diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:43:42 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:43:42 -0700 |
| commit | 5c654a386d1175dfa70f5340f02721815362111a (patch) | |
| tree | 3f17a84ba6f4ffbf0eb6e6e2f41587f372bcab20 | |
41 files changed, 4066 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/14111-0.txt b/14111-0.txt new file mode 100644 index 0000000..2ef2c70 --- /dev/null +++ b/14111-0.txt @@ -0,0 +1,781 @@ +*** START OF THE PROJECT GUTENBERG EBOOK 14111 *** + +Note: Project Gutenberg also has an HTML version of this + file which includes the original illustrations. + See 14111-h.htm or 14111-h.zip: + (https://www.gutenberg.org/dirs/1/4/1/1/14111/14111-h/14111-h.htm) + or + (https://www.gutenberg.org/dirs/1/4/1/1/14111/14111-h.zip) + + + + + +DEW DROPS + +VOL. 37. No. 15. Weekly + +David C. Cook Publishing Co., Elgin, Illinois. George E. Cook, Editor + +April 12, 1914 + + + + + + + +[Illustration] + + + +TWO EASTER LOVE-GIFTS + +BY JULIA H. JOHNSON + +[Illustration] + + +"Why, Myra, what is the matter?" + +Mabel had found Myra crying in a little sheltered place where the +little neighbors sometimes played together. Mabel lived in a big house +and Myra in a little one, but they were neighbors, and loved each +other just the same. + +"I don't mean to cry long," Myra said, "but I couldn't help having a +small cry before I began to look pleasant. It's because mother could +not make my white dress for Easter. She had to sew for other people +till it was too late, and now I have to wear my blue dress when all +the rest in our class wear white." + +"That is too bad." said Mabel, putting her arm around her small +neighbor, "but we'll all love you just the same." + +"Yes," Myra said, drying her tears, "and mother said that if I would +take it pleasantly, and be happy just the same, because it was right, +that it would be like an Easter love-gift. I can't take many pennies, +but I do mean to take the love-gift, and I'll begin now, so that's the +last tear." Her smile came out like a bright little rainbow. Mabel +kissed her, because she could not help it, and the two little girls +went together to look for as many little spring things as they could +find. This was the best possible thing to do. + +"Mother," said Mabel that night, in the little go-to-bed talk. "Myra +has to wear a blue dress on Easter Day, when the rest of us will all +wear white. I am so sorry for her." + +"Is Myra very sorry, too?" asked mother. + +"Of course she is, mother: I found her crying over it this afternoon. +But she stopped pretty soon, and said she would not cry any more." +Then Mabel told about the "love-gift." + +"I wish I could take some kind of a love-gift, too," said Mabel, +seeing that her mother thought this a beautiful thing. + +"I am sure you could, if you would." said mother. + +"Please, tell me how." + +"No. it must be your own _love-thought_ first. You will have to-morrow +to think it out. Good-night, now." + +Mabel thought and thought a long time, next day. At last she whispered +something to mother that made her look very happy, and say "Yes, +dear." + +On Easter morning Mabel waited for Myra, that they might go to +Sunday-school together. + +"Oh, oh!" cried Myra, as she saw Mabel, "you have on your pink dress +in-stead of your new white one. Now I don't mind my blue one." + +"We sit in the same row, you know," said Mabel, "and we'll be near +together." She looked very happy. The two little girls with shining +faces went together to God's house, and One above looked down and +smiled upon them. + + * * * * * + +THE MYSTERY IN BILLY'S YARD. + + +"Something's going on over to our place." + +Billy Wells walked into the school yard at noon with a face which +showed that the "something" was very important indeed. The other boys +gathered in a little crowd about him. + +"What is it, Billy?" + +[Illustration: "We sit in the same row," said Mabel.] + +"Tell us, Billy." + +"It's--somebody that's come there--" + +"What for?" + +"To stay, I guess. Acts that way." + +"Friends of the folks?" + +"No, we've never seen 'em before." + +"Do you mean some kind of a tramp?" + +"What's he doing?" + +"Seems to be building a house." + +"A house? Well, that sounds queer." + +"Whereabouts?" + +"In my father's back yard." + +"Billy, you're joking." + +"It's as true as I stand here." + +"Well, go on and tell more about it. Did he skulk 'round as if he was +afraid?" + +"Not a bit of it." + +"Did he see you?" + +"Well," Billy hesitated a little. "I didn't go so very near him." + +"That's best for you," one of the boys shook his head wisely. "You +never can tell what these tramp fellows may be up to." + +"How do you mean--building?" + +"Just what I say. He was picking up things in the yard to build with. +Stuff to begin with." + +"Your father's stuff?" + +"Yes." + +"What does your father think of it?" + +"I don't believe he's seen him. Father goes to work early." + +"Of course he'll drive him off." + +"Another one came and helped him," said Billy. "They were both working +hard when I came to school." + +"Billy, you're fooling us." + +"You can come and see for yourselves," said Billy. "You can see if it +isn't exactly as I've said." + +"Let's do it." + +It was agreed, and after school a number of small boys took with him +the road leading to Billy's home. As they went in by the shady back +yard, Billy held up his hand, saying: + +"S-h-h-h-h--don't scare 'em! Now--come this way--look up there!" + +Billy led the way into a corner and pointed up into an oak tree. + +"There--right above that branch--see? They've got their sticks for the +foundation, and now they're finishing up. Quick--see that flash of +blue just where the sun shines! Look! look! they're pulling at that +bit of red yarn--I put it up there. My mother always hangs bits of +string about for 'em. My mother likes blue-birds."--_Written for Dew +Drops by Sydney Dare._ + + * * * * * + +When anyone speaks to us in anger, we should remember that it takes +two to make a quarrel, and determine not to become one of the two. + + * * * * * + +ENID'S FLOWERS + +[Illustration] + +BY MARY E. Q. BRUSH + + +The first robin had come, so had the first bluebird and the first +hand-organ man; caterpillars were beginning to crawl along the sunny +side of the fence rails and everybody was housecleaning, so it was +quite certain that spring was here. + +With it there came to the three little Ashley sisters three packets of +seeds. + +A lady friend of their mother had sent them. Every one of them had +printed on it, "A Surprise Collection." + +When the little, light-brown envelopes were opened, they were found to +contain several varieties of seeds. Some were like little, round, +brown pills--those were "sweet-peas," mamma said. Others were very +small indeed, like grains of powder, and some were like tiny, +grayish-green sticks--somebody said those were verbena seeds; and, +well, dear me, there were all kinds and shapes and sizes and grays and +browns. + +Three neat, round beds were spaded up on the lawn, and Amy, Enid and +Ruth raked them over, smoothed and patted the rich soil, and then +planted their seeds. + +Of course, you know what happened next. There had to be waiting, +watching, weeding and watering. Most of the seeds sprouted and grew, +and soon the dark brown earth was covered by green shoots and trailing +sprays. + +By and by, buds began to appear and tiny bits of color to show, and +then how happy the little girls were! + +All but Enid. She was pleased, but also a little disappointed. + +Now, it so happened, that Ruth's "Surprise Collection" turned out to +be pansies, asters, phlox and ragged sailors--all posies of bright +pink, purple and crimson in various shades. Amy's garden plot was gay +with marigolds, four-o'clocks, larkspurs, and bachelor's-buttons--all +orange and yellow, blue and purple. + +[Illustration: Enid was pleased.] + +But Enid's flowers were nearly all white, and it was truly a surprise, +though not a very agreeable one. She had white verbenas, sweet +alyssum, candytuft, daisies and gillyflowers. + +Consequently, her flower bed did not attract as much attention from +the passers-by as did the gay ones of her sisters. + +"Anyhow, almost all my posies are sweet-smelling," the little girl +said, trying her best to be contented. For, after all, to own flowers, +every one of which was fragrant, was a comfort. + +Then, there came another comfort--a real "surprise" comfort. Late one +evening, after the family had been away all day, attending the +Sunday-school picnic, and drove home in the moonlight, what do you +suppose they saw as they turned in at the gateway? Why, there on the +lawn, was a great circle of white, gleaming like frosted silver. + +"Wonder if a sheet has blown off the clothesline," said grandma. + +"Oh, it isn't a sheet--it's my flower bed! It's my dear, darling white +posies!" + +And, sure enough, the white flowers could be seen in the dark, when +all the gay reds and yellows and blues and purples were dim and dull. + +Enid felt very happy. + +"I like 'surprise collections' you can see at night," she said. + + * * * * * + +TRUE LOVE. + + "How much I love, you, mother dear," + A little prattler said; + "I love you in the morning bright, + And when I go to bed. + + "I love you when I'm near to you, + And when I'm far away; + I love you when I am at work, + And when I am at play." + + And then she shyly, sweetly raised + Her loving eyes of blue-- + "I love you when you love me best, + And when you scold me, too." + + The mother kissed her darling child, + And stooped a tear to hide: + "My precious one, I love you most + When I am forced to chide. + + "I could not let my darling child + In sin and folly go; + And this is why I sometimes chide-- + Because I love you so." + --_Sel_. + + + * * * * * + +A RUNAWAY UMBRELLA. + +There was a big umbrella with a pretty twisted handle, that belonged +to father, and he carried it down town on rainy days. There was a +little brown-eyed girl, who was four years old her last birthday; that +was Marjorie. + +There was a mischievous south wind that would be quiet for a long time +and then come with a quick gust and blow, oh, ever so hard and play +all sorts of pranks on people. + +Then, there was a lady who sat on a porch not very far from Marjorie's +house. These four together made a story, and that's what I am going to +tell you about. + +It was a beautiful sunny day and Marjorie was going out in the front +yard to play. As she went through the hall there, by the hall tree, +stood the big umbrella. + +"Wouldn't it be fun to take the umbrella and play rainy day?" she +thought. So she reached and picked it up. + +Through the door, across the porch and down onto the sidewalk she ran. +She worked a long while before she could get the umbrella to stay up. + +"Now, I am a big lady with a long dress and I am going over to the +store," she said to herself as she gathered her little short skirt up +with one hand, and held the umbrella up straight and fine with the +other. Walking carefully, "because it is so muddy," she said, as down +the street she started. Pretty soon a gust of the mischievous south +wind came along and lifted the umbrella right out of Marjorie's little +fat hand and took it out into the middle of the street and set it +down. + +Forgetting the rainy day, the long skirt, and the mud, off the curbing +she jumped, and ran for the umbrella. She had almost grasped it +again, when along came another gust of wind, and down the street +bumity-bump went the big, open umbrella. Marjorie started to run after +it, but over and over it went so much faster than a little girl could +run, that it was soon far out of her reach. + +[Illustration: She walked carefully because it was muddy.] + +Then she began to cry. + +"Catch it, oh, catch it!" she screamed, as she ran. + +The lady I told you about heard the cry, and looking up from her +reading, saw the big umbrella go rolling past, followed by the +frightened, crying little girl. Down the steps she ran and out into +the street after the umbrella. "Bump," it went up against a telephone +pole and the wind left it there. In a moment the lady had it in her +hand. + +"I want it down, oh, please, I want it down." sobbed Marjorie all out +of breath. + +"Now, it's all right. Don't cry any more," said the lady as she put it +down and handed it to Marjorie, kissing her little tear-stained face. + +Marjorie clung to it with both hands and started for home. She wanted +to put the umbrella back by the hall tree, and tell mother all about +the runaway.--_Written for Dew Drops by Flora Louise Whitmore._ + + * * * * * + +THE ADOPTED BROOD. + +"Oh, look, Bobby!" said Betty, as she jumped out of the swing, and +went running down toward the hayfield. "Here comes Joe, and he has +something to show us. I know it's a surprise." + +Bobby looked, and then he and Betty went running to meet Joe, who was +coming along the path by the orchard. He was carrying his straw hat +carefully in one hand, and beckoning with his other hand for the +children to hurry and see the surprise. + +"What have you got?" shouted both the children, excitedly, as they +came near. + +"Eggs." said Joe. + +"Oh, eggs," said Bobby and Betty. "Eggs--why eggs are nothing to see. +We find them every day." + +"Yes," said Joe, "but these are not hen's eggs--they are pheasant's +eggs!" + +Bobby and Betty looked, and sure enough, in Joe's hat were seven +eggs--olive-brown in color. + +"We were mowing in the meadow," said Joe, "and we almost ran over a +mother pheasant on her nest. She flew up right under the horse's feet, +and old Nell almost stepped into the nest. I took all the eggs, +because a pheasant will not come back to the nest after she has been +frightened away. She finds another place and makes a new nest. She +won't go back to the old one." + +"Well," said Bobby, "what are you going to do with the eggs?" + +"Oh," said Joe, "I'm going to put them under that little brown bantam +hen that wants to set, and let her hatch them." + +So Bobby and Betty went with Joe, and watched him while he made a +comfortable nest in an old box in the shop loft. Then he put the seven +eggs in the nest carefully, and got the little bantam hen and put her +in, too. She clucked and scolded, and when Joe put her in the box she +stood up and moved the eggs round with her feet, to arrange them as +she wished before she would settle down; but when Bobby and Betty +peeped in, a little later, she was all comfortable for her long wait +of three weeks. Joe put grain and water near by, and Bobby and Betty +peeped in almost every day. + +One day when the children went near the nest, they heard little +peeping sounds, and ran to tell Joe. He came and lifted up the little +bantam hen, although she scolded and pecked at him; and in the nest +Bobby and Betty saw six little pheasant chicks and one egg that did +not hatch. The pheasant chicks were little brown downy things, and Joe +took hen, chicks, nest and all, and made a little coop for them under +the orchard trees. The little chicks were very lively and very +shy--not like hen chicks; they loved to run away and hide in the +grass, and the children could hardly find them at all when they looked +for them. Mother Bantam would cluck and run back and forth in the coop +and call to them, she was so afraid something would happen. At last, +one day, Joe decided to let the little bantam run with her brood, and +show them how to scratch and find worms. So he took away the slats +from the foot of the coop, and Mrs. Bantam stepped out. + +The children saw the hen and chicks in the orchard grass. The little +pheasants ran through the orchard and the little bantam hen followed +them. What became of them nobody knew, and they have never been seen +since. Joe thinks they are still out in the woods, and that the little +pheasants are teaching their mother how to get her own food +there.