.' + +"She stood there looking so scared that I didn't know wot to say. By and +by she took out 'er little pocket-'ankercher and began to cry-- + +"'Oh, get 'im back,' she ses. 'Don't let it be said I follered 'im 'ere +all the way for nothing. Have another try. For my sake!' + +"''Ow can I get 'im back when I don't know where he's gorn?' I ses. + +"'He-he's gorn to 'is godfather,' she ses, dabbing her eyes. 'I promised +'im not to tell anybody; but I don't know wot to do for the best.' + +"'Well, p'r'aps his godfather will 'old on to 'im,' I ses. + +"'He won't tell 'im anything about going to sea,' she ses, shaking 'er +little head. 'He's just gorn to try and bo--bo-borrow some money to go +away with.' + +"She bust out sobbing, and it was all I could do to get the godfather's +address out of 'er. When I think of the trouble I took to get it I come +over quite faint. At last she told me, between 'er sobs, that 'is name +was Mr. Kiddem, and that he lived at 27, Bridge Street. + +"'He's one o' the kindest-'arted and most generous men that ever lived,' +she ses; 'that's why my brother Harry 'as gone to 'im. And you needn't +mind taking anything 'e likes to give you; he's rolling in money.' + +"I took it a bit easier going to Bridge Street, but the evening seemed +'otter than ever, and by the time I got to the 'ouse I was pretty near +done up. A nice, tidy-looking woman opened the door, but she was a' most +stone deaf, and I 'ad to shout the name pretty near a dozen times afore +she 'eard it. + +"'He don't live 'ere,' she ses. + +"''As he moved?' I ses. 'Or wot?' + +"She shook her 'cad, and, arter telling me to wait, went in and fetched +her 'usband. + +"'Never 'eard of him,' he ses, 'and we've been 'ere seventeen years. Are +you sure it was twenty-seven?' + +"'Sartain,' I ses. + +"'Well, he don't live 'ere,' he ses. 'Why not try thirty-seven and +forty-seven?' + +"I tried'em: thirty-seven was empty, and a pasty-faced chap at forty- +seven nearly made 'imself ill over the name of 'Kiddem.' It 'adn't +struck me before, but it's a hard matter to deceive me, and all in a +flash it come over me that I 'ad been done agin, and that the gal was as +bad as 'er brother. + +"I was so done up I could 'ardly crawl back, and my 'ead was all in a +maze. Three or four times I stopped and tried to think, but couldn't, +but at last I got back and dragged myself into the office. + +"As I 'arf expected, it was empty. There was no sign of either the gal +or the boy; and I dropped into a chair and tried to think wot it all +meant. Then, 'appening to look out of the winder, I see somebody running +up and down the jetty. + +"I couldn't see plain owing to the things in the way, but as soon as I +got outside and saw who it was I nearly dropped. It was the boy, and he +was running up and down wringing his 'ands and crying like a wild thing, +and, instead o' running away as soon as 'e saw me, he rushed right up to +me and threw 'is grubby little paws round my neck. + +"'Save her!' 'e ses. 'Save 'er! Help! Help!' + +"'Look 'ere,' I ses, shoving 'im off. + +"'She fell overboard,' he ses, dancing about. 'Oh, my pore sister! +Quick! Quick! I can't swim!' + +"He ran to the side and pointed at the water, which was just about at +'arf-tide. Then 'e caught 'old of me agin. + +"'Make 'aste,' he ses, giving me a shove behind. 'Jump in. Wot are you +waiting for?' + +"I stood there for a moment 'arf dazed, looking down at the water. Then +I pulled down a life-belt from the wall 'ere and threw it in, and, arter +another moment's thought, ran back to the <i>Lizzie and Annie,</i> wot was in +the inside berth, and gave them a hail. I've always 'ad a good voice, +and in a flash the skipper and Ted Sawyer came tumbling up out of the +cabin and the 'ands out of the fo'c'sle. + +"'Gal overboard!' I ses, shouting. + +"The skipper just asked where, and then 'im and the mate and a couple of +'ands tumbled into their boat and pulled under the jetty for all they was +worth. Me and the boy ran back and stood with the others, watching. + +"'Point out the exact spot,' ses the skipper. + +"The boy pointed, and the skipper stood up in the boat and felt round +with a boat-hook. Twice 'e said he thought 'e touched something, but it +turned out as 'e was mistaken. His face got longer and longer and 'e +shook his 'ead, and said he was afraid it was no good. + +"'Don't stand cryin' 'ere,' he ses to the boy, kindly. 'Jem, run round +for the Thames police, and get them and the drags. Take the boy with +you. It'll occupy 'is mind.' + +"He 'ad another go with the boat-hook arter they 'ad gone; then 'e gave +it up, and sat in the boat waiting. + +"'This'll be a bad job for you, watchman,' he ses, shaking his 'ead. +'Where was you when it 'appened?' + +"'He's been missing all the evening,' ses the cook, wot was standing +beside me. 'If he'd been doing 'is dooty, the pore gal wouldn't 'ave +been drownded. Wot was she doing on the wharf?' + +"'Skylarkin', I s'pose,' ses the mate. 'It's a wonder there ain't more +drownded. Wot can you expect when the watchman is sitting in a pub all +the evening?' + +"The cook said I ought to be 'ung, and a young ordinary seaman wot was +standing beside 'im said he would sooner I was boiled. I believe they +'ad words about it, but I was feeling too upset to take much notice. + +"'Looking miserable won't bring 'er back to life agin,' ses the skipper, +looking up at me and shaking his 'ead. 'You'd better go down to my cabin +and get yourself a drop o' whisky; there's a bottle on the table. You'll +want all your wits about you when the police come. And wotever you do +don't say nothing to criminate yourself.' + +"'We'll do the criminating for 'im all right,' ses the cook. + +"'If I was the pore gal I'd haunt 'im,' ses the ordinary seaman; 'every +night of 'is life I'd stand afore 'im dripping with water and moaning.' + +"'P'r'aps she will,' ses the cook; 'let's 'ope so, at any rate.' + +"I didn't answer 'em; I was too dead-beat. Besides which, I've got a +'orror of ghosts, and the idea of being on the wharf alone of a night +arter such a thing was a'most too much for me. I went on board the +<i>Lizzie and Annie,</i> and down in the cabin I found a bottle o' whisky, as +the skipper 'ad said. I sat down on the locker and 'ad a glass, and then +I sat worrying and wondering wot was to be the end of it all. + +"The whisky warmed me up a bit, and I 'ad just taken up the bottle to +'elp myself agin when I 'eard a faint sort o' sound in the skipper's +state-room. I put the bottle down and listened, but everything seemed +deathly still. I took it up agin, and 'ad just poured out a drop o' +whisky when I distinctly 'eard a hissing noise and then a little moan. + +"For a moment I sat turned to stone. Then I put the bottle down quiet, +and 'ad just got up to go when the door of the state-room opened, and I +saw the drownded gal, with 'er little face and hair all wet and dripping, +standing before me. + +"Ted Sawyer 'as been telling everybody that I came up the companion-way +like a fog-horn that 'ad lost its ma; I wonder how he'd 'ave come up if +he'd 'ad the evening I had 'ad? + +"They were all on the jetty as I got there and tumbled into the skipper's +arms, and all asking at once wot was the matter. When I got my breath +back a bit and told 'em, they laughed. All except the cook, and 'e said +it was only wot I might expect. Then, like a man in a dream, I see the +gal come out of the companion and walk slowly to the side. + +"'Look!' I ses. 'Look. There she is!' + +"'You're dreaming,' ses the skipper, 'there's nothing there.' + +"They all said the same, even when the gal stepped on to the side and +climbed on to the wharf. She came along towards me with 'er arms held +close to 'er sides, and making the most 'orrible faces at me, and it took +five of'em all their time to 'old me. The wharf and everything seemed to +me to spin round and round. Then she came straight up to me and patted +me on the cheek. + +"'Pore old gentleman,' she ses. 'Wot a shame it is, Ted! It's too bad.' + +"They let go o' me then, and stamped up and down the jetty laughing fit +to kill themselves. If they 'ad only known wot a exhibition they was +making of themselves, and 'ow I pitied them, they wouldn't ha' done it. +And by and by Ted wiped his eyes and put his arm round the gal's waist +and ses-- + +"'This is my intended, Miss Florrie Price,' he ses. 'Ain't she a little +wonder? Wot d'ye think of 'er?' + +"'I'll keep my own opinion,' I ses. 