--_Selected_. + + * * * * * + + "Not mighty deeds make up the sum + Of happiness below: + But little acts of kindliness, + Which any child may show." + + * * * * * + +[Illustration] + +WHERE THE JASMINE BELLS WERE RINGING + +BY ALICE MILLER WEEKS + + +The pine woodland was dark and sweet and cool, and grandmother and +little Emily were walking through it, hand in hand, enjoying its peace +and fragrance. The trees grew so closely on either side of the narrow +path that hardly a glimpse of blue sky could be seen overhead, and not +a shaft of golden sunlight was bold enough to shine down through the +glossy pine needles, as both were thinking. + +"Why, yes there is!" little Emily called suddenly, as if answering her +own thoughts aloud. "There's a sunbeam over there--right where the +trees are thickest!" + +Grandmother and she hurried to the spot; it seemed a little strange +that the sunlight should have filtered down through such dense shade. +And when they reached it, it was not sunshine at all. It was a +delicate spray of clustered yellow bells, swaying from a slender +thread of vine, and filling the spring air with delicious perfume. + +"Oh, it's jasmine!" grandmother and little Emily exclaimed, at the +same moment. And a mocking-bird, flying by, stopped a moment to trill +a sweet strain, as if he, too, was glad to welcome back this lovely +blossom of early spring. + +Little Emily gathered the spray of golden bells very carefully, to +carry it home to mother, who was not well enough to walk in the +woodland and see it where it grew; and all that day and the next, the +sweetness of the delicate flowers filled the room and seemed to speak +of love and hope and cheer. + +"They bring the sunshine and springtime right here to me," the little +girl's mother said, looking lovingly at Emily. "They are like a small +lassie I know, who helps to brighten all the dark places in my life." + +Emily looked questioningly at her mother. "What does that mean, +mamma?" she asked. And grandmother, who was standing by, said, with a +smile: + +"You thought the jasmine bells, shining in the dark wood, were a gleam +of sunshine, dear, brightening up the gloom. There are sometimes dark +places in our lives, you know; mother is having one just now, while +she is not well enough to go out herself into the sunshine. And her +little daughter, by being sweet and cheery, is just such a gleam of +sunshine to her as the jasmine bells were to the dark pine woods." + +Little Emily leaned over her mother for a kiss, then turned to touch +caressingly the golden bells of the jasmine. + +"Dear little sunshine flowers," she said, lovingly. "I'll try to +remember you every day, and be a sunshine maker, too." + +[Illustration: "You thought the jasmine bells were sunshine."] + + * * * * * + +The more one controls his temper, the less will it control him. + + * * * * * + +Knowledge Box + +Berry. + + +Berry is not something to eat, as you might think, but a big dog that +has a very important place. He is the night watchdog of the Electra +Company's factory in Cleveland, Ohio. Before Berry was given the job +they had a watchman, but he had to be discharged because he was +unfaithful, which Berry never is. He is well fitted for the place, as +he is a big, powerful animal, part Newfoundland and part St. Bernard, +and weighs 170 pounds. Not only does he do his duty well, but Berry +works cheap, for he is counted an employee of the company, and is on +the pay roll at seventy cents a week, which is the cost of the food he +eats. + +Berry is not only faithful, but one night he even proved himself a +hero, in a battle with two desperate safe robbers, who had gained +entrance to the office by sawing the lock, thinking, no doubt, that +they could easily overcome the watchdog. But when the door was burst +open, Berry instantly sprang at the burglars, and a terrible fight he +had, for the men who had come armed with pieces of lead pipe, struck +him most cruel blows. + +But they struck in vain, for with howls of mingled pain and +determination to guard his trust, Berry fought the robbers till they +were glad to escape into the darkness. It had been a desperate +struggle, and though Berry was terribly hurt, he had proved that he +was both fearless and faithful. In the morning he was found lying +beside the safe whose valuable contents he had kept from being +touched, but with only enough of life left to give a feeble wag of +welcome to his master, as though he would say, "You trusted me. and I +have kept the trust." + +So badly was Berry injured that he was taken to a dog hospital where +for two weeks it was uncertain whether he would live or die. But at +last he grew well so he was able to go back to work again, more loved +and trusted than ever. + +Though only a dog, was not Berry a hero?--_Written for Dew Drops by +Adele E. Thompson._ + + * * * * * + +EASTER DAY. + + + Awake, pretty flowers + Asleep in the snows, + For this is the morning + When Jesus arose. + Each lily he loved + In the meadows of old, + Will welcome the Master + With blossoms of gold. + + Ye violets, sweet with + The breath of the South; + Anemone blushing, + With rosy-lipped mouth; + Arbutus, half-hiding + Your delicate grace-- + The Savior has risen, + Behold ye his face! + + The types of his death + And rising are ye. + Fair gems of the meadow, + Bright buds of the lea. + "Messiah is living!" + The cherubim say; + Shine forth in your beauty + To greet him to-day! + --_Sel_. + +OUR LESSON.--For April 12. + + * * * * * + +PREPARED BY MARGUERITE COOK. + + * * * * * + +Title.--The Journey to Emmaus (Easter Lesson).--Luke 24: 13-35. + +Golden Text.--It is Christ ... that was raised from the dead.--Rom. +8:34. + +_Golden Text for Beginners_.--Be ye _kind one to another_.--Eph. 4:32. + +Truth.--Jesus is alive for evermore. + +1. The day that Jesus arose from the dead two of his friends walked to +a village called Emmaus, near Jerusalem. + +[Illustration] + +2. Jesus passing by noticed that as they walked they talked together +and seemed very sad. + +3. He went up to them and walked with them and asked them why they +were so sorrowful. + +4. They did not believe that Jesus had risen from the dead, and when +they saw him they did not know him. + +5. They told him about the sad things that had happened--how Jesus had +been put to death and placed in the grave. + +[Illustration] + +6. They said that some women who had visited the tomb of Jesus had +told them that Jesus was risen. + +7. Jesus then told the two men that if they were not so slow to +believe the Word of God and the promise Jesus had given them they +would know that it must be true. + +8. When they came to their home the men urged Jesus to stop with them +for it was now evening. + +9. While they were eating supper Jesus took bread and blessed it and +gave it to them. + +[Illustration] + +10. As they saw Jesus blessing the bread they knew him, but he at once +vanished out of their sight. + +[Illustration] + +11. They said one to another, "Did not our hearts burn within us while +we talked by the way?" + +[Illustration] + +12. They at once went back to Jerusalem to tell the other disciples +the good news that Jesus had truly risen from the dead and they had +seen him. + + * * * * * + +QUESTIONS. + +What is the Golden Text? What is the Truth? + +1. On what day did two of Jesus' friends walk to a village called +Emmaus? + +2. As Jesus passed by, what did he notice? + +3. What did he do? + +4. What did they not believe? + +5. About what did they tell him? + +6. What had some women told them, who had visited Jesus' tomb? + +7. What did Jesus tell the two men? + +8. When they came to their home what did they urge Jesus to do? + +9. While they were eating supper what did Jesus do? + +10. When they knew him what became of Jesus? + +11. What did they say one to another? + +12. What did they at once go back to Jerusalem to tell the other +disciples? + + * * * * * + +LESSON HYMN. + +_Tune_--"Jesus loves me, this I know," omitting chorus (E flat). + +Close beside us every day +Christ is walking all the way; +And his voice is very near; +If we listen we may hear. + +Title of Lesson for April 19. + +The Cost of Discipleship.--Luke 14:25-35. + + * * * * * + +Golden Text for April 19. + +Whosoever shall lose his life for my sake shall find it.--Matt. 16:25. + + * * * * * + +Beginners Golden Text for April 19. + +_Be ye kind one to another_.--Eph. 4:32. + + * * * * * + +Advice to Boys and Girls + +The Extra Step Society. + + +The "Extra Step Society" was formed in the Martin household when the +mother was forced to be on the lounge for some time with a sprained +ankle. It was Tom who cheerfully took an extra step on his way to +school each day to call at his grandmother's and report the progress +of the invalid. It was Bessie who left her play and stepped softly +into the parlor every morning to lower the blind so that the sun's +rays might not beam too warmly on her mother's face. And it was wee +Alice who took many an extra step during the day, sometimes to carry a +glass of fresh water to her mother, and sometimes to bring a magazine +or paper. + +"We're trying to pay you back a little, mamma," Bessie said lovingly +one night when all the children were gathered around their mother. "We +don't mind a bit taking extra steps if only we can make you +comfortable, so you must not think we get tired of doing things for +you." + +"Bless my faithful, unselfish little nurses!" Mrs. Martin rejoined +earnestly. "Love lightens your labors."--_Sel._ + + * * * * * + +Thoughts for Mothers + +The Care of the Home. + + +The busy mother will find the care of the home too much for one pair +of hands unless she enlists the children as helpers. Let her begin to +practice systematics at once. Assign some corner or box of play-things +to one child to be cared for. A small boy might have the work of +putting away yesterday's newspapers regularly, as his part in keeping +the house tidy. The small daughter could pick up and dust in one +special room, taking care that a second dusting by a more careful hand +is not necessary. + +The motive for doing these little tasks well should be made prominent, +showing that the child is big enough to "help" mother. Praise should +be bestowed, not as if it were anything astonishing and out of the way +for the child to do the work well, but as a token of appreciation of +the motive and manner in doing it. Encourage as much as possible, but +do not develop vanity by praising to excess. + +Let their love be the mainspring of their every act of +service.--_Written for Dew Drops by Julia H. Johnston_. + + * * * * * + +[Entered at the Post Office at Elgin, Ill., as Second Class Mail +Matter.] + +Price of Dew Drops.--In lots of five or more, to one address, 20 +cents per copy per year, or 5-1/2 cents per copy per quarter. Address, + +David C. Cook Publishing Co., Elgin, Ill. + +*** END OF THE PROJECT GUTENBERG EBOOK 14111 *** diff --git a/14111-h/14111-h.htm b/14111-h/14111-h.htm new file mode 100644 index 0000000..c0d7606 --- /dev/null +++ b/14111-h/14111-h.htm @@ -0,0 +1,846 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /> +<title>The Project Gutenberg eBook of Dew Drops, Vol. 37, No. 15, April 12, 1914, by Various</title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 35%; + margin-top: 2.2em; + margin-bottom: 2.2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + body{margin-left: 8%; + margin-right: 8%; + } + + .figcenter {margin: auto; text-align: center;} + + .figleft {float: left; clear: left; margin-left: 0; margin-bottom: 1em; margin-top: + 1em; margin-right: 1em; padding: 0; text-align: center;} + + .poem {margin-left:10%; margin-right:10%; text-align: left;} + .poem br {display: none;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem span {display: block; margin: 0; padding-left: 3em; text-indent: -3em;} + .poem span.i2 {display: block; margin-left: 2em;} + .poem span.i4 {display: block; margin-left: 4em;} + .poem span.i12 {display: block; margin-left: 12em;} + hr.full { width: 100%; } + a:link {color:blue; + text-decoration:none} + link {color:blue; + text-decoration:none} + a:visited {color:blue; + text-decoration:none} + a:hover {color:red} + pre {font-size: 8pt;} + // --> + /* XML end ]]>*/ + </style> +</head> +<body> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 14111 ***</div> +<h1>The Project Gutenberg eBook, Dew Drops, Vol. 37, No. 15, April 12, 1914, +by Various, Edited by George E. Cook</h1> +<p> </p> +<p> </p> +<hr class="full" /> +<div class="figcenter"> +<img src="images/title.jpg" width="100%" alt="" /> +</div> + +<h3>VOL. 37. No. 15. WEEKLY.<br /> +DAVID C. COOK PUBLISHING CO., ELGIN, ILLINOIS. GEORGE E. COOK, EDITOR.<br /> +APRIL 12, 1914.</h3> + +<div class="figcenter"> +<img src="images/pg1_twogifts.jpg" width="700" height="139" +alt="TWO EASTER LOVE-GIFTS BY JULIA H. JOHNSON" /> +</div> + +<p>"Why, Myra, what is the matter?"</p> + +<p>Mabel had found Myra crying in a little sheltered place where the +little neighbors sometimes played together. Mabel lived in a big house +and Myra in a little one, but they were neighbors, and loved each +other just the same.</p> + +<p>"I don't mean to cry long," Myra said, "but I couldn't help having a +small cry before I began to look pleasant. It's because mother could +not make my white dress for Easter. She had to sew for other people +till it was too late, and now I have to wear my blue dress when all +the rest in our class wear white."</p> + +<p>"That is too bad." said Mabel, putting her arm around her small +neighbor, "but we'll all love you just the same."</p> + +<p>"Yes," Myra said, drying her tears, "and mother said that if I would +take it pleasantly, and be happy just the same, because it was right, +that it would be like an Easter love-gift. I can't take many pennies, +but I do mean to take the love-gift, and I'll begin now, so that's the +last tear." Her smile came out like a bright little rainbow. Mabel +kissed her, because she could not help it, and the two little girls +went together to look for as many little spring things as they could +find. This was the best possible thing to do.</p> + +<p>"Mother," said Mabel that night, in the little go-to-bed talk. "Myra +has to wear a blue dress on Easter Day, when the rest of us will all +wear white. I am so sorry for her."</p> + +<p>"Is Myra very sorry, too?" asked mother.</p> + +<p>"Of course she is, mother: I found her crying over it this afternoon. +But she stopped pretty soon, and said she would not cry any more." +Then Mabel told about the "love-gift."</p> + +<p>"I wish I could take some kind of a love-gift, too," said Mabel, +seeing that her mother thought this a beautiful thing.</p> + +<p>"I am sure you could, if you would." said mother.</p> + +<p>"Please, tell me how."</p> + +<p>"No. it must be your own <i>love-thought</i> first. You will have to-morrow +to think it out. Good-night, now."</p> + +<p>Mabel thought and thought a long time, next day. At last she whispered +something to mother that made her look very happy, and say "Yes, +dear."</p> + +<p>On Easter morning Mabel waited for Myra, that they might go to +Sunday-school together.</p> + +<p>"Oh, oh!" cried Myra, as she saw Mabel, "you have on your pink dress +in-stead of your new white one. Now I don't mind my blue one."</p> + +<div class="figcenter"> +<img src="images/pg1_samerow.jpg" width="471" height="650" +alt="Illustration: "We sit in the same row," said Mabel." /> +</div> + +<p>"We sit in the same row, you know," said Mabel, "and we'll be near +together." She looked very happy. The two little girls with shining +faces went together to God's house, and One above looked down and +smiled upon them.</p> + +<hr /> + +<h3>THE MYSTERY IN BILLY'S YARD.</h3> + +<p>"Something's going on over to our place."</p> + +<p>Billy Wells walked into the school yard at noon with a face which +showed that the "something" was very important indeed. The other boys +gathered in a little crowd about him.</p> + +<p>"What is it, Billy?"</p> + + + +<p>"Tell us, Billy."</p> + +<p>"It's—somebody that's come there—"</p> + +<p>"What for?"</p> + +<p>"To stay, I guess. Acts that way."</p> + +<p>"Friends of the folks?"</p> + +<p>"No, we've never seen 'em before."</p> + +<p>"Do you mean some kind of a tramp?"</p> + +<p>"What's he doing?"</p> + +<p>"Seems to be building a house."</p> + +<p>"A house? Well, that sounds queer."</p> + +<p>"Whereabouts?"</p> + +<p>"In my father's back yard."</p> + +<p>"Billy, you're joking."</p> + +<p>"It's as true as I stand here."</p> + +<p>"Well, go on and tell more about it. Did he skulk 'round as if he was +afraid?"</p> + +<p>"Not a bit of it."</p> + +<p>"Did he see you?"</p> + +<p>"Well," Billy hesitated a little. "I didn't go so very near him."</p> + +<p>"That's best for you," one of the boys shook his head wisely. "You +never can tell what these tramp fellows may be up to."</p> + +<p>"How do you mean—building?"</p> + +<p>"Just what I say. He was picking up things in the yard to build with. +Stuff to begin with."</p> + +<p>"Your father's stuff?"</p> + +<p>"Yes."</p> + +<p>"What does your father think of it?"</p> + +<p>"I don't believe he's seen him. Father goes to work early."</p> + +<p>"Of course he'll drive him off."</p> + +<p>"Another one came and helped him," said Billy. "They were both working +hard when I came to school."</p> + +<p>"Billy, you're fooling us."</p> + +<p>"You can come and see for yourselves," said Billy. "You can see if it +isn't exactly as I've said."</p> + +<p>"Let's do it."</p> + +<p>It was agreed, and after school a number of small boys took with him +the road leading to Billy's home. As they went in by the shady back +yard, Billy held up his hand, saying:</p> + +<p>"S-h-h-h-h—don't scare 'em! Now—come this way—look up there!"</p> + +<p>Billy led the way into a corner and pointed up into an oak tree.</p> + +<p>"There—right above that branch—see? They've got their sticks for the +foundation, and now they're finishing up. Quick—see that flash of +blue just where the sun shines! Look! look! they're pulling at that +bit of red yarn—I put it up there. My mother always hangs bits of +string about for 'em. My mother likes blue-birds."—<i>Written for Dew +Drops by Sydney Dare.</i></p> + +<hr /> + +<p>When anyone speaks to us in anger, we should remember that it takes +two to make a quarrel, and determine not to become one of the two.</p> + +<hr /> + +<div class="figcenter"> +<img src="images/pg2_enids.gif" width="400" height="198" +alt="ENID'S FLOWERS BY MARY E. Q. BRUSH" /> +</div> + +<p>The first robin had come, so had the first bluebird and the first +hand-organ man; caterpillars were beginning to crawl along the sunny +side of the fence rails and everybody was housecleaning, so it was +quite certain that spring was here.</p> + +<p>With it there came to the three little Ashley sisters three packets of +seeds.</p> + +<p>A lady friend of their mother had sent them. Every one of them had +printed on it, "A Surprise Collection."</p> + +<p>When the little, light-brown envelopes were opened, they were found to +contain several varieties of seeds. Some were like little, round, +brown pills—those were "sweet-peas," mamma said. Others were very +small indeed, like grains of powder, and some were like tiny, +grayish-green sticks—somebody said those were verbena seeds; and, +well, dear me, there were all kinds and shapes and sizes and grays and +browns.</p> + +<p>Three neat, round beds were spaded up on the lawn, and Amy, Enid and +Ruth raked them over, smoothed and patted the rich soil, and then +planted their seeds.</p> + +<p>Of course, you know what happened next. There had to be waiting, +watching, weeding and watering. Most of the seeds sprouted and grew, +and soon the dark brown earth was covered by green shoots and trailing +sprays.</p> + +<p>By and by, buds began to appear and tiny bits of color to show, and +then how happy the little girls were!</p> + +<div class="figcenter"> +<img src="images/pg2_pleased.gif" width="231" height="400" alt="Illustration: Enid was pleased." /> +</div> + +<p>All but Enid. She was pleased, but also a little disappointed.</p> + +<p>Now, it so happened, that Ruth's "Surprise Collection" turned out to +be pansies, asters, phlox and ragged sailors—all posies of bright +pink, purple and crimson in various shades. Amy's garden plot was gay +with marigolds, four-o'clocks, larkspurs, and bachelor's-buttons—all +orange and yellow, blue and purple.</p> + +<p>But Enid's flowers were nearly all white, and it was truly a surprise, +though not a very agreeable one. She had white verbenas, sweet +alyssum, candytuft, daisies and gillyflowers.</p> + +<p>Consequently, her flower bed did not attract as much attention from +the passers-by as did the gay ones of her sisters.</p> + +<p>"Anyhow, almost all my posies are sweet-smelling," the little girl +said, trying her best to be contented. For, after all, to own flowers, +every one of which was fragrant, was a comfort.</p> + +<p>Then, there came another comfort—a real "surprise" comfort. Late one +evening, after the family had been away all day, attending the +Sunday-school picnic, and drove home in the moonlight, what do you +suppose they saw as they turned in at the gateway? Why, there on the +lawn, was a great circle of white, gleaming like frosted silver.</p> + +<p>"Wonder if a sheet has blown off the clothesline," said grandma.</p> + +<p>"Oh, it isn't a sheet—it's my flower bed! It's my dear, darling white +posies!"</p> + +<p>And, sure enough, the white flowers could be seen in the dark, when +all the gay reds and yellows and blues and purples were dim and dull.</p> + +<p>Enid felt very happy.</p> + +<p>"I like 'surprise collections' you can see at night," she said.</p> + +<hr /> + +<h3>TRUE LOVE.</h3> + +<div class="poem"><div class="stanza"> +<span>"How much I love, you, mother dear,"<br /></span> +<span class="i4">A little prattler said;<br /></span> +<span>"I love you in the morning bright,<br /></span> +<span class="i4">And when I go to bed.<br /></span> +</div><div class="stanza"> +<span>"I love you when I'm near to you,<br /></span> +<span class="i4">And when I'm far away;<br /></span> +<span>I love you when I am at work,<br /></span> +<span class="i4">And when I am at play."<br /></span> +</div><div class="stanza"> +<span>And then she shyly, sweetly raised<br /></span> +<span class="i4">Her loving eyes of blue—<br /></span> +<span>"I love you when you love me best,<br /></span> +<span class="i4">And when you scold me, too."<br /></span> +</div><div class="stanza"> +<span>The mother kissed her darling child,<br /></span> +<span class="i4">And stooped a tear to hide:<br /></span> +<span>"My precious one, I love you most<br /></span> +<span class="i4">When I am forced to chide.<br /></span> +</div><div class="stanza"> +<span>"I could not let my darling child<br /></span> +<span class="i4">In sin and folly go;<br /></span> +<span>And this is why I sometimes chide—<br /></span> +<span class="i4">Because I love you so."<br /></span> +<span class="i12">—<i>Sel</i>.<br /></span> +</div></div> + + +<hr /> + +<h3>A RUNAWAY UMBRELLA.</h3> + +<p>There was a big umbrella with a pretty twisted handle, that belonged +to father, and he carried it down town on rainy days. There was a +little brown-eyed girl, who was four years old her last birthday; that +was Marjorie.</p> + +<p>There was a mischievous south wind that would be quiet for a long time +and then come with a quick gust and blow, oh, ever so hard and play +all sorts of pranks on people.</p> + +<p>Then, there was a lady who sat on a porch not very far from Marjorie's +house. These four together made a story, and that's what I am going to +tell you about.</p> + +<p>It was a beautiful sunny day and Marjorie was going out in the front +yard to play. As she went through the hall there, by the hall tree, +stood the big umbrella.</p> + +<p>"Wouldn't it be fun to take the umbrella and play rainy day?" she +thought. So she reached and picked it up.</p> + +<p>Through the door, across the porch and down onto the sidewalk she ran. +She worked a long while before she could get the umbrella to stay up.</p> + +<p>"Now, I am a big lady with a long dress and I am going over to the +store," she said to herself as she gathered her little short skirt up +with one hand, and held the umbrella up straight and fine with the +other. Walking carefully, "because it is so muddy," she said, as down +the street she started. Pretty soon a gust of the mischievous south +wind came along and lifted the umbrella right out of Marjorie's little +fat hand and took it out into the middle of the street and set it down.</p> + +<div class="figcenter"> +<img src="images/pg2_muddy.gif" width="386" height="400" +alt="Illustration: She walked carefully because it was muddy." /> +</div> + +<p>Forgetting the rainy day, the long skirt, and the mud, off the curbing +she jumped, and ran for the umbrella. She had almost grasped it +again, when along came another gust of wind, and down the street +bumity-bump went the big, open umbrella. Marjorie started to run after +it, but over and over it went so much faster than a little girl could +run, that it was soon far out of her reach.</p> + +<p>Then she began to cry.</p> + +<p>"Catch it, oh, catch it!" she screamed, as she ran.</p> + +<p>The lady I told you about heard the cry, and looking up from her +reading, saw the big umbrella go rolling past, followed by the +frightened, crying little girl. Down the steps she ran and out into +the street after the umbrella. "Bump," it went up against a telephone +pole and the wind left it there. In a moment the lady had it in her +hand.</p> + +<p>"I want it down, oh, please, I want it down." sobbed Marjorie all out +of breath.</p> + +<p>"Now, it's all right. Don't cry any more," said the lady as she put it +down and handed it to Marjorie, kissing her little tear-stained face.</p> + +<p>Marjorie clung to it with both hands and started for home. She wanted +to put the umbrella back by the hall tree, and tell mother all about +the runaway.—<i>Written for Dew Drops by Flora Louise Whitmore.</i></p> + +<hr /> + +<h3>THE ADOPTED BROOD.</h3> + +<p>"Oh, look, Bobby!" said Betty, as she jumped out of the swing, and +went running down toward the hayfield. "Here comes Joe, and he has +something to show us. I know it's a surprise."</p> + +<p>Bobby looked, and then he and Betty went running to meet Joe, who was +coming along the path by the orchard. He was carrying his straw hat +carefully in one hand, and beckoning with his other hand for the +children to hurry and see the surprise.</p> + +<p>"What have you got?" shouted both the children, excitedly, as they +came near.</p> + +<p>"Eggs." said Joe.</p> + +<p>"Oh, eggs," said Bobby and Betty. "Eggs—why eggs are nothing to see. +We find them every day."</p> + +<p>"Yes," said Joe, "but these are not hen's eggs—they are pheasant's +eggs!"</p> + +<p>Bobby and Betty looked, and sure enough, in Joe's hat were seven +eggs—olive-brown in color.</p> + +<p>"We were mowing in the meadow," said Joe, "and we almost ran over a +mother pheasant on her nest. She flew up right under the horse's feet, +and old Nell almost stepped into the nest. I took all the eggs, +because a pheasant will not come back to the nest after she has been +frightened away. She finds another place and makes a new nest. She +won't go back to the old one."</p> + +<p>"Well," said Bobby, "what are you going to do with the eggs?"</p> + +<p>"Oh," said Joe, "I'm going to put them under that little brown bantam +hen that wants to set, and let her hatch them."</p> + +<p>So Bobby and Betty went with Joe, and watched him while he made a +comfortable nest in an old box in the shop loft. Then he put the seven +eggs in the nest carefully, and got the little bantam hen and put her +in, too. She clucked and scolded, and when Joe put her in the box she +stood up and moved the eggs round with her feet, to arrange them as +she wished before she would settle down; but when Bobby and Betty +peeped in, a little later, she was all comfortable for her long wait +of three weeks. Joe put grain and water near by, and Bobby and Betty +peeped in almost every day.</p> + +<p>One day when the children went near the nest, they heard little +peeping sounds, and ran to tell Joe. He came and lifted up the little +bantam hen, although she scolded and pecked at him; and in the nest +Bobby and Betty saw six little pheasant chicks and one egg that did +not hatch. The pheasant chicks were little brown downy things, and Joe +took hen, chicks, nest and all, and made a little coop for them under +the orchard trees. The little chicks were very lively and very +shy—not like hen chicks; they loved to run away and hide in the +grass, and the children could hardly find them at all when they looked +for them. Mother Bantam would cluck and run back and forth in the coop +and call to them, she was so afraid something would happen. At last, +one day, Joe decided to let the little bantam run with her brood, and +show them how to scratch and find worms. So he took away the slats +from the foot of the coop, and Mrs. Bantam stepped out.</p> + +<p>The children saw the hen and chicks in the orchard grass. The little +pheasants ran through the orchard and the little bantam hen followed +them. What became of them nobody knew, and they have never been seen +since. Joe thinks they are still out in the woods, and that the little +pheasants are teaching their mother how to get her own food +there.—<i>Selected</i>.</p> + +<hr /> + +<div class="poem"><div class="stanza"> +<span>"Not mighty deeds make up the sum<br /></span> +<span class="i2">Of happiness below:<br /></span> +<span>But little acts of kindliness,<br /></span> +<span class="i2">Which any child may show."<br /></span> +</div></div> + +<hr /> + +<div class="figcenter"> +<img src="images/pg3_jasmine.gif" width="700" height="158" +alt="WHERE THE JASMINE BELLS WERE RINGING BY ALICE MILLER WEEKS" /> +</div> + +<p>The pine woodland was dark and sweet and cool, and grandmother and +little Emily were walking through it, hand in hand, enjoying its peace +and fragrance. The trees grew so closely on either side of the narrow +path that hardly a glimpse of blue sky could be seen overhead, and not +a shaft of golden sunlight was bold enough to shine down through the +glossy pine needles, as both were thinking.</p> + +<p>"Why, yes there is!" little Emily called suddenly, as if answering her +own thoughts aloud. "There's a sunbeam over there—right where the +trees are thickest!"</p> + +<p>Grandmother and she hurried to the spot; it seemed a little strange +that the sunlight should have filtered down through such dense shade. +And when they reached it, it was not sunshine at all. It was a +delicate spray of clustered yellow bells, swaying from a slender +thread of vine, and filling the spring air with delicious perfume.</p> + +<p>"Oh, it's jasmine!" grandmother and little Emily exclaimed, at the +same moment. And a mocking-bird, flying by, stopped a moment to trill +a sweet strain, as if he, too, was glad to welcome back this lovely +blossom of early spring.</p> + +<p>Little Emily gathered the spray of golden bells very carefully, to +carry it home to mother, who was not well enough to walk in the +woodland and see it where it grew; and all that day and the next, the +sweetness of the delicate flowers filled the room and seemed to speak +of love and hope and cheer.</p> + +<p>"They bring the sunshine and springtime right here to me," the little +girl's mother said, looking lovingly at Emily. "They are like a small +lassie I know, who helps to brighten all the dark places in my life."