'I ain't got nothing to say against +gals, but if I only lay my hands on that young brother of 'ers' + +"They went off agin then, worse than ever; and at last the cook came and +put 'is skinny arm round my neck and started spluttering in my ear. I +shoved 'im off hard, because I see it all then; and I should ha' seen it +afore only I didn't 'ave time to think. I don't bear no malice, and all +I can say is that I don't wish 'er any harder punishment than to be +married to Ted Sawyer." + + + + + +End of the Project Gutenberg EBook of Manners Makyth Man, by W.W. Jacobs + +*** END OF THIS PROJECT GUTENBERG EBOOK MANNERS MAKYTH MAN *** + +***** This file should be named 10572.txt or 10572.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/0/5/7/10572/ + +Produced by David Widger + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions 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-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. 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-tm 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-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +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-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm 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-tm 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-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm 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-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain 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-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm 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-tm 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-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside 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-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm 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 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 + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (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-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm 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-tm 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-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +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-tm 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-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (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-tm +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-tm 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-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm 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-tm + 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-tm 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-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm 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 +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm 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-tm trademark, and any other party distributing a Project +Gutenberg-tm 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 F3. 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 MERCHANTIBILITY 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-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm 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-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm 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, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm 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-tm 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 web page at https://www.pglaf.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. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. 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 principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread 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 https://pglaf.org + +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 including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + +Each eBook is in a subdirectory of the same number as the eBook's +eBook number, often in several formats including plain vanilla ASCII, +compressed (zipped), HTML and others. + +Corrected EDITIONS of our eBooks replace the old file and take over +the old filename and etext number. The replaced older file is renamed. +VERSIONS based on separate sources are treated as new eBooks receiving +new filenames and etext numbers. + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +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. + +EBooks posted prior to November 2003, with eBook numbers BELOW #10000, +are filed in directories based on their release date. If you want to +download any of these eBooks directly, rather than using the regular +search system you may utilize the following addresses and just +download by the etext year. + + https://www.gutenberg.org/etext06 + + (Or /etext 05, 04, 03, 02, 01, 00, 99, + 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90) + +EBooks posted since November 2003, with etext numbers OVER #10000, are +filed in a different way. The year of a release date is no longer part +of the directory path. The path is based on the etext number (which is +identical to the filename). The path to the file is made up of single +digits corresponding to all but the last digit in the filename. For +example an eBook of filename 10234 would be found at: + + https://www.gutenberg.org/1/0/2/3/10234 + +or filename 24689 would be found at: + https://www.gutenberg.org/2/4/6/8/24689 + +An alternative method of locating eBooks: + https://www.gutenberg.org/GUTINDEX.ALL + + diff --git a/10572.zip b/10572.zip Binary files differnew file mode 100644 index 0000000..3cbf922 --- /dev/null +++ b/10572.zip diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..b891db4 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #10572 (https://www.gutenberg.org/ebooks/10572) diff --git a/old/10572-h.zip b/old/10572-h.zip Binary files differnew file mode 100644 index 0000000..c228aed --- /dev/null +++ b/old/10572-h.zip diff --git a/old/10572-h/032.jpg b/old/10572-h/032.jpg Binary files differnew file mode 100644 index 0000000..4855d82 --- /dev/null +++ b/old/10572-h/032.jpg diff --git a/old/10572-h/033.jpg b/old/10572-h/033.jpg Binary files differnew file mode 100644 index 0000000..956f7e2 --- /dev/null +++ b/old/10572-h/033.jpg diff --git a/old/10572-h/10572-h.htm b/old/10572-h/10572-h.htm new file mode 100644 index 0000000..07d6a86 --- /dev/null +++ b/old/10572-h/10572-h.htm @@ -0,0 +1,986 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html> +<head> +<title>Ship's Company, Book 12</title> +<meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1"> +<style type="text/css"> +<!-- +body {margin:10%; text-align:justify} +img {border: 0;} +blockquote {font-size:14pt} +P {font-size:14pt} +--> +</style> +</head> +<body> + + +<pre> + +The Project Gutenberg EBook of Manners Makyth Man, by W.W. Jacobs + +This eBook is for the use of anyone anywhere 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 + + +Title: Manners Makyth Man + Ship's Company, Part 12. + +Author: W.W. Jacobs + +Release Date: January 1, 2004 [EBook #10572] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK MANNERS MAKYTH MAN *** + + + + +Produced by David Widger + + + + + +</pre> + + + + +<br><br> +<center> +<img alt="cover.jpg (139K)" src="cover.jpg" height="899" width="752"> +</center> +<br><br> + + + + +<br><br> +<center> +<img alt="title.jpg (44K)" src="title.jpg" height="736" width="486"> +</center> +<br><br> + + +<br><br> +<center> +<img alt="frontis.jpg (100K)" src="frontis.jpg" height="743" width="494"> +</center> +<br><br> +<br><br><br><br> + +<center> +<h2>BOOK 12</h2> +</center> +<br><br><br><br> + +<center> +<h2>ILLUSTRATIONS</h2> + +<h4>FROM DRAWINGS BY WILL OWEN</h4></center> +<br> + +<center> +<table summary=""> +<tr><td> + + + + +<p><a href="#032">"'Gal overboard!' I ses, shouting"</a><br> +<a href="#033">"Arter trying his 'ardest, he could only rock me a bit"</a></p> + + + + + + +</td></tr> +</table> +</center> + +<br><br> +<br><br> + + + + + + +<br><br> + +<a name="c12"></a> +<br><br> +<center> +<h1> +"MANNERS MAKYTH MAN" +</h1> +</center> +<br> + +<p>The night-watchman appeared to be out of sorts. His movements were even +slower than usual, and, when he sat, the soap-box seemed to be unable to +give satisfaction. His face bore an expression of deep melancholy, but a +smouldering gleam in his eye betokened feelings deeply moved.</p> + +<p>"Play-acting I don't hold with," he burst out, with sudden ferocity. +"Never did. I don't say I ain't been to a theayter once or twice in my +life, but I always come away with the idea that anybody could act if they +liked to try. It's a kid's game, a silly kid's game, dressing up and +pretending to be somebody else."</p> + +<p>He cut off a piece of tobacco and, stowing it in his left cheek, sat +chewing, with his lack-lustre eyes fixed on the wharves across the river. +The offensive antics of a lighterman in mid-stream, who nearly fell +overboard in his efforts to attract his attention, he ignored.</p> + +<p>"I might ha' known it, too," he said, after a long silence. "If I'd only +stopped to think, instead o' being in such a hurry to do good to others, +I should ha' been all right, and the pack o' monkey-faced swabs on the +<i>Lizzie and Annie</i> wot calls themselves sailor-men would 'ave had to 'ave +got something else to laugh about. They've told it in every pub for 'arf +a mile round, and last night, when I went into the Town of Margate to get +a drink, three chaps climbed over the partition to 'ave a look at me.</p> + +<p>"It all began with young Ted Sawyer, the mate o' the <i>Lizzie and Annie</i>. +He calls himself a mate, but if it wasn't for 'aving the skipper for a +brother-in-law 'e'd be called something else, very quick. Two or three +times we've 'ad words over one thing and another, and the last time I +called 'im something that I can see now was a mistake. It was one o' +these 'ere clever things that a man don't forget, let alone a lop-sided +monkey like 'im.</p> + +<p>"That was when they was up time afore last, and when they made fast 'ere +last week I could see as he 'adn't forgotten it. For one thing he +pretended not to see me, and, arter I 'ad told him wot I'd do to him if +'e ran into me agin, he said 'e thought I was a sack o' potatoes taking a +airing on a pair of legs wot somebody 'ad throwed away. Nasty tongue +'e's got; not clever, but nasty.</p> + +<p>"Arter that I took no notice of 'im, and, o' course, that annoyed 'im +more than anything. All I could do I done, and 'e was ringing the +gate-bell that night from five minutes to twelve till ha'-past afore I +heard it. Many a night-watchman gets a name for going to sleep when +'e's only getting a bit of 'is own back.</p> + +<p>"We stood there talking for over 'arf-an-hour arter I 'ad let'im in. +Leastways, he did. And whenever I see as he was getting tired I just +said, 'H'sh!' and 'e'd start agin as fresh as ever. He tumbled to it at +last, and went aboard shaking 'is little fist at me and telling me wot +he'd do to me if it wasn't for the lor.</p> + +<p>"I kept by the gate as soon as I came on dooty next evening, just to give +'im a little smile as 'e went out. There is nothing more aggravating +than a smile when it is properly done; but there was no signs o' my lord, +and, arter practising it on a carman by mistake, I 'ad to go inside for a +bit and wait till he 'ad gorn.</p> + +<p>"The coast was clear by the time I went back, and I 'ad just stepped +outside with my back up agin the gate-post to 'ave a pipe, when I see a +boy coming along with a bag. Good-looking lad of about fifteen 'e was, +nicely dressed in a serge suit, and he no sooner gets up to me than 'e +puts down the bag and looks up at me with a timid sort o' little smile.</p> + +<p>"'Good evening, cap'n,' he ses.</p> + +<p>"He wasn't the fust that has made that mistake; older people than 'im +have done it.</p> + +<p>"'Good evening, my lad,' I ses.</p> + +<p>"'I s'pose,' he ses, in a trembling voice, 'I suppose you ain't looking +out for a cabin-boy, sir?'</p> + +<p>"'Cabin-boy?' I ses. 'No, I ain't.'</p> + +<p>"'I've run away from 'ome to go to sea,' he ses, and I'm afraid of being +pursued. Can I come inside?'</p> + +<p>"Afore I could say 'No' he 'ad come, bag and all; and afore I could say +anything else he 'ad nipped into the office and stood there with his 'and +on his chest panting.</p> + +<p>"'I know I can trust you,' he ses; 'I can see it by your face."</p> + +<p>"'Wot 'ave you run away from 'ome for?' I ses. 'Have they been +ill-treating of you?'</p> + +<p>"'Ill-treating me?' he ses, with a laugh. 'Not much. Why, I expect my +father is running about all over the place offering rewards for me. He +wouldn't lose me for a thousand pounds.'</p> + +<p>"I pricked up my ears at that; I don't deny it. Anybody would. Besides, +I knew it would be doing him a kindness to hand 'im back to 'is father. +And then I did a bit o' thinking to see 'ow it was to be done.</p> + +<p>"'Sit down,' I ses, putting three or four ledgers on the floor behind one +of the desks. 'Sit down, and let's talk it over.'</p> + +<p>"We talked away for ever so long, but, do all I would, I couldn't +persuade 'im. His 'ead was stuffed full of coral islands and smugglers +and pirates and foreign ports. He said 'e wanted to see the world, and +flying-fish.</p> + +<p>"'I love the blue billers,' he ses; 'the heaving blue billers is wot I +want.'</p> + +<p>"I tried to explain to 'im who would be doing the heaving, but 'e +wouldn't listen to me. He sat on them ledgers like a little wooden +image, looking up at me and shaking his 'ead, and when I told 'im of +storms and shipwrecks he just smacked 'is lips and his blue eyes shone +with joy. Arter a time I saw it was no good trying to persuade 'im, and +I pretended to give way.</p> + +<p>"'I think I can get you a ship with a friend o' mine,' I ses; 'but, mind, +I've got to relieve your pore father's mind—I must let 'im know wot's +become of you.'</p> + +<p>"'Not before I've sailed,' he ses, very quick.</p> + +<p>"'Certingly not,' I ses. 'But you must give me 'is name and address, +and, arter the Blue Shark—that's the name of your ship—is clear of the +land, I'll send 'im a letter with no name to it, saying where you ave +gorn.'</p> + +<p>"He didn't seem to like it at fust, and said 'e would write 'imself, but +arter I 'ad pointed out that 'e might forget and that I was responsible, +'e gave way and told me that 'is father was named Mr. Watson, and he kept +a big draper's shop in the Commercial Road.</p> + +<p>"We talked a bit arter that, just to stop 'is suspicions, and then I told +'im to stay where 'e was on the floor, out of sight of the window, while +I went to see my friend the captain.</p> + +<p>"I stood outside for a moment trying to make up my mind wot to do. +O'course, I 'ad no business, strictly speaking, to leave the wharf, but, +on the other 'and, there was a father's 'art to relieve. I edged along +bit by bit while I was thinking, and then, arter looking back once or +twice to make sure that the boy wasn't watching me, I set off for the +Commercial Road as hard as I could go.</p> + +<p>"I'm not so young as I was. It was a warm evening, and I 'adn't got even +a bus fare on me. I 'ad to walk all the way, and, by the time I got +there, I was 'arf melted. It was a tidy-sized shop, with three or four +nice-looking gals behind the counter, and things like babies' high chairs +for the customers to sit onlong in the leg and ridikerlously small in the +seat. I went up to one of the gals and told Per I wanted to see Mr. +Watson.</p> + +<p>"'On private business,' I ses. 'Very important.'</p> + +<p>"She looked at me for a moment, and then she went away and fetched a +tall, bald-headed man with grey side-whiskers and a large nose.</p> + +<p>"'Wot d'you want?" he ses, coming up to me.</p> + +<p>I want a word with you in private,' I ses.</p> + +<p>"'This is private enough for me,' he ses. 'Say wot you 'ave to say, and +be quick about it.'</p> + +<p>"I drawed myself up a bit and looked at him. 'P'r'aps you ain't missed +'im yet,' I ses.</p> + +<p>"'Missed 'im?' he ses, with a growl. 'Missed who?'</p> + +<p>"'Your-son. Your blue-eyed son,' I ses, looking 'im straight in the eye.</p> + +<p>"'Look here!' he ses, spluttering. 'You be off. 'Ow dare you come here +with your games? Wot d'ye mean by it?'</p> + +<p>"'I mean,' I ses, getting a bit out o' temper, 'that your boy has run +away to go to sea, and I've come to take you to 'im.'</p> + +<p>"He seemed so upset that I thought 'e was going to 'ave a fit at fust, +and it seemed only natural, too. Then I see that the best-looking girl +and another was having a fit, although trying 'ard not to.</p> + +<p>"'If you don't get out o' my shop,' he ses at last, 'I'll 'ave you locked +up.'</p> + +<p>"'Very good!' I ses, in a quiet way. 'Very good; but, mark my words, +if he's drownded you'll never forgive yourself as long as you live for +letting your temper get the better of you—you'll never know a good +night's rest agin. Besides, wot about 'is mother?'</p> + +<p>"One o' them silly gals went off agin just like a damp firework, and Mr. +Watson, arter nearly choking 'imself with temper, shoved me out o' the +way and marched out o' the shop. I didn't know wot to make of 'im at +fust, and then one o' the gals told me that 'e was a bachelor and 'adn't +got no son, and that somebody 'ad been taking advantage of what she +called my innercence to pull my leg.