</p> + +<p>Emily looked questioningly at her mother. "What does that mean, +mamma?" she asked. And grandmother, who was standing by, said, with a +smile:</p> + +<div class="figcenter"> +<img src="images/pg3_sunshine.gif" width="369" height="550" +alt="Illustration: "You thought the jasmine bells were sunshine."" /> +</div> + +<p>"You thought the jasmine bells, shining in the dark wood, were a gleam +of sunshine, dear, brightening up the gloom. There are sometimes dark +places in our lives, you know; mother is having one just now, while +she is not well enough to go out herself into the sunshine. And her +little daughter, by being sweet and cheery, is just such a gleam of +sunshine to her as the jasmine bells were to the dark pine woods."</p> + +<p>Little Emily leaned over her mother for a kiss, then turned to touch +caressingly the golden bells of the jasmine.</p> + +<p>"Dear little sunshine flowers," she said, lovingly. "I'll try to +remember you every day, and be a sunshine maker, too."</p> + + +<hr /> + +<p>The more one controls his temper, the less will it control him.</p> + +<hr /> + +<div class="figcenter"> +<img src="images/pg3_knowledge.gif" width="400" height="76" alt="Knowledge Box" /> +</div> + +<h3>Berry.</h3> + + +<p>Berry is not something to eat, as you might think, but a big dog that +has a very important place. He is the night watchdog of the Electra +Company's factory in Cleveland, Ohio. Before Berry was given the job +they had a watchman, but he had to be discharged because he was +unfaithful, which Berry never is. He is well fitted for the place, as +he is a big, powerful animal, part Newfoundland and part St. Bernard, +and weighs 170 pounds. Not only does he do his duty well, but Berry +works cheap, for he is counted an employé of the company, and is on +the pay roll at seventy cents a week, which is the cost of the food he +eats.</p> + +<p>Berry is not only faithful, but one night he even proved himself a +hero, in a battle with two desperate safe robbers, who had gained +entrance to the office by sawing the lock, thinking, no doubt, that +they could easily overcome the watchdog. But when the door was burst +open, Berry instantly sprang at the burglars, and a terrible fight he +had, for the men who had come armed with pieces of lead pipe, struck +him most cruel blows.</p> + +<p>But they struck in vain, for with howls of mingled pain and +determination to guard his trust, Berry fought the robbers till they +were glad to escape into the darkness. It had been a desperate +struggle, and though Berry was terribly hurt, he had proved that he +was both fearless and faithful. In the morning he was found lying +beside the safe whose valuable contents he had kept from being +touched, but with only enough of life left to give a feeble wag of +welcome to his master, as though he would say, "You trusted me. and I +have kept the trust."</p> + +<p>So badly was Berry injured that he was taken to a dog hospital where +for two weeks it was uncertain whether he would live or die. But at +last he grew well so he was able to go back to work again, more loved +and trusted than ever.</p> + +<p>Though only a dog, was not Berry a hero?—<i>Written for Dew Drops by +Adele E. Thompson.</i></p> + +<hr /> + +<h3>EASTER DAY.</h3> + +<div class="poem"><div class="stanza"> +<span>Awake, pretty flowers<br /></span> +<span class="i2">Asleep in the snows,<br /></span> +<span>For this is the morning<br /></span> +<span class="i2">When Jesus arose.<br /></span> +<span>Each lily he loved<br /></span> +<span class="i2">In the meadows of old,<br /></span> +<span>Will welcome the Master<br /></span> +<span class="i2">With blossoms of gold.<br /></span> +</div><div class="stanza"> +<span>Ye violets, sweet with<br /></span> +<span class="i2">The breath of the South;<br /></span> +<span>Anemone blushing,<br /></span> +<span class="i2">With rosy-lipped mouth;<br /></span> +<span>Arbutus, half-hiding<br /></span> +<span class="i2">Your delicate grace—<br /></span> +<span>The Savior has risen,<br /></span> +<span class="i2">Behold ye his face!<br /></span> +</div><div class="stanza"> +<span>The types of his death<br /></span> +<span class="i2">And rising are ye.<br /></span> +<span>Fair gems of the meadow,<br /></span> +<span class="i2">Bright buds of the lea.<br /></span> +<span>"Messiah is living!"<br /></span> +<span class="i2">The cherubim say;<br /></span> +<span>Shine forth in your beauty<br /></span> +<span class="i2">To greet him to-day!<br /></span> +<span class="i12">—<i>Sel</i>.<br /></span> +</div></div> + +<hr /> + +<h3>OUR LESSON.—For April 12.</h3> + +<hr /> + +<h4>PREPARED BY MARGUERITE COOK.</h4> + +<hr /> + +<p>Title.—The Journey to Emmaus (Easter Lesson).—Luke 24: 13-35.</p> + +<p>Golden Text.—It is Christ ... that was raised from the dead.—Rom. +8:34.</p> + +<p><i>Golden Text for Beginners</i>.—Be ye <i>kind one to another</i>.—Eph. 4:32.</p> + +<p>Truth.—Jesus is alive for evermore.</p> + +<div class="figcenter"> + +<p>1. The day that Jesus arose from the dead two of his friends walked to +a village called Emmaus, near Jerusalem.</p> + +<img src="images/pg4_lesson1.gif" width="350" height="226" alt="Illustration" /> + +<p>2. Jesus passing by noticed that as they walked they talked together +and seemed very sad.</p> + +<p>3. He went up to them and walked with them and asked them why they +were so sorrowful.</p> + +<p>4. They did not believe that Jesus had risen from the dead, and when +they saw him they did not know him.</p> + +<p>5. They told him about the sad things that had happened—how Jesus had +been put to death and placed in the grave.</p> + +<img src="images/pg4_heisrisen.gif" width="317" height="400" alt="Illustration" /> + +<p>6. They said that some women who had visited the tomb of Jesus had +told them that Jesus was risen.</p> + +<p>7. Jesus then told the two men that if they were not so slow to +believe the Word of God and the promise Jesus had given them they +would know that it must be true.</p> + +<p>8. When they came to their home the men urged Jesus to stop with them +for it was now evening.</p> + +<p>9. While they were eating supper Jesus took bread and blessed it and +gave it to them.</p> + +<img src="images/pg4_lesson3.gif" width="350" height="314" alt="Illustration" /> + +<p>10. As they saw Jesus blessing the bread they knew him, but he at once +vanished out of their sight.</p> + +<img src="images/pg4_lesson4.gif" width="350" height="327" alt="Illustration" /> + +<p>11. They said one to another, "Did not our hearts burn within us while +we talked by the way?"</p> + +<img src="images/pg4_lesson5.gif" width="350" height="259" alt="Illustration" /> + +<p>12. They at once went back to Jerusalem to tell the other disciples +the good news that Jesus had truly risen from the dead and they had +seen him.</p> + +</div> + +<hr /> + +<h4>QUESTIONS.</h4> + +<p>What is the Golden Text? What is the Truth?</p> + +<p>1. On what day did two of Jesus' friends walk to a village called +Emmaus?</p> + +<p>2. As Jesus passed by, what did he notice?</p> + +<p>3. What did he do?</p> + +<p>4. What did they not believe?</p> + +<p>5. About what did they tell him?</p> + +<p>6. What had some women told them, who had visited Jesus' tomb?</p> + +<p>7. What did Jesus tell the two men?</p> + +<p>8. When they came to their home what did they urge Jesus to do?</p> + +<p>9. While they were eating supper what did Jesus do?</p> + +<p>10. When they knew him what became of Jesus?</p> + +<p>11. What did they say one to another?</p> + +<p>12. What did they at once go back to Jerusalem to tell the other +disciples?</p> + +<hr /> + +<p><b>LESSON HYMN.</b></p> + +<p><i>Tune</i>—"Jesus loves me, this I know," omitting chorus (E flat).</p> + +<div class="poem"><div class="stanza"> +<span>Close beside us every day<br /></span> +<span>Christ is walking all the way;<br /></span> +<span>And his voice is very near;<br /></span> +<span>If we listen we may hear.<br /></span> +</div></div> + +<p><b>Title of Lesson for April 19.</b></p> + +<p>The Cost of Discipleship.—Luke 14:25-35.</p> + +<hr /> + +<p><b>Golden Text for April 19.</b></p> + +<p>Whosoever shall lose his life for my sake shall find it.—Matt. 16:25.</p> + +<hr /> + +<p><b>Beginners Golden Text for April 19.</b></p> + +<p><i>Be ye kind one to another</i>.—Eph. 4:32.</p> + +<hr /> + +<div class="figcenter"> +<img src="images/pg4_advice.gif" width="450" height="82" alt="Advice to Boys and Girls" /> +</div> + +<h3>The Extra Step Society.</h3> + + +<p>The "Extra Step Society" was formed in the Martin household when the +mother was forced to be on the lounge for some time with a sprained +ankle. It was Tom who cheerfully took an extra step on his way to +school each day to call at his grandmother's and report the progress +of the invalid. It was Bessie who left her play and stepped softly +into the parlor every morning to lower the blind so that the sun's +rays might not beam too warmly on her mother's face. And it was wee +Alice who took many an extra step during the day, sometimes to carry a +glass of fresh water to her mother, and sometimes to bring a magazine +or paper.</p> + +<p>"We're trying to pay you back a little, mamma," Bessie said lovingly +one night when all the children were gathered around their mother. "We +don't mind a bit taking extra steps if only we can make you +comfortable, so you must not think we get tired of doing things for +you."</p> + +<p>"Bless my faithful, unselfish little nurses!" Mrs. Martin rejoined +earnestly. "Love lightens your labors."—<i>Sel.</i></p> + +<hr /> + +<div class="figcenter"> +<img src="images/pg4_mothers.gif" width="450" height="73" alt="Thoughts for Mothers" /> +</div> + +<h3>The Care of the Home.</h3> + +<p>The busy mother will find the care of the home too much for one pair +of hands unless she enlists the children as helpers. Let her begin to +practice systematics at once. Assign some corner or box of play-things +to one child to be cared for. A small boy might have the work of +putting away yesterday's newspapers regularly, as his part in keeping +the house tidy. The small daughter could pick up and dust in one +special room, taking care that a second dusting by a more careful hand +is not necessary.</p> + +<p>The motive for doing these little tasks well should be made prominent, +showing that the child is big enough to "help" mother. Praise should +be bestowed, not as if it were anything astonishing and out of the way +for the child to do the work well, but as a token of appreciation of +the motive and manner in doing it. Encourage as much as possible, but +do not develop vanity by praising to excess.</p> + +<p>Let their love be the mainspring of their every act of +service.—<i>Written for Dew Drops by Julia H. Johnston</i>.</p> + +<hr /> + +<p>[Entered at the Post Office at Elgin, Ill., as Second Class Mail +Matter.]</p> + +<p><b>Price of Dew Drops</b>.—In lots of five or more, to one address, 20 +cents per copy per year, or 5-1/2 cents per copy per quarter. Address,</p> + +<p><b>DAVID C. COOK PUBLISHING CO., ELGIN, ILL.</b></p> + +<p> </p> +<div>*** END OF THE PROJECT GUTENBERG EBOOK 14111 ***</div> +</body> +</html> diff --git a/14111-h/images/pg1_samerow.jpg b/14111-h/images/pg1_samerow.jpg Binary files differnew file mode 100644 index 0000000..eb146da --- /dev/null +++ b/14111-h/images/pg1_samerow.jpg diff --git a/14111-h/images/pg1_twogifts.jpg b/14111-h/images/pg1_twogifts.jpg Binary files differnew file mode 100644 index 0000000..24cfae5 --- /dev/null +++ b/14111-h/images/pg1_twogifts.jpg diff --git a/14111-h/images/pg2_enids.gif b/14111-h/images/pg2_enids.gif Binary files differnew file mode 100644 index 0000000..de15aa3 --- /dev/null +++ b/14111-h/images/pg2_enids.gif diff --git a/14111-h/images/pg2_muddy.gif b/14111-h/images/pg2_muddy.gif Binary files differnew file mode 100644 index 0000000..834234d --- /dev/null +++ b/14111-h/images/pg2_muddy.gif diff --git a/14111-h/images/pg2_pleased.gif b/14111-h/images/pg2_pleased.gif Binary files differnew file mode 100644 index 0000000..2dad9c7 --- /dev/null +++ b/14111-h/images/pg2_pleased.gif diff --git a/14111-h/images/pg3_jasmine.gif b/14111-h/images/pg3_jasmine.gif Binary files differnew file mode 100644 index 0000000..dca0593 --- /dev/null +++ b/14111-h/images/pg3_jasmine.gif diff --git a/14111-h/images/pg3_knowledge.gif b/14111-h/images/pg3_knowledge.gif Binary files differnew file mode 100644 index 0000000..c5bd910 --- /dev/null +++ b/14111-h/images/pg3_knowledge.gif diff --git a/14111-h/images/pg3_sunshine.gif b/14111-h/images/pg3_sunshine.gif Binary files differnew file mode 100644 index 0000000..28c117d --- /dev/null +++ b/14111-h/images/pg3_sunshine.gif diff --git a/14111-h/images/pg4_advice.gif b/14111-h/images/pg4_advice.gif Binary files differnew file mode 100644 index 0000000..0ea1470 --- /dev/null +++ b/14111-h/images/pg4_advice.gif diff --git a/14111-h/images/pg4_heisrisen.gif b/14111-h/images/pg4_heisrisen.gif Binary files differnew file mode 100644 index 0000000..2b2ec99 --- /dev/null +++ b/14111-h/images/pg4_heisrisen.gif diff --git a/14111-h/images/pg4_lesson1.gif b/14111-h/images/pg4_lesson1.gif Binary files differnew file mode 100644 index 0000000..2122e80 --- /dev/null +++ b/14111-h/images/pg4_lesson1.gif diff --git a/14111-h/images/pg4_lesson3.gif b/14111-h/images/pg4_lesson3.gif Binary files differnew file mode 100644 index 0000000..a2d0c70 --- /dev/null +++ b/14111-h/images/pg4_lesson3.gif diff --git a/14111-h/images/pg4_lesson4.gif b/14111-h/images/pg4_lesson4.gif Binary files differnew file mode 100644 index 0000000..b1d60b9 --- /dev/null +++ b/14111-h/images/pg4_lesson4.gif diff --git a/14111-h/images/pg4_lesson5.gif b/14111-h/images/pg4_lesson5.gif Binary files differnew file mode 100644 index 0000000..c14e97c --- /dev/null +++ b/14111-h/images/pg4_lesson5.gif diff --git a/14111-h/images/pg4_mothers.gif b/14111-h/images/pg4_mothers.gif Binary files differnew file mode 100644 index 0000000..abca0ad --- /dev/null +++ b/14111-h/images/pg4_mothers.gif diff --git a/14111-h/images/title.jpg b/14111-h/images/title.jpg Binary files differnew file mode 100644 index 0000000..cd1b11f --- /dev/null +++ b/14111-h/images/title.jpg 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..b454c93 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #14111 (https://www.gutenberg.org/ebooks/14111) diff --git a/old/14111-h.zip b/old/14111-h.zip Binary files differnew file mode 100644 index 0000000..aef88aa --- /dev/null +++ b/old/14111-h.zip diff --git a/old/14111-h/14111-h.htm b/old/14111-h/14111-h.htm new file mode 100644 index 0000000..e788078 --- /dev/null +++ b/old/14111-h/14111-h.htm @@ -0,0 +1,1249 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1" /> +<title>The Project Gutenberg eBook of Dew Drops, Vol. 37, No. 15, April 12, 1914, by Various</title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 35%; + margin-top: 2.2em; + margin-bottom: 2.2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + body{margin-left: 8%; + margin-right: 8%; + } + + .figcenter {margin: auto; text-align: center;} + + .figleft {float: left; clear: left; margin-left: 0; margin-bottom: 1em; margin-top: + 1em; margin-right: 1em; padding: 0; text-align: center;} + + .poem {margin-left:10%; margin-right:10%; text-align: left;} + .poem br {display: none;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem span {display: block; margin: 0; padding-left: 3em; text-indent: -3em;} + .poem span.i2 {display: block; margin-left: 2em;} + .poem span.i4 {display: block; margin-left: 4em;} + .poem span.i12 {display: block; margin-left: 12em;} + hr.full { width: 100%; } + a:link {color:blue; + text-decoration:none} + link {color:blue; + text-decoration:none} + a:visited {color:blue; + text-decoration:none} + a:hover {color:red} + pre {font-size: 8pt;} + // --> + /* XML end ]]>*/ + </style> +</head> +<body> +<h1>The Project Gutenberg eBook, Dew Drops, Vol. 37, No. 15, April 12, 1914, +by Various, Edited by George E. Cook</h1> +<pre> +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 <a href = "https://www.gutenberg.org">www.gutenberg.org</a></pre> +<p>Title: Dew Drops, Vol. 37, No. 15, April 12, 1914</p> +<p>Author: Various</p> +<p>Release Date: November 22, 2004 [eBook #14111]</p> +<p>Language: English</p> +<p>Character set encoding: ISO-8859-1</p> +<p>***START OF THE PROJECT GUTENBERG EBOOK DEW DROPS, VOL. 37, NO. 15, APRIL 12, 1914***</p> +<p> </p> +<h3>E-text prepared by Juliet Sutherland, Ronald Holder,<br /> + and the Project Gutenberg Online Distributed Proofreading Team</h3> +<p> </p> +<hr class="full" /> +<div class="figcenter"> +<img src="images/title.jpg" width="100%" alt="" /> +</div> + +<h3>VOL. 37. No. 15. WEEKLY.