</p> + +<p>"'You toddle off 'ome,' she ses, 'before Mr. Watson comes back.'</p> + +<p>"'It's a shame to let 'im come out alone,' ses one o' the other gals. +'Where do you live, gran'pa?'</p> + +<p>"I see then that I 'ad been done, and I was just walking out o' the shop, +pretending to be deaf, when Mr. Watson come back with a silly young +policeman wot asked me wot I meant by it. He told me to get off 'ome +quick, and actually put his 'and on my shoulder, but it 'ud take more +than a thing like that to push me, and, arter trying his 'ardest, he +could only rock me a bit.</p> + + +<a name="033"></a> +<br><br> +<center> +<img alt="033.jpg (154K)" src="033.jpg" height="546" width="782"> +</center> +<br><br> + + + +<p>"I went at last because I wanted to see that boy agin, and the young +policeman follered me quite a long way, shaking his silly 'ead at me and +telling me to be careful.</p> + +<p>"I got a ride part o' the way from Commercial Road to Aldgate by getting +on the wrong bus, but it wasn't much good, and I was quite tired by the +time I got back to the wharf. I waited outside for a minute or two to +get my wind back agin, and then I went in-boiling.</p> + +<p>"You might ha' knocked me down with a feather, as the saying is, and I +just stood inside the office speechless. The boy 'ad disappeared and +sitting on the floor where I 'ad left 'im was a very nice-looking gal of +about eighteen, with short 'air, and a white blouse.</p> + +<p>"'Good evening, sir,' she ses, jumping up and giving me a pretty little +frightened look. 'I'm so sorry that my brother has been deceiving you. +He's a bad, wicked, ungrateful boy. The idea of telling you that Mr. +Watson was 'is father! Have you been there? I do 'ope you're not +tired.'</p> + +<p>"'Where is he?' I ses.</p> + +<p>"'He's gorn,' she ses, shaking her 'ead. 'I begged and prayed of 'im to +stop, but 'e wouldn't. He said 'e thought you might be offended with +'im. "Give my love to old Roley-Poley, and tell him I don't trust 'im," +he ses.'</p> + +<p>"She stood there looking so scared that I didn't know wot to say. By and +by she took out 'er little pocket-'ankercher and began to cry—</p> + +<p>"'Oh, get 'im back,' she ses. 'Don't let it be said I follered 'im 'ere +all the way for nothing. Have another try. For my sake!'</p> + +<p>"''Ow can I get 'im back when I don't know where he's gorn?' I ses.</p> + +<p>"'He-he's gorn to 'is godfather,' she ses, dabbing her eyes. 'I promised +'im not to tell anybody; but I don't know wot to do for the best.'</p> + +<p>"'Well, p'r'aps his godfather will 'old on to 'im,' I ses.</p> + +<p>"'He won't tell 'im anything about going to sea,' she ses, shaking 'er +little head. 'He's just gorn to try and bo—bo-borrow some money to go +away with.'</p> + +<p>"She bust out sobbing, and it was all I could do to get the godfather's +address out of 'er. When I think of the trouble I took to get it I come +over quite faint. At last she told me, between 'er sobs, that 'is name +was Mr. Kiddem, and that he lived at 27, Bridge Street.</p> + +<p>"'He's one o' the kindest-'arted and most generous men that ever lived,' +she ses; 'that's why my brother Harry 'as gone to 'im. And you needn't +mind taking anything 'e likes to give you; he's rolling in money.'</p> + +<p>"I took it a bit easier going to Bridge Street, but the evening seemed +'otter than ever, and by the time I got to the 'ouse I was pretty near +done up. A nice, tidy-looking woman opened the door, but she was a' most +stone deaf, and I 'ad to shout the name pretty near a dozen times afore +she 'eard it.</p> + +<p>"'He don't live 'ere,' she ses.</p> + +<p>"''As he moved?' I ses. 'Or wot?'</p> + +<p>"She shook her 'cad, and, arter telling me to wait, went in and fetched +her 'usband.</p> + +<p>"'Never 'eard of him,' he ses, 'and we've been 'ere seventeen years. Are +you sure it was twenty-seven?'</p> + +<p>"'Sartain,' I ses.</p> + +<p>"'Well, he don't live 'ere,' he ses. 'Why not try thirty-seven and +forty-seven?'</p> + +<p>"I tried'em: thirty-seven was empty, and a pasty-faced chap at forty- +seven nearly made 'imself ill over the name of 'Kiddem.' It 'adn't +struck me before, but it's a hard matter to deceive me, and all in a +flash it come over me that I 'ad been done agin, and that the gal was as +bad as 'er brother.</p> + +<p>"I was so done up I could 'ardly crawl back, and my 'ead was all in a +maze. Three or four times I stopped and tried to think, but couldn't, +but at last I got back and dragged myself into the office.</p> + +<p>"As I 'arf expected, it was empty. There was no sign of either the gal +or the boy; and I dropped into a chair and tried to think wot it all +meant. Then, 'appening to look out of the winder, I see somebody running +up and down the jetty.</p> + +<p>"I couldn't see plain owing to the things in the way, but as soon as I +got outside and saw who it was I nearly dropped. It was the boy, and he +was running up and down wringing his 'ands and crying like a wild thing, +and, instead o' running away as soon as 'e saw me, he rushed right up to +me and threw 'is grubby little paws round my neck.</p> + +<p>"'Save her!' 'e ses. 'Save 'er! Help! Help!'</p> + +<p>"'Look 'ere,' I ses, shoving 'im off.</p> + +<p>"'She fell overboard,' he ses, dancing about. 'Oh, my pore sister! +Quick! Quick! I can't swim!'</p> + +<p>"He ran to the side and pointed at the water, which was just about at +'arf-tide. Then 'e caught 'old of me agin.</p> + +<p>"'Make 'aste,' he ses, giving me a shove behind. 'Jump in. Wot are you +waiting for?'</p> + +<p>"I stood there for a moment 'arf dazed, looking down at the water. Then +I pulled down a life-belt from the wall 'ere and threw it in, and, arter +another moment's thought, ran back to the <i>Lizzie and Annie,</i> wot was in +the inside berth, and gave them a hail. I've always 'ad a good voice, +and in a flash the skipper and Ted Sawyer came tumbling up out of the +cabin and the 'ands out of the fo'c'sle.</p> + +<p>"'Gal overboard!' I ses, shouting.</p> + +<a name="032"></a> +<br><br> +<center> +<img alt="032.jpg (93K)" src="032.jpg" height="663" width="562"> +</center> +<br><br> + + +<p>"The skipper just asked where, and then 'im and the mate and a couple of +'ands tumbled into their boat and pulled under the jetty for all they was +worth. Me and the boy ran back and stood with the others, watching.</p> + +<p>"'Point out the exact spot,' ses the skipper.</p> + +<p>"The boy pointed, and the skipper stood up in the boat and felt round +with a boat-hook. Twice 'e said he thought 'e touched something, but it +turned out as 'e was mistaken. His face got longer and longer and 'e +shook his 'ead, and said he was afraid it was no good.</p> + +<p>"'Don't stand cryin' 'ere,' he ses to the boy, kindly. 'Jem, run round +for the Thames police, and get them and the drags. Take the boy with +you. It'll occupy 'is mind.'</p> + +<p>"He 'ad another go with the boat-hook arter they 'ad gone; then 'e gave +it up, and sat in the boat waiting.</p> + +<p>"'This'll be a bad job for you, watchman,' he ses, shaking his 'ead. +'Where was you when it 'appened?'</p> + +<p>"'He's been missing all the evening,' ses the cook, wot was standing +beside me. 'If he'd been doing 'is dooty, the pore gal wouldn't 'ave +been drownded. Wot was she doing on the wharf?'</p> + +<p>"'Skylarkin', I s'pose,' ses the mate. 'It's a wonder there ain't more +drownded. Wot can you expect when the watchman is sitting in a pub all +the evening?'</p> + +<p>"The cook said I ought to be 'ung, and a young ordinary seaman wot was +standing beside 'im said he would sooner I was boiled. I believe they +'ad words about it, but I was feeling too upset to take much notice.</p> + +<p>"'Looking miserable won't bring 'er back to life agin,' ses the skipper, +looking up at me and shaking his 'ead. 'You'd better go down to my cabin +and get yourself a drop o' whisky; there's a bottle on the table. You'll +want all your wits about you when the police come. And wotever you do +don't say nothing to criminate yourself.'</p> + +<p>"'We'll do the criminating for 'im all right,' ses the cook.</p> + +<p>"'If I was the pore gal I'd haunt 'im,' ses the ordinary seaman; 'every +night of 'is life I'd stand afore 'im dripping with water and moaning.'</p> + +<p>"'P'r'aps she will,' ses the cook; 'let's 'ope so, at any rate.'</p> + +<p>"I didn't answer 'em; I was too dead-beat. Besides which, I've got a +'orror of ghosts, and the idea of being on the wharf alone of a night +arter such a thing was a'most too much for me. I went on board the +<i>Lizzie and Annie,</i> and down in the cabin I found a bottle o' whisky, as +the skipper 'ad said. I sat down on the locker and 'ad a glass, and then +I sat worrying and wondering wot was to be the end of it all.</p> + +<p>"The whisky warmed me up a bit, and I 'ad just taken up the bottle to +'elp myself agin when I 'eard a faint sort o' sound in the skipper's +state-room. I put the bottle down and listened, but everything seemed +deathly still. I took it up agin, and 'ad just poured out a drop o' +whisky when I distinctly 'eard a hissing noise and then a little moan.</p> + +<p>"For a moment I sat turned to stone. Then I put the bottle down quiet, +and 'ad just got up to go when the door of the state-room opened, and I +saw the drownded gal, with 'er little face and hair all wet and dripping, +standing before me.</p> + +<p>"Ted Sawyer 'as been telling everybody that I came up the companion-way +like a fog-horn that 'ad lost its ma; I wonder how he'd 'ave come up if +he'd 'ad the evening I had 'ad?</p> + +<p>"They were all on the jetty as I got there and tumbled into the skipper's +arms, and all asking at once wot was the matter. When I got my breath +back a bit and told 'em, they laughed. All except the cook, and 'e said +it was only wot I might expect. Then, like a man in a dream, I see the +gal come out of the companion and walk slowly to the side.</p> + +<p>"'Look!' I ses. 'Look. There she is!'</p> + +<p>"'You're dreaming,' ses the skipper, 'there's nothing there.'</p> + +<p>"They all said the same, even when the gal stepped on to the side and +climbed on to the wharf. She came along towards me with 'er arms held +close to 'er sides, and making the most 'orrible faces at me, and it took +five of'em all their time to 'old me. The wharf and everything seemed to +me to spin round and round. Then she came straight up to me and patted +me on the cheek.</p> + +<p>"'Pore old gentleman,' she ses. 'Wot a shame it is, Ted! It's too bad.'</p> + +<p>"They let go o' me then, and stamped up and down the jetty laughing fit +to kill themselves. If they 'ad only known wot a exhibition they was +making of themselves, and 'ow I pitied them, they wouldn't ha' done it. +And by and by Ted wiped his eyes and put his arm round the gal's waist +and ses—</p> + +<p>"'This is my intended, Miss Florrie Price,' he ses. 'Ain't she a little +wonder? Wot d'ye think of 'er?'</p> + +<p>"'I'll keep my own opinion,' I ses. 'I ain't got nothing to say against +gals, but if I only lay my hands on that young brother of 'ers'</p> + +<p>"They went off agin then, worse than ever; and at last the cook came and +put 'is skinny arm round my neck and started spluttering in my ear. I +shoved 'im off hard, because I see it all then; and I should ha' seen it +afore only I didn't 'ave time to think. I don't bear no malice, and all +I can say is that I don't wish 'er any harder punishment than to be +married to Ted Sawyer."</p> + + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Manners Makyth Man, by W.W. Jacobs + +*** END OF THIS PROJECT GUTENBERG EBOOK MANNERS MAKYTH MAN *** + +***** This file should be named 10572-h.htm or 10572-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/0/5/7/10572/ + +Produced by David Widger + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions 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-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. 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-tm 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-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +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-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm 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-tm 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-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm 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-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain 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-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm 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-tm 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-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside 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-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm 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 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 + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (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-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm 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-tm 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-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +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-tm 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-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (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-tm +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-tm 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-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm 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-tm + 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-tm 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-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm 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 +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm 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-tm trademark, and any other party distributing a Project +Gutenberg-tm 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 F3. 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 MERCHANTIBILITY 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-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm 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-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm 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, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm 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-tm 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 web page at https://www.pglaf.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. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. 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 principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread 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 https://pglaf.org + +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 including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + +Each eBook is in a subdirectory of the same number as the eBook's +eBook number, often in several formats including plain vanilla ASCII, +compressed (zipped), HTML and others. + +Corrected EDITIONS of our eBooks replace the old file and take over +the old filename and etext number. The replaced older file is renamed. +VERSIONS based on separate sources are treated as new eBooks receiving +new filenames and etext numbers. + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +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. + +EBooks posted prior to November 2003, with eBook numbers BELOW #10000, +are filed in directories based on their release date. If you want to +download any of these eBooks directly, rather than using the regular +search system you may utilize the following addresses and just +download by the etext year. + + https://www.gutenberg.org/etext06 + + (Or /etext 05, 04, 03, 02, 01, 00, 99, + 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90) + +EBooks posted since November 2003, with etext numbers OVER #10000, are +filed in a different way. The year of a release date is no longer part +of the directory path. The path is based on the etext number (which is +identical to the filename). The path to the file is made up of single +digits corresponding to all but the last digit in the filename. For +example an eBook of filename 10234 would be found at: + + https://www.gutenberg.org/1/0/2/3/10234 + +or filename 24689 would be found at: + https://www.gutenberg.org/2/4/6/8/24689 + +An alternative method of locating eBooks: + https://www.gutenberg.org/GUTINDEX.ALL + + + + +</pre> + +</body> +</html> diff --git a/old/10572-h/cover.jpg b/old/10572-h/cover.jpg Binary files differnew file mode 100644 index 0000000..cd71de6 --- /dev/null +++ b/old/10572-h/cover.jpg diff --git a/old/10572-h/frontis.jpg b/old/10572-h/frontis.jpg Binary files differnew file mode 100644 index 0000000..6259d1a --- /dev/null +++ b/old/10572-h/frontis.jpg diff --git