<br /> +DAVID C. COOK PUBLISHING CO., ELGIN, ILLINOIS. GEORGE E. COOK, EDITOR.<br /> +APRIL 12, 1914.</h3> + +<div class="figcenter"> +<img src="images/pg1_twogifts.jpg" width="700" height="139" +alt="TWO EASTER LOVE-GIFTS BY JULIA H. JOHNSON" /> +</div> + +<p>"Why, Myra, what is the matter?"</p> + +<p>Mabel had found Myra crying in a little sheltered place where the +little neighbors sometimes played together. Mabel lived in a big house +and Myra in a little one, but they were neighbors, and loved each +other just the same.</p> + +<p>"I don't mean to cry long," Myra said, "but I couldn't help having a +small cry before I began to look pleasant. It's because mother could +not make my white dress for Easter. She had to sew for other people +till it was too late, and now I have to wear my blue dress when all +the rest in our class wear white."</p> + +<p>"That is too bad." said Mabel, putting her arm around her small +neighbor, "but we'll all love you just the same."</p> + +<p>"Yes," Myra said, drying her tears, "and mother said that if I would +take it pleasantly, and be happy just the same, because it was right, +that it would be like an Easter love-gift. I can't take many pennies, +but I do mean to take the love-gift, and I'll begin now, so that's the +last tear." Her smile came out like a bright little rainbow. Mabel +kissed her, because she could not help it, and the two little girls +went together to look for as many little spring things as they could +find. This was the best possible thing to do.</p> + +<p>"Mother," said Mabel that night, in the little go-to-bed talk. "Myra +has to wear a blue dress on Easter Day, when the rest of us will all +wear white. I am so sorry for her."</p> + +<p>"Is Myra very sorry, too?" asked mother.</p> + +<p>"Of course she is, mother: I found her crying over it this afternoon. +But she stopped pretty soon, and said she would not cry any more." +Then Mabel told about the "love-gift."</p> + +<p>"I wish I could take some kind of a love-gift, too," said Mabel, +seeing that her mother thought this a beautiful thing.</p> + +<p>"I am sure you could, if you would." said mother.</p> + +<p>"Please, tell me how."</p> + +<p>"No. it must be your own <i>love-thought</i> first. You will have to-morrow +to think it out. Good-night, now."</p> + +<p>Mabel thought and thought a long time, next day. At last she whispered +something to mother that made her look very happy, and say "Yes, +dear."</p> + +<p>On Easter morning Mabel waited for Myra, that they might go to +Sunday-school together.</p> + +<p>"Oh, oh!" cried Myra, as she saw Mabel, "you have on your pink dress +in-stead of your new white one. Now I don't mind my blue one."</p> + +<div class="figcenter"> +<img src="images/pg1_samerow.jpg" width="471" height="650" +alt="Illustration: "We sit in the same row," said Mabel." /> +</div> + +<p>"We sit in the same row, you know," said Mabel, "and we'll be near +together." She looked very happy. The two little girls with shining +faces went together to God's house, and One above looked down and +smiled upon them.</p> + +<hr /> + +<h3>THE MYSTERY IN BILLY'S YARD.</h3> + +<p>"Something's going on over to our place."</p> + +<p>Billy Wells walked into the school yard at noon with a face which +showed that the "something" was very important indeed. The other boys +gathered in a little crowd about him.</p> + +<p>"What is it, Billy?"</p> + + + +<p>"Tell us, Billy."</p> + +<p>"It's—somebody that's come there—"</p> + +<p>"What for?"</p> + +<p>"To stay, I guess. Acts that way."</p> + +<p>"Friends of the folks?"</p> + +<p>"No, we've never seen 'em before."</p> + +<p>"Do you mean some kind of a tramp?"</p> + +<p>"What's he doing?"</p> + +<p>"Seems to be building a house."</p> + +<p>"A house? Well, that sounds queer."</p> + +<p>"Whereabouts?"</p> + +<p>"In my father's back yard."</p> + +<p>"Billy, you're joking."</p> + +<p>"It's as true as I stand here."</p> + +<p>"Well, go on and tell more about it. Did he skulk 'round as if he was +afraid?"</p> + +<p>"Not a bit of it."</p> + +<p>"Did he see you?"</p> + +<p>"Well," Billy hesitated a little. "I didn't go so very near him."</p> + +<p>"That's best for you," one of the boys shook his head wisely. "You +never can tell what these tramp fellows may be up to."</p> + +<p>"How do you mean—building?"</p> + +<p>"Just what I say. He was picking up things in the yard to build with. +Stuff to begin with."</p> + +<p>"Your father's stuff?"</p> + +<p>"Yes."</p> + +<p>"What does your father think of it?"</p> + +<p>"I don't believe he's seen him. Father goes to work early."</p> + +<p>"Of course he'll drive him off."</p> + +<p>"Another one came and helped him," said Billy. "They were both working +hard when I came to school."</p> + +<p>"Billy, you're fooling us."</p> + +<p>"You can come and see for yourselves," said Billy. "You can see if it +isn't exactly as I've said."</p> + +<p>"Let's do it."</p> + +<p>It was agreed, and after school a number of small boys took with him +the road leading to Billy's home. As they went in by the shady back +yard, Billy held up his hand, saying:</p> + +<p>"S-h-h-h-h—don't scare 'em! Now—come this way—look up there!"</p> + +<p>Billy led the way into a corner and pointed up into an oak tree.</p> + +<p>"There—right above that branch—see? They've got their sticks for the +foundation, and now they're finishing up. Quick—see that flash of +blue just where the sun shines! Look! look! they're pulling at that +bit of red yarn—I put it up there. My mother always hangs bits of +string about for 'em. My mother likes blue-birds."—<i>Written for Dew +Drops by Sydney Dare.</i></p> + +<hr /> + +<p>When anyone speaks to us in anger, we should remember that it takes +two to make a quarrel, and determine not to become one of the two.</p> + +<hr /> + +<div class="figcenter"> +<img src="images/pg2_enids.gif" width="400" height="198" +alt="ENID'S FLOWERS BY MARY E. Q. BRUSH" /> +</div> + +<p>The first robin had come, so had the first bluebird and the first +hand-organ man; caterpillars were beginning to crawl along the sunny +side of the fence rails and everybody was housecleaning, so it was +quite certain that spring was here.</p> + +<p>With it there came to the three little Ashley sisters three packets of +seeds.</p> + +<p>A lady friend of their mother had sent them. Every one of them had +printed on it, "A Surprise Collection."</p> + +<p>When the little, light-brown envelopes were opened, they were found to +contain several varieties of seeds. Some were like little, round, +brown pills—those were "sweet-peas," mamma said. Others were very +small indeed, like grains of powder, and some were like tiny, +grayish-green sticks—somebody said those were verbena seeds; and, +well, dear me, there were all kinds and shapes and sizes and grays and +browns.</p> + +<p>Three neat, round beds were spaded up on the lawn, and Amy, Enid and +Ruth raked them over, smoothed and patted the rich soil, and then +planted their seeds.</p> + +<p>Of course, you know what happened next. There had to be waiting, +watching, weeding and watering. Most of the seeds sprouted and grew, +and soon the dark brown earth was covered by green shoots and trailing +sprays.</p> + +<p>By and by, buds began to appear and tiny bits of color to show, and +then how happy the little girls were!</p> + +<div class="figcenter"> +<img src="images/pg2_pleased.gif" width="231" height="400" alt="Illustration: Enid was pleased." /> +</div> + +<p>All but Enid. She was pleased, but also a little disappointed.</p> + +<p>Now, it so happened, that Ruth's "Surprise Collection" turned out to +be pansies, asters, phlox and ragged sailors—all posies of bright +pink, purple and crimson in various shades. Amy's garden plot was gay +with marigolds, four-o'clocks, larkspurs, and bachelor's-buttons—all +orange and yellow, blue and purple.</p> + +<p>But Enid's flowers were nearly all white, and it was truly a surprise, +though not a very agreeable one. She had white verbenas, sweet +alyssum, candytuft, daisies and gillyflowers.</p> + +<p>Consequently, her flower bed did not attract as much attention from +the passers-by as did the gay ones of her sisters.</p> + +<p>"Anyhow, almost all my posies are sweet-smelling," the little girl +said, trying her best to be contented. For, after all, to own flowers, +every one of which was fragrant, was a comfort.</p> + +<p>Then, there came another comfort—a real "surprise" comfort. Late one +evening, after the family had been away all day, attending the +Sunday-school picnic, and drove home in the moonlight, what do you +suppose they saw as they turned in at the gateway? Why, there on the +lawn, was a great circle of white, gleaming like frosted silver.</p> + +<p>"Wonder if a sheet has blown off the clothesline," said grandma.</p> + +<p>"Oh, it isn't a sheet—it's my flower bed! It's my dear, darling white +posies!"</p> + +<p>And, sure enough, the white flowers could be seen in the dark, when +all the gay reds and yellows and blues and purples were dim and dull.</p> + +<p>Enid felt very happy.</p> + +<p>"I like 'surprise collections' you can see at night," she said.</p> + +<hr /> + +<h3>TRUE LOVE.</h3> + +<div class="poem"><div class="stanza"> +<span>"How much I love, you, mother dear,"<br /></span> +<span class="i4">A little prattler said;<br /></span> +<span>"I love you in the morning bright,<br /></span> +<span class="i4">And when I go to bed.<br /></span> +</div><div class="stanza"> +<span>"I love you when I'm near to you,<br /></span> +<span class="i4">And when I'm far away;<br /></span> +<span>I love you when I am at work,<br /></span> +<span class="i4">And when I am at play."<br /></span> +</div><div class="stanza"> +<span>And then she shyly, sweetly raised<br /></span> +<span class="i4">Her loving eyes of blue—<br /></span> +<span>"I love you when you love me best,<br /></span> +<span class="i4">And when you scold me, too."<br /></span> +</div><div class="stanza"> +<span>The mother kissed her darling child,<br /></span> +<span class="i4">And stooped a tear to hide:<br /></span> +<span>"My precious one, I love you most<br /></span> +<span class="i4">When I am forced to chide.<br /></span> +</div><div class="stanza"> +<span>"I could not let my darling child<br /></span> +<span class="i4">In sin and folly go;<br /></span> +<span>And this is why I sometimes chide—<br /></span> +<span class="i4">Because I love you so."<br /></span> +<span class="i12">—<i>Sel</i>.<br /></span> +</div></div> + + +<hr /> + +<h3>A RUNAWAY UMBRELLA.</h3> + +<p>There was a big umbrella with a pretty twisted handle, that belonged +to father, and he carried it down town on rainy days. There was a +little brown-eyed girl, who was four years old her last birthday; that +was Marjorie.</p> + +<p>There was a mischievous south wind that would be quiet for a long time +and then come with a quick gust and blow, oh, ever so hard and play +all sorts of pranks on people.</p> + +<p>Then, there was a lady who sat on a porch not very far from Marjorie's +house. These four together made a story, and that's what I am going to +tell you about.</p> + +<p>It was a beautiful sunny day and Marjorie was going out in the front +yard to play. As she went through the hall there, by the hall tree, +stood the big umbrella.</p> + +<p>"Wouldn't it be fun to take the umbrella and play rainy day?" she +thought. So she reached and picked it up.</p> + +<p>Through the door, across the porch and down onto the sidewalk she ran. +She worked a long while before she could get the umbrella to stay up.</p> + +<p>"Now, I am a big lady with a long dress and I am going over to the +store," she said to herself as she gathered her little short skirt up +with one hand, and held the umbrella up straight and fine with the +other. Walking carefully, "because it is so muddy," she said, as down +the street she started. Pretty soon a gust of the mischievous south +wind came along and lifted the umbrella right out of Marjorie's little +fat hand and took it out into the middle of the street and set it down.</p> + +<div class="figcenter"> +<img src="images/pg2_muddy.gif" width="386" height="400" +alt="Illustration: She walked carefully because it was muddy." /> +</div> + +<p>Forgetting the rainy day, the long skirt, and the mud, off the curbing +she jumped, and ran for the umbrella. She had almost grasped it +again, when along came another gust of wind, and down the street +bumity-bump went the big, open umbrella. Marjorie started to run after +it, but over and over it went so much faster than a little girl could +run, that it was soon far out of her reach.</p> + +<p>Then she began to cry.</p> + +<p>"Catch it, oh, catch it!" she screamed, as she ran.</p> + +<p>The lady I told you about heard the cry, and looking up from her +reading, saw the big umbrella go rolling past, followed by the +frightened, crying little girl. Down the steps she ran and out into +the street after the umbrella. "Bump," it went up against a telephone +pole and the wind left it there. In a moment the lady had it in her +hand.</p> + +<p>"I want it down, oh, please, I want it down." sobbed Marjorie all out +of breath.</p> + +<p>"Now, it's all right. Don't cry any more," said the lady as she put it +down and handed it to Marjorie, kissing her little tear-stained face.</p> + +<p>Marjorie clung to it with both hands and started for home. She wanted +to put the umbrella back by the hall tree, and tell mother all about +the runaway.—<i>Written for Dew Drops by Flora Louise Whitmore.</i></p> + +<hr /> + +<h3>THE ADOPTED BROOD.</h3> + +<p>"Oh, look, Bobby!" said Betty, as she jumped out of the swing, and +went running down toward the hayfield. "Here comes Joe, and he has +something to show us. I know it's a surprise."</p> + +<p>Bobby looked, and then he and Betty went running to meet Joe, who was +coming along the path by the orchard. He was carrying his straw hat +carefully in one hand, and beckoning with his other hand for the +children to hurry and see the surprise.</p> + +<p>"What have you got?" shouted both the children, excitedly, as they +came near.</p> + +<p>"Eggs." said Joe.</p> + +<p>"Oh, eggs," said Bobby and Betty. "Eggs—why eggs are nothing to see. +We find them every day."</p> + +<p>"Yes," said Joe, "but these are not hen's eggs—they are pheasant's +eggs!"</p> + +<p>Bobby and Betty looked, and sure enough, in Joe's hat were seven +eggs—olive-brown in color.</p> + +<p>"We were mowing in the meadow," said Joe, "and we almost ran over a +mother pheasant on her nest. She flew up right under the horse's feet, +and old Nell almost stepped into the nest. I took all the eggs, +because a pheasant will not come back to the nest after she has been +frightened away. She finds another place and makes a new nest. She +won't go back to the old one."</p> + +<p>"Well," said Bobby, "what are you going to do with the eggs?"</p> + +<p>"Oh," said Joe, "I'm going to put them under that little brown bantam +hen that wants to set, and let her hatch them."</p> + +<p>So Bobby and Betty went with Joe, and watched him while he made a +comfortable nest in an old box in the shop loft. Then he put the seven +eggs in the nest carefully, and got the little bantam hen and put her +in, too. She clucked and scolded, and when Joe put her in the box she +stood up and moved the eggs round with her feet, to arrange them as +she wished before she would settle down; but when Bobby and Betty +peeped in, a little later, she was all comfortable for her long wait +of three weeks. Joe put grain and water near by, and Bobby and Betty +peeped in almost every day.