a/old/10572-h/title.jpg b/old/10572-h/title.jpg Binary files differnew file mode 100644 index 0000000..e2b7ee1 --- /dev/null +++ b/old/10572-h/title.jpg diff --git a/old/10572.txt b/old/10572.txt new file mode 100644 index 0000000..188da52 --- /dev/null +++ b/old/10572.txt @@ -0,0 +1,864 @@ +The Project Gutenberg EBook of Manners Makyth Man, by W.W. Jacobs + +This eBook is for the use of anyone anywhere 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 + + +Title: Manners Makyth Man + Ship's Company, Part 12. + +Author: W.W. Jacobs + +Release Date: January 1, 2004 [EBook #10572] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK MANNERS MAKYTH MAN *** + + + + +Produced by David Widger + + + + +SHIP'S COMPANY + +By W.W. Jacobs + + + +"MANNERS MAKYTH MAN" + + +The night-watchman appeared to be out of sorts. His movements were even +slower than usual, and, when he sat, the soap-box seemed to be unable to +give satisfaction. His face bore an expression of deep melancholy, but a +smouldering gleam in his eye betokened feelings deeply moved. + +"Play-acting I don't hold with," he burst out, with sudden ferocity. +"Never did. I don't say I ain't been to a theayter once or twice in my +life, but I always come away with the idea that anybody could act if they +liked to try. It's a kid's game, a silly kid's game, dressing up and +pretending to be somebody else." + +He cut off a piece of tobacco and, stowing it in his left cheek, sat +chewing, with his lack-lustre eyes fixed on the wharves across the river. +The offensive antics of a lighterman in mid-stream, who nearly fell +overboard in his efforts to attract his attention, he ignored. + +"I might ha' known it, too," he said, after a long silence. "If I'd only +stopped to think, instead o' being in such a hurry to do good to others, +I should ha' been all right, and the pack o' monkey-faced swabs on the +<i>Lizzie and Annie</i> wot calls themselves sailor-men would 'ave had to 'ave +got something else to laugh about. They've told it in every pub for 'arf +a mile round, and last night, when I went into the Town of Margate to get +a drink, three chaps climbed over the partition to 'ave a look at me. + +"It all began with young Ted Sawyer, the mate o' the <i>Lizzie and Annie</i>. +He calls himself a mate, but if it wasn't for 'aving the skipper for a +brother-in-law 'e'd be called something else, very quick. Two or three +times we've 'ad words over one thing and another, and the last time I +called 'im something that I can see now was a mistake. It was one o' +these 'ere clever things that a man don't forget, let alone a lop-sided +monkey like 'im. + +"That was when they was up time afore last, and when they made fast 'ere +last week I could see as he 'adn't forgotten it. For one thing he +pretended not to see me, and, arter I 'ad told him wot I'd do to him if +'e ran into me agin, he said 'e thought I was a sack o' potatoes taking a +airing on a pair of legs wot somebody 'ad throwed away. Nasty tongue +'e's got; not clever, but nasty. + +"Arter that I took no notice of 'im, and, o' course, that annoyed 'im +more than anything. All I could do I done, and 'e was ringing the +gate-bell that night from five minutes to twelve till ha'-past afore I +heard it. Many a night-watchman gets a name for going to sleep when +'e's only getting a bit of 'is own back. + +"We stood there talking for over 'arf-an-hour arter I 'ad let'im in. +Leastways, he did. And whenever I see as he was getting tired I just +said, 'H'sh!' and 'e'd start agin as fresh as ever. He tumbled to it at +last, and went aboard shaking 'is little fist at me and telling me wot +he'd do to me if it wasn't for the lor. + +"I kept by the gate as soon as I came on dooty next evening, just to give +'im a little smile as 'e went out. There is nothing more aggravating +than a smile when it is properly done; but there was no signs o' my lord, +and, arter practising it on a carman by mistake, I 'ad to go inside for a +bit and wait till he 'ad gorn. + +"The coast was clear by the time I went back, and I 'ad just stepped +outside with my back up agin the gate-post to 'ave a pipe, when I see a +boy coming along with a bag. Good-looking lad of about fifteen 'e was, +nicely dressed in a serge suit, and he no sooner gets up to me than 'e +puts down the bag and looks up at me with a timid sort o' little smile. + +"'Good evening, cap'n,' he ses. + +"He wasn't the fust that has made that mistake; older people than 'im +have done it. + +"'Good evening, my lad,' I ses. + +"'I s'pose,' he ses, in a trembling voice, 'I suppose you ain't looking +out for a cabin-boy, sir?' + +"'Cabin-boy?' I ses. 'No, I ain't.' + +"'I've run away from 'ome to go to sea,' he ses, and I'm afraid of being +pursued. Can I come inside?' + +"Afore I could say 'No' he 'ad come, bag and all; and afore I could say +anything else he 'ad nipped into the office and stood there with his 'and +on his chest panting. + +"'I know I can trust you,' he ses; 'I can see it by your face." + +"'Wot 'ave you run away from 'ome for?' I ses. 'Have they been +ill-treating of you?' + +"'Ill-treating me?' he ses, with a laugh. 'Not much. Why, I expect my +father is running about all over the place offering rewards for me. He +wouldn't lose me for a thousand pounds.' + +"I pricked up my ears at that; I don't deny it. Anybody would. Besides, +I knew it would be doing him a kindness to hand 'im back to 'is father. +And then I did a bit o' thinking to see 'ow it was to be done. + +"'Sit down,' I ses, putting three or four ledgers on the floor behind one +of the desks. 'Sit down, and let's talk it over.' + +"We talked away for ever so long, but, do all I would, I couldn't +persuade 'im. His 'ead was stuffed full of coral islands and smugglers +and pirates and foreign ports. He said 'e wanted to see the world, and +flying-fish. + +"'I love the blue billers,' he ses; 'the heaving blue billers is wot I +want.' + +"I tried to explain to 'im who would be doing the heaving, but 'e +wouldn't listen to me. He sat on them ledgers like a little wooden +image, looking up at me and shaking his 'ead, and when I told 'im of +storms and shipwrecks he just smacked 'is lips and his blue eyes shone +with joy. Arter a time I saw it was no good trying to persuade 'im, and +I pretended to give way. + +"'I think I can get you a ship with a friend o' mine,' I ses; 'but, mind, +I've got to relieve your pore father's mind--I must let 'im know wot's +become of you.' + +"'Not before I've sailed,' he ses, very quick. + +"'Certingly not,' I ses. 'But you must give me 'is name and address, +and, arter the Blue Shark--that's the name of your ship--is clear of the +land, I'll send 'im a letter with no name to it, saying where you ave +gorn.' + +"He didn't seem to like it at fust, and said 'e would write 'imself, but +arter I 'ad pointed out that 'e might forget and that I was responsible, +'e gave way and told me that 'is father was named Mr. Watson, and he kept +a big draper's shop in the Commercial Road. + +"We talked a bit arter that, just to stop 'is suspicions, and then I told +'im to stay where 'e was on the floor, out of sight of the window, while +I went to see my friend the captain. + +"I stood outside for a moment trying to make up my mind wot to do. +O'course, I 'ad no business, strictly speaking, to leave the wharf, but, +on the other 'and, there was a father's 'art to relieve. I edged along +bit by bit while I was thinking, and then, arter looking back once or +twice to make sure that the boy wasn't watching me, I set off for the +Commercial Road as hard as I could go. + +"I'm not so young as I was. It was a warm evening, and I 'adn't got even +a bus fare on me. I 'ad to walk all the way, and, by the time I got +there, I was 'arf melted. It was a tidy-sized shop, with three or four +nice-looking gals behind the counter, and things like babies' high chairs +for the customers to sit onlong in the leg and ridikerlously small in the +seat. I went up to one of the gals and told Per I wanted to see Mr. +Watson. + +"'On private business,' I ses. 'Very important.' + +"She looked at me for a moment, and then she went away and fetched a +tall, bald-headed man with grey side-whiskers and a large nose. + +"'Wot d'you want?" he ses, coming up to me. + +I want a word with you in private,' I ses. + +"'This is private enough for me,' he ses. 'Say wot you 'ave to say, and +be quick about it.' + +"I drawed myself up a bit and looked at him. 'P'r'aps you ain't missed +'im yet,' I ses. + +"'Missed 'im?' he ses, with a growl. 'Missed who?' + +"'Your-son. Your blue-eyed son,' I ses, looking 'im straight in the eye. + +"'Look here!' he ses, spluttering. 'You be off. 