</p> + +<p>One day when the children went near the nest, they heard little +peeping sounds, and ran to tell Joe. He came and lifted up the little +bantam hen, although she scolded and pecked at him; and in the nest +Bobby and Betty saw six little pheasant chicks and one egg that did +not hatch. The pheasant chicks were little brown downy things, and Joe +took hen, chicks, nest and all, and made a little coop for them under +the orchard trees. The little chicks were very lively and very +shy—not like hen chicks; they loved to run away and hide in the +grass, and the children could hardly find them at all when they looked +for them. Mother Bantam would cluck and run back and forth in the coop +and call to them, she was so afraid something would happen. At last, +one day, Joe decided to let the little bantam run with her brood, and +show them how to scratch and find worms. So he took away the slats +from the foot of the coop, and Mrs. Bantam stepped out.</p> + +<p>The children saw the hen and chicks in the orchard grass. The little +pheasants ran through the orchard and the little bantam hen followed +them. What became of them nobody knew, and they have never been seen +since. Joe thinks they are still out in the woods, and that the little +pheasants are teaching their mother how to get her own food +there.—<i>Selected</i>.</p> + +<hr /> + +<div class="poem"><div class="stanza"> +<span>"Not mighty deeds make up the sum<br /></span> +<span class="i2">Of happiness below:<br /></span> +<span>But little acts of kindliness,<br /></span> +<span class="i2">Which any child may show."<br /></span> +</div></div> + +<hr /> + +<div class="figcenter"> +<img src="images/pg3_jasmine.gif" width="700" height="158" +alt="WHERE THE JASMINE BELLS WERE RINGING BY ALICE MILLER WEEKS" /> +</div> + +<p>The pine woodland was dark and sweet and cool, and grandmother and +little Emily were walking through it, hand in hand, enjoying its peace +and fragrance. The trees grew so closely on either side of the narrow +path that hardly a glimpse of blue sky could be seen overhead, and not +a shaft of golden sunlight was bold enough to shine down through the +glossy pine needles, as both were thinking.</p> + +<p>"Why, yes there is!" little Emily called suddenly, as if answering her +own thoughts aloud. "There's a sunbeam over there—right where the +trees are thickest!"</p> + +<p>Grandmother and she hurried to the spot; it seemed a little strange +that the sunlight should have filtered down through such dense shade. +And when they reached it, it was not sunshine at all. It was a +delicate spray of clustered yellow bells, swaying from a slender +thread of vine, and filling the spring air with delicious perfume.</p> + +<p>"Oh, it's jasmine!" grandmother and little Emily exclaimed, at the +same moment. And a mocking-bird, flying by, stopped a moment to trill +a sweet strain, as if he, too, was glad to welcome back this lovely +blossom of early spring.</p> + +<p>Little Emily gathered the spray of golden bells very carefully, to +carry it home to mother, who was not well enough to walk in the +woodland and see it where it grew; and all that day and the next, the +sweetness of the delicate flowers filled the room and seemed to speak +of love and hope and cheer.</p> + +<p>"They bring the sunshine and springtime right here to me," the little +girl's mother said, looking lovingly at Emily. "They are like a small +lassie I know, who helps to brighten all the dark places in my life."</p> + +<p>Emily looked questioningly at her mother. "What does that mean, +mamma?" she asked. And grandmother, who was standing by, said, with a +smile:</p> + +<div class="figcenter"> +<img src="images/pg3_sunshine.gif" width="369" height="550" +alt="Illustration: "You thought the jasmine bells were sunshine."" /> +</div> + +<p>"You thought the jasmine bells, shining in the dark wood, were a gleam +of sunshine, dear, brightening up the gloom. There are sometimes dark +places in our lives, you know; mother is having one just now, while +she is not well enough to go out herself into the sunshine. And her +little daughter, by being sweet and cheery, is just such a gleam of +sunshine to her as the jasmine bells were to the dark pine woods."</p> + +<p>Little Emily leaned over her mother for a kiss, then turned to touch +caressingly the golden bells of the jasmine.</p> + +<p>"Dear little sunshine flowers," she said, lovingly. "I'll try to +remember you every day, and be a sunshine maker, too."</p> + + +<hr /> + +<p>The more one controls his temper, the less will it control him.</p> + +<hr /> + +<div class="figcenter"> +<img src="images/pg3_knowledge.gif" width="400" height="76" alt="Knowledge Box" /> +</div> + +<h3>Berry.</h3> + + +<p>Berry is not something to eat, as you might think, but a big dog that +has a very important place. He is the night watchdog of the Electra +Company's factory in Cleveland, Ohio. Before Berry was given the job +they had a watchman, but he had to be discharged because he was +unfaithful, which Berry never is. He is well fitted for the place, as +he is a big, powerful animal, part Newfoundland and part St. Bernard, +and weighs 170 pounds. Not only does he do his duty well, but Berry +works cheap, for he is counted an employé of the company, and is on +the pay roll at seventy cents a week, which is the cost of the food he +eats.</p> + +<p>Berry is not only faithful, but one night he even proved himself a +hero, in a battle with two desperate safe robbers, who had gained +entrance to the office by sawing the lock, thinking, no doubt, that +they could easily overcome the watchdog. But when the door was burst +open, Berry instantly sprang at the burglars, and a terrible fight he +had, for the men who had come armed with pieces of lead pipe, struck +him most cruel blows.</p> + +<p>But they struck in vain, for with howls of mingled pain and +determination to guard his trust, Berry fought the robbers till they +were glad to escape into the darkness. It had been a desperate +struggle, and though Berry was terribly hurt, he had proved that he +was both fearless and faithful. In the morning he was found lying +beside the safe whose valuable contents he had kept from being +touched, but with only enough of life left to give a feeble wag of +welcome to his master, as though he would say, "You trusted me. and I +have kept the trust."</p> + +<p>So badly was Berry injured that he was taken to a dog hospital where +for two weeks it was uncertain whether he would live or die. But at +last he grew well so he was able to go back to work again, more loved +and trusted than ever.</p> + +<p>Though only a dog, was not Berry a hero?—<i>Written for Dew Drops by +Adele E. Thompson.</i></p> + +<hr /> + +<h3>EASTER DAY.</h3> + +<div class="poem"><div class="stanza"> +<span>Awake, pretty flowers<br /></span> +<span class="i2">Asleep in the snows,<br /></span> +<span>For this is the morning<br /></span> +<span class="i2">When Jesus arose.<br /></span> +<span>Each lily he loved<br /></span> +<span class="i2">In the meadows of old,<br /></span> +<span>Will welcome the Master<br /></span> +<span class="i2">With blossoms of gold.<br /></span> +</div><div class="stanza"> +<span>Ye violets, sweet with<br /></span> +<span class="i2">The breath of the South;<br /></span> +<span>Anemone blushing,<br /></span> +<span class="i2">With rosy-lipped mouth;<br /></span> +<span>Arbutus, half-hiding<br /></span> +<span class="i2">Your delicate grace—<br /></span> +<span>The Savior has risen,<br /></span> +<span class="i2">Behold ye his face!<br /></span> +</div><div class="stanza"> +<span>The types of his death<br /></span> +<span class="i2">And rising are ye.<br /></span> +<span>Fair gems of the meadow,<br /></span> +<span class="i2">Bright buds of the lea.<br /></span> +<span>"Messiah is living!"<br /></span> +<span class="i2">The cherubim say;<br /></span> +<span>Shine forth in your beauty<br /></span> +<span class="i2">To greet him to-day!<br /></span> +<span class="i12">—<i>Sel</i>.<br /></span> +</div></div> + +<hr /> + +<h3>OUR LESSON.—For April 12.</h3> + +<hr /> + +<h4>PREPARED BY MARGUERITE COOK.</h4> + +<hr /> + +<p>Title.—The Journey to Emmaus (Easter Lesson).—Luke 24: 13-35.</p> + +<p>Golden Text.—It is Christ ... that was raised from the dead.—Rom. +8:34.</p> + +<p><i>Golden Text for Beginners</i>.—Be ye <i>kind one to another</i>.—Eph. 4:32.</p> + +<p>Truth.—Jesus is alive for evermore.</p> + +<div class="figcenter"> + +<p>1. The day that Jesus arose from the dead two of his friends walked to +a village called Emmaus, near Jerusalem.</p> + +<img src="images/pg4_lesson1.gif" width="350" height="226" alt="Illustration" /> + +<p>2. Jesus passing by noticed that as they walked they talked together +and seemed very sad.</p> + +<p>3. He went up to them and walked with them and asked them why they +were so sorrowful.</p> + +<p>4. They did not believe that Jesus had risen from the dead, and when +they saw him they did not know him.</p> + +<p>5. They told him about the sad things that had happened—how Jesus had +been put to death and placed in the grave.</p> + +<img src="images/pg4_heisrisen.gif" width="317" height="400" alt="Illustration" /> + +<p>6. They said that some women who had visited the tomb of Jesus had +told them that Jesus was risen.</p> + +<p>7. Jesus then told the two men that if they were not so slow to +believe the Word of God and the promise Jesus had given them they +would know that it must be true.</p> + +<p>8. When they came to their home the men urged Jesus to stop with them +for it was now evening.</p> + +<p>9. While they were eating supper Jesus took bread and blessed it and +gave it to them.</p> + +<img src="images/pg4_lesson3.gif" width="350" height="314" alt="Illustration" /> + +<p>10. As they saw Jesus blessing the bread they knew him, but he at once +vanished out of their sight.</p> + +<img src="images/pg4_lesson4.gif" width="350" height="327" alt="Illustration" /> + +<p>11. They said one to another, "Did not our hearts burn within us while +we talked by the way?"</p> + +<img src="images/pg4_lesson5.gif" width="350" height="259" alt="Illustration" /> + +<p>12. They at once went back to Jerusalem to tell the other disciples +the good news that Jesus had truly risen from the dead and they had +seen him.</p> + +</div> + +<hr /> + +<h4>QUESTIONS.</h4> + +<p>What is the Golden Text? What is the Truth?</p> + +<p>1. On what day did two of Jesus' friends walk to a village called +Emmaus?</p> + +<p>2. As Jesus passed by, what did he notice?</p> + +<p>3. What did he do?</p> + +<p>4. What did they not believe?</p> + +<p>5. About what did they tell him?</p> + +<p>6. What had some women told them, who had visited Jesus' tomb?</p> + +<p>7. What did Jesus tell the two men?</p> + +<p>8. When they came to their home what did they urge Jesus to do?</p> + +<p>9. While they were eating supper what did Jesus do?</p> + +<p>10. When they knew him what became of Jesus?</p> + +<p>11. What did they say one to another?</p> + +<p>12. What did they at once go back to Jerusalem to tell the other +disciples?</p> + +<hr /> + +<p><b>LESSON HYMN.</b></p> + +<p><i>Tune</i>—"Jesus loves me, this I know," omitting chorus (E flat).</p> + +<div class="poem"><div class="stanza"> +<span>Close beside us every day<br /></span> +<span>Christ is walking all the way;<br /></span> +<span>And his voice is very near;<br /></span> +<span>If we listen we may hear.<br /></span> +</div></div> + +<p><b>Title of Lesson for April 19.</b></p> + +<p>The Cost of Discipleship.—Luke 14:25-35.</p> + +<hr /> + +<p><b>Golden Text for April 19.</b></p> + +<p>Whosoever shall lose his life for my sake shall find it.—Matt. 16:25.</p> + +<hr /> + +<p><b>Beginners Golden Text for April 19.</b></p> + +<p><i>Be ye kind one to another</i>.—Eph. 4:32.</p> + +<hr /> + +<div class="figcenter"> +<img src="images/pg4_advice.gif" width="450" height="82" alt="Advice to Boys and Girls" /> +</div> + +<h3>The Extra Step Society.</h3> + + +<p>The "Extra Step Society" was formed in the Martin household when the +mother was forced to be on the lounge for some time with a sprained +ankle. It was Tom who cheerfully took an extra step on his way to +school each day to call at his grandmother's and report the progress +of the invalid. It was Bessie who left her play and stepped softly +into the parlor every morning to lower the blind so that the sun's +rays might not beam too warmly on her mother's face. And it was wee +Alice who took many an extra step during the day, sometimes to carry a +glass of fresh water to her mother, and sometimes to bring a magazine +or paper.</p> + +<p>"We're trying to pay you back a little, mamma," Bessie said lovingly +one night when all the children were gathered around their mother. "We +don't mind a bit taking extra steps if only we can make you +comfortable, so you must not think we get tired of doing things for +you."</p> + +<p>"Bless my faithful, unselfish little nurses!" Mrs. Martin rejoined +earnestly. "Love lightens your labors."—<i>Sel.</i></p> + +<hr /> + +<div class="figcenter"> +<img src="images/pg4_mothers.gif" width="450" height="73" alt="Thoughts for Mothers" /> +</div> + +<h3>The Care of the Home.</h3> + +<p>The busy mother will find the care of the home too much for one pair +of hands unless she enlists the children as helpers. Let her begin to +practice systematics at once. Assign some corner or box of play-things +to one child to be cared for. A small boy might have the work of +putting away yesterday's newspapers regularly, as his part in keeping +the house tidy. The small daughter could pick up and dust in one +special room, taking care that a second dusting by a more careful hand +is not necessary.</p> + +<p>The motive for doing these little tasks well should be made prominent, +showing that the child is big enough to "help" mother. Praise should +be bestowed, not as if it were anything astonishing and out of the way +for the child to do the work well, but as a token of appreciation of +the motive and manner in doing it. Encourage as much as possible, but +do not develop vanity by praising to excess.</p> + +<p>Let their love be the mainspring of their every act of +service.—<i>Written for Dew Drops by Julia H. Johnston</i>.</p> + +<hr /> + +<p>[Entered at the Post Office at Elgin, Ill., as Second Class Mail +Matter.]</p> + +<p><b>Price of Dew Drops</b>.—In lots of five or more, to one address, 20 +cents per copy per year, or 5-1/2 cents per copy per quarter. Address,</p> + +<p><b>DAVID C. COOK PUBLISHING CO., ELGIN, ILL.</b></p> + +<p> </p> +<hr class="full" /> +<p>***END OF THE PROJECT GUTENBERG EBOOK DEW DROPS, VOL. 37, NO. 15, APRIL 12, 1914***</p> +<p>******* This file should be named 14111-h.txt or 14111-h.zip *******</p> +<p>This and all associated files of various formats will be found in:<br /> +<a href="https://www.gutenberg.org/dirs/1/4/1/1/14111">https://www.gutenberg.org/1/4/1/1/14111</a></p> +<p>Updated editions will replace the previous one--the old editions +will be renamed.</p> + +<p>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.</p> + + + +<pre> +*** 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 +<a href="https://gutenberg.org/license">https://gutenberg.org/license)</a>. + + +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.gutenberg.org/fundraising/pglaf. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's 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://www.gutenberg.org/about/contact + +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://www.gutenberg.org/fundraising/pglaf + +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://www.gutenberg.org/fundraising/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: + +<a href="https://www.gutenberg.org">https://www.gutenberg.org</a> + +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. + +<a href="https://www.gutenberg.org/dirs/etext06/">https://www.gutenberg.org/dirs/etext06/</a> + + (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/dirs/1/0/2/3/10234 + +or filename 24689 would be found at: +https://www.gutenberg.org/dirs/2/4/6/8/24689 + +An alternative method of locating eBooks: +<a href="https://www.gutenberg.org/dirs/GUTINDEX.ALL">https://www.gutenberg.org/dirs/GUTINDEX.ALL</a> + +*** END: FULL LICENSE *** +</pre> +</body> +</html> diff --git a/old/14111-h/images/pg1_samerow.jpg b/old/14111-h/images/pg1_samerow.jpg Binary files differnew file mode 100644 index 0000000..eb146da --- /dev/null +++ b/old/14111-h/images/pg1_samerow.jpg diff --git a/old/14111-h/images/pg1_twogifts.jpg b/old/14111-h/images/pg1_twogifts.jpg Binary files differnew file mode 100644 index 0000000..24cfae5 --- /dev/null +++ b/old/14111-h/images/pg1_twogifts.jpg diff --git a/old/14111-h/images/pg2_enids.gif b/old/14111-h/images/pg2_enids.gif Binary files differnew file mode 100644 index 0000000..de15aa3 --- /dev/null +++ b/old/14111-h/images/pg2_enids.gif diff --git a/old/14111-h/images/pg2_muddy.gif b/old/14111-h/images/pg2_muddy.gif Binary files differnew file mode 100644 index 0000000..834234d --- /dev/null +++ b/old/14111-h/images/pg2_muddy.gif diff --git a/old/14111-h/images/pg2_pleased.gif b/old/14111-h/images/pg2_pleased.gif Binary files differnew file mode 100644 index 0000000..2dad9c7 --- /dev/null +++ b/old/14111-h/images/pg2_pleased.gif diff --git a/old/14111-h/images/pg3_jasmine.gif b/old/14111-h/images/pg3_jasmine.gif Binary files differnew file mode 100644 index 0000000..dca0593 --- /dev/null +++ b/old/14111-h/images/pg3_jasmine.gif diff --git a/old/14111-h/images/pg3_knowledge.gif b/old/14111-h/images/pg3_knowledge.gif Binary files differnew file mode 100644 index 0000000..c5bd910 --- /dev/null +++ b/old/14111-h/images/pg3_knowledge.gif diff --git a/old/14111-h/images/pg3_sunshine.gif b/old/14111-h/images/pg3_sunshine.gif Binary files differnew file mode 100644 index 0000000..28c117d --- /dev/null +++ b/old/14111-h/images/pg3_sunshine.gif diff --git a/old/14111-h/images/pg4_advice.gif b/old/14111-h/images/pg4_advice.gif Binary files differnew file mode 100644 index 0000000..0ea1470 --- /dev/null +++ b/old/14111-h/images/pg4_advice.gif diff --git a/old/14111-h/images/pg4_heisrisen.gif b/old/14111-h/images/pg4_heisrisen.gif Binary files differnew file mode 100644 index 0000000..2b2ec99 --- /dev/null +++ b/old/14111-h/images/pg4_heisrisen.gif diff --git a/old/14111-h/images/pg4_lesson1.gif b/old/14111-h/images/pg4_lesson1.gif Binary files differnew file mode 100644 index 0000000..2122e80 --- /dev/null +++ b/old/14111-h/images/pg4_lesson1.gif diff --git a/old/14111-h/images/pg4_lesson3.gif b/old/14111-h/images/pg4_lesson3.gif Binary files differnew file mode 100644 index 0000000..a2d0c70 --- /dev/null +++ b/old/14111-h/images/pg4_lesson3.gif diff --git a/old/14111-h/images/pg4_lesson4.gif b/old/14111-h/images/pg4_lesson4.gif Binary files differnew file mode 100644 index 0000000..b1d60b9 --- /dev/null +++ b/old/14111-h/images/pg4_lesson4.gif diff --git a/old/14111-h/images/pg4_lesson5.gif b/old/14111-h/images/pg4_lesson5.gif Binary files differnew file mode 100644 index 0000000..c14e97c --- /dev/null +++ b/old/14111-h/images/pg4_lesson5.gif diff --git a/old/14111-h/images/pg4_mothers.gif b/old/14111-h/images/pg4_mothers.gif Binary files differnew file mode 100644 index 0000000..abca0ad --- /dev/null +++ b/old/14111-h/images/pg4_mothers.gif diff --git a/old/14111-h/images/title.jpg b/old/14111-h/images/title.jpg Binary files differnew file mode 100644 index 0000000..cd1b11f --- /dev/null +++ b/old/14111-h/images/title.jpg diff --git a/old/14111.txt b/old/14111.txt new file mode 100644 index 0000000..a91b8fb --- /dev/null +++ b/old/14111.txt @@ -0,0 +1,1174 @@ +The Project Gutenberg eBook, Dew Drops, Vol. 37, No. 15, April 12, 1914, +by Various, Edited by George E. Cook + + +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: Dew Drops, Vol. 37, No. 15, April 12, 1914 + +Author: Various + +Release Date: November 22, 2004 [eBook #14111] + +Language: English + +Character set encoding: ISO-646-US (US-ASCII) + + +***START OF THE PROJECT GUTENBERG EBOOK DEW DROPS, VOL. 37, NO. 15, APRIL +12, 1914*** + + +E-text prepared by Juliet Sutherland, Ronald Holder, and the Project +Gutenberg Online Distributed Proofreading Team + + + +Note: Project Gutenberg also has an HTML version of this + file which includes the original illustrations. + See 14111-h.htm or 14111-h.zip: + (https://www.gutenberg.org/dirs/1/4/1/1/14111/14111-h/14111-h.htm) + or + (https://www.gutenberg.org/dirs/1/4/1/1/14111/14111-h.zip) + + + + + +DEW DROPS + +VOL. 37. No. 15. Weekly + +David C. Cook Publishing Co., Elgin, Illinois. George E. Cook, Editor + +April 12, 1914 + + + + + + + +[Illustration] + + + +TWO EASTER LOVE-GIFTS + +BY JULIA H. JOHNSON + +[Illustration] + + +"Why, Myra, what is the matter?" + +Mabel had found Myra crying in a little sheltered place where the +little neighbors sometimes played together. Mabel lived in a big house +and Myra in a little one, but they were neighbors, and loved each +other just the same. + +"I don't mean to cry long," Myra said, "but I couldn't help having a +small cry before I began to look pleasant. It's because mother could +not make my white dress for Easter. She had to sew for other people +till it was too late, and now I have to wear my blue dress when all +the rest in our class wear white." + +"That is too bad." said Mabel, putting her arm around her small +neighbor, "but we'll all love you just the same." + +"Yes," Myra said, drying her tears, "and mother said that if I would +take it pleasantly, and be happy just the same, because it was right, +that it would be like an Easter love-gift. I can't take many pennies, +but I do mean to take the love-gift, and I'll begin now, so that's the +last tear." Her smile came out like a bright little rainbow. Mabel +kissed her, because she could not help it, and the two little girls +went together to look for as many little spring things as they could +find. This was the best possible thing to do. + +"Mother," said Mabel that night, in the little go-to-bed talk. "Myra +has to wear a blue dress on Easter Day, when the rest of us will all +wear white. I am so sorry for her." + +"Is Myra very sorry, too?" asked mother. + +"Of course she is, mother: I found her crying over it this afternoon. +But she stopped pretty soon, and said she would not cry any more." +Then Mabel told about the "love-gift." + +"I wish I could take some kind of a love-gift, too," said Mabel, +seeing that her mother thought this a beautiful thing. + +"I am sure you could, if you would." said mother. + +"Please, tell me how." + +"No. it must be your own _love-thought_ first. You will have to-morrow +to think it out. Good-night, now." + +Mabel thought and thought a long time, next day. At last she whispered +something to mother that made her look very happy, and say "Yes, +dear." + +On Easter morning Mabel waited for Myra, that they might go to +Sunday-school together. + +"Oh, oh!" cried Myra, as she saw Mabel, "you have on your pink dress +in-stead of your new white one. Now I don't mind my blue one." + +"We sit in the same row, you know," said Mabel, "and we'll be near +together." She looked very happy. The two little girls with shining +faces went together to God's house, and One above looked down and +smiled upon them. + + * * * * * + +THE MYSTERY IN BILLY'S YARD. + + +"Something's going on over to our place." + +Billy Wells walked into the school yard at noon with a face which +showed that the "something" was very important indeed. The other boys +gathered in a little crowd about him. + +"What is it, Billy?" + +[Illustration: "We sit in the same row," said Mabel.] + +"Tell us, Billy." + +"It's--somebody that's come there--" + +"What for?" + +"To stay, I guess. Acts that way." + +"Friends of the folks?" + +"No, we've never seen 'em before." + +"Do you mean some kind of a tramp?" + +"What's he doing?" + +"Seems to be building a house." + +"A house? Well, that sounds queer." + +"Whereabouts?" + +"In my father's back yard." + +"Billy, you're joking." + +"It's as true as I stand here." + +"Well, go on and tell more about it. Did he skulk 'round as if he was +afraid?" + +"Not a bit of it." + +"Did he see you?" + +"Well," Billy hesitated a little. "I didn't go so very near him." + +"That's best for you," one of the boys shook his head wisely. "You +never can tell what these tramp fellows may be up to." + +"How do you mean--building?" + +"Just what I say. He was picking up things in the yard to build with. +Stuff to begin with." + +"Your father's stuff?" + +"Yes." + +"What does your father think of it?" + +"I don't believe he's seen him. Father goes to work early." + +"Of course he'll drive him off." + +"Another one came and helped him," said Billy. "They were both working +hard when I came to school." + +"Billy, you're fooling us." + +"You can come and see for yourselves," said Billy. "You can see if it +isn't exactly as I've said." + +"Let's do it." + +It was agreed, and after school a number of small boys took with him +the road leading to Billy's home. As they went in by the shady back +yard, Billy held up his hand, saying: + +"S-h-h-h-h--don't scare 'em! Now--come this way--look up there!" + +Billy led the way into a corner and pointed up into an oak tree. + +"There--right above that branch--see? They've got their sticks for the +foundation, and now they're finishing up. Quick--see that flash of +blue just where the sun shines! Look! look! they're pulling at that +bit of red yarn--I put it up there. My mother always hangs bits of +string about for 'em. My mother likes blue-birds."--_Written for Dew +Drops by Sydney Dare._ + + * * * * * + +When anyone speaks to us in anger, we should remember that it takes +two to make a quarrel, and determine not to become one of the two. + + * * * * * + +ENID'S FLOWERS + +[Illustration] + +BY MARY E. Q. BRUSH + + +The first robin had come, so had the first bluebird and the first +hand-organ man; caterpillars were beginning to crawl along the sunny +side of the fence rails and everybody was housecleaning, so it was +quite certain that spring was here. + +With it there came to the three little Ashley sisters three packets of +seeds. + +A lady friend of their mother had sent them. Every one of them had +printed on it, "A Surprise Collection." + +When the little, light-brown envelopes were opened, they were found to +contain several varieties of seeds. Some were like little, round, +brown pills--those were "sweet-peas," mamma said. Others were very +small indeed, like grains of powder, and some were like tiny, +grayish-green sticks--somebody said those were verbena seeds; and, +well, dear me, there were all kinds and shapes and sizes and grays and +browns. + +Three neat, round beds were spaded up on the lawn, and Amy, Enid and +Ruth raked them over, smoothed and patted the rich soil, and then +planted their seeds. + +Of course, you know what happened next. There had to be waiting, +watching, weeding and watering. Most of the seeds sprouted and grew, +and soon the dark brown earth was covered by green shoots and trailing +sprays. + +By and by, buds began to appear and tiny bits of color to show, and +then how happy the little girls were! + +All but Enid. She was pleased, but also a little disappointed. + +Now, it so happened, that Ruth's "Surprise Collection" turned out to +be pansies, asters, phlox and ragged sailors--all posies of bright +pink, purple and crimson in various shades. Amy's garden plot was gay +with marigolds, four-o'clocks, larkspurs, and bachelor's-buttons--all +orange and yellow, blue and purple. + +[Illustration: Enid was pleased.] + +But Enid's flowers were nearly all white, and it was truly a surprise, +though not a very agreeable one. She had white verbenas, sweet +alyssum, candytuft, daisies and gillyflowers. + +Consequently, her flower bed did not attract as much attention from +the passers-by as did the gay ones of her sisters. + +"Anyhow, almost all my posies are sweet-smelling," the little girl +said, trying her best to be contented. For, after all, to own flowers, +every one of which was fragrant, was a comfort. + +Then, there came another comfort--a real "surprise" comfort. Late one +evening, after the family had been away all day, attending the +Sunday-school picnic, and drove home in the moonlight, what do you +suppose they saw as they turned in at the gateway? Why, there on the +lawn, was a great circle of white, gleaming like frosted silver. + +"Wonder if a sheet has blown off the clothesline," said grandma. + +"Oh, it isn't a sheet--it's my flower bed! It's my dear, darling white +posies!" + +And, sure enough, the white flowers could be seen in the dark, when +all the gay reds and yellows and blues and purples were dim and dull. + +Enid felt very happy. + +"I like 'surprise collections' you can see at night," she said. + + * * * * * + +TRUE LOVE. + + "How much I love, you, mother dear," + A little prattler said; + "I love you in the morning bright, + And when I go to bed. + + "I love you when I'm near to you, + And when I'm far away; + I love you when I am at work, + And when I am at play." + + And then she shyly, sweetly raised + Her loving eyes of blue-- + "I love you when you love me best, + And when you scold me, too." + + The mother kissed her darling child, + And stooped a tear to hide: + "My precious one, I love you most + When I am forced to chide. + + "I could not let my darling child + In sin and folly go; + And this is why I sometimes chide-- + Because I love you so." + --_Sel_. + + + * * * * * + +A RUNAWAY UMBRELLA. + +There was a big umbrella with a pretty twisted handle, that belonged +to father, and he carried it down town on rainy days. There was a +little brown-eyed girl, who was four years old her last birthday; that +was Marjorie. + +There was a mischievous south wind that would be quiet for a long time +and then come with a quick gust and blow, oh, ever so hard and play +all sorts of pranks on people. + +Then, there was a lady who sat on a porch not very far from Marjorie's +house. These four together made a story, and that's what I am going to +tell you about. + +It was a beautiful sunny day and Marjorie was going out in the front +yard to play. As she went through the hall there, by the hall tree, +stood the big umbrella. + +"Wouldn't it be fun to take the umbrella and play rainy day?" she +thought. So she reached and picked it up. + +Through the door, across the porch and down onto the sidewalk she ran. +She worked a long while before she could get the umbrella to stay up. + +"Now, I am a big lady with a long dress and I am going over to the +store," she said to herself as she gathered her little short skirt up +with one hand, and held the umbrella up straight and fine with the +other. Walking carefully, "because it is so muddy," she said, as down +the street she started. Pretty soon a gust of the mischievous south +wind came along and lifted the umbrella right out of Marjorie's little +fat hand and took it out into the middle of the street and set it +down. + +Forgetting the rainy day, the long skirt, and the mud, off the curbing +she jumped, and ran for the umbrella. She had almost grasped it +again, when along came another gust of wind, and down the street +bumity-bump went the big, open umbrella. Marjorie started to run after +it, but over and over it went so much faster than a little girl could +run, that it was soon far out of her reach. + +[Illustration: She walked carefully because it was muddy.] + +Then she began to cry. + +"Catch it, oh, catch it!" she screamed, as she ran. + +The lady I told you about heard the cry, and looking up from her +reading, saw the big umbrella go rolling past, followed by the +frightened, crying little girl. Down the steps she ran and out into +the street after the umbrella. "Bump," it went up against a telephone +pole and the wind left it there. In a moment the lady had it in her +hand. + +"I want it down, oh, please, I want it down." sobbed Marjorie all out +of breath. + +"Now, it's all right. Don't cry any more," said the lady as she put it +down and handed it to Marjorie, kissing her little tear-stained face. + +Marjorie clung to it with both hands and started for home. She wanted +to put the umbrella back by the hall tree, and tell mother all about +the runaway.