'Ow dare you come here +with your games? Wot d'ye mean by it?' + +"'I mean,' I ses, getting a bit out o' temper, 'that your boy has run +away to go to sea, and I've come to take you to 'im.' + +"He seemed so upset that I thought 'e was going to 'ave a fit at fust, +and it seemed only natural, too. Then I see that the best-looking girl +and another was having a fit, although trying 'ard not to. + +"'If you don't get out o' my shop,' he ses at last, 'I'll 'ave you locked +up.' + +"'Very good!' I ses, in a quiet way. 'Very good; but, mark my words, +if he's drownded you'll never forgive yourself as long as you live for +letting your temper get the better of you--you'll never know a good +night's rest agin. Besides, wot about 'is mother?' + +"One o' them silly gals went off agin just like a damp firework, and Mr. +Watson, arter nearly choking 'imself with temper, shoved me out o' the +way and marched out o' the shop. I didn't know wot to make of 'im at +fust, and then one o' the gals told me that 'e was a bachelor and 'adn't +got no son, and that somebody 'ad been taking advantage of what she +called my innercence to pull my leg. + +"'You toddle off 'ome,' she ses, 'before Mr. Watson comes back.' + +"'It's a shame to let 'im come out alone,' ses one o' the other gals. +'Where do you live, gran'pa?' + +"I see then that I 'ad been done, and I was just walking out o' the shop, +pretending to be deaf, when Mr. Watson come back with a silly young +policeman wot asked me wot I meant by it. He told me to get off 'ome +quick, and actually put his 'and on my shoulder, but it 'ud take more +than a thing like that to push me, and, arter trying his 'ardest, he +could only rock me a bit. + +"I went at last because I wanted to see that boy agin, and the young +policeman follered me quite a long way, shaking his silly 'ead at me and +telling me to be careful. + +"I got a ride part o' the way from Commercial Road to Aldgate by getting +on the wrong bus, but it wasn't much good, and I was quite tired by the +time I got back to the wharf. I waited outside for a minute or two to +get my wind back agin, and then I went in-boiling. + +"You might ha' knocked me down with a feather, as the saying is, and I +just stood inside the office speechless. The boy 'ad disappeared and +sitting on the floor where I 'ad left 'im was a very nice-looking gal of +about eighteen, with short 'air, and a white blouse. + +"'Good evening, sir,' she ses, jumping up and giving me a pretty little +frightened look. 'I'm so sorry that my brother has been deceiving you. +He's a bad, wicked, ungrateful boy. The idea of telling you that Mr. +Watson was 'is father! Have you been there? I do 'ope you're not +tired.' + +"'Where is he?' I ses. + +"'He's gorn,' she ses, shaking her 'ead. 'I begged and prayed of 'im to +stop, but 'e wouldn't. He said 'e thought you might be offended with +'im. "Give my love to old Roley-Poley, and tell him I don't trust 'im," +he ses.' + +"She stood there looking so scared that I didn't know wot to say. By and +by she took out 'er little pocket-'ankercher and began to cry-- + +"'Oh, get 'im back,' she ses. 'Don't let it be said I follered 'im 'ere +all the way for nothing. Have another try. For my sake!' + +"''Ow can I get 'im back when I don't know where he's gorn?' I ses. + +"'He-he's gorn to 'is godfather,' she ses, dabbing her eyes. 'I promised +'im not to tell anybody; but I don't know wot to do for the best.' + +"'Well, p'r'aps his godfather will 'old on to 'im,' I ses. + +"'He won't tell 'im anything about going to sea,' she ses, shaking 'er +little head. 'He's just gorn to try and bo--bo-borrow some money to go +away with.' + +"She bust out sobbing, and it was all I could do to get the godfather's +address out of 'er. When I think of the trouble I took to get it I come +over quite faint. At last she told me, between 'er sobs, that 'is name +was Mr. Kiddem, and that he lived at 27, Bridge Street. + +"'He's one o' the kindest-'arted and most generous men that ever lived,' +she ses; 'that's why my brother Harry 'as gone to 'im. And you needn't +mind taking anything 'e likes to give you; he's rolling in money.' + +"I took it a bit easier going to Bridge Street, but the evening seemed +'otter than ever, and by the time I got to the 'ouse I was pretty near +done up. A nice, tidy-looking woman opened the door, but she was a' most +stone deaf, and I 'ad to shout the name pretty near a dozen times afore +she 'eard it. + +"'He don't live 'ere,' she ses. + +"''As he moved?' I ses. 'Or wot?' + +"She shook her 'cad, and, arter telling me to wait, went in and fetched +her 'usband. + +"'Never 'eard of him,' he ses, 'and we've been 'ere seventeen years. Are +you sure it was twenty-seven?' + +"'Sartain,' I ses. + +"'Well, he don't live 'ere,' he ses. 'Why not try thirty-seven and +forty-seven?' + +"I tried'em: thirty-seven was empty, and a pasty-faced chap at forty- +seven nearly made 'imself ill over the name of 'Kiddem.' It 'adn't +struck me before, but it's a hard matter to deceive me, and all in a +flash it come over me that I 'ad been done agin, and that the gal was as +bad as 'er brother. + +"I was so done up I could 'ardly crawl back, and my 'ead was all in a +maze. Three or four times I stopped and tried to think, but couldn't, +but at last I got back and dragged myself into the office. + +"As I 'arf expected, it was empty. There was no sign of either the gal +or the boy; and I dropped into a chair and tried to think wot it all +meant. Then, 'appening to look out of the winder, I see somebody running +up and down the jetty. + +"I couldn't see plain owing to the things in the way, but as soon as I +got outside and saw who it was I nearly dropped. It was the boy, and he +was running up and down wringing his 'ands and crying like a wild thing, +and, instead o' running away as soon as 'e saw me, he rushed right up to +me and threw 'is grubby little paws round my neck. + +"'Save her!' 'e ses. 'Save 'er! Help! Help!' + +"'Look 'ere,' I ses, shoving 'im off. + +"'She fell overboard,' he ses, dancing about. 'Oh, my pore sister! +Quick! Quick! I can't swim!' + +"He ran to the side and pointed at the water, which was just about at +'arf-tide. Then 'e caught 'old of me agin. + +"'Make 'aste,' he ses, giving me a shove behind. 'Jump in. Wot are you +waiting for?' + +"I stood there for a moment 'arf dazed, looking down at the water. Then +I pulled down a life-belt from the wall 'ere and threw it in, and, arter +another moment's thought, ran back to the <i>Lizzie and Annie,</i> wot was in +the inside berth, and gave them a hail. I've always 'ad a good voice, +and in a flash the skipper and Ted Sawyer came tumbling up out of the +cabin and the 'ands out of the fo'c'sle. + +"'Gal overboard!' I ses, shouting. + +"The skipper just asked where, and then 'im and the mate and a couple of +'ands tumbled into their boat and pulled under the jetty for all they was +worth. Me and the boy ran back and stood with the others, watching. + +"'Point out the exact spot,' ses the skipper. + +"The boy pointed, and the skipper stood up in the boat and felt round +with a boat-hook. Twice 'e said he thought 'e touched something, but it +turned out as 'e was mistaken. His face got longer and longer and 'e +shook his 'ead, and said he was afraid it was no good. + +"'Don't stand cryin' 'ere,' he ses to the boy, kindly. 'Jem, run round +for the Thames police, and get them and the drags. Take the boy with +you. It'll occupy 'is mind.' + +"He 'ad another go with the boat-hook arter they 'ad gone; then 'e gave +it up, and sat in the boat waiting. + +"'This'll be a bad job for you, watchman,' he ses, shaking his 'ead. +'Where was you when it 'appened?' + +"'He's been missing all the evening,' ses the cook, wot was standing +beside me. 'If he'd been doing 'is dooty, the pore gal wouldn't 'ave +been drownded. Wot was she doing on the wharf?' + +"'Skylarkin', I s'pose,' ses the mate. 'It's a wonder there ain't more +drownded. Wot can you expect when the watchman is sitting in a pub all +the evening?' + +"The cook said I ought to be 'ung, and a young ordinary seaman wot was +standing beside 'im said he would sooner I was boiled. I believe they +'ad words about it, but I was feeling too upset to take much notice. + +"'Looking miserable won't bring 'er back to life agin,' ses the skipper, +looking up at me and shaking his 'ead. 