--_Written for Dew Drops by Flora Louise Whitmore._ + + * * * * * + +THE ADOPTED BROOD. + +"Oh, look, Bobby!" said Betty, as she jumped out of the swing, and +went running down toward the hayfield. "Here comes Joe, and he has +something to show us. I know it's a surprise." + +Bobby looked, and then he and Betty went running to meet Joe, who was +coming along the path by the orchard. He was carrying his straw hat +carefully in one hand, and beckoning with his other hand for the +children to hurry and see the surprise. + +"What have you got?" shouted both the children, excitedly, as they +came near. + +"Eggs." said Joe. + +"Oh, eggs," said Bobby and Betty. "Eggs--why eggs are nothing to see. +We find them every day." + +"Yes," said Joe, "but these are not hen's eggs--they are pheasant's +eggs!" + +Bobby and Betty looked, and sure enough, in Joe's hat were seven +eggs--olive-brown in color. + +"We were mowing in the meadow," said Joe, "and we almost ran over a +mother pheasant on her nest. She flew up right under the horse's feet, +and old Nell almost stepped into the nest. I took all the eggs, +because a pheasant will not come back to the nest after she has been +frightened away. She finds another place and makes a new nest. She +won't go back to the old one." + +"Well," said Bobby, "what are you going to do with the eggs?" + +"Oh," said Joe, "I'm going to put them under that little brown bantam +hen that wants to set, and let her hatch them." + +So Bobby and Betty went with Joe, and watched him while he made a +comfortable nest in an old box in the shop loft. Then he put the seven +eggs in the nest carefully, and got the little bantam hen and put her +in, too. She clucked and scolded, and when Joe put her in the box she +stood up and moved the eggs round with her feet, to arrange them as +she wished before she would settle down; but when Bobby and Betty +peeped in, a little later, she was all comfortable for her long wait +of three weeks. Joe put grain and water near by, and Bobby and Betty +peeped in almost every day. + +One day when the children went near the nest, they heard little +peeping sounds, and ran to tell Joe. He came and lifted up the little +bantam hen, although she scolded and pecked at him; and in the nest +Bobby and Betty saw six little pheasant chicks and one egg that did +not hatch. The pheasant chicks were little brown downy things, and Joe +took hen, chicks, nest and all, and made a little coop for them under +the orchard trees. The little chicks were very lively and very +shy--not like hen chicks; they loved to run away and hide in the +grass, and the children could hardly find them at all when they looked +for them. Mother Bantam would cluck and run back and forth in the coop +and call to them, she was so afraid something would happen. At last, +one day, Joe decided to let the little bantam run with her brood, and +show them how to scratch and find worms. So he took away the slats +from the foot of the coop, and Mrs. Bantam stepped out. + +The children saw the hen and chicks in the orchard grass. The little +pheasants ran through the orchard and the little bantam hen followed +them. What became of them nobody knew, and they have never been seen +since. Joe thinks they are still out in the woods, and that the little +pheasants are teaching their mother how to get her own food +there.--_Selected_. + + * * * * * + + "Not mighty deeds make up the sum + Of happiness below: + But little acts of kindliness, + Which any child may show." + + * * * * * + +[Illustration] + +WHERE THE JASMINE BELLS WERE RINGING + +BY ALICE MILLER WEEKS + + +The pine woodland was dark and sweet and cool, and grandmother and +little Emily were walking through it, hand in hand, enjoying its peace +and fragrance. The trees grew so closely on either side of the narrow +path that hardly a glimpse of blue sky could be seen overhead, and not +a shaft of golden sunlight was bold enough to shine down through the +glossy pine needles, as both were thinking. + +"Why, yes there is!" little Emily called suddenly, as if answering her +own thoughts aloud. "There's a sunbeam over there--right where the +trees are thickest!" + +Grandmother and she hurried to the spot; it seemed a little strange +that the sunlight should have filtered down through such dense shade. +And when they reached it, it was not sunshine at all. It was a +delicate spray of clustered yellow bells, swaying from a slender +thread of vine, and filling the spring air with delicious perfume. + +"Oh, it's jasmine!" grandmother and little Emily exclaimed, at the +same moment. And a mocking-bird, flying by, stopped a moment to trill +a sweet strain, as if he, too, was glad to welcome back this lovely +blossom of early spring. + +Little Emily gathered the spray of golden bells very carefully, to +carry it home to mother, who was not well enough to walk in the +woodland and see it where it grew; and all that day and the next, the +sweetness of the delicate flowers filled the room and seemed to speak +of love and hope and cheer. + +"They bring the sunshine and springtime right here to me," the little +girl's mother said, looking lovingly at Emily. "They are like a small +lassie I know, who helps to brighten all the dark places in my life." + +Emily looked questioningly at her mother. "What does that mean, +mamma?" she asked. And grandmother, who was standing by, said, with a +smile: + +"You thought the jasmine bells, shining in the dark wood, were a gleam +of sunshine, dear, brightening up the gloom. There are sometimes dark +places in our lives, you know; mother is having one just now, while +she is not well enough to go out herself into the sunshine. And her +little daughter, by being sweet and cheery, is just such a gleam of +sunshine to her as the jasmine bells were to the dark pine woods." + +Little Emily leaned over her mother for a kiss, then turned to touch +caressingly the golden bells of the jasmine. + +"Dear little sunshine flowers," she said, lovingly. "I'll try to +remember you every day, and be a sunshine maker, too." + +[Illustration: "You thought the jasmine bells were sunshine."] + + * * * * * + +The more one controls his temper, the less will it control him. + + * * * * * + +Knowledge Box + +Berry. + + +Berry is not something to eat, as you might think, but a big dog that +has a very important place. He is the night watchdog of the Electra +Company's factory in Cleveland, Ohio. Before Berry was given the job +they had a watchman, but he had to be discharged because he was +unfaithful, which Berry never is. He is well fitted for the place, as +he is a big, powerful animal, part Newfoundland and part St. Bernard, +and weighs 170 pounds. Not only does he do his duty well, but Berry +works cheap, for he is counted an employee of the company, and is on +the pay roll at seventy cents a week, which is the cost of the food he +eats. + +Berry is not only faithful, but one night he even proved himself a +hero, in a battle with two desperate safe robbers, who had gained +entrance to the office by sawing the lock, thinking, no doubt, that +they could easily overcome the watchdog. But when the door was burst +open, Berry instantly sprang at the burglars, and a terrible fight he +had, for the men who had come armed with pieces of lead pipe, struck +him most cruel blows. + +But they struck in vain, for with howls of mingled pain and +determination to guard his trust, Berry fought the robbers till they +were glad to escape into the darkness. It had been a desperate +struggle, and though Berry was terribly hurt, he had proved that he +was both fearless and faithful. In the morning he was found lying +beside the safe whose valuable contents he had kept from being +touched, but with only enough of life left to give a feeble wag of +welcome to his master, as though he would say, "You trusted me. and I +have kept the trust." + +So badly was Berry injured that he was taken to a dog hospital where +for two weeks it was uncertain whether he would live or die. But at +last he grew well so he was able to go back to work again, more loved +and trusted than ever. + +Though only a dog, was not Berry a hero?--_Written for Dew Drops by +Adele E. Thompson._ + + * * * * * + +EASTER DAY. + + + Awake, pretty flowers + Asleep in the snows, + For this is the morning + When Jesus arose. + Each lily he loved + In the meadows of old, + Will welcome the Master + With blossoms of gold. + + Ye violets, sweet with + The breath of the South; + Anemone blushing, + With rosy-lipped mouth; + Arbutus, half-hiding + Your delicate grace-- + The Savior has risen, + Behold ye his face! + + The types of his death + And rising are ye. + Fair gems of the meadow, + Bright buds of the lea. + "Messiah is living!" + The cherubim say; + Shine forth in your beauty + To greet him to-day! + --_Sel_. + +OUR LESSON.--For April 12. + + * * * * * + +PREPARED BY MARGUERITE COOK. + + * * * * * + +Title.--The Journey to Emmaus (Easter Lesson).--Luke 24: 13-35. + +Golden Text.--It is Christ ... that was raised from the dead.--Rom. +8:34. + +_Golden Text for Beginners_.--Be ye _kind one to another_.--Eph. 4:32. + +Truth.--Jesus is alive for evermore. + +1. The day that Jesus arose from the dead two of his friends walked to +a village called Emmaus, near Jerusalem. + +[Illustration] + +2. Jesus passing by noticed that as they walked they talked together +and seemed very sad. + +3. He went up to them and walked with them and asked them why they +were so sorrowful. + +4. They did not believe that Jesus had risen from the dead, and when +they saw him they did not know him. + +5. They told him about the sad things that had happened--how Jesus had +been put to death and placed in the grave. + +[Illustration] + +6. They said that some women who had visited the tomb of Jesus had +told them that Jesus was risen. + +7. Jesus then told the two men that if they were not so slow to +believe the Word of God and the promise Jesus had given them they +would know that it must be true. + +8. When they came to their home the men urged Jesus to stop with them +for it was now evening. + +9. While they were eating supper Jesus took bread and blessed it and +gave it to them. + +[Illustration] + +10. As they saw Jesus blessing the bread they knew him, but he at once +vanished out of their sight. + +[Illustration] + +11. They said one to another, "Did not our hearts burn within us while +we talked by the way?" + +[Illustration] + +12. They at once went back to Jerusalem to tell the other disciples +the good news that Jesus had truly risen from the dead and they had +seen him. + + * * * * * + +QUESTIONS. + +What is the Golden Text? What is the Truth? + +1. On what day did two of Jesus' friends walk to a village called +Emmaus? + +2. As Jesus passed by, what did he notice? + +3. What did he do? + +4. What did they not believe? + +5. About what did they tell him? + +6. What had some women told them, who had visited Jesus' tomb? + +7. What did Jesus tell the two men? + +8. When they came to their home what did they urge Jesus to do? + +9. While they were eating supper what did Jesus do? + +10. When they knew him what became of Jesus? + +11. What did they say one to another? + +12. What did they at once go back to Jerusalem to tell the other +disciples? + + * * * * * + +LESSON HYMN. + +_Tune_--"Jesus loves me, this I know," omitting chorus (E flat). + +Close beside us every day +Christ is walking all the way; +And his voice is very near; +If we listen we may hear. + +Title of Lesson for April 19. + +The Cost of Discipleship.--Luke 14:25-35. + + * * * * * + +Golden Text for April 19. + +Whosoever shall lose his life for my sake shall find it.--Matt. 16:25. + + * * * * * + +Beginners Golden Text for April 19. + +_Be ye kind one to another_.--Eph. 4:32. + + * * * * * + +Advice to Boys and Girls + +The Extra Step Society. + + +The "Extra Step Society" was formed in the Martin household when the +mother was forced to be on the lounge for some time with a sprained +ankle. It was Tom who cheerfully took an extra step on his way to +school each day to call at his grandmother's and report the progress +of the invalid. It was Bessie who left her play and stepped softly +into the parlor every morning to lower the blind so that the sun's +rays might not beam too warmly on her mother's face. And it was wee +Alice who took many an extra step during the day, sometimes to carry a +glass of fresh water to her mother, and sometimes to bring a magazine +or paper. + +"We're trying to pay you back a little, mamma," Bessie said lovingly +one night when all the children were gathered around their mother. "We +don't mind a bit taking extra steps if only we can make you +comfortable, so you must not think we get tired of doing things for +you." + +"Bless my faithful, unselfish little nurses!" Mrs. Martin rejoined +earnestly. "Love lightens your labors."--_Sel._ + + * * * * * + +Thoughts for Mothers + +The Care of the Home. + + +The busy mother will find the care of the home too much for one pair +of hands unless she enlists the children as helpers. Let her begin to +practice systematics at once. Assign some corner or box of play-things +to one child to be cared for. A small boy might have the work of +putting away yesterday's newspapers regularly, as his part in keeping +the house tidy. The small daughter could pick up and dust in one +special room, taking care that a second dusting by a more careful hand +is not necessary. + +The motive for doing these little tasks well should be made prominent, +showing that the child is big enough to "help" mother. Praise should +be bestowed, not as if it were anything astonishing and out of the way +for the child to do the work well, but as a token of appreciation of +the motive and manner in doing it. Encourage as much as possible, but +do not develop vanity by praising to excess. + +Let their love be the mainspring of their every act of +service.--_Written for Dew Drops by Julia H. Johnston_. + + * * * * * + +[Entered at the Post Office at Elgin, Ill., as Second Class Mail +Matter.] + +Price of Dew Drops.--In lots of five or more, to one address, 20 +cents per copy per year, or 5-1/2 cents per copy per quarter. Address, + +David C. Cook Publishing Co., Elgin, Ill. + + + +***END OF THE PROJECT GUTENBERG EBOOK DEW DROPS, VOL. 37, NO. 15, APRIL +12, 1914*** + + +******* This file should be named 14111.txt or 14111.zip ******* + + +This and all associated files of various formats will be found in: +https://www.gutenberg.org/dirs/1/4/1/1/14111 + + + +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.gutenberg.org/fundraising/pglaf. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's 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://www.gutenberg.org/about/contact + +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://www.gutenberg.org/fundraising/donate + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: +https://www.gutenberg.org/fundraising/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. + +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. + diff --git a/old/14111.zip b/old/14111.zip Binary files differnew file mode 100644 index 0000000..8528f13 --- /dev/null +++ b/old/14111.zip |