'You'd better go down to my cabin +and get yourself a drop o' whisky; there's a bottle on the table. You'll +want all your wits about you when the police come. And wotever you do +don't say nothing to criminate yourself.' + +"'We'll do the criminating for 'im all right,' ses the cook. + +"'If I was the pore gal I'd haunt 'im,' ses the ordinary seaman; 'every +night of 'is life I'd stand afore 'im dripping with water and moaning.' + +"'P'r'aps she will,' ses the cook; 'let's 'ope so, at any rate.' + +"I didn't answer 'em; I was too dead-beat. Besides which, I've got a +'orror of ghosts, and the idea of being on the wharf alone of a night +arter such a thing was a'most too much for me. I went on board the +<i>Lizzie and Annie,</i> and down in the cabin I found a bottle o' whisky, as +the skipper 'ad said. I sat down on the locker and 'ad a glass, and then +I sat worrying and wondering wot was to be the end of it all. + +"The whisky warmed me up a bit, and I 'ad just taken up the bottle to +'elp myself agin when I 'eard a faint sort o' sound in the skipper's +state-room. I put the bottle down and listened, but everything seemed +deathly still. I took it up agin, and 'ad just poured out a drop o' +whisky when I distinctly 'eard a hissing noise and then a little moan. + +"For a moment I sat turned to stone. Then I put the bottle down quiet, +and 'ad just got up to go when the door of the state-room opened, and I +saw the drownded gal, with 'er little face and hair all wet and dripping, +standing before me. + +"Ted Sawyer 'as been telling everybody that I came up the companion-way +like a fog-horn that 'ad lost its ma; I wonder how he'd 'ave come up if +he'd 'ad the evening I had 'ad? + +"They were all on the jetty as I got there and tumbled into the skipper's +arms, and all asking at once wot was the matter. When I got my breath +back a bit and told 'em, they laughed. All except the cook, and 'e said +it was only wot I might expect. Then, like a man in a dream, I see the +gal come out of the companion and walk slowly to the side. + +"'Look!' I ses. 'Look. There she is!' + +"'You're dreaming,' ses the skipper, 'there's nothing there.' + +"They all said the same, even when the gal stepped on to the side and +climbed on to the wharf. She came along towards me with 'er arms held +close to 'er sides, and making the most 'orrible faces at me, and it took +five of'em all their time to 'old me. The wharf and everything seemed to +me to spin round and round. Then she came straight up to me and patted +me on the cheek. + +"'Pore old gentleman,' she ses. 'Wot a shame it is, Ted! It's too bad.' + +"They let go o' me then, and stamped up and down the jetty laughing fit +to kill themselves. If they 'ad only known wot a exhibition they was +making of themselves, and 'ow I pitied them, they wouldn't ha' done it. +And by and by Ted wiped his eyes and put his arm round the gal's waist +and ses-- + +"'This is my intended, Miss Florrie Price,' he ses. 'Ain't she a little +wonder? Wot d'ye think of 'er?' + +"'I'll keep my own opinion,' I ses. 'I ain't got nothing to say against +gals, but if I only lay my hands on that young brother of 'ers' + +"They went off agin then, worse than ever; and at last the cook came and +put 'is skinny arm round my neck and started spluttering in my ear. I +shoved 'im off hard, because I see it all then; and I should ha' seen it +afore only I didn't 'ave time to think. I don't bear no malice, and all +I can say is that I don't wish 'er any harder punishment than to be +married to Ted Sawyer." + + + + + +End of the Project Gutenberg EBook of Manners Makyth Man, by W.W. Jacobs + +*** END OF THIS PROJECT GUTENBERG EBOOK MANNERS MAKYTH MAN *** + +***** This file should be named 10572.txt or 10572.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/0/5/7/10572/ + +Produced by David Widger + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions 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-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. 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-tm 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-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +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-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm 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-tm 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-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm 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-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain 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-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm 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-tm 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-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside 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-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm 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 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 + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (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-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm 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-tm 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-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +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-tm 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-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (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-tm +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-tm 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-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm 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-tm + 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-tm 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-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm 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 +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm 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-tm trademark, and any other party distributing a Project +Gutenberg-tm 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 F3. 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 MERCHANTIBILITY 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-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm 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-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm 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, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm 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-tm 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 web page at https://www.pglaf.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. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. 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 principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread 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 https://pglaf.org + +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 including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + +Each eBook is in a subdirectory of the same number as the eBook's +eBook number, often in several formats including plain vanilla ASCII, +compressed (zipped), HTML and others. + +Corrected EDITIONS of our eBooks replace the old file and take over +the old filename and etext number. The replaced older file is renamed. +VERSIONS based on separate sources are treated as new eBooks receiving +new filenames and etext numbers. + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +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. + +EBooks posted prior to November 2003, with eBook numbers BELOW #10000, +are filed in directories based on their release date. If you want to +download any of these eBooks directly, rather than using the regular +search system you may utilize the following addresses and just +download by the etext year. + + https://www.gutenberg.org/etext06 + + (Or /etext 05, 04, 03, 02, 01, 00, 99, + 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90) + +EBooks posted since November 2003, with etext numbers OVER #10000, are +filed in a different way. The year of a release date is no longer part +of the directory path. The path is based on the etext number (which is +identical to the filename). The path to the file is made up of single +digits corresponding to all but the last digit in the filename. For +example an eBook of filename 10234 would be found at: + + https://www.gutenberg.org/1/0/2/3/10234 + +or filename 24689 would be found at: + https://www.gutenberg.org/2/4/6/8/24689 + +An alternative method of locating eBooks: + https://www.gutenberg.org/GUTINDEX.ALL + + diff --git a/old/10572.zip b/old/10572.zip Binary files differnew file mode 100644 index 0000000..3cbf922 --- /dev/null +++ b/old/10572.zip |
